Open letter to a DELHI boy

Dear Delhi boy,

Namaskaram from the South of India, or as you may like to believe, the countries south of the Vindhyas. I came to your city 2 years ago with a brand new job and a bucketload of expectations. My friends and family here thought I was completely insane to choose Delhi over more female conducive cities like Bangalore or even Bombay. I am very sad to report that your reputation of being an ignorant, chauvinistic oaf with the intelligence levels of an autistic 3 year old on crack precedes you and it hurts me even more to admit to this rather accurate description.
Your reputation has travelled far and wide, to countries outside South India as well. And believe me man, it is not a pretty situation. I understand that your stone faded, ripped jeans, your V-neck cleavage showing t-shirts that reveal to the world that you have infact inherited your mother’s voluptuous shaved Punjabi bosom, are what you think maketh a man, but it does not. It only maketh for a man who gets a pity license to share his girlfriend’s bra. I write to you as a woman who has been brought up in a society free of any discrimination towards women so thanks to you, my living in Delhi is as safe as Hugh Hefner’s playmate of the year living in Jeddah.
You meet me at a friend’s birthday, talk to me about nightclubs and your new SUV and when I look like I’m in desperate need of a barf bag, you think I have an attitude problem. I understand this completely. But let me remind you that I am from SOUTH INDIA and not SOUTH DELHI, so no ,I am not scrawny, I am not fair, I don’t have straight hair and my topics of conversation go beyond the Fendi I saw in last month’s Vogue. I am olive-skinned, have lower –back-length lustrous cascading tresses that sometimes make me look like I fell out Jim Morrison’s tour bus. Got a problem with that? Well just suck it up coz I was born into a society where a woman can whoop your Punjabi patoutie to pulp. While your mother pretends to be very progressive but still cows down to the whims of her husband every single time, mine on the other hand was born into a matriarchal home where every single possession is in the rightful name of the girl child. Could you ever, my hunky handsome, cash throwing pig, imagine this kind of power in your society? So stop telling me that women are not treated like trash where you come from. Just shut up and admit to it. It’s just easier that way. And lest we forget that we’ve managed to curtail the number of rape cases despite not having a female Chief Minister. Amma ‘s body composition generates way too much heat for her get out of her AC room anyway, so don’t even bring that up.
And your English. Good Lord, what in the world is up with that? I don’t want you to ‘explain me’ anything. It’s like you need to go to primary school all over again. And call them your parents, not your ‘peerents’ or what your cooler, more happening brethren call them—‘mere mom-dad’. Like what are they? Conjoined twins? Are they joined at the hip? Your South India counterparts may not have your looks, but are way more mentally stimulating, a quality that eludes you obviously, but has been the single most sexy factor for us Southie chicks since the age of five. I mean once again, who can blame you? You were brought up on Gurdas Mann and the heroic deeds of Devinder Singh Bhullar and the ever so fair concepts such as elections in Phugwada while we mere ‘black-colour waale’ mortals had to make do with Bharatnatyam classes, M.S Subhalakshmi and chess. Shame no? And yes, if by a slight chance, you do find my big dancer eyes attractive enough for you to prolong our conversations and meetings and if by an even slighter chance you fall in love with me and decide to marry me, you will have to wear a mundu and you will have to lie prostrate shirtless at the Guruvayurappan temple. A small price to pay for all the genuine independence I am giving up for you. And that’s the real thing, not what you see the Delhi girls at LSR and Stephen’s doing during their fake as hell protest marches coz ultimately they’re going home to a family who’re putting together money for Bobby beta’s bail coz he just ran over his girlfriend’s ex, by mistake of course.
I understand that I come from the land of ugly. I mean obviously Hema Malini, Sri Devi and Aishwarya Rai with their natural banal looks don’t even hold a candle to Priyanka Chopra after her two nose jobs and one lip reconstruction surgery. Not a chance in hell. But when you do come to ask for my hand, remember I am part Maharashtrian and part South Indian and NO, they are not the same thing. So please tell your family, not to drop racist bombs like “Arey woh sab toh ‘Sawth’ ke hi hote hai na?” And YOU—don’t walk up to mother in an attempt to make flattering conversation and say shit like “Aunty you don’t look like a South Indian You are so fair” In return she will verbally Texas chainsaw massacre your face so badly, your dead Dadi will haunt you the very same night, telling you how fleeing Pakistan was less traumatic. So don’t. Better still just don’t speak. Just glean and flex your muscles a little and keep smiling. Just whatever you do, don’t talk.
You may not like our food, but then we don’t like you, which is worse. We may not be even that into food, but then that’s coz we have other things to do with our lives, like crack IIT or become writers, journalists, activists and do things that we are very passionate about. The South Indian woman has a voice and boy can she yell. So if you want to Sambhar ‘Chawl’ your way into my life, then you got to toe the line. Be way more aware than what your are. Remember Delhi is not a country and we are not Black. If I ever hear you utter that name of that colour, I will Kalaripayattu your tongue out of your rear. Yes , that is the secret behind our awesome sex ratio. Just so you know.
For someone who is so confident of his physical abilities you really suck at luring an intelligent woman. Don’t send me text messages that say ‘happy guru purab’, you freakshow and if you want to be cute with your ever so charming (not) Punjabi advances, then don’t send texts that say “Dil laye gayee kudi Madrraaas di”! NO. It’s just not cool man. I may have have missed on a lot in this letter, but that’s ok because you’ll forget to read it and even if you do , you’ll get your cousin Jassi from Defence Callonny to translate it for you. And this letter can’t go on forever like the Punjabi male ego.
So long my love, and here’s two steps of gidda just for you, just to show that I can be traditional and will not accidently kick your sister while doing so.
Love, hugs, kisses aka ‘muah’ (only I shall ‘muah’, you please don’t do anything coz you tend to forget that these are my lips and not a piece of Tandoori Chicken from Kakke- Da- Dhabba)

Yours
Madrasan
(Only I can call myself that. If you EVER call me by this name, I will shove so many coconuts down your system that your little saver pack versions will begin to sprout coir.)


Original post by Shahana.
http://raagshahana.blogspot.com/2011/09/open-letter-to-delhi-boy.html

Jan Lokpal

Those who don't know anything about JanLokpal Bill. Read it.

The Jan Lokpal Bill is a draft anti-corruption bill drawn up by prominent civil society activists seeking the appointment of a Jan Lokpal, an independent body that would investigate corruption cases, complete the investigation within a year and envisages trial in the case getting over in the next one year.
Anna Hazare, anti-corruption crusader, began a fast-unto-death today, demanding that this bill, drafted by the civil society, be adopted.. 

Salient features of Jan Lokpal Bill:


1. An institution called LOKPAL at the centre and LOKAYUKTA in each state will be set up 


2. Like Supreme Court and Election Commission, they will be completely independent of the governments. No minister or bureaucrat will be able to influence their investigations.

3. Cases against corrupt people will not linger on for years anymore: Investigations in any case will have to be completed in one year. Trial should be completed in next one year so that the corrupt politician, officer or judge is sent to jail within two years.

4. The loss that a corrupt person caused to the government will be recovered at the time of conviction.

5. How will it help a common citizen: If any work of any citizen is not done in prescribed time in any government office, Lokpal will impose financial penalty on guilty officers, which will be given as compensation to the complainant.

6. So, you could approach Lokpal if your ration card or passport or voter card is not being made or if police is not registering your case or any other work is not being done in prescribed time. Lokpal will have to get it done in a month's time. You could also report any case of corruption to Lokpal like ration being siphoned off, poor quality roads been constructed or panchayat funds being siphoned off. Lokpal will have to complete its investigations in a year, trial will be over in next one year and the guilty will go to jail within two years.

7. But won't the government appoint corrupt and weak people as Lokpal members? That won't be possible because its members will be selected by judges, citizens and constitutional authorities and not by politicians, through a completely transparent and participatory process.

8. What if some officer in Lokpal becomes corrupt? The entire functioning of Lokpal/ Lokayukta will be completely transparent. Any complaint against any officer of Lokpal shall be investigated and the officer dismissed within two months.

9. What will happen to existing anti-corruption agencies? CVC, departmental vigilance and anti-corruption branch of CBI will be merged into Lokpal. Lokpal will have complete powers and machinery to independently investigate and prosecute any officer, judge or politician.

10. It will be the duty of the Lokpal to provide protection to those who are being victimized for raising their voice against corruption.

Source-NDTV

Jai Hind

Music Review: Delhi Belly

After a light, youthful album for Luv Ka The End, composer Ram Sampath goes all experimental with his next soundtrack for the film Delhi Belly and from the compositions he has created, the song D.K. Bose stands out, becoming quite a rage these days among youth.

The album offers 10 tracks of diverse kinds.

It opens with the song that is on everyone's lips nowadays - D.K. Bose. Crooned by Sampath himself, the track with quirky, interesting and double meaning lyrics has already become quite popular. With a rock-infested composition and an energetic, pacy feel, the song has become a favourite of youth and has become an instant chartbuster.

Next is Nakkaddwale disco, udhaarwaley khisko, a very different kind of track with unusual lyrics. It has been sung by Keerti Sagathia and is only an average number.

Saigal blues brings back the era and style of legendary singer K.L. Saigal. The track that has Chetan Shashital behind the mike is sung in Saigal's style but with a contemporary touch. The composition is under the genre of blues that bring about a certain poignancy in the song. On the whole, it's a mix of today and the eras gone by.

Bedardi raja by Sona Mohapatra is a rustic, masses song and seems to be an item number in the film. It's a simple composition and offers nothing great.

The track also has a grind mix, which has more beats than the original but the basic character and the pace of the song remain the same.

Another eccentric track Jaa chudail, sung by Suraj Jagan, is a rock track from the word go. It might be liked by hard rock lovers.

Tere siva, the only soft, love track of the album, has been voiced by Sampath and Tarannum Mallik and is a simple romantic number with a touch of rock. However, the orchestration is not very strong. A good hear.

Switty tera pyaar chahida is a Punjabi music lover's delight. Strong beats, Punjabi lyrics and lots of energy make this track a total dance number. Crooned by Keerthi Sagathia, this song gets the listener hooked and is quite likeable.

It also has another version called Switty punk that has the addition of Sampath and is higher in energy and fun.

Then there is I hate you (like I love you) that is a song by Keerthi Sagathia again with ample support from Sona Mohapatra. It is a mix of various genres of music and multiple influences. Starting as a slow-paced Indianised track, it goes on to become fully Western in its feel, music and lyrics, then takes the guise of a typical Bollywood song in the 1970s and finally ends like a qawwali. Very experimental and energetic at the same time.

On the whole, the music is unusual, breaks monotony and is far from being typical.


My Rating: 2.5/5

Good-bye Seniors; We will miss you!

I’d often heard of tears of a different kind, but never experienced it. But here I was, unable to hold them back, unable to stop them. It had to be one of the most painful moments of my life. And then, my ipod played “Yaaron Dosti..”

Well, here it is, April 2011. For most of us, these past few weeks couldn’t go by fast enough, and the day-by-day countdown to the end of engineering has taken its place in the back of at least one notebook. The final semester has just ended, midterms are already a thing of the distant past, and celebration of the big “Twenty-Eleven” is only a mere memory. While a lot of us have already started to fantasize and plan our summers, this culminating college year has another somewhat more profound meaning: graduation.

Each year, the seniors graduate.But this time its not the seniors who are graduating and going. This time my amazing friends are leaving. I would love to tell u all something seniors..ooppss friends.

Four Years Ago…

You were all timid freshman. You wondered what was ahead of you. You lobbied to go to Great Adventure. Freshman year you looked to fit in. You looked to find a best friend. It was your first year in the college, thus it was hard to find your way. But most of all, you certainly couldn’t wait to be older!

Three Years Ago…

You were no longer the lowly freshman; you were now the Sophomore Class. You began to create an identity. You began to work hard at your studies, you found some friends, and began to find yourself. You stopped by to say hi, helped fundraise for the class and again returned at years end to Great Adventure. You had fun, but you still couldn’t wait to be older!

Two Years Ago…

You became Upper-classmen. You began to realize that you were growing up; you found where you fit in, and who your real friends were. You started talking about college and even had to get ready for the most crucial 2 years of your life.You succeeded, but you still wanted to be older!

One Year Ago…

You were a senior! You ruled the college. Your senioritis set in early, hopefully not too severe. You made your post- engineering plans and talked about fun events. Even with all of this, you still couldn’t wait to be older!

I have learned so much with you all, I have learned that everybody wants to live on top of the mountain, without knowing that true happiness is obtained in the journey taken and the form used to reach the top of the hill. I have learned that when a newborn baby holds, with its little hand, his father's finger, it has trapped him for the rest of his life. I have learned that a man has the right and obligation to look down at another man, only when that man needs help to get up from the ground.

Thanks for making me a part of your seminary journey. I will cherish the memories we had together, your helping me with my work whenever yours is done; your effort to keep my spirit up when no one knew that I was filled with frustration ; your unassuming gesture that never failed to welcome me.

You all are beautiful people. Outside, you will encounter countless people who will dispute this. Don’t believe them. Believe in the positive feeling you have of yourself. Nothing, nobody should drag you down. Don’t allow them.

I think I was not able to thank you much, I hope that this blog can express what my heart was not able to tell you all how thankful I was.

Tomorrow is never guaranteed to anyone, young or old. Today could be the last time i'm seeing you all. That is why,not wasting the opportunity, i would like to say that you have been amazing seniors; The best anyone can get.

I might have shown how I care for you guys, but I will have to humbly admit that your love outweighs mine big time.

I will never fail to commend your intentions in my prayers.

Lots of love and best wishes,

ANTANI :)

All about the legend Late Shri Dilip Dholakia

Gujarat’s veteran singer/musician Shri Dilip Dholakia passed away in Mumbai on 2nd Jan 2011. He was 90. He is survived by his son Kandarpbhai and Rajatbhai.

Shri Dilip Dholakia was into music at the age of seven, when he used to accompany his grandfather Manishankar Dholakia to the Swaminarayan mandir in Junagadh to sing bhajans and play pakhawaj. Later he learnt classical singing from Pandurang Amberkar, a disciple of Khan Saheb Aman Ali Khan, who was also the guru of Lata Mangeshkar. After he was selected as an artist on All India Radio, in Mumbai, he got the offer to sing a song for the film Kismatwala produced by P.B. Zaveri. The composer was Ratanlal, younger brother of composer Khemchand Prakash, and he made Dholakia sing three songs.

Sometime later, Dholakia joined Chitragupta as an assistant and also sung a song for him in Bhakta Pundalik. He then started composing independently and among the Hindi films he composed for were Baghdad Ki Raatein, Teen ustad and Private Secretary. He did a lot of Gujarati films like Diwadandi, Satyawan Savitri (which had songs sung by Lata Mangeshkar and Mohd. Rafi), Mota Ghar Ni Dikri, Kanku, Sat Na Parkhe and Jalam Sang Jadeja.

Among his popular Hindi and Gujarati film songs are: ‘Ja ja re chanda ja re…’ (written by Prem Dhavan and sung by Lata Mangeshkar for Private Secretary); ‘Mile nain gaya chain…’ (written by Prem Dhavan and sung by Lata Mangeshkar for Private Secretary); ‘Milan na dipak sahu bujai gaya chhe…’ (ghazal written by Befam and sung by Mohd. Rafi for Snehbandhan; ‘Eklaj aavya manva…’ (written by Befam and sung by Bhupinder for Jalam Sang Jadeja).

Dholakia also worked on Sugam Sangeet and devotional songs. He co-ordinated with Hridaynath Mangeshkar to record his compositions viz. Meera Bhajan Part-I, Bhagwat Geeta (in Sanskrit), Gyaneshwari Geeta (in Marathi), an labum of Urdu ghazals by Ghalib, and compositions for HMV records sung by Lata Mangeshkar, Asha Bhosle, Kishori Amonkar and Hridaynath Mangeshkar. The singer-composer has organised music programmes for ‘Festival of India’ in United Kingdom with renowned artistes like Pt. Bhimsen Joshi, Pt. Shiv Kumar Sharma, Ustad Zakir Hussain, Nikhil Banarjee, Manna Dey and Anup Jalota. His private albums in Gujarati are all popular.

Music Department:

Dost Garibon Ka (1989) (assistant music)
Jaanoo (1985) (music assistant)
Teesri Aankh (1982) (music assistant) (as Dilip Bhai)
Chunaoti (1980) (music assistant) (as Dilip Dholkia)
Sargam (1979) (music assistant)
Naya Din Nai Raat (1974) (music assistant) (as D. Dilip)
Pyar Ka Sapna (1969) (assistant music)
Aulad (1968) (music assistant) (as D. Dilip)
Oonche Log (1965) (music assistant) (as D. Dileep)
Maain Bhi Ladki Hun (1964) (music assistant) (as D. Dileep)
Ganga Ki Lahren (1964) (music assistant) (as D. Dilip)
Burmah Road (1962) (assistant music) (as Dilip Dholaki)
Shaadi (1962) (music assistant) (as D. Dili
Tel Malish Boot Polish (1961) (music assistant) (as Dilip)
Maa Baap (1960) (music assistant)
Patang (1960) (music assistant) (as D. Dileep)
Barkha (1959) (music assistant) (as Dileep)
Guest House (1959) (music assistant) (as D. Dileep)
Kavi Kalidas (1959) (assistant music) (as Dilip)
Zimbo (1958) (music assistant) (as Dileep)

Actor:
Holiday in Bombay (1963) (as D. Dilip)

Composer:
Private Secretary (1962) (as D. Dilip)

A rare photo of all the singers together in the early years of their singing careers ! Can you spot
( front row) Zohra Jan, Rajkumari, Amirbai Karnatki, Hamida Banu, Geeta Roy (later Geeta Dutt), Lata Mangeshkar, Meena Kapoor, (and standing behind) Sailesh Mukherjee, Talat Mahmood, Dilip Dholakia, Mohd. Rafi, Shiv Dayal Batish, G.M. Durrani, Kishore Ganguli (later Kishore Kumar), and Mukesh.

High lite of his life and works

-Gujarati film Divaddandi was released in year 1950. Though the film was not superhit, its one song written by Venibhai Purohit, composed by Ajit Merchent and sung by Dilip Dholakia is superhit even today. The song is: Tari ankh no afini… Initially people misunderstood that this song was sung by Mukeshji.

-His father used to play flute while his grandfather Manishankar used to sing Kirtan and Bhajan in Swaminarayan Mandir.

-Shri Dholakia came to Mumbai in 1982 and passed B.A

-He worked in Bombay government’s Home department for two years as clarck and acountant general. While his office was located on first floor, the third floor in same building was occupied by All India Radio.

-Born in 15 October 1921 in Junagadh, Shri Dilipbhai received education in Bahadurkhanji high school and Bahauddin College.

-His father’s name was Bhogilal.

-He loved songs on classical base.

-In 1944, musician Khemchand Prakash’s brother Ratanlal gave him chance to sing in Kismatwala film. His songs were ‘Gori chalo na sina ubharke” and ‘Dekho hamse na ankhe ladaya karo’.

-In 1946 he sung a song ‘Dukh ki is nagri mein baba koi na puchhe baat’ in ‘Laj’ film under Ramchandra Pal’s music composition arrangement.

-He sung Saigal’s 1944 song of film Bhanvra’s song Thukra rahi hai duniya in chorus. He was introducted to musician Snehal Bhatkar in HMV studio with whose help a record of songs ‘Bhint fadi ne piplo ugyo’, and ‘Aadha tel aur aadhaa paani’ was made. In this record Dilipbhai was singer and Venibhai Purohit was writer.

-In 1948 Avinash Vyas gave chance to Dilipbhai for two duet songs in film ‘Sati son’. A name on record printed was Dilipkumar. When Dilip Dholakia started his career as musician, he choose D.Dilip as his identity. In 1960 he gave music in K.Shankar Directed Bhaktamahima film under this new name.

-From 1951 he became assistant of musician Chitragupt and worked with him till 1972. In this course the films that were worked out were Insaf, Kismat, Jindagi ke mele, Bhabhi(Chal ud ja re panchhi ki ab ye desh huva begana, and Chali chali re patang meri chali re), Kali topi lal rumal(Lagi chhute na ab to sanam, Daga daga vai vai, Divana admi ko banati hai rotiya) etc.

Moreover he worked as assistant of S.N.Tripathi. The tasks was assistant were very technical, such as writting notations, editing, providing creative inputs while composition of new creations.

-Dilipbhai composed 16 song that were sung by Lataji, Ushaji, Mannade, Suman Kalyanpur, S.Janki. In 1961 he gave music in Saugandh film which was acted by famous actress Rekhaji’s father Jemini Ganeshan and Anjalidevi. This film’s one song ‘Apne liye jiye to jamane me kya jiye’ was sung by Rafiji, and ‘Chali havaye matvari’ was sung by Lata and Talatji. He also composed six songs in Nanabhai Bhatt directed film ‘Tin Ustad’.

-In 1962 he gave music in film Bagdad ki rate. While two songs of this film were sung by Gita Dutt, one was by Shmshad Begam-Rafi. Dilipbhai’s favorite writer for songs in those days was Premdhavan.

-Dilipbhai made Mannade and Rafi singing his song of film Private Secretary. The song was ‘Pyar ka maara hu mein Juli’. After this He gave music in film Dagabaj in 1970 with name of Dilip Roy. In this film one song was sung by Mukeshji. One song sung by Mahendra Kapoor ‘Chand bhi sitare bhi hai bazama mein, jane kya raz hai kyun ujala nahi’ was written by Kaifi Azmi. Dilipbhai gave music of Vir Ghatotkach and Mata Vaishnavi Devi with name as ‘Dilip Roy’.

Thus Dilipbhai gave music in eight Hindi films.

-He started giving music in Gujarati films from 11963 in film ‘Satyavan Savitri’. He has given music in 11 Gujaati films. Some famous songs from these films are: Milan na dipak sau(Mota ghar ni dikri), ‘Mane andhara bolave’, and ‘Paglu paglama atvanu,’ ‘Sathiya puravo dvare’, ‘Dhanna dhatudi patudi’, ‘Bole milan no mor’ etc.

-He joined with Lakshmikant Pyarelal as assistant in 1972 and worked on this position for next 16 years.

-Dilipbhai’s last recording happened on 15 February 1988.

Shri Dilip Dholakia's last appearance at Munshi sanman!

Source: http://deshgujarat.com/2011/01/02/veteran-gujarati-singermusician-shri-dilip-dholakia-passes-away/

Indian Classical Music: Survival against the Western Noise!

Music is a fact of life that we take for granted. A child starts crooning tunes long before learning to speak. From the beginning to the end of our life, we come across, appreciate and listen attentively to the form of music that appeals to us most. And unless one has an extremely inquisitive disposition, one naturally ignores investigation into something that permeates our daily routine from start to finish. We are attempting here to explore the origin of Indian music, and delve into the complexities that various forms offer.

From evolution to contemporary times, the one sound that has pervaded our life is that of Music. Hindu Mythological texts declare that the first sound that reverberated in the Universe was that of the Naadbrahma, or Om. Not only was this the first sound to be ever heard, but was also the purest form of sound - because of divine association, and hence the most musical. In fact all of the recorded history of Hinduism is saturated with some or the other form of music - Vedic chants were the first form of melodies. These were set in three notes, with variation of tenor, and formed a soothing rhythm. But this is recorded history.

Investigation into the origins of Hindu scripts, and that of our civilization further corroborates the fact that chants go back prior to recorded history i.e. antecedent to 5000 BC. Notes and scale of svaras, which are the basis of Vedic chants, could not have emerged suddenly during Vedic period. Deductive logic suggests that since these chants were most likely handed down to generations aurally, there is ample proof that some form of music existed even before a script was invented.

Most of our Vedic texts had chants in three notes, but Sam Veda records more complex chants. The variation was in the notes - it had three to seven notes. Vedic scholars had developed a very strict scale of svaras, notes and rhythm, and the chants did not deviate from this. Hence Vedic poetry was rather definitive and rigid. Gradually, as Vedic chants gave way to more leisurely notes, svaras as we know them today were developed. These are Sa, Re, Ga, Ma, Pa, Dha, and Ni. Thesvaras that preceded the more bourgeoisie Sa-Re-Ga-Ma were "Shadj, Rishabh, Gandhar, Madhyam, Pancham, Dhwavait, and Nishad".

One discovers that language, chants and music were gradually adapted to a mold that could be followed by the masses, and the complexities gave way to lucidity.

The form of music developed by Vedic scholars withstood the passing of many centuries and civilizations, but naturally, there were changes. Many treatises were lost; some could not weather the ravages of time. But people held on to the primeval musical knowledge, enhanced it, and built upon it. It was the inherent purity of that pristine origin of music - the sound of Om, the Naadbrahma that inspired musicians to continue in their pursuit to perfect this art with their sadhana(practice).

Besides the devoted practice, musicians continued research into, and evolved a strict grammar of music - a theory that later composers referred to. Early composers established the three sapthaks (octaves): mandra, the lower octave, madhya, the middle octave, and taar sapthak, the higher octave as the top and bottom ranges within which musical compositions could be authored. Additionally, the musical treatises established other concepts like taal (beat), and jati (how to apply notes).

As our Vedic age drew to a close and India approached her medieval centuries, there was a sudden spurt in interest in music. One of India's learned sage Bharatawrote an authoritative treatise on the performing arts called Natyashastra. Just as prior Vedic texts like Rig Veda, Yajur Veda, Atharva Veda and Sam Veda laid down societal structures and conventions which were to be followed by the people, similarly, Natyashastra laid down rules and structures for composers and performers to adhere to, in theater, dance and music.

Indian society had very rigid structures, especially as the Vedic ages drew to a close. There was rigid segregation between the pure (Arya Jan) and the impure (Shudra Jan), the rich and the poor, the Godly, and the mortals. Not only was there a restriction on the Shudras on singing, but a special embargo existed on their singing Gandharva music or ritualistic singing. All sections of society were permitted Dhruva Gana or music for theater. Bharata mentions in Natyashastrathat music was being researched into and had reached a very high level in terms of performance and theory as well. Later, scholars like Dattila, Matanga, Narad, andSarangadeva developed the field further.

It is interesting to note that some of the scholars who wrote musical treatises were not musicians themselves. Myths and folklore has it that the music created by religious philosophers came to them through divine revelation. This would explain why a contemporary musician bows down in front of his instruments, before playing them. Most musicians consider music their religion, and the instruments their Gods and Goddesses.

Bharata's treatise that gives us insight into the musical instruments used in ancient times. It also bridges the missing links between the undocumented periods in our ancient history like the epic periods (Ramayana & Mahabharata), the period of grammarian Panini, and the period of more prolific cataloguing by Matanga (8th century BC). While Natyashastra ruled the roost for nearly 800 years, gradually there was a shift in interest, and a preference for the more lucid, simplified and readable musical theorization by Matanga began. After Matanga, a ruler from theChola kingdom in the South of India, Sarangadeva wrote Sangeeta Ratnakarawhich came to be regarded and respected as the most exhaustive study on ancient Indian classical music.

Sangeeta Ratnakar has an extensive exploration of the system of notes - three to seven, and experimentation on which of these affects the audience greatly. A legend says that Akbar's favorite court poet, Tansen requested one of India's leading musical scholars to explain the raga system mentioned in Sangeeta Ratnakara for him. Even though Tansen is credited for inventing a few ragas, an alternative school of observation and thought in the field of music claims that he borrowed from theSangeeta Ratnakara and tweaked with it.

There is a general agreement that Sangeeta Ratnakar is "the" treatise which set the standards for Indian Classical music as we know it today. Any experimentation or development after Sangeeta Ratnakara, can be easily ascertained and analyzed minutely.

As we approach our Medieval period, its time to recount the evolution of our music vis-a-vis Persian and Muslim invasions. Indian music had already reached its zenith by the time the Muslims established their kingdom in the North of India. During this periods a musical grammar was already in existence, and at a rather evolved stage. India's medieval history has been much better documented than the ancient history. Hence we are aware that music continued as a core area of interest, and it changed form as it changed hands.

Muslim invaders destroyed land, property and culture. Scriptures, original treatises, temples, houses, and people were brutally massacred. To begin with, almost the entire span of India's northern kingdoms was grazed. The South of India remained intact till the Muslim rulers established themselves in the north, and gradually began to expand to the South. This is one primary reason why the culture in the South of India has remained more 'untarnished'.

By the time the Muslim rulers expanded into the South of India, the invasions from Europe had already begun. The Southern kingdoms were usurped for a little over a century and a half, while the North remained in foreign control for over five centuries. This is the reason why the North of India is more appreciative of Ghazals- a predominantly Persian form of music while the Southern states remain more committed to Classical Indian dance and music. Even though the Muslim invasions did enrich some aspects of Hindu culture, but by force of necessity Hindu culture had to assimilate values and the culture of the new rulers.

Next we will explore the effect of the Muslim kingdom on Indian Music.

An Unending Passion

Indian civilization has faced a lot of invasions. But credit goes to the sustentation of our indigenous culture that it survived all the onslaughts. The Persian and Muslim rulers brought with them their own culture - their music, their art, their theologists and scholars. One would have thought that with a huge entourage of singers and instrumentalists in the "durbar", indigenous Indian music would have suffered a decline, but that was not to be. Indian classical music survived this cultural onslaught and has managed to maintain its own identity fairly intact.

It is a fact that today, classical music is not the most favored form of music for the general populace which tends to listen to the more "easy to follow" folk, and lately the pop form. But yet, there are countless Indian classical musicians and singers who are well respected and heard even in "modern" times. There are many reasons for the survival of classical music despite the fact that it requires rigorous practice and devotion. One major reason was that the cult in India was to give a teacher the highest form of respect - like to a father or mother, and this was known as the guru -shishya parampara. This teacher-student tradition established a method of this tradition being passed down generations, with equal devotion from the teacher and the taught. Besides the other qualities that assisted Indian music in a fight for survival were a highly scientific structure within which a musician could operate with total freedom, the aesthetic appeal of the music, the melodies and the unmistakable spiritual aspect of the music.

With the Persian and Muslim invasions, many Hindus converted to Islam because of cultural coercion, but most grew up with Indian music as an inherent tradition and perhaps felt more comfortable with it than with Persian music. These were the most obvious and sociological factors, but Indian Classical music also survived, rather flourished in other parts of India that were not usurped by Muslim rulers like Rajputana, Orissa, Madhya Pradesh and Devagiri in the South. Soon Gwalior established itself as the stronghold of Indian classical music and won the acclaim for giving Indian history one of its most celebrated musicians - Tansen who sang in Akbar's court.

Aside from the regimented Classical music, another form was emerging with the general population could relate to - the Bhakti movement had started and various contributions by saint poets like Alvaras, Jayadeva, Vidyapati and Chandidas further enriched the tradition of Indian music.

The Muslim rulers brought their tradition of the court poetry and singing - the mehfilat the homes of noblemen and royalty. Royal patronage was gladly given to artists, musicians, singers and dancers. Many artists survived solely on this royal and noble patronage, hence the form of music practiced while Muslims ruled India ran the risk of ending up only as court music. But despite the fact that it was court patronage that helped musicians survive and thrive, the traditions gradually found their way into the very fabric of the society. And has survived through the centuries.

It is from the Muslim court tradition that the Khayal and later, the Ghazal emerged. Amir Khusrau was a prolific poet in the court of Sultan Jalal-ud-din-Khalji. It is rumored that Amir Khusrau wrote one new ghazal every day, and even to this day, his poetry is appreciated for its timeless lyricism. It is during Khusrau's time thatKhayal and Dhrupad as a distinct style of music emerged. However, the most popular forms of singing in the 13th and 14th centuries, were ghazals andqawwalis.

By the time Akbar's rule came about in the 16th century, there was a wide chasm between the music of the Muslim ruled North India and the Hindu ruled South. But the strict distinction between the two forms was kept only by Indian Classical music. The Persian style was gradually evolved and began to include a bit of the elements of ragas. It was during Akbar's reign that Abul Fazl's two works, Akbar Nama and Ain-i-Akbari were written. In addition to describing the music of the day, the latter dealt a little with the classification of ragas as well.

Akbar was a ruler who passionately patronized the arts. His time is well known for the investigation into various forms of music, developing a technical lingo, research into instruments and a lot of experimentation in form and content. Gharanas were not referred to at all before Akbar's time, but during his rule, the tradition of schools of music began to evolve. While he was alive, Tansen was not classified as belonging to a particular Gharana, but after his death, his work was attributed to theSenia Gharana from the Gwalior school of music. However, musical analysts feel that during the development of Dhrupad, the vanis, (styles of singing Dhrupad), were akin to gharanas as we know them today.

With Akbar's death royal patronage to the arts reduced. It is said that a golden period in Indian classical music passed away. However, the patronage was not discontinued. Musicians from the various states were constantly researching, improving their gayaki, styles, and were continuously innovating and studying deeper aspects of music and were involved in royal competitions as well.

Around the 17th and early 18th centuries, a battle was on between Dhrupad andKhayal. By the 19th century, the Khyal had replaced Dhrupad. In the meanwhile,Thumri too, was coming up, especially in the reign of Nawab Wajid Ali Shah (1847-56). But with the arrival of the Europeans, and the eventual settlement of British in India, the devoted attention to music waned. Bahadur Shah Zafar was the last Mughal emperor to rule North India. After the Revolution of 1857, the British deposed him, took control and did away with the independent princely states.

The rise of the British Empire spelt death for court arts. With their wealth usurped by the Britishers, the nawabs and noblemen could not patronize the arts and the artists. And it seemed like India's rich music tradition would be lost to imperialism. Yet, a few gharanas survived this second cultural onslaught and emerged strong after India's Independence.

After India got independence from British rule, there was a re-awakening in terms of a "going back to" Indian culture, roots and of course music. Even though the popular and grass roots appreciation of music was lost to a handful of intellectuals, there was a movement to re-popularize music with the entire population.

Gradually, the modern society began to take over and newer forms of media started to emerge that brought with them sounds from all over the world. Western influences crept into Indian music, and motion picture (cinema) changed it even further. Music was being converted to a form that everybody could understand, and participate in rather than a handful of court musicians and the royalty.

The gradually growing film industry began attracting professional musicians. The lure of fame and money was strong and his was a call not many could resist. Meanwhile, the government made consistent efforts to revive the classical arts that had suffered at the hands of the British. However, the trend set by the movies completely turned the face of Indian music around.

But Indian influences had started traveling across the world. In the 60s, Pandit Ravi Shankar took classical music to foreign realms and appreciative audiences. He was also the first to experiment with mixing western music with the Indian classical form to arrive at what is called fusion. But classical music had lost the race to popularity to film music. Then came the real Westernization of Indian music - Pop music, disco appeared on the canvas in the late 70s and early 80s with singers like Nazia Hasan and Runa Laila. However, the trend didn't quite catch on till early 90s when trendsetters like Alisha Chinai and Sharon Prabhakar came to the forefront. Today there is a new pop album released every month.

Just like Jazz, the popular perception of Indian classical music was that it was 'too cerebral' or 'too heavy'. Rock Music has captured the minds of younger generation these days who consider it to be a style statement.However, recent years have seen a resurging interest in the field. An increase in the number of artists indulging in fusion and a growing number of organizations dedicated to spreading the richness of the tradition has helped revive interest in classical music. Also, younger, media savvy artists have realized the potential of the 'Channel [V]-MTV' platform and are working more towards "getting them young".

The Indian classical music tradition is still there, having survived so many metamorphoses. There are still teachers and disciples all over the country who dedicate a major part of their lives to the pursuit of this art, the sadhana of shastriya sangeet.

Inputs: Shri Deepika Singh

Music Review: Khelein hum jee jaan se

There was a time when the launch of any music album from director perfectionist Ashutosh Gowariker was considered as an event of epic proportions and the reason behind the big demand for the albums was God's very own gift to music, Allah Rakha Rahman (A.R.Rahman), who used to be the constant factor in all Gowariker films. Be it LAGAAN, SWADES or JODHAA AKBAR; the Ashutosh-Rahman-Javed Akhtar team regaled music lovers with music and songs par excellence and till today those memorable numbers are sung in almost all reality shows and are popular even amongst the casual, common and occasional music fans!

Needless to add that when it comes to composing music for period films Rahman is the best in business but he got busy due to his international/Hollywood assignments and so Ashutosh turned to young composer, Sohail Sen, who had done a wonderful job earlier in Ashutosh's last release, WHAT'S YOUR RAASHEE? However, KHJJS is huge period film and the music required will be of a different mood, setting and flavour. Let us see whether Sohail's relatively inexperienced shoulders would be able to carry the huge expectations that always arise from any album from the house of Ashutosh Gowariker and it will also be interesting to see whether or not Sohail will be able to carry forward the excellent work done by the maestro A.R Rahman in Ashutosh's earlier films.

'Sitar' and 'Veena', just the right Hindustani musical instruments to get one into the patriotic mode, commence the first song of the album, "Yeh Des Hai Mera" superbly sung by Sohail himself. The 'raaga' based track has heavy Bengali Rabindra Sangeet influence that is so very heartwarming and absolutely necessary as the film itself is set in erstwhile Bengal. Sohail uses his contemporary knowledge of music as well and in the end we have a superbly composed inspirational number that will surely find use as a haunting background score amidst some pensive and thought provoking moments. Superb use of instruments like the 'rubab', 'veena' harmonium, 'sitar' etc lend the song that authentic period touch and transports one into the thirties. The Rahman type crescendo which comes as the main chorus is delightful and the USP of the song along with the instrumental 'Vande Mataram' . Javed Sahab's lyrics reflect the emotions and determination of the revolutionaries, simple, effective and elegant.

It was just a matter of time and the motivational anthem song that we were awaiting heralds itself in the form of the title track, "Khelein Hum Jee Jaan Sey". Sung by the highly trained classical singers of Suresh Wadkar's reputed Ajivasan Music Academy, the composition has the right blend of classy music orchestrations, flowing tune, excellent chorus rendition and superbly crafted lyrics by the master of patriotic numbers, Javed Akhtar. "Aandhi uthe aage toofan aaye, Ab chahe koi bhi parwan aaye, Leke hatheli par hum jaan aaye". Patriotism, emotions and the grit and determination of the teenage revolutionaries are depicted through some highly energetic and exuberant singing. The 'josh' that was required is certainly there and it is helped by some lively orchestrations, scintillating flute display and whistling tune and also the 'tabla'. Music maestro A.R.Rahman has composed quite a number of patriotic songs and naturally Sohail uses the master's style as an inspiration but that's about all as overall the composition is uniquely Sohail Sen and no doubt with the right amount of promotion by music giants T-Series, this song should become an anthem like quite a few patriotic numbers before.

A stirring 'sitar' display commences "Sapney Salone", a beautiful love duet by Sohail and Pamela Jain, and it will not be an exaggeration to say that this romantic track stands in the league of Ashutosh-Rahman-Javed's "Jashn-E-Bahara" (JODHAA AKBAR). The reason being the absolutely haunting 'raaga' that Sohail uses along with some superb light classical singing by the lead singers, and last but not the least the refreshing Hindustani musical instruments that provide just the picture perfect setting for a highly romantic outing. Sohail conquers the crests and troughs with perfect ease and shows his mastery over his vocals and is equally well supported by Pamela, whose sugary sweet vocals are a delight. The 'antara' is the most beautiful part of the song and uniqueness of the song is that it never follows a similar route or a tune and there is surprise awaiting in every part.

And if "Yeh Des Hai Mera" and the title track were not enough to whip up the patriotic fervour, here's the number that will surely get one further into the nationalistic mode and the song is none other than, "Vande Mataram", the anthem that became the voice of the freedom fighters. Superbly translated from Sanskrit to Hindi (only the first line in Sanskrit is retained) for the convenience of all, the lyrics abound with love for mother India and it's natural bounties and are amazing. "He janani maa bharti, Tu nahin sahas harti, Jag karta teri aarti". Kudos to the lyricist Javed Akhtar ! As for the song what can one write when words just fall short of singing praises for this iconic number . Cine Singers Association Chorus Group rendition of this version of "Vande Mataram" is absolutely spellbinding. Energy oozes with patriotic zeal and their fervour matches those of the freedom fighters who used the phrase to pump up emotions, so very often during their freedom struggle. And all credit to the composer who has really worked hard in providing his own brilliant inputs into the iconic track so that it becomes all the more contemporary and universally appealing. A must hear for all.
The instrumental version of "Vande Mataram" is the theme piece complete with drill and march past sounds and superb piano and keyboards display along with chorus humming giving one the complete feel of the movie and freedom movement of the revolutionaries.

For those discerning audience that loves instrumental there are as many as seven (if we include "Vande Mataram" and "Naiyn Tere-Sad") full-fledged delightful pieces, programmed and arranged by Simaab Sen that are a collectors item all right!

Perhaps the best instrumental of all , with regards to massive orchestral arrangements is " The Escape" and as can be gauged from the title it's a heady, racy rhythm with simulated horse hoof sounds of the revolutionaries escaping from the clutches of the British troops. The hectic pace picks up even more dramatically as the full on orchestra comes into play and it's right here that the composer/arranger showcases his knowledge of western classical with just the right fusion of rhythm and orchestra to highlight the tense situation. It may well be used as a definite background score and add 'chaar chand' and drama to the action sequences.

Lastly we have the "Revolutionaries Comrades", a superb instrumental version of the first song, "Yeh Des Hai Mera", which starts with piano notes followed by chorus humming which forms major part. In between the pace picks up dramatically with a scintillating display of philharmonic orchestra, gushing stream and horns and the amalgamation of these with humming chorus is simply exhilarating.