Ella Pughazum iraivanuke!!! ( Non tamils shd also understand this by now :) )
Also, AR is perhaps the only film personality who doesnt have any fights/any rifts with anyone. Staying in the industry for so long and being loved by all is next to impossible which AR has managed to do. That goes to show how far a persons good nature/character can go. Long live ARRji!!! --- In [email protected], V S Rawat <vsra...@...> wrote: > > A line from the article > > "after Roja (1992), every year can just as easily be called the âyear > of A R Rahmanâ. Heck, if the 2000s were to belong to a musician, it > would be called the decade of Rahman. " > > what a pleasure to read it. No sweater words have ever been written. > > :-) > > -- > Rawat > > On 1/1/2010 9:08 AM India Time, _$ Pavan Kumar $_ wrote: > > > > > > > http://www.hindustantimes.com/From-Melody-to-Dev-D/H1-Article1-492354.aspx > > > > Conventional âmelodiesâ were replaced by experimental music, as > > Bollywood became âcoolâ. > > > > *2000 The end of âmelodyâ > > *Nadeem-Shravan had cracked it. The â90s had belonged to the composer > > duo, who churned out chartbuster tunes, one album after another. After a > > brief hiatus, the duo had come back to Bollywood in 2000 with Dhadkan. > > Almost instantly, the music created new records. > > > > But with /Taal/ in the last year, A R Rahman had proved that > > conventional Bollywood melodies were giving way to a new sound â" where > > experimentation would lead the way. The dawn of music directors like > > Vishal-Shekhar and Shankar-Ehsaan-Loy on the scene, who gave equal > > importance to music production, as they did to composition, all > > signified a complete overhaul of âconventionalâ Bollywood music. > > > > *2001 The Bhatt film formula > > *The signs were there, right from the time of /Kasoor/. A high-pitched > > romantic number with a catchy hook (âKitni bechain ho keâ), a male sad > > song with deep vocals (âMohabbat ho na jaayeâ), and a female sad song > > about unrequited love (âZindagi man gaye ho tumâ). Mahesh and Mukesh > > Bhattâs films had worked out a distinct music formula at the time > > of /Kasoor,/ that theyâd replicate every year, in every movie, even if > > the composer and singers changed. So, in the years that followed, Anu > > Malik gave a similar sound in /Murder/, Pritam in /Gangster/, right up > > to Toshi-Sharib in /Jashn/. You could identify a Bhatt-film song from a > > mile away, but thatâs not a bad thing. > > > > *2002 Kaanta laga > > *If the Bollywood music industry was ever in peril, it was in 2002, when > > remixes threatened to replace the âmukhadasâ and âantarasâ with > > different variations of the phrase âLetâs partyâ, and some turntable > > effects thrown in for good measure. Shefali Zariwala became the face ... > > or.. err.. butt of the remix revolution, when she starred in the music > > video of /Kaanta laga/, thong firmly in place. Pristine Hindi songs > > like /Chadhti jawani /acquired a new meaning, the moral police had a > > field day, and DJs minted money with Non-stop remix albums. And we found > > out that even Bappi Lahiri can be plagiarised, when he sued R ânâ B > > singer, Truth Hurts for remixing his song /Kaliyon ka chaman /in his > > single, /Addictive/! > > > > *2003 The Return of R D* > > It had to happen. After RD Burman passed away in 1994, his mad > > orchestrations, wacky experiments, and penchant for using unusual > > musical instruments to create songs that broke out of the typical > > rhythm-based Bollywood routine, could never be recreated by any other > > composer. A lot of remixes came and went, but the Panchamda sound had > > been lost forever. Until /Jhankaar Beats /and /Dil Vil Pyaar > > Vyaar /came. Vishal-Shekharâs break out album, /Jhankaar Beats /was an > > ode to the legacy of Panchamda, and was rooted in his sound. And /Dil > > Vil Pyaar Vyaar /went the whole mile, recreating 14 of Burmanâs best > > songs, in the voice of the present generation. The Pancham flavour was back! > > > > *2004 Zip, zoom, dhoom* > > Move your body, shake your assâ, did you say? That was the domain of the > > âforeignâ singers, that we caught glimpses of, on late night shows on > > MTV. Music videos, did you say? Only the Indipop world of Sunita Rao and > > Baba Sehgal had that. Car music, did you say? Well, unless you > > call /Kanta laga /car music... In 2004, Pritam changed all that > > with /Dhoom machale/. With Thai singer Tata Young at its helm, the song > > was singularly responsible for the zipping âHinglishâ songs we hear on > > every track now, the trend of music videos, and the much-abused phrase, > > âinternational collaborationâ. > > > > *2005 Kajra re > > *Thereâs something about /Kajre re /(/Bunty Aur Babli/). Maybe it is the > > sight of a droolsome Aishwarya Rai performing trademark Bollywood > > âthumkasâ, in a ravishing, sexy avatar, that men had so-far only > > dreamed > > about. Maybe it is the father-son duo dancing with abandon. Or maybe it > > is the reinvention of the qawwali by Shankar-Ehsaan-Loy and Gulzar, that > > helped the song pip /Omkara/âs /Beedi/ (2006) as the item number of the > > decade. We think itâs Aishwarya! > > > > *2006 The phenomenon called Himesh > > *He came, he sang, he conquered. In 2005, Himesh Reshammiya was > > unwittingly encouraged to sing title song for his/Aashiq Banaya Aapne/. > > The song, which had a âsufi flavourâ, became a rage across India. And > > an > > idea was born â" that took shape in the form of a 23-song debut private > > album, /Aap Ka Suroor/, by Reshammiya, who exploited his nose to sing, > > swallowed his tears for beautiful models, who ditched him in music > > videos, and wore a cap to hide his bald patch. The sale of caps reached > > an unprecedented high, Reshammiya was signed on for a big-budget movie > > that would explain âwhy he doesnât smile in music videosâ and > > ânasal > > singingâ found a synonym. And a phenomenon was born. > > > > *2007 Chak De India > > *Last decade, India never really had a sports movie that set our pulses > > racing and made us bite our nails in excitement./Lagaan/, in 2003, > > changed that. But though /Lagaan/ became the toast of our nation, we > > still didnât have a sports song, which would inspire patriotism in us > > and motivate us to kick some ass. And then came, /Chak De India!. /The > > movie moved us and inspired us in all kinds of ways. It didnât do much > > for Hockey, but no one complained since, coinciding with the year T20 > > became huge, the song became the national chant for supporters of the > > Indian cricket team at matches. India had found a sports anthem. > > > > *2008 Jai ho Rahman* > > In retrospect, after /Roja/ (1992), every year can just as easily be > > called the âyear of A R Rahmanâ. Heck, if the 2000s were to belong to a > > musician, it would be called the /decade of Rahman/. Yet, 2008 was > > special because, for the first time, Rahman churned out as many as five > > Bollywood soundtracks, with each one hitting the right notes. > > From /Jodhaa Akbar/and /Jaane Tu... Ya Jaane Na/, > > to /Ada/, /Yuvraaj/ and /Ghajini/, Rahman covered just about every genre > > from historical to contemporary romance, to /masala Bollywood/, > > showcasing his versatility and mind-boggling range. Then, just before > > the year ended, there was /Slumdog Millionaire./ And world music will > > never be the same again. > > > > *2009 Dev D* > > If there was one song that could have been singularly responsible for > > driving audiences to the theatre to watch a movie in 2009, it would > > easily be âEmosanal attyacharâ from /Dev D/. Amit Trivediâs radical > > 18-song soundtrack that turned every Bollywood stereotype on its head, > > with a fresh, edgy sound, could well be Bollywoodâs first rock opera. > > Aided by Amitabh Bhattacharyaâs wacky lyrics, that incorporated a bi**h > > somewhere, and a wh**e elsewhere, Trivediâs music signified the dawn of > > a new era in contemporary Bollywood music â" thatâs driven by sweeping > > orchestrations and extraordinary experimentation. And after the > > exquisite /Iktara/ in /Wake Up Sid/, you know that Trivediâs just > > getting started. > > > > > > > > > > >
