The Lord in unique company

The idols of Azhwars ready for consecration







FOR THE first time in North America, idols of the twelve Azhwars and Acharya Sri Ramanuja were consecrated to the accompaniment of Vedic chants and the Azhwars' Tamil devotional hymns, and installed near the sanctum of Lord Venkatesa Perumal in the Richmond Hill Hindu Temple in Toronto, Canada. The twelve Azhwars were a distinctive group of Tamizh Vaishnava saints who showed intense devotion or Bhakti towards the Divine. Of the twelve, the first three — Poigai Azhwar, Bhoodhatazhwar and Pey Azhwar were believed to be of mystic birth dating back to the Dwaapara Era. The fourth, Thirumazhisai Azhwar was said to have been born of a sage. Kulashekara Azhwar was a Chera king. Periazhwar, Thondaradippodi and Madhurakavi were born into Brahmin families. Nammazhwar was born in a farmer's home and Thiruppannazhwar belonged to the Pana community.

The only female among them, Godha (Andal) is well known for her "Thiruppaavai" and is considered an incarnation of Mother Earth (Bhoodevi). Thirumangai Azhwar, the youngest of the Azhwars was a chieftain of a Chola king. Despite the differences in their origins, they were similar in terms of their divine experiences and philosophical outpourings.

The installation event, held over three days in April, observed the traditional Danyadivasam (immersion in grains) on the first day, Jalaadivasam and Thirumanjanam (holy bath) on the second day and Pratishtai (installation and consecration) on the final day followed by Sri Andal Thirukkalyanam, held in a grand manner.

The installation ceremonies were conducted by Balaji Bhattar from the Boston Mahalakshmi Temple, Saranathan from Pittsburg and Gopala Bhattar from Toronto. Pointing out that the Azhwars are not present together even in Tirumala-Tirupati, Sri Balaji Bhattar quipped, ``Perhaps the Lord's wish — to be seen with the Azhwars — has been fulfilled here in Toronto. Something He does not have in Tirumala." It is noteworthy that in this sannidhi, Thirumangai Azhwar is seen with his consort, Kumudavalli Naachiyaar. And the priest had a beautiful story to narrate.

Kumudavalli, an enchanting and divine woman, had laid down two conditions for marrying her: one, to embrace Vaishnavism by taking proper instruction from an acharya, and two, to serve 1,008 devotees with a grand meal every day for a year. It was while trying to fulfil these conditions and win her over that the Chola chieftain became Thirumangai Azhwar being drawn by the loving Lord.

Among the Azhwars' literary and spiritual contributions are devotional Tamil poems — paasurams or verses sung in praise of Sriman Narayana.

No story of the Azhwars is complete without mention of the "Naalaayira Divya Prabandham" (4,000 verses) that Sri Ramanuja (1017-1137 A.D.) popularised and made part of the Vaishnava religious practice.

According to one of the active temple devotees, N. Ranganathan, an interesting feature of the idols consecrated were made as replicas of those present in the shrines at their birth places of the Azhwars.

RAJ S. RANGARAJAN
(The writer works out of New York city)

July 15, 2002









COVER STORY:
RAJ S. RANGARAJAN ON HITTEN ZAVERI, Associate Research Scientist, Department of Neurology, Yale

AMAZICANS
Backing The Brains


The man sails, scuba-dives, windsurfs and hikes. He is also involved in social service. And 9 to 5? Well, he studies brain disorders at Yale University. Meet Dr Hitten Zaveri, born in Dar-es-Salaam, Tanzania, student of St Peters School in Panchgani, Maharashtra, and the University of Michigan, where he piled up degrees: a BS and MS in electrical engineering, a BS in computer engineering, an MS and PhD in bioengineering.

Epilepsy, a brain disorder, affects approximately 1 per cent of the world's population. With no cure for it yet, the primary treatment options are the use of anti-epileptic drugs or epilepsy surgery. Zaveri studies why an abnormality occurs in the functioning of a person's brain, how it gets transmitted to other parts of the brain, and how and why it terminates. Says Zaveri, "We study brain pathways to understand these aberrant signals and whether an implantable device can be created to control them."

In short, a pacemaker for the brain. But is it feasible? Zaveri is confident: "Yes, there is a fair amount of promise in the field. Recently, there has been increased interest in the control of seizures through seizure prediction. For years there has been a belief that seizures could be predicted. Our patients, on occasion, tell us they can anticipate when they are at greater risk for seizures."

An associate research scientist with the Department of Neurology at Yale University, Zaveri has had extensive training in electrical, computer and biomedical engineering and since graduate school has sought to bring this expertise to fully bear upon the study of brain function and dysfunction.

When not studying the brain, Zaveri, 41, is active in aquatics and volunteer activity. He raises funds and awareness for basic education of underprivileged children in India. He has been wind-surfing for two years and sails a 420 boat at the Yale Corinthian Yacht Club for recreation. Zaveri has also hiked part of the Appalachian trail in New England as well as the foothills of the Western Ghats in Maharashtra, apart from scuba-diving off the coast of Massachusetts and the Cayman Islands.

Portable Power, July 15, 2002

COVER STORY
Raj S. Rangarajan on AMIT MEHRA, Chief Engineer, Turbine Engine Research, D-Star



AMAZICANS
Portable Power

Imagine a jet engine in your laptop computer that ran for weeks without being recharged. Imagine producing energy on a small scale." That was how Dr Amit Mehra described his doctoral research last year while winning first place at the Merrill Lynch Innovation Grants Competition that recognises original academic ideas likely to succeed in the marketplace. Mehra developed a working model of a two-centimetre-sized jet engine combustion chamber that could eventually be used to convert chemical energy of fuel into electricity for portable electronic devices. "The portable power unleashed by this conversion," Mehra says, "could be used in numerous industrial and consumer products."

Mehra, who graduated with undergraduate and doctoral degrees from Caltech in California and MIT, majoring in aeronautics and astronautics, worked with a team of top MIT engineers. This team hopes to one day take large engines such as the ones used in aircraft and try to miniaturise them to fit in one's palm. The long-term picture is to make a jet engine-powered battery that would create more energy than regular batteries used in portable electronic devices.

Currently chief engineer of turbine engine research at D-Star Engineering, an aerospace research and development company in Washington, DC, Mehra has published several papers on micro-combustion, fluid dynamics and silicon fabrication. His present focus is on developing similar miniature devices for high-energy release using chemical fuels.

When he is not busy researching jet engines, Mehra, 29, flies a single-engine Piper Tomahawk for fun. This eligible bachelor also enjoys his golf and boasts a high handicap. His ex-merchant navy father Jeet Mehra and his mother Ashi live in Delhi.

Sulekha.com: Half-a-million pages of content... and growing

INDIA WEST
Jan. 3, 2002

By RAJ S. RANGARAJAN
Special to India-West

He is a dedicated man almost to the point of being obsessive. He talks,
acts and breathes portals. Qualified in engineering, computers and
finance, he is a dot-com pioneer with a difference. He invites people to
write for his Web site, but he does not pay for their contributions. I am
talking about the portal -- www.Sulekha.com -- and its founder, Satya
Prabhakar.

What do these creative producers get in return? The thrill of seeing their
work over the Web.

Prabhakar's is an original concept. His portal hosts creative pieces from
writers, artists, and photographers for free. Does that mean there are
people yearning to write or showcase their creative genius? You bet.

Prabhakar, the electronics engineer, told India-West in a recent
interview: "I knew software and how to create an infrastructure in an
interactive mode, but for content I had to seek help, I had no resources.
It all started as a hobby; I had no intention of becoming an
entrepreneur."

This simple concept started as an e-mail list of IIM, Calcutta, alumni
called Dakghar founded by Arun Kumar, and Satya Prabhakar was on the list.
Today, in its new avatar, Prabhakar's sulekha.com has grown into a
repository of almost half a million pages of content and counting.
Briefly, "su-lekha" means good writing. Contributions pour in from 50
countries and the authors run the entire gamut ranging from students to
military commanders to doctors to businesswomen and, of course, engineers
based in the United States.

Like a basement or garage operation made famous by the likes of Bill
Gates, the husband-wife team of Satya Prabhakar and Sangeeta Kshettry
started their operation out of a spare room of their home in Austin, Texas
in 1998. "After using our personal savings of more than $15,000 used
mainly to obtain high-speed Internet access, and after 10,000 hours of
effort," recalls Prabhakar, "in September 2000, we were ready for the
rough and tumble of the investment world."

They were helped by New Yorker R. Parameswaran, leader of the initial
investor group and now chairman of the parent company -- Smart Information
Worldwide -- that owns Sulekha.com. Says Parameswaran, "The most
remarkable and innovative aspect of Sulekha is organic growth sustained by
the network effect of people-to-people interaction and the contributions
of diverse Indians from around the globe." While amplifying value for all
network nodes in a dramatic fashion, the chairman added, partnerships like
Sulekha's bring extraordinary strategic value to all involved.

Started as a Web magazine, more as a hobby e-zine, Sulekha.com today has
influenced networks of Indians promoting communities through free flow of
expression and interaction. "Since its inception," says Prabhakar, "the
site has grown exponentially, by almost 20 to 25 percent, in traffic." A
predominantly interactive site, people all over the world contribute
content with coffeehouse chats, classifieds, city events, a Newshopper,
and buddy sites for like-minded people.

Content for the site has grown purely by word-of-mouth and the intense
loyalty of its members. Online participation by thousands evidently helps
make the site a vibrant, loyal and dynamic platform. Last May, Austin
became the first self-generative metropolitan city to create content and
host a hub. Sulekha now has 25 cities as hosts including San Francisco and
Los Angeles.

The site's Global Newshopper picks up the latest news from several surfers
who constantly post content. News from the world's newspapers gets posted
promptly which triggers a spate of discussions on their Coffeehouse space.
Being completely interactive, posts appear instantly, leading to
up-to-date comment, time differentials notwithstanding. Sulekha's movie
site has interactive reviews and visitors to the site can soar or sink a
film's rating.

The company's first published paperback, "Sulekha Select," a collection of
42 writings (see separate story), is the Web site's first foray into the
traditional print format, for, generally, Sulekha creations exist in
cyberspace. Selected from about 1,200 writings since 1998, this collection
captures the essence of the modern Indian experience and represents
individual expressions from all over the world.

Interestingly, most of the contributors do not write for a living, and
many happen to be engineers, where the Net plays a dominant role. The book
has also been released in India by Penguin under a different title -
"Black, White and Shades of Brown" - for the Indian subcontinent and
Singapore. However, Prabhakar clarifies, "These are all amateur writers
united by their love for writing and reading and hail from varied
backgrounds, persuasions and cultural contexts." The book represents a
communal art form - a kind of democratic Netizen of the people by the
people -- in that the readers are the ones who produce content, not the
publishers (see sidebar).

Prabhakar, 36, a native of Machilipatnam, Andhra Pradesh, is CEO of
Sulekha.com. An engineering graduate from Regional Engineering College in
Trichy, Tamil Nadu, Prabhakar also has an M.S. in computer science and an
MBA in finance from the University of Florida.

He has had his fill of corporate life in India and America with
multinationals like Philips, TCS, and later with Honeywell as a software
engineer, and with SBC Communications in Texas. His expertise includes Web
media management, electronic commerce, and real-time multimedia.

Prabhakar's wife, Sangeeta Ksheetry, who is vice president of content for
Sulekha.com, has a B.Sc. in economics from Presidency College, Calcutta,
an M.A. in communications from the Annenberg School at the University of
Pennsylvania, and an MBA in marketing from the University of Florida.
Ksheetry, who is experienced in financial analysis and IT strategy
development, told India-West: "'Sulekha Cities' is the most comprehensive
network of city portals that provides geographically-focused communities
that facilitate commerce and information at the city level."

But where's the revenue model? The site earns income through sale and
syndication of content -- offline and online - advertising, sponsorships,
and subscriptions. It has created a rack of transaction services starting
with online ticketing for organizations and companies.

"Whatever we do we want to be the dominant player in that space, retaining
our focus as a community builder," says Prabhakar. These transaction
services help generate revenue and establish relationships with offline
communities, and Prabhakar has to constantly shun opportunities that are
not a close fit.

Sulekha.com is now possibly the biggest online ticketer for events and
movies all over North America on 50 cinema screens - a Ticketmaster of
sorts. One can also send gifts of movie tickets within the U.S. over the
Web -- popcorn not included!

To a question about who does the editing of its content, Prabhakar said
his editors are based in several countries including the U.S., India,
Canada, Pakistan, Bangladesh and England. Before any content goes up on
the site, at least one editor checks and edits the material.

Added Prabhakar, "We are a decentralized operation and have 16 editors
around the world who volunteer their services. The bunch includes an ad
agency CEO, a 19-year-old journalist from Atlanta, a fiction writer from
Boston, a computer engineer from Silicon Valley, a Mumbai mother, a
Calcutta professor, a Kovalam, Kerala writer, and several others with
varied backgrounds."

Most of the editors hold 9-5 jobs. Kris Chandrasekar, an investment banker
from San Francisco, edits manuscripts as a hobby. A writer himself, he has
"the task of selecting pieces, editing for grammar and style, and a brief
turn-around time for copy-edits."

Instead of being paid a salary, Sulekha pays to the individual's favorite
charity. As part of their social initiative, Prabhakar says "we have
contributed more than $10,000 to various charities."

V.Chandrasekhar, a compulsive Sulekha surfer from Indianapolis, Indiana,
who feels that the hardest problem in this country is meeting people of
similar interests, says "Sulekha is a major avenue that draws together our
similar tastes. The other day I got into a discussion with another Sulekha
user about kite flying and how in the good old days, we used to apply
glass to the string - maanja -- to help in cutting other kites."
Chandrasekhar has given up watching television and says, "I would gladly
give up my cable TV for Sulekha."

To a query, "Since Sulekha is an interactive site where anyone can post
content, how do you control irrelevant and objectionable material being
posted?" Prabhakar responded, "We have content managers who, while
allowing free rein to express and interact freely, are like gatekeepers,
who constantly monitor any questionable material getting in." He added
that they also have an auto-alert system which prevents questionable or
obscene material from being disseminated immediately.

Prabhakar hopes to build an influential community of Indians worldwide and
for that, "I believe we require two fundamental components: (i) Expression
-- people must be able to freely express their mind in writing, art,
stills or even in creating audios and videos; (ii) Interaction --
everything we offer on the site is an opportunity to interact and get to
know each other through the interactive Sulekha community."

Yet Prabhakar is also making a conscious effort to be known not as an NRI
site, but as a venue for Indians all over the world, which has nothing to
do with income level or presence, but to make the experience as Indian as
possible. The fact remains that a lot of contributors tend to be in North
America in view of their accessibility, wherewithal and influence. The
current stats are that 70 percent of use emanates from the U.S. and
Canada, about 15 percent from India, with the balance from around the
world, where Indians reside.

Sulekha is preparing to unveil the world's first electronic store selling
digital content sourced from Indians around the world. Lata Sundar,
director of content in the company's Chennai office, explains: "Sulekha
today features free content contributed by South Asians, and we are moving
up the content value chain by compiling valuable content from contributors
from all over the world that people will gladly pay for."

Prabhakar routinely works 16-17 hours a day, yet allocates half-an-hour
every morning to read and discuss a news story from the New York Times or
the Wall Street Journal with his 8-year-old daughter Divya. He is a lesson
or two short of a black belt in the Chinese martial art form, Tai-kwon-do.

The man who talks with equal passion about Advaita philosophy and Zen
Buddhism as he articulates about portals and gigabytes says, "One has to
be totally in love with one's work and be capable of working with
determination and resolve without craving too much for success. It is the
craving for success that corrupts the process and makes success harder to
come by."

Film: Love in Times Square, Nov. 12, 2001

Chaitanya and Hini Kaushik in Love in Times Square

By Raj S. Rangarajan

NEW YORK: The leaves are turning to gold, as is their wont in the northeast in the Fall, and there's a slight nip in the Manhattan air. "Cut!" Suddenly the call rents the air. It is veteran thespian, Dev Anand who, at 78, is still the picture of positive exuberance. Standing erect on a bright sunny day, he directs Hini Kaushik and Chaitanya in his new film Love in Times Square.

"We shot for three days in picturesque Catskills and the orange glow every evening was a sight to behold," Anand says, taking a few minutes off.

At this age, when others of his generation have retired, evergreen Anand remains ebullient and trim.

With typical flair, he says: "Tamasha, my friend. The more you work in a business like this, the sharper your mind becomes. You feel younger, and the more you feel young, the more you progress in the creative and thinking process. I want to give back something exciting to the world. I sometimes feel pleasure like a child."

Anand is giving. Once again he is performing--this time, for the first time, as the father of the heroine. Love in Times Square, with a Rs 14-crore budget, is an Indian love story shot in the U.S. The story is of two boys and a girl: one boy works in the Silicon Valley and the other comes from India to meet the girl. The question is, who will get the girl? Kaushik, who plays the main female lead, debuted in Censor, which released in April. The two men wooing her are Chaitanya and Shoaib.

In Times Square the indefatigable thespian is still at work--Dev Anand is in and around New York, shooting his latest love story


The sets drew a lot of attention. Says Anand, "Thousands of people came on December 31, 1999 to Times Square as boxing legend Mohammed Ali presided over the ceremonious dropping of the ball. We stood in the cold for seven to eight hours as our clapper sounded the first shot for our film."

Anand has produced, directed and written the screenplay while Lucky Ali has done the music. The film crew is America-based with David Tumulty as cameraman and chief organiser. Prashant Shah, from Edison, New Jersey, coordinates with the Navketan group.

With much of the movie canned, Anand hopes for a June 2002 release.

Debuting with Hum Ek Hain in 1946, Anand has come a long way, having started his own film company in 1949. "I am flattered that many of my former assistants have succeeded in films and mastered the art of movie-making," he says, as he walks away into the sunset. The halo glows golden around him.

NORTH AMERICAN SPECIAL: PROFILE

Maiden Success



High Bid: Sagar at the Podium

At Christie's New York auction of Indian art, 26-year-old Mallika Sagar broke the glass barrier several times over.

Young, pretty and confident, Mallika Sagar strode up to take the podium - and the gavel - in a room full of art connoisseurs in New York recently. The occasion was Christie's auction of contemporary Indian paintings. The 26-year-old unassumingly broke the glass barrier several times over that October day. For never before had Christie's employed a woman to auction contemporary Indian art. And Sagar earned the distinction of being the first woman auctioneer of Indian origin at Christie's.

"I wasn't really nervous. It was just a wholly different atmosphere," Sagar smiles. "The positive energy in the room and knowledgeable bidders made the process specially exciting because we set three world records for Indian paintings."

Sagar may well give credit to the buyers, but she spun her own brand of charm at her first-ever auction to create the three records. A large Sayed Haider Raza work (La Terre), estimated to sell between $20,000 and $25,000, actually went for $50,000! An untitled Vasudeo S. Gaitonde canvas, which was estimated between $12,000 and $18,000, was snatched up for $45,000. And a figurative 1959 Ram Kumar went under the hammer at $35,000 - far beyond expectations that it would fetch $15,000-20,000.

The canvases of Raza, a living master of Indian contemporary art, and Gaitonde, a renowned abstract artist who died in August, attracted many Indian-American bidders, some on the telephone which Sagar handled with the professional panache that three years at Christie's gave her. Now, Sagar is Christie's India representative and is based in Mumbai.

But it was a step at a time. After a sound base at Cathedral School in Mumbai, Sagar went to boarding school at Suffield Academy in Connecticut. A major in history of art in 1998 from Bryn Mawr College in Philadelphia, a 116-year-old institution, put her on her career track.

Then it was time for her to understand all facets of the business: the art, marketing techniques and much more. A year's rigorous training did the trick followed by work with Christie's Indian and Southeast Asian department in New York and on a construction project "responsible for putting together the brand new offices here at Rockefeller Center".

Training also involved being aware of regulations and auction procedures that are announced before every sale as a requirement of the Department of Consumer Affairs in New York state, where the state's sales tax and buyer's premiums are applicable. Christie's charges a premium to the buyer on the final bid price of each lot sold.

But it took a little more to actually auction. "I practiced a lot to talk in public in front of a room full of people though it is not like acting in a play or being in a debate," she says. "But every situation is different, every lot of sculpture or paintings has a different background, and we try to anticipate every kind of scenario."

Interestingly, all the Husain paintings at the New York auction fared very well, proving yet again that M.F. Husain, at 86, continues to remain popular. Sagar, a specialist in 20th century paintings (contemporary painting) says, "Husain's works, prior to the 1960s and '70s, tend to have very good quality and are difficult to get." But for the first time since he executed the artwork, explains Sagar, the early Husains came on the auction lot and the bid prices were higher than normal because ownership was changing hands.

The youngest of four siblings from an industrial family, Sagar's achievements would show she prefers the number one.

—Raj S. Rangarajan

Ragas in New York Subway

Raj S Rangarajan

I was walking up the steps to the Times Square subway in Manhattan a few days ago when I heard the strain of the sitar and tabla. For a moment, I thought it was a Ananda Shankar CD being played by a boom-box saunterer.

But soon I would find out the source of music.

Right in the central hall of the subway where several train lines -- numbers 1, 2 ,3, 9, R and S meet -- there was an Indian fondling his tabla while a white American played the sitar, under a 'Music Under New York' banner.

Meet Deep Singh, 27, from Woolich, England and Chris Rael, 38, from Washington DC.

I thought I had seen and heard it all in the subway -- the soloist with his guitar, the young girl practising her soul, strains of R&B, and New Age, the electric drum, the gasping trumpeter, the jazz lover, Christmas carolers, Spanish songs, Carnegie Hall wannabes.

But never before had I seen anyone playing Indian classical music in a New York subway. This must be a first.

"Finally our music has arrived," says an Indian woman. But another Indian commuter was not sure if the subway was a good place to play Indian classical music.

"First they made our classical music to Hollywood, made it sound silly by mixing it with American pop," he says. "Now, these two have brought it to the subway."

"Could not they play in a restaurant at least?" he asks.

Singh, who has accompanied well-known masters at Carnegie Hall and Waldorf Astoria in New York, and at Royal Albert Hall in London where he performed with vocalists Salaamat Ali and Sultan Khaaji, is not down and out. Performing in the subways is an earnest effort to take the music to wider groups of listeners.

Did Singh's musically conservative family approve of him playing in the subway?

"My family is more concerned for my safety in the subway than being embarrassed," he says.

Rae says he has been "surprised and delighted at the response in the subway."

The two belong to a larger band called Church of Betty and have performed in a number of clubs.

But the two also enjoy bringing exciting sounds and reverberating music to the busy commuter's crowded life, thanks to the 'Music Under New York', a city-supported project that encourages up-and-coming artists. Auditions are held every June and once approved, the individual or group receives a banner which has to be displayed by the party wherever music is played. It is all very official.

Deep Singh and Chris Rael pair have been performing for several years. But, it is the first time they have hit the New York subway, an institution that is very much part of the city's cultural landscape.

The two performers are in the process of recording a CD dedicated to music in the subway, appropriately titled Tunnel Ragas. As the two were performing recently at a subway station, Rael's 55-minute album, 'Fruit on the Vine', was selling briskly at $ 10.

At a recent special event at Penn Station the pair even got paid. On other occasions, the tips they get in the subways are theirs to keep. Among spots they play are Times Square, Grand Central Terminal, Columbus Circle, Union Square (14th Street) -- and Astor Place, where Rael says: "the constant rat-a-rat of passing or braking trains can be disturbing."

Rael, who plays guitar, trumpet, keyboard, is also singer and composer. When he is not involved in musical pursuits, he is working as a science editor for a pharmaceutical company in the city.

His classical singing career started with his 1989 trip to Varanasi when he enrolled under Dr Patrakar, a follower of the Jaipur Gharana. He has since made many more trips to India. Of late, he has been learning from Ravindra Goswami, a well-known sitar teacher and All India Radio artiste.

Deep Singh became a disciple of Ustad Alla Rakha at the age of 10. His father Bhagwant Singh sings ghazals while his mother, Satnam Kaur plays the dholak.

"When I was just 3, my mother tells me, I used to play with saucepans and a rolling pin, sometimes my hands were bandaged," Deep Singh says with a chuckle.

"You could say, even at that young age, I was into heavy metal."

Rael, who has studied journalism at the University of Maryland, says he loves writing but dislikes the news gathering process.

How does he collaborate with Singh?

"I try to combine Western orchestra with rhythmic chimes and chants backed by Indian melodic beats," he says "whereas Deep's personal experience and expertise come in handy." The band has been popular at several clubs in downtown New York, Boston, Philadelphia, Burlington, Vermont and Washington, DC. The other two members of the band are John, a percussionist and Joe who plays bass.

"Though I have played in International festivals including the 1993 Festival in Vienna, I don't think I am ready to be described as an advanced composer yet," says Rael who has made 14 CDs and has played at several major centers in the country. "Most of my compositions are Western classical with an accent towards progressive pop."

He also has an experimental remix with acclaimed Pakistani vocalist, Najma Akhtar, which recalls S D Burman's sound tracks.

Rael describes "it as a fusion with a typical Indian folk flavor, not very classical in the technical sense."

Deep Singh plays the harmonium and mridangam, experiments with bells and shakers and with Western and Eastern music. He has accompanied well-known singer Hariharan known for his ghazals and for the Colonial Cousins album.

He is currently experimenting with techno, hip-hop and New Age music and does programming for light drums. "My fusion music with Chris tends today to be more fundamental that submerges well in the subway," he says.

Did the ever-busy subway distract them?

"We have gotten used to the noise and now it's a question of mind over matter," Rael says, "just as we attempt to transcend our music over the noise underneath."

Adds a thoughtful Singh: "Over time, we have learnt to tolerate, I am very conscious of the rattle of trains, but then I have learned to improvise."

Singh says he gets the most satisfaction when he performers with classical singers.

"It is a different kind of uplifting joy playing classical," he explains, "It is quite a different thrill participating in light music and ghazals in the mehfils if you please."

http://www.rediff.com/news/1999/dec/31us.htm