#Raga birmingham

[berlysbandcamp]

South Asian dance and electronic music rarities handpicked, remastered and occasionally reworked. Featuring overlooked future classics from India, Pakistan, the U.K., Canada, Guyana and Suriname released between 1983 and 1992. Naya Beat Records is proud to present its first in a series of compilations and full-length album reissues dedicated to uncovering hidden electronic and dance music gems from the overlooked ‘80s and ‘90s South Asian music scene.

The compilation features future classics from India, Pakistan, the U.K., Canada, Guyana and Suriname released between 1983 and 1992. From East-West’s dancefloor filler "Can't Face The Night (Club Mix)" to Remo’s balearic masterpiece "Jungle Days" (off his seminal album Bombay City!) to other disco, synth-pop, and balearic dancefloor bangers from artists like Babla & His Orchestra, Sheila Chandra, Bappi Lahiri and Asha Puthli to name a few, this double album includes highly sought after, previously never reissued and otherwise impossible to find grails. The double album has been mastered by multi Grammy-nominated Frank Merritt at his mastering studio The Carvery and includes some killer reworks by Naya Beat co-founders Turbotito and Ragz. Founded by former Poolside member Filip Nikolic (Turbotito) and DJ and record collector Raghav Mani (Ragz), Naya Beat (loosely translated from Hindi as “New Beat”) is building on the success of seminal South Asian dance and electronic reissues like Rupa Disco Jazz and Charanjit Singh’s iconic Ten Ragas To A Disco Beat. Turbotito and Ragz have spent years digging for records in the most unusual places, from the crowded and dusty markets of New Delhi, Mumbai and Chennai to the Guyanese corner shops in Jamaica, Queens, to the Surinamese record stores in Amsterdam and the South Asian communities of London and Birmingham. They have amassed an exceptionally deep treasure trove of dance and groove-based music that has never been reissued.

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AIKYA - Music & Dance event

AIKYA – Music & Dance event

Carnatic-circle.com and Aabheri Nritya Vidyala come together to present AIKYA – a grand ensemble of Indian classical Bharatanatyam dance and music

AIKYA– Our annual Music & Dance showcase event on 8th October 2017 (4-8 pm) will be one of Birmingham’s biggest event in 2017 for portraying Indian culture & tradition with local upcoming…

[richmeganews]

In India’s Upcoming Elections, Bollywood Wages a Battle for Hearts and Minds

In a recently released trailer for PM Narendra Modi, a biopic of the Indian prime minister, actor Vivek Oberoi, playing the Indian leader, stares angrily into the camera and declares: “I am a warning Pakistan: if you dare raise your hand against us again, we will chop it off.”

That would be inflammatory at the best of times, but this comes just weeks after tensions between the nuclear-armed neighbors escalated to alarming levels, following a deadly attack in Indian-administered Kashmir on Feb. 14 that killed 40 Indian military personnel. It was purportedly carried out by the same Pakistan-based terrorist outfit responsible for a 2016 attack on an Indian Army brigade that killed 17.

The 2016 attack (and a subsequent retaliatory operation by India) was the subject of its own Bollywood release on Jan. 11, Uri: The Surgical Strike, which also featured a fictionalized portrayal of Modi. Such films, coming so soon before India’s general election begins on Apr. 11, have drawn fire from opposition politicians, who say they are little more than propaganda. While PM Narendra Modi, which releases on Apr. 5, has no reported financial ties to Modi’s Bharatiya Janata Party (BJP), Oberoi is a staunch Modi supporter, and BJP leaders also attended promotional events for the film.

“They are doing hagiographical portrayals of real-life characters without looking at the subtler nuances of politics,” Namrata Joshi, a film critic with Indian newspaper The Hindu, tells TIME.

Uri, the highest grossing Bollywood film so far in 2019, certainly sparked a wave of jingoism across the country. “How’s the josh?”—a popular exhortation from the film (josh means passion or zeal)—went viral on social media and has been uttered by Modi and other senior ministers at public events. References to the film were also made in the wake of the Kashmir attack, when the cinematic image of Modi as a strong patriarch, able to take on India’s enemies, found resonance among the many who called for stern action against Pakistan.

There have been films attacking Modi’s political enemies as well. The Accidental Prime Minister, released on the same day as Uri, was a damning depiction of the 2004 to 2014 tenure of India’s former Prime Minister, Dr. Manmohan Singh of the Indian National Congress. It also took a dig at Modi’s primary political rival, current Congress president Rahul Gandhi, who was portrayed as confused and lacking confidence. Unsurprisingly, the film was enthusiastically talked-up by the BJP.

Riveting tale of how a family held the country to ransom for 10 long years. Was Dr Singh just a regent who was holding on to the PM’s chair till the time heir was ready? Watch the official trailer of #TheAccidentalPrimeMinister, based on an insider’s account, releasing on 11 Jan! pic.twitter.com/ToliKa8xaH

— BJP (@BJP4India) December 27, 2018

Experts say such films can play a role in changing public perception among India’s large numbers of illiterate adults, who are voracious consumers of television and movies.

Not to be outdone, supporters of opposition leader Gandhi will be flocking to his biopic, My Name is RaGa, which is expected to release sometime in April. The trailer shows the fictionalized Gandhi invoking the memories of his father and grandmother, both former prime ministers and both assassinated, calling them martyrs who gave their lives for the country.

“Bollywood is not just a form of entertainment but also a parallel form of information which serves as a form of visual literacy for people from the lower and lower-middle class,” Rajinder Dudrah, professor of cultural studies at Birmingham University in the U.K., tells TIME.

The movie industry plays such a central role in popular Indian culture that several prominent actors have even found a place in temples, where they are literally idolized and worshiped. Many actors have also parlayed their on-screen reputations into successful, real-life political careers. Some call this a form of exploitation.

“It is all about working the optics and colonizing the minds of the audience,” Shubrah Gupta, a film critic with The Indian Express, tells TIME. “A narrative is being built clearly, smartly and very insidiously.”

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[dippedanddripped]

Selling stuff online isn’t new. But for teens and young people, eBay, Gumtree and Craigslist are outdated.

Instead, Generation Instagram has discovered Depop – half social network, half shopping platform, which lets users upload pictures of stuff they own, to sell directly to others. Depop now has 11 million users – three quarters of them are under 25. And if you’ve got a popular store or are featured on the explore page that’s curated by Depop staff, the platform can turn into a steady source of income.

Founded in 2011, Depop was one of the first apps that brought buyers and sellers together directly. It’s not the only app of its kind, there is Vinted, Poshmark (currently US only), and ThredUp which are based on similar concepts, but each is trying to carve out its own niche. Some allow you to list designer clothing only, while others don’t have an app but rely on web browsers.

Depop now has offices in London, Los Angeles, New York and Milan, counts US models Dita Von Teese and Emily Ratajkowski among its users, and has collaborated with the likes of Nike and Converse.

By OLIVER FRANKLIN-WALLIS

But how did a niche clothing app evolve into a bona fide social network? “In 2011, there weren’t any apps where you could buy and sell things like that,” explains Simon Beckerman, Depop’s co-founder and head of design. “I tried to implement all of the things which this new generation had with other products, so it was like Instagram with a buy button.

"Young people, who used their phones a lot and are used to social networks, found that it was easy to use. We also wanted to create a community around it – so creating new experiences, new trends – through this kind of discovery feature.”

The company’s emphasis is on users, says CEO Maria Raga. “Depop is very much a community driven fashion platform". The development team keeps a close eye on its users, with new features only being rolled out once many users have asked for them. For example, adding a messaging function has made it more likely that users will talk to each other if they have a problem with an item, or want to know how it would fit them if they have a different body type.

Sellers on the app, who might have started as teenagers flogging things they used to wear or found in local second-hand stores, are often now considered influencers, racking up thousands of followers on Instagram and clothing deals too. Fiona Short, who runs Fifi’s Closet (an account with more than 161,0000 followers), says Depop is more than about making money.

“It’s a community of creatives,” she says. “I’ve met some of my friends through Depop, I’ve been able to support my studies, and travel and do things I wouldn’t have been able to do otherwise.”

The range is eclectic. Depop lists clothing that was fashionable 10 years ago, alongside the most recent Supreme drop. Beckerman says it’s part of the appeal. “On our explore section, we don’t show the things which we think are trendy, but the things which we think could be.”

Reselling used clothing also speaks strongly to the popularity of the circular economy; why bin clothing that’s still perfectly wearable, and that might hit somebody else’s fashion sweet spot? “Young people are increasingly connected to the circular economy and are looking for more opportunities to behave in a more sustainable way,” says Isabelle Szmigin, professor of marketing at Birmingham University.

For Thomas Platenga, CEO of second-hand clothing app Vinted, it’s a key part of the concept: “If all of us started to consume secondhand clothing instead of fast fashion, then this problem will be partly solved.”

Depop got its break in 2014, when Apple featured it on the App Store's homepage. At the same time Italian fashion blogger, Chiara Ferragni, also started posting about it on her social media feeds. The spike in users was enough to take Depop’s servers down for two hours, and still haunts Beckerman, worrying that it could have gained even more users.

By DAPHNE LEPRINCE-RINGUET

“If you build a platform to host one million users and don’t think long term, then you have to use band-aids," Raga adds. "It means that you then can’t develop new features because of the ones you’re already struggling to deal with.”

“Scalability has been an issue ever since,” says Beckerman. “In terms of growing, the challenge between growth and money – we never try to have goals based on them, because our end point is the user experience, but we are always thinking about it.”

Right now, Depop still relies on venture capital; so far, the company raised $43.6 million (£33.9m). Beckerman admits that Depop struggles to reconcile the ambition to grow with the need to make money. On the upside, Depop hardly spends anything on advertising, because it can rely on “organic growth” that’s driven by word of mouth.

That also means that Depop has to allow its sellers to set some of the direction, like when they come and host workshops or take photos at Depop’s London office; the company in turn tries to help its top sellers to grow their own business, with workshops on how to file their taxes, for examples, or do their accounts.

“Fashion is a really elitist industry,” says Raga. “Allowing people to just list an item, getting the community to dictate whether it’s cool or not – that’s what works.”

[yourweepingcollectionkrypto-blog]

Totobet Net Balapan Anjing di Balapan Birmingham.

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[drprunesquallor]

Ayaan Ali Bangash is the Indian equivalent of a rock god. He is young, handsome and plays the sarod, not the electric guitar. Last month, he performed at a Sunday morning concert in the morning raga series, staged at the India Habitat Centre. He was outstanding, the best Indian classical music artist I have seen so far.

“Dreamy, exciting and dramatic…. ” Songlines World Music Magazine, 2005

If you are a fan of World Music, you may have heard of him. He has played at WOMAD (in Adelaide), Sydney Opera House, Royal Festival Hall and Birmingham Symphony Hall in UK. He’s even performed for Prince Charles at Highgrove and plucked his sarod for a PETA commercial, pleading for birds to be set free from cages.

When he was formally introduced at the start of the concert, the master of ceremonies asked the audience not to clap during the performance. He interrupted her, saying, “C’mon, it is 2017. Clap when you want to.”

He arranged his dupatta (scarf) over his thighs, and covered it with his long kurta (shirt). Then he laid the sarod across his lap and started to tune it. There were no frets on the neck of the sarod. It had additional strings on the top, with separate tuning pegs. The belly of the sarod was beautifully polished wood, but the neck was shining steel. In front of him he arranged a locket – perhaps a photograph of a teacher or a loved one – and a watch.

He plucked the strings, giving rise to an echo around the buildings of the courtyard which sounded curiously like a tabla. The instrument needed frequent tuning during the first lalit raga.

As he played, Ayaan kept in constant touch with his accompanying tabla players. He would nod his head and smile at each of them. They would respond with a bit of virtuoso tabla tapping. But he was the real star of the show. His eyes closed and his face contorted as he squeezed the notes out of the sarod, playing faster and faster until he reached a climax. The audience erupted in joyous appreciation. He nodded back in gracious acknowledgement.

He reminded me of Brian May, the lead guitarist of Queen, but playing less exuberantly. He angled the sarod up slightly, moving it passionately as the mood of the music took him. However, no one can jive about on stage with a sarod.

The last piece in his repertoire had been composed by his father, sarod maestro Amjad Ali Khan, who was in the audience. He began by saying he couldn’t do it justice, but he played it exceptionally well. At the end, the spectators gave him rapturous applause. I stood up and shouted “Bravo, encore!” but he didn’t play another piece.

Ustad Amjad Ali Khan

That’s the end of the morning raga concert series for this season. I will have to find my Sunday morning music in a different location. But I’ll be lucky if I stumble across anyone quite as good as Ayaan Ali Bangash. Check him out on YouTube after a boring advert for Mutual Fund Investments.

More morning ragas Ayaan Ali Bangash is the Indian equivalent of a rock god. He is young, handsome and plays the sarod, not the electric guitar.

[thoughtsonthedead]

You Don't Wanna Go Raga

You Don’t Wanna Go Raga

Okay, Enthusiasts, we have some answers. Not all, but some. This picture that I posted yesterday is indeed Graceland: this is in the backyard where Elvis, his stillborn twin Jesse, and their parents are buried. The date is 4/3/95; the Dead had shows at The Pyramid in Memphis on the 1st and 2nd of April, and took the day to go to Graceland before truckin’ up to Birmingham. Graceland? Graceland.…

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Bhajanai Birmingham Balaji Temple 21st Oct 2017 The Solihull/Birmingham "Sampradaya" Bhajanai group and "Mantrasara" came together to put together an impressive performance at the Tividale Balaji temple community hall on the 21st Oct 2017.