wow.. typical ARR interview.. the interviewer was interrogating Rahman toooooooooooooooo much..
i loved the following replies *You bring in so many new talents. You pick people like Naresh Iyer and make them stars. What do you see in a new singer that makes you feel this is potential star material?* * *I can never make a person a star. They have it in them. I try them out and if they have it in them, the brilliance just comes out. *Who must be credited for a successful song – the composer or the singer?* * *All of us are instruments. We just do what we have to do. God is the one in control. and the perfect reply would be *What is one song you will want to be remembered by?* * *I don't know. Each person has a different favourite. I respect them and let them decide. cooooooooooooooool On Fri, Apr 18, 2008 at 5:29 AM, Vithur <[EMAIL PROTECTED]> wrote: > > http://www.khaleejtimes.com/DisplayArticleNew.asp?xfile=data/weekend/2008/April/weekend_April60.xml§ion=weekend&col > = > > Gentleness is the word one associates with A.R. Rahman, the Indian musical > genius, who enjoys international fame through his musicals and contribution > to Hollywood films. But when it comes to music, there is a rebel in him - > one who will go against the establishment, defy conventions and be true to > himself. > > FOUR YEARS ago, on a misty, star-lit January night, it rained in Dubai. A. > R. Rahman, the musical wizard described as the John Williams of the Indian > film industry, was on stage at Al Ahli Stadium… singing, eyes closed, in the > sublime ecstasy of bonding with melody, of binding with the Spiritual One… > > > > It was a drizzle, yes, but then, what an evening it was! > > > > Transcending genres, switching languages, bringing in electrifying > rhythms and captivating melody, the young musician proved to a multicultural > audience that music is a vast, frontier-less One-ness. > > > > Four years later, as A. R. Rahman and his team ready for another Dubai > concert today at the Sharjah Cricket Stadium, the 42-year-old has traveled > much further — musically and spiritually. > > > > He is the only Indian in the list of one of the world's top 25 all-time > top selling recording artists; the OST for his debut movie *Roja* was > listed in *Time* magazines 'Top 10 Movie Soundtracks of All Time;' he > co-composed with Craig Armstrong for the Cate Blanchett-starrer, *Elizabeth: > The Golden Age*; he worked with Finnish band Varttina to compose music for > the stage version of *The Lords of the Rings*; he set the score for the > Chinese period action film, *Warriors of Heaven and Earth*, and Spike Lee > picked one of Rahman's soundtracks for *Inside Man*. > > > > Rahman was only building further on the international acclaim for his > first stage composition for Andrew Lloyd Webber's *Bombay Dreams* and a > piece for Vanessa Mae's album *Choreography*. > > > > Spiritually, the journey was further inward. > > > > He meditates — to gain a fresher perspective for his own music — and he > has instituted the KM Music Conservatory in Chennai, India, which will not > only strive to be a repository for world music but also be the training > ground for Indian musicians where they can "invest in melody and harmony so > they do not go against their conscience." > > > > He cut the album, *Pray for me Brother*, as an anthem for the United > Nations Millennium Development Goal of eradicating poverty; and was > appointed as Global Ambassador of the Stop TB Partnership, a project of > World Health Organisation. > > > > Rahman comes to the Sharjah concert with a new repertoire — one that has > defined the evolution of his musical genius and enthralled millions of > hearts through OSTs for Indian films such as *Rang De Basanti, Guru, Jodha > Akbar *and *Shivaji: The Boss*. > > > > Rahman, just as he was four years back, continues to be the man at peace > with himself. There is a polite firmness to Rahman that puts you at a > distance yet doesn't ruffle you. > > > > He smiles often, and is self-assured but modest. He appears to pick and > choose his words. This is a man who might as well let his music do the > talking. > > > > But Rahman is also the person who talks when he must. He puts his foot > down, where he should. Actor Shah Rukh Khan would know. Rahman backed out of > the Indian superstar's film *Om Shanti Om* because the producers would not > agree on the music publishing rights. > > > > Rahman stood his ground. He can afford to give a miss to Shah Rukh Khan > but Rahman will not easily let go the publishing rights to his music. After > all, he sees the flip side every day — in a plagiarism-ridden Indian film > music industry, the work of musicians being trampled upon for easy money. > Rahman's integrity, indeed, is his biggest wealth. > > > > For a man, who rushes to wrap up press conferences, 15 minutes of > interview talk-time is a lot. Excerpts from the exclusive chat with * > Weekend* magazine. > > > > > > *Do you revisit your songs and the films you compose for?* > > * * > > No, I finish them and go to the next one. You work so much and so long > that you need a relief from it. > > > > > > *Which was the last film you watched?* > > * * > > *Once* (the Academy Award winning Irish musical, which also fetched the > Independent Spirit Award for best foreign film) > > > > > > *Is it easy to cut off from your works?* > > * * > > I give it to the people; it is like giving your daughter in marriage. > > > > > > *It is said there is music in you in every waking minute. What is the > music in you now, today?* > > * * > > When I am making music, there is a lot of music in me. Then I come out of > it. I stay away from music though it is difficult. What happens is that when > you meditate, you go to that stage – like a *Samadhi* (a high level of > concentrated meditation) – It helps me to rejuvenate. > > > > > > *Do you meditate every day?* > > * * > > I try to. > > > > > > *How long do you meditate?* > > * * > > I follow what my Sufi master taught me. It helps me to go back to music > with a fresher perspective. Otherwise, when you are constantly on to one > thing, you do not realise the worth or flaws of it. It needs a fresher state > of mind to see everything and judge it better. > > > > > > *Is this why your songs lately have a strong Sufi influence?* > > * * > > I don't know whether it is so. There has been only one song with a Sufi > influence – in *Jodha Akbar*. > > > > > > *In Guru too, there is a touch of Oriental. There is Maiya Maiya, the > words that you picked up from Saudi Arabia on your pilgrimage…* > > * * > > Sounds fascinate me. > > > > > > *So when you are in a new place, do you pick up the music of the place… > perhaps subconsciously?* > > * * > > I love to see what is happening in each new place. I was pretty surprised > when I went to Jeddah and Beirut, how they make a difference to Arabic > music. Arabic music has evolved in a nice way with quality in production yet > maintaining that traditional touch. > > > > > > *Do you deliberately try to bring in new elements to your songs? Or is the > choice largely dictated by the film's director?* > > * * > > It is mostly by the director. But if there is something good, I ask them > to listen to it. If they embrace it, I use it. If not, I keep it for myself. > > > > > > > *The Lord of the Rings theatre production, Warriors of Heaven & Earth, > Hollywood movies…. You are truly going international. Is this something you > aspired for? What does it mean to you to be internationally recognised? * > > * * > > When I make music, say, for a Tamil film, it is as respectful to me as > working for a Hollywood production. I don't think I am doing a Tamil film, > so let me do a shoddy job. I give my fullest to it. > > > > It is the team I work with that makes a difference – the concept and > visualisation. I treat everyone equally – whether it is an American or > Indian audience – which is one of the reasons why it (the music) kind of > transcends audiences. > > > > * > Having worked with several Western orchestras, what is one similarity or > difference you have experienced compared to working with their Indian > counterparts?* > > * * > > In India, I work with known musicians. I just have to give a start; they > will end it for me, taking the music further. In the West, I have to write > everything – I can't write it in my mind and pull it off. There is a full > process of orchestration. > > > > > > *Is it more challenging?* > > * * > > It is not the challenge. There are several more steps towards it (the > execution). In India, I wake up in the afternoon and I can have my orchestra > ready. In the West, I need to book three months in advance. > > > > > > *Do you agree to the observation that Indian musicians are less dedicated > than musicians in the West?* > > * * > > I don't agree to a generalisation on dedicated and non-dedicated. Those > who are dedicated are dedicated in a very different way; they are unique. > The infrastructure in the West is built in such a way that it is more > organised there. In India, there is a lack of unity and we have suffered a > bit because of that. Now, hopefully things will be better. > > > > > > *Is your KM Music Conservatory a step towards that?* > > * * > > Definitely. We needed that one step of organising and help to have the > infrastructure where our musicians can play any kind of music. It is one > step ahead for them to go to the international arena. > > > > > > *Do you plan to bring Western sounds and music to India through the > Conservatory?* > > * * > > It is vice versa. I also want our musicians to attain more perfection and > passion for music, and gain more jobs. > > > > > > *The KM Music Conservatory trains in all Indian musical instruments. > Considering that you have been accused of bringing in an overt dependence on > technology, is this sort of repentance?* > > * * > > (Smiles)… Not repentance – it is a way of life. We came up the hard way. > When our musicians are provided more education, they can see more music. > People have only accused – they never thought of educating people in the > right way. Only the rich could go to Europe or America for studying music… > > > > > > *So you are paying back to the society…?* > > * * > > (Smiles)… I have my selfish reasons. > > > > > > *What is that?* > > * * > > I will be writing for my own orchestra in five years or three years or ten > years. The seed had to be sown; this had to be done. > > > > > > *How do you respond to the allegation on your dependence on technology? * > > * * > > I don't think it is an allegation; it arises sometimes from ignorance or > sometimes from a lack of understanding of what they say. Technology is > progress. If I make good music with the technology, it is progress. There is > good and bad in everything; you have to filter it. In every area there is > mediocrity; technology is not a shortcut to creativity. > > > > > > *Is mediocrity what irritates you the most?* > > * * > > Definitely… it irritates all of us. That is the reason behind KM Music > Conservatory. Once people invest in melody and harmony, they will never go > against their conscience; they will take the music further. > > > > > > *You have once said that the Indian music industry lacks a powerful male > voice. Do you still hold to that?* > > * * > > Well, there was a time when people used to love this tenor kind of voice. > The last person in that league is Yesudas and… probably Jagjit Singh. > > > > > > *But you hardly use these singers… You are more known for bringing in > newcomers…* > > * * > > I do only experimental stuff, never mainstream stuff. I am a rebel in my > own way. I want to do things that excite me and take me to another spectrum > of music that is not explored. > > > > > > *That makes you a rebel with a cause. What is your cause?* > > * * > > (Smiles)… My cause is to give people something interesting to sing. I want > to make music that is interesting to listen to… > > > > > > *But a lot of people make interesting music. Is music something on a > higher plane — even spiritual — for you?* > > * * > > Yes, without any blessings I will be nothing. (With the music) I am making > peace out of chaos. > > > > > > *How personal then was the song Pray for me Brother? * > > * * > > That song did haunt me because 'Pray for me' is the only thing that we > tell to people – to our friends. We say, 'I am suffering. Pray for me.' It > is not about money, it is about wishing someone good. > > > > > > *You did it for UN as a campaign against poverty. Do you think music can > really make a difference to such causes?* > > * * > > People have noticed the song; in the corner of their heart, a seed has > been laid. They might think twice before spending money unnecessarily. I > wanted the song to be an inspiration not a solution. In that respect, the > song has made a difference. > > > > > > *Do you ever go back to your pre-Roja days, when you were struggling? * > > * * > > I don't. > > > > > > *Because you don't have to…?* > > * * > > Not because of that. I think of the future. In the past if there is > something bad, thinking about it brings back the venom and bad memories. > That is what is happening to the country… to the whole world. It is > pointless to think about the past. I remember the good things and I am > grateful for that. The bad things, I forget. > > > > > > *Have you ever felt handicapped that you aren't too well-versed in > Carnatic or Hindustani music?* > > * * > > I don't think so. If I were fully into one (stream of) music, I couldn't > have embraced the other kinds. This way I can explore different musical > landscapes, and since my understanding is from a very different point of > view, I can get away with it. > > > > > > *You bring in so many new talents. You pick people like Naresh Iyer and > make them stars. What do you see in a new singer that makes you feel this is > potential star material?* > > * * > > I can never make a person a star. They have it in them. I try them out and > if they have it in them, the brilliance just comes out. > > > > > > *Who must be credited for a successful song – the composer or the singer?* > > * * > > All of us are instruments. We just do what we have to do. God is the one > in control. > > > > > > *Isn't that very fatalistic a statement?* > > * * > > I believe that things are put together. I believe in good things and that > things come together. You can't dictate anything. > > > > > > *What is one song you will want to be remembered by?* > > * * > > I don't know. Each person has a different favourite. I respect them and > let them decide. > > > > * * > > *And with it Rahman moves on…* > > > -- > regards, > Vithur > > Whatever God wants to give, no one can deny; Whatever God wants to deny, > no one can give. Be happy always > >
