Biography Of Kalpana Chawla

KALPANA CHAWLA (PH.D.)

NASA ASTRONAUT

PERSONAL DATA: Born in Karnal, India. Died on February 1, 2003 over the southern United States when Space Shuttle Columbia and her crew perished during entry, 16 minutes prior to scheduled landing. She is survived by her husband. Kalpana Chawla enjoyed flying, hiking, back-packing, and reading. She held a Certificated Flight Instructor's license with airplane and glider ratings, Commercial Pilot's licenses for single- and multi-engine land and seaplanes, and Gliders, and instrument rating for airplanes. She enjoyed flying aerobatics and tail-wheel airplanes.

EDUCATION: Graduated from Tagore School, Karnal, India, in 1976. Bachelor of science degree in aeronautical engineering from Punjab Engineering College, India, 1982. Master of science degree in aerospace engineering from University of Texas, 1984. Doctorate of philosophy in aerospace engineering from University of Colorado, 1988. AWARDS: Posthumously awarded the Congressional Space Medal of Honor, the NASA Space Flight Medal, and the NASA Distinguished Service Medal.

EXPERIENCE: In 1988, Kalpana Chawla started work at NASA Ames Research Center in the area of powered-lift computational fluid dynamics. Her research concentrated on simulation of complex air flows encountered around aircraft such as the Harrier in "ground-effect." Following completion of this project she supported research in mapping of flow solvers to parallel computers, and testing of these solvers by carrying out powered lift computations. In 1993 Kalpana Chawla joined Overset Methods Inc., Los Altos, California, as Vice President and Research Scientist to form a team with other researchers specializing in simulation of moving multiple body problems. She was responsible for development and implementation of efficient techniques to perform aerodynamic optimization. Results of various projects that Kalpana Chawla participated in are documented in technical conference papers and journals.

NASA EXPERIENCE: Selected by NASA in December 1994, Kalpana Chawla reported to the Johnson Space Center in March 1995 as an astronaut candidate in the 15th Group of Astronauts. After completing a year of training and evaluation, she was assigned as crew representative to work technical issues for the Astronaut Office EVA/Robotics and Computer Branches. Her assignments included work on development of Robotic Situational Awareness Displays and testing space shuttle control software in the Shuttle Avionics Integration Laboratory. In November, 1996, Kalpana Chawla was assigned as mission specialist and prime robotic arm operator on STS-87. In January 1998, she was assigned as crew representative for shuttle and station flight crew equipment, and subsequently served as lead for Astronaut Office’s Crew Systems and Habitability section. She flew on STS-87 (1997) and STS-107 (2003), logging 30 days, 14 hours and 54 minutes in space.

SPACE FLIGHT EXPERIENCE: STS-87 Columbia (November 19 to December 5, 1997). STS-87 was the fourth U.S Microgravity Payload flight and focused on experiments designed to study how the weightless environment of space affects various physical processes, and on observations of the Sun's outer atmospheric layers. Two members of the crew performed an EVA (spacewalk) which featured the manual capture of a Spartan satellite, in addition to testing EVA tools and procedures for future Space Station assembly. STS-87 made 252 orbits of the Earth, traveling 6.5 million miles in in 376 hours and 34 minutes. STS-107 Columbia (January 16 to February 1, 2003). The 16-day flight was a dedicated science and research mission. Working 24 hours a day, in two alternating shifts, the crew successfully conducted approximately 80 experiments. The STS-107 mission ended abruptly on February 1, 2003 when Space Shuttle Columbia and her crew perished during entry, 16 minutes prior to scheduled landing.

Biography Of Naushad Ali

Naushad Ali (December 25, 1919 - May 5, 2006) was one of the foremost music composers of Bollywood.

Naushad moved to Bombay from Lucknow in the late 1930s to try his luck as a musician. After initial struggle, he enjoyed great success in the 1940s as a music director.

Naushad has the credit of introducing the famous Lata Mangeshkar and Mohd. Rafi to Hindi filmi music. Naushad's professional training in Hindustani music enabled him in swift adaptations of the Hindustani ragas to filmi music. He is by and large regarded as the ONLY exponent of the usage of Hindustani music in Hindi films. Late in his career, Naushad lamented upon the decreasing use of Hindustani genre and so he dreamt of starting a music school which teaches that genre. He has been quite successful in both bringing up the school and breeding young talent in that school.

His major hits include Mughal-e-Azam, Mother India and Baiju Bawra.

Songs for his music have been mostly penned down by Shakeel Badayuni. In a sense, their partnership can be compared to that of Rodgers & Hammerstein's.

His previous music composition was for the movie Taj Mahal—An Eternal Love Story, by Akhbar Khan 2005

Naushad was awarded the Dadasaheb Phalke Award 1981 for lifetime contribution to Indian cinema.

He passed away on May 5, 2006.

Biography Of Sonu Nigam

Sonu Nigam

Sonu Nigam (born July 30, 1973) is one of the popular film singers in Bollywood. A native of Haryana, he has modelled his singing style after that of the legendary Mohammad Rafi.

Nigam's first major song was Acchha Sila Diya Mere from the movie Bewafaa Sanam. His big break came in 1997 with the film Border, directed by J.P. Dutta. The film was scored by Anu Malik and the lyrics were written by Javed Akhtar. Nigam's duet with Roop Kumar Rathod, Ke Ghar Kab Aaoge, is especially memorable. All of his films have been flops.

Since then, Nigam has sung in many of the top Bollywood movies, under the baton of most of the major music directors of today. He also sings duets with fellow Bollywood playback singers Alka Yagnik and Udit Narayan. In addition to his playback work, Nigam also enjoys a successful Indipop career, and has released several albums. In June 2005, Sonu announced to the world that he will not be living with his wife, Madhurima, any more. During a July 20 (2005) concert in Kabul, Afganistan, his concert stage collapsed but Sonu Nigam left with only a back strain.

Biography Of Mukesh

Mukesh Chand Mathur (formal name was Zoravar Chand), (July 22, 1923, Delhi, India - August 27, 1976), popularly known simply as Mukesh, and was referred to as the man with the golden voice was a well-known Indian playback singer. Mukesh's voice was noticed by Motilal (who was a distant relative of Mukesh) when he sang at his sister's wedding. Motilal took him to Bombay and let him stay with him and even arranged for singing lessons for him. During this period, he even managed to bag a role in a Hindi film, Nirdosh (Innocent) (1941). He got his break as a playback singer in 1945 with the film Pehli Nazar (First Look) (1945). The first song he sang for a Hindi film was Dil Jalta Hai to Jalne De (If the heart burns, let it burn) which was incidentally picturised on Motilal. In 1974, Mukesh received a National Award for the song Kain baar yoon bhi dekhaa hai from Rajnigandha (1974), and Filmfare Awards for the songs Sab Kuch Seekha in movie Anari (1959), Sabse Bada Nadan in movie Pehchaan (1970), Jai Bolo in movie Be Imaan (1972) and Kabhi Kabhi in the movie with the same name (1976) He died of a heart attack on August 27, 1976 in Detroit, Michigan, USA where he had gone for a concert. This was soon after he sang the evergreen song Ek Din Bik Jaayegaa whose lyrics say "One day you will be turned into ashes, all that will be left will be the words you spoke, leave a symbol of yourself by putting your songs on the lips of others before you die". His son Nitin Mukesh was a quite big singer in the 1980s, and sings mostly devotional religious songs these days Filmography Pehli Nazar (First Look) (1945) Mela (The Fair) (1948) Aag (Fire) (1948) Andaaz (1949) Awaara (1951) Shri 420 (1955) Parvarish (Upbringing) (1958) Anadi (Fool) (1959) Sangam (1964) Mera Naam Joker (1970) Dharam Karam (1975) Memorable songs Tu Kahe Agar Zinda Hoon Main Is Tarah Mera Joota Hai Japaani from Aawaaraa (1951) Yeh Meraa Deewanaapan hai from Yahudi (1958) Kisee ki muskuraahaton pe ho nisaar from Andai (1959) O Jaane waale, ho sake to laut ke aanaa from Bandini (1963) Dost Dost Naa Rahaa from Sangam (1964) Jaane Kahaan Gaye wo din from Meraa Naam Joker (1970) Maine tere liye hi saat rang ke sapane chune from Anand (1970) (music scored by Salil Chowdhury) Ek Din Bik Jaayega from Dharam Karam (1975) Main Pal do pal kaa shaayar hoon Kabhie kabhie mere dil me khayaal aataa hai from Kabhie Kabhie (1976)

Biography Of Asha Bhosle

Asha Bhosle (born September 8, 1933) is one of the leading singers of the Indian subcontinent. She is chiefly known as a playback singer for films, although she has sung non-film songs too. She is a versatile singer and sings ghazals, bhajans, traditional Indian Classical music, pop and film music. For a long time she had to play second fiddle to her elder sister Lata Mangeshkar, but in the last two or three decades of her half-century career she made her mark as the leading female pop singer in Hindi film music. Asha is very popular in India and has sold over 40 million records.

Asha has sung over 20,000 songs in 14 languages for three generations of Indians, from O. P. Nayyar's breezy songs of the 1950s to A. R. Rahman's modern 1990s tunes. She says - "I sang for Tanuja (Bollywood actress of yesteryears) over 30 years ago and I have sung for her daughter Kajol. I am sure I will be around to sing for Kajol's daughter."

Asha was born in the musical family of Pandit Dinanath Mangeshkar. Asha was extremely shy as a child. Her father died when she was very young. Her elder sister Lata started singing in films. Asha eloped with her 31-year old lover when she was a teenager.

A few years after her marriage, Asha's husband died. She followed in her elder sister's footsteps and took to singing in films. Music director O P Nayyar's association with her is part of Bollywood lore. When her talent was not recognized by anybody in Bollywood, Nayyar recognized her potential and gave patronage to her. He gave her a big break in CID (1956). Asha became his favorite after he fell out with Lata Mangeshkar. O P Nayyar and Asha Bhosle will be remembered for the breezy songs with galloping beats. They recorded songs for many hit movies like Naya Daur (1957), Tumsa Nahin Dekha, Howrah Bridge, Kashmir ki Kali etc. Some of their famous songs include Aaiye meherbaan from Howrah Bridge picturized on sensuous Madhubala, Yeh Hai Reshmi Zulfon ka Andhera from Mere Sanam and Aao huzur tumko from Kismat, Main pyaar ka rahi hoon from Ek Musafir Ek Haseena. Asha recorded her last song for O P Nayyar in the movie Pran Jaye Par Vachan Na Jaye (1974). The solo number Chain se got many awards, but it wasn't included in the movie.

B R Chopra, the producer of Naya Daur (1957), another person who recognized Asha as a great singer in the 1950s. He got her to sing in many of his films like Waqt and Gumraah.

Another music director who recognized Asha's talent was Khayyam. His partnership with Asha dates back to his first movie Biwi (1948). But he recorded his most memorable songs with Asha in the superhit movie Umrao Jaan, picturized on Rekha. They recorded four ghazals: Dil cheez kya hai, In aankhon ki masti ke, Ye kya jagah hai doston and Justju jiski thi. The film won her the first National Award of her career. Khayyam says - "The ghazals she sang for Umrao Jaan became a milestone in her career. I changed her tone and she was quite surprised she could sing like that. The songs proved her versatility and established her talent."

Composer Ravi got Asha to sing for his first movie Vachan (1955). The melodious lullaby Chandamama door ke became an overnight hit. Ravi got her to sing bhajans in Grihasti and Kajal, in an age when most of the composers preferred Lata Mangeshkar for classical songs. He and Asha recorded a variety of songs, including the funny duet with Kishore Kumar - C A T...Cat maane billi for Dilli Ka Thug. He also recorded songs for other movies like Waqt with her. Kishore Kumar worked as a music composers in few films like 'Door Gagan ki chhaon mein' and Asha was his first choice.

Sachin Dev Burman, one of the most famous Bollywood composers, and Lata Mangeshkar fell out with each other in 1957. After that, S D Burman used Asha as his lead female voice. They recorded many songs together. Most famous of these songs were Asha's duets with Mohammed Rafi and Kishore Kumar. Some of the famous Rafi-Asha duets with S D Burman are Achchha ji, main haari chalo from Kala Paani, Gunguna rahe hain bhanwre from Aradhana(1969 etc. Some of the Kishore-Asha duets include Haal kaisa hai janaab ka? from Chalti ka naam gaadi, Chhod do aanchal from Nau Do Gyarah. Asha sang many solo hits under S D Burman's baton - Raat Akeli Hai from Jewel Thief (1967) - picturized on Tanuja, Kali ghata chhaye from Sujata, Koi aaya dhadkan kehti hai from Laajwanti etc. Asha also sang for Sachin Dev Burman's assistant, Jaidev in Hum Dono, Mujhe Jeene Do and other movies.

Asha also worked with many other famous music composers including Shankar Jaikishan, Madan Mohan and Salil Chowdhury, whose favorite singer was Lata. Shankar Jaikishan created a few hits for Asha, including the seductive Parde mein rehne do from Shikar(1958). Asha got her first Filmfare Award for the song. Asha recorded one of the Bollywood's first rock and roll numbers with Chitalkar Ramchandra - Eeena Meena Deeka. Madan Mohan recorded quite a few songs with Asha, including the famous Jhumka gira re from Mera Saaya. In Chhoti Si Baat (1975), Asha Bhosle recorded the popular Jaaneman Jaaneman number with K J Yesudas for Salil Chowdhury.

A new era dawned in Bollywood music history when S D Burman's son, Rahul Dev Burman (aka Pancham) made his entry in films. Pancham and Asha Bhosle created more than just music together; Asha later married Pancham. Asha rendered hit songs for Pancham's first successful movie - Teesri Manzil. These songs included popular duets with Rafi - Aaja Aaja, O Haseena and O mere sona re. In the 1970s, Asha and Pancham's youthful, Western songs took Bollywood music by storm - the raunchy cabret Piya tu from Caravan (1971), the rebellious Dum Maro Dum from Hare Krishna Hare Rama (1972), the sexy Duniya mein from Apna Desh (1972) the romantic Chura liya hai from Yaadon Ki Baarat. About Dum Maro Dum, Kishore Kumar said "the song is powerful enough to bring a dead person to life".

Pancham recorded many hit duets with Asha and Kishore Kumar - Jaane jaa dhoondhta phir raha from Jawani Diwani, Bhali bhali si ek soorat from Buddha Mil Gaya. In 198Os, Pancham and Asha recorded beautiful ghazals for films like Izaazat (1987)- Mera kuch saaman, Khaali haath shaam aayi hai. Katra Katra and many more songs like O Maria (Sagar).

Anu Malik and Asha recorded many hit songs together, including Filhaal (Filhaal). In fact, Anu's first hit film Soni-Mahiwal had songs sung by Asha. The South Indian maestro, Ilayaraja worked with Asha in Kamal Haasan's Hey! Ram. The film flopped, but Asha's song Janmon ki went well with audience. Sandeep Chowtha got Asha to sing Kambakth ishq from Pyaar Tune Kya Kiya (2001), which got youngsters grooving.

Young A. R. Rahman got Asha to sing Tanha tanha for Rangeela. Rahman went on to record many more hits with Asha including Rang de (Thakshak), Radha kaise na jale with Udit Narayan (Lagaan) and Kahin aag lage (Taal), O Bhanware with K J Yesudas (Daud). Rahman once said - "I approach Asha ji only when I compose something that would fit her stature."

In 1980s, Asha went globe-trotting, staging concerts in the USA, Canada and the UK. In the mid-1980s, she sang with Boy George and Stephen Lauscombe. In 1997, she sang a love song with Code Red, a boy band. She also recorded the song "The Way you Dream" (One Great Leap) with Michael Stipe that was used in the English movie, The Bullet Proof Monk.

In 1997 Asha did a private album with Leslie Lewis - Janam Samjha Karo that won her 1997 MTV Award. Asha Bhosle also worked with the Indo-Pakistani singer Adnan Sami for Kabhi to Nazar Milao, which went on to became the best-selling album.

Asha has received many awards inlcuding six Filmfare Awards and also the Filmfare Lifetime Achievement Award. She won only six Filmfare awards because after getting her sixth award, she had asked not to be considered for the Filmfare Awards. Asha received the Dadasaheb Phalke Award in 2001.

Asha's stint as a music composer - Aap Ki Asha (2002) didn't go well with the audiences. But her popularity as a singer remains untouched. She contributed the song "Yun Na Thi" to the recording "Womad Talking Book Volume Four: An Introduction to Asia 1" on Womad Records. She also worked with Ustad Akbar Ali Khan on Legacy, a private album.

Cooking is a favorite hobby of Asha, who also runs a restaurant in Dubai.

In 1997, the British band Cornershop paid tribute to Asha with their song "Brimful of Asha".

Biography Of Mohammed Rafi

Mohammed Rafi
From Wikipedia, the free encyclopedia.
Mohammed Rafi (December 24, 1924 - July 31, 1980) is perhaps the most famous Hindi playback singer of yesteryears. Rafi still remains popular in South Asia and in countries like UK, Kenya, West Indies etc. where South Asian immigrants have settled. He continues to inspire many new Bollywood playback singers like Sonu Nigam.

Along with Lata Mangeshkar, he shares the record for having sung the greatest number of songs, approximately 26,000 during his film career spanning 40 years (from 1940 to 1980) But less than 5,000 songs can be verified. Rafi has also sung a large number of songs with Geeta Dutt and Asha Bhonsle.

His songs ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawaalis to ghazals and bhajans, and from slow melancholic tunes to fast fun filled songs. He had a strong command of Hindi and Urdu and a powerful range that could accommodate this variety.

He sung for Rajendra Kumar and Jeetendra, the tragedy heroes, Dilip Kumar and Bharat Bhushan, comedian Johnny Walker and many more. His voice personified the rebellious image of the star, Shammi Kapoor and also gave expression to smaller and younger heroes like Biswajit and Joy Mukherjee. Rafi has also sung for singer-actor Kishore Kumar in a few movies like Raagini, Baaghi Shehzaada, and Shararat.

Early years
Rafi was born at Kotla Sultan Singh village near Amritsar in Punjab, now in Pakistan to a middle class Muslim family. At the age of 14, he moved to Lahore and learned Indian classical music from Ghulam Ali Khan. Rafi started imitating his idol G. M. Durrani and became a playback singer.

Rafi's first song was in Punjabi for the film Gul Baloch - it was a duet with the singer Zeenat Begum. The song was Soniye nee, Heeriye nee, composed by Shyam Sunder. Shyam Sunder was impressed with his voice and gave Rafi seven songs in another film Bazaar. Rafi's talent was noticed by composer Firoz Nizami, who found him a job at Radio Lahore. Rafi's first hit song was yaha badla wafa ka, composed by Firoz Nizami. It earned Rafi fame. Producer of film Amar Raj, J B Wadia went looking for him because he wanted only Rafi to sing songs for his film.

Rafi also did brief roles in movies like Laila-Majnu (1945) and Jugnu. In Laila-Majnu, he was seen singing tera jalwa as a part of the chorus.


Years with Naushad
Rafi's big time came when he met the composer Naushad in Bombay. Rafi's first song for Naushad was Hindustan ke hum hain (We belong to Hindustan) for the film Pehle Aap in 1944. Rafi and Naushad struck a chord. The first hit for the duo was the soundtrack of the superhit movie Anmol Ghadi (1946). Before Rafi, Naushad's favorite singer was Talat Mahmood. Once Naushad found Talat smoking during a recording. He was annoyed and hired Rafi to sing all the songs of the movie Baiju Bawra. After the Partition of India, Rafi and Naushad decided to remain in India. Whenever Naushad required a male voice in the songs composed by him, he would approach Rafi and nobody else. This attitude of Naushad was criticized by many people, but he continued his patronage for Rafi. Naushad used Rafi's voice for almost actors of that time including Bharat Bhushan and Dilip Kumar.


Rise to fame
Soon, Rafi became favorite singer of other composers too, notably O. P. Nayyar, Shankar Jaikishan and Sachin Dev Burman. Rafi became voice of Dev Anand with soul-stirring songs composed by S. D. Burman. Rafi sang songs of all moods for S. D. Burman, picturized on Dev Anand - the romantic dil ka bhanwar, the drunk hum bekhudi mein, the free-spirited khoya khoya chaand. Rafi and S. D. Burman teamed up with Dev Anand's Navketan production house to produce hit tracks in many movies - Kala Bazar, Tere Ghar Ke Saamne, Guide among others. S. D. Burman also got Rafi to sing for Rajesh Khanna in Aradhana and Amitabh Bachchan in Abhimaan. Rafi and S. D. Burman also produced soulful songs for Guru Dutt's Pyaasa, C.I.D. and Kaagaz ke Phool.

O. P. Nayyar used Rafi and Asha Bhosle for most of his songs. Together they created beautiful music in the 1950s and 60s. O. P. Nayyar was once quoted as saying "If there had been no Mohd. Rafi, there would have been no O P Nayyar". He and Rafi created many songs together including the famous Yeh hai Bombay meri jaan. O P Nayyar was so impressed with Rafi that he got Rafi to sing for singer-actor Kishore Kumar - Man mora baawara for the movie Raagini. The team will be particularly remembered for the songs picturized on Shammi Kapoor. The song Jawaaniyan yeh mast mast and the title song Yun to humne lakh hansee dekhe hain, tumsa nahin dekha' (Although I have seen a lakh beauties, but never saw one like you) of the film Tumsa Nahin Dekha became instant hits. They were followed by hits like Taareef karoon kya uski jisne tumhe banaya (How should I praise the one who created you) from Kashmir ki Kali. As the famous ghazal singer Jagjit Singh mentions, "Rafi was extremely versatile and could take on the personality of the Shammit Kapoor or for that matter, any other hero on whom the song was picturized."

Shammi Kapoor himself gives a large credit for his success to Rafi. Shammi's image of young, rebellious, carefree man can be attributed to the famous song Yahoo! Chahe koi mujhe junglee kahe, kehne do ji (Let people call me wild, I don't care) sung by Rafi and composed by Shankar Jaikishan. Shanker-Jaikishan also created beautiful songs with Rafi. The team will be remembered for the ones picturized on Rajendra Kumar - Baharon phool barsaao and others. Shanker-Jaikishan also got him to sing Ajab hai yeh dastaan from Sharaarat, picturized on Kishore Kumar.

Rafi was also composer Ravi 's first choice for playback singing. He got Rafi to sing the famous Rock-n-Roll number from the movie China Town Baar Baar Dekho, picturized on Shammi Kapoor.

Madan Mohan was another composer whose favorite singer was Rafi. They teamed up to produce many superb ghazals including the intoxicating teri aankhon ke siva duniya mein rakha kya hai (There's nothing in the world except your eyes), the sad Yeh duniya yeh mehfil mere kaam ki nahin (This world, this party is not of any use to me) and the romantic tum jo mil gaye ho. Madan Mohan used Rafi's voice in many films like Chirag and Laila Majnu.

The famous composer duo Laxmikant Pyarelal ("L-P") also used Rafi as their male voice in 1960s and 70s. When L-P were new in the industry, Rafi sang for them, although he was the numero uno singer in Bollywood at that time. They got Rafi to sing for their first hit film Paarasmani. Both Rafi and L-P won the Filmfare Awards for the song Chahoonga main tujhe shaam savere from the superhit movie Dosti. The song was to be sung by L-P's favorite singer Lata Mangeshkar, but then producer of the film decided to hand over the song to Rafi. L-P weren't amused with the idea. But when the recording was finished, Rafi also became their favorite singer.

In 1965, Rafi was honoured by the Government of India with the Padma Sri award.


The lean years
In the year 1969, Bollywood witnessed the rise of a new superstar, Rajesh Khanna in the movie Aradhana. Aradhana was the beginning of the era of another great singer Kishore Kumar. The Rajesh Khanna rage coupled with the complete sync of Kishore's singing voice on Rajesh Khanna brought the first serious set back in Rafi's career. As Rajesh Khanna and Kishore Kumar soared to super stardom towards the early 1970s, Rafi's career began to spiral downwards. The careers of many other superstars and singers got affected during the early '70s as a result of the Kishore Kumar-Rajesh Khanna wave, but such was Rafi's predominance in the field of playback singing in the pre-1970s era that his became the most obvious and talked about grapevine in the industry circles and the media.

Also, the older lot of Rafi-centric composers like O. P. Nayyar, Naushad and Shankar Jaikishan were replaced by the talented Rahul Dev Burman, marking a beginning of a new era of hindi film music. Other composers like Laxmikant Pyarelal, were also forced to prefer Kishore over Rafi due to producers' demands. From Rafi's perspective, it was the rise of R D Burman which affected his career the most, as Kishore was R D Burman's favourite singer. It is ironic though that it was with Rafi that Rahul Dev Burman stormed into Bollywood, with his first notable super-hit score Teesri Maanzil released in the year 1966.

However, even during his lean phase, the few songs that Rafi recorded for Rahul Dev Burman, Sachin Dev Burman, Laxmikant Pyarelal and Madan Mohan are considered as Bollywood classics.


Last years
Rafi did manage a grand comeback towards the late 1970's. His song Kya hua tera waada from the movie Hum Kisise Kum Nahin fetched him the national award and Filmfare Award for the year 1977, ironically again this song was composed by none other than R D Burman. His songs from the films sung towards the late 1970's Laila Majnu, Amar Akbar Anthony and Sargam, became huge hits. Laxmikant-Pyarelal the famous music director duo were instrumental in Rafi's comeback, as they began to churn out hits after hits from Rafi during the late '1970s. His dard-e-dil, dard-e-jigar, composed by Laxmikant-Pyarelal and filmed on Rishi Kapoor, in the movie Karz, became a rage amongst the youngsters.

Rafi's magic never go down (it come up in fact) even his demand went down in those time, but he made a grandiose return with amazing songs in movies like Hum Kisi Se Kam Nahin, Karz.

On the day of July 31, 1980 After composing a song for the movie Aas Paas with L-P, Rafi said "Should I leave?". L-P were surprised because Rafi had never said anything like this before. While leaving, Rafi said once again "OK. I will leave." Rafi passed away at 7.30 PM on the same day due to a massive heart attack.


Rafi the person
Rafi had four sons and three daughters. He was a teetotaller, a highly religious and extremely humble person. He was a devout Muslim. Once, when a lesser-known composer, Nisar Bazmi (who migrated to Pakistan in early 1960s), didn't have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He even helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed - "He always gave without thinking of the returns". Rafi and Lata Mangeshkar had a major debate over the issue of royalties in 1960s. Rafi believed that once a recording was over and a singer has been paid, he or she should not ask for more. Lata, on the other hand said that singers should be paid royalties for their works, over and above the amount given for the singing. This led to a fall out between them. They refused to sing songs together. At the instance of Nargis, Sanjay Dutt's mother, they finally made up at a stage concert and sang Dil Pukare from the film Jewel thief, composed by S D Burman.

Biography Of Lata Mangeshkar

Lata Mangeshkar
From Wikipedia, the free encyclopedia.
Bharat Ratna Lata Mangeshkar ('??? ???????') (born September 28, 1929 Indore Madhya Pradesh India) is the most revered Indian singer, whose career has spanned over six decades. Although she has sung non-filmi songs in various languages, she is chiefly known as a Bollywood Hindi playback singer. However, as of late, her voice has noticeably deteriorated.



Childhood
Lata was born Hema Hardikar at Sikh Mohalla Indore Madhya Pradesh India. She was the eldest daughter of Pandit Dinanath Mangeshkar and Shrimati Mangeshkar in a middle-class Maharashtrian family. Her father was a theatre-artist and singer. Music was a part of her family. Her siblings Hridaynath Mangeshkar, Usha Mangeshkar, Meena Mangeshkar and Asha Bhosle also chose music as their careers.

Although she was born at Indore, Lata was brought up in Maharashtra. When she was 5 years old Lata started working as a child-artist in several of her father's performances. Once when her father was playing Arjun at a play at Solapur, she insisted on playing elder Narad, although she was only a 7-year old child then. Despite her father's protest, she played the role and impressed the audience with her great acting and singing skills.


1940s :Initial days in Bollywood
Lata wanted to be a singer in her childhood. As a little kid, after watching Kundan Lal Saigal - starrer movie Chandidas, Lata declared that she would marry K L Saigal, when she grew up. Her first song for a movie was for the film Kirti Hasaal, which was produced by Vasant Joglekar. Her father didn't want her to sing for movies, and the song had to be dropped from the film. But her talent impressed Vasant very much, who later said - "She is an introvert. That's why she's not proud. But she reveals her pride in her singing."

After the death of her father (when she was still a 13-year old adolescent), Lata had to go through financial and emotional struggles. She didn't like acting very much, but the untimely death of her father and the need to earn money forced her to play cameo roles in many Hindi and Marathi films. Her first film as an actress was Pahili Mangalagaur (1942), in which she played younger sister to actress Snehprabha Pradhan. Later, she acted in many films including, Maaze Baal, Chimukla Sansar (1943), Gajabhau (1944), Badi Maa (1945), Jeevan Yatra (1946), Mand (1948), Chhatrapati Shivaji (1952). In Badi Maa, Lata acted with Noor Jehan and her younger sister Asha Bhosle. She sang for herself and did playback for Asha.

In 1945, maestro Ghulam Haider (who earlier discovered Noor Jehan) took Lata to the producer of a forthcoming movie starring actress Kamini Kaushal. He wanted the producer to give 16-year old Lata a chance to sing. The producer dismissed Lata's beautiful soft voice as too immature and girlish. Ghulam Haider was extremely annoyed and said - "Let me fortell today that this girl will soon put to shade everyone else including Noor Jehan. Producers and signers will fall at her feet begging her to sing in their fims." Today, most people will recongnize Ghulam Haider as a great fortune-teller.

In 1947, Vasant Joglekar got Lata to sing for his film Aapki Seva Mein. The songs composed by musician Datta Daavjekar established Lata as a leading playback singer in Bollywood. Lata reinforced her position with hit songs from the movie Majboor - Angrezi chhora chala gaya and Dil mera toda Haaye, mujhe kahinka na choda tere pyaar ne . However, Lata was still looking for that elusive hit, that would give the recognition she deserved.

In 1949, Lata got her big break with the song Aayega Aanewaala from the movie Mahal. The song was pircturized on Bollywood's screen goddess Madhubala and was composed by Khemchand Prakash. The film was a superhit. It was a turning point in careers of Madhubala and Lata. More hits follwoed and Lata became the most sought after playback singer.

Lata struck a rapport with the composers like Naushad and lyricists like Sahir Ludhiyanvi, Rajendra Krishna, 'Majrooh Sultanpuri etc.


1950s: Lata's popularity rises
1950s saw Lata becoming the favorite singer of composers like Shankar_Jaikishan, Sachin Dev Burman, Chitalkar Ramchandra, Madan Mohan, Salil_Chowdhury among others. However, she and composer O. P. Nayyar had great misunderstandings and O. P. Nayyar gave patronage to her sister Asha Bhosle.

Composer S D Burman and lyricist Sahir Ludhiyanvi got Lata sing Tum na jaane kis jahaan mein kho gaye for Sazaa 1951. The team also recorded songs for Navketan Productions' House No. 44, in which Lata rendered the lovely Phaili hui hain sapnon ki baahein (Spread are the arms of dreams). Once when Bollywood musicians decided to go on strike, paralyzing all recording activity, S D Burman said "As long as there is Lata, I am safe". However, in 1957, Lata and S D Burman fell out and decided not to work together. They patched up later, in 1962.

Lata recorded the popular Man dole mera tan dole (My mind swings, my body swings...) with the composer Hemant Kumar for the movie Nagin (1954). She went on to record many more songs with the same composer, including Kahin deep jale kahin dil.


Lata recorded many songs in late 1940s and early 1950s with the team of composer C Ramchandra and lyricist Rajendra Krishan. Some of their hits include Dheere se aaja from Albela (1951), Radha na bole from Azaad (1955)).

Lata and Rajendra Krishna also teamed up with the composer Madan Mohan to churn out some great ghazals includingYun hasraton ke daag (Adaalat (1958), Hum pyaar mein jalne waalon ko (Jailor) and Main to tum sang nain mila ke (Manmauji), Na tum bewafa ho (Ek Kali Muskarai). Lata and Madan Mohan created more beautiful ghazals in 1960s.

Lata sang some of the most beautiful songs for composers Shankar_Jaikishan and lyricists Hasrat Jaipuri and Shailendra. Jiya bekaraar hai (Barsaat 1949), Rasik Balma from Chori Chori (1956), the title song of Hariyali Aur Raasta (duet with Mukesh), Gumnaam hai koi (Gumnaam) penned by Hasrat were instant hits. Shailendra's Ajeeb Daastaan hai yeh (Dil Apna Preet Parai), Tum to dil ke taar chhedkar (Roop ki Rani, Choron Ka Raja), Kisi ne apna banake mujhko (Patita) were great hits as well.

Raj Kapoor always had the team of Shankar-Jaikishan, Hasrat, Shailendra, Mukesh and Lata for the music of his films - Barsaat, Anaadi etc. The songs of all his films were superhit. Raj Kapoor called Lata as an avtar of Hindu goddess Saraswati. Lata's romantic duets with the singer Manna Dey for Raj Kapoor's films were huge hits - Pyaar hua, Ikraar hua, Yeh raat bheegi bheegi, Dil ki girah khol do (Raat aur din 1967), Aaja Sanam, madhur chandani mein hum (Chori Chori) etc.

Shailendra and Lata also teamed up with composer Salil_ Chowdhury to produce great music in the Bimal Roy movies such as Madhumati (1958) and Parakh (1960). Once, Salil sang an emotional Bengali song on Bimal Roy's request. After the song was finished, Salil found that Lata had fainted. Later Lata told him - "I was so overcome that I coudn't control myself" Salil once said - "Almost all my songs that require a female voice have been sung by Lata. I've rarely felt the need to turn to someone else." Lata recorded some of her most memorable songs with Salil, including Raaton ke saaye, Chhoti si baat, O Sajna barkha bahaar aayee (Parakh) and Aaja re pardesi (Madhumati), Itna tu mujhse na pyaar badhaa (Chhaya, duet with Talat Mahmood, penned by Rajendra Krishna).

Lata met singer-actor Kishore Kumar at a Khemchand Prakash's recording under funny circumstances. Lata was going to Khemchand's studio and Kishore was also going to the same place. Lata thought that she is being followed by a man with bad intentions. It was only after reaching the studio, she realized that the man is going to sing a duet with her. Lata sang maximum number of duets with Kishore Kumar. (many people wrongly believe that it was Mohammad Rafi).Of course, Lata recorded many duets with Mohammad Rafi Mukesh and Manna Dey too. Her co-singer were all praise for her.


1960s: Lata is the playback queen
Lata's playback songs for Madhubala - Mohe panghat and Jab pyaar kiya to darna kya from the movie Mughal-e-Azam (1960) became huge hits. The songs were penned by Shakil Badayuni and composed by Nausahd. While recording Mohe panghat, Naushad told Lata - "I've created this song only for you. Nobody else can render this song."

In 1962, Lata sang the non-filmi patriotic song Aye mere watan ke logon at a function. Composer C Ramchandra's music was great and Poet Pradeep 's lyrics were moving, but it was Lata's voice that made the difference. The song moved Indian Prime Minister, Pt. Jawaharlal Nehru, to tears.

Lata proved her versatility when she sang the Middle-Eastern Islamic number Aye Dilruba (Roustam Sohrab 1963) for the composer Sajjad Hussain. The lyricist was Jan Nissar Akhtar, Javed Akhtar's father.

Hasrat Jaipuri, Shankar_Jaikishan and Lata teamed up to produce hits like Ehsaan tera hoga mujh par (Junglee 1961) among others. Lata and Shankar-Jaikishan also worked on Shailendra's lyrics to create lovely songs like Ruk ja raat thahar ja re chanda (Stop, O Night!; Wait, O Moon!) from Dil Ek Mandir (1963), Tumhen yaad karte karte from Amrapali (1966).

Lata's bhajan - Allah tero naam (Hum dono 1961), penned by Sahir Ludhiyanvi and composed by S D Burman's assistant Jaidev, became hugely popular among the masses. Lata also recorded many other popular songs with Jaidev, including Yeh dil aur unki nigahon ke saaye (Prem Parvat, lyricist: Jan Nisar Akhtar).

1960s also saw patching-up between Lata and S D Burman. The songs from Dev Anand's Guide (1956), penned by Shailendra were huge hits. The superb song picturized on Waheeda_Rehman, Aaj phir jeene ki tammana hai, aaj phir marne ka iraada hai (Today I wish to live again, Today I've decided to die) and the duet with Kishore Kumar Gaata rahe mera dil, tu hi meri manzil (My heart sings you are my destination) became evergreeen hits. Shailendra, S D Burman and Lata again came together in Jewel Thief (1967). The songs Rula ke gaya sapna mera and Hothon pe aisi baat became very popular. The film also saw Mohammed Rafi and Lata coming together once again to sing Dil pukaare aa re. (Earlier, they had fallen out with other on the issue of payment of royalties). Lata also sang for the 1969 landmark movie, Aradhana, in which she recorded Kora Kaagaz tha yeh man mera with Kishore Kumar. The lyricist was Anand Bakshi and composer was S D Burman.

Lata also recorded many songs with composer Roshan (better known as Hrithik Roshan's grandpa). In 1966, Lata recorded soulful Rahein na rahein hum, mehka karenge (Mamta) for Roshan. The song was penned by Majrooh Sultanpuri. Again in 1967, Roshan and Lata turned lyricist Sahir Ludhiyanvi's words into songs for the film Bahu Begam. The song Duniya kare sawal to hum kya javaab de? became very popular.

The musician of duo Kalyanji_Anandji had earlier worked with Lata as the assistants of Shankar-Jaikishan. When they decided to compose music independently, they chose Lata as their lead female voice. The beautiful songs of the film Saraswati Chandra (1968) that were written by Indeevar are nice examples of music that the team created - Phool tumhe bheji hai khat mein (duet with Mukesh), Chandan sa badan, Chhod de saari duniya kisike liye. Kalyanji-Anandji worked with Lata to create many more beautiful songs like O mere mitwa (Geet).

Lyricist Anand Bakshi's most famous songs were sung by Lata. Their first hit together was Yeh sama from Jab Jab Phool Khile (1965) - composed by Kalyanji-Anandji. When Kalyanji-Anandji's assistants, Laxmikant_Pyarelal ("LP") decided to go independent, Lata recommended them to producers and sang for their first film. In film Shagird(1967), Lata and LP displayed their versatility, when they created the bhajan Kanha aan padi main tere dwaar and the romantic Woh hain zara khafa khafa. The songs were written by Majrooh Sultanpuri. In 1969, LP got Lata to sing the sensual Aa Jaanen Jaan (Intadam 1969, lyricist: Rajendra Krishna), where Lata proved that she can also sing sexy numbers like Asha Bhosle. The team of Anand Bakshi, LP and Lata became very popular and produced many hits in late 1960s and 1970s. Their songs, Saavan ka mahina, pavan kare sor (duet with Mukesh) from Milan(1967) and Bindiya Chamkegi (Do Raaste (1969), the title song of Aan Milo Sajna became very popular.

Lata also recorded the hit Baharon mera jeevan bhi savaron for composer Khayyam and lyricist Kaifi Azmi in the movie Aakhiri Khat (1966). Khayyam also recorded many other songs with her. Kaifi Azmi and Madan Mohan worked together in few movies like Heer-Ranjha, where they got Lata to sing beautiful songs like Milo na tum to hum ghabraayein.

However, 1960s of Bollywood music will be remembered for the ghazals that Lata sang for composer Madan Mohan and lyricist Raja Mehendi Ali Khan - Aapp ki nazron ne samjha from Anpadh (1962), Lag ja gale from Woh Kaun Thi (1964), Nainon mein badra chhaye, Mera saaya saath hoga from Mera Saaya (1966) etc. Madan and Lata also worked with other lyricists like Kaifi Azmi and Rajendra Krishna. Even O. P. Nayyar once said while giving an interview in Dubai - "I don't knowwhether Lata was created for Madan or Madan was created for Lata. But there has never been a composer like Madan, nor has there been a singer like Lata".

In 1960s, S D Burman's son, Rahul Dev Burman also made his debut as a composer. He recorded many beautiful songs with Lata in late 1960s - Kya janoon sajan (Baharon Ke Sapne 1967), Ni sultana re, pyar ka mausam aaya (Pyaar Ka Mausam 1969, duet with Rafi) etc.


1970s: Lata is ageless diva
In her 40s, Lata was still the first choice of composers to sing for damsels in their 20s.

1971 saw release of much delayed Meena Kumari-starrer Pakeezah. The film had music by Ghulam Mohammed. The Kaifi Azmi song, rendered by Lata - Chalte Chalte became an overnight superhit. Other songs too, were great hits - Inhi logon ne le lina dupatta mera, Chalo dildar chalo (duet with Rafi).

Lata also recorded many beautiful songs in the last films of S D Burman. Dev Anand's direcoral debut, Prem Pujari, flopped but the songs penned by Neeraj and sung by Lata were hits - Rangeela re, Shokhiyon mein ghola jaaye etc. The hit songs from Sharmilee 1971, penned by Neeraj, included Khilte hain gul yahan, Aaj madhosh hua jaaye re (duet with Kishore Kumar) and Megha chhaye aadhi raat. S D Burman got 44 year old Lata to sing for young Jaya Bachchan - Piya bina, piya bina, kya jeena and Nadiya kinare, Teri bindiya re (Abhimaan 1973, duet with Rafi). All these songs were written by Majrooh.

Lata also recorded the memorable songs for Salil Chaudhary - Raaton ke Saaye ( Annadata 1971), title song of Chhoti Si Baat (1974). In 1974, Lata also recorded a bhajan of Meerabai, Saanware Rang Rachi with her brother Hridaynath Mangeshkar.

The Bollywood Music scene in 1970s was dominated by composers Laxmikant-Pyarelal ("LP") and Rahul Dev Burman ("Pancham"). Pancham and LP were fans of Lata and recorded a large number of songs with her and Kishore Kumar.

Lata sang a large variety of songs for R D Burman - the intricate classical song from Amar Prem 1971, Raina Beeti Jaaye (lyricist: Anand Bakshi), the frothy Dilbar dil se pyaare from Caravan (1971) and the sensual Bahon mein chale aao (both songs written by Majrooh Sultanpuri). Lata and Pancham worked together for many film albums, including Kati Patang (1970) and Sholay (1975). Lata, Kishore Kumar, R D Burman and lyricist Gulzar came together in film Aandhi (1975) to produce some of the most soulful duets coming out of Bollywood - Tere bina zindagi se, Tum aa gaye ho and Is mod se jaate hain. The team went on to record many more lovely songs. The tragedy song from the film Mehbooba - Mere Naina Savan Bhado (also sung by Kishore) is a great example of the rapport that Lata shared with Pancham.

Lata, Anand Bakshi and LP worked together for many film albums, churning out hits like including Mehboob ki Mehendi, Main Tulsi Tere Aangan Ki etc. LP also gave music in Raj Kapoor's Satyam Shivam Sunderam (1978), in which Lata's rendering of the title song impressed everybody.

In 1976, Lata recorded songs for composer Khayyam and lyricist Sahir Ludhiyanvi for the film Kabhi Kabhie (1976). The title song (also sung by Mukesh) was a superhit. Lata and Khayyam came together once again, this time with lyricist Jan Nisar Akhtar, for the movie Shankar Hussain (1977), where they recorded the hit song Aap yun faaslon se.


1980s: Lata gets selective
In 1980s, Lata cut down on her singing to allow new younger talent to come up. In 1982, the team of Lata, Jan Nisar Akhtar and Khayyam worked on the music of the movie Razia Sultana, where she rendered the beautiful Aye dil-e-naadaan.

Ravindra Jain, the blind composer was given a big break, when Raj Kapoor asked him to give music for Ram Teri Ganga Maili. Ravindra got Lata to sing the beautiful songs in the movie including Sun Saiba Sun.

Ramlaxman was another new composer, whose favorite singer was Lata Mangeshkar. He and Lata worked together in many Rajshri Productions movies, including Maine Pyaar Kiya, Hum aapke hain kaun and Hum Saath Saath Hain. Maine Pyaar Kiya1989 was Salman Khan's first film and set a record of sorts. The movie was declared superhit and the songs sung by Lata and S. P. Balasubramaniam were declared superhit as well - Dil Deewana, Kabootar ja ja, Aaja shaam hone aai and the title song. In fact, a large credit for the success of the film went to its songs. Ramlaxman and Lata also worked together.

Lata also worked with the children of composers she had earlier worked with. Apart from Sachin and Rahul Dev Burman, other good examples are: Chitragupta and his sons Anand-Milind, Roshan and his son Rajesh Roshan, Sardar Malik and his son Anu Malik. Rajesh Roshan's first film Julie had some lovely romantic numbers sung by Lata - Bhool gaya sab kuchh (duet with Kishore Kumar) and Yeh Raatein Nai Puraani.

Lata was awarded with the Padma Bhushan in 1989.


1990s: Lata is a living legend
By 1990, people had recognized Lata as a living legend. She was the idol of every Indian girl, who inspired to be a singer. In 1990, Lata launched her own production house. Her first (and the only) movie as a producer - Lekin - flopped. But the music (composed by her brother, Hridaynath) was appreciated well. The haunting song Yaara seeli seeli, written by Gulzar is one of the best songs that Lata every sang.

In 1990s, Lata also recorded many non-filmi songs, including ghazals with Jagjit Singh. One such nice ghazal is Dhuan banake fiza mein, recorded in 1992.

The songs that Lata recorded for Ramlaxman in the Rajshri Productions film Hum Aapke Hain Kaun were superhit. Madhuri Dixit says about Didi tera devar deevana - "I just couldn't match with her coy 'ada's".

Lata also sang for all Yash Chopra films, including Dil To Pagal Hai.

But the new composers like A. R. Rahman, Jatin Lalit and Uttam Singh still considered it an honor to work with Lata. Lata says - "The problem with new composers is that they respect me very much and don't dare correct me when I go wrong in singing a line. I don't want to sing much now, but, I just can't refuse when people like A. R. Rahman come to me with a tune."

A. R. Rahman has recorded quite a few hit songs with Lata, including the famous Jiya Jale from Mani Ratnam's Dil Se. The song was picturized on Preity Zinta.


Lata the person
In her heydays, Lata's mastery over pitch and scale was amazing. Bade Ghulam Ali Khan once said about Lata - "She never sings off-key". Lyricist Majrooh Sultanpuri, said about her "It isn't as though she always got great lines to sing. It's the magic of her voice that elevates the lyrics."

But more than her magical voice, it was Lata's humility that made her favorite singer of all the composers, lyricists, actors and producers in Bollywood. Noor Jehan, whom Lata used to imitate in her early years as a singer says - "People say Lata ji considers me as a phenomenon. I would say that's her humility. Lata ji is Lata ji. No singer, like her has ever been born." Actress Waheeda Rahman, whose most songs were sung by Lata, once said - "Lata never thinks of herself as The Lata Mangeshkar. She does her job to best of her abilities and never looks back."

Lata is a very good-humored person and her favorite actor is Aamir Khan. When Aamir was criticized for singing an 'item' number Aati kya Khandala in the movie Ghulam, Lata said in an interview - "I am pleasantly surprised. He has sung very well."

It is said that Lata and her sister Asha didn't go well with each other in their heydays, but now they have patched up. Lata owns a flat in London and both the sisters can be often found vacationing in London.

Lata has received four Filmfare Awards, the Platinum Disc of EMI London and many other awards.

Also on January 25th 2001 she received the Bharat Ratna, the nation's highest civilian award.


Singing style
Lata has displayed versatility in her singing. An example of her upbeat, playful numbers is Ae Phansa from Bobby. Examples of her sad songs are Aankhiyon Ko Rehne De of the same movie or Mohabbat Ki Jhuthi of Mughal-e-Azam.

However she has done some great runs too; like in Thoda Resham Lagta Hai from the movie Jyoti. Lata hits every note, every run and every breath on key. It has been one of her best songs. One of the tracks where her voice has been at its sweetest is the Mughal-e-Azam soundtrack; another is Mohabbat Ki Jhuthi.

Lata has been an influential force in playback singing. The singers have come after her haven't been able to capture the listener's hold the way she has. Lata has a way of making a song her own. In her later years, Lata's voice has weakened, nevertheless she has been able to give good performances. The Mujhse Dosti Karoge soundtrack, where she sings some of her old songs is done beautifully. The Latest being of the film Veer Zaara, songs composed by late Madan Mohan, where Lata Mangeshkar's voice virtually sprays magic.

Biography Of Kishore Kumar

Kishore Kumar (August 4, 1929 - October 13, 1987), born as Abhas Ganguly, was a Bengali Indian film playback singer (Hindi, Bangla, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Oriya) and actor. He also worked as producer, composer and lyricist but is chiefly remembered as one of the three leading male playback singers in Bollywood (the other two being Mohammed Rafi and Mukesh). He sang extensively with the songbirds of Bollywood - Lata Mangeshkar and Asha Bhosle.

Although he is known primarily for his singing talents, he was also successful in his acting adventures which gave birth to several hilarious comedies, including Chalti ka Naam Gaadi, Half Ticket, Padosan, Baap Re Baap, Pyar Diwana (1973), and Hungama (1971) . He was also a serious actor, fact known to a few die-hard fans, in films like Naukri, Bandi, Door Gagan Ki Chhaon Mein, Door Ka Raahi. He wrote lyrics, gave music, produced movies, directed then, wrote dialogues and scripts. There is "at least" one classic movie in each of this department.


Childhood
Kishore Kumar was born in a Bengali family as Abhas Ganguly, in the small town of Khandwa in Madhya Pradesh. His father Kunjalal Ganguly was a lawyer by profession and was from a middle-class family, whereas his mother Gouri Devi hailed from a wealthy family. Kishore was the youngest of children born to his parents. Ashok Kumar was the eldest son, followed by Sati Devi, the only daughter in the family. Next was Anoop Kumar, and five years younger to Anoop was Kishore.

When Kishore was still a child, his elder brother Ashok Kumar became a star actor in Bollywood. The effect of filmdom was evident on Kishore the kid. He was a great fan of K. L. Saigal and used to imitate his singing style. Often his parents would ask him to ape his brother's Ashok Kumar's song Main ban ka panchhi and reward him for doing that. Anoop Kumar, Kishore's elder and Ashok's younger brother also forayed in Bollywood after Ashok became a star.


Initial days in Bollywood
Kishore Kumar followed his elder brothers' footsteps and came to Mumbai to pursue a career in films as a singer. At this juncture, elder brother Anoop's career wasn't shaping up well, because he was a poor singer. (In those days, actors who could double up as singers were in great demand.) Once Anoop went to Austria, from where he brought some records to learn singing. Once, as he was entering the house, he heard a yodelling voice coming out of a room. Annoyed, he thundered "Who touched my records?" But, when he entered the room, he found that it was Kishore's voice! Kishore had learnt yodelling from Anoop's Austrian records.

Kishore wanted to become a leading singer in Bollywood and disliked acting. Moreover, Kishore didn't have any formal training in singing or music. Kishore had to act in a few films, due to his brother Ashok's contacts in the industry. His initial films flopped. But he continued acting, as he would get to sing songs that were picturized on him. At this stage of his career, Kishore used to copy K. L. Saigal's style. Once Sachin Dev Burman came to Ashok Kumar's house. He heard K. L. Saigal's voice coming out of the bathroom. Impressed, S. D. Burman asked Ashok who was singing. Hearing the answer, he waited until Kishore had finished bathing. He had a little talk with Kishore and, while noting that he appreciated his singing, he advised Kishore, "Don't try to ape K. L. Saigal. Apers never make great artists. You should develop your own singing style." After this, Kishore Kumar developed his own trademark singing style, which was completely different from the styles of Rafi, Mukesh and Saigal. He used to yodel in many of his songs. Sachin Dev Burman became his mentor and guide. S D Burman, who had never heard yodelling before, used to call it "gala tod ke gaana" ('break-throat singing'). Yodelling became Kishore's trademark, and the media described his singing style as "yodelling at the moon".


Kishore becomes a known face
Kishore never wanted to act, but he was too afraid to rebel against his elder brother Ashok Kumar, who was hell-bent on making him a popular Bollywood hero. After his initial films flopped, Kishore decided that he would act so badly in the forthcoming movie that no producer would ever again ask him to act in a movie. As a result of this decision, Kishore started acting in a strange, funny way. But instead of rejecting him, movie buffs were delighted to see a hero who could make them laugh. His style was a welcome change from the sober, romantic and tragic traditional heroes of Bollywood. Thus, Kishore became comedy-film producers' first choice. In the late 1950s, he used to run from one studio to another, recording songs, acting, composing music and sometimes even writing lyrics! He even produced and directed some movies.

Apart from S D Burman, Khemchand Prakash was another composer who recognized Kishore's singing talent early. He composed Kishore's songs in the movie Ziddi. Ziddi's songs established Kishore as a singer. Incidentally, it was at Khemchand's studio, where Kishore met Lata Mangeshkar, with whom he sang many duets later. Lata was going to Khemchand's studio and Kishore was also bound for the same place. Lata thought that some loafer was following her! It was only after reaching the studio that she realized the 'loafer' was Kishore, Ashok Kumar's younger brother. Soon, many other composers like Ravi realized that Kishore had potential to be a good singer. Many lyricists, including Majrooh Sultanpuri and Shailendra became ardent admirers of Kishore.

S D Burman established Kishore as the voice of popular actor Dev Anand when he got him to sing for Dev Anand in the movies Taxi Driver and Paying Guest. After S D Burman fell out with Lata Mangeshkar in 1957, he gave patronage to Asha Bhosle. Till this time, duets were not very popular in Bollywood. Once S D Burman told Majrooh Sultanpuri "We invest so much energy in recording duets, and nobody likes them". Majrooh replied "The mistake is ours. We lyricists never write any good songs that couples would love to hum." S D Burman and Majrooh went on to work together on the most popular duets in the late 1950s. S D Burman, Majrooh, Asha and Kishore worked together in many movies including Kishore's production Chalti Ka Naam Gaadi (1958), in which Kishore Kumar, Madhubala, Ashok Kumar and Anoop Kumar acted. The songs Ek ladki bheegi bhaagi si, Haal kaisa hai janaab ka, Paanch rupaiya baara aana became very popular. They were also heard in Dev Anand's Paying Guest (1957) and Teen Deviyan. The song Mana janab ne pukara nahin from Paying Guest was a smash hit among the guys. Asha and Kishore became famous for singing 'casual' duets like Chhod do aanchal, zamaana kya kahega, Aye nigah-e-mastana, Aankhon mein kya ji, Arre yaar meri, tum bhi ho gajab, Chhedo na meri zulfein. Majrooh, Asha and Kishore also recorded popular duets with composer Ravi in the movie Dilli Ka Thug (1958) - C...A...T...Cat maane billi, Hum to mohabbat karega.

Majrooh Sultanpuri and Shailendra were favorite lyricists of Kishore. He got them to write songs in his productions. In those days, musicians would recommend lyricists to producers. The musician duo Shankar-Jaikishan had promised Shailendra that they would recommend him to all the producers, but they didn't keep their promise. Shailendra sent them a note - Chhoti si yeh duniya, pehchaane raaste hain; Kahin to miloge, phir poochhenge haal (The world is small, the roads are known; we shall meet somewhere, then I would ask you - "How do you do"). Shankar-Jaikishan realized their mistake. They made a song out of the above words and got Kishore to sing it.

Majrooh penned most of Kishore's hit songs in his initial days, most of them with S D Burman, for Dev Anand - Hum hain raahi pyaar ke, Maana janaab ne pukaara nahin etc.

Kishore was interested in composing music as well. It is said, along with Kalyanji Shah (of Kalyanji-Anandji fame), he introduced electronic music to Bollywood. The electronic sounds in some of S D Burman's music are credited to Kishore (he assisted S D Burman sometimes). Sometimes, Kishore would compose music himself and write lyrics too. In 1961 movie, Jhumroo, Kishore wrote, composed and sang Main hoon jhumroo. This song is a very nice example of his yodelling ability. Kishore could sing in female voice too. In Half Ticket (1962), he sang "Aake Seedhi Lagi" in male as well as female voice. The song was written by Shailendra and composed by Salil Chowdhury.


The lean patch in Kishore's career
After his wife Madhubala's death in 1969, there was a lean patch in Kishore's career. Most of his films as an actor flopped. Very few of his songs from this phase are memorable - Zaroorat hai, Zaroorat hai (Manmauji - 1962), penned by Rajinder Krishan and composed by Madan Mohan) stands out from this period. Mohammed Rafi and Mukesh were the favorites of most music composers, so Kishore never got to sing very good songs. A few of his songs picturized on Dev Anand and composed by S D Burman, got him recognition - Gaata rahe mera dil (Guide 1965, a duet with Lata), Yeh dil na hota bechara (Jewel Thief 1967), etc.

In 1966, S D Burman's son Rahul Dev Burman burst into the music scene with superhit score of the movie Teesri Manzil. He had got Rafi to sing all the songs in the movie. But, later R D Burman (also known by his pet name "Pancham") gave great patronage to Kishore Kumar. Their first hit movie together was the laught-riot 'Padosan' (The Neighbour). In this movie, Kishore Kumar played the role of Sunil Dutt's guru. Sunil Dutt's role was of boy who was in love with his next-door neighbour, a girl obessed with singing. To impress the girl, he gets his guru to do 'playback' for him. Kishore Kumar did the 'playback' in the movie, both on-screen and off-screen. Kishore and Pancham created the superhit song Mere saamnewali khidki mein. In one scene, there was a verbal fight between Mehmood (who acted as the girl's guru) and Sunil Dutt/Kishore Kumar. Kishore insisted that it would be boring if the dialogues were spoken in a plain manner. Mehmood fully agreed with him. So, Kishore, Mehmood, lyricist Rajinder Krishan and Pancham sat together and came up with the 'musical fight' - Ek chaturnar, karke singaar. The song, sung by Kishore and Manna Dey (who sang for Mehmood) became very popular.


The superstar era
In 1969, Shakti Samanta produced the movie Aradhana with newcomer Rajesh Khanna. The composer was Sachin Dev Burman and he had divided songs equally among his favorite singers - Kishore, Mohammed Rafi and Lata Mangeshkar. Kishore sang the romantic duet Kora kagaz tha yeh man mera with Lata. S D Burman fell ill before he could record all the songs. He had already created the tunes for the songs Roop tera mastana and Mere sapnon ki rani. R D Burman took the responsibility of completing the recording. In doing so, the tunes were created by S D Burman and the instrumentation was that of R D Burman. Pancham got Kishore Kumar to sing these two songs. These two songs became overnight hits and launched Kishore's playback singing career. Kishore Kumar got his first Filmfare award for the sensual song Roop tera mastana.

The Burmans single-handedly made Kishore the numero uno playback singer in Bollywood. They got Kishore to sing for all the leading heroes - Rajesh Khanna, Randhir Kapoor, Shashi Kapoor, Dharmendra, and Sanjeev Kumar among others. S D Burman and Kishore worked together in many of Dev Anand's movies. In 1970, Dev Anand's directoral debut, Prem Pujari, flopped. But the songs penned by Neeraj, Phoolon ke rang se (Lena hoga janam hamein) and Shokhiyon mein ghola jaaye (duet with Lata) are still popular. Neeraj, S D Burman, Lata and Kishore came together again for the Shashi Kapoor starrer 1971 hit Sharmilee, for which they recorded Khilte hain gul yahan, Aaj madhosh hua jaaye re, O meri sharmilee. S D Burman also got Kishore to sing for the 1973 Dharmendra-starrer Jugnu, where Kishore sang Pyaar ke is khel mein.

In the 1970s, R D Burman got Kishore to sing virtually every remarkable tune he created for the male voice. The single Tum bin jaaoon kahaan (Pyaar Ka Mausam - 1969; lyrics by Majrooh), which was also sung by Rafi, proved that Kishore could sing as well as Rafi, even though he wasn't classically trained. Songs like Yeh shaam mastaani (Kati Patang - 1970; lyricist - Anand Bakshi) made Kishore extremely popular among the youngsters. In 1971, Pancham and Kishore collaborated on many memorable tunes, ranging from the romantic Raat kali ek khwab mein (Buddha mil gaya; lyricist Majrooh) to the tragic Yeh kya hua, Chingari koi bhadke, Kuchh to loge kahenge (Amar Prem; lyricist Anand Bakshi; picturized on Rajesh Khanna). 1972 saw hits like Meri bheegi bheegi si (Anaamika, picturized on Sanjeev Kumar), O Mere dil ke chain (Mere Jeevan Saathi; lyricist Majrooh; picturized on Rajesh Khanna) and Kanchi Re, Phoolon ka taaron ka (Hare Krishna Hare Rama; picturized on Dev Anand).

Even after so many hits, only the Burmans gave patronage to Kishore Kumar. Other composers like Shankar Jaikishan, Madan Mohan, etc. used to give him second-rate songs. In 1972, Pancham got Kishore to sing for a newcomer in the movie Bombay To Goa. The 'newcomer' was none other than Amitabh Bachchan and thus Kishore became the voice of the next great Bollywood superstar as well. The song Meet na mila re man ka (Abhimaan 1973) established Kishore as Amitabh's singing voice. Hit after hit followed, and Kishore, Amitabh and Pancham became all the rage. Before buying an audio cassette, people would make sure that there was at least one Kishore Kumar song in the album. Producers would insist on using Kishore Kumar as a hero's singing voice. This forced other music composers like Laxmikant Pyarelal ("LP") to sideline Rafi and adopt Kishore as their lead singer.

LP and Kishore had many hits to their credits in the 1970s, including Mere dil mein aaj kya hai (Daag 1973; lyricist: Sahir Ludhianvi), Mere naseeb mein aye dost, Naach meri bulbul (Roti), Chal chal mere haathi (Haathi Mere Saathi) etc. Most of these songs were picturized on Rajesh Khanna and penned by Anand Bakshi. The team also recorded many songs in Amitabh Bachchan starrers e.g. My name is Anthony Gonsalves (Amar Akbar Anthony). LP also got Kishore and Rafi to sing together in many films like Dostana, Kranti, Ram Balram etc. LP will be chiefly remembered for the duets that they recorded with Lata and Kishore - Achchha to ab hum chalte hain, Kal ki hansi mulaakat ke liye, Gore rang pe na itna gumaan kar, Ti kitne baras ka etc.

The duo of Kalyanji-Anandji also adopted Kishore as their lead singer in the 1970s. The team produced many hit songs in movies like Dharmatma (1975), Laawaris, Muqaddar ka Sikandar, Kabeela, Johnny Mera Naam and Don among others. The Kishore-Asha duet Vaada to nibhaya from Johnny Mera Naam was a superhit. The songs O Saathi Re (Muqaddar ka Sikandar) and Khaike Paan Banaraswaala (Don) became extremely popular as well.

In 1975, S D Burman went into a coma, while Kishore was singing Badi sooni sooni si hai zindagi (Life is lonely) for the movie Mili. He died some time later. R D Burman completed the score of the movie. R D Burman continuted with his patronage to Kishore. He got Kishore to sing for both Dharmendra and Amitabh in the 1975 bumper-hit Sholay. Manna Dey was called in only when a sequence required both the heroes singing together (Yeh dosti hum nahin todenge). In 1970s Kishore sang in many of Dev Anand's not-so-successful movies under the baton of R D Burman - Warrant (1975), Heera Panna, Shareef Badmash etc. Although these films did average box office business, the music was always hit. The songs like Ruk Jaana O Jaana (Warrant) and Panna ki tamanna (Heera Panna, duet with Lata) and Neend chura ke raaton mein (Shareef Badmash) were chart-busters. Even while recording intricate songs of Aandhi (1976; lyrics by Gulzar), Pancham used Kishore's voice, instead of using somebody trained in classical music. They recorded many more beautiful songs, including the title song of Agar tum na hote and Humein tum se pyaar kitna. Their comatose songs like Mere naina saawan bhado, Chingari koi bhadke, O maajhi re made them popular among the mature audience as well. Of course, Kishore also sang Pancham's trademark 'peppy' pop numbers picturized on young heroes like Rishi Kapoor and Sanjay Dutt. Kishore and Lata sang trendy numbers in Sanjay's first movie Rocky - Kya yehi pyaar hai, Hum tumse mile (lyricist: Anand Bakshi). R D Burman and Kishore worked together in many movies including Aapki Kasam, The Burning Train, Apna Desh, Dharam Karam, Takkar, Seeta Aur Geeta, Joshila, Kasmein Vaade, Rampur ka Laxman, Kaaliya etc.

New musicians like Rajesh Roshan, Sapan Chakravarthy (Pancham's assistant), Bappi Lahiri and others also preferred Kishore to any other singer. Rajesh Roshan's first hit movie Julie had memorable numbers sung by Kishore and Lata - Bhool gaya sab kuchh, Dil kya kare jab kisi se etc. Rajesh Roshan worked with Kishore in many other movies like Do Aur Do Paanch (1980), Manpasand etc. Sapan Chakravarthy recorded the popular Tum bhi chalo, hum bhi chalien (Zameer) with Kishore and Asha. Bappi da, notorious for lifting western numbers, got Kishore to sing many of his popular songs like Chalte chalte, Aaj rapat jaayein (duet with Asha), Pag ghunghroo(Namak Halaal - 1982; picturized on Amitabh), jahan chaar yaar (Sharaabi - 1984).


Last years
Kishore's son Amit Kumar was already a popular singer in 1980s, thanks to patronage by R D Burman and Rajesh Roshan. But Kishore was still around, singing for established and young heroes alike. Kishore Kumar and Amitabh had some misunderstanding in mid-1980s. Kishore was producing a movie and Amitabh (who was a Bollywood deity by then) was supposed to do a guest-appearance in the movie. Amitabh arrived at the shoot, but left after few minutes, asking his secretary to tell Kishore that he wouldn't act in the movie. Kishore got upset and decided never to sing for Amitabh again. Incidentally, Amitabh's films started flopping after this and he faced the worst phase in his Bollywood career. He made a comeback many years later, through the popular television series, Kaun Banega Crorepati (Hindi version of 'Who Wants To Be A Millionaire).

Kishore sang for Anil Kapoor in his first movie, Woh Saat Din. He also sang for him in his first superhit movie Mr. India. LP gave the music for both the movies. In 1987, he sang some really nice songs for R D Burman in the movie Saagar - Saagar jaisi aankhon waali (based on Raga Yaman) and Saagar kinaare dil yeh pukaare (duet with Lata). The songs were penned by Javed Akhtar.

In 1987, Kishore decided to retire from Bollywood and go back to his roots, his village Khandwa, and in October 1987 he breathed his last. His last wish to go to Khandwa was fulfilled as his body was taken to his birth place for cremation after embalmment.


Kishore's personal life
Kishore Kumar married four times, to Ruma Ghosh (1950-1958), Madhubala (1960-1969), Yogeeta Bali (1975-1978) and Leena Chandavarkar (1980-1987).

His son Amit Kumar also became a singer in almost the same style, although could not touch the heights achieved by the father. Kishore's second son, Sumit Kumar has also sung in films.


Filmography
Some of the important Hindi films in which Kishore Kumar acted are:

1954 Naukri
1956 Bhagambhag
1955 Baap Re Baap
1957 Aasha
1958 Jalsaaz, Chalti Ka Naam Gadi, Dilli Ka Thug
1960 Bewakoof, GirlFriend, Mehlo Ke Khawab
1961 Karodpati
1962 Bombay Ka Chor, Manmauji, Naughty Boy, Rangoli, Half Ticket . *1963 Ek Raaz
1964 Bagi Shehzada, Dal Mein Kala, Bavre Nain, Mr X In Bombay, Ganga Ke Lahren
1966 Pyar Kiye Ja, Akalmand
1967 Duniya Nachegi, Payal Ki Jhankar, Hai Mere Dil
1968 Padosan, Do Duni Char
1971 Hungama
1973 Pyar Diwana
Bandi