Bhangra icon teams up with pop maestro
Mohit Goswami
AFTER having produced most of his albums in London, bhangra icon Malkit Singh has now teamed up with pop maestro Jawahar Wattal to bring out a new album, for which he has recently been recording songs at Ad Camp Studio in New Delhi. After the release of the album "Kudi Patoley Vargi", an instant chemistry has developed between the two.

Camera that shot ‘Pather Panchali’
A heavy black metal with bulging lens and a couple of reel holders perched atop is the Mitchelle camera through which legendary filmmaker Satyajit Ray shot his first film — "Pather Panchali".

Bhangra icon teams up with pop maestro
Mohit Goswami

AFTER having produced most of his albums in London, bhangra icon Malkit Singh has now teamed up with pop maestro Jawahar Wattal to bring out a new album, for which he has recently been recording songs at Ad Camp Studio in New Delhi. After the release of the album "Kudi Patoley Vargi", an instant chemistry has developed between the two.

To be released by Times Music, this folk-based Punjabi album has eight songs. A firm believer in the magic of rustic bhangra beats, Malkit claims that his new album will be completely traditional with folk-based dance numbers. He admits that he is amazed with the style of working of Wattal.

Talking about his style of music, Malkit says he combines Punjabi folk with Western music to make it appealing to the Punjabi youth abroad. He asserts that he is never going to sing English numbers. As for bhangra in general, he says there is no bhangra without the dhol and the tumbi. He listens to virtually every Punjabi music album that is released.

In his opinion, bhangra music is currently very fragile as it lacks strength, power and depth. He is saddened by the tendency of singers to rely only on one song of theirs to make their album a hit, which is a poor reflection of their talents. Confident of a greater audience for bhangra music, he foresees a bright future for it. According to him, bhangra will not die as long as Punjabis are there to keep it alive.

Elaborating upon the lifestyle in the UK, he says there is safe and clean environment, respect for individuals and concern for human rights there. He adds that the people there are not vulnerable to abuse and corruption. Though he likes the way of living in the UK, he misses India.

A devout Sikh, he prays every morning, especially before a stage performance. He states that he is very disciplined when it comes to stage ethics and does not allow consumption of liquor or meat during shows. He modestly states that whatever he is today is with the grace of God.

After passing out of college in Jalandhar, Malkit migrated to England in 1984 and started his singing career in the UK Bhangra Group. Since his group required a name, the members agreed upon Golden Star, as he had been awarded a gold medal by Guru Nanak Dev University in Amritsar. A fan of Kuldip Manak, Malkit admired the late Nusrat Fateh Ali Khan, who was also a close friend. He has carved out a niche for himself in London and his songs have regularly featured in the music charts in the UK.

His first hit was from his first album "Boliyan" — Gud nalo ishq mitha..., but it was with Kudi garam jayee kudi naram jayee... that he really became a singing sensation in 1987. His international recognition was consolidated with the release of Tootak tootak tootiyan.... He also recorded a song titled Independent girl... with Apache Indian. A recipient of many music awards, Malkit has pinned high hopes on his latest effort.

Camera that shot ‘Pather Panchali’

A heavy black metal with bulging lens and a couple of reel holders perched atop is the Mitchelle camera through which legendary filmmaker Satyajit Ray shot his first film — "Pather Panchali".

Decades later and nine years since the master himself was gone, the camera too has started gathering dust in a cardboard box at a godown of the technicians’ studio here in Kolkata.

The camera was borrowed from Arora Studio, one of the pioneering studios of the Indian film industry, by Ray who had to pinch on every penny to complete his masterpiece.

Awards followed after "Pather Panchali’’ hit the screen and the camera became an integral part of Ray’s filming before the Arri Flex cameras came in vogue.

After the death of Ray it was decided that the camera would find place in the Satyajit Ray Archive to be set up behind the erstwhile Radha Studio in central Kolkata. But the city is yet to see the archive and going by the facts it will take some more years before the museum or archive comes into existence.

Director Dilip Basu cited lack of funds as the main reason behind the delay. He said, "As and when funds are coming in, we are going ahead with the project’’.

The project had started way back in 1995, when the foundation stone was laid by then Union Minister of Information and Broadcasting K.P. Singh Deo. Since then a whole term of the West Bengal Government had passed without the project picking up pace.

The film maker’s son Sandip Ray had also given up hope. "Too many plans were conceived, but none materialised. We restored my father’s films, but even these could not be used. I do not keep track of the project anymore. I go to Ray society once in a while, but nothing more than that.’’

Society secretary Aditi Nath Sarkar said, "The building is still incomplete and only after it gets its shape can we really think of restoration and display.’’ A grant of Rs 20 lakh was sanctioned by the National Council of Science Museums, who promised to set up a museum in the Science City complex. But the fund was not granted for lack of any positive step and concrete plan, he added.

Mr Sarkar asserted that funds were not a problem, but at the same time he said "The fact remains that we neither have any will, nor any initiative to make things happen." UNI

SIGHT & SOUND
Goodbye, ‘Good Morning, India’
Amita Malik

DISCRIMINATING viewers have seen many casualties of the ratings rat race, but few as mindless and cynical as the forthcoming demise of "Good Morning, India". As the first classy morning programme on Indian TV, it became the role model for the many that followed on other channels, which slavishly copied its format: A cheerful young man and woman, who took you through the day’s news, introduced you to interesting visitors, carried birthday wishes, astrological forecasts for the day, weather and business news in brief, popular cuisine, hobbies like flower arrangement and, of course, TV’s staple diet of films. It not only made us wake up to a modern, pulsating world with a spot of tradition thrown in, it also threw up some of the best anchors on Indian TV, Sharad, Shireen, Arup, more recently Ruby Bhatia, all of whom lent style to the programme. And now, by the end of the month, it is to be scrapped for bhajan mandalis and the like.

I am one of those who respect those, particularly senior citizens, who like to wake up with religious thoughts, and many channels carry them. But usually this is at an earlier hour than "Good Morning, India" and its clones and there was surely enough space on the channels to accommodate both. In fact, whenever I got up early enough, I enjoyed the sessions of Indian classical music which came on Star Plus, they probably still do. But to explain that forward-looking morning programmes have low audiences is to make a damaging statement about minority programmes.

Most people, particularly urban audience, like to wake up to a brisk, fast-moving, practical and varied programme, which they can watch or listen to while getting ready for office, making and having breakfast, or, for stay-at-homes such as this columnist who work at and from home, lazing in bed or on the verandah over morning tea or coffee and brightening up for the day ahead. I hope when Prannoy Roy starts his own channel, GMI will come back with a bang, as it has a loyal band of viewers who are outraged over its premature death and clamour for its return.

Strange are the ways of commercial channels out for ads, no sensitivity to special viewer needs or minority audiences which might include opinion-makers and trend-setters. But still more strange are the ways of the so-called autonomous public service broadcaster, the one and only Doordarshan. While a succession of IAS DGs and CEOs with no idea of the programming or responsibilities of a public service broadcaster flit in and out of Mandi House, its professional status and values have been steadily eroded until DD has been reduced to just another runner-up in the ratings rat race.

The last DG who also served as President of the Asia Pacific Broadcasting Union (ABU) and was a very high-up in the Commonwealth Broadcasting Organisation and rose from News Editor in AIR to be DG, was P.C. Chatterji, who has also written authoritative books on Indian broadcasting and philosophy. The only IAS man who not only understood the medium, but stood up for the professional staff of Doordarshan was Bhaskar Ghose and the news correspondents of DD whom he defended against the encroachments of the CIS, who eat their cake and have it and get all the plum postings, found in Ghose the last hope of the broadcasting professionals of AIR and Doordarshan. They have been hoping in vain ever since he left.

And now we are in a ridiculous and ironic position where large chunks of DD’s prime time are being sold out to outside commercial interests, including foreign adventurers. Having known AIR and DD for all these years, both from the inside and outside, I can say with all the emphasis at my command that the house staff both in the Capital and the regions have enough talent, experience, dedication and expertise to manage most programmes on their own.

They also have, at least in the CPC, enough modern equipment to make technically excellent programmes if allowed to do so. They have been thoroughly demoralised, whether news correspondents, feature producers or specialised staff for programmes of the type DD should emphasise, such as for women and children (I saw excellent examples of both in Hyderabad) interview programmes, such as the delightful conversation with Saurav and Dona Ganguly from Kolkata, to say that the staff should be given the incentive and encouragement to do their own thing. Only high-budget serials and sports should be given out on merit, and not political considerations or with corruption charges dogging them. And no outsider should be made DG or CEO without prolonged basic training in media management at some internationally recognised institution, such as the BBC.

Finally, the government should take a long look at the sensible suggestions made by the Shunu Sen report and implement them before it is too late. Otherwise the IAS amateurs, in concert with politicians and corrupt individuals and organisations, will sound the death knell of a once-proud professional organisation which has not only lost its identity but also its soul.

AUDIOSCAN
With Ghai stamp
ASC

YAADEIN (Tips): In standard Hindi that one has read, you remember a person, place or thing. That is why it is always Teri yaad aaa rahi hai ...or Hum tumhe yaad karte hain.... Here comes Subhash Ghai with his prestigious film and tries to change the rules of the language. In his film it is repeatedly Yaadein yaad aati hain …. If you can swallow that, you will swallow anything.

That technical objection apart, his film has quite a melodious score. Nothing funky or radical there. As usual, there is underplayed elegance about his music. Even where the tunes are fairly Western, there is inherent Indian-ness about the lyrics. Must have been quite a job to keep Anu Malik in leash!

Despite the restraint, Malik has a massive Rehman hangover. He seems to be paying a furtive tribute to the maestro through songs like Aye dil-dil ki duniya mein … . The structure as well as the singing (Sneha Pant and K.K.) is typically A.R. Rehman.

Malik has some authentic original creations as well. Perhaps the finest is Eli re eli, kaisi tu saheli … (Kavita K. Subramaniam, Alka Yagnik and Hema Sardesai). This beautiful song can be safely placed in the league of the finest. Anand Bakshi is the lyricist.

Theme music is also good.

GADAR (Zee Records): For audiences in Punjab, the music of this album may be old hat, but it may pack quite a punch for those not familiar with Punjabi folk. Music director Uttam Singh has brought to celluloid this kind of music without taking too many liberties.

Interestingly, one particular folk song is there in three different versions. It is Udja kale kawan …. First Udit Narayan sings it solo. Then Alka Yagnik and Nihar S. join him in the "search" version. On side B is the "marriage" version of the same song.

Lyrics are trademark Anand Bakshi stuff. Main nikla gaddi leke … is particularly lively. In contrast, Aan milo sajna …(Parveen Sultana, Ajoy Chakraborty) is in pure classical mould.

Hum juda ho gaye …(Preeti Uttam, Udit Narayan, Rakesh P.) is full of melancholy. Preeti gives a good account of herself in a traditional "shaadi geet".

MAIN HOON TANHA (Tips): Josh is a Canadian group comprising Rik (responsible for vocals, percussions, lyrics, arrangements and compositions), Q (vocals, synths, guitars, lyrics, arrangements and compositions) and Rup (vocals, percussions, lyrics, arrangements and compositions). For their foray into India, they mix eastern with western. Surprisingly, Punjabi influence is not as strong as one would have expected considering their local roots.

The title song speaks of different forms of spiritual loneliness. Musafir … is about a person at the crossroads of life. These two and Socha jo tha … are the songs which separate the album from the run of the mill. New experimentations in music are a welcome change.