Tuesday 1 July 2014

Kaka: Damodar Madho Mutatkar (1894-1984)


Damodar Madho Mutatkar 1894-1984
History in our parts of the world has not been an advertisement for Kakas. But if ever there was a Kaka  with enough attributes  to neutralize all the villainous Kakas of history, it was this one.

Kaka was born in 1894 as the third son/ fourth child of five (daughter was no. 2) of Madhorao Mutatkar (Kakka), Reader to the DC, Mandla. He, and his brothers, studied up to Matriculation in Mandla. In 1916/17, their father Kakka retired and shifted to Sagar where Kakka’s elder brother Lakshmanrao (Mutthe Kakka) had a successful  legal practice. Anant Mutatkar (‘Anna’, technically our grandfather), the eldest of the 4 brothers was already married  (to Anandibai Baokar)and had a son, our father Vithal in 1915. The youngest of the brothers, Trimbak left for Kashipur  near Nainital in 1916/17 to join as a Drawing Master though he used to return every year  during school breaks.

 Kaka and his elder brother Gopal (Tatya) started a cottage level  Socks manufacturing unit in Sagar  some time around 1917. Trying times were round the corner though. If the H1N1 Influenza epidemic of 1918-20 was a global tragedy, killing some  5-8 Crore people, for the  small Mutatkar family in Sagar it was a catastrophe. It took away Anandibai Mutatkar (may have been 18) and her infant second son in 1918. A distraught Anantrao took sanyas, leaving the 3 year old Vithal in the care of his parents, Kakka and Tai, and younger brothers, basically Kaka.

In the wake of the Swadeshi andolan, the socks unit did well initially and enabled the 3 brothers to get married by 1923 before it started tapering off. In 1926, a double tragedy struck in Sagar. Lakshmanrao (Mutthe  Kakka) and Kakka both died within a couple of months of each other. Before his death, Kakka called his 3 sons and told them to look after Vithal well : ‘jitna padhna chahey padhao, ye ladka khandaan ka naam roshan karega, yahee hamari vasihat samajhna’.  He must have seen some spark in the 10-11 year old Vithal and Kaka took his father’s last wish as his command.

The period around 1926 must have been very trying for Mutatkars in Sagar. Mutthe Kakka had been a very successful Lawyer and his wife and children were otherwise well taken care of but Shankar (Dada) and Sadashiv were still young, (18/15 may be) and must have needed guidance from a family elder from time to time. Kakka’s family had also been left headless with the loss of the two senior men. And the socks business was collapsing. The situation cried out for leadership and found it in Kaka.

He closed down the socks business and found a job with  Brooke Bond Limited as a Salesman. He may have had limited education but spoke good English, was always well turned out and struck a rapport with all the English officers in the company.  Vithal was doing well in school and  Kaka’s promotion to Inspector and transfer to Indore in 1930 was a godsend for Vithal’s college education. Kaka’s salary at that time must have been quite modest, with which he was supporting his growing family (Leela  born in 1928, Kamal  in 1931 and Manohar  in 1935) along with looking after Vithal’s education.   Gopalrao’s (Tatya) eldest son Ram, born the same year as Leela, was also taken to Indore ‘tyani hutt dharla hota’.

Meanwhile, with his growing goodwill in the company, Kaka had also arranged a job in Brooke Bond in Sagar for his elder brother Tatya but that was to be an intermittent happening for around 15-20 years, often requiring intervention from Kaka.

In 1935 Kaka was transferred to Nagpur but a crisis loomed ahead.  If Vithal’s  education was to continue after B.A., Allahabad was the logical place but hostels were expensive. The reasonable course for any uncle in Kaka’s position at that point would have been to ask the nephew to take up a job, but no, Kaka’s commitment to his father’s last wishes was total and brooked no compromise. If maintaining Sagar / Nagpur in addition to Vithal’s Allahabad hostel living  was to be an issue, Kaka solved it by shifting his own family to Sagar---where  the incremental expense in a running household in a family owned house would be low—and he himself lived a frugal ‘bachelor’s life’ in Nagpur. There was no compromise in Vithal’s education needs which consumed, and this has never ceased to boggle my mind, 40% of Kaka’s salary! I may add that Kaka was a big Ramayana devotee (later in life I recall his keeping  his big green Tulsi Ramayana on a custom built wooden stand every Sunday morning and reading aloud a ‘kaand’ to some of us kids) and his actions in his role as a Son, as a Brother, as an Uncle reflect that. Kaka was free from any dogma though, don’t think he ever visited any temple of his free will, he had no interest whatsoever in rituals, puja-archa and the like.

Good times seemed to have arrived  for the family in Nagpur in late 30s (and mid-40s) with Vithal, or Bhaiyya as everyone called him, getting a Rs. 25 teaching job (after completing his M.A. from Allahabad) in a night college where he was doing his L.L.B.   It was possible now for the family to rent out the Annexe of Gharpure’s bunglow in Dhantoli for Rs. 25 and for Kaka’s family to move in from Sagar. After passing his Law exams  with flying colours,  Bhaiyya got a job with Hindustan Insurance Company, got married and Shashi was born in 1946. Then came a twist – some nepotism case in the company upset Bhaiyya.  In customary display of his guts, Kaka told Bhaiyya to leave his job and study some more(!!!), never fretting that he would have 3 more members to support on his Inspector’s salary.  That is how Bhaiyya came to do his FCII (London)--exams were held in India—and he was among the first Indians to have a proper Insurance qualification. By 1951,  problems cropped up in the larger family, the Sagar establishment was coming apart, the eldest son Ram was unwell and by 51 end Tatya with wife and the other 3 children had shifted to Nagpur with Kaka. Ram died in 1952 at the young age of 23.

After clearing his FCII  Exams , Bhaiyya  got a job  in ESIC, Delhi,  I was born in 1950, Sheela was born in 1952 but by 1956 it was clear that our mother’s health was indifferent and needed constant family support.  So we were all packed off to Nagpur.  For a child of 6 or 7 there was little to be unhappy about. Plenty of kakas and atyas to pamper one, the anticipation of opening Kaka’s tiffin carrier when he returned from a ‘daura’ (he used to travel 20-25 days in a month) to find goodies like Khawa Jilbi, or Chironji, or Chikoos looked like happy times.  Running a huge establishment of about 12-15 people from a small, rented place in Dhantoli must have been very daunting  but  I do not recall a crease on the brow of Kaka or Kaku ever. They were always cheerful and it was all done ever so gracefully, without the slightest hint of a condescending attitude towards what may be termed as pile-ons today.  It can hardly be over-stressed that Kaku was the key here, she was the centre around which the Nagpur universe revolved- her story needs to be told separately by me or someone else.

In 1958 Kaka built his house  at 19, Shankar Nagar around his retirement from Brooke Bond as Controller of Stores. There are more competent persons than me to talk of the Shankar Nagar days so I will leave it there. In 1963, Bhaiyya was transferred to Ahmedabad,  our mother joined him there but that was not to last. She passed away in ‘63, Kaka/ Kaku joined  us there and stayed with us  in Ahmedabad and later in Delhi till the very end.

Cut to 1980. I was then doing well in a private company in Mumbai , Bhaiyya had been diagnosed with Cancer and after a painful struggle in Delhi/ Mumbai for a year, passed away early morning on April 12th. By that time, Bhaiyya had been the highest ranked UN Expert on  Social Security  in the world and had served in that capacity in different countries, validating Kakka’s bhavishya-vani.  But  Kaka  clearly had a huge role in making it happen. We were all of course totally shattered  by Bhaiyya’s death; Kaka Kaku both broke down for about 30-45 seconds and then the steel in Kaka came out. ‘Nahin Radhabai, ab rona band! Sambhalo apne aap ko, abhee Vithal ke bachchon ko hamari zaroorat hai’. He was 86, I was 29.

Kaka and Bhaiyya’s relationship was unique, the bond was easily stronger than most Father-Son’s could be. I spent more of my formative years with Kaka than with Bhaiyya and while both were strong influences, Kaka was the one whose clear values and uncomplicated approach to life have been ingrained deeply, not just in me but in a whole lot of us. ‘Family first’ ‘darna naheen’, ‘jo hota hai wo achche ke liye hota hai’, ‘hunda dena naheen, hunda lena naheen’’ mard aurat barabar’…the list is endless and hardly a day goes by when he is not remembered.

After the mourning period in 1980, Bhaiyya’s will was opened and the first sentence addressed to his legatees (his children) was to the effect that Kaka- Kaku were to be taken complete care of for their lifetimes. The instruction was unnecessary, as Bhaiyya  must have known. Kaka was puzzled for a moment and then wondered aloud: Vithal ko pata tha kya kee wo hamare pehle jaane waale hain?

Kaka died in 1984 in Delhi at the ripe old age of 90. In the terminal stages,  Kaku, Shanta Kaku (Late Tatya’s wife), Shashi, Sheela, Balendu Kher, Manya Kaka (Kaka’s son), Sujala Kaku waited on him tirelessly in the house that Bhaiyya had built in Saket  (I was only an intermittent visitor from Mumbai). He breathed his last, appropriately enough, on Ramnavmi, April 10, 1984.
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Monday 6 May 2013

The Real Renaissance Man

courtesy news.bbc.co.uk

Shekhar Gupta’s Walk The Talk with Farokh Engineer was pure nostalgia for people like me. Our generation --both cricketers and followers -- was probably cheated by history since  there was no TV, live or otherwise, and many notable achievers did not get their due. One of my heroes barely got a passing mention from Farokh. This is an attempt to rectify the omission in whatever small way I can. But before that, one needs to give today’s cricket lovers a feel of Indian cricket those days.

1971 was a monumental year for India.  On the cricket field, the turning point really was the tour to West Indies. One needs to remember that India’s being thrashed on foreign tours was a given those days, no one expected anything different. 0 for 4 at Lords may have been extreme but not surprising. And who were to be our opponents? The mighty West Indies. If you managed to get through the initial line up of Fredericks, Camacho, Kanhai and Lloyd, you saw their Captain, the real King of Good Times, Gay Sobers walk in. The same Sobers who had hit a hurricane century on the last day of a Brabourne Test  a few years earlier, all because he wanted to reach the racecourse by 3 p.m.! There was contempt for Indian cricket written all over that century.

Cricket selection was a topic of heated debates across India. Regional and Linguistic chauvanism (but thankfully never Religious) were always in the mix and when Vijay Merchant as Chairman of the Selection Committee dumped the Nawab of Pataudi in favour of Ajit Wadekar, there were many who remembered that in 1946, Merchant’s legitimate claims to Captaincy were overlooked by a Vizzy dominated Selection Committee in favour of fellow royal Iftekhar Ali Pataudi. But Merchant gave Wadekar a team which was a good mix of youth and experience. Among the youngsters was a 21 year old Sunil Gavaskar.

This piece is NOT about Sunil Gavaskar, but a short digression is tempting. Bombay schools cricket was a big deal in the 60s and Ramesh Nagdev, Quereshi, Solkar, Gavaskar, Milind Rege and their prospects had been discussed endlessly by aficionados, not just in Mumbai but all over India (I was in Ahmedabad then). Although some of the others also played at higher levels including Tests, only SMG had the focus and stamina to come through initiation into College, Universities and first class cricket with his reputation enhanced. There was excitement around prominent college players too and Ashok Mankad from Mumbai  and Ashok Gandotra and Vinay (or was it Raman?) Lamba from Delhi were subjects of heated discussions among cricket lovers.

The first test of ’71 West Indies tour began in Kingston, Jamaica on Feb 18 but SMG had to sit it out with an injury. Loss of a day due to rain reduced it to a four day affair. I remember a bunch of us in Pilani (where it can be 2 Degrees C in winters) heaving a sigh of relief on hearing about it on BBC World News at 4 or 5 a.m., now a draw was possible, that was the extent of our ambition. Yes, there was no live commentary from West Indies those days and we had to catch the 20 second tail end of the hourly news bulletin from BBC on our crackling radios just to get the score!

Next day, our hourly nightly vigil told us that India was 75 for 5. We had all seen this movie before and turned off our radio sets and went off to sleep. India went on to make 387 and Dilip Sardesai made a stunning 212. Only Laxman’s  281 many years later can be really called a comparable innings, in fact these were more than just ‘innings’, these were statements which heralded turnarounds for India’s cricketing fortunes.  Let me elaborate. There have been many wonderful innings and many great bowling spells by Indian cricketers over the years, quite a few of which led to India winning the match or possibly saving it. And yet, other than these two, I cannot think of a single effort in Tests which transformed Indian cricketers' attitude, on-and-off the field, for many years to come. The opposition were commanded to Respect. Remember, in 1971 there were no helmets, little protective gear and for someone to not get overwhelmed by the scorecard and launch a counter-attack against a fearsome Carribean attack was nothing short of a miracle.

We read about Dilip Sardesai’s sterling knock (and we had only news reports to vouch for it, much like Kapil’s 175 years later) with complete disbelief; Indian cricketers were not supposed to fight back like this, they were there merely to serve as punching bags for the big boys (A, E, WI). Sobers too could not recover from the shock of the display of spine by ‘sheep’ and when Wadekar asked the WI to follow-on after they were all out for 212 (follow-on margin was reduced due to the loss of a day), there was a stunned silence in the WI dressing room. WI drew that test but their confidence must  have been dealt a mortal blow.

It is my belief that SMG’s having to sit out the first Test was a huge blessing for him and for Indian Cricket. That shrewd cricketing brain must have absorbed a thousand lessons in those four days which must have helped in the tour later. For in the second Test itself, India finished what Dilip Sardesai (in partnership with Solkar and with the spin quartet showing its mettle) had started in the first. A century by Sardesai and two sixties by SMG in his debut test marked a new dawn for Indian cricket with the first ever Test victory over the mighty West Indies.  I remember there being some relief that Gavaskar missed his hundred; debut centuries were supposed to be jinxed, how many had/ have heard of Deepak Shodhan—I believe still very much around in Ahmedabad?

The rest of the series was a 'night'mare for us, for by then we were hooked onto BBC’s ghastly 30 sec updates at unearthly hours (I hope some of my professors are reading this, they finally know the reason for the drop in my CGPA for that semester!). Suffice it to say that India hung on to its lead right to the end. The last Test was a six day affair –that was the way it was played then, if after four tests the score line was 0-0 or 1-0---and I remember the fourth day ending with India, trailing by 160 odd in the first innings, at 89 or 90 for 1 in its second, SMG batting 59. He had already scored a century in the first innings and while we marveled at his boy-who-stood-on-the-burning-deck act, we all knew where it was heading. Not SMG, for, as we were to learn over the next 15 years, he always relished a scrap and this was a big one. End of day five saw him on 180 not out (and most of our hostel awake in awe at 5 a.m.!) and by lunch on the 6th day, riding on his 220, India had more or less saved the match and won the series.

Dilip Sardesai’s 642 runs in the series stood as an India record for all of 5 days before SMG overtook it with his last innings of the series. Statistically perhaps it was a most appropriate passing of the baton to a youngster who was to become a giant in years to come.

India had a scrappy 1-0 series win over England in that English summer, thanks largely to Chandrasekhar and the other spinners. Farokh Engineer, Ajit Wadekar, Vishwanath and Abid Ali played useful hands and  Sardesai and Gavaskar made vital but patchy contributions of 40s and 50s too but the best of Sardesai was behind him, the best of SMG was yet to come. Those who only statistics know will find Dilip Sardesai's test record of 2001 runs spread over 30 tests spanning 12 years @ 39 modest but The Renaissance Man had done his job, bringing alive a sleeping cricketing nation and, in a manner of speaking, handing over its cricketing future to a most capable pair of hands.
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A few posts were chosen from all the Indian Humor Blogs, for enactment  and web-casting  at the Social Media Summit backed by Google, FB and Twitter held at Taj Coromandel Hotel in Chennai in 2011.

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Tuesday 10 April 2012

The Wisdom of the Trees


This Guest Post comes from a very special person. Dr. Hema Raghavan, Doyen among Educationists and a Visionary to her colleagues, has an eye popping resume packed with superlative achievements. Currently associated with UGC as Chairperson of Committee for Colleges in the South Western region of India, Dr. Raghavan has been a Consultant to IGNOU among a host of other prestigious Universities. She was Dean, Students Welfare, Delhi University after being Principal and Professor of English, Gargi College. During her stewardship, Gargi college received the prestigious UGC Award of being a ‘College With Potential for Excellence’, the first college of Delhi University to be so recognized.

Her list of Awards and Honours is daunting too: Recipient of British Council Scholarship award, British Council Visitorship Award, Ministry of Education Fellowship for Post-Doctoral Study in UK, Carnegie-Mellon Award for Leadership, Visiting Professor to Univ. of Malaga and Granada (Spain), Indira Priyadarshini Award, International Education for Environment and World Peace Award, The Best Citizen of India Award by the International Publishing House, Rashtriya Gaurav Award  by the International friendship Society, Higher Education and Development (head) Award by International association of Educators for World Peace, International Lifetime Achievement Award by the International Congress for Women, in collaboration with  United Nations Information Centre. Dr. Raghavan has also published two books.

Today, this eminent teacher takes a walk in a park and discovers that there is so much that nature teaches us every day……
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                                       The Wisdom of the Trees
                                                                                            
Dr. Hema V. Raghavan
A casual morning stroll opened my eyes to an unresolved existential issue about the meaning of life and death. For more than four decades, I had taught Absurd Drama to undergraduate students of literature that deals with the absurdity or irrationality of existence. It had been an arduous task to discuss questions relating to birth, life and death which cannot be causatively explained with human logic and reason.  I could offer no conclusive answers to the young learner’s questions as to why we enjoy no autonomy regarding our entry into and exit from the world and how we can elicit the meaning of life that connects the two interstices between birth and death.

But the small park close to our modest flat in South Delhi gave me the answer that I had been searching for so many decades. It is a rectangular park, shaded with trees that border the cemented paths circumscribing it. Delhi in the midst of its short spring spell is riotously colourful with blossoming flowers and tender green shoots on trees that include stems, flower buds and leaves. Delhi’s trees have so much life in them when one notices how the heavier and older leaves have fallen but instantly are replaced by the new leaves sprouting.

During my daily walk through the park, I noticed that the side paths that made the borders were strewn with brownish leaves fallen from the trees. The leaves varied in size depending on the parent tree, but even in their fallen state they looked as broad as their genetic code would permit them. Barring a few that looked withered, a large number of leaves  were seen to be in perfect shape and size though they had been wrenched out of their cosy comfort of resting on the  branches and lay in heaps down below. The brown leaves scattered in multitudes seemed as though they were enjoying a well deserved rest after their long toil on the branches to let out carbon-di-oxide and to produce chlorophyl vital for photosynthesis. On looking up, I was astonished to see the trees already in leaf. New leaves had sprouted covering the naked branches with a light leafy green coating.

I marvelled at Nature’s phenomenon of restoring vitality and freshness even before the last leaf had dropped. The trees that continue to stand tall and erect do not ever mourn the loss of leaves, wisely accepting decay as a natural occurrence and celebrating the revival as a natural process of change. The trees do not despair as they seem to know that spring will fill their barren branches with living hues of rich colours of leaves, flowers and fruits. They have a greater understanding of Shelley’s lines “If winter comes can spring be far behind?”  Even if a few young shoots fall, it is not a concern for the trees for as long as the tree lives, leaves will spring forth. The wisdom of the trees in their perennial majesticity is given by The Ecclesiastes that says : To everything there is a season, and a time to every purpose under the heaven / A time to be born, and a time to die / a time to plant, and a time to pluck up that which is planted.  This is what is said in Taittriya Upanishad: “Food (the essential of life) is Brahma; from food all the creatures are born and by food they live and after having departed, into food they again enter.”

There is no need to seek answers about life and death as long as we know that the two follow each other in time. So long as we live, let us cultivate the wisdom of the trees and celebrate life- the link between birth and death – that seeks not to mourn nor despair but to hope and take comfort that without death, there can be no birth. 
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Monday 27 February 2012

Tapas Relia on Making of a Bollywood Song

You have heard his ‘Kya Aap Close-Up Karte hain’. You have heard his ‘Duniya Hila Denge’ for Mumbai Indians. You have heard his Award winning scores for the cult status Hanuman series of Animation movies. Between giving high class Film music for Directors like Priyadarshan, Nagesh Kuknoor and Anurag Kashyap, Tapas Relia has scored the Music for TVCs of  practically all the big brands you can think of: Unilever, Pepsi, Coke, Nike, Adidas, Lays, Polo, Cadbury, Dominos, McDonald's, Reliance.

Tapas exemplifies what I keep telling youngsters who ask for advice (without much success!) ---follow your passion, not your marks. Post school he dumped the beaten track and obtained a certificate in “Classical Piano” from The Trinity College Of Music London. He also studied “Composing For Film & Multimedia” & “Advanced Computer Music Synthesis & Composition” at the New York University, Manhattan. At 33, he is already a Dada of the Indian Ad Music world and you are sure to hear more about him in the future. Today he talks of Composing for Bollywood, giving lay readers a glimpse of what goes into the making of a song.----Satish Mutatkar
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 Making of a Bollywood Song

Tapas Relia
Bollywood Songs are talked of as an integral part of India’s Soft Power. Indians can hardly have a party, much less any formal celebration, without them. One question I am often asked is: How is a Bollywood Song made? I will take the opportunity of this Guest Post to answer that.

When I am asked to compose songs for a Bollywood film, the first thing I do is to read the script carefully. The director has already marked out the situations of the songs. It is very important to identify with the whole premise of the story and the characters. The reading is then followed by a few days of discussions with the director and listening to references that he might have. A director almost always has references of songs or situations while he works on the script. Understanding these references is EXTREMELY important.

Once the situation and the references are clear, the composing begins. And by composing I mean the melody. Bare melody. This melody can take birth anywhere. Not necessarily when you actually sit down to make it. It can happen while you’re driving, eating, gazing at the sky or interestingly, even while you’re working on some other project or a different song! Inspiration can strike anywhere! I’m always dependent on my iPhone to quickly hum and record an idea before I forget. And that idea, again, can be anything. A simple melodic line, or a rhythm pattern, or a bass line or a chorus/hook line. It’s quite overwhelming when you sit back and realize that the song you are now hearing has been born out of such a simple an idea.

Once you have a potentially strong  idea, you begin work on it. The very very important work of turning that bare melody into a Song-ish form to present it to your director. A rough version of what would eventually be a full-fledged song. This, in my opinion, is the single most important step that decides the fate of the song.

I have always believed that the ‘instrumentation’ (what we normally call Arrangement or Production) of a song is as important as the melody. It can make or break the song. And a perfectly nice and suitable melody for that situation could be rejected by the director just because a rhythm pattern did not appeal to him! So I’m at my creative best when I’m semi-arranging my song for a presentation.

You begin by laying down instrument after instrument underneath the main melody, in your music making software. (Purists might cringe at the word Software, but that’s how it is today) Drums, Bass, Guitars, Strings, Synths, Flutes and everything you can think of can be produced via a computer. But do note that these ‘computer instruments’ are mainly used for presentations and most are usually replaced by the real things in the final recordings.

Once you’re ready with your rough demo in a dummy voice, you call in your director and play the song. Then you turn around and anxiously stare at him for a response. No matter how many times I do this, it always gives some exercise to resident butterflies in my stomach! I have been very fortunate in that usually the Directors approve; when they don’t, that Melody goes into my Song Bank for some future use and it is back to the drawing board. Once the Director gives the nod, the technical processes of calling Instrumentalists, the Singers (hardly ever together)  and so on to a professional Dubbing Studio for the final version and then the mixing, mastering etc. starts.

Do the lyrics come first or the melody? There are many different versions of the answer floating around. Let me confidently give you The Right One --- “Depends”! Really!

There are many composers, a majority in fact, who will hardly work on written lyrics first. They  compose a melody by just humming or the usual La-La-La’s or Na-Na-Na’s, get it approved by the director, then send that off to the writer for the Humming to be replaced by Lyrics.

Then there are a few others, who prefer the orthodox way of composing the written word. I belong to this group. Give me a few good lines, and my creativity comes alive. But all Music Composers do sometimes need to get out of their comfort zone and compose without lyrics or vice-versa. For example, there might be a dialogue or a poem within the film’s script which needs to be turned into a song. Or the song might be very very situational and the lyrics are meant to tell a story and propel the movie forward. At all times, the Song needs to do its job within the Framework of the film.

Is it true everything is done on a computer nowadays? Yes.

Computers  are an integral part of the music industry today. We would be paralyzed without them. And this dependency is only going to get bigger in the future. I was fortunate enough to experience the analog old world charm before it completely vanished.  Today, putting an idea down into a song form is literally a matter of hours and sometimes minutes. Computers have enabled us to go back and do changes on-the-fly at any point in the process. They have enabled us to collaborate with musicians from across the globe effortlessly. No longer do we have to wait for a particular artist to start a project. S/he can come in later at any point and record her/his parts.

I can make a scratch (in a dummy voice) song in my Home Studio in Mumbai, mail it to my director who’s shooting in Mauritius, get his approval, send it to London for dubbing the singing if say our chosen singer Sonu Nigam happens to be there, and finally send it to LA for mixing and mastering, and re-send the final version back to my director for the shoot... all within 24 hours.

One of the most wonderful things that computers have done today is that they have made it possible for every budding composer without any solid financial backing to build his own affordable studio in a 10x10 room. All one needs today to make good music is a laptop. And THAT is truly amazing!

Are the live instrument players really out of work because of this? Not so. No matter how digital the world gets, we humans always yearn for the human touch. The same goes for the music today. Computer generated instrumental sounds are unbelievably close to the original  but they can never replace the real thing. Live Music artists come at a premium. If you add up the cost of the artists and the studio time required to record them, it is way higher than using a computer instrument. But instrumentalists are definitely not out of work, and where budgets permit, every composer prefers to use live instruments. Pick up any CD from the last few years and read the credits. You will see a ton of live instrument players credited there. There are composers who have gone to such lengths as to fly abroad to record one exotic instrument, which they could have easily almost(!) recreated here using software.

It would not be fair to complete this post without giving you a concrete example. This is one of my favourites though not so well known since it was only in the Album of ‘Hanuman’ and was hardly used in the film. The brief was to create an unusual ‘Devotional’ song. I thought hard and wondered if a Sufi style Bhajan to be sung by two male singers would work well? It had never been attempted before to my knowledge. Once I got some wonderful lyrics, I composed a ‘scratch’ (rough) and sang it in my voice to give the Production team an idea. After their approval, my voice was duly replaced by the fantastic rendition of Shankar Mahadevan and Kailash Kher in the dubbing studio and the song came alive, simply divine! Here’s a link to ‘Dariya mein deepstambh…’, enjoy:)

http://soundcloud.com/tapasrelia/02-jay-hanuman


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Wednesday 22 February 2012

Exam Fever (Fear?) - Then and Now

Arun Tengshe, a brilliant Chemical Engineer and President of a medium sized Public Limited  Engineering company based in Pune has probably Designed, Installed and Commissioned Chemical plants on all Continents over the last 40 years, with extended stays in Japan, Iraq and Oman. He recalls his SSC Exam with humour, but do not miss the underlying message. Or the Post Script I have added. Satish Mutatkar

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Arun Tengshe
Exam  Fever (Fear?) - Then and Now

Present day students and their parents really fear the board exam (Standard X). The reasons could be many but the most important ones seem to be: high stakes on the marks for future career, social pressure, peer pressure since it is the first such “public” exam in a child’s life. Nobody seems to care for the 'knowledge' part. Students start the preparation well in advance (may be from mid or end of 9th standard) and schools do not allow students to forget that they have to prepare for the exam. Most students are busy running between classes and school for 12 to 14 hrs a day. I wonder when can a student peacefully simply read the text books and complete the home work.

I am reminded of my days as a student and my preparations for the board exam. Those days (in 1965-66) it was called Standard XI (Lower SSC in Gujarat). With great difficulty, the school completed the syllabus and preliminary exam on January 24th (not one year before). The board exam was scheduled to star on March 15th.

I went for a selection camp for state level sports from January 27th. After a couple of days of trials, I was selected for the state hockey team. The selected team underwent a 6 days coaching camp and then left by train to go to Shillong, Assam.

After a long train journey (more than 4 days), we reached Shillong. We played the games as scheduled (and lost most of them) and left Shillong after a stay of 10 days. On our way back, we went to Darjeeling for sight- seeing.

Some of the sports persons who were in the state sports teams were in Standard XI but most were not appearing for March exams. They had decided to appear later in October and were surprised to know that I had decided to appear in March itself.
Finally I reached home on March 5th

I had  to now pick up the studies from where I had left in January as I had not taken any books on the “sports outing” ( as I did not expect to get selected). I went to the school and met my teachers. I collected about 25 sets of the preliminary exam question papers of best city schools. In addition to reading the text books, I started solving these question papers. I had only 10 days to complete this exercise and physically I was not 100 percent fit. I used to feel sleepy due to the long train journey and tasty home food after a month or so. In any case, I could not study for more than 8 hrs in a day.

On the last day before the exams, March 14th, a housing society in the neighbourhood screened a popular Hindi movie FREE. I could not resist the temptation to see it. and  went for it at night. To use today’s language, my parents were quite ‘chilled out’ and did not stress me about studies even once.

The exams were for 2 subjects each day and they would start at about 10.30 am and finish by 5.30 pm with a 1 hr break. In the first exam for a language, I actually took a nap (accidentally) as I had become used to afternoon naps.

I performed reasonably well in all subjects and my 6 weeks of adventure prior to the examination did not appear to have too much of an effect on the results. The point I wish to make is that is today’s system creating robots by rote learning instead of creating healthy, well rounded individuals with varied interests? All of this would perhaps have been understandable if, at the end of the conveyor belt, the Engineers (and other professionals) coming out were better today than 40 years back. After close to 30 years of recruiting Engineers at different levels, I very much doubt if that is the case. Which brings me to a corollary perhaps some educationist can better answer: if, at the end of the day, we are not getting better Engineers or other Professionals, are the coaching classes which have mushroomed in every nook and corner of India serving ANY purpose whatsoever in the larger Educational picture?
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P.S.:  Before  readers rush to follow Arun Tengshe’s example, let me mention what he has modestly glossed over. After such ‘eventful’ exams, he was 29th rank holder in the SSC board in Gujarat with 98% marks in PCM.  But the larger question remains---would he have been any better off standing say 5th in the Board if he had missed out on the priceless education his trip to North-East then must have been?  Professionals in the Education domain--and others-- are invited to answer the question Arun Tengshe has raised.

Satish Mutatkar

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Monday 20 February 2012

Dr. Ravin Thatte on 'Advaita'

He is the stuff of Legends. For over 20 years, while serving together on sundry neighbourhood committees, we have differed often, which is not surprising considering that my one eye is often closed and his both eyes are ever vigilant. Despite being on the opposite sides of arguments so many times, I can honestly say that I know hardly any one for whom I have greater respect today. I introduce to you our first Guest Blogger, Dr. Ravin Thatte.

Dr. Thatte’s resume is daunting. Internationally renowned Plastic Surgeon, First recipient of  the Life Time Achievement Award of the Association of Plastic Surgeons of India, credited with more International Papers on his subject than anyone in India, he has selflessly given his services free to hundreds of poor patients over the years. His contribution to social issues ranging from Environment, Language, Culture, Science and Civic matters such as RTI are known to half of Mumbai and beyond. A deep thinker, his translations of Dnyaneshwari, the great Marathi work of Thirteenth century Poet-Saint Dnyaneshwar, into English introduced a new generation to the ever green, ever relevant masterpiece. At 73, he is more active today than most people half his age, and, inevitably, he is also a prolific blogger on his Medical speciality at: shortnotesinplasticsurgery.wordpress.com.

For today’s Guest Post, Dr. Thatte has contributed the text of a recent speech he delivered at  Maharashtra Institute of Technology, Pune,  for a  UNESCO sponsored seminar on the Advaita (monism) philosophy.. As an appetizer I quote a random excerpt  ‘….please realize the idea of God was invented by people who thought the earth is flat and the sun revolves around it’. If you can spare some quality time to read and a bit more to think, you are in for a treat…..

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'The first verse of Dnyaneshwari sums up the nature of the universe'

Dr. Ravin Thatte
The first verse of the Dnyaneshwari begins with “Aum”. This vocalized sound when expressed by man is without any taint of peripheral articulatory intervention, such as palate, tongue or teeth. It is reverbatory in character. Reverberation producing a vibe or a vibration. It is both a pulse and an impulse. Also poetically and figuratively supposed to emulate or mimic the snoring sound of that or it which predates everything that we perceive as the cosmos. It is the pre-cosmic throb or the sound that the universe will later hum. Never mind the fact that sound as we know needs an atmosphere to travel. But if light can travel through vacuum as waves, so can this throb or the pulse. If there was something in the beginning it had to have an existence which quivered or quickened. The word ‘spandan’ in Sanskrit which has no linguistic parallel in the English language is meant as all of the above as well as the quickening of the child in the womb. That thing from which the cosmos was to spawn had to have a presence. Even a stone inert as we think it is, is alive with the sub-atomic movement in the silica of which it is made and that stone is trying to dig its feet deeper into the earth by virtue of gravity. The movement of the electrons might appear to us as random but the madness in that randomness has to have a method and you cannot imagine a movement without its hum. At the beginning this so called sound might have been contained within a pin point dot awaiting that happenstance when it will expand with a roar. The basis for that roar was this miniscule throb. That throb in that dot could only circle around itself and did not have the physical presence that the dot might have had and has therefore been called a “shoonya” or a zero. The dot remained a dot because all its potential forces were cancelled against each other leading to a dynamic equilibrium where it could be said everything rests or wrestles with each other and loses. That cancellation had in the human mind a vacuous characteristic also leading to the concept of nothingness. It or that thing was both full and empty, a fullness which could not be emptied, a fullness when divided continued to be full and also throbbed. It was not like the sound which comes forth with the beating of the drum. It has been called ‘anahata’ because nothing was beating against each other. It was beating by itself. This beat was to spread through the cosmos and then our earth to produce what we call sound. Bird song, the mewing of the cat, the animals growl, the whistling wind, the majestic purr of the sea, rustling of the leaves, the bubbling of the spring, the morning call of the cock, all owe their origin to this original pulse and impulse. Man was still to arrive. There was no one around to ask that philosophical question, was the sunrise beautiful before man came to describe it as such? When man appeared he was fascinated by both sound and light, by what he could hear and what he could see but he felt friendlier with sound because he could produce sounds himself. Light was alien. It came from far, it came and went. It was ethereal, not innate. Helen Keller, the blind and deaf diva of the handicapped world when asked is on record to have communicated through gestures that ‘she would rather be blind than deaf’. Man thus played with sounds and created vowels and consonants and words and grammar and sentences and prose and verse and music. He played the flute, beat the drums and strummed threads. He did it alone and together. Sometimes someone sang and the others listened. It has been said that in nature no sound is out of scale or out of tune. There is a sur in nature which never becomes besur. The seven swars in all the music systems all over the world have been borrowed from nature. Man learnt from this phenomena to create a body of work which sent out waves when sung that seem to set aflutter the very thump of our entrails. Man thus experienced somewhat a return to the original anahata naada. The sublime experience of listening to Bhimsen is in fact not compartmentalized. The singer and the listener both undulate to an auditory experience where the ear of the ear comes in to play. In more profound moments the singer tends to close his eyes and even puts his hand over his ears. Those are not mere gestures or mannerisms. The singer is telling us that the external ear is long lost. There is no need to listen but only to feel. This is what is meant when it is said ‘converse without speaking, feel without touching within a gentle quiet heart’. But these exalted moments when we reverberate with the drumless drum are short lived. We rise for a moment and soon fall to our mortal masks. The very development of language defeats it own purpose. The art and act of communication presupposes more than one entity and therefore duality. In that slightly fanciful, imaginary thinking when life begins and says ‘I am’, the other has to be present and comes into existence. When life says ‘I will struggle to survive’ that this survival will occur at the cost of another looms large and a conflict is a distinct possibility. When life gets permeated by intelligence, the effects however can be diametrically opposite. Intelligence has the potential for wanton disruption as well as fecund construction. The ravaging effects of mans activities over evolution which occurred over hundreds of thousands of years in a matter of two centuries is a point in example of this destruction.
The stage is now set for enunciating the second word in the first verse, ‘Aadya’. As in primal or first or ancient. The first as in number 1, the twin of the reverbatory phenomena also imagined as zero. The bi-carmal system of numbers is now in place. Any kind of number can now be written down leading to an endless chain or series, variety looms, diversity becomes a rule. Comparisons can be made, movement can be measured, time comes to be counted and nature unfolds. The bumble bee and the butterfly, cats and caterpillars, dogs and donkeys, emus and elephants, monkey and man and also woman and the Gods in their imagination. This is the zone in which love, lust and longing, expectation, aspiration and ambition and struggle, failure and triumph happen with or without faith.  Evolution is a series of events, a flow that slowly meanders taking a path of least resistance and occasionally showing persistence when confronted with hostility and obstruction. It adapts and moulds or may perish or fold. Its course is inexorable, many lights burn bright and then dip and dim and extinguish. Seasons come and go, rutus in a rhythm, we get drowned in our own environment, nary a thought for what is behind all this. It is within us, around us, behind us, but we lose it.
Is this all motivated or designed or planned? Does the Aadya have a mind? Is it intelligent? Does it have a drawing board? Does lightening strike out of vengeance or do rains sulk out of displeasure? Do floods and cyclones and storms wreak havoc to settle old scores?
It is in fact none of the above. The aadya has been described as blind, lame, old and as if in a final insult of a neuter gender, neither a man nor a woman. It is alone. Space is yet to form and movement is impossible so a verb fails. It is incomparable because there is nothing to compare it with so an adjective will not sustain. Name it what you want. The word God or Parmeshwar is very popular. Brahma is more logical and linguistically more accurate because it spreads from the Sanskrit root ‘Briha’. From it comes creation but the word Aadya does not imply or envisage an entity called the creator. It is not a karta or subject, nor does it perform as in a verb or a kriyapad and it does not contemplate a karma or object. The sentence that ‘it created the cosmos’ therefore falls flat on its face. The cosmos or the world emerged from it is an expression that can survive in human language which has been around for not more than 15,000 years against the billions when the cosmos actually started expanding. This emergence can now sustain the artificiality of a subject, object and action all of which were bundled into one in that entity called Aadya or also called the primal or in the language of physics the singularity. To the discerning however, traces of this unity is evident in an objective experiment. When two fundamental particles say electrons are propelled in the opposite direction at the speed of light which cannot be surpassed during their travel in the opposite direction if one is tickled, the other wiggles. This is beyond human comprehension because physics cannot explain how two simultaneous events choreographed at a distance and at the speed of light in opposite directions. What emerges is the umbilical cord between the mother and the child. Aadya is the mother and the particle only its child. Not to mention the fact that the particle itself is sometimes a wave. It is not difficult to believe that these waves form a chain link and this link is dotted with these particles and its undulations are a one single whole. To answer the sarcastic question ‘does the flutter of a butterfly’s wing in south America could cause an earthquake in Scotland’ one can say it is not that an apple falls on the earth because of her gravity but theoretically the earth too falls on the apple because the apple too has its gravitational force and there is no such thing as up and down in the cosmos. The protagonist in the Geeta is bamboozled when he is shown the cosmic apparition and mutters ‘what is here, above and under, east and west have all gone asunder.’ The Aadya is not partial, it is always full. It is infinitely fine yet it never drips or drains. The expanse that came to be created from it shares the Aadya or the primal completely. As to why evolution came about it is simply a karmic event. We continue to know more and more about the antecedents of many karmic events but history stretches too far back and the human condition too short to grasp the whole truth at least at this moment. The experiment to observe the Higgs God particle is also a post-facto experiment. It hopes to mimic the conditions immediately following the so called big bang by ascertaining the resistance to the post-event force field to this particle. It remains one step removed from the aadya.
The next word in the first verse is ‘veda pratipadya’. The word ‘veda’ is a generic term for a certain literature but the root of ‘veda’ is ‘vida’ in Sanskrit to mean ‘to know’. This knowledge can be inspired or can be acquired by observation and then reaches a conclusion. The observational element is related to the word ‘video’ in another language and also to ‘vidya’ in Sanskrit both arising from the root ‘vida’. The word ‘pratipadya’ requires to be split in to ‘prati’ to mean towards but the other half ‘padya’ is more consequential. The word ‘pada’ means a term. When a term assumes a meaning, as in ‘arth’, you get a ‘padartha’ and this meaning can only come out when the term describes something. A table is as such when it stands on one or many legs and it then becomes a ‘padartha’. Till then it could be either wood or steel which too are ‘padartha’ but in a different form. The word ‘veda pratipadya’ therefore collectively means that the aadya with which we were struggling so far in this presentation is the subject of discussion or comprehension of the veda. The word has a starkly liberal hue and is open ended. It negates or dismisses any fundamentalistic or rigid position. Elsewhere it has been said that to know the aadya is equivalent to walking on your back or in the western example to pull yourself up with your own boot straps. The word opens avenues to different systems by which the singularity can be approached or sought. You can reach it via nature by observing her both in the gross as well as in the minute but you can come to know of it by turning inwards and then feeling its presence in your sanctum according to a unverifiable theory. The dialogical method of Socrates in the intellectual domain, Plato’s contemplative and intuitive description of the material world as geometrical condensation of space or Aristotle’s search of the truth by observing nature and natural forces all fall in the ambit of the word ‘veda pratipadya’. This is like a Pilgrims’ Progress through physics or physiology, chemistry or carbon dating, archaeology or anthropology or by just the opposite by turning your mind around by meditation to savour what lies at its back. By a simple process of successive reduction you are likely to arrive not at the aadya but only at the concept of Aadya. As to the question of what will happen to information if it is gulped by a black hole so full of gravity, it has been argued that the word information is about formation or form and for anything to form, time is of the essence however small it may be. In a black hole or the aadya, time stands still and even light cannot escape it beyond its horizon. Therefore the question itself gets invalidated. Form, formation and information are post-facto to the entity called aadya and therefore language fails. The aadya has no history or for that matter geography. You can describe what follows it or what issues from it but it cannot be described. It will not burn nor get wet nor be cleaved because it is fire, water and weapon all in one. It encompasses all possibilities and is and also was. Next word of the first verse is ‘swa samvedya’, the prefix ‘swa’ is self, for the rest we have to return to the verb ‘vida’ to mean, ‘to know’. In Sanskrit the verb progresses to ‘vedana’ to mean a sensation or a feeling. Its current usage as pain at the physical level or sorrow or sadness at the emotional level are somewhat contrived. In some Buddhist schools vedana remains only a sensation, a series of events which constitute your mental life. The whole word ‘swa samvedya’ therefore implies that the singularity or the aadya or the Brahma is alone privy to its own sensation. There is no centrifugality attached to its vibe in its pristine form. It is curled up on itself till it unfurls. The modern terms extrovert and introvert might just give you a glimpse as to what is meant here. But that is pure oversimplification. The introvert who jams up within himself is subject to suffering in spite of and because he fails or refuses to communicate. He is bottled up and unlike in the singularity the forces that seethe within have not cancelled each other. The introvert appears quiet but is in fact not calm. That calmness will come only if the vedanas or the sensations which arise from the external world are perceived in a certain perspective and allowed to cancel each other to create a zero. The calmness that will then ensue will then border on what is often called as bliss. The Patanjali school who asked you to focus on your breathing know that breathing alone is both voluntary and involuntary. In medical terms it has both a hastening mode (sympathetic) and is subject to a slowing mode (parasympathetic) and the collective is called the autonomic nervous system. The oldest of our ancestor systems from the time of the amoeba. The Patanjali technique unveils only a portal and breaks open the lock and allows you to enter yourself free from the outside world to approach the inner realms where each organ, organ part or even the cell partake in an unique collective existence. When the mind empties your own real internal person is revealed to you. The verb ‘swa samvedya’ is posited for the human intelligence to contemplate and to aspire to as an ideal. This is about returning to your roots to shake your umbilical cord which stretches back millions of years to confirm and validate your primordial existential ancestor. And now we come to the last word in the first verse ‘atma roopa’. The word in a way is devolutional. The word ‘atma’ has many meanings but one of them is vitality or vital force or spirit and any force by the standards of modern physics has to have a field. This roughly in Sanskrit is the ‘kshetra’ of the 13th chapter and you are the ‘kshetradnya’ or the subject of this field. The word ‘roopa’ means an appearance or a form. A combination of a vital force and form can in fact be a contradiction unless one evolves from the other or is contained within the other. Modern physics should endorse this intuitive construct that a wall breaks your head but a cotton pillow does not is all a matter of how much force or energy is packed in it and the nature of matter that has been formed. The transformation of energy to matter occurs when you wind an old grandfather clock which in the process gains weight. A car travelling at great speed weighs more and so do you if you are within the car. As to why you cannot travel at the speed of light is explained by a paradox which comes out of this principle. When speed increases the mass of the object increases, leading to some deacceleration. When the speed of light is being approached the mass increases in such humungous proportions that it itself becomes a greater hindrance to acceleration. A photon, the particle in physics which constitutes light can do this impossible task because it has no mass. In a way the constraint of time does not apply to a photon. That you see the sun several minutes late because it takes that much time to travel to your eye is in a way correct but also false because there is no such thing as old light and new light. Light is ubiquitous that is forever present at all times and everywhere and the same at each place. The duality of ‘atma’ and ‘roopa’ therefore is a “non” unless you compound the word and call it ‘atmaroopa’ and present a logical reality. This transformational characteristic should appeal to modern physics. True, it takes a huge amount of energy and a certain circumstance to create a gram of matter but it happens and that is why we have the well known equation of e=mc2 where c is the speed of light which is huge and unsurpassable but that is because we judge our events on the backdrop of time. If events occur at the speed of light they will only be a flash or even not that. But when under more sedate circumstances energy does get transformed into matter or mass with a lesser speed a clock weighs more when it is wound up. As I speak to you the dance of the ‘atmaroopa’ continues unbridled from the chemicals of my neurons through cables called nerves to the vocal chords and their mechanical flutter to the mouth to a variety of articulations and then their land fall on the diaphragm of the microphone onwards to a copper coil within a magnet to new cables with movement of electrons within till it falls on your eardrum then through the mechanical movement of your ossicles to nerves and your neurons with their chemical energy. The results of these actions might not be uniform. This is the zone of anger, envy, pleasure or pain, bitterness and betrayal, bonhomie and brotherhood and also an area in which credit cards, floor space index etc. thrive. Some might think I am wordy and verbose making too much out of nothing. Others will find fault with my ideas. Some might think I am very flippant about too profound a subject. Some might be prejudiced by my earlier presentations. Others might think I am not religious enough. How can a person they would say who is speaking on Dnyaneshwari not mention God or Parmeshwar with any dignity? Others might even think that I will suffer for this offence. But please realize the idea of God was invented by people who thought the earth is flat and the sun revolves around it. But mind you all this appears in a pre-existent screen. That screen can be clean or covered with dust or it might be cracked or splintered, not what we inherited at birth or at our conception. That screen or consciousness too has evolved from the cytoplasmic brain of the amoeba which warns it of dangers and tells it to divide when circumstances force or facilitate a division to animals who are more complex but mainly instinctive to us whose internal mental environment has so evolved over the last 50,000 years that we gather here to discuss what this is all about.
I leave you now without mentioning the word ‘advaita’ or monism. The idea of this seminar was to be dialogical to exchange ideas and viewpoints and not to wave a fundamentalistic flag which is alien to the Indian tradition. It has been said that each truth begins as a blasphemous idea. In that respect the first verse of the Dnyaneshwari is blasphemous. I am not sure because I am no pandit but I think the gender allocated to adjectives that are contained within the first verse are masculine and therefore a mistake and that statement of mine is also blasphemous but that must not occupy our mind as we contemplate what Dnyaneshwar was driving at under a set of social circumstances. This is not about a caring, creating and killing God. That idea is human, very convenient, probably practical and useful and therefore has survived and might have even been responsible for causing inter-religious havoc. But that idea I think appears on an already cracked and splintered screen. That virgin clean screen that we came with needs to be kept clean if we have to logically approach our ancestor. That screen came from the ‘aadya’. We need to discuss it through ‘veda pratipadya’. It must remain unsullied by our mental and physical experiences, ‘swa samvedya’ and we must realize that our essence is energy, transformed into matter and it inhabits every cell and sinew of our being, not only the brain. I thank the organizers for the invitation and also thank the audience for their patience.

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Monday 13 February 2012

Looking Back Looking Forward

courtesy smrlc.org
May 19, 2011. I got worked up over some TV News channel’s hypocrisy and posted my first Blog ‘Ponzi Schemes’. Today, less than 9 months later, I am posting my 100th Blog-post covering both the blogs, the satirical ‘oneeyeclosed’ and the more serious ‘botheyeswideopen’. The first few posts barely averaged 15 views; the last few have been in the 1500 zone regularly. Miles to go, yes, but also time to say a real big big Thank You to all my readers.

As all Cricket lovers know, a century is no time to get carried away, it is time to take a fresh guard. In the context of Blogging, it may also be a good time to review the experience so far and to see if some changes are warranted.

When I started Blogging, I had no clue whatsoever about this new universe. Just as well, perhaps. If I had known a bit more, I might not have ventured into this field and missed out not only on re-connecting meaningfully with some old friends ---Deepak Swarup Agarwal from Jaipur, Rakesh Bansal from Faridabad have been particularly supportive along with Arjun Badlani, Arun Tengshe, Bhupati Das, Bighna Nayak, Jasveen Jairath, Krishnan Ramachandran, M.S. Gilotra, Narayanan Shankaran, Prabhat Lall, Pravin Rattan, Ravi Bhatnagar, Ravi Srivastava, Smriti Dagur, Sunita Sethi, Tribhuvan Dhingra, ---and stalwarts like Dean Nattu Pilani or brilliant youngsters like Anish Gawande, but also on making new ones from the Indiblogger family like Rene Ravin, Indu Ravisinghji, Saru Singhal, Sujatha Sathya, Arti, Barun Jha, Raj Kumar, LeoPaw, Magiceye, Hariharan Valady, Seema Sharma, Farida Rizwan, Mathivanan Rajendran ….the list seems endless, so I may please be forgiven any omissions! Truly a collection of ‘Old Friends and New’ and tons of thanks to all of them for the ever encouraging attitude. And yes, one does tend to take the larger family for granted so I am not mentioning them individually but one knows that they are all there.

Coming to the changes in the pipeline, there are many serious topics at Micro level which are crying for attention-- Education, Health, State of Hospitals, Energy, Urban Planning. It is a long list where there is a mismatch between my anguish at the state of affairs (high) and my awareness of possible solutions (low). I would like to invite Guest posts on ‘botheyeswideopen’ for any of these or similar subjects---aur bhee gum hain zamaane mein. I am well aware, and consider myself extremely fortunate, that among my readers are people with exceptional expertise in their areas: people who run 20,000 Crore Corporations, people who have served at practically the highest levels of Indian Civilian and Military establishments, Entrepreneurs who have built 100 Cr.+ companies, MDs and former MDs of  large Indian Companies and MNCs, eminent Educationists, people who have run Electricity Boards,  Dadas of the TV, Ad and Music worlds, pioneers from the Indian Animation universe, people who are passionate about Water or Nature, some of India’s most renowned Doctors and NRIs creating the state-of-the-art  in different countries (40+ according to Google).

It would be tragic if the vaults containing this treasure trove of knowledge and expertise are not opened simply because these masters may not have the inclination to start and nurture a Blog. Writing a 5-600 word piece from time to time may be more manageable. From Energy to Copyright issues or the quality of Recruits in IAS or IAF, or whatever  else you are passionate about, or you want to simply write a nostalgia piece or share an illuminating incident, ‘botheyeswideopen’ could be the platform. Do note that this blog does not have any Copyright protection.  I will work on strengthening its reach over the next few months, much work needs to be done on ‘botheyes…’ for this.

For ‘oneeyeclosed’ also I have some changes in mind which will be shared in the fullness of time. This post, with a  change in Title (‘The Hundredth Post’ on the other one) and Visual will be put up on both the blogs. In effect two runs from 99 to 101 instead of a timid single! Will the changes contemplated succeed? Who knows! But when has the fear of failure ever stopped me from attempting anything?
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