Arya 2 Video Songs Hd 720p

He sang several other songs for the Green Movement of Iran including "Yek rooze khoob" (a good day), "Baraye Lamse Azadi" (for a touch of freedom), "Deltangi" (nostalgia). In December 2010, he had an interview with the Spanish newspaper El Pas where he talked about his tortures again and asserted "we have to be the voice of the political prisoners".[1] He was arrested again on 8 November 2011.[2][3]

Indonesia's Padang is the home of pop and Asian pop performer Thomas Arya. He has a sizable fan base in the music business and is well known for his alluring voice and moving lyrics. His music combines traditional Indonesian music with modern pop sounds to produce a distinctive and energizing sound that appeals to a wide range of listeners.

Thomas Arya has a natural talent for connecting with his audience and stirring up strong feelings through his music. His songs address issues such as love, heartbreak, and daily challenges. His followers love him for his openness and vulnerability, which are evident in his songwriting. He has gained notoriety in the Indonesian music scene and used his songs to influence the next generation of performers.

Overall, Thomas Arya's music is proof of the ability of music to bring individuals from many origins and cultures together. He has succeeded in bridging the gap between modern pop and traditional Indonesian music, producing a distinctive and energizing sound. Millions of people throughout the world have been moved by his music, and he still serves as an example for budding musicians.

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A emerging talent in the Asian Pop music field is Thomas Arya from Padang, Indonesia. His heartfelt and passionate ballads, which have won millions of fans, have helped him become extremely well-known. Among his most popular songs, "Berbeza Kasta," "Satu Hati Sampai Mati," and "Sumpah Setia Sampai Mati" have all gone on to become timeless masterpieces that are played at every event and wedding.

In "Berbeza Kasta," Thomas Arya sings about the societal divide between the rich and poor and how it affects relationships. The song's melody is catchy and the lyrics are relatable, making it a fan favorite. "Satu Hati Sampai Mati" is another romantic ballad that speaks of eternal love and the promise to stay together forever. It has a beautiful melody and heart-touching lyrics that have made it one of the most played songs in Indonesia.

Thomas Arya is known for a number of other well-known songs, including "Izinkan," "Rela Demi Cinta," "Harapan Cinta Jadi Dilema," "Biarlah Berpisah," "Setia Berselimut Dusta," "Syahara," and "Kehadiran Cinta." These songs, which demonstrate his range as a vocalist and lyricist, have given him a huge following throughout Southeast Asia.

In conclusion, Thomas Arya has become a household name in Indonesia and other Asian countries with his soulful and romantic ballads. His songs are relatable, catchy, and have touched the hearts of millions. With his rising popularity, it is safe to say that we can expect more great music from him in the future.

Asian and Indonesian pop musician Thomas Arya has recently released music that has caused a stir in the music industry. A selection of deep songs from his most recent album, "Berbeza Kasta," which was published in 2020, highlight his vocal range and emotional range. Some of the songs on the album are "Harapan Cinta Jadi Dilema," "Berbeza Kasta," and "Cinta Tak Salah."

Thomas Arya published an album in 2023, as well as a number of singles that were favorably welcomed by his audience. These are some of his most recent singles: "Tak Rela Kehilanganmu," "Setia Tulus Menantimu," "Terungkap Kecuranganmu," and "Kau Tinggal Aku Separuh Jalan." These singles demonstrate his talent for incorporating catchy melodies and sentimental lyrics into his music that connect with his fans.

In general, Thomas Arya's music has a distinctive sound that combines aspects of traditional Indonesian music with modern Pop and Asian Pop styles. He has become a well-liked character in the Indonesian music scene thanks to his ability to connect with his followers through his songs. More heartfelt ballads and enticing hits from this gifted musician are anticipated by his audience.

Over the course of his musical career, Thomas Arya, an Indonesian and Asian pop musician, has worked with a number of other musicians. Some of his most well-known joint efforts include "Satu Hati Sampai Mati" with Elsa Pitaloka, "Harapan Cinta Jadi Dilema" with Elsa Pitaloka, "Biarlah Berpisah" with Yelse, "Kau Tak Setia" with Elsa Pitaloka, and "Cinta Abadi" with Yelse.

His partnership with Elsa Pitaloka on "Satu Hati Sampai Mati" is among his most well-known. Millions of people have viewed the song on YouTube, making it a favorite among listeners. The song has a romantic theme and shows Thomas Arya and Elsa Pitaloka's stunning vocals. "Biarlah Berpisah" with Yelse is another well-known project. This song, a ballad about heartbreak, displays the emotional spectrum of both performers.

Overall, Thomas Arya's collaborations have given the Indonesian music scene a new viewpoint. His musical flexibility has been demonstrated through these partnerships, which have also produced some of the best songs in the business. The most popular and effective of his musical endeavors have been his partnerships with Elsa Pitaloka and Yelse.

Ram Madhvani, who has co-directed and written Aarya, says that they wanted to use old Hindi film songs as a device to "keep Tej's character alive even after his death" as they "didn't want to use flashbacks". But there is another element at play here. Madhvani and Co were also paying homage to Sriram Raghavan and Quentin Tarantino, who he describes as the filmmakers who have shown the way in terms of using old favourites in new contexts. And indeed, in Raghavan's Johnny Gaddar, Dharmendra's character keeps alive memories of his dead wife by playing a tape of her singing "Mora Gora Ang Laile" (from the 1963 film Bandini) over and over again. Madhvani was not only paying a tribute, he was paying a tribute within a tribute. "Ram was copying Sriram," he jokes.

Using an oldie in the narrative of a film or web series can be a powerful tool because it uses the audience's familiarity with it to its advantage, often playing against their expectation. The viewer may remember "Akele Akele Kahaan Ja Rahe Ho" as the song Shammi Kapoor sings to serenade Sharmila Tagore in the French Alps in An Evening in Paris, but when it plays in Aarya, a young girl is kidnapped at night in a shadowy lane in Jaipur. The scene previously had a more generic thriller soundtrack going for it, but then the editors Khushboo Agarwal and Abhimanyu Chaudhary thought of using the Mohammad Rafi song. As Chaudhary puts it, "it just made it 1+1=110".

That's what happened with Netflix's Sacred Games, for which the makers had grand plans of punctuating the narrative with old Hindi film songs, many of which were period-specific, including some Bappi Lahiri and Biddu numbers denoting the 80s. Eventually the 28 odd songs in the script came down to 3 or 4 songs in the show, that includes "Main Na Bhoolunga" (from the 1974 film Roti, Kapda Aur Makaan) in Season 1, and "Dharti Kahe Pukaar Ke" (from the 1953 film Do Bigha Zameen) in Season 2.

Which is what makes Aarya a curious case because its use of old Hindi film songs is so extensive. But it couldn't have been too expensive because the show doesn't seem to be any more high budgeted than Sacred Games. Madhvani told me that the creative team were given a free hand by the producers Disney+Hotstar. Madhvani had asked them for a list of songs from the Saregama catalogue from which they can choose and also submitted a list of their own. In return they were given an "exhaustive" list from which they could use anything. Agarwal says that they were "spoilt for choices", so much so that it gave them the liberty to use more songs than were there in the script, later in the edit.

Examples such as these show that the workings of the music labels in the Hindi film industry, apart from being a bit exploitative, can be arbitrary and based on relationships and equations rather than for the empowerment of art. Nambiar, who likes to curate the songs for his films, tells me that it was easier for him to get licensing of released songs down South. The music labels there are less strict with their clauses with artists, and unlike in the Hindi film music industry, composers such as Ilaiyaraaja and AR Rahman own the IPs (Intellectual Property) of their work. So when Nambiar wanted to use an Ilaiyaraaja song for his Malayalam/Tamil film Solo, the composer gave the rights for free.