The Score Magazine, February 2009 by The Score Magazine

For private circulation only

Volume #1 Issue 06.

February 2009

Inquilab | Ananda Thandavam | Britney Spears

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The Score Magazine

The edit pad Editor-in-chief Nikila Srinivasan

Executive Editor Daniel Thimmayya

Content and Operations Ajay Prabhakar “George Harrison! Why George Harrison?” sums the reaction of every person who held our previous issue, wide-eyed looks accompanying the exclamation. Hasn’t the story of his life been done to death and beaten beyond after-life by every magazine that was ever published? Of course, yes. We wanted to bring one of his greatest works back to life in our readers’ heads and we sure did! We strode through a year of unexpected meandering through many twists and have now reached a stability that gives us a wider creative freedom than we dreamed of. Every magazine aims at connecting with its readers. We have a dream too – to bring you the best of the music world, which is possibly walking right by your doorstep as a dangly college kid and his start up band. We’d like our features to focus more on the real person and the music he/she brings. The gloss, sheen and glamour quotients are perks, but not the reasons we choose to bring an artist to our pages. Substance in place of sensationalism, simply phrased. A prince and a rapper who never fail to impress – our cover story this month is a true blue Chennai artists’ feature with Prince Ali and Blaaze in an animated conversation with our team. Tarantino’s Tamil rivals, Gods, Angels and HR managers, Blood & Iron, circus acts from a pop princess. If there could be a common ground for these diverse players, it’s in your hands. Looking back in retrospective, the past year brought with it upheavals that changed perspectives and induced a passion for life in every unenthused soul – ironic, how much we need to lose to make us hold on to what we have. Hope is the most dominant feeling that this country brought with it into the new year. Twelve new months will spring a whole bunch of surprises on all of us. But, for the readers of ‘The Score’ it will still be a year of finding reading pleasure at your arms’ reach in the snug comforts of your nearest hangout. You’ll get used to the surprise that each issue brings! As for us, we’ll continue our tiny squabbles over what to order for lunch, how strong the AC is, why a certain layout shouldn’t be another way and all those things that make our days at ‘The Score’ worth every minute! And still manage to surprise ourselves and you, every time!

Concepts and Creatives Alan Hadle Hamilton

Production and Logistics Fayaz Mohammed

Chief Designer Mohammad Irfan

Marketing and Sales G Venkata Krishnan Arvind T Lohith Reddy Ashwin Shekar Indrani Kalyan

Content Advisors Solomon Porres Murugavel T Samuel Dawson

Art Advisor Mihir Ranganathan

Writers Dr. Jyoti Nair Belliappa George Thomas Vijay Iyer Sunandha Ragunathan Rishabh Rajan Ashok Subramaniam

Nikila Srinivasan

Shrawan Raja

Editor in chief

Nikila Srinivasan has been a columnist and contributor for several reputed national publications and has authored three books. She has had the honour of being one of India’s Olympic torchbearers at the Athens 2004 Olympic Torch Relay.

Photography G Venkata Krishnan Ajay Prabhakar

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For advertisements and feedback editor@highonscore.com +91 98400 50450 Reproduction in whole or part of any text, photography or illustrations without written permission from the publisher is prohibited. The publisher assumes no responsibility for unsolicited manuscripts, photographs and illustrations. Views expressed in this publication are not necessarily those of the publication and accordingly no liability is assumed by the publisher thereof. Advertising copy and artworks are the sole responsibility of the advertisers.

Contents 36

38 04

12 February 2009

Pirivom Sandippom An interview with Director Gandhi Krishna about his upcoming movie Anandha Thandavam, adapted from Sujata’s novel

Enigmatically, yours The passions, aspirations, dreams and roots of poular danseuse Alarmelvalli

Setting Kollywood’s climate Anita Udeep speaks about the experience of working on her current project Kulir 100 degrees, slated for release soon

Britney’s circus is in town! Her second album within a span of just two years. Britney is definitely calling all the shots

Sedan death! Mahindra’s new kid on the block looks just about set to blow the sedan market away.

Sounds of solidarity A musical tribute to every life lost, from the duo who are looking to revolutionize the indi-rap scene

An aftertoon with jyo An engineer turned HR who has a passion for words talks about her novel ‘The Angel of God’

Face to face with rashid ali Popular guitarist and recent playback vocalist Rashid Ali speaks about what 2009 holds for him

On Top of the world A chilling recount of a trip that takes three men as high as roads and cars can venture

Guts, metal, glory City based metal act Blood & Iron speak about the journey so far and the path ahead

On the cover:

Blaaze and Prince Ali Photographed by G Venketa Krishnan Shot at Amir Mahal, Chennai

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Pirivom Sandippom Ashok Subramaniam

cinema Movies

ot very often does tinsel town deal with the works of great novelists. The few, rare times when a director attempts a project based on a novel of a renowned writer, he succumbs to a lot of commercial compulsions - the imagery and the character portrayal as experienced by the readers of the novel are not met thoroughly. K.Balachander and S.P. Muthuraman and a few select directors have been successful in bringing to the screen, depictions that brought to life novels of writers like Sivasankari, Sujatha (Rangarajan) and Jayakanthan. Director AR Gandhi Krishna has the trust and blessings of the late novelist Sujatha to bring one of his famous pieces to the theatres. We recently spoke to AR Gandhi Krishna to get a glimpse of ‘Ananda Thandavam’, a cinematic adaptation of ‘Pirivom Sandippom’; written over twenty years ago as a two-part novel series published in Ananda Vikatan, a popular Tamil weekly. The movie is set to release soon. What is this novel about? It is about a naive girl, childish in many ways, who falls for a young engineer whose father is employed by the girl’s father in a hydro project in Ambasamudhram. The parents agree and arrange for the wedding. But a successful American entrepreneur literally usurps the girl using the selfish interests of the girl’s parents. Devastated, the boy attempts suicide, but is saved by his father who counsels him and says he should go to the US, attain success and marry a better girl. Determined, he reaches the US where he meets the same girl and finds that her husband is cheating on her. What follows, in a series of events with unexpected twists and turns, forms the rest of the story. The movie has already created great expectations as the story was popular with many readers of the magazine. His simplicity is striking. His narrative style speaks volumes about what a compelling story teller he is. We had a lot of questions about the movie, crew, and challenges in making this movie as well as about his journey this far. During our conversation, the director shared a lot about his life, his movies in a very candid way. According to him, when he read the story some 20 years back for the first time, he was thoroughly impressed and read it many more times; in fact he almost decided right away, that if he ever were to make movies, this would be his first! Many years later, after he graduated from college, he started working in the film industry and landed an opportunity to work with director Shankar in his film ‘Indian’ for which Sujatha wrote dialogues. This fostered a close working relationship and a personal bond beyond between the two that was to last till the writer passed away in 2007. His first true recognition came through a children’s film – ‘Nilaa Kaalaam’, which won him a national award. Subsequently, his other venture ‘Chellame’ that projected Vishal and Bharath as notable performers, was also a great hit, that brought him to the notice of producers like Aascar Ravichandran. However

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The Score Magazine before the success he had a big, devastating let down, when his previous project, the only regional movie that Bollywood actress Madhuri Dixit had accepted to do, titled ‘Engineer’ was stalled and eventually shelved. When he expressed his interest to Sujatha about wanting to make the film with the ‘Pirivom Sandippom’ storyline and had given him the screenplay, the writer was only too glad to encourage the director to proceed with the project, if the appropriate producer was available to take on the venture. As the director said very clearly, it is tricky to make a novel into a movie as it has been read by millions already; unless the director did not meet most of the common expectations or mental images of readers, the movie would definitely be canned, instead of being a box-office hit. This was a unique challenge. When Aascar Ravichandran called him one day and asked him to do a movie for him, he told him that he had a story of his own scripted by writer Sujatha; He also insisted that he would only do it, if he would not be pushed into any compromise during the production; he also requested that he be allowed to have the freedom to shoot the film in the locations mentioned by the writer. Director Gandhi Krishna is full of praise for his producer, who has given him a free hand as well as supported him with total commitment through the project. He particularly likes his artistic taste and appreciation. Or as he puts it, a “Nalla Rasikar” (a person with great aesthetic sense and taste) The movie has been shot in the same locations mentioned in the original novel, from Papanasam, Ambasamudhram and Kutralam to New Jersey and New York. His hero has no star appeal because he wanted a fresh face. That was Siddharth. Also, this being a very simple love story, without any heroism as dictated by commercial cinema, no established actors would fit the bill. His heroine Tamannah has really cooperated with great zeal. Playing a very complicated character, Tamannah has done a convincing portrayal of the same. When asked, why the director did not choose to do it as a two part movie sequel and combined both volumes into one

movie script, he explained in his own simple expressions, displaying his deep understanding of the medium and the possibilities therein. He has used a flash back technique to start the movie where the story ends in the first volume, explaining the reasons for that end and starts the remaining part in the western hemisphere after the intermission. To keep the curiosity intact for the movie goers, he does not divulge any more. Asked about what some of the challenges were, “A novel is nothing but a straight narration. But for cinematic expression one has to get creative. That’s why I used a specific story telling technique. One line in a novel could be very visually complex, while a whole page of description could be taken in a single shot. Judicious choice in these things was very challenging. Also, filming true to the locations described in the novel, especially when the location is in the US, like JFK airport had its own challenges!” He went on to add, only when he had edited the first cut and seen the rush, it occurred to him that the story is about a girl who always listens to her parents, and a boy who does not listen to his father, that fall in love with each other. Director Gandhi Krishna has carefully picked an accomplished production team. Jeeva Shankar, a talented cameraman, GV Prakash, whom the director has known from the ‘Chikkubukku Raile’ days, has done the music and has exhibited an amazing talent beyond his age. Vairamuthu has done the lyrics which are very apt for the theme of the story. Award winning Art director Thotta Tharani has done the art and Vijayan has done the editing. Asked about his life, dreams, vision, taste of success and his continuing journey, he smiled and said that he is from a modest family and in fact was the first graduate from his village and what he has done so far is just a beginning. He hopes to make many successful movies in the years to come from him own story lines as well as taking the works of great writers such as Sujatha. This director will go very far in his journey, because he has a sense of purpose and a seriousness of pursuit.

cinema

Ryan’s Daughter (1970)

George Thomas

f it’s true, as one reviewer has written, that every frame of David Lean’s new film, “Ryan’s Daughter,” is “a work of pure and undiluted genius,” there are, according to my calculations, approximately 276,480 works of pure and undiluted genius in the 192minute movie, which should put “Ryan’s Daughter” on a par with such other repositories as the Louvre, the Metropolitan Museum and the Hermitage. The film story was set in a tiny seaside village, Kirraray. The local publican’s daughter, Rosy Ryan, played by Sarah Miles (then Bolt’s wife) is infatuated with Charles Shaughnessy, a mild-mannered school-teacher played by Robert Mitchum. She coaxes him into marrying her, but their wedding night and the ones that follow shatter her romantic illusions. The village priest, Father Collins, played by Trevor Howard, is outraged when Rosy insists there must be more to marriage than what she can find in hers. ‘Why must there be? Because Rosy Ryan wants it?’ he roars at her. She has a brief but tragic affair with a handsome British Army officer, Major Doryan, played by Christopher Jones, whose time in the trenches has left him morose and shell-shocked. Her husband has a different kind of shock when he discovers what she’s up to. As their marriage heads for the rocks, so does Shaughnessy, but only to sit on them and stare out to sea while he struggles to come to terms with Rosy’s infidelity. When a shipment of weapons intended for Republican activists is intercepted by British troops, everyone in the village suspects that Rosy has tipped off her lover. They swarm around the schoolhouse, drag her outside, rip off her outer clothes and crop her long hair. The informer was actually her cowardly father, played by Leo McKern, who diverts suspicion from himself by joining in the condemnation of Rosy, although he hasn’t the stomach to stay and witness her humiliation. Later that night on the beach, a distracted Doryan blows himself to pieces with some IRA explosives discovered there. The Shaughnessys leave Kirraray for good, hoping to put the tragic events behind them. The actress who would play the central role of Rosy was always going to be Sarah Miles. The writer had created the role with his wife in mind. Although she was twenty-five years old at the time playing someone much younger, Bolt and David Lean were unanimous in their choice. It had not always been that way. When they had collaborated on Doctor Zhivago Lean had wanted Sarah in the role of Lara, because, he said, she was the only actress he could name, apart from Celia Johnson, who ‘acts with her eyes’.

Sarah Miles in Ryan’s Daughter

A scene from Ryan’s Daughter

Sarah Miles and Christopher Jones in Ryan’s daughter

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With Kulir 100 Degrees gearing up for release amidst heightened expectations, Anita Udeep speaks about how much of a roller coaster ride it has been

Setting Kollywoodâ&#x20AC;&#x2122;s Clima Daniel Thimmayya

ate

cinema

t isn’t quite uncommon for filmmakers to tread the road less traveled as far as mainstream Tamil cinema is concerned; directors’ being the creative sorts they usually are. It does come as a refreshing change, though, when these off-beat offerings carry the conviction of commercial success and not merely the markings of an artistic product that may occasion critical acclaim; a conviction beginning with the cast and crew for starters. A conviction that stems from the toil and tales of Anita Udeep, who is amongst the few accomplished female multi-taskers in the filmmaking fraternity, at present. Almost half a year ago, publicity material featuring a youthful bunch attired in classic hip-hop garb, essaying various poses began to flood the media, with a single explanatory tag of ‘Kulir 100’ and the fact that it was an Anita Udeep movie splashed across them. Not many made much sense of the weird title nor link it to the vibrantly colourful visuals accompanying them. Only chance spotting by a detail-savvy acquaintance enlightened me of the tiny superscript circle representing temperature. Kulir 100 degrees it now read. Demystifying the intrepid title and the movie behind it should have been a snip after a chat with Anita, who is going beyond the ominous trinity of story-screenplay-direction and producing the movie herself. No mean task for someone who hasn’t really explored this aspect of commercial Indian cinema. “It took three years to understand this industry especially when you study abroad and come back, it all seems completely different. To get the hang of the society, crew and technicians was quite a deal, really”, she reflects. Essentially there is a world of difference between youthful movies and youth-centric movies. So what can compel a person to foray down a path where ‘Five Star’ floundered and ‘Boys’ drew loads of flak and attempt a story that isn’t quite universal in terms of appeal? “It is a subject I’ve always wanted to explore. I wanted to learn from the process and not make a film I already knew about, or something I had done.” Evident, from her earlier choice of subjects ranging from ‘Gulliver’s Travels’ to ‘Knock, Knock…’ So getting straight to it, we did venture queries about the nature of the plot and the basics of her movie, something

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The Score Magazine that few directors are chatty about, “It is based on a bunch of 12th standard kids. So a lot of research went into understanding the current scenario. It is surprising to find how mature and well informed they are, compared to my days in college. Though it’s a bit colder than I remember, I see more independent thought, and an increased rebellious outlook. Which contribute toward making it a different, yet wholesome commercial movie”, she guardedly discloses. Inspiration, they say, comes from various quarters, or most likely from within; a statement that she vehemently refutes, “17 is an unbalanced age, you have to decide what is right and wrong, and both parents and friends have a hand in that. Considering I was out of place in college, and was considered a bit of an outcast I’d say it was still an interesting subject to delve into and experience again; revisit those days” Moving on to the characters in the movie, judging from the detail in the profiling, it is evident that a large amount of research has gone into the moulding of each character; none of whom have any brand value or ‘star’ appeal in the least, “When I scripted the characters and started the audition process, I found that sometimes they would look perfect but wouldn’t have the essence I was looking for. Most of them had done just basic stage acting which I think it is very fresh. Sometimes I’d introspect to find out what I really wanted and mix and match them till that perfect combination arrived” Working with freshers though can have its share of flips, especially with a constantly evolving character line and when the entire cast and crew hail from ages 17 to 24, besides a downturn on the professionalism count, “I’d never know what was going to happen when I started the shoot, or when

something was going to goof up. The script acted as more of a backbone. If at some point of time something didn’t work, or I felt it didn’t work, it would come off. People, who have seen the rushes of the film, can’t believe these guys are amateurs.” She claims with pride. Of course, one of the most important pre-requisites of shooting a movie revolving around school is quite obviously, a school. Seeing as how sets aren’t quite adequate in detail and shooting on a campus isn’t quite the simplest thing, purely because of the academic calendar, we did wonder how they managed it, “The whole movie was shot in a school, in Ooty, and as much as I wanted it to go through different seasons as such, the bulk of the production was done entirely in the holidays. It was quite a rollercoaster ride; crazy!” On a more personal note though, she does agree that the entire experience has quite literally been one steep learning curve, more than just a stressful ordeal, “One really needs to have people skills to get the best from their actors. I am not that friendly and don’t mingle much. So I get uncomfortable with people,being both the producer and the director, time was a crunch. For once I found that I had to try to be patient though I have no real patience!” she admits candidly. To cap it all, it does appear to lead up to what is increasingly looking like an interesting Flick. With every element of commercial cinema embedded in it, packaged with the swirl of youth and a whiff of innovation thrown in, it remains to be seen whether the formula can set a mark as far as pioneering this particular genre goes. After all, how much longer can ‘Kana Kaanum Kalangal’ hold sway over the school-goers stage?

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Chennaiâ&#x20AC;&#x2122;s New Monument

finesse

hennai has a new wonder. The Taj has arrived on our very own Mount Road. And how! Contemporary, yet maintaining the classic touch of aristocracy that is unique to the Taj group, this new addition to the city’s Hall of Fame is a breathtaking seven floor hotel that promises the cosmopolitan customer a word-class experience. With 220 well-appointed rooms including 16 suites and one elegantly luxurious presidential suite, it promises to offer that rare mélange of style and sophistication. Dining options there are aplenty at the Taj Mount Road. For a European fare with an Asian twist, there’s the Club House, the all-day dining restaurant. For delectable favourite cuisines from Punjab, Rawalpindi and Sindh along with the offering of wines one need not venture much - Beyond Indus. That dreamy dinner under the stars is not too far away with the extended roof top lounge at Kefi which offers Mediterranean cuisine amidst a rustic Greek country home ambience. For a heady blend of exotic wines, spirits and liquors, Blend - the high energy contemporary bar is at your service. Adding that quintessential flavor of all-time favorite brews is Brew which offers the quintessential English High Tea apart from an array of international coffee and tea varieties. Those with an appetite for a range of delicacies ranging from sandwiches to exotic chocolates can head straight to The Deli. Apart from the aforementioned list of ‘Reasons to visit Taj Mount Road’ comes the irresistible array of amenities that add more sheen to its sheer blue facade. A lap pool on the rooftop with a picturesque view of the city, a gym overlooking the pool with a yoga room, a Jiva spa and salon that will open soon and rooms offering a plush ‘lived-in’ environment for the business traveler with high-tech Internet access, plasma television, unique custom lighting, spacious bathrooms and excellent storage. With no reason to believe otherwise, this 45,000 sq. ft. monument of luxury has already found a firm place on the Chennai map as the destination for the ardent foodie, constant traveller and anyone looking for an experience well beyond the ordinary.

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Cocktail Drive

he Sangria or the Sangaree, is a traditional and popular drink in Spain, Portugal and West Indies. It is the ideal summer drink. Sangria means Bloody, a reference to the Blood Red color this spirited fruit punch emanates. It is served with a wooden spoon to get the fruit out of the bottom of the punchbowl or the pitcher. Bottled Sangria can be bought in many countries, but this is significantly less entertaining than making one all by yourself. Coutesy Zara Tapas Bar. For more information Contact Mr Arasu 9841157869

INGREDIENTS A Glass of wine. 15 ml of Brandy. Lemonade and Orange Juice. An assorment of fresh cut fruits including Apple, Pineapple, Strawberry, Sweetlime.

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Suzuki Intruder M 1800 R Year: 2006 Category: Cruiser Displacement: 1783.00 ccm Gearbox: 5-speed Front brakes: Double disc Rear brakes: Single disc Fuel capacity: 19.00 litres

his 1800 cc Intruder is the only one of its kind in Chennai. Mr Karthik of Coimbatore bought this bike solely to join his biker friends on their weekend trips to the country side. It was a matter of coincidence, he wanted a cruiser and this one was up for grabs, you aren’t really spoilt for choice in Chennai.

unique in Chennai

‘The Score Magazine’

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ith the XYLO, Indian Auto Giant Mahindra intends to put an end to the era of Sedans. To carry out this ambitious operation, Mahindra has designed and developed an MPV, which is as Indian as hot Curry. Mahindra has a renowned history for manufacturing big-sized vehicles. Take either the stylish Scorpio, the rugged Bolero or the latest XYLO, it has stuck to it’s reputation of offering buyers with Utilitarian vehicles which are big on size and easy on the wallet.

Sedan Death! Shrawan Raja

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I was invited by the company along with India’s top Auto journalists to a special preview of the XYLO at Mahindra’s production facility at Nasik. The build-up to the launch was something along the lines of a starstudded Hollywood movie preview. Mahindra had given little or nothing away through their teaser website (mahindraxylo.co.in) and this was the first time an outsider was given an opportunity to see and feel the car.

INTERIORS From the moment you step into the car till you exit, you’ll find how much Mahindra has worked on getting three things right- Space, Comfort, and Convenience. The XYLO offers acres of space, so much so that you could conduct a golf tournament in there. Ingress and egress will take little muscle flexing, the large doors, entry area and aptly positioned seats aiding the cause. The driver’s seat and steering can be adjusted for height, which will please shorter drivers. A notable debutant on the XYLO is the DDAS (Dynamic Drive Assist System) which mounts centrally on the dashboard and displays all kinds of information including cabin and outside temperatures, average speed, fuel average and direction which keeps passengers informed. The middle row seats offer a comfortable vehicle for the cost-conscious Indian buyer. Rather than hosting a conventional bench, it makes use of two bucket seats whose tall and wide dimensions offer ample comfort to a 6-footer like me. Behind the front seats, flight trays are offered which come in handy if you’re a car-diner. What’s even better is the option of flat bed front seats-You can fold the front seat and connect it to the one behind it to form a bed; a boon during long distance travelling. The third row seats don’t offer the same space or comfort understandably as it is meant only for the kids in the family. The good thing is the ease with which you can transport yourself there. BEHIND THE WHEEL Once you get behind the wheel, you feel much like you are piloting an SUV- You sit higher up and have perfect road clearance. The rear view mirrors incorporate the Intelli- park reverse assist makes reversing easier by displaying the distance of the car from an obstruction. The steering wheel seems to

wheels

be the perfect size and the square gear knob is easy to reach. The addition of a dead pedal will nurse your left leg on a long distance journey. ENGINE AND GEARBOX Turn the keys and you bring to life a brand new 2.5liter CRDe mEagle engine. This engine is from the Mahindra’s NEF line of engines and boasts of a battery of technological lineaments. The hydraulic lash adjusters, Auto Belt tensioners and a larger capacity air filter smoothens operation and promises lower service costs. A 5-speed gearbox complements the engine which is muted during idling; Though there’s not much cabin noise, the engine gets a little noisy when you try and play Schumacher. THE DRIVE After a brief couple of laps around Mahindra’s test facility, surprisingly, I felt I was driving a car of much smaller dimensions. You understand what Mahindra has attempted, cruising at 60 kmph- MPV size, sedan characteristics. I felt the engine has been tuned to strike the best balance between city and highway driving. The engine does not set your heart racing as it coaxes out 112bhp and 240 Nm of torque. Those stats for a vehicle tipping the scales at close to 3 tonnes are just about adequate. Perfect to ferry you back and forth from work. RIDE AND HANDLING The XYLO scores high on handling and ride quality. The steering gives quality feedback and body roll at high speeds is much lesser compared to its competition. The Independent Coil spring setup at the front and the multi-link suspension at the rear perform mighty well in keeping road shocks and vibration at bay. The ride in the third row felt quite bumpy, as is the case with any other vehicle of this size. VERDICT I tested the top of the line XYLO with all the bells and whistles which costs approximately 8.6 lakh INR (On road Chennai) At that price you get features which are not available with the rest of the competition. The base version come at around 7.10 lakh INR equipped with power steering, power windows, central locking, flat bed front seats and immobilizer. The XYLO offer an option for buyers looking at cars like the SX4, Fiesta and Verna with more space, comfort and features. The era of sedans might in all probability be over.

LOOKS AND STYLING The immensely successful Bolero from the Mahindra line-up was flat and boxy, and took considerable time for its looks to grow on you. A utilitarian vehicle need not sport a design as classy as BMW as its purpose is not that. It needs to ferry you around town and over long distances in comfort. Regardless of all that, the XYLO does look a little out of proportion. The high ground clearance coupled with the long wheelbase didn’t go down well with me. The bean shaped bonnet and large wells proved to be an eye sore. With design penned down by a team of Indian designers with some help from the Italians at the initial stages, its shape has been drafted to make it aerodynamically favourable, which helps the stability and fuel economy departments. The grille looks to have been inspired by the one on the Scorpio but doesn’t blend with the tall front profile. The chunky rear looks pleasing when compared to the rest of the car.

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Why the personal touch matters Sony XPERIA X1 The most eagerly anticipated Windows mobile; Sony has hit perfection in form with the new XPERIA X1. The XPERIAs 3” screen takes up the entire front panel and has extremely high fidelity. The frame and the battery cover are made from stainless steel, so no finger prints can spoil this shiny beauty. The body is made from solid plastic and chrome. The phone does have its short comings, its user interface needs quite a bit of rework. The touch screen is not nearly as responsive and the full QWERTY keyboard is quite hard getting used to. It has a mediocre camera, and it doesn’t support flash (but you still access YouTube through its streaming media ability). Nevertheless the XPERIA is the best Windows Mobile yet. It is far ahead of its many competitors.

Nokia 5800 XpressMusic It’s not the first time Nokia has dabbled around with touch-screen, but this time, they seem to be quite serious about it. The phone is unobtrusively placed as a mid range phone with XpressMusic branding, and it is hoping to carry with it some of that S60-touchscreen weight. The phone comes with a 8gb memory, and a microUSB cable to use for your data connections and a TV-out cable that normally ships only with the high end N Series model. The touchscreen needs protection and it ships with a carrying case. The case is rubber plastic and seems durable enough. Another nice surprise is the desk stand which according to Nokia will also be included in every retail package. It is provided with an eyelet to attach the stylus. We all know, there’s no substitute for our very own thumb but we’re yet to see about that with Nokia 5800.

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Strapless white evening wear -dress Rs.5086 -jewelry Rs.432 -shoes Rs.2507 -clutch Rs.1612

Total - Rs.9637

Halter-neck wedding gown -wedding dress -shoes -jewelry set -tiara -bracelet

Rs.22,745

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Black strapless dress -dress Rs.5346 -clutch Rs.2548 -shoes Rs.1997 -jewelry Rs.650 -bracelet Rs.500

Total Rs.11,041

bazaar

Sleeveless wedding gown wedding dress -crinoline -veil -tiara -shoes -jewelry set (earrings & necklace) -gloves/bracelet Rs.30,250

Confessions of a Shopaholic Krithika Ravi

rousseau, a five hundred sq ft store on Cathedral road houses exquisite designer wedding gowns and elegant evening wear. It is a fantasy-come-true for every woman with style, class and money! Tucked away in Cathedral road, Trousseau becomes a haven for fashionistas amidst the bustle of the city. The plush interiors don’t fail to make an impression on you. Trousseau brings together six European designers under one roof. They have wedding gowns, party, cocktail and evening wear, accessories and shoes. The wedding wear and cocktail/evening wear are picked from all over Europe and have intricate hand work and fine cuts. Their wedding wear is priced between Rs.16,000-25,000 and evening wear between Rs.4,500-5,500. The jewelry and tiaras are original crystal. They also have a line of trendy hand bags and clutches. The jewelry and shoes come from Singapore. They house 22 styles of evening wear and fourteen styles in wedding wear in three sizes - small medium and large (UK sizes). Zyndey Namazi, the owner of the store says, “We do intend to bring in some more styles and some more sizes to cater to the needs of our women in a couple of months.” She says, “ People think Chennai is traditional. Chennai is not so ready but it is catching up real quick in the party scene. There are parties happening all over the place every week and so far people have always thought flashy, bling clothes are ‘in’ for party wear. But now, we have brought in elegant and chic cocktail and evening wear and shoes and accessories to go with every dress.” The store has just about everything to complete your wedding wear - tiaras, veils, gloves, jewelry, shoes, crinolines, wedding garters etc. It’s a one stop shop. Ms. Namazi describes her store as “classy” in one word. I can’t agree more with her. The store is truly one of a kind.

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Vijay Kumar

canvas

Mihir Ranganathan

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An afternoon with Jyo

Sunandha Ragunathan

he is so not what I expect from an engineer turned HR who has a passion for words! Dressed in crisp formals, she has an easy manner and apologises for being 5 minutes late. Articulate and disarming! This afternoon chat could prove to be interesting indeed! I’m already bowled over by her frank smile; I quickly get my notepad to cover how truly surprised I am. Jyothi Menon, Jyo to friends is the VP-HR shared services. What’s that? She quickly condenses it to “back office operations for over 90,000 employees of Standard Chartered Bank”. A vice president who has stellar time management skills such that she can successfully run a family, author four non-fiction books and research and write another one ‘The Angel of God’? My eyebrows shoot up! We begin at the beginning. She talks candidly about her engineering background. “Being the only child, naturally all my parents’ energies were focused on me being ‘professionally’ educated. But I was clear from the start I wasn’t going to be a geek.” She clearly isn’t one. Not envisaging herself sitting in front of the computer and writing visual basic programs, she quickly moved to HR and used her education and her background to become a proficient recruiter. One day a chance meeting with the Pearson Publishing head made her foray into writing possible. “He mentioned I should write a book but how was I going to compete with all the IIM and XLRI educated professionals?” she wondered What she was going to write about was never an issue. Through her work spanning fiction and non-fiction, the motif that springs at you is the easy conversational style and the mentor-protégé relationships that crop up stealthily. “I can only write what I’m familiar with right?

I am in HR, subconsciously I suppose all the mantras I believe in manifests in my writing too.” The thing to successful book writing, she later understood, was not the content per se but how she was going to incorporate her own personal experiences and her interpretation of human relations. The conversation between the grandfather, the managing director of a software company and his grandson is how she expresses her ideas in her first book. “It was a success.” She seems surprised by it and she says, “Soon the second book was on its way but that was pure chance.” Our ex-president, Dr. A P J Abdul Kalam was in office when the book released and upon reading it, he sent her a personal note commenting on a specific page in the book which talks about branding and thus ‘Brandwise’ was born. On an aside, is there no end to the number of people Dr. Kalam has inspired? Using the same conversational style, Jyo expanded on branding. Instead of talking about products, she focused on the branding of people. “Consciously I used the grandfather speaking to his grandson motif. In Indian mythology, grandfather symbolises wisdom and so it was easy to have him teach his younger generation some of the concepts.” Quickly another book followed ‘Me, a Winner’ and surprise surprise, the pubic lapped it up! Though just about to launch, The Angel of God is her oldest work chronologically speaking. “We’re all children of circumstance and I’ve been fascinated by that fact that we all have what we call an Angel or a devil lurking inside us and what we unleash is dictated purely by what we give more importance to.” So what is the novel about? Her eyes light up and she talks animatedly about how the canvas spans Dharavi Slums in Bombay, The Libyan Desert, Saudi Arabia and the Villages of Kerala. All these are places she has frequented. It is a story about a crime organisation but it is not about crime. It is a tale of redemption and inspiration. “Each person has a defining moment in life, and in Moosa Bhai’s life, his turning point is actually depicted on the cover of the novel and pushes his life and the story forward.” With eyes twinkling she mentions that she draws parallels between the criminal organisation and other commercial organisations. She laughs good naturedly about the nil attrition rates in a crime organisation and how hierarchy is established and loyalty rewarded mirrors any lawabiding organisation. She has the first copy of the book in her bag. Guarding it zealously, she gives it to me almost hesitantly and the riot of colours and sketching on the front cover dazzle me. Modernist, almost cubist in form, the turning point in Moosa Bhai’s life seems a mystery to these untrained eyes. Her parting words – “In these troubled times, we all need to look towards one another to find inspiration, to hear the message each person is sending out; Moosa finally stops and listens and his life changes forever.” Here’s hoping this book inspires you and makes you change lives, maybe even your own!

Your dad kills too!

lettered

he Pulp Fiction World is murky and dangerous for women; at every corner lurks temptation and disaster. At any moment she could be abducted to be used sexually and killed or she could fall into the hands of her uncle who leers lasciviously at her and her fortune. Her entire presence is distilled to two facts; at all times her honour could be decimated and she could be led astray never to be mentioned in polite circles or she could lead a quiet virtuous life and no matter her status, deliverance would come in the form of a rich, educated, and sensitive man and all her previous cares would be forgotten. If that sounds like a subversive kind of chick lit, meet the other woman in Pulp fiction, an archetype herself but modelled on whom exactly? She is spunky, knows Karate, can defend her honour, and if necessary, hatch plans to escape from the lair of the evil scientist. She wears t shirts with sexy aphorisms that are too tight, is aware of her erotically charged relationship with her male colleague and hides it with matter of fact diversions or bullies him into looking at her as a sexual object through coquettish jealousy. If all this sounds complicated and overwrought, you must excuse my feminist professors for teaching me to read meaning into the patriarchal writing. Let’s take a step back and look at it again. You might as well strike out the first two paragraphs (but please don’t coz I crafted them meticulously and will get back to them in a bit) because these women are only marginal figures in pulp fiction, serving only to drive the action forward which will be take over by the men. Ahh, the men! While the women are sexual objects, there to arouse one into thinking and action with names that slip out like semi-orgiastic exclamations Asha, Leela, Pushpa, Kamini, and Kanchana, the men are their antithesis. Devanathan, Shankar Lal, Narendran, and Sasivaran; thinking individuals with thick moustaches and hard skulls, capable of keeping their cool even when a gun is pointed at them, especially if a gun is pointed at them, these are the men for whom its written. The Sabapathy, Velupillai, and Ravis of the world buy these magazines and fantasise about the Kaminis and Kanchanas of the seedy underworld who run to them with heaving bosoms seeking their brawn and brain to rescue them from the clutches of evil and in return give them the promise of eternal devotion and undying love or just an unforgettable night of passion! The Blaft Anthology of Tamil Pulp Fiction has excellent translations from a select authors and a marvellous translator’s note which I urge you to read. If it seems like my delicate sensibilities are wounded by these portrayals, you could not be further from the truth! Full of energy and suspense, these are page turners that offer you value for money. Sometimes you also find social messages woven in; this authorial angst is quickly masked in the action of seedy underworld men but these flashes of conscience (as I’d like to term them for my own slotting purposes) are topical. Most of us may not know Rajesh Kumar, Indra Soundararajan, Pattukottai Prabhakar (on an aside, whatta name!), but we

Sunandha Ragunathan

do know the 80s movies. The spate of detective movies that came out was astounding and for the longest time, I assumed our Kollywood had been “inspired” by the film noir genre. Maybe their inspiration was a little closer to home! The evil politician rapes any woman he comes across; the virginal sister of the hero is abducted on her way to typing class (why this obsession with typing classes? Was that the mark of a girl with a useful mind who didn’t want to waste her intelligence making kaara kolambu for her in-laws? Was the rhythmic click clacking of typing such a charged atmosphere that it became synonymous with buxom youth and hidden desires?) and the hero is hired by her brother or happens to be her brother. While he was the carefree youth cavorting with the rich girl in Woodlands Drive-in or in Ooty singing melodious duets in the first half, he’s called upon by Dharma itself (in the form of the hand-wringing mother) to fight the good fight during the second half and boy does he! Single handedly he busts a prostitution racket or reforms the villain who had some mountain cave he hid in, or sometimes, just for our viewing pleasure, there were crocodiles thrashing in a glass tank in a Technicolor basement of an abandoned bungalow! Sounds familiar? Before we knew heroes who flicked cigarettes, every Tamil family was familiar with these worldly wise heroes and damsels in distress from their steady Pulp fiction diet. Mention Pattukottai Prabhakar (bear with me while I fixate on this name) and if you happen to be in a room with individuals over a certain age (*cough cough* older people), they immediately rattle off Resakee, Tamilvanan, Pushpa Thangadurai and Ramanichandran as though you’re playing some weird Antakshari with them. Published in weeklies such as Kalkandu, Dhinamani Kadhir, Anandha Vikatan, Kumudham and Kalaimagal, these titillating tales of crime and punishment were condensed lectures on modern day morality. Then there were other publications; super novel, ungal junior, and today crime, these were not freely distributed among members of the family. The writers were the same; the subject was the same but the language presumably was less constrained because they needn’t fear corrupting the minds of young girls from good Tamil families. These ten rupee novels may have been mid-morning escapes for many but in them lie nuggets of the era they were written in. The reader can glean what the common man was feeling and thinking. These “pulp” reads are a treasure trove for a mind keen on understanding the sociological issues of an earlier era. It is more accurate than History and certainly more fun and racy!

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The three men who made the trip, (from left) Satyajit, Suresh and Obeid

On top of the world Obeid N

The first of a spectacular three part travel feature. Exclusively given to â&#x20AC;&#x2DC;The Score Magazineâ&#x20AC;&#x2122;

he trip to Ladakh was Suresh’s idea. He is an advertising photographer by profession and wanted to do an exhibition so what better place to photograh than Ladakh. He wanted company. Satyajit and I joined him after realigning our rat race. The entire trip to Leh and around Leh was organized by Mr Wangchuk of Snow Leopard Trails. Mr Wangchuk is the man to see if ever you want to make that trip to Ladakh. He organized the trip with military precision. Hotel rooms, cars, drivers, permissions, food and whatever. It was simply fantastic, nothing ever went wrong which is amazing feat in such a hostile and violent environment. The other person who made this trip memorable was Spemba, the 27 year old Ladakhi lad, our driver. An outstanding driver, never put a wheel wrong, never said a wrong word and on call 24/7. In Ladakh, one mistake on these slippery mountain roads and you’re one for the history books. While we might have made the effort to go to Ladakh, half the credit goes to Mr. Wangchuk and Spemba as they are the ones who made this trip possible. Visiting Ladakh was the best thing I ever did in my life. It’s tough, it’s ruthless and no amount of money or technology can conquer that place. Mother nature rules and in spades. It humbles you, and I swear, I came face to face with my maker so many times.

travel

We flew from Chennai to Delhi. Mr Wangchuk’s man Mr Kaku picked us up in an Toyota Innova and drove straight to Manali for 17 hours. Not a great drive but we had to do it anyway. We didn’t want to jet around, you don’t get to see that much. At Manali we stayed at Club Mahindra. Fairly decent accomodation, got some rest and started feeling human after that 17 hour long drive. Lazed around Manali for a day started getting used to the weather and the height. We left the following morning for Jispa and Serchu enroute to Leh. Reached Jispa in the late afternoon. Very basic accomodation, very cold stay in the hotel opposite a river. Very scenic. Left the following morning for Sarchu. Change of drivers and cars, another Innova and the perfect ‘Mr Spemba’ steps in. Note:The thing that worries everybody is AMS(acute mountain sickness). As you go up in altitude the oxygen startes getting thinner. You will feel breathlessness, a little heady etc. That’s why you climb gradually, averaging 5000 ft every two days.

Panorama of the town of Leh; a dusty town with little greenery and a couple of old monasteries.

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En-route to Rotung from Manali, Shepherds with mountain sheep at around 11,000 ft. In the Himalayas, the treeline completely disappears beyond 14,000 ft. This was the last patch of green we saw for a very long time.

The wind tunnel at Sarchu, Temperature tipping to -7 degrees celsius. The mountain range is actually miles away from Satyajit.

At Rotung pass, 14,000 feet above sea level, our first taste of chill and windy weather. 2 degrees at 12 noon. Well above the tree line. You canâ&#x20AC;&#x2122;t see any trees anywhere at this height in the Himalayas.

Our Chateau at Sarchu, Sarchu is an overpowering and overwhelming place. The landscape is bleak and stretches on for miles. We stayed over at the Rashpian camp there for the night and left for Leh passing through Pang.

Photographs by Suresh Menon

Thiksey Monastery, 20 Km before Leh is the Thiksey Monastery. It is about 10,000 ft above sea level. Housing one of the largest Buddhist statues, the 15 metre tall Champa.

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Enigmatically Yours

ancers under the influence of the transformative power of dance often like sharing their experiences of beauty, empathy, creativity and historicity. It is particularly consequential in the context of Bharata Natyam. These statements are made through the metaphysical expositions of dance. What sets Alarmelvalli apart as a dancer is her existential commitment to an ever evolving tradition. Her work is seen as a metaphor which translates her existentialist thought in a poetic image that is an experience in totality. Indeed there is a kind of imperative under the commitment to artistic truth and tradition that Valli considers her mantra for success. “Dance has been a sacred commitment and I’ve understood the value and import of self-discipline and enrichment”. Goaded by her mother, she led an unusually busy life dedicated to dance and the imbibing of ancient texts. This learning provided a magical key to the world. “My illustrious Guru, Guru Chokkalingam Pillai blessed me in a way that stands etched in my memory. When I performed the most difficult varnam before my Guru as a fragile young thing, he said, ‘You will grow up to be a big dancer, but I won’t be there then’.” After him, his son Subbaraya Pillai generously imparted the subtle nuances of the dance form, strengthening her hold on the Pandanainallur Tradition. It is said that ‘Man is on the stage without a role to play and he has to justify his presence by creating a role for himself’. This has been Valli’s experience from the dance and music that she was exposed to, from childhood. In order to appreciate and decipher the intricacies of abhinaya, she learnt the most vivid and powerful dramatic statements in Oddisi from Guru Kelucharan Mohapatra. This led to further introspection and celebration of her treasured Bharata Natyam. Valli surmises, “In an age devoid of technology like i-pods, one learnt more through reflection and being left to ones’ own resources to comprehend, digest and grow creatively, evolving one’s individualistic style. Instead of running the tape-recorder, the beat and the music ran through one’s own head with a better sense of timing as one had internalized the music; Bala Saraswathi’s iconic dance has stood the test of time; much like Yamini Krishnamoorthy and Satyajit Ray in their respective mediums.” Highlighting what tradition actually meant, she points out the perils of imitation which could lead to cloning and derivatives. “In the new global scene the old masters are gone. Very often the aspirants learn by watching performers and dance teachers and copying them. In the olden days, the Guru seldom performed and demonstrated through the gesture which astonishingly conveyed sense, so that individuality

Jyoti Nair Belliappa

remained. There was no packaged information of ideas and images. Focus on breath-taking physicality of movement can become almost acrobatic if not presented with subtle understanding of the ageless message of symmetry, beauty and feeling. There is a symmetrical asymmetry in dance which has to be accentuated to compete it such that to break a line there should be an artistic value to it.” Valli has welldefined contours without palpable bounds. “In the greatest of artistes, ego is sublimated while performing. A complete integrity of self and Art is seen in a true artiste, not just an experience of virtuosity. The least perfect human being can still transform and present the purest of emotions. Thus the egos get sublimated in Art form. A true artist gives complete integrity to self and art and if he projects himself, his art would fail to convince. One has to learn to guard against the catering to the whims of the gallery.” Brought up in a colonial setup, in a sprawling ten acre house, Valli grew up with the dichotomy of a western education and Indian cultural sensibility and kept her two personalities progressively separate. She believes that the Teaching of the Gurus cannot be quantified. Valli pays the highest tribute to her Guru Smt. Muktha whose selfless contribution to her growth as an artiste made her dance –‘a personal poetry, expressive, ,evocative, vibrant, a joyous and an uplifting experience, a picture of consummate grace as she flits across the stage magnificent, mercurial and breathtaking’; In her dance one sees ‘ the myriad moods and nuances of Bharata Natyam- a celebration of body, mind and ultimately of the spirit .’ In her own words, “One must see the music and hear the dance.” Recipient of both the Padmashri and the Padma Bhushan and many state and international awards, Valli’s dance is thus a crucible of this assimilation of movement and sensibility – a supreme attenuation of body and mind. An incident she related comes to mind. In a remote village of Italy where she once performed, an elderly lady knelt before her and touched her in great reverence, transcending all barriers of culture. Hers is the ultimate expression meeting the truth in these lines, Yatho hasta thatho drishti, Yatho drishti thatho manaha Yatho manaha thatho bhavo Yatho bhavo thatho rasaha Where the gestures are, there the gaze is, Where the gaze is, there the mind is , Where the mind is , there the feeling is, Where the feeling is , there the ecstasy is.

dance

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Digital Audio Workstations Rishabh Rajan

Creating music has now become a very accessible task especially with the introduction of Digital Audio Workstations. Anyone can now start making music with the help of a laptop and some software. The only difficulty lies in choosing the right software for your needs. I was lucky enough to start out in this field early enough to sample different Digital Audio Workstations (DAWs) and figure out which would be best for me. Apple’s Logic Pro Studio This is definitely the most popular DAW for music production currently in the market. It comes in a bundle which includes Soundtrack Pro, an excellent audio editing and recording tool which is very well integrated with Apple’s video editing tool, Final Cut Pro.

Pros: ·Huge sound library and vast array of AU plug-ins available right out of the box. Comes in two versions, Pro for the complete package and Express for a limited functionality version for people with a lower budget. ·Includes Mainstage, a program specifically designed for live performance.

Cons: ·Can only be used on an Apple MAC machine. ·Does not support the VST protocol for plug-ins or software instruments. ·The editing is not completely ‘Non-Destructive’

MOTU’s Digital Performer Not a very popular DAW but has some really incredible features. I use Digital Performer a lot when I’m writing music to picture. It has some excellent scoring features that have yet to be implemented in other DAWs.

Pros: ·Very stable and powerful. Has been tested to run over 1000 plug-ins in one session. ·Supports XML file interchange with Final Cut Pro making the workflow in a video post production very fast and smooth. ·Supports Digidesign’s RTAS plug-in format.

Cons: ·Only works on Apple MAC platform. ·Does not support the VST protocol just like Logic Pro. ·Includes very few plug-ins out of the box and no loop libraries.

Digidesign’s Pro Tools I have always used Pro-Tools only while mixing a track or working on audio post production for a film but now with so many excellent features included, I can use it for electronic music production as well.

Pros: ·Includes 20 new plug-ins and 9 GB worth of loops right out of the box. ·New MIDI editing features and also a brand new score editor. ·With Elastic time and the new Elastic pitch you can easily change tempo and pitch of any audio material.

Cons: ·Only works with Digidesign and select M-Audio hardware. ·Only supports Digidesign’s propriety plug-in formats, RTAS and TDM.

audio

Tel : +91 44 24671245 / 24981208 / 9 Email : audiomedia@mac.com Website : www.audiomedia.in

Cakewalk’s Sonar A well known hollywood composer told me he uses Sonar exclusively for almost all his productions. It is definitely a good DAW for someone on a Windows PC based system.

Pros: ·Similar to Logic Studio, has an incredible amount of plug-ins and software instruments. ·Can run on 64 bit versions of windows. ·Has a dedicated step sequencer, not many DAWs have this.

Cons: ·Runs on Microsoft Windows based PCs only. ·Not all plug-ins can be automated.

Ableton’s Live I find this to be the most interesting DAW currently in the market. It is ideal for live performances when you don’t want to just playback your music but edit it or make changes on the fly and improvise with your arrangements.

Pros: Excellent tempo stretching and compressing features. Make changes or add effects to your tracks on the fly. Supports VST and AU plug-ins.

Cons: Most programs do have small bugs here and there but besides that with Ableton Live, I really can’t think of any significant cons to talk about.

Apple’s Garageband I introduce this DAW to my students who are new to the idea of digital music production. It can be considered as a stripped down version of Apple’s Logic Pro. Great for understanding the basics of digital audio workstations. You can do a full production on this application.

Pros: ·Integrates any AU plug-ins installed on your computer. ·Reasonable amount of apple loops and many more if you buy the Garageband Jam Packs. ·Well integrated with other applications of the Apple iLife bundle.

Cons: ·Can only run on the MAC operating system. ·Does not support VST protocol for plug-ins. ·Not many advanced audio and MIDI editing features.

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seventeen year-old is crowned the Princess of Pop and reigns supreme for several years. Prince Charming after Prince MoreCharming comes and goes. It isn’t always the poisoned apple. Sometimes disastrous marriages, custody battles, drug rehab, reckless driving and a host of drama can also play the wicked villain. Britney Spears’ story is the stuff fairy tales are made of - complete with every dramatic element and now headed towards a “happily ever after”. Her meteoric rise and demon ride downhill were religiously documented by tabloids and her comeback caused a familiar frenzy. Her return to the musical scene with her fifth album ‘Blackout’ in 2007 delighted her fans as this was her first album with new tracks since 2003. Her sixth and latest album, ‘Circus’ released in late 2008 debuted on Billboard 200 on the number one slot. Though Britney is no stranger to number-one albums (‘Circus’ was her fifth number-one album), her single ‘Womanizer’ from ‘Circus’ hit the top spot on Billboard Hot 100 – the first number one single since her debut ‘Baby one more time’ a decade ago! Britney worked on ‘Circus’ for almost a year and the release was planned around her birthday (December 2nd) which excited millions of her fans across the globe. Having been under the public eye since her teenage years, Spears’ multifaceted forays into music, acting, song writing and modelling have brought her more fame than she could have bargained for. Topping best-selling charts and performing to a packed audience have become routine to this diva as has landing herself in the midst of some controversy. But that’s what makes her a diva! The generous dose of drama that is the life of Britney Spears would make any soap opera look dull. In spite of being the target of critics’ slashing, Britney manages to silence them all with her music. Every time an album or a single of the star is released, it proves to the world just why Britney will never fade from the musical horizon. “The song is about me as an entertainer” says Spears, of the main song ‘Circus’ explaining why she wanted the theme of the entire album to focus on this aweinspiring aspect of her persona – the performer and entertainer who never fails to impress. An entertainer brings more than just music to the show – costumes and fun, theatrical things that awe the audience, the act of telling a story on stage that makes people want to watch more – much like a circus! Of course there wouldn’t be elephants on tiny bicycles or clowns juggling colourful balls but ‘Circus’ promises to have the same feel as, well, a circus! “Like the fact that you’re always on the edge of your seat when you’re at a circus and you’re never bored. You’re so entertained you’re just really engulfed in what’s going on around you and you want to be aware and you want to know what’s going to happen next. That’s the feeling I want them to get when they come to my show”, Britney quips.

Britney’s new single ‘Womanizer’ has become a huge hit now and it has enough reasons! It’s said that Britney looks like her old glam self in this steamy single. It is about a man who is a womanizer and manages to get away with his ways. The video features Britney playing several different characters luring the womanizer into her trap while the man is unaware that it’s the same girl donning the different roles. Britney says she likes the song as she thinks it’s empowering for girls to know that they can stand up for themselves and let such men know where they really stand. Britney had the concept for the video and the fact that she could don different roles meant getting different looks and styles, which she loved working on. This woman has also been going places making an appearance at the 2008 MTV Video Music Awards and bagging three coveted prizes – Best Female Video, Best Pop Video and Video of the Year, all three for the song ‘Piece of Me’ from the album ‘Blackout’. Britney says she was surprised and shocked on winning the awards, the first time she’s won a VMA. ‘Blackout’, released in 2007 was a darker album that reflected the dull phase that the singer was going through at that time. The edgier and more urban ‘Blackout’ was a stark contrast to the light, more pop ‘Circus’. Fans of Britney can be assured that her ‘Circus’ tour will offer much more than the songs from her latest album. As she did not go on a tour with ‘Blackout’, she plans to bring some of the songs from it to this upcoming tour. This circus offers other interesting acts like ‘Mannequin’, which Spears describes as “a fun song”. Reflecting on relationships and the pain endured when it’s time to let go of a person this is as emotional as it is fun. With ‘Circus’ bringing her to the centre of the ring, all eyes are on Britney now and the million dollar question is: will she live up to the hype? Like the opening lines of ‘Circus’ There’s only two types of people in the world The ones that entertain and the ones that observe Well baby, I’m a put-on-a-show kind of girl Don’t like the backseat, gotta be first It is obvious which type Britney is and being first is something she’s been used to, so we can expect all the heat and fireworks that are typical to her show. She couldn’t be more correct when she proclaims I’m like a firecracker I make it hot When I put on a show Brace yourselves, people over the world, the Pop Princess’ Circus is here!

music

Nikila Srinivasan

Image courtesy Sony BMG Entertainment

Britneyâ&#x20AC;&#x2122;s Circus Is In Town!

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Sounds of Solidarity Daniel Thimmayya

â&#x20AC;&#x2DC;The Score Magazineâ&#x20AC;&#x2122;

music

The story of the song that has become the clarion call for a nationâ&#x20AC;&#x2122;s unity during its hour of tribulation. The story of Inquilab as told by them that know it best, Blaaze and Prince Ali.

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little past midnight television networks around the planet began streaming red-tinged frantic updates, continuously and untiringly; the date26/11, the day that would perhaps mar 2008 with one of the starkest endings it could possibly afford. Little did most of the populace suspect that the course of the next three days would provide fodder for one of the greater stories ever told, at least this side of the subcontinent; one that would vanquish the glories of Olympic victory and sideline the escapades of the cricketing world. India reeled under one of the most audacious series of terror attacks, deployed in the oft-frequented gateway to the country, Mumbai, that dark day. However, what eventually came through as truly remarkable was not the glimpses of blood and bodies grieved over by hordes nor the site of a city’s heritage laid waste by flames and terror, but the near instant response that the nation exhibited, in unison; one of pure, irrefutable solidarity. For many, that gesture has served as a point of inspiration to contribute towards the gradual process of rebuilding, in whichever way they saw fit. The music community is seldom left behind and did respond with a spate of tributes and gestures across the country. Crowds were hushed into silence at tribute concerts and many a song dedicated toward every life lost. One of the largest gestures with a far spread reach emanated from a compact studio housed in the palatial seat of the Nawab of Arcot, Amir Mahal, nestled in the city of Chennai, nearly 800 miles away. Within those sound proof walls, worked the combined musical genius of acclaimed rapper/vocalist Blaaze and reputed composer Prince Ali. Seasoned musicians both, they have composed the song that is quickly gaining momentum as the voice of the resolute revolution – ‘Inquilab-Stand Up & Unite’. Like most songs, this is one track that has a story to it as well; albeit one with a reason. And for once, it was a reason that every one identified with, eventually. To set the record straight, the conception of the song was done a little before the actual attacks, and for slightly more idealistic purposes, “We had already written it, for India for unity, for integration, for secularism, for inquilab and we were not waiting for any event to happen,” says the Prince, rather soberly. Most artists are understandably zealous about their work and do not launch it without the highest platform attainable, being reached. Which is, of course a commercial perspective; after all musicians need their daily bread too, in these times of instantaneous piracy. Throwing those norms out of the window, the duo decided to put the track up for free download, on Blaaze’s official site, “It was very kind of Prince Ali to be ok with releasing the single online. The terror attack affected me so much that the message of wanting to Stand Up & Unite seemed to be so strong that it was not going to be possible to go begging record labels to pay attention and have a heart. So it only seemed fair to give it to the world for free, right now,” says the flushed rapper. A statement that the Prince was completely in accord with, “We were in agreement over releasing it online. Normally there is disagreement when there is money involved. We made this song for the coun-

try, with all our heart and soul. Money comes as a bonus here.” Of course, there would be a hitch; quite simply the fact that the original scratch was completely in English. And absolutely everyone would agree that in a country like ours, language can be such a barrier with a song’s appeal, as far as lyrics themselves go. Which set the duo in motion, with the timely assistance of Raqueeb Alam “In India, most of the people aren’t into English and there are so many languages. So Raqueeb wrote a Hindi version of the song for maximum reach. Of course, it was a translation of the message; Indianized for the common man to understand. ‘Stand Up and Unite’ was the only phrase that made it from the original song,” explains the composer. The song is a rather mystic blend beginning with the haunting chants of ‘Stand Up…’ that echo throughout the song, with increasing fortitude as the song progresses. An ensemble of Indian percussion driven rhythm provides quite a rousing treat for the senses, yet are sufficiently subtle at leaving the lyrics audible. The proclamation delivery during the bridge provides a moving interlude. The pace and energy progress well, keeping in sync with the increasing emotion in the lead vocal section. Getting to how the song was actually made, it seems to have stemmed from a liberal dose of inspiration. Though most people have remained skeptical of the impromptu bouts of songwriting or composing that most musicians relate in their accounts, there somehow does not remain much doubt that Blaaze is one person for whom lyrics-ondemand do not work, “We started composing on a whim but gradually we were all into it and the lyrics poured out of Blaaze. There was this anger and emotion coming out of it. He doesn’t think about words or choose words, which is why they’re not monotonous. Be it Afro beats or an Indian Raga, every time I came out with a piece he used to come out with lyrics. And everything was good. It became difficult to choose one. Then came the words “Stand up and unite” and everything else fell in place and a scratch was done in under two hours,” relates the Prince. Thoroughly believable, because what the composition lacks in pristine professionalism it gains in powerful spirit “Writing is a blessing. I just pray that more people take action. And it’s a constant process of writing and learning. At all times,” says a rather overwhelmed Blaaze. The entire siege of terror affected people in different ways. Difficult as it is to empathize to a drastic extent, when the impact is not direct on family, friends or an associate, it is admirable that either of them infused such passion into the refrain. Addressing whether the emotion was a consequence of any personal loss, the rapper was quick to respond “It was shocking and took a while to sink in. Having lived there for several years, it deeply angers me like any man. There is so much hate yet only unity in strength and love can overcome this. Every Indian life departed was a personal loss. So we pray.” The song was to be part of an album jointly produced by both Prince Ali and Blaaze, the former bringing his years of composing experience with Lucky Ali and the latter his varied styles of rap and singing, adding spice to the fare of every leading musician across the nation. Though not fully mastered yet, the track is part of an album focusing

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on social concerns that they feel are plaguing India, conveyed in Blaaze’s trademark fashion. “We were humming along when Blaaze came up with the name ‘Paise’ for a song on poverty, no gimmicks and to the point. Another one called ‘Ma Ke Kasam’ where each one swears he is telling the truth is done. The other one is called ‘Seven’ depicting a seven letter word which could be anything like ‘amazing’. We let you figure out. Another four tracks and we should be ready. All the songs have Hindi and English. Let’s hope it works in India.” With close to no publicity, barring Blaaze’s blog, the circulation of the song has been quite overwhelming; much like the profound response to its impact. With just a simple backdrop over a download link, the massive popularity that the song has enjoyed over the expanse of the internet must be very gratifying; the light-a-candle flash application must have helped as well! “It’s a song for the people, by the people, and the people are truly embracing the message. That’s a blessing.” A statement that the Prince quickly adds to, “Day by day mails still keep pouring in about how much the song meant to people.” Easily evident from some of the posts put up in response. Now, fifty days on, just as the effects are beginning to gradually numb and life is beginning to take on some sem-

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blance of normalcy, there is quite understandably a difference, in the people, “There is no blaming each other any more. No more pointed fingers between us in our own country. We have all become more sensible, but unfortunately at this cost. But it brought people closer to each other.” It does occasion a shade of pride when someone out there can testify that Inquilab was responsible for a small part in that change, if not something larger. The movement is picking up momentum though, with MTV shooting the video for the song featuring Blaaze, their popular choice Youth Icon of the Year. The video just saw it’s premiere on Republic Day on national television and has received immensely rewarding response; a fitting tribute, to the irretrievable loss of lives and the inconceivable unison of spirit and song. Perhaps this will serve as an indicator that it doesn’t really take much to make an impact, as long as the cause is just and made in earnest. It always begins from within or as Blaaze chooses to put it, “Honesty and sincerity in all we do is what is required always, for destiny to take it to divinity” Need we say more?

Conservatory Calendar

Leslie Lewis speaks in the premises

Lecture demonstrations at the Conservatory

Hariharan with the students at KM Conservatory. Photograph by Kalyan.

proud moment at KM Music Conservatory on Jan 11 when AR Rahman, our founder and Principal wins the Golden Globe for ‘Slumdog Millionaire’ a British movie and dedicates it to the nation. A prelude to this great event was the Critic’s Award conferred on him on January 9 2009. It was a matter of coincidence that Palakkad Sriram – a well known Carnatic musician and a popular play-back singer who had lent his voice for ‘Slumdog Millionaire’ held a workshop for the students’ on January 8 and spoke about the high points of rhythm in composing music and about the intricacies of taan patterns. A session was arranged with Kazz Boyle, the noted Hollywood composer who spoke about incorporating the dissect of the work footage of temporary music from ‘The Incredible Hulk’ and the process of development and transformation into its final version. This rapid unfolding of the climatic moment with the onset of the music was quite an eye opener to the captivating effect of the score that he blended. The students were exposed to the finer points of re-recording and its relevance to their program. Kazz was in India at the invitation of AR Rahman in connection with his work for Aamir Khan’s Ghajini. Prior to this Hariharan –the celebrated singer who has a large Carnatic and Hindustani repertoire, addressed the students on ‘Voice Culture’ and the do’s and don’ts for a musician. One way to develop resonance he pointed was to use the ‘Head Voice’ and to lead a consistent life. A fascinating talk provided valuable tips to exercise and warm up before the concert. Leslie Lewis, a close compatriot of Hariharan in the ‘Colonial Cousins’ provided excellent tips on music and musicology. He spoke about the importance of observation and exposure to good music. An expert at jingles and a western music performer, Leslie Lewis spoke about credibility of a musician and also about his future projects for a Tamil movie. A Jazz Concert had been arranged on October 10, with Keith Peters on the bass guitar, Jeora George on the drums and Martin Visser on the saxophone. Keith

Jyoti Nair Belliappa Peters also spoke about the advent of Jazz and how it caught the imagination of the people in the Afro-American states. A Lec dem in Hindustani Classical was held on October 24 by Shantanu Bhattacharya and his wife Durba Bhattacharya, both products of the ITC Sangeet Research Academy, Calcutta and the disciples of the outstanding maestro of the Patiala Gharana Pt Ajoy Chakravarthy. The importance of right ‘Taalim’ was highlighted through the tarana presented by the six year old little Mitra, their daughter who stole the show with her tremendous performance. Selva Ganesh – a Kanjira artiste par excellence gave a solo performance in mid-october and addressed questions raised by the students in an interactive session. On September 26, Rajesh Vaidya , a renowned Veena artiste gave a recital accompanied by Mohan Ram on the Mridangam, Chiranjeevi on the Tabla and Subramanian on the Ghatam. An 18th century composition was transposed with western notes to everyone’s delight. A lecture replete with anecdotes and a remix of Michael Jackson’s number and a tip on dedicated practice in different avartans were the high points of the session. Dr L. Subramanim the inimitable composer and Violinist had spearheaded the Lectures and given the inaugural talk on the basics of Tala structure and on the variables in Rhythmic and Melodic Concerts and on the innumerable possibilities that the tala offers, being an unfathomable ocean, where “ all experience is like an arch whose margin fades forever and ever, as we move.” The KM Conservatory, a school of music and technology, first of its kind in India began on July 30 and after the orientation, the members of the faculty performed in their different genres. Periodically, there were concerts by the faculty and the students’ in both Western and Indian vocal music. AR Rahman, offered his comments and suggestions and gave opportunity to a few to work with him on ongoing projects. KM offers overwhelming opportunities both in the field of performance and learning.

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Face-to-Face with Rashid Ali Vijay Iyer Q - Did you ever expect Kabhi Kabhi Aditi to become such a huge hit? A- Yes and No. Yes because I had full faith in the talent of A R Rahman. No because I did not want to set huge expectations for myself but I’m glad people have liked the song. I was happy to do the song. It was also a good introduction to Bollywood but I never imagined it would get so much attention and airplay. It is nice to hear so many have liked the song and to realise that people have liked my guitar vamp at the beginning. Q - You have also sung for Ada? A- The word Ishq has been used so commonly in Hindi movies that it was difficult to think of something different but I think it has come out really well in the end. The song has a different feel to it. A yearning sufi element with my signature muted guitar playing with A R’s beautiful neopolitan-like accordion interludes. I love the ethnic feel this song has and I feel it really stands out of the ordinary. Q - How did you get associated with Rahman? A - We met in London and after hearing me play and sing, A R invited me to sing and play on various session recordings and soon after asked me to play on tour with him around the world. During this time he was always trying to pick a song that would very much suit my voice and bring out the best in it . Soon after this 3 songs came onto the scene, Kabhi Kabhi and Kahin Tho from Jaane Tu Ya Jaane Na and Ishq Ada Hai from A R’s Ada Album. Q - Last year one saw you spending a lot of time in Chennai. Anything on the cards ? A - I have been signed on by K M Musiq, Rahman’s music label and was in Chennai for almost two months working on the album. Q- When’s it coming out? A - I understand the anticipation and I am excited about it myself but the aim is for it to be an extra special debut album, unique in its manner which is why there is a delay. We hope to achieve a completion this year and will keep everyone posted. Q - Any other film projects that you have worked on? A - I did record a song for Nikhil Advani and recorded another solo song for a film directed by Anthony De Souza and music by A R Rahman last year and hope to continue recording for other music directors in 2009. Q - What is your take on your contemporaries? A - I respect anyone who has talent and gets their due recognition for their abilities and good work.

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A singer, guitarist and a musician, Rashid was first spotted at a concert in London by A R Rahman. He was part of the Unity of Light Concert where he performed a jazzcentric fusion of Ooh La La La . He started doing vocals for A R Rahman for the first time in Parthale Paravasam. He has sung two songs in Jaane Tu Ya Jaane Na.

Photograph by Akin Aworan

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Guts, Metal, Glory Farrah Joseph

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Just as Blood & Iron are all set to release their second studio album, we found out what keeps the popular metal outfit ticking

or over three decades the city has seen a steep rise in the making of metal dons. From the creators, MOKSHA, through a tremendous array of talent that has come and long gone, from what we’ve seen, and what we are exposed to now, a lot of things have transcended into more of a culture clash. Few have made a mark, even less ascend into consistency. Without further ado, that is the story of BLOOD and IRON. A band that strived for over three years to make a name for itself and through it all, managed to survive, even with frequent line up changes. The spirit shows in their music. Formed back in 2005, the surviving members Ashish Shetty (Lead Guitar) and Vivin Kuruvilla (Keyboard) conceived the band and were later joined by fellow members Mark (Vocals) and Arun (Bass Guitar). Their main influences encompassed everything from Queensryche and Iron Maiden to Dream Theater and Hammerfall. Early 2006 saw the release of their maiden self-titled album ‘Blood & Iron’, which was a major boost for their publicity status. Overnight, they were the city’s luminaries! The fan following and increased gigs soared with everyone wanting to catch a glimpse of them, live. Their infamous numbers ‘Blood Oath’ ‘Sinners & Saints’ ‘Stalingrad’ ‘POW’ and ‘Blood and Iron’ were inspired from books having the same title. Manu, a much more experienced and highly acclaimed death metal drummer, used much of his influence from Lamb of God and Chimera to improvise the otherwise melodic metal band into a predominantly power metal outfit. The varied influences of the members form a unique blend that in their opinion creates a faster, heavier and distinctively different tone. Even with just a single guitarist bearing the brunt, the band finds it easier maintaining their sound. The quality of their music, easily outdoes itself over a certain level. Having a very versatile and exceptionally talented keyboardist, who introduces kids to the sounds of the piano, only adds to it. With the line up in order, the band was finally set and over the last

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year, the Blood and Iron that the crowd once knew rose to a level so professional that it left many judges awed at recent competitions. IIM Calcutta’s Armageddon ’08 for starters and their prized accomplishment of clinching Kingfisher’s Kerala Rocks (K-ROX) that made waves within and beyond the realms of the south. Chennai has never really been one for a huge metal following; one can barely find a handful of devoted metal heads doting on their idols or having a go at each other at the mosh pit; if it can be called one! But when you seek to serve an audience that doesn’t necessarily look for stage gimmicks, then, it’s a sight for sore eyes when these guys take the stage. Memories of JRO 2008 come to mind, when they eclipsed every other metal act with ease. Frontman Mark knows how to get his way around the crowd and gives them exactly what they need. His style differs from the conventional (clean vox) and the contemporary (growling), in fact it’s just good old heavy metal. Infusing some sort of a ‘heroic tenor’, that adds to the raw base it has, he never fails to impress. Which only leaves the lithe man with a hint of Malayalam in his accent; Manu got started with Blood and Iron earlier in the year and has carved quite a name for himself. He takes pride in playing alongside members who play music from the heart, with lyrics that can both inspire and speak to you. They have stuck to their promise of delivering the traditional metal that has somehow taken a back seat in the city otherwise, for when adding a dose of progressive with an orchestral touch, there is an advantage over other metal bands; simple melody. On an unbiased note if not the greatest of their kind, these guys are definitely one of the better acts in the genre. Blood and Iron have accomplished what other bands can but aim at, and is certainly one to look forward to as a representative of the limited underground metal world. The band is focused on their future plans and hope they achieve it all! To summarize, It’s Blood and Iron, Come What May (All the way)!

Everyday HEROES Havah Eden

arrington Road. The up-market boulevard stretches out in its habitual panache, boasting of its ingeniously erected homes and flashy metals. To call it a place of disparity, one would never imagine, if one has not been to the far end of 6th Avenue and got a glimpse of the teeny blocks of discoloured apartments that modestly house over a hundred people living in a world of their own. But the place is never without cheer. Chickens run around blithely like they rule the roads, kids in their threadbare dresses constantly engage themselves in the game of happy fistfights, men stroll around with beedis wedged between their fingers, catching up on the unfolding of the day and women squat on cemented floors spilling out a handful of groceries on what can hardly be called, kitchen counters. The place emanates an air of jubilation, never for once lacking the lustre of life. It’s on the third floor of one such apartment that Rosie has made her home. It’s perhaps that same cheerfulness that trickles down to her life and to that of mine. For if it is not for the ever-beaming ‘Good Morning maa’ that she greets me with at the door, at 7.30 am everyday without fail, I would not be able to rub the sleep off my eyes, but instead gamely get back to bed, wanting to catch a few more hours of needless slumber. With her full-of-life early morning appeal that sounds much like a constructively clement wake-up call, she has a way of getting me out of bed, as she resolutely heads towards the kitchen sink, teeming with grubby dishes. “I have to run for work upstairs,” she informs me, jogging my memory, that she heads first to my apartment before she goes to the other three places where she renders house help. “I know,” I dismiss. As I lay sprawled on the couch catching the results of the Golden Globes, she soon joins me before the television. “Who is that?” she asks me, curiously pointing toward the television screen, as an elated AR Rahman pops up with a shimmering globe in his hands. I fill her in with what happened with Slumdog Millionaire and she, after intently absorbing the rags-to-riches story of Jamal, utters, “Well, if I had one crore rupees, I would do a lot of things… for my family.” Chennai is what Rosie embraced as home when her family moved from Uthiramerur, a small village in Kancheepuram district, about two decades ago. “I was in my third standard then. Chennai was a whole new experience for me. It was a fast city. But I got used to it,” she smiles. “I intend to go back with my husband and settle down there. But my children, I’m not sure. They have always lived in the city. I don’t think they’ll like the life there,” she adds. Rosie is barely 33,

but has two grown up sons – 18-year old Richard Prabhu and 16-year-old George Bush. “I got married when I was 13,” she remembers and a smile breaks from the corner of her lips as she justifies her second son’s name. “My mother named him after the President of the United States (George Bush Sr). She was hoping that he would be as great as him, when she named him. And I’m sure he will,” she resolutely explains. For the plus two student George, who has a world of academics stretched out before him, the challenges are many. “We want to continue his education. But it is his choice at the end of the day. My older son Richard had to quit Loyola College, because we couldn’t afford his education. He came to us and told us that he’ll work. Now thanks to his teacher, he is a marketing boy at Reliance,” she says, adding that she and her husband hope to get him a bike that he has been asking for. “It will make his running around much easier,” he notes. “Both of them are good kids. They never go out and drink with friends and they always call me and tell me if they will be coming home late,” says the content mother. She reverts to the conversation that we had about her marriage and tells me how she was left with no choice, but to get married, as her parents had the final word. “I wasn’t ready for marriage and I hated it when I did. My husband’s mother came down with jaundice and she felt she didn’t have much time left. So they were also in a hurry to get married. Over time, I realised how good a man my husband is. I’m happy,” she says. It was the lady of the house where she used to work who counseled her about her marriage and Rosie is thankful to her, even to this day. “Madam even took my husband to Dubai, where he worked as a construction site supervisor for seven years,” she says. “Now he works in a company that makes shutters. He is doing a good job,” she notes. Rosie had been relentlessly inviting me to her house ever since she begun working for me. Finally we decide to take a walk to her house and on the way, she warns me how messy it is as she left in a scurry that morning. As we reach the far end of 6th Avenue and trudge our way through the narrow alley towered over by three blocks of apartments, I am hit by a swift and perceptible change in scenery. I step into the murky interiors of a one bedroom apartment, lit by a zero watt bulb. I make out a television, a refrigerator and a washing machine, among the many things thrown around the house. “We bought all these when my husband was working in Dubai,” she notes. “Though we don’t earn that much now, I’m glad he has come back,” she quickly adds. To make some extra money, apart from what she gets from helping people with housework, she joined a local self-help group, three years ago. “Our group is called Suryakanthi. I make appalams and get paid Rs 30 per kilogram. It’s good money,” she points out. “I see kids in Chennai getting spoilt because they have too much money in their hands. So even if I win one crore in some competition, as I had told you, the first thing I would tell my kids is to put it to good use.” As I rise to leave, Richard and George walk in and greet me with a half salute. I greet them back the same way. “That’s the modern way of saying hello, I guess,” laughs Rosie. “It’s a great feeling to come back home and be with my children and my husband. We may not have all the things that we want. But we have a happy family,” Rosie discloses. That day, I left Rosie’s house as a better enlightened person. I realised, I had a lot to learn from another. Rosie had just opened my eyes.