It was past two in the morning local time in Abu Dhabi while we were waiting in the pre-clearance queue. The queue was long and kept changing as the take-off time for some of the transit flights were announced. Everybody was visibly tired but not complaining.
“What time is it?” the elderly gentleman who stood in front of me asked. He was well-dressed and looked like a retired professor or a scholar of some sort. I told him the time. “It takes a lot of time, every single time.” He pointed towards the interview counters. “I’m so tired and just want to board my flight and rest for sometime”, he said but with a smile. I returned the smile, agreeing quietly. As the conversation went on, I learned that he came to America for his studies while he was young. Back then he did not mind all the security hassles, he said. But now that he is old, and after traveling all these years, it has become difficult for him. I didn’t know what to say. I just looked around while nodding my head. “But I have to travel since my family, my wife and children are there.”
“So, where are you from?”, I asked. “Iran”, he replied. “Now that I’m retired, I spend my time between the two countries. My family wants me beside them and I want to stay back in the home country, so I have to keep traveling.” Every six months or so, he travels between Iran and America, so that he can keep in touch with his wife and children in America and his family members back home in Iran.
With the Trump administration’s travel ban, I wonder how that old man is coping up now.
As A R Rahman turns 50, I think there are two things unique about his contributions in the field of Indian film music. One – he used human voice as just another instrument. He brought in the singers, had them record and used their voices as he pleased. Two – he started crediting musicians on the album labels. Musicians like flautist Naveen and drummer Sivamani had become household names.
First was his biggest and most disruptive contribution though. Human voice was considered to be pristine and divine in the film music until Rahman came in. One could not imagine playing around the vocals with the electronics. You could do that to guitar or violin, but not to the vocals. The singers could make sounds that are funny and weird which was considered to be a talent but no one was allowed to touch their voice and mix it electronically. Rahman broke those rules slowly and steadily. The monopoly of the singers were about to be crunched (and when I say vocals as an instrument, I’m not talking about harmonies or a’capella or western choir settings in the music; Ilaiyaraja had already done that).
Many credit Rahman for bringing in the elements of western music to the Indian film music, but he wasn’t the first do that. Again, there was Ilaiyaraja with whatever little exposure he had to the different kinds of music available back at a time when the world wasn’t this open. Maybe Rahman experiemented a bit too much with instruments and different styles of music that the musical identity that he consiously created was soon lost to others who followed this ‘technique’. As a result, in the initial days of Harris Jeyaraj, one could not tell apart the difference between Jeyaraj and Rahman. The arrangement and approach were just about the same. Which makes one wonder whether Rahman was more of a musical arranger than a composer, though the difference between the two is a fine thin line. There is no ‘Rahman sound’ in the film music, just as there is no Harris Jeyaraj sound or Yuvan Shankar Raja sound. They all seem to follow the same pattern and technique, and are failing to make a mark of their own (and I’m not talking about popularity here).
Post-Oscars, Rahman seems to be in a quest to find his own identity in his music. Off late, his music seems to be veering away from the populist lines, but it doesn’t look like he has found it yet. Maybe, the influence of sufism is the kind of identity that he should further explore, like Folk is to Ilaiyaraja, but he is not yet ready to take that up.
That said, I end this note with one of his songs, one in many years that is still ringing in my ears.
I never really believed in the cliche that hard work pays off. I always thought that only people who are lucky enough and people who play with strategies get their due or undue share. But 2016 proved me partially wrong. It has been hectic, but it paid me well. From the time I did menial jobs – from a bakery salesman who earned Rs. 12 a day, to an office boy to a mechanic to a goldsmith – to where I stand this year, life has been so kind to me. Compared to last year, I end this year with a positive note, with so much hope for the future.
Throughout my life, I’ve been fortunate to have people who would help/guide/mentor me at times of crises and 2016 was yet another example of that. I’m fortunate to have genuine friends across the world – for I’m sure that no matter which part of the world I am in, there would be someone who would be kind enough to help or guide me. 2016 reinstates my belief that you would still find goodness in this world, even in the corporate world. That there still are honest people who value hard work and integrity.
Life is a constant struggle though. Your challenge is to maintain your integrity, humility and positivism (while you maintain your pessimism in a limited quantity – I believe a limited amount of pessimism is a must for one to survive in the current ways of the world) among all the pretentious, discouraging, demotivating people around you.
Let me end this year on that note. That regardless of all the negativity that surrounds you, keep working hard. At work, in relationships and in life in general – hard work gives you a good ROI even at the brink of depression. Happy 2017 to all of you, dear friends.
I think the case for a uniform civil code is valid. The only thing that worries me about it is that it is now put forth by BJP, whose leaders and their parent organizations have majoritarian and sectarian agenda to their politics. However, that is no reason to oppose it vehemently.
USC with regards to core practices of societal life like marriage and inheritance etc would be beneficial to people, especially to women and those who want less interference of clergy and community leaders in their lives. But it cannot happen overnight because it involves questioning so many religious, tribal and community practices across different religions.
Many of the sanghis and minorities seem to think that it affects certain practices of minority religions alone. But these practices are prevalent among many tribes, sects and communities among the majority religion as well. Which could be why the RSS’s Golwalker was one of the early opponents of USC. Which leads to the question why BJP, the Golwalkerish political offshoot, is proposing it now and that is the question concerning a large section of the minority as well.
But that is also the reason why minorities should actively engage in discussions about USC and take it forward to ensure that it doesn’t tread on the BJP/Sangh politics. This should be seen as an opportunity, if the minority concern is not to protect their dogmatic religious interests but the Sanghi agenda.
I support the uniform civil code unless convinced otherwise. And I think the process of implementing it should involve taking cues from similar laws in other, progressive countries and also gain the faith of community/political leadership and alleviate the doubts of common man before passing it as law. But it shouldn’t take forever to do that.
“The Revenant” takes us back to the ‘olden’ days of Hollywood film making and tells us that movies can still be made outside the green screen studios. And that definitely is a plus, for a generation of computer-savvy movie goers aren’t much thrilled or convinced of stories told by the ‘gruesome’ visual effects these days. Lubezki’s camera would captivate you so much because it reminds you of the wide angles or close-ups that you have seen in movies about the wild west or native Americans (I also hear that he has used the natural lights, so that makes the cinematography here a lot interesting). Some of the shots are so Terrence Malick-ish and I’m talking about Malick movies before Lubezki started associating with him. At times, the movie has it loose on the conviction part – particularly on the scene where Glass could not move a finger when his son was being killed yet manages to drag himself out of his grave thereafter. The film in spirit too is a mixture of ‘Dances with Wolves’ meets ‘The Last of the Mohicans’ in a Terrence Malick movie scripted by Quentin Tarantino.
But that is not to discourage you from watching the movie. In fact, it is a must-watch and you should go to a theater where the widest screen and good sound are available to watch this movie (people of Trivandrum, do not miss this in Audi 1 of Ariesplex Cinemas). Because even with the advanced visual and sound technologies available these days, movies of this genre and visual quality are seldom made. DiCaprio’s performance does not come close to what he did with Wolf of Wall Street but is sure to gain the Academy members’ attention (who doesn’t like tragedy on-screen?). And I’m sure Lubezki would walk away with a golden man in his hand. I read that the crew had to go through a lot of pain while shooting and you can see that on screen.
I was unaware of what is called Mongolian throat singing until I chanced upon it through a friend’s Facebook post. I didn’t really think the style was nice but was captivated by the instruments used, particularly a two-string instrument that is played like the Chinese violin. Then a friend gave me some links to check out and I saw this video of a Mongolian throat singing band called Huun-Huur-Tu and I was blown away! You could hear a harmony, about two layers of vocals at work minimum at the same time, when they do this throat-singing. And that is amazing.
Check out the band here:
Remember how Rajiv Goswami, the student who lit himself in protest of Mandal report, had moved India across the nation? There was no social media. We weren’t living in an informed age like this. But still it moved the country. A young man burning himself was more than enough to move our senses back then even if some people didn’t know what Mandal meant.
Rohit Vemula was a passionate young man too. He didn’t kill himself on the road, but silently in a hostel room. His last words were that of a man who has seen it through, that he went about writing ‘do not trouble my friends or enemies on this’.
It is unlikely that Vemula will move India like Goswami did. Because beyond the protests and our keyboard activism, many of us who stand at the top of the caste ladder, still are not sure of the larger topic – caste and the reservation – though Vemulas of our time validates it.
We are all Dathathreyas. We are all manu vaadis in that regard. And no Facebook/blog posts can take that guilt back, including this one.
Here is a song after ages. It has been a few years now since I have recorded anything and then I heard this song from the Malayalam movie “Lukka Chuppi” and it blew me away. This one was recorded the old way, using the headset and Reaper – a software that I had purchased but never put to good use. Do let me know what you think. Thanks.
Song: Ee Mizhikalil
Lyrics: Rafeeq Ahamed
Music: Bijibal Maniyil
Original singer: Vivekanandan
Cover by myself
Advise to Vidyasagar – stop imitating Ilaiyaraja even if it is on Sathyan Anthikkad’s request (reference to movie “Ennum Eppozhum”). We look forward to your signature music. Not just some skeleton of another music director.
2015 has seen many ‘casual’ songs being hit – like ‘Enne thallendammaava”, or “Kaikottum kandittilla” (both from Oru Vadakkan Selfie), and “Kaalam kettu poy”, or “Scene Contra” or many other such songs from the film “Premam”. For one thing, Rajesh Murugesan and Shaan Rahmaan – these won’t go past another set of such casual songs from yet another movie. You got to remember that. “Malare” however stayed and you got to thank Sai Pallavi for the song to have stayed, not so much for the quality of musical chords (why did you have to put that heavy set of strings to overshadow the vocals?!). If that is how you want to be remembered, okay, fine. “ithu puthen lokam” from ‘Premam’ however was nice, both lyrically and music wise.
“I Remember You”, the English number from the movie “Nee-Na” was a class apart. Good job on the male version, Nikhil Menon. Also on the track “Where Gravity Fails”. You have brought back the good old soft rock back to filmy music. Also your song “Then Nila” sung by Sachin Warrier was so nice to hear. Good job on the track of “Nee-Na”. Bijibal has kept it nicely with the tracks “Ee Mizikalil” from Lukka Chuppi (love those guitar riffs) and “Ente Janalarikil” from Sudhi Vaathmeekam. And Gopi Sunder has put the curtain to 2015 with the song “Puthu mazhayaay” from Charlie.
That sums up the otherwise mediocre musical year of 2015.
“I need a table lamp”, said Ryan. I asked him why he would need a table lamp. “To study better”, he said. That must have come from some scene in a movie or an advertisement, I suppose. You know, the kids with a study table filled with books, a table lamp, a coffee mug and all that. I told him that he didn’t need one now and the light present was enough.
So he put his cuteness mode on with a begging face and I was beginning to go defenseless. Then I decided to put my good-father hat on: “You know, in my childhood, there was no electricity in the house till the quarterly exams of 10th standard. I studied under the light of a kerosene lamp at night”. As I spoke, I realized that I haven’t showed him a kerosene lamp yet. “In this house?”, he asked, glancing at the switch boards. “No, in the house that was in place. Where I and your uncles and aunties grew up”. “Where was grandpa then? Was he at work?”, he asked. I didn’t quite get that part. What did that have to do with electricity? “Yes, he was”, I said. Ryan went silent for a moment and then asked me with an empathizing face: “so you couldn’t fix the electricity because grandpa was at work?”.
So basically, he thought that it was a temporary electricity outage that couldn’t be fixed because my father was at work. This short conversation with my son made me realize that people can empathize with stories, but they would never completely understand how it is like, unless they experience it themselves. And that is not a ‘problem’ but a fact. And that is not just about one generation. Every generation that is gone, present and to come would be the same in this case. But the least we could do is to empathize.