Dharma
File:Dharma73.jpg
Directed by	Chand
Starring	Rekha
Release date(s)	1973
Country	India
Language	Hindi

Dharma is a 1973 Bollywood action film directed by Chand. The film stars Pran in the title role. The rest of the cast includes Ajit and the pair Navin Nischol and Rekha. The film became a "Superhit" at the box office.^[1] It was remade into the Telugu film "Na Pere Bhagavan" (1976). 'Dharma' film is also known for its music, especially the quawwali sequence between pran and bindu. A couple of other songs were also nicely tuned and presented.

Cast[link]

• Navin Nischol ... Raju (as Navin Nishchal)
• Rekha ... Mrs. Asha Singh
• Pran ... Sevak Singh 'Dharma'
• Madan Puri ... Mangal Singh
• Ramesh Deo ... Chaman Singh
• Mohan Choti ... Car Mechanic
• Asit Sen ... Seth Garib Das
• Sonia Sahni ... Cabaret Dancer #3 (as Sonia Sahani)
• Jayshree T. ... Cabaret Dancer #4 (as Jayshri T.)
• Faryal ... Cabaret Dancer #2
• Anjali Kadam ... Mrs. Parvati Singh
• Chandrashekhar (as Chandra Shekhar)
• Rajan Haksar ... Bhairon Singh
• Murad ... Seth

References[link]

External links[link]

• Dharma at the Internet Movie Database

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Mohammad Rafi (December 24, 1924 – July 31, 1980) is considered to be the greatest Indian male playback singer of all time.^[1] He was awarded the National Film Award, Best Singer Award, six Filmfare Awards and the Best Singer of the Millennium award. In 1967, he was honoured with the Padma Shri award by the Government of India.^[2] His singing career spanned about 35 years, and he is noted for his ability to sing songs of different moods and varieties:^[3] his songs ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawwalis to ghazals and bhajans. He is best known for romantic and duet songs, which he playback sings with the technique to mould the voice according to characters of the actor on the screen.^[4]

Rafi is primarily noted for his songs in Hindi-Urdu, over which he had a strong command. 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 songs in foreign languages such as English, Persian, Spanish and Dutch. From available figures, Rafi sang 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980.

Early years and background[link]

Mohammed Rafi was the second youngest of six brothers. His father, Hajji Ali Mohammad and family lived in Kotla Sultan Singh, a village near Amritsar in Punjab (British India).^[5] Rafi, whose nickname was Pheeko, began singing by imitating the chants of a fakir in his village.^[5] Rafi's father moved to Lahore in the 1920s where he ran a men's salon in Noor Mohalla in Bhatti Gate Lahore.^[6] His elder brother, Mohammad Deen, had a friend, Abdul Hameed, (future 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 Rafi move to Mumbai and he accompanied him in 1944.

Rafi learnt classical music from Ustad Bade Ghulam Ali Khan, Ustad Abdul Wahid Khan, Pandit Jiwanlal Matto and Firoze Nizami.^[7][8] His first public performance came at the age of 13, when he sang in Lahore featuring K. L. Saigal.^[7] 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).^[9] In that same year, Rafi was invited by All India Radio Lahore station to sing for them.^[10] He made his professional debut in the Shyam Sunder-directed 1941 Punjabi film Gul Baloch and the earliest debut in Mumbai film was Gaon Ki Gori in 1945.^[4]

In Bombay[link]

In 1944, Rafi moved to Bombay. He and Ahmed rented a ten-by-ten-feet room in the crowded downtown Bhendi Bazar area. During this time, poet Tanvir Naqvi introduced him to film producers including Abdur Rashid Kardar, Mehboob Khan and actor-director Nazeer.^[6] Shyam Sunder was in Mumbai and provided the opportunity to Rafi 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. Other songs followed.^[11] Rafi also had brief roles in movies like Laila-Majnu (1945) and Jugnu. In Laila-Majnu, he sang Tera Jalwa as a part of the chorus.^[12]

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".^[11] 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.^[10]

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.^[10] 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 Mumbai. Whereas Noor Jahan migrated to Pakistan and made a pair with playback singer Ahmed Rushdi.

Rafi was influenced by the singers of that time like K. L Saigal 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)^[13] and "Khabar Kisi Ko Nahiin, Woh Kidhar Dekhte" (Beqasoor, 1950),^[14] etc.

Recording career in the 1950s and 1960s[link]

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

Association with Naushad

As per Naushad, Rafi came to him with a letter of recommendation from Naushad's father.^[15] 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.^[12]

Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi Cinema.^[10] Songs from Baiju Bawra (1952) like "O duniya ke rakhwale" and "Man tarpat hari darshan ko aaj" furthered Rafi's credentials.^[9] Rafi ended up singing a total of 149 songs (81 of them solo) for Naushad.^[16]

In the 1960 film Mughal-E-Azam, Mohammed Rafi sang the song "Ae Mohabbat Zindabad", composed by Naushad, with a chorus of 100 singers.^[17]

Association with S D Burman

S. D. Burman patronized Rafi as the singing voice of Dev Anand and Guru Dutt.^[18] Rafi worked with Burman in movies like Pyaasa (1957), Kaagaz Ke Phool (1959), Tere Ghar Ke Samne (1963), 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.^[16] 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.^[19]

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".^[10] 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".^[20] 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.^[21] 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.^[22]

Rafi and OP had a fallout during the recording for movie "Sawan ki Ghata", as disclosed by OP during one of his interviews.^[23]

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.^[16]

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”.^[24]

Between 1950 and 1970, Rafi was the most sought after singer in Bollywood.^[25] He sang for many male stars in Hindi films.^[26] 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.^[7] Rafi recorded two English albums as well. One of them is Pop Hits.

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).^[18] 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.^[27][28] The song "Ajab Hay Dastan Teri Aey Zindagi" was first given to Kishore Kumar to sing and he sung the first half ofantara 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.^[28] 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.^[29]

Singing career in other languages

Rafi sang several hit songs in Chris Perry's Konkani album Golden Hits with Lorna Cordeiro.^[30]

Royalty issue[link]

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 filmmaker ended with his being paid his agreed fee for the song. After that, if the film proved a hit, the filmmaker was welcome to keep the Gramco (HMV) royalty he earned from it. If the film did not prove to be a hit, argued Rafi, that he had already been paid the same fees for his song; so later the situation is resolved. 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.^[27][28] Later, at the insistence of S. D. Burman, the two decided to reconcile and sing duets.

Early 1970s[link]

In early 1970s, Rafi recorded fewer songs At the same period Kishore Kumar's popularity increased due to the songs he sang for the film Aradhana.^[27][31] 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".^[18] 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.^[32] 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[link]

Rafi made a comeback as a leading singer in 1974. 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.^[16]

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.^[18] 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 1980s include Bairaag (1976), Laila Majnu (1976), Apnapan (1978), Suhaag (1979), 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).

In December 1979, Rafi recorded six songs for the Hindi remake of Dilip Sen's Bengali superhit Sorry Madam; unfortunately the film was never completed due to a personal tragedy in Dilip Sen's life. These songs, written by Kafeel Aazar and composed by Chitragupta, were released digitally in December 2009 by the label Silk Road under the title "The Last Songs". The physical album was released only in India by Universal.

Guiness World Records controversy[link]

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.".^[29] In an interview to BBC recorded in November 1977, Rafi claimed to have sung 25,000 to 26,000 songs till then.^[20]

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 August 1980) [sic] claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980."^[33] 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.^[33] The Guinness Book entries for both Rafi and Lata were later removed in 1991.

Death[link]

On Thursday, 31 July 1980, Rafi died at 10:50 p.m., following a heart attack.^[34] His last song was "Shaam phir kyun udaas hai dost" (Aas Paas), which he had recorded with Laxmikant-Pyarelal few hours before his death.^[29][35]

Rafi was buried at the Juhu Muslim cemetery.^[36] It was one of the biggest funeral processions Mumbai had ever witnessed, with over 10,000 people attending.^[37]

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.^[38]

Trivia[link]

• 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.^[39]

• His "Aaj Mausam Bada Beiman Hai" is featured in the 2001 film Monsoon Wedding.^[40] 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.^[41]

• Several of Rafi's unreleased songs will be used for an upcoming film titled Sorry Madam.^[42]

• A documentary about Rafi’s life is under production by The Films Division of India.^[43]

• 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.^[44]

• The Padma Shri Mohammed Rafi Chowk in the Bandra suburb of Mumbai and Pune (extending MG Road) is named after Rafi.^[45]

• In June 2010, Rafi was voted the most popular playback singer in the OUTLOOK Music Poll, conducted by Outlook Magazine, along with Lata Mangeshkar.^[46] The same Poll voted "Man re, tu kahe na Dheer Dhare" (Chitralekha, 1964), sung by Rafi as the #1 song.^[47] Three songs were tied for the #2 place of which two 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 included 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.^[48]

• 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".^[49]

• There have been appeals ^[50] to the Government of India to honour the singer, posthumously, with Bharat Ratna (India's Highest Civilian Award)^[11]

• Classical and playback singer Manna Dey, who was also a contemporary of Rafi 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".^[51][52]

• 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".^[53]

• 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.^[54][55]

• Singers like Shabbir Kumar, Mohammed Aziz, and more recently, Sonu Nigam, made their names by adopting Rafi's style, and perhaps owe their entire careers to Rafi.^[56]

• After his death, seven Hindi movies were dedicated to Mohd Rafi; Allah Rakha, Mard, Coolie, Desh-Premee, Naseeb, Aas-Paas and Heeralal-Pannalal.^{[citation needed]}

• Over 9000 musical tributes were organized in July 2011 commemorating the 31st anniversary of the singer's death.^[57]

• Rafi is one of the recording artists mentioned in the 1997 song Brimful of Asha by Cornershop.

List of Songs[link]

Personal life[link]

Rafi married twice; his first marriage was to the cousin of his second wife, and took place in his ancestral village. The marriage ended when his in laws and wife migrated to Lahore, Pakistan after partition. Rafi and Abdul Hameed married each one of two sisters in Mumbai in the late 1940s. Rafi had one son from his first marriage and three sons and three daughters from his second marriage with Bilquis in Mumbai. He was very much a family man, following a recording-room, to home, to recording-room itenerary. He never attended film parties, did not smoke or drink, was religious, and was considered a humble man.^[58] He used to perform his riyaz (musical practice) regularly. His only indulgences were playing carom, badminton, and flying kites.^[11]

Awards[link]

Honorary

• 1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru, on the first anniversary of the Indian Independence Day.^[10]
• 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^[59]. Rafi won with 70% of the votes.^{[citation needed]}

National Film Awards^[60]

Filmfare Awards^[61]

Bengal Film Journalists' Association Awards

Sur Sringar Award

References[link]

External links[link]

• Mohammad Rafi at the Internet Movie Database

Asha Bhosle
Background information
Birth name	Asha Mangeshkar
Born	(1933-09-08) September 8, 1933 (age 78) Sangli, Bombay Presidency, British India
Genres	Pop, folk, Indian classical music
Occupations	Singer, playback singer
Years active	1943–present

Asha Bhosle^[1] (born September 8, 1933) is an Indian singer. She is best-known as a playback singer in Hindi cinema, although she has a wider repertoire.^[2][3][4] Bhosle's career started in 1943 and has spanned over six decades. She has done playback singing for over a thousand Bollywood movies. In addition, she has recorded several private albums and participated in numerous solo concerts in India and abroad.^[5][6] Bhosle is the sister of playback singer Lata Mangeshkar.

Renowned for her voice range and often credited for her versatility,^[2][7][8] Bhosle's work includes film music, pop, ghazals, bhajans, traditional Indian classical music, folk songs, qawwalis, and Rabindra Sangeets. Apart from Hindi, she has sung in over 20 Indian and foreign languages.^[9] In 2006, Asha Bhosle stated that she had sung over 12,000 songs,^[10] a figure repeated by several other sources.^[9][11] The World Records Academy, an international organization which certifies world records, recognised her as the "Most Recorded Artist" in the world, in September 2009.^[12] In 2011 she was officially acknowledged by the Guinness Book of World Records as the most recorded artist in music history.^[13] The Government of India honoured her with the Dadasaheb Phalke Award in 2000 and the Padma Vibhushan^[14] in 2008.

Biography[link]

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 film Majha Bal (1943). The music for the film was composed by Datta Davjekar. She made her Hindi film debut when she sang the song "Saawan Aaya" for Hansraj Behl's Chunariya (1948).^[15] 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^[16] 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.^[15] Singing in 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 she sang all the songs for a film's leading actress. Chopra approached her for several of his later prosuctions, including Gumrah (1963), Waqt (1965), Hamraaz (1965), Aadmi Aur Insaan (1966) and Dhund (1973). Nayyar's future collaboration with Bhosle also resulted in success. Gradually, she established her status and received the patronage of such composers as Sachin Dev Burman and Ravi. Bhosle and Nayyar had a professional and personal parting of ways in the 1970s.

In 1966, Bhosle's performances in the duets from one of music director R.D. Burman's first soundtracks, for the movie Teesri Manzil, won popular acclaim. Reportdly, when she first heard the dance number "Aaja Aaja", she felt she would not be able to sing this westernised tune. While Burman offered to change the music, she refused, taking it as a challenge. She completed the song after ten days of rehearsals, and "Aaja Aaja", along with such other songs as "O Haseena Zulfonwali" and "O Mere Sona Re" (all three duets with Rafi), became successful. Shammi Kapoor, the film's leading actor, was once quoted as saying– "If I did not have Mohammad Rafi to sing for me, I would have got Asha Bhosle to do the job". Bhosle's collaboration with Burman resulted in numerous hits and a marriage. During the 1960-70s, she was the voice of Bollywood's actress and dancer, Helen, on whom "O Haseena Zulfon Wali" was picturised. It is said that Helen would attend her recording sessions so that she could understand the song better and plan dance steps accordingly.^[17] Some of their other popular numbers include "Piya Tu Ab To Aaja" (Caravan) and "Yeh Mera Dil" (Don), among others.

By the 1980s, Bhosle, although highly regarded^{[by whom?]} for her abilities and versatility, had sometimes been stereotyped^{[by whom?]} as a "cabaret singer" and a "pop crooner". In 1981 she attempted a different genre by singing several ghazals for the Rekha-starrer Umrao Jaan, including "Dil Cheez Kya Hai", "In Aankhon Ki Masti Ke", "Yeh Kya Jagah Hai Doston" and "Justaju Jiski Thi". The film's music director Khayyam, had lowered her pitch by half a note. Bhosle herself expressed surprise that she could sing so differently. The ghazals won her the first National Film Award of her career. A few years later, she won another National Award for the song "Mera Kuchh Saamaan" from Ijaazat (1987).

In 1995, 62-year-old Bhosle sang 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 would go on to record several songs with her. During the 2000s, several of Bhosle's numbers became chartbusters, including "Radha Kaise Na Jale" from Lagaan (2001), "Kambakht Ishq" from Pyaar Tune Kya Kiya (2001), "Yeh Lamha" from Filhaal (2002), "Lucky Lips" from Lucky (2005). 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 and 2003, was released.

Partnership with music directors[link]

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.^[18] 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). "Aao Huzoor Tumko" (Kismat) and "Jaaiye Aap Kahan" (Mere Sanam) were also popular. They also recorded songs for many hit movies like Tumsa Nahin Dekha (1957), Ek Musafir Ek Hasina (1962), Kashmir Ki Kali (1964). 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 Ishaaron 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."^[18] 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."^[19] 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. Cat Maane Billi" (Dilli Ka Thug). The bhajan "Tora Maan 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.^[15]

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.^[20] 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 classical.

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).^[15]

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 "Ye Lamhaa 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".^[21] 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[link]

Private albums[link]

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.^[22] 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 bandishes) 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 1996, Asha Bhosle sang Channeache Rati among several other songs in Rajendra Talak's Konkani album Daryachya Deger with Suresh Wadkar.

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[link]

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 US, 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, [1]) 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[link]

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 married Rahul Dev Burman in 1980.^{[13][23][24][25]} This was second marriage for both Rahul and Asha. Rahul, 6 years younger than her, earlier got divorced from Rita Patel in 1971.^[26] Asha, at the age of 16, had eloped with 31-year-old Ganpatrao Bhosle. They separated in 1960. They have 3 children.

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,^[27] 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[link]

Asha's sibling rivalry with Lata Mangeshkar is often talked about, in spite of their insistence that these are just tales.^[19] 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.^[28]

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^[28] — "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."^[21] 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.^[28]

Asha and Lata have also sung together. Their first duet was for the film Daman (1951).^[21] 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.^[28]

The movie Saaz, was supposedly based on Lata and Asha's rivalry.^[29] 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."^[28] 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[link]

Filmfare awards

Asha Bhosle has won seven Filmfare Best Female Playback Awards of 18 nominations.^[30] 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).^[30]
• 1989: Lata Mangeshkar Award (Government of Madhya Pradesh).^[30]
• 1997: Screen Videocon Award (for the album Jaanam Samajha Karo).^[30]
• 1997: MTV Award (for the album Jaanam Samajha Karo).^[30]
• 1997: Channel V Award (for the album Jaanam Samjha Karo).^[30]
• 1998: Dayawati Modi Award.^[31]
• 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: Sansui Movie Award (for Radha Kaise Na Jale from Lagaan).
• 2003: Swaralaya Yesudas Award for outstanding contributions to Indian music.^[30]
• 2004: Living Legend Award by the Federation of Indian Chamber of Commerce and Industry.^[32]
• 2005: MTV Immies, Best Female Pop Act for Aaj Jaane Ki Zid Na Karo.^[33]
• 2005: Most Stylish People in Music.^[34]

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.^[30]
• 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.^[35]
• She was among top 20 music icons of the past 50 years.^[36][37]
• In 2011 the Guinness Book of World Records officially acknowledged Bhosle as the most recorded artist in the history of music. She was awarded a certificate for "the most studio recordings (singles) for recording up to 11,000 solo, duet and chorus-backed songs and in over 20 Indian languages since 1947".^[38]

Footnotes and references[link]

Further reading[link]

• Cakrabarti, Atanu (1999) (in Bengali). Āśā Bhom̐śale, jībana o gāna. Kolkata: Madela Publishing House. ISBN 978-81-7616-040-7. OCLC 42764343. 
• Ciṭakārā, Mukeśa (2006) (in Hindi). Āśā Bhoṃsale : gāne, kôrḍsa, aura svaralipi. Delhi: Music Books. ISBN 978-81-89511-00-5. OCLC 71351425. 

External links[link]

Wikimedia Commons has media related to: Asha Bhosle

• Asha Bhosle at the Internet Movie Database
• Asha Bhosle: The Voice Of Bollywood And More - audio report by NPR

Chögyam Trungpa Rinpoche (Wylie: Chos rgyam Drung pa; February 28, 1939 – April 4, 1987) was a Buddhist meditation master and holder of both the Kagyu and Nyingma lineages, the eleventh Trungpa tülku, a tertön, supreme abbot of the Surmang monasteries, scholar, teacher, poet, artist, and originator of a radical re-presentation of Shambhala vision.

Recognized both by Tibetan Buddhists and by other spiritual practitioners and scholars^[1][2] as a preeminent teacher of Tibetan Buddhism, he was a major, albeit controversial, figure in the dissemination of Tibetan Buddhism to the West,^[3] founding Vajradhatu and Naropa University and establishing the Shambhala Training method.

Among his contributions are the translation of a large number of Tibetan texts,^[4] the introduction of the Vajrayana teachings to the West, and a presentation of the Buddhadharma largely devoid of ethnic trappings. Regarded as a mahasiddha by many senior lamas, he is seen as having embodied the crazy wisdom (Tib. yeshe chölwa) tradition of Tibetan Buddhism.^[5][6] Some of his teaching methods and actions were the topic of controversy during his lifetime and afterwards.

Biography[link]

Early years[link]

Born in the Kham region of Tibet in February 1939, Chögyam Trungpa was eleventh in the line of Trungpa tülkus, important figures in the Kagyu lineage, one of the four main schools of Tibetan Buddhism. Among his three main teachers were Jamgon Kongtrul of Sechen, HH Dilgo Khyentse Rinpoche, and Khenpo Gangshar.

The name Chögyam is a contraction of Chökyi Gyamtso (Tibetan: ཆོས་ཀྱི་རྒྱ་མཚོ་, Wylie: Chos-kyi Rgya-mtsho), which means "ocean of dharma". Trungpa (Tibetan: དྲུང་པ་, Wylie: Drung-pa) means "attendant". He was deeply trained in the Kagyu tradition and received his khenpo degree at the same time as Thrangu Rinpoche; they continued to be very close in later years. Chögyam Trungpa was also trained in the Nyingma tradition, the oldest of the four schools, and was an adherent of the ri-mé ("nonsectarian") ecumenical movement within Tibetan Buddhism, which aspired to bring together and make available all the valuable teachings of the different schools, free of sectarian rivalry.

Already installed as the head of the Surmang monasteries in eastern Tibet, Chögyam Trungpa followed the Dalai Lama who fled Tibet during the ultimately unsuccessful 1959 Tibetan uprising against the Chinese communists. He was 20 years old, and he led his own party of monks across the Himalayas on foot and on horseback into India.

From 1959-1963, by appointment of the Dalai Lama, Chögyam Trungpa served as the spiritual advisor for the Young Lamas Home School in Dalhousie, India.

Early teachings in the West[link]

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In exile in India, Trungpa began his study of English. In 1963, with the assistance of sympathetic westerners, he received a Spalding sponsorship to study Comparative Religion at Oxford University in England.^[7] In 1967 he and Akong Rinpoche were invited by the Johnstone House Trust in Scotland to take over a meditation center on the departure of the western Theravadan monk named Anandabodhi, which then became Samye Ling, the first Tibetan Buddhist monastery in the West. At this monastery in Scotland, future actor and musician David Bowie ^[8] was one of Chogyam Trungpa's meditation pupils. In 1970, after a break with his fellow lama Akong Tulku Rinpoche, Trungpa moved to the United States at the invitation of several students.

Shortly after his move to Scotland, a variety of experiences, including a car accident that left him partially paralyzed on the left side of his body, led Trungpa to the decision to give up his monastic vows and work as a lay teacher.^[9] This decision was principally motivated by the intention to undercut the temptation of students becoming distracted by exotic cultures and dress, and by their preconceptions of how a guru should behave.^[9] He drank, smoked, slept with students, and often kept students waiting for hours before giving teachings. Much of his behavior has been asserted as deliberately provocative and sparked controversies that continue to this day. In one account, he encouraged students to give up smoking marijuana claiming that the smoking was not of benefit to the spiritual progress and that it exaggerated neurosis. Students were often angered, unnerved and intimidated by him, but many remained fiercely loyal, committed, and devoted.

Upon moving to the United States in 1970, Trungpa traveled around North America, gaining renown for his unique ability to present the essence of the highest Buddhist teachings in a form readily understandable to western students. During this period, he conducted thirteen Vajradhatu Seminaries, three-month residential programs at which he presented a vast body of Buddhist teachings in an atmosphere of intensive meditation practice. The seminaries also had the important function of training his students to become teachers themselves.^[10]

Introduction of the Vajrayana[link]

Trungpa was one of the first teachers to introduce the esoteric practice of the Vajrayana to the West. According to Khenpo Tsultrim Gyamtso, "The one who mainly spread the Vajrayana in the West was Trungpa Rinpoche."^[11] In contrast to its traditional presentation in Tibet, where the esoteric practices are largely the domain of the monastic sangha, in America Trungpa introduced the Vajrayana to the lay sangha.^[12]

The presentation of these teachings gave rise to some criticism. According to a former student, Stephen Butterfield, "Trungpa told us that if we ever tried to leave the Vajrayana, we would suffer unbearable, subtle, continuous anguish, and disasters would pursue us like furies"^[13] Other Vajrayana teachers, as well, also warn their students about the dangers of the esoteric path.

Butterfield noted "disquieting resemblances" to cults, and "to be part of Trungpa's inner circle, you had to take a vow never to reveal or even discuss some of the things he did." However, Butterfield also notes that "This personal secrecy is common with gurus, especially in Vajrayana Buddhism,"^[14] and acknowledges that Trungpa's organization is anything but a cult: "a mere cult leaves you disgusted and disillusioned, wondering how you could have been a fool. I did not feel that charlatans had hoodwinked me into giving up my powers to enhance theirs. On the contrary, mine were unveiled."^[15]

Meditation and education centers[link]

The purkhang at Karmê Chöling

In 1973, Trungpa established Vajradhatu, encompassing all his North American institutions, headquartered in Boulder, Colorado. Trungpa also founded more than 100 meditation centers throughout the world. Originally known as Dharmadhatus, these centers, now more than 150 in number, are known as Shambhala Meditation Centers. He also founded retreat centers for intensive meditation practice including Shambhala Mountain Center in Red Feather Lakes, CO, Karmê Chöling in Barnet, VT and Gampo Abbey in Cape Breton, Nova Scotia.

In 1974, Trungpa founded the Naropa Institute, which later became Naropa University, in Boulder, Colorado. Naropa was the first accredited Buddhist university in North America. Chogyam Trungpa hired Allen Ginsberg to teach poetry and William Burroughs to teach literature.

He had a number of notable students, among whom were Pema Chödrön, Allen Ginsberg, Anne Waldman, Diane di Prima, Peter Lieberson, José Argüelles, David Nichtern, Ken Wilber, David Deida, Francisco Varela, and Joni Mitchell who portrayed Trungpa in the song "Refuge of the Roads" on her 1976 album Hejira.^[16] Ginsberg, Waldman, and di Prima were also teachers at Naropa University.

Some important but less well-known students, whom he taught in England and in the USA, were Alf Vial, Rigdzin Shikpo (né Michael Hookham), Jigme Rinzen (né P. Howard Useche), Ezequiel Hernandez who later became known as Keun-Tshen Goba after setting up his first meditation center in Venezuela, Miguel Otaola (aka Dorje Khandro), Francisco Salas Roche, and Francesca Fremantle. Rigdzin Shikpo went on to continue Chögyam Trungpa Rinpoche's teachings from a primarily Nyingma rather than a Kagyü point of view in the Longchen Foundation.^[17][18]

Shambhala vision[link]

In 1976, Trungpa began giving a series of secular teachings, some of which were gathered and presented as the Shambhala Training,^[19][20] inspired by his vision (see terma) of the legendary Kingdom of Shambhala. Trungpa had actually started writing about Shambhala before his 1959 escape from Tibet to India, but most of those writings were lost during the escape.^[21]

In his view not only was individual enlightenment not mythical, but Shambhala Kingdom referred to an enlightened society that could in fact be actualized. The practice of Shambhala vision is to use mindfulness/awareness meditation as a way to connect with one's basic goodness and confidence. It is presented as a path that "brings dignity, confidence, and wisdom to every facet of life." The enlightened society it proposes would be led by himself as sakyong (Tib. earth protector) and his wife as queen-consort or sakyong wangmo.

Shambhala vision is described as a non-religious approach, rooted in meditation and accessible to individuals of any, or no, religion. In Shambhala terms, it is possible, moment by moment, for individuals to establish enlightened society. His book, Shambhala: The Sacred Path of the Warrior, provides a concise collection of the Shambhala views. According to Trungpa, it was his intention to propagate the kingdom of Shambala that provided the necessary inspiration to leave his homeland and make the arduous journey to India and the West.^[22]

Work with arts and sciences[link]

From the beginning of his time in America, Chögyam Trungpa passionately encouraged his students to integrate a contemplative approach into all of their everyday activities. In addition to making a variety of traditional contemplative practices available to the community, he also incorporated the many already-existing special interests of his students, evolving specialized teachings on how to apply a meditative approach to these various disciplines. These disciplines included kyūdō (Japanese archery), calligraphy, ikebana (flower arranging), sado (Japanese tea ceremony), dance, theater, film, poetry, as well as health care and psychotherapy. His aim was, in his own words, to bring "art to everyday life." He founded the Nalanda Foundation in 1974 as an umbrella organization for these activities.^{[citation needed]}

Death[link]

On September 28, 1986, Trungpa, in failing health due to the auto accident in his youth and to years of heavy alcohol use, suffered cardiac arrest,^[23] subsequent to which his condition deteriorated further, requiring intensive care at the hospital, then at his home, and finally back at the hospital in mid-March 1987, where he died on April 4. His wife Diana Mukpo wrote in 2006 that: "Although he had many of the classic health problems that develop from heavy drinking, it was in fact more likely the diabetes and high blood pressure that led to abnormal blood sugar levels and then the cardiac arrest".^[24] However, when asked in a November 2008 interview, "What was he ill with? What did he die of?," his doctor Mitchell Levy replied, "He had chronic liver disease related to his alcohol intake over many years."^[25] One of his nursing attendants reports that in his last months, he suffered from the classic symptoms of terminal alcoholism and cirrhosis,^[26] yet continued drinking heavily. She adds, "At the same time there was a power about him and an equanimity to his presence that was phenomenal, that I don't know how to explain."^[27]

He is reported to have remained in a state of samādhi for five days after his death, his body not immediately decaying and his heart remaining warm.^[28] His body was packed in salt and laid into a wooden box that was conveyed to Karmê Chöling. A number of observers have reported that his cremation there on May 26, 1987 was accompanied by various atmospheric effects and other signs traditionally viewed as marks of enlightenment. These included the appearance of rainbows, of eagles circling,^[29][30] and of a cloud in the shape of an Ashe.^[31][32]

Continuation of the Shambhala lineage[link]

Upon the death of Chögyam Trungpa, the leadership of Vajradhatu was first carried on by his American disciple, appointed regent and Dharma heir, Ösel Tendzin (Thomas Rich), and then by Trungpa's eldest son and Shambhala heir, Sakyong Mipham Rinpoche.

The next Trungpa tülku, Chokyi Sengay, was recognized in 1991 by Tai Situ Rinpoche.

Acclaim[link]

Major lineage holders of his own Tibetan Buddhist traditions and many other Buddhist teachers supported his work.

In 1974, Trungpa invited the Karmapa, head of the Karma Kagyu lineage, to come to the west and offer teachings. Based on this visit, the Karmapa proclaimed Trungpa to be one of the principal Kagyu lineage holders in the west:

The ancient and renowned lineage of the Trungpas, since the great siddha Trungmase Chökyi Gyamtso Lodrö, possessor of only holy activity, has in every generation given rise to great beings. Awakened by the vision of these predecessors in the lineage, this my present lineage holder, Chökyi Gyamtso Trungpa Rinpoche, supreme incarnate being, has magnificently carried out the vajra holders discipline in the land of America, bringing about the liberation of students and ripening them in the dharma. This wonderful truth is clearly manifest.

Accordingly, I empower Chögyam Trungpa Vajra Holder and Possessor of the Victory Banner of the Practice Lineage of the Karma Kagyu. Let this be recognized by all people of both elevated and ordinary station.^[33]

In 1981, Chögyam Trungpa and his students hosted the Fourteenth Dalai Lama in his visit to Boulder, Colorado. Of Trungpa, he later wrote, "Exceptional as one of the first Tibetan lamas to become fully assimilated into Western culture, he made a powerful contribution to revealing the Tibetan approach to inner peace in the West."^[34]

Chögyam Trungpa also received support from one of his own main teachers, Dilgo Khyentse Rinpoche, head of the Nyingma lineage. In addition to numerous sadhanas and poems dedicated to Trungpa, Khyentse Rinpoche wrote a supplication after Trungpa's death specifically naming him a mahasiddha.^[35][36][37] Among other Tibetan lamas to name Trungpa as a mahasiddha are the Sixteenth Karmapa, Thrangu Rinpoche, Khenpo Tsultrim Gyamtso Rinpoche and Tai Situpa.^[38]

The Dzogchen Ponlop Rinpoche said, "As taught in the Buddhist scriptures, there are nine qualities of a perfect master of buddhadharma. The eleventh Chögyam Trungpa Rinpoche possessed all nine of these." ^[39]

Suzuki Roshi, founder of the San Francisco Zen Center and Tassajara Zen Mountain Center, and another important exponent of Buddhism to western students, described Trungpa Rinpoche in the context of a talk about emptiness:

The way you can struggle with this is to be supported by something, something you don't know. As we are human beings, there must be that kind of feeling. You must feel it in this city or building or community. So whatever community it may be, it is necessary for it to have this kind of spiritual support.

That is why I respect Trungpa Rinpoche. He is supporting us. You may criticize him because he drinks alcohol like I drink water, but that is a minor problem. He trusts you completely. He knows that if he is always supporting you in a true sense you will not criticize him, whatever he does. And he doesn't mind whatever you say. That is not the point, you know. This kind of big spirit, without clinging to some special religion or form of practice, is necessary for human beings.^[40]

Gehlek Rinpoche, who lived with Trungpa Rinpoche when they were young monks in India and later visited and taught with him in the U.S., remarked:

He was a great Tibetan yogi, a friend, and a master. The more I deal with Western Dharma students, the more I appreciate how he presented the dharma and the activities that he taught. Whenever I meet with difficulties, I begin to understand – sometimes before solving the problem, sometimes afterward – why Trungpa Rinpoche did some unconventional things. I do consider him to be the father of Tibetan Buddhism in the United States. In my opinion, he left very early – too early. His death was a great loss. Everything he did is significant.^[41]

Diana Mukpo, his wife, stated:

First, Rinpoche always wanted feedback. He very, very much encouraged his students’ critical intelligence. One of the reasons that people were in his circle was that they were willing to be honest and direct with him. He definitely was not one of those teachers who asked for obedience and wanted their students not to think for themselves. He thrived, he lived, on the intelligence of his students. That is how he built his entire teaching situation.

From my perspective, I could always be pretty direct with him. Maybe I was not hesitant to do that because I really trusted the unconditional nature of our relationship. I felt there was really nothing to lose by being absolutely direct with him, and he appreciated that.^[42]

Controversies[link]

Chögyam Trungpa's style of teaching was often unconventional.^[43] In his own words, "When we talk about compassion we talk in terms of being kind. But compassion is not so much being kind; it is being creative to wake a person up."^[44] He did not encourage his students to imitate his own behavior, and he was troubled by those who felt empowered by his example to do whatever they wanted and manipulate people. As the third Jamgön Kongtrül explained in a teaching given to students of Chögyam Trungpa, "You shouldn't imitate or judge the behavior of your teacher, Chögyam Trungpa Rinpoche, unless you can imitate his mind."^[45]

Trungpa's sexuality has been one of the sources of controversy, as he cultivated relations with a number of his female students. Tenzin Palmo, who met him in 1962 while he was still at Oxford did not become one of his consorts. She mentions she refused his advances at the time because he had presented himself as "a pure monk". However, she said had she known that Trungpa began having sexual relations with women at age 13 she would not have declined, considering that in the higher stages of Tibetan Buddhist tantra, sexual relations (especially with tertöns) are a means of enhancing spiritual insights.^[46] Trungpa formally renounced his monastic vows in 1969.^[47]

Trungpa was also known for smoking tobacco and for his liberal use of alcohol;^[48] many who knew him characterized him as an alcoholic.^[49][50] He began drinking occasionally shortly after arriving in India.^[51] Before his coming to America, Trungpa drove a sports car into a joke shop in Dumfries, Scotland.^[52] While his companion was not seriously injured,^[53] Trungpa was left partially paralyzed. Later he described this event as a pivotal moment which inspired the course of his teachings. Some accounts ascribe the accident to drinking.^[54][55] Others suggest he may have had a stroke.^[56][57] According to Trungpa himself, he blacked out.^[58]

He often combined drinking with teaching. David Chadwick recounts:^[59] "Suzuki [Roshi] asked Trungpa to give a talk to the students in the zendo the next night. Trungpa walked in tipsy and sat on the edge of the altar platform with his feet dangling. But he delivered a crystal-clear talk, which some felt had a quality – like Suzuki's talks – of not only being about the dharma but being itself the dharma." However, in some instances he was too drunk to walk and had to be carried.^[55] Also, according to the Steinbecks, on a couple of occasions his speech was unintelligible.^[60] One woman reported serving him "big glasses of gin first thing in the morning."^[26]

Two former students of Trungpa, John Steinbeck IV and his wife, wrote a sharply critical memoir of their lives with him in which they claim that, in addition to alcohol, Trungpa used $40,000 a year worth of cocaine, and used Seconal to come down from the cocaine. The cocaine use, say the Steinbecks, was kept secret from the wider Vajradhatu community.^[61]

An incident that became a cause célèbre among some poets and artists was the Halloween party at the Fall, 1975, Snowmass Colorado Seminary, a 3-month period of intensive meditation and study of the Hinayana, Mahayana, and Vajrayana vehicles of Tibetan Buddhism. The poet W. S. Merwin had arrived that summer at the Naropa Institute and been told by Allen Ginsberg that he ought to visit seminary. Although he had not gone through the several years' worth of study and preparatory mind training required, Merwin was insistent he attend, and Trungpa eventually granted his request – along with his girlfriend as well. At seminary the couple stayed to themselves. At the Halloween party, after many, including Trungpa himself, had taken off their clothes, Merwin was asked to join the event, but refused. On Trungpa's orders his Vajra Guard forced entry into the poet's locked and barricaded room; brought him and his girlfriend, Dana Naone, against their will, to the party; and eventually stripped them of all their clothes, onlookers ignoring Naone's pleas for help and for someone to call the police.^[62] The next day Trungpa asked Merwin and Naone to remain at the Seminary as either students or guests. They agreed to stay for several more weeks to hear the Vajrayana teachings, with Trungpa's promise that "there would be no more incidents," and Merwin and Naone's assertion that "it would be with no guarantees of obedience, trust, or personal devotion to him."^[63] They left immediately after the last talk. In a 1977 letter to members of a Naropa class investigating the incident, Merwin concluded,

My feelings about Trungpa have been mixed from the start. Admiration, throughout, for his remarkable gifts; and reservations, which developed into profound misgivings, concerning some of his uses of them. I imagine, at least, that I've learned some things from him (though maybe not all of them were the things I was 'supposed' to learn) and some through him, and I'm grateful to him for those. I wouldn't encourage anyone to become a student of his. I wish him well.^[64]

Author Jeffery Paine commented on this incident that "Seeing Merwin out of step with the rest, Trungpa could have asked him to leave, but decided it was kinder to shock him out of his aloofness."^[65] However, he also notes the outrage felt in particular by poets such as Robert Bly and Kenneth Rexroth, who began calling Trungpa a fascist.^[66]

Trungpa's choice of Westerner Ösel Tendzin as his dharma heir was controversial as Tendzin would be the first Western Tibetan Buddhist lineage holder and Vajra Regent. This was exacerbated by Tendzin's own behavior as lineage holder. Tendzin, while knowingly carrying HIV, was sexually involved with students, one of whom became infected and died.^[67]

Rick Fields, historian of Buddhism in America,^[68] writes that Trungpa "caused more trouble, and did more good, than anyone I'll ever know."^[69]

Chronology[link]

1940: Born in Kham, Eastern Tibet. Enthroned as eleventh Trungpa Tulku, Supreme Abbot of Surmang Monasteries, and Governor of Surmang District. Some put his birth in 1939.^[70]

1944–59: Studies traditional monastic disciplines, meditation, and philosophy, as well as calligraphy, thangka painting, and monastic dance.

1947: Ordained as a shramanera (novice monk).

1958: Receives degrees of Kyorpön (Doctor of Divinity) and Khenpo (Master of Studies). Ordained as a bhikshu (full monk).

1959–60: Follows the Dalai Lama to India during the 1959 Tibetan uprising, which failed to overthrow the Chinese government

1960–63: By appointment of the Dalai Lama, serves as spiritual advisor to the Young Lamas' Home School in Dalhousie, India.

1962: Fathers first son, Ösel Rangdröl (Mukpo), by a nun later referred to as Lady Kunchok Palden (or Lady Konchok Palden).^[71]

1963–67: Attends Oxford University on a Spaulding scholarship, studying comparative religion, philosophy, and fine arts. Receives instructor's degree of the Sogetsu School of ikebana (Japanese flower arrangement)

1967: Founds Samyê-Ling, a meditation center in Dumfriesshire, Scotland.

1968: Receives The Sadhana of Mahamudra terma text while on retreat in Paro Taktsang, a sacred cliffside monastery in Bhutan.^[72]

1969: Becomes the first Tibetan British subject. Injured in a car accident, leaving him partially paralyzed. Relinquishes monastic vows and robes.

1970: Renounces monastic vows and marries wealthy sixteen year old disciple Diana Judith Pybus.^[73] Arrives in North America. Establishes Tail of the Tiger, a Buddhist meditation and study center in Vermont, now known as Karmê Chöling. Establishes Karma Dzong, a Buddhist community in Boulder, Colorado.^[74]

1971: Begins teaching at University of Colorado. Establishes Rocky Mountain Dharma Center, now known as Shambhala Mountain Center, near Fort Collins, Colorado.

1972: Initiates Maitri, a therapeutic program that works with different styles of neurosis using principles of the five buddha families. Conducts the Milarepa Film Workshop, a program which analyzes the aesthetics of film, on Lookout Mountain, Colorado.

1973: Founds Mudra Theater Group, which stages original plays and practices theater exercises, based on traditional Tibetan dance.^[75] Incorporates Vajradhatu, an international association of Buddhist meditation and study centers, now known as Shambhala International. Establishes Dorje Khyung Dzong, a retreat facility in southern Colorado.^[76] Conducts first annual Vajradhatu Seminary, a three-month advanced practice and study program.

1974: Incorporates Nalanda Foundation, a nonprofit, nonsectarian educational organization to encourage and organize programs in the fields of education, psychology, and the arts. Hosts the first North American visit of The Sixteenth Gyalwang Karmapa, head of the Karma Kagyü lineage. Founds The Naropa Institute, a contemplative studies and liberal arts college, now fully accredited as Naropa University. Forms the organization that will become the Dorje Kasung, a service group entrusted with the protection of the buddhist teachings and the welfare of the community.

1975: Forms the organization that will become the Shambhala Lodge, a group of students dedicated to fostering enlightened society. Founds the Nalanda Translation Committee for the translation of Buddhist texts from Tibetan and Sanskrit. Establishes Ashoka Credit Union.

1976: Hosts the first North American visit of Dilgo Khyentse Rinpoche, revered meditation master and scholar of the Nyingma lineage. Hosts a visit of Dudjom Rinpoche, head of the Nyingma lineage. Empowers Thomas F. Rich as his dharma heir, known thereafter as Vajra Regent Ösel Tendzin. Establishes the Kalapa Court in Boulder, Colorado, as his residence and a cultural center for the Vajradhatu community. Receives the first of several Shambhala terma texts (see termas). These comprise the literary source for the Shambhala teachings. Founds Alaya Preschool in Boulder, Colorado.

1977: Bestows the Vajrayogini abhisheka for the first time in the West for students who have completed ngöndro practice. Establishes the celebration of Shambhala Day. Observes a year-long retreat in Charlemont, Massachusetts. Founds Shambhala Training to promote a secular approach to meditation practice and an appreciation of basic human goodness. Visits Nova Scotia for the first time.

1978: Conducts the first annual Magyal Pomra Encampment, an advanced training program for members of the Dorje Kasung. Conducts the first annual Kalapa Assembly, an intensive training program for advanced Shambhala teachings and practices. Conducts the first Dharma Art seminar. Forms Amara, an association of health professionals. Forms the Upaya Council, a mediation council providing a forum for resolving disputes. Establishes the Midsummer's Day festival and Children's Day.

1979: Empowers his eldest son, Ösel Rangdröl Mukpo, as his successor and heir to the Shambhala lineage. Founds the Shambhala School of Dressage, an equestrian school under the direction of his wife, Lady Diana Mukpo. Founds Vidya Elementary School in Boulder, Colorado.

1980–83: Presents a series of environmental installations and flower arranging exhibitions at art galleries in Los Angeles, San Francisco, Denver, and Boulder.

1980: Forms Kalapa Cha to promote the practice of traditional Japanese Tea Ceremony. With the Nalanda Translation Committee, completes the first English translation of The Rain of Wisdom.

1981: Hosts the visit of the 14th Dalai Lama to Boulder, Colorado. Conducts the first annual Buddhist-Christian Conference in Boulder, Colorado, exploring the common ground between Buddhist and Christian contemplative traditions. Forms Ryuko Kyūdōjō to promote the practice of Kyūdō under the direction of Shibata Kanjuro Sensei, bow maker to the Emperor of Japan. Directs a film, Discovering Elegance, using footage of his environmental installation and flower arranging exhibitions.

1982: Forms Kalapa Ikebana to promote the study and practice of Japanese flower arranging.

1983: Establishes Gampo Abbey, a Karma Kagyü monastery located in Cape Breton, Nova Scotia, for Western students wishing to enter into traditional monastic discipline. Creates a series of elocution exercises to promote precision and mindfulness of speech.

1984–85: Observes a year-long retreat in Mill Village, Nova Scotia.

1986: Moves his home and the international headquarters of Vajradhatu to Halifax, Nova Scotia.

1987: Dies of an alcohol-related illness, April 4, in Halifax; cremated May 26 at Karmê Chöling. (His followers have constructed a chorten or stupa, the Great Stupa of Dharmakaya, located near Red Feather Lakes, Colorado, for his remains.) 1989: The child recognized as his reincarnation, Chokyi Sengay, is born in Derge, Tibet; recognized two years later by Tai Situ Rinpoche.

Bibliography[link]

• Born in Tibet (1966), autobiography, story of escaping from Tibet.
• Meditation in Action (1969)
• Mudra (1972)
• Cutting Through Spiritual Materialism (1973)
• The Dawn of Tantra, by Herbert V. Guenther and Chögyam Trungpa (1975)
• Glimpses of Abhidharma (1975)
• The Tibetan Book of the Dead: The Great Liberation through Hearing in the Bardo, translated with commentary by Francesca Fremantle and Chögyam Trungpa (1975)
• The Myth of Freedom and the Way of Meditation (1976)
• The Rain of Wisdom (1980)
• Journey without Goal: The Tantric Wisdom of the Buddha (1981)
• The Life of Marpa the Translator (1982)
• First Thought Best Thought: 108 Poems (1983)
• Shambhala: The Sacred Path of the Warrior (1984)
• Crazy Wisdom (1991)
• The Heart of the Buddha (1991)
• Orderly Chaos: The Mandala Principle (1991)
• Secret Beyond Thought: The Five Chakras and the Four Karmas (1991)
• The Lion's Roar: An Introduction to Tantra (1992)
• Transcending Madness: The Experience of the Six Bardos (1992)
• Training the Mind and Cultivating Loving Kindness (1993)
• Glimpses of Shunyata (1993)
• The Art of Calligraphy: Joining Heaven and Earth (1994)
• Illusion's Game: The Life and Teaching of Naropa (1994)

• The Path Is the Goal: A Basic Handbook of Buddhist Meditation (1995)
• Dharma Art (1996)
• Timely Rain: Selected Poetry of Chögyam Trungpa (1998)
• Great Eastern Sun: The Wisdom of Shambhala (1999)
• Glimpses of Space: The Feminine Principle and Evam (1999)
• The Essential Chögyam Trungpa (2000)
• Glimpses of Mahayana (2001)
• Glimpses of Realization (2003)
• The Collected Works of Chögyam Trungpa, Volumes One through Eight (2003)
• True Command: The Teachings of the Dorje Kasung, Volume I, The Town Talks (2004)
• The Sanity We Are Born With: A Buddhist Approach to Psychology (2005)
• The Teacup & the Skullcup: Chogyam Trungpa on Zen and Tantra (2007)