Down Memory Lane with G.K.Venkatesh- Part 4

காலம் வந்தது....கதை முடிந்து போகிறேன்..
Down Memory Lane with G.K.Venkatesh- Part 4
-Saravanan Natarajan

Again, though he had earlier made a mark in songs for films like Naatakala Raayudu-1969, it was in these intermediate years that GKV made a significant impact in Telugu cinema as well - his compositions in films like Zamindarugari Ammayi-1975, America Ammayi-1976, Tharam Marindi, Chakradhari-both 1977 and Ravanude Ramudaite- 1979 became immensely popular.
GKV had to wait for four years for another opportunity in Tamil to come his way.

We see him venture into Tamil again in 1979 with Pallavi Enterprises’ மல்லிகை மோகினி featuring ‘Julie’ Vikram and Latha in the lead roles. The Mohini has long vanished into the nether world of oblivion, but the entrancing fragrance of her Malligai lingers on to this day, in the form of her songs- indeed GKV had surpassed himself here- each song is a glittering diamond...

மேகங்களே வாருங்களே by SP Balasubramaniam was played by Radio Ceylon ever so often, while the elegant S. Janaki- Poornachander duets நான் கேட்டேன் தெய்வ கானம் & ஸ்ருஙார சங்கீதமே found frequent air time as well. The joyous qawwali காதல் ஒரு கோயில் where Kannadasan pens some interesting lines, rendered by Janaki (listen to her aalaaps) and SPB has been an all-time favourite with me. The 2 versions of ஒரு பாடலை பல ராகத்தில்- one by SPB and the other by Poornachander remain entrenched in our memories for their sheer melody.

https://www.youtube.com/watch?v=H5OqjQ_M2yY
https://www.youtube.com/watch?v=zYZvhiDdiVA
https://www.youtube.com/watch?v=i4ohiH-DVC8
https://www.youtube.com/watch?v=rHZHSQlLLP8
https://www.youtube.com/watch?v=jNF8Kqk3ju

மேகங்களே வாருங்களே was the song that became the most popular number, the ‘first among equals’ from the album, and it richly deserved the honour. GKV and SPB come together here to strike terror at the hearts of the listeners, but the terror is so beguiling, that much like the clouds whom the hero beckons to help him search for his elusive beloved, we find ourselves drawn irresistibly into the vortex of the intriguing proceedings. And the roller coaster ride begins- Hang on, and be transfixed…

https://www.youtube.com/watch?v=BIAtz1fe8_c

It was in this timeframe that G. K. Venkatesh, along with his friend Ashok, decided to produce a small-budget bilingual and approached Chitralaya Gopu to write and direct the movie. Gopu came up with a light comedy with some interesting twists. தைரியலட்சுமி (Vijayavani Combines) was the name of the project, and Lakshmi played the title role in both the Tamil and Kannada versions. Anant Nag and Ambarish were her co-stars in Kannada while Jaishankar and Srikanth were her co-stars in Tamil. While the well- crafted movie was a modest success in Kannada, it failed to set the cash boxes jingling in Tamil, primarily because of inadequate marketing. For his part, GKV came up with some melodious numbers.

Listen to the mesmeric Janaki as she lets tremulous, hushed longings awaken in மலர்ந்தால் வாசம் வேண்டும்:
https://www.youtube.com/watch?v=xzvWVEZ2HPY

GKV was one of the 5 composers for his old friend A.L.Raghavan’s 1980 film கண்ணில் தெரியும் கதைகள் and the haunting song that he composed நான் பார்த்த ரதிதேவி எங்கே did his friend proud. Raghavan renders the song himself, and we sigh anew at this underutilized singer’s prowess….

https://www.youtube.com/watch?v=jf-3tBxyqyI

Sunrise Enterprises சின்னஞ்சிறு கிளியே was another 1980 film that came out with GKV’s music. Out of the four songs in the album- all Malaysia Vasudevan- Janaki duets, it was வைகை நீராட that claimed attention on the radio in the early 80s. An unhurried song; pulsating in its strain, pathos in its vein. Gangaiamaran has poured in his lyrics the anguish of a love that seems unlikely to win in wedlock. Vasu and Janaki so movingly portray the despair of the lovers whose love has suddenly culminated in a woeful ban, when they were happily awaiting their wedding banns. Yet they sing, dreaming of another birth, when they hope to reunite.

Another fine effort by GKV, wasted on a film that sank without a trace.

https://www.youtube.com/watch?v=s-MIQzwx1SU

We notice that the Tamil Gods seemed to have smiled benignly upon him in 1981, and let 3 films fall into his hand. GKV joyously went about working on their score, for he knew that such abundance was a rare visitor at his door….

Annapurna Art Pictures’ பெண்ணின் வாழ்க்கை starred Sudhakar, Aruna & Rathi, and its album comprised of 4 memorable P.Susheela duets- One with SPB- ஜனகன் பொன்மானே and three with Jayachandran: மாசி மாதம் முஹூர்த்த நேரம், மல்லிகைப்பூவில் இன்று and lastly, my favorite வீடு தேடி வந்தது, where GKV’s music, Vaali’s lyrics and the euphonious enchantment of Susheela & Jayachandran come together to cast a wondrous spell.

https://www.youtube.com/watch?v=qcPVlvpzZEE
https://www.youtube.com/watch?v=_daRzcz7t7g
https://www.youtube.com/watch?v=rTixECc0YYM



Solar Combines’ தெய்வ திருமணங்கள் has a unique place in the history of Tamil Cinema. It was actually 3 separate films- each one with a separate crew and cast. Meenakshi Thirumanam was directed by P. Neelakantan and had music by K.V.Mahadevan. Valli Thirumanam was directed by K. Kameswara Rao and had music by GKV. Srinivasa Thirumanam was directed by K. Shankar, with music by MSV. Kannadasan’s dialogues and lyrics were the common factors for the three parts. GKV’s work included songs like கந்தன் வந்தான் (S.Janaki), ஏச்சிப்புட்டேனே வள்ளி (SPB/S.Janaki) and the short வள்ளி தெய்வானையுடன் (K. Veeramani). These simple folksy songs were not in the same league as the classic creations of KVM and MSV; nonetheless, the memory of pretty Sridevi (who played Valli) warding off the birds, singing வெத்தலக்கிளியே சொல்லாதே வெளியே ( S. Janaki) also endures.

https://www.youtube.com/watch?v=cX_9RKYuc58
https://www.youtube.com/watch?v=MJ9Wu5osZY8

It was also in 1981 that GKV composed music for Santosh Art Films’ நெஞ்சில் ஒரு முள். Inspired from Shakti Samanta’s Kati Patang, Nenjil Oru Mul starred Pratap Pothen & Poornima Jairam and was directed by Mathioli Shanmugam. GKV came out with some memorable numbers.
நேராகவே கேட்க்கிறேன் by Deepan Chakravarthi & Vaini Jairam is a lingering duet which traces its origins to GKV’s Kannada composition ‘Ravivarmana Kunchada’ and the Telugu version ‘Ravivarmaki andani’…

https://www.youtube.com/watch?v=bSWW_kB8PlU

My pick is the caressing ராகம் புது ராகம் by Deepan Chakravarthi and S.P. Shailaja, based on GKV’s own Kannada composition ‘Raga anuraga’ sung by Rajkumar & Janaki for Sanaadi Appanna. Listen to this lovely song here:

https://www.youtube.com/watch?v=gRrCN2dPDsU

You would perceive that on the same foundation, GKV has raised two marvellous monuments—both strikingly similar but structurally different, each one an elegant edifice with mutually exclusive appeal. GKV has reworked rewardingly on ராகம் புது ராகம் so that it boasts of a special prelude that ‘Raga anuraga’ did not have and the interludes are dazzlingly different. Again, the charanams are longer in the Kannada original, and it has a third charanam too which varies uniquely from the first two. Being an acclaimed Veenai player himself, GKV has masterfully retained it as the mesmerising mainstay in both the versions. Hark at his Veenai caress your ears in the second interlude- so perceptive of GKV, for the charanam begins with the lines மேனி வீணையொன்று அதை மீட்டி பார்க்கவோ!

ராகம் புது ராகம்..இதை நாளும் கேட்க்கலாம்..
https://www.youtube.com/watch?v=VL6xCI4w4Do

GKV continued to be in demand in the Kannada circuit in the early 80s and his works in films like Haavina Hede and Hanabalavo Janabalavo-both 1981, Haalu Jenu-1982, Eradu Nakshatragalu-1983 and Adhe Kannu-1985 became popular hits. However, the emergence of newcomers like Hamsalekha and Vijayanand, coupled with the sustained presence of stalwarts like Rajan-Nagendra, Upendrakumar and M. Ranga Rao saw fewer and fewer films coming his way as the decade progressed.

Chitrapriya’s காஷ்மீர் காதலி released in 1983 was GKV’s next Tamil album. Directed by Mathioli Shanmugam, the film had Rajkumar & Rajini Sharma in the lead. Both சங்கீதமே (Jayachandran & P. Susheela) and அழகிய செந்நிற வானம் ( SPB & S. Janaki) are delectable duets, replete with rich interludes and intriguing sequences:

https://www.youtube.com/watch?v=LkhVhE9r7vc
https://www.youtube.com/watch?v=wDiwXWkMU0M

1984 saw the belated release of Seshasayee Films’ அழகு, which was years in the making. The film holds the distinction of being Nadigaiyar Thilagam Savithri’s last film to be released. Its other distinction was, of course, Radio Ceylon’s favourites like தேவி வந்தாள் by SP. Balasubramaniam & S. Janaki and மவுனமல்ல மயக்கம் by Jayachandran & S. Janaki.
Listen to the long forgotten மவுனமல்ல மயக்கம், a lovely duet with GKV’s orchestral skills in full flow:

https://www.youtube.com/watch?v=dzsoZr0WBu8

இணைந்த கோடுகள் released in 1985 was GKV’s last film in Tamil. அழகிய மலர்க்கொடி sung by Yesudas & Vani Jairam was featured in Radio’s Ceylon’s மந்த மாருதம் parade in the evenings.

When MSV and Ilaiyaraja came together to make history in AVM’s மெல்ல திறந்தது கதவு- 1986, GKV acted in the role of Mohan’s musician father. His nonchalant cameo won favourable reviews. Ironically enough, his dialogues were dubbed by V. Gopalakrishnan!

Left with few opportunities, in 1987 he made the big blunder of turning producer, and the alarming failure of the Ramarajan-Revathi starrer கிராமத்து மின்னல் landed him in debt and despair.
Ilaiyaraja took his Master into his fold now and GKV remained an essential element of Ilaiaraja’s ensemble till 1993, when years of bacchanalian indulgence finally took their toll. GKV made his final bow on 13 November 1993. I can even now remember the images of MSV, TKR, Ilaiyaraja and Gangai Amaran, all looking genuinely grief-stricken, leading the mourners as GKV departed on his final voyage…

GKV used to visit the house of my family friends in my street who were his relatives. I have met him and spoken to him on a few occasions when I happened to be at my friend’s house during his visits. He was bull of bonhomie, his laughter was infectious and his jokes were wicked! He was the life and soul of any party and charmed all those present with his charisma.

Singer-Music Director- Actor….GKV has left behind his firm footprints in the varied sands of time. ‘A highly talented composer, dynamic and imaginative in his arrangements’ said PBS, who notched up a significant tally of songs under GKV’s baton. Vani Jairam echoes the same sentiments ‘An unassuming man, he was also a technical wizard- even in his last years in Ilaiyaraja’s troupe, he was in charge of ‘balancing’ in which he was an acknowledged expert’ she recalls.

20 odd Tamil films, and save two, all were colossal catastrophes. These were the cards that destiny dealt him, but hey, GKV did play his hand well…

I leave you with GKV shrugging off the imponderables that make up life in this song that he sang in 1981 for the unreleased நூலறுந்த பட்டம் under the baton of Stalin Varadarajan…

http://www.saavn.com/s/song/tamil/Noolaruntha-Pattam/Vaazhkkaiyenum/MRkKSAVAR1A

வாழ்க்கையெனும் பாதை தனிலே
கான்பதெல்லாம் கனவுகள் தானோ
காலம் மாற நேரும் போது
கனவெல்லாம் கற்பனை தான்....

- Concluded.

Part1 here: https://www.facebook.com/groups/1018417744856618/permalink/1332975003400889/
Part 2 here: https://www.facebook.com/groups/1018417744856618/permalink/1333830509982005/
Part 3 here:
https://www.facebook.com/groups/1018417744856618/permalink/1334883879876668/

Down Memory Lane with G.K.Venkatesh- Part 3

முருகன் காட்டிய வழி...
Down Memory Lane with G.K.Venkatesh- Part 3
-Saravanan Natarajan

Nothing succeeds like success, and with the emphatic success of பொண்ணுக்கு தங்க மனசு and தேன் சிந்துதே வானம் reverberating from every corner teashop, GKV found avenues hitherto closed for him in Tamil cinema opening up grudgingly at last. While it wasn’t as though producers were flocking at his gates, he did get secure some Tamil albums in quick succession.
P. Madhavan retained GKV for his next venture முருகன் காட்டிய வழி (Arun Prasad Movies/ 1974). Though the movie is a mere mention today as the first movie of Sripriya, GKV’s songs such as the strident ஏறுதம்மா ஏறுதம்மா (TMS) and the soulful முருகா வடிவேலா (S. Janaki & chorus) did receive a fair share of airtime. பிறவி ரசிகர்கள் கூடுங்கள் is a feet-tapping ditty where an ebullient Janaki makes merry. The revelation for me was the folksy சேதுபதி பூமியிலே where the majesty of TMS is matched by a rustic and jaunty Janaki. These nice songs are all but forgotten today. Thankfully, some good samaritans have unearthed them and uploaded them on YouTube. A lovely nostalgic peep into the glorious 70s:

https://www.youtube.com/watch?v=S81b6yjMk2k
https://www.youtube.com/watch?v=uL269low4xw
https://www.youtube.com/watch?v=42ETlDWcJ6g
https://www.youtube.com/watch?v=u6YAUba46mE

Listening to these songs, I get a strong feeling that it must have been during these recording sessions where Janaki was the darling diva in GKV’s ensemble that watching her grasp the notes and embellish them with her delightful nuances, all with nonchalant speed and ease, that Ilaiyaraja must have been mightily impressed with her and anointed her naturally as his prima donna when his time arrived.

The next year fetched GKV three movies, and he worked on their music to come up with some exceptional songs.

Kovi Manisekharan turned director with his தென்னங்கீற்று (Godwin Enterprises/ 1975). A story dealing with an unusual theme with Sujatha stealing the show with her sterling performance, the movie has some noteworthy songs tuned by GKV- இது ஆயிரம் மலர்களின் (TMS), மாணிக்க மாமணி மாலையில் ( SPB & Vani Jairam), மஞ்சளும் வாழ்க (P. Susheela) and ஆண்டவன் போட்ட புள்ளியை (Yesudas).

Listen to மாணிக்க மாமணி மாலையில் where GKV tempers a mellifluous sky with some moving, melancholic clouds:

https://www.youtube.com/watch?v=lY55MJxlxJI

For L.V. Prasad’s பிரியாவிடை, GKV was persuaded to adopt some popular Hindi tunes and the songs ராஜா பாருங்க (SPB & S. Janaki), என்னுயிரே என் பொன்னொளியே(S. Janaki), மாப்பிள்ளைக்கொரு மயக்கம் வந்ததது (SPB) and கருணைக்கடலே (GKV & P. Susheela) could fetch only fleeting airtime.

Cho, who had earlier worked with MSV for his Muhammed Bin Thughlak (1971) and Mr. Sampat (1972), commissioned GKV this year to compose the music for his யாருக்கும் வெட்கமில்லை (Narmada Arts/ Vivek Chitra). Cho’s old friend Jayalalitha played with her characteristic panache a daring role that elicited critical notice. The splendid score by GKV- என் கண்ணிரெண்டும் செய்த பாவம் (S.Janaki),மேலும் கீழும் கோடுகள் போடு (Yesudas), அணையாத தீபம் (P. Susheela), and சினிமாவில் வருவதுப்போல (TMS/S. Janaki/Manorama, a rollicking song that heralded Jayalalitha as a புரட்சி தலைவி as early as in 1975!) notwithstanding, the movie was not a commercial success.

https://www.youtube.com/watch?v=xLw5Y60xxzI
https://www.youtube.com/watch?v=OUdP0flqLsk
https://www.youtube.com/watch?v=NxDSGy294zg

And.... nothing fails like failure- none of these films were big successes and GKV’s period of limelight in Tamil cinema proved short-lived.

However, it was in these years that he was the monarch of all he surveyed in Kannada. His works in films like Mayura (dubbed in Hindi as well), Dari Tappida Maga, Trimoorti- all 1975, Raja Nanna Raja, Baalu Jenu -both1976, Olavu Geluvu, Galatte Samsara, Sose Thandha Sowbhagya – all 1977, Operation Diamond Rocket-1978 all went on to become super hits.

And it was in 1977 that GKV made history by bringing Ustad Bismillah Khan all the way from Varanasi to play the Shehnai for the film Sanadi Appanna. Based on a story by Krishnamoorthi Puranik, Anandalakshmi Enterprises’ Sanadi Appanna had Rajkumar and Jayaprada essaying the lead roles. As it was based on the story of a Shehnai player, GKV collaborated with the great Ustad to adorn the film with an alluring album that brought him widespread critical commendation. The exquisite lesson in Behag- ‘Karaderu Kelade’ has GKV skillfully employing Janaki's mesmerizing vocals and the Ustad’s Shehnai to create a classical masterpiece the likes of which film music has seldom witnessed. The revered Ustad came with his 10-member contingent to Madras and worked at the Prasad Studio with GKV and his troupe to collaborate on an album that is a precious cache of priceless gems.

https://www.youtube.com/watch?v=1euHDlC5m20
https://www.youtube.com/watch?v=iwmL9mfz3wY

- To be concluded.

Part1 here: https://www.facebook.com/groups/1018417744856618/permalink/1332975003400889/
Part 2 here: https://www.facebook.com/groups/1018417744856618/permalink/1333830509982005/
Part 4 here: https://www.facebook.com/groups/1018417744856618/permalink/1335683069796749/

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1334883879876668/

Down Memory Lane with G.K.Venkatesh- Part 2

தேன் சிந்துதே வானம்..
Down Memory Lane with G.K.Venkatesh- Part 2
Saravanan Natarajan

Unfortunately for GKV, these films were not commercial successes, and the merciless gates of Tamil Cinema were closed once again for this gifted composer. However, he continued creating immortal melodies in Kannada films, where he was much sought after by the top banners of the day. Thumbida Koda, Nanna Kartavya-both 1964, Sarvagyanamoorthi, Sati Savitri-both 1965, Killadi Ranga, Madhumaalathi-both 1966, Parvathi Kalyana, Rajshekhara, Rajadurgada Rahasya, Immadi Pulikeshi-all 1967, Jedare Bale, Manasakshi, Goa Dalli CID 999- all 1968, Operation Jackpot Nalli CID 999- 1969 are all noteworthy albums, each one of which has songs that are repeatedly listened to with pleasure to this day.

For the 1964 Kannada movie Kalavathi, GKV fetched the venerable Manna Dey to render the caressing 'Kuhu kuhu':

https://www.youtube.com/watch?v=1JnkjUey8CA

And in 1966, GKV pulled off a coup of sorts when he roped in none other than the revered Pandit Bhimsen Joshi to sing for the Kannada film Sandhya Raga.

Listen to the 3 lovely versions of ‘Nambide ninna naada devathe’, the first sung by Pandit Bhimsen Joshi, the second one by Balamuralikrishna and the last version by Janaki, each one a tantalizing treat for connoisseurs.. Wondrous compositions that will bespeak of the gifted GKV for times to come…

https://www.youtube.com/watch?v=UkBca8f7q5Q

Despite these successes and the critical acclaim, in Tamil all that GKV secured was an opportunity to compose for the Malaysian Tamil venture ரத்தப்பேய், in which he gave an enthusiastic youngster called Malaysia Vasudevan a much awaited break in playback singing.

It was only after a long wait in 1971 that Deivanayagi Films’ சபதம் brought GKV back into reckoning in Tamil. The film starring KR Vijaya & Ravichandran was directed by P Madhavan. Listen to தொடுவதென்ன தென்றலோ மலர்களோ sung by SPB. The song showcases GKV in his elements— the riveting prelude consisting of those dainty string bits that are repeated throughout the song, the masterful way in they are seamlessly interwoven into the fascinating interludes, while the interludes themselves are so unpredictable and enticing in their progression…..And SPB brings such a cajoling mood to the lines, that you just have to fall in love with the song- listen to his voice beam in the end, and the longing that he expresses, almost akin to a wistful sigh, in the short humming that leads back to the Pallavi. Class!

https://www.youtube.com/watch?v=BAlryz7Jl2Q

By the early 70s, GKV had acquired a cult following in Kannada. Each album of his was awaited with impatience, and every song hastened to capture the airwaves. His works in films like Devara Makkalu, Kasturi Nivasa, Naguva Hoovu- all 1970, Bala Bandhana, Taayi Devaru, Pratidhwani, Thandhe Makkalu- all 1971, Bangarada Manushya, Karmika Kallanalla – both 1972, Doorada Betta, Sampathige Savaal, Bhakta Kumbhara-all 1973, elicited rave reviews.

It was towards the last years of the 60s that GKV took under his patronage a young talented musician called Raja. (Originally Rasiah, later to blossom into Ilaiyaraja) Raja, whose soul was soaked in music, had his skills polished and trained by Dhanraj Master, an acknowledged genius. GKV recognized the innate talents in him, and admitted him in his troupe, where Raja quickly justified the trust that GKV placed in him. Another gifted musician who was assisting GKV during the same period was L. Vaidhiyanathan.

In spite of the popularity of the songs of சபதம், GKV was not flooded with offers in Tamil. His next opportunity in Tamil came again from P. Madhavan, who had been impressed with GKV’s work in Sabatham. When P. Madhavan turned producer under his banner ‘Arun Prasad Movies’, he called GKV to compose music for his film பொண்ணுக்கு தங்க மனசு -1973. (Directed by Devaraj-Mohan under P Madhavan’s supervision).

The captivating creation தேன் சிந்துதே வானம் from this movie written by Kannadasan & sung by SP Balasubramaniam & S.Janaki (may she live long!) is a song that ensures forever that GKV will be saluted with awe in the chronicles of Tamil film music. He repeated the tune that he had composed earlier in Kannada- ‘Haayagide ee dhina mana’ from Thaayi Devaru and he reused in again in Telugu as ‘Mrogindi Veena’ in the movie Zamindarugari Ammayi. Every bit, every note, every moment of the song is spellbinding.

With such a bewitching opening line as தேன் சிந்துதே வானம் that summons vistas of a rain-drenched evening…where the showers beckon the lovers…where the monsoon waves its magical wand…where the love-stricken hearts are afire with desire within, whilst all is damp and cold without, where few tremulous words of love are shyly whispered:

https://www.youtube.com/watch?v=6wsA2I9qEWo

- To be continued...

Part1 here:https://www.facebook.com/groups/1018417744856618/permalink/1332975003400889/

Part 3 here:
https://www.facebook.com/groups/1018417744856618/permalink/1334883879876668/

Part 4 here:
https://www.facebook.com/groups/1018417744856618/permalink/1335683069796749/

Down Memory Lane with G.K. Venkatesh- Part 1

ஏழை நின் கோயிலை நாடினேன்...

Down Memory Lane with G.K. Venkatesh- Part 1
-Saravanan Natarajan

Today is the birth anniversary of the great composer G.K. Venkatesh, sadly forgotten in the swirling mists of time. Let us make amends by reminiscing on the life and times of GKV and recalling some of his glittering works.

Gurjada Krishnadas Venkatesh was born in Hyderabad on 21st September 1927. His father Krishnadas Naidu dabbled in amateur theatre and was a good singer. The family moved to Bangalore when GKV was a child. GKV was a born talent- his musical talents were discovered at a very young age—even as a child it is said he was appreciated by the Raja of Bobbili. His elder brother GKS Pathi taught him the Veenai. Along with his brother Raghu, GKV sang in concerts as well.

They moved to Madras and sought opportunities to work in the music troupes of the great composers of the time. As an enthusiastic teenager, GKV played the Veenai for giants like S.V. Venkataraman, S.M. Subbiah Naidu and C.R. Subburaman.

GKV became a close friend of M.S. Viswanathan when they were both part of Subbiah Naidu’s troupe in the late 40s. Later they stayed in the same room in Jupiter Lodge in Madras. And when N.S.Krishnan offered an opportunity to MSV and TKR to compose music for Panam-1952, it was inevitable that GKV became an integral part of their troupe.

MSV gave GKV an opportunity to sing in their very first film பணம். The song was a lovely waltz number ஏழை நின் கோயிலை நாடினேன். Unfazed by the formidable stature of his co-singer- the mighty M.L.Vasanthakumari, GKV rendered his lines with fetching nonchalance.
Listen to this languorous number of breezy romance sung by GKV and MLV:

https://www.youtube.com/watch?v=aR4ypZX1U_k



Singing was nothing new to GKV--after all, he began his career as a singer in Bangalore All India Radio even before entering films, and is also said to have lent his voice to some chorus songs in Meera when he was in SV. Venkataraman’s troupe. GKV went on to sing a few songs in later years, and always did justice to them. His voice had the flexibility to adapt to the varied moods that the situation demanded—the boisterous revelry in கண்ணோடு வின் பேசும் ஜாடை from கவலையில்லாத மனிதன், the gloomy intensity in the pathos version of வந்த நாள் முதல் in பாவ மன்னிப்பு, the comic nuances in காலம் செய்த கோமாளித்தனத்தில் from படித்தால் மட்டும் போதுமா, the palpable dejection in கனவே காதல் வாழ்வே from செந்தாமரை, the impish romance of ஏன் மாமா கோபமா (தென்றல் வீசும், with L.R.Eswari), the irreverent shrug at life in சொந்தமும்மில்லை ஒரு பந்தமும்மில்லை (Hello Mr. Zamindar), the ebullience of romance in பன்னீர் பூவே ( ஞாயிறும் திங்களும், with L.R.Eswari), the rustic uncouthness in the மானத்திலே மீனிருக்க prelude to S.Janaki’s உதயம் வருகின்றதே (கவிக்குயில்)- these are some unforgettable instances where GKV startles you with the breathtaking range of his voice.

Listen to GKV the singer:

https://www.youtube.com/watch?v=ul_-rndft6g
https://www.youtube.com/watch?v=J5QyPh8EMP8
https://www.youtube.com/watch?v=UAFQI5rd_Ck

GKV thus become a permanent fixture in the troupe of MSV-TKR from their very first film. He was given due credit as their assistant in the titles in their films in those early years. His undeniable talents could not be hidden under wraps for long. Even as early as 1950, GKV composed music
independently for the Malayalam film Chechi. The number ‘Kalitha Kalamaya Kailasavasa ‘, sung by Kaviyoor Revamma, with its beautiful classical flourishes was an early indication of GKV’s prodigious talents. The film was later dubbed in Tamil in 1951 as Nadigai.

And though Tamil filmmakers were not yet prepared to entrust him with independent music composition, Kannada filmdom was quick to discover the spark in him, and eagerly harnessed his talents. The titles of the 1955 film Sodari starring Rajkumar (his second film) and Pandaribai had the credit for music being shared by HR Padmanabha Shastry & GKV. The following year saw GKV enjoying a stupendous success with the music of Viswakala Chitra’s Ohileshwara (stg. Rajkumar & Sriranjini). GKV also gave P.B.Srinivas a marvellous break in Kannada. (“GKV was the person who launched me as a successful singer in Kannada”, acknowledged a grateful PBS in many an interview).

GKV soon became a prolific composer in Kannada, and along with T.G. Lingappa and Vijayabhaskar, set new standards of film music therein. His works in Haribhaktha-1956, Anna Thangi-1958, Jagajyothi Basaveshwara, Dharma Vijaya, Mahishasura Mardini-all 1959, Ranadhira Kanteerava, Dasavathara, Sree Shaila Mahatme-all 1960, Kanntheredu Nodu (he appeared on screen to render the song ‘Kannnadada makkallella’), Kaivaara Mahaatme-both 1961, Bhoodaana, Karuneye Kudumbada Kannu - both 1962, Kanya Ratna, Gowri, Kulavadhu, Malli Madhuve, Kalitaaru Henne- all 1963, won acclaim.

GKV got an opening in Tamil in 1964 to compose music for Thirumagal Films’ மகளே உன் சமத்து. Though the film starring Anandan & Rajasri was sent back to the cans without much ado, GKV’s songs showed the stuff he was made of. While it was the delightful duet அன்பில் ஆடுதே by P.B. Srinivas & P.Susheela that became popular, my pick is the appealing கதை ஒன்று நான் சொல்லவா, where Susheela’s dulcet tones paint vivid hues on GKV’s beautiful canvas:

http://www.youtube.com/watch?v=owhnvP56jDE

The same year, Anandan himself produced a film under the banner Anandan Movies called நானும் மனிதன் தான் with Chandrakantha playing his pair. GKV came up with some lingering numbers like வா வா வா என் தலைவா by TA Mothi & S. Janaki and காற்று வரும் காலமொன்று by PBS & S.Janaki.

https://www.youtube.com/watch?v=EppwXbpdHzM

The following year saw a solitary Tamil film coming GKV’s way, and that too was because it was produced and directed by the renowned GV Iyer, with whom GKV was working in a number of Kannada films. GV Iyer Productions’ தாயின் கருணை starred Kalyankumar and Vandana and was a remake of Iyer’s 1962 Kannada movie Thaayi Karulu. Listen to பூந்தென்றல் இசைப்பாட sung by PBS, where Mayavanathan’s poetic lines extolling the greatness of Tamil are strung together so enticingly by GKV:

http://www.youtube.com/watch?v=zgoxSlDf_so

- To be continued...

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1332975003400889/

G.K.Venkatesh: A Retrospective

Down Memory Lane with G.K.Venkatesh

Today is the birth anniversary of the great composer G.K. Venkatesh, sadly forgotten in the swirling mists of time. Let us make amends by reminiscing on the life and times of GKV and recalling some of his glittering works.

Gurjada Krishnadas Venkatesh was born in Hyderabad on 21st September 1927. His father Krishnadas Naidu dabbled in amateur theatre and was a good singer. The family moved to Bangalore when GKV was a child. GKV was a born talent- his musical talents were discovered at a very young age—even as a child it is said he was appreciated by the Raja of Bobbili. His elder brother GKS Pathi taught him the Veenai. Along with his brother Raghu, GKV sang in concerts as well.

They moved to Madras and sought opportunities to work in the music troupes of the great composers of the time. As an enthusiastic teenager, GKV played the Veenai for giants like S.V. Venkataraman, S.M. Subbiah Naidu and C.R. Subburaman.

GKV became a close friend of M.S. Viswanthan when they were both part of Subbiah Naidu’s troupe in the late 40s. Later they stayed in the same room in Jupiter Lodge in Madras. And when NSK offered an opportunity to MSV and TKR to compose music for Panam-1952, it was inevitable that GKV became an integral part of their troupe. MSV gave GKV a chance to sing in their very first film ‘Panam’. The song was a lovely waltz number ‘Ezhai nin kovilai naadinen’. Unfazed by the formidable stature of his co-singer- the mighty MLV, GKV rendered his lines with fetching nonchalance.

Singing was nothing new to GKV--after all, he began his career as a singer in Bangalore All India Radio even before entering films, and is also said to have lent his voice to some chorus songs in Meera when he was in SV. Venkataraman’s troupe. GKV went on to sing a few songs in later years, and always did justice to them. His voice had the flexibility to adapt to the varied moods that the situation demanded—the boisterous revelry in ‘Kannodu vin pesum jaadai’ from Kavalai Illatha Manithan, the gloomy intensity in the pathos version of ‘Vandha naal mudhal’ in Paava Mannippu, the comic nuances in ‘Kaalam seitha komalithanathil’ from Padithaal Mattum Podhuma’, the palpable dejection in ‘Kanavae kaathal vaazhvae’ from Senthamarai, the impish romance of ‘Yaen mama kovama’ (Thendral Veesum, with LRE), the irreverent shrug at life in ‘Sondhamumillai oru bandhamum illai’ (Hello Mr.Zamindar), the ebullience of romance in 'Panneer poove' ( Gnayirum Thingalum, with LRE), the rustic uncouthness in the ‘Maanathilae meenirukka’ prelude to SJ’s ‘Udhayam varugindrathae’ (Kavikkuyil)- these are some unforgettable instances where GKV startles you with the breathtaking range of his voice.

Listen to ‘Sondhamumillai oru bandhamuillai’:

https://www.youtube.com/watch?v=ul_-rndft6g

GKV thus become a permanent fixture in the troupe of MSV-TKR from their very first film. He was given due credit as their assistant in the titles in their films in those early years. His undeniable talents could not be hidden under wraps for long. Even as early as 1950, GKV composed music independently for the Malayalam film Chechi. The number ‘Kalitha Kalamaya Kailasavasa ‘, sung by Kaviyoor Revamma, with its beautiful classical flourishes was an early indication of GKV’s prodigious talents. The film was later dubbed in Tamil in 1951 as Nadigai.

And though Tamil filmmakers were not yet prepared to entrust him with independent music composition, Kannada filmdom was quick to discover the spark in him, and eagerly harnessed his talents. The titles of the 1955 film Sodari starring Rajkumar (his second film) and Pandaribai had the credit for music being shared by HR Padmanabha Shastry & GKV. The following year saw GKV enjoying a stupendous success with the music of Viswakala Chitra’s Ohileshwara (stg. Rajkumar & Sriranjini). GKV also gave P.B.S rinivas a marvellous break in Kannada. (“GKV was the person who launched me as a successful singer in Kannada”, acknowledged a grateful PBS in many an interview).

GKV soon became a prolific composer in Kannada, and along with TG Lingappa and Vijayabhaskar, set new standards of film music therein. His works in Haribhaktha-1956, Anna Thangi-1958, Jagajyothi Basaveshwara, Dharma Vijaya, Mahishasura Mardini-all 1959, Ranadhira Kanteerava, Dasavathara, Sree Shaila Mahatme-all 1960, Kanntheredu Nodu (he appeared on screen to render the song ‘Kannnadada makkallella’), Kaivaara Mahaatme-both 1961, Bhoodaana, Karuneye Kudumbada Kannu - both 1962, Kanya Ratna, Gowri, Kulavadhu, Malli Madhuve, Kalitaaru Henne- all 1963, won acclaim.

GKV got an opening in Tamil in 1964 to compose music for Thirumagal Films’ Magale Un Samathu. Though the film starring Anandan & Rajasri was sent back to the cans without much ado, GKV’s songs showed the stuff he was made of. While it was the breezy duet ‘Anbil aaduthae’ by P.B. Srinivas & P.Susheela that became popular, my pick is the appealing ‘Kathai ondru naan sollava’, where Susheela’s dulcet tones paint vivid hues on GKV’s ethereal canvas:

http://www.youtube.com/watch?v=owhnvP56jDE

The same year, Anandan himself produced a film under the banner Anandan Movies called Naanum Manithan Thaan, with Chandrakantha playing his pair. GKV came up with some lingering numbers like ‘Vaa vaa vaa en thalaiva’ by TA Mothi & S. Janaki and ‘Kaatru varum kaalamondru’ by PBS & S.Janaki.

The following year saw a solitary Tamil film coming GKV’s way, and that too was because it was produced and directed by the renowned GV Iyer, with whom GKV was working in a number of Kannada films. GV Iyer Productions’ Thaayin Karunai starred Kalyankumar and Vandana and was a remake of Iyer’s 1962 Kannada movie Thaayi Karulu. Listen to 'Poonthendral isai paada' sung by PBS, where Mayavanathan’s poetic lines extolling the greatness of Tamil are strung together so enticingly by GKV:

http://www.youtube.com/watch?v=zgoxSlDf_so

Unfortunately for GKV, these films were not commercial successes, and the merciless gates of Tamil Films were closed once again for this gifted composer. However, he continued creating immortal melodies in Kannada films, where he was much sought after by the top banners of the day. Thumbida Koda, Nanna Kartavya-both 1964, Sarvagyanamoorthi, Sati Savitri-both 1965, Killadi Ranga, Madhumaalathi-both 1966, Parvathi Kalyana, Rajshekhara, Rajadurgada Rahasya, Immadi Pulikeshi-all 1967, Jedare Bale, Manasakshi, Goa Dalli CID 999- all 1968, Operation Jackpot Nalli CID 999- 1969 are all noteworthy albums, each one of which has songs that are repeatedly listened to with pleasure to this day.

GKV pulled off a coup of sorts in 1966, when he roped in none other than the revered Pandit Bhimsen Joshi to sing for the Kannada film Sandhya Raga.
Listen to the 3 lovely versions of ‘Nambide ninna naada devathe’, the first sung by Pandit Bhimsen Joshi, the second one by Balamuralikrishna and the last version by Janaki, each one a tantalizing treat for connoisseurs.. Wondrous compositions that will bespeak of the gifted GKV for times to come…

https://www.youtube.com/watch?v=UkBca8f7q5Q

Here is a scintillating solo by Bhimsen Joshi from the same film:

https://www.youtube.com/watch?v=NE2e3fTqA7Y

All this time, the myopic Tamil filmmakers continued to ignore GKV and all he secured was an opportunity to compose for the Malaysian Tamil venture ‘Ratha Pei’, in which he gave an enthusiastic youngster called Malaysia Vasudevan a chance to render a song.

It was only after a long wait in 1971 that Deivanayagi Films’ Sabatham brought GKV back into reckoning in Tamil. The film starring KR Vijaya & Ravichandran was directed by P Madhavan. Listen to ‘Thoduvathenna thendralo malargalo’ sung by SPB. The song showcases GKV in his elements— the riveting prelude consisting of those dainty string bits that are repeated throughout the song, the masterful way in they are seamlessly interwoven into the fascinating interludes, while the interludes themselves are so unpredictable and enticing in their progression-- And SPB brings such a cajoling mood to the lines, that you just have to fall in love with the song- listen to his voice beam in the end, and the longing that he expresses, almost akin to a wistful sigh, in the short humming that leads back to the Pallavi. Class!

https://www.youtube.com/watch?v=BAlryz7Jl2Q

By the early 70s, GKV had acquired a cult following in Kannada. Each album of his was awaited with impatience, and every song hastened to capture the airwaves. His works in films like Devara Makkalu, Kasturi Nivasa, Naguva Hoovu- all 1970, Bala Bandhana, Taayi Devaru, Pratidhwani, Thandhe Makkalu- all 1971, Bangarada Manushya, Karmika Kallanalla – both 1972, Doorada Betta, Sampathige Savaal, Bhakta Kumbhara-all 1973, elicited rave reviews.

It was towards the last years of the 60s that GKV took under his patronage a young talented musician called Raja. (Originally Rasiah, later to blossom into Ilaiyaraja) Raja, whose soul was soaked in music, had his skills polished and trained by Dhanraj Master, an acknowledged genius. GKV recognized the innate talents in him, and admitted him in his troupe, where Raja quickly justified the trust that GKV placed in him. Another gifted musician who was assisting GKV during the same period was L. Vaidhiyanathan.

In spite of the popularity of the songs of Sabatham, GKV was not flooded with offers in Tamil. His next opportunity in Tamil came again from P. Madhavan, who had been impressed with GKV’s work in Sabatham. When P. Madhavan turned producer under his banner ‘Arun Prasad Movies’, he called GKV to compose music for his film Ponukku Thanga Manasu-1973. (Directed by Devaraj-Mohan under P Madhavan’s supervision).

The captivating creation ‘Then sindhudhe vaanam’, from this movie written by Kannadasan & sung by SP Balasubramaniam & S.Janaki is a song that ensures forever that GKV will be saluted with awe in the chronicles of Tamil film music. He repeated the tune that he had composed earlier in Kannada- ‘Haayagide ee dhina mana’ from Thaayi Devaru and he reused in again in Telugu as ‘Mrogindi Veena’ in the movie Zamindarugari Ammayi. Every bit, every note, every moment of the song is spellbinding.

With such a bewitching opening line as ‘Then sindhudhe vaanam’, that summons vistas of a rain-drenched evening…where the showers beckon the lovers…where the monsoon waves its magical wand…where the love-stricken hearts are afire with desire within, whilst all is damp and cold without, where few tremulous words of love are shyly whispered:

https://www.youtube.com/watch?v=6wsA2I9qEWo

Nothing succeeds like success, and with the emphatic success of Ponnukku Thanga Manasu, with ‘Thaen sindhudhe vaanam’ reverberating from every corner teashop, GKV found avenues hitherto closed for him in Tamil grudgingly opening up at last. While it wasn’t as though producers were flocking at his gates, he did get some Tamil films in quick succession.

In the following years, GKV composed some noteworthy songs such as ‘Eruthamma eruthamma’ for P.Madhavan’s Murugan Kaatiya Vazhi (1974), ‘Melum Keezhum kodugal podu’ & ‘En kannirandum seitha paavam’ for Cho’s Yarukkum Vetkamillai (1975), ‘Maanikka mamani maalaiyil’ for Kovi Manisekaran’s Thennankeetru (1975), ‘Karunaikadale kaarmugil vanna’ fror L.V.Prasad’s Piriyavidai (1975) & ‘ Malarndhaal vaasam vendum’ for Gopu’s Dhayiriyalakshmi (1979). Of these, Dhairiyalakshmi, starring Jaishankar & Lakshmi and directed by Chitralaya Gopu, was also co-produced by GKV.

https://www.youtube.com/watch?v=xzvWVEZ2HPY

None of these films were big successes and GKV’s period of limelight in Tamil proved short-lived. However, it was in these years that he was the monarch of all he surveyed in Kannada. His works in films like Mayura (dubbed in Hindi as well), Dari Tappida Maga, Trimoorti- all 1975, Raja Nanna Raja, Baalu Jenu -both1976, Olavu Geluvu, Galatte Samsara, Sose Thandha Sowbhagya – all 1977, Operation Diamond Rocket-1978 all went on to become super hits.

And it was in 1977 that GKV made history by bringing Ustad Bismillah Khan all the way from Varanasi to play the Shehnai for the film Sanadi Appanna. Anandalakshmi Enterprises’ Sanadi Appanna (Dir: Vijaya Reddy, Stg. Rajkumar & Jayapradha) was based on the story of a Shehnai player, and GKV collaborated with the great Ustad to adorn the film with an alluring album that brought GKV widespread critical commendation. The song ‘karaderu kelade’ has GKV skilfully employing Janaki's vocals and the Ustaad’s Shehnai to create a classical masterpiece the likes of which film music has seldom witnessed.

https://www.youtube.com/watch?v=4bgoXaurJmE

Again, though he had made a mark in films like Naatakala Raayudu-1969, it was in these intermediate years that GKV made a significant impact in Telugu as well - his songs in films like Zamindarugari Ammayi-1975, America Ammayi-1976 and Tharam Marindi, Chakradhari-both 1977 elicited favourable notice.

We see him venture into Tamil again in 1979 with Pallavi Enterprises’ Malligai Mohini, featuring ‘Julie’ Vikram and Latha in the lead roles. The Mohini has long vanished into the nether world of oblivion, but the entrancing fragrance of her Malligai lingers on to this day, in the form of her songs—indeed GKV had surpassed himself here- each song is a glittering diamond. ‘Megangale ingu vaarungale’ by SP Balasubramaniam was played by Radio Ceylon ever so often, while the elegant S.Janaki- Poornachander duets ‘ Naan ketten deiva gaanam’ & ‘Sringara sangeethame’ found frequent air time as well. The 2 versions of ‘Oru paadalai pala ragathil’ one by S.P.Balasubramaniam and the other by Poorchander remain entrenched in our memories.

Listen to ‘Megangale ingu vaarungale’ by SPB:

https://www.youtube.com/watch?v=VrV52fUAf7M

GKV was one of the 5 composers for his friend A.L.Raghavan’s 1980 film ‘Kannil Theriyum Kathaigal’, and the song that he composed ‘Naan paartha rathi devi enge’ did his friend proud. Sunrise Enterprises ‘Chinanjiru Kiliye’ was another 1980 film that came out with GKV’s music. The enticing ‘Vaigai neerada’ sung by Malaysia Vasudevan & S. Janaki became popular. ‘Veedu thedi vandhadhu’ and ‘Jankan pon maane’ from Pennin Vazhkkai and ‘Vethalakkiliye solladhe veliye’ from Deiva Thirumanangal were some songs composed by GKV that found mass appeal in 1981.

It was also in 1981 that he composed music for Santosh Art Films’ Nenjil Oru Mul. Inspired from Shakti Samanta’s Kati Patang, Nenjil Oru Mul starred Pratap Pothen & Poornima Jairam and was directed by Mathioli Shanmugam. GKV came out with some memorable numbers. While ‘Neraagave ketkiren’ by Deepan Chakravarthi & Vaini Jairam is a haunting duet ( reworked on GKV’s Ravivarmana Kunchada), my pick is the caressing ‘Ragam pudhu Ragam’ by Deepan Chakravarthi & SP. Shailaja which traces its Kannada origins to GKV’s ‘Raga Anuraga’ from Sanaadhi Appanna.

https://www.youtube.com/watch?v=VL6xCI4w4Do

GKV continued to be in demand in the Kannada circuit in the early 80s and his works in films like Haavina Hede and Hanabalavo Janabalavo-both 1981, Haalu Jenu-1982, Eradu Nakshatragalu-1983 and Adhe Kannu-1985 became popular hits. However, the emergence of newcomers like Hamsalekha and Vijayanand, coupled with the sustained presence of stalwarts like Rajan-Nagendra, Upendrakumar and M.Ranga Rao saw fewer and fewer films coming his way as the decade progressed.

Chitrapriya’s Kashmir Kathali released in 1983 was GKV’s next Tamil Album. Directed by Mathioli Shanmugam, the film had Rajkumar & Rajini Sharma in the lead. ‘Azhagiya sennira vaanam’ by SP. Balasubramaniam & S.Janaki & ‘Sangeethame’ by Jayachandran & P. Susheela were delectable duets composed by GKV. Listen to the lilting ‘Sangeethame’.

https://www.youtube.com/watch?v=LkhVhE9r7vc

1984 saw the belated release of Seshasayee Films’ Azhagu, which was years in the making. The film holds the distinction of being Nadigaiyar Thilagam Savithri’s last film. Its other distinction was, of course, Radio Ceylon’s favourites like ‘Devi vandhaal’ by SP. Balasubramaniam & S. Janaki and ‘Mounamalla mayakkam’ by Jayachandran & S. Janaki.

Listen to the forgotten ‘Mounamalla Mayakkam’, a lovely duet with GKV’s orchestral skills in full flow:

https://www.youtube.com/watch?v=5wDqKABZdgU

Inaindha Kodugal released in 1985 was GKV’s last film in Tamil. ‘Azhagiya malarkkodi’ sung by Yesudas & Vani Jairam was featured in Radio’s Ceylon’s Mandha Marutham parade in the evenings.

When MSV and Ilaiyaraja came together to make history in AVM’s Mella Thirandhadhu Kadhavu-1986, GKV acted in the role of Mohan’s musician father. Left with no opportunities, in 1987 he made the big blunder of turning producer, and the alarming failure of the Ramarajan-Revathi starrer Gramathu Minnal landed him in debt and despair.

Ilayaraja who had been a member of GKV’s troupe for many years before Annakkili came his way, took his Master into his fold now and GKV remained an essential element of Ilaiaraja’s ensemble till 1993, when years of bacchanalian indulgence finally took their toll. GKV made his final bow on 13 November 1993….‘Kaalam vandhadhu, kadhai mudindhu pogiren’—as the lines of his song go. I can even now remember the images of MSV, TKR, Ilaiyaraja and Gangai Amaran, all looking genuinely grief-stricken, leading the mourners.

GKV used to visit a house in my street where he had relatives. I have met him and spoken to him on a few occasions when I too happened to be at my neighbour’s house during his visits. He was bull of bonhomie, his laughter was infectious and his jokes wicked! He was the life and soul of any party and charmed all those present with his charisma.

As I have said earlier, good friend Sundar wished to celebrate the 25th year of Ragapravaham by presenting a special program. He wanted to present some not so frequently heard composers. He took 3 for himself, and allotted me 3. And in my lot fell Soolamangalam Rajalakshmi, Dakshinamoorthi Swami and G.K. Venkatesh. After I had completed my presentation on GKV, Chief Guest and eminent film historian and music scholar Shri. V.A.K. Ranga Rao was invited to speak. In the course of his speech, he said that it gave him particular pleasure that GKV was among those composers chosen. He recalled his long personal association with GKV, and said simply “He was great!”

Singer…. Music Director… Actor- GKV has left behind his firm footprints in the sands of time. ‘A highly talented composer, dynamic and imaginative in his arrangements’ said PBS, who notched up a significant tally of songs under GKV’s baton. Vani Jairam echoed the same sentiments ‘An unassuming man, he was also a technical wizard- even in his last years in IR’s troupe, he was in charge of ‘balancing’ in which he was an acknowledged expert’ she recalls.

20 odd Tamil films, and save two, all were colossal catastrophes. These were the cards that destiny dealt him, but GKV played his hand to the best of his ability, leaving behind some immortal melodies, incandescent testaments of his unquestioned talents.

Discussion at:

Part1 here: https://www.facebook.com/groups/1018417744856618/permalink/1332975003400889/

Part 2 here: https://www.facebook.com/groups/1018417744856618/permalink/1333830509982005/

Part 3 here: https://www.facebook.com/groups/1018417744856618/permalink/1334883879876668/

Part 4: https://www.facebook.com/groups/1018417744856618/permalink/1335683069796749/