Wednesday, 13 April 2016

I BURIED MAK TODAY


I buried mak after zohor today
My soul crimson red with pain
No longer will I hug her tenderly
Or kiss her wrinkled hands again

Mak, I love you so very much.
If I could have but one wish
I know what it would be
To see your loving face once more
To have you here with me

What can I say
To someone who has always been one of
The most essential parts of my world;
Someone who took me by the hand
When I were little
And helped to show the way

What do I say to someone
Who stood by to help me grow,
Providing love, strength, and support
So I could become the person
I am today?

What can I say to let her know
That she’s the best there is,
And that I hope I’ve inherited
Some of her wisdom and her strength?

What words would I say
If I ever got the chance?
Maybe I just say
'I love you Mak'...and hope she understands

Tuesday, 5 April 2016

THE GRAPEVINES TALK


Psssssst...is it true that our next PM is YM Tengku Razaleigh Hamzah? This is a question, not a statement, okay.

"EI INCUMBIT PROBATIO GUI DICIT, NON QUI NEGAT"


Readers are informed that some of the websites cannot be accessed because "...it violates the national laws".

The Latin expression, "Ei incumbit probatio qui dicit, non qui negat" literally means "the burden of proof is on the one who declares, not on one who denies", is the sacred legal principle that one is presumed innocent unless proven guilty.

The Malaysian Communication and Multimedia Commission (MCMC) pray tell all of us, the ordinary people of Malaysia...since when has this legal principle been changed to "presumed guilty until proven otherwise"? What 'national laws' are violated? And have you heard about "audi alteram partem", the people's right to a fair hearing?

These general legal principles are there for a reason, which is to maintain the people's confidence in the legal system.  Won't you agree that people should not be penalized by decisions affecting their rights or legitimate expectations unless they have been given prior notice of the case, a fair opportunity to answer it, and the opportunity to present their own case?

Monday, 4 April 2016

YOU CAN RUN BUT YOU CAN'T HIDE

Perhaps later we can have our own version of "The Wolf of Putrajaya"?

WSJ report can be accessed here.
#manamaulari

Thursday, 31 March 2016

STORY_TURTLE FAMILY GOES ON A PICNIC


A turtle family decided to go on a picnic. The turtles, being naturally slow about things, took 7 months to prepare for their outing. Finally the turtle family left home looking for a suitable place. During the second month of their journey they found a place ideal for them at last!

For about six weeks they cleaned the area, unpacked the picnic basket, and completed the arrangements. Then they discovered they had forgotten the salt. A picnic without salt would be a disaster, they all agreed.

After a lengthy discussion, the youngest turtle was chosen to retrieve the salt from home. Although he was the fastest of the slow moving turtles, the little turtle whined, cried, and wobbled in his shell. He agreed to go on one condition: that no one would eat until he returned. The family consented and the little turtle left.

Three months passed and the little turtle had not returned. Five months...six months... then on the seventh month of his absence, the oldest turtle could no longer contain his hunger. He announced that he was going to eat. At that point the little turtle suddenly popped out from behind a tree shouting, "See! I knew you wouldn't wait. Now I am NOT going to go get the salt."

Comment: 
Some of us waste our time waiting for people to live up to our expectations. We are so concerned about what others are doing that we do not do anything ourselves.

Wednesday, 30 March 2016

RESPOND vs REACT: OUR CHOICE DETERMINES OUR SUCCESS OR FAILURE


At a restaurant, a cockroach suddenly flew from somewhere and sat on a woman. She started screaming out of fear. With a panic stricken face and trembling voice, she started jumping, with both her hands desperately trying to get rid of the cockroach.

Her reaction was contagious, as everyone in her group also got panicky. The woman finally managed to push the cockroach away but ...it landed on another woman in the group. Now, it was her turn to continue the drama.

The waiter rushed forward to their rescue. In the relay of throwing, the cockroach next fell upon the waiter. The waiter stood firm, composed himself and observed the behaviour of the cockroach on his shirt. When he was confident enough, he grabbed it with his fingers and threw it out of the restaurant.

The question is, was the cockroach responsible for their histrionic behaviour? If so, then why was the waiter not disturbed? He handled it near to perfection, without any chaos.

The cockroach is not the problem. The women's inability to handle the disturbance caused by the cockroach is. 

It is not the shouting of our boss or our spouse that disturbs us. It is our inability to handle the disturbances caused by their shouting that actually disturbs us. It's not the traffic jams on the road that disturbs us, but our inability to handle the disturbance caused by the traffic jam that disturbs us.

More than the problem, it's our reaction to the problem that creates chaos in our life.

Lessons learnt from the story:
We should not react in life. Instead we should always respond. The women reacted, whereas the waiter responded. 

Reactions are always instinctive whereas responses are always well thought of, just and right to save a situation from going out of hand, to avoid cracks in relationships, to avoid taking decisions in anger, anxiety, stress or hurry.

Now, let's revisit what happened yesterday in KL and try to apply what we have learned from the cockroach story above.


Traffic came to a standstill Tuesday morning as taxi drivers staged a protest in front of the Pavilion shopping centre along Jalan Bukit Bintang here.

The drivers were protesting against ride-hailing apps Uber and GrabCar.

Police spoke to the head of the protest group at 11.30am, advising the crowd to disperse.

Among those who were detained by police was Malaysian Taxi Driver Transformation Association deputy president Kamarudin Mohd Hussain.

"We were there to protest against Uber and GrabCar," Kamarudin told The Star via mobile phone as he was taken by the police in front of Pavilion.

Kamarudin said he was not the organiser of the protest but was there to support the gathering. He said three other drivers were also arrested.

Admittedly life as taxi drivers especially in KL is hard. Long working hours. Terrible working condition. Meagre income due to the number of taxis in KL. And the one who is fattened is the permit holder company. KL Taxi drivers saw themselves as 'victims'.

And that's where their problem started.

They started blaming others - the government for not doing enough to help them, SPAD and JPJ for their strictness of enforcing the law, the weather, the traffic condition, the passangers for not understanding enough of their predicament, Uber and Grabcar for grabbing their already shrinking pie, and the list of their pain goes on and on.

Never once we hear representatives of taxi drivers association remind their members to take some responsibility in upgrading their service. Their communication skills, personal cleanliness and professionalism are very much to be desired. 

They demand to be treated with respect, but many (if not all) do not really deserve it. Had the striking taxi drivers responded instead of reacted, they would have looked at the problem differently.

They would do well to take the cue from Uber and Grabcar services. Behave professionally, and people are bound to treat them as professionals. Behave like a thug, and you have seen what happen. If the taxi drivers spruce up their overall services like a true professionals, no one will ever complain. 

Instead of opting for confrontation against Uber and Grabcar (which is here to stay), may be the professional taxi drivers themselves can become Uber and Grabcar drivers, and earn big bucks!

STRANGE THING ABOUT LOVE


Tuesday, 29 March 2016

ITAY TALGAM - LEAD LIKE THE GREAT CONDUCTORS


00:12 The magical moment, the magical moment of conducting. Which is, you go onto a stage. There is an orchestra sitting. They are all, you know, warming up and doing stuff. And I go on the podium. You know, this little office of the conductor. Or rather a cubicle, an open-space cubicle, with a lot of space. And in front of all that noise, you do a very small gesture. Something like this, not very pomp, not very sophisticated, this. And suddenly, out of the chaos, order. Noise becomes music.

00:45 And this is fantastic. And it's so tempting to think that it's all about me. (Laughter) All those great people here, virtuosos, they make noise, they need me to do that. Not really. If it were that, I would just save you the talk, and teach you the gesture. So you could go out to the world and do this thing in whatever company or whatever you want, and you have perfect harmony. It doesn't work. Let's look at the first video. I hope you'll think it's a good example of harmony. And then speak a little bit about how it comes about.

01:17 (Music)

02:13 Was that nice? So that was a sort of a success. Now, who should we thank for the success? I mean, obviously the orchestra musicians playing beautifully, the Vienna Philharmonic Orchestra. They don't often even look at the conductor. Then you have the clapping audience, yeah, actually taking part in doing the music. You know Viennese audiences usually don't interfere with the music. This is the closest to an Oriental bellydancing feast that you will ever get in Vienna. (Laughter)

02:47 Unlike, for example Israel, where audiences cough all the time. You know, Arthur Rubinstein, the pianist, used to say that, "Anywhere in the world, people that have the flu, they go to the doctor. In Tel Aviv they come to my concerts." (Laughter) So that's a sort of a tradition. But Viennese audiences do not do that. Here they go out of their regular, just to be part of that, to become part of the orchestra, and that's great. You know, audiences like you, yeah, make the event.

03:16 But what about the conductor? What can you say the conductor was doing, actually? Um, he was happy. And I often show this to senior management. People get annoyed. "You come to work. How come you're so happy?" Something must be wrong there, yeah? But he's spreading happiness. And I think the happiness, the important thing is this happiness does not come from only his own story and his joy of the music. The joy is about enabling other people's stories to be heard at the same time.

03:49 You have the story of the orchestra as a professional body. You have the story of the audience as a community. Yeah. You have the stories of the individuals in the orchestra and in the audience. And then you have other stories, unseen. People who build this wonderful concert hall. People who made those Stradivarius, Amati, all those beautiful instruments. And all those stories are being heard at the same time. This is the true experience of a live concert. That's a reason to go out of home. Yeah? And not all conductors do just that. Let's see somebody else, a great conductor. Riccardo Muti, please.

04:27 (Music)

05:03 Yeah, that was very short, but you could see it's a completely different figure. Right? He's awesome. He's so commanding. Yeah? So clear. Maybe a little bit over-clear. Can we have a little demonstration? Would you be my orchestra for a second? Can you sing, please, the first note of Don Giovanni? You have to sing "Aaaaaah," and I'll stop you. Okay? Ready?

05:24 Audience: ♫ Aaaaaaah ... ♫

05:26 Itay Talgam: Come on, with me. If you do it without me I feel even more redundant than I already feel. So please, wait for the conductor. Now look at me. "Aaaaaah," and I stop you. Let's go.

05:37 Audience: ♫ ... Aaaaaaaah ... ♫ (Laughter)

05:43 Itay Talgam: So we'll have a little chat later. (Laughter) But ... There is a vacancy for a ... But -- (Laughter) -- you could see that you could stop an orchestra with a finger. Now what does Riccardo Muti do? He does something like this ... (Laughter) And then -- sort of -- (Laughter) So not only the instruction is clear, but also the sanction, what will happen if you don't do what I tell you. (Laughter) So, does it work? Yes, it works -- to a certain point.

06:21 When Muti is asked, "Why do you conduct like this?" He says, "I'm responsible." Responsible in front of him. No he doesn't really mean Him. He means Mozart, which is -- (Laughter) -- like a third seat from the center. (Laughter) So he says, "If I'm -- (Applause) if I'm responsible for Mozart, this is going to be the only story to be told. It's Mozart as I, Riccardo Muti, understand it."

06:46 And you know what happened to Muti? Three years ago he got a letter signed by all 700 employees of La Scala, musical employees, I mean the musicians, saying, "You're a great conductor. We don't want to work with you. Please resign." (Laughter) "Why? Because you don't let us develop. You're using us as instruments, not as partners. And our joy of music, etc., etc. ..." So he had to resign. Isn't that nice? (Laughter) He's a nice guy. He's a really nice guy. Well, can you do it with less control, or with a different kind of control? Let's look at the next conductor, Richard Strauss.

07:26 (Music)

07:54 I'm afraid you'll get the feeling that I really picked on him because he's old. It's not true. When he was a young man of about 30, he wrote what he called "The Ten Commandments for Conductors." The first one was: If you sweat by the end of the concert it means that you must have done something wrong. That's the first one. The fourth one you'll like better. It says: Never look at the trombones -- it only encourages them. (Laughter)

08:21 So, the whole idea is really to let it happen by itself. Do not interfere. But how does it happen? Did you see him turning pages in the score? Now, either he is senile, and doesn't remember his own music, because he wrote the music. Or he is actually transferring a very strong message to them, saying, "Come on guys. You have to play by the book. So it's not about my story. It's not about your story. It's only the execution of the written music, no interpretation." Interpretation is the real story of the performer. So, no, he doesn't want that. That's a different kind of control. Let's see another super-conductor, a German super-conductor. Herbert von Karajan, please.

09:03 (Music)

09:36 What's different? Did you see the eyes? Closed. Did you see the hands? Did you see this kind of movement? Let me conduct you. Twice. Once like a Muti, and you'll -- (Claps) -- clap, just once. And then like Karajan. Let's see what happens. Okay? Like Muti. You ready? Because Muti ... (Laughter) Okay? Ready? Let's do it.

09:55 Audience: (Claps)

09:56 Itay Talgam: Hmm ... again.

09:58 Audience: (Claps) Itay Talgam: Good. Now like a Karajan. Since you're already trained, let me concentrate, close my eyes. Come, come.

10:07 Audience: (Claps) (Laughter)

10:09 Itay Talgam: Why not together? (Laughter) Because you didn't know when to play. Now I can tell you, even the Berlin Philharmonic doesn't know when to play. (Laughter) But I'll tell you how they do it. No cynicism. This is a German orchestra, yes? They look at Karajan. And then they look at each other. (Laughter) "Do you understand what this guy wants?" And after doing that, they really look at each other, and the first players of the orchestra lead the whole ensemble in playing together.

10:39 And when Karajan is asked about it he actually says, "Yes, the worst damage I can do to my orchestra is to give them a clear instruction. Because that would prevent the ensemble, the listening to each other that is needed for an orchestra." Now that's great. What about the eyes? Why are the eyes closed? There is a wonderful story about Karajan conducting in London. And he cues in a flute player like this. The guy has no idea what to do. (Laughter) "Maestro, with all due respect, when should I start?" What do you think Karajan's reply was? When should I start? Oh yeah. He says, "You start when you can't stand it anymore." (Laughter)

11:24 Meaning that you know you have no authority to change anything. It's my music. The real music is only in Karajan's head. And you have to guess my mind. So you are under tremendous pressure because I don't give you instruction, and yet, you have to guess my mind. So it's a different kind of, a very spiritual but yet very firm control. Can we do it in another way? Of course we can. Let's go back to the first conductor we've seen: Carlos Kleiber, his name. Next video, please.

11:53 (Music)

12:49 (Laughter) Yeah. Well, it is different. But isn't that controlling in the same way? No, it's not, because he is not telling them what to do. When he does this, it's not, "Take your Stradivarius and like Jimi Hendrix, smash it on the floor." It's not that. He says, "This is the gesture of the music. I'm opening a space for you to put in another layer of interpretation." That is another story.

13:14 But how does it really work together if it doesn't give them instructions? It's like being on a rollercoaster. Yeah? You're not really given any instructions, but the forces of the process itself keep you in place. That's what he does. The interesting thing is of course the rollercoaster does not really exist. It's not a physical thing. It's in the players' heads.

13:34 And that's what makes them into partners. You have the plan in your head. You know what to do, even though Kleiber is not conducting you. But here and there and that. You know what to do. And you become a partner building the rollercoaster, yeah, with sound, as you actually take the ride. This is very exciting for those players. They do need to go to a sanatorium for two weeks, later. (Laughter) It is very tiring. Yeah? But it's the best music making, like this.

14:04 But of course it's not only about motivation and giving them a lot of physical energy. You also have to be very professional. And look again at this Kleiber. Can we have the next video, quickly? You'll see what happens when there is a mistake.

14:20 (Music) Again you see the beautiful body language. (Music) And now there is a trumpet player who does something not exactly the way it should be done. Go along with the video. Look. See, second time for the same player. (Laughter) And now the third time for the same player. (Laughter) "Wait for me after the concert. I have a short notice to give you." You know, when it's needed, the authority is there. It's very important. But authority is not enough to make people your partners.

15:04 Let's see the next video, please. See what happens here. You might be surprised having seen Kleiber as such a hyperactive guy. He's conducting Mozart. (Music) The whole orchestra is playing. (Music) Now something else. (Music) See? He is there 100 percent, but not commanding, not telling what to do. Rather enjoying what the soloist is doing. (Music)

15:44 Another solo now. See what you can pick up from this. (Music) Look at the eyes. Okay. You see that? First of all, it's a kind of a compliment we all like to get. It's not feedback. It's an "Mmmm ..." Yeah, it comes from here. So that's a good thing. And the second thing is it's about actually being in control, but in a very special way. When Kleiber does -- did you see the eyes, going from here? (Singing) You know what happens? Gravitation is no more.

16:24 Kleiber not only creates a process, but also creates the conditions in the world in which this process takes place. So again, the oboe player is completely autonomous and therefore happy and proud of his work, and creative and all of that. And the level in which Kleiber is in control is in a different level. So control is no longer a zero-sum game. You have this control. You have this control. And all you put together, in partnership, brings about the best music. So Kleiber is about process. Kleiber is about conditions in the world.

16:58 But you need to have process and content to create the meaning. Lenny Bernstein, my own personal maestro. Since he was a great teacher, Lenny Bernstein always started from the meaning. Look at this, please.

17:13 (Music)

18:12 Do you remember the face of Muti, at the beginning? Well he had a wonderful expression, but only one. (Laughter) Did you see Lenny's face? You know why? Because the meaning of the music is pain. And you're playing a painful sound. And you look at Lenny and he's suffering. But not in a way that you want to stop. It's suffering, like, enjoying himself in a Jewish way, as they say. (Laughter) But you can see the music on his face. You can see the baton left his hand. No more baton. Now it's about you, the player, telling the story. Now it's a reversed thing. You're telling the story. And you're telling the story. And even briefly, you become the storyteller to which the community, the whole community, listens to. And Bernstein enables that. Isn't that wonderful?

19:01 Now, if you are doing all the things we talked about, together, and maybe some others, you can get to this wonderful point of doing without doing. And for the last video, I think this is simply the best title. My friend Peter says, "If you love something, give it away." So, please.

19:21 (Music)

20:25 (Applause)