Netru Varen Endru

Sorry, this post has been invalidated because the video I featured has been removed from Youtube for copyright infringement and I cannot find a replacement. I would like to note how disappointed I am with the copyright owners for this. Surely there is no great loss in revenue for them if extracts from old TV programs are recorded and shown by others? What use are they making of this video now? It is just gathering dust in some archive, and will remain unseen forever. Instead it could have given pleasure to so many. Disappointing! The lyrics are still valid and I suggest you listen to Bombay Jayashri’s extraordinarily beautiful rending here.

Seeing that I have not featured a dance song for a long time, I have selected this lovely Padam to present to you today.

Padams are a form of Telugu and Tamil musical compositions which are romantic and beautifully descriptive.   As with Bhakti music, the songs are written from a female perspective,  the Nayika representing a devotee with God as her lover.   While Bhakti poetry tends to be about the viraha bhava, the grief, the torment and the desperation of a woman who waits for union with her love, Padams are about a woman who has experienced an erotic union and expresses it boldly. She might be a courtesan or a woman having an extra-marital fling or even a wife but she is always sensual and passionate, more open and powerful than the nayika of Bhakti music, more in control. In fact it is God, the nayaka, who seems less in control. While the Padams from 16th-17th century tend to be openly erotic, the Padams from 18th-19th century tend to be less explicit.

Generally Padams are sung in a slow tempo with a lot of emotion. They are ideal for Bharatnatyam; the dancer has the opportunity to display her skills in the Nritya aspect of dancing i.e. focusing on expressing sentiment and mood.

Netru Varen Endru is  a Tamil Padam by the late 19th century poet Subbarama Iyer. It is set to one of my favourite ragas, Pantuvarali, also called Kamavardani. In this Padam, the Nayika is talking to her female friend and confidante. She says  ‘He who told me so sweetly that  that he would come yesterday, has yet to come even today! How I regret not taking full advantage of his presence the other day, my friend! At dusk the other day, when I was beside the stream, he came and surprised me in an embrace. On seeing his flawless red-gold body, I was enchanted into ecstasy, my friend’.

To know more about this raga, click here.

I present you with Bhargavi Gopalan’s interpretation of this song in the video below. For the sake of those not versed with the symbolisms of Bharatanatyam, here is a description of the dance.

The Nayika is stringing together a garland of flowers, and garland in hand, she awaits her lover. Garlanding a man is a symbol of a woman choosing her mate; this Nayika has chosen her man. It is dusk, she sets a lamp and waits. Why hasn’t he come? She puzzles. Evening has come and the birds are flying past, and he is still not there. Remembering the other day when they met, the dancer takes in turn the part of the Nayika, a little shy and sweet, her head shaking a ‘no’  but her eyes saying a ‘ yes’, and the Nayaka, confident, direct, seductive. She remembers asking him to promise to come back, holding out her hand, and he claps his hand on hers, sealing the promise. She remembers when she went to the stream, holding a water-pot to her side. Pushing away the stagnant water with her foot, she bends to fill her pot. She is distracted with the lotuses and is playing with the flowers when he comes from behind and embraces her. On seeing his beautiful body, she rubs her eyes in disbelief – how flawless is he! She embraces him and  and  loses herself in ecstasy. As she awaits him today, she thinks that when he comes, she would draw him to sit down, fan him and give him a drink. But why isn’t he coming? She waits.

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Footnote (Lyrics) :

(As I did not find a reliable reference, I have transcribed from the performance above and verified with Bombay Jayashri’s detailed rendition. As always there are differences and I have transcribed both versions below.)

பல்லவி
நேற்று வரேன் என்று நயமிகப் பேசினவன்  ( /பேசி அவன் )
இந்நாளும் வரக் காணேனே – என் தோழி

அனுபல்லவி
காற்றுள்ள போதே நான் தூற்றிக் கொள்ளாமலே
தோற்றம் மறைந்த பின் திகைக்கின்றேன் (/திகைக்கிறேன்)  – என் தோழி

சரணம் 1
ஆற்றம் கறை தனிலே அந்திப் பொழுதினிலே
யாரும் அறியாமலே அணைத்தான் என் தேவன்  (/அணைத்தார் அடி என் தோழி )

சரணம் 2
மாசில்லா (/மாற்றறியா) செம் பொன் மேனியைக் கண்டு (நான்)
மயங்கி பரவசம் அடைந்தேன் (/அவர் கைவசம் ஆனேனே  ) – என் தோழி

Transliteration :

Pallavi
nETru varEn endru nayamigap-pEsinavan (/ pesi avan)
innALum varak-kANEne, en tOzhi
Anupallavi
kaTruLLa pOde nAn tUTrik-koLLAmalE
tOTram marainda pin tigaikkindrEn (/tigaikkiren) en tOzhi
Charanam 1
ATram karai tanilE andip-pozhudinile
yArum ariyAmale aNaittAn en dEvan (/aNaittar en dEvan)
Charanam 2
masilla (/maTrariya) sempon mEniyaik-kaNDu (nAn)
mayangi paravasam adaindEn (avar vasam anEnE) en tOzhi

Translation :

Having said that he would come yesterday, he has yet to arrive, my friend.

Not having taken advantage when he was here, (literally : instead of winnowing when the wind was there ie. making hay when the sun shines) how I suffer now!

At dusk, beside the stream, he came and embraced me without anyone knowing.

Seeing his flawless red-gold body, I lost myself in ecstasy (alternate : I became his)

Mahishasura Mardini

Long long ago, there was a terrible and powerful demon called Mahishasura (Buffalo Demon). He was able to transform his form, being sometimes a human, sometimes a water buffalo. By performing extraordinary austerities, he accrued great power, so great that even the Gods could not defeat him. He was invincible to all males. He drove all the Gods out of heaven and terrorised the three worlds, those of the Gods, the demons and the men.  The Gods consulted with each other and decided to offer all their individual powers, their energies, back to the one Source. As they did that, the Source materialized in front of their eyes into Maha Devi, the Great Goddess, the Mother of all beings divine and mortal.  She took the form of Durga, seated on Her lion mount. The Gods gave Her their own weapons such as Shiva his trident, Vishnu his mace, and Kartikeya his sword. She battled Mahishasura for nine days and nine nights, finally killing him and restoring order in the three worlds. So She was given the name Mahishasura Mardini (The Slayer of Mahishasura).

This story is from देवीमाहात्म्यम् (Devi Mahatmyam), written in the 4th or 5th century by sage Markandeya. Written in Sanskrit the text attempts to bring together the Mother Goddess cult from pre-Aryan and Aryan times. This is the most important text for the Shaktas, the followers of Shakti, the divine Mother.

Today is first day of Navaratri, the festival of nine days and nine nights when we celebrate the Great Goddess. To celebrate, I will dedicate the first three days to the forms of Shakti, the Goddess of Power, the next three days to Lakshmi, the Goddess of Wealth and the last three days to Saraswati, the Goddess of Knowledge. This is how Navaratri is celebrated in my part of India.

To celebrate Shakti, what better way than to listen to Adi Shankaracharya’s (780-820 CE) incomparable sloka on Mahishasura Mardini (see footnote for lyrics). I learnt to read and recite it as a child and even now the cadence, the rhythm and the flow of the words give me great pleasure.  To present this, here is a dance performance of some of the verses. To listen to the complete slokam to sing along with on this auspicious day, click here.

 

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Lyrics

अयि गिरिनंदिनि नंदितमेदिनि विश्वविनोदिनि नंदनुते
गिरिवर विंध्य शिरोधिनिवासिनि विष्णुविलासिनि जिष्णुनुते ।
भगवति हे शितिकण्ठकुटुंबिनि भूरि कुटुंबिनि भूरि कृते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १॥

सुरवरवर्षिणि दुर्धरधर्षिणि दुर्मुखमर्षिणि हर्षरते
त्रिभुवनपोषिणि शंकरतोषिणि किल्बिषमोषिणि घोषरते ।
दनुज निरोषिणि दितिसुत रोषिणि दुर्मद शोषिणि सिन्धुसुते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ २॥

अयि जगदंब मदंब कदंब वनप्रिय वासिनि हासरते
शिखरि शिरोमणि तुङ्ग हिमालय शृंग निजालय मध्यगते ।
मधु मधुरे मधु कैटभ गंजिनि कैटभ भंजिनि रासरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ ३॥

अयि शतखण्ड विखण्डित रुण्ड वितुण्डित शुण्ड गजाधिपते
रिपु गज गण्ड विदारण चण्ड पराक्रम शुण्ड मृगाधिपते ।
निज भुज दण्ड निपातित खण्ड विपातित मुण्ड भटाधिपते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ ४॥

अयि रण दुर्मद शत्रु वधोदित दुर्धर निर्जर शक्तिभृते
चतुर विचार धुरीण महाशिव दूतकृत प्रमथाधिपते ।
दुरित दुरीह दुराशय दुर्मति दानवदूत कृतांतमते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ ५॥

अयि शरणागत वैरि वधूवर वीर वराभय दायकरे
त्रिभुवन मस्तक शूल विरोधि शिरोधि कृतामल शूलकरे ।
दुमिदुमि तामर दुंदुभिनाद महो मुखरीकृत तिग्मकरे
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ ६॥

अयि निज हुंकृति मात्र निराकृत धूम्र विलोचन धूम्र शते
समर विशोषित शोणित बीज समुद्भव शोणित बीज लते ।
शिव शिव शुंभ निशुंभ महाहव तर्पित भूत पिशाचरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ ७॥

धनुरनु संग रणक्षणसंग परिस्फुर दंग नटत्कटके
कनक पिशंग पृषत्क निषंग रसद्भट शृंग हतावटुके ।
कृत चतुरङ्ग बलक्षिति रङ्ग घटद्बहुरङ्ग रटद्बटुके
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ ८॥

जय जय जप्य जयेजय शब्द परस्तुति तत्पर विश्वनुते
झण झण झिञ्जिमि झिंकृत नूपुर सिंजित मोहित भूतपते ।
नटित नटार्ध नटीनट नायक नाटित नाट्य सुगानरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ ९॥

अयि सुमनः सुमनः सुमनः सुमनः सुमनोहर कांतियुते
श्रित रजनी रजनी रजनी रजनी रजनीकर वक्त्रवृते ।
सुनयन विभ्रमर भ्रमर भ्रमर भ्रमर भ्रमराधिपते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १०॥

सहित महाहव मल्लम तल्लिक मल्लित रल्लक मल्लरते
विरचित वल्लिक पल्लिक मल्लिक झिल्लिक भिल्लिक वर्ग वृते ।
सितकृत पुल्लिसमुल्ल सितारुण तल्लज पल्लव सल्ललिते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ ११॥

अविरल गण्ड गलन्मद मेदुर मत्त मतङ्गज राजपते
त्रिभुवन भूषण भूत कलानिधि रूप पयोनिधि राजसुते ।
अयि सुद तीजन लालसमानस मोहन मन्मथ राजसुते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १२॥

कमल दलामल कोमल कांति कलाकलितामल भाललते
सकल विलास कलानिलयक्रम केलि चलत्कल हंस कुले ।
अलिकुल सङ्कुल कुवलय मण्डल मौलिमिलद्भकुलालि कुले
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १३॥

कर मुरली रव वीजित कूजित लज्जित कोकिल मञ्जुमते
मिलित पुलिन्द मनोहर गुञ्जित रंजितशैल निकुञ्जगते ।
निजगुण भूत महाशबरीगण सद्गुण संभृत केलितले
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १४॥

कटितट पीत दुकूल विचित्र मयूखतिरस्कृत चंद्र रुचे
प्रणत सुरासुर मौलिमणिस्फुर दंशुल सन्नख चंद्र रुचे ।
जित कनकाचल मौलिपदोर्जित निर्भर कुंजर कुंभकुचे
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १५॥

विजित सहस्रकरैक सहस्रकरैक सहस्रकरैकनुते
कृत सुरतारक सङ्गरतारक सङ्गरतारक सूनुसुते ।
सुरथ समाधि समानसमाधि समाधिसमाधि सुजातरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १६॥

पदकमलं करुणानिलये वरिवस्यति योऽनुदिनं स शिवे
अयि कमले कमलानिलये कमलानिलयः स कथं न भवेत् ।
तव पदमेव परंपदमित्यनुशीलयतो मम किं न शिवे
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १७॥

कनकलसत्कल सिन्धु जलैरनु सिञ्चिनुते गुण रङ्गभुवं
भजति स किं न शचीकुच कुंभ तटी परिरंभ सुखानुभवम् ।
तव चरणं शरणं करवाणि नतामरवाणि निवासि शिवं
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १८॥

तव विमलेन्दुकुलं वदनेन्दुमलं सकलं ननु कूलयते
किमु पुरुहूत पुरीन्दुमुखी सुमुखीभिरसौ विमुखीक्रियते ।
मम तु मतं शिवनामधने भवती कृपया किमुत क्रियते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ १९॥

अयि मयि दीनदयालुतया कृपयैव त्वया भवितव्यमुमे
अयि जगतो जननी कृपयासि यथासि तथाऽनुमितासिरते ।
यदुचितमत्र भवत्युररि कुरुतादुरुतापमपाकुरुते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥ २०॥

॥ इति श्रीमहिषासुरमर्दिनि स्तोत्रं संपूर्णम् ॥

Transliteration and translation is available here.

Shivaratri : Natanam Aadinar

Happy Shivaratri ! The Cosmic Dancer is very dear to me, especially as Nataraja, the Lord of dance & music. The idea of the eternal dance which keeps the rhythms of the universe is so alluring somehow. And to my art loving eyes, this form of Nataraja designed by sculptors of the Chola period (880-1279) is perfect. A beautiful synthesis of the active and the static, the circle representing both the whole and the infinite, Shiva perfectly balanced holding both symbols of destruction and  protection  – what a  perfect illustration of the concept of Shiva!!

I remember a book I read in my late teens called the Tao of Physics, which linked two worlds which fascinated me, Physics and Eastern Mysticism. The cover of the Indian edition of this book featured Shiva as Nataraja. The author Fritzof Capra says that “every subatomic particle not only performs an energy dance, but also is an energy dance; a pulsating process of creation and destruction…without end…For the modern physicists, then Shiva’s dance is the dance of subatomic matter. As in Hindu mythology, it is a continual dance of creation and destruction involving the whole cosmos; the basis of all existence and of all natural phenomena.” For me, the macro world of the universe, the micro world of quantum physics, the subtle world of music and dance, the mysticism of Shiva’s Cosmic dance to the sound of the pranava – all these have merged into an intricately patterned whole.

To celebrate Shivaratri and his Cosmic Dance, I present the song Natanam Aadinar (He Danced) by Gopalakrishna Bharathi (1811-1896). The song is set to the raga Vasanta. If you would like to know more about the raga, click here. The lyrics are available on this site. As it is a traditional Bharatanatyam song, I went searching for a suitable clip and found this rather unusual street side performance. I hope you enjoy it !

Natanam Adinar–Raga Vasanta

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Honouring Kamal’s Versatility

I do not see many Tamil films. That being said, I have seen a small percentage of Kamal Haasan’s impressive oeuvre, some of his most successful films. He is a brilliant actor and when he is well cast in a film with a good script, magic happens. One of the most decorated and award winning actors in India,  he has won awards for acting in Tamil, Malayalam, Telugu, Kannada and Hindi films. He has been at various times producer, director, scriptwriter, singer and choreographer. Versatility indeed!

I went to see his debut in a leading role in Apoorva Ragangal (1974) with my family; I remember my mother not approving of the theme of the 21 year old Kamal falling in love with a much older but gorgeous Sri Vidya! I loved the music and I listened to it today with a great deal of pleasure, especially ‘Adisaya Ragam’ (Yesudas). Some music can be truly timeless!

In my school holidays, when our family spent the summers in hot Chennai, the melodious ‘Ore Naal Unnai Naan’ (S.P.Balasubramaniam, Vani Jayaram) from Ilamai Oonjal Adugirathu (1978) would play non-stop in the radio.  Later on, when his foray into the Hindi film world with Ek Duje Ke Liye (1981) became a super hit, it was ‘Tere Mere Beech Mein’ which was sung in every street corner in Delhi. S.P.Balasubrumaniam sings this brilliantly but with a strong Tamil accent which doesn’t matter only because the character in this film was Tamil. In the same year, it was the Tamil film Raja Parvai which gave us the gem ‘Andi Mazai Pozhigirathu’ (S.P.B) a song I’ll always love.

‘Sundari Neeyum’ in Michael Madana Kamarajan (1980) sung by Kamal and Janaki is memorable, especially because its his own voice. And one mustn’t forget the beautiful ‘Chinnanjiru Vayathil’ in Menndum Kokila (1981). It still feels fresh and beautiful to me. The female voice (Shailaja) sounds very shrill to me but wait until Yesudas comes up. He sounds fantastic! And check out pre-plastic-surgery Sridevi, she looks lovely. Why do they stress about nothing and go under the knife?

Moonram Pirai in 1982 was a wonderful film and ‘Kanne Kalaimane’ (Yesudas) is a song I remember with pleasure. But the song I truly hold dear is ‘Thenpandi Cheemayile’ (Ilaiyaraja) from Nayakan (1987). I bow to Ilayaraja !! What a composer!!  A deeply moving film which I have never forgotten, Nayakan (Nayagan)  was listed in the Time Magazine All Time 100 movies, along with the Apu Trilogy and Pyaasa, the only other Indian films to have the same honour.

I never took to his later films, I did see a few but they didn’t leave an impression. I think that after Nayakan the quality of his films in general took a downward slide.

Album : Salangai Oli (1983)

Music : Ilaiyaraja

Lyrics : Vairamuthu

My favourite film of Kamal remains Salangai Oli (1983) where he acts as a Bharatanatyam dancer and a critic. It showcases not only his acting talent but his skills in dancing. There are many Indian actresses who have training in Classical Indian dancing but I am not aware of any actor with such skills. I shall indulge myself and present a number of songs from this movie today.

‘Mounamana Neram’ (S.Janaki, SPB) is my favourite song from this film. Jayaprada is so stunningly beautiful!

Mounamana Neram–S.Janaki, SPB

The song below is purely for Kamal’s dancing skills.

Bala Kanaka–S.Janaki

Indian Classical dance admirer must see the clip below from 01:29 onwards – Kamal shows you how its done!

And finally, the final song of the film :

Vedam Anuvilum–Shailaja, SPB

For those who would like to go down memory lane with me and listen to all the wonderful songs that I have spoken about, here is a playlist that I created in youtube. And if you haven’t seen Salangai Oli, do watch. Even with subtitles, you’ll appreciate Kamal’s talents. Enjoy!

Thillana Mohanambal

Album : Thillana Mohanambal (1968)

Songs : Marainthirunthu Parkum and Nalamdana

Music : K.V.Mahadevan

Lyrics : Kannadasan

Singer : P.Susheela

Form: Tamil Film music

In my list of personally meaningful music, this album takes precedence over many others. As a very young girl, I had just started learning Bharatnatyam dancing when this film was released. Dancing was my passion at that time and the film based on a dancer connected immediately with me. How do we Indian film viewers separate the love of the music from its picturisation in a film? Possibly, I loved the dancing more than the music or the story, but no matter, I still loved these songs. I practised endlessly in front of mirrors each intricate step, each expression, each mudra (hand movement), lip synching the words, until I could do all the dances perfectly – or so I thought ! Thank God there was no home videography at that time; I do not wish to sully my memories with reality!

The song above in raga Shanmukhapriya is a classic, never to be forgotten. To know more about the raga, click here. The dance sequence displays Padmini’s mastery over bhava (expression). As a number of people arrive on my site in search of lyrics, I tried to find them online to provide a link.  On checking, I found they all had errors so I have scribed them myself.

மறைந்துருந்து பார்க்கும் மருமம் என்ன
மன்னன் மலை அழகா இந்த சிலை அழகா என்று

நவரசமும்
முகத்தில் நவரசமும்
மலர்ந்திருக்கும் முகத்தில் நவரசமும்
செக்கச் சிவந்திருக்கும் இதழில் கனி ரசமும் கண்டு

மறைந்துருந்து …

எங்கிருந்தாலும் உன்னை நானறிவேன்
உன்னை என்னையல்லால் வேறு யார் அறிவார்
பாவை என் பதம் காண நாணமா
உந்தன் பாட்டுக்கு நான் ஆட வேண்டாமா
மாலவா வேலவா மாயவா சண்முகா

மறைந்துருந்து …

நாதத்திலே தலைவன் குரல் கேட்டேன்
அந்த நாணத்திலே என்னை நான் மறந்தேன்
மோகத்திலே என்னை மூழ்க வைத்து
ஒரு ஓரத்திலே நின்று கள்வனை போல்
மாலவா வேலவா மாயவா சண்முகா

மறைந்துருந்து …

மான் ஆட மலர் ஆட மதி ஆட நதி ஆட
மங்கை இவள் நடனம் ஆட
நான் ஆட மண் ஆட கொடி ஆட இடை ஆட
மங்கை இவள் கைகள் ஆட
சுவையோடு நான் ஆட என்னை நாடி இந்த வேளை
விரைவேனில் துணையாட ஓடி வாரவாய்
தூயனே மாலவா மாயனே வேலவா என்னை ஆளும் சண்முகா

As an aside, I am thinking that the concept of Indian beauty has changed since those times but for me, Padmini (the actress, the dancer) still represents the classical Indian beauty. Her face !! Her eyes !!! She looks like a temple sculpture come to life !! My eyes, which have become accustomed to the sylphlike figures of the current generation and the western idea of ideal beauty, find Padmini to be refreshingly well-formed as a woman, more close to the idea of an Indian Beauty than any famous beauties of today.

Nalamdana–P.Susheela

Nalamdana is the other song from this film which I like very much. Based on Carnatic Raga Nilamani, it is so beautifully soulful!

நலம்தானா நலம்தானா
உடலும் உள்ளமும் நலம்தானா

நலம் பெற வேண்டும் நீ என்று
நாளும் என் நெஞ்சில் நினைவுண்டு
இலை மறை காய் போல் பொருள் கொண்டு
எவரும் அறியாத சொல் இன்று

(என்) கண் பட்டதால் உந்தன் மேனியிலே
புண் பட்டதோ அதை நான் அறியேன்
புண் பட்ட சேதியை கேட்டவுடன்
இந்த பெண் பட்ட பாடை யார் அறிவார்

நடந்ததெல்லாம் மறந்திருப்போம்
நடப்பதையே நினைத்திருப்போம்

This film and my Bharatnatyam dancing at that time was also instrumental in setting the foundations of my love for Carnatic Classical music (Bharatnatyam is set to this music). There is a beautiful version of ‘Nagumomu’ (Composer : Tyagaraja (1767 – 1847) , Raga : Abheri), played on the Nadaswaram by Madurai Sethuraman in this film. Unfortunately I cannot find an audio for you to listen to, you just have to see the movie! For those interested, there is a recent interview with the artist here.

Last year I watched the film again. There were parts of the film which I enjoyed as much as I enjoyed many years ago (the train scene for example), yet there were parts which felt dated for me. Thankfully, the music doesn’t age at all; it still feels beautiful and therefore today, I pay homage to this foundation stone in my love of Indian music.