Yeh mera diwanapan hai-Lyricist - Page 3 | Sa Re Ga Ma Pa Singing Superstar

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Posted: 17 years ago

Great thread paljay ji and manju Di.

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30468

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Posted: 17 years ago

Thanks Bob da, but all credit goes to Pallavi ji 👏👏👏 I am just helping her when I get time in between of work...

Originally posted by: Qwest
Great thread paljay ji and manju Di.

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Pallavi

@paljay

IF-Rockerz

Posted: 17 years ago

Nida Fazli


Birth: 12th October 1938
Birthplace: Delhi
Profession: Poet, Bollywood Film song Lyricists

Born on 12th October 1938, in the city of Delhi, Nida Fazli did his schooling from Gwalior. His father was an Urdu poet himself. During the partition his parents migrated to Pakistan, but young Nida Fazli decided to stay back in India. He did his post graduation in M.A. from Gwalior College in 1954.

The budding young poet passed one day by a Hindu temple. A bhajan singer was singing a composition of Surdas, which spoke of Radha sharing her sorrow to her maids at being separated from her beloved Krishna. Struck by the poetic beauty of the Pad, relating to close rapport and bonding between human beings, young Nida got inspired to make his first serious attempts at writing poetry.

During that period, he felt that there are limitations of Urdu poetry also. He absorbed the essence of Mir and Ghalib to express what he intended to. He was fascinated by the lyrical mood of Meera and Kabir. Nida widened his horizon of poetry appreciation through the study of Eliot, Gogol, Chekhov and Takasaki.

The Writer's instinct in Nida Fazli

He came to Mumbai in search of a job in 1964. In the early days of his career, he wrote in Dharmayug and Blitz. Because of his individual style of poetry, he was noticed immediately by many eminent personalities of films, Hindi and Urdu literature. He was often invited to Mushairas the prestigious recitation sessions of one's own poetry.

Poet Nida Fazli became a favourite name to the connoisseurs as well as ghazal singers. His works were liked because of its elegant presentation. One of the remarkable points of his writings is the exclusive use of the colloquial language for ghazals, dohaas and nazms. He willfully avoids ornate-Persian imagery and compound words to make his poetry a common place, closer to the home and hearth. He wrote the famous couplet: 'Duniya jise kehte hain jaadu kaa Khilona hai Mil jaaye to mitti hai kho jaaye to sona hai'.

Nida Fazli paid for sarcasms

He wrote some critical essays on the poetry of the contemporary poets of the sixties in his book Mulaqatein. It ired many a poet including Sahir Ludhianvi, Ali Sardar Jafri and Kaifi Azmi. As a result, he was boycotted in the some poetic sessions.

The course of his career took a beautiful turn when Kamal Amrohi, a filmmaker, approached him. Jaan Nisaar Akhtar who was appointed as a lyricist of the film Razia Sultan, passed away untimely. There were two more songs to be written, and he did that so gracefully that he started getting adulated by one and all of the industry. It was the beginning of his successful career when he started receiving increasing offers to write lyrics for Hindi films.

His celebrated lyrics were also used in 'Tum to aise na the', 'Is raat ki subah nahin' and 'Gudiya'. He wrote the title song of T.V. serial 'Sailaab'. The composition 'Koi Akelaa Kahaan' is another popular number sung by Kavita Krishnamurthy. His ghazals and various compositions are sung by almost all the reputed artistes of the day.

Basically Nida is a poet of various moods. To him the creative sentiment and inner urge are the sources of poetry. He thinks that the feeling of a poet is similar to an artist, like a painter or a musician. In contrast, he found lyric writing a mechanical job, as he had to fulfill the demands of the script and the director. Later he accepted the practical necessity of money, which comes from lyric writing, and helps one to ponder on creative work.

Multifaceted poet Nida Fazli is a confirmed optimist. He published his first collection of Urdu poetry in 1969. Childhood imagery persistently reflects in his poetry as elements of nostalgia. Primary themes which run through his poetry are - contradictions in life, the search for purpose, nuances of human relationships, difference between practice and preaching, the groping for that which is lost and the search for the enemy in the meaninglessness forest of life etc.

Nida Fazli's contribution towards Communal Harmony

Nida Fazli openly negates the partition of India. He has written extensively against the communal riots, scheming politicians and fundamentalism. After the riots in the country in December 1992, he had to take shelter in his friend's house due to security concerns. He shows no favour for either Brahmin or Sheikh because of their satanic propensities.

He has been honoured with the National Harmony Award for writing on communal harmony. He has 24 books to his credit in Urdu, Hindi and Gujarati, some of which are prescribed as school textbooks in Maharashtra. He received Mir Taqi Mir award for his autobiographical novel Deewaron Ke Bich from the Government of M.P. His well-known works are: 'Mor Naach', 'Ham Qadam', and 'Safar Me Dhoop To Hogi'.

Best of Nida Fazli

Kahin Kahin Se Har Chehra      Dil Kahin Hosh Kahin
Aa Bhi Jaa      Sur
Dil mein jaagi Dhadkan aise      Sur
Kabhi Shaam Dhale      Sur
Ave Maria      Sur
Kiska chehra      Tarkieb
Darwaaze pe tere baaraat      Krishna
Kabhi kisee ko Mukammal Jahan      Aahista Aahista
Chaahat naa Hoti      Chaahat

Awards

Khusro Award     For Urdu and Hindi Literature
Best Poetry Award     Urdu Literature from Maharashtra Urdu Academy
Hindi Urdu Sangam Award     For Urdu and Hindi Literature
Sahitya Akademi Award (1998)

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Pallavi

@paljay

IF-Rockerz

Posted: 17 years ago

Bharat Vyas

Born : 18-Dec-1918, Churoo, Rajasthan
Died : 5-July-1982, Bombay
Notable Films : Navrang, Goonj Uthi Shehnai, Rani Rupmati, Do Aankhen Barah Haath, Kavi Kalidas, Saranga, Stree
Contributed by : Ashok Dhareshwar

    Bharat Vyas was born on 18 December, 1918 in Churoo (Bikaner, Rajasthan). He did his college studies in Calcutta. After finishing his B.Com. degree, he came to Bombay and started work as a writer with producer director V.M. Vyas (no idea if they are related). His principal interest was supposed to have been in becoming a director! But circumstances and his talents inexorably led him in the direction of song-writing. A bit later in his career, he did get to direct a Hindi film, and later some Rajasthani films.

    His first film as lyricist was for 'Duhaai' (1943), for which he wrote all the nine songs. The music directors were Rafiq Gaznavi, Pannalal Ghosh, and Shanti Kumar. The film starred Shanta Apte and Noorjehan. Five songs sung by Shanta Apte, including two duets with Rafiq Gaznavi, were released, but two solos by Noorjehan were not. Only source for those songs would be a print of the film, and it is not known if any print of the film exists.

    After 'Duhaai', Bharat Vyas attracted the attention of a very interesting Hindi film personality of 1940s, W.Z. Ahmed. He was a producer-director, who owned Shalimar Pictures in Pune. Ahmed had collected a highly talented clutch of writers/lyricists for Shalimar, including Josh Malihabadi, Krisan Chander, Ramanand Sagar, Akhtar-Ul-Iman, and Sagar Nizami. Ahmed enticed Bharat Vyas to come to Pune and join this group, at a salary he couldn't refuse.

    At Shalimar, Bharat Vyas started by writing all the 12 songs for film 'Prem Sangeet'. On the soundtrack, he also sang a solo: "ghaayal kar ke ham se poochhate ho dard hotaa hai." The biggest musical success of Shalimar Pictures was 'Man Ki Jeet' (1944), for which Bharat Vyas wrote two songs, the others being written by Josh Malihabadi. He also sang a duet with Shanta Thakkar ("chhip chhip kar mat dekho ji bh.nvar ji"). One of the two mega-hit songs of the film, both in the voice of Tara Bai, was by Bharat Vays: "aye chaand na itaraana, aate hai.n mere sajan". (The single bigggest success was Josh Malihabadi's "nagari meri kab tak yoo.N hi barbaad rahegi".)

    Next film I know about from Shalimar is 'Prithviraj-Samyukta' (1946). It starred Neena as Samyukta and Prithviraj Kapoor as Prithviraj. Next came what was to be the last film of Shalimar, 'Meerabai.' The heroine, Neena, music director S.K. Pal, director, W.Z. Ahmed, singer, Tara Bai of Lucknow, who sang all the 13 songs in the film. Bharat Vyas's role was to "adapt" the bhajans of Meera in song form. Now, 'Meerabai' (1947) ought not to be confused with 'Meera' (1947)! The latter was a Hindi dub/remake of the famed Tamil film, in which singer-actress M.S. Subbulakshmi played the title role. The director was one Ellis R. Duncan and the music directors were S.V. VenkaTaramaN, Ramnath, and Naresh Bhattacharya. It had 18 or 19 songs. For this film, the role of "adapting" the songs went to Pandit Narendra Sharma.

    At partition, W.Z. Ahmed and Neena left for Pakistan and Shalimar Pictures was no more. Bharat Vyas spent some time in Madras, working for Gemini for which S.S. Vasan was directing the Hindi version of 'Chandralekha'
    (1948). He collaborated with poet Pandit Indra who was the principal lyricist.

    After 'Chandralekha', Bharat Vyas returned to Bombay and realized his ambition of directing a film. The film was 'Rangeela Rajasthan' (in black and white), starring a young Bharat Bhushan. In addition to directing and writing, Bharat Vyas composed three songs for the film. Otherwise, he stuck with many of his earlier associates. The main music directors were S.K. Pal and B.S. Kalla. (Kalla later went on to compose a few incredibly beautiful Lata solos for a couple of South productions: 'Sansaar' and 'Bahut Din Hue.') The principal singer was Tara Bai, who after Neena's departure, was keen to emerge as a recognized playback singer and had a certain measure of success under the name Sitara of Kanpur.

    After 1949 Bharat Vyas quietly settled down in his role as a lyricist and had an uniterrupted run of success for more than two decades. He developed a close working relation with Khemchand Prakash in what turned out to be the latter's last years, giving films like 'Ziddi', Sawan Aya Re', 'Bijali', 'Tamasha', 'Muqaddar', and 'Shri Ganesh Janma' (Many of these films had songs by other music directors, presumably after Khemchand Prakash died. For example, Manna Dey was a joint music director for the last-mentioned film).

    The fifties were Bharat Vyas's most productive and professionally satisfactory years: The films for which he wrote the songs covered a wide range, including social (both mainstream and message-oriented), historical, mythological, and religious films; and he worked with many top directors, such as, Bimal Roy, V Shantaram, and Vijay Bhatt. Some of the major hit films of Bharat Vyas in this period include: Aankhen, Hamara Ghar, Raj Mukut, Muqaddar, Janmashtami, Nakhre, Bhola Shankar, Tamasha, Shri Chaitanya Mahaprabhu, Parineeta, Jagaduru Shankaracharya, Andher Nagari Chaupat Raja, Oonchi Haweli, Toofan Aur Diya, Janam Janam Ke Phere, Do Aankhen Barah Hath, Fashion, Kavi Kalidas, Suvanra Sundari, Mausi, Navrang, Rani Roopmati, Anguli Maal, Chandramukhi and Goonj Uthi Shehnai.

    In spite of the success of many of his social films, topped by the huge commercial success of the last-mentioned film above and its music, Bharat Vyas got typecast as the lyricist for historical and mythological films and most of his 1960s output is in those genres. He continued to work all the way through the 1970s and early 1980s, but the number of films declined in this period. He passed away in Bombay Hosptial on 5 July 1982.

    At the time of his death, he was involved in a project of presenting the Ramayana in poetic form, to be put to music by Shyam Sagar. He was also directing two Rajasthani films.


        Note : This write up is based on an obituary article on Bharat Vyas, written by Mr. Rakesh Pratap Singh in the Golden Jubilee issue of Listeners' Bulletin (#50, September 1982). In addition, supplementary information was received from Mr. Harminder Singh 'Hamraaz' by e-mail.

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Pallavi

@paljay

IF-Rockerz

Posted: 17 years ago

Originally posted by: Qwest
Great thread paljay ji and manju Di.

Thanks Qwestji, aapse sikha hai, koshish kar rahe hai.

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30468

Inactive

Posted: 17 years ago

Javed Akhtar

Javed Akhtar

Birth: 17th January 1945.
Birthplace: Gwalior, Madhya Pradesh, India.
Profession: Poet, Bollywood Film song Lyricists
Family: Father - Jan Nisar Akhtar, urdu poet and hindi film lyricist;
Mother - Safia Akhtar, writer, Professor;
Wife - Shabana Azmi, Actor, Member of Rajya sabha, Social Worker,
Son - Farhan Akhtar, Movie Director
Javed Akhtar – The name spells romance, intellect and aesthetics. Javed Akhtar has won honour and acclaim as a lyricist, screenplay writer and poet. Javed Akhtar was born in Gwalior and is the son of renowned Urdu Poet and film lyricist Jan Nisar Akhtar and Safia Akhtar, a writer and a teacher. The tradition of writing goes back to seven generations of writers in the family. The highly respected Urdu poet, Majaz was his mother's brother and the work of Muzter Khairabadi, his grandfather, is looked upon as a milestone in Urdu Poetry. His parents were professors at the Hamidia College in Bhopal. Javed Akhtar did his schooling at the Cambridge School-Bhopal, Calvin Talukadar College-Lucknow, Minto Circle-Aligarh, and graduated from Safiya College-Bhopal in 1964. As a young man and an artist he was a rebel, a fact that estranged him from his father. After spending a few difficult years in Bhopal, and with little more than a B A Degree in his hand, he arrived in Bombay, the city of dreams. He got his first break in 1969. It was during this time that he met Honey Irani, on the sets of Seeta Aur Geeta and the two got married soon thereafter. Javed Akhtar - The script, The Lyrics and The Poetry .. Javed Akhtar's body of work can be placed under three distinct categories, that of a scriptwriter, a lyricist, and a poet. Along with his erstwhile partner, Salim Khan, he scripted some huge hits like Zanjeer, Deewar, Sholay, Haathi Mere Saathi, Seetha Aur Geeta, Don and Trishul. Salim-Javed, as a writer-duo, gave Amitabh Bachchan and Indian Cinema the memorable persona of the 'Angry Young Man'. Salim-Javed parted ways in 1981and since then, Javed has written the scripts of successful movies like Sagar, Betaab and Arjun. After scripting a few unsuccessful films like Prem and Khel , he took a break from scriptwriting and concentrated on his role as a lyricist. Some of his best works as a songwriter include Saaz, for which he won the 1996 National Award for Best Lyricist, an award he bagged for three consecutive years- 1996 for Saaz, 1997 for Border and 1998 for Godmother. Javed Saheb's first collection of Urdu poetry, Tarkash was released in 1995. It has editions in Hindi as well as Urdu. It has received rave reviews both as a book and as India's first audio book (available on cassettes and CD) brought out by Plus Music. The audio book has sold more than a hundred thousand copies. Tarkash has been translated in Bengali by the noted Bengali author Sunil Gangopadhyaya. Renowned painter, M.F. Hussain has painted sixteen canvases based on Javed Saheb's poems in Tarkash. And the Honor is mine In 1999, the President of India honoured Javed Akhtar with the title of "Padmashree" for his literary contribution. He has written a large number of poems against Communalism, Social Injustice, and National Integration and for Women's Rights. He composed a song, urging the misguided youth to come forward and build the country, which was declared the National Anthem for Youth by the Ministry of Human Resource Development in 1995. Javed Saheb has collaborated with Ustad Nusrat Fateh Ali Khan on Sangam, with Jagjit Singh on Silsilay and with Shankar Mahadevan on his album Breathless. His music album "Tum yaad aaye" was the highest selling non-film album of the year 1997.

The Best of Javed Akhtar
Song	Movie
Ye tera ghar ye mera ghar	Saath-Saath
Tumko dekha to ye khayal aaya	Saath-Saath
Kate nahin kat te din	Mr. India
Ek do teen	Tezaab
So gaya ye jahan	Tezaab
Kehdo ke tum ho meri	Tezaab
Sach mere yaar hai	Saagar
Saagar kinare	Saagar
Chehra hai ya chand khila hai	Saagar
Ye kahan aa gaye hum	Silsila
Dekha ek khwaab to	Silsila
Ek ladki ko dekha to	1942 A Love Story
Pyar hua chupke se	1942 A Love Story
Ruth na jaana	1942 A Love Story
Kuch na kaho	1942 A Love Story
Ye safar	1942 A Love Story
Ghar se nikalte hi	Papa kehte hain
Sandeshe aate hain	Border
Ae Jate hue Lamhoon	Border
Awara bhanvray	Sapnay
Payalen chunmun chunmun	Virasat
Jaadu bhari aankhon	Dastak
Kya tumne ye keh diya	Saaz
Ho nahin sakta	Diljale
Main koi aisa geet gaoon	Yes Boss
Chand tare	Yes Boss
Suniye to	Yes Boss
Jaata hai tu kahan	Yes Boss
Suno zara suno zara	Bada Din
Mere mehboob mere sanam	Duplicate
Woh Ladki Jo	Baadshah
Rut Aa Gayee Re	1947 Earth
Phir Bhi Dil Hai Hindustani	Phir Bhi dil Hai Hindustani
Panchhi Nadiyan Pawan ke Jhoken	Refugee
Dheeme Dheeme	Zubeidaa
Ghanan Ghanan	Lagaan
Mitwa	Lagaan
Radha Kaise Na Jale	Lagaan
Dil Chahta Hai	Dil Chahta Hai
Koi Kahe Kehta Rahe	Dil Chahta Hai
Sharara	Mere Yaar Ki Shaadi Hai
Tauba Tumhare Ishare	Chalte-Chalte
Chalte-Chalte	Chalte-Chalte
Kal ho na ho	Kal Ho Na Ho
Mahi we	Kal Ho Na Ho

Awards
Award	Movie
National Award - 1996	Saaz
National Award - 1997	Border
National Award - 2001	Refugee
Filmfare - 1994	1942 A Love Story
Filmfare - 1996	Papa kehte hain
Filmfare - 1997	Border
Filmfare - 2000	Refugee
Filmfare - 2001	Lagaan
Filmfare - 1989	Main Azad Hoon
Zee Cine - 1997	Border
Zee Cine - 2001	Lagaan
Zee Cine - 2002	Refugee
Screen - 1994	1942 A Love Story
Screen - 1997	Border

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30468

Inactive

Posted: 17 years ago

Dev Kohli

Dev Kohli

Birthplace: Rawalpindi
Profession: Poet, Bollywood Film song Lyricists
Dev Kohli, no doubt is the name in every household even though he has kept his profile very low in Indian Film Industry. He has given this industry some foot-tapping numbers with many a love songs under the banner of Rajshri Productions. Over and again he has topped the charts with numbers like 'Maine Pyar Kiya, 'Didi Tera Devar Deewana' and 'Yeh Kali Kali Aankhen'. 'Geet Gata Hoon Mein' was one of his early hits which made his name familiar to this industry. Dev Kohli hail from Rawalpindi, now in Pakistan, but the partition of India made his way to parent India with his family moving up to Dehradun in Uttar Pradesh. From very early on in his life Dev Kohli was very much interested in sher aur shayari. He wrote a lot of poetry earlier but he never disclosed it to anybody, as he feared that people would laugh at him. But in Dehradun, he also met his mentor Mr. Shaukat who read his poems and assured him that they were of a certain standard. Shaukat gave the aspiring poet's writing a certain purpose and direction and till today Dev Kohli owes a lot of his success to him. The Struggle Dev Kohli has taken up Sahir Ludhianvi, as his idol when he came to Mumbai sometime in late 60's. But getting work was not very easy. But he persevered and he decided to take shelter in a hotel in Khar. He soon realized that Anand Bakshi and a few character artistes also stayed there. Film personalities frequented the hotel quite often and one day the secretary of composers Shankar Jaikishan met him and heard his poems. He also introduced Dev Kohli to the composer duo and that is when he got his first break through the song 'Geet Gata Hoon Main' from Lal Patthar. Fortunately for Kohli he met with success from his very first song. The Success His first song might have been a hit but few knew about his existence. Although his first song itself was a big hit not too many people within the industry recognized him. But Kohli accepted all this in his stride saying it is a matter of destiny. Kohli also feels that his inability to market himself seriously affected his career. Says Kohli, " In this industry to get work and be famous one needs to possess good PR skills, hire a secretary or a PRO and one has to do a lot of chamchagiri. I am very happy that I do not possess these skills even though I had to pay quite a heavy price for it. I got noticed only twenty years later with the songs of Maine Pyar Kiya." Natural Poet – Dev Kohli In today's day and age when lyricists and composers are working on 10 to 12 films at one time it so happens that lyricists are so hard pressed for time that many a times they have to succumb to the pressure and produce sub standard work. But Dev Kohli prefers to try and understand the situation of the film and tries his best to write lyrics according to the character on which the song will be picturized. "It is very important to write in the same language that the character speaks." But ask the lyricist what inspires him the most to write and pat comes the reply, "I am very much a nature poet and I like to write about rains, mountains, the rising sun and things like that." Talking about the kind of songs he likes Kohli says, "Oh my best lyrics have been for romantic films songs like 'Aate jaate' (Maine Pyar Kiya), 'Pehla Pehla Pyar Hai' (Hum Aapke Hain Koun). But I have also written some happy go lucky songs like 'Tan tana tan tan tan tara' (Judwaa), 'Kurta Phadke' (Anari No 1) and 'Yeh Kali Kali Aankhen' (Baazigar). The title song of Biwi No 1 is also a big hit especially with children. Association with the Rajshri Banner Talking of successful partnerships Dev Kohli has had quite a successful one with the Rajshri banner so far. Talking about his association with one of the most well known banners Kohli says, "It all began in 1980 when I wrote the lyrics for the title song of the film Ek Baar Kaho the music for which was composed by Bappi Lahiri. So when they were making Maine Pyar Kiya and recording the songs they knew that I had written the lyrics for Ek Baar Kaho and the song was a hit and Raam Laxman the Music Director called me and when I listened to his tunes I decided to write the lyrics for the film and the rest as they say is history." About Hum Saath Saath Hain Dev Kohli feels that when the music of the film was released a few weeks prior to the release of the film a lot of people heard the songs and said 'In Gaano Mein Woh Waali Baat Nahin.' "But the music gradually grew on the people and a couple of songs especially 'Maare Hibda Mein Nache Mor' became really popular and started topping the countdown shows. In a Rajshri film music is always good but people start liking the music when they watch the film. The same thing happened with the music of Hum Aapke Hain Koun and the same happened to Hum Saath Saath Hain." According to Kohli he felt that the best song of the film was the title song not just because he had penned it but also because he liked the message behind the song, which said, 'We are united'. The song speaks of family values and I feel in today's times when family values are declining rapidly this song comes as a good message to today's generation. But I also like 'ABCD' because of its simplicity. The Credit goes to Media Dev Kohli feels that a few years ago lyricists were facing a problem of being relegated to the background. "In fact there came a time when we would feel fortunate if our names were being included behind the cassette covers and being mentioned in the credits of the film. But now things have changed for the better and people recognize lyricists not only by their name but they will also recognize them if they happen to see them and the credit for that must go to satellite television." The lyricist might be ageing but age is not coming in his way at all as far as writing songs go. At present he is working on quite a few things. Apart from writing lyrics for films Kohli is also writing lyrics for a few non-film albums. "Yes one of them is with Rajshri, the other is with Venus for which Chandna Dixit has rendered her voice. Apart from these two albums I also have projects with Wings Music and Magnasound." He says humbly.

The Best of Dev Kohli
Song	Movie
Maine Pyar Kiya	Maine Pyar Kiya
Didi Tera Devar Deewana	Hum Apake Hain Kaun
Yeh Kali Kali Aankhen	Baazigar
Maye ni maye	Hum Apake Hain Kaun
Pyaar kiya tho nibhana	Major Saab
Maahi Ve	Kaante
Socha Nahi tha	Kaante
Maare Hibda Mein Nache Mor	Hum Saath Saath Hain
Tan tana tan tan tan tara	Judwaa
Geet Gata Hoon Mein	Laal Patthar

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Pallavi

@paljay

IF-Rockerz

Posted: 17 years ago

   Filmography-Bharat Vyas

1. Akele Hum Akele Tum (1995) (accountant)
   2. Baazigar (1993) (accountant)
   3. Phir Teri Kahani Yaad Aayee (1993) (lyricist: "Haan Deewana Hoon Main") (uncredited)
   4. Krishna-Krishna (1986) (lyricist)
5. Maan Apmaan (1979) (lyricist)
   6. Do Chehere (1977) (lyricist)
   7. Gayatri Mahima (1977) (lyricist)

   8. Karm (1977) (lyricist)
   9. Aaj Ki Taaza Khabar (1973) (office assistant)

10. Boond Jo Ban Gayi Moti (1967) (lyricist)
11. Mahabharat (1965) (lyricist)
12. Purnima (1965) (lyricist)
13. Sant Gyaneshwar (1964) (lyricist)

14. Sati Savitri (1964) (lyricist)
15. Kan Kan Men Bhagwan (1963) (lyricist)
16. Stree (1961) (lyricist)
17. Angulimal (1960) (lyricist)
18. Chandramukhi (1960) (lyricist)
19. Do Dost (1960) (lyricist)
20. Hum Hindustani (1960) (lyricist)

21. Bedard Zamana Kya Jane (1959) (lyricist)
22. Goonj Uthi Shehnai (1959) (lyricist)

23. Kavi Kalidas (1959) (lyricist)
24. Navrang (1959) (lyricist)
25. Sahara (1958) (lyricist) (as Pt. Bharat Vyas)
26. Samrat Chandragupta (1958) (lyricist)
27. Do Ankhen Barah Haath (1957) (lyricist)
      ... aka Two Eyes, Twelve Hands
28. Fashion (1957) (lyricist)
29. Janam Janam Ke Phere: Alias Sati Anapurna (1957)
(lyricist)

30. Suvarna Sundari (1957/II) (lyricist)
31. Toofan Aur Deeya (1956) (lyricist)
32. Parineeta (1953) (lyricist)
      ...
33. Mordhwaj (1952) (lyricist)
      ...
34. Rajput (1951) (lyricist)

35. Chandralekha (1948/I) (lyricist)
      ..

Edited by paljay - 17 years ago

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30468

Inactive

Posted: 17 years ago

Maya Govind

Maya Govind

Birth:
Birthplace: Lucknow
Profession: Poetess, Bollywood Film song Lyricists
Family:
Maya Govind hails from Lucknow and possesses a graduate degree in Education. She worked as a teacher (Hindi), a dancer, a stage artist and did shows for All India Radio. She was an active member of the theater group, Darpan, but have to quit dancing due to domestic reasons. Later, she began participating in Kavi sammelans and mushairas and did a degree with Bhatkande Music University. Atma-Ram discovers Maya Govind Her skill were acknowledged by producer-director Atma-Ram at one of the sammelans and called her over to Mumbai to write for his movie 'Aarop' released in 1974. The movie had some hit numbers like 'Naino mein darpan hai' and 'Jab se tumne bansi bajaai re' composed by Dr Bhupen Hazarika, who made his Hindi debut with the film. Ramanand Sagar took note of her writing abilities and signed her for his film 'Jalte Badan', based on drug trafficking. The lyrics coupled by abilities of Laxmikant Pyarelal gave some hit numbers like 'Gaon gaon ghoome, shaher shaher chhaana' and 'Hum woh hai jo apne ghar ko jalaakar tamasha dekhte hain'. Maya kept writing for Hindi films but somehow was not able to make a mark with the masses for the following 15 years. Projects like Atma-Ram's Qaid ('Yeh to Ram jaane'), 'Aafat', 'Khanjar', 'Pyar Ka Rahi', 'Jeet Hamari', Hrishikesh Mukherjee's 'Rang Birangi' and 'Jhoothi', 'Mere Baad', Vijay Bhatt's 'Heera Aur Patthar', 'Pighalta Aasmaan', 'Taqdeer', 'Main Aur Mera Haathi', 'Galiyon Kaa Baadshah', 'Khush Naseeb', 'Yeh Rishta Na Tootey', 'Tohfa Muhabbat Ka', Deepak Bahry's 'Humse Hai Zamana' were average at the box-office. She also wrote for TV serials. 'Gutur-Gutur' from the movie Dalaal made her comeback on the cover magazines, after which she didn't have to struggle much with famous banners. The 90's saw some foot-tapping numbers from 'Mein Khiladi Tu Anari', 'Najaayaz' ('Darwaza khula chhod aayi'), 'Takkar' (Ankhon mein base ho tum) topped the charts. Her other films include 'Naaraz', 'Janta Ki Adalat', 'Maharaja', 'Premyog', 'Jai Hindi', 'Policewala Gunda', 'Hamesha', 'Aar Ya Paar', 'Maidan-E-Jung' and 'Rock Dancer'. She got highly appreciated for her title song for Ramesh Sippy's Kismet, 'Kismet ka to yehi fasaana hai'. Maya Govind defends her naughtiness Maya Govind's earlier lyrics have been in line with the folk music of Northern India. But her new comeback saw her being a little controversy with her songs. The controversy was heightened with the kind of picturization of the songs. Songs like 'Darwaza khulla chhod aayi' (Najaayaz), and Dalaal's, 'Chad gaya uppar re' and 'Aaja raja aaja dukan chalu hai' were hits but with controversy. There were rallies outside her residence for her work in 'Rock Dancer', 'Lounda Badnaam hua'. But she somehow convinced the activist of the Woman Liberalization with her reasons of mastery of Hindi language, quoting writers like Munshi Premchand using those said words in his novels. She has always been an ardent Hindi poetess and never deterred under any pressures."

Best of Maya Govind
Song - Track	Movie
Sun Sun Goriya	Daman
Gale mein Laal Taai	Hum Tumhare Hain Sanam
Mein Khiladi tu anadi	Mein Khiladi Tu Anari

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Posted: 17 years ago

Harivanshrai Bachchan

Harivanshrai Bachchan

Birth: 1907
Birthplace: Allahabad
Profession: Poet, Bollywood Film song Lyricists
Family: Wife - Mrs. Teji Bachchan, Two sons - Amitabh and Ajitabh, Daughter-in-law - Jaya Baduri Bachchan, Grandchildren - Abhishek and Shweta Bachchan
"Madhushala" an eternal creation by Shri Harivansh Rai Bachhan was a craze and whenever Mr. Harivansh Rai Bachhan presented it on Stage the audience became so personally involved in it that the entire Hall seemed to be swayed under the influence of the message in it. Born in a middle-class family at Allahabad in Uttar Pradesh on 27 November 1907, Bachchan graduated from the Allahabad University in 1929, and very soon he was drawn into the vortex of the freedom struggle. Having a short stint as a journalist, he had joined as a teacher in the local Agarwal Vidyalaya. Alongwith the teaching job he had pursued his studies and obtained both M.A. and B.T. He joined the Allahabad University as a Research Scholar and later in 1941 a Lecturer in English Literature. Taking a sabbatical from the University, he went to Cambridge University for his doctoral work on "W.B. Yeats and Occultism." He was the first Indian to acquire a Ph.D in English Literature from Cambridge. Completing his research he joined to his alma mater and after a short stint, Bachchan joined AIR, Allahabad, as Producer for sometime. At the behest of Jawaharlal Nehru, he joined the Hindi Cell in the Union Ministry of External Affairs as an OSD in 1955 to translate official documents from English into Hindu which he had continued till his retirement. Undeterred by criticism and steeled by domestic difficulties like financial worries, loneliness, which was compounded by the untimely death of his first wife Shyama, Harivansh Rai continued to write, combining mature subtlety with discretion. His marriage with Teji Suri changed the course of his life and, by his own admission, his poetry. His creative career, which began in 1932 and continued till 1995, was a 63-year literary journey. Tera Har was his first collection lyrics. With the publication of Madhushala (House of Mead, 1935), a literary masterpiece of Bachchan, a rhapsody on wine and joy of living, his position as a major Hindi poet was firmly established. He burst upon the horizon of Hindi poetry as a bright star one evening in 1935 with his recitation of Madhushala, a cry straight from the soul of a young man who had suffered much, to a huge audience, unfolding to listeners an enchanting world with rings of Omar Khayyam. Longing for an eternal union with his beautiful beloved, the poem employs a range of symbols, especially that of wine, much as in the tradition of Persian poetry. (The meaning of these symbols of operates at many levels.) His Style The influence of Omar Khayyam's Rubaiyaat and its style he had written two other long poems, completing a trilogy with Madhushala, Madhubala (1936), and Madhukalash (1937). The underlying message of these three collections was the meaninglessness of the sordid worldly ambitions, greed acquisitiveness, bigotry and intolerance in religion, morality and behaviour. In a sad poetic irony, Harivansh Rai boldly challenged sickening conventionalism and moralist and thus, gave to Hindi poetry an entirely new dimension. The death of Shyama had a profound effect on his psyche, shattering all his hopes and dreams. His feelings of deep grief and pessimism were expressed through Nisha Nimatran (Invitation to Night, 1938), collection of a hundred lyrics. Harivansh had tried to evolve his own version of sonnet and in harmony with its own poetic style. Instead of following the traditional pattern of octave and sextet, his lyrics consisted of 13 lines suited to Hindi language. Beginning with a cry of loneliness and ending with an assurance, the basic imagery of these lyrics were linked with the darkness and the light symbolising his grief and hope. The poet had expressed his inner feelings in terms of the outer world, thus creating a universe of symbols. In the words of Mathur, "Nisha Nimatran will remain a highly moving poetic document of tragedy and suffering. In the entire modern Hindi poetry there is no work like Nisha Nimatran, which has portrayed grief or the sense of a tragic void in life so profoundly." Ekant Sangeet (Son of Loneliness, 1939), following Nisha Nimatran, was written during the period of 1938-39 when he was passing through a mental crisis. The lyrics reflect his sensitive mood oand the grim phase of his life. The collection marks the pinnacle of his poetic power and manifests the destiny of love-lorn grief and the experience of extreme loneliness. The poet had written that the darkness in which he had entered in Nisha Nimatran had led him to listen to the Ekant Sangeet, the song of solitude, and the music led him to Akul Antara (The Restless Heart, 1943). With the publication of Akul Antara the first phase of his writing had come to a close. Moved by Bengal Famine Satrangee (The Rainbow) was published in 1945. The Bengal Famine in 1943 caused Harivansh to move away from his earlier concerns. His new involvement in the human predicament resulted in the collection Bangla ka Kal (The Fate of Bengal, 1946). Bhupendranath Das translated the volume into Bengali in 1948. Aware of human suffering and a sensibility sharpened by private grief, in the same year (1946) he published Halahal. The Happy Mood Harivansh Rai expressed a happy mood after a long time, in 1950s, after publishing Milan Yamini (1950) and Pranav Patrika (1955), named after Tulsidas's Vinay Patrika. The poems of these two volumes had transcended the sensuousness of his early poems. Ghar ke Idhar Udhar (1957) was a work of transition in which the poet was gradually returning to share the glory of his clan and family. In the next collection, Arati Aur Angare (1958), he celebrated his return to one's own heritage. However, with the publication of these poems his first phase of writing, in real sense, ended. In his later works he charts his path from loneliness and futility of existence to the emerging joys of life. The element of irony returns in another form in his poems after 1958, the first manifestation being in Buddha aur Nachghar (Buddha and the Dance Hall). In his own opinion Buddha aur Nachghar was the turning point of his poetic career, as he was able to express the seen and anger of the society around him. In Tribhangima, Char Kheme Chaunsath Khoonte, Roop aur Awaz, and Bahut Din Beete he had experimented with the language of folklore. Bachchan moved on to social satire in these volumes. This time he was more concerned with contemporary life, the hollowness and villainy in society and politics. His desire was to live a full-blooded life on this earth, which is quite evident in his poems. This quality of the poet had made his the most liked and loved poet of Hindi. Do Chattanen Harivansh Rai's Do Chattanen (Two Rocks, 1965), contains fifty-three poems. Written between 1962-64, this collection of poems received the Sahitya Akademi Award in 1968. Alongwith a number of other poems, the most important is the title poem 'Do Chattanen or Sisyphus vs Hanuman'. The poet presents two points of view of life by using Sisyphus, the symbolic character from the Greek mythology, and Hanuman as symbols. Both Sisyphus and Hanuman aspire to become immortal, but their means are different. The former symbolizes the faithless western man of 20th century and the latter immortality through devotion, absolute faith and humanity. Besides this long poem, the poet reacts to so many things during his seventh decade such as the Chinese aggression, Nehru's death, anger of youth, his old age, contemporary literary scene, academics, etc., in the rest of the work. "For its vigour of expression and maturity of outlook, the book has been hailed as an outstanding contribution to contemporary Hindi literature", says the Award citation. However, the poems of Do Chattanen represent clarity of meaning and lucidity of expression of Bachchan's poetry. All the experimental poems, including 76 poems chosen from a poetic career of 50 years, Kavitai ki Adhisadi, was published in 1981. The influence of Mahatma Gandhi on Hindi writers has been distinctly profound during the decades following the Satyagraha (1921) and before the end of the Second World War. And Bachchan too has not escaped from it. He had brought out his collection on Gandhi, called Khadi Ke Phool (1948), in collaboration with Sumitranandan Pant, which contains 93 poems of Bachchan and 15 of Pant. Both the poets had paid homage to Gandhi. Besides, he himself had written a collection of poetic tribute to the Mahatma in Soot ki Maal, mourning the death of Gandhi. Both these books on Gandhian themes are of great poetic value. However, the poetry of Harivansh Rai had brought range, delicacy of feeling, ruggedness, ease and strength to the romantic lyric. Being born in a family known for its scholarship in Persian and its devotion to Vaishnav faith, his poetry combines the best of Sanskrit and Persio-Arabiv poetic traditions. He had set a model of lyricism in Hindi and his contribution in changing the temper, approach and style of poetry during the 30s has been very significant. The varied influences of Kabir, Keats, Tagore and Omar Khayyam were evident throughout his poetry, as also a deep appreciation of Shakespeare. He had also translated Shakespeare's Macbeth and Othello, sixty-four Russian poems into Hindi entitled Chaunsath Rusi Kavitayen and 101 poems of W.B. Yeats. For his Hindi translation of Russian poems he was honoured with Soviet Land Nehru Award in 1966. Bachchan had also translated the Bhagvadgeeta in Awadhi entitled Janageeta (1958) and also in modern Hindi, Nagargeeta (1966). Some of his selected poems have been translated into many Indian and foreign languages. Besides, he had written essays, travelogues, and edited several volumes of his own poetry and that of his contemporaries. He has contributed to the Indian film Industry with his songs 'Rang barse' from Yash Chopra's 'Silsila' (1981) and 'Koi gata main so jata' for the movie 'Aalap' (1977). The great achievement of Harivansh Rai in prose writing was his autobiography in four volumes Naye Purane Jharokhe (Windows New and Old) beginning with Kya Bhoolon Kya Yaad Karoon (What to Forget and What to Remember). Considered as a seminal work which was to carve out another niche for himself, the work is distinguished by its graceful confession and intimate account of his innermost feelings in situations of great tragic dimensions. Awards

Afro-Asian Writers' Conference Lotus prize

Memberships

Member of the Advisory Board for Hindi, Sahitya Akademi, New Delhi (1963-67)

India lost this great poet of the Hindi language on 18th January 2003. He died of respiratory problems at the ripe age of 96. The funeral procession in Bombay was attended by thousands of people, among which many Bollywood stars, top industrialists and politicians, the BBC reports. His eldest son, Amitabh Bachchan, performed the last rites.

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