Global focus on Indianisation of computer applications takes a major step forward as Microsoft introduces the Indic Language Input Tool.
http://computing.in.msn.com/article.aspx?cp-documentid=3486424
While still in the beta version, the software seamlessly enables input of Indian Language text not only in web pages, but also any application running on Windows. The tool supports major Indian languages such as Bengali, Hindi, Kannada, Malayalam, Tamil and Telugu in the current version. This capability is expected to be extended to other languages also with free-form transliteration, a syllable-based conversion model.
Users can enter text in the English alphabet, spelling out words from Indian languages in a natural phonetic manner. The tool makes use of the syllables in the input text to identify a suitable equivalent in the conversion. The web based version enables easy input of Indian language text on any webpage, while the desktop version works in an offline manner and enables a similar input on any application running on Windows, such as Word, Notepad and Messenger. In addition to automated transliteration, both versions also contain a visual keyboard, for manual assistance.
First showcased by Microsoft in Hyderabad in the last week of November, the product attempts to address the growing need for Indian language input, especially at a time when rural India is waking up to the dawn of long distance communication via computers. If the language barrier was what restricted computer technology to the urban regions, this is a step towards removing that barrier.
Source: India Syndicate
Tuesday, October 26, 2010
Vishal-Shekhar: Do Jasoos..!
You could call it the Karan Johar effect. Music of any movie with his name on the credits is a guaranteed chart-topper. Vishal-Shekhar, the new dynamic duo of Indian movie music, has kept the Johar boy’s promise, with their new album, ‘Dostana’.
By Aravind Ramachandran
http://entertainment.in.msn.com/movies/columns/article.aspx?cp-documentid=3071208
It has been nearly a decade since the Indian music scene woke up to a refreshing new breeze. From the Filmfare award-winning tunes of ‘Jhankar Beats’ to the melodious foot-tappers of ‘Om Shanti Om’, ‘Tashan’, ‘Bachna Ae Haseeno’ and ‘Musafir’, the V-S numbers have always had a distinctive charm.
The V-S winning formula is simple: Heavy techno beats are made to blend effortlessly with classical Indian melody!
"We are a no-frills composer duo", says Vishal, the “western influence” in the band. Having spent his early days as a vocalist for the Mumbai-based electronic band, 'Pentagram’, and as a VJ on Channel V, the composer’s garb was only a few hangers away for this ‘well built’ man.
Shekhar, on the other hand, is right at the opposite pole. Trained in classical Indian music, he provides the ‘other side’. Soft and silent, the man is much admired for his looks. Once a contestant on the ‘Sa Re Ga Ma Pa’ challenge, he is now one of the revered judges, along with Vishal.
The duo does have a fair claim on the pie of success. From music and lyrics to a little bit of acting as well, these two people come as, what one may well call, a total package. The Globe was allowed a glimpse of the V-S genius, when they toured the world with the ‘Unforgettable’ Bachchans.
A sortie down South, with the music for Telugu flick ‘Chintakalaya Ravi’, also made them the highest paid musicians in that part of the country. The album hit the market as Triple Platinum, with 5 lakh copies sold in advance.
With ‘Dostana’, the Vishal-Sekhar team has lived up to two legacies. One is the Karan Johar label, a package for the youth. The other is the pure weight of expectations that come with the Vishal-Shekhar tag. From ‘Desi girl…’, already tipped to be the dance number of the year, to the more intense compos, there is something in there that makes us go “Wow”.
For once we wonder if we should split the Aaj ka Fankaar title. The V-S entity is one, but it is a merger of two colossal talents. Let’s not divide the award between the golden boys of Indian music.
The throne is big enough for both Vishal Dadlani and Shekhar Ravjiani.
Source: India Syndicate
By Aravind Ramachandran
http://entertainment.in.msn.com/movies/columns/article.aspx?cp-documentid=3071208
It has been nearly a decade since the Indian music scene woke up to a refreshing new breeze. From the Filmfare award-winning tunes of ‘Jhankar Beats’ to the melodious foot-tappers of ‘Om Shanti Om’, ‘Tashan’, ‘Bachna Ae Haseeno’ and ‘Musafir’, the V-S numbers have always had a distinctive charm.
The V-S winning formula is simple: Heavy techno beats are made to blend effortlessly with classical Indian melody!
"We are a no-frills composer duo", says Vishal, the “western influence” in the band. Having spent his early days as a vocalist for the Mumbai-based electronic band, 'Pentagram’, and as a VJ on Channel V, the composer’s garb was only a few hangers away for this ‘well built’ man.
Shekhar, on the other hand, is right at the opposite pole. Trained in classical Indian music, he provides the ‘other side’. Soft and silent, the man is much admired for his looks. Once a contestant on the ‘Sa Re Ga Ma Pa’ challenge, he is now one of the revered judges, along with Vishal.
The duo does have a fair claim on the pie of success. From music and lyrics to a little bit of acting as well, these two people come as, what one may well call, a total package. The Globe was allowed a glimpse of the V-S genius, when they toured the world with the ‘Unforgettable’ Bachchans.
A sortie down South, with the music for Telugu flick ‘Chintakalaya Ravi’, also made them the highest paid musicians in that part of the country. The album hit the market as Triple Platinum, with 5 lakh copies sold in advance.
With ‘Dostana’, the Vishal-Sekhar team has lived up to two legacies. One is the Karan Johar label, a package for the youth. The other is the pure weight of expectations that come with the Vishal-Shekhar tag. From ‘Desi girl…’, already tipped to be the dance number of the year, to the more intense compos, there is something in there that makes us go “Wow”.
For once we wonder if we should split the Aaj ka Fankaar title. The V-S entity is one, but it is a merger of two colossal talents. Let’s not divide the award between the golden boys of Indian music.
The throne is big enough for both Vishal Dadlani and Shekhar Ravjiani.
Source: India Syndicate
Love at first sight – a fairy tale?
By Aravind Ramachandran
http://lifestyle.in.msn.com/advertorial/ponds/article.aspx?cp-documentid=3187606
It takes only so much time for the blink of an eye. It takes just half that time, to fall in love.
On Element X – the alpha male zone, we explore this blissful terrain that was once feared lost: Love at first sight.
Does love truly begin at the first sight? Mankind would stand divided at this question. Half of us would say it does, while the rest may not think twice before denying the very foundations of the concept. But given a chance, who wouldn’t want to experience those sublime moments when you catch her eye and the two of you lock into a gaze that goes on for ever, but seems to end so soon. The world around you ceases to exist and the two of you are whisked away into a haven of your own. We took the notion out on the road and confronted a few couples.
We start with a very unromantic environment. Wikipedia explains the concept thus: “Love at first sight is an emotional condition whereby a person feels romantic attraction for a stranger on the first encounter with the stranger. The term may be used to refer to a mere sexual attraction or crush, but it usually refers to actually falling in love with someone literally the very first time one sees him or her, along with the deep desire to have an intimate relationship with that person. The stranger may or may not be aware that the other person has any such notion, and may not even be aware of the other person's presence (such as in a crowded place). Sometimes two people experience this phenomenon towards each other at the same time, usually when their eyes meet”.
Having nearly spoiled our love appetite, we move on to humans. The office, it seems, is a haven for those who believe in love at first sight. As Sachith, a software engineer from Trivandrum puts it, “Falling in love is never planned. I saw her step in for her first day at work and soon found myself praying that she be assigned to my team. For once, He heard my prayers”. The duo thus met, fell in love and are enjoying life post-engagement, to cut a long story short. I turn to his soon to be better half, but I am met with a blushing face that tells me I’ll have to imagine her side of the story. Sachith puts his arm around her and smiles wider.
To balance things out, I needed a woman’s point of view. I find the right person in Shruti, a call centre executive, who claims to have considerable experience in the field. A pretty 23 year old, she tells me that as many as six people have approached her with tales of love at first sight, but claims she herself has felt so only once in her lifetime. I look for an engagement ring, but find none. She giggles and says, “I never said he was one of the six”. I am still unsure of the amount of exaggeration in her tale, but felt it was worth a mention in any case. Quite a few people I meet echo her story, with the characters shifting directions at times. I realize I am digressing towards a feature on failed love and decide to backtrack a little bit.
It is over dinner that this man tells me how he fell in love at first sight. A thriving actor on the South Indian small screen, he speaks only on condition of anonymity. “I met her on the sets of a movie. She was simply breathtaking and I had to tell her I was in love”. A few clichéd romantic pitches followed before she confessed she had always had a crush on him…since she saw him on screen! Does that qualify for love at first sight? Although it was not at the same time, it was still first sight for both and so I would say yes. There is a pang of regret in his voice as he goes on, “but then I realized things were not as rosy as it seemed at first”. Having gone through a fiery divorce recently, I cannot blame him. As I realise his eyeballs have been taking detours in the same direction a number of times, I take a look and spot another possible avenue for him to fall in love ‘at first sight’ again.
A brief recap of my discussions tells me that if love indeed does occur at first sight, it is a little hard to believe that love is bind. Unless the protagonist of the love story is fairly well versed in the art of scrying and face reading, there is little scope for anything more than just looks to make a worthwhile impact. And of course, for the long life of any relationship, I am told it is important for both the man and the woman to convince each other that they did fall in love at first sight.
But let me not burst the bubble for the true believers. For one can’t deny, whether it be at first sight or the very last, it is indeed a blissful sensation to fall in love.
Source: Aravind Ramachandran / India Syndicate
http://lifestyle.in.msn.com/advertorial/ponds/article.aspx?cp-documentid=3187606
It takes only so much time for the blink of an eye. It takes just half that time, to fall in love.
On Element X – the alpha male zone, we explore this blissful terrain that was once feared lost: Love at first sight.
Does love truly begin at the first sight? Mankind would stand divided at this question. Half of us would say it does, while the rest may not think twice before denying the very foundations of the concept. But given a chance, who wouldn’t want to experience those sublime moments when you catch her eye and the two of you lock into a gaze that goes on for ever, but seems to end so soon. The world around you ceases to exist and the two of you are whisked away into a haven of your own. We took the notion out on the road and confronted a few couples.
We start with a very unromantic environment. Wikipedia explains the concept thus: “Love at first sight is an emotional condition whereby a person feels romantic attraction for a stranger on the first encounter with the stranger. The term may be used to refer to a mere sexual attraction or crush, but it usually refers to actually falling in love with someone literally the very first time one sees him or her, along with the deep desire to have an intimate relationship with that person. The stranger may or may not be aware that the other person has any such notion, and may not even be aware of the other person's presence (such as in a crowded place). Sometimes two people experience this phenomenon towards each other at the same time, usually when their eyes meet”.
Having nearly spoiled our love appetite, we move on to humans. The office, it seems, is a haven for those who believe in love at first sight. As Sachith, a software engineer from Trivandrum puts it, “Falling in love is never planned. I saw her step in for her first day at work and soon found myself praying that she be assigned to my team. For once, He heard my prayers”. The duo thus met, fell in love and are enjoying life post-engagement, to cut a long story short. I turn to his soon to be better half, but I am met with a blushing face that tells me I’ll have to imagine her side of the story. Sachith puts his arm around her and smiles wider.
To balance things out, I needed a woman’s point of view. I find the right person in Shruti, a call centre executive, who claims to have considerable experience in the field. A pretty 23 year old, she tells me that as many as six people have approached her with tales of love at first sight, but claims she herself has felt so only once in her lifetime. I look for an engagement ring, but find none. She giggles and says, “I never said he was one of the six”. I am still unsure of the amount of exaggeration in her tale, but felt it was worth a mention in any case. Quite a few people I meet echo her story, with the characters shifting directions at times. I realize I am digressing towards a feature on failed love and decide to backtrack a little bit.
It is over dinner that this man tells me how he fell in love at first sight. A thriving actor on the South Indian small screen, he speaks only on condition of anonymity. “I met her on the sets of a movie. She was simply breathtaking and I had to tell her I was in love”. A few clichéd romantic pitches followed before she confessed she had always had a crush on him…since she saw him on screen! Does that qualify for love at first sight? Although it was not at the same time, it was still first sight for both and so I would say yes. There is a pang of regret in his voice as he goes on, “but then I realized things were not as rosy as it seemed at first”. Having gone through a fiery divorce recently, I cannot blame him. As I realise his eyeballs have been taking detours in the same direction a number of times, I take a look and spot another possible avenue for him to fall in love ‘at first sight’ again.
A brief recap of my discussions tells me that if love indeed does occur at first sight, it is a little hard to believe that love is bind. Unless the protagonist of the love story is fairly well versed in the art of scrying and face reading, there is little scope for anything more than just looks to make a worthwhile impact. And of course, for the long life of any relationship, I am told it is important for both the man and the woman to convince each other that they did fall in love at first sight.
But let me not burst the bubble for the true believers. For one can’t deny, whether it be at first sight or the very last, it is indeed a blissful sensation to fall in love.
Source: Aravind Ramachandran / India Syndicate
Love at first sight – a fairy tale?
By Aravind Ramachandran
http://lifestyle.in.msn.com/advertorial/ponds/article.aspx?cp-documentid=3187606
It takes only so much time for the blink of an eye. It takes just half that time, to fall in love.
On Element X – the alpha male zone, we explore this blissful terrain that was once feared lost: Love at first sight.
Does love truly begin at the first sight? Mankind would stand divided at this question. Half of us would say it does, while the rest may not think twice before denying the very foundations of the concept. But given a chance, who wouldn’t want to experience those sublime moments when you catch her eye and the two of you lock into a gaze that goes on for ever, but seems to end so soon. The world around you ceases to exist and the two of you are whisked away into a haven of your own. We took the notion out on the road and confronted a few couples.
We start with a very unromantic environment. Wikipedia explains the concept thus: “Love at first sight is an emotional condition whereby a person feels romantic attraction for a stranger on the first encounter with the stranger. The term may be used to refer to a mere sexual attraction or crush, but it usually refers to actually falling in love with someone literally the very first time one sees him or her, along with the deep desire to have an intimate relationship with that person. The stranger may or may not be aware that the other person has any such notion, and may not even be aware of the other person's presence (such as in a crowded place). Sometimes two people experience this phenomenon towards each other at the same time, usually when their eyes meet”.
Having nearly spoiled our love appetite, we move on to humans. The office, it seems, is a haven for those who believe in love at first sight. As Sachith, a software engineer from Trivandrum puts it, “Falling in love is never planned. I saw her step in for her first day at work and soon found myself praying that she be assigned to my team. For once, He heard my prayers”. The duo thus met, fell in love and are enjoying life post-engagement, to cut a long story short. I turn to his soon to be better half, but I am met with a blushing face that tells me I’ll have to imagine her side of the story. Sachith puts his arm around her and smiles wider.
To balance things out, I needed a woman’s point of view. I find the right person in Shruti, a call centre executive, who claims to have considerable experience in the field. A pretty 23 year old, she tells me that as many as six people have approached her with tales of love at first sight, but claims she herself has felt so only once in her lifetime. I look for an engagement ring, but find none. She giggles and says, “I never said he was one of the six”. I am still unsure of the amount of exaggeration in her tale, but felt it was worth a mention in any case. Quite a few people I meet echo her story, with the characters shifting directions at times. I realize I am digressing towards a feature on failed love and decide to backtrack a little bit.
It is over dinner that this man tells me how he fell in love at first sight. A thriving actor on the South Indian small screen, he speaks only on condition of anonymity. “I met her on the sets of a movie. She was simply breathtaking and I had to tell her I was in love”. A few clichéd romantic pitches followed before she confessed she had always had a crush on him…since she saw him on screen! Does that qualify for love at first sight? Although it was not at the same time, it was still first sight for both and so I would say yes. There is a pang of regret in his voice as he goes on, “but then I realized things were not as rosy as it seemed at first”. Having gone through a fiery divorce recently, I cannot blame him. As I realise his eyeballs have been taking detours in the same direction a number of times, I take a look and spot another possible avenue for him to fall in love ‘at first sight’ again.
A brief recap of my discussions tells me that if love indeed does occur at first sight, it is a little hard to believe that love is bind. Unless the protagonist of the love story is fairly well versed in the art of scrying and face reading, there is little scope for anything more than just looks to make a worthwhile impact. And of course, for the long life of any relationship, I am told it is important for both the man and the woman to convince each other that they did fall in love at first sight.
But let me not burst the bubble for the true believers. For one can’t deny, whether it be at first sight or the very last, it is indeed a blissful sensation to fall in love.
Source: Aravind Ramachandran / India Syndicate
http://lifestyle.in.msn.com/advertorial/ponds/article.aspx?cp-documentid=3187606
It takes only so much time for the blink of an eye. It takes just half that time, to fall in love.
On Element X – the alpha male zone, we explore this blissful terrain that was once feared lost: Love at first sight.
Does love truly begin at the first sight? Mankind would stand divided at this question. Half of us would say it does, while the rest may not think twice before denying the very foundations of the concept. But given a chance, who wouldn’t want to experience those sublime moments when you catch her eye and the two of you lock into a gaze that goes on for ever, but seems to end so soon. The world around you ceases to exist and the two of you are whisked away into a haven of your own. We took the notion out on the road and confronted a few couples.
We start with a very unromantic environment. Wikipedia explains the concept thus: “Love at first sight is an emotional condition whereby a person feels romantic attraction for a stranger on the first encounter with the stranger. The term may be used to refer to a mere sexual attraction or crush, but it usually refers to actually falling in love with someone literally the very first time one sees him or her, along with the deep desire to have an intimate relationship with that person. The stranger may or may not be aware that the other person has any such notion, and may not even be aware of the other person's presence (such as in a crowded place). Sometimes two people experience this phenomenon towards each other at the same time, usually when their eyes meet”.
Having nearly spoiled our love appetite, we move on to humans. The office, it seems, is a haven for those who believe in love at first sight. As Sachith, a software engineer from Trivandrum puts it, “Falling in love is never planned. I saw her step in for her first day at work and soon found myself praying that she be assigned to my team. For once, He heard my prayers”. The duo thus met, fell in love and are enjoying life post-engagement, to cut a long story short. I turn to his soon to be better half, but I am met with a blushing face that tells me I’ll have to imagine her side of the story. Sachith puts his arm around her and smiles wider.
To balance things out, I needed a woman’s point of view. I find the right person in Shruti, a call centre executive, who claims to have considerable experience in the field. A pretty 23 year old, she tells me that as many as six people have approached her with tales of love at first sight, but claims she herself has felt so only once in her lifetime. I look for an engagement ring, but find none. She giggles and says, “I never said he was one of the six”. I am still unsure of the amount of exaggeration in her tale, but felt it was worth a mention in any case. Quite a few people I meet echo her story, with the characters shifting directions at times. I realize I am digressing towards a feature on failed love and decide to backtrack a little bit.
It is over dinner that this man tells me how he fell in love at first sight. A thriving actor on the South Indian small screen, he speaks only on condition of anonymity. “I met her on the sets of a movie. She was simply breathtaking and I had to tell her I was in love”. A few clichéd romantic pitches followed before she confessed she had always had a crush on him…since she saw him on screen! Does that qualify for love at first sight? Although it was not at the same time, it was still first sight for both and so I would say yes. There is a pang of regret in his voice as he goes on, “but then I realized things were not as rosy as it seemed at first”. Having gone through a fiery divorce recently, I cannot blame him. As I realise his eyeballs have been taking detours in the same direction a number of times, I take a look and spot another possible avenue for him to fall in love ‘at first sight’ again.
A brief recap of my discussions tells me that if love indeed does occur at first sight, it is a little hard to believe that love is bind. Unless the protagonist of the love story is fairly well versed in the art of scrying and face reading, there is little scope for anything more than just looks to make a worthwhile impact. And of course, for the long life of any relationship, I am told it is important for both the man and the woman to convince each other that they did fall in love at first sight.
But let me not burst the bubble for the true believers. For one can’t deny, whether it be at first sight or the very last, it is indeed a blissful sensation to fall in love.
Source: Aravind Ramachandran / India Syndicate
Kailash Kher: Rustic Charmer!
Rustic charm is probably the most over-used defense for any talent that falls short of the stipulated norms. Although 'Dasvidaniya' has a definite feel-good whiff to it, Band Kailasa (Naresh, Paresh and Kher) definitely relies on Kailash Kher for the “rustic charm”. On certain notes one tends to wonder if Kailash Kher is on the edge of his lease of life.
By Aravind Ramachandran
http://entertainment.in.msn.com/movies/columns/article.aspx?cp-documentid=3071199
Music in Bollywood has never had the problem of being stereotyped to specific genres. It's an all-encompassing entity that comprises everything from classic melodies to intrepid modern rock mixtures. The Kailash Kher structure owes itself to Sufi music.
For a person who left home at age 14 in search of a mentor to lead him into music, Kailash could boast of only a limited measure of genius. Inspiration first came from his father’s bhajans. He also thanks Nusrat Fateh Ali Khan and Lata Mangeshkar among others for his affinity to the Sufi brand of music.
Ending up in Mumbai with nothing to his name, fate led Kailash to cut an album with Naresh and Paresh. The trio struck the right chord and Band ‘Kailasa’ was forged. ‘Andaaz’ happened soon after and Kailash became the talk of tinsel town. The raw voice was hailed by an audience that had grown tired of the purists.
On the crest of glory, he had his moments in Mollywood as well. The newbie charm was just irresistible to the masses. But that was exactly the flaw in his fortune. It is always a question of how long the sheen remains. To put it straight, Kailash Kher is brilliant in his home turf, but variety is not one of his strong points.
The approach is questionable. “We are all just souls. And souls are females. So we are females and the almighty is the only male”, explains Kailash Kher, about the feminine tendency prevalent in his lyrics. Is this a conscious attempt to overhaul the classic school of thought? Does Kailash Kher as an individual wield that kind of power? The self obsession may be second only to Himesh Reshammiya, but the difference in stature is marked.
'Dasvidaniya' is a study of contrast between the art and the artiste. On the one side is a track brimming with child-like innocence, punctuated with great lyrics and a soothing tune. On the other side stands a man whose claim to fame is a gift of his raw tone. The blend is by no means smooth.
The music has its merits and is definitely worth the praise. For the Aaj ka Fankaar crown, Kailash Kher is an uncomplicated choice. The limelight is his, let him enjoy it while it lasts.
Source: India Syndicate
By Aravind Ramachandran
http://entertainment.in.msn.com/movies/columns/article.aspx?cp-documentid=3071199
Music in Bollywood has never had the problem of being stereotyped to specific genres. It's an all-encompassing entity that comprises everything from classic melodies to intrepid modern rock mixtures. The Kailash Kher structure owes itself to Sufi music.
For a person who left home at age 14 in search of a mentor to lead him into music, Kailash could boast of only a limited measure of genius. Inspiration first came from his father’s bhajans. He also thanks Nusrat Fateh Ali Khan and Lata Mangeshkar among others for his affinity to the Sufi brand of music.
Ending up in Mumbai with nothing to his name, fate led Kailash to cut an album with Naresh and Paresh. The trio struck the right chord and Band ‘Kailasa’ was forged. ‘Andaaz’ happened soon after and Kailash became the talk of tinsel town. The raw voice was hailed by an audience that had grown tired of the purists.
On the crest of glory, he had his moments in Mollywood as well. The newbie charm was just irresistible to the masses. But that was exactly the flaw in his fortune. It is always a question of how long the sheen remains. To put it straight, Kailash Kher is brilliant in his home turf, but variety is not one of his strong points.
The approach is questionable. “We are all just souls. And souls are females. So we are females and the almighty is the only male”, explains Kailash Kher, about the feminine tendency prevalent in his lyrics. Is this a conscious attempt to overhaul the classic school of thought? Does Kailash Kher as an individual wield that kind of power? The self obsession may be second only to Himesh Reshammiya, but the difference in stature is marked.
'Dasvidaniya' is a study of contrast between the art and the artiste. On the one side is a track brimming with child-like innocence, punctuated with great lyrics and a soothing tune. On the other side stands a man whose claim to fame is a gift of his raw tone. The blend is by no means smooth.
The music has its merits and is definitely worth the praise. For the Aaj ka Fankaar crown, Kailash Kher is an uncomplicated choice. The limelight is his, let him enjoy it while it lasts.
Source: India Syndicate
ARR: Make way for the Yuvraaj!
In his latest offering, ‘Yuvraaj’, AR Rahman pays what can only be assumed as a subtle tribute to his South Indian roots.
By Aravind Ramachandran
http://entertainment.in.msn.com/movies/columns/article.aspx?cp-documentid=3071192
The lazy locks and bushed smile hardly make up the picture of a legend.
To the average Indian, AR Rahman denotes the divinity of South Indian music. But to be fair to a talent that breeches geo-cultural boundaries, he is the definition of innovation.
Rahman’s family, which lived on music, was orphaned at an early age. RK Shekhar was a well known name in Malayalam music, but success remained limited even at his death. His son, the young Dileep, had no real legacy to fall back on except for the inheritance of talent. Adopted into Islam in his teenage, Dileep Kumar started answering to the name, Allah Rakha Rahman.
Accompanying aspirant rock bands and classical greats, the AR Rahman familiarised himself with the world of music. Armed with a scholarship, he graduated in Western classical music from Trinity college. Having set up a studio in his own backyard, ARR started composing music for ad jingles. The timing couldn't be better for his entry into Kollywood. Ace director Mani Ratnam had just had a spat with legendary music director Ilaiyaraja, when he spotted the new face.
‘Roja’ saw the rise of the new star. Songs from ‘Tamizha Tamizha…’ to ‘Kadhal Rojave…’ broke the barriers of conformism and boundaries of language. For the first time in history, a debutant took home the Rajat Kamal - National Award for Best Music Director. TIME magazine listed the movie among the Top 10 sound tracks of all time. The AR Rahman era in music was just beginning.
Super hits followed hits, so much so that some movies survived at the box office on the sheer strength of his tunes alone. A new chapter was written in the history of music – not of a new legend, but of how the very definition of filmy music was being overhauled by one young man.
AR Rahman never had to knock on the doors of Bollywood. The land of dreams was honoured by his very presence, bringing in whole new blends of genres and pushing technology to unheard limits.
The hallmark perhaps was his rendition of India’s national song on the 50th anniversary of her Independence. ‘Vande Mataram...’ became the anthem of Modern India. The Rave Circuit let go of the West and latched on to the ARR loop. He was no more merely making music.
Source: India Syndicate
By Aravind Ramachandran
http://entertainment.in.msn.com/movies/columns/article.aspx?cp-documentid=3071192
The lazy locks and bushed smile hardly make up the picture of a legend.
To the average Indian, AR Rahman denotes the divinity of South Indian music. But to be fair to a talent that breeches geo-cultural boundaries, he is the definition of innovation.
Rahman’s family, which lived on music, was orphaned at an early age. RK Shekhar was a well known name in Malayalam music, but success remained limited even at his death. His son, the young Dileep, had no real legacy to fall back on except for the inheritance of talent. Adopted into Islam in his teenage, Dileep Kumar started answering to the name, Allah Rakha Rahman.
Accompanying aspirant rock bands and classical greats, the AR Rahman familiarised himself with the world of music. Armed with a scholarship, he graduated in Western classical music from Trinity college. Having set up a studio in his own backyard, ARR started composing music for ad jingles. The timing couldn't be better for his entry into Kollywood. Ace director Mani Ratnam had just had a spat with legendary music director Ilaiyaraja, when he spotted the new face.
‘Roja’ saw the rise of the new star. Songs from ‘Tamizha Tamizha…’ to ‘Kadhal Rojave…’ broke the barriers of conformism and boundaries of language. For the first time in history, a debutant took home the Rajat Kamal - National Award for Best Music Director. TIME magazine listed the movie among the Top 10 sound tracks of all time. The AR Rahman era in music was just beginning.
Super hits followed hits, so much so that some movies survived at the box office on the sheer strength of his tunes alone. A new chapter was written in the history of music – not of a new legend, but of how the very definition of filmy music was being overhauled by one young man.
AR Rahman never had to knock on the doors of Bollywood. The land of dreams was honoured by his very presence, bringing in whole new blends of genres and pushing technology to unheard limits.
The hallmark perhaps was his rendition of India’s national song on the 50th anniversary of her Independence. ‘Vande Mataram...’ became the anthem of Modern India. The Rave Circuit let go of the West and latched on to the ARR loop. He was no more merely making music.
Source: India Syndicate
Afterburners, on the rocks
By Aravind Ramachandran
http://sports.in.msn.com/cricket/article.aspx?cp-documentid=3137852
I just couldn’t help laughing at the very innocent accusation in the SMS I received some 15 months ago. A hapless Indian team lead by Rahul Dravid had just crashed out of the 2007 World Cup, with Sri Lanka and minnows Bangladesh having gained the upper hand in what was seen as a very laid back group.
We had already found two people to take the blame, for crimes that, as it happened, were committed long ago. One was Indira Gandhi, for the political ploy of carving out the country of Bangladesh. The second was Lord Hanuman, for failing to destroy Lanka completely. It was time for a very pretentious flashback.
As the sun set on that balmy June evening in 1983, the silhouette of Kapil Dev Nikhanj holding the Prudential World Cup on the balcony of Lord’s was, for a brief moment, divided amongst the believers and the non-believers.
Even to the non-believers, it was hardly the fulfillment of the Indian dream, for in spite of all the momentum gained by the giant killers on the road to the finals, overthrowing the reigning champions was always considered a little too much to hope for. To the believers, it was the Calypso kings’ death at the hands of the underdogs.
I am alarmed at how vividly I see it all. But for the countless re-telecasts, I had missed that first time Indian cricket scaled the summit of glory, and for no fault of mine – I was not born until a couple of years later.
The picture of Indian cricket was not so rosy a few years down the line. To one who grew up watching the Indian team exploring different shades of blue for each World cup in search of luck was hardly of use. Another ‘top of the podium finish’ in the one-day format has remained a distant dream.
Images of carnage and plunder on the field were still common fare, but India was very often on the wrong side of things. It didn’t help either that Pakistani skipper Imran Khan was the one who lifted the first World cup in the memory of my generation – the crystal ball of 1992 that was perhaps the most glamorous World cup trophy of all time.
But there were a few bright spots. The curly haired young man who often stood next to Kapil Dev holding a bright red cup and revealing the ‘secret of our energy’ inspired many a boy to put down our books and pick up the cricket bat. After all, we believed we had the ‘boost’ we needed, but as history tells us, few from this part of the country actually made it.
Four years later, a very much unknown Jayasuriya’s plundering of bowling attacks from all over the world caught the attention of us school boys from all over India. Rumours of spring loaded bats and tampered balls were subjects of heated discussions in classrooms even as common logic and applied physics took a back seat to conspiracy theories.
India’s semi-final loss to eventual champions Sri Lanka owing to crowd disturbances made Calcutta the most hated city, as our hearts went out to a sobbing Vinod Kambli who had to be led off the field on that occasion. Sub continent rivalry was never this strong as the World cup was once again so near, yet so far.
To Sreesanth, though, it may have been a matter of life and death, had he fumbled what was perhaps the last chance for India to press the delete button on Pakistan from the pages of Twenty20 history. But the young man had vindicated his aggression.
After all, he must have grown up watching re-telecasts of the 1983 finals barely a quarter of a century ago where another pacer we fondly call Kapil Dev had held on to a wayward shot off a very dangerous Vivian Richards at Lords, as if his life depended on it. But then again, maybe this time, it did.
Finally, when the older generation tries to tell us about Kapil’s devils who could beat the giants and overcome odds to win the World Cup, the young men of India can look them in the eye and remind them about the new breed led by Mahendra Singh Dhoni. Kapil da jawaab nahin tha…Par Ab jawab mila kya?
I’m sure Mr. Kapil Dev is smiling now.
Source: India Syndicate
http://sports.in.msn.com/cricket/article.aspx?cp-documentid=3137852
I just couldn’t help laughing at the very innocent accusation in the SMS I received some 15 months ago. A hapless Indian team lead by Rahul Dravid had just crashed out of the 2007 World Cup, with Sri Lanka and minnows Bangladesh having gained the upper hand in what was seen as a very laid back group.
We had already found two people to take the blame, for crimes that, as it happened, were committed long ago. One was Indira Gandhi, for the political ploy of carving out the country of Bangladesh. The second was Lord Hanuman, for failing to destroy Lanka completely. It was time for a very pretentious flashback.
As the sun set on that balmy June evening in 1983, the silhouette of Kapil Dev Nikhanj holding the Prudential World Cup on the balcony of Lord’s was, for a brief moment, divided amongst the believers and the non-believers.
Even to the non-believers, it was hardly the fulfillment of the Indian dream, for in spite of all the momentum gained by the giant killers on the road to the finals, overthrowing the reigning champions was always considered a little too much to hope for. To the believers, it was the Calypso kings’ death at the hands of the underdogs.
I am alarmed at how vividly I see it all. But for the countless re-telecasts, I had missed that first time Indian cricket scaled the summit of glory, and for no fault of mine – I was not born until a couple of years later.
The picture of Indian cricket was not so rosy a few years down the line. To one who grew up watching the Indian team exploring different shades of blue for each World cup in search of luck was hardly of use. Another ‘top of the podium finish’ in the one-day format has remained a distant dream.
Images of carnage and plunder on the field were still common fare, but India was very often on the wrong side of things. It didn’t help either that Pakistani skipper Imran Khan was the one who lifted the first World cup in the memory of my generation – the crystal ball of 1992 that was perhaps the most glamorous World cup trophy of all time.
But there were a few bright spots. The curly haired young man who often stood next to Kapil Dev holding a bright red cup and revealing the ‘secret of our energy’ inspired many a boy to put down our books and pick up the cricket bat. After all, we believed we had the ‘boost’ we needed, but as history tells us, few from this part of the country actually made it.
Four years later, a very much unknown Jayasuriya’s plundering of bowling attacks from all over the world caught the attention of us school boys from all over India. Rumours of spring loaded bats and tampered balls were subjects of heated discussions in classrooms even as common logic and applied physics took a back seat to conspiracy theories.
India’s semi-final loss to eventual champions Sri Lanka owing to crowd disturbances made Calcutta the most hated city, as our hearts went out to a sobbing Vinod Kambli who had to be led off the field on that occasion. Sub continent rivalry was never this strong as the World cup was once again so near, yet so far.
To Sreesanth, though, it may have been a matter of life and death, had he fumbled what was perhaps the last chance for India to press the delete button on Pakistan from the pages of Twenty20 history. But the young man had vindicated his aggression.
After all, he must have grown up watching re-telecasts of the 1983 finals barely a quarter of a century ago where another pacer we fondly call Kapil Dev had held on to a wayward shot off a very dangerous Vivian Richards at Lords, as if his life depended on it. But then again, maybe this time, it did.
Finally, when the older generation tries to tell us about Kapil’s devils who could beat the giants and overcome odds to win the World Cup, the young men of India can look them in the eye and remind them about the new breed led by Mahendra Singh Dhoni. Kapil da jawaab nahin tha…Par Ab jawab mila kya?
I’m sure Mr. Kapil Dev is smiling now.
Source: India Syndicate
Sensa-SHAAN!
The thinking Indian audience is in for a foul surprise when the producers of a very popular TV show decide to ‘eliminate’ the sensibilities of the viewers. One man, the host of the show, stands up and blows the whistle on this scathing attack on logic…
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071214
Shantanu Mukherjee was born into a family of musicians, but the transformation into the sassy avatar of Shaan (as we know him today) took some time coming. The beginning was promising. To mark debut as playback singer at 15 is always commendable, even if you had only six words on your lyric pad: “Kitni Hai Pyari Pyari Dosti Hamari” (Parinda, 1989). Along with sister Sagarika, Shaan trained his focus on singing ad jingles.
‘Q-funk’, a very bold attempt in the realm of remixes, catapulted the Mukherjees to new levels of fame. The year was 1995. The ‘sibling package’ was reportedly inspired by the Pakistani duo of Nazia and Shoeb Hassan. The ever-smiling ‘Shaan and Sagarika’ were noticed for their ebullient renditions. However, individual appreciation still remained a mirage.
It took about half a decade more for the first Shaan solo album to hit the charts. With ‘Tanha Dil’, Shaan logged in to the fav list of the Indian music buff. ‘Tanha Dil’ fetched him the Best Solo Album award at the MTV Asia Music Awards. ‘Aksar’ followed three years later. Shaan was now lyricist, music director and of course, singer.
A blink later, India succumbed to the reality show syndrome. Shaan was quick to hop on to the bandwagon, as host for the popular show, ‘Voice of India’. His considerable fan following and charm ensured a riveted audience. But at some point, in the mad rush for TRPs, logic became the martyr.
It was unheard of. While audience was being given absolute power to choose their own idols, the judges were given a snub. When each contestant opened their envelopes and announced the names of the judge to be eliminated, the lines of reason were crossed. Insulted, the judges walked out of the show.
Shaan, the host of the show, cried foul.
“I am merely a host, but I know my music and I have tremendous respect for our jury members. They are veterans in the industry. How can the audience poll decide who to stay in and out?” he asked. Well articulated words that dared to question the very base on which the edifice of Indian reality TV is built. The lines dividing talent and popularity badly needed a firmer demarcation and that too from a neutral corner.
With a thankful tap on the shoulders of Shaan, the saviour of sensibility, we knight him Aaj Ka Fankaar.
Source: India Syndicate
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071214
Shantanu Mukherjee was born into a family of musicians, but the transformation into the sassy avatar of Shaan (as we know him today) took some time coming. The beginning was promising. To mark debut as playback singer at 15 is always commendable, even if you had only six words on your lyric pad: “Kitni Hai Pyari Pyari Dosti Hamari” (Parinda, 1989). Along with sister Sagarika, Shaan trained his focus on singing ad jingles.
‘Q-funk’, a very bold attempt in the realm of remixes, catapulted the Mukherjees to new levels of fame. The year was 1995. The ‘sibling package’ was reportedly inspired by the Pakistani duo of Nazia and Shoeb Hassan. The ever-smiling ‘Shaan and Sagarika’ were noticed for their ebullient renditions. However, individual appreciation still remained a mirage.
It took about half a decade more for the first Shaan solo album to hit the charts. With ‘Tanha Dil’, Shaan logged in to the fav list of the Indian music buff. ‘Tanha Dil’ fetched him the Best Solo Album award at the MTV Asia Music Awards. ‘Aksar’ followed three years later. Shaan was now lyricist, music director and of course, singer.
A blink later, India succumbed to the reality show syndrome. Shaan was quick to hop on to the bandwagon, as host for the popular show, ‘Voice of India’. His considerable fan following and charm ensured a riveted audience. But at some point, in the mad rush for TRPs, logic became the martyr.
It was unheard of. While audience was being given absolute power to choose their own idols, the judges were given a snub. When each contestant opened their envelopes and announced the names of the judge to be eliminated, the lines of reason were crossed. Insulted, the judges walked out of the show.
Shaan, the host of the show, cried foul.
“I am merely a host, but I know my music and I have tremendous respect for our jury members. They are veterans in the industry. How can the audience poll decide who to stay in and out?” he asked. Well articulated words that dared to question the very base on which the edifice of Indian reality TV is built. The lines dividing talent and popularity badly needed a firmer demarcation and that too from a neutral corner.
With a thankful tap on the shoulders of Shaan, the saviour of sensibility, we knight him Aaj Ka Fankaar.
Source: India Syndicate
Sunidhi Chauhan: Triumph of the prodigy!
Sunidhi Chauhan is the tomboy among Bollywood’s crooners. She is one of the lucky few to have realised their potential at an early age.
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071177
It was Kalyanji who introduced the eight-year-old girl on the 'Little Wonders' show, which featured promising young artistes of the day. Young Sunidhi ruled the stage with convincing renditions of songs from the Lata-Asha corpus. But, despite having taken the world of amateur music by storm at such a tender age, the proverbial city of dreams still refused to open its gates for Sunidhi Chauhan.
The conservative world of Hindi film music was reluctant to accept alternatives for the reigning queens. Talent hunts were still an incubatory concept. The first popular reality show of India, 'Meri Aawaz Suno', came on air in 1996, and TRP history was rewritten. Sunidhi won the contest and became a household name.
HMV offered the teenaged Sunidhi a chance to cut an album, as part of the winner's bouquet. 'Aira Gaira Nathu Khaira' hit the music stores, but sank without a trace. Sunidhi Chauhan still maintains that this failure “was only due to inappropriate marketing strategy”. Disappointments ranged from 'Shastra' to 'Samar', delaying her salvation.
Sunidhi Chauhan is now more than a star on the Bollywood firmament. Billed as the most versatile singer since Asha Bhonsle, her voice spells success on the charts. However, a quick glance at her 'track record' would betray a clear pattern: Hers has, so far, been a career built on “item numbers”.
Why should such a gifted singer be known as the ‘item crooner’ of Bollywood? How far has Sunidhi Chauhan been allowed to be truly 'versatile'?
The voice once censured as being too mature for her age is now definitive of the times. India can never forget that little girl who burst into tears on winning the 'Lata Mangeshkar Trophy' for the best female singer in India on 'Meri Aawaz Suno'. Innocence may have given way to stellar aura, but Sunidhi Chauhan still possesses that rare gift of connecting with her audience.
When Bollywood was reluctant to accept new faces and record new voices, Sunidhi Chauhan fought her way to the top. For her sheer grit, we coronate Sunidhi Aaj ka Fankaar.
Source: India Syndicate
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071177
It was Kalyanji who introduced the eight-year-old girl on the 'Little Wonders' show, which featured promising young artistes of the day. Young Sunidhi ruled the stage with convincing renditions of songs from the Lata-Asha corpus. But, despite having taken the world of amateur music by storm at such a tender age, the proverbial city of dreams still refused to open its gates for Sunidhi Chauhan.
The conservative world of Hindi film music was reluctant to accept alternatives for the reigning queens. Talent hunts were still an incubatory concept. The first popular reality show of India, 'Meri Aawaz Suno', came on air in 1996, and TRP history was rewritten. Sunidhi won the contest and became a household name.
HMV offered the teenaged Sunidhi a chance to cut an album, as part of the winner's bouquet. 'Aira Gaira Nathu Khaira' hit the music stores, but sank without a trace. Sunidhi Chauhan still maintains that this failure “was only due to inappropriate marketing strategy”. Disappointments ranged from 'Shastra' to 'Samar', delaying her salvation.
Sunidhi Chauhan is now more than a star on the Bollywood firmament. Billed as the most versatile singer since Asha Bhonsle, her voice spells success on the charts. However, a quick glance at her 'track record' would betray a clear pattern: Hers has, so far, been a career built on “item numbers”.
Why should such a gifted singer be known as the ‘item crooner’ of Bollywood? How far has Sunidhi Chauhan been allowed to be truly 'versatile'?
The voice once censured as being too mature for her age is now definitive of the times. India can never forget that little girl who burst into tears on winning the 'Lata Mangeshkar Trophy' for the best female singer in India on 'Meri Aawaz Suno'. Innocence may have given way to stellar aura, but Sunidhi Chauhan still possesses that rare gift of connecting with her audience.
When Bollywood was reluctant to accept new faces and record new voices, Sunidhi Chauhan fought her way to the top. For her sheer grit, we coronate Sunidhi Aaj ka Fankaar.
Source: India Syndicate
The Sonu Niigaam Sonata!
When three year old Sonu Nigam joined his father Agam Kumar Nigam on stage to render the Rafi hit, ‘Kya hua tera waada’, the casual eye saw the blending of two generations.
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071181
It was the dawn of a fresh talent, but few could identify the magnificence of that moment. Sonu looked cool. He was, by then, addicted to the limelight, having accompanied his father on a number of shows and soaked in what fame, or the lack of it, could rain on a performer.
Success in various music competitions provided apt stepping stones for the star he aspired to be. Encouragement came from no less an icon than Anu Malik, and there was no way the young Sonu Nigam could go back to a life short of the stardom he craved for. The next stop was Bollywood.
His surname may not have meant much, but Sonu Nigam had something to fall back on. A treasure trove of songs from the legendary Mohammed Rafi lay before him. It was time to bask in borrowed brilliance. The volcanic talent that lay beneath seemed to justify the ambition. And Mohammed Rafi was living, once more, albeit through a replica.
Albums in the ‘Rafi ki Yadein’ series caught the fancy of India and Sonu Nigam had found the niche he was to fill. Mainstream Bollywood woke up to the new personality and absorbed him into its heart. A few customary ups and downs later, Sonu Nigam became a star in his own right.
Drastic fast forward! Stop! Play!
Renamed Sonu Niigaam, he is now a full fledged star with a fair deal in the game of fortunes. He chooses to return the favour to the Original in the album, ambitiously titled ‘Rafi resurrected’, and the subsequent tour, 'An Evening in London’.
Sonu Niigaam once again unleashes the Rafi clone in him. This time, the glory is mutual. He joins hands with the City of Birmingham Symphony Orchestra in his attempt to `resurrect’ Mohammed Rafi. The largely Asian audience is generous in their applause, and Sonu Niigaam gives them what they seek.
The concluding performance at the London Coliseum seals the alleged generation gap in music. The combo is stimulating. The charm of the cherished tunes is effortlessly blended with the modern persona of the musician. The man who made his name in the industry as a Rafi clone is on course to justify the tag. And then he breaks free from the mould.
The uncertainty is evident. Are we saluting the original classics, or is it a not-so-silent acceptance of the modern generation? That brief moment of indecision is the essence of the recognition extended to Sonu Niigaam.
As our new Aaj ka Fankaar is being crowned, we resist the temptation to put to test the extent of this mystique. Did the classic legend just sigh in relief?
Source: India Syndicate
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071181
It was the dawn of a fresh talent, but few could identify the magnificence of that moment. Sonu looked cool. He was, by then, addicted to the limelight, having accompanied his father on a number of shows and soaked in what fame, or the lack of it, could rain on a performer.
Success in various music competitions provided apt stepping stones for the star he aspired to be. Encouragement came from no less an icon than Anu Malik, and there was no way the young Sonu Nigam could go back to a life short of the stardom he craved for. The next stop was Bollywood.
His surname may not have meant much, but Sonu Nigam had something to fall back on. A treasure trove of songs from the legendary Mohammed Rafi lay before him. It was time to bask in borrowed brilliance. The volcanic talent that lay beneath seemed to justify the ambition. And Mohammed Rafi was living, once more, albeit through a replica.
Albums in the ‘Rafi ki Yadein’ series caught the fancy of India and Sonu Nigam had found the niche he was to fill. Mainstream Bollywood woke up to the new personality and absorbed him into its heart. A few customary ups and downs later, Sonu Nigam became a star in his own right.
Drastic fast forward! Stop! Play!
Renamed Sonu Niigaam, he is now a full fledged star with a fair deal in the game of fortunes. He chooses to return the favour to the Original in the album, ambitiously titled ‘Rafi resurrected’, and the subsequent tour, 'An Evening in London’.
Sonu Niigaam once again unleashes the Rafi clone in him. This time, the glory is mutual. He joins hands with the City of Birmingham Symphony Orchestra in his attempt to `resurrect’ Mohammed Rafi. The largely Asian audience is generous in their applause, and Sonu Niigaam gives them what they seek.
The concluding performance at the London Coliseum seals the alleged generation gap in music. The combo is stimulating. The charm of the cherished tunes is effortlessly blended with the modern persona of the musician. The man who made his name in the industry as a Rafi clone is on course to justify the tag. And then he breaks free from the mould.
The uncertainty is evident. Are we saluting the original classics, or is it a not-so-silent acceptance of the modern generation? That brief moment of indecision is the essence of the recognition extended to Sonu Niigaam.
As our new Aaj ka Fankaar is being crowned, we resist the temptation to put to test the extent of this mystique. Did the classic legend just sigh in relief?
Source: India Syndicate
Himesh Reshammiya: Payback time!
Himesh Reshammiya has a ‘Karzzzz’ to pay his detractors!
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071212
The world stands divided at the mention of his name. And Indian music’s new age narcissist Himesh Reshammiya stands baffled before an epic.
For a man who entered professional music at a tender age, Himesh Reshammiya has kept his personal life away from media glare for an appreciably long time. The young Himesh had little space for ambition. Gujarati music director Vipin Reshammiya had charted out the path he wanted his son to take. A short stint in soaps and Himesh Reshammiya was soon standing in the queue at the gates of Bollywood.
But destiny kept churning out an incessant surge of critics. Everything from his exasperating nasal tone to his tasteless dress sense came under fire. Himesh was desperate and running out of excuses. He just couldn’t come to terms with the idea that a bold baseball cap would clash with an elegant Sherwani. He turned to the legends in a misguided attempt at consolation, accusing RD Burman and Nusrat Fateh Ali Khan of having voices more nasal than himself. He was literally seeking solace in numbers. India was not ready to forgive this crime. Asha Bhonsle, it is said, hinted that she wouldn’t hesitate to slap this “upstart”.
And then, time stopped. India was swept up in a Himesh Reshammiya wave. A blink of an eye later, a succession of hits turned Himesh Reshammiya the musician into HR the superstar – India’s first ever rockstar. An unrelenting obsession with himself added to the charm.
Drunk on success, it was only a matter of time before the acting bug bit Himesh Reshammiya, to cite a cliché. 'Aap Kaa Surroor - The Real Luv Story’ happened, marred by new controversies regarding stolen songs. Bollywood pundits wrote off the movie as well as HR the star, suggesting he should stick to music. They did have a point. There is only so much you can do with a single facial expression and an edgy script. But the masses thought otherwise and lapped up the movie, rendering it a fairly big hit. Himesh the actor had lived to see the light.
In his latest gamble, 'Karzzzz’, Himesh Reshammiya takes what one hopes is a calculated risk to confront two legendary talents at the same time. The dream duo Laxmikant Pyarelal’s music in the original 1980 `Karz’ merely challenges Himesh to get the most out of his already established gift. But essaying the role of Monty Oberoi, a parallel to the one played by Rishi Kapoor in the original, calls for much more than the 'just an ordinary actor' tag.
The ambitious star is leaving no stone unturned. With nineteen tracks in all, it is safe to say he has reworked a major portion of the music score for the new 'Karzzzz' rather than falling back on the time-honoured original. It works well to a certain point, for he does live up to his credentials. But he does manage to murder the sole remnant classic piece. One can’t doubt his sincerity. If he doesn’t offer his best in a movie designed to catapult himself into megastardom, when will he? It is evident his first priority is himself.
His courage is driven by the sheer numbers of his fan legions. But how far can the talent in music mask the flaws in the actor? Himesh has since gone on record to say Ranbir may have been a better choice for his role in 'Karzzzz’. Is he fishing for compliments or is he running scared?
We need to look no further to crown Aaj Ka Fankaar: It’s Himesh Reshammiya! Don’t you dare doubt it!!!
Source: India Syndicate
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071212
The world stands divided at the mention of his name. And Indian music’s new age narcissist Himesh Reshammiya stands baffled before an epic.
For a man who entered professional music at a tender age, Himesh Reshammiya has kept his personal life away from media glare for an appreciably long time. The young Himesh had little space for ambition. Gujarati music director Vipin Reshammiya had charted out the path he wanted his son to take. A short stint in soaps and Himesh Reshammiya was soon standing in the queue at the gates of Bollywood.
But destiny kept churning out an incessant surge of critics. Everything from his exasperating nasal tone to his tasteless dress sense came under fire. Himesh was desperate and running out of excuses. He just couldn’t come to terms with the idea that a bold baseball cap would clash with an elegant Sherwani. He turned to the legends in a misguided attempt at consolation, accusing RD Burman and Nusrat Fateh Ali Khan of having voices more nasal than himself. He was literally seeking solace in numbers. India was not ready to forgive this crime. Asha Bhonsle, it is said, hinted that she wouldn’t hesitate to slap this “upstart”.
And then, time stopped. India was swept up in a Himesh Reshammiya wave. A blink of an eye later, a succession of hits turned Himesh Reshammiya the musician into HR the superstar – India’s first ever rockstar. An unrelenting obsession with himself added to the charm.
Drunk on success, it was only a matter of time before the acting bug bit Himesh Reshammiya, to cite a cliché. 'Aap Kaa Surroor - The Real Luv Story’ happened, marred by new controversies regarding stolen songs. Bollywood pundits wrote off the movie as well as HR the star, suggesting he should stick to music. They did have a point. There is only so much you can do with a single facial expression and an edgy script. But the masses thought otherwise and lapped up the movie, rendering it a fairly big hit. Himesh the actor had lived to see the light.
In his latest gamble, 'Karzzzz’, Himesh Reshammiya takes what one hopes is a calculated risk to confront two legendary talents at the same time. The dream duo Laxmikant Pyarelal’s music in the original 1980 `Karz’ merely challenges Himesh to get the most out of his already established gift. But essaying the role of Monty Oberoi, a parallel to the one played by Rishi Kapoor in the original, calls for much more than the 'just an ordinary actor' tag.
The ambitious star is leaving no stone unturned. With nineteen tracks in all, it is safe to say he has reworked a major portion of the music score for the new 'Karzzzz' rather than falling back on the time-honoured original. It works well to a certain point, for he does live up to his credentials. But he does manage to murder the sole remnant classic piece. One can’t doubt his sincerity. If he doesn’t offer his best in a movie designed to catapult himself into megastardom, when will he? It is evident his first priority is himself.
His courage is driven by the sheer numbers of his fan legions. But how far can the talent in music mask the flaws in the actor? Himesh has since gone on record to say Ranbir may have been a better choice for his role in 'Karzzzz’. Is he fishing for compliments or is he running scared?
We need to look no further to crown Aaj Ka Fankaar: It’s Himesh Reshammiya! Don’t you dare doubt it!!!
Source: India Syndicate
‘I am another you’: Priya Kumar's book launched in Bangalore
By Aravind Ramachandran
http://lifestyle.in.msn.com/relationships/article.aspx?cp-documentid=3207325&page=0
The city of Bangalore is never short of curious styles. This past week in the city, book lovers' haven 'Odyssey' played host to a charming lady who claims to have an obsession towards making excellence a scientific formula. Eminent spokesperson, motivational speaker, corporate trainer, internationally certified 'fire walk' instructor and now author, Priya Kumar unveiled her debut book - 'I am another you' - tracing her journey from a defeated woman to a spiritual mentor of sorts.
The book could be described as Priya Kumar's memoirs, if the strictest of technical terms are to be met, but that is hardly the focus point. Picking up at a time when she has lost everything, including her boyfriend and a fledgling business, she chooses to escape to Amsterdam, which she believes to be the land of spiritual awakening and relief. Her decisions are questioned by everyone near and dear to her, and she's caught in the classic 'you'll never understand' predicament.
A very personal and detailed account of her travels follows, through remarkable rituals of native tribes such as the Shamans. In essence, it is the modern, or even corporatized versions of these rituals that form the crux of the system of self-improvement that Priya professes. In fact, each chapter is followed by a bulleted list that highlights what the reader might have imbibed from the pages before.
A prediction of the success of the book might be off the mark, considering the interest it has already generated - with pre-orders already having crossed five-figures. But it must be mentioned that this is one book that depends very much on the openness of the reader and a keenness to identify merit in some of the rites. 'I am another you' holds something worthwhile, at least for that section of the readers, although the rest might feel it's an exercise in justifying or even adding credibility to some of the author's methods of realizing the self improvement promises .
Simplicity is maintained in both language as well as the ritual descriptions. But then again, as Priya herself puts it, "Drinking a cup of coffee can teach you many lessons". Good things don't always have to be complex, do they? To sum up, 'I am another you' does provide a few sparks for the spiritually inclined. A responsive atmosphere - a mind open to such stuff - might be able to make use of it and grow it into a lucid flame. But otherwise it is a matter of personal choice whether to take it seriously or not.
Source: India Syndicate
http://lifestyle.in.msn.com/relationships/article.aspx?cp-documentid=3207325&page=0
The city of Bangalore is never short of curious styles. This past week in the city, book lovers' haven 'Odyssey' played host to a charming lady who claims to have an obsession towards making excellence a scientific formula. Eminent spokesperson, motivational speaker, corporate trainer, internationally certified 'fire walk' instructor and now author, Priya Kumar unveiled her debut book - 'I am another you' - tracing her journey from a defeated woman to a spiritual mentor of sorts.
The book could be described as Priya Kumar's memoirs, if the strictest of technical terms are to be met, but that is hardly the focus point. Picking up at a time when she has lost everything, including her boyfriend and a fledgling business, she chooses to escape to Amsterdam, which she believes to be the land of spiritual awakening and relief. Her decisions are questioned by everyone near and dear to her, and she's caught in the classic 'you'll never understand' predicament.
A very personal and detailed account of her travels follows, through remarkable rituals of native tribes such as the Shamans. In essence, it is the modern, or even corporatized versions of these rituals that form the crux of the system of self-improvement that Priya professes. In fact, each chapter is followed by a bulleted list that highlights what the reader might have imbibed from the pages before.
A prediction of the success of the book might be off the mark, considering the interest it has already generated - with pre-orders already having crossed five-figures. But it must be mentioned that this is one book that depends very much on the openness of the reader and a keenness to identify merit in some of the rites. 'I am another you' holds something worthwhile, at least for that section of the readers, although the rest might feel it's an exercise in justifying or even adding credibility to some of the author's methods of realizing the self improvement promises .
Simplicity is maintained in both language as well as the ritual descriptions. But then again, as Priya herself puts it, "Drinking a cup of coffee can teach you many lessons". Good things don't always have to be complex, do they? To sum up, 'I am another you' does provide a few sparks for the spiritually inclined. A responsive atmosphere - a mind open to such stuff - might be able to make use of it and grow it into a lucid flame. But otherwise it is a matter of personal choice whether to take it seriously or not.
Source: India Syndicate
‘I am another you’: Priya Kumar's book launched in Bangalore
By Aravind Ramachandran
http://lifestyle.in.msn.com/relationships/article.aspx?cp-documentid=3207325&page=0
The city of Bangalore is never short of curious styles. This past week in the city, book lovers' haven 'Odyssey' played host to a charming lady who claims to have an obsession towards making excellence a scientific formula. Eminent spokesperson, motivational speaker, corporate trainer, internationally certified 'fire walk' instructor and now author, Priya Kumar unveiled her debut book - 'I am another you' - tracing her journey from a defeated woman to a spiritual mentor of sorts.
The book could be described as Priya Kumar's memoirs, if the strictest of technical terms are to be met, but that is hardly the focus point. Picking up at a time when she has lost everything, including her boyfriend and a fledgling business, she chooses to escape to Amsterdam, which she believes to be the land of spiritual awakening and relief. Her decisions are questioned by everyone near and dear to her, and she's caught in the classic 'you'll never understand' predicament.
A very personal and detailed account of her travels follows, through remarkable rituals of native tribes such as the Shamans. In essence, it is the modern, or even corporatized versions of these rituals that form the crux of the system of self-improvement that Priya professes. In fact, each chapter is followed by a bulleted list that highlights what the reader might have imbibed from the pages before.
A prediction of the success of the book might be off the mark, considering the interest it has already generated - with pre-orders already having crossed five-figures. But it must be mentioned that this is one book that depends very much on the openness of the reader and a keenness to identify merit in some of the rites. 'I am another you' holds something worthwhile, at least for that section of the readers, although the rest might feel it's an exercise in justifying or even adding credibility to some of the author's methods of realizing the self improvement promises .
Simplicity is maintained in both language as well as the ritual descriptions. But then again, as Priya herself puts it, "Drinking a cup of coffee can teach you many lessons". Good things don't always have to be complex, do they? To sum up, 'I am another you' does provide a few sparks for the spiritually inclined. A responsive atmosphere - a mind open to such stuff - might be able to make use of it and grow it into a lucid flame. But otherwise it is a matter of personal choice whether to take it seriously or not.
Source: India Syndicate
http://lifestyle.in.msn.com/relationships/article.aspx?cp-documentid=3207325&page=0
The city of Bangalore is never short of curious styles. This past week in the city, book lovers' haven 'Odyssey' played host to a charming lady who claims to have an obsession towards making excellence a scientific formula. Eminent spokesperson, motivational speaker, corporate trainer, internationally certified 'fire walk' instructor and now author, Priya Kumar unveiled her debut book - 'I am another you' - tracing her journey from a defeated woman to a spiritual mentor of sorts.
The book could be described as Priya Kumar's memoirs, if the strictest of technical terms are to be met, but that is hardly the focus point. Picking up at a time when she has lost everything, including her boyfriend and a fledgling business, she chooses to escape to Amsterdam, which she believes to be the land of spiritual awakening and relief. Her decisions are questioned by everyone near and dear to her, and she's caught in the classic 'you'll never understand' predicament.
A very personal and detailed account of her travels follows, through remarkable rituals of native tribes such as the Shamans. In essence, it is the modern, or even corporatized versions of these rituals that form the crux of the system of self-improvement that Priya professes. In fact, each chapter is followed by a bulleted list that highlights what the reader might have imbibed from the pages before.
A prediction of the success of the book might be off the mark, considering the interest it has already generated - with pre-orders already having crossed five-figures. But it must be mentioned that this is one book that depends very much on the openness of the reader and a keenness to identify merit in some of the rites. 'I am another you' holds something worthwhile, at least for that section of the readers, although the rest might feel it's an exercise in justifying or even adding credibility to some of the author's methods of realizing the self improvement promises .
Simplicity is maintained in both language as well as the ritual descriptions. But then again, as Priya herself puts it, "Drinking a cup of coffee can teach you many lessons". Good things don't always have to be complex, do they? To sum up, 'I am another you' does provide a few sparks for the spiritually inclined. A responsive atmosphere - a mind open to such stuff - might be able to make use of it and grow it into a lucid flame. But otherwise it is a matter of personal choice whether to take it seriously or not.
Source: India Syndicate
Pritam, Tune Milao!
By Aravind Ramachandran
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071173
Call it the price of recognition, but Pritam Chakraborty has no choice!
When this Bengali makes music, India sits up and takes notice. To the eternal optimist, Pritam Chakraborty has been bringing the music of the world to the consoles of Bollywood. But for the well-informed optimist, he is India’s most appreciated plagiarist.
Pritam has music in his blood and gene. Born to a father who ran a music school, he completed his education in Kolkata before migrating to Mumbai, the city of ambition, in pursuit of the great Bollywood dream.
Making a living off ad jingles for a while, he got acquainted with co-wannabes such as Shantanu Moitra, Rajkumar Hirani, Sanjay Gadhvi and Chandrajeet Ganguly(Jeet).
Pritam Chakraborty got his first break in the movie, ‘Tere Liye’, directed by Sanjay Gadhvi. Though the film turned out to be a box office dud, the music was fairly well-received. Then ‘Mere Yaar Ki Shaadi Hai’ happened, catapulting Pritam into the big league.
That most of Pritam’s compos remind one of heard-and-lost tunes is too obvious a song to sing. ‘Copy Cat’ is no more a derogatory usage in Bollywood, thanks to Anu Malik and co. It is an epithet that has to be won by the Indian music director. Especially since a Box-office medal accompanies the citation!
However, the ability to hoodwink the reviewer is a must. It seems Pritam Chakraborty never counted on the reviewing hounds catching up with his blatant plagiarism. But as unflinching as ever, the man takes it all in his stride.
“People have been copying since ages. Anybody who says he didn't, is lying. People don't accept it due to the laws”, the ‘Lucknow Times’ quotes Pritam. He doesn’t miss a beat before adding that charges are very difficult to prove, thanks to the blurred line between “inspiration” and “plagiarism”.
For once, here is a musician who is a lawyer’s delight. While Rakesh Roshan is probably still smarting from the thought of paying Rs 2-crore to settle the lawsuit for his ‘Krazzy 4’, Taiwanese singer Lee-Hom Wang and recording label Sony BMG Music Entertainment Ltd. are in the process of suing Tips Films for a whopping $320,000. The crime: ‘Deep in the Bamboo Grove’ (Chu Lin Shen Chu) magically transformed into ‘Zara Zara touch me…’ in the film ‘Race’, set to tune by……….yes, Pritam Chakraborty!
He may have been caught in the act, with no chance of redemption, Still, Pritam’s hands are full of new and “challenging” projects. He has his own explanations: “Honestly, I'm a better music designer than a composer. I work hard to make even an inspired song sound good. Otherwise sources are available to everybody.”
And so, we declare Pritam Chakraborty Aaj Ka Fankaar.
For his audacity.
For his play of words.
For his “lifting acumen”.
And for making India dance to his tunes!
Source: India Syndicate
http://entertainment.in.msn.com/bollywood/article.aspx?cp-documentid=3071173
Call it the price of recognition, but Pritam Chakraborty has no choice!
When this Bengali makes music, India sits up and takes notice. To the eternal optimist, Pritam Chakraborty has been bringing the music of the world to the consoles of Bollywood. But for the well-informed optimist, he is India’s most appreciated plagiarist.
Pritam has music in his blood and gene. Born to a father who ran a music school, he completed his education in Kolkata before migrating to Mumbai, the city of ambition, in pursuit of the great Bollywood dream.
Making a living off ad jingles for a while, he got acquainted with co-wannabes such as Shantanu Moitra, Rajkumar Hirani, Sanjay Gadhvi and Chandrajeet Ganguly(Jeet).
Pritam Chakraborty got his first break in the movie, ‘Tere Liye’, directed by Sanjay Gadhvi. Though the film turned out to be a box office dud, the music was fairly well-received. Then ‘Mere Yaar Ki Shaadi Hai’ happened, catapulting Pritam into the big league.
That most of Pritam’s compos remind one of heard-and-lost tunes is too obvious a song to sing. ‘Copy Cat’ is no more a derogatory usage in Bollywood, thanks to Anu Malik and co. It is an epithet that has to be won by the Indian music director. Especially since a Box-office medal accompanies the citation!
However, the ability to hoodwink the reviewer is a must. It seems Pritam Chakraborty never counted on the reviewing hounds catching up with his blatant plagiarism. But as unflinching as ever, the man takes it all in his stride.
“People have been copying since ages. Anybody who says he didn't, is lying. People don't accept it due to the laws”, the ‘Lucknow Times’ quotes Pritam. He doesn’t miss a beat before adding that charges are very difficult to prove, thanks to the blurred line between “inspiration” and “plagiarism”.
For once, here is a musician who is a lawyer’s delight. While Rakesh Roshan is probably still smarting from the thought of paying Rs 2-crore to settle the lawsuit for his ‘Krazzy 4’, Taiwanese singer Lee-Hom Wang and recording label Sony BMG Music Entertainment Ltd. are in the process of suing Tips Films for a whopping $320,000. The crime: ‘Deep in the Bamboo Grove’ (Chu Lin Shen Chu) magically transformed into ‘Zara Zara touch me…’ in the film ‘Race’, set to tune by……….yes, Pritam Chakraborty!
He may have been caught in the act, with no chance of redemption, Still, Pritam’s hands are full of new and “challenging” projects. He has his own explanations: “Honestly, I'm a better music designer than a composer. I work hard to make even an inspired song sound good. Otherwise sources are available to everybody.”
And so, we declare Pritam Chakraborty Aaj Ka Fankaar.
For his audacity.
For his play of words.
For his “lifting acumen”.
And for making India dance to his tunes!
Source: India Syndicate
Sreesanth’s last chance for redemption
By Aravind Ramachandran
http://sports.in.msn.com/cricket/article.aspx?cp-documentid=3349159&page=0
Key in ‘Sreesanth’ on any of the major search engines and on your screen will unfold a tale of what is perhaps the greatest downfall in the history of cricket. The beginning though, was perfect as ever. He is an accomplished break dancer and more importantly, the man in blue who held on to a catch that etched Team India’s name in T20 history. The average Indian would have killed for at least one of these tags.
The state of Kerala had all but given up on seeing a son of the soil claim a spot on the Indian cricket team. A cameo from Tinu Yohannan made up the entire script of world cricket for God's own country. 'Sreesanth' was the new password to deliverance. A solid record in domestic cricket, studded with a sparkling hat trick, saw Team India opening its doors to the firebrand pace sensation.
It was a time when Indian cricket stood divided between Saurav Ganguly and Greg Chappell. In a torrid series against Sri Lanka, skipper Rahul Dravid threw the new ball to the eager young pace bowler. Sreesanth took the run up to his moment of fame - but the Lankan batsmen showed no mercy. Chasing a mammoth target of 350, Kumar Sangakkara and Sanath Jayasuriya made the most of the tender meat fed to them. Sreesanth's debut went unnoticed with an economy rate of 6.88 and 2 consolatory wickets.
By the end of his first season, he was the new buzzword in cricketing circles, a dazzling 6 for 55 against England being the crown jewel. Destiny then played a set of cards it reserves for a special crop of fast bowlers and Sreesanth fell to a spate of injuries. It took him nearly a year to return, but by then he was faster and more devastating than ever. India had found a dependable strike bowler for ODIs as well as Test cricket. The unsettling economy rate that marred his stats was considered a small price to pay.
A sequence of ups and downs marked the rest of his career in terms of results, performances and statistics - with the celebrated catch off Misbah-ul-Haq's paddle being perhaps his final moment of glory. But then that was never Sreesanth's identity in the world of cricket - on the field and off it.
So what was Sreesanth's first sin? In a country that reveres Sachin Tendulkar as a God of sorts, here was one man who dared to sledge him on field. Ever the gentleman, the little master patiently told him to back off. But Sreesanth had, by then, cemented his place on every Indian cricket devotee's hitlist. Other offences attributed to him include a beamer to floor the towering Kevin Pietersen, an elaborate send off to Hashim Amla, and of course a comic jig to celebrate his one triumph with the bat - dispatching an Andre Nel delivery over the ropes of New Wanderers'. But every Indian fan was secretly enjoying these escapades - including his near death experiences when every Indian wondered and every Aussie probably hoped that either Mathew Hayden or Andrew Symonds would bring the bat crashing down on the young mallu's skull.
But it was at the inaugural edition of the IPL that all hell broke loose. It would've been the juiciest piece of footage ever recorded on a cricket field, if not for the quick embargo, but the tale remains one to be passed down through generations. To cut a long story short, Harbhajan Singh lost his temper and 'allegedly' slapped Sreesanth, and the media went crazy! A bawling Sreesanth dominated the waves and reams, while Indian fans patted Harbhajan on the back. The BCCI authorities disagreed, in turn slapping the 'attacker' with a ban and the 'victim' with a warning.
A source having close access to the Indian dressing room, on condition of anonymity, attributes the Indian skipper Mahendra Singh Dhoni with a very harsh verdict on the young man's fate: Sreesanth should never be allowed to play for India.
It proved to be an ominous prediction. Sreesanth had all but dropped from the present day radar of the Indian selectors, his fame now measured only in terms of the controversies he manages to fuel. Tollywood was calling, as was Mollywood at a stage, but the man has reportedly made it clear he'll settle for nothing less than Hollywood - though a few Bollywood and Tollywood starlets have been spotted in close proximity to the handsome young man.
The Kerala Cricket Association crowned him skipper of his state team, apparently a frantic attempt to revive their golden boy's sagging career. Sources suggest he intends to work on his batting and make a comeback as an all rounder, no less! Yet Sreesanth being the 'Sreesanth' we know, promptly notched up a 'final warning' from the very same KCA for indiscipline.
As the Sri Lankans tour India for the Test series in November, Sreesanth's inclusion is undoubtedly the breaking news of the season. The young pacer is now reborn into an Indian team that's still smarting from the Aussie thrashing.
Sreesanth vs the Lankans: India is watching with bated breath, yet unsure of whose side we are on!
Source: India Syndicate
http://sports.in.msn.com/cricket/article.aspx?cp-documentid=3349159&page=0
Key in ‘Sreesanth’ on any of the major search engines and on your screen will unfold a tale of what is perhaps the greatest downfall in the history of cricket. The beginning though, was perfect as ever. He is an accomplished break dancer and more importantly, the man in blue who held on to a catch that etched Team India’s name in T20 history. The average Indian would have killed for at least one of these tags.
The state of Kerala had all but given up on seeing a son of the soil claim a spot on the Indian cricket team. A cameo from Tinu Yohannan made up the entire script of world cricket for God's own country. 'Sreesanth' was the new password to deliverance. A solid record in domestic cricket, studded with a sparkling hat trick, saw Team India opening its doors to the firebrand pace sensation.
It was a time when Indian cricket stood divided between Saurav Ganguly and Greg Chappell. In a torrid series against Sri Lanka, skipper Rahul Dravid threw the new ball to the eager young pace bowler. Sreesanth took the run up to his moment of fame - but the Lankan batsmen showed no mercy. Chasing a mammoth target of 350, Kumar Sangakkara and Sanath Jayasuriya made the most of the tender meat fed to them. Sreesanth's debut went unnoticed with an economy rate of 6.88 and 2 consolatory wickets.
By the end of his first season, he was the new buzzword in cricketing circles, a dazzling 6 for 55 against England being the crown jewel. Destiny then played a set of cards it reserves for a special crop of fast bowlers and Sreesanth fell to a spate of injuries. It took him nearly a year to return, but by then he was faster and more devastating than ever. India had found a dependable strike bowler for ODIs as well as Test cricket. The unsettling economy rate that marred his stats was considered a small price to pay.
A sequence of ups and downs marked the rest of his career in terms of results, performances and statistics - with the celebrated catch off Misbah-ul-Haq's paddle being perhaps his final moment of glory. But then that was never Sreesanth's identity in the world of cricket - on the field and off it.
So what was Sreesanth's first sin? In a country that reveres Sachin Tendulkar as a God of sorts, here was one man who dared to sledge him on field. Ever the gentleman, the little master patiently told him to back off. But Sreesanth had, by then, cemented his place on every Indian cricket devotee's hitlist. Other offences attributed to him include a beamer to floor the towering Kevin Pietersen, an elaborate send off to Hashim Amla, and of course a comic jig to celebrate his one triumph with the bat - dispatching an Andre Nel delivery over the ropes of New Wanderers'. But every Indian fan was secretly enjoying these escapades - including his near death experiences when every Indian wondered and every Aussie probably hoped that either Mathew Hayden or Andrew Symonds would bring the bat crashing down on the young mallu's skull.
But it was at the inaugural edition of the IPL that all hell broke loose. It would've been the juiciest piece of footage ever recorded on a cricket field, if not for the quick embargo, but the tale remains one to be passed down through generations. To cut a long story short, Harbhajan Singh lost his temper and 'allegedly' slapped Sreesanth, and the media went crazy! A bawling Sreesanth dominated the waves and reams, while Indian fans patted Harbhajan on the back. The BCCI authorities disagreed, in turn slapping the 'attacker' with a ban and the 'victim' with a warning.
A source having close access to the Indian dressing room, on condition of anonymity, attributes the Indian skipper Mahendra Singh Dhoni with a very harsh verdict on the young man's fate: Sreesanth should never be allowed to play for India.
It proved to be an ominous prediction. Sreesanth had all but dropped from the present day radar of the Indian selectors, his fame now measured only in terms of the controversies he manages to fuel. Tollywood was calling, as was Mollywood at a stage, but the man has reportedly made it clear he'll settle for nothing less than Hollywood - though a few Bollywood and Tollywood starlets have been spotted in close proximity to the handsome young man.
The Kerala Cricket Association crowned him skipper of his state team, apparently a frantic attempt to revive their golden boy's sagging career. Sources suggest he intends to work on his batting and make a comeback as an all rounder, no less! Yet Sreesanth being the 'Sreesanth' we know, promptly notched up a 'final warning' from the very same KCA for indiscipline.
As the Sri Lankans tour India for the Test series in November, Sreesanth's inclusion is undoubtedly the breaking news of the season. The young pacer is now reborn into an Indian team that's still smarting from the Aussie thrashing.
Sreesanth vs the Lankans: India is watching with bated breath, yet unsure of whose side we are on!
Source: India Syndicate
The Top five 007 gadgets
By Aravind Ramachandran
http://entertainment.in.msn.com/hollywood/article.aspx?cp-documentid=3029414
“Sex for dinner, death for breakfast”, said the pretty Miranda Frost, describing the lifestyle of James Bond (‘Die Another Day’, 2002). If putting one’s life at risk is a fair price to pay for being a new age Casanova, James Bond is the ultimate idol for any romantic soul.
Yet, the world’s most loved spy is indeed a forgettable man, if it weren’t for his arsenal of gadgets. Perhaps the other most cherished character in the series, Mr Q, spends half his life begging James Bond to bring back the gadgets he equips him with, “in pristine condition”. As the world waits with bated breath for the latest offering to hit the screens, let’s take a stroll through the Gadgets’ Hall of Fame. Take a 'Quantum of Solace' in the fact that some of these were once stakes in the gamble for the 007’s life.
‘From Russia with Love’, 1963
Spy Briefcase (‘From Russia with Love’, 1963)
The briefcase was a logical extension of a Swiss army knife. Standard issue to all Mi6 field agents, everything James Bond may need, was in the case. The contents included an AR-7 .22 survival rifle (which in the movie was wrongly called a Sniper's rifle) with infrared telescopic sight. A knife was hidden in an external compartment. For good measure, it had the universal currency of the tumultuous times: 50 gold sovereigns concealed in the hinge. A gas bomb would go off if the case was tampered with. A cyanide capsule was part of the standard issue (in the book, but not in the movie), but true to the Bond self-assurance, Pierce Brosnan makes it clear in ‘Die Another Day’ (2002) that he “flushed it down the toilet”.
‘Thunderball’, 1965
Jet pack (‘Thunderball’, 1965)
After assassinating Col. Bouvar in the 1965 movie, James Bond literally takes to the skies in what is perhaps the 'most high-flying' of all escape vehicles. But then, being down to earth was never the Bond line. A favoured nostalgic piece of later era Bond movies as well, Q finds it hard to keep Bond’s hands off it during the briefings.
‘Golden Eye’, 1995
Phone Booth Trap (‘Golden Eye’, 1995)
Although never actually used by James Bond, one of the scientists under Q is seen experiencing the dire side of this gadget. Designed to trap, with an airbag, anyone who tries to use this unassuming phone-booth lookalike, may well offer a coy challenge to Superman.
‘Tomorrow Never Dies’, 1997
Mobile Phone (‘Tomorrow Never Dies’, 1997)
One tends to doubt if 'mobile phone’ is an apt name for this device. Our man, Mr Bond, is almost never seen actually using it to talk. It included a high voltage stun-gun, a fingerprint scanner and a lock pick. Bond is also seen using its flip open feature to reveal a touch-pad remote control for his BMW. The flip feature then made its way into later day communicator gadgets in real life.
‘Die Another Day’, 2002
Aston Martin (‘Die Another Day’, 2002)
Arguably the mother of all Bond gadgets, Mr Q takes much pride in this particular car. In a memorable spectacle, Q proudly announces it as the finest in British engineering, as a trolley on rails rolls into the laboratory! Bond is annoyed. Fortunately, the invisibility shield is then turned off to reveal a state-of-the-art Aston Martin complete with target seeking machine guns, ejector seats and traction. Q hands James Bond a 300 plus page user manual, which Bond promptly feeds to the machine guns.
In Daniel Craig’s first edition of James Bond, the spy seems to be caught in a time warp. Considering Bond had just received the license to kill, there were limits to how much technology could be exploited. Q and his lab don’t make an appearance, although he has the basic gadgets as part of the general issue, plus, of course, the microchip implant for Mi6 to track him.
‘The Quantum of Solace’ opens up what could be a new age. Let’s just wait and see if James Bond has the gadgets to see him through. After all, the legend is too sophisticated to be defeated for a lack of the right equipment. On field, or in bed!
Source: India Syndicate
http://entertainment.in.msn.com/hollywood/article.aspx?cp-documentid=3029414
“Sex for dinner, death for breakfast”, said the pretty Miranda Frost, describing the lifestyle of James Bond (‘Die Another Day’, 2002). If putting one’s life at risk is a fair price to pay for being a new age Casanova, James Bond is the ultimate idol for any romantic soul.
Yet, the world’s most loved spy is indeed a forgettable man, if it weren’t for his arsenal of gadgets. Perhaps the other most cherished character in the series, Mr Q, spends half his life begging James Bond to bring back the gadgets he equips him with, “in pristine condition”. As the world waits with bated breath for the latest offering to hit the screens, let’s take a stroll through the Gadgets’ Hall of Fame. Take a 'Quantum of Solace' in the fact that some of these were once stakes in the gamble for the 007’s life.
‘From Russia with Love’, 1963
Spy Briefcase (‘From Russia with Love’, 1963)
The briefcase was a logical extension of a Swiss army knife. Standard issue to all Mi6 field agents, everything James Bond may need, was in the case. The contents included an AR-7 .22 survival rifle (which in the movie was wrongly called a Sniper's rifle) with infrared telescopic sight. A knife was hidden in an external compartment. For good measure, it had the universal currency of the tumultuous times: 50 gold sovereigns concealed in the hinge. A gas bomb would go off if the case was tampered with. A cyanide capsule was part of the standard issue (in the book, but not in the movie), but true to the Bond self-assurance, Pierce Brosnan makes it clear in ‘Die Another Day’ (2002) that he “flushed it down the toilet”.
‘Thunderball’, 1965
Jet pack (‘Thunderball’, 1965)
After assassinating Col. Bouvar in the 1965 movie, James Bond literally takes to the skies in what is perhaps the 'most high-flying' of all escape vehicles. But then, being down to earth was never the Bond line. A favoured nostalgic piece of later era Bond movies as well, Q finds it hard to keep Bond’s hands off it during the briefings.
‘Golden Eye’, 1995
Phone Booth Trap (‘Golden Eye’, 1995)
Although never actually used by James Bond, one of the scientists under Q is seen experiencing the dire side of this gadget. Designed to trap, with an airbag, anyone who tries to use this unassuming phone-booth lookalike, may well offer a coy challenge to Superman.
‘Tomorrow Never Dies’, 1997
Mobile Phone (‘Tomorrow Never Dies’, 1997)
One tends to doubt if 'mobile phone’ is an apt name for this device. Our man, Mr Bond, is almost never seen actually using it to talk. It included a high voltage stun-gun, a fingerprint scanner and a lock pick. Bond is also seen using its flip open feature to reveal a touch-pad remote control for his BMW. The flip feature then made its way into later day communicator gadgets in real life.
‘Die Another Day’, 2002
Aston Martin (‘Die Another Day’, 2002)
Arguably the mother of all Bond gadgets, Mr Q takes much pride in this particular car. In a memorable spectacle, Q proudly announces it as the finest in British engineering, as a trolley on rails rolls into the laboratory! Bond is annoyed. Fortunately, the invisibility shield is then turned off to reveal a state-of-the-art Aston Martin complete with target seeking machine guns, ejector seats and traction. Q hands James Bond a 300 plus page user manual, which Bond promptly feeds to the machine guns.
In Daniel Craig’s first edition of James Bond, the spy seems to be caught in a time warp. Considering Bond had just received the license to kill, there were limits to how much technology could be exploited. Q and his lab don’t make an appearance, although he has the basic gadgets as part of the general issue, plus, of course, the microchip implant for Mi6 to track him.
‘The Quantum of Solace’ opens up what could be a new age. Let’s just wait and see if James Bond has the gadgets to see him through. After all, the legend is too sophisticated to be defeated for a lack of the right equipment. On field, or in bed!
Source: India Syndicate
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