Genomics - What's next?

For a while now, newspapers and websites have been carrying at least one article every day on how a new gene has been discovered, how we might have potentially found a ‘cure’ for cancer or AIDS, why genetics is transforming medicine and healthcare, and that we perhaps inherit our intelligence from our mothers. Why does this field elicit so much interest, controversy, excitement and yet does not quite seem to usher in the advancements at the pace we have come about to expect from most fields in science given the computational power and the wealth of understanding at our disposal? The sequencing of the human genome was a hallmark in the history of the field of genetics. Nearly every major scientist (and politician) thought this would be the moment when the human race would finally unravel the secrets behind everything to do with looks, intelligence, physique, diseases etc. It has almost been 15 years since the project was declared a success (the complete human genome was sequenced) but how much have we learned about the genome itself to be able to address a gene’s many effects and perhaps, to be able to accurately predict one’s future based on his/her genotype (genetic constitution) and the environment he/she lives in? The answer is VERY LITTLE. Let that rather gloomy picture not discredit the extraordinary advancements that have been made in the short span of the last 3-4 decades, and especially in the last two decades with the tremendous innovations in the high-performance computing space. It is important, however to analyze and try to understand why we know so less and yet seem to believe that we know a lot about the fascinating world of genetics.

A field that has gained in prominence over the last three decades has been the interdisciplinary field of Behavioral Genetics – the intersection of psychology and genetics. The field tries to understand the genetics behind various behavioral traits which include psychiatric disorders such as schizophrenia and psychological measures such as the Intelligence Quotient (IQ). Studies on these topics have been around for a long time but the rise of the Eugenics movement in the late 20th century and the horrible practices it led to in the U.S and Europe led to the field of behavioral genetics suffering greatly after the Second World War. Eugenics (‘good genes’) was used as a tool by numerous scientists to advocate the importance of allowing only those who were healthy to procreate and thus ensure that the bad genes (traits/features) would be eliminated from the population. The biggest problem with the proponents of eugenics was that they lacked the understanding of heritability as the modern-day scientists do. Many major traits such as intelligence, height, skin colour etc. have been found to have a polygenic (multiple genes) origin. This logic applies to the majority of diseases too. Fortunately, the end of the Second World War brought the eugenics movement to an end too but left a terrible scar on the behavioral genetics field which had somewhat become synonymous with eugenics given that the field focused quite extensively on psychological traits such as intelligence.

After the discovery of the structure of DNA by Watson and Crick, the field of genetics witnessed significant advancements in the next two decades. While many of the earlier beliefs (including Crick’s Central Dogma principle) have been refuted by subsequent findings, the core ideas and discoveries remain vital for the field’s development. For years, the nature-nurture debate had raged on and on with each party believing that it had found a crucial piece of evidence to mark its victory. The most recent findings, however, confirm two facts. One - Every major physiological & psychological trait is heritable (has a genetic component) and two – genes work in close association with the environment and the environment can shape the expression of the gene. At the beginning of the human genome project, scientists and curious observers had grappled with a few questions. What would this project lead to? Would we then be able to use the knowledge of the genome sequence and combine it with highly-advanced genetic engineering technologies to perhaps edit and modify the genome? Would we be able to perhaps predict what was missing or what had changed in a person’s genome just by looking at it? Better still, would we actually be in a position to understand the individual function of each bit of the genome and thus, perhaps one day, be able to clone and create a new individual? The answer, in many cases, is both a yes and a no. One may be justified in asking why the response is paradoxical and inconclusive. To better understand this, we need to head back to twin studies – the study that resurrected the field of behavioral genetics.

Twins have always fascinated humans. Seemingly perfectly similar in identity, behavior, build, and sometimes, even in their idiosyncratic patterns, twins (especially the monozygotic variety) have emerged as a fantastic tool to study, understand, and comprehend the heritability of traits. Innumerable twin studies have been done by leading scientists and psychologists but the stand-out one in the last few decades has been the Minnesota Study of Twins Reared Apart (MISTRA). With monozygotic twins being perfectly identical genetically, any visible (quantifiable) change in a particular trait could be construed to be an environmental effect. By administering a range of tests to a number of twin pairs, psychologists found that a number of traits (features) were highly heritable with a correlation of 60% or more. Given that the correlation is never perfect (< 1), we can infer that the environment, especially the unique (non-shared) environment has a major role to play in determining the traits.

Not only have the twin studies been used to study traits such as IQ, they have also been instrumental in furthering our understanding of the genetics of psychiatric illnesses such as schizophrenia etc. As compared to the normal population, the risk of a co-twin developing the disorder (if the twin has it) is significantly higher. This finding undoubtedly demonstrates the existence of a genetic component. Finding the genetic component (or components, in this case) is a whole different ball game as scientists have found out. By comparing affected twins with a control group (unaffected population), scientists were able to identify candidate genes for multiple diseases. In quite a few cases, a single change in a nucleotide sequence (called Single nucleotide polymorphism or SNP) can determine whether a person was likely to develop a disease or not. For example, phenylketonuria (PKU) is a recessive disease (child inherits the disease only if both parents have the mutated copy of the gene) that can be traced to mutations in a specific section of Chromosome 12. A person with PKU is unable to metabolize phenylalanine and this causes significant problems and leads to mental retardation. If this can be discovered in pre-natal tests, then the child can be reared on a phenylalanine free diet thus ensuring a comfortable life. Similarly, such associations have been discovered for a host of other diseases but unfortunately, not every disease has a cure or preventive measure like PKU has. However, an early discovery in many cases can significantly help in altering one’s behavior, lifestyle choices and treatment approach. A great example would be the case of breast cancer. Early detection is the key in any form of cancer and death in many cases occurs simply because the diagnosis was done too late. However, with the discovery that the BRCA1 and BRCA2 mutations increase susceptibility to cancer, women can ensure that they screen themselves very regularly and thus, they will be able to tackle the disease highly effectively.

One might wonder why there quite a gloomy picture was portrayed in the beginning. The reason is simple – not every disease is caused by a single mutation. Almost every major disease (and trait) have polygenic origins and the effect seen (phenotype) is a result of interaction among multiple genes. The candidate gene approaches have proven to be quite disappointing since they do not show up to be statistically significant as the sample grows larger. The genome wide association studies (GWAS), which is a meta-study combining samples from multiple studies, has shown much more promise. Quite a few genes (loci) have been mapped to specific traits and diseases. For example, schizophrenia has had more than 100 such genes mapped to it. There is still a major problem though. Despite finding a number of associated genes, scientists are unable to explain more than 15-20% of the heritability with these genes. To recommend that people start testing themselves for a particular disease, at least 70% of the heritability needs to be explained. This implies that the sample size of the study needs to grow nearly 100 times. Does this mean that we should completely give up the approach? Not at all, according to many scientists.

As outlined in the breast cancer example, an early detection can be crucial in multiple contexts. A decision to have a child may be influenced by some finding. In certain other situations, lifestyle choices can be made based on the results of the tests. Personalized (and precision) medicine is also a major area of focus with most pharmaceutical companies subscribing to the view that the one-size-fits-all approach does not work anymore. Many biotechnology and genomic start-ups, including quite a few in India, are focusing their research on next-generation human genome sequencing and subsequent counselling and guidance.

Given that the computing power is only going to increase and that we are going to get better when it comes to our knowledge of the genome, there is a chance that people will start thinking that they can exercise their choice and control over how natural selection works. Eugenics is a grim reminder of how ugly things can get. Nature has also ensured that our understanding of the ways of the genome will always be limited. Curing diseases, preventing many others, ensuring lifestyle changes, and providing counselling & personalized treatment are all positive steps in the journey ahead. However, imagining that one can have designer babies, control transmission of traits, and clone human beings is a space to be avoided. As Jeff Goldblum outlined so beautifully in Jurassic Park “Genetic Power is the most awesome force the planet has ever seen but you wield it like a kid that’s found his dad’s gun.”

Rajadhi Raja

I really don’t know when it all began. One of my earliest childhood memories involves watching Kamal Hassan’s classic Nayagan in Natraj theatre. Ah, the charm of the stand-alone theatres. It is tempting to digress but I shall stick to what I set out to write. This has perhaps been the longest delay (nearly 2.5 years!!) bringing out a blog from the date I got the idea. But then, I wanted this to be different, really different from any piece I have written before. A few years back, I had penned a piece on old Hindi classics and experienced tremendous joy while writing and simultaneously listening to those songs. The situation with Ilayaraja songs is an altogether different matter. I have found it difficult to actually identify a reason why I find his songs incomparable. Probably they just touch the heart in the right place. Or better still, they seem to leave a permanent mark in your memory. However, I did not want to make this decision by myself. I knew that like me, there were numerous fans of the great Raja. Some liked his music while some loved the lyrics in the songs. Some swore by the background music in the movies while quite a few others felt the voice lent by the singers was the key. There was only one way to find out. I asked quite a few aficionados to send me their top ten Raja songs (a seemingly impossible request to fulfill really) and the reason why they actually chose these songs. Enjoy this blog in a different way. Read about the songs and listen to them at the same time. I shall provide YouTube links to all of them.

Memories of watching Nayagan are quite blurred. However, the same cannot be said of the hugely entertaining Apoorva Sahodarargal – a 1989 classic where the peerless Kamal Hassan essayed a dual role, one of which was that of a midget. At the school talent day on November 14th, I decided it was time to grace the stage with my presence. I picked the song ‘Raja Kaiya Vecha’ and delivered what was by popular consensus, an unforgettable performance. Ok, I was probably slightly exaggerating there. I probably never knew then that this was a Raja song. When I sit back now and listen to this song and the other fantastic numbers in the movie, I can’t help but get transported to another universe. Case in point is the immortal sad song – Unna Nenachen Paatu Padichen. A love failure song it may be, but it is one like no other. Kamal Hassan delivers an acting and emotive masterpiece while S.P Balasubramaniam leaves you stunned with his singing prowess. Where does Raja fit in here, one may ask? You will perhaps realize this when you watch the song and the rest of the movie. The music provided for this song is easily among the finest provided by Raja and pretty much made me quite partial to his sad songs. I would put this classic as the finest Raja number I have ever listened to. You might perhaps want to listen to this brilliant composition while you journey through the rest of my list.

I don’t think picking number 1 was that easy. However, picking the rest is going to be an even tougher challenge. Close on the heels of Apoorva Sahodaragal came Mani Ratnam’s magnificent Thalapathi (1991). An adaptation of the Arjuna-Karna rivalry from the Mahabharata, the movie was a raging hit and Rajinikanth, Tamil cinema’s super star, delivered a sublime performance as Surya, the illegitimate son of SriVidya. The film has a host of fantastic songs but none better than Chinna Thaayaval sung by the legendary S. Janaki. During the song, we notice both Rajini and Srividya turning behind while praying when they hear the sound of a passing train (Rajini had been abandoned as a kid by Srividya in a goods train). This moment is etched in my memory simply because of the divine music. In my opinion, no other song captures the unique mother-son relationship better. I cannot help but mention that the great lyricist Vaali adds a whole new dimension to the viewer’s (and listener’s) experience.

Few movies in the history of Indian cinema leave an imprint on the moviegoer like Thevar Magan did. Kamal Hassan, as usual, delivers a virtuoso performance while the great SIvaji Ganesan lights up the screen with a memorable display. The movie features a duet ‘Inji Idupazhagi’ sung by Kamal Hassan and S. Janaki. The rustic theme of the song reflects Raja’s appreciation for folk music. This song breaks the domination of melancholic numbers and slots in at number 3.

Ilayaraja was undoubtedly someone who heralded the renaissance of folk themes in the Tamil music industry. However, classical tunes were not beyond him. Some of his finest compositions came in movies/songs that had a classical base. K. Balachander’s Sindhu Bhairavi was one such. In a movie full of fantastic songs, the song Padariyen Padippariyen sung by Chitra stands out according to me. Sivakumar, who plays the proud singer JKB, tends to sing only Telugu or Sanskrit songs in his concerts. Suhasini (Sindhu) requests him to sing Tamil songs too occasionally to ensure that the message reaches the people. JKB mocks her and expresses distaste for Tamil and its music (folk, in particular). Suhasini’s goes on to lecture him about the inherent charm of folk music but JKB responds by challenging her to sing in front of the massive audience. She goes on to accept the challenge and pulls off a masterpiece with the final blow coming in form of a beautiful transition to the Telugu song that JKB had sung earlier. This song undoubtedly remains a classic in Tamil cinema and is my Number 4.

I have certainly felt (and I am sure many others agree) that Ilayaraja stands out among music composers because of the attention he gives to a movie’s background music (BGM). One such movie is Mani Ratnam’s Mouna Raagam. Raja’s mastery is evident right from the first clip all the way through this brilliant movie. Again, in a movie full of terrific songs, I lean towards SPB’s magnificent rendition of Nilave Va. Mohan plays the role of a husband who is spurned by his wife Divya (played by Revathy) who is still unable to get over the loss of her true love (a wonderful cameo played by Karthik). She has been forced into this marriage and despite her best efforts to get out of the marriage, she is made a victim of some emotional blackmail by her parents and pushed into it. Mohan sings this after Revathy insists that the only gift she wants from him is a divorce. SPB elevates his already magnificent ability and delivers a breathtaking performance. Add to it Raja’s sublime composition and you have a song for the ages.

After I sang Raja Kaiya Vecha and received a rapturous applause, the school and teachers pretty much decided to have me sing during a break in class, in the assembly or before prize distribution in a particular competition. During this lovely phase, one of the songs I tried singing was Kanmani Anbodu Kaadhalan from Guna. A movie I had not really watched fully, Guna was an interesting departure from the regular films one was used to in the early 1990s. This particular song, sung by Kamal Hassan and S. Janaki featured a great dialogue sequence too. Raja’s music provided the icing on the cake as this song quickly went on to capture my imagination.

Many songs are known for the singer’s fantastic voice. In a few other cases it is all about the lyrics. However, in the case of Rakamma Kaiya Thattu from Thalapathi, the focus is completely on Raja’s brilliant opening sequence of violins. This mesmerizing start leaves you totally bewildered at the great man’s ability and you cannot help but marvel at every note thereafter. The song has been rightly acknowledged as one of the finest musicals in Indian cinema.

If you have noticed, this list is dominated by Rajinikanth and Kamal Hassan on the acting front and SPB, S. Janaki on the singer front. This song, however, features none of them. Starring Vijaykanth, the movie Vaidehi Kaathirundhal, features an exceptional song – Rasathi Unna Kaanadha Nenju. This song was sung by P. Jayachandran, a popular singer who sang numerous songs in Malayalam and Tamil. Again, Ilayaraja’s fascination for the rustic/folk setting comes to the fore in this beautiful number which is so soulfully sung by Jayachandran. Personally, I seem to turn to this song whenever I need a nice feel.

Hasn’t it been a while since we moved away from the allure of the ‘love failure’ songs? This song happens to be one of my all-time favourites. Featuring the one and only Rajini, the song Vellai Pura Ondru (sad version) sung by Yesudas is a wonderful composition, which in combination with the lyrics, touches your heart like few other songs can. There is a happy version of the song too but in my opinion, it cannot hold a candle to the sad version. Maybe it is my partiality for sad numbers but well, what can I do?

Picking a top ten is a fascinating, yet an almost futile exercise. You are likely to miss out so many favourites that you start wondering if the list was well chosen in the first place. I went with a simple premise that these tend to be the songs I play the moment I think of Raja songs. So, in some ways, I guess I am fairly accurate with my list. I round off the list with an SPB classic – Kadhalin Deepam Ondru from the movie Thambikku Endha Ooru. This romantic number featuring Rajnikanth is right up there when it comes to love songs. The setting, Rajni’s on-screen charisma, and the great voice are all made to feel just a little more special with Raja’s accompanying music.

I must have missed out on a number of glorious songs during the course of this exercise. However, the idea of writing this blog was to compile a set of top-tens (or more) from many Raja fans. So let me provide you with a wonderful extension of this musical journey by taking you through the lists I got from others.

Poornima, a fellow Raja fan and Tamil movie buff I happened to meet at work couple of years back, gave me this fantastic list (and reasons). Raakamma - Needless to say - the violin extravaganza, the mix of the thevaram (?); goose bumps guaranteed everytime

Ilayanila - SPB's voice dynamics makes you see nature in a whole new light …sheer melody and of course the guitar interludes…

valai osai - Guess there is a huge visual bias, but a masterpiece with Latha and SPB bringing out the romance in you no matter where it is hidden

raja rajathi raja indha raja - A different genre for raja - but brilliantly conceived as a 'percussion-only' composition and Raja-YJ's voices blending as one to boost the bad-boy-but-adorable image of Karthik

aayiram thamarai mottukale - How can someone convey infatuation/first love/hormonal upsurge etc using veena and mridangam? Listen to that

mridangam intro again if you dunno what am talking about! That's Raja for you….composed in Shubapanthuvarali (?), this song mesmerizes you

Shenbagame - Again a twist in the tale - get a kick out of listening to bollywood queen Asha render a tamil melody! The freshness of her voice itself elevates the song to great heights

saandhu pottu - For sheer arrogance in using the "silambu" sound as an 'intro' and graduate into beats, followed by SPB's forever inspiring cords… of course Kamal's voice thrown in for mass appeal!

mandram vandha - This has to be one of Raja's all time super hits - magic of SPB (yea am obsessed) in communicating the pain that Mohan goes through but continuing to be pleasant all the same

janani janani- Simplicity of Raja's voice combined with unconditional devotion in his favorite raga Kalyani! Surrender!

andhi mazhai - Again, mridangam to the magic…but altogether a different feel this time, more 'urban' if I may, but 'divine' romance nevertheless…

kaadhalin deepam

maasi maasam - YJ and Swarnalatha - a unique combination of voices churn out this sensuous number; a treat right from the word go

aatama therotama- the only song in the movie and a killer at that .. The beats, the tempo, Swarnalatha - perfect build up for a gripping climax in an adrenaline-rush of a movie

madhurai marikozhunthu vaasam- Folk genre and how! Trust a genius like Raja to set the tone with a rustic chorus chant of "pacharisi mavu vechu…" before jumping to a classic Mayamalavagowla and Mano and Janaki singing with gay abandon!

Vikram title song - And you thought techno was unheard of in Kollywood in the 80s…Who better than Ulaganagayan to set the ball rolling! Way ahead of its times with his inimitable 'getting-into-character' singing…

Andhiyile vaanam - I must confess that the mind-blowing violin interlude between the two pallavis is all it takes for this song to feature here!

Sandhana kaatre - Purely for syncing of aarohanam and avarohnams of Janaki and SPB in the pallavi humming… what a masterstroke!

Endhan nenjil neengadha - Slighly more 'synthetic' compared to vintage Raja - but YJ and the background score ensure that the master is very much there

Un paarvayil - Different tune, delightfully sung by Chechi!

nee partha paarvai - Raja re-discovered!

Thendral vandhu/Sorgame endraalum - Can't decide if it is the magic of Hamsanadham or the singers, interludes, or the entire package! But even tougher is to take a pick between the 2! Help!

nee thaane enthan ponvasantham - Are you kidding me? You dunno why this song is here?

Pothi vecha malligai mottu - Respect…..

Karutha machan - You have to listen to this song and get into that 'gramam' mode to enjoy this one; brilliant stuff by Janaki! The use of typical percussion instruments suited for a folk setting…. Quirky stuff ;)

Vishwanath a.k.a Vichu is someone whom I immensely respect for his eclectic taste in music and cinema. His list is quite different from most. Sincerely appreciate the effort he has put in while actually penning a mini blog on his favourites.

1. Sandhathil paadadha kavidhai from Auto Raja- Ilayaraja’s trademark to me is that he can make a song appealing at different levels. A tune that is very simple and melodious will at the same time be rich and soulful, appealing equally to the musically illiterate and the connoisseurs. I found this song to be a very simple one to hum till I gave it a closer listen when I realized I actually unearthed a gem. There are two other songs- Thulli ezhundhadhu paatu from Geetanjali and thendral vandhu theendum podhu from Avatharam which equally compete for being the trademark Ilayaraja number that is simple but really beautiful. But I guess I will have to go for this one at no.1 because if there is any song that has Ilayaraja written all over it, it is this song. Even for a moment I cannot imagine any other composer composing this song, all past and recent greats included.

2. Ponvanam Panner thoovudhu from Indru Nee Naalai Naan- Not many talk of this song when they talk about great Ilayaraja songs. Not many venture trying to sing this in all our super singer, doper singer contests. Because it is difficult to do justice. I rate this to be S.Janaki’s best number till date miles ahead of more popular ones like Kaatril enthan geetham, etc. The beginning and interlude instrumental pieces are magnificent and I often imagine Raja cutting them short just for the movie’s sake to have a short song. It is difficult to think he couldn’t have a composed a song 10 minutes in duration with such a soulful tune.

3. Thalayai Kuniyum Thamaraiye from Oru Odai Nadhiyaagiradhu- Heard this in the barber shop for the first time. Raja’s best number in my favourite raga Reethi Gowlai. It often surprises me that his other composition in the same Raga Chinna Kannan Azhaikiran is raved about while not many even know this one (Bala Murali Krishna’s brand image may be?). To me this song beats Chinna Kannan hands down- better interludes, more elaborate charanams and definitely much better flow in the swaras.

4. Nee Pournami from Oruvar Vaazhum Aalayam- Raja’s Jesudas numbers need a separate top 10. I have included 3 here. This song is another underrated masterclass. I am not equipped to write much about this. I can only recommend that you listen to this one which I have done a million times without ever tiring of it.

5. Vedam nee from Koil Pura- One of Raja’s masterpiece as an album was Koil Pura. I was tempted to include Amudhe Tamizhae Azhagiya Mozhiye from the same movie in this list but had no doubts whatsoever in including this Jesudas number from that movie. It is one of the few songs ever in Gowlai. I used to rate Dudukugala at number four in the Pancha Ratna Keerthanas. But after listening to this Raja number, I was enthralled and decided to revisit the raga. These days I feel Dudukugala is the undisputed number 1. It is through Ilayaraja and MSV that I rekindled my very little interest in Carnatic music. In this case, through a Raja number I rediscovered one of Thiayagaraja.

6. Andhi Mazhai from Raja Parvai- One Raja symphony song is mandatory. What better than this one! Just listen to the song’s beginning if you don’t believe me. Even if you have heard it before, listen again and ensure you identify that the chorus, the violin and the guitar are playing in three different sruthis yet merging like divine confluence.

7. Poove sempoove from Solla Thudikudhu Manasu- If anyone ever needed a reminder of Raja’s orchestral capabilities this was it. If anyone wonders how Raja, a man rooted in traditional instruments would adapt to the use of a keyboard this was it. If any ARR fans talk of fusion music, the interludes of this song will be the worthy rebut. It is as if to reinforce the song’s greatness and the many layers that Raja decides to end the song with only the Piano music after the song scales unbelievable highs during its course.

8. Nee partha paarvai from Hey Ram- I am very skeptical about modern Ilayaraja songs being called great songs. I hate the way some songs are publicized to be “great”. For example I am sure Sundari Kannal oru Sethi is likely to figure in many people’s lists. Frankly, I wouldn’t list it in my Raja top 100. The modern ones have been marketed using words like symphony, London orchestra, rerecording in Hungary and what not. As a listener, I don’t care about the song’s making if the song itself doesn’t speak of it. This is where I hate some Ilayaraja fanatics and to an extent Raja himself talking up his songs. You cannot tell me one instance of MSV or ARR doing it. Once a fan argued with me that Raja could write notes right from his mind directly whereas MSV would need to play it on the harmonium and ARR on the keyboard. I found it an interesting fact but a useless one at that. This talent of Raja is admirable but as a listener what I care for is the end product. This is many a times similar to Shankar touting his films to be quality ones by drawing justification from the difficulty in the making. I loathe such publicity for a product that must speak for itself. Many so called Raja masterpieces of recent times are glorified recitations if you ask me. I might be wrong on some of them like in the case of “Nee Partha” but I stick to my stand for the rest. I dismissed “Nee Partha” initially because Hey Ram was a very average album contrary to the massive hype created for it. I revisited this song ages later in 2013 this time listening with earphones. Now I can tell you this is an absolute legend of a song, the best Piano song ever (MSV fans will be enraged). I listened to the song nonstop for three days, even during work at office, because I simply could not live without it. So as a rare recent masterpiece from Raja, this one ticks one more box.

9. Katti Vechuko from En Jeevan Paadudhu- I have asked my father, a MSV fanatic, a million times- What made Ilayaraja break through into the industry?? His answer has always been the same- folk music. So an Ilayaraja folk number is inevitable in this list. This song is my favorite in what I identify to be the trademark Ilayaraja folk genre. Not popularly known, I heard this song randomly in a call taxi radio. I downloaded the song that very day and been enjoying it ever since.

10. Thendral Ennai muthamittadhu from Oru Odai Nadhiyagiradhu- A personal favourite finally. I have read rave reviews about this song from classical music critics and found the song to be totally worthy of it. Based on the Malayamarutham ragam, one of my favorites, this has to be in my top 10.

JC is someone with whom I have sat down many times and gone on a Raja tour. One of the most memorable days was in Bombay when we sat listening to Raja classics and didn’t realize four hours had just passed us by. Hope to have more of those memories. 1. Rakamma kaiya thaatu : Thalaivar and SPB magic...the carnatic bit... shobana... selects itself

2. Vellai pura Ondru :the best love failure song ever

3. Kaathalin deepam ondru : SPB kills it

4. Nee partha : Keyboard feel is awesome...beautiful melody.. asha bhosle

5. Onna vida : Kamal voice perfect for this... good melancholy

6. Ellangaathu : Melody at its best... typical raja village song... raja's voice is terrific for this

7. Raja kaiya vecha :Feel good, "heroic" Kamal song

8. Kannai kalaimane : Kanndhasan at his best... writing doesnt get better than this

9. Sundari kannal oru : Legendary song travels through times and so does the listener

10. Pungaatru : peppy raja song... bass guitar is insane

11. Mandram vantha : the poise and tempo of the song brings out SPB's versatility

12. Raja raja chozhan: feel good ..typical raja

13. Pooove sembuve : Killer vocals and music

14. Madai thirandhu : terrific rhythym... raja's tryst with electric guitar... ageless song

15. Thatkida thathumi : brilliant combo SPB and Kamal... nice carnatic feel to it... video amplifies high

16. Kanmani anboda :KAMAL....

17. Podhuvaaga yen manasu thangam (Purely for thalaivar) :Written composed and sang for Thalaivar...

18. unnai ninaichen pattu padichen :Song chokes you... brings out Kamal the actor... apparently written by an irate Vali in few mins and thrown at Kamal

19. Valayosai :Love song..to end it

Poornima was so excited about such a list that she chose to send it to her friend, Bharath (a Raja fanatic, it turns out). Here is his lovely list!

Like I said before, the first 4 or 5 songs are a no-brainer to me. I have the same feeling about them the first time I listened to them as I would if I were to listen to them tomorrow. But picking the others was a challenge. Ask me another day and I might quote 5 totally different songs..thats the power of Ilayaraja I guess..Also, please excuse me if the jargons I use are incorrect..I do not have any training in music. One thing I like across the board for all ilayaraja songs is the transitions during the intro and the interludes. So, let’s take that for granted(I guess you can take certain liberties only for ilayaraja!) for a few minutes as I understand this is supposed to be part of a blog and not a novel.

1. Ninnukkori varanam (Agni natchathiram) This song changed my expectations for a tamil song..if it had come in the 90s, it would have been a bigger hit. From start to finish, the song is a gem on all aspects namely intro, interludes, techno beats with a classical tune, brilliant use of the cymbal, chitra’s voice..what takes this song to another plane is the bass guitar..sometimes, I just try to shun the vocals and the rest of the music and just concentrate on the bass..mindblowing.

2. Thenpaandi cheemayilae (Naayagan) This is one of my favorite tunes of Ilayaraja. I like all three versions of this song..while the tune is the same, I love the way illayaraja conveyed three different moods by altering the beats and the accompaniments. My favorite is the third version when kamal loses his son…if u happen to be depressed and listen to this song, it might actually make you cry and “get it all out of your system”

3. Raakamma kayya thattu (Thalapathi) Best intro I have heard in any song…period. Great tune accentuated by Swarnalatha and SPB vocals. The way the song ends was something unheard of before. Not sure how Ilayaraja even thought of something like that. I have been a superstar fan all my life. So, this song has been even more special since the first time I listened to it. But, rajini or not, this might still have been one of my favorites.

4. Poove ilayae poovae (Kozhi koovudhu) RIP Malaysia Vasudevan, one of the most underrated singers in tamil cinema. Nobody else could have sung this song. You do not need to watch the movie or understand tamil to understand what this song is about. My favorite part of the song is just the tune and the interludes (read violin!!). I am not a fan of the Ilayaraja chorus but the tune and the interlude make me forget the chorus. And the touch of mridangam in each saranam was just brilliant. If you look at the video, you would probably think what a classical instrument like mridangam is doing in a song like that..Well, That is ilayaraaja for you.

5. Naan thaedum (Dharmapathini) Another start-to-finish Ilayaraja classic..starts with a super Ilayaraja humming and end with another..Wherever else you can hearIlayaraja’s voice in this song, it is brilliance..be it his humming or his singing. Add Janaki to that and that’s why this is a winner. But lets not forget the tune and the instrumentation. The playback is just part of it. I am a fan of songs where the interludes are in one genre and the saranam is another and Ilayaraja has mastered that in the 80s. Not sure who else would have been capable. And don’t even get me started on the customary violin and the brilliant transitions in the intro/interludes. I don’t remember when was the first time I heard it but this has always been one of my favorites.

6. Poomaalayae (pagal nilavu) This song is all about the harmony. One of the best male-female playback harmonies I have heard. The intro and the tune is great but the way Ilayaraja and Janaki have combined in this and timed their singing and humming is out of the world.

7. Ennai thottu (Unnai ninaichen paattu padichen) RIP Swarnalatha. What a singer.what a voice. This is probably my favorite song of hers from the opening humming to the first saranam. And the second half of the song is pretty much taken over by SPB. But the interludes for this song are unbelieveable. Again, you don’t need to know the language or see the movie to understand what this song is about; just listening to the interludes is enough.

8. Vaanilae thaenilaa (Kaaki sattai) What is an Ilayaraja top 10 list if it doesn’t have an SPB-Janaki combination. Apart from their chemistry, my favorite part is the intro and the interludes. Talking about the intro, how do you even describe something like that. I guess that for those who are not trained in music, music is an experience and not a science or art. The intro of this song is a testament to that. The piano piece is in the opening is one of my favorite intros. If I were to choose my top 10 small 15-second bits from songs, the harmony between SPB and Janaki in the second interlude would be in the top 5. I am not sure how Ilayaraja even thought of something like that but the execution by Janaki and SPB is perfect.

9. Madhurai marikkozhundhu (enga ooru paatukkaaran) I like this song for the tune and interlude. One of the best tunes I have heard. Especially the first 3 lines of each saranam. Chitra and Mano probably took it a whole new level but without the tune, I am not sure what the point would be!

10. Thoongaadha vizhigal (Agni nathchathram) If I were to ever think of a classical song mixed with western instrumentation, this would come to my mind first. This song proves ilayaraaja is not a normal person. I don’t think any normal person would have composed a gem like this. I love the way each saranam ends with Janaki and Yesudas humming..If the bass guitar stands out for Ninnukori varanam,, the difference maker in this song is the drums/percussion. I would sometimes just like to observe the drums in each saranam without paying attention to the tune. Wait..I have a word for that..bliss!

Thanks for the opportunity to write something like this..May Ilayaraja’s music live forever in our hearts!

Nithya and Deepak came up with this list. I must thank Deepak for introducing me to many Raja songs and showcasing the variety in Tamil cinema music.

There was no way I could rank from one to ten. So am gonna pick the one that has stuck to mind...one for each mood/ Tamil cinema categories.

Opening song: Raakamma

When the violins start...am at that set.

Bhakti: janani janani

Harivarasanam and janani are the only two songs that make me feel one with god ( in the light classical genre)

Melancholy: chinna thaai (special note: then pandi seemaiyile doesn't even come close. I feel there is a maternal cry in janaki's voice which even the former song doesn't match up to)

Breezy: en iniya pon nilave

The rhythm pattern makes this simple song so much more complex and intricate

Urban romance: ninaivo oru paravai

Kamal's young voice and the overlapping humming are the highlights...not to forget the wake-from-your-slumber drum prelude to the bgm1 and 2 Rural romance: Pothi vacha and rasave unna nambi

I couldn't choose one here...this is Raja's strongest genre and there are several other gems which I would list happily but overall the innocence, earthiness and lyrical beauty made these the winners

Kuthu song: annathe aaduraar

Thani Thotti came a close second but the classic touches and the inherent fun element of annathe aadiraar made it the chosen one.

Lullaby: rasathi unna

Soothing with an inherent pain. This works for a baby, during heartbreak or just for the melody as well. This is comfort music at its best.

Western/ ilayaraja's own voice: raja rajathi rajanindha raja

Well ahead of its times in terms of an experimental usage of seconds throughout the song. Add to it disco beats and Ilayaraja's voice and the cocky not so subtle lyrics coinciding with Raja's peak in his musical career.

Finally, I come up with my sister’s list. Manasa is the perfect companion I can have whenever I get into one of those musical moods. Long live the memories of those random singing sessions and long-distance Antaksharis.

All the songs from agni nakshatram- because they were different and very modern, unlike the other songs- love ninnukori varanam and vaa vaa anbey

Love the Thalapathi soundtrack and BGM- from the simple train sound, to chinna thaaiaval.. and my fav- sundari kannal orru(that music part <3)

without doubt- inji idupu azhagi (need I say more? )- folk lord- raja

then I like en vaanile-- from johnny.. esp that piano part of it. very smooth neat song ( close to my heart)

one of my top top favs- for music, lyrics, video, simplicity and sheer awesomeness- nalam vaazya- from marubadiyum

classic oldie- poongatru tirumbuma (mudhal mariyadhai)

i like a few like-- kanne kalaimane, and mouna ragam songs- the tune is frikking stuck in my head, will take it with me when I die!

chinna thambi songs(povoma oorkolam), i love sempoove from siraichalai.

and of course- unna neneche paatu padichein <3 *tears*

and and.. virumandi- unnai vida indha ulagathil

Raja of course composed many lovely songs in Kannada and Telugu too. I shall soon add that list here too.

This blog (or a compilation of blogs) may take some time to read. But I can guarantee that the time will be very well spent. When you look back at your life, perhaps when in your 60s or 70s, you will be thankful that you spent the better part of your youth engrossed in something. I am glad music played a significant role – and even more thankful that I got to listen to the immortal Ilayaraja.

The missing Mani in OK Kanmani.,,

Over the last few days, I have been quite confounded actually. So confounded that I have spent a few hours discussing and debating whether I am ‘old fashioned’ when it comes to movies – especially Tamil cinema. Not that I think so. Having watched many more movies than I used to, I am now a firm believer that Tamil cinema is experiencing a renaissance of sorts with a number of low-budget, yet high-quality films being made. Many of these have dared to venture beyond the comfort zone and have been amply rewarded, although perhaps not always financially. But last week I was jolted out of my reverie when confronted with OK Kanmani. What was so ‘special’ about this one? Before I made the decision to watch the movie, I had listened to the songs. Popular opinion was that A.R Rahman had rediscovered his mojo in Tamil movies and had provided one of the finest scores in recent years. While I would perhaps not venture so far as to shower such accolades, I believe the music score for OKK was quite brilliant and was one of the reasons I really pushed myself to watch the movie.

One might be justified in asking me why the fact that Mani Ratnam being the director was not a big enough reason to hit the theatre. Well, the ace director has been having a poor run for the last few years and has not directed a single good movie for a while. All the more a reason to believe that he was going to turn the corner and showcase glimpses of his movie-making genius. Alas, it was not to be. In fact the movie was a disaster according to me. In more ways than one, the film lacked charm, reeked of clichés, missed the ‘wow’ factor, and ultimately failed to provide the Mani Ratnam touch which most of his earlier classics inevitably had. Now why should all this leave me confounded anyway? What stunned me in the aftermath of this movie visit was that hundreds of movie goers apparently liked/loved this movie and found it refreshingly different and thoroughly enjoyable. I agree that movies can spark off polarizing opinions and generate heated debates. However, in this case, I almost surely felt the two groups (the ones who despised the movie and the ones who adored it) had a very different outlook when it comes to Tamil cinema.

I was about 3-4 years old when I was taken to the theatre to watch Mani Ratnam’s classic Nayagan. Obviously I don’t recall much from that day but remember my family raving about it. Since then, I have been fed a steady diet of Tamil movies with a significant majority of the movies being those of the great director. In Mouna Raagam, he was way ahead of his time in terms of the story, the emotions, and the screenplay. The background score and songs by Ilayaraja are divine. Mani Ratnam went on to give the world Thalapathi, which must rank as one of the greatest movies in Tamil cinema history. Add to the list Iruvar (a delicate & brilliant portrayal of Tamil Nadu politics), Roja (a top-class movie that touched upon terrorism in Kashmir), Bombay (the 1992 riots), and Kannathil Muthamittal (revolved around the LTTE crisis). He even gave Alaipayuthey, a refreshing love story, which wooed movie goers with its excellent music. After years of watching all these movies multiple times, it was pretty obvious that I yearned for a particular level of film making and class in a Mani Ratnam movie. OKK didn’t just disappoint, it dashed all hopes.

Now what’s really wrong with OKK? First let me get some good points in about this film. It stars two young actors who are looking to make a mark. Mani Ratnam has done this before and launched young stars successfully. So let’s hand it to him. The music & songs are excellent. As I have already mentioned, ARR is top class and has provided us with an excellent music score. The cinematography by P.C Sreeram is breathtaking. He has set a very high standard for years and lives up to it through the movie. That’s about it really. I can’t seem to think of many other high points. Oh well, wait! Prakash Raj, in his limited role, proves why he is a cut above the rest.

Time for the brickbats now. Let’s start with the comedy. Mani Ratnam has never quite attempted to master this aspect. He almost always has very little comedy in his movies. But in a rare occasion such as this one, when he attempts comedy, it comes off very poorly. He should’ve stuck to what he is best at and not venture into dangerous territory. Comedy is a huge factor in Tamil cinema. South Indians, especially Tamilians, love satire, sarcasm, and witticisms. Come to think of it, I cannot imagine a single other state (language) in India boasting two 24/7 channels to screen comedy clips. The Tamilian’s definition of comedy is also very different. Case in point – when the protagonist in OKK tries to demonstrate his video game idea through weird gesticulations and movements, the quintessential Tamil cinema lover will shrug and reflect on the pathetic attempt at humour. However, this kind of comedy is more likely to be appreciated by a largely Bollywood-cinema loving audience. My friend who watched the movie in Bombay agrees. The Tamil crowd in Bombay cannot really relate to their counterparts in Madras. Their idea of comedy is largely influenced by what Bollywood thinks is funny (largely allowing for exceptions). Mani Ratnam, for years, has unfortunately been trying to make movies that appeal to a pan-India audience but has instead churned out very mediocre fare.

The lead actors in the movie do try their best but fall well behind in terms of their acting prowess. Hard to blame them but when I look back at what Mani Ratnam achieved with debutants in the past, I get a feeling that this is a letdown. In short, it seems like he wasn’t quite demanding or focused on their performance. The romantic scenes and dialogues are poor to say the least. None of the scenes leaves a lasting impact. ARR’s music (he still does not have the Midas (read Raja) touch w.r.t the BGM) is definitely the saving grace.

But then, lot of this hinges on the script. How could a man, who gave us such stellar movies in the past, provide such a cliché-ridden, insipid storyline? One might never know the answer to that. I did not watch his last two movies (debacles if you ask me) and was sincerely hoping for a turn of fortunes. However, this effort has left me wondering whether he is past his best days as a movie maker and must instead go back, relax, and bask in the glory of his heyday. Creative geniuses usually never think that way and I will not be surprised if he does come up with another script in the next 2-3 years. My only hope is that he does not spend that long in writing something as amateurish as this.

Some movie goers argue that it is perfectly ok to make a feel good movie (Mozhi, Abhiyum Naanum etc.) every once in a while. Absolutely, I fully endorse that view. But this wasn’t a feel-good movie at all. I cringed from start to finish and could not wait to get out. I have watched pathetic movies in the past but then never imagined I would struggle through a MR movie like this. When you set high standards, you are judged by those throughout and it is hard to look beyond them. Roger Federer may still be No. 2 in the world but everyone understand that he is past his best at least in terms of Grand Slam performances with just two wins in five years. Similarly, Mani Ratnam’s prime is perhaps over and his ability to stun, mesmerize, and captivate audiences, is vanishing if not lost already. I might have criticized but not mulled over and penned a blog if OKK had been any other director’s effort but the fact that it is Mani Ratnam’s means that I will rant and you will have to endure.

PS: I still am a fan of all your classics MR. I really do believe (and strongly hope this time) that form is temporary and class is permanent.

Play on..

Here is a numbers/stats crossword (not really crossword - it's a crossnumbers or whatever you call it)

Just a couple of things here

1. Could not use the symbol '/'. So a 5/30 is represented as 5.30 (the dot is necessary). Sorry to everyone who believes the sacrosanct representation of the average has been violated. Nothing I could do. Also if a team score is 75/5, it will be represented as 75.5

2. So wherever there is an average, there is likely to be a decimal (.)

3. The number of characters indicated in brackets will include the . (or /). So 45.6 is 4 characters

Otherwise the clues are more than enough I guess

Across

1. Mahmood's classic in Durban (3)

3. "You guys are history" (4)

5. Nobody helped defend a lower score (5)

6. Massie's debut overshadowed this classic (3)

7. Run aggregate and birthday (D-M-YY) the same (4)

9. X made 365, Y made 260, their stand was worth ? (3)

13. Most wickets in a calendar year (2)

14. Record series aggregate amidst ruins (3)

17. Best average among 200+ men in Tests (5)

18. Best match bowling in a defeat (6)

21. You start your career with 18 and 1, lose by a massive margin of X runs (3)

Down

1. "X and all that" (5)

2. Vinoo Mankad 1956, Waugh twins Jamaica 95, Tendulkar-Sidhu Sharjah 1996 (3)

3. He ended the series with X runs at 113.12 with 4 centuries (3)

4. Fractured hand, no problem (4)

5. Most economical ten-wicket haul (5)

7. Pair on debut but highest aggregate for his country (4)

8. Legendary stand between Don and the man who loathed him (3)

10. Nearly 42% of the team runs in the series but 3-0 loss (3)

11. The missing score in this game - 75, 127, _ , 276/5 (3)

12. Well. fill this one in - 286, 245, 300/9, ? (5)

15. Connects Graeme Pollock and Eden Gardens 2001 (3)

16. Connects Tendulkar-Azhar Cape Town and Nathan Astle (3)

19. 'FOT' and 'Bacchus' ended on the same number (3)

20. Stan the man (3)

Cheers

Complications by Atul Gawande - A brilliant piece of work

During my MBA at ISB, I wrote a book review as part of a course. The book was titled 'Complications'. Atul Gawande, a renowned surgeon-writer has produced an excellent write-up. Here is my (fairly detailed) review of the same.

In this unique book, the author Dr. Atul Gawande has done an excellent job of dissecting the existing medical system, especially the surgery process in major hospitals. Contrary to what most people feel, Gawande stresses that medical science is imperfect and that many doctors and surgeons also operate on a hunch many times. The charm of the field lies in the fact that there is a persistent gap between what’s known and what’s unknown. The author believes that the uncertainties arise when the simplicities of science mix with the complexities of individual lives. Throughout the book, Dr Gawande espouses the value of practice and more practice. Although he concedes that a few surgeons are more skillful than others, he firmly believes the difference in ability is almost always due to more practice and not natural talent. A recurrent theme through the book points to the ‘human’ element in doctors and how challenging decision making under uncertainty can be.

Dr Gawande discusses the fallibility of surgeons by citing examples from his own experience as a surgical resident. He believes that a resident’s perspective is fairly unique because of the learning process involved. The author himself struggled through many basic surgical procedures when he started out as a resident and slowly got the hang of things as time progressed. It is this part of the book that is extremely honest and revealing. Gawande recalls how he stared in awe at the precision and composure of senior surgeons. He cites an oft-repeated maxim ‘Sometimes wrong, never in doubt’ to illustrate how confident surgeons are when they begin their surgeries. Given the inadequate information, the ambiguous science and the imperfect knowledge, surgeons cannot take anything for granted. Their only hope of improving is through constant practice. The author’s idea resonates with the one in Mathew Syed’s ‘Bounce’. In the latter book too, Syed claims that natural talent is more of a myth and attributes much of an elite athlete’s success to hours of practice. Gawande too believes that while there are a few naturals, learning through mistakes and experience is what sets the field apart.

Interestingly, Gawande also indicates that top medical schools focus on this very trait when they have to decide on admissions. Conscientious, industrious students are preferred to the more ‘gifted’, lackadaisical ones. Gawande recounts how he fumbled through elementary surgical procedures when he was starting out as a resident. The episodes are funny, yet very genuine. After his initial woes, he recalls how he suddenly got ‘better’ one day and completed the procedure with consummate ease. I particularly enjoyed this section of the book because I was able to draw parallels with other fields too where the learning curve can be steep if not as challenging as the one for surgeons. Gawande also confesses that almost all published success rates for surgeries are those of the most experienced surgeons and not those of all the novices and beginners.

The man versus machine debate has been the focus of many books. Thankfully the topic has been accorded only as much importance as it deserves and not treated in too much detail. Just as Deep Blue trumped Kasparov in the chess contest, the machine triumphs Dr Ohlin, one of the finest cardiologists when it comes to analyzing electro cardiograms. Gawande also discusses the example of Shouldice hospital as a case of an institution that has excelled by mechanizing the surgical process. He uses the term ‘focused factory’ to describe Shouldice. Gawande, in this section of the book, does an excellent job of balancing his support for technology and his love for the human touch in medicine. While he concedes that bias and fatigue will almost always drive humans towards error, he firmly believes that the human touch and experience is vital for healing. When asked if the predictability in the nature of surgeries might make the experience boring, a surgeon at Shouldice remarks that ‘perfection is the excitement’. Gawande however believes that idiosyncrasies of patients have to be taken into consideration.

Gawande’s tone throughout the book is very candid. He uses beautiful examples from real life experiences in the surgical theater to illustrate the challenges faced by surgeons. He celebrates the learning process and supports the rather controversial procedure of getting inexperienced surgeons to practice (and learn) during complicated surgeries. The stories are crafted intricately and filled with a dash of humor. The reader at times might be stunned by the confessions and honesty but is likely to enjoy and appreciate the author’s ability to combine his professional expertise with a brilliant writing style.

Gawande also indicates that surgeons know and feel fear too. They are concerned about how they perform and are consistently worrying about their progress. He stresses however, that surgeons have to be able to hide the fear and nerves lest the patients spot the same. There have been many accomplished surgeons who have lost their way in their careers after a couple of failures. Often, Gawande feels, the surgeons who fail end up blaming everyone around but themselves. The author clearly values the contribution of technology in the field of medicine and believes that statistical analyses and simulation systems can be used to complement and aid surgeons.

Perhaps almost as recognition of human fallibility, most top hospitals have an M&M (morbidity and mortality) conference regularly to discuss their failures and improve on their performance. However, the author does suggest that very few hospitals manage to understand why these errors might be cropping up. Quite often, people expect surgeons to be perfect although they are fully aware of the complications involved in the surgical process and how these complications can affect performance. Also, some of the finest doctors, whose performance has fallen away, have been diagnosed with mental illnesses and erratic behavior. Gawande feels that the key to understanding surgeons and their performances lies in accepting the fact that they are humans too and that they can be overworked, stressed and unstable at times.

Gawande also goes on to discuss the increasing autonomy that patients have in modern day surgical process decision making. Not only do they have more choices – i.e. surgeries for obesity, surgeries to eliminate blushing, curing motion sickness etc but they also have the choice of opting for surgery or not even if it is a more critical one. The author talks about how stigmas attached to appearance and behavior have contributed to certain changes in how patients have started acting and what they have started demanding of doctors. How much of a say should doctors have and how much leeway should they give their patients when it comes to decision making?

The book makes for fascinating reading for anyone who is remotely interested in medicine and the advancements in the field. It is at once shocking to see the uncertainty prevalent in the profession and yet heartening to read a top-class surgeon admitting the flaws. Dr Gawande argues that the biggest challenge for doctors lies in trying to be rational in the face of uncertainty and pressure. He even cites an example from his own experience when he had to let another doctor take over the treatment of his child. Despite being a highly successful doctor himself, Gawande had the awareness and humility to realize that a specialist was needed and that it was not the time to bring up emotional attachments. He believes that the medical profession as a whole is guided by the need to know more and needs to focus on asking the right questions to obtain the best answers. Intuition is dangerous many times, yet could be a life saver too, Gawande reiterates. With an outstanding example of how he instinctively felt that the cause for foot redness might be the life threatening ‘flesh eating’ bacteria and not just any normal infection, Gawande illustrates the value of intuition in the medical context.

Blending compassion with knowledge, experience with wit and simplicity with a free-flowing writing style, Gawande makes a difficult, complicated topic seem extremely readable and enjoyable. There are few weaknesses in this excellent book. Maybe Gawande could have actually suggested a few changes and ideas to deal with certain medical situations instead of merely citing more and more examples. Most medical books are filled with incomprehensible jargon. Gawande refuses to take that path and has instead churned out an engaging read for any type of audience. ‘Complications’ is a highly recommended book for any individual who is inquisitive about the happenings in a mysterious yet simple science.

Grammatically yours

It's not uncommon to run into grammatical errors in day-to-day life at work and outside. Most people would agree. Some would cringe while some would just move on without paying any sort of attention. For a while now, I have been part of the former group. On occasions, I have just about managed to hold myself back and not make any comment. Correcting others is fraught with risk. While I am open to corrections and suggestions, not everyone is. Hence I silently suffer the traumatic experiences that come with terrible grammatical errors. Yeah, call me pedantic and captious. I don't have an issue with that. The term 'Grammar Nazi' has been coined to refer to those pompous humans who are finicky about correct grammar and usage. Again, I don't mind being called one. I decided, after much postponement, that I should try and discuss a few frequently committed, terrible-sounding, cringe-worthy mistakes. I shall aim to point out the incorrect usage and provide examples for each that will (hopefully) clarify the context. It is not an exercise in vanity, ladies and gentlemen! Instead, it is a humble request to one and all to learn and unlearn as is appropriate. If the error spree continues, I believe the language might actually spring to life and turn into a staunch advocate of 'linguistic euthanasia'. I know that last bit was random but guess you get what I mean.

1. Lose/Loose - I start with one of the most astonishing errors. There is absolutely no reason to misspell and use one in place of the other since they are completely unrelated. Lose is the opposite of win. Loose is the opposite of tight and is used to refer to anything that is free and unbound. Correct usage - Please lose the habit of using loose in place of lose. Such loose usage will not go unnoticed.

2. Reply/respond/revert back - There are two different errors to be discussed here. Let me start with the more obvious and common one. Whenever the words reply & respond are used, there is NO NEED to use the word back. The prefix 're' serves the purpose itself. So, never use I must reply back to his mail. Instead, say I must respond/reply to his mail. Now the second mistake - usage of the word revert. This word is often incorrectly used in place of reply/respond. Let's take an example. I shall revert to you on this issue. Firstly, revert does not mean reply/respond. Revert means to go back to an earlier state/position/statement/strategy. An example would be - Following the injury to Neymar, Scolari was forced to revert to the 4-3-3 formation. So don't ever use revert in place of reply/respond and compound the error by adding a 'back' following the word.

3. Your/You're - The use of the apostrophe is risky unless one is certain about his/her grammar. When in doubt, it is best to avoid an apostrophe. However, for those who seek adventure, read on. The word your is used to point to something that belongs to you. For example, I could say - Where is your book? How is your preparation coming along? The word you're, however, is nothing but a shortened form of 'you are'. An example sentence would be - If you're tired, you should consider taking a rest.

4. Many/much - An interesting error. People with fairly impressive grammatical know-how have blundered on this front. Many is used when it is followed by a 'countable' quantity. Many runs, many wickets, many people etc. However, much is used along with words that are 'non countable'. Examples include much knowledge, much emotion etc. Never use - He knows much people. It's always many people.

5. Amount/Number - A concept similar to the previous one. Use number whenever you can count and amount in scenarios when the word that follows cannot be counted. The correct usage would be number of coins but amount of money. And all you 'legendary' commentators out there who enlighten us with their brilliant, insightful lines - it's number of runs and number of wickets. Quit using amount of runs, amount of matches. As far as I know, it's incorrect!

6. Less/Fewer - An extension of the same concept. Use fewer when you can count and less in sentences where the word that follows cannot be counted. Lesser money but fewer coins, lesser respect but fewer friends.

7. Don't/doesn't - Another of those errors that almost always passes by unnoticed. This is a classic subject verb agreement error. Use doesn't with the singular forms - he/she and don't with the plural form - they. However, when the pronoun is I/you, always use don't. Example - He doesn't believe in working hard. I don't agree with his views.

8. Went/gone - It does not seem like a common error but believe me, it does occur with an alarmingly high frequency. Went is the direct past tense of 'go'. So an example would be - he went to the movie yesterday. On the other hand, gone is a part participle form of 'to go'. The usage would be - He had gone home by the time I arrived. I have gone to that city before. Never use 'he had went'.

9. Its/It’s – Lets/Let’s - Yet again, the apostrophe strikes. It's refers to 'it is'. Let's refers to 'let us'. One's refers to 'one is'. Examples - It's a great day today. Let's go out in the evening. One's supposed to stay home during a curfew. However, its is a possessive form like his/her. Example - The dog is sleeping in its kennel. Lets is used in a similar manner too. Example - The school lets the students take a week off before the final exams.

10. Their/there/they’re - They're stands for they are. Example - They're happy to travel to Bangalore next week. 'There' can be used in various contexts. Examples include - there is a dog outside the house. Keep the book there. 'Their' is a possessive form. He brought their book today. Their performance in this tournament has been encouraging.

11. Than/from - Less common but does crop up occasionally. Than is more often used in a comparative sense. Example - Jim's performance on this exam is better than Tom's. From (and not than) is used to indicate some kind of a difference. Example - His taste in music is different from mine. Ideally don't use 'different than' even though American English seems to accept the usage of different than.

12. I/me/myself - I is the nominative case and is used as the subject. Example - John and I are going out. I am responsible for this incident. 'Me' is used as an object form always. Never say 'Ram and me'. Instead - She gifted me a book. My friends dropped me off at the airport. 'Myself' is a reflexive pronoun. So it is mighty inappropriate to say 'Myself is X' when asked what your name is. Instead - I hate myself for the stupid performance in the game is correct.

13. Was/were - Was is the past tense of is. Were is the past tense of are. There is generally no confusion on this front since was and were are used with the singular and plural forms of the nouns/pronouns. Also ensure that you say everyone/everybody was, none of them was. But the scenario where an error usually occurs is when the subjunctive (hypothetical, supposition) mood is used in a sentence. Never say 'If i was the king'. It is not possible (or is nearly impossible and is more like a wish). So say 'If i were the king'.

14. A/an/the - Now why on earth would someone mess up articles? Sometimes the simplest of rules can be the hardest ones to matter. Use 'A' before a consonant sound and 'An' before a vowel sound. Most examples are obvious. The interesting ones are 'a European' because the sound is that of 'Y'. It is also 'a year' and not 'an year'. People tend to believe that 'year' starts with an 'e' sound but it doesn't. There is a subtle difference. Also, use an MBA and an MS (starts with an 'e' sound) but 'a Master's'. Use 'the' when you are being more specific. Example - The car he came in was damaged in an accident. Also when 'the' is followed by a word beginning with a vowel sound pronounce 'the' as 'dhee'. Example - 'dhee apple, dhee elephant'. Otherwise pronounce as 'the'.

15. Quiet/quite - Ah, focus guys. Just a slight misplacement can change the meaning rather drastically. It is quiet inside the library. Something is not quite right today.

16. Between/among - Use between when you have two people involved and among when the number of people involved is greater than two. Example - It is extremely difficult to predict the result of a contest between the two teams. There is a consensus among all students in the college. Also use between whenever there is a clearly defined one-to-one relationship - like say agreement between the merchant and workers etc.

17. Of/off - Of is mostly used as a preposition. The Merchant of Venice is one of Shakespeare's finest works. 'Off' can be used as an adverb (turn off the fan before going out) or as a preposition (During a fight, he threw his brother off the cliff).

18. Said/told - Said is the past tense of say and told the past tense of tell. There are subtle differences between the two and can be clarified better with the help of a few examples. - He told me a story. Tell/told need an object. Said can be used without an object too. 'He said he was busy' but 'he told me that he was busy'. Also for quotes, said is used. Churchill said "blah..blah..blah".

19. Stationary/stationery - Very very common mistake. Stationary refers to something fixed or immobile. Example - The batsman's powerful shot flew past the stationary fielder. Stationery, on the other hand, refers to office supplies. Example - He went to the stationery store to pick up his monthly quota of office supplies.

20. Everyone/everybody makes (and not make) - Now this classic subject verb agreement discussion. When in doubt think singular. It's everyone/everybody makes mistakes (although make 'sounds' good). None of us likes (not like) to lose. Ram, together with, (along with) his friend, goes to the school. But when you use 'all', go with the plural. - All of us want India to win the final.

21. Who/whom - Toughie and often confusing. Typically, who refers to the subject in a sentence. Example - Who is coming home today? Who bought this car? Whom, on the other hand, refers to the object. Example - Whom are you going to pick in your team? It becomes easy to think of he/him first and then work backwards to decide if who/whom should be used. He is coming home today - so say Who is coming home? Similarly, you will pick him in your team. Hence use whom are you going to pick?

Of course there are many more errors that we encounter. But I guess this set deals with the ones that occur with high frequency. I believe this is quite a useful resource. Mastering grammar is not easy and requires tons of effort and constant reading. I certainly am striving to get better every day and remain hopeful that people around also do the same. If that happens, I can lead a cringe-free life and avoid writing such blogs.

A strange, but appetizing contest

South Africa's cricket history can clearly be defined by four separate periods - the first when they were a fledgling Test nation for a good part of 60 or more years (1900-1960), the second between 1960 and 1970 when they promised so much but were cruelly cut short because of the nation's apartheid policies that led to a ban, the third between their readmission in 1992 and 2007, when Australia's galaxy of stars retired, providing other teams with a chance to rise to the top and the fourth between 2008 and 2014 when they have oscillated between the sublime and ordinary but stayed on top of their game a lot more often. In the seminal, much chronicled series just before their ban in 1969-70, Ali Bacher led South Africa trounced Bill Lawry's jaded Australian side 4-0 with Barry Richards, Graeme Pollock and Mike Procter demonstrating just what the Test cricket world was going to muss in the next decade or so. It is a fascinating exercise when one tries to simulate West Indies-South Africa Tests in the 1970s. Perhaps the Proteas would have been the only ones to stand up to the mighty Caribbeans in their pomp. Time to move on though to reality.

Ever since they were readmitted to the fold in 1992, South Africa have consistently remained one of the top three teams. Both home and away, they have been a force to reckon with. In ODIs too, they have played an exciting brand of cricket only to disappoint when it matters the most by falling at a crucial hurdle in global tournaments. That a team of South Africa's ability has only a solitary trophy (Champions Trophy 1998) to show for its efforts is unfortunate. However, to this day, the onea team South Africa have never quite managed to dominate has been Australia. Be it luck, ability, Shane Warne, South Africa's legendary 'choke-ability' or a combination of all these, the Proteas have never quite been able to master the men from down under. Perhaps even more surprising is the fact that their only two series wins against Australia came only recently (2008-09 and 2012-13). South Africa are yet to win a single home series against Australia since 1992 but have in the meanwhile crushed every other team at least twice in home series.

They have had a few memorable moments though. In Sydney 1994, they clawed back from the dead in near Aussies fashion to clinch a thriller by five runs with Fanie de Villiers picking up six wickets in the Australian second innings. As has been the case almost every time, they were unable to hold on to a series lead and the contest ended 1-1. In the subsequent series in South Africa, Steve Waugh and Greg Blewett batted the hosts out of the match in Johannesburg and Mark Waugh followed up with a stunning century in Port Elizabeth to lead Australia to a two-wicket win. Shane Warne, who picked up 12 wickets in the SCG defeat in 1994, was already proving to be a nemesis for South Africa. He ended his career with 130 wickets against South Africa, a tally second only to his Ashes haul of 195 wickets. This period between 1993 and 1998 was South Africa's best chance to upstage Australia. For the next ten years, they virtually had no chance against an all-beating unit that broke every possible team record in Tests.

Steve Waugh took over from Mark Taylor in 1999. His reign started rather inauspiciously with defeat in Kandy and a 2-2 draw against a Brian Lara inspired West Indies team. But the joy for opponents was short-lived. Waugh's deadly team had a stellar batting line-up and boasted one of the finest bowling attacks in the game's history. Add to it the presence of Adam Gilchrist, one of the most destructive wicketkeeper-batsmen ever. Surely, no team stood a chance against this outfit. South Africa maybe? Not quite, actually.

In the 2001 series in Australia, South Africa were swamped 3-0 by the Aussie juggernaut. In the return series in South Africa, Adam Gilchrist was in spectacular form scoring a double century in Johannesburg and a brilliant 138 in Cape Town. Ricky Ponting too began his love affair with the South African bowling attack with a superb match-winning fourth-innings century in Cape Town as Australia chased down a massive 334. South Africa salvaged some pride with a win in the third Test in Durban but the writing was clearly on the wall. They could not think of winning against this team for a few more years at least.

Their fears were well and truly justified in the 2005-06 series. While they did manage a draw in Perth, they were thrashed in Melbourne and Sydney. The MCG defeat must have been the most painful for they let Australia off the hook from 248/9 and conceded a century stand for the last wicket between Mike Hussey and Glenn McGrath (not joking!!). In the final Test in Sydney, Graeme Smith gambled to eke out a win and declared in both innings. A stiff target of 288 was made to look shockingly inadequate by Ponting as he scored twin centuries in his 100th Test, a fantastic feat for a batsman at the peak of his prowess. In the follow-up series in South Africa, the Aussies won 3-0 and sealed the triumph with another close win in Johannesburg. South Africa's inability to win the crucial moments & contests was on show yet again. On the same tour, however, the hosts created a record by chasing down Australia's massive 434 to win the Johannesburg ODI to take the series 3-2.

How long could this extraordinary dominance last? Surely, Australia v South Africa had to be a tighter match-up thatn it was proving to be. With the retirement of Shane Warne, Glenn McGrath, Damien Martyn and Adam Gilchrist, Australia were definitely not the same again. An aging and injury-hit team took on the Proteas in a three-Test series in Australia in 2008-09. Despite conceding a big lead in the first innings in Perth, the visitors stunned one and all by chasing down 414 to take a 1-0 lead. Dale Steyn's superb spell in Melbourne combined with a fantastic rearguard fightback brought another win and a 2-0 unassailable lead. This was SA's first ever series win against Australia since readmission. Australia fought back to win the third Test and take the momentum into the series in South Africa. A tired South African team was not on top of the game and went down rather meekly 2-1 giving Ponting the much needed boost after the demoralising loss at home.

Australia's decline continued steadily in the next 2-3 years and they went on to lose the Ashes in England and at home. They came up against South Africa once again in an abridged (two Test) series in 2011. A seesaw first Test in Cape Town saw the Aussies take control after Michael Clarke's stunning 151 when they bowled the hosts out for just 96. In response though Australia folded for just 47 after being perilously placed at 21/9 at one stage. SA completed an eight-wicket win and started firm favorites in Johannesburg. But not for nothing are Australia the team to beat in any situation. They stormed back to square the series with a two-wicket win chasing a competitive target of 310. In the series in Australia in 2012, Faf du Plessis rescued SA from certain defeat in Adelaide before the visitors' pace bowlers and batsmen set up a big win in the final Test in Perth.

How does one define this strange contest? For years, the teams have seemed even and capable of producing thrillers at will. They actually have done so too in both Tests and ODIs. Australia dominated for a few years and looked unbeatable. Even during their fall, Australia have always managed to find their mojo when it comes to matches against SA. SA, on the other hand, were near invincible against other teams at home but have struggled to close the door on Australia. Mentally, they have been second best. In recent times though, South Africa have proved to their fans that they can play an almost Aussie brand of cricket - relentless, aggressive and exciting. With Australia coming in on the back of their stunning 5-0 win in the Ashes, the stage could not have been set better for yet another crackerjack contest. And this time, the odds on it being a mighty close one are rather high.