JAI HO GUYS..........

jai ho ............!

haha!anirudh u know wat oscar came to "this" song...though he has "better" songs as per u earlier.....coz these oscar guys thought it was his first INNOVATIVE one...LOL!....i know real reason..it was because even though he did better earlier and should have recieved an oscar earlier...but the thing he did not have earlier was a "foreign director"[3][3]

(Jai Ho)^∞ to AR Rehman...........But (Jai Ho)^1/∞ to Jai Ho............I seriously don't think Jai Ho is ARR's best.......I would have given Oscar to Roja or Boys or even Guzarish from Ghajini.........I don't think Jai Ho deserves an Oscar............[16]

A phony poseur that has been made only to mock India for the viewing pleasure of the First World!!

The emperor’s new clothes! That’s “Slumdog Millionaire” for you… Five minutes into this celebrated patchwork of illogical clichés and you are struck by the jarring dialogues. The cumbersome delivery in a language which doesn’t come naturally to most of the actors sounds like someone scratching on walls with one’s finger nails; it ruins the possibility of a connection… Had this film been made by an Indian director, it would’ve been trashed as a rotting old hat, which literally stands out only because of its stench, but since the man making it happens to be from the West, we’re all left celebrating the emperor’s new clothes. The film borrows an undoubtedly interesting narrative style – from films like “City of God” – but then uses it to weave in a collection of clichés from the Third World’s underbelly for the viewing pleasure of a First World audience. The real slumdog in the movie is not the main protagonist but India as a whole… The makers and those celebrating this movie’s hard-to-spot brilliance are actually serving up India as the accidental millionaire, which in fact happens to be a slumdog… and like shameless fools we are gloating over its success without realising that it makes a caricature out of India.

The film does not have the sincerity and honesty of a “Salaam Bombay” or a “City of Joy” and nor does this slime covered fairy tale have the integrity or the rootedness of the above mentioned scripts, or even a “Shantaram” for that matter; the soundtrack and the performance of the child actors are the only bits in the film which live up to the hype. The real slumdogs who’ve hit the jackpot after wallowing in acres of human waste are the makers of this film who are now raking in millions while those court jesters who’ve critiqued the film and showered tributes and awards need to ask themselves why, scores of years after our independence, they still feel the need to suck up to the gora sahibs. It’s not a question of xenophobia… it’s definitely a well cinematographed film… but the film has no soul, especially after little Jamal has jumped off the train and become a teenager… The rest of the film is just a modern version of the West’s view of India where slums, slumdogs and Bollywoodian clichés have replaced the elephants and snake charmers. It’s a well made caricature of a country and a caricature can never be a Mona Lisa, for a masterpiece can’t be one dimensional juxtaposition of sadistic extremes… and that’s my grouse with the celebrations…

And I say all this not because I don’t know what is India. I know its poverty and the real statistics around it a little better than most others – especially the Indian film critics who have given “Slumdog…” an average of 4 to 4.5 stars! But the fact is that the film’s entire narration seems like the germination of a terribly sadistic and complex mind with the sole aim of satisfying the western idea of India – and its new found growth instincts at their cost - and it is done through a combination of illogical happenings in order to show everything in a disgustingly negative vein. Not that it doesn’t exist, but it surely doesn’t exist in this fictitious manner. While “Salaam Bombay” had realism, “Slumdog…” is just every scrap of dirt picked up from every corner and piled up together to try and hit back at the growing might of India. And the awards almost seem like a sadistic effort to show the world – look we knew that this was India, and these are the slumdogs we are outsourcing our jobs to. It stinks of racial arrogance and it’s such a shame now on second thought to see the Indian faces – including that of the undoubted master, AR Rahman - celebrating its success. There is nothing positive about the film and it seems that a deranged sadist has painted his insecure negative self in each and every character of the movie. It illogically shows every negative thing about India happening in the protagonist’s life... slums, open-air lavatories, riots, underworld, prostitution, brothels, child labour, begging, blinding and maiming of kids to make them into ‘better beggars’, petty peddlers, traffic jams, irresponsible call centre executives… everything apart from western pedophiles roaming around in Indian streets!! And its winning of so many awards and nominations only goes on to prove strongly that the paradigm of cinema and recognition of films are in the hands of a few retarded imperialistic minds. It’s a crying shame that our media hasn’t seen through this ruse and is touting “Slumdog’s” nominations to claim that India is shining at the Oscars, while in fact it is lauding a film that mocks and ridicules the idea of ‘India’, pigeonholing its identity into the straitjacket of depraved poverty for a global audience.

When the West wanted Indians to embrace them and their companies to come to India and capture the lucrative markets, suddenly we had all the Indian women, some very beautiful and some not necessarily so, winning all the Miss Universe and Miss Worlds. Today, they are in a crisis and India is looking unstoppable despite its slums and poverty, and they are losing their businesses to us. Isn’t it the best time to paint India as the Slumdog Millionaire?? All in all, the film is nothing but an endorsement of an erstwhile imperial mindset of the West and its blinkered vision of India. An English master has made an Indian slumdog. Don’t even waste your time watching this film in the theatres. It sucks and there is nothing great in it as a film too. Amitabh Bachchan was spot on when he said that Bollywood has made far better mainstream films. Take out a DVD of one of his old films instead…

Guys a short documentary movie on a Manipuri girl named Smile Pinky too won a Oscar.
But unfortunately the director is not an Indian........

OSCAR RAHMAN

he's da best!!
Jai Ho.......!!

oooooh...........didnt know that black magic thing....[2][2]

biography

Childhood

Allah Rakha Rahman was born A.S.Dileep Kumar on the 6th of January in the year 1966, in Madras , to a musically affluent family.
His father K.A.Sekhar was an arranger and conductor in Malayalam movies and had worked under the likes of Salil Chowdhary and Devarajan.
Dileep started learning the piano at the tender age of four.

Background

At the age of 9, his father passed away following a mysterious illness with rumours abounding that he was the victim of black magic by his rivals.
The pressure of supporting his family fell on Dileep.
At the age of 11, he joined Illaiyaraja's troupe as a keyboard player.
It was his mother Kareema Begum who encouraged him to follow in his father's footsteps.
But all this had an adverse affect on his 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.

Religion

In 1988, one of his sisters fell seriously ill and numerous attempts to cure her failed.
Her condition progressively worsened.
The family had given up all hope when they came in contact with a Muslim Pir - Sheik Abdul Qadir Jeelani or Pir Qadri as he was popularly known.
With his prayers and blessings, Dileep's sister made a miraculous recovery.
Rattled by the bad experience and influenced by the teachings of the Pir, the entire family converted to Islam.
Thus A.S.Dileep Kumar became Allah Rakha Rahman.

4/2/06
Part 2
Musical background
He also played on the orchestra of M.S.Vishwanathan and Ramesh Naidu and accompanied Zakir Hussain and Kunnakudi Vaidyanathan on world tours.
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.
After he returned he continued to be a part of various music troupes.
He was also a part of local rock bands like Roots, Magic and Nemesis Avenue where he performed with his future colleagues like Ranjit Barot and Sivamani.

Career in Ads
Vizi Manuel, the lead keyboard player in Illaiyaraja's troupe, advised him to try other alternatives like advertising.
Fortunately for Dileep he soon got his first break in advertising when he was asked to compose the jingle to promote Allwyn's new Trendy range of watches, in 1987.
The ads were a success and Dileep's work in them was appreciated.
Dileep moved full time into advertising as a few offers came his way.
Thus began Dileep's 5-year saga in advertising where he went on to compose more than 300 jingles.
Rahman did a lot of popular ads like those for Parry's, Leo Coffee, Boost featuring Sachin Tendulkar and Kapil Dev, Titan, Premier Pressure Cooker, Hero Puch and Asian Paints.
The jingles that he composed for the Leo Coffee ad starring Aravind Swamy and the Asian Paints ad directed by Rajeev Menon also won him awards and recognition.
He also won an award for composing the theme music of the Madras Telugu Academy's Spirit of Unity Concerts.

Studio
In 1989, he started a small studio of his own, called Panchathan Record Inn, attached to his house.
This would later develop into one of India's most well equipped and advanced recording studios.
In his established state of the art sound and recording studio he began experimenting in sound engineering, design and production.
He also began a collection of sound samples, creating one of the most comprehensive sonic libraries in Asia.
4/2/06
Part 3
Non-film work
During his stint in advertising, he released his first album, of Muslim devotional songs, titled `Deen Isai Malai'.
This was followed by `Set Me Free', an album of English songs which was the launch album of singer Malgudi Subha, by Magnasound, where Dileep set the songs to tune.
Both the albums went unnoticed in the market.

Films
At an advertising awards function he chanced upon a young man receiving the award for the best ad jingle which he had composed for the popular Leo Coffee ad.
At the party that followed the awards presentation ceremony Maniratnam was introduced to the young composer by his cousin Sharada Trilok of Trish Productions for whose company the young man had worked.
Mani requested for a sample of his wares.
The composer readily complied and invited the director over to his studio where he played out a tune that he had been pushed into composing by his school friend G.Bharat alias Bala who had been greatly disturbed by the Cauvery river tensions.
Mani was hooked instantly. He signed on the composer to score the music for his next film which was to be produced by the veteran Tamil director K.Balachander.
That film was Roja. That tune would become the song "Tamizha Tamizha".
Rahman became a household name in Tamil Nadu overnight and the score of `Roja' was the first step in changing the face of Indian film music.
`Roja' won every conceivable award in music that year.
Rahman also got the Rajat Kamal for best music director at the National Film Awards , the first time ever by a debutante.
He left ads and moved into film music full time.
In the five years since Roja, he has created music for blockbuster Indian films including Roja, Pudhiya Mugam, Gentleman, Kizhaku Seemaiyilae, Duet, Kadalan, Bombay, May, Madham, Indian, Muthu kadhal Dasam, Love Birds and others.
His 1995 soundtrack for Bombay crossed 5 million units and Rahman had arrived as the "King of Indian Pop" with sales of more than 40 million albums over a period of 3 years.
4/2/06
Part 4
Playback singing
In the movie "Bombay" Rahman formally took to playback singing.
Rahman had lent his voice to his compositions earlier too but they had been part of the chorus or bit pieces like `Marhaba' in `Urvashi' in `Kadhalan' or background pieces and interludes like `Yelelo' in `Chinna Chinna Aasai' in `Roja'. But `Hamma Hamma' in `Bombay' was Rahman's first complete song.

Vande Mataram
In 1996, when Rahman had gone to Bombay to attend the Screen Awards ceremony, he met his childhood friend G.Bharat.
During this meeting both had discussed a proposal for an album to commemorate 50 years of Indian Independence in 1997.
In 1997, the International music giant, Sony Music, whose portfolio included the likes of Michael Jackson, entered the Indian market in a big way.
They were looking to promote Indian artistes internationally. And the first person to be signed up by Sony Music from the Indian sub-continent was A.R.Rahman, on a 3-album contract.
Rahman suggested the idea that he had discussed with Bharat to Sony Music India and was immediately accepted. Called `Vandemataram', it was a tribute to the motherland and featured songs to mark the 3 colours of the Indian Flag.
`Vandemataram' was released simultaneously in 28 countries across the world under the prestigious Columbia Label of Sony Music on August 15th 1997.
Rahman himself performed live at Vijay Chowk in New Delhi on the eve of the Golden Jubilee of Indian Independence to a packed audience that comprised of the Prime Minister of India.
The album was a mega success and sold over 1.2 million copies in India and did reasonably well internationally too.
4/2/06
Part 5
Artistes & inspirations
At the age of 32, Rahman has already worked with internationally reputed artistes like Nusrat Fateh Ali Khan, Apache Indian, Zakir Hussain, Kunnakudi Vaidyanathan, Dominic Miller, L.Shankar, Kadri Gopalnath, Vikku Vinayakram, Ustad Sultan Khan and Pandit Vishwa Mohan Bhatt among many others.
Rahman has in collaborations with artists such as L. Shankar, Zakir Hussain, David Byrne, Talvin Singh and Apache Indian - both recording and on tour.
On a recent trip to India, David Byrne met Rahman and was so impressed that he went on to record some sessions with Rahman for a project he is currently completing (as yet unreleased).
Rahman lists among his favourites Bach, Mozart, Beethoven, Carpenters, Carnatic, Rock and fusion.
He credits all his inspiration and success to Allah

yup its good to see india getting oscars.................but i sincerely feel taare zameen par should also lhave got the same no. of oscars.......it was perfect..

OF COZ WE ARE PROUD [4]

Jai ho.....Rahman sir....

we r proud Indians......