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Vani Jayaram
Vani Jairam in 2009
Background information
Born	Vellore, Tamil Nadu, India (1945-11-30) 30 November 1945 (age 66)
Genres	playback singing
Occupations	Singer
Instruments	Vocals
Years active	1971-current
Website	Official website

Vani Jayaram (born November 30, 1945 in Tamil Nadu) is a prominent Indian female playback singer. She has thrice won the National Film Awards for Best Female Playback Singer^[1]. She is also acclaimed for her in-depth knowledge of both forms of Indian classical music : Carnatic and Hindustani.

She has recorded more than 8,000 film songs in 14 different languages including Tamil, Telugu, Malayalam, Kannada, Marathi and Hindi.^[1]

Personal life and background[link]

Vani Jayaram was born in Vellore in Tamil Nadu, in a family of musicians. Her mother is the disciple of Ranga Ramunaja Iyengar, a great veena exponent. Kadaloor Sreenivasa Iyengar, who taught Vani’s sister music, was fascinated by her observation and grasping power. He taught her a few Dikshitar kritis when she was hardly five.^[2] The fifth daughter in a family of six daughters and three sons, Vani always secretly yearned for a career in film playback singing. Considered to be a child prodigy, Vani Jayaram claims to have recognized the different ragas of Indian classical music before the age of five. Her voice was first heard on All India Radio, Madras, at the age of eight.

Vani Jayaram studied Carnatic music under the tutelage of Kadalur Srinivasa Iyengar, T. R. Balasubramanian and R. S. Mani. Her Hindustani classical music guru was Ustad Abdul Rahman Khan.

After her marriage to Jayaram she settled in Mumbai, where she realized her dream.

Career[link]

In 1971, she realized her childhood ambition of becoming a playback singer when Hindi film music director Vasant Desai chose her voice for the Hindi feature film Guddi. She recorded three songs for Guddi, and "Bol Re Papi Hara," a song based on the Hindustani raga Miyan Malhar, instantly made her an household name in India. For that song she was awarded the Tansen Samman (for best classical-based song in a Hindi film), the Lions International Best Promising Singer award, the All India Cinegoers Association award, and the All India Film-goers Association award for the Best Playback Singer in 1971. She went on to sing a few songs each for music directors of Hindi cinema, including Chitragupt, Naushad (a classical song in Pakeezah and a duet with Asha Bhosle in Aaina), Madan Mohan (a duet with Kishore Kumar in the film Ek Mutthi Aasmaan), O.P. Nayyar (several songs from the film Khoon Ka Badla Khoon including duets with Mohammed Rafi and also with Uttara Kelkar and Pushpa Pagdhare), R. D. Burman (a duet with Mukesh in Chhalia), Kalyanji Anandji, Laxmikant Pyarelal, and Jaidev (a duet with Manna Dey in Parinay and a solo in Solwa Saawan). Her songs in Meera (1979), composed by Pandit Ravi Shankar, won her the Filmfare Award.^[3]

Around 1974, she shifted her base to Chennai and soon became a sought-after singer in Tamil, Telugu, Kannada and Malayalam cinema. She worked with almost all the leading music directors of south namely M. S. Viswanathan, M. B. Sreenivasan, K. V. Mahadevan, M. K. Arjunan, Jerry Amaldev, Salil Chowdhary and Ilayaraaja. With the Academy award winner, A. R. Rahman, she recorded a duet with S. P. Balasubramanyam in the song "Sugam sugam athu" for the film Vandicholai Chinnarasu in 1994.

Besides Hindi and Tamil, Vani Jayaram has recordings in other languages of India. These include some songs in Gujarati, Marathi, Marwari, Haryanvi, Bengali and Tulu, and a huge repertoire in Malayalam, Kannada, Telugu and Oriya. For her work in some of these languages, she has been awarded many prestigious awards, among them are Best Female Playback Singer for states of Gujarat (1975), Tamil Nadu (1980) and Orissa (1984).

One of her most famous Marathi songs, "Runanubandhachya," is a duet with the classical Hindustani singer Kumar Gandharva. This song was composed by Vani's mentor Vasant Desai for a Marathi drama called Dev Deenaghari Dhaavlaa. The lyrics were written by Bal Kolhatkar.

Awards[link]

Vani Jayaram was chosen for the Indian President's National Film Award for Best Female Playback Singer of 1975, for her work in M. S. Viswanathan's Apoorva Raagangal. Shankarabharanam (Telugu), the film scored by K. V. Mahadevan, gave Vani Jayaram her second National Award as Best Playback Singer of 1980. Once again, she was awarded her third National Award for Best Playback Singer of 1991 for K. V. Mahadevan's Swathi Kiranam.

Her songs in the Pandit Ravi Shankar scored film Meera brought her the Film World (1979) Cine Herald (1979) and Filmfare Award (1980) for Best Playback Singer for "Mere To Giridhar Gopal".

She was awarded Tanzen Award in 1972, which she won for "Bole Re Pappihara" (from the film Guddi), one of the most popular songs in her career.^[1]

She is also the youngest artist to be awarded the Sangeet Peet Samman.^{[citation needed]}

Other titles[link]

• 2004: Kamukara Award ^[4]
• 2007: South Indian Meera ^[5]

References[link]

External links[link]

• Official website
• Vani Jayaram at the Internet Movie Database
• All 583 Malayalam songs of Vani Jairam
• Vani Jairam at MSI

[ml:വാണി ജയറാം]

Hema Malini
Born	Hema Malini R. Chakravarthy (1948-10-16) 16 October 1948 (age 63)[1] Ammankudi, Tiruchirappalli district, Tamil Nadu, India[1]
Occupation	actress, director, producer, politician
Years active	1965–present
Spouse	Dharmendra (1980–present)
Children	Esha Deol Ahana Deol

Hema Malini (Tamil: ஹேமா மாலினி, Hēmā Māliṉi ^?; born 16 October 1948) is an Indian actress, director and producer, as well as a Bharatanatyam dancer-choreographer. Making her acting debut in Sapno Ka Saudagar (1968), she went on to appear in numerous Bollywood films, most notably those with actor and future-husband Dharmendra.^[2] She was initially promoted as "Dream Girl", and in 1977 starred in a film of the same name.^[3] During this period, she established herself as one of Hindi cinema's leading actresses, noted for both her comic and dramatic roles, her beauty, and her accomplished classical dancing.^[4][5][6]

Malini is one of the most successful female film stars in the history of Indian cinema.^[5][7][8] Appearing in over 150 films in a career span of 40 years, she has starred in a large number of successful films, and her performances in both commercial and arthouse cinema, were often recognised.^[5] During her career, she has been nominated 11 times for the Filmfare Award for Best Actress, of which she won once in 1972. In 2000, she was presented with the Filmfare Lifetime Achievement Award. In the same year, she was honoured with the Padma Shri, the fourth-highest civilian honour, by the Government of India.^[9] She also served as the Chairperson of the National Film Development Corporation. She was awarded the prestegious "SaMaPa Vitasta Award 2006" in Delhi by SaMaPa - "Sopori Academy of Music And Performing Arts" by Music Legend Pandit Bhajan Sopori for her lifetime contribution and service to Indian culture and Dance.

Of late Malini spends most of her time on charitable and social ventures, while making occasional appearances in films. She is a member of India's Bharatiya Janata Party and was nominated member by the party in Rajya Sabha, the upper House of parliament during 2003–2009.^[10]

Early life and family[link]

Hema Malini Chakravarty was born into a Tamil Iyengar family in Ammankudi, Tiruchirappalli to V.S. Ramanujam Chakravarthy^[11] and Jaya Chakravarthy on 16 October 1948.^[1] Her mother was a film producer. Malini was the youngest of the three children and has two brothers.^[12] She was not interested in academic studies but enjoyed history, her favourite subject in school.^[12] She was educated at Andhra Mahila Sabha in Chennai.^[11]

Some of Bollywood's most popular Bollywood actors like Sanjeev Kumar and Jeetendra have proposed to Hema Malini.^[13][14] In her authorized biography, Hema Malini mentions she almost accepted Jeetendra's proposal, but later backed out.^[13] Unable to tolerate the rejection, Sanjeev Kumar was reportedly driven to alcoholism and remained unmarried till his death in 1985.^[13]

Hema fell in love with her co-star Dharmendra during the filming of Sholay.^[15] She eventually married him in 1980. Before they married, they both converted to Islam,^[16] since Dharmendra was already married to Prakash Kaur^[17][18][19] who refused to divorce him. Apart from Sholay, the Dharmendra-Hema pair appeared together in films like Seeta Aur Geeta, Dreamgirl, Charas and The Burning Train. After her marriage she became the step-mother of Sunny Deol and Bobby Deol, both popular actors in Bollywood. She has two daughters with Dharmendra, Esha Deol (born 1982) and Ahana Deol (born 1984). Her elder daughter Esha is a well-known actress in Bollywood while her younger daughter Ahana is an aspiring director^[20] who worked as an assistant director to Sanjay Leela Bhansali in his film Guzarish (2010) which starred Hrithik Roshan and Aishwarya Rai.^[21][22]

Hema Malini's niece is actress Madhoo who had starred in films Phool Aur Kaante (1991), Roja (1992)^[23] and Annayya (1993)

Film career[link]

Debut: 1960s[link]

Hema was considered for a Tamil film when she was 15 but rejected by director C. V. Sridhar saying that she was too thin.^[24] In 1965, she got an opportunity to act in a short episode as dancer in Pandava Vanavasam, a Telugu film. Later Ananthaswamy, a film poducer offered her a role opposite Raj Kapoor in his film Sapno Ka Saudagar (1968).^[24] She was promoted as the dream girl of Bollywood right from that film itself.^[24]

Breakthrough: 1970s[link]

In Johnny Mera Naam (1970), she was cast in a more pivotal role and the film became a blockbuster. She took challenging roles which most of the heroines of the 1960s refused to do. She played the role of a young widow in Andaaz (1971) and in Lal Patthar (1971) she played a character with negative shades.^[24] The following year, Hema double-roled with Dharmendra and Sanjeev Kumar in Seeta Aur Geeta.^[25] Even after many years the film remains one of the best in her career.^[25] The film was a blockbuster and earned her first Filmfare Best Actress Award.^[26] Within four years of making her debut, she established herself as one of the leading actresses in Bollywood.^[4]

During the mid 70s, her fans started calling her "Dream Girl", an allusion to the movie of the same name where she starred opposite Dharmendra.^[24]

A majority of her films released during this period were highly successful; Sanyasi, Dharmatma and Pratigya. Sholay, released in 1975, became a box-office phenomenon, where she played the role of Basanti, an unforgettable role of a talkative girl.^[24]

Malini starred in many movies throughout the 1970s and is perhaps best remembered for her glamour, style, and accomplished classical dancing.^[13][27] The Dharmendra-Hema pair had back to back hits from the early 70's like Sharafat, Tum Haseen Main Jawan, Naya Zamana, Raja Jani, Seeta Aur Geeta starring together in 28 movies in all, eventually marrying him in 1980.^[24] The pair continued with box office hit movies like Patthar Aur Payal, Dost, Charas, Jugnu, Azaad, Dillagi and Dil Kaa Heera. She also achieved some strong dramatic or comic moments in films like Trishul, Joshila and Khushboo. In the late 1970s she acted in female-centric movies like Kinara (1977) and Meera (1979), directed by Gulzar.

Post marriage: 1980–1999[link]

After her marriage she continued to work in films like Kranti, Naseeb, Satte Pe Satta and Vijay Anand's Rajput. The couple Dharmendra Hema Malini were paired together even after marriage, in the eighties in Alibaba Aur 40 Chor, Baghavat, Samraat and Razia Sultan.In 1983 she starred in Andha Kanoon which marked the debut of Tamil actor Rajinikanth in Bollywood. In the film she played the sister of Rajinikanth, seeking revenge for the death of her parents. The following year she acted in K. Balachander's Ek Nai Paheli, a remake of his Tamil film Apoorva Raagangal. She portrayed the role of a classical singer in the film.

She was a part of the hit multi-starrers Baghavat and Raaj Tilak both opposite Dharmendra, and continued to gain success in films focusing on her character like Aandhi Toofan, Durgaa and Ramkali in 1985, Sitapur Ki Geeta in 1987 saw her doing action oriented roles while Ek Chaddar Maili Si (1986), Rihaee and Jamai Raja (1990), saw her playing more matured roles.^[24]

Hema also directed a film, Dil Aashna Hai which was a commercial failure and her career tapered off as she chose to concentrate more on her dance ballets and Television serials.^[24]

Comeback: 2000s[link]

After taking a break from films for a number of years in the 1990s and early 2000s, Hema made a comeback with Baghban (2003).^[24] The film had Amitabh Bachchan playing her husband and also earned her a Filmfare Best Actress Award nomination. She also played a cameo in the 2004 film Veer-Zaara. In both films, she played a self-possessed, elderly married woman. In 2011, She directed her second feature film that featured her daughter Esha Deol in the lead role alongside her husband Dharmendra in Tell Me O Khuda which released on Diwali of 2011.^[28][29]

Political career[link]

Hema Malini and her husband have been involved in politics, as members of the Bharatiya Janata Party (BJP). She was elected to the Rajya Sabha, the upper house of the Parliament of India, with the support of the Bhratiya Janata Party.^[30][31] She campaigned for the BJP candidate, Vinod Khanna, former Bollywood actor in the 1999 Lok Sabha Elections in Gurdaspur in Punjab.^[30] In 2004, Hema Malini joined the Bharatiya Janata Party.^[30]

In February 2004, she joined the party (BJP) officially.^[30] With her film career less hectic, she has been an active member of the party, attending party meetings and rallies and campaigning for the party through various elections. In March 2010, she was made general secretary of the BJP. In February 2011, it was reported that Hema Malini has been recommended by H.N.Ananth Kumar, party general secretary.^[31]

Other work[link]

Malini performing at a concert

Hema Malini is a trained Bharatanatyam artist, a classical dance of India. Her daughters are well trained in the same dance form; the three have performed together at charity dance concerts.^[32][33] Malini is also trained in Odissi by Guru Kelucharan Mahapatra. Her refulgent smile eased her portrayal of a wide range of characters ranging from the fiery Narasimha to a graceful Rama on Tulasidas's Ramcharitmanas.^[34] In 2007, she performed in Mysore on the eve of Dussera, where she played the roles of Sati, Parvati and Durga.^[35] She had performed at the Khajuraho Dance Festival with her daughters.^[36]

In 2003, she played the role very well of Goddess Durga in television serial Jai Mata Ki, directed by Puneet Issar and aired on Star Plus.^[37] She directed and starred in the television serial Noopur, in which she played the role of a Bharatanatyam dancer.^[24] She owned the editorship of New Woman, a Hindi woman's magazine.^[38][39] In 2000 she was appointed as the first-ever woman chairperson of the National Film Development Corporation for three years.^[11][40] She owns a dance school, Natya Vihar Kalakendra.^[41]

In 2007, she was signed by Kent, a mineral water purifier system, as its brand ambassador.^[42] She is one of the three brand ambassadors of Pothys, a textile showroom in Chennai (the others being Sudha Ragunathan and Trisha Krishnan).^[43]

The first biography of Malini, Diva Unveiled-Hema Malini, was written by Ram Kamal Mukherjee and first published in 2005.^[44]

Latest filmography[link]

See also[link]

• List of awards and nominations received by Hema Malini
• List of Indian film actresses

References[link]

Further reading[link]

• Somaaya, Bhawana (2007). Hema Malini: the authorized biography. New Delhi: Lotus Collection. ISBN 81-7436-467-6. 
• Raheja, Dinesh. "Hema Malini: Bollywood's Dreamgirl". Rediff. http://www.rediff.com/entertai/2002/oct/25dinesh.htm. Retrieved 15 June 2011. 

External links[link]

Wikimedia Commons has media related to: Hema Malini

• Hema Malini at the Internet Movie Database

Ravi Shankar
Shankar performs in Delhi in March 2009
Background information
Birth name	Robindro Shaunkor Chowdhury
Born	(1920-04-07) 7 April 1920 (age 92) Varanasi, United Provinces, Indian Empire
Genres	Hindustani classical music
Occupations	composer, musician
Instruments	sitar
Years active	1939–present
Associated acts	Uday Shankar, Allauddin Khan, Ali Akbar Khan, Lakshmi Shankar, Yehudi Menuhin, Chatur Lal, Alla Rakha, George Harrison, Anoushka Shankar, Beatles
Website	RaviShankar.org

Ravi Shankar (Bengali: রবি শংকর; born Robindro Shaunkor Chowdhury on 7 April 1920), often referred to with the title Pandit, is an Indian musician and composer who plays the plucked string instrument sitar. He has been described as the most known contemporary Indian musician by Hans Neuhoff in Musik in Geschichte und Gegenwart.^[1]

Shankar was born in Varanasi and spent his youth touring Europe and India with the dance group of his brother Uday Shankar. He gave up dancing in 1938 to study sitar playing under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the Apu Trilogy by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956.

In 1956, he began to tour Europe and America playing Indian classical music and increased its popularity there in the 1960s through teaching, performance, and his association with violinist Yehudi Menuhin and George Harrison of The Beatles. Shankar engaged Western music by writing concerti for sitar and orchestra and toured the world in the 1970s and 1980s. From 1986 to 1992 he served as a nominated member of the upper chamber of the Parliament of India. Shankar was awarded India's highest civilian honor, the Bharat Ratna, in 1999, and received three Grammy Awards. He continues to perform in the 2000s, often with his daughter Anoushka.

Early life[link]

Shankar was born 7 April 1920 in Varanasi to a Bengali Brahmin family as the youngest of seven brothers.^[2][3][4] Shankar's Bengali birth name was Robindro Shaunkor Chowdhury.^[2] His father, Shyam Shankar, an administrator for the Maharaja of Jhalawar, used the Sanskrit spelling of the family name and removed its last part.^[2][5] Shyam was married to Shankar's mother Hemangini Devi, but later worked as a lawyer in London.^[2] There he married a second time while Devi raised Shankar in Varanasi, and did not meet his son until he was eight years old.^[2] Shankar shortened the Sanskrit version of his first name, Ravindra, to Ravi, for "sun".^[2]

At the age of ten, after spending his first decade in Varanasi, Shankar went to Paris with the dance group of his brother, choreographer Uday Shankar.^[6][7] By the age of 13 he had become a member of the group, accompanied its members on tour and learned to dance and play various Indian instruments.^[3][4] Uday's dance group toured Europe and America in the early to mid-1930s and Shankar learned French, discovered Western classical music, jazz, and cinema, and became acquainted with Western customs.^[8] Shankar heard the lead musician for the Maihar court, Allauddin Khan, in December 1934 at a music conference in Kolkata and Uday convinced the Maharaja of Maihar in 1935 to allow Khan to become his group's soloist for a tour of Europe.^[8] Shankar was sporadically trained by Khan on tour, and Khan offered Shankar training to become a serious musician under the condition that he abandon touring and come to Maihar.^[8]

Career[link]

Training and work in India[link]

Shankar's parents had died by the time he returned from the European tour, and touring the West had become difficult due to political conflicts that would lead to World War II.^[9] Shankar gave up his dancing career in 1938 to go to Maihar and study Indian classical music as Khan's pupil, living with his family in the traditional gurukul system.^[6] Khan was a rigorous teacher and Shankar had training on sitar and surbahar, learned ragas and the musical styles dhrupad, dhamar, and khyal, and was taught the techniques of the instruments rudra veena, rubab, and sursingar.^[6][10] He often studied with Khan's children Ali Akbar Khan and Annapurna Devi.^[9] Shankar began to perform publicly on sitar in December 1939 and his debut performance was a jugalbandi (duet) with Ali Akbar Khan, who played the string instrument sarod.^[11]

Shankar completed his training in 1944.^[3] Following his training, he moved to Mumbai and joined the Indian People's Theatre Association, for whom he composed music for ballets in 1945 and 1946.^[3][12] Shankar recomposed the music for the popular song "Sare Jahan Se Achcha" at the age of 25.^[13][14] He began to record music for HMV India and worked as a music director for All India Radio (AIR), New Delhi, from February 1949 to January 1956.^[3] Shankar founded the Indian National Orchestra at AIR and composed for it; his compositions experimented with a combination of Western instruments and classical Indian instrumentation.^[15] Beginning in the mid-1950s he composed the music for the Apu Trilogy by Satyajit Ray, which became internationally acclaimed.^[4][16]

International career 1956–1969[link]

Tabla player Alla Rakha, who was a frequent accompanist of Shankar, in 1988

V. K. Narayana Menon, director of AIR Delhi, introduced the Western violinist Yehudi Menuhin to Shankar during Menuhin's first visit to India in 1952.^[17] Shankar had performed as part of a cultural delegation in the Soviet Union in 1954 and Menuhin invited Shankar in 1955 to perform in New York City for a demonstration of Indian classical music, sponsored by the Ford Foundation.^[18][19] Shankar declined to attend due to problems in his marriage, but recommended Ali Akbar Khan to play instead.^[19] Khan reluctantly accepted and performed with tabla (percussion) player Chatur Lal in the Museum of Modern Art, and he later became the first Indian classical musician to perform on American television and record a full raga performance, for Angel Records.^[20]

Shankar heard about the positive response Khan received and resigned from AIR in 1956 to tour the United Kingdom, Germany, and the United States.^[21] He played for smaller audiences and educated them about Indian music, incorporating ragas from the South Indian Carnatic music in his performances, and recorded his first LP album Three Ragas in London, released in 1956.^[21] In 1958, Shankar participated in the celebrations of the tenth anniversary of the United Nations and UNESCO music festival in Paris.^[12] From 1961, he toured Europe, the United States, and Australia, and became the first Indian to compose music for non-Indian films.^[12] Chatur Lal accompanied Shankar on tabla until 1962, when Alla Rakha assumed the role.^[21] Shankar founded the Kinnara School of Music in Mumbai in 1962.^[22]

Shankar befriended Richard Bock, founder of World Pacific Records, on his first American tour and recorded most of his albums in the 1950s and 1960s for Bock's label.^[21] The Byrds recorded at the same studio and heard Shankar's music, which led them to incorporate some of its elements in theirs, introducing the genre to their friend George Harrison of The Beatles.^[23] Harrison became interested in Indian classical music, bought a sitar and used it to record the song "Norwegian Wood (This Bird Has Flown)".^[24] This led to Indian music being used by other musicians and created the raga rock trend.^[24]

Harrison met Shankar in London in 1966 and visited India for six weeks to study sitar under Shankar in Srinagar.^[14][25][26] During the visit, a documentary film about Shankar named Raga was shot by Howard Worth, and released in 1971.^[27] Shankar's association with Harrison greatly increased Shankar's popularity and Ken Hunt of Allmusic would state that Shankar had become "the most famous Indian musician on the planet" by 1966.^[3][25] In 1967, he performed at the Monterey Pop Festival and won a Grammy Award for Best Chamber Music Performance for West Meets East, a collaboration with Yehudi Menuhin.^[25][28] The same year, the Beatles won the Grammy Award for Album of the Year for Sgt. Pepper's Lonely Hearts Club Band which included "Within You Without You" by Harrison, a song that was influenced by Indian classical music.^[26][28] Shankar opened a Western branch of the Kinnara School of Music in Los Angeles, California, in May 1967, and published an autobiography, My Music, My Life, in 1968.^[12][22] He performed at the Woodstock Festival in August 1969, and found he disliked the venue.^[25] In the 1970s Shankar distanced himself from the hippie movement.^[29]

International career 1970–present[link]

George Harrison, U.S. President Gerald Ford, and Ravi Shankar in the Oval Office in December 1974

In October 1970 Shankar became chair of the department of Indian music of the California Institute of the Arts after previously teaching at the City College of New York, the University of California, Los Angeles, and being guest lecturer at other colleges and universities, including the Ali Akbar College of Music.^[12][30][31] In late 1970, the London Symphony Orchestra invited Shankar to compose a concerto with sitar; Concerto for Sitar and Orchestra was performed with André Previn as conductor and Shankar playing the sitar.^[4][32] Hans Neuhoff of Musik in Geschichte und Gegenwart has criticized the usage of the orchestra in this concert as "amateurish".^[1] George Harrison organized the charity Concert for Bangladesh in August 1971, in which Shankar participated.^[25] Interest in Indian music had decreased in the early 1970s, but the concert album became one of the best-selling recordings featuring it and won Shankar a second Grammy Award.^[28][31]

During the 1970s, Shankar and Harrison worked together again, recording Shankar Family & Friends in 1973 and touring North America the following year to a mixed response after Shankar had toured Europe with the Harrison-sponsored Music Festival from India.^[33] The demanding schedule weakened Shankar, and he suffered a heart attack in Chicago in November 1974, causing him to miss a portion of the tour.^[34] In his absence, Shankar's sister-in-law, singer Lakshmi Shankar, conducted the touring orchestra.^[34] The touring band visited the White House on invitation of John Gardner Ford, son of U.S. President Gerald Ford.^[34] Shankar toured and taught for the remainder of the 1970s and the 1980s and released his second concerto, Raga Mala, conducted by Zubin Mehta, in 1981.^[35][36] Shankar was nominated for an Academy Award for Best Original Music Score for his work on the 1982 movie Gandhi, but lost to John Williams' E.T.^[37] He served as a member of the Rajya Sabha, the upper chamber of the Parliament of India, from 12 May 1986 to 11 May 1992, after being nominated by Indian Prime Minister Rajiv Gandhi.^[14][38] Shankar composed the dance drama Ghanashyam in 1989.^[22] His liberal views on musical cooperation led him to collaboration with contemporary composer Philip Glass, with whom he released an album, Passages, in 1990.^[6]

Shankar underwent an angioplasty in 1992 due to heart problems, after which George Harrison involved himself in several of Shankar's projects.^[39] Because of the positive response to Shankar's 1996 career compilation In Celebration, Shankar wrote a second autobiography, Raga Mala, with Harrison as editor.^[39] He performed in between 25 and 40 concerts every year during the late 1990s.^[6] Shankar taught his daughter Anoushka Shankar to play sitar and in 1997 became a Regent's Lecturer at University of California, San Diego.^[40] In the 2000s, he won a Grammy Award for Best World Music Album for Full Circle: Carnegie Hall 2000 and toured with Anoushka, who released a book about her father, Bapi: Love of My Life, in 2002.^[28][41] Anoushka performed a composition by Shankar for the 2002 Harrison memorial Concert for George and Shankar wrote a third concerto for sitar and orchestra for Anoushka and the Orpheus Chamber Orchestra.^[42][43] In June 2008, Shankar played what was billed as his last European concert,^[29] but his 2011 tour includes dates in the United Kingdom.^[44]

Style and contributions[link]

Shankar plays the raga Madhuvanti at the Shiraz Arts Festival in Iran in the 1970s

Shankar developed a style distinct from that of his contemporaries and incorporated influences from rhythm practices of Carnatic music.^[6] His performances begin with solo alap, jor, and jhala (introduction and performances with pulse and rapid pulse) influenced by the slow and serious dhrupad genre, followed by a section with tabla accompaniment featuring compositions associated with the prevalent khyal style.^[6] Shankar often closes his performances with a piece inspired by the light-classical thumri genre.^[6]

Shankar has been considered one of the top sitar players of the second half of the 20th century.^[1] He popularized performing on the bass octave of the sitar for the alap section and became known for a distinctive playing style in the middle and high registers that uses quick and short deviations of the playing string and his sound creation through stops and strikes on the main playing string.^[1][6] Narayana Menon of The New Grove Dictionary noted Shankar's liking for rhythmic novelties, among them the use of unconventional rhythmic cycles.^[45] Hans Neuhoff of Musik in Geschichte und Gegenwart has argued that Shankar's playing style was not widely adopted and that he was surpassed by other sitar players in the performance of melodic passages.^[1] Shankar's interplay with Alla Rakha improved appreciation for tabla playing in Hindustani classical music.^[1] Shankar promoted the jugalbandi duet concert style and introduced new ragas, including Tilak Shyam, Nat Bhairav and Bairagi.^[6]

Recognition[link]

Shankar won the Silver Bear Extraordinary Prize of the Jury at the 1957 Berlin International Film Festival for composing the music for the movie Kabuliwala.^[46] He was awarded the Sangeet Natak Akademi Award for 1962,^[47] and was named a Fellow of the academy for 1975.^[48] Shankar was awarded the three highest national civil honors of India: Padma Bhushan, in 1967, Padma Vibhushan, in 1981, and Bharat Ratna, in 1999.^[49] He received the music award of the UNESCO International Music Council in 1975, three Grammy Awards, and was nominated for an Academy Award.^[12][28][37] Shankar was awarded honorary degrees from universities in India and the United States.^[12] He received the Kalidas Samman from the Government of Madhya Pradesh for 1987–88, the Fukuoka Asian Culture Prize in 1991, the Ramon Magsaysay Award in 1992, and the Polar Music Prize in 1998.^{[50][51][52][53]} In 2001, Shankar was made an Honorary Knight Commander of the Order of the British Empire by Elizabeth II for his "services to music".^[54] Shankar is an honorary member of the American Academy of Arts and Letters and in 1997 received the Praemium Imperiale for music from the Japan Art Association.^[6] The American jazz saxophonist John Coltrane named his son Ravi Coltrane after Shankar.^[55]

Personal life and family[link]

Shankar in 1988

Shankar married Allauddin Khan's daughter Annapurna Devi in 1941 and a son, Shubhendra Shankar, was born in 1942.^[10] Shankar separated from Devi during the 1940s and had a relationship with Kamala Shastri, a dancer, beginning in the late 1940s.^[56] An affair with Sue Jones, a New York concert producer, led to the birth of Norah Jones in 1979.^[56] In 1981, Anoushka Shankar was born to Shankar and Sukanya Rajan, whom Shankar had known since the 1970s.^[56] After separating from Kamala Shastri in 1981, Shankar lived with Sue Jones until 1986. He married Sukanya Rajan in 1989.^[56]

Shubhendra "Shubho" Shankar often accompanied his father on tours.^[57] He could play the sitar and surbahar, but elected not to pursue a solo career and died in 1992.^[57] Norah Jones became a successful musician in the 2000s, winning eight Grammy Awards in 2003.^[58] Anoushka Shankar was nominated for a Grammy Award for Best World Music Album in 2003.^[58]

Shankar is a Hindu and a vegetarian.^[59][60] He lives with Sukanya in Encinitas, California.^[61]

Discography[link]

Bibliography[link]

• Shankar, Ravi (1968). My Music, My Life. Simon & Schuster. ISBN 0-671-20113-1. 
• Shankar, Ravi (1979). Learning Indian Music: A Systematic Approach. Onomatopoeia. OCLC 21376688. 
• Shankar, Ravi (1997). Raga Mala: The Autobiography of Ravi Shankar. Genesis Publications. ISBN 0-904351-46-7. 

Notes[link]

References[link]

• "Shankar, Ravi" (in German). Brockhaus Enzyklopädie. 20 (19th ed.). Mannheim: F. A. Brockhaus GmbH. 1993. ISBN 3-7653-1120-0. 
• Ghosh, Dibyendu (December 1983). "A Humble Homage to the Superb". In Ghosh, Dibyendu. The Great Shankars. Kolkata: Agee Prakashani. p. 7. OCLC 15483971. 
• Ghosh, Dibyendu (December 1983). "Ravishankar". In Ghosh, Dibyendu. The Great Shankars. Kolkata: Agee Prakashani. p. 55. OCLC 15483971. 
• Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group. ISBN 0-8264-1815-5. 
• Massey, Reginald (1996). The Music of India. Abhinav Publications. ISBN 81-7017-332-9. 
• Menon, Narayana (1995) [1980]. "Shankar, Ravi". In Sadie, Stanley. The New Grove Dictionary of Music and Musicians. 17 (1st ed.). London: Macmillan Publishers. ISBN 1-56159-174-2. 
• Neuhoff, Hans (2006). "Shankar, Ravi". In Finscher, Ludwig (in German). Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik. 15 (2nd ed.). Bärenreiter. ISBN 3-7618-1122-5. 
• Schaffner, Nicholas (1980). The Boys from Liverpool: John, Paul, George, Ringo. Taylor and Francis. ISBN 0-416-30661-6. 
• Sharma, Vishwamitra (2007). Famous Indians of the 20th Century. Pustak Mahal. ISBN 81-223-0829-5. 
• Slawek, Stephen (2001). "Shankar, Ravi". In Sadie, Stanley. The New Grove Dictionary of Music and Musicians. 23 (2nd ed.). London: Macmillan Publishers. ISBN 0-333-60800-3. 

External links[link]

Find more about Ravi Shankar on Wikipedia's sister projects:
	Images and media from Commons
	Quotations from Wikiquote

Indian classical music portal

• "Ravi Shankar". Official website. http://www.ravishankar.org/. 
• "East Meets West Music". Ravi Shankar Foundation. http://eastmeetswestmusic.com/. 
• Ravi Shankar at Allmusic
• Ravi Shankar at the Internet Movie Database

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Naushad Ali
Naushad in 2005
Background information
Birth name	naushe miyan
Born	(1919-12-25)December 25, 1919
Died	May 5, 2006(2006-05-05) (aged 86)
Genres	Hindustani classical music, Indian film music
Occupations	composer, music director, film producer, writer
Instruments	harmonium, sitaar
Years active	1940–2005

Naushad Ali (Hindi: नौशाद अली, Urdu: نوشاد علی; December 25, 1919 – May 5, 2006) was an Indian musician. He was one of the foremost music directors for Bollywood films, and is particularly known for popularizing the use of classical music in films.

His first film as an independent music director was Prem Nagar in 1940. His first musical success film was Rattan (1944), following it up with 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award in 1982, and the Padma Bhushan in 1992.^[1]

Early life and education[link]

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

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

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

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

Career[link]

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

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

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

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

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

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

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

In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema.

He composed the tunes of Taj Mahal: An Eternal Love Story (2005) at the age of 86.

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

Five films have been made on his life and work. Biographical books published are Dastaan-E-Naushad (Marathi) by Shashikant Kinikar; Aaj Gaawat Man Mero (Gujarati); Hindi and Urdu biographical sketches in Shama & Sushma Magazines respectively, titled "Naushad Ki Kahani, Naushad Ki Zubani"; the last one was translated into Marathi by Shashikant Kinikar. Kinikar also came up with a book titled "Notes of Naushad" which puts together some interesting anecdotes of Naushad's life.

Last days[link]

Naushad died on 5 May 2006 in Mumbai. He was buried at the Juhu Muslim cemetery.^[2]

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

Naushad had requested the Maharashtra state government to sanction a plot for an institution for promoting Hindustani music. This was sanctioned during his lifetime and the 'Naushad Academy of Hindustani Sangeet' was formed.

Writer[link]

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

Track list:

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

Music style[link]

Naushad was known for his deft adaptation of the classical musical tradition for movies. For some movies like Baiju Bawra, he composed all scores in classical raga modes and arranged for the well-known vocalist Amir Khan to be a music consultant for the film. He could easily work with Western instruments, including the clarinet, the mandolin, and the accordion. He could incorporate Western musical idioms in his compositions, and compose for Western-style orchestras.

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

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

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

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

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

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

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

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

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

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

Filmography[link]

Music Director[link]