Coordinates	41°52′55″N87°37′40″N
name	Naushad Ali
background	non_performing_personnel
birth date
death date	May 05, 2006
genre	Hindustani classical music, Indian film music
occupation	composer, music director, film producer, writer
years active	1940–2005
notable instruments	}}

Naushad Ali (, }}; December 25, 1919 – May 5, 2006) was an Indian musician. He was one of the foremost music directors for Bollywood films of all time, and is particularly known for popularizing the use of classical music in films.

His first film as an independent music director was ''Prem Nagar'' in 1940. His first musical success film was ''Rattan'' (1944), following it up with 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred with the Dadasaheb Phalke Award in 1982, and Padma Bhushan in 1992. The Guardian had referred him as ''Master of Bollywood film music magic''.

Early life and education

Naushad was raised as a Muslim in Lucknow, a city with a long tradition as a center of Muslim culture. His father, Wahid Ali, was a munshi (court clerk). As a child, Naushad would visit the annual fair at the Deva Sharif in Barabanki, 25 km from Lucknow, where all the great qawwals and musicians of those days would perform before the devotees, and Naushad would sit there, listening to those wondrous melodies. He studied classic Hindustani music there under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb, and others. He repaired harmoniums.

As a lad, he joined a junior theatrical club and was appointed as the club's music maestro for their theatrical presentations. He used to watch silent films at the Royal theatre in Lucknow. Theatre owners would hire a team of musicians to play the tabla, harmonium, sitar and violin. The musicians would watch the film first, make notes, finalise the scales required. When the show began in the evening, they would sit in front of the screen and play music for the scenes. This was a great way to be entertained and learn music at the same time. It made him grasp the nuances required in composing a film's background music score.

In time Naushad formed his own Windsor Music Entertainers or just Windsor Entertainers, so named because he had seen the word "Windsor" around Lucknow and liked its ring. It led to the Indian Star Theatrical Company in a theatre at Golagunj colony in Lucknow. He was trained under Laddan Khanhad where he became capable of working independently as a composer. There he also developed the sense to pick rare musical jewels from the folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company's sojourns in those regions. The traveling players got as far as Viramgam in Gujarat, where they discovered penury, even after selling off theatrical props and musical instruments. The company limped back to Lucknow through the kindness of one of Naushad's friends.

Naushad had already become a cinema fan in the silent era, and then, in 1931, Indian cinema got voice and music that further fascinated the 13 year old boy. But his family was strict follower of Islamic diktat of prohibition of music and his father gave him ultimatum to leave music if he has to stay at home. He ran away to Mumbai (then called Bombay) in the late 1937 to try his luck as a musician.

Career

In Mumbai, he initially stayed with an acquaintance from Lucknow (U.P.) at Colaba and after a while, shifted to Dadar opposite the Broadway theater where he would sleep on the footpath. He assisted music director Ustad Jhande Khan who was at the peak of his success those days, at a monthly salary of Rs 40. The producer was a Russian and the studio was at Chembur. The film could not be completed. Naushad was a piano player so he worked as a pianist in composer Ustad Mushtaq Hussain's orchestra. He then polished off an unfinished film score and got a credit as assistant to Hussain. Then the film company collapsed. Composer Khemchand Prakash took him on as his assistant for the film Kanchan at Ranjit Studio at a salary of Rs 60 per month, for which Naushad remained extremely grateful and, in interviews, had called Khemchand his guru.

His friend, lyricist D N Madhok trusted Naushad's unusual talent for composing music and introduced him to various film producers. Chandulal Shah, the owner of Ranjit Studios, offered to sign Naushad for one of his forthcoming films. Naushad composed a lilting bhajan for this film, ‘Bata de koi kaun gali gaye Shyam’, but the film never got on the floors. He was assistant music director for the Punjabi film 'Mirza Sahib' (1939).

He composed for his first Independent film Prem Nagar in 1940 that had story set in Kachchh for which he did a lot of research into the folk music of the area. With A.R. Kardar's film Nai Duniya (1942), he got first credit as "music director" and he began to work regularly for Kardar Productions. He however had a flexibility that he could work outside Kardar Productions, and this arrangement continued ever after. He first got noticed with A.R. Kardar's film Sharda (1942) wherein 13-year-old Suraiya debut with Panchhi Ja song for the playback for heroine Mehtab. It was Rattan (1944) that took Naushad right to the top and enabled him to charge Rs 25,000 a film then.

But his Lucknow based family remained against music and Naushad had to hide the fact that he composes music from his family. When Naushad got married, the band was playing the tunes of the super hit songs of Naushad's film Rattan while Naushad's father and father-in-law were condemning the musician who had composed these songs, Naushad dared not tell them that it was he who had composed the music.

1946 brought Anmol Ghadi in which he worked with Noorjehan and Shahjehan and paired with K L Saigal, both films and the music became super hit.

From 1942 until the late 1960s, he was one of the top music directors in Bollywood. While he did less than a hundred films during his lifetime, 26 of those films celebrated Silver jubilees (25 weeks run) -- 8 celebrated golden jubilees (50 weeks run) and 4 celebrated diamond jubilees (60 weeks run). (inclusive count - a diamond jubilee film also celebrated Silver and Golden jubilee)

Naushad worked with several lyricists, including Shakeel Badayuni, Majrooh Sultanpuri, D. N. Madhok, Zia Sarhadi, and Khumar Barabankvi.

Mother India (1957), for which he had composed music, was the first Indian film that got nominated for Oscar.

Naushad completed Pakeezah (1972) after its Music Director, Ghulam Mohammed's death, who had worked earlier as his assistant for several films.

In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema. In 1988, he worked in a Malayalam film ''Dhwani'', which is noted as the last film of Ever Green Hero Prem Nazir. The songs of this film became a major success and has attained cult status. In 1995 he gave music for Shahrukh Khan starrer, ''Guddu'' of which a few songs became popular. In 2004, when a colorized version of the classic ''Mughal-e-Azam'' was released, Naushad was a guest of honor at the premiere.

Amongst his assistants, Mohammed Shafi, Jerry Amaldev, and Ghulam Mohammed stand out prominently.

He composed the tunes of Taj Mahal: An Eternal Love Story (2005) at the age of 86, thus becoming the world's oldest composer.

5 films have been made on his life and work Naushad Ka Sangeet, Sangeet Ka Badshah, Naushad (T. V.) 1972, Biography-by Doordarshan; B. C. LONDON T. V. 's Movie Mahal Naushad, and T. V. Serial 'Zinda Ka Safer Biographical books published are Dastaan-E-Naushad (Marathi) by Shashikant Kinikar; Aaj Awat Man Mero (Gujarati); Hindi and Urdu biographical sketches in Shama & Sushma Magazines respectively, titled "Naushad Ki Kahani, Naushad Ki Zubani"; the last one was translated into Marathi by Shashikant Kinikar. Kinikar also came up with a book titled "Notes of Naushad" which puts together some interesting anecdotes of Naushad's life.

Amongst his assistants, Mohammed Shafi, Ghulam Mohammed, and Jerry Amaldev stand our prominently.

He set Prime Minister Atal Bihari Vajpayee's verse, Unki yaad kare, to song in 2006, rendered by A. Hariharan in lead voice with 40 chorus singers, produced by Keshav Communications. The poem is dedicated to those who have lost their lives defending the country's border.

He also loved Angling and the beauty of Nature. In 1962, he caught his largest fish, a 52 lb. CATLA.

Last days

Naushad died on 5 May 2006 in Mumbai. He was buried at the Juhu Muslim cemetery.

He is survived by six daughters Zubeda, Fehmida, Farida, Sayeeda, Rashida, Waheeda & three sons Rahman Naushad, Raju Naushad & Iqbal Naushad. Rahman Naushad and Raju Naushad had assisted him in some of his films. Also, Naushad composed music in two movies 'My Friend' & 'Teri Payal Mere Geet' which was directed by Rahman Naushad.

Naushad had requested Maharashtra state government to sanction a plot for the Academy for promoting Hindustani sangeet which was sanctioned during his lifetime & 'Naushad Academy of Hindustani sangeet' was formed.

There also was an announcement that Carter Road, where Naushad's residence was, would be renamed to 'Sangeet Samrat Naushad Ali Marg' and it was done by Maharashtra government (M.C.G.M.) on 5 May 2008.

Writer

Naushad was also a respected and published poet and formally launched his book of Urdu poetry entitled Aathwan Sur ("The Eighth Note") and the Navras label's album titled "Aathwan Sur – The Other Side of Naushad" having 8 ghazals as part of Hounslow's book fair and festival "Bookmela" in November 1998. The album has lyrics and composition by Naushad, are arranged by Uttam Singh.

Track list:

# Aabadiyon Mein Dasht Ka Munzar Bhi Aayega - A. Hariharan - 7:08 # Aaj Ki Baat Kal Pay Kyun Taalo - A. Hariharan & Preeti Uttam Singh - 6:17 # Ghata Chhaayi Thi Saawan Khul Ke Barsa - Preeti Uttam Singh - 7:19 # Kabhi Meri Yaad Unko Aati To Hogi - A. Hariharan & Preeti Uttam Singh - 6:18 # Mujh Ko Muaff Kijiye - A. Hariharan - 5:35 # Peenay Waalay Bekhudi Say Kaam Lay - A. Hariharan & Preeti Uttam Singh - 8:13 # Saawan Kay Jab Baadal Chhaaye - A. Hariharan - 6:50 # Tanhaa Khud Say Baat Karoon - Preeti Uttam Singh - 7:49

Music style

Naushad was known for his deft adaptation of the classical musical tradition for movies. For some movies like ''Baiju Bawra'', he composed all scores in classical raga modes. He could easily work with Western instruments, including the clarinet, the mandolin, and the accordion. He could incorporate Western musical idioms in his compositions, and compose for Western-style orchestras.

During early 1940s, recordings were done in quiet parks and gardens after midnight because the studios did not have sound-proof recording rooms. In the gardens, there would be no echo and disturbances, unlike the studios where the sound reverberated because of the tin roofs.

For films like Uran Khatola and Amar, he recorded the voice of a particular artiste on a scale of 90, then recorded it on 70, then on 50 and so on. After the complete recording, it was played for the scene and the impact it created was terrific.

He was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Bollywood film music and was among the first to concentrate on background music to extend characters’ moods and dialogue through music. But perhaps his greatest contribution was to bring Indian classical music into the film medium. Many of his compositions were inspired by ragas and he even used distinguished classical artistes like Amir Khan and D.V. Paluskar in ''Baiju Bawra'' (1952) and Bade Ghulam Ali Khan in ''Mughal-e-Azam'' (1960). ''Baiju Bawra'' (1952) demonstrated Naushad's grasp of classical music and his ability to bring it to the masses, for which he won the first Filmfare Best Music Director Award in 1954.

For Aan (1952), he was the first to use a 100-piece orchestra, He was the first composer to have developed the system of western notation in India. The notation for the music of the film Aan was published in book form in London.

In Uran Khatola (1955), he recorded an entire song without the use of orchestra, having replaced the sound of musical instruments with choral sound of humming.

For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus of 100 persons. He asked Lata Mangeshkar to render a part of the song "Pyaar Kiya To Darna Kya" in a bathroom that had glazed tiles and then recorded the music to get the echo effect.

For Ganga Jamuna (1961), he used lyrics in chaste Bhojpuri dialect.

He used just 6-instruments in the title song of Mere Mehboob (1963).

In 2004, a colorized version of the classic Mughal-e-Azam (1960) was released, for which Naushad had the orchestral music specially re-created (in Dolby Digital) by today’s industry musicians, while maintaining all the solo vocals from the original soundtrack. To elaborate, the playback vocals (though not the chorus) recorded four decades ago are mixed with orchestra tracks created in the present millennium.

As Indian film music gradually assumed a Western bend starting in the late 1960s, Naushad came to be considered old-fashioned. Composers who could compose rock-and-roll and disco-inflected music started getting increasingly popular. Naushad was still esteemed as a maestro, but his talents were sought mostly for historical movies where traditional scores were appropriate.

Filmography

Music Director

! Film	! Year	! Director	! Cast	! Remarks/Verdict
''Prem Nagar''	1940	Mohan Dayaram Bhavnani	Ramanand, Bimla Kumari, Husn Banu, Rai Mohan, Nagendra, Salu, Gulzar
''Darshan''	1941	Chimanlal Muljibhoy Luhar	Raj Kapoor, Suraiya
''Mala''	1941	Balwant Bhatt	Jayant, Rose, Jairaj, Nazir, Daya Devi, Heera
''Nai Duniya''	1942	Abdul Rashid Kardar	Jairaj, Shobhna Samarth, Wasti, Azurie, Mazhar Khan. Hari Shivdasani, Jeevan	Debut of Singer Surayya in the song "Boot Karoon main Polish"Silver Jubilee
''Sharda''	1942	Abdul Rashid Kardar	Ulhas, Mehtab. Wasti, Nirmala, Badri Prasad	Silver Jubilee
''Station Master''	1942	Chimanlal Muljibhoy Luhar	Prem Adib, Pratima Devi, Gulab
''Kanoon''	1943	Abdul Rashid Kardar	Mehtaab, Shahu Modak	Silver Jubilee
''Namaste''	1943	Mohammed Sadiq Sani	Wasti, Protima Das, Jagdish Sethi, Misra	Silver Jubilee
''Sanjog''	1943	Abdul Rashid Kardar	Charlie, Anwar Hussain, Mehtab	Silver Jubilee
''Geet''	1944	S. U. Sunny	Shahu Modak, Nirmala, Amir Ali
''Jeevan''	1944	Mohammed Sadiq	Wasti, Mehtab, Badri Prasad, Anwar, Shyam Kumar
''Pehle Aap''	1944	Abdul Rashid Kardar	Shamim, Wasti, Anwar Hussain, Jeevan, Dixit	Rafi's first song for Naushad "Hindustan Ke Hum Hain" in a chorusSilver Jubilee
''Rattan''	1944	S Sadiq	Amir Banu, Karan Dewan, Swarnalata	Diamond Jubilee
''Sanyasi''	1945	Abdul Rashid Kardar	Shamim, Amar, Misra, Shyam Kumar, Naseem Jr., Gulam Mohamad	Silver Jubilee
''Anmol Ghadi''	1946	Mehboob Khan	Noorjehan, Surinder, Suraiya	Diamond Jubilee
''Keemat''	1946	Nazir Ajmeri	Amar, Sulochana Chatterjee, A Shah, Sharda, Badri Prasad, Sofia, Anwari, Nawab
''Shahjehan''	1946	Abdul Rashid Kardar	Kundan Lal Saigal, Ragini	Silver Jubilee
	1947	Abdul Rashid Kardar	Uma Devi, Suraiya	Debut of Singer Uma Devi (Comedy Actress Tuntun) in the song "Afsana Likh Rahi Hoon"Silver Jubilee
''Elan''	1947	Mehboob Khan	Himalaywala, Leela Mishra, Shah Nawaz
''Natak''	1947	S. U. Sunny	Suraiya, Amar, Sofiya, Kanwar, Sham Kumar, Pratima Devi	Silver Jubilee
''Anokhi Ada''	1948	Mehboob Khan	Surendra, Naseem Bano, Murad, Cuckoo	Golden Jubilee
	1948	S. U. Sunny	Dilip Kumar, Nargis, Jeevan	Golden Jubilee
	1949	Mehboob Khan	Dilip Kumar, Raj Kapoor, Nargis	Golden Jubilee
''Chandni Raat''	1949	Mohammed Ehsan	Shyam, Naseem Bano
''Dillagi''	1949	Abdul Rashid Kardar	Shyam, Suraiyya, Sharda, Amir Banu, Amar	Silver Jubilee
''Dulari''	1949	Abdul Rashid Kardar	Suresh, Madhubala, Geeta Bali	Silver Jubilee
	1950	S. U. Sunny	Dilip Kumar, Nargis	Also as ProducerSilver Jubilee
	1950	Abdul Rashid Kardar	Raj Kapoor, Suraiya, Veena, Suresh	Also as Co-producerSilver Jubilee
	1951	Nitin Bose	Dilip Kumar, Nimmi, Nargis, Ashok Kumar	Golden Jubilee
''Jadoo''	1951	Abdul Rashid Kardar	Suresh, Nalini Jaywant	Also as Co-producerSilver Jubilee
''Aan''	1952	Mehboob Khan	Dilip Kumar, Nimmi, Nadira	Golden Jubilee
	1952	Vijay Bhatt	Bharat Bhushan, Meena Kumari	Debut of singers Amir Khan and D. V. Paluskar in the song "Aaj gaavat man mero jhoomke"Diamond Jubilee
	1952	Abdul Rashid Kardar	Suraiya, Suresh, Sumitra Devi, Shyam Kumar	Silver Jubilee
	1954	Mehboob Khan	Dilip Kumar, Nimmi, Madhubala
''Shabaab''	1954	Mohammed Sadiq	Bharat Bhushan, Nutan	Silver Jubilee
''Uran Khatola''	1955	S. U. Sunny	Dilip Kumar, Nimmi.	Also as ProducerSilver Jubilee
''Mother India''	1957	Mehboob Khan	Nargis, Raj Kumar, Rajendra Kumar, Sunil Dutt, Kanhaiyalal	Diamond Jubilee
	1958	Raja Nawathe	Bharat Bhushan, Nimmi	Debut of singer Mahendra Kapoor in the song "Chaand Chhupa Aur Taarey Doobey"
	1960	S. U. Sunny	Dilip Kumar, Meena Kumari, Kumkum, Jeevan	Golden Jubilee
''Mughal-e-Azam''	1960	Karim Asif	Dilip Kumar, Madhubala, Prithviraj Kapoor, Durga Khote, Ajit	Debut of singer Bade Ghulam Ali Khan in the songs "Shubh din aayo" and "Prem jogan ban ke"Diamond Jubilee
	1961	Nitin Bose	Dilip Kumar, Vyjayantimala Bali	Lyrics of several songs were in Bhojpuri dialectGolden Jubilee
	1962	Mehboob Khan	Kamaljit, Kumkum, Sajid, Simi Garewal, Jayant
''Mere Mehboob''	1963	Harnam Singh Rawail	Rajendra Kumar, Sadhana, Ameeta, Ashok Kumar, Nimmi	Silver Jubilee
	1964	Ram Mukherjee	Dilip Kumar, Vyjayantimala Bali
''Dil Diya Dard Liya''	1965	Abdul Rashid Kardar	Dilip Kumar, Waheeda Rehman, Pran
''Saaz Aur Awaaz''	1966	Subodh Mukherji	Saira Banu, Kanhaiyalal, Joy Mukherjee
''Palki''	1967	S. U. Sunny	Rajendra Kumar, Waheeda Rehman, Rehman, Johnny Walker	Also as Writer
''Ram Aur Shyam''	1967	Tapi Chanakya	Dilip Kumar, Waheeda Rehman, Mumtaz, Pran, Nirupa Roy, Leela Mishra	Golden Jubilee
	1968	A. Bhimsingh	Dilip Kumar, Waheeda Rehman, Manoj Kumar
''Saathi''	1968	C. V. Sridhar	Rajendra Kumar, Vyjayantimala Bali, Simi Garewal
	1968	Harnam Singh Rawail	Dilip Kumar, Vyjayanthimala, Balraj Sahni
''Gunwaar''	1970	Naresh Kumar	Rajendra Kumar, Vyjayantimala Bali, Nishi
''Pakeezah''	1971	Kamal Amrohi	Raj Kumar, Meena Kumari, Ashok Kumar	Background Score and a few songsGolden Jubilee
''Tangewala''	1972	Naresh Kumar	Mumtaz, Sujit Kumar
''My Friend''	1974	M Rehman	Rajeev, Prema Narayan, Utpal Dutt, Jagdeep, Asit Sen, Tuntun
''Sunehra Sansar''	1975	Adurti Subba Rao	Rajendra Kumar, Hema, Mala Sinha
	1977	Kailasham Balachander	Mumtaz, Rajesh Khanna
''Paan Khaae Sainyyan Humaar''	1985	Sujit Kumar	Sujit Kumar, Bandini, S. N. Tripathi	Bhojpuri film
''Chambal Ki Rani''	1979	Radhakant	Mahendra Sandhu, Dara Singh, Chand Usmani
''Dharam Kanta''	1982	Sultan Ahmed	Raj Kumar, Waheeda Rehman, Jeetendra, Reena Roy, Rajesh Khanna, Sulakhshana Pandit
''Love and God''	1986	Karim Asif	Sanjeev Kumar, Nimmi, Pran
''Dhwani''	1988	A. T. Abu	Prem Nazir, Jayaram, Shobana	Malayalam film
''Teri Payal Mere Geet''	1989	Rehman Naushad	Govinda, Meenakshi Seshadri
''Aawaz De Kahan Hai''	1990	Sibte Hassan Rizvi	Bindu, Annu Kapoor, Satyendra Kapoor
	1995	Prem Lalwani	Shah Rukh Khan, Manisha Koirala, Mukesh Khanna
''Taj Mahal: An Eternal Love Story''	2005	Akbar Khan	Kabir Bedi, Sonia, Monisha Koirala
''Hubba Khatoon''	Unreleased	B. R. Chopra	Sanjay Khan, Zeenat Aman	"Jis Raat Ke Khwaab Aaye", sung by Rafi is released

Non-film album

Aathwan Sur - The Other Side of Naushad : This was a Ghazal album released in 1998 and had all its songs composed by Naushad and sung by Hariharan.

English film

Such a Long Journey (1998), Director: Sturla Gunnarsson, Music: Jonathan Goldsmith, Cast: Roshan Seth, Soni Razdan, Om Puri, Nasiruddin Shah,

In this film, the song from film "Pakeezah" (1971), "Thaade rahiyo", lyrics: Kaifi Azmi, rendered by Lata Mangeshkar, was played during the end casting.

Producer

''Maalik'' (1958) Music Director for this film was Ghulam Mohammed

''Uran Khatola'' (1955)

''Babul'' (1950)

Storywriter

Palki (1967)

teri payal mere geet(1989)

Awards and recognition

1954: Filmfare Best Music Director Award - Baiju Bawra

1961: Bengal Film Journalists' Association's best music director Award for Gunga Jumna

1975: "Naushad Ali", a 30-minute documentary film produced by Television Centre, Bombay

1981: Dada Saheb Phalke Award

1984: Lata Mangeshkar Award (Madhya Pradesh state government's)

1987: Amir Khusro Award

1992: Sangeet Natak Akademi Award

1992: Padma Bhushan

: Maharashtra Gaurav Puruskar

: Best Music for "The Sword of Tipu Sultan"

Positions Held

President of Cine Music Directors Association

Chairman of Indian Performing Rights Society

President of Maharashtra State Angling Association

President of Alam-E-Urdu Conference (Delhi)

The title of Special Executive Magistrate, Bombay

Naushad and Raaga

Here is a list of Naushad's songs based on different raagas. (raaga, song, singer, movie)

Ahir Bhairav: # aj hai pyar ka faisala sanam - lata - leader

Alahaiya-Bilawal: # dil mein chupake pyar ka - rafi - aan

Bageshri: # chah barbaad karegi - saigal - shah jahan # milke bichad gaye - amirbai - rattan

Bahar: # man ki been - lata, rafi - shabab (with a line in basant)

Bhairavi: # kya mil gaye bhagwan - noorjahan - anmol ghadi # aye dil tujhe kasam hai - lata - dulari # teer khate jayenge - lata -dewana # na toofan se - rafi - udan kha tola # haal e dil main lata - udan kha tola # dooba tara ummeedon ki sahara - lata - udan kha tola # kya rang-e-mehfil hain - lata - dil diya dard liya # allah bachaya naujawan - lata - mere mehboob # yaad mein teri jag - lata, rafi - mere mehboob # aai diwali - zohrabai - rattan # diya na bujhe re aj hamara - lata - son of India # zindabad ae mohabbat zindabad - rafi - mughal e azam # insaf ka mandir - rafi - amar # khamosh hain khewan - lata - amar # milte hain aankhen - samsad, talat - babul # lagan more man ki - lata - babul # huye hum jinke - rafi - deedar # dekhliya maine - rafi, lata - deedar # jadugar katil - asha - kohinoor # zara man ki kewadiyain khol - rafi- kohinoor # aanewalon ko ana hoga - rafi, lata - sohni mahiwal # chand chupa aur tare duba - mahendra - sohni mahiwal # Tumhare Sang Main Bhi Chalungi - lata - sohni mahiwal # mera bichda yaar mila de - lata, rafi - sohni mahiwal # rat gazab ki aye - mahendra - sohni mahiwal # dil hai pyar zara - sanu, sadhana - guddu # dil kahe hardam ishq - suresh, aziz - guddu # baat sabse karo pyar humse karo - sp bala - tere payal mere geet # jab dil hi toot gaya - saigal - shah jahan # tu ganga ki - rafi, lata - baiju bawra # ayi sawan rut ayi - samsad - mela # manzil ki dhun mein - mukesh - anokhi ada # gaon tarane - samsad, lata, rafi - aan # man mera ehsan - rafi - aan # do hanson ka joda - lata - ganga jamuna # main to payar se teri piya - lata - saathi # mere jeevan saathi - lata - saathi # husn-e-jana idhar aa - mukesh - saathi # Tute Na Dil Tute Na - mukesh - andaz # yeh zindegi ki mele - rafi- mela # mere paas aao nazar to milao - lata - sanghursh

Bhimpalasi: # aj mere man me - lata - aan # tere sadke balam - lata - amar # Manasa Nilayil, Yesudas - dhwani (Malayalam) # afsana likh rahi hoon - uma - dard # aj purani rahon se - rafi - aadmi

Bihag: # mari ladli re - lata - andaz # tere payar mein dildar - lata - mere mehboob # tere payel mere geet - sp balasubranium - tere payel mere geet

Bilawal: # meri ladli hai - lata - andaz # bachpan ki mohabbat - lata - baijubawra # mere mehboob tujhe - rafi/lata - mere mehboob (most people think it is Jheenjhoti)

Brindavani Sarang: # sawan ki badalo - zohrabai, karan - rattan # jab tumhi chale - karan - rattan # aja meri barbad - anmol ghadi # tu mera chand - suraiya, shyam - dillagi # jhule mein pawan - rafi, lata - baijubawra # Saavan Aye Ya Na Aye - asha, rafi- dil diya dard liya ( some say its Suddha sarang)

Darbari Kanada: # daiya re daiya laj mohe lage - asha, rafi - leader # gujre hai aj ishk mein - rafi - dil diya dard liya # kabhi dil dilse takrata - mukesh - anokhi ada # mohabbat ki jhuti kahani - lata - mughal e azam # o duniya ki rakhwale - rafi - baiju bawra # duniya badal gayi - talat, samsad - babul # hue hum jin ke - rafi - deedar # darbari alap - ustad amir khan - baiju bawra # bich bhainwan mein - suraiya - dard

Desh: # door koi gaaye - samsad, lata, rafi - baiju bawra # kal rat zindagi se - rafi - palki

Desi: # aaj gaawat man mero - ustad amir khan, pandit d v paluskar - baiju bawra

Dani/Dhani: # ajnabi thehero jara - hariharan, preeti uttam - taj mahal # mere mehboob mein kya nahin - lata, asha - mere mehboob

Dhanasri: # mere mehboob tujhe - rafi/lata - mere mehboob (most people think it is Jheenjhoti)

Gara: # mohe panghat pe - lata - mughal e azam # jab rat ho aisi matwali - lata - mughal e azam (sometimes mistaken as jaijawanti)

Gaud Sarang: # aaye na baalam waada kar ke - rafi - shabab

Gorakh Kalyan: # dil ki kashti - lata - palki # o balam tere pyar ke - rafi, asha - ram aur shyam

Gowda Sarang: # mera salam le ja - lata - udan kha tola

Hamir: # madhuban mein radhika nache re - rafi - kohinoor

Jaijaivanti : # Zindagi Aaj Mere Nam Se Sharamati Ha - rafi - son of India # mohabbat ki rahon mein - rafi - udan kha tola

Jainpuri: # dil ko laga ke - uma - anokhi ada # guzre hain aj - rafi - dil diya dard liya

Janasamohini/shubha kalyan: # koi sagar dil ko - rafi - dil diya dard liya (some say its kalawati) # mere mehboob tujhe - rafi/lata - mere mehboob (most people think it is Jheenjhoti)

Jhinjhoti: # mere mehboob tujhe - rafi - mere mehboob # mere mehboob tujhe - lata - mere mehboob

Jogiya: # o mere lal aja - lata - mother india

Kafi/Misra Kafi: # gham diye mustaqil - saigal - shah jahan # angdaye tera hain bahana - manju - rattan # jhum jhum ke nacho - mukesh - andaz # meri payari patang - samsad, uma - dillagi # duniya badal gaye - samsad, talat - babul # janewale teri khuda hafiz - lata - palki

Kalingda/bhairav: # mohe bhool gaye - lata - baiju bawra

Kedar: # uthaye ja unke sitam - lata - andaz # bekas pe karam - lata - mughal e azam # kal rat zindagi se - rafi - palki

Khamaj/Misra Khamaj: # chunariya katati jay re - manna de - mother India # dhal chuki sham e gham - lata, rafi - kohinoor # kaun gali jayo shyam - parveen - pakeezah # nain lad gay hain - rafi - ganga jamuna

Lalit: # Ek Shahenshah Ne Banvaa Ke Hasin Tajmahal - lata, rafi - leader (shyam-lalit)

Madhu-Bilwal: # Bachpan ki mohabbat - lata - baijubawra

Madhumad-sarang: # dukh bhar din - rafi, samsad, lata, manna - mother india # o gadiwale gadi - rafi, samsad - mother india # holi ayi re - samsad - mother india # matwale jiya - lata, rafi, samsad, manna - mother india # aj mere man mein - lata - aan # aj khushi ki irade - rafi - aan # udi udi chayi ghata - lata - amar # tan rang lo - lata, rafi - kohonoor

Malgunji: # hum aj kahi dil - mukesh - andaz

Malkauns/ Malkaush/ Kaushik: # man tarapat hari darshan - rafi - baiju bawra

Mand: # Bachpan Ki Mohabbat Ko - lata - baiju bawra # Jo Me Jaanthi Bisarat - lata - shabab # Phir teri kahaani yaad aayi - lata - dil diya dard liya # Mar gaye hum jeete jee - lata - shabab # Kal raat zindagi se mulaqat - rafi - palki # duniya wale duniya sare - lata - guddu

Maru-Bihag: # ai dil bekarar jhum - saigal - shah jahan # challenge teer jab dil - lata, rafi - kohinoor # hamare dil se na jana - lata - udan khatola # na milta gam - lata - amar

Marwa: # payaliya bawari - lata - saaz aur aawaz

Megh: # Ghanan Ghanan ghan garjo re - ustad amir khan - baiju bawra # sawan aye ya na - rafi, asha - dil diya dard liya (brindabani sarang)

Megh malhar: # dukh bhare din - asha, manna, rafi, samsad - mother India # tan rang lo ji - lata, rafi - kohinoor

Misra desi: # aye shahare lucknow - rafi - palki

Miya Malhar: # apni zulfein - hariharan - taj mahal (slight use of jhinjhoti)

Multani: # daya kar he giridhar - ustad amir khan - shabab

Narayani: # der ki basti - lata - palki

Nayaki kanada: # Chala Diye Deke Gam - lata - son of India (some say its Bilaskhani todi) # mehlon mein - rafi - shabab

Pahadi: # Aaj Ki Raat Mere Dil Ki Salami Le Le- rafi - ram aur shaym # Awaz De Kahan Hain - noorzahan, surendra - anmol ghadi # mere bachapan ki - noorjahan - anmol ghadi # tere nainon ne - suraiya - anmol ghadi # jawan hain mohabbat - noorjahan - anmol ghadi # rimjhim barse - zohrabai, amirbai - rattan # Bata De Sakhi Kaun Gali Gayo Shyam - parveen sultana - pakeezah # Dil Todnewale - lata, rafi - son of India # Do Sitaron Ka Zamin - lata, rafi - kohinoor # Javaan Hai Muhabbat - noorzahan - anmol ghadi # Koi Pyara Ki Dekhe Jadugari - lata, rafi - kohinoor # O Dur Ke Musaphir Hamko - rafi - udan khatola (some identify it as raaga Durga) # Suhani Raat Dhal Chuki - rafi - dulari # Tod Diya Dil Mera Tune Ai Bewafa - lata - andaz # Tora Man Bada Papi Sanvariya Re - asha - ganga jamuna # duniya mein hum - lata - mother india # tasveer banata hoon - rafi - deewana # na main bhagwan - rafi - mother india # kisne mujhe pukara - rafi, suman - saz aur awaz # chod babul ka ghar - samsad - babul

Pilu: # Chandan Ka Palna Resham Ki Dori - hemant, lata - shabab # Dhoondho Dhoondho Re Saajna - lata - ganga jamuna # Hai Hai Rasiya Tu Bada Bedardi - asha - dil diya dard liya # Jhule Mein Pavan Ki Ayi Bahar - lata, rafi - baiju bawra # Mera Pyar Bhi Tu Hai - mukesh, suman - saathi # More Sainya Ji Utarenge Paar - lata - udan khatola # na maanu na maanu - lata - ganga jamuna # pi ke ghar aaj pyari dulhaniya - samsad - mother India # gunghat nahin - lata - mother india # chehre se apne aj - rafi - palki # aankhiya mila ke - zohrabai - rattan # main bhanwara tuhe phool - mukesh, samsad- mela # le ja meri duaein - lata - deedar # bachpan ke din - lata, samsad - deedar # dil ki halat - rafi, asha - dharam kanta # humise muhabbat - rafi - leader

Patdeep: # jis rat ki khwab - rafi - habba khatun # anuraga lola gathri - yesudas, s janaki - dhwani (malayalam) # saaz ho tum Awaz hoon main - rafi - saaz aur Awaz (patdeep and Madhuvanti mixed)

Puriya: # yeh kaun mujhe yaad - ajay chatterjee - taj mahal (puriya kalyan mixed) # pyar kiya to darna - lata - mughal e azam (pilu + megh + sarang + sahana + bahar + darbari + other ragas)

Puriya Dhanashree: # tori jai jai kartaar - ustad amir khan - baiju bawra # Tareef e Meena Bazaar - couplet - taj mahal # Mumtaz Tuze Dekha - hariharan - taj mahal # hum kasam kaise - rafi - shabab

Rageshri: # shubhadina aayo rajadulara - bade gulam ali - mughal e azam

Shahana: # mehalon mein rehne waale - rafi - shabab

Sarang: # aja meri barbad - noorjahan - anmol ghadi

Shivranjani: # ishq ki dastaan - kavita, preeti uttam - taj mahal (yaman mixed) # gam diye mushkil - saigal - shehjahan # ye hi arman lekar - rafi - shababa # mera pyar bhi - mukesh, suman - saathi # dharti ko akash - mukesh, samsad - mela

Sindhu-bhairavi: # koyi mere dil mein - lata - andaz

Sohni: # prem jogan - bade gulam ali - mughal e azam

Suddha Sarang: # gayeja geet milan ke - mukesh - mela # dur koyi gaye - lata, samsad, rafi - baijubawra

Tilang: # Meri Kahani Bhulnevale - rafi - deedar # Yahi Arman Lekar Aaj Apne - rafi - shabab

Todi: # insaan bano - rafi - baiju bawra

Yaman/Kalyan/Yaman Kalyan: # dilruba Maine tere - rafi - dil diya dard liya # dil e betab ko - rafi, suman - palki # janewale se mulaqat na hone - lata - amar # tere husn ki - lata, rafi - leader # ai ishq zara jaag tujhe husn jagaye - rafi - mere mehboob # khuda nigehbaan ho tumharaa - lata - mughal e azam # mera jeevan sathi - talat - babul # nagri nagri - lata - mother india # kaun gali gayo - parveen - pakeezah # do sitaron ke - rafi, lata - kohinoor # dil tod ne wale - rafi, lata - son of india # khuda nigahban - lata - mughal e azam

Raagmala: # piu piu karat - rafi - baiju bawra - 4 raagas used (lalit, gaur malhar, puriya, bageshri)

References

External links

Khayyam remembers Naushad

Naushad: Composer of the century by Raju Bharatan

Glowing tribute to Naushad: the Hindu

Pandit Jasraj on Naushad

Biography at upperstall.com

Naushad Ali Naushad Ali's Relationship with Mohammed Rafi

Fan Site of Naushad

Mahendra Kapoor">ghazal "mein ne jo geet" from Naushad sung by Mahendra Kapoor

Songs of Dhwani (Malayalam)

Lyrics of Dhwani (Malayalam)

Songs and lyrics of Dhwani (Malayalam)

Naushad's book Aathwan Sur

Read a ghazal by Naushad

Hear Naushad's voice. Probably his last interview

Naushad's Letterhead

Category:Indian film score composers Category:Filmfare Awards winners Category:Recipients of the Sangeet Natak Akademi Award Category:People from Lucknow Category:Indian Muslims Category:1917 births Category:2006 deaths Category:Dadasaheb Phalke Award recipients

de:Naushad Ali hi:नौशाद ml:നൗഷാദ് അലി mr:नौशाद pl:Naushad Ali te:నౌషాద్ ur:نوشاد

Coordinates	41°52′55″N87°37′40″N
name	Lata Mangeshkar
background	solo_singer
born	September 28, 1929Indore, Central India Agency, British India
instrument	Vocals
genre	Film music (playback singing)
occupation	Singer
years active	1942–present }}

Lata Mangeshkar (; born September 28, 1929) is a singer from India. She is one of the best-known and most respected playback singers in India. Mangeshkar's career started in 1942 and has spanned over six and a half decades. She has recorded songs for over a thousand Bollywood movies and has sung songs in over thirty-six regional Indian languages and foreign languages, though primarily in Hindi. She is the elder sister of singer Asha Bhosle, and Hridayanath Mangeshkar, Usha Mangeshkar and Meena Mangeshkar. She is the second vocalist to have ever been awarded the Bharat Ratna, India's highest civilian honour.

Mangeshkar was featured in the ''Guinness Book of World Records'' from 1974 to 1991 for having made the most recordings in the world. The claim was that she had recorded approximately 25,000 solo, duet, and chorus-backed songs in 20 Indian languages between 1948 to 1974 (30,000 songs between 1948 and 1987, according to the 1987 edition). Over the years, while several sources have supported this claim, others have raised concerns over its veracity, claiming that this number was highly exaggerated and that Mangeshkar's younger sister, Asha Bhosle, had more song recordings than she had.

Early life

Lata Mangeshkar was born in Sikh Mohalla, Indore, in the Central India Agency (now part of Madhya Pradesh). Her father, Pandit Deenanath Mangeshkar who belonged to a Gomantak Maratha Samaj family from Goa, was a classical singer and theater actor. Her mother Shevanti (Shudhamati) who was from Thalner, Maharashtra, was Deenanath's second wife. The family's last name used to be Hardikar; Deenanath changed it to Mangeshkar in order to identify his family with his native town, Mangeshi in Goa. Lata was named "Hema" at her birth. Her parents later renamed her Lata after a female character, Latika, in one of her father's plays, ''BhaawBandhan''. Lata is the eldest child of her parents. Meena, Asha, Usha and Hridayanath are her siblings in sequence.

Mangeshkar took her first music lessons from her father. At the age of five, she started to work as an actress in her father's musical plays (''Sangeet Natak'' in Marathi). On the first day in the school, she started teaching songs to other children. When the teacher stopped her, she was so angry that she stopped going to the school. Other sources cite that she left school because they would not allow her to bring Asha with her, as she would often bring her younger sister with her.

Singing career

Early career in the 1940s

In 1942, when Mangeshkar was 13, her father died of heart disease. Master Vinayak (Vinayak Damodar Karnataki), the owner of Navyug Chitrapat movie company and a close friend of the Mangeshkar family, took care of them.

Mangeshkar sang the song "Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari" which was composed by Sadashivrao Nevrekar for Vasant Joglekar's Marathi-language movie ''Kiti Hasaal'' (1942), but the song was dropped from the final cut. Vinayak gave her a small role in Navyug Chitrapat's Marathi movie ''Pahili Mangalaa-gaur'' (1942), in which she sang "Natali Chaitraachi Navalaai" which was composed by Dada Chandekar. Her first Hindi song was "Mata Ek Sapoot Ki Duniya Badal De Tu" for the Marathi film, ''Gajaabhaau'' (1943). Mangeshkar moved to Mumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Amanat Ali Khan Bhendibazaarwale. She sang “Paa Lagoon Kar Jori” for Vasant Joglekar's Hindi-language movie ''Aap Ki Seva Mein'' (1946), which was composed by Datta Davjekar. Mangeshkar and her sister Asha played minor roles Vinayak's first Hindi-language movie, ''Badi Maa'' (1945). In that movie, Lata also sang a bhajan, “Maata Tere Charnon Mein.” She was introduced to music director Vasant Desai during the recording of Vinayak's second Hindi-language movie, ''Subhadra'' (1946).

Following the partition of India in 1947, Ustad Amanat Ali Khan Bhendibazaarwale migrated to newly formed Pakistan, so Mangeshkar started to learn classical music under Amanat Khan Devaswale. Pandit Tulsidas Sharma, a pupil of Ustad Bade Ghulam Ali Khan, also trained her.

After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. Haider introduced Mangeshkar to producer Sashadhar Mukherjee, who was working then on the movie ''Shaheed'' (1948), but Mukherjee dismissed Mangeshkar's voice as "too thin." An annoyed Haider responded that in the coming years the producers and the directors would "fall at Lata's feet" and "beg her" to sing in their movies. Haider gave Lata her first major break with the song “Dil Mera Toda,” from the movie ''Majboor'' (1948).

Initially, Mangeshkar is said to have imitated Noor Jehan, but later she developed her own style of singing. Lyrics of songs in Hindi movies are primarily composed by Urdu poets and contain a higher proportion of Urdu words, including the dialogue. Actor Dilip Kumar once made a mildly disapproving remark about Mangeshkar's Maharashtrian accent while singing Hindi/Urdu songs; so for a period of time, Lata took lessons in Urdu from an Urdu teacher named Shafi.

“Aayega Aanewaala,” a song in the movie ''Mahal'' (1949) was composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.

1950s

In the 1950s, Mangeshkar sang songs composed by various music directors of the period, including Anil Biswas (in films such as Tarana and Heer), Shankar-Jaikishan, Naushad, S. D. Burman, C. Ramchandra, Hemant Kumar, Salil Chowdhury, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna.

Mangeshkar sang many raga-based songs for Naushad in movies such as ''Baiju Bawra'' (1952), ''Mughal-E-Azam'' (1960), and ''Kohinoor'' (1960). ''Ae Chorre Ki Jaat Badi Bewafa'', a duet with G. M. Durrani, was her first song for composer, Naushad. The duo, Shankar-Jaikishan, chose Mangeshkar for ''Aag'', ''Aah'' (1953), ''Shree 420'' (1955), and ''Chori Chori'' (1956). Before 1957, composer Sachin Dev (S. D.) Burman chose Mangeshkar as the leading female singer for his musical scores in ''Sazaa'' (1951), ''House No. 44'' (1955), and ''Devdas'' (1955). However a rift developed between Lata and Burman in 1957, and Lata did not sing Burman's compositions again until 1962.

Mangeshkar won a Filmfare Best Female Playback Award for Salil Chowdhury's composition “Aaja Re Pardesi,” from ''Madhumati'' (1958). In the early fifties, Lata Mangeshkar's association with C. Ramchandra produced songs in movies such as Anarkali, Albela, Asha, Pehli Jhhalak, Shin Shinkai Bublaa Boo, Azad and Amardeep. For Madan Mohan, she performed for films like Adalat, Railway Platform, Dekh Kabira Roya and Chacha Zindabad.

1960s

Mangeshkar's song "Pyar Kiya To Darna Kya" from ''Mughal-E-Azam'' (1960), composed by Naushad and picturized on Madhubala, still remains famous . The Hawaiian-themed number "Ajeeb Dastaan Hai Yeh" from ''Dil Apna Aur Preet Parai'' (1960) was composed by Shankar-Jaikishan and picturized on Meena Kumari.

In 1961, Mangeshkar recorded two popular bhajans, "Allah Tero Naam" and "Prabhu Tero Naam", for Burman's assistant, Jaidev. In 1962, she was awarded her second Filmfare Award for the song "Kahin Deep Jale Kahin Dil" from ''Bees Saal Baad'', composed by Hemant Kumar.

On June 27, 1963, against the backdrop of the Sino-Indian War, Mangeshkar sang the patriotic song "Aye Mere Watan Ke Logo" (literally, "Oh, the People of My Country") in the presence of Jawaharlal Nehru, the then Prime Minister of India. The song, composed by C. Ramchandra and written by Pradeep, is said to have brought the Prime Minister to tears.

In 1963, Mangeshkar returned to collaboration with S. D. Burman. She also sang for R. D. Burman's very first film ''Chhote Nawaab'' and later for his films such as ''Bhoot Bangla'' (1965), ''Pati Patni'' (1966), ''Baharon ke Sapne'' (1967) and ''Abhilasha'' (1969). She also recorded several popular songs for S. D. Burman, including "Aaj Phir Jeene Ki Tamanna Hai", "Gata Rahe Mera Dil" (duet with Kishore Kumar) and "Piya Tose" from ''Guide'' (1965), and "Hothon Pe Aisi Baat" from ''Jewel Thief'' (1967).

During the 1960s, Lata Mangeshkar continued her association with Madan Mohan which included the songs "Aap Ki Nazron Ne Samjha" from ''Anpadh'' (1962), "Lag Ja Gale" and "Naina Barse Rim Jhim" from ''Woh Kaun Thi?'' (1964), "Woh Chup Rahen To" from ''Jahan Ara'' (1964), and "Tu Jahan Jahan Chalega" from ''Mera Saaya'' (1966).

The 1960s also witnessed the beginning of Mangeshkar's association with Laxmikant-Pyarelal, the music directors for whom she sang the most popular songs in her career.

She also sang several playback songs for Marathi films, composed by Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself (under the name ''Anandghan''). During the 1960s and 1970s, she also sang several Bengali songs, composed by music directors like Salil Chowdhury and Hemant Kumar.

In this period Lata Mangeshkar has recorded duets with Mukesh, Manna Dey, Mohammed Rafi, and Kishore Kumar.

1970s

In 1972, Meena Kumari's last film, ''Pakeezah'' released. It featured popular songs including "Chalte Chalte" and "Inhi Logon Ne" sung by Lata Mangeshkar, and composed by Ghulam Mohammed. She recorded many popular songs for S. D. Burman's last films, including "Rangeela Re" from ''Prem Pujari'' (1970), "Khilte Hain Gul Yahaan" from ''Sharmeelee'' (1971), and "Piya Bina" from ''Abhimaan'' (1973).

Lata Mangeshkar's most notable songs in 1970s were composed by Laxmikant-Pyarelal (Laxmi-Pyare) and Rahul Dev Burman. She recorded several songs composed by Laxmi-Pyare in 1960s and 1970s, many of them written by the lyricst Anand Bakshi. She also recorded many hit songs with Rahul Dev Burman in the films ''Amar Prem'' (1972), ''Caravan'' (1971), ''Kati Patang''(1971), and ''Aandhi'' (1975). The two are noted for their songs with the lyricists Majrooh Sultanpuri, Anand Bakshi and Gulzar.

In 1973, she won the National Film Award for Best Female Playback Singer for the song "Beeti Na Bitai" from the film ''Parichay'', composed by R. D. Burman, and written by Gulzar. In 1974, she sang her only Malayalam song "Kadali Chenkadali" for the film ''Nellu'', composed by Salil Chowdhury, and written by Vayalar Ramavarma. In 1975, she again won the national award, this time for the song "Roothe Roothe Piya" from the film ''Kora Kagaz'', composed by Kalyanji-Anandji.

From 1970s onwards, Lata Mangeshkar has also staged many concerts in India and abroad, including several charity concerts. Her first concert overseas was at the Royal Albert Hall, London, in 1974. She also released an album of Mirabai's bhajans, ''Chala Vaahi Des'', composed by her brother Hridayanath Mangeshkar. Some of the bhajans in the album include "Saanware Rang Raachi" and "Ud Jaa Re Kaaga". In the early 70s, she released other non-film albums, such as her collection of Ghalib ghazals, an album of Marathi folk songs (koli-geete), an album of Ganesh aartis (all composed by her brother Hridaynath) and an album of ''abhangs'' of Sant Tukaram composed by Shrinivas Khale.

In late 1970s and early 1980s, she worked with the children of composers she had earlier worked with. Some of these composers included Rahul Dev Burman (son of Sachin Dev Burman), Rajesh Roshan (son of Roshan), Anu Malik (son of Sardar Malik), and Anand-Milind (sons of Chitragupt).

1980s onwards

From 1980s onwards, Lata Mangeshkar worked with music directors including Shiv-Hari, Ram Laxman, and A. R. Rahman. She recorded some non-film songs, including ghazals with Jagjit Singh.

In 1990, Mangeshkar launched her own production house for Hindi movies which produced the Gulzar-directed movie ''Lekin...''. She won her third National Film Award for Best Female Playback Singer for her rendition of the song "Yaara Sili Sili" from the film, which was composed by her brother Hridayanath. During the 1990s, she recorded with music directors including Jatin-Lalit and Nadeem-Shravan. She has sung for Rajshri Productions, including ''Maine Pyar Kiya'' (1989) and ''Hum Aapke Hain Kaun'' (1994).

Mangeshkar has sung for almost all the Yash Chopra films and films from his production house Yash Raj Films at that time, including ''Chandni'' (1989), ''Lamhe'' (1991), ''Darr'' (1993), ''Yeh Dillagi'' (1994), ''Dilwale Dulhaniya Le Jayenge'' (1995), ''Dil To Pagal Hai'' (1997) and later on ''Mohabbatein'' (2000), ''Mujhse Dosti Karoge'' (2002) and ''Veer Zaara'' (2004).

A. R. Rahman recorded a few songs with Mangeshkar during this period, including "Jiya Jale" (''Dil Se''), "Khamoshiyan Gungunane Lagin" (''One Two Ka Four''), "Ek Tu Hi Bharosa" (''Pukar''), "Pyaara Sa Gaon" (''Zubeidaa''), "Lukka chuppi" (''Rang de Basanti'') and "O Paalanhaare" (''Lagaan''). She made an appearance in the film ''Pukar'' singing this song.

In 1999, Lata Eau de Parfum, a perfume brand named after her, was launched.

In 1999, Mangeshkar was nominated as a member of Rajya Sabha. However, she did not attend the Rajya Sabha sessions regularly, inviting criticism from several members of the House, including the Deputy Chairperson Najma Heptullah, Pranab Mukherjee and Shabana Azmi. She stated the reason for her absence as ill-health; it was also reported that she had not taken a salary, allowance or a house in Delhi for being a Member of Parliament.

In 2001, Lata Mangeshkar was awarded Bharat Ratna, India's highest civilian honor. In the same year, she established the Master Deenanath Mangeshkar Hospital in Pune, managed by the Lata Mangeshkar Medical Foundation (founded by the Mangeshkar family in October 1989). In 2005, she designed a jewellery collection called Swaranjali, which was crafted by Adora, an Indian diamond export company. Five pieces from the collection raised £105,000 at a Christie's auction, and a part of the money was donated for the 2005 Pakistan earthquake relief. Also in 2001, she recorded her first Hindi song with the composer Ilaiyaraaja, for the film ''Lajja''; she had earlier recorded Tamil and Telugu songs composed by Ilaiyaraaja.

Lata Mangeshkar's song "Wada Na Tod" is in the film ''Eternal Sunshine of the Spotless Mind'' (2004) and on the film's soundtrack.

On June 21, 2007, she released an album ''Saadgi'', featuring eight ghazal-like songs written by Javed Akhtar and composed by Mayuresh Pai.

Non-singing career

Music direction

Lata Mangeshkar composed music for the first time in 1955 for Marathi movie ''Ram Ram Pavhane''. Later in 1960s, she composed music for following Marathi movies under the pseudonym of ''Anand Ghan''.

1960 - ''Ram Ram Pavhana''

1963 - ''Maratha Tituka Melvava''

1963 - ''Mohityanchi Manjula''

1965 - ''Sadhi Manase''

1969 - ''Tambadi Mati''

She won Maharashtra State Government's Best Music Director Award for the film ''Sadhi Manase''. The song "Airanichya Deva Tula" from the same film received best song award.

Production

Lata Mangeshkar has produced four films:

1953 - ''Vaadal'' (Marathi)

1953 - ''Jhaanjhar'' (Hindi), co-produced with C. Ramchandra

1955 - ''Kanchan'' (Hindi)

1990 - ''Lekin'' (Hindi)

Awards and recognitions

Lata Mangeshkar has won several awards and honors, including Padma Bhushan (1969), Padma Vibhushan (1999), Dada Saheb Phalke Award (1989), Maharashtra Bhushan Award (1997), NTR National Award (1999), Bharat Ratna (2001), ANR National Award (2009), three National Film Awards, and 12 Bengal Film Journalists' Association Awards. She has also won four Filmfare Best Female Playback Awards. In 1969, she made the unusual gesture of giving up the Filmfare Best Female Playback Award, in order to promote fresh talent. She was later awarded Filmfare Lifetime Achievement Award in 1993.

In 1984, the State Government of Madhya Pradesh instituted the ''Lata Mangeshkar Award'' in honuor of Lata Mangeshkar. The State Government of Maharashtra also instituted a Lata Mangeshkar Award in 1992.

In 1974, The Guinness Book of Records listed Lata Mangeshkar as the most recorded artist in the history, stating that she had reportedly recorded "not less than 25,000 solo, duet and chorus backed songs in 20 Indian languages" between 1948 and 1974. Her record was contested by Mohammed Rafi, who was claimed to have sung around 28,000 songs. After Rafi's death, in its 1984 edition, the Guinness Book of World Records stated Lata Mangeshkar's name for the "Most Recordings", but also stated Rafi's claim. The later editions of Guinness Book stated that Lata Mangeshkar had sung no fewer than 30,000 songs between 1948 and 1987.

Although the entry has not been printed in Guinness editions since 1991, reputable sources claim that she has recorded thousands of songs, with estimates ranging up to figures as large as 50,000. However, even the earliest Guinness claim of 25,000 songs (between 1948–1974) was claimed to be exaggerated by other sources, who stated that the number of songs sung by Lata Mangeshkar in Hindi films till 1991 was found to be 5250. Mangeshkar herself stated that she does not keep a record of the number of songs recorded by her, and that she did not know from where Guinness Book editors got their information.

See also

Playback singer

Asha Bhosle

List of Indian playback singers

Bollywood songs

References

Further reading

. A collection of articles written by Lata Mangeshkar since 1952. . . A collection of articles written by Lata Mangeshkar since 1952.

External links

Category:1929 births Category:Indian female singers Category:Indian film singers Category:Recipients of the Bharat Ratna Category:Recipients of the Padma Vibhushan Category:Recipients of the Padma Bhushan Category:Living people Category:Bollywood playback singers Category:Marathi people Category:Kollywood playback singers Category:People from Indore Category:Marathi playback singers Category:Telugu playback singers Category:Kannada playback singers Category:Hindi-language singers Category:Marathi-language singers Category:Bengali-language singers Category:Gujarati-language singers Category:Tamil-language singers Category:English-language singers Category:Dadasaheb Phalke Award recipients Category:Recipients of the Maharashtra Bhushan Award Category:Malayalam playback singers

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Coordinates	41°52′55″N87°37′40″N
name	Shabbir Kumar
background	solo_singer
born	Vadodara
occupation	Singer
years active	1982–present
website	}}

Shabbir Kumar is an Indian Playback Singer. He was a leading Hindi Cinema playback singer in 1980s.

Biography

Shabbir Kumar whose real name is Shabbir Shaikh was born in Vadodara, Gujarat. He started his music career with the stage show ''Ek Shaam Rafi Ke Naam'', a tribute to Mohammed Rafi. Shabbir claims that when he attended Rafi's funeral in 1980, his watch fell into Rafi's open grave. He interpreted the incident as a divine message that he was to be Rafi's successor.

Music director Usha Khanna gave Shabbir Kumar a break in the film ''Tajurba'' (1981). Shabbir got a major break, when the director Manmohan Desai, who was looking for a Rafi substitute, noticed him recommended him to music director duo Laxmikant-Pyarelal (L-P). Within a few days, L-P gave Shabbir Kumar songs in the film ''Coolie'', which was released in 1983. Shabbir's first released film with L-P was ''Main Intequam Loonga''.

Shabbir Kumar was first noted for a duet with Lata Mangeshkar, ''Shaam Hai Ye Kuch Khoyi Khoyi'' from ''Prem Tapasya'' (1983). Music director Anu Malik got him to sing for Rajiv Kapoor in his debut film ''Ek Jaan Hain Hum'' (1983). Shabbir Kumar was acknowledged as a leading playback singer with the film ''Betaab''. Music director Rahul Dev Burman got him to sing all the five songs for Sunny Deol. Also, in 1983, ''Coolie'' was released, in which L-P had given him all the seven songs, six for Amitabh Bachchan, and one for Rishi Kapoor.

In the 1980s, Shabbir Kumar sang for all the leading music directors including Laxmikant-Pyarelal, Rahul Dev Burman, Chitragupt, Kalyanji-Anandji, Rajesh Roshan, Usha Khanna, Bappi Lahiri, Anu Malik, Ravindra Jain, Raamlaxman, O.P.Nayyar, Shankar Jaikishan, Nadeem Shravan, Anand Milind, Uttam Singh. He did playback singing for leading actors such as Dilip Kumar, Amitabh Bachhan, Dharmendra, Jackie Shroff, Rishi Kapoor, Jeetendra, Mithun Chakraborty, Raj Babbar, Govinda, Chunky Pandey, Sanjay Dutt, Kumar Gaurav, Kamal Hassan, Rajnikant, Anil kapoor, Sunny Deol, Rajiv Kapoor and Akshay Kumar. Recently he sang for Ismail Darbar, Shankar-Ehsaan-Loy and A.R. Rahman.

His last Hit songs were ''Gori Hai Kalaiyan'' from ''Aaj Ka Arjun'' (1990) and ''Sochna Kya'' from ''Ghayal'' (1990).

Shabbir then started concentrating on stage shows. He sang for many films and private albums in the year 2000, few hits were ''Ghaath'' (2000), ''Awara Paagal Deewana'' (2002), and ''Aan: Men at Work'' (2004), Recently Shabbir Kumar sang for Akshay Kumar in the movie Housefull (2010) which is a comeback for this legendary singer.

He has sung in different languages like Hindi, Urdu, Marathi, Bengali, Bhojpuri, Punjabi, Rajasthani, Gujrati, Hariyanvi, Uriya, Malayalam and English. He is Awarded with 34 Gold Discs, 16 Platinum, 1 Kohinoor Disc and also received number of other awards.Received award as "The Best Playback Singer" in Dubai, U.A.E. "Mohammad Rafi Award" in Bombay first time ever in India, "Kalaa Ratan Award" from Honourable President of India Shri Giani Zail Singh as Best Playback Singer. His Contributions to Music industry over 5 thousand songs and more than 200 Films in his portfolio. In his Achievements there are several Live concerts in UAE, Europe, South Africa, United States of America, Jeddah (Saudi Arabia) and many other places. For a complete Journey of Shabbir Kumar check out his Official Website *

Notable songs

''Jab Hum Jawan Honge'' from ''Betaab'' (1983), composed by Rahul Dev Burman (duet with Lata Mangeshkar)

''Tumse Milkar Naa Jaane Kyon'' from ''Pyar Jhukta Nahin'' (1985), composed by Laxmikant-Pyarelal

''Zindagi Har Qadam ek nayi from ''Meri Jung'' (1985), composed by Laxmikant-Pyarelal

''Gori Hai Kalaiyan'' from ''Aaj Ka Arjun'' (1990)

''Sochna Kya'' from ''Ghayal (1990 film)'' (1990) (with Kumar Sanu & Asha Bhosle)

''Zeehal-e-Musqeen'' from "Ghulami" (duet with Lata Mangeshkar)

''Pyar kiya nahi jaata'' from "Woh Saat Din" (duet with Lata Mangeshkar)

''Saari duniya ka bojh'' from "Coolie"

''Buri Nazarwale Tera'' from "Mard"

''Mubarak Ho Tum Sabko Haj Ka Mahina'' from "Coolie"

''O Maa Shero wali'' from "Mard"

''Tumhe apna saath banane se pahle from '' Pyar Jhukta Nahin '' (1985), composed by Laxmikant-Pyarelal

''Ya Habibi'' from "Awara Pagal Deewana"

''Aana Jana Laga Rahega'' from "Giraftaar"

''Saajan Aajare'' from "Aag Hi Aag"

''O Radha Tere Bina'' from "Radha Ka Sangam"

''Gali Gali Badnaam Hogaya'' from "Karamdaata"

"Tu pagal premi awara" from "Shola aur Shabnam"

"Kangna oye hoye kangna" from "Woh Saat Din"

''I Dont Know What to do'' from "Housefull" (2010) composed by Shankar-Ehsaan-Loy.

References

http://en.wikipedia.org/wiki/Housefull_(2010_film) Upcoming song picturized on Akshay kumar in the film "Housefull"

External links

www.shabbirkumar.com

Songs sung by Shabbir Kumar

Connect.in

Category:Year of birth missing (living people) Category:Living people Category:Indian film singers Category:Bollywood playback singers

Coordinates	41°52′55″N87°37′40″N
name	Mohammed Rafi
background	solo_singer
birth name	Mohammed Haji Ali Mohammed Rafi
born	24 December 1924 Kotla Sultan Singh, Punjab, British India
died	31 July 1980 (aged 55) Bombay, Maharashtra, India
origin	India
instrument	Vocalist
genre	Hindustani Classical Music, Indian classical, ghazal, playback singing, qawwali. thumri
occupation	Playback Singer, sang in Hindi, Punjabi, and various other regional languages, also recorded songs in English, Scottish, Spanish and French
years active	1941–1980 }}

Mohammad Rafi (}}; 24 December 1924 – 31 July 1980), was an Indian playback singer whose career spanned four decades. He won a National Award and 6 Filmfare Awards. In 1967, he was honoured with the Padma Shri by the Government of India.

Rafi claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980; according to the available figures, Rafi has sung 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980. His singing career spanned about 40 years, and his songs ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawwalis to ghazals and bhajans, and from slow melancholic tunes to fast and melodious fun filled songs. He had a strong command of Hindi and Urdu and a powerful range that could accommodate this variety. Primarily noted for his Hindi-Urdu songs, he also sang in other Indian languages including Konkani, Bhojpuri, Oriya, Punjabi, Bengali, Marathi, Sindhi, Kannada, Gujarati, Telugu, Maghi, Maithili and Assamese. He also recorded a few English, Persian, Spanish and Dutch songs.

An article in ''Times of India'', published on 24 July 2010 sums up his voice as, "''If there are 101 ways of saying "I love you" in a song, Mohammed Rafi knew them all. The awkwardness of puppy love, the friskiness of teen romance, the philosophy of unrequited love and the anguish of heartbreak - he could explore every crevice of ardour. It wasn't just love, his voice could capture the navras of life - a failed poet's melancholy, a fiery unionist's vim, a debt-ridden farmer's despair, really anybody at all. Rafi, whose career spanned nearly four decades, was a singer for every season and every reason.''"

Early years and background

Mohammed Rafi was born the second youngest of six sons of Hajji Ali Mohammad at Kotla Sultan Singh, a village near Amritsar in Punjab (British India). Rafi, whose nickname was Pheeko, started singing by imitating chants of a fakir in his village. Rafi's father moved to Lahore in the Nineteen Twenties and owned a men's salon in Noor Mohalla in Bhatti Gate Lahore. It was his elder brother (Mohammad Deen's) friend Abdul Hameed who later became his brother in law, who spotted the talent in Rafi in Lahore and encouraged him to sing. Abdul Hameed later convinced the family elders to let him move to Bombay and he accompanied Mohammad Rafi to Bombay in 1944. Rafi learnt classical music from Ustad Bade Ghulam Ali Khan, Ustad Abdul Wahid Khan, Pandit Jiwanlal Matto and Firoze Nizami.

Rafi's first public performance came at the age of 13, when he was allowed to sing at a concert in Lahore featuring K. L. Saigal. In 1941, Rafi, under Shyam Sunder, made his debut in Lahore as a playback singer in the duet "Soniye nee, Heeriye nee" with Zeenat Begum in the Punjabi film ''Gul Baloch'' (the film was released in 1944). In that same year, Rafi was invited by All India Radio Lahore station to sing for them. He made his professional debut in the Shyam Sunder-directed 1941 film Gul Baloch and the Bombay film, Gaon Ki Gauri, the following year.

Advent in Bombay

In 1944, Rafi moved to Bombay (now Mumbai),The brother in laws to be took up a ten-by-ten-feet room in the crowded downtown Bhendi Bazar area. Here poet Tanvir Naqvi introduced him to some of film producers including Abdur Rashid Kardar, Mehboob Khan and actor-director Nazeer. Shyam Sunder was in Bombay and again provided an opportunity to Rafi – who got to sing a duet with GM Durrani, ‘Aji dil ho qaabu mein to dildar ki aisi taisi…’, for Gaon Ki Gori, which became Rafi’s first recorded song in a Hindi film. Many other songs followed. 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.

In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the song ‘Suno suno ae duniyawalon, Bapuji ki amar kahani…’. He was invited by the Indian Prime Minister, Jawaharlal Nehru, to sing at the latter's house. In 1948, Rafi received a silver medal from Nehru on the Indian Independence Day. In 1949, Rafi was given solo songs by music directors such as Naushad, (''Chandni Raat'', ''Dillagi'' and ''Dulari'') Shyam Sunder (''Bazaar'') and Husnalal Bhagatram (''Meena Bazaar'').

Rafi's first song with Naushad was "Hindustan ke hum hain" with Shyam Kumar, Alauddin and others, from A. R. Kardar's ''Pehle Aap'' (1944). Around the same time, Rafi recorded another song for the 1945 film ''Gaon ki Gori'', "Aji dil ho kaaboo mein". He considered this song his first Hindi language song.

Rafi also appeared in two movies. In 1945, Rafi appeared on the screen for the song "Tera Jalwa Jis Ne Dekha" in the film ''Laila Majnu''. He sang a number of songs for Naushad as part of the chorus, including "Mere sapnon ki rani, Roohi Roohi" with K. L. Saigal from the film ''Shahjahan'' (1946). Rafi sang "Tera Khilona Toota Balak" from Mehboob Khan's ''Anmol Ghadi'' (1946) and a duet with Noor Jehan in the 1947 film ''Jugnu'', "Yahan Badla Wafa Ka". Following the Partition of India, Rafi decided to stay in India and had his family flown to Bombay. Whereas Noor Jahan migrated to Pakistan and made a pair with playback singer Ahmed Rushdi.

Rafi was highly influence by the singers of that time like K. L Saigal, Talat Mehmood and, most notably, by G. M. Durrani - on whose style he based his singing. He sung with his idol in some of the songs such as "''Humko Hanste Dekh Zamana Jalta Hai'' (Hum Sab Chor Hain, 1956) and "''Khabar Kisi ko Nahiin, woh kidhar Dekhte'' (Beqasoor, 1950), etc.

Recording career

He associated with many music directors of his time, most notably Naushad. In the late 1950s and 1960s, Rafi worked with other composers of the era such as O. P. Nayyar, Shankar Jaikishan and S.D. Burman.

; Association with Naushad

As per Naushad, Rafi came to him with a letter of recommendation from Naushad's father. Rafi’s first song for Naushad was "Hindustan ke hum hain" ("We belong to Hindustan") for the film ''Pehle Aap'' in 1944. The first song for the duo was the soundtrack of the 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''.

In 1949 when "Suhani Raat Dhal Chuki".

Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi Cinema. Songs from ''Baiju Bawra'' (1952) like "O duniya ke rakhwale" and "Man tarpat Hari darshan ko aaj" furthered Rafi's credentials. Rafi ended up singing a total of 149 songs (81 of them solo) for Naushad.

In the 1960 film ''Mughal-E-Azam'', Mohammed Rafi sang the song "Ae Mohabbat Zindabad", composed by Naushad, with a chorus of 100 singers.

; Association with S D Burman S. D. Burman patronized Rafi as the singing voice of Dev Anand and Guru Dutt. Rafi worked with Burman in movies like ''Pyaasa'' (1957), ''Kaagaz Ke Phool'' (1959), ''Tere Ghar ke Saamne'' (1962), ''Guide'' (1965), ''Aradhana'' (1969), and ''Abhimaan'' (1973). S. D. Burman was also another music director besides Naushad who used Rafi prolifically to sing for most of his songs.

; Association with Shankar-Jaikishan

Rafi and Shankar Jaikishan was a partnership in the Hindi film industry. Under Shankar-Jaikishan, Rafi produced some of his songs for actors like Shammi Kapoor and Rajendra Kumar. Out of six Filmfare awards, Rafi won three for S-J songs, viz., "Teri pyari pyari soorat ko", "Baharon phool barsao", and "Dil ke jharokhe mein". The song "Yahoo! Chahe koi mujhe junglee kahe" was sung by Rafi, only to be matched a fast-paced orchestra and a composition by Shankar Jaikishan. S-J made Rafi give playback for Kishore Kumar in the film ''Shararat'' ("Ajab hai daastan teri yeh zindagi"). Rafi sang a total of 341 numbers (216 solo) for Shankar-Jaikishan. Among the films of this combination, are ''Basant Bahar'', ''Professor'', ''Junglee'', ''Suraj'', ''Brahmachari'', ''An Evening in Paris'', ''Dil Tera Deewana'', ''Yakeen'', ''Prince'', ''Love in Tokyo'', ''Beti Bete'', ''Dil Ek Mandir'', ''Dil Apna Aur Preet Parai'', ''Gaban'' and ''Jab Pyar Kisi Se Hota Hai''.

; Association with Ravi

Rafi got his first Filmfare Award for the title song of ''Chaudhvin Ka Chand'' (1960), composed by Ravi. He got National Award for the song "Babul Ki Duaen Leti Ja" from the film ''Neel Kamal'' (1968), also composed by Ravi. Rafi actually wept during the recording of this song. He, himself, admitted this in his interview to BBC in 1977.

Ravi and Rafi produced several other songs, in the films ''China Town'' (1962), ''Kaajal'' (1965), and ''Do Badan'' (1966).

; Association with Madan Mohan

Madan Mohan was another composer whose favorite singer was Rafi. Rafi's first solo with Madan Mohan in ''Ankhen'' (1950), "Hum ishq mein barbad hain barbad rahenge". They teamed up to produce many songs including "Teri Aankhon ke Siva", "Yeh Duniya Yeh Mehfil" and "Tum Jo Mil Gaye Ho".

; Association with O. P. Nayyar

Rafi and O. P. Nayyar created music in the 1950s and 1960s. 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 "Yeh hai Bombay meri jaan". He got Rafi to sing for singer-actor Kishore Kumar – "Man mora baawara" for the movie ''Raagini''. Later, Rafi sang for Kishore Kumar in movies such as ''Baaghi'', ''Shehzaada'' and ''Shararat''. O. P. Nayyar used Rafi and Asha Bhosle for most of his songs. The team created many songs in early 1950s and 1960s for movies such as ''Naya Daur'' (1957), ''Tumsa Nahin Dekha'' (1957), and ''Kashmir Ki Kali'' (1964). Rafi sang a total of 197 numbers (56 solo) for Nayyar. The song "Jawaaniyan yeh mast mast" and the title song "Yun to humne lakh hansee dekhe hain, tumsa nahin dekha" of the film ''Tumsa Nahin Dekha''. They were followed by songs like "Taareef karoon kya uski jisne tumhe banaya" from ''Kashmir ki Kali''.

Rafi and OP had a fallout during the recording for movie "Sawan ki Ghata", as disclosed by OP during one of his interviews. In the interview, he says, "Throughout my career, I have been famous for my punctuality. Rafi had given me a time for recording a song from Saawan Ki Ghata. The musicians were all set. Rafi came late for that recording and said, “Sorry, I was stuck up in Shankar- Jaikishan’s recording.” I said, “You had given me the time by your choice. So I gather, you have time for Shankar- Jaikishan and not for O.P. Nayyar. Now onwards, O.P.Nayyar will not have time for Rafi.” I cancelled the recording in front of shell shocked musicians and told the accountant to charge the expenses for the cancelled session to my account! After three years, Rafi came to my house crying like a baby. I also broke down. Both of us touched each other’s feet. I said, “Rafi, by coming here today you proved that you are much greater than O.P. You could overcome your ego. I could not!” He often used to sing – Yuun To Humne Laakh Sangeetkaar Dekhe Hai, O.P.Nayyar Sa Nahi Dekha! (I have seen many a composer but never one like O.P.Nayyar!) He also used to tell me, “Your music could turn a eunuch into a he-man!”

; Association with Laxmikant-Pyarelal

The composer duo Laxmikant-Pyarelal (L-P) also patronized Rafi as one of their singers, right from their very first film, ''Parasmani'' (1963). Both Rafi and L-P won the Filmfare Awards for the song "Chahoonga main tujhe saanjh savere" from ''Dosti'' (1964). Rafi rendered the maximum number of songs for the music director duo Laxmikant-Pyarelal: a total of 369 numbers (186 solo) for L-P.

Once, when composer Nisar Bazmi (who had migrated to Pakistan) didn’t have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He also helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed – “He always gave without thinking of the returns”.

Between 1950 and 1970, Rafi was the most sought after singer in Bollywood. He sang for many male stars in Hindi films. In 1965, he was honoured by the Government of India with the Padma Sri award. Rafi recorded two Hindi songs in English on 7" release in 1968. He also sang a song in Creole while on his visit to Mauritius in the late 1960s. Rafi recorded two English albums as well. One of them is ''Pop Hits''. In Bollywood, yodeling is generally associated with Kishore Kumar but Rafi introduced yodeling in Indian film as playback singing. Rafi yodeled in some of his old songs, such as "Hello sweety seventeen" (duet with Asha Bhosle), "O Chale ho kaha", "Dilke Aine main", and "Unse Rippy Tippy Ho gayee" (duet with Geeta Dutt).

; Association with his Contemporary Singers

Rafi associated with several of his contemporaries, singing duets with them and sometimes for them (as in case of Kishore Kumar who was also an actor).

Rafi sang the maximum number of duets with Asha Bhonsle (female), Manna Dey (male) and Lata Mangeshkar (female).

For the song “Man mora bawra” in the film ''Ragini'', Kishore Kumar requested Rafi to sing this song for him because this song was a semi classical and Kishore Kumar said that "Rafi Sahab can sing this song better than me". Rafi sang the song. The song “Ajab hay dastan teri aey zindagi” was first given to Kishore Kumar to sing and he sung the first half of ''antara'' but in the second half, he faced some trouble and after many retakes, he was unable to give the effect that Shankar Jaikishan wanted, and finally the song was given to Rafi to sing.

In the song "Humko Tumse Ho Gaya Hai Pyaar Kya Karein" (Amar, Akbar, Anthony), Mohd Rafi sang with Kishore Kumar, Lata Mangeshkar and Mukesh - all in one song. This was probably the only time that all of them rendered their voices for one song.

Controversies

Royalty issue

In 1962-1963, the popular female playback singer Lata Mangeshkar raised the issue of playback singers' share in the royalties. Recognizing Rafi's position as the leading male playback singer, she wanted him to back her in demanding a half-share from the 5 percent song royalty that the film's producer conceded to select composers. Lata's contention was that, there was no way producers and music directors could deny this singing duo, one-half share in that 5 percent song royalty to the composer. Rafi's stated that his claim on the film's maker ended with his being paid his agreed fee for the song. After that, if the film proved a hit, good luck to the movie's maker, he was welcome to keep the Gramco (HMV) royalty he earned from it.

Lata viewed his stand as a stumbling block on the royalty issue and this subsequently led to differences between the two. During the recording of "Tasveer Teri Dil Mein" (''Maya'', 1961), Lata argued with Rafi over a certain passage of the song. Rafi felt belittled, as music director Salil Chowdhury sided with Lata. The situation worsened when Lata Mangeshkar declared that she would no longer sing with Rafi. Rafi stated that he was only so keen to sing with Lata as she was with him. Later, at the insistence of S. D. Burman, the two decided to reconcile and sing duets.

Guiness World Records

During his last years, Rafi was involved in a controversy over Lata Mangeshkar's introduction in to the Guinness Book of World Records. In a letter dated June 11, 1977 to the Guinness Book of World Records, Rafi had challenged the claim that Lata Mangeshkar has recorded the maximum number of songs ("not less than 25,000" according to Guinness). After receiving a reply from Guinness, in a letter dated November 20, 1979, he wrote: "I am disappointed that my request for a reassessment vis-a-vis Ms Mangeshkar's reported world record has gone unheeded.".

In an interview to BBC recorded in Nov 1977, Rafi claimed to have sung 25,000 to 26,000 songs till then. After Rafi's death, in its 1984 edition, the ''Guinness Book of Word Records'' gave Lata Mangeshkar's name for the "Most Recordings" but also stated: "Mohammad Rafi (d 1 Aug 1980) claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980.". According to the available figures, Rafi has sung 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980. The Guinness Book entries for both Rafi and Lata were later removed in 1991.

Early 1970s

In early 1970s, Rafi recorded fewer songs due his ill health and Hajj pilgrimage. At the same period Kishore Kumar's popularity increased due to the songs he sang for the film ''Aradhana''. The music for ''Aradhana'' was composed by S. D. Burman, and he had used Rafi as the male playback voice for the first two recorded duets, "Baaghon Mein Bahaar Hai" and "Gunguna Rahen Hain Bhanwre". After these two recordings, S. D. Burman fell ill and his son and assistant, R. D. Burman, took over the recordings. R. D. Burman got Kishore Kumar to sing the solos "Roop Tera Mastana" and "Mere Sapnon Ki Rani".

During 1971-1973, Rafi's musical output decreased; however, he did sing several songs. Some of Rafi's songs of the early 1970s were with music directors like Laxmikant Pyarelal, Madan Mohan, R. D. Burman and S. D. Burman. These include "Tum mujhe Yun Bhula na Paoge" (a signature song of Rafi in 1971) from Pagla Kahin Ka, "Yeh Duniya Yeh Mehfil" from ''Heer Ranjha'' (1970), "Jhilmil Sitaron ka" from ''Jeevan Mrityu'' (a duet with Lata Mangeshkar, 1970), "Gulabi Aankhen" from ''The Train'' (1970), "Yeh Jo Chilman Hain" and "Itna to Yaad Hain Mujhe" from ''Mehboob Ki Mehndi'' (1971), "Mera mann tera pyasa" Gambler, "Chalo Dildar Chalo" from 1972 released Pakeezah, "Chura Liya Hain Tumne" from ''Yaadon Ki Baarat'' (a duet with Asha Bhosle, 1973), "Na tu Zameen Ke liye" from 1973 released Dilip Kumar movie Dastan, "Tum Jo Mil Gaye Ho" from Hanste Zakhm (1973), "teri bindiya re", from Abhimaan(1973) and "Aaj mausam bada beimaan hai" from Loafer (1973).

Later years

Rafi made an comeback as a top leading singer in the mid-1970s. In 1974, he won the Film World magazine Best Singer Award for the song "Teree Galiyon Mein Na Rakhenge Qadam Aaj Ke Baad" (Hawas, 1974) composed by Usha Khanna.

In 1977, he won both Filmfare Award and the National Award for the song "Kya Hua Tera Wada" from the movie ''Hum Kisi Se Kum Nahin'', composed by R. D. Burman. Rafi sang for Rishi Kapoor in films like ''Amar Akbar Anthony'' (1977), ''Sargam'' (1979) and ''Karz'' (1980). The qawwali "Pardah Hai Pardah" from Amar Akbar Anthony (1977) was a superhit. Rafi's notable renderings in the late 1970s and early 80s include ''Laila Majnu'' (1976), ''Apnapan'' (1978), ''Qurbani'', ''Dostana'' (1980), ''The Burning Train'' (1980), ''Naseeb'' (1981), ''Abdullah'' (1980), ''Shaan'' (1980), ''Asha'' (1980), ''Aap To Aise Na The'' (1980), ''Zamane Ko Dikhana Hai'' (1982).

Death

On Thursday, 31 July 1980, Rafi died at 10:50 p.m., following a heart attack. His last song was "Shaam phir kyun udaas hai dost" (''Aas Paas''), which he had recorded with Laxmikant-Pyarelal few hours before his death.

Rafi was buried at the Juhu Muslim cemetery. It was one of the biggest funeral processions Mumbai had ever witnessed, with over 10,000 people attending.

In 2010, his tomb was demolished to make space for new burials. Fans of Mohammed Rafi who arrive twice a year at his tomb, on 24 December and 31 July, to mark his birth and death anniversary, use the coconut tree nearest to his grave as a marker.

The Government of India announced a two-day public holiday on his death, honouring him.

Legacy

Rafi's song from the film ''Gumnaam'' (1965), "Jaan Pehechan Ho", was used on the soundtrack of ''Ghost World'' (2001). The film opens with the lead character dancing around in her bedroom to a video of ''Gumnaam''.

His "Aaj Mausam Bada Beiman Hai" is featured in the 2001 film ''Monsoon Wedding''. His song "Mera Man Tera Pyasa" (''Gambler'', 1970) has been used as one of the soundtracks in the Jim Carrey-Kate Winslet starrer ''Eternal Sunshine of the Spotless Mind'' (2004). This song is played in the background in Kate Winslet's character's home while the lead pair are having a drink - ''at approx 00.11.14 runtime''.

Several of Rafi's unreleased songs will be used for an upcoming film titled ''Sorry Madam''.

A documentary about Rafi’s life is under production by The Films Division of India.

In the summer of 2008, the City of Birmingham Symphony Orchestra released a double CD entitled ''Rafi Resurrected'' comprising 16 songs by Rafi. Bollywood playback singer Sonu Nigam provided the vocals for this project and toured with the CBSO in July 2008 at venues including the English National Opera in London, Manchester's Apollo Theatre and Symphony Hall, Birmingham.

The Padma Shri Mohammed Rafi Chowk in the Bandra suburb of Mumbai and Pune (extending MG Road) is named after Rafi.

In June 2010, Rafi was voted the most popular playback singer in the OUTLOOK Music Poll, conducted by Outlook Magazine, along with Lata Mangeshkar. The same Poll voted "Man re, tu kahe na Dheer Dhare" (''Chitralekha'', 1964), sung by Rafi as the #1 song. Three songs tied up for the #2 place and two of them were sung by Rafi. The songs were "Tere Mere Sapne Ab Ek Rang Hain" (''Guide'', 1965) and "Din Dhal Jaye, hai raat na jaye" (''Guide'', 1965). This poll was published in Outlook Magazine, the jury of which included many people in the Indian music industry; Abhijeet, Adesh Srivastava, Alisha Chinai, Anu Malik, Ehsaan, Gulzar, Hariharan, Himesh Reshammiya, Jatin, Javed Akhtar, Kailash Kher, Kavita Krishnamurthy, Khayyam, Kumar Sanu, Lalit, Loy, Mahalaxmi Iyer, Mahendra Kapoor, Manna Dey, Prasoon Joshi, Rajesh Roshan, Sadhna Sargam, Sameer, Sandesh Shandilya, Shaan, Shankar, Shantanu Moitra, Shreya Ghoshal, Sonu Nigam and Talat Aziz.

In an article in ''Times of India'', Rafi is described as "a versatile singer, who could render classical, rock and roll, indeed any kind of song with ease, he was Hindi film's favourite male voice through the 1950s and 1960s". Music director Rajesh Roshan, who composed some of the songs with Rafi, remembers him as "a warm-hearted simple person with no ego".

There has been appeals to the Government of India to honour the singer, posthumously, with Bharat Ratna (India's Highest Civilian Award)

Classical and playback singer Manna Dey, who was also a contemporary of Rafi, credits Rafi as "the best singer of them all". He said, "Rafi and I could sing everything, and he was such a gentleman. He was a better singer than me, and I will say this - that no one came even close to him! He deserved everything he got! We had a great understanding and it was never about one-upmanship".

There were reports that a man, sentenced to be hanged, was asked what his last wish was. The man asks that he be allowed to listen to “''O duniya ke rakhwale, sun dard bare mere naale; jeewan apna wapas lele, jeewan dene wale''“ - a song sung by Rafi.

Veteran actor Shammi Kapoor said, "I am incomplete without Mohammad Rafi. I used to often go for the recoding of my song, which was sung by Mohammad Rafi, only because I used to like telling him how I would perform on this song on screen so that he can sing it that way. Even he liked my involvement".

On 22 September 2007, a shrine to Rafi designed by artist Tasawar Bashir was unveiled on Fazeley Street, Birmingham, UK. Bashir is hoping that Rafi will attain sainthood as a result.

Singers like Shabbir Kumar, Mohammed Aziz, and more recently, Sonu Nigam, who made a name by adopting his style, perhaps owe their entire careers to Rafi.

After his death, seven Hindi movies were dedicated to Mohd Rafi; ''Allah Rakha'', ''Mard'', ''Coolie'', ''Desh-Premee'', ''Naseeb'', ''Aas-Paas'' and ''Heeralal-Pannalal''.

As per newspaper reports, over 9000 musical tributes were organized in July 2011 commemorating the singer's 31st death anniversary.

List of Songs

See List of Songs by Mohammed Rafi

Personal life

Rafi and Abdul Hameed married two sisters in Bombay in late forties. Rafi had an earlier marriage with her cousin that took place in his ancestral village that could not be continued due to the migration of his in laws and wife to Lahore Pakistan after partition. Rafi had one son from his earlier marriage and three sons and three daughters from his second marriage with Bilquis in Bombay. He was a teetotaller, a religious and humble person. He was very much a family man, following a recording-room to home to recording-room itenerary. He never attended filmy parties, did not smoke or drink. He used to perform his riyaz (musical practise) from 3 AM to 7 AM without fail. His only indulgences were playing carom and badminton and flying kites.

Awards

; Honorary 1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru, on the first anniversary of the Indian Independence Day.

1967 - Honoured with the Padma Shri by the Government of India.

1974 - Film World magazine Best Singer Award for the song "Teree Galiyon Mein Na Rakhenge Qadam Aaj Ke Baad" (Hawas, 1974).

2001 - Rafi was honored with the "best singer of the millennium" by Hero Honda and ''Stardust'' magazine in Mumbai on Jan 7, 2001. Rafi won with 70% of the votes.

Rafi has a record number of Filmfare Award nominations (23). In the earlier years, Filmare used to have only one Best Singer Award (no distinction between a male or female singer). Rafi won it six times.

; National Film Awards Winner:

! Year	! Song	! Film	! Music director	! Lyricist
1968	"Baabul Ki Duayein Leti Jaa"	''Neel Kamal''	Ravi Sharma	Sahir Ludhyanvi
1977	"Kya Hua Tera Wada"	''Hum Kisi Se Kum Nahin''	Rahul Dev Burman	Majrooh Sultanpuri

; Filmfare Awards Winner:

! Year	! Song	! Film	! Music director	! Lyricist
1960	"Chaudhvin Ka Chand Ho"	''Chaudhvin Ka Chand''	Bombay Ravi	Shakeel Badayuni
1961	"Teri Pyaari Pyaari Surat Ko"		Shankar Jaikishan	Shailendra
1964	"Chahunga Main Tujhe"	''Dosti''	Laxmikant-Pyarelal	Majrooh Sultanpuri
1966	"Baharo Phool Barsao"	''Suraj''	Shankar Jaikishan	Shailendra
1968	"Dil Ke Jharoke Mein"		Shankar Jaikishan	Shailendra
1977	"Kya Hua Tera Wada"	''Hum Kisi Se Kum Nahin''	Rahul Dev Burman	Majrooh Sultanpuri

Nominated:

! Year	! Song	! Film	! Music director	! Lyricist
1961	"Husnwale Tera Jawab Nahin"		Bombay Ravi	Shakeel Badayuni
1962	"Aye Gulbadan Aye Gulbadan"		Shankar Jaikishan	Shailendra
1963	"Mere Mehboob Tujhe"	''Mere Mehboob''	Naushad	Shakeel Badayuni
1965	"Chhoo Lene Do Nazuk Hothon Ko"	''Kaajal''	Bombay Ravi	Sahir Ludhianvi
1968	"Mein Gaaon Tum Sojaao"		Shankar Jaikishan	Shailendra
1969	"Badi Mastani Hai"	''Jeene Ki Raah''	Laxmikant-Pyarelal	Anand Bakshi
1970	"Khilona Jaan Kar"	''Khilona''	Laxmikant-Pyarelal	Anand Bakshi
1973	"Hum Ko To Jaan Se Pyaari"	''Naina''	Shankar Jaikishan	Hasrat Jaipuri
1974	"Achha Hi Huva Dil Toot Gaya"	''Maa Bahen Aur Biwi''	Sharda	Qamar Jalalabadi, Vedpal Varma
1977	"Pardah Hai Pardah"	''Amar Akbar Anthony''	Laxmikant-Pyarelal	Anand Bakshi
1978	"Aadmi Musaafir Hai"	''Apnapan''	Laxmikant-Pyarelal	Anand Bakshi
1979	"Chalo Re Doli Uthao Kahaar"	''Jaani Dushman''	Laxmikant-Pyarelal	Varma Malik
1980	"Mere Dost Kissa Yeh"		Laxmikant-Pyarelal	Anand Bakshi
1980	"Dard-e-dil Dard-e-jigar"		Laxmikant-Pyarelal	Anand Bakshi
1980	"Maine Poocha Chand Se"	''Abdullah''	Rahul Dev Burman	Anand Bakshi

;Bengal Film Journalists' Association Awards

Winner

! Year	! Film	! Music director	! Lyricist
1957		O. P. Nayyar	Majrooh Sultanpuri
1965	''Dosti''	Laxmikant Pyarelal	Majrooh Sultanpuri
1966		Shankar Jaikishan	Hasrat Jaipuri

;Sur Sringar Award

Winner

! Year	! Film	! Music director	! Lyricist
1964			Sahir Ludhyanvi

References

External links

Mohammad Rafi at the Internet Movie Database

Category:1924 births Category:1980 deaths Category:Bollywood playback singers Category:Indian film singers Category:Indian Muslims Category:People from Amritsar Category:Indian male singers Category:Filmfare Awards winners Category:Deaths from myocardial infarction Category:Recipients of the Padma Shri Category:Punjabi people Category:Indian musicians Category:Indian singers Category:People from Mumbai Category:Konkani-language singers Category:Marathi-language singers

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Coordinates	41°52′55″N87°37′40″N
name	Shakeel Badayuni
color	#B0C4DE
birth date	August 03, 1916
birth place	Badayun, Uttar Pradesh,India
death date	April 20, 1970 (aged 53)
occupation	Poet
nationality	Indian
genre	Ghazal
subject	Love, Philosophy
influences	Majaz
influenced	Urdu poetry
website	}}

Shakeel Badayuni (Hindi: शकील बदायुनी, Urdu: شکیل بدایونی) (August 3, 1916 – April 20, 1970) was an accomplished Urdu poet, lyricist and songwriter.

Early life and background

Shakeel Badayuni was born in Badayun, Uttar Pradesh. His father, Mohammed Jamaal Ahmed Sokhta Qadiri wanted him to have a good career, thus he arranged Arabic, Urdu, Persian, and Hindi tuition for Shakeel at home. His inclination towards poetry was not hereditary like other ''shayars''. One of his distant relatives, Zia-ul-Qadiri Badayuni was a religious ''shayar''. Shakeel was influenced by him and the contemporary environment of Badayun led him to ''Sher-o-Shayari''.

When he joined Aligarh Muslim University in 1936, he started participating in inter-college, inter-university ''mushairas'' and won frequently. In 1940, he married Salma, who was a distant relative of his and they had been living in a common house since childhood, however, the ''purdah'' system was vogue in their family and they were not close. After completing his B.A., he moved to Delhi as a supply officer, but continued participating in ''mushairas'', earning fame nation-wide. Those were the days of ''shayars'' who wrote about the downtrodden sections of society, their upliftment, the betterment of society and all. But Shakeel had an altogether different taste - his poetry was more often not romantic and close to heart. Shakeel used to say:

:''Main Shakeel Dil Ka Hoon Tarjuman'' :''Keh Mohabbaton Ka Hoon Raazdaan'' :''Mujhe Fakhr Hai Meri Shayari'' :''Meri Zindagi Se Juda Nahin''

Career

Shakeel moved to Bombay in 1944 to write songs for films. He met film producer, A.R. Kardar and music composer, Naushad who asked him to sum up his poetic skills in one line. Shakeel wrote, ''Hum dard Ka Afsana Duniya Ko Suna Denge, Har Dil Main Mohabbat Ki Ek aag Laga Daingay''. Naushad immediately signed him for Kardar's film, ''Dard'' (1947). The songs of ''Dard'' proved to be very successful especially Uma Devi (Tun Tun)'s ''Afsana Likh Rahi Hoon''. Only a few are so lucky that they attain success in their first film, but Shakeel deserved success which started with ''Dard'' and continued on over the years.

Together, he and Naushad became one of the most sought after composer/lyricist duos in the industry. Among the stupendous scores they churned out together, are those of ''Baiju Bawra'' (1952), ''Mother India'' (1957), and ''Mughal-e-Azam'' (1960), that stand out. Other films they scored together include ''Dulari'' (1949), ''Shabab'' (1954), ''Ganga Jamuna'' (1961), and ''Mere Mehboob'' (1963). Although Shakeel Badayuni worked most extensively with Naushad, he also collaborated with Ravi and Hemant Kumar as well. His lyrics for the song ''Husnwale Tera Jawab Nahin'' and Ravi's music both won Filmfare Awards for the hit film ''Gharana''. His other notable film with Ravi is ''Chaudhvin Ka Chand'' (1960), while ''Sahib Bibi Aur Ghulam'' (1962) is his biggest hit with Hemant Kumar. The title song from ''Chaudhvin Ka Chand'', rendered by Mohammed Rafi, won Badayuni the Filmfare Award for Best Lyricist in 1961.

Shakeel penned numbers for around 89 films. In addition, he wrote many popular ''ghazals'' which are still sung by vocalists like Pankaj Udhas and others. Unlike other ''shayaars'', he wasn't an alcoholic.

The Indian government had honoured him with the title ''Geet Kar-e-Azam''.

;Association with Naushad

Shakeel shared a close friendship with Naushad, Ravi and Ghulam Mohammed, with whom he enjoyed his life to the fullest. Naushad used Shakeel as the lyricist for his tunes for most of his films for a period of 20 years. Baiju Bawra, which was a milestone in both of their careers, was supposed to go to Kavi Pradeep. Vijay Bhatt, the director of the movie was insistent of using Kavi Pradeep as lyricist since the film was supposed to have many devotional songs. Naushad requested Vijay Bhatt to hear the lyrics written by Shakeel. Vijay Bhatt agreed and the rest was history.

;Association with Ravi

Shakeel also wrote a substantial chunk of his songs for music director Ravi Sharma. Prominent amongst those were Gharana, Ghunghat and Grihasti as well as Phool Aur Patthar, Chaudhvin Ka Chand and Do Badan.

;Association with Hemant Kumar

Shakeel wrote for Hemant Kumar for movies like Bees Saal Baad, Sahib Bibi Aur Gulam, Bin Badal Barsaat.

;Association with S.D.Burman

Shakeel penned lyrics for the tunes of S D Burman for movies Kaise Kahoon & Benazir.

;Others

C.Ramachandra - Zindagi Aur Maut, Wahan Ke Log. Roshan - Bedaag, Noorjahan.

Personal life

Shakeel Badayuni succumbed to diabetes complications at the age of fifty-three on April 20, 1970, leaving behind his wife, a son and a daughter. His friends, Naushad, Ahmed Zakaria, and Rangoonwala formed a trust called ''Yaad-e-Shakeel'' after his death and this trust is now the source of some income to his bereaved family.

Shakeel loved to play badminton, go on picnics and hunting trips and fly kites with his friends from the industry, Naushad and Mohammed Rafi. Sometimes Johny Walker would join them in kite-flying competitions.Dilip Kumar, writers Wajahat Mirza, Khumar Barabankhvi and Azam Bajatpuri were among Shakeel’s other close friends within the industry.

References

Awards

1961 Filmfare Best Lyricist Award for the song ''Chaudvin ka chand ho'' in the film ''Chaudhvin Ka Chand''

1962 Filmfare Best Lyricist Award for the song ''husnwale tera jawab nahin'' in the film ''Gharana''

1963 Filmfare Best Lyricist Award for the song ''kahin deep jale kahin dil'' in the film ''Bees Saal Baad''

External links

Shakeel Badayuni at Kavita Kosh (Hindi)

Shayri.info Famous Sher aur Shayari!

Shayari Collection of Hindi Shayari

Category:Indian poets Category:Urdu poets Category:Indian songwriters Category:Filmfare Awards winners Category:1916 births Category:1970 deaths Category:People from Uttar Pradesh Category:Aligarh Muslim University alumni Category:Indian Muslims Category:People from Badaun

nl:Shakeel Badayuni ur:شکیل بدایونی