Find of the season#2

T. Kalaimagan, grandson of Sri Subbu Arumugam, disciple of the star guru Sri P S Narayanaswamy (PSN).

Whether they emerge as stars after learning from Sri PSN or claim to learn from Sri PSN after turning stars, today's fad in Chennai music learning arena is to say that they are Sri PSN's disciples!!

Coming to Kalaimagan, grandson of Sri Subbu Arumugam. For those of you who don't know who Sri Subbu Arumugam is, read this para, others pl. go to the next para. Sri Subbu Arumugam is the only surviving member of the extinct species - villu pAttu kalaignar. Villu pAttu is a traditional finearts form of ancient tamizh nAdu. This integrates the art of story telling with subtle music with the help of a bow shaped instrument. Sri Subbu Arumugam is a devout Gandhian in the true sense of the word. A great human being, who relentlessly practises the traditional artform in its original character. As an aside, he is also an accomplished carnatic musician who never got on stage as one. His son Sri Gandhi and daughter Smt Bharati accompany him on the villu pAttu stage. Kalaimagan is Smt Bharathi's son. He should be around 20 years old.

I'm not going to list down what all Kalaimagan sang at NKT Muthu Hall, Triplicane, Chennai. Just want to share with you my views on his performance that day. If it is different from his other performances am not responsible. Kalaimagan has imbibed the art of singing from his grandfather, uncle and mother. He has the natural flair for singing and singing with emotions. Kalaimagan's choice of ragas, kritis were commendable. A fast paced composition rendered after a very slow paced one and balanced the audience expectation well. Kalaimagan showed a lot of promise while singing the raga alapana. He has got good ideas and the young blood rushes up fast at times. He tried some acrobatics here and there which is expected from a youth of his age. Unless someone tries at this age, he/she wont learn. But what is required is the sense of proportion.

Kalaimagan overdid the kalpanaswaras couple of times. He exhibited his lean on 'kaNakku' while singing kalpanaswaras. It is good to have an understanding of the mathematics (rhythm) but it should not be executed at the cost of melody, read as raga bhAvam. Fortunately when he was about to fall from the cliff, Kalaimagan managed to maintain the equilibrium and stayed on top. He lived up to the expectations and sang couple of patriotic and other bharathiar songs (enthanai kOti inbam vaiththAi) keeping his family tradition alive.

After the concert, I called Kalaimagan and told him to be careful in exhibiting his skills. When his mother spoke to me after the concert, I expressed my views as an average listener. I made it very loud and clear that the responsibility of the performer is to tread the razor edge carefully balancing the exhibition of his skills to impress the so-called 'purists' and also satisfy laymen like me who only listen to music and doesn't want to know the grammar.

Kalaimagan will certainly emerge as a performer of excellence if he manages his act carefully. He has got a good guide in Sri PSN. I wish he practices the guidance given.

all the best Kalaimagan.

Find of 2011 - a true artiste after 2+ decades

Today as part of my assignment for Puthiya Thalaimurai, I listened to Remaa Ramkumar at NKT Muthu Hall, Triplicane.
Sharing my experiences with you.

An artiste has arrived after almost 2 decades.
I remember listening to Smt Charumathi Ramachandran some 25-30 years ago and today Remaa showed the same promise. This is no exaggeration. A 21 yo, chartered accountant singing extinct ragas like natabharaivi, rAmapriya is no mean task. I have told Remaa not to succumb to peer pressure and have wished her to grow her music with her.

Her rendition of nannU brOvu lalithE in vilamba kAlam and without shades of vasantha was a blissful experience for me. I've heard Dr. S. Ramanathan sing this grand classic of SyAma sAstri when he was in his 60s. I found his understanding of the raga in Remaa.

She sang kOrina vara in rAmapriya, I've heard S. Kalyanaraman sing this ragam in 1980s and I found his aesthetics sense in Remaa.

The only kriti most artistes have sung in natabhairavi is sri vaLLI dEVasEnApathE. I've heard Maharajapuram Santhanam sing this many times, I wish he is alive today and correct himself. pApanAsam sivan would have heard a near perfect version of his composition.
The bottomline is a very sad thing, though I had the complete control over the concert, my arrogance blinded me from recording. Sorry for depriving you an opportunity, will certainly organise a concert of hers, record that concert and share with you all.

I've to mention about Shradha, the 1st year college student who accompanied Remaa on the violin. OMG these youngsters are too intelligent and smart. If Remaa sang natabhairavi and rAmapriya well, she would have prepared for it. But Shradha's performance was extempore. Yes it was K P Nandini who was supposed to accompany Remaa. The last minute replacement Shradha proved to be a price catch for Remaa. I recommend Remaa to have Shradha for her concerts wherever and whenever possible. I have heard accompany a few performers working in IT companies during the Carnatech event in Music Academy.


Remaa, probably because she is Chartered Accountant, is also good in what we say 'kaNNakku'. Her laya sense is very appreciable. While singing the kalpanaswaras she demonstrated her skills. The swara patterns were very pleasing to the ears unlike most of the so called laya experts. The so called laya experts in the pretext of singing intricate taLa calculations, without a sense of proportion, will massacre the melody. Music is after all to soothe one senses not rapture it. If the complicated kalpanaswaras are sung in proportion definitely will be ecstatic. Remaa did that perfectly.


Wait for more on up and coming performers.

Isai Sangamam in Puthiya Thalaimurai

Puthiya Thalaimurai, a part of the SRM group, ventured into the media with their magazine. Their launch ads were focused towards the youth. I have not read an issue of their magazine. But destiny had decided to push me inside the studios of Puthiya Thalaimurai TV (PT TV). Read further to know how!!!!

A long time friend Kolappan called me 10 days ago and wanted to meet me. Kolappan told me he has a friend who wants to discuss with me about music season etc. I was in a client's place and couldn't reach Kolappan's home in time. So we decided to meet at Injikudi Sri Subramaniam's concert at Raga Sudha Hall. Yes Kolappan introduced Mr. Kalyanaraman to me. Kalyan, as he is called, has just joined PT TV. Kalyan has a rich experience in journalism, inspired by Ram of The Hindu joined the same college, Ram graduated from, in US, and has returned to India. After working for Times of India Kalyan has taken up this assignment. Kalyan says television is new to him. Though it doesn't show in him. Injikudi played a brilliant thOdi ragam that day for about 30 minutes which was good enough for the entire December for me. So I walked out of the hall and in the foyer was talking to Kalyan. Coming back to our conversation. What started as an off the cuff conversation with Kalyan panned out as a TV program for 30 minutes daily from December 16th to 31st in PT TV. This is the 1st attempt by any television channel. Reviewing movies is a beaten to death concept with contrived comments, eulogies blah blah. But what we have attempted in PT TV is unique in more than one ways. We try to introduce the various aspects of music by a small description on ragas, talams, varnams, swarajathis etc.

We have consciously included Thamizh film music in our capsules. This is to introduce carnatic music to the film music listeners in a way they understand and can retain. I'm called a 'pracharak' by my friends for injecting carnatic music. I always create an opportunity to shove down the throat on people who are not familiar with Carnatic Music. As a mass media vehicle PT TV gave me enough to do my job!!

Our discussion is on PT TV daily 8:30 am and 4:30 pm. Also available same time at http://puthiyathalaimurai.tv/news, recorded capsules also now available at 

http://blip.tv/isai-sangamam

The technology tradition!!

The technology tradition!!

I had mentioned about my involvement rather participation in the mobile app development.

Ever since I experienced internet someday in the late 1990s, technology is always one of my active passions. I still remember that day, running up the stairs of Rosy Tower on Nungambakkam High Road (now called Mahatma Gandhi Road) and sitting before the computer. It was the Madras branch office of Microsense the reseller of internet connection for RPG Sprint. The first search the executive did was ‘rubber’ because MRF was a leading brand then seen very often in the media. Sanjay and Anand were with me and we were ogling at the screen.

From that day to the day I started a web application development company and now coordinating the development of a mobile application for Android and iPhone, my passion is growing exponentially. Technology never fails to enthrall me.

When Girish, the development team head, said that he has setup a team in Chennai for developing mobile applications we discussed on the focus verticals. Girish suggested we do one for our music sharing portal www.sangeethapriya.org. When we mooted this idea to our portal management team, they said it is too early for all these. Then Girish and I discussed various options and were adamant in developing one for Carnatic music or around it.

The discussion led us towards developing an app for musicians. The immediate choice was Sanjay Subrahmanyam. Why Sanjay? Because Sanjay was the 1^st Carnatic musician to have a website (he has closed it and now for the mobile app we have revived it). Sanjay was the 1^st to run a bulletin board for Carnatic music called sangeetham.com. Sanjay is very active in blogosphere, tweeting, et al. So, we have every reason to go to Sanjay.

Now how to contact Sanjay? I have not been interacting with Sanjay for well over 4 years. Reason could be that both of us were busy with our work. I know you all decline to believe it. Honestly, I don’t know why we didn’t. Anyway, I called Sanjay and asked him if we could meet. Believe me I went back 5 years. Yes, Sanjay was the same Sanjay I last spoke with 5 years ago.

I met Sanjay at his home. I didn’t beat around. When I told about developing a mobile app for him, he immediately agreed. Then I took Girish to Sanjay’s home. We discussed on the features, timeline etc.

Now the after almost 4 months the mobile app is ready for commercial launch. The Android version is ready and the iOS version is waiting for Apple’s approval.

Wait for a week and I shall share with you the screen shots and the download link.

Be connected with tradition, always, technologically!!

Tradition meets Technology!!!

As described by all 'ligists' and 'ians', India is beyond doubt a continent.  A land of diversity. And as diverse as having people meandering in the cities half-naked in the name of fashion and nomads living scantily draped.

We have the best of traditions not just surviving but also thriving against all odds. The millennia old delicious food recipes, effective medicinal concoctions, exciting handicrafts, stunning architecture, flamboyant jewellery, exquisite draperies, and what not, are making the world look at India for the best resources. And,  it doesn’t stop with this. The fad of the last millennium technology is also not left behind by Indians.  Today Indians have contributed immensely to some of the finest developments in science and technology.

Many Western instruments have now become an integral part of Indian classical music concerts. Some of the leading technology brands have their manufacturing base in India. India is a major revenue earner for almost all the global companies.

The technology development and adoption by the Indian media and entertainment  industry is on par with the US. Mobile phones footprint is one of the largest in the world. Digital cinema filming and projection has a viral growth in India.

When we in India have about 55 crore mobile phone users, are we taking maximum advantage of this population? Are the mobile users deriving the full benefit of the mobile technology? Are the mobile service providers delivering what their consumers want? What kind of benefits can be provided to users? Who all can provide?

Ok, I can understand your impatience. You want to know, why am I writing about this in my blog? You all know am not an economist. Or a technologist. Or a mobile retailer. But most of you know me as a gadget freak or can be called a gizmo maniac.

Mobile service runs predominantly on GSM technology in India, sharing about 20% to CDMA technology. Now in India, Symbian platform based handsets enjoy an enviable share, but has slowly started losing the market to Android based phones. Thanks to Japan, Korea and Taiwan based brands, the prices are now affordable. For below 10,000 we get very good handsets with exciting features.

Now we need some great mobile apps. And mobile apps from across verticals. Mobile apps from banks, FMCG companies, service companies, media & entertainment companies, Govt. departments like Law & Order, Transport, Tourism, Electricity, PDS etc. And, we also need good apps from academicians, teachers, performing artistes too.

One such app will be unleashed in the next 2 weeks from Chennai. And I'm involved in it. What is my involvement in it? Did I conceive it, design it, develop  it? No. I just coordinated with the performing artiste and the developing team.

When I say performing artiste, I mean a Carnatic musician. I'll call him the GenX musician! Technomusician.  A first mover towards technology who leads the pack - definitely. A constant learner, for excellence. Wait for 3 more days to know more on this.

Can we call this the emergence of a technology tradition!!! 

Movie watching experience in Sathyam

Today was a very hectic day. Morning attended a 'upanayanam' at Maharastra Nivas. Had breakfast there. Drove down to Sathyam theatre for the morning show of the film 180 (Tamil). A long film, ran for almost 3 hours. From there went to W V Raman's home for a business meeting. Back home by 1.35pm for lunch.

Coming back to my movie watching experience:

Thanks to my friends Iqbal & Anu, I got the last row in the Elite class, Sathyam theatre. A very nice location in the theatre to watch a movie. Felt like sitting at home, relaxed, stretched legs, wide chairs well-cushioned chairs. What irritated me is the audience's total lack of civic sense. The people who pay Rs.120 for a ticket care a damn for the upkeep of the environ. Shamelessly they throw popcorn, beverage cans, cups inside the theatre. This has not changed from the last time I went to a theatre around 3-4 years back. Yes the last movie I saw in a theatre was 'dasAvathAram - Tamil film' the day after it was released. I saw in Sangam theatre. Over the last 3-4 years the concept of cinema halls from the owners perspective has changed for good. But unfortunately the viewers attitude has gone from bad to worse.

A total deterioration of overall value system. No respect for anything under the sun. About 6 years back in a TV interview before the TN Assembly election Rajinikanth said 'only God can save Tamilnadu'. It is valid today. Total lack of civic sense, no courtesy towards fellow citizens, no respect for the rule of the land, no discipline in every walk of life. They wont wait in a queue, allow others to take their vehicle out in a parking lot, give way for others in a road, won't stop before the 'stop line' in a signal, will take a right turn from the extreme left in any junction and the list goes on. Anyway I'm going to say like Rajinikanth.

Sathyam cinemas is an experience. I had to congratulate the management for training their staff and should the thank the staff for practising what they were taught. Yes, the staff were so courteous, disciplined and well behaved. This starts with the security guard at the entrance itself.
keep the good work going Sathyam cinemas.

Now about the movie நூற்றெண்பது - 180 (http://www.180thefilm.com/):
Story: Nothing new

Conversations: NCL - naturally casual language. No dramatics, punch phrases. I personally liked this style.

Music: Sharreth - Nothing commendable to mention. I've a respect for Sharreth as a judge in music competitions running in the TV channels. And I expected a lot from him, I know it is my mistake and not his. He has attempted a Tamil version of Sufi song (its my guess). In Sufi music the lyrics has a very special and important place. But unfortunately in this Sufi style song it is butchered beyond recognition. In my previous post in this space I've written about Music, Sound and Noise. What ever be the era we live I don't subscribe to the view that Sound can replace Music. When we have started experimenting Music therapy for various health & wellness disorders, I advocate the responsibility of music producers to produce and deliver music. No Sound or Noise please. Pl. graduate from being a sound engineer to music direction and produce good music. My judgement of Sharreth is not totally wrong, please am not trying to justify myself. The signature or identification tune or whatever (which sounds Rithigowla to me but unfortunately is only for about 10 secs so am not sure) you call when Nithya Menen and Siddarth are together is very melodic. But suddenly the melody vanishes in the songs.

Sharreth can be a good composer of 60 seconds jingle, definitely not a full movie particularly the background score. He claims to be a great admirer of Illayaraja, Sharreth don't just stop at admiring Raja, there is nothing wrong in trying to emulate him. Start emulating him.

RR: Should have been better to enhance the presentation. At most situations the background score dissuades the emotions.

Direction: Not a director's movie. Some sequences, characters should have been avoided.

Casting: Is this how this generation live. Near perfect. Suits the movie.

Actors performance: The emotions are expressed very subtly or even inadequately by the actors, it is much better than over acting. Probably that's what the director wanted from his actors. No complaints.

Presentation: A typical ad film kind presentation, well knit all thru with independent phrases. Very different presentation of a song where they displayed the lyrics seamlessly and beautifully as part of the lead lady reading her birthday greetings pasted by her husband all around their home. Definitely a fresh approach and a good idea to make the viewers know the lyrics, as today's orchestration just wipes out the lyrics with loud sound.

Visualisation: Am listing this category last because there is a lot to write about this. This film is shot in Red Digital Camera. My good friend Balaji has been evangelising digital cinema since 2008. And Balaji is a self educated Digital Imaging Technician. Though he has worked in about half a dozen commercial films, this is the 1st film I saw in which Balaji is credited in the title itself as Digital Imaging Technician. This movie's team has understood the power of digital imaging and has taken full advantage of the technology. They have used the technology, its features exhaustively and have presented a real visual treat. I would even say a new experience to the viewers. What Balumahendra did in 'mOdu pani', 'azhiyAtha kOlangaL', mOndrAm pirai', PC Sreeram did in 'thaLapathi', 'agni natchatthiram', 'anjali', 'thEvar magan', Balasubramaniam and team has done in 180. Brilliant use of slow motions in songs (Mani Rathnam has done it in thaLapathi) bring out picture perfect frame compositions. subtle expressions by the artistes in the frame are all captured well. Brilliant color contrasts, skin tonal quality is amazing. 

Things I applaud: First & leading the list is the Director's courage to make a film without a story line. His phenomenal conviction about his presentation skills.
Very special congratulations to the director and producer for not having the contriving Vivek or nauseating Vadivelu or suffocating Santhanam or irritating stunts in the film. As the Tamil actors have a fancy for prefixing adjectives I have given what (I think) perfectly suits them.
A very simple climax though expected didn't disappoint me.
Taking full advantage of the visual media by avoiding unnecessary dialogs and communicating the sequences and incidents visually. The scene at the hospital in Chennai where AJ discusses with the doctor, calls his chief in US is well made without any melodrama.
Director & Screenplay writer's clarity in what they want to say. I'm not debating on its validity.
One positive thought - providing education to the hawkers narrated very crisply without the 'large than life' projection of the hero.

Things should have been avoided: The parents of character Renu and AJ's mother could have been avoided. They neither had a bearing nor added any value to the story, screenplay or film.
The dialog by AJ's mother the previous night is very contrived and misfit for a movie of this genre.
A very accomplished doctor in the US getting depressed in less a minute and behaving cranky is not acceptable. Today Prostrate cancer is the most commonly checked for problem in men even in a country like India. I agree that the age of AJ is not more than 40 but as a doctor he is expected to show more composure than an ordinary man.
The duration of the film is just atrocious. Because of the duration am constrained to say its a waste of 3 hours.

My recommendation: A time-pass if you really want to kill 3 hours in a cozy atmosphere by spending just Rs.120. Do not expect any takeaway. Expect a couple of smooches there are nothing that will embarrass parents sitting with their children and watching this movie. Good effort would have bitten the producers' wallet deeper.

My outcry

Music, Sound, Noise………….

This post is more my outcry, the aftermath of attending Tanjore S. Kalyanaraman’s 81^st birthday celebrations on June 2, 2011 at Narada Gana Sabha, Chennai. Sri. M. Chandrasekaran, Sri. N. V. Subramaniam were sitting on the stage alongwith Brinda Venkataramanan, Sanjay Subrahmanyam was awarded the SKR Memorial Award. Sanjay was giving his acceptance speech and that is when I entered the hall. Bhushani Kalyanaraman read the vote of thanks. In “The Hindu” City Entertainment column, it was mentioned that an AV presentation would be screened. Though it would have been produced, scripted and directed by SKR’s nephew SB Kanthan, I did not dare take a chance. Have had bitter experiences viewing similar presentations on Ramnad Krishnan, GNB, MMI etc.

Hold on…

Music: vocal or instrumental sounds (or both) combined in such a way as to produce beauty of form, harmony, and expression of emotion: http://oxforddictionaries.com/definition/music

Sound: vibrations that travel through the air or another medium and can be heard when they reach a person‘s or animal’s ear: http://oxforddictionaries.com/definition/sound?rskey=g31dtq&result=1

Noise: a sound, especially one that is loud or unpleasant or that causes disturbance: http://oxforddictionaries.com/definition/noise

It is not that you all do not know the difference in meaning between the above three words. It is that most of us care too less to decide which one to listen to. Then why have I given the dictionary meaning of those words. Caveat - I may give you couple of more too!!!

Do not worry, am not writing the review of the concert. There are more important issues to write about. This may end up being a very long post but I do not want to stop expressing my feelings.

Check http://sanjaysub.blogspot.com/ and http://www.youtube.com/user/sanjaymobileapp

Narada Gana Sabha, is one of the oldest cultural programs organizing institutions in Chennai. I neither know its legal status nor am I interested. All I remember is that the likes of Kamala, Vyjayanthimala, Hemalini, MSS, SSI, etc performed to generate funds for constructing the present auditorium on TTK Road. The NGS Trust got enough funds to construct a hall large enough to house about 1500 people as audience and a stage to accommodate a 10-member ballet team.

Why am I providing this information to you? For the benefit of those who have not seen the auditorium to sort of visualize it. Why visualize? To expect some good ambience, acoustics, seating systems, etc. Of course, the seating arrangement is much better than the nearest (in terms of distance) competitor Music Academy. The ambience is also good. However, the acoustics is a disaster to say the least. They have positioned one speaker named JAS on either side of the dais facing the audience. Moreover, it is placed on the wall running along the dais covering the green rooms. Now visualize sitting at the last row listening to a Carnatic music concert. Do not worry, you are blessed. Yes, I mean it. If you are caught as a VIP and made to sit within the first twenty rows, then you are in for a punishment. You will listen to nothing but noise.

Now coming to the three words, I mentioned at the beginning of this post. What should be music to your ears will neither be music nor sound but sheer noise. We Indians show tolerance where it should not be shown. In addition, we are intolerant to things, which should be tolerated. When it comes to service delivery of telecommunications, entertainment, banking and the like we are extremely tolerant to deficiency in service. Sometimes, it is just not deficiency service does not exist. We as receivers are made to accept what is being given.

More importantly exercising our right in getting these services in a public place is being branded as being brash. We feel ashamed to decline a coffee with sugar when we have ordered without sugar. Similarly, when AC is switched off as soon as the movie starts in a theatre where they charge you more than a non-AC theatre, we never question these deficiencies. We should feel ashamed to be like a vegetable.

I want to share with you something that you all know and been experiencing over the last 20 years - the one-upmanship attitude of most of the mrudangam players in a Carnatic music concert. One set of mrudangam players over the last 20 years think that the vocalists are surviving only because of the intelligence of these mrudangam players. To some extent, the vocalists are to be blamed for they train under these mrudangam players. I do not say that the mrudangam players lack music knowledge. However, these mrudangam players lack musical wisdom and aesthetics. They demand higher volume levels than the vocalist himself does. In the early 1980s, I have attended many concerts at Srinivasa Sastri Hall, Luz. The mike-man (we used to call him so) Sri. Narayanan used to decide the volume levels and has silenced some of the accompanists. That was possible because he had an ear for good music. Today’s mike-man has an ear neither for music nor for sound. He can only listen to and appreciate noise. Therefore, he cares a damn about balancing the volume levels. When the mrudangam player turns at him and asks him to increase the volume, the mike-man will promptly do so.

Another irony or idiocy is that the violin players of today ask to increase sharpness in the mixer. Probably they think that the bow in their hand is to deploy an arrow in an archery competition; hence, they want to sharpen it. Utter nonsense. The sound should come from the violin naturally. Moreover, to achieve that sound the player should practice until he/she gets it.

Now our right as a listener of these live concerts is to give the genuine feedback on the volume levels to the mike-man. However, we normally do not. But I always do. In NGS about 7-8 months back, Satish Vyas had arranged a concert of Ajoy Chakrabarthy. The sound system was a disaster. From the audience I mentioned to the artistes on stage that the sound levels are bad and offered to help them. Immediately Ajay asked me to do it. Fortunately, I fixed the problem. The same thing happened during a Ganesh/Kumaresh concert at Krishna Gana Sabha during December 2011. When I told them about the imbalance, Ganesh immediately said that such feedback would help them to deliver the best.

On June 2, 2011 at NGS, Srimushnam Raja Rao wanted the volume for his mike to be increased and when it was done, SRR gave a thumbs-up. Unfortunately, it was unbearable for us in the hall. I waited for the bEgadA varnam to get over. Then I shouted from the audience to reduce the volume levels for the mrudangam and increase the volume for the violin. Immediately a dozen people sitting in the audience looked back and extended their hand to thank me. Why didn’t they raise their voice when they felt the volume levels were literally tearing their head apart? In the guise of tolerance, decency and diplomacy they failed to exercise their basic right. And, this tolerance extends to every other deficiency, crime, etc.

People can say that it was a free concert and we have to be content with what is given. Let me tell you we are beggars and there is a difference between an ‘all are welcome’ and ‘entry free’ announcement. In the paper if the advertisement reads as ‘all are welcome’, the organizers cannot stop anyone from entering. As hosts, the organizers should treat the guests properly. In ‘entry free’ program, the organizers can restrict the entrants.

Leave alone free concerts, even in concerts where we pay for the entry we never bother to give our feedback to the performers and the organizers. Also, the feedback should be given in a manner such that they take cognizance of it and implement it at the next opportunity.

I will be happy if the readers of this post not just read but heed to my appeal to exercise their basic right. And let us start listening to atleast good sound if not music.