Like there are multiple colours in a rainbow, India has different cultures, languages, and film industries and it’s time for the world to acknowledge it, says AR Rahman, the artiste whose music covers genres and geographies.
Rahman, who has worked in the south, in the Hindi film industry as well as in Hollywood, Broadway on the London stage, burst into the music scene with Mani Ratnam's Roja in 1992. As he gets ready to celebrate three decades of music with a series of concerts, the double Oscar winner said the Academy Award for "Naatu Naatu", a Telugu song from RRR, gave a glimpse into the versatility of talent from India.
"The world believes that the only film industry that exists is the Hindi film industry which we call Bollywood. It's so nice to see “Naatu Naatu”, a Telugu song, winning the Oscars. I never use the word Bollywood since it's so convenient and derivative of Hollywood. I keep correcting everyone when they use these terms," Rahman told PTI in an interview.
He won two Oscars for “Jai Ho” from Slumdog Millionaire in 2009 – one for best original score and the other for best original song. Rahman also won a Grammy as well as a Golden Globe for Slumdog Millionaire.
Rahman, 56, said there are many film industries in the country –Tamil, Telugu, Kannada, Malayalam, Punjabi, Gujarati, and Bengali.
"It's important that the world has to see there are amazing talents there. If they are given money and exposure, they can come up with stunning stuff and that's how it should be as India is varied which is not one culture but rather multiple cultures like a rainbow," he added.
AR Rahman (Photo by SUJIT JAISWAL/AFP via Getty Images)
Rahman is set to hold the "Marakuma Nenjam" (loosely translated from Tamil to mean ‘will my heart be able to forget this’) concert to celebrate his extraordinary career. He said he always wanted to do "something special" and he got that in his career.
He said he realised just a year before signing for Roja that only composing for films would bring the financial gratification “so that you can expand your studio”.
"But I always wanted to do something special and the special thing came, god gave me the thing that I manifested," he said, crediting "friend and mentor" Ratnam, filmmakers Shankar, Ram Gopal Varma, and Subhash Ghai.
"It was a blessing to have them," he added.
While he has done many films for Ratnam, including the latest Ponniyin Selvan, parts one and two, he did Enthiran, Sivaji: The Boss for Shankar, Rangeela for Varma, and Taal for Ghai.
He won a National Award and a Filmfare trophy for Roja. Going to England and working with Andrew Lloyd Webber on the Bollywood-themed musical Bombay Dreams was a "real eye opener", he said.
The musical was staged on the West End in London as well as on Broadway in New York.
"Webber made me realise where I was and where I could be. The last 20 years of what is happening is because of the eye-opening invitation which Andrew Lloyd Webber called me to write music. This is the main thing that led me to Hollywood, doing 'Slumdog Millionaire'," he said.
The composer is of the opinion that musicians need to go back to ancient poetry and ragas that the country has had for over 3,000 years.
"I personally feel we can go more backward to ancient poetry. Somewhere I find people not adopting ragas or the literature, the resources, and the poetry we have which are 3,000 years old. Bringing that back like we had fun doing Ponniyin Selvan part one and two we had done some research and brought back the 'Devarattam' or ancient poetry," he said.
"Marakkuma Nenjam" will be first staged in Chennai on August 12 before going on to other cities and countries.
"I have been receiving love for the last 32 years and people kept questioning why I am performing in the USA, London, Singapore, Malaysia and why not in Chennai. "As of now more than 40,000 tickets got sold, I couldn't believe it, two rows are sold out. So my idea is that even though Chennai lacks infrastructure for big concerts, now it's a big test to see what we need here. So this is like a test to conduct a big concert," he said.
The concert will also travel to Paris, France, Germany, and Switzerland for the first time.
R&B star Chris Brown was taken into custody early Thursday morning in Manchester, England, over an alleged assault at a London nightclub in 2023. Police arrested the 36-year-old singer at The Lowry Hotel shortly after 2 a.m., charging him with causing grievous bodily harm to music producer Abe Diaw.
The incident dates back to 19 February 2023, when Brown reportedly attacked Diaw at Tape nightclub in Mayfair, central London. According to Diaw’s lawsuit filed last October, Brown struck him multiple times on the head with a bottle of Don Julio 1942 tequila. The assault allegedly continued with Brown stomping and kicking Diaw, leaving him unconscious for about 30 seconds and requiring hospitalisation for head wounds and torn ligaments in his leg.
Chris Brown taken into custody ahead of UK tour following 2023 nightclub assault allegationsGetty Images
Diaw claims Brown’s attack was unprovoked and caused lasting physical and emotional damage. Beyond the physical injuries, Diaw also accuses Brown of spreading false rumours to harm his reputation and business relationships. The producer has filed a civil lawsuit seeking £12 million (₹126 crore) in damages.
The Metropolitan Police confirmed the arrest and said detectives from the Central West Area Basic Command Unit are handling the case. Brown remains in police custody as the investigation proceeds.
This latest arrest adds to Brown’s long history of legal troubles linked to violent behaviour. He pleaded guilty to felony assault in 2009 after physically attacking then-girlfriend Rihanna. In 2017, a restraining order was placed on him by ex-partner Karrueche Tran amid allegations of aggressive conduct over financial disputes.
R&B singer Chris Brown appears in court for a probation violation hearing in Los Angeles Court in 2014Getty Images
Brown arrived in Manchester on a private jet just the day before his arrest, possibly preparing for his upcoming UK tour dates scheduled for June. The tour, called Breezy Bowl XX, is meant to mark 20 years of his music career and includes shows in Manchester, Cardiff, London, Birmingham, Glasgow, and Dublin. However, the ongoing police investigation raises questions about whether those dates will go ahead as planned.
Despite his troubled past, Brown remains a major figure in the music world, known for selling out large venues and generating millions in revenue. But with new serious allegations now in play, the future of his career hangs in the balance as legal proceedings move forward.
The man who started it all, Dadasaheb Phalke, the pioneer of Indian cinema, is set to be immortalised on screen not once, but twice. In a surprising turn, two major biopics on the "Father of Indian Cinema" are in the works, with Bollywood and Tollywood’s biggest stars stepping into his shoes.
First, reports emerged that Jr NTR will portray Phalke in Made in India, a project backed by RRR director SS Rajamouli. The film, announced last year, will be a pan-India release diving into the birth of Indian cinema. Sources say NTR was instantly drawn to the script, fascinated by lesser-known aspects of Phalke’s journey. The actor, always known for his high-action roles, will take on a more subdued, dramatic part this time.
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But before fans could fully process this news, another bombshell dropped! Aamir Khan and Rajkumar Hirani are teaming up for their own take on Phalke’s life. The duo, known for blockbusters like 3 Idiots and PK, has been working on the script for four years, with Phalke’s grandson contributing personal anecdotes. Set against India’s independence movement, the film will highlight Phalke’s struggles and triumphs in creating an industry that now dominates global screens.
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The clash of these two projects has sparked debates: Who will do justice to Phalke’s legacy? While Rajamouli’s vision leans toward grandeur, Hirani’s touch is expected to bring together emotion with humour. Meanwhile, fans are already picking sides: will NTR’s intensity or Aamir’s nuanced acting win over audiences?
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As the two teams prepare to bring this legendary filmmaker’s story to audiences, viewers can look forward to two distinct cinematic portraits of the man who laid the foundation of Indian cinema, each promising a unique perspective on the icon who changed the course of Indian storytelling forever.
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Iconic moments that transformed Eurovision, from ABBA’s dazzling debut to Måneskin’s raw rock rebellion, these performances changed the game forever
The Eurovision Song Contest has never been just about glitter, high notes, and questionable fashion choices. It’s where music collides with the messiness of global politics. Some acts stroll onstage, sing politely, and vanish. Others? They rip the roof off, rewrite the rules, and leave scorch marks on history.
From ABBA’s glitter-drenched revolution to Måneskin’s rock ‘n’ roll swagger, these iconic acts reshaped the contest, searing themselves into the collective memory of millions. Let’s dive into five performances that tore the rulebook to shreds and left the world stunned.
1. ABBA – Waterloo (Sweden, 1974)
The explosion that turned Eurovision into a supernova. ABBA didn’t just win. They hijacked the whole show with sequins, swagger, and a chorus that’s been stuck in humanity’s brain for 50 years. The song was so unstoppable that even Napoleon would’ve surrendered to it. This was a total pop coup. Why it’s legendary? Because Eurovision’s biggest success story began here! ABBA set the bar for every act that followed.
Monsters. Fire. Riffs that could crack concrete. Who would’ve thought that a metal band dressed like monsters would rock the Eurovision stage? When Finland’s nightmare-fuelled rock brigade stormed the stage, half the audience clutched their pearls and the other half lost their minds. Eurovision had never smelt like gasoline and face paint before. It was the first time Eurovision truly embraced heavy metal, and Europe loved it. It was an anthem of rebellion, forcing Eurovision to evolve and Finland’s first win was well earned.
3. Conchita Wurst – Rise Like a Phoenix (Austria, 2014)
Conchita Wurst didn’t just sing, in fact, she soared. In a flowing gown with a beard that dared the world to question its norms, Conchita’s ballad became an anthem for resilience. When the final note faded, it was clear: Conchita had shattered stereotypes, and Eurovision was more inclusive because of it. Eurovision became more than a show that night; it became a revolution.
Leather, sweat, and a smirk that could melt steel. Rock hadn’t felt this raw at Eurovision in years. Måneskin swaggered onto the stage with an unfiltered, unapologetic energy that made everyone sit up and take notice. Gritty, powerful, and defiantly cool, this performance not only won the contest, but also marked a new era, where Eurovision wasn’t just a pop paradise but a space for rock to thrive.
Måneskin - Zitti E Buoni - Italy 🇮🇹 - Grand Final - Eurovision 2021youtu.be
5. Loreen – Euphoria (Sweden, 2012)
Twelve minutes of wind machines and raw euphoria (pun intended). Merging barefoot from the shadows, she captivated audiences with her ethereal vocals and minimalist choreography, all set against a backdrop of strobe lights and falling snow. By the time she finished, Europe was collectively breathless, earning her a landslide victory with 372 points: the second-highest in contest history at the time.
Eurovision isn’t just another song contest. It was a referendum. On war. On freedom. On who gets to be heard. Some acts left with trophies, others left with scars. But every single one proved that when the world’s a dumpster fire, music doesn’t just soundtrack the chaos… it answers it.
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Scarlett Johansson expresses frustration over Oscars snubbing Avengers Endgame for Best Picture
Scarlett Johansson has once again voiced her frustration over the Oscars overlooking Avengers: Endgame for the Best Picture category. The actress, known for portraying Black Widow in the Marvel Cinematic Universe, expressed her disbelief during an interview. She questioned how a film as groundbreaking and successful as Endgame managed to receive only one nomination, for visual effects, at the 2020 Academy Awards.
“It was an impossible movie that shouldn’t have worked, yet it did, both as a film and as a cultural moment,” Johansson remarked. She pointed out that the film not only pushed creative boundaries but also became one of the highest-grossing movies of all time. Despite its global impact and critical acclaim, Endgame remained absent from major Oscar categories, including Best Picture.
Scarlett Johansson questions why Avengers Endgame was overlooked by the Academy despite its record breaking successGetty Images
This snub particularly stings because Endgame marked the end of an era for Johansson’s character, Natasha Romanoff, who sacrificed herself to save the universe. Following this emotional farewell, Johansson reprised the role one last time in the 2021 prequel, Black Widow. However, when asked about returning to the Marvel universe again, she remained firm, stating that Natasha’s story had reached a meaningful conclusion.
While Johansson clearly misses working with her Marvel co-stars, she feels that bringing back the character would undermine the impact of her farewell. “It wouldn’t make sense,” she said, emphasising the importance of leaving Natasha’s legacy intact.
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Besides her frustration over the Oscars snub, Johansson also took a jab at the length of recent award ceremonies, particularly the 2025 Oscars. She found the James Bond tribute segment overly long, describing it as feeling like an advertisement rather than a celebration of cinema.
Despite the setbacks, Johansson is staying busy. She’s set to star in Jurassic World: Rebirth and is making her directorial debut with Eleanor the Great, which will premiere at the Cannes Film Festival. Her passion for storytelling continues, whether or not the Oscars recognise her past projects.
Scarlett Johansson defends Avengers Endgame and criticises lengthy Oscars ceremoniesGetty Images
In the end, Johansson’s disappointment highlights a recurring issue: the Academy’s reluctance to honour blockbuster superhero films, even when they make a significant cultural impact.
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Lois confronts Superman as Lex invades the Fortress in new Superman trailer
James Gunn’s Superman is shaping up to be more than just another cape-and-costume affair. The latest trailer doesn’t just show off epic battles or a parade of DC heroes; instead, it throws us straight into a tense one-on-one between the Man of Steel and the woman who refuses to let him off the hook.
In this new version, Clark Kent, played by David Corenswet, is already known to Lois Lane as Superman. There’s no awkward glasses game here, just straight talk! And Lois isn’t starstruck. She’s sharp, sceptical, and not afraid to press him on the ethics of playing global policeman. Her questions about his involvement in a foreign conflict cut through the usual superhero fanfare. Was he saving lives, or stepping over a line?
Superman insists he was acting on his own, not as an agent of any government. But Lois reminds him that intent doesn’t erase consequences. That tension between good intentions and real-world impact seems to be at the heart of Gunn’s take on the iconic character. It’s not about whether Superman can save the world; it’s about whether he should do it on his own terms.
The trailer also introduces Nicholas Hoult as Lex Luthor, who sees Superman not as a saviour, but as an alien outsider dominating a global narrative. “He’s not a man. He’s an it,” Luthor declares, breaking into the Fortress of Solitude with the mysterious Engineer. This isn’t a villain twirling his moustache; it’s someone deeply uncomfortable with Superman’s place in the world.
The film skips past origin stories and dives right into an established world, complete with supporting heroes like Green Lantern, Hawkgirl, Mr. Terrific, and Metamorpho, though the latter may be in chains rather than on the team.
We still get a glimpse of Superman’s Kansas roots, with Ma and Pa Kent reminding him that being a hero isn’t just about strength but about character.
Superman, directed and written by James Gunn, flies into cinemas on 11 July in the U.S., with international releases beginning on 9 July. Expect a film that raises questions as much as it throws punches.