Coordinates	23°33′″N46°38′″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	23°33′″N46°38′″N
honorific prefix	Prophet
name	Muhammad
honorific suffix	Prophet, Messenger, Apostle, Witness, Bearer of Good Tidings, Warner, Reminder, Caller, Announcer
birth name	Muḥammad ibn `Abd Allāh
birth date	c. April 26, 570
birth place	Makkah, Arabia (present day Mecca, Makkah Province, Saudi Arabia)
death date	June 08, 632
death place	Yathrib, Arabia (present day Medina, Hejaz, Saudi Arabia)
death cause	Illness (high fever)
resting place	Tomb under the Green Dome of Al-Masjid al-Nabawi in Medina, Hejaz, Saudi Arabia
other names	See ''Names of Muhammad''
ethnicity	Arab
religion	Islam
spouse	Wives: Khadijah bint Khuwaylid (595-619)Sawda bint Zamʿa (619-632)Aisha bint Abi Bakr (619-632)Hafsa bint Umar (624-632)Zaynab bint Khuzayma (625-627)Hind bint Abi Umayya (629-632)Zaynab bint Jahsh (627-632)Juwayriya bint al-Harith (628-632)Ramlah bint Abi Sufyan (628-632)Rayhana bint Zayd (629-631)Safiyya bint Huyayy (629-632)Maymuna bint al-Harith (630-632)Maria al-Qibtiyya (630-632)
parents	Father: `Abd Allah ibn `Abd al-MuttalibMother: Aminah bint Wahb
children	Sons: al-Qasim, `Abd-Allah, IbrahimDaughters: Zainab, Ruqayyah, Umm Kulthoom, Fatimah Zahra
relatives	Ahl al-Bayt }}

Muhammad ( or ; , '''' ; 26 April 570 – 8 June 632; Monday, 12th Rabi' al-Awwal, Year 11 A.H.; also transliterated Mohammed or ), sometimes called Muhammad ibn Abdullah, was the founder of the religion of Islam, and is considered by Muslims to be a messenger and prophet of God, the last law-bearer in a series of Islamic prophets, and, by most Muslims, the last prophet of God as taught by the Quran. Muslims thus consider him the restorer of an uncorrupted original monotheistic faith (''islām'') of Adam, Noah, Abraham, Moses, Jesus and other prophets. He was also active as a social reformer, diplomat, merchant, philosopher, orator, legislator, military leader, humanitarian and philanthropist.

Born in 570 in the Arabian city of Mecca, he was orphaned at an early age and brought up under the care of his uncle Abu Talib. He later worked mostly as a merchant, as well as a shepherd, and was first married by age 25. Discontented with life in Mecca, he retreated to a cave in the surrounding mountains for meditation and reflection. According to Islamic beliefs it was here, at age 40, in the month of Ramadan, where he received his first revelation from God. Three years after this event Muhammad started preaching these revelations publicly, proclaiming that "God is One", that complete "surrender" to Him (lit. ''islām'') is the only way (''dīn'') acceptable to God, and that he himself was a prophet and messenger of God, in the same vein as other Islamic prophets.

Muhammad gained few followers early on, and was met with hostility from some Meccan tribes; he and his followers were treated harshly. To escape persecution, Muhammad sent some of his followers to Abyssinia before he and his remaining followers in Mecca migrated to Medina (then known as Yathrib) in the year 622. This event, the Hijra, marks the beginning of the Islamic calendar, which is also known as the Hijri Calendar. In Medina, Muhammad united the conflicting tribes, and after eight years of fighting with the Meccan tribes, his followers, who by then had grown to 10,000, conquered Mecca. In 632, a few months after returning to Medina from his Farewell pilgrimage, Muhammad fell ill and died. By the time of his death, most of the Arabian Peninsula had converted to Islam, and he had united the tribes of Arabia into a single Muslim religious polity.

The revelations (or ''Ayah'', lit. "Signs of God")—which Muhammad reported receiving until his death—form the verses of the Quran, regarded by Muslims as the “Word of God” and around which the religion is based. Besides the Qur'an, Muhammad’s life (''sira'') and traditions (''sunnah'') are also upheld by Muslims. They discuss Muhammad and other prophets of Islam with reverence, adding the phrase ''peace be upon him'' whenever their names are mentioned. While conceptions of Muhammad in medieval Christendom and premodern times were largely negative, appraisals in modern history have been far less so. His life and deeds have been debated and criticized by followers and opponents over the centuries.

Names and appellations in the Quran

The name ''Muhammad'' means "Praiseworthy" and occurs four times in the Quran. The Quran addresses Muhammad in the second person not by his name but by the appellations prophet, messenger, servant of God ('''abd''), announcer (''bashir''), witness (''shahid''), bearer of good tidings (''mubashshir''), warner (''nathir''), reminder (''mudhakkir''), one who calls [unto God] (''dā‘ī''), light personified (''noor''), and the light-giving lamp (''siraj munir''). Muhammad is sometimes addressed by designations deriving from his state at the time of the address: thus he is referred to as the enwrapped (''al-muzzammil'') in Qur'an and the shrouded (''al-muddaththir'') in Qur'an . In the Qur'an, believers are not to distinguish between the messengers of God and are to believe in all of them (Sura Al-Baqara ). God has caused some messengers to excel above others and in Sura Al-Ahzab He singles out Muhammad as the "Seal of the Prophets". The Qur'an also refers to Muhammad as ''Aḥmad'' "more praiseworthy" (, Sura As-Saff ).

Sources for Muhammad's life

Being a highly influential historical figure, Muhammad's life, deeds, and thoughts have been debated by followers and opponents over the centuries, which makes a biography of him difficult to write.

Quran

The Quran is the primary source of information for Islam. It is the central religious text of Islam and Muslims believe it represents the words of God revealed to Muhammad through Gabriel. Although it mentions Muhammad directly only four times, verses can be interpreted as allusions to Muhammad's life.

Early biographies

Next in importance are historical works by writers of the 3rd and 4th centuries of the Muslim era. These include the traditional Muslim biographies of Muhammad (the ''sira'' literature), which provide further information on Muhammad's life.

The earliest surviving written ''sira'' (biographies of Muhammad and quotes attributed to him) is Ibn Ishaq's ''Life of God's Messenger'' written ca. 767 (150 AH). The work is lost, but was used verbatim at great length by Ibn Hisham and Al-Tabari. Another early source is the history of Muhammad's campaigns by al-Waqidi (death 207 of Muslim era), and the work of his secretary Ibn Sa'd al-Baghdadi (death 230 of Muslim era).

Many scholars accept the accuracy of the earliest biographies, though their accuracy is unascertainable. Recent studies have led scholars to distinguish between the traditions touching legal matters and the purely historical ones. In the former sphere, traditions could have been subject to invention while in the latter sphere, aside from exceptional cases, the material may have been only subject to "tendential shaping".

Hadith

In addition, the hadith collections are accounts of the verbal and physical traditions of Muhammad that date from several generations after his death. Hadith compilations are records of the traditions or sayings of Muhammad. They might be defined as the biography of Muhammad perpetuated by the long memory of his community for their exemplification and obedience.

Western academics view the hadith collections with caution as accurate historical sources. Although usually discounted by historians, oral tradition plays a major role in the Islamic understanding of Muhammad.

Non-Arabic sources

The earliest documented Christian knowledge of Muhammad stems from Byzantine sources. They indicate that both Jews and Christians saw Muhammad as a deceiving prophet, or at least certain circles did. In the ''Doctrina Jacobi nuper baptizati'' of 634, Muhammad is portrayed as being "deceiving[,] for do prophets come with sword and chariot?, [...] you will discover nothing true from the said prophet except human bloodshed." Another Greek source for Muhammad is the 9th-century writer Theophanes. The earliest Syriac source is the 7th-century writer John bar Penkaye.

Pre-Islamic Arabia

The Arabian Peninsula was largely arid and volcanic, making agriculture difficult except near oases or springs. The landscape was thus dotted with towns and cities, two prominent ones being Mecca and Medina. Medina was a large flourishing agricultural settlement, while Mecca was an important financial center for many surrounding tribes. Communal life was essential for survival in the desert conditions, as people needed support against the harsh environment and lifestyle. Tribal grouping was encouraged by the need to act as a unit, this unity being based on the bond of kinship by blood. Indigenous Arabs were either nomadic or sedentary, the former constantly travelling from one place to another seeking water and pasture for their flocks, while the latter settled and focused on trade and agriculture. Nomadic survival was also dependent on raiding caravans or oases, the nomads not viewing this as a crime.

In pre-Islamic Arabia, gods or goddesses were viewed as protectors of individual tribes, their spirits being associated with sacred trees, stones, springs and wells. As well as being the site of an annual pilgrimage, the Kaaba shrine in Mecca housed 360 idol statues of tribal patron deities. Aside from these gods, the Arabs shared a common belief in a supreme deity called Allah (literally "the god"), who was remote from their everyday concerns and thus not the object of cult or ritual. Three goddesses were associated with Allah as his daughters: Allāt, Manāt and al-‘Uzzá. Monotheistic communities existed in Arabia, including Christians and Jews. Hanifs – native pre-Islamic Arab monotheists – are also sometimes listed alongside Jews and Christians in pre-Islamic Arabia, although their historicity is disputed amongst scholars. According to Muslim tradition, Muhammad himself was a Hanif and one of the descendants of Ishmael, son of Abraham.

Life

Life in Mecca

Muhammad was born and lived in Mecca for the first 52 years of his life (570–622) which was divided into two phases, that is before and after declaring the prophecy.

Childhood and early life

Muhammad was born in the month of Rabi' al-awwal in 570. He belonged to the Banu Hashim, one of the prominent families of Mecca, although it seems not to have been prosperous during Muhammad's early lifetime. Tradition places the year of Muhammad's birth as corresponding with the Year of the Elephant, which is named after the failed destruction of Mecca that year by the Aksumite king Abraha who had in his army a number of elephants. Recent scholarship has suggested alternative dates for this event, such as 568 or 569.

Muhammad's father, Abdullah, died almost six months before he was born. According to the tradition, soon after Muhammad's birth he was sent to live with a Bedouin family in the desert, as the desert-life was considered healthier for infants. Muhammad stayed with his foster-mother, Halimah bint Abi Dhuayb, and her husband until he was two years old. Some western scholars of Islam have rejected the historicity of this tradition. At the age of six Muhammad lost his mother Amina to illness and he became fully orphaned. He was subsequently brought up for two years under the guardianship of his paternal grandfather Abd al-Muttalib, of the Banu Hashim clan of the Quraysh tribe. When Muhammad was eight, his grandfather also died. He now came under the care of his uncle Abu Talib, the new leader of Banu Hashim. According to Watt, because of the general disregard of the guardians in taking care of weak members of the tribes in Mecca in the 6th century, "Muhammad's guardians saw that he did not starve to death, but it was hard for them to do more for him, especially as the fortunes of the clan of Hashim seem to have been declining at that time."

While still in his teens, Muhammad accompanied his uncle on trading journeys to Syria gaining experience in the commercial trade, the only career open to Muhammad as an orphan. According to tradition, when Muhammad was either nine or twelve while accompanying the Meccans' caravan to Syria, he met a Christian monk or hermit named Bahira who is said to have foreseen Muhammed's career as a prophet of God.

Little is known of Muhammad during his later youth, and from the fragmentary information that is available, it is hard to separate history from legend. It is known that he became a merchant and "was involved in trade between the Indian ocean and the Mediterranean Sea." Due to his upright character he acquired the nickname "al-Amin" (Arabic: الامين), meaning "faithful, trustworthy" and "al-Sadiq" meaning "truthful" and was sought out as an impartial arbitrator. His reputation attracted a proposal from Khadijah, a forty-year-old widow in 595. Muhammad consented to the marriage, which by all accounts was a happy one.

According to a narration collected by Ibn Ishaq, Muhammad set the Black Stone in place in the wall of the Kaaba in 605 C.E. The Black Stone had been removed to facilitate renovations to the Kaaba. The leaders of Mecca could not agree on which clan should have the honour of setting the Black Stone back in its place. They agreed to wait for the next man to come through the gate and ask him to choose. That man was the 35-year-old Muhammad, five years before his first revelation. He asked for a cloth and put the Black Stone in its centre. The clan leaders held the corners of the cloth and carried the Black Stone to the right spot, then Muhammad set the stone in place, satisfying the honour of all.

Beginnings of the Quran

At some point Muhammad adopted the practice of meditating alone for several weeks every year in a cave on Mount Hira near Mecca. Islamic tradition holds that during one of his visits to Mount Hira, the angel Gabriel appeared to him in the year 610 and commanded Muhammad to recite the following verses: }} After returning home, Muhammad was consoled and reassured by Khadijah and her Christian cousin, Waraqah ibn Nawfal. Upon receiving his first revelations, he was deeply distressed and resolved to commit suicide. He also feared that others would dismiss his claims as being possessed. Shi'a tradition maintains that Muhammad was neither surprised nor frightened at the appearance of Gabriel but rather welcomed him as if he had been expecting him. The initial revelation was followed by a pause of three years during which Muhammad further gave himself to prayers and spiritual practices. When the revelations resumed he was reassured and commanded to begin preaching: "Thy Guardian-Lord hath not forsaken thee, nor is He displeased.".

Sahih Bukhari narrates Muhammad describing the revelations as, "Sometimes it is (revealed) like the ringing of a bell" and Aisha reported, "I saw the Prophet being inspired Divinely on a very cold day and noticed the sweat dropping from his forehead (as the Inspiration was over)". According to Welch these revelations were accompanied by mysterious seizures, and the reports are unlikely to have been forged by later Muslims. Muhammad was confident that he could distinguish his own thoughts from these messages. According to the Quran, one of the main roles of Muhammad is to warn the unbelievers of their eschatological punishment (Quran , Quran ). Sometimes the Quran does not explicitly refer to the Judgment day but provides examples from the history of some extinct communities and warns Muhammad's contemporaries of similar calamities (Quran ). Muhammad is not only a warner to those who reject God's revelation, but also a bearer of good news for those who abandon evil, listen to the divine word and serve God. Muhammad's mission also involves preaching monotheism: The Quran demands Muhammad to proclaim and praise the name of his Lord and instructs him not to worship idols or associate other deities with God.

The key themes of the early Quranic verses included the responsibility of man towards his creator; the resurrection of dead, God's final judgment followed by vivid descriptions of the tortures in hell and pleasures in Paradise; and the signs of God in all aspects of life. Religious duties required of the believers at this time were few: belief in God, asking for forgiveness of sins, offering frequent prayers, assisting others particularly those in need, rejecting cheating and the love of wealth (considered to be significant in the commercial life of Mecca), being chaste and not to kill newborn girls.

Opposition

According to Muslim tradition, Muhammad's wife Khadija was the first to believe he was a prophet. She was soon followed by Muhammad's ten-year-old cousin Ali ibn Abi Talib, close friend Abu Bakr, and adopted son Zaid. Around 613, Muhammad began his public preaching (Qur'an ). Most Meccans ignored him and mocked him, while a few others became his followers. There were three main groups of early converts to Islam: younger brothers and sons of great merchants; people who had fallen out of the first rank in their tribe or failed to attain it; and the weak, mostly unprotected foreigners.

According to Ibn Sad, the opposition in Mecca started when Muhammad delivered verses that condemned idol worship and the Meccan forefathers who engaged in polytheism. However, the Qur'anic exegesis maintains that it began as soon as Muhammad started public preaching. As the number of followers increased, he became a threat to the local tribes and the rulers of the city, whose wealth rested upon the Kaaba, the focal point of Meccan religious life, which Muhammad threatened to overthrow. Muhammad’s denunciation of the Meccan traditional religion was especially offensive to his own tribe, the Quraysh, as they were the guardians of the Ka'aba. The powerful merchants tried to convince Muhammad to abandon his preaching by offering him admission into the inner circle of merchants, and establishing his position therein by an advantageous marriage. However, he refused.

Tradition records at great length the persecution and ill-treatment of Muhammad and his followers. Sumayyah bint Khabbab, a slave of a prominent Meccan leader Abu Jahl, is famous as the first martyr of Islam, having been killed with a spear by her master when she refused to give up her faith. Bilal, another Muslim slave, was tortured by Umayyah ibn Khalaf who placed a heavy rock on his chest to force his conversion. Apart from insults, Muhammad was protected from physical harm as he belonged to the Banu Hashim clan.

In 615, some of Muhammad's followers emigrated to the Ethiopian Aksumite Empire and founded a small colony there under the protection of the Christian Ethiopian emperor Aṣḥama ibn Abjar.

An early hadith known as "The Story of the Cranes" (translation: قصة الغرانيق, transliteration: Qissat al Gharaneeq) was propagated by two Islamic scholars, Ibn Kathir al Dimashqi and Ibn Hijir al Masri, where the former has strengthened it and the latter called it fabricated (see Science of hadith). The hadith describes Muhammad's involvement at the time of migration in an episode which historian William Muir called the "Satanic Verses". The account holds that Muhammad pronounced a verse acknowledging the existence of three Meccan goddesses considered to be the daughters of Allah, praising them, and appealing for their intercession. According to this account, Muhammad later retracted the verses at the behest of Gabriel, claiming that the verses were whispered by the devil himself. Islamic scholars have weakened the hadith and have denied the historicity of the incident as early as the tenth century. In any event, relations between the Muslims and their pagan fellow-tribesmen were already deteriorated and worsening.

In 617, the leaders of Makhzum and Banu Abd-Shams, two important Quraysh clans, declared a public boycott against Banu Hashim, their commercial rival, to pressurize it into withdrawing its protection of Muhammad. The boycott lasted three years but eventually collapsed as it failed in its objective. During this, Muhammad was only able to preach during the holy pilgrimage months in which all hostilities between Arabs were suspended.

Isra and Mi'raj

Islamic tradition relates that in 620, Muhammad experienced the ''Isra and Mi'raj'', a miraculous journey said to have occurred with the angel Gabriel in one night. In the first part of the journey, the ''Isra'', he is said to have travelled from Mecca on a winged horse to "the farthest mosque" (in Arabic: ''masjid al-aqsa''), which Muslims usually identify with the Al-Aqsa Mosque in Jerusalem. In the second part, the ''Mi'raj'', Muhammad is said to have toured heaven and hell, and spoken with earlier prophets, such as Abraham, Moses, and Jesus. Ibn Ishaq, author of the first biography of Muhammad, presents this event as a spiritual experience whereas later historians like Al-Tabari and Ibn Kathir present it as a physical journey.

When he was transported to Heaven, he reported seeing an angel with "''70,000 heads, each head having 70,000 mouths, each mouth having 70,000 tongues, each tongue speaking 70,000 languages; and every one involved in singing God's (Allah's) praises.''" After calculation this would mean the angel spoke 24 quintillion (2.401 × 10¹⁹) languages for the praise of Allah. This description is similar word for word to the description of an angel seen by Moses in "The Revelation of Moses".

Some western scholars of Islam hold that the oldest Muslim tradition identified the journey as one traveled through the heavens from the sacred enclosure at Mecca to the celestial ''al-Baytu l-Maʿmur'' (heavenly prototype of the Kaaba); but later tradition identified Muhammad's journey from Mecca to Jerusalem.

Last years in Mecca before Hijra

Muhammad's wife Khadijah and his uncle Abu Talib both died in 619, the year thus being known as the "year of sorrow". With the death of Abu Talib, the leadership of the Banu Hashim clan was passed to Abu Lahab, an inveterate enemy of Muhammad. Soon afterwards, Abu Lahab withdrew the clan's protection from Muhammad. This placed Muhammad in danger of death since the withdrawal of clan protection implied that the blood revenge for his killing would not be exacted. Muhammad then visited Ta'if, another important city in Arabia, and tried to find a protector for himself there, but his effort failed and further brought him into physical danger. Muhammad was forced to return to Mecca. A Meccan man named Mut'im b. Adi (and the protection of the tribe of Banu Nawfal) made it possible for him safely to re-enter his native city.

Many people were visiting Mecca on business or as pilgrims to the Kaaba. Muhammad took this opportunity to look for a new home for himself and his followers. After several unsuccessful negotiations, he found hope with some men from Yathrib (later called Medina). The Arab population of Yathrib were familiar with monotheism and prepared for the appearance of a prophet because a Jewish community existed there. They also hoped by the means of Muhammad and the new faith to gain supremacy over Mecca, as they were jealous of its importance as the place of pilgrimage. Converts to Islam came from nearly all Arab tribes in Medina, such that by June of the subsequent year there were seventy-five Muslims coming to Mecca for pilgrimage and to meet Muhammad. Meeting him secretly by night, the group made what was known as the "''Second Pledge of al-`Aqaba''", or the "''Pledge of War''" Following the pledges at Aqabah, Muhammad encouraged his followers to emigrate to Yathrib. As with the migration to Abyssinia, the Quraysh attempted to stop the emigration. However, almost all Muslims managed to leave.

Hijra

The Hijra is the migration of Muhammad and his followers from Mecca to Medina in 622 CE. In September 622, warned of a plot to assassinate him, Muhammad secretly slipped out of Mecca, moving with his followers to Medina, 320 kilometres (200 mi) north of Mecca. The Hijra is celebrated annually on the first day of the Muslim year.

Migration to Medina

A delegation consisting of the representatives of the twelve important clans of Medina, invited Muhammad as a neutral outsider to Medina to serve as chief arbitrator for the entire community. There was fighting in Yathrib mainly involving its Arab and Jewish inhabitants for around a hundred years before 620. The recurring slaughters and disagreements over the resulting claims, especially after the Battle of Bu'ath in which all clans were involved, made it obvious to them that the tribal conceptions of blood-feud and an eye for an eye were no longer workable unless there was one man with authority to adjudicate in disputed cases. The delegation from Medina pledged themselves and their fellow-citizens to accept Muhammad into their community and physically protect him as one of themselves.

Muhammad instructed his followers to emigrate to Medina until virtually all his followers left Mecca. Being alarmed at the departure of Muslims, according to the tradition, the Meccans plotted to assassinate Muhammad. With the help of Ali, Muhammad fooled the Meccans who were watching him, and secretly slipped away from the town with Abu Bakr. By 622, Muhammad emigrated to Medina, a large agricultural oasis. Those who migrated from Mecca along with Muhammad became known as ''muhajirun'' (emigrants).

Establishment of a new polity

Among the first things Muhammad did in order to settle down the longstanding grievances among the tribes of Medina was drafting a document known as the Constitution of Medina, "establishing a kind of alliance or federation" among the eight Medinan tribes and Muslim emigrants from Mecca, which specified the rights and duties of all citizens and the relationship of the different communities in Medina (including that of the Muslim community to other communities, specifically the Jews and other "Peoples of the Book"). The community defined in the Constitution of Medina, ''Ummah'', had a religious outlook but was also shaped by practical considerations and substantially preserved the legal forms of the old Arab tribes. It effectively established the first Islamic state.

Several ordinances were proclaimed in order to win over the numerous and wealthy Jewish population. But these were soon rescinded as the Jews insisted on preserving the entire Mosaic law, and did not recognize him as a prophet because he was not of the race of David.

The first group of pagan converts to Islam in Medina were the clans who had not produced great leaders for themselves but had suffered from warlike leaders from other clans. This was followed by the general acceptance of Islam by the pagan population of Medina, apart from some exceptions. According to Ibn Ishaq, this was influenced by the conversion of Sa'd ibn Mu'adh (a prominent Medinan leader) to Islam. Those Medinans who converted to Islam and helped the Muslim emigrants find shelter became known as the ''ansar'' (supporters). Then Muhammad instituted brotherhood between the emigrants and the supporters and he chose Ali as his own brother.

Beginning of armed conflict

Following the emigration, the Meccans seized the properties of the Muslim emigrants in Mecca. Economically uprooted and with no available profession, the Muslim migrants turned to raiding Meccan caravans as an act of war, deliberately initiating armed conflict between the Muslims and Mecca. Muhammad delivered Qur'anic verses permitting the Muslims to fight the Meccans (see sura Al-Hajj, Qur'an ). These attacks pressured Mecca by interfering with trade, and allowed the Muslims to acquire wealth, power and prestige while working towards their ultimate goal of inducing Mecca's submission to the new faith.

In March of 624, Muhammad led some three hundred warriors in a raid on a Meccan merchant caravan. The Muslims set an ambush for them at Badr. Aware of the plan, the Meccan caravan eluded the Muslims. Meanwhile, a force from Mecca was sent to protect the caravan, continuing forward to confront the Muslims upon hearing that the caravan was safe. The Battle of Badr began in March of 624. Though outnumbered more than three to one, the Muslims won the battle, killing at least forty-five Meccans with only fourteen Muslims dead. They also succeeded in killing many Meccan leaders, including Abu Jahl. Seventy prisoners had been acquired, many of whom were soon ransomed in return for wealth or freed. Muhammad and his followers saw in the victory a confirmation of their faith as Muhammad ascribed the victory to the assistance of an invisible host of angels. The Qur'anic verses of this period, unlike the Meccan ones, dealt with practical problems of government and issues like the distribution of spoils.

The victory strengthened Muhammad's position in Medina and dispelled earlier doubts among his followers. As a result the opposition to him became less vocal. Pagans who had not yet converted were very bitter about the advance of Islam. Two pagans, Asma bint Marwan and Abu 'Afak, had composed verses taunting and insulting the Muslims. They were killed by people belonging to their own or related clans, and no blood-feud followed.

Muhammad expelled from Medina the Banu Qaynuqa, one of three main Jewish tribes. Although Muhammad wanted them executed, Abd-Allah ibn Ubaiy chief of the Khazraj tribe did not agree and they were expelled to Syria but without their property. Following the Battle of Badr, Muhammad also made mutual-aid alliances with a number of Bedouin tribes to protect his community from attacks from the northern part of Hijaz.

Conflict with Mecca

The attack at Badr committed Muhammad to total war with Meccans, who were now anxious to avenge their defeat. To maintain their economic prosperity, the Meccans needed to restore their prestige, which had been lost at Badr. In the ensuing months, Muhammad led expeditions on tribes allied with Mecca and sent out a raid on a Meccan caravan. Abu Sufyan subsequently gathered an army of three thousand men and set out for an attack on Medina.

A scout alerted Muhammad of the Meccan army's presence and numbers a day later. The next morning, at the Muslim conference of war, there was dispute over how best to repel the Meccans. Muhammad and many senior figures suggested that it would be safer to fight within Medina and take advantage of its heavily fortified strongholds. Younger Muslims argued that the Meccans were destroying their crops, and that huddling in the strongholds would destroy Muslim prestige. Muhammad eventually conceded to the wishes of the latter, and readied the Muslim force for battle. Thus, Muhammad led his force outside to the mountain of Uhud (where the Meccans had camped) and fought the Battle of Uhud on March 23. Although the Muslim army had the best of the early encounters, indiscipline on the part of strategically placed archers led to a Muslim defeat, with 75 Muslims killed including Hamza, Muhammad's uncle and one of the best known martyrs in the Muslim tradition. The Meccans did not pursue the Muslims further, but marched back to Mecca declaring victory. This is probably because Muhammad was wounded and thought to be dead. When they knew this on their way back, they did not return back because of false information about new forces coming to his aid. They were not entirely successful, however, as they had failed to achieve their aim of completely destroying the Muslims. The Muslims buried the dead, and returned to Medina that evening. Questions accumulated as to the reasons for the loss, and Muhammad subsequently delivered Qur'anic verses which indicated that their defeat was partly a punishment for disobedience and partly a test for steadfastness.

Abu Sufyan now directed his efforts towards another attack on Medina. He attracted the support of nomadic tribes to the north and east of Medina, using propaganda about Muhammad's weakness, promises of booty, memories of the prestige of the Quraysh and use of bribes. Muhammad's policy was now to prevent alliances against him as much as he could. Whenever alliances of tribesmen against Medina were formed, he sent out an expedition to break them up. When Muhammad heard of men massing with hostile intentions against Medina, he reacted with severity. One example is the assassination of Ka'b ibn al-Ashraf, a chieftain of the Jewish tribe of Banu Nadir who had gone to Mecca and written poems that helped rouse the Meccans' grief, anger and desire for revenge after the Battle of Badr. Around a year later, Muhammad expelled the Banu Nadir from Medina to Syria allowing them to take some of their possessions because he was unable to subdue them in their strongholds. The rest of their property was claimed by Muhammad in the name of God because it was not gained with bloodshed. Muhammad surprised various Arab tribes, one by one, with overwhelming force which caused his enemies to unite in order to annihilate him. Muhammad's attempts to prevent formation of a confederation against him were unsuccessful, though he was able to increase his own forces and stop many potential tribes from joining his enemies.

Siege of Medina

With the help of the exiled Banu Nadir, the Quraysh military leader Abu Sufyan had mustered a force of 10,000 men. Muhammad prepared a force of about 3000 men and adopted a new form of defense unknown in Arabia at that time: the Muslims dug a trench wherever Medina lay open to cavalry attack. The idea is credited to a Persian convert to Islam, Salman the Persian. The siege of Medina began on March 31 627 and lasted for two weeks. Abu Sufyan's troops were unprepared for the fortifications they were confronted with, and after an ineffectual siege lasting several weeks, the coalition decided to go home. The Qur'an discusses this battle in sura Al-Ahzab, ayat (verses) 9-27, . During the battle, the Jewish tribe of Banu Qurayza, located at the south of Medina, had entered into negotiations with Meccan forces to revolt against Muhammad. Although they were swayed by suggestions that Muhammad was sure to be overwhelmed, they desired reassurance in case the confederacy was unable to destroy him. No agreement was reached after the prolonged negotiations, in part due to sabotage attempts by Muhammad's scouts. After the coalition's retreat, the Muslims accused the Banu Qurayza of treachery and besieged them in their forts for 25 days. The Banu Qurayza eventually surrendered and all the men, apart from a few who converted to Islam, were beheaded, while the women and children were enslaved. Walid N. Arafat and Barakat Ahmad have disputed that the Banu Qurayza were killed on quite such a large scale. Arafat disputes large-scale killings and argued that Ibn Ishaq gathered information from descendants of the Qurayza Jews, who embellished or manufactured the details of the incident. Arafat relates the testimony of Ibn Hajar, who denounced this and other accounts as "odd tales" and quoted Malik ibn Anas, a contemporary of Ibn Ishaq, whom he rejected as a "liar", an "impostor" and for seeking out the Jewish descendants for gathering information about Muhammad's campaign with their forefathers. Ahmad argues that only some of the tribe were killed, while some of the fighters were merely enslaved. Watt finds Arafat's arguments "not entirely convincing", while Meir J. Kister has contradicted the arguments of Arafat and Ahmad.

In the siege of Medina, the Meccans exerted their utmost strength towards the destruction of the Muslim community. Their failure resulted in a significant loss of prestige; their trade with Syria was gone. Following the Battle of the Trench, due to the disgrace Muhammad brought upon himself by seeking protection behind a ditch instead of the his sword and the help of God, he made two expeditions to the north which ended without any fighting. While returning from one of these (or some years earlier according to other early accounts), an accusation of adultery was made against Aisha, Muhammad's wife. Aisha was exonerated from the accusations when Muhammad announced that he had received a revelation confirming Aisha's innocence and directing that charges of adultery be supported by four eyewitnesses.

Truce of Hudaybiyyah

Although Muhammad had already delivered Qur'anic verses commanding the Hajj, the Muslims had not performed it due to the enmity of the Quraysh. In the month of Shawwal 628, Muhammad ordered his followers to obtain sacrificial animals and to make preparations for a pilgrimage (''umrah'') to Mecca, saying that God had promised him the fulfillment of this goal in a vision where he was shaving his head after the completion of the Hajj. Upon hearing of the approaching 1,400 Muslims, the Quraysh sent out a force of 200 cavalry to halt them. Muhammad evaded them by taking a more difficult route, thereby reaching al-Hudaybiyya, just outside of Mecca. According to Watt, although Muhammad's decision to make the pilgrimage was based on his dream, he was at the same time demonstrating to the pagan Meccans that Islam does not threaten the prestige of their sanctuary, and that Islam was an Arabian religion.

Negotiations commenced with emissaries going to and from Mecca. While these continued, rumors spread that one of the Muslim negotiators, Uthman bin al-Affan, had been killed by the Quraysh. Muhammad responded by calling upon the pilgrims to make a pledge not to flee (or to stick with Muhammad, whatever decision he made) if the situation descended into war with Mecca. This pledge became known as the "Pledge of Acceptance" () or the "Pledge under the Tree". News of Uthman's safety, however, allowed for negotiations to continue, and a treaty scheduled to last ten years was eventually signed between the Muslims and Quraysh. The main points of the treaty included the cessation of hostilities; the deferral of Muhammad's pilgrimage to the following year; and an agreement to send back any Meccan who had gone to Medina without the permission of their protector.

Many Muslims were not satisfied with the terms of the treaty. However, the Qur'anic sura "Al-Fath" (The Victory) (Qur'an ) assured the Muslims that the expedition from which they were now returning must be considered a victorious one. It was only later that Muhammad's followers would realise the benefit behind this treaty. These benefits included the inducing of the Meccans to recognise Muhammad as an equal; a cessation of military activity posing well for the future; and gaining the admiration of Meccans who were impressed by the incorporation of the pilgrimage rituals.

After signing the truce, Muhammad made an expedition against the Jewish oasis of Khaybar, known as the Battle of Khaybar. This was possibly due to it housing the Banu Nadir, who were inciting hostilities against Muhammad, or to regain some prestige to deflect from what appeared to some Muslims as the inconclusive result of the truce of Hudaybiyya. According to Muslim tradition, Muhammad also sent letters to many rulers of the world, asking them to convert to Islam (the exact date is given variously in the sources). Hence he sent messengers (with letters) to Heraclius of the Byzantine Empire (the eastern Roman Empire), Khosrau of Persia, the chief of Yemen and to some others. In the years following the truce of Hudaybiyya, Muhammad sent his forces against the Arabs on Transjordanian Byzantine soil in the Battle of Mu'tah, in which the Muslims were defeated.

Final years

Conquest of Mecca

The truce of Hudaybiyyah had been enforced for two years. The tribe of Banu Khuza'a had good relations with Muhammad, whereas their enemies, the Banu Bakr, had an alliance with the Meccans. A clan of the Bakr made a night raid against the Khuza'a, killing a few of them. The Meccans helped the Banu Bakr with weapons and, according to some sources, a few Meccans also took part in the fighting. After this event, Muhammad sent a message to Mecca with three conditions, asking them to accept one of them. These were that either the Meccans paid blood money for those slain among the Khuza'ah tribe; or, that they should disavow themselves of the Banu Bakr; or, that they should declare the truce of Hudaybiyyah null.

The Meccans replied that they would accept only the last condition. However, soon they realized their mistake and sent Abu Sufyan to renew the Hudaybiyyah treaty, but now his request was declined by Muhammad.

Muhammad began to prepare for a campaign. In 630, Muhammad marched on Mecca with an enormous force, said to number more than ten thousand men. With minimal casualties, Muhammad took control of Mecca. He declared an amnesty for past offences, except for ten men and women who had mocked and ridiculed him in songs and verses. Some of these were later pardoned. Most Meccans converted to Islam and Muhammad subsequently destroyed all the statues of Arabian gods in and around the Kaaba. The Qur'an discusses the conquest of Mecca.

Conquest of Arabia

Soon after the conquest of Mecca, Muhammad was alarmed by a military threat from the confederate tribes of Hawazin who were collecting an army twice the size of Muhammad's. The Banu Hawazin were old enemies of the Meccans. They were joined by the Banu Thaqif (inhabiting the city of Ta'if) who adopted an anti-Meccan policy due to the decline of the prestige of Meccans. Muhammad defeated the Hawazin and Thaqif tribes in the Battle of Hunayn.

In the same year, Muhammad made the expedition of Tabuk against northern Arabia because of their previous defeat at the Battle of Mu'tah as well as reports of the hostile attitude adopted against Muslims. With the greatest difficulty he collected thirty thousand men, half of whom, however, on the second day after their departure from Mecca, returned with Abd-Allah ibn Ubayy, untroubled by the damning verses which Muhammad hurled at them. Although Muhammad did not make contact with hostile forces at Tabuk, he received the submission of some local chiefs of the region.

A year after the Battle of Tabuk, the Banu Thaqif sent emissaries to Medina to surrender to Muhammad and adopt Islam. Many bedouins submitted to Muhammad in order to be safe against his attacks and to benefit from the booties of the wars. However, the bedouins were alien to the system of Islam and wanted to maintain their independence, their established code of virtue and their ancestral traditions. Muhammad thus required of them a military and political agreement according to which they "acknowledge the suzerainty of Medina, to refrain from attack on the Muslims and their allies, and to pay the Zakat, the Muslim religious levy."

Farewell pilgrimage and death

At the end of the tenth year after the migration to Medina, Muhammad carried through his first truly Islamic pilgrimage, thereby teaching his followers the rites of the annual Great Pilgrimage (Hajj). After completing the pilgrimage, Muhammad delivered a famous speech known as The Farewell Sermon. In this sermon, Muhammad advised his followers not to follow certain pre-Islamic customs such as adding intercalary months to align the lunar calendar with the solar calendar. Muhammad abolished all old blood feuds and disputes based on the former tribal system and asked for all old pledges to be returned as implications of the creation of the new Islamic community. Commenting on the vulnerability of women in his society, Muhammed asked his male followers to “Be good to women; for they are powerless captives (awan) in your households. You took them in God’s trust, and legitimated your sexual relations with the Word of God, so come to your senses people, and hear my words ...”. He also told them that they were entitled to discipline their wives but should do so with kindness. Muhammad also addressed the issue of inheritance by forbidding false claims of paternity or of a client relationship to the deceased and also forbidding his followers to leave their wealth to a testamentary heir. He also upheld the sacredness of four lunar months in each year. According to Sunni tafsir, the following Qur'anic verse was delivered in this incident: “Today I have perfected your religion, and completed my favours for you and chosen Islam as a religion for you.”(Qur'an 5:3) According to Shia tafsir, it refers to appointment of Ali ibn Abi Talib at the pond of Khumm as Muhammad's successor, this occurring a few days later when Muslims were returning from Mecca to Medina.

A few months after the farewell pilgrimage, Muhammad fell ill and suffered for several days with a fever, head pain and weakness. He died on Monday, June 8, 632, in Medina, at the age of 63. With his head resting on Aisha's lap he murmured his final words soon after asking her to dispose of his last worldly goods, which were seven coins: He is buried where he died, which was in Aisha's house and is now housed within the Mosque of the Prophet in the city of Medina. Next to Muhammad's tomb, there is another empty tomb that Muslims believe awaits Jesus.

Aftermath

Muhammad united the tribes of Arabia into a single Arab Muslim religious polity in the last years of his life. With Muhammad's death, disagreement broke out over who would succeed him as leader of the Muslim community. Umar ibn al-Khattab, a prominent companion of Muhammad, nominated Abu Bakr, Muhammad's friend and collaborator. Others added their support and Abu Bakr was made the first caliph. This choice was disputed by some of Muhammad's companions, who held that Ali ibn Abi Talib, his cousin and son-in-law, had been designated the successor by Muhammad at Ghadir Khumm. Abu Bakr's immediate task was to make an expedition against the Byzantine (or Eastern Roman Empire) forces because of the previous defeat, although he first had to put down a rebellion by Arab tribes in an episode referred to by later Muslim historians as the Ridda wars, or "Wars of Apostasy".

The pre-Islamic Middle East was dominated by the Byzantine and Sassanian empires. The Roman-Persian Wars between the two had devastated the region, making the empires unpopular amongst local tribes. Furthermore, in the lands that would be conquered by Muslims many Christians (Nestorians, Monophysites, Jacobites and Copts) were disaffected from the Christian Orthodoxy which deemed them heretics. Within only a decade, Muslims conquered Mesopotamia and Persia, Roman Syria and Roman Egypt. and established the Rashidun empire.

Early reforms under Islam

According to William Montgomery Watt, for Muhammad, religion was not a private and individual matter but rather “the total response of his personality to the total situation in which he found himself. He was responding [not only]… to the religious and intellectual aspects of the situation but also to the economic, social, and political pressures to which contemporary Mecca was subject." Bernard Lewis says that there are two important political traditions in Islam – one that views Muhammad as a statesman in Medina, and another that views him as a rebel in Mecca. He sees Islam itself as a type of revolution that greatly changed the societies into which the new religion was brought.

Historians generally agree that Islamic social reforms in areas such as social security, family structure, slavery and the rights of women and children improved on the status quo of Arab society. For example, according to Lewis, Islam "from the first denounced aristocratic privilege, rejected hierarchy, and adopted a formula of the career open to the talents". Muhammad's message transformed the society and moral order of life in the Arabian Peninsula through reorientation of society as regards to identity, world view, and the hierarchy of values. Economic reforms addressed the plight of the poor, which was becoming an issue in pre-Islamic Mecca. The Qur'an requires payment of an alms tax (zakat) for the benefit of the poor, and as Muhammad's position grew in power he demanded that those tribes who wanted to ally with him implement the zakat in particular.

Appearance

Ali gave the following description of Muhammad's physical appearance:

The "seal of prophecy" between the Prophet's shoulders is generally described as having been a type of raised mole the size of a pigeon's egg. Another description of Muhammad was provided by Umm Ma'bad, a woman he met on his journey to Medina:

Descriptions like these were often reproduced in calligraphic panels (''hilya'' or, in Turkish, ''hilye''), which in the 17th century developed into an art form of their own in the Ottoman Empire.

Wives and children

Muhammad's life is traditionally defined into two periods: pre-hijra (emigration) in Mecca (from 570 to 622), and post-hijra in Medina (from 622 until 632). Muhammad is said to have had thirteen wives or concubines. (There are differing accounts on the status of some of them as wife or concubine.) All but two of his marriages were contracted after the migration to Medina.

At the age of 25, Muhammad married the wealthy Khadijah bint Khuwaylid who was 40 years old at that time. The marriage lasted for 25 years and was a happy one. Muhammad relied upon Khadija in many ways and did not enter into marriage with another woman during this marriage. After the death of Khadija, it was suggested to Muhammad by Khawla bint Hakim that he should marry Sawda bint Zama, a Muslim widow, or Aisha, daughter of Um Ruman and Abu Bakr of Mecca. Muhammad is said to have asked her to arrange for him to marry both.

Traditional sources dictate that Aisha was six or seven years old when betrothed to Muhammad, but the marriage was not consummated until she was nine or ten years old. While the majority of traditional sources indicate Aisha was 9 (and therefore a virgin) at the time of marriage, a small number of more recent writers have variously estimated her age at 15 to 24.

After migration to Medina, Muhammad (who was now in his fifties) married several women. These marriages were contracted mostly for political or humanitarian reasons. The women were either widows of Muslims who had been killed in battle and had been left without a protector, or belonging to important families or clans whom it was necessary to honor and strengthen alliances with.

Muhammad did his own household chores and helped with housework, such as preparing food, sewing clothes and repairing shoes. He is also said to have had accustomed his wives to dialogue; he listened to their advice, and the wives debated and even argued with him.

Khadijah is said to have borne Muhammad four daughters—(Ruqayyah bint Muhammad, Umm Kulthum bint Muhammad, Zainab bint Muhammad, Fatimah Zahra)—and two sons—(Abd-Allah ibn Muhammad and Qasim ibn Muhammad)—who both died in childhood. All except two of his daughters, Fatimah and Zainab, died before him. Some Shi'a scholars contend that Fatimah was Muhammad's only daughter. Maria al-Qibtiyya bore him a son named Ibrahim ibn Muhammad, but the child died when he was two years old.

Nine of Muhammad's wives survived him. Aisha, who became known as Muhammad's favourite wife in Sunni tradition, survived him by many decades and was instrumental in helping bring together the scattered sayings of Muhammad that would form the Hadith literature for the Sunni branch of Islam.

Muhammad's descendants through Fatimah are known as ''sharifs'', ''syeds'' or ''sayyids''. These are honorific titles in Arabic, ''sharif'' meaning 'noble' and ''sayed'' or ''sayyid'' meaning 'lord' or 'sir'. As Muhammad's only descendants, they are respected by both Sunni and Shi'a, though the Shi'as place much more emphasis and value on their distinction.

Islamic depictions of Muhammad

No depictions of the Prophet dating from his lifetime survive, and the earliest extant images come from Ilkhanid Persian miniatures of around 1300, early in the history of that tradition. Later images were produced in Ottoman Turkey and elsewhere, but mosques and copies of the Quran were never decorated with images of Muhammad. Muslims generally avoid depictions of Muhammad, a feeling that today is much stronger in Sunni Islam (85%–90% of Muslims) than among Shias (10%–15%). Islamic depictions of Muhammad have until recently mostly been limited to the private and elite medium of the miniature, and since about 1500 most show Muhammad with his face veiled, or symbolically represent him as a flame. Today images are also found in popular Shia iconography.

Slaves

The Qur'an considers emancipation of a slave to be a highly meritorious deed, or as a condition of repentance for many sins. Therefore Muhammad was the owner of slaves, whom he bought usually to free, including concubines (although this claim is disputed), a wetnurse, and one slave he bought, freed and adopted as his son (Zayd).

Legacy

Muslim views

Following the attestation to the oneness of God, the belief in Muhammad's prophethood is the main aspect of the Islamic faith. Every Muslim proclaims in the ''Shahadah'' that "I testify that there is none worthy of worship except God, and I testify that Muhammad is a Messenger of God". The Shahadah is the basic creed or tenet of Islam. Ideally, it is the first words a newborn will hear, and children are taught as soon as they are able to understand it and it will be recited when they die. Muslims must repeat the shahadah in the call to prayer (''adhan'') and the prayer itself. Non-Muslims wishing to convert to Islam are required to recite the creed.

According to the Qur'an, Muhammad is only the last of a series of Prophets sent by God for the benefit of mankind, and commands Muslims to make no distinction between them. states that "...it (the Qur'an) is a confirmation of (revelations) that went before it, and a fuller explanation of the Book - wherein there is no doubt - from The Lord of the Worlds.". Similarly states "...And before this was the book of Moses, as a guide and a mercy. And this Book confirms (it)...", while commands the believers of Islam to "Say: we believe in God and that which is revealed unto us, and that which was revealed unto Abraham and Ishmael and Isaac and Jacob and the tribes, and that which Moses and Jesus received, and which the prophets received from their Lord. We make no distinction between any of them, and unto Him we have surrendered."

Historian Denis Gril believes that the Qur'an does not overtly describe Muhammad performing miracles, and the supreme miracle of Muhammad is finally identified with the Qur'an itself. However, Muslim tradition credits Muhammad with several miracles or supernatural events. For example, many Muslim commentators and some Western scholars have interpreted the Surah as referring to Muhammad splitting the Moon in view of the Quraysh when they began persecuting his followers.

The Sunnah represents the actions and sayings of Muhammad (preserved in reports known as Hadith), and covers a broad array of activities and beliefs ranging from religious rituals, personal hygiene, burial of the dead to the mystical questions involving the love between humans and God. The Sunnah is considered a model of emulation for pious Muslims and has to a great degree influenced the Muslim culture. The greeting that Muhammad taught Muslims to offer each other, “may peace be upon you” (Arabic: ''as-salamu `alaykum'') is used by Muslims throughout the world. Many details of major Islamic rituals such as daily prayers, the fasting and the annual pilgrimage are only found in the Sunnah and not the Qur'an.

The Sunnah also played a major role in the development of the Islamic sciences. It contributed much to the development of Islamic law, particularly from the end of the first Islamic century. Muslim mystics, known as sufis, who were seeking for the inner meaning of the Qur'an and the inner nature of Muhammad, viewed the prophet of Islam not only as a prophet but also as a perfect saint. Sufi orders trace their chain of spiritual descent back to Muhammad.

Muslims have traditionally expressed love and veneration for Muhammad. Stories of Muhammad's life, his intercession and of his miracles (particularly "Splitting of the moon") have permeated popular Muslim thought and poetry. The Qur'an refers to Muhammad as "a mercy (''rahmat'') to the worlds" (Qur'an ). The association of rain with mercy in Oriental countries has led to imagining Muhammad as a rain cloud dispensing blessings and stretching over lands, reviving the dead hearts, just as rain revives the seemingly dead earth (see, for example, the Sindhi poem of Shah ʿAbd al-Latif). Muhammad's birthday is celebrated as a major feast throughout the Islamic world, excluding Wahhabi-dominated Saudi Arabia where these public celebrations are discouraged. When Muslims say or write the name of Muhammad or any other prophet in Islam, they usually follow it with ''Peace be upon him'' (Arabic: ''sallAllahu `alayhi wa sallam'') like "Muhammad (Peace be upon him)". In printed matter, a calligraphic symbol is frequently used instead of printing the phrase.

Other views

Non-Muslim views regarding Muhammad have ranged across a large spectrum of responses and beliefs, many of which have changed over time.

Non-western views

Mahatma Gandhi stated: "I wanted to know the best of the life of one who holds today an undisputed sway over the hearts of millions of mankind.... I became more than ever convinced that it was not the sword that won a place for Islam in those days in the scheme of life. It was the rigid simplicity, the utter self-effacement of the Prophet the scrupulous regard for pledges, his intense devotion to his friends and followers, his intrepidity, his fearlessness, his absolute trust in God and in his own mission. These and not the sword carried everything before them and surmounted every obstacle. When I closed the second volume (of the Prophet's biography), I was sorry there was not more for me to read of that great life".

European and Western views

A few learned circles of Middle Ages Europe—primarily Latin-literate scholars—had access to fairly extensive biographical material about Muhammad. They interpreted that information through a Christian religious filter that viewed Muhammad as a charlatan driven by ambition and eagerness for power, and who seduced the Saracens into his submission under a religious guise. Popular European literature of the time portrayed Muhammad as though he were worshipped by Muslims in the manner of an idol or a heathen god. Some medieval Christians believed he died in 666, alluding to the number of the beast, instead of his actual death date in 632; others changed his name from Muhammad to Mahound, the "devil incarnate". Bernard Lewis writes "The development of the concept of Mahound started with considering Muhammad as a kind of demon or false god worshipped with Apollyon and Termagant in an unholy trinity." A later medieval work, ''Livre dou Tresor'' represents Muhammad as a former monk and cardinal. Dante's ''Divine Comedy'' (Canto XXVIII), puts Muhammad, together with Ali, in Hell "among the sowers of discord and the schismatics, being lacerated by devils again and again." Cultural critic and author Edward Said wrote in ''Orientalism'' regarding Dante's depiction of Muhammad:

Empirical data about the Orient...count for very little; ... What ... Dante tried to do in the ''Inferno'', is ... to characterize the Orient as alien and to incorporate it schematically on a theatrical stage whose audience, manager, and actors are ... only for Europe. Hence the vacillation between the familiar and the alien; Mohammed is always the imposter (familiar, because he pretends to be like the Jesus we know) and always the Oriental (alien, because although he is in some ways "like" Jesus, he is after all not like him).

After the reformation, Muhammad was no longer viewed by Christians as a god or idol, but as a cunning, ambitious, and self-seeking impostor. Guillaume Postel was among the first to present a more positive view of Muhammad. Boulainvilliers described Muhammad as a gifted political leader and a just lawmaker. Gottfried Leibniz praised Muhammad because "he did not deviate from the natural religion". Thomas Carlyle in his book ''Heroes and Hero Worship and the Heroic in History'' (1840) defines Muhammed as "A silent great soul, one of that who cannot but be earnest". Edward Gibbon in his book ''The History of the Decline and Fall of the Roman Empire'' observes that "the good sense of Mohammad despised the pomp of royalty." Friedrich Martin von Bodenstedt (1851) described Muhammad as "an ominous destroyer and a prophet of murder." Many of the later Western works, from the 18th century onward, distanced themselves from the polemical histories of earlier Christian authors. These more historically oriented treatments, which generally reject the prophethood of Muhammad, are coloured by the Western philosophical and theological framework of their authors. Many of these studies reflect much historical research, and most pay more attention to human, social, economic, and political factors than to religious, theological, and spiritual matters.

Simon Ockley wrote in his book ''The History of the Saracen Empires'' (1718);

The greatest success of Mohammad’s life was effected by sheer moral force...It is not the propagation but the permanency of his religion that deserves our wonder, the same pure and perfect impression which he engraved at Mecca and Medina is preserved, after the revolutions of twelve centuries by the Indian, the African and the Turkish proselytes of the Koran. . . The Mahometans have uniformly withstood the temptation of reducing the object of their faith and devotion to a level with the senses and imagination of man. 'I believe in One God and Mahomet the Apostle of God' is the simple and invariable profession of Islam. The intellectual image of the Deity has never been degraded by any visible idol; the honours of the prophet have never transgressed the measure of human virtue, and his living precepts have restrained the gratitude of his disciples within the bounds of reason and religion.

Reverend Benjamin Bosworth Smith in his book ''Muhammad and Muhammadanism'' (1874) commented that;

...if ever any man had the right to say that he ruled by the right divine, it was Mohammed, for he had all the power without its instruments and without its supports. He cared not for the dressings of power. The simplicity of his private life was in keeping with his public life...In Mohammadanism every thing is different here. Instead of the shadowy and the mysterious, we have history….We know of the external history of Muhammad….while for his internal history after his mission had been proclaimed, we have a book absolutely unique in its origin, in its preservation….on the Substantial authority of which no one has ever been able to cast a serious doubt.

Alphonse de Lamartine quoted in Histoire de la Turquie (1854) on Muhammad;

If greatness of purpose, smallness of means and outstanding results are the three criteria of human genius, who could dare compare any great man in modern history with Muhammad.

Never has a man proposed for himself, voluntarily or involuntarily, a goal more sublime, since this goal was beyond measure: undermine the superstitions placed between the creature and the Creator, give back God to man and man to God, reinstate the rational and saintly idea of divinity in the midst of this prevailing chaos of material and disfigured gods of idolatry.... The most famous have only moved weapons, laws, empires; they founded, when they founded anything, only material powers, often crumbling before them. This one not only moved armies, legislations, empires, peoples, dynasties, millions of men over a third of the inhabited globe; but he also moved ideas, beliefs, souls. He founded upon a book, of which each letter has become a law, a spiritual nationality embracing people of all languages and races; and made an indelible imprint upon this Muslim world, for the hatred of false gods and the passion for the God, One and Immaterial....Philosopher, orator, apostle, legislator, warrior, conqueror of ideas, restorer of a rational dogma for a cult without imagery, founder of twenty earthly empires and of a spiritual empire, this is Muhammad.

It was not until the latter part of the 20th century that Western authors combined rigorous scholarship as understood in the modern West with empathy toward the subject at hand and, especially, awareness of the religious and spiritual realities involved in the study of the life of the founder of a major world religion.

Annie Besant in ''The Life and Teachings of Muhammad'' (1932) wrote

It is impossible for anyone who studies the life and character of the great Prophet of Arabia, who knows how he taught and how he lived, to feel anything but reverence for that mighty Prophet, one of the great messengers of the Supreme...

According to William Montgomery Watt and Richard Bell, recent writers have generally dismissed the idea that Muhammad deliberately deceived his followers, arguing that Muhammad "was absolutely sincere and acted in complete good faith" and that Muhammad’s readiness to endure hardship for his cause when there seemed to be no rational basis for hope shows his sincerity. Watt says that sincerity does not directly imply correctness: In contemporary terms, Muhammad might have mistaken his own subconscious for divine revelation. Watt and Bernard Lewis argue that viewing Muhammad as a self-seeking impostor makes it impossible to understand the development of Islam. Alford T. Welch holds that Muhammad was able to be so influential and successful because of his firm belief in his vocation. Michael H. Hart in his first book ''The 100: A Ranking of the Most Influential Persons in History'' (1978), a ranking of the 100 people who most influenced human history, chose Muhammad as the first person on his list, attributing this to the fact that Muhammad was "supremely successful" in both the religious and secular realms. He also credits the authorship of the Qur'an to Muhammad, making his role in the development of Islam an unparalleled combination of secular and religious influence which entitles Muhammad to be considered the most influential single figure in human history.

Other religious traditions

Bahá'ís venerate Muhammad as one of a number of prophets or "Manifestations of God", but consider his teachings to have been superseded by those of Bahá'u'lláh, the founder of the Bahai faith.

Muhammad is regarded as one of the Saints of Ecclesia Gnostica Catholica.

The Church of Jesus Christ of Latter-day Saints neither regards Muhammad as a prophet nor accepts the Qur'an as a book of scripture. However, it does respect Muhammad as one who taught moral truths which can enlighten nations and bring a higher level of understanding to individuals. Guru Nanak, a founder of Sikhism, viewed Muhammad as an agent of the Hindu Brahman.

Criticism

Muslims consider Muhammad to be the final prophet, the messenger of the final revelation that was called the Qur'an. Non-Muslims have viewed him with less favor. Criticism of Muhammad has existed since the 7th century, for his marriages, military expeditions and the laws he established, such as those concerning slavery.

Internal links

Achtiname of Muhammad

Arabian tribes that interacted with Muhammad

Depictions of Muhammad

List of films about Muhammad

Military career of Muhammad

''Mohammad, Messenger of God'' (''aka'' The Message)

''Muhammad: Legacy of a Prophet'' (documentary)

Diplomatic career of Muhammad

See also

Glossary of Islamic terms in Arabic

List of founders of religious traditions

Muhammad in Islam

Paraclete in Islam

Relics of Muhammad

Early social changes under Islam

Prophets of Islam

Islamic philosophy

Sharia

Islamic economics in the world

Notes

References

Bibliography

Al-Hibri, Azizah Y. (2003). "An Islamic Perspective on Domestic Violence". ''27 Fordham International Law Journal'' 195.

(New edition 1974)

Encyclopedias

Further reading

Musa, A. Y. ''Hadith as Scripture: Discussions on The Authority Of Prophetic Traditions in Islam'', New York: Palgrave, 2008

External links

What Non-Muslims Say About Prophet Muhammad (Mohammed)

Non-Muslim biographies

Muhammad, article on ''Encyclopædia Britannica Online''

Muhammad: Legacy of a Prophet — PBS Site

Muhammad: Legacy of a Prophet — UPF (Producer's Site)

Muslim biographies

Ar-Raheeq Al-Makhtum

The Life of Muhammad by Muhammad Husayn Haykal

About the Prophet Muhammad (MSA West)

Category:570s births Category:632 deaths Category:7th-century rulers Category:Arab politicians Category:Founders of religions Category:Islam Category:People from Mecca Category:Quraish Category:Medina Category:Prophets of Islam

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Coordinates	23°33′″N46°38′″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	23°33′″N46°38′″N
name	Asha Bhosle
background	solo_singer
birth name	Asha Mangeshkar
born	September 08, 1933Sangli, Bombay Presidency, British India
genre	Pop, folk, Indian classical music
occupation	Singer, playback singer
years active	1943–present }}

Asha Bhosle () (born September 8, 1933) is an Indian singer. She is one of the best-known and highly regarded Hindi playback singers in India, although she has a much wider repertoire. Her career started in 1943 and has spanned over six decades. She has done playback singing for over 1000 Bollywood movies. She has recorded many private albums and has participated in numerous concerts in India and abroad. Bhosle is the sister of playback singer Lata Mangeshkar.

Renowned for her voice range and often credited for her versatility, Bhosle's work includes film music, pop, ghazals, bhajans, traditional Indian Classical music, folk songs, qawwalis, Rabindra Sangeets and Nazrul Geetis. She has sung Hindi, Assamese, Urdu, Telugu, Marathi, Bengali, Gujarati, Punjabi, Tamil, Kannada, English, Russian, Czech, Nepali, Malay, Sinhala and Malayalam.

In 2006, Asha Bhosle stated that she had sung over 12,000 songs, a figure repeated by several other sources. The World Records Academy, an international organization which certifies world records, recognized her as the "Most Recorded Artist" in the world, in September 2009. The Government of India honoured her with the Dadasaheb Phalke Award in 2000 and the Padma Vibhushan in 2008.

Biography

Asha Bhosle was born in the small hamlet of Goar in Sangli, Bombay Presidency (now in Maharashtra), into the musical family of Master Deenanath Mangeshkar, who belongs to Gomantak Maratha Samaj. Her father was a theater actor and classical singer. When she was nine years old, her father died. The family moved from Pune to Kolhapur and then to Mumbai. She and her elder sister Lata Mangeshkar began singing and acting in films to support their family. She sang her first film song ''Chala Chala Nav Bala'' for the Marathi movie ''Majha Bal'' (1943). The music for the film was composed by Datta Dawjekar. She made her Hindi film debut when she sang the song ''Saawan Aaya'' for Hansraj Behl's ''Chunariya'' (1948). Her first solo Hindi film song was for the movie ''Raat Ki Raani'' (1949).

At the age of 16, she eloped with 31-year-old Ganpatrao Bhosle, marrying him against her family's wishes. Ganpatrao was Lata's personal secretary. The marriage failed miserably. Her husband and in-laws mistreated her. After a few years of marriage, Asha was turned out (around 1960) by a suspicious Ganpatrao and she went to her maternal home with two children and pregnant with her third child. She continued to sing in films to earn money.

At that time, prominent playback singers like Geeta Dutt, Shamshad Begum and Lata Mangeshkar monopolized the singing for the female lead and the big films, whilst Asha used to get the assignments they refused: singing for the bad girls and vamps, or songs in the second-grade movies. In the 1950s, she sang more songs than most playback singers in Bollywood (not counting Lata). Most of these were in low budget B or C-grade films. Her earliest songs were composed by A R Qureshi, Sajjad Hussain and Ghulam Mohammed, most of which failed to do well. Singing in Dilip Kumar-starrer ''Sangdil'' (1952), composed by Sajjad Hussain, she got reasonable recognition. Consequently, film director Bimal Roy gave her a chance to sing in ''Parineeta'' (1953). Raj Kapoor signed her to sing ''Nanhe Munne Bachche'' with Mohammed Rafi in ''Boot Polish'' (1954), which gained popularity.

O. P. Nayyar gave Asha a break in C.I.D. (1956). She first achieved success in B. R. Chopra's ''Naya Daur'' (1957), composed by him. Her duets with Rafi like ''Maang ke saath tumhara'', ''Saathi haath badhana'' and ''Uden jab jab zulfein teri'', penned by Sahir Ludhianvi earned her recognition. It was the first time that she had got to sing all the songs for the lead actress. B R Chopra recognized her talent and got her to sing in many of his later films including ''Waqt'', ''Gumraah'', Humraaz, ''Aadmi Aur Insaan'' and ''Dhund''. Nayyar's collaboration with Bhosle also produced many hits. Gradually, she established herself and received patronage of composers such as Sachin Dev Burman and Ravi. Bhosle and Nayyar had a professional and personal parting of ways in the 1970s.

In 1966, Asha's performance in the duets from music director R D Burman's first successful movie, ''Teesri Manzil'' won popular acclaim. When Asha first listened to the tune of the song ''Aaja Aaja'', she had felt that she would not be able to sing the Western dance number. R D Burman offered to change the music. She was offended a bit and took it as a challenge to sing the song. After rehearsing for 10 days, when she finally sang the song, an impressed R D Burman handed her a 100-rupee note. ''Aaja Aaja'' and other songs of the film, ''O Haseena Zulfonwali'' and ''O Mere Sona Re'' (all three duets with Rafi, another popular Bollywood singer), became rage of the day. Shammi Kapoor, the actor of the movie, once said – "If I did not have Mohammad Rafi to sing for me, I would have got Asha Bhosle to do the job". Asha's collaboration with R D Burman resulted in numerous hits and a marriage. In 1960s and 1970s, she became the voice of Bollywood's dancer, Helen. It is said that Helen would attend her recording sessions so that she could understand the song better and plan dance steps accordingly. Some of the most popular Asha Bhosle-Helen numbers are ''Piya Tu Ab To Aaja'' (''Caravan''), ''O Haseena Zulfon Wali'' (''Teesri Manzil''), and ''Yeh Mera Dil'' (''Don'').

By the 1980s, Asha Bhosle had been stereotyped as a "cabaret singer" and a "pop crooner". In Rekha-starrer ''Umrao Jaan'', she proved her versatility by singing ghazals like ''Dil cheez kya hai'', ''In aankhon ki masti ke'', ''Ye kya jagah hai doston'' and ''Justju jiski thi''. The film's music director Khayyam, had lowered her pitch by half a note. Asha herself was surprised that she could sing so differently. The ghazals won her the first National Award of her career. A few years later, she won another National Award for the song ''Mera Kuchh Saamaan'' from ''Ijaazat'' (1987).

In 1995, the 62-year-old sung for actress Urmila Matondkar in the movie ''Rangeela''. The soundtrack featured songs like ''Tanha Tanha'' and ''Rangeela Re'' sung by her, and composed by music director A. R. Rahman, who went on to record many more songs with her.

In 2005, 72-year-old Asha's numbers for the Tamil film ''Chandramukhi'' and the pop song ''Lucky Lips'' for Salman Khan-starrer ''Lucky'' were chartbusters. Some of the other popular Tamil songs sung by her are ''Oh! Butterfly'', ''September Maadham'' and ''Vennila Vennila''.

In October 2004, ''The Very Best of Asha Bhosle, The Queen of Bollywood'', a compilation album of songs recorded by Bhosle for albums and Bollywood films that were released between 1966 & 2003, was released.

It has been 70 years since Asha Bhosle began singing for movies, but in 2011, she will finally star in her first film "Maaee." The movie will begin filming in April and is scheduled to premiere in June.

Partnership with music directors

;O.P. Nayyar

Music director O. P. Nayyar's association with Asha is part of Bollywood lore. He was the composer who first gave Asha her own identity. Many people have speculated about a romantic relationship between the two.

Nayyar first met Asha in 1952, at the music recording of ''Chham Chhama Chham''. He first called her for a film called ''Mangu'' (1954), and gave her a big break in ''CID'' (1956). However, it was the success of ''Naya Daur'' (1957), that made the duo very popular. After 1959, she was emotionally and professionally involved with Nayyar.

The team of O.P. Nayyar and Asha Bhosle is best remembered for their breezy and sometimes sirenish songs. Some good examples of their sensuous numbers are ''Aaiye meherbaan'' picturised on Madhubala (''Howrah Bridge'', 1958) and ''Yeh hai reshmi zulfon ka andhera'' picturised on Mumtaz (''Mere Sanam'', 1965). They also recorded songs for many hit movies like ''Tumsa Nahin Dekha'' (1957), ''Howrah Bridge'' (1958), ''Ek Musafir Ek Hasina'' (1962), ''Kashmir Ki Kali'' (1964), ''Aao huzur tumko'' (''Kismat'') and ''Jaaiye aap kahan'' (''Mere Sanam''). O.P. Nayyar used the Asha Bhosle-Mohammad Rafi duo for his most popular duets such as ''Ude jab jab zulfein teri'' (''Naya Daur''), ''Main pyaar ka rahi hoon'' (''Ek Musafir Ek Haseena''), ''Deewana Hua Baadal'' and ''Ishaaron hi isharon mein'' (''Kashmir Ki Kali'').

Asha recorded her last song for O.P. Nayyar in the movie ''Pran Jaye Par Vachan Na Jaye'' (1974). The solo number ''Chain se'' got many awards, but it was not included in the movie.

They split on August 5, 1972. It is not clear what made them part their ways. On being asked the reason for their parting, O P Nayyar once said, "I know astrology very well. I knew that one day I had to part with her. Something also happened, that upset me, so I left her." Nevertheless, he also said "...now that I am seventy-six, I can say that the most important person in my life was Asha Bhosle. She was the best person I ever met."

The parting of Asha Bhosle and O.P. Nayyar was bitter, and probably therefore she has hesitated to give Nayyar his due. While talking about O.P. Nayyar in an interview with The Times of India, she once remarked - "Whichever composer gave me work, it was because my voice was suited to his music at that point. No ''one'' musician did me any favor by asking me to sing for him." She gives the credit for her first big break to B. R. Chopra, the producer of ''Naya Daur''.

;Khayyam Another music director who recognized Asha's talent early was Khayyam. Their partnership dates back to his first movie ''Biwi'' (1948). Khayyam gave her some good assignments in the 1950s, including ''Dard'' and ''Phir Subah Hogi''. But the team is chiefly remembered for the songs of ''Umrao Jaan''.

;Ravi Music composer Ravi considered Asha one of his favorite singers. She sang for his first movie ''Vachan'' (1955). The melodious lullaby from the movie, ''Chandamama door ke'' became an overnight hit among young mothers in India. Ravi got her to sing bhajans for the movies ''Gharana'', ''Grihasti'', ''Kajal'' and ''Phool Aur Patthar'', at a time when most of the composers remembered her only when they needed to record B-grade songs picturized on the vamps or the side-heroines. Ravi and Asha recorded a variety of songs, including the popular funny duet with Kishore Kumar - ''C A T...Cat maane billi'' (''Dilli Ka Thug''). The bhajan ''Tora man darpan'' (''Kajal'') is considered one of Asha's best songs.

They also recorded songs for many popular movies like ''Waqt'', ''Chaudhvin Ka Chand'', ''Gumrah'', ''Bahu Beti'', ''China Town'', ''Aadmi Aur Insaan'', ''Dhund'' and ''Humraaz''. For ''Chaudhvin Ka Chand'', Ravi wanted Geeta Dutt (the wife of actor and producer Guru Dutt) to sing the songs. But when she backed out, Guru Dutt insisted that Asha sing the songs.

;Sachin Dev Burman One of Bollywood's most famous composers, Sachin Dev Burman and his favorite singer, Lata Mangeshkar, were not on good terms from 1957 to 1962. During this period, S D Burman used Asha as his lead female voice. She and Burman gave many hit songs in movies such as ''Kaala Pani'', ''Kaala Bazaar'', ''Insaan Jaag Utha'', ''Lajwanti'', ''Sujata'' and ''Teen Deviyaan'' (1965). They recorded many songs together after 1962 as well. Most famous of these songs were Asha's duets with Mohammed Rafi and Kishore Kumar. The song ''Ab ke baras'' in Bimal Roy's Bandini (1963) consolidated her position as a lead singer. The seductive song ''Raat Akeli Hai'' from Jewel Thief (1967), picturised on Tanuja, became very popular.

;Rahul Dev Burman (Pancham) Asha first met Rahul Dev Burman (a.k.a. "Pancham") when she was the mother of two and he was in 10th grade having dropped out to pursue music. Their partnership was first noticed in ''Teesri Manzil'' (1966). She went on to record a variety of songs with him - cabarets, rock, disco, ghazals and Indian classical music.

In the 1970s, Asha and Pancham's youthful Western songs took Bollywood music by storm - the raunchy cabaret ''Piya tu ab to aaja'' (''Caravan'', picturized on Helen), the rebellious ''Dum Maro Dum'' ('' Hare Rama Hare Krishna'', 1971), the sexy ''Duniya mein'' (''Apna Desh'', 1972) and the romantic ''Chura Liyaa Hai Tumne'' (''Yaadon Ki Baaraat'', 1973). Pancham also recorded many hit duets with Asha and Kishore Kumar such as ''Jaane jaan'' (''Jawani Diwani'') and ''Bhali bhali si ek soorat'' (''Buddha Mil Gaya'').

In 1980s, Pancham and Asha recorded subtle numbers for films like ''Ijaazat'' (1987)- ''Mera kuch saaman'', ''Khaali haath shaam aayi hai'' and ''Katra Katra''. They also recorded the popular duet ''O Maria'' (''Saagar'').

Asha used to call R D Burman "Bubs". She married him in 1980. Their partnership lasted until his death.

R D Burman made her sing some of the most legendary songs in Bengali language as well, namely ''Mohuyae Jomechhe Aaj mou go'',''Chokhe Chokhe kotha bolo'' ''Chokhhe naame brishti''(Bengali version of ''Jaane Kya Baat hai''), ''Baanshi sune ki ghore thaka jaye'',''Sondhya Belae tumi aami'' and ''Aaj Gungun gun gunje amar'' (Bengali version of ''Pyaar Deewana hota hai'').

;Ilaiyaraaja Prolific south Indian film composer Ilaiyaraaja began employing Asha's vocals in the early 1980s, their earliest collaboration being for the film ''Moondram Pirai'' (1982) (remade in Hindi as ''Sadma'' in 1983). Their association continued, mostly through the latter half of the 1980s and early 1990s. Another notable song from this period is ''Shenbagamae'' (''Enga Ooru Paattukkaaran'', 1987, Tamil). In 2000, Asha sung the theme song for Kamal Haasan's political film ''Hey Ram''. The song, ''Nee Partha Parvai'' (''Janmon Ki Jwala'' in Hindi) (or Aparna's Theme), was a duet with singer Hariharan.

;A. R. Rahman A. R. Rahman is credited with Asha's 'comeback' with ''Rangeela'' (1994). Songs like ''Tanha Tanha'' and ''Rangeela Re'' were chartbusters. She and Rahman went on to record more hits like ''Mujhe Rang De'' (''Thakshak''), ''Radha Kaise Na Jale'' (''Lagaan'', duet with Udit Narayan), ''Kahin Aag Lage'' (''Taal''), ''O Bhanware'' (''Daud'', duet with K. J. Yesudas), ''Venilla Venilla'' (''Iruvar'',1999) and ''Dhuan Dhuan'' (''Meenaxi'',2004).

;Jaidev When S D Burman's assistant Jaidev started giving music independently, he got Asha to sing some of his songs as well. They worked in ''Hum Dono'' (1961), ''Mujhe Jeene Do'' (1963), ''Do Boond Pani'' (1971) and other movies. In 1971, the pair released an LP of eight non-film devotional songs and ghazals called ''An Unforgettable Treat''. Asha considered Jaidev a close friend who stood by her when she was struggling personally and professionally. Upon his death in 1987, she released a compilation album of lesser-known songs he had composed for her, called ''Suranjali''.

;Shankar-Jaikishan Shankar-Jaikishan worked relatively little with Asha. However, the trio produced quite a few hits including the seductive ''Parde mein rehne do'' (''Shikar'', 1968). Asha got her second Filmfare Award for the song. She also sang ''Zindagi ek safar hai suhaana'' (''Andaz'') for Shankar-Jaikishan, in which she tried to yodel like Kishore Kumar, whose version of the song is more better known. When Raj Kapoor was not on speaking terms with Lata Mangeshkar, Asha got to sing the songs of Mera Naam Joker (1970), composed by Shankar-Jaikishan.

;Anu Malik Composer Anu Malik and Asha have recorded many hit songs together, including songs for his first movie ''Sohni Mahiwal'' (1984). Their most popular songs include ''Filhaal'' (''Filhaal'') and ''Kitabein bahut si'' (''Baazigar'') among others. The four lines sung by Asha in Malik's ''Jab dil mile'' (''Yaadein'') stood out among voices of Sukhwinder Singh, Udit Narayan and Sunidhi Chauhan. Asha had also sung for Anu's father Sardar Malik in the 1950s and 1960s, most notably in ''Saranga'' (1960).

;Other Composers Madan Mohan recorded a number of songs with Asha, including the popular folk number ''Jhumka Gira Re'' from ''Mera Saaya'' (1966). In ''Chhoti Si Baat'' (1975), Asha sang the ''Jaaneman Jaaneman'' number with K. J. Yesudas for Salil Chowdhury. Salil's 1956 movie ''Jagte Raho'' also had a number recorded by Asha, ''Thandi Thandi Saawan ki Phuhaar''. Another Asha patron is the young composer Sandeep Chowta, who got her to sing ''Kambakht Ishq'', a duet with Sonu Nigam for the movie ''Pyaar Tune Kya Kiya''(2001). The song gained major popularity among the Indian youth.

Asha has worked with Lata-patrons like Laxmikant-Pyarelal, Naushad, Ravindra Jain, N Dutta and Hemant Kumar. When Naushad was asked to sum up the essential difference between Lata and Asha, he said that Asha "lacks certain something which Lata, and Lata alone has". Later he accepted in an interview, "May be I said it because I then had a closed ear on Asha". Naushad, later in his life, also admitted that he has been unfair to Asha. Asha has also worked with other noted Bollywood composers like Jatin-Lalit, Bappi Lahiri, Kalyanji-Anandji, Usha Khanna, Chitragupt, and Roshan.

Non-Bollywood music

Private albums

In a rare feat, noted lyricist Gulzar, music director R.D. Burman and Asha Bhosle, came together in 1987, to create a double album, titled, ''Dil Padosi Hai'', which was released on September 8, 1987. In 1995, Asha underwent the ''gatha bandan'' (thread-tying) ceremony with Hindustani classical music maestro Ali Akbar Khan to learn a classical repertoire held within the Maihar ''gharana'' (stylistic school of Indian classical music), as handed down to Khan by his father Allauddin Khan (the guru of Ravi Shankar). Later, Asha and Ustad Ali Akbar Khan recorded eleven fixed compositions (or ''bandish''es) in California for ''Legacy'', a private album that earned them a Grammy Award nomination.

In 1990s, Asha experimented with remixed R D Burman songs. She was criticized by many, including Khayyam for tampering with old melodies. Nevertheless, albums like ''Rahul And I'' became quite popular. In 1997, Asha did a private Indipop album ''Janam Samjha Karo'' with Leslie Lewis. The album was hugely popular and won her many awards including the 1997 MTV Award.

Asha had been once asked by director B R Ishaara to compose music for one of his films, but she had politely declined. In 2002, she turned music composer with the album ''Aap Ki Asha'', an eight-song music and video album. The lyrics were written by Majrooh Sultanpuri (his last lyrics). The album was released by Sachin Tendulkar on May 21, 2001 at a lavish party in Mumbai. The album received mixed reviews.

Asha had spotted Pakistani singer Adnan Sami's talent when he was about 10 years old. At that time, she was performing in London, with R D Burman. It was she who had asked him to pursue his interests in music seriously. When Adnan grew up and became a professional musician, Asha sang the title duet with him for his best-selling album ''Kabhi to nazar milao''. The two came together again in the album ''Barse Badal''. The album comprises eight songs, based on Indian Classical music. She contributed the song ''Yun Na Thi'' to the recording ''Womad Talking Book Volume Four: An Introduction to Asia 1'' on Womad Records.

Asha has sung ghazals for many albums like ''Meraj-E-Ghazal'', ''Aabshar-E-Ghazal'' and ''Kashish''. In 2005, Asha released a self-titled album as a tribute to the four ghazal maestros - Mehdi Hassan, Ghulam Ali, Farida Khanum and Jagjit Singh. The album features eight of her favorite ghazals like Farida Khanum’s ''Aaj Jaane Ki Zid Na Karo'', Ghulam Ali’s ''Chupke Chupke'', ''Aawargi'' and ''Dil Mein Ek Lahar'', Jagjit Singh’s ''Ahista Ahista'' and Mehdi Hassan’s ''Ranjish Hi Sahi'', ''Rafta Rafta'' and ''Mujhe Tum Nazar Se''. These classic ghazals were recreated with modern sounds by musician Pandit Somesh Mathur. The album was aimed at the younger generation, who, according to Asha, are "turned off" by the traditional sounds of tabla and sarangi.

Numerous compilations of Asha's songs have been released as well. To commemorate her 60th birthday, EMI India released three cassettes: ''Bala Main Bairagan Hoongi'' (devotional songs), ''The Golden Collection: Memorable Ghazals'' (non-film ghazals by composers such as Ghulam Ali, R D Burman and Nazar Hussain), and ''The Golden Collection: The Ever Versatile Asha Bhosle'' (44 popular film songs).

In 2006, she recorded an album ''Asha and Friends'', singing duets, with film actors Sanjay Dutt and Urmila Matondkar and famous cricket player Brett Lee, with whom she sang, You're the One for Me (''Haan Main Tumhara Hoon''). All these songs composed by Shamir Tandon were shot on video by journalist turned director S Ramachandran.

Concerts and collaborations with foreign artists

In 1980s and 1990s, Asha went globe-trotting, staging concerts in Canada, Dubai, UK, U.S. and many other countries. In 1989, during a world tour, she performed in 13 US cities in 20 days. Immediately after this, she had an already sold-out concert scheduled in Stockholm, Sweden. Due to the stressful schedule, Asha suffered a massive attack of colitis, together with fever, cough and weakness. In Stockholm, a pre-concert crisis meeting was called, attended by Asha's son (and manager) Anand and the sponsors. It was decided that the orchestra will play many instrumental tracks, the accompanying singers like Suresh Wadkar will shoulder the load, and Asha will make a small appearance. But Asha rejected all such proposals, and sang at the concert with great difficulty, in a not-so-good voice. Her first set of six Bollywood songs did not receive any response from the audience, which consisted mostly of Indian and Pakistani expats. Before the start of the second set of songs, a fan in the crowd requested her to sing a Marathi song. Asha obliged and sang ''Naach-naachuni ati mi damale'' ("I'm very tired of this endless dancing"). When the song ended, the auditorium erupted with claps and the encores started. After the concert, Asha was in bed for a month, recuperating from overexertion. In October 2002, she did a concert with Sudesh Bhosle and others, in London, for "Help the Aged" to help raise funds for the elderly in India. In 2007 she toured the USA, Canada, and West Indies in a tour called "The Incredibles". In this tour, she was accompanied by singers Sonu Nigam, Kunal Ganjawala and Kailash Kher. This tour, originally scheduled for only 12 concerts, went on to hold more than 20.

In the mid-1980s, Asha sang with Boy George (''Bow down mister'') and Stephen Lauscombe. In 1997, she sang a love song with the boy band Code Red, at the age of 64. She also recorded the song ''The Way you Dream'' (One Giant Leap, ) with Michael Stipe that was used in the English movie, ''Bulletproof Monk''. The song was also released on the album 1 Giant Leap for 2002.

In 1997, the British band Cornershop paid tribute to Asha with their song ''Brimful of Asha'', an international hit which was later remixed by Fatboy Slim. In 2001, the CD single of Nelly Furtado's "I'm Like A Bird" included a "Nellie vs. Asha Remix" created by Digital Cutup Lounge.

In 2003, British opera pop singer Sarah Brightman sampled her song "Dil Cheez Kya Hai" on her album ''Harem''. It was used as the intro for her song "You Take My Breath Away".

In 2005, American string quartet Kronos Quartet re-recorded R D Burman compositions like ''Chura Liya'', ''Piya Tu'', ''Mera Kuchh Saaman'' among others and got Asha to sing them. Despite her age, she recorded three to four songs in a day, leaving the quartet members stupefied. On August 23, 2005, ''You've stolen my heart - Songs From R D Burman's Bollywood'' was released in US. The album was nominated for Grammy Awards 2006 in the category of "Best Contemporary World Music Album". In the 1990s, a friend had introduced David Harrington of Kronos Quartet to the song ''Aaj ki raat''. Harrington was mesmerised, and the song ended up on the album ''Kronos Caravan''.

Also in 2005, The Black Eyed Peas sampled her songs "Ae Naujawan Sab Kuchh Yahan" (''Apradh'', 1972) and "Yeh Mera Dil Pyaar Ka Diwana" (''Don'', 1978) in their hit single "Don't Phunk with My Heart". In late 2006, Asha collaborated with Australian test cricket star, Brett Lee. The single, You're the One for Me, debuted at number 4 on the charts and reached a peak position of number 2.

In 2006 Asha recorded one song for the soundtrack of Pakistani movie ''Mein Ek Din Laut Kay Aaaonga''. She sang the song, titled ''Dil Key Taar Bajey'', with famous Pakistani pop singer Jawad Ahmed. It was aired as part of the film's promotional campaign and became very popular, featuring on top music charts.

Personal life

Asha's house is situated in Prabhukunj Apt on Peddar Road area of South Mumbai. She has three children and five grandchildren. The eldest of her three children, Hemant Bhosle (named after Hemant Kumar), spent most of his early years as a pilot and quit to have a brief career as a music director. Asha's daughter Varsha worked as a columnist for ''The Sunday Observer'' and ''Rediff''. Asha's youngest child, Anand Bhosle, has studied business and film direction. He manages Asha's career. Her grandson, Chaitanya (Chintu) Bhosle (Hemant's son) is a part of the world of music. He is a member of India's first & only boy band, "A Band of Boys". Her sisters Lata and Usha Mangeshkar are playback singers. Her other, sister Meena Mangeshkar and brother Hridayanath Mangeshkar are music directors.

Asha is an excellent cook and cooking is her favorite hobby. She often gets flooded with requests by Bollywood celebrities for ''kadai ghosht'' and ''biryani'' dishes and has rarely turned down a request. In fact, her ''paya curry'', ''Goan fish curry'' and ''dal'' are very popular with the Kapoor family of Bollywood. Once, when asked in a ''Times of India'' interview, what if her singing career had not taken off, she said "I would have become a cook. I'd have cooked in four houses and made money."

Asha is a successful restaurateur and runs restaurants in Dubai and Kuwait, called Asha's. Asha's offers traditional north-western Indian cuisine. It has a presence in the Wafi City development in Dubai, as well as three restaurants in Kuwait, at The Avenues Mall, the Marina Mall and a brand new third outlet at the Spoons Complex. Other restaurants can be found in Abu Dhabi's Khaldiya Mall, Doha's Villagio and Bahrain's City Center Mall, with future outposts planned for Dubai's Mall of the Emirates and Cairo, Egypt. Asha Bhosle has a 20% stake in the business. Asha is not involved in day-to-day running of the restaurant which is looked after by the Wafi Group. She takes care of the kitchen and the décor. She personally trained the chefs for almost six months. According to a December 2004 report in the Menu Magazine, Russell Scott, a former head of Harry Ramsden's (the fish and chips chain), secured the UK rights to the Asha's brand and planned to open up to 40 restaurants over the next five years. As part of her chain of restaurants, Asha has recently opened a new restaurant in Birmingham, UK.

Asha's fashion statement is white saree with sparkling embroidery, pearls around her neck and a touch of diamonds. Harrington said "The first time I met Ashaji she was dressed in the most beautiful sari with diamonds and looked very regal. Then I looked down and saw that she was wearing tennis shoes! I thought I love this woman."

Asha is a good mimicry artist as well. At a concert at World Trade Center in Dubai on April 22, 2004, she mimicked the song ''Kabhi To Nazar Milaao'' in the voices of Noor Jehan, Lata Mangeshkar and Ghulam Ali.

Nowadays, apart from singing and her restaurant, Asha is also working on her autobiography.

Rivalry with Lata Mangeshkar

Asha's sibling rivalry with Lata Mangeshkar is often talked about, in spite of their insistence that these are just tales. As young children, they were very close. As a child, Lata used to carry Asha all the time. They were so inseparable that when Lata went to school she would take Asha with her. One day the teacher protested and said that they cannot have two students on one fee. Lata refused to return to school without Asha and quit her studies.

Lata considered Asha's act of eloping with her lover as irresponsible, leaving her alone to sing and earn for the family. This led to tensions between them. Asha herself accepted in an interview — "It was a love marriage and Lata ''didi'' did not speak to me for a long time. She disapproved of the alliance." At one time, their relationship was very adversarial and there have been periods of non-communication.

In her initial days in the industry, Asha always played second fiddle to her elder sister. Some say that Lata had once criticised Asha's relationship with O. P. Nayyar. This widened the rift between the two sisters and O P Nayyar also decided that he would never work with Lata. O.P. Nayyar had once revealed "Asha and Lata, staying in opposite flats at Bombay's Peddar Road, had a common maidservant. Now this maidservant had merely to come and tell the younger sister that Lata had just recorded something wonderful for Asha to lose her vocal poise. Such was her Lata phobia that it took me some months to convince Asha that she had a voice individualistic enough to evolve a singing style all of her own." Asha once said that she has worked for years to create a voice and a style that was different from Lata, so that she could carve her own niche and not be banished to live in her sister's shadow.

Asha and Lata have also sung together. Their first duet was for the film ''Daman'' (1951). Some of their songs include ''Man Bhawan Ke Ghar aye'' (''Chori Chori'', 1956), ''Sakhi ri sun bole papihaa us paar'' (''Miss Mary'', 1957), ''O chaand jahaan woh jaaye'' (''Sharada'', 1957), ''Mere Mehboob Mein Kya Nahi'' (''Mere Mehboob'', 1963), ''Ai kash kisi deewane ko'' (''Aaye Din Bahar Ke'', 1966), ''Main Chali Main Chali'' (''Padosan'', 1968), ''Chhap tilak sab'' (''Main Tulsi Tere Aangan Ki'', 1978), and ''Man kyun behka'' (''Utsav'', 1984). While singing, Lata used to hold her notebook in her right hand, while Asha held hers in the left hand. This meant Lata had her face away from Asha, making it difficult for them to "anticipate" each other.

The movie ''Saaz'', was supposedly based on Lata and Asha's rivalry. Asha said about the movie — "To have two women in long plaits, take a couple of incidents and exaggerate them into a 3-hour film is such a waste of time." In the last few years, Asha and Lata have often been seen in public, enjoying each other's company. In an interview with ''The Times of India'', Asha once said - "I remember, sometimes both of us would be at a function and some industry types would ignore me and interact only with her, as if to prove their loyalty. Later, didi and I would have a good laugh!"

Awards

;Filmfare awards Asha Bhosle has won seven Filmfare Best Female Playback Awards of 18 nominations. She won her first two awards in 1967 and 1968. (Mangeshkar asked not to be considered for the award nominations after 1969 to promote new talent). After receiving the award in 1979, Bhosle emulated her elder sister and requested that her name not be considered for the nominations hereafter. Despite this, Bhosle is the most frequent winner of this award to date, tying with Alka Yagnik. She was later given a ''Special Award'' for ''Rangeela'' in 1996, and the Filmfare Lifetime Achievement Award in 2001. Following is the list of her Filmfare Awards:

Filmfare Best Female Playback Award:

1968: "Garibon ki Suno" (''Dus Lakh'', 1966)

1969: "Parde Mein Rehne Do" (''Shikar'', 1968)

1972: "Piya Tu Ab To Aaja" (''Caravan'', 1971)

1973: "Dum Maro Dum" (''Hare Rama Hare Krishna'', 1972)

1974: "Hone Lagi Hain Raat" (''Naina'', 1973)

1975: "Chain Se Humko Kabhi" (''Pran Jaye Par Vachan Na Jaye'', 1974)

1979: "Yeh Mera Dil" (''Don'', 1978)

Other Awards:

1996 - Special Award (''Rangeela'', 1995)

2001 - Filmfare Lifetime Achievement Award

;National Film Awards Asha has won the National Film Award for Best Female Playback Singer twice:

1981: ''Dil Cheez Kya Hai'' (''Umrao Jaan'')

1986: ''Mera Kuch Samaan'' (''Ijaazat'')

;Other awards Asha has won numerous other awards, including: 1987: Nightingale Of Asia Award (from the Indo–Pak Association, UK). 1989: Lata Mangeshkar Award (Government of Madhya Pradesh). 1997: Screen Videocon Award (for the album ''Jaanam Samajha Karo''). 1997: MTV Award (for the album ''Jaanam Samajha Karo''). 1997: Channel V Award (for the album ''Jaanam Samjha Karo''). 1998: Dayawati Modi Award.

1999: Lata Mangeshkar Award (Government of Maharashtra)

2000: Singer of the Millennium (Dubai).

2000: Zee Gold Bollywood Award (for ''Mujhe Rang De'' from ''Thakshak'').

2001: MTV Award (for ''Kambakht Ishq'').

2002: BBC Lifetime Achievement Award (presented by the UK Prime Minister Tony Blair).

2002: Zee Cine Award for Best Playback Singer - Female (for ''Radha Kaise Na Jale'' from ''Lagaan'').

2002: Zee Cine Special Award for Hall of Fame.

2002: Screen Videocon Award (for ''Radha Kaise Na Jale'' from ''Lagaan'').

2002: Sansui Movie Award (for ''Radha Kaise Na Jale'' from ''Lagaan'').

2003: Swaralaya Yesudas Award for outstanding contributions to Indian music. 2004: ''Living Legend Award'' by the Federation of Indian Chamber of Commerce and Industry. 2005: MTV Immies, Best Female Pop Act for ''Aaj Jaane Ki Zid Na Karo''. 2005: Most Stylish People in Music.

;Honours and recognitions

In 1997, Asha became the first Indian singer to be nominated for the Grammy Award, for ''Legacy'', an album with Ustad Ali Akbar Khan.

She has received seventeen Maharashtra State Awards.

She received the Dadasaheb Phalke Award in 2000 for her outstanding contribution to Indian cinema.

She holds honorary doctorates from the University of Amravati and University of Jalgaon in Literature.

She has received ''The Freddie Mercury Award'' for Outstanding Achievement in Arts.

The Birmingham Film Festival paid her a special tribute in November 2002.

She was honoured with the Padma Vibhushan by the Government of India. She was among top 20 music icons of the past 50 years.

Footnotes and references

Further reading

External links

Asha Bhosle: The Voice Of Bollywood And More - audio report by ''NPR''

Category:1933 births Category:Living people Category:Bengali-language singers Category:Bollywood playback singers Category:Dadasaheb Phalke Award recipients Category:English-language singers Category:Female guitarists Category:Gujarati-language singers Category:Hindi-language singers Category:Indian female singers Category:Indian film singers Category:Indian guitarists Category:Kollywood playback singers Category:Marathi-language singers Category:Marathi playback singers Category:Nepali-language singers Category:People from Maharashtra Category:Recipients of the Padma Vibhushan Category:Russian-language singers Category:Tamil-language singers

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Coordinates	23°33′″N46°38′″N
name	Rajendra Jublee Kumar
birth date	July 20, 1929
birth place	Sialkot, Punjab, British India
death place	Mumbai, Maharashtra, India
occupation	Actor, Producer, Director
yearsactive	1950–1998
spouse	Shukla
children	2 Daughters and son Kumar Gaurav
death date	July 12, 1999 }}

Rajendra Kumar (20 July 1929 – 12 July 1999) was one of the most successful Indian Bollywood actors in the 1960s and 1970s. He also produced several films in the 1980s starring his son Kumar Gaurav.

was born in a Punjabi Hindu family in Sialkot, in the West Punjab province of British India, currently in Pakistan.

Career

Rajendra Kumar made his debut in the 1950 film ''Jogan'' in which he starred opposite Dilip Kumar and Nargis. He then shot to fame in the blockbuster hit ''Mother India'' in 1957 in which he played Nargis's son. His first major success as a romantic leading man was in Amit Saxenas's musical superhit ''Goonj Uthi Shehnai'' (1959), co-starring Ameeta.

The 1960s saw Rajendra Kumar rise like no other star had risen. The songs of his film in Mohammed Rafi's voice became mega hits. There were times when he had six or seven films running in their silver jubilee weeks at the same time. Rajendra Kumar was soon known as "Jubilee Kumar".

He had many successful box office hits including ''Dhool Ka Phool'' (1959), ''Mere Mehboob'' (1963), ''Sangam'' (1964), ''Arzoo'' (1965), ''Suraj'' (1966) and ''Ganwaar'' (1970).. He received the Filmfare Nomination for Best Actor for ''Dil Ek Mandir'' (1963), ''Ayee Milan Ki Bela'' (1964), ''Arzoo'' (1965), and as Best Supporting Actor for ''Sangam'' (1964). He was considered a golden boy for the movie producers as he could recover the producers' money in a matter of weeks.

However, from 1972 onwards, he faced stiff competition in the form of the phenomenal Rajesh Khanna. Several of his films bombed at the box office. However, the dry spell ended when he was offered an interesting role in the film ''Saajan Bina Suhaagan'' opposite Nutan. The film was a huge blockbuster of 1978. Rajendra Kumar had regained his 'Midas Touch'. He then switched to character roles in the late 1970s and 1980s.

He also starred in a number of Punjabi films like ''Teri meri ek jindari''.

In 1981 Rajendra introduced his son Kumar Gaurav in the film ''Love Story'' which he produced, directed and also starred in. The film was declared the blockbuster. But the success was short-lived as Kumar Gaurav's later films were huge disappointments at the box office and his son's career declined as soon as it began. Rajendra produced several other films starring his son which did not do well. In 1986 he produced ''Naam'' with his son and his son's brother-in-law Sanjay Dutt in leading roles which was a box office success but the success was short-lived. His last attempt to revive his son's career was with the 1993 film ''Phool'' where he once again acted alongside his son but this film was also a box office failure.

Rajendra appeared in only a few films after this and his last film appearance was a minor role in Deepa Mehta's critically acclaimed film ''Earth'' in 1998.

He died on 12 July 1999 of cancer, 8 days before his 70th birthday. He was known to never have taken medicines in his entire life.

Personal life

He married Shukla and had a son and two daughters. His son Kumar Gaurav married Namrata Dutt, the daughter of actors Sunil Dutt and Nargis and sister of actor Sanjay Dutt.

Rajendra had acted with Sanjay's parents Sunil Dutt and Nargis in the blockbuster film ''Mother India'' (1957) where both Sunil Dutt and Rajendra Kumar played natural sons of Nargis. He had a special relationship with Sunil Dutt, who is quoted as having said that "Even though Rajendra Kumar did not win any award through out his career, he was one of the most genuine human beings I have ever encountered. When I was struggling with the troubles related to the arrest of my son Sanjay Dutt and my house was repeatedly being searched by means of numerous police raids, Rajendra Kumar was the one who came to my rescue by staying at my house and ensuring that raids were conducted using due procedures, false evidences were not planted in the house and valuables were not stolen".

He was a gentleman to the true sense of the word - very disciplined on the film sets and polite with his co-stars. Meena Kumari, the legendary actress paired with him in a number of films. Although, being a major star at the time, he would modestly address Meena Kumari as 'Mem Sahab'. Rajendra Kumar lived his life astutely and conserved his resources very well.

Honours and recognitions

Rajendra Kumar was honoured with the Padma Shri Award in 1969.

He was also conferred with Justice of Peace honour and served as Honorary Magistrate.

He was awarded the National Honour by late Pt. Jawaharlal Nehru simultaneously for “Kanoon” (Hindi) and “Mehandi Rang Lagyo” (Gujarati film).

He received a special Shastri National Award and was associated with several charity schemes.

Awards and nominations

Rajendra Kumar was nominated for Best Actor category three times.

Trivia

Father of Kumar Gaurav.

Films started coming his way when he played the role of a son of Nargis in Mother India.

His daughter-in-law (Namrata) is Sunil Dutt's and Nargis Dutt's daughter.

Started as an assistant director before getting a role in Vachan.

Was nicknamed as "Jubilee Kumar" by the trade people because majority of his movies used to do either Silver or Golden Jubilee.

He used to actively participate in campaigning for friend, Sunil Dutt, whenever the latter used to contest for elections.

For the premier of his first movie, Vachan, he was asked if he wanted any seats for his relatives or friends, and thinking that it would be complimentary, he answered ten. After some days when he went to get his fees from the producer's accountant, he was given a lesser amount and when he asked why he was told that the money was deducted for the seats he took for his relatives and friends. He took this lesson as a principle of production and when he produced Naam, he deducted some amount from Amrita Singh's fees for the long calls she had made from Hong Kong to India.

Was best friends with Raj Kapoor, so much so that his son Kumar Gaurav was engaged to the latter's daughter, Reema Kapoor. However, this friendship could not last long after their children broke the engagement.

Filmography

Actor:

Earth (1998) .... Refugee police

Diya Aur Toofan (1969)

"Andaz" (1995) TV series

Phool (1993) .... Dharamraaj

Insaaf Ka Khoon (1991) .... Judge Kumar

Clerk (1989) .... Rahim U. Khan

Main Tere Liye (1988) .... Shiva

Lovers (1983) .... Christian Priest

Rustom (1982) .... J. D. Mehta

Yeh Rishta Na Tootay (1981) .... Police Inspector Vijay Kumar

Saajan Ki Saheli (1981) .... Barrister Avinash Kumar

Love Story (1981) .... Vijay Mehra

Oh Bewafa (1980) .... R.K

Dhan Daulat (1980) .... Raj Saxena

Badla Aur Balidan (1980)

Gunehgaar (1980)

Bin Phere Hum Tere (1979) .... Jagdish Sharma

Saajan Bina Suhagan (1978) .... Raj Kumar

Aahuti (1978) .... CID Inspector Ram Prasad/Rocky

Sone Ka Dil Lohe Ke Haath (1978) .... Shankar

Daku Aur Mahatma (1977)

Do Sholay (1977)

Shirdi Ke Sai Baba (1977) .... Doctor (Pooja's husband)

Mazdoor Zindabaad (1976) (uncredited) .... Ram Singh

Do Jasoos (1975) .... Karamchand Jasoos

Rani Aur Lalpari (1975) .... Rani's dad

Sunehra Sansar (1975) .... Chandrashekhar

Teri Meri Ik Jindri (1975) .... Jaggar Singh Fauji

Do Sher (1974)(Punjabi Movie) .... Shera

Dukh Bhanjan Tera Naam (1974) .... Boatsman

Lalkar (The Challenge) (1972) .... Wing Commander Rajan Kapoor

Aan Baan (1972) .... Suraj

Gaon Hamara Shaher Tumhara (1972) .... Brij "Birju" Bhushan

Gora Aur Kala (1972) .... Karan Singh/Kali Singh (Kalua)

Tangewala (1972) .... Rai Bahadur Kishandas/Raju/Dilbahadur Khan

Aap Aye Bahaar Ayee (1971) (as Rajinder Kumar) .... Rohit Kumar Verma

Dharti (1970) .... Bharat

Ganwaar (1970) .... Gopal Rai

Geet (1970) .... Suraj 'Sarju' Kumar

Mera Naam Joker (1970) (as Rajender Kumar) .... Mahender Kumar

Anjaana (1969) .... Raju

Shatranj (1969) (as Rajinder Kumar) .... Jai/Vijay/Shinranz

Talash (1969) .... Raj Kumar 'Raju'

Jhuk Gaya Aasman (1968) (as Rajinder Kumar) .... Sanjay/Tarun Kumar 'Battu' 'Pappu' Saxena

Saathi (1968) .... Ravi

Aman (1967) .... Dr. Gautamdas

Palki (1967) .... Naseem Baig

Suraj (1966) .... Suraj Singh

Arzoo (1965) (as Rajinder Kumar) .... Gopal/Sarju

Ayee Milan Ki Bela (1964) (as Rajinder Kumar) .... Shyam

Sangam (1964) .... Magistrate Gopal Verma

Zindagi (1964) .... Rajendra "Rajan"

Akeli Mat Jaiyo (1963) (as Rajendrakumar) .... Prince Amardeep

Amar Rahe Yeh Pyaar (1963)

Dil Ek Mandir (1963) .... Dr. Dharmesh

Gehra Daag (1963) .... Shanker

Hamrahi (1963) (as Rajender Kumar) .... Shekhar

Mere Mehboob (1963) .... Anwar

Aas Ka Panchhi (1961) .... Rajan 'Raju' Khanna

Dharmputra (1961) (uncredited) .... Special appearance

Gharana (1961) .... Kamal

Pyaar Ka Saagar (1961) .... Kishen Chand Gupta

Sasural (1961) .... Shekhar

Zindagi Aur Khwab (1961) .... Inspector Manoj

Kanoon (1960) .... Advocate Kailash Khanna

Maa Baap (1960) .... Raj Kumar 'Raju'

Mehndi Rang Lagyo (1960) .... Anil

Patang (1960) (as Rajender Kumar) .... Dr. Rajan

Chirag Kahan Roshni Kahan (1959) .... Dr. Anand

Dhool Ka Phool (1959) (as Rajinder Kumar) .... Mahesh Kapoor

Do Behnen (1959)

Goonj Uthi Shehnai (1959) .... Kishan

Santan (1959)

Devar Bhabhi (1958)

Ghar Sansar (1958) .... Deepak

Khazanchi (1958) .... Harish Mohan

Talaaq (1958) .... Ravi Shankar Chaube

Mother India (1957) .... Ramu

Ek Jhalak (1957)

Aawaz (1956) .... Ashok

Toofan Aur Deeya (1956) .... Satish Sharma/Master-Ji

Vachan (1955) .... Kishore

Jogan (1950) .... Vijay's friend

Producer:

The Jungle Book (1994) (co-executive producer) (co-producer)

Phool (1993) (producer)

Jurrat (1989) (producer)

Naam (1986) (producer)

Lovers (1983) (producer)

Love Story (1981) (producer)

Presenter:

The Train (1970)

Ganwaar (1970)

Talash (1969)

Phool Aur Patthar (1966)

Editor:

Jurrat (1989)

Director:

Love Story (1981)

Soundtrack:

Mere Mehboob (1963) (performer: "Mere Mehboob Tujhe", "Allah Bachaye", "Tere Pyar Mein Dildar", "Janeman Ek Nazar", "Yaad Mein Teri", "Tumse Izhar e Haal", "Mere Mehboob Mein Kya", "Ae Husn Zara Jaag", "Yaad Mein (revival)")

Thanks:

Mera Naam Joker (1970) (acknowledgment) (as Rajender Kumar)

Self:

Raj Kapoor (1987) .... Himself (during funeral)

Star (1982) .... Himself (Guest Appearance)

Shrimanji (1968) .... Himself

Kala Bazar (1960) .... Himself

Archive Footage:

Film Hi Film (1983) (uncredited)

Footnotes

External links

On Rajendra Kumar's Contribution to Indian Cinema

Rajendra Kumar profile at Rediff.com

Category:Indian actors Category:1929 births Category:Recipients of the Padma Shri Category:1999 deaths Category:Indian film directors Category:Indian film producers Category:Hindi-language film directors Category:People from Sialkot Category:Cancer deaths in India Category:Indian film actors Category:Hindi film actors Category:Gujarati-language films

hi:राजेंद्र कुमार mr:राजेंद्र कुमार