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A.R.Rahman (Fan Club) (Page 155)

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hey dolly &sam
oh yeah i am here Smile

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hello
but seem everyone left Confused
well c u soon bye
dayita Goldie
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Posted: 26 August 2006 at 12:02am | IP Logged
Song sung blue

Barkha Dutt | third eye

August 26, 2006

If you are my generation or younger, the chances are you don't really know the words to India's national song. Of course you learnt it at school, and have misty-eyed memories of struggling to sing it during morning assembly. Like me, you probably look back and laugh at how your voice would get  trapped in your throat because of the impossibly tough falsetto of the opening lines. But I'm pretty sure that all these years later, if you and I try and go beyond the first line of Vande Mataram, we will trip on our words — because of the heavily Sanskritised language that we never really understood to begin with.

That said, even if we didn't quite get the words, just the beat and melody of Vande Mataram has always created that intangible sentimental energy — the sense of belonging that only music is able to evoke. So, when A. R. Rahman recast the song in a music video, accompanied by Dominic Miller on the acoustic guitar — Miller plays with Eric Clapton and Sting — we felt all was well with India.

Later, in an international poll commissioned by the BBC, Vande Mataram was voted the world's second favourite song, narrowly losing the top spot to an Irish ballad. And though we still did not remember the words, we would always hum along and feel that our nationalism was both sturdy and secular.

So, when I heard that some self-appointed spokesmen for India's Muslims had declared that they would not allow the song to be sung by children of their community, I was, at first, both disgusted and frightened. It seemed like such a bigoted and bizarre resistance, and so badly timed. I kept thinking: this is the last controversy a community already under so much scrutiny needs.

And then I read more about why the song has such a tortured history, why it was not chosen as India's national anthem and why it has always divided public opinion in the 130 years since it was first written.

By now you must be familiar with all the arguments, including the definitive work by JNU professor Sabyasachi Bhattacharya who has written an entire book on the anatomy of the song. Six decades ago, pre-Independence India  debated the obligatory singing of Vande Mataram just as vociferously. Even then, Muslim legislators, including M. A. Jinnah, argued that the underlying patriotism of the song was more religious than national and that the many references to Hindu imagery and goddesses made it an unsuitable anthem for the freedom movement. Finally,  Nehru decided that only the first two stanzas of the song were suitable for singing at public gatherings, and even then, anyone who wanted to not sing it was free to opt out and remain silent.

So now that I'm less ignorant of history, am I more  convinced that the resistance to the singing of the song in the India of 2006 is legitimate?

Actually, no. I don't buy the argument that the past must define the present. I believe that history is never static, and that time and context can alter both meaning and symbolism.

Take a minute to remember another song we all learnt at school. Saare jahan se achha, written in simple and accessible Hindustani, is probably more user-friendly than either our national anthem or our national song. We all remember that when India's Rakesh Sharma first went into outer space, that's how he described our country from up there, to Prime Minister Indira Gandhi. Did it matter, even for a second, that the song had been written by a man who went onto become the national poet of Pakistan? Have we ever wasted  any time debating whether Indian nationalism should be captured in the words of a man who crossed over to the other side? No, because quite simply, it just doesn't matter.

And what about Rashtrapati Bhavan? When it was   completed in 1929, it was known as the Viceroy's House and was Edwin Lutyens' testimony to the invincibility of the British Empire. North Block and South Block today house the Government of India, but were also the creations of a British architect, Herbert Baker. Every  January, this part of Delhi comes to life during the Beating of the Retreat. When you hear the bugles sound and watch the camels against the setting sun, do you even remember that the British once lived here? For modern India, this annual ritual celebrates the end of the Raj; we don't even pause to notice the irony that the Retreat was quintessentially British and introduced to India by the Empire. We have just given it the meaning we like, and now that has come to be its truth.

I feel the same way about Vande Mataram. Should its singing be made compulsory? Absolutely not. We all know that the song has become a plaything for our politicians. So, the BJP uses it as a war cry for Hindutva; and the Congress tinkers with it as part of its mealy-mouthed manipulation of the Muslim voter. Patriotism can't be thrust down the throat of a thinking, enlightened country. So, whether it's the national anthem or the national song, coercion has no place in modern India.

But equally, I have no patience for the sort of statements made by a handful of orthodox clerics and I will argue that Vande Mataram does have a place in our schools. It doesn't have to be part of a rigid rulebook, but it should be part of the journey of learning.

When we — Hindu, Muslim, Christian and Sikh — first sang it during our school years, we were entirely unmindful of its religious connotations. In fact, we were ignorant of religious symbolism in most ways. I remember that the main hall of Modern School had a statue of Saraswati carved in the wall. It was something of a school ritual that as children passed by, they would touch the idol's feet, barely stopping to look up at what she represented. All those years, it's my guess that not many students knew that  this was a Hindu goddess — for most it was simply a school custom.

In a country as disparate as India, religion sometimes  weaves its way into the everydayness of our lives and settles down to become part of popular culture. I don't think we need to defensively deconstruct every such ritual.

But there is one thing that bothers me. Hindu motifs have found their way into the mainstream; so have many Christian themes. Because many of us studied in Westernised schools, Christmas carols are the defining songs of our childhood, and we don't even notice their Biblical birth. But missing in this medley is the spillover of Islamic traditions. We must ask ourselves whether we are guilty of still treating Islam and its believers as the 'other'?

It's beginning to change slowly. Recent chartbusters include the immensely melodious Allah Ke Bande performed by a Hindu musician, Kailash Kher. Till the song made him big, Kher was a struggling artiste in Mumbai. The story of his success is not just a symbol of India on the move; it's another example of the many coloured threads that form the tapestry of our lives.

But most of all, it's a reminder that salvation may just lie in a song.

The writer is Managing Editor, NDTV 24x7 [email protected]

http://www.hindustantimes.com/news/181_1778108,0008.htm

Edited by dayita - 26 August 2006 at 12:04am
dayita Goldie
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Posted: 26 August 2006 at 12:06am | IP Logged
Rahman changes style
IndiaGlitz [Friday, August 25, 2006]
 

A R Rahman, often referred as 'Mozart of Madras', is credited with taking Tamil film songs to the global audience. He not just stamped his class in Tamil film industry, but also asserted his mastery in Bollywood and also other parts of the globe.

A frequent globe-trotter, performing in various places across the world, Rahman is happy with his work in Sillunu Oru Kadhal which is currently rocking the audio market in Tamil Nadu.

His mix of jazz, folksy and simple melodies has been lapped up the audio fans. His next Guru for Manirathinam will hit the market this Deepavali, while works for Aamir Khan's Lajjo have already commenced. Expectations are high on Rahman's forthcoming venture Sivaji featuring Rajinikanth and directed by Shankar.

Known to work in the nights, Rahman seems to have changed his style of working for now. The soft-spoken music director, says, 'I have changed my approach towards my work. I work from early in the morning till night.'

Rahman had recently performed at the Hollywood Bowl in Los Angeles in July, along with Global Rhythms, the world music band comprising American students, who are die-hard fans of the young legend.

He would also be commencing works for his private musical album soon.

http://www.indiaglitz.com/channels/tamil/article/24761.html

Edited by dayita - 26 August 2006 at 12:07am
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The thrill of the hunt MALATHI RANGARAJAN
'Vaettaiyaadu Vilaiyaadu' is eagerly awaited, what with Kamal Hassan teaming up with Gautam Menon for the first time.

''When I've been fed on cinema from childhood, how can I get fed up with the problems it throws up?"


"VAETTAIYAADU VILAYAADU IS SLICK AND LOOKS GOOD": Kamal Hassan
Witticisms mark the tte--tte with Kamal Hassan. The actor is just back from a long dubbing session for 'Vaettaiyaadu Vilaiyaadu', which has surmounted all manner of problems, and is ready for release (today). Director Gautam Menon, composer Harris Jayaraj and cinematographer Ravivarman join Kamal for the first time, for this action thriller. 'Vaettaiyaadu Vilayaadu' has been in the news from day one of its take-off, for both good and not-so-good reasons. But matters got evened out (or so you thought!) when Manickam Narayanan of Seventh Channel came forward to shoulder the responsibility of production. It's Gautam Menon's third film after his proven hits, 'Minnalae' and 'Kaakka Kaakka ... ' "It was nice of Narayanan to take on the onus when the project was in the balance. He's been very co-operative," commends Kamal. "And Gautam is keen to learn ... open to new ideas. The end product is savvy and looks good without pretending to be different," he adds. A whole month of shooting took place in the U.S. for 'Vaettaiyaadu ... ' — rarely has a Tamil film unit shot abroad for so long a stretch. Kamal refutes the observation. "That's not true. I was in Europe and the U.S. for a longer spell for 'Ullaasa Paravaigal,' made years ago," he informs. 'VV' crew Only two songs of 'VV' were ready when the crew left abroad. For the other numbers they had to make do with tracks. About the film's music Kamal says: "Harris Jayaraj's final output is hummable, and well ... it's a new sound in the market. It should work." (It has, already.) On Ravivarman's camera work in 'Vaettaiyaadu ... ' Kamal says: "More than those who enter with a technical qualification, I prefer people who come with experience. Ravivarman has risen from the lowest echelons to become a cameraman of merit. He was not born with a silver spoon, the man has crafted his own spoon!" Kamal lets out an appreciative chuckle. "When we were shooting for 'Marudanayagam,' Ravi was in the bottom-most rung in the camera department ... the fourth or fifth assistant. But soon he went on to win an award in France. And what I like best about Ravi is that he tells me he has still got to prove his potential. The man has this constant urge to better himself. I feel he has a great future," he adds. Kamal teams up with Jyotika for the second time — they had done 'Tenaali' together. So what difference did he see in the actor? "She's lost a lot of weight [guffaws] and she understands Tamil now, though she has not begun speaking the language." That reminds you of Madhavan's comment about his preference for heroines who can talk in the tongue they act in. "Imagine pouring out romantic dialogue to responses from male assistants standing in the wings, on the sets," he had said. Kamal interrupts: "I've had no such problem. Every heroine I work with utters her lines herself." But he has had the likes of Manisha Koirala and Raveena Tandon, co-starring with him! "Sure. Yet they have spoken their dialogue in Tamil, though the voices were dubbed later. Why, for 'Hey! Ram!' I insisted on Rani Mukherjee speaking Tamil. And when I needed a typical south face, I chose Abhirami for 'Virumaandi," he contends. The veteran nurses a grouse — he feels that Abhirami did not get her due from the media or the public for her portrayal in the film. "It was a tough role and she was brilliant," he had commented during an interaction earlier. About Dasavatharam Responds Kamal: "Actually as a friend I told director K. S. Ravikumar the line. He liked it a lot and said he would like to direct such a project. Soon things fell in place and here we are, constantly thinking 'Dasavatharam.'" The ball has been set in motion. Shooting for the film commenced this past week. So is Kamal out of the 'VV' mode already? "Sure. For more than a couple of months now," is his cryptic reply. As A. R. Rahman, who was to score the music for 'Dasavatharam ' has his hands full, after much deliberation Kamal and Ravikumar have zeroed in on Himesh Reshammiya, the young, happening composer in the Hindi film circuit today. He was terribly excited about working for a Kamal film. "When Himesh told me that he would get the tunes ready soon, I just thought it was the initial enthusiasm. But when it got translated into six scintillating pieces in a matter of days, I was impressed. We selected three and recorded the first of them on the third day," says Kamal. Of late, beginning with 'Virumaandi' to be exact, be it 'Vasool Raja ... ' 'Mumbai Xpress' or 'Vaettaiyaadu ... ' they've all caused pre-release tension of some kind for Kamal. "Why only from 'Virumaandi'? It's been there from 'Kalathur Kannamma,'" Kamal cuts in. ' ... Kannamma' was Kamal's debut film as a three-year old. You think he's kidding, but he clarifies: "T. Prakash Rao directed nearly half the film. Midway, AVM and he didn't see eye to eye and the entire film was re-shot by Bhimsingh. So I actually acted twice for 'Kalathur Kannamma.'" Doesn't he get fed up facing problems, mundane or major, before every project? "No. When I've been fed on cinema from childhood, how can I get fed up of it?" he quips. According to Kamal Hassan if a film has been through trouble, it is bound to reflect on screen. But as far as 'Vaettaiyaadu ... ' is concerned, he believes nothing has affected its aesthetics.

If this is true, what about his earlier films that hit some rough patches? "Come on, you can't term what happened during 'Virumaandi,' 'Vasool Raja' or 'Mumbai Xpress' as problems. They were more of a nuisance!" he laughs.

http://www.hindu.com/fr/2006/08/25/stories/2006082502510100. htm

dayita Goldie
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Posted: 26 August 2006 at 12:10am | IP Logged

Five lives of Vande Mataram

Sabyasachi Bhattacharya

Posted online: Thursday, August 24, 2006 at 0000 hrs Print Email

The history of the national song has imbued it with diverse symbolism

Sabyasachi Bhattacharya
- The appropriation of cultural creations for political purposes may be inevitable, but it should not happen in a state of arrogant ignorance. The low level of knowledge now on display in the statements and actions of many political parties in respect of the song, Vande Mataram, is surprising. It is surprising because the song has been part of the language of Indian politics for over a century. At this moment we see a rerun of an old series of actions and reactions intended to stage an enactment of identity assertions. The traditional appeal of the captivating lyric, celebrating the beauty of the motherland, remains as strong as ever so far as the general public is concerned. One evidence of this is its popularity set to music composed by A.R. Rahman. And yet political squabbles over the song continue. Coverage in the electronic media provides entertainment in juxtaposing the so-called Hindu and Muslim points of view, a mode of presentation which allows no other reading of the song. Actually the meanings read into the poem have differed widely in the 130 years since it was written. In terms of the meanings thus attributed there are about five different phases. In the beginning were just the words. Reportedly one of the leading defenders of the song and of Hindutva has said that the song was written by Bankim Chandra Chatterjee to honour those who sacrificed their lives for the country. To defend the truth about the song from such defenders it needs to be said that when Bankim first wrote it in the early 1870s it was just a beautiful hymn to the motherland, richly-watered, richly-fruited, dark with the crops of the harvests, sweet of laughter, sweet of speech, the giver of bliss. For several years these first two stanzas remained unpublished. In 1881 this poem was included by Bankim in the novel, Anandamath, and now it was expanded to endow the motherland with militant religious symbolism as the context of the narrative demanded. However, the icon of the motherland, "terrible with the clamour of seventy million throats", likened to "Durga holding ten weapons of war" etc, entered the public imagination much later. This was from the beginning of Bengal's Swadeshi agitation in 1905. It was sung in the Congress session in Benaras in 1905 (music composed by Tagore), in anti-Partition processions in Calcutta led by Tagore, in meetings addressed by Aurobindo Ghose. The latter hailed Bankim as the rishi of nationalism and translated the poem into English. Many translations were made, including one by Subramaniya Bharathi in 1905. Likewise, far away from Bengal, Mahatma Gandhi took note of the song as early as 1905. What is more, Vande Mataram became a slogan for the common man, to the extent he participated in anti-British agitations. Many of the militant nationalists faced bullets or the gallows with that slogan on their lips. Thus Vande Mataram became sanctified as an intrinsic part of the memories of the fight for freedom. A third phase in the life of the song began in the 1930s when objections began to be raised against the song on two grounds: first, its association with Anandamath, which depicted the Muslims of the Nawabi era of the 1770s in Bengal in a poor light; second, the religious imagery and idolatry implicit in the stanzas of the poem following the first two. (Today those innocent of any knowledge of the song and the novel probably mistake the part for the whole). M.A. Jinnah, as well as a number of Muslim legislators in the provincial assemblies elected in 1937, became vociferous against the recitation or singing of Vande Mataram, a practice introduced by provincial Congress governments. In response to this, as well as pressure of Congress members, Jawaharlal Nehru in October 1937 wrote to Tagore asking for his opinion regarding the suitability of the song as a national anthem. The judgement Nehru received was that the first two stanzas of Vande Mataram should be accepted; as for the later part of the verse, Tagore thought it might offend monotheists, but the song was inextricably associated with the freedom movement and "the sacrifices of the best of our youths" since 1905. Acting upon this advice the Congress Working Committee recommended that "wherever the Vande Mataram is sung at national gatherings, only the first two stanzas should be sung". Jinnah wrote to Nehru in March 1938 that the decision was not to his satisfaction but the Congress stuck to it; in any event, there was a proviso that any one who wished not to participate was free to do so. From then on the song was a dividing line between those who doubted the wisdom of this compromise (C. Rajgopalachari) and those, led by Nehru, who were opposed to making the song obligatory. In 1939 some provincial governments — like Bihar and Central Provinces — issued specific instructions to education departments clarifying that the song was not obligatory. A fallout was that the slogan 'Vande Mataram' acquired special connotation to those who valued the Hindu symbolism in the song and by 1946-47 in some parts of India it became in inter-communal conflicts the battle cry of the Hindu community. The earliest instance of Hindu Mahasabha support to the sanctification of the song is perhaps the 'Vande Mataram Day' organised by the party in 1937.

The fifth and most recent phase in the life of the song commenced in the Constituent Assembly on January 24, 1950, when it was sung at the end of its deliberations. It was resolved that while Jana Gana Mana was identified as the national anthem, equally with it Vande Mataram was to be recognised. It was a motion from the chair, moved by Rajendra Prasad himself, and unlike other parts of the Constitution it was never debated upon in the Constituent Assembly. But the matter continues to be debated until today. This is not unexpected, given the eventful history of this song. Judging by various erroneous statements which are now being made, it is vitally important to bear in mind what happened in the past. That is because the memories of the past, rightly or wrongly, constitute our present.

The writer, a former VC of Visva Bharati University, Santiniketan, is the author of 'Vande Mataram: The Biography of a Song' (Penguin)

[email protected]

http://www.indianexpress.com/story/11232-2.html



Edited by dayita - 26 August 2006 at 12:12am
dayita Goldie
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Music Review

Nuvvu Nenu Prema - Feel the love
IndiaGlitz  [Wednesday, August 23, 2006]

Nuvvu… Nenu… Prema has a different and rare combination of artistes and the music director. Suriya, Jyothika and Bhoomika starrer Nuvvu… Nenu… Prema. Music maestro AR Rahman provided tunes to the lyrics. The audience will have high expectations on a music album that comes from the pockets of AR Rahman and he did not disappoint the audience as all the songs are quite melodious, with him rendering a melodious number. With Suriya's film 'Ghajini' proved a big hit in Telugu, with Jyothika and Bhoomika are well-known heroines among the Telugus, the industry as well as the audience have high expectations on Suriya's latest flick

1. Ammdadini Chusesthi Singers: Dr Siva Chidambaran, Gomathi, Naresh Iyer,Thedhi Kunjaramma, and Vignesh

The song is a mass song with folk touch. Veturi penned the song to suit the lip sychronisation of the Tamil original. Rendered by Dr Siva Chidambaran, Gomathi, Naresh Iyer,Thedhi Kunjaramma, and Vignesh the song has high values of mass rhythm. Maestro AR Rahman's music makes the audience enjoy this song in a rural backdrop. However, the song had the Tamil scent and the accent of some singers also added a different flavor to this music number.

2. Preminche Premava Singers: Shreya Ghoshal, Naresh Iyer

This is yet another song from Veturi with high literary values. It is a melody number and one can sit in a relaxed mood and enjoy this song. The music is quite mellifluous and like a lullaby for sometime and as the song progress, the music went up slowly. Rendered by Shreya Ghoshal and Naresh Iyer, this duet shows the love between the hero and heroine. The humming at the end of the song gives a different feel. Maestro Rahman had filled a different feel at the fag end of the song with a good humming by Shreya.

3. Newyork Nagaram Singer: A R Rahman

AR Rahman himself rendered this number. The song is melody-based and is a solo song with guitar and clarinet backdrop. The lyric had good literary value. The lyric reflects the feelings of an NRI. Especially the use of words like… "Newyork nagaram nidaroye vela nene vontari… chali o tuntari… Nalugaddala godala venuka' proves the real feel of loneliness of an NRI had when he was away from the homeland. The song is quite sweet just because it was rendered by AR Rahman himself.

4. Jil Jillumanna Prema Singer: Tanvil

This is the title song of the film. It is a chivalrous number with the heroine rendering the song in a playful mood. Tanvil lent her voice to the song and a part of the verse had a child's voice. The voice reminds of the noted singer S. Janaki, who used to change her tone while singing for a child. Now, Tanvil had mimicked a child's voice and it suited well. AR Rahman used bass guitar and trumpet in this number besides other instruments and the listener of this song could visualize that the song should have been choreographed in a light breeze or drizzle. But we have to wait and watch how it was filmed on the celluloid.

5. Maja Maja Singers: SPB Charan, Shreya Ghoshal

The lyric is a duet between the hero and heroine choreographed in a night mood. It has a quite husky voice that shows they were in a romantic mood. However, the music interludes give the choreographer some scope to use his skills in molding their romantic moods on the celluloid. The lyric reveals how the moods get elevated between a romantic pair.

6. Bangaraanni Singers: Shankar Mahadevan, Suneela Sarathi The music beat in the lyric hints that the song is an item number in the film. However, Veturi maintained his literary values in this song. Shankar Mahadevan, Suneela Sarathi rendered the song. Rahman could give some mass appeal to the song through his music. It seems the song has lots of scope for the artistes to dance in a folk style.

7. Gandharvam Singers: Carolisa, Mohammad Aslam, Krishna, Sayanora

This is again a melody number under Rahman's music direction. However, the background score gave a chance to the audience to tap their feet. Rahman used bass guitar.and shehnai kind of sound in the backdrop, along with good drum beat. At the same time, the sound of broken glass gives the song some freshness and some enthusiasm to watch it on the screen. Moreover, it reflects the excellent recording of sound. The song was jointly rendered by Carolisa, Mohammad Aslam, Krishna and Sayanora. When you listen to the song keenly, the song also had good literary value in it… especially at the end of the song.

http://www.indiaglitz.com/channels/telugu/musicreview/8752.h tml
dayita Goldie
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Posted: 26 August 2006 at 12:16am | IP Logged
Sillunu Oru Kaadhal - a fine form of techno-orchestration
Vidya Anand  [Tuesday, August 22, 2006]




A R Rahman is back with Sillunu Oru Kaadhal. A fine form of techno-orchestration and stylized melodies is seen in this album. The album has Rahman's touch in every song. Rahman has used few fresh voices besides himself rendering a number.

Kummi Adi (Dr Siva Chidambaran, Swarnalatha, Naresh Iyer, Theni Kunjarammal, Vignesh)

Peppy number with fast beats and racy rhythm combined with open throated voice of Sirkazhi Siva Chidambaram with Swarnalatha providing a soft touch. It is a mass number. It gives a westernized feel.

Munbe Vaa (Shreya Ghoshal, Naresh Iyer)

The song involves minimal instrumentation. It touches the heart straightaway.

Maaza Maaza (SPB Charan, Shreya Ghoshal)

This one is a melody number that deals with pangs of love. It has heavy instruments. Both music and lyrics go hand in hand.

Machakari (Shankar Mahadevan, Vasundhra Das)

This is a racy number with a western touch. The beats are peppy and there is a good use of percussion instruments.

New York Nagaram (A R Rahman)

A song with weighted rhythms. The song has a catchy ditty and an agreeable melody with western touch and soft lyrics. This song is splendid and has a catchy rhythm.

Maaricham (Carolisa, Mohammad Aslam, Krishna)

The guitar and the drums give the song a perfect lift. The beats and the rhythms accompany the lyrics well in this number.

Jillunu Oru Kaadal (Tanvil)

The title song of the album. Vaali's touching lyrics combined with a groovy music are noteworthy. The song seemingly influenced by Jazz has Tanvil rendering it with rare felicity and feel.

The album is overall cool and loveable...
http://www.nowrunning.com/news/news.asp?it=7518


Edited by dayita - 26 August 2006 at 12:18am

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