EXPERIENCING real rock legends Deep Purple in the flesh at the quiet Kuala Lumpur International Airport (KLIA) in Sepang on Sunday was divine. No matter what people say about these ageing rock stars, they still have much appeal.That's what concert presenter Digi Telecommunications Sdn Bhd and organiser Fajar Baiduri Sdn Bhd believed and Deep Purple did live up to certain expectations. Watching Deep Purple for two hours, playing ``wholesome'' old stuff from the 1960s and 1970s and obscure new songs, was thoroughly entertaining.
But first, let's get one thing straight. Where did the RM200 tickets come from? Apparently, these were meant for corporate groups. So, why separate the RM50 and RM100 ticketholders when both groups had to stand? One can't quite fathom why the organisers had to have three types of tickets. After all, those with RM200 tickets were seated and the rest were standing the whole time, so why bother segregating them?
By then, our two homespun rockers, Naked Breed and Jason Lo, were already on hand to give a prelude before Deep Purple went on stage at 9pm.
Predictably, the crowd got revved up from the energy and storm left by Naked Breed and Lo. So, when the rock legends took over, everything seemed set for the evening.
No one was too old to party - fathers, mothers, grandfathers, corporate figures and all the regular Mat Rocks were there and dressed for the occasion.
Even young rockers wearing bandanas, wielding neon-coloured sticks and wrist bands had a whale of a time.
And, mind you, these youngsters who looked truly entertained were not even born when Deep Purple cut their debut album in 1968.
Those who bought the RM50/RM100 tickets were probably lamenting the fact that their view was blocked by the privileged ones ``seated'' in front; some of the RM200 ticketholders joined a few chairs to synchronise their steps as they danced on them. All this was done in full view of the other concertgoers who could only sigh and look at the big screen.
Despite the warnings flashed incessantly on the giant screen asking them not to stand on chairs and to remain seated, they refused.
To make it worse, there were a handful - quite intoxicated from the looks of it - who made a scene. However, like good Malaysians, no one kicked up a fuss, except for the no-nonsense Federal Reserve Unit (FRU) personnel.
As for the big screen, if only it were a jumbo TV screen from which all spectators, no matter how far away, could still see what was happening on stage. What was annoying was that it was not strategically placed and was hung slightly lower than it should have been.
Still, most fans remained loyal to their spots, some happily squatting on the pavement while others cheered on.
Keyboardist Jon Lord, bassist Roger Glover, drummer Ian Paice, lead guitarist Steve Morse and vocalist Ian Gillan got into the groove with the crowd from the first song.
One hit came after another and the crowd responded wildly by cheering, clapping and rocking away enthusiastically.
When the band presented Strange Kind of Woman, you knew that somehow, Deep Purple could do no wrong that evening. All hell broke loose - feet were stomping, heads were banging, hands were clapping, wolf whistles everywhere and some mouths were lip-sync-ing to the great rockers' vocals.
The sound system, which was perfectly tuned, helped to outline Deep Purple's appeal. There was no fancy laser display but still it was pretty cool.
Morse, Deep Purple's youngest member, was given the thumbs-up when he impressed many with his reinterpretations of the greatest guitar riffs in rock history - that of Pink Floyd and the Rolling Stones - before he plunged into the first bar of Smoke on the Water.
The Malaysian crowd was far too responsive to bother about how inactive Ian Gillan was on stage. His too-casual outfit, a loose batik-print shirt with Bermuda pants, belied the fact that this was indeed a rock star. So were his restricted movements. But his vocals still packed power.
By the time he hit the notes of Woman from Tokyo, Speed King and Burn, Gillan was sweating profusely. Yet he showed no signs of slowing down. He only changed the mood slightly by doing the slow rock number, When a Blind Man Cries. By then, his voice had grown huskier and jazzier.
The star attraction that evening was Jon Lord, a great musician whose fingers move faster than a court stenographer's. His ability to improvise on all the songs was simply amazing.
White-haired and looking like a cool grandpa, he coaxed many wonderful sounds from the B3 Hammond, ranging from sweet, melancholic blues and rock to classic Purple tunes.
Morse and Glover were brilliant too, showing off their lightning-speed guitar work. Their long guitar solos were full of passionate energy.
Deep Purple's playlist boasted an interesting dose of familiar tunes. It was like taking a history lesson in rock music. Each song marks a special place in memory lane.
Gillan was astounded by the cheering and clapping from the crowd when he tackled Fireball, Into the Fire and the all-time favourite Smoke on the Water. He responded in between songs, saying ``Thank you'' and ``You are great!'' to the crowd.
The other anthems that evening that made the crowd roar were Perfect Strangers and Speed King.
In fact, Deep Purple was so influential that they could have thrown together anything that evening and the loyal fans would have been delighted. No doubt the turnout was strong but it wasn't overwhelming. Only die-hard fans of Deep Purple would likely make a trip all the way to KLIA at night.
If one bears in mind that the open-air car park concert, which had a standing capacity of 40,000 people, was only partially filled and we just had ``purple fever'' two years ago, one could consider the concert quite successful.
By the time the band members came back for the encore, Hush, the crowd was chanting, asking them to do more. Gillan insisted hardcore fans raise their hands if they wanted more - ``If you love Deep Purple, raise your hands!'' - as if the point hadn't been made, and he had to say it again.
No one's missing the point - Malaysians still love Deep Purple no matter how old they are!
NOTE: You are never too old to party!
BY ZIEMAN - PUBLISHED 22/3/2001
Friday, June 4, 2010
A STIRRING TRAGEDY
A FEW adulterous affairs among family members would inevitably cause a stir as the title of the play suggests, Ribut - Bila Takdir Berbicara (Thunderstorm - When Destiny Speaks).
Try imagining a baby conceived between two siblings or when forbidden love occurs between a stepmother and her stepson. What will eventually happen to the family institution?
Answering this question alone could be mind boggling, what more trying to present it in a play. But aspiring director Bob Hazli Hassan executed it quite impressively in Ribut which was staged last week by The Actors Studio at the Plaza Putra, Dataran Merdeka, in Kuala Lumpur.
However, the first scene was quite long-winded. There wasn't any need for minor details or meandering gossip and Bob should have started the play with more verve.
Nevertheless, the whole play which centred on incestuous relationships was well presented. One of the highlights of the play was Fan Yi, the central figure played convincingly by Juhara Ayob.
Juhara portrayed well the painful state of a woman unloved, rejected both by husband Chou Pu Yuan and stepson Chou Ping. She emoted these feelings sensitively and made it looked like she was the central part of the play.
As the story unfolded, we were told that Fan Yi had plunged herself into a marriage of convenience to her aristocratic husband, Pu Yuan. After giving birth to Chou Chung (played by Que Haidar), Fan Yi found that she had feelings for her stepson, Chou Ping (Zul Huzaimy Marzuki).
Juhara packed much emotion into her character. As Fan Yi, she depicted a loving, protective mother who viewed no woman as being good enough for her gullible son, Chou Chung.
At times she was the stony, unemotional wife of Pu Yuan. Here, she looked every bit the detached woman and cut a cheerless figure who seemed happiest when she was not with her husband. And yet, when she was the lover of Chou Ping, Juhara indicated the troubled feelings of one so confused yet so much in love with a man whom destiny had willed to be her stepson.
Juhara's promising competence only confirmed that she has finally arrived, joining the likes of other established theatre actors such as Joanna Bessey, Tiara Jacquelina and Jit Murad.
Unfortunately, the inhibited, restrained performance of Zul Huzaimy Marzuki as Chou Ping did not complement Juhara's. In fact, Zul's portrayal was rather disappointing. He appeared to be unsure and wavering. He wasn't convincing in both roles - as the lover of both Fan Yi and Ssu Feng (Fiona Lee).
Equally lacklustre was Fiona Lee as Ssu Feng, the maid who became the object of lust of the two brothers. There was something about the way she played her part and voiced her lines with minimal emotions and controlled convictions that made it difficult to believe that she could attract two men at the same time.
What we saw was a confused, helpless, weak lass who wasn't sure of her goal in life. Ironically, the same factor that made her end her life after she conceived a child with brother/lover Chou Ping. Whichever way one looks at it, Ssu Feng's character was not a strong one. Whether it was meant to be that way or it was only Lee's interpretation, the effect wasn't lingering.
The highly-strung Lu Ta Hai (played with much gusto by Sofia Deli) was too overwhelming. Que Haidar as Chou Chung was natural. The jester in Ribut was Adlin Aman Ramlie who provided the few smiles and laughs throughout, breezing through with his Lu Kuei character, the compulsive gambler, reminding one so much of his late father, the great comedy actor A.R. Tompel.
Two actors that really gave polished performances that evening were Khir Rahman as Chou Pu Yuan and Faridah Merican in her dual roles as Sheng Peng and Lu Ma. Khir Rahman, who has proven time and again that he is indeed a character actor, was convincing. His intonation, gestures and mannerism depicting the spiteful, powerful and dominant mining proprietor were rather compelling.
Khir showed the different facets of Chou Pu Yuan quite profoundly - first as the no-nonsense, tyrannical father; the uncaring, thoughtless husband, and the cold, alienated lover still pining for his long-lost lover Lu Ma.
But no actor that evening could quite match the seasoned actress Faridah Merican who stole the show. Her disposition as the strong-willed Lu Ma, a dejected yet spirited figure, was brilliantly portrayed. The anguish and suffering of a tormented woman were felt. She managed to bring out these emotions in a poignant way, placing emphasis on facial expressions and body language.
What's more interesting is that the original Thunderstorm, written by T'sao Yu in 1934, is still relevant even in today's society and the fact that Bob has managed to transfer the spirit of the play in his interpretation called Ribut to the stage quite splendidly.
The hauntingly beautiful strains of the Chinese drums, chimes, keyboards, geduk and kesi by musicians Isyam Swardy Daud, Shahril Salleh, Rozario and Mohd Razif Nizam were simply superb and captured the right mood and setting for the play.
The script which was written by Bob is quite good. At times, the words are funny, candid and witty but most of the time, it is thought-provoking. A few parts of the play need tightening up though. The few draggy moments which made many yawn should be reworked.
The minimal props, the two antique Ming chairs and the altar, lent a certain charm and authenticity to the play. Overall, the cast put in commendable effort.
As expected, Ribut ended in a storm of trouble which included tragedy. The effect of the play with its disturbing storyline was quite profound.
A few characters lingered in the mind long after the play had ended. But then again, having to sit through a three-hour performance was a wee bit too much, really.
BY ZIEMAN - PUBLISHED 17/3/2001
Try imagining a baby conceived between two siblings or when forbidden love occurs between a stepmother and her stepson. What will eventually happen to the family institution?
Answering this question alone could be mind boggling, what more trying to present it in a play. But aspiring director Bob Hazli Hassan executed it quite impressively in Ribut which was staged last week by The Actors Studio at the Plaza Putra, Dataran Merdeka, in Kuala Lumpur.
However, the first scene was quite long-winded. There wasn't any need for minor details or meandering gossip and Bob should have started the play with more verve.
Nevertheless, the whole play which centred on incestuous relationships was well presented. One of the highlights of the play was Fan Yi, the central figure played convincingly by Juhara Ayob.
Juhara portrayed well the painful state of a woman unloved, rejected both by husband Chou Pu Yuan and stepson Chou Ping. She emoted these feelings sensitively and made it looked like she was the central part of the play.
As the story unfolded, we were told that Fan Yi had plunged herself into a marriage of convenience to her aristocratic husband, Pu Yuan. After giving birth to Chou Chung (played by Que Haidar), Fan Yi found that she had feelings for her stepson, Chou Ping (Zul Huzaimy Marzuki).
Juhara packed much emotion into her character. As Fan Yi, she depicted a loving, protective mother who viewed no woman as being good enough for her gullible son, Chou Chung.
At times she was the stony, unemotional wife of Pu Yuan. Here, she looked every bit the detached woman and cut a cheerless figure who seemed happiest when she was not with her husband. And yet, when she was the lover of Chou Ping, Juhara indicated the troubled feelings of one so confused yet so much in love with a man whom destiny had willed to be her stepson.
Juhara's promising competence only confirmed that she has finally arrived, joining the likes of other established theatre actors such as Joanna Bessey, Tiara Jacquelina and Jit Murad.
Unfortunately, the inhibited, restrained performance of Zul Huzaimy Marzuki as Chou Ping did not complement Juhara's. In fact, Zul's portrayal was rather disappointing. He appeared to be unsure and wavering. He wasn't convincing in both roles - as the lover of both Fan Yi and Ssu Feng (Fiona Lee).
Equally lacklustre was Fiona Lee as Ssu Feng, the maid who became the object of lust of the two brothers. There was something about the way she played her part and voiced her lines with minimal emotions and controlled convictions that made it difficult to believe that she could attract two men at the same time.
What we saw was a confused, helpless, weak lass who wasn't sure of her goal in life. Ironically, the same factor that made her end her life after she conceived a child with brother/lover Chou Ping. Whichever way one looks at it, Ssu Feng's character was not a strong one. Whether it was meant to be that way or it was only Lee's interpretation, the effect wasn't lingering.
The highly-strung Lu Ta Hai (played with much gusto by Sofia Deli) was too overwhelming. Que Haidar as Chou Chung was natural. The jester in Ribut was Adlin Aman Ramlie who provided the few smiles and laughs throughout, breezing through with his Lu Kuei character, the compulsive gambler, reminding one so much of his late father, the great comedy actor A.R. Tompel.
Two actors that really gave polished performances that evening were Khir Rahman as Chou Pu Yuan and Faridah Merican in her dual roles as Sheng Peng and Lu Ma. Khir Rahman, who has proven time and again that he is indeed a character actor, was convincing. His intonation, gestures and mannerism depicting the spiteful, powerful and dominant mining proprietor were rather compelling.
Khir showed the different facets of Chou Pu Yuan quite profoundly - first as the no-nonsense, tyrannical father; the uncaring, thoughtless husband, and the cold, alienated lover still pining for his long-lost lover Lu Ma.
But no actor that evening could quite match the seasoned actress Faridah Merican who stole the show. Her disposition as the strong-willed Lu Ma, a dejected yet spirited figure, was brilliantly portrayed. The anguish and suffering of a tormented woman were felt. She managed to bring out these emotions in a poignant way, placing emphasis on facial expressions and body language.
What's more interesting is that the original Thunderstorm, written by T'sao Yu in 1934, is still relevant even in today's society and the fact that Bob has managed to transfer the spirit of the play in his interpretation called Ribut to the stage quite splendidly.
The hauntingly beautiful strains of the Chinese drums, chimes, keyboards, geduk and kesi by musicians Isyam Swardy Daud, Shahril Salleh, Rozario and Mohd Razif Nizam were simply superb and captured the right mood and setting for the play.
The script which was written by Bob is quite good. At times, the words are funny, candid and witty but most of the time, it is thought-provoking. A few parts of the play need tightening up though. The few draggy moments which made many yawn should be reworked.
The minimal props, the two antique Ming chairs and the altar, lent a certain charm and authenticity to the play. Overall, the cast put in commendable effort.
As expected, Ribut ended in a storm of trouble which included tragedy. The effect of the play with its disturbing storyline was quite profound.
A few characters lingered in the mind long after the play had ended. But then again, having to sit through a three-hour performance was a wee bit too much, really.
BY ZIEMAN - PUBLISHED 17/3/2001
NO CAUSE
THE Bollywood issue has been blown out of proportion said Pahang Mentri Besar Datuk Seri Adnan Yaakob recently. According to him, Bollywood movies weren't THE main agenda discussed during the recent Conference of Muftis.
The controversy erupted after Perak Mufti Datuk Seri Harussani Zakaria reportedly said some Bollywood movies carried excessive immoral images that could influence young minds. The press who disparaged the statement, were faulted for having played up the issue without having probed further into the muftis' views.
THERE has been a great deal of ballyhoo about Bollywood lately - all because a group of well-meaning muftis (highest religious figure) cautioned Muslims not to be too taken by things portrayed in Hindi movies.
The ripples of discontent with Bollywood surfaced during the Hari Raya Aidilfitri celebrations, when the country's television stations chose to screen more Indian productions than local ones. It reached a point where the muftis felt they had to have a say in the issue.
Ironically, the same media and mainstream Malay press which voiced their grievances then, are the very ones bashing the muftis now.
When Perak mufti Datuk Seri Harussani Zakaria, spokesman for the Mufti Council, made the call to reduce airtime for Bollywood movies, he was voicing the consensus reached at the conference. By the same token, those who speak out against the muftis are merely stating their views.
Remember the furore over the large number of Chinese dramas shown over Astro not too long ago when some people felt that the high count gave a false representation of Malaysian culture? While the muftis do have a point, whatever negative influence or impact that Bollywood has on the morals of Muslims has yet to be verified. And we cannot totally dismiss the effects of Hollywood or Hong Kong movies nor that of certain western songs.
Over the past few months, children - and adults - who were clueless as to the meaning of the latter part of the word Californication, the title of the Red Hot Chili Peppers' blistering hit, have been singing the song and buying the album.
Radio deejays and television veejays were not too bothered about explaining the meaning either. Anyway, how can you possibly explain on air that ``fornication'' is just another version of the ``f'' word. The song had, after all, been approved for general broadcast by the Censorship Board.
Red Hot Chili Peppers are not alone in having caught the attention of the impressionable young. Performers such as Eminem and Limp Bizkit are among the outrageous acts of the moment who curse, swear and state various acts of depravity in their songs.
Even Prime Minister Datuk Seri Dr Mahathir Mohamad has voiced concern over the shocking lyrics of some songs.
Muslims and other concerned Malaysians should form their own conclusions about what is ``right'' or ``wrong'' by first weighing the arguments equally.
No one has to concur with the muftis' view - everyone has a right to their opinion. But when Bollywood becomes an issue which receives daily coverage in the papers, the whole thing becomes ludicrous.
Despite the uproar following his initial statement, Harussani stuck to his guns and recommended that Bollywood movies be shown only once a week.
Admittedly, Indian movies are influenced by Hindu culture and some of its basic tenets, it is feared, could run counter to the principles of Islam. There is, of course, more to the films than just the beautiful protagonists and the mesmerising song-and-dance segments that seemingly form their core.
There's always an underlying social message: fighting for the downtrodden, the come-uppance on corrupt politicians, unjust rulers and unscrupulous, rich men who cheat the poor, and the ever-popular theme of good eventually triumphing over evil - messages which are sparse in local movies.
Film and television producer Ruhani Abdul Rahman of Nizarman Sdn Bhd is of the view that Bollywood movies can help strengthen family ties as the whole family gathers to watch them.
``Moral decadence is not due to the influence of Bollywood movies but to the wide distribution of pornographic videos and the lack of religious guidance by parents. Hollywood and Hong Kong films are equally guilty of having violence and sexual innuendo,'' she said.
RTM's Radio Division managing director Zainal Abidin Ibrahim has yet to get any directive on the amount of airplay that Hindi songs will receive.
``They were merely touching on the `explicit' scenes in Bollywood movies and not the songs. We will still play the songs as usual. All the controversy has not affected our stand,'' he said.
Another person who feels strongly about this subject is Recording Industry of Malaysia (RIM) chairman Tony Fernandes.
``Bollywood films promote strong traditional values and respect among family members. The social messages are very much in tune with what many Malaysians feel and the portrayals in the Indian movies are often seen as admirable, courageous and realistic in today's materialistic world,'' he said.
These, plus the songs, music and breathtaking scenery, converge to make Bollywood productions totally absorbing.
Harrusani said he was afraid that the Malays, especially those in rural areas, would while away their time if these timeconsuming movies (usually lasting three hours) are shown frequently.
The muftis, who have the trust and respect of the Muslims, only want to ensure that Muslims here remain true to their faith. So why condemn the muftis just because they worry that suggestive scenes in Kuch Kuch Hota Hai, Mohabbatein or Dil Kiya Kare (to name a few) could lead weaker Muslims to commit sexual crimes?
The notion is not totally far-fetched. Remember how the Shah Rukh Khan craze compelled Indonesian women to seek Bangladeshi Shah Rukh look-alikes some time back? There was mayhem when Indonesian men started assaulting Bangladeshi males.
But at a time when the government, especially Dr Mahathir, is encouraging Indian filmmakers to shoot movies here, the Bollywood issue should take a back seat to other more pressing issues such as the planned Malay unity talks between the two largest Muslim-based parties in the country, Umno and PAS.
Muslims, in general, are defensive of their religious teachers and other custodians of their faith. And, aside from a few powerful, influential and manipulative groups of so-called ``broad-minded'' Muslims, the community, by and large, would likely take the side of the muftis.
And non-Muslims should be careful as to how they approach the issue as it could cross boundaries well beyond their ken.
Harussani was merely cautioning and alerting Muslims not to watch excessive Indian movies - such as those featuring handsome hunks Shah Rukh Khan, Salman Khan, Hrithik Roshan and the beautiful, seductive Aisywarya Rai, Kajol and Manisha Koirala - that are liable to be detrimental to the Muslim faith.
It was just a caution, not a warning. The muftis were not suggesting a ban on Bollywood movies. They are not frivolous people bent on creating confusion in young minds but learned, knowledgeable and responsible people guided by the Holy Quran and the hadith (Islamic tenets) who felt that they had to make a stand against something they see as ``heavily manipulated and manoeuvred''. So, let's break away from mufti-bashing once and for all.
For at the end of the day, the outcome of the ongoing debates on Bollywood will not matter to the stations whose primary concern, like that of any other business, remains the bottomline and ratings.
Why be concerned about the derision of the minority when stations can attract greater advertising revenue by airing films that appeal to the masses?
BY ZIEMAN - PUBLISHED 7/3/2001
The controversy erupted after Perak Mufti Datuk Seri Harussani Zakaria reportedly said some Bollywood movies carried excessive immoral images that could influence young minds. The press who disparaged the statement, were faulted for having played up the issue without having probed further into the muftis' views.
THERE has been a great deal of ballyhoo about Bollywood lately - all because a group of well-meaning muftis (highest religious figure) cautioned Muslims not to be too taken by things portrayed in Hindi movies.
The ripples of discontent with Bollywood surfaced during the Hari Raya Aidilfitri celebrations, when the country's television stations chose to screen more Indian productions than local ones. It reached a point where the muftis felt they had to have a say in the issue.
Ironically, the same media and mainstream Malay press which voiced their grievances then, are the very ones bashing the muftis now.
When Perak mufti Datuk Seri Harussani Zakaria, spokesman for the Mufti Council, made the call to reduce airtime for Bollywood movies, he was voicing the consensus reached at the conference. By the same token, those who speak out against the muftis are merely stating their views.
Remember the furore over the large number of Chinese dramas shown over Astro not too long ago when some people felt that the high count gave a false representation of Malaysian culture? While the muftis do have a point, whatever negative influence or impact that Bollywood has on the morals of Muslims has yet to be verified. And we cannot totally dismiss the effects of Hollywood or Hong Kong movies nor that of certain western songs.
Over the past few months, children - and adults - who were clueless as to the meaning of the latter part of the word Californication, the title of the Red Hot Chili Peppers' blistering hit, have been singing the song and buying the album.
Radio deejays and television veejays were not too bothered about explaining the meaning either. Anyway, how can you possibly explain on air that ``fornication'' is just another version of the ``f'' word. The song had, after all, been approved for general broadcast by the Censorship Board.
Red Hot Chili Peppers are not alone in having caught the attention of the impressionable young. Performers such as Eminem and Limp Bizkit are among the outrageous acts of the moment who curse, swear and state various acts of depravity in their songs.
Even Prime Minister Datuk Seri Dr Mahathir Mohamad has voiced concern over the shocking lyrics of some songs.
Muslims and other concerned Malaysians should form their own conclusions about what is ``right'' or ``wrong'' by first weighing the arguments equally.
No one has to concur with the muftis' view - everyone has a right to their opinion. But when Bollywood becomes an issue which receives daily coverage in the papers, the whole thing becomes ludicrous.
Despite the uproar following his initial statement, Harussani stuck to his guns and recommended that Bollywood movies be shown only once a week.
Admittedly, Indian movies are influenced by Hindu culture and some of its basic tenets, it is feared, could run counter to the principles of Islam. There is, of course, more to the films than just the beautiful protagonists and the mesmerising song-and-dance segments that seemingly form their core.
There's always an underlying social message: fighting for the downtrodden, the come-uppance on corrupt politicians, unjust rulers and unscrupulous, rich men who cheat the poor, and the ever-popular theme of good eventually triumphing over evil - messages which are sparse in local movies.
Film and television producer Ruhani Abdul Rahman of Nizarman Sdn Bhd is of the view that Bollywood movies can help strengthen family ties as the whole family gathers to watch them.
``Moral decadence is not due to the influence of Bollywood movies but to the wide distribution of pornographic videos and the lack of religious guidance by parents. Hollywood and Hong Kong films are equally guilty of having violence and sexual innuendo,'' she said.
RTM's Radio Division managing director Zainal Abidin Ibrahim has yet to get any directive on the amount of airplay that Hindi songs will receive.
``They were merely touching on the `explicit' scenes in Bollywood movies and not the songs. We will still play the songs as usual. All the controversy has not affected our stand,'' he said.
Another person who feels strongly about this subject is Recording Industry of Malaysia (RIM) chairman Tony Fernandes.
``Bollywood films promote strong traditional values and respect among family members. The social messages are very much in tune with what many Malaysians feel and the portrayals in the Indian movies are often seen as admirable, courageous and realistic in today's materialistic world,'' he said.
These, plus the songs, music and breathtaking scenery, converge to make Bollywood productions totally absorbing.
Harrusani said he was afraid that the Malays, especially those in rural areas, would while away their time if these timeconsuming movies (usually lasting three hours) are shown frequently.
The muftis, who have the trust and respect of the Muslims, only want to ensure that Muslims here remain true to their faith. So why condemn the muftis just because they worry that suggestive scenes in Kuch Kuch Hota Hai, Mohabbatein or Dil Kiya Kare (to name a few) could lead weaker Muslims to commit sexual crimes?
The notion is not totally far-fetched. Remember how the Shah Rukh Khan craze compelled Indonesian women to seek Bangladeshi Shah Rukh look-alikes some time back? There was mayhem when Indonesian men started assaulting Bangladeshi males.
But at a time when the government, especially Dr Mahathir, is encouraging Indian filmmakers to shoot movies here, the Bollywood issue should take a back seat to other more pressing issues such as the planned Malay unity talks between the two largest Muslim-based parties in the country, Umno and PAS.
Muslims, in general, are defensive of their religious teachers and other custodians of their faith. And, aside from a few powerful, influential and manipulative groups of so-called ``broad-minded'' Muslims, the community, by and large, would likely take the side of the muftis.
And non-Muslims should be careful as to how they approach the issue as it could cross boundaries well beyond their ken.
Harussani was merely cautioning and alerting Muslims not to watch excessive Indian movies - such as those featuring handsome hunks Shah Rukh Khan, Salman Khan, Hrithik Roshan and the beautiful, seductive Aisywarya Rai, Kajol and Manisha Koirala - that are liable to be detrimental to the Muslim faith.
It was just a caution, not a warning. The muftis were not suggesting a ban on Bollywood movies. They are not frivolous people bent on creating confusion in young minds but learned, knowledgeable and responsible people guided by the Holy Quran and the hadith (Islamic tenets) who felt that they had to make a stand against something they see as ``heavily manipulated and manoeuvred''. So, let's break away from mufti-bashing once and for all.
For at the end of the day, the outcome of the ongoing debates on Bollywood will not matter to the stations whose primary concern, like that of any other business, remains the bottomline and ratings.
Why be concerned about the derision of the minority when stations can attract greater advertising revenue by airing films that appeal to the masses?
BY ZIEMAN - PUBLISHED 7/3/2001
SOS FROM ARTISTES TO PM
IF THE Ecstasy drug problem can be tackled so swiftly and with such concerted action by the authorities and community leaders, why not the piracy problem?
This is one of the salient points brought up by participants in the recent anti-piracy forum called Save the Entertainment Industry (STEI) in Kuala Lumpur.
After years of trying to fight piracy, weariness has set in. The bottomline is that almost every artiste is fed-up and exhausted because there seems to be no sustained efforts in fighting the music pirates.
In short, it has come to a point whereby it is futile to attend anti-piracy campaigns as it has been proven time and again, it is just a waste of time. At the end of the day, no extreme measures are taken and local artistes are left to suffer the consequences of this ``daylight robbery''.
So, the moral of the story here is: ``Stop talking and get cracking.''
One visibly annoyed person who is at his wit's end over the matter is EMI artiste and repertoire director Mohd Arzmy who said: ``It'd better be the last meeting. I don't think I want to attend anymore.''
Indeed, piracy is making a serious nuisance of itself - butting in and muscling its way into the livelihood of local singers freely as if the pirates have been given the licence to do so. All because officials are inconsistent and not fully committed to put a stop to this and consumers don't see commercial piracy as a crime.
It is sad to note that the recent STEI forum came across like some motivational crusade. Artistes who are badly affected seemed to be caught up in their own emotions.
The exchange of strong, heated words that evening could have galvanised the authorities concerned - if only the latter were present.
Talking endlessly about piracy in forums, seminars and meetings is so boring. A few associations like Papita (Malaysian Singers Association) did gather the nerve to try and address the problem.
Even if they failed to accomplish anything, at least efforts were made. Now the complaint is: ``We have exhausted all avenues to voice this issue,'' said Aziz Bakar, the chairman of Akademi, a music association.
``No one seems to be listening but we are not giving up. We are trying other options now, drastic ones.''
Perhaps the best efforts put in by the entertainment officials are just not good enough? Should we still be harping on the same tune? Isn't it time to change tack and move fast forward, no matter what this course of action takes?
All this stop-and-start action has only proved that the piracy problem is not taken seriously.
At least some 100 people (mostly those involved directly in the music industry) attended the forum which was held at the Vistana Hotel.
Even then, only a handful of well-known names made an effort to turn up. Where were the rest? If the artistes themselves do not show interest in what they claimed was their rice bowl and lifeline, do they expect the Government to pay heed? To put it rather bluntly, who cares?
What good is it to hold a forum when the crux of the problem now is not to talk but to address the issue, once and for all. Period.
Just look at the state of the music industry. It's so pathetic and alarming. Awie, according to singer Hattan, used to get some RM50,000 for his stage shows. That is history. These days he even does shows which pay him RM10,000.
Sales of cassettes and CDs are tumbling, local studios are closing down, musicians and composers are without jobs, many local artistes are also jobless, local record companies have folded, international companies are closing local departments and retrenching staff, and there is a sharp drop in the number of locally produced albums.
There is a drop in sales of local albums. From a high of RM80mil in 1996 to a mere RM20mil last year - a drop of 75%. It's obvious that local music suffers greatly from music piracy.
There is an urgent need to protect the intellectual property rights of artistes. The proliferation of piracy is an embarrassment to the Government. While the artistes are helpless and waiting in doldrums to take the next course of action, surely the powers that be can take the necessary steps to act on this.
Closing both eyes is like giving unwritten consent to pirates who shamelessly and blatantly steal from everyone - composers, musicians, lyricists, publishers, producers and artistes.
Speakers who made up the panellists in the forum include Aziz Bakar (chairman of Akademi), A. Rahman Hassan (chairman of the Malaysian Music Council or MMM), Ng Cheng Hock (anti-piracy RIM chairman), Mokhtaza (NAR Records general manager), and singers Hattan, Ziana Zain and Sharifah Aini.
``It's a tough job combating piracy. First it was Hapuskan Cetak Rompak (Combat Piracy). Now it's `Save The Music Industry'. What next?'' asked Ng.
The pertinent point that many of the panels raised was: ``It's time for more action, and less talk.''
Ng urged for a wake-up call to all artistes to do something really drastic so that the Government can act radically.
``We can't be polite anymore. We have to make waves. Maybe we should hold a mammoth gathering and march right up to Putrajaya and meet the Prime Minister,'' said singer Hattan who came equipped with newspaper cuttings to drive home his point.
Veteran singer Sharifah Aini felt that the Prime Minister should take note of the seriousness of this problem.
``We should have one voice and move ahead. A meeting with the PM will help solve this problem,'' she suggested.
Ziana Zain echoed the same sentiment. She felt the Government has been quite lax in handling the problem.
A political influence in restructuring this multi-million industry is vital. There is this innate belief that the Prime Minister with help from credible people should take a personal interest in solving the problem of piracy.
``The Ecstacy problem was countered rather swiftly. Surely, piracy deserves the same kind of swift action,'' said Mokhtaza.
BY ZIEMAN - PUBLISHED 21/2/2001
This is one of the salient points brought up by participants in the recent anti-piracy forum called Save the Entertainment Industry (STEI) in Kuala Lumpur.
After years of trying to fight piracy, weariness has set in. The bottomline is that almost every artiste is fed-up and exhausted because there seems to be no sustained efforts in fighting the music pirates.
In short, it has come to a point whereby it is futile to attend anti-piracy campaigns as it has been proven time and again, it is just a waste of time. At the end of the day, no extreme measures are taken and local artistes are left to suffer the consequences of this ``daylight robbery''.
So, the moral of the story here is: ``Stop talking and get cracking.''
One visibly annoyed person who is at his wit's end over the matter is EMI artiste and repertoire director Mohd Arzmy who said: ``It'd better be the last meeting. I don't think I want to attend anymore.''
Indeed, piracy is making a serious nuisance of itself - butting in and muscling its way into the livelihood of local singers freely as if the pirates have been given the licence to do so. All because officials are inconsistent and not fully committed to put a stop to this and consumers don't see commercial piracy as a crime.
It is sad to note that the recent STEI forum came across like some motivational crusade. Artistes who are badly affected seemed to be caught up in their own emotions.
The exchange of strong, heated words that evening could have galvanised the authorities concerned - if only the latter were present.
Talking endlessly about piracy in forums, seminars and meetings is so boring. A few associations like Papita (Malaysian Singers Association) did gather the nerve to try and address the problem.
Even if they failed to accomplish anything, at least efforts were made. Now the complaint is: ``We have exhausted all avenues to voice this issue,'' said Aziz Bakar, the chairman of Akademi, a music association.
``No one seems to be listening but we are not giving up. We are trying other options now, drastic ones.''
Perhaps the best efforts put in by the entertainment officials are just not good enough? Should we still be harping on the same tune? Isn't it time to change tack and move fast forward, no matter what this course of action takes?
All this stop-and-start action has only proved that the piracy problem is not taken seriously.
At least some 100 people (mostly those involved directly in the music industry) attended the forum which was held at the Vistana Hotel.
Even then, only a handful of well-known names made an effort to turn up. Where were the rest? If the artistes themselves do not show interest in what they claimed was their rice bowl and lifeline, do they expect the Government to pay heed? To put it rather bluntly, who cares?
What good is it to hold a forum when the crux of the problem now is not to talk but to address the issue, once and for all. Period.
Just look at the state of the music industry. It's so pathetic and alarming. Awie, according to singer Hattan, used to get some RM50,000 for his stage shows. That is history. These days he even does shows which pay him RM10,000.
Sales of cassettes and CDs are tumbling, local studios are closing down, musicians and composers are without jobs, many local artistes are also jobless, local record companies have folded, international companies are closing local departments and retrenching staff, and there is a sharp drop in the number of locally produced albums.
There is a drop in sales of local albums. From a high of RM80mil in 1996 to a mere RM20mil last year - a drop of 75%. It's obvious that local music suffers greatly from music piracy.
There is an urgent need to protect the intellectual property rights of artistes. The proliferation of piracy is an embarrassment to the Government. While the artistes are helpless and waiting in doldrums to take the next course of action, surely the powers that be can take the necessary steps to act on this.
Closing both eyes is like giving unwritten consent to pirates who shamelessly and blatantly steal from everyone - composers, musicians, lyricists, publishers, producers and artistes.
Speakers who made up the panellists in the forum include Aziz Bakar (chairman of Akademi), A. Rahman Hassan (chairman of the Malaysian Music Council or MMM), Ng Cheng Hock (anti-piracy RIM chairman), Mokhtaza (NAR Records general manager), and singers Hattan, Ziana Zain and Sharifah Aini.
``It's a tough job combating piracy. First it was Hapuskan Cetak Rompak (Combat Piracy). Now it's `Save The Music Industry'. What next?'' asked Ng.
The pertinent point that many of the panels raised was: ``It's time for more action, and less talk.''
Ng urged for a wake-up call to all artistes to do something really drastic so that the Government can act radically.
``We can't be polite anymore. We have to make waves. Maybe we should hold a mammoth gathering and march right up to Putrajaya and meet the Prime Minister,'' said singer Hattan who came equipped with newspaper cuttings to drive home his point.
Veteran singer Sharifah Aini felt that the Prime Minister should take note of the seriousness of this problem.
``We should have one voice and move ahead. A meeting with the PM will help solve this problem,'' she suggested.
Ziana Zain echoed the same sentiment. She felt the Government has been quite lax in handling the problem.
A political influence in restructuring this multi-million industry is vital. There is this innate belief that the Prime Minister with help from credible people should take a personal interest in solving the problem of piracy.
``The Ecstacy problem was countered rather swiftly. Surely, piracy deserves the same kind of swift action,'' said Mokhtaza.
BY ZIEMAN - PUBLISHED 21/2/2001
TURNING INTO A SWAN
NEW singer Dayang Nurfaezah has cast a disturbing spell on the media and those who have heard her sing. If you have not heard of Dayang Nurfaezah's name, then you have probably missed last year's Anugerah Industri Muzik (AIM) 2000 awards during which Dayang impressed those present at the Putra World Trade Centre hall with her amazingly high-pitched vocals when she sang Hakikat Cinta.
A day later, she became a household name and many were comparing her with the likes of Ruth Sahanaya, Sheila Majid and Ning Baizura, and even a few black singers.
Her name will soon be better known outside the Malay market. Try listening to her second album, Seandainya Masih Ada Cinta, released by her record company Broadway Entertainment (M) Sdn Bhd, and chances are you will fall in love with her voice.
It's no wonder Dayang had an elaborate ceremony to launch her album release recently. And this could only mean one thing: The singer spells good fortune and will soon be a treasured ``property'' of the record company. In any case, expectation is running high and Dayang's new album seems to have what it takes to strike gold even though piracy is rampant.
According to Mohd Arzmy, the artiste and repertoire director of EMI: ``A sale of 20,000 units at this point is good enough for a new singer like Dayang.''
This aside, the grand reception given to Dayang by her record company that evening also marked the signing ceremony with EMI which gained the distribution rights.
Dayang, who is from Kuching, first cut her album two years ago titled Hakikat Cinta. The album was released accompanied by some grumbling due to some internal problems with the distributor, one of the big labels. Broadway Entertainment eventually stopped dealing with the distributor.
For this reason too, only 4,000 units of the album found its way to the market. According to Boon Tan, the producer and managing director of Broadway Entertainment, the company plans to distribute Dayang's debut album again sometime this year. This time around, however, several new songs will be included.
``The album was not properly promoted. As such, a lot of good songs did not get airplay. We hope to release it again because it is such a good album,'' explained Boon.
For her second album, Dayang had sought the help of Boon Tan to produce the album while the co-producers include Ajai, Syde ENV and Freddie Khaw. During the album launch which was held at Planet Hollywood recently, Dayang enthralled those present with her rendition of four songs - Untuk Sementara, Sedingin Mana Cintamu, Seandainya Masih Ada Cinta and an English number, Walk Away.
The singer, who prefers singing R&B songs, showed off her versatility when she switched from upbeat pop to easy-listening tunes much to the delight of those present.
It was heartening to hear how well Dayang modulated and exploited her vocal range. There were a unanimous vote of approval as Dayang concluded her last song.
Looking every inch the professional singer that evening, Dayang obviously had had a makeover.
And her deliberate attempt to look glamorously chic is also a good sign that the 20-year-old singer has learned a thing or two about sporting a good image. Thanks to her manager, Madelyn Pang, who did a wonderful job in the transformation.
Gone is the ``ugly duckling'' tag which Dayang humbly admitted to the media. ``I'm quite used to people calling me this,'' she once said. Even the spiky hairdo tinted with all those garish colours had disappeared, and so did the improper wardrobe.
``I am still looking for the right image. I hope this one will do for now,'' said the affable singer showing off her furry-looking turtle-necked attire.
Seandainya Masih Ada Cinta is a commendable effort put together by a team of versatile composers.
The selection of songs was done thoroughly and took almost six months while the recording was done at several studios, namely Azure Waves Studio and Broadway Studio in Petaling Jaya and Musica Studios in Indonesia.
Among the potential hits are the title track which is written by Ajai, Walk Away by Lady D and Lenakan by Indonesian songwriter Aubrey Suwito.
For Dayang, cutting the album was quite an experience.
``Each time I record a number, I have this habit of wanting to sing it again and again. I am quite a perfectionist, I think. That's why I often get disappointed if I feel I have not given my best effort,'' explained the RTM 1997 Golden Teen Search champ.
In Walk Away Dayang proved that she is equally at ease singing in English. Her potent rendition of I Believe I Can Fly (by R. Kelly) in her first album spurred Boon Tan to include one English number on this album.
The singer who was first discovered by composer Adnan Abu Hassan, the same person who uncovered gems like Fauziah Latiff, Siti Nurhaliza and Liza Hanim, considers herself very lucky for getting support from her peers.
``Encouraging words from seasoned singers really helped me find my way around. It's sure nice getting tips from them especially when you are so green,'' Dayang said.
But what really made her feel at home right away among her new-found celebrity friends is her modesty.
``I am a plain girl who has simple needs in life. I only know I have always wanted to be a singer and God has been kind to me in realising this dream for me. What happens next, I leave it to Him,'' said the singer whose real name is Dayang Nurfaezah Awang Dowty.
Modesty and the fact that her family back home in Kuching is not too bothered about all the sudden attention that Dayang is getting right now make her feel nothing much has changed ``except that I now have a new album.''
For now, Dayang is praying real hard that her album will do well and that popularity will not change her.
``I'd hate to wake up one day and find that I am so caught up in my new busy life that I have very little time for friends and family. Now, that would worry me.''
Worry should not be Dayang's main concern now because her new album is just the beginning of more exciting things to come. Industry observers will be keeping an eye out for her.
BY ZIEMAN - PUBLISHED 20/2/2001
A day later, she became a household name and many were comparing her with the likes of Ruth Sahanaya, Sheila Majid and Ning Baizura, and even a few black singers.
Her name will soon be better known outside the Malay market. Try listening to her second album, Seandainya Masih Ada Cinta, released by her record company Broadway Entertainment (M) Sdn Bhd, and chances are you will fall in love with her voice.
It's no wonder Dayang had an elaborate ceremony to launch her album release recently. And this could only mean one thing: The singer spells good fortune and will soon be a treasured ``property'' of the record company. In any case, expectation is running high and Dayang's new album seems to have what it takes to strike gold even though piracy is rampant.
According to Mohd Arzmy, the artiste and repertoire director of EMI: ``A sale of 20,000 units at this point is good enough for a new singer like Dayang.''
This aside, the grand reception given to Dayang by her record company that evening also marked the signing ceremony with EMI which gained the distribution rights.
Dayang, who is from Kuching, first cut her album two years ago titled Hakikat Cinta. The album was released accompanied by some grumbling due to some internal problems with the distributor, one of the big labels. Broadway Entertainment eventually stopped dealing with the distributor.
For this reason too, only 4,000 units of the album found its way to the market. According to Boon Tan, the producer and managing director of Broadway Entertainment, the company plans to distribute Dayang's debut album again sometime this year. This time around, however, several new songs will be included.
``The album was not properly promoted. As such, a lot of good songs did not get airplay. We hope to release it again because it is such a good album,'' explained Boon.
For her second album, Dayang had sought the help of Boon Tan to produce the album while the co-producers include Ajai, Syde ENV and Freddie Khaw. During the album launch which was held at Planet Hollywood recently, Dayang enthralled those present with her rendition of four songs - Untuk Sementara, Sedingin Mana Cintamu, Seandainya Masih Ada Cinta and an English number, Walk Away.
The singer, who prefers singing R&B songs, showed off her versatility when she switched from upbeat pop to easy-listening tunes much to the delight of those present.
It was heartening to hear how well Dayang modulated and exploited her vocal range. There were a unanimous vote of approval as Dayang concluded her last song.
Looking every inch the professional singer that evening, Dayang obviously had had a makeover.
And her deliberate attempt to look glamorously chic is also a good sign that the 20-year-old singer has learned a thing or two about sporting a good image. Thanks to her manager, Madelyn Pang, who did a wonderful job in the transformation.
Gone is the ``ugly duckling'' tag which Dayang humbly admitted to the media. ``I'm quite used to people calling me this,'' she once said. Even the spiky hairdo tinted with all those garish colours had disappeared, and so did the improper wardrobe.
``I am still looking for the right image. I hope this one will do for now,'' said the affable singer showing off her furry-looking turtle-necked attire.
Seandainya Masih Ada Cinta is a commendable effort put together by a team of versatile composers.
The selection of songs was done thoroughly and took almost six months while the recording was done at several studios, namely Azure Waves Studio and Broadway Studio in Petaling Jaya and Musica Studios in Indonesia.
Among the potential hits are the title track which is written by Ajai, Walk Away by Lady D and Lenakan by Indonesian songwriter Aubrey Suwito.
For Dayang, cutting the album was quite an experience.
``Each time I record a number, I have this habit of wanting to sing it again and again. I am quite a perfectionist, I think. That's why I often get disappointed if I feel I have not given my best effort,'' explained the RTM 1997 Golden Teen Search champ.
In Walk Away Dayang proved that she is equally at ease singing in English. Her potent rendition of I Believe I Can Fly (by R. Kelly) in her first album spurred Boon Tan to include one English number on this album.
The singer who was first discovered by composer Adnan Abu Hassan, the same person who uncovered gems like Fauziah Latiff, Siti Nurhaliza and Liza Hanim, considers herself very lucky for getting support from her peers.
``Encouraging words from seasoned singers really helped me find my way around. It's sure nice getting tips from them especially when you are so green,'' Dayang said.
But what really made her feel at home right away among her new-found celebrity friends is her modesty.
``I am a plain girl who has simple needs in life. I only know I have always wanted to be a singer and God has been kind to me in realising this dream for me. What happens next, I leave it to Him,'' said the singer whose real name is Dayang Nurfaezah Awang Dowty.
Modesty and the fact that her family back home in Kuching is not too bothered about all the sudden attention that Dayang is getting right now make her feel nothing much has changed ``except that I now have a new album.''
For now, Dayang is praying real hard that her album will do well and that popularity will not change her.
``I'd hate to wake up one day and find that I am so caught up in my new busy life that I have very little time for friends and family. Now, that would worry me.''
Worry should not be Dayang's main concern now because her new album is just the beginning of more exciting things to come. Industry observers will be keeping an eye out for her.
BY ZIEMAN - PUBLISHED 20/2/2001
Thursday, June 3, 2010
BLESSED UNION OF SOULS
SINGER Sheqal who recently married Normah Mohd Yusuf, an active Umno member, described his wife as his perfect match. ``She complements me in many ways. Normah is a simple woman who regards me as a person and not as a singer,'' said Sheqal, who married Normah in a simple ceremony at Dewan Wawasan, Menara PGRM, Kuala Lumpur, last week.The couple looked charming in matching white and gold robes and headgear. The ceremony was attended by popular artistes like Pak Pandir, Julie Dahlan and a few nasyid groups.
Sheqal, who is in his early 30s, is now a member of Rufaqa, a religious group set up by former members of now-defunct Al-Arqam. The couple met during a religious course conducted by Rufaqa.Drawn to Sheqal's soft-spoken mannerism and charm, Normah approached Rufaqa leader Abu Ya and voiced her interest in the singer.
According to a source, Abu Ya himself arranged a meeting and subsequently gave his blessing for their marriage.
Sheqal, who was formerly married to singer Raja Ema, is now slowly making the transition from a Nusantara singer to a nasyid singer. He has just released an album with another Rufaqa member, Qathrunnada, titled Cinta Agung.
BY ZIEMAN - PUBLISHED 5/2/2001
Sheqal, who is in his early 30s, is now a member of Rufaqa, a religious group set up by former members of now-defunct Al-Arqam. The couple met during a religious course conducted by Rufaqa.Drawn to Sheqal's soft-spoken mannerism and charm, Normah approached Rufaqa leader Abu Ya and voiced her interest in the singer.
According to a source, Abu Ya himself arranged a meeting and subsequently gave his blessing for their marriage.
Sheqal, who was formerly married to singer Raja Ema, is now slowly making the transition from a Nusantara singer to a nasyid singer. He has just released an album with another Rufaqa member, Qathrunnada, titled Cinta Agung.
BY ZIEMAN - PUBLISHED 5/2/2001
GOLDEN GIRL ON THE TV SCREEN
RETAINING that certain professionalism when she is on air comes easily to seasoned anchorwoman Wan Zaleha Radzi. Undisputedly one of the most glamorous and best TV personalities ever discovered, Wan Zaleha has often been misconstrued as aloof and proud when she is off the air.
``Do not confuse aloof with dignity. You have to retain a certain level of dignity, which is called the balancing instinct. It's important to keep that sense of dignity so that you don't go overboard,'' said the affable KL-born TV personality.
This ``dignity persona'' that Wan Zaleha is talking about does make her stand out among her peers. Another reason why no one could quite match her charming appeal is that Wan Zaleha had set the standards for many TV3 comperes to emulate. Her fluency in Bahasa Malaysia and English was indeed her forte.
Who could forget those cute dimples, expressive round eyes and beautiful smile, which made her so endearing to home viewers?
This attractive, confident lass surprised her fans when she decided to quit at the height of her career. Still, five years after her unceremonious farewell to the Duniamu TV3 station, most would agree that this ``TV3 glamour girl'' is still irreplaceable.
The petite announcer regards the effect she has on pseudo-Wan Zalehas as most flattering.
Wan Zaleha modestly says: ``I have a different style now. The corporate style which I adopted then suited the image that I wanted to project for the station. It's original, but it's not the best.
``When I look at my old tapes, I will criticise like crazy. Nothing seemed right,'' said the youthful looking 36-year-old, who joined ANB Studios two years ago.
(ANB Studios is a leading independent content provider for non-fiction programmes in Asia.)
According to Wan Zaleha, she never lost touch with broadcasting during her five-year break, as she was doing voice-overs for Television Corporation of Singapore.
Gone is the stiff, modulated style she adopted when hosting Majalah 3. In its place, you'll find a fresh, exciting and original approach.
``You have to move with the times, and since more young people are tuning in the programmes I am hosting, I have to adopt a more vibrant, brazen and jazzy style.''
This is particularly effective for Young Malaysian Incorporated? (YIM?), a talk show produced by ANB Studios and screened over TV3. Here student leaders come together to discuss current issues, ranging from education and social to politics.
Another exciting programme produced by ANB Studios is the IT programme, MSC Online, which is presented by Wan Zaleha, Paula Malai Ali and Joanna Chan.
As part of the ANB Studios team, Wan Zaleha's main task is presenting, producing, contributing ideas and concepts.
``Everybody has input here. We normally sit down and conduct our brainstorming sessions. We emphasise on teamwork,'' said the former St Mary Girls School student.
ANB Studios was recently awarded the rights to produce a series called Future Cities with the Madrid-based institution Fundacion Metropoli.
The programme was conceptualised and produced by ANB Studios. It will highlight 13 cities around the world, including Kuala Lumpur, and will be aired in nine countries on selected broadcasting stations in the United States, Europe, the Middle East and Asia.
The research alone will take up to one whole year to complete, while the cost of producing the whole programme is about RM20mil.
Future Cities will surely make Malaysians proud, as Kuala Lumpur, which has been passed over by tourists and regarded as a transit point, will be given a fitting treatment this time around.
For Future Cities, according to Wan Zaleha, ANB will be working with a diversed group of academicians and civil authorities, such as the Eisenhower Foundation, MIT and Euskal Telebista.
Wan Zaleha, who joined broadcast journalism in TV3 soon after she completed her degree in Economics at the University of Northern Illinois in 1984, said she never regretted making the career move.
``It is not the popularity that I was after. The challenge was really demanding. I love meeting people, and I have this curiosity of getting acquainted with people from different walks of life. When I am touched and enthralled by something, I want to share it with the viewers. With visuals, you can do all this,'' said Wan Zaleha, the eldest of four siblings.
``No matter what subject you tackle, you have to be a temporary expert on the subject. The discovery process is just as important as presenting the stuff you have. Then, there's the interview, which requires a different knack. You can't be too guarded if you want your interviewees to open up.''
There are many memorable moments that Wan Zaleha treasures. Some of the episodes in Majalah 3 are truly unforgettable.
Looking back, Wan Zaleha feels journalism has taken a different approach.
``To research, you can get all the information you want from the Internet - no need to rely solely on the library anymore.''
Wan Zaleha looks forward to handling more challenging assignments for ANB Studios. Soon, she will be globetrotting to complete the filming of Future Cities.
At home, Wan Zaleha devotes her time to her doting husband, Peter Imran Winton, 52, the national show jumping coach whom she married two years ago.
Horse riding and attending to her beautiful horse Bravo de Paulstra is her way of unwinding after a hard day's work.
BY ZIEMAN - PUBLISHED 4/2/2001
``Do not confuse aloof with dignity. You have to retain a certain level of dignity, which is called the balancing instinct. It's important to keep that sense of dignity so that you don't go overboard,'' said the affable KL-born TV personality.
This ``dignity persona'' that Wan Zaleha is talking about does make her stand out among her peers. Another reason why no one could quite match her charming appeal is that Wan Zaleha had set the standards for many TV3 comperes to emulate. Her fluency in Bahasa Malaysia and English was indeed her forte.
Who could forget those cute dimples, expressive round eyes and beautiful smile, which made her so endearing to home viewers?
This attractive, confident lass surprised her fans when she decided to quit at the height of her career. Still, five years after her unceremonious farewell to the Duniamu TV3 station, most would agree that this ``TV3 glamour girl'' is still irreplaceable.
The petite announcer regards the effect she has on pseudo-Wan Zalehas as most flattering.
Wan Zaleha modestly says: ``I have a different style now. The corporate style which I adopted then suited the image that I wanted to project for the station. It's original, but it's not the best.
``When I look at my old tapes, I will criticise like crazy. Nothing seemed right,'' said the youthful looking 36-year-old, who joined ANB Studios two years ago.
(ANB Studios is a leading independent content provider for non-fiction programmes in Asia.)
According to Wan Zaleha, she never lost touch with broadcasting during her five-year break, as she was doing voice-overs for Television Corporation of Singapore.
Gone is the stiff, modulated style she adopted when hosting Majalah 3. In its place, you'll find a fresh, exciting and original approach.
``You have to move with the times, and since more young people are tuning in the programmes I am hosting, I have to adopt a more vibrant, brazen and jazzy style.''
This is particularly effective for Young Malaysian Incorporated? (YIM?), a talk show produced by ANB Studios and screened over TV3. Here student leaders come together to discuss current issues, ranging from education and social to politics.
Another exciting programme produced by ANB Studios is the IT programme, MSC Online, which is presented by Wan Zaleha, Paula Malai Ali and Joanna Chan.
As part of the ANB Studios team, Wan Zaleha's main task is presenting, producing, contributing ideas and concepts.
``Everybody has input here. We normally sit down and conduct our brainstorming sessions. We emphasise on teamwork,'' said the former St Mary Girls School student.
ANB Studios was recently awarded the rights to produce a series called Future Cities with the Madrid-based institution Fundacion Metropoli.
The programme was conceptualised and produced by ANB Studios. It will highlight 13 cities around the world, including Kuala Lumpur, and will be aired in nine countries on selected broadcasting stations in the United States, Europe, the Middle East and Asia.
The research alone will take up to one whole year to complete, while the cost of producing the whole programme is about RM20mil.
Future Cities will surely make Malaysians proud, as Kuala Lumpur, which has been passed over by tourists and regarded as a transit point, will be given a fitting treatment this time around.
For Future Cities, according to Wan Zaleha, ANB will be working with a diversed group of academicians and civil authorities, such as the Eisenhower Foundation, MIT and Euskal Telebista.
Wan Zaleha, who joined broadcast journalism in TV3 soon after she completed her degree in Economics at the University of Northern Illinois in 1984, said she never regretted making the career move.
``It is not the popularity that I was after. The challenge was really demanding. I love meeting people, and I have this curiosity of getting acquainted with people from different walks of life. When I am touched and enthralled by something, I want to share it with the viewers. With visuals, you can do all this,'' said Wan Zaleha, the eldest of four siblings.
``No matter what subject you tackle, you have to be a temporary expert on the subject. The discovery process is just as important as presenting the stuff you have. Then, there's the interview, which requires a different knack. You can't be too guarded if you want your interviewees to open up.''
There are many memorable moments that Wan Zaleha treasures. Some of the episodes in Majalah 3 are truly unforgettable.
Looking back, Wan Zaleha feels journalism has taken a different approach.
``To research, you can get all the information you want from the Internet - no need to rely solely on the library anymore.''
Wan Zaleha looks forward to handling more challenging assignments for ANB Studios. Soon, she will be globetrotting to complete the filming of Future Cities.
At home, Wan Zaleha devotes her time to her doting husband, Peter Imran Winton, 52, the national show jumping coach whom she married two years ago.
Horse riding and attending to her beautiful horse Bravo de Paulstra is her way of unwinding after a hard day's work.
BY ZIEMAN - PUBLISHED 4/2/2001
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