In the current uncertain times, playing in a volatile market may be the only way investors can extract profits from the stock market. Ashish Agrawal and Amit Jain tell you how to cash in on intra-day volatility

VOLATILITY IS no longer being shunned by retail investors these days. In fact, a new breed of investors has emerged which likes to play with the market and is ready to take risks. This is a far cry from the days when retail investors used to play safe and invest with a long-term horizon.

Further, since these are uncertain times in the stock market, the indices and individual stocks have started dancing in tune to the movements in overseas markets.
Given the turmoil in global markets, it is become increasingly difficult for traders and investors to make profits, since all decisions at the global level affect the domestic market as well. Perhaps the only way that retail investors or traders can extract profits from the stock market is to make the most of the intra-day volatility seen in highly liquid stocks, rather than carrying forward their risks.

To provide a reckoner on volatility for this set of investors, ET Investor’s Guide examines the intra-day volatility of constituents of the Nifty 50 and Nifty Junior stocks for the period January-November ’08. The exercise involves calculating the daily volatility for 221 sessions so far and arriving at the average volatility on the basis of this.

Volatility refers to the variation in the value of the underlying and thus measures its instability. Though volatility is generally perceived to be negative, indicating high risk, it can be turned to an investor’s advantage if s/he buys at the day’s lows and sells at the day’s highs. While there are complicated mathematical ways of calculating volatility, a simple method is by looking at the highest and lowest value of the stock.

For example, if a stock had a price range of Rs 900-1,100 on a day, then its volatility for the day will be 200 divided by 1,000 (the average value), expressed in percentage terms. The volatility in this particular case works out to 20%.

Our analysis shows that Housing Development & Infrastructure (HDIL) has the maximum average volatility during this period at 9.1%, with the highest volatility of 34.9%.

This is followed by Unitech, with average volatility of 8.5% and highest volatility of 75.6%. The top 10 companies have average volatility ranging from 7.6% to 9.1%. This means that if an investor had taken an exposure of Rs 100,000 each in the top 10 stocks at the day’s low and sold at the day’s high, s/he would have made a total gain of Rs 80,187, or 8.02% of the exposure taken, on an average day.

Even if an investor is able to encash 50% of the total gains available through intra-day volatility, s/he would have made a total gain of Rs 88.6 lakh on an exposure of Rs 10 lakh — which is almost nine times the exposure taken over a 10-month period! If you think capturing even 50% value is too much and requires a lot of skill, settle for 10%. Even that will give you about Rs 18 lakh within 10 months!

There is scope for an even higher risk and better returns than what we have mentioned so far. This is possible in case of intra-day players who take positions to exit them on volatility at a suitable time during the same session, in the futures and options segment.

What is even more interesting is that the exercise requires a very small capital base in hand — only to offset the maximum losses that an investor undertakes in case s/he continuously goes wrong for a week or so. However, to be on the safe side, a retail investor can make the most of this intra-day volatility by keeping some strict stoploss options on a daily basis, to ensure that his losses get restricted on days when his calls go wrong.

Our analysis shows that the most volatile stocks are concentrated in the real estate and financial services sectors. Among the top 10 most volatile stocks, three are from the reality sector, while two are from the financial sector.

It may be noted that these sectors displayed maximum volatility during last year’s bull run as well. The list also includes names such as Moser Baer and Suzlon Energy, which have become highly volatile in recent times because of various company-specific factors. While there are no trends in terms of promoter group, there are three companies from the Reliance ADAG group among the top 10 volatile stocks.

On the other hand, as regards intraday traders who like to play safe to ensure that their risks get minimised, our study reveals that even the least volatile stocks among the Nifty 50 and Nifty Junior constituents display average intra-day volatility of 3.9-4.8%.

These stocks mainly belong to the FMCG and pharma sectors. They include companies such as Cipla, Sun Pharmaceutical, Cadila Healthcare, Aventis, Hindustan Unilever, ITC, Asian Paints, Container Corporation and Infosys Technologies.

Even capturing half of that volatility, say 1.75-2% on every trading day, will benefit investors, considering that returns are not available by investing in a falling market.

Although the sectoral thrust of last year continues, the future may not be a replica of the past. The sectoral focus keeps changing with a varying macroeconomic environment, diverse consumer preferences and government policies. For investors who want to cash in on the intra-day volatility, the real art lies in being aware of the changing market dynamics.

(Source- The Economic Times) 

(Source- The Times of India)

The couture week that one saw recently was not a mere show of the flamboyance of our designers. It is a sign of the Indian fashion industry’s global reach, influence and the buying power of the Indian consumer, say designers

The HDIL couture week that happened in Mumbai recently, was a turning point for the Indian fashion industry on the global fashion map. India is the third country in the world, apart from Paris and New York, to host a full-fledged couture week. While this augurs well for India’s visibility on a global scale, it is also true that couture is a dying art in the West. The cold anonymity of mass production and standardised industrial processes are proving to be its nemesis. So, rightly then, there was this ripple in the designer community about whether the Indian fashion industry is equipped to sustain the couture week culture. But the Indian fashion industry is still all for giving couture the impetus that it needs to flourish within the country. Because as designer Ashish Soni puts it, “Many people in India are now overdosing on the ready-to-wear stuff. This might drive them to couture. In India, couture is majorly driven by the bridal market. It is a part of Indian culture to spend that kind of money at the time of the wedding. And therefore couture being celebrated in such a larger-than-life scale complete with a dedicated fashion week is a good idea here.” Which could be the reason why Ashish says this, “In a lot of other countries couture is a dying art. It majorly exists in Paris, where some handful of rich people want their clothes customised.” But the one obvious difference that Ashish sees between the West and India is that, “there are stores in the West that buy couture and stock up, but that is not so in India. But I guess we should give ourselves some time and things will shape up.” Designer Varun Bahl feels that this is the right time to introduce couture at such a professional level. “The most obvious difference between the western and Indian couture is the fact that Indian techniques are much more beautiful, elaborate and elegant. Yes, there are bound to be teething problems, since we are new to the concept of a couture week, but I guess in time we shall better the art for the ramp,” says Varun, echoing Ashish.

Businesswise too, it is a good idea, feels Sunny Dewan, MD, HDIL. “While I agree the Indian fashion Industry is in its nascent stages, fashion itself is not new to India. In the last 15-20 years, the industry has made major headway in consolidating its position in fashion platforms in Indian and overseas,” he says, adding, “A country as large as India has designs and costumes that represents the culture of each state. Indian designers have realised this strength; their collections blend the traditional crafts with modern style. This has worked to the advantage of Indian fashion and has left a mark not only on the subcontinent, but also in the global market and therefore this is the right time to formalise our talent in couture.”
Couture has always been embedded in Indian history. India has a rich textile and crafts heritage. Globally, India is known for excellent design traditions and craftsmanship. With each passing year, the Indian fashion Industry is spreading out into the world. “And here, it is also important to note that the bulk of a designer’s revenue ultimately comes from couture and bridalwear,” says Dewan, asserting that the first couture week has managed to create a resurgence for Indian fashion as well as a base that would provide the industry with a much-awaited, first-of-itskind platform for haute couture. “The couture week is another milestone in India’s fashion industry going global,” he says.

That’s because, they say, the opportunities here are good for them, the designers are talented and sweet, and the country is a very attractive place. And this is the reason why India’s emerging as a good career option for firang models

The last two fashion weeks that were held simultaneously in Delhi really were rainbow events, and more international in character than past fashion weeks have been. That was because, apart from the participation of a top Hong Kong-based designer in one and a South African choreographer in the other, there were quite a number of foreign models there too. And they were from Brazil, Tanzania, South Africa, Mauritius, Sri Lanka… The girls said that not only was India a beautiful, vibrant place that they’d wanted to visit, it also offered them a great opportunity in terms of visibility and attractive remuneration for their ramp stint here.
Cintia Rosa of Brazil says she loved her fashion week experience here. “Being a part of fashion weeks is quite important career-wise,” she says. “It’s good for a models’ career. It’s a completely new experience here. The opportunities are great. One can mature as a model in India.” Laimi Mongji from South Africa was also quite upbeat about her India-yeah experience. “The best part about modelling here is the exposure you get. It is bigger and better. The designers and the people here are highly professional and I also liked the Indian models. They are beautiful and well groomed. They can even do their own make-up – we have to depend completely on the make-up artists!”

The girls come here despite being well-established in their own countries. “I have been an ex-Miss Tanzania and am quite popular in my country,” says Millen Happiness Magese from South Africa. “But when I was coming to India, I never knew that there would be such a warm reception and even warmer acceptance. The money was good and the chance to see this country was interesting, and that’s why I took the offer up in the first place. But the idea that Indians have matured enough to put blacks on the ramp and let them take the lead was indeed surprising. Now, I feel quite honoured at having got the chance.”
Apart from the acceptance, the chance to see India, and it’s growing fashion industry, was also a factor in the models’ decision to come here. And once they did, they loved the experience. Model Mariana can even drape a saree now, even though she wouldn’t wear it all the time! “Life did become hectic during the fashion week. But when I think of it now, I feel great about the event,” she says. “Even though there was enough pressure to deal with, we had our moments of fun. Yes, Indian fashion is growing. And it is great to see how keen the designers in India are to experiment with new things. They are all so confident about their ideas.” Who is her favourite Indian designer? “I like Wendell Rodricks. Since he is invariably in a good mood, the work does become really easy. But this doesn’t negate the fact that he is quite a professional.” Happy with the treatment of foreign models in India, Mariana says, “I have to say that a lot of attention was paid to the food that was offered to us during the fashion week. People paid attention to the little details when we were here, and so we didn’t face any difficulty.” Model Tatiana, from Brazil is glad that the fashion week helped her work with some of the top notch designers of the country. “The fashion designers were quite friendly and helpful, which made our task as models easier,” she says.

Heema Mandil from Mauritius found it easy to work in India since she says that she comes from a culture that’s closer to India anyway. “I’d always wanted to wear Indian clothes,” she says. “There are so many creative designers – it’s great to work with them.” Despite having visited India for both professional and personal reasons, it is India’s exotic appeal that she think is “an essential element to attract visitors”. Heema also feels that fashion in Mauritius is a replication of Indian fashion. “This is because Mauritius comprises a significant Indian population,” she says.

(Source- The Times of India)

Designer Ritu Kumar believes that to be able to take the Indian fashion industry forward, one must fall back upon our rich traditional crafts and textiles. This unique combination could, she writes, make us the most unique fashion country in the world

RITU KUMAR

The fashion industry in the country has a history which is unique in its own right and remains so to this day. We have been selling textiles and clothing to the world for more than 1500 years. If you define fashion though, through the images on the ramp – the Indian fashion industry is not more than two decades old. In the last decade or so, there has been a quantum leap in the visibility of this industry. This is largely due to sponsorships and the media’s response to glamourous images on the ramp. This has, albeit inadvertently, given an impetus to our nascent fashion industry and thrown up young talent that is given a platform to show the interpretations of fashion – which often takes on a handwriting of its own. The collections are a mixture of influences, partly reflecting aspiratons of the upwardly mobile international young Indian and partly keeping to what we wear as a nation.

Ours is a vast and complicated subcontinent. I have been in the fashion world of designing now for close to 40 years, now. I started in the atmosphere of post-independence, where a strong patriotic feeling led us all to go back to our roots and help revive dying and forgotten crafts of embroidery, weaving, printing and a multitude of skills lost over 150 years of colonial rule. There was a sense of pride in wearing our own styles and apparel. I went out into the field and this barefoot doctor approach led to a rejuvenation of the rich textile craft skills of this country.

Today’s generation has that heritage to work with. The lines between Western and Indian looks are getting fluid. There is an acceptance of the fact that if we have to be global in our approach to design, we must – as we always have as a country – customise endlessly to create a modern, cosmopolitan, yet indigenous collections. The world’s fashion today is owned by multinationals. In most countries small designer houses have closed down and the world is left with no options but to dress the way it is prescribed by a predominantly Euro-American fashion world.

The Indian fashion industry has visibility, but is misunderstood to a large extent. The fact of the matter is that a fashion designer’s profession it is one of the most difficult ways to earn a living. There is no financial or government backing, very little professional infrastructure to back their efforts. Most designers who work, work despite the inherent difficulties of an unorganised market place. The fact that the Indian designers are able to adjust with the coming in of international brands says a lot for our resilience and accountability to the choice that most of us have made. The fact that there are multiple choices today between ethnic, bridal, fusion and western wear in India, reflects the country’s richness.

The global community looks at India today as a large market which it can tap for its potential to sell their goods. There is a growing awareness of the fact that this is a country which is not a simple walkover – thanks to the fact that it has an indigenous fashion industry of its own. Some of India’s designers who have shown in the western countries at their high-end fashion weeks are getting some recognition. But Indian design is largely inspirational for western designers, especially for their summer lines. The time is still to come when they will buy these from India as high-end goods in any volume. If any Indian designer makes it internationally, it will not be a question of only talent, but investment to be in the same bracket as brands which can compete with the international ones. In the meantime, the huge marketing skills of the Western fashion world and their clout is creating a climate in India where these brands are becoming aspirational for the youth.

Will India be able to keep a toe hold in its own market? I certainly hope my optimism is verified in the years to come. India will change – but will not give up the richness of its traditional aesthetics. We may start wearing tshirts with paisleys on them rather than a kurta, but it is not going to be a war between a little lycra dress and a saree. I feel both will co-exist. The real question will be – can our fashion industry, with its young nascent infrastructure, its reliance on sponsors, its soft financial ground, be able to take the fallout of the recession? There will be a shake out, but I feel the industry will survive it, at least for the next decade – largely due to the fact that it is built on a strong foundation of 16 million textile crafts people who work in this sector, these consists of weavers, printers, dyers and master-craftsmen, and women, who have inherited textile skills which are unique in this world. If Indian fashion is a catalyst between these skills and national and international sartorial needs, we could yet be the most unique fashion country in the world.

(Source- The Times of India)

The Little Black Dress: Every woman’s dream, every man’s fantasy. Who would have thought that one day, the saree would attain the same level of acceptance world over! But it has, yard by exquisite yard…

What is it that gives the saree the edge over the kurti, salwar-kameez, sherwani, dhoti pants, Jodhpurs… After all, these are also India’s contribution to world fashion, and once in a while, you will see some firang mover and shaker wearing them. Designer Ritu Kumar argues, “The saree is one of the most elegant outfits in the world. It is unstructured, unlike other stitched garments. This gives every single wearer the liberty to be able to mould it to suit their personality, and the occasion. I was looking at this picture of the Pussycat Dolls in saree the other day, and I was thinking that the saree has now become a substitute for the Little Black Dress – it is perceived by the West as a lovely, flowing, clingy garment. There’s none of the traditional/religious overtones that the garment has in India. And this gives them the freedom to experiment.”

“I consider the saree deeply elegant – it is one of the most grounding elements of what haute couture is all about,” said Valentino, when he was once asked about why he was so fond of the saree. “The fascination for the saree has always been there in the West, but now, on a more visible scale. The image of India is now that of Shilpa Shetty and Bollywood,” says Ritu, who also tries to experiment with the ways a saree can be draped. “I try to modify the drape to suit the young wearers. Since
the younger generation is not used to draping the whole six yards, I sometimes stitch the pleats and the first drape of the saree onto the petticoat, which can be zipped up at the waist. That leaves the pallu to be draped on in any style that is current,” she says.

Rocky, who designed the Pussycat Dolls’ sarees, says that he was approached by an Indian portal based in New York, and asked if he’d like to dress up the very sexy rock group. “Why would I have said no?” says Rocky. “It sounded very challenging because I had no time – just two days. I thought, I’m an Indian designer and my designs have to reflect that. So I made sarees for them. They asked me to come along and so I went
with them to the concert. This concert is basically a celebration of the relationship between fashion and music. It was fabulous,” a very excited Rocky had told us at that time. Designer Suneet Varma finds “the saree the most versatile garment in the world. It can, with a sweep of the head, be conservative or with a flash of the navel, trendy,” he says. “Worn a little low to show off the navel, teamed up with a backless choli, or show a bit of cleavage, and a saree can make you the most elegant woman at a cocktail party,” he says.

Many international designers – John Galliano, Jean Paul Gaultier, Armani, and others have shown the saree as a part of their collection on the international runway. While this too has gone on to up its style quotient, at the end of the day, it is the only garment in the world to have, as Suneet puts it, “a 1001 ways of wearing it”.

(Source- The Times of India)

Indian bands opening for international bands, quite a phenomenon now… Take a look!

Parikrama and Iron Maiden, Thermal and a Quarter (TAAQ) and Megadeth, Anoushka Shankar and Jethro Tull, Metaclix and Sepultura, DJ Suketu and Boney M – if you are wondering why are we mentioning the cult western bands and Indian musicians in the same breath, then maybe we also need to mention that all these Indian artistes have performed on the same stage as these international artistes. For a music culture where there have been endless cases of musicians being ‘inspired’ by western influences, it is an honour indeed that original content made by Indians finds a platform alongside the international acts. Rudy David, the bassist for TAAQ, says, “The fact that we were even considered to play before Machine Head and Megadeth took to the stage, is recognition in itself.”

When Parikrama played for Iron Maiden for the first time, Bruce Dickinson and the party were so impressed by their performance that they came out of their green-rooms to the mosh-pit to listen to Parikrama playing and invited them to open the shows for them in other concerts as well. This also gave Parikrama the opportunity to play in the Download Festival in UK alongside the likes of Dream Theatre, Motley Crue, Velvet Revolvers, Linkin Park and Evanescence. According to the band, it’s been pure exhilaration since Iron Maiden ‘happened to them’. Subir Malik, the keyboardist, Parikrama, says, “Being applauded by Iron Maiden and then the invite to open for them and then touring UK, where we also got the chance to open for Saxon and Evanescence – it has been awesome!” During Boney M’s performance in the capital recently, DJ Suketu opened for Marcia Barrett’s group and couldn’t stop gushing about it. “I have been forever inspired by them. Who hasn’t been?” Suketu said. When asked if he would remix Boney M’s numbers, he said, “I don’t think they will like to listen to their own songs remixed. The idea is to play original content here and so I will be playing those songs which I have remixed originally.”
 

On why Indian bands are becoming a popular option to open for big, international bands, Rudy David says, “While audience relates to international bands because they are big names, they also relate to bands like ours because we’ve been playing for the past 12 years or more and have our own fan-following. We play music which Indian audience reacts to better.” Indian bands also jump at opportunities to open for foreign bands because it gives them a chance to reach out to a huge audience. Subir Malik says, “Organisers have understood that getting local involvement is important because that involves the audience better. Now Indian bands are getting due credit.” Another reason for organisers to sign up Indian bands, as Rudy explains it, is the ‘cost factor’. “Bringing international cult acts to India is a very costly affair. Roping in an Indian band brings down the costs, because a foreign band of our stature is more expensive.”

So, if one were to set apart the fame, how cool is it to play with international bands of cultish stature? Vishal Dadlani of Pentagram, who played for the Megadeth concert in India, remarks, “It was cool, just like playing festivals anywhere in the world is cool. We’ve played alongside some major names before too, so it’s all good. But, yeah, we had a chat with Dave Mustaine, and were pleasantly surprised to learn that he’s into many different types of music, and isn’t just a stereotypical metalhead. Quite a cool guy, really. That was fun.”

(Source- The Times of India)

Great Indian Rock, Rock Idols, Jazz Utsav, Independence Rock… These are but just a few names that have helped Delhi rock, and make it a hub for music festivals. And thanks to Delhi, India has found its place on the world rock music map

For those who missed Woodstock in 1969, New Delhi should be the next destination for Rock’n’Roll, or for any genre of music actually. Delhi has emerged as the capital hub for music festivals in India, what with Great Indian Rock (GIR), Independence Rock, Rock Idols, Delhi International Arts festival, Jazz Utsav and the latest entrant, Eastwind, being held here.

WHY DELHI?

Surojeet Dev, drummer, Them Clones, a popular Delhi rock band, has an answer for this, “Delhi, contrary to popular perception, is the hub of rock music. In fact, there is a huge scope here for all genres of music because there is a balance of different moods here. Mumbai and Bangalore have a more metalrock audience. Kolkata is more inclined towards classical rock. In Delhi, a band playing any genre of music will find a big audience.” Siddharth Menon, events manager, RSJ events, which conducts GIR, Jazz Utsav and Rocktober Fest amongst others, agrees with Surojeet. “Bangalore and Mumbai have a very defined taste for music. Delhi does not have one unified music culture and that’s what adds to the flavour of music here. Also, people in Delhi are willing to explore.” For those who might think of music festivals as just ‘Rock’ festivals, this is what Siddharth has to say. “Festivals are a huge hit in Delhi because this city is very
culturally aware. The enthusiasm
doesn’t border on just rock. Delhi has a huge audience for classical music as well.”
 

G Arjun, the bassist of the Delhi-based electronic band Jalebee Cartel, also feels that acceptance for music played in such festivals is not just limited to rock anymore. These festivals are huge platforms for musicians of other genres as well. “Lately, the music scene in Delhi has seen a lot of change. People now accept new artistes along with their style and genre. Festivals are probably the best way to introduce new talent to people.”

Advaita is a fusion band that has found music festivals in Delhi a good testing ground for original music by young composers. Says Anindo Bose, the keyboard player for the band, “Eastwind, Delhi International Arts, Jazz Utsav, Independence Rock, GIR, Rocktober Fest, Big Horn Festival and the SAARC Festival all happened here last year. The SAARC fest had bands from all the member nations and the concerts were held in Central Park, Connaught Place. The Delhi audience has matured to listening to different sounds. These days, it’s not just the youngsters who go to these festivals, but their moms and dads are also interested.” Adds Anindo, “The audience loves festivals because one ends up seeing so many live acts by bands for a minimal charge of say, Rs 100-150!”

WHAT’S IN IT FOR THE BANDS?

For the audience, music festivals mean a chance to be exposed to a large number of live acts and for the bands, it is a chance to serenade a large crowd. “The concept of rock festivals is an adaptation from the West. For the audience it works because they get to see many bands under one umbrella. For the bands, it is an opportunity to reach out to mammoth turnouts of say, 5,000 people who have gathered to listen to all the bands, while one band alone performing a gig will draw around 1,000 people, at best!” says Surojit. Advaita, which was founded by young college-goers who wished to move away from doing covers of famous bands to promoting original music made by them, finds music festivals the right medium. “Festivals are such a success in India because of the number of bands here. Today, bands want to do original music rather than covers and college-bands are also doing a great job, so festivals make a lot of sense,” says Anindo.
Arjun feels that it is the live-wire feeling and the adrenaline rush that makes the artistes very keen to perfrom at music fests. “I think the internet plays an important role too. People now have the access to a lot of music. They can see international shows and festivals sitting at home. They love what they see. So when they can experience music live, they love it, and that goes for us artistes too.” While bands that have not made it big on the Indian and international scene come to these fests to get greater exposure, those successful are here for the money part of it too. As Arjun says, “Most artistes, including us, perform either for free or for a very nominal fee. But I hope in time this will change so that artistes also benefit from these festivals.” Lekin, as Subir Malik, keyboardist, Parikrama says, “It also pays well. But while money is an important part, it’s also the fun involved that draws us.”

SO WHERE’S THE MONEY, HONEY?

Eastwind Festival is just a year old, but has met with huge success. That is because of the unique concept of the festival, where three bands get to perform simultaneously. The audience, therefore, has the option of choosing during the three-day long event. Adhiraj Mustafi, the organiser, says, “We promote both regional and contemporary music. We wanted Eastwind to be a cultural platform for bands to get global attention. The vibes for content and originality are at an all time high in India right now.” Ask him how he got started with this concept and whether he does it only for the love of music, and Adhiraj says, “I yearned for a festival like Eastwind even when I was 22. I joined the corporate sector, but then I realised that I wanted to be associated with music, so I got into this. Whatever profits we make, we roll it back into the company.” Bridging the differences between music and money, music festivals have become a means to make profits to fuel talent. “People like to go and listen to music and they don’t mind paying for it. Music is an art which now comes with a premium and there are takers for it. Before GIR, Indian rock scene meant doing covers, but now originals have come into fashion. Jazz Utsav began in 1984 as a free-for-all event, but is now a ticketed event. This has enabled the organisers to bring in increased international flavour. Music binds everyone and audience also appreciates listening to international bands,” clarifies Siddharth from RSJ, before adding, “You need to make profits to be able to invest. But we do it more for the love of it. That is where it started from actually! There is a lot of good music in India and it should get a global platform. We now have a voice of our own.”

Indian classical musicians have been collaborating with the biggest foreign names for decades now, but popular Indian musicians and entertainers have also been in great demand abroad these past few years. Here’s to an encore…

It’s fusion music of the most popular kind – pop musicians and entertainers from Bollywood have teamed up with some of the biggest names in music abroad, and they’re doing a collaboration like that every other day. Kylie Minogue’s the latest to join the gang – she’s singing for an AR Rahman composition from the upcoming B-town movie Blue.

Rahman, who hasn’t been called the Mozart of Madras by Time magazine for nothing, has collaborated many times with foreign artistes, and his tracks have featured in movies like The Lord Of The Ringsand Elizabeth. He’s worked with Cat Stevens aka Yusuf Islam for his song, Indian Ocean, the proceeds from which went towards helping orphans in Banda Aceh, one of the areas worst affected by the 2004 Indian Ocean tsunami. In 1999, Rahman, along with choreographers Shobhana and Prabhu Deva Sundaram and a Tamil cinema dancing troupe, performed with Michael Jackson in Munich, Germany, for his Michael Jackson and Friends Concert. Three years later, he composed his maiden stage production called Bombay Dreams, an Andrew Lloyd Webber production and a success in London’s West End. With Finnish folk music band Varttina, he wrote the music for The Lord of the Rings theatre production and in 2004, composed the piece Raga’s Dance for Vanessa-Mae’s album, Choreography. His compositions have been reused in film scores abroad, in movies like Inside Man, Lord Of War and The Accidental Husband. The buzz now is that rapper Akon, who came to India this year, might be tying up with Rahman. Rahman confirms that there have been “some feelers from his side,” but also says that “nothing has been formalised.”

Asha Bhonsle’s been singing with phoren artistes for much longer now. She has collaborated with Robbie Williams, Boy George, Nelly Furtado, Code Red and Black Eyed Peas, and will soon sing for a Hollywood film too. In 1997, she sang a love song with the boy band Code Red, at the age of 64. She also recorded the song, The Way you Dream, with Michael Stipe that was used in the movie Bulletproof Monk. In 2001, the CD single of Nelly Furtado’s, I’m Like A Bird included a Nellie vs Asha remix. In 2005, the Black Eyed Peas used excerpts from her songs, Ae Naujawan Sab Kuchh Yahan and Yeh Mera Dil Yaar Ka Diwana in their single Don’t Phunk With My Heart. A year later, Asha collaborated with Australian cricketer Brett Lee on You’re The One For Me, which reached number two on the desi charts.

Singer and now TV show host Shaan hasn’t been far behind. His most memorable collaboration has been with Blue for a recreation of their song One Love, called Kya Maine Socha. He has also sung with ex-Spice Girl Mel C and with boy band Michael Learns to Rock for Take Me To Your Heart. But he doesn’t think such collaborations are tough anymore, or that they’re ‘partnerships’ in that sense. “Thanks to technology, I end up recording my parts here, while the other artistes record their work in their country. So where’s the interaction for the so-called partnership?” he has said.

Sona Mohapatra, the sister of ex-Viva girl Prachi, has collaborated with Aussie band INXS (for Afterglow) and says that she has more such songs in the offing. Khiladi Akshay Kumar rapped with Snoop Dog for Singh Is Kinng, and Abhishek Bachchan teamed up with Wyclef Jean in Miami for a track that’s a tribute to Hindi cinema and to his dad, Amitabh Bachchan.

Allah ka banda Kailash Kher has collaborated with Eddie Vedder, Pearl Jam’s lead singer. “I had received many offers earlier, but since I liked what Eddie had done with Nusrat saab (Nusrat Fateh Ali Khan) for the film, Dead Man Walking, I finally decided to take the plunge,” he has said. Music director Sandeep Chowta has to his credit, a collaborative album called American Pilgrimage, featuring jazz artistes like John Scofield, Bunny Brunel, Dave Valentine and Jay Oliver. Oliver gave the lounge version of Chowta’s single, Mallika I Hate You. “I’m well networked now, in India and abroad, where I’ve worked with Spyro Gyra and Bunny Brunel, and so international collaborations will be easier, too,” he said. And Will.i.am of Black Eyed Peas, who seems to have a thing for everything Indian – he’s been inspired by Lord Ganesha for his album Elephunk and by Lord Hanuman for Monkey Business – the Grammy-winning American hip-hop singer goes for someone down to earth: Sophie Choudhary. “I don’t want to talk about it. It’s not done yet, but it is happening,” says Sophie.
   

Generally speaking, the finer nuances of fine dining goes right past the Great Indian Traveller. They could be on a wine tour of the Napa Valley, but tasting wine is not our forte. Gulping it down sure is, writes Shivjeet Kullar

Every year over a million Indian travellers are let loose in the world. From El Bulli in Spain, to Pierre Gagnaire in France, to Per Se in America, to Gordon Ramsey’s in England down the food chain to Angus Steak Houses, and further down to McDonald’s to Inflight kitchens, right down to Hot Dog Stands the culinary world comes under severe pressure; similar to when Chengiz Khan’s hungry armies would ravage the land back in the olden days.

But this is no casual attack. Indians abroad follow a 10 rule code when they eat out in restaurants or at banquets or parties. These rules have been in place for the past 100 years and handed down in secret from one generation of travellers to another. Here they are:

RULE NO. 1:

Don’t ‘wine’, just gulp down the wine – We understand that you can’t make out what’s the big deal about this strange liquid that neither gets you drunk nor tastes good. But just hold your nose and drink it down, otherwise you won’t get your next course.

RULE NO.2:

All food has evolved from Tandoori chicken – It’s true! Studying ancient civilizations Prof Gastronomer has found that the first real gourmet dish in the world was Tandoori chicken. After that it was downhill!

RULE NO. 3:

Food can finish anytime – With the population increasing by one million people every month and other resources not keeping pace, the food in the world can finish any moment. So load those buffet trays and eat as much as you can right now.

RULE NO. 4:

Knives and forks are for cowards. The ancient Ju Jitso warriors in Japan did not need any weapons, they could make mincemeat of their opponents with their hands and fists. The same applies to the Global Indian Traveller.

RULE NO. 5 :

If you can’t pronounce it, don’t eat it – When you walk into a restaurant where the menu looks like an advanced French lesson beware. Le plat de pomme de terra avec la citrouille is two potatoes with one piece of kaddoo in between.

RULE NO. 6:

The classier the restaurant the smaller the portions – The fanciest restaurants in the world serve you your course along with a magnifying glass, so you can locate the food portion on your plate!

RULE NO. 7:

Stealing glasses and salt cellars from planes help the world’s economy – The more items you can steal from your food tray the lighter the plane gets for its next trip, and this helps conserve valuable aeroplane fuel.

RULE NO 8:

Bring back as much ketchup as possible to India – We’re running short of tomatoes in this country so the more little packets of ketchup you bring back the better.

RULE NO. 9:

Even European kings would dip their napkin in their glass – after all what better way to wipe up after a meal.

RULE NO. 10:

There are no rules – Hey we’re the world’s largest democracy. Everything we do will be legalized sooner or later (like in cricket). So eat up. Bon Apetit.

(Source: The Economic Times)

Glistening sands, cool sea breeze, and the warm sun are a part of the pristine beaches that make Goa a favourite among most tourists. As clichéd as it sounds, a visit to India’s hottest tourist destination you are sure to be smitten by the ‘Goa trance’.

This small state sets the pace for a magical and fun trip for everybody especially with some of the prettiest beaches, old Portuguese churches, the annual carnival that takes place in February and several flea markets that give you a chance to re-discover the little pieces of Goa.

PANAJI

Panaji, the capital of Goa, is a tiny city that packs in a large punch. The church on the main square, the Baroque architecture, pretty villas, cobbled streets and interesting buildings give Panaji a distinctly Portuguese ambience.

MARGAO

Margao, the capital of Salcete Taluka and the chief town of South Goa, has a decidedly Portuguese flavour and an old world charm. Vasco da Gama is a port city in the west coast Indian state Goa. Vasco — as Goa’s most populous overgrown town is referred to, and the adjoining Mormugao port is busy, dusty and mainly commercial centres today. Mormugao Port was constructed in 1888, and is today one of the major ports of India. Between one-third of India’s ore exports leave from here.
Old Goa is the former colonial capital of Goa. Full of history, today is home to some scenic churches and convents.

MAPUSA

Mapusa, is the administrative capital of the Bardez Taluka, Mapusa is 13 km south of Panaji. Besides being a busy market town, Mapusa is conveniently close to some of Goa’s most popular beaches.

PONDA

Located in the heart of North Goa, Ponda is geographically surrounded by scenic green villages, filled with grand temples. Ponda is also known for its proximity to Goa’s wildlife, and is the cultural capital for Indian-style music in Goa,

BEACHES

Most of the action happens on Goa’s beaches and this is one of the main reason thousands of tourists come here.

Baga:

Baga Beach is known for water sports — parasailing, jet skiing, body boarding and surfing. The dolphin cruises are another tourist attraction at this beach.

Anjuna:

This beach is the most hip and happening beach and is known for its rave culture and parties especially during the Christmas- New Year season.

Dona Paula:

Dotted with palms and casuarinas, Dona Paula is quite a hotspot, for its beauty and romantic legend that gave the beach its name. The beach offers water sports facilities, especially water scootering.

Colva Beach is a highly commercialised beach with resort complexes, large holiday crowds, trinket stalls, discos and restaurants.

Majorda:

Majorda lies 2 km north of Colva, and is a pretty beach dominated by a luxury resort, hotels, restaurants, shops, boutiques and the best European bakeries in Goa.

Calangute:

This is Goa’s most popular beach. Totally commercialised but this sizzling hotspot offers good sunbathing, and some really delicious food.

GET TING THERE

You can either travel by air, rail, road and sea i.e. the catamaran service that is available only from Mumbai. All the national highways link Goa with the rest of the country. Buses are available from every city. From Mumbai, it takes around 12-14 hrs to reach Goa by bus, around 10 hrs by train and around 45 minutes by air.

BEST TIME TO VISIT

October to February is the best time for tourism, though Goa can be visited yearround

(Source: The Times of India)