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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: aditya (@ 210.214.243.156) on: Fri Nov 8 22:03:22 EST 2002
  
  THE ABOVE IS FROM "Chicago Business".
  
  
  
  
  
  
• From: Are Yaar (@ 203.197.141.186) on: Mon Nov 11 21:50:10 EST 2002
  
  aditya:
  
  You probably need to say where are these journals circulated and for whom they are targetted.
  
  Some muddleheads here won't still believe that ARR has gone international.
  
  
• From: Aswathama (@ 68.58.127.57) on: Mon Nov 11 22:37:49 EST 2002
  
  ARR went international the day he started doing music..u would ask how just listen to all his pirated music then u will know.. I am just a critic trying to be truthful.Thanks to TV and all his directors who hyped him to this level..
  I will be happy if a genuine MD got this acclaim.. sometimes their attitude brought them their downfall. But ARRs case he had a way...One thing I am proud of him is that he is a tamilan...
  All other stuff just a plain hype and luck made this man to reach this level..It is just my one cent..
  Any constructive criticism is welcome..else..my eyes are blind....
  
  
• From: Paran (@ 210.193.13.133) on: Mon Nov 11 22:49:11 EST 2002
  
  Aswathama ...u will never ever...in this lifetime...admit some indian is doign good...
  
  music can be isnpired..after all..inspiration is important..he never blatantly copied anyone's creation.....
  
  please..appreciate a man who have gone so far...from Leo Coffee Jingle
  
  
• From: a (@ 156.153.254.41) on: Mon Nov 11 23:09:46 EST 2002
  
  Paran
  u there to appreciate him right....
  why u need others....
  
  
• From: paran (@ 210.193.13.133) on: Mon Nov 11 23:11:20 EST 2002
  
  well a,
  
  i appreciate him...and i don't show it off..it i dont appreciate someone else...
  
  
• From: paran (@ 210.193.13.133) on: Mon Nov 11 23:57:07 EST 2002
  
  Love's Never Easy from Bombay Dreams..
  ************************
  love's never easy
  take it from a girl who knows
  love comes as quickly as it goes
  
  love's never easy
  always, moment, soft is there
  and we girls get more than our share
  
  all we women want to like
  is to find a man who is kind and truth
  we've seen life through mens eyes
  so we know what pleases you
  
  love's never easy
  you will learn this lesson too
  i will be here for u, when u do
  
  love's never easy
  one day soon the dream will start
  well, that is what i tell my heart
  
  all we women want to like
  is to find a man who is kind and truth
  we've seen life through mens eyes
  so we know what pleases you
  
  love's never easy
  take it from a girl who knows
  love comes as quickly as it goes
  
  love's never easy
  one day soon the dream will start
  well, that is what i tell my heart
  
  love's never easy
  *********************8
  
  
• From: Are Yaar (@ 203.197.141.186) on: Tue Nov 12 04:37:02 EST 2002
  
  Sad news but still.
  
  http://ww.smashits.com/index.cfm?
  Page=Reviews&Subpage=bigarticle&ID=2006
  
  The whole world may be singing A.R.Rahman's praises for his musical
  collaboration with Andrew Lloyd Webber on 'Bollywood Dreams', but
  back home the maestro is facing tough times. He does not seem to be
  the favorite any more for companies dealing with Hindi film music
  rights. Rahman's magic started fading with Subhash Ghai's 'Taal', in
  which he tried his hand at north Indian folk music for the first
  time, and with 'Pukar's music failing to evoke the expected
  response, it has become apparent that Rahman is looking at tough
  days ahead. Gone, it would seem, are the days when music companies
  like Tips offered him a whopping Rs.6 crores for his act.
  
  Sources in HMV SaReGaMa reveal that it is not very pleased with his
  music for the forthcoming film 'Saathiya', produced by Yash Chopra
  and Mani Rathnam. The company is not willing to pay Rahman more that
  Rs.1.5 crore for the film's music.
  
  This decision of HMV is going to have a far-reaching impact on Hindi
  filmmakers. Now producers will think twice before paying music
  directors astronomical prices, sometimes more than their lead stars.
  The role of music in a film's finances seems to have undergone a sea
  change after several debacles. One among these: The music of Sanjay
  Leela Bhansali's 'Devdas' was sold for a never heard price Rs.12
  crores to Universal Music Company but its earnings have been far
  from this figure, leading to a lot of red ink in its balance sheet.
  
  And the days ahead look set to be much worse for the music companies
  if the line up of releases for the next few months are any
  indication. Several ready to release films are being promoted on
  various music channels these days but none of them seems to have
  music to last even one week after release.
  So has HMV pushed the panic button? Not really. The fire warning
  came first from T-Series last year. On the eve of the music release
  of 'Dil Chahta Hai' and 'Aks', it served notices to the producers,
  saying the films' music was not up to the mark. The company demanded
  a huge cut in the previously agreed price and left the option for
  the producers to look to any other company of their choice. While
  the producers of 'Dil Chahta Hai' agreed to Tips' demand and stuck
  to it for the release of the music (that went on to become one of
  the major hits of the year), the producers of 'Aks' decided to take
  their wares to HMV. But HMV burnt its fingers with this music
  release as it had very few takers.
  
  T-Series went a step further in the case of Sunny Deol's '23rd
  March 1931: Shaheed' by only paying a meager sum upfront for the
  music rights and agreeing to share the royalty in case the music did
  well. As the music company had expected, the film and its music did
  not do well. So astronomical sums for a film's music rights seem to
  be a thing of the past. Even producers like Rajshri and Rakesh
  Roshan have got notices for their forthcoming films, 'Main To Teri
  Prem Deewani' and 'Koi Mil Gaya', respectively. HMV, which had
  agreed to pay nearly Rs.9 crores for the music rights of these
  films, is now in no mood to pay more than Rs.2.5 crores per film.
  
  what is this abaout ???
  how true is this ?
  can someone clarify this plz..
  
  
• From: Are Yaar (@ 203.197.141.186) on: Tue Nov 12 04:37:50 EST 2002
  
  Saathiya brings hope to music industry
  SUBHASH K JHA
  
  IANS [ MONDAY, NOVEMBER 11, 2002 10:19:52 AM ]
  
  MUMBAI: Bollywood seems poised on the brink of another musical revolution with the song Saathiya madham madham geeli teri hansi... fast gaining popularity on film music charts.
  
  
  For a year filled with musical disappointments apart from the odd Nikamma, Khallas, Ishq Samundar and Ishq Kamina, A R Rahman's just-released score for debutant director Shaad Ali's Saathiya is a welcome change.
  
  
  A music score by Rahman has always caused much excitement be it Roja, Bombay, Taal, Zubeidaa, Fiza or the 2001 hit Lagaan.
  
  
  Rahman, whose score for The Legend of Bhagat Singh though good did not shake the charts, is back in form with Saathiya, even though a large chunk of the soundtrack is transposed from its Tamil counterpart Alaipayuthe --the Mani Rathnam hit that launched R Madhavan's career as a southern superstar.
  
  
  This isn't the first time that Rahman has transposed his south Indian film music score into Hindi.
  
  
  Earlier, the Anil Kapoor-Rani Mukherjee starrer Nayak featured an exact replica from its Telugu version.
  
  
  Saathiya has a stunningly laid out tapestry of tunes that goes from genre to genre in search of flawless harmonies. All nine tracks in the album are sparkle with a prismatic perfection.
  
  
  Shaad Ali has inherited his musical ear from director-father Muzaffar Ali, who got terrific music out of composer Khayyam in Umrao Jaan and Jaidev in Gaman. Incidentally, Khayyam took over the work in Umrao Jaan when Jaidev couldn't deliver the required score for the film.
  
  
  "I've grown up in an atmosphere of music and aesthetics. As a child, I'd sit with my father, Khayyam and lyricist Shahryar. When I began assisting Mani Ratnam, I was associated with Gulzar who scored music for Dil Se," Shaad Ali said.
  
  
  "Actually only the title song has identical sentiments to those in the Tamil original -- the rest of Gulzar's lyrics are all original.
  
  
  "Even the title song which we call the 'colour song' because it goes into a different mood and colour in each stanza, goes way beyond the original score. It isn't often that an adaptation goes further than the original.
  
  
  "The imagery in Saathiya is far deeper and richer. I'm lucky to have worked with geniuses like Gulzar and Rahman in my first film."
  
  
  Shaad admits a lot of the music has been transposed from the original soundtrack.
  
  
  "But two tracks -- Naina milaike and Mera yaar milade -- are originally recorded for Saathiya.
  
  
  "What's unusual for Rahman is that he has composed tunes for poetry by Gulzar in these songs. Usually words are set to his tunes."
  
  
  The soundtrack of Saathiya has generated tremendous curiosity in the market.
  
  
  Says Shaad: "I think the music is growing on the listeners. I thought listeners wouldn't know what the lyrics of Asha Bhosle's Chori pe chori mean. But that's everyone's favourite! So far there's been nothing this year except Devdas for music lovers to hold on to."
  
  
  Gulzar said: "I'm more happy with the sound of Saathiya. I think the range of sounds is amazing. I made sure not to follow the context or meaning of the original Tamil lyrics. Since I've written the adapted screenplay from the Tamil film, I could connect the emotions and energy of the scenes with the songs.
  
  
  "I've also written the dialogues for a film after a long time in Saathiya. The last time I wrote dialogues was for Hum Panchi Ek Daal Ke. In Saathiya, apart from a few scenes that I altered for the Hindi audience, the screenplays for Alaipayuthe and Saathiya are identical."
  
  
  Gulzar said, Rahman and he had worked together in Dil Se their comfort level increased in Saathiya. "We understand each other better now. I explain my poetry to him. Either I write well or I explain well because Rahman always reacts with 'Ah, lovely'.
  
  
  "Shaad is very cultured. His background in Lucknow gives him access to the language and expressions of Urdu poetry. Shaad is a man of high taste. To work with a director of his aesthetics is a compliment to my poetry."
  
  
  Shaad has come a long way from the time when he asked Aditya Chopra for the lead role in Dil To Pagal Hai, when he was offered Shah Rukh Khan's friend's part -- later done by Shaad's brother Murad.
  
  
  "I came to Mumbai to become Amitabh Bachchan, but I'm not a frustrated actor-turned-director. I've taken out all my frustrations by directing Vivek Oberoi and Rani Mukherjee."
  http://timesofindia.indiatimes.com/cms.dll/xml/uncomp/articleshow?artid=27943544
  
  
  
• From: Are Yaar (@ 203.197.141.186) on: Tue Nov 12 04:38:38 EST 2002
  
  ARR wins Planet Bollywood People's Choice Awards
  
  http://www.planetbollywood.com/Awards01/results.html
  
  http://www.planetbollywood.com/Awards01/BestMusicDirector.html
  
  
  
  
  
  

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