Kudos to Aravind for the seamless translation. The entire read is one continous flow.
2009/6/25 partha sarathi <[email protected]> > > > Hi Folks, > > *"till this day, never once has he given a song, which is of > low-standards" * > ** > This one is 10000% correct. None can deny this fact. > > Thank you very much once again Aravind for this wonderful story. > > Regards > P'ARR'THA. > > > --- On *Thu, 25/6/09, Aravind AM <[email protected]>* wrote: > > > From: Aravind AM <[email protected]> > Subject: [arr] Oru Kanavin Isai (ARR's biography in Vikatan) - Week 12 - > Scans and Translation > To: "ARRFANS" <[email protected]> > Date: Thursday, 25 June, 2009, 9:14 AM > > > Hi all, > > Here are this week's scans. Scroll down for translation. > Flickr > W12 P01 > http://www.flickr. com/photos/ aravind_am/ > 3658221825/<http://www.flickr.com/photos/aravind_am/3658221825/> > W12 P02 > http://www.flickr. com/photos/ aravind_am/ > 3658221833/<http://www.flickr.com/photos/aravind_am/3658221833/> > W12 P03 > http://www.flickr. com/photos/ aravind_am/ > 3658221841/<http://www.flickr.com/photos/aravind_am/3658221841/> > > Mirror - Photobucket > W12 P01 > http://i114. photobucket. com/albums/ n260/aravind_ am/W12P01. > jpg<http://i114.photobucket.com/albums/n260/aravind_am/W12P01.jpg> > W12 P02 > http://i114. photobucket. com/albums/ n260/aravind_ am/W12P02. > jpg<http://i114.photobucket.com/albums/n260/aravind_am/W12P02.jpg> > W12 P03 > http://i114. photobucket. com/albums/ n260/aravind_ am/W12P03. > jpg<http://i114.photobucket.com/albums/n260/aravind_am/W12P03.jpg> > > > After his stint with director SA Chandrasekaran, as an assistant director, > a young man named Shankar was just starting off as a director, with a new > script title *‘Gentleman’. *The screenplay had lots of fantasy elements in > it. A hero akin to ‘*The thief of Baghdad’, *his adventures, bubbly young > heroines, outstanding dance moves - each frame of his screenplay were > running on his mind. He had made up his mind that each song should be of a > different genre like folk, western and carnatic. > > > > He had signed up Balakumaran for dialogues, Jeeva for cinematography and > Prabhu Deva for choreography. But, he couldn’t find a music director, who > could satisfy him. He listened to samples from so many music directors, but > he wasn’t satisfied. Since he was a newcomer, he couldn’t dictate terms with > established composers to get what he wanted. His expectations were simple – > a young composer with fresh thoughts, with a ability to create music which > would capture the hearts of the young. > > > > One day, he was watching TV while having his breakfast, and ‘C*hinna > Chinna Aasai’ *was being played. He was looking for such modern music. He > immediately found out who the composer was and signed him on for his > project. A new storm called ‘*Gentleman’* hit the shores. It was the > beginning of a grand partnership! > > > > Director Shankar talks about Rahman, with pride – “A.R.Rahman – just this > one word is enough to convey everything. I’ve not met anyone else who is as > talented enough in composing music matching to the mood of the situation. > His judgement on what will work and what won’t, will always be right. His > extra effort is visible in the way he makes those minute decorations in his > songs. He makes sure he doesn’t give anyone an opportunity to tell him that > the music in his song is not right. The thing I admire most in Rahman is his > perseverance. It’s that never-say-die attitude of his that impresses me the > most!” > > > > Many composers had commented back then that, this kid’s (Rahman) music > would stop if the computers were taken away from him. But, Rahman proved > himself in his next album, P*udhiya Mugam. *Techno-melodies like* ‘July > Maadham Vandhaal’ *and* ‘Netru Ilaadha Maatram’ *became super hits. In > Yodha, his Malayalam album, his music had flavours of Tibetan, Nepalese and > Buddhist traditional music matching perfectly with the screenplay. His > Telugu albums ‘Super Police’ and ‘Gangmaster’ had great music, but the songs > didn’t attain popularity because the movies failed at the box office. > Critics started opining that Rahman could give only soft music in the same > pattern. > > > > Shankar knew that Rahman had amazing talent. He wanted rocking, fast music > for his film. And, for one song he wanted music, which should represent the > speed of a train. Entire Tamilnadu should dance for that song. Could Rahman > accomplish this? > > > > Associate Director Madhesh tells more – “When Shankar met Rahman at > Panchathan Studio, Kodambakkam, he was amazed how this kid was rocking the > music industry. Rahman didn’t speak much, apart from the technical details, > and Shankar liked him a lot. Sitting with a harmonium in a room, on which > the entire floor was spread with divans, was the usual style of composing, > back then. Unlike them, Rahman worked in a complete studio setting. Shankar > liked all of this, and they both were on the same wavelength. Rahman liked > the way in which Shankar narrated the story of Gentleman. They parted with a > handshake, promising to meet again. > > > > “The entire setting was different for us. ‘Tell me the situation. I’ll take > some time to work on the music, and will send you the tune’, Rahman told us. > We briefed him on the situations and returned. Within a week, we got a > cassette with tunes, and all of them were superb. Shankar and all his > assistants were elated. Shankar met Rahman again, and discussed more ideas > with him and gave him more situations. The songs gradually started taking > shape. Especially, the song “*chikku bukku rayilu”… *It was a tune, which > could be a challenge for a director. The speed and energy of the song was so > infectious that it had such a great impact on our entire team. Shankar sir > started picturising the song with lots of enthusiasm.” > > > > The song which started with ‘*Chikku Bukku Rayile’ *in* *the innocent > voice of GV Prakash, reached top gear within a the first few seconds, in > Suresh Peters’ tough voice. *Gentleman *movie was a super hit. Along with > this song, other songs from the album, like *“Un veetu thottathil’, > ‘Paakaadhe’, ‘Ottagatha Kattikko’ *too became super hits. Shankar had > expected *Chikku Bukku Rayile* to create a mini festival each time it was > shown in theatres, and that is what happened. This album proved that, not > just melodies, but Rahman coulc give punching songs, which could rock the > entire country. > > > > Rahman had then remarked – “Not just in high tech stereo sets, but the > songs should become popular even in tape recorders and radio sets in small > *parota sho*ps. Only then, I can reach the public”. > > > > At a time when other music directors were giving a western feel using > Indian instruments, Rahman tried just the opposite – he gave Indian music > using western instruments. There’s no doubt that this was a musical > revolution. On this note, one thing has to be mentioned – Rahman was > interested in fast songs, but till this day, never once has he given a song, > which if of low-standards. > > > > Post the success of *Gentleman, *Shankar made his next movie - *Kadhalan. > *Rahman had progressed to the next stage in music. Carnatic singer Unni > Krishnan’s debut film song ‘*Énnavale adi ennavale’ *won the national > award. Music fans were entranced by the lilting carnatic melody. Rahman had > then mentioned that it was there in Indian culture for more than 2000 years. > A traditional carnatic tune, in Rahman’s state of the art recording quality > mesmerized everyone – especially the flute interlude. > > > > *‘Muqabla’ – *Another song in that album was the sixer that Rahman had hit > then, to rock the whole country. Many of Rahman’s brilliant tunes have been > wasted on failed movies, with pathetic visuals. Very few directors like Mani > Ratnam and Shankar do justice to his music. The perfect example for that is > Muqabla. > > > > The cowboy styled song, with astonishing graphics, vali’s lyrics, and > Prabhu Deva’s choreography became a rage all over India. Till then, songs > like Michael Jacksons ‘Thriller’, ‘Beat It’, inspired many composers and > directors. But, *Muqabla *was the song, which made many to copy it. > > > > Hindi composers were shaken by this new sound from south, and started > copying Rahman’s tunes. These composers who are mockingly referred to as > ‘tunesmiths’ shamelessly copied Rahman’s tunes with minor changes. > > > > *‘Muqabla’ *entered Limca Book of Records, as the most popular song in > India. Songs from albums like *Indian, Jeans, Muthalvan,* *Thiruda Thiruda > *and *Duet, *which followed were again shamelessly lifted in Hindi. Rahman > was shaken by this. > > > > He felt that the only solution would be to enter Hindi film industry > directly. Ram Gopal Verma was then, looking for a new music director for his > new film *Rangeela*. His friend Mani Ratnam recommened Rahman to him. > > > > The victorious wild horse named Rahman, turned towards Hindi. > > > (to be continued) > > > > > > > > > > > > Cheers, > Aravind > > ------------------------------ > > Rahmania show interviews: http://rahmania. > 4shared.com<http://rahmania.4shared.com/> > ------------------------------ > > > ------------------------------ > Love Cricket? Check out live scores, photos, video highlights and more. Click > here <http://in.rd.yahoo.com/tagline_cricket_2/*http://cricket.yahoo.com>. > > > ------------------------------ > Cricket on your mind? Visit the ultimate cricket website. Enter > now!<http://in.rd.yahoo.com/tagline_cricket_1/*http://cricket.yahoo.com> > > > -- Temet Nosce
