Showing posts with label FEBRUARY 5. Show all posts
Showing posts with label FEBRUARY 5. Show all posts

Friday, 12 February 2021

About Dolores Moran (JANUARY 27,1924 – FEBRUARY 5,1982)

 






About Dolores Moran 

(JANUARY 27,1924 – FEBRUARY 5,1982)



Dolores Moran was born on January 27, 1924 in Stockton, California. On February 5, 1982. She was the daughter of James G. "Jim" Moran and his wife, Mary Esther Moran. She had a sister, Marjorie.


She passed away in Woodland Hills, California, after a battle with cancer, at the age of 58.


Dolores Moran was a beautiful, very well-endowed teenager who won a bunch of teen beauty contests, such as becoming the Queen of Butte County Fair. The prize was a trip to Yosemite National Park, where she was photographed by NAtional Geographic photographers.





In 1941, Dolores was spotted by a Warner Brothers talent scout at a Sacramento Elks Lodge picnic, and signed a contracting with Warner Brothers, at the age of 17.


She was given singing and dancing lessons, and appeared twice a week doing tap routines in army camp shows. The year 1943 was a good year for Dolores. Dolores Moran had become a popular pin-up girl with soldiers and appeared on magazine covers like Yank and The Army Weekly. The Flying Tigers also claimed her as their "Tiger Girl", to remind them who they were fighting for. She was also cast in OLD ACQUAINTANCE; a film starring Bette Davis, and Miriam Hopkins.


Dolores Moran was at first offered uncredited roles, including: THE LAST RIDE; in 1944, playing Molly Stevens, in 1943's THREE CHEERS FOR THE GIRLS, as a chorus girl, and as the young blonde in the 1943 film,THE HARD WAY, and in YANKEE DOODLE DANDY;(1942) as a girl.




She chose to try to further her career by having affairs with married movers and shakers of the film industry, and had quite a bad girl reputation by the time she was 22!


In 1944, she was cast in a Bogart and Bacall film, TO HAVE AND HAVE NOT, having a supportive role as a sexy lounge singer, MME. Hellene de Bursac. Her name was listed under Humphrey Bogart, Walter Brennan and Lauren Bacall. Perhaps this change in status was because she was having an affair with film's married director, Howard Hawks. However, once cast, her role was shrunk, in favor of expanding Bacall's part.


Also, in 1944, Dolores was included in Warner Brothers' all star cast in the morale boosting, WW2 film, HOLLYWOOD CANTEEN. She played herself in a small cameo part; being the personality behind the popular pin-up girl that was so important to army soldiers and airmen a like.


In 1945, Dolores got her biggest supporting role yet, as Fran, in the film, THE HORN BLOWS AT MIDNIGHT. She got third billing, under Jack Benny and Alexis Smith. Also in 1945, she got third billing in a film, TOO YOUNG TO KNOW, playing the character, Patsey O'Brien. The film starred Joan Leslie and Robert Hutton.






In the film, CHRISTMAS EVE;(1947) was the first time Dolores Moran worked with producer Benedict Bogeaus. Dolores became the other woman with this married man, 22 years her senior. Benedict and Dolores married in 1952, after Bofeaus divorced his wife, who killed herself because of grief. Bogeaus insisted that Dolores be in only his films, which stifled her career. She also suffered with a health condition that kept her out of films, off and on.


In between doing Benedict's film projects, Dolores tried acting as a guest star on some television series: DANGEROUS ASSIGNMENT;(1952), MY HERO;(1952) and MR. AND MRS. NORTH;(1953-54).


Dolores and Benedicts marriage lasted for ten years, before they divorced in 1962. They had one son together, who grew up and became a successful business man.


Dolores Moran's notable credits include...


SILVER LODE (1954)

JOHNNY ONE-EYE (1950)

THE MAN I LOVE (1947)

TOO YOUNG TO KNOW (1945)

TO HAVE AND HAVE NOT (1944)

OLD ACQUAINTANCE (1943)

Friday, 5 February 2021

HILTON SIATERS SIAMME TWINS BORN 1908 FEBRUARY 5-1969 JANUARY 4

 

HILTON SISTERS SIAMME TWINS BORN 

1908 FEBRUARY 5-1969 JANUARY 4




இல்டன் சகோதரிகள் (Hilton Sisters) அல்லது டெய்சி மற்றும் வயலெட் ஹில்டன் (Daisy Hilton and Violet Hilton, 5 பெப்ரவரி 1908 – 4 சனவரி 1969) பிறப்பிலேயே உடல்ரீதியில் ஒட்டிப் பிறந்த இரட்டையராவர். இருவருக்கும் ஒரே குருதிச் சுற்றோட்டத் தொகுதியும், நரம்புத் தொகுதியும் இருந்தது. இதன் காரணமாக, வேதனைகளையும் சந்தோசங்களையும் அவர்கள் ஒன்றாகவே உணர்ந்து கொண்டனர். தாயாரின் பொருளாதார நிலைமை காரணமாக, இவர்கள் இருவரும் இளவயதிலேயே வேறொரு பெண்ணுக்கு விற்கப்பட்டனர். அப்பெண் இவர்களைக் கொண்டு நிகழ்ச்சிகள் நிகழ்த்திப் பணம் ஈட்டினார்.


Daisy and Violet Hilton (5 February 1908 – early January 1969) were English entertainers, who were conjoined twins. They were exhibited in Europe as children, and toured the United States sideshow, vaudeville and American burlesque circuits in the 1920s and 1930s. They were best known for their film appearances in Freaks and Chained for Life.



The twins were born at 18 Riley Road, Brighton, England, on 5 February 1908.[1] Their mother was Kate Skinner, an unmarried barmaid. The sisters were born joined by their hips and buttocks; they shared blood circulation and were fused at the pelvis but shared no major organs. They were variously called or referred to as The Siamese Twins, The Hilton Sisters and The Brighton Twins or The Brighton Conjoined Twins.Early life


Daisy and Violet as children

A medical account of the birth and a description of the twins was provided for the British Medical Journal by physician, James Augustus Rooth,[2] who helped deliver them. He reported that subsequently the Sussex Medico-Chirurgical Society considered separation, but unanimously decided against it as it was believed that the operation would certainly lead to the death of one or both of the twins. He noted these twins were the first to be born in the UK conjoined and to survive for more than a few weeks.[2]



Their mother was unmarried.[3] Kate Skinner's employer, Mary Hilton, who helped in childbirth, apparently saw commercial prospects in them, and effectively bought them from their mother and took them under her care. The girls first stayed above the Queen's Arms pub in Brighton where they were exhibited.[3] They later moved to the Evening Star pub. According to the sisters' autobiography, Mary Hilton with her husband and daughter kept the twins in strict control with physical abuse; they had to call her "Auntie Lou" and her husband "Sir". They trained the girls in singing and dancing.[citation needed]


Performing career


Daisy and Violet Hilton with the Meyers c. 1927

The Hilton sisters toured first in Britain in 1911 (aged 3) as "The United Twins". Mary Hilton took them on to a tour through Germany, then to Australia, then in 1916 to the US. In true sideshow manner, their performance was accompanied by an imaginative "history". Their controllers kept all the money the sisters earned. In 1926, Bob Hope formed an act called the Dancemedians with the sisters, who had a tap-dancing routine.[4] When Mary died in Birmingham, Alabama, the girls were bequeathed to Mary's daughter Edith Meyers, and Edith's husband Meyer Meyers, a former balloon salesman.


The couple took over management of the twins. Held mostly captive, the girls were beaten if they did not do as the Meyers wished. They kept the twins from public view for a while and trained them in jazz music. Violet was a skilled saxophonist and Daisy a violinist. They lived in a mansion in San Antonio, Texas.[5]


In 1931, the sisters sued their managers, gaining freedom from their contract and US$100,000 in damages[6] (equivalent to $1,400,000 in 2019). They went into vaudeville as "The Hilton Sisters' Revue". Daisy dyed her hair blonde and they began to wear different outfits so as to be distinguishable. After vaudeville lost popularity, the sisters performed at burlesque venues.


Shortly after gaining independence from the Meyers, the Hiltons sailed to the UK on the Berengaria in December 1932. They spent most of 1933 in the UK, and returned to the US in October 1933.[citation needed]


Violet began a relationship with musician Maurice Lambert, and they applied in 21 states for a marriage license, but it was always refused.


In 1932, the twins appeared in the film Freaks. Afterwards their popularity faded, and they struggled to make a living in show business.


Later life

In 1936 Violet married gay actor James Moore as a publicity stunt. The marriage lasted ten years on paper, but it was eventually annulled. In 1941 Daisy married Harold Estep, better known as dancer Buddy Sawyer, who was also gay. The marriage lasted ten days.[7] In 1951 they starred in a second film, Chained for Life, an exploitation film loosely based on their lives. Afterwards they undertook personal appearances at double bill screenings of their two movies.


The Hiltons' last public appearance was at a drive-in in 1961 in Charlotte, North Carolina. Their tour manager abandoned them there, and with no means of transportation or income, they were forced to take a job in a nearby grocery store, where they worked for the rest of their lives.[8]


On January 4, 1969, after they failed to report to work, their boss called the police. The twins were found dead in their home, victims of the Hong Kong flu. According to a forensic investigation, Daisy died first; Violet died between two and four days later.[9] They were buried in Forest Lawn West Cemetery in Charlotte.


Media legacy


Brighton & Hove no. 708 has been named in their honour.

In 1989 a musical based on the twins, Twenty Fingers Twenty Toes, with book by Michael Dansicker and Bob Nigro and music and lyrics by Michael Dansicker, premiered at the WPA Theatre and ran for 35 performances. The script can be found in the New York Public Library for the Performing Arts. It began as an accurate portrayal of the twins' early life, but then included a wholly fictitious plot by their keepers to have them surgically separated as adults.[citation needed]


Side Show, a Broadway musical loosely based on the sisters' lives, with lyrics by Bill Russell and music by Henry Krieger,[10] opened at the Richard Rodgers Theater[11] on 16 October 1997. It starred Emily Skinner as Daisy and Alice Ripley as Violet, and received four Tony nominations, but closed after 91 performances.[11] In 2014, a substantially rewritten version of the musical was mounted at the Kennedy Center and moved to Broadway, where it opened at the St. James Theater on 17 November 2014, starring Erin Davie as Violet and Emily Padgett as Daisy. Although well-reviewed, the revival closed on 4 January 2015.


In 2012, Leslie Zemeckis filmed a documentary, Bound by Flesh, about the sisters' lives. The Hollywood Reporter called it "scrupulously researched" and a "masterful film".[12] The film won Best Documentary awards at both the 2012 Hollywood Film Festival and the 2013 Louisiana International Film Festival.[13]


Other legacy

Brighton & Hove 708 (YP58 UGH), a 2009 Scania OmniCity DD which currently operates on the 27 (Westdene Park & Ride – Saltdean) in their hometown, has been named in their honour.[14]


In May, 2018, it was announced that Brighton and Hove City Council and the current owner of the house in which the twins were born had agreed that a commemorative blue plaque could be erected at the property.[3]


Filmography

Freaks, 1932

Chained for Life, 1952





The Curious Life Of The Conjoined Hilton Sisters



Before Paris and Nicky were Violet and Daisy Hilton. Unfortunately, life for these Hilton sisters was far from charmed.or many today, the Hilton sisters are simply Paris and Nicky. Decades before the hotel heiresses became household names, though, there was another pair of well-regonized Hilton sisters: Daisy and Violet. The conjoined twins were born in 1908 in Brighton, England to a poor, unmarried barmaid named Kate Skinner, who believed the girls’ condition was a punishment from God for her indiscretions. At that time, the sisters–fused together at the hip–were the only conjoined twins to be born and live more than a few weeks in the UK.

In spite of that medical miracle, the twins suffered a sad fate after Mary Hilton, Skinner’s employer, took Violet and Daisy under her care. Hilton, who helped deliver the twins, saw dollar signs behind the twins’ condition, and acquired them for the sole purpose of exploitation.

Introduced to the sideshow circus at the age of three, the Hilton sisters toured Germany, Australia, and eventually the United States. Gaining access to the US was difficult, though, because the girls were considered “medically unfit” to make such a trip.

Hilton solved this problem by creating a public media outrage, which put enough pressure on authorities that the twins were eventually granted entry to the US.

After Mary Hilton died, the girls were once again shuffled around as property and bestowed upon Hilton’s daughter, Edith Meyers, who treated the sisters even worse than her mother. Meyers ruthlessly “trained” the girls to dance and play instruments (in lieu of a proper education) so they would attract more attention and make more money. Violet played the saxophone, Daisy, the violin.



Hilton Sisters With The Meyers Family

The Hilton Sisters with the Meyers family. Source: Wellcome Images


If the twins did not comply with Meyers or her husband’s training schedule, they would be beaten. This abuse continued over time, with Meyers threatening to institutionalize them if they did not obey. Violet and Daisy Hilton continued to tour, appear in circus shows, and perform under the strict management of the Meyers for many years. Once, the twins even participated in a Bob Hope act.



The sisters never saw a penny of the money they earned – estimated to be around $5,000 per week at the height of their popularity. When they were 23 years old, the Hilton twins (upon prodding from friend Harry


Houdini) successfully sued their managers for $100,000 and were released from any standing contracts. The newly emancipated sisters then ventured into Vaudeville on their own; the only thing they knew and enjoyed.The young women starred in “The Hilton Sisters’ Revue,” and after that scene died down, moved into burlesque shows. Daisy and Violet Hilton led much of their romantic lives before the ever-scrutinizing public eye; having many boyfriends and some failed marriage attempts, which can be partially attributed to the fact that officials regarded the granting of marriage licenses to a man and just one of the sisters as a sort of bigamy.In 1932, Tod Browning’s film Freaks brought the sisters some notoriety, but it faded out along with the ending of the decade. The Hilton sisters penned an autobiography in 1942 titled The Lives and Loves of the Hilton Sisters, in which Daisy wrote:By 1951, they had agreed to star in a loosely biographical film on them, Chained for Life, which was released in 1952 but not received well by the public. Exiting cinema, the sisters opened a hot dog stand in 1955, but neighboring vendors complained about the “freaks” that stole all of their business.



“We [were] lonely, rich girls who were really paupers living in practical slavery.” And later, “I’m not a machine; I’m a woman. I should have the right to live like one.”In 1961, the struggling sisters made what would be their last public appearance in Charlotte, North Carolina (after an unsuccessful tour of drive-in theaters) where afterwards they were abandoned by their own tour manager and left without any money or transportation.With no options left, they found work at a nearby grocery store promoting Twin Pack potato chips, and became cashiers. They were said to have enjoyed this simple life and the solace it brought them; they even enjoyed performing for their co-workers in the break room.

This “normalcy” didn’t last for long. When the sisters failed to report to work one day in early 1969; police found the 60-year-old sisters in their home, dead of the flu. Medical tests revealed that Daisy died first, and Violet a few days later – presumably too sick to phone for help when her sister perished.



In June of this year, Bound by Flesh – a new documentary film by Leslie Zemeckis (wife of American director Robert Zemeckis) – premiered in limited theatrical release, and has been touted as the most thorough and respectful piece of media about the Hilton sisters, featuring interviews with friends and colleagues of the twins, along with vaudeville historians.Anelle Newitz of i09 commented recently after the release of the documentary, “What makes Zemeckis’ film [Bound By Flesh] more than just a sad story of two exploited women is that it also shows us how the Hilton sisters fit into a unique moment in American media history.


These women were basically like the YouTube stars of the 1920s, famous in a medium that attracted millions, but didn’t translate into other media very successfully.”Perhaps the saddest aspect of the Hilton twins’ story is that they could have been separated with little risk to either sister, as they did not share any internal organs. They claimed that they wanted to stay together, always.



Enjoy this fascinating look into the lives of the conjoined Hilton sisters? Then check out our other posts on interesting diseases and the weirdest mental disorders in human history. Then, read up on some of history’s most well-known “freak show” performers, including the infamous Grady Stiles.



Saturday, 8 February 2020

SUJITKUMAR HINDI ACTOR 1934 FEBRUARY 7- 2010 FEBRUARY 5



SUJITKUMAR HINDI ACTOR 
1934 FEBRUARY 7- 2010 FEBRUARY 5


Sujit Kumar (7 February 1934 – 5 February 2010) was an Indian film actor and producer. He appeared in over 150 Hindi films in the 1960s, 1970s and 1980s, and 25 films in Bhojpuri. From the late 1990s, he primarily worked with production. Kumar was considered a major actor in Bhojpuri cinema.[1] He played pivotal roles either as a villain or as a character actor. One of his most notable roles was as a man playing the mouth organ while driving a jeep in the 1969 film Aradhana and subsequent 12 films with Rajesh Khanna.[2

Biography
Hindi cinema

Sujit was the leading man in suspense flicks in Hindi in the early sixties like Lal Bangla (1966) and Ek Saal Pehle (1965). He was always part of films with Rajesh Khanna as the lead hero like in Aradhana, Ittefaq, Aan Milo Sajna, Haathi Mere Saathi, Amar Prem, Mere Jeevan Saathi, Roti, Mehbooba, Avtaar, Aakhir Kyon? and Amrit.

His other notable roles include that of a spy in Ramanand Sagar's Aankein (1968), Naya Raasta (1970), Jugnu (1973), Hamrahi (1999), Charas (1976), Dharamveer (1977), Dev Anand's Des Pardes, The Burning Train, Kaamchor, Krantiveer, Tiranga and many more.[3][4] He produced big budget movies like Asmaan Se Ooncha (1989), Daraar (1996) Champion (2000), Konchem Ishtam Konchem Kashtam (2009) .[5]

His best friends from the film industry were Rajesh Khanna, Jeetendra and Rakesh Roshan, the two with whom Sujit used to hit the gym regularly and other close friends included producer Saawan Kumar Tak and Randhir Kapoor, as all of them practically grew up together in the Hindi Film industry since the early sixties.[6]

Bhojpuri cinema
He appeared in such films as Bidesiya, Loha Singh, Dangal, Pan Khaye Saiyya Hamar, Champa Chameli, Patoh Bitiya, Sajanwa Bairi Bhaile Hamar , Nag Panchami, Saiyya Se Bhaile Milanawa, Aaeel Basant Bahar, Bidhana Nach Nachawe, Mai Ke Lal, Sampurna Teerth Yatra, Sajai Da Maang Hamar, Saiyya Magan Pahalwani Me, Ganga Kahe Pukar Ke, Ganga Jaisan Bhauji Hamar and Ganga Hamar Mai.


Death

Kumar died in 2010 of cancer, an illness from which he was suffering since 2007. He had two children, Jatin Kumar and a daughter Henna.[7] A condolence meeting took place on 8 February 2010, at the Indian Medical Association, beside PVR Cinema, Juhu, Mumbai where many of his friends from the industry like the whole of Kapoor family, Rakesh Roshan's family, and Rajesh Khanna paid their last respects. He was the best friend of Rajesh Khanna.





Filmography[edit]

Hindi[edit]

Year 1986Film dharam adhikariCharacter/Role police inspecteorNotes
1986AnubhavPanch Jamai
1985Haveli
1985Aakhir Kyon?
1983AvtaarBawaji
1982[[]]
1982KaamchorSohan
1981Raaz
1981Bhula Na Dena
1980The Burning Train
1980Guest House
1979The Great GamblerMarconihe was gang leader of Prem Chopra under control gang
1979KhandaanVikas G. Srivastav
1978Des PardesGangaram
1976CharasShaikh
1976choti si baatdacoiet in song janeman janeman
1977KalabaazMalhotra
1976Amir GaribPolice Inspector
1972Gaon Hamara Shaher TumharaShyam C. Pandey[8]
1972Mere Jeevan Saathi
1972Putlibai
1971Murder in Circus

Naag Pooja
1970GeetKunver Shamsher Singh
1970Maa Aur Mamta
1969AradhanaMadan, Arun Verma's friend, playing the mouth organ
1969IttefaqPolice Inspector
1969Gustakhi MaafShankar
1968AankhenNadeem
1967Jaal
1967Sab Ka Ustad
1966Lal Bungla
1972Amar PremNandu's Father
1954taxi driver(first movie smoking cigarette in background) dev anands movie

Producer[edit]

  • 1986 : Anubhav
  • 1989 : Aasmaan se Ooncha
  • 1992 : Khel
  • 1996: Daraar
  • 2000: Champion
  • 2004 : Aetbaar
  • 1991 : Ganga Kahe Pukar Ke
He also acted in Zee horror show's episode Dahshat 1994-1995

Monday, 5 February 2018

D.G.LINGAPPA ,MUSIC DIRECTOR DIED FEBRUARY 5,2000



D.G.LINGAPPA ,MUSIC DIRECTOR 
DIED FEBRUARY 5,2000


டி.ஜி.லிங்கப்பா இறப்பு பெப்ரவரி 5

திரு கோவிந்தராஜுலு நாயுடு (எம்.ஜி.ஆர்-வைஜெயந்தி மாலா நடித்த பாக்தாத் திருடன் படத்தின் இசையமைப்பாளர்) என்ற பிரபல சையமைப்பாளருக்கு  மகனாக பிறந்த லிங்கப்பா ஒரு சிறந்த இசையமைப்பா ளரானார் என்றால் அது மிகையில்லை.

இசையரசி திருமதி பி.சுசீலாவிற்கு மிகவும் புகழ் தேடி தந்த “அமுதைப்பொழியும் நிலவே” தங்கமலை ரகசியம் பாடல் இவரது இசையமைப்பே. திருச்சியில் வசித்து வந்தபோது அங்கே எம்.கே.டி, கே.பி.சுந்தராம்பாள் போன்றவர்களுக்கு இசையமைத்து பயிற்சி அளித்தவர் லிங்கப்பாவின் தந்தை. பல வாத்திய கருவிகள் வாசிப்பதில் வல்லுனர் லிங்கப்பா. பல பட நிறுவனங்களில் பணியாற்றினார். மார்டன் தியேட்டர்ஸ் போன்ற பிரம்மாண்ட நிறுவனத்தில் கே.வி.மகாதேவன் மற்றும் பாப்பாவுடன் கூட்டு சேர்ந்து வேலை செய்தார்
பின் சுதர்ஸனம் மாஸ்டரிம் வேலை செய்தார்.இப்படி பல நிறுவனங்களில் பல்வேறு இசையமைப்பாளர்களிடம் வேலை செய்தார்.
டி.ஆர் மகாலிங்கமும் பந்துலுவும் சேர்ந்து தயாரித்த 1951’ல் வெளியான மோகன சுந்தரம் படத்தின் மூலம் இசையமைப்பாளரானார் லிங்கப்பா. சி.ஆர்.சுப்புராமன் மரணமடைய அந்த இடத்திற்கு வந்தார் லிங்கப்பா. படம் தோல்வியடைந்தாலும் பாடல்கள் இன்றும் நம் நினைவில் உள்ளவை.


கார் சவாரிப்பாடலான ஓ ஜகமதில் இன்பம் இன்றும் அதே இனிமையுடன்
நம் காதுகளுக்கு விருந்தளிக்கிறது.
பி.ஆர்.பந்துலு பத்மினி பிக்சர்ஸ் உருவாகி 1954’ல் “கல்யாணம் பண்ணியும் பிரம்மச்சாரி” படத்தை தயாரித்தால், ப. நீலகண்டன் இயக்கினார். அதற்கு இசையமைப்பு
லிங்கப்பா. பாடல்கள் எல்லாம் அருமை. மக்களை சென்றடைந்தன.
சந்திரபாபுவை பாடவைத்ததும் லிங்கப்பாவே. இதில் சிவாஜிக்கு ஜாலி லைப் பாடலில்  குரல் கொடுத்ததும் சந்திரபாபுவே.

பந்துலுவின் அடுத்த தயாரிப்பு முதல் தேதி(எனக்கு மிகவும் பிடித்த படம்)
சிவாஜி,அஞ்சலி தேவி, கலைவாணர், மதுரம் அம்மா நடித்தனர். கலைவாணர்  பாடும் தேதி ஒண்ணுலே இருந்து இருபது வரைக்கும் கொண்டாட்டம் கருத்தாழமிக்க பாடல். இன்றும் மனிதனின் நிலை அதே.
இப்படி பத்மினி பிக்சர்ஸ்ஸின் ஆஸ்தான இசையமைப்பாளர் ஆனார் லிங்கப்பா

பந்துலு-லிங்கப்பா-கு.மா.பா வெற்றிக்கூட்டணியாக மாறியது
அடுத்து தங்கமலை ரகசியம். படத்தில் பத்திற்கும் மேற்பட்ட பாடல்கள் இருந்தும் ஒரு மெட்டு இன்றும் லிங்கப்பாவின் பெயர் சொல்லிக்கொண்டிருக்கிறது என்றால் அது அமுதை பொழியும் நிலவே நீ அருகில் வராததேனோ.. தேன் குரலாள் எங்கள்
இசையரசி இசைத்த இந்த கானம் தேவகானமாக இன்றும் நம் செவிக்கு விருந்தாகிக்கொண்டிருக்கிறது என்றால் அது மிகையில்லை.
இதே படத்தை பல மொழிகளிலும் இசையமைத்தவர் லிங்கப்பா
அடுத்து சபாஷ் மீனா.. இது லிங்கப்பாவிற்கு பெரும் புகழ் தேடி தந்த படம்
கு.மா.பாவின் வரிகள், சித்திரம் பேசுதடி, காணா இன்பம் என வெளுத்து வாங்கினார்.
பந்துலு கன்னடர் ஆக தங்கமலை ரகசியம் கன்னடத்திலும் எடுத்தார்
ரத்னகிரி ரகஸ்யா அங்கேயும் லிங்கப்பா அறிமுகம். பின் கன்னடத்தில் என்னற்ற

படங்களுக்கு இசையமைத்தார் லிங்கப்பா.. கன்னட திரையிசை உலகில்
லிங்கப்பாவிற்கு தனி இடம் உண்டு. கிட்டூரு சென்னம்மா, ஸ்ரீ கிருஷ்ண தேவராயா, பப்ருவாகனா, ஸ்கூல் மாஸ்டர் என அடுத்தடுத்து வெற்றி பாடல்கள் . தமிழில் கவனம் செலுத்த இயலவில்லை .ஒரு இடைவெளி ஏற்பட்டது.
அப்படியும் பந்துலு தயாரித்தால் அதில் இவர்தானே. எல்லோரும் இன்னாட்டு மன்னர் படத்தில் இவரது பாடல்கள் குறிப்பாக பட்டுக்கோட்டையாரின் என் அருமை காதலிக்கு வெண்ணிலாவே, மனமென்னும் வாணிலே மழை மேகமாகவே பாடல்கள் தெள்ளமுது.
பந்துலுவின் முரடன் முத்து (சிவாஜி பந்துலு கூட்டணியின் கடைசி படம்)
இதற்கும் இசை லிங்கப்பா. அருமையான பாடல்கள்
தாமரப்பூ குளத்திலே,கல்யாண ஊர்வலம் பாரு, செவ்வந்திப்பூ தோட்டத்திலே என அருமையான இனிமையான பாடல்கள்
பின்னர் தங்கமலர் என படங்களின் எண்ணிக்கை குறைந்தது.கன்னடத்தில்

ராஜன் நாகேந்திரா மற்றும் ஜி.ஜே.வெங்கடேஷ் போன்றோர் நிறைய பாடல்கள்
தர ஆரம்பித்தனர்.. இவரது முன்னேற்றம் பாதித்தது. தமிழில் எவ்வளவோ சிறப்பான பாடல்களை இவர் தந்தும் இன்றும் நாம் இவருக்கு உரிய மரியாதையை கொடுத்திருக்கிறோமா என்றால் இல்லை. மெல்லிசை மன்னர்கள் மற்றும் கே.வி.மகாதேவனுக்கு சற்றும் சளைத்தவரல்ல லிங்கப்பா. ஒரு மிகச்சிறந்த இசைக்கலைஞன்
அமுதை பொழியும் நிலவே உள்ளவரையில் இவரது பெயர் இருக்கும். ஒரு பாமர
இசை ரசிகனாக இந்த மகா கலைஞனுக்கு சாஷ்டாங்க வந்தனம். 
அம்மா என்றழைக்காத உயிரில்லையே பாடலில் ஒலிக்கும் சரோட் வாசித்தவரும் லிங்கப்பாவே --
ராஜேஷ்

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இசையமைப்பாளர் டி ஜி லிங்கப்பா
பழைய இசையமைபாளர்களில் டி ஜி லிங்கப்பாவும் ஒருவர். சுமார் அறுபது ஆண்டுகளுக்கு முன் இசைத்துறையில் சேர்ந்து பல நல்ல பாடல்களை நாம் ரசிக்கும்படி இசையமைத்துத் தந்த அவரை இன்று நாம் நினைத்துப்பார்க்கிறோம்.

"அமுதைப் பொழியும் நிலவே - நீ
அருகில் வராததேனோ
அருகில் வராததேனோ..."

'தங்கமலை ரகசியம்' என்னும் திரையில் ஒலியேறிய பாடல் இது. பி.சுசிலாவின் தேனிசைக் குரலில் படத்தில் இருமுறை ஒலியேறும். சந்தோசத்திலும் சோகத்திலும் சுசிலா அசத்தி இருப்பார். பல வருடங்கள் ஆனாலும் இன்னும் நம் மலேசிய நாட்டில் அப்பாடலின் புகழ் மங்கவே இல்லை. வயதானோர் முதல் இளம் உள்ளங்கள் வரை இப்பாடல் அவர்களின் பெரும் வரவேற்பை பெற்றிருக்கிறது. ராகங்கள் பற்றி நமக்கு அவ்வளவாக தெரியாது போனாலும் கவிஞர்கள் சொல்வது போல நம் மனதைக் கவர்ந்த மோகன ராகமோ இது?? கேட்க எவ்வளவு இனிமையாக இருக்கிறது.

'தங்கமலை ரகசியம்' நடிகர் திலகம் சிவாஜியின் நடிப்பில் வெளிவந்த திரைப்படம்.

"இகலோகமே, இனிதாகுமே
இசையோடு காவியம் போலே 
உள்ளம் இணைந்தாடும் பேரன்பினாலே"
என்றொரு பாடலும் இதில் இருந்தது. மொழி தெரியாது காட்டில் வளரும் சிவாஜி, இந்தப் பாடலில் தொடங்கி முடியும்போது தமிழ் நன்றாகப் பேசத் தெரிந்தவராக காட்டியிருப்பார்கள். இது ஒருவகையில் ரசிக்கும்படியாகவே இருந்தது. இரு குரலிசையான இதற்கு பி.லீலா மற்றும் டி எம் எஸ் இருவரும் குரல் கொடுத்திருந்தனர்.

அமுதைப் பொழியும் நிலவே' பாடலைப்போலவே, டி ஜி லிங்கப்பா இசையமைத்த இன்னொரு பாடலும் திரையில் இருமுறை இடம்பெறும். 
அது,
"சித்திரம் பேசுதடி - என்
சிந்தை மயங்குதடி
சித்திரம் பேசுதடி...."
என்ற பாடலாகும்.

மிக அருமையான இசையமைப்பில் உருவான பாடல் இது என்றே நான் சொல்லுவேன். ஆண் குரலில் மகிழ்ச்சியாக முதல் பாதியிலும் பெண் குரலில் சற்றே ஏக்கத்துடன் மறுபாதியிலும் இடம்பெற்று புகழைச்சேர்த்துக்கொண்ட பாடல் இது. திரையில் கதா நாயகிக்கு சூலமங்கலம் ராஜலக்ஷ்மியும் நாயகன் சிவாஜிக்கு டி எம் எஸ்ஸும் பாடி இருந்தனர். படம் : சபாஷ் மீனா

"ராதா மாதவ வினோத ராஜா
எந்தன் மனதின் ப்ரேம விலாசா" என்றும்,

"சோலைக்குள்ளே குயிலுக் குஞ்சு
சும்மா சும்மா கூவுது
சோளக்கதிரு தாளம் போடுது.. தன்னாலே" என்றும, 
'எங்கள் குடும்பம் பெரிசு' படத்துக்கு இசையமைத்து டி ஜி லிங்கப்பா பேரும் புகழும் சேர்த்துக்கொண்டிருந்தார் அப்போது.

தொடர்ந்து அவர் இசையமைப்பில் வந்த பாடல்களில் அவரின் மகத்துவம் பலருக்கும் தெரியத் தொடங்கியது.

இதோ சில பாடல்கள்..


"என்னருமைக் காதலிக்கு வெண்ணிலாவே - நீ
இளையவளா மூத்தவளா வெண்ணிலாவே"

"கோட்டையிலே ஒரு ஆலமரம் - அதில் 
கூடு கட்டும் ஒரு மாடப்புறா"

"செவ்வந்திப்பூ செண்டு போல கோழிக்குஞ்சு - தன் 
சிறகுக்குள்ளே குடியிருக்கும் கோழிக்குஞ்சு"

"கல்யாண ஊர்வளம் பாரு
மாப்பிள்ளை பெண்ணையும் பாரு
கண்ணும் கண்ணும் பின்னுது பாரு
காரணம் நீயே சொல்லு..."

"பொன்னாசை கொண்டோர்க்கு உள்ளம் இல்லை - நல்ல 
உள்ளம் இல்லை - என்றும்
பெண்ணாசை கொண்டோர்க்கு கண்ணும் இல்லை - இரு
கண்ணும் இல்லை"

"தங்க மலரே உள்ளமே
ததும்பி ஓடும் வெள்ளமே
அந்தி பகலாய் எந்தன் மனதில்
அருள் விளங்கும் தெய்வமே"

" ஆசை வைத்தால் அது மோசம் 
அன்பு வைத்தால் அது துன்பம் 
பாசம் கொள்வது பாவம் 
பழகிப் பிரிவது துயரம் "

"அமைதி அமைதி
உலகமெங்கும் ஒரே அமைதி"

இவை மட்டுமா, 'வாழ்விலே ஒரு நாள்' படத்தில் இடம்பெற்ற,

"தென்றலே வாராயோ
இன்ப சுகம் தாராயோ
தேன் மலர்ச் சோலையிலே
சிங்கார வேளையிலே..."

என்னும் பாடல் டி எம் எஸ், யு ஆர் ஜீவரத்தினம் குரலில் இனிமையாய் ஒலித்ததை என்னைப்போன்ற பழைய பாடல் விரும்பிகள் பலர் இன்னும் நினைவில் வைத்திருப்பர். காலத்தால் அழிக்கமுடியாத அமுத கானங்களில் இதுவும் ஒன்று. அன்றைய மிகவும் மதிக்கப்பட்ட பெண்பாடகிகளுள் ஒருவரான யு ஆர் ஜீவரத்தினம் பாடிய இப்பாடலை ஒரு பொக்கிஷமாகவே பலரும் குறிப்பிடுகின்றனர்.

அவர் குரலுக்காக மட்டுமல்ல, அப்போதுதான் பின்னனி இசையில் பாடத்தொடங்கி குரல் கொடுத்துக்கொண்டிருந்த டி எம் எஸ்சின் இளைமைக்கால குரலை கேட்டு ரசிக்கவும் இப்பாடலை பல முறை கேட்கலாம்.

அற்புதமான இதுபோன்ற பல பாடல்களைத்தந்த இசையமைப்பாளர் டி ஜி லிங்கப்பா என்றென்றும் நம்மோடு நிலைத்து நிற்பார் அவரின் பாடல்கள் மூலம்.








TG Lingappa composed some of Kannada’s masterpieces. His sense of music was impeccable and he infused it with a rich theatricality
When you listen to the music of TG Lingappa, you hear the rich textures of the leg harmonium. The grand instrument gets its evocativeness from a combination of pumping that is deep and shallow, quick and slow — weaving a luxuriant tapestry of sounds. The crescendos and diminuendos that a leg harmonium achieves gives it a high mimetic character, in fact, the company dramas of yesteryear gave this instrument centre stage.

His father’s music certainly made a huge impact on TG Lingappa. Govindarajulu Naidu, Lingappa’s father, played the leg harmonium in company dramas. Story goes that the actor-singer MK Thyagaraja Bhagavathar was Naidu’s good friend and often visited their residence and had several singing sessions. KB Sundarambal, who was also a theatre artiste and later made it big in Tamil cinema, was Naidu’s disciple. Lingappa’s father sold musical instruments and the astute young boy could play almost every instrument that he set his eyes on. When the family moved from Tiruchi to Madras, the young Lingappa looked for opportunities in cinema. Theatre did become a thing of the past, a world that they had left behind, but it remained the eternal conscience of his musical expression.


On TG Lingappa and his musical legacy in Kannada cinema

Music in a theatre production has a specific purpose: at the cost of under-theorising it, one could say it heightens the mood. But more than seeing music as redolent or suggestive, it is important to understand what a piece of music does. If cinema can be seen as an extension of theatre, for Lingappa music was a piece of theatre too. So, he not merely made music for cinema, but also created a complementary cinematic narrative through music. An extremely gifted musician, Lingappa could play several instruments and made a living from orchestra in his early days. This perhaps gave him a clear picture of the music that each of these instruments could generate and as one sees in his film music orchestration, Lingappa does a phenomenal job of layering of sound.


This can be illustrated through some of his works. Let’s take “Yaaru Tiliyaru Ninna Bhujabalada Parakrama” from the film Babruvahana (1977). The song is a dialogue, a verbal contest to begin with. Lingappa sets it to the highly dramatic, traditional kanda padya rendering style, but with the sharp, instrumental interludes he prepares you for the conquest that is to come after this exchange of words. To emphasize on his theatre influence, throughout this song (for that matter any song of Lingappa), not once are the words overshadowed by music: in fact, you can see how there are points where the song lets go of the tune and articulates it in the spoken word style as emphatically as music. This song is a wonderful coming together of two artistes from theatre background – Lingappa and Rajkumar. It requires enormous courage for a playback singer to sing just to the drone of the tanpura, and Rajkumar produces a masterpiece. Of course, PB Sreenivos who is Rajkumar’s co-singer, isn’t far behind. There is yet another short piece in the film, “Barasidilu badidante” which is also rendered in a similar style. The song opens with stunning violin passages that are akin to those in a symphonic orchestra. In both these songs, you can see Lingappa’s signature style, that is to change the raga or melodic harmony to heighten the drama. In “Aradhisuve Madanari” from the same film, all musical tools like raga portrayal, swara prasthara, konnakol, and tani avarthanam, become dramatic techniques.

On TG Lingappa and his musical legacy in Kannada cinema

Let’s consider three songs that would perhaps be broadly classified as devotional: “Shiva Shiva Endare” (Bhaktha Siriyala, 1980), “Jaya Jaya Samba Sadashiva Shankara” (Guru Shishyaru, 1981) and “Yaarige Yaaruntu” (Gaali Gopura, 1962). He interprets all the three differently – the first two are eulogies with upbeat tunes and an elaborate orchestra. In fact, in “Jaya Jaya” he uses instruments like chande and cymbals to give Lord Shiva his many dimensions. The third is a Purandara Dasa composition and Lingappa gives it a mellow narration without violating the philosophical core. It is clear that Lingappa was not thinking merely about the melodic composition: words, intent and the context formed the marrow of his work.

On TG Lingappa and his musical legacy in Kannada cinema
Lingappa was a versatile composer. He composed songs of different kinds, making it hard to believe that he composed them all. He made extensive use of sitar, veena and violins. Listen to “Ninna Neenu Maretarenu” (Devara Kannu, 1975) – he blends both schemes of Indian music, despite the violin passages which have a western orientation. “Entha Sogasu” (Taayige Takka Maga) is a stylish composition with an RD Burman kind of orchestration. The slow and soothing lullaby “Pavadisu Paalaksha” (Sati Shakti, 1963) in Malkauns is surely the best. “Jaari biddiye O Jaana” in Kedar is a brilliant composition: it works completely on syncopation like the verses in a qawwali. Janaki’s rendition is liltingly memorable. Of course, “Maatege migilada devarilla” is everyone’s hummable favourite.

Lingappa’s time also had other brilliant composers like MV Raju, GK Venkatesh, Vijay Bhaskar and others. But each of these musicians brought an amazing variety and authenticity to film music. Though all of them came from different backgrounds, they not only knew Indian music, but had studied Western music as well. But they way their music embodied all these different musical idioms is a fascinating study in itself. To understand TG Lingappa through the dramatic element is therefore, just one of the ways of looking at this superb musician. There can be several other perspectives. Lingappa’s music, like that of the leg harmonium, fills the ears, and the heart too. This is but a cursory look.

Inner Voice is a fortnightly column on film music.


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டல்களைத்தந்த இசையமைப்பாளர் டி ஜி லிங்கப்பா என்றென்