Raasathi Unnai - The Timeless Masterpiece

This song is literally a gem in every way. It has such a surreal confluence of folk infused with carnatic classical that makes it mighty special. It's hard to coin this into a specific genre as the template doesn't really give a picture of a genre perse but however the end result makes this composition truly stand out as a certified classic.

There is a legend which gets associated with this song whereby it's beleived that elephants used to assemble outside the theatre at the village of Cumbum in Kerala standing there with their trunks held high as the song was getting played.

Throughout the song one will get to hear lovely strumming at the background beautifully accompanying the vocal chords along with some lilting arpegio passages. The singer Jayachandran has given his heart out in rendering this number and you can feel the full strata of emotions in the vocal undertone.

My favorite part of this vintage number is the Charanam portion which dances along gregariously and connects back to the Pallavi. This incidentally was also the portion which I tried on the veena. Not sure if I was able to do justice but just even attempting to play this timeless masterpiece gives unbridled joy and happiness.

Parama Sundari - Dance Blast!

I am not conversant with most of the recent film songs but this one certainly happens to be an exception. I heard some gloating reviews about this number and realized it indeed was an instant chartbuster the very first time I gave it a listen. It has a contagiously catchy feel to it and keeps growing along as you give it repeated hearings. 

AR Rahman just stepped into his 30th year of film music and the man literally shows in audacious fashion that he is still very much relevant in the music scene. This one's a belter of a rip snorter that makes the listener dance in delight. The elements of desi entwined with funk certainly charms you over leaving one feel mesmerized. 

The song as such is said to be a reflection of the lead character's dreams. Shreya Ghosal does ample justice to the number through her lilting timber capturing the requisite local constituents and elevating the song to a higher pedestal. 

This is a small labour of love to capture the magic that is Parama Sundari. It was fun attempting those opening lines on the bass string which keep chirping in frequently giving an extra pep and zeal. And of course the phrases across the song feel so hard hitting and full of energy. I hope I was able to capture at least a miniscule essence of this gorgeous grand gala composition.

Les Amis - Your truly creamy companion!

Les Amis ticked plenty of boxes in the affirmative and can be termed to be a pretty impressive place with it's assorted collection of desserts especially creamy gelatos as well as selective bakery produce. It gives such a vibrant atmosphere with it's delicately done up aesthetics and seeing the display of ice creams and all the machines churning up the mechanics of creating these creamy creations is quite a sight to behold.

They are built up over two storey's with the ground area stacked up with dessert delicacies along with cozy seating arrangements whereas the top floor has more seating space with comfortable laden cushions along with some of their coffees and savory delights holding forte. It even feels like a place ideal to bring your work around for a wee bit because the atmosphere ignites that feel as well.

We tried some of their creamy creations. The ice creams scoops we had were sicilian pistachio and a dino milo chocolate both of which were sinful and oozing with delight all over. An ice cream cone combo of raspberry sorbet and pink guava was just riveting to say the least. Cold icy taste of the sorbet went jocularly well with the milk based rich taste of guava. We even had a shot at the stroop gelato sandwich which looked appealing with the biscuit layers being stuffed with cotton candy ice cream. They also have these lip smacking popsicles in the form of radical flavors such as rose milk, semiya etc aptly titles condensed milk creamsicles.

The savory side also had loads of interesting stuff worth trying but had to give it a pass since we just consumed a heavy lunch before coming in here to satiate our creamy cravings. They also have host of other sweetened items such as cookies and the like along with a fine variety of shakes and coffees. The service is based on self service model.

Les Amis is translated as Friends in its French avatar and there certainly cannot be an acquaintance better than rich delicious desserts which this place definitely conjures with fine quality. Les Amis infuses all the right vibes and is definitely assured to capture your heart to it's fullest content.

Edhiridai Nakshatra - Planets causing Obstruction

There is an interesting and rare concept called 'Edhiridai' Nakshatra within the parlance of Vedic Astrology. 'Edhiridai' can be translated as opposite/coming in the way/obstruction. One may have heard of 'Stambhana' or 'Vara Chakra' where a planet is said to freeze another planet. For eg. Venus is said to freeze Sun based on the weekday order. Similarly there is also a concept of Vedhaka where one planet is said to obstruct another planet and it's all the more strong when placed in a particular house from the planet concerned. For instance Venus is said to cause Vedhaka or obstruction to Sun and more so when it is said to be placed in the 11th from the Sun. 

Planetary obstruction is quite common but Nakshatra obstruction is an unusual method of analysis where each planet when seated in a Nakshatra, if another planet is seated in a particular Nakshatra from the said planet then it is said to cause an impediment. Let's look at the Planets and list of Nakshatra causing hurdles to understand this concept better.

Sun - Nakshatras 5,7,8,10,12,14,15,18,21,22,23,27 - Total Count 12
Moon - Nakshatras 3,5,7,8,12,18,24 - Total Count 7
Mars - Nakshatras 3,7,10,15,21 - Total Count 5
Mercury - Nakshatras 5,11,21,22 - Total Count 4
Jupiter - Nakshatras 6,7,9 - Total Count 3
Venus - Nakshatras 20,22,24 - Total Count 3
Saturn - Nakshatras 5,6,8,10,11,20,26 - Total Count 7
Rahu - Nakshatras 20,22 - Total Count 2
Ketu - Nakshatras 20,22 - Total Count 2

Illustrating to get a grip on the understanding behind this concept. For instance let's say Sun is placed in the Nakshatra of Vishakha. If any other planet is placed in Nakshatras 5,7,8,10,12,14,15,18,21,22,23,27 from Vishakha, then that planet will cause bottleneck to the Sun. For eg. if Jupiter is placed in Revathi, it happens to be the 12th Nakshatra from Vishakha and hence becomes an obstruction to the Sun. Similarly if Saturn is placed in Shravana which is the 7th Nakshatra from Vishakha then it causes trouble to the Sun. To explain the concept for another planet Venus, if any planet placed in Nakshatras 20,22,24 from the Nakshatra in which Venus is placed, then those planets cause a barrier to Venus. It is important to note that the Nakshatra count is based on the Nakshatra in which a particular planet is placed from the listed planet's Nakshatra and not the regular order such as 1 is for Ashwini, 2 for Bharani, 27 for Revathi etc.

Let's now understand how to use this analysis in a horoscope. This works both from the stand point of Natal horoscope and also on transits/dasas. It also applies both from a Karaka Graha stand point as well as from a Bhava Adipathi view. For eg. lets say for a Gemini Lagna, 10th house Lord is Jupiter and if there is a planet in a Nakshatra placed in Edhiridai to Jupiter ie the 6th, 7th, 9th Nakshatra from where Jupiter is placed in a horoscope it can hamper work prospects for the native. This may hold good in transit as well especially when a functional malefic planet transits the 6th, 7th, 9th Nakshatra from Jupiter's placement, it can cause problems in work environment. Similarly in Dasa Analysis, if the Antar Dasa planet happens to be in Edhiridai to the Maha Dasa planet, it can cause some inconvenience. As another example we know the Karaka for mind is Moon. If any planet is placed in Nakshatras 3,5,7,8,12,18,24 from where Moon is placed, it can cause tension to the mind. Please note this is not to be confused with Tara Bala where generally Nakshatras like 8th, 24th etc are said to be favorable on account of being Mitra, Sadhak Tara respectively.

Also to be noted is that important house lords when obstructed, they get impacted more as opposed to house lords lording negative houses. For instance if the 7th Lord planet is placed in a Nakshatra that obstructs the Lagna Lord, then it can be construed that there can be problems in marital relationship as the 7th Lord of spouse opposes the Native (Lagna Lord). However if the Lagna Lord obstructs the 7th Lord then we can say that the Native is not having interest in marriage related matters. However if a planet is lording the 6th house say, it may not be such a bad thing if opposed as majority of 6th house significations already ends up becoming negative. One more thing of interest is that Sun is the most impacted planet having 12 Nakshatras as Edhiridai, incidentally even in Tithi Shoonya concept Sun owned rasi Leo or Simha is the one bearing the brunt on 5 occasions for Tithi Shoonya.

This in brief is about the concept of Edhiridai Nakshatra. If a planet is placed in specific Nakshatras from where another planet is placed, it will cause obstruction. For eg. say Mercury is placed in Arudra, the 5th star from it is Magha and if there is another planet placed in this Nakshatra will cause trouble to Mercury. Ideally, no planet should be placed in the respective star positions from the specific planet mentioned. For eg if Jupiter is placed in Ashwini, no planet should fall in the 6th, 7th or 9th star from it which is Arudra, Punarvasu & Ashlesha. This technique can be pretty helpful when scrutinizing different facets in horoscope analysis.

                                          P.S: Picture of Nakshatras taken from internet

Bhava, Bhava Adhipathi and Karaka - The 3 Pillars in deconstructing a Horoscope

Many a time, we find that it becomes quite a dicey proposition when we are trying to establish how a particular feature or event will work out while analyzing a horoscope. Sometimes it's the Bhava or House that is keenly looked at but at other times the Bhava Adhipathi or House Lord plays a key role and in certain cases the karaka or significator also has an essential takeaway in the proceedings. Is there any way to know one is more superior than the other in giving the requisite results? Its easier said but let's look at what each of them stands for and dissect their independent roles in bifurcating a horoscope.

Bhava or House: Promise
This essentially tells the PROMISE of an event taking place or not. In fact this should be the out right first step in looking at an event. For illustration, let's say we want to know about marriage and 7th house matters. We first need to look at this house / sign in question to see what kind of planets are occupied and the kind of aspects the house it receives. By analyzing the influence which the house receives through planets placed there in, aspectual tendencies it receives, foreseeing the strength of the house through measures such as Bhava Bal (house strength), Ashtakavarga (house based point system) etc can enable us to understand in decent measure about the promise that a particular house holds.

Bhava Adipathi or House Lord: Facilitator
This plays the role of the FACILITATOR in making sure an event takes place. If the house doesn't promise an event, the house lord cannot do much but within it's limited capability can ensure that something at least can be facilitated. From the example of marriage and 7th house, if the 7th Bhava is completely derailed, we would have to observe if the 7th Lord at least can save face to some extent. One thing which also needs to be remembered here is that the Bhava Adipathi is a planet not house and in most cases owns portfolio of 2 houses in a horoscope. This would be the case for all planets except Sun & Moon which own only one house. Thus Bhava Adipathi can be owner of not only 7th house but also some other even house in the horoscope such as 8th or 10th etc for instance. Thus studying about the house lord as to where it is placed from the house it governs, the planets it conjuncts and the aspects it receives along with understanding the 6th fold Shadbala strength of the planet can go a long way in measuring whether the planet has the capacity to produce the desired results. One should also always keep in mind whether the planet in question happens to be a natural or functional benefic/malefic planet.

Karaka or Significator: Signifier
This is the planet that acts as the main SIGNIFIER for an event taking place. Most units are defined by a particular planet such as for instance children are said to be signified by Jupiter, marriage through Venus, profession via Saturn etc. But one thing to note is that this is common for all and does not take into account the functional nature prevalent in a horoscope. As an illustration, for Jupiter born Ascendants such as Sagittarius / Pisces, Venus happens to be a functional malefic but yet it continues to be the signifier when it comes to an event such as marriage. Though Karaka is important in delving results at a generic level, the Bhava Adipathi or House Lord assumes a more important role as it's designated specifically to rule a particular house or two in the horoscope. Just to understand, if we are talking of events pertaining to children, the 5th Lord may be a different planet say Saturn in the case of say Libra Lagna. Saturn which normally has no relevance to children in the scheme of things plays a vital role in this case because it is assigned the portfolio of governing the 5th house. The actual Karaka Jupiter, though being the natural signifier of children actually has ownership of 2 evil houses here which are the 3rd and the 6th. But looking at things in a different angle, let's say one wants to see the 4th house and we know this house denotes a number of stuff such as mother, vehicles, properties etc. For all these cases 4th lord will end up being the same planet but the Karaka planet is different such as Venus for vehicles, Mars for properties etc and so this given an extra dimension to dissect effects. Thus these things also need to be seen carefully and results have to be blended accordingly.

Illustration:
Just to understand it in an easy abstract fashion, let's presume a Bhava or House to be a Building, Bhava Adipathi or House Lord to be Materials placed within and the Karaka to be an indicative tool. Imagine the building being ravaged having really no scope of refurbishment. In a way this is indicated that a promise is not ready to be fulfilled as the Bhava (house) or source itself is affected. However though the construction is deeply hit, there are still some materials (Bhava Adipathi or House Lord) such as bricks/mortars through which something at least can be worked around to facilitate a solution. Now think of a particular indicative tool (Karaka or Significator) such as a special stone which if available in good condition can be used to work around a specific area of the affected building. This in effect signifies the Karaka.

Conclusion:
Though each of the 3 have a major role to play in delineating an event, the importance should spread first from the Bhava, then the Bhava Adipathi and finally the Karaka. If a promise itself is not suggested, it would be hard for the facilitator or signifier to make it happen. But if the promise is inherently visible, even if the facilitator or signifier is afflicted an event can still take place albeit with some potholes just because the potential is intact. Also between the facilitator and signifier, the former takes a more head on role as he has been designated specifically for a purpose whereas the signifier is more generic and applies for everyone in the same manner. In essence all the 3 are important in their own way and in most cases guarantee of a matter taking place should only be decided after analyzing all three of these areas in complete detail.

                                                             P.S: Picture taken from internet

Foot Tapping Chartbuster - Kadhalikkum Pennin Kaigal

This composition was an absolute rage back in the day. The 90s kids especially eulogized this and it struck such a chord with the trendy youths of heyday. It was also a resounding signal that ARR had well and truly arrived capturing the market with continuous back to back hits. This particular soundtrack Kadhalan was a rip roaring chartbuster covering tracks bespangled across diverse genres.

Kadhalikum Pennin is a number hard to pigeonhole into a particular dimension due to it's varied straddles sprawling imminently out and about. At times it feels like a foot tapping dance number but it also shifts pace to a melodic tonal feel with the irrepressible hums smidgeoned all over. And when you least expect it also goes into a classical mold. The legendary SPB shows his versatility in full vigor both as an actor and also singer bringing in the requisite thrills to this song.

I had a bit of fun trying a shot at this feet sweeper. Tried to capture the opening bass lines in the 3rd string which has a reverberating effect. Also it was lovely attempting the veena bit which seeps out of the blue during the interludes. Don't really know if I've done justice but boy was it a riot even to just attempt this trailblazer of a composition.

Mouna Ragam Trio - Pani Vizhum, Mandram Vandhu & Nilave Vaa

Mouna Ragam is an absolutely special movie and rightfully termed as a cult classic. The soundtrack is bejeweled with studs aplenty with each song showcasing some sort of brilliance or other. Also there is no describable level in which one can pay homage to the re-recording which elevates the scenes to such a meteoric manner.

On the occasion of it hitting 35 years since it's day of release on 15th Aug 1986, I just decided to try a small hand at playing bits of my 3 favorite pieces from this momentous soundtrack namely Pani Vizhum Iravu, Mandram Vandhu and Nila Ve Vaa. These just happen to be little phrases covering mostly the middle and opening portions and just randomly connecting the dots to straddle from one portion to another. It's just my humble attempt to say thank you to the movie, music and memories. Remembering 35 years of the magic that is Mouna Ragam.

India's sterling show at the 2020 Tokyo Olympics

The medal haul in the Tokyo Olympics ranks as the best ever in India's sporting history and has certainly brought immense pride and happiness to sports lovers all over the country. 7 medals overall with a dip of Gold at the fag end made it all the more momentous and something very special to remember for a lifetime. With a little more luck on the side, the tally could have even touched the double digit mark. 

Coming a little back to the period of the Pre-Olympics, things were looking quite somber and withdrawn. First up the really bad news of India's only decorated 2 time Olympic champion Sushil Kumar being put up behind bars setting a bad precedent. On top of that was the fact that many qualifying events didn't even take place due to Covid and hence some of India's medal hopefuls such as Saina Nehwal (bronze medalist at London 2012), Sakshi Malik (bronze medalist in Rio 2016), Dipa Karmakar (the gymnast who came agonizingly close to winning a medal at Rio 2016) didn't even end up participating in these games. This surely set the country back a whole lot considering lack of match practice, expected hopefuls not even qualifying and the plague of the prior Olympics notwithstanding hanging in the balance. 

From there on in to ending up winning 7 medals being a feat never achieved before is totally absolutely stupendous. Hearty congratulations to all the winners Neeraj Chopra (Javelin Gold), Ravi Kumar Dahiya (Wrestling Silver), Mirabai Chanu (Weightlifting Silver), Pusarla Sindhu (Badminton Bronze), Lovlina Borgohain (Boxing Bronze), Bajrang Punia (Wrestling Bronze) and the Indian men's hockey team (Hockey Bronze). Also a huge round of applause to few other giant killers who came oh so close to grabbing glory notably Kamalpreet Kaur (Discus), the Indian women's hockey team and Aditi Ashok (Golf). It's hard to use the word commiserations here as they were literally within a whisker and just an incy wincy bit of luck either way could have swayed them to a medal. 

The immense positives apart, there were a bit of resentments also. Tennis, a sport which India is usually expected to give a fight at least from the doubles/mixed doubles front fizzled out without a trace. Also on shooting and archery where India actually fielded quite a few world rankers didn't really set the ball rolling. 

The excitement and frenzy created by the games were at an awe inspiring level. Perhaps for the first time ever, cricket actually took a back seat paving way for other sports to take over. There was so much interest for sports like Javelin, Discus and even Golf where people hardly know the rules yet wanted to follow and understand simply because of the amazing performances displayed by our stellar sportspersons. Also when you read about the humble backgrounds which most of these Olympians come from it will really make you wonder about the amount of hard work put in and sacrifices undertaken. 

This should also aid as a favorable fillip to parents wanting to enroll their children into the sporting arena. Indian parents usually go delirious when their kids achieve and there is really no field greater than sport to realize one's dream and achieve recognition at a national level. No joy can match the feat of winning laurels for the country and nothing like sport unites the entire nation.

Things are suddenly looking rosy pink after this magnificent Tokyo performance but we shouldn't forget that London 2012 games also was a big boost with India garnering 6 medals and when things were expected to get much better, we sank back big time in Rio. Hence hopefully the lessons are learnt this time and there should never be a state of going back retrograde come the next games in Paris which is now only 3 years away in 2024.

The greatest takeaway personally from these Tokyo Games is that though India is still a long way away from being a sporting powerhouse, our Olympic contingent made the world sit up and take notice through their exemplary performances. Hopefully this is a cue going forward and we should strive to win at least a double digit figure of medals going forward.

Malarendru Mugam Ondru - Yodel along with Rock 'n' Roll

This is your quintessential Rock 'n' Roll in groovy style brought to you by the inimitable musical duo of Vishwanathan - Ramamurthy. It's also perhaps the first of it's kind in this genre in Tamil cinema and the movie Kadhalikka Neramillai happens to be the first ever to be shot in Eastman colour. 

Just the way the flow of the song is structured and the manner in which it waltz away is simply spell binding. The yodeling and La La phrases are of pure gold standard. You cannot but not shake a leg listening to this lurking lavender. 

I always have been wanting to try this especially due to it's eye catching arpeggios and spinning swings which keep gyrating in an up and down cycle with effortless ease. Just happy to attempt a glimpse of the magic this song is gleamed upon in all it's glory. 

The entire soundtrack is loaded with studs aplenty and each track is worth lavishing encomiums. Malarendra Mugam Ondru was rendered by LR Eswari & MS Raju and penned by the incomparable Kaviarasar Kannadasan. An evergreen composition and truly one for the ages.

July Maadham Vandhaal - Get grooving!

This song is just sheer joy. A throwback to ARRs good old early days as a composer where he used to churn out one hit after another along with effortlessly touching upon a multitude of genres. This particular movie Puthiya Mugam didn't fetch the requisite rewards due to being a dampener at the silver screen but the entire soundtrack is curated with exceptionally decorated gems. 

The bits of music that are consecrated across this particular composition is simply pure delight. You just feel like dancing with ecstasy every time the guitar tugs the heart strings with it's superlative phrases. The ample feel good factor is evident across the entire piece.

The song also captures Colombo City in it's mighty glory. My formative years were spent in this beautiful country of Sri Lanka and seeing depictions of Galface, Taj Samudra, BMICH, Independence Square, Buddha Temple etc. bring back fond memories. 

It's the interlude which really blows away in this song with the guitar showcasing it's mastery. The guitar also doubles up as a call & response technique and the riveting interlude portion is an absolute feast. Also not to mention SPB's flawless rendition giving it the much desired zeal. 

I tried attempting a bit of the interlude followed by the charanam and pallavi on the veena. First time trying out the 3rd string to capture the bass element.  Just hope I've been able to capture a miniscule bit of the magic this song is laced upon in all it's vigor.

Running riot - Valai Osai

This song is a riot from the very inception. The way it picks up pace and gathers momentum throughout the course of the composition is something to behold. Though Lata Mangeshkar had sung a couple of songs before this one, it was Valai Osai that imprinted the stamp of her voice in Tamil Language

If one looks at Raaja's ouevre in terms of ragas touched, he would have virtually tried his hands at everything there ever was but if there is one raga that stands out then it's certainly Sindhu Bhairavi. The majority of numbers from a percentage terms composed by the Maestro would include this incomparable raga that is almost like a template design for breathtaking song constructs. 

If ever one feels demotivated, it's a tip to listen to this one as it can pep you up in an instant with it's high octane energy levels. A landmark number in every way with 4 legends Vaalee, Ilaiyaraaja, Lataji and SPB joining in to create a timeless eternal masterpiece. 

Attempted a portion of this song right from the interlude and then latching on to the charanam and clawing back on to the Pallavi. Just hope I've been able to capture a minute essence of this remarkable composition to the best of my ability.

Kaapi Konashtai and Breezy Bass - The magic behind Naguva Nayana/Paniyil Nanaiyum

'Naguva Nayana' is an iconic composition when viewed from the Kannada hinterland. Pallavi Anupallavi was the first movie that ace director Mani Ratnam helmed and this also happens to be the first ever pairing of the famed Mani Ratnam-Ilaiyaraaja duo who combined to produce sensational stunners from around the mid 80s till the early 90s. Almost every song from this combo sparkles with ecstasy and steeped in musical monarch. 

Around the mid 2000s, I heard that there was a Tamil version of this song and remember searching feverishly across erstwhile sites such as cooltoad, sukravathanee.tk, mohankumars etc but to no avail. Then finally I got to source it from a gentleman abroad who procured it once I described about this song and movie. I recall it was such a blissful experience listening to 'Paniyil Nanaiyum Malargal Rendu' for the first time though it was in it's dubbed avatar. 

This song has always remained a perennial favorite and I absolutely love the freshness that this song infuses every time you listen to it. You tend to mirage a verdant lushness to it that feels so invigorating and refreshing. The ebbs & flows of Kaapi ragam is handled so delicately and the way the bass breezes through is simply riveting. 

Just attempted a portion of this magical song. This beauty also happens to be one of my most favorite romantic duets rendered by SPB and Janaki/Chitra (former Kannada and latter Tamil). An evergreen number for the ages!.

The Dazzling Damsel - Azhagu Azhage

This song has been written as an ode to describe the captivating beauty of a women. The same can also be depicted for the song in question as it's in every way as breathtaking as a beautiful damsel. The curvy overtures, the subtle nuances, the alternate notations add such a dignified stance that makes you go all awww and admire the piece in it's full splendor. 

This song is difficult to describe with respect to the raga pattern it follows but it utilizes both the gandharams and dhaivatams in such an elevated manner leaving you go all awestruck. The gentle manner in which the song meanders along makes it feel serene and gives such a soothing effect. Though Andhi Mazhai is the torch bearer song of this movie, there is a certain refined elegance to this one that is sure to make you fall in love with it. 

I just attempted a bit of the veena piece that originates in the middle of the interlude giving way to the Charanam and then back to the Pallavi of Azhage Azhagu Devathai. I hope my minimal strive was able to capture a glimpse of the magic that this composition is gloriously dipped all over with.

June and the Music connection!

June is the month when the International Music Day is celebrated which falls exactly on Jun 21st. It also marks the summer solstice and said to be the longest day of the year. In the Tropical Zodiac the month of June consists of both Gemini & Cancer whereas as per the sidereal zodiac it includes the month of Taurus and Gemini coined locally as 'Vaigasi' and 'Aani'. 

From a constellation perspective the Sun traverses the 3 Nakshatras of Rohini, Mrigashira and Arudra during the month of June. Rohini happens to be the Nakshatra of Lord Krishna and everything associated with beauty comes under the ambit of this star and is there anything more beautiful than music? Mrigashira is said to be a soft & tender star and as per muhurtha it's said to be ideal to start learning any new activity like music on this day. Arudra or 'Tiruvadirai' as it's termed in the South is denoted itself by the symbol Veena, hence music and this star tend to blend really well. 

Apart from all the astronomical gazing, taking a cursory glance of some of the finest musicians many of them incidentally happen to be born in the month of June. Some all time favorite names that pop up include Maestro Ilaiyaraaja, SP Balasubramaniyam, Mellisai Mannar MS Viswanathan, Kavignar Kannadasan, Rahul Dev Burman, Madan Mohan, Paul McCartney, Brian Wilson etc. Though the Music Day was just chosen to be one of the days in the year, the fact that it's in June seems to bear exemplary significance and relevance. 

The song dedicated for this music month happens to be a partnership of two legends who formed an irreplaceable musician cum lyricist duo churning out some of the most memorable hits from the bygone era. And the one who rendered this number has a repertoire of the greatest ever songs to be sung on celluloid running into plenty of '0000 multiples. And all these 3 legends were born in the month of June - Kannadasan (24th June), MSV (24th June) and SPB (4th June). 

Just tried attempting a small portion of this song. The way swaras alternate adds a diminutive touch giving it an extra zep. This jewel is almost half a century old and still lingers on merrily as ever in it's own dashing style. A truly evergreen number from the golden era of Tamizh cinema.

RDB's honey soaked melody - Pyaar Hua Chupke Se

There are certain songs from Hindi Film Music of the bygone era that I've thoroughly enjoyed and taken a liking. Inevitably a majority of those seemed to be composed by Rahul Dev Burman.

He can be considered a trendsetter with his unique retro style chartbusters not to forget some of his softer songs deeply steeped in soul. RDB also revolutionized hip hop and can be said to be a pioneer in Hindi film music raising the bar many a time.

His last movie 1942 A Love Story was brimmed with such mesmeric compositions that each number will make you want to feel in love with it. Within this oeuvre I chose one of my perennial favorites Pyaar Hua Chupke Se.

Wishing a very Happy Solar Return to the trendsetter of Bollywood - Rahul Dev Burman

A Magnum Opus masterpiece - Poo Malaye Thol Serava

I was introduced to a major part of Maestro's music only much into the 2000s and one of the initial compositions that completely blew me bonkers was Poo Malaye Thol Serava from Pagal Nilavu. All sorts of pyrotechnics were happening and it seemed too unreal to be true.

This song taught me the meaning of counter point and how call & response lines should blend so bewitchingly. It feels like a western symphony smothered with a native element and the output created is nothing short of histrionic. 

Have always been awestruck as to how these counter melodies keep going side by side with the harmony uniting to create such a picture perfect unison. This is song construction at such an astounding level. The song IMO can be used as a typical illustration to teach a finance student the effect of how synergies are construed from the various layers at play. 

Today being World Music Day and all, I just tried attempting the prelude, postlude and interlude of this jaw dropping composition. This was difficult for me personally as it's way beyond my scope as the notes gallop and throttle around all over the place. But the sheer joy of attempting is what makes it worth it at the end of the day. #WorldMusicDay

'Kalyani' with a Twist - Sundari Kannal Oru Seyidhi & Nee Oru Kadhal Sangeetham

Whenever Raaja touches the raga scale 'Kalyani', there is an eerily divine human intervention that is so magical and totally transports you to experience an elevated phenomenon that simple feels out of this world. Every stroke of it is seeped in mastery that exudes magnificence. 

The thing with Kalyani songs of Ilaiyaraaja is that they also tend to be experimental at times. Kalyani is a very pure ragam and used to denote auspiciousness especially. It doesn't really offer scope for twitches as it can go woefully wrong when not handled in the right fashion. But that's not applicable to the Maestro at least.

He has used it in it's most pristine form as well as broken the mould to convey various emotions through this mellifluous ragam that harps largely on the Prati Madhyamam (second Ma). The two songs showcased are not refined Kalyani's by any stretch of the imagination but yet the base of the ragam comes out in full furore due to the strong foundation created.

'Sundari Kannal Oru Seidhi' uses an alternative phrase of Ga and changes to 'Kosalam' for a wee bit which is a pretty rare ragam especially from the film songs parlance. 'Nee Oru Kadhal' breaches upon the Hindustani angle and borders on something called 'Shyam Kalyan' which has a robust Kalyani pedestal yet infuses it's own independent flavour. 

Just attempted a little portion of the charanam of these songs that can be christened exceptional experimental 'Kalyanis' with a twist. The music played maybe pretty amateur but the brilliance is certainly unquestionable.

Mundhinam Parthen - Feel good romance

There was a phase in time when Harris Jeyaraj used to churn out chartbusters that seemed instantly appealing and alluringly catchy. 'Mundhinam Parthen' from Varanam Ayiram certainly vetoes onto that esteemed category.

The entire song is breezy and also forms an interesting backdrop as part of the movie when an older Suriya narrates all his shenanigans to a younger Suriya to woo his lady love. The depiction also travels back in time to show a retro culture prevalent and gives a picturesque feel good vibe.

Tried attempting a bit of the interlude followed by the high rising middle portion and back to the sweetened nectar bit of the opening that is Mundhinam Parthen. This number is also pretty nostalgic as it attracts plenty of high school feels. Fall in love and take a trip down memory lane with this scorching love dripped melody 'Mundhinam Parthene'.

Kanmani Anbodu - Undefined, Unfiltered, Unadulterated Love ❤

Certain compositions are pure love and this one gets cobbled, cuddled and coated with g(h)lee aplenty the way it strokes the senses with it's indefatigable melody lines. Such a simple sounding souffle soaked with staunch silver lining solitude igniting all evergreen epic love feels. 

The charanam portion is the one that gets me intrigued every time as the flow suddenly enhances consisting chirpy phrases that strikes the center of the heart chord. These weaving melody lines act like a beautiful passage as it rolls down back to the pallavi in such a scintillating fashion. This is just a mild attempt at this wondrous classic trying at best to capture these saccharine sweetened vintage bits. 

Revel in this rivulet of this reposeful rendezvous that's called Kanmani Anbodu!

Song : Kanmani Anbodu
Movie : Guna (1991)

Usage of Panchanga Elements in Horoscope Analysis

The Panchang plays a pivotal role in delineating a horoscope. It is generally perceived that the elements of the Panchanga viz Vara, Nakshatra, Tithi, Yoga and Karana are used only for the purpose of a muhurta which is to say selecting an auspicious period of time but it's scope in actuality is much beyond that and can also be useful when deciphering the planetary play of events in a horoscope. Let's look at a few clues which the Panchanga provides us while analyzing a horoscope.

Vara : Solar Day Transiting at Birth
It is said that Knowledge of Vara brings Life. A Vara begins from the beginning of sunrise and lasts till the end of the next day of Sunrise. In essence a Vara or Weekday lasts for an approximate period of 24 hours. The Vara is said to denote 'Arogya' which can be deemed to know about the health, vitality and characteristics of a person.

The day in which a person takes birth can tell in brief about the well being of a person. For eg. if a person were born on a Wednesday, then the ruler of the day happens to be Mercury. Through the placement of Mercury we can know somewhat about the health of the native. The strongest houses in a horoscope are usually the kendra houses with 10th being the strongest followed by the 7th, 4th and 1st. Hence the weekday planet placed in a strong kendra could indicate that vitality is strong unless badly afflicted. 

Apart from this, each of the Vara has an obstructer that happens to be the 6th from the weekday lord. For this purpose we also take into account Rahu and Ketu that are factored in after Saturday ruled by Saturn. The 6th planet from the weekday is known to cause Stambana or freeze and ideally this planet should be weaker than the Vara planet when ascertaining the well being of a native. Let us take a look below at the 6th planetary ruler from each weekday.

Sunday - Ruler Sun, Obstructer Venus
Monday - Ruler Moon, Obstructer Saturn
Tuesday - Ruler Mars, Obstructer Rahu
Wednesday - Ruler Mercury, Obstructer Ketu
Thursday - Ruler Jupiter, Obstructer Sun
Friday - Ruler Venus, Obstructer Moon
Saturday - Ruler Saturn, Obstructer Mars

For instance if someone were born on Thursday, then planetary ruler is Jupiter. The obstructer happens to be Sun because we need to count 6 from Thursday which happens to be Thursday->Friday->Saturday->Rahu->Ketu->Sunday. As observed we need to factor Rahu and Ketu after Saturday and before Sunday is counted next again. Hence a person can be born on any of the 7 days from Sunday to Saturday ruled by the 7 planets from Sun to Saturn but the obstructor can be any of the 9 planets including Rahu & Ketu also. Rahu is the obstructer for Tuesday (Mars) and Ketu is the obstructer for Wednesday (Mercury). Ideally the opposing Vara planet need to be weaker than the weekday lord for sound body and health.

Other clues to study about the Vara in the chart is it's combination with the Paksha or period of the Lunar Tithi cycle. The combination of Vara and Paksha results in the controllership of a planet and based on where it's placed in the chart, it is believed to have a longingness to that house in which it's placed in the chart. It is supposed to be a pretty powerful technique and just by this placement, it is known to interpret the lifepath of a native. Let's look at the planets in question based on the 14 different combinations:

Sunday Shukla Paksha - Jupiter
Monday Shukla Paksha - Venus
Tuesday Shukla Paksha - Jupiter
Wednesday Shukla Paksha - Venus
Thursday Shukla Paksha - Mars
Friday Shukla Paksha - Mercury
Saturday Shukla Paksha - Saturn
Sunday Krishna Paksha - Mercury
Monday Krishna Paksha - Saturn
Tuesday Krishna Paksha - Mercury
Wednesday Krishna Paksha - Mars
Thursday Krishna Paksha - Venus
Friday Krishna Paksha - Jupiter
Saturday Krishna Paksha - Saturn

As an illustration, let's say a native was born on a Friday in Shukla Paksha. In such a case, the planetary ruler happens to be Mercury. We need to see the placement of Mercury in the horoscope and it can give a lot of insights based on the house it is placed, the nature of sign, the houses it rules etc. For eg. if this Mercury sits in the 8th and happens to be Lagna Lord it can be inferred that the native is fond of research and his mind will always revolve around searching for the unknown.

Nakshatra : The constellation of Moon transiting at Birth
It is said that Knowledge of Nakshatra removes sins. A Nakshatra rules a space of 13° 20' minutes of the 360° zodiac and hence there are 27 Nakshatras in total. Out of all the Panchanga elements prevailing, it is the Nakshatra which is looked at in vogue. Detailed information pertaining to the Nakshatras have been dealt with separately. The Nakshatra is said to connote 'Arivu' meaning knowledge, skill, intelligence etc.

In general parlance the 2nd, 4th, 6th, 8th and 9th Nakshatras are supposed to be favorable from a Tara Bal (star strength) point of view. The birth Nakshatra is said to infuse plenty of tensions and the 3rd, 5th, 7th all denote inauspicious time periods. However from a birds eye view seeing where the lord of the Moon Nakshatra is placed in a chart can help estimating in which areas the native will look towards knowledge and information. For eg, lets say someone's Moon Nakshatra is placed in Chitra. We know lord of Chitra is Mars and if this Mars is placed in the 7th house, it can indicate most of the focus in learning, knowledge and collation of information will be towards 7th house signification matters.

Tithi : Every 12 degrees of angular distance at which the Moon moves away from the Sun
It is said that Knowledge of Tithi brings prosperity. A Tithi gets formed every time the Moon moves 12° away from the Sun. Hence there are a total of 30 Tithis (360°/12) with 15 forming the brighter half and the remaining 15 drawing up the darker half. The Tithi talks about 'Selvam' which can be expanded to mean wealth, prosperity, enjoyments, pleasures etc.

'Tithi Shoonya' is one concept which is used quite a bit in ascertaining the houses of 'Karma' which has been dispensed in a separate post. It is also said that the 4th, 8th and 14th Tithi from one's Janma Tithi isn't auspicious. Eg. for one born in Sashti Tithi, the Tithis Navami, Trayodashi, Chaturthi is not supposed to be favorable since they rule the 4th, 8th and 14th from Sashti. However the 5th from Birth Tithi is said to be an auspicious Tithi.

Apart from that, the number of houses that the Moon has moved away from the Sun can indicate the areas in which a native derives pleasures or happiness. For eg an individual born in Shukla Paksha Chaturthi Tithi which is the 4th tithi (36 to 48 degrees) of brighter half would show that the Moon has moved 2 houses away from Sun. This means the focus will mostly be on matters relating to family, wealth, speech, accumulation of resources etc. Also it's good to map the Tithi point as an ausicious area in the zodiac and see where it falls from natal Ascendant. Every rasi of 30 degrees will house 2.5 Tithis (12*2.5=30) beginning from Shukla Paksha Pratamai in Aries. As per this all the Shukla Paksha Tithis will get mapped to Rasis from Aries to Virgo and the Krishna Paksha Tithis will be mapped to Rasis from Libra to Pisces. As an example we can say that Shukla Paksha Ashtami Tithi which is the 8th tithi formed between 84 to 96 degrees will be mapped to Gemini & Cancer with the first 6 degrees from 84 to 90 being in Gemini and next 6 degrees from 90 to 96 falling in Cancer.

The Tithi ruling planet also indicates the benevolence of wealth. The rulership lords are bit different as given by the Kerala Prashna Text 'Krishneeyam' as seen below:

Pratipada - Mars
Dwitiya - Venus
Tritiya - Mercury
Chaturthi - Moon
Panchami - Sun
Sasthi - Jupiter
Saptami - Saturn
Ashtami - Rahu
Navami - Mars
Dasami - Venus
Ekadashi - Mercury
Dwadashi - Moon
Triyodashi - Sun
Chaturdashi - Jupiter
Pournami - Saturn 
Ammavasya - Rahu

Based on where the Tithi Lord planet is placed in the chart can also give a good impetus with respect to matters pertaining to prosperity. For someone born in Dasami and Venus being placed in 4th can be inferred that the native derives lot of pleasures from 4th house significations.

Yoga : Sum total of Sun + Moon amounting to 13 degrees 20 minutes each
It is said that Knowledge of Yoga removes immunity from diseases. Yogas also like Nakshatras comprise of a space of 1320' in the sky but is obtained by adding the degree of the Sun and the Moon. Yoga is about 'Niraivu' that tells about completeness, contentment, abundance etc.

The Yoga point in the horoscope happens to be the addition of Suns and Moons degrees. If they exceed 360°, then 360° needs to be reduced from the sum total. For instance if Sun degree is 282 and Moons is 83, adding the two results in 365 degrees from which 360 degrees needs to be subtracted with the end result being 5 that falls in Ashwini Nakshatra 2nd Pada. Now Ashwini Nakshatra happens to be the Yoga point in the horoscope. The 8th Nakshatra from where the yoga point falls happens to be the Yogi Nakshatra and the lord of the Nakshatra is said to be Yogi planet. Similarly the 22nd Nakshatra from where the yoga point falls happens to be the Avayogi Nakshatra and the lord of the said Nakshatra is said to be Avayogi planet. In the above case Pushya and Saturn tend to be the Yogi Nakshatra and Yogi planet whereas Shravana happens to be the Avayogi Nakshatra and Avayogi planet. It can be construed from this that all Saturn Nakshatras are in general said to be favorable and all the Moon stars are said to be unfavorable. It is also ideal if Yogi Nakshatra is in strong Tara Bal from the Janma Nakshatra.

Yogi planet is said to be the prosperity giving planet and Avayogi planet is said to be the prosperity harming planet. Considering all factors, it is preferable if Avayogi falls into a weak house and Yogi is placed in a strong house. There is also a concept of Uba Yogi and Uba Avayogi which is said to boost up the prosperity and hamper the same respectively and this happens to be the 4th planet from the Vimshottari Dasa sequence in forward or reverse motion depending on whether the birth is in Shukla Paksha or Krishna Paksha. Taking same eg. above of Saturn as Yogi planet for a Shukla Paksha birth, the 4th from Saturn based on Vimshottari forward sequence is Venus (Saturn->Mercury->Ketu->Venus) which is the Uba Yogi planet. Likewise the 4th from Moon which is the Avayogi planet in above example happens to be Jupiter (Moon->Mars->Rahu->Jupiter) which is the Uba Avayogi planet. For a Krishna Paksha birth, the Uba Yogi would be Mars (Saturn->Jupiter->Rahu->Mars) and likewise Uba Avayogi will be Ketu (Moon->Sun->Venus->Ketu) as the sequence is considered in reverse order. There is also a saying that the houses from where the Yogi Nakshatra is placed till the position where the Avayogi Nakshatra falls happen to be the bright houses in a horoscope whereas the position from Avayogi Nakshatra placement to the Yogi Nakshatra placement denote the dark houses in a horoscope. Using the 9 planets, the Yogi Triads are said to be good and the Avayogi triads are bad. With same eg. the sequence goes as Saturn->Mercury->Ketu->Venus->Sun->Moon->Mars->Rahu->Jupiter. To explain someone born in Vishkumba Yoga where Saturn is Yogi, the 1-4-7 planetary triad is preferable which is Saturn, Venus and Mars whereas the triads from Moon which is Avayogi viz Moon, Jupiter, Ketu are 3-6-9 aren't auspicious. The remaining Triad of 2-5-8 are neutral. 

Karana : Every 6 degrees of angular distance at which the Moon moves away from the Sun
It is said that Knowledge of Karanas leads to success. A Tithi gets formed every time the Moon moves 12 degrees away from the Sun and half of a Tithi is a Karana which is 6 degrees. Hence there are 60 Karanas in total (360°/6) which are however further categorized into 11 as 7 of the karanas are movable and repeat 8 times in a cycle making up 56 and there are remaining 4 fixed karanas totaling to 60. Karana is all about 'Muyarchi' that highlights on areas like trying, efforts, perseverance etc.

The Karana ruling planet is the karya siddhi which denotes tasks being completed. Hence the Karana ruling planet has a major role to play as it is the one drawing upon one's karma and hence it's best if it is unafflicted in the chart. The Karana ruling planets are as stated below:

Bava - Mars
Balava - Rahu
Kaulava - Saturn
Taitula - Venus
Garaja - Moon
Vanija - Sun
Vishti - Ketu
Shakuni - Saturn
Chatushpada - Jupiter
Nagava - Rahu
Kimstugna - Mercury

The first seven of the karanas are movable and keep repeating whereas the last 4 are fixed in nature. Based on where the Karana Lord is placed in horoscope, matters relating to one's efforts, professional acumen can be dwelled upon. The Karana point will be similar to the Tithi point as Karana is essentially deduced from the Tithi. It is also said that the 3rd, 8th and 11th Karana from one's Janma Karana isn't auspicious.

Summary of Panchang in Horoscope:
Summarizing below key points to be kept in view while doing Panchanga Analysis in a horoscope

Vara:
- Know the planetary ruling planet of Vara (for eg. Vara ruler of Tuesday is Mars)
- Map the Vara point in the zodiac (See which Nakshatra and house Mars is placed in the horoscope)
- Be cognizant that the 6th planet from the Vara Lord is an obstructer (In this case Rahu is obstructer for those born on Tuesday)
- Understand the life path of native from Vara Paksha (for eg. born on Monday Krishna Paksha, Saturn is the planet governing the life path of the native)

Nakshatra:
- Know the planetary ruling planet of Nakshatra (for eg. Swati ruler is Rahu)
- Map the same in the zodiac (See which Nakshatra and house Rahu is placed in the horoscope)
- Map the Nakshatra point in the zodiac (This is the positional degree of the Moon in the horoscope)
- Be cognizant that the 3rd, 5th, 7th from Birth Nakshatra are inauspicious as per Tara Balan

Tithi:
- Know the ruling planet of Tithi (for eg. Ekadashi ruler is Mercury)
- Map the same in the zodiac (See which Nakshatra and house Mercury is placed in the horoscope)
- Map the Tithi point in the zodiac (for eg. Shukla Paksha Ekadashi will fall in Leo and Krishna Paksha Ekadashi will fall in Aquarius)
- Also find out how many houses the Moon has moved away from the Sun in the horoscope
- Be cognizant that the 4th, 8th, 14th Tithi from Birth Tithi are inauspicious

Yoga:
- Know the ruling planet of Yogi and Avayogi (for eg. Vishkumba yoga born Yogi Saturn Avayogi Moon) 
- Map the same in the zodiac (See which Nakshatra and house Saturn and Moon is placed in the horoscope)
- Map the Yoga point in the zodiac (for eg. Vishkumba Yoga will fall in Ashwini Nakshatra in Aries Rasi)
Be cognizant that the 6th planet from Yogi planet is inauspicious (6th planet from Yogi Saturn is Moon)

Karana:
- Know the ruling planet of Karana (for eg. Garaja ruler is Moon)
- Map the same in the zodiac (See which Nakshatra and house Moon is placed in the horoscope)
- Map the Karana point in the zodiac (this will be same point as that of Tithi since Karana is derived)
- Be cognizant that the 3rd, 8th, 11th Karana from Birth Karana are inauspicious

Difference of Opinions in Astrology!

One problem which Astrology as a science suffers is the lack of uniformity. Apart from that, another area of concern is the difference of opinions creeping up which causes a difference in the way a particular horoscope is viewed. These variations are especially prominent between the Northern and Southern parts of India especially. Let's look at a few areas in which various view points exist.

- Birth Star of Planets:
There is a branch of Astrology called DNA Astrology which places a lot of emphasis on the birth star of planets and this information is effectively obtained from a text called "Vichitra Jothidam". But there are also old Bengali texts mentioning about the constellations in which the 9 planets took birth and there appears to be some difference as seen below:

As per Vichitra Jothidam (followed in South):
Sun - Hastha
Moon - Mrigaseera
Mars - Uthara Ashada
Mercury - Dhanishta
Jupiter - Pushya
Venus - Magha
Saturn - Revathi
Rahu - Bharani
Ketu - Ashlesha

As per old Bengali Texts:
Sun - Vishakha & Anuradha
Moon - Krithika & Rohini
Mars - Poorva Ashada & Uthara Ashada
Mercury - Shravana & Dhanishta
Jupiter - Poorva Phalguni & Uthara Phalguni
Venus - Magha
Saturn - Revathi
Rahu - Bharani
Ketu - Ashlesha

Additionally Brahmanda Purana and Vayu Purana has it's own take on the birth stars of planets and the list as per it tallies mostly with Bengali texts with the exception of Venus. However just one birth star is been listed here like Vichitra Jothidam unlike olden bengali texts which provides information that some of the planets were born out of 2 constellations.
Birth stars as per Brahmanda Purana / Vayu Purana:
Sun - Vishakha
Moon - Krithika
Mars - Poorva Ashada
Mercury - Dhanishta
Jupiter - Poorva Phalguni
Venus - Pushya
Saturn - Revathi
Rahu - Bharani (Rohini as per Vayu Purana)
Ketu - Ashlesha (Rohini as per Vayu Purana)

From viewing the above results, these seems to be a consistency maintained only with respect to Saturn, Rahu and Ketu. There is a mismatch especially with respect to Sun, Moon and Jupiter. For Mars, Venus and Mercury again the results don't blend perfectly when seen from all parameters.

- Special Navatara Chakra Scheme:
The Navatara Chakra or the Moon's asterisms play an important role in analysing which constellation plays a favorable role in the life of a native. Though there is no confusion of the Navatara as the name connotes 9 constellations but the total number is considered as 27 in some cases and also 28 in other cases. In South India for instance it's always only 27 stars whereas in pockets of Northern India, the factoring of Abhijit is made making the total as 28 stars. The difference creates an issue in the end result for eg the star which ends up coming as Vainasika pertains to destruction. Now let's say for a native who is born in Punarvasu Nakshatra, the 22nd Nakshatra from it namely Ashwini happens to be the star of destruction as per the 27 tara scheme. However when adopting the special 28 tara method, the Vainasika star changes to Bharani as the 23rd Nakshatra is considered in this case. This results in an altercation in analysis.

- Maraka Lords:
Maragathipathi or Maraka refers to the house lord that can cause a killing effect to the native. In general parlance and as advocated by most texts, the 2nd and 7th lord always end up being the Maraka Lords. However there is another opinion practiced in South which advocates the Maraka Lords based on the nature of the sign depending on whether it is movable, fixed or dual. The lordships associated as Maraka as per this means is as mentioned below:
Movable Sign - 2nd & 7th are Maraka Lords
Fixed Sign - 3rd & 8th are Maraka Lords
Dual Sign - 7th & 11th are Maraka Lords

- Panchanga Lords:
Here again there exists a difference of opinion. With respect to 3 of the elements viz Vara, Nakshatra & Yoga there isn't much headroom though of course there is always a question mark with respect to whether the Nakshatras need to always be as per the Vimshottari Dasa scheme or not. However on Tithi and Karana there is a difference. For eg. in South and backed up by the Kerala Text ''Krishneeyam'',  Sasthi Tithi is ruled by planet Jupiter whereas in the Northern frontier Venus is considered as ruler of Sasthi. Most Tithis undergo a change in the ruler ship lord and similar is the case with Karana. For instance Kaulava Karana is said to be ruled by Saturn in Southern folklore whereas in the Northern regions, it is said to be ruled by Mars.

- Arudha Padas:
Arudha Pada or Bhaveshat Bhavam is largely a Jaimini concept where we calculate the efficacy of a house based on the distance it has moved from it's ownership sign. For instance Arudha Lagna or AL for a Gemini Lagna whose sign owner is Mercury if placed in 8th sign in Capricorn will end up being Leo as we need to move 8 signs from Capricorn to reflect the Arudha Pada. There are some exceptions to this rule which states that Arudha cannot be the same sign as house lord or 7th from it in which case we need to add a further 10 signs to arrive at the result. This exception based rule is mainly followed in certain sections but however these exceptions are also discarded in some traditions with just the resultant Arudha sign taken into account irrespective of it being the same or 7th from it.

- Chara Karaka Basis:
This again is largely a Jaimini concept where significators are listed based on the degrees traversed in a sign by a planet. There is however an unending debate whether 7 planets from Sun to Saturn or an additional 8th planet Rahu also should be included in the framework. The opinions are so widespread on this that most of the times there is a possibility of ending up having the wrong Amatyakaraka or Darakaraka as the case maybe.

- Aspects and Ownership of Rahu/Ketu:
This can safely be assumed that as never going to be solved. There is always a lingering question mark when it comes to these two chaya Grahas and the opinions are always at a juggernaut. Though there is a general view point that Rahu & Ketu both don't possess any aspect, there is a mixed say with respect to the aspects considered in North and South India. In the North, Rahu & Ketu are believed to possess 5,7,9 aspect akin to Jupiter whereas almost everywhere in the South, if indeed aspects are considered only 3,7,11 are taken into account. With regard to ownership, there is a general view that Rahu owns Aquarius and Ketu co-lords Scorpio but this theory does not find much footing in the South where it is largely considered as not owning any houses of it's own in the zodiac.

- Numerology of Planets
Though this is not something explicitly related to Vedic Astrology, there is a linkage of numbers with each planet ruling a specific number from 1 to 9. Here again there is a difference with respect to some of the numbers based on which planet rules them. There is a Nakshatra specialization text called 'Kumaraswamiyam' which mentions the numbers ruled by each of the planets which is different from the norm and adopts the Vimshottari Dasa order beginning from Sun.

Number ruled by Planets (Common System):
1 - Sun
2 - Moon
3 - Jupiter
4 - Rahu
5 - Mercury
6 - Venus
7 - Ketu
8 - Saturn
9 - Mars

Numbers ruled by Planets (As per Kumaraswamiyam following Vimshottari Dasa Sequence):
1 - Sun
2 - Moon
3 - Mars
4 - Rahu
5 - Jupiter
6 - Saturn
7 - Mercury
8 - Ketu
9 - Venus

As you can see above, only numbers 1,2,4 align properly in both systems and there is quite a marked difference when it comes to the other numbers ruled by the planets. Mercury for instance lords #5 as per the common system but is controller of #7 when adopting the other. Likewise Venus undergoes a change moving from 6 to 9 and so do few other planets as well.

Conclusion:
These are some of the major differences of opinions that exist in the framework of a horoscope analysis. With such varied views prevalent, there can always be a question of debate arising and also toppling up the analysis with diverse variations brought into the fray. Further research coupled with intuition is perhaps the only means to bridge the gap to a certain measurable extent.

Problems Aplenty with respect to Uniformity in Astrology!

Astrology is a divine science. However one major drawback that it suffers is a lack of common standard and there is no uniformity when it comes to a number of factors. Listed below are some perennial problems or ever prevailing confusions with regard to astrology which don't perhaps look like getting resolved in the near future.

1) Lack of correct Ayanamsa:
Ayanamsa is defined as the angular distance between vedic first point and vernal equinox. The sidereal ecliptic of a celestial body is less than the tropical ecliptic longitude. But there was a point in time when the sidereal zodiac and tropical zodiac coincided which is taken as the starting point. Different years are taken in contention viz Lahiri (285 AD), Krishnamurthy (291 AD), Raman (397 AD), Yuktheshwar (499 AD), Vakya Siddhantha (522 AD) etc. The different Ayanamsa used results in different degrees of placements of planets causing trouble in reading horoscopes. For eg say Mercury is in 29 degrees 30 mins as per Lahiri Ayanamsa in Aries, but applying Raman Ayanamsa Mercury will end up being at 0 degrees 56 mins in Taurus.
Different Ayanamsas:
- Lahiri Chitra Paksha Ayanamsa
- Krishnamurthy Ayanamsa
- BV Raman Ayanamsa
- Yuktheshwar Ayanamsa
- Pushya Paksha Ayanamsa
- Fagan Ayanamsa
- Others (totally about 50 odd present)

2) No consensus on accurate birth time:
Sometimes natives don't have a birth time at all but even those who have it there are multiple reasons as to why it may not be correct. There are still views going on about whether birth time should be recorded as time of first breath, time of first cry, time of touching the earth, cutting of umbilical cord, time of break of placenta etc. Incorrect birth time can cause predictions to go awry.
Different Time of Births:
- Time of first breath
- Time of first cry
- Time of touching earth
- Time of cutting umbilical cord
- Time of break of placenta
- Others - time of forehead appearing, body part visible etc

3) Dasa Year Computation:
The Vimshottari Dasa system calculated based on Moon's longitude is a specific feature available in Vedic Astrology and most of the timing of events of life are matched with the running Dasa and sub periods. But there isn't a standard solution as to whether a Dasa year should be a solar year (365 point days) or a Savana Year (360 days) or based on a Lunar year (354 point days).
Different Dasa Years Used (Without decimals):
- Solar Year 365 days
- Savana Year 360 days
- Lunar Year 354 days

4) House Counting System:
Houses are of prominent importance when deciphering a chart. Which house planets are placed can give a very good insight about your course of life. But here too there are diverse views whether ascendant should start from where rasi starts which is whole sign, whether ascendant degree should be mid of first house or ascendant degree should indicate start of first house. Whole sign ascendant illustration: Ascendant Aries 29 degrees, Venus 2 degrees in Taurus and Mercury 27 degree in Aries. Venus will be counted as second house and Mercury as 1st house. Ascendant is middle of first house Illustration: Ascendant Aries 27 degrees, Venus 4 degrees Taurus and Mercury 10 degrees Aries. Here Venus will be counted as first house and Mercury as twelfth house. First house spans from 12 degree Aries to 12 degree Taurus and 27 degrees is mid point. Ascendant is start of first house Illustration: Ascendant Taurus 6 degrees, Venus 3 degrees Taurus and Mercury 1 degree Taurus. Both Venus and Mercury will be counted as 12th house. First house will roughly span from 6 degrees Taurus to 6 degrees Gemini.
Different House Systems:
- Whole sign Ascendant
- Ascendant should be middle of first house
- Ascendant should be start of first house

5) Aspects and Significator Usage:
There are some lingering confusions as to how much of aspect is really valid. Certain planets are said to have full and partial aspects. Also whether they influence a whole sign or just an extent of the house is also a point to ponder. And coming to the mysterious planets Rahu and Ketu, there are still doubts plaguing as to whether they aspect or not and even if they do tend to aspect, opinions are divided on which kind of aspects they possess. The significator or the karaka's role is also perceived differently as per various branches of astrology. For eg Mars is husband for females in one system whereas its Jupiter in another system. In some cases it is both Venus or both Jupiter.

Hence, with these kind of lurking issues prevalent in astrology it's safe to say predictions can never be cent percent accurate. There will always be a sense of vulnerability and the astrologer needs to consider a number of these factors before giving predictions. Being in the age of Kali Yuga, I doubt there will be a sure shot solution to any of the points and there are always going to be multiple views with or without logical reasoning as to which is correct. Perhaps these limitations are one reason as to why the field of occult is the way it actually is - extremely mysterious and always providing a scope for research and unraveling hidden treasures :).