SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE

SHAMSHAD BEGUM:

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE

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SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE

Legendary playback singer Shamshad Begum, who mesmerised music lovers with classics like Kahin pe nigahen kahin pe nishana, Mere Piya Gaye Rangoon, Kabhi aar kabhi paar and Kajra mohabbat wala, died at her Mumbai [ Images ] residence from age-related ailments.

She was 94.
 
"She was not keeping well for past few months and was in and out of hospital. She passed away last night at our home (Powai in northeast Mumbai). The funeral was a solemn affair with a few friends present," Begum's daughter Usha Ratra said.
 
The singer had been living with her daughter and son-in-law Yog Ratra in Mumbai ever since her husband Ganpat Lal Batto died in 1955.
 
"She kept herself away from the glamour industry despite being one of the top singers of her era as she did not like the limelight. My mother used to say that artistes never die. She wanted to be remembered for her songs," Usha added.

Condoling the veteran's demise as an "irreparable loss" to the world of music, Information and Broadcasting minister Manish Tewari said her singing style had set new benchmarks.
 
"The film industry has lost one of its most versatile singers. Shamshadji's style of singing set new benchmarks. Her melodious voice with powerful lyrics gave us songs that have remained popular even today," Tewari said in his message.
 
"Her death is an irreparable loss, a void which will be difficult to fill," he added.
 
Born on April 14, 1919 in Amritsar [ Images ], Punjab [ Images ] in a traditional family, Begum made her debut on Peshawar Radio in Lahore [ Images ] on December 16, 1947, captivating the hearts of her listeners with her enchanting voice.
 
A versatile singer, Begum enthralled millions with her songs in Hindi, Bengali, Marathi, Gujarati, Tamil and Punjabi.

She sang for almost all the top composers of her time including Ghulam Haider, Naushad and O P Nayyar.
 
Her major hits include Boojh mera kya naam re and Leke pehla pehla pyar (CID -1956), Saiyan dil mein aana re (Bahar -1951) and Chod babul ka ghar (Babul -1950) and Kajra mohabbat wala (Kismat -1968).
 
Singing was a passion for Begum from a very early age but her conservative family did not encourage her at that time. It was her paternal uncle who convinced her father to allow her to sing.
 
She soon had a contract with record company Xenophone. Her father agreed to let her sing on the condition that she would attend the recordings in a burkha and would not get herself photographed.
 
Begum continued to honour her father's wishes even after getting married to Ganpat Lal Batto at the age of 15 in 1934.

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE

CAREER

1923–1940

Begum's talent was first spotted by her principal when she was in primary school in 1924. Impressed by the quality of her voice, she was made head singer of classroom prayer. At 10, she started singing folk based songs in religious functions and family marriages. Begum started singing publicly in 1933 in studios and orchestras. She fell in love and married lawyer Ganpat Lal Batto after much familial objection. She married Ganpat Lal Batto at the age of 15 in 1934. When she sang for the film Khazanchi in 1941, she was already well established. Begum started her radio career on Lahore Radio on December 16, 1947, captivating the hearts of her listeners with the enchanting depth of her voice. She was a big fan of K.L. Saigal and watched Devdas 14 times. According to accounts of her life, Shamshad Begum's singing ambitions, which she had from 1929, met opposition from her family. Her uncle who enjoyed qawwalis and ghazals and secretly took her, while she was 12, to Jenophone Music Company for an audition with musician Master Ghulam Haider in 1931. Shamshad said in an interview “I sang Bahadur Shah Zafar’s (the poet-ruler) ghazal Mera yaar mujhe mile agar.” An impressed Haider gave her a contract for 12 songs with facilities provided to top singers. It was her paternal uncle who convinced her father to allow her to sing. When she finally won a contract with a recording company, her father Miya Hussain Baksh, agreed to let her sing on the condition that she would record in a burka and not allow herself to be photographed. She earned 15 rupees per song and was awarded 5,000 on the completion of the contract on Xenophone, a renowned music recording company, being patronised by the rich, Shamshad’s popularity grew in elite circles in early 1930's. Her ‘breakthrough with the masses’ came when she began singing on All India Radio (AIR) in Peshawar and Lahore from 1937. Producer Dilsukh Pancholi wanted her to act as well in his film and Shamshad readily agreed and gave screen test. Though she got selected, when her father came to know about it he got angry and warned her that she would not be allowed to sing if she further harboured a desire to act. She promised her father that she would never appear before the camera. After that she continued singing songs on radio. She never posed for any pictures and not many people saw her pictures anywhere between 1933-1970. Until the end of the 1970s, her fans did not know her face at all, though everybody could recognise her melodious voice as it was used by the great maestros like Naushad Ali, S.D.Burman, C.Ramachandra and O. P. Nayyar. She started giving few interviews only from late 1980's and gave her last interview in 2012. Even today, her songs from the 1940's, 1950s, 1960s and early 1970s are popular and continue to be remixed. Without any formal lessons in music, she had a distinct inimitable voice. Shamshad was born in Amritsar and had no known Pakistani connection post 1947. She had of course rendered songs in the pre-Partition days from Peshawar and Lahore radio stations.

Begum sang for the All India Radio (AIR) through her musical group 'The Crown Imperial Theatrical Company of Performing Arts', set up in Delhi.^[8] The then AIR Lahore helped her entering the world of movies as they frequently broadcast her songs, which induced music directors to use her voice for their films. Shamshad also recorded naats and devotional music for a couple of gramophone recording companies.

Her crystal-clear voice caught the attention of sarangi maestro Ustad Hussain Bakshwale Saheb, who took her as his disciple. She and Noorjahaan were discovered by Ustad Ghulam Haider in early 1930's and  1940's respectively.

Courtesy: Wiki: The Free Encyclopedia

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE

Yes we will spin some of her old tunes of yesteryear, after we try to do some more write ups on Shamshad's career.

Duniya Ka Mazalelo Duniya Tumhare Hai from 1951 Film Bahar was a big hit then. Singing was a gift to her from God. RIP Shamshadji

That one was surely a very big hit in its hey day, one that we will definately include.

Another Gem from Bahar that is still popular up to this day is "Saiyaan dil mein aana re"

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE

1941–1945

Lahore-based composer Ghulam Haider used her voice skillfully in some of his earlier films like Khazanchi (1941) and Khandaan (1942).The song Cheechi Wich Pa ke Chhalla from Yamla Jatt of 1940 became a huge hit and popularised Pran, singer Shamshad and music composer Haider. Haider continued to give hit song with her for films like 'Zamindar', 'Poonji' and 'Shama'. Director Mehboob Khan used Begum's voice in 'Taqdeer' (1943) where he introduced Nargis as a heroine. Soon Begum was singing for other composers like Rafiq Ghaznavi, Ameer Ali, Pt Gobindram, Pt Amarnath, Bulo C Rani, Rashid Atre, M A Mukhtar in the pre-independence era. When Ghulam Haider moved to Bombay in 1944, Shamshad went with him as a member of his team, leaving behind her family and staying with her Chacha (paternal uncle). After partition, Haider migrated to Pakistan but Begum remained in Mumbai.Begum became a national rage between the early 1940s and the early 1960s, having a voice different from her peers like Noorjehan, Mubarrak Begum, Suraiya, Sudha Malhotra, Geeta Dutt and Amirbai Karnataki.

Courtesy: Wiki: The Free Encyclopedia

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE

1946–1955

Naushad acknowledged in an interview that he was indebted to her in reaching the top as Shamshad Begum was famous personality already even before Naushad made a name for himself in late 1940's and after the tracks sung by her became a rage, his talent got recognized by people. Similarly though S.D.Burman was composing Bengali music since 1937, he achived national fame with tracks sung by Shamshad in Hindi films beginning with songs from Shikari and Shabnam. It was Shamshad's solo and duet songs sung for Naushad in the late 40's and early 1950's which made Naushad famous. After Nausahd became successful he recorded songs with new singers as well in the early 1950's but kept working with Shamshad in late 50's and early 1960's. Naushad chose his favourite singer Shamshad Begum once again to sing four out of the 12 songs in Mother India.She sang extensively for composers – Naushad, O.P.Nayyar, C Ramchandra and S.D.Burman from 1946–1960. Shamshad is credited with singing one of the first Westernised songs, Meri jaan...Sunday ke Sunday by C. Ramchandra. She kept getting more offers to sing songs and was highest paid female singer from 1940–1955. In 1949 music directors S.Rajeshwara Rao, M.D.Parthasarathy & Balakrishna Kalla made her sing for P.Bhanumati – Jaiyo Jaiyo Shipayon Bazar in film Nishan produced by Gemini Films of Madras which was a rage. S.D.Burman was not well-established as a music director in Hindi films till 1946 and at that time, he asked Shamshad to do playback in his debut Hindi film as music director – Shikari in 1946 with the song – Kuch Rang Badal Rahi. S.D.Burman made her sing duets with Mukesh in 1949 film Shabnam named Pyar Main Tumne and Kismat Bhi Bhichadna which became popular. In 1949, came Shabnam, S.D.Burman's biggest hit untill then with Filmistan, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, picturised on Kamini Kuashal, which became a rage in those days S.D.Burman made her sing tracks later in Bazar(1950),Mashal(1950), Bahar(1951), Shahenshah(1953), Miss India(1957) etc. The song Jaam Tham Le from Shahenshah (1953) was a trendsetter for S.D.Bumran compositions. During her radio stint in Lahore, she had met O.P.Nayyar who used to work as a office boy delivering cakes for the lead singers. After partition, after a few years when O.P.Nayyar got a break as a composer, he approached Shamshad for recording songs for Mangu in 1954. O.P. Nayyar described her voice as that of a "temple bell" for its clarity of  tone and worked with her more in 1950's till late 1960's and gave many hit songs like Ab To Jee Hone Laga' from 'Mr and Mrs 55 heroine, Main Jaan Gayi Tujhe from Howrah Bridge, Zara Pyar Karle from Mangu(1954), Saiyan Teri Ankhon Mein from 12'O Clock(1957), Thodasa Dil Lagana from Musafirkhana and many more. Her songs picturised on Nigar Sultana like Teri Mehfil Mein from Mughal E Azam and Mere Piyan Gaye from Patanga(1949), then Saiyan Dil Mein Aana Re picturised on Vyjantimala, the song and on Minoo Mumtaz like Boojh Mera Naam Hai are extremely popular till today. Milte hi aankhen dil hua from – Babul (1950) had a romantic duet by Talat Mahmood and Shamshad Begum picturised on Dilip Kumar and Munawar Sultana which became popular as well. Her duet with Rafi – Chhala Deja Nishani from Bazar(1949) became a mega-hit. In the late 1940's Madan Mohan and Kishore Kumar used to sing as the chorus boys for her songs at Filmistan Studio. Shamshad promised at this time that she would sing songs composed by Madan once he starts his career as music director and would accept a lower fees and also predicted that Kishore Kumar would go on to become a great playback singer in future. She later recorded duets with Kishore Kumar as well like Gori ke Nainon Mein Nindiya Bhari from Angarey(1954) and Mere Neendon Me Tum from Naya Andaz. Her peak period in Hindi film industry was from 1940–1955. It was due to her husband's death in an accident in 1955, which made her a recluse and she stopped accepting singing assignments for a year. In early careers of both Lata and Asha , they were asked to imitate and copy Shamshad Begum’s style of singing by the producers and music directors. Many songs were sung by Lata and Asha between 1944–1956 resembling Shamshad Begum and it was because when producers could nopt afford Shamshad’s rate they would make new budding singers to sing like Shamshad. It was the break in 1955 which Shamshad took which helped career of Lata Mangeshkar get songs of high quality for her. Shamshad Begum has sung songs together with Lata and Asha like the song Mubarak Ho Woh Dil Jisko from Benazir(1964). Lata Mangeshkar started her playback singing when Shamshad Begum was at the peak of her career. In their first song together Lata Mangeshkar was a part of the chorus while Shamshad Begum was the main singer. Later beginning with the song Dar Na Mohabbat Karle from Andaz(1949), Lata and Shamshad have sung many duets together from 1949–1960 with famous being Pyar Ke Jahan Ki from 1949 film Patanga, Bachpan Ke Din 1951's Deedar and their last song together was Mughal – E – Azam's song Teri Mehfil Mein Qismat in 1960

Courtesy: Wiki: The Free Encyclopedia

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

1956–1976

CAREER

Though she had stopped recording for her songs in the year 1955 after her husband's death, the songs released between 1955 and early 1957 continued to be popular. Songs from films like C.I.D ,Naya Andaz, Baradari, Mr. & Mrs. '55 and others hits. At this time, Mehboob Khan approached her and said he wanted full-throated voice for Nargis in Mother India. The first song she sung for her comeback was Pee ke ghar aaj pyari dulhaniya chali for Mother India. She made a successful comeback after which she had many notable songs from films like Howrah Bridge, Jaali Note, Love in Simla ,Bewaqoof, Mughal-E-Azam, Bluff Master, Gharana, Rustom-E-Hind. But from 1960, she started getting songs picturised on actresses other than heroine. It was from 1965 on-wards that songs for her in films started getting reduced. She then declared a self imposed retirement in 1965. But she she kept having certain composers asking her to sing songs in few films and among them her songs from films like in Daku Mangal Singh, Upkar, Kismat(1969), Heer Ranjha(1970), Johar Mehmood in Hong Kong)(1971), Teri Meri Ik Jindri(1975) and Main Papi Tum Bakhshanhaar in 1976. Her song Kajra Mohabbat Wala from 1969 film Kismat remains a popular till-date. In 2009, she was conferred with the prestigious O P Nayyar award for her contribution to Hindi film music

Courtesy: Wiki: The Free Encyclopedia

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

Following her death, actor Amitabh Bachchan tweeted, "The golden voice of Shamshad Begum, playback singer of great eminence in some of the most historic film songs... now silent... RIP." With Shamshad Begum's demise, another unforgettable song from the glory days of Hindi film music now passes onto the jukebox of memory.

Best of Shamshad Begum:

1. Udan khatole pe ud jaoon (with Zohrabai Ambalewali), film: Anmol Ghadi (1946)

2. Mere piya gaye Rangoon (with Chitalkar), film: Patanga, 1949

3. Chhod babul ka ghar mohe pee ke nagar, film: Babul, 1950

4. Bachpan ke din bhula na dena (with Lata), film: Deedar (1951)

5. Saiyan dil mein aana re, film: Bahar (1951)

6. Ek do teen aaja mausam hai rangeen, Awara (1953)

7. Kabhi aar kabhi paar, film: Aar Paar (1954)

8. Leke pehla pehla pyaar (with Rafi and Asha), film: CID (1956)

9. Boojh mera kya naam re nadi kinare gaon re, film CID (1956)

10. Pee ke ghar aaj pyaari dulhaniya chali, film: Mother India (1957)

11. Holi aayee re kanhai holi aaye re, film: Mother India (1957)

12. Reshmi salwar kurta jaali ka (with Asha Bhonsle), film: Naya Daur (1957)

13. Teri mehfil mein kismet aazma kar (with Lata), film: Mughal-e-Azam (1960)

14. Kajra mohabbatwala, film: Kismat (1968)

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

FILM    : BAHAR [1951]

SINGER : SHAMSHAD BEGUM
LYRICS : RAJINDER KRISHAN
MUSIC : S. D. BURMAN

(1) DUNIYA KE MAZALELO DUNIYA TUMHARI HAIN

http://link.songspk.info/reviv.../revival.php?id=1064

Duniya Ka Maza Lelo, Duniya Tumhaari Hai, Yeh Duniya Tumhari
Duniya Ka Maza Lelo, Duniya Tumhaari Hai, Yeh Duniya Tumhari
Duniya Tumhaari Hai, Yeh Duniya Tumhaari Hai
Duniya Tumhaari Hai, Yeh Duniya Tumhaari Hai
Duniya Ka Mazaaaa Leeee Loooo

Duniya Ko Laat Maaro, Duniya Salaam Kare
Duniya Ko Laat Maaro Duniya Salaam Kare
Mud Mud Salaam Kare, Jhuk Jhuk Salaam Kare,Bik Bik Salaam Kare
Kabhi Namaste Ji To, Kabhi Raam Raam Kare
Kabhi Namaste Ji To, Kabhi Raam Raam Kare
Duniya Ke Baap Ho Tum
Duniya Ke Baap Ho Tum, Duniya Tumhaari Hai, Yeh Duniyaa Tumhaari Hai
Duniya Ka Mazaaaa Leeee Loooo

Duniya Se Daro Ge To, Duniya Dabaayegi
Duniya Se Daro Ge To, Duniya Dabaayegi
Aankhen Dikhaayegi, Rob Jamaayegi
E Ji Hansi Udaayegi
Chain Na Lene Degi, Jaan Jalaayegi
Chain Na Lene Degi, Jaan Jalaayegi
Taan Ke Seena Chalo
Taan Ke Seena Chalo, Duniya Tumhaari Hai, Yeh Duniya Tumhaari Hai

Duniya Ka Mazaaaa Leeee Loooo

Duniya Ke Jitane Nazaaren Hai, Tumhaare Hai
Duniya Ke Jitane Nazaaren Hai, Tumhaare Hai
Yeh Phool Tumhaare Hai, Yeh Taare Tumhaare Hai
Chanda Tumhaara Hai, Chandaniyaan Tumhaari Hai
Chanda Tumhaara Hai, Chandaniyaan Tumhaari Hai
Duniya Ka Mazaaaa Leeee Loooo

Duniya Ka Maza Lelo, Duniya Tumhaari Hai, Yeh Duniya Tumhari
Duniya Ka Maza Lelo, Duniya Tumhaari Hai, Yeh Duniya Tumhari

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

FILM    : BAHAR [1951]

SINGER : SHAMSHAD BEGUM
LYRICS : RAJINDER KRISHAN
MUSIC : S. D. BURMAN

2) SAIYAN DIL MEIN AANA RE

http://link.songspk.info/reviv.../revival.php?id=1057

saiyaan dil mein aana re
aa ke phir na jaana re
oh aa ke phir na jaana re
chham chhamaa chham chham

raaja ban ke aana re
mohe le jaana re
ho mohe le ke jaana re
chham chhamaa chham chham

chaandani raat hogi taaron ki baraat hogi (2)
pehle pehle pyaar ki pehli pehli baat hogi (2)
khushi khushi gaayenge hum geet suhaana re
saiyaan dil mein aana re
aa ke phir na jaana re
ho aa ke phir na jaana re
chham chhamaa chham chham

thodi thodi sahel hogi thoda thoda pyaar hoga (2)
kabhi iqraar hoga kabhi inkaar hoga (2)
tera manaana mera rooth jaana re
saiyaan dil mein aana re
aa ke phir na jaana re
ho aa ke phir na jaana re
chham chhamaa chham chham

tum mere paas hoge gham badi door hoga (2)
kehta hai jiya mera hoga zuroor hoga (2)
laana re laana tashreef laana re
saiyaan dil mein aana re
aa ke phir na jaana re
o aa ke phir na jaana re
chham chhamaa chham chham

raaja ban ke aana re
mohe le jaana re
ho mohe le ke jaana re
chham chhamaa chham chham

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

Remembering Shamshad Begum

Shamshad Begum, one of the first playback singers in the Hindi film industry died at her Mumbai residence at the age of 94. We share her last interview with Filmfare.

By Farhana Farook

Her spectrum has been kaleidoscopic. The romantic Saiyan dil mein aana re (Bahar), the teasing Kahin pe nigahen kahin pe nishana (CID), the pathos-dipped Chod babul ka ghar and even the Hinglish ditty Meri jaan Sunday ke Sunday (Shehnai) are all classics from songstress Shamshad Begum who ruled between the ’40s-’60s.
While her pictures shot in her heyday show her as a robust woman, today Shamshad Begum at 92 is frail and almost angelic. Dressed in salwar kameez she moves with a walker. Her lucent eyes mirror the changing notes in her life. Instant fame, adulation, separation from loved ones and then a retreat from rivalry. “Bahut gandh ho gayi thi (the scene had become dirty),” she says cryptically of her voluntary retirement. But the lines on her face have left her heart untouched. As if on cue she sings the zingy C Ramchandra number Sunday ke Sunday complete with the rhyme, ‘Ye dil beating kya jaane...yeh chasing hunting kya jaane’.
Fun loving as she is, she’s firm. Firm that she doesn’t want a recorder around. Firm that she’ll not badmouth her peers. Firm that she’ll not lambast the composers who used her as a stepping stone and then ignored her. “God opened doors for me. I never approached any music director. I never insisted that I’d sing only the heroine’s numbers. I had no ladai (fight) with anyone,” she narrates raising her hands in gratitude. “Mere sitare uruj pe the (my stars were on the ascent), the day
I met Master Ghulam Haider saab,” she says of the maestro who was her mentor. And unlike most singers she’s not offended that her hit numbers are being remixed today. “Let the young generation have fun. Duniya ke saath badalna chahiye (we must change with the world),” says the veteran who lives with daughter Usha Ratra and son-in-law Lieutenant Colonel Yogesh Ratra in serene Powai. Usha sits with us through the chat, updating me now and then with trivia...

EARLY TUNES
It was Shamshad Begum’s headmistress who discerned her ‘surili awaaz (tuneful voice)’ amongst a chorus of girls reciting prayers in the school assembly. Her conservative father, Miya Hussain Baksh, however didn’t encourage her yen for singing. Rather it was her chacha (uncle), a Sufi at heart, who enjoyed qawwalis and ghazals and secretly took her to Jenophone Music Company for an audition with musician Master Ghulam Haider. “I was only 12 and couldn’t climb onto the platform to sing,” recalls Shamshad. “I sang Bahadur Shah Zafar’s (the poet-ruler) ghazal Mera yaar mujhe mile agar.” An impressed Haider gave her a contract for 12 songs with facilities provided to top singers including Rs 2 as tonga fare. The Company being patronised by the rich, Shamshad’s popularity grew in elite circles.

GURU GYAAN
Her ‘breakthrough with the masses’ came when she began singing on All India Radio (AIR) in Peshawar and Lahore during the late ’30s. “Ghulam Haider saab turned me into a professional. He’d say, ‘Accept offers from all composers. Learn their style; don’t impose your style on them. Be like the water which takes the shape of the glass,” shares the singer who perfected her Urdu diction with a kazi. She donned a burqa when she went for recordings. “Hindu girls in Peshawar wore a ghoonghat (veil) so I wore a burqa. In the studio I’d take it off,” she laughs.
The sassy Shamshad even gave a screen test for producer Dilsukh Pancholi (of Pancholi Studio) who wanted her to act as well. “When my father came to know about it he fumed and said, ‘I’ll ban your singing)’. So I continued singing songs on radio.”
But with her Punjabi numbers in Yamla Jat and later Hindi songs in Khajanchi (both Ghulam Haider scores) her voice made waves in the Hindi film industry in the early ’40s. Yet she only remained a faceless voice in compliance with her father’s diktat. Right up till the ’70s.

MUMBAI CALLING
Back in Bombay, director Mehboob Khan wanted her to sing for Taqdeer in which he was launching Nargis.  He was upset when told that her father wouldn’t send her to the ‘big’ city from Lahore. “Mehboob saab came home and told my father, ‘You’ve made her a frog in a pond. Throw her into the ocean and she’ll learn to swim.” And sing she did for Taqdeer with her song Babu darogaji becoming popular.
Soon, other composers including Anil Biswas,
C Ramchandra and Naushad made a beeline for her. She settled in Mumbai in 1942. “I only went back to Lahore during Moharram. I never sang during the month of mourning.” And while the world clamoured for her, she remained a KL Saigal fan. “I saw Devdas 14 times for the song Balam aan baso. Once I met Saigal saab while he was recording at Ranjit Studio. He said, ‘To tu woh bala hai, teri awaaz mujhe badi pasand hai (So you’re the one making news. I love your voice)’.”

continues........

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

Remembering Shamshad Begum

Shamshad Begum, one of the first playback singers in the Hindi film industry died at her Mumbai residence at the age of 94. We share her last interview with Filmfare.

By Farhana Farook

THE HEARTBREAK
Later, the songstress fell in love and married lawyer Ganpat Lal Batto after much familial objection. But she placed two conditions before him. “That I’d never stop singing nor severe ties with my family.” But after Ganpat Lal’s death in an accident in 1955, a heartbroken Shamshad stopped singing for almost a year. Says daughter Usha, “She’d keep saying, I just can’t sing’.” Again it was Mehboob Khan who drew her out of this turmoil.  “He wanted a full-throated voice for Nargis in Mother India and said, ‘If you don’t come; I’ll come and take you,” recalls Shamshad. Ironically, the first number she recorded was Pee ke ghar aaj pyari dulhaniya chali. The musicians were moist- eyed but not her. “I’m an artiste. Rone ke liye sara din sari raat padi hai
(I could cry through the entire day and night),” says  the singer who then on wore only white. To lighten the mood daughter Usha steps in, “I was crying on my wedding day when they played a reocord of mom’s song Chod babul ka ghar (Babul). I burst out laughing!”

GENEROUS ‘APA’
As a professional, Apa (as Shamshad was fondly called) was stringent. She never indulged in small talk. She didn’t encourage smoking in her presence. She never socialised or attended premieres. Her family never visited her in the studio nor did any industrywallahs visit her home. Her mantra, “Na mujhe maska maro, na main maska maroongi (Don’t flatter me, I’ll not butter up anyone either).” But she went out of her way to help newcomers. Never mind if they abandoned her later. She recounts her first brush with music director Madan Mohan and veteran singer Kishore Kumar at Filmistan Studio who both sang with her as chorus boys. “Madan Mohan would be clad in a crisp white pant and shirt and didn’t look like a chorus boy while Kishore would be dressed crazily in pyjamas. He was an eccentric genius,” she says. Young Madan would pull a chair for her and even serve her tea. She was told he was on the lookout for a break as a composer and wanted her to sing for him. And she did sing in Aankhen for him.
She was also told that the other boy was Kishore, Ashok and Anoop Kumar’s brother. ‘‘I told Kishore, ‘One day you’ll leave your brothers behind’. Years later, Kishore told me, ‘What you said has come true’. People forget favours, he didn’t forget my words. Later, we even sang the hit song Meri neendon mein tum (Naya Andaz).”

continues.........

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

Remembering Shamshad Begum

Shamshad Begum, one of the first playback singers in the Hindi film industry died at her Mumbai residence at the age of 94. We share her last interview with Filmfare.

By Farhana Farook

RAJ KAPOOR
She also lent a hand to the legendary Raj Kapoor. “He wanted me to sing for Aag but couldn’t afford my rate but I respected his dad Prithvirajji (Kapoor) and relented. We rehearsed at home during my break time. Musicians Shankar sat at the tabla and Jaikishen at the baaja for composer Ram Ganguly,” recalls Shamshad whose songs Kahe koyal shor machaye and Dekh leher ki aur became hits. She asserts that though Raj and she didn’t work together much, he valued her contribution. “At an event he said, ‘This lady did a lot for me but I could do nothing for her’.”
Shamshad and music director OP Nayyar went back a long way. During her radio stint in Lahore, she often spotted a young Nayyar there. “We’d send him to get cakes for us.” Later when he came to Mumbai, he approached her to sing for Aar Paar. While she sang all the songs, the sad version of Leke pehla pehla pyaar was sung by Asha Bhosle. Nayyar, who compared the clarity of her voice to ‘a temple bell’, hardly made her sing later.
She  remembers a young Mohammed Rafi being brought home by his father.  His ‘kamal ki awaaz (wonderful voice)’ impressed her. Soon they sang De mohe balama for Rail Ka Dibba. “We had to sing a few lines holding our breaths. I managed; he couldn’t. He said, ‘Aapaji maan gaye aapko (you’re a talent to behold)’.” She adds, “Aaj machine gaate hain, artiste nahin (today machines sing, not artistes).”

AUTUMN SONATA
She continues,“When I helped newcomers I never told them to give me all their songs to sing. I believed only God could give, not them.
I was never insecure. Everyone brings his or her taqdeer,” says the singer who holds tremendous affection for peers Geeta Dutt, Noorjehan, Amirbai Karnataki, Uma Devi (Tun Tun) and Suraiya.
But for someone who sang more than 5000 songs in five languages, her career came to an abrupt end. “The more hits I gave, the less work
I got,” says the singer who then opted to retire. Apparently, her songs were seldom played on radio and even if they were, she was denied credit. But she steers clear from commenting on this.
What makes her day today is reciting Quranic verses, the Gayatri mantra and even praises of Guru Nanak Sahib. And sometimes a comment made by the likes of maestro Pandit Jasraj who recently said on a music show, “Even well-known artistes have at some point copied Shamshad Begum and Noorjehan.”

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE : DEEDAR 1951

SINGER: SHAMSHAD AND LATA

LYRICS: SHAKEEL BADAYUNI

MUSIC : NAUSHAD

3) OH OH BACHPAN KI DIN BHULA NA DENA

http://link.songspk.info/reviv.../revival.php?id=1065

Lata:
(Ooo Bachpan ke din bhula na dena)2
Do not forget the days of childhood

Shamshad:
(Aaj hanse kal rula na dena)2
I am laughing today, do not make me cry tomorow

Both:
Ooo Bachpan ke din bhula na dena
Do not forget the days of childhood

Shamshad:
(Lambe hain jeevan ke raste
The roads of the life are very long
Aao chale ham gaate hanste)2
Lets tread on it singing and laughing
Gaate, hanste
Singing and laughing

Lata:
aaa aaaaa
(Door desh ek mahal banaye
Let's make a palace in a faraway country
Pyar ka jis mein deep jalaye)2
And light it with lamps of love
Deep jalaye
Light up the lamps

Shamshad:
Deep jalakar bujha na dena
After lighting the lamps don't let them go out
Aaj hanse kal rula na dena
I am laughing today, do not make me cry tomorow

Ooo Bachpan ke din bhula na dena
Do not forget the days of childhood

Lata:
(Rut badale ya jeevan beete
The winds change or lives go by
Dil ke taraane hon na puraane)2
The songs of love shall never die/go old

Shamshad:
hahahahaa
(Nainon mein ban kar sapan suhaane
Our eyes will see the pleasant dreams
Aayenge ek din yahi zamaane)2
Of this beautiful time that we spent together
hahaaahaah
Yahi zamaane

Lata:
Yaad hamaari mita na dena
Do not let our memories die
Aaj hanse kal rula na dena
I am laughing today, do not make me cry tomorow

Both:
Ooo Bachpan ke din bhula na dena
Do not forget the days of childhood

Trans:Ranjana

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE :  DULARI 1949

SINGER: SHAMSHAD BEGUM

LYRICS:  SHAKEEL BADAYUNI

MUSIC :  NAUSHAD

4) CHANDNI AAYI BANKI PYAR OH SAAJANA OH SAAJANA

http://link.songspk.info/reviv.../revival.php?id=1069

( Chaandani Aai Ban Ke Pyaar O Saajana
O Saajana ) -2
( Laagi Mere Dil Par Kataar O Saajana
O Saajana ) -2

Jeewan Mein Preet Na Ho
Ye Bhi Hai Reet Koi -2
( Dekho Ji Mere Bina
Gaana Na Geet Koi ) -2
Gaana Na Geet Koi
Toot Na Jaayen Dil Ke Taar O Saajana
O Saajana
Laagi Mere Dil Par Kataar O Saajana
O Saajana

Bedardi Sainyaan Mujh
Dukhiya Ki Laaj Rahe -2
( Kahane Ki Baat Nahi
Ab Tumase Kaun Kahe ) -2
Ab Tumase Kaun Kahe
Sun Lo Mere Dil Ki Pukaar O Saajana
O Saajana
Laagi Mere Dil Par Kataar O Saajana
O Saajana

Ankhiyaan Mila Kar Zara
Ulfat Ka Rang Bharo -2 `
( Mere Ban Jaavoge Tum
Isaka Ikaraar Karo ) -2
Isaka Ikaraar Karo
Aata Nahi Dil Baar-baar O Saajana
O Saajana
Laagi Mere Dil Par Kataar O Saajana
O Saajana

Chaandani Aai Ban Ke Pyaar O Saajana
O Saajana

Shamshad Begum: The forgotten diva

Kushal Gopalka

Wed, Apr 24 2013

Shamshad Begum (1919-2013). Photo: Kushal Gopalka

Shamshad Begum: The forgotten diva

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

A file photo of Shamshad Begum. Photo: PTI

Such was the charm of the bright, self-taught vocals that producers insisted on using them to ensure the success of their movies. All the music directors of the 1940-60 period have recorded her in solos, duets and choruses in serious, comic, romantic, children’s, patriotic and devotional songs. Haidar, R.D. Burman, Pandit Govindram, Ghulam Mohammad, S.D. Burman, Hansraj Behl, C Ramchandra, Husnlal Bhagatram, Anil Biswas, Gyan Dutt, Khemchand Prakash, Shyam Sunder, Bulo C. Rani and Vasant Desai are some those melody-makers. The highly sought-after ones, Haider, Naushad Ali and O.P. Nayyar, reserved some of their best compositions for Shamshad Begum for the greater part of their illustrious careers. She didn’t let them down —as Dharti ko aakash pukare, Bachpan ke din bhula na dena, Meri neendon mein tum, Leke pehla pehla pyar amply justify.

Shamshad Begum: The forgotten diva

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

Our next featured three songs by the legendary Shamshad Begum will be

#5 Kabhi Aar Kabhi Paar

#6 Bhooj mera kya naam hai

#7 Chhod baabul ka ghar

These gems will always be remembered from the lady who was one of the pioneer of Bollywood film Songs, like CH Atma, KC Dey, KL Saigal, and a few others who had leave an indelible mark in the Film Industry of India.

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE : AAR PAAR 1954

SIGER : SHAMSHAD BEGUM

LYRICS:

MUSIC : O P NAYYAR

5) KABHI AAR KABHI PAAR

http://link.songspk.info/reviv.../revival.php?id=1056

kabhee aar, kabhee paar, laagaa teer-ye-najar

saiyyaa ghaayal kiyaa re, toone moraa jigar
Darling you have injured my body

kitanaa sanbhaalaa bairee, do nainon mein kho gayaa

dekhatee rah gayee main to, jiyaa teraa ho gayaa 
I kept seeing but this bosy became all urs

dard milaa ye jeewan bhar kaa, maaraa ayesaa teer najar kaa
This pain shall stay for this lifetime, the way the arrows were shot frm the eyes

lootaa chain karaar
Which stole my concentration

pahale milan mein ye to duniyaan kee reet hai

baat mein gussaa lekin dil hee dil mein pareet hai
While talking ur angry but love is in the heart

man hee man mein laddoo foote, nainon mein
Inside my heart a lump is bursting, through eyes

Kabhee aar, kabhee paar, laagaa teer-ye-najar
sometimes that side, sometimes this side, these eyes are like arrows

saiyyaa ghaayal kiyaa re, toone moraa jigar
darling you have injured my body

loved her singing...thanks asj

Absolutely my favorite Bollywood female singer...may she rest in peace

Yes Ray, she really lived a long life, she was the favourite of the old folks, Grandma,

Grandpa, Nana Nanee, Ajaa, Ajee

50 years and over and the songs still has that twang to it

Enjoy buddy

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE : C I D 1956

SIGER : SHAMSHAD BEGUM

LYRICS: MAJROOH SULTANPURI

MUSIC : O P NAYYAR

6) BHOOJ MERA KYA NAAM HAI

http://link.songspk.info/reviv.../revival.php?id=1058

Boojh mera kya naam re
Nadi kinaare gaon re
Peepal jhoome more aangna
Thandi thandi chhaon re

(Log kahe main bawri
Mere uljhe uljhe baal) -2
(Mera kala kala til hai
Mere gore gore gaal) -2

Main chali kit chali
Jhoome saara gaon re
Boojh mera kya naam re
Nadi kinaare gaon re
Peepal jhoome more aangna
Thandi thandi chhaon re

(Aaj sambhal ke dekhna
Babuji hamri aur) -2
(Kahin dil se lipat na jaye
Lambi zulphon ki dor) -2
Main chali mann chali
Sabka mann lalchaun re
Boojh mera kya naam re
Nadi kinaare gaon re
Peepal jhoome more aangna
Thandi thandi chhaon re

(Dil walon ke beech ki
Meri Akhiyan hain badnaam) -2
(Hoon ek paheli phir bhi
Koi bhooje mer naam) -2

Yeh chali yah chali
Bhooje to kit jaun re
Boojh mera kya naam re
Nadi kinaare gaon re
Peepal jhoome more aangna
Thandi thandi chhaon re

Boojh mera kya naam re
Nadi kinaare gaon re
Peepal jhoome more aangna
Thandi thandi chhaon re

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE : DEEDAR 1951

SINGER: SHAMSHAD 

LYRICS: SHAKEEL BADAYUNI

MUSIC : NAUSHAD

7) CHAMAN MEIN REHKE VIRANA MERA HOTA JATA HAIN

http://link.songspk.info/reviv.../revival.php?id=1072

 chaman mein reh ke veerana mera dil hota jata hai

chaman mein reh ke veerana mera dil hota jata hai
khushi mein aaj kal kuch gam bhi shaamil hota jata hai
chaman mein reh ke veerana ...

(na jaane kyon badalti ja rahi hai zindagi meri
na jaane zindagi meri) - 2
main dil se bekhabar dil mujh se gaafil hota jaata hai
chaman mein reh ke veerana ...

(ye uljhan aur ye bechaini ye dhadkan aur ye betaabi
ye dhadkan aur ye betaabi) - 2
mera dil jaane kin teeron se ghayal hota jaata hai
chaman mein reh ke veerana ...

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE : ANMOL GHADI 1946

SINGER: SHAMSHAD BEGUM

MUSIC :  NAUSHAD

LYRICS: TANVIR NAQVI

8) UDHAN KHATOLE PE UD JAAUN

http://link.songspk.info/reviv.../revival.php?id=1067

Udan Khatole Pe Ud Jaaun 

Udan Khatole Pe Ud Jaaun,

Tere Haath Na Aaun
Haan Aa..Tere Haath Naa Aaun
Udan Khatole Pe Ud Jaaun 

Door Door Se Karun Ishaare, Aur Tujha Ko Tarasaaun
Chanda Ki Khidaki Se Jhaanku, Jhaanku Aur Chhip Jaaun

Udan Khatole Pe Ud Jaaun, Tere Haath Na Aaun
Haan Aan..Tere Haath Na Aaun

Haan Aan Aaye, Aaye Aur Guzarati Jaayen

Lambi Unchi Nichi Raahen, Galiyaan Aur Baazaar,
Haan Aan.. Galiyaan Aur Baazaar
Mera Paihiya, Mera Paihiya Aise Bhaage, Jaise Motar Kaar
(Bhaage Sab Sansaar)2, Suraj Bhaage, Chanda Bhaage,
Andhiyaara, Ujiyaara Bhaage

Dharati Daude Pichhe Ko , Main Aage Badhati Jaaun
Tera Haath Pakad Ke Tujhako Door Kahin Le Jaaun,
Main Phir Bhi Haath Na Aaun, Haan, Phir Bhi Haath Na Aaun

Udan Khatole Pe Uud Jaaun,

Tere Haath Na Aaun
Haan Aan..Tere Haath Na Aaun

Udan Khatole Pe Ud Jaaun 

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE : CHANDNI RAAT 1949

SINGER: SHAMSHAD BEGUM

LYRICS: SHAKEEL BADAYUNI

MUSIC : NAUSHAD

9) CHHAYA MERE UMEED KE DUNIYA MAY ANDHERA

http://link.songspk.info/reviv.../revival.php?id=1068

Chhaaya meri ummeed ki duniya mein andhera
Ab ye kise maaloom hai kab hoga sawera
Chhaaya meri ummeed ki duniya mein andhera
Ab ye kise maaloom hai kab hoga sawera

Kho jaaye na mil kar kahin ulfat ka khazaana
Kahin ulfat ka khazaana
Kho jaaye na mil kar kahin ulfat ka khazaana
Reh jaaye na lut kar kahin armaanon ka dera
Ab ye kise maaloom hai kab hoga sawera

Khilne bhi na paayin abhi kaliyaan mere dil ki
Abhi kaliyaan mere dil ki
Khilne bhi na paayin abhi kaliyaan mere dil ki
Dil tod ke gham ne kiya pehlu mein basera
Ab ye kise maaloom hai kab hoga sawera

Sunta nahin koyi kise main ja ke sunaaun
Kise main ja ke sunaaun
Sunta nahin koyi kise main ja ke sunaaun
Dukh dard mein dooba hua afsaana hai mera
Ab ye kise maaloom hai kab hoga sawera

Chhaaya meri ummeed ki duniya mein andhera
Ab ye kise maaloom hai kab hoga sawera

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE :  AAN 1949

SINGER: SHAMSHAD BEGUM

LYRICS: SHAKEEL BADAYUNI

MUSIC : NAUSHAD

10) AAG LAGI TANMAN MAY DILKO PADAA THAAMANA

http://link.songspk.info/reviv.../revival.php?id=1070

aag lagi tan-man mein
Dil ko padaa thaamanaa
Raam jaane kab hogaa
Sainyaan ji kaa saamanaa) -2
Ho

Sooni hai aaj piyaa mori atariyaa
Piyaa mori atariyaa
Zaraa dijo kabariyaa
Dil tadape jaise binaa jal ki machhariyaa
Zaraa lijo kabariyaa
Sooni hai aaj piyaa mori atariyaa
Piyaa mori atariyaa
Dil tadape jaise binaa jal ki machhariyaa
Zaraa lijo kabariyaa
Aan pade mushqil to aaye koi kaam naa
Raam jaane kab hogaa
Sainyaan ji kaa saamanaa
Hoon

Saajan ki yaad mujhe pal pal sataaye
Mujhe pal pal sataaye
Dekho nainaa bhar aaye
Aag Lagi Tan-man Mein Dil Ko Padaa Thaamanaa lyrics on LyricsOff.com
Tan kaa singaar mere man ko na bhaaye
Dekho nainaa bhar aaye
Saajan ki yaad mujhe pal pal sataaye
Mujhe pal pal sataaye
Tan kaa singaar mere man ko na bhaaye
Dekho nainaa bhar aaye
Pyaar meraa ho jaaye kahin badanaam naa
Raam jaane kab hogaa
Sainyaan ji kaa saamanaa
Haay

Laagi naa chhoote karoon koi bahaanaa
Karoon koi bahaanaa
Aayaa naazuq zamaanaa
Dil meraa banaa piyaa teraa nishaanaa
Aayaa naazuq zamaanaa
Laagi naa chhoote karoon koi bahaanaa
Karoon koi bahaanaa
Dil meraa banaa piyaa teraa nishaanaa
Aayaa naazuq zamaanaa
Hoye buraa ulfat kaa dekho anjaam naa
Raam jaane kab hogaa
Sainyaan ji kaa saamanaa

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

SHAMSHAD BLEND VOICES WITH TALAT MAHMOOD TO GIVE US ONE

THAT WILL BE REMEMBERED FOR A VERY LONG TIME:

A FAVE OF MINE

MOVIE : BAABUL 1950

SINGER: SHAMSHAD AND TALAT MAHMOOD

LYRICS: SHAKEEL BADAYUNI

MUSIC : NAUSHAD

11) AFSANA MERA BAN GAYA AFSANA KISSI KAA 

http://link.songspk.info/reviv...d/revival.php?id=161

Milte hi aankhein dil hua deewana kissi ka

As soon as our eyes met, somebody's heart went mad
Afsana mera ban gaya afsana kissi ka

My tale has happened, somebody's tale

Puchho na mohabbat ka asar, (haay na puchho)2

Don't ask me love's effect, oh, don't ask

Dam bhar mein koyi ho gaya, parwaana kisika
I took a breath and somebody happened, somebody's lover

Afsana mera ban gaya afsana kissi ka

My tale has happened, somebody's tale

Hanste hi na aa jaaye kahi, (aankho mein aansoo)2

Hanste hi na aa jaaye kahi, (aankho mein aansoo)2

Bharte hi chhalak jaaye na, paimaana kisika
Bharte hi chhalak jaaye na, paimaana kisika
Afsana mera ban gaya afsana kissi ka

My tale has happened, somebody's tale

Milte hi aankhein dil hua deewana kissi ka

As soon as our eyes met, somebody's heart went mad

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

DURING THE HOLY MONTH OF RAMZAAN THIS ONE USED TO WAKE US UP

SO THAT WE CAN HAVE OUR SAHOOR: SO MANY A  TIMES I HAVE LISTENED TO THIS ONE:

RAMZAAN KA MAHINA BARA BARKATON KA HAI

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE : PATANGA 1949

SINGER: SHAMSHAD BEGUM/MOHD RAFI

LYRICS: SHAKEEL BADAYUNI

MUSIC : C RAMSHANDRA

13) MERE PIYA GAYE RANGOON

http://link.songspk.info/india...download.php?id=1078

mere piyaa; ho mere piyaa gaye ranguun
my husband, o my husband has gone to rangoon

kiyaa hai vahaan se telifuun
has telephoned from there

tumhaarii yaad sataatii hai
your thoughts are tormenting me

jiyaa mein aag lagaatii hai
sets fire to my heart/mind


mere piyaa gaye ranguun
my husband has gone to rangoon

kiyaa hai vahaan se telifuun
has telephoned from there

tumhaarii yaad sataatii hai
your thoughts are tormenting me

jiyaa mein aag lagaatii hai
sets fire to my heart/mind



ham chhod ke hindustaan
after leaving india

bahut pachhataaye
i regretted a lot

huii bhuul jo tumako saath na lekar aaye
i made a mistake by not bringing you along with me

ham barmaa kii galiyon main aur tum ho deharaaduun
i am in the streets of burma and you are in deharadoon

tumhaarii yaad sataatii hai
your memories are tormenting me

jiyaa mein aag lagaatii hai
keeps setting my mind on fire


merii bhuukh pyaas bhii kho gaye
my thirst and hunger are also lost

gam ke maare
in my grief

main adhamuii sii ho gai gam ke maare
i am half conscious because of the grief

tum bin, saajan, janavarii faravarii ban gaye me aur juun
without you, my love, january and february have become may and june

tumhaarii yaad sataatii hai
your thoughts are tormenting me

jiyaa mein aag lagaatii hai
sets my mind on fire


ajii tumase bichha.dake ho gaye ham sanyaasii
after separating from you, i have become a monk

khaa lete hain jo mil jaaye ruukhii suukhii baasii
i eat what ever i get, withered, dry or stale

ajii luungii baandh, ke karein guzaaraa bhuul gaye pataluun
i live my life by just wearing a luungi, have forgotten about pants

tumhaarii yaad sataatii hai
your tghoughts torment me so

jiyaa mein aag lagaatii hai
sets my heart/mind on fire



Translated By- princess1

SHAMSHAD BEGUM: YESTERYEAR ICON IS NO MORE (1919-2013)

MOVIE : MELA 1950

SINGER: SHAMSHAD BEGUM

LYRICS: SHAKEEL BADAYUNI

MUSIC : NAUSHAD

14) TAKDEER BANI BANKAR BIGDE

http://link.songspk.info/reviv.../revival.php?id=1075

Biography

Biography