Wednesday, September 24, 2014



Milk without Antibiotics, Hormons and Pesticides, Akshaya Kalpa enlightens on a noble concept, a white revolution of its own kind.

It is a fact that Milk available in urban area is a liquid mixture of pesticides, antibiotics and hormones. Akshaya Kalpa guides us on  farm fresh Milk from their  unit in Tiptur, outskirts of Bangalore. 

When Mr. Ravi Shankar Former Vice President of Wipro speaks about the importance of farmer welfare schemes one can understand what he really aims for. There no need for every second person to become a software engineer where there exist a million opportunity  to do innovative entrepreneurship. Ravi Shankar joined Akshaya Kalpa not in general to accumulate wealth but for its noble farmer friendly innovations.

As we all know, 70% of India's population  still lives in Villages whereas  almost all the major investments happen in and around the urban areas.

Akshaya Kalpa focuses on the welfare of farmers in a direct method that it is a social enterprise with a vision to rejuvenate Indian Culture with a commitment which is more social to the needs of the villages in general.

Indian farmers still  engage in  a lot of hard Manuel work while their urban counterparts talk aloud about industrial revolutions and advanced technical growth. Akshaya Kalpa works with a vision that uplifts the self respect of the farmers in general. There no middle sector that the benefit directly reaches a farmer.

Indian youngsters have not taken Agriculture seriously and in future our country may force to import the synthetic rice from China to meet our demands. It is where we find the importance of educated Indians to join hands with the Farmers for a better future. India needs such Entrepreneurs; the one with a vision that serves the society as a whole. 



Journalist and tour guide Wilma Rodriques has visited various heritage sites across the 
country. The condition of garbage disposal at most places left her disheartened and inspired her to do something about solving the problem. This resulted in the inception of a waste management organisation called Saahas in 2001. "The aim was to help educate people about government rules for waste management as they were difficult to be followed and got ignored," says Rodriques. 

This was where Saahas stepped in to provide the necessary systems to manage disposed waste. Since then, her organisation has been taking several measures like encouraging people to carry their own shopping bags, composting organic waste, and other initiatives to help reduce the waste at source. Besides that, Saahas manages seven tons of waste each day at their units which are set up at various premises. The organisation provides recycling and disposal outlets to corporate companies such as Microsoft, educational institutions like Indian Institute of Management Bangalore (IIMB), a few residential properties and schools like Sri Kumaran Children's Home. "I want to scale up operations so that services extend to other Indian cities too," says Rodriques. "Saahas shown that if you really believe in something, it works out," she adds It is a fact that Bangalore has got 4000 tons of waste to clear in a day one can hope that many will follow footsteps to make Bangalore a more Beautiful place on this earth.

Wilma's speaks with a dream of a  Zero Waste Zone.


(Rudyard Kipling)

There always a magnetic pull when i read IF. 
Nobel Laureate Rudyard Kipling's IF i think is his best poem..

IF was taught to us in our College as part of the curriculum.  In English literature we were taught; one play, poetry and a non detailed of short stories. Our English professor was an excellent teacher and he taught many poems but IF made a striking impact on me....

If you can meet with Triumph and Disaster

  And treat those two impostors just the same..

If you can fill the unforgiving minute

  With sixty seconds’ worth of distance run,

Yours is the Earth and everything that’s in it,

  And—which is more—you’ll be a Man, my son.

There is a positive criticism about this poem in India that the message in this poem is nothing but the message of Bhagavat Gita.

IF is a simple but powerful poem with a magnetic effect.

The effect is such that it can transform a human instantly..


If you can keep your head when all about you
  Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
  But make allowance for their doubting too;
If you can wait and not be tired by waiting,
  Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
  And yet don’t look too good, nor talk too wise:

If you can dream—and not make dreams your master;
  If you can think—and not make thoughts your aim;
If you can meet with Triumph and Disaster
  And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
  Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
  And stoop and build ’em up with worn-out tools:

If you can make one heap of all your winnings
  And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
  And never breathe a word about your loss;
If you can force your heart and nerve and sinew
  To serve your turn long after they are gone,
And so hold on when there is nothing in you
  Except the Will which says to them: “Hold on!”

If you can talk with crowds and keep your virtue,
  Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
  If all men count with you, but none too much;
If you can fill the unforgiving minute
  With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
  And—which is more—you’ll be a Man, my son.

(Sheldon Allan "Shel" Silverstein)

Sheldon Allan "Shel" Silverstein (September 25, 1930 – May 10, 1999), was an American poet, singer-songwriter, cartoonist, screenwriter, and author of children's books. He styled himself as Uncle Shelby in some works. Translated into more than 30 languages, his books have sold over 20 million copies.

“There is a place where the sidewalk ends
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.

Let us leave this place where the smoke blows black
And the dark street winds and bends.
Past the pits where the asphalt flowers grow
We shall walk with a walk that is measured and slow,
And watch where the chalk-white arrows go
To the place where the sidewalk ends.

Yes we'll walk with a walk that is measured and slow,
And we'll go where the chalk-white arrows go,
For the children, they mark, and the children, they know
The place where the sidewalk ends.” 


Mars, fourth cosmic wonder 
we gift you earthen heartbeats 
Life we seek in Olympus Mons...

From Heaven we write
a message for you Mars..
United we, in cosmic missions..

Mystic Mars,
known to the unknown 
space a marvel

I wrote three Messages to MAVEN one for me, one for my parents and one for my sisters

I got a message from MAVEN Mission on 16th November 2013 that my message has been included in the DVD  which has taken to  MARS.

from: Laboratory for Atmospheric and Space Physics
to: Pisharody <>
date: Sat, Nov 16, 2013 at 8:10 PM
subject: Going to Mars with MAVEN--liftoff!

Dear Going to Mars Participant,

Thank you again for sharing a bit of yourselves in anticipation of MAVEN’s upcoming launch to Mars! As you can see in the attached image (credit Kennedy Space Center)—your art, haiku, and names submissions have been saved to the special DVD and attached to the MAVEN spacecraft in preparation for launch!

MAVEN’s launch window opens on Monday, November 18, 2013, at 1:28 p.m. Eastern Standard Time (EST). We hope you’ll join us virtually! On Monday, Nov. 18, NASA TV coverage of the launch will begin at 11 a.m. EST and conclude after the MAVEN spacecraft has separated from the Atlas V, which occurs about 52 minutes after launch. Live launch coverage will be carried on all NASA Television channels. For NASA Television downlink information, schedule information, and streaming video, visit: Additional information can also be found at


Best wishes,

The Going to Mars campaign team


(A passage from Temples to a dreamy Garden City)

(Rema Prasanna Pisharody)

Kathakali the traditional classical art form is associated with element Sky and like the infinite sky it is difficult a task to write it down in words. Apart from the elemental classification, Kathakali is very earthen an art form; there the natural elegance, a kind of celestial charm and one can easily find the  vibrant fire, mystical earth, flowing water, life saving air and vastness of a sky in this magical art form.

It is a fact that I need to travel back to my childhood to write about Kathakali. My childhood adventures with Kathakali began at a tender age with my father Manganam Ramapisharody, a trained Kathakali Artist. It is during my school days that I watched Kathakali Plays along with my father in my paternal hometown, Kottayam in Kerala.

The sound of Shuddha Maddalam and  Keli mesmerized me and somewhere I felt in my heart that I could associate with this art form. My father accompanied his Guru Manganam Krishnapilla Asan on various temple stages.  Krishnapilla Asan had a Kaliyogam (Costume Unit).  As a child I was fascinated with the huge wooden box in which the costumes were stored and the gold-foil covered wooden ornaments players adorned.  In my father’s ancestral home I have seen kathakali artists assembling during kathakali seasons. Later with the guidance of Vennimala Rama Varrier (Maddalam Artist), Ayaamkudi Kuttappa Marar (Chenda Artist), Pallam Madhavan (Kathkali Singer), formed Sreekalanilayam, a Kathakali Training Centre in Sree Narasimha Swamy Temple Premises of our Manganam Village. Vennimala Rama Varrier’s son Ramachandra Varrier (Kalayanilayam Babu) later joined Kalanilayam, Irinjalakuda. He is a well known Maddalam (percussion) Artist and recipient of Sangeetha Nataka Academy Award and Kamalamndalam Award of 2013.  

During the year 1974, in Kottayam a Kathakali Club was formed named Kaliyarangu to promote Kathakali. It is there in Kaliyarangu i started knowing more about Kathakali in detail as all the members received a printed synopsis of the play before an event.  Kaliarangu brought on stage the stalwarts of Kathakali of that time and several well known artists from all over Kerala performed there. Club worked on a simple but straight format that members watched 12 Kathakali shows and a grand annual event.  My father played regularly there. Famous Kathakali singer Hyderali and Artist Kottakal Appu Namboothiri were regulars in Kalaiarangu. I remember even today a brilliant Karnasapatham enacted by Mathur Govindan Kutty and Kalamandalam Karunakaran as Kunthi and Karnan respectively.  I consider fortunate to listen a vibrant Thayambaka and Melappadam by legends Shri Kalamandalam Krishnakutty Poduval and Shri. Appukutty Poduval in Kaliarang. It is a fact that Shri Pallam Chandran’s contribution as Secretary of Kaliarang for four decades from its inception in 1974 speaks volumes.

It humbles me that i need a lifetime or more to write about Kathakali. What I know about Kathakali is very little and as an admirer I know I enjoyed each and every moment I spent in my childhood with Kathakali and amazed at the way players performed on stage and brought forward Eras with such great ease. Kathakali I know has grown from its restricted shell form to a universal format. It is great to know that people outside Kerala are also contributing a lot for this Art form. I know there no stoppage for a divine art when it is promoted with utmost sincerity.

 From God’s own country to Garden city, there the sky brings an elemental charm for Kathakali; Nostalgic...


( by Rema Prasanna Pisharody)

ആകാശവും, ബഹിരാകാശവും മനുഷ്യമനസ്സിനെ എന്നും ആകർഷിച്ചിരുന്നു. ശാസ്ത്രം വളരുന്നതിന് മുൻപേ തന്നെ വ്യോമയാനസങ്കല്പങ്ങൾ ഇതിഹാസത്തിന്റെയിതളുകളിലൂടെ മനുഷ്യഹൃദയം ഒരത്ഭുതം പോലെ വായിച്ചറിഞ്ഞിരുന്നു. ഓർവില്ലെ, വിൽബർ റൈറ്റ് സഹോദരങ്ങൾ 1903ലെ ഒരു ഡിസംബറിൽ ആകാശത്തിലേയ്ക്ക് ആദ്യയന്ത്രപറവയെ ഉയർത്തുമ്പോൾ വ്യോമസങ്കല്പത്തിന്റെ അനന്തസാദ്ധ്യതകളെ ലോകം അഭിമാനത്തോടെ കണ്ടു നിന്നു. ലോകരാഷ്ടങ്ങൾ ദൂരത്തെയും സമയത്തേയും ആകാശപേടകങ്ങളിലൂടെ നിയന്ത്രിതരേഖകളിലാവാഹിക്കാനായ് പരീക്ഷണശാലകളിൽ ശ്രമം തുടർന്നുകൊണ്ടിരുന്നു.

ഒന്നാം ലോകമഹായുദ്ധത്തിൽ ഗ്രേറ്റ് ബ്രിട്ടനിലെ റോയൽ ഫ്ലയിംഗ് കോർപ്സും, 

റോയൽ എയർഫോഴ്സും വ്യോമയുദ്ധവിമാനങ്ങൾ അണിനിരത്തി. സ്കൗട്ട്സ് 

എന്ന പേരിൽ അറിയപ്പെട്ടിരുന്നു ഈ വ്യോമവിമാനങ്ങൾ. "pursuit" എന്നാണു 

അമേരിക്കൻ യുദ്ധവിമാനങ്ങൾ അറിയപ്പെട്ടിരുന്നത്.   ഫ്രഞ്ച് എയർഫോഴ്സ് 

വിമാനങ്ങൾ  chasseur എന്നും ജർമ്മൻ വിമാനങ്ങൾ Jagdflugzeuge എന്നും 

അറിയപ്പെട്ടിരുന്നു. വേട്ടക്കാരൻ എന്ന അർഥം വരും രീതിയിലാണു പല 

യുദ്ധവിമാനങ്ങൾക്കും അന്ന് പേരുകൾ നൽകിയിരുന്നത്. റഷ്യയുടെത്  istrebitel 

ഇല്ലാതാക്കുന്നവനും,  ഹീബ്രൂവിൽ  matose krav പോർവിമാനവുമായിരുന്നു

ഭാരതത്തിൽ സ്വാതന്ത്യത്തിനു മുൻപ് 1940ൽ ബ്രിട്ടനിലെ റോയൽ എയർഫോഴ്സിനു വേണ്ടി ഹിന്ദുസ്ഥാൻ എയർക്രാഫ്റ്റ് എന്ന പേരിൽ  സേത്ത് വാൽചന്ദ് ഹിർചന്ദ്    മൈസൂർ പ്രൊവിൻസിൽ തുടങ്ങിയ സ്ഥാപനം രണ്ടാം ലോകമഹായുദ്ധത്തിൽ ഏഷ്യയിലെ ജപ്പാന്റെ നീക്കങ്ങൾ ചെറുക്കുന്നതിനായി ആയുധസന്നാഹത്തിനായ്   ഭാരതത്തിലെ ഈ സ്ഥാപനത്തെ ബ്രിട്ടിഷ് ആർമി ഉപയോഗിച്ചു. 1942ൽ Harlow PC-5 എന്ന ആകാശവിമാനം നിർമ്മിച്ചുകൊണ്ട് ഹിന്ദുസ്ഥാൻ എയർക്രാഫ്റ്റ് വ്യോമസേനയുടെ വികസനരേഖയിൽ മുദ്ര പതിപ്പിച്ചു. മഹത്തായ ഒരു തുടക്കമായിരുന്നു അത് . 1943ൽ  ബംഗ്ലൂരിലെ സ്ഥാപനം യുനൈറ്റഡ് സ്റ്റേറ്റ്സ്  ആർമി എയർഫോഴ്സിനു കൈമാറുകയും തുടർന്ന് അമേരിക്കൻ വിമാനങ്ങളുടെ സർവീസ് സെന്റർ ആയി മാറുകയും ചെയ്തു. 84 ഡിപ്പോ എന്നറിയപ്പെട്ടിരുന്ന ഈ റിപ്പയർ സെന്റർ കിഴക്കൻ രാജ്യങ്ങളിലെ ഏറ്റവും വലിയ സർവീസ് യൂണിറ്റായി മാറിയത് ഭാരതവ്യോമപഠനരംഗത്തെ അനുസ്മരിക്കേണ്ടതായ ഉയർച്ചയെ സൂചിപ്പിക്കുന്നു.

1947ൽ ഭാരതം സ്വാതന്ത്ര്യം നേടിയപ്പോൾ ഹിന്ദുസ്ഥാൻ എയ്രർക്രാഫ്റ്റ് ഇന്ത്യാഗവൺമെന്റ് ഏറ്റെടുക്കുകയും ഒക്ടോബർ 1, 1964ൽ  ഹിന്ദുസ്ഥാൻ ഏറോനോട്ടിക്കൽസ് ലിമിറ്റഡ് എന്ന സ്ഥാപനമായി മാറുകയും ചെയ്തു.

പുരോഗമനത്തിന്റെ പാതയിലൂടെ HAL എന്ന ഇന്ത്യൻ വ്യോമസങ്കല്പം ചിറകു വിടർത്തി നീങ്ങുമ്പോൾ ഇന്ത്യയുടെ ബഹിരാകാശപരീക്ഷണ- ലോകവും വളർന്നു. 1975 ആര്യഭട്ടയിൽ തുടങ്ങിയ പുരോഗമനം ഇന്നും തുടരുന്നു. ഇന്ത്യൻ ബഹിരാകാശപരീക്ഷണങ്ങളിൽ ലക്ഷ്യാ 1 വിക്ഷേപണത്തിലും, ഇന്ത്യയുടെ മാർസ് ഓർബിറ്റർ മിഷനിലും HAL ന്റെ സംഭാവനകൾ എടുത്തുപറയേണ്ടതുണ്ട്.

HAL ഇന്ത്യൻ നാവികസേനയുടെയും, വ്യോമസേനയുടെയും യന്ത്രവിമാനങ്ങളുടെ നിർമ്മാണവും, സംരക്ഷണവും ഏറ്റെടുക്കുകയും ഏഷ്യയിലെ തന്നെ ഏറ്റവും വലിയ എയർസ്പേസ് സ്ഥാപനമായി വളരുകയും ചെയ്തു. 

1992ൽ  HAL Dhru എന്ന യുദ്ധവിമാനവും 2001ൽ HAL Tejas എന്ന ആധുനിക 

പോർവിമാനവും ഇന്ത്യയുടെ  സുരക്ഷാസേനയ്ക്കായ് HAL നിർമ്മിച്ചു. 

ഇന്ത്യയുടെ ശാസ്ത്രപുരോഗതിയിൽ അഭിമാനിക്കാനാവുന്ന നിരവധി നേട്ടങ്ങൾ 

ഈ സ്ഥാപനത്തിന്റേതായിട്ടുണ്ട്


ബാംഗ്ലൂരിലെ ഹെഡ് ക്വാർട്ടേഴ്സിൽ ചെയർമാൻ ആർ കെ ത്യാഗിയുടെ  കീഴിൽ  ഉദ്യോഗസ്ഥരും ശാസ്ത്രഞ്ജരും ഇന്ത്യൻ വോമപരീക്ഷണപുരോഗതിക്കായ് പ്രയത്നിക്കുമ്പോൾ, അറിവിന്റെ അത്ഭുതസത്യങ്ങൾ തേടി ശാസ്ത്രം മുന്നേറുമ്പോൾ തുടക്കം മുതൽ വളർന്നേറിയ ഈ സ്ഥാപനം ഇനിയുള്ള കാലങ്ങളിലും ആകാശഗോപുരങ്ങൾക്കരികിൽ രാജ്യസുരക്ഷയ്ക്കായ് നിരന്തരം പ്രയത്നിക്കുമെന്നും അഭിമാനകരമായ നേട്ടങ്ങളാൽ രാജ്യയശസ്സ് ഉയർത്തുമെന്നും പ്രത്യാശിക്കാം..
(By Rema Prasanna Pisharody)
(Article of Women’s Era )

"This evening must rate as one of the best musical experiences of my life…the lash of eyes, hand signals and body gestures between the players heighten expectancy. The intricate weaving the melody, rhythm and tonal colour against the deep resonance of the bass strings and elevates the inner ear. A world of sound encompasses the air, layer upon layer of melodic invention swirls around and quite literally fills one’s being…an hour and a half seemed like ten minutes.".....Malcolm Baldwin, British columnist on Shanti's veena perfomance  in U.K

Shanti Rao is a well known Veena Player of Bangalore and here is an extract from the a mesmerising sound and rhythms of a music lover who in true level spent all her lifetime to be with this wonderful seven string instrument – Veena, associated with Goddess Saraswathi.

Your beginning and the inspiration on which you have decided to chose Veena ahead of all other musical instrument.

I began my journey with music at the age of 12. I have learnt vocal music from T.A.Venkataramayyar, and veena from Harihara Ayyar in Madras. In 1969, on moving to Bombay, my ears fell on the sounds of the veena being played by none other than veena maestro Chitti Babu who was later to become my guru. "I had never heard the veena being played in that way". I began studying the veena under the tutelage of Chitti Babu.
On moving to Bangalore in 1973, I have commuted to Madras for veena lessons with Chitti Babu, while also learning vocal from R.K Srikantan and veena from R.K Suryanarayan and Pallavi Chandrappa in Bangalore.

About Family

"My husband Kishor Rao being a cricketer , playing first class cricket for state of Maharashtra was not intimidated by a performing artist wife. He was instrumental
 in making me an independent and successful veena player without the shackles of cnservatism or even radicalism. He encourages me to take opportunities as they come and use them to the best of my abilities. Also team spirit is most important he says .Soloists also have a percussionist to rely on to complete the picture.
My 2 daughters are settled in life and what they have to say "Our mother’s music was always a divine touch to our lives. It was like a prayer to strengthen our faith in the holy spirit and to follow the Hindu ritualistic practices like celebrating the important festivals allthrough the year although we led a life which was unorthodox in many ways.

Your first solo concert

In 1976, I made my solo veena debut at the Ramanavmi celebrations in Chamrajpet. It was well received as to enable other numerous engagements to follow. With time and experience, I have found it interesting to interact with other soloists like Dr. M Balamurali Krishna (Vocal), J.Vasanth Kumar (sitar), Konarak Reddy (guitar),T.Menezes (keyboard), as and when opportunity arose.

Veena is an instrument played in different style and the regional influence on that factor.

The predominant styles are Mysore, Tanjavoor, Andhra and also Trivandrum. Each one has its own uniqueness and it is difficult to differentiate on style and variety. It is a blend of traditional and contemporary method which appeal the masses.

Performances Abroad and the special moments of playing before Queen Elizabeth II

I have toured extensively around the world and I treasure those experiences. I have to say here that it was a privilege for me that I could perform before Queen Elizabeth II. I have experienced this wonderful feeling to be part of those music lovers both Indians abroad and people unfamiliar with Indian classical music and/or the divine instrument. I have toured Singapore, Indonesia, Malaysia, U.K, Germany and the U.S.A several times and performed at important functions and centers. On my tour of the U.S, I performed in 30 cities and was repeatedly invited to perform in U.K for three consecutive years where I played before the audiences and the response was electrifying. On another tour, I visited Cornwall, a small town in U.K. I can recollect that the town was so small, and had my doubts whether the crowd would appreciate/ understand the intricacies of music. That night, I have received three standing ovations and was talked about in the village some three years later. I can even remember the constable on beat applauding me on the streets as "a very nice concert Ma’am."

Performances at the Indian Platform

Back at home, I have performed in almost all the most prestigious sabha’s having received praise, accolades and innumerable media reports.

Awards And Recognitions

I have received the following awards and I consider it all as a reward for the years of determinination and hard wark.
1. "Best debutante" in 1980 from the prestigious Madras Music Academy.
2. "Best veena player" in 1996 from the Indian Fine Arts Society.
3. The title "Mahati Mohini" by Dr. M Balamurali Krishna.
4. Mahati is the name of the veena sage Narada believed to have played on.
5. Vocational Excellence Award from the Rotary Club of Bangalore.
              Other Achievements
1. Established the Veena Vani Institute of Music, Indiranagar, Bangalore in 1996.
2. Headed a 10 member all women band in 2002 consisting of a Pancha veena team, Keyboard, bass, Indian and western drums and vocals.
3. Was invited by Kuldip Nayar, U.K High commissioner to be a cultural ambassador of India, having the distinction of performing before Queen Elizabeth II.
4. Received acclaim for her innovation of the "Double stringed Veena"
Myriad Musical Experiences
1. Played with Pianist Mervin Afrika in U.K.
2. Recorded with Trilok Gurtu at Cologne, Germany.
3. Recorded Pulse (fusion music album) with Shivmani.
4. Played with Tommy Menezes (keyboard), Shivmani (drums), Konarak Reddy (Guitar), Imme and Jerry Demos (Bass and Drums respectively) at Chennai and Bangalore.

I have learnt with rigorous practice to effortlessly blend old with the new and the East with the West. But in mind I am very loyal to the traditional style of playing veena. I have experimented on contemporary styles to perform fusion styles with some renowned artistes such as percussionist Trilok Gurtu of Germany, the ace pianist Mervyn of U.K, Guitarist Jery Demos of Germany and the popular percussionist Siva Mani, having performed in various shows from Jazz Yatra festival in Bangalore to UK and Germany. I have played the Veena for musical directors Hamsalekha and R.N Nagendra for which I have modified my instrument incorporating a blend of Mysore and Tanjore styles.
I am dedicated to the traditional form of veena but I have tried a few innovations on it to keep with the changing times. The "double string veena" received acknowledgments for its wonderful tonal quality and received acclaim from Kunnakudi Vaidyanathan,     M Balamurali Krishna. I have created 7 albums and 2 fusion music albums.

I was a visiting professor of Music at Bangalore University. I have started Veenavani Centre for Music in Indiranagar, Bangalaore to train those who got this passion for this wonderful instrument.

Shanti has an attitude that is raring to go to create that extra "special" that would strike a rhythm with the people



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