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...route between luxury hotel and garbage dump has traditionally been one-way. Yet this is set to change, with an innovative project in Cambodia granting street kids a chance to work in the upper echelons of the hospitality industry. Shinta Mani, tel: (855) 63 761 998, is a crisply designed, 18-room, $130-per-night boutique hotel, which opened last year in Siem Reap, 6 km from Angkor Wat. But it also doubles as a vocational training institute, and its first classes, for some 16 youngsters, began earlier this month. The students?some of whom previously survived by scavenging...
...studied music at Oxford and returned to Madras to write jingles for an ad agency. In 1992 Tamil director Mani Ratnam chose Rahman, then 26, to be musical director of the movie Roja. Scoring an Indian film means writing the songs (with a lyricist) as well as composing and conducting the background music. Rahman proved a master of it all. His songs were recognizably Indian but paraded a world of musical influences, from raga to reggae, from Broadway to Ennio Morricone, with each tune heightening the film's drama...
...nine, leaving the youngster to spend much of his adolescence hauling his violin around local recording studios in a dismal attempt to support his family. "Whenever I think of that time," he says, "I think of failure." (He hasn't forgotten those hand-to-mouth days: unlike many of his peers, Rahman pays his musicians on time and refuses to recycle earlier recordings, instead ordering fresh takes?and thereby creating more jobs?with each new score.) His big break came in 1992, when Madras-based director Mani Ratnam wanted a new sound for Roja, a film set in violence-ridden...
...Rahman's lyrical prodigality was evident from the score for his first film: Mani Ratnam's Roja, the tale of a woman whose lover is kidnapped by terrorists. Through this grim political parable, Rahman laced some spectacular melodies that not only serve the drama, they create their own?as in the duet ballads Yeh Haseen Vadiyan and Roja Janeman, which first are grounded in recitative, then soar into celestial melody. The soundtrack parades the composer's gift for alchemizing outside influences until they are totally Tamil, totally Rahman. He plays with reggae and jungle rhythms, runs cool variations on Ennio...
...requirements are oppressive, but I don’t think that’s a problem with requirements, but only with these specific requirements,” said Divya A. Mani ’04, who is also a Crimson editor. Mani added that she thought students should still be expected to know certain specific facts...