Saturday 30 May 2015
Monday 11 May 2015
Karthik: You learn humbleness from AR Rahman Sir and discipline from Ilayarajaji
MUMBAI: He maybe only 34 years old, but he is already considered a veteran in the Indian music industry. Having crooned more than 5000 songs in various languages like Tamil, Kannada, Telugu, Malayalam and Hindi, Karthik's music career spans a little less than two decades. Having collaborated with a number of big composers including Illayraja and AR Rahman, Karthik feels that he was extremely fortunate to meet people in the industry.
Unlike many musicians who defy their parents' wishes and get into music, Karthik was pushed to be a musician by his. "At the age of four my mother enrolled me in singing classes and I was obviously clueless about music. I quit after a while, but then went back again at the age of 11 and this was when I started to get a little serious about it,” said Kathik. His interests were later boosted when the Czar of the music industry, AR Rahman heard his voice and invited him to sing with his chorus group for live shows. "When Rahman sir called me for his concerts, I was overwhelmed. I thought if someone of his stature calls me for his live concerts while I am still in college, then maybe I do have something in me,” he said.
According to Karthik, collaborating with so many composers is a great experience. But his biggest influence came from AR Rahman and Ilayaraja. "Considering the kind of stature these artistes enjoy, you learn humbleness from Rahman Sir and discipline from Ilayarajaji. These artistes are so down to earth. Their success is just the kind of a reflection of what they are personally,” he commented.
For him, performing on stage is a passion. The singer recently formed his very own band called Arka in November 2014, and it includes names like V Selvaganesh, Ravichandra Kulur, Gino Banks, Mishko M'ba and Santhosh Chandran. Last month, the band released its debut album 'And a Half', and will start promoting it through live performances. "We are planning to perform at a lot of international festivals and are currently in talks with a lot of event organisers,” he revealed. According to him, creative freedom is essential for an artiste, and independent music is the right channel where artists can be themselves.
The 'Behene De' singer, an ardent fan of cricket, revealed that he loves the IPL team- Chennai Super Kings. "Every IPL I promise myself, not to get glued to it, but after the third match, I end up following the entire tournament,” he said laughingly. When not recording or not in the studio, he loves spending time with his family.
AR Rahman sir is my saviour: Singer Shasha Tirupati
She was born in Srinagar, raised in Vancouver, got her training in music from Allahabad and Benaras, been a Mumbai resident for close to five years now, sings in Marathi, Bengali, Punjabi, Tamil, Telugu, Kannada, Hindi and English, and has a sweet spot for middle eastern and Sufi forms of music.
While 27- year-old Shashaa Tirupati was busy in her own whirlwind life, things took an unthinkable turn two years ago : She was spotted by the Mozart of Madras A R Rahman! And like it always happens with all Rahman discoveries, Shashaa's the newest sensation of the music world: Her voice is running in loops across India, with the three soul- searching songs she sang in Mani Ratnam's latest Tamil romcom O Kadhal Kanmani .
Shashaa's is yet another example of Rahman's keen eye for spotting talent: He's hailed as a music scientist who experiments with voices for no other reason. Before his entry into Tamil films, the South Indian music industry was suffering from the 'one-film-one- singer' syndrome. A cursory glance of any well-known music directors' discography will show that they rotated a set of accomplished singers for all their songs.
New singers were hard to come by, and variety was only in genres, never in the voices. It was only after the Oscar winner's entry into film music in Mani Ratnam's Roja that many unknown singers started getting their big-breaks. In his debut film, he used a rookie singer called Minmini (though credit has to go to Ilayaraaja for introducing her first) to sing Chinna Chinna Asai (in Hindi Chhoti Si Asha), which catapulted her to international fame.
The trend continued in many other Mani Ratnam-AR Rahman combinations. Sadhana Sargam became a household name after she sang Snegithane Snegithane (in Hindi Chupke se) from the Tamil film Alaipayuthey (remade in Hindi as Saathiya) and an unknown singer Shakti Shree Gopalan became a hot search topic after ARR made her sing Nenjukulle song from Mani Ratnam's Kadal.
And now we have Shashaa! While she is revelling in her new-found star status, the singer bares her heart on a range of issues in an email interview with Hindustan Times, from her Tamil pronunciations, getting 'spotted' by A R Rahman, and her future plans.
Your Tamil pronunciation is perfect. How did you manage this without knowing the language?
I have always had a strange love for languages. I taught myself Punjabi, Bengali, Farsi, Italian, Urdu and a few other languages. When it comes to Tamil, though I understand it a bit, I think having listened to almost every Rahman sir's album has helped me improve my stylisation and diction. The rest of it is purely guidance from ARR sir and his team.
In general, is it necessary for you to understand the meaning of the songs you sing?
Of course you need to know what you’re singing! Music is nothing but an expression of emotion. Understanding the significance of the words and phrases is key to creating an impact at the right moments in a song. The soul of a song comes intrinsically. I don’t want to be a technical singer. I want to be a technically sound singer who makes hearts tingle.
You call ARR your inspiration. How was it working with him?
Inspiration seems too small a word in front of the influence he has had in my life. He is all what I am today. He believed in a voice that so many others rejected. He utilised my voice at a time no one else felt I had it in me. He’s been a saviour.
When and how did ARR notice you?
This one always makes my stomach flutter! It was for Coke Studio Season 3 in 2013. I owe all my experiences and opportunities with ARR sir to a dear friend and co- worker, Nitish, also a mixing engineer on sir’s team. He told me about the auditions for a Hindustani Choir sir wished to put together for his episode that season. I auditioned with six others, and by God’s Grace, was selected. During one of the rehearsals, ARR sir randomly asked which one of us was Shashaa and I hesitantly raised my pinky. I thought I had messed up and was singing the harmonies all wrong. Next day I mustered the courage and asked him if I had done something wrong.
He said my voice sounded like a musical instrument. I was relieved, but even more confused now, wondering if that was a compliment or a strike out! A month after our episode was telecast, I received a call from his studio and was asked if I could fly down to Chennai the next day as sir wanted to try my voice… That was the point I realised it was a good thing to sound like a musical instrument! That song was Vaada Vaada from Kochadaiiyaan.
What were his first words to you and yours to him? Any memorable exchanges with him that you cherish?
First words: “Which one of you is Shashaa?” The most memorable and grateful moment I’ll owe to him would be that first trip for his work to Chennai. I fell ill with a horrible throat and cough and was unable to record. The world ended for me, considering this was the moment I had prayed for all my life. I met sir and he calmly told me that as soon as I feel better, I could let him know, as he has kept the song aside for me. He could have replaced me with one of those million singers dying to work with him, but he didn't. Hence my immeasurable dedication towards Him.
If you are asked to list 3 ARR songs which you wish you had sung which three would you choose?
Three? How about three hundred! Seriously speaking, it would be insulting to even think of being in place of any of the veteran singers. I’d rather say a few of ARR sir’s songs that are extremely close to my heart with female lines -- Kehna Hi Kya, Tu Hi Re, Tere Bina Besuadi and Jiya Jale. What Chitra ma, Lata ji, and Kavitha ji have done is beyond divine.
You've sung 5 songs for ARR till now. Which one of these are you most satisfied with?
Well, with film releases including Telugu versions/ languages, the total number is not 5 but about 9. Every song I've sung for sir so far has its very own set of experiences, lessons, and vibe. As serene as Vaada Vaada was, Aye Mr. Minor had its own element of chirpiness, Naane Varugiren its thrill and challenge and Parandhu Sella Vaa had scope for experimentation and playfulness midst western and Hindustani classical. Let's now talk about your songs in Ok Kanmani.
Among the three you've sung for the film, which one was the most difficult and why?
Each song had its challenges, but Naane Varugiraen was a different thing altogether. I never thought I’d be able to do justice to such intricate brilliance! It was a tug of war between taal and sur and expression. Concentrating on one would lead to losing out on the other. It took me a good 3-4 hours to dub this song, and sir has been the epitome of patience and faith dealing with me on this one!
Did you make any impromptu improvisations in any of these three songs which ARR liked and included?
He’s the king of improvs! He kept shooting out what was going on in his mind, especially in Parandhu Sella Vaa, and yet he would encourage us (Karthik and myself) to come up with little phrases. So little things like the classical parts that I did were beautifully retained and placed whereas all the funky “takachikatakachikas”, “tikadhum tikadhum”s were sir’s craft.
Any particular experience you would like to recount which you cherished during Ok Kanmani recordings?
Seeing AR sir and Mani (Ratnam) sir in the same room. Greatness Overload. Till then I didn't know I was singing for the their film! I had haunting themes and scenes of Guru, Bombay, Roja playing in my head while I watched them both work.
Was there any particular stanza in these three songs which took you a lot of takes before rendering it perfectly? Any hardest bit?
From the first line till the last line of "Naane Varugiraen". It’ll be a sure shot task performing that live !
So what's on your plate next? Are you doing more Tamil songs or going back to Hindi?
As much as I've been working towards Bollywood playback, I adore Tamil music and cinema. Hence, I regularly travel between both cities as and when I’m required for recordings. I’m working with several composers down south as well as in Mumbai.
You are a Canadian with roots in Kashmir?
I've been a multicultural and multinational kid! I was born in Srinagar, raised in Vancouver, had music training in Allahabad and Benares, and I've been living in Mumbai for about four and a half years now. I've sung in Marathi, Bengali, Punjabi, Tamil, Telugu, Kannada, Hindi, and English and have a sweet spot for middle eastern and sufi forms of music.
I spent most of my childhood in Canada, where I grew up singing, performing, swimming, practicing seikeido, ice skating, girl scouting, playing soccer, and reading! Then my parents brought me to India to seek classical training. I was oscillating between Vancouver and Allahabad in the midst of that.
I went back post my junior college for higher studies in Canada, had topped the province in my grad school and went on to university on a full scholarship, besides 6 other scholarships. But then I dropped out of pre-med after hearing ARR sir's “Dum dara dum dara mast mast” song in the film "Guru" and decided this is what I want to do for the rest of my life. I wanted to be prepared to sing under ARR Sir. I kept him in my mandir for 12 years and felt that impressing him wouldn't be easy. I practiced for two years and then kind of ran away from home. I came to Bombay, did some reality shows and hundreds of jingles for the funding and shows and some 15 odd Hindi and various regional films' playback, but I maintained the riyaaz as the bigger picture was something else.
Finally through Coke Studio I realised my dream. Anything else you want to mention? I would like to thank the team at Panchathan- Suresh Permal, Srinivasa Murthy, Srinivasa Doraiswamy, Srinidhi Venkatesh, Jerry Silvester Vincent, Sami Durai, Nitish R, PA Deepak, Karthik, Chetan, Vijay, Ishaan - all these people were crucial parts of the entire process and making us sound as beautiful as we did in the final product.
National to International : A.R.Rahman speaks to E24|7
PostCredits: Bhuvi Suresh
He has had every award, be it a National Award, Oscar, or the Grammy.But, AR Rahman doesn't want more awards. He wants a new breed of musicians in India. The music director of ‘Slumdog Millionaire’ is very keen to get talented slum children from the slums of Dharavi and explore their command of music.In this interview he reveals his inner workings.
Interviewer: Dream Works is restarting the ‘Ramayana’ film project. What is the progress?
ARR: We had a project for Dream Works, it is based on the ‘Ramayana’. We worked for five years on the project, but the company later withdrew from it. Our five-year effort was useless. We are trying to get the project restarted. I have a huge bank of compositions now for it.
Interviewer: Your music school and conservatory started with director Shekhar Kapur’s help is an excellent initiative towards forms of digital platforms. The Dharavi slum children are also in it. Please explain.
ARR: My sister is looking at a music school. There we have a good team. I email Shekhar every day on the developments and I am aware of who is doing what. We will soon want a song with these kids. We are still working on the technical aspect. These children are very creative. There are very fascinating.
Interviewer: What gets AR Rahman to agree to compose music for a film?
ARR: I listen to my heart. If it says yes, I am on. Making music is never a tiresome experience. It has to be elevating. “Music should not drain you, but urge one to carry on. It is of no use when you have tension while composing.
Interviewer: Bollywood, bhajans, etc you have composed all kinds of songs. Do they connect you to the spiritual being?
ARR: I think it's a matter of faith. Only if you believe in the thought, you can prioritise. I am a student of Sufism. Be it love or spirituality, sincerity is very important when you choose. Just like you cannot just marry a boy or a girl you are told to marry without getting the feeling right for the person, you cannot do any work without feeling for the work. With music, it is the same. When you take a song, you need to adopt it.
Interviewer: What is your process of preparing a composition? When do you decide that this is the final song?
ARR: I first compose a song and then keep it aside. I listen to the song after a few days. if I do not feel that the song is bad, I work on it a bit more, change a thing here and there and then decide if it is ok.
He has had every award, be it a National Award, Oscar, or the Grammy.But, AR Rahman doesn't want more awards. He wants a new breed of musicians in India. The music director of ‘Slumdog Millionaire’ is very keen to get talented slum children from the slums of Dharavi and explore their command of music.In this interview he reveals his inner workings.
Interviewer: Dream Works is restarting the ‘Ramayana’ film project. What is the progress?
ARR: We had a project for Dream Works, it is based on the ‘Ramayana’. We worked for five years on the project, but the company later withdrew from it. Our five-year effort was useless. We are trying to get the project restarted. I have a huge bank of compositions now for it.
Interviewer: Your music school and conservatory started with director Shekhar Kapur’s help is an excellent initiative towards forms of digital platforms. The Dharavi slum children are also in it. Please explain.
ARR: My sister is looking at a music school. There we have a good team. I email Shekhar every day on the developments and I am aware of who is doing what. We will soon want a song with these kids. We are still working on the technical aspect. These children are very creative. There are very fascinating.
Interviewer: What gets AR Rahman to agree to compose music for a film?
ARR: I listen to my heart. If it says yes, I am on. Making music is never a tiresome experience. It has to be elevating. “Music should not drain you, but urge one to carry on. It is of no use when you have tension while composing.
Interviewer: Bollywood, bhajans, etc you have composed all kinds of songs. Do they connect you to the spiritual being?
ARR: I think it's a matter of faith. Only if you believe in the thought, you can prioritise. I am a student of Sufism. Be it love or spirituality, sincerity is very important when you choose. Just like you cannot just marry a boy or a girl you are told to marry without getting the feeling right for the person, you cannot do any work without feeling for the work. With music, it is the same. When you take a song, you need to adopt it.
Interviewer: What is your process of preparing a composition? When do you decide that this is the final song?
ARR: I first compose a song and then keep it aside. I listen to the song after a few days. if I do not feel that the song is bad, I work on it a bit more, change a thing here and there and then decide if it is ok.
A.R.Rahman - Asianet Interview - Part 4
PostCredits:Bhuvi Suresh
Interviewer: Can I give a suggestion perhaps. Considering that you bring in a lot of different world sounds, from different parts of the world, how about doing a song only with Kerala musical instruments?
ARR: Good Idea. In fact one of the bands gave me all the percussion instruments after an award I gave. They were so moved they gave me all the instruments they played, still I have that, I don't know what to do with it.
Interviewer: Why don't you consider doing something, perhaps for Asianet?
ARR : Asianet…
Interviewer: For your own reason…but something…
ARR: Well, there will be something, you never know. When it'll come.
Interviewer: Where does it, when does the spark come in, when do you realize that I am going to work on this and not on that?
ARR: I don't know, because there are some albums which I have done, Dakshinamoorthy Swami has composed it…(some part missing)
Interviewer: Do you think you are perhaps handicapped if you weren't too well versed in Carnatic or Hindustani music?
ARR: No I don't think so, because if I was fully into one music, I wouldn't have embraced the other kind of music, but the idea of going something, having the object of look on musical landscapes, the landscapes are different. There are extraordinary geniuses in Carnatic music, and Hindustani and every… But I felt that because my understanding is more from a distant point of view I can get away with certain kinds of things which I can't if I had known too much of nuances.
Interviewer: Sometimes… you picked up (some singers name) randomly pull out of audience and make them stars. What is it that make you feel that this star material, this is the guy who will make it work?
ARR: I never do that. They have it in them and that's what happens. I can never make a person star. What I can do is I can just try them out and if they have it in them, it shows, adrenalin comes in, the life comes out, and nobody can halt that.
Interviewer: Where does the role of a composer begin, and a singer begin? Where is that dichotomy? Is there a dichotomy at all? Or who needs to be credited for a song's success?
ARR: I think we are all instruments, we are all acting upon what we have to do. So nobody is in control, God is in control. And when Minmini just came and sang the track, so God wanted that to happen.
Interviewer: Are you treating it very spiritually this way?
ARR: I am in a way, actually, because things are put together, and because you believe in good things, I feel that things come together.. even if you want, sometimes you want a singer for a song for a concert and they don't come for ages and you call another singer, he sings the song and it becomes much better, and this happens everytime. And then you think that may be he was the person to sing this song.
Interviewer: But what is one song you would want to give in birth for?
ARR : I don't know.
Interviewer: Something which is very close to your heart?
ARR: I cannot …each person has one, no two people will say the same song. They are all beautiful. So I give respect to them ,and nothing to comment.
Interviewer: Can I give a suggestion perhaps. Considering that you bring in a lot of different world sounds, from different parts of the world, how about doing a song only with Kerala musical instruments?
ARR: Good Idea. In fact one of the bands gave me all the percussion instruments after an award I gave. They were so moved they gave me all the instruments they played, still I have that, I don't know what to do with it.
Interviewer: Why don't you consider doing something, perhaps for Asianet?
ARR : Asianet…
Interviewer: For your own reason…but something…
ARR: Well, there will be something, you never know. When it'll come.
Interviewer: Where does it, when does the spark come in, when do you realize that I am going to work on this and not on that?
ARR: I don't know, because there are some albums which I have done, Dakshinamoorthy Swami has composed it…(some part missing)
Interviewer: Do you think you are perhaps handicapped if you weren't too well versed in Carnatic or Hindustani music?
ARR: No I don't think so, because if I was fully into one music, I wouldn't have embraced the other kind of music, but the idea of going something, having the object of look on musical landscapes, the landscapes are different. There are extraordinary geniuses in Carnatic music, and Hindustani and every… But I felt that because my understanding is more from a distant point of view I can get away with certain kinds of things which I can't if I had known too much of nuances.
Interviewer: Sometimes… you picked up (some singers name) randomly pull out of audience and make them stars. What is it that make you feel that this star material, this is the guy who will make it work?
ARR: I never do that. They have it in them and that's what happens. I can never make a person star. What I can do is I can just try them out and if they have it in them, it shows, adrenalin comes in, the life comes out, and nobody can halt that.
Interviewer: Where does the role of a composer begin, and a singer begin? Where is that dichotomy? Is there a dichotomy at all? Or who needs to be credited for a song's success?
ARR: I think we are all instruments, we are all acting upon what we have to do. So nobody is in control, God is in control. And when Minmini just came and sang the track, so God wanted that to happen.
Interviewer: Are you treating it very spiritually this way?
ARR: I am in a way, actually, because things are put together, and because you believe in good things, I feel that things come together.. even if you want, sometimes you want a singer for a song for a concert and they don't come for ages and you call another singer, he sings the song and it becomes much better, and this happens everytime. And then you think that may be he was the person to sing this song.
Interviewer: But what is one song you would want to give in birth for?
ARR : I don't know.
Interviewer: Something which is very close to your heart?
ARR: I cannot …each person has one, no two people will say the same song. They are all beautiful. So I give respect to them ,and nothing to comment.
A.R.Rahman – Asianet Interview Part – 3
PostCredits: Bhuvi Suresh
Other than music, Rahman is involved in many humanitarian actions too. Rahman founded the A R Rahman Foundation with the aim of wiping out poverty from the face of the earth. Rahman was appointed as the Global Ambassador of Stop TB Partnership of WHO in April 2004. Albums like Pray For Me Brother, Indian Ocean etc depict Rahman's interest in humanitarian endeavours.
Interviewer: Is mediocrity what irritates you the most?
ARR: Definitely, all of us. And that is the reason for K M Music Conservatory. I feel, if we build up musicians, we muster them for melody and harmony, and they will never do that. Because they can never allow their conscience to go against what they have learnt. They'd give that, you know, beautiful format. They would take it further what good people have left.
Interviewer : You have once said that, you know, what Indian music now lacks is perhaps is a powerful, overwhelming male voice. Do you still stick to that?
ARR: (eh)…well, there was a time when people used to love this kara kara(rough) voice, which is not there now. The last I'dthink was Jesudas having that, probably Jagjit Singh and all..
Interviewer:But then you hardly use him these days, is it like you are giving a chance to newcomers?
ARR: No. What I have been doing is, I am doing very experimental stuff. I have never done the very straight stuff. In my understanding I am a rebel in my own way. I'd like do all the movies. I'd say "Give me all the movies, I'll do all of them". Then I'm responsible for that. I want to do things which excite me, which take me more, excite me, and take me to another spectrum of the music which has not been explored.
Interviewer: That makes you a rebel with a cause. What would be your cause?
ARR: (Laughing)…My cause is to give people something interesting. Because when you have something interesting…I want something interesting to listen to, I want to make something interesting to listen to. …of course…
Interviewer: Obviously there is something more in it. Anyone..a lot of people make music, which is interesting…I am sure you have something more spiritual, perhaps, than that.
ARR: Well, I think, definitely. Without any blessing I would be nothing. I believe that making peace out of chaos, making
Interviewer: What personal was perhaps the experience doing Pray For Me Brother? Was it a personal… Did it haunt you personally?
ARR: Pray For Me Brother…it did haunt me, because that is the only one thing which we always say to people, when friends meet they say oh brother I'm so pray for me, or I'd say to somebody, so that, whatever it is con-notating, it is the only thing that we exchange. So I thought that is a good outline to have as a song. It's not about giving money, it's about wishing someone good.
Interviewer: It was thought provoking. I think that music must have helped in some way. Do you believe that these things actually make a difference?
ARR: At least the people have noticed, people have in a corner of their heart it's laid a seat. And lots have thought twice before spending money for unnecessary reason. This one could have done for that. So I just want that to be an inspiration. Not a solution. So in that way I think it did.
Interviewer: Do you go back to your pre-ghazal (that's what it sounded to me)days, when you are struggling, you are working. Do you do that ever?
ARR: I don't. (both laughs). Not that I have to, I think of the future always. Because the past sometimes is bad. It only brings the venom and brings the bad memories. And that's what is happening in the whole country, perhaps, the whole world. "You have done this to me long back, let me do it again now". It's just pointless. Good experience…definitely I'm grateful and have my gratitude towards them, but bad things I keep forgetting and thank you very much.
Interviewer: Sorry, but I have to take you to the past and considering that you have spend some part of your life in Kerala. What memories of Kerala you have.
ARR: Kerala, I think…very laid back people, very honest…well…I…m y first recording…actually Kerala was in my house. When I used to come out of my house I used to see musicians, producers, and directors, all waiting for my father, assistants and singers…so the whole of Kerala was in Tamil Nadu. You know, the whole industry was there. And it was like a family, a family of Malayalam and Telugu and Kannada men. My father was involved in so many different, he was assistant to so many different music composers. He was probably like a nucleus for everyone, and that's a reason he died, he go overworked. The lesson I learnt from him was not to overwork and worn out yourselves, because you need something for yourself.
Interviewer: Is it possible for you to follow that?
ARR: Ya, I tried it, and that is why I did one movie in six days
Interviewer: You keep visiting Kerala, on and off regularly on personal trip. Did you go to your father's place?
ARR: I did go to Kerala recently. I went for Muthu, I went for Padayappa , for an ad for Worldspace…
Interviewer: But you have never done a movie in Malayalam after Yodha. Has it been deliberate?
ARR: It's no deliberate. Just that I need something exciting. There were some movies which were very close to execution, but then it fell out, because of various reasons.
Other than music, Rahman is involved in many humanitarian actions too. Rahman founded the A R Rahman Foundation with the aim of wiping out poverty from the face of the earth. Rahman was appointed as the Global Ambassador of Stop TB Partnership of WHO in April 2004. Albums like Pray For Me Brother, Indian Ocean etc depict Rahman's interest in humanitarian endeavours.
Interviewer: Is mediocrity what irritates you the most?
ARR: Definitely, all of us. And that is the reason for K M Music Conservatory. I feel, if we build up musicians, we muster them for melody and harmony, and they will never do that. Because they can never allow their conscience to go against what they have learnt. They'd give that, you know, beautiful format. They would take it further what good people have left.
Interviewer : You have once said that, you know, what Indian music now lacks is perhaps is a powerful, overwhelming male voice. Do you still stick to that?
ARR: (eh)…well, there was a time when people used to love this kara kara(rough) voice, which is not there now. The last I'dthink was Jesudas having that, probably Jagjit Singh and all..
Interviewer:But then you hardly use him these days, is it like you are giving a chance to newcomers?
ARR: No. What I have been doing is, I am doing very experimental stuff. I have never done the very straight stuff. In my understanding I am a rebel in my own way. I'd like do all the movies. I'd say "Give me all the movies, I'll do all of them". Then I'm responsible for that. I want to do things which excite me, which take me more, excite me, and take me to another spectrum of the music which has not been explored.
Interviewer: That makes you a rebel with a cause. What would be your cause?
ARR: (Laughing)…My cause is to give people something interesting. Because when you have something interesting…I want something interesting to listen to, I want to make something interesting to listen to. …of course…
Interviewer: Obviously there is something more in it. Anyone..a lot of people make music, which is interesting…I am sure you have something more spiritual, perhaps, than that.
ARR: Well, I think, definitely. Without any blessing I would be nothing. I believe that making peace out of chaos, making
Interviewer: What personal was perhaps the experience doing Pray For Me Brother? Was it a personal… Did it haunt you personally?
ARR: Pray For Me Brother…it did haunt me, because that is the only one thing which we always say to people, when friends meet they say oh brother I'm so pray for me, or I'd say to somebody, so that, whatever it is con-notating, it is the only thing that we exchange. So I thought that is a good outline to have as a song. It's not about giving money, it's about wishing someone good.
Interviewer: It was thought provoking. I think that music must have helped in some way. Do you believe that these things actually make a difference?
ARR: At least the people have noticed, people have in a corner of their heart it's laid a seat. And lots have thought twice before spending money for unnecessary reason. This one could have done for that. So I just want that to be an inspiration. Not a solution. So in that way I think it did.
Interviewer: Do you go back to your pre-ghazal (that's what it sounded to me)days, when you are struggling, you are working. Do you do that ever?
ARR: I don't. (both laughs). Not that I have to, I think of the future always. Because the past sometimes is bad. It only brings the venom and brings the bad memories. And that's what is happening in the whole country, perhaps, the whole world. "You have done this to me long back, let me do it again now". It's just pointless. Good experience…definitely I'm grateful and have my gratitude towards them, but bad things I keep forgetting and thank you very much.
Interviewer: Sorry, but I have to take you to the past and considering that you have spend some part of your life in Kerala. What memories of Kerala you have.
ARR: Kerala, I think…very laid back people, very honest…well…I…m y first recording…actually Kerala was in my house. When I used to come out of my house I used to see musicians, producers, and directors, all waiting for my father, assistants and singers…so the whole of Kerala was in Tamil Nadu. You know, the whole industry was there. And it was like a family, a family of Malayalam and Telugu and Kannada men. My father was involved in so many different, he was assistant to so many different music composers. He was probably like a nucleus for everyone, and that's a reason he died, he go overworked. The lesson I learnt from him was not to overwork and worn out yourselves, because you need something for yourself.
Interviewer: Is it possible for you to follow that?
ARR: Ya, I tried it, and that is why I did one movie in six days
Interviewer: You keep visiting Kerala, on and off regularly on personal trip. Did you go to your father's place?
ARR: I did go to Kerala recently. I went for Muthu, I went for Padayappa , for an ad for Worldspace…
Interviewer: But you have never done a movie in Malayalam after Yodha. Has it been deliberate?
ARR: It's no deliberate. Just that I need something exciting. There were some movies which were very close to execution, but then it fell out, because of various reasons.
A.R.Rahman – Asianet Interview Part – 2
PostCredits: Bhuvi Suresh
Interviewer : People complain that Indian musicians lack the dedication that classical musicians feel the rest have. What do you think about it?
ARR: I don't agree the generalization of dedicated/non- dedicated people. I think those who are dedicated are dedicated in a different way. You can't compare with them, they are unique in their own way, and they are unique in their own way. Because the infrastructure is built in such a way that it is organized, in the West. But here due to various different things...lack of unity…may be it suffered a bit. But now hopefully things will get better.
Interviewer: Will K M Music Conservatory be one step towards that?
ARR: True music conservatory is definitely a step towards that because we have it all in us and it just needs that one step of organizing, or, helping to give infrastructure where they can play any kind of music and they can, in one step, jump to go to international arena.
Interviewer: And focusing on bringing more Western song music to Indian music through this institution?
ARR: No, it's not that why it works actually. It's acquiring more perception, and…generating more jobs, generating more passion, generating more shows and…so many other things. I think once it happen I'll also be more convinced than at this stage…
Interviewer: You also have a school of musical tradition as part of the conservatory. So are you actually encouraging people to learn the instruments that are fairly old? Considering that you have been accused of bringing in technology to music, you know, is it sort of repentance for that?
ARR: It is not repentance. It is the way of life now. Because if somebody knows only one way, one little thing and they don't know the other thing, they cannot complain that this came in, like the video came and the radio starved (smiles). Let there be both and let them have a choice. If given an opportunity I'd have learned, that time, I would have gone to conservatory and all. But we all came up the hard way, so I think if they provided with the right sort of education, we can see much more music. We are only accusing "oh music is not like that those days", but nobody has ever thought of giving that to the people to educate them in the right way. Well, if somebody wants to get educated, the rich could go to Europe or America and learn, the poor could go nowhere.
Interviewer: Right
ARR: So...
Interviewer: So is it a paying back to the society today?
ARR: Also, it is also a selfish reason.
Interviewer: What is the selfish reason?
ARR: Selfish reason is that I'll be listening to the orchestra for five years and I'd be having an orchestra of our own, in five years or three years, or ten years, but the seed had to be sown, and it had to be done now.
Interviewer: How do you respond to that allegation you are clinging on, you are depending too much on technology? Do you feel…?
ARR: I don't think it is an allegation; it's just…sometimes ignorance, sometimes lack of understanding of what they say. If you say, now that you are carrying a camera, (pointing at the camera), if I say you should use a machine old camera…you are using the technology to capture me. So that is not a…that's a progress. So certain things are progress, certain things are… If I make good music with whatever it is, then it is… it's a progress for me. If I deteriorate from that, if I'm making noise, so you are going to technology and making something irritating which I shouldn't like...But doesn't that happen now too often in modern music? Don't you feel, see, hear… There is, there's good and there's bad. And we have to filter it, I think. That happens in every era I think. Mediocrity is in every era. That shortcut to creativity always happens..
Interviewer : People complain that Indian musicians lack the dedication that classical musicians feel the rest have. What do you think about it?
ARR: I don't agree the generalization of dedicated/non- dedicated people. I think those who are dedicated are dedicated in a different way. You can't compare with them, they are unique in their own way, and they are unique in their own way. Because the infrastructure is built in such a way that it is organized, in the West. But here due to various different things...lack of unity…may be it suffered a bit. But now hopefully things will get better.
Interviewer: Will K M Music Conservatory be one step towards that?
ARR: True music conservatory is definitely a step towards that because we have it all in us and it just needs that one step of organizing, or, helping to give infrastructure where they can play any kind of music and they can, in one step, jump to go to international arena.
Interviewer: And focusing on bringing more Western song music to Indian music through this institution?
ARR: No, it's not that why it works actually. It's acquiring more perception, and…generating more jobs, generating more passion, generating more shows and…so many other things. I think once it happen I'll also be more convinced than at this stage…
Interviewer: You also have a school of musical tradition as part of the conservatory. So are you actually encouraging people to learn the instruments that are fairly old? Considering that you have been accused of bringing in technology to music, you know, is it sort of repentance for that?
ARR: It is not repentance. It is the way of life now. Because if somebody knows only one way, one little thing and they don't know the other thing, they cannot complain that this came in, like the video came and the radio starved (smiles). Let there be both and let them have a choice. If given an opportunity I'd have learned, that time, I would have gone to conservatory and all. But we all came up the hard way, so I think if they provided with the right sort of education, we can see much more music. We are only accusing "oh music is not like that those days", but nobody has ever thought of giving that to the people to educate them in the right way. Well, if somebody wants to get educated, the rich could go to Europe or America and learn, the poor could go nowhere.
Interviewer: Right
ARR: So...
Interviewer: So is it a paying back to the society today?
ARR: Also, it is also a selfish reason.
Interviewer: What is the selfish reason?
ARR: Selfish reason is that I'll be listening to the orchestra for five years and I'd be having an orchestra of our own, in five years or three years, or ten years, but the seed had to be sown, and it had to be done now.
Interviewer: How do you respond to that allegation you are clinging on, you are depending too much on technology? Do you feel…?
ARR: I don't think it is an allegation; it's just…sometimes ignorance, sometimes lack of understanding of what they say. If you say, now that you are carrying a camera, (pointing at the camera), if I say you should use a machine old camera…you are using the technology to capture me. So that is not a…that's a progress. So certain things are progress, certain things are… If I make good music with whatever it is, then it is… it's a progress for me. If I deteriorate from that, if I'm making noise, so you are going to technology and making something irritating which I shouldn't like...But doesn't that happen now too often in modern music? Don't you feel, see, hear… There is, there's good and there's bad. And we have to filter it, I think. That happens in every era I think. Mediocrity is in every era. That shortcut to creativity always happens..
A.R.Rahman Asianet Interview - May 3, 2008 Part-1
PostCredits: Bhuvi Suresh
Interviewer: "Do you pick up music from your sorroundings, and may be subconsciously perhaps?
ARR: Subconsciously I like to see what is happening in the area, like I was very pretty surprised when I went to Jeddah, and find the seal of Lebanon and Beirut, making a different kind of music. And Dubai ofcourse is another big creative place where I have been to. I have not followed that much because I have been involved in something else like Lord of the Rings and Elizabeth and my own projects which were K M Music. But I think it evolved in it, like Arabic music. There is a quality production at the same time maintaining the tradition of the Makkah..
Interviewer: "Do you obviously try to bring in the new element, let's say, like if it's Arabic or Sufi that now that affects you, do you try to subconsciously bring them to the songs that you do? Or is it really technical…
ARR: it's that it's mostly dependent on the Director. If something is good I tell them that you wanna hear this and he hears it and if they like it they embrace it, if they don't then I keep it as it.
Interviewer: Since you mentioned Lord of the Rings, you just completed album with that Warriors of Heaven and Earth, the Chinese movie… I mean you are really going international. Is it something that you really aspired for? What does it mean to you, this international reputation?
ARR: …For me I think music is…when I do music for a Tamil movie it is as respectful as when I do it for a Hollywood film. I don't think "oh it is a Tamil movie, let me do it all shoddy…give more finished work …(blurring )…hopefully I treat them all equally, whether it's American audience or Indian audience. And that's other one of the reasons why it transcends the audience.
Interviewer: When you work with the western orchestra, what is one similarity or one difference that you find compared to the Indian team with which you work?
ARR: I…here, I think once you work with musicians you know, you just have to say, we have to begin something and they will end that for you, they can take it further. But when you work with musicians you don't know, especially cast and orchestra, you need to write everything, you need to show them all, so you can't have it in mind and think that you can pull it off. You need to…there's a full process of orchestrating and copying down the stuff to the orchestra…
Interviewer: So it is more challenging?
ARR: It's not challenging, it's just the step towards that. I can't now wake up in the afternoon and say "call the orchestra, let me do a song." I can do that in Chennai. But I can't do that else. I need to have an orchestra booked three months in advance, I want to finish the scoring and then on the day of the recording they play. So it can't be done overnight. Everybody is preoccupied.
Interviewer: "Do you pick up music from your sorroundings, and may be subconsciously perhaps?
ARR: Subconsciously I like to see what is happening in the area, like I was very pretty surprised when I went to Jeddah, and find the seal of Lebanon and Beirut, making a different kind of music. And Dubai ofcourse is another big creative place where I have been to. I have not followed that much because I have been involved in something else like Lord of the Rings and Elizabeth and my own projects which were K M Music. But I think it evolved in it, like Arabic music. There is a quality production at the same time maintaining the tradition of the Makkah..
Interviewer: "Do you obviously try to bring in the new element, let's say, like if it's Arabic or Sufi that now that affects you, do you try to subconsciously bring them to the songs that you do? Or is it really technical…
ARR: it's that it's mostly dependent on the Director. If something is good I tell them that you wanna hear this and he hears it and if they like it they embrace it, if they don't then I keep it as it.
Interviewer: Since you mentioned Lord of the Rings, you just completed album with that Warriors of Heaven and Earth, the Chinese movie… I mean you are really going international. Is it something that you really aspired for? What does it mean to you, this international reputation?
ARR: …For me I think music is…when I do music for a Tamil movie it is as respectful as when I do it for a Hollywood film. I don't think "oh it is a Tamil movie, let me do it all shoddy…give more finished work …(blurring )…hopefully I treat them all equally, whether it's American audience or Indian audience. And that's other one of the reasons why it transcends the audience.
Interviewer: When you work with the western orchestra, what is one similarity or one difference that you find compared to the Indian team with which you work?
ARR: I…here, I think once you work with musicians you know, you just have to say, we have to begin something and they will end that for you, they can take it further. But when you work with musicians you don't know, especially cast and orchestra, you need to write everything, you need to show them all, so you can't have it in mind and think that you can pull it off. You need to…there's a full process of orchestrating and copying down the stuff to the orchestra…
Interviewer: So it is more challenging?
ARR: It's not challenging, it's just the step towards that. I can't now wake up in the afternoon and say "call the orchestra, let me do a song." I can do that in Chennai. But I can't do that else. I need to have an orchestra booked three months in advance, I want to finish the scoring and then on the day of the recording they play. So it can't be done overnight. Everybody is preoccupied.
Sunday 10 May 2015
AR Rahman's Upcoming Hollywood and Bollywood Projects
1.) A Christopher Nolan film
At last he noticed the outstanding work of ARR and they are collaborating for a fantasy film ,something in the lines of Dark Knight.Year 20** kicks off with this soundtrack.There are anthemic themes,dark shaded instrumentals and a lot of strings and symphonic
2.) Another international film with an Italian or Irish background
A romantic film which is shot extensively throughout the landscape of Ireland or Italy.There must be typical Italian or Irish melodies.
3.) A typical Majid Majidi film
A typical persian film directed by Majid Majidi in his trademark style like Children of Heaven or Colors of Paradise.
4.) An Imtiaz Ali film
He's at home and starts with an Imtiaz Ali romance.The film is shot exclusively in Kashmir and Himachal.They have came up with a tracklist of 12 songs.
5.) A Salman Khan film
Its not exactly a dream but just curious.How it will be when ARR composes for a typical Salman Khan no brainer directed by someone like Kabir Khan or Sajid Nadiadwala.There must be an intro song(like what oruvan oruvan was for Rajini),a romantic song(which will be on everyone's lips),a melancholic song and a party number.This is just a mainstream commercial chartbustric blah blah.
6.) An offbeat film directed by Anurag Kashyap
A very dark intense film.Nobody knows what to expect from this combo.Both of them are highly experimental.Chances are high for a new age Thiruda Thiruda.
7.) A Sufi album
His first personal Sufi album in after 2000s.Tracklist is in the range of 14-15 songs.Minimum length of every track is 7 minutes.Atleast 5songs are sung by himself.It should have some Urdu poetry by Irshad Kamil and no reworks of the past(like Soz of Salam).There must be 2 instrumentals and one must be that awesome seaboard instrumental from Dubai Sufi Concert.
8.) Another personal album with a theme of world peace
There are songs in Tamil,Hindi,Urdu and English.Various International artists are collaborating with him for this album.There is one song rapped by Eminem.8 songs.Various genres.The theme of every song is peace,unity,happiness and brotherhood.
Friday 1 May 2015
Acham Enbathu Madamaiyada Songs Update
With Simbu's Vaalu almost reaching its release date (May 9th), his Acham Enbathu Madamaiyada is also going ahead in full throttle. Directed by Gautham Menon and with music composed by AR Rahman, new updates about this film have come in.
Sources close to the team said that they have supposedly recorded four full-fledged songs so far in the album. One of the songs is a love duet which is reportedly titled 'Rasaali' (Tamil name for the bird, Falcon) and it is touted to be the next 'Mannipaaya'. Gautham's regular Thamarai has penned the lyrics for this song. The team is reportedly planning atleast 2 more songs in the track list and is apparently very excited about all the songs.
But when are we going to listen to these magical tunes by AR Rahman? Watch this space for more updates.
ஏ ர் ரஹ்மான் புதியதலைமுறை நேர்காணல்
பதிவு: புவி சுரேஷ்
புதிய தலைமுறை : ஆன்மீகம் உங்கள் வெற்றிக்கு பயன்பட்டதா?
ரஹ்மான் : முக்கியமாக நாம் எடுக்கும் முட்டாள்தனமான முடிவுகள் எல்லாமே பாதுகாப்பின்மையால் வருவதுதான்.
நேற்றுக்கூட எனக்கு ஓர் எஸ்.எம்.எஸ். வந்தது: ’நீங்கள் ஆபிஸ் போவதற்கு தயாராய் இருக்கிறீர்கள். அந்த சமயத்தில் உங்கள் மகள், உங்கள் மீது காபியை கொட்டி விடுகிறாள். கொட்டியது கொட்டியதுதான். அதை, இல்லை என்று செய்ய முடியாது. அந்தச் சமயத்தில் கோபத்தை மட்டுப்படுத்திக் கொண்டு, ‘அடுத்த முறை பார்த்து வேலை செய். கொட்டாமல் பார்த்துக்கொள்’ என்று சொல்லலாம் அல்லது கோபத்தோடு பளாரென்று ஓர் அடி அடித்துவிட்டு கத்தி ஆர்ப்பாட்டம் பண்ணி, லேட்டானதற்கு பரபரப்பாகி, ஒன்றுமில்லாத விஷயத்திற்க்கு நேரத்தையும் சக்தியையும் வீணாக்கலாம்.
அந்த மாதிரி சமயங்களில் என்ன செய்வீர்கள்? நமக்கு இரண்டு தேர்வுகள் உள்ளன.. ஒன்று, மன்னிக்கும் வாய்ப்பு. இரண்டு, பிரச்சனை செய்வது.
இதுமாதிரி ஒவ்வொரு சூழலுக்கும் தேர்வுகள் பல இருக்கும்.வெவ்வேறு சூழல்களிலும் பொறுமையாக யோசித்து முடிவெடுக்க ஒரு வாய்ப்பு இருக்கும். ஒரு மரணம் நிகழ்கிறதென்றால், அதை வைத்து மேலும் மரணங்களில் எண்ணிக்கையைப் பெரிதாக்குவதுபோ ல பிரச்சினையை மேலும் பெரிதாக்க வாய்ப்புகள் அமைகின்றன.இப்பட ி எந்த வாய்ப்பை பயன்படுத்துவது என்பதை யோசிக்க வேண்டியிருக்கிற து.நடந்த விஷயத்தை விட்டுவிட்டு பாஸிட்டுவாகப் போகலாமா அல்லது அதை மேலும் நெகட்டிவாக்கலாம ா என்பதை முடிவு செய்ய வேண்டியது நாம்தான்.இதுமாதிரி அமைதியாக யோசித்து முடிவெடுக்க எனக்கு ஆன்மீகம் கைகொடுக்கிறது.இசைக்கும் அது உதவுகிறது
புதிய தலைமுறை : ஆன்மீகம் உங்கள் வெற்றிக்கு பயன்பட்டதா?
ரஹ்மான் : முக்கியமாக நாம் எடுக்கும் முட்டாள்தனமான முடிவுகள் எல்லாமே பாதுகாப்பின்மையால் வருவதுதான்.
நேற்றுக்கூட எனக்கு ஓர் எஸ்.எம்.எஸ். வந்தது: ’நீங்கள் ஆபிஸ் போவதற்கு தயாராய் இருக்கிறீர்கள். அந்த சமயத்தில் உங்கள் மகள், உங்கள் மீது காபியை கொட்டி விடுகிறாள். கொட்டியது கொட்டியதுதான். அதை, இல்லை என்று செய்ய முடியாது. அந்தச் சமயத்தில் கோபத்தை மட்டுப்படுத்திக் கொண்டு, ‘அடுத்த முறை பார்த்து வேலை செய். கொட்டாமல் பார்த்துக்கொள்’ என்று சொல்லலாம் அல்லது கோபத்தோடு பளாரென்று ஓர் அடி அடித்துவிட்டு கத்தி ஆர்ப்பாட்டம் பண்ணி, லேட்டானதற்கு பரபரப்பாகி, ஒன்றுமில்லாத விஷயத்திற்க்கு நேரத்தையும் சக்தியையும் வீணாக்கலாம்.
அந்த மாதிரி சமயங்களில் என்ன செய்வீர்கள்? நமக்கு இரண்டு தேர்வுகள் உள்ளன.. ஒன்று, மன்னிக்கும் வாய்ப்பு. இரண்டு, பிரச்சனை செய்வது.
இதுமாதிரி ஒவ்வொரு சூழலுக்கும் தேர்வுகள் பல இருக்கும்.வெவ்வேறு சூழல்களிலும் பொறுமையாக யோசித்து முடிவெடுக்க ஒரு வாய்ப்பு இருக்கும். ஒரு மரணம் நிகழ்கிறதென்றால், அதை வைத்து மேலும் மரணங்களில் எண்ணிக்கையைப் பெரிதாக்குவதுபோ ல பிரச்சினையை மேலும் பெரிதாக்க வாய்ப்புகள் அமைகின்றன.இப்பட ி எந்த வாய்ப்பை பயன்படுத்துவது என்பதை யோசிக்க வேண்டியிருக்கிற து.நடந்த விஷயத்தை விட்டுவிட்டு பாஸிட்டுவாகப் போகலாமா அல்லது அதை மேலும் நெகட்டிவாக்கலாம ா என்பதை முடிவு செய்ய வேண்டியது நாம்தான்.இதுமாதிரி அமைதியாக யோசித்து முடிவெடுக்க எனக்கு ஆன்மீகம் கைகொடுக்கிறது.இசைக்கும் அது உதவுகிறது
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