Despite numerous recommendations, I have not watched Vinnaithaandi Varuvaayaa. For one simple reason — Aaromale. The song is so perfect that I cannot imagine how the movie would do justice to it, let alone improve on it. I first listened to this song about ten months ago while driving through the mountains of western Pennsylvania on a misty morning, and have been hooked on it ever since. (I think Governor Rendell should make it the state anthem.) The song has beaten every record even for a notoriously one-song-playlist guy like me. Needless to say it is one of Rahman’s best compositions ever.

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Listening to one’s entire song collection in shuffle mode has many advantages — for one, it enables me to remain lazy. More importantly though, I love the feeling of anticipating the next song — அடுத்த வினாடி ஒளித்து வைத்திருக்கும் ஆச்சர்யங்கள்! Today, two songs that the music player served up one after another caught my attention. In an earlier life, one of my favorite lines of thought was how, as time flies by, we have regressed as a society. While I do not intend this post as a social commentary, I cannot help wondering if that is indeed true.

The first song was an old classic, Chithiram Pesudhadi from the 1958 Sivaji Ganesan movie Sabaash Meena. I love the simple construction of the song, the unobtrusive music, and the civil choice of words to express passionate longing. Sample the first two stanzas:

சித்திரம் பேசுதடி; எந்தன் சிந்தை மயங்குதடி
முத்துச் சரங்களைப் போல் மோகன புன்னகை மின்னுதடி

தாவும் கோடி மேலே ஒளிர் தங்கக்குடம் போலே
பாவை உன் பேரெழிலே எந்தன் ஆவலைத் தூண்டுதடி

The last line is a personal favorite because of its subtlety. It probably would have just been ordinary in another age, when subtlety was a given in popular culture. But somewhere along the way, I think we lost that sense, and as a populace, decided that crude — even senseless — lyrics were OK, so long as it gels with the tune.

For long, creators have blamed this on the audience. Their comfortable excuse is that “this” is what their audience craves for. And that is plain stupidity. As Henry Ford once said, “If I had asked my customers what they wanted, they would have told me ‘Give us faster horses!’“. It is therefore the creator’s burden to uplift society’s appreciation. However, popular culture is a volume game, and so, pecuniary considerations demand that society be dumbed down.

For which reason, while I enjoyed the song that followed (Kalloori Saalai, from the movie Kaadhal Desam) , I will never be able to reconcile how Vaali — one of my favorite lyricists — penned the lines:

கண்கள் silicon graphics
Girls வந்தாலே jam ஆகும் traffic
V-channel choice உன் Dolby voice
Lightning கன்னங்கள் LASER
நம்ம love matter சொல்லாது pager
நான் காதல் computer நீதானே software

 

Friend Vijay Ramachandran has an interesting observation here on the number of songs composed by A.R. Rahman that start with what is known in Tamil grammar as an adukku thodar — immediate repetition of the same word. This was new to me, in that while I have listened to these songs multiple, in some cases, hundreds of times, I have not observed the pattern.

Given the sheer size of Rahman’s work, one can discern many other patterns. Like how some of his popular songs are centered on a one-word theme, that appears throughout the song (or form the basis either the pallavi or the charaNam).

  • Chinna Chinna Aasai (Roja) — aasai
  • Kaadhal Rojave (Roja) — gnyaabagam
  • Kannukku Mai Azhagu (Pudhiya Mugam) — azhagu
  • Poovukkul Olindhirukkum (Jeans) — adhisayam
  • Pachchai Kiligal (Indian) — aanandham
  • Anjali Anjali (Duet) — anjali. Incidentally, this is a double whammy as it can be classified under both patterns — the keyword is anjali, and the song begins with an adukku thodar.
  • Kannum Kannum (Thiruda Thiruda) — artham. Oh, a triple whammy — the name of the movie is also an adukku thodar.
  • Anbendra Mazhaiyile (Minsara Kanavu) — thOnrinaanE.
  • Break The Rules (Boys) — thappu
  • Thenalikku Ellaam Bayam (Thenali) — bayam

Not listed above are favorites like Oorvasi Oorvasi (Kaadhalan), Kuchi Kuchi Raakkamma (Bombay), Madrasai Suththi (May Maadham), Azhage Sugama (Paarthaale Paravasam) and Oru Dheivam Thandha (Kannathil Muthamittaal), and not-so-favorites like No Problem (Love Birds) which can receive half-votes.

 

Whichever lesser mortal coined the term “Mozart of Madras” to refer to A.R. Rahman did, in three short words, a great disservice to Mozart and Rahman both. So he / she would do well to step forward, accept his / her mistake and take it back.

Carlos Queiroz, former assistant manager at Manchester United had this to say about a certain Welshman:

“You cannot be a special person in the world if you are a copy of something. You really become a star when, with your football, your art, your style, you create your own identity. So the best tribute we can pay to Ryan Giggs is not that he compares to Best or anyone. It is to say that he won the right to be Ryan Giggs.” (source)

For delighting us with his music over the past two decades, let us accord A.R. Rahman the rightful honor of being known as Rahman of Madras, India’s pride!

 

To borrow a phrase from Hillary Clinton, “… and with your support, it’s now full speed onto the Oscars!”

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