Re: [arr] Lost to the world
finally, some sensible article! On Sun, Sep 5, 2010 at 7:50 AM, $ Pavan Kumar $ pawancum...@yahoo.comwrote: http://www.bangaloremirror.com/article/81/2010090420100904205519203a6b75953/Lost-to-the-world.html Lost to the world Has India’s favourite music composer moved on to a bigger, global platform? Chandrima.Pal Posted On Saturday, September 04, 2010 at 08:55:19 PM From Internet blogs to the denizens of Delhi’s South Block, everyone is splitting hair over his compositions. But the man behind it all is ensconced in his Chennai studio, unfazed by the furore around him. Like the proverbial eye of the storm. For A R Rahman, these are the best of times, the worst of times. His art is at its most eclectic, garnering international acclaim heralding him as one of the world’s best. In his own country detractors are declaring that he has lost his touch. He is buying a five-acre plot in Los Angeles to set up his production facility with sound engineer Resul Pookutty. He is also being accused of being indifferent, aloof to his Bollywood projects, delaying them and churning out music that often stumps listeners. With every milestone in the West, Rahman seems to move a step away from home. His fiercest critics are ironically in the industry that has given him his biggest successes — until of course Slumdog. The Hindi film fraternity has always had an uneasy relationship with Rahman, who is still god down south. Many in Bollywood find it hard to accept his artistic ways – he remains in Chennai, works mostly at night, has his own creative yardsticks for choosing projects and delivers only when he is ready. Some feel his best is behind him, others feel he is constantly breaking new ground. “Given his style of functioning and his inaccessibility,” says trade expert Amod Mehra, “Bollywood always had a problem working with him.” Rahman has never made any excuses for the way he functions. And his studio can seem forbidding, or inspiring. “There is a divine energy there,” says Subhash Ghai, who has shared an emotional bond with the composer since his Shikhar days. “It is not your usual sharaab-kebab kind of atmosphere that you encounter in most Mumbai studios.” Ghajini-producer Madhu Mantena, who has worked closely with Rahman since Rangeela, too says watching the maestro in his studio is like entering a very sacred space. *CONSPIRACY THEORIES *But Rahman’s inaccessibility – which critics say has increased post his international-success – has not helped. “If you are a newbie,” says a producer who has met the maestro and is still waiting for his verdict on his proposal. “You have to make at least 10 trips to his studio to discuss your project with him. Unlike other music composers, money is no criteria for him. There is no saying why or when he will pick one project over the other,” the producer adds. “Now he is zipping around the world,” rues an ad filmmaker who is still waiting for a meeting, “it is almost impossible for one to get his time and consent.” Rubbishing these as conspiracy theories, Mantena points out that Rahman has worked with several newcomers including Abbas Tyrewala, whose Jaane Tu... he had accepted way before Aamir Khan came into the picture. “Besides, he is so dedicated to his work that each song probably goes through more changes than the script itself,” Mantena reveals, agreeing with other insiders like Ram Gopal Varma. “No matter how pressured he is, Rahman will never let a tune pass until he is happy about it.” On the flip side, that can translate into nail-biting moments for the always-in-a-tearing-hurry Bollywood producer. Thus, the notion that Rahman is delaying projects. Mantena denies the maestro kept him waiting for months for the title track for his latest, Jhootha Hi Sahi. “There are nine songs and the time taken was the same as any other album,” the producer says. There were also rumours that the Jodhaa Akbar music launch was delayed because the soundtrack was not ready, though the label and the production house denied it. The Commonwealth Games theme took six months, and then it was back to the drawing board after the organising committee wanted Rahman to make changes. “A single failure does not bring anyone down, not at least Rahman, who still has the mass with him,” says Mehra, referring to the Commonwealth controversy. “However, Rahman has not been showing his best elements on his recent works,” he adds. “You cannot judge Rahman on the basis of one song,” says sitar maestro Pandit Kartick Kumar, who was featured in Rahman and Bharat Bala’s Jana Gana Mana project. Pandit Kumar worked with Pandit Ravi Shankar during Asiad ’82, when the sitar legend composed the then-hugely popular Swagatham. “People have been comparing that tune to what Rahman has created. It is not fair to compare a classic with a more contemporary track,” Pandit Kumar says. “But, yes, maybe Rahman should not have sung the
[arr] Lost to the world
http://www.bangaloremirror.com/article/81/2010090420100904205519203a6b75953/Lost-to-the-world.html Lost to the world Has India’s favourite music composer moved on to a bigger, global platform? Chandrima.Pal Posted On Saturday, September 04, 2010 at 08:55:19 PM From Internet blogs to the denizens of Delhi’s South Block, everyone is splitting hair over his compositions. But the man behind it all is ensconced in his Chennai studio, unfazed by the furore around him. Like the proverbial eye of the storm. For A R Rahman, these are the best of times, the worst of times. His art is at its most eclectic, garnering international acclaim heralding him as one of the world’s best. In his own country detractors are declaring that he has lost his touch. He is buying a five-acre plot in Los Angeles to set up his production facility with sound engineer Resul Pookutty. He is also being accused of being indifferent, aloof to his Bollywood projects, delaying them and churning out music that often stumps listeners. With every milestone in the West, Rahman seems to move a step away from home. His fiercest critics are ironically in the industry that has given him his biggest successes — until of course Slumdog. The Hindi film fraternity has always had an uneasy relationship with Rahman, who is still god down south. Many in Bollywood find it hard to accept his artistic ways – he remains in Chennai, works mostly at night, has his own creative yardsticks for choosing projects and delivers only when he is ready. Some feel his best is behind him, others feel he is constantly breaking new ground. “Given his style of functioning and his inaccessibility,” says trade expert Amod Mehra, “Bollywood always had a problem working with him.” Rahman has never made any excuses for the way he functions. And his studio can seem forbidding, or inspiring. “There is a divine energy there,” says Subhash Ghai, who has shared an emotional bond with the composer since his Shikhar days. “It is not your usual sharaab-kebab kind of atmosphere that you encounter in most Mumbai studios.” Ghajini-producer Madhu Mantena, who has worked closely with Rahman since Rangeela, too says watching the maestro in his studio is like entering a very sacred space. CONSPIRACY THEORIES But Rahman’s inaccessibility – which critics say has increased post his international-success – has not helped. “If you are a newbie,” says a producer who has met the maestro and is still waiting for his verdict on his proposal. “You have to make at least 10 trips to his studio to discuss your project with him. Unlike other music composers, money is no criteria for him. There is no saying why or when he will pick one project over the other,” the producer adds. “Now he is zipping around the world,” rues an ad filmmaker who is still waiting for a meeting, “it is almost impossible for one to get his time and consent.” Rubbishing these as conspiracy theories, Mantena points out that Rahman has worked with several newcomers including Abbas Tyrewala, whose Jaane Tu... he had accepted way before Aamir Khan came into the picture. “Besides, he is so dedicated to his work that each song probably goes through more changes than the script itself,” Mantena reveals, agreeing with other insiders like Ram Gopal Varma. “No matter how pressured he is, Rahman will never let a tune pass until he is happy about it.” On the flip side, that can translate into nail-biting moments for the always-in-a-tearing-hurry Bollywood producer. Thus, the notion that Rahman is delaying projects. Mantena denies the maestro kept him waiting for months for the title track for his latest, Jhootha Hi Sahi. “There are nine songs and the time taken was the same as any other album,” the producer says. There were also rumours that the Jodhaa Akbar music launch was delayed because the soundtrack was not ready, though the label and the production house denied it. The Commonwealth Games theme took six months, and then it was back to the drawing board after the organising committee wanted Rahman to make changes. “A single failure does not bring anyone down, not at least Rahman, who still has the mass with him,” says Mehra, referring to the Commonwealth controversy. “However, Rahman has not been showing his best elements on his recent works,” he adds. “You cannot judge Rahman on the basis of one song,” says sitar maestro Pandit Kartick Kumar, who was featured in Rahman and Bharat Bala’s Jana Gana Mana project. Pandit Kumar worked with Pandit Ravi Shankar during Asiad ’82, when the sitar legend composed the then-hugely popular Swagatham. “People have been comparing that tune to what Rahman has created. It is not fair to compare a classic with a more contemporary track,” Pandit Kumar says. “But, yes, maybe Rahman should not have sung the song himself. Just because his Vande Mataram clicked, does not mean he can bring the same energy to every song he lends
Re: [arr] Lost to the world
Good post! Thanks.. -Moin Ali From: $ Pavan Kumar $ pawancum...@yahoo.com To: arrahmanfans@yahoogroups.com Sent: Sun, September 5, 2010 8:20:52 AM Subject: [arr] Lost to the world http://www.bangaloremirror.com/article/81/2010090420100904205519203a6b75953/Lost-to-the-world.html Lost to the world Has India’s favourite music composer moved on to a bigger, global platform? Chandrima.Pal Posted On Saturday, September 04, 2010 at 08:55:19 PM From Internet blogs to the denizens of Delhi’s South Block, everyone is splitting hair over his compositions. But the man behind it all is ensconced in his Chennai studio, unfazed by the furore around him. Like the proverbial eye of the storm. For A R Rahman, these are the best of times, the worst of times. His art is at its most eclectic, garnering international acclaim heralding him as one of the world’s best. In his own country detractors are declaring that he has lost his touch. He is buying a five-acre plot in Los Angeles to set up his production facility with sound engineer Resul Pookutty. He is also being accused of being indifferent, aloof to his Bollywood projects, delaying them and churning out music that often stumps listeners. With every milestone in the West, Rahman seems to move a step away from home. His fiercest critics are ironically in the industry that has given him his biggest successes — until of course Slumdog. The Hindi film fraternity has always had an uneasy relationship with Rahman, who is still god down south. Many in Bollywood find it hard to accept his artistic ways – he remains in Chennai, works mostly at night, has his own creative yardsticks for choosing projects and delivers only when he is ready. Some feel his best is behind him, others feel he is constantly breaking new ground. “Given his style of functioning and his inaccessibility,” says trade expert Amod Mehra, “Bollywood always had a problem working with him.” Rahman has never made any excuses for the way he functions. And his studio can seem forbidding, or inspiring. “There is a divine energy there,” says Subhash Ghai, who has shared an emotional bond with the composer since his Shikhar days. “It is not your usual sharaab-kebab kind of atmosphere that you encounter in most Mumbai studios.” Ghajini-producer Madhu Mantena, who has worked closely with Rahman since Rangeela, too says watching the maestro in his studio is like entering a very sacred space. CONSPIRACY THEORIES But Rahman’s inaccessibility – which critics say has increased post his international-success – has not helped. “If you are a newbie,” says a producer who has met the maestro and is still waiting for his verdict on his proposal. “You have to make at least 10 trips to his studio to discuss your project with him. Unlike other music composers, money is no criteria for him. There is no saying why or when he will pick one project over the other,” the producer adds. “Now he is zipping around the world,” rues an ad filmmaker who is still waiting for a meeting, “it is almost impossible for one to get his time and consent.” Rubbishing these as conspiracy theories, Mantena points out that Rahman has worked with several newcomers including Abbas Tyrewala, whose Jaane Tu... he had accepted way before Aamir Khan came into the picture. “Besides, he is so dedicated to his work that each song probably goes through more changes than the script itself,” Mantena reveals, agreeing with other insiders like Ram Gopal Varma. “No matter how pressured he is, Rahman will never let a tune pass until he is happy about it.” On the flip side, that can translate into nail-biting moments for the always-in-a-tearing-hurry Bollywood producer. Thus, the notion that Rahman is delaying projects. Mantena denies the maestro kept him waiting for months for the title track for his latest, Jhootha Hi Sahi. “There are nine songs and the time taken was the same as any other album,” the producer says. There were also rumours that the Jodhaa Akbar music launch was delayed because the soundtrack was not ready, though the label and the production house denied it. The Commonwealth Games theme took six months, and then it was back to the drawing board after the organising committee wanted Rahman to make changes. “A single failure does not bring anyone down, not at least Rahman, who still has the mass with him,” says Mehra, referring to the Commonwealth controversy. “However, Rahman has not been showing his best elements on his recent works,” he adds. “You cannot judge Rahman on the basis of one song,” says sitar maestro Pandit Kartick Kumar, who was featured in Rahman and Bharat Bala’s Jana Gana Mana project. Pandit Kumar worked with Pandit Ravi Shankar during Asiad ’82, when the sitar legend composed the then-hugely popular Swagatham. “People have been comparing that tune to what Rahman has created. It is not fair to compare
