Ajay

Addicted to Federer's art. Trapped in Sinner's silence. Traumatized by Max. 🐐🦊🏎

[Ajay @federized]

Really goona miss this man #TyrionLannister
He has been the heart and soul of #GameOfThrones. His skill with the words, his wit and his mind have made him smartest person ever and arguably the best character ever. Especially his one liners are pure gold ❤️❤️❤️😍

[Qualified Gaslighter @QGaslighter]

He really was one of a kind.

[Roger Federer @FedererGOAT_1]

Djokovic has the records.
Nadal has the clay.
Federer has the sport.

One won the numbers.
One conquered a surface.
One made 8 billion people fall in love with tennis.

You can break records.

You can’t break elegance. 🐐🎾

Vengan de a uno giles!

[vivELL Las Vegas🃏🎰 @cantverstopim]

I hate how much I love this stupid sport

[alexa @jannimalinified]

oh my god, what an edit 😮‍💨

via goatjannik on tt

[hecate @fedinwimbledon]

dropping a pic like this while ao3 is down is insane

[sudbdn @sudbdnnx]

he's so sweet🪽 ​​​

📸cristianaschieppati

[Dinora❤️RF 🐐 @norinchi_df]

Hi Roger, long time no see 😄

[Paul Netten @Paul_0110]

Sport was nog nooit zo mooi
#Verstappen #F1

[TNT Sports @tntsports]

Roger Federer is the oldest of ‘the big three’ to win a Grand Slam title 🏆

Roger Federer: 2018 Australian Open (36 years, 5 months)
Novak Djokovic: 2023 US Open (36 years, 3 months)
Rafael Nadal: 2022 Roland-Garros (36 years, 2 months)

[Sureshkumar P. Sekar @ursmusically]

Rockstar album review I wrote 15 years ago, a day or two after the CD was released...

That one can never predict how an A. R. Rahman melody would flow in a song is common knowledge, but even by Rahman’s standards, the flow of the melody in “Phir Se Udd Chala” is stunning. There is no groove to groove to. There is no hook line to hook on to. Not a single phrase unfolds as you would expect it to. There is no comfort for a listener here, only twists and turns, surprises and more surprises. Rahman does give you a hook at some point (“Tu too du”), but by the time you catch it and prepare to settle, the song ends. But, of course, to give us some comfort, there is that riff played on the mandolin/rubab that Rahman introduces right at the beginning, which goes on a loop in the background throughout the song. That is how A. R. Rahman, even when experimenting with melodic structures and patterns, does not completely alienate the listeners.

Who else but A. R. Rahman could have the audacity to use those zany, delicately stacked “Ya Ya Ya” phrases as the sing-along phrase of a rock song in “Jo Bhi Mein”. I cannot yet hum that phrase while I am not listening to the song. Rahman does not leave even the format of the qawwali (“Kun Faya Kun”) untouched. Yet, the deviations in the structure of the song happen not at Rahman’s whim in this song; they seem to have emerged from the demands of the situation in the film. Rahman whips up a divine fervour in every Sufi-qawwali composition in the way only he can. Rahman sound, here, is in the melody. In my opinion, since Minsara Kanavu, the meaning of “Rahman sound” has changed. Rahman sound, now, is not characterized by dense layers of synth loops. Even when he decides to build a soundscape with synth loops, there is no one who does it in the way he does—sample “Aaj Dil” from Blue.

These forever-revealing layers in Rahman’s soundscape are now constructed using acoustic instruments, like he does so brilliantly in the groovy “Hawa Hawa” with multiple layers of all that is tango. The contour of the main melody in the “Hawa Hawa” song has not yet revealed itself entirely to me, but I am instantly hooked and it is not just because of the “Hawa Hawa” hook. The melody, with its short phrases and sudden pauses, has an infectious charm despite the zillion turns it takes on its course. And that “Tango for Taj” is a jaw-dropping amalgamation of Argentinian tango and Mughal music. The other instrumental track “The Dichotomy of Fame” with the jugalbandhi of Balesh’s shehnai and Kabuli’s guitar has a familiar template—“Yeh Jo Des Hai Tera” instrumental version from Swades.

With just one guitar refrain, Rahman Rahmanises even a simple, conventional Punjabi melody (“Katiya Karoon”). When that guitar refrain looms large in volume, in the final act of the song, it is comforting; you feel positive, feel everything is alright in the world at this moment. Nothing could explain Rahman’s process of Rahmanising a song better than the incredibly funny and funky “Sheher Mein”. A composer (Is it Anu Malik?) is teaching a song to the singer, and what the singer does with the basic melody that is given to him is what Rahman does to turn even the most conventional melody into his own.

Have you been longing for a vintage 90s A. R. Rahman song? Then, “Tum Ko” (or “Tum Ho”) is for you. The haunting main motif (Aaaaaaaaaah Aaha Haaha), pristine piano pieces, flute, tinkle bells, breezy strings and soft synth pads come together to take us to a romantic wonderland far away. Want more? There is another version of the song that uses the dulcet registers of Kavita Subramaniam’s voice to its advantage, and with even more enchanting layers of sarangi and tabla.

Rahman’s soundtracks have always been eclectic. I thought Imtiaz Ali would finally make Rahman stick to one genre for the entire soundtrack. But he didn’t. Rockstar is amazingly eclectic. Even within rock, all the rock songs in Rockstar are entirely different from each other.

A. R. Rahman has always maintained that his music is a collective effort, and that his job is to musically realise a director’s vision. Imtiaz Ali’s vision has been triumphantly realised by Rahman in the Rockstar soundtrack. The music, though enjoyable on its own, is connected to the film, which is why you hear a voice whispering the “Tum Ko” melody in a layer under Orianthi Panagaris’s guitar interludes in “Sadda Haq”. A. R. Rahman has come a long way as a “movie” music composer, and that is why he is the darling of all great Indian filmmakers, and he would remain so. Is there any other Indian composer who has remained the most sought after by most of the Indian filmmakers (whose films matter), even in his 20th year in business?

(This is an edited version of my original blogpost, parts of which are too embarrassing for me to read now, to be honest)

[Jannik Sinner @janniksin]

Jannik Sinner Unfiltered Ep. 03: Health & Recovery, now on YouTube 🔗 https://t.co/AX80QHFLqY

[𝙑 🏹 @RKs_Tilllast]

11.11.11 will be forever memorable

15 Years 🎸

[Ajay @federized]

15 yrs since arr dropped this goated track.. nothing fancy, just a bhairavi soaked shehnai and guitar coming together and out came one of the most soul stirring melodies.. Rockstar is that one album which reach the deepest corners of me ❤️

[Cinema Solace @SolaceCinema]

Dev Patel returns with ‘THE PEASANT’ — a revenge thriller set in 1300s India that blends ‘John Wick’ with ‘Braveheart’

A24’s first production shot in India.

Patel wrote, directed, and stars in the film.

[claudia³ ☆ @claustrofobicaa]

the average race in qatar and abu dhabi this year 🥰

[Tirii @tirii_f1]

RAN SCAM BY THE BODY.

They should measure the ICE independently, they should also measure the battery Independently.

There is no way ICE is 50 and Battery is 50 and the only component measured is ICE and never Battery.

It's sickening knowing that once you have subpar ICE the clueless @fia will give you a wild burst on the PU. There is no way you have a subpar ICE and can modify the whole engine.

If your ICE is the one that's underperforming, let the team only fix the ICE not the entire PU. If it's the battery that's underperforming, let the teams fix only the Battery..

Fia & F1 is scaming the team that did it's work well here 🫴🏿

[Tennis Channel @TennisChannel]

Mirra’s reaction is everything 🥹

#fagewtafinals

[Laura 🦋 @formuLau16]

Kelly posted that the Verstappen Pet family has grown once again

[jannik sinner files @jannik_files]

“Where is Sinner?” Jannik’s sponsor just announced something for November 12 👀

🎥 explorajourneys via IG

[alexa @jannimalinified]

love the shots like that 😮‍💨