Friday, July 31, 2009

VOICE IS YOUR POWER


[This is a very useful article and will help those who want to be announcer/singer. It is different from the character of this blog but, indeed associated with the craft which is needed in the world of sound. That is why this blogger could not control temptation to post this stuff which is written by Shri -MAHENDRA MODI (Acting Director, Vividh Bharati) ]
Shri Mahendra Modi

Many wonderful men and women can’t appreciate what nature gave them. Men squeeze all the attractive life out of their voices by trying to make them sound deeper than they really are. Women adopt a phony, sing song sound, but it just isn’t natural.

Each voice is as unique as a snowflake. Voice-prints are sometimes used like finger prints in security systems. That’s how distinctive each voice is! The secret is not to try to have a voice that’s a carbon copy of someone else or attempt to change what nature gave you.


But what you should do is learn to enhance the voice that nature has given you.

Here is a system check in four areas:

ØARTICULATION /PRONUNCIATION

ØVOCAL VOLUME LEVEL

ØVOICE PROJECTION

ØTHE WAY YOU FEEL ABOUT YOURSELF

1. ARTICULATION/PRONUNCIATION

There is a difference between not being heard (being inaudible) and not being understood (being unintelligible). Sometimes people confuse the two. Unintelligibility may be caused by problems with articulation and pronunciation. People with poor articulation can sound throaty because their tongue is pulled too far back, or they may sound muffled because they don't move their tongue enough when they speak. Both problems affect our ability to be understood. Make sure your tongue is positioned toward the front of your mouth and that you use your tongue to clearly enunciate your words.

2. CONTROLLING VOCAL VOLUME

Imagine that your voice has a volume knob with five settings:

1-WHISPER

2-SOFT

3-CONVERSATIONAL

4-LOUD

5-YELL

Do not use volume levels 1 or 5. Both can strain the voice. Yell only in an emergency and save your whispers for the library, theatre or bedroom. Strive to speak most of the time at volume level 3. Use levels 2 and 4 for color, emphasis and variety. A conversational level will differ with each situation. While presenting a night programme of soft nature your voice should be little towards whispering because the listener may not like a loud voice when he is in his bedroom and looking for peace. You could be little louder when presenting a programme of pop music.

3. PROJECTING THE VOICE

Volume level should not be confused with projection. To project the voice, don't try to yell or force it out of your body. This causes strain. To have a voice that carries well, you must use your body's natural resonators.

Your body has three resonating cavities: the voice box, the mouth and the nose. The voice is produced at the vocal chords and then amplified in the facial mask around the lips and nose. To have a beautiful voice and project it without strain, you must focus your voice in the facial mask, blending the oral and nasal resonators.

The simplest way to find your facial mask is to hum. Try it now. HMMMMMMMM. Good. Now practice alternating humming and speaking. HMMMMMMy name is Shyamal. HMMMMMy favorite color is blue. HMMMMany people say I'm a great dancer... etc. Have fun with it.

Practice humming and speaking throughout the day. Once you get the hang of what a resonant voice feels like, you can drop the hum and feel the vibration of your words in your facial mask.

For good voice projection, try the following:

ØSpeak with authority.

ØUnderstand the causes of difficulty with and implications of unhealthy voice production.

ØDiscover how relaxation, breathing and vocal exercises can improve projection, clarity and reduce vocal strain.

ØPractice techniques to prevent and cure any vocal strain or lack of projection and clarity.

ØLook at the effects of posture and tension on vocal projection

ØTake part in voice and articulation exercises.

Understand resonance placement and the effect this has on projection, clarity and range.

4. THE WAY YOU FEEL ABOUT YOURSELF

There is often a strong psychological component to communication difficulties. Soft speakers may unconsciously be trying to hold themselves back, inhibit their self-expression, or stifle themselves, and these factors should be explored.

You can improve, once you explore your weaknesses.


How to nurture a good and healthy voice?

- Breathe properly.

- Breathe through your nose, rather than mouth.

- Beware of your posture. Keep your upper chest, shoulders, neck and throat relaxed when breathing in or when exhaling and letting sound out.

- Speak slowly.

- Instead of focusing on your throat, imagine that the sound originates from your abdomen/lower back.

- Relax your jaw and tongue and unclench your teeth.

- Stay within your comfortable vocal range.

- Vary the tone/pitch of your voice.

- Use your breath to power your speech.

- avoid vocally-harmful habits (e.g. clearing your throat, holding your breath, speaking quickly, speaking with insufficient breath).

Sometimes you clear your throat because you are dehydrated. Drink plenty of fluids to avoid dehydration. It will also help you to maintain right viscosity of the mucous in your mouth passage.

- Instead of clearing your throat in a harsh manner, sigh as an alternative measure.

What to do before going on Air?

-Always warm up your throat just as an athlete warms up his/her muscles to prevent injury.

-To loosen your body, rotate your neck slowly and stretch your torso and limbs.

-To loosen the jaw, yawn and/or make chewing motions. Massage your face, especially the nexus of muscles at the hinge of your jaw.

-To limber up your lips, jaw and soft palate, say tongue twisters/the alphabet/any short text, making sure that you articulate very carefully.

-Take a few quiet moments to focus on your breathing as well as to collect your thoughts before you speak.

Now some tips about the life style:

- Avoid drinking alcohol and caffeinated beverages.

- Avoid late night parties as it could spoil your voice quality and concentration both.

- Massage under your chin to increase the flow of saliva.

- To clear excess mucus and lubricate the vocal tract, use steam inhalations

- Avoid speaking when you are tired or ill.

- Avoid speaking when you feel that your voice is strained

-Arrange for some quiet periods at least once a day.

- Seek medical attention immediately if you experience vocal strain.

- When suffering from a sore throat, try not to use anaesthetic sprays/lozenges if possible.

- When you have laryngitis, inhale steam to soothe and relax the larynx instead of drinking cough mixtures.

- Eat a balanced diet to achieve/maintain optimal health.

- Dairy products may increase phlegm.

- To prevent heartburn and a reflux of stomach acids into your vocal passage, avoid acidic/spicy foods, eating late at night, caffeine and overeating.

- Give up smoking. Smoke and other aerial pollutants irritate your breathing and vocal apparatus. There are also other well-known health risks associated with smoking that can be reduced if you do not smoke/breathe in second-hand smoke.

- Certain medications may dehydrate the body/vocal passage. Others may stimulate or sedate the body, respectively causing your vocal passages to constrict or making you feel lethargic.

- To compensate the drying effect of any medication, drink extra water.

Language is a gold mine which makes a big Change. Dig deep into it, build your vocabulary and dive for unlimited treasure which has remained there untapped for a long time.

Rediscover yourself with your own Speech.

ØSpeak from the depth of your heart, speak your mind and feel your nerves pulsating the sound of your voice.

ØElectrify the listener with your presentation. Don’t let butterflies quiver you and chase away the nervousness.

ØVisualize your listener as an individual not as a mass of people.

ØVisualize the listener at dinner table. It works great to create a feeling of intimacy and trust.

ØYour tone of voice is closely linked to your face expressions. A frown on your face will make your voice sound harsh and cold but a smile will warm up your voice, making it sound warm and inviting. A smile with the speech takes you to miles.

ØEvery Word has a meaning. Work on building your vocabulary.

ØAvoid beating around the bush. Say clear, be brief and do not fumble. Confusion lands you and the listener into more confusion. Do not bluff or fool yourself but blur out sensibly even if words are not meant to be spoken. Use tact, speak truth but know realities too and act sensibly to it. Convince your listener.

ØCultivate a positive attitude. Be positive, prepared and well aware. Work on memory improvement levels. Get mirror practice and check your expressions too.

ØAdjust the Bass, volume of your voice like the sound system. Start with soft notes. Good beginning is best otherwise it’s shrieking from the start. Feel humor, feel happy, calm and composed.

Ø Expressions reflect your inner feelings and your speech is based on your thoughts. Let your speech and expression be your asset. Your voice can have a profound impact on how successfully you influence and persuade others. Your voice effects how seriously you are taken… how respected you are… the results you get not only with the listeners but also with co-workers, friends and family members in your personal life.

COURTESY : http://www.freewebs.com/vividhbharati/voiceisyourpower.htm

Rafi Miya was of course the best. There was some jaadoo in his voice ...-Shankar


SHANKAR--the lone survivor. Today he faces the musicalone. Betrayals, accusations, broken promises he has seen them all, but refuses to crumble. His pride holds him in good shape, so does his confidence.

Surprisingly, it is very difficult to elicit information from him, or even evoke a feeling of nostalgia. Unlike most, he lives very much in the present and talks of the future. After some persistence, Shankar recapitulates.....

Shankar Singh Raghuvanshi knew only three passions in life- tabla, gaana and kasrat. Harmless pleasures but Shankar Singh Raghuvansi was of an age when books ought to have been more important for he was only a child. But unlike most children he never studied, only indulged in his passions. His mother often despaired "Yeh to gaanewali ke piche hi tabla bajaayegaa." Prophetic words of sorts. The little fellow grew upto be a part of the duo whose music took the film industry by storm. The unbeatable combination of Shankar-Jaikishen. Their creations still ring in our ears....Jiya bekaraar hai, yeh mere diwanapan hai, Yeh aasoon mere dil ki zuban hain.

"It all began for me in Hyderabad. Those were the days of the Nizam and Maharajas. Their influence was strong and music pervaded every house; it was a part of our lives. With me too, music was all that mattered. And I was attracted to anything that was connected with it, be it acting or dancing. Though my parents wanted me to study and do well. I didn't care about books. One day, while passing by the house of a nobleman, I heard the strains of the melodious voice of a singer, Saraswati Bai. But it was spoilt by some cacophonous sound which ostensibly was supposed to be that of a tabla. It was unbearable to me. I rushed into the mehfil, pushed aside the incompetent tabla player and took over. I know it all sounds very filmy, but after I finished, wah-wahs poured from everybody present and I was pleased.

Bombay was then the centre of theatre activity. So my cousin and I, decided to come down to try our luck. I wanted to join the theatre--perform, sing, dance, play instruments. I learnt kathakali from Krishnan Kutty, Kathak from the Jaipur Gharana and Manipuri and Bharat Natyam as well. Slowly I also learnt to play the piano, the accordion, the sitar and the harmonium quite well. Fate somewhere during this time introduced me to Papaji (Prithviraj Kapoor).

"Papaji looked like some Greek God; I have yet to see a more handsome person than him. At that time he had just started his Prithvi Theatres and one day he called me over to witness a play called Shakuntala that he was staging. He had enrolled many great musicians for this play and while I was watching it, he suddenly asked me to go on stage and accompany the Sarod player with the tabla. I did so. (I learnt that he was none other than Ali Akbar Khan). After the show, Papaji called me and embraced me even though I was a non-entity then. He even asked me to join Prithvi Theatres.

"Jaikishen was a frequent visitor to Prithvi, but it was at a friend's place that I met him first. There were instant good vibes and we slowly became good friends. I introduced him to Papaji and he too began working at Prithvi. Raj Kapoor was also working with his father in those days. When he began Aag, we helped him with the music, though we were not the official music directors.

"Jai and I decided to be partners. Raj, at that time, ws working on Barsaat. We composed a tune for him, Jiya bekaraar hai. He liked it. That was our first major break. Although music was in my blood, I had never dreampt of becoming a music director for films. I met Shailendra, who was a close friend of Raj. And also Hasrat Jaipuri who was with Prithvi. We formed a group and our foursome clicked. Shailendra and Hasrat wrote the lyrics while Jai and I composed the tunes."

Barsaat broke records. Then followed the deluge -- Nagina, Mayur Pankh, Badal, Badshah. It was all so unexpected. A pair of eighteen year old youngsters causing existing edicts to tremble. Shankar-Jaikishen were creating afurore. They had descended upon the domain of Naushad, S.D. Burman, Husanlal Bhagatram, Ghulam Mohammed, O.P. Nayyar. Shankar recalls, "They were at first sceptical, Yeh ladke kitne din chal sakte hain? they said. Then they got worried. But I must say, C. Ramchandra was one man who always appreciated us. He'd tell the others, "Yeh ladke hum sabko hairan karke rekhenge. Hindustan mein dhoom machayenge."

The Shankar-Jaikishen era had begun. The old order was displaced. Given their propensity to compose songs that appealed to both the box-office and people's tastes, it wasn't strange or surprising that almost every top hero insisted on Shankar-Jaikishen as part of his contract. With Raj Kapoor there was Awara, Aah, Shri 420, Boot Polish, Jis Desh Mein Ganga Behti Hai, Sangam, Mera Naam Joker. Shammi Kapoor pranced around hills and dales and beautiful gardens teasing his pretty heroines, while Shankar-Jaikishen's music kept mercurial pace in Junglee, Janwar, Badtameez.

Rajendra Kumar, he rarely worked in a film that didn't have Shankar-Jaikishen on the credits. Aas Ka Panchi, Zindagi, Sasural, they made the 'jubilee' hero, they also had one common factor -- Shankar-Jaikishen.

As partners, Shankar talks of their perfect tuning, between each other. "My relationship with Jaikishen strengthened over time. We shared instant empathy, an inherent understanding and a deep bond of friendship. Whenever we both wanted to compose a particular song, we'd toss a coin to decide who would do it. Tensions between us were only over music but we would always sort them out. When I composed Nanhe munhe bachche teri muthi mein kya hai for Boot Polish, Jai didn't like the tune. But I convinced him otherwise. In fact, Boot Polish as planned earlier, was to be a song less film. Afterwards, Raj decided to add songs. Jai, who was a hot-headed person, was very angry and said, "Nothing doing. we are not giving music for the songs, Why did they not say so earlier? Of course, he later relented.

But we have always trusted each other completely. We never listened to those who poisoned our ears about the other; no chamchas came between us. And it was like that till his death. It is absolutely untrue that we grew apart after Sangam. With a relationship as deep as ours that was quite impossible.

"Being basically a good Gujarati businessman, Jai also handled all the business matters. He was a financial juggler and did his job well. When he died, I was shattered. For 3-4 years after his death, I could not work...could not build up the mood. And people tried to provoke me by saying things like our work was mainly Jai's doing. But what could I say to this? I know that it wasn't the truth. If I had been the first to go, people would have said the same things about me to Jaikishen, too. So I refused to speak out in retaliation.

"After Barsaat, I bought an M.G. Racer Car. It was the first car between the four of us. Jai bought his own, later. Since it was a two-seater, we, that is, Jai and I, would draw back the hood, sit in front while Shailendra and Hasrat would huddle behind and we'd take chakkars all over the city. Later, Jai and I, both, bought Chevrolets. For the Filmfare Awards function we would drive in our Chevies and enter in style.

"But things have changed drastically now. Look at the heroines of those days. Has there been anyone like Madhubala? They may not have come from very good families, but they behaved and conducted themselves in a better manner than some of our heroines today, from so-called good families. When we composed music we would take their individual personality into consideration. We'd call them to our music room and accordingly compose music to suit them. Today, id does not matter which heroine you compose a song for and whether you compose a song for a hero or a comedian.

"On many ways we revolutionized the industry. We were amongst the first who thought of giving due respect to the Press, calling for Press Conferences,...hosting parties. We were never afraid of change. Barsaat was the first film where Lata sang all the songs. Before that, she would be signed for only one or two of them per film as she had a very thin voice as compared to other to singers of those days for example Noorjehan, Shamshad, Zohra and Suraiya. We took risks, and won. Those days Manna Dey sang mainly bhajans. We took him for light songs like Chori Chori, Aa ja sanam and Yeh raat bheegi bheegi, which changed things for him. Mukishe's popularity also grew especially after he sang Yeh mera diwanapan hai for Yahudi.

"Rafi Miya was of course the best. There was some jaadoo in his voice that appealed to both the ganwar and the sophisticate. Some of his songs like Yeh aasoon mere dil ki zuban hai, touch people even today.

More important, he was a great person...a sharif man. If you told him you couldn't pay him immediately, he'd refuse to take it even later when you offered him the money.

Sometimes, a song would make him so happy, he would refuse to take the payment for singing it. The pleasure he got out of singing them was his reimbursement. He donated to charitable causes very generously and never spoke ill of anyone. No praise is enough for Rafimiya...there can never be a man like him.

However, with the start of the Kishore Kumar mania, he suffered a setback and became slightly nervous and depressed."

Shanker had few setbacks too. Like Raj Kapoor's betrayal. Dost Dost Na raha was one of Shankar's contribution to Raj Kapoor's Sangam. Perennially haunting, stirring, it exuded pathos. While at that stage no one would have dreamt that the Raj Kapoor-Shankar-Jaikishen team would one day not exist, years later the 'dosti' was not the same. They parted professional ways. Shankar insists he wasn't upset when his 'dost' signed up Lasmikant-Pyarelal for Bobby. "Why should I have been hurt? I knew that R.K.'s musical best was with Shankar-Jaikishen. The world knows it. People still hum the tunes of Mera Naam Joker, even if the film was a flop.

"Our songs for his films have been translated in Chinese. Russian, German and even Arabic. However, his sons wanted a change so I don't really feel bad. I was to do Prem Rog, but it didn't work out. Maybe I'll get to do his Param Vir Chakra"

Another jolt came from Prasad Productions, whose films have been transformed from mediocre family dramas to musical hits....Teri pyari pyari surat to (Sasural), Jaoon Kahan bata ae dil (Chhoti Bahen)....all this courtesy, Shankar-Jaikishen. But Shankar doesn't seem to be perturbed. "Even G.P. Sippy didn't take after Brahmachari and Andaz. Before that he was making films at a loss whereas these two films were super hits. It doesn't really bother me when people switch sides. What makes me happy is that I gave them big hits."

Most of Shailendra's lyrics wee Shankar's compositions. They both complemented each other perfectly. "When we were discussing the music of Shri 420, Raj was describing a scene. I instantaneously blurted out Ramaiya vatavaiya, which in Telugu means 'Ramaiya, will you come?" And Jai spontaneously gave his rejoinder, 'Maine dil tujhko diya'. It was the beginning of our song. When we were driving past a bus-stop and Jai saw a pretty girl, he turned around instinctively to take a look. That's how Mud mud ke na dekh (Shri 420) was born. Shailendra was great. He wrote beautifully. People would cry at the beauty of his lyrics.

"Yet today, how many music directors really understand or know anything about music? Everything is a fad -- ghazal, discro....But what do they know of ragas or surs? Nobody pays attention to composing good lyrics. But then I guess, time have changed. The music of a film was important then;now it is the actor's image that is central. In fact, fight composers are paid more than music-directors. But I think, we will slowly return to an age of melody, and of good films.

"I have made enough money. I have been awarded for my work". It is not an idle boast. Eight Filmfare Award trophies stand testimony to the fact.

The Sur-Singar Award came twice for Mere Huzoor (Jhanak Jhanak Toree Baje Payaliya) and Lal Patthar (Re Man Sur Mein Ga). Throughout Shankar was instrumental in introducing classical music in films, interweaving the classical style with the popular form. Result:Man Mohana Bade Jhoote (Seema), Rasik balama (Chori Chori), Ja Ja re ja (Basant Bahar).

From small beginnings in a South Indian lodge at Parel to a well-appointed home at the 'Beacan at Churchgate, his success story was truly established. He lives there still, with his Maharashtrian wife. His rehearsal room at Famous Studio in mahalaxmi still remains. Many moons ago, hordes of producers thronged its long corridors, waiting patiently with wads of notes, hoping to entice the two gentlemen into signing a contract. An it wasn't easy. Shankar's present Man Friday whispers to me that his boss would turn off the producers and their fat wads of notes with disdain, contemptuous of those who try to buy him. Though of course, the hordes have now dwindled.

Time was when the Binaca Hit Parade invariably featured a Shankar-Jaikishen number Baharon Phool Barsaon made it 49 times to the top.

Today in a theatre screening Aah or Jis Desh Mein Ganga Behti Hain, when the music begins, the entire theatre sings along....Aa ja re ab mera dil pukare....reminiscing bygone days.

They style of the man remains consistent. He employs personal musicians and refuses to take less money and get more contracts. "Why should I bother? I have made enough. I get a royalty on all my records. My lifestyle is the same. I'm not too friendly and outgoing a person. I don't go out of my way to obtain films."

Shankar takes his harmonium, shows us how he composes a new tune. His musicians are summoned. His fingers move on the harmonium. The musicians join in on the tabla etc. Shankar sings "Yaad na jaaye bite dinon ki'....softly telling the story of a legend that will live forever.



Sheila Vesuna


Contributed by Dr. Raj Senani to shankarjaikishan Group on Yahoo from his collection.

Thursday, July 16, 2009

Musicolor's Memorable Tribute to Shanker-Jaikishen [PHOTO COURTESY : DR. RAJ SENANI) Other Photos of the Programme by courtetsy MUSICOLOR

THIS PHOTO IS COURTESY : DR. RAJ SENAI


11 July’09 evening.

Jam-packed Dinanath Mangeshkar Auditorium, Mumbai.
Outside - heavy clouds but no rain. Inside the auditorium - heavy rain!
No… nothing was wrong! The auditorium is well maintained. It was in fact the rain of Shankar-Jaikishan melodies. And the audience, right from teenagers to senior citizens were completely drenched in the melodies.

The programme started at around 8.45pm. Mr. Prashant Rao was the compere. Though comperes have good sense of humour, his was outstanding. And he narrated some story or other related to the songs (& SJ) before inviting the singers on the stage.

The first song was SJs first known composition – Jiya Beqaraar Hai (Barsaat) sung by (???). Sorry, I can’t recollect the names of most of the artists who performed in the concert. If any of the attendees, remembers, please post the names.
Next was the turn of the Talat number - ‘Aye mere dil kahin aur chal’ (Daag) followed by ‘Ye mera diwanapan hai’ (Yahudi). This was followed by ‘Ajib daastaan hai ye’ (Dil Apna Prit Parayi). And when the compere announced about the name of the movie – Dil Ek Mandir & the singer Rafi Saheb, everyone in the audience literally sighed heavily. And yes, their expectations were well fulfilled when ‘Yaad na jaaye…’ was sung beautifully.
After this, it was the turn of few duets – ‘Dil Ki Nazar Se’ (Anadi), ‘Yaad kiya dil ne kahaan ho tum…’ (Patita), ‘Dhire-dhire chal chand gagan mein’ (Love Marriage), ‘Aaja sanam madhur chandni mein hum’ (Chori-Chori) .
These were followed by the solo song ‘Sur Na Saje’ (Basant Bahar). It was sung so beautifully that on the ‘once-more’ request from the audience, the last antara was sung again. After that it was ‘Tera mera pyar amar’ (Asli-Naqli) by the singer who had made stage appearance after a long gap. But she was outstanding. Then again there was a duet ‘Ye aankhein uf yumma’ (Jab Pyaar Kisi Se Hota Hai) followed by ‘Nakhrewali’ ( New Delhi ) after which there was the semi-classical duet ‘Ajahu na aaye baalama’ (Saanjh Aur Sawera). By all means a very difficult composition to sing, But the male singer, in particular, did fantastic job. After this, it was the turn of the magical ‘Ramaiyya vastaavaiya’ (Shri 420).


And as the brief interval was announced, we were amazed that almost 2 hours had passed!!!

Due to very feeble sound of accordion, the songs ‘Aye mere dil’, ‘Dil ki nazar se’, ‘Aja sanam’, ‘Nakhrewali’, in particular, could not be enjoyed fully. During the interval, yours truly requested the sound in-charge to increase the sound of accordion. He gracefully agreed.

Part-2 started with ‘Kaun hai jo sapnon mein aya’ (Jhuk Gaya Aasmaan). After that it was the magical ‘ Kisi ki muskuraahaton pe ho nisaar’ (Anadi). Now the accordion was well audible. This was followed by ‘Ruk ja raat thahar ja re chanda’ (Dil Ek Mandir).

After these solos, again it was a duet ‘O shama mujhe phoonk de’ (Aashiq) followed by ‘Chalat musafir moh liya re’ (Teesri Kasam). The dholak accompaniment was outstanding. Next was ‘Har dil jo pyaar karega’ (Sangam) and the accordion produced mesmerizing effect. Then there were two dance numbers – ‘Badan pe sitare’ (Prince) and ‘Aaj kal tere mere pyaar ke charche’ (Brahmachari) . After these it was the duet ‘Dil ki girah khol do’ (Raat Aur Din) followed by ‘Tere bina aag ye chandni’ & ‘Ghar aya mera pardesi’ (Awara). The instrumentalists did outstanding job with this extremely complicated song, considering limited instruments available.

And to end the concert, it was yet again mind blowing accordion, on this occasion with ‘Jeena yahaan marna yahaan’ (Mera Naam Joker). And by the time audience reluctantly started leaving the auditorium with the haunting effect of 'Jeena yahaan marna yahaan...', still thirsty for more, it was 0015 hrs.

Commentary by Shri D.V.Shastry, Moderator, Shankarjaikishan Group on Yahoo

Thanks Shri Shastry

s.pandey

http://launch.dir.groups.yahoo.com/group/shankarjaikishan/?v=1&t=directory&ch=web&pub=groups&sec=dir&slk=19