Gee guys,
"Who will succeed Illayaraja?" is the question I have tried to address.
To find an answer I have given my critical analysis of one factor that
appears to have challenged the Maestro's dominance in the Tamil Film
Music. The irony, as you will see, is that Raja himself was responsible
for it! (I can't keep the suspence until the climax, so my friends don't
watch movies which I have seen).
Topic started by S.S.Vasan (@ 202.54.37.18) on Wed Feb 25 11:04:33 EST 1998.
All times in EDT/EST +9:30/10:30 for IST.
Responses:
- From: S.S. Vasan (@ 202.54.37.18)
on: Wed Feb 25 11:17:31 EST 1998
MKT -> MSV -> Illayaraja -> ??
Gee guys,
"Who will succeed Illayaraja?" is the question I have tried to address. To find an answer I have given my critical analysis of one factor that
appears to have challenged the Maestro's dominance in the Tamil Film Music. The irony, as you will see, is that Raja himself was responsible for it! (I can't keep the suspence until the climax, so my friends don't watch movies which I have seen).
Prologue
My junior Mr. N. Ganesh introduced me to TFM homepage. Due to research pressure (I am in the fag end of my M.S. Chem. Engg. thesis in IISc) I did not participate in your active discussions, but I think I have "sort of" followed you guys from time to time.
First off, I have not gone through TFM homepage fully, hence some of my ideas might be some of yours too! No offence or copyright violation meant
:-)
Then comes the formal netiquette to apologise for long postings (I editothers' articles only). No more autobiography about me here. I am not a
narcissist. But you can get to know me free of cost with a mouse. " target="_top">http://144.16.75.130/ssvasan/">mouse.
Last but the most important, I am a fan of Raja. I also like a few songs of ARR which sound like original tunes. My opinions may be taken in the
right spirit by fans of Raja and Rahman. All Raja fans can lift ideas from this essay and freely quote it anywhere. But Rahman fans will have to pay a nominal fee of $100 through a crossed cheque favouring Illayaraja, payable at Chennai. If you are a Rahman fan, you can still steal from this
essay without acknowledging me, but ultimately you will die of guilt.
Tamil Film Music : Its Genesis and Architects
---------------------------------------------
When the West swayed to the tunes of The Beatles, Indian Film Music was still at its infancy. Focussing on Tamil Films, it was M.K. Thyagaraja
Bagavathar (MKT) who sang Tamil songs (not necessarily in the praise of God) and opened the era of Film Music, though in close terms with the
Carnatic style.
With the advances in acoustics and recording techniques, "Mellisai Mannar" M.S. Viswanathan came into the picture and popularized light music. There was still at that time, an inhibition in the society towards dance forms other than that of the Bharatnatyam. Most of the heroes used to "walk" in
duet scenes.. Superstar Rajnikant does it even now :-( Duets in those days hardly had major dance movements.. Sivaji Ganeshan (even Kamal Hassan in
early days) will typically chase the heroine in forests! MGR's song "Kan pona pokkile kaal pogalaama" sums up the sentiment against western
dancing in those days.
But then MSV himself could not probably resist the temptations of fast numbers. (By now the West had gone crazy with hard rock - from Jim Morrison to MJ they have explored the limits of the tympanum - please note that I am not criticising this). MSV tactfully gave fast numbers for those songs which conveyed aberrated themes. For example, "Engaeyum yeppodum sangeetham sandhosham" is a semi-fast number for a song that conveyed the society's "unethical" values at that point of time (sex, in this song). "Viswanathan Velai Venum", similarly is a semi-fast number that beautifully brings out the mood of "agitation".
Contd in my next posting..
- From: S.S. Vasan (@ 202.54.37.18)
on: Wed Feb 25 11:21:35 EST 1998
MKT -> MSV -> Illayaraja -> ??
Gee guys,
"Who will succeed Illayaraja?" is the question I have tried to address. To find an answer I have given my critical analysis of one factor that
appears to have challenged the Maestro's dominance in the Tamil Film Music. The irony, as you will see, is that Raja himself was responsible for it! (I can't keep the suspence until the climax, so my friends don't watch movies which I have seen).
Prologue
My junior Mr. N. Ganesh introduced me to TFM homepage. Due to research pressure (I am in the fag end of my M.S. Chem. Engg. thesis in IISc) I did not participate in your active discussions, but I think I have "sort of" followed you guys from time to time.
First off, I have not gone through TFM homepage fully, hence some of my ideas might be some of yours too! No offence or copyright violation meant
:-)
Then comes the formal netiquette to apologise for long postings (I editothers' articles only). No more autobiography about me here. I am not a
narcissist. But you can get to know me free of cost with a mouse. " target="_top">http://144.16.75.130/ssvasan/">mouse.
Last but the most important, I am a fan of Raja. I also like a few songs of ARR which sound like original tunes. My opinions may be taken in the
right spirit by fans of Raja and Rahman. All Raja fans can lift ideas from this essay and freely quote it anywhere. But Rahman fans will have to pay a nominal fee of $100 through a crossed cheque favouring Illayaraja, payable at Chennai. If you are a Rahman fan, you can still steal from this
essay without acknowledging me, but ultimately you will die of guilt.
Tamil Film Music : Its Genesis and Architects
---------------------------------------------
When the West swayed to the tunes of The Beatles, Indian Film Music was still at its infancy. Focussing on Tamil Films, it was M.K. Thyagaraja
Bagavathar (MKT) who sang Tamil songs (not necessarily in the praise of God) and opened the era of Film Music, though in close terms with the
Carnatic style.
With the advances in acoustics and recording techniques, "Mellisai Mannar" M.S. Viswanathan came into the picture and popularized light music. There was still at that time, an inhibition in the society towards dance forms other than that of the Bharatnatyam. Most of the heroes used to "walk" in
duet scenes.. Superstar Rajnikant does it even now :-( Duets in those days hardly had major dance movements.. Sivaji Ganeshan (even Kamal Hassan in
early days) will typically chase the heroine in forests! MGR's song "Kan pona pokkile kaal pogalaama" sums up the sentiment against western
dancing in those days.
But then MSV himself could not probably resist the temptations of fast numbers. (By now the West had gone crazy with hard rock - from Jim Morrison to MJ they have explored the limits of the tympanum - please note that I am not criticising this). MSV tactfully gave fast numbers for those songs which conveyed aberrated themes. For example, "Engaeyum yeppodum sangeetham sandhosham" is a semi-fast number for a song that conveyed the society's "unethical" values at that point of time (sex, in this song). "Viswanathan Velai Venum", similarly is a semi-fast number that beautifully brings out the mood of "agitation".
Contd in my next posting..
- From: RV (@ nat-20.avanticorp.com)
on: Wed Feb 25 22:08:13 EST 1998
SS Vasan:
Ennanga idhu GRai ambonnu vittutteenga!
- From: mannAru (@ 199.74.167.5)
on: Wed Feb 25 23:02:29 EST 1998
Vasan:
Enna idhu! ippadi thAvureenga.
MTK-il irundhu MSV. Ippadi oru
long jump nAn endha olymbics-layum pArkalE! :)
We had very long discussions on similar
topics. Please read those threads and old postings
and still if u want to say(if ur view point is
different) any thing u are most welcome.
anbudan
mannAru
- From: S.S. Vasan (@ 202.54.37.18)
on: Thu Feb 26 11:22:53 EST 1998
Dear mannAru and RV
You will see from part-2 that I am more into
explaining Raja's so-called lack of popularity
among today's youth by and large. I agree MKT
to MSV is a looooooooong jump. However you will
see that I have projected the "introduction of
fast numbers" (by Raja himself) is very crucial
in my argument. Since no fast numbers happened
in the transition from MKT to MSV, I skipped the
history in between deliberately. May the MDs (or
their spirits) in between MKT and MSV pardon this
"athigaprasangi's own version of TFM history".
Anban,
Vasan
- From: S.S. Vasan (@ 202.54.37.18)
on: Thu Feb 26 11:37:45 EST 1998
Part 2 of my earlier posting :
MKT -> MSV -> Illayaraja -> ??
To give continuity I am repeating the last para
of Part 1 :
But then MSV himself could not probably resist the temptations of fast numbers. (By now the West had gone crazy with hard rock - from Jim Morrison to MJ they have explored the limits of the tympanum - please note that I am not criticising this). MSV tactfully gave fast numbers for those songs which conveyed aberrated themes. For example, "Engaeyum yeppodum sangeetham sandhosham" is a semi-fast number for a song that conveyed the society's "unethical" values at that point of time (sex, in this song). "Viswanathan Velai Venum", similarly is a semi-fast number that beautifully brings out the mood of "agitation".
The Raja era
------------
Then it was Raja. On second thoughts, then it "is" Raja. As Gangai Amaran once put it, "Annakkeeeli" (note the way kili is sung/written) made the
difference. Only Raja could show the niceties of music - from folk to light music and from symphony to carnatic - to the extent that he could thwart the western rock influence successfully for more than a decade, till.. er, he himself started giving "Raja Raja Rajaathiraajan indha Raja". Many of you may point out a Raja's equally fast number that came well before "Agninakshathiram".. But you will agree that this was a run away success. If I am right, with that song he established his dominance in the Tamil Film World (which was by then witnessing numerous thukkada music directors). But the same song which made him No.1 was responsible for his so called downfall.
Whether that song opened the 'ears' of the tamil fans or not - it did open the eyes of numerous, struggling, small scale music directors to start
giving fast numbers. Source? Simple, copy from the West! I would say that this trend is dangerously continuing. Deva and ARR have probably utilized
it to the fullest extent possible. There is a difference between them, however. ARR's knowledge of western pop and rock should be very good - for
a guy like me who listens to the West (also) - it is not an easy homework to deduce all the songs with which he has made linear combinations to
produce a crap like "Petta Rap". But Deva - even a child can spot out - in one film (1995/6 I don't remember the name) he has copied from MJ's
Dangerous - not just lifted the tune - total copy - note to note - probably he has just recorded it from Dangerous album. The same film has 3 or 4 songs lifted from the same album! Vetkam! With this apathy, whom to name as the successor of Raja? None!
What's wrong with Raja now?
---------------------------
OK, why should we discuss about the successor of Raja? Has he burnt out? No! Raja is still alive and active. Yet, why is he not popular among the
youth, of late (notwithstanding his melody hits and the Royal Philharmonic feat)?
With the change in culture and life-style, especially in cities, partly to do with the advent of satellite TVs, the youth could find more
opportunities to dance. In BITS Pilani, where I did my UG, during every "Music Nite", I used to feel that our auditorium will collapse. Such is
the tempo of today's world. Things are much the same in IITs and IISc too! The only way of celebration is to dance. Be it "Sarang" or "Vibes" or "Oasis", where is the scope for Raja's "Thaalattudhe Vanam (Sea fishes)" or "Yennai Thaalaatta varuvalo (Respect for Love)"? Here comes the market for ARR's kind of music.
The mistake (if I may be pardoned to say that) Raja did was to introduce fast numbers and then keep quiet. Disco, Rap and Rock are like addictions. Once introduced, the youth will just clamour for more and more. Had Raja given a fast number in his every third song, there would have been no place for ARR or any one for that matter. Not that he can't do it! "Masthana Masthana" was as good as "Urvasi Urvasi" for Monkey-dancing.
Probably Raja didn't have the conscience to kill conventional melodies, which he meticulously nurtured from his first film!
But what the youth wants today is (c)rap. Fast numbers. Beats. This is very evident from the way ARR suppresses lyrics (I bet if you can follow the lyrics of "thee thee thithikkum thee" without listening to it umpteen times) in his numbers. If I were Vairamuthu, I would hang myself in my shoe lace rather than praise ARR's music. In fact the price Vairamuthu paid for his ego clashes with Raja was that nobody could hear his lyrics! Probably it was a boon in disguise for him. Otherwise who would hear his "Theynampettai thenga mattai" lyrics? One thing is clear :
Beat it. Just Beat it. Every month, college students have a different hot number. Frankly, how many of you sing "Chiku puku Chiku puku raile" or
"Petta rap" these days? But these songs were run away success when released. Today songs are measured by cassette sales, not by their long
lasting value. When ARR releases an album, like many of you, I used to have the urge to buy the cassette. Somehow, all these years, I have resisted the temptation and used to postpone its buying by a few months. Then I found out that everyone forgot that album and hence is not worth buying. Thus, the only cassette of ARR I have is "Roja".
Conclusions
-----------
Now, the message is clear. Right away, there is no successor for Raja. The most promising (best of the rest) seems to be ARR, though. But ARR
should understand one thing :
Raja is what he is because of songs like "Poonkathave thaal thiravai" and "Janani Janani" and *NOT* because of his numbers like
"Masthana Masthana"
and "Ayya voodu thorandhu thaan kidakku"
(though I do hear these at times).
If ARR wants to be heard after a decade he must give more songs like
"Vande Mataram" and "Anjali Anjali Pushpanjali". Till that happens, the Tamil Film Music has not found a successor for Illayaraja.
Thanks for your patience to read my thoughts,
Anban,
Vasan.
- From: sree (@ lakshya.cs.concordia.ca)
on: Thu Feb 26 11:51:57 EST 1998
Vasan,
The part2 was very nice.I think after Sathya it is your article which has tried to explain the success of ARR in today's market.I appreciate your efforts.
- From: sree (@ lakshya.cs.concordia.ca)
on: Thu Feb 26 11:55:16 EST 1998
I am sure that ARR songs are not heard only because of Vairamuthu's lyrics (to understand lyrics as u say you should hear umpteen times).
you were right in saying "In fact the price Vairamuthu paid for his ego clashes with Raja was that nobody could hear his lyrics!".
Hope it is an eyeopener for some.
- From: MSK (@ dhcp-877019741.qualcomm.com)
on: Thu Feb 26 14:33:01 EST 1998
Vasan.,
Nice Thoughts. But i can't digest VM as a good album. I still regret for spending $12.00 on this peice of Sh** :-(
- From: RV (@ nat-20.avanticorp.com)
on: Thu Feb 26 21:59:31 EST 1998
Ennanga theory udaikkudhe ?
GR had a very fast number in "Yaaradi Nee Mohini" which was very popular. There were several "dance-able" numbers in fifties viz. "Kondaattam Manasukkule Kondaattam", "Andhi Saayura Neram" and so on. Can anyone forget "Thillalangadi Dappangutthu" in TMohanambal ? As you you yourself said, "Viswanathan Velai Vendum" was a classic. Vedha had ( copied or otherwise ) several fast numbers in sixties. Even IR had several fast numbers before "Raja Rajadhi Rajan Indha Raja". Appa ellam start aagadha addiction eppadi ARR vandhadhilirundhu correct-aga start aayitru ?
- From: Dev Mannemela (@ softgate1.softimage.com)
on: Thu Feb 26 22:25:17 EST 1998
(Some of) you guys give too much credit to Raja,
almost bordering on sycophancy.
First off, I think you are way off base in
claiming that "Raja Rajadhi" established Raja's
dominance in TFM. He was ruling well before that..
You cannot credit Raja for *introducing* fast numbers. Fast numbers (and melodies) have been around a long time. It's the nature of those fast numbers that keeps changing with time.
This "suppression of lyrics" thing has been around for a long time as well. Well before ARR and others.
In fact Raja was blamed for not caring for lyrics and suppressing them with lyrics quite a long time (in Telugu, atleast). [ I don't agree with some of those accusations and examples cited, btw..]
Also, he was criticised for using synthesizers for semi-classical numbers (in Alapana) ('Electronic noise' was in fact the term used.. )
Just like you say "IR nurtured melodies from his first film", you can also claim with equal success that he also nurtured dappanguthu songs, insipid and indifferent tunes from his first film..
IR is a great music director, one of the best India had. Why don't you leave it at that? Instead
of attributing him all kinds of things..
BTW, Vairamuthu didn't write "Pettai Rap".
I believe it's Shankar himself.
Mandatory note:
I am as much fan of IR as the next guy in this group. But that doesn't prevent me in arguing against the-"avatar" kind of praises.. :-)
dev
P.S:- I guess we have gone through these kind of discussions many times before.. But they are always interesting. :-)
- From: Bhaskar (@ 199.105.88.40)
on: Fri Feb 27 14:15:31 EST 1998
Dev you are right, Pettai Rap was written by Shankar.
- From: S.S. Vasan (@ 202.54.37.18)
on: Fri Feb 27 14:51:54 EST 1998
Thank you Sree and MSK for your comments.
RV : I give full marks to GR and his efforts.
Thanks for pointing out some of his semi-fast
numbers. But still, I maintain that the era
after "Raja Rajathirajan indha Raja" saw
a dramatic increase in the proportion of fast numbers. The MTV culture also started soon
after that. This was well capitalized by ARR.
But Raja did not produce the dance numbers needed by the youth.
Dev : I don't know if you followed my argument.
Let me clarify that Raja was dominant even
before "Raja" song - but I only said that
this song obliterated the presence of few
thukkada MDs of those days. Also what do
you mean by "nature of fast numbers"?
Obviously "Viswanadan vela venum" type songs
are semi-fast numbers. "Raja Rajathirajan" song is a fast one. The index I have used
for comparison is the Western pop and rock
numbers at that point of time. When songs
before "Raja Rajathi.." were slow compared
to the Western tempo (in their respective era), the Agninakshatiram number was as fast
as the rock of late 80s. So we can well credit IR with introducing pop/rock type music in TFM. In fact you yourself say that he introduced synthesisers. Today you see that ARR's numbers are as fast as the West. In fact, the tempo difference between the West and Indian pop is decreasing day by day.
Also your accusation that IR suppressed
lyrics is ridiculous. I don't think one can
compare "Sri Ranga Ranganatharin padham"
with "Thee Thee Thithikkum thee" for intelligibility of lyrics. And for your
accusation of "insipid dappanguthu" by Raja
I would like to say that a MD who has 800+
films to his credit would well show variation - he obviously can't put "Janani
janani" tune for "Machana pathingala" situation. Catch my point?
Most of the discussion forums here are about
IR. He is the only one who has given
so much variation in music and enough topics
for us to discuss.
Anban
Vasan
- From: sree (@ lakshya.cs.concordia.ca)
on: Fri Feb 27 16:00:50 EST 1998
Well i hope that expalnation is fine for those who raised objections.
- From: RV (@ nat-20.avanticorp.com)
on: Fri Feb 27 17:21:23 EST 1998
Vasan:
Fast numbers hv been around for ages. As you say, the popularity of fast "Westernized" numbers has increased because of MTV and the related changes in media. The obvious conclusion is that MTV has influenced the taste of masses, not that IR by providing music to "Raja Rajadhi Rajan" has started a new addiction which he failed to sustain. May I point out another very fast and even better number "Tholin Mele Baaram Ille" by the same IR didnt start a similar "addiction" ?
- From: MSK (@ dhcp-877019741.qualcomm.com)
on: Fri Feb 27 17:25:03 EST 1998
Dev.,
U r right and wrong!. I guess some of us , atleast i can vouch for me , praise IR tooooo (enough o's .?) much. Well there is reason for it. We all get carried away sooooooo ( not enough o's! ) much by his music that in one way or other we tend to praise him much. That is human nature. We are not Logic machines to set aside our human emotions and think pure logic.I don't think it's possible 100% . May be i am getting off the track here but anyway , For instance, if u'r friend steps on u'r toe and does'nt say sorry, u don't care much. But if some X does that , u seem to be annoyed. Right.? Same logic applies when it comes to talking abt IR. We tend to get a little exaggerated or excited. Quite natural. His music has cast such a spell. So pls excuse us.
But u r right !Yes.! Even IR had bad lyrics, fast numbers etc . But i have never heard songs having words like "CDMA , Cell phone , Digital ,Pager etc So hi-tech , before the advent of ARR-Vairamuthu combinations. Also i have not heard any "Code kku comment alagu, Amplifier kku gain alagu, Lan'kku speed alagu etc.. kind of stuff before ARR-vairamuthu combo.
Pls correct me if i am wrong.!!
- From: bs (@ www1.access.bt.com)
on: Fri Feb 27 17:41:19 EST 1998
Telling Dappanguthu insipid is very sad.. It has got what ARRs songs lack- Manvasanai.. Oru ARR rasigar kitta itha solla poga,avar IRoda cassette thanjavuru mannala pannathannu ketkiraru.. pavam IMO most of ARRs fans are not that much exposed to the fun-filled & carefree folk songs which IR had made a mark by himself..As far as I'm concerned IRs music will be always in mind and ARRs in ears which wont last long..Ofcourse the point of too much adulation in the form of "avataram" can be reduced..
- From: aruLarasan (@ psiphi.umsl.edu)
on: Fri Feb 27 19:37:10 EST 1998
yellAm brama (say it like veNNira Adai mUrthy would).
- From: S.S. Vasan (@ 202.54.37.18)
on: Sat Feb 28 01:45:59 EST 1998
Hi guys
Thanks for the responses - this is getting interesting. Once Raja was asked how he was able to give "Amma endrazhaikkada" as well as "Machchana pathingala". It seems he replied :
"Naanum oru satharana manithan thaan. Yenakkum paal unarchigal undu. Situationukku etra tune-i
muzhu manathodu kodukkaren. Naan onnum "Amma Endrazhaikkatha" situationukku "Machchana paathingala" tune-iyo, allathu "Machchana paathingala" situationukku "Amma endrazhaikkatha" tune-iyo kodukkalaiye? Yennai en ellarum samiyar maathiri paakkareenga?"
The reply was classic and benchmarks the standards and responsibilities of a good MD. That is why you can't see an inkling of Dappanguthu in his melodies and carnatic numbers and vice versa.
I remember a Chandrasekar's comedy in which he will put "Jana gana mana" tune for pathos!
Today MDs put established bathi-pAdal tunes for
romantic scenes! It shows how immature they are!
In fact I have an objection to KB's Sindhu Bairavi. The film conveyed the following theme :
"Tamil songs are also good. No need to sing in
other languages (thalaya aatum puriyatha koottam).
Also folk songs are as good (yellamey sangetham thaan)". But sadly, KB gave a derogatory picture of Dappanguthu in the same film. It is probably bad for a carnatic music giant to sing "thanni thotti". But singing Dappanguthu per se is not a crime. Right?
- From: Madhan (@ 202.41.117.3)
on: Sat Feb 28 12:07:37 EST 1998
Vasan, Hats off to you - what you have discussed so far is very much true - just go to any college music festival in India , one will know what the craze is all about. I have quite a few views to share with you.
. ARR's entry into the film music synchronised well with the advent of Dr.Manmohan Singh's laissez-faire economic reforms inititiated in 1991 - what happened thereafter was a spurt in the number of consumer goods, especially audio systems - just read the TIMES OF INDIA, or THE HINDU - you will know the breathtaking range of products, which every company , right from SONY, PHILIPS , to local BPL SANYO give and the liberalisation era has also ushered in a hitherto unknown , unheard of pace of life in India - Fast food restaurants like the Shanti Sagar chain in Bangalore, Hot Chips in Chennai, the Kentucky Fried Chicken in Bangalore all of these symbols of affluence have greatly swayed the burgeoning Indian middle - class - the result there has been a dramatic change in the mindset of the average Indian with the onus more on outwardly materialistic, glitz and glamor - interestingly this attitude could be found even among those who were once upon a time reluctant to accept changes -
the result - there is now an urgent need among the midlle class to identify themselves with the outside " world " - this "world " has been brought to their attention by Satellite television. This need also has its origin in an inate psychological fear that if they do not change according to trends, they might be rejected - for instance, if a group of teenagers listen to "BOYZONE", or ,"FLEETWOODMAC", another group which has never listened to this, wants to desperately identify itself with the other group, for fear of being rejected, for fear of being not in the "thick of things" - so they listen to these albums not out of their own interests , out of a psychological sway catalysed by the changing "world" brought about by the globalisation fallout. In fact, even, when "Priya" was released, there was a very, very milder version of the same kind of psychological sway of the masses - but then at that time the music was appreciated for its genuine content and not because everybody wanted to listen to them for the heck of it - this is what is happening in case of ARR - I know many " yuppie" kids who listen to ARR, because everybody else listens to his music!! Moreover, as I have mentioned earlier, economic reforms including financial liberalisation have led to the common man sudenly acquiring the ability to borrow money at will from lending companies - just take a casual walk thru' Panagal Park area and observe the no. of jewellery shops that have come up - if there were 3-4 big jewel shops 15 yeras back, there are now at least 8-10 shops and all of them are doing excellent business - how is this possible ? has suddenly the per capita income increased in India? no. Industrial progress over the couple of years have benefitted only the fringe levels of the Indian society, whereas the middle class incomes have hardly increased, with the exception of the few who work in select companies like the TCS, WIPRO SOFTWARE, HCL HP in Bangalore or Chennai.
So where is the money coming from ? lending companies, of course. People are flush with money and they do not know what to do with it - go ahead, buy abrand new refrigerator, a television set and an audio syatem with 300 Watts output - and having procured these things , they needed things which can utilise these contraptions. What did they do ? buy sandwiches and burgers, pack the fridge with them, get cable connection, and buy the latest CDs inEnglish, or Indipop and of course ARR's albums, because his music suits the audio system as well as their "popcorn" taste.
ARR's entry and popularity is based on this overall sociological, psychological upheaval in the Indian society.
Sadly, Maestro.Illayaraja failed to capitalise on the changing trends - I do not blame him - he does not have to change and make a heap of a compromise on quality. VINCENT VAN GOGH never did that and died for art. But I can give some of my forethoughts for the future :
1. Last year 1997, India celebrated its 50th Year of Independence with the help of sponsorship from PEPSI !!!!! can you belive it ? !! next year, it might be COCO COLA, the year after that , KELLOGGS and so on.
WE are passing through a very crucial phase in India's economic resurgence . Multinational companies are desparately looking for a stranglehold in India - and ARR very cleverly utilised SONY's brand name to market his VANDE MATARAM - to such an exten that, when school children were asked who wrote Vande Mataram, they replied ARR and not Bankim Chandra Chatterji, the man who actually wrote it !!
DEAR FRIENDS, PEPSI-COLA PATRIOTISM IS TODAYS TREND .
I have a strange fear which can best
be echoed in the words of Professor.Amartya Sen, Professor of Economics and Philosophy , Harvard University :
" we seem to have moved from over - bureaucracy to an over -reliance on the rhetoric of marketisation".
So, it is not surprising that IR is on a low - but depite all these market (ARR) forces, if the cassette sales of "Kadhalukku mariyaadhai" can smash records, that speaks of volumes of potential, the indigenous industry, alias, IR, in India possesses.
SO, LET THE TATAS, BIRLAS, KIRLOSKARS AND OTHER INDUSTRIES TAKE THE CUE FROM THE MAESTRO AND STRIVE TO COMPETE ON PAR WITH THEIR MARKET DRIVEN RIVALS FROM THE OUTSIDE.
In a way IR has shown the way for other Indians to emulate !!
- From: Madhan (@ 202.41.117.3)
on: Sat Feb 28 12:13:59 EST 1998
My apologies for spelling mistakes.
- From: MSK (@ dhcp-877019741.qualcomm.com)
on: Sat Feb 28 16:09:25 EST 1998
Madhan.,
I have only one word abt u'r explanation. "Terrific". U have put the transformation of TFM crystal clear. many people miss the whole picture behind ARR's success - U have rightly pointed out - It's the timing that ARR made an entry into TFM.
That's the key . May be he did not plan it.. But once he entered he capitalised that change to his best .
Exactly, if KM audio is a big hit, it just shows the potential of IR .
And recently i listened to Veerathaalattu . I was amazed by the fact that when Other MD's are churning out Pop/Rock iirespective of the movie/situation , he comes up with a cool album full of folk songs. Amazing gutts man!! That just shows his musical maturity . He does'nt care abt making his songs hits. But produces apt Quality music.
Again great Job!
- From: Rajesh (@ pdxss902.jf.intel.com)
on: Sun Mar 1 17:42:07 EST 1998
Vasan & Madhan,
Good postings by both of you. Good analysis of the
causes for the changing trend.
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