#Bollywood Hindi Songs of 1995 | Explore Tumblr posts and blogs

hood-ex · 3 months ago

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This got long so I decided to send it in an ask.

So India has like a dozen film industries organized by language. Bollywood is the biggest and that's Hindi. There are also movies n Tamil, Telegu, Malayalam, Marathi, Kannada, Bengali, Punjabi and more. I won't go into all of them because I mostly watch movies in Tamil, Malayalam, and Hindi and the occasional Telegu movie.

(super cool thing is that sometimes, there's actors who work in multiple film industries so it can be like a fun surprise when you see someone you associate with a specific language pop up somewhere else)

I tried to pick based on what you said you liked in one of the other replies. You mentioned you like musicals though so you'll be happy to know that songs are integral to Indian movies. Also these recs are a mix of personal favorites and ones I know to be popular/iconic because if it was just up to me, half of these would be thrillers, horror or crime because I think indian films do those genres really well. They also lean heavily towards romcoms.

Hindi:

Sholay (1975) This is just a classic Hindi action movie starring Amitabh Bachchan, who's possibly the biggest actor from Bollywood in the 70s and 80s Like even i've watched it and I haven't even taken the time to look through 70s Hindi movies yet.

Hum Hain Rahi Pyar Ke (1993) A runaway bride gets taken in by three kids and they have to hide her so their uncle who's taking care of them doesn't kick her out. The kids are so goddamn cute. This stars two very known 90s stars, Amir Khan and Juhi Chawla.

Dilwale Dulhania Le Jayenge (1995) Iconic Hindi romance starring equally iconic pair of Shah Rukh Khan and Kajol. Shah Rukh is by far the most popular beloved actor in Bollwood since the 90s and arguably still today. Him and Kajol were a big pair that did tons of movies together in the 90s and early 2000s. I cannot understate how popular these two are.

Kuch Kuch Hota Hai (1998) Another, arguably even more iconic Shah Rukh Kajol romance but it's a love triangle. Personally, I can't stand this movie but it's super duper popular and also features the love of my life, Rani Mukherjee as the 'it' girl Tina that Shah Rukh's character initially falls in love with.

Kabhie Kushi Kabhie Gham (2001) I'm sorry, I don't know how this ended up being all Shah Rukh Kajol movies but I needed to mention it because this is my personal favorite from this pair and in general. I also love the way this leans into the 2000s aesthetic in the second half and you're going to be baffled and amused by the character Pooja in the second half.

Devdas (2002) Devdas is an epic tragic love triangle featuring again Shah Rukh Khan but also Aishwarya Rai, one of the most influential celebrities to come out of India in the modern age and Madhuri Dixit, beloved actress and dancer from the late 80s/early 90s. The song 'Dola Re' from this movie is one of the coolest dance sequences to exist.

Kal Ho Naa Ho (2003) A modern love triangle- you know, I didn't realize how many love triangles are on here but this one will make you cry. It's a romcom but I promise, the tears will come. And then you'll watch it again.

Om Shanti Om (2007) A love letter to Golden Age Bollywood, this movie is going to pack in approximately 15 references per minute, you won't understand any of them and it will still be an excellent time. At heart, this is a fantasy romance/revenge featuring reincarnation (which is a suuuper popular trope but ended up being sparse on this list). Starring Shah Rukh Khan across Deepika Padukone in her first role (they go on to be a pretty beloved pair though not as much as srk and kajol). I rewatch this 1-2 times a year.

Jodhaa Akbar (2008) Starring Aishwarya Rai again, this is a historical romantic drama set in the 1500s. I always get distracted by how beautiful the costuming in this is. You'll recognize Hrithik Roshan from Kabhie Kushi Kabhie Gham but with the ugliest mustache known to mankind.

3 Idiots (2009) is a comedy/coming-of-age about 3 college friends. Sounds basic but it's really hmm, heartfelt? Starring Amir Khan.

Yeh Jawaani Hai Deewani (2013) coming of age romance/drama/comedy something about a group of college friends. Stars Deepika Padukone across Ranbir Kapoor (big 2010s actor).

Shubh Mangal Zyada Saavadahn (2020) first big blockbuster type movie about queer people. It made me cry, i made a gif from this my header for like over a year, it's a bit cliche but yk

Telegu

Telegu's really hit it off in the last 10 years or so but I've only a passing familiarity and I definitely can't tell you what's been popular in the last couple decades. BUT

Bahubali 1 and 2 (2015/2017) It was a cultural phenomenon when it came out, because of the effects and cinematography but also largely because of how it's one story split intentionally into two movies. That concept was unheard of in Indian film and the overwhelming success of Bahubali is directly responsible for the dozens of 2 and 3 part film series being produced today in south indian films. It's like an epic fantasy action movie(s) about- actually i'm not going to spoil the plot on this one. In simplest terms, it's about a guy learning about his dad.

RRR (2022) Not a personal favorite but it actually has a tumblr fanbase. Bromance but like two indian revolutionaries fighting against the british in pre-independence India. Really, it's very much about their friendship. Stars Jr NTR and Ram Charan, both of whom are pretty popular Telegu actors. This like Bahubali was an insanely popular hit.

Tamil (this was so hard because i like tamil movies but i don't think they're the greatest. They do however have the best love songs, hands down)

Kadhalan (1994) It's an action romance ft politics and terrorists but at heart, it's a inter-class romance about a college kid that falls in love with a politician's daughter. You may have noted by now that inter-class romances are a BIG theme in indian movies. This stars Prabhu who is still an iconic choreographer and dancer and Nagma.

Minsara Kanavu (1997) a romance Prabhu again and Kajol from all of those Hindi films. The plot is that she doesn't believe in love and wants to go become a nun and he's trying to change her mind because he's in love with her. It would've been so easy to get this film wrong but it ends up being really hard to dislike.

Anbe Sivam (2003) a slice of life about a guy who gets stranded at an airport and makes a friend. R. Madhavan, who plays the friend is the poster boy for 90s Tamil romances and is an excellent romance actor, if you're interested.

Ghilli (2004) A sports player accidentally gets involved with a gang. It's like an action romance featuring some of the most iconic actors in Tamil film, including Vijay and Trisha. I had my cousins dance to one of the songs from this at my wedding. This movie actually just reran in theaters for it's 20 year anniversary a couple months ago.

24 (2016) A guy invents a time traveling machine. I really wanted to include a movie with Suriya because he along with Vijay are like the two big stars of the Tamil Film Industry. They both have catalogs of 60+ films. And in this movie, Suriya plays a triple role.

Malayalam. This one's my native industry which somehow made it really hard to pick movies from because I mostly watch masala films or (like low-brow action comedies).

Kireedam (1989) A action/drama about a guy's downfall. Thematically, think Othello. Stars Mohanlal, the biggest actor in Mollywood and watching him in this movie will show you why.

Killukam (1991) a comedy about a girl, an illegitimate daughter of a supreme court judge, pretending to be mentally ill while searching for her father. Very of it's time but it's classic comedy. Stars Mohanlal again.

Yoddha (1992). One of the rare times that Malayalam film delves into fantasy, this is a movie about a young rural guy protecting a Nepalese kid from a murderous, supernatural cult. It's been a minute since i've watched this so I can't speak to how the cultural aspects were treated but I remember that part of this was shot in Nepal. It's also considered a cult classic. And features Mohanlal yet again.

Aaram Thampuran (1997) Another mohanlal film about a man who gets involved in a village's affairs. Stars Manju Warrior who was a known 90s actress before she got married and quit. This one's an iconic action film but I think that Mohanlal's role in this is like the template of classic Malayalam hero and says a lot about the qualities that make up a South Indian typical movie 'good guy'.

Nandanam (2002) The fact that this movie is this old makes me feel old. A slightly dramatic, mostly realistic interclass romance ft (1) god. It'll give you a fair bit of insight into Malayali culture and class prejudices. Anyway story's about a religious house-servant who falls in love with the grandson of her employer. Or really, the grandson falls in love with her. It's a personal favorite of mine and stars Navya Nair (who is soo underrated) and Prithviraj (who is not, which is to say he's hella popular and currently trying his hand at directing)

Meesa Madhavan (2002) A thief gets wrongfully accused of a crime and tries to prove his innocence ft a romance. It's classic 2000s Malayalam comedy. Features Dileep and Kavya Madhavan who were a pretty popular pair of the 2000s/2010s even and irl had an affair and he divorced his wife for her. (his wife incidentally is manju warrior who i mentioned above)

Classmates (2006) A school reunion unearths old hurts and hidden secrets. It's got everything; mystery, angst, romance, comedy, and an iconic soundtrack.

Notebook (2006) No this has nothing to do with the iconic Nicholas Sparks adaptation. It's about three college friends at an all-girls school and how they deal with one of them getting pregnant. The initial romance is SO cute. The song, one in particular is great. The execution is so-so but for a movie about teen pregnancy in 2006 Kerala, it's not bad. And I would consider it iconic.

****** manichitrathazhu (1993) It's about a couple who move into a new house and the wife gets possessed by a ghost. It's ICONIC. I didn't mention it above because it does dip into horror and you said you didn't like scary movies.

i know this might seem super large and overwhelming. I promise I did try to limit the choices a bit and was at times more or less successful. Anyways I hope it helps some.

Wow, thank you for the explanation and for the long list of recs! Love all the different language categories. Lol! I wish I liked horror movies more, especially so you could share your favs 😆. I might try Manichitrathazhu 🫣. Maybe my friend who loves horror movies will watch it with me.

I'm looking at some of these on Google, and omg, Kabhie Kushi Kabhie Gham is 3.5 hours long 😳. I'll have to settle in with a snack for that one 😆.

These all sound really good though! Thank you for taking the time to compile this list, I highly appreciate it!

#thank yooou!!! <333 !!!#movie recs #replies

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musicverse11 · 1 month ago

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The Unforgettable Duets of Vinod Rathod

Vinod Rathod is more than just a name in the annals of Bollywood playback singing — he is a phenomenon whose melodious voice defined the soundtracks of an entire generation. Known for his versatile vocal range and emotive singing style, Rathod delivered timeless classics during the 1990s, a golden era for Bollywood music. With chart-topping hits and collaborations with legendary music directors, Vinod Rathod became a staple in Indian households. This article delves into the life, career, and legacy of a voice that left an indelible mark on Bollywood.

Early Life and Musical Foundation

Born on September 12, 1962, in Mumbai, Vinod Rathod grew up in a household steeped in music. As the son of classical musician Pandit Chaturbhuj Rathod, Vinod inherited a rich musical lineage. His early exposure to ragas, melodies, and the nuances of Indian classical music laid the foundation for his illustrious career.

Vinod’s family environment encouraged musical exploration, but his path to Bollywood was far from easy. Like many aspiring singers, he faced initial rejections and hurdles. However, his persistence paid off when Usha Khanna, a noted music director, gave him his first big break in 1986 with the song “Mere Dil Mein Hai Andhera” from the film Do Yaar. This opportunity showcased his talent and opened doors to more significant projects.

Breakthrough in Bollywood

The late 1980s and early 1990s were transformative for Vinod Rathod’s career. His association with renowned composers like Shiv-Hari, Laxmikant-Pyarelal, and Nadeem-Shravan catapulted him into the spotlight. It was his ability to adapt his voice to different emotions and characters that made him a preferred choice for playback singing.

His breakthrough moment came with Baazigar (1993), a blockbuster film that featured his voice in two of its most iconic tracks — “Baazigar O Baazigar” and “Yeh Kaali Kaali Aankhen.” Both songs, composed by Anu Malik, became instant hits and are still cherished today. The former, a romantic duet with Alka Yagnik, showcased Rathod’s ability to convey deep emotions, while the latter, a peppy number, highlighted his versatility.

These songs cemented Rathod’s status as one of the top playback singers of his time. His voice became synonymous with the faces of leading Bollywood actors, particularly Shah Rukh Khan, whose career also soared during the same period.

Collaboration with Legendary Composers

One of Vinod Rathod’s strengths was his ability to blend seamlessly with the compositions of various music directors. His collaborations with Nadeem-Shravan in films like Deewana (1992) and Raja (1995) resulted in unforgettable tracks that became the soul of these movies. Songs like “Teri Umeed Tera Intezar” and “Nazrein Mili Dil Dhadka” remain iconic to this day.

Another noteworthy partnership was with Laxmikant-Pyarelal. Tracks like “Sheharon Mein Ek Shehar Suna” from Vijay (1988) demonstrated his knack for delivering heartfelt renditions. Rathod’s voice, combined with Laxmikant-Pyarelal’s compositions, created magic on numerous occasions.

Vinod also worked extensively with Anu Malik, delivering hits that ranged from romantic ballads to energetic dance numbers. His ability to switch genres effortlessly made him a favorite for composers looking to add depth to their soundtracks.

Signature Style and Versatility

Vinod Rathod’s voice stood out because of its unique texture and emotive quality. Whether it was a soulful melody or a high-energy dance track, Rathod brought a distinctive charm to every song he sang. His ability to modulate his voice to suit different actors and characters was unparalleled, making him one of the most adaptable playback singers of his era.

In addition to Hindi, Rathod lent his voice to songs in regional languages, further showcasing his versatility. This multilingual repertoire expanded his reach beyond Bollywood, cementing his place as a pan-Indian singing sensation.

Cultural Impact

Rathod’s music was not just popular — it became a cultural phenomenon. His songs were played at weddings, parties, and festivals, becoming a part of the fabric of Indian celebrations. Tracks like “Baazigar O Baazigar” became love anthems, while “Yeh Kaali Kaali Aankhen” turned into a party favorite.

His voice resonated with audiences across age groups, transcending barriers of time and language. Even today, his songs are revisited by younger generations, proving the timeless appeal of his music.

Challenges and Longevity

Despite his immense success, Vinod Rathod faced challenges as Bollywood’s music industry evolved in the 2000s. The influx of new singers and changing musical trends shifted the focus away from many established playback artists of his era. However, Rathod continued to perform live and remained active in the industry, preserving his connection with fans.

His ability to adapt to changing times, coupled with his dedication to his craft, ensured that his legacy remained intact. Rathod also ventured into independent music projects, exploring genres beyond Bollywood.

Conclusion

Vinod Rathod contribution to Bollywood’s golden era of music is immeasurable. With his melodious voice, versatility, and dedication, he created a legacy that continues to inspire aspiring singers and delight fans worldwide. His songs remain a testament to his talent and the magic he brought to Bollywood.

As Bollywood evolves, the voice of Vinod Rathod serves as a reminder of an era when music was rich in melody and emotion. His timeless hits continue to echo in the hearts of music lovers, ensuring that his legacy endures.

To delve deeper into Vinod Rathod’s remarkable journey, revisit his iconic songs, and celebrate his contributions to Bollywood music, explore Deliver My Tune’s blog. Let the magic of his voice transport you back to an era of unforgettable melodies.

#music

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desicinema2 · 2 months ago

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Exploring the Evolution of Desi Cinema: A Global Phenomenon

Desi cinema, a vibrant and multifaceted domain, refers to the film industries of South Asia, primarily those from India, Pakistan, Bangladesh, Nepal, Sri Lanka, and Bhutan. But when most people mention "Desi cinema," they often mean Bollywood—India's Hindi-language film industry. However, to focus solely on Bollywood is to miss the rich diversity of cinematic traditions that have emerged from this culturally and geographically varied region.

This blog post aims to explore the evolution of desicinema, its global influence, and how it has transitioned from regional storytelling to a powerful force on the global entertainment stage.

The Roots: Traditional Storytelling and Early Cinema

Before the advent of cinema, storytelling in South Asia was primarily oral, passed down through generations in the form of folktales, mythological epics, and performances like dance-dramas and theatrical productions. The cultural legacy of these traditional forms heavily influenced the development of cinema in the subcontinent.

The first recorded instance of filmmaking in India can be traced back to the late 19th century. In 1913, Raja Harishchandra, the first full-length feature film by Dadasaheb Phalke, marked the beginning of Indian cinema. It was a silent film that adapted Indian myths and folklore into a visual narrative.

However, the true flowering of Desi cinema began in the 1940s and 1950s, as the rise of regional film industries—like the Tamil film industry (Kollywood), Telugu cinema (Tollywood), and Bengali cinema—gave birth to new filmmaking styles, genres, and storytelling techniques. Directors like Satyajit Ray in Bengal revolutionized Indian cinema with his Apu Trilogy in the 1950s, which focused on humanist themes and portrayed India's socio-cultural realities with sensitivity and depth.

The Golden Age: Bollywood Dominance

By the 1950s and 60s, Bollywood, which had already existed in its early stages since the 1930s, began to establish itself as the dominant force in Indian cinema. Films from this era were marked by larger-than-life stories, elaborate song-and-dance sequences, and strong emotional appeal, which resonated with both rural and urban audiences. Bollywood's penchant for grand romance, family dramas, and escapist fantasies created a unique cinematic language that could transcend linguistic and regional barriers.

Key figures like Raj Kapoor, Guru Dutt, Madhubala, and Meena Kumari became household names, and their films gained a cult following not just in India, but across the globe. In the 1970s and 80s, Bollywood evolved further with stars like Amitabh Bachchan, who became iconic for his roles in action-packed blockbusters like Sholay (1975) and Zanjeer (1973). During this period, the genre of the masala film emerged, blending action, drama, comedy, romance, and music into a single package that catered to a wide audience.

Post-1990s: Globalization and the Rise of NRI Cinema

The 1990s ushered in a new era for desi cinemas with the global expansion of Bollywood films. Economic liberalization in India, combined with the growing influence of the Indian diaspora, transformed the way Desi films were made and consumed. The advent of satellite TV and the internet brought Bollywood films to millions of homes worldwide, from the Middle East to the United States, the United Kingdom, and beyond.

Filmmakers like Yash Chopra, Aditya Chopra, and Karan Johar capitalized on this trend by making films that explored themes of identity, love, and cultural assimilation for the NRI (Non-Resident Indian) audience. Movies like Dilwale Dulhania Le Jayenge (1995), Kabhi Khushi Kabhie Gham (2001), and Kabhi Alvida Naa Kehna (2006) became cultural touchstones, resonating with both Indians living abroad and international audiences who were drawn to the romance and spectacle of Bollywood.

Simultaneously, other regional film industries like Tollywood (Telugu), Kollywood (Tamil), and Mollywood (Malayalam) gained prominence both within India and internationally, producing films with distinct storytelling traditions. For instance, Telugu cinema's Baahubali series (2015-2017) became a global sensation, demonstrating the massive appeal of regional films on the international stage.

Contemporary Desi Cinema: Diversity and Innovation

The 21st century has witnessed an explosion of diversity within Desi cinema. Bollywood continues to dominate, but now it faces competition from other regional industries. Filmmakers are increasingly experimenting with content, blending genres, and telling stories that push boundaries and explore pressing social issues. Films like Gully Boy (2019), Article 15 (2019), Andhadhun (2018), and Dangal (2016) have been successful not only in India but internationally, gaining recognition at film festivals and even securing global distribution.

Bollywood's content has evolved significantly, with greater emphasis on social issues such as gender equality, caste discrimination, and mental health. The emergence of streaming platforms like Netflix, Amazon Prime Video, and Disney+ Hotstar has also had a significant impact, providing a space for films with niche or unconventional themes to find an audience. These platforms have made Desi cinema accessible to a global audience, breaking down geographical boundaries and allowing for more diverse narratives.

Moreover, the success of films from Pakistan like Khuda Kay Liye (2007) and Cake (2018), as well as Sri Lankan cinema's growing presence on the international stage, underscores how Desi cinema is not limited to India but is a broader, regional phenomenon with a distinct voice.

The Global Influence of Desi Cinema

Desi cinema's influence has also gone beyond the screen. The vibrant world of Bollywood music, with its catchy tunes and intricate choreography, has influenced global pop culture. The Bollywood dance style has found its way into international music videos and performances, and major Western artists like Beyoncé and Madonna have incorporated elements of Indian dance and fashion into their works.

Actors like Priyanka Chopra, Irrfan Khan, and Dev Patel have become global stars, representing the growing international appeal of Desi cinema. Bollywood itself has also increasingly embraced Hollywood collaborations, with films like Slumdog Millionaire (2008) and The Lunchbox (2013) gaining worldwide acclaim.

At the same time, Desi cinema has influenced other global film industries. For example, the fast-paced, action-packed style of Bollywood has inspired filmmakers in the Middle East, Africa, and even Latin America. Indian cinema’s emotional depth and dramatic flair have been admired and adopted in various forms across the world.

Conclusion: The Future of Desi Cinema

As Desi cinema continues to evolve, it is embracing an exciting future marked by bold storytelling, technological innovation, and cultural exchange. The proliferation of digital platforms, the success of regional films on the global stage, and the increasing representation of South Asian narratives in mainstream Western media suggest that the world is ready for more of the unique flavor that Desi cinema has to offer.

For audiences, whether they are tuning in from India, Pakistan, the UK, or anywhere else, Desi cinema offers not only entertainment but also an opportunity to engage with a dynamic, diverse, and ever-evolving cultural landscape. It’s no longer just about Bollywood. It's about a global phenomenon with stories that resonate universally while celebrating the distinct cultural identities that make Desi cinema so unique.

So whether you're a fan of the glitz and glamour of Bollywood or a lover of the raw, powerful narratives emerging from regional cinemas, one thing is clear: Desi cinema is here to stay, and its influence will only grow stronger in the years to come.

#entertainment #fav movies #films #movies #favorite movies #cinema #music

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movieindustry1 · 1 year ago

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MOVIE INDUSTRY

Indian Film Industry -What Is Bollywood?

The Indian film making industry is known as Bollywood to the mainstream audience. But in reality, Bollywood is part of the Indian film industry. Indian cinema history bollywood is the actual name of India’s Hindi film industry. The country’s film industry contains various languages. Including Tamil (Kollywood), Telugu (Tollywood) and Hindi (Bollywood).

In fact, Kollywood is the largest producer with over 260 films. Tollywood is in second place with over 250 films, followed by Bollywood in third place with over 220 films. But when it comes to global box office presence, Bollywood is at the forefront with the largest numbers concerning sales.

Where Is Bollywood?

Indian flim industry bollywood is located in The city of Mumbai. The Mumbai film industry was formerly the Bombay film industry before Bombay changed its name to Mumbai in 1995. Mumbai is considered the birthplace and namesake of “Bollywood” in India. The city is the richest in India and also in the top 20 richest cities in the world. Top 5 Indian flims due to the high illiteracy rate and different languages, the theater was limited to only a few. Therefore theater never transcended to a level of mass consumption by the Indian audience. The film was easier to produce and consume in mass by the Indian audience. As a result, the film became the biggest and most popular platform in India.

The History Of The Indian Film Industry?

Raja Harishchandra is a 1913 Indian silent film that is often considered the first full-length Indian feature film.The story was about a righteous Indian King who never told a lie. This might be the film that opened the door to what is now known as Bollywood. India’s film industry started about 100 years ago. term “Bollywood” was coined many years later. The Bollywood movie vibrant song-and-dance routines that have become popular with millions of fans worldwide are a signature element in Bollywood films. Bollywood has influenced all aspects of daily life and culture in India. The film industry is the main form of entertainment and also has a cult following.

As in Hollywood, Bollywood fashion is often imitated and shows up in general day-to-day attire, including a big influence on wedding attire. An outfit worn by an actor or actress in a hit film can immediately influence the new style of the clothing industry in India. The origins of early Indian cinema song and dance routines were started by artists in Parsi theatre. Parsi-style plays were a fusion of fantasy meets reality, including the signature song-and-dance routine that exists to this day. India’s film industry including Bollywood has grown exponentially and major American studios such as 20th Century Fox to Disney have a presence in India’s film industry.

BOLLYWOOD IMPACT ON FLIM INDUSTRY

The French physiologist took the first series photographs with a single instrument in 1882; once again the was the analysis of motion too rapid for perception by the . Marey invented the chronophotographic gun, a shaped like a rifle that recorded 12 successive photographs per second, in order to study the movement of birds in flight. These images were imprinted on a rotating glass plate (later, paper roll film), and Marey subsequently attempted to project them.

Like Muybridge, however, Marey was interested in deconstructing movement rather than synthesizing it, and he did not carry his experiments much beyond the realm of high-speed, or instantaneous, series photography. Muybridge and Marey, in fact, conducted their work in the spirit of scientific inquiry; they both extended and elaborated existing technologies in order to probe and analyze events that occurred beyond the of human perception. The new movie release who came after would return their discoveries to the realm of normal human vision and exploit them for profit.

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education-time · 2 years ago

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ARMAAN MALIK ALL SONGS LIST

Armaan Malik is an Indian singer, songwriter, and music composer who has made a name for himself in the Indian music industry. He was born on July 22, 1995, in Mumbai, Maharashtra, India.

Armaan Malik began his music career at a young age and gained popularity with his appearances on various singing reality shows. He made his Bollywood debut as a playback singer with the song "Tumko Toh Aana Hi Tha" from the film "Jai Ho" in 2014. He has since sung several hit songs like "Main Hoon Hero Tera," "Sab Tera," "Bol Do Na Zara," and many more.

In addition to his singing career, Armaan Malik is also a popular music composer and has composed music for several films and web series. He has also released several independent singles like "Control," "Next 2 Me," and "Tootey Khaab," among others.

Armaan Malik's music is known for its soulful melodies and his ability to emote with his voice. He has a huge fan following among the youth, and his music has won him several awards and nominations, including the Filmfare Award for Best Male Playback Singer.

Apart from his music career, Armaan Malik has also worked as a voice actor and has dubbed for several Hollywood films in Hindi, including "Aladdin" and "The Lion King."

Armaan Malik is considered one of the most talented and versatile singers in the Indian music industry today. He continues to inspire and entertain his fans with his soulful music and mesmerizing voice.

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bollywoodproduct · 2 years ago

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Lyrics Jai Maa Kaali

TJai Maa Kaali – Song contents Lyrics in EnglishHindi LyricsYouTube VideoSong Trivia Lyrics in English | Jai Maa Kaali | Karan Arjun-1995 | Salman Khan, Shah Rukh Khanm Kajol, Mamta Kulkarni KhadagamChakra GadeshuChaap ParighaanShoolam Bushundim ShirahShankham SandaDhatim Kare StrinayanamSaravanga Bhushaaptaan Ga Ma Pa SaRe Pa Ma GaMa Ga Sa Jai MaaKaaliJai MaaKaaliJaan Chaahe Leni PadeJaan…

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salmankhanholics · 2 years ago

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★ Devapriya Sanyal’s Salman Khan The Man The Actor The Legend review: Decoding Salman Khan

July 2022

Steering clear of the actor's controversial life, a new biography focuses on India’s notion of stardom and celebrity instead

A recent bout of illness and feeling all round wretched had me turning to my favourite comfort food — Hindi movies (I refuse to call them Bollywood movies) from the 1990s. That I was simultaneously reading Devapriya Sanyal’s Salman Khan The Man The Actor The Legend, a deconstruction of bhai’s celebrity, proved an adequate road map to my film choices...

Rather than start with Salman Khan’s big, fat blockbuster, Maine Pyaar Kiya(1989), I chose Hum Aapke Hain Koun..!(1994), also directed by Sooraj Barjatya (who had made his directorial debut with Maine Pyaar Kiya). The film, which cemented Khan as a bonafide star, actually gave his co-star, Madhuri Dixit, higher billing, a fact which Sanyal’s book

Hum Aapke Hain Koun..! unlike that other game-changer of the ‘90s, Dilwale Dulhania Le Jayenge (1995), has not aged well, Dixit’s phulkari-inspired jacket notwithstanding. The film plays out like a loosely strung together series of incidents, songs and comic interludes. How is a dog playing an umpire at a cricket match supposed to be funny is one of those unsolved mysteries. And while we are on the topic, hope Tuffy, the dog, was treated right on set.

Defence of toxicity

Sanyal’s book mostly steers clear of all the scandals and controversies that followed Khan like faithful shadows. While there is mention of the 2002 hit-and-run case, his tumultuous relationship with Aishwarya Rai and its fallout, and the blackbuck hunting and Arms Act violations cases, the book focuses on decoding Khan and India’s notion of stardom and celebrity through his career.

What little we glimpse of Khan is through his good friend Kailash Surendranath’s reminiscences. Surendranath, who knew Khan from his days as an eager 15-year-old getting his first break in modelling for Campa Cola (remember?) to his decade-spanning superstardom, remembers Khan dropping by for late night paratha-bhurji (scrambled eggs) and his motto for working on his body — “When you have no work, work on yourself.”

An introduction sets out what Sanyal intends to do through the book in great detail. The shortest chapter is the one called ‘With Human Failings’, which lists Khan’s headline-grabbing misbehaviour. His public brawls and brushes with the law are explained away as the cost of celebrity, which does not cut much ice as one cannot sweep bad and outright criminal behaviour under the carpet of “boys will be boys”. The book is at its weakest when trying to defend Khan’s toxicity.

An engaging journey

On the other hand, Sanyal’s book is its most engaging when deconstructing Khan through his roles especially in the chapter, ‘The Journey from Prem to Chulbul Pandey’. The chapter introduces the concept of the Emploi, “a theoretical framework as developed by Erving Goffman in his book, Frame Analysis.” The emploi, Sanyal posits “is a category that accounts for the close interaction between performance and reception.”

Just as Amitabh Bachchan’s angry young man was invariably called Vijay (is his Jai in Sholay a diminutive for Vijay?) and Shah Rukh Khan’s many versions of Dilwale Dulhania Le Jayenge’s Raj went towards building an on-screen persona, so too does Salman’s Prem emploi create a film version of Salman Khan.

Sanyal traces Khan’s development through his 15 different portrayals of Prem. From the slender, doe-eyed Prem of Maine Pyar Kiya, the naughty ‘devar’ Prem in Hum Aapke Hain Koun..!, the Prem who sets things right in Hum Saath-Saath Hain (1999) and the slightly dim-witted Prem of Andaz Apna Apna (1994), who nevertheless gets the girl to the tongue-in-cheek narrator Prem of Ready (2011), the cheating-on-his wife Prem of No Entry (2005), the dating guru Prem of Partner (2007) and the travelling theatre artiste Prem of Prem Ratan Dhan Payo(2015), in his fourth collaboration with Barjatya.

Since the chapter details Khan’s journey from Prem to Chulbul Pandey, there is an analysis of the characters he played who are not named Prem, including Akash in that slightly cringy but melodious triangle Saajan (1991), Sameer in Sanjay Leela Bhansali’s exotically colourful Hum Dil De Chuke Sanam (1999), the obsessed lover, Radhe Mohan in Tere Naam (2003), the tapori Radhe in Wanted (2009), Devil in Kick (2014), Bajrangi in Bajrangi Bhaijaan (2015) and Tiger in Ek Tha Tiger (2012) and Tiger Zinda Hai (2017), Laxman in Tubelight(2017) Sultan in and as Sultan (2021), and of course the corrupt but loveable cop Chulbul Pandey in the Dabangg movies.

Sanyal, who teaches English literature at the University of Delhi, has written a thesis on the anatomy of fame with academic rigour— right down to how Khan’s perfect body also contributes to his iconography. Wish the book was better proofed as there are silly errors that grate coming on the back of such a well-researched book.

All looking for salacious details of Khan’s life will be disappointed while those seeking the magic in the bottle of stardom will not. And I am going back to watching Khan fight off the evil Crime Master Gogo in the delightful Andaz Apna Apna.

#salman khan

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ofhunter290 · 4 years ago

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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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200 Greatest Hard Rock Love Songs and Rock Ballads

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.

Post Your Comment

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

reply 0

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dilmaangemore-blog · 8 years ago

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Akele hum, akele tum Jo hum tum sang hain to phir kya gham Tu mera dil tu meri jaan

"Akele Hum Akele Tum" - Akele Hum Akele Tum (1995) | hindi | Aamir Khan

#akele hum akele tum #bollywood #old hindi songs #1995 #hindi #Aamir Khan #tu mera dil

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qraydeavister · 4 years ago

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parc central residences condo

Since the dramatic events of 9/11, Bollywood cinema has shown an unusual interest in the terrorist film genre, especially as regards to international terrorism and global tensions between Islam and the West. Striking examples of this genre include Kabir Khan's New York (2008), Karan Johar's My Name is Khan (2010), Rensil D'Silva's Kurbaan (2009) and Apoorva Lakhia's Mission Istanbul, to name a few. Films like Anil Sharma's Ab Tumhare Hawale Watam Sathiyo (2004) and Subhash Ghai's Black and White (2008) focus on terrorist issues within the Indian subcontinent itself. The latter films have continued in the tradition of pre 9/11 terrorist films like Vidhu Vinod Chopra's Mission Kashmir (2000), Mani Ratnam's Dil Se (1998) and Bombay (1995). Ratnam's Bombay dealt with the devastating Hindu and Moslem riots in 1991, which cost over a 1000 lives. Chopra's Mission Kashmir dealt with a scenario of local terrorist activity in the Kashmir region sponsored by international terrorist cells working from Afghanistan. In this way the terrorist genre is not an entirely new genre in Bollywood, nor is terrorism an unfamiliar phenomenon in the day to day activities of the Indian subcontinent (the most recent and brutal terrorist attack was the Mumbai massacre in 2008). What makes the recent spate of terrorist films interesting is that they have entered the global sphere and have become part and parcel of a transnational dialogue between East and West and Islam and the other.

To make the terrorist genre more palatable, Bollywood has traditionally spiced up the violence and suspense with the hallmark Bollywood song and dance interludes and sentimental romantic parc central residence tampines exchanges between the hero and heroine. Mission Kashmir is notorious for its graceful dances and stirring emotional exchanges between the main protagonists, played out on the violent backdrop of terrorism in Kashmir. Mani Ratnam's Bombay likewise mixes up the most brutal scenes of Hindu and Moslem hatred and violence with delicious comedy and a forbidden love affair between a pious Moslem girl and a boy from a highly placed Shaivite Hindu family. His father is the trustee of the village temple and both the family patriarchs are violently opposed to the children marrying outside their caste and religious community.

Karan Johar's My Name is Khan

Following in the Bollywood tradition of mixing genres (known in the industry as the masala or spicy recipe film), Karan Johar's My Name is Khan blends comedy and romance with the political hot potato of post 9/11 bigotry and racial hatred in the US. The film's theme of ultra-nationalist extremism culminates in the senseless killing of a young Indian boy Sam or Sameer, who is beaten to death by youths in the football ground, in part due to the adopting of his stepfather's name Khan. Overflowing gushes of emotion and heart stirring romantic songs, such as the mixing of the 1960's counter culture anthem "We Shall Overcome" (sung in both Hindi and English), occur throughout the film to both lighten the tension and to exemplify the presence of light and hope in a world darkened by the bitter shadow of global terrorism. The fact that the central protagonist Rizvan Khan is a pious Moslem, and politically neutral to the hysteria of the debate, is significant. Brought up by his mother that there are no fixed labels such as Hindu and Moslem, but only good and bad people, Rizvan Khan freely practises his religion with equal love and respect for all other races and creeds, only differentiating between what is in the hearts and minds of people, not to what religion they profess, or to what race, culture and nationality they belong.

My Name is Khan is also significant for Bollywood fans in that it reunites the biggest heart throb couple of Hindi cinema from previous decades, Kajol and Shah Rukh Khan. The duo was previously paired in two of Karan Johar's earlier blockbusters Kuch Kuch Hota Hai (1995) and Kabhi Kushi Kabhie Gham (2001). Both of these films were sentimental gushy romances, literally overflowing with juicy outpourings of emotion and feeling; a phenomenon which is termed rasa in India. The song and dance sequences were also very elaborately staged and combined a balance of the traditional Indian music and dance forms (Hindustani music and traditional folk dances) as well as modern Western forms. This ensured the films' immense popularity in both India and diaspora countries like Canada, the US and the UK.

Karan Johar continues to utilise the Bollywood masala formula in My Name is Khan, exploiting a sentimental and occasionally drawn out love affair between the autistic hero Rizvan Khan and his eventual Hindu wife Mandira, a proprietor of a successful hair dressing salon in San Francisco (the "city of love" which symbolizes the 1960s counter culture movement exploited by Johar in the "We Shall Overcome" sequence). In the preliminary scenes of the film, America is portrayed as the land of freedom and opportunity, the nation where all races and religions are given the possibility to move forward and achieve prosperity and happiness in a way that is seen to be almost impossible in a country like traditional India, buffeted as it is with caste and religious prejudices and between half and two thirds of its population living in poverty.

For foreign nationals or NRI's (non-resident Indians), however, 9/11 radically changes this formula and shatters the American dream nurtured for decades by an Indian diaspora which has merged its Indian cultural roots with American ideals of individual freedom and consumer prosperity. According to Johar's film, this is now the plight of the Khans who, instead of continuing to act as fully integrated members of the mainstream community, now suddenly find themselves on the periphery of a post-9/11"us and them" rhetoric, fuelled by an ultra-nationalist Republican President, who perceives the world in black and white realities, which have little to do with the everyday lives of the average individual. It is no coincidence that it is the newly elected President Barack Obama (played by his look alike Christopher B. Duncan) who greets Rizvan Khan at the end of the movie and applauds him for his faith in God and his humanity and perseverance. For Karan Johar, Obama's election is symbolic of the "us and them" divisions in the US psyche being brought to a close along with the restoration of the innate ideals for which the American Republic and its people stand.

Before the nation's divisions are healed, however, the Khan's experience extreme personal hardships due to their ethnicity. These hardships culminate in the tragic death of their teenage son Sameer, beaten to death in the school playing field by racist youths. In her grief, Sameer's mother Mandira blames her husband Rizvan, accusing him of the fact that if she and her son had not taken the name of Khan, he would not be dead. She then tells him that the only way he can atone for this stigma of being a Khan and, by implication a Moslem, is to meet the US President (at the time it is George W. Bush) and to tell him that: "My Name is Khan and I am not a Terrorist." This simple phrase becomes a kind of mantra throughout the film, powerfully confronting the viewer's post-9/11 prejudices by refusing to link the two concepts of Islam and terrorism together: i.e. my name is Khan, therefore I am a Moslem, but at the same time just because I am a Moslem, does this mean that I am a terrorist? Unhappily, during the hysteria that followed in the wake of 9/11 for many Westerners the two terms, Moslem and terrorist became pretty much synonymous.

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exoticarmyofcrowns · 5 years ago

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20 questions~

Tagged by @flowerkth and @hopefish15 i think (like 500 years ago im so sorry lol) thank you, lovelies! 💜💜💜

How are you feeling today? i’m actually doing really well! my first year of grad school just ended yesterday and i’ve been baking all morning and i’m just vibing ☺️

What is the best thing that happened in 2020 to you so far? definitely bangbangcon bc i’ve gotten to meet all these lovely people and it was honestly one of the best experiences of my life

Fav song at the moment? oh this is hard.... i’d have to say sit down by nct 127

Last movie you watched in the cinema? oh god... uhh mary poppins i think?? it’s been a while lol

Fav movie? dilwale dulhania le jayenge, a 1995 bollywood movie

Fav T.V. Show? the nanny!

T.V. Show you’re watching currenty? i was watching the nanny again on yt but it’s being deleted now bc of copyright :(

Fav Season? autumn or spring, i can’t choose (even tho i have allergies lolol)

Dream Job? teacher! i’m getting my ms in education now

Fav Animal? uhhhh i love dogs and cats equally

Fav Color? pink!

What languages do you speak? i only speak english fluently but i can understand and speak some spanish and hindi and stumble through some korean

What languages do you want to learn? i wanna get more fluent in korean and hindi

Dream Vacation? india, south korea, spain

If you could listen to one album for the rest of your life which one would it be? the literal worst question to ask a multistan... i’d have to say mots: 7 by bts just bc it’s such a beautiful and poignant representation of our boys

What song got you into Kpop? so it was actually 2 songs, no mercy by b.a.p (the japanese ver lmao) and growl by exo

Are you watching Kdramas? What was your last Kdrama? not atm but the last one i watched was 100 days my prince bc i was missing kyungsoo

Your ultimate Kpop Party song that brights up your mood always? oh god um..... probably baepsae OR ugh! by bts

Last song you listened to? lost by bts

What’s one thing you have most in common with your bias? ooh this is kinda hard. umm, i’d say me and kyungsoo (exo) are both pretty reserved in new situations but we have a funny and playful side with those we are comfortable with and love dearly :)

Aww this was fun! i literally had this sitting in my drafts like half-done but the end of the semester really caught up with me and i had to focus on my assignments. but now it’s over so i’ll be free more often now!

Tagging (sorry if you’ve done this already): @suhmayzooka @kookswife @yoonkitty @bitoftaewithsugaandkookie @heavyinmyarms @sweetpeajeon @dreamerxfimprobabledreams

#tagged #moots 🌸#asha.txt

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musicverse11 · 1 month ago

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Alisha Chinai's Role in Empowering Female Voices in Indian Music

In the 1990s, as India experienced a wave of cultural transformation and modernization, a fresh sound began to emerge, one that seamlessly blended Western pop elements with Indian sensibilities. At the forefront of this movement was Alisha Chinai, an artist whose music became synonymous with the birth of Indipop. Known as the “Queen of Indipop,” Alisha Chinai’s contributions to Indian music reshaped the soundscape, bringing a new flavor to pop music that was both distinctly Indian and globally appealing. Her hits like “Made in India” not only ruled the charts but also redefined the genre, creating a fusion of sound that resonated with millions. In this article, we’ll explore Alisha Chinai’s rise to fame, her unique impact on Indipop, and how her legacy continues to inspire today.

The Beginnings of a Pop Star: Alisha Chinai was born in Ahmedabad, India, and began her musical career in the early 1980s. Initially, she dabbled in Bollywood playback singing, lending her voice to numerous popular Hindi film songs. Her unique voice and fresh style set her apart in a music industry that was dominated by established names. But Alisha didn’t just want to be another playback singer; she had a vision for a different kind of music that would break the mold of traditional Bollywood soundtracks. Influenced by Western pop and inspired by artists like Madonna, Alisha envisioned a fusion of Western pop styles with Indian melodies. This blend would eventually become the genre known as Indipop, a genre that she would pioneer and lead.

The Breakthrough with “Made in India”: In 1995, Alisha released her iconic album Made in India, which was a cultural phenomenon. The title track, with its catchy beat, relatable lyrics, and visually striking music video, captured the imagination of a nation. “Made in India” was more than just a song; it was a statement of cultural pride and a celebration of Indian identity. The video, which featured the famous model Milind Soman, became a huge hit and was one of the first Indian music videos to be broadcast on MTV India. For many, it was the first time they encountered a truly Indian pop song that wasn’t tied to a Bollywood film.

The success of Made in India transformed Alisha Chinai into a household name. The album sold millions of copies, becoming one of the highest-selling Indipop albums of all time. It was a bold move for Alisha to step outside the Bollywood industry and create something independent and unique. This move not only proved successful but also paved the way for other Indian artists to explore and experiment outside of Bollywood. Alisha Chinai’s Made in India wasn’t just a musical hit; it became a cultural milestone that symbolized a new era in Indian pop culture.

Alisha’s Unique Style and Influence: Alisha Chinai’s music and persona were distinct from anything else in the Indian music scene. Known for her bold, experimental style and her Western-influenced fashion, Alisha became a trendsetter. She brought a modern aesthetic to Indian music videos, with fashionable outfits, daring makeup, and vibrant stage presence. Her style and music resonated with young audiences who were looking for a fresh, contemporary alternative to traditional Indian music.

Her music was characterized by catchy pop beats, relatable lyrics, and an infusion of Indian themes with modern sounds. Songs like “Lover Girl,” “De De Mujhko,” and “Tu Kahan” showed her versatility as an artist and her ability to connect with listeners through different moods and themes. Alisha’s sound was groundbreaking, combining elements of Western pop, electronic, and even rock, which added a new dimension to the music scene in India. She was a pioneer in incorporating synthesizers, drum machines, and other electronic instruments, which were not common in Indian music at the time.

The Impact of Alisha’s Music on Indian Pop Culture: Alisha Chinai’s success opened the door for an entire genre of music that didn’t rely on Bollywood for validation. Her work proved that independent music could thrive in India, and she inspired a generation of artists to create original music. Artists like Daler Mehndi, Shaan, and Lucky Ali, who would go on to shape the sound of Indian pop in their own right, followed in her footsteps.

The rise of Indipop in the 1990s coincided with the liberalization of India’s economy, which brought an influx of Western media and ideas. Alisha’s music became the soundtrack for a new, modern India. Her influence went beyond music; she became a cultural icon representing independence, modernity, and self-expression. Her success made a strong statement that Indian pop could stand alongside Western pop music, and her bold, individualistic persona empowered young people to express themselves in new ways.

Why Alisha Chinai’s Legacy Lives On: Today, Alisha Chinai’s influence is still felt across the Indian music industry. Although Bollywood remains dominant, there is a thriving independent music scene in India, with genres ranging from pop to hip-hop, electronic, and rock. This indie music scene owes much to Alisha, who showed that Indian audiences would embrace music that didn’t come from the mainstream film industry. In a way, Alisha Chinai’s contributions laid the foundation for today’s independent artists, who have more freedom than ever to create and share their music through digital platforms.

Younger generations continue to discover her music, and songs like “Made in India” have a timeless appeal that makes them relevant even today. Many modern Indian pop and indie artists cite her as an influence, not only for her music but also for her fearless approach to artistry.

Conclusion: Alisha Chinai’s journey from a Bollywood playback singer to the Queen of Indipop is a testament to her talent, vision, and perseverance. Her success in popularizing Indipop transformed the Indian music industry, showing that there was a market for Indian pop music that was fresh, innovative, and independent of Bollywood. As we look back on her legacy, it’s clear that Alisha Chinai wasn’t just a musician; she was a pioneer who changed the landscape of Indian pop culture. Her impact continues to inspire new generations of artists who see her as a trailblazer. Alisha Chinai’s voice, her music, and her influence will always be a significant part of India’s pop culture history.

#music

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jorjdsfeadle-blog · 5 years ago

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mainly as regards to international terrorism

worldwide tensions between Islam and the West. Striking examples of this style encompass Kabir Khan's New York (2008), Karan Johar's My Name is Khan (2010), Rensil D'Silva's Kurbaan (2009) and Apoorva Lakhia's Mission Istanbul, to name a few. Films like Anil Sharma's Ab Tumhare Hawale Watam Sathiyo (2004) and Subhash Ghai's Black and White (2008) consciousness on terrorist problems in the Indian subcontinent itself. The latter films have continued inside the subculture of pre 9-11 terrorist movies like Vidhu Vinod Chopra's Mission Kashmir (2000), Mani Ratnam's Dil Se (1998) and Bombay (1995). Ratnam's Bombay treated the devastating Hindu and Moslem riots in 1991, which value over a one thousand lives. Study in Canada after Graduation Chopra's Mission Kashmir dealt with a situation of neighborhood terrorist activity inside the Kashmir location sponsored by global terrorist cells operating from Afghanistan. In this manner the terrorist style is not a wholly new style in Bollywood, nor is terrorism an strange phenomenon in the day to day sports of the Indian subcontinent (the maximum current and brutal terrorist assault was the Mumbai bloodbath in 2008). What makes the current spate of terrorist movies thrilling is that they have entered the global sphere and have emerge as component and parcel of a transnational talk between East and West and Islam and the opposite.

To make the terrorist style extra palatable, Bollywood has traditionally spiced up the violence and suspense with the hallmark Bollywood music and dance interludes and sentimental romantic exchanges among the hero and heroine. Mission Kashmir is infamous for its swish dances and stirring emotional exchanges between the primary protagonists, played out on the violent backdrop of terrorism in Kashmir. Mani Ratnam's Bombay likewise mixes up the maximum brutal scenes of Hindu and Moslem hatred and violence with scrumptious comedy and a forbidden love affair between a pious Moslem woman and a boy from a highly positioned Shaivite Hindu circle of relatives. His father is the trustee of the village temple and each the family patriarchs are violently opposed to the youngsters marrying out of doors their caste and non secular community.

Karan Johar's My Name is Khan

Following inside the Bollywood lifestyle of blending genres (known inside the enterprise because the masala or highly spiced recipe movie), Karan Johar's My Name is Khan blends comedy and romance with the political hot potato of post Sep 11 bigotry and racial hatred inside the US. The film's theme of ultra-nationalist extremism culminates in the senseless killing of a younger Indian boy Sam or Sameer, who's overwhelmed to dying with the aid of youths within the soccer ground, in part due to the adopting of his stepfather's name Khan. Overflowing gushes of emotion and coronary heart stirring romantic songs, inclusive of the integration of the 1960's counter tradition anthem "We Shall Overcome" (sung in both Hindi and English), arise at some point of the film to both lighten the tension and to exemplify the presence of light and hope in a global darkened with the aid of the bitter shadow of world terrorism. The truth that the imperative protagonist Rizvan Khan is a pious Moslem, and politically impartial to the hysteria of the debate, is considerable. Brought up by using his mom that there aren't any constant labels including Hindu and Moslem, however best good and bad human beings, Rizvan Khan freely practises his religion with identical love and admire for all other races and creeds, simplest differentiating among what is within the hearts and minds of humans, now not to what religion they profess, or to what race, culture and nationality they belong.

My Name is Khan is also considerable for Bollywood fanatics in that it reunites the most important heart throb couple of Hindi cinema from preceding decades, Kajol and Shah Rukh Khan. The duo was previously paired in of Karan Johar's in advance blockbusters Kuch Kuch Hota Hai (1995) and Kabhi Kushi Kabhie Gham (2001). Both of these movies had been sentimental gushy romances, literally overflowing with juicy outpourings of emotion and feeling; a phenomenon which is termed rasa in India. The song and dance sequences were also very elaborately staged and blended a stability of the traditional Indian music and dance forms (Hindustani tune and traditional folk dances) in addition to contemporary Western forms. This ensured the movies' immense reputation in both India and diaspora countries like Canada, the USA and the UK.

Karan Johar continues to utilise the Bollywood masala formula in My Name is Khan, exploiting a sentimental and once in a while drawn out love affair between the autistic hero Rizvan Khan and his eventual Hindu spouse Mandira, a proprietor of a a hit hair dressing salon in San Francisco (the "town of love" which symbolizes the 1960s counter lifestyle motion exploited through Johar inside the "We Shall Overcome" sequence). In the preliminary scenes of the movie, America is portrayed because the land of freedom and opportunity, the nation wherein all races and religions are given the opportunity to move forward and gain prosperity and happiness in a way that is visible to be nearly not possible in a rustic like conventional India, buffeted as it's miles with caste and non secular prejudices and between half of and two thirds of its population living in poverty.

For overseas nationals or NRI's (non-resident Indians), however, Sept. 11 radically adjustments this formulation and shatters the American dream nurtured for decades by using an Indian diaspora which has merged its Indian cultural roots with American beliefs of person freedom and patron prosperity. According to Johar's film, this is now the plight of the Khans who, instead of persevering with to act as fully included contributors of the mainstream community, now find themselves at the outer edge of a post-9-11"us and them" rhetoric, fuelled through an ultra-nationalist Republican President, who perceives the sector in black and white realities, that have little to do with the ordinary lives of the average character. It isn't any accident that it's miles the newly elected President Barack Obama (played by means of his appearance alike Christopher B. Duncan) who greets Rizvan Khan on the quit of the film and applauds him for his faith in God and his humanity and perseverance. For Karan Johar, Obama's election is symbolic of the "us and them" divisions within the US psyche being delivered to a close in conjunction with the restoration of the innate beliefs for which the American Republic and its people stand.

Before the nation's divisions are healed, however, the Khan's revel in intense non-public hardships due to their ethnicity. These hardships culminate within the tragic death in their teenage son Sameer, overwhelmed to death in the school playing field by way of racist youths. In her grief, Sameer's mother Mandira blames her husband Rizvan, accusing him of the truth that if she and her son had not taken the call of Khan, he would now not be dead. She then tells him that the handiest way he can make amends for this stigma of being a Khan and, by means of implication a Moslem, is to fulfill the United States President (at the time it's miles George W. Bush) and to inform him that: "My Name is Khan and I am now not a Terrorist." This easy phrase turns into a form of mantra throughout the film, powerfully confronting the viewer's post-September 11 prejudices by way of refusing to link the two standards of Islam and terrorism together: i.E. My call is Khan, therefore I am a Moslem, however on the identical time just because I am a Moslem, does this mean that I am a terrorist? Unhappily, for the duration of the hysteria that followed inside the wake of September 11 for many Westerners the two terms, Moslem and terrorist became quite plenty synonymous.

This is a movie consequently which, in contrast to its predecessors, isn't always simplest aimed at teaching Indians and West Asians (it broke all data in Pakistan), however is also geared toward teaching and enlightening Westerners. This it does in a completely diffused and didactic way, no longer simplest thru its exploitation of acquainted West Asian icons, however additionally thru its exploration of issues and photographs established to the USA and the West: the 1960s counter way of life, the plight of the coloured people in the South and references to the civil rights movement through the film's subject matter tune "We Shall Overcome." This well-known anti-establishment song from Sixties when sung in Hindi via a religious Moslem in a black gospel church offers the target audience an nearly surreal feeling of each merging and, at the equal time transcending, national, racial and socio-spiritual cultural borders: a direction to global brotherhood and solidarity which has been courageously expounded via of the 20th century's brilliant non secular leaders, India's Mahatma Gandhi and America's Martin Luther King.

Karan Johar therefore attracts upon both the Western ideals of liberty and individualism, as well as propounding the roots of West Asian non secular piety and communal solidarity. By doing this My Name is Khan proposes an alternate version of worldwide brotherhood and transnational identities and exchanges. This new worldwide model for Johar is one that attracts its notion and ideals from the grass roots level- from the terrible coloureds of Georgia, from the socially ostracised Moslems, and from the autistic and mentally handicapped. All of them are an integral a part of this international humanity and in the end the parent of Shah Rukh Khan, the most important megastar in the worldwide forum today (such as Hollywood), speaks for all of them, when he says my call is Khan and I am not a terrorist, now not an outcaste and now not a hazard to the US or the crucial values which it seeks to export to the relaxation of the sector. Rather, as pious Moslems, those like Rizvan Khan have some thing of value to contribute to america and the West, and while the ones in strength allow them to do so, the vital values which have made the US excellent can no longer most effective be maintained however extended and broadened. On the other hand, ultranationalist extremist practises will handiest create increasingly hatred and division, in order that even the ones who have assimilated the American Dream will grow to come to be its maximum sworn enemies. This is the main topic of Kabir Khan's New York, which I will briefly discuss in part of this article.

Kabir Khan's New York

Although now not as a hit on the box workplace as Karan Johar's blockbuster, Kabir Khan's New York is possibly an even more exciting example of the transnational trend in the Bollywood terrorist genre. Released in 2008, New York makes a speciality of the lives of three brand new young Indians analyzing at New York State University together. The usual Bollywood masala romance dominates the first 1/2 of the movie, specializing in a sentimental love triangle between Maya (Katrina Kaif), Sameer or Sam (John Abrahams) and Omar (Neil Mukesh). Both Katrina Kaif and John Abrahams, in addition to Irrfan Khan (gambling the FBi agent Roshan) are properly installed stars in Bollywood (Irrfan Khan also starred as the policeman who interrogates the primary protagonist in Slumdog Millionaire). And the presence of these stars, along with the solid musical score and the dramatic love triangle situation, assured the film's success despite its debatable subject. Significantly, Sam and Maya fall in love and shatter Omar's emotional world at around the same time as the two hijacked passenger planes are driven into the Twin Towers. As with My Name is Khan, real pictures of the terrorist attack at the World Trade Centre is utilised in the film.

From this factor onwards, a film which has been mainly concentrated upon a sentimental love conflict between three friends now becomes a political indictment of the Bush administration's post-9/11 terrorist policies. Sam, as part of the FBI's nationwide hunt for terror suspects, is arrested, incarcerated and tortured. These tortures are graphically depicted within the film and are apparently primarily based on actual life debts of harmless victims, who have been illegally arrested and incarcerated for no other purpose than their having the wrong ethnic historical past and spiritual persuasion. During the final credits a grim word to this impact informs the visitors of the records that: "In the days following 9-11 greater than 1200 guys of overseas origin within the US had been illegally abducted, detained and tortured for as lengthy as three years. The government did not discover proof linking a unmarried one among them to the 11th of September assault.

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movieindustry1 · 1 year ago

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MOVIE INDUSTRY

Indian Film Industry -What Is Bollywood?

Where Is Bollywood?

The History Of The Indian Film Industry?

BOLLYWOOD IMPACT ON FLIM INDUSTRY

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girlwithaheadamongclouds · 5 years ago

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I got tagged by @vintagesimstress. Dzięki Ania! I haven’t done it in a while so here it goes.

Rules: answer 21 questions, then tag 21 people you want to get to know better.

Nickname: I never had one. My name is quite short so maybe that’s why?

Zodiac: Leo

Height: between 155 and 160 cm

Last thing searched: ts4cc lol

Favourite musicians: I’m too old to fangirl over singers or bands. I mostly listen to whatever’s on the radio or on my ipod playlists. I used to love rock, metal or punk but I’ve never been a part of any subculture. However, I do have a soft spot for Linking Park, Korn, Metallica, Slipknot, etc. I also love listening to classical music, good soundtracks from movies, tv shows, games and even Bollywood, and wrestling themes. And I could listen to anyone with a good English accent forever. Oh, and Lana del Ray.

If you had a time machine, would you go back in time or visit the future? Being born in the wrong era is the story of my life. I’d go back in time to see all of my favourite historical figures and then I could die happily.

Do I get asks? I used to. Now, I’m scarcely even here.

Following : 391 people

Would you rather be rich or famous? Rich. I’d love to build myself a castle and live there peacefully. Fame is not for me.

Amount of sleep: Never enough.

What I’m wearing: Everything black. Although, I’m not an emo or a goth. I just like black a lot. And I’ve got lots of black clothes left from the two mourning periods that have happened during the last couple of years. Honestly, everything in my wardrobe is either black or all kinds of blue with rare green/purple/grey colour accents.

Dream job: I don’t have one and that’s why I’m never satisfied with what I do.

Dream trip: A tour around European castles, palaces, and royal gardens.

If you were an animal. What would you be? A dog, a horse or a bird. Preferably a bird cause it’s free and independent. A raven, maybe?

What are some of your favourite books/films/shows/games/etc.?

Books: I’m a bookworm. I love to read. Actually, I mostly read biographies of my favourite historical people. Aside from that, I read historical fiction, fantasy, horrors, and thrillers. I adore Agatha Christie and American gothic, so authors like E. A. Poe, Nathaniel Hawthorne. But I also love good old Shakespeare and his tragedies as well as modern drama, Chekhov, etc. And fanfiction. Who doesn’t read it? My favourite book is Mists of Avalon by Marion Zimmer Bradley. Honourable mentions go to: Crime and Punishment by Fyodor Dostoyevsky; A Song of Ice and Fire series by George R. R. Martin, A Sword of Truth series by Terry Goodkind and Gone with the Wind by Margaret Mitchell.

Films: There are so many so I’ll name those I feel most nostalgic about: Gone with the Wind (1939); Ivanhoe (1952); Sleeping Beauty (1959 animated); Anne of the Thousand Days (1969); Sissi (1955); Trędowata (1976); Noce i dnie (1975); Clash of the Titans (1981); Steel Magnolias (1989); Dracula (1992); The Swan Princess (1994 animated); Braveheart (1995); Jumanji (1995); Dilwale Dulhania Le Jayenge (1995); Matilda (1996); Anastasia (1997 animated); Practical Magic (1998); The Parent Trap (1998); Kuch Kuch Hota Hai (1998); Crouching Tiger Hidden Dragon (2000); Gladiator (2000); Kabhie Khushi Kabhie Gham (2001); The Fast and The Furious (2001); Troy (2004); Van Helsing (2004); Kingdom of heaven (2005); Casino Royal (2006); 300 (2006); Pan’s Labyrinth (2006); The Wolfman (2010); Sicario (2015).

Shows: I mostly watch everything historical, Game of Thrones, Legend of the Seeker or vampires and zombies. No comedies, doctors or layer dramas. For anyone interested in historical tv series, I’ll try to list them periodically: Tut (miniseries 2015)Hercules; The legendary journeys (1995-1999); Xena Warrior Princess (1995-2001); ROME (2005-2007); Starz’s Spartacus (2010-2013); BBC’s Merlin (2008-2012); Camelot (2011); The Mists of Avalon (miniseries 2001); Viklngs (2013-2020); The Last Kingdom (2015-); The Pillars of the Earth (miniseries 2010); The Lion in Winter (TV movie 2003); BBC’s Robin Hood (2006-2009); World Without End (miniseries 2012); Labyrinth (miniseries 2012); Marco Polo (2014-2016); The Hollow Crown (miniseries 2012); Medici: Masters of Florence (2016-); Da Vinci’s Demons (2013-2015);The Borgias (2011-2013); Borgia (2011-2014); The White Queen (miniseries 2012); The White Princess (miniseries 2017); The Spanish Princess (miniseries 2019); The Tudors (2007-2010); Reign (2013-2017); Muhteşem Yüzyıl aka The Magnificent Century (2011-2014); Muhtesem Yüzyıl: Kösem aka The Magnificent Centuruy: Kösem (2015-2017); Versailles (2015-2018); Black Sails (2014-2017); Outlander (2014-); The Frontier (2016-); Крепостная aka Love in Chains 2019); Poldark (2015-2019); Victoria (2016-); Ripper Street (2012-2016); Penny Dreadful (2014-2016); Dracula (2013-2014); The Crown (2016-)

Games: TS4; Crusader Kings II; Hitman; Tomb Raider games; Assassin’s Creed games; God of War games and The Last of Us.

Play any instruments? Unfortunately, no. ;-(

Language(s): Native: Polish; Second: English; The rest: Russian, Spanish and Latin. Self-learning: Hindi and Turkish

Describe yourself as aesthetic: …”A solitary maiden whose only friends are dogs, flowers and her companions-books”

I TAG @sifixcc, @theroyalsims, @pandorasimbox, @kellymarie69, @miraraeblog whose yt royal series is my fav pastime nowadays and anybody else who’d like to participate :)

#21tag #about me #sifixcc #theroyalsims #pandorasimbox #kellymarie69 #mirareablog

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hidoose · 6 years ago

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Nusrat Fateh Ali Khan

New Post has been published on https://www.hidoose.com/nusrat-fateh-ali-khan/

Nusrat Fateh Ali Khan

Nusrat Fateh Ali Khan (Urdu/Punjabi: نصرت فتح علی خان), born Anjum Pervaiz Ali Khan (13 October 1948 – 16 August 1997), was a Pakistani vocalist and musician, primarily a singer of Qawwali, a form of Sufi Islamic devotional music. Widely considered one of the greatest voices ever recorded, he possessed an extraordinary range of vocal abilities and could perform at a high level of intensity for several hours. Extending the 600-year old Qawwali tradition of his family, Khan is widely credited with introducing Qawwali music to international audiences. He is popularly known as “Shahenshah-e-Qawwali”, meaning “The Emperor of Qawwali”.

Born in Faisalabad, Khan had his first public performance at the age of 16, at his father’s chelum. He became the head of the family qawwali party in 1971. He was signed by Oriental Star Agencies, Birmingham, England in the early 1980s. Khan went on to release movie scores and albums in Europe, India, Japan, Pakistan and the U.S. He engaged in collaborations and experiments with Western artists, becoming a well-known world music artist. He toured extensively, performing in over 40 countries.[9] In addition to popularising Qawwali music, he also had a big impact on contemporary South Asian popular music, including Pakistani pop, Indi-pop and Bollywood music.

Nusrat Fateh Ali Khan

Biography

Early life and career

Khan was born in a Punjabi Muslim with Pathan ancestry family in Faisalabad, Punjab, Pakistan, in 1948, shortly after the partition of India in 1947 during which his family had migrated to Pakistan from their native city of Jalandhar in Punjab, British India (now in Punjab, India). His family originates from Pathan bastis (Pashtun stelements) in Jalandhar. His ancestors learned music and singing there and adopted it as a profession.[16] He was the fifth child and first son of Fateh Ali Khan, a musicologist, vocalist, instrumentalist, and qawwal. Khan’s family, which included four older sisters and a younger brother, Farrukh Fateh Ali Khan, grew up in central Faisalabad. The tradition of qawwali in the family had passed down through successive generations for almost 600 years. Initially, his father did not want Khan to follow the family’s vocation. He had his heart set on Nusrat choosing a much more respectable career path and becoming a doctor or engineer because he felt Qawwali artists had low social status. However, Khan showed such an aptitude for and interest in Qawwali, that his father finally relented.[18]He began by learning the tabla before moving on to vocals.[citation needed] In 1964, Khan’s father died, leaving his musical education under the supervision of his paternal uncles, Mubarak Ali Khan and Salamat Ali Khan. He is the uncle of singer Rahat Fateh Ali Khan. Nusrat was known as Pervaiz until he visited Ghulam Ghaus Samdani who changed his name to Nusrat Fateh Ali. Samdani also told him that he would become a great singer.

In 1971, after the death of his uncle Mubarak Ali Khan, Khan became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. Khan’s first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organized by Radio Pakistan, known as Jashn-e-Baharan. Khan sang mainly in Urdu and Punjabi and occasionally in Persian, Braj Bhasha and Hindi. His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Khan’s sargam improvisations.

Nusrat Fateh Ali Khan

Later career

In the summer of 1985, Khan performed at the World of Music, Arts and Dance (WOMAD) festival in London. He performed in Paris in 1985 and 1988. He first visited Japan in 1987, at the invitation of the Japan Foundation. He performed at the 5th Asian Traditional Performing Art Festival in Japan. He also performed at Brooklyn Academy of Music, New York in 1989, earning him admiration from the American audience.

Khan, throughout his career, had great understanding with many south Asian singers such as Alam Lohar, the Noor Jehan, and various other Pakistani and Indian singers.

In the 1992 to 1993 academic year, Khan was a Visiting Artist in the Ethnomusicology department at the University of Washington, Seattle, Washington, United States.

In 1988, Khan teamed up with Peter Gabriel on the soundtrack to The Last Temptation of Christ, which led to Khan being signed to Gabriel’s Real World label. He would go on to release five albums of traditional Qawwali through Real World, along with the more experimental albums Mustt Mustt (1990), Night Song (1996), and the posthumous remix album Star Rise (1997).

Khan’s experimental work for Real World, which featured his collaborations with the Canadian guitarist Michael Brook, spurred on several further collaborations with a number of other Western composers and rock musicians. One of the most noteworthy of these collaborations came in 1995, when Khan grouped with Pearl Jam’s lead singer Eddie Vedder on two songs for the soundtrack to Dead Man Walking. Khan also provided vocals for The Prayer Cycle, which was put together by Jonathan Elias, but died before the tracks could be completed. Alanis Morissette was brought in to sing with his unfinished vocals. In 2002, Gabriel included Khan’s vocals on the posthumously released track “Signal to Noise” on his album Up.

Khan’s album Intoxicated Spirit was nominated for a Grammy Award for Best Traditional Folk Album in 1997. That same year, his album Night Song was also nominated for a Grammy Award for Best World Music Album.

Khan contributed songs to, and performed in, several Pakistani films. Shortly before his death, he composed music for three Bollywood films, which includes the film Aur Pyaar Ho Gaya, in which he also sang for “Koi Jaane Koi Na Jaane” on-screen with the lead pair, and “Zindagi Jhoom Kar”. He also composed music for Kartoos, where he sang for “Ishq Da Rutba”, and “Bahaa Na Aansoo”, alongside Udit Narayan. He died very shortly prior to the movie’s release. His final music composition for Bollywood was for the movie, Kachche Dhaage, where he sang in “Iss Shaan-E-Karam Ka Kya Kehna”. The movie was released in 1999, two years after his death. The two singing sisters of Bollywood, Asha Bhosle and Lata Mangeshkar sang for the songs he composed in his brief stint in Bollywood. He also sang “Saya Bhi Saath Jab Chhod Jaye” for Sunny Deol’s movie Dillagi. The song was released in 1999, two years after Khan’s death. He also sang “Dulhe Ka Sehra” from the Bollywood movie Dhadkanwhich was released in 2000.

Khan contributed the song “Gurus of Peace” to the 1997 album Vande Mataram, composed by A. R. Rahman, and released to celebrate the 50th anniversary of India’s independence. As a posthumous tribute, Rahman later released an album titled Gurus of Peace, which included “Allah Hoo” by Khan. Rahman’s 2007 song “Tere Bina” for the film Guru was also composed as a tribute to Khan.

Death

Various reports said Khan weighed over 300 pounds. He had been seriously ill for several months, according to a spokesperson at his U.S. label, American Recordings.[27] After traveling to London from his native Pakistan for treatment for liver and kidney problems, he was rushed from the airport to Cromwell Hospital in London.

He died of a sudden cardiac arrest at Cromwell Hospital on 16 August 1997, aged 48. His body was repatriated to Faisalabad, and his funeral was a public affair. He was buried in Kabootran Wala Qabristan also known as Jhang Road Graveyard on Jhang Road, Faisalabad.

His wife, Naheed Nusrat, died on 13 September 2013 in Credit Valley Hospital in Mississauga, Ontario, Canada. Naheed had moved to Canada after the death of her husband. She is survived by their daughter Nida Khan.[29][30] Khan’s musical legacy is now carried forward by his nephews, Rahat Fateh Ali Khan and Rizwan-Muazzam.

Nusrat Fateh Ali Khan (Auditorium)

Awards and Titles

Khan is widely considered to be the most important qawwal in history. In 1987, he received the President of Pakistan’s Award for Pride of Performance for his contribution to Pakistani music. In 1995, he received the UNESCO Music Prize. In 1996 he was awarded Grand Prix des Amériques at Montreal World Film Festival for exceptional contribution to the art of cinema. In the same year, Khan received the Arts and Culture Prize of the Fukuoka Asian Culture Prizes. In Japan, he was also remembered as the Budai or “Singing Buddha”.

In 1997, he was nominated for two Grammy Awards, for Best Traditional Folk Album and Best World Music Album. As of 2001, he held the Guinness World Record for the “Most Qawwali Recordings”, having recorded over 125 Qawwali albums before his death. In 2005, Khan posthumously received the “Legends” award at the UK Asian Music Awards. Time magazine’s issue of 6 November 2006, “60 Years of Asian Heroes”, lists him as one of the top 12 artists and thinkers in the last 60 years. He also appeared on NPR’s 50 great voices list in 2010.In August 2010 he was included in CNN’s list of the twenty most iconic musicians from the past fifty years. In 2008, Khan was listed in 14th position in UGO’s list of the best singers of all time.

Many honorary titles were bestowed upon Khan during his 25-year music career. He was given the title of Ustad (the master) after performing classical music at a function in Lahore on the anniversary of his father’s death.

Nusrat Fateh Ali Khan

Films

Documentaries

Nusrat Fateh Ali Khan: le dernier prophète (1996). Directed by Jérôme de Missolz.

Nusrat has Left the Building… But When? (1997). Directed by Farjad Nabi. (This 20-minute docudrama focuses on Khan’s early career.)

A Voice from Heaven (1999). Directed by Giuseppe Asaro. New York, NY: Winstar TV & Video. (This 75-minute documentary, available on VHS and DVD, provides an introduction to Khan’s life and work.)

Samandar Main Samandar (2007). A documentary aired on Geo TV detailing Khan’s career.

The King of Qawalli (2009). A short film aired on Dawn News about Khan’s life and career.

Concert films

• The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa Katsumori; directed by Nakagawa Kunikiko and Ichihashi Yuji; in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of Japan; Cambridge, Massachusetts: distributed by Rounder Records. Features a studio performance by Khan and Party (two Urdu-language songs: a Hamd, and a Manqabat for Khwaja Mu’inuddin Chishti. Filmed in Tokyo, Japan, 20 September 1987, for Asian Traditional Performing Arts).

• Nusrat! Live at Meany (1998). Produced by the University of Washington. 87-minute recording of a concert of 23 January 1993 at Meany Hall, University of Washington in Seattle, during Khan’s residency at the ethnomusicology program there.

• Live in Concert in the UK, (DVD, vols. 1–17) [Khokhar Productions]; recorded between 1983 and 1993

• Akhiyan Udeek Diyan (DVD) [Khokhar Productions]

• Je Tun Rab Nu Manauna (DVD) [Khokhar Productions]

• Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Khokhar Productions]

• Rang-e-Nusrat (DVD, vols. 1–11) [Music Today]; recorded between 1983 and 1993 (same material as the Khokhar Productions)

• VHS videotapes, vols. 1–21 [Khokhar Productions]; recorded between 1983 and 1993 (same material as the Khokhar Productions)

• Luxor Cinema Birmingham (VHS vol. 1, 1979), Khokhar Productions

• Digbeth Birmingham (VHS vol. 2, 1983), Khokhar Productions

• St. Francis Hall Birmingham (VHS vol. 3, 1983), Khokhar Productions

• Royal Oak Birmingham (VHS vol. 4, 1983), Khokhar Productions

• Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5), Khokhar Productions

• Private Mehfil (VHS vol. 6, 1983), Khokhar Productions

• Natraj Cinema Leicester (VHS vol. 7, 1983), Khokhar Productions

• Live in Southall (VHS vol. 8), Khokhar Productions

• Live in Bradford (VHS vol. 9, 1983), Khokhar Productions

• Live in Birmingham (VHS vol. 10, 1985), Khokhar Productions

• Allah Ditta Hall (VHS vol. 11, 1985), Khokhar Productions

• Harrow Leisure Centre (VHS vol. 12), Khokhar Productions

• University of Aston (VHS vol. 13, 1988), Khokhar Productions

• Aston University (VHS vol. 14, 1988), Khokhar Productions

• WOMAD Festival Bracknell (VHS vol. 15, 1988), Khokhar Productions

• Live in Paris (VHS vol. 16, 1988), Khokhar Productions

• Poplar Civic Centre London (VHS vol. 17), Khokhar Productions

• Imperial Hotel Birmingham (VHS vol. 18, 1985), Khokhar Productions

• Slough Gurdawara (SHABADS) (VHS vol. 19), Khokhar Productions

• Imran Khan Cancer Appeal (VHS vol. 20), Khokhar Productions

• Town Hall Birmingham (VHS vol. 21, 1993), Khokhar Productions

Discography

Main article: Nusrat Fateh Ali Khan discography

Sales

The following are known sales of records with songs credited to Nusrat Fateh Ali Khan, either as a vocalist, composer, or special thanks.

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CreditedYearTitleSalesRegion(s)1996Sangam1,000,000India1997Aur Pyaar Ho Gaya1,500,000India1997“Afreen Afreen”500,000India1997Only One6,000,000Worldwide1997Vande Mataram2,000,000Worldwide1999Kachche Dhaage3,000,000India2000Dhadkan4,500,000India2007Guru1,150,000IndiaTotal known sales19,650,000Worldwide

The following are known sales of records with songs credited to Nusrat Fateh Ali Khan, either as a vocalist, composer, or special thanks.

The following are known Indian sales of Bollywood soundtrack albums featuring copied versions of songs originally composed by Nusrat Fateh Ali Khan, without crediting him.

UncreditedYearTitleSales1994Mohra8,000,0001995Yaraana2,000,0001996Raja Hindustani11,000,000Auzaar2,200,0001997Judaai2,000,000Koyla1,800,000Total known sales27,000,000

Nusrat Fateh Ali Khan

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