Thursday, March 31, 2022

A PART-TIME PUROHIT/ PRIEST

 A PART-TIME PUROHIT/ PRIEST

The term is a deliberate coinage to indicate the degree of ‘tentativeness’ which seems to associate itself with some people, who are ready to exploit sentiments associated with certain customs/ practices. I choose to name the person a ‘Priest’, not by his attire or attainments, but for what he did on that occasion. It was a hot evening in the third week of March -1961. Yes, that was the time, when I had to kill the whole stretch of holidays lasting for nearly 3 full months. Just in a span of 3 days and a half, all the 6+ papers of SSLC exams would be completed including a session for ’optional’ Hindi. The present generation of youth may wonder as to what I am speaking about. Yes, on 15 March, SSLC exams of Madras state would begin every year and one need not await any time table from the examination board. School teachers then used to caution us seriously, using the Shakespearean  quote ‘Beware the Ides of March’ to forewarn us of the starting of exams on March 15; on both sessions [morning and evening ] exams were held with no time for ‘revising’ the contents for afternoon sessions. So, mere 3 days + a few hours were all that was needed to carry out SSLC exams across the state. By the evening on 18 March onwards, we had to  bid our time in anxiety of ‘success’ in the exam, chance of securing appropriate score for College admission and so on. It was indeed a phase of uncertainty with no further scope to go to school; a strange and imposing ambience in colleges; the need to learn under English Medium and the not so sure place of study- my father having already been transferred to Mysore and above all, most school friends had proceeded to places- Delhi, Bombay, Calcutta or Bangalore and a few to unknown hamlets in Southern Districts. Literally, we [SSLC ’appeared’] boys were roaming like Donkeys in the hot Sun and were often reprimanded by elders ‘for wasting time’. Go and learn Type-writing and Short hand from Venkateswara Institute on South Chitra Street. The then practice [after SSLC Exams] was to get trained in Type-writing and short hand scribing as a ‘qualification’ to job-seeking. I was not too inclined to be a Typist or PA to some section head in Government Office. I started nagging my mother to send me to Mysore for vacation, as my father had joined duty there. My mother said ‘wait till father sends you some ‘Pass’ or Privilege ticket’. What to do? ‘Donkeying‘[moving around like a donkey] was the best option sans expenditure. No fellow ever had more than 8 Annas in pocket. [it was enough for 3 days.[ 8 Annas= 50 paise]

On one such donkeying process, I came across the so-called ‘Priest’ on the steps along the northern bank of Cauvery river in Srirangam. As I was gazing the thin trail of water along the edges of the river, the ‘Priest’ came on a bi-cycle. He left it leaning on the huge platform at the base of Peepul tree on the northern edge of the river. As he turned around, a semi-rural, semi-urban looking man got near the ‘priest’ with folded hands; I was not too sure of what the two were planning by 4.30 or 4.40 pm on a summer evening. The ‘priest’ said ‘Oh you are here?’ Go and take bath in the river. The man said “Saami, I took bath in the morning itself”. ‘No, take bath now and come in wet clothes to that eastern platform.’ In the next 12 minutes or so, the semi-urban man came to the prescribed spot. The ’priest’ said sit looking at the Sun. The man said “Saami unable to see the Sun”.   The ‘priest’ said ‘don’t look at the Sun; just sit facing the direction of the Sun’. “Sari saami”. The ‘priest’ spread a banana leaf before the man and quickly laid a measure of rice and evenly spread it to about ½ an inch thickness and kept a cluster of unripe banana fruits on the ‘rice bed’. Now ‘you repeat what I SAY’ He started saying a number of prayer like sayings and now asked the man ‘what is your name and his name? ‘Whose name saami’. ‘The name of the man for whom you are offering ‘Thithi’ now’, said the ‘priest’. His name ‘Ramasamy ‘ saami. ‘My name ‘solai saami’.  The ‘priest kept on saying something with intermittent utterances of ‘Ramasamy’. After some 10 minutes, ‘priest’ said ‘worship Ramasamy’ by praying towards the Sun. He kept praying with eyes closed. After 3-4 minutes, the ‘priest’ gave a few coins to him and said, leave the coins in the river water. As he let those coins into water, he noticed that the coins were the old, 2 Annas in square format. Now, the semi-urban asked ‘seththavanukku sellaa kasai uduriye saami’. ‘Why do you leave demonetized coins for the dead man?’

That was enough to infuriate the ‘priest’. ‘Priest’ got up from his place and asked ‘Ramasamy eppa seththaar?’ ‘When did Ramasamy die’? Semi-urban Solai replied 1955 or 1956. THE PRIEST EXPLODED ‘Do you know when the present naya paisa system came?’. ‘Yabagam illa saami’. ’ I don’t remember’ ‘Priest’ said-1957 –a year after ‘Ramasamy’ died. ‘You idiot; if we leave new coins for Ramasamy he may not understand the actual value. He will painfully struggle to spend and curse us’. I don’t want to perform ‘Thi thi’ any further AS YOU DOUBT ME. You go to some bigger priest and pay heavily’.  Saami saami theriyaama sollitten’ manniucchkunga’. [Please pardon me; unknowingly, I said something, not knowing the purpose. Please pardon me’]’Naan mannichchu enna panna mudiyum? Ramasamy unnai mannikkamaattaar”.‘nee kavalaiye illaama peasaraye?’ [‘What is the use of my pardoning you, ‘Ramasamy won’t forgive you for your utter disregard for him; you speak recklessly’]. ‘Priest’ folded up his towel and laid it on his shoulder.

At last, the semi-urban man paid the fee Rs 4/- TO THE ‘PRIEST’.  How brilliantly, the man [‘priest’] justified his using demonetized coins for offering to a departed soul! By, late evening he would retrieve those coins from sand bed of the river and use them for another gullible client; may be, after ascertaining death details. As a school boy then [1961], I had a funny experience at the most unexpected place and time. ‘Priest’ gathered the banana, rice /leaf and vanished towards the direction of Tiruchy.

Prof. K. Raman

Wednesday, March 30, 2022

YOU TUBE

 YOU TUBE

You tube is a popular social platform that caters to social needs through a ‘free of cost’ modality for anyone to field his/ her ‘creations or makings’ to drive home a point or a theme. It is more a video outlet to bring forth intended ideas without malaise or slander of any kind. But, some users defy such directives and invite criticism and reprimand. All said and done ‘You tube’ offers a freedom of space for any individual who wishes to abide by norms and protocol. As such, it is ‘a sharing platform’ where viewers can react / respond by comment, share and upload videos. All modern gadgets like PCs, Laptops, Tablets and Mobile phones can provide access to ‘You tube’. Individuals can start ‘You tube’  channels of their own and field their videos for general public. Users can ‘subscribe’ as a means of lending support to that video channel. One can also view the videos without ‘subscribing’.

Being a visual medium, it helps to describe or prescribe recipes, Cooking methods, home-remedy formulations, Sessions of Physical exercise, Yoga postures, Gardening and other similar ‘instructive’ protocols.

In all fairness, it must be recalled that ‘doubt clearing’ sessions on ‘You tube’ were quite helpful at a time when institutions could not offer instructions through the traditional mode of class-room interaction even at the highest levels of University education[due to CoVid-imposed closure]. It proved a boon as visual approach helps to comprehend ideas better than descriptive lectures.

AGE RESTRICTION

Though a ‘free’ platform, the medium has restrictive regulations. Persons aged 18 or more alone can make programmes of their own, as per GDPR [General Data Protection Regulation of E.U European Union.]  With official parental consent, children aged 13 can have access to ‘You tube’. However, Ireland has stipulated age 16 for using ‘You tube’, with official parental consent.  Below 16, Ireland does not permit use of the platform.

For children in the age bracket 3-8, special Kid channel by ‘you tube’ can be used; it does not require ‘parental consent or similar clearance’.

RISK

With all ‘on paper’ norms, rules and restrictions, a grand risk that pervades social platforms is viewing of ‘un-intended’ adult content by teens  it begins as thrill and magnifies into ‘addiction’. If such content is noticed, the viewers can alert the Channel of ‘IN APPROPRIATE CONTENT’, before it reaches far and wide. The alerting is called ‘flagging’.

CYBER BULLY

Cyber bullying refers to the act of ‘passing negative or derogatory remarks’ about an item, so as to render it in bad light. Since the channel permits issuing ‘remarks/ comments’,’ cyber bullying’ can occur. The problem of cyber bullying is typical among viewers of ‘opposed political ideology’. It is like ‘dark lining among silver clouds though the well known expression is ‘silver lining in dark clouds’. For every facility, social responsibility is the best safe guard and how can it be any different for social platforms like ‘You tube’?                            

Prof. K. Raman

 

 

Tuesday, March 29, 2022

PRODUCTION MANAGER

 PRODUCTION MANAGER

Production manager is simply ‘God-incarnate’ in the industry; yes, in the houses that engage themselves in movie-making. No movie can be comfortably made without the services of a production manager. As the very name goes, the production manager physically manages all the key steps of movie production. For reasons of convenience let us use the abbreviation pr. m to signify the position -production manager. It is nearly impossible to visualize the chaos in a ‘shooting floor’ unless one has a basic idea of the series of work schedules that go with ‘movie-production’.

A movie producer is the ‘poorest looking’ richest man. His riches are of no avail unless the pr. m is earnest in executing all tasks well in advance. In a movie house there are two demigods – the Producer and the Director of the movie. Both demigods keep issuing instructions from time to time to ensure smooth execution of work. Ironically, it is a vicious triangle with Pr. m, Producer and Director as one of them perpetually suspects the other two. Each is afraid that the other two are close enough to render ‘me’ weak. Each tries to keep the other two in tenterhooks, so that they do not confide among themselves jeopardizing the third man’s prospects or interests. If ever any two try to meet in any seclusion, the other man would thwart the effort by raising a number ‘doubts’ on the success of the project on hand. If the project succeeds [at the box office] each one would take credit saying’ only my timely caution has saved us from rut. If it flops a ready defence would be ‘did I not caution you from the beginning? Mr. xxx is a dangerous guy and hereafter we should keep him at bay’. Movie houses have more diabolic plots than they have ever picturised for movie-making. With such a labyrinth of complications in place, Pr. m is the most ‘sought after’ person.

The two demigods would keep on adding work to the pr. m; he begins activity well ahead of movie shooting. The moment the star cast is decided, pr. m gets to have the artistes committed for that movie. Peaceful schedules of production require perfect work schedules for all artistes. Unless, broad schemes are agreed up on, mustering of artistes on all days of work might prove a menace later. Pr. managers keep themselves in close contact with artistes so that at short notice the persons are mustered for work. Actually, pr. m is in the good books of PAs of artistes as a route to quick access to the artiste. Also, pr. m is well organized in his approach, so that he is in the ‘know’ of floor availability in different studios; he has excellent rapport with those studios to properly book floor spaces for movie shooting. At times, the space booked may have to be cancelled due to some dislocation in the picture shooting schedule.  At times an artiste, due to appear for acting may be ‘held up’ somewhere and may seek minor changes in schedule. The pr. m elegantly intimates Director of the change and ensures that alternative plans are carried out. At such moments, pr. m has to respond very swift and make the best use of the floor space booked for ‘that’ day/ movie.

Even more complex is the exercise of ‘bringing in’ artistes who were not primarily drafted for the day’s work. The worst part in change of actor- schedules, is ‘deputing’ vehicles to fetch artistes from other schedules or from home in time, to ensure progression of work. Every cancellation means ‘wastage’ of time and floor charges at least partly. There are a number of delicate equations ‘between personalities’ and pr. m is quite articulate in accomplishing the required work without touching the fabric of interpersonal vicissitudes. For every minor change, pr. m has to answer a range of questions even if he had nothing to do with that change.

All production mangers are excellent ‘actors’ in concealing emotions and conceding to requests by anyone. Actually a pr. m is a cauldron of anger though he appears pleasant and composed. Any anger displayed by pr. m can readily displace him permanently from work until someone else accommodates him on work. Although pr. m is well known in all components / departments of movie-making, he has to be extremely polite, tight-lipped and pleasant mannered to be a successful person. However efficient he is, he has to be at the beck and call of everyone associated with that movie, beside the nagging prospect of having to ‘utilize’ persons in future, though ‘not important for now’. Really poor creatures –are these production managers.

Prof. K. Raman

 

Monday, March 28, 2022

RESPONDING TO RESPONSES

 RESPONDING TO RESPONSES

The days when Farooq Engineer and Nari Contrator were in cricket team I use to stick to radio to hear commentary. Though my English knowledge was poor I very much liked comment by Chakrapani. I remember the days when we played cricket with wooden plank both sides are flat and with either a rubber ball or worn out tennis ball. Unforgettable are those days. K. Venkataraman

The above was an observation by my esteemed colleague Prof. K.V who chooses to stay modest and plain in utterances. He has cited the names of Farooq Engineer and Nari Contractor. Farooq Engineer was from Bombay [now Mumbai] He had a rare distinction of being an opening batsman and a wicket keeper. Normally WK bat lower down the order; Engineer was an exception, though earlier Budhi Kunderan used to keep wickets and also open the innings. Engineer was dare-devil of a batsman and could face hostile fast bowlers in the opposition.  Besides, he was a stylish batsman. His aggression and reflex won him a place in LANCASHIRE cricket team as their member. Thereafter he nearly settled in England and in Prudential Cup final [1983] he was on the commentators’ enclave and was quite boisterous about the day’s outcome.

Nari Contractor was an opening bat on the Indian cricket team; he used to partner with Pankaj Roy and the two were the opening pair for India till late 1960s. Contractor was not aggressive but could defend well against fast bowling. On a tour of West Indies, Contractor was injured rather seriously by a nasty delivery from Griffith and he just fell at the crease upon being hit. He was carried to hospital and after preliminary treatment he had to return to India for further medical attention. After a few months or so Nari Contractor underwent surgery on head at CMC Hospital  Vellore.             

Instances of attack on Indian batsmen by fiery fast bowlers was commonplace in Cricket by teams against India. The attitude was somewhat pronounced in encounters between India and Pakistan.  This was a tool to subjugate Indian batsmen who had no training against genuine pace. Teams used to defend saying that ‘bouncer is a legitimate weapon in the armour of fast bowlers’. The arrival of Kapil Dev into Indian team and his ability to bowl fast-rising deliveries contained the trend. Extraordinary pace from bowlers was proving a menace and gadget-makers designed headgears like helmets. Sunil Gavaskar used to face fast bowlers without a helmet. Now players are in ‘bandage-like vest’ while batting.    High stake money brings forth aggressive postures by bowlers and attacking play by batsmen. Two persons come to my mind for quick scoring. Vivian Richards [W I] and Kris. Srikkanth [India]could terrorize  opponent bowlers by dominant aggression. Both were dreaded for their merciless aggression. If fine stroke play was to be recalled Neil Harvey and Norman Oneil [Australia], Gundappa Viswanath  readily come to mind.

India also boasted of the finest Spin quartet in the Word With Prasanna, Chandrasekar, Bedi and Venkataraghavan. [ Prasanna and Venkat were off spinners, Chandra was a legspinner and Bedi was a left arm spinner. Times were when India would bring on spinners just after two overs by medium pace bowlers.  So much, to recall.

Prof. K. Raman 

 

 

Sunday, March 27, 2022

CRICKET COMMENTARY

CRICKET COMMENTARY

Well, youngsters might feel ‘does it need a write-up?’ The present population of Indian youth is born in an era of communication technology where, visuals take precedence over ‘verbal’ or Audio reportage. But, in 1960s and till late 1980s India’s TV network was rather confined to metro cities. Most other areas were not served by TV. That too telecast in colour had to wait till 1987 or so; to-day all telecast is only in colour. So, it calls for a preamble as to how our earlier generations carried on in the absence of TV , mobile phones, Android devices, Bluetooth link and so on. Yet life never ground to a halt. It went on in its usual pattern though with ‘lesser facility’. If cell phones drop dead for an hour, people get panicky and paranoid as if everyone is in isolated quarantine.

Radio Commentary

Radio was the lone device to provide ‘information’ of social/ political / sports value besides reporting on weather. Radios were not frequent either. They were in a few homes and were accessible only during ‘some part of the day’.  To use home radio was a ‘violation of code of conduct ‘by boys and girls. If ever used, it was by breach of regulation when the head of the family was away to office or some other work. Any attempt to get clearance for use of radio was bound to be turned down with an emphatic ‘NO’ besides arranging for surveillance by other elders at home. So, it was easier to adhere to violation. 9/10 listening to commentary was by sneak and maintaining a low volume- not to draw attention. What was worse was, not everyone can listen to radio commentary ; only those blessed with friends with Radio houses can manage to ‘enter’ friend’s house on some pretext of borrowing book or note for completing the home assignments of the day. With so much ‘conditions’ to abide by , if at all we manage to ‘open’ the radio, we should also know where to ‘tune in’ to pick up the radio commentary. After some random search, commentary would come through at one or two stations.

By then some six or seven overs would have been completed with ‘no hints as to which side started batting first’.  Let it be so; in those days often we have heard …. ‘and he is out’. Like thieves, we used to gaze at one another to decipher ‘who is out? The voice says “India are 1 for one. Just now an out-swinger  from Hall wrought havoc, with Roy offering a tentative prod; taking outer edge, the ball flew up and  Wicket keeper Alexander popping up like a spring brought off a brilliant ‘high catch’ to dismiss Roy”. For us, Alexander was a ‘WICKED keeper’. ‘The new man in is Polly Umrigar taking guard from umpire Vijayasarathy’. If Umrigar was taking guard, we were unguarded ‘not knowing the arrival of the new man in [the head of the family]. He silently grabs a boy by his earlobe and lifts him like a rabbit; the boy screaming in pain makes all else run into hideouts like rats and silence would descend –as the radio is switched off already. The trapped victim receives a couple of thrashes [injury] and faces the most inconvenient poser ‘what was your score in Mathematics [insult].He prefers to blink as any reply would invite further embarrassment. That was the raw deal meted out to children. No fellow bothered and we would wait for the ‘head’ to move out for us to gain access to commentary. In the evenings well over 30-40 minute stretches of commentary was possible as the ‘head’ would be more relaxed in getting back home.  Elders in our group used to lament ‘the match is in Calcutta [it was not Kolkata then]where Sun would dip early in the evening around 4-30-4-40 pm. The ‘head’ is cool in planning for evening’s outing. If he leaves by 4-30, very little time can be availed of. Suddenly, the ‘head’ is all set to leave and there is eerie silence and polite delight. If visibly delighted ‘head’ may drop his outing schedule and jeopardize our interest. Boys do not express delight or despair. Yet, ‘head’ issues a dynamic warning “if any fellow touches the radio, all of you would be thrashed”. Some boys make ‘faces’ at that and wait for head to step on to the road; once he has ‘stepped out’ radio is opened to hear ‘India are 133 for 7 and there could be 1 more over before stumps’.  ‘Griffith tossing the ball from right to left and back as he walks to the top of his ‘run-up’ and moves in hectic fashion to deliver a high rise delivery. Batsman Sardesai cites lengthening of shadows on the pitch and calls for stoppage of play for the day. Umpire V sarathy and Sampuran Banerjee accede and it is draw of stumps’.

Just for listening to events under less than an over, boys hang around the radio hoping against hopes that ‘head’ would stay off for a while. But Calcutta does not care and the game ends 7-8 minutes ahead due to bad light. No fellow among the radio listeners can recognize any player from appearance; but visualizing a match by listening to descriptive phraseology was quite a rewarding experience. Definitely, it helped our senses of mental portrayal from a description, very close to mentally deciphering a mathematical proposition. With visual telecast in place, the ability to ‘conceive’ a scenario turns uncomfortable if not impossible.

Prof. K. Raman 

Saturday, March 26, 2022

CRICKET – II

 CRICKET – II

Cricket enjoyed such a social acceptance that media, sports authorities and sponsors found a goldmine in the game, so much so, it turned out to be a fertile ground for wrong-doing, betting, money spinning – all in a silent mode; it tempted persons to attain positions of authority on the boards of control of different zones by augmenting ‘support’ from among committees.  It nearly reached ‘menacing proportions’ that rival groups emerged and slowly the focus shifted from game to ‘administration’. Meanwhile short version cricket became quite popular and games in stadia drew spectators in large number and it did not ‘hurt’ the broadcasters for their share of fortune. Though Kerry Packer was bitterly chided by varied establishments –as spoiling the purity of the game for its traditions, boards themselves succumbed to the lure of money and started fielding ‘short version International matches, Tri-series involving 3 teams from different continents and so on.

The new-found enthusiasm for cricket in India can be traced and ascribed to India’s victory as world champions in The Prudential cup -1983 in England. At that point global attention was on the captain of the team –KAPIL DEV NIKHANJ – a Haryana lad. His leadership is said to have been the ‘energizing factor’ which strongly infused the ‘never say die’ spirit into the then Indian team.  He led by example and motivated everyone to give ‘his’ best. Undoubtedly it was a clear example of what motivation can do. Thereafter, keeping head high and holding genuine pride for skills literally became an Indian ethos. Kapil’s career as a national cricketer began in 1978 and lasted till 1994. Literally, he was a role model for many youngsters then. I know that Kapil [his stature as a cricketer] cannot be compressed into a few lines even by articulate writers.

The game is now a money spinner. We hear of ‘auctions’ for players to fix-up a certain ‘price tag’ for each player for that season. There are bidders who plunge so much money in the deal and such dull heads as mine cannot decipher as to how the money would be retrieved; Whole teams are sponsored by men / women –obviously with copious money that cannot be contained in wallets / baskets or containers; our imagination is incapable of conceiving beyond a limit.  Though it invokes awe and laughter together, there is so much in it that the earlier advice to children to concentrate on studies looks ill-placed, if education is a route to making a good life. Actually, the same cannot be said of every other game, even ‘team games’ for that matter.  The hue and cry that a step-motherly deal is meted out to other field games is not ill-placed or a figment of someone’s imagination. In the progress of events in our country as regards cricket, a major outlet has been nearly left in the oblivion. Yes, I mean the Radio.

The present generation [say in the last 35 years or so] men and women would not have had the thrill of using a Radio for different forms of entertainment- Cine songs, movie sound tracks, Games like, Cricket, Tennis, Foot ball, Horse racing –all in audio format portrayed by descriptive Commentating of reputed men of global standing. India boasted of the likes of Bobby Thalayar Khan, Vijay Merchant, Vizzy  - THE Maharaj  kumar of Vijayanagaram], V N Chakrapani, Pearson Swarita, Anand setalvad, Dickie Rutnagar, Ananda Rao –the prominent ones. Jack Fingleton, Michael Charlton [Australia], Trevor Bailey, Henry Bloefeld, [England], Tony cozier [W. Indies] were names of International repute.

To keep the listeners glued to the Radio is no mean feat. The commentator ought to be lively, brisk with a steadfast adherence to proceedings on the field without digression. Each of them [commentators] had a voice so typical that listeners would right away spot who the commentator was. They had a global following and fans too. They used to make critical observations with incisive analysis. In least time, they used to give the most and were neat in their presentation and composure. They seldom revealed emotional leanings and were quite objective through the proceedings. Certainly we are missing those fine elements.

Prof. K. Raman 

 

Friday, March 25, 2022

CRICKET

 CRICKET

Cricket has assumed mega proportions in the sense that by 1960s there was only Test Cricket, played among member nations registered under MCC [Marylbone cricket club of England]. Actually, MCC was once the Mecca of cricket. MCC is the owner of Lords cricket ground and the guardian of Laws of cricket. Such a status of importance descended on MCC largely because cricket was used to warm up players in English summer , as otherwise the place was quite cool if not chill per se. In plain terms MCC is the HQ of cricket in concept, execution and maintenance.

Actually, in England Cricket was played in zonal level among teams named after the places, such as Derbyshire, Lancashire, Nottingam just to name some. They were called county teams and their players –county players. County was a place of pride for cricketers. Counties used to vie with one another for glory. In the process, talented players from other countries were hired on handsome package. Counties would not conduct games when England participates in test cricket; any ‘invited’ player would have to be released from county games when his home country needed his services. That way , players acquired substantial skill enough to dominate in specific domains of the game.    England with its serene atmosphere, salubrious climate and cold through the year proved itself an ideal locale for playing cricket.

UK was once a global conqueror colonizing countries, domains and provinces, popularized cricket by playing it in every venue under their political control. That way cricket was ‘imported’ and imparted to many countries like India, W. Indies, Sri Lanka and around. Countries that were British colonies took to cricket and to-day England has to fight its way with all those countries for Cup, Rubber or Ashes. Non-English teams which once needed guidance for judicious play-skills, gradually progressed into quality / nuances that, members of origin from different nations get to play as a team in circuits offered by different countries.  

As several changes came about, Test cricket slowly lost its charm by its long format lasting for 6 days including a day’s rest. With TV technology delivering live coverage into drawing rooms, spectators and viewership revenue at the venue faced a decline showing just bleak prospects. By 1970s MCC drew up a scheme for 60 overs  a-side to compress the game in time format. It proved an instant hit with all countries and thus emerged the World cup. Based on the sponsors WC was christened differently each time like ‘Corn hill’, ‘Prudential’, ‘Benson and Hedges’,  ‘Cocoa cola’, Pepsi, Hero and so on. Before these sponsors ever appeared on the horizon, the concept of Private players promoting cups for World cup format was devised by Kerry Packer- a media magnet from Australia. He sponsored several teams for international format, shaking the foundations of establishment cricket [euphemism for cricket controlled by respective cricket control boards in different countries]. Boards of CC named the rival format as ‘Packer Circus’ and were not in favour of Test players associating themselves with ‘Packer Game’. Packer’s concept was so sound that different boards of control for cricket deemed it fit to make typical ONE DAY INTERNATIONAL formats for filling their coffers.

The game pattern has undergone changes that any country imports any player for a domestic circuit such that spectators receive their money’s worth in every competition. Success rests on runs made within the specified number of overs. A sort of attacking play of the willow by batsman settles score for supremacy on a given day. So, run-thirsty batsmen and wicket-crazy bowlers rule the roost though the notion about cricket -‘gentleman’s game deserves a review of nomenclature at times.

Prof.  K. Raman 

Thursday, March 24, 2022

LEtTERS

 LETTERS

In an earlier posting of mine, I had recalled how communication in olden days purely rested on postal services –categorized under P and T or Posts and Telegraphs department. Post offices were handling a variety of services including dispatch and distribution of money to recipients through Money orders on nominal service charges. There was also a specialized service TMO or Telegraphic money order which used to intimate the Post office of the ADDRESSE’S zone and advice them to ‘hand over’ a specific amount to a beneficiary for whom, money had been submitted to the dispatching station. On receipt of the message, a postal department employee would call on the addressee and hand over the specified amount. Hostel students in Colleges used dispatch telegraphic message to home, ‘Send remittance’ as if the boy is in financial crunch.  Poor parents, unable to guess that the boy is taking advantage of telegraphic service, run helter-skelter, strain every nerve and pass on the money through TMO. Unmindful of parents’ agony, those boys led a fairly happy life though the amount was less than Rs120/- p.m. That was quite a strain on parents those days.

OTHER SERVICES

There were post cards, In-land letters, Postal cover [envelope], Cloth-lined cover for ‘Registered’/ Insured articles and a special service named ‘Express Delivery’.  Express Delivery letters were delivered to the addressees, once the letter arrived at the distribution terminal or sub post office. Postal personnel used to move on all days, just to deliver ED letters. A NEW AND GLORIFIED AVATAR OF ED is the SPEED POST which takes its sweet time to reach destination though it carries a fancy price tag on the plea that it is traceable in Internet. [What is the use of ‘knowing’ where the letter is, unless one knows the contents or has physical possession of it]?

The old post offices were places dreaded for their rigid postures. They would not entertain any article unless it satisfied the ‘prescribed norms’. Like a detective agent, the official in the booking counter would cast a piercing look to see if the outer cloth is stitched intact and that all along key points on the stitch, molten lacquer seal is applied and some identity of the sender is embossed on the lacquer seal.  A near dozen seals would stay on the stitch line, lest it should be summarily rejected as unfit for dispatch. None can argue with them, including a Supreme court Judge. It would appear that post offices work more on distrust than on trust.

Why do I say so?  Post cards were popular then. If a buyer wants 4 PCs, the seller would ascertain “Do you have correct tender?” Only if [s]he is satisfied of getting correct change or execute a deal without having to part with coins for balance, [s]he would open an ‘edges-torn  ledger’ and locate a page with  post cards. The employees in post offices do not trust anyone including themselves. So, before passing on the postal stationery, the person would tightly hold the edge of item between the thumb and the index finger and firmly squeeze the edge to dislodge any 2 items sticking together. The exercise would be repeated 3 or 4 times before the number of postcards are handed over to the buyer. Buying In-land letters were even tougher as they were thin pieces of paper and can readily stick together. Somehow, the employees did not make use ‘damp pads’ frequent in cash counters across banks. All said and done, Indian Postal system stays a socially relevant arrangement and serves multitudes of our population- major chunk of which is illiteracy - personified and survives on meager savings. Such populations are not daunted by any rigidity of rules/ practices and that way, despite shortcomings our Postal system has acquitted itself too well and cannot be branded irrelevant. The lone regret is the system has shrunken its range of operations; so, to date it is  accepted as the most authentic machinery handling postal mail, savings, National savings deposits by common man and so on. May be it needs strengthening to be a mechanism of helping common man.

Prof. K. Raman

Wednesday, March 23, 2022

WHAT A TEAM WORK!

 WHAT A TEAM WORK!

Every cine song is a package of infinite complexities blended to sound simple and reproducible. It would be too simplistic an assumption to say the least. A range of components have to be in place before a lyric matures into a song. The innate complexities in a song get added one after another with every minute’s passage of time. Honestly, I do not know much about the present practices in ‘composition of songs’. Whatever I recall here dates back to the 1960s when human effort was more and did not enjoy much of technology back-up. Yet, the then songs stay with youthful glamour, despite passage of time. There ought to be ‘something’ that lends this ‘longevity’ to a song. Can longevity be conferred on to a song? If a variety parameters come together as a ‘fine blend’, possibly conferring longevity is just a matter of routine. Can we justify or substantiate such a contention? It looks within reach to substantiate the claim.

Songs that have lived for over 50 or 60 years, ever since their arrival, have always sustained GLORIOUS RELEVANCE. By relevance I imply their absolute importance to the scene[s] where they figure in a movie. This also explains the ‘rapid fade off’ syndrome suffered by several later numbers which were sheer time-fillers, without any ‘value-addition‘ to the story line. If any proof is needed, recall even songs in comic movies which have not lost their sheen by any ageing. Is relevance an accidental outcome for a song? As far as I recognize, 9 out of 10, relevance is not accidental; on the contrary it has been a product of conceptual clarity and perfection in execution. I choose to place a set of facts before readers to highlight, how team work lends ‘weight’ to a product.

A Case in point:

‘sonnadhu nee thaanaa?’ [Nenjil Or aalayam- 1962, Kannadasan , Viswanathan- Ramamurthy-                            P Susheela,  Vincent –Sridhar – the crucial crew].

The movie was shot in 21 days [3 weeks] on a single set in Vijaya studios. Several components were being taken care of as parallel processes. Naturally, songs were being composed even as movie was being shot for all other non-song sequences; practically, unheard of artistes were availed of to eliminate chances of ‘clashes’ of dates for the artistes. Kannadasan who could not abide by the work schedule chose to come late.  A restless MSV told Sridhar that it is getting delayed for him [MSV] as several recording sessions await his personal presence. When at last Kavignar came, someone briefed him that MSV was angry over the inordinate delay and had lodged a complaint with Sridhar. Kavignar in disbelief asked MSV  ‘Sonnadhu nee thaanaa sol sol sol en uyire’ ? Thus the opening line for the song came out which ably suited the movie requirement and Sridhar gladly approved it and got the song quickly completed. Putting all skills to work V- R composed a melancholic tune to portray the disturbed mind of the woman.

V-R have used the strategy of progressively raising the song tempo through ‘pacing up’. The song starts on a low key and keeps gaining speed step by step as a portrayal of the woman’s gaining confidence to question the wisdom of her husband in suggesting a re-marriage for her with someone else. As the song advances, one can notice both speed and agony getting intertwined.  V-R’s ability to conceive the mood elevation is a strategic victory by choosing instruments –Sitar, Sarod, Tabla which are uncommon in South India.  Sitar and Sarod lend heavy melancholy while a dexterous play of Tabla brought off excellent confluence of mood consolidation to tonal impact.  Sitar was played by Ustad Hussain Ahmed; in fact the sitar play projected on screen as by artiste Devika was indeed the hand of Ustad Hussain Ahmed. Of course the fine rolling on Tabla was the performance of the noted exponent – Hanumanthappaa. Short pieces of flute were by Nanjappa or Gunasingh

The tempo of the song portrayal was immortalized by A Vincent’s Cinematography which has presented the whole song without any cut shots and through a tight room 12ft X10ft.  Stretches of song phrases are backed by camera work that captures the facial expressions for showcasing the mood element. A parallel depiction of live man, his mirror image and that of the woman in distress were ‘novel’ in cinematography then.It was done in 1962 in the most unobtrusive fashion.

The brilliant part of CV Sridhar’s Directorial skill was his judicious decision   to have ‘wound up’ the song at the zenith of emotion ‘ innoru kaigalile yaar yaar naana’ ; at that point the Director has ended the song [though it continues in the record] where upon, Devika simply sags and collapses on the sitar depicting her uncontrollable melancholy overwhelmed by surcharged emotion.

Such is the importance of team work especially in a song sequence in a  movie.

Prof. K. Raman

Tuesday, March 22, 2022

SPECTACLE [S]

 SPECTACLE [S]

Suddenly, it sparked in me to choose this item. There is a standard expression in English which is phrased ‘sooner or later’ as a typical reference to anything unavoidable or inevitable. Spectacles seem to obey the phrase ‘sooner or later’ in one’s life. Yes, none can declare with any certainty that ‘I shall not wear spectacles’. If such an exigency does not emerge to compel wearing spectacles, it would be a spectacular ‘gift’ for us to celebrate. Without spectacles if one can manage well into 40+ or 50+ age, that looks a feat these days. A friend of mine used to brush aside the suggestion that wearing specs at a young age is unwelcome saying that ‘people are afraid of spectacled snakes’ [a suggestion of Cobra].

The word ‘spectacle’ has a grand value as it is used to describe events of grandeur as ‘grand spectacle’. As a school boy, I used to imagine how a spectacle could be grand. Would it be big or made of precious metal like silver or gold? It took several years before I could relate the words ‘spectacular’ and ‘grand’ spectacle.

People use terms like ‘glasses’ to refer to specs. Ironically, technology has ruined the utility of the term ‘glasses’ for specs, since there are unbreakable items made of transparent material with glass-like refractive index. So, ‘glasses’ are not relevant always. Spectacles have undergone spectacular changes. Times were when ‘glass’ was held in metal rim and hung on to the ear lobes [Gandhi style]. Later versions appeared with synthetic rims of plastic.

Shapes of glasses too have witnessed changes. The earliest versions were circular and a wee bit larger practically covering the eyebrows too. There were man-made [rather home-made] frugal versions with one or both ‘legs‘ broken and substituted by a thick thread with a loop to arch around the ear lobe.

Subsequently, glasses were somewhat square like with heavier frames and elegant-looking. Later ones were more of rectangular shape, also with heavy frames which were partly in metal [the lower arch supporting the glass] while the upper edge was in plastic or synthetic material.

Slowly, glasses for exclusive use for reading / near vision and for general vision were used as two different entities. With forgetfulness gripping persons, one of the two spectacles used to be left behind at home or office.

To overcome issues of memory impairing the use of glasses, special chain-like links were used to connect both the legs of the spectacles and left hanging at the back of the neck; when removed, the spectacles would stay suspended from the neck.

Innovations keep on emerging. Variable focus was brought in by progressively shifting the focus from the upper to the lower end of the glass, so that long range and short range [reading] are accomplished by the same spectacles without having to carry two different items.

So-called rimless glasses are around, presenting sophisticated looks to the wearer whether or not the person is sophisticated.

Spectacles keep holding a spectacle of sorts.

Prof. K. Raman

Monday, March 21, 2022

COFFEE

COFFEE

Coffee is not a pan-Indian beverage; it is quite popular in pockets of Southern India, with a clear presence in parts of Karnataka and parts of Tamil Nadu. Ironically many consumers of coffee are somewhat ignorant of what genuine coffee is. A brown concoction derived by mixing a dark brown extract [coffee decoction] with a copious quantity of milk is served in eateries in the name of coffee. For die-hard addicts of coffee, the product served in such eateries is just an ‘apology’ for coffee. The easiest way to irritate such die-hard fans of coffee is to serve them with the stuff described above. Is it that eateries indulge in exercises of ‘cheating’? In fairness to them it has to be recognized that they have no idea of making ‘genuine’ coffee. But, unhesitatingly they market the liquid, since most consumers are themselves ignorant of true coffee and for long have been into inferior stuff, little realizing their folly. 

Even more irritating and flagrantly so is ‘delivering instant coffee in the name’ of coffee. It is time the industry came out with a distinct terminology to segregate the ‘instant’ version from true coffee. In my submission, instant coffee is a fake product that imitates coffee flavor and instantly irritates the lovers of true coffee. Many consumers sip with delight the instant version and are blissful about it. The blessed ‘blissful’ population silently lends credence to the belief that coffee is what comes in the instant version. The scale of ignorance can be readily perceived if we observe their utterance 'dikkasiyen' - a crude reference to 'decoction' of coffee. Coffee powder does not dissolve even in boiling water; how is it that instant version forms a solution in milk with a pale semblance of coffee flavour. It simulates coffee looks but does not stimulate the senses as is readily done by true coffee. I trust to have drawn the lines clear. The quantum of effort and labour in making ‘true coffee’ is perhaps a strong disincentive to field the true stuff. But, there are eateries which go all out to woo their clientele by excellent formulation of true coffee. Actually, they engage good formulators of coffee decoction to ensure the right product so that the fidelity of the product is consistent in terms of taste and aroma. In fact, the true coffee is a winner by its genuine aroma that scores over every other version of coffee.

TRUE COFFEE

As the name goes, it is derived by extraction of coffee ‘decoction’ by subjecting coffee powder to either steam or boiling water which traverses through a thick pad-like packing of powder. Hot water / steam help to extract coffee essence in the form of a liquid typical in aroma. The process is done by either ‘Percolator’ or by Coffee Filter’. So, true coffee is often addressed as ‘Filter coffee’. Since the decoction is a hot extract, it is rich in aroma and the ‘FIRST EXTRACT’ is the ‘BEST EXTRACT’  If one manages to pitch on the first extract [first decoction in common par lance], [s]he would soon get addicted; such addicts are never enticed by any other product in the name of coffee. Precisely the lingering aroma and lasting taste of true coffee keep it on a pedestal of victory with anything else –as a distant third. Is it that every time filter coffee is unconquered? No, to be of that status , quite a few exercises of meandering process/ procedure has to be in place beginning with the choice of ‘coffee beans’. Coffee bean is the name of massive coffee seeds within the fruit. I deem them ‘massive’ because the seeds nearly fill the fruit. It is the ‘seed quality’ that confers aroma on to the extract. First grade seeds are largely exported and just a small quantity comes to domestic consumers. Second best versions are not sent for global market; they fill the domestic needs. Among them ‘Arabica’ is aromatic and ‘Robusta’ gives denser extract; so, the latter is used in different proportions to characterize the flavor typical to a brand / version. The most critical step to success is the ‘degree of roasting’ of coffee seeds. They are roasted till brown and not ‘charred’.  The extent of correct roasting releases the oil content and enhances the aroma. The seeds are then powdered fine and marketed as coffee powder. Sellers formulate their own seed combinations and try to maintain typical aroma of the powder. Depending on personal preference, people opt for specific versions of coffee powder. The chosen powder is ‘filtered’ by pouring boiling water to make decoction by downward percolation. 

As said EARLIER, THE FIRST DECOCTION IS PRESTIGEOUS. Some families take pride saying ‘we don’t use second decoction’ in our house. But, what matters is the quality of bean powdered for use and the right level of roasting the bean.  There are different schools of thought debating ‘if milk to be added to decoction or decoction to be delivered to a container of milk. Excellent decoctions are just added to milk drop by drop until the right shade of brown emerges with an enticing aroma-hard to resist. Minimum sugar is sure to add to taste. High doses of sugar ruin the stuff and make it lose its aroma and the lingering taste thereof. So, coffee- making is an exercise of abundant caution and likely to misfire at the slightest pretext. But die-hard fans of coffee do not compromise, as for them the day does not dawn without coffee.

Prof. K. Raman 

  

Sunday, March 20, 2022

COMMUNICATION – HAS IT IMPROVED?

 COMMUNICATION – HAS IT IMPROVED?

Looking back, communication seems to have improved through technology and gadgets; but not in terms of quality. Times were when people used to write letters to friends and relatives, seeking to know their welfare. After a brief holiday in one place as we return to ‘our’ place, there used to be a ‘send off ‘ at the railway station or the bus stand. Women would hold their tears back, concealing the emotion and wave off each other as the train or bus leaves the place. Unfailingly, there used to be a clear loud advice, ‘’please write a letter on your reaching the place and do not miss the weekly ‘oil bath’’. In just around 10 words so much of emotion and bondage were revealed.

Such advice was always paid heed to; yes, every week at least one letter ought to go from either end though not much would have happened. But, writing letters was a habit nurtured and sustained. With nothing much to convey, persons used to narrate every event in the week and if we manage to gather such old letters, it would be a revelation  that the ‘present generation’ does not convey much; it includes the young and old of the present. Greater intimacy prevailed in families, between families, among cousins’, nieces and nephews and among neighbours.

 It may sound odd, when I recall that a neighbor from village would drop into some Chennai address merely by familiarity in the native place. Without an iota of ill will or hatred, [s]he would be entertained and gladly so till the guest completes the purpose of visit to Chennai.

Can it occur to-day? If it does, I am afraid any semblance of relationship may be severed, besides unhealthy utterances between acquaintances. There is an untold rigidity in our exchanges with persons. So to say we stay as islands unconnected. If such ‘entertaining’ of guests, happens in big cities /towns, be sure that persons in such bondage have had a lasting intimacy of several decades in their native town or village.

Slipping down the memory lane, I vividly remember how the elders in small towns or villagers , holding  a postcard would eagerly look for a school boy or girl to scribe a letter to their son/ daughter or son-in –law or daughter-in-law enquiring of their welfare . Yes, postcard was a major carrier of message and the least priced too. The poor state of economy did not permit the luxury of sending a ‘closed’ letter – inland or a cover; [they were expensive]. Despite poverty, regularity of writing letters was sustained. All major events like success in examinations, seeking of alliance/ finalizing of alliance, fixing of wedding /date/ venue everything was through personally written letters. Such solemn events in families are put through platforms like Whatsapp now-a-days. In plain terms, the ‘touch of personal appeal’ is missing, however earnest the message is. The whole process appears to have been mechanized.

Today, the mode of communication has faced a sea-change. Who writes letters? Even official messages are through e-mails/ other platforms. Urgent messages [old mode was telegrams] are interpersonal with no third party intervention. Cell phones/ handsets keep blaring all day and people talk across without communicating. Why do I say so? Just after a call, a new call is initiated to the same person to tell “I forgot to tell you, my son comes next week from USA. Another call goes off to tell ‘only son and his second daughter are coming; all others would come by September/ October next.” The old post card –wielder would have narrated a lot more for far less money.  We speak a lot but communicate very little.

Prof. K. Raman

 

Saturday, March 19, 2022

DAME LUCK

 DAME LUCK

Why suddenly a topic that looks ‘intrusive’ while the mainstream items have been on South Indian Cine Music Directors? There is just nothing sacrosanct about the main stream items per se. Still it would be hard to defend such inserts as ‘Dame Luck’, in the present sequence of items. Please take it as a relief. 

If one has had enough experience through the meanders of life, without batting an eyelid or battling an idea, [s]he would right away endorse the omnipotence of ‘Dame Luck’. If there had never been something of the likes of ‘Dame Luck’, the expression ‘many a slip between the cup and the lip’ would not have emerged in the first place. If a slip can ruin the sipping of your tea/ coffee and ruin your fabric, it implies that Dame Luck can play wonders or havoc with the same felicity. How often we have returned empty handed from an attempt of booking a ticket for a specific game or show or even a ‘Darshan’ of Lord?

Is it not proof enough to concede that ‘effort is one thing and effect is another’? Earnest effort if ending in failure, means that between effort and effect a slip has come by and who else but the Dame Luck would have come between the two? Well, it also stands to reason to believe that successful efforts do not remind us of ‘Dame Luck’ either. Now the question is – should we succeed or be reminded of ‘Dame Luck’ all the time? We –humans are so ‘self-aggrandized’ that we tempt providence to remind us of our insignificance in every one of our deeds. Had it not been so, our EGO would run riot and bring off greater catastrophe to the society around. So, putting one in place is also a providential priority and getting elevated to a spot does not imply eternal placement ‘there’. It is a ‘roller coaster’ game of changing positions with parallel surge of ADRENALIN within us.

Unless tossed up and down like a dice, humans never learn lessons. Just to make us learn, the Divine Dame Luck gets to be a  LAME DUCK –a tentative state achieved by ‘intended’ spoonerism.

‘Lady Luck or Dame Luck‘is personification of Fortune as a lady or Dame in English language. When fortune fails Dame Luck turns a Lame Duck; is it not?

Prof. K.Raman

Friday, March 18, 2022

WHY NOTHING FOR THE DAY

 Dear friends 

We have been observing a systematic presentation of varied items. In recent weeks, we have observed the profile of different persons who have contributed to the domain of film music/ cine music. The topics require careful acquisition of details and aligning of facts in an order. These demand 'access of information', cross- checks' if need be and 'presenting the idea'  in a module convenient to all. While I  have been at it for months now, I am slightly engaged by other personal commitments which preoccupy my time. It may just take a day or two before I return to the domain with some other information. 

Till such time please wait and lend your time as and when topics are posted. 

Thank you fot your patient participation. 

Regards   Prof. K. Raman  

Thursday, March 17, 2022

SOUTH INDIAN CINE MUSIC DIRECTORS [OLD] –XXII

 MD 17 - SHANKAR- GANESH

Shankar and Ganesh were assistants to MDs Viswanathan –Ramamoorthy in their early career. Mr. Shankar [ his name was Sankara Raman]  was the younger brother of CR Subbaraman for whom V -R were assistants ; Right from the days of ‘PAASA MALAR’ Ganesh had been with MSV . Both S and G were brisk assistants to MSV- TKR and this friendship blossomed into a sort of ‘pact’ between them to co-ordinate with each other for a fruitful partnership as MDs in their own right. To be precise, S and G were assisting MSV until 1967 where after they chose to work as freelancers in song composing. The background of Mr. Ganesh has been that he is the son-in-law of the well known producer GN VELUMANI of Saravana films. GN V had such a bondage with MSV that he was not too inclined to use his son-in-law Ganesh as a composer. It was at the insistence of Mr. MGR that GNV accommodated SG as MDs for a few of his films.

Shankar was quite adept in use of ‘Ragas’, while Ganesh was a multifaceted talent; G could sing, play instruments like Key board, Bongo, and some percussion devices. Also, he was quite naughty having entered the domain at a young age.  As a corollary, it is relevant to recall here that, during recording of the song ‘muththaana muththallavo [Nenjil or aalayam] , Ganesh used to get close to microphone to record the kissing sound as a part of the song. For that he got too close to the microphone and kissed at the back of his fist ‘simulating’ the noise of a kiss. Singer Susheela [singer standing at the microphone] felt nearly embarrassed at his casual approach. She was so shy and Ganesh was quite casual about whatever he did.

The message is a pointer to the frugal arrangements in song-recording studios even for microphones.  All said and done, Ganesh was quite innovative in generating typical sound effects. In that ‘magnum opus’ of a song ‘Pattaththu Raani’ [SIVANDHA MANN], it was Ganesh who devised a strategy to bring off the ‘whip cracking’ effect. After several efforts he pitched on to the use of Deepavali amorces popular as ‘cape’ among boys. Piling up 6-7 amorces in a stack, smashing the heap with a hammer would give off the noise effect of cracking the whip. He [G] has also acted in a few movies and he is friendly with many personalities of South Indian film industry. Shankar had donned the role of ‘Krishnagiri Kittappa’ in that all too popular hilarious movie ‘KAADHALIKKA NERAMILLAI’.

 Kavignar Kannadasan gave them the place of MDs for his own project ‘Nagaraththil thirudargal’; it turned abortive. So, Kavignar helped S-G by persuading Sandow MM Chinnappa Devar to give them movies for song composing. Chinnappa Devar obliged and SG’s career began as MDs in ‘MAHARAASI’. To date, their [S-G] gesture is sustained as ‘Kavignar vazhangiya Devarin – SANKAR GANESH in movie titles .

S-G have scored music for several films and had in the process been successful with even major stars like Sivaji Ganesan, MGR and Jayalalithaa. These include ‘MAHARAASI’, AKKAA THANGAI, SINIMAA PAITHTHIYAM, AATTUKKAARA ALAMELU, PAALAABISHEKAM, NAAN YEN PIRANDHEN, IDHAYAVEENAI,NEEYAA, VANDICHCHAKKARAM just to name a few.

It so happened that Shankar passed away at an early age. But, Ganesh retains Shankar’s name on all movie titles, though only Ganesh has completed all the work. Ganesh recalls his friend’s name only as Sankar Raman and not the abbreviation ‘SANKAR’, in any interview. Such has been their intimacy.

My respects to SG as composers

Prof. K. Raman

Wednesday, March 16, 2022

SOUTH INDIAN CINE MUSIC DIRECTORS [OLD] –XXI

 MD- 16   MANAMADURAI BALAKRISHNAN SREENIVASAN

MB SREEENIVASAN [19-09- 1925 – 09-03-1988]

MBS  was born in Chittoor of Andhra pradesh ; had his schooling at PS High school, Mylapore , ChennaI. Graduated from Presidency college, Madras, where he was drawn to left ideology and partook in left-oriented activities. His first ever movie was with the noted writer Jayakanthan for ‘ PAADHAI THERIYUDHU PAAR’. He churned out some classy numbers for that movie.

MBS has had the reputation of forming a group [MADRAS YOUTH CHOIR] for choral singing – an art where he excelled. Soon, MBS became a household name across Kerala for his movie songs. Yes, he was a very popular MD in Malayalam cinema, though he has composed for Tamil movies as well. MBS stuck to minimal orchestration –rich for elegant notes and his work shot into prominence.

He figured as an actor in the Tamil movie ‘AGRAHAARATHTHIL KAZHUDHAI’.

After ‘PAADHAI THERIYUDHU PAAR’ [1960] with hit songs ‘ china china mookkuththiyaam [TMS]’, ‘thennankeetru oonjalile PBS, SJ]’

‘Dhaagam’ [1974] AN ART FILM starring Nanditha Bose and Muthuraman

‘Madhana maaligai ‘ 1976] had the huge hits ‘Yeriyile oru kaashmir roja’ KJJ, PS and ‘ Malligaippoo’ sung by Usha utub ‘ Usha Iyer/ Usha Nayyar.

Keralites proudly recall that MBS fielded  KJ Jesudas into movie songs as a play back singer.

MBS died of  a massive heart attack in Lakshadweep during a programme.

Salutations to the explorer MBS.

Prof. K. Raman

Tuesday, March 15, 2022

SOUTH INDIAN CINE MUSIC DIRECTORS [OLD] –XX

 MD  15  VENKATESWARAN DAKSHINAMOORTHY

V  DAKSHINAMOORTHY [09-12-1919 –02-08 2013]

V D was a veteran carnatic musician , composer of film songs in Tamil , Malayalam and Hindi. His telling presence was more in Malayalam movies. Literally every south Indian singer / composer has had a session of training / association with Mr. V D. Indeed Mr VD’s career had been an admixture of classic tradition and modified version of tradition in music. The latter proved an advantage to VD for composing songs for movies. His movie career is dsaid to have lasted for 63 years wherein he made about 1400 songs spread over 125 movies.       

V D is hailed as the ‘father of Malayalam cine music’ and held in high esteem. All known song personalities, P. LEELA, P. SUSHEELA, AP KOMALA, NC VASANTHAKOKILAM, S JANAKI, LR ESWARI , TMS, SPB , KJ JESUDAS, P JEYACHANDRAN have been benefited from working with VD .Of them P LEELA, KJJ and his son Vijay Jesudas HAVE RECEIVED training from VD. VD lived a life of orthodoxy and was known as ‘swamigal’ in cine circles of S.India.  He has over 24 Awards for his contribution to music and has several titles 18 and an equal number of awards from KERALA. He has some good songs in Tamil movies.

‘ORU OOTHAAPPOO KAN SIMITTUGIRADHU’ 3 songs by VJ , KJJ and TK Kala.

‘NANDHA EN NILA ‘  1 SONG BY SPB  

‘MUTHTHU MUTHTHU PUNNAGAIYE’   1 DUET BY SPB, PS.

His song list in Malayalam is really breathtaking. Such tall composers have adorned S Indian cinema.

My Pranams to  V Dakshinamoorthy .

Prof . K.Raman


 

 

Monday, March 14, 2022

SOUTH INDIAN CINE MUSIC DIRECTORS [OLD] –XIX

 MD XIV   CHANDRA BOSE     [11-07 -1950 – 30-09-2010]

Information relating to Mr. Chandrabose are not widespread; it makes cross-checking rather difficult. So, , I prefer to settle for items that are just  indisputable . It is said that Mr.  C Bose belongs to Sirkazhi –a well known town in Tamil nadu. He has evinced keen interest to understand the intricacies of music, at a young age. Naturally, he nurtured tendencies of singing / acting and similar contiguous domains –stage and cinema.   If my memory serves me right, in a cultural programme where C. Bose sang a number, the then ruling MD Shri . MSV who was an invited guest, took note of his voice and gave him a song in the movie ‘AARU PUSHPANGAL’ ‘yendi muththamma’ – a song delivered in high pitch was an instant sensation then.  That was a Grand opening for Mr. Chandra Bose as a singer.

His inclination to act/ sing had made him a familiar face among Drama enthusiasts, where he developed proximity with different persons like Deva, who were working for stage plays.

Major breakthrough for CB came about when M/S  AVM studios were looking for a new MD in place of their ‘then current’ MD with whom they were not too happy ; by then the few movies that CB had scored  music  for, were popular by the songs. It stands testimony to CB’s composing abilities fit to take on well known composers and establish his credentials as a dependable MD. It was by 1980 that CB was a very strong contender for top notch among the then composers of TFM.

In a brief tenure of time CB had scored music for nearly 300 movies or so. During 1980s, CB was the MD for movies made by AVM studios and he churned out some outstanding numbers for AVM.                 

· MOVIES                                                                                                                                                                                karaiyai thodatha alaigal , Manithan, Anna nagar mudhal theru

·         Marumagal,  

·         Viduthalai, Manithan,

·         Shankar Guru, Makkal en pakam , Machanai paththengala,  Saranam Ayyappa, Vadivangal,   Parvaiyin  marupakkam,  Idhu engal rajyam ,           Oru malarin payanam  

·         Raja chinna roja , Patti sollai thattadhe

·         MAANAGARAKAAVAL

Are some well known movies for which CB had scored music . CB’s is another instance of talent dropping by wayside for want of patronage. That he stood tall amidst imposing personalities of the time is proof of ability and his substance.  

Our respects to the grand fighter

Prof. K. Raman

Sunday, March 13, 2022

SOUTH INDIAN CINE MUSIC DIRECTORS [OLD] –XVIII

 MD XIII - T G LINGAPPA [22-08-1927--- 05-02 2000]

TIRUCHIRAPALLI   GOVINDARAJULU LINGAPPA 

It was just misfortune that TGL was not too well known among Tamil audience, though he had been among the best known composers of film songs in the T F industry. His father Mr. Govidarajulu was a musician himself and is credited to have taught music to Ms K B Sundarambal –noted for timbre in her voice. TGL had learnt to play many musical instruments- harmonium, guitar and Mandolin. Guitar and Mandolin were far out of reach for many boys / girls then. By around the age of 14, TGL had proficiency in handling such instruments.  With confidence when TGL approached MD C Ramachandra of Gemini studios, his claims were rejected on the grounds of his ‘low’ age.

Not disheartened by the rejection, TGL tried his luck with M/S Modern theatres, Salem; he was accommodated there by MD-- TA KALYANAM; he, also got acquainted with KV Mahadevan and TR Pappa –senior musicians in Modern theatres. Later he joined R Sudharsanam at Chennai; before long, TGL switched over to working for MD - CR Subbaraman. 

The young Lingappa was too vibrant for those times.  Yes, I intend amplifying on this. His penchant for playing more modern instruments and desire to procure the ‘latest’ items drove him to LONDON for purchase of latest sensations in music. He procured ‘an ELECTRIC GUITAR’, as early as 1948-49. Now TGL’s trump card worked well; the then experimenters in cine music, CR S,  G.Ramanathan  and KV M  preferred TGL  to lend support to orchestral elements typical of Western style.

Soon cine personalities like TR Mahalingam, B R Pantulu became closer to TGL and wanted him to work for their movies. In fact till the fag end of life, TGL and Pantulu sustained intimacy.  TG LINGAPPA was a name to reckon with in the then South Indian cine music.                                                                                                                    

LOOK at these pieces.

1957   ‘THANGA MALAI RAGASIYAM’  ‘ Amudhai pozhiyum nilave’ WAS A National hit as THE SAME TUNE WAS USED IN Tamil, Telugu, Kannada and Hindi movies .

1958 ‘SABASH MEENA’ had the most popular songs such as  ‘chithiram pesudhadi’ [P Susheela],

 ‘kaana inbam kanindhadheno’[T A Mothi, P.Susheela]  both were outstanding by the lilt and intricacies there in.

1964  ‘MURADAN MUTHU’ ‘ Thamarappoo kolaththile’ a peppy item with folk structure / beat

He had composed music for several Kannada and Telugu movies and was a popular composer in  South Indian cinemas.

My salutations to TG LINGAPPA                                                                                       

  Prof. K. Raman


Saturday, March 12, 2022

SOUTH INDIAN CINE MUSIC DIRECTORS [OLD] –XVII

 MD XII- C R SUBBARAMAN [1916-1952] 

CRSubbaraman was from Chintamani area of Nellai district of TN. Even as young boy, he displayed brilliant grasp and learnt varied nuances of classical music. Information is that, CRS gathered the intricacies of classical music from a Nadaswaram exponent of Kumbakonam. His deft handling of harmonium as a boy of 14 really mesmerized many. 

It was Mr Sundara baghavathar[ brother of MD G Ramanathan ]who got CRS placed as a harmonist in HMV gramophone company –the makers of graphite records then. Impressed by CRS’ ability to comprehend music nuances, HMV elevated him to the position of Assistant MD. In those days, he was accompanied by a young violinist; the youngster was Mr. T K Ramamoothy  and CRS readily made him his assistant. With scholarship on the nuances of classical music, CRS / TKR became friends, mutually impressed by the other person’s talent.

CRS had lived for just 36 years and his cine life as an MD had spanned 10 years. But, in a short span of a decade he carved a niche for himself as a highly imaginative composer. In his first movie ‘Chenchu lakshmi’, CRS  was brought in to complete unfinished compositions; he brilliantly blended certain Latin –American musical frames with typical classical frames and took the music lovers by storm. The movie proved a grand hit.

After some hiccups typical in any talented person’s career, CRS started working for P. Banumathi’s Bharani pictures.   In most movies of that production house, CRS was the composer.  Meanwhile, SMSubbiah naidu had inducted MS Viswanathan as an assistant to CRS . As his ill luck would have it, when songs were being made for Devadas, Chandi Rani and a few other movies, CRS passed away. All those incomplete stretches were completed  by Viswanathan –Ramamoorthy [CRS’ s assistants].

Quite often providence looks to be impatient with talents.

My salutations to CR Subbaraman

Prof. K. Raman

 

Friday, March 11, 2022

SOUTH INDIAN CINE MUSIC DIRECTORS [OLD] –XVI

MD XI - V KUMAR [VARADHARAJULU KUMAR    [28-07 -1934—07-01-1996]

In plain language, Mr. V, Kumar co-travelled with K. Balachander; Yes literally they began their life of artistic creativity in stage plays and progressed in that medium for several years before, they ventured in to movie –making exercise.

The most astonishing facet of Mr. V Kumar was his ‘originality’ in ideas especially in composing ‘captive’ tunes. That he was ‘visible’ in that era of prolific composers Viswanathan, K V Mahadevan and their contemporaries like R Sudharsanam . A budding composer [‘budding ‘in cine domain ] to keep himself and his compositions aloft were no mean feat by any stretch of imagination.

As mentioned earlier, he opened his cine innings along with K Balachander  and never looked back in my understanding.

1965

His first film was NEERKUMIZHI where he had given a dance number ‘kanni nadhioram ‘

Another melancholic number ‘AAdi adangum vaazhkkaiyada’.

‘NAANAL ‘ Romantic piece ‘mannukku melaadai ‘ and a pathos cum story teller ‘ennadhaan paaduvadho’

1967

‘NINAIVIL NINDRAVAL’  A peppy song ‘yenna thorium indha chinna ponnukku ‘ a romance bsong ‘thottadhaa thodaadhadhaa ‘; comic piece ‘nandhan vandhaan ‘

1968

‘BOMMALAATTAM ‘ , ‘EDHIR NEECJHAL’  Both had very good hit numbers. Like ‘vaavadhyare oottaande’

‘thamaraikaannangal , aduththaaththu ambujaththai’   Among his 1969 –pieces Irukodugal stood out. Melodies like ‘punnagai mannan’ and  ‘kaadhodu thaan’ + paappa paattu’

1971

‘RANGA RAATTINAM’      V Kumar LITERALLY REVIVED THE SINGER LIFE for AM Raja through the song  'muthaarame’  in this movie.

1972

‘VELLI VIZHA’  V K created a history of sorts when he hesitantly approached  MSV to sing a song for him. MSV was the Numero Uno  MD in Tamil films . Gladly MSV rendered the song ‘unakkenna kurachchal’.

KUMAR registered his class as a composer through the thick of the then competition in the industry and came out admirably well.  VK gelled with CHO S. Ramaswamy and Muktha V Srinivasan and gave some vey good tunes in their movies.

Prof. K. Raman

 

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