this is interesting!:) it actually correlates somewhat with my theory
(!). 
there is mainstream and then there are people trying to experiement 
and go beyond it, and create newness, they are not scared of going 
against traditions for the sake of their pursuit. 
but sooner or later, this fresh experimental sound may become 
mainstream, and then the situation becomes interesting. this is the 
situation rahman is in presently i feel. 
he has created his sound, and now he also has ppl following 
his 'sound'. for him, now to do what he has been doing is as 
repulsive as following the sound that existed when he first started 
composing, hence his search for new sounds, and hearing his new 
stuff, i feel he is still searching. this is his experimental phase. 
comments?:)
 

--- In [email protected], Gopal Srinivasan 
<[EMAIL PROTECTED]> wrote:
>
> http://ningning.org/blog/?p=100#comment-1393
> 
> 
> 
> “Have you ever had a die-hard A.R.Rahman fan tell you not to 
judge the proverbial book by its cover? I’d bet your answer would 
be in the affirmative if you’ve ever had (the good fortune of 
having) one to start with. 
>       I still remember quite vividly how I would plead with my 
Sister to listen just one more time to a song that she has just 
spurned. I’d say “Rahman’s songs need time to grow on you!” 
>       I have always wondered why this phenomenon is so pronounced 
in his music. I think I have discovered the answer in Robert 
Pirsig’s Metaphysics of Quality (or MoQ for short). He is one who 
postulated “Quality is a direct experience independent of prior 
intellectual abstractions”. 
>       I have a feeling Illayaraja & Co. should take a lion’s 
share of the blame for giving people (especially Tamilians) a heavy 
baggage of intellectual abstractions they seem to be lugging around. 
If this be the case, why should there be exceptions? What makes me 
see the quality and apparently my Sister not? The answer is - there 
is a static good consisting of a fixed set of patterns in the form 
of traditions and laws and there is a dynamic good that is outside 
of any culture and that which is not contained by any system of 
precepts. 
>       “Static good” is what we latch on to and dynamic good is 
that something which allows our culture to evolve continually. I 
embrace this dynamic good more readily because I can let go of my 
relatively light baggage of “intellectual abstractions”. I can 
say this with a great amount of certainty also because in my 
experience age is directly proportional to the verve with which 
Rahman’s music is denounced.
>  This makes Rahman - The Brujo (Spanish word for a sorcerer). 
Music composer M.S. Viswanathan can vouch for that â€" he once said, 
Buffaloes get scared when they are exposed to Rahman’s music (sure 
sign of some vicious black magic, I would say). 
>       MoQ also answers the all important question â€" how do you 
know for sure what you are after is this so-called “dynamic 
good”. The short answer is â€" you don’t. When I embrace 
Rahman’s music, it’s because of this “vague sense of 
betterness” it gives me. I searched a little bit to see if my 
feeling can be given a name. I found my answer in Immanuel Kant’s 
“noumenon” (German: das Ding an sich or the thing-in-itself) as 
opposed to phenomenon (as seen by the observer). He says its 
noumenon that lets us take informed decisions that we think are 
moral. Its something we don’t perceive but nevertheless thinkable.
>        Just the other day, my friend asked me what makes me like a 
particular movie which was trashed rather unceremoniously by the 
whole of Tamil Nadu and beyond. I didn’t have an answer. I don’t 
need one because I was after “dynamic good”. On this, my sister 
would agree because she declared, the movie in question deserved the 
“cult status”.”
>









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