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  1. 2009.01.25
    Rock On!! (2008) 인도영화 (2)

1. 인도영화 Rock ON!! (2008) 자막 & Others

 인도영화 전문 사이트


이름은 '마살리안' (http://masalian.net) 입니다.
인도영화를 흔히 '마살라 영화' 라고 하는데서 착안해 만들어진 이름입니다.
또 그 '마살라 영화' 라는 말도, 인도의 전통 향신료 '마살라'에서 유래했습니다.
인도는 수십 수백가지의 향신료를 가정에 따라 다르게 배합해서 음식을 만드는데, 
인도영화가 그처럼 다양한 감정과, 각기다른 장르를 하나의 영화에 맛깔나게 배합해
만든다는 의미로 만들어진 말입니다. 인도영화 시장을 일컫는 '볼리우드'와 함께,
인도영화를 일컫는 '마살라영화'는 전세계적으로 각광받고 있습니다.







인도 음악의 주류가 Rock 이 아닌 것은 확실한 것 같지만, 우연히 인도영화 중에 Rock 밴드를 소재로한 영화가 있어서 자막을 만들었다. 생각외로 노래도 괜찮고, 스토리 라인도 나쁘지 않은 것 같다. 멤버의 한사람인 'Rob'이 뇌종양으로 죽는 것 등은 좀 무리한 작위적인 설정인 것 같아도, 한 때 젊었을 때 딴따라좀 해 봤던 사람들에게는 추억을 많이 살려줄 수 있는 영화가 아닌가 생각한다. 물론 락음악을 별로 좋와하지 않은 사람들에겐 그다지 와 닫는 영화로 느껴지지 않을 것 같다.

 Rock On (2008) OST Muvie

1. Rock ON OST "Socha Hai"

영화의 시작과 더불어 'Magik'밴드의 공연이 시작된다.




2. Rock ON OST "Rock On"

영화의 메인 OST쯤 될까? 영화의 크라이맥스에 사용된 노래는 아니지만, Rock에 대한 주제를 가진 타이틀 곡이다. 'MagiK의'밴드로서의 모습을 갖추어 가는 설정음악으로 사용되었다. 




3. Rock ON OST "Pichle Saat Dinon Mein - Live Version"

'MagiK'의 Channel -V 컨테스트에서 공연하는 노래, 빠른 템포나 Rock의 강열함은 보통이지만 어쨋든 이 노래로 우승을 차지하고 이로인해 그들많의 개인적인+사회적인 새로운 모순에 부딪히게 된다. .  


 


4. Rock ON OST "Yeh Tumhari Meri Baatein"

'MagiK'의 재결합과 10년전 자신들의 음악에 대한 꿈을 다시 되찾고자하는 열정을 보여주는에 사용된 Rock Ballad곡 이다. 선율도 그렇고 노래도 썩 괜찮다.



♬ "Yeh Tumhari Meri Baatein" Lyrics


C/C sus2............Gm.....................................................
Yeh Tumhari Meri Baatein, Hamesha Yuhin... Chalti Rahe..

Yeh Hamari Mulakate, Hamesha Yuhin... Chalti Rahe..
Gm.....G/F (or F sus2).......C....
Beete Yuhin Apne Saare Din Raaat
G...........F................C.......
Baaton Se Nikalti Rahe Nayi Baaat
C...........................F..........................
Phir Wahin Baathein Leke Geet Koi... Hum Likhe..
Jo Dil Ko Haan Sab Ke Dil Ko.. Chu Le..
Baatein Suron Mein Yuhin Pighalti Rahen..
Baatein Geeton Mein Yuhin Dalti Rahen..

Oooo..Na Na Na Na Na Na…Oooo
F...............C.............................................
Geeton Mein Haan Humko.. Khusiyon Se Haan Saja De
C...................F.........................
Jo Sune Gaaye Woh Hum Se Gaaoon Na

Yeh Tumhari Meri Baatein, Hamesha Yuhin... Chalti Rahe..
Yeh Hamari Mulakate, Hamesha Yuhin... Chalti Rahe..
Beete Yuhin Apne Saare Din Raaat
Baaton Se Nikalti Rahe Nayi Baaat
Phir Wahin Baatein Leke Geet Koi... Hum Likhe..
Jo Dil Ko Haan Sab Ke Dil Ko.. Chu Le..
Baatein Suron Mein Yuhin Pighalti Rahen..
Baatein Geeton Mein Yuhin Dalti Rahen..

otherwise if u wana strt wit C ....try C...Am ...F...G and Dm

**  기타 Code가  인터넷에 있는데 맞는지는 몰겠다. 나중에 한번 쳐봐야 겠다.

5. Rock ON OST "Zehreelay"

'MagiK'의 Channel -V 컨테스트에서 경쟁 밴드로 나오는 Chakravyuh의 노래. 가사는 캐 허접하나 Metal 쪽에 가까운 빠른 템포나 노래자체는 오히려 'MagiK'의 노래보다 더 낳아 보인다. 결국 우승을 못하게 되자 리더인 'Ajay'는 'MagiK'의 리더인 'Aditya'에게 시비를 걸어 'Joe'한테 존내 투들겨 맞지만 (나 같아도 좀 열받을 것 같다^^), 나중에 'Aditya'의 애인이었던 'Tanya'를 부인으로 얻게(?)된다.


 

6. Rock ON OST "Tum Ho Toh"

결국 'MagiK'의 재 결합으로 컨테스트에 다시 출전하게 되지만, 'Joe'의 무서운(?) 부인이된 'Debbie'에게 개기지 못하고, 'MagiK'의 공연에 참가하지 않는다. '조'는 돈을 벌기위해 유람선의 악사의 길은 찾아 공항으로 가고, 'Aditya'가 그의 노래를 부르게 된다.



7. Rock ON OST "Sinbad The Sailor

공항으로 가던 것을 포기하고 다시 돌아온 'Joe'와 'MagiK'의 멤버들이 10년전 미완성 곡인 Sinbad The Sailor를 관중들의 열광 속에 연주하게 된다. 노래의 가사 처럼 영화 전체의 주제이기도한 꿈을 찾아 항해를 멈추지 말라는 해피엔딩 곡이다.  
 


8. Rock ON OST "Phir Dekhiye

영화의 엔딩이 올라오면서 잔잔하고 아름다운 선율이 흐른다. 다들 아들 딸 잘 낳고 벽에 똥칠하면서 살았다는 이야기지만, 마지막 곡은 압권이다. Caralisa Monteiro 라든 여자가수의 노래인데 인터넷에도 잘 안나 있는 신인인가 보다. 80년대 풍이지만 너무 애절하지도 않고 가사도 무겁지 않다. 이 영화의 줄거리 처럼 꿈과 노래 그리고 사랑에 대한 삼행시 형식의 Warping으로 영화를 잘 마감해 주고 있다. 엠티 같은데 가서 어코스틱 기타로 함 때려주면 언니들 다 맛갈꺼 같다. 쿨럭!


  

♬ 유투브에 올라와 있는 "Phir Dekhiye" 기타 커버



9. Rock ON OST "Rock On" - Annual STAR Screen Awards.2008 중에서



 음악을 소재로 한 영화

스틸 크레이지(1998), 밴디트(Bandits).도어즈 락밴드, 헤드윅, 어거스트러쉬, 헤어스프레이, 댓 싱 유두(That Thing You Do), 드럼라인, 스쿨 오브 락, 그 여자 작사 그 남자 작곡, 비쿨(Be Cool) ...

한국영화: 즐거운 인생. 짱, 와이키키 브라더스, 꽃피는 봄이 오면, 복면 달호(ㅋㅋ..쩐다)
일본영화: 스윙걸스, 린다 린다 린다. 나나,
전기영화: 샤인 (Shine, 1996) 호주의 피아니스트 데이빗 헬프갓 / 도어즈 (The Doors, 1991) 록그룹 도어즈의 리더 짐 모리슨의 인생 / 불멸의 연인 (Immortal Beloved, 1994) 베토벤의 일생을 로맨스 / 로즈 (The Rose, 1979) 전설적인 여성 록커 제니스 조플린의 생애 / 백비트 (Backbeat, 1993) 록밴드 비틀즈의 이야기 / 8 마일 (8 Mile, 2002) 랩퍼 에미넴의 자전적 이야기 / 비처럼 음악처럼 (1992) 뮤지션 김현식 / 어제 오늘 그리고 내일 (What's Love Got To Do With It, 1993) 여성 록큰롤 가수 티나 터너 / 셀레나 (Selena, 1997) 23살에 세상을 떠나고 만 라틴계 여가수 셀레나의 일대기 / 버드 (Bird, 1988) 전설적인 재즈 색소폰 연주자 찰리 파커의 인생 / 광부의 딸 (Coal Miner's Daughter, 1980) 전설적인 컨트리 여가수인 로레타 린의 일대기 / 라 밤바 (La Bamba, 1987) 스페인계 뮤지션인 리치 발렌스 / 열정의 록콘롤 (Great Balls Of Fire!, 1989) 전설적인 록뮤지션 제리 리 루이스의 황금기 / 바운드 포 글로리 (Bound for Glory, 1976) 반체제 저항음악 가수 우디 거스리 생애.

 영화 슬라이드



 영화 자막 이해하기

Riff

In music, a riff is an ostinato figure: a repeated chord progression, pattern, refrain or melodic figure, often played by the rhythm section instruments or solo instrument, that forms the basis or accompaniment of a musical composition (though they are most often found in rock musicLatin, funk and jazz). Classical music is also sometimes based on a simple riff, such as Ravel's Boléro. Riffs can be as simple as a tenor saxophone honking a simple, catchy rhythmic figure, or as complex as the riff-based variations in thehead arrangements played by the Count Basie Orchestra.

David Brackett (1999) defines riffs as "short melodic phrases," while Richard Middleton (1999) defines them as, "short rhythmic, melodic, or harmonic figures repeated to form a structural framework." Rikky Rooksby (2002, p.6-7) states that "A riff is a short, repeated, memorable musical phrase, often pitched low on the guitar, which focuses much of the energy and excitement of a rock song."


The term riff entered musical slang in the 1920s (Rooksby, ibid), and is used primarily in discussion of forms of rock music or jazz. "Most rock musicians use riff as a near-synonym for 'musical idea.'" (Middleton 1990, p.125).

Charlie Parker's 1945 recording "Thriving on a Riff" brought the term to more popular awareness.[citation needed]

The etymology of the term is not clearly known. Some sources explain riff as an abbreviation for "rhythmic figure" or "refrain" ([1]). The term is also used in a similar sense in comedy where riffing may be the verbal exploration of a particular subject. Thus riffing on a melody or progression as one would riff on a subject by extending a singular thought, idea or inspiration into a bit, or routine.


The term riff driven is used to describe a piece of music that relies on a repeated instrumental riff as the basis of its most prominentmelodycadence, or (in some cases) leitmotif. Riff-driven songs are largely a product of jazzblues, and post-blues era music (rock and pop)[1] (p. 61). The musical goal of riff-driven songs is akin to the classical continuo effect, but raised to much higher importance (in fact, the repeated riff is used to anchor the song in the ears of the listener). The riff/continuo is brought to the forefront of the musical piece and often is the primary melody that remains in the listener's ears. A call and response often holds the song together, creating a "circular" rather than linear feel.[2]

Well-known examples of riff-driven songs are "Day Tripper" by The Beatles, and "(I Can't Get No) Satisfaction" by The Rolling Stones.[3]


Lick

In popular music genres such as rock music, a lick is "a stock pattern or phrase" (Middleton 1990, p. 137) consisting of a shortphrase, or series of notes that is used in solos and melodic lines. The term is most often used by rock musicians who play theguitar. Licks in rock and roll are often used through a formula, and variations technique in which variants of simple, stock ideas are blended and developed during the solo. In heavy metal, the term "hot lick" is often used.

In a jazz band, a lick may be performed during an improvised solo, either during an accompanied solo chorus or during an unaccompanied solo break. Jazz licks are usually original short phrases which can be altered so that they can be used over a song's changing harmonic progressions.


A lick is different from the related concept of a riff in that riffs can also include repeated chord progressions. Licks are usually associated with single-note melodic lines rather than chord progressions. However, like riffs, licks can be used as the basis of an entire song. Single-line riffs or licks used as the basis of classical music pieces are called ostinatos. Contemporary jazz writers also use riff- or lick-like ostinatos in modal music and Latin jazz.

A lick can be a hook, if the lick meets the definition of a hook: "a musical idea, a passage or phrase, that is believed to be appealing and make the song stand out", and "catch the ear of the listener" (Covach 2005, p.71). A lick may be incorporated into a fill, which is a short passage played in the pause between phrases of a melody.


Hook

hook is a musical idea, often a short riff, passage, or phrase, that is used in popular music to make a song appealing and to "catch the ear of the listener".[1] This term generally applies to popular music, especially rock musicdance, and pop music. In thesegenres, the hook is often found in, or consists of, the chorus. A hook can, in general, be either melodic or rhythmic, and often incorporates the main motif for a piece of music.


Vamp

In jazzgospelsoul, and musical theater, a vamp is a repeating musical figure or accompaniment.[1] A vamp may consist of a single chord or a sequence of chords played in a repeated rhythm. The equivalent in classical music is an ostinato.

Texture
Texture is one of the basic elements of music. People use texture to describe the amount of rhythms played at a specific time. Inmusictexture also means the overall quality of sound of a piece, most often indicated by the number of voices in the music and by the relationship between these voices (see types of texture below). A piece's texture may be further described using terms such as "thick" and "light", "rough" or "smooth". The perceived texture of a piece can be affected by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmonytempo, and rhythms used.

Goa 

pronunciation  (Konkaniगोंय pronounced /ɡɔ̃j/) is India's smallest statein terms of area and the fourth smallest in terms of population. Located on the west coast of India in the region known as the Konkan, it is bounded by the state of Maharashtra to the north, and by Karnataka to the east and south, while the Arabian Sea forms its western coast.

Panaji (also referred to as Panjim) is the state's capital. Vasco da Gama (sometimes shortened to Vasco) is the largest city. The historic city of Margao still exhibits the influence of Portuguese culture. Portuguese first landed in Goa as merchants, in the early 16th century, and conquered it soon after. The Portuguese overseas territory existed for about 450 years, until it was annexed by India in 1961.[3][4]

Renowned for its beaches, places of worship and world heritage architecture, Goa is visited by hundreds of thousands of international and domestic tourists each year. It also has rich flora and fauna, owing to its location on the Western Ghats range, which is classified as a biodiversity hotspot.


The sitar (Hindi: सितार, Urdu: ستار, Persian: سی تار )
is a plucked stringed instrument. It uses sympathetic strings along with a long hollow neck and a gourd resonating chamber to produce a very rich sound with complex harmonic resonance. Predominantly used inHindustani classical, sitar has been ubiquitous in Hindustani classical music since theMiddle Ages. This instrument is used throughout the Indian subcontinent, particularly in Northern India, Bangladesh and Pakistan. It was also used in popular American jazz in the 1950's.







Harmonium
is a free-standing keyboard instrument similar to a reed organ or pipe organ. Sound is produced by air, supplied by foot-operated or hand-operated bellows, being blown through sets of free reeds, resulting in a sound similar to that of an accordion.

India harmonium

During the mid-19th century missionaries brought French-made hand-pumped harmoniums toIndia. The instrument quickly became popular there: it was portable, reliable and easy to learn. It has remained popular to the present day, and the harmonium remains an important instrument in many genres of Indian music. It is commonly found in Indian homes. Though derived from the designs developed in France, the harmonium was developed further in India in unique ways, such as the addition of drone stops and a scale changing mechanism.

In Kolkata, Dwarkanath Ghose of the renowned Dwarkin was adept in modifying musical instruments as per individual needs of users and is particularly remembered for modifying the imported harmony flute and producing the hand held harmonium, which has subsequently become an integral part of the Indian music scenario.[1] Dwijendranath Tagore is credited with having used the imported instrument in 1860 in his private theatre, but it was probably a pedalled instrument which was cumbersome, or it was possibly some variation of the reed organ. Initially, it aroused curiosity but gradually people started playing it[2] and Ghose took the initiative to modify it.[1] It was in response to the Indian needs that the hand-held harmonium was introduced. All Indian musical instruments are played with the musician sitting on the floor or on a stage, behind the instrument or holding it in his hands. In that era, Indian homes did not use tables and chairs.[1]

The harmonium was widely accepted in Indian music, particularly Parsi and Marathi stage music, in the late 19th century. By the early 20th century, however, in the context of nationalist movements that sought to depict India as utterly separate from the West, the harmonium came to be portrayed as an unwanted foreigner. Technical concerns with the harmonium included its inability to produce meend (slides between notes) and the fact that, once tuned, it cannot be adjusted in the course of performance. The former prevents it from articulating the subtle inflections (such as andolan, gentle oscillation) so crucial to many ragas; the latter prevents it from articulating the subtle differences in intonational color between a given svara in two different ragas. For these reasons, it was banned from All-India Radio from 1940 to 1971. (Indeed, a ban still stands on harmonium solos.) On the other hand many of the harmonium's qualities suited it very well for the newly-reformed classical music of the early 20th century: it is easy for amateurs to learn; it supports group singing and large voice classes; it provides a template for standardized raga grammar; it is loud enough to provide a drone in a concert hall. For these reasons, it has become the instrument of choice for accompanying most North Indian classical vocal genres, though it is still despised as a foreigner by many connoisseurs of Indian music, who prefer the sarangi as an accompanying instrument for khyal singing.

A popular usage is by followers of various Hindu and Sikh faiths, who use it in the devotional singing of prayers, called bhajan orkirtan. There will be at least one harmonium in any mandir (Hindu temple) or gurdwara (Sikh temple) around the world. The harmonium is also commonly accompanied by the tabla as well as a dholak. To Sikhs the harmonium is known as the vaja/baja. It is also referred to as a "Peti" ( A loose reference to a "Box") in some parts of North India and Maharashtra.

It also forms an integral part of the Qawwali repertoire, as many Qawwals use a harmonium when performing Qawwalis. It has received international fame as the genre of Qawwali music has been popularized by renowned Pakistani musicians such as Nusrat Fateh Ali Khan and Aziz Mian.

The harmonium is also used in Middle Eastern music in certain parts of the Middle East.

There is some discussion of Indian harmonium-makers producing reproductions of Western-style reed organs for the export trade.


Tabla
Indian music has fascinated the West for many years. The tabla in particular has attracted the attention of a number of American and European percussionists. It has been used in popular music as early as the 60's and is heard in the popular media even today. However, many percussionists shy away from this instrument. The reasons for not "getting into it" are varied. Sometimes it is the lack of instruments; sometimes lack of teachers; sometimes it is the belief that tabla is just too difficult. These are legitimate concerns but they are not insurmountable obstacles. This article will address the concerns of a musician just wishing to get started in tabla. We will discuss the theory of Indian music, how to purchase tabla, the basic technique, and compositional theory. All of this information should make the job of getting started much easier. We should first familiarize ourselves with the extensive theory of Indian music. Indian music is one of the oldest musical traditions in the world. It has its roots in theVedic chants of the first few millennia BC. Although the mechanics of the music have undergone tremendous changes in the last few thousand years, the essential characteristics of awe, respect and devotion have remained unchanged.

A strong remnant of the Vedic tradition is seen in the method of learning. One does not learn tabla from books but from a guru (teacher). The strong bond between teacher and disciple is considered essential for the continuation of the musical tradition. Indeed the tradition of teacher and disciple is considered to be at the very core of Indian classical music.

Raas or Dandiya Raas,

along with Garba, is the featured dance of Navratri evenings in Western India. The word "Raas" comes from Sanskrit word "Ras". The origins of Raas can be traced to ancient times. Lord Krishna performed Raas Lila" (Lila means Lord Krishna's playful dance. The word "Lila" also refers to things that God does that we do not fully understand). There are several forms of Raas, but "Dandia Raas", performed at Navratiri time in Gujarat is the most popular form. There are other forms of Raas, namely Dang Lila from Rajasthan where only one large stick is used, and "Raas lila" from north India. Raas Lila and Dandia Raas are similar. Some even consider "Garba" as a form of Raas, namely "Raas Garba". In Dandia Raas men and women dance in two circles, with sticks in their hands. In the old times Raas did not involve much singing, just the beat of Dhol was enough. "Dandia" or sticks, are about 18" long. Each dancer holds two, although some times when they are short on Dandiya they will use just one in right hand. Generally, in a four beat rhythm, opposite sides hit the sticks at the same time, creating a nice sound. One circle goes clockwise and another counter clockwise. In the west, people don't form full circles, but instead often form rows. Raas is also performed at social functions and on stage. Staged Raas can be very complex with intricate steps and music. Raas is a folk art and it will change with the times. When African slaves and ship workers (who were Muslims) arrived on the coast of Saurashtra (Part of state of Gujrat India), they adopted Raas as their own and used African drums. While it originated from Hindu tradition, it was adopted by the Muslim community as Saurashtra. Singing entered the Raas scene later on. Initially, most songs were about Lord Krishna, but songs about love, praise of warriors who fought gallant wars, and the Goddess Durga, and even Muslim Raas songs were born. It is common to think that Raas has to be fast, but that is not the case. Grace and slow movements are just as important. With the advent of C-60 cassettes came the pre-recorded "non stop" Raas music. Soon it overtook the individual Raas items which are rarely recorded nowadays. The disco beat and use of western drum became popular, but you can still visit fine arts college in Vadodara India during Navratri where the musicians sit in the centre and play while people dance around them. Gujrati movies entered the scene in late 50's and 60's. Raas took on a different form as it borrowed heavily from the film industry. There are other unique forms of Raas such as one in the town of Mahuva where men would tie one hand to a rope extending from above and hold a stick in the other hand. This was strictly in praise of Goddess Durga. If you use broader definition, even "Manjira" can be used to do Raas. There are communities that specialize in Raas with "Manjira". Just like the British police, some men dancing at "Tarnetar" used to wear colourful bands of cloth around their legs, resembling socks. The city of Mumbai developed its own style of Dandia Raas. Now, during Navratri people use Dandiya, but make it more like a free style dance. "Head bobbing" during Raas is popular in USA among youngsters, but that arrived from the Gujrati movies. Head bobbing was for the singers, not for the dancers. A new form of Raas is taking place in the USA. This is mostly a show item where college students of Indian origin mix non-stop Raas music with strong drum beats and stunts along with "themes" such as wedding, Star Wars and Lion King. They freely mix traditional steps with other steps. Raas will always be dynamic as it represents the circle of life, beating of heart. It is a live folk form that has changed with time and will keep changing.

The Dandiya Raas dance

Originating as devotional Garba dances, which were always performed in Durga's honour, this dance form is actually the staging of a mock-fight between the Goddess and Mahishasura, the mighty demon-king, and is nicknamed "The Sword Dance". During the dance, dancers energetically whirl and move their feet and arms in a complicated, choreographed manner to the tune of the music with various rhythms. The dhol is used as well as complementary percussion instruments such as the dholak, tabla and others.

The sticks (dandiyas) of the dance represent the sword of Durga. The women wear traditional dresses such as colorful embroidered cholighagra and bandhani dupattas (traditional attire) dazzling with mirror work and heavy jewelery. The men wear special turbans and kedias, but this varies regionally.

Garba is performed before Aarti (worshipping ritual) as devotional performances in the honor of the Goddess, while Dandiya is performed after it, as a part of merriment. Men and women join in for Raas Dandiya, and also for the Garba. The circular movements of Dandiya Raas are much more complex than those of Garba. The origin of these dance performances or Raas is Krishna. Today, Raas is not only an important part of Navratri in Gujarat, but extends itself to other festivals related to harvest and crops as well. The Mers of Saurastra are noted to perform Raas with extreme energy and vigor.


Subhash Ghai (born January 241945 in NagpurIndia)

is an Indian director of Hindufaith. His most notable films include Karz (1980),Hero (1983), Meri Jung (1985),Karma(1986), Saudagar (1991), Khalnayak (1993), Pardes (1997) and Taal (1999). He is known as the "showman" of bollywood, for making epic films that portray grandeur and a very rich theme.


Rishi Kapoor (born September 41952 in Mumbai)

is an Indian Bollywood actorFilm producer and Director. Rishi Kapoor first debuted in his father's 1970 film Mera Naam Joker (My Name is Joker), playing his father's role as a child. Height 5' 7" or 1.70 m Eye Color: Black/Brown. Rishi Kapoor had his first lead role, opposite Dimple Kapadia, in the popular 1973 film Bobby which became an instant hit with youngsters. He has since then appeared in hundreds of movies. He played the lead role romancing young heroines till the year 2000 with the delayed release of Karobaar: The Business of Love. He moved on to supporting roles with Hum Tum (2004) and Fanaa (2006). He also directed a film Aa Ab Laut Chalen in 1998 starring Rajesh KhannaAishwarya RaiAkshaye KhannaKader KhanParesh Rawal andJaspal Bhatti. Recently he appeared in Namaste London and an English-language film titled Don't Stop Dreaming which was directed by his cousin Aditya Raj Kapoor (son of Rishi's uncle Shammi Kapoor). He acted with the veteran actor Kamal Haasan in Saagar which was officially sent for the oscars.





 Trivia from WiKi. 

  • The lead vocalist Aditya's birthday in the movie is repeatedly highlighted as July 22. This referred to the real birthday ofDon Henley, the lead vocalist of the Eagles. The lead guitarist's name is Joseph Mascarenhas, nick-named Joe which is the same as one of the lead guitarists of the Eagles, Joe Walsh.
  • In an incident in the movie where the reunited Magik band-members meet their former rival Ajay from Chakravyuh, Ajay tells them that he heard they had broken up. In response to this, KD says "Guess you were wrong. Hum ek break par the(we were on a break), now we are back", which was influenced by the famous dialogue from the Eagles' member Glenn Frey during their Hell Freezes Over album, "For the record we never broke up, we just had a 14 year vacation".
  • The guitar riff of the title song "Rock On" was used by Shankar Ehsaan Loy as a background score in one of the action sequences of Farhan Akhtar's 2004 movie Lakshya.



Trackback [트랙백] 0 And Comment [댓글]2
  1. IT이방인 2009.03.17 15:47 신고 address edit/delete reply

    부엉이님.. 제가 요즘 너무 바빠서 항상 고마운 부엉님 블로그에 소홀 했네요 ^.^
    락온은 아직 상영 안되었죠? 근데 이 백그라운드 뮤직이 락온에 나오는 뮤직인가요?

    워~ 만약 그렇다면 락온 .. 오늘이라도 봐야겠군요 .. 언제나 품격 높은 자막제작에
    고개 숙여 감사 드립니다. 항상 부엉님 자막으로 저희 집사람과 재미나게 보고 있어요
    봐도 봐도 안질리는 인도 영화 ^.^ 부엉이님.. 언제나 행복 하시고요 .. 다음에 인사 또
    인사 드리겠습니다. 꾸벅

  2. Favicon of http://persha.tistory.com BlogIcon booung 2009.03.18 13:54 신고 address edit/delete reply

    ㅎㅎ..맛살리안 운영하시냐고 다른 일로도 많이 바쁘실 텐데요..ㅎㅎ ..감사합니다..
    노래가 좋와서 배경으로 넣었어요..

    뮤비는 이거 입니다..8. Rock ON OST "Phir Dekhiye"
    가수 Caralisa Monteiro를 찾기가 힘들던데..암튼..좋습니다 노래..

    영화의 엔딩이 올라오면서 잔잔하고 아름다운 선율이 흐른다. 다들 아들 딸 잘 낳고 벽에 똥칠하면서 살았다는 이야기지만, 마지막 곡은 압권이다. Caralisa Monteiro 라든 여자가수의 노래인데 인터넷에도 잘 안나 있는 신인인가 보다. 80년대 풍이지만 너무 애절하지도 않고 가사도 무겁지 않다. 이 영화의 줄거리 처럼 꿈과 노래 그리고 사랑에 대한 삼행시 형식의 Warping으로 영화를 잘 마감해 주고 있다. 엠티 같은데 가서 어코스틱 기타로 함 때려주면 언니들 다 맛갈꺼 같다. 쿨럭!