Bruce Springsteen Tribute at "The 32nd Annual Kennedy Center Honors"

The Kennedy Center in Washington D.C., which opened in September 1971, is one of America's premier arts facility and features thousands of performances by the greatest artists from America and across the world every year.

It is best known for its recognition of the lifetime contribution of some of America's greatest artists through the prestigious Kennedy Center Honors. This year for the 32nd Annual Kennedy Center Honors the Center honored Mel Brooks (actor, writer, director), Dave Brubeck (pianist, composer), Grace Bumbry (opera singer), Robert DeNiro (actor, director) and Bruce Springsteen (singer, songwriter). The honorees come to the Center and are presented by many of their peers with heartfelt tributes honoring their life's work. This event is televised and this year's event was shown on CBS on December 29th.

I was particularly moved this year by the wonderful tribute performances of legendary Bruce Springsteen songs by some exceptional artists : John Mellencamp ("Born in the USA"), Ben Harper / Jennifer Nettles ("I'm on Fire"), Melissa Etheridge ("Born to Run"), Eddie Vedder of Pearl Jam ("My City of Ruins") and Sting ("The Rising"). Here are the performances in two separate exceptionally good quality video clips:

Part 1:



Part 2:

"TitliyaN" - Strings

The Karachi-based pop duo, 'Strings' is one of my favorite Pakistani music bands. Faisal Kapadia (son of television actor Lateef Kapadia) is the vocalist and Bilal Maqsood (son of talk show host, poet, painter, dramatist, music lover Anwar Maqsood) is the lead guitarist with supporting vocals.

Strings have recently released a video of their song "TitliyaN" from their 2008 album "Koi Aane Wala Hai". The video is conceptually wonderful and it delighted me that, with this video, Strings have paid tribute to so many Pakistani cultural icons who are being lost in the mists of time. For the younger generations who likely constitute a majority of Strings fans, the video may introduce many of them for the first time to the rich cultural legacy to which they are heirs. The selection of the 'legends' is excellent and other than some quibbles I had with omissions (such as Khawaja Khurshid Anwar, Patras Bokhari or Noon Meem Rashid for example) the chosen list is uniformly worthy of recognition.

The romantic lyrics gently tinged with memories of loss are quintessential Anwar Maqsood and form the perfect backdrop for this tribute.



Dil tha khilauna
Chalo toot gaya, kya kaheiN
Koi saathi tha, jisse chaha tha
Wohi loot gaya, kya kaheiN

TitliyaN yaadoN ki urti jaayeiN
RangoN meiN mujhse kuch kehti jaayeiN

Ek jheel thi, kayee phool thay
Sub mit gaye, kya kaheiN

Chaha tha kehna, na kaha, chup rahay
RahoN meiN tanha chalte hi hum rahay

TitliyaN yaadoN ki urti jaayeiN
RangoN meiN mujhse kuch kehti jaayeiN

Girti kirneiN, tera aanchal
Kaise bhooleiN, kya kaheiN
Gaati koyel, mehka aangan
Kaise bhooleiN, kya kaheiN

TitliyaN yaadoN ki urti jaayeiN
RangoN meiN mujhse kuch kehti jaayeiN

Teri chaah thi meri roshni
Abh bujh gayee, kya kaheiN
Dil tha khilauna
Chalo toot gaya, kya kaheiN
Kya kaheiN

Here's Strings' performance of "TitliyaN" in the wonderful new innovative music TV programme Coke Studio. Here's a link to Coke Studio's YouTube Channel.

"Khan Sahib" Mehdi Hassan - Some Immortal Pieces by the Legendary Musician

Writing about some of the cultural influences of my childhood and adolescence was one of the reasons I started writing this blog a couple of years ago. In part, it is an exercise in nostalgia but it is also a desire to share the treasures that I feel I was unusually fortunate to be exposed to from an early age.

One such indelible influence has been the sublime singing of Mehdi Hassan. I have long wanted to write something about his life and craft but have not found myself equal to the task. A performer of his caliber, I have long believed, needs an in-depth and first rate evaluation. Sadly, to my knowledge, no such effort has emerged, at least in English or on the internet. Finally, a recent conversation with Adil Najam has prompted me to at least share some of my favorite Mehdi Hassan pieces in this post. These can at least be my humble personal tribute to one of the greatest sub-continental singers of the post-partition era.

It is deeply sad that even though his music still has many passionate devotees only the bare bones of Mehdi Hassan's biography are documented. The most comprehensive facts on the internet have been collected by Mr. Anis Shakur whose biographical sketches (even if somewhat unsystematic) of many Pakistani artists and musicians are an invaluable contribution for the preservation of Pakistani cultural memory.

Mehdi Hassan was born in 1927 in the town of Luna, district Jhunjhunu in Rajasthan. Luna is about 100 miles from Jaipur. He was born in a family of musicians and his father Ustad Azeem Khan and uncle ('chacha') Ustad Ismail Khan were notable classical singers of their time. Mehdi Hassan started learning at a very young age from his father. It is said that his first public performance was at age eight at the palace of Maharaja of Baroda. Mehdi Hassan moved to District Khushab in the Sargodha region in Pakistan after partition and worked as an automobile mechanic for some time. Eventually, to pursue his life's calling and seeking a career in music he moved to Karachi. Here he debuted from Radio Pakistan in 1952 singing one of his best known ghazals (by Faiz Ahmed Faiz), "GuloN meiN rang bhare baad-e-nau bahar chale". The composition is by Pandit Ghulam Qadir, who was Mehdi Hassan's older brother and an exceptionally talented composer. I have not been able to find even rudimentary information on Ghulam Qadir other than Mehdi Hassan's statement in a TV program that his older brother was also the composer of two other masterpieces; Hafeez Hoshiarpuri's ghazal "Mohabbat karne waale kum na hoNge" and Razi Tirmizi's "Bhooli bisri chand umeedeiN".

Update: September 20th, 2012
I found a great detailed PTV interview with Mehdi Hassan from the 1980's on YouTube the other day. The interviewer is the well-known compere Yasmin Tahir. In this interview Mehdi Hassan provides a lot of rich biographical detail about his life including the fact that he was likely born in 1934/35 not 1927 as is commonly reported. I am including this interview here:



And now for my selection of five personal favorites. For the embedded videos below, with one exception, I have tried to choose some of the lesser known gems in the Mehdi Hassan oeuvre. The last video is the only non-ghazal piece I have included. That semi-classical composition in Raga Tilak Kamod demonstrates Khan Sahib's virtuosic brilliance like few other performances. The effortless beauty of the vocals are mesmerizing and for those who enjoy Hindustani classical music this is the piece de resistance of my selection.

First off the most well known of my selections is Ahmed Faraz's "Ranjish hi sahi":
Ik umr se hooN lazzat-e-girya se bhi mehroom
Aye rahat-e-jaaN mujh ko rulane ke liye aa


Next is Aziz Hamid Madani's ghazal "Taaza hawa bahaar ki":
Taaza hawa bahaar ki dil ka malaal lay gayee
Paa-e-junooN se halka-e-gardish-e-haal le gayee


A ghazal by Hakeem Momin Khan Momin, "Navak andaaz jidhar deeda-e-janaaN"
Phir bahaar aayee wohi dasht nawardi hogee
Phir wohi paaoN wohi khaar-e-mugheelaN hoNge


Khan Sahib's divine singing of Razi Tirmizi's ghazal "Bhooli bisri chand umeedeiN" mentioned above:
Bhooli bisri chand umeedeiN chand fasanay yaad aaye
Tum yaad aaye aur tumhare saath zamaane yaad aaye


and finally the marvelously executed semi-classical number, "Dukhwa meiN kaase kahooN moray sajni" in Raga Tilak Kamod:

The Security of Pakistan's Nuclear Weapons

In the cloak and dagger world of military affairs and espionage it is particularly difficult for journalists to penetrate the surface and to get to the essence of a story when it is in every side's interest to obfuscate or even lie. On this tough beat I have always had tremendous respect for Seymour Hersh, who has broken more than his fair share of explosive stories which have been extremely embarrassing to the powers that be (e.g. My Lai Massacre, Abu Ghraib prison abuses).

His latest story in this week's New Yorker titled "Defending the Arsenal" on the security of Pakistan's nuclear weapons is incredibly illuminating. It exposes the profound lack of trust in the relationship and how both sides clearly do not believe a word of what they say to each other. The relationship is fundamentally transactional; the rest is rhetoric.

Today, Hersh did an interview with Terry Gross on her NPR program Fresh Air discussing this topic. I thought the interview was excellent and clarified some things that are not in the New Yorker article. For anybody interested in the US-Pakistan relationship and the nuclear issue this interview is a must-listen.

The link to the Terry Gross interview is here.

Some (Morbid) Fragments After a Hiatus

Several months have passed since I wrote something in this space. There was nothing in particular that held me back other than the routine, ordinary distractions of life but often it is a work of literature or art that, as the Quakers say, "moves one to speak".

Recently a friend and a colleague died at a young age and I had the subject of death on my mind when I came across W.H. Auden's poem "At the Grave of Henry James". How well it expresses the finality of death, the utter despair that even the "great and talkative" Master will forever dwell in eternal silence! A unique mind and his particular novelty gone forever just like all those others under those "rocks named after singular spaces" in that Cambridge municipal cemetery.

While rocks, named after singular spaces
Within which images wandered once that caused
All to tremble and offend,
Stand here in an innocent stillness, each marking
the spot
Where one more series of errors lost its uniqueness
And novelty came to an end.

To whose real advantage were such transactions,
When worlds of reflection were exchanged for trees?
What living occasion can
Be just to the absent? Noon but reflects on itself,
And the small taciturn stone, that is the only witness
To a great and talkative man,

Has no more judgement than my ignorant shadow
(excerpt from "At the Grave of Henry James" by Wystan Hugh Auden)

While on the subject of death, I recently revisited one of my favorite Phillip Larkin poems and I would be remiss if I did not share his great but terrifyingly dark poem "Aubade" (pronounced 'o-baad').

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what's really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.

The mind blanks at the glare. Not in remorse
- The good not done, the love not given, time
Torn off unused - nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast, moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear - no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anasthetic from which none come round.

And so it stays just on the edge of vision,
A small, unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can't escape,
Yet can't accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.

This past summer's great pop culture anthem has been the Black Eyed Peas' wonderful song "I Gotta Feeling". The catchy track is in their latest album titled "The E.N.D. (Energy Never Dies)". Every time I see the title of that album I think to myself: "But it does, it inevitably does".

Photograph: Phillip Larkin

Pakistan are T20 World Champions!

The Evolution of a "Third Culture"

In a blog entry I wrote early last year on the Harvard evolutionary psychologist Steven Pinker and his essay "The Moral Instinct", I expressed my great admiration for a whole generation of world class scientists who have ably taken on the task of speaking not just to their peers but also the wider audience of curious non-specialists. We increasingly live in an age where serious study of the social sciences and even the humanities have to account for the findings of cutting edge neuroscience, cognitive biology, cosmology and other scientific disciplines if they are to be taken seriously.

Edge Foundation has an excellent website devoted to the promotion of the "Third Culture" which in their own words "consists of those scientists and other thinkers in the empirical world who, through their work and expository writing, are taking the place of the traditional intellectual in rendering visible the deeper meanings of our lives, redefining who and what we are." What recently took me to the site were six video interviews posted there with eminent intellectuals asking them about the progress of the Third Culture (the term is derived from a 50 year old lecture titled "The Two Cultures" by the English physicist C. P. Snow who bemoaned the serious gulf between scientists and literary intellectuals).

While on this topic I must mention the delightful profile of the pioneering Univ. of California, San Diego behavioral neurologist, Vilayanur Ramachandran in the May 11th, 2009 issue of The New Yorker. It is frustrating that this excellent profile by John Colapinto is not available online to non-subscribers so I cannot link to the full article. Suffice to say that I would highly recommend finding the article and reading it. Ramachandran comes across as a brilliantly innovative scientist with a fascinating biography, a warm and quirky personality and a passion for problem solving and the communication of ideas. The profile describes his ingenious solution to the problem of pain in phantom limbs using a simple mirror therapy. In a blog on the New Yorker site, Colapinto provides a fascinating description (including photos) of how the mirror therapy works by tricking the mind. Atul Gawande also wrote about this therapy in his New Yorker article called "The Itch" which I blogged about here.

To get a first hand flavor of Ramachandran's genius and his engaging lecture style here is his talk entitled "A journey to the center of your mind". He gives several extremely interesting examples of how the brain works (including the phenomenon of phantom limb pain).

Photo: Vilayanur S. Ramachandran (from the TED website)

November 1st, 2009 update:

Ramachandran dazzles in this video interview below hypothesizing how the problem of consciousness is likely to be explained. He believes that the potential explanation lies in some unique trajectory of human neurological evolution and that qualia (conscious knowledge of a sensation) and awareness of self are linked phenomena.

Justice Souter Retires

After 19 years, Justice David Souter has decided to leave the bench at age 69. Linda Greenhouse in today's Sunday Times, has an admiring portrait of the somewhat eccentric, reclusive and scholarly New Hampshire jurist who even as he was ill at ease in the public aspects of his office was intellectually very well equipped to be an associate justice.

For years now, Justice Souter had come to be seen as a reliable vote on the side of the court's liberal justices and despite being acknowledged as a keen intellect, his tenure on the court will likely be seen as unexceptional. Unlike a Scalia, he was not an icon for any particularly staunch philosophical view of constitutional interpretation. He did not occupy a pragmatic (sometimes indecipherable) middle in the way of Kennedy which makes him the obsessive focus of court watchers in every close case. And unlike Justice Brennan (whom he replaced) he was not a coalition builder with any penchant for shaping close opinions that could garner a majority for his preferred outcomes. Instead, Justice Souter will most likely be remembered as an independent-minded elder Bush appointee who upset Republican expectations of a reliable conservative vote for Scalia and surprisingly reaffirmed the constitutionality of the court's previous abortion decisions in Planned Parenthood v. Casey (1992).

An excerpt:

This pattern gave rise to a widespread view of Justice Souter as a misfit or a loner, not quite in touch with modern life. But to focus on his eccentricities — his daily lunch of yogurt and an apple, core and all; the absence of a computer in his personal office — is to miss the essence of a man who in fact is perfectly suited to his job, just not to its trappings. His polite but persistent questioning of lawyers who appear before the court displays his meticulous preparation and his mastery of the case at hand and the cases relevant to it. Far from being out of touch with the modern world, he has simply refused to surrender to it control over aspects of his own life that give him deep contentment: hiking, sailing, time with old friends, reading history.

National Poetry Month - "Moment" by Wislawa Szymborska & "Account" by Czeslaw Milosz

April is National Poetry Month and the New York Review of Books has been posting a poem every day this month to celebrate the, I suspect, not widely recognized occasion. Even though I can only read them in translation, I have always had a particular affinity for twentieth century Eastern European writers and poets (Brodsky, Milosz, Szymborska, Kundera and of course Kafka). They seem to capture the twentieth century zeitgeist in deeply intimate ways, perhaps because so many of the century's defining struggles and human tragedies played out on their soils.

Here are two poems by two Polish Noble Laureates that NYRB picked for April 28th and 30th respectively. The poem "Account" is by Czeslaw Milosz (pronounced chess-wahf mee-wosh) who was the recipient of the Nobel in 1980 and "Moment" is by the 1996 honoree Wislawa Szymborska.

I have posted Szymborska's wonderful poem " A Few Words on the Soul" in a previous post. In this poem "Moment", she evokes the serene, timeless harmony of nature's beauty. These beautifully contemplative descriptions of nature are a popular theme in her poetry. However, the subtext is the ephemeral human observer, with or without whom nature would continue on oblivious of being observed and indifferent to history's events unfolding around it.

"Moment" - Wislawa Szymborska

I walk on the slope of a hill gone green.
Grass, little flowers in the grass,
as in a children's illustration.
The misty sky's already turning blue.
A view of other hills unfolds in silence.

As if there'd never been any Cambrians, Silurians,
rocks snarling at crags,
upturned abysses,
no nights in flames
and days in clouds of darkness.

As if plains hadn't pushed their way here
in malignant fevers,
icy shivers.

As if seas had seethed only elsewhere,
shredding the shores of the horizons.

It's nine-thirty local time.
Everything's in its place and in polite agreement.
In the valley a little brook cast as a little brook.
A path in the role of a path from always to ever.
Woods disguised as woods alive without end,
and above them birds in flight play birds in flight.

This moment reigns as far as the eye can reach.
One of those earthly moments
invited to linger.

Translated from the Polish by Joanna Trzeciak
------------------------------------------------------------------------

The second poem here by Milosz is considerably darker. As is to be expected from the author of "The Captive Mind", this is a powerful poem of intellectual introspection.

"Account" - Czeslaw Milosz

The history of my stupidity would fill many volumes.

Some would be devoted to acting against consciousness,
Like the flight of a moth which, had it known,
Would have tended nevertheless toward the candle's flame.

Others would deal with ways to silence anxiety,
The little whisper which, though it is a warning, is ignored.

I would deal separately with satisfaction and pride,
The time when I was among their adherents
Who strut victoriously, unsuspecting.

But all of them would have one subject, desire,
If only my own—but no, not at all; alas,
I was driven because I wanted to be like others.
I was afraid of what was wild and indecent in me.

The history of my stupidity will not be written.
For one thing, it's late. And the truth is laborious.

(Berkeley, 1979)

Translated from the Polish by Robert Haas & Robert Pinsky

In Memoriam - The Great Iqbal Bano (1935-2009)

Iqbal Bano, one of the great exponents of semi-classical ghazal singing in the sub-continent, passed away in Lahore at the age of 74. I have recounted a reverie precipitated by her beautiful rendition of Faiz's ghazal "Yeh mausam-e-gul" in a previous post.

The Pakistani newspaper Dawn has a good obituary of Iqbal Bano here and some great photos of the icon in their media gallery. She was born in Delhi in 1935 and was the pupil of Ustad Chaand Khan of the Delhi Gharana. She moved to Pakistan in 1952 at the age of 17 and had her first public concert at the Lahore Art Center in 1957. She was awarded the "Pride of Performance" by the government in 1974.

Even though in the popular imagination her singing is eternally connected with the poetry of Faiz Ahmed Faiz and in particular with the anthem "Hum dekheiN ge", which she performed in virtually every public concert, Iqbal Bano was a versatile singer. She sang some very popular numbers for films in the 1950's. However, along with Ustad Amanat Ali Khan, Farida Khanum and the maestro Mehdi Hassan her real distinction was to be a part of that august group of vocalists in Pakistan who revolutionized post-partition ghazal singing by transforming it into a semi-classical form like thumri and dadra. If you listen to pre-partition ghazals, even by eminences such as K.L Saigal, the ghazal was performed like a light film song. As Pakistani audiences were more hospitable to Urdu poetry rather than the arachaic lyrics of traditional semi-classical forms, the classically trained musicians such as Iqbal Bano adopted ghazal as their medium for classical musical expression. The effect was exhilarating for fans of both Urdu poetry and the Hindustani classical vocal tradition. In the next generation there are few who have the stature and skill of the first-generation of pioneering icons with the possible exception of Abida Parveen and to a lesser extent (in my opinion) Ghulam Ali.

But for any artist it is always the work that speaks most clearly so here is some sampling of Iqbal Bano's singing. I have selected, as embedded videos, a few of my favorite ghazals/geets by Iqbal Bano. Some are slightly lesser known but I have also provided some youtube links to her most popular music below.

Iqbal Bano singing Faiz's wonderful ghazal "Na gaNwaao navak-e-neem kush":


Here is a personal favorite semi-classical piece with traditional lyrics "Ab kay Saawan ghar aaja": (her live image starts at 1:52):



The semi-classical piece above was adapted as a "zippier" song version for the 1959 film 'Nagin' and here Iqbal Bano is singing that version on PTV:


For the last sample let's go out with perhaps Iqbal Bano's most popular geet "Payal meiN geet haiN cham cham ke" originally sung for the 1954 film 'Gumnaam":

And as promised links to some of her best known pieces: "Dasht-e-tanhai meiN" (Faiz) ; "Yeh mausam-e-gul garche tarab khez bohat hai" (Faiz); "Ulfat ki nai manzil ko chala" (Qatil Shifai); an unusual foray into Punjabi folk music "MeiN kamli da dhola hai raat" ; and the perennial "Hum dekheiN ge" (Faiz) which is inseparable from Iqbal Bano's persona in the Pakistani imagination.

Photo Courtesy: Dawn