Learning about Kathakali was also an eye-opener. My first and biggest connection to it, was just from the brief glimpse in the song from Chennai Express, where it is all mixed in with elephants and lungis and tiger dancers and other stuff. But, reading the full wiki article, it definitely connected to traditional Indian film acting!
Kunchan Nambiar introduced a new literary form called Thullal, and Unnayi Variyar introduced reforms in Attakkatha literature.[59] The printing, prose literature, and Malayalam journalism, developed after the latter-half of 18th century CE. Modern literary movements in Malayalam literature began in the late 19th century with the rise of the famous Modern Triumvirate consisting of Kumaran Asan,[64] Ulloor S. Parameswara Iyer[65] and Vallathol Narayana Menon.[66] In the second half of the 20th century, Jnanpith winning poets and writers like G. Sankara Kurup, S. K. Pottekkatt, Thakazhi Sivasankara Pillai, M. T. Vasudevan Nair, O. N. V. Kurup, and Akkitham Achuthan Namboothiri, had made valuable contributions to the modern Malayalam literature.[67][68][69][70][71] The life and works of Edasseri Govindan Nair have assumed greater socio-literary significance after his death and Edasseri is now recognised as an important poet of Malayalam.[72] Later, writers like O. V. Vijayan, Kamaladas, M. Mukundan, Arundhati Roy, Vaikom Muhammed Basheer, have gained international recognition.[73][74][75] Malayalam has also borrowed a lot of its words from various foreign languages, mainly from the Semitic languages including Arabic, and the European languages including Dutch and Portuguese, due to the long heritage of Indian Ocean trade and the Portuguese-Dutch colonisation of the Malabar Coast.[32][59]
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In all, Malayalis made up 3.22% of the total Indian population in 2011. Of the total 34,713,130 Malayalam speakers in India in 2011, 33,015,420 spoke the standard dialects, 19,643 spoke the Yerava dialect and 31,329 spoke non-standard regional variations like Eranadan.[90] As per the 1991 census data, 28.85% of all Malayalam speakers in India spoke a second language and 19.64% of the total knew three or more languages.
For the first 600 years of the Malayalam calendar, Malayalam literature remained in a preliminary stage. During this time, Malayalam literature consisted mainly of various genres of songs (Pattu).[59] Folk songs are the oldest literary form in Malayalam.[22] They were just oral songs.[22] Many of them were related to agricultural activities, including Pulayar Pattu, Pulluvan Pattu, Njattu Pattu, Koythu Pattu, etc.[22] Other Ballads of Folk Song period include the Vadakkan Pattukal (Northern songs) in North Malabar region and the Thekkan Pattukal (Southern songs) in Southern Travancore.[22] Some of the earliest Mappila songs (Muslim songs) were also folk songs.[22]
But the period of the earliest available literary document cannot be the sole criterion used to determine the antiquity of a language. In its early literature, Malayalam has songs, Pattu, for various subjects and occasions, such as harvesting, love songs, heroes, gods, etc. A form of writing called Campu emerged from the 14th century onwards. It mixed poetry with prose and used a vocabulary strongly influenced by Sanskrit, with themes from epics and Puranas.[46]
In 1821, the Church Mission Society (CMS) at Kottayam in association with the Syriac Orthodox Church started a seminary at Kottayam in 1819 and started printing books in Malayalam when Benjamin Bailey, an Anglican priest, made the first Malayalam types. In addition, he contributed to standardizing the prose.[163] Hermann Gundert from Stuttgart, Germany, started the first Malayalam newspaper, Rajya Samacaram in 1847 at Talasseri. It was printed at Basel Mission.[164] Malayalam and Sanskrit were increasingly studied by Christians of Kottayam and Pathanamthitta. The Marthomite movement in the mid-19th century called for replacement of Syriac by Malayalam for liturgical purposes. By the end of the 19th century Malayalam replaced Syriac as language of Liturgy in all Syrian Christian churches.
In the second half of the 20th century, Jnanpith winning poets and writers like G. Sankara Kurup, S. K. Pottekkatt, Thakazhi Sivasankara Pillai, M. T. Vasudevan Nair, O. N. V. Kurup, Edasseri Govindan Nair and Akkitham Achuthan Namboothiri, had made valuable contributions to the modern Malayalam literature.[67][68][69][70][71] Later, writers like O. V. Vijayan, Kamaladas, M. Mukundan, Arundhati Roy, and Vaikom Muhammed Basheer, have gained international recognition.[73][74][75][166]
Every now and then, the camera focuses on the face of Melania Trump, who blushes occasionally, hinting that the song is about her. Prime Minister Narendra Modi, who is also seated on the dais, claps in rhythm, lauding Trump.
Someone who has been making these mashup videos since 2018, Ajmal says that he never expected the Trump video to go this viral. "This was a surprise to me," says the 24-year-old. "This wasn't a planned video. I was looking for ideas for a new video and somehow it hit me how this video and the Mappila song went well with each other. The video was made in the next two days," he says.
If you are a follower of the page, you would already know how hilarious Ajmal's mashups are. For instance, there is Rihanna dancing to the Popy Umbrella ad jingle. In another video, Eminem lip syncs to the popular Malayalam classical song Samayamithapoorva, sung by Yesudas. Also, don't be surprised if you see your favourite Hollywood stars lip-sync to popular Malayalam or Tamil dialogues.
Among the five impossibly brilliant songs in the album --- all of course tuned by Ilaiyaraaja --- nestles a bouncy rain song Oho Megam Vandhadho. Sung by the ebullient S Janaki, it is among the best rain songs ever in Tamil.
And in the November of the same year, K Balachander's Punngai Mannan came with an equally impressive --- yeah, that man Ilaiyaraaja again --- rain song Vaan Megam Poo Poovaai. But this time for the slightly more reflective number, the celebrated music composer went for the relatively younger voice of KS Chitra.
Among the young and impressionable, the two songs set off a debate as to which one is better. As with most musical debates, it all boiled down to taste and preference. But still, opinion was divided whether the brilliant veteran's song or the talented newcomer's number was better.
Idhayathe Thirudathe (Geethanjali in Telugu) had a bouncy rain song. And this time, Raja firmly picked Chitra for the cheerful Aththadi Ammadi (Jallanta Kavvinta in Telugu). It was clear that the Chitra era was well and truly beginning.
No surprises there, as Chitra had grown in stature in those three years and had already notched two National awards --- in all she has six, the highest for a female singer --- the first for the two songs in the 1986 musical tour-de-force Sindhu Bhairavi (Paadariyen Padippariyen and Naan Oru Sindhu) and the Malayalam film Nakhakshathangal under the baton of Bombay Ravi for the song Manjal Prasadavum.
Though Malayalam cinema discovered Chitra and has given her some of the best melodies ---- the internet is full of Chitra's Malayalam masterpieces --- it can be argued, forcefully, that it is Tamil cinema, especially Ilaiyaraaja and later A R Rahman, that made her a true legend of Indian film music.
It is no surprise that out of her six National awards, three have come for Tamil songs --- aside from Sindhu Bhairavi, there is the breezy Ooh La La in Minsara Kanavu for AR Rahman (Minsara Kanavu 1996) and the emotional Ovvoru Pookalume for Bharadwaj (Autograph 2004). Even her National award for the Hindi film Virasat (1997), it was for the song Payalay Chunmun which is a blatant reprise by Anu Malik of Ilaiyaraaja's iconic Inji Idupalagi in Thevar Magan (1992).
Take this song Kannaa Varuvaayaa in the film Manathil Urudhi Vendum (1987). It is a song filled with deep romantic pangs, and the way Chitra delivers it with dignity, fervour and grace adds lustre to it. It has both Janaki and Susheela in it. And that is the quintessence of Chitra.
Or take the 1986 film Mella Thiranthathu Kathavu --- music by both MS Vishwanathan and Ilaiyaraaja. There are two songs --- Ooru Sanam Thoonkidichu and Kuzhaloodum Kannanukku. The first is by Janaki, and the second by Chitra, both give the other a run for the money in both delivery-sweetness and emotional feel. On a different day, each could have sung the other.
The 1989 film Vetri Vizha has a song --- Poongatru Un Per Solla --- which in previous years would have been a shoo-in for Janaki. But Chitra makes it all hers with ease and elegance alongside the great SPB.
There are literally hundreds of examples from Raaja-Chitra oeuvre that underscore the greatness of the duo, and how the Malayala chechee has proved a great replacement for the aging Janaki. (Just type Ilaiyaraaja-Chitra songs on YouTube, and you are into the most enjoyable rabbit hole ever).
Anirudh said that Malayali fans no longer need to wait as he would be making his debut in 2024. The young music sensation also said that the Malayalam movie that he is associating with is a Pan-Indian project that is being made in multiple languages. Anirudh however refused to reveal further details since the project is in its initial stage. But he did mention that he is collaborating with one of his favourite actors and directors in the industry.
It's present tense. ... "You have made my day", in the present perfect tense, is grammatically correct. "You made my day", in the past simple tense, is used for something that happened yesterday. So the correct versions are "you have made my day today" "you made my day yesterday."
"You have made my day", in the present perfect tense, (It happened today) is correct. "You made my day", in the past simple tense, is used for something that happened yesterday. It all depends on the time(tense) when the statement is made 589ccfa754
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