#Best Romantic Songs of Manoj Kumar

[keepalivebollywood]

10 Timeless Bollywood Classics By The Legendary Lata Mangeshkar You Should Listen Today

For more than seven decades, Lata Mangeshkar has been an iconic voice of Indian film music. As the most recorded artist in history, she’s had a hand in making some of Bollywood’s most beloved classics. Today, we’re taking a look at 10 of her timeless tracks that have stood the test of time and still inspire listeners.

Introduction to Lata Mangeshkar

Lata Mangeshkar is a legendary Indian playback singer. She has recorded songs for over a thousand Hindi films and has sung songs in over thirty-six regional Indian languages. She is one of the best-known and most respected playback singers in India.

Mangeshkar was born on September 28,1929 in Indore, Madhya Pradesh, into a Marathi family. Her father, Pandit Deenanath Mangeshkar, was a classical singer and her mother, Shevanti, was a homemaker. Mangeshkar’s elder sister, Meena Khadikar, was also a playback singer.

Mangeshkar started singing at an early age and made her film debut when she was just thirteen years old. She has recorded songs for films in various Indian languages, including Hindi, Marathi, Bengali, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. 

Mangeshkar has won several awards for her contributions to Indian cinema, including the Padma Bhushan (1969), the Padma Vibhushan (1999) and the Bharat Ratna (2001). She has also been awarded the National Film Award for Best Female Playback Singer five times.

Mangeshkar’s career spans more than seven decades. She has sung songs for some of the biggest names in B

List of the top ten Lata Mangeshkar songs that have stood the test of time 

Lata Mangeshkar is a legendary playback singer in India who has sung thousands of songs in her career spanning over seven decades. Her voice has been heard in some of the most iconic Hindi film songs of all time. Here is a list of the top 10 songs by Lata Mangeshkar that have stood the test of time:

1. Aye Mere Watan Ke Logo: This patriotic song was composed by C. Ramchandra and written by Kavi Pradeep. The song commemorates Indian soldiers who died during the Sino-Indian War in 1962. The song is still remembered today as one of the most emotional and patriotic songs ever sung.

2. Lag Jaa Gale: This romantic ballad was composed by Madan Mohan and written by Raja Mehdi Ali Khan. It was picturized on  Manoj Kumar, Sadhana and released in 1964. The song is still popular today for its soulful melody and lyrics.

3. Chhup Gaye Sare Nazare: The song is a romantic ballad and is one of the most memorable songs sung by Lata Mangeshkar. Her voice is so beautiful and expressive that it perfectly conveys the emotions of the characters in the song.

4. Tere Bina Zindagi Se Koi: This evergreen love song was composed  by R.D. Burman and written by Gulzar. It was picturized on Sanjeev Kumar and Suchitra Sen from the film “Khamoshi” and released in 1975. The song is still popular today for its soulful composition and meaningful lyrics.

5. Bahon Mein Chale Aao: The lyrics of the song are very heartwarming and describe the feeling of being in love. The song is from the movie Anamika. Bahon Mein Chale Aao is one of those songs that will stay with you long after you’ve heard it.

6. Yeh Galiyan Yeh Chaubara:  This melodious song is from the movie Prem Rog. The song is sung by Lata Mangeshkar, and the music is composed by Laxmikant Pyarelal. 

7. Ek Pyar Ka Nagma Hai: This song is one of the most popular songs sung by Lata Mangeshkar and Mukesh from the movie Shor and was released in 1972. The lyrics of the song are penned by Santosh Anand and the music is composed by Laxmikant-Pyarelal. It is a perfect track to listen to when you’re feeling romantic or missing your loved one.

8. Kora Kagaz Tha Yeh Man Mera: The song  was sung by Lata Mangeshkar and Kishore Kumar, and picturised on Sharmila Tagore and Rajesh Khanna. The song starts off with a simple melody that gradually builds up into a crescendo. The lyrics are written in a simple yet emotive style, which perfectly captures the feelings of love and longing. The two singers have done a phenomenal job of conveying these emotions through their voices. The music is also very catchy and will stay with you long after you’ve heard it.

9.  Yeh Kahan Aa Gaye Hum: This is a classic Bollywood song that has been sung by Amitabh Bachhan and Lata Mangeshkar. The song is from the movie Silsila and is one of the most popular songs of all time. The lyrics of the song are very meaningful and the tune is very catchy. The song has a very strong emotional impact on the listeners.

10.  Tujhse Naraz Nahi Zindagi: This song from the movie Masoom is sung by Lata Mangeshkar.  The song is a beautiful ballad that has a message of hope and resilience. It is a perfect song for someone who is going through a tough time in their life. The lyrics are very relatable and the melody is very soothing. This is one of those songs that you can listen to over and over again and never get tired of it.

Describe what makes Lata Mangeshkar’s voice so unique and special

Lata Mangeshkar is often referred to as the Nightingale of India and is one of the most celebrated playback singers in Bollywood history. Her unique voice has been described as “honey-coated” and “clear as a bell”, with a wide range and perfect pitch. Lata Mangeshkar began singing at a young age and made her film debut in “Paa laagu kar jori re” from “Aapki Sewa mein” (1947). She went on to record songs for hundreds of Hindi films and has sung in over 20 languages. Mangeshkar’s voice is truly one of a kind and her contributions to the world of Bollywood music are immeasurable.

How Her Songs Are Still Relevant Today

Lata Mangeshkar is often referred to as the Nightingale of India and has been praised for her exceptional vocal abilities. She has recorded songs in over a thousand Hindi films and has sung in multiple languages .

One of the things that makes Lata Mangeshkar’s music timeless is her ability to connect with her listeners. Her songs are full of emotion and resonate with people even today. In a world where Bollywood movies are increasingly becoming more formulaic, her songs offer a much needed respite. They are a reminder of a simpler time when movie songs were truly reflective of the human experience.

Some of Lata Mangeshkar’s most popular songs include “Bhigi Bhigi Rato Me”, “Tum Aa Gaye Ho Noor Aa Gaya”, “Zindagi Pyar ka Geet Hai”, “Gum Hai Kisike Pyar Me” and “Dil To Hai Dil”. These songs are still relevant today because they deal with universal themes such as patriotism, love, heartbreak and longing. No matter what language you speak or where you’re from, these songs will speak to you on a deep level.

The continued influence of her music and how it has impacted subsequent artists

Lata Mangeshkar is one of the most prolific and respected playback singers in India. She has sung hundreds of songs in Hindi and other Indian languages over her career, which spans more than seven decades. Her music has been influential to subsequent generations of Indian artists, both in terms of her vocal style and the choice of songs she has recorded.

Mangeshkar’s influence can be heard in the work of many contemporary Indian singers. For example, Sunidhi Chauhan has cited Mangeshkar as an inspiration, saying “I grew up listening to Lataji’s songs and try to emulate her style in my own singing.” Similarly, Shreya Ghoshal has said that “Lataji is my biggest inspiration… There is no one who can match her versatility or expressiveness.”

Lata Mangeshkar’s work has also been referenced by a number of international artists. In a 2013 interview, Beyoncé said that she was influenced by Mangeshkar when she was growing up: “My mom used to play a lot of Hindi movie music around the house… I definitely remember being fascinated by the sound of Mangeshkar’s voice.” .

Conclusion

Lata Mangeshkar has been an iconic figure in the Indian music industry for over 70 years, and her influence on popular culture will no doubt continue for generations to come. Her timeless songs have touched the hearts of millions, transcending boundaries of language and geography. There is no denying that Lata Mangeshkar was a pioneer when it came to Bollywood music, and she deserves all the respect and admiration that has been bestowed upon her by fans around the world.

[bollywoodproduct]

Lyrics Kar Le Dil Ki Baat Aaj Mauka Hai

Lyrics Kar Le Dil Ki Baat Aaj Mauka Hai

Lyrics in English | Kar Le Dil Ki Baat Aaj Mauka Hai | Pehchan (1970) | Manoj Kumar, Babita Kar Le Dil Ki Baat (2)Aaj Mauka Hai (2)Are Kar Le Dil Ki BaatKar Le Dil Ki BaatAaj Mauka Hai (2)Are Chal Duniya Ke SaathChal Duniya Ke SaathAaj Mauka Hai (2)Are Chal Duniya Ke SaathChal Duniya Ke SaathAaj Mauka Hai (2)………… Pyar Tera Dhadkan Me Rakh LoonMeetha Dard Bana KeApne Ghunghat Ki Badli MeLe Jaoon…

[postoastblog]

21 Bollywood Old Songs That Will Remain Evergreen Till Eternity

Our Bollywood film industry is known for its amazing songs and dance moves. Indian cinema has a long history of music in films. The legendary singers like Kishore Kumar, Lata Mangeshkar, etc have sung some of the evergreen old songs whose lyrics are so beautiful they’ll instantly make you love the song. Maybe that’s the reason your grandfather or dad keeps playing the old classic songs and gets lost in their melody.

Here we have a list of some best old Bollywood songs that tend to stay close to you forever.

Zindagi Ek Safar Hai Suhana: This song was sung by the legendary Kishore Kumar for the movie Andaz in 1971. The song also received the Filmfare for the Best Lyricist. It was written by Hasrat Jaipuri.

Tere Bina Jiya Jaye Na Jaye Na: This iconic old song was sung by Lata Mangeshkar, written by Gulzar for the 1978 film Ghar featuring and stars Rekha and Vinod Mehra. The music direction of Tere Bina Jiya Jaye Na was done by R.D. Burman.

Hamen Tumse Pyar Kitna: This song was sung by Kishore Kumar for the 1981 film Kudrat. Written by Majrooh Sultanpuri, and the Music Director of Kudrat was R.D. Burman. The song was also nominated for the Filmfare.

Abhi Na Jao Chod Kar: This iconic song was sung by Mohammed Rafi and Asha Bhosle for the 1961 film Hum Dono starring Dev Anand and Sadhna. Jaidev was the Music Director and the lyricist was Sahir Ludhianvi.

Roop Tera Mastana: The song was sung by legend Kishore Kumar and he won the Filmfare for the Best Male Playback Singer for this song. The song was sung for the 1969 film Aradhana that featured Sharmila Tagore and Rajesh Khanna. The lyrics were written by Anand Bakshi and the music was composed by S.D. Burman.

Pyar Hua Ikrar Hua: This amazing song was sung by Lata Mangeshkar, Manna Dey. This song was featured in the movie Shree 420 starring Raj Kapoor and Nargis.

Ek Ajnabee Haseena Se: The song was sung by Kishore Da and was featured in the 1974 film Ajanabee starring Rajesh Khanna and Zeenat Aman. The on-screen chemistry of the actors together made this song magical. R.D. Burman was The Music Director of this song.

Kuch Toh Log Kahenge Logon Ka Kaam Hai Kahana: This superhit classic old Hindi song was sung by Kishore Kumar from the blockbuster Hindi movie of Amar Prem (1972) starring Rajesh Khanna and Sharmila Tagore. The music was composed by R.D.Burman and lyrics were penned by Anand Bakshi.

Mere Sapno ki Rani Kab Ayegi Tu: This iconic Hindi classic romantic song was sung by Kishore Kumar and was featured in the 1969 film Aradhana that featuring Rajesh Khanna and Sharmila Tagore. The lyricist of the song is Anand Bakshi.

Lag Ja Gale: Sung by Lata Mangeshkar, this evergreen song features in Who Kaun Thi?. Written by Raja Mehdi Ali Khan, the iconic song was released in the year 1964. It stars Manoj Kumar alongside Sadhna. Madan Mohan Kohli is the music director.

Likhe Jo Khat Tujhe: Sung by Mohammed Rafi, this old Bollywood song was one of the most heartwarming songs of the movie Kanyadan. The film featured legends like Shashi Kapoor and Asha Parekh. The lyrics were written by Neeraj.

Kya Hua Tera Wada: The song was composed by R. D. Burman. Sung by Mohammed Rafi and Sushma Shrestha, the song won both Filmfare best male playback singer and National film award.

Humein Tumse Pyar Kitna: This beautiful Hindi song was sung by the legend Kishore Kumar and was composed by R. D. Burman. The song was featured in the 1981 Indian Hindi drama film, Kudrat. The movie starred Rajesh Khanna and Hema Malini. The song is heard twice in the movie, the first time by Parveen Sultana and the second time by Kishore Kumar.

Kabhi Kabhie Mere Dil Mein: It is an old Hindi song from the movie Kabhi Kabhie released in the year 1976 featuring Amitabh Bachchan and Raakhee. The lyricist of this amazing song is Sahir Ludhianvi. The original song is in literary Urdu and was in fact a poem from his collection Talkhiyan.

Yeh Dosti Hum Nahi Todenge: This is one of the most epic Bollywood songs on friendship. The song was sung by Kishore Kumar and Manna Dey for the popular movie Sholay featuring Amitabh Bachchan and Dharmendra. R. D. Burman composed the music, and the lyrics were written by Anand Bakshi.

Mera Joota Hai Japani: This song is one of the most popular old songs from Raj Kapoor’s film Shree 420 that was released in 1955. The song was sung by Mukesh and Shailendra was the lyricist.

Tera Mujhse Hai Pehle Ka Naata Koi: This song is from Shashi Kapoor and Sharmila Tagore starrer movie Aa Gale Lag Jaa. Kishore Kumar sang the song and the music was given by R. D. Burman. The lyrics are penned by Sahir Ludhianvi.

Ek Radha Ek Meera: Sung by Lata Mangeshkar, this song featured in the 1985 romantic drama movie Ram Teri Ganga Maili that starred stars Mandakini and Rajiv Kapoor. Ravindra Jain was the music director of the film and he received a Filmfare Award for this movie.

Yeh Raaten Yeh Mausam: Sung by legends like Kishore Kumar and Asha Bhosle, this song featured in the film Dilli Ka Thug. The music was by Ravi and the lyrics were penned by Shailendra.

Tum Ko Dekha Toh Ye Khayal: This evergreen ghazal was sung by Jagjit Singh and Chitra Singh for the 1982 film Saath Saath featuring Farooque Shaikh and Deepti Naval in the lead roles.

Tujhse Naraz Nahin Zindagi: The song has a female and a male version that was sung by Lata Mangeshkar and Anup Ghoshal respectively for the 1983 film, Masoom. The song was composed by R. D. Burman and the lyrics of the song were written by Gulzar. He also won a Filmfare Award for Best Lyricist for this song.

[hobbyandfunzone]

Evolution of a Legend - Part -1

Anand”,”Abhim

This is an analysis of Leading Actors of the Hindi film in pre-Amitabh Bachchan era and what Amitabh Bachchan brought into the industry.

If we start with the arrivals of the first three superstars ( if we do not consider Ashok Kumar) of the Hindi film industry , Dev Anand , Dilip Kumar and Raj Kapoor all of who started in the late 40s , we basically remember what they brought in with them –

Dev Anand brought in Style ,fashion and portrayed role of happy-go-lucky flamboyant loveable characters with the assistance of great music. We cannot forget him in “Kaala Pani”,”Paying Guest”, “Tere Ghar Ke Samne”, “Jab Pyar Kisi Se Hota Hai”, “Taxi driver” etc. Although later he gave a commendable performance in “Guide” , he mainly focused on care-free happy-go-lucky roles.

Raj Kapoor brought in serious topics into movies – although similar kind of movies had already arrived with Ashok Kumar like “Achhyut Kanya”, “Kismat” etc , Raj Kapoor started directing the movies.His movies had a different form of story telling , very elegant romance and drama. All his movies, be it “Shree 420″,”Anari”,”Aag” ,”Aah",” Mera Naam Joker” etc all had strong and different portrayal of romance. And of course songs were so integral part of the romance. However, he was not very disciplined and always reached very late on the sets.  

Dilip Kumar , the strongest ACTOR of the three, brought in pathos , under-playing character and sophistication. Most of the roles he enacted were played with subtlety , “therao” and so my underpaying. Although he had music , but it was secondary to his acting ability. He could easily mold himself to a villager in films like “Naya Daur” or “Ganga Januma” with proper accent and gestures, royals in “Kohinoor” and “Mughul-E-Azam” , fun in “Ram-aur-Shyam” and intense dramas like “Devdas”, “Aadmi” etc.

After them, there came the next generation of actors – Rajendra Kumar, Manoj Kumar,Sunil Dutt, Dharmendra , Raj Kumar, Shammi Kapoor, Sashi Kapoor, Jeetendra from mid-fifties to mid-sixties.

Each of these actors played mainly played light hearted romantic roles in their own styles.

Sunil Dutt was intense and angry (the first angry young man) , who can forget “Mother India”, “Mujhe Jeene Do”,”Insaan Jaag Utha”.

Rajendra Kumar was mainly romantic lead and very dramatic. However , no one can deny his performance in “Gora Aur Kala”.

Manoj Kumar , although did couple of romantic movies like “Patthar Ke Sanam” focused mainly on patriotic movies starting from “Saheed”.

Dharmendra , was mainly a mixture of romance and intensity – “Patthar ke Phool” , “Anupama”, “Satyakam” were fabulous.

Raj Kumar was all dialogues and style – “Waqt”, “Heer Ranjha” , “Neel Kamal”.

Shashi Kapoor , started with a very off-the-path role in “Dharmputra” , did some good romantic movies like “Sharmilee”,”Jab Jab Phool Khile”.

Shammi Kapoor and Jeetendra(called Jumping Jack) initiated dancing ( if we can call them) , with great style and some good music. Who can forget “Caravan” , “Farz” and later Himmatwala,Mawali of Jeetendra . Simliarly Shammi Kapoor gave us huge musical blockbuster like “Teesri Manzil”,”Di Deke Dekho”,”Junglee”.”Janwar” etc.

Next evolved Rajesh Khanna , the so called 1st superstar of Hindi Film Industry with fanatic fanfare and 3 years of all blockbuster movies. He came with style , melodrama and some great great music.He tried with some successful subtle performances with “Anand” , “Amar Prem” , “Aavishkaar”, etc , but he started getting monotonous. His discipline was questionable and he never reaches the sets in time.Also, the sudden success got to his head and he misused it.  

What we know less about these actors are :-

a>    Discipline

b>    Professionalism

c>     Method acting ( Dilip Kumar stands out)

d>    Compete commitment

e>    Use of Voice

f>     Use of singing ability and lip syncing ( Dev Anand was perfect in lip- syncing)

g>    Dance

Amitabh Bachchan came with all of these.

Amitabh Bachchan started in 1969 with “Saat Hindustani” , had only 1 hit movie (thanks to Rajesh Khanna) called Anand and a stray of simultaneous flops till “Zanjeer” (his 13th film) and “Abhimaan” (14th Film) both in 1973 , we see 2 sides of his acting skills – intense, angry no-nonsense in Zanjeer and an intense role in Abhimaan.

However, we should understand how Amitabh Bachchan arrived.

Not going very far into his background, we know that he is the son of legendary Hindi poet Dr Harivash Rai Bachchan and Teji Bachchan who came from noble family.

His upbringing was a mix of intellectualism and fighting attitude.

He worked for a company in Kolkata for a couple of years and came to Mumbai to be in films.

When he started working in films , he did a film called Pyar Ki Kahani in 1971. There was a scene in the movie where he was to kill the veteran actor Shri OmPrakash ji. After the killing shot , Om Prakashji told the unit that he very surprisingly saw in him British way of method acting and said to all that Amitabh would go very far.

Simliarly, Pran ji also recommended him to film writers Salim-Javed (who wrote films like Andaaz,Hathi Mere Sathi,Zanjeer,Deewar,Sholay,Kala Patther,Trishul,Shakti,Arjun,Mr India,Naam etc) the writer duo ,who went to see him in film Bombay-to-Goa and selected him watching an action scene in the movie.

Hrishikesh Mukherjee, the legendary film-maker cast him in Guddi (Jaya’s first film – a women oriented movie) saw his talent , removed him from Guddi and cast him with a very powerful role in Anand. Although , Rajesh Khanna took away all the accolades in the movie, Amitabh was recognised and he received his first filmfare award for best supporting actor role. Hrishikesh Mukherjee and Amitabh worked in classics like “ Anand”,”Abhimaan”,”Mili”,”Namak Haram”,”Chupke Chupke”,”Jurmana”,”Bemisaal”,”Alaap”.

During his struggling days, Amitabh had no money and hence, started working even as junior-artist. Sashi Kapoor in those days was acting in a Merchant-Ivory production film called Shakespearwala. Amitabh , to earn his living participated in a crowd sequence( a funeral scene) ,where Sashi Kapoor saw him , called him out and said that such roles were not for him – he should wait and he will get good roles. Sashi Kapoor even edited the scene where Amitabh was present , so that no one even had a glimpse of him.

So even when Amitabh was giving flops one after the other , his talent got noticed.

[shankarjaikishanfansassnintl]

30 June Kalyanji Virji Shah (Kalyanji-Anandji): 92nd Birth Anniversary

By

Siraj Syed

Kalyanji Virji Shah (Kalyanji-Anandji): 92nd Birth Anniversary 30 June 1928-24 August 2000

From sleeve notes written for SaReGaMa’s LEGENDS CD set in 2009: More than half a century after the cobra swayed to the clavioline, masquerading as the been, in ‘Tan dole mera man dole’, its notes still reverberate across India, and in many other parts of the world. It was, and remains, Kalyanji Virji Shah’s best-known musical signature. Kalyanji had first used the instrument in a film called Naag Panchami (1953, music Chitragupta), but that went largely un-noticed. ‘Tan dole’, a Hemant Kumar tune from a box-office hit, was the chart-topper of 1954, so listeners took good notice of its mesmerising been theme. Developed in France by a designer named Constant Martin, the clavioline was introduced in 1947. Five years later, musician Kalyanji was playing it here, in India, in film song takes. Four years after Nagin, Kalyanji had arrived as music director, with Samrat Chandragupta. And the following year, younger brother Anandji, who was a child actor and chorus singer too, joined him to create the K-A team that stood firm for over 40 years. Nevertheless, as Anandji, some four years younger (now 88), is often heard saying, “Kalyanjibhai is watching all this from above. He is very much with us in spirit.” Kalyanji Virji Shah died in the year 2000, at the age of 72.

Born in Kundrodi village of the Mundra taluka in Kutchh, the brothers grew up in Mumbai, where their father ran a food-grain store. Inclined more towards music than academics, they developed the self-taught ability to play a host of instruments, and formed part of school bands. By 1944-45, the teenager siblings had started playing in film song recordings. Big brother set up his own band in 1950, calling it Kalyanji and Party, with Purshottam Upadhyaya singing ‘Too mera chaand maen teree chaandnee’, the super-hit Naushad tune from Dillagi, to thunderous encores. The band performed in Bombay and in other nearby towns. For a while, the businessman in him did surface, and Kalyanji started a tailoring shop in partnership with a friend. Destiny, however, ensured that the shop did not prosper, drawing Kalyanji even closer to a world where a needle was something that played a gramophone record, not a device to stitch clothes with.

Many of us have heard the popular tunes the brothers composed for films like Samrat Chandragupta, Bedard Zamana Kya Jane, Chhalia and Bluff Master, the last two being the earliest directorial forays of director Manmohan Desai, but few would be aware that it was producer Subhash Desai, Manmohan’s brother, who gave Kalyanji his music directorial his break. Impressed with his prowess at song recordings of various recognised composers, Subhash saw a competent future music director in Kalyanji, and made him an offer that was strange, but nevertheless one that he could not refuse. Would he agree to a contract offering him 11 film assignments as music director, with a fee of Rs. 5,000 for the first film, Rs. 10,000 for the second…a recurring Rs. 5,000 increment per film, non-negotiable? The offer was too good to resist, so Kalyanji agreed, but he did ask Subhash, “Why11 films? Why not 10? Or 12?” The reply was convincing, “Eleven is my lucky number.” As it transpired, they did not do 11 films together, but Kalyanji’s career choice was made.

The K-A success story begins with Kalyanji’s kingly debut, Samrat Chandragupta. ‘Chahe paas ho’ is a touching lyric, with a tinge of sadness, as is the next number, ‘Door kahin tu chal’, another Rafi-Lata duet, from Bedard Zamana Kya Jaane, both penned by Bharat Vyas. With a title like Madari, there had to be a snake-charmer and his been in play, and the theme track, penned by Faruk Kaiser and rendered by Lata and Mukesh, indeed provided flashbacks of the legendary Kalyanji patent. Soon after he wrote his first song for them in Chandrasena, Gulshan Bawra penned a real gem in Satta Bazar, and this time the brothers invited their mentor Hemant Kumar to join Lata in the recording room, with amazing results. Who can forget ‘Tumhe yaad hoga’? Not yet the He Man he was to become in his later years, Dharmendra in Dil Bhi Tera Hum Bhi Tere was emoting to Mukesh’s emotion-charged playback, rendering Shamim Jaipuri’s rich poetry. Graduating from smaller set-ups into a Raj Kapoor vehicle, K-A hit big time in Chhalia. Nonsensical verse from a sensible writer, Qamar Jalalabadi, ‘Dum dum diga diga’, with Mukesh providing playback to Raj’s on-screen antics, set the aisles afire.

Soon, they were signed to compose for Mehndi Lagi Mere Haath, a Shashi Kapoor starrer, and Bluff Master. Both films enjoyed reasonable success and the music went around too. In Bluff Master, we find the rare phenomenon of four voices being used for the same actor: Mukesh, Hemant Kumar, Shamshad Begum (Shammi Kapoor in drag) and Rafi. It was Rafi who immortalised ‘Govinda ala re’ and sang the duet ‘Husn chala kuchh aisi chal’ with Lata. Anand Bakhshi wrote inspired lyrics for Phool Bane Angaare, and Mukesh, as usual, delivered them with consummate artistry. By 1964, K-A were in the Premier League. That very year, they came up with such melodious tracks as the lilting ‘Humsafar mere humsafar’ (Purnima), where they teamed up with Gulzar, a rarity, and the two Mukesh solos from Ji Chahta Hai and Himalaya Ki God Mein. The former was written by Majrooh, not a K-A regular. Another infrequent teaming worked very well, as Hasrat Jaipuri wrote and Rafi sang in great style, ‘Dil beqarar sa hai’ (Ji Chahta Hai). Melodious, hummable and catchy. A ghazal on Shammi Kapoor with Bakhshi writing and Rafi singing may not be a common occurrence, but just savour ‘Teri zulfen pareshan’ (Preet Na Jane Reet). Staying with Mukesh on Shashi, after MLMH, the duo came up with a moody duet in Juari, ‘Humsafar ab yeh safar kat jayega’. If there was still any doubt about the standing of the duo in the rankings, Jab Jab Phool Khile laid to rest all criticism. Every track was heard everywhere. The songs had it all: pathos, fun, longing, depression, pep. For both K-A and Anand Bakhshi, the success of JJPK was to remain a milestone forever.

Rafi provided playback for debutant Rajesh Khanna in the theme song of his debut vehicle, Raaz, re-uniting K-A with Shamim Jaipuri, producing haunting results. Indeevar’s lyrics sang of cruel fate in Dil Ne Pukara, and who better to voice them than Mukesh, as ‘Waqt karta jo wafa’. In the same vein was the Suhag Raat lament, ‘Khush raho’. Manna De came in to give playback for Pran in Upkar and Zanjeer, rendering two of his most acclaimed numbers. It took the duo 19 hours to record ‘Mere desh ki dharti’, the patriotic anthem of Upkar. Saraswatichandra, based on a literary classic, needed the linguistic mastery of Indeevar to weave in the songs, and the author of ‘Kasme vaade pyar vafa’ made it count. Filmfare awarded the duo for the best music of the year. It was still pristine K-A, full of melody, working with Lata and Mukesh. Another award followed some years later, for Kora Kagaz, which had a pathos-laden title-track in the voice of Kishore. Not many might realise, but K-A used Kishore Kumar for the first time in the 1968 film Suhag Raat, singing a sad song, a full decade after the duo had started their career. A comic song was rendered by Manna De while Mukesh was called-upon to put across the other sad lyric.

Only Rafi could have set swinging mood for Shashi Kapoor to gyrate on screen in ‘Nain milakar chaen churana’ (Aamne Saamne). Rafi for Shashi it was again in Ek Shriman Ek Shrimati and Raja Saab. Part of the female vocals in Raja Saab came from Suman Kalyanpur. Suman had sung for K-A in MLMH and JJPK too, and was to partner Manhar in his first hit number in Vishwas. Giving Hemlata her break in the same film, K-A paired her with good-old friend Mukesh. Soon, the duo was to show its preference for rotating the strike, training and honing a host of budding singing talent, while reverting to the established names with equal regularity. Like a lot of extremely popular Mahendra-Manoj Kumar, Kishore-Amitabh Bachchan and Kishore-Rajesh Khanna outings. Incidentally, K-A took three days to record the back-ground score of Suhaag Raat, while they needed a whole month for Purab Aur Paschim. For the ‘Om jai Jagdeesh Hare’ bhajan of PAP, the composers used 50 chorus singers to get the effect normally created by violins. They called it human resonance. Delay (natural echo) was the highlight of ‘Mere mitwa’ (Geet). The child-like double speed of ‘Na sun sun sun bura’ (Priya) was simply achieved by recording on spool-tape at a particular speed and playing it back at double the speed. Most of their work was done at the Famous, Tardeo, recording studio.

There is Rafi, and not Kishore, for Rajesh Khanna, oozing sensuality as only he could, in Chhoti Bahu: ‘Yeh raat hai pyasi pyasi’, echoing musician hero Rajendra Kumar’s heart-rending call in Geet and charting a romantic route for Dharmendra in Kab Kyon Aur Kahan? He also offers love lessons in Upaasna; in the Haath Ki Safai duet, he makes a solemn promise of eternal love; and he goes on Dilip Kumar for the intoxicating ‘Peete peete’ duet with Asha Bhosle in Bairaag. As Western as it gets is the rare title chorus ‘Pretty pretty Priya’ (Priya) and as Sanskritised as it can get is the Kishore hilarity ‘Priye praneshwari’ (Hum Tum Aur Woh). Kalyanji-Anandji made Shatrughan Sinha sing in Kashmakash, Amitabh Bachchan in Laawaris and Anil Kapoor in Chameli Ki Shaadi. They also gave ample opportunities to the emerging talent of 70s’ generation, as you can sample on the Shailendra Singh, Suresh Wadkar, Anwar, Alka Yagnik and Kanchan tracks.

Known for their hundreds of stage performances, in India and abroad, both brothers also enjoyed a sturdy reputation as funsters, with a joke for every occasion and a keen sense of self-deprecating humour. They once famously described themselves as medical practitioners. “We offer all lines of treatment. If some producer approaches us with symptoms that demand a classical approach, we recommend the Ayurvedic style of medicine: Slow, but efficacious in the long-term. On the other hand, if some film-maker wants to experiment with the musical score of his film, we suggest Homoeopathic type of tunes: May work, may not. Some element of risk is involved. If, however, he wants the juke-boxes to jingle and listeners to start singing along instantaneously, we churn out Allopathic compositions: Like injections, they have instant, strong effect, but the effect may wear out sooner.” Music, along with laughter, is the best medicine known to mankind. Kalyanji-Anandji have already issued a statutory warning to your troubles to keep away, for there’s no place for them, ‘Mere angne men tumhara kya kaam hae?’

[bollywoodirect]

Wishing Manoj Kumar many happy returns of the day on his 81st birth anniversary. Manoj Kumar (born Harikrishna Giri Goswami on 24 July 1937) is an award-winning actor and director in Bollywood. He is remembered for his films Hariyali Aur Raasta, Woh Kaun Thi?, Himalaya Ki God Mein, Do Badan, Upkar, Patthar Ke Sanam, Neel Kamal, Purab Aur Paschim, Roti Kapda Aur Makaan, and Kranti. He is known foracting in and directing films with patriotic themes, and has been given the nickname "Bharat Kumar". In 1992, he was honoured with the Padma Shri by the Government of India. India's highest award in cinema, the Dadasaheb Phalke Award, was bestowed him in 2016. As a youngster, he admired Dilip Kumar, Ashok Kumar and Kamini Kaushal and decided to name himself Manoj Kumar after Dilip's character in Shabnam (1949). After making a little-noticed début in Fashion in 1957, Manoj landed his first leading role in Kaanch Ki Gudia (1960) opposite Saida Khan. Piya Milan Ki Aas and Reshmi Roomal followed, setting the stage for the Vijay Bhatt-directed Hariyali Aur Raasta (1962) opposite Mala Sinha. Kumar then appeared with Sadhana in Raj Khosla's Woh Kaun Thi (1964), and reunited with Vijay Bhatt and Mala Sinha in Himalaya Ki God Mein (1965). Manoj Kumar and Raj Khosla repeated their successful Actor-Director partnership with the film Do Badan, which was remembered for many reasons including Raj Khosla's direction, Manoj Kumar and the heroine Asha Parekh's excellent display of histrionics, an outstanding musical score by Ravi, immortal songs by the lyricist Shakeel Badayuni, among others. In the 1960s his successful films included romantic films like Honeymoon, Apna Banake Dekho, Naqli Nawab, Paththar Ke Sanam, Sajan, Sawan Ki Ghata and social films like Shaadi, Grihasti, Apne Huwe Paraye, Pehchaan, Aadmi and thrillers like Gumnaam, Anita, Woh Kaun Thi. Kumar's image as the patriotic hero started with the 1965 film Shaheed, based on the life of Bhagat Singh, the Independence revolutionary. After the Indo-Pakistani War of 1965, Prime Minister Lal Bahadur Shastri asked him to create a film based on the popular slogan Jai Jawan Jai Kissan (hail the soldier, hail the farmer). The result was Kumar's magnum opus and his directorial debut, Upkaar (1967). In it, he played both a soldier and a farmer. The film was also noted for the famous song Mere Desh Ki Dharti, written by Gulshan Bawra, composed by Kalyanji-Anandji and sung by Mahendra Kapoor. Upkaar was a hit and won Kumar his first Filmfare Best Director Award. Manoj returned to patriotic themes in Purab Aur Paschim (1970), in which life in the East and West are juxtaposed. In 1972, he starred in Be-Imaan (for which he won the Filmfare Best Actor Award) and directed and starred in Shor (1972). The latter, opposite Nanda, was not a huge box office success on its release but has gained cult status over the years. It featured the memorable song Ek Pyar Ka Nagma Hai, a duet by Lata Mangeshkar and Mukesh, which was composed by Laxmikant Pyarelal and written by Santosh Anand. In the mid-1970s Kumar starred in three hit films: Roti Kapda Aur Makaan (1974) was a social commentary featuring an all-star cast including Zeenat Aman, Shashi Kapoor and Amitabh Bachchan that won him his second Filmfare Award for Best Director; Sanyasi (1975) had Kumar and Hema Malini in the lead roles of a religious-themed comedy; and Dus Numbri (1976) also gave Kumar and Hema top billing. In 1981, Kumar reached the peak of his career when he got the opportunity to direct his idol, Dilip Kumar, as well as star in Kranti, a story about the struggle for Indian independence in the 19th century. Kranti was the last notable successful film in his career. He also starred in the hit Punjabi film Jat Punjabi. After Kranti, Kumar's career began to decline in the 1980s as all of his subsequent films failed at the box office. In 1989, he cast Pakistani actors Mohammad Ali and Zeba in his film Clerk. He quit acting after his appearance in the 1995 film Maidan-E-Jung. He directed his son, Kunal Goswami, in the 1999 film Jai Hind which had a patriotic theme. The film was a flop and was the last film Kumar worked on. That year he was awarded the Filmfare Lifetime Achievement Award for a career spanning over 40 years.

[threedillusionmusic]

#DilbarArabicVersion, #3dsong, if You Like This Song Don't Forget To Like, Comment & Share Click Here To Subscribe For New Songs : Like || Share || Spread || Love https://goo.gl/Vs4KAJ YOUTUBE :- https://www.youtube.com/channel/UCqto2KCM-x8T3M5Cl6Tnwjw SOUNDCLOUD :- https://ift.tt/2QPjBSm ~~~~~yaarpunjabian,___~~~~~~~ Song Credit & information T-Series Presents the official music video of the song " Dilbar Arabic" sung by Nora Fatehi and Fnaire. The song is composed by " Mohcine Tizaf " and the lyrics of this new song are penned by "Khalifa Mennani and Achraf Aarab". Song: Dilbar Arabic Version Singers: Nora Fatehi and Fnaire Composed by: Mohcine Tizaf Lyrics: Khalifa Mennani and Achraf Aarab Music Arrangement: Tizaf Mohcine and Samy Zenanti Directed by Abderrafia el Abdioui Produced by Nora Fatehi Choreography - Caeser Gonsalves Director of photography - Santhana Krishnan Editor - Adele Pereira Color Grading - Mahmoud Ali(VFX Mercury) Sound design - Mohssine Bannani Music Production Studio - Sevenmen Studio Line Producer - Southpaw production Mixed by - Mohcine Tizaf and samy Zenati @ Sevenmen studio - Marrakesh Premastered by - Denis Thery and Nabil Ghrib @studio K - Marseille Mastered by - Eric Chevet @studio master disk Europe Paris Costume design and Stylist - Susanna Verma Hair and makeup Marcelo Pedrozo Manager's - Amine Hanaoui Bassim Bendell Madhav Mehta Devina Dabholkar ___ ©¥aarpunjabian™ #PunjabiMusic3dAudioNumber1YoutubeChanne, 3D SONG Create DAW SOFTWARE WITH 3D AUDIO BINAURAL PLUGS __ Disclaimer: I do not own all the material I am posting on My channel. If you are a copyright owner and want your work to be removed from My channel PLEASE contact at 3dillusionmusic@gmail.com or leave a comment or message me on social media i provided and I will remove your material right away. PLEASE do not opt for a youtube strike ___ Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use👌👌👌👌👌 yaarpunjabian 2018,Dilbar,Neha Kakkar,Dhvani Bhanusali,Ikka,Satyameva Jayate,Tanishk Bagchi,Bhushan Kumar,John Abraham,Manoj Bajpayee,Alka Yagnik,Dilbar original,dilbar song,neha kakkar songs,neha kakkar songs 2018,ikka new song,ikka new song 2018,latest hindi songs,songs 2018,new hindi song,movie,satyameva jayate movie,satyameva jayate song,sirf tum,dilbar dilbar song,Nora Fatehi,dilbar satyamev jayate,john abraham,satyameva jayate,nora fatehi,dilbar dilbar,dilbar dilbar remix,Shraddha Kapoor,bollywood songs,new hindi songs,hindi songs,Sirf Tum,Sameer,Various,Sanjay Kapoor,Hindi Bollywood Song,Hindi Movies,Hindi Songs,tseries movies,official song,Latest Bollywood Song,Bollywood Song,Bollywood Romantic Song,Dance Song,Dilbar Dilbar Song,Latest Hindi Movies,Full Hindi Song,Full Movies Song,Latest Hindi Song,tseries,songs,songs2018,,😊 use a pair of headphones & close your eyes for the best experience you will hear music that moves around you. 💕 Subscribe us for more stuff like this "Make 3d audio bollywood song 3d hollywood movies clip & song bollywood horrors sounds clips much more " Song Credit Singer/Lyrics: Karan Aujla #Feat: Bohemia Music: Deep Jandu Video Director: Rupan Bal Producer: Sandeep Rehaan Edit: Jagjeet Dhanoa Label: Rehaan Records Project Management: J Hind World Wide Promotion: GK.Digital Special Thanks to Young Sagg of DoggyStyle Records 😊😊😊What is 3D panned audio? This is a 3d panned audio which gives illusions like you are listening to original "3d" audio but its not actuall "3D" . But you can feel the height , width & depth of the song like in original 3d audio. ( Ps - its not original "3d" song but its gives Illusions like original 3d ) Panning - panned means the audio channel changes from left to right & viceversa .. Note When We Had Started This Channel We Don't adds Sound Effects Like We Add Now So Our Old Videos is Not That Effective! But The Future Videos Will Be Mind Blowing😊 Please Select Video Quality 480p Or 720p And Please Plug Your Headphones Or Earphones And Close Your Eyes To Enjoy 3d Music This Music Inside Your Heads. This Song Is Original Dolby Atmos 3d 360° Surround Sound NOTE 3D SONG Create DAW SOFTWARE WITH 3D AUDIO BINAURAL PLUGS 👍👌👍👌👌👍👌👌👌👌👌 NOTE 3D SONG Create DAW SOFTWARE WITH 3D AUDIO BINAURAL PLUGS Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use👌👌👌👌👌

[hotnews69]

She was known as the Venus of the East and wowed us with her elfin looks not to mention her acting during her heyday. Presenting a list of Saira Banu’s evergreen songs on the occasion of her birthday. Ehsaan tera hoga mujhpar Film: Junglee (1961) Music: Shankar-Jaikishan Singer: Lata Mangeshkar Saira Banu clad in all white and appearing in Shammi Kapoor’s dream was a vision to behold. It’s the song which makes him realise the depth of not only her feelings towards him but his own deep-rooted love for her. Her expressions were spot on and one couldn’t tell it was her debut film, that too opposite an established star. Main kamsin hoon nadan hoon Film: Ayee Milan Ki Bela (1964) Music: Shankar-Jaikishan Singer: Lata Mangeshkar When the hero (Rajendra Kumar) sees her at first, he sings, Tum kamsin ho, nadan ho, najukh ho, bholi ho and goes on to say that he’s afraid of loving her. The present song is the heroine’s reply that he should love her for those very reasons. Shot among verdant hills and vales it remains an endearing song. Ruk ja aye hawa Film: Shagird (1967) Music: Laxmikant-Pyarelal Singer: Lata Mangeshkar It’s the introductory song of the heroine and the hero (Joy Mukerji), much like the audience, remains mesmerised by her beauty. You can’t but help falling in love with her carefree charm every time you watch this song. Bhai battur Film: Padosan (1968) Music: RD Burman Singer: Lata Mangeshkar There’s nothing more tantalising than a bathing song in our films. The song teased you but never crossed the limits of decency. It left plenty to the imagination while maintain a certain innocence about the heroine. Unse mili nazar Film: Jhuk Gaya Aasman (1968) Music: Shankar-Jaikishan Singer: Lata Mangeshkar Unse mili nazar had the heroine recounting the effect the hero had on her while undressing and then taking a shower. Here too, the combination of naiveté and oomph had the viewer’s riveted to their seats. O neele parbaton ki dhaara Film: Aadmi Aur Insaan (1969) Music: Ravi Singers: Asha Bhosle, Mahendra Kapoor The sparkling chemistry between Saira Banu and Dharmendra is very much evident in this song shot with mesmerising waterfalls as the backdrop. They never make such effortlessly romantic songs ever now. Twinkle twinkle Film: Purab Aur Paschim (1970) Music: Kalyanji-Anandji Singers: Asha Bhosle, Mahendra Kapoor This hatke song was picturised on Saira Banu and Manoj Kumar imagining themselves as giant puppets in a puppet show. It poked fun at Indian women taking up western norms in a light-hearted way but Saira looked ever so sexy in a short red dress. from filmfares https://ift.tt/2Nc2fOa

[bollywoodproduct]

Lyrics Aur Nahin Bas Aur Nahin

Lyrics Aur Nahin Bas Aur Nahin

Aur Nahin Bas Aur Nahin – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Aur Nahin Bas Aur Nahin | Roti Kapda Aur Makaan-1974 | Manoj Kumar | Mahendra Kapoor Aur Nahin BasAur NahinGham Ke PyaaleAur Nahin Aur Nahin BasAur NahinGham Ke PyaaleAur Nahin Dil Me JagahNahin BaakiRok NazarApni Saaki Aur NahinBas Aur NahinGham Ke PyaaleAur Nahin Aur…

[lazyupdates]

“I have seen it all, I did it all, I said it all, But I can’t remember it all…”

That’s how our Lifetime Achievement Winner, Moushumi Chatterjee defines her four-decade-old journey. “I don’t consider anyone bad. It’s the situation that makes people do things. You may hurt someone unintentionally. But you must never humiliate anyone,” says the actor who continues to throw up interesting performances. In 2014, she won the Filmfare Award for Best Supporting Actress for the Bengali film Goynar Baksho and now the Filmfare Lifetime Achievement Award 2015. “I wish my father-in-law (the late musician/filmmaker Hemant Kumar) was present to see me receive this honour,” she says. In the recent hit Piku, she impressed with her brazen candour on sexuality. What’s more she was pitted against Amitabh Bachchan, her co-star in Basu Chatterjee’s quaint film Manzil (1979), remembered for its RD Burman number Rimjhim gire saawan. “Amitji possesses the same dedication. His sense of humour is intact,” she says. “Rimjhim gire was shot over two days in natural light and rain… from Colaba, VT to Marine Drive. I remember my eyeliner getting smudged! We kept having coffee to keep ourselves warm,” she reminisces.

Child bride The reluctant star of Tarun Mazumdar’s Ballika Badhu (1965) never imagined that fiction would turn into the truth of her life. “I did Ballika Badhu when I was in the fifth standard. I got married when I was in the tenth,” recalls she. Young Indira (her real name) got engaged to‘guardian and neighbour’ Hemant Kumar’s son, Jayant Mukherjee (Babu). “I fell in love with Babu. He was the first man I came in touch with outside my family. In my dowry, came a dog, a doll’s house and a friend, my girl Friday,” she laughs.

The teen bride had already seen in Bengali films like Parineeta, Anindita and Anand Ashram. She came to Mumbai with husband Babu only to have film offers lined-up for her. Raj Khosla’s Kachche Dhaage was her first film, though Shakti Samanta’s Anuraag, where she played a visually-challenged girl released first in 1973­­­­. The next year saw her team up with Amitabh Bachchan in the thriller Benaam and opposite Rajesh Khanna in Humshakal. Her most notable performance was that of a rape survivor in Manoj Kumar’s Roti Kapada Aur Makaan (1974). “I was pregnant with my first child but Manojji took great care of me. I threw up with all the atta (flour) in my mouth. A duplicate blouse was placed on me, which was later flung aside for the scene.” She claims, “The song Hai hai yeh majboori was to be filmed on me. But I got pregnant. The phrase‘do takiya’ in the song matches my character Tulsi’s language not that of the sophisticated Zeenat Aman’s in the film.”

Her other successful films were Swarg Narak and Angoor with Sanjeev Kumar. The hat-trick of hits Maang Baro Sajna, Ghar Ek Mandir and Pet Pyaar Aur Paap put her in the big league in 1984. Later, she graduated to doing character roles in Ghayal, Ghar Parivaar and Udhaar Ki Zindagi. Ask Moushumi to analyse her appeal and she says self-effacingly, “I’ve a crooked nose. I’m slightly cock-eyed. Perhaps my smile, my laughter charmed. Also, I had a voluptuous figure. I was never skinny. Actually, sex-appeal lies in your face, your eyes. Having a great figure doesn’t matter.” She recalls how the late director Raj Khosla summed her up. “He said, “Moushumi’s childlike, not childish. She can be fun-loving like an eight-year-old and wise like a woman of 80.”

Will break, not bend In an industry, which has not been entirely kind to married actresses, Moushumi finds herself grateful. “Mahesh Bhatt once chided me for being ‘unprofessional’. He joked, ‘Every time your career is doing well, you get pregnant’. I replied, ‘My babies have added to my life’.’You can be a top star, a celebrity or even a queen but ultimately you need a family, a home.” What she does admit to is her ‘will break but not bend’ dictum, which became the reason of her walking out of big projects. “I was not the ambitious kind, who wanted work by hook or crook. I did films on my own terms. I even shot for some big banner films but left them after a few days because my ethics didn’t allow me to continue. I didn’t compromise my sanskar. They thought I was stubborn and crazy.”

Rumours of being ‘uncooperative’ plagued her career. “Some top heroes could not take my behaviour. They’d say, ‘You prefer to talk to the spot boy rather than have a cup of coffee with me. Do you think you’re Vyjayanthimala? I’d say, ‘No, I believe I’m Cleopatra’. Some, noticing my stance, would turn respectful, some indifferent.” She recalls the time when a senior actress gave her some ‘advice’. “She said, ‘Why don’t you open up? You rub them the wrong way. What’s the harm in having dinner with them on outdoors?’” She holds her heroes Vinod Khanna, Rishi Kapoor, Shashi Kapoor, Sanjeev Kumar and Dharmendra in high regard. “Once Dharamji happened to see me at a particular party. He said, ‘Why have you come here? Go home right now!’ Rishi was helpful when I was pregnant and shooting for Zehreela Insaan. While Sanjeev Kumar loved to relax at my house, enjoying non-vegetarian food and watching films.”

My home, my world While showbiz wanted more of her, all she wanted was to rush back home. “I could switch from being Moushumi to Indu very easily. The minute pack-up was announced I wanted to run home to my husband. Even after Payal was born, I’d want to see Babu first.” In fact, the foundation of their bond, she says, was formed in those early years. She was a minor when her first daughter Payal was born. “My gynaecologist told me ‘a kid is having a kid’. When Payal was born, I didn’t have patience. She’d break my toys; I’d want to break hers.” She had Megha at 24 and didn’t work for two years as she was a weak child. “But the moment I thought of returning, I got four offers including Watan Ke Rakhwale, Aag Hi Aag and Ghayal,” says she.

Her ingenuousness remained intact even after motherhood and that’s why perhaps Dharmendra signed her for his production Ghayal. “I wasn’t interested. I suggested other heroines. But he said, ‘Kudiye, none can match your inocence. You can make the audience ghayal with your pain’.” She owes the liberty she enjoyed to her husband. “Babu was well off. He wasn’t living off me. He trusted me. My life has been an open book. Yes, he was possessive about certain things. Like once when I wore a sleeveless blouse, he didn’t like it. He said, ‘Have you forgotten to wear a blouse?’” she laughs.

LINK-UPS & LIES Though she was a married actress, rumours of romantic liaisons didn’t spare her. She was linked to various heroes including the late Vinod Mehra and Farooque Sheikh and distributor Ramesh Sippy. With Vinod Mehra she did around 10 films including Anuraag, Us-Paar, Raftaar, Umar Qaid and Zindagi and that set the grapevine buzzing. “Vinod and Babu were close friends. We lived in the same building. So we often went out together. That gave rise to rumours.” She doesn’t deny her outgoing disposition. “I am a flirt. I can flirt even with a plant, with an animal. In fact, Shabana Azmi once said, ‘Shashi Kapoor and you can flirt with anyone from six to 60,” she titters. But she’s aware of the perils of a friendly disposition. “The way I show my warmth is misconstrued. Babu once told me, ‘You’re a heroine. People view you differently. Be careful’. But he also jokes that even on my death bed I will flirt with the doctor.”

On a serious note she explains, “I never reacted to rumours. Those close to me knew, where I was and with whom. My husband was with me. Yes, I committed mistakes.” She reflects, “I realised Moushumi Chatterjee had many admirers. There were people who said, ‘I love you’ and even those who said, ‘I want to marry you’. I couldn’t push them away or be rude. I gave them enough time and also to myself to understand that they were attracted to me and not in love with me. I respect them. I even respect their spouses who also went through a bad time.” She’s still a ‘romantic’ but her definition of love has changed. “Love is an illusion. It’s at best attraction and attachment. Gradually, you move on to other things, your emotions are channelised into your children, your work…”

Golden time Glamour is short-lived and what lasts is the halo of contentment. “I’ve seen actresses go haywire. I committed a lot of mistakes too. But once I realised them, I took a U turn and never looked back. Your lifestyle is important. If you abuse life, life will abuse you back. Actresses turn lonely because they don’t listen to the voice within.” She insists on being spiritual. “I’m a Hindu but I perform namaz. I visit the church. You can reach God by touching human beings. You come alone and go alone. I take pleasure in simple things, like cooking and being with my children. And of course getting into arguments with husband Jayant. “Babu merely listens, unless I provoke him. We share a great sense of humour. Like when I say, ‘Gala dukh raha hai (my throat is hurting)’, he shoots back, ‘Daba doon (shall I press it)?’”

Moushumi Chatterjee’s best works 

Balika Badhu (1967)

An adolescent Moushumi was about endearing innocence as a child-bride in Tarun Majumdar’s Bengali drama. It was later remade in Hindi with Sachin Pilgaonkar and Rajni Sharma in the lead.

Parineeta (1969)

The many adaptations of Sarat Chandra Chattopadhyay’s Parineeta include Moushumi’s take as a young woman’s unflinching devotion to her childhood sweetheart. This was directed by Ajoy Kar. It featured Samit Bhanja, Bijon Bhattacharya and Khagesh Chakravarti

Anuraag (1972)

A blind girl befriends a terminally ill child. The tragedy turns into a tale of hope and love in the Shakti Samanta directorial.

Kuchhe Dhaage (1973)

Moushumi’s village belle act was the perfect foil to the machismo dripping portrayals of Vinod Khanna and Kabir Bedi. Mere bachpan tu jaa… had an uncanny real-life echo to Moushumi’s own evolution.

    Zehreela Insaan (1974)

Best remembered for the chartbuster O Hansini and Rishi Kapoor’s emotional confusion. Moushumi matched his intensity with her innocence and ease.

Roti Kapda Aur Makaan (1974)

Manoj Kumar’s war cry against corruption featured Moushumi in a ghastly rape sequence. She was apparently pregnant then but carried off the scene with elan.

Benaam (1974)

Both Moushumi and Amitabh Bachchan share great chemistry as a married couple. Their paradise is lost once their son goes missing.

Manzil (1979)

Basu Chatterjee’s Manzil not only gave us the rain-drenched panorama of Mumbai’s bay-line but also the monsoon ode Rimjhim gire sawan filmed on Amitabh Bachchan and Moushumi.

Swayamvar (1980)

Moushumi was all fire and sweet tantrums as Shashi Kapoor’s demanding ladylove in Swayamvar.

Pyaasa Saawan (1981)

Sexy and sentimental, Moushumi played the perfect wife in this melodrama. She won appreciation and sympathy as Jeetendra’s ailing wife here.

Angoor (1982)

Gulzar’s comedy of errors worked on a low-key sense of humour. Moushumi’s distrustful, daft, housewife act was perfect for the character.

Ghayal (1990)

As Sunny Deol’s grief-ridden sister-in-law in Ghayal, she provided a gravitas to her performance.

    Moushumi’s most-loved melodies

·        Sun ri pawan pawan puriya – Anuraag (1973)

·        Tere nainon ke main deep jalaaonga – Anuraag (1973)

·        hansini – Zehreela Insaan (1974)

·        Mehngai maar gayee – Roti Kapda Aur Makaan (1974)

·        Vado karo janam – Sabse Bada Rupaiya (1976)

·        Rimjhim gire sawan – Manzil (1979)

·        Wada nahin karte kisi se –  Prem Bandhan (1979)

·        Mausam pe jawani hai – Do Premee (1980)

·        Yun na rootho – Itni Si Baat (1981)

·        Megha re megha re – Pyaasa Sawan (1981)

[asksabhaniblog]

A song which has been remixed so many times but nothing beats the original.

You should have lived in those days to understand the impact of this song.

Some romantic moments with Shashi Kapoor

We have to agree with Manoj Kumar, this chaal could bend plants and trees.

And we agree with Dev Anand that she was the best “kaanchi” ever

By Bal Krishn BirlaPosted

Mumtaz was one actress who could literally set the screen on fire with her presence. 

[himalayanfilms-blog]

Enjoy Latest Romantic Garhwali Video song - Rup Rang Teru Pyaru in Full HD 4K Video quality. Like Share & comment!!

Song: Rup Rang Teru Pyaru

Artist: Deepu Janvi (Pammu) & Preeti

Singer: Nandan Jakhmola & Kanishka Negi

Lyrics: Nandan Jakhmola

Language: Garhwali

Music: Vinod Panday

Recordist: Devesh Rawat

Makeup: Manisha Manu

Camera: Akash “Akki”

Editor: Mohit Kumar

Director: Rampal Bharti

Producer: Ravindra Lakhera

Lebal: Himalayan Films Pvt. Ltd.

================================

SUPPORT, SHARE & SUBSCRIBE TO PROMOTE UTTARAKHANDI CULTURE!

Recommended Latest Garhwali - Kumaoni Videos Song 2017 Full HD:

1.   Kaile Baje Muruli by Gopal Babu Goswami https://goo.gl/ureE2w2.   Bijum Pyari by Kishan Mahipal https://goo.gl/df3zdH3.   Sureema... by Kishan Mahipal https://goo.gl/ctBEVK4.  

Mera Danda Nagraj by Manoj Mandrwal

https://goo.gl/WiqMF95.  

Samrai dya

by Kishan Mahipal https://goo.gl/4UkvCE6.  

Man bharmege

by Lata Mangeshkar https://goo.gl/YbTTiJ7.  

Bedu Pako Baramasa by Dr. Kamal Khanduri

https://goo.gl/D2Vhi38.  

Trijugi narayan by Narendra singh Negi

https://goo.gl/2tnrhT9.   Tikuli Binduli by Kishan Mahipal

https://goo.gl/M5QyK4

Recommended best Garhwali Video Album songs:

Ab kathaga khailyo - Garhwali Album by Narendra singh Negi and Meena Rana: https://goo.gl/F6XiXY

Ae Janu Rey Album hit Garhwali songs by Kishan Mahipal: goo.gl/SXrLO7

Bichhna - Garhwali Album by Saheb Singh Ramola: https://goo.gl/5BtxL7

Gwar Chhora - Garhwali Album by Asha Bhosle: https://goo.gl/5rdSxw

Goriya rey - Kumaoni Album by Balbeer Rana and Basanti Bisht: https://goo.gl/HYhbPQ

Hey Nisha - Garhwali Album by Mukesh Kataith and Deepa Chauhan: https://goo.gl/NqL2vH

Ho Jiya - Garhwali Album by Kishan Mahipal and Meena Rana: https://goo.gl/3As3ps

Jhampa Jajmani - Garhwali Album by Prem Singh Gusain and Meena Rana: https://goo.gl/Rbt6OC

Motima Baurani - Kumaoni Album by Nainnath Rawal and Meena Rana: https://goo.gl/yJ0Cza

Music - Yaad Aali Tehri - Garhwali Album by Narendra Singh Negi: https://goo.gl/6pXqU7

Man bharmege - Garhwali Album by Lata Mangeskar: https://goo.gl/scLCtH

Mayako Mundaro - Garhwali Album by Narendra Singh Negi: https://goo.gl/NOE0zk

Nauni Danda Gaon Kee - Garhwali Album by Virendra Rajput and Meena Rana: https://goo.gl/PLMTsU

O Neera - Garhwali Album by Gajendra Rana: https://goo.gl/Ktc0UP

Phulmati - Garhwali Album by Akash Bhardwaj and Meena Rana: https://goo.gl/xImUc1

Salanya Syali - Garhwali Album by Narendra Singh Negi: https://goo.gl/KpsKHQ

Sureema Garhwali album: https://goo.gl/Xj7k2M

Semanya Bouji - Garhwali Album by Kishan Mahipal and Meena Rana: https://goo.gl/Zj0qv7

Sanka Samlaunyan hwege - Garhwali Album by Dinesh Kaintura and Meena Rana: https://goo.gl/fqODkz

Tyra Saun - Garhwali Album by Rajju Bisht and Deepa Chauhan: https://goo.gl/C9jZED

-----------------------------------------------------------------------

Best Garhwali Movies by Himalayan films

Kamli full Garhwali Movie: https://goo.gl/KExY5r

Kafal superhit Garhwali film: goo.gl/c4xVMa

Gullu Comedy Garhwali movie: goo.gl/aGG35B

Ghanna-Girgit-ar-Yamraj – Garhwali Comdey Movie: https://goo.gl/T9p0gY

Gundru Banige Hero: goo.gl/CIt3Ic

Yad ali tehri full garhwali movie in HD: https://goo.gl/k7BUEk

Manswang full garhwali movie: https://goo.gl/2i2Or9

Auji - Short Film: goo.gl/QiR7vN

-------------------------------------------------------------------------------------------

Himalayan films Library:

Narendra Singh Negi Garhwali Video Songs: https://goo.gl/RqPMZL

Kishan Mahipal Garhwali Songs: https://goo.gl/Coh7Vd

Gajendra Rana Garhwali songs: https://goo.gl/AB0wTp

Virendra Rajput Garhwali Songs: https://goo.gl/KQSv3Z

Prem Singh Gusain Garhwali Songs: https://goo.gl/xuuBxu

Sahab Singh Ramola Garhwali songs: https://goo.gl/anZahH

Meena Rana Garhwali Songs: https://goo.gl/9vY7kd

Deepa Chauhan Garhwali songs: https://goo.gl/CPPdyR

Basanti Bisht Kumaoni Songs: https://goo.gl/bhnXTe

TOP 10 Garhwali Song - https://goo.gl/eAGwvs

----------------------------------------------------------------------

Subscribe us to stay connected with Uttarakhandi Culture.

YouTube:  https://goo.gl/zz6di6

Facebook: https://www.facebook.com/Himalayanfilm

Google+:  https://plus.google.com/u/0/+Himalayanfilms

LinkedIn:  https://www.linkedin.com/in/himalayanfilms

Twitter:  https://twitter.com/HimalayanFilm

Website: http://himalayanfilms.com/

[shankarjaikishanfansassnintl]

Five decades of ‘Mera Naam Joker’: Epic timelessness

By  Rajiv Vijayakar

ON 18TH DECEMBER 1970, MERA NAAM JOKER HIT THE SCREEN. IT WAS A PATH-BREAKING FILM AND STORYLINE AT THE TIME. COMMERCIALLY, IT DID NOT DO WELL, BUT WITHIN THE NEXT FEW YEARS, IT CAME TO BE RANKED AS A CLASSIC. TODAY, BUT FOR THE ECONOMIC ASPECT, WHICH MIGHT HAVE GONE WORSE, FANS EVEN WONDER WHY THIS SWEEPINGLY MAJESTIC EPIC WAS NOT MADE IN 70MM, AS RAJ KAPOOR HAD STARRED, JUST THREE YEARS BEFORE IT, IN INDIA’S TILL-THEN ONLY 70MM FILM, AROUND THE WORLD.Here is a fact file about the epic and timeless classic.*In those times, multi-star films were unknown. There had been only two examples on a big scale, Mother India (1957) and Waqt (1965), the latter film originally planned by B.R. Chopra with Prithviraj Kapoor and his three sons, Raj himself, Shammi and Shashi Kapoor! This made Mera Naam Joker the biggest multi-star film until then.*Rajendra Kumar, Dharmendra and Manoj Kumar starred in it besides Raj. And there were three heroines—Padmini. Simi Garewal and Russian actress Kseniya Ryabinkina, later seen in the 2009 Rishi Kapoor film Chintuji.*The movie had two intervals—one of the only two movies to have them in Hindi movie history, and was 25 reels and 255 minutes long. Its international version on DVD is 233 minutes long, while the Indian DVD is just 184 minutes. The only other movie with two intervals (not in all prints though) was Sangam, the film produced and directed by Raj Kapoor just before Mera Naam Joker.*Rishi Kapoor made his screen debut as the adolescent version of his father’s character. Raj Kapoor had wanted to cast elder son Randhir Kapoor in this role, but he did not lose enough weight!*The music was a chartbuster even though the film fared poorly at the box-office: those were the days a music score had a separate quality-based fate from the parent film!*However, Lata Mangeshkar’s absence was keenly felt and even sensed, as she had had a tiff with Raj Kapoor as well as Shankar after Sangam. Jaikishan, who had split from Shankar by then (both composed separately here), was still working with Lata.*Lyricist Hasrat Jaipuri revealed that a third verse for his classic ‘Jaane Kahaan Gaye Woh Din’ was written by him but not used. Mukesh loved it and would often incorporate it when performing at a live concert.*The film won the Filmfare awards for Best Music (Shankar-Jaikishan), Male Playback (Manna Dey), Cinematography (Radhu Karmakar), Sound Recording (Allauddin) and above all for Raj Kapoor as the Best Director.*Manna Dey and Raj Kapoor also won the National awards for that year.*Rishi Kapoor is the only big star to have won a National award for his acting debut, apart from Amitabh Bachchan a year earlier. By a coincidence, they are the only stars in 2019 from that generation who are still relevant. But the tangy part was that Rishi won the National Best Child Actor award!*Rishi Kapoor has a standout memory of when he won this award. “I showed my father the trophy and he told me to take it to my grandfather Prithviraj Kapoor. My grandfather began weeping. and just when I was wondering why, he said something that I did not understand then, “Aaj Raj ne mera karzaa utaar diya (Today, my son has paid his debt to me)!”*Incidentally, Raj’s character in the film was called Ranbir Raj, his real name, and his grandson and Rishi’s son Ranbir now carries his name as well. *Two stalwarts from the RK cinematic household—Mukesh and Shailendra—were a part of the team, sharing credits with their debut-making sons,*Nitin Mukesh and Shaily Shailendra. The senior Shailendra had passed away in 1966, but his song (Raj Kapoor always kept a bank of songs), ‘Jeena Yahaan Marna Yahaan’ was used, completed by Shaily.*‘Wish Me Luck As You Wave Me Goodbye’, a song by Phil Park and Harry Parr-Davies, first sung during the Second World War by Gracie Fields, was used with a romantic implication between the married teacher Simi Garewal and student Rishi Kapoor in the film. The chorus song had Rishi’s portiosn sung by Nitin Mukesh! Nitin Mukesh was to later sing more than once for Rishi Kapoor, notably in the chartbuster ‘Zindagi Ka Naam Dosti’ in the 1987 Khudgarz.*Mukesh himself gave playback for ‘Teetar Ke Do Aage Teetar’, the only song he sang for Rishi, Raj Kapoor’s son and the next generation Kapoor.*Manoj Kumar has revealed, “For the first chapter that starred Rishi Kapoor, Simi Garewal and me, I also worked with Raj Kapoor-ji as a writer – the solah baras concept and philosophy were mine, and Raj-ji was big-hearted enough to mention to many people in the film industry that I had a hand in shaping the screenplay.”*Dharmendra, who played the circus owner in the film, has let on that he would stand outside RK Studios as a struggler, wondering when he would get a chance to even enter the premises! Later, as a star, he had requested Raj to give him an opportunity to work with him, and Rishi Kapoor recollected that the then-big star had taken a much lower fee than his market-rate. As Dharmendra put it, “It was a dream come true. I was not only acting with Raj-saab but also under his direction, which was a chance very few others got!”*Raj Kapoor gave the names of these two leading men, as well as of Rajendra Kumar and Dara Singh, in the ‘Acknowledgement’ credits of the movie, for this gesture at accepting smaller roles.*The film was released in Russia (Raj Kapoor’s international citadel, so to speak, since the 1951 Awara) in three separate parts, and was such a hit that, inflation adjusted to times today, the three chapters did a combined business of over Rs 840 crore!*The financial crisis that Mera Naam Joker landed Raj Kapoor in finally made him produce his modestly-budgeted record-smashing Bobby, in 1973, his biggest hit ever as producer, His biggest hit as a director came in 1985 with Ram Teri Ganga Maili.*Nevertheless, what is most important is that Raj Kapoor declared Mera Naam Joker as his favourite film.

[bollywoodirect]

Wishing Manoj Kumar many happy returns of the day on his 80th birth anniversary. Manoj Kumar (born Harikrishna Giri Goswami on 24 July 1937) is an award-winning actor and director in Bollywood. He is remembered for his films Hariyali Aur Raasta, Woh Kaun Thi?, Himalaya Ki God Mein, Do Badan, Upkar, Patthar Ke Sanam, Neel Kamal, Purab Aur Paschim, Roti Kapda Aur Makaan, and Kranti. He is known for acting in and directing films with patriotic themes, and has been given the nickname "Bharat Kumar". In 1992, he was honoured with the Padma Shri by the Government of India. India's highest award in cinema, the Dadasaheb Phalke Award, was bestowed him in 2016. As a youngster, he admired Dilip Kumar, Ashok Kumar and Kamini Kaushal and decided to name himself Manoj Kumar after Dilip's character in Shabnam (1949). After making a little-noticed début in Fashion in 1957, Manoj landed his first leading role in Kaanch Ki Gudia (1960) opposite Saida Khan. Piya Milan Ki Aas and Reshmi Roomal followed, setting the stage for the Vijay Bhatt-directed Hariyali Aur Raasta (1962) opposite Mala Sinha. Kumar then appeared with Sadhana in Raj Khosla's Woh Kaun Thi (1964), and reunited with Vijay Bhatt and Mala Sinha in Himalaya Ki God Mein (1965). Manoj Kumar and Raj Khosla repeated their successful Actor-Director partnership with the film Do Badan, which was remembered for many reasons including Raj Khosla's direction, Manoj Kumar and the heroine Asha Parekh's excellent display of histrionics, an outstanding musical score by Ravi, immortal songs by the lyricist Shakeel Badayuni, among others. In the 1960s his successful films included romantic films like Honeymoon, Apna Banake Dekho, Naqli Nawab, Paththar Ke Sanam, Sajan, Sawan Ki Ghata and social films like Shaadi, Grihasti, Apne Huwe Paraye, Pehchaan, Aadmi and thrillers like Gumnaam, Anita, Woh Kaun Thi. Kumar's image as the patriotic hero started with the 1965 film Shaheed, based on the life of Bhagat Singh, the Independence revolutionary. After the Indo-Pakistani War of 1965, Prime Minister Lal Bahadur Shastri asked him to create a film based on the popular slogan Jai Jawan Jai Kissan (hail the soldier, hail the farmer). The result was Kumar's magnum opus and his directorial debut, Upkaar (1967). In it, he played both a soldier and a farmer. The film was also noted for the famous song Mere Desh Ki Dharti, written by Gulshan Bawra, composed by Kalyanji-Anandji and sung by Mahendra Kapoor. Upkaar was a hit and won Kumar his first Filmfare Best Director Award. Manoj returned to patriotic themes in Purab Aur Paschim (1970), in which life in the East and West are juxtaposed. In 1972, he starred in Be-Imaan (for which he won the Filmfare Best Actor Award) and directed and starred in Shor (1972). The latter, opposite Nanda, was not a huge box office success on its release but has gained cult status over the years. It featured the memorable song Ek Pyar Ka Nagma Hai, a duet by Lata Mangeshkar and Mukesh, which was composed by Laxmikant Pyarelal and written by Santosh Anand. In the mid-1970s Kumar starred in three hit films: Roti Kapda Aur Makaan (1974) was a social commentary featuring an all-star cast including Zeenat Aman, Shashi Kapoor and Amitabh Bachchan that won him his second Filmfare Award for Best Director; Sanyasi (1975) had Kumar and Hema Malini in the lead roles of a religious-themed comedy; and Dus Numbri (1976) also gave Kumar and Hema top billing. In 1981, Kumar reached the peak of his career when he got the opportunity to direct his idol, Dilip Kumar, as well as star in Kranti, a story about the struggle for Indian independence in the 19th century. Kranti was the last notable successful film in his career. He also starred in the hit Punjabi film Jat Punjabi. After Kranti, Kumar's career began to decline in the 1980s as all of his subsequent films failed at the box office. In 1989, he cast Pakistani actors Mohammad Ali and Zeba in his film Clerk. He quit acting after his appearance in the 1995 film Maidan-E-Jung. He directed his son, Kunal Goswami, in the 1999 film Jai Hind which had a patriotic theme. The film was a flop and was the last film Kumar worked on. That year he was awarded the Filmfare Lifetime Achievement Award for a career spanning over 40 years. Like बॉलीवुड डायरेक्ट Bollywoodirect

[universeinform-blog]

Bid for fitness tips from Shilpa Shetty via Uber Dreams

New Post has been published on https://universeinform.com/2017/03/15/bid-for-fitness-tips-from-shilpa-shetty-via-uber-dreams/

Bid for fitness tips from Shilpa Shetty via Uber Dreams

NEW DELHI, MAR 10: Online auction platform Uber Dreams is about to offer services like renting a yacht for under Rs. 20,000 or getting fitness pointers from actress became entrepreneur Shilpa Shetty Kundra.fitness & exercise

The Mumbai-based totally startup, set up final year and not related to taxi aggregator Uber, will conduct Online auctions proposing eminent personalities, brands, and marquee merchandise.

“The idea is to assist fulfill clients’ Dreams with uniquely curated stories and provide get admission to human beings to interact, in-individual, with eminent personalities from business, movies, sports activities, tv and so on,” Uber Dreams co-founder and CEO Savan Daru advised PTI.

The basic idea here is to bridge the distance among Dreams and aspirations of the humans of u . S . and the real realization of the same, he added.

But, this will not come cheap. “Most auctions/Goals may have a reserve fee of 20k to 3 lakh except the Goals that involve celebrities, they might value a touch greater,” he said.shilpa shetty husband

The web public sale for a wellbeing weekend with Shetty has a reserve price of Rs. 70,000.

The public sale will take the region from March 10-15, 2017. The best bidder and an associate of his/her desire get to fly to Jaipur and revel in and all fees paid, 2 nights-3 days Yoga and wellbeing weekend as VIP guests of Shilpa Shetty Kundra with interaction and selfies/ images. “Inside the preliminary level, the organization will introduce around five-eight auctions a month and later scale it up,” he said.

Other auctions will encompass spending time with personalities like Mohit Burman of Dabur India/Aviva Lifestyles Coverage, Anupam Mittal of Shaadi.Com/human brings Institution. “One can also bid to be a model in a complete web page advertorial of Rolling Stone mag, get a chance for internships with main corporates, get a six course romantic meal cooked by means of Chef Vicky Ratnani at their domestic, a three min position in films and Tv collection and so on,” he said. Daru declined to touch upon targeted revenues but stated Uber Dreams can be generating revenue from Day 1. “We work on revenue proportion and commission model with our companions. We are able to be looking at funding options in a few months,” he added.

The company has previously raised 1/2 one million dollars from Mascot Group.

Uber Goals will soon release an app for iOS and Android shops as well. The platform will also permit customers to share their Goals/aspirations that are not indexed at the internet site. “under the ‘You Dream, We Satisfy’ section, traffic can listing their Goals and Uber Dreams will try to Satisfy it for them,” Daru said.oj simpson dream team lawyers

The Fitness Growth

While the worlds of sports activities and Fitness are intertwined, it became no longer until the Seventies that popular tradition becomes geared up to just accept Fitness as eagerly because it had regularly occurring sports activities. Fitness had not but taken on its significance for improving fitness, and popular opinion likened Fitness to paintings and manual exertions. Inside the 1940s and Fifties, few participated in Fitness willingly.

Among people who did have been Jack LaLanne, Victor Tanny, Joseph Gold, Joseph Weider, and Les and Abbye “Pudgy” Stockton. These Fitness pioneers, Among others, drew human beings to the seashore in Santa Monica, California-the unique Muscle beach. Traffic got here to observe their feats of strength and acrobatic shows. More and more visitors have become contributors, and Those people, at the beginning on the perimeter

Became part of the cultural mainstream. Jack LaLanne, Vic Tanny, and Joe Gold all started out health club chains with bodybuilding as their main cognizance. Due toPage 602 the have an effect on of Abbye “Pudgy” Stockton, women were introduced to the muscularity and power that came with bodybuilding. Not reserved for just for “strongmen,” bodybuilding brought approximately an exchange In the mindsets of all those who visited Muscle beach.

From the seeds planted at the Santa Monica got here Venice seaside, the house to bodybuilding legends Arnold Schwarzenegger, Frank Zane, and lots of, much greater. Venice beach Within the 1970s introduced with it a Fitness explosion throughout the globe. not simplest did bodybuilding end up mainstream, but the famous opinion of Fitness changed dramatically. Individuals In the Seventies could do something to enhance their health and Health.

Sports activities and athletics grew In the Seventies as well. girls became increasingly interested in collaborating in sports; but, very little investment was to be had for the development of lady’s athletics. A landmark regulation was exceeded in 1972. Part of a sequence of tutorial amendments, ”

Name IX,” legislated gender fairness in athletics. no longer most effective have been girls turning into more lively and extra bodily suit, a regulation now existed that called for identical investment and identical opportunity for woman athletes. On 21 September 1973, woman tennis famous person Billie Jean King defeated Bobby Riggs Inside the first-ever winner-take-all “Conflict of the Sexes”

Tennis match. The hoopla surrounding this event and its outcome-furnished, even more, incentive for women to emerge as involved with sports activities and Health. By using 1977, a record 87.five million U.S. Adults over the age of eighteen claimed to be worried about a few sort of athletic hobby.

Shilpa Shetty

Shilpa Shetty become born on June eight, 1975.She changed into born in Tamil Nadu.Shilpa is born underneath the solar sign Gemini.She will talk six languages which include Hindi, English, Marathi, Gujarati, Telugu, Tamil.Sources say that She will recognize a little little bit of French. Her father’s name is Surendra Shetty and her mother’s call is Sunanda Shetty. Shilpa has a more youthful sister Shamita who’s additionally an actress in Bollywood.

At the age of 15, she turned into rejected as a Ramp model.The cause become, she wasn’t taller and that they were seeking out some fleshy skin look models.Shilpa changed into disillusioned and the keenness to come to be a Ramp version have become even larger.Later she grew inches of the top and made it to 5.9 toes.The first provide for a movie came while Shilpa changed into At the age of 17.

The film changed into titled “Gaata Rahe Mera Dil”.She turned into given the main position inside the film however sadly the movie did not hit the screen.Later she becomes provided opposite Shahrukh Khan and Kajol in Baazigar.The film turned into a brilliant hit On the box workplace and Shilpa changed into elected as a nominee for Filmfare’s First-class New Comer Award.She later starred in “Pardesi Babu” opposite Ravina Tandon and Govinda which flopped but earned an award for Shilpa as a ‘Fine supporting actress’ At the Zee Gold Bollywood Awards.

Later Shilpa signed two movies with Govinda.The movies did not fare nicely On the field workplace.Then she signed a film with Akshay Kumar in Primary Khiladi Tu Anari.The well-known song ‘Churake Dil Mera’ delivered an alternate in Shilpa’s picture. At that time she was one of the hottest ladies in Bollywood.but later her films bombed at field workplace and her offers seemed to be thinning.After many flops, Shilpa won back her hot image by way of acting in a special song in the film “Shool” starring Manoj Bajpai.

Find out Your Dreams

“In case you dream nothing, you are nugatory.” -Albion

The base of heterogeneity among human beings & animals or dwelling & dead is “to dream for”. living with Goals is the best ever factor to appoint time in this universe. It indulges us to enhance the extent of life, wondering, and collaboration with others. It forces us what surely we are. But to recognize “what simply we’re”, isn’t always alike an open ebook phenomena.

Many human beings are residing their lives without a dream technique and their fates are particularly controlled via others, therefore have ended up puppets on this international. They don’t even understand approximately the powers lie of their self. In the meantime, strategies with relentless efforts have made it viable to unveil this universally typical dilemma of knowing your supremacies and controls. Even as, I have also formulated a few ways to Find out the Goals within the self. It covers 3 easy methods of self-evaluating and self-evaluation.

Perception evaluates: Just stop yourself in which ever you’re in life substances, look internal you, evaluate and acquire statistics that defines your precise & terrible, like & dislike, love & hate, passion & melancholy, movements & excuses, up & down, want & need and so forth. honestly, it is an inner Perception evaluation. In an effort to bring about beneficial output with all veiled figures of you. To embark it on, start to deliver more time to you. Be familiar together with your solitude. Be buddy of yourself. Speak to you, inquire approximately you, and go through your records events. It’ll answer your inner self. Yoga, Mediation, Prayers, wandering in herbal places are a number of methods So that it will simply add this step.

Enlist Powers: Now classify this statistics with admire to the degree of satisfaction and dissatisfaction. What kind of feelings, passions, behavior, and activities assist you to allow to feel glad and unveil covert ecstasy? Enlist all things like these are the middle part of your dream. All these lie in the essence of your pride and contentment. It’s going to leap towards dream formation.

[bollywoodproduct]

Lyrics Chaand Si Mehbooba Ho

Lyrics Chaand Si Mehbooba Ho

Chaand Si Mehbooba Ho – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Chaand Si Mehbooba Ho | Himalay Ki God Mein-1965 | Manoj Kumar, Mala Sinha Chaand Si Mehbooba HoMeri KabAisaMaine Socha ThaHaan Tum Bilkul Waisi HoJaisa Maine Socha Tha Chaand Si Mehbooba HoMeri KabAisaMaine Socha ThaHaan Tum Bilkul Waisi HoJaisa Maine Socha…