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Articles on ARR from YG.

Topic started by Are Yaar (@ 203.197.141.186) on Thu Oct 10 08:44:25 EDT 2002.
All times in EST +10:30 for IST.

For many days, I felt that I should have a thread to share some of the articles about ARR in desi and international press and website. I intend to start this thread and expect others also to post some articles about ARR here.

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Responses:

• Old responses
  
• From: Speaker (@ 202.156.2.219) on: Wed Nov 20 07:40:48 EST 2002
  
  Instead of answering my question you guys are commenting as vy. you guys have trouble in understanding. Hmmm will sound right to AY. No doubts.
  
  
• From: Are Yaar (@ 203.115.31.67) on: Wed Nov 27 05:00:08 EST 2002
  
  http://movies.indiainfo.com/tamil/onthesets/index.html
  
  ENAKKU 20 - UNAKKU 18
  
  Still from ENAKKU 20 - UNAKKU 18 Star producer A. M. Rathnam's
  bilingual film ENAKKU 20 - UNAKKU 18 is readying up for January
  release. The film, which has been getting delayed for some unavoidable
  reasons, is now at finishing stage. Climax scenes are being canned in
  around Hyderabad locales.
  
  The film has Tarun (of PUNNAGAI DESAM), Trisha, and debutant Shirya in
  the lead. Rathnam's son Jyothikrishna is directing the film. Though it
  is his debut film, Jyothikrishna has already worked for two films as
  scriptwriter. The talkie part of the film will be completed by
  December 15th, after which the unit will leave for New Zealand to
  shoot two songs there.
  
  Still from ENAKKU 20 - UNAKKU 18 The film will be ready by January
  first week. And Rathnam is planning to release both in Tamil and
  Telugu on the occasion of Makara Sankranthi festival. The film centers
  around two characters, Tarun and Trisha. Both are students. They fall
  in love while they were traveling in a train and rest of the movie is
  based on how they would meet again. This triangle love story has A. R.
  Rehman's music.
  
  
• From: Are Yaar (@ 203.115.31.67) on: Thu Nov 28 03:42:28 EST 2002
  
  http://www.rediff.com/news/2002/nov/27anthem.htm
  
  
  Theatre owners of Mumbai feel that the Maharashtra government's move
  instructing them to play Jana Gana Mana, the national anthem, after
  every show is not a good one as it will result in people
  disrespecting it.
  
  Speaking to rediff.com, Manoj Desai, executive director of the G-7
  multiplexes in Bandra, said, "In 1980, there was a rule that made
  playing the national anthem in theatres compulsory. But nobody
  stopped and waited for it to get over, thus disrespecting it. So that
  law was changed. I was surprised when I came to know that the
  government is planning to reintroduce the old law."
  
  This decision will probably be implemented next year on Republic Day.
  The idea came from the Nationalist Congress Party, a major
  constituent in the ruling Democratic Front government.
  
  "I once went to a police station and called the police officer to
  show him how people were leaving in spite of the national anthem
  playing. No one can force nationalism on anyone. It has to come from
  within. If a picture is bad, people don't even wait for the film to
  end. Moreover, if a mob comes to the doorkeeper he cannot keep the
  doors shut and tell people to wait," Desai said.
  
  Vithal Ramrao Phule, manager of Chandan cinema in Andheri, said, "The
  film Kabhi Khushi Kabhie Gham has the national anthem in it. The film
  ran for many weeks in our theatre. But not more than 50 out of the
  1300-strong audience stood to respect the song. If people don't stand
  for the national anthem during the film, how will they wait after the
  film ends?"
  
  But Hiral Kanakia, director of Cineline, which runs six cinemas in
  Mumbai, said she had been playing the national anthem in her theatres
  after every show on Independence Day and Republic Day.
  
  "Our experience is that people respect the national anthem on these
  two days. But if we play them for all the shows I am not sure they
  will wait. Though I really hope they do," Kanakia said.
  
  "I know that people run as fast as possible after the show is over.
  But after watching the film for three hours, they won't lose much if
  they give two minutes to the anthem," she added.
  
  The composition of Jana Gana Mana by A R Rahman of Bharat Bala
  Productions will probably be used.
  
  Interestingly, Rahman's composition of the anthem ran into rough
  weather after the Centre found that his version was taking more than
  the 52 seconds that the national anthem normally takes. The Centre,
  however, cleared the anthem later and played it on television.
  
  Speaking to rediff.com, Bharat Bala said, "I will be delighted if the
  Maharashtra government approaches us. But so far no word has come
  from them about the proposal."
  
  
  
• From: Are Yaar (@ 203.115.31.67) on: Thu Nov 28 03:49:09 EST 2002
  
  http://www.nypost.com/entertainment/63017.htm
  
  --Ravi
  
  
  KNOCK ON BOLLYWOOD
  
  By MICHAEL RIEDEL
  ----------------------------------------------------------------------
  ----------
  
  Preeya Kalidas (left) and Raza Jaffery in rehearsal for "Bombay
  Dreams."
  - PA
  
  November 27, 2002 -- OF all the popular shows in London's West End
  that have set their sights on Broadway, the one that will have the
  most challenging - and, if its novice producer gets it right,
  thrilling - trip across the pond will surely be "Bombay Dreams."
  The "novice" producer is Andrew Lloyd Webber, arguably more powerful
  than ever in the commercial theater right now, since he owns several
  of the best houses in the West End.
  
  "Bombay Dreams" is the first musical he has produced for which he has
  not written the music.
  
  The show is by no means perfect, but it is important - exciting,
  even - because it introduces a fresh subject to the musical theater -
  Bollywood, India's movie industry - and because it has one of the
  richest, most melodic scores since, well, "Sunset Boulevard."
  
  The music is by A.R. Rahman, and Lloyd Webber, wearing his producer
  hat, deserves credit for tapping the talents of this composer, as yet
  unknown in the West but hugely popular in India (he is, you might
  say, the Andrew Lloyd Webber of the Subcontinent).
  
  Lloyd Webber has made a solid hit of "Bombay Dreams," which,
  according to one backer, should return its $6.5 million investment
  early next year.
  
  He has done so in part by tapping into London's thriving Indian
  community (population: more than 500,000).
  
  At a recent matinee, easily half the audience was Indian.
  
  Overall, about 20 to 30 percent of the audience for "Bombay Dreams"
  is Indian, says Arthur Pais, who, as senior editor of India Abroad in
  New York, has written extensively about "Bombay Dreams."
  
  That's not enough to make the show the hit it is - the bulk of its
  audience is still white - but it is a strong and, at least for now,
  consistent bonus for the box office.
  
  The question is: How large, potentially, is the Indian audience
  for "Bombay Dreams" in New York - and can Lloyd Webber count on its
  support?
  
  There are, according to census figures, over 1.5 million Indians in
  America.
  
  The good news for Lloyd Webber is that more than 200,000 of them live
  in the N.Y.-N.J. area (60,000 alone in Middlesex County).
  
  A good many of them are rolling in rupees and, according to Pais, who
  reviews theater for India Abroad, they are starting to discover
  Broadway.
  
  He says he is "cautiously optimistic" that they will support "Bombay
  Dreams," largely because of Rahman's drawing power.
  
  Of course, if only Indians flock to see "Bombay Dreams," it'll close
  in a month.
  
  To be a hit, it will have to appeal to the traditional Broadway
  crowd, starting with the New York Drama Critics Circle.
  
  And here Lloyd Webber has some work to do.
  
  Pais - as well as most London critics - thinks the show's book is
  weak, and he is right.
  
  Its simple-but-effective story (about a poor boy who becomes a film
  star) is told in the fashion of a Bollywood movie, which means it is
  often wildly melodramatic, with characters breaking into song at odd
  times.
  
  If you don't know much about Bollywood (and the majority of the
  audience will not), it can often seem ridiculous.
  
  In addition, much of the dialogue is clichéd, the jokes sub-sitcom
  and the plot elements contrived.
  
  The book could also use a good pruning.
  
  On the plus side, there are many appealing characters and plenty of
  opportunities for eye-popping production numbers (which should be
  more eye-popping than they are right now).
  
  And, of course, there are those gorgeous Rahman songs, one of
  which, "Shakalaka Baby," a guilty pleasure to be sure, is destined to
  be a hit at Bungalow 8.
  
  The book's problems are not insurmountable (calling structure king
  Tom Meehan), and a strong producer would address them.
  
  Here's Lloyd Webber's chance to show us just how good he is at his
  new job.
  
  
  
• From: Are Yaar (@ 203.115.31.67) on: Thu Nov 28 03:49:46 EST 2002
  
  IDBI Bank partners Saathiya to serve its customers better
  Purvita Chatterjee
  
  
  
  MUMBAI, Nov. 27
  
  IN a bid to serve its customers better, IDBI Bank has decided to co-brand itself with the about-to-be-released film - Saathiya.
  
  The bank has decided to send out Saathiya cassettes, with its name mentioned on the cassette covers, to all customers who fill out its suggestion forms to offer better services.
  
  In a pamphlet addressing its customers, Mr Ajay Bimbhet, Country Head - Retail Banking, says, "At IDBI Bank, we couldn't find a more suitable word than Saathiya to describe the special bond that connects you to us. As your partner, nothing gives us more satisfaction than fulfilling your smallest banking needs. After all, it's the confidence and trust you have placed in us that motivates us to serve you better."
  
  By approaching Saregama, the music company which has the rights to the film, IDBI has brought out special editions of the cassettes by branding the product along with its own name to drive home the message of `partnering' its customers for each of its products and services.
  
  Considering IDBI Bank wants to build `a relationship for life' with its customers, the name of the film aptly stands for the same message. Says Mr Bimbhet, "A trusted companion is at the heart of every relationship. Someone who's there with you in good times and bad. A true Saathiya, whom you can count on at every step in life."
  
  The name of the film has been used to address its customers in the suggestion forms as well. For instance, the pamphlet says, "The day your Saathiya made you smile - tell us about instances where you felt that we have enhanced your banking experience or The day your Saathiya let you down - tell us about the instances where you felt disappointed with our services."
  
  Adds Mr Amish Tripathi, Head, Marketing, IDBI Bank, "Today there is not much product differentiation among private banks and it is service which is the only distinguishing factor." This co-branding initiative is an effort to distinguish the services offered by IDBI Bank and is expected to have a long-term rub off on its own brand in the future.
  
  As Mr Bimbhet stresses to his customers, "The music is an expression of everything we believe to be the spirit of a successful, life-long partnership. The same spirit that is at the heart of the relationship we share with you."
  
  IDBI has co-branded itself with an earlier film - Kabhi Khushi Kabhi Gha, again playing upon the name of the film to talk about its services. The fact that sometimes customers are happy and sometimes they are not made the bank use the film's name as a co-branding exercise to address its customers about improving its retail products and services.
  
  
  
  
  
• From: Are Yaar (@ 203.115.31.67) on: Fri Nov 29 02:22:21 EST 2002
  
  An interesting post and its responses.
  --------------------------------------
  Happy reading for Non - ARRYG fans
  
  
  Why Raja is Uncomparable?
  By Sathyavageeswaran
  To all,
  Whether you are a Ilayaraja fan or ARR fan or MSV fan or whoever it is, if you want to argue that your favourite music director is better than the others give hardcore evidence to support your arguement. Do not just like that say that ARR has set the Trend, So he is better Or Ilayaraja has composed this song and he is better. You may like your favourite. It does not mean that your favourite music director is better than others. Your wishes are different from the facts. To be an active participator and to participate in a healthy discussion always support your arguments with solid evidence.
  I will start with my arguments that Ilayaraja is the alltime best for music of any kind.
  First I will answer to the following words by Mr ARUN who started the discussion.
  "Accept it or not, Rahman HAS replaced Raja. If you are comparing achievements, it is totally unfair to compare one's 25 year career with other's five. But for the last five years, Rahman has done a better job than Raja even if you take Raja's first five years (IMO, ofcourse)"
  Rahman has replaced Raja. In what sense Rahman replaced Raja? Being the No 1 music director in Tamilnadu?
  Vivian Richrds and Clive Lloyd were the captains of West Indies Cricket Team. Now Courtney Walsh is the captain. Since being the captain of west indies team. do you put him on par with Richards or Lloyd? Mahatma Gandhi was the leader of Congress 50 years back. Now Seetharam Kesari!!
  Can Kesari claim that he is as good a leader as Gandhi only because he is the leader of congress?
  The reason for Ilayaraja's decline in the field has been discussed by me in the following link and the it itself is a big topic to debate with.
  http://www-anw.cs.umass.edu/~ravi/tfm/test/24703.15:38:06.html
  Anybody can become No. 1 some time or other. Being the no. 1 what are your achievements and what is your contribution? Ilayaraja has nothing to achieve anymore. Can any one of you give me a department in Music where any music director has achieved something better than Ilayaraja? I will discuss in detail his achievement in all departments of music to my knowledge. If I am wrong or If you know something I missed I welcome a healthy argument supoported by solid arguments.
  In the statement I quoted, he has said ARR has done a better job in his first five years. In his First 5 years Raja has done more than 200 films and more than 1000 mega hit songs. He was not promoted by any producer or Director or Press or satellite TVs. How do you put these 200 films and 1000 songs against 25 films and 30 songs? Are you crazy?
  You yourself had said that Raja has 20 years exp. while ARR has 5 years exp. In 20 years Raja has scored more than 800 films and 4000 songs. He has atleast 150 films where all the songs in the film were super hits. He has more than 2000 hit songs and his average films per year is 40. If you project ARR's career, he has done only 30 films so far and around 15 hit movies and 50 hit songs. Assuming consistency he can atmost do 125 films and around 200 hit songs. Has he ever done music for a low budget film or a new director or an actor like Ramarajan, Rajkiran, Murali etc? In what sense you claim that he has done a better job? In the amt he is paid? I will give you an information. Ilayaraja was paid Rs.40 lacks for Thalabathi in 1991, which was the best ever salary in India till that time. He has earned more than 300 crores in 20 years.
  In another place he mentioned that Ilayaraja has copied Hindi and western? Do you have evidence? I have evidence for Rahman's copying. The flute music that starts "Ennavale" in Kadalan was taken from a famous western composer who generously declared that anybody can use his composings as a library. Rahman has agreed this in an interview with Anantha Vigatan.
  Now I will start with How Ilayaraja is uncomparable.
  I claim Ilayaraja to be uncomparable in the following concerns.
  1. Songs
  2. Background Music
  3. Trend Setter
  4. Consistency
  5. Carnatic Music
  6. Albums
  7. Multi Lingual Perfomance
  8. Customizing Songs for directors/actors
  9. Technology in music
  10. His magnanimity
  11. His responsibity in making the film A super hit
  12. His Productivity - Quickness & Excellence
  13. His professional Composing style
  14. Promoting the cine industry / consumer electronics
  I will discuss the above topics one by one.
  ---------------------------------------------------------
  1. Songs
  ---------
  I like to classify songs as follows. ( I will give an example in the brackets - even though obvious - The songs may not be the best of that kind )
  1. Duets ( Kanmaniye Kaadhal Enbathu)
  2. Solo songs ( male - Senthaazhm Poovil, female - Maaliyil Yaaro (sathrian) )
  3. Sensational songs Duo - Not duets ( Aayiram malargale malarungal)
  4. Sensational songs solo - ( Male - Kanavu Kanum Vazhkkai, Female - Raasave Unnai Nan - Thanikkatu Raja)
  5. Songs sung in happy mood - converted to pathos later - (Povomaa Oorgolam)
  6. Pure pathos in nature ( Female - Sonthamillai Banthamillai - Annakili, Male Unna ninaicen - Aboorva sagothargal, Duo - Kudagumalai - Karagaattakkaaran)
  7. Songs designed exclusively for Background music ( Then pandi seemaiyile - Nayagan)
  8. Songs designed for sensation later used for Background Music ( Poongatru - Mudal Mariathai)
  9. Songs designed for duets later used for background music ( Thalaatuthe vaanam - kadal meengal)
  10. Bit songs - (Ae Kuruvi - mudhal mariathai , Sollaal aditha - sinna goundar)
  12. Romantic songs - ( Duo - Nila Kaayudhu, Female- Sivarathiri - Michael Madana..)
  13. Sexual grievance - Azhagu malar aada - Vaideki Kaththirunthaal
  14. Dispute in Marriage - Mandram Vantha Thndralukku - Mounaragam
  15. Songs for ceromonies - occations
  New year - Sagalakalavallavan - tiil the best and immortal
  Puberty - Araicha Sandhanam - Sinna thambi
  Kalyanam - oru nalum unai - ejaman
  First night - Thalaiyai Kuniyum Thamarai - Or odai nathiyagirathu - sridhar
  Birthday - Thenmadhurai - Dharmathin Thalaivan
  Thaalattu - Thooliyile , tene thenpaandi meene, mannava mannava - Walter
  Blessing - Nooru varusham, Adi kaana karunguyile - poonthota kavalkaran
  Appreciation - Potri Paadadi ponne, Kannu pada poguthu
  Engagement - Vanthathe Kungumam - Kilakku Vaasal
  Thoonga Vaikkum Paattu - Pachchai malai thenu - kilakku vaasal
  Happiness for getting things done - Madai thirandhu -nizhzlgal
  Pregnancy - Sindhiya venmani - Poonthotta kavallkaran
  vazhai kappu - rakku muthu rakku -ejaman
  Pongal- Thai pongalu vanthathu - mahanathi
  Dheepavali - Pattasu suthi suthi - Poove poochoodava
  Bogi - kattukuyilu, margalithan - Thalabathi
  Mother's death - En thayenum koyilai - Aranmanai kili
  Athletic environment - Sickendra aadaiyil - iniya uravu pooththathu, Paruvame Pudhiya paadal - nenjaththai killathe)
  Wive's Loss - Sola Pasungiliye - En rasavin Manasula
  16. Brother -sister Relation - Oru thanga Radhaththil - Dharma Uththam
  17. Amma Songs - Amma endralaikkatha
  18. Hamming Oriented songs - Poonthalirada - Panner Pushbangal
  19. Dappanguthu songs ( Vadi en kappa kilangu, Podhuvaga en manasu)
  20. Karnatic pure in nature - Sinna kannan azhaikiran - kavikuyil
  21. Karnatic - Mixed Ragas - Punjai Undu - unnal mudiyum thambi
  22. Conversion of existing raga into new one - Mari Mari ninne - Sindhu Bairavi
  23. Starting in Folk Bridging to Complex karnatic raga - Paadariyen - Sindhu Bairavi
  24. Gaanaa songs - Machchi Mannaaru - Ennuyir tholan
  25. Pure English song in a Tamil Film - One two three - Punnagai Mannan
  26. Quasi English - All The Time - Nadodi Thndral
  I like to highlight this. Ilayaraja is the first person who designed songs which starts
  with a rithm and the rithm occupies the entire film. If you hear the rithm alone itself, you can identify the song. 27. Rithm Oriented songs
  There are a number of songs and I list a few.
  Aasaiya Kaththula - Johny
  Aattama - Captain Prabhakaran
  Kadoram Lolakku
  Nila adhu vaanaththu
  Malai koil vasalil - Veera
  AAsai adhigam
  Mottai madi
  Kattukuyilu
  MASI MAASAM
  Santhaikku vantha kili.
  28. Instrument Oriented Song.
  Ilaya nila - Guitar
  Kalakaalmaga Vazhum - Violin
  Raja Rajathi Rajanendra Raja - Drums ( Only Drums)
  Thenmadurai - Piano
  Manamagale - Devar Magan - Nathaswaram
  Potri Paadadi - Devat Magan - Gadam
  Nilavu Thoongum - Mouth Organ
  29. Kindal Paattu - O party nalla party
  30. Old song like songs - Paarijatha poove, Naan sirithal deepavali
  31. He used Train sound as rithm in Goods Vandiyile - Kunguma chimizh
  32. Exceptional songs even for Trivilial situations - Karumbu vil - meenkodi Theril
  33. DEVOTIONAL ( JANANI JANANI)
  I am tired of thinking any more. Somebody can help me for further list of songs.
  I am sure no other music director can imagine doing this. Has any other music director before him or after him has achieved such a feet. I will challenge!
  2. Background Music(BGM)
  -------------------------------------
  Many of us when thinking and speaking about Ilayaraja, we give our emphasis to his songs. But his potential in Background music is amazing. We hardly talk about it because the involvment that is created by virtue of his BGM eliminates the feeling that music added separately after taking the film. Only in the absence of a quality BGM we feel that something is missing and talk about that.
  I will give you an evidence for his talents in BGM. Mr. Piriyadharsan a Malayala Director ( Rated as one top 5 Indian Directors today) produced a monumental film "KALABANI" or "SIRAICHALAI". When the project was started he gave an interview that he was selecting the technitians for the film from the Top 5 of the respective field. He told that he has only one choice for Music and it was Ilayaraja.
  Raja's professionalism in BGM can be best seen in "Mudal Mariathai and Devar Magan". Raja has been accepted by almost all music directors in India as the Best BGM composer all time.
  3. Trend Setting
  ---------------------
  Many people are talking that trend has changed, This MD has changed the Trend and so on. They are using the word "Trend" as a filler without really specifying what they mean by trend.
  Ilayaraja changed the following trends.
  1. He proved that a Music director can take the entire credit for a song. Before Ilayaraja all songs were either MGR songs or SIVAJI songs or SSR songs or GEMINI songs. And the music directors did not get any credit for their songs. It includes MSV, V.KUMAR, KVM etc.
  Ask anybody whose song is ANNAKILI? It is ILAYARAJA'S song. Whose song is "NALLAVARKKELLAM CHATCHIGAL RENDU" ? Is it a SIVAJI song? No!! It is Ilayaraja's song. He is the person who brought the Music Director from behind the screen to front of the people. People started clapping the hands with enthu seeing the Title " Isai - Ilayaraja". No other MD has got such an appreciation from the public in India before that. People started asking "Isai Yaaru? Ilayarajava? Kandippa Polam!!".
  THIS IS THE TREND SET BY ILAYARAJA.
  2. Ilayaraja proved that only his name is sufficient for the film advertisement. People did not bother who is the actor, actress , director, producer. Seeing Ilayaraja they went into the Theatre.
  Kovaithambi advertised "Payanagal Mudivathillai" with Ilayaraja's cut out. Songs made the film running for 250 days.
  .THIS IS THE TREND SET BY ILAYARAJA
  3. People claim that nowadays musical trend has been shifted to WESTERN. In 1991 ANJALI was released. The songs were declared by Press to be 21st CENTURY MUSIC. At that time only Manirathnam was there to Use Raja's talents in WESTERN MUSIC. Only because of lack of quality customers, many of ilayaraja's talents went unutilised.
  WESTERN MUSIC IS THE TREND SET BY ILAYARAJA.
  4. People claim that some of the today's MD's songs are copied by Hindi people. When Ilayaraja was copied by Hindi people for 15 yrs nobody wrote about that. Hindi Music Director "Anand Milind" openly stated that Ilayaraja is as good as the God and he does not feel ashamed to copy Raja as he is taking music from the Musical Guru. All songs in "CHINNATHAMBI" were copied. The song "THUTHTHUTHOO THUTHTHUTHARA" was copied from " Raakamma Kaiya Thattu". When you did not give popularities to these things that time.
  Letting People to copy from Tamil
  THIS IS THE TREND SET BY ILAYARAJA.
  5. Some people say that Some of our Music Directors are very popular in Hindi too. Ilayaraja has already done music for Hindi - SADMA. In 80s When he enters into the studio, both sides of the road people from Telugu, Kannadam, Hindi were standing and beggging Ilayaraja to score music for them. But He spent all his time for Tamil Tamil Tamil. He paid the price for dedicating his time only for Tamil films. Today the same Tamil people dare to say that Raja avvalavuthaan.
  He was the first Music Director to perform Music for Many Languages. He gave hit movies in Malayalam, Telugu, Kannadam, Hindi that also frequently except(Hindi).
  THIS IS THE TREND SET BY ILAYARAJA.
  6. I like to highlight this. Ilayaraja is the first person who designed songs which starts with a rythm and the rythm occupies the entire film. If you hear the rythm alone itself, you can identify the song.
  I have already given a number of examples.
  THIS IS THE TREND SET BY ILAYARAJA
  7. Ilayaraja is the man who has done Miracle with carnatic music in cine songs. The Raga that was used in "Chinna Kannan Azhaikkiran" from kavikuyil is never indented for a happy song. Ilayaraja said that it can be used for happy songs and composed "Chinna Kannan Azhaikkiran" . (Those who know carnatic can explain better)
  Also the song "Mari Mari Ninne" from sindhu Bairavi was sung in a different raga that is beyond the reach of lay people who do not know carnatic music. Ilayaraja with the same Lyrics, changed the Raga and made the song whispered by lay people.
  For the first time in cine songs Ilayaraja started from a flok song that is written in the same Raga as "Mari Mari Ninne" in sindhubairavi, and bridged this folk song to the song "Mari Mari Ninne" itself. It was a miracle declared by carnatic people.
  He mixed two ragas that are complicated and produced the song "Punjai Undu Nanjai Undu" from Unnal Mudium Thambi.
  In 1994 december musical season Ilayarja was honoured bu the music academy for his invention of a new Raga " Panjamugi " and Ilayaraja was requested to start the season by singing. Famous violinist V.V.Subramaniyan explained Ilayaraja's gimmics in cartnatic music.
  In "Sindhu Bairavi" the last song was composed only with "Aarogam", i.e. only increasing swaras. Exactlyb speaking the pitch will never come down. Mathematically it is like a Sawtooth wave.
  THIS IS THE TREND SET BY ILAYARAJA
  8. Ilayaraja was paid Rs 40 lacks for Thalabathi in 1991, the highest till then. He was the man who made the music directors to be paid on par with or ahead of actors.
  THIS IS THE TREND SET BY ILAYARAJA
  9. Many actors and directors insisted Producers to get the Callsheet from Ilayaraja and then only made commitments. The dependancy was such that if for some reason Ilayaraja stops scoring music the entire Tamil film industry will come to a Halt.
  THIS IS THE TREND SET BY ILAYARAJA
  10. After 1976 a lot of recording centres were started bearing Ilayaraja's name and the boards drawn with Raja's photo. They worshipped Raja like a God for promoting their career. This is very evident if you enquire a Recording centre owner.
  THIS IS THE TREND SET BY ILAYARAJA
  4. CONSISTENCY
  ------------------------
  The average number of films Ilayaraja was scoring per year was 40 and in one year he had scored 55 films. The success percentage was more than 75 %. Even the songs which have failed were overshadowed by his other exceptional songs. Many of them were good if you see them alone. Also every hit song will immediately be followed by another one and he kept the people busy. He never gave excuse that for this reason this song failed. Also he never dissappointed the trust we and the customers had on him. Such a success in the industry has no parallel in any industry. There were days when people cursed Raja while coming out of theatre that one song out of 6 was not good. Such was his consistency and productivity.
  5. CARNATIC MUSIC
  ------------------------------
  I have discussed enough about his contributions to Carnatic Music in Para 3. He was appreciated by most of the Carnatic Specialists that his talent in Carnatic Music is in no way inferior to the best in the Carnatic Field.
  6. ALBUMS
  ----------------
  His famous albums are
  1. How To Name it.
  2. Nothing but wind.
  Nothing but wind created a record sales in Europe while How to name it is a lesson in the violin Unversities for western Music. Raja has been awarded Honourary Doctor by ARIZONA UNVERSITY (USA) for his services.
  His latest touch is obviously "SYMPHONY". I am sure I need not tell the story about this as it is very obvious.
  7. MULTY LINGUAL PERFOMANCE
  --------------------------------------------------
  To get an award for music in Malayalam is more difficult than getting at the national level. Ilayaraja has won the Best Music Director Award in Malayalam too. He gave mega hit songs in all south indian languages. Also he gave hit songs in Hindi Direcrly or Indirectly.
  8. CUSTOMIZING SONGS
  -----------------------------------
  Ilayaraja decided how the song should be for every actor and director. I will give a list of actors, directors and producers who might have gone null and void in Ilayaraja's absence. I feel Rajinikanth is an exception. He was enhanced by Raja. But in the absence of Raja's music he would have come in a different mould but not necessarily to this extent.
  ACTORS
  -------------
  Rajinikanth
  ---------------
  Right from Murattukkalai you can see the songs enhancing his image. He was built by Raja film by Film. He came out of Raja for Manithan. But at that time he was well estblished. It is debatable whether he dared to use a differnt Music director during his initial stage. Anyhow it is very evident that Ilayaraja has played a vital role in Rajini's success. Even now VEERA was recovered by Ilayaraja which was openly accepted by Super star himself and the public. A failure at that time would have been a big set back to Rajini careerwise and politically.
  Kamalahasan
  -----------------
  He was called "KAADAL ILAVARASAN". For what? Only because of songs in his films. Every Kamal Film had good songs. Particularly Kamal became an aggressive hero only after SAGALAKALAVALLAVAN. Without Raja's songs he is nothing nothing nothing. Kamal Rasigargal forgive me. If you wish we can have a separate debate on this.
  Vijaykanth
  --------------
  After the failure of almost all films finally Vijaykanth got a confirmed berth in the industry when "VAIDEKI KATHTHIRUNTHAAL" was released. I remember the time it was released. The song "RASATHTHI ONNA" was sung like National Anthem. It was followed by "Amman Koil Kizhakkale", "Ninaive Oru Sangeetham", "Poonthotta Kavalkaaran". Then only he settled.
  SATHYARAJ, KARTHIK, PRABHU
  -----------------------------------
  These guys are also benefited from a number of films like
  Walter Vetrivel
  Thirumathi Palanichami
  Kadalora kavithaigal
  Varusham 16
  Kilakku Vaasal
  Agni Natchaththiram
  Chinna Thambi
  Senthamizh Paattu
  and a lot more which needs the help of a statistician.
  OTHER ACTORS
  -----------------------
  This is a list of actors who do not have any specialities and survived only because of Ilayaraja.
  MOHAN : Payanangal Mudivathillai, Udhaya Geetham, Nan Paadum Paadal, Paadu Nilave, Ilamaikalangal.
  RAMARAJAN : Probably the funniest actor
  Enga ooru Pattukaaran, Karagaattakaaran, and many medium hit movies
  RAJKIRAN : En Raasaavin Manasula, Aranmanaikili, Ellaame En Raasaathan, Enna Petha Raasa(Producer)
  MURALI : Poovilangu, Pagalnilavu, Namma Ooru Poovaaththaa, Poomani
  DIRECTORS
  -----------------
  1. BHARATHIRAJA
  ----------------------------
  Can you think of Barathiraja without Ilayaraja's music? Did he get the success he got with Raja after leaving him? I am sure Barathiraja is the person who is benefited most from Raja. He is indebted to Raja like anything. But "Varattu Gouravam" prevents Barathiraja from joining with Raja. It is a quiet natural and very human. Because they were friends in boyhood. While Raja went to the height of controlling the entire cine field, Barathiraja even with the help of magnificent song struggled to secure a win in more than half of his career. He could become only the best director in the field whereas Raja went on to become the King of the Industry. Had Raja not been his childhood friend, he would have digested Raja's success.
  As far as I am concerned, Barathiraja can be accepted as a completely independent director only if he can give a film like "16 vayathinile", "manvaasanai", "alaigal oyvathillai", "Mudal Mariaathai" in the absence of Raaja. Till then he can be considered to have gone null and void in the absence of Ilayaraja.
  2. BALACHANDAR
  ----------------------------
  You know Balachandar in "Ninaithale Inikkum". You know Balachandar in "Sindhu Bairavi". Where was Balachandar between these two? Take a quick lok at the following films
  SINDHU BAIRAVI
  PUNNAGAI MANNAN
  MANATHIL URUTHI VENDUM
  UNNAL MUDIYUM THAMBI
  PUDHU PUDHU ARTHTHANGAL
  What does flash in your mind ? The stories? The actors? The actress? The Awards?
  No !!! Songs Songs Songs . These songs went into Record books.
  After the success of "Pudhu Pudhu Arththangal" many journals emphasised that the songs played the key roll in the success. Our Balachandar did not accept it . He told in the press that his story only was the vital reason for the success and he was not happy to give the Lion's share to Raja. He also declared that he is not going to use Raja's services anymore. Did he get that quality songs thereafter? No? Don't say Duet! Only two songs that too did not help the film anyway!!
  So it is very obvious that Ilayaraja is the Only person responsible for Balachandar's success in the last decade.
  3. BALUMAHENDRA
  ------------------------------
  Balu himself accepted that He will stay with Raja as long as he does music as Raja played a major roll behind his success.
  To accept the talent one person is good for another talented person. I don't know why Barathiraja and Balachandar in spite of themselves being Giants in their field could not digest Raja's Talents.
  4. MAHENDRAN
  -----------------------
  A completed film before background music is called Double Positive technically. After finishing "Mullum Malarum", Mahendran has shown the Double positive to Distributors. They refused to buy saying it is like documentary. But after Raja completed Rerecording there was a heavy demand among the Distributors. Mahendran also says Ilayaraja made a lot of difference in his Movies.
  5. MANIRATHNAM
  ----------------------------
  Mani's first two films were to be failed. But Raja salveged his pride.
  They are Pagal Nilavu and Idhayakoil
  Next is Mounaragam. obviously songs played the key roll.
  Next one is Nayagan. Songs and BGM definitely made a difference.
  Next one is Agni Natchaththiram. Only reason for success is Songs.
  Next one is Idhayaththai Thirudathe. Only songs.
  Next one is Anjali. Songs and BGM rescued from a disaster.
  Next is Thalabathi. Songs were biggest hits.
  Whenever Mani was in crisis, songs helped him a lot. Is that right today?
  6.OTHERS
  --------------
  The only strength of the following directors is Ilayaraja. In the absence of Raja's music they would not have been noticed at all. ( Selvamani might have survived)
  P.Vasu - Chinna Thambi, Walter Vetrivel, Senthamil Pattu
  R.V.Udayakumar - Kilakku vaasal, Chinna Gounder, Ponnumani, Ejaman
  R.K.Selvamani - Captain Prabhakaran, Chembaruththi, Pulan Visaaranai ( He was benefited by a very good BGM also)
  R.Sundarrajan - Vaideki Kaththirunthal, Amman Koil Kilakkale, Payanangal Mudivathillai, Nan Padum Paadal, Rajathi Raja
  K.Natraj - Udayageetham, Unnai Nan Sanththen, Ninaive oru sangeetham
  Others like Rajkiran, Kalangiam, Kasthuriraja
  PRODUCERS
  ------------------
  1. Sangili Murugan
  2. Kovaithambi
  3. Sathya movies
  4. Sathyajyothi Films
  5. Rajkiran
  6. Amma creations Siva
  7. G.V.Films
  If you see the history of these people You see the role of Raja with them.
  To conclude this topic 8 , if you consolidate you can see that the above people only constituted the entire Tamil Cine Field and Raja being the heart and backbone of each one's success, it is very evident that Raja was the man who survived the entire field between 1976 and 1990. My prevoius argument that had Ilayaraja stopped scoring musivc in that period for some reason, the entire field would have collapsed and come to a halt, makes a little sense.
  9. TECHNOLOGY IN MUSIC
  ---------------------------------------
  Ilayaraja was the first person to indroduce STEREO effect in songs. The film was Priya.
  Ilayaraja was the first person to use computers for composing music. The film was VIKRAM.
  From: Sathya (@ client-151-200-126-20.bellatlantic.net) on: Sat Jan 3 00:33:09 EST 1998
  10. RAJA'S RESPONSIBILTY IN MAKING THE FILM HIT
  -----------------------------------------------------------------------------
  If you see Mudal Mariathai and Devar Magan, you can see the dedication and commitment shown by Ilayaraja. In the course of BGM he suggests bit songs and some change in scrrenplay which worked out many times. Infact the name Devar Magan was suggested by Raja, Also in Chinna Goundar, the song "Sollal Adiththa sundari" was suggested by Raja and got a big calp. Also when situation requires, he does not hesitate to write Lyrics and Sing himself.
  11. HIS PRODUCTIVITY
  ---------------------------------
  You might have known this. The six tunes of "Chinna Thambi" were produced in 45 minutes by Ilayaraja. He has completed entire recording of 3 songs right from Tuning in a single day. As I already said He has produced 40 films on an average. i.e. atleast 200 songs an year in addition to rerecording in which raja is the quickest and best (in quality). He finishes BGM in 3 days normally. Apart from all these he spends time in learning carnatic, producing albums, symphony etc. He has completed 10 degrees in Piano in a London University which is the top Piano Univ in the world. He can play every instrument on par with a full time professional and he was one among the top 4 Guitarists in the 80s. His favourite instrument is Guitar.
  12.HIS MAGNANIMITY
  ---------------------------------
  Many a times Raja has done music at low costs and sometimes at no cost for poor producers to uplift them. In 1993 when Parthiban was struggling for money to complete "Ulle Veliye", Raja told him he may give money for the music if only the film becomes a successful one.
  13. PROFESSIONAL COMPOSING
  -----------------------------------------------
  His composing style is something unique, extraordinary and stunning. He never asks the technitians to play the song and hear it. He completely writes the song as notes and ask them to play directly. He never changes the music during the course of regersal. It means he completely run the song in mind and exactly produces in the paper.
  Whenever he goes to Bombay for recording, almost all Music Directors crowd at the stuio to view hi professionalism. Famous composer Naushad, the Music Director for Rajkaboor stated that Raja has achieved more tha 100 times other can think about and he has a lot to learn from the Genius Ilayaraja.
  14. PROMOTING THE CINE INDUSTRY AND CONSUMER ELECTRONICS
  -----------------------------------------------------------------------------------------------------
  Until 1976 hardly few houses had radios and Taperecorders were rare. Till then even though people liked other songs, they were not ready to spend money over them. But once Raja was in, the whole industry was busy and people were crazy about songs. They started recording songs and all members of the house were keen at assembling whenever Vividbharathi or Neyar Viruppam was scheduled. Statistics reveal that the sale of Radios and taperecorders increased exponentially at that time.
  I like to conclude here. I make a humble request to People cursing Raja. He is our guy who upheld out pride and represented us. You need not appreciate him. Atleast do not wound him. Do not compare Raja with any other Person. He is Beyond comparison. He has nothing more to achieve. Also he need not prove that he is a genius. We have enough evdence. One can atmost aim at equalling his talents.
  I do not argue that other music directors are inferior to Ilayaraja. My arguement is that Ilayaraja is superior to other people.
  I am sorry for such a big discussion and I appreciate your patience to read this article and I thank you. If you feel I missed something or I am wrong somewhere do not fail to notify.
  Sathya - (vagees@hotmail.com)
  Virginia.
  
  
  

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