Friday, June 02, 2006

டி.எம்.எஸ்ஸின் இளமைக் காலப் படங்கள்

டி.எம்.எஸ்ஸின் இளமைக் கால அபூர்வமான படங்களைப் பார்த்து வியக்க இங்கே சொடுக்குங்கள்.


At 3:00 PM, Blogger rahini said...

தமிழ் நாட்டில்.
தமிழ் வீட்டில்

தமிழ் பாட்டுக்கு
தமிழ் நெஞ்சங்களுக்கு

நீங்கள் கிடைத்தது

ஒரு வரப்பி ரசாதம் என்று தான் சொல்ல முடியும்

உங்கள் புகைப்படங்களை பார்க்கும் போதும் உங்களை பற்றி யாழ் சுதாகர் நிகழ்ச்சி பண்ணும் போதும்
போது. எங்கள் கண் முன் நீங்கள் நிற்கும் பெருமை

மனதில் தேண்றும்

வாழ்க வளமுடன்


At 2:19 AM, Anonymous Anonymous said...

My search for plenty of reading materials on TMS has taken me to a number of sites. I love reading on TMS, but sadly 99 percent of the writers have got him wrong. I even read that TMS's songs are nasal and he can't sing complicated songs in a classical way. Such opinions are erroneous. Unlike singers who boast that they were mimicry artists before got into playback singing, TMS can actually modulate his voice, of course he hasn't specialised in braying, mewing and growling. If he has to, I am sure, he will certainly do it in the most realistic way. Because his music sense is great and has a pair of clear ears.
Long time back, he visited Sourashtra College in Madurai. When he was in the physics lab, I happened to be there. The practicals on tuning fork was on. He picked up one, took it close to his ear and told us its frequency. It was a big snub for some of us who were laughing behind his back when he kept the fork close to his ear when the instructor said TMS was right to the core.
This reminds me of my grandmother from mother’s side. A singer with an open, sparkling voice, who used to put all of us, 11 uncles, their families and me, to sleep with just a couple of Thiagaraya kirthanas based on nilampari raga, kept telling us a good singer doesn’t need either a harmonium or a tambura to stay in tune with the pitch. The pitch should be in the mind, she told us repeatedly. Besides she used to stress on sitting upright.
About TMS’ classical singing, none should underrate him. I could latch on to his only cassette in which all the songs were based strictly on ragas. The Tamil Isai Padalgals was a treat, refreshingly different from routine carnatic songs where the singer is mostly preoccupied with gamaghas, birughas and lengthy raga alabhana. They never get to the bhavam part, the essence of the song. In the Tamil Isai Padalgals, TMS opens with Sankarabharanam, follows it with karnataka devakanthari, plays with karakarapriya and ends the A side with a majestically sung sindhubhiravi — the cassette, I think, was released when the Sindhubhiravi was on.
The other side has thodi, kalyani, and two other ‘off beat’ ragas. The songs are on Karumari and Murugan.
About the voice I would like to tell you what my Rajasthani roommate told me whenever I played cassette in Ahmedabad: “How sweet it is. It is clear and highly controlled.”
About diction: Even outsiders, who have just begun to learn Tamil, will be able to hear the words and will be able to empathize with the songs.
Besides I have heard TMS sing on All India Rao. Once in the 80s I happened to hear a 45-minute song on Muruga based on Kalyani raga. So people need not think he can’t handle the complexities in a raga. He can if he wants to. He might not have done it in film songs, where he has rightly laid emphasis on tone of the song, actor’s mannerisms and physical and mental set-up of that situation — the best cocktail for a playback singer.
Had he been like other singers, who love to stick to the tune of the song and try to pronounce the words as clear as possible, he certainly wouldn’t have been as dominant as he was during his long reign. Aren’t great carnatic vocalists like Balamurali, Madurai Somu, GNB, TN Seshagopalan all failed to make their marks on film music? Film music thrives on passion and emotion. But the sad part is even that’s missing in the present-day songs. And surprise of all surprises, Ganna Ulaganathan’s flat and monotonous song on fish marriage is such a big hit! The only consolation however is he admits to have modelled his style after TMS.
K P Subramanian


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