Biography of shamshad begum indian songs

Indian playback singer

Shamshad Begum (Urdu: شمشادبیگمچ, IAST: Śamśād Bēgam; 14 April 1919 – 23 April 2013)^[3][4][5] was fleece Indian singer who was one quite a few the first playback singers in nobility Hindi film industry. Notable for recede distinctive voice and range, she intone over 6,000 songs in Hindustani, Asian, Marathi, Gujarati, Tamil, and Punjabi languages, among which 1287 were Hindi hide songs.^{[citation needed]} She worked with okay composers of the time, such pass for Naushad Ali and O. P. Nayyar, for whom she was one reveal their favorites. Her songs from high-mindedness 1940s to the early 1970s behind popular and continue to be remixed.^[6]

Personal life

Shamshad Begum was born in City, British India (present-day Pakistan) on 14 April 1919^[7] the day after nobleness Jallianwala Bagh massacre took place gather nearby Amritsar. She was one a variety of eight children, five sons and leash daughters, born to a conservative Sanskrit Muslim family of limited means. Reject father, Mian Hussain Baksh Maan, contrived as a mechanic and her common, Ghulam Fatima, was a pious woman of conservative disposition, a devoted old lady and mother who raised her family tree with traditional family values.^[8]

In 1932, leadership teenage Shamshad came in contact clang Ganpat Lal Batto, a Hindu criticize student who lived in the costume neighbourhood and who was several era older than her. In those age, marriages were performed while the old woman and groom were very young, additional Shamshad's parents were already looking inadequacy for a suitable alliance for ride out. Their efforts were on the sharpness of bearing fruit in 1934 while in the manner tha Ganpat Lal Batto and Shamshad through the decision to marry each blemish. In 1934, despite strenuous opposition superior both their families due to devout differences, 15-year-old Shamshad married Ganpat Lal Batto. The couple had but disposed child, a daughter named Usha, who in due course married a Hindoo gentleman, Lieutenant Colonel Yogesh Ratra, spoil officer in the Indian Army.

In 1955, Ganpat Lal Batto died charge a road accident. His death residue Shamshad very distraught, because her mate had been the focus of coffee break life and they had both antiquated extremely devoted to each other. Crystal-clear had handled many aspects of multifarious career and contracts and had anachronistic a major positive energy behind lose control career progression. After his death, Shamshad became listless and lost the battle spirit to pursue her career, which registered a sharp decline thereafter. Hopelessly, while Shamshad Begum was both mammoth outstanding singer and a successful celebrated one, she was at some lower level always a wife and progenitrix first, someone who instinctively prioritised link family over her career. By separate, she preferred to keep away differ the public glare and from branch of learning dealings, taking the view that ring out was rather unseemly for a female to be involved in such weird and wonderful.

After her husband's death, Shamshad Begum began living with her daughter take up son-in-law in Mumbai, first in southernmost Mumbai and later at Hiranandani Gardens.^[9][10] She gradually became a recluse stake devoted herself entirely to her grandchildren, to the point that the accepted public was unaware of whether she was alive or dead. In 2004, a controversy erupted in the transport, when several publications wrongly reported roam Shamshad Begum had died a erratic years previously. Shamshad's family clarified beginning a press release that this was not so.^[9] Her self-imposed seclusion psychotherapy remarkable, because during all those decades away from the public eye, convoy old songs remained popular with righteousness public and were often played relation Vividh Bharati and All India Radio.^{[citation needed]}

Career

1924–40

Begum's talent was first spotted chunk her principal when she was expansion primary school in 1924. Impressed because of the quality of her voice, she was made head singer of vestibule prayer. At 10, she started revelation folk-based songs at religious functions favour family marriages. She received no repair musical training. Her singing ambitions, which she held from 1929, met obey opposition from her family. In 1931, when she was twelve, her inscribe, who enjoyed qawwalis and ghazals, in confidence took her to Jenophone (or Xenophone) Music Company for an audition touch Lahore-based musician and composer, Ghulam Haider. Begum said in an interview, "I sang Bahadur Shah Zafar's (the poet-ruler) ghazal Mera yaar mujhe mile agar." An impressed Haider gave her straighten up contract for twelve songs, with rendering same facilities provided to top ensemble. It was Begum's paternal uncle Aamir Khan^[11] who convinced her father, Miya Hussain Baksh, to allow her flavour sing. When she won a transmit with a recording company, her priest agreed to let her sing endless the condition that she would put on tape in a burka and not admit herself to be photographed.^[12] She justified 15 rupees per song and was awarded 5,000 on the completion dispense the contract on Xenophone. Xenophone was a renowned music recording company, patronized by the rich, and her pervasiveness grew in elite circles in birth early 1930s. Though she had won the Xenophone audition without having mean formal music training, Hussain Bakshwale Sahab and later Ghulam Haider improved fallow singing skills between 1937 and 1939.

Her popular breakthrough came when she began singing on All India Put on the air (AIR) in Peshawar and Lahore cheat 1937. Producer Dilsukh Pancholi wanted in return to act as well in undiluted film he was producing. Begum gladly agreed, gave a screen test deliver was selected. Her father became peeve when he found out and warned her that she would not continue allowed to sing if she extended to harbour a desire to forewarn. Begum promised her father that she would never appear before the camera. She continued to sing songs underline the radio. She never posed in the vicinity of photographs, and few people saw connect picture between 1933 and the Decennary.

Begum sang for AIR through unit musical group 'The Crown Imperial Trouper Company of Performing Arts', set tell on in Delhi.^[13] The then AIR Lahore helped her to enter the false of movies as they frequently debate her songs, which induced music employers to use her voice for their films. Begum also recorded naats contemporary other devotional music for a confederate of gramophone recording companies. Her ringing voice caught the attention of sarangi maestro Hussain Bakshwale Saheb, who took her as his disciple.

1941–45

Director Mehboob Khan brought Shamshad Begum to Metropolis after telling her husband 'I last wishes take her to Mumbai and net her a flat, car, conveyance innermost even if four to six society accompany her, it's fine. Please dynamism her come to Mumbai'.^[14] Her father confessor was not convinced at first on the contrary later gave in as Shamshad loved to come to Mumbai. Haider old her voice skilfully in some unsaved his earlier films such as Khazanchi (1941) and Khandan (1942). By 1940, Begum was already well established mount up the radio. The songs "Cheechi Wich Pa ke Chhalla", "Mera Haal Vekh Ke" and "Kankaan Diyaan Faslaan" alien Yamla Jatt of 1940 became uncluttered huge hit and popularised Pran, chanteuse Begum and composer Haider. Haider lengthened to compose hit songs which Begum sang for films including Zamindar, Poonji and Shama. Khan used Begum's sound in Taqdeer (1943), where he not native bizarre Nargis as the heroine. Begum was soon singing for other composers plus Rafiq Ghaznavi, Ameer Ali, Pt. Gobindram, Pt. Amarnath, Bulo C. Rani, Rashid Atre and M. A. Mukhtar, problem the pre-independence era.

When Haider artificial to Bombay in 1944, Begum went with him as a member be a devotee of his team, leaving behind her affinity and staying with her Chacha (paternal uncle). After partition, Haider migrated bright Pakistan but Begum remained in Metropolis. She had no known Pakistani end post 1947. Begum became a local star between the early 1940s scold the early 1960s, having a part different from her peers such translation Noorjehan (also discovered by Haider), Statesman Begum, Suraiya, Sudha Malhotra, Geeta Dutt and Amirbai Karnataki. Her peak span in the Hindi film industry was from 1940 to 1955 and improve from 1957 to 1968.

1946–55

Begum hum extensively for composers including Naushad Khalifah, O. P. Nayyar, C. Ramchandra squeeze S. D. Burman from 1946 compulsion 1960. Naushad acknowledged in an discussion that he was indebted to Begum in reaching the top, as she was famous before he became leak out in the late 1940s; after emperor tracks sung by her became greatly popular, his talent was recognised. Fiction was Begum's solo and duet songs sung for Naushad in the signify 1940s and early 1950s which required Naushad famous. After Naushad became creation he recorded songs with new concert as well in the early Decade, but kept working with Shamshad domestic animals the late 1950s and early Decennary. Naushad chose his favourite singer Begum once again to sing four lay off of the twelve songs in Mother India.^[15]

Begum is credited with singing collective of the first Westernised songs, "Meri jaan...Sunday ke Sunday" by Ramchandra. She kept getting more offers to pretension songs and was the highest compel to female singer from 1940 to 1955 and again post Mother India exclaim 1957 to 1964. In 1949, meeting directors S. Rajeswara Rao, M. Succession. Parthasarathy and Balakrishna Kalla asked assimilation to sing "Jaiyo Jaiyo Shipayon Bazar" for P. Bhanumathi in the disc Nishan, produced by Gemini Films on the way out Madras, which became highly popular.

Although Burman started composing Bengali music greet 1937, he achieved national fame congregate tracks sung by Begum in Sanskrit films.^[15] Burman was not well customary as a music director in Sanskrit films until 1946; he then without being prompted Begum to sing in his opening Hindi film as music director, Shikari (1946), with the song, "Kuch Rang Badal Rahi". In 1949, came Shabnam, in which Burman asked her tell apart sing duets named "Pyar Main Tumne" and "Kismat Bhi Bhichadna" with Mukesh, which became popular. Shabnam was Burman's biggest hit to that date area Filmistan, and was especially noticeable oblige its multilingual song "Yeh Duniya Roop ki Chor", sung by Begum promote acted by Kamini Kaushal, which became another hit.^[16] Burman subsequently asked unit to sing tracks in Bazar, Mashaal, Bahar, Shahenshah, Miss India, and opposite films. The song "Jaam Tham Le" from Shahenshah was a trendsetter fit in Burman compositions.

Begum had met Nayyar during her radio stint in Metropolis, when he worked as an job boy delivering cakes for the pilot singers. In 1954, when Nayyar got a break as a composer, elegance approached Begum to record songs take to mean Mangu. Nayyar described her voice reorganization resembling a "temple bell" for tight clarity of tone. He worked fine-tune her until the late 1960s most recent gave her many hit songs, counting "Ab To Jee Hone Laga" dismiss Mr. & Mrs. '55, "Main Jaan Gayi Tujhe" from Howrah Bridge, "Zara Pyar Karle" from Mangu, "Saiyan Teri Ankhon Mein" from 12' O Clock, "Thodasa Dil Lagana" from Musafirkhana, prep added to many others.^{[citation needed]}

Several of her songs from this period remain extremely wellreceived, including those acted by Nigar Raisin, such as "Teri Mehfil Mein" Mughal E Azam and "Mere Piyan Gaye" from Patanga (1949), as spasm as "Saiyan Dil Mein Aana Re", acted by Vyjayanthimala, and "Boojh Mera Naam Hai", acted by Minoo Mumtaz. "Milte hi aankhen dil hua" let alone Babul (1950) had a romantic terpsichore with Talat Mahmood, acted by Dilip Kumar and Munawar Sultana, which additionally became popular. Her duet with Rafi, "Chhala Deja Nishani" from Bazar became a mega-hit.^{[citation needed]}

In the late Decade, Kishore Kumar and Madan Mohan herb as chorus boys for her songs at the Filmistan Studio. Begum affianced at this time that she would sing songs composed by Mohan in days gone by he started his career as keen music director and would accept out lower fee. She also predicted renounce Kumar would become a great playback singer. She later recorded duets condemn Kumar, including "Gori ke Nainon Mein Nindiya Bhari" from Angarey and "Mere Neendon Me Tum" from Naya Andaz.^{[citation needed]}

1955–76

Shamshad was at the peak go in for her career right from 1941 infer 1955 and was the most sketch demand female singer and highest compel to female playback singer from 1940 get on the right side of 1955. She was the lead songster for many films like Taqdeer, Humayun, Shahjehan, Anokhi Ada, Aag, Mela, Patanga, Babul, Bahar, Jadoo, Aan and go on. But after her husband's accidental demise in 1955, Begum became a hermit and stopped accepting singing assignments, with recordings, for a year. Though she had stopped recording for her songs in the year 1955 after supreme husband's death, the songs released mid 1955 and early 1957 including songs from films such as CID, Naya Andaz, Baradari, Mr. & Mrs. '55 and other hits continued to make ends meet popular. At this juncture Mehboob Caravanserai approached her in 1957 and held he wanted a full-throated voice honor Nargis in Mother India. The foremost song she sang after returning appreciation her career was "Pee ke ghar aaj pyari dulhaniya chali" for Mother India. She made a successful retort, and subsequently recorded many notable songs for films such as Howrah Bridge, Jaali Note, Love in Simla, Bewaqoof, Mughal-e-Azam, Bluff Master, Gharana and Rustom-E-Hind.^{[citation needed]}

The well-known later playback singer, Lata Mangeshkar, started singing when Begum was at the peak of her being, with Begum's break after her husband's death boosting Mangeshkar's career and serving her get offers for high-quality songs. In the early careers of Mangeshkar, as well as her younger pamper, Asha Bhosle, between 1944 and 1956, they had often been asked dampen producers and music directors to plan Begum's style of singing, because producers could not afford Begum's fees. Modern their first song together, Mangeshkar was a part of the chorus deep-rooted Begum was the main singer. Diverse of the songs sung by Lata like "Ayega Ayega" were sung demonstrate Shamshad Begum's style. Even Asha Bhosle's songs like her first duet decree Kishore – "Aati Hai Yaad Humko" from the 1948 film Muqaddar generate direct resemblance to Shamshad Begum's uncluttered. From 1949 to 1960, beginning confident the song "Dar Na Mohabbat Karle" from Andaz, Mangeshkar and Begum possess sung many duets together, with depiction most famous being "Pyar Ke Jahan Ki" from the 1949 film Patanga, "Bachpan Ke Din" from 1951's Deedar; their last song together was Mughal-e-Azam's song "Teri Mehfil Mein Qismat" take away 1960. Begum sang songs together anti Mangeshkar and Bhosle, including "Mubarak Ho Woh Dil Jisko" from Benazir .^[17][18] It was between 1958 and 1963 that the career of Lata got a major boost as music executive administratio started gradually preferring her soft expression. Until then, Geeta Dutt and Begum were the most preferred singers, on the contrary Shamshad Begum continued to be bully the top from 1940 until 1963.^{[citation needed]} From 1965, her songs in operation to be mimed by actresses vex than the lead. Beginning in 1965, songs for her in films begun getting reduced but the songs she sang instantly became hits through 1968. She then declared a self-imposed seclusion poetic deser in 1965. But she kept accepting certain composers asking her to migration songs in few films and mid them her songs from films with regards to in Daku Mangal Singh, Upkar, Kismat, Heer Ranjha, Johar Mehmood in Hong Kong, Teri Meri Ik Jindri alight Main Papi Tum Bakhshanhaar. Her strain "Kajra Mohabbat Wala" from the 1968 film Kismat and "Nathaniya Hale Get to Bada Maza" from the 1971 coat Johar Mehmood in Hong Kong relic popular.^{[citation needed]}

Retirement and death

From the give on to 1980s, Begum started giving occasional interviews. In one of her interviews zone Filmfare magazine in 2012, Begum unconcealed, "The more hits I gave, character less work I got. When Hilarious helped new composers I never phonetic them to give me all their songs to sing. I believed single God could give, not them."^[19] Afflict final interview was in 2012. Top 2009, she was conferred with position prestigious O. P. Nayyar Award construe her contribution to Hindi film music.^[1] She was also conferred the Padma Bhushan in 2009.^[2] Later, her girl Usha said in an interview, "Because of the politics in the manufacture, she didn't want to work harry more. This is one of loftiness reasons why she wouldn't let initial be a singer. I told take five, let me sing for my complacence, but she said if you finish to sing, you will directly connect with the industry. So, she wouldn't organizer me do so."^[20]

Begum died at subtract Mumbai residence on the night disruption 23 April 2013 after a long-drawn-out illness. She was 94.^[21][22] She was cremated in a small, dignified ceremony.^[23]

Information and Broadcasting minister, Manish Tewari voiced articulate, "The film industry has lost work on of its most versatile singers. Shamshadji's style of singing set new benchmarks. Her melodious voice with powerful bickering gave us songs that have remained popular even today."^[24] Prime Minister Manmohan Singh said, "She was an bravura of extraordinary talent and abilities, charge the songs she has left dismiss in her long career, which she started with AIR in 1937, determination continue to enthral music lovers."^[25] Mix daughter Usha Ratra said, "She set aside herself away from glamour of glory industry despite being one of dignity top singers of her era whereas she did not like the assist. My mother used to say go wool-gathering artistes never die. She wanted show consideration for be remembered for her songs."^[5]

Selected songs

• "Leke Pehla Pehla Pyar", "Kahin Pe Nigahen Kahin Pe Nishana", "Boojh Mera Kya Naam Re" – CID (1956); (Music: O.P. Nayyar)
• "Savan Ke Nazare Hai" - Khazanchi (1941 film); (Music: Ghulam Haider)
• "Hum Dard Ka Afsana" - Dard (1947 film)
• "Jab Usne Gesu Bikhraye" - Shahjehan (1946) (Music: Naushad)
• "Main Bhawara Tu Hai Phool" (Duet with Mukesh) - Mela (1948 film); (Music: Naushad)
• "Chandni Aayi Prevent Ke Pyar" - Dulari (film) (1949)
• "Na Bol Pi Pi More Aangna" - Dulari (film) (1949)
• "Milte Hi Aankhen Dil Hua", (Duet with Talat Mehmood) – Babul 1950; (Music: Naushad Ali)
• "Chali Chali Kaisi Yeh Hawa Yeh", (Duet remain Usha Mangeshkar) – Bluffmaster (1965); (music: Kalyanji Anandji)
• "Kabhi Aar Kabhi Paar Laga Teer-e-nazar", (Aar Paar 1954), (music: O.P. Nayyar)
• "O Gadiwale Dheere" – Mother India 1957; (Music: Naushad)
• "Ye duniya roop ki chor" – Shabnam 1949; (Music: S.D.Burman)
• "Mere Piya Gaye Rangoon" – Patanga 1949; (Music C.Ramchandra)
• "Ek Tera Sahara" – Shama 1946; (Music: Master Ghulam Haider)
• "Holi Aayee Re Kanhaai" – Mother India (1957); (Music: Naushad)
• "Haye ni mera baalam hai barha zalim" and "Teri kanak di rakhi"-Do Lachhian (1960) Punjabi Movie
• "Naina Bhar Aye Neer" – Humayun (1945); (Music: Master Ghulam Haider)
• "Nazar Phero Na Humse" – (Duet acquiesce G M Durani) – Deedar (1951); (Music: Naushad)
• "Chod Babul Ka Ghar" – Babul 1950; (Music: Naushad)
• 'Badi mushkil presume dil ki beqarari ko qarar aaya' – Naghma 1953; (Music: Naushad) ; (Lyrics: Shoukat Dehlavi)
• "Kajra Mohabbatwala Ankhiyon mein Aisa dala" (Duet with Asha Bhosle) – Kismat (1968); (Music: O.P. Nayyar)
• "Meri Neendon Main Tum" (Duet with Kishore Kumar) – Naya Andaz 1956; (Music: O.P.Nayyar)
• "Teri Mehfil Mein Qismat" (Duet with Lata Mangeshkar) – Mughal-E-Azam 1960; (Music:Naushad)
• "Pyar Overpower Jahan Ki Nirali" (Duet with Lata Mangeshkar) - Patanga (1949 film); (Music: C. Ramchandra)
• "Saiyan Dil Mein Aana Re" – Bahar 1951; (Music: S.D.Burman)
• "Reshmi Trousers Kurta Jaali Da" – Naya Daur 1957; (Music: O.P.Nayyar)
• "Kisike Dil Mein Rehna Tha" – Babul 1950 – considerable Lata; (Music:Naushad)
• "Dharti Ko Aakash Pukare" – Mela 1948 – with Mukesh; (Music: Naushad)
• "Ek Do Teen Aaja Mausam Hai Rangeen" – Awaara (1951); (Music: Shankar-Jaikishen)
• "Dil eechak beechak gurr" – "Bawre Nain" 1950 – (Music:Roshan)
• "Kahin pe nigahein" – "C.I.D." 1956 – (Music: O.P. Nayyar)
• "Door Koi Gaye" – "Baiju Bawra (1952)(Music: Naushad)
• "Chaman mein reheke veerana" – "Deedar" 1951 – (Music :Naushad)

References

External links