#Top 50 Songs Composed by Ravi | Explore Tumblr posts and blogs

tanithrea · 6 years ago

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Vixx - Scentist - A Theoretical Journey

Okay so the visuals are so big and deep in the MV for this song I couldn't help but try to figure out what I was seeing.

First of all the interview (which I'm still trying to refind cause I watched a ton of vixx recently) I saw Ravi said that Ken had accidentally knocked him with the door while doing his own eyebrow trim and hence the line he ended up with. Ken’s eyebrows seen here is Ravi’s revenge. Lol

The prevailing link is to the book Perfume: The Story Of A Murderer by Patrick Süskind, which is about a guy (Baptiste Grenouille) who grows up with an acute sense of smell and finds the scent of a woman in later life so desirable he kills her trying to preserve it. And I guess that's the main lead to the idea but the song, the visual and of course the overall MV here is very much a concept and realisation that is pure VIXX who are rightly known as the concept kings for a reason.

So here I am breaking down what I see in the video and what I am thinking about while watching it all while looking at the English translation of the lyrics, the MV and theorising about the design and intentions being made non verbally.

Let's start at the beginning lol the video opens with red background and Ken in a mist, then almost like a basement where the light shines down on Hyuk at the bottom. This then transitions to a young boy sitting at the top reaching for the light. Now all this is just me running through ideas but I'm thinking the child has been awoken in the person and I will look more at how I think this kid fits in shortly.

Once the song is started they divide into their relative areas in the 🔬⚗️🌹🍸”lab”. Leo (lets all just acknowledge how fabulous he looks with that hair) is sitting at a piano that has tubes and liquid in bottles along the top that it almost looks like a steampunk piano that mixes these fluids. So that got me in mind that a true perfume is a ‘composition’ of ‘notes’ that are balanced out to create the overall scent and in this case LEO is like the composer mixing the perfect orchestration of the senses. A true handmade expensive perfume can have anything from 50-500 elements and a single drop of one could be £1000’s so it has often been described as musical to the sense of smell like a symphony, overture, opus, etc. Musical terminology has been linked to perfume as a means of trying to convey the mental image and sense memory that you recall these ‘notes’ of smell when told about it, mainly cause advertising doesn't have a way to spray it at you! Lol At the end of his section we see him inhale the scent from his wrist in a signature move that all the band members will make throughout the video in their own style.

N is then sitting on those steps on the stairs, having been roused by the light much like we saw at the beginning then we see him doing a fab dance move (he absolutely slays the dancing moves) with the others mulling around a car. The car I'm kind of vague but I guess the thing I thought was that you go on a journey in a car and a great perfume should take you somewhere. Plus the whole sports car classic convertible with the open top you would be taking in everything as you drove, who isn't imagining that car driving along a sunny coastal road with hair blown in the wind? Just an idea but again the car is maybe the most random symbol in this for me.

N then seemingly is either asleep, unconscious or so overwhelmed by it all or his feelings he's passed out on the floor of the basement. The lyrics talk about moonlight but I guess that could be the theoretical light shining in the dark.

Cut to Hongbin walking around a lab table where the toolkit on the back wall suggests more like a horror slasher hostel sequel than a perfume laboratory 🔬 lol 😂. The wall has pliers, hacksaws, what look like big knives and scissors. The next image of a rose 🌹 being infused in a glass beaker would then suggest the tools are for the cutting and trimming of the flowers to literally pull the “tears” form the rose so they can bloom again in the perfume. Seems pretty clear there but this has so many symbols and moments we don't stay here long.

Cut to Hongbin, Hyuk, and N dancing in a trio by the car, back to his face in the lab, more roses and then dancing in the lab in the new sharp tailored suits. Noticing the blue contacts that Hongbin is wearing and Hyuk too in this. Yet Leo’s eyes are still natural, as are N, Ravi and Ken. Not sure what they were saying with the blue lenses and in only two of the guys. But I know there was in idea, these guys don't have anything without an idea 💡

Hyuk and Hongbin are now shown in the white shirts and leather aprons with test tubes and vials and basically what you would put in a hypothetical lab where they appear to be drawing the essence from the flowers. Hyuk checks the bags of liquid with roses in them, look like blood bags so suggest transfusion of their essence and basically build the fist elements of the perfume.

Then we see Hyuk, the kid, Ken all looking at us through the metal loops on their chain broaches. They seem kind of reminiscent of the spy glass or monocle. Suggesting to me a deeper look into themselves and that kid is there looking back at them. Now at this stage I'm thinking ok he's like the kid in each person who wants something. You know how one track minded a kid can be if there is a new toy they want and you could give them 10 other toys but if it's not that one then they aren't happy. So this is where I thought he was symbolic of. The now awake kid is like “oooooo shiny new toy, I want it.” All at the same time as singing the lines about tears of the roses blooming again so linking that together.

Then a burst of very intense dancing, again N very much sharp hitter here, but then I got to thinking they are singing “I held My Breath when I found you in the mist” so it links for me to an intense feeling where you are stuck by something and an intense scent could definitely be a sudden intense sensation that was shocking enough to take over you for a second like this. Then we see the seemingly incapacitated N awake but knocked down by this sensation, like it's so physically impactful he can't stand.

Cut to the lab and group dance where we see N and the signature ‘wrist scent’ move they all have in variation. This group shot suggests a concerted effort to go after this intoxicating potion, and with the energy they show they don't plan on going slowly.

Then we see the kid in a white shirt back in the basement lying on the top of the steps and the mist coming around him, it cuts to N and he's in the same position in black. So now I'm thinking the kid is more connected to N as his childish emotions. Maybe still an overall representation but this scene says there is a direct link with N.

Ken looking back at the audience from the misty red atmosphere almost like a prophecy, 🔮seeing a glimpse of where this is all going. The line “I demand a drop of you” is up and they cut back to intense group dance and Ken at the front which makes me think oh ok this is when it's not about the flowers it's also about capturing the scent or the person they desire. To find a way to obtain that intensified Esscenes from you/this person and add it to the perfect perfume. This is also the first time in the imagery we see a syringe 💉and although we have seen drops of red in with roses until now it's been just a liquid. This context says to me blood. You can take a sample from a person with a syringe and the drops of red are the blood being added to the roses infusing both together into the product. This section is quite intense and full of images of the roses, broken containers of red fluid and dancing. My theories here split into two and the first is that taking the blood from someone is a pretty intense and scary level of obsession which this is slowly growing to become. But if a guy said I need a sample of blood for a perfume you would be like uh I am running to the nearest police station. So knowing it's not a ‘normal’ thing to do I get to The other side of my thinking where things the burst or the split red is that it could go too far that the obsession is already think ahead and willing to go further than the rational self would. I.e. Kill for it.

Quick flash of a group dance by the car, 🚘again I could only think of ‘being transported’ by that.

And then straight onto a fantastic shot of Hongbin and a cute chameleon 🦎on his shoulder. The colours in this are gorgeous and then I was thinking his blue eyes and the hair colour and then the very nature of a chameleon is to change his appearance. Now I applied that to the perfume that a great one doesn't have one scent, it can change over the hours you wear it and also have different effects on different people much like a chameleon changing its colours to suit. Associate that with Hongbin in this moment and he is also the changeling. Now driven to create this amazing perfume he will change his personality to whatever he needs to get that goal. The lines “I cover myself with you over, and over again” is here and it almost feels like that mindset is starting to hardest into purpose without rational thought. If we were lost in space this is where the robot would say 🤖 “danger Will Robinson!” Lol 😂

Cut to the kid, in a suit jacket facing away from camera but in the mist we can see he is wearing a crown. 👑This to me suggests that that impetus nature, or childlike want has been “crowned” king and is being given what he wants. Again following on from Hongbin and his resolve to change to anything to achieve the goal it's all heading a bit darker and more deadly for the object of their obsession. ⚰️

Hongbin with his eyes closed as the essence drops into a beaker seems to be enjoying the fruits of his labour so the target has apparently been hit and he's taking in the highly concentrated infusions intoxicatingly strong scent. Worryingly that means he has either hurt or killed someone to do so.

Cut to the kid again in the white shirt in the mist. No crown this time, but sitting calmly as is Hongbin. Again the kid feels like a general representation of all of the childlike impulses in each of the guys so here is a moment of just I'm getting what I want and content calm after a flurry of intensity.

Next we see Hongbin and N on opposite sides of a glass case containing a dead tree branch and a large snake (python I think but any experts do correct me) entwined on its branches. This is calmly shown as the stand facing away from the snake, and I'm going to head into the symbolism of snakes to me in a sec. First thought is snake 🐍 means temptation, and they aren't looking at it cause they gave into it already at this point and then Hongbin is looking at it, we get a close up of the snake (sorry any snake phobias out there) and then we cut to a Hongbins throat. Now two things happen here, I'm thinking he's so casual about it cause he already gave into the temptation as we saw him taking in the scent of his hard work not that long ago. But then the thought of (I'm not religious at all) snakes and the supposed ultimate first temptation and then a literal Adams Apple shown together and how these desires are so primal they go back to the beginning of mankind. Knowing this info and believing it are two different things so the other lightbulb flashing was that this snake and then his throat was like a cut throat attitude, and a snake strangles it's pray by squeezing you all around especially a python so is this suggesting he strangled his victim? No idea but the thoughts are definitely there even though I can't pin down an exact one.

The lyrics are now “I can't get rid of you” this intense scent has literally penetrated his mind and there is no cleanse or reverse from here.

Leo (ahhhhhhh) is sitting as a mist drifts over him now sampling his composition and seems blissfully dreamlike about it. Again once Hongbin had extracted the perfect concentrated potion he's been able to create the perfect composition with the steampunk perfume piano.

They dance with eyes closed in the lab smelling their wrists and saying how it's all over them now, you/object of obsession is literally smothered all over themselves and can't be removed now and they are positively drunk on it.

Leo sat next to the car, again they have been transported and the headlights suggest a destination ahead. Here I think two possible ideas the headlight could be because we get closer to it is like coming out of a tunnel and into that light at the end or like getting caught in the headlights you have a moment of panic. Now that kind of flows into where I'm visually seeing Ravi’s role here.

Through the headlights the first image is a blue skull bottle. Wondering if this is the magic bottle of the essence they have gone to all the trouble for. Or if it's just a representation of the extremes they have been willing to go, maybe even an image just to think of mortality.

Ravi to me seems, visually, like the warning light flashing. The lines “white lights and prism although the colour seem clear but in the form that is invisible my world is locked up” all while holding a vial of the blue liquid. So saying this stuff might seem all innocent and pure but it can lock you in an inescapable prison with bonds that can't be seen but are there. Almost like the humanity trying to get out he's saying in a way help me, I'm trapped in this and it might look ok but I'm not.

This leads back to the car that transports us back to where we are now, again hence why I'm linking it to that theme.

This time we come out and it's a cocktail glass. The next step in the total surrender isn't to be covered in is to actually drink it in. Literally. Ken becomes the bartender or mixologist tailoring perfume “cocktails” for individual taste. The ultimate selling counter.

The search has been exhausting and they say this then we cut to the kid holding a shard of a mirror (health and safety alert) but in the reflection is N. again the kid might be a general representation but there is a definite close link to N. the fact that the kids reflection is not his own is that he's not a real child and is just the representative as I thought.

Continuing with N, in a pretty fab dance move with Ken, he sings about how this “stimulation ties up and locks just like you”. The link to previous moments saying how the scent has you bound and it's locked him in.

Ahhh Hyuk. You thought I'd forgotten him and I've kind of passed over him but as I went through the video his role seems clearer. And I think I see why he was also in the basement with the boy at the beginning. He was tending to the roses and the soft face at the start where he is also linked to the “boy” when he first wakes, innocent and pure his desire is to get the roses 🌹 to distill their tears. Again here I see him as what innocent beginnings could be before it goes off the rails, his goals are simple and sweet. He's the kid in the group as well so it's a fitting role for him.

“In the dark room scatters thousands of colours” and I think it's Hyuk and the kid in the basement, the innocence was awakened by the mist traveling into the room, it awakened them on this somewhat deadly path but their pure minds couldn't see that at the beginning.

Leo is lost in the “song” the mist is playing, he's all focused on this part of the creative side which also appropriate cause he is a writer and composer like Ravi and works on the bands repertoire.

So I'm kind of leaning almost as if they had different specialisms or departments that also represent the stages and personas of the development of both the perfume and obsession.

They all come together in a line, more fab choreography, as the ‘facets’ pull together to create the perfect scent.

This is in the dark as well as the lab so all facets of their lives both personal and professional pulling into one train of thought. The build up being that though this was for good intentions at the beginning it has also gone into overdrive.

Then N is as the glass case again, and some more key VIXX dancing. Lol 😉

Boom! Ken is holding a gun! Okay so this kind of comes out of nowhere and I guess it's like wow they are going full out now it's kill or be killed by it. The lyrics talk about being dizzy, they are covered in even taking it into themselves so yeah you could say it could also be the death of them as well as potential targets. This links back to the novel where the protagonist was driven mad by his senses and eventually to death.

N and Hongbin are circling the snake case and it's like N is watching the snake and Hongbin is watching N. waiting for his friend or co worker to give into that temptation.

Que a fast dance montage with Ken doing a matrix style hand gesture to bring it on then holding a bottle of one of his bar of potions. Like just give in already!

Perfectly timed is N who is now inside the case with the snake wrapped around him having not only given into temptation but actually embraced it, holding it and wielding it now as its master.

Leo reappears having mixed his perfect composition to remind us of that. Because the commitment of the others has all led in succession to the others progress.

Fab image of Leo in almost the fractured images and the kid, again back to Ravi describing how the clear prism can look so innocent and beautiful but hide something way deeper and darker. Flashes of innocence with the kid, Hyuk and Leo in rapture seem like the lighter beautiful sides and how could this be bad?

Noticing Hongbin almost like he's there tweaking the innocent work of Hyuk into his own mutation the first steps.

Ravi returns now with a literal smoke signal and a gas mask, which straight away suggests an attempt to protect himself, to shield himself for a moment from the onslaught of the perfume. Saying “gorgeous but monotonous” because if all you see, feel, smell, hear, taste is this intoxicating smell then you become suffocated and numb. I see him as a beacon saying last chance to save me, I can't breathe. The visual gets blurry like double vision, and he raps about multiplying colours, frequencies and the strings of his sanity falling apart as this persona looses the attempt to save themselves.

N at the glass case looking weary despite having surrendered to his fate, perhaps the submission to its total power is actually the beginning of the end of the characters. Here he actually drinks it, which if you every accidentally sprayed perfume in your face will remember it's not very palatable. Anyway he seems to smirk at this having now gone all out even though his body is tired he still is in the rapture of the scent and isolated with just that and him as the lyrics say “I closed my eyes at the moment I left you in the darkness”. To me that is this is now so complete that he can recall that moment and person and atmosphere so intensely it's recalling a moment of total immersion.

Now we are reaching in the dark for the gun again…the crowned kid is now looking around. So okay I had seen the white shirt kid as innocent and gentle kind of like Hyuk. But this crowned entity is the demanding, tantrum throwing drive that has pushed these guys to the brink of insanity and death. It appears that the innocent kid reaches for the gun, stay with me in this theory it is a little vague, but then right after we see Ravi who like I've said above feels like the last ember of humanity fighting back and in this it feels like the innocent kid in ravi’s character gave him the strength to lift the gun and if he can't stop himself or save himself then maybe he can kill this desire hence the then smirking crowned kid but then Ken is also holding the gun cause you can't kill desire and you can't remove these facets of character from a person so they end in stalemate.

Hongbin now ‘transported’ by his creation is by the car, then almost like a surrendering enthusiasm for the dance and look that follows. He's happy in this and gave up fighting it a while back. It does cut back to Hongbin with Hyuk in the driver seat and maybe there is an element of the innocent and pure part of the process that I see in Hyuk is now set on the beginning of a journey that has been the ruin of all his colleagues. (Although Leo doesn't seem in distress lol N, Hongbin, Ken and Ravi have all descended into insanity, temptation and possible homicide!)

We see Hyuk in the basement again where I see him as the innocent awoken like the kid maybe I think as a flashback to his pure beginning intention which the rest are guiding him out of along with them.

Beautiful shot of Leo’s hand gracefully gliding over the projection of a piano keys on the ground. Again playing his composition, it (and him lol) is quite perfect.

Two group dance scenes in both the lab and in the dark car scenery, all together all in one group and all agreeing on the “long suffering dizziness” and we see N intent as he walks around the snake case, then Ken who has the gun again, with the innocent kid having gone away into the corner and left the gun. This suggests the attempt by the child that was their innocence has failed and Ravi who was the warning light has lost his fight too to save them all from themselves. The lyrics suggests that it no longer matters if their eyes are open or if they are awake, this is now 24/7/365. The innocent kid backs away from the gun, N is on the floor now done in completely.

It ends with the whole group walking into a red mist and the crowned kid disappears as the are enveloped by the mist. The crowned king of childlike want has won and all are now surrendered to it.

This stuff kind of makes sense now looking at the parts and in depth, and I apologise I have ranted for quite a while and prob no one cares but I felt this was fun and there was so much going on in the video I did this for me. Please leave any notes or messages if you see something I missed or a link I maybe inspired in you…it's all just my own theory while musing on the scenes.

I only discovered this group over a week ago and so quickly just love their work. I've never been hooked by any kpop group before this and I have tried a few. They have the title the concept kings for a reason and I'm just sad they won't be coming to the uk 🇬🇧 anytime soon for concerts as I would love to see them live. Watching the YouTube catalogue of vids about them it's been funny and entertaining to see how far they've all come and just how good they are. Feel like I'm recapturing some of my 20’s as I'm in my 30’s and I haven't been so into a group in a long time but these guys just caught me and I am totally happy not escaping! Lol

#vixx scentist #vixx hyuk #vixx ken #vixx hongbin #vixx ravi #vixx n #vixx leo #eau de vixx #music video #kpop #starlights #vixx

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shankarjaikishanfansassnintl · 4 years ago

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Kishore Kumar and Shankar Jaikishen- Hysteria that did not coincide

Courtesy http://arghyatext.blogspot.com/2012/07/18-songs-in-first-13-years-and-then-87.html

No song in the first 8 years of mutual co-existance in the music kingdom ,18 songs in the next 13 years of association and then, 87 songs in last 17 years: the association of Shankar Jaikishen with Kishore Kumar has various interesting aspects. Another intriguing part is, for the first 13 years, SJ were the uncrowned king of Hindi film music and Kishore Kumar a non-considerate in playback singing and in the next 17 years, well, almost vice versa. “Almost” is because Jaikishen- the more prominent of the duo, died in 1971, and upto 1986, Shankar single handedly kept the S-J flag flying. As the musical parallelism goes, many still believe, it was Jaikishen with whom the camaraderie of Kishore would have blended better- and the proof was there with “Zindagi ek safar hai suhana”, the chartbuster Jaikishen had made with Kishore just months after the former passed away. But the fact is, out of 105 songs Kishore recorded under SJ baton, almost 70 songs came for Shankar only, owing to Jaikishen’s early demise.

Kishore Kumar with Asha Bhosle and Jaikishen

Alongwith Rafi-R D Burman and Asha Bhosle-Ravi, Kishore Kumar-Shankar Jaikishen combo has been highly neglected in Hindi film music history, perhaps owing to the reason that the fan groups of the MD and the singer never formed a common set.With their clear cut preference to the trio of Rafi-Mukesh-Manna, Shankar Jaikishen ruled the film fraternity in the 1960s. They could be cult and traditional with equal ease, insisted on heavy orchestration, composed for the poster boys of Hindi cinema and maintained super Public Relations where their counterparts like Madan Mohan, O P Nayyar or S D Burman were not the experts at. They did not want to look beyond their comfort set of singers right from the very beginning in 1949. It is therefore, you will find hardly any association of them with Hemant, Talat, Geeta or Shamshad right from the 50s through the 60s, except for occasional masterpieces(Ae mere dil kahin aur chal or Yaad kiya dil ne kaha ho tum). So high was the S-J mania that time they managed to compose as many as 7 films for Dev Anand(Patita, Love Marriage, Jab pyar kisise hota hai, Roop ki rani choron ka raja, Asli Naqli, Duniya, Pyar Mohabbat)- a hero who never wanted any MD except S D Burman even outside his home production. So, for Kishore Kumar, his association with S-J was confined within the films where he was the hero himself. All the movies they worked together between 1956 and 1969 were mainly with Kishore Kumar as the protagonist- New Delhi, Begunaah, Shararat, Krorepati and Rangoli. So fascinated were the SJ with the trio of R-M-M, that except for in New Delhi, in all the other films they created space for each of the singers to playback for Kishore. Manna De played back only twice for Kishore- both the occasions came under SJ- Begunaah and Krorepati. Rafi played back for Kishore in Shararat- a movie where Kishore played a double role. There were two movies in that period where SJ did use Kishore for playback- one in Duniya(1968), a duet with Asha Bhosle on Dev Anand and one in Bhai Bahen(1969), again a duet with Manna De on a character artist.With Aradhana released in 1969 and the equation changing a bit, S-J started using Kishore sporadically in movies like Umang and Tum haseen main jawan, still sticking mainly to their comfortable “trio” and making some space for the newly arrived sensation. By 1971, the producers started having their say on Kishore Kumar on the MDs. SJ, always known to abide by the industry trends, started suddenly using Kishore lot more. Kishore Kumar had by then, continued his popularity run with chartbusters in 1970 like Kati Patang, Johny Mera Naam, Sacha Jhutha, Safar, Pavitra Papi, Prem Pujari and Aan Milo Sajna. A force too huge to be ignored by now, Shankar turned on to Kishore for a piano solo in Laal Patthar. “Geet gata hoon main, gungunata hoon main” had Kishore responding to S-J just the way they would have wanted. Alongwith Rafi, Kishore had that elasticity to deliver just the way a MD wanted and not sticking to his own singing gambit. S-J used Kishore in the title track of a Shammi Kapoor starrer in the same year. “Jaane Anjaane”, an otherwise forgettable album, is best remembered today for Manna De’s “Chham chham baaje re payaliya” and Kishore’s “Jaane anjaane log mile”. In Andaaz, the unthinkable happened- with only one single solo in the whole film, Kishore’s “Zindagi ek safar hai suhana” overshadowed all the other songs in the album, including the versions of the same song by Asha and Rafi.S-J, in a spree to check the continuous popularity of younger R D Burman and Laxmikant Pyarelal and older and rejuvenated S D Burman post-Aradhana, started signing movies one after the another in 1971. They had 17 releases in 1971, much more than what RD and SD had done, and almost as good as what LP had done. That was the good part, the bad part was except Andaaz, all the other movies bombed at the box office. Duniya kya jaane, Seema, Ek naari ek brahmachari, Albela, Jawan Mohabbat, Pagla kahin ka came and went. In spite of great songs, Lal Patthar and Mera Naam Joker failed at box office. Jaane Anjaane, Kal aaj aur kal received lukewarm response. Andaaz was the only day-saver, that too thanks to only one superhit. Interestingly, SJ used Kishore in almost all their movies in 1971, except for 2-3 Raj Kapoor and Shammi Kapoor movies. They had four releases of Shammi Kapoor that year, and none faring well, also gave a hint at the star’s declining product life cycle.Kal aaj aur kal was a RK production launching Raj Kapoor’s son Randhir Kapoor. S-J decided to put Kishore Kumar as the voice of young Randhir and made him croon the evergreen beauty “Bhanwre ki gunjan”. Interesting to note that, although the media hypes a lot over Kishore’s association with Rajesh Khanna, Amitabh Bachchan and Dev Anand, it was Randhir Kapoor for whom, in terms of percentage, Kishore Kumar had played back the most. Except for Jeet(1972) and Humrahi(1974), Kishore played back for Randhir Kapoor in all the other movies of the hero- an outstanding achievement between an actor and a singer.Jaikishen passed away in 1971 owing to liver cirrhosis. With Shailendra already gone in 1966, Shankar was left alone to carry forward the glorious torch of the past. With already a declining trend in popularity, SJ held intact only one thing- the Filmfare Awards. They received it in 1970 and 1971 winning over the albums of SD,RD,LP and KA with many eyebrows raised. In 1972, a year truly belonging to Rahul Dev Burman, with mesmerizing albums like Mere Jeevan Sathi, Amar Prem, Parichay, Jawani Deewani, Hare rama hare Krishna and Bombay to Goa, SJ managed to win the Filmfare Award again for Beimaan under lot of controversies. SJ used Kishore Kumar again in almost all their movies except Aan Baan(1972)- a Rajendra Kumar starrer, where they decided to stick to their old gun, Rafi. Kishore delivered his job, giving hits under any circumstances, with “Tum kitni khubsoorat ho”(Jungle mein mangal), “ Saath mein pyara saathi”(Dil Daulat Duniya) and “Aankhon aankhon mein baat hone do”(Aankhon aankhon mein).

Shankar and Kishore Kumar in rehearsal can be seen in the original records of Dil, Daulat Duniya-1972. Pic Courtesy: Rajnikanth Ranchod Pithia ji

The next decade saw gradual decline of Shankar amongst mainstream cinema. After giving music to almost 350 movies, the exhaustion showed. With no Jaikishen, Shankar tried to put his foothold intact with occasional hits in Resham Ki Dori(1974), Sanyasi(1975) and Do Jhoot(1975). Many of Shankar’s hits that time came with Kishore like “Chhatri na khol”(Do Jhoot), “Mere dil mein tu hi tu hai”(International Crook), “Chamka paseena”(Resham ki Dori) and “Tu jahan main wahan”(Garm khoon).Both Shankar and Kishore demised in 1987. While one was given a superstar farewell, the other went away quietly. Quite contradicting to the fact that once, in the 60s, Shankar had actually told in an interview that some songs were not singer Kishore’s “cup of tea”. That time, he was the superstar in music and Kishore was obscure. Time changes fast.But, the fact remains that Shankar Jaikishen were amongst the greatest music directors in Indian Cinema and Kishore Kumar was one of the greatest playback singers. Although their peak periods don’t match, in spite of being contemporaries, they did give us some brilliant output together. Here are my top 10:

Nakhrewali- New Delhi(1956).

Chhotisi yeh duniya- Rangoli(1962).

Rangoli sajaao-Rangoli(1962).

Humlog hai aese deewane- Umang(1970).

Geet gata hoon main- Laal Patthar(1971).

Jaane anjaane log mile- Jaane Anjaane(1971).

Bhanwre ki gunjan-Kal aaj aur kal(1971).

Zindagi ek safar hai suhana-Andaaz(1971).

Saath mein pyara saathi-Dil Daulat Duniya(1972).

Kehta hai dil o mere sanam-Chorni(1980).

#shanker jaikishen #kishore kumar #Asha bhosle #lata mangeshkar

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nytcap · 6 years ago

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Press preview for Play It Loud: Instruments of Rock & Roll by j- No Via Flickr: The Metropolitan Museum of Art April 1, 2019

A groundbreaking exhibition presenting a spectacular array of iconic instruments of rock and roll - "one of the most influential artistic movements of the 20th century and the objects that made the music possible" - go on view at The Met on April 8, through September.

“Rarely Seen Guitars, Bass, Drum Kits, Keys, and Horns from More than 80 Renowned Musicians Celebrate the Unique Role of Instruments in Rock.” Christie's and Sotheby's must be kicking themselves for missing out on what surely would have netted them millions in auctioneer's commissions, if placed on the market instead of donated to a museum.

On April 1, the press was treated to a preview of the show, teased with what many of us thought to be an April Fool joke: appearances by musicians Jimmy Page, Steve Miller, Tina Weymouth, and others. Nope, it wasn't a joke. Towering over the packed hall were Greco-Roman statues of (appropriately) shamelessly full-frontal nude men and ladies, lit by sunlight streaming through the skylight and floor-to ceiling window.

Typically, for rock & roll, the start was delayed, but eventually out strode those very rock stars. Remarks about the year-long labor of putting together such a monumental exhibition were made by museum staff and a rep from the Rock and Roll Hall of Fame, who sponsored the exhibit. Following brief, anecdotal remarks from the Led Zep guitar god, the original Space Cowboy, Steve Miller, gave a long walk-through about putting the show together, as well as much technical tidbits that no doubt flew way over the heads of all who are not guitarists themselves. He also promised that he would be working with the Met to improve their music-hostile acoustics. Talking Head and Tom-Tom Clubber Tina Weymouth read from a very long essay by a Catholic priest about, basically, the importance of finding your own rhythm. The audience perked up from nodding off completely, when she worked in a quote of the title of TTC's "Happiness Can't Buy Money", which, given the head-nodding, hardly anyone present was familiar with, despite it being one of her biggest hits.

After the formalities, there was a completely unexpected solo performance by Don Felder on his truly iconic (sorry for the overuse of this adjective, but it's true) double 12- and 6-string white guitar used on just about every performance of "Hotel California" the Eagles ever gave. video links: https://flic.kr/p/2fpobAn https://flic.kr/p/2eiqZpW

Room after room featured worshipful displays of performance setups, surrounded by walls completely covered - like my teenage bedroom - with concert posters from back in the day when those were actually serious works of art (not to mention when rock stars were accomplished serious musicians and composers, unlike the majority of today’s autotuned stars who can’t play anything, drone over lifeless iMac-generated beats, and require an entire village to compose and score their songs).

As a strictly Ibanez person myself, I was disappointed to see the only representative of my (let's face it, budget-minded) brand, was one donated by Joni Mitchell. I can only hope that it was used on the two or three songs of her's that I like.

The exhibition begins with Chuck Berry's ES-350T (1957) electric guitar, which was used to record "Johnny B. Goode"; followed by Lady Gaga's custom-designed piano; Stevie Ray Vaughan's "Texas Flood" composite Stratocaster "Number One"; the guitar that Keith Richards is known to have used when the Rolling Stones appeared on The Ed Sullivan Show in 1966; Flea's "punk" bass used throughout RHCP's career, and Jimmy Page's dragon-embroidered costume, which he wore during Led Zeppelin's live performances from 1975 to 1977.

In addition to Prince's iconic gold 'love symbol' guitar, included in the exhibit is the Purple One's 1980s "cherub" suit, and the famous "disappearing" Tele-style H.S. Anderson Mad Cat guitar he played on his 2004 show-stopping, jaw-dropping solo during the all-star tribute performance of “While My Guitar Gently Weeps” for the induction of George Harrison into Rock and Roll Hall of Fame. A performance which provides a perfect bookend to Hendrix's "flaming" finale, opening for The Who. OK, blue-eyed soulsters, lemme see ya top this! Boom. https://youtu.be/6SFNW5F8K9Y

The remains of Kurt Cobain's Fender used on Nirvana's In Utero tour are on display, which he destroyed upon spotting Eddie Van Halen (another renowned guitar killer) in the audience.

Wall cards accompanying many of the instruments testify to the comradery among musicians in that so many classic instruments were passed from one to another out of respect for their craft and contributions, as well as collaborations that led to technological advances, e.g. Keith Emerson and Robert Moog, Les Paul with Gibson guitars, and Todd Rundgren's restorations for Eric Clapton and others.

*view many more photos at https://flic.kr/s/aHskTsXCvJ

And no history of electric guitars would be complete without the reverse-strung Stratocaster that Jimi Hendrix performed "The Star-Spangled Banner" on at Woodstock, as well as at the Monterey Pops festival, AND the shard that is left of the Strat that he incinerated at Monterey Pops.

A bit of trivia that was new to me was that the reason so many early guitars had hideous pale yellow finishes was because it looked better on television in the days of black & white. Many musicians had theirs repainted after color tv came in in the mid-to-late 1960s.

Axes from other rock stars of note include The White Stripes' Jack White, Gerry Garcia's singular "Wolf" Irwin, Bo Diddley's candy apple red hambonin' "Twang Machine" self-modified box Gretch, Cheap Trickster Rick Nielsen's insane 4-bodied Hamer, many from Eric "God" Clapton, Ravi Shankar's sitar, Muddy Waters' "The Hoss" blood red Telecaster, the original and hugely influential erotic gospel axe-shredder Sister Rosetta "rock me" Tharpe (whose modified light Les Paul Gibson was later copied for Jimi Hendrix, The Who, AC/DC, and the Allman Brothers), and of course, the Beatles.

All together now: in one photo, appearing for the first time, the signature guitar used by Elvis Presley, flanked by those of George Harrison, and 50s rockabilly queen Wanda Jackson.

Drums and bass take a back seat (beat?) in the show, as do keyboards and brass, but still, respect is given with displays from notable kits from Keith Moon, Patti Smith's clarinet, the Mellontron used by the Stones on "2000 Light Years from Home" (which, for you youngsters, was an analog keyboard-operated instrument that played acetate taped notes recorded from any source, including human voices, used heavily by late psychedelic bands like Tangerine Dream and Genesis, and even a band that I was in [dating myself]), Louis Jordan's alto sax, Ray Manzarek's organ used on the Door's ""Light My Fire", Keith Emerson's knife-embedded "raped" Hammond organ and massive Moog synth, B-52 Kate Pierson's Farfisa organ (I stupidly sold mine for a mere $50, to buy drugs, of course) and a gold Steck grand piano used by pioneering rock pals Jerry Lee Lewis and Little Richard.

The exhibit's promo postcard features Joan Jett's guitar "Melody Maker" girl power guitar, which remains an important part of her onstage (& offstage LGBT) identity.

Creators and innovators of amps, pedals, and effects like feedback, distortions, fuzz, wah-wah and sequencing, were almost totally absent, despite their overwhelming influence on the development of rock. No Ike Turner, Link Wray, Dick Dale, or any surf guitar innovators whatsoever. No Frippertronics or Enosification. Then again, the absence of any mention of sex and drugs in a show about rock stars is pretty glaring, also.

Contemporary rock is mostly absent, as is most post-80s, save Cobain and White and an obviously egregious curatorial plug for St. Vincent, who seems to be way out of her league surrounded by Clapton, Townsend, Beck, Hendirx, and Page. And aside from Joe Strummer's Telecaster, with it's duct-taped strap and Jett’s Melody Maker, punk is not represented here at all, either because it was not deemed part of rock and roll (Johnny Rotten famously declared that punk was meant to be the death of rock and roll, but admitted that it failed by actually reviving it) or deemed unworthy. Or maybe they simply could’t afford to give up their instruments. But being enshrined in the Metropolitan Museum, though, would not be very punk, now would it?

#MetRockandRoll #guitar #rock #rockandroll #musician #musicalinstruments

#Flickr #guitar #rock and roll #metropolitain museum of art

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imagesgirlscom · 6 years ago

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Bhojpuri Sizzler Akshara Singh Looks Hot as She Croons to Tu Tu Hai Wahi in This Viral Video – Watch

Bhojpuri Sizzler Akshara Singh Looks Hot as She Croons to Tu Tu Hai Wahi in This Viral Video – Watch - Akshara Singh's Expressions on Tu Tu Hai Wahi Will Urge You to Have Romantic Weekend - Watch Bhojpuri actress Akshara Singh is popular for her melodious voice and every now and then she gives us a glimpse of her singing talent. Earlier today, she took to Instagram to share a video where she is seen crooning to a romantic Bollywood number. In the video, she lipsyncs to Tu Tu Hai Wahi and her expressions in the clip will make you fall in love with her again. Dressed in red and white ethnic wear, she has paired her looks with subtle makeup, kohled eyes and round earrings. Sharing the video, she captioned it as, “💕😊💕 #just #me #n #myself #thatsit #for #my #lovablefans #loveyouall #lovemyself #lovelife #happiness #positivityaround #spreadthelove💞💫💞.” Akshara Singh is one of the most sensational actors of the Bhojpuri film industry who has worked in a number of Bhojpuri films with all the top Bhojpuri actors such as Ravi Kishan, Pawan Singh, Khesari Lal Yadav, Dinesh Lal Yadav, among many others. Watch the video here: https://www.instagram.com/p/BpoeNfFHj0R/ Recently, Akshara Singh has recently released her Kanwar songs and people have loved it. Her album Bhag Jaib Sasura Se has garnered 992,790 views on YouTube so far. The diva started off her career with TV serials before venturing into Bhojpuri films. She has starred in almost 50 movies as of now. Her on-screen pairing with superstar Pawan Singh is loved by the audiences. They will be seen in ‘Mental Raja’ together. Pawan Singh’s Kanwar song titled Bam Chhod Da Chilam also released. In the video song, Pawan is grooving to the song while worshipping Lord Shiva. The song has been released by Wave Music and the song has been penned down by Manoj Matlabi and sung by Pawan Singh himself. The song has been composed by Chotte Baba. Akshara started her acting career with Zee TV’s popular show Kala Tika and then went on to feature in Suryaputra Karn. These shows didn’t give her the popularity she wanted. The gorgeous lady made a place in everybody’s hearts within a short span of time. Akshara’s parents are also well-known actors of the Bhojpuri cinema. Bhojpuri Sizzler Akshara Singh Looks Hot as She Croons to Tu Tu Hai Wahi in This Viral Video – Watch Read the full article

#AksharaSingh #Bhojpuri #VadaRaha #viralvideo

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reviverradio · 7 years ago

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Exotic Songs: Celebrating the Visionary Music of Alice Coltrane

An industrial area at Maspeth, Queens which was formerly a door and glass factory was turned to a mesmerizing temple complete with marigolds, meditation cushions, and a golden multifunctional installation of a sunlight for a one of a type stellar concert celebrating a newly released, and mostly unheard body of work from pioneering artist and spiritual leader, Alice Coltrane.

“Gospel, soul, funk, and chanting, all in a single, it was amazing,” said Johanna Gielbehous a Brooklyn-based filmmaker after listening to The Sai Anantham Singers sing Coltrane’s exquisite devotional songs.

Alice, the wife of this legendary jazz saxophonist John Coltrane, has been a classically trained pianist, harpist, and a visionary musician regarded as one of the greatest composers of the 20th century. Her cosmic jazz and spiritual compositions are described as “prayers for humanity.”

For decades she has had a powerful underground cult following among music lovers, DJ’s from across the planet, and yogis. However, the bigger world doesn’t understand Ms. Coltrane’s greatness and this despite the fact that she left an exquisite musical catalog and also led to a remarkable life — she founded and was the spiritual leader of an ashram at California with countless devotees.

The Sai Anantam Singers play in The Ecstatic World of Alice Coltrane Turiyasangitananda, a part of Red Bull Music Academy Festival, in Knockdown Center, 52-19 Flushing Ave. at Maspeth, NY, US on 21 May 2017. Ysa Perez

“I am so very happy,” explained Michelle Coltrane, Alice’s eldest child and only daughter who sang with the ensemble and wore her mother’s orange sari. “It felt wonderful to have the ability to celebrate my mom in such a special way.”

Even the six-hour musical extravaganza which transformed the The Knockown Center to Coltrane’s mandir complete with an altar, blue rug, and eight hundred yellow cushions imported from India on Sunday evening was the final night of this Red Bull Academy Music Festival.

Saxophonist Ravi Coltrane, John and Alice’s son, accompanied the ashram singers using a highly effective performance of his mommy’s ancient jazz compositions at the outside event.

The concert celebrated the one-hour compilation entitled, “The Ecstatic Music of Alice Coltrane Turiyasangitananda,” that premiered earlier this month from David Byrne’s music label Luaka Bop.

Alice Coltrane alongside her spiritual shrine, together with the portrait of her “genius” Satya Sai Baba at 2004. J. Emilio Flores / Corbis through Getty Images

The album rocketed to number one on Billboard’s New Age and World music graphs. Luaka Bop agents said that the album would have topped jazz charts too but Billboard didn’t accept the album under the group, an unfortunate conclusion they said since Alice Coltrane’s jazz influence has been suspended in her devotional music.

These ten sacred songs were selected from four cassettes which Alice, also known by her Sanskrit title Turiya Sangitananda, softly recorded between 1982 and 1995 and released through her firm, Avatar Books, placed at Sai Anantam Ashram, the vedantic centre she founded in 1983. It is a body of work and also a chapter in Coltrane’ musical lifestyle that is mostly unknown out yogi circles and spiritual music aficionados.

The recent recognition of this masterful musician is long overdue. By all accounts Alice Coltrane was extraordinary.

Born Alice McLeod, Coltrane’s musical career began when she was a child from the dinosaurs of Detroit in which she was raised and born. She was a musical prodigy schooled in older time spirituals, blues and rhythm, and classically trained on the piano.

“There’s a picture of mother when she was like seven to the piano,” recalls Michelle. “Mom used to play at church and make a little cash and she’d give it to grandma.”

“Sometimes it strikes me how was she able to do this much, raise four kids, function as spiritual leader to so lots of men and women, teach, compose, perfect her art– it blows my mind when I feel all that she managed to do,” explained Michelle. “There’s certainly a genius to her and certainly her music.”

Moses Sumney plays in The Ecstatic World of Alice Coltrane Turiyasangitananda, a part of Red Bull Music Academy Festival, in Knockdown Center, 52-19 Flushing Ave. at Maspeth, NY, US on 21 May 2017. Ysa Perez

The brand new compilation has been created by jazz superstar Baker Bigsby who worked with Ornette Coleman, Sun Ra, and John Coltrane and has been the first recording engineer on all of Alice’s devotional records.

The compilation is still luminous. You find Alice chanting, singing, playing her harp, and resulting in a choir of all 24-celestial voices. There are eastern percussions, synthesizers, strings, and organs leading to a tasty mélange of sacred and soothing music.

“There’s certainly a genius to her and certainly her music.”

The audio is a reflection of Alice Turiyasangitananda ‘s spiritual devotion in the past four decades of her life and contain the musical world inside of this exceptional instrumentalist–from Igor Stravinsky to Bud Powell, from Detroit into India, from Africa to California, from Jesus into Rama, from older time spirituals and blues into ancient Sanskrit chanting. Words alone cannot behold the songs’s transcendental beauty and healing power–her music is a spiritual experience.

One reviewer wrote this, “listening to ‘Om Shanti,’ the very first tune in the compilation, is nothing less than an act of self-care.”

Yale Evelev, who co-owns Luaka Bop, has been blown away when he noticed Alice Turiyasangitananda’s devotional music one year ago at the suggestion of DJ Prince Language.

Globe Spirituality Classics 1: The Ecstatic Songs Of Alice Coltrane Turiyasangitananda Sri Hari Moss / Luaka Bop

“Mine has been a visceral musical answer, Indian rapping, gospel,soulful this was music she devised, very revolutionary, and very sophisticated,” explained Evelev. The answer to the music, he says, continues to be astonishing. “There has been already appreciation for Alice’s music but with this launch we’ve observed something extraordinary.”

For several years nevertheless her musical function was lost inside her husband’s giant shadow.

“My mom was always pleased to talk about John’s music, it gave her pleasure; it’s the way she was. Sometimes it requires time and I only think this is the correct time politically and socially. After many years of bootlegged electronic variations, it’s wonderful to find a beautifully packaged and tangible collection of her work.”

In the summer of 1963, when Alice was 25, she was a part of a group led by vibrationist Terry Gibbs that started for The John Coltrane Quartet in the famed new york jazz temple, Birdland. It was there where she met John and two fell in love. They married in 1965, had three kids.

By 1967 John died of cancer departing Alice a widow with four young kids. Alice, who was on a spiritual quest with John researching Eastern music and spirituality, delved deeper to spiritual studies after his departure. She returned in India having a desire to leave secular life, and moved to Los Angeles from the 1970’s devoting her life and music to religious consciousness.

In 1975 she found the Vedantic Center within her home in Woodland Hills. Back in 1983 with a growing flock, she purchased nearly 50-acres of rolling mountains in Agoura Hills, California, just outside of Los Angeles and opened her ashram.

A lot of blogs to combine the celebration of Alice Coltrane.

In 2017, no one would bat an eye since wellness, yoga, and meditation are ubiquitous. But in the 1970’s, maybe not so much. Alice was a black girl, a devoted yogi, a single mother of four, and also a masterful musician.

“Yes, my mom has been way ahead of her period,” noted Michelle. “She was a home-girl out of Detroit who founded an ashram from the west. Meditation is now a part of normal conversation, but back then, it was considered strange, and yoga has been viewed as only a bunch of folks who laid along with mats on the floor. But mother was always different.”

With a resurgence of function which uplifts and fuses musical influences from all over the world, it’s almost as though the spiritual teacher who expired in 2007 in age sixty-nine is reaching from beyond the cosmos to provide the world a much needed hug.

“Alice had a message of oneness, of inclusion, positivity, and admiration for one another,” says Evelev.

“She left this movie for us to love, because of our healing, and our expansion,” said her daughter Coltrane.

A new fan, Giebelhous agreed: “The extraordinary music welcomed and soothed us into a spiritual celebration of beauty and joy.”

from reviverradio http://www.reviverradio.net/exotic-songs-celebrating-the-visionary-music-of-alice-coltrane/

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