#S. Janaki

[guessimdumb]

Ilaiyaraaja feat S. Janaki - Ponnana Neram (1977)

A bit out of my wheelhouse, but Indian musician and film composer Ilaiyaraaja is considered to be one the most important film composers in the history of cinema. Fantastic stuff.

[madhansband]

Song of the week from the previous show:

கொடியிலே மல்லிகைப்பூ | Kodiyile Malliyapoo | Ilaiyaraaja | Jayachandran | S.Janaki | Madhan's Band

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Original credits:

Song : Kodiyile Malligai Poo Lyrics: Vairamuthu Singers : Jayachandran and S.Janaki Music by : Ilayaraja Movie: Kadalora Kavithaigal

Lyrics

கொடியிலே மல்லிகைப்பூ மணக்குதே மானே எடுக்கவா தொடுக்கவா துடிக்கிறேன் நானே பறிக்கச் சொல்லித் தூண்டுதே பவழமல்லித் தோட்டம் நெருங்க விடவில்லையே நெஞ்சுக்குள்ளே கூச்சம் கொடியிலே மல்லிகைப்பூ மணக்குதே மானே கொடுக்கவா தடுக்கவா தவிக்கிறேன் நானே மனசு தடுமாறும் அது நெனச்சா நிறம் மாறும் மயக்கம் இருந்தாலும் ஒரு தயக்கம் தடை போடும் நித்தம் நித்தம் உன் நெனப்பு நெஞ்சுக்குழி காயும் மாடு ரெண்டு பாதை ரெண்டு வண்டி எங்கே சேரும் பொத்தி வெச்சா அன்பு இல்ல சொல்லிப்புட்டா வம்பு இல்ல சொல்லத்தானே தெம்பு இல்ல இன்பதுன்பம் யாரால பறக்கும் திசையேது இந்தப் பறவை அறியாது உறவோ தெரியாது அது உனக்கும் புரியாது பாறையிலே பூ முளைச்சு பார்த்தவங்க யாரு அன்பு கொன்ட நெஞ்சத்துக்கு ஆயுசு நூறு காலம் வரும் வேளையிலே காத்திருப்பேன் பொன்மயிலே தேதி வரும் உண்மையிலே சேதி சொல்வேன் கண்ணாலே கொடியிலே மல்லிகைப்பூ மணக்குதே மானே எடுக்கவா தொடுக்கவா துடிக்கிறேன் நானே பறிக்கச் சொல்லித் தூண்டுதே பவழமல்லித் தோட்டம் நெருங்க விடவில்லையே நெஞ்சுக்குள்ளே கூச்சம் கொடியிலே மல்லிகைப்பூ மணக்குதே மானே எடுக்கவா தொடுக்கவா துடிக்கிறேன் நானே

[chris-artworks]

made a live interview this week in a cinema in Paris.

it was crazy. the fact that I manifested since the beginning of the year to talk about art and it's concrete after an harsh working year on my craft.

feel blessed to see people moving from there house to exchange about creation, asking great questions and see some of my inspo too (s/o the woman who talked about BLAME at the end in the moment I was so surprise). The fact that there were my art next to my influences on an huge screen man I don't kno so crazy. The exchange help me a lot to get an new perspective mainly on JANAKI in order to understand how I can elaborate this project.

it motivates me to go further and stay consistent in order to tell more stories I got in my head. I'm already more focus but it confirms me that it's really important for my evolution.

thankful for this moment. s/o Cydji.

as usual I didn't think about taking photo at the moment but it's graved in my head.

[voidsteffy]

11:A song that you never get tired of

Ooo thanks for the ask meri pyaari Simran!!!

It has to be Nemaliki Nerpina from a Telugu movie Saptapadi. Sung by S. Janaki and composed by Illayaraja, lyrics by Veturi gaaru

In hindi, it's Sooraj ki Baahon Mein from ZNMD

[amaurotine-daydreaming]

S Rank: Janaki Revelseeker (Prompt 16 - Third-Rate)

"'The Slayer from the Steppe,' they called her. And gods be good, she loved a battle high! No surprise that a once-in-a-twelvesmoon battle royale like the naadam was hardly enough for her."

---

"Janaki is anything but third-rate. Ran with the wolves, that one—she became well known in fighting circles both in Othard and Eorzea. 'The Slayer from the Steppe,' they called her. And gods be good, she loved a battle high! No surprise that a once-in-a-twelvesmoon battle royale like the naadam was hardly enough for her. A bard would be exaggerating less than usual to say that she earned enough wolf collars to build a bridge to the moon, or somesuch.

No tribe is willing to claim Janaki as one of theirs now, but she came from the mountains around the steppe, and it was the mountains that honed her fighting style. She trained to be a Warrior, that sacred art of the mountain-dwelling Hellsguard roegadyn. Could swing an axe what looked her weight and height—a petite thing, but a hellspawn on the battlefield. Whether it was the Fields of Glory or Onsal Hakair, she was a sight to see.

And yet…everyone with stories of traveling in her company—you know what they mention first? Not her battle ferocity, but her big smile and even bigger laugh. What she enjoyed most at the end of any day was celebrating with her companions and compatriots, singing and carousing into the small hours of the night. 

Fair warning: If you make camp in the area and you’re with a rowdy bunch, she may want to see what all the fuss is all about. Don’t be surprised if she shows up to join the revelry, eh? So raise your mugs and flagons…but keep your wits about you!"

-Kuruvinda Vathguard, Hunter-Scholar Chronicles of Tural Vidraal & Other Notorious Marks Beyond the Salt

[blessed1neha]

What was the age of Rama and Sita when they got married?

Child marriages did not exist in Ancient India. Vedas, Ithihasas, or Puranas do not mention any child marriage. All women in ancient times married after at least attaining 16 years of age, and most weddings were at Swayamvar.

Susruta, the ancient surgeon of India, wrote in his book ‘Susruta Samhita’ that the marriage age of a girl must be above 16 and for boys must be above 25 years. Many pseudo-scholars wrongly claim that Rama and Sita were kids when married, but Valmiki Ramayana proves them wrong.

Since Vedic era, Upanayana or initiation of education was considered as 2nd birth (Dwija). For Brahmins, it was done at age of 8, Kshatriyas at 11 and Vaishyas at 12. They were called Dwija (twice born) after that. Since both Sita and Rama were from Kshatriya families, both of them were initiated at 11. So after their 2nd birth (initiation), their new ages were 6 and 13 respectively, but their biological ages were 18 and 25 at marriage.

In Aranya Kanda of Valmiki Ramayana, Sita tells Ravana that she had stayed at Ayodhya for 12 years after marriage this is when Ravana appears before Sita in the guise of a saint, she entails the details of her family background.

She mentions that after her marriage with Rama, she stayed in Ayodhya for 12 years.

उषित्वा द्वा दश समाः इक्ष्वाकूणाम् निवेशने |

भुंजाना मानुषान् भोगान् सर्व काम समृद्धिनी || ३-४७-४

𝑑𝑣𝑎𝑎 𝑑𝑎𝑠ℎ𝑎 𝑠𝑎𝑚𝑎𝑎𝐻 means two & ten [twelve] years.

Sita says: "On residing in the residence of Ikshvaku-s in Ayodhya for twelve years, I was in sumptuosity of all cherishes while relishing all humanly prosperities. [3-47-4]”

Janaki also reveals that she was 18 at the time of exile while Rama was 25.

मम भर्ता महातेजा वयसा पंच विंशकः || ३-४७-१०

अष्टा दश हि वर्षाणि मम जन्मनि गण्यते |

"My great-resplendent husband was of twenty-five years of age at that time, and to me eighteen years are reckoned up from my birth. [3-47-10b, 11a]”

Sita also repeats the same to Hanuman in the Sundarkanda, stating that he stayed in Raghava’s house for a period of 12 years.

समा द्वादश तत्र अहम् राघवस्य निवेशने || ५-३३-१७

भुन्जाना मानुषान् भोगान् सर्व काम समृद्धिनी |

"I stayed in Rama's house there for twelve years, enjoying the worldly pleasures belonging to humankind and fulfilling all my desires."

On this basis, a simple conclusion has been drawn by popular Bengali authors like Rajsekhar Basu and Upendranth Mukherjee et al [2]. Both of them (and many others) have suggested in their footnotes that Sita was married to Rama when she was only six years of age.

Many great commentators of the Ramayana from the South have tried to analyse the age of Rama and Sita from the prism of spiritualism.

Nagoji Bhatta, whose famous commentry on Ramayana - “Tilaka” (whose views align with the Advaita school of Sankaracharya) [3] explains:

रावणेन त्विति । आत्मानं जिहीर्षुणा परिव्राजकरूपेण रावणेन पृष्टा वैदेही आत्मना स्वयमेवात्मानं शशंस ।। 3.47.1 ।।

ननु पूजामात्रं कर्तव्यं किं प्रतिवचनेनेत्याह ब्राह्मणश्चेति । एष अनुक्त इत्यार्षो ऽसन्धिः । अनुक्तो ऽनुक्तप्रतिवचनः ।। 3.47.2,3 ।।

सर्वकामसमृद्धिनी । व्रीह्यादित्वादिनिः ।। 3.47.4 ।।

राजमन्त्रिभी राज्ञो राज्यनिर्वाहकैर्मन्त्रिभिरित्यर्थः ।। 3.47.5 ।।

संभ्रियमाणे । संपाद्यमानसंभारे इत्यर्थः । भर्तारं दशरथम् ममार्या मम पूज्या श्वश्रूः । "अनार्या" इति क्वचित्पाठः ।। 3.47.6 ।।

मे श्वशुरं सुकृतेन परिगृह्य वररूपेण सुकृतेन वशीकृत्य । यद्वा धर्मेण शापयित्वेत्यर्थः । मम भर्तुः प्रव्राजनं भरतस्याभिषेचनमिति द्वौ वरावयाचत ।। 3.47.79 ।।

Rama’s age was around 25 years at the time of leaving Ayodhya.

Twenty-five corresponds to the twenty-five principles of the Sankhya system, of which the 25th is seen as 𝐂𝐡𝐚𝐢𝐭𝐚𝐧𝐲𝐚 𝐏𝐮𝐫𝐮𝐬𝐡𝐚 – which is Rama himself or as he is perceived to be.

In the Balakanda, Rama has been presented as an avatar of Vishnu. Being Chaityana Purusha, the whole world is pervaded by his life force, and nothing can transcend it.

In the case of Sita, 18 - represents the five subtle elements, five gross elements, five senses of action, and self, intellect and mind. This implies that Sita is the origin of these and represents Prakriti, the primordial nature of the Sankhya system. [4]

Siromani by Sivasahaya another popular commentary from the South have suggested that Rama was 28 years & not 25 at the time he left for the forest.

In the Balakanda (Sarga 20), King Dasaratha says to Viswamitra:

ऊनषोडशवर्षो मे रामो राजीव��ोचनः |

न युद्धयोग्यतामस्य पश्यामि सह राक्षसैः || १-२०-२

"Less than sixteen years of age is my lotus-eyed Rama, and I see no warring aptitude to him with the demons. [1-20-2]”

Here, he probably meant that Rama is just shy of 16, could be anywhere between 15-16.

Now, ‘𝘝𝘢𝘺𝘢𝘴𝘢 𝘗𝘢𝘯𝘤𝘢𝘷𝘪𝘯𝘴𝘢𝘬𝘢𝘩’ – could mean someone whose age is 25+3 =28, if we go by the etymology of the word.

It coincides with Sita's narration. If Rama went with Viswamitra at the age of 15, married Sita the following year, then he should be 28 by the time he left the city.

Sita says she was ‘𝘢𝘴𝘵𝘢𝘥𝘢𝘴𝘢𝘷𝘢𝘳𝘴𝘢𝘯𝘪 𝘨𝘢𝘯𝘺𝘢𝘵𝘦’, so she must be 18 when she left Ayodhya. [5]

In the Ayodhyakanda, Kauslaya says to Rama that she had waited 17 years from his second birth after hearing that his son has been banished to the forest.

दश सप्त च वर्षाणि तव जातस्य राघव |

असितानि प्रकान्क्षन्त्या मया दुह्ख परिक्षयम् || २-२०-४५

Kausalya: "Oh, Rama! I have been waiting for seventeen years after your second birth of thread ceremony, with the hope that my troubles will disappear at one time or the other."

Here the word ‘𝘫𝘢𝘵𝘢𝘴𝘺𝘢’ is an indication of Rama’s age. In [1-20-2], King Dasaratha himself claims Rama was less than sixteen years i.e. fifteen years of age when he accompanied the sage Viswamitra and was eventually married to Sita.

According to Sita’s narration, Rama had spent 12 years of his married life before King Dasaratha decided to install him on the throne as Prince Regent. So, Rama’s age can’t be 17 at the time of exile.

‘Jatsaya’ means ‘born for a second time’. It has been interpreted as the second birth of Rama’s thread ceremony which indicates the investiture with the sacred thread. Going by rules laid down in Smritis, it must have taken place at the age of ten to eleven – “𝑒𝑘𝑎𝑑𝑎𝑠𝑒 𝑣𝑎 𝑟𝑎𝑗𝑎𝑛𝑦𝑎𝑚”. [6]

Thus, Rama must have been 27-28 at the time of leaving Ayodhya.

𝗖𝗿𝗶𝘁𝗶𝗰𝗮𝗹 𝗘𝗱𝗶𝘁𝗶𝗼𝗻 [𝐂𝐄]

The Critical Edition of The Ramayana has removed the shloka where Sita suggests that she was 18 years of age. Also, they have found inconsistency in the text regarding Sita’s stay in Ayodhya. The Baroda Edition suggests Sita had stayed for just one year in Rama's house after her marriage.

संवत्सरं चाध्युषिता राघवस्य निवेशने |

भुञ्जाना मानुषान्भोगान्सर्वकामसमृद्धिनी || ४||

Aranyakanda, sarga 45, states clearly that Sita stayed for one year only.

Also note, here Sita says – राघवस्य – in the house of Rama – instead of the Ikshashu family (इक्ष्वाकूणाम्), as given in the Vulgate text.

Critical Edition collected 42 manuscripts (MSS) for studying the Aranyakanda, of which they selected only 29 for use (partial or composite). The North Edition consisting of scripts in Bengali, Nepali, Maithili, Sarada, Newari, Devanagari – had 14 MSS. Likewise, Telegu, Grantha, Malayalam and Devanagari made the South Recension, which contributed to 15 MSS for the study of Aranya Kanda.

The manuscripts are not uniform regarding the event of Sita residing for one year in her in-laws' house. All Southern MSS, plus N1 –S1-D1-5 (1 Nepali script, 1 Sarada script, Five Devnagari script) and the Lahore Edition of the Ramayana have the shlokas - उषित्वा द्वा दश समाः (that is 12 years).

Whereas, N2 – V1 – B – D6-7 (2 Nepali, 1 Maithili, 1 Bengali, and Devaganri) have the shloka - संवत्सरं चाध्युषिता (that is one year). It also appears in Gorresio (Bengal) and Calcutta Editions.

Critical Edition has decided to it keep one year, with Aranya Kanda Editor P.C. Diwanji stating – “it very well suits the context.” [7]

Likewise, CE has removed this shloka - अष्टा दश हि वर्षाणि मम जन्मनि गण्यते | - (that is I am 18 years of age) and made it a three-line stanza, somewhat contrary to Valmiki's rhyme.

मम भर्ता महातेजा वयसा पञ्चविंशकः |

रामेति प्रथितो लोके गुणवान्सत्यवाक्षुचिः |

विशालाक्षो महाबाहुः सर्वभूतहिते रतः || १०||

CE has removed this shloka on the basis of transposition.

So, going by CE’s findings, Rama was 25 when he left Ayodhya. Sita (whose age is not mentioned in CE) stayed just one year with Rama after marriage before moving out, which means Rama was 24 at the time of his marriage.

CE also mentions that in Sundarkanda, Sita tells Hanuman – 5-33-17/18 – she spent twelve years in Raghava’s residence, a place that can satisfy all the objects of desire.

Once again, we see the same disparity. All Southern MSS, plus N1 –S1-D1-5 have suggested that she stayed 12 years, and on the 13th year, Rama was supposed to be coronated.

Whereas, N2 – V1 – B – D6-7 claims that Sita stayed for just one year and it also appears in Gorresio (Bengal) and Calcutta Editions. The Lahore Edition of the Ramayana doesn’t mention this shloka at all.

The Critical Edition follows a critical apparatus of filtering text, but on this occasion even they have failed to weed out inconsistencies.

The North East Recension (whom they have based their shlokas for this particular case) says Rama was 25 years of age at the time of coronation, while the North West Recension says he was 27-28.

The Bengal edition doesn’t mention the age of Rama.

General Editor of Baroda, Dr Bhatt claimed that the North West recension contains the oldest MSS and that it is the oldest composite edition – known as the Lahore edition.

Therefore, a natural question arises -- why in this case, despite having an old MSS and a composite edition, CE chose to go with a relatively later MSS on the basis of apparent logic which they felt suits the context?

It differs markedly from Sita’s version at Sundarkand. Why did the editor of the Sundarkand - G.C. Jhala - not go with Sita’s one year stay (her speech to Hanuman) to maintain the consistency?

Jhala writes in the Appendix of the Sundarkand that Sita’s speech to Hanuman has been kept as it is in line with CE’s methodology, but in Arayankanda, when the issue was raised, General editor, Bhatt, went with one year (despite not all evidence backing up) because he felt that was the most logical deduction of the event.

The CE notes in the Appendix – “The reference to 25 or 27 (regarding Rama’s age) seems to be an interpolation or later edition.”

The reason being, CE focuses on Kausalya’s speech to Rama as the focal point – that he was 17 years of age at the time of the coronation. And yet, they completely ignored the word ‘𝘫𝘢𝘵𝘢𝘴𝘺𝘢’.

CE has also kept Dasaratha’s speech to Viswamitra that is Rama was less than 16. So, if Rama gets married at 24, it’s improbable to think that it took eight years for him in the forest to kill Taraka, saving Ahalya and then moving to Mithila.

CE is implying that Rama was 17-18 years of age when he left for the forest (keeping in tune with Kausalya’s words) and negating Sita’s version of 25 years, although they didn’t remove the shloka, only suggesting it could be an interpolation. They didn't consider the concept of 'second birth' - or the Upanayana when it's clearly mentioned in the text.

Camille Bulcke [8] has suggested in Ram Katha (pg 359) that if Sita had stayed for 12 years in Ayodhya that portion was not properly documented, alluding that an avatar of Vishnu leisurely wasting 12 years of his life is unthinkable, and hence that portion is an interpolation.

So, we have to take a holistic approach here.

Going by the Vulgate, Sita was six years of age at the time of her marriage. However, cross-references and analysing the text on the pretext of the Vedic cult defies logic.

The Vedic and post-Vedic literature like the Mahabharata and the Grhyasutras suggest the minimum age of marriage for a girl is ideally 16, or it is better to say when a girl attains her puberty. [9]

King Janaka says to Viswamitra in front of Rama in Balakanda - 𝘷𝘢𝘳𝘥𝘩𝘢𝘮𝘢𝘢𝘯𝘢𝘢𝘮 𝘮𝘢𝘮𝘢 𝘢𝘢𝘵𝘮𝘢𝘫𝘢𝘢𝘮 – that is – my daughter has come of age. [1-66-24]

Also, Janaka recounts that the Kings of Aryavatra tried their luck lifting the bow to win Sita who was a Viryashulka.

ततः संवत्सरे पूर्णे क्षयं यातानि सर्वशः || १-६६-२२

साधनानि मुनिश्रेष्ठ ततोऽहं भृशदुःखितः |

“Then elapsed is a year and in anyway the possessions for livelihood went into a decline, oh, eminent sage, thereby I am highly anguished [1-66-22b, 23a]”

Does that mean, the Kings were fighting to marry a five-year-old girl at that time?

Also, it is interesting to note what Sita says to Rishi-wife Anasuya.

पति सम्योग सुलभम् वयो दृष्ट्वा तु मे पिता |

चिन्ताम् अभ्यगमद् दीनो वित्त नाशाद् इव अधनः || २-११८-३४

Sita says that her father was anxious as she has reached the age of “𝘱𝘢𝘵𝘪 𝘴𝘢𝘮𝘺𝘰𝘨𝘢 𝘴𝘶𝘭𝘢𝘣𝘩𝘢𝘮” – that means where the husband can have a holy union.

सुदीर्घस्य तु कालस्य राघवो अयम् महा द्युतिः |

विश्वामित्रेण सहित�� यज्नम् द्रष्टुम् समागतः || २-११८-४४

लक्ष्मणेन सह भ्रात्रा रामः सत्य पराक्रमः |

Sita says that when all the Kings failed to lift the bow, Rama visited Mithila after “a very long time”. These are found in all MSS (no chance of interpolation) and therefore Sita’s statements here hold paramount importance.

The fact that Sita gave Rama a permanent place in her heart (1-76-14) and that the princes enjoyed pleasures in the palaces after marriage logically points to that Sita can’t be six years of age at that time. [10]

So, there can be a multitude of probabilities. Rama can be 16 or 24 at the time of marriage. However, Sita surely has crossed her puberty at the time of marriage, and can’t be six years of age.

Reference:

[1] – Valmiki Ramayana – Hanumanta Rao

[2] – Valmiki Ramayana – Rajsekhar Basu

[2] – Valmiki Ramayana – Upendranatha Mukhopadhyay

[3] Valmiki Ramayana, CE – Volume 1

[4] Valmiki Ramayana with Tilaka commentary

[5] Valmiki Ramayana – IIT

[6] Manu Smriti – Sacred Text (online)

[7] Valmiki Ramayana, CE – Volume 3

[8] Ramkatha – Camille Bulcke

[9] History of Dharmasastra – P.V. Kane

[10] The Riddle of the Ramayana – C.V. Vaidya

[indiejones]

INDIES TOP 136 ACTORS & ACTRESSES OF I-N-D-I-A-N  CINEMA !

NOTE: Encompasses all traditional Indian film industries.

NOTE: Again, due to a difference of 20 spots btwn last name herein & next one eligible (& ever exponentially increasing with every subsequent candidate btw), ethics dictated the possibility of no more than the 136 cut-off number arrived at, for this most hallowed of Indian film honor lists.

Position  

Name

Eg. of Work                                                                            

1

Rajesh Khanna

Anand

2

Ashok Kumar

Mahal

3

Dilip Kumar

Gunga Jumna

4

Dev Anand

Kala Bazar

5

Meena Kumari

Kaajal

6

Suchitra Sen

Aandhi

7

Shashi Kapoor

Deewaar

8

Shammi Kapoor

Vidhaata

9

Uttam Kumar

Chiriyakhana

10

Prem Nazir

Pancha Thanthram

11

Madhavi Mukherjee

Diba Ratrir Kabya

12

N.T. Rama Rao

Daana Veera Soora Karna

13

Rajendra Kumar Tuli

Jurrat

14

Madhubala

Mughal-E-Azam

15

Vanisri

Kathanayika Molla

16

Sowcar Janaki

Iru Kodugal

17

C.R. Vijayakumari

Kadhal Sadugudu

18

Rajasulochana

Piya Milan

19

Varalakshmi S.

Chakravarthi Thirumagal

20

T.R. Rajakumari

Thangamalai Rahasyam

21

Pandari Bai

Namma Makkalu

22

Sujatha

Guppedu Manasu

23

Jayamala

Purana Purush

24

Sharada

Samaj Ko Badal Dalo

25

Jayabharathi

Marupakkam

26

Arathi

Dharmasere

27

Urvashi

Soorarai Pottru

28

K.R. Savithri

Yaathra

29

Dharmendra

Sholay

30

K.P.A.C. Lalitha

Godfather

31

Sreeleela

PellisandaD

32

Aachi Manorama

Puthiya Pathai

33

Usharani

Hitler

34

Shanvi Srivastava

Tarak

35

Shreeram Lagoo

Gharaonda

36

Kavita Srinivasan

P.S. Zindagi

37

Nargis

Mother India

38

Kamini Kaushal

Kabir Singh

39

Nutan

Seema

40

Mala Sinha

Jahan Ara

41

Waheeda Rehman

Guide

42

Mumtaz Askari

Khilona

43

Rekha

Koi... Mil Gaya

44

Rakhee Gulzar

Daag: A Poem of Love

45

Ruby Mayer

Talash

46

Rose

Hamari Betiyan

47

Anita Guha

Kan Kan Men Bhagwan

48

Bibbo

Manmohan

49

Nimmi

Arpan

50

Nalini Jaywant

Kala Pani

51

Bina Rai

Taj Mahal

52

Sushila Devi

Kalidas

53

Chandraprabha

Jawani Ki Hawa

54

Sushila

Hatimtai

55

Gulab

Janjir Ne Jankare

56

Paro

Ustad 420

57

Madhuri

Thokar

58

Sakina

Sukanya Savitri

59

Vanamala

Parbat Pe Apna Dera

60

Mandakini Phalke

Kaliya Mardan

61

Sabita Devi

Grama Kanya

62

Ranjana

Didi

63

Meera

Aurat

64

Sardar Akhtar

Hulchul

65

Umasashi

Anath Ashram

66

Mohini

Anun Naam Te Bairi

67

Maya Banerjee

Seva Samaj

68

Nanda Karnataki

Mohabbat Isko Kahete Hain

69

Indrani Mukherjee

Bharat Milap

70

Ansuya

Delhi Ka Thug

71

Miss Feroze

Bharat Ka Lal

72

Swaroop Rani

Kamroo Desh Ki Kamini

73

Chand Usmani

Pehchan

74

Miss Devangana

Bharat Ka Lal

75

Sumitra Devi

Raja Harishchandra

76

Kanan Devi

Haar Jeet

77

Sophia

Neel Kamal

78

Sushilabala

Bilet Ferat

79

Patience Cooper

Nala Damayanti

80

Rattan Bai

Bhikharan

81

Gohar K. Mamajiwala

Akeli Mat Jaiyo

82

Rani Bala

Hasrat

83

Sharifa

Shirin Farhad

84

Bimla Kumari

Baghban

85

Pramila

Bhikharan

86

Snehprabha

Khilona

87

Asha Parekh

Sajan

88

Sulakshana Pandit

Sankalp

89

Moti

Kulin Kanta

90

Laxmi

Radha Krishna

91

Chanda

Suhaag

92

Leela Chitnis

Kangan

93

Zubeida

Heer Ranjha

94

Jehanara Kajjan

Shirin Farhad

95

Hansa Wadkar

Nav Jeevan

96

Moushumi Chatterjee

Bollywood/Hollywood

97

Baby Mayuri

Lal-e-Yaman

98

Lola

The Arcadians

99

Sultana

Bhola Shikar

100

Balraj Sahni

Baazi

101

Tripti Mitra

Jukti, Takko Aar Gappo

102

Gemini Ganesan

Naan Avanillai

103

Shivaji Ganesan

Deiva Magan

104

M.G. Ramachandran

Kudiyiruntha Koyil

105

Rati Agnihotri

Ek Duuje Ke Liye

106

Chandini

Celluloid

107

Jaishankar

Nilagiri Express

108

Charan Raj

Athadu

109

Bhagyaraj

Oru Kai Osai

110

Pallavi

Urimai Geetham 1988

111

Lakshmi

Chattakkari

112

Anil Chatterjee

Sagina Mahato

113

Subhendu Chatterjee

Aranyer Din Ratri

114

Anjana Bhowmik

Diba Ratrir Kabya

115

Pradeep Kumar

Do Dilon Ki Dastaan

116

Kamal Mitra

Parineeta

117

Biswajeet Chatterjee

Do Dil

118

Bobita

Poka Makorer Ghar Bosoti

119

Sandhya

Navrang

120

Savitri Chatterjee

Kal Tumi Aleya

121

Shantaram Rajaram Vankudre

Do Ankhen Barah Haath

122

Khatun

Pagal

123

Ravichandran

Majunu

124

R. Muthuraman

Karnan

125

Suryakant

Irsha

126

Shanta Apte

Duniya Na Mane

127

Kishore Kumar

Sholay

128

Santosh Dutta

Teen Kanya

129

Sathyaraj

Bãhubali: The Beginning

130

Lily Chakravarty

Sanjhbati

131

Dilip Roy

Amrita Kumbher Sandhaney

132

Varada Jishin

Vasthavam

133

Sundari Nirada

Barer Bazar

134

Master Vinayak

Brahmachari

135

Khurshid Begum

Tansen

136

Rituparna Sengupta

Ahaa Re

[balajisongs1]

Awesome Smule duet || சுந்தரி கண்ணால் ஒரு - Sundari Kannaal Oru || Tamil super hit by Ilayaraja

from

Film: Thalapathi

Music - Ilayaraja

Singers - S.P. Bala Subrahmaniyam and S. Janaki

Lyrics - Vaali

Social Page

Facebook - https://www.facebook.com/balaji.chak

I request everyone to subscribe us!

If you like this video, follow it for more.

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[ra13sa]

Smule இல் "Oho Enthan Baby 🎀 ஓஹோ எந்தன் பேபி" பாருங்கள்

#Smule இல் இந்த அருமையான "Oho Enthan Baby 🎀 ஓஹோ எந்தன் பேபி" ரெக்கார்டிங்கைப் பார்த்தேன்: https://www.smule.com/sing-recording/2428879793_4989090141

[beatverse1]

The Intersection of Bollywood and Regional Music

Indian music is an intricate tapestry woven from diverse cultures, languages, and traditions. From the vibrant beats of Bollywood to the soulful renditions of regional music, the intersection of these musical worlds showcases India’s unique ability to harmonize variety. This blend of genres has not only enriched the Indian music industry but also fostered a deeper connection among its audience.

One of the most prominent figures bridging Bollywood and contemporary music is Ayushmann Khurrana. Known initially for his acting prowess, Ayushmann's foray into singing brought a fresh wave of relatability and simplicity to Bollywood music. His ability to connect with listeners through songs like "Pani Da Rang" and "Mitti Di Khushboo" highlights his rootedness in Indian traditions, while his modern interpretations reflect an evolving musical ethos. His journey emphasizes the growing acceptance of multi-faceted artists in the industry, celebrating talent that transcends traditional roles.

While Bollywood represents the mainstream, its golden era owes much to the brilliance of Laxmikant–Pyarelal. This legendary composer duo dominated the industry for decades, crafting timeless melodies that remain iconic. Their contributions to Bollywood not only set high benchmarks for musical composition but also influenced regional music styles, bridging the gap between Hindi cinema and local flavors. Songs like “Ek Pyar Ka Nagma Hai” and “Dosti” demonstrate their unparalleled ability to convey universal emotions that resonate with audiences across India, irrespective of linguistic boundaries.

The impact of meaningful lyrics in music cannot be understated. In this regard, Prasoon Joshi has revolutionized the art of songwriting. As a lyricist and poet, he infuses his work with profound emotions, creating songs that are both impactful and enduring. Prasoon's poetic expressions often carry themes of love, resilience, and introspection, enriching Bollywood soundtracks with layers of meaning. His works, including “Maa” from Taare Zameen Par, showcase his ability to translate human experiences into moving compositions, which find resonance even in regional adaptations.

South Indian music has always stood as a strong pillar of India’s diverse musical framework. A notable figure in this realm is Haricharan, whose versatility and vocal range have made him a beloved name. Singing in multiple languages, including Tamil, Telugu, Kannada, and Malayalam, Haricharan exemplifies the seamless integration of regional music into the national consciousness. His emotive performances, especially in romantic ballads and devotional songs, underline the richness of South Indian music and its deep cultural roots. His collaborations with Bollywood composers further demonstrate the mutual respect and influence between regional and mainstream music.

No discussion of South Indian music is complete without acknowledging the monumental contributions of S Janaki. Known as the Nightingale of South India, S Janaki’s career spans decades and encompasses thousands of songs in multiple languages. Her unparalleled ability to adapt her voice to suit diverse musical styles and moods has earned her a place among the most celebrated singers in Indian history. Whether it’s a classical Carnatic piece or a playful film number, her performances reflect the essence of Indian music’s versatility.

The interplay between Bollywood and regional music is more than just a creative collaboration; it is a celebration of India’s pluralistic heritage. This intersection allows Bollywood to draw from the authenticity of regional sounds while providing a broader platform for these traditions. Similarly, regional music gains a wider audience, enriching Bollywood with its diversity. Icons like Ayushmann Khurrana, Laxmikant–Pyarelal, Prasoon Joshi, Haricharan, and S Janaki exemplify this harmonious exchange, showcasing the best of what Indian music has to offer.

Indian music’s global appeal lies in its ability to honor its roots while embracing innovation. This interplay of influences continues to shape its identity, resonating with audiences far and wide. By celebrating the contributions of these remarkable artists, we reaffirm our appreciation for the diversity that defines Indian music, ensuring its legacy endures for generations to come.

[andthemoonsingswisely]

any of my mutuals interested in old Indian music pleaseee dm I literally am so obsessed w old Tamil and Hindi songs lata mangeshkar p susheela s janaki literal icons omg

[seetharamaiah1]

Neeli Meghaalalo (S Janaki Version)

[madhansband]

Song of the week from the previous show:

சின்ன சின்ன வண்ணக்குயில் | Chinna Chinna Vanna Kuyil | Madhan's Band | S Janaki Songs | Mouna Ragam

video link: https://youtu.be/i62uYozyAI4

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Original Song Credits:

Movie: Mouna Ragam1986 Lyrics: Vaali Singer : S. Janaki Music by : Ilayaraja

லலல….லலல லலல….லலல லலலலலல… லலலலலல… லலலலலல… லலலலலல… லலலலலல…

சின்ன சின்ன வண்ண குயில் கொஞ்சி கொஞ்சி கூவுதம்மா புரியாத ஆனந்தம்… புதிதாக ஆரம்பம்… புரியாத ஆனந்தம் புதிதாக ஆரம்பம் பூத்தாடும் தேன் மொட்டு நானா நானா

சின்ன சின்ன வண்ண குயில் கொஞ்சி கொஞ்சி கூவுதம்மா

மன்னவன் பேரை சொல்லி மல்லிகை சூடி கொண்டேன் மன்மதன் பாடல் ஒன்று நெஞ்சுக்குள் பாடி கொண்டேன் சொல்ல தான் எண்ணியும் இல்லயே பாஸைகள் என்னவோ ஆசைகள் எண்ணத்தின் ஒசைகள்

மாலை சூடி ம்ம்ம்… மஞ்சம் தேடி ம்ம்ம்…

மாலை சூடி ம்ம்ம்… மஞ்சம் தேடி ம்ம்ம்…

காதல் தேவன் சன்னிதி காண காண காண காண

சின்ன சின்ன வண்ண குயில் கொஞ்சி கொஞ்சி கூவுதம்மா புரியாத ஆனந்தம்… புதிதாக ஆரம்பம்… புரியாத ஆனந்தம் புதிதாக ஆரம்பம் பூத்தாடும் தேன் மொட்டு நானா நானா சின்ன சின்ன வண்ண குயில் கொஞ்சி கொஞ்சி கூவுதம்மா

மேனிக்குள் காற்று வந்து மெல்ல தான் ஆட கண்டேன் மங்கைக்குள் காதல் வெள்ளம் கங்கை போல் ஓட கண்டேன் இன்பதின் எல்லையோ இல்லயே இல்லயே ஆந்தியும் வந்ததால் தொல்லையே தொல்லையே

காலம் தோறும் ம்ம்… கேட்க வேண்டும் ம்ம்…

காலம் தோறும் ம்ம்… கேட்க வேண்டும் ம்ம்…

பருவம் என்னும் கீர்த்தனம் பாட பாட பாட பாட

சின்ன சின்ன வண்ண குயில் கொஞ்சி கொஞ்சி கூவுதம்மா

புரியாத ஆனந்தம்… புதிதாக ஆரம்பம்… புரியாத ஆனந்தம் புதிதாக ஆரம்பம் பூத்தாடும் தேன் மொட்டு நானா நானா

சின்ன சின்ன வண்ண குயில் கொஞ்சி கொஞ்சி கூவுதம்மா

சின்ன சின்ன வண்ண குயில் கொஞ்சி கொஞ்சி கூவுதம்மா…

[musicverse11]

Why S Janaki is South India’s Eternal Nightingale

S Janaki, famously known as the “Nightingale of South India,” is one of the most celebrated playback singers in the history of Indian cinema. Her melodious voice has left an indelible mark on the hearts of millions, transcending linguistic and cultural barriers. With a career spanning over six decades, she has sung in more than 17 languages and recorded over 20,000 songs, an achievement that few artists in the world can match. From soulful melodies to peppy numbers, S Janaki’s versatility is unparalleled, making her a legend in the realm of music.

In this article, we’ll take a closer look at her early life, her rise to stardom, career highlights, and the lasting legacy that continues to inspire generations of music lovers and artists.

Early Life and Musical Beginnings

Born on April 23, 1938, in Repalle, a small town in Andhra Pradesh, S Janaki showed an innate talent for music from a young age. Encouraged by her family, she began her formal training in classical music. Her early exposure to traditional South Indian music laid a strong foundation for her future career.

However, S Janaki’s journey to stardom was not without its challenges. She moved to Chennai, then the hub of South Indian cinema, with dreams of becoming a playback singer. The fiercely competitive industry presented numerous hurdles, but her perseverance and raw talent eventually caught the attention of renowned music director R. Sudarsanam, who gave her her first big break in the Tamil film Vidhiyin Vilayattu in 1957. This marked the beginning of an illustrious career.

Career Highlights

S Janaki quickly rose to prominence, becoming one of the most sought-after playback singers in the Indian film industry. Her collaborations with legendary composers such as Ilaiyaraaja, M. S. Viswanathan, Ramesh Naidu, and Laxmikant–Pyarelal produced timeless classics that remain popular to this day.

One of her most notable strengths was her ability to adapt her voice to suit the mood of a song and the character of the actor on screen. Whether it was the playful “Rangamma Mangamma” or the poignant “Poo Malaye Thol Serava,” she delivered each rendition with unmatched emotion and technical brilliance.

Her versatility extended beyond language barriers. She sang fluently in Tamil, Telugu, Malayalam, Kannada, Hindi, and several other languages, earning her a pan-Indian fanbase. Some of her most memorable songs include:

“Sendhoora Poove” from 16 Vayathinile (Tamil)

“Janani Janani” from Thai Moogambigai (Tamil)

“Sirimalle Puvva” from Siri Siri Muvva (Telugu)

“Anuraga Vilochananaayi” from Dharmakshetra Kurukshetra (Malayalam)

“O Sajna Barkha Bahaar Aayi” (Hindi)

Her partnership with Ilaiyaraaja was particularly fruitful, producing some of the most iconic songs of the 1970s and 1980s. Together, they pushed the boundaries of film music, blending traditional and modern elements seamlessly.

Accolades and Recognition

S Janaki’s extraordinary talent did not go unnoticed. Over her career, she garnered numerous awards and accolades, including:

Four National Film Awards for Best Female Playback Singer.

33 State Film Awards from Tamil Nadu, Andhra Pradesh, Kerala, and Karnataka.

Honorary Doctorate: Recognized for her contribution to Indian music.

Several prestigious awards such as the Kalaimamani Award and Filmfare Awards South.

Despite her numerous accolades, S Janaki remained a humble artist who credited her success to the blessings of her mentors and the love of her fans.

The Emotional Connection in Her Music

What truly sets S Janaki apart is her ability to convey deep emotions through her voice. She didn’t just sing notes; she told stories and brought characters to life. Audiences felt the pain, joy, love, and sorrow of the characters she sang for.

For example, her rendition of “Unnai Naan Ariven” (Tamil) is often cited as a masterpiece in emotive singing. The pain and longing in her voice elevate the song beyond mere music, making it a deeply moving experience for the listener.

Her unmatched control over her voice allowed her to experiment with different genres and styles. From romantic ballads to devotional hymns, she mastered it all.

Retirement and Legacy

In 2016, S Janaki announced her retirement from playback singing, marking the end of an era. However, her songs continue to dominate playlists and serve as a benchmark for aspiring singers.

Her influence on Indian music is immeasurable. She inspired countless singers, including Shreya Ghoshal, Chinmayi Sripada, and others, who cite her as a major influence on their careers.

Even today, her live performances draw large crowds, proving that her voice is as enchanting as ever.

Conclusion

S Janaki contributions to Indian cinema and music are nothing short of monumental. Her voice has the power to transport listeners to another world, making her songs timeless treasures. She is not just a singer; she is an emotion, a memory, and a symbol of the golden era of Indian music.

As fans, we can only feel grateful for the countless moments of joy her music has brought into our lives. Her legacy will continue to inspire and resonate with generations to come.

Celebrate the genius of S Janaki by revisiting her classic songs. Share her music with the younger generation to keep her legacy alive. Let the world know why S Janaki will always remain the “Nightingale of South India.”

[voidsteffy]

For the music asks:

A song that reminds you of your childhood

A song to listen to whilst you lie in a meadow

A song that you like that the lyrics are just so beautiful they’re practically poetry

A song that reminds you of your childhood

And

Because I'm a basic bitch like that✨

A song to listen to whilst you lie in a meadow

Or

A song that you like that the lyrics are just so beautiful they're practically poetry

Or

Or

The small verse before Jane Kya Tune Kahi from Pyaasa. It goes like:

Phir na kije meri gustakh nigaho ka gila, dekhiye... Aap ne pyaar se dekha mujhko...

Which is actually a verse from the song (of the same title) from Phir Subah Hogi (1958)... I'm actually curious about how the same verse ended up in both movies. Jane Kya Tune Kahi has Sahir in the lyricist section while the song in Phir Subah Hogi has it as Khayyam saab.

People, admit me to @kaagazkefool and tell them I'm one more google search away from:

(although maybe they just kept that one verse from Khayyam's urdu shayri as a meta signal.... And the rest of the song was written by Sahir)

Anyway.... Bro thanks for the ask. If you hadn't asked I wouldn't have unlocked this level in bnw indian cinema✨🥹

[atplblog]

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