Heritage

Three things prompted me to write this post.

1. An article about a recent song which is ‘inspired’ from a Carnatic varNam and a Thiruppugazh.

2. An article about how TFM has warmed up unusual and unconventional voices.

3. A translation project in which I am involved. 

 

First of all, let me clarify that the idea behind mentioning (1.) is not to discuss, review or denigrate that song as I am very clear that other music directors will not be compared/criticised in this forum. By saying this, I am not sitting on any judgment about the song (I am sure 99% of the people here know what song I am talking about).  But I shall surely explain as to why it finds a mention here.

The author, it seems was made to listen to the song by his 12-year old daughter and was very impressed with the ‘varNam’ and mainly ‘Thiruppugazh’ inspiration. He goes on to say that he explained about the latter and that to his surprise, his daughter-who is known not to go to anything other than ‘modern’- started showing a lot of interest and got to know something about AruNagirinathar. The author concludes that it is an herculean task to make ancient literature attractive to an indifferent audience and if popular film music be the medium to attract such skeptics, one should welcome it. But not before he also makes a mention of the Hindi film songs of the ‘80s which simplified the Qawaali form and as to how the audience (listeners) lapped it up.

The second article is on how the present day music directors use very different voices – not essentially musical- to ‘enhance’ the appeal. It says the voices are used more because of the situation in movies and how novel this is.

The third one may not directly concern music but the article I translated, is on one of the traditional forms of folk arts.

Let me now go one by one.

I do not have any problem with what the author of the first article said. But what I found rather strange –and even uncomfortable- with the article was that there was no mention about ILaiyaraaja or his songs when it is a known fact(at least to the cognoscenti ) that he has done so much to bring our classical music and folk music within the reach of the common man. I am not going to list out what all he has done (I have already been doing it in my posts here) but am only going to give one example today. But how the author-who is a professor in a prestigious institution and who I am sure has a good ear- missed even making a passing reference to ILaiyaraaja, beats me.

Let me move on to the second article. This article too fails to make a mention about Raaja sir’s usage of very different and unusual voices(Samuel Grub in ANNe ANNe or Dr.Kalyan in ‘Sing Swing’).  Ad also about the fact that apart from using different voices, he also made the famous singers change and modulate the voice to suit the situation( Malaysia Vasudevan in ‘Kaadal Vandhirucchu’, SPB in ‘Nachchina foodu’ or both in ‘Engengum KaNdenamma’ are just some examples). We are going to see one more example very soon anyway.

As I said, the article which is part of my project does not have anything to do with music or ILaiyaraaja but the way it talks about a group of people involved in reviving ‘Therukkooththu’ is very inspiring and I thought a mention must be made about this fact in this post.

I said that the cognoscenti knows about what ILaiyaraaja has done in terms of bringing classical music(and even arts) close to the common man. Now, see this..

‘Raa ra veNu gopaala’ is a swara jati taught to all beginners in Carnatic Music. Swara jati is taught after geetam and before varNam. I can understand that all these terms sound foreign to some of you but let me assure that I shall define and explain all these forms in one of my forthcoming posts in my other blog.

But for now, let me focus on this ‘VeNugopala’ and its relevance here.

The 1981 film ‘Ellam inbamayam’(which itself is a takeoff from a very popular yesteryear song sung by MLV and P.Leela) was conceived to tickle the audience’s funny bone. That it failed in its mission is a different story altogether and since I know this is not Vintage Raaja thread( written in a group run by me in fb) where I tear the Tamizh film directors to pieces, I am not going to talk about this. But the film had some very funny songs (one was a ‘sneezing’ song!). In any case, I have always been enamoured of ‘Maaman voodu’ not least because it used the tune of ‘Raa ra veNugopaala’.

It is one thing to be inspired by a tune(or even copy a tune) and quite another to use it cleverly and brilliantly. Needless to say Raaja sir is adept in using even an inspired tune with great felicity and innovation. In fact, the dialogue which precedes the song (after the initial naiyyaaNdi meLam) throws light on what made him use a traditional song. Surely the situation demanded the usage of such a tune in a song sung in a slum with the audience comprising of people from higher echelons of society (listen to the dialogue carefully).

But what is most striking is the way the tune has been used-without in anyway deviating from Bilahari. And what steals my heart is the way the percussion goes in tisram while the vocals go in chatushram(here too, note the dialogue between the ‘percussionist’ and the singer). 

How wonderfully the voice of Malaysia Vasudevan is used is a point which has to be noted by the present day generation and most importantly the people who write articles about ‘voices’ without paying attention to the yesteryear songs.

The nagaswaram and the urumi meLam form the fulcrum of the song while the mandolin and guitar support these perfectly. The friendly banter between the instruments and the lyrics will never fail to bring a smile on anybody’s face.

And along with that smile will surely be an expression of wonderment, awe and even guilt on the faces of people who have missed this song all along and claim that it is the present day music which takes us back to our roots.

And when it happens, my face will sport a very special smile..

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Linear and Sinuous

What makes the Sea look so beautiful?

Is it that azure blue colour?

Or is it that grey and green shade?

Or is it that reflection of the sun rays during the day and reflection of the moon in the night?

Is it that sunrise or is it that sunset?

Is it that boat/catamaran/ship floating at a distance?

Yes, all these are beautiful and no doubt embellish the sea but in my opinion, there are two more things which combine to make the sea an eternal beauty.

One is the Horizon and the other is the Wave.

The former is considered to be an imaginary line but whenever I see the sea, I am flummoxed and astounded by the straightness of this line. Whoever has drawn it is the best artistic engineer ever. How can somebody be so perfect?

Talking about the waves, these are formed as a result of the wind blowing over the surface. This is what science says and I would like to be less of a scientist (anyway I know very little of science) and more of an artist(this too, I know I am not but who can stop me from imagining?). When I look at the waves, I look at the zig zag pattern and the way these approach the land, fade away and then come again. What an amount of energy these have! Don’t these tire at all?

When I look at the sea, I don’t look at the horizon first and the waves next(or the other way around) but look at both together. And whenever I do this-looking at the sea from a distance and then looking at the horizon and the waves at the same time- I can’t help marveling at the beauty of this sight. This is a perfect example of contrast. At a far distance, there is that perfect straight line and closer to us is this zig zag curve. Isn’t this poetic and musical?

People familiar with my posts know how much I love the contrasts in poetry and in life. If poetry and life combine together, don’t we get that ‘M’ word without which I cannot breathe?

Contrast in music is a very wide topic and it would serve little purpose if I were to take up that topic- which is full of technical details- here. However, this C word is also so simple that all it need are the ears, a little observation and focus.

What adds beauty to Raaja sir’s music is this C (oh, doesn’t it rhyme with ‘sea’?). People who attended Geetanjali-2014 , I am sure remember my presentation on ‘Contrasts in his music’.

On this World Music Day, I thought it would be very appropriate if I took up a song which is full of contrasting elements. In my opinion, ‘Kaalaipaniyil aadum malargaL’ from Gayathri(1977) should rank as one of the best compositions in the world.

Let me first mention what all I find to be unique in this composition and then move on to describe some of these. I say ‘some of these’ because certain things don’t need descriptions and this applies as much to music as to life.

First is the tune. Generally, an Indian film song follows a particular raga(not talking about exceptions-which are in fact too many now- which have only ‘rogaa’) or a scale. This topic too is huge and beyond the scope of this post. However, let me say that a composer composes the song in a particular scale which has a repetition of some particular notes while ascending and descending. This particular pattern can be said to follow a raga, but most of the composers take liberty with this and add alien notes.

Raaja sir is known for using some beautiful known, rare and unknown ragas in his compositions with or without alien notes (for more details on this, check out my posts in my other blog http://rajamanjari.blogspot.in/). At the same time, he has also composed tunes which cannot be termed as falling under the classification of any raga. ‘Sendhoorappoove’ and ‘ILamai enum poongaatRu’ are just some examples of this. ‘Kaalaipaniyil’ too falls in this category.

The Pallavi has notes of Kharaharapriya while the CharaNams have the other ‘ga’(ga3) and also the other dha(dha1). What is amazing is the fact that in some phrases, both the ‘ga’ s and both the ‘dha’ s appear one after the other giving that chromatic effect. For example, in ‘kalaigaL aayiram’(first charaNam), the ‘dha’ s appear one after the other and in the third and in the sixth phrases of the humming at the end of the CharaNam, we see both the ‘ga’ s.

There is also change in the shruti in the first segment of the second interlude.

But what is more wondrous is the ‘usi’ in the humming at the end of each CharaNam. The concept of ‘usi’ in a taaLa has been explained by me in some of the posts here and also during Geetanjali-2015. Wait for more detailed explanation in this year’s Geetanjali.

‘Usi’ is a speciality of Carnatic Music and we see the pattern is in usi when the stress is on the even count(2,4,6..). ‘Kaalaipaniyil’ is set in the 3-beat cycle tisram or one can even say in the 6-beat rupakam depending on the way we look at it. I know I am getting too technical but certain things surely need explanation so that the brilliance of the composition (and therefore of the composer) can be appreciated more. The pattern changes to the 4-beat cycle chatushram during the humming part towards the end of each CharaNam. Not only does 3 change to 4, but also the stress (percussion) is on the even beats.

Usi at its uchcham (best).

Now, count the contrasting elements-

1. two variants of two swaras occurring one after the other

2.tisram to chatushram

3.usi

4.change of shruti in the beginning of the second interlude.

There is one more (the fifth one) about which I shall explain soon.

So, does it mean that the composition has only the contrasts?

No..

It has a beautiful straight line called as ‘melody’.

One feels the evanescence of the morning mist while listening to the song.

The initial bell sound reminds one of the dew drops falling off the petals of the flowers while the humming of Sujatha(her second Tamizh song after ‘Kaadal oviyam’ from ‘Kavikkuyil’) is like the morning breeze. The santoor depicts the swaying of the branches.

The Pallavi is a blend of intuition and expression with the sangati after ‘maayam’ shining with a special radiance.

I mentioned about a ‘fifth contrast’ while listing out the C, didn’t I?

This occurs at the beginning of the first interlude. The sitar follows tisram while the rhythm guitar which backs it follows the chatushram.

 Cross-rhythm!

Crossing others’ path is not good manners generally but if the rhythm crosses like this, isn’t it lovable?

The violins and santoor-to the backing of the tabla in tisram - guide us to the first CharaNam.

This Laya Raaja can never rest. Or at least he will not let us rest. He loves to play with the TaaLa and he does it in the CharaNams too. The tisram  which goes as ‘1 2 3’ on the tabla in the first part of the first line(paarvaiyodu paarvai seRum ) changes as ‘1 2 3 4/1 2 3 4/ 1 2 3 4’ in the next half(bhavam mudhalil and siRu naaNam manadhil).

And ah yes..that wonderful humming where the notes go in pairs with the percussion in usi.

The second interlude is more powerful than the first with the santoor sounding like a bird in the beginning and the violins moving ardently. But the piece I love is the one by the violins after the sitar- which sounds with sobriety. There is a very brief classical touch in that piece of violins which always touches a chord in my heart. The brief rendezvous between the sitar and the keys in the end, is musically romantic.

In fact, everything in this world is romantic- sky, sea, horizon, waves, music.. and.. ..contrasts.

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Flora and Fauna

       

Ask an eight- year old or even a five-year old the following question:

What is the significance of Feb 14^th?

..and you will get the answer before you count 1.

Now, ask this question  – What is the significance of June 5^th ?

..and I bet you will see blank expression.

It is not the child alone who will blink but even a majority of adults can be seen scratching their heads(and hence become potential models of anti-dandruff  shampoos and creams!).

In a country where the ‘special days’ are celebrated (and this includes Mother’s Day, Father’s Day, Friendship Day  and many such ‘Days’…) more to keep cash registers in the small and big malls ticking than out of any real love or concern, it is not a surprise at all that the significance of June 5^th is not known to many.

The United Nations has declared the day as ‘World Environment Day’ to bring awareness about our environment.

Though the word ‘environment’ should give positive vibes to all concerned, to many it still remains a ‘dull word’ devoid of any value. It is because we care less for the world and more for our comfort. The fact that both are mutually inclusive is unfortunately not realised by us and the result is there to be seen.

The Gangotri glacier has retreated by as much of 3 kms in the last 200 years. Some of you may know that this glacier feeds Bhagirathi, the source stream of Ganga. The rate of retreat has been alarmingly increasing since the ‘70s(20^th Century). The basic reason is the increase in temperature and this is an effect of global warming.

If this is the state of a natural stream which has a direct impact on human beings, let us see the state of other living beings and how we have been treating them. In the ‘National Parks’ like Bandipore and Nagarhole, snaring of spotted deer, peacocks and wild boars is reported frequently. 

Elsewhere- in the TN-Kerala border-parakeets, a beautiful species of birds are smuggled and raised as ‘pets’ in cages. Their wings are clipped (literally and figuratively) and even the beaks are damaged. Apart from this, many animals are poached and killed because of superstitious beliefs that the animal-based medicines will do wonders to the man’s potency and can also act as pain killers.

Such things are not confined to India alone. Just a week ago, 40 tiger cubs were found frozen in a freezer in a Buddhist Temple in Thailand (what an irony!). If we cannot treat the animals on par with us, we can at least let them be the way they are.

Then, we have our most favourite ‘tree-cutting’ which is done most of the times by the people who rule us. But the blame lies equally lies with us too.. We, for our selfish needs do not hesitate to chop a tree. I have seen this happen at times in front of my eyes in my neighbourhood and have felt helpless.

The theme of this year’s ‘World Environment Day’ is ‘Go Wild for life’. Let this not be misinterpreted. It means ‘Respect the wildlife and stop illegal wildlife trade’

If ‘global warming’, ‘animal-poaching’ , ‘wildlife trade’ etc., sound too technical and even beyond our control, we as human beings and responsible citizens can at least ensure that we don’t indulge in activities that we know will affect the environment. Or at least, spare a thought for our surroundings.

The rare gem of the day in fact makes us feel for the nature. Not just feel for it, but also be one with it.

‘Poonthottam Poovil PeNNin JaadaigaL’ from ‘Nadiyai Thedi Vantha Kadal’(1980) describes the beauty of nature in simple words and beautiful music. This must rank as one of Shailaja’s best, as the composition needs a lot of breath control (isn’t breath a very significant factor in environment and nature?).

I really don’t know how many times I am going to say the tune is great and the orchestration is excellent. But if he puts me in a quandary by repeatedly giving marvellous compositions, what can I do? At the most, I can change the adjectives and also come out with new kind of sentences. Let me try it henceforth. But for the time being, let me have the privilege of saying yet again that it is a beautiful tune with awesome interludes.

The natural sounds he manages to produce in such songs is something that needs a very deep study. In ‘Poonthottam..’, the chirping of birds make us feel that we are in the midst of the forest. But apart from these natural sounds, he also makes the instruments sound so naturally giving us a natural feeling.

Take the prelude. It starts with the humming of Shailaja which in fact gives the sketch of the Pallavi. Even as the chirping of the birds is on, there is that pizzicato on violin. The effervescent flute makes a circular movement. The keys sound(sound he used to give during the ‘70s and early ‘80s) follows and the strings play with delight. What an amazing experiment with sound!

Note that the theme of the prelude revolves around the melody of Pallavi and yet sounds different.

As always, he plays with the rhythm too with the bass guitar along with a percussion instrument sounding ‘ta ka dhi mi ta ka’- tisram broken down as 6 micro-beats. This occurs during every even count of the taaLa with another set of percussion playing during the odd count. Of course, this pattern is seen only in the Pallavi when it is sung in the beginning and whenever it is sung after each CharaNam.

It is the reign of the strings in the first half of the first interlude, and these move with unique elegance even as the flute makes an entry in between. A kind of funny sound from the keys(probably depicting a jumping animal) is interspersed in the melody and after the flute takes a respite, the pizzicato appears again. So does the chirping of the birds.

The CharaNams have delectable lines with the folk-stringed instrument backing the vocals in the third and the fourth lines.

The keys punch with joy in the beginning of the second interlude but it is the violin which literally scores in this interlude. There is pizzicato again and the solo violin plays a kind of offbeat melody making us float in the air.

The third interlude is lilting with his favourite key sound playing a piercing melody first which is repeated by the solo violin rather subtly. The flute plays a different melody parallely though it is also in the same scale and can be called as an extension of the melody played by the violin. Now the keys change the scale and move as if in a trance while the violin continues its melody.

Unnaturally natural?

But in more than one ways, it depicts the diverse nature or to use a commonly used term- Unity in Diversity.

What does this teach us?

Rather than my saying-or even sermonising- as individuals you think about it and put your thoughts into action.

Happy World Environment Day!

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Colossus

‘’Maanjolai kiLithaano maan thaano..what a song! What a tune! But you don’t give such songs or music for my movies..” , said that gentleman to the young composer.

It was the 200^th day celebration of ‘Kizhakke Pogum Rail’ in the presence of a galaxy of stars in Tamizh Cinema at that time (early 1979). No points for guessing who that ‘young composer’ was. But I am not sure how many will get it right if I ask them to say the name of the gentleman who made this statement.

It was none other than Sivaji Ganesan.

There is more than one irony in that statement but the most striking one is that the tune of the song quoted, was first composed for ‘Deepam’- the first film in Sivaji-Raaja combination- but was rejected by the director and the producer, a fact which Sivaji did not know. But the fact remains that the music ‘Deepam’ was no way inferior. This being the case, what would have made Sivaji say that in a public forum?

I feel that Sivaji, a man of details noticed the spark in the composer long back and he wanted him to raise the bar when it came to composing for his movies. And that is what happened after this. Irrespective of the quality of the movie, Raaja sir’s music was always special for Sivaji movies from then on.

Almost 14 years after this, Sivaji Ganesan openly admitted the admiration and awe he had for ILaiyaraaja and called him one of the greatest ever after the release and success of ‘Devar Magan’.

The admiration was of course mutual. When the great actor passed away, Raaja sir, who was running a high temperature, rushed from Bombay (he had just then completed the BGM of ‘Lajja’) and led the funeral procession along with the two popular actors.

Before I take up the rare gem, let me say a few words about Sivaji Ganesan, who I consider as one of the greatest actors Indian Cinema has seen.

In my opinion, Sivaji is one of the most misunderstood artistes. At one end of a spectrum, we have people who appreciate his histrionics in all sentimental movies and at the other extreme, we have people who ridicule the actor. Of course, in between there are saner voices who know who the real Sivaji is.

Somehow, he has always been identified with that sing-song dialogue delivery. But Sivaji was a great actor not because of this alone. His expressions are unmatched and can never be imitated. I remember reading how Rajaji-who hated films- appreciated his role as Bharata in ‘SampoorNa RamayaNam’(1958). Sivaji stole his heart in one particular sequence when Rama(NTR) leaves him in the forest after handing over his foot wear. 

‘The expression on Bharata’s face is incredible’, Rajaji would say later.

One of the many great qualities of Sivaji was his propensity to assume a great figure as his role model. For example, for his role as ‘Thirunaavukkarasar’ in the film ‘Thiruvarutchelvar’(1967), he chose  Kanchi Paramacharya as his role model, visited the Mutt, observed him very closely and enacted the role.

Before donning the role of a mrudanga vidwan in ‘Mrudanga Chakravarti’(1983), he studied in depth about the great legend and genius Palghat Mani Iyer. His movement of lips, aggressive body language while playing and even sitting with his elbow rested on the instrument and palm on the face before a concert were inspired by Shri.Mani Iyer(it is a different issue that people who have never watched the mrudangam legend in action and people who haven’t even heard that name in their life, criticized Sivaji for his ‘over-acting’  ).

Sivaji was also very well informed and had all details of the places (international) in his finger tips including the history and the geography. He had a photographic memory. During his make-up sessions, an assistant would read out the dialogues to him and that was it. To imagine that the lengthy dialogues which were part of the movies of the ‘50s and the ‘60s, were read out to him only once, is quite unbelievable but it is true.

I feel the synergy between ILaiyaraaja and Sivaji Ganesan was mainly because of the fact that many qualities are common to both. Punctuality, Dedication, Setting a totally new trend and starting a new era, eye for details, Photographic memory and above all the love, passion and devotion for the profession..

Time now for the Rare Gem.

In fact, this song used to be very popular those days but unfortunately not many from that generation remember this now. Supposing somebody asks me the meaning of ‘energetic melody’, I will play this song- ‘ThoraNam Aadidum’ from ‘VetRikku Oruvan’ (1980) without batting an eyelid. Though there are many features in this composition, the first thing that strikes one is the prelude. Look at the way the composition starts. A very different kind of percussion (is it an African drum?), playing ‘ta ki ta’ ‘ta ki ta’ 16 times(4 cycles of chatushram)..Isn’t it amazing? Then we have two different sounding instruments(not sure if both are sounds from key boards or if those are rare instruments) followed by the zestful flute. The strings move with precision to lead us to the humming.

Rain of melody in a matter of 40 seconds!

Before I turn my attention to the interludes, I must say a few words here. At times I have been accused of saying only good things about a composition. So for a change, let me say a couple of negative things too. First is the voice of TMS who sounds totally out of place. Mind you, he was past his prime and it would have been nice if SPB had rendered this song. Secondly, the lyrics. I am surprised that Panchu AruNachalam could write so badly. If there is no link between the lines in the first stanza, the awful and below average words in the second stanza make it even vulgar to a certain extent. Perhaps, this is where the tune ‘covering up’ pedestrian lyrics comes into play(remember his recent show dedicated to MSV sir!).

Now that I have expressed myself candidly, let me focus on the interludes.

The scintillating flute plays with finesse in the beginning of the first interlude and is intercepted by the special sounding instrument as it completes one part of the melodic piece. Yet another sound from the keys takes over and the complexion changes with the higher octave strings joining and the two making merry showing a burst of colours. The keys play ‘ta ki ta’ ‘ta ki ta’ continuously and acts as the percussion. The guitar enters with poise and moves along with the special sounding keys. The flute which was watching the fun from behind,now takes joyous flights and leads to the first charaNam.

The second interlude is yet another example of his mastery over orchestration. The strings first play impeccably pausing for a fraction of a second every time. The keys (another new sound) respond briefly after each piece. Now, the flute takes over and expands the melody played by the keys. What a progression!

The flute continues to delight etching a beautiful melody in the process. The resonant guitar enters and sounds with a touch of poignancy. By the time Janaki sings ‘aararo aaraarira ro’ to the backing of bass guitar, we are in a spell..

..  a spell cast by the musical magician.

‘Why man he doth bestride the narrow world…and we pretty men walk under his huge legs’, said the Bard of Avon.

It applies not just to Caesar..but to the two gentlemen  as well..

Sivaji Ganesan and ILaiyaraaja!

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Being a wo(man)

‘’Is God a man or a woman?’’

When my 10 year old daughter Dhenuka asked me this question, my first reaction was shock. Somehow, I got reminded of the dialogue from one of the most popular Tamizh films- ‘Are you a good person or a bad person?’. Like the protagonist in the movie, I too replied ‘I don’t know’, though not in his tone.  Sadly enough,I also did not have the backing of the leitmotif of the Maestro.

But jokes apart, the question made me think. ‘Why should a 10 year old girl worry about the gender of God? What would have made her do this?’

I asked her the reason. She said ‘’ I am sure it is He. Otherwise why do only girls have some problems? If it was a She, this wouldn’t happen’’.

The reply left me dumbfounded. She was of course talking of physiological problems unique to women. Nowadays, schools also educate the children about many things and this includes certain things considered as taboo traditionally. Forward thinking people should definitely welcome this. Therefore, I had no qualms about her getting to know about some details regarding the anatomy and physiology. But what troubled me is the way a girl perceives her being a girl. Is it a healthy trend or not?

Is it a fact that women undergo a lot of hardships in the world when compared to men? Is it then a sin to be born as a girl? Then why did the Mahakavi sing ‘Mangaiyaraai piRappadhaRkku maathavam seithida veNdumamma’?(it needs a lot of penance indeed to be born as a girl). This is a very vast subject and requires reams of pages to discuss. Therefore, let me try and touch some pertinent points here.

The main point in my opinion is not so much the physiological problems as the emotional and the mental trauma. By this I mean the way the society looks at and treats women. The term society has a larger connotation and without any doubt, includes women too. We Indians have a confused mind when it comes to women. I am not exaggerating when I say that we are a bundle of contradictions. At one end of a spectrum, we put a woman on a pedestal, make her an epitome of patience, tolerance, love, compassion and shower encomiums on her. At the other end, we look down upon her giving some stereotyped roles and go to the extent of saying ‘Being a woman, you can’t and shouldn’t do this’. It is in this band of spectrum that we see her as a glamorous creature created for men and to satisfy men in all aspects. We expect women to act as per the whims and fancies of men. No, not just ‘of men’ but also ‘of women’ who carry the tag of ‘mother’ by law (or is it in-law?).

Both the ends of the spectrum are dangerous. We deify women so that they remain on the pedestal like statues without any emotions. ‘Oh , how many sacrifices a woman makes!’ we shed crocodile tears. We trample them at the other end, first by branding them as symbols of beauty and then setting rules. How confused we are!

Isn’t there a disconnect between the two ends here? Yes and no. ‘Yes’ because the two are contradictory. ‘No’ because the other is responsible for the one.

No, I am not contradicting here. We put women on the pedestal because we know that if we do that, we can get away with everything. ‘God created mother because He can’t be present all the time’, we say (here itself there is a contradiction anyway as God is supposed to be omnipresent). Aftersaying this, we go ahead and disrobe women (literally and figuratively).

That is why, we have men who say ‘If a diamond is displayed on the road, dogs will surely take it’, ‘ It is the girl who invites the boys with ‘inappropriate dress’’, ‘ There is nothing wrong in a rape. Boys just want to have fun’.

Mind you, these were said by men who are supposed to be ‘leaders’.

But when we have the leader of the country himself saying ‘Depite being a woman…’, can’t we understand the kind of stereotyped images we all have in our mind?

So, where are we now?

‘ Durga’ to ‘Maa / behenji’ to ‘kya maal hai yaar’ to ‘girls should not wear jeans’!!

If this is not a bundle of contradictions, what else is?

However, the solution lies within us. Let us stop deifying women. Let us stop denigrating women. Let us understand and appreciate the problems of women, respect them in the real sense and treat them as fellow human beings without any set of written or unwritten rules.

The rare gem of the day ‘PaavaiyargaL Maan Pole..’ from ‘Ore Muththam’(1980)  precisely talks about this but in a slightly different way.

The brilliantly written song by Kaviyarasar puts across both the viewpoints- the ‘traditional typecasting’ and the modern one. Needless to say that the former is by a man (brilliant rendition as usual by SPB) and the latter by a woman (again a beautiful rendition by Janaki).

What is most striking is the way the composition traverses through two totally different genres, qawwali and modern pop. Brilliantly symbolic!

Qawwali, a genre which was ubiquitous in the old Hindi songs(till late ‘70s) has appeared in some old Tamizh songs too. But here it is very special because of the seamless transition. The Maestro has also tuned it in Mishra Khamaj, a Hindustani raag used prolifically in qawwalis.

The song starts with the harmonium playing with sensitivity and making some smooth glides. It plays without percussion for 3 cycles of chatushra ekam and then moves along spreading warmth for the next 10 cycles.

The pallavi is in anaagata eduppu and the male sings ‘ Women are like the deer; like the Cauvery river; If only they tread the path laid for them and live accordingly, they are angels. Why this modernity?’

The first interlude gives the quintessential flavour of a qawwali with the shehnai, the clapping and the harmonium. It is simple and at the same time zestful.

The first charaNam talks about having beautiful plait decorated with flowers and at the same time says ‘ Jewellery and dress don’t make you beautiful. Sport a smile and walk with a proper gait.Read Tamizh’.

 Let it be understood here that ‘reading tamizh’ is used as a euphemism here for ‘following tradition’.

Musically, the stanza is marvellous with the akaaram after ‘choodungaL’ shining like gems on a nose ring.

There is a sudden shift in the interlude which follows. The electric guitar appears with a grin and moves along dancing. The saxophone follows and traverses upwards. The healthy competition between the two is amazing!

The female now sings, ‘ A good woman can live anywhere. I know what I am doing and let there be no barriers . I am like the pure Ganges’.

The TaaLa pattern now changes to tisram as the saxophone again goes on a melodious spree. After a brief intervention by electric guitar, the male sings ‘Wear a silk saree and you are protected. God comes rushing to you when you wear  bindi and flowers’

(Doesn’t this contradiction between the first charaNam and this charaNam typify the mentality of the society?).

The female replies that even if God comes here now, He will accept me as times are changing.

Now, it is the shehnai that follows and moves with a verve.

The stanza that follows has the male sarcastically refer to the smile of a woman.

‘Those days, women would walk with their heads bowed down. And now you all smile directly looking at our faces.’ The old adage about a lady’s laughter being very dangerous, used even in Mahabharata, is used after this.

The saxophone follows with unobtrusive energy.

‘Ok, now let us come to an agreement. Point out if I make a mistake.  And I shall point out your mistakes. After all, are’nt women and men equal?’

This is a beautiful line and one sees Bharati in KaNNadasan.

The last part is rendered by both the male and the female saying ‘Let us be friends. There is good and evil in everything. Let us unite’.

The inherent message is obvious.

So, will we all follow this as well?

And by the way, is God a man or a woman?

Well..God only knows!

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The Fourth Dimension

Time!

A word used at least in 12 different occasions each time conveying different meanings (note that the previous sentence itself has two words- occasions and time- denoting this word). Without this, we cease to exist.  It just moves on without waiting for anything or anybody. If one puts it to use effectively and uses it efficiently, it becomes one’s friend. I get very surprised when people say ‘to kill the time’ or ‘time- pass’ or ‘boring’. If we want to kill the time, it will kill us; if we want to ‘pass’ the time, it will pass over us; if we find it ‘boring’, it will get bored of us and the result will be there to see.

Recently, I read that a famous personality remarked that he found the music of the ‘70s and the ‘80s boring and that is why he decided to ‘ bring about a change’. In fact, about 6 years back, the same person in an interview to an international channel said “People were bored of the same kind of instruments like Tabla, Violin etc., and ‘I’ changed it.''

People are entitled to have their opinions and most importantly music is subjective. So, should one not leave it at that and move on? Answer is ‘Yes’ and ‘No’. ‘Yes’, because I agree about respecting others’ opinions and music being subjective. ‘No’, because I felt I must voice my opinion too.

Three things are common in the two statements made by the famous personality-‘ I’ ‘Change’ and ‘Bored’.  I shall leave the ‘I’ now because there is no single person on the earth now who has shed the ‘I’. We always feel great about ourselves and most importantly when others heap praises on us (only deep inside we know we don’t deserve it, but why should we accept it..).

Let us look at the ‘change’ aspect. Film music has changed over a period of time and I am not an ostrich to bury my head in the sands. From the days of MKT when pure classical music ruled, to the days of MSV when classical music was given  a lighter shade without in anyway affecting the melody(in fact, melody ruled the roost despite this).  Since this is not about the history of cinema music, I am leaving it at that.

But at the same time, I must also write about what happened after 1976(purely from my perspective). Until then, though the tunes were melodious, not much attention was paid to the orchestration .It was only after May 1976 that orchestration acquired a new meaning. I would say that the sounds heard in the preludes and interludes (did anybody know these words before 1976?), were not heard in Indian Film Music until then. Very different and new instruments were used (and not just the ‘same tabla, violins and veena). New kinds of experiments like ‘superimposing techniques’, ‘song using only the chorus voice as instruments’, ‘using only a solo voice in humming’. And I am not getting into the new ragas part anyway since the discussion is on something else.

Despite all this, if people who are into music, say that the music during those days was boring and not accepted by the West (this is the only criteria, you see!), then there is something wrong somewhere not the least in the thinking process of the persons concerned. That reminds me. Paul Mauriat, one of the greatest musicians of all times was spell bound after listening to ‘Edho Mogam’ and this happened in 1983 when ‘music was boring’ here.

What is more amusing to me is the way some people in social media have concurred with the ‘boring’ view and have ridiculed the music during that period. I bet that all these people have hardly listened to the gems during that era. I don’t have any problem in agreeing to disagree. At the same time, I would like these people to first listen to the gems and then say ‘Oh..boring’ rather than simply criticising sitting in an arm chair and in the cool confines of the air conditioners.

The rare gem of the day is surely one such song in my opinion. ‘Nee illaadhapodhu..’ from ‘ILamaikkolam’ (1980) is an evergreen melody. I call it evergreen not only because it gives goose bumps and gives me nostalgia moments whenever I think of it but also because the song is melody personified.  The entire composition is beautifully structured (done spontaneously in one go and not in ‘bits and pieces’). But what steals the show here (too) is the way each instrument is sounded.

It has a rather unusual start. A very special sound from the Keyboard fills the air. The sustained notes  for 3 cycles and the descent for the next  1 cycle of Chatushram prepare us for an eerie song. The Strings sound sustained notes for one cycle. We then hear the sound of ankle-bells (only). A special sound (similar to a santoor ) from the Keyboard joins. The Guitar, another Keyboard and the Bass Guitar enter with a brief response from the special sounding Keyboard. A single Violin appears and plays in Indian classical style and this is backed by the double bass. The Keys respond after two cycles for one cycle and this happens twice. The group of Strings takes over and plays for two cycles. The Keys repeat the notes of the Strings which now play subtly. 

And then.. the Pallavi starts!

So many variations in a matter of 42 seconds..

The Pallavi starts in the voice of Malaysia Vasudevan. The first phrase ‘Nee..’ itself is sustained for one full cycle. A very different combination of swaras of ShankarabharaNam follows in the second half of the first line, ‘yengum nenjam’-(paga3 ma1ri2 ga3sa ri2ni3). The Tabla too plays the Chatushram very differently as ‘ta ta ta ta’. The Keys sound at the end of the second and the third lines. There is a twist in the lines that follow. ‘ma2’ appears suddenly making it KalyaNi. Though it does not have the ‘ni’, one can surely feel the KalyaNi shade. The last line reverts to the ‘ma1’.

Sujatha(her fourth song for the maestro and her last song before she got married) joins now and sings the first two lines of the Pallavi.

The twists and turns continue in the CharaNams too. The first two lines use only ‘sa ri2 ga3 pa ni3’ making it Hamsadhwani. The third line is in KalyaNi(sans ‘ga’) and the fourth line is in Valaji scale-with ga3 pa dha2 ni2. The last line has both the ‘ni’ s!

But these changes and variations appear and sound innocuous to me. It must be because these were conceived spontaneously and not over a period of time (weeks/months).

The special sounding Keys enliven the first half of the first interlude. After playing alone for 2 cycles, it is joined by the higher octave Strings which are then joined by another set of Strings after one more cycle. The two romance very briefly to the backing of the Drums which sound just now and then and that too subtly. Another new sound from Keys and now it is the Tabla which backs as the percussion. The bending of the Keys continues before the Strings take over. Do these take over normally? No..One set of Strings race in the mid-octave while the other set goes in the higher octave. In Western Classical Music parlance, this is ‘March music’.

In the second interlude, the Keys and the Strings combine to give a dash of poignancy perhaps to depict that feeling of ‘missing somebody’. 

The piercing Flute brings back the romance with the ‘santoor’ acknowledging it. The Strings sound with a unique emotion and play in Hamsadhwani- exactly the same notes as the first part of the first line of the CharaNam.

The song composed 35 years back has always excited all the time. At the same time, I can’t help feeling sorry for the people who claim Times have changed and like ostrich bury their heads in sand. But this time I can see something smiling at them. ..

…It is called as the Time..

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