A R RAHMAN-The living legend

A R RAHMAN

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Allah Rakha Rahman was born A.S. Dileep Kumar on January 6, 1966, in Chennai, India, to a musically affluent family. Dileep started learning the piano at the age of 4, and at the age of 9, his father passed away. Since the pressure of supporting his family fell on him, he joined Ilayaraja's troupe as a keyboard player at the age of 11. He dropped out of school as a result of this and traveled all around the world with various orchestras.

He accompanied the great tabla maestro Zakir Hussain on a few world tours and also won a scholarship at the Trinity College of Music at Oxford University, where he studied Western classical music and obtained a degree in music. Due to some personal crisis, Dileep Kumar embraced Islam and came to be known as A.R. Rahman. In 1987, he moved to advertising, where he composed more than 300 jingles over 5 years. In 1989, he started a small studio called Panchathan Record Inn, which later developed into one of the most well-equipped and advanced sound recording studios in India.

At an advertising awards function, Rahman met one of India's most famous directors, Mani Ratnam. Rahman played him a few of his music samples. Mani loved them so much that he asked Rahman to compose the music for his next film, Roja (1992). The rest, as they say, is history. Rahman was the 1995 recipient of the Mauritius National Award and the Malaysian Award for contributions to music. He was nominated for a Laurence Olivier Award for his first West-End production. A four-time National Film Award winner and conferred the Padma Shri from the Government of India, Rahman has also received six Tamil Nadu State Film Awards, fourteen Filmfare Awards and eleven Filmfare Awards South for his music and scores. In 2006, he received an honorary award from Stanford University for contributions to global music.[56] In 2009, for his score of Slumdog Millionaire, Rahman won the Critics' Choice Award, the Golden Globe Award for Best Original Score,[57] the BAFTA Award for Best Film Music, and two Academy Awards for Best Original Music Score and Best Original Song at the 2009 Oscars. Middlesex University and Aligarh Muslim University have announced that they plan to bestow honorary doctorates on Rahman.[58][59] Later the year Rahman was conferred the honorary doctorate from Anna University in Chennai.[60] He has also won two Grammy Awards, for Best Compilation Soundtrack Album and Best Song Written for a Visual Media.[1] Rahman was awarded the Padma Bhushan, India's third highest civilian honor, in 2010.

thanks vipin.

vipin

vipin

vipin

vipinyetta

[You must be registered and logged in to see this image.] Vipin....!

TOTALLY AGREE THAT REHMAN IS A LIVING LEGEND AND A GREAT ASSET TO THE MUSIC WORLD NOT ONLY INDIA BUT THE WORLD. ONE POINT WHICH EVERY MUSIC LOVER WOULD HAVE NOTED AND THAT IS THE MUSIC FOR WHICH HE GOT THE OSCAR AWARD WAS NOT HIS BEST WHICH MEANS WORLD RECOGNITION SHOULD HAVE COME TO HIM LONG LONG LONG BACK BECAUSE FROM DAY ONE ALMOST ALL HIS CREATIONS WERE OF HIGH QUALITY.
HOW MANY AGREE WITH THIS AND HOW MANY DISAGREE?

sarada wrote:

TOTALLY AGREE THAT REHMAN IS A LIVING LEGEND AND A GREAT ASSET TO THE MUSIC WORLD NOT ONLY INDIA BUT THE WORLD. ONE POINT WHICH EVERY MUSIC LOVER WOULD HAVE NOTED AND THAT IS THE MUSIC FOR WHICH HE GOT THE OSCAR AWARD WAS NOT HIS BEST WHICH MEANS WORLD RECOGNITION SHOULD HAVE COME TO HIM LONG LONG LONG BACK BECAUSE FROM DAY ONE ALMOST ALL HIS CREATIONS WERE OF HIGH QUALITY.
HOW MANY AGREE WITH THIS AND HOW MANY DISAGREE?

i agree

vipin...

and I agree with u sarada chechi.
oscar labhikunnathinum munpe ethrayo nalla ganangal cheythitundu ARR

[You must be registered and logged in to see this image.] Vipin... [You must be registered and logged in to see this image.]

sarada wrote:

TOTALLY AGREE THAT REHMAN IS A LIVING LEGEND AND A GREAT ASSET TO THE MUSIC WORLD NOT ONLY INDIA BUT THE WORLD. ONE POINT WHICH EVERY MUSIC LOVER WOULD HAVE NOTED AND THAT IS THE MUSIC FOR WHICH HE GOT THE OSCAR AWARD WAS NOT HIS BEST WHICH MEANS WORLD RECOGNITION SHOULD HAVE COME TO HIM LONG LONG LONG BACK BECAUSE FROM DAY ONE ALMOST ALL HIS CREATIONS WERE OF HIGH QUALITY.HOW MANY AGREE WITH THIS AND HOW MANY DISAGREE?

I agree

sarada wrote:

TOTALLY AGREE THAT REHMAN IS A LIVING LEGEND AND A GREAT ASSET TO THE MUSIC WORLD NOT ONLY INDIA BUT THE WORLD. ONE POINT WHICH EVERY MUSIC LOVER WOULD HAVE NOTED AND THAT IS THE MUSIC FOR WHICH HE GOT THE OSCAR AWARD WAS NOT HIS BEST WHICH MEANS WORLD RECOGNITION SHOULD HAVE COME TO HIM LONG LONG LONG BACK BECAUSE FROM DAY ONE ALMOST ALL HIS CREATIONS WERE OF HIGH QUALITY.
HOW MANY AGREE WITH THIS AND HOW MANY DISAGREE?

totally agree his music is unique and it attracts everybody irrespective of language culture etc

vipin...goodwork

Dear all,

Pls try to post as much as possible....details like his interviews,pics,new achievements,awards,movies etc etc....above is just an introduction....

COMPLETE SUPPORT and CONTRIBUTION IS REQUIRED

Aron Ralston has given a big compliment to one of the renowned musical maestros of the world: A R Rahman. Rahman has scored the music for ‘127 Hours’, the biographic movie based on Ralston’s life and near death experience.

Made by Danny Boyle, the movie is expected to have high voltage music as ‘Slumdog Millionaire’, for which Rahman had scored the music, had earned many prestigious awards too. The film as its reviews have come so far, is a realistic wonder behind the camera. While it has earned rave critical reviews, people have even fallen ill seeing the reality behind Aron’s life.

Aron, for those who don’t know, is a mountaineer who in 2003 had to cut his arm by his own hand after a major struggle to choose life or hand faced him. His right hand got trapped under a boulder while he was at the Blue John Canyon, mountaineering all alone. His spirited struggle with the canyon and his life has been shown in 127 Hours.

Aron, upon hearing the film’s music said that Rahman’s music may have helped him live for 127 hours more with his arm back then, if he had the music!

thank u sweeet

An interview with A R Rahman

1.You have always come up with exceptional scores for Mani Rathnam. Do you personally think that you've given your best for him?

See, the main thing is the concept that the director has. He (Mani Rathnam) has always given me things which I have not done before. He has been quite an important person in my career, and he always wants me to excel, whether they are for his films or others' films. When challenging things are given to you, then you devote all your energy to it. He never tells you that 'I want a song like this or that,' but he always has a fresh idea. That's the reason why different scores come up for his films.

2.Andrew Lloyd Webber thinks that Chaiyya chaiyya is a great number, one of the greatest songs he has ever heard. What do you think about it?

He said it's one of the greatest numbers, yes. I think it's a very commercial song. He (Webber) finds the whole genre of music -- the production, picturisation of the song in Dil Se -- very interesting. Hopefully, we'll do more exciting stuff now.

3.When we talk about film music, we talk chiefly about how the masses appreciate it. Now, do you think your music will be more critically examined, simply because it will be heard by a different strata of society?

See, I always live with a song, sometimes for a week, sometimes for six months, to try and fix whatever is wrong with it. Because, if I don't like something, people will not like it either. I've gone by that rule and so far, it's been working. God was kind. That's how I'm going to do this (Bombay Dreams) also. I'm not going to try something I don't know about. I assume they will like it.

4.Is there going to be something elitist about a musical?

The only difference is that it's going to be in English. I'm yet to know (laughs) -- about any other differences, because this is a completely new direction for me. But on the whole, I think -- hopefully, God-willing -- it will be successful.

5.Are you looking at Hollywood as well?

Not now. I don't have the energy to do too many things at the same time. I'll probably finish this first...

6.But you are taking a sabbatical from Hindi and regional films, aren't you?

I've done my homework on the films which are yet to be released. So there's not going to be a vacuum. It's not like you are not going to hear A R Rahman's music for one year. I've almost completed Lagaan, Zubeida, Kandu Konden..., alai ptyuthey Rhythm. All these films will be coming now, filling up the gap.

7.And you are not accepting any other offers right now?

Not yet. I'm just holding them, so that I get some space.

8.Taal was a very big hit. How come you aren't working with Subhash Ghai again for his new film, Yaadein?

I was supposed to, but then this project came up. So I told him about it and we agreed that we'll find time in future and work together.


8.There's this allegation that you are a composer who has mastered the gadgets -- how do you react to this?

I think it's just an extra attribute or whatever (laughs). But it's not the only thing. Because without tunes, without happening tunes, it will not work. Only if you have a happening tune, then everything else can support it. Knowing the computer actually helps to perfect things. If somebody has gone off-key but delivered a good line with the right feel, you don't have to sacrifice the take. You can just cut it at the pitch and use it. These are what I have learnt to make things easier, to get the best out of an artiste.

9.Some people have accused you of being repetitive...

I don't think they will say that now, because I have been into too many wild things. Hopefully, they won't say it again in future.

10.But was there a phase when you felt you were being repetitive?

Well, yes. Following the success of Kadalan (or Hum Se Muqabla in Hindi), a kind of dance culture developed. Suddenly, there were proposals with Prabhu Deva and me together, because that helped sell the films. I was forced to do only dance music. But then I got out of it and accepted films which demanded melody. You know sometimes, you kind of get into it... without realising.

11.Do you have some idea about the kind of music you will be doing for Bombay Dreams?

Yes, we do have some scratches ready. If I tell you more about it, then there won't be any surprise left. But it is going to be Indian. It should be exciting, that's all I can say now.

12.Will there be Indian singers involved in the production?

There will be Asian singers, since part of the cast will be Asian.

13.A lot has been said about Chaiyya chaiyya. People attribute the song to you, but it has been inspired by something else... what made you choose this song?

Yeah, it's a Sufi song. Any great love song, when attributed to a divine source, gets an extra dimension. People say any love which is immortal is divine love. Chaiyya chaiyya is something like that. The inspiration, therefore, is a divine one.

thanks vipin..

Interview with ARR


Is it true that, when singers come to your studios to record and later when they hear the final of product, there is a huge amount of difference?

The difference is there but not for all the songs. In some of the songs I try to break the conventional way of having a track and ask the singers to sing freely without any inhibitions, and there comes a point when the song elevates and at times by nearly 300 percent.


There are rumours that you terrorise your singers?

No. I think they are very comfortable with me. Yes, initially when they come in, they think who's this guy but once they start singing, it is very easy for them.



So now are you well versed in Urdu?

I wouldn't say well versed but I am nearly at it.



Does that make a great difference to your music?

Definitely, there are much better nuances of Urdu poetry and stuff like that that I understand now.



When you talk about North Indian music what is that particular stream that you are hinting at?

It is a Kashmiri and Punjabi mixed kind of a thing with an international kind of background. Moreover, it is folk, classical and western all mixed together, just to suit the film.



After a director comes to you and explains the film to you, do you work independently beyond that?

Usually a director first talks about the script and then he tells me as to what kind of music he wants and I get a fair idea of what he is looking for. The director then tells me about what he liked in my previous work and what he didn't. So I know the Do's and don'ts and once you start working on the first song you realise that it's taking shape.



Do you keep in mind the actress and actors on whom the song is going to be picturised?

It's more important to keep in mind the character, if I think about the actor then it will sound the same for the actor for whichever film I am doing.



Since you are working on simultaneous projects, does it sometimes bother you that some of your sounds might overlap?

The director takes care of that, as they are mostly particular of how their films sound.



Do you always listen to the director?

Yes of course. The main thing is that I give them a lot of choices, and when they hear my tunes I am not inside the room with them, so they can choose whichever one they like. I heard some people say that I just give one tune, which is not true.



What has been the biggest influence on your music, through the years?

I think working with Mani Rathnam. Starting with him uplifted my energies because whenever I work with him he wants the best and something international, so you don't sleep for days. It's the same tension when I work with Subhash Ghai. He also wants something original, classy and international.



As you said songs could take 2 days to 45 days, so what is it about a song that convinces you this is it?

Instinct wise you know, it’s working even if other people don't agree. On the other hand, if they say its working and I don't feel right then I keep working on it and they feel very irritated. Finally when they realise that yes there was something, which was missing which I found out, they also accept it.



Do you have this reputation of being difficult to work with?

Yes difficult for the product but not as a person.

റഹ്മാന് വീണ്ടും ഗോള്‍ഡന്‍ ഗ്ലോബ് നോമിനേഷന്‍

ഏഞ്ചല്‍സ്: ഓസ്‌കാര്‍ ജേതാവ് എ.ആര്‍. റഹ്മാന്‍ വീണ്ടും ഗോള്‍ഡന്‍ ഗ്ലോബ് സംഗീത പുരസ്‌കാരത്തിനുള്ള മത്സരത്തില്‍ ഇടം നേടി. ഡാനി ബോയ്ല്‍ സംവിധാനം ചെയ്ത '127 അവേഴ്‌സ'് എന്ന ചിത്രത്തിലൂടെ ഒറിജിനല്‍ സ്‌കോര്‍ ഇനത്തിലാണ് റഹ്മാന് നാമനിര്‍ദേശം ലഭിച്ചിരിക്കുന്നത്. ഇതേയിനത്തില്‍ ബോയ്‌ലിന്റെ തന്നെ 'സ്ലംഡോഗ് മില്യനെയര്‍' 2009ല്‍ റഹ്മാന് ഗോള്‍ഡന്‍ ഗ്ലോബ് നേടിക്കൊടുത്തിരുന്നു.

ജീവന്‍ രക്ഷിക്കാന്‍ സ്വന്തം കൈ വെട്ടിമാറ്റേണ്ടി വന്ന ആറോണ്‍ റാള്‍സ്റ്റന്‍ എന്ന പര്‍വതാരോഹകന്റെ കഥ പറയുന്ന ചിത്രമാണ് '127 അവേഴ്‌സ'്. ചിത്രത്തില്‍ അമേരിക്കന്‍ പോപ് താരം ഡിഡോയുമൊത്ത് റഹ്മാന്‍ ഒരുക്കിയ 'ഇഫ് ഐ റൈസ്...' എന്ന സൗണ്ട് ട്രാക്കും ശ്രദ്ധേയമായിട്ടുണ്ട്. ഒറിജിനല്‍ സ്‌കോര്‍ കാറ്റഗറിയില്‍ അലക്‌സാണ്ടര്‍ ഡെസ്‌പ്ലാറ്റ് , ഡാനി എല്‍ഫ്മാന്‍ , ട്രെന്റ് റെസ്‌നര്‍, ആറ്റിക്കസ് റോസ് , ഹാന്‍സ് സിമ്മര്‍ എന്നിവരാണ് റഹ്മാനുമായി മത്സരിക്കുന്നത്.

Rahman in Oscar race for 127 Hours



After bagging a Golden Globe nomination, music maestro A R Rahman is once again in Oscar race with his song If I Rise from 127 Hours making it to the Academy shortlist for the Original Song category.

A total of 41 tunes, including the number that Rahman wrote for Danny Boyle's film, will be judged for
Oscar considerations by the Academy of Motion Pictures Arts and Sciences.

Clips featuring the songs will be viewed by the members of the music branch, who will vote to determine the final nominees on January 6, Academy's official website said unveiling the list today



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It is a happy coincident for Rahman, who had a similar golden run in the award circuits in 2009. The 44-year-old singer-composer won his first Golden Globe in 2009 in the Best Original Score category for Boyle's Slumdog Millionaire, which also went on to fetch him two Oscar statuettes later.