Topic started by On behalf of Sankar (@ 210.186.51.129) on Mon Dec 30 07:11:34 EST 2002.
All times in EST +10:30 for IST.

Kaaviyathayin Illaya magan
Kadhal Pengalin Perun thalaivan
Paamara jaadiyil thani manidan – naan
Padaippadhanal yen per Iraivan

Naan Manida jaadiyai aati vaipen – avar
Maandu vital adhai paadi vaipen
NAAN NIRANDARAM AANAVAN AZHIVADILAI
ENDA NILAYILUM ENAKKU MARANAM ILLAI

These are the great lines of Kaviyarasu Kannadasan in the movie Ratha Thilakam where he acts in the movie singing these lines. ( Song.. Oru Koopayilae yen kudiyiruppu)

What a visionary he was ? Indeed, he is NIRANDARAMAANAVAN.

I share some of my observations about Kavingyar. I want all the fans of HIM to join this discussion and add more quality material in praise of his great works.

This is the only way we pay tributes to this GENIUS.

a) Raga Gyanam of Kavingyar

In the file ‘ Thiruvarutchelvar’, no one can forget the great song ‘ Mannan Vandhanadi’. This song was penned by Kannadasan and music by legendary KVM and sung by P.Suseela. I do not think we can ever get a better song in the Raga Kalyani in our tamil movies when compared to this song . This song has all the nuances of Kalyani in a capsule form.

In the Charanam, look at these lines,

Viraivinil Nee… Ni
Mana malar Tha .. tha
Thiru Marbaa… Pa
Thamadhama… Ma
Mayil ennai Ka… Ga

Ni.. tha.. Pa.. Ma.. Ga….
The words end in the avorahanam of Kalyani ( descending order of the musical notes)

Similarly, there is one stanza which will have the first letters in the arohanam ( ascending order).. I do not recollect the exact lines..

Sa…
Ri.. ri ga ma pa da ni sa..
Ka.. karunaiyin Thalaiva
Ma.. Madhi migu Mudhalva..

Do we have any such poet today ?

b) Kannadasan’s command over Language

Also, can any one forget the ‘Then’ song in Veera Abhimanu.. This duet is again a KVM song in Raga Sahana by PBS and PS.

Paarthen Rasithen pakkam vara thudithen
Unai then ena naan ninethen – andha
Malai then idhu ena malaithen

What about the ‘voor’ song in the file Oorkkaval.. PBS is the singer

Endha voor endravanae
Irundha voorai chollava
Andha voor neeyum kooda
Arindha voor allava

The great ‘ Kai’ Song ‘ Athhikkai Kaai kaai’ in Balae Paandiya.—About this song, I will dwell in detail subsequently.

c) Kannadasan’s knowledge of Litreature:

(i) There is one tamil poem in ‘Pura Nanooru’, the old tamil literature.

To know the meaning of this poem, you also need to know about the philanthrophist tamil King Paari. He was so noble and kind hearted that on one occasion, when he found a jasmine creeper without a support, he let his chariot as the support for the creeper so that it could grow. His fame and wealth was an eyesore to cheera , choola and Paandya kings and they waged a war against him and killed him. They also want to marry his daughters who were too young and the marriage proposal was stopped by Tamil Sage Avvaiyar.

The poem is written to a situation where, the daughters of Paari, on a full moon day, recalls that their father was with them on the last full moon day and he is now more now and they were grieving for his death.

The poem in chaste tamil starts as

Attrai thingal Auv Vennilavil…

Kannadasan has taken this incidence to write his song

‘Androru Naal Idhe Nilavil
Avar irundar en arugil’ in the film ‘Nadodi ‘ ( wagabond)

(ii) In Kamba Ramayanam, the poem which describes Kaiykeye seeking two boons from Dasaratha starts as

‘Aazhi sooz ulagelam Bharathanae Aaala’ and ends as ‘ Theeyavai yaavinum Sirandha Teeyal’
whereby kambar describes Kaiykeye as the worst of the worst for her act .

I think Kannadesan must have been inspired by these lines and in the movie ‘ Karnan’, there is a song by SG, Tirchy Lokanathan, PBS, TMS which is penned to the situation of Karnan performing pooja to his father Suryan ( the Sun God). There the stanza

Mannavar porulgalai Kai kondu…. Ends with ‘ VARUMAIKKU VARUMAIYAI VAITHTHOR MAAMANNAN VAZHGAVE…VAZGHA VAZGHA.

Here, he used two negatives ‘ Varumaikku Varumai’ to elate Karnan’s noble charity that there was no poverty because of his abundant charity.

Also, I feel vairamuthu must have been inspired by Kannadasan’s lines that he had sai ‘ maanatthin Maanathai vaangi vittan’ in the song ‘Poo Malai Vaangi Vanthan’ in Sindhu Bhairavi.

(iii) In one of the Sirappu Then Kinnam ( remember the yester years in Radio… Chennai Vaanoli Nilayam !!), Kannadasan himself had said that he wrote the song

Thookkamum Kankalai Thazuvattume
Amaithiyum Nenjinil Nilavattume

Since he was inspired by the lines of shakesphere in ‘Macbeth’

(iii) The famous song in ‘Vaazhkai Padagu’

‘ Neetru varai nee yaroo naan yaroo
Indru mudhal nee vaero naan vaero’

Is based on the ‘Pura Naanooru’ padal

‘ Yanum neeyum yaaraa giyaro
yendaiym numadiyum evan kollo
Sembulap peyar neer pola
Anbudai Nenjangal Tham Kalandaduvae’

(iv).. One Sanga kaala illakkiya padal was the inspiration for Kavingyar to write the famous song in “Balae Paandiya’ – ‘ Atthikkai Kai Kai’

One newly wed bride is separated from her husband since he need to be in the battle field shortly after the wedding. On the full moon day, the lady, is thinking about her husband and feeling lonely without him on a romantic night. She requests moon ‘ I am always remembering him but not sure about how he feels.. Already I am sore without him… you also do not add to my suffering with your full radiance.. instead of glowing here, you shower your moon light on the direction where my husband is so that he also gets romantic mood and gets back to me’

This is what the song

‘Athikkaai kaai kaai
Aalangai Vennilavae’

Athikkai is fig. Also it means glow in that direction ( thikku in tamil means direction / side).

What a great song.. full of name of various vegetables. At the same time, has got a different meaning in chaste tamil.



d) Ability to convey his message through his songs.

(i) Kavingyar came out of Congress but had great admiration for Kamaraj. He wanted to convey his respect and desire for an ever lasting association with Kamaraj. Hence

‘Andha sivagami maganidam sedhi solladi – yennai
serum naal parka solladi’

came in the movie ‘Pattanathil Bhoodam’. In the movie , the song was set as it to praise Lord Muruga..

Kamaraj’s Mother’s name is Sivagami !!

(ii) Similarly

Nalandana … Nalandana…
Udalum Ullamum Nalandana..

Nalam Pera vendum nee Yendru
Naalum Yen Nenjil Ninaivundu
Ilai marai kaai pol porul kondu
Yevarum ariyaamal sol indru….

Was written in ‘Thillana Moganaambal’ for as the meeting song between Sivaji and Padmini after sivaji’s injury.

But, this song is actually written with C.N. Annadurai in mind when he was ailing in the hospital and kavingyar was away from him .

One more great song by KVM in the raag Sivaranjani.


WILL WE EVER GET BACK A KAVINGYAR LIKE KANNADASAN ??

Responses:

• From: Vijay Venkatram J (@ 203.145.160.31) on: Mon Dec 30 07:50:57 EST 2002
  
  Friends,
  
  Kannadhasan can never be replaced! That is the ultimate truth! There are only 3 persons in Tamil Film History who are living examples of spontaneity and the best output in their fields:
  
  1) 'Nadigar Thilagam' Sivaji Ganesan
  2) 'Kaviyarasu' Kannadhasan
  3) 'Isaignani' Ilaiyaraaja
  
  What does 'On Behalf of Sankar' mean, sir? Anyway, whoever u may be the write up was so sweet and informative! I need to know more of Kaviyarasu - kindly post more and more!
  
  
• From: Sankar (@ 203.124.138.34) on: Mon Dec 30 10:17:27 EST 2002
  
  Dear Vijay,
  
  'On Behal of Sankar'... I am the sankar who wrote this write up and it was originally posted in Forumhub. From there, it was posted here also by one of Kannadasan Lovers and hence it is like this.
  
  Nice to see many kannadasan fans coming together.
  
  
• From: Naanthaan Avan (@ 203.106.162.243) on: Mon Dec 30 10:48:38 EST 2002
  
  Ayya Vijay Venkatram avargale
  
  Thayavu seithu intha threadaiyum Ilayaraja bajanai threadaaga aakka vendaam enbathu en thaazhmaiyaana vendukkol.
  
  Why don't we stop at Kannadhasan as there are more than enough threads to talk about IR.
  
  
• From: Sankar (@ 203.124.138.34) on: Tue Dec 31 10:26:45 EST 2002
  
  Great going friends.. look at these lines. In the movie 'Abhorva Raagam' by KB, the climax song of ' Kelviyin Naayaganae'
  
  Daughter and mother are trying to unite in the stage after a brief seperation and want to resume their normal living.
  
  Mother.. Kanne un kaalam sendra kadhai yenna
  Daughter.. unnal kaana pizhaithirundeen verae yeena
  
  m.. Udal yeppadi
  d.. Munpu irundaal padi ( I still remain intact despite being out of home)
  
  m.. maanam yeppadi
  d.. nee virumbum padi.
  
  How well the situation is explain in few lines... Kannadasan... an ICON
  
  
• From: Whatever (@ 206.175.176.2) on: Tue Dec 31 17:28:42 EST 2002
  
  Kannadasan is to TFM what Shakespeare is to English literature. Both have them have explored and exposed every conceivable human emotion - joy, anger, despair, love et al.
  
  In appreciating any form of writing, there is a semantic - the meaning behind the words - aspect and the syntactic - the structure and grammar of sentences. The greatness of both these giants is the perfect unison between the two that they achieved in their writings.
  
  Here is an example from Shakespeare's A Merchant of Venice :
  
  How far the little candle throws its beam,
  So shines a good deed in a naughty world.
  How dims the moonlight the little candle,
  So dims a greater deed a lesser one.
  
  Magnificient.
  
  And here is one from Kannadasan:
  
  nadai pazhagumbOdhu thendral vidai solli kondu pOgum
  
  from, IIRC, nAn kAtru vAnga pOnEn
  
  Awesome.
  
  Compare this with a similar sentiment expressed by T. Rajendar:
  
  thendral adhan urpatthiyai avaL vAnatthukku kattru thandhavaL
  
  See how the word urpatthi grates on the ear.
  
  And many many more like this.
  
  
• From: Sankar (@ 203.124.138.34) on: Wed Jan 1 05:16:32 EST 2003
  
  Remeber the famous autograph lines
  
  SEASONS MAY CHANGE
  SCENARIES MAY CHANGE - BUT
  IN FRONT OF LOVE
  I WILL NEVER CHANGE
  
  These lines are used by Kavingyar as
  
  KAALANGAL MAARUM
  KAATCHIGAL MAARUM
  KAADHALIN MUNNAE
  NEEYUM NAANUM VAERALLA
  
  in the song UNNAI KAANATHA KANNUM KANNALLA in IDHYA KAMALAM..
  
  One more example of Kavingyar's vide knowledge and his ability to apply it appropriately..
  
  
• From: Sankar (@ 203.124.138.34) on: Wed Jan 1 05:20:32 EST 2003
  
  I request all Kannadasan Fans to Post their responses to the following link as well:
  
  http://www.forumhub.com/tfilms/19436.06.40.23.html
  
  
  

Sub-thread# : 2
• From: Sankar (@ 203.124.138.34) on: Thu Jan 2 23:13:26 EST 2003
  
  One good incident to share with you all...
  
  One young boy from Srirangam (Trichy) came to Chennai in the mid 60's. His name is Rangarajan and he came with lot of hopes to write songs for Tamil films. Despite several attempts, he did not get the right break and with a heavy heart, he packed off and getting ready to depart to his home town. Just then, he heard the following lines from the song ' MAYAKKAMAA KALAKKAMAA...' by PBS written by Kavingyar..
  
  Look at these lines:
  
  Vaazhkai endral aayiram irukkum
  Vasal Thorum Vaedhanai irukkum
  Vanda Thunbam yedhu endralum
  Vaadi Nindral Oduvadhilai...
  Unakkum Keezhae ullavar kodi
  Ninatthu paarthu Nimadhi Naadu.
  
  What a motivating , self assuring lines to build one's self confidence ??
  
  Rangarajan got charged with these lines and decides to stay back and persue his job as lyricist and ultimately succeeded and is today, a world renowned figure among Tamils.
  
  That Rangarajan is our Kavingyar VAALI...
  
  Our sincere thanks and Tributes to Kaviyarasu Kannadasan for giving VAALI to Tamil Litrary Field.
  
  
• From: fan (@ 219.92.155.153) on: Wed Jan 8 01:40:36 EST 2003
  
  contact kavinyars grandson at 012 3586740 for a whole new experience. He is down on a personal holiday but when I contacted him he was friendly and welcoming. he will go back to madras in mid feb 2003.
  
  
• From: R. MAHENDRA RAJ (@ ) on: Thu Jan 30 04:55:46 EST 2003
  
  I am an ardent fan of Kaviarasu Kanndhasan having recorded his numerous experiences and broadcasting over Radio Malaysia for a considerable period of time. The response from the general audience was overwhelming. I am prepared to share the experience through this hub. However, it is a pity none of Kaviarasu's descendants have an indepth knowledge as to his works. This I can testify because I have personally met them in Chennai as well as in Singapore and Malaysia. It is also a pity that no body took any concerted effort to document his efforts. Whatever is being available is only through ad hoc basis that too by outsiders.
  
  For starters let me explain the background to many of his popular songs, that is, the raison de'etre of penning such songs which ultimately fits well with the picturasation of the particular scene concerned. Amomngst the hundreds I will start off with one and depending on response from the audience I will accomodate further.
  
  The producers of 'Avanthan Manithan' were rushing our poet laurete to pen the songs for their film which was scheduled to be shot in Singapore in the month of May 1973. Each opportunity they remind him of the month of May knowing Kaviarasu's attitude of taking everything easy and lightly. Finally, one fine day they insisted that he pens them the songs then and there. Without choice all the songs were written in a jiffy in a suite at Hotel Artlantic, Chennai. Before taking leave Kavirasu requested the producers and Music Director M.S. Viswanathan to take extra care on one particular song. Then he was gone. The group tried to decipher that particular song for a very long time until M.S.Viswanathan found the answer. All the songs in the film to name a few were hits such as 'Attuvithal Yaar Oruvan" "Manithan Ninaipathondru" "Engirintho Antha Kural" "Anbu Nadamaadum Kalaikudamae" etc. The code was broken by MSV. Yes, Kaviarasu got cheesed off with the verbal reminders by the producers when they emphasises the shooting schedule in Singapore in the month of May. He deliberately penned the song "Anbu Nadamaadum Kalai koodumae". To listeners it is just like another of the many romantic songs Kaviarasu has penned. But if you hear the song carefully each and every line ends with the word "May"!! Such is the compensation for incurring the wrath of Kaviarasar. The whole group had a good laugh over this incident whilst acknowledging Kaviarasar's acute sense of literacy and good humour.
  
  Literally all his songs have backgrounds. I will accomodate depending on response from this hub.
  
  Thanks.
  
  
• From: OISG (@ 193.188.97.152) on: Thu Jan 30 07:42:30 EST 2003
  
  This incident does not involve KD directly.
  
  My cousin and his friend ,both ardent admirers of KD were present when the body was placed for public homage.My cousin moved by the scene said
  
  "Che!Aniyayama romba seekiriram erandhutraruda"
  
  His friend standing in the queue behind patted and said
  
  "Maplai!Kavingar eappa erandhirandulum naama idhayendhanda solliruppom!"
  
  Isn t it true?
  
  Iraivan inge varavillai-enave
  Naan angu pogindren
  Ezhmai Ulagil theerntha pinne
  marupadi oru naaL naan varuven!
  
  
  
• From: geeth (@ 213.121.248.170) on: Thu Jan 30 08:55:54 EST 2003
  
  Mahendra Raj, very interesting to read about the Avanthaan Manithan episode. It reminds me of another article read before in this forum - Maayavanathan, Maayavanathan, Mayaavanaathan....
  
  Please share more with us.
  
  
• From: R. Mahendra Raj (@ 210.186.0.188) on: Wed Feb 5 04:55:19 EST 2003
  
  Thanks a lot Geeth. Could you highlight on the article "Mayavanathan"? I think I missed it.
  
  The producers of "Gauvravam" (1973/1974)booked Kannadhasan to pen the songs for their film. But the latter was away in Malaysia.Once in Malaysia he forgets all his reponsibilities back home! It is a well known fact that Kaviarasar had a wide circle of associates in Malaysia. He gets well blended in Malaysia. He once remarked that being a strong believer in reincarnation he hoped that his next birth will be in Malaysia!
  
  His assistant (I do not wish to cite his name for obvious reasons as he is still around and a well known film producer too)urged the producers to give him the opportunity to pen the songs citing Kannadhasan's attitude. Incidentally, this assistant is Kannadhasan's own nephew and he took him from nowhere and groomed him up. If you see films of the sixties and seventies era you can catch up his name as assistant to Kaviarasar in the film credits. The producers of "Gauravam" did not want to take the chance but instead preferred to await Kannadhasan's return. The moment Kannadhasan returned he heard the story of how his assistant-cum-nephew nearly manoeuvered him out of this film. He could'nt stomach the fact that the very child he groomed could do such a thing. But back to business. He penned all the songs but amongst them there were two songs where he really poured out his emotions. The songs fitted the film picturisation well but only those who were close to Kannadhasan knew that they were aimed at his nephew-cum-assistant. The songs are "Paaluti Valartha Kili" and "Neeyum Nanumaa Kanna Neeyum Naanumaa". The next time if you happen to hear these two songs close your eyes and you can feel the emotions of Kaviarasar. Anyway, the whole episode was forgotten as usual as Kannadhasan is a child-at-heart person and was never known to be vindictive throughout his life. He forgives and forgets. Thats his secret of remaining jovial till his last breath in spite of all the shortcomings he faced. See you all again with yet another song background story. Bye for now.
  
  

Sub-thread# : 3
• From: geeth (@ 213.121.248.170) on: Wed Feb 5 05:54:24 EST 2003
  
  Another interesting story.
  
  Neethikke thuninthu nindren
  ninaipethallam jeyithu vanthen
  vethanaikku oru maganai
  veetinile valarthu vanthen....
  
  also,
  
  moonedrena vaithatho
  mannavan thalaiyile
  vallartha en kannano
  thanthayin nenjile
  vaaman avathaarame
  ithuthaan ulagile....
  
  these lines immediately flashed when i read your above posting. how apt. these songs are not only on father-son situation but can be for any old-new generation clash and also very very common in business.
  
  maayavanathan episode is related to a thread which discussed about the song 'Kaagitha Odam kadal alai meethu povathu poley' written by Kalaignar. same story but this time it was the turn of the MD. just not finding time and once when pressed he said 'maayavanaathan maayavanathan maayavanaathan... ithanyaa tune'. Kalaignar then wrote the above song and if you follow the tune, you can sing the whlole song with repeating only one word - maayavanaathan.
  I have a small doubt coming up now. i am a bit doubtful if the name was 'maayavanaathan'.
  
  looking forward to your next episode.
  
  
• From: Rajesh. (@ 167.202.196.72) on: Wed Feb 5 11:48:42 EST 2003
  
  Mahendra Raj,
  Your postings are superb ! I really enjoyed reading them. It's really nice to correlate well known songs to such incidents and appreciate kavignar's talent. Keep going !
  
  
• From: bb (@ 206.154.118.2) on: Wed Feb 5 12:42:52 EST 2003
  
  I guess the assistant R Mahendra Raj is referring to is Panchu Arunachalam. I've not read much about his relationship with Kannadasan. Can anyone elaborate?
  
  
• From: s0 (@ 139.95.250.2) on: Wed Feb 5 14:47:23 EST 2003
  
  bb: R Mahendra Raj andha assistant pera solla vendam-nu evvalavo paaththaaru. neenga ippadi pottu-nnu odachchutteengale!
  
  
• From: Lollu Party (@ 61.6.38.132) on: Thu Feb 6 00:10:01 EST 2003
  
  Seems like Kannadhasan was waiting for MSV to compose a song for a MGR movie by Ramana. Unfortunately, MSV who had just finished working three shifts, was sleeping. When Kannadhasan called, he was told that MSV was sleeping and could not be disturbed.
  
  Ramana pleaded with Kannadhasan to write the song first and explained the song situation. Duly, Kannadhasan wrote the Pallavi and went off.
  
  Later MSV learnt that Kannadhasan was waiting for him and rushed to the recording studio. Ramana gave him the song written by Kannadhasan and upon seeing it, MSV burst laughing. The song?
  Avanukkenna thoongivittaan agappattavan naan allava!
  
  
• From: R. Mahendra Raj (@ 210.186.2.112) on: Thu Feb 6 05:06:42 EST 2003
  
  Thanks for the info on Mayavanathan, Geeth. It is indeed heart warming to note that there are Kannadhasan fans out there globally especially amongst the present generation.
  
  As we all know K.Balachander was a trend-setter with controversial story themes in the late sixties and seventies. When KB commissioned Kannadhasan and MS Viswanathan into his team masterpieces were churned out in the likes of "Arangetram" "Aval Oru Thodarkathai" "Aboorva Raagangal" "Moondru Mudichu" "Avargal" "Pattina Previsam" "Nizhal Nijamagirathu" "Thappu Thaalangal" "Ninaithale Inikkum" "Nool Veli" "Varumayin Niram Sigappu" etc. Ever noticed that in each of these films the theme songs will tell the story of the whole film in a nutshell? That is Kannadhasan's speciality according to KB's specifications. While directing the film "Pattina Previsam" MSV came out with a unique tune which KB was instantly impressed. He requested MSV to use his good offices to persuade Kannadhasan to pen a suitable song for this unique tune. Until the late fifties it was the music directors who called the shots when composing songs. The song writers were at the mercy of the former. But Kannadhasan changed all that. When the order was reversed Kannadhasan stuck to it vehemently. Knowing Kannadhasan's principle and temperament MSV cautiously approached him by throwing a challenge to him to equate his tune with a suitable lyric. Kannadhasan, after the initial berating, asked MSV to play the tune on his harmonium. Whilst MSV's fingers were busy with the hamromium keys Kannadhasan completed the whole song in just 15 minutes. The song is "Vaa Nila Nilaa Alle" where every line ends with the syllable "laa". KB, known for everything novel was immensely impressed. When the song was completed at the recording studio Kannadhasan jokingly said that he forgot to include three imprtant "laas" in the song - they were "mother-in"la"w, "father-in-"la"w and "daughter-in-"la"w!! KB wanted very badly to introduce this unique pair into one of his films and he found it two years later in the film "Varumayin Niram Sigappu". Here Kamalhassan acts Kannadhasan and Sri Devi as MSV for the song "Chippi Irukuthu Muthum Irukuthu Thiranthu Paarka Neram Illadi Rajathi". At the end of the song one line goes like this "kavithai ulagam unnai kenjum unnai kandaal kavingar ullam konjum" which was a fact because Kannadhasan and MSV lived like a husband-and-wife team with all the antics! KB was satisfied that he managed to do his part for this team in celluloid form. This also reminds me of the film "Aboorva Raagangal" where KB was at a loss as to how to conclude this controversial story. He approached Kannadhasan to pen a suitable round-up song for the conclusion and thus the song "Kelviyin Naayagane Intha Kelviku Bathil Ethuya" was born in a jiffy. The film became a hit winning regional and national awards. Incidentally KB insisted that Kannadhasan acts himself in a small role in this film. He obliged him. These two genuises were buddies respecting each others' talents. When Kannadhasan's body was lying in state in Chennai after being brought back from Chicago KB refused to pay his last respects. The reason? He could not bring himself to see his lively buddy lying motionless. Even after his death KB makes it a point to infuse Kannadhasan's quotations or songs in his later films and tv serials. So the next time you listen to the song "Chippi Irukuthu..." try and visualise the Kannadhasan-MSV pair. Bye for now!
  
  
• From: OISG (@ 193.188.97.152) on: Thu Feb 6 06:13:25 EST 2003
  
  Mahendra Raj
  
  Some corrections on the music directors.
  
  Arangetram - V Kumar
  Thappu TahalngaL -Vijaya Bhaskar
  
  It is "Kavidhai ulagam Kenjum Unnai KandaL Kavignar idyam konjum"
  
  

Sub-thread# : 4
• From: R. MAHENDRA RAJ (@ 203.121.0.9) on: Thu Feb 6 09:51:17 EST 2003
  
  Thanks OSG for the corrections. In my haste I overlooked these facts as I was focussing on Kaviarasar alone.
  
  
• From: R. Mahendra Raj (@ 203.121.0.9) on: Thu Feb 6 09:57:08 EST 2003
  
  Just for the record the song "Aaramba Kalathil" in 'Arangetram'was tuned by MSV although V.Kumar was the music director. the same goes with the song "Thamarai Kannangal" in Ethir Neechal in which V.Kumar was the Music Director. Both are KBalachander's films.
  
  
• From: Sri (@ 172.145.252.188) on: Fri Feb 7 02:54:44 EST 2003
  
  Mahendraraj,
  
  Your postings are interesting to read. Hope you have more. Keep going!
  
  
• From: R. Mahendra Raj (@ 203.106.163.141) on: Fri Feb 7 03:48:03 EST 2003
  
  It was a well-known fact that MGR and Kannadhasan were the best of pals during the early years since both belonged to the same political party.It was Kanndhasan, through his powerful dialoges and screen play in films like "Madurai Veeran", "Mahadevi" "Nadodi Mannan" "Mannathi Mannan" "Raja Desingh" that helped MGR rise to the horizon. MGR acknowledged this fact and this was why he took the unprecedented decision to appoint Kannadhasan as the 'Aasthana Kavingar' to the Tamil Nad State Government when he took office as CM way back in 1978. Of course, the other unpublicised reason is that Kannadhasan was too liberal in his condemnation of the AIDMK Government which was the government of the day then. By coopting him into the government administration it could keep Kanndhasan under wraps, so thought MGR! But MGR was wrong. The morning after MGR contacted Kanndhasan by telephone announcing the appointment to which the latter agreed, he was back again condemning MGR in an evening function the same day! This news reached MGR but he shrugged and laughed it off juast saying "you know Kanndhasan is'nt it, it is typical of him!" When Kanndhasan was admitted in the Chicago hospital MGR made sure that he was given the best of medical treatment. He even requested MSVisvanathan to send a recording of the latter's voice so that Kannadhasan could find some relief in it. But before the casette could be sent Kaviarasar breathed his last. MGR who led the funeral procession in Chennai made a last minute decision to stack the numerous books written by Kanndhasan along with the body.How thoughtful of MGR. This he did personally as photographs taken at that time would testify.At a memorial function later MGR remarked that each time he is depressed or low in spirits he will listen to Kanndhasan's all-time motivating song "acham enbathu madamaiyada". Lo! he gets recharged and boosted. Kanndhasan has written numerous songs describing MGR both in physique as well as reflecting the latter's character. "theaka maram udallai thanthathu, sinna yaanai nadaiyai thanthathu, pookalellam sirippai thandathu, pon allovo niraithai tandathu". These lines are from the song "Maanallovo Kangal Thandathu" (Neethikupin Paasam". You can visualise MGR through these lines! "Seranuku Urava Senthamizhilin Nilava, paarivallar maganaa..." (Pesuvathu Kiliya - Panathottam), "Uravai Solla Oruvan" (Paasam) 'Oruthi Maganai Piranthavanaa' (Thaai Solle Thatathey) etc. He had also subtly condemned MGR in the song "kayile panam irunthaal kazhuthai kooda arasanadi" in his own film "Karuppu Panam"! When MGR was producing his very first ambitious movie "Nadodi Mannan" he requested Kanndhasan to come on time to do the scripting for the film in the studios daily. He also reminded him that he had mortgaged all of his properties and that this film will either make or break his (MGR's) career. As usual Kanndhasan will say okay but will turn up late the following day after late night outs! MGR who was observing this called up Pattukottai Kalyanasundram to pen a philosophical song hitting hard at Kanndhasan so that he must not forget this song throughout his life. Thus the song "Thoongathey Thambi Thoongathey" was born. Did Kanndhasan reform? As usual he took the song in his stride and laughed it off! He, in fact, enjoyed the lyrics and used to proudly announce that this was one song desribing him although he has written for others! The other incident was when MGR chided director Sreedhar for not using Kanndhasan's name in the credits for the song "Vizhiye Kathai Ezhuthu" in 'Urimai Kural. Sridhar being a very close associate of Kannadhasan could not utilise him for this film because of political animosity between MGR and Kanndhasan. In the records it was mentioned as "Vaali". MGR, known for his sharpness, immediately detected Kanndhasan's works and when he confronted Sreedhar the latter admitted. But when MGR insisted that due credits must be given to Kanndhasan although their political animosity is a different matter altogether Sreedhar replied that the records have already been printed and it was too late to do anything now. Thats why you can see Vaali's name in the credits. But did Kanndhasan mind it? Not an iota. Bye for now.
  
  
• From: geeth (@ 213.121.248.170) on: Sat Feb 8 06:35:23 EST 2003
  
  i grew up with the puthukavithai songs from 80s till date and
  once in a while i fall back on the songs of 60s/70s. but no time
  and not much interest to check out on who wrote the song and who
  tuned it etc.
  
  once i read a short novel of Balakumaran and was very much impressed
  by it. Vinnil maraintha kuthiraigaL. The story revolves around a
  lady character who is into puthukavithai and the story ends with
  a short and beautiful kavithai. though not good in memory i will
  try to write it below.
  
  pirapenthu yaathena ketten
  piranthu paar endru paNithaan
  irrapenthu yaathena ketten
  irranthu paar endru sonaan
  manaiyaaL sugamenil yaathena ketten
  maNanthu paar endruraithaan
  ippadi anubavithey thaan
  arivathu vaazhkaiyenil
  iraivaa nee etharku endren
  
  iraivan satre aruginil vanthu
  anubavam enbathe naanthaan endraan !
  
  in the story her akka comes and reads this kavithai and asks her,
  did you write it ? and she replies 'ithu intha ulakathai nallaa
  vaazhnthu anubavichanoda kavithai. kannadhaasanodathu.'
  
  i probably read this novel about 10 years back and since then this
  kavithai is still inside me (though i may not have reproduced in its
  exact form). what beautiful words ! it touched deep inside me.
  made me look/search for KD's songs and very much interested in his
  articles, including this thread.
  
  he is one person who should have lived more years. but as said
  in a posting earlier (OISG i think) we would have told the same
  thing in whichever year he had passed.
  
  

Sub-thread# : 5
• From: OISG (@ 193.188.97.152) on: Sat Feb 8 23:49:42 EST 2003
  
  MahendraRaj
  
  "Thamarai KannangaL" by MSV? I used to think about the structural similarities with "Maanikka Theril" from "Thedi Vantha Maapillai" ,particularly in the charanams.What is the source of this info?These movies were moreor less during the same time -1969-1970.
  
  Same with "Unakkenna Kuraichal"-I still feel that it is an MSV song than a V Kumar song,with due regards to VK.
  
  
• From: R. Mahendra Raj (@ 210.186.0.235) on: Mon Feb 10 03:19:39 EST 2003
  
  Geeth
  
  The couplet which you had mentioned is found in one of Kanndhasan's own books. Time and again this piece has been going around and in the process the name of Kanndhasan has been left out. Even recently I happened to watch the movie 'Junior Senior' on tv where the hero Mamooty recites this couplet in a suspense form. Alas, the author's name was left out again. If only these movie guys could give the credits it will popularise Kavriarasar's name amongst the present generation.
  
  OISG
  
  You are absolutely right. I cannot recall the sources as I usually gather from the various reading materials.
  
  When Rajni Kanth was in the prime of his career he was virtually working around the clock so much so that he was stressed out. Perhaps to relieve the stress he had been over indulging in drinks. It was about this time that he and MGR had a fallout. I do not wish to go into details but a fallout with MGR means one's downfall. Rajni approached K.Balachander, his gurunathar, about his predicament. KB reiterated that life would not be easy if one is not in good terms with MGR. He suggested to Rajni to run wild in Mount Road on a hot mid-day just to prove that whatever he had been doing against MGR was not of his own doing. Rajni did just that but then he was labelled a mad man after this incident. Although it helped the situation with MGR he nevertheless began to feel depressed again. He was acting in the film "Billa" at that time. It was here he met up with Kanndhasan who was doing the songs for the same film. He opened up his emotions to Kaviarasar and the latter grasped the situation well. He assured Rajni that this was a turning point in the life of the former. He further assured that the time was not far for him (Rajni) to overtake the popularity of MGR. In short he will be a superstar soon. It was Kanndhasan who gave him the title 'superstar' way back in 1979. He immediately penned the song "Naatil Enakoru Oor Oondu..." for this film and said that some day he will acknowledge this predictive song. If one were to hear this song in verbatim now he or she will understand Kaviarasar's "dheerka dharishinam". In real life Rajni became an admirer of Kannadhasan after this incident. He even went to Kannadhasan's house to hand deliver the invitation to his wife for his wedding although Kanndhasan was no more around. Such was his indebtedness to Kaviarasar. The above song along with the other song "My name is Billa" has some semblance to the lyrics. Bye for now!
  
  
• From: R. Mahendra Raj (@ 210.186.2.229) on: Tue Feb 11 01:44:26 EST 2003
  
  Just for record - the word 'Kannadhasan' has appeared in many songs after his death begining from the song "Kalithaasan Kannathasan" (Soorakottai Singgakutti - 1984)by Vaali. I even heard a latest film song yesterday over the radio(the title I can't remember)incorporating Kaviarasar's name. Correct me if I am wrong to say that amongst the Tamil poets mentioned in films and songs Kanndhasan leads them all. Even Bharathiyar has been relegated. Could it be that Kannadhasan appealed to the general masses than only a confined literary group? Perhaps it is also part of divine's plans as historically we have been ruled and influenced by 'iyal isai and naadagam' which is why we see Tamil cinema stalwarts like Annadurai, MGR, Karunananeedhi, Jayalalitha and Rajni Kanth (the latter although not directly) became popular in politics. By the way, can anyone out there have statistics as to how many songs bear Kanndhasan's name in songs which came after his death in 17.10.1981? It wwill be helpful. For starters I can think of Soorakottai Singgakutti, Annamalai, Arasayil, Minsara Kanna, Kaadhal Mannan, song "Kannadhasane Kannadhasane Vanthuvidu" (film someting ending with..poo).
  
  
• From: nataraj (@ 202.131.136.145) on: Tue Feb 11 02:40:25 EST 2003
  
  kannadasan's suryakanthi songs download
  
  

Sub-thread# : 6
• From: R. Mahendra Raj (@ 203.121.0.9) on: Wed Feb 12 09:53:06 EST 2003
  
  I wish to add what Sankar has stated in the start of this thread. Besides 'antha sivagamiyin maganidam' Kannadhasan has also written the song 'sendru vaa magane sendru vaa' for Kamaraj when the latter was invited to attend a meeting in the United Nations. Being illiterate in English he had inferiority complex but Kannadhasan prompted him through this song. The other song was 'ambigaye easwariye ennai aalavantha koil konda kungumakari' in 'Pattikaada Pattanamaa' where the line 'sivagamayin umayavale muthu maari un selvanakkum kaalam undu muthu maari, maharajan vaazhga endru vaazhthu koori intha makkal ellam koora vendum kottaiyeri' was aimed at Kamaraj to recapture the Chief Minister's seat.('kottai'in this context means the CM'S fort). Another song in 'Paadikaatha Meythai'was also meant for Kamaraj. The song is 'padipathinaal arivu petror ayiram peyr undu aanal padikaatha meythai ellam paarinil undu'. When Kannadhasan fell out with Annadurai he wrote the song "annan kaatiya vazhi amma' for the film 'Padithal Mattum Pothuma'and the same year (1962) 'engiranthalum vaazhga' in the film 'Nenjil Oor Aalayam' also for Anna. When he lost the elections he wrote the song 'yaarai engey vaiputhu endru yaarukum theriyile' (Bale Paandiya)and when he temporarily decided to quit politics in 1962 he penned the song 'satti suttathadaa kai vittathadaa' (Aalayamani).
  
  
• From: R. Mahendra Raj (@ 203.121.0.9) on: Wed Feb 12 10:44:30 EST 2003
  
  Oops in my haste to add Sankar's topic on Vaali I wrote on Kannadhasan/Kamraj/Annadurai.
  
  Re -Vaali. A great poet who prefers to be in the low profile. When he was struggling, his pal the late actor V.Gopalakrishnan proposed to Vaali to be Kannadhasan's assistant and he will see to that he becomes one. But Vaali politely declined saying that he wants to carve a name for himself by being independent. At one stage he even contemplated suicide as the odds were against him and he was practically penniless. The day he contemplated suicide V.Gopalakrishnan came to visit him and narrated the stanza 'maayakama kalakkama' written by Kannadhasan which was recorded in the studio just a few moments ago and witnessed by him. Vaali on hearing the line 'unakum keeley ullavar kodi ninaithu paarthu nimmathi naadu' was deeply impressed and motivated. It was as though Kannadhasan wrote the song for him. He changed his mind. No returning to his village or even thinking about suicide. Whether it was part of divine's plan only heaven knows because what I am going to narrate hereafter will make you ponder. Around this time K.S. Gopalakrishnan and Kannadhasan were having a great time drinking to celebrate the success of the film "Sharadha". A friendly argument took place between the two buddies. Kannadhasan was of the belief that "Sharadha" became a success because of his songs whereas KSG was adamant that it was due to a very strong storyline and theme. During this fiendly banter an impromptu decision was taken. The next film by KSG will be without Kannadhasan but with a new songwriter to see whether it will run full house. Around this time when KSG heard about the struggling Vaali he invited him to pen all four songs for the film "Karpagam". It was a god-send invitation for Vaali. He penned the songs 'pakkathu veetu paruva machan', 'mannavane azhalaama', 'athai madi methayadi' and 'aayiram iravugal varuvathondu' (the latter was a novel song as in between gaps the choice was given to listeners to fill in ). The rest is history. The film became an instant hit and Vaali became a celebrity overnight. Kannadhasan accepted his defeat to KSG and had another round of merry making with him. Typical of him! But for his subsequent films KSG used Kannadhasan. A real gentleman. When Kanndhasan first heard the line "velli nilaavil vilakaai eriyum kadalthaan engal veedu" from the songs "tharai meyl pirakka vaithan" (Padahotti)he inquired from his driver as to whether he knew who the lyricist was for this song to which the latter replied in the affirmative. He immediately asked him to drive up to Vaali's abode which was a ramshackled rented room. When Vaali opened the door he could'nt believe himself that it was his idol at the doorstep. Without mincing any words Kannadhasan took out his gold chain and put it around Vaali's neck and blessed him. The latter was dumbfounded. He once remarked that his life time achievement was the endorsement given by Kannadhasan to him as a lyricist.This is why he is not keen in any titles. Many a time his songs were mistaken to be that of Kannadhasan's like 'kan pona pokkile kaal pogalama' (Panam Padaithavan)which he was proud of for he had achieved the status of Kaviarasar.He did'nt mind being misquoted. Both of them were buddies sharing the same bottle. In an immediate tribute to Kannadhasan during the mourning period he described him as 'meesai illatha bharathi, thaadi illatha tagore'. Was it divine's play after all? There is more to situations of Kannadhasan/Vaali which I will narrate later.
  
  
• From: Manisekaran (@ 161.142.100.86) on: Thu Feb 13 00:42:00 EST 2003
  
  R. Mahendra Raj,
  
  You may wish to lift so many other anecdotes of Kannadasan from Valis' Naanum Intha Nootraandum. The readers would enjoy every bit.
  
  Thanks
  
  Manisekaran
  
  
• From: Sankar (@ 203.124.138.34) on: Thu Feb 13 01:45:57 EST 2003
  
  Dear Fans, I am extremely delighted to see the good response this thread is evoking. When I posted this , i was a bit worried that , with today's tamil film music being written in tanglish ( combination of Tamil & English), is there any purpose in posting. Vaazgha Kannadasan Pugaz !
  
  Some interesting news:
  
  In the file ABHOORVA RAGAM, when KB approached Kavingyar for a song ( Song - YEzhu Swarangalukkul enthanai Paadal by Vani Jayaram) , Kavingyar gave as much as 50 plus charanams and KB was stunned as to which one to choose and which one to leave ! ultimately only 3 charanams were picked up and came in the movie.. Look at these lines:
  
  ENAKKAGA NEE AZALAAM IYARKAYIL NADAKKUM - NEE
  ENAKKAGA UNAVU UNNA YEPPADI NADAKKUM
  NAMAKKENDRU BHOOMIYILAE KADAMAIGAL UNDU - ADHAI
  NAMAKKA NUM KAIYAAL SEIVADHU NANDRU..
  ( to my understanding, this is what Lord Krishna Preaches in bhaghavat Githa under the chaper Karma YOGAM..!!!!!!!!!!!)
  
  What a great poet we had !!
  
  
  Similarly, the song ' Muthaana Muthallavo.. Mudirndu vanda Mutallavo..' in the film NENJIL OOR AALAYAM' was written in about 5 mts or so..When MSV had set everything for the recording, the lyrics did not reach.. when he contact Kavingyar's house, it was told that he is leaving for home town and will not be back for quite some time.. MSV had to rush to Egmore Railway station to see Kavingyar in the station and found him in the train compartment and the train already due for departure. He reminded kavingyar that he is yet to give the song and it is lined up for recording the next day.. Then, Kavingyar dictated the song in less than five minutes !.. No corrections or Looking back !
  
  
• From: Manisekaran (@ 161.142.100.86) on: Thu Feb 13 10:06:27 EST 2003
  
  Mahendraraj,
  
  Good job. Great!
  
  May I join you please. What Kannadasan himself said seem to be contradicted by his contemporaries who are still alive. MSV is one of them.
  
  
  KBalachander in his interview on TV has said that Kannadsan wrote 25 Charanams for the song 7 Churangalukkul. Then of course kannadasan forgot it altogether. One day kannadsan happened to tune on his radio and heard this song. Kannadsan was truly amazed at the quality of teh voice of VJayaram. He asked for her details. This song then won the arads for that year.
  
  Mutyhana Muthallavo was written in 10 minutes and happened to be the fastest composition til that date, so says Kannadsan in his book Cinemavil 30 Aandu kalaam.
  
  
  may I also say that Kannadasan has written many more songs outside the studio \environment.
  
  1) Aasaiye Alai Pole was written at a railway crossing while waiting in his car for the train to cross. He penned the lyrics on a cigaret packet. Trichy Loganathan who was there with him had requested to be made the singer when the song was to be recorded. So came the chance in Thai Piranthaal Vazhi PIrakkum
  
  2) Kadavul Orunaal Ulakai Kaana Thaniye Vanthaaraam in Shanthi Nilayam was composed in military hotel while waiting for delivery of omlet.
  
  3) Ore Oru Oorile Ore Oru Raaja of Padikkatha Methai fame was half written while on his way to the bank
  
  4) Satti Suttathada kai Vittathada that you had mentioned was conceived at the Eggmore court.
  
  
  Adding this masala just to establish a point that the incomparable Kanndasan, when approached in whatever dimension is a genius in every sense of the word.
  
  Keep going! Good work.
  
  Manisekaran
  
  
  
  
  
  
  
  
  
  

Sub-thread# : 7
• From: R. Mahendra Raj (@ 203.106.163.81) on: Fri Feb 14 05:13:22 EST 2003
  
  Thanks a lot Sankar and Mani. Looks like this thread has become alive with the great Kaviarasar's spirit in this technoligal era! That reminds of the line "varum naalai manithan ezhu ulagai aazha pogiraan" from the great social song "Ondru Engal Jaathiye Ondru Engal Neethiye" (Panakkara Kudumbam -1964). With internet, sms and the likes we are virtually in contact with each other from all corners of the globe. Was'nt it apt for Kannadhasan to forsee the present nearly 40 years ago in this song?
  
  I agree that facts are sometimes subjective because the authors themselves contradict their own statements from time to time. Maybe memory lapse due to age catching up with them. Whatever it is we can infer the essence and draw our own conclusions subject to corrections later.
  
  In one of the messages in this thread a reference to "avanaku enna thoongi vittan" was made. This again reminds me of an episode when MSV purportedly bad mouthed Kannadhasan which news reached the latter. He was visibly upset to understand his 'other half' in the musical profession had made the disparaging comments.This happened when he was working on the film "Nenjil Oor Aalayam" by Sridhar. Typical of him he exploited his mood to vent his feelings through the song "Sonnathu Nee thaana Sol Sol Sol Ennuyire". MSV understood while composing and they made up after that. Usually Kannadhasan's temper is short-lived. He forgives and forgets. This is what I learnt from the various sources which includes media interviews, publications as well as those who were opportuned to socialise with him. The surprising fact is that none of these sources had never hinted or draw negative comments on Kannadhasan. Perhaps is it due to the fact that he has written his own biography with all those sordid negativities about himself so much so he did not leave room for anyone to comment? He himself had time and again reminded the general public that if one were to learn how to live life then he or she should not read his open book. A well known personality once said that next to Mahatma Gandhi it was Kannadhasan who spoke the truth.
  
  I also agree that Kannadhasan seldom keeps track of his work. There is also an amusing anologue to this situation. One sleazy afternoon when Kaviarasar was taking his nap a child was seen seen making noise thus disturbing his siesta. He called out for his wife and asked her to take the child back to its house. His wife replied that the child was theirs and not the neighbour's! He did'nt even keep track of his own of off-springs! Once he completes a project he seldom performs post-mortem on them. It is best left to critics he used to say. He was always thirsty for something new every instant which is why you can see a myriad of songs on the same topic. He was also humble enough to stand corrected in his works. When someone points out to him he makes the necessary corrections if it is apt. Such was his greatness.
  
  Sometimes back I happened to listen to Vairamuthu's live interview over Radio Singapore where he bragged about himself on the song "Vennilave Vennilave" (Minsara Kanavugal). It seems when this film was remade in Hindi the songwriter (north Indian) was amazed over the lyrics and purportedly said that only a world level poet could come up with such lines. As it is a well known fact that poetry should be read in its original language to enjoy its essence. Once translated it loses its punch. How are we to know whether this Hindi poet knows Tamil? The same also goes for a recent incident wherein Vairamuthu said that Prime Minister Vajpayee, a poet himself, enjoyed every bit of Vairamuthu's works. Only God knows whether this is true or otherwise. But then again the recent award of the title "Padmashree" to Vairamuthu is also a question mark. It is a wonder why Kaviarasar was not honoured, albeit posthumously, for all the literary work he had bestowed to the Tamil audience.
  
  Sometimes back I read in Kumudham of an interesting story about a live session calling the spirits of dead personalities by medium Ravichandran. At one seance Kaviarasar was summoned and this question was posed to him - "what do you think of Vairamuthu affixing the title "kaviarasu" after his name?". Kannadhasan's spirit, as usual was witty even after death (so reported Kumudham) to give this reply - "each author is a king of his own work and therefore there is no harm in Vairamuthu doing so". How humble and witty a reply? The whole session was a serious one for readers information.
  
  At an interview over Television Malaysia when a local media personality, Mydi Sultan who is also a literary figure, asked Vairamuthu as to why he has not been given the golden chair for Tamil seat which is still being held by Kannadhasan. Vairamuthu acknowledged the fact that nobody has ever attained the stature of Kannadhasan to be considered for the same and in the same breath appealed to Mydi Sultan and the whole Tamil literary world to recommend the seat for himself (Vairamuthu) since it is still vacant! Mind you this was aired and witnessed by all and sundry.
  
  Kannadhasan held steadfast to his belief according to the Bhagvad Geeth i.e. 'do your duty and do not expect anything in return'.
  
  See you again (Mani, aren't you happy re - Vairamuthu?)
  
  
• From: Sankar (@ 203.124.138.34) on: Fri Feb 14 10:37:21 EST 2003
  
  Hello Mr. mahendraraj... thanks for the good inputs.. regarding, SONNADHU NEE THAANA . SOL.. SOL in NENJIL OOR AALAYAM, what I heard in a television interview my MSV is like this.. when MSV had given the tune, Kavingyar gave so many Pallavis ( Starting stanza of Lyrics / songs..), MSV was not impressed about the lyrics and rejected one after other. KD got irritated and upset, he asked MSV in the same tune, SONNADHU NEE DHAANA SOL.. SOL and the song was born !
  
  Similarly, there was a serial in VIJAY TV called NENJAM MARAPPADHILLAI.. the host was Kavingyars' daughter VISALI MANOHARAN.. she gave some good information which I will share..
  
  In Maalayitta Mangai, the own production of Kavingyar & his brother A L Srinivasan, the song SENDHAMIZ THEEN MOZHIYAL was recorded with T R Mahalingam as the play back singer without the THOGAIYARA ( song in an elongated form without rhythm but more of humming).. the entire recording team and who ever listened, conveyed it to kavingyar that this song lacks the usual kick of TR Mahilingam who is known for his high pitch reach and alapanai. KD , in a pensive mood, was holding one end of dhoti in hand and one had folded to his back, was walking in the lawn bare footed.. then, NERUNJI MULLU ( a type of very small thorn) pierced his foot. this gave him a flash and then came the lines
  
  CHILLENDRU POOTHA SIRU nerunji KAATINILAE
  NILLENDRU KOORI NIRUTTHI VAZHI PONNAALAE......
  
  how do you like this !!
  
  
• From: R. Mahendra Raj (@ 210.186.2.197) on: Mon Feb 17 04:58:53 EST 2003
  
  Thanks Shankar for the comments. As mentioned earlier in this page I stand corrected. As long as the essence is there it should suffice for an interesting forum.
  
  I must be candid with you where information from Kannadhasan's immediate relatives are concerned like Visali and Gandhi. I have found that either the facts have been exaggerated or slanted. Although they claim to have a first hand knowledge it is impossible for Kaviarasar to have intimated to them because of the age difference. When Kaviarasar died Visali was around the age of 5 years. So she must have gathered the pieces here and there to pass off as authoratitive. As for Gandhi he is just managing the materials like any other book shop owner. Thats about it. Whatever tidbits he has is revolved around the family circle and nothing more on the film industry. No malice meant and please for once do not misunderstand me as I hold no personal grudges against them. I had the opportunity to interview Gandhi in Chennai, Kaviarasar's first wife in Singapore and Venkat the last of the off-springs by the latter. Venkat told me point blankly that he knows next to nothing about his father and has to rely on outside sources. I really admire this quiet unassuming guy who is around 34 years now and a PR in Singapore. As for his mother, the first wife of Kaviarasar. Ha, what a sweet innocent housewife! I asked her as to whether Kaviarasar has written any song having her in mind to which she straight away replied in the affirmative. That song? "Thaalayam Poo Mudithu" (Bhaga Pirivinai 1960) as the line "Ponnama" was in reference to her name. (The interview with her was broadcast over Radio Malaysia in 1996 when the programme "Kannadhasan Neram" was in the air for nearly 8 months continously. Thanks to the multiple sponsors).Incidentally this was the song which began the start of mass recognition of Kaviarasar in public theatres. Each time the song scene appeared the patrons clapped and gave a standing ovation. No other poet received such applause prior to this.
  
  The other person whom we met was Rama Kannappan. He can, to a certain degree, be regarded as an authority having grown up with Kaviarasar and being his assistant jotted down all the poems and articles which the latter dictated. But when we met him he was not in good health and his interview was barely audible. Nevertheless we recorded and aired it over Radio Malaysia.
  
  To actually write all those excerpts from these sources as well as what I have read about him from the various magazines and publications from time immemorial will mean running into volumes. However, I will try and refresh my memory and accomodate wherever possible.
  
  By the bye, this thread does not seem to be in continuity. Some or appearing elsewhere in this forum. Could anyone help to organise it into one single thread so that readers will be saved the trouble from clicking here and there?
  
  Bye for now!
  
  

Sub-thread# : 8
• From: geeth (@ 195.226.230.37) on: Mon Feb 17 08:29:21 EST 2003
  
  mahendra raj, aasaiyaa threadukku vanthu paartha kathai yethum sollaama poyitteengaLe.
  
  i noticed that kavinjar had given great songs for Director Sridhar. it must have been a special combo in those days. can you touch on this combo please.
  
  
  
• From: R. Mahendra Raj (@ 203.106.163.161) on: Tue Feb 18 05:38:09 EST 2003
  
  Thanks Geeth for the comments.
  
  Yes, Sridhar and Kannadhasan were buddies ever since they started to work together from the "Meenda Sorgam" era circa.1959/1960. "Sumaithaangi" (1963) was a joint effort by both these stalwarts. Whilst shooting the song scene "Manithan Enbavan Deivamaagalam" Kavinjar reminisced his first day of arriving penniless in Chennai way back in the early 40s. It was the very spot in the beach where he was shooed away by policemen for sleeping for the night. He then asked Sridhar to do the song scene with his own eight "Ambassador" cars giving the spotlight on Gemini Ganesh, the hero, instead of the usual studio lights. The scene was not to show of his wealth but to show how a penniless man can achieve such a transition in life purely on true grits. It was a well known fact in the film circles that Kavinjar rarely visited shooting scenes or song recordings even if it were to be his own scriptings. But this scene was an exemption as he wanted to motivate the viwers through his own example. Anyway the song is a gem of a motivation theme even till todate. Incidentally, this was the only film in which Sridhar appears in a very, very minor role.
  
  A retired public prosecutor down here (Kuala Lumpur, Malaysia) was a close friend of Kavinjar. Each time he goes to Chennai to visit Kavinjar he brings along some foreign beverages for the latter. Typical of Kavinjar, he will immediately call up his buddies like Sridhar, MSV, Balaji etc. for distribution. In the end he gets nothing and settles for the local brew. Such was his genorisity.
  
  Another incident which Sridhar was involved was when Kavinjar was in one of his jovial moods. One afternoon he disguised his voice over the phone and called up MSV to say that he is speaking from Kavinjar's house and that Kavinjar had just passed away! MSV immediately broke down on hearing the news and called up Sridhar and a few others to pay an immediate visit to Kavinjar's house. On reaching they found him happily sipping his favourite brew. Dumbfounded, they could not ask him straightaway. They then joined him for a few rounds. Only later. did Kavinjar intimate to Sridhar that it was he who called and in the same tone said that he was curious to know who will be the first to pay their respects should he really croak. He thanked Sridhar and MSV and at the same time jokingly said that he would not die now as only a handful had turned up!
  
  The other incident involved MGR. As it is a well-known fact that ever since "Meenda Sorgam" and seriously from "Thean Nilavu" Sridhar made it a point to use Kannadhasan in all his subsequent films. For Sridhar capitalised on the emotions of love in nearly all his films and who could be an authority on love songs other than Kavinjar?
  
  When he made "Urirmai Kural" with MGR in 1974 there was political animosity between the former and Kavinjar. But for sentimental reasons he insisted on Kavinjar to pen the song "Vizhiye Kathai Ezhuthu" to which the latter obliged. During the picturisation of the scene MGR, being sharp eyed and knowing Kavinjar's work, asked Sridhar as to who was the actual author for this song. Sridhar admitted that it was Kavinjar's and that Vaali's name had to be used because of the political animosity concerned. MGR rebuked Sridhar saying that an artise must be given due credits for the work done and that his difference with Kavinjar was of no relation to the song. Anyway, even though MGR tried to amend the credits it could not be done as the records had been been already published bearing Vaali's name.Bye the bye, KJ Jesudoss got a new lease of life from this song onwards and shot to popularity overnight.
  
  Do you know the very first scene by Jayalalitha when she faced the camera was the song picturisation of "Kannan Ennum Mannan Peyrai Solla Solla" penned by Kavinjar? Sridhar was known to shoot a song scene first in all his movies for sentimental reasons. Perhaps it could be this very reason that she contributed and consented to officiate Kavinjar's statue in T.Nagar, Chennai in late 1994.
  
  I will try and refresh my memory re- Sridhar/Kannadhasan combo and give inputs later.
  
  Coming to another great producer & actor K. Balaji I would like to share the all-time gem of an info with all of you.
  
  When Balaji was producing "Neethi" (1972/3)the remake of the Hindi "Dushman" he told the scene situation of the hero smashing his bottle on the road whilst pledging not to drink from the very moment. He asked Kavinjar to do a suitable song for this situation. Kavinjar came up with the song "Naalai muthal kudikka matteyn" but Balaji protested saying that the scene calls for an instant surrender to drinks. Kavinjar coolly reminded Balaji (this part must be reported in verbatim as otherwise it will lose its punch) - "dey, neeyum oru kudikaaran naanum oru kudikaaran. Entha kalathildaa oru kudikaaran indrodu kudikka matteyn endru sathiyam seythu irukiraan?". Balaji agreed with Kavinjar that tipplers are noted for postponing such decisions. The song became an instant hit. The lyrics in it are such a gem that we can actually hold an intellectual discussion having them as a theme.
  
  Bye for now, and again can please anyone do something about this thread going haywire?
  
  
• From: geeth (@ 195.226.230.37) on: Tue Feb 18 08:48:28 EST 2003
  
  naaLai muthal kudikka maatten
  sathiyamadi thangam
  indru(?) raathirikku thoonga veNum
  oothukiren konjam...
  
  a very popular song in Ilangai vaanoli. very interesting to know the background of the song.
  
  i don't think Neethi did well. it came right after Vasantha Maaligai and i remember my paatti (an ardent Sivaji fan) telling 'ithenna ore kudikaaran padama varuthu'.
  
  nice mahendra raj, see u soon.
  
  
  

Sub-thread# : 9
• From: R. Mahendra Raj (@ 203.106.163.177) on: Wed Feb 19 04:31:38 EST 2003
  
  Geeth, incidentally this song still remains banned in Radio Malaysia due to the controversial line "...iraiva nee kooda kudikaaran". The line was tantamount to belittling God, so felt the authorities.It was deemed that it goes against one of the five principles advocated by the Malaysian governrment amongst which spirituality takes the lead.
  
  Where have the others who showed interest in this thread earlier have gone to?
  
  
• From: s0 (@ 139.95.250.2) on: Wed Feb 19 10:57:31 EST 2003
  
  R. Mahendra Raj: Please do not stop writing about Kannadasan. The lack of activity in this thread does not in anyway mean that we, the silent observers are not interested. So, please share your knowledge about the late genius Kannadasan with us. We are all ears.
  Let there be atleast a few good threads in tfmpage.
  Thanks.
  
  
• From: anwarm (@ 12.94.173.35) on: Wed Feb 19 11:22:19 EST 2003
  
  Mahendra Raj: Thanks for a very informative thread. Did Kannadasan had any affinity for any playback singers in particular, P Susheela. I believe she had been associated with his lyrics for a very long time (in fact the vast majority of the songs went to her including many memorable ones). Any comments from Kannadasan on P Susheela as an artist?.. Would like to hear if you have some on record....
  
  
• From: R. Mahendra Raj (@ 210.186.1.4) on: Thu Feb 20 05:25:22 EST 2003
  
  Thanks So!
  
  Anwarm, I must be frank with you re- P. Susheela.
  
  Kannadhasan once commented that his lyrics were well conveyed through the expressions and vocubalary of P. Susheela although the latter was a Telugu. I have seen countless interviews with PSuseela in the tv as well as in weekly and monthly magazines, but sad to say, never came across even a passing reference of Kannadhasan by her.
  
  Kannadhasan introduced K. Jamuna Rani as well as promoted L.R. Easwari. For his film "Karuppu Panam" the song "ammama keladi konjam" MSV recommended PSusheela but Kannadhasan insisted that LREswari be given the opportunity. The end result was more than expected. The same goes with the song "Pattathu raani..." in 'Sivantha Mann' where Kannadhasan insisted that LREaswari sings this piece. That song was a hit too. Could this favouritism be the reason as to why P.Susheela refuses to comment about Kannadhasan?
  
  
• From: Sankar (@ 203.124.138.34) on: Fri Feb 21 04:33:53 EST 2003
  
  Dear All, about the famous song "ponaal pogattum pooda' in Paalum Pazhamum.. This is what Visali, daughter of kavingyar told in an interview. When the situation for this song was being explained to him, he got the news that he is put to some hardship due to some personal problem ( not sure whether it is due to income tax raid or some court case) and he said ' PONAAL POGATTUM POODA'. Since the situation in the movie aptly matched the lines, then came the song. Even today, when I listen to the lines of this long, I get moved with tears..
  
  
• From: R. Mahendra Raj (@ 210.186.1.180) on: Sat Feb 22 00:46:03 EST 2003
  
  Yes, he was having some personal problems at that time. During the composition of the music MSV pointed out to Kaviarasar that the words "podaa" does not reflect well on the hero (Sivaji) who is a doctor in the film. Kaviarasar told him off by saying that any man irrespective of his status when depressed or angered will use such prefixes. MSV reluctantly composed this song. It became a very great hit even till today.
  
  Incidentally, years later MSV recollected in an interview an actual incident relating to this song. On a hazy early morning a vehicle crashed into the pillar of his house and before he (MSV) could come out to investigate the driver bolted from the scene. While inspecting the damage to the pillar a goat heard, a small boy at that, snidely sang the song "Ponaal Pogattum Podaa" and scooted off. MSV thought that the song was meant for him even after three decades of composing the same. He felt Kaviarasar's prophecy chilling his spine because a small boy has used "podaa". Irrespective of status? Thats Kaviarasar!
  
  Thereafter, when Kaviarasar penned the song "Ullam Enbathu Aamai" for "Paarthal Pasi Theerum" there were protests from many including MSV for using "aamai" which was considered taboo amongst Hindus. But AVM Meyappan Chettiar accepted the song and that too became a hit because it reached the masses. Kaviarasar's speciality is that it must reach the masses which is why he used layman's terms and words.
  
  Subsequently he used so many songs containing 'vaada' 'podaa' etc. which became hits.
  
  See you again.
  
  
• From: R. Mahendra Raj (@ 203.106.49.213) on: Sat Feb 22 10:11:38 EST 2003
  
  I could't resist writing again lest I forget!
  
  As fans will know the Non-Aligned Movement Convention is being held in Kuala Lumpur, Malaysia from 20-25 February 2003. The whole city is abuzz with this great international event where heads of the third world countries have converged to deliberate important issues.
  
  It was apt for Radio Malaysia to broadcast the song "Oru Thaai Makkal 'NAM' Enbom" on the morning of 20.2.03. Kaviarasar has decreed that his songs will continue to live for generations to come for all people and situations. The opening line of the song incorporates the word "NAM" which is the popular abbreviation for the Non-Aligned Movement in English. The NAM seeks peace and world order. Was'nt our Kaviarasar a visionary by giving words like 'samarasam engal vazhvenbom'in that song for a universal cause?
  
  Incidentally this was the first song to be mouthed by Kamalhassan when he was a child artiste. I remember an interview in Ananda Vikatan some years ago when Kamal was trying his hand at poetry .He paid tribute to Kaviarasar. He admitted that he grew up with Kannadhasan's vocubalory along with guys from his generation. Perhaps this may have influenced him to go into serious poetry. I understand he is about to release his works shortly.
  
  I also saw a tv interview conducted by Kamal with Sivaji somewhere in 1984 where Kamal praised the latter for his superb acting in the song scene "ponaal pogattum podaa". Sivaji, in all humbleness, corrected Kamal by saying that the credit should go to Kannadhasan for his penmanship of the said song. In the next breath he said with emotion that "namakellam thathuvam sonna kavingar ippo avare thathuvum aagivittaar" and wiped away his tears which was rolling down his cheeks when speaking of Kaviarasar.
  
  Kamal should consider himself lucky for he acted as Kannadhasan in "Varumayin Niram Sigappu" and the following year mouthed the latter's last song "Kanne Kalai Maane" in 'Moondram Pirai'.
  
  Did anyone notice that the words "ka" has been magically entwined in Kannadhasan's's life? His first song was "kalangathiru maname" from the film "Kanniyin Kaathali". His last song was "kanne kalai maane" mouthed by Kamalhassan. Of course, there is one other analysis for whom this song was unwittingly meant for. Sorry fans, I can't share this confidential piece as it will be tantamount to invading the privacy and origin of an All-India cine artiste who reigned supremacy in both Madras and Bombay! I hope you will understand my reluctance.
  
  Bye for now and hope to hear from many as possible so as to keep my spirits going. Until now no one has guided me as to the splitting of this thread which I find quite irritating. Can anyone out there help?
  
  

Sub-thread# : 10
• From: Saravanan (@ 213.42.1.164) on: Sat Feb 22 13:43:14 EST 2003
  
  Mahendra Raj- Great write-ups! Please continue.
  
  Btw, the first song that Kamal mouthed as a child was 'Ammavum Neeye' from Kalathoor Kannamma.
  
  
• From: R. Mahendra Raj (@ 203.106.49.208) on: Sun Feb 23 10:39:37 EST 2003
  
  Saravanan, yes I agree with you but that song was not by Kannadhasan. What I meant to say was that was the first song Kamal mouthed written by Kannadhasan.
  
  Who have read Swami Vivekananda's thoughts and reflections? I am afraid not all of us have read on him fully. This fact was known to Kaviarasar and he was saddened by the fact that this great Hindu monk who took the west by storm was not fully understood by his own countrymen. He decided to do something about this. As you know, when Kaviarasar writes he will ensure that it must reach the masses with simplicity of language. Thus the song "Aaru Maname Aaaru Anthan Aandavan Kattalai Aaru" was born (film "Aandavan Kattalai"). After this song was released even the layman was opportuned to learn about Swami Vivekananda;s thought.The entire philosphy made compact in just 6 stanzas! Thats the genius in Kannadhasan.
  
  Talking about spirituality Kaviarasar encompassed all religions as evidenced by his award winning song "Ganga Enbathu Raman Nadhi"
  
  But in person Kaviarasar was a devout Krishna bakthar. Although belonging to the Chettiar community who reckons Lord Murugan as their deity Kaviarasar begged to be different. No wonder the community shunned him during the early stages! That is a different story which I will narrate later.
  
  In early 1972 Kaviarasar made preparations for his third (or fourth?) daughter's wedding. The date was set and barely three days into the wedding he was in a dilemna. Someone who promised to advance the money for the wedding disappointed Kaviarasar at the eleventh hour. Poor chap, it was during these type of situations he will cry like an innocent child. The good Lord had heard him cry. Continue to read fans.
  
  He had an appointment to write songs for the film "Deivam", a Devar banner.Kaviarasar will put aside all his personal problems when it comes to work. He dictated the song "Marutha Malai Maamaniye Murugaya Devarin Kulam Kaatkum Velayya". When the assistant read back the dictation Chinnappa Devar who was in the adjoining room quickly came out and asked that the song be read out again. He was immensely impressed with the line "Devarin Kulam Kaatkum Velayya" as though it was meant to him. Immediately he gave Kaviarasar 1 lakh for the song and also gave him permission to make use of his personal wedding hall for his daughter's wedding.
  
  Kaviarasar was dumbfounded as the song was written spontaneously and that too in praise of Lord Muruga. Nevertheless the money came as a saviour and the wedding was well conducted. As Kaviarasar was entering the hall he heard his own song "Poo Mudipaal" (Nenjirikkum Varai) being played in the gramaphone. Later he reflected that although he is a Krishna bakthar nevertheless it was Lord Murugan's grace that saved him from an embarassing situation.He understood the divinely drama. The good Lord came to his aid through one of His forms.
  
  In the late eighties I happen to hear an interview over the radio whilst driving but I could'nt make out clearly whom Kunnakudi was referring to due to transmission signal interferences. But later I concluded taht Kunnakudi Vaidyanathan talked about Kaviarasar. The story goes like this. Kunnakudi likes to blow his own 'trumpet'about his ability to handle the violin to his terms(pardon the pun).It was at Devar's studio that both he and Kaviarasar got into a friendly argument over each other's talents. It was agreed that for each stanza Kunnakudi plays Kannadhasan must immediately pen suitable lyrics before he could go on to the next stanza. Thats how the birth of the song "Marutha Malai Maamaniye" was born.Music for this film is by Kunnakudi. Remember, the variations of the concluding stanza in that song? Kunnakudi purposefully made it difficult so that Kannadhasan will lose out.But the reverse took place. Kunnakudi said in the interview that after this banter he put down his violin and embraced Kannadhasan admitting that his violin lost to the latter's pen. It was at this time when Devar heard the commotion and came out. The rest of the story is as above. I am still perplexed that for a self-praise man like Kunnakudi would he have surrendered just like that? But thats what he said, in the interview.
  
  The first story was told by Kannadhasam himself in one of his books. But if the second story by Kunnakudi is to be taken seriously than I must say Kaviarasar was all humble as he could have easily boasted about this triumph over Kunnakudi.But he did'nt. Thats Kannadhasan.
  
  That also reminds me of one rare occasion where Kaviarasar blew his own trumpet.
  
  In 1962 when the then Ceylon (Sri Lanka) Government was treating the Tamils badly Kaviarasar led a protest rally against the former to the premises of the Ceylon Attache in Madras. When this news reached the authorities in Ceylon they imposed a blanket ban on all Kannadhasan songs over Radio Ceylon with immediate effect. But after a week it so happened that the ban was unofficially lifted and Radio Ceylon began to broadcast Kannadhasan songs. When Kaviarasar heard this he immediately straightened his shirt collar and with a smirk remarked that without his songs Radio Ceylon will go bust! It was true because that was a period where every other third song released was by Kannadhasan! Thats bragging with a touch of wit and truth!
  
  See you again and by the bye can I know how many are reading this? Just log in your name and place of domicile as I am curious to know the global response.
  
  
• From: Sankar (@ 203.124.138.34) on: Sun Feb 23 23:10:24 EST 2003
  
  Mr. Mahendraraj... you are right about 'Maruda malai maamaniyae murugaiyya'.. I have heard/seen the television interview by Kunnakudi on this.. Kunnakudi was stunned when he gave the tune - the most difficult lines towards the end of the song and kavingyar rattled out
  ' pani yedhu, malai yedu, nadhi yedhu , kadal yedhu
  Sagalamum unadarul karunayae peruvadhu'
  
  Kunnadi explained this in all trueness in his interview.
  Similarly, KB , often wonder about the way kavingyar and MSV sit for recording.. the later gives the tune like... thathana thana thathana thaa... with his harmonium faithfully following and kavingyar immediately giving the shape to the tune with his words and the song is made. This he used as the inspiration for his song SIPPI IRUKKUDU MUTTHUM IRUKKUDU in Varumayin Niram Sivappu'..
  
  I have one request to all the fans of KD.. When I started this thread, I did not expect this to draw so much of useful information. Pl pass on this link to all the friends you know to draw greater response. bye for now.
  
  

Sub-thread# : 11
• From: sankar (@ 203.124.138.34) on: Sun Feb 23 23:23:00 EST 2003
  
  Dear Mahendraraj-- regarding your lines about KANNAE KALAIMAANAE writen with a ' Famous Artiste' in mind ;
  is it true that the lines
  
  KATTI THANGAM VETTI EDUTTHU
  KAADAL ENNUM SAARU PIZHINDU
  THATTI THATTI SIRPIGAL SEIDA URUVAMADA - AVAL
  THALA THALA ENDRU ARUMBI NIRKKUM PARUVAMADA
  was also written with a FAMOUS ARTISTE of yesteryears who is famous and popular even today -but no more in films but now in politics ?? do you have some news on this pl. I think this song is from THANGA CHURANGAM
  
  
• From: Visiri (@ 61.6.38.132) on: Sun Feb 23 23:42:57 EST 2003
  
  Mahendra Raj
  
  >>>But in person Kaviarasar was a devout Krishna bakthar.
  
  The Tamil world knows that Muthaiah changed his name to Kanna-Daasan due to his immense love for Krishna. Yet, there are many people who trivialised Kannadasan's love for Kannan. I am reminded of the Kannadhasan Vizha that was organised by Pandi Thurai in Malaysia recently. When speaking about bakthi paadalgal, Pandi Thurai, a fanatic Saivite, purposely avoided all mention of Kannan in Kannadaasan songs!
  This is tantamount to talking about Thiruvalluvar and not talking about Thamizh.
  Naturally, the entire vizha was a complete fiasco, scratching Kannadasan only at the surface. In fact, this very page has more intellectual discussions on Kannadasan than in that vizha with greats such as MSV and TMS!
  Congratulations to all participants of this thread for your good work.
  All I ask of you, is please do not trivalise Kannadasan.
  Kannadasan would have turned in his grave at the insult by Pandi Thurai.
  
  
• From: geeth (@ 195.226.230.37) on: Mon Feb 24 00:36:51 EST 2003
  
  mahendra raj, appreciate your time and work in this thread. its a been a great time each day to come and see whats written new. interesting information and very well presented. i am sure admin will put this thread as a permanent one soon in the home page itself.
  i referred this thread to my friends in Qatar, Kuwait and US(Chicago) - they are all enjoying it too.
  
  
• From: OISG (@ 193.188.97.152) on: Mon Feb 24 02:32:05 EST 2003
  
  Mahendra raj
  
  I feel that there must be some incident related to "Nilavai paarthu vanam sonnadhu" from Savale Samali.Though the song is supposed to depict JL s dislike for Sivaji after their marriage,i find this song more deeper than that.
  
  Particularly the lines
  
  "Pudhiyathallve theendamai enbathu,Puthumai allave athai neeyum solvathu" - Could it be relating to Kamaraj-Rajaji feud?In the movie there would be NO caste factor involved ,only the economic status and persoanl traits of JL would be the factors.
  
  
• From: R. Mahendra Raj (@ 203.106.49.59) on: Mon Feb 24 10:05:34 EST 2003
  
  Thanks for the wonderful feedback folks. It is indeed heartening to note that Kaviarasar still lives globally.
  
  There is a history as to how Kaviarasar christened himself 'Kannadhasan'. When he applied to join a publication way back in the forties the editor who interviewed him asked whether he had experience in editorial work. Kaviarasar replied in the affirmative. The editor then asked under what pen name did he work to which Kaviarasar spontaneously replied 'Kannadhasan'. That name just came to his mind instantly it seems. The truth was he had no experience at all in editorials save for the occasional poems he wrote under different pen names! Just to get the job he had to tell a white lie. Of course, the name stuck to him permanently overshadowing his maiden name and the rest is history. Kaviarasar recollected this incident to youths much later when he was reigning supreme to take up challenges in an unknown field just like what he did.He also advised them to make the best of their respective jobs to carve a name for themselves.
  
  I am sorry, I don't have any background information on the songs "katti thangam" and "nilavai paarthu" except for the fact that the former is still regarded as a gem when comes to description of one's sweetheart in plain Tamil literature. The latter song was from the film "Savaley Samali". Incidentally this title was lifted from Kaviarasar's song 'savaley samali' (film: Uyiraa Maanama). All the songs were penned by Kannadhasan except for 'aanaiku oru kaalam vanthal poonaiku oru kaalam varum therinjiko'. This song was written by Malliam Rajagopal, the producer himself. But then the audience still think it was penned by Kannadhasan due to similiarities. Malliam was indeed proud to be equated with Kanadhasan.
  
  Coming to the "Tribute to Kannadhasan' event which was held in Kuala Lumpur on 28 September 2002. Yes I agree with your observations. Although it was a record turnout of the century for a literary event nevertheless except for Sugi Sivam the rest, especially TMS, deviated from the objective.It appeared that the speakers were using that platform to promote their public speaking ability! Since 1986, Jasmine Productions, a non commercial concern, has been hosting annual tributes to Kaviarasar without fail. Admission is free and the organisers take this opportunity to fete literary figures in Malaysia and occasionally invite speakers from India and Singapore. The credit must go to the late Alan Kandiah, Karu Karthik and Thangamani. It was a pity that the so-called organisers of the grand event never mentioned this good work. For readers info, not even Bharathiyar or Bharathidasan have been so honoured and continued to be honoured in Malaysia.
  
  It will be unfair if I fail to stick to my original objective i.e. background info on Kannadhasan's songs whilst addressing the queries from readers. Okay, here it goes.
  
  When director A. Bhimsing, Viswanathan Ramamurthi and Kaviarasar sat to work on a song for the film 'Paava Mannipu' there was a telephone call for the latter. He excused himself and answered the phone. MSV noticed that Kaviarasar's face which had been hitherto full of life suddenly shifting gears to melancholy. After placing the receiver back on its handle Kaviarasar returned to the spot where all were gathered to compose the song for the situation. MSV did enquire from Kaviarasar whether he was alright to which the latter, with his usual smile, said yes. After listening to the situation of the story he immediately wrote the song and collected his dues and left in a hurry. MSV was curious over the whole incident and decided to play detective.In the evening on the same day he dropped by Kaviarasar's house and asked him the same question. This time Kaviarasar told him all. It seems that his creditors took judgement debt notice and were already in the house to seal the same. That was when he received the phone call from his household. MSV was further shocked to understand that the song he had written earlier that day was for Kaviarasar himself. The song? "Silar Sirippaar Silar Azhuvaar" (film: 'Paava Mannippu". Whats so great about it? The line "....kaalam oru naal maarum nam kavalaigal yaauvum theerum, vanthathai enni azhugindren varuvathai enni sirikkindren' was a moral booster to himself. He was sad that such an embarassing situation took place ("vanthathai enni azhugindren") but happy that he would resolve this matter after getting the cash for the song. He paid this cash to the notice servers to postpone their action. The words "varuvathai enni sirikindren" was a reference to the cash he is going to get after writing this song to help him out of this predicament!
  
  MSV said that any man in that situation will naturally excuse himself from work to go to his house. But Kaviarasar took it cooly and attended to his work first. Thats Kannadhasan!
  
  
• From: R. Mahendra Raj (@ 203.106.49.59) on: Mon Feb 24 10:15:44 EST 2003
  
  "Katti thangam" is from the film "Thaaye Kaatha Thanayan" (1962). "Thanga Churangam" was released in 1969.
  
  The info which I gathered from Kaviarasar's family members was that many heroines of yesteryears used to frequent his house just to pour out their woes. Kaviarasar was regarded as a true friend, philospher and guide whom one can freely open his or her heart. Even male artistes used to drop by to get his advice. Just to hear him give assurances were enough for them. Those days it was a belief that whatever a poet says will come true. Thats another story which I will narrate later.
  
  Therefore, to my knowledge I do not think this particular song was aimed at any heroine. Conversely, Kaviarasar has been known to be sattirical of Tamil film heroines especially on their waistlines and their figures as a whole!
  
  

Sub-thread# : 12
• From: R. Mahendra Raj (@ 203.106.49.59) on: Mon Feb 24 10:23:47 EST 2003
  
  Sankar, I just happened to go to the other thread and saw your response re-"Marutha Malai Maamaniye Murugayah". Thanks for the confirmation on Kunnakudi's statement.
  
  As regards to the song "Chippi Irukuthu Muthum Irukuthu" kindly refer my immediate recent posting on the birth of this song. I devoted nearly a full page on this song. As feared earlier, the thread is going haywire. If only someone could help organise all the postings on Kannadhasan into one single thread there will be fluidity for the benefit of all.
  
  
• From: Sankar (@ 203.124.138.34) on: Tue Feb 25 00:26:29 EST 2003
  
  Dear All, I am from Chennai and passing this links to all my friends I know to draw good response.
  
  For a moment, I wish to share with you about a particular song Kavingyar wrote about ' PILLAYAR' in PILLAYAR PATTI - a small town very close to Kavingyar's birth place SIRUKOODAL PATTI in Tamil Nadu.This temple is very popular and devotees from all over the world throng this temple since every visitor experiences the grace of the LORD once they visit this temple. KAVINGYAR was no exception.. His wordings of the song what I am narrating will testify my statement.
  
  PILLAYAR PATTI is very close to KARAIKUDI and the TEMPLE was being managed by CHETTIAR Families. The name of the presiding deity is KARPAGA VINAYAGAR. Kavingyar's sister was married and settled in Pillayar patti and he had been frequently offering prayers at this temple at every possible opportunity.
  
  When kavingyar was at his peak of fame, one evening , around twilight time, he and his family members were travelling to Sirukoodal Patti for a marriage and on the way, the car was stopped at this temple. Only Kavingyar got down and before the preist PITCHAI GURUKKAL could identify him and reach him, kavingyar went into the temple and offered prayers and returned back to the car. PITCHAI GURUKKAL had to run to catch up with him and called kavingyar. Kavingyar, with one foot in car and about to get in, acknowledged gurukkal and exchanged respects. PITHCAI GURUKKAL expressed his wish to kavingyar that his songs are now popular worldwide and why he had not written anything about his favourite deity ?.. Kavingyar, in the same posture with one leg inside the car and hand on the opened door, had a look at the GOPURAM the temple and rattled out these lines;
  
  ARPUDHA KEERTHI VENDIN
  AANANDHA VAAZHU VENDIN
  NARPPORUL KUVIDAL VENDIN
  NALAM PALA PERUGA VENDIN
  
  KARPAGA MOORHTHY THEIVA
  KALANJIYATTHU IRUKKAI CHENDRU
  PORP PADHAM PANINDHU PAAREER
  POYILLAI ! KANDA UNNMAI !!
  
  Pichai gurukkal was motionless for few seconds, trying to grasp what has happened !. he told kavingyar that he does not have any writing material to copy the song and kavingyar said, he will send the song the next day and left in a hurry.
  
  Next day, on a one sided paper, the song was sent through a cyclist to PITCHAI GURUKKAL.. Even today, whenever you see the PHOTOS or LAMINATIONS of PILLAYAR PATTI KARPAGA VINAYAGAR, you will find this song at the reverse.
  
  This incident was narratted by PITHCAI GURUKKAL himself to Visali ( Kavingyar's daughter) in a TV Interview about Kavingyar.
  
  
  
• From: R. Mahendra Raj (@ 203.106.49.27) on: Tue Feb 25 09:43:06 EST 2003
  
  Yes, Shankar I agree with you regarding the bit on Pillayar Patti. I have been there also. That particular posters both large and pocket-size ones are popular here in Malaysia. I am also carrying one in my wallet with Kaviarasar's lines above.
  
  According to Kaviarasar's immediate family members Pillayar Patti temple was founded by their (kaviarasar's) ancestors. This is subject to verification though. Kaviarasar had made only passing references about Pillar Patti in his books. However, he had written quite a lot on Malaiarasi Amman, the village deity in Sirukudal Patti. I had been to this temple one late night and the caretaker was generous enough to show me around including kaviarasar's home of birth at that time of visit it was in a dilipated condition) and the much talked about pond where he used to write his poems during his teens. I felt a chill in me when walking around the whole area on a quiet night. It was as though Kaviarasar's spirit was accompanying me! As as a souvenir I took one broken slab of stone from Kaviarasar's birth home and am still revering it in my prayer room.
  
  Whilst writing the above the song "Naalu Peyrukku Nandri" was aired over the radio which prompted me to add a bit. To my knowledge no other poet, be it western or eastern, has written a song purportedly sung by a dead person. I stand corrected. The last lines "vaazhumpothu varuvorkellam vaarthaiyale nandri solvom vaarthai indri pogum pothu mounathale nandri solvom, antha naalu perukku nandri" especially touches the hearts of mortal souls. A dead body saying thanks to the four who shouldered it to the grave!
  
  The above song was from the film "Sangey Muzhangu" (MGR-Letchumi starrer - 1970) which brings to my mind another background story. It will be very interesting as it is going to touch on one of Kaviarasar's favourite past-time. I will do it tomorrow as time does'nt permit me now. Bye for now.
  
  
• From: sankar (@ 203.124.138.34) on: Tue Feb 25 23:03:14 EST 2003
  
  Thank you Mr. Mahendraraj - Indeed your writing about Naalu Perukku nandri had invoked lot of thoughts in me.
  
  One more song
  EDHARKKUM ORU KAALAM UNNDU PORUTTHIRU MAGALAE
  INPATTHILUM THUNBATTHILUM SIRITTHIRU MAGALAE
  MANIDHA KULAM VAAZHVADINTHA THATTUVATTHILAE
  ANUBHAVATTHIL SOLLI VAITTHAR PUTTHAGATHILAE
  PILLAIK KENA VAAZHUGINDRA PENNINATHILAE
  PIRANDHAVALIL NEE ORUTTHI AAYIRATHILAE
  
  in the film Sivagaamiyin Selvan is a great song. This song, with meaniful lines and pathos in the music and voice of MSV had saved many frustrated ladies from suicide just because of the morale boosting lines. MSV had mentioned this in one his interviews that even today - nearly after 25 to 30 years after this song was written, he gets letters/mentioning from fans on this song.
  
  Adaiyaadha kadavirukkum aalayathilae
  annaiyai pol anbirukkum avanidathilae
  magalae un kuraigalai ne avanidam kooru
  karunaikkuthaan kadavul endru matroru paeru..
  
  What a motivating lines ?? incidentally, in the same song , I am note sure whether the following lines reflectes one more song of respect for Kamaraj ?
  
  Sivagaami petreduttha selvanallavo
  naalai indha mannai aalum mannan allavo...
  
  

Sub-thread# : 13
• From: R. Mahendra Raj (@ 203.106.163.85) on: Wed Feb 26 02:03:34 EST 2003
  
  Sankar, correct me if I am wrong but this song ('etharkum oru kaalam vendum')is written by Vaali. I will verify later.
  
  
• From: R. Mahendra Raj (@ 203.106.163.85) on: Wed Feb 26 03:19:40 EST 2003
  
  As it is a well-known fact that Kannadhasan consumed alcholic drinks. Note that I used the word 'consume'as many negative remarks have been made against him on account of this weakness by his opponents. A veteran trade union leader in Malaysia who was a very close friend to Kaviarasar once said this to me. 'I have joined Kannadhasan in his many drinking sessions with his friends although I (trade union leader)myself am a teetotaler. Not once I saw him drunk or staggering in spite of consuming heavily. It is usually those friends around him who become stupor". No wonder he was regarded as "thalladum bothayilum kavi paadum kavingyar".
  
  He once noted in his autobiography that he seldom writes once he starts drinking. However, he had had made exceptions to this rule. 'Ulagam Piranthathu Enakaaga Odum Nadigalum Enakkaaga'(Paasam ), 'Aandavan Padaichan Engitta Koduthaan' (Nichiya Thamboolam) 'Iraivinil Aattam Pagalil Thookam' (Navarathiri) etc. were written when he was in good 'spirits' (pardon the pun)!.
  
  But there was one song where he deliberately drank to the maximum to write it. When K.Balaji was producing the film "Vasantha Maaligai"(1972)he showed the clippings of the song scenes from the original Telugu version in his private theatre. When Kaviarasar saw the scene it rang a bell. He was nostalgic about his younger days and his old flame. This flame used to repeatedly advise Kannadhasan to refrain from drinking as it was detrimental to his health and curtail his talents as a songwriter. Thus he wrote the song "kalai magal kai porule unnai kavanikka aal illaye" pacifying himself whilst being nostalgic about his earlier days! The 'kai porul' in this context refers to nobody but himself! One of the rare occasions where he wrote for himself.
  
  Coming to 'Sangey Muzhangu'. MGR wanted a song depiciting the evils of drinking for this movie as it was at that period that the ban on public drinking was lifted. Many distressed housewives appealed in person to MGR to do something. What can MGR do as a person? Naturally he sought the advice of Kannadhasan who was an 'authority' on this subject. Together they came up with the song "Silar Kudipathu polle nadippaar Silar nadippathu polle kudipaar, Silar paatinil mayanguvaar, Silar bottleil mayanguvaar". A beautiful fast paced philosophical dance song with MGR and Helen. Thats the genius in Kannadhasan. He can glorify the effects of drinking and at the same time spell out the evils of consuming the same. This song bears testimony to the ill effects of drinking by none other than the 'authority' himself.
  
  Whilst on this subject let me narrate another background story.
  
  Once when Kannadhasan, Viswanathan Ramamurthy and A.Bhimsing sat in session to write and compose a situational song for the film "Phazani" (1964/5)in the studio floor, a studio hand was seen walking with a foreign whiskey bottle. Kannadhasan immediately stopped the boy and enquired as to the price of the imported stuff. That boy replied that it was Rs.1500. Immediately Kaviarasar passed the hat around to collect but it barely reached Rs500. Asking the boy to wait Kannadhasan telephoned his brother AL Srinivasan who was the producer of "Pazhani" at the latter's house asking him to advance Rs1000. ALS wanted to know the urgency and Kannadhasan in all innocence told him the truth. ALS chided him over the phone for being a wastrel and bluntly refused to advance any money.
  
  After putting down the receiver Kannadhasan told the studio hand to try his luck somewhere else and back he went to the business of writing the situational song. MSV and the gang were eager to know the outcome of the telephone call to which Kannadhasan replied that today was not their day! He wrote the song and scooted off. Only when composing the tune did MSV realise Kaviarasar's frustration over the incident. The song was "Annan Ennada Thambi Ennadaa Avasaramaana Ulagathile". The 'avasaram' in this context was the foreign liquor!
  
  Bye for now!
  
  
  
• From: Sankar (@ 203.124.138.34) on: Wed Feb 26 23:29:24 EST 2003
  
  Mahendraraj. (1). reg endharkkum oru kaalam undu..MSV mentioned in his interview that it was by kavingyar and hence i did not verify.. pl share your findings - i will stand corrected.. I think we can start a seperete thread on VAALI as well !! (2) regarding annan ennada... your info is superb.. the situation matches more to the subsequent lines ' AASAI KOLVADHIL URTHAM ENNADA KAASILLADAVAN KUDUMBATHILAE' !!
  
  I located a link of kaviyarasar's arthamulla indhumadam in english.. wish to share with his fans if the do not know about this.
  
  http://www.geocities.com/ramaninaidu/kanna.htm
  
  
  

Sub-thread# : 14
• From: geeth (@ 195.226.230.37) on: Thu Feb 27 00:44:01 EST 2003
  
  mahendraraj, nice writeup on bottle songs of kavinjar. that reminds me of the great bottle songs in Vasantha Maaligai. did kavinjar write all the songs in that movie. who can ever forget the mesmerising one -
  kudippatharkku oru manam irunthaal, avaLai maranthu vidalaam
  marappatharkku oru manam irunthaal, kudithu vidalaam
  aanaal iruppatho oru manathu....
  
  and the all time classic - yaarukkaga....
  
  not to forget the bottle party song -
  oru kiNNathai yenthukiren
  pala eNNathil neenthukiren.....
  
  must have been a great party time in Vasantha Maaligai sets !
  
  
• From: geeth (@ 195.226.230.37) on: Thu Feb 27 00:57:42 EST 2003
  
  i have read years before about a song situation in '16 Vayadhiniley' where kavinjar wrote the song 'aatukutti muttayittu'. Barathiraja and Illayaraja were discussing about the song situation and especially on the saranam where BR explained that the lady (with sweet voice) will appear out of the fields and to kamal's and sridevi's surprise it will be a old woman. they felt that the punch line in this saranam should be something like 'chinna vayasu eNNangaL' but they were unable to tell kavinjar that. Kavinjar's seniority and status were too high when compared to BR (first movie) and IR (early stages) at that period of time. they could only explain the situation and found it difficult to suggest lines to him.
  and for that saranam, kavinjar finished with a punch line - pazhaiya nenapputhaan peraandi, pazhaiya nenapputhaan..
  there were claps and appreciation !
  
  
• From: lav (@ 192.39.39.31) on: Thu Feb 27 06:36:08 EST 2003
  
  Nice thread. Though I am born and brought up in TN (Studied my PG in Karaikudi and I had been to Kannadasan Manimandapam there too), I did not have much chance to know so much about Kannadasan. Now, in UK, I am an ardent fan of this thread. Good work by all of you.
  
  
• From: R. Mahendra Raj (@ 203.106.49.202) on: Thu Feb 27 10:06:00 EST 2003
  
  Well folks it is indeed heartening to see your inputs as well as feedbacks.
  
  Yes, when kavingyar saw the Telugu version of 'Vasantha Maaligai' ,as mentioned earlier, after first penning the song 'kalaimagal kai porule' we wrote the subsequent ones the following day but with the nostalgia still fresh in him. Thats why all the songs mentioned above are sort of inter-related with alcohol as the theme.
  
  Re-'16 Vayithinile'. Once a reader asked K.Bhagyaraj in his weekly "Bhagya" as to whether the former had the chance to meet up with Kaviarasar. He replied that the first time ever he saw our legend was when the latter was in session with Bharathiraja and Ilayaraja to compose two songs for '16 Vayahtinile'. Bhagyaraj was the assistant director for that film. He just stood there speechless while Ilayaraja was giving the saranam Kaviarasar penned all the lines in a jiffy especially for the song 'aatukutti muttai ittu'. Hitherto he Bhagyraj)was used to seeing lyricists struggling with the appropriate lines for song situations but this was totally a new experience for him. He could'nt believe his eyes as Kannadhasan appeared simple and humble throughout although being a veteran in the cine industry and working with green horns like him (Bhagyaraj), Barathiraja and Ilayaraja.
  
  Sankar, as I had mentioned earlier in this thread MSV sometimes gets his facts mixed up. Typical of him! That reminds me of one incident when kaviarasar was in a studio composing songs for a film on the same floor where MSV was struggling to lend tune for the song "sindunathiyinil isai.." (Kai Kodutha Deivam - 1964). He went over to the studio where kaviarasar was in and asked him whether he could change the line 'sundara teluginil paatisaithu' especially the word 'paatisaithu'. His argument was that it sounded like 'patti setthu' (grandmother died)when read in combination. Kaviarasar in all frankness told him that he did not write this song but Bharathiyar. Without waiting for him to finish the sentence MSV started looking for Bharathiyar in the studio!
  According to Kaviarasar music is MSV's world and he his not bothered by any worldy affairs. There are lots of stories of this kind which I will narrate later. Hence when MSV tells sosmething especially where it involves dates, names of persons etc. one should not take it seriously.
  
  When I wrote about MGR-Kannadhasan relationship earlier I forgot to mention one pertinent incident.
  
  When BR Banthulu was producing and directing 'Aayirathil Oruvan'(1965) MGR insisted on a motivational song to be sung on the ship's deck in the middle of the ocean. Banthulu tried his best to extract such a song from Vaali and other cine poets but not to his or MGR's satisfaction. Finally, Banthulu, a long time friend of kaviarasar, hesitatingly suggested the latter's name to MGR. During this period their political rivalry was at its peak. MGR had repeatedly told all and sundry that his political animosity with kaviarasar should in no way interfere with their respective professions. But it was the producers who dared not ask Kannadhasan in for fear of reprisal from MGR. Of course, Devar was an exception.
  
  MGR agreed to the suggestion which set Banthulu to telephone kaviarasar in his home. Setting aside all formalities he (kaviarasar) asked Banthulu of the song situation and before he could finish he gave him the first stanza over the phone and promised that he will come to the studio the following day to complete the same. The stanza was "atho antha paravaigal pola vaazhavendum, itho intha alaigal pola aadavendum". MGR was satisfied with the stanza at the first glance itself. Kaviarasar came the following day as promised to complete the song. MGR was impressed with this song and he requested for two more songs from kaviarasar amongst which were the classics "odum megangale oru sol keliro" and "naanamo". MGR commented to those present in kaviarasar's absence that no one can beat the genuis in Kannadhasan. He remarked that all the other poets were blank as to motivation in the middle of the sea for them to be inspired to come out with a suitable song. But the genius Kannadhasan saw the birds and waves in his mind where others had failed to notice in their imagination - they only noticed the vast ocean below and the sky above.
  
  Incidentally this song "atho antha paravai pola", it seems, has been translated with a few changes here and there to serve as the national anthem for Vietnam. I read this piece of info sometimes ago.
  
  See you all on March 3 as I am very busy with some important office meetings.
  
  
  
• From: Sankar (@ 203.124.138.34) on: Fri Feb 28 11:46:59 EST 2003
  
  I am looking for references from any of you regarding the views of Kavingyar about nadigar thilagam and vice versa.. do you have any to share ??
  
  

Sub-thread# : 15
• From: Sankar (@ 203.124.138.34) on: Sat Mar 1 02:28:15 EST 2003
  
  Also, I am amazed with the 'Question & Answer' type of songs of Kavingyar..
  
  Just to name a few
  
  Oruthi oruvanai ninaithuvittal from Saradha
  Kannilae Neer Edharkku - Policekaran Magal..
  
  
• From: R. Mahendra Raj (@ 203.106.49.8) on: Sat Mar 1 10:40:38 EST 2003
  
  Sankar, I will touch on your second query first.
  "Kodi asainthathum Kaatru Vanthatha" (Paarthal Pasitheerum 1962)
  "Nanomo Innum Naanomo" (Ayirathil Oruvan 1965)
  "Thottukollavaa" (Maatukaara Velan 1970) etc. In fact, I had compiled this bit under the classification "question & answer songs by Kannadhasan" which was aired over radio. Give me some time to look for the recording.
  
  As regards to the relationship of Shivaji and Kannadhasan - they were both pals during their budding stages. They all (including MGR, SSR) belonged to the same political party - DMK. In fact, Shivaji's trip to Tirupathi in the mid fifties changed the course of Tamil Nad political history. The party was using Shivaji to promote their ideals through the film media. As it was a well known fact that spirituality under any guise was considered a taboo to DMK at that time. Even our kaviarasar had once rubbed off his vibuthi and kunkumam on his forehead so that he will be allowed to speak at a DMK political rally! He was forced to become an aethist when being in DMK and strongly followed its ideals although deep in his heart he was still a spiritual person.
  
  Shivaji's trip to Tiruppathi incurred the wrath of both the leaders and supporters of DMK which resulted in him coming out of the party. Kannadhasan took it seriously and even had a slight brush off with Shivaji. After this incident they both became bitter enemies. This was also the time when the party began to promote MGR in place of Shivaji. The rest is history.
  
  During this time he produced "Sivagangai Seemai' with SSRajendran in the lead just to prove that he too can make a film like "Veera Pandiya Kattabomman" (1959) without Shivaji. The timing of the film was such that it failed in the box office despite having a good story line and punchy dialogues.
  
  During this wilderness Kannadhasan did write a few songs for Shivaji films such as "Bhaga Privinai" etc. But when Shivaji produced "Pasa Malar" in 1961 he had to engage Kannadhasan through an intermediary to pen the songs. When the film was released it became a milestone of sorts for the Tamil film industry. Shivaji, realising that one feature of the film's success was attributed to the songs, arranged for a grand dinner reception with its attendant booze etc. for Kannadhasan. At that function he publicly embraced Kannadhasan saying that "kavingyan endral nee thaanda kavingyan".
  Shivaji further noted that the lines 'nathiyil vilayadi kodiyil thalai seevi' (song: Malarnthu Malaraaga)was a literature song well diluted so that even the illiterate folks could understand the essence. After this incident, their animosity was forgotten. Practically it was kaviarasar's songs for the next decade or so in all of Shivaji's films. Incidentally both joined Congress later.
  In Shivaji's subsequent film "Kunkumam"(1963)under the banner of Rajamani films (his mother) Kaviarasar even wrote the title song "Kunkumam mangayin mangalam kunkumam" and added the line "rajamaniyin annayin neytryil kaatum kunkumam" having Shivaji's mother, Rajamani, in mind at that time. The kumkuman on Rajamani's head was prominent despite having a frail body. Kaviarasar was a keen observer all right.
  
  When Shivaji produced "Puthiya Paravai" it was Kannadhasan again for the songs. Kaviarasar had a mental block as to the right type of lyrics for a pathos song. During one of his visit to Shivaji's house one early morning he observed the latter in a tense mood looking for an attire wich had been misplaced by one of his household member. He was heard mumbling that there is no peace in his own house. Eureka! kaviarasar got the starting lines "Engey Nimmathi Engey Nimmathi". When Shivaji settled down later after all the tension Kaviarasar asked him to exhibit the action and reaction of a person who is in search of peace through bodily movements. When Shivaji did just that Kaviarasar immediately completed the rest of the song in Shivaji's house itself. Imagine getting an inspiration from the hero himself through the latter's frustration! Incidentally, this was the only song till todate to have accomodated a full orchestra (100 instruments).Music: Viswanathan Ramamurthy.
  
  Bye for now!
  
  
  
  
  
• From: haris (@ 67.123.4.234) on: Sun Mar 2 01:28:57 EST 2003
  
  Mahendra Raj, Sankar-
  
  Thanks for all the useful info. This is of good benefit for all the tfm fans.
  
  

Sub-thread# : 16
• From: sankar (@ 203.124.138.34) on: Sun Mar 2 01:37:40 EST 2003
  
  Dear Mahedraraj - thanks for your great inputs.. I will diagress a bit to 'krishna gaanam'...All the songs here are GEMS..I just want to stress on a particular song in this collection which I wonder, how come KD had got such a thought to write this particular.
  
  Imagine meeting one of your early day friends after a gap of say 3 or 4 decades.. the first question will be 'ennai therigiradha'? ( Do you recognise me?)..
  
  In the song
  KANNAPURAM SELVAEN, KAVALAI ELLAM MARAPPEN,
  KANNANIN SANNADIYIL ENNAERAMUM IRUPPAEN.
  
  he had written about how he will feel if he visits THIRU KANNABURAM, a great Vishnu temple. In this song, he dwells in detail about the temple and in the last stanza, written as
  
  YETTUZHUTHAI SOLLI KITTAE NERUNGIDUVAEN
  ennai therigiradha ENDRAE KAETTIDUVAEN
  KATTI ANNAITHU ENNAKKU KAI KODUPPAN KANNAN
  KARPOORA MANAM KAMAZHUM KAAL PIDIPPAEN _ UYVAEN
  
  The point to be noted is, his ability to bring out his inner feelings in word form and able to make everyone experience the same feelings when they here the song.
  
  No wonder MSV , whenver sings the song PULLANGUZHAL KODHUTTHA MOONGILGALAE, in his light music programmes, instead of ending with ENGAL PURUSHOOTHAMAN PUGAZ PAADUNGALAE, will sing as ENGAL KANNADASAN PUGAZ PAADUNGALAE... he is right!!!!!!
  
  
  
• From: R. Mahendra Raj (@ 203.106.49.190) on: Sun Mar 2 04:21:06 EST 2003
  
  Thanks Harris and Sankar for the comments.
  
  Even Rama Kanappan, Kaviarasar's assistant after Panchu Arunasalam, noted in his book that in all probabilities Kaviarasar's soul should be resting in Bhirundavanam in the heavens above and singing live songs of praises to Lord Krishna himself. That much he had penned about Lord Krishna.
  
  Just because Ilayaraja and Gangai Amaran were at the airport to see Kaviarasar off to Chicago (the last) both claimed the rights to the song "pullanguzgal koduthha moongigale". However, MSV makes it a point to render this song in practically all of his concerts. Of course he had changed the last stanza as mentioned above. One can actually see him choking with emotion when he mentions kaviarasar's name at the last stanza. Such was his affection for kaviarasar.
  
  In the mid fifties Kannadhasan and NSKrishnan (another legend)were boozing in the latter's house. NSK related to him as to how is gardener cried to him over the latter's son who left him after getting married. NSK added that the gardener, out of spite, preferred to tend to coconut trees which was part of his profession instead of tending to his own off-spring. ("thennaiya petthaal ilaneeru pillaya petthaal kanneeru"). This line invoked much thought in kaviarasar and he was awaiting a suitable film song to incorporate it.
  
  Nearly 15 years later he infused this line into the song "yaarai nambi naan poranthaen pongadaa ponga" (Enga Oor Raja 1968.) That was a terrible long period all of you might think. But the accompanying incident puts to rest your opinion.
  
  One morning kaviarasar was in his office-cum-studio, probably busy with his own film "Karuppu Panam" when a young boy appeared. He inquired as to who he was and the boy replied that he was the new office boy to work for his studio. Kaviarasar thence asked him for his name and the boy replied "Thirumaal Azhagar". This name stuck to him and in a short while he was on his way the studio where the film "Kalai Koyil" (1964) [ jointly produced by MSViswanathan & Sridhar]was being produced to write the songs. Whilst in the car he was still thinking of the young boy's unique name and he wasted no time to include it in the song "deviyin thirumugam oruvanuku thirumaal azhagar iruvaruku" in a sitational song scene for this film, all within a matter of minutes! This goes to show that whatever impresses kaviarasar must be shared with the masses no matter what the time frame is.
  
  The song "aasayae alaipole nammellam malai mele" (Thai Piranthal Vazhi Pirakkum" 1958)was written on a cold night, in a car, on the silver foil of a cigarette packet when he could not find a piece of paper. Kaviarasar and gang; which included Tiruchi Loganathan, were returning home after attending a function outstations when they were put on traffic hold at a railway crossing. It was during this time that kaviarasar had the inspiration to write this song. Tiruchy Loganathan was much impressed with the lyrics that he begged kaviarasar to recommend that he be given the chance to sing this song. The wish was fulfilled and the song is still a moral booster even after more than 4 decades.
  
  Bye for now!
  
  
• From: dj ron (@ 67.116.24.35) on: Sun Mar 2 05:48:39 EST 2003
  
  kannathan is the best
  
  
• From: geeth (@ 195.39.134.84) on: Sun Mar 2 07:52:44 EST 2003
  
  "thennaiya petthaal ilaneeru pillaya petthaal kanneeru"
  
  we used to discuss among friends if kavinjar was mentioning about a son or children in general when he says 'pillaya peththaa'.
  
  in the same song another interesting line that follows the above is -
  paanayile sorirunthaal
  poonaigalum sonthamada..
  
  
  
• From: sankar (@ 203.124.138.34) on: Mon Mar 3 23:02:42 EST 2003
  
  Tku Mahendraraj.. I want to get some inputs from KD's fans about one particular song which, even today, I sit spell bound after going through the lines and what thinking must have run into his mind when the song was penned.. the song is a lullaby in Chitti and sung by PS.
  
  KAALAMADI KAALAM IDHU KANNURANGU MAGALAE
  KAALAM IDHAI THAVARA VITTAL THOOKKAM ILLAI MAGALAE
  
  where, the step mother puts her child to sleep saying that for a girl (lady), the childhood is the only time she gets to sleep and if she misses it, she has to wait till her old age to enjoy a sound sleep. Also, it explains the responsibilities on the ladies at various stages of their life. Going by the lines, i took it for KD ( hope i am not wrong)
  
  miga arumayaana paadal...
  
  

Sub-thread# : 17
• From: haris (@ 67.123.4.234) on: Tue Mar 4 00:35:10 EST 2003
  
  Sankar- As the person who started this started, can u please put a request to the admin, to cut short the initial lengthy posting by you (while starting this thread) - as it eats up 75% of the whole page? Thanks-
  
  
• From: R. Mahendra Raj (@ 203.121.0.9) on: Tue Mar 4 02:13:53 EST 2003
  
  Sankar, before I comment on the song from Chitthi let me also add on to Haris comments. Please request the admin. folks to combine all the threads on this subject into one for a free flow reading.
  
  That is one song which is meant for the Indian women for all generations passed and yet to come. I used to wonder whether kaviarasar had entered the spirit and soul of an Indian woman to write this gem. He had greatly transferred the feelings and emotions of a female from cradle to grave into this song. Of course, there are other songs by him expressing feminine views but this one still awes me. Even a female songwriter would lose out. No wonder he was a ladies' man!
  
  Incidentally "Chitthi" (1966) was telecast over the Malaysian satellite television somewhere in late December 2002. Preceding this movie was the "Chitthi" tele serial which is still being telecast in its current season. Upon seeing the two Chitthis it set my mind working. Even in that old film it was a heroine-based theme. Could it be that MR Radhika got the inspiration from the song "kaalam ithu kaalam ithu" for her to produce the "Chitthi" serial?
  
  When kaviarasar was in the height of comtempt of the human race for cheating him he penned his emotions, for a change, for the heroine. That song was "Yaarai thaan Nambuvathu Peythai Nenjam, Ammama Boomyile Yaavum Vanjam" (Parakkum Paavai 1966).
  
  That also reminds me of two incidents.
  
  Padmini who was at her pinnacle got married and settled down in the US. After a shortwhile she decided to return to her acting career in India. She was signed for the film "Kaatu Roja" (1963). When the other heroines at that period of time heard of her comeback they did a lot of backbiting for she had the talent of classical dancing to enhance her career which they lacked. Padmini cried to kaviarasar over the behaviour of these actresses. As usual, kaviarasar penned a special song for her, which he said will be her moral booster. That song was "Yenadi Roja" and the line "ponaval indru vanthu vittal endru punnagai seythaiyo.." "...ethhanai kaalangal maarinalum nan endrum ilamayamadi..". It was rumoured that this song was directed at Saroja Devi for the word "roja" in the begining of the song implied this.
  
  For the film "Manapandhal" (1961) kaviarasar penned all the songs but one song's lyrics were unintentional but were apt for the situation. The two brothers Gunasekaran and Kulasekaran were in love with the same girl. Although Gunasekaran (SSR) was her lover, due to a twist of fate, she ends up marrying Kulasekaran (Asohan). The song "Orey Raagam Orey Thaalam" in this film has this line "andru gunathodu....& indru kulathlodu manam seythu nindren" (sorry, I cant remember right now the remaining lines) happened to be the crux of the story! Gunam and Kulam, ha!
  
  
• From: Sridhar (@ 162.119.64.110) on: Thu Mar 6 12:18:41 EST 2003
  
  Mahendra Raj,
  
  I did not get a chance to read Kannadasan commenting on TMS. I used to be a regular reader of Kannadasan's 'intha vaaram santhithEn' artice when it came in Kumudam magazine where he wrote about many film personalities, but not TMS.
  
  Do you have any info on this? On the other hand I have seen TMS appreciating a lot on Kaviarasar's talents.
  
  Thanks in advance for your response.
  
  
• From: R. Mahendra Raj (@ 210.186.1.242) on: Fri Mar 7 04:44:25 EST 2003
  
  Sridhar, I am compelled to concur with you that Kaviarasar seldom talked about TMS for reasons unknown. Could it be that the latter is fond of blowing his own trumpet which characteristic despised the former?
  
  When Kaviarasar penned the song "Kadavul Manithaanaga Pirakkaa Vendum" ('Vaanambadi' 1963 - Kannadhasan's own production)he had originally used the word "saagavendum" instead of "vaadavendum" in the line "avan kaathiluthu vethanayil vaadavendum". TMS pointed out to Kannadhasan that God is immortal and therefore the word "saagavendum" should be removed. After a moment's thought Kaviarasar agreed to TMS' opinion and quickly substituted the word with "vaadavendum".
  
  When TMS released his devotional album he invited Kannadhasan to launch the same. At the launching ceremony Kannadhasan saw similarities between his work and that of TMS in the lyrics of the devotional songs. When he asked TMS about this the latter proudly replied him that since he has sung hundreds of songs written by Kannadhasan it is only natural that he gets influenced by his style of writing!
  
  Speaking of playback singers, Kannadhasan had one unfulfilled personal ambition. Although every playback singer had sung his songs (until early 1983, of course) MKThiagaraja Bhagavathar did not sing even one song.
  
  
  
• From: geeth (@ 195.39.134.84) on: Sun Mar 9 03:25:37 EST 2003
  
  a request to admin. can the title post be altered and made small. just the title Kaviyarasu Kannadhaasan will do and the rest be converted as a response posting, preferably the first posting.
  
  everytime we go to see the previous responses to read, the same title details appears taking lots of page space and give us very little to read. your alteration here will be very much appreciated.
  
  

Sub-thread# : 18
• From: R. Mahendra Raj (@ 210.186.0.151) on: Mon Mar 10 04:56:32 EST 2003
  
  Some snippets on Kaviarasar -
  
  When kaviarasar married (his third) in the mid seventies he insisted on protocol and marriage formalities such as "maapillai azhaippu" which is usually meant for first-timers. He was stubborn like a child until these formalities were met!
  
  Once, en route his alma mater after returning from a social function with his friends which included publisher of Vaanathi Pagam, he asked his chaueffeur to stop by. He got down from his car and pissed on the wall of his former school and back again into his vehicle. Until they reached Madras he did not comment on this sudden behaviour. His co-passengers were puzzled as to why he chose his former school of all the places to 'download' although he did not have the urge as in an emergency. They concluded that it could be that his former teacher, Appadurai, had once chided him saying that he was only fit to be a cowherd! But that was decades ago. Just to prove him wrong he did that childish thing!
  
  Kaviarasar had many nicknames whilst schooling. Because of his height he was known as "kokku Muthiah", because of his fondness for food "saappatu Muthiah" and for his frequent abscondment from classes "kambi Muthiah" (from the idiom "kambiya neetu").
  
  
  
• From: Manisekaran (@ 61.6.39.139) on: Mon Mar 10 20:09:43 EST 2003
  
  
  Dear Mahendraraj,
  
  As Kannadasan was pissing his song "Malarnthum Malaratha paathi Malar Pola"was played on the radio. So he stopped half way. His intention of course was to curse his teacher.
  
  
  
  
  
  
  
• From: sankar (@ 203.124.138.34) on: Tue Mar 11 05:30:25 EST 2003
  
  Also, in the movie VELLI VIZHA by KB, there is one very good song, which is so beautifully penned to suit the situation and to explain the whole story in one song. A usual style of Kavingyar.
  
  S.Varalalshmi and Jayanthi will be playing 'chokkattan' on the vaikunta ekadesi night to stay awake. in other room, Gemini and Saradha will be playing chess. Jayanthi is very innocent and is worried about her husband's intimacy with Saradha ( his friend's sister).. The song ' Kai Niraya Soozhi, Kondu Vandhaen Maami, Kaayai vettalaama Kan vizhikkum Naazhi...' If you carefully listen to this song, this is one more Q & A song and each character will justify its role through the song lines.. I hope it is by KD ( or Vaali ?? )
  
  
• From: geeth (@ 195.39.134.84) on: Wed Mar 12 02:58:31 EST 2003
  
  unakendrum enakendrum uravu vaithaan
  iruvarin kaNakilum varavu vaithaan
  oruvarin kuralile mayanga vaithaan
  uNmaiyai athile uranga vaithaan
  
  a story in four lines - is it by kavinjar ?
  
  
• From: Saravanan (@ 213.42.1.173) on: Wed Mar 12 03:55:53 EST 2003
  
  geeth and Sankar: both the above songs are by Vaali, I think.
  
  
• From: R. Mahendra Raj (@ 210.186.2.10) on: Thu Mar 13 05:06:49 EST 2003
  
  Yes, Saravanan both the above songs are by Vaali (bye the bye, it is not Sharada but Vaanishree in "Velli Vizha").
  
  At one point of time confusion did take place as to the rightful author of certain songs even in the industry itself. Even Manorama, the seasoned artiste, wrongly quoted Kannadhasan as the writer of the song by Vaali "Kan Pone Pokile Kaal Pogalaama" (Panam Padaithavan 1965)at a public function. Vaali took all these sportingly as he was being equated with Kannadhasan within a short span of entering the industry!
  
  
  
  
  
• From: Manisekaran (@ 61.6.39.139) on: Thu Mar 13 19:16:39 EST 2003
  
  Avvai Nadarajan too had said ata public function that "Kaatru Vaanga ponene oru Kavithai vangi vanthen (Kalangarai Vilakkam) was penned by kannadasan. This was by Vali.
  
  

Sub-thread# : 19
• From: R. Mahendra Raj (@ 203.106.163.51) on: Fri Mar 14 02:42:49 EST 2003
  
  Again something on KBalachandar and Kannadhasan.
  
  Sometimes back the producers of "Varavu Ettanna Selavu Patthana" invited KB for their 100th day function. KB accepted the invitation and rummaged through his old records and got hold of his scripts written for "Bama Vijayam (1967)". At the function, when he was invited to address, he waved the scripts and said that although written nearly a quarter of a century ago he still cherishes it for sentimental reasons. And then he came to the point. He told kaviarasar that the crux of the story was that of a middle-class family who is not budget conscious. He wanted kaviarasar to pen a suitable comical but philosophical song for this theme. Thus kaviarasar came out with the song "varavu ettana selavu patthana" in simple layman's words. Perhaps this was the begining of the KB-Kannadhasan era where the crux of the story was told in a single song. KB told the audience of the greatness of Kannadhasan and he was also gratified to note that he was invited to attend the celebrations of the same title film which rightly should be credited to kaviarasar.
  
  Kaviarasar was not fond of listening to his own songs but there was one exeption. Somewhere in 1981 carnatic play-back singer Balamaurali Krishna paid a courtesy call on kaviarasar at his home upon learning that the latter was indisposed. Upon entering his room he found kaviarasar in a pensive mood listening to his (Balamurali) rendition on the cassette recorder. The song was "Mounathil Vilayadum Manasaathchiye" (Nool Veli 1980)- a KB's film. It was a rare occasion for kaviarasar to be seen listening to his own song. Could it be premonition of his death (he died the same year) that prompted him to review his own lyrics?
  
  
• From: R.Mahendra Raj (@ 203.106.163.51) on: Fri Mar 14 05:32:51 EST 2003
  
  When Kaviarasar was at the height of popularity he took things very easily. He was never serious in his life. In short he lived for the day giving little importance to yesterday and tomorrow. He was always seen in a jovial mood and it was at this time he decided to script and produce the film "Kavalai Illatha Manithan (1958)" with full optimism that a man can survive without worries. But he was proven wrong for the very film which he intended to promote to the masses had him drowned in worries instead for nearly a decade. He trusted a few accomplices and let them handle all things connected with finance for this film. They conned him and he had had to face legal implications. He commented later that ,to be born as a human being the karma is such, one has to undergo sufferings and worries to complete the cycle. Since he defied this will of God by going ahead with such a title for this film had landed him in hot soup for many years to come. He realised that it is totally impossible for a human being to live worry-free throughout his life. He thus cautioned everyone not to undermine God's will as he is a living example.
  
  Incidentally "Kavalai Illatha Manithan" contains beautiful songs and in the opening our kaviarasar who was in the prime of his life can be seen giving advice to newly graduated university students. That piece of advice is still applicable in this millennium.
  
  Chandrababu, the hero of this film, had had given a lot of problems and inconveniences to kaviarasar thus delaying the production on and off. At one stage kaviarasar almost abondoned the idea of going ahead with the film if not for some mediators. Notwithstanding this, when Chandrababu produced "Thattungal Thirakkapadum (1966)" it was Kannadhasan for the songs. As said earlier in this thread, kaviarasar was not known to harbour contempt of any kind for fellow human beings despite the latters' shortcomings.
  
  The same also goes with Savithri. She too gave problems and did not fully give her cooperation to complete kaviarasar's film "Raktha Thilagam".
  Gemini Ganesh, who was a close friend of kaviarasar and who fondly addresses kaviarasar as 'brother' had to interfere and admonish Savithri.
  
  In the recent 80th year birthday celebrations of Gemini Ganesh he (Gemini) had credited kaviarasar amongst the 80 things he likes in life.
  
  
• From: Sankar (@ 203.124.138.34) on: Sat Mar 15 04:24:49 EST 2003
  
  Dear Saravanan, Mahendraraj - Thanks for the corrections. Rama Kannappan, who was Kavingyar's assistant for a long period, naratted the way he use to pen his songs / stories. Without any reference to where the serial had ended in the last edition, Kavingyar can continue his dictation. One the thumb and index finger is joined as a circle and kavingyar sits head up looking at the ceiling or the wall, that is the indication that the thought flow is on.. for YESU KAAVIYAM( a tamil poem by Kavingyar on JESUS which is rated as BIBLE Tamil Translation), he completed the major portion of the work in one night and given it to publishers.. the next day, rama kannappan had to be treated for Writers' Fracture and at that time, Kavingyar naratted that if Rama Kannappan is not treated and made ok, his writings will suffer . I belive he personally requested Doctors for the best treatement to be given to Rama Kannappan.
  
  
• From: R. Mahendra Raj (@ 210.186.0.65) on: Sat Mar 15 20:59:23 EST 2003
  
  When kaviarasar was invited to speak at a forum organised by the local Tamil literary circle somewhere around the mid seventies in the border town of Kroh (Malaysia/Thailand), Veeraman, a local poet accompanied him from Kuala Lumpur in a car.
  
  Whilst in the vehicle Veeraman noticed that although kaviarasar was talking his mind was engaged at a higher level with both his eyes slightly drawn up as though communicating with the gods above. At this level of thought he poured out whatever came to his mind and his assistant (not Rama Kannappan) immediately was seen scribing the dictations of the former.
  
  Veeraman concluded that kaviarasar must have been indeed communicating with higher intelligence as the flow of words which was gushing out were not ordinary ones but masterpieces. Although seen in a semi state of consciousness nevertheless he engaged in the lively conversation with Veeraman throughout the journey. It was something to be marvelled at as we human beings can only perform one work concerning the mind at any one time.It was no ordinary feat for kaviarasar.
  
  They say that kavingyars' words are next to God's because of being adopted by the Godess of Education, Lakshmi. That reminds me of an incident narrated by MS Viswanathan.
  
  When kaviarasar was producing 'Sivagangai Seemai' (1959) he was constrained by budget limitations. He had to produce the film with the barest expenditure and booked a studio to shoot the film. When the day arrived for shooting kaviarasar along with MSV, TK Ramamurthy and the artistes went to the studio to proceed with the shooting and other related work. On arrival they found that a different company was in the midst of shooting. Kaviarasar confronted the manager of the studio who cooly told him that this company paid a higher rate of rental which was why he allowed it to do their shooting work. Kaviarasar pleaded with the manager telling him of his predicament but to no avail. The manager, however, offered to refund the booking fees which was made earlier.
  
  That was the last straw! Kaviarasar with tears welling up in his eyes cursed the manager saying that his studio will perish in fire for being money conscious. He refused to accept the refund and walked away choking with emotions just like a child.
  
  Fair enough, at about 5.00 p.m. the same day MSV telephoned kaviarasar and told him that the studio was gutted down in a strange fire incident. MSV took this opportunity to extract a promise from kaviarasar that not to curse anybody or anyone under any circumstances in future. Such was the word power of our childlike kaviarasar!
  
  As regards to "Yesu Kaaviyam" and some other bits on kaviarasar I will post it later of an article I had written for publication three years ago.
  
  
• From: R. Mahendra Raj (@ 210.186.0.65) on: Sat Mar 15 22:05:30 EST 2003
  
  Kaviarasar always advocated hard work for success. He despised illegal means or labour without sweat to gain riches. Although coming from the Chettiar community who are economically prosperous he was just the opposite - borrowing instead of lending!
  
  To show his displeasure of those who acquire riches on the sufferings of others, especially money-lenders he let it go in a song. In the song he did not hesitate to hold in high esteem even the astrologer and doctor but not the money lender. Note the prefix 'avar' for the other professions and 'avan' for the money lender!in the song "Undaaki Vittavargal" (Muharasi 1966) a Devar films MGR-Gemini Ganesh (first and last starrer). MGR, a police officer in this film, disguises himself as a graveyard caretaker and mouths the sattirical song:-
  
  Undaaki vittavargal rendu peyru
  Ingu kondu vanthu pottavargal naalu peyru
  kondaadam pothu oru nooru peyru
  Uyir koodu vittu pona pinne kooda yaaru
  
  Kalyanam seyvathurku naal solluvaar
  Entha kaariyathai seyvatharkum theythi kurippar
  Nalla seythi sollum joshiyarku
  Theervu sollum naal varai
  Theythi vaikka villayadiyo
  Uyirai meethi vaikkuvillayadiyo
  
  Theeratha noigalayum theerthu mudippar
  Ivar theyraatha vaythiyathum sernthu padichaar
  Nalla noi theerkum marunthu vanthu
  Noi theerka maattha thendru
  
  Pattanathil paathi ivan vaangi mudichaan
  Antha pattayathil kandathu pol veyli eduthaan
  Athil ettaduku maaligai vachi
  Kattadathu katti vittu
  Ettadikul Vanthu Paduthaan
  Mannai kotti athil veyrai eduthaan
  
  

Sub-thread# : 20
• From: R. Mahendra Raj (@ 210.186.2.122) on: Mon Mar 17 02:48:04 EST 2003
  
  When I wrote about the background to 'Vasantha Maaligai (1972)' songs I forgot to include one pertinent point.
  
  Kannadhasan was engaged in writing the songs in one of the rooms of the studio purportedly owned by Rama Naidu who was also the producer of 'Vasantha Maaligai'. As usual he was surrounded by personnel involved in this film including the director and Kannadasan's assistant etc. Rama Naidu happened to pass by this room when he noticed the crowd around Kannadhasan who was casually lying on the bed dictating the songs.
  
  Naidu called for the director into his room and admonished him for treating the studio as a hotel room. At the same time he wanted to see the copies of the songs which Kannadasan had written for this film to determine further!
  
  When Rama Naidu was shown the copies the following day he was very.very impressed with it so much so he ordered a new bed and fittings to replace the old one in the studio! He directed that Kannadhasan could come anytime and do his work in this room!
  
  That reminds me of another incident. When I was staying in the Atlantic Hotel, Chennai some yhears ago, a senior hotel attendant whom I had had befriended took me to the suite where kaviarasar used to compose lyrics. According to the attendant, kaviarasar will request that the a/c be switched off and the ceiling fan to be activated. The other request will be to shut the bathroom door completely as he cannot stand the smell of antiseptic (fennoil). He will then take a pillow from the bed and place it on his lap to rest his forearms and sit cross-legged on the floor. The moment the story situation is told to him he will focus his eyes on the ceiling above like a yogi in deep meditation. Woila! the words come out perfecting the story's situations. All will be over in just a matter of two hours or so and then he will settle down to relax with his favourite drink with associates! This was a routine affair in Atlantic Hotel, it seems according to the hotel hand.
  
  This again reminds me of another local incident.
  
  Somewhere in the mid seventies, when kaviarasar used to frequent Kuala Lumpur, Malaysia he was staying as a guest of a veteran trade unionist in the latter's office which was furnished with hostel facilities. It was the season of Krishna Jayanthi and the government-owned radio station's Indian Services officials decided to interview kaviarasar on this topic since he was in town.
  
  V. Poobalan (an ardent fan of kaviarasar and later retired as head of Indian Section, Radio Malaysia) and the late Bairoji Narayanan, a veteran boradcaster and a devout vaishanavite iyengar, were assigned to carryout this task. The latter was sceptical as to whether this cinematic poet who was known earlier for his aethistic beliefs could talk about Krishna Jayanthi. Reluctantly he accepted the task and went with Poobalan to see kaviarasar in his room.
  
  Kaviarasar was lying on the bed when they entered and straight away without wasting time Bairoji Narayanan told him the raison de' etre of their visit. Without mincing words kaviarasar started to talk extensively on this topic even when the reel tape had ended! He was lying down throughout the interview!
  
  On the way back Bairoji Narayanan regretted his prejudice against Kannadhasan. He told to Poobalan that being a vaishnavite iyengar himself he was nothing compared to the vast knowledge of kaviarasar on Krishna Jayanthi.
  
  Bye the way, the late Bairoji Narayanan was an authority on Tamil cinema affairs in Radio Malaysia as well as the print media. He is none other than the elder brother of cine actor Malaysia Ravichandran (new generation actor Hamshavarthan's father). Incidentally, from the very first film (Kaathalikka Neramillai 1964) Ravichandran shot to popularity due to the numerous popular songs by Kannadhasan which he mouthed.
  
  Well folks, so much for speaking on "sleeping on the job" topic!! I notice that suddenly there is a terrifying silence out there. What happened to you folks? Why no comments? At least that will keep me moving. Kannadhasan is vast like the ocean. One can keep writing and writing on him. So, until I hear from you all folks bye for now!
  
  
• From: geeth (@ 213.121.248.170) on: Mon Mar 17 04:41:50 EST 2003
  
  mahendra raj, what else can we comment other than 'romba nallaa irukku'. there is a lot of eagerness everyday to visit this thread. looking forward to your next visit.
  
  
• From: lav (@ 192.39.39.106) on: Mon Mar 17 07:39:23 EST 2003
  
  I agree with what Geeth says. I also keep looking for updates in this thread.
  
  

Sub-thread# : 21
• From: R. Mahendra Raj (@ 210.186.0.119) on: Tue Mar 18 05:09:15 EST 2003
  
  Actress Devika was an intimate friend of Kaviarasar and she used to discuss her personal and private problems with him.
  
  She used to fondly call him 'liar poet' over the way kaviarasar exaggerates especially those pertaining to women and love. This branding must have worked in his mind so much so he penned the song "Poyilae piranthu Poyillae valarnthu Pulavar Perumaane" (Ananda Jothi 1963). In that song MGR plays the role of a school drill master whilst also dabbling in poetry. The heroine (Devika) comes to know later as to the true identity of the poet thus the song.
  
  In another philosphical song ("Kadavul Irukindraar Athu Un Kannuku Therigindraatha") in this film MGR was a bit apprehensive whether it would click because he was active in DMK which sans religion, God. etc. But he did like the lyrics and gave the signal to proceed with the picturisation. That songs still stands out as amongst the best in philosophy.
  
  Incidentally this was the one and only film where both MGR and Devika paired not forgetting the young Kamalhassan.
  
  When kaviarasar died Devika was in a state of depression for a long long time.
  
  There are also two question & answer songs in this film i.e. "Pani illaatha Maargazhiyaa" and "Ninaika Therintha Maname".(Input to earlier query in this thread).
  
  
  
• From: Kupps (@ 203.199.209.101) on: Tue Mar 18 07:36:10 EST 2003
  
  Mahendra Raj Sir,
  
  Great going. Keep writing. We are all reading very interestingly.
  
  One more thing, your Q&A type of songs reminds me of this song. It is a song asking confusing questions like "hen came first or the egg".
  
  The song is "Kodiyasaindhadhum kaatRu vandhadhaa kaatRu vandhadhum kodiyasaindhadha".
  
  Can you write something about it? If you have already written then I beg your pardon for oversight.
  
  
• From: Sankar (@ 203.124.138.34) on: Tue Mar 18 09:04:28 EST 2003
  
  Dear Mahendraraj.. Do you have any news on Kavingyar's own version of his BEST SONGS ?? I am eager to know the list , if any ..
  
  
• From: Subbu (@ 203.200.198.10) on: Wed Mar 19 04:30:30 EST 2003
  
  Chain of questions is also another type of excellence in lyrics writing. I guess "Ninaikka therinda manamay unakku" is full of questions with the starting word picking up from the previous question. A great song rendered very well by Suseela. Was this written by Kaviyarasar?
  
  
  
  
• From: R. Mahendra Raj (@ 210.186.2.72) on: Wed Mar 19 05:06:31 EST 2003
  
  -Kupps & Sankar thanks to both of you.
  
  An addendum to the earlier thread.
  
  Before 'Ananda Jothi' the film 'Pana thottam' was released (1963). There are interesting similar anectodotes.
  
  When Kaviarasar wrote the song "Enna thaan nadakkum Nadakattumae Iruttinil neethi marayattumae" MGR was not apprehensive but appreciative although it had some spiritual connotations. MGR cleverly uses his signature hand gesture to point to the sky and to the gopuram of a temple when the words "Oru thalaivan irrukiraan mayangathae" and "Pinnalae therivathai adichuvidu Munnaalai irupathu AVAN veedu" appear in this song scene. He was very active in DMK and there were some who hated his meteoric rise. To teach them a lesson he used this song by Kannadhasan and he was not afraid to face the consequences in the DMK for being spiritual.
  
  Subsequently he sat with Kaviarasar to get the other songs namely "Oruvaar oruvaarai piranthom Iruvar iruvaarai inaninthom" where he insisted on a western choreography (his first) to boost the philosophy of this song; "Manathottam pothum endru maayavanaal kodutha udal Panathottam pottathenedi yen muthamaa" where kaviarasar lashes out at money conscious vultures and, of course, "Pesuvathu Kiliya Illai Pennarasi Mozhiyaa?" (Another q & a song, Kupps).
  
  Actually, the latter was the first song composed by kaviarasar for this film and when MGR, being an expert in Tamil literature himself, saw the draft he was overwhelmed. Why? The first stanza "Pesuvathu kiliyaa illai pennarasi mozhiyaa" referred to the then leading lady in Tamil films, Saroja Devi. She hailed from Bangalore and spoke Tamil with a high pitch Karnataka accent (like a parrot?).
  
  The second stanza "Paaduvathu kaviyaa illai parivallal maganaa" and "Cheranaku uravaa senthamzhilin nilavaa" were direct references to MGR. Kaviarasar cleverly put it on permanent records through this stanza of MGR who was noted for his literary ability as well his generosity. The words "cheranaku uravaa senthamizhilin nilavaa" denotes MGR as a Malayalee by birth but a Tamil at heart.
  
  MGR was known to interfere in the lyrics and music direction of all the films he worked with. But Kannadhasan had the ability to read MGR's wave lengths so there was actually no necessity for the latter to interfere. But there was an exception to this rule.
  
  Kaviarasar composed the duet song "Naan andru yaar varuvaar" for the film Mahadevi (1957)but MGR was not satisfied. He asked kaviarasar to come up with a different lyrics (kaviarasar also handled the screen play and scripting for this film) and on the spot the song "Kan moodum velayaliae kalai ennna kalayo" was composed. This song , of course, became a hit, thanks to MGR's insistence.
  
  But MS Viswanathan liked the earlier song so much so that he asked kaviarasar's permission to include it in the latter's own film 'Maalayitta Mangai' (1958). That song too became a hit sung by TR Mahalingam.
  
  Coming to the 'chicken & egg' matter it reminds me of another gem.
  
  As we are all aware the world is made up of atoms which in turn contains sub-atoms, nucleuii, proton. Although not visible to the naked eye it is the atom which is the matter in the entire creation of the universe.
  
  A reader once asked kaviarasar as to what amazes him most in life. Kaviarasar replied that it was the smallest of the smallest atom ,which can only be found under microsopic examination ,found in the spermatooza which in turn procreates all human beings. He concluded that to understand God one has to go back to basics and that even scientists can only study what is available to them but not the origins or roots.
  
  Do you remember the song "Bhoojiyathukulle oru raajiyathai aandu kondu puriyaamalae irruppan oruvan avanai purinthu kondaal avanthaan Iraivan"?
  (Valar Pirai 1962). The bhoojiyam (zero) in this context means the atoms. A simple scientific and spiritual explanation of the creation of the universe by the Lord penned by seer Kannadhasan. If you happen to hear the song again listen to the lyrics carefully. You will be equally amazed at the simple things which our kaviarasar observed scientifically. This is one song where no other poet can equalize.
  
  I will try and address the other queries later, bye for now folks!
  
  
• From: R.Mahendra Raj (@ 210.186.2.72) on: Wed Mar 19 05:20:41 EST 2003
  
  Subbu, yes all the songs in 'Ananda Jothi' including "Ninaika therintha manamae" are by kaviarasar.
  
  Sankar, as stated in my earlier threads kaviarasar was not known to be selective about the songs which he had had written. He seldom makes references to his songs. But he did say that he liked the song "Ponaal Pogattum Podaa" ('Paalum Pazhamum 1961) because of his belief that nothing is permanent in life. He also advised his fans to follow the contents of this song whenever they are in dire straits.
  
  I had come across two or three LPs (long-playing records) containing the label "Kannadhasan's favourites". But I am sceptical because of the above reasons. Perhaps the record producers wanted to commercialise it by giving such a title.
  
  

Sub-thread# : 22
• From: sk (@ 137.132.3.10) on: Wed Mar 19 22:03:32 EST 2003
  
  Mahendra Raj:
  
  We are all enjoying your writings on kavinjar. Please continue the good work.
  
  Regarding songs that kavinjar liked, I have read somewhere that he liked the song 'nenjukku nimmadhi ANdavan sannidhi' from the movie, vallavanukku vallavan because of the sweet tune (Vedha), sweet rendering by PS and more importantly because it reflected his attitude towards life.. lines such as
  
  ondrai thErndhu edu, adhaich chErndhu vidu
  indha ulagaththin sugangaLai vAzhndhu vidu
  
  
• From: R. Mahendra Raj (@ 210.186.0.58) on: Wed Mar 19 22:36:02 EST 2003
  
  SK - thanks for the comments.
  
  Yes, I too remember reading that he liked the song "Nenjikku nimmathi Aandavan sannathi" which title ('Nenjikku Nimmathi' )he gave to one of his chapters of 'Arthamulla Hindu Matham".
  
  
• From: Manisekaran (@ 61.6.39.139) on: Thu Mar 20 00:46:23 EST 2003
  
  
  Mahendraraj
  
  Good work. Keep going. Just to add:
  
  
  1. K. Balachander in an interview was not decided on the ending of the film Aboorva Ragangal. Finally he called upon Kannadasan to compose a song to end the film and the story. So came Kannadasan with "Kelviyin Nayagane" Follwing the composition, Balachander requested Sri Vidya, he daugter in the film (Sutha?) Kamal, Major to do their best performance. He then told the cameraman to be in his best camerawork. When the film went well with the fans, Balachander said that the success of the film, especially the climax ending was much attributed to the penning ablility of Kannadasan.
  
  2. The incident where Poobalan and Bairoji went to see Kannadasan for a recording was the eve of Deepavali. Poobalan had announced that Kannadasan will speak on Deepavali day-even getting his prior consent. Both went to see him on the eve. Bairoji commented "Avan oru Paadalaasiriyar mattum" When they entered the room, Kannadasan was not that willing for the recording as his health situation was not good. Poobalan literally begged him saying announcements were already on the air and there was an air of excitement among the ardent fans ofKannadasan. Finally Kannadsan agreed, and asked "What is the title of my talk?" Poobalan said, "Naalai Deepvali. Neengale thernthedungal" Kannadasan said "Alright. I will speak on Kannanukku Dasan" He asked for the time limit. Poobalan said 28 minutes. Kannadasan swallowed a handful of pills and took out his watch and placed iton thetable to monitor the time. he started and went on on- stop for exactly 28 minutes. Poobalan was astonished at the flow of ideas and words and eloquuence of the great poet. bairoji was mesmerised and literally glued to the ground. When they came out fo the room, the same mouth of Bairoji said "Ivanthaanaiya Kavinyar.
  
  It never ended there. This talk of Kannadsan was aired on Deepavali day and repeated several times later. Bairoji went one step ahead. He re edited the talk by inserting suitable questions to make it appear as though he had done a fresh interview with kannadasan.
  
  When Bairoji retired, he was called back to Radio Malaysia to give a reminiscence of his experience in the station. He mentioned some and emphatically and cegorically mentioned about this interview with kannadasan.
  
  
  3.About Kodi Asainthathum Kaatru vanthata- Sankarachari Swamikal had given an explanation of the philosophy embedded in this good song.
  
  4.In fact it was the hindrance by MGR that actuated Kannadasan to start Kannadsan films and take Malayitta Mangai in 1958. You can see that the scene and situation for both Kan Moodum Velaiyilum and naananri yaar Varuvaar are the same. MSV had no role in the reproduction of the song, other than tune. (there are more stories in malaitta Mangai)
  
  5.Mukta Seenivasan has said clearly that MGR was never and atheist in his life, though for political reasons he portayed such a front. Deep inside he was always a firm believer in God.
  
  Mahendra raj,
  
  You may want to highlight background to Ethirpaaramal Nadanthathadi- Thanippiravi- that led to much controversies.
  
  
  SK
  
  Nenjukku Nimmathi is the most favourite song of Kanadasan, but he regretted that the song never appeared in the movie.
  
  Thanks
  
  Manisekaran
  
  
  
  
  
  
  
  
  
  
  
  
  
• From: sk (@ 137.132.3.10) on: Thu Mar 20 02:52:36 EST 2003
  
  MR and Manisekaran:
  
  Thanks for the confirmation on 'nenjukku nimmadhi'. If one looks carefully at the numerous songs penned by Kannadhasan for Modern Theatres films, most of these were very good hit songs. An important reason for that is kavinjar's lyrics. It is amazing that kavinjar wrote excellent lyrics for these songs given that they were all tunes lifted from HFM and elsewhere. When kavinjar worked on these songs, he was simply told the movie situation and given a cassette containing the foreign tune for which he had to pen suitable lyrics. It seems kavinjar paid special attention to these songs because of his love for Modern Theatres. (In kavinjar's early days, Modern Theatres Sundaram showed a special love for the young Kannadhasan; he recognized the special talents in him and did all he could to help him grow. He was keen on keeping Kannadhasan within Modern Theatres eventhough several jealous people made efforts to project him to be an eccentric and mischievous person.)
  
  

Sub-thread# : 23
• From: R.Mahendra Raj (@ 210.186.0.118) on: Thu Mar 20 04:18:17 EST 2003
  
  Thanks Mani. The thread is getting livelier with your inputs!
  
  Re - 'Aboorva Raagangal' please refer my earlier thread. Just for the record, KB was impressed with the climax song ('Kelviyin naayaganae')and regarded Kannadhasan as a saviour to his predicament who came in the nick of time to put a finishing touch to this controversial story. Just to express his thanks and gratitude he included the scene where Kannadhasan acts out as himself and a patient of Nagesh, the doctor. This scene was shot when the filming of 'Aboorva Raagangal' had already ended. Actually there was no relevance of this scene (Kannadhasan/Nagesh) to the plot of 'Aboorva Raagangal'. Perhaps it was KB's imitable style of saying thanks to kaviarasar and making him even more popular through this visual.
  
  Bye the way both Nagesh and Thangaveloo (comedians) were ardent fans as well as personal friends of kaviarasar. The latter can also be seen often glorifying Kannadhasan's name throughout the film 'Lalitha' (1977).
  
  Re - the interview by Bairoji and Poobalan. I was told by the latter that both were mesmerized when Kannadhasan started to talk so much so that they did'nt realise that the tape had long stopped. Poobalan intimated to me that throughout the interview he (Poobalan) was admiring the grey matter inside Kannadhasan's head!
  
  However, lets not go into technical details for it will put a damper to the aim of this thread. Lets'just grasp the essence and only the overview for the benefit of kaviarasar's fans.
  
  As regards to "Nenjikku Nimmathi" are you sure this song was excluded from the film 'Naangu Killaadigal 1970'?
  
  About the controversial song 'Ethirpaaramal nadanthathudi' ('Thani Piravi 1966). As was well known in the film circle Chinnappa Devar and MGR were actually old time buddies stretching to the days when MGR was struggling to make it into the industry whilst Devar was known as sandow for acting the same in minor roles. They were in the same neighbourhood and once when Devar came to visit MGR in his house he was shocked to find MGR, his brother Chakrabani and mother had not taken any meals because they had no means. Devar immediately went back to his house's kitchen and stealthily took three to four handful of uncooked rice and put them into his short khaki pants which he was fond of wearing at that time. To escape the vigilant eyes of his mother he took the back exit and headed towards MGR's house and emptied the rice onto a pot and asked MGR's mother to cook. Such was the friendship of Devar and MGR. Of course, for one period of time they had had bad blood between them when Devar went ahead to produce films without MGR. That is a different story altogether.
  
  From "Thaai Solle Thattathe'(1961)the bond between MGR/Devar/Kannadhasan began to grow. Initially, Kannadhasan handled the script of this film but almost half way through he could'nt proceed due his many commitments in other films. He excused himself and told Devar that he will concentrate on the songs alone.
  
  Prior to this Kannadhasan handled the scripts of MGR's masterpeices which were all period films mostly based on ancient kingdom stories. When MGR was booked to act in 'Thirudaathae (1958)' [produced by AL Sreenivasan, elder brother of Kannadhasan] he requested Kannadhasan to give his best in the scriptwriting as this movie , his first in a modern social theme, should set standards of some sorts. That film was a hit and and the next big social theme hit to follow was 'Thaai Sollae Thattathae' (1961) with MGR's insistence that Kannadhasan should do the scripting.
  
  Devar, being a diehard Muruga devotee, as mentioned earlier in this thread, became obsessed with this idea of persuading MGR to act as Lord Murugan for a song scene in 'Thani Piravi' (1966). Of course, MGR when approached was apprehensive at first as his image in the eyes of DMK will be severely damaged if he acts in a puranic role. Being also shrewd that such a role may even garner support from temple-going men and women voters who also form a sizeable chunk of the Tamil Nad population MGR agreed to take the risk. He obliged Devar's insistence but with the condition that the role must be one without he having to do any movements as in other song situations. Kaviarasar penned the song "Ethir paaramal nadanthathudi" and it became the talk of the town as it was the first time people got to see MGR in such a role although during his formative years he had had acted in such minor roles in puranic films. The first stanza of the song itself conveys the song situation message indirectly!
  
  Incidentally, in a duet song "Kannathil ennadi kaayam" in the same film kaviarasar made one indirect reference to MGR when the word 'chinnavar' ("....chinnavarai poe keylum kannadi mun nindru paarum") is mentioned. MGR was known as 'chinnavar' whilst his brother Chakrabani 'periavar' in the film circle.
  
  By the way, MGR fondly addresses kaviarasar as "aandavare", a direct reference to his hit song "Oru koppayilae en kudiyiruppu" where he claims to be God ("naan padaipathinaal en peyr iraivan"). Kaviarasar addresses MGR 'saami'! What a name for a person who belonged to an almost aethist party! Could it be that Kannadhasan knew all along of MGR's spirituality hence the sarcastic nickname!?
  
  So there was nothing wrong in penning the song "Ethirpaaramal nadanthathudi" was'nt it!?
  
  Anyway, MGR looked cute without his trade mark moustache and overgrown for a teenaged Lord Murugan! This song scene was politicised, of course, by both his (MGR's) supporters and opponents alike during the election period at that time.
  
  Mani, your turn to add on.
  
  
  
• From: R.Mahendra Raj (@ 210.186.0.118) on: Thu Mar 20 04:28:43 EST 2003
  
  SK I agree with you that kaviarasar was very much attached to Modern Theatres. He had, time and again, referred to his prime of life days which were spent in Modern Theatres, Salem and yearned for those carefree days. In a recent issue of Kumudham weekly there was an article on Mordern Theatres Ltd. building in Salem. In that article it was mentioned that this was the place where kaviarasar started his career as a songwriter.
  
  I also agree with you that he was compelled to compose lyrics for lifted tunes from popular Hindi/English songs. Although he hated to do this nevertheless he carried on for the love and sake of MTL.
  
  If time permits I will narrate some incidents which took place in MTL involving kaviarasar.
  
  
• From: Sankar (@ 203.124.138.34) on: Thu Mar 20 04:35:01 EST 2003
  
  In the Film Aadhi Parasakthi, there is one great song by TMS - ' Solladi Abhirami'...In this song, the last stanza starts as
  
  Sengkaiyyil Vandu galim galim endru
  Jayam Jayam endrada....
  and goes upto
  Malar pangayame unnai paadiya pillai mun
  Nilavu ezhunthada...
  
  This particular stanza was adapted by kavingyar from Kutraala Kuravanchi by Thirikooda Raasappa Kavirayar where there is on song describing how the hereoine Vasanthasena plays ball with her friends. Edutthu aalvadhu enpadhu kavingyarukku kai vaandha kalai..
  
  
• From: Ramki (@ 161.150.2.31) on: Thu Mar 20 07:43:49 EST 2003
  
  Manisekaran, 'nenjukku nimmadhi' was picturised on Bharathi and jaishankar and the song is there in the movie.
  
  
• From: Saravanan (@ 195.229.241.233) on: Thu Mar 20 10:38:28 EST 2003
  
  sk- Perhaps you got confused with the song 'Pozhuthum vidiyum poovum malarum poruthiruppaai kanna' from Vallavanukku Vallavan-1965.It bears a remarkable similarity to the song 'Nenjukku nimmadhi' from Naangu Killadigal-1969. Both are Modern Theatres-Veda-PS-Kannadasan songs. Both songs appear in the respective films.
  
  Sankar- that was interesting. The original 'Senagayil vandu' was also heard in the film Kuravanji-1960, sung by CSJ & PL.
  
  Mahendraraj- please continue your interesting posts.
  
  

Sub-thread# : 24
• From: sk (@ 202.156.2.7) on: Thu Mar 20 19:17:46 EST 2003
  
  Saravanan:
  
  Yes, indeed I got confused between the two songs. Vedha has recycled the nice tune.
  
  MR:
  
  I look forward to your writing on kavinjar's interaction with Modern Theatres Ltd. and any interesting episodes related to that.
  
  
• From: Subbu (@ 203.200.198.10) on: Thu Mar 20 23:45:30 EST 2003
  
  The similar tune of "Nenjukku nimmadhi..." was used in "Naanoru Kuzhandhai nee oru khuzhandhai..". Of course, this is my perception ???
  
  
• From: raj (@ 202.54.137.90) on: Fri Mar 21 03:08:45 EST 2003
  
  Androru naal is by Vaali in Nadodi
  
  
• From: Vaathiyaar (@ 210.186.51.215) on: Fri Mar 21 03:46:28 EST 2003
  
  Athi mathuraa anu raathaa
  
  Can any one tell who sang this song? I remember it as AM Raja and konjum kuralon K Jamuna Rani. My friend says P Suseela. We have a wager on. I hope I will have a rich weekend. :)
  
  Any details about this song will also be welcome.
  
  
• From: sk (@ 202.156.2.7) on: Fri Mar 21 04:13:21 EST 2003
  
  athi madhuraa anuraadhaa is by AMR and Jamunarani in the movie engaL kudumbam perisu.
  
  
• From: R. Mahendra Raj (@ 210.186.2.200) on: Fri Mar 21 04:55:20 EST 2003
  
  Hi folks! An addendum to the Kannadhasan/MGR/Devar combination.
  
  Kaviarasar had had high regards for Devar for the latter came up in life with true grit and unwavering spirit. He quoted in one of his books that in order to be successful one should be hardworking as well as have strong faith in God. He went on to quote Chinnappa Devar as the living example and referred to a scene in the film 'Deivam'(1972)where Muthuraman who is penniless stumbles upon a cigarette packet with Rs 10 in it. With this money he works his way up to become an industrialist later all the while working hard and having strong faith in Lord Muruga. Kaviarasar revealed that this particular story scene was actually a re-enactment of Devar's personal experience when he was struggling to make it big. Kaviarasar also said that it was no surprise for Devar to have breathed his last on kantha sashti day - a day devoted to Lord Muruga - since he was a fanatic and ardent devotee of this Good Lord.[ I am not too sure of the auspicious day of Lord Muruga ]
  
  Devar was known to give financial advances to both MGR and Kannadhasan throughout his career - the former for his political funds. When MGR was hospitalised after the shooting incident with MR Radha in January 1967, Devar brought a cloth bundle along with him to visit MGR. He handed over the bundle containing wads of currency notes saying that it was an advance for his next film which booking MGR should not decline.
  
  MGR was overcome with emotion over Devar's gesture. Here he was lying on the hospital bed uncertain as to his future where some even wrote him off saying that it is the end of MGR's era. But Devar was brimming with confidence and optimism when he assured MGR, not with the usual words of comfort, but with hard cash!
  
  But there is one interesting incident involving these three which I find it amusing and wish to share with all of you.
  
  During the 100th day celebrations of Devar's 'Aattukkaara Alamelu' (1978) MGR who was the then Chief Minister and kaviarasar the aasthaana kavingyar were invited for the function.
  This was the last function when the three were seen together and there are some film clippings and exclusive photographs of these three at this function. Devar died in 1978.
  
  A few days before the function a common friend of both Devar and MGR went to the former's house on the morning of the above function. Devar was busy with his morning ablution and statutory prayers. When he came out of the prayer room he met this friend waiting for him and jokingly said that if he (the common friend) had gone to MGR's house at this time of the day he will see MGR in the prayer room. Devar further said if one his sharp enough he or she can spot the "vibuthi' on MGR's forehead which is normally in pink colour to camaflouge with his complexion! This friend found it hard to swallow Devar's comments.
  
  This common friend accompanied MGR in the latter's car to the 100th day function of 'Aattukaara Alamelu'. Whilst in the car this friend just could'nt resist his temptation to stare at MGR's forehead to verify Devar's statement. MGR noticed this and asked him as to his sudden keeness on his forehead. The common friend told him exactly what Devar had had told him. This upset MGR who was usually careful with his image in public. At the function when he addressed he repeatedly and deliberately referred to Chinnappa Devar as PU Chinnappa (another cine artiste of yesteryears) out of spite to show his displeasure at Devar for exposing his private spiritual life!
  
  Later, after the function kaviarasar had to be the go-between to settle this childish attitude of these two moghuls!
  
  Bye folks, I will try and give some inputs on MTL in the next thread. Have a nice weekend!
  
  
• From: Vaathiyaar (@ 210.186.51.138) on: Fri Mar 21 05:47:42 EST 2003
  
  Thanks a lot for the confirmation SK. I wish I can buy you a drink. burp! :)
  
  

Sub-thread# : 25
• From: R.Mahendra Raj (@ 210.186.0.43) on: Sat Mar 22 00:20:33 EST 2003
  
  Hi folks! Last night I happened to catch up with the movie 'Thiyaagam' (1979) in the satellite channel and that prompted me to write something on Iliayaraja & Kannadhasan.
  
  Ilayaraja had been a fan of kaviarasar even from his younger days. His favourite song of kaviarasar is 'maalai pozhutin mayakathille' (Bhagya Lakshmi 1961)and he had said this too often. The first time he met him was when he was playing an accompanying musical instrument with GK Venkatesh who was assisting MSV for the composition of the song 'thean sinduthae vaanam' ('Ponnukku Thanga Manasu 1974). As it was well known kaviarasar was close to MSV and to a lesser extent KVM. Although kaviarasar introduced the Shankar Ganesh pair into the music world (actually it was on recommendation of Panchu Arunasalam)he was still close to MSV. Ilayaraja just did'nt have the chance to fraternise with him even after shooting to fame through 'Annakili'.
  
  It was after the song 'Maathavin Koyilile' (Achaani 1978) that kaviarasar noticed the genuis in Ilayaraja. The tune of this song moved him. Thereafter their relationship grew. Ilayaraja had once quoted that the song "nallavarkellam saatchigal rendu" ('Thiayagam 1979)was written for him as he felt that at that time there were some who were jealous of his sudden popularity and kaviarasar knew about this - hence this song. Ilayaraja remained close to him so much so that it was he who accompanied kaviarasar in his (Ilayaraja's) car to the Madras airport to see him off (the last)to the US.
  
  Ilayaraja ,for all purposes and intent, when commenting on lyrics always gives credit to kaviarasar for his penmanship much to the chagrin of Vairamuthu. When Vairamuthu was sidelined and was down in the dumps during the early nineties, it seems, upon Ilayaraja's insistence the song "Kanmani Anbodu" ('Guna' 1991) was written having Vairamuthu in mind. The 'ponmani' happened to be Vairamuthu's wife who assisted the former in writing poems. Ilayaraja wanted the public to know that Vairamuthu gets assistance from his wife and at the same time sarcastically inquires the then position of Vairamuthu. The song goes to show that even a character who is a manic depressive patient (Kamal's character in this film) can come out with beautiful poetic lines better than professional poets!
  
  It so happened that when AR Rahman became the tops and when Vairamuthu combined with him he took the opportunity to respond to Ilayaraja through the song "mettu podu" ('Duet' 1992). In this song he says that there is no hindrance to his thoughts and flows and challenges Ilayaraja to compose like ARR. Listening to both these songs one can draw some inferences but how far both the situations are true can only be attested through the horses' mouths i.e. Ilayaraja and Vairamuthu!
  
  In a tribute to kaviarasar Vairamuthu said that the first time he had met him as a film song writer was when working for the film "Tik Tik Tik' (1980). He recalled that the moment kaviarasar stepped into the room he commanded that the burning incense sticks which were lighted at that time be extinguished for he has become allergic to everything except jasmine and women! He was not in good health at that time but his mind was as steady as ever. Vairamuthu was astonished with kaviarasar's instant wit and humour.
  
  Vairamuthu was also awed when kaviarasar penned the song "azghagae, azhagae deyvathai" (Raja Paarvai 1980). I could'nt remember whether it was Kamal or Vairamuthu who commented that it was the first time such a song was written for a blind man character describing the beauty of a woman through the mind's eyes! (The latest movie 'Kaasi'(2002) also none).
  
  Sorry for the deviation but as you know when you write on something it inevitably leads on to other things sundry! I will give some inputs on Modern Theatres in a short while.
  
  Bye for now, folks!
  
  
• From: Saravanan (@ 213.42.1.173) on: Sat Mar 22 01:19:14 EST 2003
  
  Mahendraraj, that was very interesting.
  
  Btw, GKV was himself the MD for Ponnukku Thanga Manasu- He wasn't assisting MSV then.
  
  Addendum on PTM- while waiting for Kannadasan to come to write the lyrics for a song, GKV started composing the tune, and Gangai Amaran, who also part of GKV's troup, wrote the dummy words as 'Neram iravu neram, idhu thaane uravu neram'. And when Kanndasan turned up, GKV played the tune, singing these dummy words, Kannadasan is said to have nodded his head with appreciation, and retained the same words, and continued to write the remaining lyrics. Gangai Amaran recalled this incident in an interview.
  
  The song, sung by LRE, is a captivating melody.
  
  
• From: R. Mahendra Raj (@ 203.106.49.79) on: Sat Mar 22 10:12:27 EST 2003
  
  Hi! folks, ever noticed philosophical songs in Modern Theatre films were rare, save for the occasional songs like "Ithu neerodum" (Justice Viswanathan 1971), "Anubavi Joraa Anubavi" (Iru Vallavargal 1966) etc?. Could it be that MTL wanted to produce entertainment movies only without the usual formula of having philosophical songs? Folks your comments are invited for I may be wrong.
  
  Coming to MTL - Kaviarasar started his film career here on a monthly payroll for editing its film journal. ST Sundram, the proprietor, was known to be a disciplinarian at all levels. Every thing was systematically done and he did not condone any form of indiscipline. He ensured that male and female artistes were billeted seperately and at a distance of course.
  
  Mukhta V. Seenivasan was the manager of MTL in charge of administration which includes the overseeing of meals supply and laundry needs of those on its payroll.
  
  There arrived one young female artiste to join MTL and, boys being boys, could'nt resist making friends with her including our kaviarasar. This female artiste did not succumb to the armourous advances of the males. When Sundram came to know about this he decided that it was best she is accomodated in a hotel far away from the studio. That dampened the efforts of all those romeos but not kaviarasar.
  
  He somehow managed to locate the hotel and began to strike a relationship with this artiste. It was more than he bargained for as her response was more than kaviarasar had bargained for. She succumbed to this debonair! Upon his return he bragged to everyone about his achievement like a college student telling everything in detail! The others were surprised since kaviarasar was not that dashing as the others who were better manicured then him! He managed to hoodwink Sundram which was a record of sorts at that time.
  
  Kaviarasar used to feel depressed and out of place whenever he was ridiculed by senior lyricists at MTL. They used to pass snide remarks on his ability in his presence. He carried on patiently and within a short span of time he overshadowed them all. Patience and perserverance paid off and he used to cite this as an example to budding artistes.
  
  This is one gem which I find that even MGR who was known for his generosity could not equal kaviarasar's act.
  
  A distant relative who was a near pauper used to visit kaviarasar occasionally at MTL and each time the latter would give him some cash for his expenses. One morning Mukhtha Seenivasan saw this man entering kaviarasar's room. Later in the afternoon Mukhtha knocked on the door to remind kaviarasar about his lunch only to hear kaviarasar's voice saying that he is not hungry. Later in the evening again he knocked to remind about the tea time and when he got the same reply he was curious. He was worried that kaviarasar may be ill or sosmething like that because he had never stayed in like this before. He requested kaviarasar to open the door and upon entering saw kaviarasar with only a towel wrapped around his waist. Kaviarasar asked him whether the laundry had arrived to which Muktha replied that he will go and find out.
  
  Upon Muktha's insistence kaviarasar told him the truth. This distant relative had come that morning to borrow a laundered veshti as he had to go to some important place. Seeing that all his attire were with the laundry kaviarasar undid the veshti he was wearing which he had tied only that morning and handed over to the relative. He remained near naked just to help someone in need without any publicity of his magnamity. I have heard of such acts only through symbolic stories but this gesture by kaviarasar made me equate him with a saint. Can generosity be more meaningful than this gesture?
  
  More later folks, bye!
  
  
• From: R. Mahendra Raj (@ 203.106.49.79) on: Sat Mar 22 10:27:02 EST 2003
  
  Saravanan, thanks for the add ons. Such response will boost me further.
  
  Btw, talking about "Ponnuku Thanga Manasu" here is a trivial.
  
  The song "Raman Ethanai Ramanadi" ('Lakshmi Kalyanam' 1969 [ kaviarasar's own film ] spurned the film title 'Raman Ethanai Ramandi' (1970) and the song "Ammadi Ponnukku Thanga Manasu" from this film spurned the same titled movie. And from 'Ponnuku Thanga Manasu'(1974) the song 'Thean Sinduthae Vaanam' had the same title film ('Thean Sinduthae Vaanam 1975) and finally from this film the song "Unnidam Mayangugireyn". Aha, what a link! All the songs are by kaviarasar except the last ("unnidam mayangugureyn') which is by Vaali. After this I lost track of the link. Can anyone care to add on?
  
  

Sub-thread# : 26
• From: mythila (@ 137.237.13.20) on: Sat Mar 22 16:11:33 EST 2003
  
  Gosh!!!Mahendra, you seem to be an authority on Kavingyar!!!I couldn't get such wealth of info even from one of his sons who happens to be a friend of mine.
  
  
• From: vijay (@ 68.51.215.28) on: Sat Mar 22 20:21:54 EST 2003
  
  Mahendraj, great information. On the VM-IR issue, its interesting that you should mention the "Kanmani" song from Guna. The other day when I was listening to it I was wondering whether Kamal's comments in the middle of the song "nadu nadula Maane thene ponmaane idhellam pottukanum" was a mockery of some lyricist, possibly VM. Because the words "Maane ", "Thene" etc. were standard usages in many songs in the early and mid-eighties. Now that you mentioned this, it possibly was.
  
  
• From: R. Mahendra Raj (@ 203.106.49.187) on: Sun Mar 23 10:49:13 EST 2003
  
  Mythila, you made my day!
  
  Vijay, after seeing your post only did I realise the meaning of 'theane' and 'maanae' in this context! As you too have reaffirmed, it could have been posible after all!
  
  More on kaviarasar's generosity.
  
  According to sources each morning as early as 6.00 a.m. there would definitely be people from all walks of life awaiting kaviarasar's appearance in his residence. Amongst them film producers awaiting to book him for their next ventures; continuity of song writing schedules;creditors waiting to collect their dues; and people who want some sort of favours and recommendations etc. For the latter group of people kaviarasar never failed to oblige even if he did'nt know them. His argument - "They have come from far and alike with the confidence that I could help them so why disappoint them? After all it only costs me only a single letter-head to write a word or two to those concerned to help these souls".
  
  (Even though there was tension outside his residence kaviarasar takes his own sweet time and contemplates from his bedroom window watching the early morning sparrows. It was during such situations he wrote the song "Aalayamaniyin osaayai naan keytaen" ('Paalum Pazhamum' 1961)whilst observing the sparrows.)
  
  A retired member of the judiciary down here who was a personal friend of kaviarasar told me that he had had the opportunity to stay with kaviarasar in Chennai and follow him to the studios, Hotel Kavitha etc. Whenever the former makes a trip to Chennai he will bring along with him some duty-free liquor bottles for kaviarasar. But the generous kaviarasar usually distributes all those firewater to his cinema associates and he will settle for sosmething local!
  
  Twice or thrice he had seen kaviarasar giving some cash to a distant relative who never fails to drop by each time he is in Chennai. When this judicial member suspected that this man was taking advantage of kaviarasar's generosity asked the latter as to who he was and why was he giving him money regularly. Kaviarasar explained that he happens to be the husband of his sister who had since demised. His argument - although his sister is no more but can the bond of brother-in-law relationship be severed?
  
  Once after visiting a temple this judicial member was distributing small changes as alms to the beggars. When kaviarasar saw him he told him that by this act it will be virtually impossible to satiate the hunger of these beggars who have to wait till their pans collect the required money for their meals. Instead he asked him to follow his practise - that is, give on or two beggars the cost of two meals for the day. By this act both the giver and receiver will be satisfied as it will be impossible to be charitable to all and sundry by giving small changes.
  
  During his political active days he had incurred the wrath of some influential figure for being overly critical of him. During one assembly this figure hired a thug to set upon him. Luckily kaviarasar escaped with some minor brush offs with the help from his friends but with his shirt being slightly torn. Sometimes later, this same thug appeared before kaviarasar and sought his assistance for some money. He appeared to be down in the dumps with a prominent unshaven beard. At first kaviarasar could'nt recognise him and this man reminded him about the incident whilst shedding tears. Seeing this reformed thug with a tattered shirt kaviarasar immediately put his hand into his shirt pocket and gave him all he had and told him to buy a new shirt and the rest for his expenses. The reformed thug prostrated before him asking for forgiveness saying that he had committed an offence against a saint! Imagine the offender getting reimbursed for the shirt instead of the other way around!
  
  Whenever kaviarasar travels outstations during daytime he had this habit of stopping at wayside stalls and buying tea and refreshment for the destitutes he comes across. He was also fond of buying 'moru' by the pots wholesale and for more than double its actual price and distributing them to people along the way. According to his associates none of the people knew the true identity of this donor and he preferred that way. His argumet - the moru seller might make about Rs 5 by selling the whole can which he has to wait till evening but by buying it for Rs 10 one not only makes him happy but the satisfaction derived from this act is divine. His further argument was that the Rs 10 is nothing compared to his extravagant spending and at least he is playing his part to make the poor happy!
  
  Once he stopped by a tea stall when driving to refresh himself. The stall was set up next to a school and around this time the recess bell rang and out came the young pupils. Among them, one sharp-eyed pupil recognised him and asked him whether he was 'Paatu Kannadhasan'. Kaviarasar could'nt control his smile and thought for a while that this prefix is something new as he was known as 'kaviyngar'only. He asked the boy as to the origin of the prefix 'Paatu' to which the former replied that it used to be announced in the radio after each time his song was broadcast! Still in a jovial mood after getting this new title he then bought tea and savouries for all the pupils who had by then became curious and gathered around kaviarasar and advised them to study hard.
  
  More later, folks.
  
  
• From: Ram (@ 172.164.134.147) on: Sun Mar 23 19:34:50 EST 2003
  
  Mahendra Raj,
  It is superb and fantastic to read about our life-time kaviarasar. I have a suggestion: May be you should create a webpage and categorize kaviarasar's life accordingly. IT will benefit millions of tamil film lovers. TFM lovers will then thank you a lot.....Ram
  
  

Sub-thread# : 27
• From: R. Mahendra Raj (@ 203.106.163.158) on: Mon Mar 24 05:31:14 EST 2003
  
  Thanks a lot Ram for your compliments. I had been toying with this idea too and with God's grace and our kaviarasar's spirit I hope to have this realised soon. But the info I have on kaviarasar is only 'a tip of the iceberg' so to speak figuratively. There are still many out there who hold valuable info and maybe they can be invited to partake so that it could benefit the millions of Tamils globally. Does'nt his lines "naan nirantharamaanavan azhivathillai entha nilayilum enakku maranamillai" ('Oru Koppyaliae En Kudiiruppu') ring a bell? After so many decades of writing this song and at this stage of all things digital and electronic kaviarasar still lives perpetually in the hearts and minds of both the older and younger generations alike throughout the world.
  
  More on kaviarasar's generosity.
  
  When of his assistants was arrested by police for suspected smuggling of liquor kaviarasar desperately contacted all his friends for cash to bail him out but to no avail. When everything else fails in such desperate situations he will quietly withdraw to his bed contemplating as to the next course of action. During such times he had the habit of fumbling with his gold neck chain while staring blankly at the ceiling above. This time the very gold chain he used to fumble came in 'handy'. He asked one of his assistants to pawn it for Rs 500 (the cost of the bail) and post the bail. His argument - the chain is nothing compared to the needs of a friend in dire straits. The actual cost of the chain was more than 10 times the price of the bail. The hocked item was never redeemed at all later! Typical of him!
  
  Kaviarasar was once invited to preside over a poetry reading session in a college. Prior to going to the rostrum one of the novice student poets struck an instant friendship with kaviarasar at the back of the stage. Kaviarasar asked the student for his pre-written poem and after making a cursory glance over it put it in his own shirt pocket. Subsequently he wrote out one and asked the student to recite it on stage. The student was more than happy and he agreed to the request.
  
  When this student's time came up for rendition, of course, he read out what kaviarasar had written for him thinking that it will win him a prize. But the applause he received was barely audible and he was truly disappointed. When kaviarasar took the mike he read out the student's poem passing it off as his own. The applause this time took some time to die off!
  
  In his concluding speech kaviarasar exposed the truth to the audience. He drove home the point that this world is full of illusions where it only reckons face value leaving all the unsung heroes behind. He made his point with jest. Does'nt this incident strike a semblance to Tharumi of 'Thiruvilayaadal'?!
  
  Another poetry incident.
  
  Kaviarasar was a lover of dogs and he had one as a pet named Caesar. One day some undesirable elements hacked Caesar to death and dumped it outside his compound. Kaviarasar broke down upon seeing the lifeless body of his pet and was truly depressed for three days continously without having any appetite for meals even.
  
  Earlier he had committed to write a poem for a literary function and the organisers came to his house to remind him of this. With Caesar's death still fresh in his mind he jotted the poem "En Arumai Caesar" (My Beloved Caesar). At the function the organisers and the audience received this poem very well - all the while thinking that kaviarasar wrote about Julius Caesar! Both Caesar and Julius Caesar were victims of brutal deaths and kaviarasar intelligently (although depressed) wrote it in such a way that it will be virtually difficult to know the actual background. Such was his love for dogs and especially Caesar. So he has written for animals too!
  
  That also reminds me of a reader asking kaviarasar how the term "ungrateful dogs" came about in the Tamil language since dogs are known to be faithful to their masters.
  
  Kaviarasar replied him that the apparent characteristcs of a dog is its gratitude and if it fails to show this then it should be rightly called 'ungrateful dog' hence this term.
  
  In the same breath and in jest kaviarasar also said that Tamilians can be equated with dogs for no dog will allow another into its territory. Tamils are not only territory conscious but also will chase out any intruders who come to share their prosperity!
  
  Kaviarasar was known to convert even the most serious subject into humour with his wit.
  
  More later folks!
  
  
• From: R. Mahendra Raj (@ 211.24.0.55) on: Mon Mar 24 09:53:00 EST 2003
  
  In the early part of 1981 (the year kaviarasar died) MS Visvanathan was down in Malaysia and was scheduled to appear for a live tv interview with anchorman V. Poobalan, another die-hard fan of kaviarasar. Towards the end of the interview Poobalan purposefully asked MSV as to why of late Kannadhasan was writing trash songs. This question irritated MSV and he was quick enough to shoot the answer straightaway. He said that it was not Kannadhasan's fault but it was the producers who insisted on such trash. He further reminded that music directors like him may have faced the drought sometimes but not Kannadhasan as his mind is a perpetual fountain, always flowing with fresh lyrics. Poobalan and the Malaysian Kannadhasan fans were only too happy with this reaffirmative statement from MSV. But one must see MSV's emotion at that time to see how he reacted to Poobalan's question which was intentionally aimed to get something out of MSV!
  
  There was another incident involving the late TR Mahalingam, an actor who shone bright during his hey days but slided to almost a noneity. It was kaviarasar who booked him to be the hero for his film 'Maalayitta Mangai'(1958)where he shot to fame again. Thats a different chapter altogether.
  
  The year was 1978 when TR Mahalingam visited Malaysia for a concert. He was booked for a tv interview with anchor V. Poobalan. His health was deterioting and he had to be helped into the studio. During the interview Poobalan took the opportunity, like always, to ask about Kannadhasan and TRM gave him due credit for his second lease of life. The interview was, according to the studio personnel and Poobalan himself, dull and monotonous due to TRM's health.
  
  Just before the time was up for the interview Poobalan asked him to sing a Kannadhasan's song for the benefit of viwers who were anxious to hear him sing. TRM obliged and started to sing the song (you guessed it right!) "Senthamizh theyn mozhiyaal". After singing the pallavi the high pitch of the song began to gain momentum in the following stanzas and he went about singing with his eyes closed. The tv crew was astonished that this frail looking man whose voice was hardly audible during the interview could sing in such a high-pitched voice. The crew head gave silent orders for the standby cameras to roll on and capture the mood of the song from all angles of this 'live performance'. The whole crew stood mesmerised till the song ended. Mind you, other than Poobalan the rest of the crew were from other races who cannot understand Tamil.
  
  Later TRM confided to Poobalan after the live interview that it was Kannadhasan's image that kept him going throughout the song!
  
  
  
• From: R. Mahendra Raj (@ 210.186.0.135) on: Wed Mar 26 05:24:54 EST 2003
  
  During the mid sixties there were some literary figures who were jealous of kaviarasar and were bent on being overly critical of his works. At one stage he even pleaded with them in the media that should they wish to do post-mortem on his works then they can do so after his death because his heart is soft and cannot bear to being criticised. Like a child's heart!
  
  Nothwithstanding his appeal he took the opportunity to lash out at his critics through a song scene situation in the film 'Enga Paapa'(1966). The situation called for the hero,(Ravichandran) a part-time poet and a graduate, to be physical with his opponents for criticising his poem and at the same time singing an apt song. BR Banthulu called upon kaviarasar to pen this light situation song. This song is unique in the sense that it is a light fight-cum-song scene with the usual dishum-dishum sound even in the song proper. MS Viswanathan did a beautiful job to make this song an unique one.
  
  As usual it gave our kaviarasar an outlet to vent out his emotions against his opponents but with a difference - he had used all types of South Indian physical self-defences vis-a-vis his own literary defence!
  
  The song is reproduced below for the benefit of readers:-
  
  Naan pottaal theriyum podu
  Thamizh paattaal adippeyn odu
  Intha kavithaiya kurai sollumvore
  Intha kaliyaal adippeyn vaada
  Nee Kambannai padithavanaada
  Illai kaagitham thinnum mooda mooda
  
  Ammannum munnae aayiram paattai
  Alli alli veesattumaa
  Appothum unakkum puriyaathirunthaal
  Solli solli uthaikattumaa
  Vallinum mellinum
  Nalla idayanum ennum kambai eduthu
  Venbaa Arisi ennum vitha vithamaagya saattaithoduthu
  
  Pattanathu Thamizhilil nainaa endraal
  Artham enna koorattumaa
  Bayilvaan mozhiyil vashthaad endraal
  Valam enna kaatattatumaa
  Edhugai Mohnai
  Un edathilum valathilum kodukkatumaa
  Elusi Arisi endru vari variayaaga varaiyuttumaa
  
  That is one song which is my favourite for its uniqueness as well as the song situation.
  
  Of course he had had penned some songs especially to console himself but there were some similar to the above. Amongst them 'My name is Billa' (Billa 1980), 'Naan Pollathavan'(Pollathavan 1981) etc. were written by him and for him.
  
  See you later folks!
  
  
  
  

Sub-thread# : 28
• From: lav (@ 192.39.39.106) on: Wed Mar 26 06:21:21 EST 2003
  
  U know something...Yday I checked the site to read the updates on Kannadhasan link...I could not find any and I was really disappointed. I have become an addict to this discussion thread. Thanks Mahendran for your excellent contributions
  
  
• From: Dobri (@ 195.39.134.84) on: Wed Mar 26 10:34:33 EST 2003
  
  Wonderful job MahendraRaj. Very interesting posting. You are giving very interesting information and still say its only the tip of the iceberg. Appreciate it.
  
  
• From: R. Mahendra Raj (@ 203.106.49.139) on: Thu Mar 27 10:07:45 EST 2003
  
  Thanks a lot lav and Dobri for your candid comments. Such comments do inspire me to write further. The truth is I did post something but, unfortunately ,the national network system in Malaysia was down. Hence I am doing it all over again with the hope I can come up with exactly what I'd written earlier.
  
  Before I proceed, I just remembered that the song "Oru Raja Raniyidam" ('Sivantha Mann' 1969) was kaviarasar's favourite song and he had asked MSV to come up with different tunes from different angles to make this song a hit.
  
  The late AP Nagarajan( an icon of mythological films with good literary tastes) and kaviarasar were engaged in verbal war of words in the media and at public functions because they belonged to different political parties who had their own brand of differing ideologies. They were often seen to condemn each other's literary productions. One fine day AP Nagarajan decided to call it quits after realising that no one benefitted from this enemity except for opportunists in the political arena.
  
  They both patched up and decided to bury the hatchet and commonly contribute to the well-being of the Tamil language through the film media. Their first such 'joint venture' was 'Navaraathiri' (1964). Prior to this both had had worked together in negligible films like 'Vadivukku Valai Kaappu' (1962).
  
  Navaraathiri was a roaring success. In the song 'Iravanil aatam Pagalil thookam Ithuthaan engal ulagam' one can feel the carefree days of kaviarasar. In that song he had deliberately used the word 'kavingyar' just to reflect his own self! Even APN appreciated it since it also reflected him to a lesser extent.
  
  With the success of 'Navaraathiri' they went on to produce gems in a straight row through timeless puranic stories - 'Thiru Vilaayadal'(1965), 'Saraswathi Sabatham'(1966)and 'Thiruvarutchelvar' (1967).Puranic films saw a re-entry into the Tamil film arena with both these stalwarts' joint contributions.
  
  In 'Thiru Vilaayadal' one cannot, but admire, kaviarasar's prowesness for penning three different situational songs in a row for one single theme.
  
  'Oru Naal Pothumaa' was for the arrogant court singer(this song shot Dr. Balamurali Krishna to fame although his earlier debut in the duet song "Thanga ratham vanthathu veethiyilae" ( 'Kalai Koil'(1964) also by kaviarasar) did not make an impact.
  
  The next song "Isai Thamizh nee seytha arutsaathanai" was for the role of the local competitor (this song again gave a third lease of life to TR Mahalingam)and lastly "Paatum Nanae Bhaavamum Naanae" by Lord Siva himself to mitigate the arrogant singer's attitude.
  
  To my knowledge, no other poet could have written these three songs from three different perspectives on the same theme in a single playwright scene. Whats more, no other poet has todate written a song purportedly sung by the Good Lord to human beings (I stand corrected). I suppose the Good Lord must have entered into the soul of our kaviarasar when he penned the latter song. After all he had claimed he was God, did'nt he? ("Naan Padaipathinaal En Peyr Iraivan")!!
  
  In 'Saraswathi Sabatham' the song "Agaramuthala Ezhuthellam Ariyavaithai Devi' was the transformation of his own experience which he wrote in all earnestness to thank Goddess Saraswathi for granting him the boon to be a famous poet.
  
  For the song "Mannavan Vanthaanadi" ('Thiruvarutchelvar') please refer the opening comments in this thread by Sankar who made a remarkable analysis.
  
  Of course, there were latter puranic films which involved the duo but it did'nt work out well as people's interests in such themes were waning around this time. But kaviarasar maintained his stance through films like 'Kandhan Karunai' (1967) etc.
  
  KV Mahadevan did a good and independent job on all these films. For most of the mythological films KVM was the favourite amongst the producers. MSV and TKR , however, did a good job for 'Karnan' (1964).
  
  It was kaviarasar who started calling KVM 'maama'in jest after the popularity of the song "maama, maama, maama" ('Kumudham' 1961 - MD KVM)although it was written by a different poet. The prefix 'maama' stuck to him until his death recently.
  
  When the team sat down to pen the situational song for the arrogant singer in 'Thiruvilayaadal' kaviarasar had had a mental block. KVM jokingly asked kaviarasar whether one day was sufficient for him to come up with the stanzas. Thats it! the pallavi was born ("Oru naal pothumaa")that instant itself and he completed the song.
  
  TK Ramamurthy, the MD for "Naan"narrated another similar situation. The crew was seated in a cramped cubicle type room to work on a duet song for this film. When kaviarasar entered the room he sarcastically asked them whether the room was enough to accomodate him also! He used the very words for the song "Pothumo intha idam" as the pallavi.
  
  Incidentally, TV Ramana came up with the idea of shooting this scene inside a closed car during a rainy night. The song was something new to the audience and was well received although there were some who criticised it as having subtle sexual innotations.
  
  The success of this song situation was carried to Ramana's follow up movie 'Moodraezhuthu' (1968) with the same team including hero (Ravichandran) and heroine (Jayalalitha)doing dance movements within an enclosed box for kaviarasar's song "Pettiyilae potadaittha pettai kozhi". As usual the critics were quick enough to point out the vulgarity of the song's lyrics and the song situation.
  
  More later folks and keep the comments rolling!
  
  
• From: lav (@ 192.39.39.106) on: Thu Mar 27 11:14:43 EST 2003
  
  Mahendran,
  
  I always used to admire about those three thiruvilayadal songs, for the lyrics and for the music. It was interesting to read about this bit.
  
  

Sub-thread# : 29
• From: kiru (@ 192.138.150.249) on: Thu Mar 27 13:50:42 EST 2003
  
  Mahendran Sir,
  I appreciate your time and effort, in recounting all this for the benefit of TFMpage audience. I eagerly look forward to your anecdotes. I have been in a read-only mode all along, but I thought, I would express my gratitude and appreciation to encourage you to keep going.
  
  The man is a genius and anybody who has an ear and heart for the poetry of our beautiful language will surely miss him.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Fri Mar 28 00:33:47 EST 2003
  
  
  Mahedraraj,
  
  Just came back from overseas and am delighted to see so much postings and response, glorifying the immortal, incomparable and irreplaceable poet.
  
  Just to add- on the Tumpuan Minggu Program interview with MSV, Poobalan asked him to this effect towards the very end of the interview "Ippozhuthellam Kannadasan Paadalkal Munbu Pol Suvaippathillaiye?" to which MSV gave the explanation narrated by you. When Poobalan insisted on Kannadasan's lack of poetic lustre, MSV said "Ennai Vendumanaal Ethaiyum Sollungal, Aanaal kannadasanai Patri Onrum Sollatheerkal" with almost bloodshot eyes. At this climax scene, the interview time ended, and the camera was zeroed on Poobalan who immediately concluded the program saying "Nallathu Rasikarkale, Ithudan intha Nigazhchi Oru Niraivukku Varukirathu..Ini Adutha vaaram Santhikkum Varai, Anbu Vanakkangal"
  
  Poobalan, ardent supporter of Kannadasan as he is, had no malice in shooting this question. It was Kannadasan himself who had made an open remark, acknowledging that his songs were not more that promising. He said "naan Nambi Iruntha Cinema paattu ennai Sudukkaattukku Konduchendruvittahu"
  
  Yet, just look at some of his last few songs that he concluded with Maestro Ilayaraja like Thiayagam, Naan Vazha vaippen, and many more, and finally Moonram Pirai.
  
  
  In the 1978 interview of TR Mahalingam by Poobalan in Tumpuan Minggu Program, which I too watched, Poobalan asked TR M if it was true that Kannadasan's Malayitta Mangai gave him a new lease of life, at a time when TRM's fortune was dipping.TRM commented that that film gave TRM a boost and because of his own singing Kannadasan too was given a new lease of life. The second comment was unbecoming of TRM, as that was not the case. Definitely it was TRM who was quickened by Kannadasan.
  
  RAMKI,
  I did not see Naangu Killadikal. But Kannadasan did mention that the song did not appear in the film. I have just moved house, and once I find the book, I will quote the page as well. I am puzzled why kannadasan had to say that.
  
  Mahendra Raj, Oru Raaja Raaniyidam. You are right. MSV not only came out with different tunes, but also maximised the usage of instruments to give richness to the orchestration-next to Engey Nimmathi, Ninaithathai Nadathiye Mudippavan Naan Naan Nan. Sivaji Ganesan appears without make up ikn this song. Kannadasan also had tremendous liking for the song Paavai Yuvarani Kannoviyam of the same film.
  
  Mahedra Raj,
  We are aware you are experimenting a bottomless well-alla alla kuraiyaathu. Just keep going. Any aspect of Kannadasan brings out fragrance.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
• From: R. Mahendra Raj (@ 203.106.163.151) on: Fri Mar 28 06:02:31 EST 2003
  
  Thanks for the comments and observations folks.
  
  Mani, re-the open remark by kaviarasar as to his position then. No one can deny the fact that the vagaries of life our kaviarasar went through was with a deliberate purpose by the divine. He had on one occasion remarked that the best part of his life was wasted due to his involvement in politics which in turn saw him facing all sorts of hardship. He regretted for not giving his fullest attention to the literary field which would have otherwise benefitted all and sundry.
  
  But then again, as mentioned earlier, it was the divine's plan to have our kaviarasar burn his fingers in politics so that the best would come out from him.(Literally, he came out with the song "Satti suttathaada Kai Vittathadaa" ('Aalayamani 1963') after having learnt a bitter lesson in politics! I presume he had to go through the various stages so that he could produce songs with life in them. And that songs also had some relevance to you and me in line with his decree that "at any one time or other the mortals living on this earth will find my songs relevant to the situation they are facing".
  
  Remember the lines "Engey vaazhkai thodangum Athu engey evvitham mudiyum - Ithuthaan paathai ithuthaan payanam endru yaarukum theriyaathu" ('Ninaipathellam nadanthuvittal' ['Nenjil Or Aalayam' 1962] )?
  
  Born in Chirukudalpatti and demised in Chicago thousands of miles away from his birthplace!(note the Tamil syallable 'chi' in Chirukudalpatti and Chicago). Was the song unwittingly meant for him?
  
  More later folks and awaiting your comments.
  
  
• From: Ram (@ 165.250.91.68) on: Fri Mar 28 15:28:41 EST 2003
  
  Mahendar Raj,
  It is simply wonderful that you have unlimited information about Kaviyarasar. I guess you should compile all these details and come out as a book. Definitely some publisher will release this book and proceeds from the sale can be donated to a good cause charities. By doing this, you can prove that Kaviyarasar still helps after his demise. As always, the poetic kaviyarasar always lives in the hearts of millions of TFM lovers....Ram
  
  

Sub-thread# : 30
• From: Manisekaran (@ 61.6.39.139) on: Fri Mar 28 21:35:51 EST 2003
  
  Mahendraraj, Regarding Chirukkoodalpatti,
  Kannadasan was once asked as to why he emphasised so much on sex in his songs to which he quiipped "I am from "Chiru Koodal Patti"
  
  It is true his talents were suppressed owing to his active involvement in politis. His best works emanated from his brilliant mind mainly at times when he was free of worldly stresses and strains. The epic Maangani came out when he is in jail. Likewise Yesu Kaviyam came out well when he was given solitude in Kutraalam. There were even talks from his ardent fans that Kannadasan should have been jailed several times to get more of his best products.
  
  Leaving DMK he wrote the song Satti Suttathada alright. But he teamed up with EVK Sambath and involved in Tamil Desiya Katchi. EVK stood for elections and Kannadasan was convinced of somwewhat landslide victory. News reached him at Padminis Pictures office that EVK lost. He wrote this song:
  
  Yaarai Enge Vaiipathu Enru yaarukkum Theriyale
  
  Ada Andang Kakkaikkum Kuyilkalukkum Petham Puriyale
  
  Pereduthu Unmayai Cholli Pilzhaikka Mudiyale
  Ippo Oothuvathikkum Beedikalukkum Petham Theriyale
  
  Naanirukkum Idathinile Avan Irukkinraan
  Avan Irukkum Idathinile naanirukikinren
  Naalai INgey Yar iruppar Athuvum Theriyale ada nallavanukkum Kettavanukkum Petham Thriyale
  Ada Ennathai Solvenda Thambi Ennathai Solvenda?
  
  Thambi Oruvan Veliyil Ninru Kaasu Ennugiraan
  Nambi Oruvan Siarayil Vanthu Kambi Ennukiraan...
  
  
  There are so many other politically motivated songs by Kannadasan. Though Kannadasan detested politics, he still continued to be associated with party politics till the end of his life.
  
  
  It has to be mentioned that despite political pressure and involvement, Kannadasan still came out with great songs. He was asked as to how he could still write good songs in the midst of turmoil, to which he wrote again:
  
  Ennai Yaarendru enni Enni Nee Paarkkirai-Ithu
  Yaar Paadum Paadal Enru Nee Ketkiraai-naan
  Aval Perai thinam Paadum Kuyilallava- En
  Paadal Aval Thantha Porul Allava
  
  Enthan manakkoyil Silaiyaaga Valarnthalamma
  malarodu malaraaga Malarnthalamma
  Kanavennum Kaatreri paranthaalamma
  Kaatrodu Kaatraaga Kalanthalamma
  
  (Kannadasan was inspired by his childhood kaathali by the name of Emily-said to have met in Culutta)
  
  Kannadasan loved an elder girl when he was 13 years old. She got married and left him. Keeping her in the depth of his heart Kannadasan penned a song in Paar Makale Paar:
  
  Aval Paranthu Ponale
  Ennai Maranthu Poonaale
  Naan paarkum Pothu Kangal Irandai Kavarnthu Poonale
  
  En Ithaythil Pootti vaithen
  Athil enaye Kaaval Vaithen
  Aval siraiyai Udaithaale
  Than siragai virithaale
  than siragai virithaale
  
  
  En Naavukku Mozhi Illai
  ???
  En Nenjukku Ninaivillai
  Oru Aaruthal Mozhi Illai
  Oru Aaruthal Mozhi Illai
  
  
  Likewise Kannadasan also says in Paava Manninppu that he was inspired by a girl to become a poet.
  
  Kalangalil Aval Vasantham
  Kalaikalile Aval Oviyam
  Mathangalil Aval Maargali
  Malarkalile Aval Mallikai
  
  Paal Pol Sirippathil Pillai
  Pani Pol Anaippathil Kanni
  Kan Pol Valarppathil Annai
  AVAL KAVINYAR AAKKINAAL ENNAI
  
  
  
  
• From: R. Mahendra Raj (@ 210.186.0.99) on: Sat Mar 29 00:07:12 EST 2003
  
  Ram,thanks for the suggestion. I will start thinking about it.
  
  Mani, thanks for your inputs. As regards the poltically related songs please refer to my earlier inputs in this thread.
  
  Re - the song "Yaarai engey vaippathu endru yaarukum theriyilie" ('Bale Paandiya'1962) you were right about the situation. During the election period, from the positive feedback kaviarasar received was that EVK Sambath will definitely triumph. Alas, the results showed otherwise. As usual and typical of his easy going nature he converted this defeat with the above song. His immediate media response to EVK Sambath's defeat was "maaparum tholviyil vetri petraar"! A wordsmith indeed!
  
  As regards Emily, his old and first flame whom he met for the first time when travelling in a tram car in Culcutta - yes, the song "Ennai yaar endru enni enni nee paarkiraai" ('Paalum Pazhamum'1961) was indeed written for her.
  
  He had a soft spot for her despite having lost all communication with her. When he produced 'Sumai Thaangi'(1963)he wrote the pathos song "En annai seytha paavam naan mannil vanthathu" for the heroine, Devika but having Emily still in mind. Emily had a pathetic background. To a certain extent Devika resembled Emily which answers the question as to why kaviarasar was very close with her (Devika).
  
  Two years later, when his brother ALS produced the film 'Pazhani' he insisted on the name Emily for Pushpalatha's character who is a Christian in this film. Incidentally, it was kaviarasar who introduced Pushpalatha into the Tamil film cinema.
  
  About his love affair with the older girl. When kaviarasar was down here in Kuala Lumpur in 1970 he was scheduled to speak at a function in MARA auditorium. It so happened that he spotted this old flame, who had by now was married to a Malaysian, seated in the front second row of the auditorium. During his speech he casually remininsced the relationship without mentioning her name. Fearing the worst the old flame bolted from the auditorium lest kaviarasar points at her!
  
  "Kaalangilil aval vasantham" was written for his wife which kaviarasar himself declared. He wrote this as a bonus after relishing his favourite dishes cooked by her!
  
  Re - Yesu Kaaviyam. When the missionary fraternity of Madras proposed the project to kaviarasar he was a bit apprehensive at first. The reason being that he was used to write all things Hinduism especially Lord Krishna. But in a flash he reminded himself that God is one but it was only human beings who created religions. He had attested this universal fact in his many songs. He pacified himself that both Lord Krishna and Jesus were born in the barn so there is something similar to the divine plan.( the exact words said by kaviarasar : "Krishnarum mmattu kottayil piranthaar Yesu Kristhavarum maatu kottayil thaan piranthaar" - note the rhyming of both the Lords). He then accepted the project and completed it well before the deadline. During this period (early 1981 - the year he died) he was sober and was also not in good health. The rest is history.
  
  The Chrisitian missionary received the news from its headquarters in Chicago, US that kaviarasar's 'Yesu Kaaviyam' had been accorded a place with honour in the World Christian Library, Chicago. They sought his permission to have his works deposited in the world library.
  
  Unfortunately kaviarasar was lying in a semi-coma state in the Chicago hospital at that time. The missionary team then flew to Chicago and broke the news and at the same time sought his permission. Kaviarasar was brimming with tears of joy to know that his works on the noble bible had been given world recognition and he gave the go-ahead through a smile and hand gesture.
  
  Whats so great about the 'Yesu Kaaviyam' one may ask. Till todate no one had written the bible in a poetry form in any language of the world which fact caught the attention of the higher-ups in the Christian World headquarters. Kaviarasar had created a world record of sorts.
  
  After completing the 'Yesu Kaaviyam' he toyed with the idea of working on the Al Quran. He wanted to be seen as a fair-minded poet encompasssing all religions, in short, to practise what he had preached through his songs. But his Muslim friends advised him against it. The reason being that any translation, interpretation or poetic expressions of the Al Quran by a non-Muslim will not go down well with the Muslims. Kaviarasar agreed to the sensitiveness expressed his Muslim friends.
  
  More later folks and have a nice week-end!
  
  
• From: R. Mahendra Raj (@ 210.186.0.99) on: Sat Mar 29 00:16:23 EST 2003
  
  Mani, what is the speciality about 'Chiru Koodal Patti' vi-a-vis kaviarasar's songs with sexual overtones? I hope you can shed some light on this.
  Thanks.
  
  
• From: geeth (@ 213.121.248.170) on: Sat Mar 29 01:57:06 EST 2003
  
  Mahendra Raj and Mani - very interesting postings. may you be praised for helping us understand kaviarasar better and also appreciate what a great man he is.
  old flames definitely ignites a person and especially poets. recently when i was watching the movie 'Azhagi' i was thinking that we are missing kavinjar very much. what magic he would have woven for such a storyline !
  
  

Sub-thread# : 31
• From: Venky (@ 65.37.77.67) on: Sun Mar 30 13:35:21 EST 2003
  
  Mahendra raj, I am waiting to read more about Kaviarasar. Please do keep posting.
  
  
• From: bb (@ 12.234.176.52) on: Sun Mar 30 18:54:38 EST 2003
  
  Guys, I've put together all of Mahendra Raj's postings in this page: http://www.tfmpage.com/my/lyricist/kannadasan_raj.html
  
  As and when Mahendra Raj adds posts here, I will add them to that page. That way, we can archive this amazing series.
  
  Mahendra Raj, please keep posting. Guys like you, Manisegaran and Saravanan are treasures that we can't get enough of. There is a lot of read-only activity in this page. People like me are silent only because we don't have anything new to contribute from that era. You are doing a great job, and keep it coming!
  
  
• From: manise (@ 61.6.39.139) on: Sun Mar 30 23:40:48 EST 2003
  
  Mahendraraj,
  
  We spoke over the phone. I have no guts to explain "Chiru Koodal Patti". In the words of Kannadasan it refers to :
  
  "Enni paarthaal Sinna Idam-
  Iruvar Koodum Malla Idam"
  
  Pothumo Intha info?
  
  Thanks for reminding about the old flame of Kanadasan bolting off half way during his speech. I think I know the lady.
  
  Now another event at MARA auditorium in Kuala Lumpur. Kannadasan was scheduled to be at the gathering at 5. 00 pm. He arived late and apologised saying
  
  "Ellarukkum Matham Undu. Enakkum oru Matham Undu. Athuthaan "Thaamatham". Varumbpthu Thaagam Eduthathu. Soda kudithen. Naan Soda Mattume kudippathillai enbathu unkalukkum theriyum"
  
  The crowd brought down the hall through thunderous applause.
  
  In 1970 I saw him at the community hall in the northern town of Butterworth. When kannadasan was introduced, he did not start off with the typical protocol, salutation etc,,etc. He started "Ithu Nalla Maalai Velai, Sugamaana Kaatru, kadal Karai Oram, Ithamaana soolnilai, Mayakkum Neram... Intha neram paarthu Malligai Manam veesinaal nallavan manathum Kettuvidum!" Through such witty oratory skills he kept the audience mesmerised for two hours. He gave a list of songs and background.
  
  I brought Valampuri John (former MP)to Malaysia in 1986 to give a series of literary talks in Malaysia. In one of the functions he related how Kannadasan was able to turn opposition waves to his favour at a split of a second. At one time Valampuri John was some local DMK youth leader. (He has visited all parties and now unwanted by any party)
  
  When Kannadasan had left the DMk party, Valampuri John arranged for some talks by Kannadasan at the Kalaivanar Arangam. As kannadasan spoke, the Thanga Kambikal started to jeer and distrub his speech. This got into the nerves of Kannadasan, who went back stage to go home. Valampuri john pleaded to him to continue. So kannadasan came to the stage again, faced the crwod and did something that no one expected. In a few sentences he glorified Annadurai. Then he sang the song
  
  Ettadukku Maalikayil
  Etri vaitha En thalaivan
  Vittuvittu Chenraanadi-Inru
  Veryuppattu Ninraanadi-Inru
  VEruppattu Ninraanadi.
  
  The Thangak kambikal got drowned in this great song and started to clap and gave somewhat a standing ovation like treatment. As soon as the wave was in favour of Kannadasan, the poet said "Vanakkam" and buzzed off.
  
  John said that in his life he had never seen any speaker who could turn fierce opposition to his favour within a spur of the moment.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
• From: Manisekaran (@ 61.6.39.139) on: Sun Mar 30 23:41:02 EST 2003
  
  Mahendraraj,
  
  We spoke over the phone. I have no guts to explain "Chiru Koodal Patti". In the words of Kannadasan it refers to :
  
  "Enni paarthaal Sinna Idam-
  Iruvar Koodum Malla Idam"
  
  Pothumo Intha info?
  
  Thanks for reminding about the old flame of Kanadasan bolting off half way during his speech. I think I know the lady.
  
  Now another event at MARA auditorium in Kuala Lumpur. Kannadasan was scheduled to be at the gathering at 5. 00 pm. He arived late and apologised saying
  
  "Ellarukkum Matham Undu. Enakkum oru Matham Undu. Athuthaan "Thaamatham". Varumbpthu Thaagam Eduthathu. Soda kudithen. Naan Soda Mattume kudippathillai enbathu unkalukkum theriyum"
  
  The crowd brought down the hall through thunderous applause.
  
  In 1970 I saw him at the community hall in the northern town of Butterworth. When kannadasan was introduced, he did not start off with the typical protocol, salutation etc,,etc. He started "Ithu Nalla Maalai Velai, Sugamaana Kaatru, kadal Karai Oram, Ithamaana soolnilai, Mayakkum Neram... Intha neram paarthu Malligai Manam veesinaal nallavan manathum Kettuvidum!" Through such witty oratory skills he kept the audience mesmerised for two hours. He gave a list of songs and background.
  
  I brought Valampuri John (former MP)to Malaysia in 1986 to give a series of literary talks in Malaysia. In one of the functions he related how Kannadasan was able to turn opposition waves to his favour at a split of a second. At one time Valampuri John was some local DMK youth leader. (He has visited all parties and now unwanted by any party)
  
  When Kannadasan had left the DMk party, Valampuri John arranged for some talks by Kannadasan at the Kalaivanar Arangam. As kannadasan spoke, the Thanga Kambikal started to jeer and distrub his speech. This got into the nerves of Kannadasan, who went back stage to go home. Valampuri john pleaded to him to continue. So kannadasan came to the stage again, faced the crwod and did something that no one expected. In a few sentences he glorified Annadurai. Then he sang the song
  
  Ettadukku Maalikayil
  Etri vaitha En thalaivan
  Vittuvittu Chenraanadi-Inru
  Veryuppattu Ninraanadi-Inru
  VEruppattu Ninraanadi.
  
  The Thangak kambikal got drowned in this great song and started to clap and gave somewhat a standing ovation like treatment. As soon as the wave was in favour of Kannadasan, the poet said "Vanakkam" and buzzed off.
  
  John said that in his life he had never seen any speaker who could turn fierce opposition to his favour within a spur of the moment.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
• From: Manisekaran (@ 61.6.39.139) on: Mon Mar 31 00:23:38 EST 2003
  
  
  People say that kannadasan never had any fixed political ideology. I am myself yet to come across anyone who had fixed ideology in politics. I do not want to open the pandoras box, as we may differ in our thoughts. But I want to mention how Kannadasan spoke when he was introduced on stage.
  
  Karunanithi was on his way to Pollachi for a political meeting. On the way Karunanithi had to pass through karaikkudi. From there Kannadasan joined him-with a forehead full of viboothi. As soon as they reached the meeting place, Kannadasn too was given a place on the stage. He was not scheduled to speak. But when he saw Karunanithi speaking in beautiful Tamil, Kannadasan could not keep his cool composture. He requested (or pressed) karunanithi to give him a chance to speak. Karunanithi objected,citing the Kungumam and Viboothi that may not appeal in a political meeting of that nature. To that remark kannadasan said "Ithu enna Piramaatham?" and immediately wiped off his forehead! karunanithi introduced Kannadasan as POET for the first time and that was retained till the end. karunanithi was the first to introduce Kannadasan as a peot.
  
  kannadasan's opening remarks in that atheist gathering went like this " Vattikku vatti Vaaangum Mattikal Niraintha Chettimaar naattil Irunthu vanthavan naan" He was hitting his own nagarathaar community. Then he gave a long talk on Pagutharivu, Thanmaanam, etc which was a great fashion in those days. He did receive thunderous applause. But after the talk, Kannadasan was rebuked by Karunanithi in private. He even requested the sensitive parts to be deleted in the reporting in Murasoli.
  
  In another instance, Kannadasan stood for elections in Thiruppathoor under DMK ticket in 1957. Karunanithi stood in Kulithalai, and other leaders stood elsewhere. Kannadasan was sure of victory. He spoke with confidence. As Thiruppathoor is not that far from Chettinaadu, he addressed his community in what could be passed as good English- by the prevailing standards then. He said" We Chettiyaars are neither forward nor backward. Shame, we are indeed auckward" At this gathering, even before the votes were cast, Kannadasan said " Ithuthaan Muthal Therthal. Thiruppathoor thaan Muthal Arivippu Aagum. Ithuve Muthal DMK vetriyaagum.
  
  When Karunanithi was celebrating his own victory at Kulithalai, he was announcing the victory results of other candidates, including the defeat of Narayanasamy (Nadamadum palkalaikkazhagam-Ilam Thaadi navalar Nedunjechiyan) Then comes a thundu seettu from the crowd, saying Kannadasan had won in Thiruppathoor. Karunanithi was in fact deep in his heart sceptical about the victory of kannadasan. So he refused to annunce that result untill confirmation comes in the radio announcement. But Anbil Tharmalingam who was highly excited announced saying "Ungalukku Theriyuma? Thiruppathooril Kavingar kannadasan Vetri!" There was thunderous applause.
  
  On the following day, the dailies reported that Kannadasan came in third place and lost deposit. Karunaithi visited him and asked him "Ennaiya aachu?" to which Kannadasan laugingly said "Pottiya Odaichittanya!"
  
  Karunanithi laughed loud and remarked "Pottiya Odaichithanaiya Votta ennanum?"
  
  Kannadasan had the stength to accept defeats in the most light manner.
  
  
  When Karunanithi became chief Minister a kaviyarangam was arranged in KAraikkuidi I think. There poets were told to praise Karunanithi in various forms. Kanadasan wrote a poem depicting Karunanithi as his kaathali. I am not too sure of the lines. Hope my memory serves me right. It goes like this"
  
  Enakkum Oru Kaathali Undu
  Ullathil thoongum Vanakkili
  Avalai Innum Marakkavillai
  Ninaikkayil Inikkum Neivasakuzhali
  Inru Enakku Kavithaiyaanaal
  Ithuthaan nan Petra Inbam
  
  Kanniyin Peyarai Ketten-
  Karunayam nithi Endraal
  Manniya Uravai Ketten
  manthiri Kumari Endraal
  Panni Naan Kettappothu
  Parasakthy Vadivam Enraal
  Chennaithaan Oorra? Enren
  Thirupathoor Nagaram Enraal
  Thanthiram Seival
  Mella Sagasam Purivaal
  Minnum Anthivaan Minnal Pola
  Adikkadi Chirippal-Naanum
  Panthayam Pottu Paarthu
  Pala Murai thotrupponen
  Enna Manthiram Seithaalo!
  En Manathaiye Siraiyaai Kondaal.
  
  This is the poem that Karunanithi quotes even today.
  
  Karunanithi quotes another incident to bring out the wittiness of Kannadasan. Both were staying at the Nadar Mansion (I think near Central) Karunanithi went for a meeting while Kanadasan slept off in his bed. When Karunanithi returned, he saw cobra under Kannadasan's bed and got the people to kill it. After that Kannadasan moved off and slept on karunanithi's bed. Karunanithi requested Kannadasan to vacate his bed saying he was so scared. Kannadasan said " Yo! Aambalaina paambukkellam payappadakkodathuya!. Neer antha padukkayileye paduthukkum. Naan ingeye paduthukkiren" Then both of them decided to keep awake the whole night.
  
  
  These were friends who became bitter enemies on political front. But deep inside they had their own areas of accord.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
• From: sathi (@ 69.27.194.197) on: Mon Mar 31 00:57:42 EST 2003
  
  dear Mani,
  Kavinger Kannathasan touched many lives including mine, I believe he experienced all stages in lifes. Through his songs he communicated the very rich, the poor and the middle class. During the year 1972 Tamil dept in Presidency College invited Kavinger Kannnathasan to speak . His Personality was non threatening but his words were like spears. He looked at the student audience and said not many of us will be able to get a job even after we graduate from the college. Those words hit me so hard and made me explore my opportunities. I didn't appreciated him at that time for discouraging young minds. But now, I am so glad that he said those words. Those words were like catalyst which helped me find my own nitch. Even now, I listen to his philosophical song. May God bless his soul.
  
  

Sub-thread# : 32
• From: R.Mahendra Raj (@ 210.186.1.38) on: Mon Mar 31 05:36:34 EST 2003
  
  Hi! folks it was my biggest birthday gift ever to get a permanent place in this hub. Some ten years ago on my birthday anniversary I woke up in the morning to hear the song "Nenjam undu neyrmai undu odu Raja" ('En Annan' 1970)on the radio. I felt as though kaviarasar had written this song for me on my birthdaye anniverary as I was in full energy mode and till todate I cherished it. Almost a decade later today (31.3.2003) this surprise gift! Thank you bb and all you folks for the booster which will definitely see me poring over past materials re-kaviarasar to post it here.
  
  A minor digression from the norm.
  
  When the late Usila Mani (the over weight and betel-chewing supporting actor)was betrothed to a distant relative through a proxy arrangement the prospective in-laws wanted to see a photograph of him. They wanted it to be dispatched to them urgently. Seeing that he had no photos of himself and since his future in-laws wanted it urgently he hit upon this idea of sending kaviarasar's to them. The in-laws after seeing the photo agreed to the marriage. It seems that during his younger days Usila Mani used to look like kaviarasar hence this substitute photo! So kaviarasar had also unwittingly aided an artiste through a mere photograph!
  
  When KBalachandar and kaviarasar were sitting to discuss and write the situational songs for 'Mazhalai Pattaalam' (1981) Laxmi, the actress who tried her hands with her maiden venture as directress of this movie, was with them.(KB was the overall supervisor for this film) After a few minutes she begged to be excused as she felt that she had no role in the discussion between KB and kaviarasar. Kaviarasar told her to stay put by saying that she was the 'inspiration' for this discussion! No wonder he was a ladies' man!
  
  When kaviarasar went to see a distinguished friend who was holding a very high academic position in the ICS he saw the door of the house closed. He then knocked on the door and from inside he could hear the voice of his friend asking in English as to the identity of the knocker. Kaviarasar shot back in English too- "An outstanding poet is standing outside!" A rare tribute in English about himself indeed!
  
  His knowledge of English is fairly good and I am still perplexed as to his choice of words in this language for a man educated in Tamil and that too till the 8th standard. He paid tribute to MGR by saying that the initials 'MG' in MG Ramachandran's name stands for 'magnamity' and 'generosity'.
  
  He was inspired by Shakespeare's "Let sleep thwine on your eyes" to come out with the song "Thookam un kangalil thazhavattumae" ('Aalayamani' 1963). "Know thyself" by Socrates was another inspiration he had used for the song "Unnai arinthaal nee unnai arinthaal" ('Vettaikkaaran' 1964).
  
  During his first overseas visit to Sri Lanka (then Ceylon) he put up with his friend Rasadurai and former minister (later Sri Lanka High Commissioner to Malaysia till 1994)in his house. Although given the guest room kaviarasar preferred to be billetted in the library which was well stocked with all kinds of books. It was here that he began to get interested in the English language. He had also a fair knowledge of Sanskrit.
  
  After the death of CN Annadurai (Chief Minister Tamil Nad 1967-1969)he had this strange premonition of his own death. This prompted him to pen his own obituary in poem which was utilised 12 years later when he died. I cannot remember of anyone writing his or her own obituary.
  
  More next folks!
  
  
  
  
• From: geeth (@ 213.121.248.170) on: Mon Mar 31 05:42:34 EST 2003
  
  bb, that was a wonderful thing to bring this thread on the front page. it deserves that spot and many thanx for it.
  
  but will have to visit this thread also for mani's postings - soodu pidikuthu intha thread. details of 1957 election are very nice to read.
  
  
• From: geeth (@ 213.121.248.170) on: Mon Mar 31 05:48:20 EST 2003
  
  when i was typing my post your last one (above) was not there mahendraraj. many happy returns of the day. may you enjoy every moment of your life.
  
  
• From: Prabhu (@ 202.54.40.210) on: Mon Mar 31 06:02:04 EST 2003
  
  Mr. Mahen, many happy returns for the day :)
  BTW, its not just you getting gifts today! I've sending your articles to many tamil movie fans worldwide and they are asking for more :-)
  Do carry on your illustrious service and more power to your pen.
  
  
• From: Rajesh G (@ 167.202.196.72) on: Mon Mar 31 11:24:19 EST 2003
  
  Dear Mahendra Raj,
  
  Wish you a wonderful b'day and many more returns of the day (so that we could enjoy for more years as well !!) I am one of the RRRs (regular read-only readers) of this site and a great fan of Kannadhasan. You are doing a great job here and Keep going !
  
  
• From: KB (@ 168.122.12.172) on: Mon Mar 31 12:24:45 EST 2003
  
  Dear Mahendra Raj,
  Wish u a Great b'day.I too am one of the RRRs & am enjoying immensly ,this thread.I greatly appreciate your educating people like me abt. the GREAT MAN.
  
  
• From: Saravanan (@ 213.42.1.171) on: Mon Mar 31 12:43:26 EST 2003
  
  Pirandhanaal Vaazhthukkal, Mahendra Raj sir! Hope you enjoy your b'day!
  
  Please continue with your awesome memoirs of Kannadasan. Best Wishes.
  
  
• From: Ram (@ 165.250.91.73) on: Mon Mar 31 12:53:00 EST 2003
  
  Mahendra Raj, Happy birthday... Many many happy returns of the day. You are doing a wonderful job in this forum and please continue this great work.
  
  
• From: bb (@ 206.154.118.2) on: Mon Mar 31 16:55:51 EST 2003
  
  Happy birthday, Mahendra Raj.
  Manisegaran, can you suggest some books by Kannadasan where he has described his relationship with Karunanidhi in detail?
  
  
• From: s0 (@ 139.95.250.2) on: Mon Mar 31 17:06:25 EST 2003
  
  Mahendra Raj Sir. Pirandha naal vaazhthukkal.
  
  on the same topic, any interesting incidents on Kannadasan's birthday (when is it?)? or have you written about them already?
  
  
• From: Manisekaran (@ 61.6.39.139) on: Mon Mar 31 18:19:55 EST 2003
  
  Dear Mahendraraj,
  
  Happy Birthday. Please come to Ampang Street this Friday. I will give you a birthday treat. You deserve it more now than before for the good contribution.
  
  bb,
  
  One has to read almost all books by Kannadasan and numerous articles by Kannadasan to retrieve all these details. But Vanavasam, Manavasam, Cinemavilo 30 Aandukal, Enathu Vasantha Kalam, Enathu Suya Saritham are good enough. I have vinyl records and cassettes containing talks by old timers like Karunanithi, Kannadasan and Anna. Some information are from the horses mouth itself. There are ardent fans of Kannadsan in Malaysia such as Mahendraraj himself who take great pride and pleasure in storing and treasuring rare and detailed information on Kannadasan.
  
  Regards,
  
  Manisekaran
  
  
• From: haris (@ 148.87.1.170) on: Mon Mar 31 20:36:14 EST 2003
  
  Manisekaran- Can you please digitize the talks by the old timers and post it in the internet? That is, if you have time and there is no copyright issues involved. It will be useful for the future generation. (why suthi valaichify? I would like to hear them... ). Thanks a lot to Manisekaran, MahendraRaj.
  
  
• From: Prabhu (@ 202.54.40.210) on: Mon Mar 31 23:07:30 EST 2003
  
  s0, KD's stats are Jun 24, 1924 to Oct 17, 1981 I think.(Same bday as me, but thats another matter :-))
  
  
• From: s0 (@ 63.246.166.72) on: Mon Mar 31 23:18:19 EST 2003
  
  thanks Prabhu. I am amazed by your (& others') ability to remember all these details.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Apr 1 01:21:31 EST 2003
  
  
  
  Kannadasan did noit even complete his studies. He is a very widely read person, and as Mahendraraj has rightly pointed out, his memory power is something to envy about. He never prepares his talks. His ideas flow like gushing water as soon as he holds the mic. He is a wide reader of English books too. He is a fluent speaker in the Enchlish Language too. I have with me a vinyl record, containing a talk that he delivered at a Thirukkural function. One part of the talk is in simple and moving English. He relates how these days the modern women fix Shanthi Mohoortham for their husbands. He quotes in English how the modern girls would speak to their husbands on wedding night:
  
  "Hello Darling. I am going to the ladies club and I will be back at nine o clock. You please wait for me in the bedroom"
  
  I remember there was a poem written by Francis William Bourdillon (1852-1921)
  
  The night has a thousand eyes,
  And the day but one;
  Yet the light of a bright world dies
  When day is done.
  
  The mind has a thousand eyes,
  And the heart but one;
  Yet the light of a whole life dies
  When love is done.
  
  
  This song was translated into Tamil for the film Kulamakal Raathai as follows:
  
  Iravukku Aayiram Kangal
  Pagalukku Onne Onne
  Arivukku Aayiram Kangal
  Uravukku Onne Onnu
  
  I think this is by kannadasan.
  
  In many other Tamil songs too Kannadasan has used much English words.
  
  Oh Little flower, see your lover-(Neelavaanam)
  
  Twinkle twingkle little star how I wonder what you are (Thanga Pathakkam)
  
  He has written Othello Drama in Tamil in one of his movies.
  
  Such efforts indicate that kannadasan is learned and lettered in the English language.
  
  Haris,
  
  I am not able to digitize those talks by the old timers. I dont have the means. But if you are passing through Malaysia I can give you copies.
  
  Thanks and regards,
  
  Manisekaran
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
• From: R.Mahendra Raj (@ 210.186.0.108) on: Tue Apr 1 05:02:41 EST 2003
  
  Hi! folks. When I casually mentioned about the birthday gift little did I expect to be flooded with felicitations from all of you! I did'nt intend that but anyway my heartfelt thanks to all of you for the wonderful wishes.
  
  I must be very candid as to how I became attached to kaviarasar within a short span of time only lest there are expectations beyond my capacity. A bit of history first.
  
  Somewhere in 1973 on a rainy late Sunday evening my friends and I were killing our time drinking in a favourite corner lot coffee shop. It was the norm those days when entertainment for youngsters like us were limited to watching movies and binging on firewater only! Another casual friend walked in and told us that as he was passing he saw Kannadhasan speaking at a function held at the Sangeetha Abivirthi Sabha for an elite audience just across the coffee shop. He persuaded all of us to join him to hear Kannadhasan speak.
  
  Although we only know Kanndhasan as a film song writer his ranking in our eyes was definitely very much lower than MGR, Shivaji or Gemini Ganesh. It was a hero-oriented industry at that time and we were used to see action not literary talents. Secondly like me all my friends were from the English medium schools. Tamil was only spoken sparingly in homes and further enhanced through radio broadcasts and movies only. Whatever the written Tamil we know was picked up along the way by reading weekly magazines like 'Kumudham' 'Ananda Vikatan' etc.
  
  Grudgingly we all joined this senior friend as we were half way through with our drinks.
  
  When we went there we saw a full house of audience and the session was about to end and we had to stand at the back row.
  
  The first thing to strike me most was the towering figure of Kannadhasan when he was addressing to the hushed audience made up of the elite group. He was speaking on the topic of Indian classical music. He said that music was held in high reverence by the people of India so much so that flutists (nadeswaram players) and drummers used to be summoned to play on the parched rice fields. He emphasised that the power of music was such that it can accelerate the growth of the paddy or hasten the ripening of fruits and vegetables. Suddenly he interjected and quipped that he had this nagging doubt in him. The musicians are mostly bald headed and if the power of music was such why could'nt it help those poor baldies with hair growth since they are the ones creating it (the power of music for growth)!
  
  Aha, that instant I knew this man is full of humour and can relate to us the younger generation who love fun, wit and humour. Before this incident I was under the impression that he must be a serious man like his predecessors (Bharathi, Bharathidasan etc.) where poets were regarded as somber.
  
  
  There were security guards assigned to cover him and seeing this one of my friends challenged me to get an autograph of him for a quarter of course. My immediate response was "whats so great about Kannadhasan when I could get one from MGR in Kuala Lumpur in 1970 (thats another story)?". I straightaway walked up to the podium when Kannadhasan just finished his speech and the audience was applauding him. We met half-way and I tapped him on the shoulder.(I could smell liquor and he must have smelt mine too!) He looked up at me and I gave him my pen and a piece of rough paper for him to put his dhoby mark. He looked at me with a half smile and remarked "ithu verayaa?" ("this too?"). He sisgned and handed it back to me.
  
  Thats it, the crowd came surging forward to get theirs but fortunately or unfortunately Kannadhasan was whisked away by the security personnel through the backdoor. Except for myself no others in the audience had this opportunity - all because of a friendly challenge and with the firewater in me!. That was the first and last brief encounter with the man who only later became my idol. I used to think how nice it would have been to have engaged in an intellectual discussion with him now being his ardent fan had he been alive.
  
  Later, after two decades I happened to acquaint with the organiser who was responsible for bringing kaviarasar for the above function. He told me that just an hour before this function he was held up in a massive traffic jam and could'nt be on time at the hotel where kaviarasar was staying to fetch him to the Sabha function.
  
  Kaviarasar had had some drinks earlier and was also not in the right mood to attend the function. But one of the locals who was with him reminded him that the audience is a different kettle of fish altogether made up of profesionals and that it was anxiously awaiting him.
  
  When he was about to leave the hotelier slapped kaviarasar with the bill for the 3 days' stay at the hotel which the local organiser was supposed to have settled. Faced with this embarrasing situation he dug into his pocket (shirt of course) and had just enough to settle the same.
  
  This organiser told me that he had had experiences with artistes coming from India who usually take advantage of the former by incurring high hotel expenditures but kaviarasar was different altogether. He could have opted to call off his scheduled appointment at the Sabha and stayed put until the organiser arrived. But he paid with his own money to save further embarrasment. This was indeed a rare occurence. The organiser reimbursed him later, of course, and extended his apologies.
  
  It was only in the mid eighties when I was undergoing a terrible phase in my life (bad planetary positions escpecially Saturn's 7 1/2 year transit) I became seriously involved with kaviarasar's works. My late father's colleague saw me drinking one day and he invited me to join him to visit the local book shop. There he took me to the section where the full set of "Arthamulla Hindu matham" were stacked up. He asked me to buy one set and assured that I would find some relief in it rather than on drinking. (Later I just gave up this habit and I am a teetoler for the last 15 years). His books and songs had indeed made me see life in its proper perspective. Like me I am sure there are many out there who have had similar experiences.)
  
  True enough when I started to read it later I found that kaviarasar was talking to me instead of me reading his works! Such was the magic. One book led me to another and so on and one. I became addicted to his books. It was also from this period that I became very attentive to kaviarasar's songs also which I could relate to with the predicament and turmoil I was undergoing then. Within a short span of time I managed to buy nearly all of his books or those which related to him. Inquiries from those who had had associated with him also served to enhance my knowledge on this great soul. Whenever a piece about him is published in the weekly magazines, newspapers or any written materials I immediately underline them so that I could memorise it. Thats all I did and am still doing. I never kept any of those for me. All the weeklies are passed on to friends and relatives.
  
  When this thread was going serious I started to rummage through the stack of books to refresh my memory from kaviarasar's books but, alas ,I find that there only about 20 left. Even the cassettes used for recording the 'Kannadhasan Neram' aired over the radio also seem to be missing. Probably visitors to my house must have taken both the books and the cassettes and are still keeping it! (Many of them are poor in mathematics but good book-keepers!!)
  
  Whatever I am posting here is out of memory. However, rest assured, with kaviarasar's spirit and as a social service I will do my best to retrieve the info for everyone's benefit.
  
  See you later folks and thanks once again for the warm felicitations and sorry if I had to bore all of you with my personal experience!
  
  
  
  

Sub-thread# : 33
• From: lav (@ 192.39.39.106) on: Tue Apr 1 06:36:38 EST 2003
  
  Mahendran,
  
  I missed wishing you yesterday, belated happy returns of the day!
  
  Your personal experience is not at all boring, and I am sure you know how we all look forward to your, Manisekaran and other's posting.
  
  
• From: Sriram Lakshman (@ 195.188.191.86) on: Tue Apr 1 11:46:12 EST 2003
  
  Mahendraraj and Manisekaran, your contributions are most interesting to read through. Please do continue, with the knowledge that there are visitors to this thread such as myself, in the 'read only' mode.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Apr 1 21:15:51 EST 2003
  
  
  Kannadasan and Karunanithi were travelling by train heading for Chennai, at a time when both were broke almost to the last coin. They were devoid of financial means to buy even simple meal. Somewhere along the way, a rich north Indian boarded the train, with a basket full of apples. That very sight increased the hunger of both Kannadsan and Karunanithi. When the train stopped at the Jwalerpet junction, the North Indian requested Kannadasan and Karunanithi to look after the apples and went off for a quick lunch. However Kannadasan’s mischievous mind set to work. He quietly gave and idea to Karunanithi to look into the possibility of stealing one or two apples from the basket. Karunanithi objected, saying that they would be put in a very awkward situation should the owner come to know. Karunanithi said the man was already feeling that they were from noble descent and good birth. There was a small time argument between the two. Finally they gave up stealing. Karunanithi gave an alternative idea. Karunanithi felt it would be better to ask him for some apples. But self-pride swelled in them and that prevented them from making that move.
  
  By this time the North Indian came back after lunch, and told Karunanithi and Kannadasan to go for lunch, promising to look after their belongings. Both of them alighted, but had nowhere to go for food, as they only had a few “anas” So both of them decided to put up a false front. After hiding away from the North Indian for some time they bought some beedis (Karunanithi used to smoke in those days) and puffed in front of the North India as if to enable the digestion of the food they were supposed to have consumed. Seeing that the North Indian enquired if they had had a sumptuous meal to which both said “Oh yes. A Very heavy meal indeed” Kannadsan went one step further and said “We had Briyani!.”
  
  This event took place before 1954. That was the the state of financial difficulties they encountered. They were close friends alright. But everything became sour with the movie Illara Jothi.
  
  
• From: sk (@ 137.132.3.7) on: Tue Apr 1 22:41:35 EST 2003
  
  Manisekaran:
  
  They both seemed to have had difficulties associated with 'food' even from the previous night. When Karunanidhi lifted the plate from which they had eaten snacks, they were shocked to find a cobra under it. Interestingly, the cobra made no movements and, particularly, no attempts to escape! Kannadhasan brought a viRagukkattai and killed the snake.
  
  
• From: sk (@ 137.132.3.7) on: Tue Apr 1 22:45:23 EST 2003
  
  SL:
  
  I just saw your note. It was finally Kannadhasan who brought you back here! :)
  
  
• From: Manisekaran (@ 61.6.39.139) on: Tue Apr 1 23:41:01 EST 2003
  
  Sk.
  
  Still not convinced of the death of the snake, they burnt the snake. So, you are aware of this incident in Nadar Mansion. Good. There are many written accounts about the anecdotes in Kannadasan's life. Some are lamentably lacking in details. Its best more heads are put together to recall those memorable days.
  
  
  
  
  
  
  
• From: manraja (@ 202.144.73.33) on: Wed Apr 2 00:44:01 EST 2003
  
  this is a fantastic thread , for people like me in twenty's to know about kavignar...
  
  keep up the good work...!!!
  
  regards
  
  
  
• From: manraja (@ 202.144.73.33) on: Wed Apr 2 00:50:05 EST 2003
  
  this is a fantastic thread , for people like me in twenty's to know about kavignar...
  
  keep up the good work...!!!
  
  regards
  
  
  
• From: puvanes (@ 161.142.100.81) on: Wed Apr 2 02:25:17 EST 2003
  
  it is interesting to read this thread on kaviyarasu kannadasan
  anybody know any stories about the relationship between pattukottai kalyanasundram and kaviyarasu
  
  
• From: sk (@ 137.132.3.7) on: Wed Apr 2 03:06:02 EST 2003
  
  Mani:
  
  Thanks for the further details on the snake! This thread is really bringing out many interesting episodes from Kannadhasan's life.
  
  puvanes:
  
  I think PK and Kannadhasan had a good relationship. I have heard that, once some journalist wrote something very wrong about Kannadhasan and it seems PK beat up that journalist!
  
  Kannadhasan said the following about PK (much after PK passed away):
  
  pattukkOttaiyin maRaivu uNmaiyil enakkErpatta nashtamAgum. enakkendru oru market varuvadhaRku mun, ilakkiya suvaiyuLLa idamAga yArAvadhu sonnAl ennai avar koopidach cholluvAr. grAmeeyap paattukkaLAga irundhAl avaraik kooppidach cholluvEn nAn. pattukkOttaiyAl ERpatta sooniyaththai ennaikkoNdE cinema ulagam nirappitru. idhil enakku ANavam varavillai. AsaiyE perukkeduththadhu.
  
  indha pAttALik kavinjan amudham pOndra pAdalgaLaith thaNNeer pOla pAyavittAn. ivan ezhudha vandha pin nAttup pAdalukkE oru gauravam vandhadhu. pudhiya karuththuk kattiya veeNaiyaip pOla muRukkERiyadhu.
  
  
• From: R. Mahendra Raj (@ 203.106.163.221) on: Wed Apr 2 04:47:47 EST 2003
  
  Thanks for the wishes Lav and the comments and add ons from the others.
  
  SO - Regarding kaviarasar's birthday celebrations - During the seventies it was the order of the day then for kaviarasar's fans and associates to celebrate his birthday anniversary grandly and simultenously at all major towns and cities of Tamil Nad. Politicians (both the ruling as well as opposition) and celeberities were usually invited to officiate and grace these functions.
  
  Mani, re - the song "Ettaduku maazhigayil' ('Paatha Kaanikkai' 1962).
  
  According to a very close source of kaviarasar this song was written for a different situation. There used to be a Brahmin family who lived in kaviarasar's neighbourhood. The lady of the house used to frequent kaviarasar's house and pour out her matrimonial woes to him (kaviarasar) which was related to sexual inadequacies. Just to pacify her he wrote this song and assured her that at least she could find some relief in it. The 'ettadukka maazhigai' here refers to the 'madisaar' saree (expertly tied to form 8 layers) usually worn by Brahmin ladies.
  
  Folks, try and read between the lines to decipher the raison de' etre of this song!
  
  If I am not mistaken kaviarasar had had mentioned about this Brahmin lady in one of his books. This lady still went to him for advice and realising her predicament and his inability to do anything he just advised her to accept her fate and wake up to the reality that what she is undergoing now is because of her previous birth karma.
  
  There were a few songs which were considered vulgar by the authorities and heading the list was "Vaarai en thozhi vaaraiyo" ('Pasamalar' 1961) for the line "malaraatha pennun malarum". The authorities relented later when it was proved that the literary effect overshadowed the subtle meaning.
  
  We will address this topic later.
  
  Puvanes, re - Kaviarasar and Pattukottai Kalyanasundram.
  
  Contrary to popular belief both of them were best of pals during their respective career days. Although the latter had only written 189 songs until his untimely death at 29 years nevertheless it were all gems.
  
  It was Pattukottai Kalyanasundram who, upon realising that kaviarasar had had no control over his money, took the liberty to save a portion of his (kaviarasar's) earnings to build the now defunct Kavitha Hotel for the latter's future. Kaviarasar had publicly acknowledged this fact.
  
  At a time (late fifties) when lyricists were paid meagrely for their works it was MGR who fought hard for kaviarasar to be remmunerated with higher rates commensurating his writing skills. The rates were accordingly raised for Pattukottai too.
  
  There was one incident involving both these legends. The producer of a film refused to pay his due respect for kaviarasar which annoyed Pattukottai to the extent that he nearly slapped him! Such was their friendship.
  
  When Pattukottai died in 1959 kaviarasar was overcome with uncontrollable grief and while crying he penned a very long tribute to his dear friend.
  
  More later folks!
  
  
  
• From: R. Mahendra Raj (@ 203.106.49.202) on: Wed Apr 2 10:03:48 EST 2003
  
  Hi! folks still more on the film 'Paatha Kaanikkai' (1962).
  
  Kaviarasar simplified a song of Pattinathaar and re-wrote iT as "Veedu varai uravu Veethi varai manaivi" and it became a hit of sorts after "Ponaal Pogattum podaa" ('Paalum Pazhamum' (1961) and "Padaithaanae manithanai Aandavan padaithanae" ('Nichiya Thamboolam '1961) for its sober philosophical content.
  
  When praises after praises were showered upon him for this song he duly declared that the credit should rightly go to Pattinnithaar. At the same time he was also queried as to why he changed Pattinithaar's line. The line in Pattinithaar's song read as "kadasiyil kooda varuvathu nam seytha paavamum punniyumthaan" or words to that effect ("we take with us our good deeds and sins during the final journey"). But kaviarasar re-wrote it as "kadaisi varai yaaro?" ("who will follow us to the end?").
  
  He candidly pointed out that Pattinithaar being a saint had the right to conclude such and he, after all being a mere mortal, had had no right to say that. What humbleness!
  
  In this film ('Paatha Kaanikkai') all the other songs became hits too such as "Kaathal enbathu ethuvarai?" (another qustion & answer song, Sankar) and "Poojaikku vantha malare vaa". "Veedu varai uavu" and "Poojaiku vantha malarae vaa" later became film titles.
  
  It is pertinent to mention herein that some scholars believe that Kannadhasan is a reincarnation of Pattinnithaar Adigal. Kaviarasar devoted one whole volume on the life of Pattinithaar and reading it one gets blended in that period of time. The lifestyles of both of them bore some common identities and they also belonged to the same community.
  
  Perhaps some seers could shed some light on this theory.
  
  More next folks!
  
  
  
• From: puvanes (@ 161.142.100.81) on: Thu Apr 3 01:03:21 EST 2003
  
  I can't attend Kannadasan's 70th birthday celebration organised by jasmine promotions on 26-9-96 because i was busy with my form two studies.In the function they provided a small book about kannadasan and his kavithaigal i don't know whether this book was provided or sold out.anyway i want to share the 35th page of this book with the thread readers.this was written by kaviyarasu kannadasan one year before he die
  
  POI VARUGIREN
  
  En iniya nanbargale!
  thooimayaana unggal ithayanggalai konjam intha pakkam thiruppunggal.Nallor uraigalai kaettu kaettu melliya panbu padaittha unggal sevigalai thiranthu vaitthu kollunggal.
  unggal vaanatthil irunthu oru natchatthiram vizhunthu viodappogirathu. Unggal solaiyil irunthu oru kuyil kankaanaa ulagattirku paranthu sella pogirathu.
  Unggal malar thottatthil irunthu oru malar uthirnthuvida pogirathu.
  unggal koottatthil kattappattu iruntha nandri mikka or uruvam, than kattugalai avizhtthuk kondu poivida pogirathu.
  thanakkena vaazhnthu pazhakkam illaathathu endru unggalaal sollappatta or ithayatthai, neenggal izhanthuvidap pogireergal.
  avan aayul migavum kurugiyathu.
  antha vagaiyil avan solvathu thappaathu.
  avan kathai mudiyumbothu, neenggal anaivarum uyirodu iruppeergal.
  unggal tholgalileye avan sava oorvalam pogattum.
  thaanda mudiyaatha unggal anbu veliyai avan thaandi kondu odap pogiraan.
  adarntha kaadum, pasumai niraintha maranggalum manam parappum malargalum sala salavena odikondu irukkum nathiyum antha nathiyin karaiyil ulla azhagiya siru illamum amaithiyai naadum avan kangalukku therinthu kondu irukkindrana.
  avan ini, thani manithan.
  aanaal...
  entha moolaiyil irunthaalum, avan unggalaye sinthitthuk kondu iruppaan.
  kannanggariya kaaganggalayum kuyilgalayum kaanum pothum, chekkachivantha sempotthu paravaigalai paarkkum pothum unggal anaippile avan magizhnthu kondu iruntha inbagaramaana naatkalai enni kondu iruppaan.
  kanavugalilum ninaivugalilum eliya kavithaigalai paditthu kondu iruntha avanathu ullam unggalukkaagave eanggik kondirukkum.
  avan eppothum unggal nanban.
  neenggal avanai maranthu vidalaam
  nicchayamaaga avan unggalai marakkamaattaan. ini yaarudaya maaligayilum avan manamaganaaga kaatchi tharamaattaan.
  vaeru evanudaya sannithaanatthilum avan bagthanaaga nirtkamaattaan
  mudiyumaanaal, avan pazhaya bagthargalukku theivamaaga vilangguvaan.
  chozha chakravarthiyin maaligaiyai pola, paadum paanar oottamum, parisil perum pulavar koottamum, nanbar koottamum niraintha than kavithai maaligaiyil, avan ini thatthuva kanavugal kandu kondiruppaan.
  
  thanks for the info on the relationship between pattukottai and kaviyarasu
  
  

Sub-thread# : 34
• From: R. Mahendra Raj (@ 210.186.2.81) on: Thu Apr 3 04:35:48 EST 2003
  
  Puvanes, it is heartening to know that you are a fan of Kannadhasan and that too in Malaysia (are you from KL?).
  
  Re - Jasmine Productions. This unassuming group comprising the late Alen Kandiah, Karu Kaarthik (a distant relative of kaviarasar) and Thangamani have religiously presented the 'Tribute to Kannadhasan' function since 1986 in Kuala Lumpur.They were usually held on June 24 or October 17 to coincide with kaviarasar's birthday or deathday. The attendance at these memorials were usually very good. No admission charges were levied and on top of it local artistes and literary figures are honoured annually with golden shawls, token monetary gifts, mementos and garlands. Apart from this, classical dances, patti mandrams, and poetry reading sessions are held. Invited guests take the liberty of speaking about the greatness of kaviarasar. The sessions usually lasts for about 6 hours until midnight and refreshments are served.
  
  This was made possible through contributions from local business fraternities who are fans of Kannadhasan.
  
  About two years ago the catalyst of this event, Alen Kandiah, met his untimely death as a result of a road accident. Although after his death things began to slacken for a year nevertheless, it was held last year. I was assured by Karu Kaarthik that the event will go on for this year although the organisers of the "Tribute to Kannadhasan" (held last year at PWTC on September 29, 2002) are planning to have a grand one in Bukit Jalil Stadium, Puchong on May 21, 2003.
  
  We only hope that the latter event will not be a repeat of the earlier one where most of the invited guests were blowing their own trumpets instead of speaking on kaviarasar.
  
  You have re-kindled my memory regarding the 'Poi Varugireyn' article by kaviarasar. It is actually the preface to the book written by him under the same title. You can recall that on January 16, 1996 when Mydi Sultan, the veteran boroadcaster,who needs no introduction to Malaysians and Singapaoreans, went on air in Radio 6 for the last time the day before he retired he used this page as a farewell to his fans. Just before he retired he became even popular through the way he presented Kannadhasan's songs over the radio.
  
  The moment he finished reading this extract he was flooded with numerous emotional calls from his fans whilst on the air itself. One fan who could'nt control his emotions drove down to the radio station and hugged him. They were all emotional because they feared that after his retirement less info on Kannadhasan will be forthcoming on the air.
  
  But some months after his retirement he was re-called as a part-timer to present the 'Kannadhasan Neram' programme which ran for 8 months and he became even more popular. He intimated to me that although throughout his career he was known to be serious literary and sports broadcaster he never dreamt that he will be popular just because of Kannadhasan! The irony is that he is an ardent fan of Bharathidasan but became Kannadhasan's admirer during last days of his retirement after reading on him from my books!
  
  That reminds me of kaviarasar's statement which was recorded. During the early period when he was in DMK it was the norm those days to condemn all things puranic. He deliberately started to read on 'Kambar Ramayanam' just to find faults in it and expose the same. However, he ended up falling in love with Kamban! Thats the reason you can find many songs by kaviarasar quoting Kambar.
  
  More next folks!
  
  
• From: R. Mahendra Raj (@ 203.106.49.169) on: Thu Apr 3 10:19:20 EST 2003
  
  Some add ons on TR Mahalingam - Kaviarasar which just struck my memory.
  
  When kaviarasar booked TRM to act as the hero for his maiden film 'Maalayitta Mangai' (1958) the latter was in a bad financial shape. Kaviarasar lent a helping hand to TRM much against the advice of fellow producers because the latter was branded an 'unlucky hero'. TRM's financial position was so bad that he had had even hocked his wife's 'thaali' for some immediate financial relief. Kaviarasar came to know about his position when he went to the latter's house to book him for his film.The first thing he did was to ask TRM to go to the pawn shop to redeem the 'thaali'. Kaviarasar was of the opinion that the 'thaali' should never be traded off under any circumstances. But the pawn shop owner had already sold it off. Kaviarasar immediately bought a new 'thaali'and asked TRM to tie it around his wife's neck. He wanted his prospective hero and his family to be happy when he started the project on 'Maalayitta Mangai'. Such thoughtfulness of a novice producer!
  
  Kaviarasar added a feather to his cap when he wrote the song "Engal Dravida Thirunaadae" for this film sung by TRM, the hero who is a Brahmin by birth, at a time when sentiments were running high against the Brahmins and vice versa by DMK. A real achiever indeed!
  
  Later for the film 'Thiru Neelakandar' (1968?)he wrote the lines "Kozhikkul muttai undu Muttaikkul kozhi undu" for a song to be sung by TRM who was the hero of this film. K. Selvarasu, the producer-cum-director of this movie,humbly pointed out to kaviarasar that this line, which smacked of things non-vegetarian, will not go down well with the audience because it was supposed to be sung by a shaivite nayanmaar and that even TRM the hero is a Brahmin himself.
  
  Kaviarasar agreed with the arguments put forward and on the spot substituted the line to read as "Neerukkul kallum undu Kallukkul neerum undu Paarvaikku theriyaathu".
  
  Bye for now folks, more later on kaviarasar's humour.
  
  
• From: Ramki (@ 161.150.2.31) on: Thu Apr 3 13:00:31 EST 2003
  
  Muktha srinivasan's article about Kannadasan
  
  http://www.cinemaexpress.com/serials/serial2.asp
  
  
• From: Manisekaran (@ 61.6.39.139) on: Thu Apr 3 20:48:41 EST 2003
  
  Dear Kannadasan Fans
  
  A few comments. There are three stories to the background of Ettadukku Maaligayil song by Kannadasan. One story goes that Kannadasan penned this song keeping Annadurai in mind. The other is that he had written when a friend disappointed him. The third is the background related by Mahendraraj. Knowing that different and often conflicting stories prevail for cinema incidents I do not want to comment in the affirmative on some matters. We can see new stories surfacing after the passing of the key players. I have mentioned this worst fear in the beginning of the thread.
  
  
  Kannadasan's peotic lines overpowered the censorship board's decisions on many occassions. Even before the Pasa Malar Song, the Malayittu manam Mudichi song from Malayitta Mangai escaped the scissors.
  
  The line is "Palliyaraiyil Paditha Paadal Palanalichaachu-Purushan Pakkamirunthu Kodutha Paadam Uruvam Kondachu"
  
  As in the case of Pasa Malar's
  
  Malaratha Penmai Malarum-Munbu
  Theiryatha Unmai Thyeriyum,
  Mayangaatha Kankal mayangum-Munbu
  Puriyatha Kelvi Puriyum
  
  the censorship board member commented, "When we looked at the meaning were tempted to use our scissors, but when we pondered upon the poetic beauty, our hands were tied.
  
  T.R. Mahalingam was not a natural or deliberate choice for Malayitta Mangai. Apart from Sivaji Ganesan and MGR, it was Nageswara Rao who was riding high in the cine market. When Kannadasan approached him, he was very arrogant, and so Kannadasan went for TR Mahalingam. Being a Brahmin, oppostion came from the DMK circle. Kannadasan said he would make the DMK members accept the hero. Thats how he penned the title song that opened with a dashing high spirited musical orchestration.
  
  Kannadasan went ahead and sat in the theatre to see for himself the reactikon and response from the DMK fans. As the film opened with title music, accompanied by Kannadasan's name and TRMahalingam's song, there was tremendous applause from the theatre. Imagine TRM singing in high pitch:
  
  Engal Dravida Pon Naadey!
  
  
  But the DMK flame in Kannadasan was extinguished in the next two years- for reasons very intimately known to very few people.
  
  
  
  
  
  
• From: Manisekaran (@ 61.6.39.139) on: Thu Apr 3 21:57:23 EST 2003
  
  The events in kannadasan's life could be approached in any angle. Whatever masala mix of kannadasan is always interesting to read.
  
  I had mentioned that Kannadasan and Karunanithi had problems after the film Illara Jothi. In fact the movie ushered a four cornered undercurrent situation-Sivaji, Karunanithi, Kannadasan and MGR.
  
  Karunanithi went to jail for the Kallakkudi Porattam. It was at this time that Kannadasan wrote story, dialogue and songs for Illara Jothi. That movie was a novelty altogether for Kannadasan had attempted something new altogether. The prose took a poetic style. The songs were fantastic. Although G Ramanathan was a genius Music Director, Kannadsan seldom had opportunity to sit and produce songs. This was one of those rare occasions. Kannadasan himself has said that it was in this film that he first composed a song based on Carnatic raga. That song is Ketpathellam Kathal Geethangale by P.Leela (I have mentioned details of this song in many threads).
  
  Kannadasan had also written Anarkali drama in this film. Apparently it is aid that Karunanithi also had written one drama similar to this. Kannadasan had the habit of passing his literary works to Karunanithi for comments- in theeraly days. In the same note, he sent the Anarkali drama to the prison to be read and commented by Karunanithi. When Karunanithi read this , he returned it without comments, but the matter was twisted in the DMK press. Kannadasan was sad, confused and depressed. However, when the film was released, Kannadasan went inside the prison, and Karunanithi came out. Kannadasan saw the movie only after he got released. The fact of the matter is that battle lines were already drawn for Kannadasan and Karunanithi- though it did not surface to the open.
  
  Kannadasan continued to be influenced by DMK philosophy. He then wrote story and dialogue for Naane Raaja, acted by Sivaji Ganesan. This was an attempt to rewrite Ramayana upside down, with a motive of belittling the epic. The film censorship heard about this and a warning came. Kannadasan quickly tried to rectify the situation. However the story got mutilated, distorted and twisted. The film became a flop.
  
  It was at this time that Sivaji Ganesan, who was a DMK supporter went to Thiruppathi. Kannadasan, along with other DMK members took exception to this. Kannadasan started Thendral magazine in which he attacked and heaped humiliation upon Sivaji Ganesan. Kannadasan had also written dialogue for one more Sivaji Ganesan Movie-Thenali Raman. In Thendral Kannadasan had mentioned that Thenali Raman was sure to dig its own grave. When both Kannadasan and Sivaji Ganesan met at the Vahini Studio, there was almost a fist fight, if not for the timely dispersal caused by the onlookers. This was exaggerated in the papers. That was the end of Sivaji Ganesan- Kannadasan team work-at least for a few years.
  
  MGR feared the rise of Sivaji Ganesan. When news reached MGR of this fight, he phoned up Kannadasan and requested him to pen dialogues for him. That was how Kannadasan ended up writing dialogues and songs for MGR, starting with Madurai Veeran and going with Thaaikku Pin Thaaram (part dialogue) Nadodi Mannan, Mahadevi, Raja Desing and Rani Samyukta.
  
  During this period Kannadasan and Sivaji Ganesan could not see eye to eye. But the enmity took an unexpected proportion when Kannasan took Sivagengai Seemai- as a continuation of Veerappandiya Katta Bomman and released it when Katta Bomman was still running. Sivaji Ganesan saw this as a direct challenge. His supporters started to hit Cow dung on the posters of Sivagangai Seemai. Kannadasan supporters reciprocated in similar note. (Later this event laid the basis for the fight between Sivaji and MGR fans.)
  
  By this time Kannadasan was already a towering strength for the cinema industry. Although Kannadasan and Sivaji Ganesan were not in taling terms the producers and directors started using Kannadasan to write songs for films acted by Sivaji Ganesan. Baga Pirivinai, Paava Mannippu and Padikkatha Methai were of this kind.
  
  In Baga Pirivinai Kannadasan had written a song for his wife-
  
  
  Thalayam Poo Mudichu Thadam paarthu Nadai Nadanthu
  
  Vaazhai Ilai Pola vantha Ponnamma
  En Vasalukku Vangivanthathu ennamma (Ponnamma is his wife’s name)
  
  When the son asked Kannadasan what about asong for me Kanndasan said I have written for you too in the same film. The song is :
  
  Yen Piranthaai Magane Yen Piranthaayo”
  
  
  This film won the silver medal of the Indian government and Sivaji was selected the best actor by Cinema Kathir and Chennai Cinema Fans club.
  
  Then came Padikkatha Methai-also with great songs by Kannadasan.
  Sivaji Ganesan was chosen the best actor, by Cinema Kathir. Pesum Padam selected him as the best actor.
  
  No need to mention the sensation and success of Pava Mannippu. Kalangalil Aval vasantham by PB Seeenivas became the best song in 1961. This song was translated into English by lawyer Ashe Nadarajan and published in Sunday Times Weekly and those who were learned and lettered in the English language came to appreciate Kannadasan.
  
  The song Athaan Ennathaan Avar Ennaithaan has its own background. When Anna and Kannadasan were on theior way for election meeting in Pondicherry, they stopped to by mixture from a roadside peddler. After eating the mixture, Kannadasan was glancing through the paper that served as a wrapper. In it he saw an old poem by Ramachandira Kaviraayar :
  
  Kallaithaan Mannaithaan Kaihithaan
  Kudikkathaan Katpithaana
  
  
  That was the inspiration for the song Athaan Ennathaan where “thaan”apears in 18 places. This song also became the favourite of Raj Kapoor.
  
  There is another song-Silar Sirppaar that was written when Kannadasan received a bankruptcy notice.
  
  This film received the All India best film certificate from the Indian government. Cinema Kathir selected Pava mannippu as the best film.
  
  
  Then came Pasamalar with some of the best songs. This film cemented the hearts of Kannadasan and Sivaji Ganesan.
  
  While Sivaji Ganesan was ignoring Kannadasan, MGR was making full use of Kannadasan for his films. At the same time the closest friends of Sivaji Ganesan indicated in no uncertain terms that the success of Sivaji Ganesan starred films to a large extent was made possible but the great songs by Kannadasan. They told him to patch up with Kannadasan. Within short notice Sivaji Ganesan arranged for a private dinner where there was free flow of mathurasam. When Sivaji Ganesan was fully loaded he hugged Kannadasan and remarked “Neeethanda Piravi Kavingyan” From then onwards both of them called each other vaada-poda. They became so close. Sivaji started demanding the use of Kannadsan for his won films- (Kungumam, Puthiya Paravai). Their friendship grew thicker. Sivaji Ganesan paid his head on the lap of Kannadsan when both were listening to the composing of songs and muscin for Thillana Mohanambaal. Such was their closeness. But what happened to Sivaji Ganesan when he came down to Singapre a few years ago?
  
  He had this to say to Vairamuthu “Nee Kannadasanukku Mun Piranthirunthaal Nee Kannadasanayum Minchi Iruppaai. Ippothuthukooda Minchivittaai” I am sure there was no mathurasam this time. Kumudam or Anantha Vikatan (not sure) commented “Singappooril Sivaji Ganesanukku Paithiyam Pidithuvittathu”
  
  One thing is clear. In cine world there is no permanent friend or permanent enemy. Nadakame Intha Ulakam!
  
  
• From: bb (@ 12.234.176.52) on: Thu Apr 3 23:53:21 EST 2003
  
  Manisegaran, what role did MSV play in patching up between Sivaji and Kannadasan? Did MSV force Sivaji and his producers to use Kannadasan's lyrics instead of others?
  On a tangential note, was MSV a naive onlooker in this political/power struggle?
  
  

Sub-thread# : 35
• From: Dobri (@ 195.39.134.84) on: Fri Apr 4 00:20:03 EST 2003
  
  Could note from Mani's posting the way Sivaji dishonoured Kaviarasar in Singapore. There could have been reasons for it in the later years because even in the 70s their bond was stronger with excellent songs in Vasantha Maaligai, Avanthaan Manithan etc. discussed in this thread earlier. Future postings could reveal more on this.
  
  Compare this with MGR. He fell out with Kaviarasar in the 70s and still when he became the CM, he honoured Kaviarasar as 'Arsavai Kavinjar'.
  
  Great postings Mahendra raj and Manisekar. Thankful for your time and efforts.
  
  
• From: puvanes (@ 161.142.100.87) on: Fri Apr 4 01:24:43 EST 2003
  
  somewhere in 1997 or 1998 there was an article on tamil nesan titled 'paattil porul uranggum' (something like that)every sunday.i don't know who was the writer of this article.i remember this incident, which was written in the article that kannadasan made mistake when he wrote a song.the song was in thaayilla pillai.the song goes like this
  chinna chinna ooraniyaam
  thaen manakkum solaigalaam
  ooraniyin naduve onggi nirtkum maamaramaam
  maamarattu kilaigalile maadappuraa koodugalaam
  koodugalil kudiyirukkum kunjugalaam pinjugalaam
  the story and dialogue writer for this film was m.karunanithi.m.karunanithi point out that maadappura(pigeon) will normally build its nest on maadam.that is why it is being called maadappura but howcome writer wrote that maadappura build its nest on mango tree.the release time of the film was same with the time kaviyarasu going out from dmk.at first kannadasan became nervous but a college student answer m.karunanithi's question through newspaper. the student said that according to the storyline we can accept kaviyarasu's song where a child who should live in maadam had to live in mankudisai.another child who should live in mankudisai ,came to maadam. when this explaination came in newspaper kanndasan also said "yes, i wrote for the film situation"
  
  is there any other incidents that kaviyarasu's songs being pointed out by filmmakers?
  
  
• From: Manisekaran (@ 61.6.39.139) on: Fri Apr 4 02:54:23 EST 2003
  
  
  PUVANES
  
  The Paattil Porul Urangum was written by me for more than one year in Makkal Osai-not in Tamil Nesan. Someone borrowed the collection and has lost it.
  
  
  bb. MSV, to my humble knowledge was a silent observer of cine incidents. He was careful not to get involved in cine politics. Yet he was dragged into some controversies. For example after the film Ulakamn Sutrum Vaaliban, there was an accusation that MSV scored better tunes, and orchestration for MGR. He totally and vehemently refuted. To prove a case in point he set to work on good scores for a Sivaji Ganesan movie - Ponnoonjal. In an interview he mentioned that the film did not do very well a lright, but the song was immortalised. However, the only reason as to why MSV scored better music for MGR movies was the direct involvement and inordinate pressure exerted by MGR himself. Such were the small time pressures he was involved in. But in so far as the Kannadasan matter was concerned MSV was strong defender and shield for Kannadasan, and under no circumstances did he ever compromise on that stand.Kannadasan in his book Chinthithen CHanthithen relates as to how ignorant MSV is in so far as world affairs were concerned. Kannadasan points out that MSV knows nothing else other than music. In the book Naanum Intha Nootraandum by Vali, it is clear that MSV never wanted to be the centre of controversies.
  
  DOBRI,
  
  
  There is one reason why Sivaji favoured Vairamuthu. It is no secret.
  
  MGR-All along MGR and Kannadasan have been fighting and patching up like smaall children. there were times when their fights took gigantic proportions. Kannadasan took the fil Karuppau Panam for hitting out at what he conceived as hippocricy of MGR. But MGR's charisma was so great that he just could not eb erased from the minds of fans. Likewise MGR too brought Vali and a few other poets to suppress and silence Kannadasan. Sorry no way! He too was a majestic personality.
  
  MGR was very sincere in making Kannadasan Asthana Kavinyar. MGR had a magnanimous heart to take care of all those who had given hime a helping hand during times of trials and tribulations. The contribution of Kannadasan in the shaping of the personality and future of MGR cannot be washed aside. MGR thought about that plus Kannadasan's own contribution to Tamil literature.
  
  Ironically all along when MGR started his party and later became Chief Minister, Kannadasan was irritating MGR by writing with satire and making sarcastic remarks. One book that all must read is Arangamum antharangamum where we see the "Other Side of Midnight" One other statement that Kannadasan made of MGR was "Should MGR take off his hat and sun glasses even a donkey would win him in election." He also said "Should he take off his sun glasses, one could pour rice in the dent around his eyes. It will look like Sunnambu Dappi" Karunanithi was enjoying all these remarks.
  
  One day before the appointment, Kannadasan was contacted by MNGR over the phone and said" I intend to appoint you as Asthana Kavinyar. I know you have done much for the languagfe. but given the circumsances thisis a sm,all way in which I coluld honour you. You must accept this. What do you say?" kannadasan replied "People may talk differently" To that MGR said "If you listen to people's opinions, you will never reach your destiny. You just say OK and I will announce tomorrow" Kannadasan agreed and on the following day MGR announced this.
  
  The moment Kannadasan was appointed, Karunanithi made remarks that Kannadasan was bought over. But Karunanithi was also a chief Minister. What did he do to Kannadsan other than pressurising him and humiliating himvery subtly? How come he did not appoint him as one?
  
  At one faunction, where MGR and Kannadassan were there, a prominent person openly said that MGR has bought over Kanndasan. MGR stood up and said that that was never his intention. MGR said that he was aware that no poet, especially kannadsan could be silenced. He said "Let me say in no uncertain terms. Kavinyar is most free to criticise me and my rule. This is a public statement I am making" Of course Kannadasan never attacked MGR in strong terms.
  
  But when Kannadasan died in Chicago, there was no original intention by the government of Tamilnadu to fly his remains to Tamilnadu. Karunanithi politicised this and pressurised MGR to bring the body fast. He even said that DMK would not hesitate to bring the body down and give a befitting burial to the "dravida poet" MGR then made arrangements to bring the body and he gave a very befitting nurial to the royal peot.
  
  Karunanithi wrote a fierce poem"
  
  Thendralaaga Veesiyavanum nee-En
  Nenjil Theeyaga Suttavanum Nee. .../
  
  Aruvadaikku yaro vanthaar Unai Mattum Aruthu Senraar"
  
  Who stopped from harvesting Kannadsan when you were the CM?
  
  At least Vali who came to compete with Kannadasan was magnanimous in writing so well about Kannadasan.
  
  Something like this:
  
  Nee Tharayil Piranthu Thirayil Valarnthavan. Unakku Moonru thaaram Enraalum moolatharam tamizh.
  
  Padikka Theriyathavarkalil Yamanum Oruvan
  Athanaalthaan Oru Kavithiyai Kizhithu Vittaaan
  etc etc.
  
  
  Vali also said that Kannadasan became Arasa Kavinyar from being a Kavi Arasar.
  
  
  But vali says in his book "Naanum Intha Nootraandum" that his greatest achievement in the cine field was the appreciation given by kannadasan.
  
  About the other songs pointeed out- there are so many.
  
  pacharisi Pallaada Pambarathu naavada
  
  Thangathile Oru Kurai Irunthaalum (there is a Malaysian story on this)
  
  Paarthu Paarthu Ninrathile Parvai Izhanthen
  
  etc etc
  
  This is one area where many could contribute.
  
  OK for the moment. Have a nice weekend.
  
  Vanakkam
  
  
  
  But the one thing that made millions including me respect MGR is the honour he gave Kannadasan by making him Aasthana Kavinyar.
  
  
  
  
  
  
  
  
  
  
  
• From: lav (@ 192.39.39.106) on: Fri Apr 4 03:41:36 EST 2003
  
  Excellent postings by you all. Thank you so much for sharing all these info.
  
  
• From: R. Mahendra Raj (@ 203.106.49.80) on: Fri Apr 4 10:37:36 EST 2003
  
  bb re - MSV's role. It has re-kindled my memory again.
  
  When kaviarasar and MSV were selected to visit the then USSR it was the latter's first trip overseas nothwithstanding his 'maiden' plane travel. When the plane was crossing the Afghanistan desert kaviarasar remarked to MSV that this was the birthplace of Ghazni Mohamad who led the army into India. In all innocence MSV asked him as to who was Ghazni Mohamad. Kaviarasar got irritated with MSV over his lack of histroy knowledge and just plainly told him that he is the brother-in-law of Atta the neighbour back home in Chennai! MSV believed him and throughout the journey he kept kaviarasar busy with his persistent questions on the surroundings. Kaviarasar had a tough time explaining in detail just like a father explaining to his son on the environment on the first outing together!
  
  In Moscow, when both of them strolled around the streets wearing their national home attire they were surrounded by curious on-lookers. The weather was ice cold with the locals wearing heavy clothings and mufflers to keep themselves warm. Here these two natives were walking around almost barefoot (with only the Indian sandals on) oblivious to the chill. It was only later did they decide to buy shoes to keep them warm!
  
  When they were taken to Albert Music Hall in Moscow the grand piano caught the eyes of MSV the maestro. He straight away walked towards it as though the piano had beckoned him and started to play with his deft fingers. Within a short while a sizeable crowd had gathered watching the maestro play. While MSV was playing his concentration was fully in focus and oblivious to the surroundings. After the rendition the curious crowd gave him a standing ovation for the performance.
  
  This incident was related by kaviarasar as an analogue when he spoke on the topic of 'concentration'. MSV is a novice in worldly affairs but when it comes to music he is in charge of the world as his concentration is fully in focus. In the same breath kaviarasar asked everyone present to imitate MSV's style of concentration be it work, play or prayers.
  
  MSV had had a near brush with the rivalry between MGR/Shivaji and Kannadhasan/Vaali way back in 1968.
  
  Kaviarasar was in the midst of producing his own film 'Lakshmi Kalyanam' (lyrics, story & dialogues by kaviarasar) and the songs had just been recorded in the studio. Music is by MSV.In this film there is a dialoge to the effect by the hero, Shivaji confiding to his friend, Balaji that he is yearning for the carefree days spent in his native village as he is fed up with city life politics and the materialistic people around. This dialogue was an expression of kaviarasar's own mood at that time.
  
  This was also the time when KBalachander booked him to pen all the lyrics for 'Anubhavi Raja Anubhavi' (1968). Who could forget the song "Madras nalla Madras" which created a controversy of sorts and irked the ruling elite of Tamil Nad then? It was reckoned as being sattirical of the then DMK government and was banned temporarily. The other song "Muthu kullika vaarigalaa" was a hit nationwide and veteran Hindi comedian-actor Mehmood liked it very much. In the Hindi version of this film Mehmood can be seen singing and humming this song.
  
  It was also in 1968 when kaviarasar's song "Ezhanthu payyam" broke records in sales, (35 thousand copies were sold bypassing the record held by "Singaara veylanae deivaa" ('Konjum Salangai' 1962). This was nothing but the commonest of common song but became popular with the masses. Kaviarasar sighed when told of this song becoming the chart topper. He regretted that although he had had written hundreds of well meaning songs the masses still opted for low key ones like "ezhantha payyam".
  
  Is'nt it ironical that within the same year (1968) one song of kaviarasar was banned whilst another topped the chart and this was also the year he was bestowed with the title 'kaviarasar'?!!
  
  Sorry for the deviation and now back to the issue of 'Lakshmi Kalyanam'.
  
  MSV rushed to the studio where the recording of the songs for 'Oli Vilakku' (hero MGR) was about to commence. This film had Vaali as the lyricist. When MSV saw the lyrics of one song ("Dhairiamaaga chol nee manithanthaana?") he observed some similarities in kaviarasar's opening line of the song "Yaarada manithan ingey Kootivvaa avannai ingey" recorded for 'Lakshmi Kalyanam' just a few moments ago.
  
  MSV politely asked Vaali to change the lines without assigning any reasons thereof as he was a friend to all, namely, kaviarasar, Vaali, MGR and Shivaji. Of course, the poet in Vaali refused to budge. MSV, on his part, refused to render tune for this song unless the lines were changed. Vaali did'nt like to be dictated and told MSV flatly to mind his own business by giving the appropriate tune.
  
  This issue reached the ears of MGR and he summoned MSV to his house. The latter explained that what he had told Vaali was in good faith as both the lyrics can be taken to read as critical of either MGR/Shivaji; MGR/Kannadhasan; and or Vaali/Kannadhasan. MGR requested MSV to reproduce the 'Lakshmi Kalyanam' song the following day. MSV obliged and after hearing the song MGR was satisfied that both conveyed different meanings and cannot be considered as pitting one against the other.
  
  Only then did MSV relent and went about compising the music for this song. MGR, with his keen literary senses and knowledge, had to be the arbitrator unwittingly between kaviarasar and Vaali relating to their respective professions. The irony of the whole situation was both kaviarasar and Vaali were in the dark until much later when told by MSV. Both being 'glass mates' they celebrated this so-called controversy with their usual bitters defeating the crux of the song "Dhairiyamaaga chol nee manithan thaana?" - a song devoted to reform the tipplers and which almost caused an unwitting clash between the two stalwarts just because MSV wanted to prove his so-called knowledge on a different area!
  
  More later folks!
  
  
• From: R. Mahendra Raj (@ 203.106.49.80) on: Fri Apr 4 10:49:25 EST 2003
  
  Mani, you forgot to add that the morning MGR appointed Kannadhasan as the 'Aasthaana Kavyingar' via the telephone the very evening he was seen criticising MGR in a public function over some trivial issue. When new of this criticism reached MGR through the latter's cronies MGR just laughed abd brushed them off replying that it is typical of Kannadhasan - no one can rule him with any carrot sticks!
  
  

Sub-thread# : 36
• From: bb (@ 12.234.176.52) on: Fri Apr 4 20:59:11 EST 2003
  
  Manisegaran and Mahendra Raj, thanks a lot for your insights. It is great to read your comments.
  
  A followup: What about TKR? We've heard a lot about Kannadasan and MSV, but nothing much about TKR. The only stories that I can recall are his willingness to let MSV's name in front of his in the titles, and murky stories of how he split with MSV. Can you guys write more on TKR and how he played out in this scenario?
  
  
• From: geeth (@ 195.39.134.84) on: Sat Apr 5 01:55:02 EST 2003
  
  manisekaran and mahendraraj - excellent postings on the rivalry period of 1968. looks like tfm benefitted immensly during this period with all these stalwarts trying to give their best. very interesting to read all this stuff and one thing needs to be appreciated - the magnanimity of MGR in appointing Kavinjar as Aasthana kavinjar (or arsavai kavinjar). A due recognition.
  
  btw, can someone tell who is the present aasthana kavinjar ?
  
  
  
• From: R. Mahendra Raj (@ 203.106.49.130) on: Sat Apr 5 10:01:55 EST 2003
  
  Hi! folks am back again. Thanks bb and Geeth for your comments.
  
  Re-TKR. According to what I understood is that during the formative years he was disciplined in his work but towards the mid-sixties he was too occupied with 'other interests' much to the annoyance of MSV. Although being senior in age, TKR agreed to have his name relegated after MSV in the credits. This was because, NSKrishnan, the man behind the unification of both MSV and TKR from the days of 'Panam' (1955)insisted so. At that time NSK had a say in the running of cinematic affairs in the industry due to his popularity and charisma. There were some who quitely assumed that NSK being a Malayalee wanted to give prominence to MSV a fellow Malayalee.
  
  It was also a well known fact in the industry that MSV did all the hard work of composing and TKR was left handling the violin which instrument is a slave to his upper limbs! When MSV confided to kaviarasar of his intention to break away from TKR the latter gave him the blessings. There was also a school of thoughts that KVM was behind the whole separation but the latter was definitely not involved at all.
  
  When TKR broke away from MSV he did compose for films but except for a few like 'Saadhu Mirandaal' (1966), 'Naan' (1967) and 'Moondraezhuthu' (1968) the others did not click. It is sad that this violin maestro's contributions thereafter to the Tamil film music became negligible.
  
  Around this time Vedha, the 'recon' specialist, some or rather filled the vaccuum created by TKR. Producers booked him instead of TKR because the latter operated with limited instruments and players and nearly all of the songs were monotypes. The producers would rather settle for reconditioned tunes from Hindi rather than having TKR for their films.
  
  It is pertinent to state here that both MSV and TKR retained their respective titles of 'mellisai mannar' even after they had seperated. Probably this duo were the only mds in the Tamil film music industry to share the the same title, although this time after separation it was in the singular ('mellisai mannar').
  
  On the other hand, MSV went on to create hits after hits although some prophets of doom predicted that the former had had dug is own grave through the separation.
  
  For your information folks, the title of "Mellisai Mannargal" was coined by kaviarasar and conferred on them at a function. One late night (probably during the heat of consuming 'beverages') kaviarasar telephoned MSV in the latter's house and told him that he wanted to honour him. MSV, visibly irritated by this unexpected call for disturbing his sleep, told off kaviarasar. But kaviarasar kept his words and honoured the duo.
  
  When TKR came with his troupe along with TMS, ALRaghavan, SC Krishnan etc. for a concert performance in Kuala Lumpur in 1966 (just fresh from the separation) the question of the split was posed to him. He avoided giving a direct reply.
  
  Again when this duo patched up in 1994 for the film 'Engirintho Vanthan' it appeared that they were all set to re-enter with a renewed vigour. Alas, their type of music was out of fashion with a different generation.
  
  Both of them came to Malaysia in 1997 for a road show and this question was again put forward. Both denied having had any differences at all and that the so-called split was inevitable for some other reasons!
  
  
• From: R. Mahendra Raj (@ 203.106.49.130) on: Sat Apr 5 10:12:29 EST 2003
  
  As narrated earlier kaviarasar did write some songs about himself. We can compile that later but here is one with a difference.
  
  The song "Kalyanaman kalyanamam arubaatham kalyanam" ('Dharisanam' 1970) has this line "..anthan ettavathu pillai kooda meythai aagalam". This line was a stark reference to himself as being the eigth in the family. Incidentally, Lord Kannan (kaviarasar's aasan) was also the eigth in the family!
  
  The song "Ithu maalai nerathin mayakkam" in this film ('Dharisanam') also won the best song at state level for the ubiquitous statement line "...ithu
  ottai veedu onbathu vasaal...".
  
  See you all again folks on kaviarasar's humour.
  
  
• From: raja m (@ 24.44.133.72) on: Sat Apr 5 11:47:07 EST 2003
  
  Mahendra Raj:
  
  Was TKR's problems related to drinking and was this the reason MSV and TKR split (or due to MSV/LRE connections?).. this request is based not on gossip value - just clarifications to long standing questions :-)
  
  
  
  
• From: R. Mahendra Raj (@ 203.106.49.199) on: Sun Apr 6 06:53:08 EDT 2003
  
  Raja, although there were some rumours to that effect LRE continued to sing for both MSV and TKR. So it could not be true. The three of them were here in Malaysia for the 1997 concert.
  
  You would have observed that the raison de' etre of certain issues in the Tamil film industry had remained unanswered till tdate. This can be traced back to the case of the infamous murder of Lakshmigantham, the editor of Hindu Nesan in the fourties. MK Thiagaraja Bhagavathar, NS Krishnan, to name a few were implicated but the actual reason remains a mystery till todate. Of course, various theories and reasons surfaced during the passage of time but till todate no one knows the truth as to what actually transpired.
  
  There were and are other such incidents and its origins have never been revealed - the most famous amongst them being the MR Radha/MGR shooting incident in January 1967.
  
  Lets confine ourselves to the main issue of this thread and distance ourselves from things too personal as the affected personalities and their descendants are still around with their children and grandchildren. Just think of the havoc it will cause should the grandchild points a finger at grandpa for his past 'naughtiness' after reading this posting!!
  
  No malice meant to you folks but this is my humble request - lets refrain from being too inquisitive about the artistes' very very private lives.
  
  At the 100th day celebrations function of 'Poova Thalaiya?' (1969) Rama Arangal the producer had invited the then Chief Minister M.Karunanidhi and a host of VIPS to this function. In the guest list was kaviarasar who was seated next to KBalachander, the director of this movie in the front second row right behind the CM.
  
  When it was kaviarasar's turn to address the invited guests he quipped that this film ('Poova Thalaiya') had posed a question in that title itself. His answer was that it was the 'head' ('thalai'). Before the invited guests could discern this remark kaviarasar continued that as he was seated right behind Karunanidhi he could not see the goings-on on the stage as the balding patch of the latter's crown was dazzling under the hall's spot lights, hence the statement! Of course, everyone was taken aback because of the protocol accorded to Karunanidhi as CM and that the statement could be regarded as improper. But when Karunanidhi burst out laughing the audience too got into this mode and had a hearty laugh!.
  
  I could not remember reading any incident about an ordinary citizen having the courage to crack a joke about the CM's appearance face-to-face and that too at a public function.
  
  Incidentally the songwriter for this film is Vaali.
  
  More on kaviarasar's humour next folks!
  
  
• From: raja m (@ 24.44.133.72) on: Sun Apr 6 08:28:17 EDT 2003
  
  Mahendra Raj:
  
  I understand.. no more distractions from me:-)
  
  
• From: LP (@ 61.6.38.132) on: Mon Apr 7 02:54:03 EDT 2003
  
  Mahendra Raj/Manisekaran
  
  Can you confirm where the Kannadasan Vizha will be held this year. I hope that Pandithurai is NOT going to be the organiser again.
  
  
• From: Subbu (@ 216.52.49.9) on: Mon Apr 7 03:25:41 EDT 2003
  
  Mr.Raj,
  
  Would throw some light on the "Kaviyarasar Silai thirappu vizha" sometime in 1991 or 92 at near Panagal Park, T.Nagar, Chennai. I guess JJ also particpated in that function.
  
  
• From: R. Mahendra Raj (@ 210.186.0.94) on: Mon Apr 7 06:10:33 EDT 2003
  
  LP, I am given to understand that the 'Kannadhasan' function is to be held on May 21, 2003 at Bukit Jalil Stadium, Puchong. Yes, Paandithurai is the organiser again. I wonder whether it will a repetition of last year's affair. I hope it is not. For your information folks, the invited artistes were paid to the tune of Rs 1 lakh each excluding the cost of flight, boarding and incidentals. It seemed they (especially MSV and TMS) refused to come here unless they were paid in advance by cash in Chennai!.
  
  Well, everything seems to have been commercialised and materialistic. Dead for more than two decades but still kaviarasar's name sells like hot cakes but it is a pity that when he was alive he did'nt enjoy such monetary benefits for his own shows in person. Can we call this fate?
  
  Judging from the crowd attendance last year it was apparent that kaviarasar still lived in the hearts of millions even in this millennium. I only hope that the organisers will not take advantage of the crowd turnout and utilise it for their own agenda.
  
  Subbu, re - statue of kaviarasar.
  
  Somewhere around 1992/3 MSV dropped a bombshell that kaviarasar had appeared in his dream and appealed to him to have a statue erected after him. His justification was that there were too many statues of even unknown personalities in town and therefore he urged MSV to do something about this.
  
  Consequently MSV teamed up with, of all the persons, Ilayaraja and went on a road show to solicit funds for this 'dream' project (literally!). They managed to collect a substantial sum and thence approached Jayalalitha Jayaram, the then CM to assist them in this quest. The latter alloted a government piece of land in busy T.Nagar and also gave some financial contributions. In 1994 she officiated the unveiling of this majestic statue with the media in attendance. The statue is located a few metres away from NS Krishnan's statue and in the vicinity of kaviarasar's house in T.Nagar. If I am not mistaken it is within the area of the road where kaviarasar's house is located which was re-named 'Kannadhasan Saalai'at this function too.
  
  Folks, there were some who were sceptical about this so-called dream and opined that MSV, who was financially down, teamed up with Ilayaraja whose market was sagging, to help re-boost their respective images through this roadshow. And also to tide them over with their financial position as the mere mention of kaviarasar's branded name for any function was a sure money-spinner.
  
  Jayalalitha Jayaram had all along maintained a very good relationship with kaviarasar which is why she came forward to assist in this project. Whatever, the reason may be we must thank MSV for his efforts.
  
  
• From: R.Mahendra Raj (@ 210.186.0.94) on: Mon Apr 7 06:42:26 EDT 2003
  
  In his life-time the late Kamraj saw only one movie and that too upon the insistence of kaviarasar.
  
  In 1962 kaviarasar had a special screening of his film 'Raktha Thilagam' (1962)for Kamraj's viewing as it had some elements of patriotism in it (based on the Indo-China war theme at that time). The first reaction by Kamraj after seeing this film was to urge kaviarasar to shorten the film's length by half! He did not know that it was the norm of Tamil films to run for 3 hours!.
  
  Talking of patriotism the other film by kaviarasar was 'Thaaye Unakkaaga' (1966)based on the Indo-Pakistan war. Of course this time around he did not invite Kamaraj!
  
  In 1964 when he produced 'Karuppu Panam' he had a tough time sourcing for a hero. Initially, he had booked MR Radha for this film but it seemed the latter stealthily whispered to MGR that the theme of this film was to attack him (MGR). MR Radha was withdrawn and due to MGR's influence others did not dare to come forward to act in that role lest it incurs the wrath of 'sinnavar'.
  
  Finally, left with no choice kaviarasar himself had to act out as the gentleman crook. Although the film flopped but nevertheless it had a very strong social theme like the present day 'Gentleman' (1994). Kaviarasar did justice to his role.
  
  Speaking of acting it was 'Parasakthi' (1952) where kaviarasar made his debut in a minor role as the presiding judge of the infamous court room drama. Of course, VC Ganesan stole the lime light and went on to become 'nadigar thilagam' later. It was SS Rajendran's first movie too. Basically it was a DMK movie.
  
  I have seen some rare photographs of kaviarasar acting in dramas both in Tamil as well as in English. The photos gives kaviarasar a caucasian appearance because of the suit and hat and above all his towering height.
  
  And talking about dressing I have some piece on kaviarasar's attire but it will be deemed too personal to post here but neverthelss it will draw a good guffaw!!
  
  
  
  
  

Sub-thread# : 37
• From: geeth (@ 195.39.134.84) on: Mon Apr 7 08:13:43 EDT 2003
  
  mahendra raj, that was a real interesting piece on Karuppu paNam and Paraskthi. never knew that the judge was Kaviarasar in parasakthi. would like to watch parasakthi for this court scene again.
  
  
• From: puvanes (@ 161.142.100.81) on: Mon Apr 7 10:01:10 EDT 2003
  
  last week i heard this song in iravin madiyil from the film vallavanukku vallavan.i think the lyricist is kannadasan.the song's lyrics has really nice santham and it doesn't repeat once more
  paaradi kanne konjam
  paitthiyamaanathu nenjam
  theduthadi malar manjam
  sirippukku ennadi panjam
  
  paitthiyame konjam nillu
  vaitthiyaridam poi sollu
  nerunggathe ithu mullu
  tharuvathai vaanggi kollu
  
  adada ithu enna kannaa
  nee antharalogathu penna
  .....................
  .................... (paaradi)
  
  aasayai paaradi thanggam
  ivar azhagillai aana singgam
  ....................
  ..................... (paithiyame)
  
  the md is veda who likes to lift tune from hindi
  the song was very very wonderful.all the modern theater's vallavan film songs have some nice songs
  vallavan oruvan
  
  innum paarthu kondirunthaal
  thottu thottu paadavaa
  palingginaal oru maaligai
  kaalai neram oruvan vanthaan
  oh ammamma kannatthil kannam
  
  vallavanukku vallavan
  
  oraayiram parvayile
  kandaalum kandene unpole
  paaradi kanne konjam
  pozhthum vidiyum
  
  iru vallavargal
  
  naan malarodu thaniyaaga
  kua kua paapa
  aasaaya kobamaa
  
  does all these songs penned by kannadasan?
  any stories on kannadasan - veda?
  
  
• From: R. Mahendra Raj (@ 203.106.49.35) on: Mon Apr 7 11:14:23 EDT 2003
  
  Thanks Geeth and do let me know because I saw it a long time ago.
  
  Puvanes, in the sixties and seventies kaviarasar was almost 'bonded' with Modern Theatres Ltd. Therefore, all the songs mentioned by you are by kaviarasar.
  
  "Kaalai neram oruvan vanthanaan" is from the late Jai Shankar's first film 'Iravum Pagalum' (1964) and the lyricist is not Kannadhasan but someone else.
  
  "Paaradi kannae konjam" is by Kannadhasan and the tune, as usual was lifted from a popular Hindi ghazal song.
  
  Sorry, Vedhachaalam (Veda) maintained a low profile in the industry and there was not much news about him, let alone his relationship with kaviarasar. Perhaps, Mani could throw some light.
  
  Somewhere in late 1972 and early 1973 a group of political extremists who claimed to be aethists started to destroy the idols and statues in temples. This news angered peace-loving people as well as temple goers.
  
  Saavi, a well-known veteran journalist who was the editor of 'Dhinamani Kadhir' telephoned kaviarasar. The former expressed his anger over the disgusting behaviour of these anti-social elements and asked kaviarasar to write a serial for his paper. The idea was to propogate the goodness of Hindu religion and at the same time counter the atrocities of thewse anti-social elements. Kaviarasar agreed in principle and to a question by Saavi as to the title he answered in spontanity "Arthamulla Inthu Matham". Thus the now famous title was born over the telephone. The serials became so popular that they were subsequently reprinted into books for sale to the general public.(As what I understand the volumes are still in demand).
  
  Around this time, the extremists even went to the extent of being physical with Girubanantha Vaariyar (late), the modern disciple of Lord Muruga. When kaviarasar heard about this incident he telephoned him from outstations and later rushed to the former's house to inquire his well-being. Kaviarasar shed tears upon seeing the abrasions inflicted on Vaariyar's body.
  
  When he was booked to write songs for 'En Magan' (1973) he wrote "Neengal atthanai peyrum utthamarthaana sollungal" hitting at those extremists as well as those who instigate them. The latter, although seen as aethists in public, were hypocrites as they consult astrology, vaasthu etc. and all things connected to Hinduism on the quiet. One can feel the anger and fury of kaviarasar through this song.
  
  Coming back to Vaariyar - kaviarasar was very close with him and they both used to consult each other on various topics. Both had a keen sense of humour and were known for their witticism. Both had complimented each other publicly and in publications. Vaariyar had even written prefaces for kaviarasar's books including 'Arthamulla Hindu Madham'.
  
  When Devar produced the film 'Thunaivan' (1969) it was kaviarasar who coerced Vaariyar to do a cameo role. Initially he declined because of his image but upon kaviarasar's insistence he relented when told that his role was that of propagating Lord Muruga. Prior to this Vaariyar was involved in the anonymous scriptwriting of 'Sivagami' (1959).Incidentally this was the last film for MK Thiagarajah Bhagavathaar.
  
  It was also for 'Thunaivan' where kaviarasar introduced the cute Baby Sridevi to Devar and persuaded him to give her a chance to act as the child Lord Muruga. When Sridevi became a national star there was a joke going around to the effect that Sridevi had had acted 'topless' - in the movie 'Thunaivan' as the bare-chested Lord Murugan, of course!!
  
  See you again folks!
  
  
• From: Saravanan (@ 213.42.1.171) on: Mon Apr 7 15:06:22 EDT 2003
  
  Great going, Mahendra Raj!
  
  Btw, Alangudi Somu was the lyricist for Iravum Pagalum songs.
  
  
• From: Manisekaran (@ 61.6.39.139) on: Mon Apr 7 23:35:47 EDT 2003
  
  
  Mahendraraj,
  
  Merritorious work!. I prefer to be a silent reader, as your series are flowing like Niagara Falls.
  
  Perhaps I may want to add a few lines. kannadasan produced the Ratha Thilakam as a patriotic work during the Indo-China War period of 1962. The screening of the movie was called off within a two week run as the war had just concluded. When the movie was first screened, it was discovered that the China flag was shown flying upside down. Immediately, a proper shot of the flag was made and rushed to all the cinema halls in Chennai area and slotted at the appropriate scene. Another Avasar buthi case of Kannadasan. But what happened to the censorship Board then?
  
  
  The film Thaye Unakkaga was a remake of Ballade of a Soldier. The dialogues are more poetical in style. Someof Kannadasan's best songs are in the movie.
  
  
  About Karuppu Panam, it is true that someone carried tale to MGR, that the movie was intended to belittle and smear the good name of MGR. However, MR Radha refused to act giving reasons of poor story line. Kannadasan went ahead and hit MGR in this song:
  
  Kayile Panam Irunthaal kazhuthai Kooda Arasanadi
  kai Thatta Aalirunthaal kakkai Kooda Rasiganadi
  
  Kannadasan also had a vested interest in taking the movie. He wanted to "promote" KR Vijaya who was a newcomer, causing waves after waves. kannadasan went out of equilibrium. He used to admire the smile of KR Vijaya. In one of his talks in Butterworth, he said that he simply loved the smile of KR Vijaya. In another article he says that the smile of a lady with dark complexion is the most beautiful and matchless.
  
  
  Mahendraraj, the movie did not fare very well at the box office, but it was worth for Kanndasan to have invested in KRV . Please speak to M. Dhurairaj for details that I cannot explain here. Kannadasan himself is an opne book.
  
  There is a song in the movie, where a Thalaivi (KRV)shares her secret affairs with her Thozhi:
  
  Ammamma Keladi Thozhi Sonnaane Aayiram Seithi
  Kannale Kandathu Paathi-Sollamal Ponathu Meethi
  
  (The thozhi whispers)
  
  LRE was asked to use a voice of a 16 year old lady, which she did very well.
  
  Of course the other melodious gems are:
  
  1.Thangachi Chinna Ponnu Thalkai Enna Saayuthu
  
  2. Aada Varalaam Aada varalaam
  
  3. Pattu CHiragu Kond ChittukUruvi Onnu
  
  4. Ellorum Ellaamum Pra VEndum
  
  
  Veda was the favourite of Modern Theatres productions- especially those dubbed from hindi movies. But Modern Theatres did go for other MDs too on an off and on basis.
  
  
  In the film Vallavanukku Vallavan Nadigayar Thilakam appears briefly, but her still was used for the advertisement of the movie to pull the crowd. In the movie Kannippenn MGR bet the club to start off the movie, and his still was used for the advertisement of that movie.
  
  Mahendraraj.
  
  In Thunaivan I saw Sri Devi topless. In 16 vayathiniley whe was a dream queen of many. This physical evolution of Sri Devi was well described by a kindal poet as follows:
  
  Thunaivan padathil Sri Deviyai Kumbida thOniyathu
  16 vayathinile Kooppida thOniyathu.
  
  Mahendraraj, you may want to share with us how Sri Devi came into the cine world through Kannadasan.
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
• From: raj (@ 202.54.137.90) on: Tue Apr 8 02:21:08 EDT 2003
  
  Vallavanukku Vallavan - Oor aayiram paarvayile & Manam ennum medai mele were the best among all other songs.
  
  All Veda-Kannadasan combo songs were superb
  
  The one which i can Never Forget is
  "Naan Malarodu thaniyaaga yen ingu" from Iru vallavargal.
  
  The usage of words like " pon vandondru malar endru Mugathodu modha
  Naan valai konda kayyale Medhuvaaga mooda
  en karunkoondhal kalaindhodi megangal aaga
  naan bayandhodi vandhen unnidam unmai koora "
  
  was excellent..
  
  Also in "saravana Poigayil" where in he uses
  "avanidam sonnen en anjudhalai.. annale thandhan aaru thalai .. ividham naan kanda inba nilai...
  
  Wow!! Born Genius...he is..
  
  
• From: puvanes (@ 161.142.100.81) on: Tue Apr 8 02:32:38 EDT 2003
  
  anyone can input info on kannadasan's first film kanniyin kaathali.the actors in the movie, the md and other important persons behind the screen.who is incharge of introducing kannadasan to tfm?
  
  

Sub-thread# : 38
• From: sk (@ 137.132.3.8) on: Tue Apr 8 03:36:32 EDT 2003
  
  Mani:
  
  In the LRE song of karuppup paNam,
  
  kai Thatta Aalirunthaal kakkai Kooda Rasiganadi
  
  is actually
  
  kai Thatta Aalirunthaal kakkai Kooda nadiganadi
  
  ..which is actually a hit at MGR, as you said. The pallavi also continues in the same spirit as
  
  poyyilE neendhi vandhaal puLuganellaam thalaivanadi
  poosaari vElai seyyum aasaami sooranadi
  
  etc.
  
  
• From: OISG (@ 193.188.97.152) on: Tue Apr 8 04:31:48 EDT 2003
  
  Raj
  
  adding to your post the immortal
  
  "Orayiram paarvayile" which gives you a beatles feel.
  
  KD could give in chaste tamil "Naanathale Kaalgal pinna pinna" even for a remake song.
  
  When vairamuthu could write Monalisa ,Symphony,50 kg etc and pass it as a Tamil song KD,the great man he is uses "Ooviya chemaati" for Monalisa in "oonjalukku poochuti"(Avan than Manithan).this is one of my fav songs
  "Mounathil Malar cholai" "Manjathil KuLir Katru" ,"Karmugil Kuzhalada Kai viral padam poda"
  -the words simply flow.
  
  
  
• From: Saravanan (@ 213.42.1.172) on: Tue Apr 8 04:45:41 EDT 2003
  
  Mani Sir, how can you leave out SJ's 'Undhan raja sabai ingu vaaraatho'- Karuppu Panam? I think it was filmed on Chandrakantha.
  
  
• From: R. Mahendra Raj (@ 210.186.0.161) on: Tue Apr 8 05:24:29 EDT 2003
  
  Thanks Saravanan.
  
  Mani, thanks for the add-ons and can I further add my add-ons to the previous add-ones?!!
  
  Re - "Ammamma keladi thozhi" (Karuppu Panam). Kaviarasar insisted on LR Eswari's voice although MSV was against it. Kaviarasar won and the song became a hit especially with the modulation of LRE's voice to a low and husky pitch. This was the song also where LR Eswari's sister, LR Anjali made her debut as the 'thozhi'. It is strange that kaviarasar not only recommended LRE strongly but also brought in her sister for this song. Poor MSV!
  
  Incidentally, the song "Kayyile panam irunthaal kazhudai kooda arasanadi" was banned by the Indian authorities for fear of irking the ire of MGR's fans. The latter was a group to be reckoned with all over Tamil Nad at that time, hence the ban as a security measure.
  
  I hope folks from Tamil Nad can confirm as to whether the song still remains banned or otherwise.
  
  Incidentally ,the song "Ellorum Ellamum Peravendum" sung by Sirghazhiar for our hero (Kannadhasan) was banned by the Malaysian authorities for its strong pro-socialist and communist ideologicaL contents.
  
  Re - 'Raktha Thilagam'.
  
  I cannot help but laugh when I saw kaviarasar dressed in full western attire (with tie) but wearing slippers for the song scene "Oru koppayile en kudiruppu"!
  
  For your info, folks, this song was much debated by kaviarasar's fans during his heydays. Some felt that the word "koppayile" was a reference to the files of his literary works and the "kola mayil" was the pen in chaste Tamil. Of course, the other group said it reflected kaviarasar's true nature.
  
  And what was kaviarasar's reaction to all those debates? He chose to go by his own maxim "En jeevan piriyum pothu oru kayyil madhuvum innoru kayyil maadhuvum irukkavendum, illayil antha iraivan naan vazhntha valkkaiku arthamillai endru thiruppi anuppividuvaan!". ("When this soul breathes its last one hand should hold the liquor and the other a damsel, if not the Good Lord will reprimand me for leading a meaningless life and hence return me to this mortal world"!)
  
  About the upside down flag scene. This also reminds me of one glaring bloob of a shot for the film 'Veerapaandiya Kattabomman'(1959). In the last scene the camera is focussed on Shivaji from ground level who is about to be hanged. Shivaji is shown kissing the rope as a farewell and suddenly you see a modern jet cruising the sky leaving behind a trail of white smoke! This scene was taken in an outdoor location and it still bewilders me and my friends as to how such a glaring mistake went unnoticed by the producer (BR Panthulu) and his technicians of this period film.
  
  The song "Paaradi kanney konjam" was lifted from a Hindi qwali tune and not ghazal as stated by me earlier.
  
  Another interesting tidbit about this film ('Vallavanukku Vallavan') which was actually a remake of the Hindi 'Ustadon ke Ustad'.
  
  After a series of mediocore films from Modern Theatres this film ran for 100 days. The reason being that the roles were reversed for Gemini Ganesh/Manorama and Asokan/Manohar. Traditionally the former were used to playing good guy roles whilst the latter bad ones. The reversed roles with an unexpected climax made a success of this film. Of course, Savithiri's cameo role also helped.
  
  Mani, you may be right in the sense that kaviarasar had some affinition for KR Vijaya during her budding years. You can see her character and personality being reflected in the song "Poo pol manathai thottuvittai punnagayil ..." where kaviarasar emphasised on her signature smile. This song was for the film 'Annavin Aasai' (1966)- the first film produced by actor K.Balaji.
  
  Amongst the female artistes who used to frequent kaviarasar in his house was KR Vijaya - to discuss her personal problems with him.
  
  Raj, there was also a debate over the song "Vara cholladi avanai vaayaalae oru muttham..." ('Paadhukaappu' 1972) in reference to Lord Murugan. The debate marvelled at kaviarasar's choice of words "...vaayalae oru muttham naanaga tharavendum". The line goes to show the sincere love of a devotee by wanting to kiss the Lord on His lips - a line never used by anyone before.
  
  Puvanes, I will get back to you later with the info you wanted.
  
  
• From: raj (@ 202.54.137.90) on: Tue Apr 8 06:32:36 EDT 2003
  
  oh Great Mahendra.. !! keep Going
  
  But As much i know Kavingar had soft Spot towards Devika...
  
  that too in the song poiyile pirandhu he assumed him in the place of MGR and wrote this song..
  
  may b u can elaborate more abt this
  
  
• From: geeth (@ 195.39.134.84) on: Tue Apr 8 07:41:38 EDT 2003
  
  raj, this poyyile pirandhu song episode and devika were discussed earlier in this thread. you may have to go back to the old responses which may give some irritation because of the length in the title posting. try the front page link which is only Mahendraraj's postings.
  
  
• From: R. Mahendra Raj (@ 203.106.49.165) on: Tue Apr 8 09:37:39 EDT 2003
  
  A filler-up in between serious postings.
  
  Muthuraman, the character-actor died of heart failure while jogging one morning, in between a shooting schedule. It was Kamalhassan who first supported the collapsing Muthuraman. If I am not mistaken it was around the same time when kaviarasar died. "Engey vaazhakai thodangum athu engey evvitham mudiyum" - the lines were apt for him for mouthing the song in 'Nenjil Oru Aalayam' and also for the author (kaviarasar) who died in Chicago. What a coincidence!
  
  The descendants of thse two stalwarts, Kalaivaanan Kannadhasan and Kaarthik Muthuraman later produced and directed (by the former) a film entitled 'Kan Simmuttum Neram' (1987) with the latter as the hero. This film also saw the entry of Sarath Kumar as an actor who was also the co-producer. A few years later (1994), Kalaivanan died of a heart attack too.
  
  See you again folks!
  
  
• From: puvanes (@ 161.142.100.87) on: Tue Apr 8 10:38:12 EDT 2003
  
  this thread is enough to proof that kannadasan is still living in our hearts.nice infos by manisegaran and mahendra raj.keep up the good work. regarding to the atheist matter,after kaviyarasu went out from dmk with chollin selvar e.v.k.sambath he wished to pen a song of his feelings after moving out from atheist group to aatthigam group,this song was in aalayamani
  satti suttathadaa kai vittathadaa
  butthi kettathada nenjai thottathada
  paathi manathil theivam irunthu
  paarthu kondathada
  meethi manathil mirugam irunthu
  aatthi vaitthathada
  aatti vaittha mirugam indru adanggi vitthathada
  amaithi theivam muzhu manathil koyil kondathada
  aaravaarap paeigalellam odi vittathada
  aalayamani osai nenjil koyil kondathada
  darmadevan koyilile oli thulangguthada
  manam shanthi shanthi shanthi endru oivu
  kondathada
  he penned this song for the peace he got after moving out from dmk.this info was based on a.manisegaran's paatil porul uranggum series.so kannadasan had a lot of theivabakthi.may be that is why he choose the name kannadasan which means lord kannannin daasan (daasan means adimai)
  
  
• From: R.Mahendra Raj (@ 210.186.2.125) on: Wed Apr 9 00:38:17 EDT 2003
  
  Puvanes, you are absolutely correct re- the above song which was discussed earlier in this thread (KINDLY CLICK 'OLD RESPONSE' IN THIS THREAD UNTIL YOU ACCESS THE CORRECT SECTION).
  
  I also wish to point out that the last stanza of the above song (reproduced below)was excluded in the record print due to length factor. However, it was included in the film. I have heard the song in full from one of the latest CDs:-
  
  Erumbu tholai urikka paarka yaanai vanthathadaa
  Nan idhaya tholai urithu paartha nyanam vanthathadaa
  Pirakamunnae amaithi indru yeanthi vanthathadaa
  
  The above stanza was more befitting his bitter experience in DMK. However, he was back again in politics after a brief wilderness.
  
  Please also refer the 'Old Response' as to how he christened himself 'Kannadhasan'.
  
  Saravanan, re - 'Iravum Paghalum' songs.
  
  The song 'Ullathin kathavugal kangaladaa Ingu uravukku kaaranam pengalada' was purportedly written by a Malaysian freelance poet going by the name of Karu Velusamy. At that time he was in Chennai trying his best to get into Kodambagam probably trying to follow Malaysia Ravichandran's foot steps. He was unsuccessful. However, this song ended up as Alangudi Somu's to give a professional effect, perhaps.
  
  
• From: bb (@ 12.234.176.52) on: Wed Apr 9 01:22:21 EDT 2003
  
  Did Kannadasan write "thaadhi thoodhO" from thenaali raman?
  
  

Sub-thread# : 39
• From: Saravanan (@ 195.229.241.231) on: Wed Apr 9 03:35:14 EDT 2003
  
  Mahendra Raj-is the following incident true? I have read about it—
  
  While the recording for the songs of Mahadevi was going on, Kavignar and MSV had a bitter argument as to who should sing the song ‘Kaamugar nenjil needhiyillai’. MSV’s choice was PS, but Kanndasan strongly recommended Jamunarani and insisted that she alone could sing it well. MSV answered that Jamunarani excelled only in seductive songs, and she would not do justice to such a sad, emotional song as ‘Kaamugar nenjil’. This angered Kannadasan, who asked ‘If I recommend a singer for a particular song, would I do so without judging their capacity’?
  
  MSV walked off. TKR taught Jamunarani the notes. Kannadasan told her ‘This is an acid test for you. If you don’t sing this song well, you will branded forever as a “Kavarchi paadagi” alone!’ Jamunarani sang it so well, that the director of the film Natkarni, rushed to MSV and told him that the song had come out well. MSV gave it a listen and grudgingly told Kannadasan that she had indeed done justice to the song.
  
  Another such pathos sung beautifully by Jamunarani for V-R is ‘Kaaviri thaaye. Kaaviri thaaye’ –Mannadhi Mannan.
  
  Jamunarani had some wonderful songs in Kannadasan’s Kavalai Illadha Manithan as well. ‘Kaatil maram urangum’ and ‘Penn paarkka mapillai vandhaar’. Another great song from the film is ‘Kannodu vin pesum jaadai’, in which TS Bagavathi is the chief singer, accompanied by GK Venakatesh, AL Raghavan and Jamunarani. I think SJ too had a solo’ Maalai itta mangaiyumillai’. Did PS have any songs in Kavalai Illadha Manithan?
  
  Mahendra Raj, can you throw any light on Kannadasan’s opinion of various singers? In his ‘Sandhithen Sindhithen’ he devotes a chapter to only one playback singer- Vani Jairam, on whom he heaps unreserved praise. Of course, S Varalakshmi and TS Bagavathi too find mention.
  
  Karuppu Panam: KRV looked so stunning in ‘Ammamma keladi thozhi’- the entire sequence- night- the sailing boat, the city lights in the background- the song is a black & white visual treat. (LRE mentioned this as her favourite among all her songs- Doordarshan’s Malarum Ninaivugal- 1990). ‘Aadavaraam aada varalaam’ featuring Sheela, was another great song by LRE . SJ’s ‘Iraiva iraiva—Undhna Raja sabai ingu vaaraatho’ (Chandrakantha) was a melodious pathos song.
  
  
• From: Subbu (@ 216.52.49.9) on: Wed Apr 9 06:06:53 EDT 2003
  
  M.Raj, Saravanan,
  
  I was a regular reader of the ‘Sandhithen Sindhithen’, which came in Kumudam magazine. He started writing about an artist whom he met that particular week; of course he had valid reasons to write/praise more about that artist. The list included MSV, Pushpalatha, Devika, Vani Jayaram etc.
  
  When he met VJ, she presented KaNNadaasan a bunch of books, it seems. This was mentioned in the 1-page write-up. Also he mentioned that similar to P. Suseela, VJ was also not paid for her work many times. Also he praised both the singers that they never boosted this "non-payment issue" in any forum, but he (KaNNadaasan) was fully aware of it. Another mention about PS and VJ that they had their own freedom in their singing profession and not any interference / influence by any of their family members incl their hubby.
  
  In that series of ‘Sandhithen Sindhithen’, the last write-up was on KVM, if am correct. He mentioned that the chairs (IdangaL) of his (Kannadasan's) set of people will never be filled up by anyone. The "set" included the great history creators like MGR, Sivaji, MSV, KVM, Himself (Kannadasan) and P. Suseela. The only female artist he mentioned was Suseela. With this great touch, he finished.
  
  
• From: R.Mahendra Raj (@ 210.186.0.253) on: Wed Apr 9 07:48:12 EDT 2003
  
  bb - I am afraid I do not have the info on the 'Thenali Raman'issue. Perhaps, Manisegaran would care to shed some light?
  
  Saravanan, I concur with your findings above. As mentioned in one of the postings earlier kaviarasar had been known to refrain from commenting about singers. He had not mentioned even about SP Balasubrahmanyam who used to be his 'glass mate'. At one interview the latter said that he became proficient in the Tamil language after singing songs written by kaviarasar in the recording studios. Earlier he used to transcribe the Tamil words into Telugu when singing.
  
  Jamunarani acknowledged that it was kaviarasar who gave her a new lease of life after fighting hard for her as narrated in the above incident.
  
  Conversely, when the veteran playback singers give interviews (from the time he died until todate) in the various periodicals I hardly find them mentioning kaviarasar. Whatever could be reason?
  
  I had a chance meeting with ML Srikanth in Radio Malaysia about 5 years ago and I took the opportunity in asking him about our kaviarasar. He recollected that when kaviarasar heard his voice for his first song ("Kaathal kaathal kaathal endru Kannan vanthaana" - 'Utthirivandri Ulle Vaa' [1971]) he was curious as to who gave this humming voice. When MSV told him that it was a new singer, kaviarasar recommended that he be given further chances as he had the potentiality. He recommended without even seeing him in person!
  
  Vani Jairam was known to mind her own business and did not get involved with the 'politics' of the day. Being a carnatic singer with experience in Bollywood she was a simple person. This could have been the reason kaviarasar singled her out for the column 'Santhitheyn Sinthitheyn' in Kumudham.
  
  Another apparent reason maybe was the award winning song "Ezhu suvarangalukkul etthanai raagam" which she herself liked it very much.
  Although Vaali had known her by sight when she was in her teens he never dreamt that she will be voicing her maiden song written by him ("Malligai en mannan mayangum" -'Dheerka Sumangali' 1974).
  
  
  
• From: RC (@ 63.74.137.105) on: Wed Apr 9 08:35:10 EDT 2003
  
  >> It was Kamalhassan who first supported the collapsing Muthuraman.
  
  I remember reading that it was a film shoot with Sivakumar in Ooty, in a newspaper. I may be wrong, though!
  
  
• From: Ramki (@ 161.150.2.31) on: Wed Apr 9 10:26:27 EDT 2003
  
  Mahendra Raj , an addition to your 'satti suttadhadaa' lines
  
  Erumbu tholai urikka paarka yaanai vanthathadaa
  Nan idhaya tholai urithu paartha nyanam vanthathadaa
  Pirakamunnae irundha uLLam indru vandhadhadaa
  irakkum pinne varum amaidhi vandhuvittadhadaa
  
  The last 2 lines are my favs
  
  
• From: Udhaya (@ 63.198.207.118) on: Wed Apr 9 18:03:44 EDT 2003
  
  aanandhaamaana mazhayil nanaindha maram
  than kilaygalil andha sugaththai vegu naeram thakka vaithu
  than vasap paduthi
  piragu mella mella siru thuligalai
  adhai than maelae sotta vittu
  kudhookalippathaip paarthirukkiraen
  
  neengal ezhuthiyathai ellaam paditha piragudhaan
  andha sugaththai naanum anubaviththaen
  
  Mahendra Raj,
  
  I read the entire thread archive in one sitting and went to bed at 4am elated and exhausted. I have read nearly all prose books that Kannadhaasan wrote, those published as individual books anyway, and much of what I’ve read in this thread is news to me. Mahendra Raj, I laud your spirit, memory, and the way you share your information. You are a class act all the way. I propose that we, the TFMpage, either establish a refined version of all your recollections once you’re done, and you can certainly take your time doing so, or better still publish these recollections as a book. This would be a phenomenal contribution to TFM fans by TFMpage should this happen.
  
  Let me share a few pointers on some of the matters discussed so far:
  -Regarding the origin of the lyrics “Ettadukku maaligayil aetri vaitha en thalaivan”, I heard my uncle explain it to me—8 adukku is the 8 measures (1 adukku = 1 jaan) of the human body, i.e. barring deformity, every human’s body is about 8 adukkus of his/her thumb and middle finger’s measurement. Given this meaning, “8 adukku maaligayil aetri vaitha en thalaivan” means, ennai than thalai mael thookki vaithu irundha en thalaivan, ennai vittu vittuch chendraan, (the loss is especially hard because he deserted her after hoisting her up and celebrating her). Further siding with this theory is another song’s lyrics, “8 adukku kattidathil 9 oattai” where the 8 adukku is definitely the human body. Final proof is that, my uncle said he heard this awestruck description of the song by kavingyar Vaali elucidating Kannadhaasan’s prowess in an interview.
  
  -The thogayara “sillendru pootha siru nerinji kaattinilae” is actually an oppaari verse sung by a village girl that Kambar happened to hear during a walk. Kambar kept returning to that street for the next few days hoping to hear the end of that verse, but every time the song would stop at that line because the grieving young widow singing that song was silenced at that spot by other mourners for some etiquette reasons. The great Kambar couldn’t work out how that song would end so he finally convinced the grieving family to allow the widow to finish her song so he could hear it. I heard this anecdote from one of my relatives a long time ago. I don’t know if it’s Kambar’s finished version that we hear or whether Kannadhaasan added the later lines of that thogayara before “sendhamizh thaen mozhiyaal”. Experts can clarify these finer points, but what struck me is Kannadhaasan’s intuition to pick this farm girl’s eulogy via Kambar to fit as a thogayara for a happy romantic song. That’s what I call a masterstroke.
  
  -Kannadhaasan was contributing a weekly writeup of stories, essays, poems to Kumudham around the time of his death. People were to offer topic suggestions or first lines and Kannadhaasan was supposed to pick what he liked to write a poem on. Upon his demise, the editor noted the poignancy of the last kavidhai Kannadhaasan wrote for the magazine, it was titled, “Karuvarai mudhal kallarai varai”. Kannadhaasan chose this one over others topics and despite the editor’s objections about the bad omen, Kannadhaasan insisted on writing this poem. This could have been the last poem he wrote. I remember reading it at an age when it sailed over my head. If someone out there has this, please reproduce it here so I can save it for good, or if you have a link where it appears that would do too.
  
  -One of the most moving pieces eulogizing Kannadhaasan was Vaali’s poem that began, “Nee meesayillaatha Barathy, thaadiyillaatha Tagore”. This wonderful sentiment was later needlessly handled with irreverence by VM in “Kannaik kattik kollaathae”, as “thaadigalellaam Tagoraa, meesaigalellaam Barathyaa thoazhaa”. He may not have meant it as a slight, but still he dented a precious sentiment by one poet to another.
  
  -About Kannadhaasan granting referrals to people in the movie industry: I remember reading a magazine anecdote where Kannadhaasan was quoted as saying something like, “naan sibarisu senja orae nabar, Manorama, avar en peyara kaappathittaar,” or something to that effect.
  
  -I have heard that during one of his “parties” in Kerala, someone brought a very young girl to Kannadhaasan. Kannadhaasan chided the person for bringing such a young girl to him and sent them away. Many years later, in the same situation, the little girl returned through the same source as a grown lady. When Kannadhaasan heard that the lady was the one he refused as a girl, the poet in him came up with the song, “Paavaadai thaavaniyil paartha uruvama idhu poovaadai veesivara pootha paruvamaa”. I don’t mean to add such salacious anecdotes for gossip’s sake, but to appreciate the poet inside the man always alert and resourceful in every occasion. I want to insist that this is a rumour that can’t be substantiated, so don’t ask for proof, I have none.
  
  
  
• From: Lollu Party (@ 61.6.38.132) on: Wed Apr 9 20:56:16 EDT 2003
  
  Uthaya, see here http://www.tfmpage.com/my/lyricist/kannadasan_raj.html
  
  Maybe this lilnk should be up there in the intro to this thread.
  
  

Sub-thread# : 40
• From: Udhaya (@ 204.31.171.54) on: Thu Apr 10 00:13:20 EDT 2003
  
  Lollu,
  I was perfectly aware of the link and how bb had already put it up. I should have made it clear. When I mentioned that we should present this thread in a refined way, I meant, edited, reorganized, and presented in a seamless way so that it reads coherently in a topic by topic manner. A separate website just for these recollections of Kannadhaasan as someone had suggested would work. But I believe a compiled book would be the ideal, permanent record for Mahendra Raj's rare knowledge.
  
  
• From: puvanes (@ 161.142.100.81) on: Thu Apr 10 01:48:41 EDT 2003
  
  kambar is a great poet.kannadasan simplified kambar's poem to make paamarar makkal understand the song's message.kambar's poem that kannadasan simplified was in the film thyaagam.the song was nallavarkellam.we take a look at kambar's poem now
  nathiyin pizhai andru narumpunal
  inmai atre
  pathiyin pizhai andru payanthu
  namai puranthaan
  mathiyin pizhai andru maganpizhai
  andru maintha
  vithiyin pizhai ithartku ennai
  vegundathu
  can we understand this poem?very difficult isn't it.there is a background story for this poem. when letchumanan heard that raaman lost his kingdom to kaigeyi. letcumanan lost his temper and tried to destroy thasarathan, kaigeyi and barathan.then raman came and appease letchumanan.he said "thambi kobappadalaama,kobappaduvathu thavarillaya.nathikku pogirom, nathiyil neerillayendraal nathiyai thittamudiyuma?nathiyin meethu thavarunda.atupolthaan ithuvum .enakku arasillaamal ponathu kaigeyi, thasarathan, barathan kutramalla.vithiyin kutramappa,ithartku nee kobappadalaama?"
  
  now we take a look at kannadasan simplified song
  nathi vellam kaainthu vittaal
  nathi seitha kutram illai
  vithi seitha kutram andri veru yaaramma
  there is another song in kambaraamayanam similar to kannadasan's paal vannam paruvam kandu from paasam.the poem in kambaramayanam had alot of 'kandu'.i think this matter has been discussed in this thread earlier.
  
  
• From: Thiagarajan (@ 61.11.27.185) on: Thu Apr 10 04:43:03 EDT 2003
  
  Simplifying and adopting are the great service that Kavingar did to tamil folk. He has read almost all the available literature especailly in Tamil and adopted according to the needs. This is from Kuruntokai to Andal.
  
  Chillendru pootha (Malaitta Mangai), Palvannam (Paasam) from Kambar
  Oruthi makanai Piranathavanam(Kudumba Thalaivan), Kuthu vilakeriya (Pachai Vilakku)from Andal
  Antrou nal avanudaia perai (Thai katah Thanayan) from Thevaram
  Manalavo kangal thangtau (Neethikupin pasam) from Kalidasa
  So on
  The thing is it is a good adoption and has reached to thousands of people.
  
  Another story was about ----- oru madapura (in Murdan Muthu). The madapura is living in the garden. That is not correct because madapura will nest only in the palace. The answer given by Kavingar was that palace Puras lost their wealth and came to garden.
  
  This aspect of telling the total story of the picture in a song is the very good quality of Kavingar. Even without seeing the picture still people remember Tamil film story due to Kavingarpattu.
  
  Another point is that Director A. Bhim Singh generally produces his filme without title. After Kavingar's song, he select the title form his song like Palum Palamum and Parthal Pasi Theerum.
  This is enough for the time being.
  
  
• From: R. Mahendra Raj (@ 203.106.163.77) on: Thu Apr 10 05:50:35 EDT 2003
  
  Puvanes, thanks for the info.
  
  As mentioned earlier kaviarasar was an admirer of Kambar's works hence the many songs like "Netru varai nee yaro naan Yaaro" ('Vazhkai Padagu' 1965), ('Thozh kandaen thozhae kandaen' ('Veera Abimanhyu' 1965)etc. And who can forget "Kamban yemaanthaan" ('Nizhal Nijamaagirathu' 1979)?!
  
  RC, yes. Kamalhassan commented later that for his age the late Muthuraman was tough and muscular and he (Kamal) had a tough time balancing him when he was collapsing.
  
  Udhaya, thanks for the suggestion re - the recollections into a book form. I am now seriously giving it some thoughts.
  
  About "Satti suttathadaa" - thanks for the add ons. It now makes perfect reading. I share the same with you - the last two lines are also my favourites since it has befitted with my own bitter personal experiences (not politics!)!
  
  Re - "Ettadukku maaligayil". I totally agree with you. You see the genuis in kaviarasar is such that you can look into his songs from whatever angle or perspective and it will fit in the situation as though it was written for that particular situation.
  
  One of the many reasons as to why producers were bent on booking him is that whatever lyrics which emanates from him will surely fill in for the situations. If not the first stanza the second will bound to commensurate the situation. This is an unique and divinely feature which no poet had or has been known to possess. He used to appear in a medidative pose when the situations are told and in a flash the lyrics are born as though he had seen the entire movie! I presume during these times he must have been matching his experiences as well so as to give life to the songs.
  
  Therefore, you may be right after all from that perspective. My posting was based on info received from one of his close Malaysian associate who is in the same age group with kavairasar!
  
  Re - the 'oppaari' issue.
  
  Dr. V.M. Palaniappan, a close relative of kaviarasar and who is a Malaysian citizen told that during his hey days kaviarasar likes to attend funerals of relatives just to listen to the 'opaaris'and not out of respect for the dead souls!. He used to be fascinated with the unintelligible words that flowed spontaneously from the wailers who were mostly illiterates. He used to wonder whether they possesed the gift of the gab or was it the divine's way of telling that fluidity of words is not the pregorative of poets alone.
  
  When you narrated Kamban's position it made me ponder whether our kaviarasar was indeed a reincarnation of him for the similarity of the above situation!
  
  About the referrals.
  
  It was a well-known fact that he had had introduced many into the cine field and heading them are Manorama and Panju Arunachalam who are still active. Of course the others like AVM Rajan, Pushpalatha have faded into oblivion. Shankar Ganesh (thought to fill the gap after the MSV-TKR split) was the other musical pair introduced by kaviarasar. Actually it was through Panju Arunachalam that kaviarasar introduced them for the film 'Maharasi' (1968). Their first work was on kaviarasar's film 'Nagarathil Thirudargal' (1967) which filming stopped half way. Not to disappoint this energetic duo kaviarasar recommended them to Devar for the above film.
  
  That is the reason why in the credits they never failed to state "kavingyar vazhangiya" just above their names. I wonder whether they are still doing this.
  
  So Shankar-Ganesh too had remained ever grateful to kaviarasar.
  
  When Manorama expressed her desire to act as heroine it was kaviarasar who advised her against it. Knowing the cine field too well he suggested that she considers the comedienne role so that she could last a life-time in the acting profession. She took his advice and hence the statement by kaviarasar.
  
  That "Paavadai thaavaniyil" info was news to me. Thanks and I hope more can come out with such background info on songs to keep this thread even more livelier.
  
  Talking of Kerala it brought to my mind re- MGR.
  
  When MGR became the CM in 1977 he was invited by the Kerala government to pay an official visit. MGR obliged and during his public function speeches he never did once speak in Malayalam although he had had ample opportunity to do so.
  
  This made our kaviarasar pen a poem for him upon his return highlighting his greatness of being faithful to the Tamil language. Kaviarasar had had heard MGR speak in Malayalam in private with those who were near and dear to him but when there is a non-Malayalee in the audience he spoke in Tamil. That was etiquette practised by MGR. For your info folks, MGR was proficient in Malayalam too.
  
  I can't remember the exact words of the poem but it went something to this effect "you are a descendant of Cheran but brought up in Paandi naad but when returning to the domicile state you still preferred your adoptive mother instead of your native..."
  
  When I became interested in kaviarasar during the late eighties I regretted very much for not paying serious attention to his columns which appeared in Kumudham until his death. There were so many stories from various magazines and periodicals which I had had read but not stored in my memory.
  
  I remember reading one piece about him in 'Kumudham' from a reader based in US after his death in 1981. At the function where kaaviarasar was invited to speak (his last public function) one of the guests presented him with a hand-held electronic calculator. Kaviarasar thanked him and immediately operated the device and got carried away with its swift arithmetical functions! The reader said that one could notice the child-like amazement in kaviarasar when he was 'playing' with the calculator.
  
  The reader concluded that it was indeed shocking to learn later that he went into a comatose after the function. Only moments before he was playing like a child as though he had decades and decades of years ahead and now this news!
  
  See you again folks and thanks once again for the compliments and new inputs.
  
  
• From: Subbu (@ 216.52.49.9) on: Thu Apr 10 06:27:39 EDT 2003
  
  Dear M.Raj,
  
  When I tried sending you a mail, I got the failuer message
  -----
  This is an automatically generated Delivery Status Notification.
  
  Delivery to the following recipients failed.
  
  raj_k65@yahoo.sg
  -----
  
  Any reason? Can you please check?
  
  
• From: puvanes (@ 161.142.100.81) on: Thu Apr 10 10:07:26 EDT 2003
  
  regarding to the ettadukku maaligayil song, there was another kannadasan ettadukku song which was actually adopted from paambaatti chitthar phrase.the song was undaaki vittavargal rendu paeru in mugaraasi
  the paambaatti chitthar phrase was
  maada maaligaigal vanna mandapam
  mathil soozhntha aranmanai matrum ullavai
  koodavaraa
  the kannadasan song was
  pathanatthil paathi ivan vaanggi mudithaan antha
  pattayatthil kandathupol vaeli edutthaan athil
  ettadukku maadi vaitthu
  kattadatthai katti vittu
  ettadikkul vanthu padutthaan
  no matter how much money we can earn finally what left was only eight feet ground (grave)
  
  we have discussed about kannadasan-patthinatthaar-veedu varai uravu song.there is another song which kaviyarasu adopted from pattinatthaar poem.
  the song section was in thai thantha pichayile from saraswathi sabatham.the patthinatthaar song was
  
  maatha udal salitthaal
  valvinaiyen kaal salitthen
  vethaavum kai salitthu vitthaane naatha
  iruppaiyoor vaazhsivane
  meendum or annai
  karuppayoor vaaraamal kaa
  
  the kannadasan song was
  
  petraval udal salitthaal
  pethai naan kaal salitthen
  padaitthavan kai salitthu ointhaanamma
  meendum paavi oru thaai vayitril piravenamma
  
  

Sub-thread# : 41
• From: Udhaya (@ 204.31.171.54) on: Thu Apr 10 00:13:20 EDT 2003
  
  Lollu,
  I was perfectly aware of the link and how bb had already put it up. I should have made it clear. When I mentioned that we should present this thread in a refined way, I meant, edited, reorganized, and presented in a seamless way so that it reads coherently in a topic by topic manner. A separate website just for these recollections of Kannadhaasan as someone had suggested would work. But I believe a compiled book would be the ideal, permanent record for Mahendra Raj's rare knowledge.
  
  
• From: puvanes (@ 161.142.100.81) on: Thu Apr 10 01:48:41 EDT 2003
  
  kambar is a great poet.kannadasan simplified kambar's poem to make paamarar makkal understand the song's message.kambar's poem that kannadasan simplified was in the film thyaagam.the song was nallavarkellam.we take a look at kambar's poem now
  nathiyin pizhai andru narumpunal
  inmai atre
  pathiyin pizhai andru payanthu
  namai puranthaan
  mathiyin pizhai andru maganpizhai
  andru maintha
  vithiyin pizhai ithartku ennai
  vegundathu
  can we understand this poem?very difficult isn't it.there is a background story for this poem. when letchumanan heard that raaman lost his kingdom to kaigeyi. letcumanan lost his temper and tried to destroy thasarathan, kaigeyi and barathan.then raman came and appease letchumanan.he said "thambi kobappadalaama,kobappaduvathu thavarillaya.nathikku pogirom, nathiyil neerillayendraal nathiyai thittamudiyuma?nathiyin meethu thavarunda.atupolthaan ithuvum .enakku arasillaamal ponathu kaigeyi, thasarathan, barathan kutramalla.vithiyin kutramappa,ithartku nee kobappadalaama?"
  
  now we take a look at kannadasan simplified song
  nathi vellam kaainthu vittaal
  nathi seitha kutram illai
  vithi seitha kutram andri veru yaaramma
  there is another song in kambaraamayanam similar to kannadasan's paal vannam paruvam kandu from paasam.the poem in kambaramayanam had alot of 'kandu'.i think this matter has been discussed in this thread earlier.
  
  
• From: Thiagarajan (@ 61.11.27.185) on: Thu Apr 10 04:43:03 EDT 2003
  
  Simplifying and adopting are the great service that Kavingar did to tamil folk. He has read almost all the available literature especailly in Tamil and adopted according to the needs. This is from Kuruntokai to Andal.
  
  Chillendru pootha (Malaitta Mangai), Palvannam (Paasam) from Kambar
  Oruthi makanai Piranathavanam(Kudumba Thalaivan), Kuthu vilakeriya (Pachai Vilakku)from Andal
  Antrou nal avanudaia perai (Thai katah Thanayan) from Thevaram
  Manalavo kangal thangtau (Neethikupin pasam) from Kalidasa
  So on
  The thing is it is a good adoption and has reached to thousands of people.
  
  Another story was about ----- oru madapura (in Murdan Muthu). The madapura is living in the garden. That is not correct because madapura will nest only in the palace. The answer given by Kavingar was that palace Puras lost their wealth and came to garden.
  
  This aspect of telling the total story of the picture in a song is the very good quality of Kavingar. Even without seeing the picture still people remember Tamil film story due to Kavingarpattu.
  
  Another point is that Director A. Bhim Singh generally produces his filme without title. After Kavingar's song, he select the title form his song like Palum Palamum and Parthal Pasi Theerum.
  This is enough for the time being.
  
  
• From: R. Mahendra Raj (@ 203.106.163.77) on: Thu Apr 10 05:50:35 EDT 2003
  
  Puvanes, thanks for the info.
  
  As mentioned earlier kaviarasar was an admirer of Kambar's works hence the many songs like "Netru varai nee yaro naan Yaaro" ('Vazhkai Padagu' 1965), ('Thozh kandaen thozhae kandaen' ('Veera Abimanhyu' 1965)etc. And who can forget "Kamban yemaanthaan" ('Nizhal Nijamaagirathu' 1979)?!
  
  RC, yes. Kamalhassan commented later that for his age the late Muthuraman was tough and muscular and he (Kamal) had a tough time balancing him when he was collapsing.
  
  Udhaya, thanks for the suggestion re - the recollections into a book form. I am now seriously giving it some thoughts.
  
  About "Satti suttathadaa" - thanks for the add ons. It now makes perfect reading. I share the same with you - the last two lines are also my favourites since it has befitted with my own bitter personal experiences (not politics!)!
  
  Re - "Ettadukku maaligayil". I totally agree with you. You see the genuis in kaviarasar is such that you can look into his songs from whatever angle or perspective and it will fit in the situation as though it was written for that particular situation.
  
  One of the many reasons as to why producers were bent on booking him is that whatever lyrics which emanates from him will surely fill in for the situations. If not the first stanza the second will bound to commensurate the situation. This is an unique and divinely feature which no poet had or has been known to possess. He used to appear in a medidative pose when the situations are told and in a flash the lyrics are born as though he had seen the entire movie! I presume during these times he must have been matching his experiences as well so as to give life to the songs.
  
  Therefore, you may be right after all from that perspective. My posting was based on info received from one of his close Malaysian associate who is in the same age group with kavairasar!
  
  Re - the 'oppaari' issue.
  
  Dr. V.M. Palaniappan, a close relative of kaviarasar and who is a Malaysian citizen told that during his hey days kaviarasar likes to attend funerals of relatives just to listen to the 'opaaris'and not out of respect for the dead souls!. He used to be fascinated with the unintelligible words that flowed spontaneously from the wailers who were mostly illiterates. He used to wonder whether they possesed the gift of the gab or was it the divine's way of telling that fluidity of words is not the pregorative of poets alone.
  
  When you narrated Kamban's position it made me ponder whether our kaviarasar was indeed a reincarnation of him for the similarity of the above situation!
  
  About the referrals.
  
  It was a well-known fact that he had had introduced many into the cine field and heading them are Manorama and Panju Arunachalam who are still active. Of course the others like AVM Rajan, Pushpalatha have faded into oblivion. Shankar Ganesh (thought to fill the gap after the MSV-TKR split) was the other musical pair introduced by kaviarasar. Actually it was through Panju Arunachalam that kaviarasar introduced them for the film 'Maharasi' (1968). Their first work was on kaviarasar's film 'Nagarathil Thirudargal' (1967) which filming stopped half way. Not to disappoint this energetic duo kaviarasar recommended them to Devar for the above film.
  
  That is the reason why in the credits they never failed to state "kavingyar vazhangiya" just above their names. I wonder whether they are still doing this.
  
  So Shankar-Ganesh too had remained ever grateful to kaviarasar.
  
  When Manorama expressed her desire to act as heroine it was kaviarasar who advised her against it. Knowing the cine field too well he suggested that she considers the comedienne role so that she could last a life-time in the acting profession. She took his advice and hence the statement by kaviarasar.
  
  That "Paavadai thaavaniyil" info was news to me. Thanks and I hope more can come out with such background info on songs to keep this thread even more livelier.
  
  Talking of Kerala it brought to my mind re- MGR.
  
  When MGR became the CM in 1977 he was invited by the Kerala government to pay an official visit. MGR obliged and during his public function speeches he never did once speak in Malayalam although he had had ample opportunity to do so.
  
  This made our kaviarasar pen a poem for him upon his return highlighting his greatness of being faithful to the Tamil language. Kaviarasar had had heard MGR speak in Malayalam in private with those who were near and dear to him but when there is a non-Malayalee in the audience he spoke in Tamil. That was etiquette practised by MGR. For your info folks, MGR was proficient in Malayalam too.
  
  I can't remember the exact words of the poem but it went something to this effect "you are a descendant of Cheran but brought up in Paandi naad but when returning to the domicile state you still preferred your adoptive mother instead of your native..."
  
  When I became interested in kaviarasar during the late eighties I regretted very much for not paying serious attention to his columns which appeared in Kumudham until his death. There were so many stories from various magazines and periodicals which I had had read but not stored in my memory.
  
  I remember reading one piece about him in 'Kumudham' from a reader based in US after his death in 1981. At the function where kaaviarasar was invited to speak (his last public function) one of the guests presented him with a hand-held electronic calculator. Kaviarasar thanked him and immediately operated the device and got carried away with its swift arithmetical functions! The reader said that one could notice the child-like amazement in kaviarasar when he was 'playing' with the calculator.
  
  The reader concluded that it was indeed shocking to learn later that he went into a comatose after the function. Only moments before he was playing like a child as though he had decades and decades of years ahead and now this news!
  
  See you again folks and thanks once again for the compliments and new inputs.
  
  
• From: Subbu (@ 216.52.49.9) on: Thu Apr 10 06:27:39 EDT 2003
  
  Dear M.Raj,
  
  When I tried sending you a mail, I got the failuer message
  -----
  This is an automatically generated Delivery Status Notification.
  
  Delivery to the following recipients failed.
  
  raj_k65@yahoo.sg
  -----
  
  Any reason? Can you please check?
  
  
• From: puvanes (@ 161.142.100.81) on: Thu Apr 10 10:07:26 EDT 2003
  
  regarding to the ettadukku maaligayil song, there was another kannadasan ettadukku song which was actually adopted from paambaatti chitthar phrase.the song was undaaki vittavargal rendu paeru in mugaraasi
  the paambaatti chitthar phrase was
  maada maaligaigal vanna mandapam
  mathil soozhntha aranmanai matrum ullavai
  koodavaraa
  the kannadasan song was
  pathanatthil paathi ivan vaanggi mudithaan antha
  pattayatthil kandathupol vaeli edutthaan athil
  ettadukku maadi vaitthu
  kattadatthai katti vittu
  ettadikkul vanthu padutthaan
  no matter how much money we can earn finally what left was only eight feet ground (grave)
  
  we have discussed about kannadasan-patthinatthaar-veedu varai uravu song.there is another song which kaviyarasu adopted from pattinatthaar poem.
  the song section was in thai thantha pichayile from saraswathi sabatham.the patthinatthaar song was
  
  maatha udal salitthaal
  valvinaiyen kaal salitthen
  vethaavum kai salitthu vitthaane naatha
  iruppaiyoor vaazhsivane
  meendum or annai
  karuppayoor vaaraamal kaa
  
  the kannadasan song was
  
  petraval udal salitthaal
  pethai naan kaal salitthen
  padaitthavan kai salitthu ointhaanamma
  meendum paavi oru thaai vayitril piravenamma
  
  

Sub-thread# : 42
• From: RR (@ 203.199.213.4) on: Fri Apr 11 04:24:30 EDT 2003
  
  I heard MSV relate in an AIR program that KB was really pressing him to come up with an "atisaya"
  ragam and unable to satisfy him, in exasperation,
  MSV mentioned it to Balamuralikrishna when they met in AIR station for a tElugu NY program. And the rest is history! Mahati appears like Kalavati
  without 'dha' (sa ga pa ni saa)
  
  
• From: R. Mahendra Raj (@ 203.106.49.175) on: Sat Apr 12 05:38:24 EDT 2003
  
  Re - the song "Chinna chinna ooraniyaam" ('Thaailla Pillai- 1961).
  
  As a matter of fact kaviarsar was not aware of the issue of the 'maadapura' when he penned the song. He only knew about this when it was brought up in the media. One of his fans defended him by justifying as to why he (kaviarasar) used the word according to the film's story. Even kaviarasar was surprised with the knowledge of his fans!
  
  There was another incident when after penning the song "Odum nathiyinilae oruthi mattum karayinilae" ('Kaathiruntha Kangal - 1962') he realised that he had made a mistake. When he telephoned the studio it was too late as the song had been just recorded.
  
  This is also one of the rare incidents where kaviarasar reviewed his own works. Normally he forgets all about it then and there and moves on to the next.
  
  I cannot recollect the exact words now. Perhaps anyone out there could refresh my memory.
  
  RR, thanks for the additional info especially Dr.Balamurali Krishna's input on this rare raaga for 'Aboorva Raagangal'. The whole info was additional news to me!
  
  A minor deviation....
  
  Once kaviarasar said that he could have changed the whole context of the song 'Manaivi amaivathellam Iraivan kodutha varam' ('Manmatha Leelai - 1976') just be substituting the word 'kodutha' with 'kedutha'!
  
  Once a reader asked kaviarasar as to how he could use the words in one of his poems, to wit, "thaamarai kannal paarthaal", wherein fact 'thaamarai' (lotus)is a large flower which cannot be equated with the eyes of a girl.
  
  Kaviarasar replied him that with just a simple spacing of the structure the context could be read as "thaam arai kannal paarthal" ("she saw with half eyes"). Normally that is what ladies do discreetly!
  
  Yet another explanation of the famous maxim "seylai kattiya maadhaarai namabathae".
  
  He clarified that it will be preposterous to think of Indian ladies in other attire than sarees especially during the 'sangam' period. What the elders meant to say was "seyl agatriya maadhaarai nambaathae". ("do not trust ladies who see things directly with wide eyes" - as it is not ladylike. Of course the 'seyl' ('eye' in chaste Tamil) had become to be assumed as saree over the period. So much so there was even a song to this effect, if I am not mistaken in 'Mahadevi' (1957) sung by JB Chandrababu.
  
  See you all again folks!
  
  
• From: geeth (@ 195.39.134.84) on: Sat Apr 12 06:00:50 EDT 2003
  
  kavinjar's athisaya raagam song is a memorable song. the way he played with words is mesmerising, especially the rhyming ones - one rhyming word 'raagam' in the pallavi and followed by megam, mogam, baakam, vaakam in the first saranam.
  in the second saranam its with naagam, thegam, yaagam, yogam and then comes the turn (does it change to bairavi here ?). the tune takes a turn and so does kavinjar's words - mythili, maathavi, ethiroli, bairavi.
  
  kavinjar's word play is marvellous here.
  
  
• From: R. Mahendra Raj (@ 203.106.49.175) on: Sat Apr 12 09:45:47 EDT 2003
  
  Saravanan and Udhaya, thanks.
  
  Geeth, after reading your input I played the song "Athisiya Raagam" just to hear the lyrics and the shifting-of-gear of the raagas. What you stated was very true! Just imagine,nearly 27 years after the song was released, I just learned something new!
  
  Hope more inputs of this nature will be forthcoming so as to make interesting reading of this thread.
  
  Udhaya, the "maayavan" and "thooyan" narration was an interesting bit also!
  
  When you mentioned the relationship between kaviarasar vis-a-vis MGR and Shivaji it clicked my memory about some past incidents.
  
  MGR promised to act in kaviarasar's 'Oomayin Kottai' (1959) but went back on his words. Shivaji could'nt be utilised because of strained relationship. Gemini Ganesh was already acting in 'Veera Paandiya Kattabomman' so the only choice left was S.S. Rajendran. He booked him for two reasons - to show that even a second echolon actor can be as good as the fort holders; and the other was SSR belonged to the same clan of the true story's hero. The film was 'Sivagangayin Seemai' which produced out of spite. Kaviarasar wanted to prove that this film was a pure Tamil legend's story unlike 'Kattabomman' whose ancestory is still being debated. The film was also regarded as a competitor to 'Kattabomman'.
  
  In one scene in the film the kerosene-lit street light was shown to be broken which caused concern among kaviarasar's associates. They argued that it was a bad omen as the very street light was used as the signature banner of 'Kannadhasan Productions'. Kaviarasar went ahead, nevertheless. However this black-and-white film did not do well because of its timing of release along with 'Kattabomman'. The latter did well because of color, star cast, grandiose sets etc.
  
  Interestingly, SSR was originally booked to do the role of Vellaya Devan (Gemini Ganesh's role) in 'Kattabomman' but he declined for reasons best known to him. News reached Shivaji that the reason SSR declined was that he was scared was because of fighting scenes in this war movie.
  
  Shivaji and SSR were not on talking terms ever since this incident although they had acted together in films like 'Deiva Piravi (1961), 'Kai Kodutha Deivam (1964)' etc. Immediately after shooting schedules and in between takes both of them will go separate ways to different corners of the set. But when they were pals before the 'Kattabomman' incident they were constantly seen together sharing views and jokes.
  
  It was kaviarasar who patched them up during the shooting of 'Shanti' (1965) [produced by his brother AL Sreenivasan] where both of them acted as bossom friends. To celebrate their patching up kaviarasar wrote the song "Vaazhnthu paarka vendum Arivil manithaanaga veyndum" where both of them mouthed this philosophical song with jubilance.
  
  SSR narrated this incident a long time ago.
  
  Another bit on 'Shanti'.
  
  For the song "Yaar antha nilavu Yean antha kanavu" both kaviarasar and MSV were impressed with the good turnout of the song and lyrics. They wanted Shivaji to do something different for this song scene. When they met up with Shivaji the latter was holding a cigarette in between his lips. That gave them an idea. They requested that he sings (mouth) out the whole song with a cigarette in his mouth. Shivaji obliged and that song came out well in the picturisation and was widely acclaimed by the audience of the day.
  
  More next folks!
  
  
  
  
  
  
• From: ram (@ 172.145.14.249) on: Sat Apr 12 20:03:34 EDT 2003
  
  Mahendra Raj,
  Excellent postings. I have high respects for Kaviarasar's songs. I like his songs very much and he was a genius. Let me ask you one question (may be a distraction):There must be some one in Tamil Film industry who is better than Kannadasan in song writing. May be some one before him... Anyone?
  
  
• From: R. Mahendra Raj (@ 203.106.49.225) on: Sun Apr 13 11:45:13 EDT 2003
  
  Thanks Ram.
  
  As you will notice that there were a few poets in the pre-Kannadhasan era like Papanasan Sivam etc. But these lyricists were dictated by the music directors. Besides, the order of the day then was to infuse carnatic tunes with Sanskrit words thrown here and there. It catered for the elite group and the ordinary folks were least interested.
  
  When kaviarasar entered the industry he reversed the trend to 'music-for-song'. Shortly after joining the industry kaviarasar got himself involved in the DK. As it was well-known then this party was utilising the entertainment media to the maximum with the view to gain political mileage and recognition.
  
  It was during this time that MGR realised the importance of the film media which then made him team up with kaviarasar. They both realised that in order to reach the masses which was mainly made up of the wage earners and the lowest strata folks from the rural and sub-urban areas, the dialogues and songs must relate to them. The rest is history.
  
  Also it must be pointed out that the pre-Kannadhasan poets were mainly Brahmins which is why Kannadhasan was warmly welcomed for want of change and identifying with the masses. The songs were simple but effective for the laymen.
  
  Of course there were good lyricists during kaviarasar's period like Ka.Mu.Shariff, Marudhakasi, Ku. Maa.Balasubramaniam etc.who were also fairly good songs but they could not equal the standards set by kaviarasar.
  
  It was through kaviarasar that the poets were given due recognition for their works, thanks to MGR's interference. Being the pioneer with all the attendant perks nobody could equate kaviarasar.
  
  The one other poet whom I could think of is Pattukottai Kalyanasundram who was kaviarasar's contemporary, not adversary as some present patti mandrams make them out to be. But then again both of them were complementing each other in the song writing profession as well as in their personal lives. Pattukottai was well-known for his pro-sosialist themes in all his songs including love duets. Only kaviarasar was seen to be handling all subjects with ease. Thats the reason he was held in high esteem by even his own peers although some secretly wished for his downfall.
  
  Therefore, Ram, except for Pattukottai to a lesser degree, I can't think of anyone else. The present poets? No way! There is no literary content in them. Plagiarism also seems to be the order of the present day. I maybe wrong but then I am not prejudiced either. Perhaps, Manisekaran could care to comment on this.
  
  Before I sign off here is one bit.
  
  Actor-producer K. Balaji was a close friend of kaviarasar as mentioned earlier in this thread.
  He liked the song "Enthan paruvathin kelvikku bathil enna solladi Radha - Unthan paarvaikku paarvai bathilai vanthathu Raja" ('Sumaithaangi' 1963).
  
  When he started to produce his own films later he ensured that the main characters in all his movies bear the name of 'Raja' and 'Radha' until his last movie. He used the names for sentimental reasons!
  
  Bye for now folks and I take this opportunity to wish all Hindu friends "A VERY HAPPY AND PROSPEROUS SUBHANU NEW YEAR 2003/2004".
  
  See you all again!
  
  
• From: puvanes (@ 161.142.100.81) on: Sun Apr 13 12:13:43 EDT 2003
  
  Mahendra Raj,
  
  Regarding the songs that kaviyarasar reviewed his own works, there was another song from baagapirivinai
  
  thanggatthile oru kurai irunthaalum
  tharatthinil kuraivathundo
  
  when the gold is less in quality how come the jewelleries made from gold being not affected. For the sake of ethugai, monai and solladukku also because of rushing he wrote the line as written above
  In kannadasan's own production sivaganggai seemai there was a song
  
  megam kuvinthathamma minnal vara poguthamma
  mothum idimuzhakkam munnodi vanthathamma
  
  the order was incorrect.Firstly should be megam kuvinthathamma secondly minnal vara poiguthamma and the next would be mothum idimuzhakkam.THis is natures force, but kaviyarasu wrote minnal vara poguthamma before mothum idi muzhakkam
  
  just to remind you on the info for the kaviyarasu's first film kanniyin kaathali
  thanks
  
  

Sub-thread# : 43
• From: Dobri (@ 195.39.134.84) on: Sun Apr 13 14:27:06 EDT 2003
  
  munnodi vanthathamma means 'came before'.
  So kavinjar is right.
  
  Little more analysis on 'Thangathile' song.
  Jwelleries are not mentioned in the song.
  It says if there is a dirt or dent (kurai) in gold, its value doesnt depreciate. Am i right ?
  
  Another look on Adhisaya raagam song. Its a varnanai song. Starting with the adjectives and makes the listener wonder what raga is that. But the answer doesnt come in the first stanza. Nor in the first stanza but the lovely 'sol viLaiyaattu' keeps one engrossed even when the object of description is not revealed. the anxiety grows. The second stanza too doesnt reveal, but this time the varnanai shifta focus on to a woman and in the last line of the stanza the object is revealed. Bhairavi ! So its the woman called Bhairavi ? Yes, thats the situation in the movie. A wonderfully penned song !
  
  
• From: Dobri (@ 195.39.134.84) on: Sun Apr 13 14:29:57 EDT 2003
  
  Sorry, read it as ' But the answer / the object of varnanai doesnt come in the palavi. Nor in the first stanza...
  
  Take this opportunity to wish you all 'Puthaandu VaazhthukkaL'
  
  
• From: OISG (@ 193.188.97.152) on: Mon Apr 14 01:05:25 EDT 2003
  
  But Dobri
  
  In the first Stanza there is
  
  "Isayenum amuthinil AVAL oru bagam"
  
  The II stanza
  
  Pinna koonthal karun nira nagam
  pemmayin ilakkanam Avalathu dhegam
  devargal valrthidum Kaviya yagam-Antha
  devathai kidaithal athu en yogam
  
  talks about woman right?
  
  Even in the movie Srividya asks Kamal who the girl of his heart is.So there is nothing other than woman ,is the subject matter of the song.
  
  Kanndasan surprises in you in
  
  MuthuklaLo Kangal ..you expect the next line another uvamai like "Manganiyo Kannam" or "Vairangal Pol Ithazh" -instead he come sout with "thithipatho kannam"-something that should not precede "Sandhitha Velai"
  
  
• From: R. Mahendra Raj (@ 210.186.2.36) on: Mon Apr 14 04:51:14 EDT 2003
  
  Puvanes, "Thangathilae oru kuraiirunthaal" song was debated extensively more than 4 decades ago when it was released. If I am not mistaken the issue was treated as closed.
  
  For your info, it was others who did the post-mortem on the song, not kaviarasar himself.
  
  Remember the recent song "Oonam ethu oonam ethu.." sung by music director Deva where he quotes Kannadhasan's philosophy apparently referring to the "thanggathilae oru..." song? Therefore, with the song becoming an authority itself to pacify the handicapped what else more could we say?.
  
  I will get back to you soon on "Kalangaathiru manamae" song info.
  
  Dobri, I am amazed as to your indepth literature knowledge on kaviarasar's songs and also the explanation. This thread needs more and more of the likes of folks like you to make it even more interesting. Perhaps, we are the only ones doing 'patti mandrams' on kaviarasar's songs in the English language and in the electronic media!
  
  Aha, I never guessed more info will be forthcoming on "athisaya raagam". The additional info was even more news to me. Looks like we can operate a separate thread for 'Aboorva Raagangal' alone!!
  
  A minor digression...
  
  Kaviarasar wanted to squeeze in as many times as possible of his favourite deity Lord Krishna's name in one single song. That wish came true through 'Deiva Magan' (1969) in the song "Kettathum koduppavanae Krishna Krishna". All in all 'Krishna' was mentioned 69 times in this song! A record indeed.
  
  In 'Veera Abhimanyu' (1965) kaviarasar wrote the song "Kanna Manna vaa vaa vaa Kathal Manna vaa vaa.." for Gemini Ganesh who acted as Lord Krishna. Gemini Ganesh was popularly known as 'kaathal mannan' hence this song by kaviarasar.
  
  Prior to this he had written for Gemini Ganesh in the song "Oho enthan baby" ('Thean Nilavu' 1961_) where the line by the heroine includes the words "kaathal mannan"in reference to the hero. Incidentally, 'baby' in the film circle refers to Vyjayanthimala, the heroine of 'Thean Nilavu'.
  
  Gemini Ganesh began to be fondly called 'kaathal mannan' after this song.
  
  And that reminds me of yet another duo whom kaviarasar refers in his song "Vaalaithandu pol udambu alek.....Kothavarangai pole irruke alek"
  ('Panama Paasama' 1968). It was in reference to Vijaya Nirmala's and Nagesh's respective physiques!
  
  See you again folks and hope all of you are enjoying the New Year with kaviarasar's song "Aandondru Ponaal Vayathondru Pogum Atharkku Munnalae Vaa Vaa Vaa"('Policekaaran Magal' 1961)!!
  
  
• From: R.Mahendra Raj (@ 210.186.2.36) on: Mon Apr 14 05:00:28 EDT 2003
  
  OISG, that reminds me of the song "Annan kaatiya vaazhiyamma" ('Padithaal Mattum Pothuma' 1962)
  
  I remember local poets praising kaviarasar for his choice of word in the line "thottal suduvathu NERUPPAAGUM thodaamal suduvathu......SIRIPPAAGUM." It was unprecedented for kaviarasar to use 'sirippaagum' as the expectation was "VERUPPAAGUM" for rhyming purposes. He set a new trend in the prose writing.
  
  However, as history will tell, he was referring to Annadurai in this who was known for his signature smile.
  
  
• From: sk (@ 137.132.3.12) on: Mon Apr 14 06:26:01 EDT 2003
  
  Mahendra Raj:
  
  Regarding the paNamA pAsamA 'vAzhaiththaNdu pOla udambu' song, was it kavinjar who invented the word 'alEk'? Or, was it in use those days as a slank to denote something? kavinjar seems to have used 'alEk' in another song: 'endhan kaNNai undhan kaNNu Ottudhu' (pAr magaLE pAR?) which is an interesting comedy love song written around the parts of a car..
  
  ninnu pOna manasa indha poNNu paarkkum paarvai vandhu moLLa moLLa jockey pOttu thookkudhu
  nenjil puncture paaththu tire-ai maaththi Ottudhu, kaadhal paadhai meedhu speedu romba kAttudhu
  
  etc.
  
  
• From: R. Mahendra Raj (@ 203.106.163.192) on: Tue Apr 15 00:02:11 EDT 2003
  
  Hi! folks, I have been just informed that the Kannadhasan function which was supposed to be held on May 21, 2003, Bukit Jalil, Puchong has now been postponed to July, 2003. I understand the change was made with the view to avoid clashing with the 'Bharathidasan Vizha' which will be held on May 25, 2003.
  
  However, the regular 'Tribute to Kannadhasan' function will be held on June 24, 2003 at the Chettiar Hall, Jalan Ipoh, K.L. in conjunction with kaviarasar's 76th birthday anniversary.
  
  Local folks please take note of the above.
  
  Talking about anniversaries I remembered something.
  
  At the unveiling ceremony of Kalaivanar NSK's statue kaviarasar remarked in his tribute that usually one remembers the face of a personality as he or she was during the last days of his/her of being alive. Kalaivanar was lucky in the sense that he died young and and people will remember him thus. He quoted personalities like Mahatma Gandhi, Rabindranatha Tagore etc. who are remembered through their old-age potraits.
  
  This point must have worked in MGR's mind who was also in attendance at this function.
  
  This could also be the reason as to why MGR was overzealous in his personal grooming even up to his last day on this earth alive.
  
  Luckily or unluckily for us, kaviarasar's fans. We still get to see the cheruby face of kaviarasar at the age of 54!
  
  See you all again folks!
  
  
• From: R.Mahendra Raj (@ 203.106.163.192) on: Tue Apr 15 00:13:53 EDT 2003
  
  sk,these poets have the habit of coining unintelligible words for punch's sake. Even kaviarasar was asked to comment on an oldie "Jaalilo Jimkhaana' in the early fifties. He regretted that with all those beautiful chaste Tamil songs around written by him his children were singing or humming this song which had had no direct meaning at all.
  
  When Panju Arunachalam used the words "uyyalaala" for the song "Paandiyanin raajayathil" ('Paandiyan' 1993) it started a debate in one of the periodicals as to its meanings.
  
  Therefore the 'alek' used by kaviarasar must have been spontaneous or in reference to the lifting of weights in bazaar Tamil which was apt for this song situation.
  
  I can't remember the 'Paar Magaley Paar' song nor its background.
  
  Bye for now.
  
  
• From: Vaathiyaar (@ 203.106.70.54) on: Tue Apr 15 01:44:29 EDT 2003
  
  >>>> However, the regular 'Tribute to Kannadhasan' function will be held on June 24, 2003 at the Chettiar Hall, Jalan Ipoh, K.L. in conjunction with kaviarasar's 76th birthday anniversary.
  
  Who will be speaking and how do we get ourselves invited? Will there be entrance fees? TIA.
  
  
• From: puvanes (@ 161.142.100.87) on: Tue Apr 15 02:27:48 EDT 2003
  
  anyone can explain the whole 'entha oor endravane song' penned by kaviyarasu?
  
  
• From: R. Mahendra Raj (@ 203.106.163.192) on: Tue Apr 15 02:30:31 EDT 2003
  
  Vaathiyar, the speakers will be announced by the organisers later. Admission is free as in the past. Watch out for the announcements in the Tamil dailies as well as Radio 6.
  
  
• From: R. Mahendra Raj (@ 203.106.163.192) on: Tue Apr 15 03:59:12 EDT 2003
  
  Puvanes, the uniqueness in this song is that it ends up with 'oor' all the way. The song was an indirect reply to a question posed to the hero who is in a depressed state of mind as to which 'oor' he is from. He is stating all the availabe 'oors' except the town proper!
  
  
• From: Kupps (@ 203.199.209.101) on: Tue Apr 15 05:16:31 EDT 2003
  
  a digression, back to karuppu paNam.
  
  Kaviyarasar KaNNadhaasan(KKD) has written the socialist theme song "aellaarum aellaamum paeravaendum ingu illaamai illaadha nilai vaeNdum" and even including the word PODHUVUDAMAI. Did kaviarasar try to use his pal PattukkOtai to pen that song(was pattukkOttai alive then) or did kaviyarasar wanted to write a podhuvudamai song which would become as popular as pattukkOttai's.
  
  btw, is it correct that KKD has very few "podhuvudamai" songs to his credit?
  
  
• From: R. Mahendra Raj (@ 203.106.163.47) on: Tue Apr 15 22:22:08 EDT 2003
  
  Kupps, as mentioned in my earlier posting this song was based on 'pothuvudumai'(socialist) which was why it was banned by the Malaysian authorities from public broadcasting. Most of the Commonwealth countries usually do not favour materials which are either communist or socialist.
  
  Pattukottai died in 1959 whereas 'Karuppu Panam' was produced in 1964 and, therefore, it answers your second question.
  
  Yes, kaviarasar only penned a very few songs on socialist themes. As people's interest were slowly waning in such topics kaviarasar concentrated on love-based and philosophical themes alone.
  
  F.I.Y. the song "Koduthethallam Koduthaan" ('Padahotti' 1964) by Vaali was also a socialist based theme which became more popular than "Ellarum Ellamum Peravendum" although it was released earlier. Probably it was due to MGR's acting and TMS' voice instead of Kannadhasan and Sirghazhi Govindarajan!
  
  Almost a decade later another Vaali's socialist themed song "Ingu nalla irukkanum ellorum" in the MGR-starrer 'Oru Thai Makkal' 1972) did not become popular although it was fast-paced with MSV's music. People's interest had almost totally shifted by then. Incidentally, this song remains banned by the Malaysian broadcasting authorities.
  
  Btw, Vaali mentioned that his song "Koduthatellam koduthan" was originally supposed to be included in the film 'Paathai Theriyuthu Paar'(1960) - another socialist film but was rejected.
  
  See you again folks with some interesting tidbits on kaviarasar!.
  
  

Sub-thread# : 44
• From: R.Mahendra Raj (@ 210.186.0.35) on: Thu Apr 17 03:08:53 EDT 2003
  
  A virtually unknown songwriter going by the name of Nellai Arulmani wrote the song "Maalayittan oru mannan" and it was passed off as kaviarasar's for the film 'Avan Oru Sarithiram'(1976). Kaviarasar came to know about this only much later after the film was released. He admonished the producer, Kuttralingam (name sounds 'guilty' right?!)for not showing Nellai Arulmani's name in the title credits.
  
  Btw, another kaviarasar's song "En manathu ondruthaan Un meethu nyabagam" could not be accomodated in this film although it was meant for it. Even the discs state this film. However, it was used in another black & white film starring Sivakumar and Padmapriya ('Perumaikkuriyaval' 1979).
  
  Remember the song "Paadinar kavingyar paadinar"?. It was recorded for the film 'Nichiya Thamboolam' (1961) but could not be included due to the film's length. It was used the following year for the film 'Thendral Veesum' but the record states the former film.
  
  Will be back soon folks!
  
  
• From: Vaathiyaar (@ 203.106.140.141) on: Thu Apr 17 05:05:44 EDT 2003
  
  Vaali's socialist themed song "Ingu nalla irukkanum ellorum" in the MGR-starrer 'Oru Thai Makkal' 1972)
  
  Wasn't this song Neenga nalla irukkanum naadu munnera and wasn't it from Ithaya Kani?
  I know that this song has been used on Dato Samy Vellu when he attended some functions!
  And a new version of this song was made some years back, this time on JJ Amma.
  
  
• From: puvanes (@ 161.142.100.87) on: Thu Apr 17 09:31:00 EDT 2003
  
  after ten years separation from mu.karunanithi kaviyarasu attended a kaviyaranggam organised by salem ganapathy.Kalainyar was the chairman for the ceremony.The title for the kaviyaranggam was 'kanakku'.Kaviyarasu chose 'koottal'(+) for his song.the song was:
  
  kootti kazhitthu kuraiyaa porul valarkkum
  naattukottai marabil naanum piranthavanthaan
  aanaalum en kanakko atthanaiyum thavaraagum
  koottugindra neratthil kazhippen,kuraiyendru
  kazhikkindra nanbargalai koottuven
  kartpanaiyai perukkuven,
  atthanayum pizhayendru thudaippathaal perukkuven
  ethetho perum periya thitthanggal vaguppen
  vagutthathellam vadikatti paarttha pinbu sirippen!
  adadaa naan theivatthin kaibommai!
  
  this was the way kannadasan introduced himself in the kaviyaranggam.Later kalainyar introduced kaviyarasu in the kaviyaranggam with his poem
  
  kazhitthal kanakkil iruntha kavinyar ivar indru
  koottal kanakkil inainthu vitthaar nammodu
  saletthil serntha nanbar naanggal meendum
  saletthil servathartku yaar thayavu vendum?
  kaviyarasendra en thozharthammai azhaikkindraar
  enakku kobam!
  yaan amaichuthaane, ivar arasandro?
  arasaraaga irunthaalum ivar en otrar enben
  aiyirandu patthaandu aiya ivar maaruvedam poondu
  maatrar padai veettai chutri vanthaar
  indru marupiravi edutthu inggu vanthaar
  kuyil endru parakka vitten paadivara
  kotthaangal kootthatthil kuyil paatu edupadumaa?
  koopittu konden en thotthatthirtke
  thottham vantha kuyile en tholil thotthum kiliye
  koottal kavithai aartthu kalippil emmai aazhtthu
  
  this was the proof how deep their friendship was.
  
  
• From: R. Mahendra Raj (@ 203.106.49.188) on: Thu Apr 17 09:47:02 EDT 2003
  
  Vaathiyar, no - both are different songs. The 'Idyakanni' song was more on praises heaped on MGR whereas the one in 'Oru Thai Makkal' was purely a socialist theme.
  
  If you are residing in Malaysia probably you would not have heard the song being aired by RTM for reasons mentioned earlier. Try looking for a video cassette of this film in the local video shops for verification.
  
  Btw, this film and 'Annamitta Kai'(1971) were the last MGR black & white movies.
  
  And now lets' go back to kaviarasar...
  
  Palani Bharathi, the new generation songwriter, says that his guru is kaviarasar. He had pored over all the works of kaviarasar and finds that the latter had had touched on all matters and topics. There is no subject he had overlooked which is why he regards him as his mentor.
  
  When his parents were staying in Karaikuddi trying to make ends meet it was kaviarasar who brought them to Madras. He gave Palani Bharathi's father a job in his 'Thendral' periodical.
  
  One day he casually asked Palani Bharathi's father as to how he is coping up with his new city surroundings. The former's reply became the inspiration for his song "Paarappa Palaniappa pattanama pattanama" ('Peria Idathu Penn' 1963)!
  
  See you again folks!
  
  
• From: R. Mahendra Raj (@ 210.186.2.189) on: Fri Apr 18 02:57:15 EDT 2003
  
  Hi! folks, back again.
  
  The production team of the MGR-starrer 'Mannathi Mannan' (1961) comprising kaviarasar, director Nadesan and other key members decided to hold the story discussions in a hotel in Bangalore.
  
  Of course, no discussions in Bangalore is complete without the attendant 'firewater'!. While the discussion was going on kaviarasar noted that it was getting nowhere and begining to get monotonous. He excused himself and went out of the room. A short while later he banged the room door and with a disguised raised-pitch voice shouted "police, open the door"!
  
  Inside, the inebriated occupants ran helter skelter whilst clearing the bottles and liquor glasses. Nadesan quickly locked himself in the toilet carrying his glass along! Kaviarasar coolly walked in and reminded the occupants that 'this was not Tamil Nad'. Only then did it dawn on them of kaviarasar's naughtiness. After noticing Nadesan's absence and after a thorough search they found in him in the toilet in a half squatting position taking a comfortable nap with the glass still in his hand!
  
  At that moment due to their altered state it did not strike them that there were no prohibition laws in Karnataka State. This was the very purpose they chose this venue to carry-out their business-sum-pleasure mission. After a hearty laugh and more drinks the monotony was broken, thanks to kaviarasar's prank!
  
  Btw, director Nadeson was fond of literally sleeping on the job. Yes, he used to doze off while seated in the director's chair in the midst of shooting!
  
  Bye, and will be back again soon, folks!
  
  
  
• From: R. Mahendra Raj (@ 203.106.49.105) on: Fri Apr 18 11:13:04 EDT 2003
  
  Puvanes, the song "Kalangathiru manamae Un kavalaigam yaavum theerum oru dhiname" was written by kaviarasar in 1949 for Jupiter Movies 'Kanniyin Kaathali' - music by SM Subbiah Naidu. Actually he wrote the song to motivate himself with prophecy. Five years later his lines became true through the film 'Illara Jothi' where he wrote the story, dialoges and songs and became a celebrity overnight.
  
  Kaviarasar affectionately addressed SMS as 'sangeetha ayya' and the latter in turn called him 'pattu ayya' throughout their friendship. Kaviarasar once commented that SMS may be ignorant of western music but he is a maestro in handling Indian musical instruments.
  
  Ram, to your earlier query I inadvertently missed out the poets' names besides Marudhakasi, Kaa. Mu. Shariff and Ku. Maa. Balasubramaniam. In order to understand our kaviarasar one must compare the works of his predessors as well as his contemporaries, names as above and under:-
  
  Before kaviarasar's entry in 1949 there were some songwriters like Kavikunjaram, Santhana Krishna Naidu, Kovai Ayya Muthu, Thamizh Oli, Kavi Arumuganaar, Aanai Vaithiyanatha Aiyyar, Kovi Manisegaran, Kee.Vaa. Jagannathan, Vembathur Krishnan, Thamizh Azhagan, Adiyaar, Sirrppi, Gangai Kondaan, Poonguyilan, S.N. Ravi, Kalimuthu, Pattukottai Thanadabani, Arivumathi, Muthubharathi, Rajeshkanna, Ilanthevam, Nellai Ganapathy, Arunasalam K.C. etc.
  
  Any of the above names ring a bell to you? In my case, nope! Of course, during kaviarasar's time there were poets like Papanasam Sivan, Mugavai Rajamanikam, T.K. Sunthara Vaathiyaar, S.T. Somasundram, Madhu Bhaskara Dass, Annal Thango, Suthanandha Bharathiyar, Udumalai Narayanakani, Rajagopal Aiyyar, Suppu Arumugam, Kalki Krishnamurthi, Bhoomi Baladass, Velsaami Kavi, Naanjil Rajappa, Khambathasan, Paa. Athimoolan, Namakkal Kavinjar, Letchumana Dass, M.S. Subramania, T.K. Shanmugam, Surabhi, Vidan Ve. Letchumanan, K.B. Kaamatchi, Vinthan, Kothamangala Subbhu, Thanjai Ramaiahdass, K.D. Santhaanam, Mu. Karunaneedhi, Suratha, Kuyilan, Ku.Sa. Krishnamurthi, M.K. Aathmanathan, Alangudi Somu, Mayavanathan, K.S. Gopalakrishnan, Kovai Kumaradeva, Rajagopal, P.K. Muthusamy, Jayakanthan, Panju Arunachalam, Thanjai Vaanan, Puratchidasan, Sithambara Varathadasan, V. Seetharaman, Thiruchi Thiagarajan, Dr. Ulundurpettai Sanmugam, Eelathu Rathinam, Ponnadiyaan, Ira. Palanisamy, Mudiyarasan, A.L. Narayanan, K. Devanarayanan, Villiputhan, Palladam Manikam, Muthukuthan, Malliyam Rajagopal, Pulamai Pithan, Naa. Kamarasan, Valampuri John, Roshana Begum, Sithambaranathan, Nellai Arulmani, Narayana Babu, Poovai Sengootavan, Aavinaasi Mani, Muthulingam, Kaalidasan, Aatralarasu, Kanmani Suppu (his son), Gangai Amaran etc.
  
  And of course, Vaali and Vairamuthu.
  
  Except for a few popular songs here and there by these songwriters none of them could match kaviarasar's simplicity and wordplay. He was reigning supreme over all the above songwriters which is why he was called the 'King of Poets'.
  
  Bye folks see you again, and have a nice week-end.
  
  
• From: Saravanan (@ 213.42.1.171) on: Fri Apr 18 14:06:41 EDT 2003
  
  Puvanes/ Mahendra Raj- here are the lyrics of Kannadasan’s first song:
  
  Kalangaadhiru manamey-
  un kanavellaam ninaivaagum oru dhinamey
  
  Kadinappadaamal edhum kaikku varaadhu
  Kashtappaduvaar thammai kai nazhuvaadhu
  Aduthathaduthu muyandraal aagaadhadhedhu
  
  Aanvaadai koodathendra Alliyum oru naal
  Arjunan valaithannil veezhndhanal sariyaai
  Pagattukkaaga ummai paarkave maruthaalum
  paruva kaalam avalai paadai paduthividum-
  Aduthakanam unmel aasaiyum vaipaal
  Ahaha endru muththamum koduppaal
  
  Jupiter Pictures’ Kanniyin Kaadhali-1949 was directed by the great K.Ramnath. ( I vaguely remember reading somewhere that it was an adaptation of Shakespeare’s Twelfth Night).
  This song was sung by KV Janaki. Music by SMS. As in the case of many of the films of those days, Kanniyin Kadhali had two MDs- SMS and CR Subburaman. Kannadasan wrote two songs for CRS too in the film- Kaaranam theriyaamal ullam sandhosham kondaaduthey by MLV and perhaps Puvi raja en aaruyir jothiye by Tiruchi Loganathan & MLV. (A HMV compilation of Tiruchi Loganathan’s songs ‘Vaaraai nee vaaraai’ credits Puvi raja en aaruyir to Udumalai Narayana Kavi, but I don’t think Narayana Kavi wrote any song in Kanniyin Kaadhali. Can anyone clarify this?)
  Kannadasn wrote 8 songs for the film. There were totally 15 songs in it.
  The other lyricists in Kanniyin Kadhali were KD Santhanam- 2 songs (his songs were Kalaiyin perumai sollappomo and Aasaippatten machaan) and Pudhukamban Bhoomibalakadas- 5 songs (the most popular of his was ‘Yosithu paaramal ethayum seiyaathey)
  
  
• From: R. Mahendra Raj (@ 203.106.49.174) on: Sat Apr 19 00:39:17 EDT 2003
  
  Thanks Saravan for the info on kaviarasar's premier song.
  
  The first ever dream picturisation duet song in the Tamil film industry was 'Naadagamlellam kandaen unthan aadum vizhiliyilae' ('Madurai Veeran' 1955). Although kaviarasar concentrated on the story and scripting alone, Lena Chettiar insisted on an unique love song by the former. That's the reason in the title credits you can see kaviarasar's name under this song title. The picturisation came out very well with excellent superimposing shots. It was an excellent effort with the barest minimum of technology those days. Lena Chettiar was so impressed that he garlanded kaviarasar when the latter walked into the studio!
  
  Btw, after this film's success there was an apparent friction between Lena Chettiar and kaviarasar over the latter's habitual latecoming to work. When Lena Chettiar decided to produce 'Raja Desingu' (1959) he excluded kaviarasar from his team.
  
  When NSKrishnan came to act out his role he asked that his script be read by his assistant. After listening to the script he commented that "nowadays Kannadhasan is slacking in his profession" because of the amateurish work. Lena Chettiar then told him that the script was written by a new comer who is disciplined and punctual unlike Kannadhasan who was a habitual late-comer.
  
  NSK was offended by this statement by Lena Chettiar. He sarcastically shot back that his chauffuer is a man of punctuality also and therefore he could also use him as one of the scriptwriters for this film!
  
  Realising that NSK was serious Lena Chetiar went with looking for kaviarasar and finally managed to locate him in his "Thendral' office. After exchanging a few pleasantries the animosity between Lena Chettiar and kaviarasar was forgotten with NSK being the intermediary. So it was back to work for kaviarasar in Lena Chettiar's film, 'Raja Desing'.
  
  Back again folks, bye!
  
  

Sub-thread# : 45
• From: R. Mahendra Raj (@ 203.106.49.174) on: Sat Apr 19 00:39:29 EDT 2003
  
  Thanks Saravan for the info on kaviarasar's premier song.
  
  The first ever dream picturisation duet song in the Tamil film industry was 'Naadagamlellam kandaen unthan aadum vizhiliyilae' ('Madurai Veeran' 1955). Although kaviarasar concentrated on the story and scripting alone, Lena Chettiar insisted on an unique love song by the former. That's the reason in the title credits you can see kaviarasar's name under this song title. The picturisation came out very well with excellent superimposing shots. It was an excellent effort with the barest minimum of technology those days. Lena Chettiar was so impressed that he garlanded kaviarasar when the latter walked into the studio!
  
  Btw, after this film's success there was an apparent friction between Lena Chettiar and kaviarasar over the latter's habitual latecoming to work. When Lena Chettiar decided to produce 'Raja Desingu' (1959) he excluded kaviarasar from his team.
  
  When NSKrishnan came to act out his role he asked that his script be read by his assistant. After listening to the script he commented that "nowadays Kannadhasan is slacking in his profession" because of the amateurish work. Lena Chettiar then told him that the script was written by a new comer who is disciplined and punctual unlike Kannadhasan who was a habitual late-comer.
  
  NSK was offended by this statement by Lena Chettiar. He sarcastically shot back that his chauffuer is a man of punctuality also and therefore he could also use him as one of the scriptwriters for this film!
  
  Realising that NSK was serious Lena Chetiar went with looking for kaviarasar and finally managed to locate him in his "Thendral' office. After exchanging a few pleasantries the animosity between Lena Chettiar and kaviarasar was forgotten with NSK being the intermediary. So it was back to work for kaviarasar in Lena Chettiar's film, 'Raja Desing'.
  
  Back again folks, bye!
  
  
• From: R. Mahendra Raj (@ 203.106.49.42) on: Sat Apr 19 10:30:13 EDT 2003
  
  Hi folks, just could'nt resist posting lest I forget! I am dependent upon my memory and as and when I recall interesting anectodotes of kaviarasar I post it immediately provided I am free, of course!
  
  For the song "Irandu manam vendum" ('Vasantha Maalighai' 1972) it was Pugazhenthi, the faithful assistant to KV Mahadevan, who included the lines "kadavulai thandikka enna vazhi" which kaviarasar approved. Kaviarasar has a lot of regards for Pughazanthi for his knowledge of literature Tamil although not being a Tamilian himself.
  
  When the Malayalam 'Thulaabaram' was remade in Tamil (1969) kaviarasar sat with music director Devarajan to compose the songs. When shown the original Malayalam lyrics he was very impressed and insisted that it be translated into Tamil (by himself of, course).As they say it takes a genius to recognise another. It is usually rare for a poet to translate instead of penning the lyrics himself but kaviarasar gave due credit to the original writer. Such was his magnamity. He penned the other two songs to give a Tamil effect, "Sangam valartha hamizh" and "Poonjittu kannangal".
  
  Bye folks!
  
  
• From: R. Mahendra Raj (@ 203.106.49.42) on: Sat Apr 19 11:30:27 EDT 2003
  
  Btw, I could'nt download the Mukta Sreenivasan's article on kaviarasar which appeared in the Cinemaexpress in time. I have just managed to re-download the Tamil Font but on scanning I found the article on kaviarasar missing. Could anyone help me with a reproduction of this article? I would be very, very, very grateful! Thanks.
  
  
• From: R. Mahendra Raj (@ 203.106.49.74) on: Sun Apr 20 06:55:44 EDT 2003
  
  Hi! there folks.
  
  Kaviarasar was still reeling with frustration whenever he had to work with JP Chandrababu for the bitter experiences he had had encountered during the shoot of 'Kavlai Illatha Manithan'.
  When he was asked to do a philosophical song for him in 'Annai' (1963) he wrote the song "Butthi ulla manithargal ellam vetri kaanbathillai Vetri pettra manithargellam butthisaali illai". He vent out his frustration at Chandrababu while giving him a point or two to ponder through this song.
  
  It was also rumoured that at that time when Chandrababu realised that he sang this song unwittingly for himself he asked Maruthakasi to pen a reply song. Thus the song "Ennai theriyilaaya Innum puriyillaya Kuzhanthai pollae en manasu En vazhiyo endrum puthu thinasu" ('Yarukku Sontham' 1963)was penned!
  
  However, kaviarasar did work on Chandrababu's songs such as "Naan oru muttalanga" ('Sahothiri' 1960); "Poranthaalum aambalayai porakka koodathu" ('Policekaran Magal' 1961); 'Kaathal enbathu ethuvarai' & 'Thaniyaa thavikara manasu' ('Paatha Kaanikkai' 1962); 'Unggal kaigal uyarattum' & 'Konjam thallikkanum' ('Kadavulai Kandeyn' 1963).
  
  They both became good friends once again through the song "Sirippu varuthu sirrippu varuthu" ('Aandavan Kattalai' 1964) when they found a common enemy in the name of politicians!
  
  Speaking of 'Kavalai Illatha Manithan' I remember yet another background incident.
  
  After 6 years from the experiences of 'Kavalai Illaatha Manithan' kaviarasar was still facing litigation processes in the courts for trusting a 'close friend' to deal all matters pertaining to this film. Summonses after summonses were arriving at his doorstep. One day freshly returning from the courts he wrote the song 'Ithuvum venumadaa Enakku innumum venumadaa Ethayum nalla idai podaamal uthavi seythanae....' ('Kalyaniyin Kanavan' 1963) out of sheer frustration!
  
  While sitting to write for 'Avan Pitthanaa?'(1966)kaviarasar came out with the first line of the song "Iraivan irukindraana?" and showed this to music director R. Parthasarathy. The latter, with a touch of humour, replied him "manithan irukindraana?". The first stanza was thus completed! "Iraivan irukindraana manithan keytkiraan..........."Manithan irukindraana Iraivan keytkiraan". The Iraivan in this context was R. Parthasarathy,named after the legendary God!
  
  See you again bye folks!
  
  
• From: senthil (@ 67.82.206.93) on: Sun Apr 20 08:31:38 EDT 2003
  
  Mahendra Raj,
  
  Hats off. Please keep up the good work. Your documentation on Kannadasan is a great service and will enable thefuture generations to appreciate the phenomenon called Kannadasan.
  
  Regards
  
  Senthil
  
  
  
• From: R. Mahendra Raj (@ 210.186.0.141) on: Mon Apr 21 04:30:08 EDT 2003
  
  Thanks Senthil for the compliments!
  
  I just came across a bit on the MSV-TKR separation issue which should be read in continuity with the earlier postings.
  
  When the relationship between MSV and TKR began to surface they tried all possible means to keep it under wraps. But the last straw which broke the camel's back was when MSV alone briefly appeared as a music composer for the song "Avalukkenna azhagiya mugam" ('Server Sundram' late 1964). Ever since this cameo appearance by MSV, TKR felt that he was deliberately being side-lined which culminated in their eventual separation after working together for the last time in 'Ayirathil Oruvan' (1965).
  
  Besides what I had had posted earlier films like 'Thanga Churangam' (1969), 'Sangamam' 1971 also helped TKR to stay afloat in the industry.
  
  And back to a bit on kaviarasar.
  
  Kunnakudi Vythianathan, after rendering the tune for kaviarasar's song "Paal ponggum paruvam" ('Manithanum Deivamaagalam' 1975)played it back for the latter's listening. Kaviarasar at once detected the familiarity of the tune and asked Kunnakudi about this. The latter agreed that he had lifted this tune from elsewhere. Inspite of the thousands of songs around kaviarasar's memory is something to be reckoned with!
  
  Bye folks!
  
  

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