#Bollywood Songs of 1978

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Lyrics Wafa Jo Na Ki To

Lyrics Wafa Jo Na Ki To

Wafa Jo Na Ki To-Song contents: Lyrics in English Hindi Lyrics YouTube Video Song Trivia More Lyrics in English | Wafa Jo Na Ki To | Muqaddar Ka Sikandar (1978) | Rekha, Amitabh Bachchan | Hemlata WafaJo Na Ki ToJafa Bhi Na KeejeWafaJo Na Ki ToJafa Bhi Na Keeje SitamJaanemanIs Terah Bhi Na KeejeKe Marne Ki Tamanna MeKahin Jee Na JaayenKe Marne KiTamanna MeKahin Jee Na JaayenWafa……… Tumhe…

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Remembering Raj Khosla on his 99th birth anniversary (31/05/1925).

Raj Khosla was one of the top directors in Hindi films from the 1950s to the 1980s. He was popularly known as a 'women's director' because he showcased actresses at their best capabilities. Khosla is that rare filmmaker in Hindi cinema who handled different genres of films with equal ease while adding his own individual stamp to each of his films. Along with Guru Dutt and Vijay Anand, he was responsible for elevating song picturizations in Hindi cinema during the 1950s and 60s.

Born on May 31, 1925, Khosla initially entered the film industry with hopes of becoming a playback singer. Struggling to make it as a singer, he joined Guru Dutt as an assistant director with Baazi (1951).

In 1954, Khosla got his first break with Milap, starring Dev Anand and Geeta Bali. The film failed to create a significant impact, but Khosla's second film, produced by his mentor Guru Dutt, C.I.D. (1956), propelled him into the big league. C.I.D. was a polished crime thriller that highlighted Khosla's stylish shot-taking and innovative song picturization, elements he inherited from Guru Dutt.

As he continued to make films, Raj Khosla altered his film styles at times and added his unique touch to each genre. Never wanting to play it safe, Khosla made films that were widely different. He explored a variety of styles, including crime thrillers like C.I.D. and Kala Pani, musicals like Ek Musafir Ek Hasina, suspense thrillers like Woh Kaun Thi?, Mera Saaya, Anita, melodramas like Do Badan and Do Raaste, and dacoit dramas like Mera Gaon Mera Desh.

Films like Prem Kahani (1975), featuring the then hottest pair of the day, Rajesh Khanna and Mumtaz, and another smash hit, Main Tulsi Tere Aangan Ki (1978), made Raj Khosla one of the most revered directors in Bollywood. He was a director who understood women and their sentiments very well. Khosla worked with eminent actors like Amitabh Bachchan, Zeenat Aman, and Shatrughan Sinha. He passed away in 1991. The last years of this director were not much attached to the film industry.

Raj Khosla was awarded the Filmfare Best Movie Award for 'Main Tulsi Tere Aangan Ki' in 1978.

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The Faces Who Made Kerala Proud

Kerala boasts the highest literacy rate in India and as per the latest census it has a projection of 94%. With the sobriquets ‘God’s Own Country’, ‘Land of Coconut’ and ‘Spice Garden of India’, Kerala has always been in the limelight from the perspective of tourism. Thanks to its incredible geographical features. Although being a small state, occupying around 1% of India’s total area, Kerala is always presented as an honorary example for its rich culture, education, ayurveda and other development. Kerala has also given rise to several personalities who have made Kerala and India tremendously proud.

P T Usha - Frequently called ‘Queen of Indian Track and Field’, P. T. Usha was born in Kozhikode, Kerala on 27th June, 1964. Nicknamed the Golden Girl, P T Usha has been associated with Indian Athletes since 1979. She had an illustrious career in athletics and won 33 international medals. In 1984 she was honoured with the Arjuna Award and the Padma Shree Award. The Indian Olympic Association has crowned her with the name ‘Sportsperson of the Century’.

Raja Ravi Varma - Raja Ravi Varma was born on April 29, 1948, in Kilimanoor Palace, Kerala, and is the most celebrated artist in the history of Indian Arts. His artistic talent was exposed at a young age by his uncle who provided him the elementary guidance. He got exposure to various art forms and himself mastered portraits, portrait-based compositions and myths and legends-based theatrical compositions. Ravi Varma received the first prize at the Madras Painting Exhibition in 1873. Shakuntala Composing a Love Letter to King Dushyanta, Damayanti Talking to a Swan and many more are among the famed paintings of Ravi Varma.

Dr. K J Yesudas - A notable Indian classical musician and playback singer, Yesudad was born in Fort Kochi, on January 10, 1940. His musical voice has recorded more than 40,000 songs in Malayalam, Kannada, Tamil, Hindi, Bengali, Telugu, Gujarati, Marathi, Odiya, Arabic, English, Russian, Latin and many more. Initially, Yesudas was groomed by his own father Augustine Joseph, who was a classical musician and a stage actor, and later he joined the Music Academy. His career started with playback singing in Malayalam and Kollywood movies in the 1960s and in the mid-1970s, he set his foot in the Bollywood industry. Yesudas garnered 7 National Film Awards for the best singer in Indian Cinema.

Arundhati Roy - A renowned novelist and political activist, Arundhati Roy was borned on 24th November, 1961. Although she took birth in Shillong, she shifted to Kerala, to her mother’s maternal house at the age of 2, and completed her schooling there. She has won several awards both for her writing talent and social work. Arundhati Roy began her career by writing the screenplay ‘In Which Annie Gives It Those Ones’ in 1989, which was directed by her husband Pradip Krishen. Her semi-autobiographical novel ‘The God of Small Things’ in 1996 brought her worldwide fame and received the Booker Prize in 1997. 

Vidya Balan - The popular Indian actress was born on 1st January, 1978, in Palakkad, Kerala. She has played the role of a strong female protagonist in several movies. In 2005 she acted in the movie Parineeta and received the Filmfare Award for best female debut. Paa is yet another notable movie of Vidya Balan which brought her the Filmfare best actress award. Vidya Balan was honoured with the Padma Shri award in 2014 for her meticulous contributions to Indian Cinema. 

Almost every travel enthusiast’s bucket list in India contains a trip to Kerala. Your Kerala Tour Booking will provide a detailed overview of the unique landscapes of Kerala, but familiarising with these personalities and their achievements is worth cherishing the talents of India. There are many more individuals who inscribed their identity in Indian history for their distinguished attributes. 

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Episode 146 - “I'm the Dude, Playing a Dude, Disguised As Another Dude”: Don and Don 2

Strap in Lovers, we’re going on an international chase to catch Asia’s biggest criminal mastermind, Don. 

Show notes:

It's not only difficult to catch Don (1978), it's impossible

“Bachchan ‘76 - ‘78″

The Making of Don

Don: The Chase Begins Again 

Petronas Towers, as seen in Entrapment

Songs: “Yeh Mera Dil,” “Main Hoon Don,” and “Khaike Paan Banaraswala”

Comparisons to contemporary Bollywood action

Don has read The Game

(INTERVAL (“Aaj Ki Raat” from Don: The Chase Begins Again)

Don 2

Another stacked year, and a great year for the Akhtars

Hallo Berlin!

Songs: “Zaraa Dil Ko Thaam Lo” and “Dushman Mera Don 2″

Mission: Impossible similarities

Where will they go in Don 3?

Suchin Mehrotra‘s The Streaming Show

Next time: Pilot Season Vol. 2

Our sponsor this episode is #BollywoodMonster Mashup, the LARGEST South Asian festival in Canada and features FREE performances by international Bollywood stars, food, shopping, dance performances, a laser show and more! The whole family can enjoy this monstrous event with FREE entry, FREE parking and FREE family activities. Come dance, sing and feast with us at this one-of-a-kind production taking place at Mississauga Celebration Square!

Find us on Apple Podcasts! and Stitcher! and audioBoom! and iHeartRadio! and Spotify! and Google Podcasts!

Thank you to Becca Dalke for the artwork!

Follow us on Twitter! Like us on Facebook!

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RETRO REVIEW - DON

 Retro Review: Don

Cast: Shah Rukh Khan, Priyanka Chopra, Isha Koppikar, Boman Irani and Arjun Rampal

Director – Farhan Akthar

Duration: 2 hours and 51 minutes

18TH Anniversary of Don

 RETRO REVIEW - DON - 20th  October 2024 marks the 18th anniversary of Bollywood movie Don. This movie was released on 20th October 2006 featuring   Shah Rukh Khan, Priyanka Chopra, Isha Koppikar, Boman Irani and Arjun Rampal was a remake of Don released in 1978 featuring Amitabh Bachchan in the tittle role. Directed by Farhan Akhtar. Don was made under the banner of Excel Entertainment

 Story and Plot

RETRO REVIEW - DON - As the movie was a remake of 1978 Cult movie so the plot was kept same by Farhan Akhtar where Vijay a look a liked of an International criminal Don hired by DCP DiSilva but twist in the comes DCP DiSilva dies, Vijay Struggles to reveal his real identity.

Review

RETRO REVIEW - DON - As Expected. The storyline was kept by Farhan Akhtar with a new technology, VFX tried to adds a new element in the movie with a whole new actors were casted in the movie like Amitabh Bachchan was replaced by Shah Rukh Khan. Zeenat Aman was replaced by Kareena Kapoor Khan Whereas Arjun Rampal played the role of  Jagjit played by Pran in the lead role. This was a phase when SRK had a comparison with Amitabh Bachchan  from remaking Don to hosting KBC as the fans of both these were massing with each other. Original songs like Yeh Mera Dil and Khaiyke Paan Banaras wala were the two song used from original. Read More

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Hariharan - Bio, Top 35 Best Bollywood Music

When it comes to breathtaking voices in Indian music, Hariharan stands out as one of the most versatile and influential artists. Over the decades, he not only captivated Bollywood audiences but also left an indelible mark in regional Bollywood music. From soulful ghazals to vibrant percussion, Hariharan’s ability to blend classical and contemporary music has made him a musical legend. His support resonates not only in India but worldwide.

Best Hariharan Bollywood Music Download

Biography and Early Life To understand the roots of Hariharana’s musical genius, we have to start from his childhood. Born on April 3, 1955 in Kerala, India, Hariharan grew up in a family heavily involved in music. It was here that his passion for music began to blossom. Encouraged by the culture at home, Hariharan developed a love for music at an early age. The beginning of a musical journey Stepping into the world of music, Hariharan initially performed in concerts and television shows, gaining popularity in music groups. His biggest success came when he won the All India Sur Singar Competition, a prestigious platform for aspiring singers. This success gave him much-needed publicity to catch the attention of leading Bollywood songs directors. Hariharan's entry into Bollywood Shortly thereafter, legendary music director Jayadeva invited him to sing in Hariharan Gaman (1978). This debut not only showcased his organic voice but also established his as a promising new talent. From then on, Hariharan's Bollywood journey began to expand, as he recorded many memorable songs over the years. A game changing collaboration immigrant cousin But what really made Hariharan stand out was his collaboration with Leslie Lewis on the famous Colonial Cousins. The two-member band created a unique blend of Indian classical music with Western pop-rock. As a result, Colonial Cousins ​​became popular, producing popular songs and solo album songs for films in the Tamil and Bollywood industries. Local contribution by Hariharan Apart from Bollywood, Hariharan has contributed immensely to regional cinema like Tamil, Marathi, Malayalam, Kannada and Telugu. His fluency in singing in several languages ​​allowed him to connect with a diverse audience. His voice thus became synonymous with musical excellence throughout India. Mastery of Ghazals While Hariharan was busy conquering Bollywood and regional Hindi music departments, he also carved a carve for himself as a ghazal singer. His ghazals, full of deep emotions and soulful melodies, received widespread acclaim. Even today, his ghazals are the most popular and appreciated both in India and other countries. Recognition and awards No wonder Hariharana’s great talent has been recognized with some of India’s highest honours. In 2004, the Government of India conferred on him the prestigious civilian award Padma Shri. Moreover, he won the National Film Award twice, further cementing his status as one of India’s most talented musicians. Pioneer in fusion music in India Hariharan’s work with Colonial Cousins ​​also played a key role in the fusion movement in India. As he blended ghazals with pop-rock songs with ease, helping to create a new sound that appealed to young listeners. This new style not only redefined Indian pop music but also inspired many musicians to experiment with hybrids. A permanent legacy Even today, the songs of Hariharana resonate in the minds of listeners of all ages. His ability to adapt to changing musical trends without losing his unique style made him a timeless artist. He is often looked up to as a role model by aspiring musicians, and his influence can be heard in the voices of many contemporary percussionists. Conclusion In conclusion, Hariharan’s journey is a testament to the power of talent, dedication and innovation. From humble beginnings in Kerala to becoming one of India’s most celebrated musicians, he has always pushed musical boundaries. Be it through ghazals, Bollywood songs or fusion Hindi songs, Hariharan’s contribution to Indian music is unparalleled. His legacy will surely continue to inspire generations of musicians and fans. FAQs Why is Hariharana famous? Hariharan is known in Bollywood for his percussion and soulful ghazals. In which language was Hariharana sung? Hariharan has sung in Hindi, Tamil, Marathi, Malayalam, Kannada, Telugu, and many other languages. What awards has Hariharanam won? Hariharan was awarded the Padma Shri and won the National Film Award twice. What is an immigrant cousin? Colonial Cousins ​​is a mixed band formed by Hariharan and Leslie Lewis, which mixes classical Indian music with western influences. What was Hariharan’s first Bollywood song? Hariharan's first Bollywood song was in the film Gaman (1978) composed by Jaidev. Read the full article

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Bade Badai Na Kare Lyrics In Hindi | बड़े बड़ाई ना करें

Bade Badai Na Kare Lyrics In Hindi | बड़े बड़ाई ना करें

Presenting Bade Badai Na Kare Lyrics in Hindi from the bollywood classic movie Ankhiyon Ke Jharokhon Se (1978). This song is sung by Jaspal Singh and Hemlata. Lyrics of the song is written by Ravindra Jain and music composed by Ravindra Jain. Story of the film Ankhiyon Ke Jharokhon Se (1978) written Vrajendra Gaur and Screenplay by Hiren Nag, Madhusudan Kalelkar. Producer of Ankhiyon Ke…

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BTS Dance On Indian Song~ Khaike Paan Banaraswala | BTS Indian Edits💜| B...

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21 Bollywood Old Songs That Will Remain Evergreen Till Eternity

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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)

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Shalimar 1978 Songs Pk Songs

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

100 Greatest Bollywood Dance Songs For New Year Parties

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

Shalimar 1978 Songs Pk Subban

Top 100 Bollywood Dance Songs For Freshers’ Parties

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

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tumbou

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

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biju

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

Shalimar 1978 Songs Pk Song

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[pallabbose-blog]

ANANYA PANDEY

She is undoubtedly Bollywood’s new kid on the block. Elder girl of movie actor Chunkey Pandey and Bhavna Pandey, she has been awarded Best Debut for 2020 both by Filmfare and Zee Cine awards for her role in the teen film Student of the Year 2.

She is Ananya Pandey.

An alumnus of Dhirubhai Ambani International School in 2017, Ananya made her acting debut in 2019 with the teen film Student of the Year 2, co-starring Tiger Shroff and Tara Sutaria, which was produced by Dharma Productions. She next starred in Pati Patni Aur Woh (2019), a remake of the 1978 film of the same name, alongside Kartik Aaryan and Bhumi Pednekar. She played a secretary who indulges in an affair with a married man, which was portrayed by Ranjeeta in the original. With a worldwide gross of ₹1.15 billion (US$16 million), it emerged as a commercial success.

Her fortcoming project is the action film Khaali Peeli, co-starring Ishaan Khatter. Also in the pipeline is Shakun Batra’s as-yet untitled romantic drama, alongside Deepika Padukone and Siddhant Chaturvedi. She will also team with Vijay Deverakonda for Puri Jagannadh’s as-yet untitled multilingual film

Last year, she launched an initiative named ‘So Positive’ to create awareness about social media bullying, prevent negativity and build a positive community. At the 2019 Economic Times Awards, the project was named the Best Initiative of the Year

Here are some snapshots from a recent telecon interview-

Can you give a glimpse of your background before everyone came to know you?

Ananya- I was a shy girl basically. My sister is the naughty brat. Because i hail from a film family, because of my Papa, while in school only, i developed interest for acting. I used to follow Aishwarya Rai a lot (Gigges)

How are you as a person off camera? Give us a glimpse of your personal life for our readers (favourite food, hobbies, etc)

Ananya- (Laughs) I love baking cakes. And whenever that happens, me and my sister fight over who’s going to have more. I am crazy about Bollywood music, I play them all the time. I love Disney movies too. Lion King being my favourite. I am a damn good bathroom singer too (laughs)

Tell us about your acting process, How do you prepare for a role in general? Are you a methodical actor or a spontaneous one?

Ananya- Yeh sawal ka jawab toh Papa de payenge ( chuckles). Well, I am yet to evolve as a spontaneous actor. I really have to work hard. My Papa helps me a lot. And in the two movies I have acted so far, my co-actors supported me very much, especially Kartik Aaryan.

Your biggest inspiration?

Ananya- Dadi. She is 81 years old, still gets up early in the morning, goes out for work too, and remains active till 9 PM at night. She’s a doctor. I think thats amazing.

What are the five things you surely carry when you move out of your house?

Ananya- Hmm. My mobile phone for sure, my favourite deo, lipstick as per colour of the day, my credit cards (laughs) and of course something to munch.

What are your favourite films?

Ananya- Kabhi khushi kabhi gam, Kal Ho na Ho, kuch kuch hota hai.. and of course Student of the Year 2. Basically all Dharma production films (chuckles)

What’s your favourite colour?

Ananya- PINK for sure. I am the Pink girl (laughs).

What is your style statement?

Ananya- Its super chill, very casual and clothes and make me comfortable. I hate flashy, dark cokoured heavy clothing.

Your favourite song?

Ananya- Pretty Woman from the movie Kal Ho na Ho. I think its written for me. (blushes!)

Who’s you latest celebrity crush?

Ananya- Varun (Varun Dhawan)..(chuckles) Everyone knows that.

What irritates you the most?

Ananya- Late comers. I am very particular about time, and i get very hassled if people are late,

Your thoughts about Autograph collection as a hobby.

Ananya- I remember the first autograph I signed (chuckles). It was on the first day of the shoot for Student of the Year 2. Otherwise, fans and people whom I meet during parties, film premiers, social gatherings, events etc. mostly try to take selfie / groupfie photos with me. Autographs bahut kam log mangte hain. Yes, I remember, whwn I was a kid, Papa used to sign lots of autographs for fans.

Any special message to your fans?

Ananya- Just chill. Stay cool, stay simple. And during these coronavirus days, stay safe. And try try to help the poor.

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[bollywoodproduct]

Lyrics Dil To Hai Dil

Lyrics Dil To Hai Dil

Dil To Hai Dil-Song contents: Lyrics in English Hindi Lyrics YouTube Video Song Trivia More Lyrics in English | Dil To Hai Dil | Muqaddar Ka Sikandar (1978) | Rakhee, Amitabh Bachchan, Vinod Khanna | Lata Mangeshkar Aa…Aa…Aa…Aa… Dil To Hai DilDil Ka AitbaarKya KeejeDil To Hai DilDil Ka AitbaarKya Keeje Aa Gaya JoKisi Pe PyarKya KeejeAa Gaya JoKisi Pe PyarKya Keeje Dil To Hai DilDil Ka…

[shankarjaikishanfansassnintl]

51 fascinating facts about Bollywood from the age of Classic Cinema

resented by Chandrakant Pednekar

Perhaps you’ve heard some of these before, perhaps not. We’ve found some really interesting facts about Bollywood since the very beginning, for your nostalgic pleasure.1. THE GOLDEN AGE OF INDIAN CINEMA DAWNED IN 1947 WITH INDIAN INDEPENDENCE. THE PERIOD BETWEEN 1947 AND 1961 IS CALLED ‘THE GOLDEN AGE’ BECAUSE IT USHERED IN NEW IDEAS AND VALUES WITHOUT IGNORING THE BASIC CHARACTERISTICS OF INDIAN CINEMA, A SPLENDID COMBINATION OF THE OLD AND NEW, WHICH ALSO PASSED INTO THE 21ST CENTURY AND HAS CONTINUES TO THIS DAY.2. More and more films began to be made with every passing year. In the process, landmark moments and films began to be created and linked with those years. 1949 was one such revolutionary year that gave rise to several landmark films. The topmost among them being Andaz (1949), the first big-budget love triangle starring Dilip Kumar, Raj Kapoor and Nargis.3. Mahal directed by Kamal Amrohi and released in 1949 was the first suspense thriller made in India. Originally planned with singer/actress Suraiya, the film finally went to Madhubala who became a star with the haunting song ‘Aayega aayega aayega anewala aayega…’, along with its playback singer Lata Mangeshkar. Lata reinforced her position in 1949 with R.K Films – ‘Barsaat’, which revolutionized the world of film music with the entry of the musical duo – Shankar Jaikishan.4. Mohd. Rafi emerged as a prominent male playback singer in 1949 with another Madhubala starrer Dulari with the hit number “Suhani raat dhal chuki…”. The last year of 1940s proved to be a watershed year for film music, as it prominently gave rise to the playback system wherein professional singers sang for the actors on screen who just had to move their lips without worrying about the ‘sur’ and ‘taal’ of the songs.5. Raj Kapoor’s Awara (1951) not only signaled a change in the grammar of film-making but also brought India prominently on the world map. He grabbed the script of Awara from under the nose of the legendary Mehboob Khan and launched it on a big scale. With “Ghar aaya mera pardesi…” shot on a massive set, Awara became the mother of all dream-sequences.6. Bimal Roy started his career in Calcutta and introduced Bengali Literature to Hindi Cinema and transformed the latter in many ways. Greatly influenced by the neo-realist Italian films and other post-war films he saw at India’s first international film festival in 1952, Bimal Roy’s Do Bigha Zameen (1953) remains a landmark film that has influenced several films including Lagaan (2001). One can find echoes of “Hariyala sawan shol bajata aaya…” from Do Bigha Zameen in “Ghanan ghanan ghir aayee…” from Lagaan.7. Debonair Dev Anand used to model himself on the lines of famous Hollywood star, Gregory Peck. During the making of Taxi Driver (1954), Dev Anand proposed marriage to his heroine, Kalpana Kartik. Both walked across to the registrar of marriages during a shooting break. Both signed the register and came back to resume work. Hardly anybody was aware that they were now husband and wife. Kalpana Kartik decided to quit films after marriage but not before doing 2 more films with her husband Dev – House No. 44 (1955) and Nau Do Gyarah (1957).8. Saratchandra’s Devdas has always been a favourite with film makers. The silent version was made in 1927 by Naresh Mitra with Phani Burma in the lead. P.C.Barua made it in 1935 with himself in the Bengali version and with K.L.Saigal in the Hindi version. Bimal Roy directed his version with Dilip Kumar in 1955 while Sanjay Leela Bhansali had his own interpretation of the novel in 2002 with Shahrukh Khan.9. Chandramukhi’s role in Bimal Roy’s Devdas (1955) was rejected by Nargis, Bina Rai and Suraiya. Vyjayanthimala, who finally did the role refused to accept Filmfare’s Best Supporting Actress Award for Devdas, stating that her role was as important as Paro’s. Years later, Reena Roy too, rejected Filmfare’s Best Supporting Actress trophy for Apnapan (1978), citing that her role was leading and not supporting.10. Truly Chaplin in form, content and treatment, Raj Kapoor’s Shree 420 (1955) remains his most socially significant comedy to date. It was a tremendous hit in India and overseas, especially in Russia, Egypt, Middle-East etc. “Ichak dana…” and “Mera joota hai japani…’ were rewritten in the languages of various countries and sung as local songs.11. V. Shantaram’s Do Aankhen Barah Haath (1957) was inspired by the story of an ‘Open Prison’ experiment in Satara. The film portrays a young jail warden, Adinath, who rehabilitates six deadly prisoners released on parole into persons of virtue. During the shooting of the film, V. Shantaram battled with a bull and hurt his eyes and affected his vision. During the period of temporary blindness, he visualized some unseen colours of life which resulted into the making of his colourful Navrang (1959).12. Dilip Kumar initially refused to be part of Naya Daur (1957) but then, his friend Ashok Kumar, who heard and loved the story, convinced him to accept it. Madhubala was the female lead in this movie but when B.R. Chopra decided to shoot the movie in Bhopal, Madhubala’s father, Ataullah Khan, refused to let her go citing personal reasons. Finally, Madhubala had to be replaced with Vyjayantimala who entered a new phase of her career with the super hit – Naya Daur.13. Guru Dutt wanted Dilip Kumar to play the leading role in Pyaasa (1957). The Tragedy King declined because he thought this role was similar to his Devdas (1955). So, Guru Dutt himself decided to play the role. Similarly, Madhubala and Nargis were his first choices for the leading ladies, which were eventually played by Mala Sinha and Waheeda Rehman. Pyaasa went on to become a cult film in the history of Indian cinema.14. Mehboob Khan’s Mother India (1957), was the colour remake of his own Aurat (1940) which featured his wife Sardar Akhtar. Aurat was inspired from Pearl S. Buck’s novel “The Mother”. Nargis got the role of her lifetime in Mother India which fetched her the Best Actress Award at the Karlovy Vary festival. Mother India was nominated for the Oscar as the best foreign film but it lost to Fellini’s Nights of Caberia (1957) by a single vote.15. Kishore Kumar apparently made Chalti Ka Nam Gaadi (1958), hoping it would fail commercially. He wanted to show losses in his income, to avoid paying a huge tax to the authorities. So he made two films – Lukochuri (Bengali) and Chalti Ka Nam Gaadi, and waited eagerly for them to collapse. However, both went on to become box-office successes. Kumar was so disgusted with this that he gifted Chalti Ka Nam Gaadi and all its rights to his secretary Anoop Sharma, who retained the copyright.16. Anari (1959), directed by Hrishikesh Mukherjee, brought together the sublimity of Raj Kapoor’s pairing with the timeless Nutan, celebrating the rich-poor divide through a story that saluted Raj Kapoor’s own Shree 420 (1955). Incidentally, Raj Kapoor’s brother Shashi Kapoor also starred in a film called Anari directed by Asit Sen in 1975. Later, Raj Kapoor’s grand-daughter Karisma Kapoor did another Anari in 1993 with the southern star Venkatesh.17. India’s first CinemaScope film Kaagaz Ke Phool (1959) was directed by Guru Dutt who also played the lead in the film. Apparently, Guru Dutt was so upset by the poor (box office) response to his film, that he thereafter never took credit as ‘Director’ for any of his later films such as Chaudhvin Ka Chand (1960), or Sahib, Bibi aur Ghulam (1962) even though they retain the unmistakable stamp of his direction. Though Kaagaz Ke Phool was a disaster in its time, it was later resurrected as a cult classic.18. Hrishikesh Mukherjee’s Anuradha (1960) was a movie much ahead of its time and featured debutante Leela Naidu in the title role with Balraj Sahani. A relative of the national leader Sarojini Naidu, Leela Naidu, was crowned Femina Miss India in 1954, and was featured in Vogue along with Maharani Gayatri Devi in the list of ‘World’s Ten Most Beautiful Women’. The film’s classical-based music was composed by Sitar maestro Pt. Ravi Shankar.19. K. Asif’s Mughal – E – Azam (1960) was actually planned in the 1940s. The political tensions surrounding India’s partition and independence in 1947 stalled the film’s production. Shortly after The Partition, financer Shiraz Ali migrated to Pakistan, leaving Asif without finance. Subsequently, the film’s lead Chandramohan suffered a heart attack and died in 1949. Ali had previously suggested the name of business tycoon Shapoorji Pallonji for financing the film. Pallonji did not know anything regarding the production of films, but he took a keen interest in the project and agreed to produce it due to his strong interest in Akbar’s history. Thus, began the saga of the magnum opus – Mughal–E–Azam!20. The Song “Pyar kiya to darna kiya…”, from Mughal – E – Azam (1960) has an unusual history to it. Naushad rejected 2 sets of lyrics made by Badayuni. Late in the night, Naushad remembered a folk song from Eastern Uttar Pradesh with the lyrics going as “Prem kiya, kya chori kari hai…”. The song was converted into a ghazal and subsequently recorded. As there was no technology to provide for the reverberation of sound heard in the song, Naushad had Lata Mangeshkar sing the song in a studio bathroom.21. A female-centric movie, based on a Bengali novel by Jarasandha, Bandini (1963) is the last directorial venture of Bimal Roy, a master of realism and regarded by many as his crowning achievement. Bimal Roy persuaded Nutan, who had given a magnificent performance in his Sujata (1959), to come out of her post-nuptial retirement and play the strictly raised, poetry-loving village girl, ‘Kalyani’. He convinced her to do Bandini, which went on to sweep all the top awards then, and is still considered a landmark movie of all time.22. Dosti (1964), a non star-cast film directed by Satyen Bose was made under the Rajshri banner and was biggest surprise hit of the year. The film focuses on the friendship between two boys, one blind and the other a cripple. Despite being released with Sangam, a blockbuster hit, Dosti was amongst the top ten grossers of 1964. It stands as a landmark in the career of Laxmikant-Pyarelal as this won them their first Filmfare Award and also made them popular in the film industry. Incidentally, R. D. Burman has played the harmonica throughout the film, which Ramu (one of the characters) plays throughout the film.23. Initially, Dilip Kumar was approached by Raj Kapoor to play the role of ‘Gopal Verma’ in Sangam (1964). Dilip Kumar agreed to play either one of the two male roles, with the condition that he was given the right to edit the final copy of the film. Since Raj Kapoor could not accept Dilip Kumar’s condition, he then approached Dev Anand for the role. The latter also declined the role citing date problems which ultimately went to Rajendra Kumar. Sangam ranked as the second highest grossing film of the decade.24. Brij Katyal’s script for Jab Jab Phool Khile (1965) was turned down by three top Producers. However, Director Suraj Prakash felt it was a beautiful story and accepted it, which went on to become his greatest hit. To prepare for his role as ‘Raja’, Shashi Kapoor would spend days with the boatmen in Kashmir to study their lifestyle. Sometimes, he would have meals with them. The original climax from the script had Raj beating up the bad guys. However, Suraj Prakash rejected it, and after watching Love in the Afternoon (1957), settled with Rita (Nanda) leaving everything behind to go back to Kashmir with Raja. Incidentally, Jab Jab Phool Khile (1965) got remade 3 decades later as Raja Hindustani (1996).25. B.R. CHOPRA HAD ORIGINALLY PLANNED WAQT (1965) WITH PRITHVIRAJ KAPOOR AND HIS THREE SONS, RAJ KAPOOR, SHAMMI KAPOOR AND SHASHI KAPOOR. EVENTUALLY, ONLY SHASHI KAPOOR WAS CAST, ALONG WITH RAJ KUMAR & SUNIL DUTT AS HIS ELDER BROTHERS, WHILE BALRAJ SAHANI PLAYED THE FATHER. WAQT PIONEERED THE IDEA OF A MULTI-STAR CAST IN INDIAN CINEMA AND RE-INTRODUCED THE LOST AND REUNITE FORMULA, ORIGINALLY MADE POPULAR IN KISMET (1943). WAQT ALSO SHOWCASES SOME OF THE TOP DIALOGUES SPOKEN BY RAAJ KUMAR LIKE “JINKE APNE GHAR SHEESHAY KE HON, WOH DOOSRON PAR PATTHAR NAHI PHENKA KARTE” AND “JAANI, YEH BACHCHON KE KHELNE KI CHEEZ NAHI, HAATH KAT JAYE TOH KHOON NIKAL AATA HAI”.26. Guide (1965) was made in two versions – an English version in collaboration with Pearl S. Buck and directed by Ted Danielewski and the Hindi version directed by Dev Anand’s younger brother Vijay Anand. It had never happened anywhere in the annals of cinema that the same story was filmed twice from two different perspectives with the same actor, one immediately after the other. Another striking feature about Guide is the Song ‘Kaaton se kheench ke ye aanchal…’ which begins from the ‘Antara’ instead of the ‘Mukhda’, a rare innovation unlike most Hindustani compositions.27. Teesri Manzil (1966) produced by Nasir Hussain & directed by Vijay Anand was originally planned with Dev Anand in the lead. Due to some reasons he could not do it & Shammi Kapoor replaced him in the film. However, Shammi Kapoor was not happy with Nasir Hussain’s choice of the music Director, R. D. Burman. He wanted Shankar Jaikishan to score the music but agreed to give Pancham a hearing. A nervous Pancham was ready with all the six tunes. The moment he heard Pancham sing “O Haseena Zulfonwali” and “Aaja Aaja Main Hoon Pyar Tera”, he jumped out of sheer joy & gave his approval for Teesri Manzil that soon revolutionised the world of Hindi Film Music.28. AROUND THE WORLD (1967) WAS INDIA’S FIRST FILM TO BE RELEASED IN 70 MM AND WAS EXTENSIVELY SHOT ALL AROUND THE WORLD. THE MAJOR OF THE FILM WAS SHOT ON A CRUISE SHIP. IT FEATURED RAJ KAPOOR AS AN INDIAN WHO TRAVELED AROUND THE WORLD IN 8 DOLLARS. V.SHANTARAM’S DAUGHTER RAJSHREE PLAYED THE ROMANTIC LEAD IN THE FILM. SHE MET HER FUTURE HUSBAND, AMERICAN STUDENT GREG CHAPMAN IN AMERICA DURING THE SHOOTING OF AROUND THE WORLD AND MARRIED HIM AS PER HINDU MARRIAGE RITUALS THAT LASTED 5 DAYS AND WAS ATTENDED BY 15,000 GUESTS.29. JEWEL THIEF (1967), WILL ALWAYS BE REMEMBERED AS ONE OF THE BEST CRIME THRILLERS OF INDIAN CINEMA. WHILE DEV ANAND AND ASHOK KUMAR VIED WITH EACH OTHER FOR THE TITLE OF JEWEL THIEF, THE GIRLS DID TOO. VYJAYANTHIMALA WAS ROPED IN TO PLAY THE MAIN HEROINE AS SAIRA BANU, THE ORIGINAL CHOICE COULD NOT DO THE FILM BECAUSE OF HER MARRIAGE WITH DILIP KUMAR. THE FILM ALSO FEATURED FOUR BOND GIRL-LIKE ACTRESSES PORTRAYED BY TANUJA, HELEN, FARYAL AND ANJU MAHENDRU. A SEQUEL OF JEWEL THIEF WAS RELEASED IN 1996, NAMED RETURN OF JEWEL THIEF WITH DEV ANAND AND ASHOK KUMAR PLAYING THEIR ORIGINAL ROLES.30. Prime Minister Lal Bahadur Shastri praised his earlier film Shaheed (1965) and enthused Manoj Kumar to make a film on the ‘Jai Jawaan Jai Kissan’ slogan. The slogan helped Manoj Kumar’s official debut as a Director for Upkar (1967), where he believably played both a Jawan and a Kisan. A huge hit, Upkar made Manoj Kumar an authority on screen patriotism. Manoj Kumar started his Mr. Bharat persona and his brand of patriotism & fearless courage with this film. The script for Upkar (1967) was written in less than 24 hours on the train journey between Delhi and Mumbai.31. THE TRAGEDY KING DILIP KUMAR HAD TO TAKE PSYCHIATRIC ADVICE AFTER PLAYING MELANCHOLIC ROLES LIKE DEVDAS (1955). IT WAS SUGGESTED THAT HE PLAY ROLES WITH LIGHTER SHADES AND THE RESULT WAS AZAAD (1955) & KOHINOOR (1960). AN OPPORTUNITY TO PLAY LIGHTER ROLES AGAIN AROSE FOR HIM WITH RAM AUR SHYAM (1967), WHEREIN DILIP KUMAR PLAYED A DOUBLE ROLE. INTERESTINGLY, VYJAYANTHIMALA, WHO WAS TO PLAY ONE OF THE HEROINES, WAS REPLACED WITH WAHEEDA REHMAN. MALA SINHA, WHO WAS APPROACHED FOR THE OTHER LEAD, REJECTED IT PAVING THE WAY FOR MUMTAZ, WHO ROSE TO THE TOP LEAGUE AFTER DOING RAM AUR SHYAM.32. WHILE REHEARSING FOR ‘BABUL KI DUAYEN…’ FROM NEEL KAMAL (1968), RAFI SAAB WAS CONTINUOUSLY CRYING. THE MUSIC DIRECTOR RAVI WAS PUZZLED AND WENT TO MR. HAMID, (MOHD. RAFI’S BROTHER IN LAW AND SECRETARY) & ASKED HIM THE REASON FOR HIS OUTBURST. HAMID SAAB REVEALED THAT JUST A DAY BEFORE, HIS DAUGHTER HAD GOT ENGAGED AND RAFI SAAB BECAME EMOTIONAL AS THE SONG ALSO SUITED THE REAL LIFE SITUATION. THIS INSPIRATIONAL SONG WENT ON TO WIN A NATIONAL AWARD FOR MOHD. RAFI.33. KISHORE KUMAR’S PERFORMANCE IN PADOSAN (1968) WHERE HE BECOMES SUNIL DUTT’S VOICE TO WOO SAIRA BANU WAS A PRECURSOR TO HIS BECOMING A FULL-TIME PLAYBACK SINGER. THE VERY NEXT YEAR, SHAKTI SAMANTA OFFERED HIM TO SING FOR NEWCOMER RAJESH KHANNA IN ARADHANA (1969) AND THE REST IS HISTORY. BEFORE, ARADHANA, KISHORE KUMAR HAD ONLY SUNG FOR HIMSELF AND OCCASIONALLY FOR DEV ANAND, WITH THE EXCEPTION OF PADOSAN, AS THE STORY DEMANDED IT. ARADHANA WAS A MUSICAL BLOCKBUSTER AND KISHORE KUMAR WAS HERE TO STAY, IN THE NEW ROLE OF A PLAYBACK SINGER, RIGHT UNTIL HIS DEATH IN OCTOBER 1987.34. While recording the soundtrack of the film Aradhana (1969), S.D.Burman took ill after composing the two Rafi duets. The responsibility of finishing the soundtrack fell on his son R.D. Burman, who took charge and decided to use Kishore Kumar to record the solos, as Rafi was away on a tour abroad. The sizzling song from Aradhana – “Roop tera mastana…” – made Bollywood history as the first song picturised in one shot without a single cut. Aradhana went on to win Filmfare’s best film award while Sharmila Tagore won her first Best Actress trophy.35. DO RAASTE (1969), A FILM DIRECTED BY RAJ KHOSLA, EMPHASIZES THE SANCTITY OF THE JOINT FAMILY AND THE SUPREMACY OF RELATIONS THAT ARE STRONGER THAN TIES OF BLOOD. RAJESH KHANNA APPEARED UNSHAVEN THROUGHOUT THIS MOVIE BECAUSE HE WAS SIMULTANEOUSLY SHOOTING FOR ITTEFAQ (1969) WHICH REQUIRED HIM TO BE UNSHAVEN. RAJESH KHANNA CREATED HAVOC AT THE BOX OFFICE WITH ARADHANA AND DO RAASTE. WHAT’S MORE IN BOMBAY, THE TWO FILMS HAD THEIR MAIN THEATRES RIGHT ACROSS THE ROAD FROM ONE ANOTHER, ARADHANA AT OPERA HOUSE AND DO RAASTE AT ROXY.36. THE CHARACTER OF ANAND (1970) WAS INSPIRED BY RAJ KAPOOR, WHO USED TO ADDRESS HRISHIKESH MUKHERJEE AS “BABU MOSHAY”. HRISHIDA INFORMED WRITER GULZAR TO OPEN THE MOVIE IN SUCH A WAY THAT THE AUDIENCE KNOWS IN THE FIRST SCENE ITSELF THAT ‘ANAND’ (RAJESH KHANNA) IS DEAD. HE DID NOT WANT THE AUDIENCE TO BE IN A STATE OF SUSPENSE TILL THE END AND KEEP GUESSING WHETHER ‘ANAND’ WILL SURVIVE OR NOT. BY DOING THAT HRISHIKESH MUKHERJEE WANTED TO CONCENTRATE ON HOW ‘ANAND’ WANTS TO LIVE LIFE TO THE FULLEST AND MAKE THE BEST OF THE TIME HE HAS. THE MOVIE WENT ON TO BECOME A ‘SUPER HIT’ AND MADE THE CHARACTER OF ‘ANAND’, IMMORTAL.37. JOHNY MERA NAAM (1970) DIRECTED BY VIJAY ANAND IS CONSIDERED A DEV ANAND CLASSIC. IT ALSO BECAME DREAM-GIRL HEMA MALINI’S FIRST SUPERHIT. THOUGH THE MOVIE DEALT WITH THE SIMPLE “LOST AND FOUND” THEME, WHAT STOOD APART WAS ITS BRILLIANT TREATMENT BY DIRECTOR VIJAY ANAND. VARIOUS TRACKS WERE INTELLIGENTLY INTEGRATED IN THE MOVIE INCLUDING THE TRIPLE ROLES OF COMEDIAN I.S. JOHAR. THE SONG “HUSN KE LAKHON RANG…” PICTURISED ON PADMA KHANNA WAS CONSIDERED SO BOLD THAT IT FACED A LOT OF CENSOR PROBLEMS. THE FILM WENT ON TO BECOME A CULT MOVIE, AND THE HIGHEST GROSSER OF 1970.38. MERA NAAM JOKER (1970) IS THE SECOND HINDI FILM TO HAVE TWO INTERVALS, THE FIRST ONE BEING SANGAM (1964). THE MAGNUM OPUS OF RAJ KAPOOR, MERA NAAM JOKER WAS DIVIDED INTO 3 CHAPTERS, EACH DEPICTING A DIFFERENT PHASE IN A JOKER’S LIFE, PLAYED BY RAJ KAPOOR. SIX YEARS IN THE MAKING, MERA NAAM JOKER TURNED OUT TO BE MUCH AHEAD OF ITS TIME WAS NOT A COMMERCIAL SUCCESS. HOWEVER, IT ACQUIRED CULT STATUS LATER AND IT IS NOW REGARDED AS A LANDMARK FILM OF INDIAN CINEMA.39. FROM ITS OPENING MONTAGE OF A YOUNG VILLAGE GIRL, WATCHING HER INDIFFERENT HUSBAND BRING HOME ANOTHER WIFE, TO THE FINAL MOMENTS, WHEN THE WOMAN IN HER TWILIGHT YEARS, IS TAKEN AWAY BY HER FOSTER-SON AMONGST THE FESTIVITIES OF DURGA PUJA, SHAKTI SAMANTA’S AMAR PREM (1971) IS A GLORIOUS HOMAGE TO WOMANHOOD. A MASTERPIECE DEALING WITH 2 PARALLEL TRACKS, ONE OF THE PLATONIC RELATIONSHIP THAT PUSHPA (SHARMILA TAGORE) SHARES WITH ANAND BABU (RAJESH KHANNA) AND THE OTHER OF PUSHPA’S RELATIONSHIP WITH A MOTHERLESS CHILD, AMAR AND PREM, TOUCHED THE EMOTIONAL CHORDS OF THE AUDIENCE TO THE FULLEST. IT IS STILL REMEMBERED FOR R.D.BURMAN’S MELODIOUS MUSIC AS MUCH AS IT IS REMEMBERED FOR RAJESH KHANNA’S FAMOUS DIALOGUE “PUSHPA, I HATE TEARS”.40. THE STORY FOR HARE RAMA HARE KRISHNA (1971) ACTUALLY CAME TO DEV ANAND’S MIND WHEN HE SAW HIPPIES AND THEIR FALLEN VALUES IN KATHMANDU, NEPAL. HE WANTED TO CAST MUMTAZ AS HIS NEPALI GIRLFRIEND AND ZAHEEDA, HIS CO-STAR OF PREM PUJARI, IN THE SISTER’S ROLE. ZAHEEDA DECLINED AND INSISTED ON PLAYING MUMTAZ’S PART. SHE ULTIMATELY LOST THE ROLE TO SENSUOUS ZEENAT AMAN WHO HIT BIG TIME WITH THIS FILM. THIS MUSICAL FAMILY DRAMA HAS AN ANTI-DRUG MESSAGE AND ALSO DEPICTS PROBLEMS ASSOCIATED WITH WESTERNIZATION SUCH AS DIVORCE AND ALIENATION.41. KAMAL AMROHI’S PAKEEZAH WAS LAUNCHED IN 1958 BUT TOOK 14 YEARS TO COMPLETE. IT WAS LAUNCHED IN BLACK-AND-WHITE, BUT WHEN COLOUR CAME IN VOGUE, AMROHI SCRAPPED THE PORTIONS ALREADY SHOT AND DECIDED TO START AGAIN. LATER, CINEMASCOPE CAME INTO VOGUE, AND AMROHI ACQUIRED A CINEMASCOPE LENS FROM MGM AND SCRAPPED THE PLAIN COLOUR PORTIONS TOO. FINALLY, IT WAS RELEASED IN 1972, JUST A FEW WEEKS BEFORE MEENA KUMARI’S DEATH. THE FILM HAD A SLOW START AT THE BOX-OFFICE BUT WENT ON TO BECOME A MAJOR HIT AS IT TURNED OUT TO BE THE SWAN SONG OF THE LEGENDARY MEENA KUMARI. LATE GHULAM MOHAMMED’S MUSIC IN PAKEEZAH CAUGHT THE FANCY OF THE ENTIRE NATION.42. SEETA AUR GEETA (1972) WAS THE FEMALE VERSION OF RAM AUR SHYAM (1967) BUT WITH A DIFFERENCE. DIRECTOR RAMESH SIPPY HAD HIS OWN UNIQUE INTERPRETATION OF IDENTICAL TWINS WHICH HE PRESENTED TO THE AUDIENCE INTERESTINGLY. INITIALLY, MUMTAZ WAS OFFERED THE DOUBLE ROLES OF ‘SEETA’ AND ‘GEETA’ BUT SHE COULD NOT DO THE FILM. SO IT WAS OFFERED TO HEMA MALINI WHO LAPPED UP THE OPPORTUNITY AND ZOOMED TO THE TOP SPOT WITH ITS GRAND SUCCESS. IT NOT ONLY EARNED HER THE FIRST FILMFARE AWARD BUT TILL DATE REMAINS THE BEST FILM OF HER CAREER.43. BOBBY (1973) A FILM DIRECTED BY RAJ KAPOOR WAS VERY POPULAR AND WIDELY IMITATED. IT ALSO REPRESENTED THE FILM DÉBUT FOR DIMPLE KAPADIA AND THE FIRST LEADING ROLE FOR RAJ KAPOOR’S SON, RISHI KAPOOR. THE MOVIE IS KNOWN TO BE A TREND-SETTER IN ITS OWN RIGHT WHICH INTRODUCED THE GENRE OF TEENAGE ROMANCE WITH A RICH-VS-POOR CLASH AS A BACKDROP. THE FILM BECAME A BLOCKBUSTER AND WAS THE TOP GROSSER OF 1973. INCIDENTALLY, DIMPLE KAPADIA MARRIED SUPERSTAR RAJESH KHANNA BEFORE THE RELEASE OF BOBBY AND WAVED GOOD-BYE TO FILMS FOR ALMOST A DECADE.44. YASH CHOPRA BRANCHED OUT FROM HIS BROTHER B.R. CHOPRA’S PRODUCTION HOUSE, B.R. FILMS TO START HIS OWN COMPANY YASH RAJ FILMS IN 1973 AND LAUNCHED DAAG: A POEM OF LOVE. HE SIGNED THE REIGNING SUPERSTAR RAJESH KHANNA ALONG WITH THE BENGAL TIGERESS- SHARMILA TAGORE AND RAKHEE. A LOVE TRIANGLE WITH A DIFFERENCE DAAG: A POEM OF LOVE SHOWCASED THE INTRICACIES OF HUMAN RELATIONSHIPS WHICH WERE TO BECOME YASH CHOPRA’S FORTE IN SUBSEQUENT FILMS. AN ADAPTATION OF THE NOVEL “THE MAYOR OF CASTERBRIDGE”, THE FILM ALSO HAD INTERESTING SITUATIONS FOR LAXMIKANT- PYARELAL’S SUPERHIT MUSIC.45. JUST AS THE ESTABLISHED FILM-MAKER RAJ KAPOOR ADOPTED A MODERN APPROACH FOR BOBBY (1973), SO ALSO NASIR HUSSAIN, THE MAKER OF MUSICAL LOVE STORIES DID AN ABOUT TURN WITH THE MULTI-STARRER LOST-AND-FOUND DRAMA, YAADON KI BAARAT (1973). DESPITE, ITS ACTION ORIENTED THEME, THIS MOVIE IS STILL REMEMBERED FOR ITS UNFORGETTABLE MUSIC BY R. D. BURMAN, ESPECIALLY THE EVERGREEN ROMANTIC “CHURA LIYA HAI…” WHICH IS STILL THE MOST FAVOURITE SONG OF THE REMIX ARTISTES. THIS MOVIE ALSO FEATURES AAMIR KHAN IN THE TITLE SONG AS THE YOUNGEST KID.46. AMITABH WAS THE FIFTH CHOICE AFTER DEV ANAND, RAJ KUMAR, DHARMENDRA AND RAJESH KHANNA FOR THE LEAD ROLE IN ZANJEER (1973). DEV WANTED THE ACTOR TO BE ALLOWED TO SING A COUPLE OF SONGS AND ASKED PRAKASH TO DIRECT UNDER HIS NAVKETAN BANNER. DHARMENDRA COULD NOT FIT INTO SCHEDULE. RAJESH FEARED THE ROLE MIGHT TELL UPON HIS ROMANTIC IMAGE. IT WAS PRAN WHO SUGGESTED MEHRA TO SEE BOMBAY TO GOA (1972). THE FILM HAD A FIGHT SCENE, AND THE MOMENT PRAKASH SAW THE FIGHT SCENE, HE SCREAMED “MIL GAYA!!”. THE MOVIE CHANGED THE TREND FROM ROMANTIC FILMS TO ACTION FILMS AND PIONEERED AMITABH’S NEW IMAGE OF A BROODING YET EXPLOSIVE PERSON WHO FIGHTS BACK WHEN CORNERED.47. AFTER ZANJEER (1973) WAS DECLARED A HIT, AMITABH AND JAYA GOT MARRIED. BY THE TIME, THE CRITICALLY ACCLAIMED ABHIMAAN (1973) RELEASED, THE REEL-LIFE COUPLE HAD BECOME HUSBAND AND WIFE IN REAL LIFE TOO. ABHIMAAN (1973), DIRECTED BY HRISHIKESH MUKHERJEE WAS ORIGINALLY NAMED AS RAAG RAGINI. ABHIMAAN WAS EVEN POPULAR IN SRI LANKA AND WAS SCREENED CONTINUOUSLY FOR TWO YEARS IN THE SAME MOVIE THEATER, NEW OLYMPIA, COLOMBO.48. THE FILM NAYA DIN NAYI RAAT (1974) WAS KNOWN FOR SANJEEV KUMAR’S NINE-ROLE EPIC PERFORMANCE, WHICH WAS EARLIER PLAYED BY SIVAJI GANESAN IN NAVARATHIRI (1964)(TAMIL) AND BY AKKINENI NAGESWARA RAO IN NAVARATHRI (1966)(TELUGU). THIS FILM HAD ENHANCED SANJEEV KUMAR’S STATUS AND REPUTATION AS AN ACTOR IN HINDI CINEMA. YEARS LATER, KAMAL HAASAN APPEARED IN TEN DISTINCT ROLES IN DASAVATHAARAM (2008), MAKING IT THE FIRST TIME THAT AN ACTOR HAS APPEARED IN SO MANY ROLES IN WORLD CINEMA. A YEAR LATER, THIS RECORD WAS BROKEN BY PRIYANKA CHOPRA, WHEN SHE ESSAYED TWELVE DIFFERENT CHARACTERS IN WHATS’S YOUR RAASHEE? (2009), EACH CHARACTER, REPRESENTATIVE OF A ZODIAC SIGN.49. SHYAM BENEGAL IS RIGHTLY CALLED THE FATHER OF NEW WAVE CINEMA IN THE SEVENTIES. WHILE MRINAL SEN KICK-STARTED THE MOVEMENT IN 1969 WITH BHUVAN SHOME, BENEGAL PUT IT FIRMLY ON TRACKS WITH HIS DIRECTORIAL DEBUT ANKUR (1974). HE TOOK FORWARD THE FEUDAL FABLE OF SATYAJIT RAY’S PATHER PANCHALI (1955) OR BIMAL ROY’S DO BIGHA ZAMEEN (1953) IN HIS OWN STYLE. TILL THIS DAY, SHYAM BENEGAL HAS’NT STOPPED MAKING SOCIALLY RELEVANT FILMS THAT TOUCH A CHORD IN THE HUMAN HEART. SHABANA AZMI MADE HER DEBUT IN ANKUR IN A ROLE ORIGINALLY OFFERED TO VETERAN WAHEEDA REHMAN. HER PERFORMANCE WAS SO MESMERIZING THAT EVEN SATYAJIT RAY COMMENTED, “IN TWO HIGH-PITCHED SCENES SHE PULLS OUT ALL STOPS AND FIRMLY ESTABLISHES HERSELF AS ONE OF OUR FINEST DRAMATIC ACTRESSES.”50. WHILE UPKAR (1967) WAS INSPIRED BY LAL BAHADUR SHASTRI’S SLOGAN “JAI JAWAN JAI KISAN”, MANOJ KUMAR’S ROTI KAPDA AUR MAKAN (1974) WAS INSPIRED BY INDIRA GANDHI’S “GARIBI HATAO” SLOGAN. THE BASIC IDEA FOR THE FILM ALSO STEMMED FROM A RECITAL MANOJ KUMAR HAD HEARD AT A SCHOOL FUNCTION WHILE THE SCENE WHERE HE THROWS HIS DEGREE IN HIS FATHER’S FUNERAL PYRE WAS INSPIRED FROM A NEWSPAPER REPORT IN 1972. MANOJ KUMAR DEFTLY HANDLED THE ENSEMBLE CAST BALANCING THE STRONG SOCIAL UNDERCURRENTS WITH THE NECESSARY COMMERCIAL ELEMENTS. IT CONTINUES TO BE TOPICAL EVEN AFTER 38 YEARS OF ITS RELEASE.51. THE CHARACTER OF GABBAR SINGH IN THIS ACTION ADVENTURE FILM – SHOLAY (1975) WAS MODELED ON A REAL-LIFE DACOIT OF THE SAME NAME WHO MENACED THE VILLAGES AROUND GWALIOR IN THE 1950S. ANY POLICEMAN CAPTURED BY THE REAL GABBAR SINGH, HAD HIS EARS AND NOSE CUT OFF, AND WAS THEN RELEASED AS AN OBJECT LESSON TO OTHER POLICEMEN. INITIALLY, THE PRODUCERS APPROACHED DANNY DENZONGPA FOR THE ROLE OF THE BANDIT CHIEF, BUT HE WAS COMMITTED TO FEROZ KHAN’S DHARMATMA (1975), HENCE CHARACTER ACTOR JAYANT’S SON AMJAD KHAN WAS ROPED IN. HE PREPARED HIMSELF FOR THE PART BY READING A BOOK TITLED ‘ABAR ABHISHAPTA CHAMBAL’, WHICH TOLD OF THE EXPLOITS OF CHAMBAL DACOITS. AMJAD KHAN PLAYED THE ROLE SO CONVINCINGLY THAT HE MADE THE CHARACTER OF GABBAR SINGH IMMORTAL.

[popsixsquishcicerolipschitz]

Khaike Pan Banaraswala | Don | Amitabh Bachchan & Zeenat Aman | Top Hindi Bollywood Songs [HD]

Shemaroo Filmi Gaane

Movie: Don (1978) 

Song: Khaike Pan Banaraswala  Starcast: Amitabh Bachchan & Zeenat Aman  Singer: Kishore Kumar  Music Director: Kalayanji Anandji  Lyricist: Anjaan

[bollywoodirect]

Remembering Raj Khosla on his birth anniversary. Raj Khosla was one of the top directors in Hindi films from the 1950s to the 1980s. Raj Khosla was popular as a 'women's director' because he showcased actresses at their best capabilities. Khosla is that rare filmmaker in Hindi cinema who saddled different genres of films with equal ease while adding his own individual stamp to each of his films. He, along with Guru Dutt and Vijay Anand, was also responsible for song picturizations being taken to a new high in the Hindi cinema of the 1950s and 60s. Born on May 31, 1925, Khosla initially entered the film industry with hopes of making it as a playback singer. Struggling to make it as a singer, he joined Guru Dutt instead as an assistant director with Baazi (1951). In 1954, Khosla got his first break with Milap, starring Dev Anand and Geeta Bali. The film failed to create uproar but Khosla's second film produced for him by mentor Guru Dutt; C.I.D. (1956) propelled him into the big league. C.I.D. was a polished crime thriller that highlighted Raj Khosla's stylish shot taking and innovative song picturisation, something passed down from Guru Dutt. From here onwards even as he continued to make films, Raj Khosla altered his film's styles at times and added his own touch to each of the genres. Never wanting to play safe Raj Khosla made some films, which were widely different. Raj Khosla explored a variety of styles be it crime thrillers like C.I.D., Kala Pani, musicals like Ek Musafir Ek Hasina, suspense thrillers like Woh Kaun Thi?, Mera Saaya, Anita, melodramas like Do Badan, Do Raaste and dacoit dramas like Mera Gaon Mera Desh. Films like Prem Kahani (1975) featured the then hottest pair of the day Rajesh Khanna and Mumtaz and later another smash hit film Main Tulsi Tere Aangan Ki (1978) made Raj Khosla one of the most revered directors of Bollywood. Khosla was a director who understood women and their sentiments very well. Raj Khosla worked with eminent actors like Amitabh Bachchan, Zeenat Aman, and Shatrughan Sinha. Raj Khosla expired in 1991. The last years of this director were not much attached to the Film industry. Raj Khosla has been awarded the Filmfare Best Movie Award for 'Main Tulsi Tere Aangan Ki' in 1978.

[boogywoogy]

“Paraiso”—Harry Hosono and The Yellow Magic Band (1978)

Paraiso (1978) is an absolutely perfect--if bizzare--summer album. I have listened to it nearly every day this season, driving around in the suffocating Midwestern heat, wishing desperately I lived on the wonky island these tracks seem to narrate. This is the first record where Hosono worked with his future Yellow Magic Orchestra bandmates, Yukihiro Takahashi and Riyuichi Sakamoto, and they bring to it a truly spectacular chemistry and sense of humor that continued to permeate YMO’s entire career. The first track, “Tokyo Rush”, plunks you right into a ripping blues piano and harmonica riff (not to mention a honking clown horn) which results in a cartoony anthem perfect for driving your friends through the city on the way to the beach. It’s hard not to imagine a gorgeous cloudless day, with your feet up on the dash and the wind in your hair--a mood which pops up throughout this album’s inescapable sunniness (especially on tracks like the steel drum-heavy “Shimendoka” and the beachily syncopated “Worry Beads”). Hosono sings in both English and Japanese throuhgout the album, and on “Fujiyama Mama” comically falsettos his way through a swingin’ sixties-style duet with himself. 

For all its silliness, however, there’s an undeniable oddity to these songs that reveals itself the more you get to know them. This record is a remarkable blend of styles, characteristic of Hosono’s musical omnivorousness. He takes Western influences and runs with them, blending funk, jazz, folk, reggae and blues with distinctly Japanese musical tradition (more overt on tracks such as the traditional Okinawan song “Asatoya Yunta”). There is a tongue-in-cheek attitude to Paraiso, especially considering its release in the decade following the rise of the island fantasy sound of lounge exotica. On tracks such as “Femme Fatale”, Hosono distinctly nods to the lounge tradition, but with a twist--the tropical bird sounds in the background are overly compressed, hinting at a canned kind of paradise. On other tracks, however, he leans into real “island” music, flipping the appropriative exotica stereotype on its head. “Shambhala Signal” demonstrates Hosono’s pioneering electronica sound as applied to the ancient Indonesian tradition of Gamelan music, an influence that sticks with him and the rest of Yellow Magic Orchestra throughout their career. It’s interesting to note that this record marks the first time Hosono recorded a track with a synthesizer since he began his career in 1969, especially considering he was later known as a pioneer of electronica. (If you want more synths in the form of a groundbreaking and dissonant soundtrack to a non-existent Bollywood film, seek out Hosono’s subsequent record, Cochin Moon).

Only on the final title track does the record give in to the psychedelia bleeding at the edges of the album’s vision--but only for a minute. Soon, Harry Hosono and The Yellow Magic Band are back at the perfectly tropical pop that makes this record so indelibly listenable. This record’s wonkiness and odd melange of styles are nothing short of charming, and there is a subversive peculiarity to it that only grows the more you listen. It makes for a casually genius album that seems effortless in its inventiveness, and begs to be the soundtrack of your summer.

(A sample of the album-- “Femme Fatale”)