SPB Foundation

SPB Foundation

Listen to SPB songs non-stop..

Friday, September 22, 2006

Sep.24 - Baluji's Live Concert in Chicago!

Sri Construction & Sizzle India proudly presents "SPB Live in Chicago"

September 24, 2006 - 5pm Sunday


Trinity High School
7574 West Division
River Forest
IL 60305

Sep.23 - Baluji's Concert in Minneapolis!

Enjoy a night of your favorite songs from the past and present with the master of
Indian Playback Music, Padmashri Dr. S.P Balasubrahmanyam.

Celebrate the music of Indian Cinema with melodies in different Indian languages. On Saturday, September 23, 2006 at Benson Great Hall,Bethel University, St. Paul, MN.

100% of the proceeds from the show benefit child welfare projectsa that Vibha supports in India and the US . Please visit us at www.vibha.org and http://minnesota.vibha.org.

Prices and Seating Arrangement:

Tickets are priced at $25(Level 4) , $45(Level 3), $55(Level 2) and $75(Level 1)
- $5 off for full-time students.
- Free admission (no free seats) for children under 5.
- 15% discount for groups of 10 or more.

Buy Tickets:

Important notice

Online sales have stopped. Tickets are available now only through the box-office.

From box-office by Phone: Tickets can be purchased by calling the box office within 11 AM-5 PM.

Call Benson Great Hall box office at 651-638-6333. Both group discounts and student discounts available at all levels. 15% discount for groups of 10 or more.All major credit cards accepted. Customers who are buying tickets right now have to pick up the tickets on the day of the event from the box-office.

We cannot mail the tickets anymore because with just a couple of days left, the tickets may not reach the buyers in time. However, we must again stress here that the moment you order tickets from box-office, your seats will be reserved and on the day of the event, when you show up at the box-office and ask for your tickets, your reserved tickets will be given to you. So the sooner you order, better seats you get. Also please show up at the concert hall early, if you are picking up tickets from box-office. Show starts at 6.30 PM. If you have questions, feel free to call the contacts below.

Tickets will also be sold on the day of the event (September 23) from the box-office starting from 5.30 PM. So just show up and buy the tickets on the spot.

All purchasers are guaranteed the best seat in the category (Level) at the time of purchase. Indian food will be available at the concert hall.

For more information please contact Veeresh Mathad (763-607-7438) or Sayeed Abbas (651-644-2703) or email spbconcert@minnesota.vibha.org


6:00 pm, Saturday, September 23, 2006 !!!

Please be at your seats by 6:15 pm. The concert starts at 6:30 pm.


Bethel University, 3900 Bethel Drive, St. Paul, MN 55112-6999

If you have any questions, please e-mail us at spbconcert@minnesota.vibha.org

Wednesday, September 20, 2006

Romantic Song is enunciating enthusiasm

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Romantic Song is enunciating enthusiasm

There is a big variation between a Love duet and a romantic duet. For a love song, in my view, no need of much effort from a singer, as these songs always represent the love between a hero and heroine of a story. To sing these kinds of songs, Tamizh Film Music got many fabulous singers in the names of PBS, Hariharan, by late, Karthik, they impress a lot in these songs. In Contrast, it’s very (add on more very’s series) difficult to sing romantic numbers, because in these songs, the singers must be in a position to represent not only the feel of love, but in addition to that, they have to give the feel of teasing, mischievous, Ishq (Love play) and more importantly singers should decorate the songs with lively work such as smiles, spruce and some side-splitting work too. AM Raja was one such singer, and his impish “Pattu padava” is the best example for romantic numbers. After his demise, there was void for his place, then SPB took that place, and till date, he is the solitary singer for singing these kinds of songs, hence SPB sang many such songs, one among is “Mutham poadadhe” from “Ennakul Oruvan”.

“Mutham poadadhe” from “Ennakul Oruvan” song was sung by SPB with S.Janaki. SPB is famous for his stylish way of pronouncing each and every word of a song, in this song also, in the pallavi, he whispers “poadhadhe”, emphasizes “Rathamm” and elastic enunciating of “Naaneme Naanudhe”, and Janaki also there to enhance the song.

There is a long running debate between Music and lyrics. Many people are arguing that Lyrics is for Music, and many also there for the vice versa. This song is, atleast the Charanam “Tamizhnattil Eppodho Madhuvilaku” is surely music for lyrics. It’s tough for any music directors to compose music for a string of words, but composer will get a relief, when they get a singer like SP.Bala, who always gives ‘renaissance’ to the lyrics with his romantic voice. In this song also he gives impulsive effect to the charanam, and reduces the burden of Raaja with his ‘alapana’ work.

Whenever I listen to this song, I usually remember another masterpiece of SPB-S.Janaki “Seer Kondu Vaa”, especially, SPB’s improvisation of uttering the word “Va” two times in the finishing. In this “Mutham Podhadhe” song too, when Janaki finishes the first Stanza, SPB starts with “Podhadhe”, instead of singing “Muttham Podhadhe”, apart from composers’ logic, SPB’s lateral thinking gives life to a song always.

A romantic song without SPB’s stamp smile? Never. In this song, his long-but paused laughing adds value to the romantic environment, and remembers SPB’s another romantic laughing in “Siriya paravai” song of “Andha Oru Nimidam”

Singers usually give popularity to a song, but SPB, on the other hand, gives perpetuity to a song.

-S.Balasubramanian (www.prodigyhub.org)

Leela Legacy

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Leela Legacy

Kamal Hasan is Brain Lara of Tamizh Cinima, as Lara’s effort always to a losing west indian’s cricket team, Kamal’s effective endeavor always to the commercial flop tamizh movies. There are innumerable flop movies in those Kamal’s performance went to vain. But a true artist like Kamal never loses their confidence, and always trying the best. Being a singer on his own, Kamal always gives importance to music, next to his favorite make-up department. One can surely go for Kamal’s movies for Kamal’s performance and also for the music. For most of the film, Ilaiyaraja composed the Music, and mostly all the songs still ringing in the ears, in which there is a song “Enge Endan Kaadhali” from “Enakul Oruvan”.

For ‘Ennakul Oruvan’, the music scored by Ilaiyaraja. This song was sung by SP.Balasubramanium. Actually, this is a bit lengthy song compared to other contemporary songs by Raaja. It’s a dialogue based song too, and SPB made it very lively with his zeal-filled voice.

There are many instances where I befuddled by SPB’s voice with Kamal’s. There are many songs sung by SPB, which I was thinking that those were by Kamal himself, especially songs with dialogue, I can list many, to list a few, “Hey My dear Look here, here I say, ahha” from Guru, “Come sweety, lets dance together” from Ouruvangal Maaralam”, and this song’s “Solladhe appadi”, all of you aware of cat cloning, dog cloning, but this purely a voice cloning, replicate the reality.

For a romantic hero, a singer must give some exquisite elfin effects (EEE, we use to call this ability, its not an engineering stream) while singing romantic numbers, just feel that EEE by SPB in the lines “aha..naan vaasikadha vaadhiyame nee oruthidan anbe”.

Kamal is not only a romantic hero, but he is a good dancer too. As you aware, he was working as a choreographer in his early stages of career. For a dancing hero, a composer always prefers the usage of drums mainly in the song sequence. And the job of singer is to fill the places with some “ra pa”, “dhadhom” and etc. This is cup of tea for SPB, as he sang many songs in this fashion, who will forget “Thevai Indha Paavai” and “Pachondiye Kelada” from Andha Oru Nimidam”, and in this song also SPB is very much joining with the drums, and his “reba..raba” and “rapa rapa” are honey to our ears.

Sure, SPB is Sachin Tendulkar of Indian Music.

-S.Balasubramanian (www.prodigyhub.org)

Tansen revisited, ballyhoo baton, passionate pen, and Vivacious Voice.

Tansen revisited, ballyhoo baton, passionate pen, and Vivacious Voice.

When I was in my tenth class, we had ten essays in English language (subject?!), in which three essays namely ‘The Jackdaw’, ‘Prodigal Son’ and ‘Don Quixote’, considered to be very important, and in the public exam, question papers will surely contain any one of these essays. Hence, teachers used to train the students even starting from the 9th class by giving these essays as home work. I never liked this kind of training, but not to get the cane in my palms, I accosted with this training. But, when I came to the tenth class, I started to love one essay which is about a great singer of Moghal time, Tansen. There were many reasons for my love over the essay “Tansen, the singer”; one important reason was the way my class teacher expressed that lesson. He, an innovative teacher, took that essay by quoting two songs from Tamizh movies; one is “Isai kettal” from Thavapudalvan sung by the veteran singer TM Soundrarajan, and another is the song “Megam Kottatum” from Enakul Oruvan sung by SP Balasubramanium.

Megam Kottatum song was composed by Raaja and penned by Vairamuthu. No need to say anything new about this combination, they combined together and worked for only for a mere 5-6 years, but the songs of those days are still ringing in our ears. Whenever Raja music is for ecstasy, then Vairamuthu pen usually dancing with zeal. The ecstatic chromosome of Raaja and enthusiastic chromosome of Vairamuthu combined together and gave birth to many musical kids, which got eternal life in the music world. The main reason behind this success formula is very simple; THEY KNEW THE VALUE OF TEAM WORK.

well, a ballyhoo baton is ready, a passionate pen is ready, now it’s time to give a vibrant effect, for that, what you need, ofcourse a voice, Vivacious voice, whenever you think of an energetic voice, you will end up with a bubbly name, SP Bala. This song is an epitome and instance of how to sing a stage song for a dancing sequence.

In this song, the way SPB coherent his voice with Raaja’s baton is quite amazing. In between the song, SPB gives vibrant effect with his usual “ya aha haa”, which increases our footstep, and searching for an umbrella to dance with Kamal who sang another version of this song, but the voice of SPB gives complete coverage of a lively dancing number. I’ll rate this song equal to SPB’s “Engaium Eppodhum” from Ninaithale Inikum under the baton of the legendary MSV.

Vairamuthu always gives importance to the lyrics, and it always represents the life an artist, especially the singer’s. In this song also, he gave some apt words to SPB like “Vanambaddi OOyadhu”, and “En Aatathil Minnalum Thoorukume” to the dancing dynamite Kamal, and “Rasigarin Aarvathai Paarkiren, Avar Paadhathil En Thali Saaikiren” to the Maestro, without his era, I can’t even imagine the Tamizh Film Music, but to the above all, the pertinent poetic finishing lines say it all,

“Isai Endhan Jeevan Enbeneeeee”,

These lines are not only for the fizzy SPB, energetic Kamal, efficient Vairamuthu and the Maestro, but also fans like us, they always eagerly waiting for this kind of music from a combination, me one among who while listening to this combination's songs, usualy forget about food and drinks, sometimes his dresses.

-S.Balasubramanian (www.prodigyhub.org)

Mind-boggling Melody flows along with ‘Vaigai’

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Mind-boggling Melody flows along with ‘Vaigai’

I have many friends from Madurai, temple city of Tamizhnadu, so always there will be a debate with them by comparing Madurai with my own Trichy, Rock city of Tamizhnadu. Sometimes, the discussion goes beyond the rule of a forum (with lots of censored words), and but still I believe (may be still childish) Trichy is the greatest city than Madurai, and my own Trichy got Srirangam Temple which is popular than Meenakshi temple, Rock fort is gigantic than Pazhamudhirsolai, REC is far better than TEC for engineering education, and many comparison which will make Madurai-Sand people to throw stones and putrefied tomato towards me, not to escape from those, I’m going to tell onething that I never compared the divine Cauvery river with deity Vaigai. Because, I love both the rivers not only for its divinity, but also because of the cini songs on these rivers sung by SP Balasubramanium, for me he is the only singer knows how to catch the souls of fans like me with his mesmeric voice. He sang many songs for the river Cauvery, equally many songs for the river vaigai too, who will forget that melodious lullaby “Thene Thenpandi” and mournful “Vaigariyil vaigai karayil”. More than the above, I love one song, which will be always in my soul , the song “Then madurai” from “Tharmathin Thalivan”.

On the exceptional side, there was not that much hype for the film “Tharmathin Thalivan”, which is unusual for a Rajni’s movie. Even ‘atta’ (colloquial way of representing FLOP) movie like ‘Shiva’ got a catchy slogan “Gumthalakadi Gummava, Rajni na summava”, honestly speaking, even “Film News” Aanandhan mayn’t aware of the release date of Tharmathin Thalivan. Like all of you, I impressed with Malasiya Vasudevan’s open throated “Oothadai Oothadi” song initially. Then, all the Rajni fans of my class “ettampu ‘aha’ pirivu” (8th std, ‘A’ sec) irritated me by saying “Your Kamal is nothing infront of our Rajni, go and see the movie Tharmathin Thalivan, especially the song Mutamizh Kaviye song, and see the Rajni’s romantic look with Yellow T-shirt”, first I got irritated with that, because for me Kamal was God at that time, but after getting into that song, I started to love Rajni and his look in that song, which was well sung by “Mr.Voice” KJ Jesudas, and “chinnakuyil” Chitra. But, slowly I started to love a song from that movie and strived for that song, and waiting for that song in Friday’s “Ol(1)ium, O(2)lium”, that song is “Thenmadurai” sung by SPB.

The song starts with a mind-boggling work of raja and his musical strings, and there is no doubt, why he titled maestro, so. For any Good work, there is a need of an enhancing work, which will complete the divinity, thus the voice of SPB for Raaja’s good work. Have you noticed this fact that in most of the musical hit movies, the name of the hero will be “Balu” (May be Balasubramanian, Balakrishnan, or simply Balu and etc), just refresh musical hit movies like Saagara Sangamam, Pudhu Vasandham, and many to list. In this film too, the hero Rajni’s name is Balu, Prof.Balu. I think the directors always preferred the name of the great singer Indian Film Music ever produced.

This song is based on the theme love and relation. In the first stanza, importance given to the brotherly love and the second is for a lover. SPB, very well catches the soul of the music lovers, and how he differentiates the first stanza with the second is the work of a master.

In the first stanza, SPB explains us how to express love towards a brother. SPB sang many songs for representing a sister’s love, but I think this is the only song for the brotherly love. The expression in “Thambiii undhan ullamdhane” will say it all. We can give anything to SPB, for his melodious way of singing the lines “Kannodudan Un Vannam”. Always SPB’s finishing sounds the voluminous, in this song too, just listen to the capricious curve of this song and the way SPB’s finishing “Indha Nesam Paasam Naalum Vaazhga”.

Now, the second stanza is for a lover and for a romantic mood. SPB shifts from brotherly love to romantic mood with his soothing intonation of “Nenjil Ennai Naalum Vaithu”. When hero Rajni sings for his brother Prabhu, the throat of Balu maintains some decorum, but when the same hero sings for his lover Suhasini, the same throat of Balu starts the usual ‘leela’s, just listen to the lines, “Poovai Soodi Pottum Vaika”, rather than reading my texts, it will say it all. Then, the punch, the highlight of the song, what else other than the cute laughing of SPB, while singing “Ullam thannai Kollai konda Kalvan Inghu Naanenane”. In this note, I want to tell you all onething that there are many singers use to sing between songs, and SPB is not at all pioneer for such a work too, but whenever I listen to SPB’s, I get heavenly feeling.

Well, do you have brothers? And you are far away from them? And feels that you are missing your brother(s), if so, just listen to this song in the night after finishing your routine work, SPB makes you to feel your brother aside with you. Now, Its 12 midnight in the Bengal Capital City, there is a pin-drop silence in the area where my guest house situated, I’m opening my Laptop, usual clicks in to real player, selects this song and SPB takes me to the heaven along with my brothers as I’m slowly closing my eyes. God night brothers and sweet dreams my dear anonymous wife!

-S. Balasubramanian (www.prodigyhub.org)

Invigorating the Musical Muscle

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Invigorating the Musical Muscle

SPB is a legendary singer and there is a Yahoo!Group (http://groups.yahoo.com/group/spbfans) for him, where there are many great fans of SPB, those fans not only discussing about SPB’s songs but also serve to our society and prove that they are great fans of SPB, who is known for his modesty and humanity apart from his melodious voice. In this group, SPB’s fans are gathered as a family and discussing about SPB’s songs, and sometimes they use to start different kinds of forums too, in that context last year one of the members started a forum of comparing SPB with some epic characters. At that time there was a controversy raised when one of the valued members compared SPB with ‘Ramayanam’ villain Ravana in order to say that SPB is a multi faced personality got thrived in Singing, Music, producing the films and acting as Ravana got ten faces with him. Because of that controversy flare-up, I left my own idea of comparing SPB with ‘Ramayana’ Vaali, who usually gets the opponents’ power while fighting, as SPB usually gets doubly power while singing duets with counterpart and many times he outshines the composers also with his amazing improvisation and stylish way of singing, for the instances, there are many songs, in which, especially I love the song ‘Nenjam paadum’ from ‘Nenjil Oru Raagam’.

In this song, SPB sang only few lines, and one can count the number of words sung by SPB in this song. But the way he picks up the song is quite amazing. SPB actually didn’t sing this song, but just humming and some lively instrumentation work with his voice.

A song is considered to be a live one, not only by means of the musical compositions, but also by means of the zeal expression by a singer. In this song, SPB gives energetic effects to the song with his purring picks and whining whistles and his usual stamp of ‘dhara ra’ and “la la”’s.

While singing this song, Balu gives some intoxicated effects, and the way he lifts the same in the second stanza is beyond the definition of eulogy and his voice reflects both the shades and sides of a congenial coin of singing.

There is a denigration about SPB that he Monopolizes the southern musical field over the years, if one wants the greatest illogical statement ever, then take this, actually they people do not aware of the truth that bee will go to the honey filled flowers. But, it’s very much true that SPB is dominating the co-singers with his voice, but at the same time, he inspires them with his voice and way of singing, hence I supposed to compare him with the great Vaali of Raamayana.

BTW, I forgot to tell, this song was composed by T.Rajendar and S.Janaki sang this song along with SPB.

-S. Balasubramanian (www.prodigyhub.org)

Disco, Disco, Notes of Nostalgia

0.5 Paise, 0.75 Paise, Re.1

Believe me or not, the above were the ticket rates of my Village Cinema Hall (‘Poondhottam’ Ganesha Talkies). The cost of a high class Chair ticket (you’ve to sit straight, otherwise you’ll get sprain) was Re.1, next bench ticket cost (while watching movies, you’ll do some exercise, otherwise, you’ll end up with back pain) was 12 annas, and finally the cost of my favorite floor ticket (no sprain, no back pain) was 50 paise, which was even below than the rate of a interval-time snack, as the rate of an alu boanda was 60 paise (the peas makes you mouthwatering). Usually, I preferred to the floor ticket, and for better view, I used to ‘mountain’ sand and sat in that sand mountain, that time you will feel like a kind sitting in his ‘Simmasanam’. And don’t call me crazy, I spent 10 rupees for a single movie, not bought the ticket in black, but went to a Kamal movie ‘Kakki Sattai’ for twenty times, this film ran in our theatre for 3 weeks, the very first day, unfortunately, I ended up with a board, which smiled at me sardonically, “House Full”, which was unusual for our Ganesa theatre. Being an ardent fan of Kamal, I whistled for Kamal’s dance for the song “Namma Singari Saraku”, and applauded for his fight sequence with Bob Krishto, (Dai thali eppadi Englishkarando sandai poduran paaruda. Bruce lee ellam pitchai vanganum da), like that there were many nostalgic moments. More than watching films in Ganesa theatre, I love songs which usually played in the interval times of movies. There were only few fixed songs, like “Maanai Thedi Machan Vara Poren” from Naadodi Mannan, and TM Soundrajan’s stylish “Yaaradi Nee mohini”. As time evolved, our talkies also got popularity by releasing “Bhavadhipuram Railwaygate” in the very first day, and increased the ticket rate by 50%, (mudhali orediya rate a oosathitanda), then talkies owner changed the playlist of songs too, for the interval time, hence we got some new songs to listen in which I did love two songs, one is “Poothukuttu OOthudadi vaanam” from Paaum Puli” and another is “Dhinam Dhinam” from “Thangaikor Geedham”

For “Thangaikor Geedham”, the music was composed by TR, those days both TR and Bhakhyaraj got the popularity equivalent to that of Kamal and Rajni. Bhakyaraj got the popularity for his screenplay, till date, he is the sole master of Tamizh movie screen for screenplay, whereas TR got the popularity for his versatility in music, lyrics, and last but not the least, his settings for song sequence (ookali, settings ke mukkaruva seriyapoachuda) , and this song “Dhinam Dhinam” is one such song with disco effect, well sung by SPB, the pet singer for TR.

Straightaway SPB goes vibrant like Sachin’s slicing cover drive; SPB starts the song with his casual “hai hai”, and then the steady start of “Dhinam Dhinam”. He dominates the chorus singers too, and compete single handedly with them with his “hmm ahhaa, tham tha tarigidom”, as he always takes liberty while singing under the batons of Raaja and TR.

In those childhood days, I was crazy only to SPB’s (but was thinking that hero was singing) humming, alapana’s, crying and laughing. In this song aslo, I enjoyed his effective way of taking the song to the dancing stage with his humming, along with that interval time ‘Kai muruku’ (10 paise). But, in recent times only, I realized his effective way of giving importance to each and every words, and for an instance, just listen to the lines,

“Ennaiyena Ninaithu Unnaithane azhaithen”, here in this lines he gives dual meaning to the word “Ennaiyena” (oil/myself), he is the master.

I can’t express some of SPB’s expression by words, especially in this song “Mounamaghi poanal manadhinil Azhuven”, he gives apt expression to all the four words of this line. And as you all aware, I love SPB’s finishing always, in this songs, he finishes “Disco Disco” with a “aha”, which is beyond the text blogs, come to me and ask my soul, it’ll tell those expressions.

Even today, whenever I listen to this song, especially that “Disco Disco”, I start a backtracking to my childhood days, that Ganesa talkies, tent house with a single gate, bamboo board for displaying posters, so-called white screen (Silver screen with some chemical reaction), canteen’s Kai muruku, and that DISCO DISCO from SPB’s honey’d throat, notes of nostalgia, which will ring in my ears for ever, even in my necropolis.

Note : In this, the tamizh text within 'bracket' was by my childhood friend, for him that ENGLISH is "Kilo enna velai?".

- S. Balasubramanian (www.prodigyhub.org)

Friday, September 15, 2006

Sep.15 - Baluji's concert in Phoenix, Arizona

Event: The Third Annual Mahima Concert - A Mega Indian Light Music concert in Hindi, Tamil, Malayalam, Kannada, and Telugu.

Artists: Popular play-back singer S.P.Balasubrahmanyam accompanied by SPB Charan, SP Shailaja, Usha & party

For the first time in Phoenix, Arizona

When: 4:30 PM on Saturday, September 16, 2006
Where: IKEDA Theater, Mesa Arts Center

Please view the Parking Structure Map to make parking at the Mesa Arts Center easier for you. Please note that Mesa City charges $5 (cash only) for parking.

Thursday, September 14, 2006

Sep.15 - Baluji's concert in Seattle, WA

Hindu Temple & Cultural Center
(A 501 (c) (3) Non Profit Organization registered in WA)
3818, 212th Ave SE, BOTHELL, WA 98021
Tax ID: 94 - 3087412; Ph: (425) 483-7115 http://www.htccwa.org

presents Live Musical Concert featuring

Padmasri Dr. SP Balasubramanyam

(first time ever in Seattle & will sing songs from Hindi & South Indian languages)

on Friday, September 15th 2006 at 8:00 PM

Roethke Auditorium, Kane Hall Room 130,
University of Washington, Seattle.

with SP Sailaja, SPB Charan, Mallikarjun, Purnima & orchestra from India.

Suggested Donation(s) (and not limited to):

$35, $50, $75, $100, $250 and $500.

Donations accepted for advertisement in Program Brochure!!!

Donations which qualify for complimentary tickets:
"Sponsor a Tile Program" - $2,000
Donor Membership - $5,000
Family Life Membership - $1,000
& Individual Life Membership - $500

All proceeds from the concert will benefit phase II main temple construction for future generations.

Advance tickets are available online at:

Donations will be matched by Microsoft, Boeing, Washington Mutual, Starbucks, Cingular Wireless & other participating companies.

Limited $75 & $100 seats .. Tickets selling fast !!!!!!

Advance ticket purchases will get prefered seating choice.

Snack & Dinner Coupons are available to purchase online.
Advance purchase will help us serve you better !!!!!

For advance tickets & more information please contact:

Vishwa: (425) 269-4066; Hima: (206) 779-5517;
Krish: (425) 466-9391; Kannan: (425) 503-1471;

Arun Sharma: (425) 359-1780; Nitya: (425) 485-3389;
Vanisri: (425) 803-3066; spbala2006@gmail.com;

Wednesday, September 06, 2006

Baluji's Concert in Detroit, MI on Sep. 8th 12:00 noon

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For further info.