#story explained in tamil

[burningtacostranger]

মেয়ে ও বাবা একটি বিধ্বস্ত গাড়ির মধ্যে আটকে পরে | Frost movie explained in Bangla

মেয়ে ও বাবা একটি বিধ্বস্ত গাড়ির মধ্যে আটকে পরেছিল বরফ আর ঠান্ডার মধ্যে কোনো ভাবে বেঁচেছিল । কিন্তু তার উপর আরো ঝড় শুরু হয়ে যায়। কি হয়েছিল তাদে�� সাথে ! A young woman and her estranged father fight to survive after being stranded on a remote mountainside during a winter storm. Credits: Director:Brandon Slagle Writers:James Cullen BressackRobert Thompson Stars:Devanny PinnVernon WellsVenus DeMilo Thomas

[1010ninetynine]

kavetham storyboard for an animatic. i'm going to story board the whole song (eventually), but how much I animate is largely dependent on how hard animation is (the words of a woman who's never animated before)

now my native language (as in the one my parents speak) is tamil not hindi however being from a traditional indian family with a desire for u to be able to fit in India if we ever wanna go back means they tried to teach you some hindi so one of these days i'll explain the animatic with a shitty translation. (if you're a hindi speaker lemme know how well the animatic fits.

this is the song btw

and this is the ship because my drawings are not the best

made in loving memory of my parents. yes, really. my parents saw these two while I was playing Kaveh's hangout and thought they were married. I told them China hated gay people, they said "CLEARLY NOT" make of that what you will...

[bijoumikhawal]

The Song of Songs has quite recently (1973) been assigned to the time of Solomon by a distinguished Hebraist, Professor Chaim Rabin of the Hebrew University in Jerusalem. For more than forty years now evidence has been accumulating for some kind of relationship between the cities of the Harrapan civilization of the Indus Valley and lower Mesopotamia during the latter part of the third millennium B.C. and into the second (cf. C. J. Gadd, PBA, 1932). Rabin (205) called attention to the few dozen typical Indus culture seals which have been found in various places in Mesopotamia, some of which seem to be local imitations. He suggested that these objects were imported not as knickknacks, but because of their religious symbolism by people who had been impressed by Indus religion. To the examples of Indus type seals in Mesopotamia cited by Rabin (217n2), we may add a dated document from the Yale Babylonian Collection, an unusual seal impression found on an inscribed tablet dated to the tenth year of Gimgunum, king of Larsa, in Southern Babylonia, which according to the commonly accepted "middle" chronology would be 1923 B.C. (B. Buchanan, 1967).

[...]

Rabin cited a story from the Buddhist Jatakas, the Baveru Jataka, which tells of Indian merchants delivering a trained peacock to the kingdom of Baveru, the bird having been conditioned to scream at the snapping of fingers and to dance at the clapping of hands. Since maritime connection between Mesopotamia and India lapsed after the destruction of the Indus civilization, and since the name Baveru (i.e. Babel, Babylon) would hardly have been known in the later period when trade with India went via South Arabia, Rabin concluded that the Jataka story about the peacock must ultimately date before 2000, an example of the tenacity of Indian tradition (p. 206). Ivory statuettes of peacocks found in Mesopotamia suggest that the birds themselves may also have been imported before 2000 B.C. (cf. W. F. Leemans, 1960, 161, 166), and Rabin (206) wondered whether the selection of monkeys and peacocks for export may not have derived from the Indian tendency to honor guests by presenting them with objects of religious significance. Imports of apes and peacocks are mentioned in connection with Solomon's maritime trade in I Kings 10:22 [=II Chron 9:21], the roundtrip taking three years. The word for "peacocks," tukkiyyim, singular tukki, has since the eighteenth century been explained as a borrowing of the Tamil term for "peacock," tokai. Tamil is a Dravidian language which in ancient times was spoken throughout South India, and is now spoken in the East of South India. Scandinavian scholars claim to have deciphered the script of the Indus culture as representing the Tamil language (cf. Rabin, 208, 218n20). Further evidence of contact with Tamils early in the first millennium B.C. is found in the names of Indian products in Hebrew and in other Semitic languages. In particular Rabin cites the word 'ahalot for the spice wood "aloes," Greek agallochon, Sanskrit aghal, English agal-wood, eagle-wood, or aloes, the fragrant Aquilaria agallocha which flourishes in India and Indochina. The Tamil word is akil, now pronounced ahal. Its use for perfuming clothing and bedding is mentioned in Ps 45:9 [8E] and Prov 7:17 and Rabin surmised that the method was one still current in India, the powdered wood being burned on a metal plate and the clothing or bedding held over the plate to absorb the incense. Rabin supposed that it was necessary to have observed this practice in India in order to learn the use of the substance (p.209). Aloes are mentioned in 4:14 among the aromatics which grace the bride's body. The method of perfuming bedding and clothing by burning powdered aloes beneath them may clarify the puzzling references to columns of smoke, incense, and pedlar's powders in connection with the epiphany of "Solomon's" splendiferous wedding couch ascending from the steppes (3:6-10), bearing it seems (cf. 8:5) the (divine?) bride and her royal mate. Myrrh and frankincense only are mentioned, but "all the pedlar's powders" presumably included the precious aloes from India.

Opportunity to observe Indian usages would have been afforded visitors to India in the nature of the case, since the outward journey from the West had to be made during the summer monsoon and the return trip during the winter monsoon, so that the visitor would have an enforced stay in India of some three months. Repeated visits with such layovers would provide merchant seamen with the opportunity to learn a great deal about local customs, beliefs, and arts.

After a brief critique of modern views about the Song of Songs, none of which has so far found general acceptance, Rabin ventured to propound a new theory based on Israel's commercial contacts with India during Solomon's reign.

There are three features which,in Rabin's view (pp. 210f), set the Song of Songs apart from other ancient oriental love poetry. Though occasional traces of these maybe found elsewhere, Rabin alleged that they do not recur in the same measure or in this combination:

1. The woman expresses her feelings of love, and appears as the chief person in the Song. Fifty-six verses are clearly put into the woman's mouth as against thirty-six into the man's (omitting debatable cases).

2. The role of nature in the similes of the Song and the constant reference to the phenomena of growth and renewal as the background against which the emotional life of the lovers moves, Rabin regarded as reflecting an attitude toward nature which was achieved in the West only in the eighteenth century.

3. The lover, whether a person or a dream figure, speaks with appropriate masculine aggressiveness, but the dominant note of the woman's utterances is longing. She reaches out for a lover who is remote and who approaches her only in her dreams. She is aware that her longing is sinful and will bring her into contempt (8:1) and in her dream the "watchmen" put her to shame by taking away her mantle (5:7). Ancient eastern love poetry, according to Rabin, generally expresses desire, not longing, and to find parallels one has to go to seventeenth-century Arab poetry and to the troubadours, but even there it is the man who longs and the woman who is unattainable.

These three exceptional features which Rabin attributed to the Song of Songs he found also in another body of ancient poetry, in the Sangam poetry of the Tamils. In three samples, chosen from the Golden Anthology of Ancient Tamil Literature by Nalladai R. Balakrishna Mudaliar, Rabin stressed the common theme of women in love expressing longing for the object of their affection, for their betrothed or for men with whom they have fallen in love, sometimes without the men even being aware of their love. The cause of the separation is rarely stated in the poem itself, but this is rooted in the Tamil social system and code of honor in which the man must acquire wealth or glory, or fulfill some duty to his feudal lord or to his people, and thus marriage is delayed. There is conflict between the man's world and the woman's and her desire to have her man with her. This conflict is poignantly expressed in one of the poems cited (Rabin, 212) in which a young woman whose beloved has left her in search of wealth complains: I did his manhood wrong by assuming that he would not part from me. Likewise he did my womanhood wrong by thinking that I would not languish at being separated from him. As a result of the tussle between two such great fortitudes of ours, my languishing heart whirls inagony, like suffering caused by the bite of a cobra.

In the Tamil poems the lovelorn maiden speaks to her confidante and discusses her problems with her mother, as the maiden of the Song of Songs appeals to the Jerusalem maids and mentions her mother and her lover's mother; but neither in the Tamil poems nor the Song of Songs is there mention of the maiden's father. In Rabin's view the world of men is represented by "King Solomon," surrounded by his soldiers, afraid of the night (3:7-8), with many wives and concubines (6:8), and engaged in economic enterprises (8:11). Significantly, however, according to Rabin (p. 213), Solomon's values seem to be mentioned only to be refuted or ridiculed: "his military power is worth less than the crown his mother (!) put on him on his wedding day; the queens and concubines have to concede first rank to the heroine of the Song; and she disdainfully tells Solomon (viii 12) to keep his money."

Since the Sangam poetry is the only source of information for the period with which it deals, Rabin plausibly surmised that the recurring theme of young men leaving home to seek fortune and fame, leaving their women to languish, corresponded to reality, i.e. the theme of longing and yearning of the frustrated women grew out of conditions of the society which produced these poems. Accordingly, the cause for the lover's absence need not be explicitly mentioned in the Tamil poems and is only intimated in elaborate symbolic language. Similarly, Rabin finds hints of the nonavailability of the lover in the Song of Songs. The references to fleeing shadows in 2:17, 4:6-8, and 8:14 Rabin takes to mean winter time when the shadows grow long. The invitation to the bride to come from Lebanon, from the peaks of Amana, Senir, and Hermon in 4:6-8 means merely that the lover suggests that she think of him when he traverses those places. The dream like quality of these verses need not, inRabin's view, prevent us from extracting the hard information they contain. The crossing of mountains on which or beyond which are myrrh, incense, and perfumes all lead to South Arabia, the land of myrrh and incense. Thus the young man was absent on a caravan trip. Even though he did not have to traverse Amana or Hermon to reach Jerusalem from any direction, he did have to traverse mountains on the trip and in South Arabia he had to pass mountain roads between steep crags ("cleft mountains") and it was on the slopes of such mountains that the aromatic woods grew ("mountains of perfume"). Coming from South Arabia, however, one had to cross Mount Scopus, "the mountain of those who look out," from which it is possible to see a caravan approaching at a considerable distance. In 3:6 "Who is she that is coming up from the desert, like pillars of smoke, perfumed with myrrh and incense, and all the powders of the perfume merchant?" is taken to refer to the caravan, the unexpressed word for "caravan" sayyarah, being feminine (Rabin, 214 and 219n29). "The dust raised by the caravan rises like smoke from a fire,but the sight of the smoke also raises the association of the scent a caravan spreads around it as it halts in the market and unpacks its wares."

The enigmatic passage 1:7-8 Rabin also related to a camel caravan despite the pastoral terminology. Rabin's theory encounters difficulty with the repeated use of the verb r'y, "pasture," and its participle, "pastor, shepherd" in view of which commentators commonly regard the Song as a pastoral idyl. His solution is to suggest that the term may have some technical meaning connected with the management of camels.

The list of rare and expensive spices in 4:12-14 reads so much like the bill of goods of a South Arabian caravan merchant that Rabin is tempted to believe that the author put it in as a clue.

Be it what it may, it provides the atmosphere of a period when Indian goods like spikenard, curcuma, and cinnamon, as well as South Arabian goods like incense and myrrh, passed through Judaea in a steady flow of trade. This can hardly relate to the Hellenistic period, when Indian goods were carried by ship and did not pass through Palestine: it sets the Song of Songs squarely in the First Temple period (Rabin,215).

As for the argument that the Song contains linguistic forms indicating a date in the Hellenistic period, Rabin points out that the alleged Greek origins of 'appiryon in 3:9 and talpiyyot in 4:4, the former word supposedly related to phoreion, "sedan chair," and the latter to telopia, "looking into the distance,"are dubious.

The phonetic similarity between the Greek and Hebrew words is somewhat vague, and this writer considers both attributions to be unlikely, but even acceptance of these words as Greek does not necessitate a late dating for the Song of Songs, since Mycenaean Greek antedates the Exodus. Neither word occurs elsewhere in the Bible, so that we cannot say whether in Hebrew itself these words were late. In contrast to this, pardes "garden, plantation," occurs, apart from 4:13, only in Nehemiah 2:8, where the Persian king's "keeper of the pardes" delivers wood for building, and in Ecclesiastes 2:5 next to "gardens." The word is generally agreed to be Persian, though the ancient Persian original is not quite clear. If the word is really of Persian origin, it would necessitate post-exilic dating. It seems to me, however, that this word, to which also Greek paradeisos belongs, maybe of different origin.

[...]

Rabin's summation of his view of the Song of Songs is of such interest and significance as to warrant citation of his concluding paragraphs (pp.216f):

It is thus possible to suggest that the Song of Songs was written in the heyday of Judaean trade with South Arabia and beyond (and this may include the lifetime of King Solomon) by someone who had himself travelled to South Arabia and to South India and had there become acquainted with Tamil poetry. He took over one of its recurrent themes, as well as certain stylistic features. The literary form of developing a theme by dialogue could have been familiar to this man from Babylonian-Assyrian sources (where it is frequent) and Egyptian literature (where it is rare). He was thus prepared by his experience for making a decisive departure from the Tamil practice by building what in Sangam poetry were short dialogue poems into a long work, though we may possibly discern in the Song of Songs shorter units more resembling the Tamil pieces. Instead of the vague causes for separation underlying the moods expressed in Tamil poetry, he chose an experience familiar to him and presumably common enough to be recognized by his public, the long absences of young men on commercial expeditions. I think that so far our theory is justified by the interpretations we have put forward for various details in the text of the Song of Songs. In asking what were the motives and intentions of our author in writing this poem, we must needs move into the sphere of speculation. He might, ofcourse, have been moved by witnessing the suffering of a young woman pining for her lover or husband, and got the idea of writing up this experience by learning that Tamil poets were currently dealing with the same theme. But I think we are ascribing to our author too modern an out look on literature. In the light of what we know of the intellectual climate of ancient Israel, it is more probable that he had in mind a contribution to religious or wisdom literature, in other words that he planned his work as an allegory for the pining of the people of Israel, or perhaps of the human soul, for God. He saw the erotic longing of the maiden as a simile for the need of man for God. In this he expressed by a different simile a sentiment found, for instance, in Psalm 42:24: "Like a hind that craves for brooks of water, so my soul craves for thee, O God. My soul is a thirst for God, the living god: when shall I come and show myself before the face of God? My tears are to me instead of food by day and by night, when they say to me day by day: Where is your god?" This religious attitude seems to be typical of those psalms that are now generally ascribed to the First Temple period, and, as far as I am aware, has no clear parallel in the later periods to which the Song of Songs is usually ascribed.

Rabin considered the possibility of moving a step further in speculation about Indian influence.

In Indian legend love of human women for gods, particularly Krishna, is found as a theme. Tamil legend, in particular, has amongst its best known items the story of a young village girl who loved Krishna so much that in her erotic moods she adorned herself for him with the flower-chains prepared for offering to the god's statue. When this was noticed, and she was upbraided by her father, she was taken by Krishna into heaven. Expressions of intensive love for the god are a prominent feature of mediaeval Tamil Shaivite poetry. The use of such themes to express the relation of man to god may thus have been familiar to Indians also in more ancient times, and our hypothetical Judaean poet could have been aware of it. Thus the use of the genre of love poetry of this kind for the expression of religious longing may itself have been borrowed from India.

Rabin's provocative article came to the writer's attention after most of the present study had been written. It is of particular interest in the light of other Indian affinities of the Song adduced elsewhere in this commentary.

pg 27-33, Song of Songs (commentary) by Marvin Pope

[thereader-radhika]

An analysis of Nandini - Veera Pandyan relationship and answering some questions

The relationship between Nandini and Veera Pandyan is something that has perplexed Ponniyin Selvan readers for almost 70 years. Were they married? Were they living together as lovers? Was Veera Pandyan Nandini's father? Were they in an incestuous relationship? Did they have a son?

There are enough reasons for this confusion. Nandini tells Karikalan that Veera Pandyan is her lover. Aabathudavigal too call her his wife and Queen. Nandini tells "Veera Pandyan's son' that she is his mother.

So, what was the relationship between Nandini and Veera Pandyan?

Nothing. It might be surprising, but there was absolutely no relationship between Nandini and Veera Pandyan when Veera Pandyan lived.

(There is a possibility that he was Nandini's father. Nandini believed so but any physically strong person could have taken advantage of a lonely heartbroken mute woman like Mandakini)

A little bit about Nandini's life before meeting Veera Pandyan . . .

Nandini never explains her life story to anyone. We get a picture of Nandini's life through others. Their stories are pretty consistent across the books, except some omissions like Alwarkadiyan not telling Vanthiyathevan that it was he himself who took newborn Nandini to his village.

After being forced to leave Aditha Karikalan, Nandini decided not to marry anyone else. Remember that Nandini was not a financially independent woman from a progressive family. There must have been immense pressure on her to get married, especially after the marriage of her sister (yes, she had an elder sister who is mentioned only once).

So Nandini took refuge in the only outlet she had - devotion. His sister becoming a saint like Andal was acceptable for Alwarkadiyan too. Nandini renounced worldly life, wandered with her brother and sang devotional hymns in different temples across Tamil Nadu.

One time, around the time of the sister's delivery, Nandini stays back at their home and Alwarkadian leaves for Thiruvenkadam (Tirupati). Pandya Aabathudavigal brought an injured Veera Pandyan to Nandini's hut. Nandini treated him for a few days.

Why do Aapathudaivikal call her their Queen and Veerapandyan's wife?

Veera Pandyan, injured and delirious, told everyone that Nandini is his queen, he is going to marry her and place her on the Pandya throne with him.

We know that Mandakini and Nandini shared a strong resemblance and Veera Pandyan had a connection with Mandakini. Karuthiruman later says that Veera Pandyan paid him a lot of money to bring Mandakini to Madurai. In his last days, Veera Pandyan was not in a condition to recognise that around twenty years have passed and the girl before him is a different person.

Hell, he was not in a state to get up from his bed when someone came to kill him.

Why was Nandini alone with Veera Pandyan?

Aapathudaivikal who were with Veera Pandyan somehow got last minute information that Aditha Karikalan is coming. Nandini, who felt pity, promised to save him and asked them to hide. She must have told them that Aditha Karikalan once loved her and wouldn't reject her request. Ravidasan, their ever pragmatic leader, recognised that letting the girl use her charm is better than all of them dying. As I said earlier, Veera Pandyan himself was grievously ill and couldn't move from his bed. 

Why does Nandini say that Veera Pandyan is her lover? Couldn't she have said that Veera Pandyan is her father?

Killing or defeating enemies and marrying their daughters was very common in that period. There is a living example in the Chola royal family itself - Sundara Cholan's mother Kalyani, whom Arinjayan married due to her unparalleled beauty was the daughter of a defeated vassal. Vanthiyathevan reminiscens about her when he thinks about the inconsistent enemity and friendship between royals.

Killing your own family wasn't uncommon either. The close relationship of Cholas and Rashtakutas turned into enemity because Paranthaka I was crowned as Aditya I's successor instead of Kannara Devan, the son of "munnam pugunda mita deviyar" (senior queen) Ilangon Pichchi, the daughter of the Rashtrakuta Emperor Krishna II.

Why did Aapathudaivikal try to burn her on Veera Pandyan's pyre?

They were angered by her failure to save Veera Pandyan and wanted to punish her.

Why does Nandini address Veera Pandyan's head as "my lover"? By now, Nandini had deducted that Veera Pandyan is her father. Still, why does she treat "him" like her lover?

Trauma

Some stranger with armed guards telling you indecent things when you are all alone with them in itself is pretty traumatic. After his murder, Nandini was destined to spend a lot of time with an even older man who sees her as a sexual object- Periya Pazhuvettaraiyar, her husband.

He often asks her about living as 'husband and wife', but she uses saccharine words, empty promises and excuses to postpone their consummation. Then she realised that Veera Pandyan could have been her father which was even more traumatic.

What Nandini hears as Veera Pandyan's words are the result of her trauma - a mix of Veera Pandyan's own (mis)behaviour and Periya Pazhuvettaraiyar's constant questions about Nandini's reluctance to sleep with him. What she uses against him are only tools Nandini has in her arsenal against lecherous men - sweet words.

She has already decided to commit the murder-suicide. With "eyes gleaming with hate", she is asking what she sees as Veera Pandyan's ghost to leave her alone. Alright, she will kill Karikalan and die. Will Veera Pandyan leave then? There are many beautiful women in heaven. Can't he go to them?

They are the same words she use when Periya Pazhuvettaraiyar compels her to share bed him. There are many high born women in his anthapuram (Nandini is his 9th wife) , why can't he leave her alone?

Nandini was not Veera Pandyan's lover or wife. She wasn't proclaiming her undying love and loyalty. She was just desperately pleading him to leave her alone.

P.S. What about the young child who is crowned as the Pandya Emperor? Isn't Nandini his mother?

Nandini is manipulating the child so that he won't choose anyone else to kill Karikalan. It works- the child chooses Nandini.  Nandini has no idea about the identity of the child. Ravidasan brought the kid from somewhere and she just played along.

What do you say?

@willkatfanfromasia, @sowlspace, @vibishalakshman, @harinishivaa, @thelekhikawrites , @hollogramhallucination , @chiyaanvikram , @thegleamingmoon, @whippersnappersbookworm, @rang-lo @curiousgalacticsoul , @rapunzels-stuff , @nspwriteups , @balladedutempsjadis , @dosai-maavu , @ @jukti-torko-golpo , @ragkee

[unfair-water-plane]

Remains of the Night!!!!

(A snippet from a piece I was writing set in the Old Kingdom from Garth Nyx’s ‘Abhorson’ series. It’s my oldest WIP, started in 2004 when I first read Sabriel. My writing has changed so much, so be patient with Highschool UWP)

There were rumors, even in the city.

Oh, everyone knew the stories. There were monsters in the woods, dangers in the shadows. The peasants who lived in the wastes would not venture out of their shacks after dusk, and traders who traveled the roads swore men made of mist and women made of moonlight stalked the darkling hours between dusk and dawn. But the educated rich only scoffed at that, chuckling at the folly of lesser people. Wolves took those who wandered at night, it was well known, and shadows played tricks on tired minds. That was all it was, and everyone knew it.

But still...there were rumors. And rumors held truth, if you looked deep enough. Smoke could not coil into the air without fire to breed it. And whether the noble and merchant classes had wanted to see the truth or not, things were still happening in the wastes and in the borderlands. Things that could not be explained, things that would not be rationalized out of existance. But the kings and nobles did not care to dwell on it, and there was no profit to be made for merchants to investigate.

And so it fell on those who did not hold a sceptical light to the darker things of the world.

The first time Ruben had seen a shade he had been seven, and had ventured too far towards the border of his father’s plantation. But he’d been a curious child, and had chased locusts and frogs through the fields of late summer wheat to the copse of trees around the farm brook. The creaking of taut rope had drawn his attention upward, and he’d seen the hanged men. Thieves hung for crimes, almost a century before. But their ghosts lingered, and he had the power to see them.

His father had followed terrified screamings to the child, but by the time he arrived Ruben had gone still and silent. Only his eyes showed any sign of life, wide and terrified and unblinking. He had lain like that for two days when a necromancer had stopped by the large estate, hoping for shelter in exchange for work. It had been he who had explained the meaning of Ruben’s condition, and he who had loaded the child on the front of a horse and taken him north.

Ten years of training- on the art of music, sword play and the dead- had led to his final induction into the life. A sacrifice was required, but he’d gladly paid it, and had been gifted with the cloak and gear of his order. At his waist was a sword, forged with steel and silver and iron, to fight any enemy he might cross. And across his breast were the seven bells of his practice, from the tinny Ranna to the ever silent Astarael. All he used to bind the dead, ridding all he came across of ghosts and ghasts and those creatures of the night he could tame or destroy.

And he had heard the rumors. The necromancers had not forgotten the old histories the wars with the fae and the walls that had saved them. Scholars in their own right they hoarded knowledge, and sought it where ever possible. And he had sought it in the wastes, near the borderlands.

The forests held little fear for him before, but as he had worked his way farther and farther from the cities the dangerous became more real. Towards night he had made it his habit to dismount, leading the black stallion through the thick undergrowth to find campsites. Tamilal was a necromancer’s horse, and balked at nothing, but he seemed to appreciate the concern.

[chemicalarospec]

This is a totally random story but I was an avid reader of Time magazine in my tweens/early teens, so the first time I ever encountered the word "pariah" was the Harvey Weinstein "Producer, Predator, Pariah" cover. I really struggled to guess what it meant -- I just looked the etymology up and it comes from Tamil, so that explains why -- all I could get was "something bad, maybe someone who preys on others like a 'piranha'? But it's probably not an exact synonym of 'predator'". For that reason I actually thought it was something along the lines of "a powerful person who is in control and uses that power to hurt others" (like an evil prince; tyrant; despot) for a long time. (I don't think I asked my parents -- this must have been after I asked "what's a condom?" and my dad went "uhhhhh ask your mom.") But the rest of the story is that since 'pariah' isn't a very common word, I spent years just thinking "something very bad. Harvey Weinstein (sexual predator) is it" whenever I encountered it (oh yeah #MeToo articles were also the first time I heard of Harvey Weinstein, so he is solely defined by it in my mind), until I finally looked it up not too long ago (it means 'despisable outcast', if anyone else didn't know), but I continue to think of Harvey Weinstein every time I read the word 'pariah'.

[yeyinde]

do you have any recs for folklore/mythology books to learn from or docs/videos?

I have tonnes!!! I prefer non-fiction books when it comes to mythology, with the exception of American Gods and Anansi Boys by Neil Gaiman, and Things Fall Apart by Chinua Achebe. This one is more history focused but it blends the mythology and culture of Nigeria/Igbo folklore. I would recommend it to anyone just looking for a really good book to read about culture, history, the perception of masculinity within that culture, and of course, the negative effects of colonisation, and the history of pre-colonisation in Nigeria. It's one of my favourite history books by a really amazing author and poet! Def recommend.

I tried to focus on mythology that is not as widely popularised as others since they are often harder to find. But here are some of the ones that I enjoyed! Most of them were available at my public library as well so if you can't find them in stores or online, that's always another good place to look for mythology books/refs!

Books:

Myths from Mesopotamia by Stephanie Dalley

Voices from the Other World: Ancient Egyptian Tales by Naguib Mahfouz

Conceptions of God in Ancient Egypt: The One and the Many by Erik Hornung

Indaba, my Children: African Folktales by Vusamazulu Credo Mutwa (this is a massive encyclopedia at 700 pages but sooooo worth it!)

Folktales from India by A.K. Ramanujan

Myth = Mithya: Decoding Hindu Mythology by Devdutt Pattanaik (also: The Goddess in India: The 5 faces of Eternal Feminism, 99 thoughts on Ganesha: stories, symbols and Rituals of India's beloved Elephant Headed Deity, and the Pregnant King are really good)

Myth and Reality: Studies in the Formation of Indian Culture by Damodar Dharmananda Kosambi

The Ramayana & Mahabharata by Chakravarti Rajagopalachari (these are epics but OH GOD they are fantastic!)

Irish Mythology - this is a massive tumblr reference with books and guides on where to find Irish Folklore

I've really been enjoying the Chronical Books series on mythology - if only for the illustrations. My favourite so far is Tales of East Africa by Jamilla Okubo, Tales of India: Folktales from Bengal, Punjab, and Tamil Nadu by Svabhu Kohli and Viplov Singh. I wouldn't really say these are super important for mythology - the stories are very basic (not in a bad way at all, just less in-depth since I believe the books are geared toward a younger audience) but the art alone makes them worth it!

Mythology by Edith Hamilton is usually a good introduction to Greek, Roman, and Norse myths

The Prose Edda: Tales from Norse Mythology by Snorri Sturluson

Videos:

Trese on Netflix - it's about Philippine mythology told in modern times, and just an amazing show on its own!

The Entire Story of Greek Mythology Explained - it's 3.5 hours but WORTH IT!

I don't really watch too many videos on mythology, but I do on history and culture. It's just kinda hard to find mythology/folklore specific videos but since it's often interwoven within the cultures respective history, I watch Smithsonian docs on their history instead.

I really hope this helps!!!

[handweavers]

re: prev post about sambal belacan, my favourite story is one my dad tells about when he first came to canada for university in the 70s and he befriended the 2 other malaysian international students at the school (a chinese guy & a tamil guy) and the 3 of them tried to make it from scratch by roasting the paste in the oven in one of their apartments cos you couldn't buy it in canada back then, and their white neighbours were so alarmed by the smell they called the cops on them thinking they had a rotting corpse in their apartment and they had to explain to the police that it was just malaysian fermented shrimp paste roasting lol

[voidsteffy]

can you talk about OK kanmani? I am having a brainrot🥰😭. Also autocorrect keeps correcting brainrot to brain roti lol.

autocorrect is a desi mom, confirmed.

OKK is like a warm hug? idk how else to explain it. I love Dulquer Salmaan and Nitya Menon's chemistry. And as usual rain is a very important character like I always wished in Mani Ratnam's movies.

The back stories come from a good place but are underdeveloped methinks.

Also, it is weird af to see Dulquer but listen to Nani (context: I saw OKK in Tamil and then in Telugu. In Telugu, Nani (Gangleader, Shyam Singha Roy fame) dubbed for Dulquer)

[mylifeisshite]

has anyone else here read fanfictions about Parvati and Padma Patil from HP, where they are Tamilian/speak Tamil? I'm sorry if you are one of the authors of such a story but please, check your facts. Their name is 'Patil'. That is a Maharashtrian name, it could be stretched to Kannadiga, but it's not Shivaramakrishnan or Ranganathan so please explain to me how tf they are from Tamil Nadu? you'd have better luck saying they were North Indian.

[neengareadynaaready]

Agent Tina!!! (SPOILERS: If you haven't seen Vikram and still want to, look away because this one is a cool reveal)

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Everyone who saw Vikram agrees she is sooooooo awesome

Actor: Vasanthi

This was her debut film.

According to She the People magazine:

Vasanthi is a dancer by profession and a dance instructor by passion. She started her career as a group dancer in Tamil films and later through hard work and passion she became an assistant dance choreographer. Currently, she is working with choreographer Dinesh’s team and has performed in over 1000 shows all over the world.

From Cinema Express:

Explaining how she landed the role, Vasanthi says, “I’ve been working as an assistant for Dinesh master for over twenty years. We did ‘Vaathi Coming’ song for Vijay-starrer Master. That was when we met Director Lokesh Kanagaraj and we all took a picture with him. He remembered me when writing Vikram and asked Dinesh master if I would act in the film. Master knew I have always been interested in acting. It means so much to me that I have acted in Kamal sir’s movie.” She then had to audition for the role, which included remembering dialogues, before she could be taken on board. “Initially, I was a bit afraid, but director Lokesh and his assistant directors made me comfortable, and guided me through the role and encouraged me,” she says.

If you've been keeping yourselves updated on "Leo", you will remember that Dinesh is the movie's choreographer and reports are saying she will reprise her role as Agent Tina. Considering how much the audience loved her, everyone is excited to see her again and how her character fits into Leo's story.

[sanjayrithik]

Cosmetology Specialist in Karur: When Skin Shines, Confidence Rises

There comes a moment in every person’s life when they whisper, “I want to feel beautiful again.”

Not for the world. Not for applause. But for the one staring back in the mirror — tired, faded, but still there.

That is where a Cosmetology Specialist in Karur begins their quiet magic. Not with judgment. Not with assumptions.

But with precision, compassion, and vision — the kind that sees past the pores and pigments, into the stories beneath them.

Cosmetology is often misunderstood. Some call it superficial. But here’s the truth:

Over 75% of individuals in urban Tamil Nadu report low self-esteem linked to visible skin conditions, premature ageing, or hair loss.

But why should beauty be a burden? Why should feeling good be dismissed as “not essential”?

A Cosmetology Specialist in Karur understands that appearance does matter — because self-confidence does. They bring together:

Clinical expertise with cosmetic finesse

Technology like fractional lasers, microdermabrasion, and chemical peels

And personalised treatments based on lifestyle, stress patterns, and even air quality

At Sanjay Rithik Hospital, cosmetology isn’t a luxury — it’s a language of healing. Their team doesn’t just “perform” procedures. They partner with the patient. Every step is explained, every option considered, every outcome envisioned.

Be it:

Pigmentation that makes one feel older than they are

Acne scars that recall every teenage heartbreak

Or dull skin that silently says, “I’ve stopped trying” — Here, these aren’t flaws. They are starting points.

With the right touch, guided by science and empathy, skin revives. Eyes glow. Smiles return. And more than anything, hope flickers to life.

Because true beauty isn’t skin-deep — it’s self-belief-deep. And cosmetology? It’s not the chase of perfection. It’s the reclaiming of presence.

So if you’ve ever asked, “Is it okay to want to look better?” Maybe it’s time you heard this answer: Yes. And you deserve the best.

Contact Us: +91 89030 09723,+91 75983 23022

Visit Our Website: https://sanjayrithikhospital.com/.

#CosmetologyKarur #GlowingSkin #AcneTreatment #HairCare #SanjayRithikHospital #SkinCare #SkinHospital #SkinDoctor #Dermatologist #Dermatology #Cosmetologist #Karur

[deepestmusicfire]

Theme-Based Wedding Stage Decoration Ideas from Decor Experts in Coimbatore

Weddings are once-in-a-lifetime celebrations, and in a culturally vibrant city like Coimbatore, they are more than just ceremonies — they are grand, heartfelt expressions of love and tradition. Among the many elements that make a wedding unforgettable, the wedding stage holds a special place. It is the focal point of the event, the backdrop for countless photographs, and the heart of the celebration. That’s why theme-based wedding stage decoration has become a massive trend, and expert wedding decorators in Coimbatore are taking it to the next level.

In this blog, we’ll dive into some of the most creative, trendy, and timeless theme-based stage decoration ideas offered by decor experts in Coimbatore, along with real-world examples and actionable insights. Whether you prefer traditional elegance or modern minimalism, you’ll find something to inspire your dream wedding.

Why Choose Theme-Based Stage Decoration?

Themed wedding stages not only look stunning but also add a cohesive feel to the entire wedding ambiance. Here’s why more couples are choosing theme-based stage decoration:

Reflects the couple’s personality and story

Adds a luxurious and coordinated look to the wedding

Enhances the visual appeal for photography and videography

Makes the event more memorable and share-worthy on social media

As leading professionals in marriage decoration Coimbatore explain, a well-designed theme helps guests immerse themselves in the celebration, making them feel like part of something special.

Top Theme-Based Wedding Stage Decoration Ideas

1. Royal Rajasthani Theme

Inspired by the grandeur of palaces and forts, this theme incorporates golden arches, intricate mirror work, bold red drapes, and regal seating arrangements. Wedding decorators in Coimbatore often include elephant motifs, antique lamps, and embroidered backdrops to complete the royal look. This theme is perfect for couples who want a rich and majestic wedding experience.

Expert Tip:  Use artificial jharokhas (window-style frames) and velvet textiles to add authentic Rajasthani vibes to your stage.

2. Floral Fantasy Theme

Nothing speaks romance better than flowers. This theme is all about lush floral arrangements, pastel color palettes, and soft lighting. Wedding decorators design floral walls, hanging gardens, and cascading blossoms to turn the stage into a blooming paradise.

Real-World Example:  At a recent wedding at a luxury hotel in Peelamedu, a Coimbatore-based decorator created a stage using over 10,000 fresh roses and hydrangeas. The result? A jaw-dropping floral fantasy that went viral on Instagram.

3. Traditional South Indian Theme

Rooted in local heritage, this theme is popular among families who wish to honor tradition. Decorators use banana leaves, marigolds, brass lamps, and temple-style arches. These elements resonate deeply with the culture and aesthetic of Tamil weddings.

Expert Quote:  “South Indian wedding stage décor is not just about beauty — it’s about emotion and legacy,” says R. Vinoth, lead designer at a top marriage decoration Coimbatore company. “Every element we include has symbolic meaning and spiritual importance.”

4. Fairytale Garden Theme

Dreamy, magical, and ethereal — this theme uses twinkling fairy lights, soft drapes, pastel tones, and whimsical florals. Perfect for evening weddings, decorators often add floral swings, bird cages, or even faux trees for that enchanted forest look.

Design Tip:  Use cold pyrotechnics or dry ice fog machines for a magical entrance when the couple steps on the stage.

5. Modern Minimalist Theme

Less is more in this stylish and contemporary theme. Clean lines, geometric shapes, and neutral shades dominate the design. Instead of heavy flowers or props, decorators focus on smart lighting, structured designs, and subtle accents.

Real-World Example:  A destination wedding in Kovaipudur opted for a sleek white and gold theme with LED arches and a mirrored stage. It was simple but breathtaking — and a hit among guests.

How Wedding Decorators in Coimbatore Bring These Themes to Life

Expert wedding decorators don’t just set up a few props — they craft an experience. Here’s how professionals from the marriage decoration Coimbatore scene execute flawless themed stages:

Client Consultations: Understanding the couple’s vision, values, and budget

3D Stage Mockups: Providing digital sketches before finalizing the design

Customized Props: Sourcing or fabricating theme-specific elements

On-Site Coordination: Managing setup, lighting, floral work, and sound

Last-Minute Adaptations: Dealing with weather or venue challenges with agility

With a team of florists, lighting experts, designers, and carpenters, decorators ensure the theme doesn’t just look good — it feels perfect for the occasion.

Trends in Theme-Based Stage Decoration in 2025

The wedding scene in Coimbatore is always evolving. Here are some new trends to watch out for:

Sustainable Decor: Using reusable and eco-friendly materials

Interactive Stages: Incorporating touchscreens or live-feed screens

Mix and Match Themes: Combining two themes like “Traditional + Minimalist”

Bold Color Palettes: Emerald green, coral, and electric blue are making waves

Technology Integration: LED video walls and intelligent lighting for mood settings

Decorators specializing in marriage decoration Coimbatore are staying ahead of the curve by adopting these trends while customizing them to fit the couple’s story.

What to Keep in Mind Before Finalizing a Theme

Choosing a stage theme isn’t just about picking a pretty design. Here are a few things to consider:

Venue limitations — Check the size, backdrop, and height of the stage area

Cultural expectations — Balance creativity with family traditions

Budget range — Some themes like royal or floral may be more expensive

Weather factors — Especially if it’s an outdoor wedding

Photographic impact — Ensure the stage looks good both in person and in pictures

Discussing all these points with your decorator ensures that the result is not only beautiful but also practical.

Conclusion: Set the Stage for Your Dream Wedding

Theme-based wedding stage decoration adds soul to your celebration. It reflects your journey, showcases your style, and creates lasting impressions for you and your guests. Whether you’re dreaming of a royal celebration or a minimalist affair, decorators in Coimbatore can turn your vision into reality.

From concept to execution, expert designers in marriage decoration Coimbatore are known for blending tradition, creativity, and innovation into every stage they design. Don’t just settle for a regular setup — make your stage a storytelling canvas.

Call to Action

Are you planning your wedding in Coimbatore? Ready to explore breathtaking theme-based stage decoration ideas? Connect with the city’s top marriage decoration coimbatore today and bring your dream wedding to life. Your perfect stage is just one conversation away!

[marketingagencyindiaaaa]

Dragon Movie Review: What’s Good, What’s Bad in Pradeep Ranganathan’s Film

In the 2005 film Ghajini, Suriya’s character, Sanjay Ramasamy, says, “There is a very slight difference between self-confidence and arrogance. ‘I can do it’ is self-confidence. ‘Only I can do it’ is arrogance.” Director Ashwath Marimuthu seems to have faced a similar dilemma while preparing for the release of his third film, and second Tamil movie, Dragon.

Since the release of the teaser, followed by the trailer and an intense promotional campaign, Ashwath has been labeled by some as an overly confident filmmaker, accused of overhyping his movie beyond his abilities. In response, Ashwath said, “Tomorrow, I can start a rumor about you, post something negative on social media, and people will believe it. In fact, someone online suggested I should be more humble and not shout on set. But the truth is, I don’t shout on my sets. Veteran filmmaker KS Ravikumar even mentioned at the Dragon pre-release event that he admired how I managed to be quiet on set while getting the work done. Why would he say that if it weren’t true?”

Ashwath questioned the notion that he shouldn’t be confident about his own film, asking, “Would you watch a movie if the director lacked confidence in their own work?”

Misconceptions and Criticism

The trailer for Dragon led to several preconceived notions, with some critics expecting the film to glorify negative themes. Addressing these concerns, Ashwath explained that the movie is about the value of education and the journey to success. He said, “What’s the point of telling a story through a character who’s already successful? The audience connects with a character’s rise after a fall. Of course, I didn’t show the entire film in the trailer. Why would I? If I had, people would have claimed I revealed too much.”

Ashwath believes that most moviegoers just want to enjoy a good film, whereas certain sections of social media are quick to criticize. “We don’t need to take all criticism seriously,” he added.

Dealing with Online Trolls

When asked about targeted online trolling, Ashwath responded, “Why would anonymous people spread lies about me? They create false narratives, and others believe them. But who knows me better — anonymous internet users or those who work with me? I run a calm, quiet set, yet people believed baseless rumors. However, I see perceptions changing now. People understand where my confidence comes from.”

He expressed his realization of social media’s power to manipulate public perception, stating, “Social media can project a lot of things about people. But you can’t fool the audience forever. They can see through fake personas.”

Moving Forward with Confidence

Despite the negativity, Ashwath remains firm in his approach, saying, “I am not going to change. People see through fakeness. You can’t cheat an audience for long with statements from anonymous accounts.” He acknowledged that these experiences have been painful but believes in moving forward gracefully.

Navigating the Cinema Ecosystem

Ashwath shared that these challenges haven’t affected his writing process, nor his desire to create fun films. Reflecting on his debut movie, Oh My Kadavule, he said, “It could have easily been misinterpreted, given the sensitive theme of a man loving someone else after marriage. But it gradually became successful because nobody expected much from it. With Dragon, however, expectations are high, and so is the scrutiny.”

Despite the controversies and preconceived judgments, Ashwath remains confident in Dragon, emphasizing that his film is about perseverance, education, and the journey to success. Whether the audience resonates with this message or not, one thing is clear — Ashwath Marimuthu won’t let negativity dim his passion for storytelling.

[odnewsin]

Superstar Thalapathy Vijay’s co-star announces divorce, calls marriage ‘emotionally draining’

Popular Malayalam actress Aparna Vinod who rose to fame with Tamil superstar Thalapathy Vijay’s ‘Bhairavaa’ has announced her divorce. The stunning diva who was married to Kozhikode-based Rinilraj PK in 2023 shared the news of her divorce through her Instagram story. In a heartfelt post, the actress called marriage ‘emotionally draining’. She explained her decision to close the chapter and end…

[beatverse1]

How to Submit Your Music on JioSaavn for Free and Expand Your Audience

For independent artists and music creators, platforms like JioSaavn are a lifeline. They provide an opportunity to share music with millions of listeners across the globe. As one of India’s leading music streaming platforms, JioSaavn offers unparalleled reach and the chance to connect with fans worldwide. The best part? You can submit your music on JioSaavn for free, making it an incredible resource for musicians without massive budgets. This guide will take you through the step-by-step process, explain why JioSaavn is a must-use platform, and provide tips for success.

Why JioSaavn is the Right Platform for Independent Artists

JioSaavn caters to a diverse audience with music from every genre and language, making it an ideal space for creators. Here are a few key reasons why you should focus on getting your music on this platform:

Massive User Base: With millions of active users, JioSaavn provides an unmatched opportunity to grow your fanbase.

Regional and Global Reach: Whether you create Hindi pop, Punjabi rap, Tamil melodies, or global hits, JioSaavn ensures your music gets to the right listeners.

Cost-Free Opportunity: For emerging artists, the ability to submit your music on JioSaavn for free means you can save valuable resources while gaining immense exposure.

Revenue and Credibility: Streaming platforms not only boost your visibility but also offer monetization options that grow with your popularity.

How to Submit Your Music on JioSaavn for Free

If you’re eager to get your music live on JioSaavn, here’s the complete process to help you make it happen:

Step 1: Prepare Your Music Your music needs to be high-quality and professional. Here’s what to focus on:

Ensure your audio files are in a widely accepted format like MP3.

Check your metadata to include track title, artist name, and genre.

Create an eye-catching album cover that matches the theme of your music.

Step 2: Partner with a Digital Distributor JioSaavn works with distributors to manage uploads, so you’ll need to choose a reliable partner. Platforms like TuneCore, CD Baby, and Deliver My Tune can help distribute your music to JioSaavn and other streaming platforms. These services also assist with royalty tracking and promotional opportunities.

Step 3: Submit Your Tracks Once you’ve partnered with a distributor, upload your music, album art, and relevant details. Most distributors have user-friendly dashboards to guide you through the submission process.

Step 4: Monitor and Wait for Approval After submission, your music goes through a review process. It may take a few days to a couple of weeks for your tracks to appear live on JioSaavn. During this time, focus on other promotional efforts.

Tips to Stand Out on JioSaavn

Getting your music on JioSaavn is the first step; standing out requires effort and strategy. Here are some tips to increase your impact:

Optimize Your Artist Profile An engaging artist profile attracts listeners and keeps them coming back for more. Include a compelling bio, professional photos, and links to your social media.

Promote Your Music Share your JioSaavn links across platforms like Instagram, Twitter, and YouTube. Use stories, posts, and live sessions to keep your audience engaged.

Encourage Playlists Request fans to add your tracks to their playlists. Playlists are a powerful tool for increasing streams and exposure.

Collaborate with Other Artists Collaborations can introduce your music to new audiences. Partner with artists in similar or complementary genres to expand your reach.

Engage Directly with Fans Respond to comments, share fan-created content, and build a community around your music. Fans who feel connected are more likely to support your work.

Benefits of Being on JioSaavn

By submitting your music to JioSaavn, you unlock several benefits that can elevate your career:

Exposure to a Global Audience: JioSaavn isn’t just popular in India—it has a growing audience abroad.

Monetization Opportunities: Earn through streams while focusing on creating new music.

Increased Credibility: Being featured on a major platform enhances your profile as a professional artist.

Conclusion

For independent musicians, the ability to submit your music on JioSaavn for free is a game-changer. With minimal barriers to entry, artists can showcase their talent, reach a massive audience, and even generate income. Platforms like Deliver My Tune make the process seamless, so there’s no excuse to hold back.

Take the first step today by preparing your tracks, choosing the right distributor, and submitting your music to JioSaavn. It’s time to bring your artistry to the world stage and make your musical dreams a reality.

Related Articles:

For further reading, explore these related articles:

Submit your music on YouTube Music without paying fees

Submit your music on YouTube Music on multiple platforms

Submit your music on YouTube Music to get paid

Submit your music on YouTube Music to get exposure

For additional resources on music marketing and distribution, visit DMT RECORDS PRIVATE LIMITED.