Re: Shabd Video Song Download 1080p Movie
Jemima Torguson
Briefly then, there is ample evidence to prove that the giving, sharing, borrowing and lending between literature and music is in itself an established tradition in India where the vaggeyakar or song composer is often both poet and music composer.
Critical engagement with traditions of song-texts in India remains a largely unexplored domain in academia. 'Shabd Aur Sangeet :Unravelling Song-Texts in the Indian Situation' (Jan 21-22, 2017) an international conference organised by the Centre for South Asia at FLAME University and conceived by renowned exponents Shubha Mudgal, Dr. Aneesh Pradhan and Prof. Kunal Ray was an attempt to address the lacunae and invite discussion and debate from various disciplines.
A song is much more than a mere combination of sounds or musicality. It is a cultural document which reveals a great deal about the histories of the people and societies that produced them. Various panels at the conference including film song-texts, song-text in folk and other arts, song-texts in the tradition of Hindustani classical music, protest song-texts, song-texts in Ghazal and devotional song-texts examined shabd aur sangeet from diverse perspectives to suit the broadly themed conference.
The conference began with a stimulating keynote address by Javed Akhtar. Other guest speakers included Dr. Sumangala Damodaran, Yatindra Mishra, Pt. Satyasheel Deshpande, Dr. Shruti Sadolikar Katkar, and Dr. Jack Hawley who dealt with subjects as wide ranging as protest through IPTA song-texts to the Hindi film songs of Lata Mangeshkar to song-texts written and composed by Indian classical musicians to portraits of Surdas and their implications for the study of his poetry. Besides, the conference also witnessed participation of delegates from as far as Trinidad and Tobago and numerous reputed institutions nationally and abroad. Prof. Sameer Dublay's performance ensured that in the midst of academic conversation, the performative aspects of the song-texts were not lost.
He recorded songs for over a thousand Hindi films and in many Indian languages as well as some foreign languages, though primarily in Urdu and Punjabi, over which he had a strong command. He recorded as many as 7,000 songs throughout his career, spanning several languages and dialects such as Konkani, Assamese, Bhojpuri, Odia, Bengali, Marathi, Sindhi, Kannada, Gujarati, Tamil, Telugu, Magahi, Maithili, etc. Apart from Indian languages, he also sang in some foreign languages, including English, Farsi, Arabic, Sinhala, Mauritian Creole, and Dutch.[10]
Rafi moved to Bombay (now Mumbai), Maharashtra in 1944. He and Hameed Sahab rented a ten-by-ten-feet room in the crowded downtown Bhendi Bazar area. Poet Tanvir Naqvi introduced him to film producers including Abdur Rashid Kardar, Mehboob Khan and actor-director Nazeer.[17] Shyam Sunder was in Bombay and provided the opportunity to Rafi to sing a duet with G. M. Durrani, "Aji dil ho kaabu mein to dildar ki aisi taisi...," for Gaon Ki Gori, which became Rafi's first recorded song in a Hindi film. Other songs followed.
Rafi's first song with Naushad was "Hindustan Ke Hum Hain" with Shyam Kumar, Alauddin and others, from A. R. Kardar's Pehle Aap (1944). Around the same time, Rafi recorded another song for the 1945 film Gaon Ki Gori, "Aji Dil Ho Kaaboo Mein". He considered this song to be his first Hindi language song.[16]
Rafi appeared in two movies. He appeared on the screen for the songs "Tera Jalwa Jis Ne Dekha" in film Laila Majnu(1945) and "Woh Apni Yaad Dilane Ko" in the Film Jugnu (1947).[16] He sang a number of songs for Naushad as part of the chorus, including "Mere Sapnon Ki Rani, Roohi Roohi" with K. L. Saigal, from the film Shahjahan (1946). Rafi sang "Tera Khilona Toota Balak" from Mehboob Khan's Anmol Ghadi (1946) and a duet with Noor Jehan in the 1947 film Jugnu, "Yahan Badla Wafa Ka". After partition, Rafi decided to stay back in India and had the rest of his family flown to Bombay. Noor Jehan migrated to Pakistan and made a pair with playback singer Ahmed Rushdi.
In 1949, Rafi was given solo songs by music directors such as Naushad (Chandni Raat, Dillagi and Dulari), Shyam Sunder (Bazaar) and Husnalal Bhagatram (Meena Bazaar).
Besides K. L. Saigal, whom he considered his favorite, Rafi was also influenced by G. M. Durrani. In the early phase of his career, he often followed Durrani's style of singing, but later evolved his own, unique style. He sang with Durrani in some of the songs such as "Humko Hanste Dekh Zamana Jalta Hai" and "Khabar Kisi Ko Nahiin, Woh Kidhar Dekhte" (Beqasoor, 1950).
In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the song "Suno Suno Ae Duniyawalon, Bapuji Ki Amar Kahani". He was invited by the Indian Prime Minister, Jawaharlal Nehru, to sing at his house. In 1948, Rafi received a silver medal from Jawaharlal Nehru on Indian Independence Day.[18]
As per Naushad, Rafi came to him with a letter of recommendation from Naushad's father.[19]Rafi's first song for Naushad Ali was "Hindustan Ke Hum Hain" ("We belong to Hindustan") for the film Pehle Aap in 1944. The first song for the duo was the soundtrack of the movie Anmol Ghadi (1946).
Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi cinema.[16] Songs from Baiju Bawra (1952) like "O duniya ke rakhwale" and "Man tarpat hari darshan ko aaj" furthered Rafi's credentials.[15] Rafi ended up singing a total of 149 songs (81 of them solo) for Naushad. Before Rafi, Naushad's favorite singer was Talat Mahmood. Once Naushad found Talat smoking during a recording.[20][21][22][self-published source?] He was annoyed and hired Rafi to sing all the songs of the movie Baiju Bawra.
Rafi got his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960), composed by Ravi. He received the National Award for the song "Baabul Ki Duaen Leti Jaa" from the film Neel Kamal (1968), also composed by Ravi. Rafi wept during the recording of this song, which he admitted in a 1977 interview with the BBC.[25]
Madan Mohan was another composer whose favorite singer was Rafi. Rafi's first solo with Madan Mohan in Aankhen (1950) was "Hum Ishk Mein Burbaad Hein Burbaad Ruhenge".[16] They teamed up to produce many songs including "Teree Aankhon Ke Sivaa", "Yeh Duniyaa Yeh Mehfil", "Tum Jo Mil Guye Ho", "Kur Chale Hum Fida", "Meree Aawaaz Suno" and "Aap Ke Pehlu Mein Aakur".
Kalyanji Anandji composed around 170 songs in the voice of Rafi. Kalyanji's relationship with Rafi started with the 1958 film, Samrat Chandragupta, his debut film as a solo composer.[29] Kalyani-Anandji and Rafi went on to work together for the music of the Shashi Kapoor-starrer Haseena Maan Jayegi (1968), which featured songs like "Bekhudi Mein Sanam" and "Chale The Saath Milke".[29]
In the song "Humko Tumse Ho Gaya Hai Pyaar" (Amar Akbar Anthony), Rafi sang one song with Kishore Kumar, Lata Mangeshkar, and Mukesh, the most legendary singers in Bollywood. This was probably the only time that all of them rendered their voices for one song.[30]
Rafi sang several songs in Chris Perry's Konkani album Golden Hits with Lorna Cordeiro. He recorded many private albums in various genres and languages. Rafi recorded Hindi songs in English on 7" release in 1968. He also sang 2 songs in Mauritian Creole while on his visit to Mauritius in the late 1960s.
In the 1970s, Rafi suffered from a throat infection for an extended period of time.[36] During a brief period then, he recorded relatively fewer songs.[32][37] Although his musical output was relatively low during this period, he did sing some of his best numbers then.[38]
Rafi made a comeback as a leading singer in mid 1970s. In 1974 he won the Film World magazine Best Singer Award for the song "Teri Galiyon Mein Na Rakhenge Kadam Aaj Ke Baad" (Hawas, 1974) composed by Usha Khanna.[24]
In 1976, Rafi sang all the songs for Rishi Kapoor in the hit film Laila Majnu.[39] Rafi went on to sing many more songs for Rishi Kapoor in the subsequent hit films, including Hum Kisise Kum Naheen (1977) and Amar Akbar Anthony (1977).[40] In 1977, he won both Filmfare Award and the National Award for the song "Kya Hua Tera Wada" from the movie Hum Kisise Kum Naheen, composed by R. D. Burman.[23] He was nominated as the best singer at the Filmfare Awards for the qawwali "Parda Hai Parda" from Amar Akbar Anthony (1977).
Rafi sang for many successful films in the late 1970s and the early 1980s many of whose hit songs were dominating the charts in the late 70s on radio programs such as Vividh Bharati, Binaca Geetmala and Radio Ceylon.[41] Some of these include Pratiggya (1975), Bairaag (1976), Amaanat (1977), Dharam Veer (1977), Apnapan (1977), Ganga Ki Saugand (1978), Suhaag (1979), Sargam (1979), Qurbani (1980), Dostana (1980), Karz (1980), The Burning Train (1980), Abdullah (1980), Shaan (1980), Aasha (1980), Aap To Aise Na The (1980), Naseeb (1981) and Zamaane Ko Dikhana Hai (1981). In 1978, Rafi gave a performance at the Royal Albert Hall and in 1980 he performed at the Wembley conference centre. From 1970 until his death he toured around the world extensively giving concert performances to packed halls.
In December 1979, Rafi recorded six songs for the Hindi remake of Dilip Sen's Bengali superhit Sorry Madam; the film was never completed due to a personal tragedy in Dilip Sen's life. These songs, written by Kafeel Aazar and composed by Chitragupta, were released digitally in December 2009 by the label Silk Road under the title "The Last Songs".[42] The physical album was released only in India by Universal.[citation needed]
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