ILaiyaraaja-The Immaculate Musician..

The Lady quarrels with her beloved. He leaves the town after trying in vain to make peace with her. Only when he is away does she realise how much she loves him and most importantly how much he loves her. She decides to go to him but her ego comes in her way. Stealthily, she sends her parrot. No..she does not use it as an ambassador.Nor does she want the parrot to convey anything to him.

Then why does she send it?

This is where one sees the beauty of that great poet called Kamban.

Before that, let me tell you that this poem appears towards the end of Bala Kaandam in Kamba RamayaNam just before the Sita-Rama wedding. A lot of people travel from Ayodhya to Mythila to be part of the grand function.It is here that one sees Kamban, the Romantic. His poetic imagination runs riot as he creates a lot of fictitious characters and narrates their ‘stories’.One gets to see the various dimension of Love in these poems.

Let us now go back to the ‘story’ quoted in the beginning.
The Heroine sends her parrot so that she can see him and still pretend that she went there only to search for her parrot and not for him!

Human psychology at its best!!

யாழொக்கும் சொற்பொன்னனையாள் ஓர் இகல்மன்னன்
தாழத் தாழாள்;தாழ்ந்த மனத்தாள் தளர்கின்றாள்;
ஆழத் துள்ளும் கள்ளம் நினைப்பாள்;அவன் நின்ற‌
சூழற்கே தன் கிள்ளையை ஏவித் தொடர்வாளும்.

..I had already discussed about Kamban-The Psychologist in one of my earlier posts(ILaiyaraaja-The Distinct Musician).But what makes reading the work of this psychologist interesting is the use of his words and his narrative skills.

It seems her words are as musical as the ‘Yaazh’(an ancient instrument somewhat similar to the VeeNa). She refuses to budge when her ‘Strong Hero’ pleads with her.Here, note the contrasts- ‘Strong’ and ‘Bending’.And the same word with a slight variation-‘Thaazha’- being used to depict her mood when he is away. The third line is a stunner. ’Aazha thullum kallam’- Her cleverness/slyness(scheming to send her parrot and making it a ruse to see him- dances deep inside her heart. What a description!

This is what makes a poem and the poet immaculate.

Let us now look at the immaculate music and the musician.

The song of the day is another marvel from the Master.
Here too, the Lady love tries to woo her beloved using music and dance as tools.

The song is ‘Manmada RaagangaLe’ from Bala Naagamma (1981).
It is a Ragamaalika but what makes the composition immaculate is the choice of the ragas. The Pallavi, the first interlude and the first CharaNam are in PantuvaraLi.

PantuvaraLi (called as Kamavardhini in the melakarta system) is the 51st melakarta and is the pratimadhyama counterpart of Mayamalavagowla. But the two ragas sound different from each other because of the way they are sung and the gamakas.

Its structure is sa ri1 ga3 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga3 ri1 sa.

PantuvaraLi is a very classical raga and generally gives a Bhakti feel.

But the Maestro has used it in different situations(pathos- Vazhimel Vizhiyai, romance-Rojavai thaalattum, bhakti- Om Shiva Om) bringing out the unknown dimensions of the raga.

‘Manmada RaagangaLe’ brings out yet another dimension.

Let us have a look at the composition.

It starts with the tampoora that creates a beautiful ambience. The sympathetic chords of a string instrument draw a sleek silhouette of the raga. The pakhawaj zestfully plays the Tisram beats.The sympathetic chords join the pakhawaj.The Jalatarangam plays with relish.

We then see the varied texture of the raga as the percussion, VeeNa and the violins join.The mellow flute plays the avarohanam swaras in sets of 3.The Veena starts with the ArohaNam and then playfully plays the other swaras with impeccable precision.The Bass string of the VeeNa gives an esoteric touch saying ‘Om’ as the marvelously supple voice of VaNi Jayaram sings the akaara.

A piquant Prelude!

The Pallavi is lucid. If the first part is elegant, the second part moves with verve and vigour.

The first interlude delves into the facets of the Raga with the sizzling Flute, the meticulously gliding VeeNa and the enlivening Jalatarangam giving a chiseled musical motif.

Aesthetic patterns are woven in the first CharaNam. The first two lines give a vibrant hue while the following lines lit up a quiet niche.

The second interlude is inundated with rich, imaginative, innovative ideas.

It starts with a ‘flutter’ (symbolizing the Heart!) followed by the Flute and the stringed instrument. The harmony between the instruments assumes a mantle of mirth as they sway in resonance.The Raga now changes to Mohanam with the vivacious Violins and the enchanting Flute taking swirls and flights.

What happens now is what makes him the Emperor of Film Music.

A musical piece in Violin moves with unfettered imagination. The piece has sa ri2 ga2 pa dha2 ni2 –Shivaranjani plus ‘ni’- and as per the ‘Sangeeta Raga Kadal’, this raga is called as ‘Madhima VaraLi’, a raga derived from Karaharapriya and a raga not used by any musician so far!

The group of violins and the VeeNa accompanied by the ghatam move languorously lending both majesty and poise.

More surprise awaits us as the raga changes again, this time to Vasanta with the Flute providing soulful touches.

We see an organic progression in the second CharaNam that continues in Vasanta.

The first two melody-steeped lines are followed by lines that have classical fervour and flavour.

The lines ‘Mazhai mugil..’and ‘Nilavenum..’ have spectacular passages with the energetic percussion jumping with joy.

The following line ‘Paruvameni..’ has 4 Tisram counts in vocal followed by 4 counts by the percussion and the violins.

The ‘nadai’(gait) changes in the next line- ‘Sevvari..’with the percussion playing ‘ta ki ta’in ‘Keezh kaalam’(slow) while in the following line the percussion plays in the ‘Mel Kaalam’(fast). Very subtle variation but shows the mastery of the composer aesthetically!

The last line meanders meaningfully with the creative flourishes structured around wonderful permutations.

It is a musical conversation between the rhythm and the melody..

All his tunes are ‘Manmada Raagas’ that make us fall in love(with his music)..

அவர் இசைக்கும் ராகங்கள் எல்லாமே நம்மைக் காதல்வயப்படுத்தும் மன்மத ராகங்கள்.

ILaiyaraaja-The Distinct Musician..

It is the City of Mythila.

Seeta is unable to take her mind off Rama. Their eyes had met just the previous day and they had fallen for each other instantaneously. Rama is about to break the bow in the main palace. But Seeta -quite unaware of the happenings in the palace – is restless. Her mind is clouded by only one thing-rather only one person.

She waits..hoping against hope that the ‘handsome man’ would certainly win her hands.

Waiting is painful.

We feel it more we expect certain things to happen..
We feel it more when we know we are in no position to control what we expect..
We feel it more when we doubt what we know..

And this happens to all of us irrespective of who we are, what we are and where we are.

But beyond this pain, there is beauty.

Kamban captures this beautiful pain.

He says,

“With her ‘life’ swinging here and there, she leaves the melting flower bed, goes towards a Lotus pond and sits on the flower bed made of ‘Chandrakantha’ stone”.

ஊசலாடு உயிரினோடும், உருகுபூம்பள்ளி நீங்கிப்
பாசிழை மகளிர் சூழப்போய், ஒரு பளிங்குமாடக்
காசில்தாமரையின் பொய்கைச் சந்திர காந்தம் ஈன்ற‌
சீதநீர் தெளித்த மென்பூஞ் சேக்கையை அரிதிற்ச் சேர்ந்தாள்.

She then looks at the Lotus flowers and says,’Oh..Lotus Flowers..I know you like this girl.I see the colour of his body (green) through your leaves and his eyes in you (lotus-eyes).I am happy and my worry has disappeared..but only temporarily.You have not shown me his ‘inner colour’(mind).Therefore, you are all misers..’

'பெண்ணின் உற்ற' தென்னும் பெருமையால்,அருமையான‌
வண்ணமும் இலைகளாலே காட்டலால் வாட்டம் தீர்ந்தேன்!
தண்ணறுங் கமலங்காள்!என் தளிர்நிறம் உண்ட கண்ணன்
உண்ணிறங் காட்டி,நீர் என் உயிர்தர உலோவினீரே!

Look how beautifully Kamban describes a girl with a restless mind. It is not just the description of the girl but rather he goes deep into her mind and brings out the feelings wonderfully.

What do we do when we are restless? Change places? And don’t we not feel the heat? And don’t the things we see that time remind us of the person we are thinking about?And don’t we also praise and then curse the things we see that time?

Here, Seeta shifts places-from a Hot Bed to a Cool Bed. She looks at Lotus and is reminded instantly of Rama. But she still doubts if he too is in love with her. Therefore, she starts cursing the flowers..

Psychoanalysis?

But History says Sigmund Freud was born in the 19th century while Kamban was born in the 9th century.

And look how beautifully everything is described..

Maybe one could call this as ‘Poetic psychoanalysis’.

At the same time, one is also awestruck by the poetic beauty!

This is what makes Kamban a distinct poet..
Getting into the skin of the character (or is it the mind?) and describe things aesthetically.

If Kamban did this poetically, ILaiyaraaja does this musically.

He understands the situation as narrated by the Director grasps it in few seconds and composes in few minutes.
One is able to understand the character (in the movie) just by listening to his music.

Like Kamban’s poetry, we are also mesmerized by the beauty of the composition.
If Kamban is a distinct poet, ILaiyaraaja is a distinct musician!

Today, let us see yet another composition of his.

The composition is ‘PalliyaRaikkuL..’ from Bala Nagamma(1981).

The entire song is visualized by the villain.That is it is his imagination.


The Villain-a magician- takes the heroine as his captive and wants her to be his ‘wife’ while she is unrelenting.She is also protected by the Goddess of Snakes.The Villain in a kind of drunken state goes to sleep and the heroine comes in his dreams and sings.

The Maestro’s brilliance is shown (yet again) here.

The composition is erotic but at the same time we do not feel the Heroine’s passion (unlike say a song like ‘En degam’ or ‘Nila Kayudhu’).

The rather unusual and different prelude itself speaks volumes. Let us see this a little later.

The composition is based on Vakulabharanam.

Vakulabharanam is the 14th melakartha and its structure is

sa ri1 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri1 sa.

The meaning of Vakulabharanam is- ‘decorated with the Vakula flower’.
Vakulam is the name of a flower also called as ‘magizhampoo’ in tamizh. This flower is known for its special fragrance.

This Raga is also unique and is very fragrant.
It has an intrinsic Arabic quality and flavour.

Let us look at the composition.

As I said, the prelude is very different.

The guitar strums.The Trumpet tweets. Suddenly ,we are reeled in by the violin. Unexpected Vistas..Musical glissades!
Pure Spanish music in full flow.

The sounds coalesce and we see the grandeur of the raga.

The Pallavi starts with the succulent tone of Uma Ramanan.

The first line is luminous with the dense bass guitar following it very closely. The second and the third lines-‘Ennai Vida innoruththi yen’ and ‘Ennidaththil aththanaiyum thaen’- give delightful sketches while the ending-‘En Rassa’ and ‘Poovo Ponno Yaaro Naano’ is gripping.

The first interlude has a delectable layout.

The Bass Guitar twinges and there is a beautiful pause. The percussion continues with gusto. The Bass Guitar now cruises easily and is joined by a host of Arabic instruments. The pattern of the beats change now -with stress on the first and the third beat. It is lucid and cohesive with the Bass Flute galvanizing us.

The CharaNam brims with beauteous phrases.

The gait becomes slow as if they are under a spell (remember..the villain is a magician).
The first line is mesmerizing and is encrusted with the Arabic instrument.
The second line is fluid.

The gait changes again in the following lines as they wend and bend.

The second interlude is like an intertwined garland.

The Guitar starts with a flourish.

It is elastic.

It is profound.

We see the glowing threads.It depicts the vast spectrum of moods.

The mellifluous Arabian instruments then take over carefully guiding the guitar.

The third interlude is meticulously arranged with beguiling layers of rhythmic patterns.

The beats of the Melody-Rhythm ensemble are:

1. Ta - - Ta - - Ta - - - Ta – Ta - -
that is only the 1st, 4th, 7th,11th and the 13th beats are played.

This pattern continues 5 times with the strings in the background..

We hear only the tuned percussion in the following patterns:

2.Only the even beats are played now: - ka – ka – ka - ka

3.The next pattern is : Ta – Ta - (12 times-played twice)followed by ta ka ta ka dhi mi ta ka twice in ‘mel kaalam’ (faster mode).

The first part (ta ka) is played in ‘Usi’ that is only the odd beats (ka) are played.

This pattern is played twice.

Note that the previous pattern (2.) has only the even beats while the next one has only the odd beats.

4. The next pattern is ta ka dhi mi four times with only the ‘ta’ and ‘dhi’ played in the fourth time(twice).

5.Fourth pattern –ta ka dhi mi ta – dhi mi (4 times)

6.The last pattern-ta ka dhi mi (4 times) followed by ta - - -.

It unravels the wonders of the raga and the tala beautifully..

It captures the entire gamut of human emotions..

It takes us to an ethereal world..

Now, who is the real magician?

உன் இசை அத்தனையும் தேன்..

Your music is full of honey..

ILaiyaraaja-Musician par Excellence!

‘Love my enemy Oh!
‘Love my enemy.’

Sounds odd?
Strange??

These are the words of the great Subramania Bharati.

Addressing this to his mind, he goes on to say ‘Don’t we see the shining flame amidst the darkening flame? The Lord lives in all the souls.. yes in my enemy’s soul as well..?’

பகைவனுக்கருள்வாய் நன்னெஞ்சே!
பகைவனுக்கருள்வாய்!

புகை நடுவினில் தீயிருப்பதை பூமியிற் கண்டோமே
நன்னெஞ்சே பூமியிற் கண்டோமே!
பகை நடுவினில் அன்புருவான நம் பரமன் வாழ்கின்றான் நன்னெஞ்சே
பரமன் வாழ்கின்றான்!


Now, how many of us can even think on such lines leave alone write a poem?

There are lots of philosophical overtones in the poem but the simple thing that strikes me is the nature of the mind.

After all, there is only one mind. And we get positive and negative thoughts from the same mind.

Duality?

Are we the mind? Or is mind different from us?


Anyway, without getting too philosophical, let us all accept the fact that there is positive in negative and negative in positive!

Going back to the ‘enemy factor’, it will surprise some of you if I say that in Carnatic Music too there is something called ‘enemy’.

No.. I am not talking about people who smirk and frown on just hearing the word classical/carnatic Music.

I am talking about what are called as the Vivadi Swaras.

There are 12 swaras in all-two variants of ri,ga ma,dha,ni with sa and pa having no variants.

These 12 swaras or notes are part of any Music.

Each swara has its own position-called as swarasthana-and has its own shruti value.

Though the Mela system of ragas was first invented in 1550 by Raamamaatya,it was Venkatamakhi who revolutionized the system by introducing a new concept in the 17th century.

He introduced a third variant of ‘ri’,’ga,’dha’‘ni’.

This third variant is called the vivadi swara.
Vivadi means dissonance-as opposed to Vadi/Samvadi.

Why is it dissonant and why was it introduced?

It is dissonant because it is very close to the other swara in terms of the Shruti value thereby producing a rather different sound.

Now using all these three variants, Venkatamakhi propounded the 72 Raga Melakartha system.

Vivadi was introduced to make the already beautiful Music more beautiful and more systematic.

‘Make the enemy your friend by loving him..’

Bharthiyar and Venkatamakhi-Can we miss the similarity?

I cannot think of any other form of music that is as systematized as Carnatic Music.

Though in the Hindustani system, it is common to use the two variants of a particular swara in some(many) ragas, the Shruthi value does not change and therefore they are not vivadi swaras.

The 72 Ragas are divided into 12 groups-called as Chakras-each group consisting of 6 ragas.

Out of these, 40 are Vivadi Ragas(majority in the assembly!)

Let us also understand that the third variant of the 4 swaras is not new. It is already existing in some other name but with a reduced Shruti value.

Just to quote an example, in the first Melakartha, Kanakangi(Raga of ‘Mogam Ennum’..) the first ‘ri’ is followed by the second ‘ri’.The second ‘ri’ is sung as ‘ga’(ga1).Similarly, the first ‘dha’(d1)is followed by the second ‘dha’, but is sung as ni(ni1).

Duality?

The Shruthi values are different and therefore the swaras sound different.

‘Make the enemy your friend by loving him..
There is fire behind the smoke’

Bharati and Venkatamakhi-Can we miss the similarity?


Well, why am I discussing these things?

Three reasons.

One-As fans of the Maestro, I thought it is essential for all of us to understand some basic concepts in music.

Two-Raaja sir is the only film music composer to have used many vivadi ragas.

Three-Today’s composition is based on a beautiful Vivadi Raga.

I also see lot of similarities between Venkatamakhi, Bharati and ILaiyaraaja.

Multi dimensional, Revolutionising an existing system, Innovative approach, Intelligence..

Mathematics, Poetry, Music.

Three different personalities, three different eras ..

That is the beauty of life!

I was mentioning that today’s composition is based on a Vivadi Raga.The composition is ‘Sangeetham en Degamandro..’ from Bala Nagamma(1981).

It is based on Chitrambari-the 66th Melakartha.

It is next to Kalyani in the Melakartha system and only the Vivadi swara-Shatshruti Dha-separates the two.

The structure is

sa ri2 ga3 ma2 pa dha3 ni3 Sa
Sa ni3 dha3 pa ma2 ga3 ri2 sa.

ILaiyaraaja is the only film music composer to have used this Raga.

As a matter of fact, except for a composition by Koteeswara Iyer-who has composed in all the 72 melakartha ragas-there is no other known composition in this Raga.

‘Sangeetham..’ starts with the melodious Veena.The sedate atmosphere continues as the music from the violins blossom like a flower...

Suddenly, Chitrambari is borne forward by the fascinating Flute.
As the prelude reaches its climax, we see the beauty of the raga that is adorned by pretty robe and ornaments..

We now hear the honey soaked voice of Vani Jeyaram.

The pallavi flows with lucidity showing us the grandeur of the Raga.
‘Aalilai meloru noolidai megalai..’and ‘Isai Ezhaga..’ use only the normal swaras giving us a Kalyani flavour.

In the first interlude, the Veena is serene and sparkling and the violins bend gracefully. The flute spins a web around us. The Veena now plays the Vivadi swara in combination with other swaras and we spin with it.

The Charanam gives us the subtle shades and the nuances of the Raga.
It moves like a breeze gently caressing us.

Is our thirst quenched with the sangathis?

No..we want more of the Raga..

And we get this in the second interlude.

It is suffused with the colours of the Swaras.

It is a cascade..

It capers about with ecstasy..

It runs around..

It dances..

It prances..

The clarity, grasp, emphasis and laya control is amazing..

This is what is called Tempestuous Virtuosity!

The composition is filled with linear motif.

It decants the essence of the beautiful Vivadi Raga.

It is dazzling and vibrant..

It transports us to a spiritually elevated level..

Raaja’s body is Music, his heart his music, his Mind is Music, his breath is music his soul is music..

சங்கீதம் அவர் தேகம் அன்றோ.. அவர் இதயம் அன்றோ..அவர் மனம் அன்றோ..அவர் மூச்சு அன்றோ..அவர் உயிர் அன்றோ..


" name="movie">http://www.divshare.com/flash/audio_embed?data=YTo2OntzOjU6ImFwaUlkIjtzOjE6IjQiO3M6NjoiZmlsZUlkIjtzOjg6IjIzODU5MDQxIjtzOjQ6ImNvZGUiO3M6MTI6IjIzODU5MDQxLTMwMyI7czo2OiJ1c2VySWQiO3M6NzoiMTcyMzM2NiI7czoxMjoiZXh0ZXJuYWxDYWxsIjtpOjE7czo0OiJ0aW1lIjtpOjEzNjMxNzg2ODg7fQ==&autoplay=default">>

ILaiyaraaja-The Divine Musician!

Saint Thyagaraja says to Rama,

‘You are my light; you are the beautiful smell.
You are the crux of my Life’.

‘Naa Jeevadhara Naa Nomu palama,
Naa Joopu Prakasamu, Naa Nasika Parimalama..’

In another Krithi, he says,

‘Can anything be more blissful than being with you?
Dancing and singing about you is more than enough for me’

‘Inthakanna Aanandamemi O Rama Rama!
Aaduchu Naadamuna Paaduchu Ethutara Veduchu Manasuna Koodiyundutta Chaalu’.

Thyagaraja saw the Almighty everywhere.

To him, Music and Rama was everything and he strongly believed that Music is the vehicle to attain Divinity.

I am reminded of Subramania Bharathi who sang ‘I see you in the feathers of the Crow.I see you in the Greenery.’He even went on to sing that when he touched the fire, he felt the pleasure of touching the God.

Only people who are divine are able to produce such divine words and works.

That is why, Thyagaraja’s compositions are still alive after more than 150 years.
Bharathi ‘s works are relevant after nearly 100 years.

In a similar vein, ILaiyaraaja, who sees Music, feels Music, breathes Music, and gives Music is a Divine personality. Like Thyagaraja, he believes in Naadopaasana.

Not many people know that during Dasserah(Navarathri), he invites great Carnatic Musicians to perform in his house.

All the Musicians enjoy their concerts there because of the Divine Experience they get.

Today, we are going to see another divine composition of his that is based on a beautiful and a Majestic Ragam.

The Ragam is Bilahari.

The two Thyagaraja Krithis quoted in the beginning are also in Bilahari.

Bilahari has 5 Swaras in the Aarohanam and all the 7 in the Avarohanam.

This kind of a structure is called as ‘Oudava Sampoornam’-‘oudava’ meaning 5 and ‘sampoornam’ meaning complete.

The structure of Bilahari is

Arohanam: sa ri2 ga3 pa dha2 Sa
Avarohanam:Sa ni3 dha2 pa ma1 ga3 ri2 sa.

The Arohanam is the same as that of Mohanam.

Bilahari is also the Sudhha Madhyama counterpart of ‘Mohana Kalyani’ another beautiful Ragam.

As per some texts, there is a sparing use of the other ‘ni’(kaisiki) in Bilahari.

Singing or listening to this Ragam makes one very fresh. It wakes us up from the slumber making us shed our laziness.

No doubt, Bilahari is also considered to be a Morning ragam

There is a very interesting story behind the composition we are going to discuss today.

Raja sir and his Guru TVG sir were in Kollur in Karnataka, the place where Mookambika temple is located. They were in a cottage when suddenly they heard the chime of the temple bell. It sounded like the ‘ri’ to TVG sir while it sounded like the ‘ga’ to Raja sir.

Sa ri ga ..

And this was enough to trigger a conversation between the two Maestros. The topic was on Bilahari ragam and they went on and on discussing the beauty of this Ragam.

Within a week of returning to Madras, TVG sir received a call from his disciple requesting him to visit the Recording Studio.

The Disciple played this song and the Guru was spellbound.

With tears rolling down the cheeks, the Guru told the Sishya that he had never listened to anything better than this in Film Music..

In Indian Classical Arts, Guru occupies a very special place and it is said that whatever be the talents, one cannot shine unless one has the blessings of the Guru.

Raja sir has the blessings of all his Gurus.
That is why his Music sounds so divine despite being in a commercial set up like Films.

Let us now turn our attention on the composition that rendered his Guru speechless.

It is ‘Koonthalile..’ from ‘Bala Nagamma’(1982).

The opening itself is beautiful.

As one hears the ascending notes, the Lady voice (Sasirekha) hums and Violin plays with lilting grace.

The Pallavi starts with the silky smooth voice of Yesudass.

There is a unique delicacy in the structure.The first line moves in the normal pace while the second line has short pauses in between making it look majestic.

It is Rounded Mellowness as Yesudass sings the ‘Koonthalile..’ again adding some sangathis.

The Interlude has Galloping phrases, Humming, Impassioned Veena, Flute and Percussion all giving the niceties of the Raga Swaroopa.

The first Charanam is ornately structured.

It looks like a Pillar-strong at the same time very smooth.

Bilhari takes a meandering stroll with Veena and the percussion.
The stroll is depicted with the change in the gait of the line ‘Nadanthaal..’

Stupendous!

We reach the higher plane and are lost there as we hear ‘Mel paathi thanai Paarkka..’

In the second Interlude, Bilahari swirls, twirls, and prances.

The delectable long spree of Thaanam gives us a wonderful Rhythmic Sway!

The second charanam has deft phrasings with multiple matrices of beautiful sangathis.

We see the Sculptures of Krishnapuram and Maamallapuram.

We see the paintings of Ajanta/Ellora.

We see the precious Gems.

We see the Lotus in the Moonlight.

We hear the euphonic Veena.

We drink the Nectar.

It is Divine Music...

தெய்வீக ராகம்!தெவிட்டாத பாடல்!!

Get this widget | Track details | eSnips Social DNA