IPL's starting from March 12 this year.....
http://www.iplt20.com/2010-IPL-schedule-a.pdf
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December 31, 2009
December 19, 2009
Thriving Ivory - The next big thing!
My Favourite Rock Band....this band will go a long way...the most powerful part of their tracks is the strong lyrics.....and a meloncholic voice that sings their songs.....wonderful is a word too less for this band.
Thriving Ivory is a five-member American rock band who originated in Santa Barbara, California before relocating to San Francisco, California. They released their self-titled Wind-up Records debut album on June 24, 2008. The debut album reached #1 on the Billboard Heatseekers chart on the strength of the charting single "Angels on the Moon". After half a year, "Angels on the Moon" appeared on the US Pop 100 Chart, reaching at number 28.
The band was chosen for the Yahoo! Music: Who's Next? User's Choice Competition. They were up against 3 other artists, including We The Kings, Shwayze, and Mandi Perkins. The contest launched August 14, 2008. They also featured as a MySpace Karaoke Artist where fans submitted audio or video of themselves singing a song by the band.
Thriving Ivory released a video for their single "Angels on the Moon" on June 2, 2008.
In 2009 they performed their single "Angels on the Moon" on Jimmy Kimmel Live and The Rachael Ray Show.
Members
- Clayton Stroope - Vocals,
- Scott Jason - Keyboards, primary songwriter
- Drew Cribley - Guitar, vocals
- Bret Cohune - Bass guitar
- Paul Niedermier - Drums, percussion
Discography
Albums
- Thriving Ivory (Indie Release) (2003)
- Thriving Ivory (2008) #102 US
EPs
- Secret Life EP (2004)
- Rhapsody Originals EP
- Tell Me Your Name EP(2009)
Singles
| Year | Title | Peak chart positions | Album | |||||
|---|---|---|---|---|---|---|---|---|
| US | US Pop | US Main Rock | US Mod | Adult Top 40 | Itunes Alt. Videos | |||
| 2008 | "Angels on the Moon" | 75 | 28 | — | — | 18 | — | Thriving Ivory |
| 2008 | "Our December" | — | — | — | — | — | — | Non-album single |
| 2009 | "Flowers for a Ghost (B-Side)" | — | — | — | — | — | — | Non-album single |
| 2009 | "Hey Lady" | — | — | — | — | — | 3 | Thriving Ivory |
Songs to listen :-
ANGELS ON THE MOON
HEY LADY
DAY OF RAIN
LIGHT UP MISSISSIPI
FOR HEAVEN'S SAKE
Sources - wikipedia and youtube
December 17, 2009
Did you Know?
• The finest compliment anyone can pay for a musician came from Jawaharlal Nehru. After a concert by M.S. Subbulakshmi, he exclaimed, “Who am I, a mere prime minister, before this queen of song?”
• The notation of Shankarabharanam ragam conforms to the C Major scale in Western music.
• Jon Borthwick Higgins, from Andover, Massachusetts, was so captivated by Carnatic music that he learnt it fully and became a concert singer. Chennai called him Higgins Bhagavatar. He died at age 45 in a hit-and-run accident in the US.
Instruments of Change
Today, the use of violin in Carnatic music is taken for granted, but two centuries ago it had almost lost out to the piano as the newfangled accompaniment in South Indian classical music. In fact, the musicians of that era had a wide choice of native bowed instruments and they had no reason to look at the violin. So, it is a wonder how this instrument sidled its way into the core of Carnatic music.
Put it down to the British Raj. Varahappa Iyer, who was a minister in the Maratha court of Tanjore, was also a friend of the British governor in Madras. The Governor had a band which he showed off to Iyer. When Iyer saw the piano, he fell in love with it immediately, given its range of seven octaves that could support singing in the very low pitches prevalent in South India and its versatility in composing.
There was one problem though. The piano could not produce the nuanced microtonal variations called gamakam, the soul of a Carnatic ragam. Iyer experimented with other instruments in the band and found the violin to be the most suited for gamakams. He modified its tuning to suit the human voice and tried it out in a concert. The rest is history.
But Iyer was not the first to discover the violin. Sometime, also in the late 18th Century, Balaswami Dikshitar, brother of composer Muthuswamy Dikshitar, attended a Western music concert by the European Orchestra, run by the East India Company. He took particular note of the violin and marvelled at its suitability for Carnatic music. He learned it for three years and championed its use in concerts.
Stooping to Conquer
Legendary Carnatic vocalist G.N. Balasubramaniam — GNB to his admirers — was also a fan of Hindustani music. He was especially a great admirer of Ustad Bade Ghulam Ali Khan. In 1953, GNB invited Bade Ghulam Ali Khan to present the first ever concert tour of a Hindustani musician in South India. A mini controversy erupted when GNB fell at the feet of the Ustad after listening to the master’s soulful rendering at his first concert at the Music Academy. Other Carnatic singers protested on the grounds that this amounted to South Indian music prostrating before North Indian music. But once they listened to Bade Ghulam Ali Khan in subsequent concerts, the same critics changed their minds and became his admirers.
It is another matter that at the end of the tour, when GNB treated Bade Ghulam Ali Khan to a riveting performance of Hindola ragam, the virtuoso from Patiala Gharana tried to prostrate before the younger South Indian musician. GNB, however, stopped him midway.
On the Beat
Carnatic music has one of the most complex systems of rhythm in world music. There are 108 classical talams, or cycles of rhythm, that help keep time while rendering a song. Over time, many more talams have been displayed, taking their total number beyond 175.
The most common sight in a kutcheri is the tapping of the laps by both the musicians and the listeners. They are just performing the talam of the song, making it easy for each other to follow the timing.
The most often used talam is the eight-beat Adi talam, but there are many other intricate talams. The Simhanandana talam is said to be the world’s longest rhythmic cycle, with 108 beats. There are intricate talams like Sarabhanandana, which has 79 beats.
Some of the best exposition of rhythm comes in talamalikas, songs that are “garlands of rhythm”. These songs change the talam midway more than once, requiring the singers and percussionists to change the cycle of beats, time interval and pace without any awkward pause.
If this is not complex enough, there is also the practice of dvi-tala avadhanam, or singing a song with two rhythms simultaneously. A singer would tap one talam on the right lap and another on the left tap, maintaining two different time intervals for the same lyrics. The last beat on both talams should coincide precisely at the moment the song ends.
Screen Presence
Carnatic music is now a film star too. In April 2008, India’s first concert movie Margazhi Raagam was released to packed houses in Chennai and Bangalore. The movie is nothing but a two-hour concert by vocalists T.M. Krishna and Bombay Jayashri, filmed with sophisticated cameras and sound systems. People queued up in cinema theatres just like they would do for a Rajinikanth movie and bought tickets to watch the big screen kutcheri.
Bright Thought
The world of Carnatic music allows for some pride and ego on the part of acclaimed musicians (vidwans). In fact, they are expected to be proud people. Hence the joke: “How many vidwans does it take to change a light bulb?” Answer: “Just one. He stands holding the bulb and the world revolves around him.”
Did you Know?
The legendary Chembai Vaidyanatha Bhagavatar once gave a concert in Bombay, as the city was then known. He dedicated each song to a temple town about which ancient composers have sung. A local fan stood up and asked him to sing about the city, knowing full well there could be no song on Bombay. Chembai didn’t think for a second. He sang: “Aadu Bombay, vilayadu Bombay,” slightly changing the Tamil word “pambe” in a song that refers to the serpent around Lord Shiva’s neck. He converted that to a song dedicated to Goddes Mahalakshmi.
Iconic singers G.N. Balasubramaniam and M.S. Subbulakshmi came together to act in a few films. They fell in love and were about to be married, when Congress leader T. Sadasivam came in to her life. Decades later, 20 letters written by MS to GNB were unearthed.
Concert Etiquette
• Men: dress in veshti (a la P. Chidambaram) and shirt. Women: Wear silk sarees and accessorise with bangles and jasmine flowers
• Switch off your mobile phone
• Don’t get up or walk out during the concert. It is insulting and distracting to the artists
• Pay attention to the rhythmic part of the concert called Thani Avarthanam
• Don’t stand and hold up the concert if the singer has disregarded your request for a particular song
• Don’t tap the beat on your lap unless you are experienced. If you miss half a beat, you will not only look ridiculous, you will distract your neighbours.
• Don’t sing loudly. A gentle hum below the radar is okay.
Filmi ragams
Use film songs to understand ragams, but beware. Composers take liberties and bend the rules. Only classical concerts can give you an authentic feel of the ragams.
• Karaharapriya
Kali Ghodi Dwaar Khadi
Chashm-e-Bud-Dur
• Sindhu Bhairavi
Mile Sur Mera Tumhara
Doordarshan song
• Mohanam
Dil Hoom Hoom Kare
Rudali
• Shivaranjani
Mere Naina Saawan Bhadon
Mehbooba
• Hameer Kalyani
Bekas Pe Karam Kijiye
Mughal-e-Azam
• Kalyani
Amma Endru Azhaikkada
Mannan – Tamil
• Shankarabharanam
Omkara Nadanu
Shankarabharanam – Telugu
• Senjurutti
En Veettu Thottathil
Gentleman - Tamil
Source: http://business.in.com/article/magazine-extra/carnatic-music-trivia/7942/0
• The finest compliment anyone can pay for a musician came from Jawaharlal Nehru. After a concert by M.S. Subbulakshmi, he exclaimed, “Who am I, a mere prime minister, before this queen of song?”
• The notation of Shankarabharanam ragam conforms to the C Major scale in Western music.
• Jon Borthwick Higgins, from Andover, Massachusetts, was so captivated by Carnatic music that he learnt it fully and became a concert singer. Chennai called him Higgins Bhagavatar. He died at age 45 in a hit-and-run accident in the US.
Instruments of Change
Today, the use of violin in Carnatic music is taken for granted, but two centuries ago it had almost lost out to the piano as the newfangled accompaniment in South Indian classical music. In fact, the musicians of that era had a wide choice of native bowed instruments and they had no reason to look at the violin. So, it is a wonder how this instrument sidled its way into the core of Carnatic music.
Put it down to the British Raj. Varahappa Iyer, who was a minister in the Maratha court of Tanjore, was also a friend of the British governor in Madras. The Governor had a band which he showed off to Iyer. When Iyer saw the piano, he fell in love with it immediately, given its range of seven octaves that could support singing in the very low pitches prevalent in South India and its versatility in composing.
There was one problem though. The piano could not produce the nuanced microtonal variations called gamakam, the soul of a Carnatic ragam. Iyer experimented with other instruments in the band and found the violin to be the most suited for gamakams. He modified its tuning to suit the human voice and tried it out in a concert. The rest is history.
But Iyer was not the first to discover the violin. Sometime, also in the late 18th Century, Balaswami Dikshitar, brother of composer Muthuswamy Dikshitar, attended a Western music concert by the European Orchestra, run by the East India Company. He took particular note of the violin and marvelled at its suitability for Carnatic music. He learned it for three years and championed its use in concerts.
Stooping to Conquer
Legendary Carnatic vocalist G.N. Balasubramaniam — GNB to his admirers — was also a fan of Hindustani music. He was especially a great admirer of Ustad Bade Ghulam Ali Khan. In 1953, GNB invited Bade Ghulam Ali Khan to present the first ever concert tour of a Hindustani musician in South India. A mini controversy erupted when GNB fell at the feet of the Ustad after listening to the master’s soulful rendering at his first concert at the Music Academy. Other Carnatic singers protested on the grounds that this amounted to South Indian music prostrating before North Indian music. But once they listened to Bade Ghulam Ali Khan in subsequent concerts, the same critics changed their minds and became his admirers.
It is another matter that at the end of the tour, when GNB treated Bade Ghulam Ali Khan to a riveting performance of Hindola ragam, the virtuoso from Patiala Gharana tried to prostrate before the younger South Indian musician. GNB, however, stopped him midway.
On the Beat
Carnatic music has one of the most complex systems of rhythm in world music. There are 108 classical talams, or cycles of rhythm, that help keep time while rendering a song. Over time, many more talams have been displayed, taking their total number beyond 175.
The most common sight in a kutcheri is the tapping of the laps by both the musicians and the listeners. They are just performing the talam of the song, making it easy for each other to follow the timing.
The most often used talam is the eight-beat Adi talam, but there are many other intricate talams. The Simhanandana talam is said to be the world’s longest rhythmic cycle, with 108 beats. There are intricate talams like Sarabhanandana, which has 79 beats.
Some of the best exposition of rhythm comes in talamalikas, songs that are “garlands of rhythm”. These songs change the talam midway more than once, requiring the singers and percussionists to change the cycle of beats, time interval and pace without any awkward pause.
If this is not complex enough, there is also the practice of dvi-tala avadhanam, or singing a song with two rhythms simultaneously. A singer would tap one talam on the right lap and another on the left tap, maintaining two different time intervals for the same lyrics. The last beat on both talams should coincide precisely at the moment the song ends.
Screen Presence
Carnatic music is now a film star too. In April 2008, India’s first concert movie Margazhi Raagam was released to packed houses in Chennai and Bangalore. The movie is nothing but a two-hour concert by vocalists T.M. Krishna and Bombay Jayashri, filmed with sophisticated cameras and sound systems. People queued up in cinema theatres just like they would do for a Rajinikanth movie and bought tickets to watch the big screen kutcheri.
Bright Thought
The world of Carnatic music allows for some pride and ego on the part of acclaimed musicians (vidwans). In fact, they are expected to be proud people. Hence the joke: “How many vidwans does it take to change a light bulb?” Answer: “Just one. He stands holding the bulb and the world revolves around him.”
Did you Know?
The legendary Chembai Vaidyanatha Bhagavatar once gave a concert in Bombay, as the city was then known. He dedicated each song to a temple town about which ancient composers have sung. A local fan stood up and asked him to sing about the city, knowing full well there could be no song on Bombay. Chembai didn’t think for a second. He sang: “Aadu Bombay, vilayadu Bombay,” slightly changing the Tamil word “pambe” in a song that refers to the serpent around Lord Shiva’s neck. He converted that to a song dedicated to Goddes Mahalakshmi.
Iconic singers G.N. Balasubramaniam and M.S. Subbulakshmi came together to act in a few films. They fell in love and were about to be married, when Congress leader T. Sadasivam came in to her life. Decades later, 20 letters written by MS to GNB were unearthed.
Concert Etiquette
• Men: dress in veshti (a la P. Chidambaram) and shirt. Women: Wear silk sarees and accessorise with bangles and jasmine flowers
• Switch off your mobile phone
• Don’t get up or walk out during the concert. It is insulting and distracting to the artists
• Pay attention to the rhythmic part of the concert called Thani Avarthanam
• Don’t stand and hold up the concert if the singer has disregarded your request for a particular song
• Don’t tap the beat on your lap unless you are experienced. If you miss half a beat, you will not only look ridiculous, you will distract your neighbours.
• Don’t sing loudly. A gentle hum below the radar is okay.
Filmi ragams
Use film songs to understand ragams, but beware. Composers take liberties and bend the rules. Only classical concerts can give you an authentic feel of the ragams.
• Karaharapriya
Kali Ghodi Dwaar Khadi
Chashm-e-Bud-Dur
• Sindhu Bhairavi
Mile Sur Mera Tumhara
Doordarshan song
• Mohanam
Dil Hoom Hoom Kare
Rudali
• Shivaranjani
Mere Naina Saawan Bhadon
Mehbooba
• Hameer Kalyani
Bekas Pe Karam Kijiye
Mughal-e-Azam
• Kalyani
Amma Endru Azhaikkada
Mannan – Tamil
• Shankarabharanam
Omkara Nadanu
Shankarabharanam – Telugu
• Senjurutti
En Veettu Thottathil
Gentleman - Tamil
Source: http://business.in.com/article/magazine-extra/carnatic-music-trivia/7942/0
December 16, 2009
Bhavayami Raghuramam
bhAvayAmi raghurAmam --- is a soul-stirring rAgamAlika epitomizing the entire story of the epic rAmAyaNam. This beautiful song, in chaste Sanskrit, was originally composed by Maharaja Swaati Tirunaal, as a kriti in the (single) rAgam, sAvEri, and set to rUpaka tALam. After more than 100 years, it was recently carved out as a rAgamAlika, with built-in cittasvarams by the doyen of karNATik music, Semmangudi Srinivasa Iyer.
Song: Bhaavayaami Raghuramam
taaLam: roopakam
Composer: Swaati TirunaaL
Language: Sanskrit
raagam: raagamaalika
pallavi
saavEri
15 maayamaaLava gowLa janya
Aa: S R1 M1 P D1 S
Av: S N3 D1 P M1 G3 R1 S
bhaavayaami raghuraamam | bhavyasuguNaaraamam ||
anupallavi
bhaavukavitaraNaparaa- | paangaleelaalasitam ||
srgsr,mpdpd, | RSndndpmgrsd. |
srm,grmpd,pmpdS,ndndpmpd |
GRSd,RSd,,Sd,,GRndmgrsd. | (bhaavai)
caraNam 1
naaTTai kurinji
28 harikaambhOji janya
Aa: S R2 G3 M1 N2 D2 N2 P D2 N2 S
Av: S N2 D2 M1 G3 M1 P G3 R2 S
dinakaraanvayatilakam | divyagaadhi sudasavanaa ||
vanaracitasubaahumukha- | vadamahalyaa paavanam ||
anaghameeSaSaapapangam | janakasudaapraaNeSam ||
ghanakupithabhruguraama | garvaharamithasaakEtam ||
mgs,n.d.n.s,rgm | ndm,grgmpgrs |
n.d.n.srgmndnpdnSndnSRGMGsn |
(GRSd...)
(bhaavai)
caraNam 2
dhanyaasi
8 hanumatODi janya
Aa: S G2 M1 P N2 S
Av: S N2 D1 P M1 G2 R1 S
vihahabhishEkamata | vipinagatamaaryavaaca ||
sahitaseetaa sowmeetrim | shaantatama sheelam ||
guhanilayagatam citra- | kooTaagatabharata tatta ||
mahitaratnamayapaadukam | madanasundaraangam ||
n.sg,mpgmp,nS | RSRnSpdpg,rs |
nsgmpg,mpnSp,nSGRSndpnS |
(GRSd...)
(bhaavai)
caraNam 3
mOhanam
28 harikaambhOji janya
Aa: S R2 G3 P D2 S
Av: S D2 P G3 R2 S
vitatadaNDa kaaraNyagata- | viraadadaLanam ||
sucaritaghaTajadataanu bam- | idavaishNavaastram ||
patagavarajaTaayunootam | panchavaTeevihitaavaasam ||
atighOraSoorppaNakhaavaSan- | aagatakaraadiharam ||
g,,pgrgrsd.sr | g,,pdSdpgrsr |
gpggrsrgrrsdsrgrgpgpdpdS |
(GRSd...)
(bhaavai)
caraNam 4
mukhaari
22 kharaharapriya janya
Aa: S R2 M1 P N2 D2 S
Av: S N2 D1 P M1 G2 R2 S
kanakamrugaroopadharakha- | lamaaricaharamiha su- ||
janavimata daSasyahruta- | janaka jaanvEshanam ||
anagham pampateeirasangata- | anjanE nabhOmaNi ||
danujasakhyakaram vaali- | tanudaLanameeSam ||
p,,mgrs,n.d.sr | m,,grsrmpmnd |
S,Sndpp,mgrsn.d.srmpndmpds |
(GRSd...)
(bhaavai)
caraNam 5
poorvi kalyaaNi
53 gamanashrama janya
Aa: S R1 G3 M2 P D2 P S
Av: S N3 D2 P M2 G3 R1 S
vaanarOttamasahitavaa- | yusunukaraarpita- ||
bhaanusaSatabhaasvarabhavya- | ratnaanguleeyam ||
tEna punaraaneetaa | nyoona cooDaamaNi darSanam ||
shreenidhimudadhiteera- | SrutavibheeshaNa miLitam ||
g,mgrsd.s,rgm | p,,dpSndpmgr |
gmpm,pg,mr,gs,rg,mpdpS,n |
(GRSd...)
(bhaavai)
caraNam 6
madyamaavati
22 kharaharapriya janya
Aa: S R2 M1 P N2 S
Av: S N2 P M1 R2 S
kalitavarasetubandham | khalaniseesumapiSidaaSana- ||
daLanamurudaSakaNTa- | vidaaraNamatidheeram ||
jvalana putajanakasudaa- | sahitamyaadasaakEtam ||
vilasitapaTTaabhishEkam- | viSvapaalampadmanaabham ||
r,mrmpn,pmpn | S,,nSnppmmrs |
Ragam1: rpmrsn.srmp
Ragam2: dpS,ndpmgmgr
Ragam3: s,n.d.srmg,rsr
Ragam4: g,dpgrsrgpdS
Ragam5: RSd,pdpg,rs
Ragam6: n.smgmndnpdnS
Ragam0: (GRSd...)
(bhaavai)
------------------------------------------------------------------------
Meaning:
bhaavayaami raghuraamam | bhavyasuguNaaraamam ||
"I mediatate upon Shri Raama, Scion of the Raghu clan | In whom reside all the glorious virtues"
bhaavukavitaraNaparaa- paangaleelaalasitam ||
"(Oh!)The one who transmigrates all over the ocean of emotions(Samsaara),Who displayed his shining , par excellence passtimes! "
dinakaraanvayatilakam | divyagaadhi sudasavanaa ||
"The Scion of the race of the Sun,institutor of Divine sacrifices! "
vanaracitasubaahumukha- | vadamahalyaa paavanam ||
"In the forest , he(who) engaged in the Killing of (the Demon) Subahu, (He who) purified (or emancipated)Ahalya (from her curse by Gowtama Muni , her husband)"
anaghameeSaSaapapangam |janakasudaapraaNeSam ||
"The sinless one (who) broke Shiva's Bow , (and therby became the) life breath of Janaka's Daughter(Sita)"
ghanakupithabhruguraama |garvaharamithasaakEtam ||
"(He who) Defeated the Pride of BhriguRaama(ParashuRama), that ParashuRaama, who was densely filled with wrath , the King of Saketa "
vihahabhishEkamata |vipinagatamaaryavaaca ||
"(One, who)having given up the coronation ceremony, went towards the forest and (was)"
sahitaseetaa sowmeetrim | shaantatama sheelam ||
"Accompanied by Sita (along with) the son of Sumitra(LakshmaNa), composed and virtuous ! "
guhanilayagatam citra- kooTaagatabharata tatta ||
"The one who (later)goes to Guha's house, Thereon proceeding to the ChitraKoota mountain, and (whom) Bharata follows there"
mahitaratnamayapaadukam | madanasundaraangam ||
"(And then the episode of)The Divine ruby encrusted Sandals, He whose beauty enchants Cupid himself ! "
vitatadaNDa kaaraNyagata- viraadadaLanam ||
"He who went to the dense DandaKaaranya, He who killed the demon Viraada"
sucaritaghaTajadataanu bam- idavaishNavaastram ||
"The one with a flaless charecter, who bestowed benedictions to Agastya's Disciple(SharaBhanga),which (here referring to the blessing) is more than(like the) the VaishNavastram" (Author may be making a reference to the incident in the Mahabarata where Bhagadatta aims a VaishNavAstra at Arjuna. Krishna asks Arjuna to fold his hands in an Anjali. Seeing the Anjali , the weapon lodges itself in the chest of Krishna. Then Krishna tells Arjuna that he(Arjuna) was saved from the terrible VaishnavAstra only because fof the Anjali , thereby proving to the world that devotional submission to the Supreme protects one even from the utmost , that is , even from the wrath of the Supreme!)
patagavarajaTaayunootam |panchavaTeevihitaavaasam ||
"He who was saluted by the king of vultures , JaTayu , he who lead a restrained life in the forest of PanchavaTi"
atighOraSoorppaNakhaavaSan- aagatakaraadiharam ||
"He who caused horrifying (She-Demon) ShoorpaNaKha , to (run) towards her death !" (ShoorpanaKha runs to her brother RavaNa yelling about how LakshmaNa had mutilated her, thereby starting the entire war episode)
kanakamrugaroopadharakha- lamaaricaharamiha su- ||
"He who slays the wicked demon Maricha, that MarIcha, who had assumed the form of a golden deer , "
janavimata daSasyahruta- janaka jaanvEshanam ||
"Hw wh searched for the daughter of Janaka(JAnaki,Sita),abducted by the ten faced Demon(RavaNa), that RavaNa, who disregarded the (wise) counsel of the Good men "
anagham pampateeirasangata- anjanEnabhOmaNi ||
"The sinless one , who met Anjeneya, at the banks of the pampA (river/Lake), the (supreme one from the race of the )Sun God! "
danujasakhyakaram vaali-tanudaLanameeSam ||
"He , the Lord , who slayed Vaali's body, that Vali, who was the befriender of demons "
vaanarOttamasahitavaa- yusunukaraarpita- ||
"He who ,along with the King of the Monkeys, unto the son of Vayu( Hanuman) "
bhaanusaSatabhaasvarabhavya- ratnaanguleeyam ||
" gave the divine ruby-encrusted ring, as resplendant as a hundred suns !"
tEna punaraaneetaa | nyoona cooDaamaNidarSanam ||
"And who certainly saw the hair-ornament, that was brought back by him( Hanuman)"
shreenidhimudadhiteera- SrutavibheeshaNa miLitam ||
"The repository of all riches , who was met by the submissive viBheeshana , on the shores of the ocean"
kalitavarasetubandham |khalaniseesumapiSidaaSana- ||
"He who caused the creation of the divine bridge , and rocked the throne of the king of the demons(RavaNa)"
daLanamurudaSakaNTa- vidaaraNamatidheeram ||
"He who slays the (demon with) ten throats( RavaNa) easily , the magnificiently brave one "
jvalana putajanakasutaa- sahitamyaadasaakEtam ||
"He who , along with the daughter of Janaka , purified by the blazing fire , departed to (the city of) sAkEta"
vilasitapaTTaabhishEkam- viSvapaalampadmanaabham ||
"The one who directed the coronation , the King of the world , the one with a lotus in his navel !"
Sources: Lyrics & Translation: http://forumhub.com/indcmusic/24236.23.27.33.html
Video: www.youtube.com
Song: Bhaavayaami Raghuramam
taaLam: roopakam
Composer: Swaati TirunaaL
Language: Sanskrit
raagam: raagamaalika
pallavi
saavEri
15 maayamaaLava gowLa janya
Aa: S R1 M1 P D1 S
Av: S N3 D1 P M1 G3 R1 S
bhaavayaami raghuraamam | bhavyasuguNaaraamam ||
anupallavi
bhaavukavitaraNaparaa- | paangaleelaalasitam ||
srgsr,mpdpd, | RSndndpmgrsd. |
srm,grmpd,pmpdS,ndndpmpd |
GRSd,RSd,,Sd,,GRndmgrsd. | (bhaavai)
caraNam 1
naaTTai kurinji
28 harikaambhOji janya
Aa: S R2 G3 M1 N2 D2 N2 P D2 N2 S
Av: S N2 D2 M1 G3 M1 P G3 R2 S
dinakaraanvayatilakam | divyagaadhi sudasavanaa ||
vanaracitasubaahumukha- | vadamahalyaa paavanam ||
anaghameeSaSaapapangam | janakasudaapraaNeSam ||
ghanakupithabhruguraama | garvaharamithasaakEtam ||
mgs,n.d.n.s,rgm | ndm,grgmpgrs |
n.d.n.srgmndnpdnSndnSRGMGsn |
(GRSd...)
(bhaavai)
caraNam 2
dhanyaasi
8 hanumatODi janya
Aa: S G2 M1 P N2 S
Av: S N2 D1 P M1 G2 R1 S
vihahabhishEkamata | vipinagatamaaryavaaca ||
sahitaseetaa sowmeetrim | shaantatama sheelam ||
guhanilayagatam citra- | kooTaagatabharata tatta ||
mahitaratnamayapaadukam | madanasundaraangam ||
n.sg,mpgmp,nS | RSRnSpdpg,rs |
nsgmpg,mpnSp,nSGRSndpnS |
(GRSd...)
(bhaavai)
caraNam 3
mOhanam
28 harikaambhOji janya
Aa: S R2 G3 P D2 S
Av: S D2 P G3 R2 S
vitatadaNDa kaaraNyagata- | viraadadaLanam ||
sucaritaghaTajadataanu bam- | idavaishNavaastram ||
patagavarajaTaayunootam | panchavaTeevihitaavaasam ||
atighOraSoorppaNakhaavaSan- | aagatakaraadiharam ||
g,,pgrgrsd.sr | g,,pdSdpgrsr |
gpggrsrgrrsdsrgrgpgpdpdS |
(GRSd...)
(bhaavai)
caraNam 4
mukhaari
22 kharaharapriya janya
Aa: S R2 M1 P N2 D2 S
Av: S N2 D1 P M1 G2 R2 S
kanakamrugaroopadharakha- | lamaaricaharamiha su- ||
janavimata daSasyahruta- | janaka jaanvEshanam ||
anagham pampateeirasangata- | anjanE nabhOmaNi ||
danujasakhyakaram vaali- | tanudaLanameeSam ||
p,,mgrs,n.d.sr | m,,grsrmpmnd |
S,Sndpp,mgrsn.d.srmpndmpds |
(GRSd...)
(bhaavai)
caraNam 5
poorvi kalyaaNi
53 gamanashrama janya
Aa: S R1 G3 M2 P D2 P S
Av: S N3 D2 P M2 G3 R1 S
vaanarOttamasahitavaa- | yusunukaraarpita- ||
bhaanusaSatabhaasvarabhavya- | ratnaanguleeyam ||
tEna punaraaneetaa | nyoona cooDaamaNi darSanam ||
shreenidhimudadhiteera- | SrutavibheeshaNa miLitam ||
g,mgrsd.s,rgm | p,,dpSndpmgr |
gmpm,pg,mr,gs,rg,mpdpS,n |
(GRSd...)
(bhaavai)
caraNam 6
madyamaavati
22 kharaharapriya janya
Aa: S R2 M1 P N2 S
Av: S N2 P M1 R2 S
kalitavarasetubandham | khalaniseesumapiSidaaSana- ||
daLanamurudaSakaNTa- | vidaaraNamatidheeram ||
jvalana putajanakasudaa- | sahitamyaadasaakEtam ||
vilasitapaTTaabhishEkam- | viSvapaalampadmanaabham ||
r,mrmpn,pmpn | S,,nSnppmmrs |
Ragam1: rpmrsn.srmp
Ragam2: dpS,ndpmgmgr
Ragam3: s,n.d.srmg,rsr
Ragam4: g,dpgrsrgpdS
Ragam5: RSd,pdpg,rs
Ragam6: n.smgmndnpdnS
Ragam0: (GRSd...)
(bhaavai)
------------------------------------------------------------------------
Meaning:
bhaavayaami raghuraamam | bhavyasuguNaaraamam ||
"I mediatate upon Shri Raama, Scion of the Raghu clan | In whom reside all the glorious virtues"
bhaavukavitaraNaparaa- paangaleelaalasitam ||
"(Oh!)The one who transmigrates all over the ocean of emotions(Samsaara),Who displayed his shining , par excellence passtimes! "
dinakaraanvayatilakam | divyagaadhi sudasavanaa ||
"The Scion of the race of the Sun,institutor of Divine sacrifices! "
vanaracitasubaahumukha- | vadamahalyaa paavanam ||
"In the forest , he(who) engaged in the Killing of (the Demon) Subahu, (He who) purified (or emancipated)Ahalya (from her curse by Gowtama Muni , her husband)"
anaghameeSaSaapapangam |janakasudaapraaNeSam ||
"The sinless one (who) broke Shiva's Bow , (and therby became the) life breath of Janaka's Daughter(Sita)"
ghanakupithabhruguraama |garvaharamithasaakEtam ||
"(He who) Defeated the Pride of BhriguRaama(ParashuRama), that ParashuRaama, who was densely filled with wrath , the King of Saketa "
vihahabhishEkamata |vipinagatamaaryavaaca ||
"(One, who)having given up the coronation ceremony, went towards the forest and (was)"
sahitaseetaa sowmeetrim | shaantatama sheelam ||
"Accompanied by Sita (along with) the son of Sumitra(LakshmaNa), composed and virtuous ! "
guhanilayagatam citra- kooTaagatabharata tatta ||
"The one who (later)goes to Guha's house, Thereon proceeding to the ChitraKoota mountain, and (whom) Bharata follows there"
mahitaratnamayapaadukam | madanasundaraangam ||
"(And then the episode of)The Divine ruby encrusted Sandals, He whose beauty enchants Cupid himself ! "
vitatadaNDa kaaraNyagata- viraadadaLanam ||
"He who went to the dense DandaKaaranya, He who killed the demon Viraada"
sucaritaghaTajadataanu bam- idavaishNavaastram ||
"The one with a flaless charecter, who bestowed benedictions to Agastya's Disciple(SharaBhanga),which (here referring to the blessing) is more than(like the) the VaishNavastram" (Author may be making a reference to the incident in the Mahabarata where Bhagadatta aims a VaishNavAstra at Arjuna. Krishna asks Arjuna to fold his hands in an Anjali. Seeing the Anjali , the weapon lodges itself in the chest of Krishna. Then Krishna tells Arjuna that he(Arjuna) was saved from the terrible VaishnavAstra only because fof the Anjali , thereby proving to the world that devotional submission to the Supreme protects one even from the utmost , that is , even from the wrath of the Supreme!)
patagavarajaTaayunootam |panchavaTeevihitaavaasam ||
"He who was saluted by the king of vultures , JaTayu , he who lead a restrained life in the forest of PanchavaTi"
atighOraSoorppaNakhaavaSan- aagatakaraadiharam ||
"He who caused horrifying (She-Demon) ShoorpaNaKha , to (run) towards her death !" (ShoorpanaKha runs to her brother RavaNa yelling about how LakshmaNa had mutilated her, thereby starting the entire war episode)
kanakamrugaroopadharakha- lamaaricaharamiha su- ||
"He who slays the wicked demon Maricha, that MarIcha, who had assumed the form of a golden deer , "
janavimata daSasyahruta- janaka jaanvEshanam ||
"Hw wh searched for the daughter of Janaka(JAnaki,Sita),abducted by the ten faced Demon(RavaNa), that RavaNa, who disregarded the (wise) counsel of the Good men "
anagham pampateeirasangata- anjanEnabhOmaNi ||
"The sinless one , who met Anjeneya, at the banks of the pampA (river/Lake), the (supreme one from the race of the )Sun God! "
danujasakhyakaram vaali-tanudaLanameeSam ||
"He , the Lord , who slayed Vaali's body, that Vali, who was the befriender of demons "
vaanarOttamasahitavaa- yusunukaraarpita- ||
"He who ,along with the King of the Monkeys, unto the son of Vayu( Hanuman) "
bhaanusaSatabhaasvarabhavya- ratnaanguleeyam ||
" gave the divine ruby-encrusted ring, as resplendant as a hundred suns !"
tEna punaraaneetaa | nyoona cooDaamaNidarSanam ||
"And who certainly saw the hair-ornament, that was brought back by him( Hanuman)"
shreenidhimudadhiteera- SrutavibheeshaNa miLitam ||
"The repository of all riches , who was met by the submissive viBheeshana , on the shores of the ocean"
kalitavarasetubandham |khalaniseesumapiSidaaSana- ||
"He who caused the creation of the divine bridge , and rocked the throne of the king of the demons(RavaNa)"
daLanamurudaSakaNTa- vidaaraNamatidheeram ||
"He who slays the (demon with) ten throats( RavaNa) easily , the magnificiently brave one "
jvalana putajanakasutaa- sahitamyaadasaakEtam ||
"He who , along with the daughter of Janaka , purified by the blazing fire , departed to (the city of) sAkEta"
vilasitapaTTaabhishEkam- viSvapaalampadmanaabham ||
"The one who directed the coronation , the King of the world , the one with a lotus in his navel !"
Sources: Lyrics & Translation: http://forumhub.com/indcmusic/24236.23.27.33.html
Video: www.youtube.com
December 15, 2009
Kurai Ondrum Illai
குà®±ை ஒன்à®±ுà®®் இல்லை (I don't have any woes)
Kurai Onrum Illai is a Tamil devotional song written by C. Rajagopalachari. The song was written in praise of the Hindu god Krishna and set in Carnatic music. The song was sung by M. S. Subbulakshmi at the United Nations in 1969 and became really popular
My Rating: 10/10
LYRICS
kurai ondrum illai kannaa
kurai ondrum illai GOvinda (2)
Kannukku Theriyaamal nirkinraay kannaa
kannukku Theriyaamal ninraalum enakku
kurai onrum illai marai Moorththy kanna
Charanam 1
Vendiyathai thannthida Venkatesan nindru irukka
Vendiyathu Verillai marai Moorthi kannaa
Manivannaa malaiappaa Govinda Govinda
Charanam 2
Thiraiyin pin nirkinraay kannaa - (2)
Unnai marai Odhum Nyaaniyar mattume kaanpaar (2)
endraalum kurai onrum enakkillai kannaa
CharaNam 3
Kundrin Mel kallaagi nirkindra varathaa
kurai onrum illai marai Moorthy kannaa (2)
Manivannaa Malaiappaa Govinda Govinda
Charanam 4
Kalinnaar-kiranngi kallile irangiNilayaaga Kovilil nirkindraai Kesavaa (2)
kurai onrum illai marai Moorththy kanna
CharaNam 5
Yaathum marukkaatha malaiyappaa - un maarbil
Ethum thara nirkum karunai kadal annai
endrum irunthida Ethu kuRai enakku (2)
ondrum kurai illai marai Moorthi kannaa (2)
Manivannaa malaiappaa Govinda Govinda
Translation
kurai ondrum illai
marai moorthi kanna
kurai ondrum illai kanna
kurai ondrum illai govinda
i dont have (illai) any ( ondrum ) woes ( kurai )
marai moorthi kanna
( kanna personified by vedas )
kurai ondrum illai govinda
kannukku theriyamal nirkindraai kanna
( you stand in a place i cant see kanna )
kannukku theriyamal nindraalum yenakku
(even if u stand in a place i cant see )
kurai ondrum illai
marai moorthi kanna
( i still have no woes kanna )
vendiyathai thandhida
venketesan yenrirukka
( when i have lord venkatesa to give what i need )
vendiyathu verillai
marai moorthi kanna
( i dont have anything i need kanna )
manivanna malaiyappa
govinda govinda
( various references for kanna )
thirayin pin nirkinrai kanna - kannaa
( you stand behind a screen kanna )
unnai marayodhum nyaaniyar mattume kaanbar
( only the rishis reciting vedas can see you )
endralum kurai ondrum enakkillai kanna
( still i have no woes kanna even if i cant see you )
kundrin mel kallagi nirkinra varadha
(you are standing like a stone on the hilltop)
kurai ondrum illai
marai moorthi kanna
( yet i have no woes kanna )
kalinaalukkirangi kallile irangi
(taken this stone-form in kaliyuga )
nilaayaaga kovilil nirkindraai kesava
(and staying in this temple permanently )
kurai ondrum illai
marai moorthi kanna
( still i have no woes kanna )
yaarum marukkadha malayappaa
yaarum marukkadha malayappa - un maarbil
( with the lord who doesnt refuse the prayers of devotees )
yethum thara nirkum karunai kadal annai
( having ever-merciful goddess lakshmi on his chest )
endrum irundhida yedhu kurai enakku
( how can i ever have any woes )
ondrum kurai illai
marai moorthi kanna
( no woes i have kanna )
Sources - youtube and wikipedia
December 11, 2009
Paa (Movie Review)
पा (Paa)
Starring - Amitabh Bachchan, Abhishek Bachchan, Vidya Balan, Paresh Rawal
Direction - R.Balki
Music - Illayaraja
Reflections
Hmm...now what do we expect from a man who was the brain behind "DAAG ACHCHE HAIN" , "JAAGO RE" and "WALK WHEN YOU TALK"?
No, No! These aren't movies or tele-serials, these are the advertisement campaigns you have been witnessing on th mass media for quite some time...(Surf Excel, Tata Tea and Idea respectively). Yea! Its the same man, R.Balki or R.Balakrishnan who has created Paa. His second venture after Cheeni Kam.
Well, I expected a no-nonsense movie from him and the impression about which he didn't spoil either.
Paa is a very toucing movie, with correct and timely dose of healthy humour and some inspiring politics.
Its about 12 year old Auro who is suffers from a very rare genetic disorder called Progeria(In which the patient ages physical much faster than the real age...).
The Script was great and the screenplay was good too, some healthy camera work, nothing extraordinary about it....But But But.....what was extraordinary was the Man.....the 60 something old....King Of Bollywood.....proves to the world that he's better than any 12 year old kid in the world. He's no match for anyone. Right from the word go, he makes us giggle and think and giggle again with his wishful words.
There are some hilarious exchanges between Auro (The character played by Amitabh) and his little little friends...some of them way too mature.,..especially the scene in which he enquires Vishnu(his classmate) about his Dad....I could feel myself in that lil guy- Vishnu's pyjamas. And then the girl who is always coming after Auro with a Uhm Uhm...Letter... ;) ...and Auro always running away.
Oh! Yea....Auro has his own conspiracy Theory of carrying out the MP's BUM BLAST.
Amitabh...err....Amitji has given an 'out of bounds' performance, must be a front runner at this years award functions for the best actor.
Oh! Plus theres is Abhishek....the PAA....and Vidya ...the MAA....and a dadi...BUM.......
Abhishek and Vidya used to love each other till the moment when Vidya got pregnant and Abhishek decides to runaway from the grihasti to secure his political visions. Vidya decides to keep the child.
But years later, Abhishek meets Auro at an competition in Auro's School. Fate brings things back.
Although the first half isnt exactly about the father-son relationship...but only about Abhishek's political agendas and a flashback of his lovestory. Infact, that was something disappoiting in the movie...the father son relationship was not projected to the extent with which it was previewed in the Promos....
It only begins in the second half, and before it could bloom any further, Auro breaks down and then its reuniting the lost lovers...
Although, its still good enough for one watch for an average movie-goer.....PAISA VASOOL.
But a buff like me,can watch it twice or thrice or more.
Music by Illayaraja is awesome...perfectly fitting...reminded me of old Tamil and Malayalam bgs....though I was disappointed to see the track GUMM SUMM GUMM cut down to merely a stanza.
Performance by Abhishek is good,,,reminded me so much of Guru and the more recent,,,walk in talk in....Idea commercials....
A movie definitely not be missed.
My RATING - 8/10
Starring - Amitabh Bachchan, Abhishek Bachchan, Vidya Balan, Paresh Rawal
Direction - R.Balki
Music - Illayaraja
Reflections
Hmm...now what do we expect from a man who was the brain behind "DAAG ACHCHE HAIN" , "JAAGO RE" and "WALK WHEN YOU TALK"?
Well, I expected a no-nonsense movie from him and the impression about which he didn't spoil either.
Paa is a very toucing movie, with correct and timely dose of healthy humour and some inspiring politics.
Its about 12 year old Auro who is suffers from a very rare genetic disorder called Progeria(In which the patient ages physical much faster than the real age...).
The Script was great and the screenplay was good too, some healthy camera work, nothing extraordinary about it....But But But.....what was extraordinary was the Man.....the 60 something old....King Of Bollywood.....proves to the world that he's better than any 12 year old kid in the world. He's no match for anyone. Right from the word go, he makes us giggle and think and giggle again with his wishful words.
There are some hilarious exchanges between Auro (The character played by Amitabh) and his little little friends...some of them way too mature.,..especially the scene in which he enquires Vishnu(his classmate) about his Dad....I could feel myself in that lil guy- Vishnu's pyjamas. And then the girl who is always coming after Auro with a Uhm Uhm...Letter... ;) ...and Auro always running away.
Oh! Yea....Auro has his own conspiracy Theory of carrying out the MP's BUM BLAST.
Amitabh...err....Amitji has given an 'out of bounds' performance, must be a front runner at this years award functions for the best actor.
Oh! Plus theres is Abhishek....the PAA....and Vidya ...the MAA....and a dadi...BUM.......
Abhishek and Vidya used to love each other till the moment when Vidya got pregnant and Abhishek decides to runaway from the grihasti to secure his political visions. Vidya decides to keep the child.
But years later, Abhishek meets Auro at an competition in Auro's School. Fate brings things back.
Although the first half isnt exactly about the father-son relationship...but only about Abhishek's political agendas and a flashback of his lovestory. Infact, that was something disappoiting in the movie...the father son relationship was not projected to the extent with which it was previewed in the Promos....
It only begins in the second half, and before it could bloom any further, Auro breaks down and then its reuniting the lost lovers...
Although, its still good enough for one watch for an average movie-goer.....PAISA VASOOL.
But a buff like me,can watch it twice or thrice or more.
Music by Illayaraja is awesome...perfectly fitting...reminded me of old Tamil and Malayalam bgs....though I was disappointed to see the track GUMM SUMM GUMM cut down to merely a stanza.
Performance by Abhishek is good,,,reminded me so much of Guru and the more recent,,,walk in talk in....Idea commercials....
A movie definitely not be missed.
My RATING - 8/10
December 4, 2009
Hollywood Releases in India for December 2009
Hollywood releases in India for the month of December 2009
The Lovely Bones (11/12)The Lovely Bones is the film adaptation of the novel of the same name by Alice Sebold. The film was directed by Peter Jackson and stars Saoirse Ronan as the protagonist Susie Salmon along with Mark Wahlberg and Rachel Weisz as her parents, Jack and Abigail Salmon respectively.
A Thriller Drama that might just not entertain the masses.
The biggest Hollywood movie ever. Costliest!
James Cameron return with this ultimate movie, a breakthrough in terms of filmmaking technology, for its development of 3D viewing and stereoscopic filmmaking with cameras that were specially designed for the film's production.
Hindus did protest coz of close resemblance to charaters from Ramayana
Did You Hear about the Morgans? (18/12)A Romantic Comedy starring Hugh Jackman and Sarah Jessica Parker
ALVIN AND THE CHIPMUNKS - The Sqeakwel (25/12)
Who doesn't love a trio of squirrels who can sing carols and blaze hip hop numbers in their cute tweaky voice? DID I HEAR 'CHIPMUNKS'? Oh Yea! Sorry, Chipmunks, they aren't squirrels, They're Chipmunks. Loved the first part, hope the SQUEAKWEL is good as WELL!
SHERLOCK HOLMES (25/12)The Classic Charater created by Sir Conan Doyle comes alive in this period thriller. Robert Downing Jr portrays the lead frame of Holmes.
This will be the watch for Christmas!
Its Complicated (25/12)What Happens when three great acting legends come together in a romantic comedy? Well, things become COMPLICATED! :P
Its Complicated stars Academy Award winner Meryl Streep, Alec Baldwin and light hearted Steve Martin.
LAST CHANCE HARVEY (26/12)Last Chance Harvey is an American romantic drama film written and directed by Joel Hopkins. The screenplay focuses on two lonely people who tentatively forge a relationship over the course of three days. Dustin Hoffman and Emma Thompson play the lonely hearts.
December 2009 Releases (Hindi)
Hmmm,,, so this is it,,,,December,,,,the last month of the year,,,soon we will be shedding off that old tag that reads 2009 for a new one- 2010.
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And this time, is a crucial the time for the guyz in the cinefield, coz December marks Christmas! And Christmas means holidays and holidays means business!
So, what do we have in store this year? Paa and radio are already released today, and their very obvious verdicts will be out within a week, so lets talk about the coming week
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ACCIDENT ON HILL ROAD (18 DEC)
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- 3 IDIOTS (25/12)
- Ah! Finally, one good movie to end the year with. Aamir Khan, back after exactly a year since Ghajini and two since TZP. What a variant from the gory Ghajini! Though similar to TZP except that 3 IDIOTS is a very lightly crafted work. The Music though is poor, hope it doesnt tamper the quality of the film. HIGH HOPES!
Dec 31, 2009
Raat Gayi Baat Gayi
- An Offbeat to end the year!
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