After his best years in the 70s, Pancham was overlooked by the Indian film industry in the late 80s and early 90s. Arguably, he was ahead of his time. I remember talking to Manohari Singh, his music assistant and saxophone player, in 2003 long after Pancham’s death. Manohari Singh said, “Pancham knew we were back in the game when he had finished composing the music for Vidhu Vinod Chopra’s 1942: A Love Story. Pancham told us be ready for good times again.” Unfortunately, Pancham passed away on 4th Jan 1994, just weeks before the release of the film.

Vishwas Nerurkar writes in his book on Pancham, “My assessment of a great composer is that he should fulfill three criteria: 1) timeless compositions, offering the same freshness of melody years after their period or lifetime; 2) originality; and 3) trend-setter in the industry. On each of these three vital conditions, Pancham emerges in bright colors and honours.”

During his peak in the 70s, Pancham claimed he was composing 4-5 songs/day. A couple songs from lyricist Gulshan Bawra’s tribute to Pancham. In a heavy Punjabi accent, Bawra introduces these songs with anecdotes on how they were composed.

Kasme Vaade Nibhayenge Hum (the sarson saga)

Jane Jaan O Meri Jane Jaan (the newspaper influence)

Samandar Mein Nahake (the monsoon magic)

Pancham has collaborated with many western musicians, but his work with Jose Flores to produce ‘Pantera’ is commonly known. Though the Pantera songs are not among Pancham’s best compositions, they’re very rare. So I’ve uploaded the Pantera title here, and the hindi version he used for Priyadarshan’s Gardish.

Pantera (with Jose Flores)

Rang Rangeeli Raat (Gardish)

Pancham was a genius in inventing new sounds – rubbing a comb against plastic tube for Mere Samnewali Khidki (Padosan), blowing into an empty ‘Thumbs Up’ bottle for Mehbooba Mehbooba (Sholay), tapping glass with a spoon for Chura Liya Hai (Yaadon Ki Baarat). These are Pancham’s original musicians demonstrating his talent for composing and inventing new sounds.

And in this one, his musicians are jamming away to some of the old classics.

Samir Patil, founder investor and CEO of ACK Media told Hindustan Times: “It is a 100 per cent cash deal. We are looking to invest $15-20 million over the next two to three years to make use of opportunities in licensing content and characters, intensifying retail penetration and introduce more offerings in the digital medium.”Â

Smart move by ACK media, in acquiring the IP rights to popular Tinkle comic characters Suppandi, Shikari Shambu, Nasruddin Hodja, Kaalia the crow, Tantri the Matri, and the crew. I’m pretty sure the $20 million investment is largely towards digitizing these comic book characters into feature film releases.

The animation industry in India is heating up – Â opened up by the successful release of India’s first animation film Hanuman in 2005, and now followed by a sequel Hanuman returns, and a bunch of other big-budget and big-banner animation movies in the pipeline. With India being the most religious country in the world, most of the animation movies are based on Indian mythology characters India.Â

For the publishing and media companies, this is the third incarnation of the Indian mythology characters over the last 40 years – same stories, but packaged in a different format…

 1967: Anant Pai, the father of Indian comics, partners with India Book House to launch Amar Chitra Katha after contestants fail to answer questions on Indian mythology. If you, like me, grew up in early the 80’s, Amar Chitra Katha was the only source for Indian mythology characters besides, of course, your parents and grandparents.

1987: Then in the late 80s, Ramanand Sagar produced Ramayan, the first epic TV serial that ran for years. It was immensely successful and spawned a new industry of Indian epics made for TV – followed by Maharabhata, Krishna, and a few others.

2007: India’s first animation movie, Hanuman, is released in 2005 opening up the animation industry in India. And according to this IndiaFM article, bg names in Bollywood are falling over each other to hit the market with new animation movies based on mythology characters from popular characters like Hanuman and Krishna to little-known characters like Ghatothkach.

India’s costliest film, Sivaji, produced at an estimated $23 million was released 2 weeks ago. The hero of the film, Rajinikanth, is worshipped by his fans all over the world and it is a norm for die-hard Rajinikanth fans to buy tickets at multiple times face value to watch the first show of his newly released film. As successful as Steve Jobs was in generating media hype and long lines at Apple stores for the iphone, Rajinikanth wins hands down.

His movies are in a genre of it’s own, as his fans fondly call it the “wholesome entertainer”. It is a combination of John Wooish style, Tarantinoesque punch line dialogues, grandeur of a Met Opera, Stephen Kingish surprise endings, mixed with a few songs and a social message. My friend Ramprasad Sandilya and I decided to experience our first Rajinikanth movie ever, and it was certainly an experience worth writing about.

We were greeted with die-hard fans dressed like the superstar, some wearing his t-shirts. It was like a tailgating party without the alcohol. I noticed someone buying packets of popcorn and I bet he wasn’t going to eat it all. As soon as Ramprasad and I took our seats, I got a tap on my shoulder and handful of shredded newspaper pieces. The lights dimmed, titles rolled in, fans started screaming and whistling, pieces of paper and popcorn were floating up in the air. I heard a voice from behind me, “Rajini’s entry is in 5 minutes”. He had obviously seen the movie before.

At the end of it all, I asked a fan what the thought of the movie. He seemed a bit offended by my harmless question. Apparently Rajinikanth movies are not categorized as good or bad. He said, “What else can you expect from a Rajini movie? It is all about the experience”.

Everyone is raving about the “unique” blend of bagpipe and punjabi dholak. I personally felt the music was so-so and forgettable, but I couldn’t resist doing more research on the use of bagpipe in Indian music. Especially since I was blown over by the excellent use of the bagpipe by Yuvan Shankar Raja in his track Nenjodu from Kadhal Kondaen.

When it comes to experimentation in Indian music, there’s only one name – R.D.Burman. As far as I can tell, he had used it back in 1971 for the ever-popular Caravan. I’m sure you all have listened to Daiyan Yeh Main Kahan Phasi many times, but listen again to the prelude.

Any other desi soundtracks that make use of the bagpipe?