athu oru arasiyal vizha!avaru-than arasiyal pakkam ellam pogamattare ungalukku theriyatha sir?Quote:
Originally Posted by thozhar
'its for the love of my fans':a.r.rahman
http://rahman360.com/?p=6175
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athu oru arasiyal vizha!avaru-than arasiyal pakkam ellam pogamattare ungalukku theriyatha sir?Quote:
Originally Posted by thozhar
'its for the love of my fans':a.r.rahman
http://rahman360.com/?p=6175
The Jewels of Muslim World Awards 2013 for AR Rahman
http://www.youtube.com/watch?v=XZT9s8SBxjs
late... on ARRs 'saddistic' comment in that interview...
it looks like he wanted to explain what his impression was back then when he was a kid..
but the use of the word 'saddistic' is very careless,, inappropriate and not well thought out...
on the other hand there is another propaganda going on by a few IR fans about ARR that he always takes help of others in composition.. all i can say is.. good try... but very desperate.. but i think they would not have a problem if ARR takes the help of his son in the future based on some facts...
i always wonder, for all the talent and genius raja has, why should some of his fans feel so insecure and offended by the fame of ARR and want to taunt it one way or the other...
i mean, the quantity and quality of songs IR have, hypothetically if i were a IR fan like how I am a ARR fan now, i would not even give a shit to what ARR and his fans do... i would be busy listening to album after album and rejoicing...
the problem with us fans, some of us is... becos of some comments by the rival fans, we develop a bad taste for the rival idol eventhough we like them... and it starts evolving into hate and we start being very critical of the other idol... thats a real bad thing and i dont know how it is gonna stop...
by the way, welcome isaifan and crimson king here...
and welcome mr.thozhar... are you really new to these parts??
Thanks for the welcome, SoftSword. Now if you could please direct me to which IR fans have said that ARR always takes the help of others for compositions, I would like to read and try to correct them. However, I would also like to point out that ARR himself acknowledged Sukhwinder Singh's role in composing Chaiyya Chaiyya. Nityashree also mentioned something about the conception of Soukiyamaa (Sangamam) which suggested she may have had a role in creating it. Now let me add that I personally do not really have a problem with that (I don't remember any compositional credits for Nityashree in Sangamam and I used to have the tape) though I wish composers in India would implement the Western pattern and give credit where due, officially (and not just in public gatherings, which does not contribute to royalty). However, I have been hearing for a long time about how IR is/was so selfish that he refused to credit his team for work and that is supposedly why ARR and Sivamani, among others, stopped working for him. So, at the very least, I feel obliged to point out that ARR may not necessarily be very different, i.e, he gives some credits (just as IR credited Nothing But Wind as a Hariprasad collaboration even though he composed all of it, not Panditji) and doesn't give some others. That is perfectly alright according to me but it should be so for IR as well. There is no need to single him out for something most composers in the industry were and have been doing for a long time. THAT reeks of insecurity and nothing else to me. Along the same lines, there are many composers who broke off with producers or directors either over principles or simply (lack of) personal equation. It is extremely tiresome, therefore, to listen to people constantly pontificate about IR's nature with utter disregard to his contribution to Tamil music.Quote:
Originally Posted by SoftSword
I have also had many ARR fans come to me and argue ARR's merits in terms of album sales, awards, view of a Time magazine poll, etc. I am not going to grudge them their happiness and I am also happy if an ARR rather than an Anu Malik gets publicity. But if you want to compare ARR with IR, why not just talk about the music. Let's analyse that. This "I have more awards than thou" is immature and doesn't wash. One doesn't, or at least I hope so, listen to music for the no. of awards earned by the composer but because the music captivates his mind. If somebody is going to use awards alone to argue that James Cameron is better than Stanley Kubrick, I would have to laugh.
By the way, I must add that I am a ARR fan - er, believe it or not - and repeatedly talking to immature ARR fans who make incoherent comparisons with IR has done nothing to diminish my love for his music.
Anand sir, true, very true. I would rather our man avoids such functions. He could have avoided composing for the "semmozhi" song also. But rumor has it that he was forced to accept that project.
"But if you want to compare ARR with IR, why not just talk about the music. "
I agree that using awards to say that one person is more talented than the other is silly, stupid even. It may not even mean that person was more successful as success depends on what each person wants. # of movies also cannot be used to compare two composers. However, comparison itself is meaningless. How do I explain why I like something, say song A, more than another, say song B? A person knowledgeable in music may talk about how song B is packed with great chord progressions, counterpoints, lovely 'ludes, flowing melody, etc, etc, etc. Song A, on othe other hand and according to "expert" opinion, is a simple melody and contains some catchy rhythms. But, if a musically ignorant person like me still likes A more - and yes, because it captivated my mind more - does it mean that my taste is poor? To me, just me, composer of A is better. I don't care if he can compose a song in 2 minutes or 2 days. His output impresses me more. So, to me, he is better. To someone else, the other one is better. And, I am entitled to an opinion like everyone else is entitled to theirs. Who decides, for everyone, which composer is superior?
More importantly, how does a fan who likes B become superior to a fan who likes A? Sometimes you get the impression that some fans of B think they are superior not just to the fans of A but even the composer of A:-) adhu thaan kodumai:-( You talk about how you have to deal with immature ARR fans. There are an equal, if not more, number of immature IR fans. Just visit their thread and you will find quite a few. "ARR plagiarizes", "ARR is nothing", blah, blah, blah. thaangalai.
Of course. I don't deny it. All I am saying is don't make it appear as if all the flaws are on the other side as that is not the case and to pretend that it is is not very honest. The basic problem is ultimately in making such statements which are like blind darts, naming nobody but implicating possibly anybody and everybody. Both parties do it. But it's not for me to say how they should conduct their relationship with each other, that's their business.
This is so silly everyone comparing ARR and IR. What do you gain out of it? As a Sri Lankan i envy you Indians for have both of them while we have, well, no one. Here, you are trying to eat each others heads out fighting over them. Honestly, a bit sad....
Just learn to accept that you are a fan of one and not the other, and let the other be in peace.
A.R.Rahman @arrahman 6时 The unplugged performance of Nenjukulle from Kadal on MTV Unplugged has been nominated for the #mtvema 2013...
Don't know how far the good road will get attention at the Oscars : Credits - TOI
https://pbs.twimg.com/media/BVN6I9JCMAAHeBN.jpg:large
Songs & the man
Rehna tu, hai jaisa tu... A fanboy’s message to A.R. RAHMAN in the run-up to celkon RahmanIshq on October 1, in partnership with The Telegraph
Sometimes a photograph, sometimes a scribbled noted on a book or a poster, sometimes a phone conversation or text, journalists keep souvenirs too. Sometimes to flaunt on Facebook, sometimes just as a fanboy, sometimes as a story for the grandchild. I have saved one email which has just one smiley, with a space between the colon and the close bracket. The date: February 22, 2009. The sender: A.R. Rahman.
From the plastic box audio cassette of Thiruda Thiruda, available at Melody after many a request, to the tune in the Kochadaiiyaan trailer, I have stalked Rahman ever since I can remember. Ever since that unforgettable piece of prelude seamlessly seeped into the crevices of the heart in Roja’s Yeh haseen vaadiyan. I have sourced the opening credits music of Rang De Basanti, the background score of Dil Se, the space shuttle theme of Swades, the Bombay theme piece specifically used for the jingle of the French mineral water brand Volvic.
As a journalist, I have interviewed him many times — upfront, on the phone, from airports, on Skype. Arguably India’s biggest export to the international entertainment space in the last decade, Rahman’s (almost) always been an email away. Yes they come at strange hours of the night but that is when the man works, works out those soul-stirring melodies. I had to check with him for a pre-concert chat and he was there again on the other end of the line.
“It had to be Calcutta... such fantastic memories,” he said. “I keep talking about it in every city I go... even when I am in the US or the UK. One of the most amazing audiences ever. I am really looking forward to the concert this week.”
Rahman is coming to Calcutta just because of those memories –– his first ever concert was here, The Telegraph Unity of Light Concert –– while the other venues for RahmanIshq were picked because they are otherwise overlooked in a multi-city tour like this.
“The other three cities (Vizag, Jaipur and Ahmedabad) have been chosen because they are sometimes ignored,” he said. “They are not first priority for a show like this. But the people there have given my music so much love and they deserve to experience this show as much as people in New York and London.”
And “the Mozart of Madras” has reserved something special for every city this time. For Jaipur, the concert will highlight royalty, for Ahmedabad folk dance will come to the fore, for Vizag mythology will be the key element and for Calcutta, it will be a celebration of literature.
So will he do more of Tagore, like he did for the Independence Day special on MTV Coke Studio, singing Chitto jetha bhoy shunyo... to his own tune? “I would love to... we are working on it... I can’t reveal anything more at this stage,” you could hear him smile.
But Rahman did explain his decision of singing in Bangla, where his pronunciation went all over the place and wasn’t quite the Tagore tribute one hoped. “I was actually moved by the lines... Tagore was such a great visionary,” he said. “We wanted to do it entirely in Hindi but Prasoon (Joshi) said that I can’t translate it and if I try and interpret it, it would be blasphemy. So, he only asked me, why don’t you sing the lines in Bengali? That was his idea. With me coming from another part of India, the pronunciation of the Bengali words were a bit off. Some people loved it, some people hated it.”
I still can’t get over how he soared on the Calcutta stage for the 2009 concert. To the rousing choral chants of Jaage hain from Guru, Rahman had appeared from below the stage. That small innocuous little man looked bigger than that huge Salt Lake Stadium stage. The next couple of hours were spellbinding, music pouring out from everywhere and how.
“Concerts in a way bind the audience and they experience what is behind the music,” Rahman described. “Because as far as my music is concerned, I don’t expose that much how I make my music. In a way, my concert is like getting to experience the best of me and my musicians and entertainers and all the people who have been involved with me for years, live on stage.”
Rahman’s got an uncanny sense of humour, which can be subtly sardonic when he wants it to be. “I remember when I started out so many people were saying that I don’t do anything and the computer does everything in my music. That thought has stayed on in the minds of some. So when they see and hear me performing live in a concert, that changes the whole perception.”
Also, in a Rahman concert you get very different versions of the original songs, whether it’s Hariharan singing Tu hi re or Rashid Ali singing Kahin toh or Rahman himself singing Dil se re. That impromptu jamming with Usha Uthup at the last Calcutta concert was such a treat for everyone.
“Somebody else can’t take my song and change it but since I have done the song, I have the liberty to see what else is possible to do with that song,” Rahman’s tongue was again firmly in his cheek. “Also, what I feel on that particular day, that’s most exciting. So no two concerts are ever the same. What Calcutta will experience, will not be what Vizag will get to see and hear.”
Every time the man takes the stage or the microphone, his tags, his awards, his stature just keep multiplying. But when he creates that new infectious tune or lets loose that magic voice, none of that plays on his mind. As he himself says, it’s music that binds the A.R. Rahman of the 2003 Calcutta concert, the A.R. Rahman of the 2009 Calcutta concert and the A.R. Rahman of the 2013 Calcutta concert.
“All I know is that I still do music. And I wish to do more. Better things. Wish to refine myself more. Music is the most important part for me. As long as I am gravitating towards more music, the tags don’t bother me. As long as my commitment towards music remains the same, nothing else matters.”
Rehna tu, hai jaisa tu... Thoda sa dard tu, thoda sukoon.
http://www.telegraphindia.com/113092...p#.Ukk-fzdLRH7
Beyond Do Re Mi
AR Rahman’s brainchild, the KM Music Conservatory, now known as KM College of Music and Technology (KMCMT) is formalising education in music (theory, history and performance), a field where there are only a couple of other contenders in the country. Wanting to leave a legacy and bring talented musicians to the fore, the KM Music Conservatory was started in 2008 in Kodambakkam (home to many film studios) here in a multi-storey building. Due to space restrictions, the institute moved to Vadapalani in August. The new facility also houses the Sunshine Orchestra, which nurtures talented children from underprivileged backgrounds and KM Studio for film and band recordings and sound design.
Seeking to challenge the set conventions in the music industry, this academy is one-of-a-kind. KMCMT offers music education to all ages and abilities, seeking to highlight the role of creativity in learning, awareness and opportunity. The institution is tied to Middlesex University, UK, which brings a hierarchical structure to the teaching and learning of music, which is relatively new in India. Adapting those structures to India — finding the connections and crossing points between Indian film music, Hindustani, western classical music is where the challenge lies.
Fathima Rafiq, executive director of KM and AR Rahman’s sister has a dream for the students who enter their portals. “I want them to make the most of their stay here, dedicate themselves to the subject of their choice, make the most of the facilities at KMCMT and have a positive attitude to life. Learning and goodwill must go hand in hand. It is a great learning experience for students and faculty members alike.”
Academic coordinator for the institution, Adam Greig, is happy to have moved to Chennai from the UK. “It’s a very unusual project — teaching Western classical music in India and to promote it as a staple education along with Hindustani and Carnatic music. You never know what to expect.” Adam began playing the piano when he was six months old and has completed his PhD in music theory analysis and performance at Lancaster University, UK. “I focus a lot on the theory and analysis of music. People usually consider music as having a practical basis only and don’t take musicians very seriously. There is a much wider context to music, which we are introducing here. There are specialized classes that teach the historical side of music, how to do job presentations, and complex analyses that involve maths, reasoning, etc. It goes beyond the Do Re Mi..”
The man behind it
AR Rahman requires no introduction. He began KMCMT to “develop and nurture an education in music for all who have the passion and to create an awareness of Western classical music and music technology while fostering learning and growth of Indian music traditions. Through KMCMT, we want to provide students with a strong artistic, intellectual and technical foundation for pursuing professional careers in music. We are offering programmes designed to cultivate individual excellence, a collaborative spirit, cultural exchange and creativity.”
In the course of his interaction with students, Rahman notices, “They all want to find answers according to what’s in their minds, or seek answers from friends and anyone who is willing to teach them. I sometimes learn from them. These are interesting episodes.” Students strive to become like AR Rahman when they join his school. Parents too share this dream for their wards. His take? “I want them to be better than me. So we provide them with things they did not have access to. Their job is to raise the standard of music in India.” Students who graduate from KM also get to audition for the KM Symphony Orchestra.
Academic programmes
The foundation programme is for 16-year-olds and is a one-year course, designed as a pre-university course. Adam comments, “It is important because Western classical music isn’t taught uniformly in India and we try to bring students up to speed in an intense one year. With 22 hours of lecture per week and 20-25 hours of self work, we bring the students up to speed. It’s a full-time commitment. It’s amazing how the students take to it and the knowledge they assimilate. Once they get used to the routine and mould, their development takes off.”
Sound technology room. They currently have 40 students. The two-year diploma programme is for ages 18 and upwards. They follow the guidelines set by Middlesex University. Students can specialize in piano, percussion, strings or vocals. Adam is candid when he says that the eligibility to get into KMCMT is the desire to learn music and knowing English. Students are asked if they can make the transition from just enjoying the music to spending their entire lives doing it. “That is where the difference lies. When you spend all your time and odd hours with music, it changes your perception of it and life,” says Adam. They also have part-time preparatory programmes for people — one-year and seven-month courses.
Philip Taylor is a musicologist from UK with 15 years of teaching experience and teaches chamber choir. He says, “What I’ve seen in India are students with a drive to learn and with more respect for their teachers. We keep adapting and changing our curriculum, creating from scratch, confronting assumptions and perform.”
Munna Shaokat Ali is a lyricist and composer, proponent of Hindustani classical and Qawwali and Sufi ensembles. He is the president and founding member of Amir Khusro Sangeet Academy and has written Piya Haji Ali for the Bollywood film, Fiza. Witnessing a new group take to some of Rahman’s compositions like Maula Maula and another like Tumsa Koi Nahin under Munnaji’s guidance was an experience the writer can never forget — soulful and energetic. They inform me that every performance begins with a Sufi ensemble.
Also getting to witness piano recitals under the guidance of Prof SuroJeet Chatterji (alumnus and the recipient of the highest degree from the Moscow Conservatory) brought tears to the eyes of spectators who lost themselves in renditions of Yanni and Chopin. A popular culture is that of students turning instructors at KMCMT.
Senior manager Jyoti Nair, who has been with the institute from day-one is a vibrant lady who is a performer herself and immerses herself in the day-to-day running of the place and students. “The students have a learning environment that is free. They get to learn from different teachers who have different styles and strengths. They get to make their own path in the world of music.”
Infrastructure
The new facility that was inaugurated on August 9 by Mukesh Ambani is spacious, well-designed and equipped. With lecture halls, performance rooms, round acoustic rooms for practice, floating percussion rooms, a sound technology room, keyboard labs where students can practice with earphones on, library, listening rooms, it is every musician’s dream space.
The building is designed to take in between 300-400 full-time students. The KM music library has a diverse collection of musical resources from the Indian and Western musical traditions. In addition, students have access to 40,000 musical recordings, Wi-Fi and student study areas.
Fee structure
The preparatory fee structure per course per year for Chatterji’s Piano Studio is Rs 85,000, Western voice for around 68,000, Hindustani voice and instruments for 56,000. The foundation fee structure per year is Rs 5 lakh. Scholarships are based on means and merit.
Experience
Adam’s goal is to create an understanding of the importance and opportunities in the creative industry. That also includes a number of rounds of convincing parents about performance, teaching and the ample opportunities in the field. Surprisingly, a large number of their students are engineering dropouts.
Students get a bit of a reality crash at some point because all come here with the aim to become rich and famous. Once that’s done, they find their niche and work towards it to have a satisfying career in performance, teaching, composition and the works. The varied backgrounds of their faculty members give the students an exposure and understanding of what options are available to them.
Students reach out to their professors from 7am to 3am in the morning, apparently. “And if there is no response, they track us down on Gchat or Facebook or in person!” says Adam. That is the level of curiosity and enthusiasm witnessed there. Knowing they are behind in terms of a global knowledge level, they will do everything they can to get up to speed — even demand classes during holidays. They are exceptionally serious and focused. “I don’t think I can go back to lecturing in the UK anymore. You have to fight, persuade and encourage them to learn, with very little respect and high expectations for teachers. Here, I have to try and force them away from me sometimes to get some time off,” he laughs.
A student from the first batch, Altamash Bin Shakeel Ansari came from Allahabad to learn piano here in 2008. He completed the foundation and diploma programmes and headed to Middlesex to complete the bachelor’s degree in Piano Western Music Performance, all on scholarships. He, along with vocalist Abhinav Sridharan, from KMCMT also created a fusion of Opera music with Indian elements. They have performed for BBC and toured India and Germany. They are back now to teach at KMCMT.
Adam tells us, “Rahman keeps a check and is actively involved in even picking out the décor. He helps bring in industrial connections, to take Indian musicians to the international platform. He makes sure he spends time at least twice a year with students. Students like Abhinav have also performed with Rahman at different shows.”
These youngsters get to work on public concerts, corporate events, competitions, composition, jingles, launches, festivals, and what not! They are encouraged and taught to practice yoga, have had lectures on performance injuries and are in general, moulded to become better musicians with a healthy mind and body. There is never a dull moment on the premises, the writer noticed. Musicians like Hariharan, Leslie Lewis, Palakkad Sriram, Rajesh Vaidhya, Jean-Francois Gonzales-Hamilton, etc, also conduct workshops for students. Turning into a landmark for learning music in the country, this institution is nurturing talent, bridging differences and paving the way for an invaluable experience.
— preethi@newindianexpress.com
AR Rahman in conversation with Debjyoti Mishra
http://www.youtube.com/watch?v=aoFSQiKJTko
intha interview-la 'lensu-ikku' velai illaya???chappu innu poche!!akkarayila irunthu ododi vaanga rasakala!!!Quote:
Originally Posted by A.ANAND
What, you seriously believe that WCM and counterpoint didn't exist in Indian film music before Rahman's time? I didn't want to discuss this, but since you asked, I shall gladly oblige. We know which music director has punctuated a majority of his songs with intricate counterpoint and it's not A R Rahman, unfortunately.
RARE 1 [A R Rahman speaks at the Minsara Kanavu Audio Release]
http://www.youtube.com/watch?v=Q5XXQHa3Zds
source; arrfyg
mozart of madras [bbc interview]
http://www.bbc.co.uk/programmes/b00yrsll
source; arrfyg
20 Years of Thiruda Thiruda! - A.R.Rahman
http://www.backgroundscore.com/2013/...-arrahman.html
Read the thoughtless, provocative question posed to Rahman in this week's Kumudam. engerndhu dhaan varaanungalo:banghead:
Vaali once said, that Rahman told him (something like this), "Sir, naangellam eppadi ellamo music podarom, but in the villages they still hear MSV type of music only"..........
Kumudam is known for these type of games. I thought ARR handled it pretty well.Quote:
Originally Posted by thozhar
I beg to differ. His reply "My songs also been heard in villages" not a true and honest statement. Heard means - Not a one time listen.. it should be a part and parcel of the village. In that aspect, கிராமங்களின் கோட்டை எம்.எஸ்.வி, ராஜாவே! Take one orchestra randomly happening nowadays in TN's village and see how many ARR songs and Raja songs been played. Take one bus transport randomly going through TN villages and see how many ARR songs been played.Quote:
Originally Posted by littlemaster1982
Last time I was in TN villages, I did hear Rahman songs played in tea shops. Of course, most of the songs were Raja's and MSV's. I did take a bus ride between villages in the heart of TN and most of the songs they played were new ones - D.Imman, Thaman, even Anirudh. Re: "part and parcel", Rahman's songs may not be but the point is it need not be. Even great carnatic musicians' or WC musicians' songs are unheard in many TN villages and they are definitely not "part and parcel" of villages but that doesn't mean they are irrelevant. Same with Rahman. OK, what was the interviewer trying to get from Rahman there? It was a needless question. And, what did you expect Rahman to answer? "Yes, I am a big failure as my music has been unable to penetrate into the hearts of TN villages as much as, say, a Raja or a MSV"? Nah, Thalaivar has his own die-hard audience and, believe it or not, that is quite a large group. As long as he caters to them, that is all that matters.Quote:
Originally Posted by venkkiram
Vaali kavingar rsubras. konjam adhigappadiyaagave solli iruppaar:-) Rahman songsa gramathulayum ketkadhaan seyraanga. Madurai, Theni areavila ellaam, "kathaazangkaattu vazhi" paattu illaama kalyanamo kaadhu kutho illainne sollalaam.
True. Thalaivar rangeukku edhukku Kumudam maadhiri pathirikkaikkellaam interview kudukkaraaro.Quote:
Originally Posted by littlemaster1982
I also feel that there is so much hatred among Tamil media and many in the Tamil film industry also towards thalaivar. Even their praises seem to be like vanjappugazhchi.
Orchestras not playing ARR songs is because its very hard to reproduce the songs because of the type of sounds and layering behind them. I have listened to 'Kadhalikkum Pennin' in a local orchestra and it took me around a minute to realise that it was that song.
வேண்டாம் அஜய். நீங்க சொல்றது சரிதான். ஆனால் லேயரிங்க் பத்தி பேசி ரஹ்மான் பாடல்களில் உள்ள சிரமமான இசை கோர்வைகளை பத்தி பேசினா அத எதுக்காக சொல்றோம்னு புரிஞ்சிக்காம சில பேர் ரஹ்மான் "கவுண்டர் பாய்ண்ட்" போட்டிருக்காரா "நாடார் பாய்ண்ட்" போட்டிருக்காரா chromaticism தெரியுமான்னு பாய்ஞ்சிட்டு வந்தாலும் வருவாங்க. எதுக்கு வம்பு:-DQuote:
Originally Posted by ajaybaskar
அது ஒரு தேவையில்லாத கேள்வி. தோழர் சொன்ன மாதிரி ரஹ்மானுக்கான ரசிகர்கள் அப்படியேதான் இருக்கிறார்கள். யாருடைய பாடலையோ கிராமங்களில் கேட்கிறார்கள் என்பதற்காக ரஹ்மானும் அவர் இசையும் எந்த விதத்திலும் தாழ்ந்து விடப் போவதில்லை. ரோஜாவில் ஆரம்பித்து ராஞ்ச்சனா வரை என் இரவுகளை ஆக்ரமிப்பது அதிகமாக ரஹ்மான் பாடல்கள்தான். என்னை போன்று எத்தனையோ பேர் இருக்கிறார்கள் என்பதும் தெரியும். ரஹ்மான் பாடல்கள் வெளியாகும் பொழுது அவற்றின் விற்பனையும், ஒரு concert தினத்தன்று (நடைபெறுவது கிழக்கு கடற்கரை சாலையாக இருந்தாலும்) கூடும் கூட்டமுமே சாட்சி.
adiye,oru kudai sunlight mathiri songs oru sarasari kadaikodi paramanukku pidichale athu ARR muzikkku kedacha vetri..athukkaha village bus-la pottathan mayusu ingarathellam sutta muthalthanam.village-la deva-vin gana paattun kekkarangga,aniruth ethirneechalum kekkarangga!ellame usathithan..
can anyone upload thalaivar kumudam interview pls!
http://www.sivakasinews.com/all-news...nged-r-rahman/Quote:
Originally Posted by A.ANAND
thankx bro!Quote:
Originally Posted by ajaybaskar
Hello guys, found that show on youtube want share with you guys, see how a.r.rahman songs are popular even in pakistan, seems there are lot of fans there also
http://www.youtube.com/watch?v=UhIlT...wv641-x5Gp1zy3
https://fbcdn-sphotos-c-a.akamaihd.n...54564653_n.jpg
Framed by Amitabh Bachchan and AR Rahman, Rajinikanth hugs Shah Rukh Khan.
பிரபல ஃபோர்ப்ஸ் பத்திரிகை ஒவ்வொரு ஆண்டும் இந்தியாவின் 100 பிரபலங்களின் பட்டியலை வெளியிடுவது வழக்கம். சினிமா. விளையாட்டு என பல துறைகளைச் சார்ந்த பிரபலங்கள் இந்தப் பட்டியலில் இடம்பெறுவர். வருமானம், புகழின் உச்சியில் இருக்கும் பிரபலங்களை இந்தப் பட்டியலில் இணைத்து ஃபோர்ப்ஸ் பத்திரிகை வெளியிடுகிறது. இந்தப் பத்திரிகை இந்த வருடம் வெளியிட்டுள்ள பட்டியலில் 16வது இடத்தில் இசை அமைப்பாளர் ஏ.ஆர்.ரஹ்மான் உள்ளார்.
33ஆவது இடத்தில் நடிகர் சூர்யாவும், 47ஆவது இடத்தில் கமல்ஹாசனும், 49வது இடத்தில் விஜய்யும் உள்ளனர். 100 பேர் கொண்ட இந்தப் பட்டியலில் ‘பாலிவுட் ஸ்டார்’ ஷாருக்கான் முதலிடத்தைப் பிடித்து சாதனை புரிந்துள்ளார். கமலுடன் இணைந்து நிறைய படங்களில் நடித்த ஸ்ரீதேவிக்கு 73வது இடம் கிடைத்துள்ளது.
இப்போது, ஆளும் கட்சியின் அடிவருடி கேயார் தேவையே இல்லாமல் தலைவரை சீண்டுகிறான். "ஒரு ஊர்ல" என்ற திரைப்படத்தின் இசை வெளியீட்டு விழாவில் பேசிய கேயார், இளையராஜாவை ஆஹா ஓஹோ என்று புகழ்ந்தான். அது வரை பிரச்ச*னை இல்லை. அதற்கு பிறகு அவர் கூறியதுதான் "உலகத்தில் ஆஸ்கார் விருது வாங்கினவங்கள விட இவர்தான் மேதை". இவர் பெயரை சொல்லவில்லையே தவிர இவர் குறிப்பிட்டது யார் என்பது குழந்தைக்கும் தெரியும். கண்டிப்பாக ஜான் வில்லியம்ஸையோ, இல்லை ஹான்ஸ் ஸிம்மரையோ குறிப்பிடவில்லை. அதுக்கப்புறம் அவர் கூறிய பில் கேட்ஸ் சம்பந்தமான விஷயமெல்லாம் வெறும் காமெடி துனுக்குகளே. குண்டு சட்டியில் உட்கார்ந்து குதிரை ஓட்டிக் கொண்டிருக்கும் கேயார் எதற்காக ஒருவரை புகழ்வதற்காக இன்னொருவருடன் ஒப்பிட வேண்டும். "உலகிலேயே சிறந்த இசை மேதை ராஜா" என்று கூறியிருந்தாலே போதுமே. அது அவர் விருப்பம். யாருக்கும் ஒருவரை புகழ்வதற்கு உரிமை உண்டு. ஆனால், எதற்காக ஆஸ்கார் விருது வாங்கினவங்களை வம்புக்கு இழுக்கனும்? இவனுங்களுக்கெல்லாம் என்ன பிரச்சனை? தலைவர் ஆஸ்கார் விருது வாங்காம இருந்திருந்தால் இவனுங்கெல்லாம் சும்மா இருந்திருப்பானுங்களோ.
இந்த மாதிரி யாராவது வரம்பு மீறி பேசும்போது அதே மேடையில் இருக்கும் பெரியவர்கள் அதை கண்டித்தால் பிற்காலத்தில் யாரும் அப்படி பேச மாட்டார்கள். ஆனால் அவர்களும் அதை ரசிப்பவர்களாக இருந்து விட்டால், இந்த சில்லுண்டிகள் இதை தொடர்ந்து செய்து கொண்டேதான் இருப்பார்கள்.
Just ignore and move on :)Quote:
Originally Posted by thozhar