"ڪشور ڪمار" جي ورجائن ۾ تفاوت

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{{مبسس4}}ڪشور ڪمار پنهنجي وڏي ڀاءُ جي قدمن تي هليو ۽ بالِي ووڊ ۾ هڪ گائڪ طور پنهنجي عمليءَ ۾ پير رکڻ لاءِ [[ممبئي]] پهتو. اِنَ موڙَ تي انوپَ جو ڪريئر بيهي رهيو هو، ڇاڪاڻ ته گائڪيءَ جي لحاظَ کان سندس آواز ايترو سٺو نه هو جيتري سندس اداڪاري. هي اهو دور هو جڏهن اهڙن اداڪارن جي وڏي اهميت هوندي هئي، جيڪي ڳائي به سگھندا هُجن. انوپ پنهنجو آواز سڌارَڻَ لاءِ آسٽريا مان ڪجھه رڪارڊَ آندا هئا. هِڪَ ڀيري گھر ۾ اندر ايندي ئي هُنَ ڪنهن ڪمري مان [[يوڊلڱ]] جو آواز ٻُڌو. هُنَ ڪاوَڙَ ۾ ڪَڙڪيو ”منهنجي رڪارڊَن کي ڪنهن هٿُ لاتو آهي؟“. پر ڪمري ۾ گھڙڻ سان کيس معلوم ٿيو ته اها يوڊلڱ اصل ۾ ڪشور ڪمار ڪري رهيو هو. ڪشور ڪمار [[يوڊلڱ]] ڪرڻ انوپَ جي آسٽريائي رڪارڊَن مان سکيو هو.
ڪشور ڪمار اداڪاريءَ کي ناپسند ڪندو هو ۽ بالي ووڊ جو مُکيه گائڪ بنجڻ جِي خواهش رکندو هو. پر سندس گائڪِي يا موسيقيءََ جِي ڪا به سکيا ورتل نه هئِي. ڪشور ڪمار پنهنجي وڏي ڀاءُ اشوڪ ڪمار جي واسطن سان فلمي دنيا ۾ پير ته رکي ڇڏيو، مگر ابتدا ۾ سُٺو تاثر ڏيڻ ۾ ناڪامياب ويو. پَرَ هُنَ اداڪاري جاري رکي، جنهن سان کيس پنهنجي ئي فلمُن جا گيتَ ڳائڻ جو موقعو ملندو رهيو. ان دور ۾ ڪشور ڪمار جو انداز سهگل وارو هو. هِڪَ ڀيري جي ڳالهه آهي جو [[سَچِن ديوِ بَرمَن]] اشوڪ ڪمار جي گھر آيو ۽ وهنجڻ جاءِ مان سهگل جي آواز جهڙو آواز ايندي ٻُڌائين. آواز کان متاثر ٿِيندي، هُن اشوڪ کان پُڇيو ته هِيءُ ڪير پيو ڳائي. ورندي ملڻ تي، هُو ڪشور جي انتظار ۾ ويهي رهيو ته وهنجي نڪري ته مِلانس. هُنَ ڪشور سان ٿورڙي گفتگُو ڪئي، جنهن ۾ هُنَ سندس آواز جي تعريف به ڪئي ۽ کيس هِڪَ نصيحَتَ به ڪئي، ”سهگل جو نقل ڪرڻ جي ڪوشش نه ڪر. نقال ڪڏهن به سٺا ڪلاڪار نه بڻبا آهن. تو کي پنهنجو انداز اختيار ڪرڻ گھرجي“. ان کان پوءِ ڪشور ڪمار پنهنجي گائڪِيءَ ۾ پنهنجو نئون مخصوص انداز پيدا ڪيو، جيڪو رفي، مڪيش ۽ سهگل کان بلڪل الڳ هو.
He used to yodel in many of his songs. Sachin Dev Burman became his mentor and guide. S D Burman, who had never heard yodelling before, used to call it "''gala tod ke gaana''" ('break-throat singing'). Yodelling became Kishore's trademark, and the media described his singing style as "yodelling at the moon".
==ڪشور سُڃاتو وڃڻ لڳو==
{{مبسس4}}ڪشور ڪڏهن به اداڪاري ڪرڻ نه ٿي چاهيو، پر هُو پنهنجي وڏي ڀاءُ اشوڪ ڪمار کان ايترو ته ڊڄندو هو جو کيس ناراض ڪري نه ٿي سگھيو. اشوڪ ڪمار کيس بالِي ووڊ جو مقبول هِيرو ڏسڻ ٿي گھريو. شروعاتِي فلمون ناڪام ٿيڻ بعد، ڪشور ڪمار فصيلو ڪيو ته ايندڙ فِلمُن ۾ هُو ايتري ته ڪِنِي اداڪاري ڪندو جو اڳتي ڪو به پروڊيوسر کيس پنهنجي فلمَ ۾ ڪم ڪرڻ لاءِ نه چوندو.
As a result of this decision, Kishore started acting in a strange, funny way. But instead of rejecting him, movie buffs were delighted to see a hero who could make them laugh. His style was a welcome change from the sober, romantic and tragic traditional heroes of Bollywood. Thus, Kishore became comedy-film producers' first choice. In the late 1950s, he used to run from one studio to another, recording songs, acting, composing music and sometimes even writing lyrics! He even produced and directed some movies.
Apart from S D Burman, [[Khemchand Prakash]] was another composer who recognized Kishore's singing talent early. He composed Kishore's songs in the movie Ziddi. Ziddi's songs established Kishore as a singer. Incidentally, it was at Khemchand's studio, where Kishore met [[Lata Mangeshkar]], with whom he sang many duets later. Lata was going to Khemchand's studio and Kishore was also bound for the same place. Lata thought that some loafer was following her! It was only after reaching the studio that she realized the 'loafer' was Kishore, Ashok Kumar's younger brother. Soon, many other composers like [[Ravi]] realized that Kishore had potential to be a good singer. Many lyricists, including [[Majrooh Sultanpuri]] and [[Shailendra]] became ardent admirers of Kishore.
S D Burman established Kishore as the voice of popular actor [[Dev Anand]] when he got him to sing for Dev Anand in the movies Taxi Driver and Paying Guest. After S D Burman fell out with [[Lata Mangeshkar]] in 1957, he gave patronage to [[Asha Bhosle]]. Till this time, duets were not very popular in Bollywood. Once S D Burman told Majrooh Sultanpuri "We invest so much energy in recording duets, and nobody likes them". Majrooh replied "The mistake is ours. We lyricists never write any good songs that couples would love to hum." S D Burman and Majrooh went on to work together on the most popular duets in the late 1950s. S D Burman, Majrooh, Asha and Kishore worked together in many movies including Kishore's home production Chalti Ka Naam Gaadi ([[1958]]), in which Kishore Kumar, Madhubala, Ashok Kumar and Anoop Kumar acted. The songs ''Ek ladki bheegi bhaagi si'', ''Haal kaisa hai janaab ka'', ''Paanch rupaiya baara aana'' became very popular. They were also heard in Dev Anand's Paying Guest ([[1957]]) and Teen Deviyan. The song ''Mana janab ne pukara nahin'' from Paying Guest was a smash hit among the guys. Asha and Kishore became famous for singing 'casual' duets like ''Chhod do aanchal, zamaana kya kahega'', ''Aye nigah-e-mastana'', ''Aankhon mein kya ji'', ''Arre yaar meri, tum bhi ho gajab'', ''Chhedo na meri zulfein''. Majrooh, Asha and Kishore also recorded popular duets with composer Ravi in the movie Dilli Ka Thug ([[1958]]) - ''C...A...T...Cat maane billi'', ''Hum to mohabbat karega''.
Majrooh Sultanpuri and Shailendra were favorite lyricists of Kishore. He got them to write songs in his home productions. In those days, musicians would recommend lyricists to producers. The musician duo [[Shankar-Jaikishan]] had promised Shailendra that they would recommend him to all the producers, but they didn't keep their promise. Shailendra sent them a note - ''Chhoti si yeh duniya, pehchaane raaste hain; Kahin to miloge, phir poochhenge haal'' (The world is small, the roads are known; we shall meet somewhere, then I would ask you - "How do you do"). Shankar-Jaikishan realized their mistake. They made a song out of the above words and got Kishore to sing it.
Majrooh penned most of Kishore's hit songs in his initial days, most of them with S D Burman, for [[Dev Anand]] - ''Hum hain raahi pyaar ke'', ''Maana janaab ne pukaara nahin'' etc.
Kishore was interested in composing music as well. It is said, along with Kalyanji Shah (of [[Kalyanji-Anandji]] fame), he introduced electronic music to Bollywood. The electronic sounds in some of S D Burman's music are credited to Kishore (he assisted S D Burman sometimes). Sometimes, Kishore would compose music himself and write lyrics too. In [[1961]] movie, Jhumroo, Kishore wrote, composed and sang ''Main hoon jhumroo''. This song is a very nice example of his yodelling ability. Kishore could sing in female voice too. In Half Ticket ([[1962]]), he sang "Aake Seedhi Lagi" in male as well as female voice. The song was written by Shailendra and composed by [[Salil Chowdhury]].
==The lean patch in Kishore's career==
During the 1960's, there was a lean patch in Kishore's career. Most of his films as an actor flopped. Very few of his songs from this phase are memorable - ''Zaroorat hai, Zaroorat hai'' (Manmauji - [[1962]]), penned by [[Rajinder Krishan]] and composed by [[Madan Mohan]]) stands out from this period. [[Mohammed Rafi]] and [[Mukesh]] were the favorites of most music composers, so Kishore never got to sing very good songs. A few of his songs picturized on [[Dev Anand]] and composed by S D Burman, got him recognition - ''Gaata rahe mera dil'' (Guide [[1965]], a duet with Lata), ''Yeh dil na hota bechara'' (Jewel Thief [[1967]]), etc.
In [[1966]], S D Burman's son [[Rahul Dev Burman]] burst into the music scene with superhit score of the movie Teesri Manzil. He had got Rafi to sing all the songs in the movie. But, later R D Burman (also known by his pet name "Pancham") gave great patronage to Kishore Kumar. Their first hit movie together was the laught-riot 'Padosan' (The Neighbour). In this movie, Kishore Kumar played the role of [[Sunil Dutt]]'s guru. Sunil Dutt's role was of boy who was in love with his next-door neighbour, a girl obessed with singing. To impress the girl, he gets his guru to do 'playback' for him. Kishore Kumar did the '[[Playback singer|playback]]' in the movie, both on-screen and off-screen. Kishore and Pancham created the superhit song ''Mere saamnewali khidki mein''. In one scene, there was a verbal fight between [[Mehmood]] (who acted as the girl's guru) and Sunil Dutt/Kishore Kumar. Kishore insisted that it would be boring if the dialogues were spoken in a plain manner. Mehmood fully agreed with him. So, Kishore, Mehmood, lyricist [[Rajinder Krishan]] and Pancham sat together and came up with the 'musical fight' - ''Ek chaturnar, karke singaar''. The song, sung by Kishore and [[Manna Dey]] (who sang for Mehmood) became very popular. Manna Dey who is a trained classical singer found it preposterous that he should lose the song fight to an untrained voice like Kishore Kumar and he refused to be a part of the song. Mehmood (also the films producer) had to personally assure Manna Dey that he was a better singer and it was the films script that dictated that he loses the song.
==سُپر اسٽار وارو دور==
In [[1969]], [[Shakti Samanta]] produced the movie Aradhana with newcomer [[Rajesh Khanna]]. The composer was Sachin Dev Burman and he had divided songs equally among his favorite singers - Kishore, [[Mohammed Rafi]] and [[Lata Mangeshkar]]. Kishore sang the romantic duet ''Kora kagaz tha yeh man mera'' with Lata. S D Burman fell ill before he could record all the songs. He had already created the tunes for the songs ''Roop tera mastana'' and ''Mere sapnon ki rani''. R D Burman took the responsibility of completing the recording. In doing so, the tunes were created by S D Burman and the instrumentation was that of R D Burman. Pancham got Kishore Kumar to sing these two songs. These two songs became overnight hits and launched Kishore's playback singing career. Kishore Kumar got his first [[Filmfare]] award for the sensual song ''Roop tera mastana''.
The Burmans single-handedly made Kishore the numero uno playback singer in Bollywood. They got Kishore to sing for all the leading heroes - [[Rajesh Khanna]], [[Randhir Kapoor]], [[Shashi Kapoor]], [[Dharmendra]], and [[Sanjeev Kumar (actor)|Sanjeev Kumar]] among others. S D Burman and Kishore worked together in many of [[Dev Anand]]'s movies. In 1970, Dev Anand's directoral debut, Prem Pujari, flopped. But the songs penned by [[Neeraj]], ''Phoolon ke rang se (Lena hoga janam hamein)'' and ''Shokhiyon mein ghola jaaye'' (duet with Lata) are still popular. Neeraj, S D Burman, Lata and Kishore came together again for the [[Shashi Kapoor]] starrer 1971 hit Sharmilee, for which they recorded ''Khilte hain gul yahan'', ''Aaj madhosh hua jaaye re'', ''O meri sharmilee''. S D Burman also got Kishore to sing for the 1973 Dharmendra-starrer Jugnu, where Kishore sang ''Pyaar ke is khel mein''.
In the 1970s, R D Burman got Kishore to sing virtually every remarkable tune he created for the male voice. The single ''Tum bin jaaoon kahaan'' (Pyaar Ka Mausam - 1969; lyrics by Majrooh), which was also sung by Rafi, proved that Kishore could sing as well as Rafi, even though he wasn't classically trained. Songs like ''Yeh shaam mastaani'' (Kati Patang - [[1970]]; lyricist - Anand Bakshi) made Kishore extremely popular among the youngsters. In [[1971]], Pancham and Kishore collaborated on many memorable tunes, ranging from the romantic ''Raat kali ek khwab mein'' (Buddha mil gaya; lyricist Majrooh) to the tragic ''Yeh kya hua'', ''Chingari koi bhadke'', ''Kuchh to loge kahenge'' (Amar Prem; lyricist Anand Bakshi; picturized on Rajesh Khanna). [[1972]] saw hits like ''Meri bheegi bheegi si'' (Anaamika, picturized on Sanjeev Kumar), ''O Mere dil ke chain'' (Mere Jeevan Saathi; lyricist Majrooh; picturized on Rajesh Khanna) and ''Kanchi Re'', ''Phoolon ka taaron ka'' (Hare Krishna Hare Rama; picturized on Dev Anand).
Even after so many hits, only the Burmans gave patronage to Kishore Kumar. Other composers like [[Shankar Jaikishan]], [[Madan Mohan]], etc. used to give him second-rate songs. In [[1972]], Pancham got Kishore to sing for a newcomer in the movie Bombay To Goa. The 'newcomer' was none other than [[Amitabh Bachchan]] and thus Kishore became the voice of the next great Bollywood superstar as well. The song ''Meet na mila re man ka'' (Abhimaan [[1973]]) established Kishore as Amitabh's singing voice. Hit after hit followed, and Kishore, Amitabh and Pancham became all the rage. Before buying an audio cassette, people would make sure that there was at least one Kishore Kumar song in the album. Producers would insist on using Kishore Kumar as a hero's singing voice. This forced other music composers like [[Laxmikant Pyarelal]] ("LP") to sideline Rafi and adopt Kishore as their lead singer.
LP and Kishore had many hits to their credits in the 1970s, including ''Mere dil mein aaj kya hai'' (Daag [[1973]]; lyricist: [[Sahir Ludhianvi]]), ''Mere naseeb mein aye dost'', ''Naach meri bulbul'' (Roti), ''Chal chal mere haathi'' (Haathi Mere Saathi) etc. Most of these songs were picturized on Rajesh Khanna and penned by Anand Bakshi. The team also recorded many songs in Amitabh Bachchan starrers e.g. ''My name is Anthony Gonsalves'' (Amar Akbar Anthony). LP also got Kishore and Rafi to sing together in many films like Dostana, Kranti, Ram Balram etc. LP will be chiefly remembered for the duets that they recorded with Lata and Kishore - ''Achchha to hum chalte hain'', ''Kal ki hansi mulaakat ke liye'', ''Gore rang pe na itna gumaan kar'', ''Tu kitne baras ka'' etc.
The duo of [[Kalyanji-Anandji]] also adopted Kishore as their lead singer in the 1970s. The team produced many hit songs in movies like Dharmatma ([[1975]]), Laawaris, Muqaddar ka Sikandar, Kabeela, Johnny Mera Naam and Don among others. The Kishore-Asha duet ''Vaada to nibhaya'' from Johnny Mera Naam was a superhit. The songs ''O Saathi Re'' (Muqaddar ka Sikandar) and ''Khaike Paan Banaraswaala'' (Don) became extremely popular as well.
In [[1975]], S D Burman went into a coma, while Kishore was singing ''Badi sooni sooni si hai zindagi'' (Life is lonely) for the movie Mili. He died some time later. R D Burman completed the score of the movie. R D Burman continuted with his patronage to Kishore. He got Kishore to sing for both [[Dharmendra]] and Amitabh in the 1975 bumper-hit [[Sholay]]. [[Manna Dey]] was called in only when a sequence required both the heroes singing together (''Yeh dosti hum nahin todenge''). In [[1970]]s Kishore sang in many of [[Dev Anand]]'s not-so-successful movies under the baton of R D Burman - Warrant ([[1975]]), Heera Panna, Shareef Badmash etc. Although these films did average box office business, the music was always hit. The songs like ''Ruk Jaana O Jaana'' (Warrant) and ''Panna ki tamanna'' (Heera Panna, duet with Lata) and ''Neend chura ke raaton mein'' (Shareef Badmash) were chart-busters. Even while recording intricate songs of Aandhi ([[1976]]; lyrics by [[Gulzar]]), Pancham used Kishore's voice, instead of using somebody trained in classical music. They recorded many more beautiful songs, including the title song of ''Agar tum na hote'' and ''Humein tum se pyaar kitna''. Their comatose songs like ''Mere naina saawan bhado'', ''Chingari koi bhadke'', ''O maajhi re'' made them popular among the mature audience as well. Of course, Kishore also sang Pancham's trademark 'peppy' pop numbers picturized on young heroes like [[Rishi Kapoor]] and [[Sanjay Dutt]]. Kishore and Lata sang trendy numbers in Sanjay's first movie Rocky - ''Kya yehi pyaar hai'', ''Hum tumse mile'' (lyricist: Anand Bakshi). R D Burman and Kishore worked together in many movies including Aapki Kasam, The Burning Train, Apna Desh, Dharam Karam, Takkar, Seeta Aur Geeta, Joshila, Kasmein Vaade, Rampur ka Laxman, Kaaliya etc.
New musicians like [[Rajesh Roshan]], Sapan Chakravarthy (Pancham's assistant), [[Bappi Lahiri]] and others also preferred Kishore to any other singer. Rajesh Roshan's first hit movie Julie had memorable numbers sung by Kishore and Lata - ''Bhool gaya sab kuchh'', ''Dil kya kare jab kisi se'' etc. Rajesh Roshan worked with Kishore in many other movies like Do Aur Do Paanch ([[1980]]), Doosra Aadmi, Manpasand etc. Sapan Chakravarthy recorded the popular ''Tum bhi chalo, hum bhi chalien'' (Zameer) with Kishore and Asha. Bappi da, notorious for lifting western numbers, got Kishore to sing many of his popular songs like ''Chalte chalte'', ''Aaj rapat jaayein'' (duet with Asha), ''Pag ghunghroo'' (Namak Halaal - [[1982]]; picturized on Amitabh), ''jahan chaar yaar'' (Sharaabi - [[1984]]) and the filmfare award winning ''Manzilen apni jagah hai'' (Sharaabi - [[1984]]).
==آخري سالَ==
*[[1985]] {{مبسس4}}ساگر ڪناري - ساگر
*{{مبسس4}}[[بالِي ووڊ جي مرد گلوڪارن جِي لسٽ]]
* [http://www.ganguly.de/kishore/hindi/ {{مبسس4}}چاهڪ گاهه]
[[Category:1929 births|Kumar, Kishore]]
[[Category:1987 deaths|Kumar, Kishore]]
[[Category:Male singers|Kumar, Kishore]]
[[Category:Indian actors|Kumar, Kishore]]
[[Category:Indian film singers|Kumar, Kishore]]
[[Category:Bengali musicians|Kumar, Kishore]]
[[Category:Bollywood playback singers|Kumar, Kishore]]


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