#Best Hindi Songs of 1959 | Explore Tumblr Posts and Blogs

ofhunter290 · 3 years

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Shalimar 1978 Songs Pk

Shalimar 1978 Songs Pk Songs

Shalimar 1978 Songs Pk Subban

Shalimar 1978 Songs Pk Song

This will remove all the songs from your queue. Are you sure you want to continue? Clear currently playing song. One Two Cha Cha Cha(From 'Shalimar') Lyrics. Old songs indeed have an unmatchable aura from the rest of the songs. These songs, with the combination of meaningful lyrics and melodious tunes, helped in creating a great hype for their film. While some songs are famous by their title, some are famous by the cast that performs in the songs. SUBSCRIBE for the best Bollywood videos, movies, scenes and songs, all in ONE channel: On the run from the police, S.S. Kumar, a thief, comes across a private invitation to. About Us Shalamar Hospital is committed in the delivery of its tripartite mission of exemplary patient care, high-impact research and education. Over the last 44 years, Shalamar Hospital has evolved into a premier tertiary care medical facility with 500.

Category :Bollywood Songs

A number of songs about turmoil in relationships have been made in Hindi films. It’s not easy to get back to normal after a split with the one you love. This article showcases a detailed perspective of the best Bollywood Breakup songs and Heartbreak songs.

Parting ways with the one you love is never easy. Not every love story has a happy ending. The sentiments associated with a breakup have been expressed colloquially in Hindi films. Since its early days the Hindi film industry has depicted varied emotions centrifugal to lovers parting ways. Emotional turmoil is an aspect that has been thoughtfully captured through songs in Hindi films. Since the black and white era, songs about breakup and heartache have been exceedingly popular. Songs about lovers parting ways are exceedingly popular with Bollywood aficionados. People are able to relate with lyrics in breakup songs, and that’s why these songs are close to the heart of many.

Listeners are able to connect with emotions and feelings conveyed through breakup songs. Heartache and breakups is a bitter slice of reality that is painful, and it’s this pain that is expressed poetically through Bollywood breakup songs. The Hindi film industry is known for its high caliber lyricists. Lyricist’s give new life and meaning to songs with words. Lyrical melodies in Bollywood songs have charmed audiences in different decades. The warmth of emotion that oozes forth in Bollywood breakup songs has mesmerized audiences belonging to different age groups.

Breakup songs and heartbreak songs are popular with both youngsters and the older generation. While youngsters relate to present day songs, the older generation loves listening to sad songs from the decades gone by. The sentiments expressed through breakup songs in Hindi films have touched hearts. Emotive lyrics in breakup songs bring back memories of the past. Listening to songs about breakups or heartbreak help you deal with life as it comes. While opinions differ in regard with whether listening to breakup songs impact a person positively or negatively, the truth of the matter is lyrics in songs about heartbreak can only make you stronger and move forward for a better life.

The lines below showcase a comprehensive list of the best Bollywood breakup songs.

100 Greatest Bollywood Breakup Songs and Heartbreak Songs

Tadap Tadap Ke- Hum Dil De Chuke Sanam (1999)

Jag Soona Soona Lage- Om Shanti Om (2007)

Tanahayee- Dil Chahta Hai- (2001)

Jeena Yahan Marna Yahan- Mera Naam Joker (1970)

Bin Tere- I Hate Love Stories- (2010)

Yeh Duniya Yeh Mehfil- Heer Ranjha (1970)

Kabira- Yeh Jawaani Hai Deewani- (2013)

Tum hi Ho- Aashiqui 2 (2013)

Saathi Re Tere Bina Bhi Kya Jeena- Muqaddar Ka Sikandar (1978)

Tu Jaane Na- Ajab Prem Ki Ghazab Kahani- (2009)

Jaane Tu Meri Kya Hai- Jaane Tu… Ya Jaane Na (2008)

Agar Tum Saath Ho- Tamasha (2015)

Teri Meri- Bodyguard (2011)

Tujhe Bhula Diya- Anjaana Anjaani- (2010)

Mora Piya- Raajneeti (2010)

Tere Bin- Bas Ek Pal (2006)

Pyaar Hai Ya Sazaa- Salaam-e-Ishq (2006)

Bhula Dena- Aashiqui 2 (2013)

Jab Rulana Hi Tha- Aggar (2007)

Tujhe Yaad Na Meri Aaye- Kuch Kuch Hota Hai (1998)

Pardesi Pardesi Jaana Nahin- Raja Hindustani (1996)

Tujhe Sochta Hoon- Jannat 2 (2012)

Woh Lamhe Woh Baaten- Zaher (2005)

Chaha Hai Tujhko- Mann (1999)

Tune Jo Na Kaha- New York (2009)

Dil Ke Armaan Aanshuo Main Beh Gaye- Nikaah (1982)

Sunn Raha Hai- Aashiqui 2 (2013)

Hasi- Hamari Adhuri Kahani- (2015)

Tere Liye- Veer Zaara (2004)

Zindagi Ka Safar- Safar (1970)

Laal Ishq- Goliyon Ki Rasleela…Ramleela (2013)

Hone So Batuyaan- Fitoor (2016)

Tere Naam- Tere Naam (2003)

Manchala- Hasee Tooh Phasee (2014)

Kaise Main Kahon Tujhse- Rehna Hai Tere Dil Main (2001)

Ae Dil Hai Mushkil- Ae Dil Hai Mushkil (2016)

Ab Tere Bin- Aashiqui (1989)

Lambi Judaai- Hero (1983)

Main Shayar Badnaam- Namak Haram (1973)

Alvida- D- Day (2013)

Main Tenu Samjhawan- Humpty Sharma Ki Dulhania (2014)

Chingari Koi Bhadake- Amar Prem (1971)

Re Piya- Aaja Nachle (2007)

Koi Yeh Kaise Bataye- Arth (1983)

Tere Bina Zindagi Se Koi- Aandhi (1975)

Din Dhal Jaaye Haaye- Guide (1965)

Hum Bekhudi Mein Tumko Pukare- Kala Pani (1958)

Jiye Toh Jiye Kaise- Saajan (1991)

Pyar Manga Hai Tumhi Se- College Girl (1978)

Waqt Ne Kiya Kya Hansi Sitam- (Kaagaz Ke Phool) (1959)

Mera Kuchh Saaman- Ijaazat (1988)

Dooriyan- Love Aaj Kal(2009)

Justjoo Jiski Thi Usko- Umrao Jaan (1981)

Teri Galiyon Mein Na Rakhenge- Hawas (1971)

Poochoo Na Kaise Maine- Meri Surat Teri Aankhen (1963)

Abhi Mujh Mein Kahin- Agneepath (2012)

Laayi Ve Ne Gayi, Tey Nibhayi Vi Na Gayi- Chalte Chalte (2003)

Bhare Naina- Ra. One (2011)

Do Pal- Veer Zaara (2004)

Yun Hasraton Ke Daag- Adalat (1958)

Zindagi Mein Koi Kabhi Aaye Na Rabba- Musafir (2004)

Dil De Diya Hai- Masti (2004)

Priya Priya- Dil (1990)

Toote Huye Khwabon Me- Madhumati (1958)

Hum Bewfa Hargiz Na Thay- Shalimar (1978)

Jiyien Kyun- Dum Maaro Dum (2011)

Aaoge Jab Tum Sajna- Jab We Met (2007)

Teri Yaad Aati Hain- Saudagar (1991)

Jeena Jeena- Badlapur (2015)

Jeeta Tha Jiske Liye- Dilwale (1994)

Dil Mera Churaya Kyon- Akele Hum Akele Tum (1995)

Who Shaam Kuchj Ajeeb Thi- Khamoshi (1969)

Mujhe Teri Mohabbat Ka Sahara- Aap Aye Bahaar Aye (1971)

Tu Pyaar Hain Kisi Aur Ka- Dil Hai Ki Maanta Nahi (1991)

Zindagi Ke Safar Mein Guzar Jaate- Aap Ki Kasam (1974)

Jaane Kahan Gaye Who Din- Mera Naam Joker (1970)

Koi Hota Jisko Apna- Mere Apne (1971)

Kya Hua Tera Wada- Hum Kisise Kam Naheen (1977)

Shikaayat Hain- Jism (2003)

Sach Keh Raha Hai Deewana- Rehnna Hai Tere Dil Mein (2011)

Aur Is Dil Mein Kya Rakha Hai- Imaandaar (1987)

Chod Gaya Balam- Barsaat (1949)

Banake Kyun Bigada Re- Zanjeer (1973)

Chupana Bhi Nahi Aata- Baazigar (1993)

Mere Toote Huye Dil Se- Chhalia (1960)

Mere Dushman Tu Meri Dosti Ko Tarse- Aaye Din Bahaar Ki (1966)

Mere Piya- Tere Mere Sapne (1996)

Toh Phir Aao- Awarapan (2007)

Shisha Ho Ya Dil Ho- Aasha (1980)

Awaarapan Banjarapan- Jism (2003)

Dil Lagane Ki Do Na Saza- Anmol (1993)

Achha Sila Diya Tune Mere Pyaar Ka- Sanam Bewafa (1993)

Yeh Safar- 1942: A Love Story- (1994)

Mera Yaar Mila Dey Saaiyaan- Saathiya (2002)

Koi Jab Tumhara Hriday Tod De- Purab Aur Paschim (1970)

Aye Ajnabi Tu Bhi Kabhi- Dil Se (1998)

Hum Thay Jin Ke Saharay- Safar (1970)

Ab Naam Mohabbat Ke Ilzaam Yeh Aaya Hain- Ghulam (1998)

Tota Tota Sajan Se Kehna- First Love Letter (1991)

Rula Ke Gaya Sapna Mera- Jewal Thief (1967)

Let us know how you like this article. Like it and Rate it below.

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Shalimar 1978 Songs Pk Songs

200 Greatest Classic Bollywood Songs

The repertoire of classics in the Hindi film industry is incomparable. This article showcases a list of best classic Bollywood songs..

100 Greatest Bollywood Dance Songs For New Year Parties

The vibe Bollywood music brings onto the dance floor is like no other. The lines below showcase a list of the best Bollywood dance songs for New Year parties.

Shalimar 1978 Songs Pk Subban

Top 100 Bollywood Dance Songs For Freshers’ Parties

Music and dance is the essence of a freshers’ party. Students like to have a good time dancing to the tunes of different songs at a freshers’ bash.

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tumbou

Oh my God Tujhey Bhula Diya is my all time favourite. It hits the cord straight of my heart. It's lyrics has so much reality in it. Zindagi Kay safar main guzar jaatay is another reality based song that brings tears

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biju

Music has become an integral part pf our daily life. If you listen music, you would not feel any pain.

Shalimar 1978 Songs Pk Song

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dweemeister · 4 years

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Kaagaz Ke Phool (1959, India)

Almost a quarter of the way through the twenty-first century, globalization has pierced the remotest corners of the planet. The examples academics and politicians cite demonstrating this globalization are almost always economic, but the most profound examples are cultural. Once known only in South Asia, Indian cinema has burst onto a global stage. Its stars and its most popular directors seem larger than life. Reading on some of modern Bollywood’s (Hindi-language cinema) personalities, I find few of their biographies compelling beyond their unquestionable status as South Asian and international celebrities – I won’t name names here because that is for another time. That is partly a result of not watching enough Bollywood films. It is also because I am making unconscious comparisons between those modern actors to actor-director Guru Dutt. Dutt was a tragic romantic – off- and on-screen – to the point where those personas can become indistinguishable.

As an actor, Dutt can be as charming a romantic male lead as anyone, as well as lend a film the dramatic gravitas it needs. As a director, he refined his sweeping visuals and theatrical flairs over time. That artistic development culminated with Pyaasa (1957) and his final directorial effort, Kaagaz Ke Phool (“Paper Flowers” in English). The latter film is the subject of this piece. Both films elevate themselves to a cinematic altitude few movies anywhere, anytime ever accomplish. They are, for lack of a better word, operatic* – in aesthetic, emotion, storytelling, tone. In Kaagaz Ke Phool, Dutt once again lays bare his artistic soul in what will be his final directed work.

An old man enters a film studio’s empty soundstage, climbs onto the rafters, and gazes wistfully at the darkened workspace below. We learn that this is Suresh Sinha (Dutt), a film director whose illustrious past exists only in old film stock. The film is told in flashback, transporting to a time when his marriage to Bina (Veena) is endangered – the parents-in-law disdain his film work as disreputable to their social class – and he is embarking upon an ambitious production of Devdas (a Bengali romance novel that is among the most adapted pieces of Indian literature to film, the stage, and television). He is having difficulty finding someone to play Paro, the female lead. Due to this conflict, Bima has also forbidden their teenage daughter, Pammi (Kumari Naaz), from seeing Suresh. Pammi is sent to a boarding school far from Delhi (where Bima and her parents reside) and further from Mumbai (where Suresh works), without any sufficient explanations of the spousal strife.

One rainy evening, Suresh generously provides his coat to a woman, Shanti (an excellent Waheeda Rehman). The next day, Shanti arrives at the film studio looking to return the coat. Not knowing anything about film production, she accidentally steps in front of the camera while it is rolling – angering the crew who are tiring of yet another production mishap. Later, while viewing the day’s rushes, Suresh casts Shanti as Paro after witnessing her accidental, but remarkable, screen presence. She achieves cinematic stardom; Suresh and Shanti become intimate. When the tabloid gossip eventually reaches Mumbai and Pammi’s boarding school, it leads to the ruin of all.

What did you expect from an operatic film – a happy ending?

Also starring in the film are Johnny Walker (as Suresh’s brother-in-law, “Rocky”) and Minoo Mumtaz (as a veterinarian). Walker and Mumtaz’s roles are vestigial to Kaagaz Ke Phool. Their romantic subplot is rife with the potential for suggestive humor (she is a horse doctor), but the screenplay never justifies their inclusion in the film.

Shot on CinemaScope lens licensed by 20th Century Fox to Dutt’s production company, Kaagaz Ke Phool is Dutt’s only film shot in letterboxed widescreen. From the onset of his directorial career and his close collaboration with cinematographer V.K. Murthy, Dutt exemplifies an awesome command of tonal transition and control. Murthy’s dollying cameras intensify emotion upon approach: anguish, contempt, sober realization. These techniques render these emotions painfully personal, eliminating the necessity of a few lines of dialogue or supplemental motion from the actor. The effect can be uncomfortable to those who have not fully suspended their disbelief in the plot or the songs that are sung at the time. But to the viewers that have accepted that Dutt’s films exist in a reality where songs about infatuation, love, loss, and regret are sung spontaneously (and where revelations are heard in stillness), this is part of the appeal. Dutt and Murthy’s lighting also assists in directing the narrative and setting mood: a lashing rainstorm signaling a chance meeting that seals the protagonists’ fates, the uncharacteristically film noir atmosphere of the soundstage paints moviemaking as unglamorous, and a beam of light during a love melody evokes unspoken attraction. That final example represents the pinnacle of Dutt and Murthy’s teamwork (more on this later).

As brilliant as his films (including this) may be, Dutt suffered during mightily during Kaagaz Ke Phool’s production. In writings about Dutt, one invariably encounters individuals who believe Dutt’s life confirms that suffering leads to great art. Though I think it best to retire that aphorism so as not to romanticize pain, I believe that the reverse is true with Guru Dutt – his later directing career contributed to his personal tribulations. In some ways, that suffering informed his approach to what I consider an informal semiautobiographical trilogy of his films: Mr. & Mrs. ’55 (1955), Pyaasa, and Kaagaz Ke Phool. Dutt directed and starred in each of these films. In each film he plays an artist (a cartoonist, poet, and film director, respectively); with each successive film his character begins with a greater reputation, only to fall further than the last. The three Dutt protagonists encounter hardship that do not discriminate by caste, professional success, or wealth.

For Dutt’s Suresh, he is unable to consummate his love for Shanti because the specters of his failed marriage haunt him still. He never speaks to his de facto ex, but marital disappointment lingers. Why does he bother visiting his stuffy in-laws when he knows they will never change their opinions about him? Abrar Alvi’s (the other films in the aforementioned informal Dutt-directed trilogy, 1962’s Sahib Bibi Aur Ghulam) screenplay is silent on the matter. Also factoring into Suresh’s hesitation is his daughter, Pammi. Pammi is young, looks up to both her parents, and cannot fathom a parent being torn from her life. Her reaction to learning about Shanti implies that neither of her parents have ever truly talked to her about their separation. Pammi does not appear to blame herself, but it seems that her parents – intent on protecting their child, perhaps speaking to her not as a soon-to-be young adult – are loath to maturely talk about the other. In a sense, Pammi has never mourned her parents’ marriage as we see her deny the tabloid reports about Suresh’s affair and express anger towards her father when she learns the truth.

When Suresh’s film after Devdas flops, his film career is in tatters. But Shanti’s popularity is ascendant, creating a dynamic reminiscent of A Star is Born. In a faint reference to Devdas, Kaagaz Ke Phool’s final act contains anxieties about falling into lower classes. If Kaagaz Ke Phool is contemporaneous to its release date, one could also interpret this as concerns about falling within India’s caste system (reformist India in the late 1950s was dipping its toes into criminalizing caste discrimination, which remains prevalent). Suresh’s fall is stratospheric and, in his caste-conscious, masculine pride, he rejects Shanti’s overtures to help him rebuild his life and film career. This tragedy deepens because Shanti’s offer is in response to the contractual exploitation she is enduring. We do not see what becomes of Shanti after her last encounter with Suresh, but his final scenes remind me, again, of opera: the male lead summoning the strength to sing (non-diegetically in Suresh’s case) his parting, epitaphic thoughts moments before the curtain lowers.

Suresh’s and Shanti’s respective suffering was preventable. Whether love may have assuaged his self-pity and alcoholism and her professional disputes is debatable, but one suspects it only could have helped.

Composer S.D. Burman (Pyaasa, 1965’s Guide) and lyricist Kaifi Azmi (1970’s Herr Raanjha, 1974’s Garm Hava) compose seven songs for Kaagaz Ke Phool – all of which elevate the dramatics, but none are as poetic as numbers in previous Dutt films. Comments on two of the most effective songs follow; I did not find myself nearly as moved by the others.

“Dekhi Zamane Ki Yaari” (roughly, “I Have Seen How Deeply Friendship Lies”) appears just after the opening credits, as an older Suresh ascends the soundstage’s stairs to look down on his former domain. The song starts with and is later backed by organ (this is an educated guess, as many classic Indian films could benefit with extensive audio restorations as trying to figure out their orchestrations can be difficult) and is sung non-diegetically by Mohammed Rafi (dubbing for Dutt). A beautiful dissolve during this number smooths the transition into the flashback that will frame the entire film. That technique, combined with “Dekhi Zamane Ki Yaari”, prepares the audience for what could be a somber recollection. However, this is only the first half of a bifurcated song. The melodic and thematic ideas of “Dekhi Zamane Ki Yaari” are completed in the film’s final minutes, “Bichhde Sabhi Baari Baari” (“They All Fall Apart, One by One”; considered by some as a separate song). Together, the musical and narrative arc of this song/these songs form the film’s soul. For such an important musical number, it may have been ideal to incorporate it more into the film’s score, but now I am being picky.

Just over the one-hour mark, “Waqt Ne Kiya Haseen Sitam” (“Time Has Inflicted Such Sweet Cruelty On Us”; non-diegetically sung by Shanti, dubbed by Geeta Dutt, Guru’s wife) heralds the film’s second act – Suresh and Shanti’s simultaneous realization of their unspoken love, and how they are changed irrevocably for having met each other. Murthy’s floating cameras and that piercing beam of light are revelatory. A double exposure during this sequence shows the two characters walking toward each other as their inhibitions stay in place, a breathtaking mise en scène (the arrangement of a set and placement of actors to empower a narrative/visual idea) foreshadowing the rest of the film.

Dutt’s perfectionist approach to Kaagaz Ke Phool fueled a public perception that the film was an indulgent vanity exercise with a tragic ending no one could stomach viewing. Paralleling Suresh and Shanti’s romantic interest in each other in this film, the Indian tabloids were printing stories claiming that Dutt was intimate with co-star Waheeda Rehman and cheating on Geeta Dutt. These factors – perhaps some more than others (I’m not versed on what Bollywood celebrity culture was like in the 1950s, and Pyaasa’s tragic ending didn’t stop audiences from flocking to that film) – led to Kaagaz Ke Phool’s bombing at the box office. Blowing an unfixable financial hole into his production company, Guru Dutt, a man who, “couldn’t digest failure,” never directed another film. Like the character he portrays here, Dutt became an alcoholic and succumbed to depression in the wake of this film’s release. Having dedicated himself entirely to his films, he interpreted any professional failure as a personal failure.

Kaagaz Ke Phool haunts from its opening seconds. Beyond his home country, Dutt would not live to see his final directorial effort become a landmark Bollywood film and his international reputation growing still as cinematic globalization marches forth. Dutt’s most visually refined films, including Kaagaz Ke Phool, are films of subtraction. The cinematography and music make less movement and dialogue preferable. Kaagaz Ke Phool is a film defined about actions that are not taken and scenes that are never shown. The result is not narrative emptiness, but a receptacle of Dutt’s empathy and regrets. Exploring these once-discarded, partially biographic ideas is not for faint hearts.

My rating: 9/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* I use this adjective not to reference operatic music, but as an intangible feeling that courses over me when watching a film. Examples of what I would consider to be operatic cinema include: Crouching Tiger, Hidden Dragon (2000, Taiwan); Greed (1924); The Red Shoes (1948); and The Wind (1928). Some level of melodrama and emotional unpackaging is necessary, but the film need not be large in scope or have musical elements for me to consider it “operatic”.

#Kaagaz Ke Phool #Guru Dutt #Waheeda Rehman #Kumari Naaz #Bollywood #Mehmood #Johnny Walker #Mahesh Kaul #Veena Sapru #Abrar Alvi #V.K. Murthy #S.D. Burman #Mohammad Rafi #Geeta Dutt #Asha Bhosle #My Movie Odyssey

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bollywoodirect · 4 years

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RIP Kumkum

Kumkum was a popular Hindi film actress of the 1950s and1960s. Born Zaibunnissa at Hussainabad in Bihar in 1934, she has acted in nearly 115 films in her career.

Kumkum was discovered by Guru Dutt and her first onscreen appearance was for the song "Kabhi Aar Kabhi Paar Laga Teer-E-Nazar" in Aar-Paar (1954). Later Kumkum was seen in a small role in Pyasa (1957).

She is best known for her roles in films - Mother India (1957), Naya Daur (1957), Ujala (1959), Kali Topi Lal Rumal (1959), Kohinoor (1960), Son Of India (1962), Ganga Ki Lahren (1964), Shreeman Funtoosh (1965), Ek Sapera Ek Lutera (1965), Raja Aur Runk (1968), Ankhen (1968), Geet (1970) and Lalkar (1972).

Kumkum was a trained Kathak dancer and she has several classical pieces picturized on her and some non-classical hits. In the beautiful classical song "Madhuban Mein Radhika Naache Re" from Kohinoor, Kumkum entranced the audience with a graceful kathak performance. Kumkum is a delight to watch in the song "Madhuban Mein Radhika", so lovely, so skilled a dancer, so graceful and yet energetic.

Kumkum also acted in Bhojpuri films. Her first film in Bhojpuri cinema was Ganga Maiyya Tohe Piyari Chadhaibo (1963).

Kumkum continued her career in Hindi films till the 1970s before she got married and moved to Saudi Arabia. In later years Kumkum came back to India.

#kumkum #Zaibunnissa #guru dutt #Kabhi Aar Kabhi Paar Laga Teer-E-Nazar #aar paar (1954)#pyasa (1957)

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anotherescsite · 4 years

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Favourite Things: France

France is the last country on the list. I subconsciously left them to last with Italy because they have provided the best spread of Eurovision music across their history in the song contest. Five Eurovision winners; 1957, 1959, 1962, 1969 and 1977 and while their history has low finishes were last only once in 2014.

France is one of those nations that has kept close to the story line with a very consistent line of romantic ballads and pleasant odes to love. But there are people out there should also focus on the progressive moments of French music between 1990 and 1994 where there was experimentation with African, Hindi and Creole vibes. Most of those entries kept them in the top 5. But their luck dried up after that and a slow slide towards the tail of the scoreboard began. there were few glimmers of light (2001, 2002, 2009, 2016), but many poor showing of Eurovision followed.

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Un Jour, Un Enfant - Frida Boccara

France had many great Eurovision entries and I could not decide on an entry as a favourite, so I am going to give you two. The first is this one by Frida Boccara which was one of the four songs that won the contest in 1969. I believe it would be rated as the favourite of the four by many people. I like it because it is enjoyable in many dimensions and if you listen to each on their own, they are still excellent.

Frida’s performance is very stationary and gives her the ability to sing in the most wonderful, expressive way that highlights her story. Her voice is powerful and commands your attention through the song. The music is an accompaniment; it never overwhelms the lyrics and Frida. The strings of the song scream traditional France and it really is a pleasant ride.

But I love it because it has the ability to capture your breath in anticipation of what is coming and hold it for three minutes as you listen to the unfolding valleys and peaks of this musical journey. I know it won’t be to everyone’s taste, but listen to it just as a favour to me. Let the music take you to it’s happy place.

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Je nai que mon âme - Natasha St Pier

Don’t look at the dress and the haircut. This was one of the favourites of the 2001 Eurovision Song Contest because France had gone back to their roots with a classical French format of song that stood out amongst the crowd. It was beaten my three songs; Estonia (harmonies and choreography), Denmark (home entry favour?), and Greece (traditional-modern and popular).to come fourth.

The song is a delicate flower that blooms through the song. Natasha’s vocals and the music start quietly, and it builds and it builds until it comes to a conclusion with a great ‘hey-yeah’. I like the predominate sound of the acoustic guitar through the song and it’s ability to make it sound like a much more personal song for it is a personal story. While it is delicate, it does have some power too. Natasha shows off her abilities in a well executed musical performance.

#favourite things #france #esc #eurovision #frida boccara #un jour un enfant #natasha st pier #Je nai que mon âme

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magicalsublimecycle · 4 years

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Mukesh Hindi Song

https://play.google.com/store/apps/details?id=com.obliviontech.mukeshhitsongs

Music is the name of entertainment and joy, if you talk about old Hindi music there is nothing beyond this application named "Mukesh Hit Songs ". In 1974 Mukesh Chand Mathur received National Film Award for best Male Playback Singer for Song Kai Baaar Yuhi Dekha Hai from Film Rajanigandha in 1974 and after gets Filmfare Awards for Songs SAB KUCH HUMNY in movie ANARI in 1959 and SABSE BADA NADAAN WAHI HAI in Film PEHCHAN in 1970, JAI BOLO BEIMAAN KI in movie BAIMAAN in 1972. He sung not to much songs but he is Quality singer. So, We tried to help you out. We build this app "Mukesh Hit Songs" which is very easy to use. Easy to explore and stream Old Hindi Video Songs, You just need to click what you want to watch just like Asha Bhosle Old romantic songs, Asha Bhosle Old sad songs .. etc. Note:- If you enjoyed this app then review it with 5 stars and leave your precious comment. Don't forget to share it. Your smile is our reward. Declaimer:- "OblivionTech" providing you best entertaining platform. We are trying to facilitate you to find you desired data as well as best video quality. All content in "Mukesh Hindi Song" is free on public domain. We don’t host any of these videos Files. All rights reserved to the content's respective owners. If you are owner of any type of data in this application just E-mail us we will feedback you within 7 working days and remove your data. #Mukesh_Hit_Songs_Hindi_Songs #Mukesh_Hit_Songs #Mukesh_HIndi_Songs #Mukesh_Top_Old_Songs #Mukesh_Old_Songs #Mukesh_Top_Hit_Songs #Mukesh_Songs #Old_Hindi_Songs #Hindi_Songs Mukesh Hit Songs - Hindi Songs Mukesh Hit Songs Mukesh HIndi Songs Mukesh Top Old Songs Mukesh Old Songs

#Mukesh Hit Songs - Hindi Songs #Mukesh Hit Songs #Mukesh HIndi Songs #Mukesh Top Old Songs #Mukesh Old Songs

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rmaappsmubeen1 · 5 years

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Mukesh Hindi Song

https://play.google.com/store/apps/details?id=com.obliviontech.mukeshhitsongs

Music is the name of entertainment and joy, if you talk about old Hindi music there is nothing beyond this application named "Mukesh Hit Songs ". In 1974 Mukesh Chand Mathur received National Film Award for best Male Playback Singer for Song Kai Baaar Yuhi Dekha Hai from Film Rajanigandha in 1974 and after gets Filmfare Awards for Songs SAB KUCH HUMNY in movie ANARI in 1959 and SABSE BADA NADAAN WAHI HAI in Film PEHCHAN in 1970, JAI BOLO BEIMAAN KI in movie BAIMAAN in 1972. He sung not to much songs but he is Quality singer. So, We tried to help you out. We build this app "Mukesh Hit Songs" which is very easy to use. Easy to explore and stream Old Hindi Video Songs, You just need to click what you want to watch just like Asha Bhosle Old romantic songs, Asha Bhosle Old sad songs .. etc. Note:- If you enjoyed this app then review it with 5 stars and leave your precious comment. Don't forget to share it. Your smile is our reward. Declaimer:- "OblivionTech" providing you best entertaining platform. We are trying to facilitate you to find you desired data as well as best video quality. All content in "Mukesh Hindi Song" is free on public domain. We don’t host any of these videos Files. All rights reserved to the content's respective owners. If you are owner of any type of data in this application just E-mail us we will feedback you within 7 working days and remove your data. Mukesh Hit Songs - Hindi Songs Mukesh Hit Songs Mukesh HIndi Songs Mukesh Top Old Songs Mukesh Old Songs

#Mukesh Hit Songs - Hindi Songs #Mukesh Hit Songs #Mukesh HIndi Songs #Mukesh Top Old Songs #Mukesh Old Songs

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bollywoodproduct · 4 years

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Lyrics Tere Pyar Ka Aasra Chaahta Hoon

Lyrics in English | Tere Pyar Ka Aasra Chaahta Hoon | Dhool Ka Phool (1959) Tere Pyar KaAasra Chaahta HoonTere Pyar KaAasra Chaahta HoonWafa Kar Raha HoonWafa Chaahta HoonTere Pyar KaAasra Chaahta HoonWafa Kar Raha HoonWafa Chaahta HoonHaseeno Se Ehd-EWafa Chaahte HoHaseeno Se Ehd-EWafa Chaahte HoBade Naasamajh HoYe Kya Chaahte HoBade Naasamajh Ho……….. Antakshari Songs from “T” Tere Narm…

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#A to Z Hindi Retro Romantic Songs #a to Z Romantic Songs #All Time Best Songs Composed by Datta Naik #All Time Best Songs of Mala Sinha #Antakshari Songs from T #Best Hindi Songs of 1959 #Best Romantic Songs of 1959 #Best Romantic Songs of Mahendra Kapoor #Best Songs of Mala Sinha #Best Songs of Rajendra Kumar #Best Songs of Sahir Ludhiyanvi #Bollywood Retro Masti Chhedchhad Songs #Bollywood Songs of 1959 #Chhedchaad Songs #Chhedchhad and Masti Bollywood Songs #Hindi Song Lyrics Starting from T #Lata Mangeshkar and Mahendra Kapoor Songs #Lata Mangeshkar and Mala Sinha Songs #Lata Mangeshkar Duet Songs #Lata Mangeshkar Songs #Lyrics Starting from T #Mahendra Kapoor Duet Songs #Mahendra Kapoor Songs #Mala Sinha Songs #Rajendra Kumar Romantic Songs #Rajendra Kumar Songs #Retro Chhedchhad Songs #Romantic Songs of 1959 #Romantic Songs of Mahendra Kapoor #Songs composed by Datta Naik

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dweemeister · 4 years

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2020 Movie Odyssey Award for Best Original Song (final results)

TAGGING for the last time for 2020′s MOABOS: @addaellis; @birdsongvelvet; @cokwong; @emilylime5; @halfwaythruthedark; @idontknowmuchaboutmovies; @introspectivemeltdown; @maximiliani; @memetoilet; @monkeysmadeofcheese; @myluckyerror; @shootingstarvenator; @plus-low-overthrow; @themusicmoviesportsguy; @theybecomestories; @umgeschrieben; @underblackwings; @voicetalentbrendan; and @yellanimal! I know some of you did not complete the final round, but you have been tagged in appreciation anyways.

I post this in full realization of how dark this day has been. It’s been a painful several hours in a deeply wounded country - a country that, for the first time in in a long time, has failed to secure a peaceful transfer of power. May this day not be an indication of what this new year may bring.

And now to the subject of this post.

I expected this final round to be a complete blowout for a certain song, based on my own personal predictions before MOABOS began and from eyeballing the point totals (which no longer decide the winner and placements for the final). That song did win, but with a razor-thin margin, preventing what might have been the biggest upset in the Movie Odyssey for Best Original Song’s history. I would’ve preferred the upset to the actual winner, but I am nevertheless very happy with the result.

31 respondents chimed in, slightly down by two from last year (my fault... but what a turnout!). The first set of standings you see are based on the points-based system that the preliminary round is based on. The final was formerly decided this way until too many one choice-one vote respondents skewed the process.

STANDINGS ON POINTS (USED ONLY AS A SECONDARY TIEBREAKER... the actual final result is the list below this one). Using the old method, the count would’ve looked like this (“Song”, Film title (points) / #1 votes).:

"Can’t Help Falling in Love”, Blue Hawaii (163) / 8

“Theme from New York, New York”, New York, New York (149) / 2

“(Do You Know What It Means to Miss) New Orleans”, New Orleans (134) / 3

“Farewell to Storyville”, New Orleans (124.5) / 3

“Is There Still Anything That Love Can Do?”, Weathering with You (116) / 3

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, Kaagaz Ke Phool (111.5) / 1

“Waqt Ne Kiya Kya Haseen Sitam”, Kaagaz Ke Phool (114.5) / 3

“Happy Endings”, New York, New York (104.5) / 1

“Blue Shadows on the Trail”, Melody Time (103.5)

“You Make Me Feel So Young”, Three Little Girls in Blue (103) / 1

“Angela”, Aaron Loves Angela (92) / 2

"Please Don’t Stop Loving Me”, Frankie and Johnny (92)

“Here They Come (From All Over the World)”, The T.A.M.I. Show (74) / 2

“Moonlight Swim”, Blue Hawaii (64) / 1

“Personality”, Road to Utopia (60.5)

"Exsultate Justi”, Empire of the Sun (49) / 1

That’s a sizeable lead on points AND in #1 votes for “Can’t Help Falling in Love”. What did the actual results yield?

THE OFFICIAL TABULATION FOLLOWS.

We used a single transferable vote (which is explained visually here). With 31 votes, a song needed 50% + 1 vote of all #1 and transferred votes to be declared a winner. Thus, a song needed 16 votes to win. One ballot was discarded midway through the count due to that person only voting for one song, but the magic number remained 16. The top ten songs became nominees; the bottom six are considered honorable mentions:

2020 Movie Odyssey Award for Best Original Song (FINAL STANDINGS)

"Can’t Help Falling in Love”, Blue Hawaii (1961)

“Waqt Ne Kiya Kya Haseen Sitam”, Kaagaz Ke Phool (1959, India)

“(Do You Know What It Means to Miss) New Orleans”, New Orleans (1947)

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, Kaagaz Ke Phool

“Is There Still Anything That Love Can Do?”, Weathering with You (2019, Japan)

“Farewell to Storyville”, New Orleans

“Theme from New York, New York”, New York, New York (1977)

“Angela”, Aaron Loves Angela (1975)

“Here They Come (From All Over the World)”, The T.A.M.I. Show (1964)

“Happy Endings”, New York, New York

“You Make Me Feel So Young”, Three Little Girls in Blue (1946)

“Moonlight Swim”, Blue Hawaii

“Exsultate Justi”, Empire of the Sun (1987)

“Blue Shadows on the Trail”, Melody Time (1948)

“Please Don’t Stop Loving Me”, Frankie and Johnny (1966)

“Personality”, Road to Utopia (1945)

Composed by Hugo Peretti, Luigi Creatore, and George David Weiss, your winner is “Can’t Help Falling in Love”. Ever since its debut in the film, it has been covered often by artists in various genres of music. And because of its ubiquity, it was also the song that perhaps came into this year’s MOABOS with the highest expectations of taking it all (aside from “Theme from New York, New York”). But spare a thought for “Waqt Ne Kiya Kya Haseen Sitam” (along with Dekhi Zamaane Ki Yaari”, they jointly become the . It is one of the most spellbinding moments in all of Hindi cinema, a lovelorn anthem of classic Bollywood that has transcended its origins.

I also wanted to give a final shout-out to both songs from New Orleans (1947). Louis Armstrong and Billie Holiday - two giants of American jazz - should have been the stars in that movie, but, because of the limited opportunities for black actors at that time, they are not. Armstrong has been part of MOABOS before, and I imagine we haven’t see the last of him. But for Billie Holiday, New Orleans was her only credited appearance in a feature film. This year’s MOABOS richly benefitted from her unique voice and musicality.

“Can’t Help Falling in Love” joins these past winners:

2019: “I WIsh I Didn’t Love You So” from The Perils of Pauline (1947)

2018: “Love Is a Many-Splendored Thing” from Love Is a Many-Splendored Thing (1955)

2017: “Remember Me (Recuérdame)” from Coco (2017)

2016: “Stayin’ Alive” from Saturday Night Fever (1977)

2015: “Amhrán Na Farraige” from Song of the Sea (2014)

2014: “Rainbow Connection” from The Muppet Movie (1979)

2013: “The Gold Diggers’ Song (We’re In the Money)” from Gold Diggers of 1933 (1933)

I thank all of you for participating in 2020′s Movie Odyssey Award for Best Original Song. In a year defined by disruption and disease, I was happy to continue this small (and yes, time-consuming for everyone) end-of-year tradition with all of you. It is a privilege to share my love of classic films and musical tastes here on tumblr and elsewhere, and I hope all of you found some new films or music that caught your attention. With the end of this pandemic closer than ever before, I hope all of you stay safe as we navigate this year together.

The 2021 Movie Odyssey began several days ago. Another year of cinematic discovery beckons, and perhaps many of you might share some of that joy of discovery with me. Hope to see you here for a 2021 edition of MOABOS. Tabulation details are beneath.

31 ballots were submitted; sixteen #1 votes and transferred votes needed to win

2ND COUNT: One vote for “Exsultate Justi” is transferred to “New Orleans”:

3RD COUNT: One vote for “Moonlight Swim” to “Can’t Help Falling in Love”:

4TH COUNT: One vote for “You Make Me Feel So Young” to “Dekhi Zamaane Ki Yaari”:

5TH COUNT: One vote for “Happy Endings” to “Dekhi Zamaane Ki Yaari”:

6TH COUNT: Two votes for “Here They Come (From All Over the World)” to “Dekhi Zamaane Ki Yaari”:

7TH COUNT: One ballot was discarded. One vote for “Angela” to “Is There Still Anything That Love Can Do?” 30 ballots remain; 16 to win.

8TH COUNT: One for for “New York, New York” to “Waqt Ne Kiya Kya Haseen Sitam”. The other went to “Can’t Help Falling in Love”:

9TH COUNT: Three votes for “Farewell to Storyville” were transferred. One went to “Can’t Help Falling in Love”, another to “Waqt Ne Kiya Kya Haseen Sitam”, and the last one to “New Orleans”:

10th COUNT: Four votes for “Is There Still Anything That Love Can Do?” were transferred. Three went to “Can’t Help Falling in Love. The fourth vote went to “Waqt Ne Kiya Kya Haseen Sitam”.

11TH COUNT: Five votes for “Dekhi Zamaane Ki Yaari” were transferred. Four of those went to “Waqt Ne Kiya Kya Haseen Sitam”; the other went to “New Orleans”:

12TH COUNT: Six votes for “New Orleans” were transferred. Four went to “Waqt Ne Kiya Kya Haseen Sitam”. Two went to “Can’t Help Falling in Love”.

“Can’t Help Falling in Love” clinched victory on the 13th and final count by a margin of 16 votes to 14 for “Waqt Ne Kiya Kya Haseen Sitam”.

#2020 Movie Odyssey Awards

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bollywoodirect · 5 years

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Wishing yesteryear Hindi film actress Kumkum a very Happy 86th Birthday today. Kumkum was a popular Hindi film actress of the 1950s and1960s. Born Zaibunnissa at Hussainabad in Bihar in 1934, she has acted in nearly 115 films in her career. Kumkum was discovered by Guru Dutt and her first onscreen appearance was for the song "Kabhi Aar Kabhi Paar Laga Teer-E-Nazar" in Aar-Paar (1954). Later Kumkum was seen in a small role in Pyasa (1957). She is best known for her roles in films - Mother India (1957), Naya Daur (1957), Ujala (1959), Kali Topi Lal Rumal (1959), Kohinoor (1960), Son Of India (1962), Ganga Ki Lahren (1964), Shreeman Funtoosh (1965), Ek Sapera Ek Lutera (1965), Raja Aur Runk (1968), Ankhen (1968), Geet (1970) and Lalkar (1972). Kumkum was a trained Kathak dancer and she has several classical pieces picturized on her and some non-classical hits. In the beautiful classical song "Madhuban Mein Radhika Naache Re" from Kohinoor, Kumkum entranced the audience with a graceful kathak performance. Kumkum is a delight to watch in the song "Madhuban Mein Radhika", so lovely, so skilled a dancer, so graceful and yet energetic. Kumkum also acted in Bhojpuri films. Her first film in Bhojpuri cinema was Ganga Maiyya Tohe Piyari Chadhaibo (1963). Kumkum continued her career in Hindi films till the 1970s before she got married and moved to Saudi Arabia.In later years Kumkum came back to India. She is living a happy retired life in Mumbai.

#kumkum #bollywood #bollywoodirect

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sareesinthewind · 3 years

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Photo 1: Parasakthy and Sundha 1961 in Colombo Photo 2: Parasakthy and Sundha in the 80s in Chennai Photo 3: Sundha as a BBC newsreader 1982 in London Photo 4: Sundha interviewing a young Mathematics prodigy from Tamil Nadu from Radio Ceylon studios 60s in Colombo Photo 5: Sundha was also a talented photographer, and this is one of the photos he took and cheekily edited on his film camera Photo 6: Sundha performing in one of the radio dramas, Radio Ceylon 1950s Photo 7&8: Front and back cover of ‘Mana Osai - Reminiscences of a Broadcaster’ a book about Sundha Paraskathy Sydney, Australia *note that uncle refers to Parasakthy’s husband, the late Sundharalingam. In 1948, uncle, as a young boy, had listened to the running commentary of Mahatma Gandhi’s funeral procession. Back then in Jaffna nobody had a radio at home, so the school principal hired one for the kids to be able to listen to Gandhi’s tributes. Uncle said that he and many of the children cried. Uncle was so amazed at how something happening in a distant land could move people in his village in Chavakacheri. In his wonderment at how this was possible, his dream to one day become a radio announcer was born. Sri Lanka started broadcasting in 1923, three years after Europe started the BBC. The transmitter was built using equipment from a captured German submarine. Colombo Radio, later known as Radio Ceylon, started broadcasting in English first and later added Sinhhalese and Tamil . As the station’s popularity grew in India, Hindi was introduced, which also catered for the Hindi-speaking businessmen in Colombo. While uncle was studying at Jaffna Central college, he stayed in a hostel and would listen to the 9pm All India Radio news on the public radio installed in Subramanian Park while the other students would be engrossed in their studies. At the age of 21, uncle started working in Colombo, having skipped his university entrance exam to earn money. There he found himself working in the office next to Radio Ceylon. One of his colleagues was a radio drama artist and invited uncle to join him. Uncle fell in love with the stage and soon became popular for his theatrical talents. When a vacancy opened up for a news reader, he applied and was appointed to the job. By the fifties, radio had become a big craze in Jaffna, but very few people could afford a radio and our parents also didn’t want us to get distracted by listening to film songs and dramas. Even if we could afford a radio, my family didn’t have electricity. We had a simple life and education was our main focus. Uncle’s family also didn’t have electricity and had to go to a neighbour's house to listen to his broadcasts. While at Radio Ceylon, he was seconded for a ministerial post as press officer with the option of returning to his job as a news announcer when he wished to do so.

His duties included reading the papers and giving the minister a summary of daily events as well as interpreting speeches from Sinhala to English or Tamil. He also accompanied different Sinhalese ministers on their trips, bearing witness to their acts incitement of discrimination against the Tamils. He would often come home and tell me how sad he felt. His next job was as a simultaneous interpreter in parliament, a service provided for the Members of Parliament . Most of the Members spoke only Sinhalese or English and uncle worked as the Tamil translator.

Because parliament only sat for a few days a year, uncle had a lot of free time, which he filled by voicing jingles for advertising companies and performing in radio plays .

The stage was like a second home for him. He had so much confidence in all three languages. In 1969, he and another interpreter were selected to do the simultaneous interpreting for the Apollo 11 moon landing on July 20. These Sinhalese and Tamil interpretations, which were done non stop for three days, were broadcast by Radio Ceylon all around the country and region, capturing that awe-inspiring moment in history. The US Embassy in Colombo trained the team, which included Tamil and Sinhala scientists, for about a week, so that they were familiar with the technical terms. They also had to go through a simulated landing. Uncle found the American English difficult, but managed to successfully complete the task. Though Sinhala chauvinism escalated well before the eighties, we never imagined it would eventuate in the pogroms and violence that followed, culminating in the atrocities of 2009.

When the Sinhala Only Bill was passed in 56, uncle had to read it out as news on Radio Ceylon and had to cover stories of its implementation. Uncle was also a news reader during the 58 ethnic riots and the 76 and 78 pogroms.

Uncle's time at Radio Ceylon, his time in parliament and our years in India, the UK and Australia as a refugee during which time he yearned to return to our country of birth, had a profound effect on him. His resulting grief stayed with him right until his last days in Australia. In 1959, I graduated with a BA in Arts from Peradeniya University. My family never thought I would get a place in the university, as it was a difficult entrance exam. In those days, the results were announced in the English newspapers. But in our home, we only read Tamil newspapers. My father's friend saw the results and sent the paper to our home, with my name underlined, through another friend. I also had the option of entering a Teachers Training College to study teacher training, which required a less competitive mark than university studies. My school principal, the late Miss Thambiah, however encouraged me to enrol in university and promised me that I would have a job back at our school, Vembadi Girls’ High School, when I had finished my degree.

In Jaffna, education was mainly segregated into male and female schools. In certain schools, at the higher levels there was mixed education. So university was where I first met men, outside my immediate family. It was also the first time I met Sinhalese students. There were about fifty Tamil students and two or three hundred Sinhalese students. We enjoyed our single rooms and ate in a dining hall with fork and spoon. We were served a lot of beef and so I became a vegetarian. University is where I tasted cheese for the first time. Our education was free, and our living expenses were minimal. Those of us who remember the days of no ethnic divide, will remember university as a wonderful experience. Those days we had the best of everything in Sri Lanka - free education and free medical services. Everything was good, till the politicians of the majority community poisoned the minds of the people against the minorities living in the country. I think that now it's too late for change. The poison has sunk in too deep. After my studies, I returned to Jaffna and started teaching at my high school. I was so happy and I had many dreams of helping my siblings, who were excelling in their studies. But a marriage proposal to uncle came my way in 1961 and though I had a lot of ambitions and wasn’t keen on it, it was my parents wish and so I obliged. After our wedding, I joined uncle in Colombo where we had a comfortable life, like most middle class families. I got a job at the Muslim Ladies College in Bambalapitya Colombo. Teaching in a multicultural environment was another unforgettable experience. Our move to Chennai in 1980 was not my decision and nor was I in favour of it. Our only daughter Subhadra had just sat for her OL exam and was keen to continue her bharathanatyam studies, while we wanted her to attend university. It came as a rude shock when one morning in January 1980 uncle asked me to sign my retirement papers. He explained there was an option for lady teachers to retire after twenty years of service, which i had just completed, and I could avail myself of that facility. He said I could go to Chennai to educate Subhadra in the Fine Arts (music and dance), while at the same time help her to get a degree in Arts/Science. My school principal refused to endorse the papers as I was in the process of being appointed as principal of the newly built Colombo Hindu Ladies College. I was appalled! Who would throw away everything so good? I was in a dilemma but my husband solved it for me. He said “a decision has been made, let us not go back on it”. He said that Tamils couldn’t live in Sri Lanka in peace anymore and that political unrest was simmering. He said that he no longer wanted to live like a fugitive in his country of birth ‘his தாய் நாடு’ and that after translating the venomous speeches of the Sinhalese Members in parliament, he had spent many years of sleepless nights. He said that at least in Tamil Nadu we would feel a sense of familiarity and could continue to be part of the Tamil culture and language. He reminded me that we had to seek refuge in a Muslim friend’s house during the 1977 pogrom and that our daughter had no chance of entering university with the government’s standardisation policy which penalised Tamil students. So in Jan 1980 I retired and we left for Madras, our home for the next twenty years. There were only three other Tamil families from Sri Lanka who had settled down in Chennai after the first pogrom in 1958 and they all welcomed us graciously. Mr and Mrs Sivapathasundaram had made Adyar their home, the suburb which would become our home too. Mr Sivapathasundaram was a renowned broadcaster at Radio Ceylon and a popular Tamil writer on par with Indian writers. He was the one who gave the name Thamilosai to BBC Tamil Radio. We realised theirs was a life of struggle even after spending nearly three decades in Tamil Nadu. Our years in Chennai were also tough, and those who came to visit us were shocked to see how we were living in a single room annex. In 1982, we received a surprise phone call from the BBC asking uncle if he would come and work as the Tamil radio producer for one year, while Mr Shankaramoorthy, the then producer, took one year of medical leave. In uncle’s previous trips to the UK he had acted in some of the BCC Thamilosai’s radio dramas and so they were familiar with his talents. Subha had entered Stella Marie’s College, so we put her in the college hostel and set off on our year long UK adventure. We could have stayed on after our contract was over by taking part in radio programmes, however uncle said that he wanted to listen to carnatic music and hear Tamil in his ears - காதிலே தமிழும் பாட்டும் கேட்கவேணும் ! So after our stay in the UK was over, we flew straight to Colombo, with the hope of settling back there. After about 10 days of visiting our families in Jaffna, uncle, again said that he felt something bad was going to happen and he wanted to get back to Chennai. I again didn’t want to leave. I missed our family and they missed us. We had nobody in Chennai. Uncle however insisted that we had to return to see our daughter Subha and once again said “I don’t want to be a second class citizen in my own country”. We arrived back in Chennai in May 1983. In July when the pogrom against the Tamils started in Colombo, those who had money, got on planes and arrived at our doorstep. Over the following six months, at least a hundred Tamils made their way to our home straight from the airport. We helped them find temporary accommodation to begin with, then a home and a school for their children. We became local guardians to hundreds of children, as this was a government requirement. There were number of challenges we faced as guardians - illness - exam failures - two missing students - but we were thankful we could help them. Those who could afford to sent their children to other foreign countries. Thanks to the BBC, we had a telephone, which became so useful for the many Eelam Tamils who would line up outside and inside our home to use it. One night, we had more than 20 people sleep in our tiny annex. Those nights were tough, but what were we to do? Uncle, who looked to life’s positives, would often tell us that he was grateful that we got out in time and didn’t have to go through the trauma of watching our people being massacred. He was even more thankful that we were in a position to be able to help those that did escape. After hearing of the massacres and the burnings of the 83 pogrom, the people of Tamll Nadu became sympathetic to our cause and opened up their homes for rent. MGR, was the Chief Minister at the time, and said all Eelam Tamils could be accepted into schools in Tamil Nadu. For those who didn’t have money and escaped the island by boat, they were kept in refugee camps in Tamil Nadu, and their plight was and still is an incredibly sad one. Many are still there with very little protection or hope for a better future. We were the lucky few and though we never returned to live in our country, we have a lot to be thankful for. In the years that followed, uncle became BCC’s Thamilosai correspondent for Tamilnadu, which allowed us to continue living in the India and provided us with a permanent income. Thanks To BBC, we were also able to get a visa to visit our daughter in Australia. After uncle passed away in Australia after a tragic accident in 2001, I did not want to go back to India and all my family members had left Sri Lanka by then. I stayed on with my daughter's family as a refugee for 12 long years. It was a period of struggle and great uncertainty, thanks to the Australian government. I was finally granted Australian Citizenship in 2017. END In 1999 Dr Maunaguru, a close friend, turned audio recordings by uncle about his life into a book titled ‘Mana Osai -Reminiscences of a Broadcaster‘. Uncle was not keen on the book idea, but he agreed on one condition that the book when published would be distributed free - he said everyone has a story to tell so it's not fair to make money off it. Aunty’s grandson Senthan is now also a radio broadcaster and co-hosts the popular podcast Stuck in Between.

#TamilStories #SurvivalStories #EelamTamils

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magicalsublimecycle · 5 years

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Mukesh Hindi Song

https://play.google.com/store/apps/details?id=com.obliviontech.mukeshhitsongs

#Mukesh Hit Songs - Hindi Songs #Mukesh Hit Songs #Mukesh HIndi Songs #Mukesh Top Old Songs #Mukesh Old Songs

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shankarjaikishanfansassnintl · 4 years

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The brief but magical association of KISHORE KUMAR & SHANKAR-JAIKISHEN…

Feature courtesy

https://myviewsonbollywood.wordpress.com/2018/06/12/the-brief-but-magical-association-of-kishore-kumar-shankar-jaikishen/

Sharada Iyer

The very mention of their names immediately brings to our mind the evergreen super-hit song ‘Zindagi ek safar hai suhana…’ from the film ANDAZ. From the opening prelude to the yodelling to the fast-paced beats – everything about the song became unforgettable! Added to that superstar Rajesh Khanna’s charismatic screen presence turned this song not only into one of the most loved songs of Hindi cinema but also became one of the biggest hits of the careers of Rajesh Khanna, Kishore Kumar and Shankar-Jaikishen.

ANDAZ (1971): ‘Zindagi ek safar hai suhana…’

Shankar-Jaikishen (SJ): The music director duo who revolutionized the very definition of Hindi film music with their path-breaking music and tunes…

Kishore Kumar: The genius actor-singer who created his own path and carved a place in the Hindi film music scene which people cannot even dream of achieving…

Both the singer as well as the music director duo reached dizzying heights of popularity during the years they were active. And yet when we look back it is sad that three of the most loved and cherished musical geniuses of our industry hardly got much opportunity to work together during their long and illustrious careers …

Interestingly they even made their debut around the same time –

Shankar-Jaikishen’s debut film as independent music directors was R K Films’ Barsaat which released in 1949…

Kishore Kumar’s debut film as an actor and a playback singer (sang for Dev Anand) was Ziddi which released in 1948…

Shankar Jaikishen somehow always worked with heroes like Raj Kapoor, Shammi Kapoor, Rajendra Kumar, Dilip Kumar, Biswajit, Joy Mukjerjee, Shashi Kapoor, Sunil Dutt for whom Kishore Kumar never got the opportunity to playback. When they worked for Dev Anand they used Mohammed Rafi except for one instance-‘Dooriyan nazdeekiyan ban gayee…’ a Kishore Kumar-Asha Bhonsle duet that turned out to be the biggest hit of the film:

DUNIYA (1968): ‘Dooriyan nazdeekiyan ban gayi…’

It was around the late forties that the triumvirate of Raj Kapoor, Dev Anand and Dilip Kumar entered the industry, became great stars creating a special niche for themselves and also had their own favourite playback singers singing for them. While Rafi became the voice of Dilip Kumar with Talat Mehmood also contributing in some songs, Mukesh was the voice of Raj Kapoor with Manna Dey singing for him at times. In case of Dev Anand, both Rafi and Kishore Kumar’s voices were used.and hence Kishore Kumar between 1948 and 1968 sang only for himself when he acted or did playback for Dev Anand.

NEW DELHI, KROREPATI, BEGUNAAH, RANGOLI and SHARARAT are the five films for which Shankar-Jaikishen worked with Kishore Kumar where he acted and sang his own songs and what beautiful music they created:

Here is a gem from the 1962 film RANGOLI. What an absolutely haunting song- simple, hummable and so melodious

RANGOLI (1962): ‘Choti si yeh duniya pehchaane raaste hain…’

Interestingly both the above song and ‘Zindagi ek safar…’ from ANDAZ had other singers singing their version but really do people even remember that? For when Kishore Kumar sings, such is the magic and resonance in his voice that the other versions pale in comparison.

A fun-filled Kishore-Lata duet-‘Ik nazar kisine dekha aur ban gaya afsana…’

A soulful solo-‘Rangoli sajaao re…’

Listen to this superb song from NEW DELHI. The simple orchestration, the yodelling, the subtle variations in the song all go to make this a masterpiece!

NEW DELHI (1956): ‘Nakhrewaali…’

NEW DELHI (1956): ‘Milte hi nazr aap mere dil mein aa gaye…’

While Kishore Kumar enjoyed immense popularity as an actor-singer during the fifties and early sixties, he had to undergo a long period of struggle to be considered as a playback singer for other heroes. In fact there are rare instances when other singers like Mohammed Rafi and Manna Dey sang for him.

SHARARAT (1957): ‘Hum matwaale naujawan…’

After giving him such a wonderful solo, wonder why did Shankar-Jaikishen settle for Rafi to sing ‘Ajab hai dastaan meri yeh zindagi…’!!! What made them think that Kishore would not have delivered that song brilliantly in his own way?

SHARARAT (1959)

BEZUBAAN (1957)

Only audio of this song is available

To achieve his dream of becoming a playback singer, Kishore Kumar had to become an actor and act for almost 20 years before giving up acting to become full-fledged singer. This phase coincided with the coming of a new star Rajesh Khanna in the horizon and Kishore Kumar became a voice to reckon with for all the actors after 1968.

In 1968 Shankar-Jaikishen gave music in the Dharmendra-Hema Malini starrer TUM HASEEN MAIN JAWAAN. Kishore Kumar got to sing only one song and that too a comical one in the film- ‘Munne ki amma yeh to bata…’. The song did become popular with the masses:

THE FATEFUL YEAR OF 1971:

This year was important for this combination in more ways than one. Not only did they team up to give several super-hits unfortunately, it was also the last year they worked as a team together for Jaikishen from the duo passed away due to cirrhosis of liver.

Apart from the blockbuster song ‘Zindagi ek safar hai suhana…’, the Kishore-SJ combo gave us some of these superb songs also in 1971 :

SOLOS:

LAL PATTHAR (1971): ‘Geet gaata hoon main…’

KAL AAJ AUR KAL (1971) : ‘Bhanware ki gunjan…’

DUETS:

KAL AAJ aur KAL: ‘Aap yahan aaye kisliye…’

This film which launched Raj Kapoor’s son Randhir Kapoor had superb music by Shankar Jaikishen and Kishore Kumar became Randhir’s voice and all songs were super-hit. There were two more lovely duets in the film- ‘Tik tik tik tik…,’ ‘Jab hum honge saath saal ke…’

NAGINA: ‘Tere mere pyar ka andaz hai nirala…’

MAIN SUNDAR HOON: ‘Mujhko thand lag rahi hai mujhse door tu naja…’

The song ‘Naach meri jaan…’ from the same film had Kishore Kumar and Jaikishen making a brief appearance at the beginning of the song…

SEEMA: ‘Waqt thoda sa abhi kuch aur guzar jaane de…’

First in 1966, lyricist Shailendra passed away. On Septemnber 12, 1971, Jaikishen passed away. The team of SJ was hit very badly. Though Shankar did try to keep the flag flying by continuing to compose under the name of Shankar-Jaikishen as per their agreement, but the magic had started fading away.

POST 1971:

Films like JANGAL MEIN MANGAL, AANKHON AANKHON MEIN and DIL DAULAT DUNIYA released in 1972. Probably the music for some of the songs had already been scored by the two together and kept in their music bank. Here are some brilliant songs from these films:

JANGAL MEIN MANGAL: ‘Tum kitni khoobsurat hoy eh mere dil se pucho…’

Here is a rare Rafi-Kishore duet from the film JANGAL MEIN MANGAL picturized on Kiran Kumar and his friends which included a weird looking Pran: ‘Ae Bagh ki kaliyon sharam karo sharam karo…’

AANKHON AAKHON MEIN: ‘Aankhon aankhon mein baat…’ with Asha

Another duet from the same film:

‘Do baatein pyar bhari kar loon…’with Asha

The Rajesh Khanna-Kishore combo came together again for this film after Andaz but the results were certainly not anywhere near their best. There were a couple of solos and duets by Kishore Kumar:

DIL DAULAT DUNIYA: ‘Saath mein pyara saathi ho…’

Soon offers reduced though Shankar did manage to come up with a few aces with Kishore Kumar:

DO JHOOT (1975): ‘Chalo bhool jaayen jahan ko yahan do ghadi…’

‘Chatri na khol ud jayegi…’

AAJ KI TAAZA KHABAR (1974) : ‘ Mujhe meri biwi se bachao …’

I end this musical blog with this lovely solo from RESHAM KI DORI picturized on Dharmendra.

RESHAM KI DORI (1975): ‘Chamka pasina banke angina…’

There is no doubt that this talented and unique singer-music director combination would have definitely created a different kind of euphoria for whenever they did come together and whatever little work they did together, they created magic. Whether it was industry politics or just destiny which kept them apart, fans remain grateful for the precious and priceless legacy left behind by them…

#shankar jaikishan with kishore kumar #kishore kumar with shankar jaikishan #combination of Kishore Kumar with Shanker Jaikishen #kishore kumar #shankarjaikishan #music #hindi film

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liveindiatimes · 4 years

Photo

On Nutan’s 84th birth anniversary, why she remains a luminous star like none other - bollywood

https://liveindiatimes.com/on-nutans-84th-birth-anniversary-why-she-remains-a-luminous-star-like-none-other-bollywood/

In the annals of Hindi films, few actors could blend stardom with acting prowess. Actor Nutan, aunt of Kajol and mother of actor Mohnish Bahl, was one such a star. In her personality, she could present a paradox – playing a deeply orthodox Indian woman in films like Saraswatichandra and yet be disarmingly modern (she sported a swimsuit in Dilli Ka Thug in the 50s). On her birthday today, here’s unraveling this enigma.

Nutan was born to actor and filmmaker couple, Shobhana and Kumarsen Samarth on June 4, 1936. She was the eldest of four siblings including actor Tanuja. Nutan was introduced on the silver screen at the tender age of 14 as an adult in Hamari Beti, produced by her mother. Nutan was a classical Indian beauty – her perfect oval face and slender and tall frame were immediately arresting.

Nutan in Bandini.

Through her career, she appeared in many unconventional roles. The first in this list was Seema (1955), where she was paired with actor Balraj Sahni. The role was a central one; as the story was told from the perspective of her character, Gauri. She played a young orphaned girl, who runs away from her uncle’s home to avoid an ill-treating aunt. Accused of theft, landing in an orphanage and falling in love with a compassionate caretaker, played by Balraj, Nutan was in stellar form. The song Tu Pyar Ka Sagar Hai is still fondly remembered to this day. The role also fetched Nutan her first Filmfare award in Best Actress category.

(Left) Nutan in Dilli ka Thug and in Saraswatichandra.

Her career-defining role would come with Bimal Ray’s Bandini (1963), where she was cast opposite Ashok Kumar and young actor Dharmendra. Playing yet another conflicted character, she essayed the role of complex Kalyani, a woman serving a jail sentence for murder. Kalyani must choose between her compassionate prison doctor Devendra (Dharmendra) and Bikash (Ashok Kumar), a revolutionary from her past. Watch her in the iconic song, Mere Saajan Hai Uss Paar, sung evocatively by Sachin Dev Burman, to understand the myriad emotions that flash across her face.

Bandini is loosely based on a Bengali novel, Tamasi by Jarasandha (Charu Chandra Chakrabarti), a former jail superintendent who fictionalised many of his own experiences in his works.

Nutan in the song Dil Ka Bhawar Kare Pukar from Tere Ghar Ke Samne.

Nutan gave another stellar performance in Bimal Ray’s Sujata (1959), as a lower caste woman who is adopted by a higher caste family. Caught between discrimination and gratitude, she lives with a family that is accepting and loving but makes her acutely aware of their fundamental difference. When love comes, that too throws Sujata into a conundrum. The film was heavily influenced by Dr BR Ambedkar’s fight against untouchability and Rabindranath Tagore’s retelling of the story of Chandalika.

But Nutan was more than intense roles. Through the ’50s and ’60s, she formed a hit pair with Dev Anand, giving us hits like Paying Guest (1957) and Tere Ghar Ke Samne (1963) and films like Manzil (1960) and Baarish (1957). Tune in to retro section on any FM channel and songs like Mana Janab Ne Pukara Nahin and Chhod Do Aanchal Zamana Kya Kahega (both Paying Guest) and Tere Ghar Ke Samne, Dekho Rootha Na Karo, Dil Ka Bhanwar Kare Pukar (Tere Ghar Ke Samne) will still charm you.

Nutan would form a winning combination with actor Sunil Dutt as well – Gauri (1968), Mehrbaan (1967), Milan (1967), Sujata (1959) and Khandan (1965) – will serve as examples. Think of songs like Sawan Ka Mahina (Milan) and Jalte Hain Jiske Liye Teri Aakhon Ke Diye (Sujata) and you will get an idea.

Also read: On Nargis’ 91st birth anniversary, a look at a star who symbolised passion onscreen

The oft-heard statement of how female actors cannot continue their careers post marriage was turned on its head by actors like Nutan, who gave some of her most powerful performances after marriage. At the height of her career in 1959, she married naval officer Rajneesh Bahl, aged only 23.

Films like Bandini, Tere Ghar Ke Samne, Milan, Saraswatichandra and Main Tulsi Tere Aangan Ki – all happened after she had married and was a mother of a child. Nothing about Nutan was conventional anyways – when still in her teens, her mother Shobana had sent her off to a finishing school in Switzerland, La Chatelaine, in 1953. Nutan hailed from an affluent Marathi-speaking family with a passion for cinema.

Nutan won the Filmfare award for best actress no less that five times in her career. Nutan died in February 1991, after battling breast cancer for years.

Author tweets @mniveditatweets

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rmaappsmubeen1 · 4 years

Photo

Mukesh Hindi Song

https://play.google.com/store/apps/details?id=com.obliviontech.mukeshhitsongs

#Mukesh Hit Songs - Hindi Songs #Mukesh Hit Songs #Mukesh HIndi Songs #Mukesh Top Old Songs

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dweemeister · 4 years

Text

2020 Movie Odyssey Award for Best Original Song (final round)

(Yet again, tumblr has not fixed bullet indentations. So this post doesn’t look as clean on your dashboards.)

TAGGING (among others): @addaellis, @cokwong, @emilylime5, @halfwaythruthedark, @idontknowmuchaboutmovies, @introspectivemeltdown, @maximiliani, @memetoilet, @monkeysmadeofcheese, @myluckyerror, @plus-low-overthrow, @shootingstarvenator, @themusicmoviesportsguy, @theybecomestories, @umgeschrieben, @underblackwings, @voicetalentbrendan, @thewolfofelectricavenue, and @yellanimal.

I would also like to tag some followers/previous participants as well who I also would welcome to participate in this final round: @birdsongvelvet, @bitch-genius, @dog-of-ulthar, @loveless422, @lvl9gay, @mehetibel, @phendranaedge, @poncho-honcho, @sayaf, @shadesofhappy, @thethirdman8, @uncoolforelimb, and @wehadfacesthen. Regardless of whether you were tagged or not, all of my followers can participate if they wish.

Happy Holidays to all! After a fascinating preliminary round, now begins the final round to 2020's Movie Odyssey Award for Best Original Song (MOABOS). This is the eighth time it has been contested and the seventh year it has been open to involvement from family, friends, and tumblr followers. I begin every new year not knowing whether I will be able to share with all of you these songs and the movies they come from around November/December. So on the day that MOABOS becomes viable (usually around mid-year), it's a long stretch of anticipation to this point.

For those who have never participated in this before, my classic movie blog traditionally ends the year by honoring some of the best achievements from movies that I saw for the first time this calendar year (the "Movie Odyssey"; rewatches do not count) with an Oscar-like ceremony. I choose all the nominees and winners from each category, save one: Best Original Song. It is the only category I can think of that does not require you to watch several movies in their entirety. I know some of you wonder why I bother with this quixotic social experiment. But I have always considered it a sort of cinematic-musical thank-you for your moral support in various ways - in the hopes of introducing to all of you films and music you may not have otherwise encountered or sought. A small slice of the 2020 Movie Odyssey, so to speak.

This final will be contested by sixteen songs. As I've mentioned before, for the first time ever, there are no MOABOS entries originating from this year that made the competition - a MOABOS first. I have seen one 2020 film since the prelim (Wolfwalkers... at a drive-in mind you), but this entire final is one of yesteryear. Even without any 1930s songs, this year's final is probably the oldest on average. There are some very recognizable songs that made it straight to the final, bypassing the preliminary; those songs are contained within. Among them, a city anthem and a song that should be a city's anthem. Elsewhere, this is the first final to ever feature two classic Bollywood songs - but no classic Bollywood song has ever cracked the top ten. Elvis has three songs in this final, a MOABOS joint record along with Prince and the Bee Gees (both in 2016). But also appearing in multiple entries are Frank Sinatra and Liza Minnelli, Louis Armstrong and Billie Holiday. With five non-English-language songs in the final, this year’s final ties 2017 with the largest contingent of finalists not in the English language.

INSTRUCTIONS Please rank (#1-16) your choices in order. The top ten songs will receive nominations. The tabulation method used in the preliminary round is being used for the final only as the second tiebreaker (the tabulation method that will be used principally for the final - aka "single transferable vote" - is described in the “read more” at the bottom). There is no minimum or maximum amount of songs you can rank, but because of the nature of single transferable vote, it is highly recommended to rank as many songs as possible, rather than only one or two. Those who rank fewer songs run a greater risk of their ballots being discarded in the later rounds of tabulation. Again, this is all described in the “read more”.

Please consider to the best of your ability: how musically interesting the song is (incl. and not limited to musical phrasing and orchestration); its lyrics; context within the film (contextual blurbs provided for every entry for those who haven't seen the films); choreography/dance direction (if applicable); and the song's cultural impact/life outside the film (if applicable, and, in my opinion, least important factor). Imperfections in audio and video quality may not be used against any song. I encourage you to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself!

The deadline for submission is Thursday, December 31 at 8 PM Pacific Time. That is 6 PM Hawaii/Aleutian Time / 10 PM Central / 11 PM Eastern. That deadline is also Friday, January 1 at 2 AM GMT / 3 AM CET / 4 AM EET. This deadline has been pushed back two consecutive times due to a sizable non-response rate - but I very much do not want to do so again.

I have compiled most of this final round's songs into this YouTube playlist. Please note that neither of Kaagaz Ke Phool’s two songs are contained in the playlist. You will need to access them using their respective links.

Enjoy the music! Feel free to listen as many times as you need, and I hope you discover music and movies you may have never otherwise heard of that you find fascinating. The following is formatted... ("Song title", composer and lyricist, film title):

2020 MOVIE ODYSSEY AWARD FOR BEST ORIGINAL SONG – FINAL ROUND

“Angela”, music and lyrics by José Feliciano and Janna Merlyn Feliciano, Aaron Loves Angela (1975)

Performed by José Feliciano

(English-language version) / (Spanish single version)

Played over the opening credits to this teenage drama that is partly a blaxploitation film, partly an interracial coming-of-age romance. The movie wasn't a hit, but the Spanish-language version of this song was received well in Latin America.

“Blue Shadows on the Trail”, music and lyrics by Eliot Daniel and Johnny Lange, Melody Time (1948)

Performed by Roy Rogers and the Sons of the Pioneers

This is the introductory song to the final segment of Melody Time. That segment is dedicated to the legend of Pecos Bill, and this atmospheric song leads into the telling of that story.

“Can’t Help Falling in Love”, music and lyrics by Hugo Peretti, Luigi Creatore, and George David Weiss, Blue Hawaii (1961)

Performed by Elvis Presley

(film version) / (single version)

Chadwick "Chad" Gates (Elvis) has just returned to his home state of Hawai'i after a stint in the Army. Not wanting to work on his father's pineapple plantation (seriously), he rekindles his relationship with his girlfriend, Maile (Joan Blackman). This song is sung as an accompaniment to a music box he gives to Maile's grandmother (Flora Kaai Hayes, a former Hawaiian Territorial Representative to the U.S. House). This song is among Elvis' best-known and most widely-covered.

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, music by S.D. Burman, lyrics by Kaifi Azmi, Kaagaz Ke Phool (1959, India)

Performed by Mohammad Rafi (dubbing Guru Dutt)

Lyrics in Hindi - roughly, "I Have Seen How Deeply Friendship Lies / I Have Seen People Abandon Me One by One"

Part 1 (3:44-8:27) / Part 2 (2:16:29-2:20:42)

Make sure to turn on the video’s English captions

In this romantic tragedy, Suresh Sinha (Dutt) is a washed-up director looking back on his life. In the first part, the song leads into the rest of the film - which is almost entirely a flashback. In brief, Suresh is unhappily married to a woman whose in-laws look down on him because, to them, working in films is contemptible to their social class. Suresh meets a woman, Shanti (Waheeda Rehman), on accident and she is soon cast as the lead for his next film. They fall in love, but it is never consummated for various reasons. Eventually, his career crashes after a box office bomb and her career is ascendant. Leading into the second part of the song, Suresh is penniless and working as an extra at the movie studio. Shanti recognizes him, wants to help, but he refuses to revive his career on the back of her success. Kaagaz Ke Phool has elements of autobiography, and Suresh's fate has parallels with what happened to Dutt after this film was released.

“(Do You Know What It Means to Miss) New Orleans”, music by Louis Alter, lyrics by Edgar De Lange, New Orleans (1947)

Initially performed by Billie Holiday and Louis Armstrong and his band; reprised by various

(initial film performance) / (Louis Armstrong single version)

Endie (Holiday in her only appearance in a feature film) is a maid to the affluent Smith family, whose matriarch looks down on jazz as a disreputable genre of music. In secret, Endie frequents a gambling and jazz establishment in the historic Storyville district of New Orleans and performs here with Louis Armstrong (playing himself) and others when she gets the chance. The matriarch's daughter (Dorothy Patrick), an classical operatic soprano, is transfixed by this new music she has never heard before.

“ Exsultate Justi”, music and lyrics by John Williams, Empire of the Sun (1987)

Performed by orchestra and chorus under the direction of Williams

Lyrics in Latin

In this historical epic, affluent British school boy Jamie Graham (a young Christian Bale) is living with his parents in Shanghai when the Japanese invade. Jamie is separated from his parents and placed in an internment camp. Soon before the end of WWII, the prisoners are moved elsewhere, but Jamie hides and stays put. This song plays as Jamie bikes around the empty camp and continues to play as he encounters liberating U.S. troops. Jamie is dirty and malnourished when found; one can argue that this song is used ironically. It plays once more over the end credits. "Exsultate Justi" is a variation on a theme John Williams develops over the course of the film and harkens back to Jamie's past, attending Anglican services with parents.

“Farewell to Storyville", music by Louis Alter, lyrics by Edgar De Lange, New Orleans (1947)

Performed by Louis Armstrong and his band, Billie Holiday, and company

In New Orleans, the Storyville district was a den of drinking, gambling, jazz, and prostitution. The district was the home to a heavily black populace. The U.S. military, about to establish a Naval base nearby, forces the city to close the district for good. This song is a swinging dirge to a center of jazz - a musical genre looked down upon by many of the city's upper-class whites due to its ties (real and imagined) to crime.

“Happy Endings", music by John Kander, lyrics by Fred Ebb, New York, New York (1977)

Performed by Liza Minnelli and company (that's Jack Haley - who played the Tin Man and was, at the time, Minnelli's father-in-law - roughly seven minutes in)

(use in film) / (soundtrack version)

It is highly recommended one sees how this song is used in the film. Bear with me: this song is part of a movie within a movie. Within that movie within a movie, there is another movie. "Happy Endings" is the title end song to a film called Happy Endings within New York, New York. Singer Francine Evans (Liza Minnelli) has made it big as a recording artist and caps off her hit film, Happy Endings, with this song. We see Francine's ex, played by Robert De Niro, in the audience as the film ends. "Happy Endings" is a homage/deconstruction to midcentury Metro-Goldwyn-Mayer (MGM) musicals. It serves the film as "The Broadway Melody" does to Singin' in the Rain (1952) or the 17-minute ballet does to conclude An American in Paris (1951).

“Here They Come (From All Over the World)", music and lyrics by P.F. Sloan and Steve Barri, The T.A.M.I. Show (1964)

Performed by Jan and Dean

The link above provides the entire film. You only need to watch from 0:00-4:11. If you like music from this era or want to hear more, this film is highly, highly recommended.

This is the opening credits song to a concert film recorded over two days in Santa Monica, California on October 28 and 29, 1964. The Teenage Awards Music International (T.A.M.I. - yes, I know it's an awkward name) Show included many of the most popular musical stars of that time - almost all of them name-dropped in this song. Jan and Dean, a surf music duo, served as hosts (and performed during) the show. You folks are lucky that this is the only original song from this film!

“Is There Still Anything That Love Can Do?", music and lyrics by Yôjirô Noda, Weathering with You (2019, Japan)

Performed by RADWIMPS

Lyrics in Japanese (translation)

Weathering with You is a romantic fantasy anime about a high school boy who runs away from his rural home to Tokyo, where he meets a girl who can manipulate the weather. It has been inexplicably raining for weeks without interruption in Tokyo, so they form a business to help clear the inclement weather for special events. The melody of this song is heard throughout the film's score. It does not appear with lyrics until late in the film. The song is played under the boy's seemingly impossible attempt to save her from an unwilling human sacrifice.

There is so much plot in this damn film (it's all Makoto Shinkai's fault) - I can't explain the context of the song or this movie in a reasonable amount of space.

“Moonlight Swim”, music by Ben Weisman, lyrics by Sylvia Dee, Blue Hawaii (1961)

Performed by Elvis Presley

In a musical packed end-to-end with songs, Chadwick "Chad" Gates (Elvis) has taken a job with a tour guide agency. On his first day, he drives his first clients - a school teacher (who not so secretly is attracted to Chad) and four teenagers (one of whom becomes smitten) - to their destination.

“Personality”, music by Jimmy Van Heusen, lyrics by Johnny Burke, Road to Utopia (1946)

Performed by Dorothy Lamour

(in-film performance) / (live radio performance)

In the fourth film of the Road to... comedy series, Bob Hope and Bing Crosby's characters have just overpowered two Alaskan thugs with a history of murderous violence. As they enter a saloon dressed up as those two thugs, all of the patrons - in a town that only knows the thugs by reputation - shut up in terror. They are treated to a performance by Sal (Lamour), who is trying to find a map of a gold mine that the real outlaws supposedly have. A visual narrator (Robert Benchley) interrupts the scene before the song briefly.

“Please Don’t Stop Loving Me”, music and lyrics by Joy Byers, Frankie and Johnny (1966)

Performed by Elvis Presley

(in-film performance) / (single version)

Johnny (Elvis) and girlfriend Frankie (Donna Douglas) work on a Mississippi River riverboat as performers. Johnny is addicted to gambling and believes that another woman is spurring on his recent run of good luck. During a fit of jealousy-as-acting, Frankie accidentally shoots Johnny during a bit of musical theater (someone switched out the blanks for real bullets). This song occurs after Johnny has recovered from the accident.

“Theme from New York, New York”, music by John Kander, lyrics by Fred Ebb, New York, New York (1977)

Performed by Liza Minnelli

(in-film performance) / (Frank Sinatra single)

For most of the film, saxophone player Jimmy Doyle (Robert De Niro) is trying to compose a song but cannot figure out the lyrics (this plays out as a subplot). His eventual girlfriend/later ex, Francine Evans (Minnelli) provides said lyrics. Some time well after they have broken up, he finds her singing this song - which he previously brought to the top of the jazz charts - in the nightclub where they first met. This film flopped (musical movies were out of fashion by the mid-'70s, and a musical didn't seem "on brand" for director Martin Scorsese). But the Frank Sinatra single popularized this song, and it has been used in many venues of popular culture.

“Waqt Ne Kiya Kya Haseen Sitam”, music and lyrics by S.D. Burman, Kaagaz Ke Phool (1959, India)

Performed by Geeta Dutt (dubbing Waheeda Rehman)

Lyrics in Hindi - roughly, "Time Has Inflicted Such Sweet Cruelty On Us"

Song begins at 1:03:31 and ends at 1:07:51

Make sure to turn on the video’s English captions

In this romantic tragedy told in flashback, Suresh Sinha (Guru Dutt) is a director looking back on his life. Suresh is unhappily married to a woman whose in-laws look down on him because, to them, working in films is contemptible to their social class. Suresh meets a woman, Shanti (Waheeda Rehman), on accident and she is soon cast as the lead for his next film. They fall in love, but it is never consummated for various reasons. This song is the most explicit statement of that love in this film. How much of the scene's set-up is observable by the characters is up to the viewer's interpretation.

“You Make Me Feel So Young”, music by Josef Myrow, lyrics by Mack Gordon, Three Little Girls in Blue (1946)

Performed by Del Porter (dubbing Charles Smith) and Carol Stewart (dubbing Vera-Ellen)

(use in film) / (Frank Sinatra cover)

In this rarely-seen musical (*insert plea to Disney to restore the massive 20th Century Fox catalogue they now own and are almost certainly neglecting*), three chicken farmer sisters decide to travel to Atlantic City in hopes of marrying a rich husband when they learn their aunt's inheritance is not nearly as much as they want. There, youngest sister Myra (Vera-Ellen) - despite the sisters' original intentions of marrying men of wealth - becomes involved with a waiter named Mike (Charles Smith). They go on a date, and they sing this song. A somewhat overly-literal fantastical dancing sequence ensues, complete with Vera-Ellen's dancing skills. This song was popularized by Frank Sinatra years later and has long enjoyed status as a big band/jazz standard.

Contact me however you wish if you have questions or comments regarding MOABOS' processes or something specific about a song or a few. Please let me know as soon as possible if you are having difficulty accessing one of the songs (especially if it is region-locked) or if there is an error in the playlist.

Once more, I thank you all for your support for the Movie Odyssey, the blog, and for me personally - no matter how long I’ve known you or in what capacity. There are no hard feelings if you cannot get to this, although I will be checking in as the deadlines get close. Please wear a mask. Practice social distancing. We'll see each other again on the other side of this pandemic.

TABULATION The winner is determined by a process distinct from the preliminary round. For the final, the winner is chosen by the process known as single transferable vote (the Academy Awards uses this method to choose a Best Picture winner, visually represented here - you should really watch this video if the below doesn’t make sense… which it probably won’t):

All #1 picks from all voters are tabulated. A song needs more than half of all aggregate votes to win (50% of all votes plus one… i.e. if there are thirty respondents, sixteen #1 votes are needed to win on the first count).

If there is no winner after the first count (as is most likely), the song(s) with the fewest #1 votes or points is/are eliminated. Placement will be determined by the tiebreakers described below. Then, we look at the ballots of those who voted for the most recently-eliminated song(s). Their votes then go to the highest-remaining and non-eliminated song on their ballot.

The process described in step #2 repeats until one song has secured 50% plus one of all votes. We keep eliminating nominees and transfer votes to the highest-ranked, non-eliminated song on each ballot. NOTE: It is possible after several rounds of counting that respondents who did not entirely fill in their ballots will have wasted their votes at the end of the process. For example, if a person voted the second-to-last place song as their #1, ranked no other songs, and the count has exceeded two rounds, their ballot is discarded (lowering the vote threshold needed to win), and they have no say in which song ultimately is the winner.

A song wins when it reaches more than fifty percent of all #1 and re-distributed votes.

Tiebreakers: 1) first song to receive 50% plus one of all #1 and transferred votes; 2) total points earned (this was the first tiebreaker in the preliminary round); 3) total #1 votes; 4) average placement on my ballot and my sister’s ballot; 5) tie declared

Previous years’ results for reference: 2013 final 2014 final (input from family and friends began this year) 2015 final 2016 prelim / final 2017 prelim / final 2018 prelim / final 2019 prelim / final

#2020 Movie Odyssey Awards

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