Akkineni Nageswara Rao Diamond of Indian Cinema

Hyderabad, Banjarahills, From a poor farmer’s son to one of the most loved and respected actors of Indian cinema, Akkineni Nageswara Rao’s journey, which lasted over seven decades, could very well make an interesting story of a film.

Nageswara Rao, who as a youngster walked bare foot in Gudivada in Krishna district of coastal Andhra, rose to the dizzy heights of stardom and became a symbol of the Telugu film industry, or Tollywood as it is popularly called sometimes.

ANR, as fans fondly called him, died of cancer at a private hospital here in the early hours of Wednesday, plunging the industry into gloom. He was 89 and is survived by three daughters and two sons, including popular actor Nagarjuna.

ANR was the last of the most popular first generation actors of Telugu cinema and was considered one of the two all-time greats of Telugu cinema, the other being N.T. Rama Rao (NTR) who died in 1996.

Rao started his career as an actor in theatre when he was just nine. In the initial years of his career, he even played female characters.

His passion for cinema was spotted by his mother at a very young age.

“I dropped out of school because my family couldn’t afford it. I used to help my mother at her work, but at leisure, I used to stand in front of the mirror and act,” Rao told IANS in his interview last year.

“My mother noticed my interest in acting and asked my brother to introduce me to the local theatre group. I can’t even think of what I would have been if not an actor,” he had said.

Rao’s was truly a rags-to-riches story. He made his cinematic debut in 1941 Telugu film “Dharmapatni” with a brief role, and in 1944 he was picked up from the platform of Bezawada (now Vijayawada) railway station and signed on to play the lead role in Telugu drama “Sitarama Jananam”.

Rao never hesitated to play a variety of roles, such as a villager, an urban educated protagonist, a tragic hero and even a comedian, to sustain his popularity over the years. He believed in longevity and, therefore, constantly chose to play different roles as he never wanted the audience to get bored of seeing him on screen.

While Rao will be remembered for many wonderful films such as “Devadasu”, “Mayabazar”, “Dr. Chakravarthy” and “Muga Manasulu”, “Sudigundaalu”, “Antastulu” and “Meghasandesam”, Rao’s best work was in “Batasari” and “Devadasu”.

“I still consider ‘Batasari’ as one of my finest performances in my career. There was only one page of dialogue in the whole picture and the role demanded maximum use of expressions,” he had told IANS in the interview.

Despite strong criticism, Rao acted in “Devadasu”, only to be catapulted to the status of Telugu cinema’s first romantic hero. The strong criticism made him all the more eager to prove himself with the film.

In 1966 Telugu drama “Navaratri”, Rao essayed nine different roles and earned critical acclaim for his performance. The film was later remade in Hindi as “Naya Din Nayi Raat” with Sanjeev Kumar.

Mostly remembered for his romantic roles in “Laila Majnu”, “Anarkali” and “Prem Nagar”, Rao also starred and proved his mettle in several mythological characters in “Mayabazar”, “Mahakavi Kalidasu” and “Bhakta Tukaram”, “Sri Ramadasu” and “Sri Rama Rajyam”.

In his 74-year long illustrious career, he starred in about 235 Telugu films, besides 20 Tamil and one Hindi. Some of his best Tamil films include “Anbumagan”, “Kanal Neer” and “Pen Manam”.

Although he was enjoying a successful career in Tamil industry too, Rao shifted base to Hyderabad to ensure longevity in Telugu filmdom. Also he wanted his children to learn and speak their mother-tongue.

A true disciplinarian in both reel and real life, Rao succeeded because of passion and devotion. He believed as an actor one shoulders lot of responsibility, and, therefore, he or she should always be careful about his or her actions both in films and in public life.

He was instrumental in setting up one of the biggest studios in India. Named after his late wife, Annapurna Studios will remain the thespian’s biggest gift to the Indian cinema.

The veteran, who studied only up to fifth standard, also set up a film school as he believed in the philosophy of giving back to the society.

Rao bagged three Filmfare awards for the best actor for his role in “Marapurani Manishi” (1973), “Seetharamaiah Gari Manavaralu” (1991) and “Bangaru Kutumbam” (1994). He also won two Nandi awards for best actor for “Meghasandesam” (1982) and “Bangaru Kutumbam” (1994).

He was recipient of many awards, including the Padma Vibushan, the second highest civilian award of the country, and the Dada Saheb Phalke Award, the highest individual lifetime achievement award for films.

Rao’s last film was Telugu family drama “Manam” with son Nagarjuna and grandson Naga Chaitanya. The film is slated for release this year.

Rao called a press conference in October last year to announce that he was diagnosed with cancer. He refused to take questions, saying he doesn’t want any sympathy. Claiming that he has strong will, he said wanted to live up to 100 years with the good wishes of his fans. The destiny willed otherwise.

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Queen of Silver Screen - RajaSulochana

One of the most successful stars in Tamil, Telugu, Hindi, Kannada and Malayalam movies, Pilliarchetty Bhakthavatsalam Naidu Rajeevalochana (her original name) born August 15, 1934, passed away in her home in Madipakkam in Chennai, during the early hours of March 5. Thanks to her father being promoted as PA to the General Manager of M&SM Railway the family moved to Madras from Vijayawada and settled in Triplicane, where she went to school. The school authorities recorded her name as Rajasulochana, and that’s how she continued to be known….

As a young girl, she showed interest in classical dance and had her early lessons at Saraswathi Gana Nilayam in Triplicane; her first guru was Lalithamma who taught her Bharatanatyam. Later, she learnt from K.N. Dandayudhapani Pillai (Bharathanatyam), Acharyulu and Vempati Chinna Satyam (Kuchipudi), Krishnakumar and Vishnu Vysarkar (Kathak) and Kalamandalam Madhavan (Kathakali).

Those were the days when middle-class families did not encourage girls to perform on stage, and, much against convention, Rajasulochana had her arangetram in Madras, which was presided over by the famed music scholar, lawyer and judge of the Madras High Court and Supreme Court of India, T.L. Venkatarama Iyer.

Not surprisingly, movies beckoned her, and she took her bow thanks to the celebrated Kannada stage and screen maestro H.L.N. Simha. Gunasagari (Sathyasodhanai in Tamil), produced by the Kannada cult figure Gubbi Veeranna, marked her screen debut.

She entered Tamil cinema in the early 1950s with Pennarasi, a costume drama produced by M. A. Venu, written by A.P. Nagarajan and directed by K. Somu. It was made at the famous Central Studios, Coimbatore. Her songs and dances drew enormous attention, and her fame spread far and wide.

Rajasulochana has acted in hundreds of films in many languages. Though it is not possible to list all of them, mention must be made of some that created history. Not many are aware that she was cast as the heroine in the cult film Parasakthi. But she had to opt out of the film because of her pregnancy. It was only then that Telugu actress Sriranjani Jr. was brought on board.

Rajasulochana’s most successful film, according to critics and moviegoers, was Thai Pirandhaal Vazhi Pirakkum with S.S. Rajendran, written, produced and directed by the Tamil scholar-turned- filmmaker A.K. Velan. A raving success, the film had melodious music by K.V. Mahadevan. Many songs such as ‘Amudhum thenum etharku nee aruginil irukkayiley’ became hits and are still remembered. It was remade in Telugu as Manchi Manasuku Manchi Rojulu with N.T. Rama Rao playing the lead. The film was directed by her husband, noted writer-director C.S. Rao.

Rajasulochana had the privilege of acting with all the superstars of South Indian cinema such as M.G. Ramachandran, Sivaji Ganesan, N.T. Rama Rao, Akkineni Nageswara Rao, Rajkumar, S.S. Rajendran, A.P. Nagarajan and M.N. Nambiar.

Her other films worth mentioning are Gulebakavali, Vanangamudi, Nallavan Vaazhvaan, Mangalyam, Rangoon Radha, Pennarasi, Kavalai Illaadha Manithan and Ellam Inba Mayam (all Tamil); Pellinati Pramanalu, Raja Makutam, Jayabheri, Santhinivasam, Mahakavi Kalidasu, Iddaru Mitrulu, Tiger Ramudu, Valmiki and Thatha Manavudu (a super hit and the debut of ace filmmaker Dasari Narayana Rao) (all Telugu); Bedara Kannappa, Valmiki (Kannada); Chori Chori (Hindi, a Raj Kapoor-Nargis-AVM movie she was cast with Bhagwan); and Manasakshi (Malayalam).

In the movies she starred in, she spoke the dialogues herself. This is an interesting feature, especially today, when actors hardly speak in their own voices. Her only regret was she did not receive a college education.

One of her twin daughters, Devi, who lives in Chennai, is a talented dancer. Her other daughter, son and grandchildren live in the United States.

A recipient of many awards, Rajasulochana founded her dance school ‘Pushpanjali Nritya Kala Kendram’ in 1961 in Chennai, which celebrated its silver jubilee in 1986.

A good friend of this writer for over three decades, she was warm, friendly and humble with no starry airs. The artiste is gone but her movies shall live forever...life is short but art is immortal ….

Memories of Raja sulochana--

This veteran actor has worked with with some of the best movie-makers. Says she, "More traffic jams ensue because of lack of self-discipline. Old landmarks like Thousand Lights are forgotten. People know malls as landmarks! Shopping at India Silk House was a pleasure in the old days but today there is no parking anywhere. I miss working at Vauhini, Arunachalam and AVM Studios. It was a golden period."

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AR Rahaman Profile -Biography - Birthday-Music Director

There is no need for introduction for this legend of music. His name itself will speak for him. He is none other than A.R.Rahman. His achievements bring great pride to our Indian nation.
He has stolen the hearts of millions of people thought the world with his mesmerizing music.

Brief Profile:
Name : Allah Rakha Rahman (A.R.Rahman)
Birth Name: A.S.Dileep Kumar.
Date of Birth : January 6, 1967
Birth City : Madras, India.
Into Music : Started piano at the age of 4.
Career : Started as a keyboard player in the troupe of ilayaraja at the age of 11.
First Film : "ROJA" directed by Mani Ratnam in 1992
Greatest Achievement:Two oscar awards
Wife : Saira Banu
Children : Two Daughters - Khadijah, Rahima, Son - Aameen (Roomi))
Total Films: 96 Films and 6 Albums

Allah Rakha Rahman (Tamil: ஏ.ஆர்.ரகுமான்; born as A. S. Dileep Kumar (திலீப் குமார்) is an Indian film composer, record producer, musician and singer. His film scoring career began in the early 1990s. He has won thirteen Filmfare Awards, four National Film Awards, a BAFTA Award, a Golden Globe and two Academy Awards. He has also been nominated for two Grammy Awards.

Working in India's various film industries, international cinema and theatre, by 2003, Rahman, in a career spanning over a decade, has sold more than 100 million records of his film scores and soundtracks worldwide, and sold over 200 million cassettes, making him one of the world's all-time top selling recording artists.

Time magazine has referred to him as the "Mozart of Madras" and several Tamil commentators have coined him the nickname Isai Puyal (Tamil: இசைப் புயல்; English: Music Storm). In 2009, the magazine placed Rahman in the Time 100 list of 'World's Most Influential People'.

Early life and influences
A. R. Rahman was born in Chennai, Tamil Nadu, India to a musically affluent Mudaliar Tamil family. His father R. K. Shekhar, was a Chennai based composer and conductor for Malayalam films. Rahman lost his father at a young age and his family rented out musical equipment as a source of income. He was raised by his mother Kareema (Kashturi).

During these formative years, Rahman served as a keyboard player and an arranger in bands such as "Roots", with childhood friend and percussionist Sivamani, John Anthony, Suresh Peters, JoJo and Raja. Rahman is the founder of the Chennai-based rock group, "Nemesis Avenue". He played the keyboard and piano, the synthesizer, the harmonium and the guitar. His curiosity in the synthesizer, in particular increased because, he says, it was the “ideal combination of music and technology".

He began early training in music under Master Dhanraj. At the age of 11, he joined, as a keyboardist, the troupe of Ilaiyaraaja, one of many composers to whom musical instruments belonging to Rahman's father were rented. Rahman later played in the orchestra of M. S. Viswanathan Ramesh Naidu and Raj Koti, accompanied Zakir Hussain, Kunnakudi Vaidyanathan and L. Shankar on world tours and obtained a scholarship to the Trinity College of Music where he graduated with a degree in Western classical music.

Career
Film scoring and soundtracks
In 1992, Rahman began his own music recording and mixing studio attached to the backyard of his house called the Panchathan Record Inn, which was developed into India's most advanced recording studio. He initially composed music jingles for advertisements, Indian Television channels and music scores in documentaries, among other projects. In 1992, he was approached by film director Mani Ratnam to compose the score and soundtrack for Ratnam's Tamil film Roja.

The debut led Rahman to receive the Rajat Kamal award for Best Music Director at the National Film Awards, the first time ever by a first-time film composer. Rahman has since then gone on to win the award three more times (for his scores for Minsaara Kanavu (Electric Dreams, Tamil) in 1997, Lagaan (Tax, Hindi) in 2002, Kannathil Muthamittal (A Peck on the Cheek, Tamil) in 2003, the most ever by any composer.

Roja's score met with high sales and acclaim, in its original and dubbed versions, bringing about a marked change in film music at the time, and Rahman followed this with successful scores for Tamil–language films of the Chennai film industry including Ratnam's politically charged Bombay, the urbanite Kadhalan, Bharathiraaja's Karuththamma, the saxophonic Duet, Indira, and the romantic comedies Mr. Romeo and Love Birds, which gained him considerable notice.

 His fanbase in Japan increased with Muthu 's success there. His soundtracks gained him recognition in the Tamil Nadu film industry and across the world for his stylistic versatality in his pieces including in Western classical, Carnatic, Tamil traditional/folk, jazz, reggae and rock music. The Bombay Theme—from Ratnam's Bombay—would later reappear in Deepa Mehta's Fire and various compilations and media. Rangeela, directed by Ram Gopal Varma, marked Rahman's debut for Hindi-language films made in the Mumbai film industry.

Many successful scores for films including Dil Se and the percussive Taal followed. Sufi mysticism would form the basis of Chaiyya Chaiyya from the former and the composition "Zikr" from his score of the film Netaji Subhas Chandra Bose: The Forgotten Hero for which he created large orchestral and choral arrangements.Musical cues in scores for Sangamam and Iruvar employed Carnatic vocals and instruments such as the veena with leads of rock guitar and jazz.

In the 2000s Rahman created hit scores for Rajiv Menon's Kandukondain Kandukondain, Alaipayuthey, Ashutosh Gowariker's Swades and Rang De Basanti. He composed songs with Hindustani motifs for Water (2005).

Rahman has worked with Indian poets and lyricists such as Javed Akhtar, Gulzar,Anand Bakshi,P.K.Mishra, Mehboob, Vairamuthu and Vaali. His collaborations with some film directors have always resulted in successful soundtracks, particularly with the director Mani Ratnam who he has worked with since Roja, all of which have been hits, and the director S. Shankar in the films Gentleman, Kadhalan, Indian, Jeans, Mudhalvan, Nayak, Boys and Sivaji.

Rahman attached and opened a developed extension studio to his Panchathan Record Inn in 2005 called AM Studios in Kodambakkam, Chennai — considered to be the most developed, equipped and high tech studio in Asia.

In 2006, Rahman launched his own music label, KM Music. Its first release was his score to the film Sillunu Oru Kaadhal. Rahman scored the Mandarin language picture Warriors of Heaven and Earth in 2003 after researching and utilizing Chinese and Japanese classical music, and co-scored the Shekhar Kapoor helmed Elizabeth: The Golden Age in 2007. His compositions have been reused in scores within India and have made appearances in Inside Man, Lord of War, Divine Intervention and The Accidental Husband.

 In 2008, he scored the Slumdog Millionaire soundtrack, for which he won a Golden Globe and two Academy Awards, becoming the first Indian citizen to do so. In the United States, the soundtrack topped the Dance/Electronic Albums chart and reached #4 on the Billboard 200 chart. The song "Jai Ho" reached #2 on the Eurochart Hot 100 Singles and #15 on the US Billboard Hot 100.

Other works
Rahman has been involved in several projects aside from film. He made an album Vande Mataram (1997) on India's 50th anniversary of independence to commercial success.He followed it up with an album for the Bharat Bala–directed video Jana Gana Mana, a conglomeration of performances by many leading exponents/artists of Indian classical music. Rahman has written jingles for ads and composed several orchestrations for athletic events, T.V. and internet media publications, documentaries and short films.

In 1999 Rahman, along with choreographers Shobhana and Prabhu Deva Sundaram and a Tamil cinema dancing troupe performed with Michael Jackson in Munich, Germany, for his "Michael Jackson and Friends Concert." In 2002, he composed his maiden stage production Bombay Dreams (2002) following a commission from musical theatre composer Andrew Lloyd Webber, a success in London's West End.

With Finnish folk music band Värttinä, he wrote the music for The Lord of the Rings theatre production and in 2004, Rahman composed the piece "Raga's Dance" for Vanessa-Mae's album Choreography.

In the last six years, Rahman has performed three successful world tours of his concerts to audiences in Singapore, Australia, Malaysia, Dubai, UK, Canada, the US (Hollywood Bowl and 3d tour) and India. He has been collaborating with Karen David for her upcoming studio album. A two-disc soundtrack, Introducing A. R. Rahman (2006) featuring 25 pieces he composed from his Tamil film scores was released in May 2006. His non-film album, Connections was launched on 12 December 2008.

Music style and impact
Skilled in Carnatic music, Western classical, Hindustani music and the Qawwali style of Nusrat Fateh Ali Khan, Rahman has been noted to write film songs that amalgamate elements of these music systems and other genres, layering instruments from differing music idioms in an improvisatory manner. Symphonic orchestral themes have accompanied his scores, where he has employed leitmotif.

In the 1980s, Rahman recorded and played arrangements on mono, synonymous with the era of predecessors such as K. V. Mahadevan and Vishwanathan–Ramamoorthy, but later his methodology changed. Rahman worked and experimented on fusing traditional instruments with new electronic sounds and technology.

His interest and outlook in music stems from his love of experimentation. Rahman's compositions, in the vein of past and contemporary Chennai film composers, bring out auteuristic uses of counterpoint, orchestration and the human voice, evolving Indian pop music with unique timbres, forms and instrumentation. By virtue of these qualities, broad ranging lyrics and his syncretic style, his themes appeal to several sections of Indian society.

His first soundtrack for Roja was listed in TIME's "10 Best Soundtracks" of all time in 2005. Film critic Richard Corliss felt the "astonishing debut work parades Rahman's gift for alchemizing outside influences until they are totally Tamil, totally Rahman." Rahman's initial global reach is attributed to the South Asian diaspora.

Described as one of the most innovative composers to ever work in the industry, his unique style and immense success transformed film music in the 1990s prompting several film producers to take film music more seriously. The music producer Ron Fair considers Rahman to be "one of the world's great living composers in any medium".

The director Baz Luhrmann notes
    "I had come to the music of A. R. Rahman through the emotional and haunting score of Bombay and the wit and celebration of Lagaan. But the more of AR's music I encountered the more I was to be amazed at the sheer diversity of styles: from swinging brass bands to triumphant anthems; from joyous pop to West-End musicals. Whatever the style, A. R. Rahman's music always possesses a profound sense of humanity and spirit, qualities that inspire me the most.

Personal life
He is married to Saira Banu and has three children, Khadijah, Rahima, and Aameen. Rahman is the uncle of composer G. V. Prakash Kumar, who is the son of Rahman's elder sister, A. R. Reihana. He had become an atheist as a result of childhood struggles, he eventually converted to Islam in 1989, the religion of his mother's family. He is very devoted to his mother. During the Oscar Award, he paid her a tribute saying: "There is a Hindi dialogue 'mere pass ma hai' which means even if I have got nothing I have my mother here."
Social service

Rahman is involved in various charitable causes. In 2004, he was appointed as the Global Ambassador of the Stop TB Partnership, a project by WHO. He has shown support to charities including Save the Children, India, and worked with Cat Stevens / Yusuf Islam for his song "Indian Ocean". The song featured a-ha keyboard player Magne Furuholmen and Travis drummer, Neil Primrose. The proceeds of the song went towards helping orphans in Banda Aceh, one of the areas worst affected by the 2004 Indian Ocean Tsunami. He produced the single "We Can Make It Better" by Don Asian alongside Mukhtar Sahota.

In 2008, Rahman opened his KM Music Conservatory partnered with Audio Media Education facility to tutor and train aspiring musicians in vocals, instruments, music technology and sound design. The conservatory – with preeminent musicians on its panel and a newly founded symphony orchestra – is located near his studio in Kodambakkam, Chennai, offering courses at Beginners, Foundation and Diploma level.

Rahman composed the theme music for a short film for The Banyan in 2006, in aid of destitute women in Chennai. In 2008, Rahman, along with percussionist Sivamani created a song titled "Jiya Se Jiya", inspired by the Free Hugs Campaign and promoted it through a video shot in various cities in India.


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IlaiyaRaja- Maestro- Great Melodies Music Director

IlaiyaRaja- Maestro- Great Melodies Music Director- Biography- Profile-Full Details

Ilaiyaraaja born June 2, 1943 as Gnanadesikan is an Indian film composer, singer, and lyricist. He has composed over 4,000 songs and provided background music for more than 800 Indian films in various languages in a career spanning 30 years. Ilaiyaraaja was the most prominent composer of film music in South Indian cinema during the late 1970s and 1980s. His work highlighted Tamil folk lyricism and introduced broader Western musical sensibilities to the South Indian musical mainstream. He has thrice won the Indian National Film Award for best film scoring. He is married to Jeeva, and the couple's two sons (Karthik Raja and Yuvan Shankar Raja) and daughter (Bhavatharini) are film composers and singers. llayaraja is a music director who works at everything. From composing to orchestration to conducting.

He also does recording and balancing of tracks.Entering the Tamil film industry in 1976, his music for the film Annakkili became a runaway hit. He can conceive and write out the entire orchestration for a song, without having to play out each part. He has scored music for Tamil, Telugu, Kannada, Malayalam, Hindi and one English film. During his on-stage Carnatic vocal performance, he sang his own 'Kirthanas'(Songs in Carnatic music). He created the Raaga "Panchamukhi" explaining the five facets of music that included the colourful aspect of film music. Usually a song requires a minimum of five notes (swaras). He is the only music director to compose a song in just three notes.He won the Indian National Film Music Award for his scores in the films Sagara Sangamam (1985), Sindhu Bhairavi (1987) and Rudhra Veena (1989). He is also the recipient of the prestigious Lata Mangeshkar award for the year 1998.His first fusion music album 'How To Name It?' set a new trend in non-film-based music album making. This was followed by Nothing but the Wind and recently - India 24 hours.

Early life and education

Ilaiyaraaja (or Rasaiyya, as he was called during his younger days) was born into a poor rural family in Pannaipuram near Madurai district, Tamil Nadu, India. He was the third son of Daniel Ramaswamy and Chinnathayammal.


Popular video Ilayaraja  Tamil Video song - Duration - 4 hrs.38 minutes


Ilaiyaraaja's formative contact with music-making and performance came at the age of 14, when he joined a travelling musical troupe headed by his elder step-brother, Pavalar Varadarajan, who was a propaganda musician for the Communist Party of India. In association with his brothers, he journeyed through numerous villages, towns and cities in South India for about ten years as one of the musical Pavalar Brothers. It was during this period that he first tried his hand at composing music: he set to music an elegy written by the Tamil poet laureate Kannadasan for Jawaharlal Nehru, India's first prime minister.



Arriving in Madras (now Chennai, Tamil Nadu) in 1968, he came under the musical tutelage of a Master Dhanraj, who, noticing the young musician's talent, dubbed him Ilaiyaraaja ('young king'). Ilaiyaraaja was introduced to Western classical music during his training, and the music and compositional styles of Bach, Beethoven, Mozart, and Schubert, among others, were lasting influences that would later become a motif (as seen in the use of elaborate counterpoint, for example) in much of his compositions. Ilaiyaraaja's classical training culminated in him completing a course in classical guitar (higher local) with the Trinity College of Music in London.

Career and music

 

Summary of career

In Madras, Ilaiyaraaja worked in a band for hire involved in performing music for various stage shows and formal occasions. He was hired as an assistant to a film music director called G.K. Venkatesh, an event that marked his entry into film music direction. During this stint he learnt the practical methods of orchestration, and would hone his compositional ability through frequent experiment accomplished by persuading session musicians to play, during their break times, the scores that he wrote.Ilaiyaraaja's break as a full-fledged music director came in 1976, when film producer Panchu Arunachalam decided to commission him to compose the songs and film score for a Tamil-language film called Annakkili ('The Parrot'). This soundtrack, and the others that quickly followed, earned Ilaiyaraaja critical recognition for his adaptation of Tamil folk poetry and music to popular film music orchestration. By the early 1980s, Ilaiyaraaja had established himself as the leading music director in the South Indian film music industry which he proceeded to dominate for more than a decade and in which he continues to play a significant part.

Popular video song-2

Impact of his career

Ilaiyaraaja's arrival onto the scene of film music direction in South India broke new ground in the industry. It saw the centralisation of expressive control in the hands of a musical director brought to a heightened level. The Indian filmmaker Mani Ratnam illustrates: "Ilayaraja (sic) would look at the [film] scene once, and immediately start giving notes to his assistants, as a bunch of musicians, hovering around him, would collect the notes for their instrument and go to their places. When the orchestra played out the notes, they would be perfect, not just in harmony but also in timing — the background score would commence exactly where it should and end at the exact place required... A [film] director can be taken by surprise at the speed of events."

The range of expressive possibilities in Indian film music was broadened by Ilaiyaraaja's methodical approach to arranging, recording technique, and ability to draw from a diversity of musical styles. Ilaiyaraaja's "deep understanding of so many different styles of music allowed him to create syncretic pieces of music combining very different musical idioms in unified, coherent musical statements". Indeed, Ilaiyaraaja has composed Indian film songs in styles that include pop, acoustic guitar-driven Western folk, jazz-inflected tunes, the ballad, rock and roll, disco, funk, doo-wop, cabaret, march, pathos, native folk/tribal, and Indian classical (in both the predominantly classical and semi-classical formats). By virtue of this variety and his interfusion of Western, Indian folk and Carnatic elements, Ilaiyaraaja's compositions appeal to the Indian rural dweller for its rhythmic folk qualities, the Indian classical music enthusiast for the effective employment of Carnatic ragas, and the urbanite for its modern Western-music sound.

Traits of his music

Ilaiyaraaja's music is characterised by the use of a distinctive orchestration technique that is a synthesis of Western and Indian instruments and musical modes. He pioneered the use of electronic music technology that integrated synthesisers, electric guitars and keyboards, rhythm boxes and MIDI with large orchestras that also featured the veena, venu, nadaswaram, mridangam and tabla. The popularity of Ilaiyaraaja's music can be attributed to his flair for catchy melodies, and to his employment of subtle nuances in chord progressions, beats and timbres. His songs, many of which demand considerable vocal virtuosity, have found expressive platform amongst some of India's respected vocalists and playback singers, such as K. J. Yesudas, S. P. Balasubrahmanyam, S. Janaki, P. Susheela, K. S. Chitra, Asha Bhosle and Lata Mangeshkar. Ilaiyaraaja has sung many of his own compositions for films in various languages, and is characteristic for his unsweetened, nasal voice. He has penned the lyrics for his songs in the Tamil and Hindi languages. Ilaiyaraaja's is also famed for his evocative themes and background music for films.

Accolades and notable works

Ilaiyaraaja's composition Rakkama Kaiya Thattu from the movie Thalapathi (1991) was amongst the songs listed in a BBC World Top Ten music poll. He composed the music for Nayakan (1987), an Indian film ranked by TIME Magazine as one of the all-time 100 best movies, a number of India's official entries for the Oscars, such as Anjali (1990) and Hey Ram (2000), and for Indian art films such as Adoor Gopalakrishnan's FIPRESCI Prize-winning Nizhalkkuthu ('Shadow Kill') (2002). Ilaiyaraaja has composed music for events such as the 1996 Miss World beauty pageant that was held in Bangalore, India, and for a documentary called India 24 Hours (1996). Among Ilaiyaraaja's more recent works are his songs and film score for the comedy film Mumbai Xpress (2005) starring Kamal Haasan, and his Thiruvasagam in Symphony, an oratorio of ancient poems performed by the Budapest Symphony Orchestra, conducted by László Kovacs.

Live performances

Ilaiyaraaja rarely performs his music live. His last major live performance, the first in 25 years, was a four-hour concert held at the Nehru Indoor Stadium in Chennai, India on 16 October 2005; he played to an audience of 10,000. The show was widely televised both in India and abroad. Less prominent was his live 2004 performance in Italy during a music festival. A television retrospective titled Ithu Ilaiyaraja (This is Ilaiyaraja) was produced, chronicling his career.

Awards and honours

Ilaiyaraaja has won the National Film Award for Best Music Direction for the films Saagara Sangamam (1984), Sindhu Bhairavi (1986) and Rudraveena (1989). He won the Gold Remi Award for Best Music Score jointly with music director M. S. Viswanathan at the WorldFest-Houston Film Festival for the film Vishwa Thulasi (2005).



He was conferred the title Isaignani ('musical saint') in 1988 by Tamil Nadu Chief Minister M. Karunanidhi and received the Kalaimamani Award, an annual award for excellence in the field of arts from the Government of the State of Tamil Nadu, India. He also received State Government Awards from the governments of Kerala (1995), Andhra Pradesh and Madhya Pradesh (The Lata Mangeshkar Award) (1998) for excellence in music.



He was conferred honorary doctorates by Annamalai University, Tamil Nadu, India (Degree of Doctor of Letter (Honoris causa)) (March, 1994), the World University Round Table, Arizona, U.S.A. (Cultural Doctorate in Philosophy of Music) (April, 1994), and Madurai Kamarajar University, Tamil Nadu (Degree of Doctor of Letters) (1996) . He received an Award of Appreciation from the Foundation and Federation of Tamil Sangams of North America (1994), and later that year was presented with an honorary citizenship and key to the Teaneck township, by Mr. John Abraham, Mayor of Teaneck, New Jersey, U.S.A.


Ilaiyaraaja has proposed to institute awards to honour people who contribute outstandingly to the Tamil literature, in memory of his late brother, Pavalar Varadarajan.


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Rajeswara Rao- One of The Great Music Directors

 S.Rajeswara Rao -Music Director of South Indian cinema (The King of Swaras)


Saluru Rajeswara Rao  is famous Music composer for South Indian Films.He was born in Sivaramapuram village near Salur in Vizianagaram district (erstwhile Srikakulam district), Andhra Pradesh, India. His father, Sanyasi Raju, was a famous mridangam player for the concerts of Dwaram Venkataswamy Naidu and was also a lyricist.His tryst with cinema came unexpectedly in the form of a talent-scouting Huchins Recording Company to his native place Vizianagaram in 1934.

A child prodigy, he could identify the Carnatic music ragams at the tender age of four and by the time he was seven, he started giving stage performances. Huchins spotted "master" Rajeswara Rao and took him to Bangalore along with his father. They recorded "Bhagawat Gita" in Rajeswara Rao's voice. P.V.Das and Gudavalli Ramabramham, Film Producers, visited Bangalore, and impressed by his singing ability, brought him to Madras. They cast him as Lord Krishna in their "Sri Krishna Leelalu" in 1934. The film was released the next year (1935) and Rajeshwara Rao became a household name all over Andhra Pradesh. Later he played the role of "Abhimanyu" in "Maya Bazar"(1936).He went to Calcutta (now Kolkata) to act in "Keechaka Vadha". He met such stalwarts as Kundan Lal Saigal and Pankaj Mullick. He became a disciple of Saigal and learned Hindustani music for a year. He also learnt to play the sitar and the surbahar. He had already mastered playing the tabla, dholak, and miridangam, later the piano, harmonium, mandolin and the electric guitar too. He learnt orchestration and how to mix the sounds of different instruments.He returned to Madras in 1938 and formed his own music troupe. He worked as assistant to Jayaramayyar for a Tamil film "Vishnuleela" in which he also played the role of 'Balarama' and sang his own songs. He became a full-fledged music director with "Jayaprada". He continued with his acting in "Balanagamma" and "Illalu" in which he acted opposite his famous singing partner, Rao Balasaraswati Devi.When He entered the industry there was no playback system. The Actors used to sing and act at the same time with the orchestra in the background unseen by the camera. While he was doing "Illalu" the playback system had come into vogue.Rajeswara Rao showed thru his private records how light music should be set in Telugu films.


Challa Galilo Yamuna Tati pi syamsundaruni Murali  - Listen to this Great Work



"Thummeda Oka saari", "Kopamela Radha", "Podarintilona", "Rave Rave Koyila", "Challa Gaalilo" "Paata Paduma Krishna" all of which his father has written. Rajeshwara Rao, through these songs, set a new trend in light music in Telugu.Rajeswara Rao's most rewarding assignments came from Gemini, which he joined in 1940 and lasted for a decade. After leaving Gemini, he got an offer to provide music for B.N.Reddy's "Malleeswari" (1950). It was a sensational music hit. Then came "Vipranarayana", "Missamma" and a host of other musical hits, more than a hundred of them in Tamil and Telugu and a few in Kannada. When Vijaya's "Missamma" was made into "Miss Mary" in Hindi, Hemantha Kumar provided the music. He changed all the tunes, but retained one - "Brindavanamum Nandakumaranum" which Hemantha liked so much that he took permission to retain it in the Hindi version - an instance of one master's tribute to another.Among the classical ragas, Rajeswara Rao likes Bhimplas, Sindhu Bairavi, Kafi, Kalyani, Pahad, and Malkauns, which he has used most in his songs.His two assistants for over four decades Rajagopal and Krishnan, both well versed in classical music, have proved an asset to him. Music flows in Rajeswara Rao's family. His elder brother S. Hanumantha Rao was a music director in the Kannada and Telugu. He has five sons and four daughters. His eldest son, Ramalingeswara Rao is a well-- known piano and electric organ player in the South India. His second son, Poornachandra Rao, is a popular guitarist. His third and fourth sons, Vasu Rao and Koteswara Rao are well-known music directors. Koteswara Rao (Koti) has formed a team with Somaraju (son of veteran music director T.V.Raju) as Raj-Koti and the duo is a popular team in Telugu film music for quite some time before they have split up and started composing independently. Today, Koti is a well known music director in Telugu film industry. Rajeswara Rao's fifth son Dhurga Prasad is not associated with the film industry. All his four daughters are well placed: his first daughter Rama Devi (married to A.V.RamaKrishna), second daughter Mangamma (married to T.G.Venkatesh), third daughter Kousalya (married to A.Venu Gopal), and fourth daughter Vijaya Lakshmi (married to Madhan Kumar).


His tryst with cinema came unexpectedly in the form of a talent-scouting Huchins
Recording Company to his native Vizianagaram in 1934. A child prodigy, he could identify the ragas at the tender age of four and by the time he was seven, he started giving stage performances. His father, Sanyasi Raju, was a famous miridangam player for the concerts of Dwaram Venkatasamy Naidu and was also a lyricist. Huchins spotted "master" Rajeshwara Rao and took him to Bangalore along with his father.


"I was 13 then. Since then I have stayed put in the field of film music and records,"
recalls Rajeshwara Rao. Huchins recorded "Bagavat Gita" in Rajeawara Rao's voice. Soon word spread about his melliflous voice and producers P.V.Das and Gudavalli Ramabramham, visted Bangalore, and impressed by his singing ability, brought him to Madras. Finding that young Rajeshwara Rao had stage experience too, they cast him as Lord Krishna in their "Sri Krishna Leelau" in 1934. The film was released the next year and Rajeshwara Rao became a household name all over Andhra. Later for the same team he played the role of "Abhimanyu" in "Maya Bazar"(1936). The next year he went to Calcutta to act in "Keechaka Vadha".

Though he won appreciation as a singer-actor, the urge to prove himself as a musician was stronger in him. In Calcutta he met such stalwarts as Kundan Lal Saigal and Pankaj Mullick, and got exposed to Hindustani music. He became a disciple of Saigal and learned Hindustani music for a year. He also learnt to play the sitar and the surbahar. He had already mastered playing the tabla, dholak, and miridangam without the help of a guru. Later he learnt the piano, harmonium, mandolin and the electric guitar too. By this time he had acquired the knowledge of orchestration, of how to mix the sounds of different instruments.

Rajeshwara Rao returned to Madras in 1938 and formed his own music troupe, became an assistant to Jeyaramayyer for a Tamil film "Vishnuleela" in which he also played the role of Balarama and sang his own songs. The film was directed by Raja Sandow. This was the only film for which Rajeshwara Rao worked as a music assistant. Later he tuned a few songs for a Kanada film, "Vasantha Sena" (1939) for which R.Sudharsanam provided the music. The same year he became a full-fledged music director with "Jeyaprada" (Pururava) which Chitrapu Narashima Rao directed. Alongside, he continued with his acting in "Balanagamma" and "illalu" in which he acted opposite his famous singing partner, Rao Balasarawati Devi. Bala Saraswati incidently had acted in
"Sri Krishna Leelalu" too.

By the time "Illalu" was commissioned Rajeswara Rao was no more interested in acting. His mind was set on film music. Even his father felt his son would shine as a music director. He approached Ramambrahmam. The director was sceptical at first as it was a social film and doubted whether Rajeshwara Rao could do justice to it. Moreover Bhimavarapu Narashima Rao (BNR) was his permanenet music director. After much persuasion and when BNR himself told the director to give the boy a try, Rajeshwara Rao was given a cradle song as an experiment. He composed the music and rendered the song much to the delight of Director as well as the original music director of the film. Rajeshwara Rao got the job he wanted. He also acted in the movie, which was his last
as an actor.

"When I entered the industry there was no playback system. We used to sing and act at the same time with the orchestra in the background unseen by the camera. But by the time I was doing "Illalu" the playback system had come into vogue," recalls the veteran. When the Telugu film song was evolving from stage poetry to modern lyric, Rajeshwara Rao showed thru his private records how light music should be. "Thummeda Oka saari", "Kopamela Radha", "Podarintilona", "Rave Rave Koyila", "Challo Gaalilo" "Paata Paduma Krishna" all of which his father has written.

Rajeshwara Rao, through these songs, set a new trend in light music in Telugu. Rajeshwara Rao's most rewarding assignments came from Gemini, which he joined in 1940. "I joined Jemini on a salary of Rs. 600 as a music director and by the time "Chandraleka" was made, it rose to Rs. 1500. My association with Gemini continued for a decade and "Apoorva Sagotharagal"(1950) was my last film for them." "Jeevan mukthi", "Balanagamma", "Mangamma Sabatham", and "Chandrelekha" were some of the movies for which he created music while in Gemini. In those days when there were hardly any modern technical equipment he created in "Balanagamma" re-recording effects "on par with any Hollywood film". "And in "Chandreleka" simply because I mixed western music to local taste it was appreciated both within the country and abroad. For music there are no barriers. There is nothing wrong in making use of western tunes, moulding them carefully to our taste and to our form. I have done that for some of my songs in later films like "Iddaru Mithurulu" and "Bharya Bharthalu" during the seventies.



Though I have made use of western tunes, no one can say that I have blindly copied them. But today the scene is different. Western tunes are being used as they are in our films. This is very unfortunate" says Rajeshwara Rao.


After leaving Gemini, he got an offer to provide music for B.N.Reddy's "Malleswari"
(1950). It was a sensational music hit. Then came "Vipranarayana", "Missiamma" and a host of other musical hits, more than a hundred of them in Tamil and Telugu and a few in Kannada. Some of the films might have failed in the box office, but his music has never let down cinegoers. When Vijaya's "Missiamma" was made into "Miss Mary" - producers AVM in Hindi, Hemantha Kumar provided the music. He changed all the tunes, but retained one - "Brindavanamum Nandakumaranum" which Hemantha liked so much that he took permission to retain it in the Hindi version - an instance of one master's tribute to another.

Among the classical ragas, Rajeswara Rao likes Bhimplas, Sindhu Bairavi, Kafi, Kalyani, Pahad, and Malkauns, which he has used most in his songs. "Generally songs set in these ragas become popular with the audience" feels Rajeshwara Rao. Some of the memorable films for which he composed music are: "Vikramathithan", "PremapAsam", "Paanai Pidithaval Pagyasali", "Amaradevi", "Iru Sagotharagal", "Aval Yaar" besides "Chadralehka". Tamil-Telugu bilinguals: "Allauddin Adbhutha Deepam", "Mangamma Sabatham", "Apoorva Sagotharaagal", "Missiamma", and "Chakradhari". Telugu: "Chenchu Lakshmi", "Bheesma", "BhaleRamudu", "Iddaru Mithurulu", "Kulagothralu", "Baktha Jeyadeva", "Amarasilpi Jakkannachari", "Baktha Pragalatha", "Rangula Ratnam", "Vipranarayana", "Dr Chakravarthy", and "Chitti Chellue". Hindi: "Chandrelekha" and "Nishan".

Rajeshwara Rao's two assistants for over four decades Rajagopal and Krishnan, both well versed in classical music have proved an asset to him.


Music flows in Rajeshawara Rao's family. His elder brother S. Hanumantha Rao was a music director in his own right in the Kannada & Telugu field. Rajeshwara Rao's eldest son, Ramalingeswara Rao is well known piano and electric organ player in the South. His second son, Poornachandra Rao, is a popular guitarist while his third and fourth sons, Vasu Rao and Koteswara Rao are well-known music directors today. Vasu Rao has preferred to go it alone on the lines of his father's melody, but Koti has formed a team with Somaraju (son of veteran music director T.V.Raju) as Raj-Koti and the duo is the most popular team in Telugu film music today.

On the quality of today's film music, Rajeshwara Rao blames he producers and
directors. "It is not the audience, but the producers and directors, who are to be blamed.
Today film making and music are like fast food," he says. Among the directors he rates Singgetham Srinivasa Rao , who learnt Carnatic vocal under Rajeshwara Rao, as a man with music knowledge.


Rajeshwara Rao was awarded the honorary doctorate "Kalaprapoorna" in 1979 by the Andhra University. He was appointed "Asthana Vidwan" by Tirumala Tirupathi
Devasthanams, during which period he composed music for Annamacharya Keerthanas sung by Ghantasala.

His success formula for film music: "In every film as far as possible there should be a classical song, a folk song, a rock-n-role type of song to appeal to the tastes of different viewers. Variety is important in film music."

Awards

    Rajeswara Rao was awarded the honorary doctorate "Kalaprapoorna" in 1979 by the Andhra University.
    He was appointed "Asthana Vidwan" by Tirumala Tirupati Devasthanams, during which period he composed music for Annamacharya Keerthanas sung by Ghantasala.
    He was "Kalaimaamani" award winner by Tamil Nadu Iyal Isai Nataka Mandram.
    He was awarded the prestigious Raghupathi Venkaiah Award by the Government of Andhra Pradesh for his outstanding contribution to Telugu cinema in 1992..

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I Have FeViCoL Connections With All Khans -Kareena

Actress Kareena Kapoor says she loved the rustic lyrics of 'Fevicol se', her latest item number in " Dabangg 2", and is sure that her niece Samaira is also going to love it.

Samaira is Kareena's sister Karisma Kapoor's daughter. The song is sung by Mamta Sharma and choreographed by Farah Khan.

"I loved it. My BBM (BlackBerry messenger) status will also be 'pata le mujhe missed call se', I think it's fun and everybody is going to be talking about it," the 32-year-old said on the sets of "Bigg Boss 6" where she launched the song.

"I am sure Samaira is going to be singing it because she loves all these fun, masala numbers. She is quite filmy in that sense. I am really happy that she will be dancing to it," she added.

Kareena, who is married to actor Saif Ali Khan and has worked with Salman, Shah Rukh Khan and Aamir Khan, says she has a special connection with all the Khans of Bollywood.

"I think I have a 'fevicol' connection with all my Khans, of course my husband Saif (Ali Khan) being first," she said.

"With Salman there has been 'Bodyguard', with Shah Rukh there has been 'RA.One', with Aamir there has been '3 Idiots' and now 'Talaash'. I think I am a very, very lucky girl," she added.

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SKYFALL- MOVIE REVIEW- 2012

The new movie invests much effort in making the principal characters feel like real people with fully fleshed-out lives.  Another first is that the remainder of the British government, largely invisible throughout the series, finally asserts itself and starts asking hard questions about what M and her merry band of licensed killers have been up to.  It is perhaps fortunate that the long-running series was rebooted with “Casino Royale” (… or was it?  Check out the little surprise Bond has tucked away in a London garage!) because otherwise it would be hard to believe Bond hasn’t been brought before a subcommittee before, to explain the approximately $7 trillion worth of property damage he’s inflicted around the world.

There are some nice stunts in “Skyfall,” including a hypnotically beautiful scene in a Singapore skyscraper surrounded by electronic billboards, and an opening chase scene that drives home just how determined James Bond can be to complete a mission… even if he has to lay waste to half of Istanbul to do it.  The hand-to-hand combat scenes are an interesting contrast to the high-powered martial arts of the “Bourne” series.  Daniel Craig’s Bond fights without elegance or sophistication; he simply destroys anyone who gets in his way, and there’s nothing pretty or sophisticated about it.  Tangling with him is like fighting a gorilla in a $5000 suit.

Unfortunately, the plot of “Skyfall” is rather pedestrian, it drags on a bit longer than it really needs to, and it’s actually cribbed from the generally superior Pierce Brosnan outing “Goldeneye.”  A renegade double-0 agent is angry at MI-6 for betraying him, and has launched an elaborate plot for revenge.  In this case, the villainous ex-agent is primarily interested in personal revenge against M for betraying him, and you can see where he’s coming from (as well as the reason she made the decision that enraged him.)  As played by the great Javier Bardem, the villain is flamboyant, psychotic, surprisingly late to the party – he doesn’t appear until halfway through the movie – and nowhere near menacing enough to justify the great build-up the script gives him.  He’s described as something akin to the Angel of Death – one character’s hands literally shake at the mere thought of him – but he turns out to be more like a super-computer-hacker with a sick sense of humor, and he minces a bit too much to be scary, although his first scene is marvelously well-acted and creepy.  He never really seems like much of a match for James Bond, as Sean Bean’s twisted 006 was in “Goldeneye.”

And the new movie could have used a few scenes of Famke Janssen crushing dudes with her thighs.  It feels like there needs to be a physically threatening “sub-boss” villain here – the role Janssen handled in “Goldeneye” or Richard Kiel became iconic for playing in “The Spy Who Loved Me.”  Alas, Bardem has to make do with an army of disposable thugs, who seem remarkably comfortable with the way he treats them as being disposable.

A bit too much of the crazy fun has been bleached out of the Bond formula to make the Craig films feel somewhat more realistic – there’s even a scene in “Skyfall” where the new Q haughtily informs 007 that his department doesn’t really do cool spy gadgets anymore.   The finale is a deliberate deconstruction of the wild, wonderful ninjas-assaulting-a-volcano finales from classic Bond films; it’s low-tech and unglamorous, which doesn’t mean it’s not exciting, but the writers of “Skyfall” are pretty obviously telling you to get over your hunger for orbital lasers and scuba-diving armies.

During interviews to promote the new film, Craig has said he thinks the groundwork has been laid to make a nice volcano headquarters work for the next film’s villains, without losing the gritty “Batman Begins” flavor he’s been shooting for.  That’s something to look forward to.  The table has been set for Craig’s version of James Bond to really come into his own after the enjoyable, occasionally provocative, nicely performed, but ultimately not quite top-shelf “Skyfall.”  It’s better than it’s predecessor, but not quite as good as “Casino Royale.”  It is, however, good enough to make the promise that “James Bond Will Return” in the end credits sound like a date movie fans will want to make.  And not since the glory days of Shirley Bassey has anyone belted out a Bond theme song quite like Adele.  She should have the Bond opening credits to herself for as long as she wants them.
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HAPPY Birthday - Aishwarya Rai- Honoured

Indian Bollywood star Aishwarya Rai Bachchan was to be honoured by France on Thursday, her birthday, with a prestigious civilian award for her contribution to the arts, the French embassy said.

Ambassador Francois Richier was due to confer the honour of Knight of the Order of Arts and Letters ( Chevalier dans l'Ordre des Arts et des Lettres) on Rai Bachchan at a hotel in the entertainment hub Mumbai.

"This prestigious distinction comes in recognition of her invaluable contribution to the world of cinema and the development of Indo-French cooperation in cinema, art, and culture," a release from the embassy said.

Rai Bachchan, who turned 39 on Thursday, took the Miss World crown in 1994 and made her acting debut in the late 1990s, going on to become one of the most famous Bollywood faces abroad as well as in India.

Aishwarya Rai Bachchan, who is often referred to as the most esteemed and revered actor in Indian and international showbiz industry, turns 39 today. Whether it is modeling, acting or motherhood, the actor has invariably done justice to her varied roles.

On the occasion of her birthday, we give you a sneak peek into her unseen pictures.

Even though Aishwarya had enrolled at Raheja College, she gave up her education to carve a niche for herself as a model.
Aishwarya was just in the ninth grade, when she earned her first modelling assignment that for Camlin Pencils

It was her professors at Jai Hind College who clicked her. These pictures were published in a fashion magazine.

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Rajesh Khanna Tagged by Popular Actresses in Life

Dimple Kapadia: A 16 year old Dimple Kapadia was swept off her feet by the much older Rajesh Khanna even before her debut film Bobby released. They married in 1973 and spent a turbulent 11 years together. Dimple and Rajesh separated in 1984, but never divorced. She went on to make a big comeback in Saagar, opposite her Bobby co-star Rishi Kapoor. Dimple and Rajesh remained friends, often making public appearances with daughters Twinkle and Rinkie. She nursed him through his long illness and was by his side when he died at home in Mumbai on July 18.

Anju Mahendru: Before he married Dimple, Rajesh Khanna was in a seven year long live in relationship with actress and designer Anju Mahendru. The end of their affair took her by surprise and they did not speak for 17 years after breaking up.

Tina Munim: The former Miss India was Rajesh Khanna's love interest on-screen in movies like Souten and also, reportedly, off it. She went on to marry industrialist Anil Ambani.

Sharmila Tagore: Rajesh Khanna's star making role was in Aradhana, opposite Sharmila Tagore. The film, with it's melodious songs, established him as the top romantic hero of the time, a position he would occupy for 20 years. Sharmila was also his heroine in another tragic-romantic film, Amar Prem.

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Sonakshi Sinha on FHM Magazine CoverPage

Sonakshi Sinha has graced the cover of the FHM magazine.
The Dabangg beauty has recently posed for an exclusive photo shoot for the November 2011 issue of the men’s magazine. Although she has not posed without any clothes for it, she looks very hot in her black and red decent dress.

The cover of the fourth anniversary issue of the FHM magazine features Sonakshi Sinha sporting a pink top and flaunting her shapely and shiny legs. She has also donned two black tops for the photo shoot of the magazine and one of the two has the name of 'Sati Saviti' printed on it.

However, Sonakshi Sinha is presently busy shooting for Shirish Kunder’s movie Joker with Akshay Kumar. The Bollywood actress has two other films lined for the shoot. Sona is teaming up with actors Salman Khan, Ranveer Singh and Shahid Kapoor in those movies.


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Aishwaryarai -Abhishek and their lovely daughter photo

Today we have great and wonderful technologies that we never and ever had. We can take pictures and we can edit them thorough our photoshop and great available google picasa softwares.

The photo is all about a fake daughter of aishwarya rai and abheshik bacchan
This is a kind of photo morphing. Just funny.. and the daughter is going to be a great actress by the year 2030.. :-)
Imaginary photo of aishwarya rai and abishek bacchan daughter and Amitabhs grand daughter - would be like this...at the age of 20 years...

For more updated news go to this links perfectly checked .

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Gorgeous Sridevi to launch her cute daughter Jhanavi

Yesteryear’s diva Sridevi is planning to revive her South connections to launch her daughter Jhanavi in movies here. The actress who made it big first in the South and was paid more than the heroes in the 80s and 90s, is planning to launch her daughter in a couple of years. Though there were rumours that she was to launch Jhanavi with Tamil director Sashi of Nadodigal fame, the project didn’t materialise. Jhanavi is believed to be training as an actress.

Sridevi is believed to have put in a word with directors in the Telugu film industry to contact her if they find a suitable script to launch her daughter as heroine. The usually aloof Sridevi made it a point to fly down to Hyderabad all the way from Mumbai for the launch of RGV’s Telugu movie.The actress was seen bonding big time with her Tollywood directors and filmmakers. She spoke in Telugu and expressed a wish to revisit the city for the success meet of the movie later.

A beautiful actress's daughter has to become an actress with bang of openings.. That is the simple rule in India and keeping in tune with this trend, the eternal beauty Sridevi is grooming her elder daughter Jahnavi to become the next big heroine. The 13 year old Jahnavi would make her debut as a heroine at 16, exactly the same age at which Sridevi made her debut as a heroine. Apparently Jhanvi is on a strict diet to shed baby fat; this means no chocolates and ice creams. The young lady is also taking lessons in Classical dance, horse riding and swimming; skills that would be useful in a filmy career. Sridevi's able guidance is coming in handy to groom the young Jahnavi to be the next superstar of India!

Sources in film nagar say if Nagarjuna’s second son Akhil is launched into movies, the heroine will be Sridevi’s daughter Jhanavi.

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Priyamani Rare and hot Video song with Jaggu

Title of the post : Priyamani South indian hot actress video song with jagapathi babu in pravarakhudu...


Priyamani is really a professional actor by choosing each every charectar with so much of care and involvement.Priyamani is the daughter-in-law for Malgadi subha a great singer in both telugu and tamil languages..

Among the galaxy of Tamil actress, Priyamani has carved a niche for herself. Priyamani was born on 4th June 1984 at Palakkad, in Kerala. She was raised up in Bangalore and hence she had exposure to all south Indian languages. She made her presence felt in modeling sector with her assignments for Erode silks, Kancheepuram silks and some other brands, before moving into movie world.


Priyamani made her debut in Tamil movies through Kangalal Kaithu Sai, in 2002.She has acted in Malayalam, Telugu, and Kannada movies. Priyamani wrote her name in golden pages of Tamil movies history with a strong performance as Muthazhagu a village girl, in the movie Paruthiveeran. She got the national film award in the best actress category for the year 2006, for her role in Paruthiveeran. She also won the film fare award as well as the Tamil Nadu State film award in the best actress category for the same role. That movie screened over 300 days in Tamil Nadu.


Priyamani as an actress was comfortable in glamorous roles as well. She acted in some other Tamil movies such as Madhu, Malaikottai, Thotta, Arumugham, Adhu oru kana kaalam, Ashokavanam and Ninaithale inikkum.She. She made her Malayalam movie debut through the movie Satyam. She has acted in Malayalam movies ottananayam, Puthiya mukham and Thirakatha. She won the Film fare award for best Malayalam actress category for her role in Thirakatha, in 2008.


Priyamani made her Telugu movie debut through movie Evare Atagagaadu, in 2003.She acted in other Telugu movies such as Pellaina Knothole, Toss, Yamadonga, Nava Vasantham, Hare Ram, Drona, Mitrudu, Pravarakhyudu and Shambho Shiva Shambo. Yamadonga was a big hit move in Telugu. She has acted in Kannada movie Raam. She is playing a role in a bilingual epic movie named Raavana, which is slated to release in 2010.

Priyamani’s cousin Vidya Balan is a famous Kollywood actress. Her grandmother is Kamala Kailas, a famous classical singer. Priyamani has experience in textile designing. She has made her name through good roles in commercial as well as artistic valued movies.
Priyamani

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Rare collection of NTR-Photos -Biography

A great actor, director, screenplay writer, producer, A Memorable Honourable Ex- Cheif minister of Andhra Pradesh, He is the heart beat and soul of Andhra people. - NANDAMOORI TARAKA RAMARAO..

Reached to every heart of telugu speaking people
Created his own NEW brand in POLITICS,
Created a Great Impression on Telugu and Telugu people.
Moral to Everyone for both a Politician and an actor.
Guide to Great screenplay writing for Mythological movies, Fantasy and much more.
Reached a great highest peak in ACTING
NTR contributions towards telugu film industry can never ever be forgotten.

The standards set by NTR for the mythological roles can never be reached. Fellow actor ANR once said, as long as people believe in gods Rama or Krishna they can never forget NTR.

He was born on May 28, 1923 in Krishna district. Neither he nor his parents ever imagined that he would one day become a great actor.

In spite of being a farmers family NTR’s parents respected education. NTR’s basic education was finished at his native place Nimmakuru. His father carried him on his shoulders to a school that is far away from their house. When his uncle Ramaiah adopted NTR, he was taken to Vijayawada concerning his further education. NTR had joined in sixth class at Gandhi Municipal School at Vijayawada. When his parents met with a bad patch frantically, NTR used to help them by tying the milk cans on both sides of his cycle and distributing them to the hotels and dwellers of farer places from their house. It was his first taste of the dignity of labour. He had undertaken so many things to earn the daily bread for their family. He ran a small provision store and worked as a clerk. In spite of all these things he remained a good student in his school and later in college. While he was studying Intermediate at S.R.R. College at Visakha Patnam, Viswanatha Satyanarayana who was the head of the Telugu dept there asked NTR to play a female role where NTR reluctantly agreed to play the role but having his moustache! That incidence fetched him the nickname meesaala naagamma.

Marriage It was while NTR was doing his Intermediate, that he got married to his maternal uncle’s daughter Basavatharakam in May 1942. Because of the distraction caused by marriage, he failed in Intermediate twice. However, he didn’t give it up and proved his will power by succeeding in the examination later, and had joined in B.A. at Andhra Christian College, Guntur. There was always an instinct in him towards acting. It was that instinct in him which drove him towards the stage. The amateur National Arts Theatre group (NAT) at Andhra Christian College, Guntur in 1946, and started performing and directing many stage plays like ‘Chesina Paapam’ along with Kongara Jaggiah, Mukkamala and K.V.S. Sarma. They raised money for the welfare of poor people, and for draught and famine relief funds during early 50’s. In addition NTR was a good illustrator. He had even won a prize in painting competition held at state level. When Subhash Chandra Bose visited Vijayawada, NTR gifted a portrayal of Bose to him.

Taraka Rama Rao completed his graduation in the year 1947. He later passed in the Madras Service Commission Exam – out of 1,100 members only seven were selected and Rama Rao was one among them. Thus he settled down in a sub registrar’s job at Mangalagiri in 1947. Nevertheless, it became a brief period as he worked only for three weeks and refrained from the job since he got a prospect in films.

NTR's first movie was MANA DESAM, released in 1949. The first movie had him in a very small role. His first movie as a hero was PALLETOORI PILLA and was a super hit. His subsequent movies SHAVUKARU, PAATHAALABHAIRAVI, MALLESWARI and CHANDRAHAARAM established him as the premier hero in the telugu film industry. NTR has acted in 254 movies including 15 movies in one year (1964). He acted in 42 mythological movies. Eventhough he first played in a Krishna role in movie SONTHA VOORU, his Krishna role in MAAYAA BAZAAR earned him all the glory.

Politics:
He made his way into politics in 1982 by setting up his own regional party, ‘Telugu Desam Party’ (TDP) aspiring to shield the pride of the Telugu People all over the world. He had beaten Congress-I in the first elections and became the non Congress Chief Minister for the first time in India. No other politician entered into politics within nine months of their entry into politics. He had brought in the 'slab system' in film field in 1984. The system facilitated the producers as well as the distributors largely. He was the chief minister of the state till 1989 when his party was discomfited. He was elected to be the Chairman of ‘National Front Party’.
As the Time grabs everybody to its cold lap, Nandamuri Taraka Rama Rao, a great legend died in 1996 at the age of 73 leaving no other person to replace his place. He is not among us physically he remains unaltered in the hearts of millions of people of Andhra Pradesh.

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