Maharana is a variation on the Indian (mainly Hindu) royal title Maharaja, also meaning 'Great king' in Hindi. It is composed of Maha- 'great' and the royal title Rana, a variation on Raja.

Ruler title in British India[link]

Salute states (all in present India)[link]

The gun salutes enjoyed by the states that acceded to the Dominion of India on 14 August 1947, included the following Maharana's:

• Hereditary salute of 19-guns (21-guns local): H.H. the Maharana of Udaipur (Mewar)
• Hereditary salute of 13-guns H.H. The Maharana of Rajpipla
• Hereditary salute of 11-guns: H.H. the Maharana of Barwani

Hereditary salutes of 9-guns:

• The Maharana of Danta
• The Maharana of Wadhwan
• The Maharana of Sant

Some of the rulers were granted increased gun salutes after the independence, e.g. the above-listed Maharana of Mewar (Hindu; at Udaipur, Maharajpramukh in Rajasthan) was raised to first place in the Order of Precedence, displacing the Nizam of Hyderabad and Berar (Muslim), and all 9-gun states were permitted the use of the style of Highness.

Non-salute states ruled by a Maharana[link]

Compound ruler titles[link]

• H.H. the Maharana Raj Sahib of Wankaner - Hereditary salute of 11-guns
• The Maharana Sahib of Dharampur

Other use[link]

This section is empty. You can help by adding to it.

Sources[link]

• Indian princely states
• RoyalArk-India
• WorldStatesmen- India & sequel

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2012)

Maharana Pratap
The Ruler of Mewar
Reign	1568–1597
Born	May 09, 1540
Birthplace	Kumbhalgarh, Juni Kacheri, Pali
Died	January 19, 1597 (age 57)
Predecessor	Maharana Udai Singh II
Offspring	3 sons and 2 daughters
Royal House	Sisodia, Suryavanshi Rajput
Father	Maharana Udai Singh II

Maharana Pratap or Pratap Singh (May 24, 1540 – January 19, 1597) was a Hindu ruler of Mewar, a small region in north-western India in the present day state of Rajasthan. In popular Indian culture, Pratap is considered to exemplify the qualities like bravery and chivalry to which Rajputs aspire, especially in context of his opposition to the Akbar. The struggle between Rajput confederacy led by Pratap Singh, and the Mughal Empire under Akbar, has often been characterised in popular Hindutva culture as a struggle between Hindus and the 'invading' Muslims, much on the same lines as the struggle between Shivaji and Aurangzeb a little less than a century later. However, notably, unlike Shivaji, Pratap Singh has also symbolised the pride and prestige of upper caste Hindus in northern India, because of the obvious differences between their lineages - but this allegation have little truth because much of Pratap's own soldiery were recruited from among tribal people like Bhils and backward castes like Lohars, while his own upper caste contemporaries like Man Singh of Amber supported Mughals.

However, most scholars now agree that such a characterisation of this conflict is incorrect, for the conflict was between two political entities, and not social or religious identities. This is especially true in context of the fact that many of the Mughal generals that Pratap Singh fought with, were Hindus and ethnically of the same stock as Pratap Singh himself. Most notable of these, and most successful against Pratap Singh was Man Singh, the ruler of Amber. In fact some of the key allies that Pratap Singh had, were in fact the Afghan Muslims of Bihar and Bengal, all of whom were descendents of Lodhi dynasty, which had been defeated by Mughals under Babur in 1526 A. D. In fact, one of the most trusted foot soldiers of Pratap, Hakim Khan Sur belonged to the Sur dynasty of Sher Shah Sur which again, had been defeated by Akbar earlier. Furthermore, some of the immediate relatives of Pratap Singh had themselves allied with Mughal rule. The ultimate defeat of the Rajput confederacy, was not by any direct Mughal conquest; rather it had been a slow dissolution of the confederacy itself, as more and more number of Rajput chieftains and rulers were accommodated in a largely syncretic Mughal Empire. It is therefore, important to understand that the stand off between Akbar and Pratap Singh, was largely politico-psychological in its nature, and had almost nothing to do with the religion, ethnicity or language.

But these arguments cannot explain how even Aurangzeb, a essentially Islamic ruler himself had plenty of Hindu soldier and Shivaji, an essentially Hindu ruler had plenty of Muslim soldiers. Also statements made by Pratap Singh himself. Pratap is said to have lamented that "If there had been no Udai Singh between himself and Rana Sanga, he would not have let Turks master Hindustan." He saw Mughals as foreigners who had invaded India and that is why he refused to surrender. His own father Udai Singh had condemned house of Man Singh for their marriage with unclean foreigners and Pratap Singh himself said that he will call Akbar only a "Turk" and not an emperor. Also Pratap Singh's dogged resistance even when he had to wander in jungles of Aravallis and his persistent refusal to surrender even after being reduced to starvation during run after Haldighati do not point to a person who fought for power politics, but rather to a person with a sacred mission. His own vow giving up all comforts of palace life till he recaptured all his kingdom from Mughals and his life long observance of that vow also speak of his steadfast patriotism and determination rather than power politics. Similar kind of observation can be pointed out to his repeated refusal to accept lucrative offers from Akbar in shape of jagirs and suberdaris.

Accession[link]

Maharaja Pratap Singh II of Mewar Hunting Boar ca. 1750-1775. Opaque watercolor, gold, and silver on paper.

In 1568, during the reign of Udai Singh II, Chittor was conquered by the Mughal Emperor Akbar after the third Jauhar at Chittor. However, Udai Singh and the royal family of Mewar escaped before the capture of the fort and moved to the foothills of the Aravalli Range where Udai Singh founded the city of Udaipur. Rana Udai Singh wanted Jagmal, his favourite son, to succeed him but his senior nobles wanted Pratap, the eldest son, to be their king as was customary. During the coronation ceremony Jagmal was physically moved out of the palace by the Chundawat Chief and Tomar Ramshah and Pratap was made the King, the Rana of Mewar. Folklore has it that Pratap did not want to go against the wishes of his father but Rajput nobles convinced him that Jagmal was not fit to rule in the troubled times of the day, but it is quite possible that what occurred was a bitterly contested struggle for succession: something characteristic of most South Asian kingdoms of the age.

Though the chief reasons for resentment between Pratap Singh and Akbar, two very visionary rulers is unclear, it is now largely agreed that it had to do with disagreements over the status of Mewar within the Mughal Empire, were it to at all accept Mughal suzerainty. The tensions were further characterised by the fact that Babur and Rana Sanga, grand fathers to Akbar and Pratap respectively, had earlier bitterly contested the control over the Gangetic plains and the Doab. It is evident that there were had been some measures of reconcilliation, like acceptance of ambassadors and representatives between the two courts. However, none of these could ever be taken to any logical end.

Conflict[link]

Chittorgarh (Chittor fort), Pratap's ancestral home, was under Mughal occupation. Living a life on the run, the dream of reconquering Chittor (and thus reclaiming the glory of Mewar) was greatly cherished by Pratap, and his future efforts were bent towards this goal. In essence Pratap remained king only on paper as he never ruled any land in his lifetime.

Nearly all of Pratap's fellow Rajput chiefs had meanwhile entered into the vassalage of the Mughals. Even Pratap's own brothers, Shakti Singh and Sagar Singh, served Akbar. Indeed, many Rajput chiefs, such as Raja Man Singh of Amber (later known as Maharaja of Jaipur) were serving as army commanders in Akbar's armies and members of his council. Akbar sent a total of six diplomatic missions to Pratap, seeking to negotiate the same sort of peaceful alliance that he had concluded with the other Rajput chiefs. This is clearly evidential of the ends sought by each of the two rulers: for Akbar, having an independent or semi independent kingdom, within his otherwise consolidated empire was politically unsound and militarily dangerous; for Pratap Singh, on the other hand, to accept vassalage with little in return was a political suicide, and a steep fall for Mewar in the region's power structure.

Battle of Haldighati[link]

On June 21, 1576 (June 18 by other calculations), the two armies met at Haldighati, near the town of Gogunda in present-day Rajasthan. While accounts vary as to the exact strength of the two armies, all sources concur that the Mughal forces outnumbered Pratap's men.

Statue of Maharana Pratap of Mewar, commemorating the Battle of Haldighati, City Palace, Udaipur

However, the numerical superiority of the Mughal army and their artillery began to tell. Seeing that the battle was lost, Pratap's generals prevailed upon him to flee the field ( so as to be able to fight another day. Myths indicate that to facilitate Pratap's escape, one of his lieutenants, a member of the Jhala clan, donned Pratap's distinctive garments and took his place in the battlefield. He was soon killed. Meanwhile, riding his trusty steed Chetak, Pratap was able to successfully evade captivity and escape to the hills.

But Chetak was critically wounded on his left thigh by a mardana (Elephant Trunk Sword) while Pratap had attempted to nail down Man Singh. Chetak was bleeding heavily and he collapsed after jumping over a small brook few kilometres away from the battle field. A famous couplet narrates this incident of the battle:

Aage nadiya padi apaar, ghoda kaise utare paar

Rana ne socha is paar, tab tak chetak tha us paar

English Translation :

Lies the boundless river ahead, How will the horse cross it?

While Rana thought on his side, Chetak was that side!

The battle of Haldighati has commanded a lasting presence in Rajasthani folklore, and the persona of Pratap Singh is celebrated in a famous folk song “O Neele Ghode re Aswar” (O Rider of the Blue Horse).

A monument to Chetak is at the site of the steed's death. The impact of the battle on the Mughal army was also significant.

==Generals==.

Jhala Man Singh[link]

Jhala Man Sinh (also known as Jhala Sardar) set an example of extraordinary valour, bravery and sacrifice in the struggle for freedom. In the battle of Haldi Ghati in 1576, upon seeing Maharana Pratap wounded (three wounds were inflicted, sword, spear and shot by a musket) and unconscious on his horse, Chetak; Jhala immediately took the Crown and royal emblem of Pratap, thus confusing the enemy into thinking that he was Pratap and took the entire attack of the Mughal hordes upon himself. Ultimately his life to save the life of Pratap . It is because of this sacrifice that Pratap continued to fight on against the Mughals and eventually reestablish and liberate all of Mewar except Chittor.

In Present day Udaipur, the descendants of Jhala still carry the emblem of Mewar as their coat of arms as conferred upon them by Maharana Pratap.

Tomars[link]

Raja Ram Shah Tomar of Gwalior was married to a daughter of Rana Udai Singh, sought refuge in Mewar after he lost Gwalior to Mughals. He along with 300 of his men fought the battle of Haldighati. His only remaining son was sent to Bikaner so the line could survive, everyone else gave up their life for the cause of Mewar.

Bhim Singh Dodia[link]

Bhim Singh Dodia, one of the Mewar nobles who took part in Maharana Pratap Singh's war council at Gogunda (1576) prior to the Battle of Haldighati.

Charan Kesa And Jaisa[link]

Two Charan warlords from the Soniana Village of Mewar, fought in the vanguard of Pratap's Army and were subsequently killed in action.Seven others Charans also laid down their lives for the cause.

Bhama Shah (or Bhamashah)[link]

Bhamashah made a mark in the history of Mewar. Son of Bharmal Kawadiya and born 450 years ago, he set an example of honesty, faith and duty. He was not only Pratap's treasurer, but also fought like a soldier when the need arose. Maharana Pratap was able to properly maintain his army of 25,000 soldiers for 12 years only because Bhamashah had gifted not only his property, but also a collection of 25 lakh rupees and 20,000 gold coins from Maalpura during a financial crisis. Bhamashah also served Maharana Amar Singh. Thereafter his son Jeev Shah was treasurer of the Maharana. At the time of his death Bhamashah asked his wife to handover the detailed record of royal treasury to Maharana Amar Singh then he left for heavenly abode.

Punja Bhil[link]

Provided his support to Maharana Pratap, to win the Deawar battle.

Aftermath[link]

Pratap retreated into the hilly wilderness of the Aravallis and continued his struggle. His one attempt at open confrontation having thus failed, Pratap resumed the tactics of guerilla warfare. Using the hills as his base, Pratap continued small raids and skirmishes against the outlying chekcposts, fortresseses and encampments of his adversaries, some of whom included the Hindu vassals appointed by the Mughals in the wake of Pratap Singh's defeat.

During Pratap's exile, he received much financial assistance from Bhamashah, a well-wisher. The Bhil tribals of the Aravalli hills also provided Pratap with their support during times of war and their expertise in living off the forests during times of peace.

Personal life[link]

Rana Pratap had 14 Ranis. Guhilot are descendants of Guha, Sisodia's are descendants of Hamir Guhilot of Sisoda village and Ranawats are descendants of Rana Udai Singh who under the changed strategic realities of the period,abandoned the vulnerable Chittaurgarh and established a new capital of Mewar at Udaipur. The patronymic change in name is usually followed by a major migration of population or battle.

Final days[link]

Maharana Pratap died of injuries sustained in a hunting accident. He died at Chavand, on January 19, 1597, aged fifty-seven. It is said that as he lay dying, Pratap made his son and successor, Amar Singh, swear to maintain eternal conflict against the Mughals. Thus, his strained circumstances did not overpower Pratap even in his declining years. It is said that he also did not sleep on a bed because of a vow he took that until Chittor was freed he would sleep on the floor and live in a hut despite the fact that he had reconquered almost his entire kingdom from Akbar.

Maharana Pratap's son, Amar Singh, fought 17 wars with the Mughals but he conditionally accepted them as rulers.

Character[link]

Rajsthani, especially Marwari folklore has held Pratap Singh in much regard, most of which cannot be said to be unfounded. An incident, often recounted is one where, before the Battle of Haldighati started, Man Singh was out hunting with a few hundred retainers. Pratap's Bhil spies reported this to him at his camp a few kilometers away. Some of Pratap's nobles suggested that they seize the opportunity to attack and kill Man Singh. Pratap refused, demonstrating his sense of rectitude.

In another incident, the womenfolk of Abdur Rahim Khankhana, a Mughal officer, fell into the hands of Pratap's son, Amar Singh. At this point of time, Khankhana was actually on the march against Pratap, and was camping at Sherpur in order to make preparations for an assault against Pratap. Nonwithstanding all this, Pratap commanded his son Amar Singh to arrange for the safe conveyance of the Mughal ladies to their camp. Khankhana was so affected by this incident that he refused to campaign against such a chivalrous monarch. He petitioned Akbar to be relieved of his post and was subsequently (in 1581) appointed guardian of Akbar's own son, Salim. Also it is believed that the slogan " Jo dridh rakhe dharm, ne tahi rakhe kartar was spoken by Abdur Rahim Khankhana, who is also known as "Rahim das" in Hindi poetry.

Legacy[link]

Most important of Pratap Singh's legacy was in military field - after Haldi-Ghati, he increasingly experimented and perfected guerrilla warfare and light horse tactics. His innovative military strategy ---- use of scorched earth, evacuation of entire populations along potential routes of enemy march, poisoning of wells, use of mountain forts in Aravallis, repeated plunder and devastation of enemy territories along with harassing raids on enemy baggage, communications and supply lines --- helped him recapture most of Mewar (except Chittor) by time of his death and enabled him to successfully tackled vastly stronger armies of Akbar. Harassing warfare perfected by Pratap Singh would in due course was adopted by Malik Ambar of Ahmednagar ^[1] who taught and deployed local Marathas to fight invading Mughal armies, thus preparing them for future warfare against Mughals. Though Pratap Singh failed to overcome Mughals in his life time, indirectly and in long run, his military techniques paved way for downfall of Mughal empire.

References[link]

Wikimedia Commons has media related to: Maharana Pratap Singh of Mewar

• Maharana Pratap - Mewar's greatest hero
• Battle of Haldighati
• Maharana Pratap. Diamond Pocket Books (P) Ltd.. 
• Maharana Pratap
• Maharana Pratap The Film Maharana Pratap The Film
• ^Rajasthan Ptrika Newspaper - President of India unveiling the Music of Film. [1]
• ^ Mayapuri Magazine Feature (Edition 1947, January 26) (President releasing the Music of Film) (Page 13 ) [2]
• ^ Mayapuri Magazine Interview with Director (Edition 1947, January 26) (Page 23 & 24) [3]
• ^UdaipurTimes [4]
• IN.com [5]
• Bollywood Sargam [6]
• [7]

External links[link]

• Biography of Rana Pratap Singh in Hindi, English & Sanskrit - PDF
• Official Website for the Royal Family of Udaipur
• Maharana Pratap : The light and life of Hindu Community
• Rajput India
• Maharana Pratap Biography in Hindi

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2011)

Faisal Khan (born in September 1966, Mumbai, India) is a Bollywood actor. He is the brother of Aamir Khan, Farhat Khan and Nikhat Khan who is a producer. His father Tahir Hussain was a producer; his uncle Nasir Hussain was a director.

Career[link]

As a child he appeared very briefly in his uncle Nasir Hussain's 1969 film Pyar Ka Mausam playing Shashi Kapoor's role as a child. In 1988 he played a minor role as a villain in his brother Aamir's film Qayamat Se Qayamat Tak. He went onto play another bit part in his brother's 1992 film Jo Jeeta Wohi Sikandar.

He got his first leading role in the 1994 film Madhosh which was produced by his father Tahir Hussain and directed by Vikram Bhatt. The film failed to launch his career as it flopped at the box office. After a five-year hiatus he attempted his comeback to films appearing alongside his brother in Mela (2000) which also failed at the box office. Since then he acted in a few B-grade movies none of which did well. He also appeared in the TV serial Aandhi in 2003.^[1] His last film was Chand Bhujh Gaya in 2005 after which he has quit acting.

Personal life[link]

He was married to Samia Kamruddin, a handbag designer in London, England. They divorced after only a few months on December 4th. Sources said that Faisal Khan had gone into depression after he separated from his wife.

The Mumbai police reportedly persuaded Faisal to get admitted to a hospital for psychological treatment in 2004. This was after his brother Aamir filed a petition to the police saying Faisal, who also is an actor, was sending threatening letters to him and other family members. Sources said neither Aamir nor any other family member could persuade Faisal to get admitted. Aamir then approached the Khar police station in the western suburb of Mumbai with the letters and sought help. Deputy Commissioner of Police, Khar, Amitabh Gupta said, "Aamir Khan used to receive some letters from a known person, which he forwarded to us."

On 14 October 2007 it was reported that he had gone missing for the last two days. The actor was undergoing treatment for schizophrenia. The court awarded custody of Faisal to his father Tahir.^[2] His father died in February 2010 at the age of 79.

Filmography[link]

Actor[link]

• Chand Bujh Gaya (2005) .... Rahul Mehta
• Aandhi (2003) .... Siddharth
• Basti (2003)
• Border Hindustan Ka (2003) .... Raj
• Kabhoo (2002) .... Raja
• Mela (2000) .... Shankar Shane
• Madhosh (1994) .... Suraj
• Jo Jeeta Wohi Sikandar (1992) (uncredited) .... Xavier College Student
• Qayamat Se Qayamat Tak (1988) .... Baba's Gang member
• Pyar Ka Mausam (1969) .... Young Sunder

Producer[link]

• Tum Mere Ho (1990) (co-producer)

Second Unit Director or Assistant Director[link]

• Tum Mere Ho (1990) (assistant director)

References[link]

External links[link]

• Faisal Khan at the Internet Movie Database

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This article about an Indian actor or actress is a stub. You can help Wikipedia by expanding it. v t e

Shankar Mahadevan
Shankar Mahadevan at the Shankar–Ehsaan–Loy Night.
Background information
Born	(1967-03-03) March 3, 1967 (age 45) Chembur, Mumbai[1]
Genres	Indian music, playback singing, composer
Occupations	Singer, composer
Instruments	Vocals
Years active	1998–present
Associated acts	Shankar–Ehsaan–Loy
Notable instruments
Vocals and Veena

Shankar Mahadevan (Tamil: ஷங்கர் மகாதேவன்) is an Indian music composer and singer. He is a part of the Shankar–Ehsaan–Loy trio team that composes for Indian films and a playback singer.

Early life[link]

Shankar Mahadevan was born and brought up in Chembur, a suburb of Mumbai,^[1] to a Tamil Iyer family from Palakkad, Kerala.^[2] He learned Hindustani classical music and Carnatic music in his childhood and started playing the veena at the age of five. He studied under Srinivas Khale, a well known Marathi music composer. He went to Our Lady of Perpetual Succour High School in Chembur. He subsequently attended SIES College in Sion and completed his HSC. He graduated in 1988 with a degree in Computer Science Engineering from Ramrao Adik Institute of Technology in Navi Mumbai under the auspices of Mumbai University. He worked as a software engineer on Oracle Version Six.

Career[link]

After working for a while for Leading Edge Systems, Shankar ventured into the field of music.^[3] He earned his first award as a playback singer in a Tamil movie, collaborating with A. R. Rahman and winning a National Film Award for his song in Kandukondain Kandukondain. A prominent star in the Kodambakkam film industry, he gained further recognition upon the release of his first music album, Breathless, in 1998. The title track of the album had been prepared in such a manner that it is sung without any break, so it appears to be sung in one breath and thus the title "breathless". He later got into music direction and became a part of the Shankar–Ehsaan–Loy trio, composing music for Hindi films.

He has sung in many films for A. R. Rahman, Anu Malik and other music directors, performing songs like "Urvashi Take It Easy" from Humse Hai Muqabla (1995), "I Love You" from Auzaar (1997), "Kay Sera Sera" from Pukar (2000) and many more songs in the nineties. Most of the songs sung by him in Hindi are composed by him (as part of Shankar-Ehsaan-Loy). He has sung numerous songs in Tamil for a multitude of composers, ranging from veterans to newcomers. He has also sung in Telugu, Malayalam, Kannada, Marathi and other regional languages. In Marathi he has sung for noted composers like Shridhar Phadke and Ajay-Atul.

He enjoyed a successful run with the fusion jazz band SILK with Louis Banks on keyboards, Sivamani on percussion, Sridhar Parthasarathy on mridangam and Karl Peters on bass guitar.

Shankar Mahadevan has also provided vocals for several songs by the band Remember Shakti, which features musicians including ,Musician Chandan Sharma, Musician John McLaughlin, U. Srinivas and V. Selvaganesh. He was music director for the famous "School Chale Hum" song on Doordarshan.

He was a mentor on Zee TV's musical reality show Sa Re Ga Ma Pa Challenge 2009.

He is a team captain, judge, and mentor on Star Plus's musical show Music Ka Maha Muqqabla for the team Shankar's Rockstars; his team won Music Ka Maha Muqqabala 2010.

In March 2009 he performed at Ragam 09, an intercollegiate cultural festival hosted by the National Institute of Technology, Calicut (NITC) in Kerala.

In February 2010 he performed at Kuruksastra 10, an intercollege cultural festival hosted by the SASTRA University, Thanjavur in Tamil Nadu.

In September 2010 he performed at PULSE-2010, India's Second largest Inter-college Festival at All India Institute of Medical Sciences.

In March 2011 he started the Shankar Mahadevan Academy. The Academy offers tutorials and virtual vocal courses in Carnatic and Hindustani classical music, religious chanting, Indian folk music, and Bollywood songs.^[4]

Shankar was Invited by the UNESCO and the US state Dept to perform at UN general assembly hall for the finale of the International Jazz festival held on 30th April 2012.

Awards[link]

National Film Awards

• 2000: Best Male Playback Singer - "Yenna Solla Pogirai" (Kandukondain Kandukondain)
• 2004: Best Music Direction - Kal Ho Naa Ho (as part of Shankar–Ehsaan–Loy)
• 2008: Best Male Playback Singer - "Maa" (Taare Zameen Par)

State Film Awards

• 2008: Kerala State Film Award for Best Singer - "Kalyaana Kacheri" (Madampi)
• 2008: Nandi Award for Best Male Playback Singer - Venkatadri

Filmfare Awards

• 2002: Filmfare RD Burman Award for New Music Talent for Dil Chahta Hai (as part of Shankar–Ehsaan–Loy)
• 2003: Best Music Direction for Kal Ho Naa Ho (as part of Shankar–Ehsaan–Loy)
• 2005: Best Music Direction for Bunty Aur Babli (as part of Shankar–Ehsaan–Loy)

Filmfare Awards South

• 2005: Best Playback Singer for Nuvvostanante Nenoddantana-Telugu

Star Screen Awards

• 2000: Nominated for Best Background Music for Mission Kashmir (as part of Shankar–Ehsaan–Loy)
• 2001: Best Music Direction for Dil Chahta Hai (as part of Shankar–Ehsaan–Loy)
• 2005: Best Music Direction for Bunty aur Babli (as part of Shankar–Ehsaan–Loy)
• 2009: Nominated for Best Music Direction for Rock On!! (as part of Shankar–Ehsaan–Loy)

Other awards

• 2007: Swaralaya-Kairali-Yesudas Award for outstanding contribution to Indian film music
• 2009: Asianet Film Award for Best Male Playback - "Pichavecha Naal" (Puthiya Mukham)
• 2009: Annual Malayalam Movie Awards (Dubai) for Best Male Singer - "Pichavecha Naal" (Puthiya Mukham)
• 2011: Kerala Film Critics Award for Best Male Playback Singer - "Indhumukhi Varumo" (Holidays)^[5]

Filmography[link]

As composer[link]

• Vishwaroopam (2012)
• Don 2: The King is Back (2011)
• Zindagi Na Milegi Dobara (2011)
• Game (2011)
• De Ghuma Ke (World Cup 2011 song)
• Patiala House (2011)
• Koochie Koochie Hota Hai (2011)
• Chittagong (2010)
• Tere Bin Laden (2010)
• Housefull (2010)
• Hum Tum Aur Ghost (2010)
• Karthik Calling Karthik (2010)
• Kismat Talkies (2010)
• My Name Is Khan (2010)
• London Dreams (2009)
• Wake Up Sid (2009)
• Konchem Ishtam Konchem Kashtam (Telugu) (2009)
• 13B/Yaavarum Nalam (2009)
• Sikandar (2009)
• Luck By Chance (2009)
• Shortkut (2009)
• Yavarum Nalam (Tamil) (2009)
• Chandni Chowk to China (2009)
• Madambi (Malayalam) (2008)
• Thoda Pyaar Thoda Magic (2008)
• Rock On!! (2008)
• High School Musical 2 Soundtrack (Hindi Version)
• Taare Zameen Par (2007)
• Johnny Gaddaar (2007)
• Jhoom Barabar Jhoom (2007)
• Heyy Babyy (2007)
• Marigold: An Adventure in India (2007)
• Salaam-e-Ishq: A Tribute to Love (2007)
• Don: The Chase Begins Again (2006)
• Kabhi Alvida Naa Kehna (2006)
• Dus (2005)
• Dil Jo Bhi Kahey... (2005)
• Bunty Aur Babli (2005)
• Vanity Fair (2004)
• Phir Milenge (2004)
• Lakshya (2004)
• Kyun! Ho Gaya Na... (2004)
• Rudraksh (2004)
• Kal Ho Naa Ho (2003)
• Kuch Naa Kaho (2003)
• Nayee Padosan (2003)
• Armaan (2003)
• Ek Aur Ek Gyarah (2003)
• Yeh Kya Ho Raha Hai? (2002)
• Dil Chahta Hai (2001)
• Aalavandhan (2001) (Tamil)
• Mission Kashmir (2000)
• Dillagi (1999)
• Shool (1999)
• Bhopal Express (1999)
• Rockford (1999)

Discography[link]

• Breathless - Breathless is the album that first gave him fame, containing the song "Breathless", which he seems to sing in one breath.
• Nine - Nine is Shankar's most recent album. Each song is a representation of a mood, including joy, sadness, love, etc.

See also[link]

• Shankar–Ehsaan–Loy
• Shankar Mahadevan Academy

References[link]

External links[link]

• Shankar Mahadevan Official Site
• Shankar Mahadevan Official Facebook Page
• Shankar Mahadevan Official Twitter Page
• Shankar Mahadevan Academy
• Shankar Ehsaan Loy concert at Unmaad
• Shankar Mahadevan at the Internet Movie Database
• Shankar-Ehsaan-Loy (official site)
• Biography
• Shankar Mahadevan talks Music, the world record and more!
• Shankar Mahadevan to rock Triveni Mahotsav ?

• Shankar loves to see audiences enjoy his music