Ek Fankaar, any artist's life, filmography, Suraiya Jamaal Sheikh, S D Burman, Options

[rashmi mehta]

page no : 1
SURAIYAJI
S. D. BURMAN
MADHUBALA
SARASWATI RANE
NUSRAT FATEH ALI KHAN
SHAUKAT DEHELAVI NAASHAD
DEVIKA RANI CHAUDHURY
SUDHA MALHOTRA
RAJKUMARI DUBEY
JATIN LALIT
BULO C RANI

page no : 2

SHARMILA TAGORE
INDEEVAR
SHAKTI SAMANTA
M E E N A K U M A R I
S A N J E E V K U M A R
SRI DEVI
GEETA BALI
MAJRU SULTANPURI
KAIFI AZMI
RAJA MEHDI ALI KHAN

page no : 3

RAJENDRA KRISHAN
TANUJA SAMARTH
MALA SINHA
AAMIR KHAN
KATRINA KAIF



suraiyaji


Born Suraiya Jamaal Sheikh
June 15, 1929 (1929-06-15) (age 79)
Gujranwala, Punjab, now Pakistan
Died January 31, 2004 (aged 75)

Suraiya Jamaal Sheikh (June 15, 1929 - January 31, 2004) was a singer and actress in Indian films, and was popularly known as Suraiya in the film industry. She became a superstar in the 1940s and 50s during the time when actors sang their own songs. IF SHANTA APTE brought spontaneity and refreshing directness in her singing and song-delivery style, Suraiya marked a completely dif­ferent but equally important breakaway from tradition. Born Suraiya Jamal Sheikh in Lahore, she introduced the typical 'adakari' of North Indian Muslims into Hindi films. Expertly combining gestures, music, speech and eloquent eyes, she paved the way for later hearthrobs like Rekha and Madhuri Dixit with her bewitching song delivery. Alhough Noorjehan and Khurshid also brought the same Muslim adakari onscreen with their films, it was Suraiya who shone out as the epitome of that style. Save for her arresting, almond-shaped eyes, Suraiya was not a classic beauty; nor did she trained in classical music. Suraiya , the lovely melody queen created aura with her popular numbers like 'tu mera chaand, main teri chandani' ,'dil-e-nadan, tujhe hua kya hai' and 'woh paas rahe ya door rahe' . Her sultry looks and al­luring eyes matched her melodious voice and distinc­tive style to make her one of the greatest feminine icons of her time, attracting a gen­eration of young women who sought to emulate her and young men who mooned for her.

Early life

Suraiya was born in Gujranwala, Punjab now in Pakistan and was the only child of her parents. She was a dark plain looking girl and was not trained in music, however she went on to become a successful actress and singer.

She had been educated in New Girls' High School in Bombay. Simultaneously she was given religious teachings in Persian at home.

Career

Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise

Suraiya made her debut as a child artist in Usne Kya Socha (1937). Her films as a child artist ran between 1937 and 1941. She got a break in films with the help of her uncle Zahoor, who was a popular villain of his time. In 1941 during a holiday from school, she accompanied her uncle to Mohan Studios to see the shooting of the film Taj Mahal (1941), a film by Nanubhai Vakil. Vakil noticed the 12-year old girl and chose her to play the role of a young Mumtaz Mahal as they had nobody else to play the role. During her school days she used to participate in "Children Program" on Radio along with Shammi and Rajkapoor. She could sing some popular songs of that time with melody and fidelity . Naushad had heard her voice on the All India Radio where she sang for a children's programme at the insistence of friend Raj Kapoor and neighbour Madan Mohan. From radio, Suraiya moved on to playback singing -- App.reciating her singing talent, a song "Boot karun mein polish" was recorded in her voice by Naushad Sahib in 1942 for the film "Nai-Dunia". In the same year she performed a role in film "Station Master" Other films of her playback singing with music by Naushad Sahib were "Sharda" (Punchi Ja- pechey raha hae bachpan mera), "Qanoon" and "Sanjog"Her singing career soon found a mentor in music maestro Naushad chose her to sing as a 13 year old for Mehtaab in Kardar's Sharda (1942). Suraiya had to stand on a stool to reach the mike to croon Panchi ja, picturised on the much-older heroine, Mehtaab.
She was effectively launched as a singing star in Bombay Talkies Humaari Baat (1943).

She initially started by playing secondary roles in films like K. Asif's Phool (1944) but She made her presence felt in perhaps India's first multi-starrer, played strong supporting second lead roles to Noorjehan in Mehboob Khan's Anmol Ghadi (1946) and Munawar Sultana in Dard (1947). Suraiya had her moments with Socha Tha Kya, Main Dil Mein Dard Basa La Aayee and Man Leta Hai. She got the break as a heroine for the movie Tadbir (1945) at the recommendation of K. L. Saigal who liked her voice during a rehearsal. She went on to co-star with Saigal for two more films Omar Khayyam (1946) and Parwana (1947). More opportunities appeared for Suraiya after reigning actresses Noor Jehan and Khursheed Bano migrated to Pakistan during the 1947 partition. the last remembered for her haunting rendition of Jab Tumhi Nahin Apne.Her pairing with the then superstar Dev Anand was a huge hit and the two went on to star in many successful movies together - Afsar, Shayar and Jeet etal.

Nadira, who later costarred with Suraiya in Waris, says, "My father went repeatedly to the theatre to watch Suraiya sing Socha tha kya. He would walk out the moment the song ended."

Suraiya had an edge over her contemporaries Kamini Kaushal and Nargis because she could sing her own songs. The years 1948-49 were the best of her career - The 1948-49 phase saw her rise to her peak. After three hits Pyar Ki Jeet (1948), Badi Bahen and Dillagi (1949), she became the highest paid female star. At her peak, Suraiya generated hysteria comparable only to Rajesh Khanna in the late 1960s and early 1970s. Shop owners would down their shutters to see her starrers on the first day itself, crowds would throng outside her residence at Marine Drive in Bombay just to get a glimpse of her and actor Dharmendra recalls going to see Dillagi 40 times! Her songs from the above films Tere Nainon Ne Chori Kiya, O Door Jaanewaale (Pyar ki Jeet), Woh Paas Rahe Ya Door Rahe, O Likhnewaale Ne, Bigdi Bananewaale (Badi Bahen) and Tu Mera Chand, Murliwaale Murli Bajaa (Dillagi) were hummed in every nook and corner of the country. Her reign at the top was brief and her films started flopping in the 1950s. She made a comeback with Waaris and Mirza Ghalib (1954) in which she played the role of the married Ghalib's lover.She made a short-lived comeback with Waaris (1954) and Mirza Ghalib (1954). The latter saw her finest dramatic performance as she made alive and vivid the role of the married Ghalib's lover, a courtesan. Ghalib also saw some of her finest singing - Aah ko Chaihiye Ek Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet etc. Her singing is till date regarded as the definitive Ghalib. In fact India's then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her " Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya" (she had brought Mirza Ghalib to life). In Nitin Bose's Waris (1954), Suraiya costarred with singing star Talat Mehmood (incidentally, she played heroine opposite another singer who tried to be an actor, Mukesh, in 1953's Mashuqa, too). With the sonorous melody, Rahi matwale, Anil Biswas and Suraiya proved their continuing relevance in a new age. Her last film was Rustom Sohrab (1963) following which she kept away from films. A spate of indifferent films followed. Suraiya had grew bulkier but her songs were still exquisite --- Aap se pyar hua jaata hai in Shama (1961), or the serene duet with Talat, Man dheere dheere gaye re in Maalik (1958). In 1963, to the strains of Yeh kaisi ajab dastaan ho gayee hai, the Sajjad jewel from Rustom Sohrab, Suraiya bade farewell to the studios. Suraiya Jamaal Sheikh's legend has endured for over four decades after her retirement post Rustom Sohrab (1963). It is fuelled by her one-time Dev Anand association, her repertoire of lilting songs and an air of mystique.

She stayed at "Krishna Mahal", her Marine Drive residence in Mumbai til her death. The walls and mirrors of Krishna Mahal flat on Marine Drive, are the only objects that set their eyes on this star of yesteryears. But she broke her self-imposed exile when she made a rare appearance at the Screen Videocon awards when Sunil Dutt presented her the Lifetime Achievement award. Radiant in a white salwar kameez she carried herself with the grace of a much younger woman.

The gentle sway of her hips spoke of her delicate style of dancing. The only thing that had remained completely unchanged was her voice. Tremulous with emotion, Suraiya's voice was choked with emotion when she took her award. She spoke of her long association with the film world and she was deeply touched that audiences still remembered her. But when Javed Jaffery pressed her to sing or just hum -- she refused. As a star shestill remembers the meaning of letting a legend live. Heroines are captured forever on the silver screen and the public's memory must never be updated.

Personal life

But her luck did not hold out in her personal life and Suraiya faced her biggestdisappointment. She first met Dev Anand in 1948, when she was just 19 years old. They were co-starring in the film Vidya and on the second day itself cupid struck. During the shooting of a song, a boat capsized and Dev Anand saved Suraiya from drowning. . And when he saved her from drowning during the filming of the song `Kinare Kinare Chale Jayenge', Suraiya was convinced that she had met her cosmic mate. She fell in love with him. Suraiya was romantically involved with actor Dev Anand and the two of them did six films together between 1948 and 1951. but her grandmother opposed the relationship. They were romantically linked and were all set to marry when her strict grandmother put her foot down and broke their relationship. She banned meeting, telephone calls and even talking on the sets. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000 -- a princely sum for a fledgling star. But even that memento was snatched away from her when her grandmother saw the ring and threw it away into the sea. She also burnt all of Dev Anand's letters in front of Suraiya's eyes. Her objection to the romance: (Dev Anand is a Hindu while Suraiya is a Muslim). A hunt for a Muslim husband began but marriagewas not in Suraiya's fate. In 1951, Dev Anand married Kalpana Kartik -- ending one of the silver screen's greatest romances. The heartbroken Suraiya never married though many leading men of her time were interested in her.Surraiya's idol was Gregory Peck and he visited her by surprise during a night of 1954 while in transit at Mumbai on his way to Srilanka for shooting. He was much impressed by her simplicity.Dev Anand molded himself in postures of Gregory Peck but after long awaiting he married Kaplna Kartak.Suraiya remained unmarried all her life.

Dev Anand accepts his love for Suraiya

the unmarried Suraiya lives alone in her plush Marine Drive apartment. Rarely does one see a bejewelled Suraiya at a party. Even after her strict grandmother, who kept suitors at bay and producers at arm's length, passed away, Suraiya continued to be inaccessible to the hoi polloi.

Her decision to reside in an ivory tower has added to her mystique, while her resolve to shun character roles ensured that she is always remembered as a heroine. Most quaintly, Suraiya also chose not to sing any new film song in the last 40 years.

Death

She died in 2004 of old age at 75. In 2004, during the Sansui Awards, actress Jaya Bhaduri received the Lifetime Achievement Award and while she was on stage, she was disappointed that no one gave a tribute to the legendary actress Suraiya who had passed right around that time.

Suraiya's dastaan, ajeeb but fascinating, continues to thrive on lore, speculation and memories.


http://en.wikipedia.org/wiki/Suraiya

http://www.chakpak.com/celebrity/suraiya/biography/8847

http://www.bollymood.com/biography/suraiya/

http://www.indianmelody.com/suraiyaarticle1.htm


Filmography

Actress:

* 1960s
* 1950s
* 1940s

1. Rustom Sohrab (1963) .... Shehzadi Tehmina
2. Shama (1961) .... Roshan Ara

3. Malik (1958)
4. Trolley Driver (1958)
5. Mr. Lambu (1956)
6. Inaam (1955)
7. Bilwamangal (1954)
8. Mirza Ghalib (1954) .... Chaudvin
9. Shama Parwana (1954) .... Sahebzadi Aalam
10. Waris (1954) .... Shobha ... aka Heir
11. Mashooka (1953)
12. Deewana (1952)
13. Goonj (1952)
14. Khubsurat (1952) ... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952)
16. Moti Mahal (1952)
17. Do Sitare (1951)
18. Rajput (1951)
19. Sanam (1951)
20. Afsar (1950) .... Bimala ... aka Officer
21. Badi Bahen (1950) ... aka Elder Sister
22. Dastan (1950) .... Indira
23. Kamal Ke Phool (1950)
24. Khiladi (1950)
25. Nili (1950)
26. Shaan (1950)
27. Jeet (1949) .... Jeet
28. Amar Kahani (1949)
29. Badi Bahen (1949)
30. Balam (1949)
31. Bombay (1949)
32. Char Din (1949)
33. Dillagi (1949) .... Heer ... aka Mischief (International: English title)
34. Duniya (1949)
35. Lekh (1949)
36. Naach (1949)
37. Shair (1949) .... Rani
38. Shayar (1949)
39. Singaar (1949)
40. Aaj Ki Raat (1948)
41. Gajre (1948)
42. Kajal (1948) ... aka Eyes (International: English title)
43. Pyaar Ki Jeet (1948)
44. Rang Mahal (1948)
45. Shakti (1948)
46. Vidya (1948) .... Vidya
47. Bhatakti Maina (1947)
48. Dak Bangla (1947)
49. Dard (1947)
50. Do Dil (1947)
51. Do Naina (1947)
52. Naatak (1947)
53. Parwana (1947) .... Gopi
54. 1857 (1946) ... aka Eighteen Fifty-Seven
55. Anmol Ghadi (1946) .... Basanti ... aka Precious Time
56. Chehra (1946)
57. Jag Biti (1946)
58. Main Kya Karun (1945)
59. Phool (1945)... aka The Flower
60. Tadbir (1945) .... Saguna
61. Hamari Baat (1943)
62. Ishara (1943)
63. Station Master (1942) .... Usha
64. Tamanna (1942)
65. Taj Mahal (1941) .... Child Mumtaz

Music Department:

* 1960s
* 1950s
* 1940s

1. Do Dil (1965) (playback singer)
2. Rustom Sohrab (1963) (playback singer)
3. Shama (1961) (playback singer)
4. Malik (1958) (playback singer)
5. Taqdeer (1958) (playback singer)
6. Trolley Driver (1958) (playback singer)
7. Mr. Lambu (1956) (playback singer)
8. Bilwamangal (1954) (playback singer)
9. Mirza Ghalib (1954) (playback singer)
10. Waris (1954) (playback singer)
... aka Heir
11. Mashooka (1953) (playback singer)
12. Deewana (1952) (playback singer)
13. Goonj (1952) (playback singer)
14. Khubsurat (1952) (playback singer)... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952) (playback singer)
16. Moti Mahal (1952) (playback singer)
17. Rajput (1951) (playback singer)
18. Sanam (1951) (playback singer)
19. Afsar (1950) (playback singer)... aka Officer
20. Badi Bahen (1950) (playback singer)... aka Elder Sister
21. Dastan (1950) (playback singer)
22. Kamal Ke Phool (1950) (playback singer)
23. Nili (1950) (playback singer)
24. Shaan (1950) (playback singer)
25. Jeet (1949) (playback singer)
26. Amar Kahani (1949) (playback singer)
27. Badi Bahen (1949) (playback singer)
28. Dillagi (1949) (playback singer)... aka Mischief (International: English title)
29. Duniya (1949) (playback singer)
30. Lekh (1949) (playback singer)
31. Naach (1949) (playback singer)
32. Shair (1949) (playback singer)
33. Singaar (1949) (playback singer)
34. Gajre (1948) (playback singer)
35. Rang Mahal (1948) (playback singer)
36. Shakti (1948) (playback singer)
37. Vidya (1948) (playback singer)
38. Dak Bangla (1947) (playback singer)
39. Dard (1947) (playback singer)
40. Do Dil (1947) (playback singer)
41. Naatak (1947) (playback singer)
42. Anmol Ghadi (1946) (playback singer)
... aka Precious Time
43. Jag Biti (1946) (playback singer)
44. Tadbir (1945) (playback singer)
45. Kanoon (1943) (playback singer)
... aka The Law (International: English title)
46. Sharda (1942) (playback singer)

Soundtrack:

1. Malik (1958) (performer: "Man Dhire Dhire Gaye Re Malum Nahin Kyon")
2. Mirza Ghalib (1954) (performer: "Dil-e-nadan Tujhe", "Aah Ko Chahiye Ek Umar",

"Nukta Cheen Hai", "Jahan Koi Na Ho", "Yeh Na Thi Hamari Qismat")

Producer:

1. Shagoon (1964) (producer) (as Suraiya Mubin)

Thanks:

1. Lorie (1984) (grateful acknowledgment)

songs of suraiyaji movie details n lyrics

1] Anmol Ghadi (1946) starring Amir Banu, Anwari, Leela Mishra, Murad, Noor Jehan, Suraiya, Surendra & Zahoor.
Lyrics composed by Tanvir Naqvi.
Music composed by Naushad Ali.
This movie had some very popular songs sung by Noor Jahan and Suraiya. Here are the Suraiya songs:

[1]mai dil mei dard basaa laayi

lyrics for mai dil mein dard basa laayi, nainon se nain mila aayi, unko apne man ki baatein bina kahe samjha aayi.

[2]man leta hai angdayi jawani chhayi

lyrics for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

lyrics in Hindi for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

[3]sochaa thaa kyaa, kyaa ho gayaa

lyrics for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

lyrics in Hindi for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

2] Badi Bahan (1949) starring Suraiya, Geeta Bali, Rehman & Pran.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]tum mujhko bhool jaao ab hum na mil

[2]wo paas rahen yaa duur rahen nazron

lyrics for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

lyrics in Hindi for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

3] Bilwamangal (1954) starring Suraiya, Ulhas, Nirupa Roy & Asha Mathur.
Producer: Minal Movies
Director: D. N. Madhok
Lyrics: D. N. Madhok
Music Director: Bulo C. Rani

[1]hum ishq ke maaron ko do dil diye

[2]parwane se preet seekh li shamaa se

4] Dillagi (1949) starring Suraiya, Shyam, Amar, Amir Banu & Chanda Bai
Producer & Director: Kardar
Lyrics: Shakeel Badayuni
Music Director: Naushad

[1]char din ki thi chandni phir andher

[2]duniyaa kyaa jaane meraa afsaanaa

3]le ke dil chupke se kiyaa majboor

[4]murliwale murli bajaa sun sun murli

[5]niraalaa mohabbat kaa dastoor dekha

[6]tera khayaal dil se bhulaya na jaye

5] Gajre (1948) starring Suraiya, Agha, Geeta Nizami, Maruti, Moti Lal & Sangeeta
Director: RD Mathur
Lyrics: G. S. Nepali
Music Director: Anil Biswas

[1]duur papiha bola raat adhi rah gayi

[2]jalne ke siwaa yahaan kya rakha hai

[3]reh reh kar teraa chaand rulata hai

6] Goonj (1952) starring Suraiya, Suresh, Bhagwan, Madan Puri, Manju, Randhir, Ravikant & Sapru.
Lyrics composed by D. N. Madhok.
Music composed by Sardul Kwatra

[1]chale ja rahe ho jo nazren churaaye

[2]dil me umangen sajan nainon me rang

7] Jeet (1949) starring Suraiya, Dev Anand, Bhagwan, Durga Khote, Habib, Kanhaiya Lal & Madan Puri
Director: Mohan Sinha
Producer: Raj Kirti Chitra
Lyrics: Prem Dhawan
Music Director: Anil Biswas

[1]ban jao hindustani ab kaisi manmani

[2]kaam karo bhai jag me apna naam kar

[3]kuch phool khile armaano ke par jee

[4]tum mann kee peedaa kyaa jaano

[5]tum meet mere tum shyam mere yug ke

8] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Music composed by Ghulam Mohammad.
The movie was about the legendary poet Mirza Ghalib and his poems have been sung here.

[1]aah ko chaahiye ek umar asar hone

[2]nuktachin hai gam-e-dil usko sunaye

[3]rahiye ab aisi jagah jaha koi na ho

[4]ye na thee hamaari kismat ki wisal

9] Mr. Lambu (1956) starring Suraiya, Minu Mumtaz, Helen, Bhagwan, N. A. Ansari & Sheikh Mukhtar
Director: NA Ansari
Producer : Sheikh Mukhtar Prod.
Lyrics: Jan Nisar Akhtar
Music Director: O. P. Nayyar

[1]yaad karun tori batiyaa ro ro bitau

10] Nayi Duniya (1942)starring Suraiya
Lyrics: Tanveer Naqvi
Music Director: Naushad Ali

[1]boot karun mai polish babu boot


11] Pyar Ki Jeet 1948) starring Suraiya & Rehman.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]o duur jaanewaale wada na bhul jana

lyrics for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

lyrics in Hindi for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

[2]tere naino ne chori kiya mera chota

lyrics for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

lyrics in Hindi for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

[12] Rustom Sohrab (1963) starred Suraiya as the shehzadi. Prithviraj Kapoor portrayed her husband Rustom & Premnath portrayed her son Sohrab. Mumtaz was also in the movie.

This was Suraiya's last film. After this she retired.
Lyrics composed by Qamar Jalalabadi.
Music composed by Sajjad Hussain.

[1]ye kaisi ajab daastaan ho gayi hai

lyrics for ye kaisi ajab daastaan ho gayi hai, chhupaate chhupaate bayaan ho gayi hai.

13] Shaan (1950)starring Suraiya & Rehman
Lyrics: Rajinder Krishan
Music Director: Hansraj Behl

[1]o pardesi balma ab na tadpa o zalim

[2]tadap ai dil tadapne se zara aarsam

[3]kaho ji kis ki sachchi shaan
majboor hoon mai nashaad hoon mai

14] duets Suraiya sang with Mohammad Rafi in the movie Shaan:

[1]dil ke dhoke mei na aanaa

[2]hum bhee akele tum bhee akele

[3]hum tum se wafa karte tum hum se wafa karte

15] Shama (1961) starring Suraiya, Nimmi, Kumud Tripathi, Leela Mishra & Vijay Dutt
Producer : Tasweeristan
Director: Lekhraj Bhakri
Lyrics: Kaifi Azmi
Music Director: Ghulam Mohammed

[1]mast ankhon mei shararat kabhi aisi

16]Shama Parwana (1954)starring Suraiya & Shammi Kapoor.
Lyrics composed by Majrooh Sultanpuri.
Music composed by Husnlal Bhagatram.

[1]meraa dildaar naa milaayaa

[2]o jaan-e-tamannaa alvidaa alvidaa

17] Vidya (1948) starring Suraiya, Dev Anand, Amirbai Karnataki, Cuckoo & Madan Puri.
Director: G. Tridevi
Producer: Jeet Prod.
Music Director: S. D. Burman
Lyrics: Shanti Swaroop and Y. N. Joshi

[1]aaj meraa dil kisi pe aa gayaa

[2]jhoom rahi khushiyon ki naaow aaj

[3]kinare-2 chale jayenge jeewan naiya

[4]kise maalum tha 2 din me sawan beet

[5]o Krishna Kanhaai aashaon ki duniya

[6]laayi khushi ki duniyaa hanste hue

Suraiya was joined by Mukesh in the above song. One of the few duets they sang together.

18]Waris (1954) starring Suraiya, Talat Mahmood and Nadira.
Lyrics: Qamar Jalalabadi
Music Director: Anil Biswas

Suraiya and Talat Mahmood sang the songs both on and off screen. Please note that the duet version of this song is more popular and can be found at the Suraiya and Talat Mahmood duets page by using the following link.

[1]raahi matwaale tuu aa jaa ek baar

19] Dard (1947) starring Suraiya, Shyam, Badri Prasad, Husn Bano, Munawar Sultana & Nusrat.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]beech bhanvar mei aan phasa hai dil

lyrics for beech bhanvar mein aan phansa hai dil ka safeena shaah-e-madeenaa

[2]chale dil ki duniya jo barbad karke

[3]dil dhadke aankh mori phadke

lyrics for dil dhadke aankh mori phadke. chale jaana na dekho ji bichhad ke.

20] Dastan (1950)starring Suraiya, Raj Kapoor, Murad, Pratima Devi & Veena.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]aayaa mere dil mei tu ban ke dil ki

[2]ai shamma tu bata tera parwana kaun

The song 'ai shamma tu bata tera parwana kaun hai' is preceded by some dialogues. Raj Kapoor's voice seems to be heard here.

[3]mohabbat badhaa ke judaa ho gaye

[4]naam tera hai zubaan par yaad teri

[5]naino mei preet hai hothon pe geet

[6]ye mausam aur ye tanhaai

21]Maalik (1958) starring Talat Mehmood & Suraiya.
Lyrics composed by Shakeel Badayuni.
Music composed by Ghulam Mohammad.
Suraiya and Talat Mehmood sang the song and it was also filmed on them.

[1]mann dhire gaye re malum nahin kyon

lyrics for man dheere dheere gaaye re, maaloom nahi kyon. bin gaaye raha na jaaye re, maaloom nahi kyon.

22] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Lyrics were composed by Mirza Ghalib in late 18th century.
Music composed by Ghulam Mohammad.
Suraiya sang her own songs and Talat Mehmood was playback singer for Bharat Bhushan.

[1]dil-e-nadan tujhe hua kya hai akhir

lyrics for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

lyrics in Hindi for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

23] Waaris (1954) starring Talat Mehmood With Suraiya & Nadira.
Lyrics composed by Qamar Jalalabadi.
Music composed by Anil Biswas.
There was no playback singing since both Talat Mehmood & Suraiya sang for themselves.

[1]duur hote nahi jo dil me raha karte

[2]ghar tera apna ghar lage jaye kahan

[3]raahi matwaale tu ched ek baar mann

lyrics for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

lyrics in Hindi for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

[url=http://suraiya-songs.tripod.com/]http://suraiya-songs.tripod.com/

This post has been edited by rashmi mehta: Jun 1 2011, 08:24 AM

[rashmi mehta]

S D Burman

Born October 1, 1906(1906-10-01)

Comilla, British India (now Bangladesh)

Died October 31, 1975 (aged 69)

Bombay, Maharashtra, India

Years active 1933-1975

Spouse(s) Meera Dev Burman, nee Dasgupta (1923-2007)

Aesthetically and culturally inclined toward Bengali music, Sachin Dev Burman (Bengali October 1, 1906 - October 31, 1975), also credited as Burman da, Kumar Sachindra Dev Barman, Sachin karta or S. D. Burman, was one of the most famous music composers for Hindi movies and a Bengali singer and composer. His son Rahul Dev Burman also achieved great success as a Bollywood music director in his own right.

S.D. Burman proved that age is no impediment for creativity. He was the only great composer who remained in high demand right till the end of his life, unlike his contemporaries who gradually faded away. His greatest gift lay in the fact he could be equally jazzy and trendy in a dhoti. His grip on Indian folklore, his sound classical base, his capacity to absorb from the scene around him made him the greatest all-rounder in Indian Film Music. And to think he never sat down on a harmonium to compose! His tunes would come to him in a flash on a long walk or a drive or even out fishing at sea!

Sachin Dev Burman, also known by the title of Sachin Karta owing to his royal lineage of the Comilla Rajbari (erstwhile East Bengal and Assam).

S. D. Burman was born on October 1, 1906, in Comilla, British India, now in Bangladesh, to Nirmala Devi and Nabadwipchandra Dev Burman, the second son of 'Ishanachandra Dev Burman', Raja of Tripura, (r. 1849-1862). his father, who was a sitarist and Dhrupad singer - Nabadip Chandra Deb Burman, an expert at the sitar, the Dhrupad gharana and sculpture. Sachin was the youngest of the five sons, of his parents, who had nine children in all.

He did his B.A. from Calcutta University.

Sachin Dev Burman was under the tutelage of his father while there were other informal sources of his education – Madhav and Anwar who introduced him to the world of the Ramayana and the richness of folklores. Later Ustad Badal Khan and Bhishmadev Chattopadhyay were appointed to instill in the young Sachin Dev Burman roots of eastern classical music.

Sachin left home after he came to know about his brother's evil interests against him.He wandered for years in the forests of Assam and Tripura from where he gained his formidable knowledge and rich repertoire of the rich folk of that region and Bengal.

Later SD became a disciple of Ustad Aftabuddin Khan, becoming an ace flautist, and started his own music school, ‘Sur Mandir’ in Calcutta in the 1930’s. He made a reputation in Bengal as a folk singer and light classical music and learnt more under the illustrious K. C. Dey (Manna Dey’s uncle) .

Early work for radio was based on East bengali and North eastern folk-music.

On his arrival in Kolkata, Sachin Dev Burman trained under K.C.Dey.

It was at this time that he had his first break with All India Radio, Kolkata, where his early work was based on East Bengali and Tripuri folk-music, and soon made a reputation for himself in folk and light classical music, consequently his film compositions were often influenced by his huge repertory of folk-tunes from the Bengali, Bhatiali, Sari and Dhamail traditions of Tripura Kingdom. In the same year, his first record was also released (Hindustan Musical Product), with "Khamaj" semi classical, E Pathery Aaj Eso Priyo on one side and the folk Dakle Kokil Roj Bihane on the reverse side" on 78 rpm for Hindustan Records in 1932 and the record became a hit big enough to establish Sachin Dev Burman as a kingpin of Bollywood music.

In the following decade he reached his peak as a singer, cutting as many as 131 songs in Bengali, and also sang for composers like Himangsu Dutta, RC Boral, Nazrul Islam and Sailesh Das Gupta.

In early 30s made a reputation in bengal as singer of folk and light classical music, e.g. at the Allahabad Sangeet Sammelan (Music Conference) in 1935. First record was of a Nazrul Islam composition, leading to a long and productive releationship with the writer/composer.

Film debut singing for Pankaj Mullick in Atorthy's Yahudi Ki Ladki (1933) but the songs were scrapped and re-sung by Pahadi Sanyal. But then he got another break in Tinkari Chakravarty's Sanjher Pidim (1935). SD sang in the Calcutta - made Hindi film
Seeta (1934). He also scored music for Rajkumar Nirshoney, a Bengali film, in 1940.

In 1934, he attended the All India Music Conference, at the invitation of Allahabad University, where he presented his Bengali Thumri, at to an illustrious audience, with the likes of Vijaya Lakshmi Pandit and the inimitable Abdul Karim Khan of Kirana Gharana. Later in the year he was invited to Bengal Music Conference, Kolkata, which was inaugurated by Rabindranath Tagore, here again he sang his thumri, and was awarded a Gold Medal.

His first stint at music composition started with Bengali plays, Sati Tirtha and Janani, eventually gave his first score was in 1937 in the Bengali film Rajgee.

He built a house, in Southend Park, Ballygunge, Kolkata, and in 1937, at the All India Music Conference, Allahabad, he met a music student at Rabindranath Tagore’s Shantiniketan, Meera Dasgupta (1923-2007), the granddaughter of Justice Raibahadur Kamalnath Dasgupta from Dhaka; soon she became his student and they married on February 10, 1938 in Calcutta , though having married a non-royal, created a furor within the royal family, and subsequently he severed his ties with the family, and forfeited his inheritance.

The couple's only child, Rahul Dev Burman was born in 1939, and later, both Meera Devi and Rahul assisted, S.D. Burman with some of the musical compositions.

S D Burman also did a singing role in Urdu film Selima (1934) and another role in Dhiren Ganguli's film, Bidrohi (1935)


his second film Rajkumarer Nirbashan (1940) became a hit, there was no turning back after that. He gave successful music in Bengali films like, Jevaan Sangini, Protishodh (1941), Abhoyer Biye (1942), and Chaddobeshi (1944).

After the death of two close friends – lyricist Ajay Bhattacharya and composer Himangshu Dutta and at the behest of Filmistan’s Sasadhar Mukherjee, Burman went to Bombay in 1944.

He continued giving music in Bengali cinema, even after he moved to Bombay in 1944, and started the second inning of his musical career, giving music for over 17 Bengali films in the all.

In 1944, at the request of Sasadhar Mukherjee of Filmistan, who asked him to give score for two Ashok Kumar starrers, Shikari (1946) and Aath Din, However these two hits were not big enough to earn him a niche in the big bad world of Bombay music. but his first major breakthrough came the following year with the company's Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt was her breakthrough song into the film industry. In 1949, came Shabnam, his biggest hit yet with Filmistan, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, which became a rage in those days.
Disillusioned with the materialism of Bombay, S D Burman left the Ashok Kumar starrer Mashaal (1950) incomplete and decided to board the first train back to Calcutta. Fortunately, he was dissuaded from doing so. Just when he was calling it quits, Ashok Kumar requested Sachin Dev Burman to compose for Mashaal which instantly took the composer to the pinnacles of success.

During his brief musical sojourn at Kolkata, Burman earned the earnest audience of great stalwarts like Kazi Nazrul Islam, Dhurjati Prasad Mukhopadhyay, Dilip RoyRavi Shankar, Kishore Kumar, Hemant Mukhopadhyay et al. In Bombay Burman’s art married those of Kaifi Azmi,Anand Bakshi, Majrooh Sultanpuri, Sahir Ludhianvi, Dev Anand and the likes and gave to India some of the greatest hits of all times. During this time he offered guiding hands to Asha Bhosle, Kishore Kumar, Geeta Dutt, Manna Dey and many other such experts whose names today stand for themselves. Subsequently he composed for the films of Guru Dutt and gave films like Baazi, Pyasaa, Kagaz ke Phool, Jaal to name a few.

His Tadbeer se bigdi hui taqdeer… deserves special mention for the harmonious marriage of the tune and the words.

In 1950s, S D Burman teamed up with Dev Anand's Nav Ketan Productions to create musical hits like Taxi Driver (1954), Munimji (1955), Paying Guest (1957), Nau Do Gyarah (1957) and Kalapani (1958). The songs sung by Mohammad Rafi and Kishore Kumar became popular. Burman da composed the music for Dev Anand's production company Navketan's first film Afsar (1950). With the success of their second film, Baazi (1951) he made it to the top and a long association with Navketan and Dev Anand was on its way. "Baazi"'s jazzy musical score revealed a new facet of singer Geeta Dutt, who was mainly known for melancholy songs and bhajans. While every song in the film was a hit, one stood out for special appeal - "Tadbir se Bigdi Hui Taqdeer", a ghazal that was occidentalized into a seductive song.

He also wrote music for the Guru Dutt classics - Pyaasa (1957) and Kaagaz Ke Phool (1959). The soundtrack of Devdas (1955) was also composed by him. House No. 44 (1955), Funtoosh (1956), and Solva Saal (1958) were other S D Burman hits. In 1959 came Sujata, a masterpiece by Bimal Roy, and S D created magic again with "Jalte hai jiske liye" by Talat Mamood.

When Guru Dutt made comparatively light-weight films like Baazi and Jaal (1952), Burmanda reflected their mood with compositions like Suno Gajar Kya Gaye or De Bhi Chuke Hum and when Guru Dutt made his somber masterpieces - Pyaasa (1957) and Kaagaz ke Phool (1959), he was right on target with Jinhe Naaz Hai Hind and Waqt ne Kiya Kya Haseen Sitam.

In 1957, S D Burman fell out with Lata Mangeshkar and adopted her younger sister Asha Bhosle as his lead female singer. The team of S D Burman, Kishore Kumar, Asha Bhosle and lyricist Majrooh Sultanpuri became popular for their duet songs. Thus, he was responsible along with O.P. Nayyar for shaping Asha Bhosle as a singer of repute, who became his daughter-in-law after she married Rahul Dev Burman .

In 1958, S D Burman gave music for Kishore Kumar's house production Chalti Ka Naam Gaadi, the same year he was awarded the Sangeet Natak Akademi Award for Music direction, and remains the only music director to have won the prestigious award.

Early on in his career, he refused to allow his voice be lip-synced on film by actors, as a result, even later on, in Hindi cinema, his thin yet powerful voice was often used as bardic commentary to haunting results, as in Ore Majhi Mere Sajan Hai Us Paar Bandini (1963), Wahaan Kaun hai Tera from "Guide" (1965) and finally Safal Hogi Teri Aradhana from Aradhana (1969), for which he received the National Film Award for Best Male Playback Singer for the year, 1970 .

Ill health caused a slump in his career in the early 1960s but he gave many hit films in late 1960s. In 1961, S D Burman and Lata Mangeshkar came together during the recording of R D Burman's first song for the movie Chhote Nawab (1961). They reconciled their differences and started working again in 1962.

The Dev Anand-S D Burman partnership, under Navketan banner, continued to churn out musical hits like Bambai Ka Babu (1960), Tere Ghar Ke Samne (1963), Teen Devian (1965), Guide (1965) and Jewel Thief (1967). In 1963, he composed songs for Meri Surat Teri Aankhen and Manna Dey sang the song "Poocho Na Kaise Maine" in raga Ahir Bhairav. This song is based on a Bengali composition by Kazi Nazrul Islam, Aruno-kaanti ke go jogi bhikaari, based on raga bhairavi (morning raga)[citation needed].

Other S D Burman hits from this period were Bandini (1963) and Ziddi (1964). In Bandini, Sampooran Singh (well known as Gulzar), made his debut as a lyricist with the song "Mora Gora Ang lai le, mohe shaam rang daai de". Guide (1965) starring Dev Anand, was probably the best of his work during the time with all the songs super hit as well as the film; but unfortunately it did not receive the Filmfare award in best music director category for that year, which remained always a discussion among the Bollywood film pandits.

Aradhana (1969) is considered a landmark score in the Bollywood history. The music of the movie shaped the careers of singer Kishore Kumar, lyricist Anand Bakshi, filmmaker Shakti Samanta and R D Burman (associate music director). For the song "Mere Sapno ki raani", Sachin Dev made R.D play the mouth organ[citation needed]. It was responsible in Kishore Kumar's second coming and went on to make him the top male playback singer of Hindi Films.

His thin timbrel-like voice was used for commentaries in Aradhana and Guide. Sachin Dev Burman’s hits are a plethora. Mentioning some of them will be doing injustice to the rest. He was the reigning music baron of the decades from the 1950s to the 1970s. He worked with the supreme names in Bombay and gave to posterity some of the unforgettable melodies of all times. The films with Dev Anand and Guru Dutt deserve special mention. Shabnam was his most raved about hit with Filmistan. He holds the record for having the greatest number of hits per film.

While paying tribute to his contribution to films, we often overlook Burman’s stage performances with Ustad Fayyaz Khan, Abdul Karim Khan and other such maestros. He was a celebrated singer in intellectual circles of Kolkata. Burman also acted in one film – Dhiren Ganguly’s Bidrohi.

Dev Anand and S D Burman continued their musical partnership in Prem Pujari (1969).

Tere Mere Sapne (1971), Sharmilee (1971), Abhimaan (1973), Prem Nagar (1974), Sagina (1974), Zameer (1974) Chupke Chupke (1975), and Mili (1975) are other classics from this period.

S D Burman went into coma soon after recording the song Badi sooni sooni (sung by Kishore Kumar) for the film Mili.

He died on October 31, 1975 in Bombay (now Mumbai).

On October 1, 2007, marking his 101st birth anniversary, India postal department released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the the state government of Tripura, also confers the yearly, 'Sachin Dev Burman Memorial Award' in Music.

He passed on the baton to his son Rahul Dev Burman who was definitely the greatest achievement that the Sachin Karta could have had. Tributes to Sachin Dev Burman did not cease with him just as his music did not cease with him. Agartala (Tripura), the royal family of his ancestors has a bridge dedicated in his name. An S.D.Burman award has also been set up in his honour. The Sur Singar Samsad Academy Award is given to talents of music. The West Bengal government has decided to declare Sachin Dev Burman’s house a heritage building. A postage stamp was displayed to commemorate his 101st birth anniversary. Sachin Dev Burman wrote his autobiography called Sargamer Nikhad. A biography was released on the minstrel’s 101st birth anniversary. Sachin Dev Burman’s fans have attached the epithet “golden� to his era. Apart from his skill at music, he was known for his professionalism and dedication to his work.

A perfectionist to the core, he waited for the recording of the song Hontho pe aisi baat … till a certain drum arrived from Sikkim. He also set multiple tunes for the same song allowing the film maker to call the final shots. The film Aradhana which established the careers of more than one person like Kishore Kumar, Anand Bakshi etc had Sachin Dev Burman as its music director. The little known facts are that this great musician was also proficient at the flute and took keen interest in angling, hockey and lawn tennis in the manner of the royalty from which he hailed.

On October 1, 2007, marking his 101st birth anniversary, India postal department released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the the state government of Tripura, also confers the yearly, 'Sachin Dev Burman Memorial Award' in Music.

A commemorative postage stamp on Sachin Dev Burman was brought out Monday, coinciding with the 101st birth anniversary of the legendary music maestro and scion of the Tripura royal family that was celebrated with much fanfare here.

"To keep the maestro's memory alive, the Tripura government, as part of the ongoing S.D. Burman centenary celebrations, has renamed the state's music college here after him, and released a music cassette containing 20 of his best songs in Bengali and Kokborok (the state's official tribal language)," said Anil Sarkar, Tripura's information and cultural affairs minister.

The state government has said that besides preserving and promoting his music, it would also support research on the maestro.

"He is very much alive within us ... in our mind and soul through his music," Sarkar said.

The minister had on behalf of the Tripura government recently led an official delegation to Mumbai to felicitate Meera Dev Burman, the music composer's 84-year-old ailing widow.

The 101st birth anniversary was observed with a daylong programme, which included an exhibition depicting the life and work of Burman, grandson of Tripura's 180th erstwhile king Ishan Chandra Manikya.

On the occasion, the Sachin Dev Burman Memorial Award was presented to well-known singer Sadagar Debbarma, who has composed over 400 songs and played a pivotal role in popularising traditional tribal songs and culture.

Born in Comilla's Chortha village, 85 km south of Dhaka (now in Bangladesh), on Oct 1, 1906, Burman was a noted Bollywood music composer and an all-time great Bengali singer and composer. His son Rahul Dev Burman also made it big in Bollywood as a music director.

S.D. Burman was born in the royal family of Tripura and began his training in classical music under his father Nabadwipchandra Dev Burman.

"S.D. Burman's mother Nirupama Devi, who was a princess of the Manipuri royal family, also played a key role by giving inspiration, encouragement and assistance to make him famous," the minister stated.

"The death of his father in 1930 upset him. He left the Tripura palace and went to Kolkata and took shelter in a small rented accommodation and thus began his struggle for existence," said Pannalal Roy, a senior official and editor of a commemorative book on the maestro.

"It still remains a mystery as to why the great singer turned his back on Tripura despite being a scion of the royal family," said Roy.

Roy said that after his father's death, the then Tripura king Maharaja Birbikram Kishore Manikya Bahadur offered Burman the post of education minister, but he preferred to remain in the world of music.

Sarkar said: "The Tripura government, following a recent resolution of the state legislative assembly, has urged the centre to request the Bangladesh government to take steps for conservation of S.D. Burman's ancestral residences in Comilla."

According to him, the Kolkata Municipal Corporation has come forward to declare Burman's north Kolkata house a 'heritage building'.

Filmography

Rajgee (1937)

Jakher Dhan (1939)

Jevaan Sangini (1940)

Protishodh (1941)

Abhoyer Biye (1942)

Chaddobeshi (1944)

Shikari (1945)

Aath Din (1946)

Shabnam (1949)

Baazi (1951)

Jaal (1952)

Baaz (1953)

Taxi Driver (1954)

Devdas (1955)

Pyaasa (1957)

Chalti Ka Naam Gaadi (1958)

Kaagaz Ke Phool (1959)

Sujata (1959)

Bambai Ka Babu (1960)

Tere Ghar Ke Samne (1963)

Bandini (1963)

Ziddi (1964)

Guide (1965)

Jewel Thief (1967)

Prem Pujari (1969)

Aradhana (1969)

Ishq Par Zor Nahin (1970)

Sharmilee (1971)

Naya Zamana (1971)

Tere Mere Sapne (1971)

Anuraag (1972)

Jugnu (1973)

Chhupa Rustam (1973)

Abhimaan (1973)

Phagun (1973)

Prem Nagar (1974)

Zameer (1974)

Sagina (1974)

Chupke Chupke (1975)

Mili (1975)

Awards and recognitions

1934: Gold Medal, Bengal All India Music Conference, Kolkata 1934

1958: Sangeet Natak Akademi Award

1958: Asia Film Society Award


National Film Awards

1970: National Film Award for Best Male Playback Singer: Aradhana: Safal Hogi Teri Aradhana

1974: National Film Award for Best Music Direction: Zindagi Zindagi

1969: Padma Shri


International Jury on Folk Music


Filmfare Awards


1954: Filmfare Best Music Director Award: Taxi Driver


1973: Filmfare Best Music Director Award: Abhimaan


1959: Filmfare Best Music Director Award: Sujata: Nomination


1965: Filmfare Best Music Director Award: Guide: Nomination


1969: Filmfare Best Music Director Award : Aradhana: Nomination


1970: Filmfare Best Music Director Award: Talaash: Nomination


1974: Filmfare Best Music Director Award: Prem Nagar : Nomination


BFJA Awards


1965: Best Music (Hindi Section): Teen Deviyan


1966: Best Music (Hindi Section): Guide


1966: Best Male Playback Singer (Hindi Section): Guide


1969: Best Music (Hindi Section): Aradhana


1973: Best Music (Hindi Section): Abhimaan

http://en.wikipedia.org/wiki/Sachin_Dev_Burman

http://www.bollywoodsargam.com/sports_news...ywood_news.html

http://www.india-forums.com/forum_posts.asp?TID=239069

This post has been edited by rashmi mehta: Apr 4 2009, 10:09 AM

[rashmi mehta]

Madhubala

Madhubala (Hindi: मध�बाला, Urdu: مدھو بالا) (February 14, 1933 �" February 23, 1969), is considered one of the most beautiful actresses to have graced the screens of Bollywood.

Madhubala was born as Mumtaz Jehan Begum Dehlavi in Delhi as the 5th child into a poor, conservative Pashtun Muslim family of 11 children. Mumtaz Begum Jehan Dehlavi, was a popular Hindi film actress who starred in several successful films in the 1950s and early 1960s, many of which have achieved classic and cult status today. With her contemporaries, Nargis and Meena Kumari, she is widely regarded as one of the most talented and influential actresses to have appeared on the screens of Hindi Cinema.

Mumtaz Begum Jehan Dehlavi, famously known as Madhubala, was born in Delhi, India on February 14, 1933. She was Muslim, the fifth child of a conservative family of eleven children.

After Madhubala's father, Ataullah Khan lost his job at the Imperial Tobacco Company, the family endured many hardships including the deaths of four of Madhubala's sisters and her two brothers. Madhubala and four other sisters remained. A Muslim Holy Man is said to have predicted that the young Mumtaz would earn fame and fortune but would lead an unhappy life and die at a young age. Madhubala, with literal meaning of her name being damsel of honey has continued to be considered with utmost admiration, with multiple generation of Hindi movie goers even today. Her father, Ataullah Khan was a coachman in Dehli, who migrated to Bombay remembering the holy man's words and also in search for a better livelihood. In search of a better life for his impoverished family, her father relocated them to Mumbai. There they struggled for over a year and often frequented the Mumbai film studios in search of work. Young Mumtaz entered films at the age of nine.

Her first film was the box-office success, Basant (1942) in which she played the daughter of the popular actress, Mumtaz Shanti. She then went on to act in several films as a child artist. It was the celebrated actress, Devika Rani, impressed by her performances and potential, who advised her to change her name to Madhubala. Her talent was clearly evident and she soon garnered a reputation as a reliable and professional performer. By the time she was an adolescent, her uncommon good looks and tall, lissome figure, meant she was already being groomed for lead roles.

Her first break came when filmmaker, Kidar Sharma cast her opposite Raj Kapoor in Neel Kamal (1947). Until that point, she had always been billed as Mumtaz but after this film she was credited as Madhubala. She was only fourteen years old, but Madhubala had finally arrived on the Indian screen in a lead role. Though the film was not a commercial success, she was noticed and her performance well received.

In the next two years she blossomed into a captivating beauty (film media and fans referred to her as the Venus of the Screen). However it was not until she starred in the coveted lead role of Bombay Talkies production, Mahal in 1949, that Madhubala became a fully fledged star and a household name. Audiences enthused over Madhubala's enigmatic screen presence and beauty. Though she was only sixteen at the time, critics widley acknowledged that her subtle and skillful performance upstaged her seasoned co-star, Ashok Kumar. The film became a popular success and the song Aayega Aanewala heralded the arrival of two new superstars both Madhubala and playback singer Lata Mangeshkar.

In the early 1950s as Madhubala became one of the most sought-after actresses in India, she also attracted interest from Hollywood. She appeared in many American magazines such as Theatre Arts. In their August 1952 issue, Madhubala was featured in an extensive article with a full page photo. The piece was entitled: The Biggest Star in the World (And She's Not in Beverly Hills). It presented the actress as a mysterious and ethereal woman of mythical beauty with a legion of fans.

During this period, on a trip to Mumbai and its film studios, the American filmmaker Frank Capra was pampered and hosted by the elite of the Hindi movie industry. However the one star he really wanted to meet was conspicuous by her absence, Madhubala. A meeting to discuss an opening for Madhubala in Hollywood was proposed by Capra. Madhubala's father declined and put an emphatic end to her potential Hollywood film career.

Madhubala had many successful films following Mahal. With pressure to secure herself and her family financially, she acted in as many as twenty-four films in the first four years of her adult career. Consequently, critics of the time commented that Madhubala's beauty was greater than her acting ability. This was in part due to careless choices in film roles. As sole support of her family, she accepted work in any film, causing her credibility as a dramatic actress to be seriously compromised. Something she later expressed regret over.

Many other hits followed Mahal with a spate of films opposite the leading men of the day- Ashok Kumar, Rehman, Dilip Kumar, and Dev Anand, but by the mid-1950s, some of her films flopped. But she silenced her critics in 1958, when four of her films turned out to be superhits - Phagun opposite Bharat Bhushan, Howrah Bridge opposite Ashok Kumar, Kala Pani opposite Dev Anand and Chalti ka Naam Gaadi opposite her husband-to-be, Kishore Kumar.

Critics said that Madhubala's beauty was greater than her acting ability, but this was in part due to unwise choices on her part and on that of her father, who was her manager. She was the sole support of a large and desperately poor family, and seemed to take on any role she could get, even if her credibility as a serious actress was compromised.

Madhubala was proposed by three men and turned to Nargis who was a close friend for advice. Nargis suggested that Bharat Bhushan would respect her as he was a widower whereas Pradeep Kumar and Kishore Kumar were already married. However she had already made up her mind on Kishore Kumar as he was like a breath of fresh air in her life.

She accepted as he was the first man who came into her life on the rebound whilst shooting Chalti Ka Naam Gadi and Jhumroo. Her father had informed Kishore that Madhubala would be flying to London for a complicated operation and he could marry her on her return but Kishore knew she wanted to get married before she died and he wanted to fulfill her desire.

They had a civil ceremony . His parents refused to attend the wedding and never really accepted Madhubala as they thought she had broken their sons marriage. When Madhubala went to touch her father-in-law's feet he moved away. Madhubala and Kishore also had a Hindu ceremony to please his parents but they were still not happy. This was all in 1960, the year they were married.

She did have aspirations to appear in more prestigious films with challenging roles. Bimal Roy's Biraj Bahu (1954) being a case in point. Madhubala having read the novel, was desperate to secure the lead in the film adaptation. Assuming she would command her market price (one of the highest), Bimal Roy passed her over in favour of a then, struggling Kamini Kaushal. When Madhubala learned that this was a factor in her losing the part, she lamented the fact that she would have performed in the film for a fee of one rupee. Such was her desire to improve her image as a serious actress.

As a star, Madhubala did ascend to the top of the industry. Her co-stars at the time were the most poular of the period: Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand. Madhubala also appeared alongside many notable leading ladies of the time including Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant and Nimmi. The directors she worked with were amongst the most prolific and respected: Mehboob Khan (Amar), Guru Dutt (Mr & Mrs 55), Kamal Amrohi (Mahal) and K. Asif (Mughal-E-Azam) . She also ventured into production and made the film Naata (1955) which she also acted in.

During the 1950s, Madhubala proved herself a versatile performer in starring roles, in almost every genre of film being made at the time. She was the archetypal lady fair in the popular swashbuckler, Badal (1951) and was next seen as an uninhibitted village belle in Tarana (1951). She was convincing as the traditional ideal of Indian womanhood in Sangdil (1952) and was well received in a comic performance as the spoilt heiress, Anita in Guru Dutt's classic satire Mr. and Mrs. 55 (1955). In 1956 she had success in historical costume dramas such as Shirin-Farhad and Raj-Hath. Equally successful in contemporary characterizations, she was memorable in a double role in the social film Kal Hamara Hai (1959). Madhubala played the cigarette smoking dancer Bella, and her more conventional saintly sister Madhu.

Suddenly in the mid-1950s her films, even major ones like Mehboob Khan's Amar (1954), fared so badly commercially that she was labelled "Box Office Poison". She turned her career around in 1958, with a string of hit films: Howrah Bridge opposite Ashok Kumar featured Madhubala in the unusual role of an Anglo-Indian Cabaret singer, embroiled in Calcutta's Chinatown underworld. She made a big impact with a daring (for the time) Westernized image, with her cascading locks, deep cut blouses, fitted Capri pants and tailored Chinese dresses. Madhubala's sensuous torch song from the film, Aye Meherebaan, dubbed by Asha Bhosle, was a popular hit with audiences, and is widely quoted and celebrated to this day. Howrah Bridge was followed by Phagun opposite Bharat Bhushan, Kala Pani opposite Dev Anand, the perennial hit Chalti Ka Naam Gaadi opposite her husband-to-be, Kishore Kumar and Barsaat Ki Raat (1960), opposite Bharat Bhushan again.

In 1960, she consolidated these successes, and her super-star status when she went on to appear in the epic mega-budget historical, Mughal-E-Azam. This film is widley perceived to be the crowning glory of her career and perhaps the decade of filmmaking in India.

It was the film Mughal-e-Azam that marked what many consider to be her greatest and definitive characterization as the doomed courtesan Anarkali. Director K. Asif, unaware of the extent of Madhubala's illness, required long and grueling shooting schedules that made heavy physical demands on her. Whether it was posing as a veiled statue in suffocating make-up for hours under the sweltering studio lights or being shackled with heavy chains. From 1951 through to 1959 Madhubala invested her best efforts into Mughal-e-Azam. Post 1956 and her separation from Dilip Kumar, the film's remaining intimate romantic scenes were filmed under much tension and strain between Madhubala and her now estranged co-star. This emotionally and physically taxing experience is widely perceived as a major factor in her subsequent decline in health and premature death.

On August 5, 1960, Mughal-e-Azam released and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in 1975. It still ranks second in the list of all time box-office hits of Indian cinema (inflation adjusted). Despite performing alongside the most respected acting talent of the industry, Prithviraj Kapoor, Durga Khote, and Dilip Kumar, critics recognised and appreciated Madhubala's intelligent and multi layered performance. She received some recognition as a serious actress when she was nominated for a Filmfare Award. However she did not win, losing out to Bina Rai for her performance in the film Ghunghat (1960). In Khatija Akbar's biography on Madhubala (see reference section), Dilip Kumar paid tribute to her talent: "Had she lived, and had she selected her films with more care, she would have been far superior to her contemporaries. Apart from being very versatile and an excellent artiste, she had a warm and cheerful nature. God had gifted her with so many things..."

In 1960, Madhubala hit the peak of her career and popularity with the release of back-to-back blockbusters Mughal E Azam and Barsaat Ki Raat.

In 1960, it was Mughal-e-Azam that marked one of her greatest performances as the doomed courtesan Anarkali Wali. Sadly, being plagued with a persistent heart disease, she was confined to bed for the last nine years of her life. She did have the odd release in this period like Passport (1961), Jhumroo (1961), Boy Friend (1961), Half Ticket (1962) and Sharabi (1964), but they were mostly old films that managed to limp towards release but above average at the box-office.

However, most of her other films issued in this period were marred by her absence in later portions when her illness prevented her from completing them. They suffer from compromised editing and in some cases the use of "doubles" in an attempt to patch in scenes that Madhubala was unable to shoot.

She was offered strong, author-backed roles, but her deteriorating health did not permit her to enjoy this period and develop as an actress. At this point Madhubala became so ill that she could not accept any new films or even complete her existing assignments. In the biography by Khatija Akbar, her frequent co-star Dev Anand recalled: "She was so robust and full of life and energy. She was always laughing and enjoyed her work.

One could never conceive she was seriously ill. Then one day out of the blue she just disappeared...".

Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971, two years after her death. Incidentally, apart from some Technicolor sequences in Mughal-e-Azam, Jwala is the only time Madhubala appeared in a colour film.

Madhubala's heart problem was discovered in 1950 after she frequently coughed up blood on the sets. She was born with a cardiac defect commonly known as a "hole in the heart". At the time, heart surgery was not widely available.

Her illness was kept a secret from the industry for many years, though one incident was widely reported by the film media in 1954. Madhubala was filming in Madras for S.S. Vassan's film Bahut Din Huwe. She became very ill and vomited blood on the set. Vassan and his wife were very hospitable and cared for her until she was well again. Madhubala was extremely grateful and as a result broke her own rule of never attending film premieres, even her own, by making an exception for Bahut Din Huwe (1954) and the following year, another Vassan production, Insaniyat (1955). The incident in Madras was down-played and soon forgotten, enabling Madhubala to continue working and to establish herself as an A-grade star.

In 1960, Madhubala sought treatment in London as her condition deteriorated. Complicated heart surgery was in its infancy and offered her some hope of a cure. After an examination the doctors there refused to operate, convinced her chances of surviving the procedure were minimal[citation needed]. Their advice was that she should rest and avoid overexertion, and predicted that she could live for another year. Knowing her death was imminent, Madhubala returned to India, but defied the predictions by living for another 9 years.

In 1966, with a slight improvement in her health, Madhubala tried working again opposite Raj Kapoor in the film Chalack. Film media heralded her "comeback" with much fanfare and publicity. Stills from this time showed a still beautiful but pale and wan-looking Madhubala. However, within a few days of filming, her frail health caused her to collapse and the film remained incomplete and unreleased.

When acting was clearly no longer an option, Madhubala turned her attention to film making. In 1969 she was set to make her directorial debut with a film named Farz aur Ishq. However the film was never made, as during the pre production stages, Madhubala finally succumbed to her illness and died on February 23rd, 1969, shortly after her 36th birthday. She was buried at Santa Cruz Cemetery by her family and husband Kishore Kumar.

In her short life, Madhubala made over 70 films. She is often compared with Marilyn Monroe and has a similar position in Indian film history. Perhaps because she died before being relegated to supporting or character roles, to this day Madhubala remains one of the most enduring and celebrated legends of Indian cinema. Her continuing appeal to film fans was underlined in a 1990 poll conducted by Movie magazine, when Madhubala was voted the most popular Hindi actress of all time, garnering 58% of the votes.

I consider her similar to Geeta Bali in this manner who also died as early as 35 and did similar number of movies. Both were known for their beauty, acting and energy.

Why Dilip Kumar never married Madhubala::Bollywood Vintage love

the gorgeous Madhubala was immortalised when the Indian government released a stamp in her name. We spoke to her youngest sister, Madhur Bhushan, who gave us a closer insight into Madhubala's life, her romance with Dilip Kumar, her unhappy marriage to Kishore kumar, and her illness. Madhur, whose real name is Zahida, is nine years younger than Madhubala. Out of 10 children, she is one of the four still alive. Over to Madhur:

On Madhubala's entry into films

My father, Ataullah Khan, was working in the Imperial Tobacco Company in Peshawar, Pakistan, when he lost his job and decided to come to Mumbai. Madhubala was seven at that time. Her real name was Mumtaz Begum. We called her Mazliappa, as she was the fifth child. My father started looking for a job. He also took Madhubala to film studios. She got work in Basant (1942) at the age of nine.

The leading lady's name was Mumtaz Shanti, so Madhubala was called Baby Mumtaz, when she was a child actress. She got her first break in Kirdar Sharma's Neel Kamal. Kirdar's wife was supposed to play the lead role but she passed away. As Madhubala knew the dialogues, she became a heroine at the age of 13. From this film onwards, she was credited as Madhubala. The film did not do well, but her work was appreciated. Madhubala shot to fame in 1949 with Mahal. She was 16. At that time, no one realised that she was sick, not even my father. Madhubala was a healthy child, and very bubbly.

'Madhubala was not ready to believe that she was sick' On Madhubala's illness

Madhubala first vomited blood when she was in Chennai shooting for S S Vassan's Bahut Din Huwe (1954). She was treated, and she resumed shooting. Nobody thought she was sick until she fainted on J K Nanda's sets while shooting with Raj Kapoor on Chalack (1957). The film never got completed. That's when the doctor said that she had a hole in her heart. She was 24 then. She was advised bed rest for three months, but after a month of rest, Madhubala resumed work. Looking at her, one would not say that she was sick. She, herself, was not ready to believe that she was sick.

Her last film was Mughal-E-Azam, which released in 1960. People think that she worked after that too, but that's not true. She had completed all her films in the 10 years that it took for Mughal-E-Azam to be made. Some movies released after she was bedridden but she was in no condition to work after Mughal-E-Azam. In fact, in some of the scenes, you will notice that she looks pale and sick.

'Madhubala's father never allowed her to attend movie premieres' On her family

People say that my family knew she was ill but we did not treat her; that we hid this fact from producers to get work. But there was no technology back then to check whether she had a hole in a heart, so how would any of us know? We came to know only in 1957. After three years, she went to London for treatment. But it was too late. Madhubala died after nine years.

Everybody blamed my father. But he was protective about his daughters since his sons had died at the ages of five and six. He was an uneducated man but he was like Madhubala's manager. He took care of her work but never interfered on what films she should take up. He never allowed Madhubala to attend movie premieres because he felt overexposure would kill her career. He always wanted fans to crave for her.

In the picture: Bharat Bhushan and Madhubala in a still from Barsaat Ki Raat.

'She loved Dilipsaab till the day she died' On her romance with Dilip Kumar

The reason Madhubala broke up with Dilip Kumar was B R Chopra's film Naya Daur, not my father. Madhubala had shot a part of the film when the makers decided to go for an outdoor shoot to Gwalior. The place was known for dacoits, so my father asked them to change the location. They disagreed because they wanted a hilly terrain. So my father asked her to quit the film. He was ready to pay the deficit.

Chopra asked Dilip Kumar for help. Dilipsaab and Madhubala were engaged then. Dilipsaab tried to mediate but Madhubala refused to disobey her father. Chopra's production filed a case against her, which went on for a year. But this did not spoil their relationship. Dilipsaab told her to forget movies and get married to him. She said she would marry him, provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life. She loved Dilipsaab till the day she died.

'Kishore Kumar was not a good husband' On Madhubala's marriage to Kishore Kumar When Madhubala fell sick and was planning to go to London for treatment, Kishore Kumar proposed marriage. My father wanted her to wait and get a clean chit from the London doctors first. But Madhubala married Kishore Kumar out of stubbornness, and anger towards Dilipsaab. They got married in 1960. She was 27 years old.

Once the doctor gave his verdict -- that she would not live for long -- Kishorebhai brought her a house in Mumbai's Carter Road and dumped her there alone, with a nurse and a driver. He would come once in about four months to see her. He did not take her phone calls. Kishorebhai was madly in love with Madhubala but once she returned from London, he dumped her. He was not a good husband.

Madhubala was very depressed because no one came to meet her. Once upon a time, she was hot property in the industry. But when she was bedridden and dying, not a single person met her. Also, she could no longer dress up. She was in night gowns most of the time. She died at the age of 36.

Madhubala the indian icon

When she was a success, she was referred as the Venus Queen but when she was unsuccessful, she was called box office poison.

Later in her teenage years Devika Rani renamed her Madhubala

. In 1949 the movie which made her box office success was Mahal, at the age of sixteen Madhubala became a star.

On the sets of Tarana, Madhubala met and fell in love with co star Dilip Kumar. Madhubala sent a rose with a note to Dilip Kumar dressing room telling him to accept it if he loved her. Dilip Kumar quite amused with the gesture accepted the rose, unaware that Madhubala had already done this with another co star on the sets of her film Badal. At the time Madhubala was young and nave and was easily falling in love with her co-stars or directors, namely Kamal Amrohi the director of Mahal. However Madhubala was madly in love with Dilip Kumar, she had become so smitten by him that she totally forgot about her other love interests.

Unfortunately for Madhubala, Dilip Kumar and Premnath her co star in Badal worked in a film together and they learnt of Madhubala deception. Premnath quickly stepped away from the relationship giving Dilip Kumar and Madhubala a chance to continue their courtship. Dilip Kumar and Madhubala had a seven year courtship and in the time they made four movies together including the unforgettable Mughal E Azam. Their relationship ended abruptly when Madhubala father refused for Madhubala to go to outdoor shooting for the movie Naya Daur. The director therefore dropped Madhubala and asked another actress to take the role.

Madhubala father became angry that his daughter had suddenly gotten kicked off the movie that he threatened to sue the director, the director then counter sued and the matter ended up in court where Dilip Kumar testified against Madhubala. In court when being questioned Dilip Kumar declared his love for Madhubala.

Including the court case and other matters Dilip Kumar and Madhubala relationship ended abruptly. There was also the matter of Madhubala father, the possessive and arrogant man didn't want Madhubala to get married to Dilip Kumar as she was a sole earner of the family and if she left, she would take her income with her.

Even though their relationship had ended they still had to work together as Mughal E- Azam wasn't completed yet. In the period they worked together in Mughal E- Azam Dilip Kumar did not utter a word to Madhubala and the only words he said to her was the words of Salim. There was scene in the movie were Salim slapped Anarkali across the face, Dilip Kumar did this with such force that tears came to Madhubala eyes. Madhubala couldn't cope and put all her sorrows into the movie, Madhubala had now become like her character Anarkali, the father separating the two lovers but in this case it was Madhubala father playing Akbar and not letting his daughter seek happiness.

Whilst making Jhumroo and Chalti ka naam ghadi Madhubala met Kishore Kumar her future husband. Madhubala was proposed by three men, but she chose to marry Kishore Kumar an already married man. Madhubala chose to marry Kishore Kumar because she met him on the rebound from her break up from Dilip Kumar. Kishore Kumar was breath of fresh air after the bitter relationship with Dilip Kumar. After Kishore Kumar divorced his first wife in 1958 he married Madhubala, Kishore Kumar converted to Islam. Kishore Kumar parents weren't too happy about the marriage and refused to accept Madhubala as a daughter in law.

To please them, Madhubala and Kishore Kumar had Hindu wedding ceremony but to no avail, they were still stubborn.

Kishore Kumar loved Madhubala but he was not a decent husband, Kishore Kumar married Madhubala because he thought she could help him financially. The only reason Kishore Kumar signed Chalti Ka naam Ghadi because he thought it would flop at the box office and he would be relieved from paying tax. At the time of their marriage Kishore Kumar wasn't financially secure and wished Madhubala would help him out. Of course Madhubala only used her money on her family and didn't help Kishore Kumar but after the success of Chalti ka naam ghadi Kishore Kumar didn't need any money of Madhubala.

In 1960 Mughal E Azam was finally finished, after working on it for ten years Madhubala finally completed the five hour movie which had become a classic in the Indian cinema. Even though she portrayed the tragedian Anarkali with such convection Madhubala didn't receive the filmfare award that she deserved.

By the 1960 Madhubala's health had deteriorated and she had to step down from making any more movies of course she had the odd releases in the 60's but they were mostly old movies that were finally released. Such movies as half ticket with Kishore Kumar, Sharabi and passport and her last movie was Jwala with Sunil dutt, this was the only colour movie that she made in her lifetime. Well Mughal E Azam was coloured after she had gone.

In her last days on this earth Madhubala was confined to her bed, she had odd visits from friends and family's but no one wanted to know about her anymore. When she was famous and in the lime time, everyone was falling to her feet but when she was dying no one was there not even her husband.

Madhubala tried making a comeback in a movie with Raj Kapoor but on the very first day she collapsed on the set and the movie was shelved. She also tried filmmaking but she never had the chance to fulfil her desire. Madhubala died on the 23rd of February 1969 on a Sunday morning nine days after her 36th birthday. The day before her death Madhubala expressed her feelings to see Dilip Kumar but he did not come. Madhubala was buried at Santacruz burial ground with her diary, Dilip Kumar did not attend the funeral, and it is not known if he was invited.

Madhubala has more fans now then she did when she was alive, from old people who remember watching her movies when they were young and youngster who after watching Mughal E Azam have become fascinated with the beautiful Anarkali and the actress Madhubala. Her young fans are dedicating videos on utube and making tribute videos in her memory. Madhubala has more video dedicated to her on utube then any thespian in the movie industry. Just recently on 18th March 2008 a stamp was produced by the Indian post featuring pictures of Madhubala, the only actors to be given this honour was Nargis, Guru Dutt and Kishore Kumar.

Madhubala will remain an icon around the globe for many years to come, as she is gaining fans everyday. After the re- release of Mughal E Azam in colour youngster were able to appreciate Madhubala in colour and become mesmerised in her beauty and talent. None of the actress today compare to Madhubala and the only other actress that could be closely compared to her is Madhuri Dixit and yet Madhuri Dixit still misses something.

May she rest in peace, the wonderful, talented, beautiful and the one and only Madhubala.

http://www.iloveindia.com/indian-heroes/madhubala.html

http://www.imdb.com/name/nm0534870/bio

http://www.imdb.com/name/nm0534870/

http://www.4to40.com/legends/index.asp?id=838

http://en.wikipedia.org/wiki/Madhubala

http://www.bollymood.com/biography/madhubala/

http://www.helium.com/items/1133698-madhubala

This post has been edited by rashmi mehta: May 7 2011, 09:21 PM

[rashmi mehta]

SARASWATI RANE

SARASWATI RANE as Sakina [Chhotutai] was born in Miraj (October 1916). Sakina was the youngest daughter of the legendary maestro of the Kirana gharana, Ustad Abdul Karim Khan Sahib and Smt. Tarabai Mane. After separating from Karim Khan, Tarabai renamed all her children and Sakina became Kumari Saraswati Mane. The surname "Mane" was derived from her mother's surname. Saraswati was initiated into music by her illustrious brother Sureshbabu Mane. After about 1930, she also learnt from her sister Smt. Hirabai Barodekar, Ustad Nathan Khan (1889-1946) of the Jaipur gharana and Prof. B. R. Deodhar of the Gwalior gharana.

Working on stage in her mother's 'Nutan Sangeet Natak Mandali', with luminaries like Bal Gandharva, Master Krishnarao, Vinayakbuwa Patwardhan, Sawai Gandharva and Meenakshi Shirodkar, musicals like 'Soubhadra', 'Sanchaya Kollol' and 'Ekacha Pyala' brought her fame. Between 1929 and
1933 she cut several discs with the ‘Odeon’ label under the name of Kumari Saraswati Mane, rendering Hindi Bhajans and Marathi Bhavgeet.

In the meantime, she married Mr. Sunderrao Rane. In the early 1940's, she made recordings as a playback singer for movies such as 'Paisa Bolto Aahe' (Marathi, 1943). She also acted in a Marathi film 'Savitri', and later took to playback singing for Marathi and Hindi films. She provided playback to over 50 films. She sang in almost all the films produced by Acharya P. K. Atre. Her song 'Beena madhur madhur vacha bol' in raga Bhimpalas from the Hindi/Marathi film 'Ram Rajya' (Prakash Films) was most popular. Her songs were heard all over North India. Younger listeners will probably remember her rendering Raga Shudh Kalyan with her grand daughter Shrimati Meena Faterpekar in the movie 'Bhumika', directed by the renowned director Shyam Benegal.

Saraswati Rane cut over 200 songs on 78 rpm discs consisting of classical, light classical and film songs. She was probably one of the pioneering female playback singers of the Indian film industry.

However, in order to concentrate on the performance of Hindustani classical music, at one point in time she virtually stop accepting offers for playback singing. By then, she was a regular performer for All India Radio, and had also made several gramophone records with 'Odeon', 'His Master's Voice', 'Columbia', and 'Young India' records, apart from her countrywide concert tours. Her renderings of Ragas Chandrakauns, Basant Bahar, Yaman and the immortal Marathi numbers 'Ghanashyam Nayani Aalaa', 'Jaa Ghevuni Sandesh Pakhara', the duets with her sister Hirabai Barodekar remain ever-popular. She also had the honour of singing the Maharashtra Geet on the very first Maharashtra Day, the 1st of May, along with her sister. She has also recorded a LP record of duet with her sister Heerabai Barodekar in 1960. She received several awards including the prestigious ITC Award 2006, presented at the ITC Sangeet Sammelan in Delhi.

She was very active in music circles and used to attend music programs and functions. She attended the Hirabai Barodekar birth centenary program at Sharada Sangeet Vidyalaya, Bandra in May 2006. She participated in this function and sang raga Todi. Smt. Saraswatibai Rane, the last living member of Ustad Abdul Karim Khan’s family passed away at Pune on Tuesday October 10, 2006.

This post has been edited by rashmi mehta: Mar 30 2009, 03:18 PM

[cYb0rG]

Member Rashmi Mehta

If the biographical posts you have been posting for the past few days are not your own writes, make it a point to give the source and courtesy links to the original articles. The authors of these articles may object the reproduction of their works. If such objection is made the same will be removed or deleted from this board.

Admin.

[rashmi mehta]

respected sir,

will reply in all biography

just give me 2 days plz

as i had collected all informations from many links

thanking u sir.

This post has been edited by rashmi mehta: Mar 30 2009, 02:47 PM

[rashmi mehta]

Nusrat Fateh Ali Khan

Nusrat Fateh Ali Khan (Urdu: �†صرت �تح ع�„�‰ خاں, October 13, 1948 �€“ August 16, 1997), was a Pakistani musician, primarily a singer of Qawwali, the devotional music of the Sufis (a mystical tradition within Islam). He featured in Time magazine's 2006 list of 'Asian Heroes'. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwali.


Date of Birth 13 October 1948, Lyallpur, Faisalabad, Punjab, Pakistan

Died August 16, 1997 (aged 48) London, England, UK (cardiac arrest)

Genre(s) Qawwali, Ghazal

Occupation(s) Singer

Instrument(s) Harmonium Tabla Vocals

Representative Albums: "Devotional Songs," "Shahbaaz," "Greatest Hits of Nusrat Fateh Ali Khan"

Representative Songs: "Mustt Mustt," "Haq Ali Ali Haq," "My Heart, My Life"

Years active 1965-1997

Holds the world's record (verified by the Guinness Book of World Records) for the biggest recording output by a Qawwali artist (a total of 125 albums of recorded music).

Brother of Farrukh Fateh Ali Khan and uncle of Rahat Ali Khan.

Considered one of the greatest singers ever recorded. He possessed a six-octave vocal range and could perform at a high-level of intensity for several hours.

His family have been musicans and singers of Qawwali (Islamic devotional music) for six centuries. Nusrat's father, himself a singer, died in 1964 when Nusrat was about 16. His father had wanted his son to become a doctor because Qawwali is a very challenging style to learn. Ten days after his father's death, Nusrat had a dream where his father came to him and told him to sing, touching his throat. Nusrat woke up singing, and gave his first public performance at his father's funeral ceremony forty days later.

Category World Music DVDs, Music Video Movies, Pop Music Videos Videos, Live Performances, Live Concerts, World, India/Pakistan

Composer Nusrat Fateh Ali Khan


Without doubt, the most important qawwal is Nusrat Fateh Ali Khan & Party; "party" being a generic term for a qawwali ensemble. Between 1973 and 1993, his recorded output could only be described as prodigious, with more than 50 albums to his ... Full Descriptionname on numerous Pakistani, British, American, European and Japanese labels. This concert was recorded at the height of Khan's career and fully displays his vocal mastery and tremendous power in performance.

Qawwali is the vibrant music of Sufi tradition that has been practiced for over 700 years, and Nusrat Fateh Ali Khan's family has performed it for over 600 of those. The artist is the most prolific and popular contemporary practitioner of the form, and he is shown here in concert at the peak of his career.

Nusrat Fateh Ali Khan was born on October 13, 1948 in the city of Faisalabad, Pakistan. He was the fifth child and first son of Ustad Fateh Ali Khan, a distinguished and legendary musicologist, vocalist, instrumentalist, and Qawwal. Nusrat's family, which included his four older sisters and his younger brother, Farrukh Fateh Ali Khan grew in central Lyallpur, in a small flat which was rented from a local businessman.

Qawwali is a performance art that has traditionally been passed down within families. Nusrat's family has an unbroken tradition of performing Qawwali for approximately 600 years[citation needed]. Nusrat's father was initially reluctant to allow him to enter the family business, instead hoping his son would become a doctor or an engineer, having felt Qawwals had a low social status. However, Nusrat's enthusiasm for Qawwali eventually persuaded his father to train him in the art. Nusrat began by learning to play tabla alongside his father before progressing to learn Raag Vidya and Bolbandish. He then went on to learn to sing within the classical framework of khayal in the Qawwal Bachchon Ka Gharana and was taught dhrupad from the Dagar family.

As a young qawwal, Khan learned his art in the traditional manner, through his family. His father, Ustad Fateh Ali Khan, as well as his uncles, were qawwalis, and they trained Khan in the family tradition of singing in a high register. Khan also received instruction on the tabla, a small hand drum.Khan's training with his father was cut short when his father died in 1964, leaving Nusrat's paternal uncles, Ustad Mubarak Ali Khan and Ustad Salamat Ali Khan, to complete his training.

His first performance was at a traditional graveside ceremony for his father, known as chehlum, which took place forty days after his father's death. In 1971, after the death of Ustad Mubarak Ali Khan, Nusrat became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. Nusrat assumed leadership of the party, despite the fact that Mujahid Mubarak Ali Khan, who was Ustad Mubarak Ali Khan's son, was considerably older than him.

Nusrat's first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organised by Radio Pakistan, known as Jashn-e-Baharan. Nusrat went on to distinguish himself from other Qawwals and became renowned on the Indian subcontinent and in the Muslim world. He sang mainly in Urdu and Punjabi and occasionally in Persian, Brajbhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Nusrat's sargam improvisations and attracted a large number of listeners.

Early in his career, Nusrat was signed up by Oriental Star Agencies [OSA] of Birmingham UK to their Star Cassette Label. OSA sponsored regular concert tours by Nusrat to the U.K. from the early '80s onwards, and released much of this live material (albeit not always very well recorded) on cassette, CD, videotape and DVD.

The vast majority of Nusrat's qawwali performances that are available today in video format on various labels comes from these OSA-sponsored concert tours.

Nusrat Fateh Ali Khan, internationally recognized for his mastery of a form of Islamic devotional music known as qawwali (pronounced kah-wah-lee), first gained significant attention in the United States in 1989 when he performed at the Brooklyn Academy of Music's Next Wave Festival. Prior to that, the Sabri Brothers had been the United States' significant import of traditional Pakistani music, appearing in the United States during the mid-1970s. Three years after Khan's first U.S. appearance, the singer would spend a year as artist in residence at the University of Washington's music department.

New York Times music critic Jon Pareles places qawwali in an ecstatic musical tradition alongside American gospel, Moroccan joujouka, and even techno music, which tends to create emotional highs through simple melodies and driving beats, gathering "intensity through repetition and improvisational flights." Qawwali is believed to have originated among the Chisti order of Sufis in the tenth century.

Khan's large, almost Buddha-esque body often moves in rapid motion to his music's emotional peaks; his hands jab outward, brushing, as if carving the images of divine spirit from the air. His rapt audience--at least those of Pakistani background, who comprise the greater portion of his listeners--follows with fevered shouts and dancing, afterwards gathering below the stage to shower their beloved singer with money and flowers. Khan seems to almost goad his listeners into musical intoxication, pleading in fierce cries, imitating the rhythmic insistence of the drums, and calling back and forth with other singers in his "party," the favored term for the other singers (qawwalis) and instrumentalists who sit in a group on the stage with the lead qawwal.

The World Music Institute, located in New York City, has been a chief promoter of Khan's work in the West, along with many other important nonwestern folk and classical musicians. For example, in 1993 Khan opened and closed a five-hour "Masters of India and Pakistan" concert that featured music of his region, Hindustani, as well as the work of performers from southern Pakisan.

sing through the whole day or night in religious celebration. "When I had the stamina, I'd sing for 10 hours," he once recalled. But, by age 45, the singer found himself limited to sessions of three or four hours. These shrines, or dargahs, are generally the tombs-- symbolic or otherwise--of saints where the faithful enter musically induced, trance-like states allowing communion with God. Traditionally, qawwalis sat opposite the saint's tomb. In the intervening space would be the audience in a circle formation, and in its center a spiritual leader surrounded by prominent devotees. Such sites are the true home of qawwali, although the music has also been performed at important events such as weddings feasts.

In his introduction to the program for Khan's 1993 World Music Institute performance, Robert Browning wrote, "The qawwal will dwell on certain words ... creating great depth in the apparently simple language of certain Sufi texts. He will often repeat a phrase or sentence indicating both the obvious and hidden content by emphasizing or ruminating upon particular words and syllables ... [so that, for example] a spinning wheel becomes the wheel of life." Qawwali texts are most commonly medieval Persian Sufi poetry, and Khan, like other qawwalis, learns each poem by heart. Although the verses are available in books, it is the manner of performing each text that must be learned from another qawwal. Thus, the music is basically an oral tradition.

Browning stated that "rarely is a complete poem recited--rather the singer will join segments from different poems or add lines from another text." This free association from memorized poems is done to emphasize a certain meaning, or to try a new direction in the effort to move the audience to spiritual awakening. The qawwal must exhibit great sensitivity in noting when a listener is moved to divine ecstasy, and must repeat the same phrase over and over; according to Sufi belief, interruption would threaten the ecstatic with death.

Often, qawwali poetry's apparent subject is romantic love, or even wine intoxication--though liquor is shunned by Islam. These are symbolic subjects, however: romantic love serves as an allegory and facet of divine love, while intoxication refers to the joyous trance induced by qawwali. The oft mentioned "tavern," as in the famous Persian poem "In the Tavern of Ruin," refers to one's spiritual master who houses God's love.

The melodic sources for performing qawwali poems are usually set by trdition. The tunes are North Indian in nature, meaning the octave has seven degrees and the various scales come from light classical ragas. Ragas are a traditional form of Hindu music, calling for improvisation on a theme evoking religious belief, the improvisation generally following prescribed patterns and progressions. Modern qawwali represents a spectrum of influences and geographic territories.

Generally associated with the Sufi religion, qawwali also has Hindu, Sikh, and Muslim followers. Currently, Urdu is the music's "first language," as Ken Hunt noted in his profile of Khan for Folk Roots. However, qawwalis also sing in Hindi, Sindhi, Punjabi, and classical Persian, not to mention local tongues. The literary sources of qawwali range too, though texts are chiefly medieval Persian Sufi poetry. The program for Khan's 1993 tour included, for example, a thirteenth-century Persian poem by the famed Amir Khusrau.


In his article for Folk Roots, Hunt described the scowl that comes over Khan's face when discussing the depiction of qawwali in films. For several years a debased form of qawwali has formed the soundtrack of many movies generated by a prolific Indian film industry. Khan understandably decries this long-standing commercialization of a sacred art form.

Yet, as an artist himself, Khan has embraced nontraditional elements since his 1989 U.S. visit. Western instruments and such big-name musicians as Jan Garbarek and Peter Gabriel have strongly influenced Khan's output in recent years. This Western flavor is evident in the singer's recording Mustt Mustt and numerous remixes, including those by Bally Sagoo in Magic Touch.

Khan defends such breaks with tradition as "experiments" and seems to feel that attracting an audience is important to make people aware of qawwali. The pressures on this revered singer to widen his audience echo those placed on performers of any type of traditional folk music. The artist is pulled in two directions: As a traditionalist, he is entrusted with preserving the music's form, and yet as a musician, he feels the need to discover new forms of self-expression. Noting that many qawwalis have abandoned shrine performance for financial reasons, Khan has expressed that he cannot forego his spiritual and personal links to such sites. Each year, he returns to perform at two dargahs, one in Lahore and one in Pak Patan.

Khan has made numerous recordings over the years, with titles now numbering more than 100. While his works of the early 1990s disappoint some fans of the traditional sound who find in the modern output a weakening of musical and spiritual integrity, such early classical recordings as En Concert a Paris and Traditional Sufi Qawwalis Volumes 1 and 2 form a timeless buffer against loss of the past.

Nusrat reached out to Western audiences through his work with Peter Gabriel on the soundtrack to The Last Temptation of Christ in 1985, his collaborations with Canadian musician Michael Brook (on the albums Mustt Mustt (1990) and Night Song (1996) and his work with Pearl Jam lead singer Eddie Vedder in 1995 on two songs for the soundtrack to Dead Man Walking. He also contributed to the soundtrack of Natural Born Killers. Nusrat was unhappy with the use of his vocals on the Natural Born Killers soundtrack, stating that the nature of the film was contrary to the beliefs and the ideals conveyed in his work.

Peter Gabriel's Real World label later released five albums of Nusrat's traditional Qawwali, together with some of his experimental work which included the albums Mustt Mustt and Star Rise. Nusrat provided vocals for The Prayer Cycle, which was put together by Jonathan Elias, but died before the vocals could be completed. Alanis Morissette was brought in to sing with his unfinished vocals. He also performed traditional Qawwali before international audiences at several WOMAD world music festivals and the single Dam Mast Qalandar was remixed by electronic trip hop group Massive Attack in 1998.

His album Intoxicated Spirit was nominated for a Grammy award in 1997 for best traditional folk album.

When Nusrat toured in foreign countries, he would watch television commercials in order to identify the melodies and chord progressions popular in that country. He would then try to choose similar sounding songs from his repertoire for his performances.[citation needed] After his death, the song "Solemn Prayer", on which Nusrat provided vocals, was used by Peter Gabriel on his album Up and in the soundtrack to the film Blood Diamond.

Nusrat contributed songs to, and performed in, several Pakistani films. Shortly before his death, he recorded a song each for two Bollywood films, Aur Pyaar Ho Gaya (in which he also appeared) and Kachche Dhaage. He also sang the immensely-popular title song of the film, Dhadkan. There was also a song sung by him in the movie Kartoos, starting Sanjay Dutt and Manisha Koirola

Nusrat contributed the song 'Gurus of Peace' to the album 'Vande Mataram', composed by Oscar-winning composer A.R. Rahman, and released to celebrate the 50th anniversary of India's independence.

According to the Guinness Book of World Records, Nusrat Fateh Ali Khan holds the world record for the largest recorded output by a Qawwali artist�€�a total of 125 albums as of 2001. Since then, many posthumous albums have been released, but an accurate count of the total number of albums is not available.

Nusrat was taken ill with kidney and liver failure on August 11, 1997 in London, England while on the way to Los Angeles in order to receive a kidney transplant. Nusrat died of a sudden cardiac arrest at Cromwell Hospital, London, on Saturday, August 16, 1997, aged 48, at the height of his career. His body was returned to Faisalabad, Pakistan and his funeral was attended by thousands of people.

Nusrat's style of Qawwali

Nusrat is responsible for the modern evolution of Qawwali. Though not the first to do so, he popularized the blending of khayal singing and techniques with Qawwali. This, in short, took the form of improvised solos during the songs using the sargam technique, in which the performer sings the names of the notes he is singing. He also attempted to blend Qawwali music with more western styles such as electronic music.

Nusrat's Qawwali usually follows the standard form. A song begins with a short instrumental prelude played on the harmonium, accompanied by percussion. Then the instruments refrain, and the main singers launch into the alap, which establishes the raag, the tonal structure of the music. At this point, introductory poetic verses are sung. These are usually drawn not from the main song, but from thematically related songs. The melody is improvised within the structure of the raag.

After the introductory verses, the main song starts, and the rhythmic portion of the song begins. The tabla and dholak begin to play, and the chorus aids and abets percussion by clapping their hands. The song proceeds in a "call and response" format. The same song may be sung quite differently by different groups. The lyrics will be essentially the same, but the melody can differ depending on which gharana or lineage the group belongs to. As is traditional in Qawwali, Nusrat and the side-singers will interject alap solos, and fragments of other poems or even improvised lyrics. A song usually has two or three sets of refrains, which can be compared to the verse chorus structure found in western music. Songs last about twenty minutes on average, with a few lasting an hour or more.

Nusrat was noted for introducing other forms of improvisation into the style. From his classical music training, he would interject much more complex alap improvisations, with more vibrato and note bending. He would also interject sargam improvisations.

While it is undoubtedly difficult to put into words what makes Nusrat's music so deeply appealing to so many listeners, many of whom do not understand a single word of the languages he sings in, here is one fan's attempt to explain: "Nusrat's music invites us to eavesdrop on a man communing with his God, ever so eloquently. He makes the act of singing a passionate offering to God. But we do not merely eavesdrop. The deepest part of Nusrat's magic lies in the fact that he is able to bring our hearts to resonate with the music, so deeply, that we ourselves become full partners in that offering. He sings to God, and by listening, we also sing to God".

Without doubt the most important qawwal is Nusrat Fateh Ali Khan & Party -- "Party" is a generic term for a qawwali ensemble but is also used in Sikhism and to describe some classical music ensembles, for example, shehnai maestro Bismillah Khan & Party. Dubbed Shahen-Shah-e-Qawwali (the Brightest Star in Qawwali), he was born on October 13, 1948, in Lyallpur in the Punjab Province of Pakistan. He made his first recording in 1973 in Pakistan and a number of early EMI (Pakistan) albums jointly billed him with his uncle Mubarak Ali Khan. Since these mainly cassette albums were invariably undated and numerous, it is difficult to place them in any more accurate chronological sequence than catalog-number order. Between 1973 and 1993 his recorded output could only be described as prodigious, with more than 50 album releases to his name on numerous Pakistani, British, American, European and Japanese labels. Heavily over-recorded, blighted with a rash of poppy remix albums or albums with Westernized instrumentation or arrangements, his recorded work is a mire to suck in the uninitiated and their money. Converts, however, do not escape scot-free. Although some releases hint at their nature with coded titles such as Volume 4 Punjabi (Oriental Star CD SR013) from 1990 or Ghazals Urdu (Oriental Star CD SR055) from 1992, the chosen language and style is frequently a matter of conjecture or uncertainty. While the Western market is saturated with his work, the Indian market is supersaturated, and his recorded output is in danger of overwhelming any sense of taste.

Real World was the label largely responsible for Khan's breakthrough into a non-Indian audience. It was their marketing skills and the platform provided by the WOMAD organization which introduced him to Westerners. Mustt Mustt (Real World CD RW 15) released in 1990 was a deliberate attempt to target the white market with its non-traditional arrangements, yet it seems positively cherubic beside later abominations. "All these albums are experiments," he told me in 1993. "There are some people who do not understand at all but just like my voice. I add new lyrics and modern instruments to attract the audience. This has been very successful." Success, however, bred indifference to the virtues and values of the original music. Many find the remix albums, the Western and youth-market releases, a source of despair: buyer beware remains the watchword. When singing his traditional work he remains peerless. Many fans regret the dilution of his talent that has occurred with his "experiments." However, in 1994, reportedly tired of unauthorized releases, he took greater control of both his business affairs and his concert and recording activities. With his international renown at an all-time peak, Khan died on August 16, 1997; a seemingly endless procession of posthumous releases appeared in the years to follow.



Nusrat Fateh Ali Khan�€™s first ever biography launched
May 29th, 2008 - 1:59 pm ICT by admin - Send to a friend:

Islamabad , May 29 (ANI): Qawwali Emperor Nusrat Fateh Ali Khans first ever biography was released here by Dr Pierre Alain Baud, a researcher and journalist.

The function organized to present the biography comprised of four presentations, depicting the life and work of late Nusrat Fateh Ali Khan, three short films and a 10-15 panels exhibition, reported the Daily Times

Dr Baud works towards spreading the artistic expressions of the �€œSufis of East�€� to the world, and has worked for many years on Nusrat Fateh Ali Khan, written several books, booklets and research articles on music of Pakistan and Sufism.

Late Nusrat was coined as the �€œQawwali Emperor�€� while his unique voice with rich lyrics of poetry brought ecstatic celebrations.

Speaking on the occasion, French Ambassador Regis de Belenet said that the presentation would revive the unmatched sounds of the voice of this singer that no proper metaphors or comparisons could ever describe the emotions felt by his worldwide audiences. He recalled that Nusrat�€™s first concert at Theatre de la ville in Paris , in autumn 1985 made him one of the best ambassadors of Pakistan and moreover a voice celebrated as a mean to bring people closer.

He appreciated Dr Pierre-Alain Baud for his passion for music and Sufism, which made him well known among the Sufi singers community in Pakistan . (ANI)


Folk Punjab
Punjabi Folk & Sufi Songs

Folk Song
Dhol Mahia Dhol Mahia

Baba Farid
Farida Turia Turia Ja

Folk Song
Heeray Ni Ranjha Jogi Ho Gaya

Folk Song
Ho Jaye Je Pyar Te Sona Bhul Janda

Folk Song
Jadon Da Tu Rus Gayon

Folk Song
Kina Sohna Teenon (Remix)

Folk Song
Kisay Da Yaar Na Vichray (Remix)

Folk Song
Koi Mera Dil Lay Gaya

Folk Song
Loey Loey Aaja Mahi

Shiv Kumar Batalvi
Maye Ni Maye Mere Geetan De Nainan Vich

Folk Song
Menon Teri Dewani Ve (Remix)

Folk Song
Menon Yaadan Terian

Bulleh Shah
Mera Piya Ghar Aaya

Folk Song
Ni Sayyo Asaan Naina De Akhay Lagay

Folk Song
Sanon Rog Laan Walia

Folk Song
Sari Sari Raat

Folk Song
Sun Chakrhay Di Mithi Mithi Kook

Folk Song
Tere Ishq Nachaya

Faiz Ahmad Faiz
Ve Pardesia

Folk Song
Yaadan Vichray Sajan Dian Aayin


Biba Sada Dil Morr Dey

Biba Sada Dil Morr Dey

Dam Mast Qalandar Mast

Dam Mast Qalandar Mast

Kinna Sohna Tenu Rab Ne Banaeya

Kinna Sohna Tenu Rab Ne Banaeya

Mian Muhammad Bakhsh
Saif ul Malook - 1 of 2

Saif ul Malook - 1 of 2

Mian Muhammad Bakhsh
Saif ul Malook - 2 of 2

Saif ul Malook - 2 of 2

Sanu Ik Pal Chain Naa Aavey

Sanu Ik Pal Chain Naa Aavey


Composition of Nusrat's Qawwali Party

The composition of Nusrat's party changed over the twenty-six years that he led the party. Listed below is a snapshot of the party, circa 1983:

1. Mujahid Mubarak Ali Khan: Nusrat's first cousin, vocals

2. Farrukh Fateh Ali Khan: Nusrat's brother, vocals and lead harmonium

3. Rehmat Ali: vocals and second harmonium

4. Maqsood Hussain: vocals

5. Rahat Nusrat Fateh Ali Khan: Nusrat's nephew & pupil, vocals

6. Dildar Hussain: percussion

7. Majawar Abbas: mandolin and guitar/chorus, handclapping

8. Mohammed Iqbal Naqvi: secretary of the party, chorus, handclapping

9. Asad Ali: chorus, handclapping Nusrat's cousin

10. Ghulam Farid: chorus, handclapping

11. Kaukab Ali: chorus, handclapping

TRIBUTES

The late American rock singer Jeff Buckley paid his tribute to Nusrat on the album, Live at Sin-é. In his introduction, he states, "Nusrat, he's my Elvis," before performing the song "Yeh Jo Halka Halka Saroor Hai." The recording generated interest among the audience who were previously unaware of his music. He also stated in an interview, "I idolize Nusrat, he's a god too." Buckley died in May 1997 in Memphis, Tennessee, 3 months before Nusrat. In addition, Nusrat's posthumously released The Supreme Collection Vol. 1 has liner notes written by Buckley, to whom this album is dedicated.

On his death, WBAI-NY in New York aired only his music for 25 hours non-stop.

Eddie Vedder said, "I was lucky to work with Nusrat, a true musician who won't be replaced in my life. There was definitely a spiritual element in his music." Eddie Vedder also incorporated 'Nusrat Fateh Ali Khan' into the lyrics of 'Wishlist' during the 98' Yield tour in Melbourne, Australia.

SPIN magazine listed Nusrat as one of the 50 most influential artists of music in 1998.

Paul Williams picked a concert performance by Nusrat for inclusion in his 2000 book The 20th Century's Greatest Hits: a "top-40" list, in which he devotes a chapter each to what he considers the top 40 artistic achievements of the 20th century in any field (including art, movies, music, fiction, non-fiction, science-fiction).

In 2004, a tribute band called Brooklyn Qawwali Party (formerly Brook's Qawwali Party) was formed in New York City by percussionist Brook Martinez to perform the music of Nusrat. The 13-piece group still performs mostly instrumental jazz versions of Nusrat's qawwalis, using the instruments conventionally associated with jazz rather than those associated with qawwali.

TIME magazine's issue of November 6, 2006, "60 Years of Asian Heroes", lists Nusrat as one of the top 12 Artists and Thinkers in the last 60 years.

The Red Hot Chili Peppers wrote a tribute song about Nusrat, called "Circle of the Noose". It has never been released.

The Derek Trucks Band released "Makki Madni" on their 2002 album Joyful Noise with Rahat Nusrat Fateh Ali Khan singing. In addition they released a studio recorded medley of "Sahib Teri Bandi/Maki Madni" on their 2006 album Songlines, in which Derek Trucks emulates Nusrat's vocals (from the album "The Last Prophet") with his slide guitar playing.

In 2007, London-based producer Gaudi released Dub Qawwali, featuring dub reggae with Nusrat's vocals.

In the British-Asian and South Asia his music was popularised by remixes by various artists the most prominent being Bally Sagoo. He also featured in a song with A.R. Rahman. He was relatively well known in the Far east especilaly in Japan where he was known as "Singing Buddha" plus "Quintessence of the Human singing" in Tunisia, "Voice of Paradise" in USA, "Pavarotti of the East" in France.

Nusrat has been an inspiration to many successful younger singers in India, Pakistan and the Middle East. The most notable among them is Kailash Kher, whose style has often been compared to Nusrat's.

Documentaries

Nusrat has Left the Building... But When? (1997). Directed by Farjad Nabi. (This 20-minute docudrama focuses on Nusrat's early career.)

A Voice from Heaven (1999). Directed by Giuseppe Asaro. (This 75-minute documentary, available on VHS and DVD, provides an excellent introduction to Nusrat's life and work.)

Concert films

The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa Katsumori; directed by Nakagawa Kunikiko and Ichihashi Yuji; in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of Japan; Cambridge, Massachusetts: distributed by Rounder Records.

Features a studio performance by Nusrat Fateh Ali Khan and Party (two Urdu-language songs: a Hamd (song in praise of Allah), and a Manqabat for Khwaja Mu`inuddin Chishti, a 13th century Sufi saint. Filmed in Tokyo, Japan, September 20, 1987, for Asian Traditional Performing Arts).

Nusrat! Live at Meany (1998). Produced by the University of Washington. (87-minute document of a January 23, 1993 concert at Meany Hall, University of Washington in Seattle, during Nusrat's residency at the Ethnomusicology Program there.)

Live in Concert in the U.K. (DVD, vols. 1-17) [OSA]; recorded between 1983 and 1993; first thirteen listed below:

Live in Concert in UK (DVD vol. 1)

Live in Concert (DVD vol. 2)

Live in Concert (DVD vol. 3)

Live in UK (DVD vol. 4)

Live in UK (DVD vol. 5)

Live in Concert (DVD vol. 6)

Live in UK (DVD vol. 7)

Live in UK (DVD vol. 8)

Live in UK (DVD vol. 9)

Live in UK (DVD vol. 10)

Live in UK (DVD vol. 11)

Digbeth Birmingham 12 November 1983 (DVD vol. 12)

Digbeth 30 October 1983 (DVD vol. 13)

Akhiyan Udeek Diyan (DVD) [Nupur Audio]

Je Tun Rab Nu Manauna (DVD) [Nupur Audio]

Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Nupur Audio]

Rang-e-Nusrat (DVD, vols. 1-11) [Music Today]; recorded between 1983 and 1993 (same material as the OSA DVDs)

VHS videotapes, vols. 1-21 [OSA]; recorded between 1983 and 1993 (same material as the OSA DVDs)

Luxor Cinema Birmingham (VHS vol. 1, 1979)

Digbeth Birmingham (VHS vol. 2, 1983)

St. Francis Hall Birmingham (VHS vol. 3, 1983)

Royal Oak Birmingham (VHS vol. 4, 1983)

Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5)

Private Mehfil (VHS vol. 6, 1983)

Natraj Cinema Leicester (VHS vol. 7, 1983)

Live In Southall (VHS vol. 8)

Live In Bradford (VHS vol. 9, 1983)

Live In Birmingham (VHS vol. 10, 1985)

Allah Ditta Hall (VHS vol. 11, 1985)

Nusrat in popular culture

A hero in the novel "Chapayev and Void" by Viktor Pelevin is listening to a tape by an imaginary band Crimson Jihad which is described as a duo of Nusrat Fateh Ali Khan and Robert Fripp from King Crimson.

In Mira Nair's movie Monsoon Wedding, in one scene when a car drives up to the wedding house, Nusrat's "Allah Hoo" is playing in the car.

HBO's Sex and the City had his rendition Tere Bin Nahin Lagda/Jaania in Episode 9 of Season 2

Natural Born Killers features some pieces by Nusrat Fateh Ali Khan, including "Allah, Mohammed, Char Yaar", as well as "Taboo" with Peter Gabriel. In documentaries, it is said that director Oliver Stone always had Nusrat's music playing on the set in between takes.

Bend It Like Beckham features Tere Bin Nahin Lagda/Jaania playing in the background several times during the movie.

In Shoaib Mansoor's film "Khuda Ke Liye", Nusrat is described as a talented Pakistani musician who introduced Qawwali to the West.


songs in hindi movies

lyrics - music director - singers - lyricist - movie - year - actors
1]baha na aansoo - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos -1999 [1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala, Gulsh

2]band lifaafa dil mera - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

3]dil pardesi - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

4]ek jawaani - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage
2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

5]ek sharaarat hone ko hai - Kavitha Krishnamurthy [+], Kumar Sanu [+] [duet,+] - Nusrat Fateh Ali Khan, Anu Malik [both] - Safdar Aah Sitapuri - Duplicate - 1998
[1990..1999] - Juhi Chawla, Shahrukh Khan

6]
gham hai ya khushi hai tu - Alka Yagnik [+] - Anu Malik, Nusrat Fateh Ali Khan [both] - Majrooh Sultanpuri - Kartoos - 1999-[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

6]ishq da rutba - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

7]khaali dil nahin - Alka Yagnik [+], Hans Raj Hans [+] [duet,+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

8]meri saanson mein basa hain tera hi ek naam - Udit Narayan [+] - Nusrat Fateh Ali Khan - Javed Akhtar - Aur Pyar Ho Gaya

9]o rabba - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

10]oopar khuda - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000
[2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

11]pyaar nahin karna - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage -
2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

12]tere bin nahin jeena mar jaana dholna - Lata Mangeshkar [+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

13]tere bin nahin jeena mar jaana dholna - Sukhvinder Singh [+] - Nusrat Fateh Ali Khan - Anand Bakshi - Kachche Dhaage - 2000 [2000..2009] - Ajay Devgan, Manisha Koirala, Saif Ali Khan

14]teri yaad - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos -1999
[1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

15]vallaah yeh ladki - Anu Malik, Bally Sagoo, Nusrat Fateh Ali Khan [all 3] - Kartoos - 1999 [1990..1999] - Jackie Shroff, Sunjay Dutt, Manisha Koirala

http://www.answers.com/topic/nusrat-fateh-ali-khan

http://www.earthmusic.net/hindi-film-songs.php?mdid[]=fak&mdmtype=plus

http://en.wikipedia.org/wiki/Nusrat_Fateh_Ali_Khan

http://www.thaindian.com/newsportal/india-...d_10054125.html

http://www.folkpunjab.com/nusrat-fateh-ali-khan/

http://www.apnaavenue.com/2009/biography-o...teh-ali-khan-2/

http://www.rollingstone.com/artists/nusrat...ikhan/biography

Ustad Nusrat Fateh Ali Khan a world-renowned Pakistani musician, was primarily a singer of Qawwali, the devotional music of the Sufis, a mystical offshoot of Islam. Ustad Nusrat is credited with taking this traditional musical art form to an international level and creating a new generation of Qawwali lovers both in Pakistan and around the world. Traditionally, Qawwali has been a family business. Nusrat�€™s family (originally from Afghanistan) has an unbroken tradition of performing qawwali for the last 600 years. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwals.

This post has been edited by rashmi mehta: Mar 30 2009, 03:11 PM

[hildebrand]

Rashmi_mehta ji
You have made some nice efforts in collecting all this information. I guess because of non-visibility of your threads due to their awaiting moderation the information is slightly distributed.
To help you I am collecting your posts in this single thread for ready reference.
Keep up the good posts.
Also it should be possible for you to edit your posts to put in the sources.

[hildebrand]

8]Shaukat Dehelavi Naashad

This article is about Indian and Pakistani film musician Nashad, the MD of Baradari, etc. Visit the Indian film musician's page, Naushad Ali, the MD of Rattan, Mughal-e-Azam, etc.
Shaukat Dehlavi (1923-1981) was a music composer. He composed music for Hindi films in 1940s and 1950s, sometimes under names Nashad ('naashaad') or Shaukat Haidari.

Nashad was born as Shaukat Ali in Delhi, India, in 1923. He received his early academic education in a local high school in Delhi. He was drawn to music at a tender age. He learned to play flute and mastered it with astonishing rapidity.

His immense love of music took him to Bombay.

He put his name as Shaukat Dehelvi and made his music debut in 1947 action film ‘Dildaar’. Director: Shev Raj, Lyrics: C.M. Muneer, Cast: Sagina, Yashonat, Dev Radha and Deepak.

He put his name as Shaukat Husain to compose for the 1948 film ‘Jeenay do’. Banner: J. Hind Chitra, Director: A. F. Keka and Majeed, Cast: Monica Devi, Pana Laal, Haresh, Ratan Piya, Laila Gupta and Shanta Kanwar.

He put his name as Shaukat Ali to compose for the 1948 film ‘Payal’.

He put his name again as "Shaukat Dehelvi" to compose for 1948 film ‘Suhagi’.

In 1948, he also composed songs for film ‘Tutay taray’ as Shaukat Dehelvi. Released under the banner of Sheikh Mukhtar’s film production unit called ‘Omar Khayyam films’, Director: Haresh, Cast: Shamim Banu and Moti Laal. In this film, he composed Bahadur Shah Zafar’s ghazal ‘Na kisi ki Aankh ka noor hoon’.

In 1949, He composed music for actor-director Yaqoob’s movie, ‘Aiye’. Cast: Yaqoob and Silo Chena Cheterji.

In 1949, Nashad put his name as Shaukat Husain Haideri and composed songs for film ‘Dada’. Director: Haresh, released under the banner of ‘Omar Khayyam films’, Cast: Sheikh Mukhtar, Begum Para, Munawwar Sultana, Shayam, Murad, Mukhri, and Gullu. It was released in Jubilee cinema, Karachi.

In 1953, film director, Nakshab Jarachavi, changed Shaukat Ali’s name to Nashad. This name accompanied him for the rest of his life. Nashad composed for his 1953 movie ‘Naghma’, Cast: Nadira and Ashok Kumar.

His other films are: ‘Chaar Chaand’, cast: Sheyama and Saresh. Music, Nashad.

‘Darwaza’, director: Shahid Lateef, husband of writer Ismat Chughtai, cast: Sheyama and Chandar Shehkar. He introduced singer Sauman Kalyanpur for the first time in this film.

‘Subse Bada Rupaiya’, director: P. L. Santoshi, cast: Shashi Kala and Sundar, music: Nashad and O. P. Nayyar.

‘Shehzada’ (1955), director: Mohan Sehna, cast: Shela Ramani and Ajeet, music: Nashad and S. Mohinder.

‘Jawab’.

‘Baaradari, director: K. Amarnath, lyrics: Khumar Barabankvi, cast: Gita Bali, Ajeet, Chandrashehkar and Pran. This film had the songs ‘Bhula nahin dena ji bhula nahin dena, zamaana kharaab hai, bhula nahin dena’ by Shamshad Begum, and also ‘Tasveer banata hoon tasveer naheen banti’ by Talat Mehmood. Nashad himself sang a song in this film.

‘Aawara shehzadi’, Director, Pyarelal, cast: Meena Shori and Diljeet, music: Nashad and Jimmi.

‘Jallad’, cast: Veena, Munawwar Sultana and Nasir Khan.

‘Bada Bhai’, cast: Kaamni Koshal and Ajit.

‘Mehfil’, cast: Rehana and Diljeet.

‘Hathkari,’ cast: Shakila and Moti Laal.

‘Zindigi ya tufaan’ cast: Nautan and Perdeep Kumar.

‘Zara bachh kay’ cast: Nanda and Saresh.

‘Qatil’ cast: Chitra and Prem Nath.

‘Flight to Aasaam’, cast: Shakila and Ranjan.

‘Pyar ki dastaan’, cast: Anita Guha and Suresh Kumar.

‘Roop laikha’ cast: Wajeeh Chaudhari and Mahipal.

‘Maya mehel’ cast: Helen and Mahipal.

Nashad’s last film in India as a music composer was the 1962 film ‘Flying man’.

He migrated to Pakistan and debuted in Pakistan as a composer in the 1964 film ‘Maikhana’, director: Nakhshab Jarachavi, scriptwriter: Agha Nasir.

Nashad felt privileged to work with probably the two all-time greatest music composers of the Sub-continent, Master Ghulam Haider and Naushad. Additionally, Nashad coordinated with a group of instrumentalists and attained expertise in various musical instruments.

He married singer Premlata. His son, Wajid_Ali_Nashad, is also a music composer in Pakistan. His another son, Imran Ali Nashad, made his mark as a singer.

Nashad died in January 1981 at 58 years of age.

Sources
http://en.wikipedia.org/wiki/Nashad
http://instapedia.com/m/Nash_Aguas
http://instapedia.com/m/Naushad

[hildebrand]

Devika Rani Chaudhury

Born Devika Rani Chaudhury
March 30, 1908(1908-03-30)
Vishakhapatnam, British India
Died March 9, 1994 (aged 85)
Bangalore, India
Other name(s) The Dragon Lady
Years active 1925 - 1943 ( As An Actress)
Spouse(s) Himanshu Rai (1929 - 1940 His Death)
Svetoslav Roerich (1945 - 1993 His Death)


Popularly known as the First Lady of the Hindi screen. Devika Rani was the grand-daughter of Rabindra Nath Tagore's sister, Sukumari Devi, and the only Indian actress to have gathered rave reviews from the hard-nosed English press: " Devika Rani is one of the most delicately glamorous cinema stars we have ever seen" - Sunday Pictorial, London. "You will never hear a lovelier voice or diction,or see a lovelier face.Devika Rani is a singular beauty" - The Star, London. "Devika Rani is lovely, she puts the stereotyped charms of Hollywood blondes completely in the shade" - Daily Despatch, Manchester .

HER TURNOUT as an unlouchablc girl in 'Acchut Kanya , with those classic pencilled eye-brows, exotic beaded necklace rind the choli-style daringly knee-letiglh dress, became ihe defining image of the gaon ki gori. Bui in real life, she was Ihe cousin n male cosmopolitan woman of the world, brushing shoulders with legendary giants of the film universe, hobnobbing with European aristoc­racy and picking up a dress sense and personal Style that earned her ihe deserved sobriquet ol the 'Indian Marlene Dietrich', The daughter of an army officer, Colonel Choudhury, Devika Rani brought her father's military discipline and iron control to the burgeoning film industry. 1 ler success as a star and then the manager of Bombay Talkies enabled her to dominate the early years ol Indian .sound cinema. She clashed ferociously with stars such as Ashok Kumar, gaining a 'killer' reputation.

Devika Rani Roerich is not only one of the most colourful personalities of India, but the darling of film fans of more than two generations. She is a gifted artiste, well versed in all the techniques of film making. Indeed, she is verily a symbol of "Satyam, Shivam, Sundaram" (Truth, goodness and beauty).

Like most actors oilier time, Rani was a multi-faceted personality with a variety of talents was an early Indian movie star.

She was Born in Waltair now called Vishakhapatnam, Devika Rani came from a high profile background of Bengal. Devika Rani's maternal grandmother Indumati Devi was the daughter of Tagore's elder sister Saudamini Devi; she thus is related matrilineally to Tagore. Her father M N Chaudhuri also belonged to an illustrious family of Bengal who was the first Indian Surgeon-General of Madras. Her uncles, i.e. her father's brothers, were famous men, like Justice Sir Ashutosh Chaudhuri, Barrister Jogesh Chandra Chaudhuri, and author Pramatha Chaudhuri. Her mother's name was Leela.

She was educated in England and while at School. She completed her early schooling in the early 1920s. she received a scholarship from the Royal Academy of Dramatic Arts and the Royal Academy of Music in London to study acting and music and then studied drama at the Royal Academy of Dramatic Art (RADA) and the Royal Academy of Music in London, UK.

She took up the study of applied arts in London, specialising in textile designing and decor, and also studied architecture. She also earned a degree in archi­tecture and became a successful designer of Paisley textiles and apprenticed under Elizabeth Arden. At an early age, she was already earning her living as a textile designer at a leading art studio in London. Here, through her Brahmo connections, she met with scriptwriter Niranjan Pal who would eventually write many of her most successful screen roles.

While in London she met the well-known Indian producer Himansu Rai who produced famous Indian films like "The Light of Asia"1925, "Shiraz" and "A Throw of Dice"1929 for Indian and international markets which was scheduled for production for England, Germany and the Continent. Mr.Rai persuaded Devika Rani to join his production unit, to further the cause of Indian films. She worked on the costumes and sets of this production under the guidance of the art director Promod Roy and studied the art of production. She signed a contract in London with Mr.Bruce Wolfe who was then associated with Himansu Rai.

Devika Rani married Indian producer and actor Himanshu Rai in 1929.

Married to Himarishu Rai, she served as a costume designer on his firsi production, 'Prapancha Pash1.

After marriage they left for Germany where Rai made A Throw of Dice (1929) in collaboration with Germany's famous UFA Studio.
Mr.Rai was the only Indian producer with the famous German film concern U.F.A. in Berlin. At the U.F.A. Studios, Devika Rani learnt costumes designing, make-up, decor and other different branches of film production with special training in acting.

She apprenticed in the Eric Pommer production unit at U.F.A., where she studied the art and techniques of acting under the guidance of Germany's great director Pabst, and other famous directors.

She was a U.F.A. at the time of the epoch-making change over from silent to the talkie films, and with Himansu Rai had the rare opportunity of seeing and studying the various changes and experiments in the new talking pictures.

At the time, Devika Rani also acted with Himansu Rai in a play for U.F.A. which took them to Switzerland and the Scandinavian countries, where they were received with the highest honours.

She was also a student in the production unit of the famous State producer Max Heinhardt in Germany.

While attending the film's editing in Germany, she met Fritz Lang, G.W. Pabst and Slernberg, assiifed Marlene Dietrich on ihe sel of 'Der Blaue Engel', and worked briefly with Max Reinhardl.

Alter political trouble began in Germany, she and her husband returned to India.

Devika Rani and Himansu Rai returned to India, to produce their first international talking picture "KARMA" (1933). in which Devika Rani, Himansu Rai, Princess Suda Rani of Burdwan and others acted. "KARMA" was produced both in English and Hindusthani and was completed at the Stall Studios in London. It was the first Indian talking picture in English and Hindusthani to be released in England and on the Continent as well as Indian.

"KARMA" was received with the highest approbation by the public of London. The premier was inaugurated by Lord Irwin and attended by the highest officials and England's most distinguished artiste. The same success was accorded to "KARMA" throughout Great Britain and wherever it was released.

The release of "KARMA" in India created a sensation, it was the beginning of a new era in Indian motion picture production.

It was in "KARMA" that Devika Rani established herself as a "star" of first magnitude.

During the screening of "KARMA", Devika Rani was honoured by an invitation of the B.B.C. at London to act in the first television broadcast in Britain which was relayed throughout the country. She was also chosen to inaugurate the first B.B.C. broadcast on the short wave length to India. Her dancing was accomplished enough to be lealured in one of ihe first BBC broadcasts to India (performed on If) May 1933).

It was Himansu Rai's idea to attract to films the best elements of society as he believed that education and a cultured background where essential to achieve high standards in art.

Devika Rani is also accredited for having acted in the longest kissing scene in the movie world with her husband Himanshu Rai in Karma (1933). It was 4 minutes long and very controversial in the then culturally orthodox India.

The Bombay Talkies Ltd., was founded by Himansu Rai and Devika Rani in 1934 in Malad, Bombay. It was a public limited company formed by eminent businessmen of Bombay including F.E.Dinhsaw, Sir Firoze Sethna and others whose films challenged the caste system. The advent of the Bombay Talkies gave an impetus to Indian films. Under the painstaking supervision of Himansu Rai, it purchased the most modern equipment from Germany. Franz Osten, director and a handful of technicians came down from England and Germany. By 1935, stream of Hindi productions began to emerge from Bombay Talkies Ltd.

The Bombay Talkies set a new standard in motion picture production in India on most up-to-date lines with experts from England, Germany, France who also trained young Indian men and women in the art and techniques of films production. It was responsible for a vast number of famous producers, directors, stars, musicians, writers, poets and technicians who even today rank among the best in the country.

Making films such as 'Jawani Ri Hawa', Janmabboomi'. 'Jeevan Naiya". 'Jeevan Prabhat', 'Savitri', 'Durga', 'Anjaan', and the image-defining 'Acrhu! Kanya'.

Beginning with Jawani ki Hawa (1935), a murder mystery. Devika Rani played the lead in most of these early productions. Their films were of a high technical standard and had a glossy look to them reminiscent of the films of MGM.

Devika Rani and Ashok Kumar in Achhut Kanya, 1936.

Her controversial enmity with bud­ding star Ashok Kumar did not prevent
her from agreeing lo act with him once he became a star and they became the most popular screen duo ol the first decade of Hindi talkies.

In addition to Devika Rani, other notable actors to work for Bombay Talkies at one point or another included Ashok Kumar and Madhubala.

Devika Rani was the star of the Bombay Talkies Ltd. Her outstanding portrayals, her style of acting and new approach created a distinct form and tradition. She acted in numerous films, many of which have become classics of the Indian screen. Among her most famous pictures were "Jawani-Ki-Hawa", "Jeevan Nayya", "Achoot Kanya", "Savitri", "Jeevan Prabhat", "Durga", "Vachan", "Nirmala" and "Izzat".

She was acclaimed as India's greatest film actress, and was popularly known as the "First Lady of the Indian screen". During this period, Devika Rani was the recipient of numerous honours, awards, medals and prizes from the film industry, the Press and the public.

Devika Rani formed a successful team with Ashok Kumar, which ironically started due to a scandal as she eloped with her hero of Jawani ki Hawa, Najam-ul-Hussain. Rai found her and got her to come back and forgave her but not Hussain and Bombay Talkies Ltd. needed a new leading man.

In 1936, actor Najam-ul-Hussain, who was casted as the leading man in Jeevan Naiya, fell ill and the studio head Himanshu Rai called upon his laboratory assistant Ashok Kumar to take the leading man's part and thus began a six-decade-long acting career for that action.

The two of them starred in a series of films starting with Jeevan Naiya (1936) but it was Achut Kanya (1936), which capitulated Devika Rani and Ashok Kumar to big time fame. The love story between an untouchable girl and a Brahmin boy was both a critical and commercial success with critics going in raptures over Devika's performance.<br />Going with the trend she even sang her own songs in films with Main Ban ki Chidiya with Ashok Kumar from Achut Kanya remembered till today. Devika Rani continued acting till 1943 and when Rai died in 1940 she took over the reins at Bombay Talkies.

After the death of the great founder of the Bombay Talkies Mr.Himansu Rai in 1940, Devika Rani was made Controller of Production of the Bombay Talkies. She was a partner and also a producer of the concern. She was asked to assume the responsibility of management of the Bombay Talkies including the business.

As producer and controller of production of the company, Devika Rani continued the high standard of its productions with such outstanding successes as "Punarmilan", "Kangan", "Bandhan", "Basant", "Kismat", "Hamari Baat", etc.,

The shares of the company rose to their highest level during this period. Among some of the outstanding artistes trained and presented for the first time on the screen during the period are such famous names as Leela Chitnis, Dilip Kumar, Madhubala, Mumtaz, Shanti, etc., as well as many outstanding technicians, producers, directors, story and screen writers and artistes who are among the most successful film personalities of today.

Widowed in 1940, she fought for control of her husband's studio Bombay Talkies, she had to share control with Sashadhar Mukherjee, but in 1943 Sashadhar, Ashok Kumar and a lot of Bombay talkies veterans left and formed a new studio - Filmistan. After that Bombay Talkies started to fade.

In 1945 at the height of her film career, In 1945, she gol tired of film making Devika Rani decided to retire from the Bombay Talkies Ltd. But eventually the economics of filmmaking and tussles with other studio executives led her to take voluntary retirement.

She married famed Russian painter Svetoslav Roerich and stayed at their huge estate near Bangalore in South India - marrying the Russian painter Svctoslav Roerich, rais­ing eyebrows and keeping the gossip-mongers busy till the very end.

She was a member of the Central Government Audio Visual Education Board.

In later years, she settled in Bangalore with her second husband Svetoslav Roerich and built the Tataguni estate on Kanakpura Road. The estate is famous for the dispute that ensued over it after her death as the Indian and Russian governments and relatives went to court over its control.

She remained in Bangalore the public eve right until hei death in 1994.

At her funeral, Devika Rani was given full state honors.

She was also nominated to the National Academy of Dance, Drama, Music and Films, the Sangeet Natak Akademi, Delhi, as a nominee of the Central Government and was a member of the Executive Board of the National Academy, Member of the Lalit Kala Akademi and the National Handicrafts Board and Member of the Indian Council for Cultural Relations.

On Republic Day, January 26, 1958, the President of India conferred the decoration of "PADMA SHRI" on Devika Rani for her valuable contribution to Indian motion picture.

On November 21, 1970, the Government of India conferred on Devika Rani the first Dadasaheb Phalke Award for her outstanding service to the film industry. Equally invaluable is the prestigious Soviet Land Nehru award conferred on her in 1989.


Sources
http://in.movies.yahoo.com/artists/Devika-...mmary-3675.html

http://www.imdb.com/name/nm0710151/bio

http://www.bollymood.com/biography/devika-rani/

http://www.parinda.com/movies/devika_rani.shtml

http://en.wikipedia.org/wiki/Devika_Rani

[hildebrand]

Sudha Malhotra

Sudha Malhotra was born on November 30, 1936 in New Delhi. Sudha spent her childhood days in Lahore, Bhopal and Firozpur. She completed her graduation in music from Agra University. Sudha Malhotra gained her grooming in Indian classical music, under the guidance of Ustad Abdul Rehman Khan and Pandit Laxman Prasad Jaipurwale. She began her musical career at a tender age of five. Her talent was discovered by the then famous and revolutionary music director Ghulam Haider, at a programme in Firozepur in the aid of Red Cross. With her enrapturing beauty and melodious voice she chiselled out her career to perfection as a child artist in All India Radio, Lahore. Later, Sudha gained new heights by joining film singing at the age of eleven. Singing has always been the first love for Sudha and in this field, with her very first break as a playback singer in the film Aarzoo, under the baton of Anil Biswas, with an evergreen song 'Mila Gaye Nain..', she showed promise of a competent voice. She sang with Manna Dey and Parul Ghosh in the films 'Aandolan' and 'Vande Mataram'.


Renowned singer Sudha Malhotra, is counted among the top most singers in the country.Sudha started her musical career at the young age of five. Sudha’s parents saw Sudha’s devotion to music and they discovered the great talent in her. She was discovered in Lahore by the famous music director, Ghulam Haider, who saw her holding a gathering of about sixteen thousand spellbound, when she sang in a programme in Ferozepur in aid of the Red Cross.

Thenafter she performed in All India Radio, Lahore. And, there was no looking back.Sudha gained new heights by joining film singing at the age of eleven. Sudha Malhotra had her grooming in Indian classical music, under the guidance of Ustad Abdul Rehman Khan and Pandit Laxman Prasad Jaipurwale. Singing has always been the first love for Sudha and in this field, with her very first break as a playback singer in the film Aarzoo, under the baton of Anil Biswas, with an evergreen song ‘Mila Gaye Nain’; she showed promise of a competent voice.

She sang in the films Aarzoo, Dhool Ka Phool, Ab Dilli Door Nahin, Girl Friend, Barsat Ki Raat , Didi , Kala Pani, Prem Rog, Dekh Kabira Roya , Gauhar, Dil e Nadan, Babar and many more. Sudha’s versatility led to more films and different kinds of songs. Each time it was a challenge that gave her listeners another treat. During the making of the film Didi, the music director N. Dutta fell ill and the track was needed urgently. Young Sudha was the singer. Always ready to rise to the challenge, Sudha stepped in and took over. She composed the song ‘Tum Mujhe Bhool Bhi Jao’, recorded it and made the delivery on schedule time. It was but naturally, a hit. Besides singing in Hindi films, Sudha has sung in many regional languages.

Success comes from within and Sudha was determined. Her musical achievements included a lot of stage performances around the world. She had the good opportunity of singing under the able guidance of many music directors, like Roshan, S.D. Burman, Ghulam Mohammad, N. Datta, Madan Mohan and a number of others, which established her voice with versatility to render any type of composition. Her bhajan in Kala Pani ‘Na Main Dhan Chahun’ became immensely popular. She sang the famous qawwali ‘Ishq Ishq’ in the film Barsat Ki Raat. This song was recorded for a period of twenty-nine continuous hours. She was awarded the Kala Bhushan award by Giani Zail Singh, the then president of India. She was also felicitated by Rajeev Gandhi for Dandi march.

It takes an extraordinary person to give up unlimited potential for fame and glory and settle for the anonymity of marital harmony. Once again it was her conviction that helped Sudha. Sudha’s spirit has always been irrepressible. Success comes from within and Sudha was determined. So Sudha sang bhajans in her family mandir and a new devotion was born. She has come out with a number of bhajan cassettes. Besides, she has many LPs of ghazals and bhajans. She has sung the famous shlokas, ‘Mano Buddhi Hankar’, for the Chinmayanand Mission, which thereafter was repeated by many other singers. Ghazals have also been her forte’. She has sung under the direction of Jagjit Singh, Khayyam, and Jaidev etc. and has cut many discs. Today Sudha’s zest for life is as unconquerable as ever.



Music Department:

* 1980s
* 1960s
* 1950s

1. Prem Rog (1982) (playback singer) ... aka Love Sickness (International: English title)

2. Kinare Kinare (1963) (playback singer) ... aka On the Shore

3. Barsaat Ki Raat (1960) (playback singer)

4. Ek Ke Baad Ek (1960) (playback singer)

5. Kalpana (1960) (playback singer) ... aka Inheritance (International: English title)

6. Love in Simla (1960) (playback singer)

7. Zalim Tera Jawab Nahin (1960) (playback singer)

8. Dhool Ka Phool (1959) (playback singer) ... aka Blossom of Dust ... aka Flowers of the Dust

9. Chalti Ka Naam Gaadi (1958) (playback singer) ... aka That Which Runs Is a Car

10. Parvarish (1958) (playback singer)

11. Solva Saal (1958) (playback singer)

12. Ab Dilli Dur Nahin (1957) (playback singer)

13. Changez Khan (1957) (playback singer)

14. Dekh Kabira Roya (1957) (playback singer)

15. Mr. X (1957) (playback singer)

16. Mumtaz Mahal (1957) (playback singer)

17. Naya Zamana (1957) (playback singer)

18. Mirza Ghalib (1954) (playback singer)

Soundtrack:

1. Dhool Ka Phool (1959) (performer: "Kaase Kahoon Man Ki Baat") ... aka Blossom of Dust ... aka Flowers of the Dust

2. Kaagaz Ke Phool (1959) (performer: "San San San Jo Chali Hawa") ... aka Paper Flowers

3. Dekh Kabira Roya (1957) (performer: "Tum Meri Raakho Laaj Hari")

4. Mirza Ghalib (1954) (performer: "Ganga Ki Ret")

Filmography

Playback Singer

Prem Rog 1982

Dil-E-Nadaan 1982

Kinare Kinare 1963

Issi Ka Naam Dunia Hai 1962

Babar 1960

Barsaat Ki Raat 1960

Ek Ke Baad Ek 1960

Girlfriend 1960

Jo Huwa So Bhool Ja 1960

Kala Bazar 1960

Kalpana 1960

Love In Simla 1960

C.I.D.Girl 1959

Chandrasena 1959

Dhool Ka Phool 1959

Didi 1959

Ghar Ghar Ki Baat 1959

Gokul Ka Chor 1959

Hira Moti 1959

Kaagaz Ke Phool 1959

Kal-Hamara-Hai 1959

Madam X.Y.Z 1959

Chalti Ka Naam Gadi 1958

Detective 1958

Gaj Gauri 1958

Hathkadi 1958

Parvarish 1958

Raj Tilak 1958

Solva Saal 1958

Zindagi Ya Toofan 1958

Ab Dilli Door Nahin 1957

Anjali 1957

Chamak Chandni 1957

Dekh Kabira Roya 1957

Dushman 1957

Mr. X 1957

Naya Zamana 1957

Neel Mani 1957

Pawan Putra Hanuman 1957

Ustad 1957

Rangeen Raaten 1956

Ghar Ghar Mein Diwali 1955

Barati 1954

Mirza Ghalib 1954

Audiographer

Dekh Kabira Roya 1957

Music Director

Didi 1959

Few of hit songs of Sudha Malhotra are follows :

1]aata hai karaar beqaraar hone mein

2]aavaaz de raha hai koi

3]aaya re aaya re rut basant aaya re

4]aayi aayi re malniyaan bikaner se

5]ab chaahe to le lo meri jaan

6]ae bekal bechain nindiya

7]ae dil beqaraar dekh tu na kisise pyaar kar

8]apna samajh ke aankh milaane ka shukriya

9]baaje ghoongharwa naache jiyarwa

10]baaten banaanewaale dil ko churaanewaale

11]bach jaa nazar ke teer se

12]ban mein bole bulbul aur man mein bole maina

13]banana hai hamko bada aadmi

14]barse room barse jhoom

15]bijli si dil pe giri jaaye

16]chale banke piya banwaasi

17]chupke se dil mein mere chori chori

18]dhanwanti ko kanta lage daude log hazaar

19]dil hain jiska deewaana jigar hai nishana

20]ek baar to mil lo gale

movies

1]Prem Rog (1982)

2]Kinara Kinare (1964)

3]Barsat Ki Raat (1960)

4]Kala Bazar (1960)

5]Masoom (1960)

6]Zaalim Tera Jawab Nahin (1960)

7]Dhool Ka Phool (1959)

8]Chalti Ka Naam Gaadi (1958)

9]Parvarish (1958)

10]Ab Dilli Door Nahin (1957)

11]Mumtaz Mahal (1957)

12]Naya Zamana (1957)

albums :


1]Salam E Hasrat Quabool

2]Aashna Hokar Agar Na

3]Khwab Tha Ya Khayal Tha

4]Didi

5]Black Rider

songs with movie details

1] Razia Sultan (1961) starring Jairaj & Nirupa Roy
Lyrics: Asad Bhopali
Music Director: Lachiram Tamar
Singers: Sudha Malhotra, Asha Bhonsle & S. Balbir

[1]nahin hai ko badaa husn se zamaane mein

2]Rifle Girl
Lyrics: Surinder Kohli
Music Director: Harbans

[1]baaje ghoongharwa naache jiyarwaa

[2]jaadu bhari ye nazar dil mei

[3]chal mere lallu dikhaa kamaal (Duet with Surendra Kohli)

3]Sachche Moti
Lyrics: Sahir Ludhianvi
Music Director: Narayan Datta
Singers: Sudha Malhotra & Asha Bhonsle

[1]Sachche ka hai bolbala suno re bhai (Duet with Asha Bhonsle)

4] Sahara
Lyrics: Bharat Vyas
Music Director: Hemant Kumar

[1]mujhe tarke talluk ke liye samjhaya jaataa hai

5] Sara Jahan Hamara (1961) starring Premnath, Shyama, Heeralal, Rajeshwari, Azra & Jankidas.
Lyrics: Qamil Chandpuri
Music Director: Babul
Siner: Sudha Malhotra

[1]haai mai mar gayi

6] Shahi Farman
Lyrics: Akhtar Romani
Music Director: Harbans

[1]dil hai jiska deewana jigar hai nishana

[2]jaun kahaan ko to har laila pe hai har majnu (Duet with Mahendra Kapoor)

7] Sheikh Chilli (1956) starring Mahipal, Shyama, Agha, B. M. Vyas, Bhagwan & Moti.
Producer: Ratan Moti
Director: Ramchandra Thakur
Lyrics: Indra Chandra
Music Director: Vinod

[1]zulfon se baandh ke rakhoonigi

8] Shesh Naag

[1]chale ban ke piya banwaasi

[2]jaago jhanjhar jhanan

[3]jo kuchh dekha keh na sakoon

[4]mann ke paas aa ke

9] Shikar
Lyrics: Indeevar
Music Director: Bulo C. Rani

[1]aataa hai qaraar beqaraar hone mei

[2]chupke se dil mei mere chori chori

[3]bahaar dekh ke dil aur beqaraar hua (Duet with Moti Sagar)

[10]Sim Sim Marjina (1958) starring Mahipal, Shakeela, Maruti, Helen, Hiralal, Tiwari & Roopmala.
Producer: Golden Movies
Director: Narendra Dave
Lyrics: Prem Dhawan & Hasrat Lucknavi
Music Director: A. R. Qureshi

[1]husn hansta hi rahegaa

[2]mujhe apnaa jalwaa dikhaa

[3]pyaar ka nazrana liye

[4]such such bolo kya kasoor ho gayaa

[5]tukde tukde dil huaa

[6]musafir hain hum tum ye duniya saare (group song with Mohammad Rafi & Mubarak Begum

11] Suhag
Lyrics: Ehsan Rizvi
Music Director: T. G. Lingappa

[1]barse ruum barse jhoom

[2]yauwan mein hoon yauwan hoon (Duet with Sabita Banerjee)

12] Sunehre Qadam (1966) starring Shashikala & Rehman.
Lyrics: Mahendra Pran
Music Director: Bulo C. Rani
Singers: Sudha Malhotra & G. M. Durrani

[1]na to inkaar kiyaa na to iqraar kiyaa (Duet with G. M. Durrani)

[2]ye ghar aapkaa hai chale aaiye (Duet with G. M. Durrani)

13] Suwarna Sundari (1957) starring B. Saroja Devi & Nageshwara Rao Akkineni.
Producer: Adi Narayana Rao
Director: Vedantam Raghavaiah
Lyrics: Bharat Vyas
Music Director: Adi Narayana Rao
Singer: Sudha Malhotra

[1]hat hat jaa re natkhat piyaa

14] Tankhah
Lyrics: Shewan Rizvi
Music Director: Bhola Shrestha

[1]bannaa hai hum ko badaa aadmi

[15] Teen Bhai.
Lyrics: Bharat Vyas
Music Director: Arun Kumar Mukherjee

[1]bann mei bole bulbul aur mann mei bole mainaa

[16] Tere Dwar Khada Bhagwan
Lyrics: Pyarelal Santoshi
Music Director: Shanti Kumar Desai

[1]jan se dekha tujhe mujhe jalyaaye jiya

[17]Ustad:


[1]bedardi beimaan natkhat sa

Sources

http://www.indianetzone.com/18/sudha_malhotra%20htm.htm
http://www.imdb.com/name/nm0539502/
http://www.gomolo.in/People/PeopleFilmogra...spx?pplid=14296
http://sudha-malhotra.tripod.com

[hildebrand]

Rajkumari Dubey

Birth name Rajkumari Dubey
Born 1924
British India
Died 2000
India
Genre(s) playback singing
Occupation(s) Singer
Instrument(s) Vocalist
Years active 1949-1977


Rajkumari Dubey (1924) was an early playback singer in Bollywood.

Rajkumari was born in 1924. She never really had the opportunity to learn to sing, but was always supported by her family. She was just 10 years old when she recorded her first song for HMV in 1934 and she started her career as a stage artiste. Vijay Bhatt and Shankar Bhatt of Prakash Pictures spotted her during one of her shows. They liked her voice and persuaded her to discontinue acting on stage as it would spoil her voice (In those days, there were no mikes and you had to shout to be heard). So she quit theatre, and became an employee of Prakash Pictures as an actress and singer.

Rajkumari's first film with them was a Hindi-Gujarati bilingual called Sansar Leela Nayi Duniya. She got important roles in films like Aankh Ka Tara and Turki Sher (1933). She was the heroine Bhakt Ke Bhagwan and Insaaf Ki Topi (1934). In those days she often acted opposite Zakaria Khan (late actor Amjad Khan's father, whose screen name was Jayant). She also used to sing for popular music director Lallubhai. She began getting fed up with having to watch on her figure and decided to stick to just singing as a career. After she quit Prakash Pictures, she began playback singing for actresses like Ratnamala, Shobhana Samarth, etc. and soon she became the First Female Playback Singer of Indian Cinema.

She sang many Gujarati and Punjabi songs. Even though she was not trained to sing, she was very good at picking up what her composers taught her. They thought she was a trained singer! She was able to also establish herself as a classical singer and excelled in singing and voice production within the framework of classical forms of thumri and dadra. Among her peers were Shamshad Begum, Zohrabai Ambalewali, Juthika Roy, Zeenat Begum, etc. Both Shamshad and Zohrabai had resounding voices with a high range, while Rajkumari had a soft voice with a small range. She sang quite a few songs with Mukesh. She did not get much opportunity to sing with Mohammed Rafi - mainly because Lata Mangeshkar was a fast upcoming singer at the time. She sang with Noor Jehan in Naukar (1943). She never sang with K. C. Dey, but she did sing songs composed by him, as well a his nephew, Manna Dey.

Rajkumari was married very late in life. Her husband was V.K. Dubey who was from Benares (Uttar Pradesh) where he spent a lot of his time (because he owned a shop there), while she settled in Bombay. He later joined her in Bombay.

Later, she would go on to sing songs for Neel Kamal, a Raj Kapoor and Madhubala starrer, and Hulchul (1951); but her two most famous films would be Bawre Nain (1950) and Mahal (1949), where she sang for the Indian actress Madhubala. By this time however Lata Mangeshkar and Asha Bhosle had shot to fame, relegating most other female singers in the industry to the sidelines.

She sang her only song for O P Nayyar in the 1952 movie Aasmaan which was his debut movie, Jab Se Pee Piya Aan Base. The story goes that he was considering Lata Mangeshkar for the song. (Rest of the songs of the movie are sung by Geeta Dutt and C H Atma ). When somebody told this to lata she said something about him which led to a misunderstanding. Angered O P made Rajkumari sing this song and never repeated her. He never used Lata to sing for him as well.

Rajkumari endured a long dry spell until music director Naushad spotted her singing in the chorus for his background score for Pakeezah (1972). Naushad was much taken aback by this, having greatly respected her in her heyday, and heartbroken to hear that she was reduced to singing in the chorus to make ends meet. As a result, he gave her an entire song to herself in Pakeezah, Najariya ki Mari. Her last film song was recorded for R.D. Burman in the film Kitaab, Har Din Jo Beeta. She died in poverty in early 2000.


Sources
en.wikipedia.org/wiki/Rajkumari_Dubey

[rashmi mehta]

Jatin Lalit

Birth name Jatin Pandit and Lalit Pandit
Also known as Jatin-Lalit
Occupation(s) Film composer
Years active 1992 – 2006
(they work independently after 2006)

Jatin Lalit are a Bollywood film composer duo consisting of Jatin Pandit and his younger brother Lalit. Jatin-Lalit is a short version of their full names, which appears on covers of music CDs, DVDs. Jatin Pandit and Lalit Pandit are their actual names. Lalit is nine years younger than Jatin. Born in the traditional Mewati Gharana, sons of the renowned classical singer Pandit Pratap Narayan, and nephews of musical Maestro Pandit Jasraj, Bollywood actresses Sulakshana Pandit and Vijeta Pandit are their sisters actresses and playback singers and music director Aadesh Shrivastava is their brother-in-law, being married to the younger of the two sisters, Vijeta.

They are brothers and come from a lineage of Indian classical musicians.However the duo have developed a unique sense of music different from their classical lineage. They were trained by their own father and Pandit Ramprasadji during their childhood. They also learned to play piano, guitar and various forms of percussion instruments.

Jatin-Lalit are indeed blessed with an envious pedigree. And the film industry is mighty pleased about the fact that the duo chose the field of film music to display their abundant talent besides the aforementioned pedigree. No other music director/duo has been as successful in the recent times, as the youthful brothers, whose niche is melody and harmony packaged in the modern musical arrangement style. This, perhaps, stems from the fact that besides the traditional Hindustani formal music training (from their father and Pandit Ramprasadji),they were also encouraged to learn and play western musical instruments. Singing was also a childhood passion, a talent which they (albeit rarely) have utilised with great aplomb in films like "Jo Jeeta Wohi Sikandar," etc.

These two talented brothers, Jatin and Lalit, have rocked the industry for a considerable span of years.

Jatin-Lalit's most powerful assets remain their originality and fusion of east and west in their music, factors omnipresent in each of their musical scores. As they themselves modestly claim, "We are forever on a learning curve. Hopefully, our best is yet to come." For the sake of the Hindi film music, this should remain the sign of the times to come.

Having successfully done film music, the brothers Jatin-Lalit are now turning their sights towards a private album. Between their film assignments, they are working on a pop album and Lalit will sing for that as well. They have a fine sense of melody and harmony, now if they can get hold of some soul-stirring lyrics, they will have a winner on their hands.

Their compositions are strongly influenced by R. D. Burman's style of music making. Towards the second half of the nineties, they were among the most sought after music directors in the Indian film industry


They started their career with film Yaara Dildara (1992) and the famous soundtrack of the movie was " Bin tere sanam... ".but were much recognized by the hit film Khiladi that was a sound prototype for the brand of music the composers were to create in subsequent years.With Khiladi (1992), came their vibrant soundtrack laced with nuggets like ‘Waada raha sanam’ and ‘Dekha teri mast nigahon mein’, the talented duo announced their arrival in style. From the beginning, there has been a distinct, almost over-whelming influence of the R D Burman school on their work . For instance the song from Jo Jeeta Wohi Sikandar (1992) ‘Shaher ki pariyon ke peechhe’ has shades of R D Burman's music.Also ‘Ruk jaa, o dil deewane’ from Dilwale Dulhaniya Le Jayenge sounds similar to ‘Bachchna aye haseenon from Hum Kisise Kam Nahin (1977).

After two major time succcesses Khiladi and Jo Jeeta Wohi Sikandar happened Raju Ban Gaya Gentleman (1992) and Kabhi Haan Kabhi Naa, which had numbers like ‘Loveria hua’ and ‘Deewana, dil deewana’.

They were steppping up the stairs of success consistently and yet another blockbluster Yash Chopra's love story Dilwale Dulhaniya Le Jayenge gave them immense success.And Jatin -Lalit shot to genuine stardom. From the title song to ‘Mere khwabon mein’ and ‘Naa jaane mere’, everywas a diferent flavour of youth and vibrancy.

Their next venture was Sanjay Leela Bhansali's Khamoshi-The Musical.Its songs were a challenge to each singer like ‘Yeh dil sun raha hai’sung by Kavita Krishnamurthy with its varying pitch, and the Hariharan's ‘Bahon ke darmiyaan’.Followed were films Yes Boss,containing songs, ‘Main koi aisa geet gaaon’ and ‘Chaand taare’.In 1998 came a series of musical hits for the duo like Pyaar Kiya To Darna Kya (‘Deewana Main Chala’), Jab Pyaar Kisi Se Hota Hai (‘O jaana, na jaana’) and Pyaar To Hona Hi Tha (‘Jab kisi ki taraf dil), to Ghulam and it's clarion call, ‘Aati kya Khandala’, and the final explosion, Kuch Kuch Hota Hai.The songs of the later film like ‘Koi mil gaya’, ‘Ladki badi anjaani hai’ and ‘Sajanji ghar aaye’ aren't extraordinary, they haven't exactly faded from public memory.

Dil Kya Kare, Khoobsurat (1999) and Shah Rukh Khan's home production, Phir Bhi Dil Hai Hindustani (2000),Sarfarosh(1999) containing ‘Zindagi Maut Na Ban Jaaye’ are some of the projects they have done in the recent years.Followed by al time hits like Mohabbatein , Kabhi Khushi Kabhi Gham, and Chalte Chalte that had refreshing numbers like ' Tauba Tumhaare Yeh Ishaare', ' Chalte Chalte' .. Definitely they have created their own charm with the kind of music they compose.

The duo has worked with a variety of lyricists and singers including Javed Akhtar, Anand Bakshi, Udit Narayan, and Kumar Sanu. During the last few years of their joint career, their music albums contained several songs composed by other musicians. This practice was not liked by Jatin-Lalit; however, the producer and director insisted on it.[citation needed] In Karan Johar's Kabhi Khushi Kabhie Gham two of the tracks were composed by Sandesh Shandilya. In Chalte Chalte, Aadesh Shrivastava composed several songs. Also in Pyaar Kiya To Darna Kya, one song was composed by Himesh Reshammiya and Sajid-Wajid.

They were also some of the first composers to write songs performed by Bollywood film stars rather than playback singers. They specially composed "Ae kya bolti tu" in the film Ghulam for the lead actor Aamir Khan. They also composed a song for Sanjay Dutt to sing in the movie Khoobsurat.


Jatin and Lalit have borrowed extensively from other musical artists in writing their compositions. In a 2007 interview with the Times of India, Lalit stated that "A producer or a director will hand us a CD and ask us to produce similar music. We as composers don't have a choice but to put in our best creative talent in it. Composing music is very tedious today."

Jatin appeared in the movie Jo Jeeta Wohi Sikandar during the song "Diwane Hum Pyar Ke". He also performed the song, "Ruth Ke Hamse Kabhi" in the film.

Jatin-Lalit are generally reclusive: they rarely attend industry parties or conduct interviews with the media.[citation needed] Jatin-Lalit were appointed as judges in the Zee Television musical show Sa Re Ga Ma Pa. They were also judges on another musical show, Star Voice of IndiaJatin has also appeared as a mentor in a popular TV show Jhoom India. He also was Judge and Mentor in Popular Reality show on Sony Waar Pariwaar. This show was hosted by Urmilla Matondkar. The show has been truly appreciated by the Indian community all over the world especially in the USA.

After working for almost 16 years together, they announced that they would be parting ways due to some personal problems. Reasons for the separation are unknown, but entertainment writers have speculated that the split is because of financial matters.

Lalit and Jatin have both continued to compose separately. Lalit scored the 2007 film, Life Mein Kabhie Kabhiee, Showbiz, and Horn Ok Pleassss.

Jatin composed the score for Saurav Shukla's upcoming film, "I am 24", starring Neha Dhupia and Rajat Kapoor.It is a Planman Motion Films Presentation.

He also composed for filmmaker Raja Sen's film Krishnakanter Will. "I am working on the number. I am trying to make it in such a way that it goes along with the novel written by Bankimchandra Chattopadhyay. The song will be melody based," says Jatin.[citation needed] He also recorded an album for the president of the Indian Business and Professional Council, Abbas Ali Mirza. He is also doing the Music for Kundan Shah's next. Considering the strong track record Jatin Lalit had with Kundan Shah, this film could be the next Kabhi Haa Kabhi Naa for Jatin. Jatin is also working on the maiden venture of Gazebo Entertainment's "Saturday Night".

They have been nominated and have won several prestigious awards each year since they started their career in 1990. Out of the innumerable examples are films like "Jo Jeeta Wohi Sikandar," "Khiladi," "Dilwale Dulhaniya Le Jayenge," "Khamoshi," "Yes Boss" and the recent "Kuch Kuch Hota Hai."


Awards And Honors:

Award Song-Movie

Zee Cine Award Kuch Kuch Hota Hai

Viewers Choice Award Kuch Kuch Hota Hai

Their soundtrack of Dilwale Dulhaniya Le Jayenge was judged the top Hindi soundtrack of all time by on-line voters on the BBC Asian Network. The number two and three positions also went to Jatin-Lalit for their compositions from Kabhi Khushi Kabhie Gham and Kuch Kuch Hota Hai.


Yaara Dildara (1991)

Jo Jeeta Wohi Sikander (1992)

Khiladi (1992)

Raju Ban Gaya Gentleman (1992)

Aadmi (1993)

Ashant (1993)

Bhookamp (1993)

Boy Friend (1993)

Vishnu Vijaya (1993)

Cheetah (1994)

Dusmanon Ka Dushman (1994)

Hanste Khelte (1994)

Kabhi Haan Kabhi Naa (1994)

Lakshya (1994)

Vaade Iraade (1994)

Zaalim (1994)

Dilwale Dulhaniya Le Jayenge (1995)

Gangster (1995)

Nishana (1995)

Pandav (1995)

Biyer Phul (1996)

Fareb (1996)

Khamoshi (1996)

Return Of Jewel Thief (1996)

Agni (1997)

Daava (1997)

Ek Phool Teen Kante (1997)

***** Gardi (1997)

Tum Jiyo Hazaro Saal (1997)

Yes Boss (1997)

Badadin (1998)

Billa No. 302 (1998)

Dhoondte Reh Jaaoge (1998)

Ghulam (1998)

Jab Pyar Kisise Hota Hai (1998)

Khoobsurat (1998)


Kuch Kuch Hota Hai (1998)

Pyar To Hona Hi Tha (1998)

Saazish (1998)

Dil Kya Kare (1999)

Dillagi (1999)

Pyaar Kiya To Darna Kya (1999)

Pyar Koi Khel Nahin (1999)

Sar Aankhon Par (1999)

Sangharsh (1999

Sarfarosh (1999)

Silsila Hai Pyar Ka (1999)

Vaastav (1999)

Dhai Akshar Prem Ke (2000)

Mohabbatein (2000)

Phir Bhi Dil Hai Hindustani (2000)

Raja Ko Rani Se Pyar Ho Gaya (2000)

Raju Chacha (2000)

Yeh Hai Mumbai Meri Jaan (2000)

Albela (2001)

Censor (2001)

Kabhi Khushi Kabhie Gham (2001)

Aankhen (2002)

Kehtaa Hai Dil Baar Baar (2002)

Kranti (2002)

Soch (2002)

Waah! Tera Kya Kehna (2002)

Chalte Chalte (2003)

Haasil (2003)

Zameer (2003) Mar 26 (4 days ago) delete haal kaisa hai

Aur Phir Ek Din (2004)

Hum Tum (2004)

Main Hogaya Tumhara (2004)

Mulaqwaat (2004)

Rok Sako To Rok Lo (2004)

Sab Kuch Hai Par Kuch Bhi Kahin (2004)

Aap Jaisa Koi Nahin (2005)

Khamosshh -Ek Raat (2005)

Chand Sa Roshan Chehra (2005)

Filmstar (2005)

Pyaar Mein Twist (2005)

Revathi (2005)

Fanaa (2006)

Mera Dil Leke Dekho (2006)

Faisla

Loveria

Sab Kuch Hai Par Kuch Bhi Nahi

Mr. White Mr. Black (2008)

http://www.hindilyrix.com/musicians/musici...atin-lalit.html

http://www.hindilyrics.net/profiles/jatin-lalit.html

http://en.wikipedia.org/wiki/Jatin_Lalit

http://in.movies.yahoo.com/artists/Jatin-L...raphy-5818.html

This post has been edited by rashmi mehta: Mar 30 2009, 02:42 PM

[rashmi mehta]

Bulo C Rani


A music director, however popular, is often forgotten with the passage of
time when the trend of music changes.

Bulo C Rani was one such composer whose best is buried under the debris of
time. When the slow paced melodious music was replaced by the fast paced
rhythmic melodies Bulo suddenly lost his relevance as a composer. He lived
in a state of hybernation for so long that his death - a suicide - on 24th
May 1993 at 73 was reported as if it was a matter of no big consequence. The
eventful career of Bulo C Rani in the 40's and the early 50's was forgotten.

Bulo c rani was born on may 6, 1920 in hyderabad, sindh and his original name was bulo chandiramani ramchandani. his father chandiram was also a composer n has composed for a film insan ya shaitaan[1933]. bulo obviously grew up in a musical atmosphere and hence in a way, it was not surprising that after graduating, he went to lahore with the express intension of composing for films n joined ghulam haider for a while he came to mumbai in 1942 with D N Madhok and joine ranjit films to assist Khemchand Prakash.

Khyanchand gave him a break asasinger in 1942 in Mehman. in 1942 Gyan Dutt also gave him opportunity to sing. In 1943 he got six films to sing in. O JOGAN O BAIRAGI in Shankar Parvati [music by Gyan Dutt] was v popular. in 1944 he composed for Pagli Duniya. Hecomposed for the film murti. in it Badariya Baras Gayi - which mukesh's first song as the composer often claimed with pride - won popularity. His music for jogan [1946] gave d first break to Talat Mahamud.

Bulo composed for over 100 films.

In order to analyse this early composer - who haltingly stagered on - following interesting devices he employed deserve mention :
sometimes the composer barely succeeded in camouflaging the intrinsic prose quality of the 'lyrics' which he had to treat as a song!

Poor attempts at lyrical texture, often resulting in indifferent versifications, certainly posed difficulties to comprosers - he tried the strategy of placing verses sung in free rhythm between stanzas sung in rhythm or employed interesting tempos for certain emphatically pronounced and projected words - thus seeking redress from difficult composing situations created by poor versifacations.

He instited on extended pieces of instrumental music before beginning d song.He give pleasant surprises - he began with one single instrument - he began without orchestra - without any perceptible rhythm.

Emplyment of non - Indian instruments - those not normally identified as Western was his favourite device - piano, piccolo - type of flute, melodic material effect as western, band music - another non- Indaian vogue of music to attract Indaians!

Bulo c ranis' tunes:

PARDESI PIYA RE

BHADO KI RAAT PE PADE BARSAAT RE

DEKHI TERI DUNIYA

MERI KYA HAI KHATA

TUMSE MOHABBAT KAUN KARE

TIRCHHI NAZARIYAAKE BAAN

AKHINYA MILAKE

KYA KARUN SAJNI AAYE NA BALAM

AA JAO TADAPATE HAI ARMAAN

EK PARDESI MERA DIL LE GAYA


there are expected instances on Indain Idioms used in with discernible skill. In this catagory falls an appropriate use of raga and tala enjoying sanction of the tradition of the tradition of art music.

After 68 fiilms in 22 years, he does not appear to have a deep musical mark!

his music was not highly original, but it successfully exploited the intrinsic acceptability of conventional forms such as bhajans, or the newly circulating patriotic musical idioms, which appealed to certain stock responses.

one wonders whether he was more adequate as a singer than a composer - at least when he began his career when actor - singers had singing voices!

Mukesh, after his initial failure as a singer, drew attention only when he
sang for Bulo in 'Moorty' ( 'Badariya baras gai us paar'/with Hamida and
khursheed/1945 )

The film 'Jogan' (1950) was a land -mark in Bulo's career. His composing
skill enabled him to enhance the inherent charm of Meerabai's traditional
bhajans such as 'ghoonghat Ke Pat Khol re', 'Main to giridhar Ke ghar jaaoon
', 'Damag damag dole naiya' and ' Jogi mat ja, mat ja'. Even the Holi song
('Rang daaro ri') and the sentimental one in the voice of Talat ('Sundarta
Ke Sabhi Shikari') were no less appealing. More than Dilip Kumar and Nargis
in the film it was Bulo's music which turned out to be the real star.

Before 'Jogan' came his way Bulo had already earned recognition through the
films such as 'Rajputani' ('Ja parwane ja kahin shama jal rahi hai/Mukesh,
hamida and 'Anjuman ('Kaise bataoon tum se is dil ko pyar kyun hai'
/Shamshed, Mukesh) and the immense popularity of the song 'Armaan bhara dil
toot gaya' ('Wafa/Lata, Mukesh)

Bulo C Rani had a special fascination for heavy voices which were capable of
more expressive power. For the same reason he was able to create a great
impact on listeners with the voices of Amirbai ('Sooni padi hai payar ki
duniya tere baghair'/ 'Carvan').
Zohra ('Ankhon mein intezaar Ki duniya liye huve'/'Carvan') and geeta Roy
(Dutt) in the songs of 'Jogan'. Bulo did not hesitate to create an
enchanting melody in the song 'Badi bhool hui tujhe pyar kiya' in 'Maghroor'

'Bilwamangal' (1954) was the last significant film of Bulo c Rani. Suraiya
sang one of her most memorable song 'Parwanon se preet seekhli, shama se
seekha jal jaana' and so did C.H. Atma in 'Panghat pe more shyam bajaaye
muraliya'.

Despite the popularity of a stray song such as 'Hamen to loot liya milke
husn Walon ne' (Ismail Azad/'Al Hilal'/1958). Bulo C Rani just continued to
drift because his music had not remained a viable commercial proposition.

After 'Sunhare Qadam' (1966). Bulo's career came to an end. Having once
enjoyed the position of prominence the lack of assignment made him restless.

It was an irony of fate that the song he composed in the voice of Lata in
his last film 'Sunhare Qadam' was 'Maangne se jo maut mil jaati, Kaun jeeta
zamane men'.

Irony was that in life he asked for death and he got it.


filmography :


1966

01] Jadoo Music Director

02] Sunhere Kadam Music Director

1965

03] Shai Lootera Music Director

04] Son Of Hatimtai Music Director

05] Chhupa Rustom Music Director

1964

06] Haqdaar Music Director

1963

07] Magic Box

1962

08] Jadoo Mahal

09]Madam Zorro

Shree Ganesh

1961

10] Anarbala Music Director

11] Room No. 17 Music Director

1960

12] Pedro Music Director

13] Abdulla Music Director

14] Black Tiger Music Director

1959

15] Tin Tin Tin Music Director

16] Rasiya

1958

17] Al Halal Music Director

1957

18] Jivan Sathi

1956

19] Noor - E - Yaman

20] Badshah Salamat Music Director

21] Ram Navami Music Director

22] Aabroo Music Director

1955

Veer Rajputaani

23] Haseena

24] Madhur Milan

25] Shikaar

1954

26] Aurat Teri Yahi Kahani

27] Bilwamangal


1953

28] Husn Ka Chor Music Director

29] Gul Sanobar Music Director

1952

30] Izzat Music Director

31] Nirmal Music Director

32]Baghdad Music Director

1951

33] Pyar Ki Baaten

34] Wafa

1950

35] Lavangi Music Director

36] Jogan Music Director

1949

37] Narad Muni Music Director

38] Garibi music Director

39] Nazare Music Director

40] Nanand Bhojai Music Director

41] Bhulbhulaiya

1948

42] Bichhade Balam Music Director

43] Gunsundari Music Director

44] Jai Hanuman Music Director

45] Mitti Ke Khiloune Music Director

46] Anjuman Music Director

1947

47] Kaun Hamara Music Director

48] Pahali Pahechan Music Director

49] Bela Music Director

50] Piya Ghar Aja Music Director

51] Woh Zamana Music Director

1946

52] Dharti Music Director

53] Rajputani Music Director

54] Shravan Kumar Music Director

55] Saalgirah

1945

56] Preet Music Director

57] Chand Chakori Music Director

58] Moorti Music Director

59] Prabhuka Ghar Music Director

1944

60] Pagli Duniya Music Director

61] Caravan Music Director

http://www.downmelodylane.com/bulocrani.html

http://books.google.com/books?id=ZI1wqkWsI...DD4zOkASR25GoAQ

This post has been edited by rashmi mehta: Mar 30 2009, 02:43 PM

[hildebrand]

Bulo C Rani was really great composer. Not much information is available on him.
Wish someone could start a thread on his songs. It would be really great.