Tamil Hindu Song

[Nadal Braymiller]

The Hindu Times" is a song by English rock band Oasis. It was written by the band's lead guitarist Noel Gallagher, and was released as the lead single from their fifth studio album, Heathen Chemistry, on 15 April 2002. On the album, it segues directly into the next track, "Force of Nature."

The song peaked at number one on the UK Singles Chart becoming the band's sixth number-one single in their native country, remaining on top for one week before being dislodged by the Sugababes' "Freak Like Me".[2] The song also topped the charts in Canada, Italy and Scotland, and reached the top 10 in Denmark, Finland, Ireland, Norway, and Spain. This is their first single to feature former Heavy Stereo frontman Gem Archer (rhythm guitarist) and then-former Ride frontman Andy Bell (bassist).

The song, which combines powerful rock with a psychedelic feel, was unveiled during Oasis' Autumn 2001 Noise and Confusion Tour. The song was due to be released commercially at the same time but Noel decided the track needed more work done on it to be suitable for release. Many have commented on the main guitar riff being lifted from the Stereophonics song, "Same Size Feet", which uses exactly the same, or at least very similar, guitar riff. The B-side, "Just Getting Older", was written at the time of the release of Standing on the Shoulder of Giants (2000). The second B-side, "Idler's Dream", is the only Oasis song to not feature any guitars and is one of the four, the others being "Take Me Away", "Married with Children" and "Sad Song", to not feature drums; the song consists simply of Noel Gallagher's vocals and a piano accompaniment.

The title has little to do with the lyrics of the song, which are more in the vein of Definitely Maybe's "Rock 'n' Roll Star". Noel got the name "The Hindu Times" from a T-shirt he saw in a charity shop. It has been speculated that the title refers to the main riff's similarity to Indian music in sound, sounding as if it were played on a sitar. Gallagher himself says that it is because he had already named the song before any lyrics were written for it.

"The Hindu Times" was one of the first Oasis singles since the singles from (What's the Story) Morning Glory? (1995) to receive almost unanimously positive reviews from critics.[3][4] In 2008 NME listed the song as one of the greatest indie anthems of the 2000s. In October 2011, NME placed it at number 143 on its list "150 Best Tracks of the Past 15 Years".[5] In 2010, XFM listed it in their "1000 greatest songs of all time" list.[6]

"The Hindu Times" was scheduled to be played during the Parade of Nations at the 2012 Summer Olympics opening ceremony as an example of British music,[7] but the Parade took much less time than expected, so the song was not used.

VARSHA KRISHNAMOORTHY: I'm currently sitting in my ancestral village. This is where my grandpas' grandpas' grandpas and all of them retired. And they come back to this village when they grow old. We are in the middle of a function right now for my grandpa, so I'm actually sitting in his home in a sari. So I think that I'm definitely in the midst of reconnecting to my roots right now.SACHA PFEIFFER, HOST: Varsha Krishnamoorthy is a 21-year-old singer-songwriter of Indian descent. She's also one of the hundreds of musicians who submitted a song to this year's Tiny Desk Contest, and she was a standout for her song called "Woman."(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing) I am woman.PFEIFFER: She calls it fusion music. She blends the sounds of traditional Indian songs with American R&B. Krishnamoorthy says her music is influenced by having lived all around the world and regularly spending time with her family in India.KRISHNAMOORTHY: I grew up visiting India almost every summer, and it definitely feels like I learn a lot every time I come back here. And I take little bits of those lessons and try and implement them in my sound, and I think it definitely reflects in my artistry.(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing) I am desire. I am beauty. I'm affection, introspect within. I am what has been.The song is about the experience of South Asian women and all of the different aspects of what it means to be a South Asian woman. And it's particularly told through the lens of Durghama, who is one of the most powerful, all-encompassing Hindu goddesses.(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing) I am woman. I am woman.The strength of a woman, the beauty and nurturing aspects of a woman, how she flows, the curves, you know, the union which is womanhood, all of those things I took from different names that Durghama is called and what those different names mean.(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing in non-English language).I always knew that I wanted to include it in the song because this specific prayer is for Durghama. And because I was writing it from the lens of all of her different incarnations and manifestations, I wanted to make sure that I included a prayer to her. It is basically saying, glory to Durghama in all of her auspiciousness and salutations to her. I know that recently there's been kind of a wave of Indian fusion artists that are coming up, and I think that's so exciting. And I think that that sort of representation is so important for Indian or Desi kids or South Asian kids growing up in the West to have that sort of representation and say that, oh, I can be from the U.S. or from a Western country and still be proud about my Indian identity. So that's why I think that it was so important to me that I do this song specifically for the competition.PFEIFFER: That's Varsha Krishnamoorthy. Her submission to the Tiny Desk Contest is called "Woman."(SOUNDBITE OF SONG, "WOMAN")KRISHNAMOORTHY: (Singing) Universe and time, hundred-eyed, day and night...

George Harrison embraced Hinduism in 1969 after a meeting with Swami Prabhupada, the founder of the international Hare Krishna movement. He recalled that the impact of the meeting was similar to a door opening in his sub-conscious. Once he stepped through, everything changed. Referring to himself thereafter as "Closet Krishna", Harrison continued to visit India regularly throughout his life and never lost faith in the simple message of love of Lord Krishna.

One intriguing line however, "See them move along the road in search of life divine/beggars in a goldmine" suggests a scene of pilgrims in Rishikesh or Haridwar. The song was recorded back in London in 1969.

In the same year he made Dehra Dun, and The Beatles were recording Abbey Road, Harrison was juggling a personal side project. Through his connections with Swami Prabhupada, Harrison met several other Hare Krishna devotees including one Mukanda Gosawmi (aka Michael Grant), a former jazz musician turned bhakta. Harrison took a liking to Goswami and assisted the group in establishing the Radha Krishna temple in London.

Dozens of such music videos can be found on YouTube and other social media platforms, with the supporters of the Hindu far-right loving and sharing them for their messages of hate, abuse and even threats of genocide targeted at the Muslim minority.

Krishnavanshi, an engineering graduate from Lucknow, capital of Uttar Pradesh state, wanted to be a Bollywood singer. But it was too competitive. So he turned to live shows and events to make a living.

In the past few months, India witnessed religious violence in several states during Hindu festivals when right-wing groups held marches in mainly Muslim neighbourhoods and played loud music laced with Islamophobic lyrics outside mosques.

The video of the song was shot at Dasna Devi Temple in Ghaziabad, a district neighbouring Noida. The temple is managed by Yati Narsinghanand, a controversial Hindutva leader who was recently arrested for his hate speeches against Muslims. The music video features Narsinghanand brandishing swords with Rana.

Not a Hindu here, but I'm wondering if this new song is getting under the skin of Hindus the way Alanis Morrissette's 'Ironic' annoyed English teachers. In the song, she mentions several dozen things that even in may naivete don't sound much like Karma:

No, karma is not even remotely any of the things mentioned in the poem. Karma in this poem seems to be simply a poet's fancy. It is not annoying Hindus. Karma simply means action. There is no need to mystify it.

Please join Hindu Students Association for an evening dedicated to appreciating Hindu traditional song, dance, and art across cultures. We are honored to showcase the talent of students and faculty as they share the beauty of worship through creative expression. Walk in performances are also encouraged during the event as we appreciate any and all sharing of art. If you are interested in performing a song, dance, art, poetry, music, or other, please reach out to sku...@syr.edu.

Deep-rooted biases, fears and anger towards Muslims, combined with such songs that only accentuate these ill feelings, are increasingly becoming a dangerously combustible mix, driving mobs to violence and reprisals.

This is just one in over thousands of such songs that are churned out constantly by artistes and small-time studio productions across the country. The songs help articulate hardline stances on various topical and historical issues, thereby making it easier for listeners to grasp complex subjects through catchy lyrics and beats.

Increasingly, links between hate music and real-life violence are becoming clearer. In the 1990s, in the run-up to the horrific Rwandan genocide of the minority Tutsi tribe by the majority Hutu tribe members, which led to over 800,000 deaths, two radio stations controlled by the Hutus, Radio Rwanda and the Radio Tlvision Libre des Mille Collines, played songs that were inflammatory, polarising and demonised the Tutsis.

This was not an exception. In neighbouring Myanmar, for decades now, Rohingya Muslims have been targeted with violence and displacement. The violence perpetrated by state and non-state Buddhist actors against them has led to nearly a million Rohingyas fleeing their homes and taking refuge in neighbouring countries. There is evidence building up that shows that music has played a role in fomenting this hate against the dispossessed community.

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