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Thread: Ilaiyaraja's New Albums 2016, News and Titbits

  1. #221
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    @thozhar

    Mutrilum Unmaiye....

    Kasukka Peruka asai nan pattathu ..vera ethum solla varala....Raja sir..

    Ivlo Periya Mahanai.. Kevalama pesuranga... Romba Kastama iruku...

    Even if SPB pays to Raja on this issue, what is that he is going to loose??? on his 50th year he shud be happy to pay him..... Raaja is not asking for all the money Raja has given him enough for his entire family. including sailaja , saran..etc....

    imagine how many concert SPB and all other professional singers would have done in the last 50 years???? did they pay to Raaja?? what the hell ....


    If SPB said yes i will my friend Raja for his song that i am performing here in the concert, atleast i am happy that finally Raaja is asking .. i need to pay him back for whatever he has done to my life.. how smooth it would have been.. why SPB not behaved matured here?????

    Raja was never money minded person.. if he was money minded .. he would not created what he has and is doing now..


    Because of Raaja.. how many people /family lived???? nandri ketta ulgam.. including his brother Amaran....

    strongly condemn Amaran for his loose and respectably speech on TV...

    Nenjam porukuthillaiye Intha nilai ketta Manitharai Ninaithu vital.....

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  3. #222
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    Please don't get me wrong... you are asking many fans to choose between which is your better eye? This Jodi shouldn't be separated by time ..now it stands a probability of being separated by legalities ... no one is happy about it ... you can point to royalty and raaja rights but the heart can only see these two together ... it's not like they are going to work in future ... they hardly work together anymore ... but there are thousands of songs we would hear in the future from their past associations.. when I hear them I want to enjoy the magic of these songs and not want to be reminded of their lost friendship... mr.thozhar I don't want to talk politics here about Tamils being oppressed by the central government.. I am aware of it and I have channeled by voice at the right medium but when it comes to these two my heart cannot differentiate these two by language ..state..caste or religion... these two have provided a meaning to my existence through their music ... the pain is real... I can only pray that their friendship is intact... wishful thinking .. but hope is eternal... I love raaja to death but breaking up with spb is something I cannot fathom even in my wildest dreams .. who is right or wrong is immaterial to me at this point...just finished listening to andhi Mazhi... I cannot imagine this song without either of them... I hope you feel my pain

  4. #223
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    Life will continue... When Vairamuthu split with Raaja, fans were upset and both veterans continued their separate journey. During the peak period of Vairamuthu, Vaali did not have much work and he was left out by Raaja. After the split, Vaali rose to prominence. Same is true with Raaja and Bharathiraja and Ratnam. Both directors continued their journey with other composers. MSV fans were upset that KJY was being increasingly used in place of TMS during MGR days. When Raaja started in 1976, SPB and Malaysia Vasudevan took over the male vocal part. Same is true when MSV and Ramamoorthy split. As Ilayaraaja often quotes "Anything is possible in cinema world". It's literally true. Friends can become strangers and enemies can join together in cinema. Raaja had a fallout with KB over "Puthu Puthu Arthangal" release where KB wanted to release the movie before background score was 100% complete due to 1989 Deepavali rush. This fight led to Balachandar not choosing Raaja for his next directorial film "Azhagan" and in his own production film "Roja". The next split was between Raaja and Rajni at commercial level though they remain as personal friends. Raaja will never compose music for Rajni's films. Mano was introduced to step into SPB's role since SPB became increasingly busy with Telugu movie dubbing and playback songs. Raaja knew how to use everyone's voice be it "Nethu Raathri Amma" or "Vacha Paarvai". Malayalam music fans were shocked that KJY sang that song in another language so breezily. Raaja sang that song in his own typical voice and asked KJY to sing in the same folk tone.

    I sincerely hope that the Tamil Film Composers Union and Nadigar Sangam led by Vishal will resolve this situation. Vishal is planning a grand concert for Raaja and SPB is being pulled in. Senior artists like Rajni, Kamal, Sivakumar, Bhagyaraj, Parthiban and many directors, producers and singers both know Raaja and SPB well. No one is ready to voice their opinion for or against this issue. Piracy and copyright violation is worst in Tamil films and no one cares about paying royalty or due recognition for other's efforts. The pending Madras High court case related to Raaja's IPRS petition should help in resolving this problem. In the meantime, let's all continue to enjoy the timeless classics of both Raaja and SPB. No one is going to stop me from hearing their songs everyday. Future live shows by SPB will be a problem.

  5. #224
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    Quote Originally Posted by sloshed View Post
    Please don't get me wrong... you are asking many fans to choose between which is your better eye? This Jodi shouldn't be separated by time ..now it stands a probability of being separated by legalities ... no one is happy about it ... you can point to royalty and raaja rights but the heart can only see these two together ... it's not like they are going to work in future ... they hardly work together anymore ... but there are thousands of songs we would hear in the future from their past associations.. when I hear them I want to enjoy the magic of these songs and not want to be reminded of their lost friendship... mr.thozhar I don't want to talk politics here about Tamils being oppressed by the central government.. I am aware of it and I have channeled by voice at the right medium but when it comes to these two my heart cannot differentiate these two by language ..state..caste or religion... these two have provided a meaning to my existence through their music ... the pain is real... I can only pray that their friendship is intact... wishful thinking .. but hope is eternal... I love raaja to death but breaking up with spb is something I cannot fathom even in my wildest dreams .. who is right or wrong is immaterial to me at this point...just finished listening to andhi Mazhi... I cannot imagine this song without either of them... I hope you feel my pain
    இராஜா, எஸ்.பி.பி இருவரும் பிரிய வேண்டும் என்று கல் மனம் படைத்தவர்கள் கூட விரும்ப மாட்டார்கள். அவர்கள் இருவரும் இதனால் பிரிவார்கள் என்றும் நான் நினைக்கவில்லை. இவர்கள் இருவருக்கும் ஊடல் ஏற்படுவது இது முதல் முறையுமில்லை. நீங்கள் "அந்தி மழை பொழிகிறது" கேட்கிறீர்கள் என்றால் நான் கேட்பது "மலையோரம் வீசும் காத்து", இவர்களில் ஒருவர் இல்லை என்றாலும் இந்த பாடல் இத்தனை இன்பம் தந்திருக்குமா என்று தெரியவில்லை. இந்த விஷயத்தில் இராஜாவை ஆதரிப்பதால் எஸ்.பி.பியை எதிர்ப்பதாக அர்த்தமில்லை. இந்த விஷயத்தில் இராஜா மேல் நியாயம் இருப்பதாக எனக்கு படுகிறது.

    நீங்கள் இராஜா அபிமானி என்று கூறி தெரிய வேண்டியதில்லை. நீங்கள் கூற விரும்புவது புரிகிறது. இந்த ஊடலை அவர்கள் இருவரும் தீர்த்துக் கொள்வார்கள். இராஜாவின் சட்ட ஆலோசகர் பிரதீப் தந்தி தொலைக்காட்சியில் கூறுகையில், இவர்கள் இருவரையும் யாராலும் பிரிக்க முடியாது, தாங்கள் விளக்கம் அனுப்பியது எஸ்.பி.பிக்கு அல்ல, நிகழ்ச்சி நடத்தியவர்களுக்கு தான் என்று குறிப்பிட்டார். அதே நிகழ்ச்சியில் கவிஞர் பிறைசூடன் கிறுக்குத்தனமாக பேசியதையும் கேளுங்கள். இராஜாவின் பணத்தை பலர் ஆட்டையை போட்டது விளங்கும். இராஜாவின் நிலையும் தெளிவாக புரியும்.

  6. #225
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    Folks, just some speculations here. Did we have a situation wherein Raaja sir's Symphony could not be possibly released because of a Copyright infringement somewhere? Has this topic of "Copyright" become very sensitive to him after his Symphony experience?

  7. #226
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    Thanu is sharing some info


  8. #227
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    Sudhakar - Copyright (IPRS) law has been 100% enforced around 1990. Rahman has IPRS agreement for all his albums going back to Ad Jingles and Roja. Lahari Records owns full audio rights for all Ratnam movies including Roja. Annakili audio rights is with Saregama which was earlier HMV. Raaja started Echo Records to handle audio rights for his albums and later sold it off. The same is true for his Symphony orchestra. The Hungarian group won't agree to participate in recordings or 2011 Chennai concert without getting copyright papers signed. The problem has been on since 60s when KVM and MSV were composing. No one ventured to fight IPRS royalty like Raaja. With the proliferation of music piracy, MP3 format, YouTube, 24x7 Web radio, TV music competitions and mega concerts, audio rights has become more prominent.

  9. #228
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    When friends turn foes
    Times of India | Mar 23, 2017, 10.37 AM IST

    http://timesofindia.indiatimes.com/e...w/57786402.cms

    What are the odds that Tamil cinema's greatest composer, director and playback singer would all start their careers at the same time, together in one room? Astronomical, right? This remarkable story doesn't start in Chennai, though. It begins when malaria inspector Chinnachamy (as Bharathirajaa was then called) visits Pannaipuram on an official visit and meets the Paavalar brothers — Varadarajan, Baskar, Raajaiah and Amarsingh. This musical band-of-brothers make their living performing in propaganda meetings of the Communist party. Bharathirajaa immediately finds common ground with them. They are kindred souls. All of them, especially Bharathirajaa, Raaja and Amaran have stars in their eyes. They dream fantastic dreams of making it in Kodambakkam. But they are only dreams; poverty and family situations hold them back. Bharathirajaa is the first to take the leap of faith. He throws up his government job and rides his fantasy to Madras. It should have been like Prabhas chasing the damsel up the waterfall in Bahubali, insanely risky and driven by passion. Raaja and Amaran follow shortly. As they reunite, a young upcoming singer, Balu (SP Balasubrahmanyam) joins them. The rest, as they say, is history.

    The quartet (because Gangai Amaran was no lightweight either) would go on to become pillars of the very Kodambakkam they once stood in awe of. As us, fans, look on dismayed as battle rages between them in the recent past, let me offer a little bit of consolation through some nostalgia. It was quite a partnership. Consider this. SPB singing for Ilaiyaraaja and Bharathirajaa, Ilaiyaraaja composing for Bharathirajaa, Amaran writing lyrics for Bharathirajaa and Ilaiyaraaja, Ilaiyaraaja composing for Gangai Amaran's films, Ilaiyaraaja producing movies directed by Bharathirajaa and Amaran, SPB singing in Amaran's music... At one point, there was even a plan for Amaran to star as hero in a Bharathirajaa film! I have often wondered if working together that consistently was the defining reason for their scarcely believable success. In my mind, I see the genius of Ilaiyaraaja as the fulcrum of the coalition, the fuel that fed their creative fire (You are, of course, welcome to disagree). Consider their impact on Tamil Cinema.

    Bharathirajaa, a genius in his own right, changed the very landscape of our films overnight. He dragged Tamil filmdom kicking and screaming out of its musty studios into the breathtaking beauty of our villages and neon-lights of Chennai. I also consider Mudhal Mariyathai the best Tamil film ever made. SPB would go on to become the most prolific male playback singer in th e country. Gangai Amaran, apart from his lyrical efforts would go on to direct Karagattakaran, the film that still holds the record for most-numberof-days in theatres and add significantly to the rural milieu. Ilaiyaraaja's contributions are too legion and well known to recount here. You can't help but feel that they couldn't have done it without each other. Here's hoping they resolve their differences. Ippadai thorkin eppadai vellum.

    - CS Amudhan for Times of India

  10. #229
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    இளையராஜா-பாலு சர்ச்சை பற்றிய மற்றுமொரு சிறப்பாக வந்திருக்கும் பதிவு. இதுவரை பேசாத பல விஷயங்களையும் தொட்டுச்செல்கிறது.

    https://m.facebook.com/story.php?sto...00001456597753
    சொல்லிச் சொல்லி ஆறாது சொன்னா துயர் தீராது...

  11. #230
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    My songs, my royalties (The Hindu)
    Achille Forler
    March 28, 2017 00:15 IST


    The Ilaiyaraaja-S.P. Balasubrahmanyan controversy puts the spotlight on our miserable record in fostering a fair and sustainable creative ecosystem for songwriters
    Light, it is said, is the greatest disinfectant and music the greatest healer. The controversy over the legal notice by Ilaiyaraaja to S.P. Balasubrahmanyam to claim royalties for the performance of his songs will serve a greater purpose if it can clarify the confusion on this subject in the minds of music industry professionals and the legal fraternity.

    Music is an essential component of our human identity. There is no culture without music. This country has been blessed with an unbroken line of musical giants — right from the Sama Veda, the Sangam and the Tamil Saiva saints to Amir Khusro and Tansen through to our own contemporaries like Hariprasad Chaurasia, M.S. Subbulakshmi, A.R. Rahman and countless others — who have woven the various traditions of this country into a musical tapestry that is a marvel to the world.

    A fair deal for songwriters
    But, to create, one must eat. Under earlier aristocratic and monarchic systems of governments, artists received their livelihood from the patronage of the rulers. Under modern copyright law, whose fundamentals are enshrined in the Berne Convention (1886) to which India is a signatory, lyricists and composers — jointly called songwriters — earn their livelihood through a fair remuneration for any use of their works during their lifetime and 60 years after their death. In other words, royalties are the salary and pension plan of creators and the legacy to their heirs.

    This basic principle of copyright law was spectacularly reaffirmed in May 2012 when both Houses of Parliament, in a rare show of bipartisanship, unanimously adopted the amendments to the Copyright Act in the face of fierce opposition from film and music producers. In a letter to thank the Prime Minister for supporting creators, Bharat Ratna Pandit Ravi Shankar stated that he had retained his copyright in all the work he had done abroad but had been unable to retain a single copyright in any work he did in India because “every time the record companies would flash the Copyright Act at me”. It is against this backdrop that we must examine Ilaiyaraaja’s action.

    The kind of stellar body of work that Ilaiyaraaja has created in the last 40 years should have placed him among the world’s Top 10 wealthiest songwriters, somewhere between Andrew Lloyd Webber ($1.2 billion) and Mick Jagger (over $300 million). So one can understand the depth of his frustration — a feeling experienced by all songwriters across the country — when he sees little royalties, if any, from the use of his works even after they become super hits.
    Why do Indian songwriters miss out on royalties? Can Ilaiyaraaja prohibit the public (live) performance of his songs? To answer these questions, understanding the role of performing rights organisations (PRO) in the global collection and distribution of royalties is essential.

    The importance of PROs
    PROs were created in the mid-19th century in response to the impracticality for the owners of music to licence each and every live performance of their songs around the country and the globe. Under this arrangement, songwriters and their publishers would assign/transfer to a PRO — such as the Indian Performing Right Society (IPRS) in India — their right to authorise the public performance of their songs. In return, the PRO would collect a fee for every musical performance in its country and distribute the money equally between the songwriters and the owner (publisher) after deducting a 15% service fee.

    Additionally, the PRO will enter into reciprocal agreements with similar societies around the world, doing the same work in their own territory. Essentially, such agreements say that I give you the exclusive authority to collect the royalties when the music of my members is performed in your country; reciprocally, I will collect whenever music of your members is performed in my country. And we will pay each other.

    Under this single-window clearance, the user obtains a licence to commercially perform any music in the world and the royalties collected by the PRO are distributed accordingly. Last year these PROs, representing four million lyricists-composers and their publishers, collected over ₹61,000 crore (€8.641 billion) in 123 countries!
    This global system of royalties collection and distribution is regulated by the Paris-based not-for-profit International Confederation of Authors and Composers Societies (CISAC). To become a member and benefit from this global system, a PRO must conform to CISAC’s demanding standards of efficiency, fairness and transparency called

    The Professional Rules.
    Ilaiyaraaja is a member of the British ‘PRS for Music’ and was issued an international identifier no. 619442541. Having divested himself of his performing right in favour of PRS for music, he had therefore no locus standi to issue such a legal notice. Only PRS for Music and its sister societies around the globe have the right to licence the public performance of Ilaiyaraaja’s songs. We must conclude that the celebrated composer received bad advice.

    But this begs the question: why would Ilaiyaraaja want to become a member of a foreign society? Because IPRS has a miserable record of service to its members. Its annual income is hardly ₹40 crore, a figure that compares poorly to similar PROs that in 2016 collected ₹225 crore in South Africa, ₹550 crore in Russia or a massive ₹1,825 crore in Brazil. Worse, in 2014 the IPRS surrendered its licence to operate as a legitimate copyright society when it came under investigation by two separate arms of the government. Thereafter its bank accounts were seized by the Enforcement Directorate.

    Subsequently, a CISAC audit in 2015 found that IPRS was meeting almost none of its Professional Rules; after two warnings went unheeded, last June CISAC expelled the IPRS for one year. As a result, all royalties collected for the use of Indian music will be held in suspense accounts around the world until IPRS reforms and is readmitted into the CISAC fold.

    A fair ecosystem for all
    Lastly, songs must be registered in every PRO of the world. This is the responsibility of the music publisher or, in its absence, of the PRO in the country of origin of the songwriter. We find that only 180 songs of Ilaiyaraaja are registered in the U.S., only two in France, none in Germany… so even after the organisers of S.P. Balasubrahmanyam’s concerts pay royalties to a PRO, this money cannot reach Ilaiyaraaja if his songs are not found in its database.

    Only an efficient and transparent IPRS can foster a fair and sustainable creative ecosystem for all players, big and small, newcomers and established songwriters, to take the musical talent of India to global heights.

    Achille Forler is an expert on music copyright administration and advocate of authors’ rights

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