Tuesday October 17, 2017

The evergreen hummer of Bollywood: Kishore Kumar


By Sreyashi Mazumdar

Donning a black shirt and a tattered pant with a neatly parted hairstyle, crooning away to ‘Ek ladki bheegi bhagi si’ in an implicit attempt at impressing her coveted lass, dallying his way out with expressions worth exemplifying his motive , the maverick- Kishore Kumar’s presence on camera stupefied the audience across the board. The bouts of flirtation and frivolity expounded through the song was nothing less than a rib-tickling platter with a coquettish flavor sprinkled on it.

Despite parting ways with the corporeal world, the music maestro- Abhas Kumar Gangualy a.k.a Kishore Kumar is still remembered for his vivacious songs and his eccentricity. “There has never been a talent like multi-faceted Kishore Kumar- a singer, a composer, poet, writer, director, producer, hero, script- writer and there never will be a talent like him ,” ruminated the melodious Lata Mangeshkar on Twitter.
Kicking off his journey on the 4th of August 1929 , the connoisseur started off as a chorus singer at Bombay talkies. As a result of his profound veneration for  K.L. Saigal, he used to often emulate him which he gradually fended off at S D Burman’s insistence.

Further, his gleeful yodeling, which was later imbibed by singers like Sonu Nigam, Abhijeet, K.K, was a trick that owes its popularity to the 50’s celebrated rockstar Jimmie Rodgers from whom Kishore Kumar inculcated the antic.

Even though he wasn’t a trained singer, Kishore Kumar did wonders. His first song was Chhota sa ghar hoga, which in spite of not being a hit gave a kick to his career graph. Songs like Zindagi ek safar hai suhana, Raat kali, Jhumru, Mere sapno ki rani etc brought in a different genre of songs which wasn’t ventured before his initiation in the B-town. The artist was bestowed with a series of awards for his contribution to Indian cinema.
The actor cum singer fleshed out snippets of eccentricity even in his personal life. “Beware of Kishore”- this is what the billboard outside his Warden Road flat read. However, while digging into his personal life, one might run into facts quite averse of his generalized characteristic traits.  Despite being a popular name he chose to take to reclusion. Further, he never wanted to become an actor owing to his penchant for singing.
Nevertheless his vivacity succeeded in enshrouding the gory reality of his life , thus putting forth a vibrant picture etched with hues of multifaceted emotions.
 His song “Chalte chalte …mere yeh geet yaad rakhna..” treads upon his foot prints, unleashing his ethereal presence through his evergreen tunes.

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Different Versions of India’s National Song ‘Vande Mataram’ over the past 140 Years of its History

Shri Aurobindo had translated Vande Mataram to English in 1909

National Song of India
Vande Mataram. Wikimedia
  • ‘Vande Mataram’ is the National Song of India written by Bankim Chandra Chattopadhyay
  • The song was published in 1876 in a mix of Bengali and Sanskrit words
  • Vande Mataram was also a slogan for the freedom fighters of the nation

August 19, 2017: It was in 1876 that Bankim Chandra Chattopadhyay wrote Sanskrit and Bengali mixed verses of Vande Mataram, the national song of India. However, it was originally written in Bengali as ‘Bande Matara’ a few years before it published.

The most famous rendition of the National Song was carried out at an Indian National Congress meeting by Rabindranath Tagore in 1896.

ALSO READ: Bankim Chandra Chatterjee: Remembering the voice who gave India ‘Vande Mataram’

Vande Mataram as a phrase was also of common usage among the freedom fighters during the struggle for independence from the British rule.

The song has been used in the pop culture and Bollywood in a variety of ways. In 1952, Lata Mangeshkar covered the song on Hemant Kumar’s tune for the movie Anand Math. Later in 1998, Lata Mangeshkar did her over version which had added stanzas of Hindi but the tune remained the same.

Manna Dey’s version came out in 1951 and AR Rehman’s version of the song came out in 1997 as Maa Tujhe Salaam. The most recent, in 2012, Sonu Nigam along with Sunidhi Chauhan did a version featuring famous percussionist Bickram Ghosh.

In poetry as well, different ragas have been used to express the national song.

The father of the nation, Mahatma Gandhi, favored Pandit VD Paluskar’s composition. Paluskar himself was known for singing the song in Congress meetings. Interestingly enough, he was once intercepted by Maulana Ahmed Ali’s objection at the Kakinada Convention in 1933.

The Congress decided to use the song’s first two stanzas while excluding the other half which is about Hindu goddesses. These two stanzas were sung at the All India Radio on 15th August 1947 by Pandit Omkarnath Thakur.

Tagore’s version in 1896 was a slower one. A gramophone record of 1904 which is now available online was released with Tagore’s voice.

Shri Aurobindo had translated Vande Mataram to English in 1909.

Vande Mataram, in its over 140 years of history, has come under a lot of allegations. Starting with the origination, Vande Mataram faces challenges as it comes from Chattopadhyay’s novel Anandamath in which the enemy was identified as the Muslim ruling class. Additionally, the invocation of Hindu goddesses in later stanzas was questioned as well.

However, the song still managed to become India’s national song with Jana Gana Mana being the national anthem.

The Indian National Army (INA) had composed a Hindi version of Jana Gana Mana to replace their anthem for Provisional Government for Free India in Singapore, which was Vande Mataram.

Objections to Vande Mataram were first aired publicly in 1933. At the time, Vande Mataram was sung along Saare Jahan Se Acha by poet Allama Iqbal. Iqbal had written this song in 1904 and had initially titled it as Tarana-e-Hind. But within two years, drastic changes took place. Iqbal became an advocate for the two nation theory and demanded a separate Pakistan. He also changed the title of the song to Tarana-e-Milli.

– Prepared by Saksham Narula of NewsGram. Twitter: @Saksham2394

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Melody queen Lata Mangeshkar pays tribute to Filmmaker Dadasaheb Phalke on his 148th Birth Anniversary

Dadasaheb Phalke shooting with his moving camera, Image source: Book my show

Mumbai, April 30, 2017: Melody queen Lata Mangeshkar paid a tribute to filmmaker Dadasaheb Phalke, fondly known as the father of Indian cinema, on the occasion of his 148th birth anniversary on Sunday.

Dadasaheb Phalke made India’s first full-length feature film, ‘Raja Harishchandra’ in 1913.

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“Who can forget the king of the Indian film industry? Today (Sunday) is his birth anniversary. I salute him (Bhartiya Film industry ke janak DadaSaheb Phalke ji ko kaun bhul sakta hai. Aaj unki jayanti hai. Mera unko koti koti pranam),” Mangeshkar posted on Twitter on Sunday.

Before his death in February 1944 at the age of 73, Dadasaheb Phalke directed films like ‘Mohini Bhasmasur’, ‘Lanka Dahan’, ‘Shri Krishna Janma’ and ‘Gangavataran’. (IANS)

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Renowned Classical Singer Kishori Amonkar passes away at 84

Classical Singer Kishori Amonkar (middle), Twitter

Mumbai, April 4, 2017: Renowned classical singer Kishori Amonkar passed away shortly before midnight, family sources said here on Tuesday.

She was 84 and breathed her last at her Dadar west home.

In her singing career spanning seven decades, she was revered as ‘Gaan-Saraswati’. Belonging to the Jaipur Gharana, she was conferred the Padma Vibhushan and Sahitya Akademi Award among many others.

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A widow, she is survived by two sons and grandchildren.

Veteran singer Lata Mangeshkar said she was depply pained to hear about Amonkar’s demise. “She was a unique and extraordinary classical singer. Her demise spells a huge loss for the world of music.”

Her funeral will be held on Tuesday evening at Shivaji Park Crematorium. (IANS)