A one-legged father (from UAE) of 78 is lining up his next two wives in a bid to reach his target of 100 children by 2015. Daad Mohammed Murad Abdul Rahman, 60, has already had 15 brides although he has to divorce them as he goes along to remain within the legal limit of four wives at a time.
MOUSTACHE N BEARD Competition: Pity was
that red suit man was in the same category as bridge man so he didnt get first prize. you see its all about the full beard freestyle
This is a photo of a buffalo very similar to human especially its face which is dominantly similar to human. However, its hands and feets are more like a buffalo. But overall the buffalo-boy has most organs of a cow having human shaped. Doctors are of the view that it will die out shortly..
If you yelled for 8 years, 7 months and 6 days you would produce enough sound energy to heat one cup of coffee.
Banging your head against a wall uses 150 calories an hour.
An ostrich’s eye is bigger than its brain.
Just twenty seconds worth of fuel remained when Apollo 11’s lunar module landed on the moon.
If you attempted to count to stars in a galaxy at a rate of one every second it would take around 3,000 years to count them all.
Every minute in the U.S. six people turn 17.
Human hair and fingernails continue to grow after death (I think I repeat this ?!).
Termites eat wood twice as fast when listening to heavy metal music.
Guinness Book Of Records holds the record for being the book most stolen from Public Libraries.
Apples, not caffeine, are more efficient at waking you up in the morning.
1. Intelligent people have more zinc and copper in their hair.
2. The average person laughs 13 times a day.
3. Do you know the names of the three wise monkeys? They are:Mizaru(See no evil), Mikazaru(Hear no evil), and Mazaru(Speak no evil)
4. Women blink nearly twice as much as men.
5. German Shepherds bite humans more than any other breed of dog.
6. Large kangaroos cover more than 30 feet with each jump.
7. Whip makes a cracking sound because its tip moves faster than the speed of sound.
8. Two animal rights protesters were protesting at the cruelty of sending pigs to a slaughterhouse in Bonn. Suddenly the pigs, all two thousand of them, escaped through a broken fence and stampeded, trampling the two hapless protesters to death.
9. If a statue in the park of a person on a horse has both front legs in the air, the person died in battle; if the horse has one front leg in the air, the person died as a result of wounds received in battle; if the horse has all four legs on the ground, the person died of natural cause.
10. The human heart creates enough pressure while pumping to squirt blood 30 feet!!
2. When you blush, the lining of your stomach also turns red.
3. When hippos are upset, their sweat turns red.
4. The first Harley Davidson motorcycle was built in 1903, and used a tomato can for a carburetor.
5. The lion that roars in the MGM logo is named Volney.
6. Google is actually the common name for a number with a million zeros.
7. Switching letters is called spoonerism. For example, saying jag of Flapan, instead of flag of Japan.
8. It cost 7 million dollars to build the Titanic and 200 million to make a film about it.
9. The attachment of the human skin to muscles is what causes dimples.
10. There are 1,792 steps to the top of the Eiffel Tower.
2. Bats always turn left when exiting a cave.
3. The ‘v’ in the name of a court case does not stand for ‘versus’, but for ‘and’ (in civil proceedings) or ‘against’ (in criminal proceedings).
4. Men’s shirts have the buttons on the right, but women’s shirts have the buttons on the left.
5. The owl is the only bird to drop its upper eyelid to wink. All other birds raise their lower eyelids.
6. The reason honey is so easy to digest is that it’s already been digested by a bee.
7. Roosters cannot crow if they cannot extend their necks.
8. The color blue has a calming effect. It causes the brain to release calming hormones.
9. Every time you sneeze some of your brain cells die.
10. Your left lung is smaller than your right lung to make room for your heart.
1. If you are right handed, you will tend to chew your food on your right side. If you are left handed, you will tend to chew your food on your left side.
2. If you stop getting thirsty, you need to drink more water. For when a human body is dehydrated, its thirst mechanism shuts off.
3. Chewing gum while peeling onions will keep you from crying.
4. Your tongue is germ free only if it is pink. If it is white there is a thin film of bacteria on it.
5. The Mercedes-Benz motto is “Das Beste oder Nichts” meaning “the best or nothing”.
6. The Titanic was the first ship to use the SOS signal.
7. The pupil of the eye expands as much as 45 percent when a person looks at something pleasing.
8. The average person who stops smoking requires one hour less sleep a night.
9. Laughing lowers levels of stress hormones and strengthens the immune system. Six-year-olds laugh an average of 300 times a day. Adults only laugh 15 to 100 times a day.
10. The roar that we hear when we place a seashell next to our ear is not the ocean, but rather the sound of blood surging through the veins in the ear.
In a recent phone interview, Rahman spoke about how he used Logic and other tools to create his eclectic, ambitious score against unforgiving deadlines.
Well, I was really busy last year. I was doing about eight films, too many really. And I had this email saying “Hey I’m Danny Boyle, I like your work, and it would be great for us to have you on our film.” I didn’t know what to answer. But after exchanging several more emails, I met him personally in Mumbai. And when I talked to him, I had some interest and I wanted to see the film. He had a first cut of the film already, and when I saw that I was really interested and wanted to do it. So I left another film to do this one. I made time for it.
In some ways it was different, because it didn’t require as much work as I sometimes do for other films, but it required high-quality work. Danny usually uses many composers for a film because he wants different feels in the music. When you go to just one composer, it usually has one feel. So I took a clue from that and tried to think about what he might get from different writers with different sensibilities, always keeping something of mine in everything I wrote. He thought I wouldn't have time to do that, so he was just going to have me do a few songs, but I feel you have a responsibility to the whole movie.
Each track in this film is completely different from the other. The film needed that, because it follows one person’s life, but in many different situations and moments from that life. And for the same reason, there are different cultural elements: some are very strong Indian influences, and some are very pop influences. If you take all the good things from ten different soundtracks and put it together, it can make a beautiful soundtrack of its own.
The initial ideas were all done on this very basic idea of me singing or playing keyboards and vocals. I’d send Danny a scratch of each idea over email, several for each cue he’d given me. Danny would listen and tell me which of the numbers he liked, and he’d start placing them. That was done a couple of months back. When I had collected all of these ideas, I went to England, and we spent three weeks together and finished the score. We’d originally scheduled four weeks, but because Danny decided to mix the film early, we had that much less time to do it.
Normally when I work with a director I work through his eyes, and through his vision, and that’s how I worked with Danny. Ideally, he gets excited when he hears the sound I’ve delivered. At the same time, he challenges me to produce other sounds and ideas. It made the job so much easier for me than if I’d done something radically different on my own and then tried to fit it into the film’s conception and convince people.
Back in the day, it was common in India to be a composer and songwriter; it was always that way. You would finish the songs in four days, then the background music in four days. Today that is changing a little in India.
I mostly don't write to specifically defined cues. I just watch the film a couple of times, stop watching it, then write something that comes to my mind from the film. This way, when I try to sync the music, the results are that much more wholesome. You get something extra that you don't get when you're looking at specific points in the timeline. The music is much more organic this way, not jumping cue to cue. It's more about counterpointing and, sometimes, walking hand-in-hand. Most of the time it works out. If you watch the picture and try to have a specific chord change here, a tempo change there, when the director comes back and wants to move picture, you find that you've wasted time. I think this way is more appealing to me and to the people watching the film. Click tracks and following the SMPTE are necessary for some things, but once you have everything in Logic, then afterwards you can edit and make minor changes.
Yes, I’ve been working with Logic for almost 12 years. I use it as my writing tool because I can have it on a desktop or on a laptop. I can carry it all over.
My initial switch to Logic was because it was a whole workstation. I used to have a MIDI workstation and an audio workstation separately, so when I would go back to a song, I had to almost re-create it, which was nearly impossible; it was always like going back to step one. I was looking for something that had MIDI and audio both, so I could have the whole project in one place. After I got Logic, I could have the whole song on one project, and I could have it on a disk. This meant I could go back to exactly where I had left the project, rather than once again having to set up the modules and have something change. This was a great thing for me.
After the EXS24 sampler came into existence, it was even better. I could have all my sounds in the EXS from everywhere, a 300-400GB library that I'd built myself from my Roland and Akai gear. Now, with some more plug-ins, it's just Logic Pro and the Apogee Symphony audio card, and that's it.
When I’m doing a song or any improvisation, most of the time I have a live input on it, with headphones on, and the performers in the booth. And I have a MIDI keyboard running simultaneously. So if I’m doing something that is partly Indian classical, I keep prompting the singer or the performer on the mike, and then keep playing it. After twenty minutes of that we sit down and edit the portions I like. Sometimes I work like that, but sometimes I do like the standard thing. You know, you have an idea and then you start playing more instruments, more Logic instruments.
Normally what happens is I have a rhythm, and it’s probably a loop. Then I do my vocals, and once I have a structure in place, I record with the singers and write lyrics. When I have the vocal recording, I then work in reverse for the music. We record live rhythms sometimes, and then start programming, and everything is complete. Then of course all the editing is done, and we go through the mastering. That’s pretty much it.
I use Symphony with Logic in the studio while I’m writing. I use the mobile system when I travel, because I do a lot of my writing in hotel rooms; it happens all the time. Right now I’m huddled up here (in Los Angeles) with my MacBook Pro, which I also use to work on flights.
Yes, most of the processing was done with Logic plug-ins actually: Ring Shifter; Multipressor; Space Designer. I also really like EXS24, EVP88, and Sculpture, and I use them a lot.
Yes, there is sitar and guitar too. I used Guitar Rig as well as Native instruments plug-ins on “Ringa Ringa” for the Indian rhythms and to give it a very edgy kind of feel.
There was a string orchestra for one of the tracks, “Liquid Dance,” but most tracks had single instruments, like guitar, sitar, and then taiko drums.
Well, since I work almost exclusively with Logic, it’s the only thing I know. Most of the songs were written in Logic. And Logic’s mixing features allowed us to meet a very tight deadline for “Mausam & Escape,” a track with lots of instruments such as sitar and guitar.
I’ve looked at other programs but never cared to try them because the timing in Logic is the best. Friends used to ask, how do you get that timing? Most of them switched because of it. Songs are mostly about grooves, so when they hear something tight and nice, they want it, too.
Logic becomes a part of your life. I have three or four programming rooms, and I exchange files across the Internet with London; it has become a whole philosophy of using the Logic tools
Allah Rakha Rahman Tamil: ஏ.ஆர்.ரஹ்மான்)(Malayalam: എ. ആര് റഹ്മാന്, (born on January 6, 1966 as A. S. Dileep Kumar in Chennai, Tamil Nadu, India), is a critically acclaimed award-winning composer, record producer and musician. He is widely regarded as one of the greatest Indian film composers ever, and his career is considered a turning point in the history of Indian film music. Many credit him with having single-handedly revolutionized the standards of film music composition in India. He is also credited with re-energizing the popularity of Indian film music the world over.
In a career spanning over a decade, Rahman, by 2003, had sold more than one hundred million records of his film scores and soundtracks world-wide,[1] and sold over 200 million cassettes[2]all-time top selling recording artists; he is the only person of Indian descent on the list. making him one of the world's top 25
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A. R. Rahman was born to R. K. Shekhar, a composer, arranger and conductor for Malayalam-language films. His father died when Rahman was nine years old, and his family rented out musical equipment as a source of income. Rahman is an adherent of Sufism.
During these early years, Rahman served as a keyboard player and an arranger in bands such as "Roots" and "Nemesis Avenue" with friends including Sivamani, embracing numerous music genres. He played the keyboard and piano, in addition to, among others, 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.”[3] He began early training in music under Master Dhanraj. At the age of 11, he joined, as a keyboardist, the troupe of Ilaiyaraaja,[3] one of many composers to whom musical instruments belonging to Rahman's father were rented to. Rahman later played in the orchestra of M. S. Viswanathan and Ramesh Naidu, accompanied Zakir Hussain, Kunnakudi Vaidyanathan and L. Shankar on world tours and obtained a scholarship to Trinity College of Music in London, where he graduated with a degree in Western classical music.[4]
In 1991, Rahman began his own music recording and mixing studio, attached to backyard of his house, called the Panchathan Record Inn. 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 KamalNational 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 (If Kissed on the Cheek, Tamil) in 2003), the most ever by any composer.[5] award for Best Music Director at the
Roja's score met with high sales and acclaim, in its original and dubbed versions, bringing about an effective transformation in film music at the time, and Rahman followed this with scores for films including, among others, Bombay, Kadhalan, Indira, Minsaara Kanavu, MuthuLove Birds, which gained him notice. His soundtracks gained him recognition in the Tamil film industry and across the country for his versatality in classical, folk, jazz, reggae, soft rockRangeela, directed by Ram Gopal Varma, marked Rahman's debut in Hindi films. Many popular and superhit scores for films including Dil Se and Taal and and other styles in his pieces. followed. The sales of these albums prompted several film producers to take film music more seriously.
Rahman's work is also unique in the fact that his collaborations with some film directors have always resulted in successful soundtracks. In particular, he has worked with Mani Ratnam on ten films until 2006, all of which have been musical hits. Also notable is his collaboration with the director S. Shankar in the films Gentleman, Kadhalan, Indian, Jeans, Mudhalvan, Nayak, Boys and Sivaji.
His first movie album Roja was listed in TIME's "Top 10 Movie Soundtracks of All Time" in 2005.[6] Rahman continued to record frequently in his studio, the Panchathan Record Inn. In 2005, a newly developed recording studio, attatched to the Inn called A.M. Studios was opened. It is considered to be the most developed, equipped and high tech studio of Asia. In 2006, Rahman launched his own music label, KM Musiq. It's first release was his soundtrack to the film Sillunu Oru Kaadhal which it released worldwide, in August 2006. His latest work includes Rang De Basanti, Sillunu Oru Kaadhal, Guru, Varalaru - The History of the Godfather, Sivaji: The Boss, Azhagiya Tamil Magan, and Jodhaa Akbar . Rahman has scored the movie Provoked, co-scored Elizabeth: The Golden Age, and is working on Chamki Chameli to be released in 2008 and Hindi version of Tamil blockbuster Ghajini. He is a recipient of the Padma Shri.
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 immense success. He followed it up with an album called Jana gana mana, a conglomeration of performances by many leading exponents/artists of Indian classical music. In addition to writing jingles for ads, he has composed several orchestrations for athletic events and T.V. and internet media publications, documentaries and short films.
In 2002, he composed his maiden stage production Bombay Dreams (2002) following a commission from famous musical theatre composer Andrew Lloyd Webber. Furthermore, Rahman, along with the Finnish folk music band Värttinä, composed the music for The Lord of the Rings theatre production. He composed the piece "Raga's Dance" for Vanessa-Mae's album Choreography (2004).
In the last six years, he has performed in 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.[5] A two-disc soundtrack, Introducing A. R. Rahman, (2006) featuring 25 pieces he composed from his Tamil film scores was released in May 2006.
Rahman's interest in the works of Classical and Romantic period composers, Carnatic composers, early film composers and predecessors K. V. Mahadevan and Vishwanathan-Ramamoorthy of the film industry of Tamil Nadu and others continued through his late teens. He further explored and trained in Carnatic music, Western classical, Hindustani music and the Qawwali style of Nusrat Fateh Ali Khan, in addition to numerous other styles. His interest and outlook in music is said to stem from his love of experimentation.[4][7] As a result, his scores have alternated from songs and themes composed covering a variety of genres, with unconventionally-grouped instruments, and different vocal styles being used and combined together in some of his film soundtracks, to more traditional orchestral themes with leitmotif techniques composed in others. Rahman's works often feature a mix of minimalist songs and evocative, thematic pieces, building on his differing chord progressions and rhythms. He has written scores and songs with new and varied melodic and percussive sounds from instruments of different music systems.
In addition to composing themes for charity media features and events, Rahman has set up the "A. R. Rahman Foundation" with a goal to eradicate poverty globally. This includes setting up and partnering with educational institutions across India to provide education to children who do not have easy access to schools or funds. In 2004, he was appointed as the Global Ambassador of the Stop TB Partnership, a project by WHO.[5] 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 TravisNeil 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.
International Movie DataBase.
