Vel,
Thanks for your comments. Also thanks for posting it on Subhashree's FB. As you said we can only register our thoughts. If a few of them atleast are played it will be good because there is a lot that Raja is continuously giving.
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Vel,
Thanks for your comments. Also thanks for posting it on Subhashree's FB. As you said we can only register our thoughts. If a few of them atleast are played it will be good because there is a lot that Raja is continuously giving.
உங்க லிஸ்ட் எல்லாம் இப்போ உங்க பேர்லயே 'playlists' ஆக வைத்து விட்டேன். கேட்க கேட்க சிலிர்ப்பாக இருக்கிறது. மிக்க நன்றி.
அடியேனின் லிஸ்ட் இது.
1. வெளக்கு வெச்ச நேரத்துல மாமன் வந்தான் - முந்தானை முடிச்சு
2. ஊரோரமா ஆது பக்கம் - இதயக்கோவில்
3. மைனா மைனா மாமன் - பகல் நிலவு
4. மெட்டி ஒலி காதோடு - மெட்டி
5. சாமகோழி கூவுதும்மா - பொண்ணு ஊருக்கு புதுசு
6. செவ்வரல்லி தோட்டதில்லே - பகவதிபுரம் ரயில்வே கேட்.
7. காடெல்லாம் பிச்சி பூவு - கரையெல்லாம் செண்பகபூ
8. சின்ன பொண்ணு சேலை - மலையூர் மம்பட்டியான்
9. பொன்னோவியம் கண்டேனம்மா - கழுகு
10. சிறு பொன்மணி - கல்லுக்குள் ஈரம்
11. காதல் ஓவியம் - அலைகள் ஓய்வதில்லை
12. கண்மலர்களின் அழைப்பிதழ் - தை பொங்கல்
13. காதலா காதலா - தாய்க்கு ஒரு தாலாட்டு
14. கண்ணமா காதல் என்னும் - வண்ண வண்ண பூக்கள்
15. சந்திரரும் சூரியரும் - அவதாரம்
கொசுறு:
16. எங்கே என் ஜீவனே - உயர்ந்த உள்ளம் (மனைவி ஜீவா நினைவாக)
17. ஆத்து மேட்டுல ஒரு பாட்டு கேக்குது - கிராமத்து அத்தியாயம் (MV நினைவாக )
Suresh ji
Nice list , i feel there may be one song from your list being played out in the concert , it being Om Sivahom .
:clap:Quote:
Originally Posted by rajaramsgi
இந்த மாதிரி ஒருத்தர் லிஸ்ட்ட இன்னொருத்தர் லிஸ்ட் ஓவர்லாப் பண்ணாமலேயே 100 லிஸ்ட் போடமுடியும்!
அது தான் ராசா!
:thumbsup:
some stupid junk man posted an un-ethical rumour in youtube about "Fight Between Rajanikanth And ilayaraja". the man is talking such a nonsense... see it and put some comments or flag it as spam or something.. my BP went up for a while after listening to that..
http://www.facebook.com/pages/Isaiku...684275?sk=wall
Isaikku Raja Facebook Page
Which video are you talking about?Quote:
Originally Posted by rajaramsgi
link below.. flag it up as spam or thumbs down on the youtube link, it is important we do that. I sent a mail to the man who posted the video and he replied back with a link from www.kusumbu.com, from where he read the information. kusumbu.com has loads of unreasonable msgs when I checked it, must be a cheap manjal pathirikkai. But that man did not have any common sense to judge himself if the news can be true or not before posting it on to youtube.
http://www.youtube.com/watch?v=jiU-QLfuxV0
boss- internet is like a thousand street city - each street will have a dog or two - we cannot ask them all to shut up. chillax and listen to the music or listen to the music and chillax....
My list..
1. Putham Pudhu Kaalai - Alaigal Oyivadhillai
2. Madai Thirandhu - Nizhalgal (IR should sing this :-)
3. Vaanengum Thanga - Moondram Pirai
4. Senorita - Jhony
5. Sangeethe Megam - Udaya Geetham
6. Oh Vasantha Raja - Neengal Kaettavai
7. Raja Raja Chozhan - Rettai Vaal Kuruvi
8. Vikram Vikram - Vikram (ippo Haasar paadina sariya varathu :-(
9. Anjali Anjali - Anjali (yatheeswar)
10. Om Siva Om - Naan Kadavul
Awesome list raajarasigan
let me try :)
1) Idhayam Oru Kovil (Idhayak Kovil) - always my sweeeety and quite underratted here (hub)
2) Eeramana Rojave (Ilamai Kalangal) - same
3) Idhu Oru Nila Kaalam (Tik Tik Tik) - should be an awesome song for a concert
4) Raaja Raajathi intha Raaja (Akni Natchathram) - purely for his fans and what a beats
5) Maalaiyil Yaaro (Sathriyan) - for Swarnalatha
6) Kodai Kaala Kaatre (Panneer Pushpangal) - for Malayasis Vasudevan
7) Ilamai Idho Idho (Sakalakala Vallavan) - an evergreen fresh song
8) Rakkamma Kaiya thattu (Dhalapathi) - no words
9) Mella Mella (Vazhkai) - wov song
10) Adiye Manam Nilluna (Neengal Kettavai) - sure crowd will dance
mm.. Theya re asking to select 10 needles from a ton of hay stack .. un fair !
Here is mine :)
1. Manidha Manidha Ini Un Vizhigal...
2. Chandirarum Sooriyanum - Avatharam
3. Megam Kottatum - Tik Tik Tik
4. Ennulil etho - Rosapoo ravikaikari
5. Oru Kunguma Chengamalam
6. Poomela veesum poongatru
7. Kadaloram Kadaloram Alaigal odi
8. Metti Oli Kaatrodu
9. Poongatru Pudiranadhu
10. Keeravani Iravile Kanavile
kosuru's
1. Ohm Sivoham
2. en kanmani en kadhali
Intrumental - BGM of Mouna ragam, Aan pavan, Jhoney, Nizhalgal (this is called perasai :)
Ok, we will do top 10 of these lists...!Quote:
Originally Posted by MumbaiRamki
Super pattiyal folks! keep 'em coming!
@vkrish - poomele veesum poongaatre :bow: :thumbsup:
note pannunga pa, note pannunga pa...appidiye idhellam suba mEdathukku anuppungapa!
thanks for the links, K.Quote:
Originally Posted by K
I'm yet to see 'em all though. In the ones I saw, I was pleasantly surprised to see the bassie (Sada?) being interviewed, that too along with his bass guitar. But, damned beings that we are, they didn't show him play it. Program organizers, why ya, why? :banghead:
Here I go ======>>
1. Ethetho Ennam ~ Punnagai Mannan (my most fav No)
2.Kaathala-kaathala ~ Thaaikku Oru Talattu
3. Madai Tiranthu ~ Nizhalgal (awesomeness all the way)
4. Paadi Vaa Thendrale ~ (Mudivilla Aarambam)
5. Oru Kanam Oru Yugamaaga ~ (Nadodi Thendral)
6. Aahaya Gangai ~ (Dharma Yutham)
7. Oru Kaathal enbathu ~ (Small Brother Big Brother) :D
8. Kaathal Kavithaigal Padithidum Neram ~ (Gopura Vaasalile)
9. Geetham Sangeetham ~ (?)
10. Unnai Ethirparthen ~ (Vanaja Girija)
A very difficult task indeed, These are just a few drops from the Ocean.
Divine,
Small Brother Big Brother was composed by IR's brother GA..
Geetham Sangeetham - Kokkrakko
Unnai ethir .. guess it is from Irattai Roja..
sorry if I nitpicked :oops:
RR, Gangai recently revealed that oru kaadhal enbadhu was done by IR. I sort of think that the tune might be IR's and Gangai did the orch, recording, arrangement etc. Also, unnai edhirpaarthen is Vanaja Girija vonly
oh.. thats a news to me Plum :)
Plum,Quote:
Originally Posted by Plum
No...I am sure "oru Kathal enbathu.." should be full and full by IR only...no way GA can come up with such a mind blowing song - particularly the orchestration..
'Also, unnai edhirpaarthen is Vanaja Girija vonly' - I thot this had KR type of orchestration ..Quote:
Originally Posted by Plum
True guys.. someone posted this link on this forum few months ago.. Oru kadhal enbadhu is by Raja.
Hear this from GA's words..
http://www.youtube.com/watch?v=-EpQSdoE6n8
when i saw that video - i knew that universe had been always perfect and now there is an evidence to assure me as well!!
Top 10 (Set 1 of 10) ;)
1. Edhilum Ingu Iruppan (Bharathi)
2. Andharangam Yaavume (Aayiram Nilave Vaa)
3. Oru Kunguma Chengamalam (Aaraadhanai)
4. Thendral Vandhu Theendum Bodhu (Avathaaram)
5. Sandhana Kaatre (Thanikkattu Raja)
6. Roja Ondru Mutham Ketkum Neram (Komberi Mookkan)
7. Siru PonmaNi Asayum (KallukkuL Eeram)
8. Pottu Vaitha Kadhal Thittam (Singara Velan)
9. Poo Maalaye Thol Seravaa (Pagal Nilavu)
10. Gangai Karai Mannanadi (Varusham 16)
Ok, saw the ad. He says idhula visheshamana baagam rasigargal selection so presumably other songs will also be there - although that will be like standard stuff probably. As I don't believe in making lists, I just continue to hope that a good mix is achieved. Madai thiRandhu is a good pick. Maybe it could start with "en gaanam endru arangerum", move on to "madai thiRandhu", and conclude with "paattukku naan paadu patten...". That would encompass a theme and pretty interesting songs, all. I have always wanted IR to sing madai thiRandhu. ApdiyE uLLE irundhu peerikittu varumnu ninaikkarEn...
:thumbsup: idhukku dhaan namma hub la oru mEnEger vEnumgardhu.
Plum, appidye unga theme-a elaborate pannunga, idea takkara keedhu!
Some more 'paattu/question' songs (though it doesn't really fit into your theme, oru sub-theme aa vechchukkalaam!)
enna paattu paada, enna thaalam pOda
ennai paada solladhE, naan kanda padi paadippuduvEn
enna paaduvadhu, paattellaam namakku paada theriyaadhu
naan paadum mouna raagam kEtkavillaya
That will make it one-dimensional and boring KV. One dimensional is ok but one-D based on lyrics is unforgiveable in a show for a Music Director. I thought these 3 were pretty interesting songs themselves and then spun a theme around it. We shouldn't spin a theme and try to fit songs - that will sort of narrow down the narrative...
ada, naan sonna paattellAm fit aavaadhunu theriyum, ahdu summa oru pozhudhupOkku.
But unga theme nalla dhaan irukku, would surely be interesting if there's something of this sort. One portion of the Italy concert has a theme based assortment (birth-growingup-play-work-love-marriage) which was actually a nice idea. Adhu maadhiri idhuvum seriya plan panna, work aagum.
Yeah, it will work if this is just a small part of the overall scheme. IdhuvE fullA irundhA sodhappidum...but I particularly like paattale buddhi sonnaar. Not much appreciated, that one. If anything, derided as self-dabba
I am not very enthu about this :(
I had posted my list a week back in response to SVN's concern about Shuba madam's "abaridhamaana karisanam" for kadai kodi rasigargaL.
somehow my list didnt make it. My list also in consideration with the KKR of an era gone for ever madaam Subashree . You guysl have come up with an exhaustive, exclusive list that would give the genX a vivid view of his gems to be discovered, instead of tunnel vision of Raja's work associated only with Mani or Rajini or Kamal [that too, post Nayaan]
ore naaL unnai naan - moon light romance
nadhi oram - for river side romance
thanga changili minnidum painkiLi - rustic romance
saama kozhi yen koovudhamma - erotica
yedo ninaivugaL - nostalgic trip of sweet 70's
koodhalile megam vandhu - classical dose of Bilahari
endrendrum anandame - encapsulating Sarasangi with an ultra modern western pop
akkarai cheemai azhaginile - for the orchestration opulence decades ago
ponnula ponnula kannula - themmangu delight
naadham en jeevane - for the man for whom music is a way of life [ isaiyai arundhum saadhaga paravai pola avar vaazharaar]
Why go as far as EVK or RKP? Even if they could play some of the popular songs which lie buried under the sands of time, it would be worth watching.
nice variety thumburu.. If Yesudas is part of the concert, I prefer him singinging these 2 from your list..
1. Yedho ninaivugaL
2. koondhalile megam vandhu
Let me also try to put up a list here (i have edited it multiple times already, oh god, I can never put up a list of favorite IR songs). Wanting IR to sing all of these could be Peraasai, so would be happy if any of it makes it to the concert. Mailed this to irjayatv@gmail.com as well. Let's see what unfolds :smile:
1. Uravenum Pudhiya Vaanil - Nenjathai Killadhe
2. En Gaanam - EVK
3. Unakkenathaane - Ponnu Oorukku Pudhusu
4. Oh Vasantha Raja - Neengal Kettavai
5. Manadhil Enna Ninaivugalo - Poonthalir
6. Muthaaduthe - Nallavanukku Nallavan (esp want to see those guitar works in 2nd interlude live)
7. Rettai Kili Suthi Vandha - Gramathu Minnal
8. Engirundho Azhaikkum - En Jeevan Paadudhu
9. Mella Oornthu - Nandalala
10. Kuthikkira - Azhagarsamiyin Kuthirai
Unakkaena thaane - yes, yes. Essence of the rustic 70s Raja. Essence of a tamil graamam in the 70s caught in a 3-minute capsule. Seniors get angry that it is usually said that IR broguht tamil folk to TFM because well didn't MSV et al do that before. Yet, when you hear such songs, you know that there is a grain of truth in that - the sheer authenticity of this is unmatched before or after. Uinfortunately, even Simbu fans can make such authoritative statements about their idol - such being the nature of fandom - and therefore, even authentic statements like this can be dismissed as fan-boy talk - but to those who drank the flavour of tamil rural milieu of those days and drank in IR's unique blend of tamil folk, they can feel that this is not mere fanboy talk. Every other statement on IR can be contested - but this one's no contest if an observer is truly unbiased.
Essence of tamil graamam... aptly put Plum. Raja's folk songs have a distinct flavor with unmatched authenticity. To me, no other TFM takes me closer to the graamam than IR's songs. Call me a fanboy and I don't care :smile:
Today's Wall Street Journal carried a very interesting article on Maestro John Williams (somone whom Ilayaraaja admires a lot). John Williams who won 5 Oscars and was nominated 45 times, composes film scores the traditional way using live orchestra. Raaja follows the same method. Enjoy reading the article. Director Steven Spielberg even today uses John's film scores. What an incredible partnership!
Wall Street Journal - ARTS & ENTERTAINMENT
DECEMBER 16, 2011
The Last Movie Maestro
For decades, John Williams has been the go-to composer for swelling orchestral compositions. Now, younger, cheaper and edgier musicians are changing the score.
By JOHN JURGENSEN
On the sprawling Universal Studios lot, inside the bungalow where John Williams wrote the music for "Saving Private Ryan," "Schindler's List" and a handful of "Star Wars" films, the composer's office is carpeted, quiet, and without a computer or screens of any kind. He works at a small drafting desk, writing notation in pencil on lined paper, within a chair swivel of a Steinway grand.
It's the piano on which Steven Spielberg hears all the main themes of his movies for the first time—and almost always the last—before Mr. Williams records the full-blown product, often at the helm of a 100-piece orchestra. Their partnership and Mr. Williams's old-fashioned artistry have endured for nearly 40 years, through Hollywood upheavals, studio shuffles and now a dramatic shift in how film music is produced and paid for. The composer remains at the top of his industry in what he describes as "a very privileged bubble."
This Christmas, two Spielberg-directed films (driven by two very different Williams scores) open within days of each other, emphasizing how closely the director's career arc has mirrored the composer's. "War Horse," about an animal that alters the lives of everyone he encounters during World War I, finds the composer in a familiar mode: orchestral overdrive, all soaring strings and thundering brass. By contrast, "The Adventures of Tintin," based on an old comic book series about a daring reporter written by the Belgian artist Hergé, features a sound that's jazzy, kinetic and playful. Co-produced by Peter Jackson and shot with 3-D performance capture technology, it's the first animated film for Mr. Williams, who says he took some inspiration from old "Tom and Jerry" cartoons he loved.
Mr. Spielberg credits the composer for making him "a better director than I could have ever been without him." Recalling the blockbuster that made them both household names, he describes the "esoteric" placeholder music he'd selected as a model for the "Jaws" score—and how Mr. Williams forced him to reconsider. "He said, "Steven, it's not an intellectual film. It's a pirate movie," the director says, adding, "John is like a great writer. He rewrites me musically every single time." After the success of "Jaws," Mr. Spielberg nicknamed Mr. Williams "Max," after Max Steiner, who wrote the first memorable original feature film score (for "King Kong") and helped establish the orchestral language of the movies.
Before pop, rock and folk music stormed into soundtracks in the late 1960s and '70s, "there was an era that harked back to the old studio system when the composer was king," says Doreen Ringer Ross, who oversees the film and TV music division of BMI, the performing rights organization. "John is pretty much the last one standing" from that time.
Film critics respond to Mr. Williams's work with nearly uniform praise. Still, he has been accused of going over the top with bombast. His "Harry Potter" score, for example, "smothers the action with inappropriate grandiosity. It's selling the movie, not supporting it," opined Newsweek critic David Ansen in 2001.
Film historian Jon Burlingame says the traditional film score will live on as long as directors keep attempting sweeping narratives and historical heft: "God help you if you score a 15th-century epic with synthesizers." However, as young filmmakers raised on rock, pop and rap inherit the industry, and studio marketers chase the zeitgest, the sound of a swelling orchestra is losing some relevance. "You're not going to apply an 80-piece orchestra to the 'The Hangover,'" Mr. Burlingame says.
A recent parade of rock and electronica stars into film music isn't the first trend that Mr. Williams has weathered. "Starting in the 1980s with the advent of technology, the whole thing started to break down to a different realm of business," BMI's Ms. Ross says. Synthesizers revolutionized movie music not only with the modern mood they conveyed, but also the manpower they saved. With little more than a Moog console, John Carpenter in 1978 almost singlehandedly created the eerie score to "Halloween."
It may be less obvious to viewers how technology is linked to the budget pressures remaking movie music. Instead of hiring a small army of unionized L.A. musicians ($500 each for a six-hour session and twice that for first-chair aces) and renting a scoring stage at Sony or Warner Brothers (up to $15,000 per day), many composers increasingly hire players from Eastern Europe on the cheap (Bratislava, Slovakia, has been a popular choice for films including the recent Charles Darwin biopic "Creation") and conduct them remotely from L.A. via a live audiovisual link. Or, if money is especially tight, composers use software that can (somewhat) replicate the sound of a live symphony orchestra.
Music budgets have shrunk by at least 25% in the last seven years, says Sandy De Crescent, who hires musicians for Mr. Williams and other top composers. Studios "want an Aaron Copland score but they've only got enough for a chamber group," she says.
Instead of paying composers a separate fee and then picking up the tab for additional music expenses as they mount, studios in recent years have increasingly handed out so-called "packages"—fixed budgets that composers must stretch to cover all musical costs, including their own fee. If a score must be re-written or re-recorded, as is often the case during the editing process, the composer sees personal profit erode. "Even if the package is a generous one, everyone feels the strain," says Mark Graham, a copyist whose roles include transcribing and cataloging sheet music for dozens of Hollywood composers, including Mr. Williams.
Largely insulated from these changes are the handful of composers, including Hans Zimmer ("The Dark Knight"), Alexandre Desplat (the final "Harry Potter" films) and Danny Elfman ("Alice in Wonderland") who get hired to score many big-budget films.
Kathleen Kennedy, Mr. Spielberg's longtime producer, says she's never denied Mr. Williams any resources. Soprano Renée Fleming was recruited to sing an aria from Charles Gounod's "Romeo and Juliet" for a climactic scene in "Tintin." But in other ways Mr. Williams's process is "very tight and efficient," Ms. Kennedy says. He works with the same core team of about four people, including Ms. De Crescent (whom he met in the early 1960s) and doesn't employ an assistant or other intermediary staff. His biggest time saver: because of Mr. Spielberg's trust in the composer and the preliminary piano sketches he presents, Mr. Williams doesn't spend time mocking up "demo" recordings, an essential step for composers seeking a director's approval to move forward.
Unlike some of his peers who service multiple film projects at a time, Mr. Williams doesn't farm out any piecework to underlings. "I'm still writing every note. And it's labor intensive. Six and a half days a week. That's been my life," the composer says. Yet at age 79, he works more swiftly than many in his field, his collaborators say, crediting his singleminded approach to each project.
"There are some composers who are lucky to record five or six minutes of music in a six hour day with an orchestra. John can completely do 20 to 25 minutes, no problem, of complex difficult music with good takes that he doesn't have to revisit," says Mr. Graham, who organizes and distributes the printed music at all the sessions Mr. Williams conducts.
Starting with the end of silent pictures, Hollywood's Golden Age coincided with an influx of top-flight European musicians, some of whom, including Franz Waxman, had fled the Nazis. In the 1930s and '40s composers such as Erich Korngold ("The Adventures of Robin Hood") transposed their expertise in opera and other classical forms to cinema. The '50s and '60s were stamped by American-born composers such as Elmer Bernstein and Leonard Rosenman, who injected jazz and other contemporary sounds.
Despite the pedigree of some of the medium's contributors, including Aaron Copland, traditionalists looked down on film music. Alluding to a bias that still lingers today, Mr. Williams says, "If you go back to the '30s, writing for movies was something most serious composers wouldn't have any truck with."
Mr. Williams was born in New York and learned piano at age 7. His father was skilled percussionist Johnny Williams, who played in the CBS radio orchestra and later moved his family west, where he found session work in feature films such as "From Here to Eternity." His son jumped into the business as a freelance pianist in studio orchestras (listen for him on Mancini's "Peter Gunn"). Stanley Wilson, then head of music at Universal Television, mentored Mr. Williams and propelled his composing career. He showed early range on the swinging "Lost in Space" TV theme and the Americana of the Steve McQueen film "The Reivers," the soundtrack that caught a young Steven Spielberg's ear.
Mr. Williams had scored 34 films (according to the 15-page resume maintained by his agency) by the time Mr. Spielberg sought him out for his debut 1974 feature film "The Sugarland Express." Mr. Williams has won five Oscars, with 45 nominations—tied with Hollywood legend Alfred Newman (whom Mr. Williams once worked for). His next film project: Mr. Spielberg's "Lincoln."
He doesn't read scripts, preferring to write only to footage. He says he can't pinpoint how musical ideas take shape, but like a costume or set designer, responds to a story's setting and mood. In the case of "Tintin," he described Hergé's original comics in painterly terms. "The colors seem to be almost Gauguin-like. Yellows and purples and green-reds," he says, adding that the look of old cars and European architecture made instruments like the musette, a French accordian, seem apt for the movie's scenes of fast-paced street comedy.
His process starts with a "spotting" session with Mr. Spielberg, deciding which scenes should feature music or not. Then, unlike contemporary composers who use a computerized timer that clicks off the beats in a scene, Mr. Williams monitors an analog Minerva stopwatch to write to length. At his desk, he works off his memory of the on-screen action, whether it's a character striding across a room or, as in "War Horse," a horse stampeding through thickets of barbed wire. If he needs to analyze the sequence again, he strolls out of his office and across the hall to a room where music editor Ramiro Belgardt cues up the scene. As recently as the last "Indiana Jones" picture in 2008, this process involved Mr. Belgardt punching rewind and fast forward on a bulky videotape player. (He now calls up time-coded footage on a computer linked to a flat screen television.)
In his office last week, the composer took a break from the sheets of paper splayed across his desk, the theme music to NBC's "Meet the Press." It's a Williams composition that he's been hired to freshen, along with the "Today" opener, which NBC says will debut Jan. 16. He wore a black turtleneck shirt, charcoal slacks and black sneakers. His beard was the same shade of white it's been for three decades. On the coffee table there was a book of Robert Frost's poetry and a CD labeled with tracks from "Sunset Boulevard," "Titanic" and "Sabrina," fodder for one of the live programs of film music that he conducts at the Hollywood Bowl or Tanglewood in Massachusetts, where he's been a longtime presence.
Though self-effacing ("It isn't my personality to be particularly proud of what I do") the composer seems to recognize his legacy as arguably the only living film composer with both classical credentials and name recognition among everyday moviegoers. At the recent request of conductor James Levine, Mr. Williams wrote a piece for solo harp to be performed by Ann Hobson Pilot on the occasion of her retirement from the Boston Symphony.
And he's dead serious about the role movies can play in bringing the music he loves to millions. "Today we have fantastic art music being created over here," Mr. Williams said, gesturing with one hand, "and over here pop music that's ubiquitous and permeates everything. There's an enormous gap between these two universes, and if we need a tissue that would somehow connect it, it seems to be more and more film music which is creating a glue, a binder, between the vernacular and the music of art."
Corrections & Amplifications
Music editor Ramiro Belgardt works with John Williams. An earlier version of this article incorrectly gave his surname as Belgradt.
It's not even about being called a fan-boy - I don't think any fan boy of any artist feels bad about being called a fan-boy. It is about how "sbjectivity" is used to conveniently equalize things that really aren't objectively equal.
Tom and Jerry is a good reference. Many a time, when I play BGM tracks of Raja on my audio, my daughter calls it "tom and jerry" song :). What it means ofcourse is "inspired by WCM", which, unsurprisingly, John Williams confesses to be. And so would his equivalent in TFM I guess...