#Best Bollywood Soulful Songs of 1990s

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Lyrics Pehla Pehla Pyar Hai

Lyrics Pehla Pehla Pyar Hai

Lyrics in English | Pehla Pehla Pyar Hai | Hum Aapke Hain Koun (1994) | Salman Khan, Madhuri Dixit | S. P. Balasubrahmanyam Pehla PehlaPyar HaiO…Pehli PehliBaar HaiO… Pehla PehlaPyar HaiO…Pehli PehliBaar HaiO… Jaan Ke Bhi AnjaanaO…Kaisa MeraYaar Hai Pehla PehlaPyar HaiO…Pehli PehliBaar HaiO…………. All Time Best Songs of Salman Khan Us KiNazarPalkon Ki Chilman Se MujheDekhtiUs KiNazar Us…

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Kumar Sanu: The Voice Behind Bollywood's Iconic Love Songs

Introduction to Kumar Sanu’s Career

Kumar Sanu, born Kedarnath Bhattacharya on October 20, 1957, in Kolkata, is celebrated as a playback singing icon in Bollywood. Known for his soulful and emotive voice, he rose to fame in the 1990s, capturing hearts with his timeless melodies, particularly love songs. His work with legendary music directors like Nadeem-Shravan, Jatin-Lalit, and Anu Malik helped establish the romantic sound of Bollywood's golden era.

The Songs That Made Kumar Sanu a Legend

Aashiqui (1990) – “Nazar Ke Samne,” “Bas Ek Sanam Chahiye,” “Jaane Jigar Jaaneman”

Aashiqui was a monumental success and the soundtrack cemented Kumar Sanu's place in Bollywood. Known as the ultimate 90s romance album, its songs are often credited with redefining Bollywood's love songs. Tracks like “Nazar Ke Samne” became instant classics and helped Sanu win his first Filmfare Award for Best Male Playback Singer.

Saajan (1991) – “Mera Dil Bhi Kitna Pagal Hai” and “Dekha Hai Pehli Baar”

Collaborating with Nadeem-Shravan again, Kumar Sanu’s songs in Saajan made waves with their emotional depth and romance. “Mera Dil Bhi Kitna Pagal Hai” and “Dekha Hai Pehli Baar” brought tenderness to the on-screen chemistry between Salman Khan, Madhuri Dixit, and Sanjay Dutt.

Dilwale Dulhania Le Jayenge (1995) – “Tujhe Dekha To Yeh Jana Sanam”

Possibly one of Bollywood's most celebrated songs, “Tujhe Dekha To Yeh Jana Sanam” from DDLJ symbolized romance for an entire generation. Kumar Sanu’s voice brought warmth and a sense of longing to the song, making it an enduring favorite.

1942: A Love Story (1994) – “Ek Ladki Ko Dekha Toh Aisa Laga”

Sung with unparalleled emotion, “Ek Ladki Ko Dekha Toh Aisa Laga” became a signature song in Sanu’s career. With its poetic lyrics and serene melody, the song remains one of Bollywood’s most cherished romantic tracks.

Jo Jeeta Wohi Sikandar (1992) – “Pehla Nasha”

While a duet with Sadhana Sargam, Sanu’s vocals in “Pehla Nasha” capture the excitement of first love beautifully. It’s a unique song in his discography, showing his versatility and ability to capture varied emotions.

Baazigar (1993) – “Baazigar O Baazigar” and “Yeh Kaali Kaali Aankhen”

His work in Baazigar added to the thrill of this suspenseful romance, especially with “Yeh Kaali Kaali Aankhen,” an upbeat and energetic number that remains popular today.

Awards and Recognition

Kumar Sanu’s contribution to Bollywood has been recognized with numerous awards, including five consecutive Filmfare Awards from 1990 to 1994, an unmatched achievement. In 2009, he received the prestigious Padma Shri for his contributions to Indian music. His unique ability to adapt to various genres of Bollywood music, while consistently delivering hits, solidified his place as a legend.

Celebrate Kumar Sanu on Ruh Radio

For fans of Kumar Sanu and Bollywood music, Ruh Radio is your go-to destination. Broadcasting on 1440 AM, our channel plays an extensive array of Bollywood songs throughout the day, ensuring that you can enjoy Kumar Sanu's classic hits and other timeless melodies whenever you want. Tune in to relive the magic of Kumar Sanu's voice and explore the rich tapestry of Bollywood music with us.

Legacy and Influence

Kumar Sanu’s songs are often revisited by both fans and new listeners, who appreciate the depth, emotion, and timelessness he brought to Bollywood music. His voice remains a symbol of Bollywood’s romantic era, and his influence is visible in the work of contemporary playback singers who follow in his footsteps.

In sum, Kumar Sanu’s songs are not merely music but memories that continue to connect with listeners across generations. His legacy lives on through the magic of his timeless tracks, making him an indispensable part of Bollywood’s musical history. Tune in to Ruh Radio to experience this legacy every day!

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There are but few hindi love songs that encapsulate this feeling as well as this Kishore Kumar song. Of course, you want to hold on to that kind of love. It is, of course, serendipity when you find true love. Right from the lyrics to the music, this song is poetry for the soul. This old romantic hindi song featured in the 1973 film, Blackmail, became an overnight success and continues to strike a chord with people from all over the country.Īlso Read: Latest Bollywood Songs 2021 for Iconic Party Kabhi Kabhi Mere Dil Meinįew things remain to be said for a Hindi love song that boasts of 3 Filmfare awards, for best music, best lyricist and best male playback singer. With Kishore Kumar’s sonorous voice and lyrics that say everything that you need effortlessly, this is easily one of the most iconic romantic hindi songs and would continue to remain so for ages to come. Old Romantic Hindi Songs – Best Hindi Love SongsĪ rainy evening and some old romantic Hindi songs…now that’s a match made in heaven! Well, in case you agree, here are some all-time best romantic hindi songs that you might want to play right away. And while you might have your own playlist, there’s no harm in shuffling it a little and making new additions, every now and then, right? Well, on that note, here’s a POPxo approved Hindi love songs ’ list that you might want to take a look at. They have a way of instantly uplifting the mood and that’s why they deserve to be on everyone’s playlist. We mean, the English music might be nice and all but there are few things that hit you as hard as a well-rendered Hindi romantic song.īe it the old romantic hindi songs or the new ones, these songs have a way of cascading through our souls and leaving a mark. That’s the thing about Hindi romantic songs. Can’t say anything about you but we wouldn’t want that moment to end. Picture this: you and your partner on a long drive, gliding through city lights, and soft Hindi, romantic hindi songs playing in the car. New Hindi Romantic Songs – Best Hindi Love Songs.Old Romantic Hindi Songs – Best Hindi Love Songs.THIS ARE EVERGREEN CLASSICAL SONG.I LIKE OLD CLASSICAL SONG. udit Narayan sir.Sonu nigam sir.and all my indian ideal singers.we r salute you.jai hind!!Īarav (author) from Mumbai on September 30, Pandey Thanks for stopping by and commenting. It's a good moments after listening the colorful music of 1990s.I love so much.thankuu sanu sir.alka maim. Swayam bisht on July 12, Thanks for liking the collection. MORESHWAR GANGARAM KADAM on July 19, 2020: © 2012 Aarav Share Your Favorite Hindi Romantic Love Songs This is a massive list with some videos for you to enjoy. Article dedicated to pre-1990s Indian TV shows that you enjoyed in your childhood. List of best old and popular Doordarshan (DD) serials. 101 Classic Old Doordarshan Serials You Grew up on (1980s - 1990s).Learn about 20 of the best funny Hindi songs from yesteryear. Includes photos and information like capacity size and opening year. Top 10 Biggest Cricket Stadiums in IndiaĪ list of the top ten largest cricket grounds in India.Which is the largest university of India? Here you will find the 10 largest universities in India according to student population and campus size. Top 30+ Bollywood Indian Comedy Movies of All TimeĪ list of the top 30 best Hindi comedy movies of all time, from Padosan to latest best hindi comedy movies.įind the list of best Hindi songs from the decade of 1960-1969.

[hits1000]

Best Mix 1996 - Back to 1996 Top Songs - Hits Songs 1996 [1990s Songs]

Best Mix 1996 - Back to 1996 Top Songs - Hits Songs 1996 [1990s Songs] Best Mix 1996 - Back to 1996 Top Songs - Hits Songs 1996 [1990s Songs] A list TOP Hit of 1996, including: Alanis Morissette - Ironic, Andrea Bocelli & Sarah Brightman - Time To Say Goodbye (Con Te Partirò), Backstreet Boys - Get Down (You're The One For Me), Blur - Charmless Man, Bon Jovi - These Days and many more! Subscribe to our channel to see more of our content! Please visit: https://www.facebook.com/hits1000top/ https://twitter.com/Hits10001 Related Searches: Best 1996 Playlist, Greatest 1996 Non Stop, Mix 1996 Compilation, List of 1996 Lyrics, Top 1996 Non Stop, Best Jukebox 1996 Playlist, Late 1996 UK, Late 1996 Non Stop, Back To The 1996 Lyrics, Best 1996 List, Top 1996 Bollywood, Late 1996 Romantic, Top 1996 Mix, Classic 1996 Playlist, Best 1996 Non Stop, Late 1996, Mix 1996 Playlist, List of 1996 Mix, Back To The 1996 Quiz, Top 1996 USA, Best Jukebox 1996 UK, Best Jukebox 1996 Video, Best Jukebox 1996 List, Greatest 1996 Video, Best 1996 Video, Related Channels: MarioMex International Mixes, Redlist, Music Express, K-Music, Francis Pelletier, Ultra Lists, Top Culture, DJ Crayfish, Younger days Related Videos: https://www.youtube.com/watch?v=Wk2yQJLPd6E https://www.youtube.com/watch?v=YZnMNkfURlM https://www.youtube.com/watch?v=gMfNab-6y5Y 1. 3T - Anything 2. Adam Clayton & Larry Mullen - Theme from Mission Impossible 3. Alanis Morissette - Head Over Feet 4. Alanis Morissette - Ironic 5. Alanis Morissette - You Learn 6. Alexia - Summer Is Crazy 7. Amistades Peligrosas - Me Quedaré Solo 8. Andrea Bocelli & Sarah Brightman - Time To Say Goodbye (Con Te Partirò) 9. Babybird - You're Gorgeous 10. Babylon Zoo - Spaceman 11. Backstreet Boys - Get Down (You're The One For Me) 12. Backstreet Boys - I'll Never Break Your Heart 13. Backstreet Boys - We've Got It Goin' On 14. Baddiel, Skinner & Lightning Seeds - Three Lions 15. Blackstreet - No Diggity 16. Blümchen - Kleiner Satellit (Piep, Piep) 17. Blur - Charmless Man 18. Bon Jovi - These Days 19. Boris - Soirée Disco 20. Boyzone - Words 21. Bryan Adams - The Only Thing That Looks Good On Me Is You 22. Carrapicho - Tic, tic tac 23. Céline Dion - Because You Loved Me 24. Céline Dion - Falling Into You 25. Céline Dion - It's All Coming Back to Me Now 26. Die Toten Hosen - Zehn kleine Jägermeister 27. Elio e le Storie Tese - La Terra dei Cachi 28. Ella Baila Sola - Lo Echamos A Suertes 29. Eric Clapton - Change The World 30. Eros Ramazzotti - Più Bella Cosa 31. Foo Fighters - Big Me 32. Fools Garden - Lemon Tree 33. Fugees - Killing Me Softly With His Song 34. Gala - Freed from desire 35. Garbage - Stupid Girl 36. Gary Barlow - Forever Love 37. George Michael - Fastlove 38. George Michael - Jesus to a Child 39. George Michael - Spinning The Wheel 40. Gin Blossoms - Til I Hear It From You 41. Gina G - Ooh Aah... Just a Little Bit 42. Gloria Estefan - Reach 43. Jamiroquai - Virtual Insanity 44. Jewel - Who Will Save Your Soul 45. Joan Osborne - One Of Us 46. Journey - When You Love a Woman 47. Khaled - Aicha 48. La Unión - Negrita 49. Lighthouse Family - Lifted 50. Los del Río - Macarena 51. Los Rodríguez - Mucho Mejor 52. Madonna - Don't Cry For Me Argentina 53. Madonna - You Must Love Me 54. Mariah Carey - Always Be My Baby 55. Marilyn Manson - The Beautiful People 56. Mark Knopfler - Darling Pretty 57. Mark Owen - Child 58. Metallica - Mama Said 59. Metallica - Until It Sleeps 60. Michael Jackson - Stranger In Moscow 61. Michael Jackson - They Don’t Care About Us 62. Midge Ure - Breathe 63. Mr. President - Coco Jambo 64. Neneh Cherry - Woman 65. No Doubt - Don't Speak 66. No Doubt - Just A Girl 67. No Doubt - Spiderwebs 68. No Mercy - Where Do You Go 69. Oasis - Champagne Supernova 70. Oasis - Don't Look Back In Anger 71. Ocean Colour Scene - The Day We Caught The Train 72. OMC - How Bizarre 73. Ophélie Winter - Dieu m'a Donné la Foi 74. Pet Shop Boys - Se A Vida E (That's The Way Life Is) 75. Peter Andre - Mysterious Girl 76. Phil Collins - Dance Into The Light 77. Quad City DJ’s - C'mon N' Ride It (The Train) 78. R.E.M. - Bittersweet Me 79. Red Hot Chili Peppers - Aeroplane 80. Robert Miles - Children 81. Robert Miles & Maria Nayler - One & One 82. Sheryl Crow - If It Makes You Happy 83. Spice Girls - Say You'll Be There 84. Spice Girls - Wannabe 85. Sting - Let Your Soul Be Your Pilot 86. Take That - How Deep Is Your Love 87. The Beautiful South - Rotterdam (Or Anywhere) 88. The Cranberries - Salvation 89. The Kelly Family - I Can't Help Myself 90. The Smashing Pumpkins - 1979 91. The Smashing Pumpkins - Tonight, Tonight 92. Tic Tac Toe - Verpiss' Dich 93. Toni Braxton - Un-Break My Heart 94. Tracy Chapman - Give Me One Reason 95. Underworld - Born Slippy 96. Whitney Houston - Step By Step Related Hashtags: #best1996playlist #greatest1996nonstop #mix1996compilation #listof1996lyrics #top1996nonstop #bestjukebox1996playlist #late1996uk #late1996nonstop #backtothe1996lyrics #best1996list #top1996bollywood #late1996romantic #top1996mix https://www.youtube.com/watch?v=KvRTVOcRSzo

[asksabhaniblog]

EVOLUTION OF WOMEN IN CINEMA

(Seema Faruqi)

Bindu scandalises Asha Parekh in a song from the film Kati Patang (1970)-IMAGE01 A typ­i­cal Bollywood film fea­tures an al­pha male who is most­ly do­ing the right thing, can sing, dance, fight the bad­dies (some­times si­mul­ta­ne­ous­ly) and usu­al­ly gets the girl in the end. It is the last part of this def­i­ni­tion that has changed re­cent­ly in Bollywood films where get­ting the man (or not) where the her­oine is con­cerned, doesn’t ham­per the chan­ces of the film’s suc­cess. With gut­sy mov­ies like Highway and Queen, Bollywood has com­ple­ted 100 years of film­mak­ing as well as 100 years of wom­an-in-films. A trip down the mem­o­ry lane re­veals how wom­en evolved in Bollywood, and at times, out­shone the men in the proc­ess.

In the be­gin­ning, there were noneWhen Dada Saheb Phalke pro­duced the first ev­er Bollywood film Raja Harischandra (1913), his big­gest ob­sta­cle was the un­avail­a­bil­i­ty of fe­male ac­tress­es. Not on­ly did he have to make male ac­tor Anna Salunke dress up as a wom­an, it was such roles that got Salunke his rec­og­ni­tion. Four years lat­er, he be­came the first ac­tor to play a dou­ble role in Bollywood — both the hero and the her­oine in Lanka Dahan. All in all, he played the fe­male lead in five films.

The sassy Helen in the film Caravan (1971) song, Piya tu ab to aaja-IMAGE03

Then en­tered the 14-year old thes­pi­an Kamlabai Gokhale, who was fea­tured in Dada Saheb Phalke’s Mohini Bhasmasur (1913), in which her moth­er Durgabai Kamat played the char­ac­ter of Parvati. These two wom­en were the pio­neer fe­male ac­tress­es in Bollywood and al­though they were a stop-gap at first (their the­a­tre com­pa­ny was clos­ing for six months) they sow­ed in a seed that is still bear­ing fruit. Kamlabai be­came a ce­leb­ri­ty even be­fore she turned 16, and con­tin­ued to work in films till 1980.

Goray rang ka za­ma­na

In the 1920s, cin­e­ma in the sub­con­ti­nent was in its de­vel­op­ing stage, so no lo­cal fam­i­ly was al­low­ing their daugh­ters to act in films. The pro­duc­ers’ prob­lems were solved by trav­el­ling for­eign­ers or the many Baghdadi-Jewish and Anglo-Indian fe­males who had no qualms about be­ing fea­tured in a film.Since those were the days of si­lent films, pro­duc­ers pre­fer­red looks over ev­ery­thing else and searched for gori miss (white lady) and/or hou­ris (fair­ies) from para­dise — a prac­tice that was re­pea­ted in Dhoom 3!Some changed their names and some, like Patience Cooper, didn’t. Ruby Meyers be­came Sulochana, Renee Smith changed her name to Seeta Devi, Susan Solomon be­came Firoza Begum, Iris Gasper was (re)named Sabita Devi, Effie Hippolet changed her name to Indira Devi, Bonnie Bird be­came Lalita Devi, Winnie Stewart was re­chris­tened Manorama and Beryl Claessen be­came Madhuri (yes, this one was the orig­i­nal one!). Even Italian ac­tress Signora Minelli ac­ted in one of the films op­po­site Esther Abrahams aka Pamilla in Madan Theatres’ Pati Bakhti (1922).

The ad­vent of Bharti nari

Durga Khote may be re­mem­bered as Jodhabai in Mughal-i-Azam but her big­gest ach­ieve­ment was be­ing the first high­ly edu­ca­ted, English-speak­ing Brahmin girl to break the ta­boo and en­ter films.She, along with her con­tem­po­rary Devika Rani (daugh­ter of no­ted Indian Surgeon General M.N. Chaudhry) came, saw and con­quered. They weren’t as beau­ti­ful as the gori maims but they fit­ted the char­ac­ters that were writ­ten with a Bharti nari in mind. They used their voi­ces to their ad­vant­age as they could speak dia­logues in Urdu/Hindu, which their pred­e­ces­sors couldn’t.Durga made her de­but through Ayodheycha Raja (1932) and Devika through Karma (1933) and from then on­wards, lo­cal wom­en were giv­en pref­er­ence as the love in­ter­est, the dam­sel in dis­tress or the wom­an be­hind the suc­cess­ful man!There were some ex­cep­tions as well. In the mid-30s, the Wadia Brothers gave India its first khi­la­di and trust me; she wasn’t a bhayya-like Akshay Kumar.She went by the name Fearless Nadia (re­al name Mary Ann Evans) and was the orig­i­nal ac­tion wom­an of Bollywood. She per­formed in a cir­cus be­fore join­ing films and was one of the first ar­tists in India to per­form their own stunts. Her mov­ie Hunterwali re­mains one of the best films pro­duced by Bollywood dur­ing that era.

Evolution of wom­en in Bollywood

From the 1940s to the ear­ly 1970s, wom­en were trea­ted in Bollywood with ex­treme care.

They didn’t kiss open­ly (ex­cept for few like Devika Rani who kissed her hus­band Himanshu Rai in her de­but flick), didn’t wear bi­ki­nis (that was be­fore Sharmila Tagore did so in An Evening in Paris in 1967 or Dimple Kapadia in Bobby in 1973) or do any­thing sin­is­ter since it was the job of the vamp to do that.As good ba­hus, the her­oines were well-versed in bha­jans, looked beau­ti­ful 24x7 and re­solved the prob­lems of the house (or the en­tire vil­lage) de­pend­ing on the sce­nar­io.Premarital sex was a no-no (un­til Sharmila Tagore had a con­sen­su­al li­ai­son in Aradhana) and all those wom­en who did bad things were ei­ther vamps, pros­ti­tutes or ta­waif i.e. cour­te­sans.Mothers were used as sup­port­ing char­ac­ters and they al­most in­var­i­a­bly loved sew­ing clothes so that her son could study and ac­quire a re­spect­a­ble job, where­as the bha­bi kept the house­hold in check and was termed as maa sa­maan in pla­ces where the moth­er was dead.

Mere Paas Maa Hai!

The moth­er did have im­por­tant roles in Bollywood — be it in Mother India (1959) or K. Asif’s mag­num opus Mughal-i-Azam where Shahenshah Akbar (Prithviraj Kapoor) roared ‘Aap maa hain, sirf maa!’However, dur­ing the ’70s, it was Nirupa Roy’s moth­er roles that hel­ped maa be­come the cen­tre of the fil­mi uni­verse — be it Deewar, Trishul, Suhaag, Amar Akbar Anthony to name a few, what­ev­er maa said, hap­pened. In Karz, Durga Khote played the maa who asked the ‘high­er maa’ to send back her dead son (Raj Kiran), and he was re­in­car­na­ted as Rishi Kapoor — no­body says no to a griev­ing moth­er!Who can for­get Shashi Kapoor’s icon­ic re­ply in Deewar when asked by broth­er Amitabh Bachchan “Tumhare paas kya hai?” to which he re­plies “Mere paas maa hai!”

Then there was the ‘oth­er’ wom­an!

Shashi Kala, Helen, Bindu — what comes to mind when you hear their names? Plotting the down­fall of the pro­tag­o­nist, the good ba­hu or some evil deed that will change the course of the film, of course!

Shabana Azmi in Arth They even had songs filmed on them, al­though they usu­al­ly met their fate by the end of the mov­ie. They were dressed in sexy out­fits as per their era (sleeve­less sa­ris in the ’60s, west­ern out­fits in the ’70s and any of the two since the ’80s and be­yond). After Kajol’s suc­cess­ful at­tempt at do­ing the neg­a­tive role in Gupt, lead­ing la­dies in­clud­ing Priyanka Chopra in Aiteraaz, Kareena Kapoor in Fida and Urmila Matondkar in the re­make of Karz, ex­cel­led in roles of a vamp – some even went on­to bag the Filmfare Award for their per­form­an­ces. Had there been a Best Villain Award in the ’50s, the leg­en­dary Waheeda Rehman would sure­ly have bag­ged one for her neg­a­tive role in Raj Khosla’s CID, her de­but film.

Older the in­dus­try, bold­er the roles

Big, bold and beau­ti­ful

People say that Mehboob Khan’s Mother India (1957) changed it all for Bollywood, but it was in fact its ear­li­er ver­sion —Aurat (1940) by the same di­rec­tor that did the trick.The her­oine in both ver­sions Radha — Sardar Akhtar in Aurat, Nargis in Mother India — do what is best for the fam­i­ly and come out un­scath­ed as the quin­tes­sen­tial moth­er. Similarly, films such as Khilona, Insaaf ka Tarazu, Arth and Masoom saw ac­tress­es don the role of the hero and give the per­form­an­ces of a life­time.In Khilona (1970), it was Mumtaz who played a cour­te­san who was tak­en ad­vant­age of (in a fit of mad­ness) by the very man she was nurs­ing; Insaaf ka Tarazu (1980) was about rape vic­tims and their plight, Arth (1982) and Masoom (1983) had Shabana Azmi play­ing a wife who feels cheat­ed in dif­fer­ent as­pects.Till the 1990s, wom­en used to play tor­men­ted souls in films and Juhi Chawla’s Kiran in Darr (1993) was one such ex­am­ple. While some like Hema Malini (Seeta aur Geeta) showed the world that wom­en can fight, some like Sridevi set the stage on fire with their sen­su­ous dan­ces (Kaatay na­hin kat tay from Mr. India).There were a few who came and went af­ter play­ing their re­spec­tive in­nings. Be it Tina Munim (now Mrs. Anil Ambani), Jaya Pradha (now a pol­i­ti­cian and oc­ca­sion­al ac­tress), Manisha Koirala (now gone from the scene) or Shilpa Shetty (now co-own­er of an IPL team), they played their cards right when they had the chance, but didn’t go for our of the box roles.

Except for maybe Ashwariya Rai (now Mrs. Abhishek Bachchan) who played a strong wom­an who went back to her lov­er af­ter get­ting mar­ried in Hum Dil De Chuke Sanam (1999), or a wom­an who de­ceived his for­mer fiancé in Raincoat (2004).

It took a brave at­tempt like Deepa Mehta’s Fire (1996) which hel­ped Bollywood step up and de­liv­er. In the mov­ie, Shabana Azmi (again) and Nandita Das played mar­ried wom­en who be­come in­ti­mate­ly in­volved with each oth­er af­ter be­ing ne­glec­ted by their re­spec­tive spou­ses. The film was criti­cised for its theme but is con­sid­ered icon­ic when it comes to wom­en-ori­en­ted films. On a light­er note, ac­tor Biswajeet is still re­mem­bered for the con­tro­ver­sy sur­round­ing the Kajra Mohabbat Wala song in Kismat (1968) where he dressed as a fe­male, on­ly to be dub­bed as ‘bet­ter-look­ing than his male ver­sion’ by the press!

Highway & Queen push the men away

Emancipation

The ’90s and be­yond saw Madhuri Dixit (Ilzaam, Mrityudand, Gaja Gamini and Lajja), Juhi Chawla (Darrar) and Karishma Kapoor (Fiza) play cen­tral roles in quite a num­ber of films; but they were more pop­u­lar for their non-hero­ic roles. All that changed in 2014 — ex­act­ly 101 years af­ter Bollywood came in­to be­ing. Two di­rec­tors — Imtiaz Ali (Highway) and Vikas Bahl (Queen) as­toun­ded all by do­ing the un­im­a­gin­a­ble. Imtiaz Ali’s film fea­tured one-film old Ali Bhatt who took the view­ers by sur­prise since she gave the per­form­ance of a life­time. Not on­ly was she con­vinc­ing as the dam­sel-in-dis­tress in the first half, she rocked as the girl who trans­formed the bad guy in­to a good one, and al­so faced the man who vio­la­ted her when she was young.

A fort­night lat­er, Queen pro­vi­ded Kangana Ranaut a chance to break away from reg­u­lar roles, and she ex­cel­led as the girl from a con­ser­va­tive fam­i­ly who goes on her Honeymoon alone, and re­turns as a free wom­an. Both the ac­tress­es set the bar high with their in­cred­i­ble per­form­an­ces and it will be tough for oth­ers to fol­low now. There are many ac­tress­es with the ca­pa­bil­i­ty to do out-of-the-box roles but they re­al­ize their po­ten­tial on­ly when young­er ac­tress­es have tak­en their place.

Waheeda Rehman plays the  vamp in CID-IMAGE04

The wom­en in Bollywood are evolv­ing at the mo­ment, and at 100, they have giv­en hun­dreds of per­form­an­ces that have made Bollywood what it is to­day. Yes they ha­ven’t made an ‘ex­clu­sive’ en­try in the 100-crore club but if di­rec­tors like Sanjay Leela Bhansali, Imtiaz Ali and oth­ers con­tin­ue to make wom­en-cen­tric films, who knows the 100-crore club might be in their reach.

[jimmyherry-blog]

Reviews of 5 Bollywood hit songs

Bollywood songs are famous in the whole world and due to their world wide appeal they gey loved by one and all in different parts around the world. Here are reviews of 5 Bollywood hit songs Upcoming Bollywood celebrity movies list -

- Music Directors Jaidev-Kumaar has done a very good music direction for the one of its kind Bollywood movie “Bajatey Raho”. Jaidev is already known for his contribution in Punjabi Music industry. Lyrics were written by Kummar. The item number used in the movie has attracted the music lovers. The Nagin Dance Remix used for the item number has got beats and rhythm and will definitely become one of the most popular party song or club number. The title track of this movie is a hip hop and rap and the combination has made it a unique one. The lyrics are absolutely doing justice to the situation. Another song “Khurfati Ankiyan” along with the “Nagin Dance” is sure to hit the road once the movie gets released this Friday. The rating for the songs is 3 out of 5.

- Zinda, a track from the movie “Bhaag Milkha Bhaag” is already a hit. The lyrics are written by Prasoon Joshi and the song showcase how a protagonist grows up as an athlete. The song is sung by Siddharth Mahadevan and the way it has been sung will definitely compel people to listen it repeatedly. The use of guitar riffs in this song has made it breathtaking and thrilling and the music touches our soul. The music of this movie is directed by Shankar-Ehsaan-Loy and it is definitely a comeback movie for this trio. The other songs of this movie will also hit the road because of their lyrics and soothing music. The son “zinda” is the debut song for Siddharth Mahadevan, son of Shankar Mahadevan. This song has already made its own signature and has enough to make you feel for your motherland. The singer has superb voice and lyrics are inspirational. The music gets a rating of 3 out of 5.

- With Pritam all ready to make his mark as one of the best music directors, the music done for “Once Upon a time in Mumbai” will not disappoint the listeners. The song “Ye Tune Kya Kiya” has topped the chart and has won the hearts’ of music lovers since first day. To choose Javed Bashir for this sufi-qawwali music genre, Pritam has taken the right decision. The lyrics are written by Rajat Arora and they are perfect to make you feel both love and pain. Pritam had also done the music composition for the original movie “Once Upon a time in Mumbai” last year. All the songs of this movie are melodious and are going to remain as chart toppers for many days. This composition by Pritam showcase his class is addictive and classy. The music gets a rating of 3 out of 5.

- The movie “Chennai Express” directed by Rohit Shetty starring Shahrukh Khan and Deepika Padukne has music composer Visha-Sekhar and Amitabh Bhattacharya as the lyricist. The movie has six originals, a dub-step up version and a mesh up. “1234 Get on the Dance Floor” is already getting like by the music lovers. The song has Tamil Flavor. The song is sung by Vishal Dadlani and Hamsika Iyer. The song is addictive and would be liked by many but if overall composition has to be considered, it has become a bit noisy as many instruments are used in this. The song Titli has more Tamil flavor with few Tamil vocals sung by Chinmayi Sripaada. Malayalam singer and composer Gopi Sunder has also sung this song very well. This song touches the heart for its melodious tunes.

- Aashiqui 2 is the sequel of Ashiqui which was released in 1990. The original movie had some of the hit soundtracks and a lot is expected out of this sequel. All the 11 songs in this movie are original and there are no remixes. Jeet Ganguly is the main music composer and the other two are Ankit Tiwari and Mithoon. The song “Tum Hi Ho” sung by Arijit Singh is a song that one can listen for the life time. This song is one of the best songs of the movie. The song is dripping with melody is bound to touch your soul when you listen it. Use of piano, strings and beats are done very effectively in this song. The song is just the right one to create a romantic atmosphere and singer Arijit Singh has done his work remarkably. You can get Upcoming Bollywood celebrity movies list and Bollywood Gossip News Today. You will be amazed after checking out or site as it has all you are in search of.

[missizzy]

New Fic: The StarkPhone(Guardians of the Galaxy/Avengers)

It’s not even the fanciest thing Pepper Potts-Stark gifted Peter with. But the laptop computer actually came with the StarkPhone, since for the moment he needs it to update the device’s contents, until they can figure out how to hook it up to the ship’s computer. Although Bruce Banner’s already done further work trying to get it to work as a proper communication device in space. Plenty of people, including Nebula, have told him that Tony Stark would’ve managed all that no problem. At least he did set it up to make charging both phone and laptop with a power cell very easy. Peter’s pretty sure once he gets it to Shurlee, the exotic devices specialist can figure out the rest.

Between them they’ve got some impressive programs and games, what’s state of the art for most of Earth besides Wakanda, which is apparently hopelessly more advanced over the rest of the planet. But of course the main purpose is the music. Peter’s going to keep the Zune as well, if only as a reminder of Yondu, but the sheer amount of stuff this device can hold means it has to be his primary music repository. And it’s got a lot on it already. Potts-Stark made sure of that before she gave it to him.

The playlists are numbered, putting the songs from his original tapes and the Zune on top of the screen. Right after them come the playlists put together by Earth’s various superheroes for the Guardians of the Galaxy to remember them by.

Except Tony Stark hadn’t lived to do his, of course, so his wife and old bodyguard had put it together. It’s mostly “classic rock,” loud rock music from roughly his mother’s era, the stuff he thinks she liked only in smaller amounts, if that. The sort of stuff Rocket loves, and this stuff he’s had time to hear, too. Groot will probably soon grow to love it too-that’s something he’s vaguely worried about.

Peter expected Steve Rogers’s playlist to be mostly from the 30s and 40s. And about half of it is. But the other half is more modern. Some of it was very obviously introduced to him by those born more recently. Including Rocket. It was probably him who introduced Steve to Madeleine Quill’s favorites, and “Ain’t No Mountain High Enough” and “Ooh Child” both made his list. It’s a strange, surreal feeling, imagining Captain America-heck, he was still wrapping his head around him having shown up in the modern day-listening to those songs and thinking of them as ones she’d loved first. As part of her, and as part of Peter himself.

Of course, his fondness for Marvin Gaye must have also come from Sam Wilson; the latter’s playlist is indication enough of that. Peter’s never much classified his home planet’s songs by their artists; even with the Zune, there were too many of them where he only had one song by them. But Sam’s one of those that favors enough particular names it makes Peter curious about them. He might even ask Nebula or Thor what they know about them.

It’s Bucky Barnes’ playlist that’s mostly music from the 40s. It’s one of the shorter ones. What modern music he has is mostly from Wakanda. That really is unlike anything else produced on Earth. Thor has pointed out some aspects of it that he’s heard in other pieces of music from Africa, but also sounds and effects made by technology the rest of the planet is still getting introduced to, and is only just now finding use in the music of other countries. Some of it reminds him of the overhead music in commercial complexes and seedy bars and occasionally markets out in space, even though it's not all that like it in tone or style, because he can't help but hear the technology. Peter’s not sure how he feels about that kind of music coming from Earth.

Thor, of course, brought all his favorite music on board himself. But he added a playlist to Peter’s phone too, with contributions from his various other friends. That one’s mostly extra-terrestrial, and the majority of it consists of albums of traditional Asgardian pieces, recorded by the surviving Asgardians to fund the building of New Asgard. Apparently those are still making them plenty of money. There’s a good chance Peter won’t ever listen to this playlist all the way through, honestly, at least not on his own. Thor will probably play it all on the ship’s system enough for anyone.

Natasha Romanov’s is the shortest. Her friends did the best they could, putting anything on it they knew she liked, but so much of even that died with her. It’s mostly classical music, plus recordings of the Russian songs Clint Barton heard her sing to his youngest kid. Also two pop hits from the last five years. They’re neither of them directly about what happened, but they’re both about loss.

Peter hasn’t fully looked through Barton’s playlist. He’s listened to a few songs unique to it, and that put him off the rest. His mother warned him off country.

The one playlist he has listened all the way through already is from the other Peter. Peter Parker is the one who at least knew what was hot five years ago, and in between their all coming back to life and the loading on this StarkPhone, he even had time to hear and approve of two more recent hits, both of them a bit more cheerful than Romanov’s. Probably much of it is what Madeleine Quill would’ve listened to and loved and shared with her son had she been born thirty years later. Except maybe Peter Quill is finally getting old and ornery, because a lot of it leaves him cold, and he’s not even sure why. It just doesn’t seem to have the soul that the older music does, or at least, he can’t feel it.

Stephen Strange’s playlist has the fewest songs on it, five fewer than Romanov’s. Timewise it’s much longer, though, because it’s entirely classical. With some instrumental Asian music, much of which is also on the long side. Peter has to wonder if it even truly reflects his musical tastes, or if he’s just posing. But at least Nebula likes the half she’s listened to so far.

Bruce Banner’s playlist starts with a song somebody recorded about him. It’s called “The Green Guy and the Sky” and it’s one of the weirdest things Peter’s ever heard, and he’s heard Brae’Taro Chant. The rest of it’s more varied, with some Indian/Bollywood stuff that’s great for dancing to. But there’s also a lot of “relaxing” music that Peter personally thinks “boring” would be a better term for.

James Rhodes’ playlist has a good deal of the exact kind of disco music his mother always spoke disparaging of. Luckily Peter himself really isn’t picky about good dance music. Some of Stark’s classic rock favorites as well. She really would cringe. But it’s also got no less than six of her own favorites as well. Also the Star Wars theme, which Peter would have loved him for in any case. And another piece from the prequels called “Duel of the Fates,” but that one is just making Peter dread his inevitable watching of said prequels. All the Star Wars movies which have been made so far are on the laptop, and he hasn’t watched the newer ones yet, but he knows he must sooner or later.

Carol Danvers’ playlist starts with “Off We Go Into the Wild Blue Yonder,” which makes Peter laugh. Especially since aside from that, and some 90s songs that Peter suspects were more the favorites of her adopted daughter/niece, and one song with Carlos Santana called “Maria Maria,” it’s actually mostly extra-terrestrial music. Some of which everyone who’s been in space has heard, and some of which doesn’t even seemed to be commercially released; there’s weird instrumental stuff that Peter suspects to be Skrull music.

Some of the playlists are joint playlists. One of those is Wanda Maximoff’s, with a note that it included what favorites Vision had as well. This one, too, is more recent pop music, in this case tending more towards the 1990s, and what Thor has identified as “Europop” and “Eurodance.” (Peter's not sure the Asgardian actually knows the difference.) In other words, obviously the stuff she listened to as a kid, before her parents got killed. Maybe with ones her brother liked mixed in. That’s really sad, if Peter thinks about it. So he doesn’t. He just dances, because the music begs for it.

T’Challa and Shuri also sent a joint playlist, which multiple people have told him was probably mostly her. It’s possible Okoye contributed as well. (“She’d never admit it, though,” Rocket noted.) Obviously that one’s heavily Wakanda, and Peter wonders if it’s more a cross-section of the country’s musical history. There’s also a selection of Kendrick Lamar. Apparently he put out an album a couple of years back that made heavy use of Wakandan music tropes and is generally considered to be the best job anyone outside of Wakanda has done with that so far. But the playlist has only one song from that, which of course the King and his sister would’ve only recently heard. The rest of it’s older. If Peter ever sees them again, he’s going to have to ask who was responsible for the Lamar. He’s not even sure why he’s so curious; he just is.

Rocket and Nebula also made a playlist for the phone, even though they too brought what music they’ve become fond of with them. As well as the classic rock Stark introduced him to, Rocket’s got the stuff he no doubt loves even more: the really hard rock, of the guys screaming into their microphones. Not stuff Peter finds at all appealing for the most part, though he’s developed a weird weak spot for the Beastie Boys’ “Intergalactic.” It’s got a good beat.

Still, he kind of really wishes he and Nebula had done separate playlists, to make it easy to listen to just hers. That the playlist is entirely Earth music doesn’t keep her selections (or at least the ones that definitely aren’t Rocket’s) from being the most broad and interesting. If there’s any specific preferences she shows, it may, oddly enough, be for Asian pop. He wonders how many of Earth’s languages she’s learned; he knows she learned Chinese. But there’s plenty of stuff in English too, some of it in genres Peter’s never heard of. He thinks he might like the song that describes itself as “dream pop” way more than makes sense for him.

Of course, that might be out of the feeling he has that Gamora would’ve liked it. Though the playlists by the various Avengers are followed by seven playlists, apparently compiled as a group effort with Thor’s spurring it on, because he wanted to give each of his new crewmates some music they’d like, and also his possible future crewmate-to be. Peter hasn’t listened through any of those. He especially doesn’t want to touch the one meant for Gamora.

He is, of course, an optimistic man. And because he’s an optimistic man, he is very confident that they will, sooner or later, find the Gamora now wandering around this universe, he is hopeful that she will ultimately decide to at least try the life the original version of her had been happy in for four years, and he is even thinking of ways to convince her to choose the same long-term booty call she had last time around, even if there is now an Asgardian available.

But he knows she won’t be who she was. She hasn’t had any of the experiences that helped reshape the Gamora he knew and loved, not even breaking out of the prison with them. And when it comes to finding her tastes in things like music again, she may not at all like the same music she did before.

He grieves for that Gamora, is sometimes still consumed by rage at her father for what he did to her, and at the universe for letting him, for being that devoid of justice that it would let that happen. Sometimes he thinks that when they find the new Gamora, he’ll suggest she listen through the songs; he thinks she might agree to, if only out of curiosity. Other times he can’t stand the thought of anyone listening through it, even her.

Of the others, only Mantis has listened through hers so far, sitting through the whole thing with a rather confused look on her face. Peter doesn’t expect Drax will ever listen to his, but he figures the others will sooner or later.

Himself included. They made the longest of all the playlists for him. He’s glanced over the songlist, which didn’t tell him as much as it might have had he lived on Earth more recently, but at least he knows all the artists that had a song in either the cassettes or the Zune. Some of them, he’s glad to have more of them. Others, not so much. He’s started to seriously wish he’d figured out how to delete that stupid song about the dragon.

Truth is, it still stuns him, that these people who don’t really know him, who probably got a less than flattering picture of him from Rocket, went to all this trouble. Hell, there’s an argument they should still be mad at him for losing his head the way he had on Titan. (His Gamora would’ve had some pretty choice words for him over that.) “It’s for a fellow Avenger,” Rocket explained to him when he said so. “They’ll adopt you into the group whether you even like it or not,” and Nebula nodded her agreement.

So even if he doesn’t like every song they’ve loaded onto that StarkPhone, Peter is still happy every time he looks at it. He’s always wanted to belong to groups more than he’d admit.

Besides, multiple playlists on it contain “Old Town Road.” Whatever he thinks about the pair of genres it belongs to in general, that’s definitely his new favorite song.

[gethealthy18-blog]

Dil Se, Dil Tak: 11 Bollywood Dialogues That Pulled At Our Heartstrings & Gave Us Life Lessons

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Dil Se, Dil Tak: 11 Bollywood Dialogues That Pulled At Our Heartstrings & Gave Us Life Lessons

Chaitra Krishnan Hyderabd040-395603080 September 25, 2019

Bollywood is going through one of its worst times today — item dances and stardom are ruling over everything. In fact, there are only a few original scripts that are doing well at the box office. The rest of the stories come from regional and foreign movies or from real-life stories and biopics. It’s almost like Bollywood has lost all of its talented writers who once gave us strong and memorable scripts. No, we’re not talking about the black and white era or the 1990s. There are some good movies that were made in the past two decades that have cemented themselves in our hearts.

Each of these movies owe their success to a perfect combination of good direction, good acting, and good cinematography. But the star of the show was always the script. Movies without a good script are like empty vessels that are shiny only on the outside. To prove our point, we bring to you a few dialogues that touched our hearts and gave us major life lessons.

1. “Main apni favorite hoon”- Jab We Met

Yes, you should be your own favorite person and definitely love yourself. Geet did right in reminding us something that we all forget often!

2. “All Is Well”- 3 Idiots

via GIPHY

This movie told you that life is not going to be easy. It’s a mixture of ups and downs and you already know it. There will come a time when you feel that your whole world is crumbling and you don’t have a shoulder to cry on. This is when you should remind yourself that everything is going to be fine.

3. “Main udna chahta hoon, daudna chahta hoon, girna bhi chahta hoon, bas rukna nahi chahta” – Yeh Jawani Hai Deewani

Even though Bunny took it a little too far, his theory holds good (which he realizes later). While you dream and aspire to achieve goals, you are bound to fall at times. However, giving up should never be an option. No matter how bad you fail at something, you should always find it within yourself to move on. Because, life never stops — it keeps going.

4. “Ek baar ek hero tha, usne bahot padhai ki, engineering ki, aur phir usne naukri ki. Aur phir woh yun hi naukri karte karte marr gaya. Kya hua? Pasand nahi aayi ending? Toh badal do.”- Tamasha

Have you ever been forced to do something in life that you never wanted to do? Did you land up sacrificing a large chunk of your soul for that? If the answer is yes, then you’d connect with this dialogue. Ranbir Kapoor’s acting, in combination with this brilliant script, made this one of the best scenes Bollywood ever had.

5. “Vijay Nahi Toh Kya Vijaylakshmi Toh Hai”- Queen

Rani’s friend Vijaylakshmi reminds her that as long as you have friends, it’s okay to not have your boyfriend. This is one of the most heartwarming scenes of this movie and we love it! Don’t we all want a friend like Vijaylakshmi?

6. “Khuda ki raah mohabbat ki raah hai”- My Name is Khan

via GIPHY

Rizwan Khan, in My Name is Khan, says that the path shown by God is that of love and not of hatred and war. This dialogue fits in a scene where he prevents a group of Muslim youth from getting brainwashed by a respectable man (only on the outside) trying to provoke them in the name of religion. This is something that we need to remember — no religion preaches violence. God always wants you to love and be loved.

7. “Kyu sach ka sabak sikhaye, jab sach sunn bhi na paye. Sach koi bole toh tu niyam kanoon bataye.”- Rockstar

This is a line from sadda haq aithe rakh, one of the most popular songs in this movie. We’ve always been taught to learn, believe, and do right things. But when we grow up, we learn that it was mere preaching and all the society actually knows is faking words and making boundaries.

8. “Rona, gussa, nafrat, kuch bhi khulke express karne nahi diya. Ab pyaar kaise express karein?”- Dear Zindagi

via GIPHY

Dear Zindagi is a story of a troubled girl who finds her way to self-love. Kaira, the character played by Alia Bhatt, asks if nobody let you express your negative feelings since childhood, how would you ever know how to express love? Our life is a mixture of both negative and positive feelings, and we should learn to accept them as they are instead of living in denial.

9. “Ajeeb baat hai. Kidnap ho gayi, par wahan azaad thi”- Highway

This Imtiaz Ali movie teaches us the value of true freedom. Veera never felt safe in her own house where everyone was bothered only about their reputation, even when she was raped as a child. She goes on to discover real freedom and moves towards a meaningful life after she gets kidnapped by Mahabir.

10. “Barfi adhoora tha, par uska pyar poora tha”- Barfi!

Shruti’s mother talks her out of marrying Barfi, who was hearing- and speech- impaired. Later, she marries a wealthy man, only to regret leaving Barfi, who knew how to love unconditionally, unlike her husband.

11. “Kuch aur paane ki chaah, kuch aur behtar ki talaash … isi chakkar mein insaan apna sab kuch kho baithta hai joh uske paas hota hai … talaash kabhi khatam nahi hoti … waqt khatam ho jaata hai”- Life In A Metro

shruti_writes / Instagram

We always run towards the things that we want to achieve, often forgetting what we have in our hands already and how precious they are. And by the time you realize their value, you would have run out of time, just like the character Amol, played by Dharmendra in this beautiful movie.

Sadly, we don’t get such dialogues and movies anymore (except for once in a blue moon). But let’s not give up our hopes. Which is your favorite Bollywood dialogue and why? Let us know in the comments below.

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[bollywoodproduct]

Lyrics Mujh Se Juda Ho Kar

Lyrics Mujh Se Juda Ho Kar

Lyrics in English | Mujh Se Juda Ho Kar | Hum Aapke Hain koun (1994) | Salman Khan, Madhuri Dixit Mujh Se Juda Ho KarTumhe Door Jaana HaiMujh Se Juda Ho KarTumhe Door Jaana HaiPal Bhar Ki JudaayiPhir Laut Aana Hai SaathiyaanSang RahegaTera PyarSaathiyaanRang LaayegaIntzaarHey Hey Hey Hey (3)……….. Salman Khan and S P Balasubrahmanyam Songs Tum Se Juda Ho KarMujhe Door Jaana HaiTum Se Juda Ho…

[celebsbooks]

Sonu Nigam is an Indian Singer, Actor and TV Anchor. He was conceived on 30 July 1973 in Faridabad, Haryana, India. Sonu Nigam works in Bollywood Film Industry. He Has Also sung in Bengali, Gujarati, Telugu, Tamil, Marathi, Tulu, Assamese, Odia, Nepali, Maithili and different Indian Language film melodies. He built up himself as the main and Commercial effective Singer of India. Sonu Nigam Net Worth is $8 million and His Salary 7-8 Lakh Rupee for every melody. Sonu Nigam Film Song Debut Bewafa Sanam (1990, Bollywood) and Album Debut Rafi Ki Yaadein Vol 10-20 (1993). He made his on-screen lead part Hindi Movie Jaani Dushman: Ek Anokhi Kahani (2002).

Sonu Nigam

 Sonu Nigam Age 45 Years Old, He conceived in Faridabad, Haryana, India. His Father is a Singer named, Agam Kumar Nigam and His mom Shobha Nigam. He has two more youthful sisters Meenal and Neekita. Sonu Nigam is moved on from University of Delhi, New Delhi. Sonu Nigam Married to Madhurima Nigam and they have one child Nevaan. He is Hindu by Religion, Sun Sign Leo and Nationality Indian. Nigam is a sub-position of Kayastha, an upper-level Shudra of North India. 

Sonu Nigam Height 5 ft 7 in (170 cm) and Weight 65 Kg (143 lbs). His Body Measurements are 38-30-12 Inches. Sonu Nigam Chest Size 38 Inches, Waist Size 30 Inches and Biceps Size 12 Inches. He has Black Color Hair and Dark Brown Color Eye.

Sonu Nigam is an exceedingly acclaimed Indian playback vocalist whose melodies have been highlighted in various Bollywood and Kannada films. He has likewise discharged various Indi-pop collections and acted in a couple of Hindi component films. He as of late changed the spelling of his last name from 'Nigam' to 'Niigaam' as per numerology. 

Early Years⤵ 

Sonu Nigam started his singing vocation at three years old when he joined his dad in front of an audience to sing Mohammad Rafi's "Kya Hua Tera Wada". At that point on, he went with his dad on his singing assignments at weddings and gatherings. He moved to Mumbai with his dad to start his Bollywood singing vocation at 18 years old. 

His first film tune as a playback artist was in the motion picture, "Janum" (1990), which was never authoritatively discharged. He got a break as a playback vocalist in Gulshan Kumar's motion picture, "Aaja Meri Jaan". He at that point sang the melody, "Accha Sila Diya", for the collection, "Bewafa Sanam" (1995), which gave him the acknowledgment as a built-up playback artist. 

Melodic Education⤵ 

It is said that music keeps running in the veins of certain fortunate people. That is by all accounts the case with Sonu Nigam also. Sonu's dad, Agam Kumar Nigam used to perform in arrange appears. Little Sonu used to go with his dad to his shows and his enthusiasm for music developed from that point. When he was four years of age, he had a fit in one of the shows saying that he needed to sing. He sang the superhit tune of Mohammed Rafi "Kya Hua Tera Wada" of the motion picture "Murmur Kisi Se Kum Nahi". That was the start of what has ended up being one extraordinary melodic trip. 

Sonu's preparation started at home. He grew up taking in the subtleties of music from his dad. He took preparing of established music from Ustad Maha Kanjar Naveed in Delhi. His enthusiasm for music superseded each other intrigue and he sought after it with a resolute core interest. As a young person, he participated in various local and national music rivalries and won the vast majority of them. It was then that the possibility of turning into a popular playback vocalist in Bollywood jumped out at him. He chose to move to Mumbai when he was 18 and was joined by his dad. He proceeded with his melodic preparing while he was chasing for circumstances under the tutelage the amazing traditional music maestro Ustad Ghulam Mustafa Khan. 

Music, Sonu says, is a ceaseless adventure. One needs to put in a ton of his spirit into it and learn constantly. Keeping up quietude and regard is a key part of being a decent education and concentrate the greatest learning 

Profession⤵ 

Playback Singing⤵ 

Sonu got his first break for playback singing in a motion picture Janam in 1990 however shockingly the motion picture wasn't discharged. He put a considerable measure of confidence in the agreement from T-arrangement yet was disturbed when his tunes were dismissed for S. P. Balasubramaniam. Inspired by his ability, T-arrangement proprietor, Gulshan Kumar offered him a singing contract for his forthcoming venture 'Bewafa Sanam'. The tune 'Achha Sila Diya Tune' turned into a colossal hit and individuals began sitting up and pay heed to this skilled artist. 

He battled amid his underlying days in Mumbai as he was not getting numerous playback openings. He did some radio plugs. His principle wellspring of salary was from organizing appears as a Mohammed Rafi voice twofold. He likewise did some forgettable playback work in films like 'Aaja Meri Jaan' (1992), 'Shabnam' (1993), 'Aag' (1994), 'Khuddar' (1994), 'Hulchul' (1994), 'Double' (1994) and 'Slam Jaane' (1995). 

His profession took off when he sang consecutive hits like 'Sandese Aate Hain' in the 1997 film 'Outskirt' for which he won the Zee Cine Award. He rearranged among different melodic classes and styles with tunes like 'YehDil' in 'Pardes' (1999) toward one side and the title track of the 2004 film 'Kal Ho Na Ho' at the other. With time he turned into the most trial vocalist in Bollywood playback industry, taking up exceptional undertakings with all the best arrangers including A.R. Rahman in 'Sathiyaa'. Coordinated efforts with current arrangers like the Shankar-Ehsaan-Loy trio, for the melody 'Tanhayee' in the super fruitful 'Dil Chahta Hai', showed his stunning reach and adaptability. He caught the gathering of people's souls with his smooth sentimental versions of melodies like 'Suraj Hua Madhyam' from the motion picture 'Kabhi Khushi Kabhi Gham', or deep 'Dheere Jalna' from the film 'Paheli', both of which won him Zee Cine Awards for Best Playback Singer Male. 

At a certain point around 2010-2011, consistently Bollywood motion picture tune was sung by Sonu Nigam. He has worked with legends of Indian music like Lata Mangeshkar and Khayyam. He has incredible regard for contemporary artists like Sunidhi Chauhan, Shaan, Shreya Ghoshal and Kailash Kher. 

Aside from Hindi, he has had immense achievement in Kannada motion picture industry also. Till date, he has sung more than 600 melodies in the Kannada dialect. Tunes like 'Cheluve Yeke Bande' from 'Majnu', the title track from the film 'Monalisa' and 'Kannale' made by V. Ravichandran from the film 'Aham Premasmi', made much sensation and won him a few honors. 

Music Albums⤵

In 1992, he discharged a collection 'Rafi Ki Yaadein' comprising of fronts of well known Mohammed Rafi melodies. In 2007 he discharged another accumulation of Rafi tunes titled 'Kal Aaj Aur Kal' with over a 100 melodies in a six circle design. He likewise discharged the collection titled 'Rafi Resurrected', a two-plate gathering of Rafi tunes, in 2008. 

He discharged a few collections with unique melodies throughout the years. His collection titled 'Deewana' discharged in 1999 under T-arrangement's mark was an enormous achievement. His other unique collections like 'Jaan' and 'Chanda Ki Doli' were discharged in 2000 and 2005 individually. 

His other essential music collections were 'Traditionally Mild' in 2008 and 'The Music Room' in 2014 as a team with percussionist Bickram Ghosh. 

Author⤵ 

Sonu Nigam is moderately new in the part of a music author and has made music out of a few tracks in standard Bollywood films like, 'Singh Saab the Great' (2013), 'Jal' (2014), 'Glad Anniversary' (2016) and 'Tum Jo Mil Gaye Ho' (2016). 

Joint efforts⤵ 

His ability has pulled in a few cooperative works with famous music identities from everywhere throughout the world. After the demise of the incredible artist Michael Jackson, Sonu contributed a tune in the tribute collection 'The Beat of Our Hearts' which highlighted vocalists like Judith Hill, Mike Thompson, and Quincy Patrick. He sang at the Inauguration Ceremony of Harvard University's 28th President with the Harvard College Sangeet. In 2008 he visited the United Kindom with the City of Birmingham Symphony Orchestra (CBSO), singing Mohammed Rafi melodies which were later changed over into the collection, Rafi Resurrected. Sonu worked together with Britney Spears in 2011 Nigam on a remix of her track 'I Wanna Go'. In 2012 he highlighted in the melody 'Indian Levels' in a collection delivered by DJ Avicii. 

Acting⤵ 

Aside from a pleasant voice, Sonu is additionally honored with glorious great looks. He has included in films like 'Jaani Dushman: EkAnokhiKahani' (2002), 'Kash Aap Hamare Hote' (2003) and 'Love in Nepal' (2004). These films did not toll well in the cinema world and Sonu did not seek after acting further. 

TV and Radio⤵ 

Toward the start of his vocation, Sonu facilitated the singing rivalry demonstrate 'Sa Re Ga Ma' in 1995 which made him an easily recognized name. From that point forward he has shown up in numerous unscripted tv appears as a judge. He has shown up in Indian Idol (seasons 1, 2, 3, 4 and 7), Amul STAR Voice of India (seasons 1 and 2), Chhote Ustaad and X – Factor India. 

Sonu Nigam additionally showed up on a radio show on Radio City 91 FM, known as 'Life Ki Dhun'. 

Honors⤵ 

Till date, Sonu Nigam has had 29 designations of which he has won 15. He has packed away esteemed honors like Film Fare, Zee Cine Awards, and National Film Awards. He won the most extreme number of honors for Best Playback Singer Male for the title track of film 'Kal Ho Na Ho'. A rundown of his assignment and honors might be found in https://ift.tt/2Mfs0Qk. 

Discussions⤵ 

He confronted colossal reaction from the Bollywood music industry for being vocal about issues like Singer's Right and Copyright Act. Gossipy tidbits about issues in marriage had surfaced in the media, in spite of the fact that Sonu and his significant other denied such assertions and are going solid.

Pop Albums And Concerts⤵ 

Sonu has discharged various pop collections, both in Hindi and in Punjabi. The "Traditionally Mild" collection is the best among all. He has likewise discharged a few collections of Mohammad Rafi's tunes and in addition reverential collections. 

TV, Radio, And Acting⤵

Other than "Sa Re Ga Ma," Sonu Nigam has likewise facilitated the TV indicate Kisme Kitna Hai Dum and has been a judge on the show Indian Idol (disclosed on Sony Entertainment Television) seasons 1 and 2. Sonu came back to Indian Idol in its third and fourth seasons as a big name judge. 

Individual Life⤵ 

Sonu was destined to Agam Kumar Nigam and Shobha Nigam on July 30, 1973, in Faridabad, Haryana, India. He went to the J.D. Tytler School. He has two sisters, Meenal and Neekita. 

Sonu is near his folks. The two his dad and mom are great vocalists, and in 2005 and 2007 his dad discharged two profoundly well-known collections, "Bewafaai" and "Phir Bewafaai", individually. 

Neekita is additionally an artist. She has sung a couple of playback tunes and showed up on a couple of stages appears with Sonu. Sonu wedded Madhurima on 15 February 2002. They have a child, Nevaan, conceived on July 25, 2007.

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[like2in]

From Ek Do Teen in Baaghi 2 to Tumhari Sulu’’s Hawa Hawai 2.0, a look at Bollywood’s obsession with remixes

From Ek Do Teen in Baaghi 2 to Tumhari Sulu’’s Hawa Hawai 2.0, a look at Bollywood’s obsession with remixes - The last couple of years seem to have witnessed a surge in the number of recreations of popular songs from the ’80s and the ’90s. One way to look at this trend is that they introduce today’s generation to the hit tracks of the bygone era. On the other side, many of those who grew up on those songs back then, believe they should be retained in their original form. Interestingly, one common factor of the updated versions of those old songs in the past two years is Tanishk Bagchi. While he is one of most sought-after musicians to give a new spin to the hit tracks, we also have Gourav-Roshin, who have recreated Laxmikant-Pyarelal’s Ek Do Teen from Tezaab (1988) for Baaghi 2. This time around, Jacqueline Fernandez steps into Madhuri Dixit’s dancing shoes. Here’s looking at some of the other recreated tracks in the recent times... GAZAB KA HAI DIN — QAYAMAT SE QAYAMAT TAK (1988)NEW VERSION: DIL JUUNGLEE (2018) A favourite of every ’80s and ’90s kid, this song embodies sheer romance. Aamir Khan and Juhi Chawla were the perfect representatives of innocent teenage love in this soulful number. Everyone will remember how they got lost in the woods and kissed thereafter. Tanishk Bagchi recreated it for Taapsee Pannu and Saqib Saleem’s Dil Juunglee, which released recently. It was rendered by Jubin Nautiyal and Prakriti Kakar. HAWA HAWAI — MR INDIA (1987)NEW VERSION: TUMHARI SULU (2017) The original song is a classic in every way — whether it is Sridevi’s expressions or the peppy beats. Tanishk created a jazzier version for Vidya Balan-starrer Tumhari Sulu, which was appreciated by Sridevi. The song suited Vidya’s confident, jugaadu and unique approach towards life. Shashaa Tirupati provided the added vocals in this version. RAAT BAAKI — NAMAK HALAAL (1982)NEW VERSION: ITTEFAQ (2017) Jubin Nautiyal and Nikhita Gandhi crooned the new version of Raat Baaki called Ittefaq Se. The music was again remixed by Tanishk, who also worked on the lyrics with Groot. It resonated with listeners who said it was the best remade song of 2017. TU CHEEZ BADI HAI MAST MAST — MOHRA (1994)NEW VERSION: MACHINE (2017) The original song is kind of a classic. Every ’90s kid will tell you that Raveena Tandon’s oomph and Paresh Rawal’s act with those glares are inimitable. However, Tanishk made some alterations to the song, originally composed by Viju Shah. Neha Kakkar lent the vocals to the new version with additional lyrics by Shabbir Ahmed. Listeners loved the trippy vibe brought by Neha’s voice. Machine also had a remixed version of Padosan’s (1968) iconic number Ek Chatur Naar composed by RD Burman. GULABI AANKHEN — THE TRAIN (1970)NEW VERSION: NOOR (2017) The revisited version was sung by Tulsi Kumar and Amaal Mallik. All of us know that Gulabi Aankhen, featuring Rajesh Khanna and Nanda, is one of the biggest hits of late singer Mohammad Rafi. Sadly, the new song failed to register any impact. HUMMA HUMMA — BOMBAY (1995)NEW VERSION: OK! JAANU AR Rahman brought a new version of the song that featured singers like Jubin, Tanishk, Badshah, Shashaa and others. While Aditya Roy Kapur and Shraddha Kapoor’s chemistry sizzled, the song failed to impress lovers of the original. We are sure many purists would be fuming seeing these experiments with their favourite songs. There is no denying that some of the remakes have worked well. But considering the kind of news and hype the recreation of an old classic generates, such songs are great for publicity as well. TAMMA TAMMA — THANEDAAR (1990)NEW VERSION: BADRINATH KI DULHANIA (2017) Fans will remember Sanjay Dutt and Madhuri Dixit dancing energetically to Bappi Lahiri and Anuradha Paudwal’s vocals in the song that itself was a lift from Mory Kante’s Tamma Tamma Lobe. In Tanishk’s Tamma Tamma Again, also a chartbuster, we saw some additional rap by Badshah. CHALTI HAI KYA 9 SE 12 — JUDWAANEW VERSION: JUDWAA 2 Anu Malik, the original composer of the song recreated his two chartbusters Oonchi Hai Building and Chalti Hai Kya for the reboot of the ’90s superhit film Judwaa. He sang the song with Neha Kakkar. Needless to say, both the new versions trended and won listeners over with their funky tunes. From Ek Do Teen in Baaghi 2 to Tumhari Sulu’’s Hawa Hawai 2.0, a look at Bollywood’s obsession with remixes Read the full article

[pagalworldtop-blog]

Listen To Evergreen Indian Music On Pagalworld

Bollywood music refers from Hindi languages songs which are featured in the films are formally known as Bollywood songs. Derived from the song and dance routine in Western film circles, Bollywood songs  along with dance which are a characteristic motif of Hindi films that gives it enduring popular appeal, cultural value and context among the peoples of India and outside of the whole world.

The journey of Hindi languages songs was starred from 1931 in a film 'Alam Ara' by Ardeshir Irani. This film was the first sound film in the history of Bollywood music. On that time, listening music was not so easy as peoples of Asian continent was lagged behind from technologies than western countries. Also peoples of Indian subcontinent was back from education, and were lived under impoverished condition. On that time, radio was the only media for listening news or music from sources. Only few peoples had the ability to listen on that time. For this, Bollywood music was not became popular. After passing a long way, tackle with time, everything has been changed. Technology developed, peoples became modernized here.

After 1980's, music of Bollywood was entered into a new dimension. Era of Bollywood music has gained a special attention for their classical musical styles, romantic songs became loved by listeners. After then, in 1990, a musical album was made a hue among the people. 'Aashiqui' album was got a mad response by the peoples . This album music was composed by Nadeem–Shravan, was earned more than 20 crore on that time. Now, Bollywood music is the most popular and highest listening music beside western music.

In order to reach this level, it was not so easy. Contribution of many legendary person, hold many singers, musician's hands, slowly Bollywood music reached at the route to success. Many of them, Mohammad Rafi, Asha Bhosle, Lata Mangeshkar, Ustad Nusrat Fateh Ali Khan, Alka Yagnik, Udit Narayan, Kumar Sanu, Shaan, Rahat Fateh Ali Khan, Sunidhi Chauhan, etc and many others, Nadeem-Shravan, Jatin-Lalit, RD Burman, Himesh, A.R Rahman, Ramlaxman, Anand Raj Anand and many music directors has outstanding contribution for making Bollywood music great success. Many of them were leaved this world now, we wish may their soul live in peach. And whom are lives, we wish their long healthy life.

Now a days, it is more easy to listen music both online or offline. People can watch music videos on YouTube and other video sharing sites. Also, can listen mp3 music on Saavn, Gaana, Wynk music website, and also can download songs from many music providers like as pagalworld.com, mp3mad, downloadming etc sites.

All of free music provider sites, pagalworld is the best of them. visit now and get Indian music free online.

[stormyrecords-blog]

GIANT new release list

stormy records13306 michigan avedearborn, mi 48126 313-581-9322 AMAZING week of new releases - we've got new works by old favorites (members of SCORN, PANASONIC), JOHN ZORN, EUGENE CHANDBOURNE, new music by COLLEEN, KING KRULE, DON CABALLERO, and hallowwen favorites including BOLLYWOOD BLOODBATH, GUNDELLA THE WITCH, and VINCENT PRICE!!!!!! so many great new tunes for your ears!!! new arrivals for 10-20-17 BULLY:   "LOSING"  (Sub Pop)  LOSER EDITION COLOR VINYL LP - $19.99 / CD - $13.99        BRAND NEW FULL LENGTH!   Free Poster & Sticker (while supplies last) WOLF PARADE:   "CRY CRY CRY"  (Sub Pop) LOSER EDITION COLOR VINYL Double LP - $24.99 / CD - $13.99       A couple of weeks late on this one, but we do have the Loser Editions!  Free POSTER and STICKER while they last COLLEEN:   "A FLAME, MY LOVE"  LP - cd $16.99 lp $21.99A flame my love, a frequency marks another bold step in Colleen's evolution as an artist, as Schott set aside her signature instrument the viola da gamba for an entirely electronic setup, utilizing pocket synthesizers and Moog pedals. Like her move from instrumental music to vocally driven songs, or her move from guitar to cello to the viola da gamba, the keyboard melodies of the album captures Colleen's ability to adapt and grow with each release, while retaining her singular qualities as an artist. KING KRULE:   "THE OOZ"  Double LP      $25.99   COURTNEY BARNETT & KURT VILE:   LP - $19.99 / CD - $13.99 DESTROYER:   "KEN"   Color Vinyl LP w/ BONUS 7" - $26.99 /  Black Vinyl LP - $19.99 / CD - $13.99   THE CLIENTELLE:   "MUSIC FOR THE AGE OF MIRACLES"  LP - $19.99 SPOON:   "GA GA GA GA GA"  Double LP - $29.99       10th Anniversary Re-issue.  Remastered 180 gram.  Download Included.   Extra 12" includes previously unreleased songs. SUPERCHUNK:   "SUPERCHUNK"   LP - $19.99      Remastered Debut Album comes with a poster & an additional download of a 1990 NYC concert. WILLIAM TYLER:   "DESERT CANNON"  Double LP - $21.99      Double LP cut @ 45 rpm.  USA Re-issue of this album originally an import only release from 2008 WILLIAM TYLER:   "MODERN COUNTRY"  LP - $19.99        Back In Stock!   Outstanding recent release by this wonderful instrumental guitarist.         A Stormy Records favorite! RADIOHEAD:   "OK Computer OKNOTOK"  Triple LP - $39.99      BLUE COLOR VINYL!!!! One Copy Back In Stock   PAVEMENT:   "CROOKED RAIN, CROOKED RAIN"  LP - $20.99       Back In Stock after a long absence. THE NATIONAL:   "SLEEP WELL BEAST"  Double LP - $25.99      Blue Color Vinyl.  1st time in stock.   JACKIE SHANE:   "ANY OTHER WAY" (Numero)  Double LP - $25.99 / Double CD - $21.99  Known by genre aficionados as one of the greatest singers and most riveting stage presences in soul music, Jackie Shane has remained largely unknown outside Toronto, where her career briefly flowered in the 1960s. Beyond her unmistakable gift of the gab, Shane is a pioneer of transgender rights, born in a male body but unabashedly living her entire life as a woman at a time when to do so seemed unthinkable. Any Other Way is the first artist-approved collection of Ms. Shane's work, collecting all six of her 45s and every highlight from the legendary 1967 live sessions at the Sapphire Tavern, including three mind blowing, previously-unreleased tracks. Rob Bowman's 20,000 word essay is Jackie's first communication with the public in nearly half a century, telling for the first time ever Jackie Shane's story in her own words. RITUAL HOWLS:  "THEIR BODY"  5 song 12" EP - $14.99       Back in stock - brand new music! ALEX LAHEY:   "I LOVE YOU LIKE A BROTHER"  (Dead Oceans)  LP - $17.99        Limited Edition OPAQUE YELLOW VINYL Pressing DON CABALLERO:   "SINGLES BREAKING UP (Vol. 1)"  LP - $21.99       13 song collection of singles from the 1990's.   COLOR VINYL first edition - download included.   HEADROOM:   "HEAD IN THE CLOUDS"  (Trouble In Mind)  LP - $17.99        Color Vinyl 1st pressing.   PASTOR T.L. BARRETT:   "LIKE A SHIP...(Without A Sail)"  (Numero)  LP - $16.99         FINALLY BACK IN PRINT!   JOHN CARPENTER:   "LOST THEMES"   (Sacred Bones)  LP - $18.99         GREEN VINYL * Limited to only 500 copies JOHN CARPENTER:   "ANTHOLOGY Movie Themes 1974-1998"  (Sacred Bones)  LP + 7" - $22.99         Limited Edition COLOR VINYL pressing - includes a bonus 7" CULTS:   "OFFERING"  LP - $21.99        Brand New Album REPTALIENS:   "FM-2030"  (Captured Tracks)  LP - $18.99          "Full of lush melodies and catchy hooks, Reptaliens create psychedelic, chameleonic dreamscapes on their debut album" NHK YX KOYXEN:   "EXIT ENTRANCE"  (DFA)  LP - $18.99 Exit Entrance is the Japanese techno artist’s first record for the veteran New York label. According to a press release, the album’s eight tracks cover “elegant arrangements and crisp drum breaks”. The album closes with ‘Outset’, a “somber hushed techno tune” dedicated to the late Mika Vainio, who collaborated with Matsunaga on several records over the years. SHIGETO:   "THE NEW MONDAY"  Double LP - $22.99         Brand New Release * COLOR VINYL and also comes with a SHIGETO button. MOGWAI:   "EVERY COUNTRY'S SON"  Triple LP Box Set - $52.99         third album in this limited edition Box Set includes demo versions.  Also comes with the CD version and a set of photo prints. ASTON NEIGHBORHOOD PLEASURE CLUB featuring DAVID J  -  "HIS SIDE / HER SIDE"    $9.99      BRAND NEW Clear Vinyl 7" Single released by HOLD FAST.        Limited Numbered Edition of 500 copies HER DARK HOST  -  "CRIMSON QUEEN" / "LYCANIA"         $6.99      Danzig / Blues Metal.   Brand New Single released by HOLD FAST.       Limited Numbered Edition of only 300 copies "THE ORBIT MAGAZINE ANTHOLOGY"    256 Page Book  $35.00   die ANGEL: Entropien l LP $23.99Ilpo Väisänen (Pan Sonic) and Dirk Dresselhaus (Schneider TM) retitle themselves Die Angel for Entropien 1, their eighth LP of electro-acoustic music together, and the duo's debut for Shapednoise's Cosmo Rhythmic label. Accompanied by skilled improviser Oren Ambarchi on two tracks, Die Angel model a complex physicality through raw, elemental inputs, exploring a flux of reactive feedback processes and mutating, unstructured sonic states generated from crackling fusions of electronics, drums, electric guitar, and field recordings warped and riddled with FX. Taking its title from both the Finnish word and German plural for entropy -- in physics, the measure of thermodynamic disorder within a system -- Entropien 1 renders seven examples of their kinetic systems in elusive action, keening from arrhythmic mulch to sloshing Brownian motions and a brilliantly towering 15-minute exploration that tips into billowing, white hot feedback with scintillating effect. The amorphous results document and describe a freeness of energy travelling from body to machine and diffused across alternating acoustic environments. Each player works as controlled, external variables which act upon and interact with the different acoustic conditions to tempestuous impact, convulsing between squashed, recursive diffractions in "Roha", to the sublimated roil of jazz drums and electric guitar wail in "Terminen Kevät", before harnessing sloshing feedback chaos in the combustible, diaphanous two parts of "Entropia" -- both "North" and "South" -- which bring the LP to its logical, compelling conclusion. With the addition of Wold or KTL-like metal emulsification and lacquer-bubbling grain in "Kitka", and Ambarchi's plasmic overdubbing in the burning plasmic plong of "Silvaticum", the overall impression is like auditive DMT, dissolving the senses and the ego -- simultaneously theirs and the listeners -- to better snag the listener in the music's metastable potential and aid our unanchored exploration in those dimensions. Entropien 1 is dedicated to Mika Vainio. RIYL: Pan Sonic, Mika Vainio, KTL. Mastered and cut by Matt Colton at Alchemy. Sun Ra: Discipline 27-II CD $16.99Corbett Vs. Dempsey present a reissue of Sun Ra Discipline 27-II, originally released on El Saturn Records in 1973. Arguably the last great original-era Saturn LP to be reissued on CD, Discipline 27-II has long deserved to be more familiar to Sun Ra fans and layfolk alike. Recorded during the same sessions in 1972 at Chicago's Streeterville Studios that produced Ra's most popular and best-known record, Space Is The Place (1973), it's got much the same vibe, from the 24-minute four-part suite of the title track -- an important conducted piece that Ra performed frequently in these years -- to the opening cut, "Pan Afro", with John Gilmore's sensational tenor work. Sporting a percussion-rich 18-piece Arkestra, the music can be thick, voluble, and dense or it can winnow down to a small group, as on the delightful track "Neptune", a vehicle for June Tyson's singing and the site of the indelible Sun Ra space chant: "Have you heard the latest news from Neptune, Neptune, Neptune?" This marks the first time Discipline 27-II has been reissued on CD. It has been remastered from the original tapes, includes a never published period photo of Ra by Charles Shabacon, and ends with an explosive bonus track from the same session, showing quite a different side of the same ensemble. Personnel: Sun Ra - electronic keyboard space age instruments, Moog synthesizer, vocals; John Gilmore - tenor saxophone, percussion, vocals; Marshall Allen - alto saxophone, flute; Danny Davis - alto saxophone, flute; Pat Patrick - baritone saxophone, bass; Danny Thompson - baritone saxophone, flute; Eloe Omoe - bass clarinet, flute; Akh Tal Ebah - trumpet, flugelhorn, vocals; Lamont Kwamie McClamb - trumpet, percussion; Russell Branch - percussion, congas; Stanley Morgan - percussion, congas; with Alzo Wright, Harry Richards, Lex Humphries, Robert Underwood on drums and vocals by June Tyson, Cheryl Banks, Judith Holton, and Ruth Wright. Cover art by LeRoy Butler; cover design by Alton Abraham. Recorded by Ed Michel at Streeterville Studios, Chicago, October, 1972; LP produced by Alton Abraham for Infinity Inc. Chadbourne, Eugene: Lost Eddie Chatterbox Session CD $16.99Corbett Vs. Dempsey present The Lost Eddie Chatterbox Session, a reissue of Eugene Chadbourne's album, first released as a cassette on No Prestige Records in 1988. Dateline: Christmas Day, 1977, San Francisco. On an ailing quarter-track tape deck, in a marathon session, Eugene Chadbourne recorded a series of slide guitar solos playing compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, along with a few standards and originals. Although the recording quality was imperfect, the playing was absolute genius -- enough so that Chadbourne was eventually convinced, a decade later, to issue it as a cassette tape, which he sold at concerts. Long pre-dating the slash-and-burn-and-reinvent approach to jazz songbooks now familiar from groups like News From Lulu, Chadbourne leapt into each short track with giddy abandon, introducing the piece with a nerdy credit line, then ripping and tearing at it adoringly, his improvisations forcing a new view of the familiar melodies. Anyone familiar with Chadbourne's wonderful duets with Frank Lowe on Don't Punk Out! (1979), waxed in the same period, has a general sense of his modus, but the complete commitment he gave to the project on The Lost Eddie Chatterbox Session makes it a special and wholly unique item in the manic master's chronicles. On this special CD reissue, the tracks have been tenderly but respectfully restored, eliminating some of the most distracting audio flaws but leaving the inconceivable artistry intact. Four unreleased tracks have been added to the jam-packed program, as well as the original cover photo and Chadbourne's unreadable track listing, which is carefully reproduced on the interior. Recorded December 25, 1977, in San Francisco John Zorn and Eugene Chadbourne: 77-81 LP+BK   $44.99Song Cycle Records present a reissue of 1977-1981, a collection of rare free-jazz pieces performed by John Zorn and selected by the American guitarist and music critic Eugene Chadbourne originally released in 1998. Originally released to accompany the book release of Sonora: John Zorn (Materiali Sonori), the album is presented here for the first time in an exclusive release in limited edition on vinyl. This special issue includes the original book that features exclusive interviews, essays, and photos about the artist's entire oeuvre up to 1988. VA: Bollywood Bloodbath CD $17.99 VA: Bollywood Bloodbath 2LP $29.99restock on one of carl's essentail listening favorites!!black vinyl,  2 slabs of screams, sighs, shrieks and sitars!! songs from horror slasher bollywood films - makes great halloween listening!! Caretaker: Everywhere At The End Of Time 1-3 3CD set $29.99The first three stages in a series of six albums by The Caretaker, compiled here on a deluxe three CD collector's edition. Each album reveals new points of progression, loss and disintegration, progressively falling further and further towards the abyss of complete memory loss and nothingness... Embarking on the Caretaker's final journey with the familiar vernacular of abraded shellac 78s and their ghostly waltzes to emulate the entropic effect of a mind becoming detached from everyone else's sense of reality and coming to terms with their own, altered, and ever more elusive sense of ontology. The series aims to enlighten our understanding of dementia by breaking it down into a series of stages that provide a haunting guide to its progression, deterioration, and disintegration, and the way that people experience it according to a range of impending factors. In other words, Everywhere At The End Of Time probes some of the most important questions about modern music's place in a world that's increasingly haunted or even choked by the tightening noose of feedback loops of influence; perceptibly questioning the value of old memories as opposed to the creation of new ones, and, likewise the fidelity of those musical memories which remain, and whether we can properly recollect them from the mire of our faulty memory banks without the luxury of choice. It's highly encouraged that you join The Caretaker on this, his final journey through the endless haunted ballrooms and mazy corridors of his wasting mind... Features new and exclusive artwork by Ivan Seal on each panel -- made especially for this series. Housed in a deluxe eight-panel, triple digifile. Mastered and cut by Lupo. Fret: Over Depth 2LP $28.99  Mick Harris (Scorn, Quoit, Painkiller) returns after several years of hiatus with ten tracks of blasting landmine bass and interlocking shrapnel rhythms. Derek Szeto on the album: "... For someone with decades of releases over various solo projects, collaborations and pseudonyms, whether it's doing blast beats in the original Napalm Death to crushing techno brutality as Monrella, or savage drum & bass as Quoit. Then of course there's the mighty Scorn and his numerous collaborations with fellow luminaries such as John Zorn and Bill Laswell (in Painkiller). Rather than being tied to genres or scenes, Mick Harris is one of those producers who creates a whole sonic world uniquely of his own . . . Needless to say his work has influenced legions of producers like Surgeon, Regis, Ontal, Vatican Shadow/Prurient, Fausten, Shapednoise et al. . . . And yet after all this time, it is impressive that Harris still stands way above his successors and has never been surpassed in his own production/performance game. After a hiatus of several years, he is back with a new album under the guise of Fret. Working at a faster tempo than his Scorn material, the Fret project first surfaced years ago on the Downwards label, rooting it firmly in the dark, industrial and technoid world, and appeared more recently on Tresor (Kern mix by Objekt), maintaining the characteristic colossal bass-heaviness and textural depth. And now a full album on Karlrecords, Berlin. Harris fans will be delighted to know that despite the 130 bpm tempo, the newest Fret still resolutely avoids any straight four-on-the-floor kick drums; every track lurches, stumbles, staggers and charges forth with beats in beautifully broken asymmetry. We get ten tracks of crushing, percussive destroyers, each itself a storm of precision chaos, with colossal low-end frequencies that'll cause stampedes in the right circumstances. The classic Harris sound is there; searing waves of feedback distortion, intricate, interlocking rhythms and cold, abattoir atmospheres . . . The lazy-minded would probably lump it in with the term 'techno', but the disciplined brutality, blasting landmine bass and interlocking shrapnel rhythms are clearly Harris's own trademark style, sitting somewhere between Scorn and Quoit. The tracks appear deceptively chaotic on the surface, yet each is meticulously and masterfully composed with great attention to layering and detail." 180 gram vinyl; Includes download code. Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992 double cd $22.99Double CD release of the outstanding compilation, Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992. Contains three tracks not included on the double LP version (MFM 016LP). For their first multi-artist compilation, Music From Memory take a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic And Contemporary Music From Brazil, 1978-1992 explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerizing tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders. Features: Piry Reis, Nando Carneiro, Cinema, João De Bruçó & R. H. Jackson, Os Mulheres Negras, Fernando Falcão, Anno Luz, Andréa Daltro, Bené Fonteles, Maria Rita, Carlinhos Santos, Bené Fonteles, Priscilla Ermel, Carioca, Marco Bosco, and Luhli E Lucina. Greiner, Svarte: Knive LP $23.99Miasmah present a reissue of Svarte Greiner's debut album Knive, originally released on Type in 2006. 11 years since its inception, the surreal and darkly romantic Knive still sounds like a mystery and something that's hard to pin down. 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[whenthatchermeetsbowie-blog]

Background

Timeline

1947 David Robert Hayward-Jones was born. 1953 Familie moved to ‘Bromley’. 1959 David received his first saxophone for Christmas. 1962 First band ‘The Konrads’. Beaten on his eye that creates color difference in his eye. 1966 Changed his name to David Bowie. 1967 First album: David Bowie. 1969 Album ‘Space Oddity’ inspired by the movie ‘A Space Odyssey’. He met Angie Barnett. 1970 3th album ‘The Man Who Sold The World’. David Bowie takes an androgyne look. 1971 Album ‘Hunky Dory’. Married Angie, son Zowie was born. 1972 Rock/alien alter ego ‘Ziggy Stardust’ was born. Explained he’s bisexual in magazine Melody Maker'. Album ‘The Rise And Fall Of Ziggy Stardust And The Spiders From Mars’. 1973 David Bowie stops with Ziggy Stardust. Album ‘Aladdinsane’ & ‘Pin Ups’. 1974 Album ‘Diamond Dogs’. 1975 Glamrock alter ego has gone, new way to soul and R&B. Album ‘Young Americans’. 1976 Film ‘The Man Who Fell To Earth (David Bowie leads). Saturn award for best actor. New Identity/alter ego ‘Thin White Duke’. Album ‘Station to station’. 1977 Collaboration with John Lennon. Album ‘Heroe’s’. 1979 Album ‘Lodger’. 1980 Album ‘Scary Monsters And Super Creeps’. David Bowie and Angie divorced. 1983 David Bowie reached the ‘mainstream’ public. Top hits: Modern love & China girl. Post-Disco album ‘Let’s Dance’. 1984 Album ‘Tonight’. Hit ‘Blue Jean’, David Bowie is known for his combinations in music/film/theater. Film ‘Merry Christmas Mr. Lawrence’. 1986 Film ‘Absolute Beginners’. Film ‘Labyrinth’. 1987 Album ‘Never Let Me Down’. 1989 Album & collaboration ‘Tin Machine’. 1990 Sound and vision tour. 1992 Married model/man Abdulmajid. 1993 Album ‘Black Tie White Noise’. 1995 Album ‘Outside’. 1997 David Bowie turned 50. Album ‘Earthling’. David Bowie gets a star on the ‘Walk Of Fame’. 1999 Album ‘Hours’. 2000 Birth of his daughter Alexandra 2003 Top albums ‘Reality’ & ‘Heathen’. 2013 Song ‘Stars Are Out Tonight’. Onverwacht album ‘The Next Day’. 2014 Wint Brit award for ‘best male’. 2016 Album ‘Blackstar’. On 10 January died.

Source: stylebook research Marileen Bouman

General information

Born in Brixton (London) on januari 8 in 1947. His family moved to Bromley when he was six years old. He is an English musician, artist and actor. He changed his name to David Bowie in 1966 because he didn't want people to compare him with Davy Jones from the band 'The Monkies'. When David was in the mand 'The King-Bees' he named himself David Jones.

In 1972 he broke through for the first time with the album 'The rise and fall of Ziggy Stardust and the spiders from Mars'. He created an alter ego named Ziggy Stardust. A androgynous, colorful and unusual appearance. Ziggy Stardust was the beginning of the glam-rock scene.

When Ziggy Stardust stopped Bowie created a new alterego as countermovement. Thin White Duke; skinny, smooth, stylish and more casual. This look went along with the album 'Station to Station' in 1976.

David Bowie is famous for continue changing his style. He also adds several disciplines such as music, fashion, theater and film toghether which always creates something unique. He can analyse trends and dictate them. This has resulted in many top albums, movies, art and theaterplays. He was a big influence in the 70s till now, even after his dead.

Relationships

After different short relationships David met Angie (Angela Barnett) in 1969. They had an open relationship. After a year they got married and in 1971 they had a son named Zowie. Later he changed his name to Jones. The marriage was still 'open' and had a lot of ups and downs. Angie was very depressed and once tried to commit suicide. This let to a divorce in 1980 and David got the custody of Zowie. David had after Angie different short relationships. He met a model in 1990 (Iman Abdulmajid) who he married two years later. In august 2000 they had a daughter named Alexandria.

Family

David Bowie was the son of John and Peggy. His father died in 1969 days after he won the award for best produced record for 'When i live my dream'. David his breakthroguh still had to come but his parents were really proud of him.

David had a half-brother; Terry Burns. They were really close. Terry joined the army in 1956. When he came back he inspired David with different kinds of music and let David see the life outside Bromley (jazz and r&b). At the age of 29 Terry had symptomps of the disease schizophrenia, a disease very common in the family. He was admitted to an institution and tried to commit suicide several times. He succeeded in januari 1985. David was broken about it and later on he wrote a song about it; 'Jump they sey'.

Source: http://www.bbc.com/news/entertainment-arts-20944291

PERSONALITY

For the personality research we looked at the different characters he has made through the years. After that we will make a conclusion of his personality also in mind that he changes himself all the time.  

Man Who Sold The World

Much of The Man Who Sold the World had a distinct heavy metal edge that distinguishes it from Bowie's other releases, and has been compared to contemporary acts such as Led Zeppelin and Black Sabbath. Source: http://ziggy.mybluemix.net/static/personality.html?persona=Man%20Who%20Sold%20The%20World

Lyrics song ‘Man Who Sold The World’.

We passed upon the stair, we spoke of was and when Although I wasn't there, he said I was his friend Which came as some surprise I spoke into his eyes I thought you died alone, a long long time ago Oh no, not me I never lost control You're face to face With The Man Who Sold The World I laughed and shook his hand, and made my way back home I searched for form and land, for years and years I roamed I gazed a gazely stare at all the millions here We must have died alone, a long long time ago Who knows? not me We never lost control You're face to face With the Man who Sold the World

Source: http://www.azlyrics.com/lyrics/davidbowie/themanwhosoldtheworld.html

It was his third album "The Man Who Sold The World" that characterised a wholly different sound for him. The heavy rock sound was a marked departure from his folksy overtones and saw him promote the album extensively. It was during these promotions that Bowie’s androgynous appearance was first capitalised upon. The original British cover saw Bowie in a dress, one that he often sported during promotional interviews. His androgynous avatar was hugely popularised and Bowie went on to tease his fans about his perceived bisexuality. Reams have been written back in the day of his sexual preferences, quotes that he himself has later debunked. I never could quite get my head around why he’d do that but it set the notion that if anyone could promote androgyny with such sass, it had to be Bowie. Source: http://www.firstpost.com/bollywood/remembering-remembering-david-bowie-the-man-who-sold-the-world-the-finest-saddest-strangest-and-most-beautiful-freak-show-itll-ever-see-bowie-a-man-whose-music-was-as-metaphorically-schizophrenic-2578976.html

The third studio album by Bowie (in England only in 1971 appeared to meet an alternative hoes, Taking full use is made of the androgynous appearance of the singer - see above) is regarded as an early example of glam rock. The Man Who Sold The World was a Pretty dark plate, which alone was evident in the lyrics. So All The Madmen treats a theme that's coming back more often in his songs: insanity. Bowie GAF later than ook toe HE THAT song was written more than are tragic half-brother Terry Burns, die suffered from schizophrenia and himself 25 years later in life deprived door himself door to let a train run over. Source: http://classicrockmag.nl/classicrockfacts/45-jaar-tmwstw/

1971: Bowie's Three Musketeers Phase

David Bowie is noted for being one of the most sexually open and promiscuous stars ever on-stage. Bowie sampled everyone: his managers, assistants, groupies, other musicians, stars, models, you name it. He and his first wife Angie Bowie had an open relationship and a penchant for throwing orgies at their house on Oakley Street in London that still shocks the neighborhood decades later. Source: http://allday.com/post/909-the-many-faces-of-david-bowie/

The world stood still when David Bowie died on January 10th. Bowie is considered a musical genius, especially since he reinvented himself time and again. He switched regularly by genre, by immersing themselves in it thoroughly and give a complete twist. Creative as he was, he stretched himself in every new musical period a totally new alter ego. Include name, clothing, way of talking and moving. Anyone else would be of acute schizophrenic, but David Bowie was a way to express how versatile he was. Are anything but mainstream characters fell in and worked very refreshing among all the other artists. The best known is probably Ziggy Stardust from the early 70s, a man / alien with bright red hair. Thereafter, among others followed the androgynous Aladdin Sane, the timeless dandy The Thin Duke and Bowie in tight suit "Lets dance" a megahit sang in the eighties. All of these transformations had a large influence. On the fashion world and on society. Were his alter egos and are inspiring for major designers. Miu Miu, Jean Paul Gaultier, Christian Dior, Paul Smith; all of them came in the last few years with a collection that was inspired by one of his characters. He has his androgynous characters as early as the seventies opened doors for transgenders. Without David Bowie no Caitlyn Jenner, we want to say. Source: Viva 26 January 2016

Androgen (no gender)

Long flowing locks, high cheekbones and soft lines; These were the elements that David Bowie his androgynous look was complete for the release of his third album, The Man Who Sold The World. For the British album cover he put on a dress, which he later did wear during interviews and in public. It earned him mixed reactions. His early glam rock and gender-bending style during his Hunky Dory album (think bell-bottom jeans and fur) underlying his alter ego Ziggy Stardust in 1972.

Source: https://fashionunited.nl/nieuws/mensen/david-bowie-de-dood-van-een-mode-icoon/2016011125349

Conclusion: This period relates to his album ‘Man Who Sold The World’. With every new music album he switched style, name, way of talking and moving. He creates a new personality with every new album. Long hair, high cheekbones and soft lines, these were elements for his androgynous look for this album.

What do people think about him? It was new, something they didn’t seen before. What inspired him? Miu Miu, Jean Paul Gaultier, Christian Dior and Paul Smith.

What are the characteristics of this personality? Long hair, high cheekbones and soft lines.

Ziggy Stardust (1972)

The most famous and complete concept that David Bowie created. With this look he was one of the founders of the glam-rock scene. The album is a story about an alien (Ziggy) who in human form the message of hope brings. Ziggy stands for the definition rockstar, sexual promiscuous and wildly on drugs but with a message of peace and love.

'They were different, they were weird' – someone talking about David Bowie and his band.

The idea for the 'look' came from an fascination and an interest in music and theater. The songs came from Bowie's brain, obsessed with space, Japanese culture and fame. He wasn't shy to talk about his inspiration.

'I'm a collector and I collect personalities and ideas'. – David Bowie

He wanted to change the music industry because he thought it was boring.

It took months to develop each members image. People really thought Bowie and his band came from Mars. It was fantasy.

Bowie was going trough a spiritual awakening but was acting it out through the medium of Ziggy. People didn't want to interview Bowie but Ziggy. He was an actor.

'He created a monster and had to kill it, he couldn't be Ziggy Stardust for the rest of his life' – someone talking about Bowie killing Ziggy.

What are the characteristics of his personality? Androgyne – Weird – Open – Imaginative

What inspired him? Fascination and interest in music and theatre, obsessed with space, Japanese culture and fame.

What do people think about him? A weird rockstar

What is his vision here? Be weird, the music industry is boring.

Aladdin sane

Rest in peace, Ziggy Stardust – long live Aladdin Sane. Just a year after seducing the world with the saga of Ziggy, Bowie killed him off to invent a new glam character – a much darker one, with a new hairstyle and a lightning bolt painted over his face. "There was a point in '73 where I knew it was all over," Bowie said. "I didn't want to be trapped in this Ziggy character all my life. And I guess what I was doing on Aladdin Sane, I was trying to move into the next area – but using a rather pale imitation of Ziggy as a secondary device. In my mind, it was Ziggy Goes to Washington: Ziggy under the influence of America.”

Aladdin Sane is a harder, nastier, gaudier album than Ziggy Stardust, written on the road and immersed in the decadence and sleaze of American culture. Each song on the LP is listed with the place that supposedly inspired it: "Watch That Man" in New York, "Drive-In Saturday" in Seattle and Phoenix, "Cracked Actor" in L.A., "Lady Grinning Soul" back in London. But everywhere he goes, he sees cheap sex and cheaper drugs. Now that he'd hustled his way into the American limelight, he wasn't sure he liked it.

Aladdin Sane is the sixth studio album by English musician David Bowie, released by RCA Records on 13 April 1973. The follow-up to his breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was the first album he wrote and released from a position of stardom.

What inspired him? After his Ziggy Stardust character he inspired himself to invent a new darker glam character. He was also inspired by the dirty American culture

What are the characteristics of this personality? Gloomy, Uncertain

BRON 1:  http://www.rollingstone.com/music/news/how-america-inspired-david-bowie-to-kill-ziggy-stardust-with-aladdin-sane-20160413

BRON 2: https://en.wikipedia.org/wiki/Aladdin_Sane

Thin White Duke

Wiki https://nl.wikipedia.org/wiki/The_Thin_White_Duke

The Thin White Duke was David Bowie's persona and character, primarily identified with his album Station to Station and mentioned by name in the title track, although Bowie had begun to adopt the 'Duke' persona during the preceding Young Americans tour and promotion. The persona's look and character are somewhat based on Thomas Jerome Newton, the titular humanoid alien played by Bowie in the 1976 film The Man Who Fell to Earth.

At first glance, the Thin White Duke appeared more "normal" than Bowie's previously flamboyant glam incarnations. Wearing a simple and impeccably stylish, cabaret-style wardrobe consisting of a white shirt, black trousers, and a waistcoat, the Duke was a hollow man who sang songs of romance with an agonised intensity while feeling nothing, "ice masquerading as fire".[1] The persona has been described as "a mad aristocrat",[2]”an amoral zombie",[3] and "an emotionless Aryan superman". Bowie himself described the character as "A very Aryan, fascist type; a would-be romantic with absolutely no emotion at all but who spouted a lot of neo-romance."

The Thin White Duke was a controversial figure. While being interviewed in the persona in 1975 and 1976, Bowie made statements about Adolf Hitler and fascism that some interpreted as being positive or even pro-fascist. The controversy deepened in May 1976 when, while acknowledging a group of fans outside of London Victoria station, he was photographed making what some alleged to be a Nazi salute. Bowie denied this, saying that he was simply waving and the photographer captured his image mid-wave. As early as 1976, Bowie began disavowing his allegedly pro-Fascist comments and said that he was misunderstood. In an interview that year in the Daily Express, he explained that while performing in his various characters, "I'm Pierrot. I'm Everyman. What I'm doing is theatre, and only theatre... What you see on stage isn't sinister. It's pure clown. I'm using myself as a canvas and trying to paint the truth of our time on it. The white face, the baggy pants - they're Pierrot, the eternal clown putting over the great sadness."In 1977 (after retiring the persona), Bowie stated that "I have made my two or three glib, theatrical observations on English society and the only thing I can now counter with is to state that I am NOT a Fascist".

In later years, Bowie called the period from late 1974 until early 1977 which culminated in his Thin White Duke persona "the darkest days of my life" due to his "astronomical" cocaine usage. He blamed his erratic behaviour and fascination with Nazi and occult symbols during that time on his precarious drug-addled mental state, and he claimed that he did not even remember recording Station to Station in 1976."I was out of my mind, totally crazed."As his drug habit ate away at his physical and mental health, Bowie attempted to reduce his cocaine intake and phase out the Thin White Duke persona, whom he had come to see as "a nasty character indeed", and later, "an ogre". He left Los Angeles and settled in West Berlin in late 1976. He would live there for almost two years, moving on from the Thin White Duke era both musically and personally with his "Berlin Trilogy" albums (Low, "Heroes", and Lodger) in collaboration with Brian Eno and Tony Visconti. >

Book: David Bowie Style

> Chapter 4: Diamond Dog to Thin White Duke

If Ziggy was about the blaze of a new star and Aladdin Sane his fall from the heights, the Thin White Duke represented the emptied shell of the man left in the aftermath.

Still this was a period where he became very famous hanging with people like John Lennon and Elizabeth Taylor.

The Duke was a man struggling to experience his own emotions, existing in an amoral zone of numbed feeling. Once more, the boundary between the artist and his creation became unstable, with Bowie's drug consumption and minimal food intake a recipe likely to send any individual into fraught mental state. His Restricted diet also meant that Bowie appeared skeletal – spectral almost – with translucent skin stretched over razor-sharp cheekbones and deep-set eyes.

Like a torch singer lit by a dying candle, the Duke was, in Bowie's own words very 'Berlin-esque', conjuring up elements of the underground nightclubs that had existed in the city during the 20s and 30s. Like Berlin at that time, the Duke was a character on the edge of catastrophe. Bowie's dark aesthetic during this incarnation reflected both that previous era and the 70s, when economic stagnation in the west was rife and civil unrest seemed to be inevitable. The colorful blaze of Ziggy's rise was now brought fully back to earth and the Thin White Duke embodied the dark trauma of a burnt-out star.

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What do people think about him?

David Bowie was very populair and tried to make it in America. With friends like John Lennon and interesting music he became very populair. But because he made pro-fascist statements linked with persons like Hitler people became very critical on him. Later he explained that he was mentally ill and this was actually the worst time of his life because of drug problems. This period was a very dark period in his life and this character is kind of the translation of this. The opposite of the colorful Ziggy Stardust. “Thin White Duke embodied the dark trauma of a bunt-out star”.

What inspired him?

Thomas Jerome Newton, a character that he played in the movie: The man who fell to earth. This movie was also an inspiration for him because he always had a link with the unknown and alien things.

He also was using a lot of drugs and later even claimed that he did not know anything of the recordings anymore.

What was his vision here?

I don't think he really had a vision in this period of his life. He made different statements that people called 'Fascistic' but he said later that he is not and that he was using so much drugs that he didn't think clearly. But because it was a very dark period I am sure he had dark thoughts about life but there are no facts about that.

What are the characteristics of this personality?

Fascist/ Controversial/ Numbed emotions/ Emotionless/ Unstable/ Empty/ Lonely/ Depressed

Top 3: Emotionless/ Depressed/ Unstable

Berlin Bowie moved to Switzerland in 1976, purchasing a chalet in the hills to the north of Lake Geneva. In the new environment, his cocaine use decreased and he found time for other pursuits outside his musical career. He devoted more time to his painting, and produced a number of post-modernist pieces. When on tour, he took to sketching in a notebook, and photographing scenes for later reference. Visiting galleries in Geneva and the Brücke Museum in Berlin, Bowie became, in the words of biographer Christopher Sandford, "a prolific producer and collector of contemporary art. Not only did he become a well-known patron of expressionist art: locked in Clos des Mésanges he began an intensive self-improvement course in classical music and literature, and started work on an autobiography.” 

Source: https://en.wikipedia.org/wiki/David_Bowie#1976.E2.80.931979:_Berlin_era

When Bowie moved from Los Angeles to Berlin in late 1976, he’d been on the edge of physical and mental collapse. At first, he fell back on old habits, cruising around the divided city with flatmate Iggy Pop, drinking KöPi at Joe’s Beer House, stumbling into gutters and transvestite bars, clubbing at the Dschungel and the Unlimited. One night, Iggy sat in the passenger seat as Bowie rammed their dealer’s car again and again, for five crazed minutes. He then drove around their hotel’s underground car park, pushing 70mph, screaming above the screech of the tyres that he wanted to end it all by driving into a concrete wall. Until his car ran out of fuel and the two friends collapsed in hysterics. He realised his goal was not simply to find a new way of making music, but rather to reinvent – or to come back to – himself. He no longer needed to adopt characters to sing his songs. He found the courage to throw away the props, costumes and stage sets. By the summer of 1977, Bowie was on a creative high. With producer Tony Visconti and friend Brian Eno, he began to make a new album. Over long sessions in the studio, he ate almost nothing, sailing home to Hauptstraße with Eno at dawn, breaking a raw egg into his mouth, and sleeping a few hours before returning to the studio. Source: https://www.theguardian.com/music/2016/jan/13/david-bowie-berlin-years-heroes-just-a-gigolo

Interview with David Bowie about his time in Berlin.

Many reasons have been suggested for moving to Berlin: the local art and music scene, to escape superstardom, for spiritual and physical detox - plus the creative stimulation of being in an isolated, edgy, divided city. Are these theories accurate? Can you remember why the city appealed?

db: Life in LA had left me with an overwhelming sense of foreboding. I had approached the brink of drug induced calamity one too many times and it was essential to take some kind of positive action. For many years Berlin had appealed to me as a sort of sanctuary like situation. It was one of the few cities where I could move around in virtual anonymity. I was going broke; it was cheap to live. For some reason, Berliners just didn't care. Well, not about an English rock singer anyway.

Since my teenage years I had obsessed on the angst ridden, emotional work of the expressionists, both artists and film makers, and Berlin had been their spiritual home. This was the nub of Die Brucke movement, Max Rheinhardt, Brecht and where Metropolis and Caligari had originated. It was an art form that mirrored life not by event but by mood. This was where I felt my work was going. My attention had been swung back to Europe with the release of Kraftwerk's Autobahn in 1974. The preponderance of electronic instruments convinced me that this was an area that I had to investigate a little further.

Source: http://www.bowiewonderworld.com/features/dbuncut.html

David Bowie: The Berlin Briefings is a collection of resurfaced interviews, featuring guest appearances from friends, producers, and his then-roommate, Iggy Pop. Bowie talks candidly about living with Pop in Berlin in the late ’70s, and what ended up being an incredibly refreshing, productive era for both of them. Their time in Germany was a mental and creative vacation, the chance for them to get away from a heavy drug scene and the weight of being famous in America. This is when Bowie created what is referred to as his “Berlin Trilogy”: Low (1977), “Heroes” (1977), and Lodger (1979). Meanwhile, Pop churned out two iconic albums of his own in 1977: Lust for Life and The Idiot.  “I knew I had to get to an environment that was totally different to Los Angeles, so I thought of the most arduous city that I could think of,” Bowie said in his 1977 interview with the CBC. “And it was West Berlin.” Source: http://www.spin.com/2016/06/daily-deal-rare-collection-of-interviews-with-david-bowie-and-iggy-pop/

Conclusion: In Berlin David Bowie learned a lot about himself. He moved to Berlin because of different reasons but the main reason was to kick off from drugs (cocaine). He said Berlin was a creative vacation, the change for him to get away from a heavy drug scene and the weight of being famous in America. He realised his goal was not simply to find a new way of making music, but rather to reinvent himself. He no longer needed to adopt characters to sing his songs. He lived in Berlin for 3 years and beside music he started painting.Wa

Pierrot (1980)

Also known as the Blue Clown (cover of the Scary Monsters album). David wanted to be the most beautiful clown of the circus.

'I'm Pierrot, I'm everyman, what I'm doing is theatre, it's pure clown. I'm using myself as a canvas and trying to paint the truth of our time'. – David Bowie.

Bowie studied theatre and mime and played a role in a theatre production Pierrot in Turquise. He turned into Pierrot in his music video Ashes to Ashes.

The song is about his past with drugs. In the song he says that if you want to accomplish something you have to say away from drugs. The struggle with his past, dark side, lonely and lost.

What are the characteristics of his personality?

Realistic – strong

What inspired him?

His past with druguse, things his mother once said to him.

What do people think about him?

Fairytalelike

What is his vision here?

Be realistic, tell the truth, no more hiding.

Modern Love

"Modern Love" is a song written and recorded by David Bowie. It was the opening track to his fifteenth studio album Let's Dance. It was issued as the third single from the album in 1983.

Bowie claimed the song was inspired by Little Richard, and it maintains the album's theme of a struggle between God and man. The line "Get me to the church on time" from the lyrics is the title of the same-named tune from My Fair Lady. By the time "Modern Love" was issued and edited as a single, Bowie's Serious Moonlight Tour was underway. The single reached No. 2 in the UK, and No. 14 on the US Billboard Hot 100.

As a video, “Modern Love” is as straightforward as it gets, especially compared to the others Bowie did that year, “China Girl” and “Let’s Dance.” That could be because Yukich, even though he was Capitol/EMI’s in-house director at the time, was still a newcomer to directing music videos, but it more likely reflects the sudden success of “Modern Love.”

It has less to do with the video and more to do with the song: As art-damaged as Bowie liked to be, he could sling straight-forward rave-ups with the best of ’em, and “Modern Love” is basically one long hook, which perhaps obscures the anxiety about faith—in both the almighty and relationships—at the song’s core. Few pop songs can pull off sing-alongs to the lyrics “God and man, no religion.”

What inspired him?

The song was inspired by Little Richard and the head theme of the whole album was the struggle between God and man.

What are the characteristics of this personality?

Enchanting,

BRON 1: https://en.wikipedia.org/wiki/Modern_Love_(song)

BRON 2: http://www.avclub.com/article/modern-love-david-bowie-mixed-modern-timeless-230645

Earthling (1992)

Is the name of the album strongly affected by electronic music and inspired by the industrial- drum and bass culture of the 90s. Intensity of agression. The album was an attempt to producte some really dynamic aggressive soundings. A texture diary of the earlier years.

'balance, mental, with the way I live and my downfall' – David Bowie

Embrace his outsider-status. The music matters the most.

The real Bowie came forward in the 90s

What are the characteristics of his personality?

Calm – Creative – Spiritual

What inspired him?

The electronic music and drum and bass culture of the 90s

What do people think about him?

Reborn, the real Bowie is coming foward.

What is his vision here?

Music matters the most. BRON ziggy stardust http://www.nme.com/blogs/nme-blogs/star-man-the-story-of-bowies-ziggy-stardust-763290

BRON ziggy stardust https://en.wikipedia.org/wiki/The_Rise_and_Fall_of_Ziggy_Stardust_and_the_Spiders_from_Mars

BRON pierrot http://dangerousminds.net/comments/pierrot_in_turquoise_david_bowies_little-known_first_theatrical_appearance_

BRON pierrot http://culturedarm.com/pierrot/

Lazarus

Lazarus is a character and single of David Bowie's last album 'Blackstar'. In the clip of the single you can see him with a mask in a hospital bed. The single opens with the lyrics: 'Look up here, I am in heaven'. A lot of discussion started when he died, did he organize the album around his death? The answer is probably yes.

Research

Wiki

https://en.wikipedia.org/wiki/Lazarus_(David_Bowie_song)

"Lazarus" is a song by English rock musician David Bowie. It was released on 17 December 2015 as a digital download, making it the second single from his twenty-fifth studio album, Blackstar (2016), as well as Bowie's last single released before his death on 10 January 2016. The single received its world premiere on BBC Radio 6 Music’s Steve Lamacq on the day of its release as a single. In addition to its release on Blackstar, the track is used in Bowie's off-Broadway musical of the same name. The official music video, directed by Johan Renck, was released on 7 January 2016, three days before Bowie's death.

The video was directed by Johan Renck (who also directed the music video for Bowie's previous single, "Blackstar") in November 2015; during the week of shooting, doctors reportedly informed Bowie the cancer was terminal and that they were ending treatment. The filming location was a studio in the New York City borough of Brooklyn. The video is shown in a 1:1 aspect ratio and prominently features Bowie, appearing with a bandage and buttons sewn over his eyes as in the "Blackstar" video, lying on a deathbed.

Telegraph UK

http://www.telegraph.co.uk/news/2016/03/16/david-bowies-last-release-lazarus-was-parting-gift-for-fans-in-c/

“David Bowie's final record was a carefully-orchestrated farewell to his fans, his producer has confirmed.”

“Tony Visconti, the producer who worked with Bowie to complete his final album, has released a statement saying it was deliberately created and timed as a "parting gift" for his fans.”

"His death was no different from his life - a work of Art.”

Wiki 2

https://en.wikipedia.org/wiki/Death_of_David_Bowie

Bowie's final album, Blackstar—styled as ★ on the cover—was heavily analysed following his death, and numerous supposed clues about Bowie's fate were discussed. The album's second single "Lazarus" includes the lyrics "Look up here, I'm in heaven/I've got scars that can't be seen", which appeared in numerous news publications after his death. The album's title was also believed to have symbolised death; it is the name given to a cancerous lesion, as well as the term for the transitional state between a collapsed star and a singularity. It is also reminiscent of the name of a little-known song about death by one of Bowie's musical idols, Elvis Presley, which features the lyrics "When a man sees his flaming star, he knows his time has come". A tumblr account which seemingly included images replicated in the yet-to-be-released video for "Lazarus" was speculated to have been created by Bowie, and these images—Bowie retreating into a wooden cupboard, and writing with a skull on his desk—seemed to many to symbolise Bowie's imminent death.

Other lyrics were also scrutinised; the track "Dollar Days", for example, featured the line, "Don't believe for just one second I'm forgetting you/I'm trying to/I'm dying to". The title and refrain of the album's final track, "I Can’t Give Everything Away", was believed by some commentators to refer to Bowie keeping his imminent fate private whilst hinting at it throughout the album, while its use of the harmonica solo from "A New Career In A New Town"—an instrumental track on Bowie’s 1977 album Low which refers to his move to Berlin—was considered a reference to Bowie beginning another new phase of his life. The track "Girl Loves Me", another example, features the line, "Where the fuck did Monday go?", which some listeners believe eerily predicted the death of Bowie on Sunday, therefore missing Monday.

Lyrics Lazarus

Look up here, I'm in heaven

I've got scars that can't be seen

I've got drama, can't be stolen

Everybody knows me now

Look up here, man, I'm in danger

I've got nothing left to lose

I'm so high it makes my brain whirl

Dropped my cell phone down below

Ain't that just like me?

By the time I got to New York

I was living like a king

There I'd used up all my money

I was looking for your ass

This way or no way

You know, I'll be free

Just like that bluebird

Now, ain't that just like me?

Oh, I'll be free

Just like that bluebird

Oh, I'll be free

Ain't that just like me?

> The lyrics shows a lot of this last period of his life. He is talking about his death, what he accomplished and a dark time in his life. He also makes clear that this was his way of ending his life, with a last album, he is free!

Billboard

http://www.billboard.com/articles/review/6836029/david-bowie-blackstar-album-review

Blackstar is its own strange, perverse thing, the ­latest move in a boundlessly ­unpredictable career. Bowie turns 69 on its release date, Jan. 8, yet he remains as ­committed to novelty as ­anyone in pop. He also remains a ­powerful and effective singer, ­displaying the full range of his tricks on Blackstar -- ­whispering, ­warbling, ­shrieking and ­dropping into his most romantic baritone-Bowie croon to deliver lyrics like "I want eagles in my ­daydreams and diamonds in my eyes." That line is one of the more ­hopeful on a ­discomfiting record, an album that keeps you riveted even when -- ­especially when -- it creeps you out

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What do people think about him?

After this album and his death Bowie became a real legend. People had a lot of respect for his way of handling his death and said that he was a real artist that kept singing and working until the end. He also became more famous then he already was, who didn't know him yet know him now because social media exploded after he died. He has so many skills. Singing/ acting etc., he uses it all to express himself.

What inspired him?

Because this was the last period of his life I think he was mainly inspired by death, everything he did and was always inspired of, like space and the alien. I think he also wanted to make a last statement, that he is a blackstar, scared but in peace.

What was his vision here?

I think that his vision also links with death. He has peace with it and believes he is in heaven.

What are the characteristics of this personality?

Peacefull/ Satisfied/ Strong

> Important is that he really wanted to show that he was a star. He made a statement with his death, he surprised everyone, again.

Conclusion personality

What we particularly noticed that he actually is a kind of all-rounder, which changed constantly. Adjusts how he feels at certain moments, which were created different characters. Who are seen as characters but David Bowie sees itself as part of what he is. He pushes the boundaries, he is always looking for innovation. He has known a lot of emotion swings during his characters.

VALUES + BELIEVE

Quotes Bowie:

“I don’t know where I’m going but I promise it won’t be boring”

“I always had the repulsive need to be something more than human”

Interview

https://www.youtube.com/watch?v=zri74q3HDDY

David Bowie: “I was just always looking for expending.. I didn't really know what, but experience new things”.

“Being characterized is like being trapped for me .. Nothing in this world is a real reality, it's not something you can hold on to”.

Values:

Individualistic

Innovative

Experimental

MUSIC

What genre is David Bowies music?

While many late rock stars are rightly saluted for their influence and impact, Bowie

occupies a higher historical tier entirely. He's not just an influential rocker. He's not merely one of the most influential rockers. Among rock stars, Bowie influenced more musical genres than anyone else, living or dead. He is, in that respect, the most influential rock star.

Let's run through this. Obviously, no one is going to question how essential he was to glam rock. While The Rise and Fall of Ziggy Stardust and the Spiders From Mars and Aladdin Sane ensured his long-term career and infamy, glam rock as a genre owes him just as much. If Bowie hadn't gone glam, history would remember it as a goofy, cute curiosity -- a sub-genre full of wacky fashion and frothy pop songs, but producing no serious content (apart from one or two T. Rex albums, depending on your taste). Most glam rockers are remembered as that -- glam rockers. Bowie, however, produced two albums squarely within the style while simultaneously transcending it. The aforementioned titles aren't simply glam classics -- they're rock classics. They're singer-songwriter classics. They are, simply put, works of art.

In the industrial rock realm, Bowie's impact can't be underplayed: It's impossible to imagine Trent Reznor or Marilyn Manson having substantial careers without Bowie paving the way for them. And when grunge replaced pop-metal as the go-to genre for rebellious teenagers, Bowie was once again a touchstone.

Bowie's various personas have had an impossible-to-overstate influence on teenage minds since the early '70s -- and he will probably continue to inspire personal artistry and nonconformity until long after all of us are dead. Even the idea that one person can have multiple personas and creative identities --- and still remain authentic with all of them -- is something Bowie pioneered. So in that way, Bowie truly is and will remain a peerless rock star -- someone whose music, style and outlook impacted the world in ways no one else did.

Most important genres:

- Glam rock

- Art rock

-        Pop rock

Most important features:

-        Musical cameleon

-        Big influence on multiple genres

When did Bowies music became iconic?

Bowies first attempt at being a solo artist failed miserably. A big amount of singles, including his debut album, became a flop. However, with the single Space Oddity he broke through. This song about walking in space was right in time, since in the same year (1969) mankind set foot on the moon for the first time.

After that Bowie made the alter ego Ziggi Stardust, in which he played with an androgynous appearance. He looked like an alien that could have been either man or woman. He and Marc Bolan were the inventors of Glam Rock.

Is his work a representation of the zeitgeist?

When more and more artist got a look like he did, Bowie decided to let his persona die. He moved to the VS to record a soule number (Young Americans). Bowie has always been a true musical cameleon. He never kept only one music genre and went on with the time spirit. He also did a lot of collaborations with different artist which already were famous or became famous because of him. Rather than as a musician, it’s in Bowie wholly embodying the idea that creativity is an art that must be done with an unwavering devotion to an ultra-aware introspection, and that your spiritual essence is the canvas upon which your best work deserves to be shown is what makes him impressive. Even further, I’d venture to say that this is what allows him to stand as one of the most dominant and zeitgeist controlling creative masters across all mediums of art, ever.

What were his inspirations? Terry Burns, his half-brother, introduced him to modern jazz, his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a plastic alto saxophone in 1961; he was soon receiving lessons from a local musician. If you look at the early songs from Bowie's hands, you will see "Song for Bob Dylan" from Hunky Dory (this song is a play on words – Dylan wrote a song to his source of inspiration: "Song for Woody Guthrie"!). Also note the reference to John Lennon in "Life On Mars" from the same album. Later, on the Young Americans album, Bowie duetted with Lennon on "Fame".

David Bowie also liked Bruce Springsteen's work  – and this dates back to before Springsteen became a superstar. He covered "Growin' Up" and "It's Hard To Be A Saint In The City" – both songs are from Springsteen's debut album Greetings From Asbury Park. See the article Bowie meets Springsteen for the story of how the two singers eventually met. Roy Bittan from the E Street Band ended up playng piano on several of Bowie's albums.

David Bowie was also openly inspired by Iggy & The Stooges and by The Velvet Underground. Not surprisingly, David Bowie and Iggy Pop became friends – and Bowie produced Lou Reed's Transformer.

CONCLUSIE

- Most important genres:

-   Glam rock

-   Art rock

-      Pop rock

-  Musical cameleon

-  Big influence on multiple (rock and pop) genres

- He smartly combined the lyrics of his songs with social events (For example the song Space Oddity. First men on the moon in that same year).

-  He was one of the most dominant and zeitgeist controlling creative masters across all mediums of art(music), ever. - Inspired by people more than materials

- All of his albums tell a different story(concepts, new identity) - Experimental - Lyrics were personal

Art

David Bowie had studied art and started collecting paintings very early on. Art was the only thing he ever wanted to own. He had to wait till the mid 90’s to get recognition for his own paintings. This because of his fear for failure and thus postponing the public outing of his paintings. 1. What art movement dit David Bowie belong to?

Neo-Expressionism

from 1970

subjects in an almost raw and brutish manner

with the aim to shock people

highly textural

expressive brushwork

intense colors

strong emotions

eclecticism

large canvases

autobiographical elements

political statements

subcultures (graffiti, ethnic art) as an influence

truth > beauty

2. What are the subjects of his paintings?

(self) portraits

scenes from everyday life

personal experiences from traveling

his style:

expressive

emotional

raw

dark

experimental

3. Is his work a representation of the zeitgeist?

The 70’s and 80’s were dominated by artistic forms derived from postmodernism. These movements could be described as an ironic and playful treatment of a fragmented subject, the breakdown of high and low culture hierarchies, the undermining of concepts of authenticity and originality, and an emphasis on image and spectacle. In the eyes of neo-expressionist painters, such as David Bowie, these art forms were very superficial. David Bowie went against postmodernism and created stories through expressive art in which he portrayed his personal feelings and thoughts.

4. What were his inspirations?

David Bowie was a collector of art. He mostly collected paintings from expressionist and surrealist painters such as Frank Auerbach, David Bomberg, Francis Bacon, Francis Picabia, Erich Heckel and Damien Hirst. These painters were also the inspirations for his own work. Their paintings were emotional, subjective and showed dark emotions such as fear and anger.

album covers:

Many of Bowie’s album covers were inspired by different artists such as Erich Heckel and Gilbert & George. The latter being an artist duo creating brightly colored and bold conceptual art.

Conclusion:

Art as an emotional outlet

Not afraid to show emotion and political engagement

Lets himself be carried away by emotion

Has a dark side

Very open minded (especially about inspiration from other artists)

Strong, expressive creativity

Chooses authenticity and truth over perfection and shallowness

Contrast: insecure (inside) - daring (outside)

Sources:

http://www.vogue.com/13458171/homes-david-bowie-art-collection-sothebys-auction/

http://www.theartstory.org/definition-postmodernism.htm

http://bigthink.com/laurie-vazquez/what-made-david-bowie-so-creative-his-obsession-with-art

http://www.kunstkennis.nl/kunstgeschiedenis/moderne%20kunst/neo-expressionisme.htm

http://kunstvannu.blogspot.nl/p/neo-expressionisme.html

http://www.bbc.com/news/entertainment-arts-37845306

https://www.yahoo.com/news/david-bowie-striking-legacy-painter-003551444/photo-ancestor-ii-1995-1998-1452561082366.html

https://sl4artglobal.wordpress.com/2014/07/08/bowie-in-berlin-between-expressionism-and-nightlife/

http://www.bbc.co.uk/programmes/articles/5X5G3tWTJzk9fQbp1x65zXY/pop-art-why-david-bowie-loved-these-five-paintings

Film & Theater

In welk filmgenre speelde David Bowie en wat zijn hier de kenmerken van?

Voor welke filmgenres produceerde hij zelf?

Wat zijn de onderwerpen van zijn films? (als acteur en filmmaker)

Sluit zijn werk aan op de zeitgeist of gaat hij hier juist tegenin?

Wat zijn zijn inspiraties? Bowies love for acting started at a very young age. In the years between his first few singles and the fame that came with Space Oddity, Bowie studied dance and mime under Lindsay Kemp.

THEATER

The Elephant Man

The acting debut on the American stage of rock singer David Bowie was greeted by a standing ovation in Denver when the singer, noted for his flamboyant musical style, took on the role of physically misshapen John Merrick, the human monster with a liking for culture.

Bowie claims his interest for this performance was based on the outrageous and distorted elements that his character was based on. (Could have something to do with the schizophrenia in his family.)

FILMS

Along the way, he only had a handful of leading roles; most of the time, he was part of the supporting cast or had a cameo. Sometimes he even played himself, putting a twist on his public image. A David Bowie appearance might not have always guaranteed critical acclaim, but – as you’ll see in our comprehensive look back – it was usually a sign that the work would be creative and imaginative.

Labyrinth (1986) Musical, Adventure, Fantasy

Where everything seems possible and nothing is what it seems.

Bowie playing an evil goblin king as an oddly maternal, glam rocker. We don’t imagine the part required much real acting, but it surely showed us a goofier, more playful side of Bowie.

The man who fell of the earth (1976) Sci-Fi, Drama

You have to believe it to see it.

Nicolas Roeg’s The Man Who Fell to Earth finds the man who was, only a few years earlier, Ziggy Stardust playing an alien who has come to Earth to find water to his drought-stricken home. At the height of his mid-’70s drug excess, Bowie appears pale, painfully thin, and often nervous — making him the perfect extraterrestrial.

The Hunger (1983) Horror

Nothing Human Loves Forever

Growing old and dying have always been preoccupations for Bowie, and we imagine that’s what makes his turn as a rapidly aging vampire so memorable.

Bowie always excelled at playing the magic freak: the world-weary, otherworldly outsider who is both adored and condemned for his destabilizing mojo. And because Bowie's insuperable Bowie-ness glitters too brightly for him to vanish into any one part, a close look at his film and theater roles is a case study in the merits of stunt casting.

He chose his roles so selectively and with such idiosyncratic, yet strangely consistent taste, that almost incidentally to the main narrative of his extraordinary life, he amassed an enviable onscreen filmography.

VIDEOCLIPS

A year before MTV went on the air, Bowie released the video Ashes to Ashes. (1980) Which Bowie directed together with David Mallet. It cost £250,000 to produce, making it the most expensive music video ever made at the time.

Ashes to Ashes

The music video for "Ashes to Ashes" features Bowie dressed as Pierrot in a variety of bizarre situations. Steve Strange of the New Wave band, Visage, cameos. Bowie has said the shot of himself and other characters marching towards the camera in front of a bulldozer symbolizes "oncoming violence." During this scene, the characters behind Bowie are not bowing, but simply trying to pull their gowns away from the bulldozer so they don't get stuck! This, and many other images in the video suggest that Bowie may be trying to bury the various personas he developed.

The clip was shot during the New Romantics Culture. The fantasy & Escapism of the clip suit to this period of time.

David used his alter ego’s during his performances as an actor as well as the other way around.

SPIRIT OF THE TIME

New Romantics Culture New Romanticism can be seen as a reaction to punk,[3] and was heavily influenced by former glam rock stars of the 1970s such as David Bowie and Roxy Music.[4] In terms of style it rejected the austerity and anti-fashion stance of punk.[5] Both sexes often dressed in counter-sexual or androgynous clothing and wore cosmetics such as eyeliner and lipstick, partly derived from earlier punk fashions.[6] This "gender bending" was particularly evident in figures such as Boy George of Culture Club and Marilyn (Peter Robinson).[3]

 INSPIRATION

Since he has had such a long and varied career, David Bowie is very much an artist influenced by his peers. As Hans Hyttel points out he wrote songs about Bob Dylan and John Lennon (also Andy Warhol) and you can see the influence of them in his music and art. He also hung around with Lou Reed and Iggy Pop for a time and they three had great influence on each other. He also collaborates a lot with Brian Eno and you could say Eno crafted much of the sound that we identify as "Bowie" as he produced many of Bowie's most famous albums.

The later phases of his career he delved heavily into German synth and electro pop, even re-recording a few of his songs in German and releasing whole albums of very German inspired music.

As to what inspired him initially to produce music. well his wiki article states "Terry Burns, his half-brother, introduced him to modern jazz, his enthusiasm for players like Charles Mingus and John Coltrane led his mother to give him a plastic alto saxophone in 1961; he was soon receiving lessons from a local musician." - (Read more: David Bowie)

CONCLUSIONS

·      Bowie studied dance and mime under Lindsay Kemp.

·      Acting debut: The Elephant Man

·      Handful of leading roles; most of the time, he was part of the supporting cast or had a cameo.

Labyrinth (Fantasy)

The man who fell of the earth (Sci-Fi)

The hunger (Surreal Horror)

·      Bowie always excelled at playing the magic freak: the world-weary, otherworldly outsider who is both adored and condemned for his destabilizing mojo

·      The music video Ashes to Ashes. (1980) It cost £250,000 to produce, making it the most expensive music video ever made at the time.

·      The clip was shot during the New Romantics Culture. The fantasy & Escapism of the clip suit to this period of time.

·      New Romantics: In terms of style it rejected the austerity and anti-fashion stance of punk.[5] Both sexes often dressed in counter-sexual or androgynous clothing and wore cosmetics such as eyeliner and lipstick, partly derived from earlier punk fashions

·      Inspirations: He was inspired by Bob Dylan, John Lennon and Andy Warhol which influence you can recognize in his music and art.

During a later phase of his career he was inspired by German synth and electro pop.

His half-brother Terry Burns and musicians Charles Mingus and John Coltrane introduced him to modern-jazz music when he was younger.

Sources:

https://www.quora.com/Who-inspired-David-Bowie

http://soul-psychics.com/blog/the-spirit-of-david-bowie/

http://www.imdb.com/name/nm0000309/bio?ref_=nm_ov_bio_sm http://www.davidbowie.com/bio

http://www.billboard.com/articles/columns/rock/6836438/david-bowie-music-videos-best

http://www.billboard.com/articles/columns/rock/6836438/david-bowie-music-videos-best http://www.rollingstone.com/music/lists/readers-poll-the-10-best-david-bowie-music-videos-20160120 http://www.slate.com/articles/arts/dvdextras/2010/10/cracked_actor.html

http://www.indiewire.com/2016/01/the-8-essential-movie-performances-of-david-bowie-91853/

http://www.bowiegoldenyears.com/1979.html

http://www.telegraph.co.uk/music/artists/david-bowie-11-surprising-facts-about-the-king-of-glam-rock/

http://www.slate.com/blogs/browbeat/2017/01/09/twin_peaks_will_return_on_may_21_with_a_two_hour_premiere.html

https://www.timeout.com/newyork/movies/david-bowie-movies-that-define-his-film-career

http://www.imdb.com/title/tt0085701/?ref_=nm_knf_i3

http://www.imdb.com/title/tt0115632/?ref_=nm_knf_i2

http://www.imdb.com/title/tt0074851/?ref_=nm_knf_i4

https://www.youtube.com/watch?v=cPithDmHrd0

Other

CAREER SWITCH

In 1998 David told the New York Times that by creating visual art it him helped to create better music. He said that if he had a creative obstacle in the music that he was working on, it would often revert to painting or drawing it out. In the painting or in the drawing arised a structure of the music what he was working on and this would produce a breakthrough.

SUPPORTED CHARITIES

In 1984 David participated in the English charity band Band Aid. The band was aimed to raise money to fight the famine in Ethiopia. Together with other famous English singers they recorded the song Do They Know It’s Christmas. It was a number one hit in multiple countries and raised a lot of money.

In 1985 Bob Geldof (co-founder of the band) organized the charity concert Live Aid. It was a 16 hour during concert and there were contemporaneous performances in various countries such as the US, the UK and The Hague. David Bowie performed in the Wembley Stadium in London. The event was broadcasted live in many countries and became one of the world’s biggest media spectacles ever watched. It was so successful that 245,4 million dollars was raised that evening also for the famine in Ethiopia.

David has also supported a lot of charities. The charities support the causes of abuse, AIDS & HIV, At-Risk/Disadvantaged Youths, children, disaster relief, economic/business support, education, family/parent support, health, human rights, hunger, miscellaneous, peace, poverty, weapons reduction, women rights.

The charities that he supported were:

21st Century Leaders

Every Mother Counts

Food Bank For New York City

Keep A Child Alive

Mines Advisory Group

Save The Children

The Lunchbox Fund

War Child

Whatever It Takes

WhyHunger

Witness

Sources

https://nl.wikipedia.org/wiki/David_Bowie

http://bigthink.com/laurie-vazquez/what-made-david-bowie-so-creative-his-obsession-with-art

http://liveaid.free.fr

https://www.looktothestars.org/celebrity/david-bowie#charities

CONCLUSION

David cares for the world and the people living on it. By creating visual art it him helped to create better music

He blurred gender lines with ultra-glam, over-the-top androgynous looks in his “Ziggy Stardust” days and later adopted a sharp, buttoned-up persona that was anything but stuffy. The ‘80s were filled with vibrant coloured suits, printed overcoats, and flashy accessories. And let’s not forget his ever-changing hair. One word: magical. Even with the release of his most recent album “Blackstar,” just four days ago, the legend was still serving style supremacy.

http://www.huffingtonpost.com/entry/david-bowie-fashion-icon-photos_us_5693c3d6e4b0a2b6fb70ce1b

Why Did You Call The Exhibition David Bowie Is?

“The title is both a statement and an unfinished sentence, and poses the question David Bowie is – what? Our approach was to leave that question open, and to highlight the fact that there is no single answer.”

https://www.mrporter.com/daily/why-mr-david-bowie-is-still-a-cultural-icon/1107

Bowie’s sartorial legacy has inspired generations of designers, from tailoring don Giorgio Armani to Belgium’s more avant garde Dries Van Noten. For his spring/summer collection this year Jean Paul Gaultier sent Bowie lookalikes down the runway, telling reporters he found the V&A show “absolutely incredible… You see how clever he is in all his projects, and how he connected to art.”

http://www.bbc.com/culture/story/20131004-ch-ch-anges-bowies-many-looks

‘’ I’m a collector, I collect personalities and ideas.’’ - Bowie

‘’A tiger that is captured is wilder than a tiger in the wild.’’ - Bowie?

The inimitable, genre-defying musician produced a staggering 26 studio albums in his lifetime, resulting in scores of hits across half a century — from 1969’s “Space Oddity” to 1973’s “Life On Mars” to 1974’s “Rebel Rebel” to 1975’s “Fame” to 1977’s “Heroes” to 1983’s “Let’s Dance” to 1987’s “Dancing In The Street” with Mick Jagger — all the way up to 2016’s Blackstar, his latest studio album, which was released just a few days ago on January 8.

http://popcrush.com/david-bowie-dead-obit/?trackback=tsmclip

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Shaan - Bio, Top 32 Best Bollywood Music

When it comes to Bollywood music, it is hard to miss the name Shaan. Known as Shan for his exquisite voice and ability to touch hearts with his music, Shantanu Mukherjee is one of India’s most celebrated musicians. He has created a great legacy across genres and languages, making him a true icon in India in the music industry. Let’s take a closer look at Shaan’s incredible journey, from aspiring young singer to Bollywood legend.

Best Shaan Shantanu Mukherjee Bollywood Music Download

Biography and Early life Birth and descent Shaan (Shantanu Mukherjee) was born on September 30, 1972 in Mumbai, India, to a music loving family. His father, the late Manas Mukherjee, was a noted music director, while his grandfather, Zahar Mukherjee, was a lyricist. Growing up in such an environment, Shan naturally developed a passion for music from an early age. Early exposure to music His father's influence played a major role in shaping his musical career. Unfortunately, his father died when Shaan was just 13 years old. Despite this tragedy, his love for music did not waver, and although his mother loved it, he encouraged him to pursue it. Shan entering the Music Industry Young started when he was 17 years old Shaan made his professional debut at the age of 17 in 1989. He started singing jingles for commercials and quickly moved onto the charts in Bollywood, where he quickly rose to fame. Early career difficulties Like many aspiring artists, Shan faced initial obstacles. Competition was fierce, and getting into the industry required more than just talent; It required patience and passion to create. But eventually Shan’s dedication and distinctive voice caught the attention of top music directors. Shan's rise to fame He succeeds in Bollywood The turning point in Shawn’s career came with the release of hits in the 1990s and early 2000s. Songs like "Tanha Dil" and "Bhool Ja" resonated with the youth, making Shan a household name. He became known for his soulful music, especially in love songs that expressed the deepest emotions. Outstanding hits from the 1990s and early 2000s Shaan has many popular songs in his contribution to Bollywood, such as "Jab Se Tere Naina" from Sawariya, "Chand Sifareesh" from Fana and "Kuchkum" from Dostana and his ability to mix emotions and musically made this song memorable. Shan's versatility in a variety of Genres Pop music and romantic music Shaan's voice, known for his romantic songs, has become synonymous with love and heartbreak. His ballads like "Dil Kya Kare" evoke a sense of nostalgia and remain popular with audiences of all ages. Ghazals and Classical Music Apart from mainstream Bollywood songs, Shaan has also dabbled in ghazal and classical music. His versatility allows him to shift effortlessly between genres, enhancing the Indian music scene. Patriotic music and rock The glorification of patriotic songs like "Chuck De India" has awakened a sense of national pride. He also experimented with rock music, and proved to be very adaptable and passionate. Hip Hop and other genres In addition to traditional genres, Shan has tried his hand at hip hop and fusion. His ability to embrace genres has earned him recognition as a versatile performer. Music in many languages Extending beyond Hindi Shaan's music career is not limited to Bollywood or Hindi music. He showcased his multilingualism by lending his voice to songs in several languages. Songs sung in regional Indian languages From Bengali and Marathi to Telugu and Kannada, Shaan has sung in various Indian languages, making his music accessible to a wider audience. His song "Tuzhe Vinem" in Konkani is an example of his versatility in language. International music and English music Shan also dabbled in English music, expanding his horizons and appealing to international audiences. His desire to explore different languages ​​has made him a global artist. Acclaimed titles and Recognition "The Golden Voice of India" and other titles Shaan's beautiful voice has earned him many accolades like "Golden Voice of India", "Voice of Heaven", "Entertainer of Bollywood Songs" etc. This compliment is proof of how much he likes him. Awards and accolades Throughout his career, Shaan has won many awards including Filmfare Awards and IIFA Awards. His accomplishment not only highlights his talent, but also the significant impact he had on the Bollywood music industry. Shan as a judge on TV shows Sa Re Ga Ma Pa l'il competitor Shawn’s role as a music judge on reality shows such as Sa Re Ga Ma Pa L’Il Champs in 2014 and 2015 demonstrated a deep understanding of music and an ability to mentor young talent Voice of the Indian Children He was also a judge on The Voice India Kids in 2016, where his guidance helped shape the careers of many budding musicians. Shan is famous in India and abroad His influence in Bollywood With a career spanning decades, Shaan became a pillar of Bollywood. His music is constantly played on radio stations, streaming platforms and in concerts around the world. Impact on international audiences Shan’s international tours and collaborations exposed his music to a global audience. His ability to perform in different languages ​​made him famous outside India. Work with other Artists Working with composers Over the years Shan has worked with some of the best composers in the business, including A.R. Rahman Shankar-Ehsan-Loy, Dr.-Shekhar. Duets with famous musicians Shaan has sung duets with leading singers like Shreya Ghoshal, Sunidhi Chauhan and Alka Yagnik, and has played some of the most iconic songs of Bollywood. Shan's contribution to Marathi and Urdu music Expansion of his compositions Apart from singing in Hindi and other regional languages, Shaan also explored Marathi and Urdu songs, further expanding his repertoire. Memorable music and concerts Live performances around the world Shan’s live concerts are known for their energy and audience engagement. His performances in the U.S., U.K. and the atomic size of the Middle East in particular. Personal life and philanthropy Family life and marriage Shan is a family man who lives a peaceful life with his wife Radhika and their two sons. He gracefully balances his work and personal life. Charity work and lifestyle He is also involved in various charities and uses his fame to support social initiatives. Heritage and Influence of Indian Music Inspiring the next generation Shawn's influence goes beyond his music. His journey is an inspiration to aspiring musicians, and shows that greatness can be achieved with a lot of dedication and resources. Conclusion Shaan’s illustrious career is a testament to his talent, hard work and passion for Indian music. With his voice crossing borders and touching millions, he is a celebrity in the Indian music world. FAQs What is Shan’s real name? His real name is Shantanu Mukherjee. In what language did Shaan sing? Shaan has sung in Hindi, Bengali, Telugu, Marathi, Konkani, and many other languages. What are some of the most famous Shan songs? Popular songs include "Tanha Dil", "Chand Sifarish", and "Jab Se Tere Naina". Did Shaan win any awards? Yes, he won many awards like Filmfare Award. Does Shan participate in any aspects of life? Yes, he is involved in charities and supports social causes. Read the full article

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Krishna Kumar Kunnath KK - Bio, Top 40 Best Bollywood Music

Krishna Kumar Kunnath KK  is most popular Bollywood singer. His soulful voice and ability to inject deep emotion into each song has earned him a place among the greatest singers in country history as we journey through his illustrious career and discover what gives KK is the iconic voice of Indian music.

Best Krishna Kumar Kunnath Bollywood Music Download

Biography and Early life Krishna Kumar Kunnath KK was born on August 23, 1968 in Delhi, India. His original name, Krishna Kumar Kunnath, reflects his Malayali roots, although he spent most of his childhood in bustling Delhi. Keke had always loved music, but did not immediately pursue it as a career. He completed his graduation from Kirorimal College, University of Delhi and also worked in sales for a while. However, his passion for music was undeniable and he soon took a bold step into music. Entering music KK's journey to stardom was not instantaneous. It started with short, jingle-like steps. His big break came in 1994 when he moved to Mumbai, the Bollywood music and film hub of India. KK produced a demo tape that found its way to famous musicians like Lewis Banks, Ranjit Barot and Leslie Lewis, who recognized its potential. His very first jingle was an advertisement for Santojen Sooting, and in the next four years he has sung over 3500 jingles in 11 Indian languages. Mentoring is the beginning of a successful career Leslie Lewis, who gave KK his first chance to sing jingles in Mumbai, had a huge impact on his career. KK is considered Leslie's mentor, having played a key role in guiding his early in his musical career. By singing jingles, Krishna Kumar Kunnath KK. The Development of Bollywood Krishna Kumar Kunnath KK Bollywood playback music career started with a bang in 1999 with the iconic song "Tadap Tadap Ke" from the movie Hum Dil De Chuke Sanam. The intense emotions of the song are captured by K.K. Resonating with the sentiments of the audience, K.K. The famous songs Krishna Kumar Kunnath KK career KK sang many hit songs over the years, captivating audiences with his versatile voice. His famous and memorable songs include: 1. "Tadap Tadp Ke" (Hum Dil De Chuke Sanam): The song that shot him to fame with its poignant lyrics and strong vocals. 2. "Khuda Jaane" (Bachna Aye Haseeno): A romantic ballad that became popular among youngsters. "Dil Kyon Ye Mera Shor Kare" (Kites): A hit song by K.K. 3. "Sach Keh Raha Hai Deewana" (Rehna Hai Tere Dil Mein): An emotional song that perfectly captured the emotions of a heartbroken lover. 4. "Tu Hi Meri Shab Hai" (Gangster): A beautiful song that showcases his ability to sing romantic songs with a soothing voice. 5. "Zara Sa" (Paradise): A catchy and romantic number that became timeless. "What I. It is usable in both languages One reason KK is highly praised is its versatility. He sang in various Indian languages ​​like Hindi, Telugu, Tamil, Kannada and Malayalam, making his an all-India artiste. His ability to sing effortlessly in a variety of genres, from romantic ballads and pop to soulful and rock-inspired songs, sets KK apart from many of his contemporaries. Krishna Kumar Kunnath KK is good at playing live Krishna Kumar Kunnath KK, his stage presence and ability to connect with audiences adds another layer to his already impressive voice. Whether performing at college festivals, concerts, or corporate events, K.K. His live shows usually include a mix of his Bollywood hits, pop songs, and even some lesser known songs, showcasing his love for music and dedication to he will entertain the audience The Pop Music Phase: The Search for Innovation Krishna Kumar Kunnath KK is not just a Bollywood singer; He has also contributed immensely to the Indian pop scene. The Indian pop scene was booming in the 1990s, and K.K. His first solo album Pal, released in 1999, featured hits like "Pal," "Yaron," which became anthems for young people. To this day, these songs are popular, especially when saying goodbye and friendship celebrations. The album K.K. Recognition and awards Over the years, KK has received numerous awards and accolades for his contribution to Indian music. Though he tends to shy away from the limelight and avoids the glitz and glamor of the film industry, his work speaks for itself. He has been nominated for several Filmfare awards and won various other music awards, earning him the respect and admiration of his fans and industry members Influence and Legacy KK’s Bollywood songs has touched the hearts of millions around the world. His songs often evoke feelings of passion, love and desire, making his one of the most relatable and beloved singers in the business. Many aspiring musicians look up to him for his technique, versatility and humble personality. K.K. Conclusion Krishna Kumar Kunnath KK journey from a jingle singer to one of the renowned playback artists of Bollywood is a story of passion, perseverance and raw talent. His soulful voice and ability to bring life to songs has made him famous in India and outside his home. With a consistently inspiring career, KK has left a lasting mark on the Indian music industry, reminding us that true art knows no boundaries. FAQs What is KK's real name? K. K. real name Krishnakumar Kunnath. What was KK's first Bollywood song? His first Bollywood song was "Tadap Tadap Ke" from the movie Hum Dil De Chuke Sanam. In which language did Keke sing? KK has sung in over 11 Indian languages ​​including Hindi, Tamil, Telugu, Kannada and Malayalam. What are some of KK’s most famous songs? His popular songs include "Tadap Tadp Ke", "Khuda Jaane", "Sach Keh Raha Hai Deewana", and "Tu Hi Meri Shab Hai". Has Keke won any major awards for his music? While KK has been nominated for several awards, he has always focused on his music rather than accolades. Read the full article