From Hugh Grant to AR Rahman: Famous celeb trials from all over the world - The Economic Times
The famous celebrities from actor Hugh Grant to music composer AR Rahman came to the limelight for reasons beyond their talent, read the. Relatives, A. R. Rahman (Co-Brother). Website, ddttrh.info Rahman (born Rashin Rahman) is an Indian film actor who has starred in over films. E.S. Mampad College, Malappuram. He is married and has two children. His wife Meherunnisa is the sister of music director A.R. Rahman's wife Saira Banu.
Film career Malayalam films Rahman's first Malayalam film was Koodevide, which became a big hit. He acted in the films of almost all the major Malayalam directors at that time.
He was absent from the Malayalam film industry in the late s as he concentrated on Tamil and Telugu films. After another interval, he came back with the movie Dreams, playing the role of a police officer. Another of his comeback movies was Black, alongside Mammootty. Inhe completed his silver jubilee as an actor. Rahman appeared in the film Kerala Cafein the segment titled "Island Express", under the debutant director Shankar Rama Krishnan assistant director of Ranjith.
Musafirproduced by Pramod Pappan, was one of Rahman's biggest productions and most expensive ventures to date. Prithviraj was another hero of this film. Tamil and Telugu films Rahman's first Tamil film was Nilave Malarewhich was released in ; the director of the film was S. Chandrasekhar Tamil actor Vijay 's father. He is known with the screen name Raghu in Telugu movies. Bharath Band is one of his big hits in Telugu.
In JanuaryRahman moved from Kozhikode to Bangalore. Inhe moved from Bangalore to Chennai. Inhe acted in the Tamil film Sangamamdirected by Suresh Krishnawhich depicted the story of a feud between classical and folk dance.
The music of the film was composed by A. Rahman then performed in the Tamil films Raam and Thoothukudiwhich were released in and respectively. The Tamil film Ethiri was the first film Rahman dubbed in his own voice. He was the villain in the Tamil film Billareleased in December Inafter a long gap in Telugu, Rahman acted in the Telugu film Dhariyam.
Rahman's next Telugu film was Aalayamdirected by Muthyala Subbaiah.
His Tamil film Vaamanandirected by Ahmed who has worked as assistant to director Kathirdid well throughout South India. He acted in the Telugu movie Sri Srimathi Satyabhaama. He also acted in the Telugu remake of Billa, which released on 27 March Rahman's latest Telugu film is Balam, directed by Muralikrishna. Suhasinihis first heroine from the film Koodevideappeared alongside him in this film after a gap of 25 years.
Rahman's next Telugu film Simhawas released worldwide on 30 April I appreciate Rahman's sense of arrangement. No one can teach Rahman how a song should be composed. He is aware of all the latest in sound techniques. He knows what will appeal to people and what will not. He is very versatile and different from one film to the other. As long as he does not repeat himself, nothing can stop him from reaching the top. Rahman gives a lot of freedom to his technicians and all those-involved with him, while working.
Moreover, he is extraordinarily creative. Rahman is the greatest person i have ever-seen in my life. He is really a humble person. He's such a simple guy. He has no ego hang-ups. He's a reserved person and talks very little but he makes you give your best.
He keeps a cassette ready wherein he has sung the song himself and listening to it makes your work so much easier, he allows any number of retakes. If you've sung half a line beautifully and haven't sustained that in the other half, he'll retain that half and make you work on the other half.
The result is magnificent. And Rehman makes his pleasure very evident when he likes something you've done He's always experimenting, doing something different which is very inspiring for the playback singer. Rahman is an absolute genius and is one of the few music directors who completely knows what he is doing. It's an absolute pleasure working with him as he is a cool and modest guy. He has a new approach, he has given a new direction to film music. I think even the established music directors want to sound like him.
Perhaps all his songs won't be remembered and hummed after decades. But for the time being, Rahman's tunes are extremely enjoyable. Balasubramanium says "The man responsible for the variety in today's music is A. Rahman, he never gave a second thought and called me over the phone to be in Madras the next day for the recording.
Even though I was on cloud nine, deep down I was feeling as if somebody had pulled a trick on me. God has been great! He came into my life as Rahman sir. He was the one to impress upon the need to be technically perfect before any producer could be expected to invest in you. Rahman is the best! He is a genius and a wonderful human being and it translates in his music. We had this band called Roots. We just make very good music together.
I went through something similar as Aamir Khan, says A R Rahman
He is a master of laya melody and taala beat. The recognition that I enjoy today is because of Rahman. There are so many talented people behind a film music score. I played for Illayaraja for very long, but my name never figured on the screen or the cassette cover. Rahman changed it all. He gives credit to every single member of his team for whatever part they play, big or small. That makes him really special. People came to know about me only because of him. I thank him for that. He knows Indian classical music, he is in touch with Indian folk music, he knows about western music and he has really studied western classical also.
He knows about Middle Eastern music. So there is no wonder you see different colours in his songs. But Indian music has borrowed albeit being influenced by Middle Eastern music in past also. But, you see, when Rahman takes a raag or if he takes a folk tune, or if he takes notes of say Arabian music or South American music. When this music comes to Rahman, it becomes Rahman's music his influences are beyond film music and he has a kind of courage where he is not afraid to experiment, he is not afraid to fail and that is why he succeeds.
We remember only those people who were not only successful but they have brought something to the arena that is new. Now this is a another leap, a quantum leap that Rahman has taken and he has given a kind of new sensibility to Indian music listener and the music maker.
The sound, the orchestration, the very structure of the song. He has challenged the basic structure of Indian film song and he has altered it, changed it. And, I think his contribution is totally unprecedented. Successful people come and go. Ultimately it's the pathbreakers who're remembered with the passage of time. People who have walked on untrodden roads.
Success is worshipped momentarily, and then forgotten. It's not enough to be successful. It's important to attempt something new. Rahman's contribution to film music will never be forgotten.
He has given a new dimension and understanding to sound. Working with him is definitely a great pleasure. I get along very well with him.
He is one person who is only interested in his work. Inspite of his stupendous success, he is so humble and down-to-earth. He's a trend-setter in more ways than one. The only thing common between us is the fact that we started out in advertising and moved on to films.
There's just no comparison otherwise. Rahman is a legend of sorts. He doesn't have set ragas. Yet his chord progressions are beautiful. People sometimes compare me to A R Rahman, it happens.
I can't even begin to fathom the reasons for the comparison. He's in another zone altogether, he is amazingly brilliant. If people compare me to him, I'd take it as a compliment. He is a phenomenon. He's young and talented. And he has his fingers on the pulse of the new generation. Like Salil Chowdhary he knows both western and Indian music styles. He's a great talent but his talent shouldn't be overutilised.
Says Sir Andrew Lloyd Webber, the reknowned composer of musicals, who picked Rahman to score for his musical Bombay Dreams, the first time an outsider worked on the compositions of an Andrew Lloyd Webber musical, " I think he has an incredible tone of voice.
I have seen many Bollywood films, but what he manages to do is quite unique--he keeps it very much Indian. For me as a Westerner, I can always recognize his music because it has got a rule tone of voice of its own. It's very definitely Indian, yet it has an appeal which will go right across the world. He will hit the West in an amazing kind of way; that is, if he is led in the right way.
He is the most extraordinary' composer who is still true to his cultural roots, ' and deserves to be heard by an international public" Choreographer Chinni Prakash throws up his hand in mock frustration and says, "Its challenging to choreograph Rahman's songs. He does not stick to the conventional four-eight-twelve-sixteen beats.
Sometimes, he gives you a two and three-quarters beat. What do you do with that? Every note reflects the mood of the song. When I used to hear his music for my film I used to wonder if I was feeling my story as deeply as he was".
Rahman mirrors not only the variegated tapestry that is India, but also the global musical culture. Rahman borrows ever so subtly from American soul or Gospel. He draws generously from rap, disco, folk, reggae, qawaali, Hindustani and Carnatic in his rhythms.
And the vocal ornaments of Carnatic music or ever present. Orchestral textures and harmonies typical of Western music often grace the background. His is a truly international music with a distinctly Indian feel. He has experimented as perhaps no other Indian composer has before him or does now. Some may be tempted to call it Indian fusion music of a highorder.
I've heard his music being used as background in a German TV feature unrelated to music or India. Some years ago a friend of mine gave me a cassette of 'Roja'. I was amazed after I listened to the songs. I decided right away that A. Rahman will give the music for atleast one of my films.
Immediately I came to Chennai and spoke to him. He is an absolute genius. His range of imagination is expansive. He doesn't treat his profession as just composing music for films. He is able to lift a film to a new level with his music. Just as a painter is identified by his artistic style he is identified by his tunes.
Even If i say I am satisfied he does not stop. I am not saying this just to praise him. Rahman is the only composer in India upto international standards today. In fact I will go so far as to say that he is a composer of the next millennium.
He is someone who creates music. I believe that is also a reason for his success. Firsthe reads the script and takes detailed notes of the situations, the mood, and the characterisations. Sitting before his keyboard in the studio at night he would say, "Give me a word! Give me a phrase. Then he records it with a singer. But the real magic starts when once he has the song before him on his computer screen. He plays with it, takes a phrase from here and puts it there.
Block by block, verse by verse he builds up his song. YOu can see the coloured bits forming fascinating patterns. I am privileged to work with a man who has been inspired and blessed by God above. I don't mind changing all my nights into days to work with him. You know this great man only creates fresh tunes in the night and sleeps during the day.
Rare man, rare way of working. That's how all great men are. He creates according to the director's need. He is a widely knowledgeable composer, with knowledge of all kinds of music of the world.
He can play Western Symphony with as much ease as Hindustani or Carnatic classical which is a very rare quality in composers. Rahman has a strange kind of spirituality within which he lives. He knows technique, has a rare sense of sound and a great ear. He can make any besura tuneless voice sing well. This is obvious from singers who have sung beautifully for his albums but have not done well later.
I love him both as a composer and as a friend. He is very sweet to talk to. The only thing is you talk and he listens. He has a sharp intellect and understands not just the sound of music and quality of voice but also the market forces and how to move from post to post. Rahman is undoubtedly a genius.
He's divine and simple. He has revolutionised film music. He is perpetually on a quest to get the best out of you and makes you feel at ease which is important. I have sung some of my best songs for him. His music comes from the characters and is an extension of them. I think he is the best. He is the most brilliant film composer in India today and is in such demand that he has altered his normal working day to begin at six in the evening and go through the night, so that he can compose undisturbed by producers' calls.
Whatever I say about his genius will be stating the obvious. He finds the sound for every character in the film. He finds the character's sur. Raag, rhythm, reggae, folk, classical, he's got it on his finger tips. He's so cinema literate. Once he's taught you the song, he gives you a free hand. He lets you sing it the way you want to. He says, "His work speaks volumes. There's no one like him. Which is why I didn't mind when he walked away with all the awards for Taal.
He's just so good. When it comes to making electronic music he's the best. I know I can't even compete with him there. He has a penchant for being international.
I think he is talented. Sridhar reveals some little known facts of Rahman,"I had known Rahman many years before I started working with him on Roja. While he was doing jingles, we would often meet and compare notes on music trends and synthesisers. Rahman's biggest asset is that he treats each song as his first song. He prays before each session. I believe there is some power in his God, faith and religion. I can give you countless examples when he became so inspired after his prayers.
He is very open-minded about what a song needs and gives each song a completely individual taste. It is the way he soothes you into a song that I call his signature. There is a visual texture in his mind when he composes music. When you see the song picturised you can immediately connect. Rahman allows musicians to be themselves. He understands their soul. He also has a fabulous way of getting notes out of a musician without telling them in so many words.
Rahman never ceases to amaze me. He is such a fine musician apart from being a music director; his strength is fusion. He is also a techno-junkie. If you give him a set of headphones he will most probably rip it apart to understand why it works so well! I sometimes say that we are techno-brats. But Rahman knows that a song shouldn't speak the technical language but should have soul.
Rahman is humble and very generous with money. He hates to see people suffer. I think his philosophy is that people should derive happiness from his music, even if it is a sad tune. He has this tremendous need to be perfect. He knows the pulse of the audience. He has a very good sense of tune. He knows what kind of orchestration is necessary for a scene and what music suits the mood of the scene.
He has the music in his mind, and uses every musician as an artiste, probably because he has been an instrumentalist himself. He tries to extract something extra from every one of his musicians as well as his playback singers.
He believes in their additional input. I found in him a new and different composer who never compromises on quality. But he is best summed up, perhaps, in the words of Cinematographer-director Rajeev Menon who worked on many ads and the films 'Minsara Kanavu' and 'Kandukonden Kandukonden' with him, " Music comes to him instinctively.
When you see him play, his skill is such that you really believe God exists in his work. Our tribute to the men without whom this world would be quite, quite insipid" in which it picked Rahman as one of them and wrote "Music maker A. Rahman has given these raucous and raunchy times melody and mood. His style is individual to the extent of sounding repetitive sometimes, but when you hear his work, you feel at last the kind of involvement with the spell of sound that was R.
What is most attractive about Rahman's music is his ability to link modern rhythms and experiments with sound with our enormous legacy of classical and folk music.
Sometimes a song is just an intricately woven lacing of words that embraces you on a still, lonely night. Sometimes a song is just a voice for a music director, whose passion makes your hair stand. Rahman takes you on a journey-- and to hear it is to feel you have no choice but to journey with him Dileep Kumar on the 6th of January in the yearin Madras now Chennaito a musically affluent Tamil Mudaliar family.
The second of four children he had three sisters Kanchana, Bala now Talat and Israth, Kanchana being elder and the other two younger. Sekhar was a composer, arranger and conductor in Malayalam movies and had worked under the likes of Salil Chowdhary and Devarajan.
His mother was Kasthuri now Kareema Begum. Dileep's baptism in music happened early in life. On one of those visits, a music director Sudarshanam Master found the four year old playing a tune on the harmonium.
He covered the keys with a cloth. It made no difference. Dileep replayed the tune effortlessly. This impressed the music director who suggested that he be trained in music. Dileep started learning the piano at the tender age of four. He recieved his early training in music from Dhanraj Master. But he wanted to grow up to be an electronics or computer engineer. He says today, in reminiscence " I was not crazy after music.
I was more interested in technology". He was first drawn to music strongly when his father bought a synthesiser, one of the very first in film circles then, from Singapore.
Till then he now says, "As a child, music seemed to be a means of earning bread and butter. I had no special fascination for it Yet I couldn't take my eyes away from the synthesiser, it was like a forbidden toy.
Dileep used to spend hours experimenting with the novel instrument.
This instrument was to shape the future of this child. It was perhaps divinely ordained that the synthesiser would become Dileep's favourite instrument since it was the ideal combination of music and technology. Rahman's early years were one of struggle and hardships. At the age of 9, his father passed away following a mysterious illness with rumours abounding that he was the victim of black magic practised by his rivals. Shekhar passed away the very same day his first film as composer was released.
It was at this time that Rahman's belief in God first took a beating.
AR Rahman: Acting doesn’t only belong to actors, or singing to singers
Much of his time was filled with hospital visits, pain and anxieties. It is an issue that Rahman outrightly refuses to discuss even today. After his father's death the pressure of supporting his family fell on the young Dileep. At first the family subsisted by lending out his father's musical instruments. At the age of 11, he joined Illaiyaraja's troupe as a keyboard player in order to earn for his family's upkeep.
He also learnt to play the guitar. Thus Rahman formally entered the world of music. He also began to play the keyboard for programmes on television. It was his mother Kareema Begum who encouraged him to follow in his father's footsteps and fully supported him in his vocation.
But all this had an adverse effect on his formal education. Infrequent attendance and an unaccommodative management forced him to shift schools from the prestigious Padma Seshadri Bal Bhavan to the Madras Christian College and finally he dropped out of school altogether when he was doing his 11th grade. He also played on the orchestra of M. He also appeared playing the keyboard on a few popular music shows on televison like 'Wonder Balloon' on the Madras Doordarshan channel.
He also supposedly composed a few short pieces of music in Ilaiyaraja's films, a notable one being the theme music in K. All this experience enabled him to earn a scholarship to the famed Trinity College of Music at Oxford University from where he obtained a degree in Western Classical Music.
He came back with a dream to bring an international and contemporary world perspective to Indian music. After he returned, he continued to be a part of various local music troupes. This, he says, was a very valuable learning experience. Thus Dileep came to be totally immersed in music. The only source of joy to him was music, so much so, that friends like guitarist John Anthony would say, "Who is the Prime Minister of India, do you know?
Get out and see beyond your nose in Kodambakkam". But he was not at all sure he wanted to turn professional.
Dileep thus firmly established himself this way and worked for nearly 8 to 9 years with various music directors. He also worked as an arranger for Illaiyaraja, M. Vishwanathan, Ouseappachan and Raj-Koti. He has this to say of his stint with Illaiyaraja "Until then I thought you had to drink or take dope to be a good artist.