Music Corner


Music Corner
Music Corner

*** Singers MansiOn *** nO mOre cOmments (Page 2)

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Posted: 15 August 2007 at 1:57am | IP Logged
Lata Mangeshkar

Birth: September 28th , 1929
Birthplace: Indore
Profession: Playback Singer, Bollywood.

Latabai Mangeshkar was born on 28th September, 1929, at Sikh Mohalla, Indore, Madhya Pradesh, India. Lata's father , Pt. Dinanath Mangeshkar was also an amateur astrologer, he christened his newly born daughter Hema, as per the date and time of her birth. He, however, would prefer to call her Hridiya. Later on, the family members began calling her Lata. The name stuck and the eldest daugter of Dinanath and Shrimati permanently came to be known as Lata Mangeshkar.

Deenanath Mangeshkar a classical singer & stage actor, who came from Mangeshi in Goa was trained in the colourful Punjabi school of Baba Mushelkar. He owned a drama troupe which made him pitch his tent in nearly every town - such as Pune, Kolhapur, Satara, Sangli and Miraj.

Lata's family was a wandering family. Lata's father was a singer and in the employ of a music-theatre outfit, Kirloskar Sangeet Mandali, that would move from place to place to stage its shows. Although, the family surname was Hardikar, it was Lata's father who adopted Lata's paternal ancestors belonged to the priestly caste of the Karhadi Brahmin, and many of them fought fiercely against the Portuguese colonizers to maintain the dignity and sanctity of their temples.

Lata her sisters and a brother ( Meena, Asha, Usha & Hridaynath) did not receive a proper schooling However to compensate this shortcoming he gave his children music lessons early in life.As lata grew up ,the peals of girlish giggles (still a characteristic) were present when Lata was a playful tomboy studying music from her father Master Dinanath Mangeshkar.Dinanath told his wife that Lata is going to be a miracle since he knew a little about astrology though he died before she started singing.

Films in which young Lata acted:

    * 1942 - Pahili Mangalagaur
    * 1943 - Chimukla Sansaar
    * 1943 - Maajhe Baal
    * 1944 - Gajabhau
    * 1945 - Badi Maa
    * 1946 - Jeevan Yaatra
    * 1946 - Subhadra
    * 1948 - Mandir
    * 1952 - Chattrapati Shivaji (only in one song sequence)

The nightingale of India, Lata Mangeshkar, who has charmed her fans with over 50,000 songs she has sung as a playback singer in films, has no regrets that she never got married. Lata, whose voice quality retains the freshness and innocence of a 16-year-old girl, says that in a way it has been good that she did not get married. 'Had I got married, I may have got divorced in a year or two. It has all been all for the good,' she says.

For Lata ,the Filmfare Awards for playback singing first started in the year 1958. In 1956, 'Rasik Balma'( Chori- Chori ) won the Best Song Filmfare Award, Lata refused to sing it live in protest of no Playback Singer category, which paved way in 1958 of this new category ( though Male & Female Awards where started later on).

From the year 1958 to 1966 no other female singer was able to get the filmfare award. Since she had won the popular Filmfare awards so many times & had always been accussed of monopolising the industry (along with sister Asha), after 1969, she made the unusual gesture of giving up FILMFARE awards in favour of fresh talent.

Filmfare Awards:

    * 1958 - Aaja Re Pardesi [Madhumati]
    * 1962 - Kahi Deep Jale Kahi Dil [Bees Saal Baad]
    * 1965 - Tumhi Mere Mandir Tumhi Meri Pooja [Khandan]
    * 1969 - Aap Mujhe Achhe Lagne Lage [Jeene Ki raah]
    * 1993 : Filmfare Lifetime Achievement Award
    * 1993 : Filmfare felicitated by the Maharashra Government for completion of 50 years.
    * 1994 : Filmfare Special Award (Didi Tera Devar Deewana - Hum Aapke Hain Kaun)

National Awards:

    * 1972 - Parichay
    * 1975 - Kora Kagaz
    * 1990 - Lekin

Maharashtra State Award :

    * 1966 - Sadhi Mansa
    * 1967 - Jait Re Jait

Bengal Film Journalist's Association Award:

    * 1964 - Woh Kaun Thi
    * 1967 - Milan
    * 1968 - Raja Aur Rank
    * 1969 - Saraswati Chandra
    * 1970 - Do Raaste
    * 1971 - Tere Mere Sapne
    * 1973 - Marjina Abdulla (Bengali)
    * 1973 - Abhimaan
    * 1975 - Kora Kagaz
    * 1981 - Ek Duje Ke Liye
    * 1985 - Ram Teri Ganga Maili

Other Awards:

    * 1969 : Padam Bhushan
    * 1974 : Guinness Book of World Records:for singing the maximum number Guinness book of World Records.
    * 1980 : Was presented key of the city of Georgetown, Guyana, South America
    * 1980 : Honorary Citizenship. The Republic of Suriname, South America
    * 1985 : 9th June declared as Asia Day in honour of her arrival in Toronto, Canada
    * 1987 : Honorary Citizenship of the U.S.A, Houston, Texas, U.S.A
    * 1989 : Dada Saheb Phalke Award
    * 1990 : Honorary Doctorate (Literature) By Pune University
    * 1996 : Videocon Screen Lifetime Achievement Award
    * 1997 : Rajiv Gandhi Award.
    * 1998 : Lux Zee Cine Lifetime Achievement Award
    * 1999 : Padma Vibhushan
    * 1999 : NTR Award
    * 2000 : Lifetime Achievement Award by IIFA in London
    * 2000 : Jeevan Gaurav Puraskar by the Chaturang Pratishthan
    * 2001 : Bharat Ratna - The Nation's Highest Civilian Award
    * 2001 : Noorjehan Award : First Reciepient
    * 2001 : Maharashtra Ratna : First Reciepient
    * 2002 : Asha Bhosle Award : First Reciepient

Best Of Lata Mangeshkar:

Kahin Deep Jale Kahin Dil      Bees saal Baad
Pyar Kiya To Darna Kya      Mughal - e -Azam
Chalo Sajana      Mere Humdum Mere Dost
Bhai Batoor      Padosan
Chalte-Chalte      Pakeezah
Kuch Na Kaho      1942 A Love Story
Diya Jale      Dil Se
Sunio Ji Araj Mhari      Lekin
Dil Deewana     Maine Pyaar Kiya
Aye Dil-e-Nadaan      Razia Sultana
Dikhaye Diye Ki Bekhud      Bazaar

Edited by Lovers Ka Love - 15 August 2007 at 2:06am

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Allah Rakha(A . R) Rehman

D.O.B : January 6, 1967

Early life and influences

A. R. Rahman is the only son of R. K. Shekhar, a composer, arranger and conductor for Tamil films. His father died when Rahman was nine years old, and his family used to rent out musical equipment as a source of income. Dileep Kumar became A R Rahman after a turning point in his life, as Rahman himself has claimed in several television interviews. The specific incident involved his mother who developed some sort of illness and was leading a painful existence until a Muslim family friend suggested that they pray to in a prominent mosque in the locality. Rahman claims that after fervent prayers his mother's health showed remarkable improvement. Thus, the whole family converted to Islam as a mark of gratitude. Rahman was also a student at PSBB for a short while before changing schools.

During these early years, Rahman served as a keyboardist and an arranger in bands with friends, embracing numerous music genres. He played the keyboard and piano, in addition to the synthesizer, the harmonium and the guitar. His curiosity in the synthesizer in particular increased because, he says, it was the "ideal combination of music and technology."[3] He began training in Carnatic music. At the age of 11, he joined the troupe of Indian composer Ilaiyaraaja as a keyboardist.[3] Those days, Ilaiyaraaja used to get the keyboard and other musical instruments on rent from A. R. Rahman's home that originally belongs to R. K. Shekhar (A. R. Rahman's father). He later played in the orchestra of M. S. Viswanathan and Ramesh Naidu, and accompanied Zakir Hussain and Kunnakudi Vaidyanathan on world tours. The experience allowed him to obtain a scholarship to Trinity College at Oxford University, where he graduated with a degree in Western classical music.[4]

Film scoring and soundtracks

In 1991, Rahman began his own studio, attached to his house, called the Panchathan Record Inn. His music was used in advertisements, the title music of Indian Television channels and music in documentaries, among other projects. Rahman was, at first, hesitant about composing music for the Indian film industry primarily because most film makers at the time used songs as fillers. In 1992, he was approached by film director Mani Ratnam, who offered Rahman the job as composer for his upcoming Tamil language film Roja, at a price of Rs. 25,000. Rahman accepted, and the movie's debut led Rahman to receive the Rajat Kamal award for best music director at the National Film Awards, the first time ever by a first-time film composer. Rahman has since then gone on to win the award three more times (for Minsaara Kanavu (Electric Dreams, Tamil) in 1997, Lagaan (Tax, Hindi) in 2002 and Kannathil Muthamittal (A Kiss on the Cheek, Tamil) in 2003), the most ever by any composer.

When Rahman arrived on the Indian music scene with his first film Roja, he brought about a transformation of film music. Roja was a hit, in its original and dubbed versions, and Rahman followed it up with a number of other popular films, including Bombay, Kadhalan, Indira, Minsaara Kanavu, Muthu and Love Birds. His soundtracks gained him recognition and notice in the Tamil film industry and across the country for his versatality in classical, folk, jazz, reggae, soft rock and other styles. Rangeela, directed by Ram Gopal Varma, marked Rahman's debut in Hindi films. Many popular albums for films including Dil Se and Taal followed. The sales of these albums prompted movie producers to take film music more seriously. Rahman's playback singing in several of his albums was also admired.

Rahman's work is also unique in the fact that his collaborations with some film directors have always resulted in successful albums. In particular, he has worked with Mani Ratnam on ten films until 2006, all of which have been musical hits. Also notable is his collaboration with the director S. Shankar - in Gentleman, Kadhalan, Indian, Jeans, Mudhalvan, Nayak, Boys and Sivaji.

The following article was written in TIME magazine about Rahman's achievements. His first movie album Roja was listed in TIME magazine's "Top 10 Movie Soundtracks of All Time".[5] In addition to influencing western audiences, Rahman also impressed eastern audiences with his music so much that he was hired by Chinese director He Ping to compose the score and soundtrack for the Chinese film Warriors of Heaven and Earth in 2003.[6]

His latest work includes Water, Rang De Basanti, Sillunu Oru Kaadhal, Guru , Varalaru - The History of the Godfather and Sivaji: The Boss. Rahman has scored the movie Provoked and is also working on Shyam Benegal's next venture, Chamki Chameli, which is set for release in late 2007 as well as Jodhaa Akbar.

Rahman is a recipient of the Padma Shri, one of the highest civilian awards in India.

Other works

He made an album Vande Mataram (1996) on India's national song, singing the title song on the album. He followed it up with an album called Jana gana mana, a conglomeration of performances by all the leading exponents/artists of Indian classical music.

Andrew Lloyd Webber, a well-known composer of musicals, hired Rahman to compose his maiden stage production, Bombay Dreams (2002). This play was well received in England. Furthermore, Rahman, along with the Finnish folk music band Vrttin, composed the music for The Lord of the Rings theatre production, which first opened in Toronto on March 23, 2006, and a new production of which begins previewing in London at The Theatre Royal, Drury Lane from May 9, 2007.

On May 23rd 2006, a two-disc album soundtrack, titled Introducing A. R. Rahman, was released by Times Square Records, featuring 25 songs he composed from Tamil film soundtracks spanning 1993-2001. Rahman has performed in concerts and tours worldwide. He performed at the Hollywood Bowl amphitheatre in July 2006, with Indian singers Sukhwinder Singh, Hariharan and Sadhana Sargam, as well as American performing groups Raagapella and Global Rhythms, to a sold-out crowd.

Music style

Rahman's interest in the works of Classical and Romantic period composers, Carnatic composers, early film composers and predecessors K. V. Mahadevan and Vishwanathan-Ramamoorthy of the Tamil film industry and others continued through his late teens. He further explored and trained in Carnatic music, Western classical, Hindustani music and the Qawalli style of Nusrat Fateh Ali Khan, in addition to numerous other styles. His interest and outlook in music is said to stem from his love of experimentation.[4][7] As a result, his scores have alternated from songs and themes composed covering a variety of genres, with unconventionally-grouped instruments, and different vocal styles being used and combined together in some of his film soundtracks, to more traditional orchestral themes with leitmotif techniques composed in others. Rahman's works often feature a mix of minimalist songs and evocative, thematic pieces, building on his differing chord progressions and rhythms. He has written scores and songs with new and varied melodic and percussive sounds from instruments of different music systems. This unique blend he pioneered would come to be known as his avant-garde sound.

Award List Of A . R . Rehman

  • Star Screen Awards
    • 2002 - Best Background Music

Screen-Videocon Awards Kadhal Desam (South - Tamil; 1997) Minsara Kanavu (South - Tamil; 1998) Vande Mataram (Non-film; 1998) Taal (Hindi; 2000) Other Awards was nominated for Laurence Olivier Theatre Award (2003) (The Hilton Award) for "Best New Musical of 2002" - Bombay Dreams Musical

Sangeet Awards 2005 Best Music Director (Film music - Swades)

The Mahavir-Mahatma Award (Instituted by the Oneness Forum)

National Lata Mangeshkar awards for 2004-05 ( The awards instituted by Madhya Pradesh government )

Sangeet Awards 2004 Best Music Director (Film music - Yuva) Best music arranger (Critics award) for 'Yeh Rishta' - Meenakshi 2004 American India Awards R D Burman Award at the SuMu Music Awards (1993) Madras Telugu Academy Puraskar (1992 to 1994) Bommai Nagi Reddy Award (1995/96) Lux-Kumudam Award for Kadhalan (1995) Mauritius National Award (1995; for contribution to music) Malaysian Award (1996; for contribution to music) Sanskriti Award from Delhi based Sanskriti foundation (1994) Kalaimamani Award from Tamil Nadu Government (1995) Thangapillai Award Rajiv Gandhi Award 3rd Channel [V] Awards - Coca Cola Viewer's Choice Award 1998 The Channel [V]-IMI Award for Best Producer for Vandemataram 1998 Fanta Award in 1999 Stardust Cine Honours Taal (2000) Filmgoers's Award Taal (2000) First Bollywood Music Awards (Best Music Director and Best Song) Taal (2000) V Shantaram Award: Taal (2001) Bollywood US Awards (2003) Best Music Director : Saathiya 8th Annual Planet-Bollywood Awards (People's Choice Awards! - Best of 2002) Best Music Direction : Saathiya, The Legend of Bhagat Singh Star Screen Award - Best Background Score - Rang De Basanti

Dinakaran Cine Awards Minsara Kanavu (1998) Jeans (1999) Mudalvan, Kadhalar Dhinam (2000)

MTV Awards MTV-VMA Award for Dil Se Re song from Dil Se.. 1999 MTV Asia Awards 2003 for Favourite Artist India MTV IMMIES 2003 - Best Music Composer - 'Saathiya' - Saathiya ( Hindi )

A. R. Rahman has been nominated for the following awards:

Picture will be added sOonSmile

Edited by Lovers Ka Love - 18 August 2007 at 2:03am
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Nusrat Fateh Ali Khan

D.O.B = October 13, 1948

A Pakistani musician, was primarily a singer of Qawwali, the devotional music of the Sufis (a mystical offshoot of Islam).

Traditionally, Qawwali has been a family business. Nusrat's family (originally from Afghanistan) has an unbroken tradition of performing qawwali for the last 600 years. Among other honorary titles bestowed upon him, Nusrat was called Shahenshah-e-Qawwali, meaning The Emperor of Qawwals.

Life and career

Nusrat was born in Faisalabad, Pakistan on October 13, 1948 to Ustad Fateh Ali Khan, a distinguished musicologist, vocalist, instrumentalist, and Qawwali performer. He had one brother, Farrukh Fateh Ali Khan. Initially, his father did not want him to follow him into the family business. He had his heart set on Nusrat choosing a more respectable career path and becoming a doctor, because he felt Qawwals had low social status. However, Nusrat showed such an aptitude for, and interest in, Qawwali that his father finally relented and started to train him in the art of Qawwali and he was also taught to sing within the classical framework of Khayal. This training was still incomplete when Ustad Fateh Ali Khan died in 1964 while Nusrat was still in school, and the training was continued by Nusrat's paternal uncle, Ustad Mubarak Ali Khan. Ten days after his father's death, Nusrat had a dream where his father came to him and told him to sing, touching his throat. Nusrat woke up singing, and was moved by the dream to decide that he would make Qawwali his career. His first public performance was at his father's funeral ceremony forty days later. Under the guidance of Ustad Mubarak Ali Khan, he became the group's leader in 1965 and the group was called Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. ("Party" is the term used in Qawwali for the supporting members of the group.)

Nusrat's first public performance as leader of the family Qawwali group was in March 1965, at a studio recording broadcast as part of an annual music festival called Jashn-e-Baharan organized by Radio Pakistan. It took Nusrat several years more to perfect his craft and emerge from the shadow of the groups that were regarded as the leading contemporary Qawwals. But once he did, there was no looking back. He firmly established himself as the leading qawwal of the 20th century. His incredible voice and his complete mastery of the genre made him a superstar in the Indian subcontinent and the Islamic world. He sang mostly in Urdu and his native Punjabi, but also in Persian, Brajbhasha and Hindi. His qawwali output is almost evenly divided between Urdu and Punjabi, with a smattering of songs in the other languages. Nusrat was also one of the first South Asian singers to perform before large Western audiences.

Nusrat took over his family's qawwali party in 1971 after the death of his father and his uncle. In Pakistan, his first major hit was the song "Haq Ali Ali". This was performed in a traditional style and with traditional instrumentation, and featured only sparse use of Nusrat's innovative sargam improvisations. Nevertheless the song became a major hit, as many listeners were attracted to the timbre and other qualities of Nusrat's voice.

He reached out to Western audiences with a couple of fusion records produced by Canadian guitarist Michael Brook. In 1995, he collaborated with Eddie Vedder on the soundtrack to Dead Man Walking. His contribution to that and several other soundtracks and albums (including The Last Temptation of Christ and Natural Born Killers), as well as his friendship with Peter Gabriel, helped to increase his popularity in Europe and the United States. Peter Gabriel's Real World label released five albums of Nusrat's traditional Qawwali performances in the West. Real World also released albums of his experimental work, including Mustt Mustt (which features a slap bass technique) and Star Rise. He also performed traditional Qawwali live to Western audiences at several WOMAD world music festivals.

Nusrat provided vocals for The Prayer Cycle put together by Jonathan Elias, but died before the vocals could be completed. Alanis Morissette was brought in to sing with his unfinished vocals.

Apparently, when Nusrat toured in foreign countries, he would watch television commercials in order to identify the melodies and chord progressions popular in that country. He would then try to choose similar sounding songs from his repertoire for his performances.

Nusrat contributed songs to, and performed in, several Pakistani movies. Shortly before his death, he also recorded two songs for a Bollywood movie, Aur Pyaar Ho Gaya, in which he also appeared.

According to the Guinness Book of World Records, Nusrat Fateh Ali Khan holds the world record for the largest recorded output by a Qawwali artist—a total of 125 albums.

Nusrat was taken ill with kidney and liver failure on Monday, August 11, 1997 in London, England while on the way to Los Angeles from Lahore to receive a kidney transplant. He was due to perform in a live concert later in August. While still at Cromwell Hospital, Nusrat died of a sudden cardiac arrest on Saturday, August 16, 1997, aged 48. His body was then transported back to Faisalabad, Pakistan where thousands of distraught people attended his funeral and burial procession.

Nusrat's style of Qawwali

Nusrat is responsible for the modern evolution of qawwali. Although not the first to do so, he popularized the blending of khayal singing and techniques with qawwali. This in short took the form of improvised solos during the songs using the sargam technique, in which the performer sings the names of the notes he is singing (for example, in western notation it would be "do re mi"). He also attempted to blend qawwali music with more western styles such as techno.

Nusrat's qawwali songs usually follow the standard form. A song begins with a short instrumental prelude played on the harmonium and tabla. Then the instruments stop, and the main singers (but not the chorus) launch into the alap, which establishes the raga, the tonal structure of the song. At this point, introductory poetic verses are sung. These are usually drawn not from the main song, but from other thematically related songs. The melody is improvised within the structure of the raga.

After the introductory verses, the main song starts, and the rhythmic portion of the song begins. The tabla and dholak begin to play, and the chorus aids and abets percussion by clapping their hands. The song proceeds in a call and response format. The same song may be sung quite differently by different groups. The lyrics will be essentially the same, but the melody can differ depending on which gharana or lineage the group belongs to. As is traditional in qawwali, Nusrat and the side-singers will interject alap solos , and fragments of other poems or even improvised lyrics. A song usually has two or three sets of refrains, which can be compared to the verse chorus structure found in western music. Songs last about 20 minutes on average, with a few lasting an hour or more.

Nusrat was noted for introducing other forms of improvisation into the style. From his classical music training, he would interject much more complex alap improvisations, with more vibrato and note bending. He would also interject sargam improvisations (listen here).

While it is undoubtedly difficult to put into words what makes Nusrat's music appeal so deeply to so many listeners, many of whom do not understand a single word of the languages he sings in, here is one fan's attempt to explain: "Nusrat's music invites us to eavesdrop on a man communing with his God, ever so eloquently. He makes the act of singing a passionate offering to God. But we do not merely eavesdrop. The deepest part of Nusrat's magic lies in the fact that he is able to bring our hearts to resonate with the music, so deeply, that we ourselves become full partners in that offering. He sings to God, and by listening, we also sing to God."

During his lifetime, Khan agreed to all kinds of projects and collaborations, overlooked unauthorized releases—and even sang into personal tape recorders for just about anyone who would ask, though he knew that those bits would probably soon be pirated—with the justification that any recording, "legitimate" or not, would help spread the Sufi word of universal peace and love. However, he probably reached his biggest non-South Asian audience through a celebrated series of recordings made for the Real World label, several of which mixed traditional qawwali and ghazals with largely tasteful forays into Western instrumentation in order to attract European and American listeners. Some highlights from that discography include Devotional Songs, Love Songs, Shahen-Shah and The Last Prophet. The French label Ocora also has an excellent five-CD set of recordings Khan and his "party" made live in Paris for Radio France in the 1980s.

Composition of Nusrat's Qawwali Party

The composition of Nusrat's party changed many times over the 26 years that he led the party. Two members who remained from the beginning to the end were Farrukh Fateh Ali Khan and Dildar Hussain. Listed below is a snapshot of the party on an unknown date, but probably circa 1983:

   1. Mujahid Mubarak Ali Khan: Nusrat's first cousin, Vocals
   2. Farrukh Fateh Ali Khan: Nusrat's brother, Vocals and Lead Harmonium
   3. Rehmat Ali: Vocals and Second Harmonium
   4. Maqsood Hussain: Vocals
   5. Rahat Nusrat Fateh Ali Khan: Nusrat's nephew, pupil singer
   6. Dildar Hussain: Tabla
   7. Majawar Abbas: Mandolin, Guitar
   8. Mohammed Iqbal Naqbi: Chorus, secretary of the party
   9. Asad Ali: Chorus
10. Ghulam Farid: Chorus
11. Kaukab Ali: Chorus

The one significant member of the party who does not appear on this list is Atta Fareed. For many years, he alternated with Rehmat Ali on Vocals and Second Harmonium. He is easily identifiable in videos since he plays the harmonium left-handed.


Eddie Vedder said, "I was lucky to work with Nusrat, a true musician who won't be replaced in my life. There was definitely a spiritual element in his music." Eddie Vedder also incorporated 'Nusrat Fateh Ali Khan' into the lyrics of 'Wishlist' during the 98' Yield tour in Melbourne, Australia.

The late American rock singer Jeff Buckley paid his tribute to Nusrat on the album, Live at Sin-. In his introduction, he states, "Nusrat, he's my Elvis," before performing the song "Yeh Jo Halka Halka Saroor Hai." The recording generated interest among the audience who were previously unaware of his music. He also stated in an interview, "I idolize Nusrat, he's a god too." Buckley died in May 1997 in Memphis, Tennessee, 3 months before Nusrat. In addition, Nusrat's posthumously released The Supreme Collection Vol. 1 has liner notes written by Buckley, to whom this album is dedicated.

In 2004, a tribute band called Brooklyn Qawwali Party (formerly Brook's Qawwali Party) was formed in New York City by percussionist Brook Martinez to perform the music of Nusrat. The 13-piece group still performs mostly instrumental jazz versions of Nusrat's qawwalis, using the instruments conventionally associated with jazz rather than those associated with qawwali.

SPIN magazine listed Nusrat as one of the 50 most influential artists of music in 1998.

TIME magazine's issue of November 6, 2006, "60 Years of Asian Heroes", lists Nusrat as one of the top 12 Artists and Thinkers in the last 60 years (see article).

The Red Hot Chili Peppers wrote a tribute song about Nusrat, called "Circle of the Noose". It has never been released.

In 2007, London-based producer Gaudi released Dub Qawwali, featuring dub reggae with Nusrat's vocals. See NPR article.


    * Nusrat has Left the Building... But When? (1997). Directed by Farjad Nabi. (This 20-minute docudrama focuses on Nusrat's early career.)
    * A Voice from Heaven (1999). Directed by Giuseppe Asaro. (This 75-minute documentary, available on VHS and DVD, provides an excellent introduction to Nusrat's life and work.)

Concert films

    * The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa Katsumori; directed by Nakagawa Kunikiko and Ichihashi Yuji; in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of Japan; Cambridge, Massachusetts: distributed by Rounder Records. Features a studio performance by Nusrat Fateh Ali Khan and Party (two Urdu-language songs: a Hamd (song in praise of Allah), and a Manqabat for Khwaja Mu'inuddin Chishti, a 13th century Sufi saint. Filmed in Tokyo, Japan, September 20, 1987, for Asian Traditional Performing Arts).
    * Nusrat! Live at Meany (1998). Produced by the University of Washington. (87-minute document of a January 23, 1993 concert at Meany Hall, University of Washington in Seattle, during Nusrat's residency at the Ethnomusicology Program there.)

    * Live in Concert in the U.K. (DVD, vols. 1-17) [OSA]; recorded between 1983 and 1993
    * Akhiyan Udeek Diyan (DVD) [Nupur Audio]
    * Je Tun Rab Nu Manauna (DVD) [Nupur Audio]
    * Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Nupur Audio]
    * Rang-e-Nusrat (DVD, vols. 1-11) [Music Today]; recorded between 1983 and 1993
           o Live in Concert in UK (DVD vol. 1)
           o Live in Concert (DVD vol. 2)
           o Live in Concert (DVD vol. 3)
           o Live in UK (DVD vol. 4)
           o Live in UK (DVD vol. 5)
           o Live in Concert (DVD vol. 6)
           o Live in UK (DVD vol. 7)
           o Live in UK (DVD vol. 8)
           o Live in UK (DVD vol. 9)
           o Live in UK (DVD vol. 10)
           o Live in UK (DVD vol. 11)
           o Digbeth Birmingham 12 November 1983 (DVD vol. 12)
           o Digbeth 30 October 1983 (DVD vol. 13)
           o Luxor Cinema Birmingham (VHS vol. 1, 1979)
           o Digbeth Birmingham (VHS vol. 2, 1983)
           o St. Francis Hall Birmingham (VHS vol. 3, 1983)
           o Royal Oak Birmingham (VHS vol. 4, 1983)
           o Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5)
           o Private Mehfil (VHS vol. 6, 1983)
           o Natraj Cinema Leicester (VHS vol. 7, 1983)
           o Live In Southall (VHS vol. 8)
           o Live In Bradford (VHS vol. 9, 1983)
           o Live In Birmingham (VHS vol. 10, 1985)
           o Allah Ditta Hall (VHS vol. 11, 1985)
           o Harrow Leisure Centre (VHS vol. 12)
           o University Of Aston (VHS vol. 13, 1988)
           o Aston University (VHS vol. 14, 1988)
           o WOMAD Festival Bracknell (VHS vol. 15, 1988)
           o Live In Paris (VHS vol. 16, 1988)
           o Poplar Civic Centre London (VHS vol. 17)
           o Imperial Hotel Birmingham (VHS vol. 18, 1985)
           o Slough Gurdawara (SHABADS) (VHS vol. 19)
           o Imran Khan Cancer Appeal (VHS vol. 20)
           o Town Hall Birmingham (VHS vol. 21, 1993)

           o Akhiyan Udeek Diyan (DVD)
           o Je Tun Rab Nu Manauna (DVD)
           o Yaadan Vicchre Sajan Diyan Aayiyan (DVD)

Nusrat in popular culture

    * A hero in the novel "Chapayev and Void" by Viktor Pelevin is listening to a tape by an imaginary band Crimson Jihad which is described as a duo of Nusrat Fateh Ali Khan and Robert Fripp from King Crimson.


    * Khan, Nusrat Fateh Ali; Asaro, Giuseppi (Director, Producer); & Sforza, Alessandro (Producer). (2001). A voice from heaven: Nusrat Fateh Ali Khan, the most beautiful voice in the world [DVD]. New York, NY: Winstar TV & Video. ISBN 0794201253.
    * Ruby, Ahmed Aqeel. (1992). Nusrat Fateh Ali Khan: A Living Legend. Translated by Sajjad Haider Malik. Lahore: Words of Wisdom.

Edited by Lovers Ka Love - 21 August 2007 at 3:33am
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Melody Queen Noor Jehan

Noor Jehan (September 21, 1926 – December 23, 2000) was a famous Punjabi singer and actress. She is revered in Pakistan by her title Mallika-e-Tarranum (Queen of Melody)and is considered to be one of the greatest singers to have come from the Indian Subcontinent. Noor Jehan has appropriately sung around 10,000 songs in Hindi, Urdu, Punjabi and Sindhi films in both India and Pakistan.

Birth and Family

On the dark night of Tuesday, September 21, 1926, in a small house of poor musicians, at Kot Murad Khan in the sleepy town of Kasur, in rural, undivided Punjab, a newborn baby girl was crying. When the child was born, her father's sister on hearing her wail, said to her brother "This one even wails in accordance with the scale". She was named Allah Wasai. This girl's voice was destined to be heard beyond the four walls of the humble dwelling in years to come. Her parents were professional musicians and genealogists working for local landowning families, performing at life cycle events. The family also performed at the local theatre and at seasonal fairs. Her father was Madad Ali and her mother was Fateh Bibi and she was the youngest child of her parents in a family of thirteen. Noor Jehan had six brothers - Mian Nawab Din, Gul Muhammad ("Gulloo"), Muhammad Hussain, Muhammad Shafi, Siddique, and Inayat Hussain. Noor Jehan had six sisters - Eidan Bai, Haider Baandi, Gulzar Begum (or Bibi Gulzar), Ameena Begum, Baharo, and Undam Begum ("Umda" or "Machine"). Sadly, three of her brothers ended up in mental institutions.

Childhood and stage career

From an early age, she displayed signs of having a melodious voice, which became more apparent by the time she was four or five years old. She could pick up just about anything - be it a folk song or a popular number from a theatrical drama - she could imitate it to perfection. Realizing her immense talent, her mother began to believe that her daughter had something exceptional to give to the world. So, the family moved to Lahore, where Noor Jehan's sisters, Eidan Bai and Haider Bandi, began their stage careers. Her mother arranged for her to begin her training in singing and dancing. She received early music lessons under Kajjanbai (a singer between 1920 and 1930) who made her do "riyaz" up to 12 hours a day. After her morning "riyaz", a teacher would come and teach her to read and write. She received early training in classical singing under Ustad Ghulam Mohammed who instructed her in classical music and voice production within the framework of classical forms of thumri, dhrupad, and khayal. From Lahore, the family moved to Calcutta, in hopes that Eidan Bai and Haider Bandi would break into films. However, this did not happen, yet they continued their stage careers. In around 1930, Noor Jehan won a part in a silent feature film called Hind ke Tare (1930), produced by Indian Pictures. Thereafter, the family moved to Bombay where she acted in 11 silent films in 1931, launching herself as a prominent child star of the 1930s in both silent and soon sound films. Her first talkie feature film was Sassi Punnu, released in 1932. She joined Kohinoor United Artists and appeared in some of their films. Later, she was employed by Seven United Artists and played the lead in some of their films opposite Khalil. She took up singing at six years of age and began making stage appearances with her elder sisters for rural theatre companies called the Taka Theatre. Later, she joined Sharda Film Co. and played important roles in several of their films. She did not sing original songs but the famous hits of the day. She then went to Lahore with her sisters and took part in zinda nach gana (live song and dance) which usually preceded the actual film show. She was only nine years old when the great Punjabi musician, G. A. Chisti, introduced her to the stage in Lahore. He composed some ghazals, naats and some folksongs for her and she was paid 7.5 annas for each song. She also received some classical music lessons under Ustad Bade Ghulam Ali Khan. The sisters then proceeded to Calcutta. During their stay in Calcutta, Mukhtar Begum, the sisters' ideal and a famous singing star in the 1930s, encouraged the three sisters and recommended them to various producers. She also recommended them to her husband, Urdu drama writer, Agha Hashar Kashmiri's Maidan Theatre, where Noor Jehan received the stage name Baby Noor Jehan. In later life, Noor Jehan adopted Mukhtar Begum's style of performing and wearing of a sari. The sisters were offered permanent jobs with one of the Seth Sukh Karnani Companies, Indira Movietone. Their popularity grew as they became known as Punjab Mail.

Last years and death

In 1986, on a tour of North America, her mild chestpains recurred with severity. Her doctors diagnosed angina and an immediate operation was advised. The American surgeons performed a smooth surgery and Noor Jehan returned to Lahore with a winning smile while hiding her ticking pace-maker. She looked slimmer and prettier and flaunted a band around her neck that changed colours with ever-changing saris. Even her voice sounded fresh. Her facelifts in London were perhaps already known and perhaps also a minor surgical manipulation of her "singer's nodules" which are known to occur with voice overuse.

In 1996, Noor Jehan recorded her last song in Pakistan which was "Ki Dam Da Bharosa?" for the film Sakhi Badshah (1996) and stopped singing due to failing health and newer trends in music. Noor Jehan stayed away from the limelight for four years - a period which seemed like ages for fans, and during which she received treatment at various hospitals. Fans and family, friends and foes, all prayed for a magical cure. Her ex-husbands, sons, daughters and grandchildren waited in attendance. Admirers carried fragrant bouquets and well-wishers sent get-well-soon wishes. Dilip Kumar visited from Bombay and General Musharraf from Islamabad. But none could stop her ailing heart from its downslide. It had taken much and could take no more.

Noor Jehan's last days were painful. Once, she almost died but came through. She said that God had spared her life so that while she was alive, she could divide her property among her children because if she had not, after she was gone, there would be disputes and that would make her very unhappy. She was not to be disappointed. Her large home in the Liberty Chowk of Lahore's Gulberg Town which she had been smart enough to get declared commercial property by the Corporation was sold for Rs. 20 crore. She gave each of her six children Akbar, Asghar, Zile Huma, Hina, Shazia, Nazia Rs. 2.5 crore each. She was truly happy and relieved after she did that.

Noor Jehan had been suffering and fighting off a terrible protracted illness concerning her ailing heart as well as several other ailments. She was sent to Karachi for treatment, where she suffered a heart attack. On Saturday afternoon, December 23, 2000, Noor Jehan died from heart failure. She died on the night of Laylat al-Qadr (27th Ramadaan), which is a very important night for Muslims. The funeral prayers were offered at Jamia Masjid Sultan, Karachi. She is buried in the Left Side of Gate 2 at the Gizri Graveyard near Saudi Consulate in Karachi. Her grave is built of golden marble and is a grave of striking beauty. In death, Noor Jehan dissociated herself from those she kept her company all her life, and left in the company of taraweeh prayers. When news of her death spread, people could not resist and turned on their TVs in the middle of the holy night's prayers for one last look of that smiling, dimpled face - that magic, charisma, that legend they called Mallika-e-Tarranum Noor Jehan.

Another source describes her death as: Allah Wasai of Kasur died in the arms of her loving daughters in Karachi - the daughters she had brought up as a single parent. Leaving behind millions in gold and cash for her children and thousands of immortal melodies for her fans, she had embarked on her last journey. The falling night of December 23, 2000, was the holiest night of the month of Ramadaan, a night when sins are forgiven and when the doors of heaven are flung wide open. Noor Jehan, who never sang in her life without advance payment, was leaving for the Hereafter with booked promises.

Personal Life

When Shaukat Hussain Rizvi was asked to come to Lahore to direct Khandaan in 1942, Noor Jehan, who with her sisters was in a dance party which performed from town to town, was in Amritsar. He was to choose a heroine for the new movie which was being produced by Dalsukh Pancholi. He recalls that through the help of S.P. Singha, who was vice chancellor of the Punjab University, several girls were sent over for audition but he did not like any of them. He wanted his heroine to look no more than fifteen or sixteen on the screen, which was how old Nur Jehan was at the time. He decided that it was she whom he wanted. She was sent for but he did not tell her that she was going to play the lead. That was when their affair began which ended in marriage against the wishes of her brothers who did not wish to lose her. She was the soul and the main draw of the roving dance party.

One day, during the shooting, Rizvi said to Noor Jehan by way of a joke, "What sort of oil do you use on your hair? It smells awful." He says the moment the words left his mouth, she burst out crying and just would not stop. "What sort of a woman is this!" he recalled saying to himself. "I should have been warned that she was a very dangerous woman but I was in love. I could not see that." As a result of this incident, the shooting remained interrupted for five or six days. When it was resumed, he says he came back, fully determined that he would ignore her. However, after some cajoling from the Pancholi clan of nephews that hung around the studio, Rizvi made up with her. The love affair was resumed. One day, old Pancholi sent for him and said, "Look Shaukat, my nephews are your friends and I treat you as one of them. Let me give you some advice. Let this remain a little game between the two of you, no more than that. Don't let it go too far." He wrote, "To this day, his words ring in my ears. But I was blinded by love."

In Rizvi's words, "She was having this affair with me on the one hand, while carrying on with some others on the side. One day, I ran into a friend on the Mall (in Lahore) who said there was someone looking for me." He was led to a house off the Mall where he was surprised to meet Noor Jehan. But she was not alone. In her wake came Hassan Amin. It seems they were having a playful pillow fight. "I was taken aback," wrote Rizvi, "Here was the woman who used to assure me of her love … I asked Hasan Amin what it all meant. He replied that it was Noor Jehan's idea. She was who wanted him to send for me. The idea was to make me jealous." Her family, he adds, was in on the little game, although Amin knew that she was having an affair with Rizvi.

Hasan Amin told Khalid Hasan himself that Noor Jehan was his first love. He was a student at Government College, Lahore, when he first saw her, performing with her sisters on the stage. He was smitten. He chased her all the way to Kasur and despite the opposition of her family, Noor Jehan had an affair with him. "She wanted me to marry her, but all wanted to do in those days was play cricket," he said wistfully.

But returning to Shaukat Hussain Rizvi's story, Noor Jehan promised to drop all others and the affair revived. Some time later, she began to come to him with stories of her mistreatment by her family, including beatings by her brothers. Rizvi told her to make a declaration to that effect (before a judge) but she did not do that. Meanwhile, their affair became even more torrid. Khandaan was now near completion. One day when the studio car went to fetch her from Hira Mandi, Lahore's famous flesh district (where she was obviously staying), there was word waiting that the family had left. Police warrants were issued, Seth Dalsukh Pancholi being a man of influence, and forty members of her family were arrested from Kasur and brought to Lahore. That day the scene to be shot included the actors Ghulam Muhammad, Pran, the hero, and Noor Jehan. Her elder brother tried to make a protest to Rizvi who told him to be on his way. Noor Jehan, once again, began to cry complaining about her treatment by the family. He told her to go before a judge, tell him the truth and declare that she wanted to marry Shaukat Hussain Rizvi. She promised to do so the next day. The police case against her family was also to be heard the next day. Her brother Shafi told the judge that the family was afraid Rizvi would abduct Noor Jehan. When this was put to her by the judge, she said that to her Shaukat Hussain Rizvi was like a "brother". This, Rizvi wrote, was typical of her, adding that he could narrate not one but "two thousand five hundred" such stories.

Khandaan was released and it was an immediate hit. Shaukat went home to see his parents in U.P. When he returned to Lahore, there were several messages from Noor Jehan waiting. She was in Amritsar with her dance party doing shows at the Rialto Cinema. Rizvi finally relented, travelled to Amritsar with friends and when he met her, she told him the same story. She explained that she had been forced to make the "brother" statement in Lahore because of pressure from her brothers. However, this time, she assured him she was willing to go with him. He told her that he would send for the police which would take her to court where she should make the necessary declaration, but wrote Rizvi, "she again cheated me. The fact was that she did exactly what her brothers told her to do."

He returned to Lahore and from there he took off for Bombay where he was assigned by V.M. Vyas to produce the film, Naukar. Noor Jehan had also arrived in Bombay and wanted to be cast as the lead. However, Rizvi refused and, when pressed, agreed to make her the "side heroine" but he made it clear to Vyas that he did not wish to speak to her. According to Rizvi, one day Noor Jehan's brother Shafi came to him, asked for forgiveness and said, "Baby (he called her Baby) is not herself, please forgive her." Then he stepped out, brought in Noor Jehan, who was waiting outside and left her there. Noor Jehan told him how cruelly she had been treated. She showed him marks on her body resulting from beatings given to her by her brothers. The two reconciled and they were married. This was in 1943. However, more trouble was afoot. Nur Jehan's parents filed a suit against Rizvi charging abduction of their daughter. Rizvi sent for her birth certificate from Kasur (reproduced in the book) which listed Nur Jehan's parents' profession as 'tawaif' or prostitute. The same document gave her date of birth as 21 September, 1926. Rizvi and Noor Jehan's first two children, Akbar Hussain Rizvi (b. 1944) and Asghar Hussain Rizvi, were born in Bombay. Their third child, Zile Huma, was born in Pakistan.

In 1955, Noor Jehan appeared in the Punjabi film, Patey Khan, and fell in love with the film distributor M. Naseem. This created a gulf between Noor Jehan and Shaukat Hussain Rizvi, and they were divorced. Syed Shaukat Hussain Rizvi demanded Shahnoor Studios from Noor Jehan in return for Zile Huma's custody. Madam gladly signed the property papers to get her daughter back. However, her film Pardaisan, produced by M. Naseem, released in 1959 and failed at the box-office, which led to differences between Noor Jehan and M. Naseem, and the two parted ways.

However, Noor Jehan didn't remain single for long. She soon fell in love with 25 year old actor Ejaz Durrani and they became very close. On October 19, 1959, they were married. Their marriage produced three daughters. They were Hina, Mina, and Tina. Noor Jehan glowed with marital bliss and was utterly devoted to Mr. Durrani (she seriously considered giving up singing for him). However, they were divorced on April 28, 1971. They were divorced because of Ejaz's affair with the famous Pakistani actress Firdous. A couple of months later, when Ejaz was picked up at Heathrow Airport, England with a cache of narcotics concealed in film cans, tried, and sentenced to four years in prison, it was Noor Jehan who came to his help. She paid lawyers' fees, which were quite considerable and spent a lot of time and money to bail him out, despite her reputation of being tight-fisted. The man who had let her down and left her to raise three daughters, she helped generously in his adversity.


Noor Jehan has a few famous descendant's such as her daughter Zile Huma, who is a well-known Pakistani singer and the only of her four daughters to follow in her mother's steps, and her granddaughter Sonya Jehan who is a fast-upcoming Bollywood actress. She was born to Akbar Hussain Rizvi, Noor Jehan's eldest son and his French wife, Florence. Her birthname was Sonya Rizvi but she was re-christened Sonya Jehan in honour of her grandmother. Her son now runs Shahnoor Studios alongside his half-brothers. Also, Zile Huma's youngest son Hamza Ali is an upcoming name in the Pakistani film and music industry. He made his debut in films in 1997 when he first appeared in Sala Bigda Jayay. He said "I have seen it all, though it hasn't been long since I've joined showbiz but I have been part of it all my life because of my Naano and my mom". Carrying stardom in his blood, his elder brother, Ahmed Ali Butt, is the lead vocalist in the rock band E.P.. Also, two of the Pakistan movie industry's younger and highly talented singers, Azra Jehan and Saira Naseem, are Noor Jehan's direct family.


    * Noor Jehan is credited in various ways such as, Nur Jehan, Nur Jahan, Madam Noor Jehan, Madam Noor Jahan, Noorjahan, Noorjehan, Nurjehan, and Nurjahan.
    * Sour and oily food is death to a good throat - who doesn't know that? And yet Noor Jehan used to eat pickles by quarters of seers and the interesting thing is that whenever she had a film song to record, she would eat quarter seer of pickle quite ritualistically, wash it down with ice-cool water, then reach over to the microphone. She said her voice was enlivened this way.
    * Noor Jehan never liked to step out of her home and never liked parties. She also preferred to avoid hotels and public gatherings. "I want to lead a simple, uncomplicated life", she added. Her eldest daughter, Zile Huma, only got to see the inside of Shahnoor Studios after she was married. Her three daughters from Ejaz Durrani had never done that once, she added with a tinge of pride. Noor Jehan never sang at private functions because she believed this practice to be unprofessional.
    * Noor Jehan had a distinct look, her hair parted at the center and was tightly combed back in a braid. She believed in big and bold jewellery and wore double-breasted "kurtas" and "shararas". She brought back conservative dress code with her "dupatta" covering her head putting an end to the carefree heroine of the 1930s. The oomph and glamour Noor Jehan possessed certainly caused many eyes to cast glances and many mouths to go on blabbering. Her trademark, heavy make-up, specifically of the eyes and lips remained hers till the end. Nobody managed to carry off those colourful and gaudy saris like Noor Jehan. Rumour has it that she hardly wore the same clothes twice and the jewellery she adorned could be seen sparkling from quite a distance. Noor Jehan also wore some revealing dresses in her days, including a one-piece bathing suit on the Clifton Beach, in Koel (1959), with Aslam Pervez by her side.
    * Noor Jehan always preferred her year of birth to remain a romantic mystery. When interviewer Khalid Hassan first met her in 1967 she told him "People often wonder how old I am. Let me tell you, in terms of experiences of life and men, I have always been 100 years old."
    * Noor Jehan is one of Asha Bhosle's most favourite singers. On another website she said a few words on Noor Jehan:

"Badnaam Mohabbat Kaun Kare Badnaam is my favourite song by Noor Jehan. I had seen her in my early childhood when Badi Maa (1945) was being made. I played a small role in that film. I used to call her Apa. She sings beautifully. She was one of the greatest female singers at the time of K.L. Saigalsaab".

    * Master Ghulam Haider whom she considered to be her "film line" ustad, taught her how to stand in front of a microphone, how to render words such as hai and mohabbat, and how to breathe while singing.
    * Despite being deaf from one ear, Noor Jehan's voice and her music are an excellent piece of work.
    * Noor Jehan sings in Ragi which means she strains her vocal cords, thus rendering voice an artificiality. She is able to change, vary, strain, snap, twist, and swing her vocal cords according to the demand of the song. Noor Jehan's capability to strain her vocal cords wherever and whenever she desires has really made her a unique artist. Even in Alaps (prelude modulation), Taans (stretched key note), Pulteys (turn-over modulation) and Murkis (sudden metrical zig-zag), she is able to produce variety. Even master musicians have to be careful in the rise and fall of her voice. However, Noor Jehan had a lack of refinement and purity in her voice, which eventually gave her more popularity in the lower classes of the Indian Subcontinent. Add to this the intensity of her vocals and you have a singer who has the power to make people hysterical. Being the cultural epicentre, Punjab certainly had a lot to extract from her, and the queen had more than enough to give.
    * When she made an early meeting with Khalid Hassan, she told him about her growing up in Kasur. She said "We were brought up with great love, and our parents always doted on us and also told us that true joy resides in your own heart and you always carry it with you no matter where in the world you go. Nobody can bring you joy if you don't have it within your heart". She said many things that her parents told her that had guided her through life. "My father used to say that if you cannot help people, you should not harm them. He also used to recite Kabir: Aey Kabira teri jhoonpari jal-kattion ke paas: Jo karain ge so bharian ge, too kyoon bhavo udas. Because of my parents we grew up honest and hard-working, never greedy or envious of others who had more. We were happy with what we had. We were not ashamed of our slender means. It was not important. When I was a child, there was one prayer I always used to say: O God, do not make me dependent on anyone except on Your glorious mercy. I have taught the same thing to my daughters".
    * The late Naseer Anwar once told Khalid Hassan a lovely story about Noor Jehan. It happened in the 1930s in the city of Lahore. The devotees of a local Peer had arranged a special evening of devotional music in his honour. Among those who were brought on to perform was a little girl who sang some naats. "Sing us something in Punjabi, little daughter", the Peer said to her. She immediately launched into a Punjabi folk song, one line of which went something like: "may the kite of this land of five rivers touch the skies". As she sung the words in her young and perfectly modulated voice, the Peer went into a trance. Then he rose, put his hand on the girl's head and prophesied, "Go forth, little girl, your kite will one day touch the skies". How Pakistan has regressed as time has past was brought home to Mr. Hassan in the late 1970s when a mullah in Lahore issued fatwa against Noor Jehan, declaring her "outside the pale of Islam for having said that music was a form of worship".
    * Noor Jehan was an extraordinary woman who lived her life on her own terms. She went through good times and bad, marriages, divorces, heartbreaks, casual and serious love affairs, fame, fortune, lonelinesss, and in the last years of her life, unremitting ill health. She bore it all with quiet confidence and much grace. She never felt sorry for herself, never looked for pity. She was accused of being possessive. It is true that she was because she wanted to hold on to what she had acquired through her own efforts. She bore the financial burden of helping her large family through the years. Noor Jehan looked after the financial needs of her large family - and even the family that was not immmediate - all her life. Once she said "People often ask me why I don't stop working. Well, how can I? If I don't work, who is going to take care of all these people". However, Noor Jehan was never known to have been religiously inclined. Noor Jehan was as extravagant as could be and created a style of vivacity and flamboyance all her own.
    * In a conversation with Naveed Riaz somewhere in the 1980s, she remembered her early years and spoke of them movingly. "I was only fifteen years old when I became a mother (actually seventeen and a half or eighteen). I did not know anything about children. I thought of myself as a child. I really was too young to understand anything". Then she spoke about her mother "After my morning riyaz, a teacher would come and help me learn how to read and write. At times, I found it a bit much and so one day, I declared that I was not going to study anymore. That was the only time my mother hit me. She struck me just once and said Nahin Nooriji, tussi parho gai. Now that I think about it, had it not been for her, I would not have learnt to read and write. When I record a song, I have the words in front of me on a sheet of paper. And by God, every time I look at sheet of paper, I remember my mother. I feel like raising my hands in prayer to God and asking Him to shower His blessings on my dear mother. You know, so much time has passed, but I can still feel the thrill of riding on my father's shoulder as he walked through the street. There I am, perched high, looking down on people and shops. Oh, I remember those days!"
    * On another website, legendary music composer Naushad remembered Noor Jehan and spoke about her:

"I don't remember exactly when I first met Noor Jehan. It was much before the Partition of course, when she was singing in India. She was working in Mehboob Khan's Anmol Ghadi (1946) along with Surendra Nath and Suraiya. That was when I was first introduced to her. I was recording the song, Jawan Hai Mohabbat, set in Raga Pahadi. I was just told the story, the situation of the film and asked to record the song on the lyrics given to me. The recording was in Tardeo at National Studios, which is the air-conditioned market now. She liked the tune very much when I first played it for her. She even complimented me in front of Mehboobsaab. This was good for me because when I started giving music in films, she was already a big name. Her words carried weight and that helped me a lot. She sang for a lot of films for me and she gave me a lot of respect whenever she would sing Aawaz De Kahan Hai in every concert she had. Her first film was Khandaan, in which she also acted. Her husband, Shaukat Hussain Rizvi also made many films for her. She acted with Dilip Kumar in Jugnu too. She was a very warm and friendly person. At the same time, she was a very mischievous person also. In fact, while recording Aawaz De Kahan Hai, we had only one microphone. So she would stand on one side, and Surendra Nath stood on the other. Surendra Nath was a very timid man. A thorough gentleman and he could not take Noor Jehan's mischief in stride. What she would do is sing her lines and instead of turning away, she would stare right into Surendra Nath's face, making him nervous! He could stand it no longer, so he came to me and requested me to ask her to turn away once she finished singing her lines. She laughed and then did what I asked her to do. She had a certain innocence when she played such pranks on her colleagues, but they didn't mind it because they liked her very much. She missed her Bombay friends a lot. Recently, when we were both in America, she called me up and cried that she misses her old house in Chowpatty and her friends there. She always kept in touch even though she went to Pakistan. For an artiste, there are no boundaries. So even if she was in Pakistan, she was always remembered here as she remembered us."

    * Noor Jehan and Lata Mangeshkar were very good friends from the time they first met on the sets of Badi Maa (1945). At that time, Lata was an upcoming singer and a fan of Noor Jehan's. Noor Jehan commented her and praised her. She said:

Log kahate hain ki Lataji tumhe itna manti hain, Lataji tumhe Ustad samajhti hain, tumhe pyaar karti hain. Yeh sab main samajhti hoon unka badapan hain kyon ki Lata to Lata hain. Lataji ki tarah meri nazar mein to koi aaj tak paida nahin hua, Lataji ko Allah ne awaz di hain, ilm unhe unke Wallid sahab se mila, khuda ki taraf se unpar karam hain. (People say (to me) that Lataji believes in you so much, Lataji considers you to be her mentor, she loves you. All this I understand, it is their elevation (of appreciation) because Lata is Lata. Nobody in the likeness of Lata, in my eyes, has been born to this day. Allah has given Lataji her voice, she received her knowledge from her father. She has been bestowed on by God).

    * In an old edition of the Filmfare magazine, Dalsukh M. Pancholi wrote an article about how he discovered Noor Jehan:

One morning, a ten-year-old girl was standing at the entrance of my studio, and on seeing her, while getting out of my car, she began to sing. Her singing lacked polish and her movements were clumsy but her voice had a rare charm, and it held my attention. It took her in and cast her in my three films - Gul Bakavli (1939), Yamla Jat (1941) and Khandaan (1942). The girl was Noor Jehan who became famous as a singing star and was known as the Nightingale of Punjab.

    * Noor Jehan's elder sister Eidan Bai was a famous stage singer, dancer, and actress in her days. She had a melodious voice and great acting skills. Eidan Bai was starring in the Urdu stage drama, Mallika, written by Tanvir Naqvi. Eidan Bai fell in love with Tanvir Naqvi, and their marriage took place in Lahore in 1948, two years after Naqvi's debut as a lyricist in Anmol Ghadi (1946). Their marriage lasted for 15 years and finally ended in a divorce in 1963.
    * Noor Jehan's upbringing, unfortunately, did not give her the same refinement that Lata had. The former was akin to having petty disputes (mostly professional), and while at it, also using foul language! Her insecurities led her to some very awkward situations, like at the time of the shooting of the pre-partition hit, Anmol Ghadi (1946), with co-star, Suraiya. Both stars were getting ready for the shooting of a song, in which Suraiya's clothes were slightly more beautiful than Noor Jehan's. Before the song could be shot, the latter could not control her anger and took a pair of scissors and made shreds of the dress. Such was her insecurity.
    * Noor Jehan's forte was film music, but her strong classical music foundations gave her the liberty to sing the most difficult ghazals, both for film and non-film albums. A Pakistani poet has not tasted the sweetness of success if Noor Jehan has not obliged him by singing his work. Qateel Shifai, Ahmed Faraz, and Nasir Kazmi all have been immortalised courtesy of their works which Noor Jehan has sung. Faiz Ahmed Faiz, a giant in his own right, went so far as to gift his famous poem, Mujhse pehli si mohabbat to her, upon hearing her rendition. In fact, most film pandits go so far as to refer to it as the greatest Urdu song ever sung. Quite a title, once you understand what that implies, for hundreds of Urdu poets have had their works sung by an equal number of singers, but the credit goes to none other than Noor Jehan.
    * Noor Jehan and Lata Mangeshkar are both legends, albeit being separated by borders. Where the latter made no show of this fact, the former was quite the contrary. Noor Jehan knew quite well that she was an icon and an institution, and never made the effort to hide this. In an interview telecast on National TV, she was bold enough to say "I would leave my husband, but not my music". This sweeping statement reflected not only her audacity, but her passion as well.
    * When Noor Jehan was very young, she accompanied her elder sisters, Eidan Bai and Haider Baandi, in an Urdu song extolling the Holy Prophet of Islam , which became a hit. Its opening line was: Hanste hain sitaare, ya Shah-e-Madina and it was composed by G.A. Chisti. The director of the Punjabi film Pind Di Kudhi (1935), K.D. Mehra remember the popularity of the devotional song in Punjab some years earlier, and he put it in his movie although it being in Urdu, it was a bit of a misfit in a Punjabi movie.
    * Soon after Noor Jehan's first heart operation, when she returned to Lahore and began to sing again, she said This voice is God's voice and I have preserved it with His grace. In 1992, she told Khalid Hasan, When I stand before the microphone, it is not just me standing there. Behind me, I can feel the presence of my parents. I know they are there. It is a miracle. When I go out, there on stage during a performance, the voice that you hear is not my speaking voice. Believe me, I do not know where it comes from. It His gift which He has graciously place in my care. It is His, not mine.
    * After her heart bypass operation, Noor Jehan said she was not sure she would be able to sing again, but six weeks later, assailed by doubt and greatly apprehensive, she sat down one morning and began to sing. I sang for forty-five minutes and my voice was good and strong and I was overcome by my gratitude to God. I love my work. When I sing, I feel the presence of God. It is my world, my life, my faith. Only God knows what goes through my heart, how I feel. I can't express it. My only aim now is to bring happiness to others, to serve the people, to build hospitals, to help my children. I feel that the life God has granted me after my operation is for some special purpose. I want to use this time in the name of the Holy Prophet, whom God bless! That is the way I feel now.
    * According to an authentic source, Noor Jehan recorded her last song at Evernew Studios in Lahore for director Masood Butt's film Insaaf Ho To Aisa (1998). The song was "Ladki Phansaali Tune", the music was composed by Taafu, the lyrics by Khwaja Pervez, and the song was picturised on Khusbu. Most probably this song was recorded in mid-1996. Due to her health problems, Noor Jehan spent a lot of time to record this song; she recorded word by word with a lot of pauses. She never went to a studio after the recording of this song.
    * An entry in Film Stars, a compendium published in Lahore in 1933, says, "She is slim, delicate and beautiful. She has soft black hair and bewitching eyes. She has recently appeared in Patit Pawan of Pratima.
    * Noor Jehan always referred to Yasmin, Syed Shaukat Hussain Rizvi's second wife whom he married after divorcing Noor Jehan, as Gittho Begum because she disliked her very much.
    * Zile Huma, Noor Jehan's daughter and Ahmed Ali Butt, Noor Jehan's grandson are both singers in their own right but both differ greatly from the maestro whose genes they inherited. It took Huma quite a long time to convince her mother to allow her to sing at private functions (something that Noor Jehan strongly condemned and never indulged in personally), but when she got permission, her mother arranged a top-of-the-line orchestra to accompany her daughter. But Ahmed had a tougher time in getting his grandmother to accept the heavy metal music he loved. "She wouldn't even let me touch my guitar when she was in the house", Ahmed says.
    * In Madam Noor Jehan's last interview, she made the observation, "Life is a lie, Death is the truth".
    * In the book, Stars From Another Sky, in the chapter, Noor Jehan: One in a Million, Saadat Hassan Manto mentions that near the residence that Noor Jehan and her husband Shaukat Hussain Rizvi lived after their marriage, one of Noor Jehan's elder sisters owned a brothel.
    * In an interview, Pran, the famous character actor of Bollywood, talked about his first Urdu film, Khandaan (1942) in which he played the male lead opposite the then upcoming singer/actress, Noor Jehan. He said At that time Noor Jehan was still a growing girl and she was so short. They used to give her bricks to stand on. Even then, she was still a little bit shorter than me.
    * Noor Jehan never sang to record a larger number of songs to her name, but for the sheer pleasure of singing. While an actress, it was easier to strike a hit because she new the mood of her songs which also gave a whole new touch to her marvellous talent. For example, in her song Kisi Tarha Mohabbat Main Chain Pa Na Sake..., the way she sang the last words - Pa Na Sake... was simply unmatched. This exceptional style is still known as the Noor Jehan touch.
    * Noor Jehan's music lives as it has lived from that distant time over sixty years ago when her nightingale voice was first heard in the music halls of Lahore and the smaller towns of Punjab. It was an electrifying voice, never false on pitch, never striking an untrue note, but something perfect God had fashioned on a good day. She did not fritter away from her gift. She worked hard, unceasingly, devotedly, indefatigably, uncomplaining, all the time honing and polishing this abundance of genius she had been invested with. She worked hard to be great.
    * When Noor Jehan first suffered a heart ailment, Khalid Hasan said "But of course it had to be the heart, considering how many claimants it has had and how often it fluttered for those on whom she has chosen to smile, even if fleetingly or on a mild summer evening". He always believed "The Madam" to be indestructible. Her death, therefore, was the kind of loss that it takes a long time to reconcile with. She suffered much pain in her last years. Now at last she is in peace. Once somebody asked her since when she had been singing. "Maybe I was born singing", she replied.
    * In his book, Noor Jehan Ki Kahani Meri Zubani, Shaukat Hussain Rizvi recalls his first encounter with Noor Jehan. He wrote that she was no more than eight or nine. This was in Calcutta. He was film editor at a movie studio owned by Rai Bahadur Seth Sukh Karnani. Once, he asked the manager of the Corinthian Theatre, a man by the name of Naseer, to go to Punjab and come back with some girls. The man came back with fifteen or twenty of them, among whom were the Noor Jehan sisters, the two elder ones, Eidan Bai and Haider Bandi, and the eight-year-old future queen of the Indian cinema. These girls were collectively called the Punjab Mail.


    * Mirza Ghalib (1961)
    * Koel (1959)
    * Pardaisan (1959)
    * Neend (1959)
    * Anarkali (1958)
    * Choomantar (1958)
    * Nooran (1957)
    * Intezar (1956)
    * Lakht-e-Jigar (1956)
    * Patey Khan (1955)
    * Gulnar (1953)
    * Dopatta (1952)
    * Chanwey (1951)
    * Mirabai (1947)
    * Abida (1947)
    * Jugnu (1947)
    * Mirza Sahibaan (1947)
    * Maharana Pratab (1946)
    * Jadoogar (1946)
    * Sofia (1946)
    * Humjoli (1946)
    * Dil (1946)
    * Anmol Ghadi (1946)
    * Bhaijaan (1945)
    * Badi Maa (1945)
    * Gaon Ki Gori (1945)
    * Zeenat (1945)
    * Dost (1944)
    * Lal Haveli (1944)
    * Naukar (1943)
    * Duhai (1943)
    * Nadaan (1943)
    * Khandaan (1942)
    * Faryad (1942)
    * Dheeraj (1942)
    * Chandani (1942)
    * Susral (1941)
    * Umeed (1941)
    * Red Signal (1941)
    * Chaudhry (1941)
    * Yamla Jat (1940)
    * Sajni (1940)
    * Pyam-e-Haq (1939)
    * Imandaar (1939)
    * Gul Bakavli (1939) (as Baby Noor Jehan)

Edited by Lovers Ka Love - 21 August 2007 at 6:28am
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A L I   -   Z A F A R

Early life

Zafar was born in Lahore, Pakistan to two professors at the University of the Punjab in 1980. He attended the C.A.A. Public School and the Beaconhouse Defence Campus.[2] He graduated from the National College of Arts as a painter in 2002.[3]

Music career

Ali Zafar made his debut as a musician with the album Huqa Pani, released in Pakistan in 2003 and worldwide in 2005. It was described by The Hindu as "take a Kishore Kumar-like voice , club it with yuppie Ibiza-ish electronic beats, and add a bit of nostalgic lyrics".[4] The comparison to Kishore Kumar has been frequently made: in one interview Zafar, asked about the vocal resemblance, remarked "you're the lucky hundredth person to tell me that".[5]

The album was a hit, selling over five million copies worldwide[6] and winning the 'Best Album' category at the Lux Style Awards in 2004.[7] In addition to the album's popularity being reflected in the shops and by critics, it has been widely claimed that Himesh Reshammiya plagiarised one of the most well-known tracks from the album, Rangeen, for the song Dillagi Mein Jo Beet Jaaye.[8] Soon Pritam too copied his track Channo Ki as Choreen ki Baatein(Fightclub).

Ali Zafar launched his second album "Masty" nationwide in Pakistan in November 2006. He has since released 3 tracks from the album called "Masty", "Sajania" and "Dekha". A press conference for the release of the album was held in Lahore. The album has been released by Fire Records.

Ali Zafar released his second album "Masty" in India in February 2007. The album contains two additional remix tracks and has been launched by "FrankFinn Records".

Ali recently released his third and long awaited single, "Dekha", off his second album, which is a massive hit all over Pakistan. It is shot in Malaysia, produced by the Lux Company, and has the famous Pakistani actresses/models, Reema Khan, Meera, and Amina Haq, starring in it. Ali Zafar, in an interview regarding this video, said that this has to be his most costly video yet.


    * Masty (December 1, 2006)
    * Huqa Pani (November 21, 2003)


    * Zafar also works as a model and actor: he has starred in TV commercials, such as one for Pepsi,[6] and played the character Ramiz in the Pakistani serial Lunda-Bazar and also acted in the sitcom 'College Jeans'.
    * He was in the music video of Preeto by Abrar-ul-Haq.
    * His hobbies include bowling and playing the computer game Counter-Strike.[5]

Edited by Lovers Ka Love - 21 August 2007 at 6:38am
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Posted: 21 August 2007 at 6:42am | IP Logged
Udit Narayan Jha

D.O.B : December 1, 1960

Udit Narayan is a playback singer in the Hindi, Telugu, Tamil,Malayalam,Kannada and Nepali cinema. He was born in a village called Bharadah in Saptari, [[Nepal].


Udit Narayan began his career by singing Maithili, Bhojpuri, Bengali, English, Russian, German, Spanish, Nepal Bhasa, French and Nepali folk songs for Radio Nepal in the early 1970s. In 1978, he moved to Mumbai on a music scholarship. In Mumbai, he trained in Indian classical music for six years at the Bharatiya Vidya Bhavan he is leave at mumbai right now.

He got his first break in 1980, when noted music director (composer) Rajesh Roshan asked him to do a song for the Hindi movie Unees Bees, in which he got opportunity to sing with his inspiration, Mohammed Rafi. But the actual success story of his career began in 1988 with the superhit Bollywood movie Qayamat Se Qayamat Tak, fetching him a Filmfare Award, the Bollywood equivalent of the Oscar. The film also happened to bring actor Aamir Khan, actress Juhi Chawla and SWEET playback singer Alka Yagnik to stardom. After the success of Qayamat Se Qayamat Tak, he became one of the leading playback singers in the Indian film industry, lending his voice mostly in Aamir Khan movies like Dil, Jo Jeeta Wohi Shikander, etc. At the same time, he became a well-known celebrity in Nepal and sang in most popular Nepali movies. He even acted in some Nepali movies like Kusume Rumal and Pirati but didn't get that much success.

Throughout the mid-1990s, he was overshadowed by Kumar Sanu, another superstar Indian singer. He got nominated for Filmfare Awards every year from 1992 to 1995, only to go home empty-handed. While Kumar Sanu won the Filmfare Awards for favorite male playback singer for five consecutive years from 1990 to 1994. The turning point of his career came with the movie Dilwale Dulhaniya Le Jayenge. Even though Kumar Sanu had sung the superhit song "Tujhe Dekha To" in the same movie, it was Udit's song "Mehndi Lagake Rakhna" which won all the accolades including the Filmfare award for best male playback singer. So, finally he got his second filmfare award after 8 years. And the following year (1996) he got nominated for three songs out of five and won his third award for the song "Pardesi Pardesi" from Raja Hindustani.

He reigned the throne of Bollywood playback singing for the next 10 years and won other major awards. He was the number one pick of all the hit musicians like Anu Malik, Jatin Lalit, A. R. Rahman, Nadeem-Shravan, Rajesh Roshan, Shankar Mahadevan, etc., and all the hit directors like Yash Chopra, Sanjay Leela Bhansali, Karan Johar, etc. His collaboration was mostly popular with king Khan Shahrukh Khan, for whom he has sung major hits for superhit movies movies like Darr, Dilwale Dulhaniya Le Jayenge, Kuch Kuch Hota Hai, Dil To Pagal Hai, Mohabbatein, Swades, Veer Zaara, etc.

Udit Narayan is considered as one of the greatest singers of his generation along with Kumar Sanu and Sonu Nigam, whose singing abilities are often compared with legendary singers like Mohammed Rafi and Kishore Kumar. He is famous for his original voice and not following any of the old singers' clans. Renowned singers like Lata Mangeshkar, Asha Bhosle, Anup Jalota, Pankaj Udhas, etc., have mentioned Udit Narayan to be the best in his generation for his quality in voice and originality.

He has also sung several songs in Kannada, Hindi, Marathi, Bengali, Gujarati, Oriya, Telugu, Tamil and Malayalam, where he has become popular on account of his distinctive accent. At the same time, his discernible Nepali accent and distinct pronunciation has many critics who find it difficult to decipher words in his songs.

He also sings in many Nepali films, which are ultra-low-budget take-offs on the Bollywood style, in particular for composer Shambhujeet Baskota. In 2004, he released his first private Nepali album "Upahaar", in which he also sang duet songs with his wife Deepa Jha. It became a superhit and one of the best selling albums of all time. He even ended up winning awards in two major categories - Record of the year and Album of the year during Hits FM Awards 2004, the most popular music awards in Nepal for the same album "Upahaar".
His voice suits the actors Shahrukh Khan, Aamir Khan and Salman Khan perfectly and throughout the years he has sung hit songs for these actors. Udit last lent his voice to Shahrukh Khan in "Don - The Chase Begins Again (2006)" for the song "Khaike Paan Banaraswala" which was a superhit.

Sonu Nigam is replaced by Udit Narayan as a judge for the third season of the Pop Idol series - Indian Idol.

Personal life

Udit Narayan is married and has one son. His wife Deepa Narayan, whom he married in 1985, is an accomplished Nepali singer, and the two have recorded an album together titled Dil Deewana.

On April 21, Ranjana Jha, a resident of Supual district in Bihar, created a flutter by claiming to be the singer's first wife, a charge that Narayan consistently denied. She staged a sit-in at Udit's suite in a posh hotel during his visit and the singer had to be whisked away by the police to the airport.

On the basis of the "photographs and statements" of people who claimed to have attended the "marriage" in 1984, the women's commission had prima facie found Ranjana's claim to be true and sought the singer's version on the claim and also a clarification about his relations with Deepa.

Later, Narayan accepted Jha as his wife in a written statement to the commission. 'I recognise and accept Ranjana Jha as my wife and promise to look after her and to provide her maintenance,' he told the commission.

Prior to his assurance, Narayan had denied Ranjana's claim and repeatedly told the media that he did not know 'any Ranjana', and had never married her. He alleged it was a conspiracy to defame him. But Public and media were not ready to be convinced with his statements. Many photos of his marriage with Ranjana have been published by newspapers.

His son Aditya Narayan (from Deepa Narayan) has also established himself as the voice of child artists in Hindi movies and acted as child artist in hit movies like Pardes, Rangeela, and Jab Pyar Kisise Hota Hai. His role as a son of actor Salman Khan in the movie Jab Pyar Kisise Hota Hai was widely acclaimed. However, Aditya Narayan has grown up and had taken a break from Bollywood since 2001, on account of his changing voice. He's now back on the scene and is currently hosting Sa Re Ga Ma Pa Challenge 2007.

Notable songs

    * Mujhe Neend Na Aaye - Dil (1990)
    * Humne Ghar Chhoda Hai - Dil (1990)
    * Koyal Si Teri Boli - Beta (1991)
    * Dhak Dhak Karne Laga - Beta (1991)
    * Pehla Nasha - Jo Jeeta Wohi Sikandar (1992)
    * Ruk Ja O Dil Deewane - Dilwale Dulhaniya Le Jayenge (1995)
    * Raja Ko Rani Se Pyar Ho Gaya - Akele Hum Akele Tum (1995)
    * Kya Kare Kya Na Kare - Rangeela (1995)
    * Pardesi Pardesi - Raja Hindustani (1996)
    * Aaye Ho Mere Zindagi Mein - Raja Hindustani (1996)
    * Ho Nahin Sakta - Diljale (1996)
    * Meri Sason Mein Basa Hai - Aur Pyar Ho Gaya (1996)
    * Ghar Se Nikalte Hi - Papa Kehte Hai (1996)
    * Jadoo Bhari Aankhon Wali Suno - Dastak (1996)
    * Dil To Pagal Hai - Dil To Pagal Hai (1997)
    * Are Re Are - Dil To Pagal Hai (1997)
    * Bholi Si Surat - Dil To Pagal Hai (1997)
    * Dholna - Dil To Pagal Hai (1997)
    * Mere Mehboob Mere Sanam - Duplicate (1998)
    * Ae Ajnabi - Dil Se (1998)
    * Kuch Kuch Hota Hai - Kuch Kuch Hota Hai (1998)
    * Koi Mil Gaya - Kuch Kuch Hota Hai (1998)
    * Yeh ladka hai deewana - Kuch Kuch Hota Hai (1998)
    * Chand Chupa - Hum Dil De Chuke Sanam (1999)
    * Taal Se Taal Mila - Taal (1999)
    * Chaha Hai Tujko - Mann (1999)
    * Mera Mann - Mann (1999)
    * NASHA YEH - Mann (1999)
    * Kaho Na Pyar Hai - Kaho Na Pyar Hai (2000)
    * Dil Ne Yeh Kaha Hai Dil Se - Dhadkan (2000)
    * Aaja Mahiya - Fiza (2000)
    * Mitwaa - Lagaan (2001)
    * O Rey Chhori - Lagaan (2001)
    * Radha Kaise Na Jale - Lagaan (2001)
    * Udhja Kaale Kawwa - Gadar (2001)
    * Jaane Kyon - Dil Chahta Hai (2001)
    * Woh Chand Jaisi Ladki - Devdas (2002)
    * Tere Naam - Tere Naam (2003)
    * Koi Mil Gaya - Koi Mil Gaya (2003)
    * Idhar Chala Main Udhar Chala - Koi Mil Gaya (2003)
    * Main Yahan Hoon - Veer Zaara (2004)
    * Aisa des hai mera -Veer Zaara (2004)
    * Yeh hum aa gaye hai kahan - Veer Zaara (2004)
    * Yeh Tara Woh Tara - Swades (2004)
    * Theenana Moonana Kanana - Desam(2004) (Tamil)
    * Khaike paan banaraswala - Don - The Chase Begins Again (2006)
    * Mujhe Haq hai - Vivah (2006)
    * Milan abhi aadha adhoora - Vivah(2006)
    * Kunidu Kunidu Bare - Mungaru Male(2006) Kannada
    * Sahana - Sivaji: The Boss (2007) Tamil
    * Do U Wanna Partner - Partner (2007)

Awards and nominations

Filmfare Awards

Filmfare Best Male Playback Award (Won):

    * 1988: Papa Kehte Hai - Qayamat Se Qayamat Tak
    * 1995: Mehndi Lagake Rakhna - Dilwale Dulhaniya Le Jayenge
    * 1996: Pardesi Pardesi - Raja Hindustani
    * 1999: Chand Chupa Badal Mein - Hum Dil De Chuke Sanam
    * 2001: Mitwaa - Lagaan

Filmfare Best Male Playback Award (Nominated):

    * 1993: Phoolon Sa Chehra Tera - Anari
    * 1994: Tu Cheez Badi Hai - Mohra]
    * 1996: Ho Nahin Sakta - Diljale
    * 1996: Ghar Se Nikalte Hi - Papa Kehte Hain
    * 1997: Dil To Pagal Hai - Dil To Pagal Hai
    * 1998: Kuch Kuch Hota Hai - Kuch Kuch Hota Hai
    * 2000: Dil Ne Yeh Kaha - Dhadkan
    * 2001: Udhja Kaale Kawwa - Gadar
    * 2003: Tere Naam - Tere Naam
    * 2003: Idhar Chala Main Udhar Chala - Koi Mil Gaya
    * 2005: Main Yahaan Hoon - Veer Zaara
    * 2005: Yeh Tara Woh Tara - Swades

National Film Awards

National Film Award for Best Male Playback Singer:

    * 2002: Mitwa - Lagaan
    * 2003: Chhote Chhote Sapne - Zindagi Khoobsurat Hai
    * 2005: Yeh Tara - Swades

Star Screen Awards

Star Screen Award Best Male Playback:

    * 1996: Aye Ho Meri Zindagi Mein - Raja Hindustani
    * 2002: Woh Chand Jaisi Ladki - Devdas

Zee Cine Awards

Zee Cine Award Best Playback Singer- Male:

    * 2000: Chand Chupa Badal Mein - Hum Dil De Chuke Sanam

IIFA Awards

IIFA Best Male Playback Award:

    * 2000: Chand Chupa Badal Mein - Hum Dil De Chuke Sanam

Other awardS

    * Hits FM Music Awards 2004(Nepal)- Record of the Year for the song "Kahile Timro" and Album of the Year for the album "Upahaar"

Edited by Lovers Ka Love - 21 August 2007 at 6:47am
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Atif Aslam

Atif Aslam is a Pakistani musician. He was born in Wazirabad, Gujranwala and was educated in Lahore and Rawalpindi.

Born an ordinary kid attended High School at PAF College Lahore, where he played Cricket and became interested in music. He attended PICS (Punjab Institute of Computer Science) to do his Bachelors in Computer Science (BCs). It was at PICS Lahore that he met guitarist and talented, young composer (like himself), Gohar Mumtaz. The two became friends and started jamming together. This lead to performances at their college and at various restaurants eventually pushing the pair into finding a name for their subtly formed band, which they duly named "Jal" - which means Water - (the issue of which musician was truly responsible for the name "Jal" is still disputed).

Working together, the pair recorded the song Aadat (with the help of Salman Albert, amongst other established and accomplished Pakistani musicians). It became popular on a host of promotional Pakistani music websites. The song was also played on such Pakistani radio stations as FM100 and FM105. The music video for Aadat was shot one day in a warehouse in Karachi. On the base of this one song, "Jal" began their tour of Pakistan—such was the strength of "Aadat". However, whilst on tour, personal problems led to a verbal bust-up resulting in an unannounced and indefinite hiatus, during which Atif launched his solo career.

Atif Aslam, after leaving Jal, released a new solo album, Jal Pari (ironically meaning "Mermaid") which was a big hit. The Songs Woh Lamhey, Dil Haarey and few others were smash hits on both Pakistani radio stations and Music Channels. As both the Jal, "Aadat", and Atif's album, Jalpari, shared certain tracks (such as "Aadat", "Bheegi Raatein/Wo Lamhey", "Ankhon se") an unofficial war over rights began which resulted in both sides claiming to possess hard proof to support their respective claims (that, they alone owned the concerned songs). The hype this feud gave to both Atif and the new Jal was extraordinary and split the musical nation with the fans of each side backing their respective favourite.

Whilst the drama of lyrics & composition ownership was rolling on in Pakistan, Atif Aslam's soulful voice crossed the border over into India when Bollywood director Mahesh Bhatt called Atif Aslam to seek his consent to include "Woh Lamhey" in the soundtrack of his new motion picture, Zeher (2005). The song (especially the remix version) became a huge hit & dominated airplay on almost all major FM stations throughout India for a period of 6-8 months. This pattern of a slow playback song by Atif in the movie, supplemented by a remix version released for radio airplay was to become standard procedure with Atif's songs on the Indian market.

Atif has continued to grow and is becoming a bollywood playback singer in great demand at such a young age, with very few OSTs to his name. He recorded a song for the movie Kalyug, entitled 'Juda Hokey Bhi' - a slight variation of the ever famous Aadat song. Like with "Wo Lamhey / Bheegi Yaadein", a slow version became the theme for the movie and part of the official soundtrack, whilst a remixed version was released to hit the radio stations and desi clubs worldwide.

After recording for Kalyug, an Irani director in Hollywood contacted Atif and within very little time, Atif recorded three songs for that same director's Hollywood movie, 'Man Push Cart' and was rewarded with a small cameo role in the movie itself!

All of a sudden, after a relatively quiet summer, Atif re-emerged in the subcontinent with a new track, "Tere Bin" (translation: [Without You]) for the Bollywood Movie, Bas Ek Pal. Yet again, the song was remixed and as expected it became popular in a very short amount of time. Once again, Atif's voice is electrifying the airwaves on radio stations throughout the subcontinent.The song "Tere Bin" has become a sensational hit, going at number #1 on all Pakistani/Indian music sites.

In between the copyright war and media war with Gohar ( Jal ) and recording Bollywood songs, Atif had been touring the world and working on his new album.

Atif visited various countries in Asia, Europe & The Americas which include Pakistan, India, UAE, UK, Canada & America—taking his sound to the "pardesi" (expatriates of the subcontinent) worldwide. Atif's new album has been entitled 'Hangami Halaat' and is due to be released in the summer of 2006.
Jal and Doori are the albums, which make his carrer sky high..

Edited by Lovers Ka Love - 26 August 2007 at 3:01am
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Sunidhi Chauhan

Short Biography
Background Her brush with singing began in right earnest in front of the Lord himself. Sunidhi gave her first performance at the age of four at a local temple in Delhi and everybody noticed her voice. Rehearsals for a musical career began at small gatherings and local functions and she soon made her presence felt in all the competitions she participated and won. It was here that the foresight of a supportive family came to her aid. Realising that her daughter had a gift in her voice and the place for her to be was Mumbai the family migrated to the city. The voice was heard on the various stage shows held in the city and also with yesteryear child star and television anchor Tabassum. Early Breaks Kalyanji – Anandji the men who from the beginning have encouraged fresh talent and gave to the industry many of the current crop of singers like Sadhana Sargam, Sonali Vajpai etcetera were planning a show on child prodigies called Little Wonders. Kalyanji spotted the then eight-year-old child and she joined them for a number of stage shows where she sang, in spite of her tender age, songs of Lata Mangeshkar, Asha Bhosale and Ila Arun. Sunidhi first became a sensation on the nationally telecast music show on T. V. called Meri Awaz Suno. The youngster was competing with a number of seniors in age and experience and one of the judges was Lata Mangeshkar. Sunidhi won the show and the primma donna congratulated her and enquired about her training. With uncontrollable joy and tears in her eyes she replied that she had not undergone any training and Lata didi offered to train her. With such a compliment and offer Sunidhi could have rushed into the filmi world, but she waited for four years before she made the first big attempt. "That was the time my voice was changing, so I decided not to sing. It was frustrating sometimes but I was confident of making it", iterates Sunidhi. Her first break in a Hindi film was in the film Shastra followed by Gang, Veergati, Dahek, Bade Dilwala, Raja Ki Aayegi Baraat, Shyam Benegal's Samar and Vidhu Vinod Chopra film Mission Kashmir. The Breakthrough Her first breakthrough however was in Ram Gopal Varma's Mast. She sang the hit 'Ruki Ruki Si Zindagi' and also three other songs in the film. Sandeep Chowtha's first film as a composer got an ideal virgin voice in Sunidhi and her song became the most memorable number in the film. The youngster belies her age and the zing thing, which composers look for, resides in her voice right now. She also seems to be genre defying at her age jumping from folk to semi – classical with ease. Sunidhi had also cut her solo album called Aira Gaira Nathu Khaira. The Future The future is a funny term when applied to a prodigy as everything seems to be happening in a hurry for them. The 10th standard girl, who has to avoid junk food and also regular studies, shuttles her days giving concerts abroad or recording songs in the studios, sometimes three in a day. Success has come and Sunidhi is enjoying it. With her desire to become another Mariah Carey in ten years from now, she is on the right path. Amen to that. A child prodigy who migrated to Mumbai from Delhi to pursue a singing career struck gold with a song 'Ruki Ruki Si Zindagi' from Mast. Since then there is no looking back. With Jungle , the baptism by fire has been well and truly over. She has steadied her position and no longer is considered a greenhorn with plum assignments seeking her.

Edited by Lovers Ka Love - 02 October 2007 at 9:53am

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