Gulshan bawra biography sample paper
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The Musician Who Saw Tomorrow
“We are a nation of poor archivers. I was quite angry that every time RD’s birth or death anniversary would come, TV channels would show a five-minute capsule, say that he was a genius and much ahead of his times. But no one had made a concerted effort to understand what that genius was,” says Singh, who realised early that the tribe of his associates was a vanishing one and, back in 2005, when he began, there was no Mahmood, Nasir Hussain, Majrooh Sultanpuri or Goldie Anand — people Pancham had golden collaborations with. “But there were still many around,” says Mumbai-based Singh, who grew up in a family where classical music was heard and talked about. His grand uncle had learnt music in Calcutta with Pancham and Singh’s childhood was replete with stories about the composer.
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He went knocking on many doors and has featured descripti
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Anandji interview: ‘You need to study all kinds of music to compose for Hindi films’
Kalyanji-Anandji were nothing if not risk-takers. In the 1950s, the composing duo introduced the electronic instrument clavioline to the Hindi film industry shortly after it was invented in France. Over four decades, they worked with freshly minted filmmakers (Manmohan Desai, Prakash Mehra, Manoj Kumar, Subhash Ghai, Feroz Khan, Chandra Barot) and first-time lyricists (Gulshan Bawra and MG Hashmat). They introduced new singers (Kumar Sanu, Anuradha Paudwal, Alka Yagnik, Sadhana Sargam, Udit Narayan, Sunidhi Chauhan).
The musical range in their soundtracks between the 1950s and 1990s exemplifies their enthusiasm for charting new territories. Kalyanji-Anandji produced the National Film Award-winning semi-classical melodies of Saraswatichandra (1968) as well as the funky tunes of Don (1978). They were at home with folksy songs for Manoj Kumar’s son-of-the-soil movies and electropop numbers for th
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Adieu, Baby Tabassum; your ever-puckish charm will be missed
Mumbai: Just 78 but the indefatigable one always, she appeared to have been on the scene for a century: her presence was ubiquitous and to put it mildly, sparky and spunky.
Tabassum, born Kiran Bala, possesses the distinction of hosting the longest-running show – Phool Khile Hain Gulshan -- 1972-’93; the delightful conversations on Doordarshan during the black-and-white era with film celebrities.
So how did she derive the catchy name, Tabassum? Her father was the freedom fighter, Ayodyanath Sachdev, her mother Ashghari Begum. Her screen name, it fryst vatten lored, was coined by Dilip Kumar, who was extremely fond of the actress, who was called Baby Tabassum. Others claim that it was her mother who equated her daughter with the aphorism, “Be Happy, Keep Smiling.”
Although she had already done her vivacious number in several films of the black-and-white era, it’s the song ‘Bachpan ke dil bhula na dena’ (rendered by Shamsha