:lol: Appo thavaritten, inime thavara maattenQuote:
Originally Posted by Plum
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:lol: Appo thavaritten, inime thavara maattenQuote:
Originally Posted by Plum
That's another wonderful song app. The whole 'Maane Maane' album is class.
Thanks Rakesh anna,
To be honest, I have seen many Hollywood "horror" flicks, and none of them gave me the creeps, but some how I get scared watching tamil horror movies ( Relating to spirits, ghosts alike) , recently I saw Kanchana and I am still recovering and to be honest with my "limited" knowledge I think the best horror movie in TFM was Prashanth's shock ( though a remake of RGV's Booth).
App anna
Thanks for info, I will try and watch the movie this week end along with my mate "Jack Daniels" . :lol2: :yessir:
// was Mike Mohan given an Anti Hero Role in 100vathu naal ??? //
Nooravadhu naal (besides Mouna Ragam, Rettai val kuruvi and maybe one or two other) is/was one of the few films, Mike Mohan had some chance of showing expressions on his face (other than, the 'swallowed a whole pumpkin at once' kind of look) - in all other films, he was never allowed to/didnt have a chance to 'act' - it was IR all the way!
First of all many thanks to raajarasigan, Querida and App for encouraging me to write about this wonderful composition. :D Here it is, but very long as usual. Read at your leisure. Not sure, if I met all your expectations. These are just my flow of thoughts about this wonder!
If there is a temple which remains in everyone's heart who is born in Tamil Nadu, that would be Thanjai Periya Koyil. Not just in terms of worship, but mainly in terms of workmanship and art. Once we are there, we can certainly feel the Great 'Raja Raja Chozhan' and his great kingdom's presence there in every step we make, every sculpture we touch and admire and every frame we look upon. Kalki's Ponniyin Selvan created the huge hunger in me to visit this gorgeous and gigantic structure (even though I once visited during my childhood, I didn't remember). I desperately wanted to visit again. I made it only after my college years.
Similarly, Neengal KEttavai urged me to visit another glorious, yet forgotten structure Gangai Konda Chozha Puram almost identical to Thanjai Periya Koyil built by The Great Rajendra Chozhan. But I got this rare opportunity to visit this temple and monumental structure only in 2003, luckily on the way to attend one of my friend's marriage. I immediately fell in love with it. Even though it is not well maintained like the former, it speaks tons and tons of spectacular and grandeur craftsman ship. I could not forget this temple whenever I recollect Neengal KEttavai and vice versa. I felt very hard to leave this temple as it is the lone survivor in that village. Many thanks to Balu Mahendra who wonderfully picturized 'Oh Vasantha Raja' in this very memorable place and introduced me to its beauty.
Starting with one of my most favorite TV shows of all time, 'Vikram Aur Betaal' starring handsome Arun Govil as King Vikramaditya (he was our favorite TV heroes those days :smile:). Betaal would tell 25 stories to the King and ask a question (puzzle) to him at the end of every story. If the king does not answer correctly, his head would be torn into thousand pieces. If he was correct, the Betaal would go back to his tree and hang there and it starts all over again for the next story.
We will take this composition in a similar fashion when Maestro asks us a question at the end of every significant portion of the song and we need to answer it correctly. :smile:
The sound which baffles us in the first 15 seconds is some thing very peculiar and never known even today and could not be created by any sound engineer. I always tend to think of Raavanan's (?) story who tears apart his nerve strings and tie it to veena and play. The sound is such that!. Such powerful imagination by Maestro. Guess what instruments have been employed to create such a mind blowing ambience. Just the bass guitar, veena and synthesizer providing some odd rhythm. Isn't it amazing?
Next 18 seconds, rhythm changes to some big march type drums, just like the pounding heart beats. Hear how Maestro improvises by providing a counter rhythm which is a small yet fast tribal beat pattern ably supporting the big drums, culminating with flute. But there is also a keyboard instrument which sound like a wind instrument (like magudi? to depict a snake crawling around) which gives a picture of uncertainty and restlessness. But he always has a question.(1) That's where Maestro stands eons ahead from others. I am just thinking how Balu Mahendra would have conveyed this situation to Maestro. Just a love duet in a temple/stream backdrop. But just that is enough for Maestro to get inspired, but seeing the visuals, I could not believe he might have just done that. Let's hear the song closely with visuals, so that we can understand the two legends at work.
- Why all this grand and rich orchestration is needed, that too for a love duet?
The 15 seconds you can visualize that the heroine is in her own world thinking about her lover having some wild imagination on the erotic side. So the sounds in first 15 seconds indicate the tensile strength :wink: of her nerves and the fire she wants to put off. The hero is at a different place doing some exercise where he suddenly turns back to see if any one is following him. The moment his lover thinks of him, he feels that and his heart pounces like the big marching drums. This is where he loses the control (in fear) and gives up to her so that she can sneak into him. This is represented by the odd snake instrument crawling into this body, without his knowledge. The snake here represents the poison (of love and desire) which flows into him. Sheer, sheer audacious innovation!
Now Janaki starts off beautifully bringing in perfect mood of desire, exactly as the heroine imagines. This is where all the three brain child of the song, director, music director and the lyricist excel each other. Unusual lyrics for a heroine. She describes her lover as a 'honey soaked rose'. Adding to it, she mentions her lover's body is always her happiness (lover is the only happiness is different, lyricist does not mention that; point to note) and also describes that her lover was born only to quench her thirst. Ultimate eroticism, that too by a female.
2. All the three lines should have been ideally sung by a hero for his lover, but here it is other way round. Very very unusual. Why? (answered little later)
Classical pundits refer this song in a rare pentatonic raaga 'Srotaswini'. Choosing this unique raaga for his love duet is again unusual. Without him, I believe many would not have known about this raaga at all.
3. At the right moment when the pallavi starts he switches the percussion rhythm to mridangam. Again why?
(3) While in the prelude he has to bring out the mood and situation straightaway, in pallavi he has to support director's visuals/backdrop (when he briefed about the location). Since the backdrop is temple, mridangam which is synonymous to divinity is used appropriately for the location. Hear the bass guitar during pallavi, phenomenal stuff! One another prediction turned down beautifully. In the second line of pallavi, after 'Un Degam' , 'En Desam' , 'EnnaaLum' and 'Sandhosham' there is ample scope to introduce fillers between each word, which will glitter as ornament in the song, but to my surprise Maestro turned down my offer :smile: and wonderfully fills only with the percussion mridangam. The reason being the location itself. Maestro secretly says to me, 'All that glitters is not Gold!' Unpredictability is unpredictable!!
ஓ வசந்த ராஜா தேன் சுமந்த ரோஜா
உன் தேகம் என் தேசம் எந்நாளும் சந்தோஷம்
என் தாகங்கள் தீர்ந்திட நீ பிறந்தாயே
He brings the essence of the raga in the first interlude with divine veena, mridangam and flute. The finish of the interlude with each mridangam beat, punctuated and answered by classical violins is just stunning! Balu Mahendra quickly switches back and forth with capturing Archana's dancing posture and Banuchandar's close-ups for this wonderful chord progression using mridangam and violins. Again, all with the backbone of bass guitar. This gives the strength to all his compositions!
This is where I get lost into the song totally. SPB's soft and sweet vocals with perfect diction and what beautiful lines to describe the beauty of lover. 'Un Pinju paadhangal mann thottathaal indru sevvaanam pOlaachu'. Aha! BM aptly brings the setting red sky. Hear SPB laughing the second time when he sings 'ViN sorgame poi poi, en sorgam nee peNNe'. How he ends the last line 'Soodiya poocharam vaanvil thaano', especially the last word 'thaano'. Beautiful modulation there! And how effortless!! Crystal clear rendition!! :notworthy:
Usually melodies pick up their sweetness gradually and during charanam it will be felt maximum, but this is one song where can hear the sweetness right from the first note in pallavi. How to describe the sweetness and beauty of charanam tune. No rush, steady rhythm, only when needed punctuate the words to enhance its sweetness. For example, hear when SPB sings 'PaadhangaL' , it is 'Paa aadhangaL'. Again 'Poi Poi' little dip between these two poi's but there is no such dip in 'en sorgam nee peNNe'. All these little variations brings the much needed sweetness and life in the song. The last word 'thaano' ending with 'O' correctly connects to the first letter of 'O Vasantha Raja'.
Also the words here does not have any sexual desire except he just describes the beauty of his lover.
மென் பஞ்சு மேகங்கள் உன் பிஞ்சு பாதங்கள்
மண் தொட்டதால் இன்று செவ்வானம் போலாச்சு
விண் சொர்க்கமே பொய் பொய் என் சொர்க்கம் நீ பெண்ணே(2)
சூடிய பூச்சரம் வானவில் தானோ
Maestro continues with mridangam during pallavi after charanam with beautiful stream at the back. Mridangam sound here aptly describes the discontinuous flow of water as it has to battle through the rocks.
Answer to second question.
(2) During the repeat pallavi after first charanam, the heroine was successful in captivating her love and automatically he sings the same lines which was expected to be sung by a male as I described earlier (during first pallavi). So here Maestro answers my question as to why these lines were given for a female. As and when the song progresses, he turns up every stone and solves every puzzle.
Maestro suddenly switches from the classic charanam and classical interlude to brisk western style in second interlude. Another point to note is, only during the ludes, Maestro gives scope for lovers to dance (as directed by BM?) The rest melody is such that, it has to be felt, rather than dance and forget. The balance is beautifully maintained by Maestro. The bass tracks in second interlude is just amazing! Piano and violins on top of the bass track gives a sophisticated feel. Changes the track in between for a short dance. Again just wonderful!
4. When I was about to think that he will again take mridangam in charanam, as the back drop is temple again, he completely teases me and continues with western rhythms in second charanam. Why? (answered little later). He gives me no chance to predict. The puzzle is getting bigger and bigger!
You can clearly hear the bass tracks now unlike the first charanam where mridangam itself was dominating as expected.
The lady in love craving for desire again. Class, Class singing by SJ. :notworthy: Some extra-ordinary lyrics.
ஆராதனை நேரம் ஆலாபனை ராகம்
அலைபாயுதே தாகம் அனலாகுதே மோகம்
என் மேகமே வா வா இதழ் நீரைத் தூவு (2) (wow! beautiful!)
மன்மத கோவிலில் பாலபிஷேகம் (wicked line that is!)
Pulamaipithan :notworthy:
During the repeat of pallavi, Maestro switches the percussion back to mridangam. Hear how SJ sings 'O Vasantha Raja' especially the 'Raja', lovely. Same way, SPB finishes in style elongating 'ThEn' sweetly. We miss your singing so much. A Big void in playback singing :( I just listen to the last pallavi many times to quench my thirst in this ever famine melody area of today! Finally they both hum 'O' together which solves the last puzzle of love.
(4) No answer, this time, my head is torn into thousand pieces :wink:. Not sure if the above 3 answers were also correct.
Locations; Gangaikonda Chozha Puram temple, the streams, some outstanding lyrics all enhance the mood of the song to another level.
A classic composition which starts off in a tribal way (prelude), marches towards folk (pallavi), and gets hold of Indian classical on its way (1st interlude and charanams) and grabs contemporary western format (2nd interlude and charanam rhythm arrangements) before getting back to our root which is folk again. Just in one composition we see a beautiful progression of genres blended cleverly and organically to give a melody of highest order. As I always say, there is no such one song in any Maestro's composition.
The mridangam usage is of supreme class where he changes its rhythm pattern during pallavi and charanam keeping the same 4/4 time signature. Mridangam sounds folk during pallavi as he increases the beats during the break between the words, and keeps it steady during the words. Mridangam sounds completely classical during first charanam. Not just that, at every note Maestro keeps a mystery and raises our expectation. As and when needed, he solves those puzzles in his own unique way. The time the mystery is solved is also unexpected. Just like a ocean, we cannot estimate it, all we get is to deep dive and get some valuable pearls and rejoice for a life time.
A Mystery Composition to be crack opened by Maestro alone! A song of a lifetime!
Is it not apt to describe our Dearest Maestro as 'ஓ வசந்த ராஜா தேன் சுமந்த ரோஜா'?
PS: Please pour in your thoughts and questions about this mystery composition.
Great Write up V_S.
But one small nitpick. Oh Vasantha Raja was by Pulamai Pithan and not Vairamuthu. Kanavu kaanum vaazhkai and Pillai Nila were the songs written by Vairamuthu.
Regards
AhA, what a lovely description for the sweet song!
kalakkeetteenga!
mikka nanRi, V_S-ji!
hmm..maybe I should see the video of this song (have not seen the movie). I have taken quite a lot of pictures of GKC. More than 15yrs ago. Fascinated by the sculptures as well as by my new Canon SLR camera :-) ..
This song was sung by a good looking guy and girl when I was in school a few times. They used to sing it so well.. We guys thought something must be going on between them.. or maybe we were all just jealous of this guy :-)
(Murail, are you sure it is pulamipiththan ?.. it has all the marks of VM on it )
Splendid writeup V_S :clap: :clap: :clap: You described almost every second of the song with your exquisite writing and the whole song played in my mind by just reading your post. As you said, a song for the lifetime. IR, SPB, SJ - :notworthy:
Murali sir,
Thanks a lot for your comments. It means a lot to me.
App,
Thank you very much sir. Very Glad you like it. Dhanyanaanen!
kiru/Murali Sir,
Me too thought it's Vairamuthu, from the style. May be I am wrong. Please confirm. I will update it.
rajkumarc,
Thank you very much for your kind words and compliments.
The 15 seconds you can visualize that the heroine is in her own world thinking about her lover having some wild imagination on the erotic side. So the sounds in first 15 seconds indicate the tensile: wink: strength of her nerves and the fire she wants to put off. The hero is at a different place doing some exercise where he suddenly turns back to see if any one is following him. The moment his lover thinks of him, he feels that and his heart pounces like the big marching drums. This is where he loses the control (in fear) and gives up to her so that she can sneak into him. This is represented by the odd snake instrument crawling into this body, without his knowledge. The snake here represents the poison (of love and desire) which flows into him.
Wow! Enna oru uvamai :clap:
VSji, you've outdone yourself this time! Super duper stuff!
Thank you KV a lot. Delighted to read your appreciation :smile:
I'm behind by a day...will try to catch up. (In any case, it doesn't matter for the thread as it has a very special feast from V_S. So, the regular idli-sAmbAr can wait for a couple of days :-) )
V-S,
Thanks for your kind words. You deserve the praise. I remember your posts in 1950-60s song thread in Memories of Yesteryears section and 1000 songs thread [don't remember you writing in NT thread] and this was great thinking and writing especially the girl taking the lead in erotic expression was very skilfully presented.
Now coming to the question of the lyricist, this was one of the two songs of IR that I had wished it was Vairamuthu because of the selection of words and writing pattern [which I think had confused many] but it turned out to be Pulamai Pithan, the other one being செவ்வந்தி பூக்களில் செய்த வீடு from மெல்லப் பேசுங்கள் where again it was PP. Another song that again came close to be identified in this genre is ராத்திரியில் பூத்திருக்கும் தாமரைதான் from தங்க மகன் which was featured in this thread [and there again if I remember correctly app was having doubts regarding the lyricist].
Keep going!
app, sorry for the dig.
Regards
Murali Sir,
Many thanks for your praises. All credit to Maestro. எல்லாம் அவரின் அகத்தூண்டுதல் தான் காரணம்.
Thanks again for confirming about the lyricist of this song and couple of other songs as well. I have updated now.
Thank you Murali sir for the detail on the lyricist!
BTW, why sorry and all :-) You've actually enriched the thread and not digressed :-)
Looks like VM had some kind of impact on his predecessors.
Absolutely fantabulous write up V_S ..
Simply no words :bow:
You have infused so much of passion in your writing which truly replicates the passion with which the composition has been made ..
Such wonderful writings should be preserved and pls try to store all these in a blog ..
:ty:
V_S - sooperabu!! sooperabu..
VS
Superlative!
All should check out the other thread. V_S in fullestest form. Full bodied vintage Dom Perignon. V_S :clap:, though I've been missing out lots of posts there.
Wow, What a majestic, magical song, !! Highly intoxicating! And equally majestic Gangai Konda Chozha Puram temples. SPB-SJ undisputed amazing combo!! Thank You Raaja sir, what else to say to u ... :bow:
Great write up V_S sir !!! Excellente !
skr,
Thanks a lot. I have no words how to express my sincere thanks. And thanks for your kind concern about presevering my posts. Not given much thought about it, but I think I should save these, as they would serve as good memories, when looked back.
jaiganes,
Thank you a lot for your kind words and wishes. I am overwhelmed by your ever energetic comments and those super imagery posts.
Bala (Karthik),
Thank you sir a lot for your wonderful comments. It's a great honor to me. I enjoy every post of yours including some of your old treasure posts.
grouch,
Thank you sir a lot for your appreciation. Please take your time to read my other posts.
Being an excellent writer yourself, recommending my posts to read, is a great honor. I have no words express my feelings.
Divine22,
Thank you a lot for kind appreciation. Very happy and Elated!
Really I don't have any words to express my feelings, except I get happy tears. It's a great and big family to share our thoughts and proud be among you. Thank you every one for all your appreciation.:notworthy::notworthy::notworthy: All credit to Maestro!
App,
I can't thank you enough for posting this song in other threads too. :notworthy: My sincere thanks and appreciation.
வி.எஸ் : "ஓ வசந்த ராஜா.." பாடலுக்கு சரியானதொரு சமர்ப்பணம் உங்கள் பதிவு. நன்றி.
மிக்க நன்றி venkkiram! Truly overwhelmed by all your wonderful comments!
yw, V_S ji :-)
Since I'm behind by almost a week (not posted a song from Oct 5th onwards), I'll need to double up for a few days and catch up.
Hopefully, it will be a fun ride...
#152 to #166 - continuous run of SPB-SJ duets (15 songs in a row, five hat-tricks :clap:)...let's see what's the next number going to be.
Both SPB-MV duets from pozhudhu vidinjAchchu sound so unfamiliar to me...so rejected.
Actually, the only song that seems to be familiar is the SPS number (mAmA, manmathakkunju :lol:)
#167 ஒரு நாயகன் உதயமாகிறான்
(தாவணிக்கனவுகள், 1984 , ஷைலஜாவுடன்)
Possibly the only movie I've seen in Malleswaram, Bangalore. It was supposedly an "industrial tour" to Bangalore by the ECE students (in the bread shaped college bus that had all kinds of trouble on the way). For whatever reason, the lecturer also included Mysore (we didn't visit any industry there but the palace, Ravivarma art gallery & Brindavan). In Bangalore? Cubban park / Lal Bagh / MG Road / Brigade Road / Commercial Street (all were simply wonderful in 1984). In between all these, we also visited ITI, BEL & ISRO - to make sure that it was really an industrial tour :lol:
I'll have to cover a few interesting things of the tour in the couple of dAvaNi songs that instantly remind me of them. Well, the first one will be for this MGR - sorry KBR - song. (Where Radha was used as kaRivEppilai...the movie also used Bharathi Raja & NT as pachcha miLakAi / vaRa miLaKai - but the final result was a not-so-tasty curry by KBR. Per history, his peak remained as murungakkAi and the slide started with his 3rd movie jOdiying Radhika).
ok, coming back to tour - the first factory we visited was ITI and at that time they were building rotary telephones and electromechanikkal exchanges (full of darr-burr-relays). I was horribly bored during the whole visit as nothing in that factory was exciting :-( The only good thing was their serving lunch to all the students in the huge canteen where 1000's were dining. It was fascinating to note that food costed practically nothing to the workers ( a nominal 10 paise cost I think, those public-sector-only-license-rAj days) but the overall taste was so-so only. Well, that's what I thought when eating the sAmbAr rice and poriyal / aviyal stuff.
As usual, for the finish of lunch, it was curd rice (which tasted like it tastes always). ooRukAi is a must for me for thayir and AhA! Even now, as I remember that ITI lemon pickle, my mouth waters! One of the best ever lemon pickles that I've ever tasted in life was during the visit to ITI in that canteen! :slurp:
Amidst all those roaming around (with standard feed of masAlA dOsA from restaurants on most occasions), we sneaked out to a theater to watch this paridhAbamAna movie :-(
This is the most marvellous thread I have ever read. Thank you gentlemen for keeping this lurker spellbound.
App Engine, i am relishing very much every one of your travelogues. Last month I was wondering if truly 25 yrs had passed since Mounam Ragam came. I am looking forward to your rendering of the late 80s with unrestrained impatience.
There wass an interview with Sathyaraj some years back where he spoke about his role in Nooravathu Naal. He mentioned the various inputs he gave during the making of the movie. That shaved head added to his menace as a villain. It was all in all a thoroughly superb performance.
Nooravathu Naal reminds us of Auto Shankar. But that is another story for another day :)
Welcome to hub, al_gates!
Thank you for reading this thread and your nice comment!
App - Did you write about Kaadhal Dhegangal from Anbulla Malare rendered by SPB & PS? Apologies if posted already. I was listening to this sweet & haunting number today and wondering how it was not talked about in this thread. Maybe not a popular song at that time?
App, what is a bread shaped bus? I can't imagine that one - my powers of imagination are limited. Padam varaindhu baagam kuRikka mudiyumA?
App, nice to hear about your memories from ITI. My grandma had worked at ITI and I've heard from her about the canteen, the items there and the throw-away prices. I've already been feeling very spongy today and your post just adds to the effect (:at self: dai kaipulla, kondrOll)
My college idustrial visit tour was quite similar. We'd gone to Mumbai and Goa! :mrgreen: The only thing industrial about the tour was a visit to a fishery!
Coming to the song, well, its predominantly a template 80s disco song, but the basslines and the folkish passage in the interlude adds the IR touch.
App,
Super post and nice reminiscence of your industrial tour. :clap: Loved all your ITI experience. Always it is a joy to eat in a big group that too with staffs. I remember eating like that when I was doing my final (third) semester post-graduate project at ABB, Baroda. That was a wonderful experience, and surprisingly amazing food too. Definitely brings back college mess memories. :D
Coming to the film, I always love NT's excellent acting throughout (every inch of it) adding to that KBR, Radhika acting skills watched by BR.
It was an old bus (dodge or fargo, don't remember - definitely not my fav Leyland) and there were slight curved endings on top - towards both the front and back . If you're viewing the bus from the side (i.e. looking at the passenger windows in the same way as Vimal views girls in kaLavANi :wink:), it looked like modern bread :lol2:Quote:
Originally Posted by Plum
In other words, the isometric view of the bus looks like this :
http://wednesdaychef.typepad.com/pho...ed/bread_1.jpg
You're right about the sweetness of this song - however, I don't remember hearing this song at all those days. More of a hidden treasure :-)Quote:
Originally Posted by rajkumarc
KV & V_S,
nanRi - nice to know of your industrial visits as well.
I'll have to add a couple more today, from that trip, in the next number...
#168 செங்கமலம் சிரிக்குது சங்கமத்தை நினைக்குது
(தாவணிக்கனவுகள், 1984 , ஜானகியுடன்)
What a goose-pimple raising prelude! And we're returning back to SPB-SJ sweet combo again - how many sweeties in one single year with IR! Amazing 1984! rAsA lets loose his string section, creating sensational stuff for this fast running song. After prelude, my most fav portion is the post-chorus part of the second interlude, delicious! thuLLal Balu in his full steam, singing with his usual precision. Real stunner of a song that hasn't lost its shine even after years with the terrific pair saving their laughter for the end of the song.
dAvani songs remind me of the tour again...possibly I'll write about it in all four posts. The visit to Jalahalli BEL was not a whole day affair and ended at noon. This was much better than ITI at that time - as we got to see some real electronic stuff getting made and some fantastic test equipments. Still, there was a lot of secrecy (defence thingy) / non-access etc, that kind of turned off the spirit. Personally, I was also trying all avenues to meet one Mr Rangarajan who was working there (also known as Sujatha whom I was madly fond of at that time - thanks to pirivOm santhippOm and many other works. Disappointed to know that he was out of station).
Anyways, the visit to ISRO on the same day was a lot more exciting! The tour guide was extremely knowledgeable and explained a lot of things in a pleasant manner - even showing us the satellite testing site! It was fascinating to watch the whole setup which supposedly simulated space-like conditions for testing a Rohini.
I don't remember clearly whether it was the same day or another when me and a classmate walked on brigade road, for the first time, thoroughly mesmerized at the sophistication! Though three years into engg., we were still country boys and were doing the 'pattikkAttAn mittAikkadaiya pAththa mAthiri' stuff. (Those girls walking on the pavement would've thought 'why these guys have such wide eyes' :lol:, we both definitely talked about the 'peNkaL-oor' article that appeared in the kungumam magazine only a little while ago).
Decided to try something other than masAlA dOsai for dinner and entered a Punjabi restaurant - another first time thingy (that place didn't last long, I couldn't find it even in 1986). The funniest part was when the server brought two bowls with hot water and some cut lemon slices around the time we were finishing up.
Never seen such a thing before and totally confused that we didn't order any "lemon juice", we wondered what was that about. There was also lajjai at not knowing such city things and confusion as to "should we drink it or not".
Finally, vetkaththai vittu vittu, we asked the server what it was (after all he was not my uncle). He said 'pingerwAll', thoroughly confusing us further! Finally, he gave us a demo :lol: