T.M.Krishna – A Musician then, an Activist now!

So, T.M.Krishna (TMK) did manage to sing in Delhi yesterday, at the original appointed date though under a different aegis. Originally TMK’s concert was to be under the aegis of SPIC-MACAY and supported by Airports Authority of India (AAI). Quoting some bizarre reasons, AAI pulled out of the event and SPIC-MACAY had to cancel/re-schedule the show. It was clear that the reasons for the cancellation were not straight forward as they were professed. It was more to do with people from the Right wing trolling TMK for his views against the Central Government, his open rebellion against the Carnatic establishment, his open declaration to sing songs of other religions on Carnatic concerts and in general for going against the tide on many issues related to music and everything else.

As an ardent follower of Carnatic music, I have been following TMK for many years now. He is a talented singer and among the younger generation of singers, he is right at the top. I live in Mumbai and I usually don’t miss his concerts as long as they are in the weekends! While on stage, you can see through his passion and involvement in his music. Usually he is so consumed by his music, I wonder if he really sings for the audience or himself! His style of singing is very different. In Tamil, we say ‘Konjam izhu izhunnu izhuthu paadarathu’ (Stretch and stretch while singing) He doesn’t usually sing the very popular Kritis which people generally are familiar. He picks up not so familiar and tough Kritis and delves into them. And in the past few years, one can notice that he doesn’t stick to the established format of a Carnatic Kacheri. One can cite many examples but his rendition of the Kriti ‘Hiranmayim,…’ in Raga Lalitha or the more popular ‘Krishna Nee Begane,… in Yaman Kalyani are samples of his talent and brilliance. In the current crop of singers, in my books he is right up there. Watching him, his expressions and his way of communicating with his co-artists on stage itself is an enjoyable experience.

Being a genius that he is, naturally he has got a big following among Carnatic music lovers. But, I see that something has changed. And this is not all of a sudden. As per me, it is since 2013 when his book on Carnatic music titled “A Southern Music – The Karnatik Story” got published. Till then, TMK was a gifted Carnatic musician but with the release of the book he also became an author and a controversial one at that. (Confession – I haven’t read the book yet and it is on my bucket list). In the book, TMK kicked up quite a bit of storm questioning established thoughts and ideas on Carnatic music not leaving even the spelling and saying it is not Carnatic but “Karnatik”!!! In the run up to the release of the book and after, TMK started ruffling quite a few feathers! And since then, I have been noticing that among the Carnatic followers, he has become a bit of enigma! An individual who is extremely talented in singing but who is a rebel and an eccentric!

True to his now established image of a rebel, TMK stopped singing in main line Sabhas during the very popular December “Season” in Chennai. He started a parallel forum called “Urur-Olcott Kuppam Festival” to take the Kacheri to slums of Chennai. TMK even kicked off “Kacheri on the move” in a moving bus in Chennai during the season – all in an attempt to take Carnatic music out of the Sabhas to the streets! Such initiatives soon earned him the Ramon Magsaysay Award early in his life in 2017 and as the citation claimed in recognition of “his forceful commitment as artist and advocate to art’s power to heal India’s deep social divisions”! And also a bunch of critics! Still, he went about his mission of breaking the class divide that exists in Carnatic music by collaborating with transgender community on stage in his Kacheris, setting Tamil writer Perumal Murugan’s lines to Carnatic music and singing them in his concerts and so on!

In the meantime, I observed that TMK also started articulating his thoughts on matters outside the music domain as well. He started taking up issues related to environment strongly. His ‘Porambokku paadal’ music video was an initiative to use music to highlight the environmental damage done by the Ennore Power plant. Soon, we started seeing him being part of many other issues like taking on Hindustan Unilever against dumping toxic Mercury in Kodaikanal,… He is now a regular columnist and the topics are not restricted just to music. He is a strident critic of the present Modi Government and anything to do with Right wing!

Now in my known Carnatic fans circle, I see a sea change in their outlook and attitude towards TMK and his music. He is no longer the genius he was a few years ago in their eyes when he just limited himself to Carnatic music. He is today labelled a leftist, Naxal supporter and a publicity seeker! He is today accused of raking up issues which is not his domain just to stay in limelight!

I am not hence surprised that TMK is subject to constant trolling on Social media. Even his erstwhile fans are calling to boycott his concerts as he is a “gone case” as per them! This is where I have a big problem. As I mentioned before, I am an unapologetic admirer of his craft. I am in agreement with some of his thoughts and ideas. I don’t agree with him on many counts. His take on M.S.Subbulakshmi for example, I thought was a lot of conjecturing. Yet, I have no problem in listening to his music. When I listen to his music, I don’t think of his views on Indian politics or Narendra Modi!

There could be a happy ending here! By constantly trolling him, the right wingers and others are in the verge of achieving something that the Carnatic aficionados haven’t been able to, all these years – That of taking Carnatic music beyond the ears of just South Indians! I heard that TMK had a full house in Delhi yesterday at the concert with people even standing for full two hours to listen to his music! And If I go by the tweets with #TMKrishna, I can make out that many probably went to a Carnatic concert for the 1^st time in Delhi yesterday and came out intrigued by the form of music!

Today, Thodur Madabusi Krishna might have turned an activist. But he is a musician first. And an extraordinary one at that. So, my appeal to fellow Carnatic followers is, if you don’t like his views, ignore them! But, leave him alone. But, it doesn’t make any sense to call for a ban on his singing! Lest, Music’s loss could become some political party’s gain!

Image courtesy: India Today

An Idli a day!

An Idli a Day!

By Anand Kumar R.S

30^th March, we were told is being celebrated as “World Idli Day”! Meaning, for the world, 30^th March is Idli Day! For South Indians in general and Tambrahms in particular though, every day is Idli Day you see! As Nanu mama said, “Ithellam marketing gimmick! Valentine’s Day, Women’s Day, Mother’s Day madiri! Namakku every day is Idli Day!” And he is probably right. “The” Idli is intertwined so much in the life and IDentity of a Tambrahm!

A day in the life of a Tambrahm is not complete without a brush with Idli! Usually the day starts with Idli as the breakfast. Not only that, apart from having Idli for breakfast, I know of households who have again slight variants of the Idli for evening along with Kaapi and then for dinner as palahaaaram.

“Idli steamed o illiyo with no much oil,… Athanaala romba safe!” is the usual refrain which we can hear from Tambrahms who pour scorn on North Indians having oily paranthas for breakfast. “Eppadi thaan kaalan kaarthala ippadi oily itemsaa thingaraalo?? Namakku Idli thaan sari. Vayathukku onnum pannaathu”!

While Idli itself is a plain simple item made of rice, what makes it special is, what it is consumed with. Tambrahm mamas who usually fuss around too much about food and the lack of variety every day, are more charitable as far as Idli is concerned. As long as Idli is served with different items to go with.

At a basic level, the day when the mami is in no mood to entertain the mama and kids so much, Idli is made and will be eaten with the already made Molaga Podi mixed with nalla ennai aka Gingelli oil! And the nalla ennai is poured over the Idli as well to taste!

At a next level, Idli is taken with Chutney. Here the options are many, starting with white Coconut Chutney, Tomato/Onion Chutney, Green Chutney,..,…

On a particular day, if the mami decides to finish the cooking in the morning early, then one can have the baakiyam of having Idli for breakfast with Sambhar which can be then used for lunch as well with rice! Idli with Chutney “and” Sambhar is usually the combination for Naallum, Kizhamaiyum!

At many Tambrahm households I know of, Sundays are usually Idli with Chinna vengaaya Sambhar. I have heard that mamas feel like going to sorgam and coming back when they get an opportunity to eat hot Idlis with hot Chinna vengaaya Sambhar served with dollops of ghee.

Now, here’s the thing as a matter of critical detail. If you eat the Idli dipped in Sambhar served separately in a kinnam, it is Idli Sambhar. But, if you take a bowl of Sambhar and soak the Idli in it and eat, it becomes Sambhar Idli! Usually left over Idlis of the morning along with left over Sambhar of afternoon – becomes tasty Sambhar Idlis for evening tiffin!

When you see somebody pouring Sambhar over Idli, one gets a doubt if Idlikku thottukka Sambhar aa illa Sambharukku thotukka Idliyaannu!! And one cannot miss sharp mamas’ quips like, “Paiyyan sambharla paatthiya kattaratha paatha, engineera thaan varuvaannu thonrathu!”

Before the IRCTC era, train journeys or road trips (read as temple visits) were never complete with Idlis being part and parcel of the trips literally, I mean. A separate koodai accompanied these trips with eco-friendly disposable packets of Idlis. And here’s the twist. To save time and the mess of eating Idlis with Chutneys or Sambhar (which may get spoiled in the heat) while on travel, Idlis are usually packed with Molaga podi and ennai already applied on them. So white Idlis become slightly Orangish in colour with liberal dose of nalla ennai. “Konjam ennaiya dhaaralama vittukko, nenja pidikkaama irukanum!” This Idli with pre-mixed Molaga podi becomes “Podi Idli”! Have you ever tried having a sip of hot, filter coffee right after eating this Podi Idli, with the taste of Idli mixed with the Molaga podi still lingering on the tongue?? If not, please try that tomorrow!

“Idli, malli poo madiri irukku!” can be the ultimate compliment which is when the Idli is soft, pure white in colour and has a nice aroma around it!” However ask any mami and she would say, “Aamaam, kudikarathu ennamo Aquaguard thanni. Aana Idli mattum malli poo madiri irukanum!!!”

Coming to Tambrahm obsession with the Idli, though we eat Idlis probably 365 days of an year at home, when we go out to eat at restaurants,…, the 1^st choice of most mamas is most likely to be “Oru plate Idli Sambhar”!

In Tambrahm households, it is also common for parents to serve Idlis with Thayir and Chakkarai mixed for kids. “Thayir vayathukku nallathu. Eriyaama irukkum!” Our elders were abreast of all this probiotic stuff even then! But what usually starts as a childhood habit continues even after growing up.

Even Doctor mamas have a special affinity for Idlis. Usually, when we used to go to our neighbourhood family doctor for common ailments like fever, stomach upset,..,… the doctor usually advised, “Usual pre-cautions and “Idli madiri safe food da saapadalaam”!

In order to cater to the daily intake of Idlis at home those days, mamis usually arachufied maavu every alternate day even during the pre-grinder days! In grinder days, more than the effort involved in aruchufying, the effort in cleaning up the grinder after the act was more taxing! Ithukku okkaandhundu araikarathe thevala! But today for the young generation, ready-made, Off the shelf maavu has come as a god sent relief. Only thing is, with the ready-made maavu one cannot be cock sure of the output! Leading to jibes like this:

Mami: “Innikku enna aachunnu theriyala! Konjam Idli flataa vanthuduthu!”

Guest Mama: “Idli saaptu naanga flataa aagaama iruntha sari!”

So, with the Idli even small travesties are not tolerated, you see!

The other bigger travesty of the Idli, is the invention of different varieties of Idlis in the name of fast food! From Idli Manchurian to Chinese Idli to Masala Idli to Hara bara Idli, …,… have all mushroomed much to the dismay of the Idli connoisseurs! For them, Idli is only one. Which is simple, steamed and safe! So for them, it’s not “Idli Day” but at least “an Idli a day”!!!

Picture courtesy: Pinterest

When “Kanjivaram” meets “Patiala”!!!

‘2 States’ is a recently released movie from Karan Johar’s stable which soon went on to be a part of the hallowed 100 crore club. In this movie which is incidentally based on Chetan Bhagat’s novel with the same name, the hero – a Punjabi falls in love with a Tambrahm girl. The movie goes on to show the struggles involved in marriage of the two 180⁰ different cultures before the actual marriage of the 2 individuals. It is understandable that in such a marriage involving 2 different cultures, there is a voluntary and involuntary fusion of rites, practices and ‘rasams’ (not be confused with Sambhar/Rasam 😉 ) in the marriage ceremony.

Still reeling under the hangover of 2 Tambrahm weddings which I was part of recently, which actually DID NOT involve “2 states”, the change I saw was interesting. This post is not about the movie ‘2 States’ but the changes in the marriage scene seen oflate. Before I get down to explaining that, a bit of backgrounder is in order.

Typical Tambrahm weddings were quiet, staid affairs where

Serious mamas meet their more serious counterparts and use the opportunity to discuss world affairs and enhance their knowledge 😄
Enthusiastic mamis use the opportunity to exhibit their latest Kanjivarams (silk sarees for the uninitiated) and also expose their precious yellow metal jewelry to sunlight (which are otherwise confined to the dark interiors of Bank lockers) 😄 😄
Studious Ambis (Boys who are in schools/colleges and yet to be coronated as mamas) compare notes with their clan on the latest ranking of US Universities/B Schools and the like,.. 😄
Ponna poranthava (commonly known as PYTs) keep shuttling between here and there in the hall to garner attention
There is no official ‘Mehndi’ ceremony and all and the bride to be gets her work done in a parlour silently
The only sartorial indulgence from the men’s camp would be “bush shirt along with new Veshti”
Meal after meal in the 2 day marriage affair will be served in banana leaf with variations limited to the Payasam( Kheer) or the vegetable used in the Sambhar in the different meals (Brinjal Sambhar in the morning, Carrot/Potato one in the afternoon and again Brinjal for dinner) 😞
Noise levels are low except for the Nadaswaram considered a “Mangala Vadyam” which is played normally in functions, temples,.. in the South India. During key instances in the wedding like “Muhurtam”,.. the vadyars (priests) in the stage signal with their hands to increase the tempo and play loudly. Otherwise the music is pleasant and indeed soothing.
The Reception function is also quite a quiet affair where on the one side an artist (usually an emerging one) plays the flute or violin (Carnatic music mostly) and on the other side people queue up to wish the couple and pose for the customary photo-op
In general no major excitement in the events except for
- ‘Malai mathu’ (Garlands Exchange) ritual where from both sides folks try to prevent the bride and groom from exchanging garlands easily. There are smiles and laughter all around from elders knowing very well that this will be last opportunity for one-upmanship for the groom in life 😉 😉

Malai Mathu ceremony

Or ‘Nalungu’ ritual after the wedding which is also a game of one-upmanship. Again, elders push the groom to have maximum fun as possible. Can you imagine what will happen if he tries to break a papad on his wife’s head the next day or few days later??? Hell hath no fury like a woman whose hair is disturbed 😠 😠 😠

Nalungu ceremony

In short, for the ever conservative, serious Tambrahm community marriages were occasions to meet and catch up with short moments of excitement here and there. That’s all.

But these have become passé.

Today even Tambrahm (could be others also) marriages are getting “obese” and are aspiring to be of “the Big Fat Punjabi Wedding” class. So even in a regular Tambrahm wedding don’t be surprised if Kanjivaram silk saree meets a Patiala suit. These days men turn up mostly in designer Kurtas, girls in Lehenga choli and ladies in backless! If not a very elaborate ‘Mehndi’ ceremony as yet, applying mehndi and preparing for the wedding is no more a dull affair for the bride to be. Choru(Rice) and Sambar are being replaced by Chole Batura,… and buffet fare atleast the previous day. At the reception, city’s popular DJs belt top of the pop numbers to which young and the old alike sway, croon and shake their hips and legs. Soon one can expect choreographed renditions of dance numbers I think. These changes have not happened overnight but have been doing the rounds gradually over the last few years. But today the trend is stark.

The credit for this transformation in the marriage scene must go to Bollywood and people like Karan Johar who in film after film thrust in a “Punjabi Wedding Song” and made this an aspirational affair for others. So don’t be surprised if soon the “Patiala peg” also mixes with the “Filter Kaapi”

Sundari Neeyum Sundaran Nyanum Chernirunthaal,….. Shava Shava!!!

P.S : While on this, please do read my earlier take on “Mamas” – http://wp.me/p1dZc2-jI

Images Courtesy :www.pinterest.com

“Firrr wahi Bokwas Stereotyping???”

For the uninitiated, ‘Tarak Mehta Ka Oolta Chashma’ is a very popular Hindi comedy caper which appears 5 days a week on Prime time and many more times through the day on SAB TV. The long running show extolls the virtues of harmonized community living in a housing society in Mumbai. Therefore the central characters range from a Gujarati family where the husband is predictably a trader, a Maharashtrian family, a Sardar (Sikh) and Parsi couple – the Sardar expectedly runs an auto garage, a South Indian Iyer and Bengali couple where the man is a scientist and so on. The show takes stereotyping and caricaturing to Himalayan heights. The Sardar is shown as a loud, short-tempered and emotional type who breaks into a fight at the slightest provocation while being good at heart. The Gujarati trader is shown as one who is money minded while being respectful to elders and of course good at heart. The South Indian Iyer is a scientist and supposedly intelligent, appears with a Vibhudi (holy ash) smeared face even early in the morning, talks in highly accented Hindi, drinks coffee all the time and of course is dark-complexioned. One can excuse this daily opera as the title itself claims – “it views things with an oolta chashma”. When you are day in and day out watching this and learnt to ignore and enjoy, other small inanities like what features in SRK’s latest journey ‘Chennai Express’ don’t bother you. But when the trailer for the same hit first and later the film hit the marquee, I could see some uproar in the online space not that these matter now as the film has more than collected its quota of crores. (Read this)

Frankly I’m not surprised by this noise. This is not the 1^st time a SRK film sort of pokes at South Indian sensibilities. We saw it in ‘Om Shanti Om’ – where SRK is shown appearing in a South Indian film and spitting some ludicrous Tamil dialogues like “Enna Rascala”,…,… Enna Rascala ??? In which part of South India can you hear this?? Then of course in ‘Ra One’, SRK is a Subramaniam and yes is a geek and stuffs noodles mixed with curd using his hand. And many more frivolousness like that.

The blame award for setting this stereotype of South Indians in Bollywood films and Hindi serials and therefore in the minds of Indians by and large must go to that talented comedian Mehmood in the movie ‘Padosan’. If you want one good example for comedy of errors – this could qualify well for it. Mehmood’s character is one Master Pillai (usually a Malayali surname), a Tamil music teacher who keeps saying “Aiyyaiyo”, his makeup is with ‘Pattai vibhudhi’ (lines of holy ash) and speaks Hindi in typical Andhra style. When this movie a good comedy became a super hit, no one could stop the ‘aiyyaiyo’ juggernaut since then. So much so that later in Amitabh’s Agneepath, Mithunda plays the role of ‘Krishnan Iyer YAM YAY(MA)’ and mouths Hindi dialogues in the same way as Mehmood in ‘Padosan’ and even waltz away with the National award for best supporting actor that year. In both these cases and in fact many more to follow, film makers have just taken the easy route of painting all South Indians in one ‘Madrasi’ brush. That Hindi is spoken completely differently in the 4 states of South India seems to be a best kept secret.

The second best award in this category must go to that “Quick Gun Murugan” a character made of mostly inaccurate Andhra/Tamil/Kannada/Kerala clichés.

The response to the uproar to ‘Chennai Express’ was very much in expected lines. Why should South Indians take offence so much to this stereotyping? Don’t Hindi films regularly take potshots at Sardars, parsis, Gujjus,…,… Don’t you guys show Hindi speaking North Indians in poor light ever? So what’s the big deal in this?

My own issue is not with stereotyping or caricaturing per se. Comedy genres in general allow for stereotyping. But my appeal to all writers/ film makers whether from North or South is “For heaven sake, please do your research properly”

A white cloth worn by men around the waist in South India is called “Veshti” in Tamil Nadu, “Mundu” in Kerala and it’s never called a “lungi”!!! Lungi is a coloured version of the same. And both are completely different from a sartorial standpoint.
All South Indians are not the 24*7*52 vibhudhi smearing types.
“Tum aatha, mai jaatha” may be prevalent in Seemandhra/Telengana (with due respect to the upcoming new states) but not in Kerala or Bengaluru. Hindi accent varies from state to state in South India as much as Hindi dialect contrasts from Punjab to MP to UP to Bihar.
“Aiyyo, Aiyyaiyo” are not pan South Indian exclamations for God’s sake. They are restricted to pockets in Tamil Nadu/Kerala

I can go on and on.

Just yesterday I watched the newly released ‘Madras Café’ and came out very impressed by the whole film. Here I must add that the kind of detailing and research which have gone into casting, characterization, dialogues,… deserve special mention. Tamil characters are shown speaking in Hindi but not of the Deccan “aatha/jaatha” variety. Of course this movie is no comedy caper. My point is – go ahead with stereotyping and typecasting. But do that with some accuracy and after some research. Watch out for changes happening in the horizon and don’t get stuck with age-old stereotypes. ‘Padosan’ was released in 1968 and this is 2013. And I am a South Indian and I’m not a geek, Mr SRK.

Postscript: This was a joke narrated by a Parsi gentleman in my earlier company many years back and the joke goes like this. His brother a very accomplished chef associated with the Taj group of hotels was posted in Madras when Taj Connemara opened shop in the city. After quite a lot of research on the Tamil’s eating habits, they came up with the menu for the buffet dinner spread. Once the hotel kicked off the master chef was keen to hear people’s feedback on the food. So in the 1^st few days he personally talked to patrons and what he heard was not music to his ears. They kept improving the food, dabbled with the menu,… and still the response was not exciting. Finally he decided to ask some of their own employees to taste the food and tell what is/are wrong. There he got the answer which was:

“Sir the food tastes fantastic, the spread is great, priced right but where is the thayir sadam (curd rice) Chef ??? “ 🙂 🙂 🙂

Idli,Vada,Bonda and Ad(a)!!!

One latent benefit of the IPL is the opportunity one gets to see a good repertoire of TV commercials as marketers “bet” 🙂 big time on IPL to gain a bigger wallet share of the consumer during the vacation time and the summer season. To me it is a good time to catch up with what’s happening on the Indian advertising space. And that’s how this IPL season I stumbled upon a trend and thought its worth sharing. This has been cooking up for a while. Take a look (click on the links to view the TVCs) at the following commercials which have been hitting us during time outs strategic or otherwise:

This ad for Centerfruit – The setting is of a traditional restaurant in Tamil Nadu where the owner is conducting an interview for a waiter. The ad brings an instant smile in your lup lupaees oops lips!! It’s a fact that like they say a Doctor’s most important qualification is to have a horrendous handwriting, the must-have skill for a waiter in Tamil Nadu is the ability to reel off the day’s menu in a jiffy.
This heavily accented Hindi speaking Tamilian Murthy has been coming in on and off for some time now. So there he is, again peddling the Voltas All weather AC as he keeps getting transferred in his job from Chirapunji to Kota to Mukteshwar to now Delhi!
The general aversion of the South Indians towards playing Holi is quite well-known now. During this year’s Holi I saw this Idea TVC which captured this idea very well, I thought. (But does a Mallu son call his dad Appa???)
In this ad for Nestle Munch, though the voice over is in chaste Hindi, one can make out that the setting is in Tamil Nadu with Balakrishnan as the character name, typical background score of the South,..,..
Have you seen the latest Coca Cola commercial featuring Karan Johar’s “students of last year” – Alia Bhatt and Varun Dhawan ? The ad shows a woman resembling clearly a mami (aunty) from the south and the locale again seems like Mylapore in Chennai. ( Couldn’t locate the video link )
Also one cannot miss this old ad for Gulf oil featuring Dhoni being re-plugged during IPL where a heavily accented South Indian Driver chases his Chennai Super Kings Captain and Hero Dhoni to return his pillow!!!

And there were some more which appeared before:

Havell’s ad film showing a Tambram family doing Homam (Havan)
Finolex ad with a Rajnikant look alike
Carrier AC commercial with Namboothiri as a character
TVC for Parle Full toss with Bharatnatyam dancers in the backdrop
An Ad featuring Kareena Kapoor for Mahindra scooter I think
And the “Help a Child reach 5” film from Lifebuoy which went viral –

,…,…

Now you might have realized where I’m coming from. South India ofcourse. Suddenly I notice that the story behind ads of many products across categories/brands revolve around Tamil Nadu/Kerala/Karnataka/Andhra and Madrasis as people in Mumbai like to address. Like I observed in one of my earlier blog post “The Punching of Bollywood” – After the big screen, I think it is now the turn of the ad industry to wake up to the South Indian coffee!!!

What could be the reasons for this “Kolaveri” (murderous rage) towards South oflate was my next look out:

The most logical, rational and straight forward is the “Market”, “Marketing” and “Economics” angle. Which is – that the growth in FMCG, Consumer durables categories in India is being driven more by South India oflate. This is due to the increased purchasing power fuelled by the Software boom and dollar inflows from NRIs. So to tap into this boom, marketers would like to woo this creed more and more and hence the commercials reflect this strategy.
Second is the “Fresh Narrative” angle – For years, films, stories and TVCs were set in North India generally speaking. Caricaturing Punjabis, Sardars may be has become out of fashion and is sounding repetitive these days. The need for a fresh narrative is driving creative people down south. Could be.
The third as per me is the “Kollywood” angle!!! For quite some time (may be till the mid 80’s) Tamil films were admonished for being loud, over the top with no style/content,… But with the advent of some classy film makers that perception changed and more and more South films started getting re-hashed in Hindi. This exposure to the South Indian culture and life thro South Indian films and their popularity could be another reason for the ad people to venture to the South.
Last is the “Move over Bombay” angle – If you look at the origins of advertising industry in India, in the 60’s and 70s the profession was dominated by copywriters from Bombay (Da Cunhas, D’Souzas,..) And then by people from other Metro cities like Delhi,… In the next wave, we had creative people emerging from the hinterland (Prasoon Pandey, Joshi,..)Though there were excellent copy writers in Chennai as well, they rarely broke into the National scene. However in the last 10 years we see the profession throwing up lot of talented copy writers and creative directors from the South. Balki, Sridhar, Rajeev Rao to just name a few. Their work is not limited to South Indian brands. From English dominated copy to “Hinglish” copy to virtuous Hindi lines to now Tamil words thrown in liberally (for example Whistle podu, Poda,..,.. ) the narrative of the ads just follow the trend of the professionals dominating the industry. It is but natural for any creative person to bring in sensibilities he is very conversant with, in his work whether it is art, music, stories, films or for that matter an ad. Also with actual people from the South writing the lines and directing the artists, it is no more the Andhra type Hindi of Mehmood fame in Hindi films or the ads.

Well, the actual reason could be a combination of all the above.

So be prepared for an overdose of filter Kaapi, Idli, Kaanjivaram, Appadi Podu,..,.. in books, films, ads, songs, videos, tweets and what have you!!!

Post script: Oh, I missed “the only reason” for this trend and how could I?? And that is

“Rajini Sir”

After all HE is from the South. HE sets the agenda and the World follows. Period!!!

anandkumarrs

Random expressions of a Wannabe

South India

An Idli a day!

When “Kanjivaram” meets “Patiala”!!!

“Firrr wahi Bokwas Stereotyping???”

Idli,Vada,Bonda and Ad(a)!!!