Compiled by Nishita Jha
It might be a little late in the day for Chitrangda Singh to play the wide-eyed ingénue, but she’s damned if she won’t try. In a recent interview, Chitrangda confessed that she didn’t understand what the hype surrounding I want fakht you, her item song in Joker, was all about. She then compared herself to Madhubala and asked why no one ever accused the yesteryear star of performing an item number in Mughal-e-Azam. We might be way off target here Chitrangada, but maybe having a bunch of dialogues in the film had something to do with it?
Scoring A Divine Pardon
Major kudos to Veena Malik’s public relations team for their sheer Olympian persistence. If sending us weekly updates on Malik’s whereabouts, fan encounters and starry dreams every week wasn’t enough to convince us of her importance, they scored a major coup last week by getting her invited to the BJP’s Janmashtami celebrations in Mumbai. Dressed as Radha, Malik posed with party leaders along with a statue of Krishna, leading us to assume that her naked ambitions of the past have been forgiven by the moral guardians.
The Oh Yeah Minister
Hindi filmmakers have been known to seek inspiration from primetime news, and it turns out that it isn’t just breaking headlines that they’re watching. Congress MP Shashi Tharoor recently revealed that a big production banner has approached him to star in a feature film. Before we go collectively wide-eyed, he added that this was an offer he politely refused, fearing the media fracas that would follow. While we’re not entirely disappointed by this decision, perhaps we could all agree to let a shampoo advertisement pass without comment?
‘Media needs to support these kids making music’
WHO Udyan Sagar aka Nucleya is an Indian dubstep and EDM producer. He has played at festivals such as Glastonbury and Edinburgh Fringe Festival in the UK and Lille 3000 in France. His album Horn OK Please came out last year.
How would you describe your sound?
I make Indian electronic music that borrows from all forms of Indian music, especially street music. I use Indian classical music samples as well, although this is limited by its complexity. I love south Indian film music. It’s got life and beauty. The current trend with electronic bass heavy music is that the bassline needs to be as dirty and scary as possible, but that takes away the warmth and soul of the music. A song should not sound like two different tracks between the build-up and the drop — there needs to be some melodic progression.
Dubstep in India — do you think that’ll take off?
Not the bass-heavy, ear-shattering form of dubstep. For the Indian public to get interested, it needs a soul. The balance between bass and melodic content must be strong or there’s no life there. What the scene needs is for producers to start creating their own styles. Most dubstep producers in India try too hard to sound like their western counterparts, with identity and individuality going for a toss.
Tell us about the underground rave scene in Delhi.
It’s more exciting than what’s happening in other cities. I find that the art scene in Delhi is more interesting than in Mumbai, where everything revolves around film music. The problem is that there aren’t many producers. We have four or five electronic music festivals a year in India, which is not enough. The kids making the music need more support from the media. Record labels post on Facebook, but there’s no inclination to make videos, host radio interviews, or get support from local bands or DJs. Most festival organisers in India prefer to bring in foreign artistes so that they can rake in the big money.
Which Indian producers can make it big?
A producer called Dub Sharma. He makes melodic, bass-heavy electronic music and has the potential to break into the scene big time. Breed is another promising producer.