Shamshad Begum : छोड़ बाबुल का घर, आज पी के नगर, मोहे जाना पड़ा


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MUMBAI – MAHARASHTRA – INDIA           APRIL 30 , 2013           07.00 P.M.

Shamshad Begum

April 14, 1919 – April 23, 2013

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Shamshad Begum was one of the first playback singers in the Hindi film industry. She had sung over 6000 songs in Hindi , Bengali, Marathi, Gujarati, Tamil and Punjabi languages. Her songs from the 1940s to the early 1970s remain popular and continue to be remixed.

Young Shamshad Begum

Young Shamshad Begum

Shamshad Begum died this month on April 23 , 2013 at the age of 94 and I am forced to write 7th obituary in continuation in the month of April . Shamshad Begum , along with Noor Jahan and Amirbai Karnataki , dominated the pre-Lata Mangeshkar era in Indian playback singing .

Among female playback singers , She was blessed with a distinct voice with slight nasal twang and any lover of Hindi film music can immediately recognize her voice .

Since I was born and brought up in the Lata Mangeshkar era , I was not a fan of Shamshad Begum’s voice initially. But slowly , as my understanding grew , I started appreciating her voice .

The first song of hers , which caught my fancy , was ” Pee Ke Ghar Aaj Pyari Dulhaniya Chali ” . ThisMother India ” [ 1957 ] song was immensely popular . Other songs of the same film ; ” Holi Ayee Re Kanhayi Rang Chhalke Suna De Zara Bansuri ” and ” Gadiwale Gadi Dheere Haank Re “ are also hit even today . Then I watched Mughal – E – Azam ” [ 1960] and its immortal qawwali is still fresh in my mind . ” Teri Mehfil Me Qismat Azma Ke Hum Bhi Dekhenge “ is a connoisseur’s delight . Then I watched ” Aan ” [ 1952 ] and I was permanently hooked to Shamshad Begum’s voice . All her popular songs , like ; ” Aag Lagi Tan Man Me Dil Ko Pada Thamna , Ram Jaane Kab Hoga Saiyyan Ji Ka Samna ” and ” Khelo Rang Hamare Sang Aaj Din Rang Rangeela Aaya “ are still my favourites . But ” C. I. D. ” [ 1956 ] was another revelation . ” Le Ke Pehla Pehla Pyaar , Bhar Ke Aankhon Me Khumar ” and ” Kahin Pe Nigahen Kahin Pe Nishana , Jeene Do Zalim Banao Na Deewana “ are just immortal . It is surprising that I heard her most popular song very late in my life . ” Mere Piya Gaye Rangoon Kiya Hai Wahan Se Telefoon , Tumhari Yaad Satati Hai “ . This song from ” Patanga ” [ 1949 ] is unforgettable and its several re-mixed versions are still extremely popular . ” Naya Daur ” [ 1957 ] film’s ” Reshmi Salwar Kurta Jaali Ka “ was a craze of its time . Her last hit  ” Kajra Mohabbatwala Ankhiyon Me Aisa Dala “  from ” Kismat ” [ 1969 ] is one of the songs which was re-mixed again & again .

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Shamshad Begum’s career was somewhat eclipsed with the advent of Lata Mangeshkar . She sang her first duet ” Dar Na Mohabbat Kar Le “ with Lata Mangeshkar in ” Andaz ” [ 1949 ] and her last duet with Lata Mangeshkar was ” Teri Mehfil Me Qismat Azma Kar Hum Bhi Dekhenge “ from ” Mughal – E – Azam ” [ 1960 ] . Within these 13 years Shamshad Begum’s career went downhill and after giving her last hit ” Kajra Mohabbatwala “ in 1969 , she bid adieu to playback singing .

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Some Famous Songs of Shamshad Begum :

  • Leke pehla pehla pyar, (CID 1956), (music: O.P. Nayyar)
  • Milte hi aankhen dil hua, (Duet with Talat Mehmood), (Babul), (music: Naushad)
  • Chali chali kaisi yeh hawa yeh, (Duet with Usha Mangeshkar), (Bluffmaster 1965), (music: Kalyanji Anandji)
  • Kabhi aar kabhi paar lagathi re nazar, (Aar Paar), (music: O.P. Nayyar)
  • O Gadiwale Dheere – Mother India – Naushad
  • Kahin pe nigahen kahin pe nishana – CID (1956) – music O.P. Nayyar
  • Boojh Mera Kya Naam Re – (1956) – music O.P.Nayyar
  • Mere piya gaye Rangoon – Patanga – music C.Ramchandra
  • Ek Tera Sahara – Shama – music Master Ghulam Haider
  • Holi aayee re KanhaaiMother India (1957) – Lyrics: Shakeel Badayuni, Music: Naushad
  • Naina Bhar aye neer – Humayun – music Master Ghulam Haider
  • Nazar Phero Na Humse -(Duet with G M Durani) – Deedar (1951) – music Naushad
  • Chod Babul Ka Ghar – Babul – music Naushad
  • Kajra Mohabbatwala Ankhiyon mein Aisa dala (Duet with Asha Bhosle) – Kismat (1968) – Music: O.P. Nayyar
  • Meri neendon main tum, meri khwabon mein tum (Duet with Kishore Kumar) – Naya Andaz – Music: O.P.Nayyar
  • Teri Mehfil Mein Qismat (Duet with Lata Mangeshkar) – Mughal-E-Azam
  • Saiyan Dil mein aana re – Bahar
  • Reshmi salwar kurta jaali da – Naya Daur
  • Milte Hai Ankhen Dil Deewana Hua Kisika – Babul – with Talat Mahmood
  • Kisike Dil Mein Rehna Tha – Babul – with Lata
  • Dharti Ko Aakash Pukare – Mela – with Mukesh
  • do teen aaja mausam hai rangeen – Awara

Shamshad Begum’s fans often allege that her career suffered because of the monopolistic politics of Lata Mangeshkar . I beg to differ . Shamshad Begum played her innings and retired gracefully . Her career suffered because of the changing times and changing taste of film-goers . Talat Memood’s career went downhill with the advent of Mohammad Rafi . Even mighty Mohammed Rafi , towards the end of his career , was confined in his home for many years without recording a single song and Kishore Kumar ruled that era . In the field of art such things happen .

Her distinct style , her nasal twang and her strong voice , which was her forte in the earlier years of her career , became her nemesis towards the end . It is not for nothing that towards the fag-end of her career , her voice was used for vamps and her last hit ” Kajra Mohabbatwala “ in ” Kismat ” [ 1969 ] was filmed on Vishwajeet , who was masquerading as woman in the said film .

On behalf of all the students and staff of VIDUR Acting Institute , which is known as  Vidur’s Kreating Charakters  , I offer my condolences to the family of the iconic singer . Self-proclaimed most famous acting school of Mumbai , self-anointed most famous acting institute of India and self-appointed most famous acting academy of bollywood has no time for such courtesy .

Shamshad Begum

Shamshad Begum

May her soul rest in peace ! Her ephemeral body is gone but her perennial voice , the temple bell , will live on forever .

VIDUR

MUMBAI – MAHARASHTRA – INDIA

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New Female Playback Singers of Hindi Films


MUMBAI – MAHARASHTRA – INDIA           NOVEMBER 10 , 2012           00.35 A.M.

When ” Alam Ara ” , the first Indian talkie , hit the screen in 1931 , an era started , which could easily be called the era of singing stars . All the actors sang their own songs on the screen . Well known female stars of that era were no exception . From Devika Rani to Leela Chitnis and from Kanan Devi to lesser known starlets, every heroine worth the name sang their own songs .

English: Alam Ara poster, 1931.

Alam Ara poster, 1931. (Photo credit: Wikipedia)

English: Scene from the 1936 film Achhut Kanya

Ashok Kumar & Devika Rani in a Scene from the 1936 film Achhut Kanya (Photo credit: Wikipedia)

Kanan Devi

Kanan Devi (Photo credit: tonymitra)

Then came the era of Noor Jahan and Suraiya . Both were immensely popular stars and huge singers of their generation . Their songs and their films are still popular . Their retirement from the films finally brought an end to the glorious era of singing stars . Salma Agha , another singing star , came in ” Nikah ” [ 1982 ]  but it was an exception . Singing stars era had ended much earlier .

After the end of singing stars era , playback singing in films became popular . Rajkumari Dubey could be called the first female playback singer . She started her singing career in 1940 . Her songs with Mukesh in ” Bawre Nain “[ 1950 ]  are still famous and they are memorable . Modern day movie goer are familiar with her song from ” Pakeeza “[ 1972 ]  . It is ….. najaria ki mari mari more saiyan …….

Another playback singer from that era was Shamshad Begum . She rose to prominence with ” Khazanchi ” [ 1941 ] and ” Khandaan ” [ 1942 ] . Her career suffered major set back with the advent and subsequent supremacy of Lata Mangeshkar andAsha Bhosle . Amirbai Karnataki was another famous playback singer from that era .

Then began an era which is known as Lata Mangeshkar Era . She , along with her younger sibling Asha Bhosle , dominated the playback scene of Hindi films like a colossus for almost 5 decades .

English: Indian singer Lata Mangeshkar

Lata Mangeshkar (Photo credit: Wikipedia)

English: Indian singer Asha Bhosle

Asha Bhosle (Photo credit: Wikipedia)

During their era many singers came and went into oblivion . Geeta Dutt , Suman Kalyanpur , Kamal Barot ,  Sudha Malhotra , Mubarak Begum and Sharda came and eclipsed quickly without leaving a mark .

In 70s , while Lata Mangeshkar was still reigning supreme , again a new crop of female playback singers emerged . Alka Yagnik , Sadhana Sargam , Kavita Krishnamurty andAnuradha Paudwal came , gave some memorable hits and faded into oblivion . Lata Mangeshkar still ruled and gave memorable hits like ; Yash Chopra directed  ” Veer – Zaara ” [ 2004 ] .

Now a new crop of playback singers are hovering on the horizon . Shreya Ghoshal has become numero Uno like Lata Mangeshkar and Sunidhi Chauhan has almost taken Asha Bhosle’s place . But there are other female playback singers  also . They are fast emerging on the scene .

ADITI SINGH SHARMA : With chart – busters like ; ” Aali Re …. ” & ” Dilli , Dilli …… ” in ” No One Killed Jessica “ and ” Chhoomantar ….. ” in Mere Brother Ki Dulhan , she became a singer to watch in future .

ALYSSA MENDONSA : Daughter of Loy Mendonsa of Shankar – Ahsan – Loy fame , she sang ” Uff Teri Ada ……. ” in ” Karthik Calling Karthik “ and immensely popular ” Khwabon Ke Parindey ….. ” in Zindagi Na Milegi Dobara .

ANUSHKA MANCHANDA : She sang re-mix version of ” Dum Maro Dum …… ” with a rare conviction and forced everyone to take notice of her talent .

HARSHDEEP KAUR : With ” Katiya Karoon ….. ” of  ” Rockstar “ and ” Jugni ………….. ” of ” Cocktail “ , she hit big and is surely on her way to the top .

MAHALAXMI IYER : She hit the bull’s-eye with ” Ae Ajnabee ……….. ” in ” Dil Se ” , ” Sadka Kiya ………… ” in ” I Hate Luv Storys “ and hugely popular Punjabi numbers like ; ” Laung Da Lashkara ……. ” & ” Rola Pe Gaya …….. ” in ” Patiala House ” .

NEHA BHASIN : ” Kuchh Khas Hai …….. ” in ” Fashion “ and ” Dhunki Dhunki ……. ” in ” Mere Brother Ki Dulhan “ brought her on the top .

SHIPLA RAO : In a hit number like : ” Khuda Jane …………… ” of ” Bachna Ae Haseenon “ , she found her moorings .

SHRUTI PATHAK : With ” Marjaawan …………… ” in ” Fashion “ and ” Payaliya ………… ” in ” Dev D “ , she arrived and made her presence felt .

SHWETA PANDIT : She made her debut in Yash Raj Films ” Mohabbatein ” [ 2000 ] . From ” Mohabbatein “ to ” Mere Brother Ki Dulhan ” [ 2011 ]  , she had sung several hits in Hindi . She regularly performs with A. R. Rehman‘s stage shows also . She is extremely popular singer in Telugu films also .

With Shweta Pandit in My Office

With Shweta Pandit in My Office

In a way she is my student . Though she never took admission in my Acting Institute and didn’t come to my regular batch . But still she come to my institute whenever she is free and participates in the improvisation classes of my institute Vidur’s Kreating Charakters .

I am happy for her and wish her greater success . I am sure in years to come she will be top playback singer of India .

I am happy that I have at least one student in playback singing field also .

VIDUR

MUMBAI – MAHARASHTRA – INDIA

www.vidur.co.in

www.kreatingcharakters.net

www.vidurfilms.com

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100 Years of Sa’adat Hasan Manto


 

 

MUMBAI – MAHARASHTRA – INDIA           August 02 , 2012           00.40 A.M.

This year is the Anniversary Year of so many historical and literary figures and luminaries of our generation . Anniversaries of various historical events are also being celebrated this year . These anniversary celebrations , as I remember , took momentum from 2010 . Or may be , since I was not into blogging , I never realized or became aware of their existence .

In 2010 we celebrated 2 anniversaries . They were ; 100 YEARS OF HISTORIC JUMP OF VEER SAVARKAR , and 150 YEARS OF TAGORE .

In 2011 there were 6 anniversaries . They were as varied as ; 40 YEARS OF VIJAY DIWAS & BIRTH OF BANGLADESH , 50 YEARS OF THE LIBERATION OF GOA , DAMAN & DIU , 100 YEARS OF OUR NATIONAL ANTHEM , 100 YEARS OF NEW DELHI , 150 YEARS OF MAHAMANA MALVIYA and 250YEARS OF THE 3RD BATTLE OF PANIPAT .

This year only half of 2012 is over and we have already celebrated 4 anniversaries . They are ; 60 YEARS OF CORONATION OF QUEEN ELIZABETH II , 150 YEARS OF THE 1ST CHRISTIAN SAINT OF INDIA , 150 YEARS OF SWAMI VIVEKANANDA and 200 YEARS OF CHARLES DICKENS .

Now I am writing about the 5th , 100 YEARS OF SA’ADAT HASAN MANTO .

8 more anniversaries are tempting me to write a blog on them . It comes to total 13 anniversaries in 2012 .

Quite early in my life , I was slowly introduced to Indian literature , then English literature and finally Russian and world literature . In Indian literature my first brush was with Bengali literature . Hindi literature came later and then came Urdu literature . Other Indian literature , translated in Hindi , came much later in my life .

Indian Books 3

Indian Books (Photo credit: Celeste33)

When I talk about Urdu literature , I must make a note that my first introduction was through the poetry . Shairi , as Urdu poetry is known , was my early fascination . HIND POCKET BOOKS came out with Hindi transliteration [ not translation ] of various works of Shairs or poets of Urdu . I bought them and became familiar with Urdu poetry and grew into a life long fan . I still remember many Urdu couplets or Sher by heart .

The phrase Zaban-e Urdu-e Mualla (

The phrase Zaban-e Urdu-e Mualla (“The language of the exalted camp”) written in Nasta’liq script. (Photo credit: Wikipedia)

Urdu prose came much later in my life . Kishan Chandar was the first Urdu novelist , whose works I read and admired . I have heard about Sa’adat Hasan Manto and his works during those days but I didn’t read him as he was despised by large number of people including my teachers and was vehemently criticized by the critics and intelligentsia .

English: manto in his middle age.

Sa’adat Hasan Manto in his middle age. (Photo credit: Wikipedia)

So naturally I avoided reading him . In my mind he was akin to novelists like Kushwaha Kant and Ibn – e – Shafi B.A. Though hugely popular , these two authors are not considered as men of letters . Now I am very much ashamed that once upon a time I thought so low of Manto and degraded him .

My impression about him changed when I read his memoirs about the famous personalities of Hindi film industry . I was impressed with his style of prose writing and lucidity of  language .

Sa’adat Hassan Manto (May 11, 1912 – January 18, 1955)  is best known for his short stories, “Bu” , “Khol Do” , “Thanda Gosht” , and his magnum opus, “Toba Tek Singh“.

Manto was also a film and radio scriptwriter and a journalist . In his short life , he published twenty-two collections of short stories , one novel , five collections of radio plays , three collections of essays , and two collections of personal sketches.

Manto was tried for obscenity six times, thrice before 1947 and thrice after 1947 in Pakistan , but never convicted . Some of his works have been translated in other languages .

Saadat Hasan Manto is often compared with D. H. Lawrence , and like Lawrence he also wrote about the topics considered social taboos in Indo-Pakistani Society . His concerns on the sociopolitical issues , from local to global level are revealed in his series , Letters to Uncle Sam , and those to Pandit Nehru . On his writing he often commented , “If you find my stories dirty , the society you are living in is dirty . With my stories, I only expose the truth .”

After 1936 , he moved to Bombay  [ now Mumbai ] where he stayed for the next 5 years editing Musawwir , a monthly film magazine . He also started writing scripts and dialogues for Hindi films , including ” Kishan Kanhaiya ” [ 1936 ]  and ” Apni Nagariya ” [ 1939 ] . He continued writing for films until he left for Delhi in January 1941 .

Manto accepted the job of writing for Urdu Service of All India Radio in 1941. This proved to be his most productive period as in the next eighteen months he published over four collections of radio plays , Aao , Manto ke Drame , Janaze , and Teen Auraten . He continued to write short stories and his next short story collection Dhuan was soon out followed by Manto ke Afsane and his first collection of topical essays , Manto ke Mazamin . This period culminated with the publication of his mixed collection Afsane aur Drame in 1943 . Meanwhile , due to a quarrel with then director of the All India Radio , poet N. M. Rashid , he left his job and returned to Bombay in July 1942 and again started working with film industry . He entered his best phase in screenwriting giving films like ” Aatth Din ” , ” Chal Chal Re Naujawanand ” Mirza Ghalib ” , which was finally released in 1954 .

Some of his best short stories also came from this phase including  “Kaali Shalwar” ,  “Dhuan”  (1943) and “Bu”, which was published in Qaumi Jang (Bombay) in February 1945 . Another highlight of his second phase in Bombay was the publication of an important collection of his stories , Chugad . He stayed in Bombay until he moved to Pakistan in January 1948 after the partition of India in 1947.

During those days in Pakistan , Manto tried his hand at newspaper column writing . He started off with writing under the title Chashm-e-Rozan for daily Maghribi Pakistan on the insistence of his friends of Bombay days , Ehsan Ba and Murtaza Jillani, who were editing that paper . After a few columns, the space appeared blank under the column saying that due to his indisposition Manto couldn’t write the column. Actually, the owner was not favourably disposed to some of the content .

The only paper that published Manto’s articles regularly for quite some time was Daily Afaq , for which he wrote some of his well-known sketches . These sketches were later collected in his book Ganjay Farishtay . The sketches include those of famous actors and actresses like Ashok Kumar, Shyam, Nargis, Noor Jehan and Naseem (mother of Saira Banu) . He also wrote about some literary figures like Meera Ji , Hashar Kashmiri and Ismat Chughtai . Manto’s sketch of Muhammad Ali Jinnah was also first published in Afaq under the title Mera Sahib.

He , during his later years in Pakistan , embarked on a journey of self-destruction . The substandard alcohol that he consumed destroyed his liver and in the winter of 1955 he fell victim to liver cirrhosis . He was 42 years old at the time of his death. He was survived by his wife Safiyah and three daughters . Born in 1912 in Samrala , Ludhiana district of Indian Punjab , he died in 1955 in Lahore , Pakistani Punjab .

This year in 2012 India and Pakistan , both the countries , are celebrating his anniversary .

Manto collection (Books)

  • Atishparay (Nuggets Of Fire) – 1936
  • Chugaad
  • Manto Ke Afsanay (Stories of Manto) – 1940
  • Dhuan (Smoke) – 1941
  • Afsane Aur Dramay (Fiction and Drama) – 1943
  • Lazzat-e-Sang-1948 (The Taste Of Rock)
  • Siyah Hashiye-1948 (Black Borders)
  • Badshahat Ka Khatimah (The End of Kingship) – 1950
  • Khali Botlein (Empty Bottles) – 1950
  • Loud Speaker
  • Nimrud Ki Khudai (Nimrod The God) – 1950
  • Thanda Gosht (Cold Meat) – 1950
  • Yazid – 1951
  • Pardey Ke Peechhey (Behind The Curtains) – 1953
  • Sarak Ke Kinarey (By the Roadside) – 1953
  • Baghair Unwan Ke (Without a Title) – 1954
  • Baghair Ijazit (Without Permission) – 1955
  • Burquey – 1955
  • Phunduney (Tassles) – 1955
  • Sarkandon Ke Peechhey (Behind The Reeds) -1955
  • Shaiytan (Satan) – 1955
  • Shikari Auratein (Women Of Prey) – 1955
  • Ratti, Masha, Tolah-1956
  • Kaali Shalwar (Black Pants) – 1961
  • Manto Ki Behtareen Kahanian (Best Stories of Manto) – 1963
  • Tahira Se Tahir (From Tahira to Tahir) – 1971

I was re – introduced to him and his literary world , when I started training Dino Morea recently . We read several stories written by Manto and discussed them and thus a new vision about Manto was opened in front of my eyes . I deeply regret that once upon a time I degraded him in my mind and didn’t read his books earlier .

[ List of the works of Manto and some dates and facts of his life is taken from Wikipedia . I express my gratitude . ]

VIDUR

MUMBAI – MAHARASHTRA – INDIA

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