Monday, February 22, 2010
Dil Dhadaknay Ka Sabab Yaad Aaya - From Vineeta Sastry
Asha Bhonsle / Ghulam Ali
Singer:Noor Jehan, Asha Bhonsle, Ghulam Ali
Dil Dhadkane Ka Sabab Yaad Aaya
Woh Teri Yaad Thi Ab Yaad Aaya
Aaj Mushkil Tha Sambhalana Aye Dost
Tu Musibat Mein Ajab Yaad Aaya
Haal-e-Dil Hum Bhi Sunate Lekin
Jab Woh Rukhsat Huey Tab Yaad Aaya
Phir Kayee log Nazar Se Gujare
Phir Koi Sharab-e-Tarab Yaad Aaya
Din Gujara Tha Badi Mushkil Se
Phir Tera Wada-e-Shab Yaad Aaya
Tera Bhula Hua Paimane-e-Wafa
Mar Rahenge Agar Ab Yaad Aaya
Baith Kar Saaya-e-Gul Mein Nasir
Hum Bahot Roye Woh Jab Yaad Aaya
Born Syed Nasir Raza Kazmi
December 8, 1925(1925-12-08)
Muhalla 'Qazi Wara', the house of his Grandfather (nana) Nayaz Nabi Bin Bu Ali Bakhsh, Kaneez Manzil, Ambala, Punjab, India
Died March 2, 1972 (aged 46)
Lahore, Punjab, Pakistan
Education National High School Peshawar, D.B.Middle Schhol Dakshai, Muslim High School Ambala, Islamia College Lahore, Government College Lahore(after partition for sometime).
Spouse(s) Shafiqa Bano (Shafiqa Taskeen) D\O Sayed Anwar-ul-Haq Bin Abdul Azeez
Children Two Sons; Basir Sultan Kazmi & Hassan Sultan Kazmi,Tas Three Grandchildren: Irtiza Hassan Kazmi, Amna Hassan Kazmi & Wajiha Basir.
Relative(s) Mother:Kaneeza Muhammadi, Father: Sayed Muhammad Sultan Bin Sharif-ul-Hassan. Younger brother: Ansar Raza Kazmi.
Mir Taqi Mir
Syed Nasir Raza Kazmi
(1925-1972) (Urdu: سید ناصر رضا كاظمی ) was a renowned Urdu poet of Pakistan. He was one of the greatest poets of this era, especially in the use of "ista'aaray" and "chhotee beher".
Kazmi was born on December 8, 1925 at Ambala in British India. He was educated at Ambala, Simla and Lahore. He returned to Ambala in 1945 and started looking after his ancestral land. After the creation of Pakistan in 1947, he came to Lahore. He did some journalistic work with Auraq-e-Nau as an editor and became editor-in-chief of the magazine Humayun in 1952. Later he was associated with Radio Pakistan, Lahore and other literary publications and organizations.
Nasir Kazmi started his poetic life in 1940 by following the style of Akhtar Sherani and wrote romantic poems and sonnets. Later he began writing ghazals under the guidance of Hafeez Hoshyarpuri. He was a great admirer of Mir Taqi Mir and probably the melancholy and "Ehsaas-e-Mehroomi" in his poetry was a direct result of that. His tutor in poetry was Hafeez Hoshyarpuri, who himself used a lot of symbols from nature in his poems.
'Yaad ke benishan jazerun se
Teri awaz arahi hai abhi...'
Nasir, few days before his death, said in a TV interview by Intezaar Hussain, that 'horse riding, hunting, wandering in a village, walk along the river side, visiting mountains etc were my favourite pastimes and probably this was the time when my mind got nourishment for loving nature and getting close to the expression of poetry. All my hobbies are related with fine arts, like singing, poetry, hunting, chess, love of birds, love of trees etc... i started poetry because I used to reflect that all the beautiful things those I see, and those in nature are not in my hands, and they go away from me. Few moments, that time which dies, cannot be made alive. I think can be alive in poetry, that is why I(Nasir) started poetry!' Nowadays, very few people may remember that Nasir used to hum his poetic verses and that humming had much attraction in it.
'Phir kaga bola ghar ka suna angan mei
Rut ayi peeley phulun ki, Tum Yad Aye...'
He migrated from Ambala, India to Lahore Pakistan in August 1947. He also worked as a Staff Editor in Radio Pakistan. He used to sit at Tea House and wander at Mall Rd, Lahore with his friends. He was fond of eating, wandering and enjoying life. Normally people take him as a sad poet but most of his poetry is based on romantic happiness and the aspect of hope.
'Yaas mei jab kabhi aansu nikla
Ik nayi aas ka pehlu nikla'
His last four books tragically were published after his death. He died in Lahore on March 2, 1972 due to stomach cancer. Few people know that he did some great translations of English poets, especially his translation of Walt Whitman's "Crossing Brooklyn Ferry" by the title of "Brooklyn Ghaat Ke Paar" is a real masterpiece and worth reading
was the adopted stage name for Allah Wasai (September 21, 1926 – December 23, 2000) who was a singer and actress in British India and Pakistan. She is renowned as one of the greatest and most influential singers of her time in South Asia and was given the honorific title of Mallika-e-Tarranum (Urdu: ملکہ ترنم, English: the queen of melody).
Born in a family of musicians, Wasai was pushed by her parents to follow in their musical footsteps and become a singer but she was more interested in acting in films and graced the earliest Pakistani films with her performances. She holds a remarkable record of 10,000 songs to her singing credits in various languages of Pakistan including Urdu, Punjabi and Sindhi languages, she is also considered to be the first female Pakistani film director.
In 1957, Jehan was awarded the President's Award for her acting and singing capabilities.
Born in Kasur, Punjab, British India and was one of the eleven children of professional musicians Madad Ali and Fateh Bibi.
The family would often perform at theaters, although only Wasai's eldest sisters would go on to pursue a career in acting. Two of her sisters, Eidan Bai and Haider Bandi, were successful actors at the rural Taka Theatre in Lahore.
Wasai began to sing at the age of five or six years old and showed a keen interest in a range of styles, including traditional folk and popular theatre. Realising her potential for singing, her mother sent her to receive early training in classical singing under Ustad Bade Ghulam Ali Khan who was also a native of Kasur. He instructed her in the traditions of the Patiala Gharana of Hindustani classical music and the classical forms of thumri, dhrupad, and khyal. At the age of nine, Wasai drew the attention of Punjabi musician Ghulam Ahmed Chishti, who would later introduce her to stage in Lahore. He composed some ghazals, naats and folk songs for her to perform, although she was more keen in breaking into acting or playback singing. Once her vocational training finished, Wasai pursued a career in singing alongside her sisters in Lahore and would usually take part in the live song and dance performances prior to screenings of films in film theatres.
The family moved to Calcutta (now Kolkata) in hope of developing the movie careers of Wasai and her sisters. During their stay in Calcutta, the renowned singer Mukhtar Begum, encouraged Wasai and her two older sisters to join film companies and recommended them to various producers. She also recommended them to her husband, Agha Hashar Kashmiri, who owned a maidan theatre (a tented theatre to accommodate large audiences). It was here that Wasai received the stage name Baby Noor Jehan. Her older sisters were offered jobs with one of the Seth Sukh Karnani companies, Indira Movietone and they went on to be known as the Punjab Mail. Wasai would later adopt Mukhtar Begum's way of performance and sari attire.
In 1935, K.D. Mehra directed Pind di Kudhi in which Jehan acted along with her sisters.She next acted in a film called Missar Ka Sitara (1936) by the same company and sang in it for music composer, Damodar Sharma.Baby Noor Jehan also played the child role of Heer in the film Heer-Sayyal (1937). After a few years in Calcutta, Noor Jehan returned to Lahore in 1938. In 1939, Ghulam Hairder composed songs for Jehan which led to her early popularity. She then recorded her first song Shala Jawaniyan Mane for Dalsukh M. Pancholi's movie Gul Bakavli.
Prior to Khandaan Jehan was cast as a child artist. It was in 1942 that she played the main lead opposite Pran. Khandaan's success saw her shifting to Bombay (now Mumbai), where she shared melodies with Shanta Apte in Duhai (1943). It was in this film that Noor Jehan lent her voice for the second time, to another actress named Husn Bano. In 1945 Jehan player the lead role, alongside Lata Mangeshkar and Asha Bhosle, in the movie Badi Maa.
In 1945, she achieved a milestone, when she sung a Qawwali with Zohrabai Ambalewali and Amirbai Karnataki which was "Aahen Na Bhareen Shikave Na Kiye". This was the first ever Qawwali recorded in female voices in South Asian films.
Noor Jehan's last film in India was Mirza Sahibaan (1947) which starred Prithviraj Kapoor's brother Trilok Kapoor. Noor Jehan sang 127 songs in Indian films and the number of talking films she made from 1932 to 1947 was 69. The number of silents was 12. Fifty-five of her films were made in Bombay, eight in Calcutta, five in Lahore and one in Rangoon (now Yangon), Burma.
After the creation of Pakistan in 1947, Jehan decided to move to Pakistan along with her husband Shaukat Hussain Rizvi. She left Bombay and settled in Karachi with her family.
Three years after settling in Pakistan, Noor Jehan starred in her first film in Pakistan, Chanwey (1951), opposite Santosh Kumar, which was also her first Punjabi film as a heroine. Shaukat and Noor Jehan directed this film together making Noor Jehan Pakistan's first female director. Noor Jehan's second film in Pakistan was Dopatta (1952) which turned out to be an even bigger success than Chanwey (1951).
Her penultimate film as an actress/singer was Mirza Ghalib (1961).This contributed to the strengthening of her iconic stature. She gained another audience for herself. Her rendition of Faiz Ahmed Faiz's Mujshe pehli si mohabbat mere mehboob na maang is a unique example of tarranum, reciting poetry as a song. Noor Jehan last starred in Baaji in 1963, though not in a leading role. Noor Jehan bade farewell to acting in 1963 after a career of 33 years (1930 to 1963). The pressure of being a mother of six children and the demanding wife of a hero (Ejaz Durrani) forced her to give up her career. Noor Jehan made 14 films in Pakistan, ten in Urdu, four in Punjabi.
After quitting acting she took up playback singing. She made her debut as a playback singer in 1960 with the film Salma. Her first initial playback for a Pakistani film was for Jan-e-Bahar (1958), in which she sung the song Kaisa Naseeb Layi Thi, picturised on Musarrat Nazir. She received many awards, including with the highest Pakistani honour in entertainment, Tamgha-e-Imtiaz (The Pride of Performance) in 1966, Pakistan's top civil award.
In the 1990s Jehan also sang for then débutante actresses Neeli and Reema. For this very reason, Sabiha Khanum affectionately called her Sadabahar (evergreen). Her popularity was further boosted with her patriotic songs during the 1965 war between Pakistan and India.
Jehan visited India in 1982 to celebrate the Golden Jubilee of the Indian talkie where she met Indian Prime Minister Indira Gandhi in New Delhi and was received by Dilip Kumar and Lata Mangeshkar in Mumbai.
In 1986, on a tour of North America, Jehan suffered from chest pains and was dignosed with angina after which she underwent a surgery to install a pacemaker. In 2000, Jehan was hospitalised in Karachi and suffered a heart attack. On Saturday afternoon, December 23, 2000, Noor Jehan died from heart failure. Her funeral took place at Jamia Masjid Sultan, Karachi and she was buried at the Gizri Graveyard near the Saudi Consulate in Karachi.