PAL, short for Phase Alternating Line, is an analogue television colour encoding system used in broadcast television systems in many countries. Other common analog television systems are NTSC and SECAM. This page primarily discusses the PAL colour encoding system. The articles on broadcast television systems and analogue television further describe frame rates, image resolution and audio modulation. For discussion of the 625-line / 50 field (25 frame) per second television standard, see 576i.

History

In the 1950s, the Western European countries commenced planning to introduce colour television, and were faced with the problem that the NTSC standard demonstrated several weaknesses, including colour tone shifting under poor transmission conditions. To overcome NTSC's shortcomings, alternative standards were devised, resulting in the development of the PAL and SECAM standards. The goal was to provide a colour TV standard for the European picture frequency of 50 fields per second (50 hertz), and finding a way to eliminate the problems with NTSC.

PAL was developed by Walter Bruch at Telefunken in Germany. The format was first unveiled in 1963, with the first broadcasts beginning in the United Kingdom in 1964 and Germany in 1967, though the one BBC channel initially using the broadcast standard only began to broadcast in colour from 1967.

Telefunken was later bought by the French electronics manufacturer Thomson. Thomson also bought the ''Compagnie Générale de Télévision'' where Henri de France developed SECAM, the first European Standard for colour television. Thomson, now called Technicolor SA, also owns the RCA brand and licenses it to other companies; Radio Corporation of America, the originator of that brand, created the NTSC colour TV standard before Thomson became involved.

The term PAL is often used informally to refer to a 625-line/50 Hz (576i) television system, and to differentiate from a 525-line/60 Hz (480i) NTSC system. Accordingly, DVDs are labeled as either PAL or NTSC (referring informally to the line count and frame rate) even though technically the discs do not have either PAL or NTSC composite colour. The line count and frame rate are defined as EIA 525/60 or CCIR 625/50. PAL and NTSC are only the method of colour transmission.

Colour encoding

Both the PAL and the NTSC system use a quadrature amplitude modulated subcarrier carrying the chrominance information added to the luminance video signal to form a composite video baseband signal. The frequency of this subcarrier is 4.43361875 MHz for PAL, compared to 3.579545 MHz for NTSC. The SECAM system, on the other hand, uses a frequency modulation scheme on its two line alternate colour subcarriers 4.25000 and 4.40625 MHz.

The name "Phase Alternating Line" describes the way that the phase of part of the colour information on the video signal is reversed with each line, which automatically corrects phase errors in the transmission of the signal by cancelling them out, at the expense of vertical frame colour resolution. Lines where the colour phase is reversed compared to NTSC are often called PAL or phase-alternation lines, which justifies one of the expansions of the acronym, while the other lines are called NTSC lines. Early PAL receivers relied on the human eye to do that cancelling; however, this resulted in a comb-like effect known as Hanover bars on larger phase errors. Thus, most receivers now use a chrominance delay line, which stores the received colour information on each line of display; an average of the colour information from the previous line and the current line is then used to drive the picture tube. The effect is that phase errors result in saturation changes, which are less objectionable than the equivalent hue changes of NTSC. A minor drawback is that the vertical colour resolution is poorer than the NTSC system's, but since the human eye also has a colour resolution that is much lower than its brightness resolution, this effect is not visible. In any case, NTSC, PAL, and SECAM all have chrominance bandwidth (horizontal colour detail) reduced greatly compared to the luminance signal.

The 4.43361875 MHz frequency of the colour carrier is a result of 283.75 colour clock cycles per line plus a 25 Hz offset to avoid interferences. Since the line frequency (number of lines per second) is 15625 Hz (625 lines x 50 Hz / 2), the colour carrier frequency calculates as follows: 4.43361875 MHz = 283.75 * 15625 Hz + 25 Hz.

The original colour carrier is required by the colour decoder to recreate the colour difference signals. Since the carrier is not transmitted with the video information it has to be generated locally in the receiver. In order that the phase of this locally generated signal can match the transmitted information, a 10 cycle burst of colour subcarrier is added to the video signal shortly after the line sync pulse, but before the picture information, during the so called back porch. This colour burst is not actually in phase with the original colour subcarrier, but leads it by 45 degrees on the odd lines and lags it by 45 degrees on the even lines. This swinging burst enables the colour decoder circuitry to distinguish the phase of the R-Y vector which reverses every line.

PAL vs. NTSC

NTSC receivers have a tint control to perform colour correction manually. If this is not adjusted correctly, the colours may be faulty. The PAL standard automatically cancels hue errors by phase reversal, so a tint control is unnecessary. Chrominance phase errors in the PAL system are cancelled out using a 1H delay line resulting in lower saturation, which is much less noticeable to the eye than NTSC hue errors.

However, the alternation of colour information — Hanover bars — can lead to picture grain on pictures with extreme phase errors even in PAL systems, if decoder circuits are misaligned or use the simplified decoders of early designs (typically to overcome royalty restrictions). In most cases such extreme phase shifts do not occur. This effect will usually be observed when the transmission path is poor, typically in built up areas or where the terrain is unfavourable. The effect is more noticeable on UHF than VHF signals as VHF signals tend to be more robust.

In the early 1970s some Japanese set manufacturers developed decoding systems to avoid paying royalties to Telefunken. The Telefunken license covered any decoding method that relied on the alternating subcarrier phase to reduce phase errors. This included very basic PAL decoders that relied on the human eye to average out the odd/even line phase errors. One solution was to use a 1H delay line to allow decoding of only the odd or even lines. For example, the chrominance on odd lines would be switched directly through to the decoder and also be stored in the delay line. Then, on even lines, the stored odd line would be decoded again. This method effectively converted PAL to NTSC. Such systems suffered hue errors and other problems inherent in NTSC and required the addition of a manual hue control.

PAL and NTSC have slightly divergent colour spaces, but the colour decoder differences here are ignored.

PAL vs. SECAM

SECAM is an earlier attempt at compatible colour television which also tries to resolve the NTSC hue problem. It does so by applying a different method to colour transmission, namely alternate transmission of the U and V vectors and frequency modulation, while PAL attempts to improve on the NTSC method.

SECAM transmissions are more robust over longer distances than NTSC or PAL. However, owing to their FM nature, the colour signal remains present, although at reduced amplitude, even in monochrome portions of the image, thus being subject to stronger cross colour. Like PAL, a SECAM receiver needs a delay line.

PAL signal details

For PAL-B/G the signal has these characteristics.

Parameter !! Value
Pixel Clock frequency (digital sources with 704or 720 active Pixel/Line)
Bandwidth
Horizontal sync polarity	Negative
Total time for each line
Front porch (A)
Sync pulse length (B)
Back porch (C)
Active video (D)

(Total horizontal sync time 12.05 µs)

After 0.9 µs a colorburst of cycles is sent. Most rise/fall times are in range. Amplitude is 100% for white level, 30% for black, and 0% for sync. The CVBS electrical amplitude is Vpp and impedance of 75 Ω.

The vertical timings are:

Parameter !! Value
Vertical lines	313 (625 total)
Vertical lines visible	288 (576 total)
Vertical sync polarity	Negative (burst)
Vertical frequency
Sync pulse length (F)	(burst)
Active video (H)	18.4 ms

(Total vertical sync time 1.6 ms)

As PAL is interlaced, every two fields are summed to make a complete picture frame.

Luminance, $Y$, is derived from red, green, and blue ($R\text{'}G\text{'}B\text{'}$) signals:

$Y=\; 0.299R\text{'}\; +\; 0.587G\text{'}\; +\; 0.114B\text{'}$

$U$ and $V$ are used to transmit chrominance. Each has a typical bandwidth of 1.3 MHz.

$U\; =\; 0.492(B\text{'}-Y)$

$V\; =\; 0.877(R\text{'}-Y)$

Composite PAL signal $=\; Y\; +\; U\; \backslash sin\; (\backslash omega\; t)\; +\; V\; \backslash cos\; (\backslash omega\; t)\; +$timing where $\backslash omega\; =\; 2\backslash pi\; F\_\{SC\}$.

Subcarrier frequency $F\_\{SC\}$ is 4.43361875 MHz (±5 Hz) for PAL-B/D/G/H/I/N.

PAL broadcast systems

This table illustrates the differences:

!	! PAL B	! PAL G, H	! PAL I	! PAL D/K	! PAL M	! PAL N
! Transmission Band	VHF	UHF	UHF/VHF*	VHF/UHF	VHF/UHF	VHF/UHF
! Fields	50	50	50	50	60	50
! Lines	625	625	625	625	525	625
! Active lines	576	576	582**	576	480	576
! Channel Bandwidth	7 MHz	8 MHz	8 MHz	8 MHz	6 MHz	6 MHz
! Video Bandwidth	5.0 MHz	5.0 MHz	5.5 MHz	6.0 MHz	4.2 MHz	4.2 MHz
! Colour Subcarrier	4.43361875 MHz	4.43361875 MHz	4.43361875 MHz	4.43361875 MHz	3.575611 MHz	3.58205625 MHz
! Sound Carrier	5.5 MHz	5.5 MHz	6.0 MHz	6.5 MHz	4.5 MHz	4.5 MHz

* System I has never been used on VHF in the UK. ** The UK's adoption of 582 active lines has no significant impact on either non system I receivers or non system I source material as the extra lines are not within the normal display area and do not contain anything in the other standards anyway. All Digital TV broadcasts and digital recordings (e.g. DVDs) conform to the 576 active line standard.

PAL-B/G/D/K/I

The majority of countries using PAL have television standards with 625 lines and 25 frames per second, differences concern the audio carrier frequency and channel bandwidths. Standards B/G are used in most of Western Europe, Australia and New Zealand, standard I in the UK, Ireland, Hong Kong, South Africa and Macau, standards D/K in most of Central and Eastern Europe and Standard D in mainland China. Most analogue CCTV cameras are Standard D.

Systems B and G are similar. System B is used for 7 MHz-wide channels on VHF, while System G is used for 8 MHz-wide channels on UHF (and Australia uses System B on UHF). Similarly, Systems D and K are similar except for the bands they use: System D is only used on VHF, while System K is only used on UHF. Although System I is used on both bands, it has only been used on UHF in the United Kingdom due to 405-line TV services on VHF operating until the 1980s.

PAL-M (Brazil)

In Brazil, PAL is used in conjunction with the 525 line, 29.97 frame/s system M, using (very nearly) the NTSC colour subcarrier frequency. Exact colour subcarrier frequency of PAL-M is 3.575611 MHz. Almost all other countries using system M use NTSC.

The PAL colour system (either baseband or with any RF system, with the normal 4.43 MHz subcarrier unlike PAL-M) can also be applied to an NTSC-like 525-line (480i) picture to form what is often known as "PAL-60" (sometimes "PAL-60/525", "Quasi-PAL" or "Pseudo PAL"). PAL-M (a broadcast standard) however should not be confused with "PAL-60" (a video playback system — see below).

PAL-N (Argentina, Paraguay, Uruguay)

In Argentina, Paraguay and Uruguay the PAL-N variant is used. It employs the 625 line/50 field per second waveform of PAL-B/G, D/K, H, I, but on a 6MHz channel with a chrominance subcarrier frequency of 3.582 MHz very similar to NTSC.

VHS tapes recorded from a PAL-N or a PAL-B/G, D/K, H, I broadcast are indistinguishable because the downconverted subcarrier on the tape is the same. A VHS recorded off TV (or released) in Europe will play in colour on any PAL-N VCR and PAL-N TV in Argentina, Paraguay, and Uruguay. Likewise, any tape recorded in Argentina or Uruguay off a PAL-N TV broadcast, can be sent to anyone in European countries that use PAL (and Australia/New Zealand, etc.) and it will display in colour. This will also play back successfully in Russia and other SECAM countries, as the USSR mandated PAL compatibility in 1985 - this has proved to be very convenient for video collectors.

People in Uruguay, Argentina and Paraguay usually own TV sets that also display NTSC-M, in addition to PAL-N. Direct TV also conveniently broadcasts in NTSC-M for North, Central and South America. Most DVD players sold in Argentina, Uruguay and Paraguay also play PAL discs - however, this is usually output in the European variant (colour subcarrier frequency 4.433618 MHz), so people who own a TV set which only works in PAL-N (plus NTSC-M in most cases) will have to watch those PAL DVD imports in black and white as the colour subcarrier frequency in the TV set is the PAL-N variation, 3.582056 MHz.

In the case that a VHS or DVD player works in PAL (and not in PAL-N) and the TV set works in PAL-N (and not in PAL), there are two options:

images can be seen in black and white, or

an inexpensive transcoder (PAL -> PAL-N) can be purchased in order to see the colours

Some DVD players (usually lesser known brands) include an internal transcoder and the signal can be output in NTSC-M, with some video quality loss due to the system's conversion from a 625/50 PAL DVD to the NTSC-M 525/60 output format. A few DVD players sold in Argentina, Uruguay and Paraguay also allow a signal output of NTSC-M, PAL, or PAL-N. In that case, a PAL disc (imported from Europe) can be played back on a PAL-N TV because there are no field/line conversions, quality is generally excellent.

Extended features of the PAL specification, such as Teletext, are implemented quite differently in PAL-N. PAL-N supports a modified 608 closed captioning format that is designed to ease compatibility with NTSC originated content carried on line 18, and a modified teletext format that can occupy several lines.

PAL-L

The PAL L (Phase Alternating Line with L-sound system) standard uses the same video system as PAL-B/G/H (625 lines, 50 Hz field rate, 15.625 kHz line rate), but with 6 MHz video bandwidth rather than 5.5 MHz. This requires the audio subcarrier to be moved to 6.5 MHz. An 8 MHz channel spacing is used for PAL-L.

System A

The BBC tested their pre-war 405 line monochrome system with all three colour standards including PAL, before the decision was made to abandon 405 and transmit colour on 625/System I only.

PAL interoperability

The PAL colour system is usually used with a video format that has 625 lines per frame (576 visible lines, the rest being used for other information such as sync data and captioning) and a refresh rate of 50 interlaced fields per second (i.e. 25 full frames per second), such systems being B, G, H, I, and N (see broadcast television systems for the technical details of each format).

This ensures video interoperability. However as some of these standards (B/G/H, I and D/K) use different sound carriers (5.5MHz, 6.0MHz 6.5MHz respectively), it may result in a video image without audio when viewing a signal broadcast over the air or cable. Some countries in Eastern Europe which formerly used SECAM with systems D and K have switched to PAL while leaving other aspects of their video system the same, resulting in the different sound carrier. Instead, other European countries have changed completely from SECAM-D/K to PAL-B/G.

The PAL-N system has a different sound carrier, and also a different colour subcarrier, and decoding on incompatible PAL systems results in a black and white image without sound. The PAL-M system has a different sound carrier and a different colour subcarrier, and does not use 625 lines or 50 frames/second. This would result in no video or audio at all when viewing a European signal.

Multisystem PAL support and "PAL 60"

Recently manufactured PAL television receivers can typically decode all of these systems except, in some cases, PAL-M and PAL-N. Many of receivers can also receive Eastern European and Middle Eastern SECAM, though rarely French-broadcast SECAM (because France uses the unique positive video modulation) unless they are manufactured for the French market. They will correctly display plain CVBS or S-video SECAM signals. Many can also accept baseband NTSC-M, such as from a VCR or game console, and RF modulated NTSC with a PAL standard audio subcarrier (i.e. from a modulator), though not usually broadcast NTSC (as its 4.5 MHz audio subcarrier is not supported). Many sets also support NTSC with a 4.43 MHz subcarrier.

Many 1990s onwards VCR players sold in Europe can play back NTSC tapes/discs. When operating in this mode most of them do not output a true (625/25) PAL signal, but rather a hybrid consisting of the original NTSC line standard (525/30), but with colour converted to PAL 4.43 MHz - this is known as "PAL 60" (also "quasi-PAL" or "pseudo PAL") with "60" standing for 60 Hz (for 525/30), instead of 50 Hz (for 625/25). Some video game consoles also output a signal in this mode. Most newer television sets can display such a signal correctly, but some will only do so (if at all) in black and white and/or with flickering/foldover at the bottom of the picture, or picture rolling (however, many old TV sets can display the picture properly by means of adjusting the V-Hold and V-Height knobs — assuming they have them). Some TV tuner cards or video capture cards will support this mode (although software/driver modification can be required and the manufacturers' specs may be unclear). A "PAL 60" signal is similar to an NTSC (525/30) signal, but with the usual PAL chrominance subcarrier at 4.43 MHz (instead of 3.58 as with NTSC and South American PAL variants) and with the PAL-specific phase alternation of the red colour difference signal between the lines.

Most European DVD players output a true NTSC-M signal when playing NTSC discs, which many modern European TV sets can resolve.

Countries and territories using PAL

Over 120 countries and territories use or once used the terrestrial PAL system. Many of these are currently converting terrestrial PAL to DVB-T (PAL still often used by cable TV or in conjunction with a digital standard, such as DVB-C).

PAL B, G, D, K or I

(DVB-T introduction started in 2004) Ascension Island (PAL broadcast to be abandoned by 2012, simulcast in DVB-T) (DVB-T introduction started in 2001, PAL to be abandoned for DVB-T by 2013) (migrated from SECAM 1994–1996) (set to migrate to DVB-T in 2012, although such broadcasts are currently only available in Sofia) (PAL-D, digital broadcast using DMB-T/H) (historic, Chile adopted NTSC-M and now will be abandoned for ISDB-T) (see Australia) (see New Zealand) (PAL broadcast abandoned by the end of 2010; broadcasting now in DVB-T, introduction started in 2005) (migrated from SECAM 1992–1994) (DVB-T introduction started in 2006, PAL to be abandoned for DVB-T by 2012) (Timor-Leste) (migrated from SECAM 1990–1992) (UHF only) (used SECAM, completely migrated to PAL-D/K in 2000s) (East Germany used SECAM, after reunification migrated to PAL in early 1990s; PAL broadcast abandoned at the end of 2008; DVB-T introduction started in 2003) (State TV ERT migrated from SECAM in ca. 1992- private channels use PAL since their launch in 1989 - DVB-T introduction started in 2006.) (PAL-I, DMB-T/H introduced since 31 December 2007, PAL-I broadcast planned to be abandoned in 2015) (migrated from SECAM 1995–1996; PAL broadcast to be abandoned by 31 December 2011; is converting to DVB-T) (PAL broadcast to be abandoned by 2018; simulcast in DVB-T since 2008) (VHF and UHF) (PAL transmitter shutdown started 31 March 2011 and completed on 13 June 2011; converted to DVB-T) (PAL broadcast to be abandoned by 2012, already abandoned in some provinces; currently converting to DVB-T) (migrated from SECAM 1997–1999; PAL to be abandoned by 29 October 2012, Simulcast in DVB-T) (PAL-I, digital broadcast using DMB-T/H) (PAL broadcast to be abandoned by 2012; DVB-T introduction started in 2005) (Preliminary DVB-T Trials ended, further trials planned. Set top box and Digital TV not yet available on sale, but USB DVB-T receivers for viewing on a computer are widely available now. Plans to abandon PAL broadcast by 2015) (Broadcasting now in DVB-T) (PAL broadcast to be abandoned by 2012–2017, simulcast in DVB-S (since 2007) & DVB-T (gradually rolled out since mid-2008 starting with major centres)) (see Australia) (Gaza & West Bank) (migrated from SECAM 1993–1995; PAL broadcast to be abandoned by 2013; is converting to DVB-T) , including and (PAL broadcast to be fully abandoned by 2011, DVB-T simulcast since 2007) (PAL broadcast to be abandoned by 2010–2011; is converting to DVB-T since early 2007) (Samoa is converting to NTSC and probably ATSC) (DVB-T introduction started in 2005, PAL broadcast to be abandoned by 2015) (which also uses DVB-T for HDTV broadcasts) (migrated from SECAM 1992–1994; PAL to be fully abandoned by 2012, converted to DVB-T) (PAL to be abandoned by 2013, is converting to DVB-T) (Tonga is converting to NTSC and probably ATSC) (along with SECAM) (UHF only, PAL broadcast to be abandoned by 2012, already abandoned in some regions. Simulcast in DVB-T. DVB-T introduction started in 1998, DVB-T2 added from 2009.)

PAL-M

(simulcast with digital format in SBTVD-T, an update to ISDB-T, started in December 2007. PAL broadcast continues until 2016)

PAL-N

(H264 video over ISDB-T, at 576i@50Hz (SD) or 1080i@50Hz (HD)) (will use ISDB-T, but no date decided yet)

Countries and territories that once used PAL

! Country	! Switched to	! Switchover completed
	DVB-T	2007-09-2525 September 2007
	DVB-T	2011-06-077 June 2011
	DVB-T	2010-03-011 March 2010
	DVB-T	2010-10-055 October 2010
	DVB-T	2009-11-011 November 2009
	DVB-T	2010-07-011 July 2010
	DVB-T	2007-09-011 September 2007
	DVB-T	2011-06-1313 June 2011
	DVB-T	2010-06-011 June 2010
	DVB-T	2006-09-011 September 2006
	DVB-T	2006-12-1414 December 2006
	DVB-T	2009-12-011 December 2009
	DVB-T	2010-12-011 December 2010
	DVB-T	2010-04-033 April 2010
	DVB-T	2007-10-2929 October 2007
	DVB-T	2007-11-2626 November 2007

See also

PALplus

Broadcast television systems

*ATSC Standards

*BTSC

*NTSC

*NTSC-J

*RCA

*SECAM

Moving image formats

Early television stations

Digital television

Broadcast safe

PAL region

Differential gain

References

External links

More information about TV standards

Review of the different refresh rates of PAL, NTSC and motion picture films

Australian VHF/UHF PAL B/G Television System Datasheet

Convert PAL DVD to NTSC DVD

Category:Video formats Category:Television technology Category:Television terminology Category:ITU-R recommendations

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Coordinates	34°03′″N118°15′″N
name	Kishore Kumar| image Gangulybros01.jpg
background	solo_singer
spouse	Rama Devi, Madhubala, Yogeeta Bali, Leena Chandawarkar
birth name	Abhas Kumar Ganguly
born	August 04, 1929Khandwa, Central Provinces and Berar
died	October 13, 1987Mumbai, Maharashtra
genre	Playback, Rabindra Sangeet, rock and roll
occupation	Singer, actor, director, musician, producer
years active	1946–1987 }}

Kishore Kumar (, , ; born Abhas Kumar Ganguly 4 August 1929 – 13 October 1987) was an Indian film playback singer and an actor who also worked as lyricist, composer, producer, director, screenwriter and scriptwriter. Kishore Kumar sang in many Indian languages including Bengali, Hindi, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. He was the winner of 8 Filmfare Award for Best Male Playback Singer and holds the record for most number of Filmfare Awards won for that category.

Early life

Kishore Kumar was born into the Bengali Brahmin Ganguly family in Khandwa, Central Provinces and Berar (now in Madhya Pradesh) as Abhas Kumar Ganguly. His father Kunjalal Ganguly (Gangopadhya) was a lawyer. His mother Gouri Devi came from a wealthy Bengali family. Kishore was the youngest of four siblings, the other three being Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar.

While Kishore was still a child, Ashok Kumar became a Bollywood actor. (Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar). Spending time with his brothers, Kishore also started to take a keen interest in movies and music. He became a fan of singer-actor Kundan Lal Saigal, whom he considered his guru, and tried to follow Saigal's singing style.

Career

After Ashok Kumar became a Bollywood star, the Ganguly family used to visit Bombay regularly. Abhas Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. His first film as an actor was ''Shikari'' (1946), in which Ashok Kumar played the lead role. Music director Khemchand Prakash gave him a chance to sing the song ''Marne ki duayen kyon mangu'' for the film ''Ziddi'' (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about a film career. In 1949, he decided to settle in Mumbai.

Kishore Kumar played hero in the Bombay Talkies film ''Andolan'' (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an actor like himself.

He starred in Bimal Roy's ''Naukri'' (1954) and Hrishikesh Mukherjee's directorial debut ''Musafir'' (1957). Salil Chowdhury, the music director for ''Naukri'' was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music. However, after hearing his voice, he gave him the song ''Chhota sa ghar hoga'', which was supposed to be sung by Hemant Kumar.

Kishore Kumar starred in films ''New Delhi'''' (1957), ''Aasha'' (1957), ''Chalti Ka Naam Gaadi'' (1958), ''Half Ticket'' (1962), and ''Padosan'' (1968). ''Chalti Ka Naam Gaadi'', his home production, starred the three Ganguly brothers, and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving brothers.

Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of ''Mashaal'' (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating K. L. Saigal. He complimented Kishore, but also told him that he should develop a style of his own, instead of copying Saigal. Kishore Kumar did not have a formal training in music. He kept Burman's advice in mind, and eventually developed his own style of singing, which featured the yodeling that he had heard on some records of Jimmie Rodgers bought by his brother Anoop Kumar.

S. D. Burman recorded with Kishore for Dev Anand's ''Munimji'' (1954), ''Taxi Driver'' (1954), ''House No. 44'' (1955), ''Funtoosh'' (1956), ''Nau Do Gyarah'' (1957), ''Paying Guest'' (1957), ''Guide'' (1965), ''Jewel Thief'' (1967), ''Prem Pujari'' (1970), and ''Tere Mere Sapne'' (1971). He also composed music for Kishore Kumar's home production ''Chalti Ka Naam Gaadi'' (1958). Some of their initial films included the songs ''Maana Janaab Ne Pukara Nahin'' from ''Paying Guest'', ''Hum Hain Rahi Pyar Ke'' from ''Nau Do Gyarah'' (1957), ''Ai Meri Topi Palat Ke Aa'' from ''Funtoosh'', and ''Ek Ladki Bheegi Bhaagi Si'' and ''Haal Kaisa Hai Janaab Ka'' from ''Chalti Ka Naam Gaadi'' (1958). Asha Bhosle and Kishore Kumar performed duets composed by S. D. Burman including ''Chhod Do Aanchal'' from ''Paying Guest'' (1957), ''Ankhon Mein Kya Ji'' from ''Nau Do Gyarah'' (1957), ''Haal Kaisa Hai Janaab Ka'' and ''Paanch Rupaiya Baara Aana'' from ''Chalti Ka Naam Gaadi'' (1958), ''Chhedo Na Meri Zulfein'' from ''Ganga Ki Lahren'' (1964), and ''Arre Yaar Meri Tum Bhi Ho Gajab'' from ''[Teen Devian|Teen Deviyan]'' (1965).

C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer. and their collaborations include ''Eena Meena Deeka'' from ''Aasha'' (1957). Kishore Kumar's work includes, ''Nakhrewaali'' from ''New Delhi'' (1956) by Shankar Jaikishan, and ''C.A.T. Cat Maane Billi'' and ''Hum To Mohabbat Karega'' from ''Dilli Ka Thug'' (1958) by Ravi.

Kishore Kumar produced, directed, and acted in the film ''Jhumroo'' (1961). He wrote the lyrics for the title song, ''Main Hoon Jhumroo'', and composed music for all the songs in the film. Later, he produced and directed the film ''Door Gagan Ki Chhaon Mein'' (1964). He also wrote the script and composed music for the film. The film is based on the relationship between a father (Kishore Kumar), and his deaf and mute son (played by his real-life son, Amit Kumar). He made another two films called ''Door Ka Rahi'' (1971) and ''Door Waadiyon Mein Kahin'' (1980).

In the 1960s, as an actor, Kishore Kumar built up a notoriety for coming late for the shootings, or bunking them altogether. His films flopped frequently, and he also landed in income tax trouble. As a singer, his work in this period includes ''Zaroorat Hai Zaroorat Hai'' from ''Manmauji'' (1961), ''Gaata Rahe Mera Dil'' from ''Guide'' (1965), and ''Yeh Dil Na Hota Bechara'' from ''Jewel Thief'' (1967).

In the late 1960s, Rahul Dev Burman worked together on the soundtrack of the film ''Padosan'' (1968), in which Kishore Kumar sang the songs ''Mere Saamne Wali Khidki Mein'' and ''Kehna Hai''. ''Padosan'' was a comedy film starring Kishore Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as a simpleton named Bhola. Kishore Kumar's character in the film was inspired by the personality of Kishore's own uncle, Dhananjay Bannerjee (a classical singer). The highlight of the film was a musical, comical duel between Kishore Kumar-Sunil Dutt and Mehmood, ''Ek Chatur Nar Karke Singaar''.

1970's and 1980's

In 1969, Shakti Samanta produced and directed the film ''Aradhana'', for which the music was composed by S. D. Burman. S. D. Burman fell ill after recording some duet songs with Mohammed Rafi, Asha Bhosle, Lata Mangeshkar and Kishore Kumar. Afterwards, his son and assistant Rahul Dev Burman took over the recording. R. D. Burman got Kishore Kumar to solo sing the songs ''Mere Sapno Ki Rani'' and ''Roop Tera Mastana''. Kishore Kumar won his first Filmfare award for the song "Roop Tera Mastana".

In 1970s & 1980s Kishore Kumar sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor and Jackie Shroff.

S. D. Burman and Kishore Kumar continued to work together, including ''Phoolon Ke Rang Se'' and ''Shokhiyon Mein Ghola Jaaye'' from ''Prem Pujari'' (1969), ''Aaj Madhosh Hua Jaaye Re'', ''Khilte Hain Gul Yahan'' and ''O Meri Sharmilee'' from ''Sharmilee'' (1971), ''Meet na mila'' from ''Abhimaan'' (1973), ''Pyaar Ke Is Khel Mein'' from ''Jugnu''. In 1975, S. D. Burman composed his last song for Kishore Kumar. S. D. Burman went into a coma for the second time, soon after Kishore recorded the song ''Badi Sooni Sooni Hai Zindagi'' for the film ''Mili''.

R. D. Burman frequently used Kishore Kumar as the male singer, and recorded several songs with him in the 1970s. Some Kishore Kumar-R. D. Burman songs include ''O Maajhi Re'' from ''Khushboo'', ''Yeh Shaam Mastaani'' and ''Yeh Jo Mohabbat Hai'' from ''Kati Patang'' (1971), ''Kuchh To Log Kahenge'' from ''Amar Prem'' (1972), "Raat Kali Ek Khwab Mein Aayi" from ''Buddha Mil Gaya ''(1971), ''Musafir Hoon Yaaron'' from ''Parichay'' (1972), ''Diye Jalte Hain'' from ''Namak Haraam'' (1973), ''Meri Bheegi Bheegi Si'' from ''Anamika'' (1973), ''Zindagi Ke Safar Mein'' from ''Aap Ki Kasam'' (1974), ''Agar Tum Na Hote'', ''Humein Tum Se Pyaar Kitna'' from ''Kudrat'', "Mere Naina Saawan Bhadon" from ''Mehbooba'', and ''Chingari Koi Bhadke'' (''Amar Prem''), ''Jab Bhi Koi Kangana'' from ''Shaukeen'' (1986). R. D. Burman also recorded several duets pairing Kishore Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include ''Panna Ki Tamanna'' from ''Heera Panna'' (1973), ''Neend Chura Ke Raaton Mein'' from the film ''Shareef Budmaash'', ''Kya Yehi Pyaar Hai'' from Sanjay Dutt's debut film ''Rocky'' (1981), ''Sagar Kinare'' from ''Sagar'' in [1985], ''Aap Ki Aankhon Mein Kuchh'' from ''Ghar'', ''Jaane Ja Dhoondta'' and ''Nahi Nahi'' from ''Jawani Diwani'', "Kharoshoo" from ''Harjai'' (1982).

Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo Laxmikant-Pyarelal (L-P) also composed many songs sung by Kishore Kumar. Some of their songs include ''Mere Mehboob Qayamat Hogi'' from ''Mr. X In Bombay'', ''Mere Naseeb Mein Aye Dost'' from ''Do Raaste'', ''Yeh Jeevan Hai'' from ''Piya Ka Ghar'', ''Mere Dil Mein Aaj Kya Hai'' from ''Daag: A Poem of Love'', ''Nahi Mai Nahi Dekh Sakta'' from ''Majboor'', ''Mere diwanepan ki bhi'' from ''Mehboob Ki Mehndi'', ''Naach Meri Bulbul'' from ''Roti'', ''Chal Chal Mere Haathi'' from ''Haathi Mere Saathi'', ''Gaadi Bula Rahi Hai'' from ''Dost'', ''Ruk Jaana Nahi'' from ''Imtihaan'', ''Ek Ritu Aaye'' from ''Gautam Govinda'', ''My Name Is Anthony Gonsalves'' from ''Amar Akbar Anthony'' ''Bahut Khoobsurat Jawan Ek Ladki'' from ''Dostana'' and ''Om Shanti Om'' as well as ''Paisa Yeh Paisa'' from ''Karz''. Laxmikant-Pyarelal also composed several Kishore-Lata duets, including ''Achchha To Hum Chalte Hain'' from ''Aan Milo Sajna'', ''Gore Rang Pe Na Itna'' from ''Roti'', ''Main Solah Baras Ki'' from ''Karz'', and ''Din Mahine Saal'' from ''Avtaar'', ''Tu Kitne Baras Ki'' from ''Karz''. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films ''Dostana'', ''Ram Balram'' and ''Deedaar-E-Yaar''. L-P composed a duet with Kishore Kumar and Alisha Chinoy, ''I love you (Kaate Nahin Katate Yeh Din Yeh Raat)'' from ''Mr. India'' in (1987). Salil Chowdhury recorded songs like ''Koi Hota Jisko Apna'' from ''Mere Apne'' and ''Gujar Gaye Din Din'' from ''Annadata''. Ravindra Jain recorded ''Ghungroo Ki Tarah'', and the duet ''Tota Maina Ki Kahani'' from ''Fakira''. Khaiyyaam recorded beautiful duets with Lata Mangeshkar such as ''Hazar Rahein'' from ''Thodisi Bewafai'', ''Aankhon Mein Humne Aapke Sapne Sajaye Hain'', ''Chandani Raat Mein Ek Bar''. Hridaynath Mangeshkar recorded ''Zindagi Aa Raha Hoon Main'' from ''Mashaal''. Kalyanji-Anandji recorded several songs with Kishore Kumar including ''Zindagi Ka Safar'' and ''Jeevan Se Bhari Teri Aankhein'', from ''Safar'', ''Pal Pal Dil Ke Paas'' from ''Black Mail'', ''Apne Jeevan Ki Uljhan'' from ''Uljhan'', ''Mera Jeevan Kora Kagaz'' from ''Kora Kagaz'', ''O Saathi Re'' from ''Muqaddar Ka Sikandar'', ''Khaike Paan Banaraswala'' from ''Don'', ''Neele Neele Ambar Par'' from ''Kalakar'' and ''Pal Bhar Ke Liye'' from ''Johny Mera Naam''.

Other composers including Rajesh Roshan, Sapan Chakravarty, Jaidev, Chitragupta (composer), Usha Khanna, Sohnik Omi, Prem Dhawan, Vanraj Bhatia and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's film ''Julie'' featured songs sung by Kishore Kumar, ''Bhool Gaya Saab Kuchh'' (duet with Lata Mangeshkar) and ''Dil Kya Kare Jab Kisise''. Their other songs include ''Chhookar mere man ko'' from ''Yaarana'', ''Tune Abhi Dekha Nahin'' from ''Do Aur Do Paanch'' and ''Kahan Tak Ye Man Ko Andhere Chhalenge'' from ''Baaton Baaton Mein''. Bappi Lahiri also recorded many songs with Kishore Kumar, including ''Pag Ghunghroo Bandh'' from ''Namak Halal'' (1982), ''Manzilen Apni Jagah Hai'' from ''Sharaabi'' (1984) and ''Chalte Chalte Mere Ye Geet'' from ''Chalte Chalte'' (1976), ''Saason Se Nahi Kadmose Nahi'' from ''Mohabbat'' in (1987) and duets with (Lata Mangeshkar)) like ''Taa thaiya'' from ''Himmatwala'' in (1984), ''Albela Mausam'' from ''Tohfa'' in (1985) and another duet ''Pyar Ka Tohfa'' from the same film.

During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for an Indian National Congress rally in Mumbai, but Kishore Kumar refused. As a result, the government put an unofficial ban on playing Kishore Kumar songs on the All India Radio or television.

Later years

Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as ''Badhti Ka Naam Daadhi'' (1978), ''Zindagi'' (1981) and ''Door Wadiyon Mein Kahin'' (1980). His last appearance as an actor was in ''Door Wadiyon Mein Kahin''.

With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar also became a Bollywood singer in the 1980s. Kishore Kumar also continued singing for several actors. He also did some stage shows, apparently to earn money to pay his income tax arrears.

Kishore Kumar stopped singing for Amitabh Bachchan in the mid-1980s, after Bachchan did not do a guest appearance in a film produced by him but called a truce with him by singing for him in ''Toofan''. He also temporarily stopped singing for Mithun Chakraborty, after Yogeeta Bali divorced him and married Chakraborty. However, later Kumar sang for him in many films like ''Disco Dancer'', ''Muddat'', and ''Pyar Ka Mandir''.

In the mid-1980s, Kishore Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, ''Woh Saat Din'' and also recorded ''Mr. India''. He sang a duet with Alka Yagnik, ''Tumse Badhkar Duniya Mein Na Dekha'' for ''Kaamchor'' in (1986). He also recorded some songs for the film ''Saagar'' with R. D. Burman. By this time, he had decided to retire and was planning to go back to his birthplace, Khandwa.

On 13 October 1987, he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. He had recorded his last song a day before he died. The song was ''Guru Guru'', a duet with Asha Bhosle, for the film ''Waqt Ki Aawaz'' (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi.

Kishore Kumar's song ''Pal Bhar Ke Liye'' from the film ''Johny Mera Naam'' (1970) was used in an episode of ''The Simpsons'' titled "Kiss Kiss, Bang Bangalore". His songs have also been featured in several films, including ''Such a Long Journey'' (1998) and ''Side Streets'' (1998). Sony TV organised the television singing contest ''K for Kishore'' to search for a singer like Kishore Kumar.

Personal life

Kishore Kumar married four times. His first wife was Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958.

Kishore's second wife was actress Madhubala, who had worked with him on many films including his home production ''Chalti Ka Naam Gaadi'' (1958). When Kishore Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had a ventricular septal defect, and her father wanted her to wait and consult the London doctors first. Nevertheless, Madhubala married Kishore in 1960. Madhubala was a Muslim, and the two had a civil marriage. Kishore converted to Islam and took the name Karim Abdul. The doctors in London told Madhubala that she would not live for long. The marriage lasted for nine years, and ended with Madhubala's death on 23 February 1969.

Kishore Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore was married to Leena Chandavarkar from 1980 until his death. Kishore Kumar sired two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena Chandavarkar.

Kumar is said to have been paranoid about not being paid. During recordings, he would sing only after his secretary confirmed that the producer had made the payment. Once, when he discovered that his dues hadn't been fully paid, he landed up for shooting with make-up on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment). On the sets of ''Bhai Bhai'', Kishore Kumar refused to act because the director M V Raman owed him five thousand rupees. Ashok Kumar persuaded him to do the scene. But, when the shooting started, he walked across the floor and, each time he walked a few places, he said, ''Paanch Hazzar Rupaiya'' (five thousand rupees) and did a somersault. After he reached the end of the floor, he went out of the studio, jumped into his car, and ordered his driver Abdul to drive away. On another occasion, when producer R. C. Talwar did not pay his dues in spite of repeated reminders, Kishore turned up at Talwar's residence one morning and started shouting "''Hey Talwar, de de mere aath hazaar''" ("Hey Talwar, give me my eight thousand"). He did this every morning until Talwar paid him.

The film ''Anand'' (1971) was originally supposed to star Kishore Kumar and Mehmood Ali in the lead. Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project. However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.

In spite of his "no money, no work" principle, sometimes Kishore Kumar recorded for free even when the producers were willing to pay. Such films include those produced by Rajesh Khanna and Danny Denzongpa. On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs. 20,000 for the film ''Dal Mein Kala'' (1964). When actor Arun Kumar Mukherjee died, Kishore Kumar regularly sent money to his family in Bhagalpur. Mukherjee was one of the first persons to appreciate Kishore's singing talent.

Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior. Kishore Kumar had put a "''Beware of Kishore''" sign at the door of his Warden Road flat, where he stayed for some time while his bungalow was being done up. Once, producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kishore Kumar took the money, and when Rawail offered to shake hands with him, he reportedly put Rawail's hand in his mouth, bit it, and asked "Didn’t you see the sign?". Rawail laughed off the incident and left quickly. Kishore Kumar was a loner, and in an interview with Pritish Nandy (1985), he said that he had no friends – he preferred talking to his trees instead. Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to the reporter as his closest friends.

According to another reported incident, once Kishore Kumar was to record a song for producer-director G. P. Sippy. As Sippy approached his bungalow, he saw Kishore going out in his car. Sippy pleaded him to stop his car, but Kishore only increased the speed of his car. Sippy chased him to Madh Island, where Kishore Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kishore Kumar refused to recognize or talk to him and threatened to call police. Sippy had to return. Next morning, Kishore Kumar reported for the recording. An angry Sippy questioned him about his behavior on the previous day. However, Kishore Kumar insisted that Sippy must have seen a dream, and claimed that he was in Khandwa on the previous day.

Once, a producer went to court to get a decree that Kishore Kumar must follow the director's orders. As a consequence, Kishore Kumar obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. Once, after a car scene in Mumbai, he drove on till Khandala because the director forgot to say "Cut". In the 1960s, a financier named Kalidas Batvabbal, patently disgusted with Kishore Kumar's alleged lack of cooperation during the shooting of ''Half Ticket'', gave him away to the income tax authorities. Kishore had to face a raid at his house. Later, Kishore invited Batvabbal home, tricked him by asking him to enter a cupboard for a "chat" and locked him inside. He unlocked Batvabbal after two hours and told him "Don’t ever come to my house again."

Awards

; Filmfare Awards

Winner:

! Year	! Song	! Film	! Music director	! Lyricist
1969	''Roop tera mastaana''		Sachin Dev Burman	Anand Bakshi
1975	''Dil aisa kisi ne Mera''	''Amanush''	Shyamal Mitra	Indeevar
1978	''Khaike Pan Banaras Wala''		Kalyanji-Anandji	Anjaan
1980	''Hazaar raahen mudke dekheen''	''Thodisi Bewafaii''	Khayyam	Gulzar
1982	''Pag ghungroo baandh ke meera nachi''	''Namak Halaal''	Bappi Lahiri	Anjaan
1983	''Hamen aur jeene ki''	''Agar Tum Na Hote''	Rahul Dev Burman	Gulshan Bawra
1984	''Manzilen apni jagah''	''Sharaabi''	Bappi Lahiri	Anjaan
1985	''Saagar Kinaare''	''Saagar''	Rahul Dev Burman	Javed Akhtar

Nominated:

! Year	! Song	! Film	! Music Director	! Lyricist
1971	''Zindagi Ek Safar''		Shankar-Jaikishan	Hasrat Jaipuri
1971	''Yeh Jo Mohabbat Hai''	Kati Patang	Rahul Dev Burman	Anand Bakshi
1972	''Chingari Koi Bhadke''	Amar Prem	Rahul Dev Burman	Anand Bakshi
1973	''Mere Dil Mein Aaj''	''Daag: A Poem of Love''	Laxmikant-Pyarelal	Sahir Ludhianvi
1974	''Gaadi Bula Rahi Hai''	''Dost''	Laxmikant-Pyarelal	Anand Bakshi
1974	''Mera Jeevan Kora Kagaz''	''Kora Kagaz''	Kalyanji Anandji	M.G.Hashmat
1975	''Main Pyaasa Tum''	''Faraar''	Kalyanji Anandji	Rajendra Krishan
1975	''O Manjhi Re''		Rahul Dev Burman
1977	''Aap Ke Anurodh''	''Anurodh''	Laxmikant-Pyarelal	Anand Bakshi
1978	''O Saathi Re''	Muqaddar Ka Sikander	Kalyanji-Anandji	Anjaan
1978	''Hum Bewafa Harghiz''		Rahul Dev Burman	Anand Bakshi
1979	''Ek Rasta Hai Zindagi''	''Kaala Patthar''	Rajesh Roshan	Sahir Ludhianvi
1980	''Om Shanthi Om''		Laxmikant-Pyarelal	Anand Bakshi
1981	''Hameh Tumse Pyar''	''Kudrat''	Rahul Dev Burman	Majrooh Sultanpuri
1981	''Chhookar Mere Mann Ko''		Rajesh Roshan	Anjaan
1983	''Shayad Meri Shaadi''	''Souten''	Usha Khanna	Sawan Kumar
1984	''De De Pyar De''	Sharaabi	Bappi Lahiri	Anjaan
1984	''Inteha Ho Gayi''	Sharaabi	Bappi Lahiri	Anjaan
1984	''Log Kehete Hai Main''	Sharaabi	Bappi Lahiri	Anjaan

; Bengal Film Journalists' Association Awards

Winner: 1971 - Best Male Playback Singer for ''Aradhana'' 1972 - Best Male Playback Singer for ''Andaz'' 1973 - Best Male Playback Singer for ''Hare Rama Hare Krishna'' 1975 - Best Male Playback Singer for ''Kora Kagaz''

See also

Kishore Kumar filmography

List of Indian playback singers

Hindi songs

References

Further reading

External links

Category:1929 births Category:1987 deaths Category:Bengali people Category:People from Khandwa Category:Indian male singers Category:Indian actors Category:Indian film actors Category:Indian film singers Category:Cardiovascular disease deaths in India Category:Indian comedians Category:Bollywood playback singers Category:Yodelers Category:Bengali musicians Category:Bengali actors Category:Assamese playback singers Category:Indian former Muslims Category:People from Mumbai Category:Hindi film actors Category:Hindi-language film directors Category:Indian film directors Category:Indian film producers

bn:কিশোর কুমার de:Kishore Kumar es:Kishore Kumar fr:Kishore Kumar hi:किशोर कुमार ml:കിഷോർ കുമാർ mr:किशोर कुमार ne:किशोर कुमार sd:ڪشور ڪمار Kishore Kumar sv:Kishore Kumar te:కిషోర్ కుమార్ ur:کشور کمار

Coordinates	34°03′″N118°15′″N
name	Joe Arroyo
background	solo_singer
birth name	Alvaro José Arroyo
alias	El Joe
birth date	November 01, 1955
birth place	Cartagena de Indias, Bolívar, Colombia
death date	July 26, 2011
death place	Barranquilla, Atlántico, Colombia
instrument	Vocals
genre	Joeson, Salsa, tropical, Cumbia
occupation	Singer-songwriter, record producer, musician,
years active	1969–2011
label	Discos Fuentes, Sony Music
website	}}

Álvaro José Arroyo González (also known as Joe Arroyo or El Joe; 1 November 1955 – 26 July 2011) was a Colombian salsa and tropical music singer, composer and songwriter. Considered one of the greatest performers of Caribbean music in his country.

Early life

Joe Arroyo was born in Cartagena. Born and raised in the neighborhood Nariño in Cartagena, Arroyo began his career at an early age, at the age of eight when he sang in brothels in Tesco, a red-light zone in his hometown. In the beginning he sang with groups like "Los Caporales del Magdalena", "Manuel Villanueva y su Orquesta", "La Protesta" and "Super Combo Los Diamantes", in 1971 he recorded with "La Promiscua".

Musical career

In 1971 Arroyo had his biggest opportunity of becoming a nationally known artist. He was discovered by Julio Ernesto Estrada, the bass player and singer of the band Fruko y sus Tesos and signed up with Colombian record label Discos Fuentes. He performed with the band for ten years until in 1981 when he began his solo career leading his band, named "La Verdad" ''(The truth)''.

Joe Arroyo became very successful by mixing salsa, cumbia, porro, soca, kompa, zouk and other music from the African Diaspora in a unique style. Some of his most famous songs are ''Rebelión", "Tania", "El Ausente" and "En Barranquilla me Quedo''.

Health issues and drug abuse

Joe Arroyo was forced to stay away from his performances many times due to his health problems. On more than one occasion, he was thought to be dead because of his abrupt absences from media attention. Joe Arroyo had to go through surgery because of problems with his eyes.

He was once seriously ill for about 3 months due to a problem with his thyroid even though many had attributed it to drug abuse, which the singer denied on the Rolling Stones Magazine, Argentina in january of 2004.

Death

Arroyo died at Barranquilla on July 26, 2011, after spending nearly a month in a Barranquilla hospital due to multiorgan failure. During his stay in the hospital his health deteriorated. The day before his death, doctors announced the singer was suffering from several organ failures including renal and heart failure and he was given his final sacrament by the local bishop. The singer died at 7:45 local time.

Discography

With his group "La Verdad"

1981 – ''Arroyando''

1981 - ''Con gusto y gana''

1982 - ''El campeón"

1983 - ''Actuando''

1984 - ''Hasta amanecé''

1985 - ''Me le fugué a la candela''

1986 – ''Musa Original''

1987 – ''Echao Pa´lante''

1988 - ''Fuego en mi mente''

1989 – ''En Acción''

1990 – ''El Supercongo // La guerra de los callados''

1991 – ''Toque de Clase''

1993 – ''Fuego''

1994 – ''Sus Razones Tendrá''

1995 - ''Mi libertad''

1996 – ''Reinando en Vida''

1997 – ''Deja Que Te Cante''

1998 – ''Cruzando El Milenio''

1999 – ''En Sol Mayor''

2002 - ''Marcando terreno''

2004 – ''Arroyo Peligroso''

2004 - ''El Joe Live''

2005 – ''Se Armó la Moña en Carnaval''

2007 – ''El Súper Joe''

Compilations

1990 – ''15 grandes exitos''

1990 - ''Echao pa'lante (Grandes éxitos)''

1991 - ''20 aniversario''

1991 - ''La voz de Joe Arroyo''

1994 - ''Antología musical''

1995 – ''Lo Diferente

1995 - ''Súper éxitos del Joe. Vol.1 y vol.2''

1997 - ''Álbum de oro''

1997 - ''30 pegaditas con el Joe''

1997 - ''25 aniversario''

1998 – ''Aquí Estoy''

1998 – ''El Sonero de América''

1998 - ''Rey del carnaval''

1999 – ''El Baile del Siglo, Disco 1''

1999 – ''El Baile del Siglo'', Disco 2''

1999 - ''20th aniversary''

2000 - ''El Rey del Congo de Oro''

2001 – ''Los Reyes del Trópico'' (Con Juan Carlos Coronell)

2001 – ''Rebelion''

2002 – ''El Original, Disco 1''

2002 – ''El Original, Disco 2''

2002 - ''32 Cañonazos'' (CD 1)

2002 - ''Los Magníficos de La Salsa''

2002 – ''Sus Mejores Temas Tropicales''

2003 – ''Grandes Exitos, Disco 1''

2003 – ''Grandes Exitos, Disc 2''

2003 – ''Lo Salsero de Joe''

2005 - ''La Verdadera Historia del Joe''

2006 - ''Gold''

2007 - ''20 originales''

2008 - ''10 de colección''

References

External links

Info and Images

Video of Joe Arroyo

Obituary in ''El Tiempo'' (in Spanish)

Category:1955 births Category:2011 deaths Category:People from Cartagena, Colombia Category:Colombian people of Black African descent Category:Colombian male singers Category:Film

de:Joe Arroyo es:Joe Arroyo fr:Joe Arroyo gl:Joe Arroyo qu:Joe Arroyo sv:Joe Arroyo

Munna Bhai is a series of Bollywood films directed by Rajkumar Hirani and produced by Vinod Chopra Productions. The first film is ''Munna Bhai M.B.B.S.'' (2003), the second is ''Lage Raho Munna Bhai'' (2006). A third film, ''Munnabhai Chale Amerika'' is still under development.

Overview

Murli Prasad Sharma (Munna Bhai) is portrayed by Sanjay Dutt. He is a "Bhai" - a leader in the Mumbai underworld. His nickname, ''Munna Bhai'' has a double meaning. It could refer to the form of "Bhai" as an honorific, as the word traditionally translates as "brother"; however, within the context of Mumbai slang, "Bhai" has also come to refer to a hoodlum. His sidekick, or consigliere is Circuit (portrayed by Arshad Warsi). They both speak in Bambaiya Hindi, a dialect specific to Mumbai, India.

Munna Bhai was first introduced in the 2003 film ''Munna Bhai M.B.B.S.'' which involves his adventures as a faux-medical student, who finally tells the truth about himself and learns to help people along the way.

In the second movie, ''Lage Raho Munna Bhai'', Munna Bhai becomes a faux-professor. He begins, thereafter to see the image of Mahatma Gandhi who persuades him to stop pretending he is a professor and who teaches him to help other people solve their problems through Gandhism, which Munna Bhai terms ''Gandhigiri''.

Notes

External links

Murliprasad 'Munna Bhai' Sharma at ''Internet Movie Database''

Category:Comedy films by series Category:Media franchises Category:Fictional Indian people Category:Comedy film characters

Coordinates	34°03′″N118°15′″N
Name	Shreya Ghoshal
Background	solo_singer
Birth name	Shreya Ghoshal
Origin	Durgapur, West Bengal, India
Birth date	March 12, 1984
Genre	Ghazal, Filmi, Hindustani classical music
Occupation	Singer
Years active	2002–present
Instrument	Vocals
Label	Sagarika
Website	shreyaghoshal.com }}

Shreya Ghoshal (; born 12 March 1984) is an Indian singer. Best known as a playback singer in Hindi films, she has also performed several songs for other Indian film industries such as Assamese, Bengali, Kannada, Malayalam, Marathi, Punjabi, Tamil and Telugu songs.

Ghoshal's career began when she won the Sa Re Ga Ma Pa contest as an adult. Her Bollywood playback singing career began with ''Devdas'', for which she received National Film Award for Best Female Playback Singer along with Filmfare Award for Best Female Playback Singer and Filmfare RD Burman Award for New Music Talent. Since then, she has worked in more than 180 films and received four National Film Awards, five Filmfare Awards and four Filmfare Awards South.

Biography

Early years

Ghoshal was born to a Bengali Hindu, Brahmin family in Durgapur, West Bengal. Her ancestors came from the region of Dhaka district, Bangladesh. She grew up in Rawatbhata, a small town near Kota, Rajasthan. Her father, Mr. Biswajeet Ghoshal, works as a nuclear power plant engineer for the Nuclear Power Corporation of India, whereas her mother is a literature post-graduate.

From the age of four, Ghoshal accompanied her mother on the harmonium. She got training in Hindustani classical music in Kota with Maheshchandra Sharma.

As a child, she won the children's special episode of the Sa Re Ga Ma (now Sa Re Ga Ma Pa) contest on Zee TV. Kalyanji, who also judged the competition, convinced her parents to move to Mumbai. She trained with Kalyanji for 18 months and continued her classical music training with Mukta Bhide in Mumbai.

She studied at Atomic Energy Central Schools (AECS) at Rawatbhata and Anushaktinagar (Mumbai). After graduation she enrolled at SIES College.

Career

Ghoshal caught the attention of director Sanjay Leela Bhansali when she participated in ''Sa Re Ga Ma Pa'' for a second time, this time as an adult. In 2000, he offered her the opportunity to be the voice of ''Paro'', the lead female character of the film ''Devdas'', who was portrayed by Aishwarya Rai. Ghoshal sang five songs in the film. Her performance won her the Filmfare Award for Best Female Playback Singer, as well as Filmfare's RD Burman Award for New Music Talent. She also won the National Film Award for the song "Bairi Piya".

She has received Filmfare awards in Hindi, Tamil, Kannada and Malayalam industries and State Film Awards from Malayalam, Tamil industries. She debuted in South through the song "Yen Chellam" in Vasantha Balan's Tamil film ''Album'' and got noticed after singing the duet "Munbe Vaa" from ''Sillunu Oru Kaadhal'' under composer A. R. Rahman. She sung nearly 100 Songs in Tamil. She debuted in Malayalam through a studio album of composer Alphons Joseph and later gave voice to his song "Vida Parayukayano" from ''Big B''. In 2010, Shreya sang for the English independent film "When Harry Tries to Marry"

She has also been a judge for ''Star Voice Of India-Chhote Ustaad'' with singer Kunal Ganjawala and composer Pritam. Currently, Ghoshal is one of the three judges in X Factor (India) with Sonu Nigam and Sanjay Leela Bhansali

Discography

''Bendhechhi Beena'' (1998)

''O Tota Pakhi Re'' (1998)

''Ekti Katha'' (1999)

''Mukhor Porag'' (2000)

''Rupasi Raate'' (2000)

''Banomali Re'' (2002)

''Jabo Tepantor'' (2003)

''Akasher Mukhomukhi'' (2002)

''Swapner Pakha'' (2003)

''Thikana'' (2006)

''Ustad & the Divas'' (2006)

''Krishna Bina Ache Ke'' (2007)

''Kanadau Vitthalu'' (2007)

''Jete Daao Amay'' (2008)

''Mazhi Gaani - Shreya Ghoshal'' (2008)

''A Tribute to R. D. Burman'' (2010)

''Ei Aakash Tomari''

''Rim Jhim''

''Tumi Bolo Ami Shuni''

Screen

2003: Ghoshal made an on-screen appearance in the ''Saaya'' film song "Har Taraf"

2011: First advertisement for jewellery store Joyalukkas in 5 languages (Hindi, Kannada, Malayalam, Tamil, Telugu)

Awards, nominations and recognitions

;National Film Awards

2003: National Film Award for Best Female Playback Singer - "Bairi Piya" (''Devdas'' - Hindi)

2006: National Film Award for Best Female Playback Singer - "Dheere Jalna" (''Paheli'' - Hindi)

2008: National Film Award for Best Female Playback Singer - "Yeh Ishq Haaye" (''Jab We Met'' - Hindi)

2009: National Film Award for Best Female Playback Singer - "Jeev Dangala" (''Jogwa'' - Marathi) & "Pherari Mon" (''Antaheen'' - Bengali)

;Filmfare Awards 2010: Filmfare Best Female Playback Award (Tamil) - "Un Perai Sollum" (''Angadi Theru'') ;;Nominated 2008: Filmfare Best Female Playback Award (Kannada) - "Aakasha Bhoomi" (''Mussanjemaatu'') 2008: Filmfare Best Female Playback Award (Kannada) - "Moggina Manasali" (''Moggina Manasu'') 2008: Filmfare Best Female Playback Award (Tamil) - "Then Then" (''Kuruvi'') 2008: Filmfare Best Female Playback Award (Telugu) - "Merupulaa" (''Chintakayala Ravi'') 2009: Filmfare Best Female Playback Award (Tamil) - "Oru Vetkam" (''Pasanga'')

2009: Filmfare Best Female Playback Award (Kannada) - "Hoovina Banadhande"(''Birugali'')

2009: Filmfare Best Female Playback Award (Kannada) - "Yenu Helabeku" (''Maleyali Jotheyali'')

2009: Filmfare Best Female Playback Award (Malayalam) - "Chandhu Thottille" (''Banaras'')

2010: Filmfare Best Female Playback Award (Kannada) - "Eradu Jedeyannu"(''Jackie'') 2010: Filmfare Best Female Playback Award (Kannada) - "Yello Jinugiruva"(''Just Math Mathalli'') 2010: Filmfare Best Female Playback Award (Malayalam) - "Manju Mazha Kaattil"(''Aagathan'')

;IIFA Awards

2006: IIFA Best Female Playback Award - "Piyu Bole" (''Parineeta'')

2007: IIFA Best Female Playback Award - "Pal Pal Har Pal" (''Lage Raho Munna Bhai'')

2008: IIFA Best Female Playback Award - "Yeh Ishq Haaye" (''Jab We Met'')

2008: IIFA Best Female Playback Award - "Thode Badmash" (''Saawariya'')

2008: IIFA Best Female Playback Award - "Mere Dholna" (''Bhool Bhulaiyaa'')

2010: IIFA Best Female Playback Award - "Zoobi Doobi" (''3 Idiots'')

2011: IIFA Best Female Playback Award - "Bahara" (''I Hate Luv Storys'')

;Zee Cine Awards ;;Nominated

2007: Star Screen Award Best Female Playback - "O Saathi Re" (''Omkara'')

2008: Star Screen Award Best Female Playback - "Yeh Ishq Hai" (''Jab We Met'')

2009: Star Screen Award Best Female Playback - "Teri Ore" (''Singh Is Kinng'')

2010: Star Screen Award Best Female Playback - "Zoobi Doobi" (''3 Idiots'')

2011: Star Screen Award Best Female Playback - "Noor E Khuda" (''My Name Is Khan'')

;State Film Awards 2009: Apsara Award for Best Female Playback Singer - "Teri Ore" (''Singh Is Kinng'') 2010: Apsara Award for Best Female Playback Singer - "Tujh Mein Rab Dikhta Hai" (''Rab Ne Bana Di Jodi'') ;;Nominated

2005: Apsara Award for Best Female Playback Singer - "Piyu Bole" (''Parineeta'')

2008: Apsara Award for Best Female Playback Singer - "Yeh Ishq Hai" (''Jab We Met'')

2009: Apsara Award for Best Female Playback Singer - "Aahista Aahista" (''Bachna Ae Haseeno'')

2010: Apsara Award for Best Female Playback Singer - "Aaj Dil" (''Blue'')

2011: Apsara Award for Best Female Playback Singer - "Bahara" (''I Hate Luv Storys'')

;Other Awards

2004: Indian Telly Awards - Best Title Singer for a TV Show (Ye Meri Life Hai)

2005: Anandalok Puraskar - Best Playback Singer - (''Manik'')

2005: ETV Bangla Film Awards - Best Playback Singer - Female

2006: Bengal Film Journalists' Association – Best Female Playback Award - ''Shubho Drishti''

2008: Zee Astitva Award - Excellence in Music

2009: Mirchi Music Awards - Female Vocalist of the year (Kannada) - "Na Naguva Modalene" (Manasaare) 2009: Mirchi Music Awards - Female Vocalist of the year (Malayalam) - "Chandhu Thottille" (''Banaras'')

2010: BIG Bangla Music Award - BIG Bangla singer of the year (Female)

2010: Gulf Malayalam Music Award for Best Female Playback Singer - "Anuragavilochananayi" (''Neelathamara'')

2010: Star Anando Sera Bengali Award

2011: Asianet Film Award for Best Female Playback Singer - "Manjumazha" (''Aagathan'') 2011: Kerala Film Critics Award for Best Female Playback Singer - "Manjumazha" (''Aagathan'') 2011: Vijay Award for Best Female Playback Singer - "Mannippaya" (''Vinnaithaandi Varuvaayaa'') 2011: Swaralaya Yesudas Award

;Other Nominated

2006: Global Indian Film Awards for Best Playback Singer (Female) - "O Saathi Re" (''Omkara'')

2007: Global Indian Film Awards for Best Playback Singer (Female) - "Pal Pal Har Pal" (''Lage Raho Munna Bhai'')

2011: The Global Indian Film And Television Honors for Best Playback Singer Female - "Bahara" (''I Hate Luv Storys'')

See also

List of Indian playback singers

References

External links

Shreya dislikes being called 'playback'

Reality shows, all commercial: Shreya Ghoshal

Category:1984 births Category:Living people Category:Indian film singers Category:Indian female singers Category:Bollywood playback singers Category:Tamil playback singers Category:Kannada playback singers Category:Bengali musicians Category:Kollywood playback singers Category:People from Rajasthan Category:Telugu playback singers Category:Malayalam playback singers Category:Sa Re Ga Ma Pa participants Category:Assamese playback singers Category:National Film Award winners Category:Filmfare Awards winners Category:Marathi-language singers Category:Marathi playback singers

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