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Look behind the scenes of fifty celebrated songs, from an estimated repository of over one lakh!'De de khuda ke naam pe': when Wazir Mohammed Khan sang these words in India's first talkie, Alam Ara, he gave birth to a whole new industry of composers, lyricists and singers, as well as an entirely new genre of film-making that is quintessentially Indian: the song-and-dance film. In the eight decades and more since then, Hindi film songs have enraptured listeners all over the world. From 'Babul mora, naihar chhooto jaye' (Street Singer, 1938) to 'Dil hai chhota sa' (Roja, 1992); from the classical strains of 'Ketaki gulab' (Basant Bahar, 1956) featuring Bhimsen Joshi to the disco beats of Nazia Hassan's 'Aap jaisa koi' (Qurbani, 1981); from the pathos of 'Waqt ne kiya' (Kaagaz Ke Phool, 1959) to the exuberance of the back-to-back numbers in Hum Kisise Kum Naheen (1977), here is an extraordinary compilation, peppered with trivia, anecdotes and, of course, the sheer joy of music. Find out answers to questions like:With which unreleased film did Kishore Kumar turn composer?In which song picturization was dry ice first used?Which all-time classic musical was initially titled Full Boots?Where was the title song of An Evening in Paris shot?The idea for which song originated when the film-maker visited Tiffany's in London?Which major musical partnership resulted from the celebrations around an award function for a commercial jingle for Leo Coffee? How many of your favourites find mention here? Make your own list!
Sholay (1975): Gabbar chops off Thakur's arms with a sword in each hand. Karz (1980): Kamini murders her husband by ramming him repeatedly with a jeep. Mr. India (1987): Mogambo kills hundreds of innocent citizens. No, you don't want to meet these Bollywood baddies in a dark alley; you may not escape with your life if you do. In Pure Evil, Balaji Vittal examines, in delicious detail, the misdeeds of the gangster, the sly relative, the corrupt policeman, the psychopathic killer... A rollercoaster ride, looking at the changing face of the Hindi film villain.
To a nation fed on classical music, the advent of Rahul Dev Burman with his repertoire of Western beats was a godsend. RD revolutionized Hindi film music in the 1970s, and with his emphasis on rhythm and beats, this Pied Piper of Hindi film music had young India swinging to his tunes. At the same time, this genius proved his many detractors who criticized him for corrupting popular taste wrong by composing some of the most influential raga-based songs in Hindi cinema and showing an immense comfort with all kinds of music, including Indian folk. RD: The Man, The Music looks at the phenomenon called R.D. Burman and how he changed the way Indians perceived Hindi film music. Through anecdotes and trivia that went into the making of Pancham's music - the many innovations he introduced, like mixed rhythm patterns, piquant chords and sound mixing - and through interactions with the musicians who were part of RD's team, the authors create a fascinating portrait of a man who, through his music, continues to thrive, even fifteen years after his death.
In "Romancing with Life," the first-ever full-fledged memoir by a leading Bollywood star, Dev Anand tells his remarkable life story like only he can. Here are tales from Dev's youth in 1930s Gurdaspur and Lahore; his years of struggle in 1940s Bombay; his friendship with Guru Dutt and his doomed romance with Suraiya; his marriage to co-star Kalpana Kartik; his relationships with his brothers Chetan and Vijay Anand, with S.D. and R.D. Burman, with his compatriots Dilip Kumar and Raj Kapoor; to both of whom he was very close, and with his heroines from Geeta Bali, Madhubala, Meena Kumari, Nutan, Vyjayanthimala, Mumtaz and Hema Malini to Waheeda Rehman, Zeenat Aman and Tina Munim, all of whom he launched. Dev Anand has produced an unputdownable book chock-full of bittersweet reminiscences, written in a pacy, effervescent style that carries the reader through sixty of Bollywood's most interesting years. With rare pictures from his personal archive, "Romancing with Life" is the quintessential Dev Anand.
A delightful history of the Hindi film song and its hold over popular psyche De de Khuda ke naam pe' sang Wazir Mohammed Khan in Alam Ara (1931), giving birth to a phenomenon—the Hindi film song. Over the years, the Hindi film song has travelled a long way, influencing and being influenced by popular taste. Considered downmarket not so long ago, it is undoubtedly the most popular musical genre in India today, pervading almost all aspects of Indian life—weddings, funerals, religious festivals, get-togethers and political conventions—and emerging as a medium to articulate every shade of joy and sorrow, love and longing, hope and despair. "Bollywood Melodies traces the evolution of the Hindi film song to its present status as the cultural barometer of the country, through an evaluation of the work of over fifty outstanding composers, singers and lyricists—from K.L. Saigal to Sonu Nigam, Naushad to A.R. Rahman, Sahir Ludhianvi to Javed Akhtar. Placing the song in the social context of the times, Gancsh Anantharaman looks at the influences that shaped it in each era: Rabindra Sangcct in the 1930s, the folk-inspired 1940s, the classical strains of the following decade and the advent of Western beats in the late 1960s. The author also chronicles the decline of music in Hindi films over the next twenty years before a new crop of musicians and singers gave the film song a new lease of life." Erudite yet lively, and including insightful interviews with icons like Lata Mangeshkar, Dev Anand, Gulzar, Manna Dey and Pyarelal, Bollywood Melodies is not only a treasure trove of information for music lovers but also an invaluable guide to understanding the nation’s enduring love affair with the Hindi film song.
INTRODUCTION BY LATA MANGESHKAR Lata Mangeshkar's life and career are widely known, and yet there is an aspect that remains largely unrecorded: her life on the international stage. Beyond the confines of a recording booth, or as the voice of generations of actresses, she was an accomplished and magnetic performer on stage. She attracted vast audiences of Indian origin who have made their home in many countries, including the US and Canada. Mangeshkar transformed how the Indian film music concert was perceived in the West by refusing to be part of the low-key song-and-dance performances that were held earlier in community halls, schools and colleges. She insisted that she and her colleagues would sing only in mainstream auditoriums - this was an unheard-of demand because Indian film artistes had never performed on those stages at that time. In ON STAGE WITH LATA, Mohan Deora - co-promoter and co-organizer of Lata Mangeshkar's international tours from 1975 to 1998 - allows us to journey with her and the top male playback singers, including Mukesh (who tragically died during a Detroit tour), Manna Dey and Kishore Kumar. Deora and Shah write about the participation of big-name stars including Amitabh Bachchan and Dilip Kumar, Waheeda Rehman and Farida Jalal. Mangeshkar is described here in her interactions with musicians, colleagues and friends as she meticulously prepared to sing on stage. The tours led to planning and glitches, camaraderie and tension, and anecdotes galore. They also provided the authors with a unique opportunity to observe the clarity of thought with which Lata Mangeshkar approached her work, and to see a great artiste at the height of her powers. A fine eye for detail makes the book a delight to read as Mohan Deora and Rachana Shah record an important slice of India's cinematic and cultural history.
Kishore Kumar, 1929-1987, Indian playback singer and Hindi film actor.
On the life and works of Sachin Dev Burman, 1906-1975, Bengali and Hindi film music director.
With the advent of sound, Hindi songs acquired a grammar of their own, thanks to the introduction of songs as a part of the narrative - a tradition that is unique to Hindi cinema. This gave rise to a class of professionals who acquired a star status that was in the league of the actors themselves - the lyricists. Rajiv Vijayakar's book chronicles the journeys of leading film lyricists - from D.N. Madhok and Pandit Pradeep to Amitabh Bhattacharya and Irshad Kamil, including stalwarts like Shakeel Badayuni and Sahir Ludhianvi, Majrooh Sultanpuri and Anand Bakshi, Gulzar and Javed Akhtar - who have woven magic with the written word. Filled with trivia and never-before-heard-of anecdotes, Main Shaayar Toh Nahin is an introduction to the contribution made by some of the finest wordsmiths to the Hindi film industry.
Evergreen Lyrics from old Hindi films with English translation