"WE TWO" RECALL THE BRAND NAME OF THE OLD MATCH BOX

Anandan Sivamani...

Anandan Sivamani (born 1959), popularly known as Sivamani, is a percussionist based in India. He plays many instruments including drums, Octoban, Darbuka, Udukai, and Kanjira, as well as many more. He has a huge fan following in India, and is an extremely creative percussionist. He recently performed drumming during the IPL Championships in 2008. Although he was affliated to the Chennai Super Kings team, he kept all the spectators enthralled.

Beyond the Years

http://www.youtube.com/watch?v=sW0WA_rXW2w

http://www.youtube.com/watch?v=AZKOWxXZpiE

Beyond the Years (Cheon nyeon hak) (2007) is a South Korean film. Celebrated director Im Kwon-taek's 100th film, it is based on the novel The Wanderer of Seonhakdong, and was presented at the 2007 Toronto International Film Festival.[2] Despite being an informal sequel to Im's phenomenally successful Sopyonje (1993), Beyond the Years was not popular with Korean audiences.[3] Beyond the Years is the story of Dong-ho, a pansori drummer who returns to his childhood village in search of his blind stepsister, Song-hwa.

Beyond the Years" is a love story between a female traditional Korean pansori singer and a male drummer who are not actually blood-related but have been brought up as sibling. The story uses Korean scenery for its background. The movie was also produced by Im, who became the country's "All-Korean director" after his "Sopyonje," which overwhelmed the critics.

After Him

http://www.youtube.com/watch?v=DUxkC0M5RVc
http://www.youtube.com/watch?v=_xTBiGyHxnk
http://www.youtube.com/watch?v=sx29deBYL2E

It’s an intense tale of a mother’s grief after the accidental death of her 20-year- old soDuration: 81 minsGenre: DramaDirector: Gaël MorelLead actor: Catherine Deneuve.
DENEUVE plays Camille, the mother. After her son’s death Camille focuses on her son’s best friend Franck, (THOMAS DUMERCHEZ), who was actually driving the car when the accident occurred. There’s an intensity in her that veers towards obsession.AFTER HIM never quite delivers in terms of drama although there’s a tremendous reality to the sadness. Co-writer/director Gael Morel seems to be satisfied with creating an unsettled mood to the film, garnering terrific performances from his cast in the process.But the film doesn’t go very much beyond the rather superficial premise that Camille is determined that Franck fulfil the promise that has been denied to her son.It’s all very European in style, particularly the ending, but there’s a sense of something missing here and it isn’t grief.
review
Catherine Deneuve is not just an actress but a country. For those of a certain (or even uncertain) age, she embodies an idea of France - incredible elegance, a touch of haughtiness, a sophistication that could only come from Paris, clad in YSL and her own fragrance. Untouchable, unworldly, flawless.
In the 1960s, she was the belle du jour, the face that every director and leading actor wanted to have - in every sense. She played whores and killers, vampires and gold-diggers, actresses and princesses and, later, even an American factory worker (in Lars von Trier's oddball Dancer In The Dark). In the 1980s, she became the official visage for Marianne, the symbol of France. La Reine Catherine, the French ideal.
That can be hard to live up to. Maintaining a legendary face takes work and it's a battle you can't win. Age shall weary them and the years condemn. Deneuve is now 64 and her face has begun to disobey her commands. I don't know if she has had facelifts, nor care, but I think there's less expression in her face than there once was. And no, I don't think that's always true of older actors - some become more expressive as they age, because they are better actors.
Then again, in this case, it may be the performance. Deneuve has always been good at coldly minimal roles. She has said that directors often have to get her to ramp her performance up, rather than down, because she tends to underplay. In this movie, it's the other way around: she starts huge and then keeps reducing the emotions, until she's almost completely inscrutable. It's an intriguing performance because it's like an attempt to erase the character. Maybe that's part of the attraction for Deneuve. Who would blame her, after almost 50 years in the footlights, for playing a woman who wants to become invisible?
The film is about grief, a tricky subject. Everyone knows a little about it and most of us have seen it done badly on film. At one end you get floods of tears; at the other, cold fury, with barren bleakness in between. Few films manage the gravity of it without becoming histrionic; once they succumb to that, it's all over. Life's too short to watch other people's unconvincing grief. If you're going to go after it, you'd better nail it. Anything less is pretentious.
For the first couple of reels of Apres Lui, the story of a woman whose son has been killed in a car accident, I was unconvinced. The director Gael Morel ( Le Clan) just seems to do the obvious but without clarity. The opening shows two young men horsing around as they dress in women's clothes. Deneuve breezes in wearing jeans and helps them with their make-up

They could be gay, except they talk about girls. It turns out they are going to a buck's party. Next thing, the phone rings and Camille (Deneuve) is told her son is dead. Apparently the French police do this sort of thing over the phone. She begins to wail, then calls her daughter Laure (Elodie Bouchez), to tell her. The crying continues through the identification of the body at the hospital with her ex-husband Francois (Guy Marchand), and the bleak funeral. En route to the wake Camille stops by the tree where her son Mathieu (Adrien Jolivet) died. She finds his friend Franck (Thomas Dumerchez) sitting there with a bunch of flowers, crying. She takes him to the wake. Both Laure and her father attack him for coming but Camille will not let them throw him out. So begins the relationship that will become the most important in Camille's life.
Morel, who was an actor in Andre Techine's wonderful 1994 film Wild Reeds, makes few concessions to clarity or brevity in these scenes. The light is so dim in the opening scene that I didn't recognise Franck as the same boy - the one who dressed up with Mathieu. That made it momentarily difficult to work out why people were so hostile to him at the wake. Morel withholds the news that Franck drove the car. Everyone on screen knows it but the audience is kept in the dark - literally. This is an unusual technique but characteristic of a certain kind of French film, in which keeping the audience informed is akin to pandering.
The combination of the twilight gloom and the depiction of grief as simple weeping just about did me in but then the film changes. Camille stops crying and begins to pursue her friendship with Franck. She goes to the university, where both young men were studying, to find out about his grades. She pursues his parents, who are migrants from Portugal, to ensure he returns to class. She gives him a job in her bookshop to provide a stipend. The cameraman is allowed to use lights, too.
The effect is to save the film and set it off in the direction Morel was always intending, towards mystery. This gives Deneuve something to do, as Camille tries to reconnect with her son's energy through Franck. The longer the film goes, the more nuanced the performance becomes. Deneuve convinces us that Camille's grief is getting worse, not better, and her awareness of what she's doing is receding, rather than improving. The more unhinged she becomes, the quieter and more moving Deneuve's performance.
As I say, it's hard to know how much of her stony visage is acting and how much is the result of what we might call maintenance. I think it's mostly the former but either way, it works pretty well for this role.

Gayatri,the playback singer

http://www.youtube.com/watch?v=EP7JsGVfUu0

http://www.youtube.com/watch?v=Ls5xwbhR_XY

http://www.youtube.com/watch?v=DRbUpO3UQKg

http://www.youtube.com/watch?v=9Ra30EBb2M0

http://gayatriasokan.info/

Gayatri Asokan  started her playback career with the song "Deena Dayalo Rama" for the film "Arayannagalude Veedu" under music director Raveendran. "Enthe Nee Kanna" for "Sasneham Sumitra" won her the Kerala State award for the best female playback singer in 2003. Her memorable hits include "Chanjadi Adi" from "Makalkku", & "Thumbikkinnaram" from "Naran" the Mohanlal starrer. She has also sung a song in the V. K Prakash Movie "Moonnamathoral" which was released recently.

Gayathri was first trained in Carnatic music by Sri Mangat Natesan and Sri Vamanan Namboodiri at Trichur. Later she started training in Hindustani Music under "Dr. Alka Deo Marulkar" in Pune and later under "Pandit Vinayaka Torvi" in Bangalore which she is continuing. A person who has influenced Gayatri a lot is Sri Sri Ravi Shankar. She is an active member of the Art of living foundation.
She is also a Hindustani classical music singer, a Bhajan singer and has given Hindustani concerts and programs based on film songs abroad. She has sung in many Albums and has also sung and given music for a new Album for the Art of Living foundation which is to be released in September 2006 by HMV worldwide. She has also shared the stage with eminent singers like Yesudas, Jayachandran, SP Balasubramanyam, S. Janaki, Shankar Mahadevan, Madhu Balakrishnan and Pradip Somasundaran. She recently sang for a music album of music maestro Ilayaraja, Thiruvasagam which was released by Sony Music.

Gayathri and Vidhu Pratap on music and More
`Work hard, be happy'

It is a euphonious duet when two award winning playback singers get together. There is not a single discordant note in their conversation. As Gayathri Ashokan and Vidhu Pratap get together for a Take Two interview, there is fun, banter and above all music. Gayathri, who hit the limelight with her soulful song `Deenadayalo Rama... ' in `Arayanagalude Veedu' won the Kerala State Award for her song `Endee Nee Kannaa' in the movie `Sasneham Sumithra.'
Vidhu, who was selected as the first `Voice of the Year' award in a music competition conducted by a private channel in 1997-98 made waves with his songs in `Meesa Madhavan,' `Swapnakoodu' and the song `Sukamanee Nilavu' in `Nammal.' He won the State award for the best male playback singer in 2000. Saraswathy Nagarajan and Bimal Sivaji record.
Two lines of an impromptu `oppana' sung by Vidhu welcome Gayathri to Vidhu's house in Kaithumukku. Gayathri is getting married to Sai, a dentist in Kozhikode, on January 4.
Vidhu: So, you are going to lose all you fans.
Gayathri: My fans enjoy my songs. Getting married has nothing to do with it. How about you?
Vidhu: I am not old enough to get married. I am only 24 (laughs).
Gayathri: Let us talk about music.
Vidhu: I am just back after a recording in Kochi for a movie. It began at 12.30 a.m. After the first recording was over at 3.00 a.m., I went back, slept and returned to the studio at 6 a.m. But I did not feel tired. It was quite alright. However, on the way back, I was feeling very sleepy.
Gayathri: Rehman also does most of his work at night. I had been to see the rushes of Jairaj's film `Makalku.' Quite a few singers have sung for the movie. Hariharan, Adnan Sami, Jassie Gift and Manjari have also sung for the movie.
Vidhu: Will you continue as a playback singer after your marriage.
Gayathri: Yes. My fiancée does not have a problem about that.
Vidhu: Is it an arranged marriage?
Gayathri: Yes. The horoscopes were matched...
Vidhu: I believe in horoscopes too. But difficult to predict what kind of a marriage I will have...
Gayathri: Let us talk about you. When did you decide to be a singer? You sing a number of Tamil songs and your diction and pronunciation are pucca. What I like about your songs is that you have an individual style and never try to mimic anyone.
Vidhu: Well, my mother Laila hails from Amaravila. A lot of people there speak Tamil. Perhaps that is why my Tamil is good. As a student, I was not into music alone. During my school days in Christ Nagar, I used to participate in monoacts, mimicry and singing. So, I was not exposed to too much of songs. Like many kids, I was also learning Carnatic music. My first teacher was Sreekanteswaram Saraswathy Ambal. Now my guru is B. Sasikumar. It was after I won the Voice of the Year Award that I seriously thought about becoming a singer.
Father's pride
Gayathri: I have heard that your father, Prathapan, is the person who really motivated you to become a singer.
Vidhu: Yes. Ninety per cent of the effort was my father's. He backed me and encouraged and, most importantly, supported me financially. After I won the `Voice of the Year' award, I got some offers to sing for concerts. I first sang for a movie called `Paadamudra' when I was in Class IV. My first real break was `Devadasi.' I have a song in `Rasikan.' When did you decide to become a singer. You come from a family of musicians.
Gayathri: But I was not focussed like you people. I used to enjoy music a great deal and was learning Carnatic music. My grandmother, Ammukutty, was a good singer and my Valliamma (mother's sister) used to play the veena beautifully. She was a professor at Stella Marris in Chennai. Then, when I was doing my BA, I became a great fan of Hariharan and that is when I decided that I had to learn Hindustani music. I went to Pune as my guru Alka Marulkar was staying there. I stayed there to learn Hindustani.
Vidhu: Don't you think that Hariharan's ghazals and songs had a great influence in making Hindustani music so popular in Kerala?
Gayathri: Absolutely. He has a great voice and moreover since he is a South Indian, a lot of people were able to relate to him better. How did you take care of your voice? I have heard that male singers go through a difficult phase when their voice breaks.
Vidhu: It is very difficult and frustrating. You not sure whether to begin on a high or low note. Suddenly, in the middle, your voice lets you down. That was a difficult period.
Gayathri: During that time, doing the wrong riyaz could damage your voice.
Vidhu: During that time Vazhuthacaud Sunil, who had passed his Ghanabhooshanam was not too busy then. He used to come at 5 a.m. and I had to get up and practise. Sometimes I used to get angry as I had to get up early. But now I feel that was good for my voice.
Gayathri chechi, you have a younger brother?
Gayathri: His name is Ganesh and he is an engineer.
Vidhu: Ask Gayathri chechi what she calls her father? Neshu. And do you know what they call their mother? Nunia (Gayathri laughs out loud). That is the language in their house. Her father's real name is Ashokan.
Gayathri: From Ashokan it first became `Ashu' then it became Neshu.
Vidhu: They have such short forms for many such things. I was able to decipher her language only after working with her for four or five years.
Gayathri: We have done a number of stage shows together and they are usually a hit. Is it not Vidhu? Vidhu dances... Vidhu: She will not ...
Gayathri: I don't dance to impress anybody.
Vidhu: When we do a show it is for the audience.
Gayathri: But that does not mean you `work out' on the stage. He even tried to moon walk.
Vidhu: I try to entertain the audience.
Gayathri: Have you learnt dancing?
Favourite songs
Vidhu: For some time. The audience enjoy our concerts. I like Gayathri chechi's songs such as `Deendayalo' and `Endee Nee Kanna.' The song that won her the award...
Gayathri: As soon as I heard `Sukamanee... ' during a stage show, I was attracted to that song. It is a very romantic one and the song creates a mood. Vidhu: Gayathri, don't you sing fast numbers?
Gayathri: Only if I get fast numbers.
Vidhu: There is one thing. One is lucky to get to sing melodies.
Gayathri: Have you planned your career?
Vidhu: Mine is a not a planned life at all.
Gayathri: But you should have planned something in secret?
Vidhu: That has to remain a secret. There is nothing like that. I don't know how long I will be able to stay on in this field. I wish to be in the field for a long time. Then there is enough competition in this field. Work hard and be happy.
Vidhu: If the husband and wife are from the same profession, there would be problems. I would prefer her to be in some other profession. So what is your ambition?
Gayathri: Talking about my ambition, well, I have spent time and energy to go to Bangalore and learn Hindustani music. My guru is Pandit Vinayak Torvi. Right now, I want to be a singer. Maybe later, when I mature as a singer I may set up a school.

Gayathri’s Mantra 

Playback singer Gayathri Asokan’s interests go beyond music. But she tells Saraswathy Nagarajan that her goal is to become a Hindustani vocalist.

"Yes, films have given me a great deal of exposure and I do enjoy my assignments. But in another six or seven years, I want to become a competent Hindustani vocalist,” asserts the student of Bangalore-based Hindustani vocalist Vinayak Torve and Alka Marulakar. She adds that she furthers her learning by tuning in to all kinds of music on youtube. “I think the Net is a fantastic place for any serious student of music. Indian classical, Western, Jazz , ghazals, rock, instrumental… there is so much that is easily available,” smiles Gayathri.

Avid reader 

 Gayathri’s taste in literature is equally Catholic. “I enjoy a wide range of books and authors. I am a fan of Milan Kundera. But my all-time favourites are Latin American authors, particularly Mario Vargas Llosa, Jose Saramago, Marques… Of Llosa’s books, ‘Way to Paradise,’ which delves into the life of artist Paul Gauguin, is a particular favourite. It is about the angst, elation and intensity of being an artist; a little like Somerset Maugham’s ‘The Moon and the Sixpence,’ but I find this much deeper,” says Gayathri with the passion and enthusiasm of a true bibliophile. 

The literature postgraduate says airports are a great place to pick up books. “Some of them turn out be trash but I have also discovered some gems,” adds Gayathri, an avid traveller thanks to her concerts and stage programmes. Her sojourns to different places on the globe have also whetted the foodie in her. 

“A vegetarian foodie who did not know how to cook,” laughs Gayathri. She says she used to feel “very unfeminine” as she equated cooking as something all women did and to her dismay she could not cook even a single dish. 

“Usually, it a shishya who looks after the guru. But in my case, it was my gurus, both excellent cooks, who kept feeding me all kinds of goodies. Recently, my parents built a traditional house near Mulamkunnathukavu and I go there for a break. I do riyaz, go for long walks in the countryside, watch the grass grow and cook simple dishes. I enjoy cooking now,” says Gayathri with all the zeal of the newly initiated. 

However she adds that the kitchen is not where she hangs out in Thrissur. “Jyotsna (playback singer) and I are great pals and cine buffs. We love watching all the latest Bollywood flicks. I have another group of friends in Bangalore. We hangout in restaurants, play snooker… I try to spend a few days in Bangalore every month as both my gurus are there,” says Gayathri, a disciple of Sri Sri Ravi Shankar. 
Musical journey 


Tracing her evolution as a singer, Gayathri says although music is in her genes with two trained Carnatic musicians (her grandmother Ammukutty and aunt Thulasi) in her family, she used to see it as a hobby and not a vocation. 

“I used to win several prizes for music during my student days. My plan was to do a post graduation in management or mass communication and perhaps take up a job after that,” recounts Gayathri. “But,” she adds laughing, “while still in college I joined a band that used to belt out film songs for various stage programmes in and around Thrissur. It was considered pretty scandalous then.” 

It was during the same time that the late Philip Francis, a ghazal singer and tabla player, introduced her to Hindustani music and that “made me yearn to learn Hindustani.” Gayathri remembers meeting Alka Marulkar after a concert in Kochi. “I requested her to make me her student. She told me to sing a bhajan and that must have given her hope for she told me to come to Pune to learn in the gurukul tradition.”

Philip was again the one who introduced her to music director Raveendran Master during a short vacation in Thrissur, her home town. That led the way to filmdom. “After that I began to get many assignments in Kerala and found it difficult to continue in Pune. Luckily, I found Vinayak Torve and so I was able go on with my lessons,” explains Gayathri. 

The singer has already composed the song in her album ‘Vishuddhi.’ Her ambition is make a mark in world music and as a classical singer. And a role on the silver screen?

“Well, there is a shot of me singing in ‘Madhavenal’ and I have also dubbed for a short film ‘Chaulatayude Baaki.’ But, as an actor, well, I have not made up my mind. My focus is all on my music,” says Gayathri

Umayalpuram K. Sivaraman

http://www.youtube.com/watch?v=TN5OlSbbgfM


http://www.youtube.com/watch?v=C1XIEioSv9U
Umayalpuram K. Sivaraman -Mrudangam Vidwan
Born on 17-12-1935,in Tanjore. His father, a medical practitioner and himself an accomplished musician, had with insight and intuition nurtured the inborn talents of his son and got him rightly initiated into mrudangam .
Sri Sivaraman learnt this divine art under four great and illustrious masters: Sri Arupathi Natesa Iyer, Sri Tanjavoor Vaidyanatha Iyer, Sri Palghat Mani Iyer, Sri Kumbakonam Rangu Iyengar. The pursuit of this art under the gurukula system for well over fifteen years did not deter him to qualify for law. He is a double graduate of The University of Madras (B.A., B.L.).
Behind the professional glory and mastery of Umayalpuram Sivaraman lies a massive substratum of toil and training. Even as a three year old kid, Sivaraman revealed his ‘laya sense’ playing his fingers on whatever objects they chanced to touch upon and producing diverse ‘talas’ and such an act fetched him the gift of a kanjira from his grandmother. As a boy of ten, Sivaraman had his ‘arangetram’ (first concert) and the debut was held in the precincts of Kalahastheeswaraswami temple in the temple town of Kumbakonam.
His new techniques, innovations and creative ability in accompaniment, solo renditions, and jugalbandhi programmes with his North Indian counterparts have earned him a special place in the world of art, worthy of emulation by other artists. Having made his debut at a tender age of ten, Sivaraman has been in the field as a ‘top notcher’ for half a century now, accompanying a galaxy of maestros of recent past and artistes of great merit today, both vocal and instrumental.
His percussion career has been a colourful spectrum of accompaniment to a legion of musical maestros in Carnatic music – Sri Ariyakudi Ramanuja Iyengar, Sri Musiri Subramania Iyer, Sri Palladam Sanjeeva Rao, Sri Mysore Chowdiah, Sri Rajamanickam Pillai, Sri Papa Venkataramiah, Sri Dwaram Venkataswami Naidu, Sri Mudikondan Venkatarama Iyer, Sri G. N. Balasubramaniam, Sri Madurai Mani Iyer, Sri Maharajapuram Viswanatha Iyer, Sri Alathur Brothers, Sri Chembai Vaidyanatha Bhagavathar, Dr Semmangudi Srinivasa Iyer, Dr M. Balamuralikrishna, Sri Nedunuri Krishnamurthi, Sri Voleti Venkateswarulu, Sri S. Balachander, Sri T.R. Mahalingam, etc. He has to his credit several jugalbandhi concerts with the top artistes of Hindustani music like Pt. Ravishankar, Sri Hariprasad Chaurasia, Pt. Ram Narain and top tabla artistes like Pt. Kishen Maharaj, Pt. Samta Prasad, Ustad Allah Rakha, Mr. Zakhir Hussain and others. In these concerts, Sivaraman has won great approbation from his North Indian Counterparts and the audience.
Besides his professional career, he had undertaken the very laudable task of doing original research in the art of mrudangam. This resulted in his highly acclaimed lecture demonstrations done in all important centres in India and abroad, which enabled him to disseminate knowledge of this divine art to art lovers, music conferences, music seminars and the like. He is the only mrudangam vidwan who has explored and placed before the world of art lovers authentic information on the techniques and nuances of mrudangam for more than two decades. He has introduced the fibre glass mrudangam to Carnatic music for the first time, improvised a mechanical jig to eliminate human error in the moulding of skins for both sides of the instrument and has done research work on tanned and untanned skins for the mrudangam. His analysis of the ingredients of the black patch has given much insight on the overtones produced by different strokes on the mrudangam.
Sri Sivaraman has contributed informative articles on mrudangam in Sri Shanmukhananda Sabha's (Bombay) Journal, Bhavan's Journal; Vadya Kala - a publication of the Development Centre for Musical Instruments, Madras (Ministry of Commerce - Handicrafts, Govt. of India) and to several other journals and publications. He has played mrudangam in several professional recordings and in the special feature 'The Drums of India', in the United States. He has also planned and played in the cassette ‘Garland of Rhythm’ which has given a new dimension to the concept of thani avarthanam (mrudangam solo). He had the unique honour of playing Tala Vadya Kutcheri-s in the Annual Film Fare festival in 1973 and 1975. He also participated in the ‘Tala Vadya Utsav’ at New Delhi in 1985 and played a jugalbandhi concert. He played mrudangam in a special programme known as ‘Mrudangam Drum Set Jugalbandhi’ in Max Muller Bhavan, Madras, along with two leading drummers from West Germany. He has served as a judge in the panel constituted by the Ministry of Education and Culture, Government of India. He has served as a judge in the All India Radio panel, for selection of artistes. He was invited to play mrudangam in the popular and successful Tamil movie 'Mrudanga Chakravarthy'. Sri Sivaraman is a ‘A’ Top Grade artiste in All India Radio and Doordarshan Television. He has presided over the Annual Music Conference of the Indian Fine Arts Society, Madras, in 1984 and was conferred the title of Sangeetha Kala Sikhamani. Sri Sivaraman has been appointed as the Director for ‘Tanjore Vaidyanatha Iyer School for Percussion’ recently started by the Music Academy, Madras.
His innovations include analysis of the ingredients of the black patch on the right side of the mrudangam, on the overtones produced from the right side drum head, synthesis of the traditional and the modern approaches in playing on the instrument, research in using tanned and untanned skins and hides of the instrument, evolving new patterns of rhythmic designs (mora-s and korvai-s), has improvised and is using a mechanical contrivance to eliminate human error in the moulding skins for mrudangam on both sides and he has made a fibre glass mrudangam and used it in concerts.
He has given lecture demonstrations at The Music Academy, Madras; Tamil Nadu Isai Kalluri; University of Madras; National Museum, New Delhi; Sri Shanmukhananda Sabha, Bombay; Karnataka Gana Kala Parishat, Bangalore; Music College, Madurai; Bharatiya Vidya Bhavan, Coimbatore; Indira Kala Viswa Vidyalaya, Khiragarh; The Conservatorium of Music, The University of Sydney; and in the United States of America etc. He has gone abroad several times on concert tours and special programmes. He has visited the USSR, USA, Canada, UK, France, West Germany, East Germany, Poland, Malaysia, Singapore, Japan, Indonesia, Bangkok, Ceylon, Muscat, Bahrain, Australia, etc. In his visit to the U.K., he participated in the Tala Vadya Kutcheri for the Festival of India, 1982, and again for the same festival in New York and Washington D.C., U.S.A., in 1985. He has also been invited to perform concerts and jazz concerts in Sri Lanka and Belgium.
When Sri Sivaraman completed 50 years of service to Carnatic music in 1996, His Excellency Shri K. R. Narayanan, Vice-President of India, honoured Sivaraman at a public function held at Madras on 10th March 1996.
He has been working for the upkeep of the traditional way of playing without sacrificing the modern impact, greater understanding, and wide appreciation for the instrument, dedication to the art of mrudangam, its propagation, and scientific improvisations in the construction of mrudangam. His mrudangam playing is considered to be in a class of its own, winning critical acclaim from the top-most musicians and music lovers.
CD's/Audio Cassettes featuring Umayalpuram Sivaraman:
1. CD recorded in Tokyo, Japan. Title: "Percussion of India" presented by Umayalpuram K Sivaraman -
World Music Library; Seven Seas; KICC 5168, King Records Co. Ltd. 2-12-13 OTOWA BUNKYO-KU TOKYO 112.Japan
2. CD recorded at Stuttgart, Germany Title :" Who's to know" - L.Shankar, Umayalpuram Sivaraman, Zakir Hussain.
Recorded by ECM Stereo 8272692 ECM records, GLEICHMANN STRABE 10 MUNCHEN 60
3. CD recorded in India Title:" Garland of Rhythm" ( By Magnasound & OMI Inc) - Solo by Umayalpuram Sivaraman.
Manufactured and marketed by OMI Music Inc, 71 Rosedale Avenue, Unit A-10, Brampton, Ontario-L6X1K4, Canada.
This CD has been produced as Ist edition and later as 2nd edition.
4. CD recorded in Brussels Title:" AKA Moon- Ganesh" , a CD dedicated by the famous Jazz band AKA Moon to
Umayalpuram Sivaraman. Sivaraman has played and composed a few pieces in this
CD. Produced and marketed by CARBON 7, 23 Eisenhower,1030, Brussels, Belgium Telephone: 32-2-2429703. Fax: 32-2-2453885
5. CD recorded in India Title: "Drums of India". Mrudangam Solo by Umayalpuram Sivaraman.
Produced and marketed by HMV(RPG Group).
The Gramaphone company of India, 6B- Nungambakkam High Road,Chennai 600034. Phone 044-8273449, 044-8274526.
e-mail: Southrm.mad@gcil.sprintrpg.ems.vsnl.net.in
6. CD Titled: "Masters of Percussion". Mrudangam Duet by Umayalpuram Sivaraman and Zakir Hussain.
Produced and marketed by Moment Records.
Moment Records, 237 Crescent Road, San Anselmo, CA 94960
7. CD recorded in Brussels Title:" AKA Moon- ELOHIM " with Umayalpuram K. Sivaraman as a guest artist
CD. Produced and marketed by CARBON 7, 23 Eisenhower,1030, Brussels, Belgium Telephone: 32-2-2429703. Fax: 32-2-2453885
8. CD Titled:" BIG BANG" - featuring a duet by Umayalpuram K. Sivaraman and Zakir Hussain
CD. Produced and marketed by Ellipsis Arts, 20 Lumber Road, Suite 1, Roslyn, NY 11576-9894

The Feelings Factory

Elsa Zylberstein in The Feelings Factory: Directed by Jean-Marc Moutout.
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=26938043
Synopsis
Eloïse, 36, is a property lawyer in Paris. Young, good-looking and successful, she is nonetheless single. To end her solitude, and because deep down she desires a love-life that she initiates and controls like her career, she signs up with a speed-dating club. After all, isn't that all about being fast and efficient, too? Seven men, seven women, seven minutes to work their charm. Then the bell rings.

Review

A thirtysomething singleton turns to speed dating as an answer to her emotional emptiness in "The Feelings Factory," a quizzical relationships dramedy elevated by a terrif central performance by Elsa Zylberstein. Not so much an examination of the speed-dating phenom -- whose touchstone pic remains last year's shamefully ignored "Shoppen" by Ralf Westhoff -- this is more a look at New Millennium me-culture, but played sympathetically without grandstanding its social subtext. It's a solid bet for upscale auds on the foreign arthouse circuit.
Main titles reminiscent of '60s pop-art pics establish a light mood as Eloise Hautier (Zylberstein), 36, is seen in confident work mode as a property lawyer at a venerable firm where she's a junior partner. However, outside work, she has little personal life beyond other professional types, so decides to try out a speed-dating agency run by the smooth Sonia (Nathaly Coualy).
Each session, held in a sanitized, retro-'60s cocktail bar, involves seven men and seven women, each getting seven minutes with each other before a bell rings. Script has some sharply written fun with these mini-encounters, with Eloise as nervous and overeager as the men she meets. But whereas "Shoppen" was almost entirely concerned with the actual speed-dating process, it's only the starting point of the main story in "Factory."
The most promising candidate seems to be Jean-Luc (Bruno Putzulu), a handsome, confident business-type who meets Eloise's vague demands of "the same intellectual standing." Lunch leads to dinner, which leads to great sex, and Eloise confides in a girlfriend that she's fallen in love.
Meanwhile, script slowly makes clear that Eloise herself is not all she seems. She's seeing a doctor (Palestinian actress Hiam Abbass, wasted in a cameo role) about her dizzy spells and chronic amenorrhea, and is worried she may never be able to have kids.
Parallel to this, she bumps into the seemingly least promising candidate at her speed-dating sesh -- the shy, self-critical, balding Andre (Jacques Bonnaffe). Unknown to her, he follows her back to work after their chat in a bookshop.
As she learns more about her medical condition, and the relationship with Jean-Luc starts to go cold, she spends time with the depressive Andre, who also -- in a scene that traverses an entire emotional spectrum in a few minutes -- turns out to be much more complex than she imagined.
From a very different perspective than his first feature, downsizing drama "Work Hard Play Hard" (2003), writer-director Jean-Marc Moutout shows an acute eye (and ear) for the emotional pressures on ambitious 21st-centurers who want it all on plate, now. "We've never been freer, but never more analyzed and told what to do," says one. And in one of the pic's most tender scenes, Eloise is gently told by her sick grandmother that, for her generation, marriage was always been more about family and affection than just sex and me-me self-analysis.
Pic's theme is less fresh than the way Moutout treats it, keeping the viewer as unsettled as its central character in what will happen next and juggling several emotional balls at the same time. Unexpected coda contains a neat throwaway twist.
On-screen chemistry between all the players is easy and convincing, with Zylberstein deftly maneuvering her way through the film's quicksand moods and avoiding playing simply a ditz. Technical package is thoroughly pro.