When my friend Anand gave me Desmond Morris book - ‘The Naked Ape - A Zoologist's Study of the Human Animal’, I simply couldn’t refuse. It would have been stupid to refuse Anand Khedkar, promising young Indian scientist whose appetite for books and filing patents thankfully remains insatiable.
This book catches your attention, raises eyebrows and remains timeless. Born in 1928, Desmond Morris has authored innumerable scientific papers and seven books. At a time when authors employ services of marketing agencies to stir controversies and spur sells, the Naked Ape created huge controversy because of its stimulating contents. It was first published in 1967 and since then, has been translated into several languages, sold more than 10 million copies and continues to remain a best seller.
The book is spread across 167 pages and divided into 8 chapters. The chapters are: Origin, Sex, Rearing, Exploration, Fighting, Feeding, Comfort and Animals. In the book, Desmond presents the study of man’s evolution and development of his modern day habits. By portraying human being as animal species and as an integral part of primate evolution, Morris traces our origin, commonalities and differences with various animals. The books highpoint lies in its simple, lucid narration and brilliant illustration of our primal imperatives seen through our modern day habits and ingenuity.
The first chapter ‘Origin’ presents man as a risen animal and despite our environment – moulding achievements; we still remain a very naked ape at heart. In the subsequent chapters the author showcases the modern naked ape’s behaviour.
The second chapter must be included in school curriculum. It’s on ‘Sex’ - insightful and not erotic. Ironically, this is the only subject where students are discouraged from doing any practicals or homework! Explaining the intricacies of process of attraction, pair bonding, the author innocuously elucidates the various physiological changes that take place before, during and after copulatory stages. The author finds voyeurism biologically abnormal but the media and the daily sitcoms defy it and are forever concerned with satisfying this demand.
Much of what we do as adult is based on imitative absorption during our childhood years. Crying, laughing, smiling and facial expressions play a larger role and this is subtly presented in the Chapter titled ‘Rearing’. The chapter on ‘Exploration’ brings out the battle between our neophilic and neophobic urges. (Isn’t that an oxymoron?) The former drives us on to new experiences while the latter holds us back. The author remarks that exploratory behaviour plays a role in the basic survival patterns of feeding, fighting, and mating.
The chapter on ‘Fighting’ illustrates aggressive urges using our background of animal origins. It throws light on the pattern of aggressive behaviour and intimidation tactics practiced by all. In the chapter ‘Feeding’, Morris highlights evolution in our food habits and unequivocally states, “human beings should return to our ancient primate feeding patterns.” Gourmet writers and caviar sellers would certainly cringe!
The topic on ‘Comfort’ features interesting insights on primate grooming not just as a cleaning pattern, but also in the social context and communication. The last chapter on ‘Animal’ identifies various categories of inter- specific relationships viz; prey, symbiont, competitor, parasite and predators. However unlike animals we continue to carry relationships much further. This chapter has a fascinating experiment that proves why younger children like big animals and why older children prefer smaller animals. We also get to know the reasons behind our acute and instinctive hatred for snakes and spiders and other reptiles.
Thanks Anand for recommending this masterpiece. The book truly succeeds in establishing linkages with ape. A must read for all regardless of educational qualifications….
Wednesday, January 21, 2009
Friday, January 16, 2009
Raised on Radio !...
At a time when 24 hours water supply and maids weren’t available, the lady of the house would wake up to the sound of water gushing through the tap and so did my mother. In the next 90 minutes, she would complete the household chores and rush to work.
Interestingly one of her task included switching on the radio. The vacuum tube valves would take few minutes to glow and will be followed with faint hissing and loud static. With some fine tuning, the static disappeared and the soothing A.I.R.’s immortal signature tune, composed by Walter Kaufmann, trebled through the house awakening everybody and perhaps the entire nation. It was 5: 30 a.m. time for Dad to rush to the milk center.
The signature tune ends, Vande Mataram resonates from various radio sets and the lights in few homes across the colony become brighter. Soon an energetic voice greets listeners, “Su-prabhat” on Mumbai (Bombay) ‘B’ 558 htz i.e. 537.6 meter. On another frequency, an equally vibrant voice blurts, “Su – Prabhat, Medium wave, ek hazaar chawalis hertz par yanni do sau satyaassi dashmalam teen meter per yeh Vividh Bharti ki vigyapan prasaran sewa ka Mumbai Kendra hain…” Mumbai ‘A’ 1044 htz 287.3 Meter.
The announcement stops, Bhatki Sangeet (Devotional songs) follows and purifies the house. At 06:00 a.m. and few beeps later, an authorative voice intrudes, “This is All India Radio, the News ready by …..” This was the alarm for mom to catch the Virar local. At 7:00 a.m. ‘Bhoole Bisre Geet’ began and we slowly commenced our long walk to school. Around 7: 50 a.m. ‘Jharoka’ informed listeners with the day’s schedule. At 8 a.m., 'Sangeet Sarita' played songs based on classical raga and by now Dad would be on his way to office. In the evenings, ‘Hawa Mahal’ brought the entire family together.
The younger generation cannot comprehend our romance with radio and more so with Vividh Bharti. It governed our lives and played in the back ground in homes, salons, shops, gardens, buses, trains and even on streets and yet you could easily proceed with the daily chores without being disturbed.
The afternoons reverberated with soulful ‘Lok Sangeet’ (folk music). On Saturday late evenings, tune into A.I.R. 1017 kHz i.e. 294.9 meter to hear ABBA, Bob Dylan and latest western music. Throughout the day, Vivid Bharti played amazing programmes like ‘Aap Ki Farmaish’, ‘Ek Phankaar’ and ‘Manchahe Geet’. These programmes were unique, brought people closer from various parts of the country and introduced us to some unheard places - Majnu Ka Tila, Kala Peepal Mandi, and the famous Jhumri Talaiyya.
If the smart phones represents generation Y, then pocket transistors symbolised generations X. The pocket transistor allowed our ears to replace our eyes and increase our imagination. It became our devout companion in school where along with friends we would intently hear Jasdev Singh’s commentary, describing the artistic hockey and deft maneuvers of Surjit Singh and Zafar Iqbal. On other days Dicky Rutnagar, Suresh Saraiya, Anant Setalvad made everyone worship cricket. Even today, power-cuts provides an opportunity for sports aficionados to catch live commentary on their trusted radio. A sports journalist rightly said, “Cricket, Lata Mangeshkar and the transistor made India one nation.” Add Sachin Tendulkar and definitely Indians across the globe and several generations would unite.
Wednesday evening’s meant adjusting the spiral antenna to catch Radio Ceylon where the inimitable Ameen Sayani echoed through the static, “Aur Pehele Paidan pe yeh gaana” on ‘Binaca (later Cibaca) Geet Mala’. On Sunday afternoons, he quizzed the entire nation on Vividh Bharti through ‘Bournvita Quiz Contest’. This was followed by ‘Cricket with Vijay Merchant’. On weekdays, ‘Khel Samachar’ and A.F.S. (Bobby) Talyarkhan in ‘Take it from me’ would review various sporting events.
Several such programmes have remained etched in our memories. Diamond Comics sponsored programme and S Kumars Filmi Muqadamma added to the zing.‘Santogen Ki Mehfil’ featured interviews with various celebrities. ‘Vishesh Jaimala’ was graciously hosted by celebrities bringing ordinary civilians closer to hundreds of our brave Lance Nayaks.
Saroj Narayan and Barun Houlda through the daily 9:00 p.m. - NEWS brought the world into our homes. When Dad permitted us to stay up and enjoy ‘Chhaya Geet’, it indicated our arrival into adolescence. Chhaya Geet featured songs based on various themes, cleverly researched by the announcers, who narrated in measured tone. ‘Bela Ke Phool’ at 11:00 p.m. reminded of romantic encounters during the day and helped stay awake to complete our college term work. Sometimes after 11: 30 p.m., we desperately searched for short waves, cigarettes, tea and study material in that order. But at 00:10 a.m. we would be religiously back on Vividh Bharti, groggy eyed, listening to ‘Chitrapat Sangeet’ till 1:30 a.m.
Interestingly one of her task included switching on the radio. The vacuum tube valves would take few minutes to glow and will be followed with faint hissing and loud static. With some fine tuning, the static disappeared and the soothing A.I.R.’s immortal signature tune, composed by Walter Kaufmann, trebled through the house awakening everybody and perhaps the entire nation. It was 5: 30 a.m. time for Dad to rush to the milk center.
The signature tune ends, Vande Mataram resonates from various radio sets and the lights in few homes across the colony become brighter. Soon an energetic voice greets listeners, “Su-prabhat” on Mumbai (Bombay) ‘B’ 558 htz i.e. 537.6 meter. On another frequency, an equally vibrant voice blurts, “Su – Prabhat, Medium wave, ek hazaar chawalis hertz par yanni do sau satyaassi dashmalam teen meter per yeh Vividh Bharti ki vigyapan prasaran sewa ka Mumbai Kendra hain…” Mumbai ‘A’ 1044 htz 287.3 Meter.
The announcement stops, Bhatki Sangeet (Devotional songs) follows and purifies the house. At 06:00 a.m. and few beeps later, an authorative voice intrudes, “This is All India Radio, the News ready by …..” This was the alarm for mom to catch the Virar local. At 7:00 a.m. ‘Bhoole Bisre Geet’ began and we slowly commenced our long walk to school. Around 7: 50 a.m. ‘Jharoka’ informed listeners with the day’s schedule. At 8 a.m., 'Sangeet Sarita' played songs based on classical raga and by now Dad would be on his way to office. In the evenings, ‘Hawa Mahal’ brought the entire family together.
The younger generation cannot comprehend our romance with radio and more so with Vividh Bharti. It governed our lives and played in the back ground in homes, salons, shops, gardens, buses, trains and even on streets and yet you could easily proceed with the daily chores without being disturbed.
The afternoons reverberated with soulful ‘Lok Sangeet’ (folk music). On Saturday late evenings, tune into A.I.R. 1017 kHz i.e. 294.9 meter to hear ABBA, Bob Dylan and latest western music. Throughout the day, Vivid Bharti played amazing programmes like ‘Aap Ki Farmaish’, ‘Ek Phankaar’ and ‘Manchahe Geet’. These programmes were unique, brought people closer from various parts of the country and introduced us to some unheard places - Majnu Ka Tila, Kala Peepal Mandi, and the famous Jhumri Talaiyya.
If the smart phones represents generation Y, then pocket transistors symbolised generations X. The pocket transistor allowed our ears to replace our eyes and increase our imagination. It became our devout companion in school where along with friends we would intently hear Jasdev Singh’s commentary, describing the artistic hockey and deft maneuvers of Surjit Singh and Zafar Iqbal. On other days Dicky Rutnagar, Suresh Saraiya, Anant Setalvad made everyone worship cricket. Even today, power-cuts provides an opportunity for sports aficionados to catch live commentary on their trusted radio. A sports journalist rightly said, “Cricket, Lata Mangeshkar and the transistor made India one nation.” Add Sachin Tendulkar and definitely Indians across the globe and several generations would unite.
Wednesday evening’s meant adjusting the spiral antenna to catch Radio Ceylon where the inimitable Ameen Sayani echoed through the static, “Aur Pehele Paidan pe yeh gaana” on ‘Binaca (later Cibaca) Geet Mala’. On Sunday afternoons, he quizzed the entire nation on Vividh Bharti through ‘Bournvita Quiz Contest’. This was followed by ‘Cricket with Vijay Merchant’. On weekdays, ‘Khel Samachar’ and A.F.S. (Bobby) Talyarkhan in ‘Take it from me’ would review various sporting events.
Several such programmes have remained etched in our memories. Diamond Comics sponsored programme and S Kumars Filmi Muqadamma added to the zing.‘Santogen Ki Mehfil’ featured interviews with various celebrities. ‘Vishesh Jaimala’ was graciously hosted by celebrities bringing ordinary civilians closer to hundreds of our brave Lance Nayaks.
Saroj Narayan and Barun Houlda through the daily 9:00 p.m. - NEWS brought the world into our homes. When Dad permitted us to stay up and enjoy ‘Chhaya Geet’, it indicated our arrival into adolescence. Chhaya Geet featured songs based on various themes, cleverly researched by the announcers, who narrated in measured tone. ‘Bela Ke Phool’ at 11:00 p.m. reminded of romantic encounters during the day and helped stay awake to complete our college term work. Sometimes after 11: 30 p.m., we desperately searched for short waves, cigarettes, tea and study material in that order. But at 00:10 a.m. we would be religiously back on Vividh Bharti, groggy eyed, listening to ‘Chitrapat Sangeet’ till 1:30 a.m.
Mom has retired but not the radio. Vividh Bharti is still active and with it are several FM channels. These new channels are heard but unfortunately flicked every three minutes. This would never be the case with Vividh Bharti.
The success of Vividh Bharti did not merely lie in radio’s ability to be a medium of mass communication and education, but in its simplicity, its assorted programmes, and the amazing announcers who focused on good music instead of boring listeners with nonsensical chatter, announcing too many contests and advertisements. Let’s hope our FM channels take a leaf from Vividh Bharti and attempt to resurrect the magic of the old radio….
Until then let’s keep singing ‘Raised on Radio’…!
Until then let’s keep singing ‘Raised on Radio’…!
Radio, Radio
Were all raised on Radio, Radio
I love my Radio
Radio, Radio,Radio, Radio
……. sung by Journey
Tuesday, January 6, 2009
Reverberations of Innocence !
Between the milk teeth and wisdom tooth, children are restless and creative but seldom mature and contentious. However Prathamesh, Rohit, Karthiki, Avanti, Aarya, Mugdha and Shalmali defy this belief. At a time when most children hop in mud, mischief, and play stations, these kids with their gleaming molars and magical chords, continue to cast a magical spell. For them, music is not just a craft but an eternal quest transformed into an adventure through ‘Marathi - Idea Sa Re Ga Ma Pa - Little Champs’.
In a country where music is an expression of culture and talent, Sa Re Ga Ma Pa continues to dominate, unraveling a beautiful symphony through talented singers, musicians, judges, anchor and loyal audience.
Much can be gleaned from the performances of these little champs. Rohit through instinctive performance and brilliant tempo seeks solace in fusion music. Rohit has the makings of a music composer and it is important that he pursue his passion, learns classical music and develops interest in maths, Denver and Dylan.
Prathamesh is versatile and with his cadence, devotion and rustic diligence brightens the difficult alaaps and taanas. Certainly he will be an all rounder who could sing various form of music - Khayal, Thumri, Bandish and non classical with amazing ease.
Mugdha and Karthiki are cute and indeed prodigious. By singing songs essentially composed for adults, Mugdha compels a different interpretation, renews interest in music and her abilities. Mugdha has a beautiful voice and receives immense adulation. As she matures, Mugdha will learn that music transcends boundaries whether linguistic or cultural and acts as a great catalyst of change.
Karthiki is bestowed with rich timbre and resonant tone. Her songs create a wonderful harmony of lyrics, music and spirituality. Despite having inheritance in music and brilliant sense of timing Karthiki limits herself to devotional songs. Karthiki’s voice promises to enliven classical songs, Sufi, Ghazzals and Thumris but then children prefer to sing what they hear most.
With melody, confidence and poise, Aarya’s gorgeous voice makes every word in the lyrics bloom. Her rendition is expressive (Bhaava) and enhances the aesthetic experiences (Rasa) of audience. Aarya’s singing promises to add a new dimension to the music of her generation (re-mixes) but that requires a brave composer to experiment.
Avanti is versatile and has distinctive incantation, rhythm and hereditary infectious smile. It is sad, she got eliminated but Avanti’s renditions revealed her innate courage to experiment and popularise songs lost with time. Her pitch (Sur) and fluency in languages promises to revive music of Runa Laila and Preeti Sagar.
Shalmali is gregarious, compassionate and has abundant talent. Her ability to mimic presents her inherent acting skills. With amazing energy, Shalmali feels the lyrics and renews interest in ‘Laavani’ and folk music. Her melodious rendition engulfed with gestures and expressions reminds you of your lost adolescence.
If the kids are notes (Saptak), the octave is completed by national award winner Pallavi Joshi, whose effervescence, intelligence, charisma and grace makes her the best anchor. Pallavi adoringly cajoles and motivates the participants, audience, musicians and even the judges. Although she is comfortable in English and Hindi, you cannot imagine Marathi Sa Re Ga Ma Pa without her. “Ekda Jordar Talyaa” (One more round of applause), immortalized by Pallavi irritates but should be broadcasted across stadiums to coerce sports fanatics to graciously applaud other teams.
A consonance exists between note and its octave, but to produce good music a consonant interval known as Shadja- Pancham Bhaava is essential. Often this becomes the basis of musical scale. The judges Avadhoot Gupte and Vaishali Samant add this interval through their spontaneous, encouraging, witty and candid assessment.
Unlike other reality shows, the judges here respect each others opinions, offer different perspectives and are indeed unconventional. Avadhoot speaks his mind and coins new phrases, while Vaishali with her tongue in cheek comments is precise and equally articulate. The judges and other eminent guests educate participants to learn the language of music in same way as they learn their mother tongue. The musicians are humble, magnificent and undoubtedly the main pillars of this programme.
Hopefully the success and failure of these champs will not be related to region, race and class but to their confidence and calibre. One thing is certain, the kids have melody, intonation, rhythm and harmony. They say success is a matter of being in the right place with the right product with the right name at the right time. Sa Re Ga Ma Pa has helped discover new, innocent, vibrant voices and its time to search young musicians to accompany them!
In a country where music is an expression of culture and talent, Sa Re Ga Ma Pa continues to dominate, unraveling a beautiful symphony through talented singers, musicians, judges, anchor and loyal audience.
Much can be gleaned from the performances of these little champs. Rohit through instinctive performance and brilliant tempo seeks solace in fusion music. Rohit has the makings of a music composer and it is important that he pursue his passion, learns classical music and develops interest in maths, Denver and Dylan.
Prathamesh is versatile and with his cadence, devotion and rustic diligence brightens the difficult alaaps and taanas. Certainly he will be an all rounder who could sing various form of music - Khayal, Thumri, Bandish and non classical with amazing ease.
Mugdha and Karthiki are cute and indeed prodigious. By singing songs essentially composed for adults, Mugdha compels a different interpretation, renews interest in music and her abilities. Mugdha has a beautiful voice and receives immense adulation. As she matures, Mugdha will learn that music transcends boundaries whether linguistic or cultural and acts as a great catalyst of change.
Karthiki is bestowed with rich timbre and resonant tone. Her songs create a wonderful harmony of lyrics, music and spirituality. Despite having inheritance in music and brilliant sense of timing Karthiki limits herself to devotional songs. Karthiki’s voice promises to enliven classical songs, Sufi, Ghazzals and Thumris but then children prefer to sing what they hear most.
With melody, confidence and poise, Aarya’s gorgeous voice makes every word in the lyrics bloom. Her rendition is expressive (Bhaava) and enhances the aesthetic experiences (Rasa) of audience. Aarya’s singing promises to add a new dimension to the music of her generation (re-mixes) but that requires a brave composer to experiment.
Avanti is versatile and has distinctive incantation, rhythm and hereditary infectious smile. It is sad, she got eliminated but Avanti’s renditions revealed her innate courage to experiment and popularise songs lost with time. Her pitch (Sur) and fluency in languages promises to revive music of Runa Laila and Preeti Sagar.
Shalmali is gregarious, compassionate and has abundant talent. Her ability to mimic presents her inherent acting skills. With amazing energy, Shalmali feels the lyrics and renews interest in ‘Laavani’ and folk music. Her melodious rendition engulfed with gestures and expressions reminds you of your lost adolescence.
If the kids are notes (Saptak), the octave is completed by national award winner Pallavi Joshi, whose effervescence, intelligence, charisma and grace makes her the best anchor. Pallavi adoringly cajoles and motivates the participants, audience, musicians and even the judges. Although she is comfortable in English and Hindi, you cannot imagine Marathi Sa Re Ga Ma Pa without her. “Ekda Jordar Talyaa” (One more round of applause), immortalized by Pallavi irritates but should be broadcasted across stadiums to coerce sports fanatics to graciously applaud other teams.
A consonance exists between note and its octave, but to produce good music a consonant interval known as Shadja- Pancham Bhaava is essential. Often this becomes the basis of musical scale. The judges Avadhoot Gupte and Vaishali Samant add this interval through their spontaneous, encouraging, witty and candid assessment.
Unlike other reality shows, the judges here respect each others opinions, offer different perspectives and are indeed unconventional. Avadhoot speaks his mind and coins new phrases, while Vaishali with her tongue in cheek comments is precise and equally articulate. The judges and other eminent guests educate participants to learn the language of music in same way as they learn their mother tongue. The musicians are humble, magnificent and undoubtedly the main pillars of this programme.
Hopefully the success and failure of these champs will not be related to region, race and class but to their confidence and calibre. One thing is certain, the kids have melody, intonation, rhythm and harmony. They say success is a matter of being in the right place with the right product with the right name at the right time. Sa Re Ga Ma Pa has helped discover new, innocent, vibrant voices and its time to search young musicians to accompany them!
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