Now, this is what I wrote for the inaugural issue of The Amity, Lucknow newsletter
Chander Mahadev
From Amethi to Amity, Lucknow has come a long way! This is because, not long in the recent past, Uttar Pradesh had only Amethi to boast of; considered the political pocket borough of the first family of Indian politics . Today, the capital city has a modern ring to it, be it in terms of politics, modernity, and class education. And we are proud to share that Amity Lucknow campus, has played a huge role in shaping the urban landscape of this city. It is in this historic backdrop that the Odd semester of July 2009 was ushered in. And odd it was, in more ways than one. The dawn of the Odd semester saw many fresh pairs of legs making their way into the two hallowed precincts. Admission time witnessed a riot of colors and fresh faces. The new semester was made more special because of the recent launch of the sprawling Mango Orchard Campus (fondly called MOC). With two campuses in place, the excitement has doubled -- making Amity the most happening place in town.
Bearing a striking resemblance to Massachussets Institute of Technology (MIT), or better still a Roman amphitheatre, MOC, Malhaur has rightfully become the flavor of the season. And a quick reconnaissance of the two campuses reveals as much. The larger and busier institutions like the business school (ABS) as also the Amity School of Engineering and Technology (ASET) have already shifted base to MOC. The Viraj Khand Campus, (VKC or the old campus) may have lost some of its sheen but the odd semester bought in not just the new batches, but also an air of fresh festivity. The VKC seminar hall and the auditorium played host to cultural soirees, orientation programs, Freshers’ parties and what have you.
We could witness much mirth and merriment as different institutes vied with each other to make the Freshers’ party the best in Amity’s twin town. Yes, the woefully inadequate government infrastructure, the pot-holed roads, the near-absence of streetlights, and poor phone network connectivity call for more than a fair share of patience. And the three-km drive to the new campus calls for loads of mental and physical calisthenics.
What we know for sure is that the commissioning of the Malhaur campus tells us that the route to change (read MOC) has a few hiccups to contend with. If the ubiquitous railway crossing en route to VKC was a minor deterrent, the ‘phatak’ on way to MOC has become an obstacle race. A colleague who vends his way daily to the new campus reveals that there are as many as 72 trains that passed through daily, not that anyone has counted. However, the gangman on duty refused to confirm or deny this figure.
If the new campus ushers in change, the older sibling is only five to six years old. And the economic landscape of the once quiet Malhaur village today seems like a town in a hurry; in the throes of a second ‘academic’ industrial revolution. Real estate agents, well stacked shops, well laid out dhabas, chai shops and eateries, and cigarette kiosks have sprung up and land prices we are told have hit the ceiling. And the people of the city are not complaining!
The launch of the Quick Newsletter is a venture to bridge the physical distance and ensure there is no info gap. We are sure that in the coming days this journal will gain in popularity and become the ideal vehicle for change, change that nurtures talent the Amity way. Cheers!!!
The ASCO Buzz
Odd semester or not, ASCO has been abuzz with activity; with students busy putting up posters to perk up the campus atmosphere, almost as if it were announcing its rebirth. Call it the second coming or what you will, the old legacy seems to have faded out and in its place, the students and faculty are busy ringing in the winds of change. Much like the chimes of freedom, the windy turbulence at the rain-drenched foyer threatens to lift you off your feet. Muskuraiye, aap ASCO mein hain! Welcoming the new batch of students, the weather gods too seem pleased with all that is happening around. The recent fresher’s party where everybody let their hair down gave a fair taste of things to come.
There is a host of activities being planned; new clubs have sprung up, there is music in the air and students can be seen rehearsing for plays, voice overfs,folk dances and other such activities.
For starters, the onset of the new semester has brought in its wake the launch of a theatre club called Dramatica, and a literary club grandly named Thought Café. Those keen on photography have formed an outfit called Drishti, while those keen on broadcast media have launched a clubhouse called Amicast. The ASCO Bulletin boards facing the D-G’s office are also being given an artistic makeover and the weekly photo bulletin boards alongside and in front of the Director’s cabin make for a weekly visual feast. The bonhomie and camaraderie among both students and faculty is more than evident and moves are afoot for the launch of a much-needed Newsroom.
And first oft the block is the Quick Newsletter that you hold in your hand. ASCO’s thrust of being the interface between the media industry and the academic world has found favor with the new director even as the winds of change sweep the corridors of ASCO. And with a little help from friends from the media world ASCO is bound to make waves, sooner than later.
Friday, September 11, 2009
Tuesday, March 17, 2009
The Avadhi Scent Of Romance
Much like the erotic tome titled ‘The Perfumed Garden of Sheikh Nefzaoui ,’ the heady ‘itra’ aromas are strikingly different, and their impact, ‘mind-fusing.’ Some call it the scent of romance and creativity, and renowned poet Mirza Ghalib used to apply this mystical fragrance whenever he shook hands with special guests.
The aura and aroma should be reason enough for you to experience the heady effect of Lucknowi andaz and ‘itra’! Perk up your nose buds and get ready to experience the fragrance of Lucknawi petals captured in exotic decanters. Part of the Mughlai perfume hub comprising Lucknow & Kannauj, the itra aroma subtly permeates across the Muslim canvas of India.
It is said that nearly 300 years ago when the Mughal Empress Noor Jehan was having a bath in her shaahi hamaam, little did she realize that she was discovering the most expensive and exotic itra. – Rooh-e-Gulab. Legend has it that when she went to have a bath; she noticed an oily layer over the water kept overnight with crushed rose petals, which when distilled became the famous rose perfume. The Maharajas of the erstwhile states of Gwalior, Patiala, Darbhanga, Mysore and even Maharaja Ranjit Singh are counted amongst the most famous users of itra. The early documented use of itra is in Abul Fazal's account of Akbar's court in Aain-e-Akbari. Abul Fazal mentions Akbar using itra along with incense sticks burnt daily in gold and silver censers.
Lucknow can be enumerated as one of the few cities in North India where the love of exotic fragrances and the art of itra-making have reached exalted heights . The credit for patronizing and popularizing the perfumery in Lucknow goes to the Nawabs of Avadh, particularly to Nawab Wajid Ali Shah.
Historians believe that fragrance has always been an important part of the cultural life of Avadh. Till the 1960s this art was confined to a few family-run perfumeries as the renowned Asghar Ali –Mohammad Ali perfumers. But by late 70's most of these distilleries folded up due to infighting or simply because they could not move with the changing times
As Lucknow’s famous satirist Nayer Masud puts it; “A princess's toilet was incomplete without incense and itra. It was customary practice of the royals and nobles to offer itra to their guests at the time of their departure.”
On the other end of the canvas, Eram Qazi, a Lucknow aficionado wistfully observes: “The aroma of itra is so enticing that young girls are forbidden to wear it since it would invite the ‘jinns’ or spirits.”
Lovingly and painstakingly made, itra is a natural perfume where there is no room for evaporation and alcohol. And go by your smell, to let your itra buds soak in the fragrances of roses, jasmine and sandal.
An Arabic word, itra means fragrance or scent. It had for long been considered one of the basic needs of the Nawabs and the Mughals. In Ain-e-Akbari, Abul Fazal, has made note of the fact that Akbar used itra daily and burnt incense sticks in gold and silver sensers.
Exotic as it may sound, Itra is prepared by the degh and bhapka system. It's a kind of hydro distillation system which we learn in our chemistry labs but always get the penetrating smells of chemical which is unbearable. In the deghs the flowers are boiled under the heat of cow dung and the steam of this is conserved in the bhapkaas.Its an air tight apparatus. The degh are made up of copper. Half of the beauty of the itra depend on its container known as the itra daans and are preserved in air tight bottles.
Perfumery owner, Mohammed Yaseen, says the itra market is very limited as it’s an expensive item with prices ranging from Rs 1,500 to Rs 10 lakh per kg.
Says veteran journalist and Avadh aficionado Raj Saran Verma: “Even in these times and age it is not rare in Lucknow that in a typical Muslim wedding, the whole ambience is so heavily laden with the fragrance of itra that it takes your breath away. Rajkumar Amir Naqi Khan, scion of the Mehmoodabad family, loves to use his favorite itar Majmua on his Sherwaani on special occasions. Poonam Seth, a socialite and an entrepreneur swears by Itre-gil, which smells of the first shower of rain on a parched land. A lot of Urdu poetry is still woven around these wafting fragrances and many a beloved's letters are perhaps still doused in them. As they say in Lucknow "Ishque aur mushq kabhi chhupta nahi hai…. true love and the smell of musk cannot be hidden long. Who knows how far the story of Luknowi Itra will go?”
The aura and aroma should be reason enough for you to experience the heady effect of Lucknowi andaz and ‘itra’! Perk up your nose buds and get ready to experience the fragrance of Lucknawi petals captured in exotic decanters. Part of the Mughlai perfume hub comprising Lucknow & Kannauj, the itra aroma subtly permeates across the Muslim canvas of India.
It is said that nearly 300 years ago when the Mughal Empress Noor Jehan was having a bath in her shaahi hamaam, little did she realize that she was discovering the most expensive and exotic itra. – Rooh-e-Gulab. Legend has it that when she went to have a bath; she noticed an oily layer over the water kept overnight with crushed rose petals, which when distilled became the famous rose perfume. The Maharajas of the erstwhile states of Gwalior, Patiala, Darbhanga, Mysore and even Maharaja Ranjit Singh are counted amongst the most famous users of itra. The early documented use of itra is in Abul Fazal's account of Akbar's court in Aain-e-Akbari. Abul Fazal mentions Akbar using itra along with incense sticks burnt daily in gold and silver censers.
Lucknow can be enumerated as one of the few cities in North India where the love of exotic fragrances and the art of itra-making have reached exalted heights . The credit for patronizing and popularizing the perfumery in Lucknow goes to the Nawabs of Avadh, particularly to Nawab Wajid Ali Shah.
Historians believe that fragrance has always been an important part of the cultural life of Avadh. Till the 1960s this art was confined to a few family-run perfumeries as the renowned Asghar Ali –Mohammad Ali perfumers. But by late 70's most of these distilleries folded up due to infighting or simply because they could not move with the changing times
As Lucknow’s famous satirist Nayer Masud puts it; “A princess's toilet was incomplete without incense and itra. It was customary practice of the royals and nobles to offer itra to their guests at the time of their departure.”
On the other end of the canvas, Eram Qazi, a Lucknow aficionado wistfully observes: “The aroma of itra is so enticing that young girls are forbidden to wear it since it would invite the ‘jinns’ or spirits.”
Lovingly and painstakingly made, itra is a natural perfume where there is no room for evaporation and alcohol. And go by your smell, to let your itra buds soak in the fragrances of roses, jasmine and sandal.
An Arabic word, itra means fragrance or scent. It had for long been considered one of the basic needs of the Nawabs and the Mughals. In Ain-e-Akbari, Abul Fazal, has made note of the fact that Akbar used itra daily and burnt incense sticks in gold and silver sensers.
Exotic as it may sound, Itra is prepared by the degh and bhapka system. It's a kind of hydro distillation system which we learn in our chemistry labs but always get the penetrating smells of chemical which is unbearable. In the deghs the flowers are boiled under the heat of cow dung and the steam of this is conserved in the bhapkaas.Its an air tight apparatus. The degh are made up of copper. Half of the beauty of the itra depend on its container known as the itra daans and are preserved in air tight bottles.
Perfumery owner, Mohammed Yaseen, says the itra market is very limited as it’s an expensive item with prices ranging from Rs 1,500 to Rs 10 lakh per kg.
Says veteran journalist and Avadh aficionado Raj Saran Verma: “Even in these times and age it is not rare in Lucknow that in a typical Muslim wedding, the whole ambience is so heavily laden with the fragrance of itra that it takes your breath away. Rajkumar Amir Naqi Khan, scion of the Mehmoodabad family, loves to use his favorite itar Majmua on his Sherwaani on special occasions. Poonam Seth, a socialite and an entrepreneur swears by Itre-gil, which smells of the first shower of rain on a parched land. A lot of Urdu poetry is still woven around these wafting fragrances and many a beloved's letters are perhaps still doused in them. As they say in Lucknow "Ishque aur mushq kabhi chhupta nahi hai…. true love and the smell of musk cannot be hidden long. Who knows how far the story of Luknowi Itra will go?”
Tuesday, May 27, 2008
Get Set to Experience the Magic of Sex!
Get Set to Experience The Magic Of Sex
My caution note:
When it came up my journalistic alley, I thought it was my editor-friend Ajay Kumar's, (Group Editor State Times) ploy to sell a magazine called Supremacy with sex on its mind. But what it turned out to be in the end, confounded me. I was circumspect abut how I would be able to treat the net-based raw input he sent me. Read on & tell me if it makes sense, or is it lewd and needs to be deleted post-haste
"Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul."
Oscar Wilde
Scenario I.
The legendary Mirabai was so deeply conjoined in spiritual union with Lord Krishna through her bhakti and bhajans that she forgot about the existence of her worldly responsibilities and about the existence of her consort. It is believed that her incensed husband suspected her of moral turpitude. However misleadingly, he thought his wife had immorally given her body and soul to the God of her understanding without his consent.
Scenario II:
In his rocking theological thriller Da Vinci Code, when bestselling author Dan Brown talks about pagan rites and rituals that shrouded the existence of Jesus Christ’s female half Mary Magdalene, he exposed the soft underbelly of Judeo-Christian faith and opened up the possibilities of Christ being a married man. This evoked strong reactions among conservationists who felt that the author was evoking the Goddess of Sex to ensure the success of his novel.
The word ‘Sex’ continues to trigger the most formidable response among human beings. It is at once mysterious, mystical and foreboding. Sex conjures up different image in different people. In its most sublime form, it is but a manifestation of Godhead, and in its most base form, it stirs the beast within us. This article makes an attempt to unravel this mystic knot and shows you how to experience the true magic of sex.
Sex magic is neither new nor outrageous; although usually kept secret many esoteric systems use sexuality for spiritual and magical aims. The ancient traditions and its various manifestations in visible form are witchcraft, shamanism, alchemy, Buddhist and Hindu Tantra and ancient Egyptian religion.
A more known form of sex magic is the ceremonial sexual union of man and woman on the land to ensure a good crop. Their act of fertility ostensibly encourages the land to bring forth a rich harvest. This ancient practice is still resorted to, by many tribes in Jharkhand and Madhya Pradesh as also in some other rural out backs of the country.
Western sex magic, on the other hand, has its roots in Hebrew kabala and it spread further through several occult doctrines like the Knights Templar, The order of The Rosicrucian and the Freemasons.
In present-day terms sex magic is a beautiful way of giving it back its due as sacred sexuality. It is a firm invitation to leave the trail of the sneaky, hidden-in-the-dark and 'sinful' sex most of us have grown up with. It is a call to stop fighting this most powerful human force and to make use of its immense possibilities.
Since sexuality is a gift from God, the Goddess, by natural extension, has to be divine. Within an open and respectful sexual relationship we can experience ourselves in all aspects: the animal part, the human part and the divine flame within. Thus, the beast-man-God is connected, as strongly as the beast-woman-Goddess. During sexual arousal, an enormous amount of energy can be channeled upwards from the genitals along the spine to the top of the head. On its way up, this energy fills and cleans blockages in the ‘chakras,’ caused by emotional and psychological wounds. This explains why several spiritual paths view sexual yoga as a shortcut to enlightenment.
When the magic of sex enters the head, it turns into an all-consuming spiritual experience, suggests this painting by Gustav Klimt
Why use sex for magical aims?
The force of creation itself invokes a very powerful magic. Secondly it is the most pleasurable magic one can do. The strong sexual force is the 'raw oil of our body' (the Kama Salila) as Lama Yeshe stated.
Several practitioners of sex magic reported that this form of magic turned out to be much stronger then the ceremonial magic they had practiced before. Sex magic does not require any previous knowledge or understanding of ceremonial magic. Anyone who is dedicated to controlling and directing his or her sexual energies for magical work, and who has a reasonable physical condition, is deemed fit to perform sex magic.
However, if you don't feel strongly attracted to sex magic, simply don't do it! And never let someone force you into sex magic against your will. Practicing sex magic does in no way imply that you have to give up sex for pleasure. It is entirely up to you to decide how much sex you wish to use for magical rituals and how much in having a good time with yourself or your partner.
Theory behind sex magic
In magic, we manipulate a certain amount of energy into a desired direction; for that we specify a goal, raise energy level and point it into the wished direction (release the energy) to achieve a manifestation in our physical reality.
The goal in sex magic can be the achievement or attraction of anything wished in the physical world, like a new house, a better relationship or a healing. It can also be the charging of magical tools or talismans. And the goal can be spiritual development.
This controlled form of love-making for higher goals is often mentioned as the ultimate manifestation of necromancer Alistair Crowley’s famous statement "Love is Law, Love under Will." By love, mystic Crowley meant the union of the opposites, masculine and feminine, active and receptive, and not so much as romantic love.
The ultimate goal in a sex act is Orgasm. And orgasm by inference is considered to be the moment when 'the gates of heaven open up'; for a while the barriers between the restricted physical world and the limitless heavens dissolve. During the precious orgasmic moments we swing away our magical desire into the universe with enormous power and a 'magical child' is born. This magical child is the astral effect of our magical action that will result in manifestation. The sexual fluids of man and woman are charged with powerful qualities because of their unalloyed magic and they can be used for varying purposes.
Sexual spirituality depicted on the Khajuraho Temple, India
What types of sex can be used for sex magic?
In fact, any sexual activity can be used to work sex magic. It can be practiced alone, it can be practiced with a partner of the same sex or of the opposite sex, and in advanced state, and it is also possible to work with more people. But, a group sex magic ritual is never an excuse for a sexual orgy!
It is a strong ritual in which several people dedicate their sexual forces towards a mutual goal. Magic is synergistic, which means that the power conjured up is geometric (1, 2, 4,8,16, etc., so a ritual with four people gives the energy of eight separate people!)
You would do well to remember that in no way is this an invitation to ever do a group ritual in your life unwanted, nor does it mean that joining a group ritual implies that you should also have sex with more than one partner in your personal love life. You can include all forms of sex in your ritual; it can be genital, oral or anal sex; it can be bondage, bizarre sex or whatever; as long as all partners included enjoy it and agree that it’s okay and acceptable.
Does sex magic feel different from regular sex?
In sex magic we concentrate on the ritual, while in regular sex we concentrate on the fantastic physical sensations and intimate togetherness. Sex magic rituals feel very pleasurable but they do feel different. They are simply that much more intense. A much greater amount of sexual energy is built up, mainly because when you reach the brink of orgasm you back off to later on resume arousing. This leads to a stronger felt orgasm.
And while repeating the chosen affirmation during intercourse, you send up energy from the genitals to the head, so you constantly send bits of genital excitement 'away' upwards along your spine to be stored till the moment of orgasm. By concentrating on your goal you extend the moment of orgasm and reach a trance-like state.
At times it has been noticed that halfway through the ritual, one can feel the magical energy working. A large amount of hot energy could be felt along the spine and the ‘chakras’ in the head, and in the crown ‘chakra’ you experience the feeling of a wide opened chalice or lotus flower.
The flow of this energy can cause huge tremors or shivers or even lead to emotional unloads like crying, mostly after the orgasm (be prepared for this and let it happen to you or your partner as it clears blockages).
Sex magic orgasms will be intense. And after a ritual with a partner one feels reverent and grateful, realizing that something truly meaningful has been shared. Once the depths and values of sex magic are experienced, it becomes truly difficult to stick to 'normal' sex. Dabble in it or delve deep in it, the choice is yours.
My caution note:
When it came up my journalistic alley, I thought it was my editor-friend Ajay Kumar's, (Group Editor State Times) ploy to sell a magazine called Supremacy with sex on its mind. But what it turned out to be in the end, confounded me. I was circumspect abut how I would be able to treat the net-based raw input he sent me. Read on & tell me if it makes sense, or is it lewd and needs to be deleted post-haste
"Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul."
Oscar Wilde
Scenario I.
The legendary Mirabai was so deeply conjoined in spiritual union with Lord Krishna through her bhakti and bhajans that she forgot about the existence of her worldly responsibilities and about the existence of her consort. It is believed that her incensed husband suspected her of moral turpitude. However misleadingly, he thought his wife had immorally given her body and soul to the God of her understanding without his consent.
Scenario II:
In his rocking theological thriller Da Vinci Code, when bestselling author Dan Brown talks about pagan rites and rituals that shrouded the existence of Jesus Christ’s female half Mary Magdalene, he exposed the soft underbelly of Judeo-Christian faith and opened up the possibilities of Christ being a married man. This evoked strong reactions among conservationists who felt that the author was evoking the Goddess of Sex to ensure the success of his novel.
The word ‘Sex’ continues to trigger the most formidable response among human beings. It is at once mysterious, mystical and foreboding. Sex conjures up different image in different people. In its most sublime form, it is but a manifestation of Godhead, and in its most base form, it stirs the beast within us. This article makes an attempt to unravel this mystic knot and shows you how to experience the true magic of sex.
Sex magic is neither new nor outrageous; although usually kept secret many esoteric systems use sexuality for spiritual and magical aims. The ancient traditions and its various manifestations in visible form are witchcraft, shamanism, alchemy, Buddhist and Hindu Tantra and ancient Egyptian religion.
A more known form of sex magic is the ceremonial sexual union of man and woman on the land to ensure a good crop. Their act of fertility ostensibly encourages the land to bring forth a rich harvest. This ancient practice is still resorted to, by many tribes in Jharkhand and Madhya Pradesh as also in some other rural out backs of the country.
Western sex magic, on the other hand, has its roots in Hebrew kabala and it spread further through several occult doctrines like the Knights Templar, The order of The Rosicrucian and the Freemasons.
In present-day terms sex magic is a beautiful way of giving it back its due as sacred sexuality. It is a firm invitation to leave the trail of the sneaky, hidden-in-the-dark and 'sinful' sex most of us have grown up with. It is a call to stop fighting this most powerful human force and to make use of its immense possibilities.
Since sexuality is a gift from God, the Goddess, by natural extension, has to be divine. Within an open and respectful sexual relationship we can experience ourselves in all aspects: the animal part, the human part and the divine flame within. Thus, the beast-man-God is connected, as strongly as the beast-woman-Goddess. During sexual arousal, an enormous amount of energy can be channeled upwards from the genitals along the spine to the top of the head. On its way up, this energy fills and cleans blockages in the ‘chakras,’ caused by emotional and psychological wounds. This explains why several spiritual paths view sexual yoga as a shortcut to enlightenment.
When the magic of sex enters the head, it turns into an all-consuming spiritual experience, suggests this painting by Gustav Klimt
Why use sex for magical aims?
The force of creation itself invokes a very powerful magic. Secondly it is the most pleasurable magic one can do. The strong sexual force is the 'raw oil of our body' (the Kama Salila) as Lama Yeshe stated.
Several practitioners of sex magic reported that this form of magic turned out to be much stronger then the ceremonial magic they had practiced before. Sex magic does not require any previous knowledge or understanding of ceremonial magic. Anyone who is dedicated to controlling and directing his or her sexual energies for magical work, and who has a reasonable physical condition, is deemed fit to perform sex magic.
However, if you don't feel strongly attracted to sex magic, simply don't do it! And never let someone force you into sex magic against your will. Practicing sex magic does in no way imply that you have to give up sex for pleasure. It is entirely up to you to decide how much sex you wish to use for magical rituals and how much in having a good time with yourself or your partner.
Theory behind sex magic
In magic, we manipulate a certain amount of energy into a desired direction; for that we specify a goal, raise energy level and point it into the wished direction (release the energy) to achieve a manifestation in our physical reality.
The goal in sex magic can be the achievement or attraction of anything wished in the physical world, like a new house, a better relationship or a healing. It can also be the charging of magical tools or talismans. And the goal can be spiritual development.
This controlled form of love-making for higher goals is often mentioned as the ultimate manifestation of necromancer Alistair Crowley’s famous statement "Love is Law, Love under Will." By love, mystic Crowley meant the union of the opposites, masculine and feminine, active and receptive, and not so much as romantic love.
The ultimate goal in a sex act is Orgasm. And orgasm by inference is considered to be the moment when 'the gates of heaven open up'; for a while the barriers between the restricted physical world and the limitless heavens dissolve. During the precious orgasmic moments we swing away our magical desire into the universe with enormous power and a 'magical child' is born. This magical child is the astral effect of our magical action that will result in manifestation. The sexual fluids of man and woman are charged with powerful qualities because of their unalloyed magic and they can be used for varying purposes.
Sexual spirituality depicted on the Khajuraho Temple, India
What types of sex can be used for sex magic?
In fact, any sexual activity can be used to work sex magic. It can be practiced alone, it can be practiced with a partner of the same sex or of the opposite sex, and in advanced state, and it is also possible to work with more people. But, a group sex magic ritual is never an excuse for a sexual orgy!
It is a strong ritual in which several people dedicate their sexual forces towards a mutual goal. Magic is synergistic, which means that the power conjured up is geometric (1, 2, 4,8,16, etc., so a ritual with four people gives the energy of eight separate people!)
You would do well to remember that in no way is this an invitation to ever do a group ritual in your life unwanted, nor does it mean that joining a group ritual implies that you should also have sex with more than one partner in your personal love life. You can include all forms of sex in your ritual; it can be genital, oral or anal sex; it can be bondage, bizarre sex or whatever; as long as all partners included enjoy it and agree that it’s okay and acceptable.
Does sex magic feel different from regular sex?
In sex magic we concentrate on the ritual, while in regular sex we concentrate on the fantastic physical sensations and intimate togetherness. Sex magic rituals feel very pleasurable but they do feel different. They are simply that much more intense. A much greater amount of sexual energy is built up, mainly because when you reach the brink of orgasm you back off to later on resume arousing. This leads to a stronger felt orgasm.
And while repeating the chosen affirmation during intercourse, you send up energy from the genitals to the head, so you constantly send bits of genital excitement 'away' upwards along your spine to be stored till the moment of orgasm. By concentrating on your goal you extend the moment of orgasm and reach a trance-like state.
At times it has been noticed that halfway through the ritual, one can feel the magical energy working. A large amount of hot energy could be felt along the spine and the ‘chakras’ in the head, and in the crown ‘chakra’ you experience the feeling of a wide opened chalice or lotus flower.
The flow of this energy can cause huge tremors or shivers or even lead to emotional unloads like crying, mostly after the orgasm (be prepared for this and let it happen to you or your partner as it clears blockages).
Sex magic orgasms will be intense. And after a ritual with a partner one feels reverent and grateful, realizing that something truly meaningful has been shared. Once the depths and values of sex magic are experienced, it becomes truly difficult to stick to 'normal' sex. Dabble in it or delve deep in it, the choice is yours.
Friday, May 23, 2008
My Blog Mob & Writing Status!
Dear Blog,
I have been totally out of action om the literary front for over a month. This is because I have been deeply involved in academics and admissions, in that order. Meanwhile, I thought I would keep my blog alive by posting a story I did for a Mumbai-based Magazine!!
Television follows films in dropping inhibitions!
Steamy bedroom scenes, premarital sex, marital rape....it's all happening on the idiot box. If you, are a regular couch potato, you'd know what we are talking about. Recently, the newly-weds Rahul Lamba and Priyanka Kharbanda (Rohit Roy and Sangeeta Ghosh) in Viraasat were shown rolling over each other in bed with an intimacy unmatched on TV so far.
And you can't even count the number of unmarried girls who just happen to get pregnant. So, is Indian telly finally opening up on the forbidden topic-sex and ready to go the Bollywood way?
Serial makers say the new trend as a reflection of our society opening up. Says Ravi Chopra of BR Films (Viraasat), "It's time we stopped being hypocritical and showed what's happening around us." Agrees TV producer Vinta Nanda, "What is being shown on TV is what's happening in the Indian middle class society." And Shobha Kapoor of Balaji Telefilms: "Issues like premarital sex and rape are a reality that needs to be shown." Adds we were told these scenes are part of the story and not a gimmick to get good TRPs. "Viraasat is a story of a couple which can't consummate its marriage and so the yearning in that episode was required," defends Chopra. Yeah! We've heard this line before.
"Those who object to these scenes are prudish. But I can't watch them with my family"
-Rohit Roy, Actor
1. Viraasat: This serial is already going all out to show the real chemistry between newly-weds and promises more in the future too.
2. Kasamh Se: The hot scene between lead characters, Jail Walia and Vani, in a recent episode reminded one of Emraan Hashmi's staple fare from the big screen.
3. Kyunki Saas Bhi Kabhi Bahu Thi: This is one family soap which has re-invented itself countless times with new topics, including bed room scenes and even a rape.
4. Kasautii Zindagii Kay: One of the most popular serials on air, it dealt with a rape case and we are sure , the TRPs for that particular episode would have been really high.
5. Who Rehne Wali Mehlo Ki: Though this show pales in comparison to other soaps on air, it too has had its share of tele intimacy.
I have been totally out of action om the literary front for over a month. This is because I have been deeply involved in academics and admissions, in that order. Meanwhile, I thought I would keep my blog alive by posting a story I did for a Mumbai-based Magazine!!
Television follows films in dropping inhibitions!
Steamy bedroom scenes, premarital sex, marital rape....it's all happening on the idiot box. If you, are a regular couch potato, you'd know what we are talking about. Recently, the newly-weds Rahul Lamba and Priyanka Kharbanda (Rohit Roy and Sangeeta Ghosh) in Viraasat were shown rolling over each other in bed with an intimacy unmatched on TV so far.
And you can't even count the number of unmarried girls who just happen to get pregnant. So, is Indian telly finally opening up on the forbidden topic-sex and ready to go the Bollywood way?
Serial makers say the new trend as a reflection of our society opening up. Says Ravi Chopra of BR Films (Viraasat), "It's time we stopped being hypocritical and showed what's happening around us." Agrees TV producer Vinta Nanda, "What is being shown on TV is what's happening in the Indian middle class society." And Shobha Kapoor of Balaji Telefilms: "Issues like premarital sex and rape are a reality that needs to be shown." Adds we were told these scenes are part of the story and not a gimmick to get good TRPs. "Viraasat is a story of a couple which can't consummate its marriage and so the yearning in that episode was required," defends Chopra. Yeah! We've heard this line before.
"Those who object to these scenes are prudish. But I can't watch them with my family"
-Rohit Roy, Actor
1. Viraasat: This serial is already going all out to show the real chemistry between newly-weds and promises more in the future too.
2. Kasamh Se: The hot scene between lead characters, Jail Walia and Vani, in a recent episode reminded one of Emraan Hashmi's staple fare from the big screen.
3. Kyunki Saas Bhi Kabhi Bahu Thi: This is one family soap which has re-invented itself countless times with new topics, including bed room scenes and even a rape.
4. Kasautii Zindagii Kay: One of the most popular serials on air, it dealt with a rape case and we are sure , the TRPs for that particular episode would have been really high.
5. Who Rehne Wali Mehlo Ki: Though this show pales in comparison to other soaps on air, it too has had its share of tele intimacy.
Tuesday, April 15, 2008
When Akaedia Gets The Better Of Me
Call it an exercise in self-flaggelation or my tryst with vanity! Yes, I have long been glaoting the fact that my genius as a writer is yet to be recognised. And when an indulgent editor-publisher asked me to send her five chapters for ciritquing, mental akaedia got the better of me. I need to be pushed into writing my elusive magunum opus and I want to share what I wrote to the evangelical editor. I am sharing this as these lines flesh out the contours of a book.
"Hello,
It is indeed thoughtful of you to reach out me after reading my ryze profile. I must confess that I am a successful journalist who has dabbled in creative prose and fiction but not with much verve or success. As of now, I am in the process of writing a concept note on my dream project on 'Niza Town' (Nizamuddin in Delhi) where I spent my early years as a baby-boomer and Flower Power heretic. Like I always love to say: "I thought I was a genius waiting to be discovered. At 53, I am still waiting...! LOL!
I know for a fact that I am an engaging story-teller and always wanted to take conversation to an art form. The only problem in doing that, I realised, was that I would have to write... ( a la Samuel Johnson)
Well, my dream project is based on the 'Bloomsbury School" in England where the likes of Virginia Woolf, V.K. Krishna Menon et al. converged on one creative platform to rule the literary and Literary criticism world.
My spin is to chronicle a semi-fictional novel based on Nizammuddin where the likes of Abraham Alkazi (theatre legend) M. F. Hussain, Tyeb Mehta, Manu Parekh (artists) made Nizamuddin thier home and brought out thier creative best in the early 70s to the early 80s... The Nizamuddin canvas is so steeped in history that it is named after the first great Sufi poet by the name of Hazrat Nizamuddin Aulia, (12th century) and is the home of such illustrious figures like Humayan,(Humayan's tomb), the tomb of Rahim Khan-Khana (Rahim ke Dohe fame), Amir Khusro's grave, Mirza Ghalib's Masoleum and what have you! My aim is to recapture this perennial creative energy and how the place was Muse'sown Abode and how in the new Millennium it lost its pristine grace with the advent of Islamic Chauvinism!
I know I have said too much but then you tickled my creative 'Funny" bone and would like to share my thoughts on the venture. Do get back to me with your suggestions at your earliest convenience."
"Hello,
It is indeed thoughtful of you to reach out me after reading my ryze profile. I must confess that I am a successful journalist who has dabbled in creative prose and fiction but not with much verve or success. As of now, I am in the process of writing a concept note on my dream project on 'Niza Town' (Nizamuddin in Delhi) where I spent my early years as a baby-boomer and Flower Power heretic. Like I always love to say: "I thought I was a genius waiting to be discovered. At 53, I am still waiting...! LOL!
I know for a fact that I am an engaging story-teller and always wanted to take conversation to an art form. The only problem in doing that, I realised, was that I would have to write... ( a la Samuel Johnson)
Well, my dream project is based on the 'Bloomsbury School" in England where the likes of Virginia Woolf, V.K. Krishna Menon et al. converged on one creative platform to rule the literary and Literary criticism world.
My spin is to chronicle a semi-fictional novel based on Nizammuddin where the likes of Abraham Alkazi (theatre legend) M. F. Hussain, Tyeb Mehta, Manu Parekh (artists) made Nizamuddin thier home and brought out thier creative best in the early 70s to the early 80s... The Nizamuddin canvas is so steeped in history that it is named after the first great Sufi poet by the name of Hazrat Nizamuddin Aulia, (12th century) and is the home of such illustrious figures like Humayan,(Humayan's tomb), the tomb of Rahim Khan-Khana (Rahim ke Dohe fame), Amir Khusro's grave, Mirza Ghalib's Masoleum and what have you! My aim is to recapture this perennial creative energy and how the place was Muse'sown Abode and how in the new Millennium it lost its pristine grace with the advent of Islamic Chauvinism!
I know I have said too much but then you tickled my creative 'Funny" bone and would like to share my thoughts on the venture. Do get back to me with your suggestions at your earliest convenience."
Tuesday, April 8, 2008
My Bollywood Samplers written for sawfnews
HRISHIDA SCRIPTED BOLLYWOOD’S CREATIVE ERA
He straddled three different worlds with consummate ease. The reluctant leftist for whom films were a medium to bring about awareness, the middle-class moralist who did not wish to film a single scene that would offend people’s sensibilities, and the brilliant story-teller who reignited the true spirit of comedy with his outstanding body of work.
Bollywood film buffs would do well to remember that Hrishikesh’s films have immortalized the history of Hindi cinema, reflecting its ups and chronicling the downs of two great superstars—albeit unwittingly. Who can ever forget that he brought together two acting legends? The brilliantly crafted Anand (1970) not only catapulted Hrishikesh into a household name, but also chronicled the aspirations of two great acting icons of our times. Through superstar Rajesh Khanna, he portrayed a terminally ill man who wishes to live life to the full before he dies, and through Amitabh the understated moderator ‘Babumoshai’, who chronicles the tragic hero’s tryst with death. This Hrishida's masterpiece ushered in the era of realistic cinema made on tight budgets, and spawned the creative era of Bollywood.
Hrishida’s Namak Halal (1973) well and truly became the defining moment for the emergence of Amitabh and the downsizing of Rajesh Khanna, the first superstar of Hindi cinema. However, the humanist film director himself did not wish to be drawn in to the controversy.
His story-telling abilities on the silver screen took on comic overtones with Golmaal (1979). By then, those of us who had been brought up on a staple diet of flower-power, Bob Dylan, and the crass commercialism of Hindi cinema found in Hrishikesh Mukeherji’s cinematic brilliance, something to pin their hopes on. His genre of comedies beginning with Golmaal set the tone for good, clean and imaginative cinema. It brought to the fore the histrionic skills of actors such as Amol Palekar and Utpal Dutt. In another film of the same genre, Khoobsoorat, (1980), the resilient director reinvented and repackaged the histrionic abilities of the then ‘sex kitten’ Rekha.
The brilliant story-teller that Hrishida was, he began his career in Bombay in 1951 as an editor and assistant director to the legendary Bimal Roy, another great director.
His first directorial venture, Musafir (1957), was all about an old house where three unrelated stories dealing with birth, marriage and death occur in a series. While the film was a disaster, director Raj Kapoor was impressed. He later recommended Hrishida as a director for Anari (1959), which boasted of names such as Kapoor himself and Nutan. Other notable films included Anuradha (1960), Asli-Naqli (1962), Anupama (1966), Aashirwad (1968), and Satyakam (1969).
When Amitabh paid his tribute to the great film-maker saying that the humanist-director instilled in him the values of acting, it had the ring of truth. He said he learnt the nuances of the trade from Hrishida. Rajesh Khanna did not mince words when he said: There are two kinds of films, art films and commercial cinema. Hrishikesh Mukherji represented the third in-between dimension to cinema. Truly speaking Hrishida represented Aristotle’s Golden Mean in Hindi cinema .
He straddled three different worlds with consummate ease. The reluctant leftist for whom films were a medium to bring about awareness, the middle-class moralist who did not wish to film a single scene that would offend people’s sensibilities, and the brilliant story-teller who reignited the true spirit of comedy with his outstanding body of work.
Bollywood film buffs would do well to remember that Hrishikesh’s films have immortalized the history of Hindi cinema, reflecting its ups and chronicling the downs of two great superstars—albeit unwittingly. Who can ever forget that he brought together two acting legends? The brilliantly crafted Anand (1970) not only catapulted Hrishikesh into a household name, but also chronicled the aspirations of two great acting icons of our times. Through superstar Rajesh Khanna, he portrayed a terminally ill man who wishes to live life to the full before he dies, and through Amitabh the understated moderator ‘Babumoshai’, who chronicles the tragic hero’s tryst with death. This Hrishida's masterpiece ushered in the era of realistic cinema made on tight budgets, and spawned the creative era of Bollywood.
Hrishida’s Namak Halal (1973) well and truly became the defining moment for the emergence of Amitabh and the downsizing of Rajesh Khanna, the first superstar of Hindi cinema. However, the humanist film director himself did not wish to be drawn in to the controversy.
His story-telling abilities on the silver screen took on comic overtones with Golmaal (1979). By then, those of us who had been brought up on a staple diet of flower-power, Bob Dylan, and the crass commercialism of Hindi cinema found in Hrishikesh Mukeherji’s cinematic brilliance, something to pin their hopes on. His genre of comedies beginning with Golmaal set the tone for good, clean and imaginative cinema. It brought to the fore the histrionic skills of actors such as Amol Palekar and Utpal Dutt. In another film of the same genre, Khoobsoorat, (1980), the resilient director reinvented and repackaged the histrionic abilities of the then ‘sex kitten’ Rekha.
The brilliant story-teller that Hrishida was, he began his career in Bombay in 1951 as an editor and assistant director to the legendary Bimal Roy, another great director.
His first directorial venture, Musafir (1957), was all about an old house where three unrelated stories dealing with birth, marriage and death occur in a series. While the film was a disaster, director Raj Kapoor was impressed. He later recommended Hrishida as a director for Anari (1959), which boasted of names such as Kapoor himself and Nutan. Other notable films included Anuradha (1960), Asli-Naqli (1962), Anupama (1966), Aashirwad (1968), and Satyakam (1969).
When Amitabh paid his tribute to the great film-maker saying that the humanist-director instilled in him the values of acting, it had the ring of truth. He said he learnt the nuances of the trade from Hrishida. Rajesh Khanna did not mince words when he said: There are two kinds of films, art films and commercial cinema. Hrishikesh Mukherji represented the third in-between dimension to cinema. Truly speaking Hrishida represented Aristotle’s Golden Mean in Hindi cinema .
Monday, April 7, 2008
Kabab, Kormas & Capital Culture!
LUCKNOW GOURMANDSPEAK
By Chander Mahadev
Once upon an Awadhi time, a Nawab was playing host to a renowned foreign guest. He ordered his chief bawarchi (cook) to prepare the most succulent and soft Kababs for the visitor. But he warned him that if the Kababs were not top draw, he would lose his head. The nervous chef rustled up a kingly fare but when the Nawab saw his guest chewing at the Kabab, he was livid, and promptly lopped off the cook’s head. It then transpired that the assistant cook, who was present there, took on the challenge and promised to make amends. Since marinating was the key, he decided to bury the meat mince dough in a pineapple and presto; thus emerged the softest Kakori Kabab.
Of such exotic stuff are Awadhi cuisine legends made up of. The Kakori Seekh Kabab has been so named because the cook hailed from the adjoining town of Kakori. The rest as the say is Awadh cuisine history. Welcome to Lucknow, the city of Kababs, Kormas and scrumptious Biryani.
How different is it from Mughlai food? Ask eminent Lucknow historian Ravi Bhat and he shares: “Awadh food is no doubt inspired by Mughlai cuisine, but the comparison ends there. Most Lucknow foodie tales have a ring of nawabi pizzazz and refinement and they are a fine blend of Mughlai, Persian and local flavours.” When asked about the Awadhi fetish for ‘soft meat’ he comes up with the startling disclosure that all Awadh Nawabs had bad dentures. As gourmet legend would have it, the bawarchis of Awadh transformed the traditional dastarkhwan (embroidered or white tablecloth laid on carpets or a low table) with lip-smacking Kababs and Biryani made with immense patience and loving care.
The collective psyche of Lucknow is steeped in culinary refinement and this is strongly reflected in the Kababs, Kormas, Kaliya, Nahari-kulchas, Zarda, Sheermal, Roomali rotis and Warqi parathas.
The richness of ‘Awadhi Dum’ cuisine lies not only in the variety but also in the ingredients used. What exactly is the 'Dum Pukht' process? It is a fine art where food is sealed in a large pot called handi and placed over slow fire, allowing the ingredients to be cooked in their own juices under the strict supervision of bawarchis (cooks). It takes about three days to prepare the meal in a traditional manner. A heady aroma permeates the air the moment the handi lid is opened. The penchant for making food into an art form is what distinguishes it (Awadh cuisine) from others, reveals Shakhawat who runs an immensely popular Awadhi cuisine joint by the same name in the city.
But the uncrowned king of Awadh culinary art is ‘Tunday Kebabi’ located in the Chowk area of old Lucknow. With branches spreading out to Saharaganj Mall and Wave Mutliplex Mall -- for this foodie family -- serving authentic Awadhi fare seems to be the family’s sole mission in life. “We make the Kababs and Biryani in our Chowk kitchen and then send it to our branches. This way there is no scope for change in taste. And unlike Mughlai food, we use less spices. We also don’t colour the Biryani with Zafrani either,” reveals Mohammed Usman, the present owner of Tunday Kababi
The succulent Gilaawat Kebab known for its melt-in-the-mouth quality was perfected by Tundey Mian, who served Nawab Wajid Ati Shah towards the end of the 19th century. The hakeem is said to have been so pleased with Tundey Mian's creation that he gave a prescription for incorporating 160 aromatic and digestive spices. The gilawaat's tenderness comes from the process of marination in the enzyme papain.
As mentioned earlier, the most happening Kabab is the Seekh Kabab also known as the Kakori by the place of the same name. According to another account, the Seekh was originally prepared from beef mince on skewers and cooked over charcoal fire. But later influences and innovations led to the use of lamb mince which was preferred for its soft texture. A bawarchi from Kakori (a place in the Lucknow-Malihabad mango belt) refined it further and therefore the Kabab got this name, reveals Mohd Usman.
Another interesting aside is that the formal menu of Awadh did not have any place for biryani, but it was and still is popular. It may be pertinent to mention that the creations of the legendary Tundey are so named because he possessed just one arm.
‘Biryani’ literally means fried or bhuna and in this preparation the rice is lightly fried before being cooked in mutton stock. The Sheermal, invented in Lucknow, is a rich bread consisting mainly of flour, milk, fat and saffron. Traditionally cooked in an iron tandoor, it can be cooked in a tawa by covering it with a lid and heating it from both top and bottom.
Famed for his patronage of the arts, it is believed that the colourful Nawab Wajid Ali Shah took cooking to aesthetic heights. His court, like other Nawabs’, was a meeting place for musicians, actors, writers and even cooks. And, this speaks of the level of refinement they achieved.
In keeping with this age-long tradition of culinary expertise, the Naushijaan Lazzat-e-Lucknow is a restaurant that takes you on a walk down memory lane, reliving the eating experience of the Nawabi era. This restaurant is a haven of culinary culture and the food is genuinely high class; even the simplest dish of the most common ingredients being cooked as if it were a rare delicacy.
As for pure vegetarian fare, Lucknow boasts of the Basket Chaat which is a runaway hit. Situated at downtown Hazratganj, is Royal Muman Cafe, in whose corridor is housed the Chaat eatery. The intricately designed basket is highly edible, as it is woven by freshly made potato finger fries. If that leaves you drooling in the mouth, a few streets down Aminabad you will hit Prakash Kulfi Bhandar which dishes out sumptuous home-made ice cream complete with different Faluda (Vermicelli) flavours.
So, the next time you bite into Lucknawi cuisine you will do well remember that you are biting into the Tehzeeb or Nazakat of this glorious and culturally endowed city. Now, that is some food for thought, with a lot more than just meat going into it.
By Chander Mahadev
Once upon an Awadhi time, a Nawab was playing host to a renowned foreign guest. He ordered his chief bawarchi (cook) to prepare the most succulent and soft Kababs for the visitor. But he warned him that if the Kababs were not top draw, he would lose his head. The nervous chef rustled up a kingly fare but when the Nawab saw his guest chewing at the Kabab, he was livid, and promptly lopped off the cook’s head. It then transpired that the assistant cook, who was present there, took on the challenge and promised to make amends. Since marinating was the key, he decided to bury the meat mince dough in a pineapple and presto; thus emerged the softest Kakori Kabab.
Of such exotic stuff are Awadhi cuisine legends made up of. The Kakori Seekh Kabab has been so named because the cook hailed from the adjoining town of Kakori. The rest as the say is Awadh cuisine history. Welcome to Lucknow, the city of Kababs, Kormas and scrumptious Biryani.
How different is it from Mughlai food? Ask eminent Lucknow historian Ravi Bhat and he shares: “Awadh food is no doubt inspired by Mughlai cuisine, but the comparison ends there. Most Lucknow foodie tales have a ring of nawabi pizzazz and refinement and they are a fine blend of Mughlai, Persian and local flavours.” When asked about the Awadhi fetish for ‘soft meat’ he comes up with the startling disclosure that all Awadh Nawabs had bad dentures. As gourmet legend would have it, the bawarchis of Awadh transformed the traditional dastarkhwan (embroidered or white tablecloth laid on carpets or a low table) with lip-smacking Kababs and Biryani made with immense patience and loving care.
The collective psyche of Lucknow is steeped in culinary refinement and this is strongly reflected in the Kababs, Kormas, Kaliya, Nahari-kulchas, Zarda, Sheermal, Roomali rotis and Warqi parathas.
The richness of ‘Awadhi Dum’ cuisine lies not only in the variety but also in the ingredients used. What exactly is the 'Dum Pukht' process? It is a fine art where food is sealed in a large pot called handi and placed over slow fire, allowing the ingredients to be cooked in their own juices under the strict supervision of bawarchis (cooks). It takes about three days to prepare the meal in a traditional manner. A heady aroma permeates the air the moment the handi lid is opened. The penchant for making food into an art form is what distinguishes it (Awadh cuisine) from others, reveals Shakhawat who runs an immensely popular Awadhi cuisine joint by the same name in the city.
But the uncrowned king of Awadh culinary art is ‘Tunday Kebabi’ located in the Chowk area of old Lucknow. With branches spreading out to Saharaganj Mall and Wave Mutliplex Mall -- for this foodie family -- serving authentic Awadhi fare seems to be the family’s sole mission in life. “We make the Kababs and Biryani in our Chowk kitchen and then send it to our branches. This way there is no scope for change in taste. And unlike Mughlai food, we use less spices. We also don’t colour the Biryani with Zafrani either,” reveals Mohammed Usman, the present owner of Tunday Kababi
The succulent Gilaawat Kebab known for its melt-in-the-mouth quality was perfected by Tundey Mian, who served Nawab Wajid Ati Shah towards the end of the 19th century. The hakeem is said to have been so pleased with Tundey Mian's creation that he gave a prescription for incorporating 160 aromatic and digestive spices. The gilawaat's tenderness comes from the process of marination in the enzyme papain.
As mentioned earlier, the most happening Kabab is the Seekh Kabab also known as the Kakori by the place of the same name. According to another account, the Seekh was originally prepared from beef mince on skewers and cooked over charcoal fire. But later influences and innovations led to the use of lamb mince which was preferred for its soft texture. A bawarchi from Kakori (a place in the Lucknow-Malihabad mango belt) refined it further and therefore the Kabab got this name, reveals Mohd Usman.
Another interesting aside is that the formal menu of Awadh did not have any place for biryani, but it was and still is popular. It may be pertinent to mention that the creations of the legendary Tundey are so named because he possessed just one arm.
‘Biryani’ literally means fried or bhuna and in this preparation the rice is lightly fried before being cooked in mutton stock. The Sheermal, invented in Lucknow, is a rich bread consisting mainly of flour, milk, fat and saffron. Traditionally cooked in an iron tandoor, it can be cooked in a tawa by covering it with a lid and heating it from both top and bottom.
Famed for his patronage of the arts, it is believed that the colourful Nawab Wajid Ali Shah took cooking to aesthetic heights. His court, like other Nawabs’, was a meeting place for musicians, actors, writers and even cooks. And, this speaks of the level of refinement they achieved.
In keeping with this age-long tradition of culinary expertise, the Naushijaan Lazzat-e-Lucknow is a restaurant that takes you on a walk down memory lane, reliving the eating experience of the Nawabi era. This restaurant is a haven of culinary culture and the food is genuinely high class; even the simplest dish of the most common ingredients being cooked as if it were a rare delicacy.
As for pure vegetarian fare, Lucknow boasts of the Basket Chaat which is a runaway hit. Situated at downtown Hazratganj, is Royal Muman Cafe, in whose corridor is housed the Chaat eatery. The intricately designed basket is highly edible, as it is woven by freshly made potato finger fries. If that leaves you drooling in the mouth, a few streets down Aminabad you will hit Prakash Kulfi Bhandar which dishes out sumptuous home-made ice cream complete with different Faluda (Vermicelli) flavours.
So, the next time you bite into Lucknawi cuisine you will do well remember that you are biting into the Tehzeeb or Nazakat of this glorious and culturally endowed city. Now, that is some food for thought, with a lot more than just meat going into it.
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