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Mubarak Begum: Bollywood music's shooting star Who was Mubarak Begum? Who was this shooting star whose strong, expressive voice captured the hearts of listeners in the 1950s and 1960s, placing her, if only temporarily, along with other female and male playback singers as one of the promising talents of the Indian film industry Established as. Like Lata Mangeshkar, Asha Bhosle, Sudha Malhotra, Vani Jayaram, Geeta Dutt, Suman Kalyanpur, Mohammed Rafi, Talat Mehmood, Manna Dey, etc. We say Indian because he recorded regional songs, including one in Malayalam with Mohammed Rafi. Born in 1936 in Jhunjhunu (not Sujangarh, as many reports claim, and as Begum confirms in a Film Division documentary on herself), she was a girl in frocks and salwar kameez with pigtails who used to dance in cinema halls. She used to fall asleep while watching movies (ordinary single-screen theater) when her father took her, but she was alert whenever songs played on the screen. Although the family struggled with financial resources (they were fruit vendors), having moved to Ahmedabad from Rajasthan when she was a child, her father was very fond of watching films. When he heard his daughter humming the songs of Noorjahan and Suraiya in her sweet voice, he decided to give wings to her talent. Perhaps, he also hoped that the film industry could provide scope for the family to live a more comfortable life. In a chapter on Mubarak Begum in his book, The Hindi Music Jukebox: Exploring Unforgettable Songs, Manek Premchand aptly titles one of the chapters: 'The Flightless Bird of Hindi Playback Singing'. When Begum was asked in an interview why she could not reach the pinnacle of her success despite singing great songs with the best composers and fellow singers, she casually indicated, 'Anhani mere par kaat diye (He cut my Wings cut off)''. From being a promising debut singer with a solo song ("Mohe Aane Lagi Angdai") and a duet with Lata Mangeshkar ("Aaiye Aao Chalen Chalen Wahan") in the 1949 film 'Aaiye', Begum's songs The list included styles of bhajans. , Ghazals, Naats, besides many romantic and sad tunes. A disciple of Riazuddin Khan Sahib of the Kirana Gharana, from whom she learned Hindustani classical music for a few years, Mubarak Begum moved to Bombay with her father in the mid-1940s. Pakistani musician Nashad heard him and gave him a break in I. By this time, the young girl was already struggling with stage fright problems, getting cold feet during recording sessions, and even running away from recording sessions. Gradually he developed a rare confidence which is reflected in his music. However, as someone who lacked education and was perhaps unsure of herself, she found it difficult to promote herself. Instability in her personal life (she was married at the age of 20) when her husband, Jagannath Sharma, a small-time film producer, left her and their two young children, led to grief as well as some other difficulties. Also increased, which she could do. No matter how hard he tries, it won't be smooth. However, in the 1950s and 1960s, his songs continued to shine briefly but surely. It is a testament to her talent that despite singing a limited number of songs, she was working with the best composers of that time (Salil Chowdhary, Madan Mohan, S.D. Burman, Naushad, to name a few) and was commercially successful. Used to sing songs. Successful films, including Devdas (1955), Madhumati (1958), Neend Hamari, Khwaab Tumhare (1966), Humrahi (1963), the critically acclaimed Teesri Kasam (1966) and many others. Of the 200 songs she recorded (if there were more, we are unaware), Mubarak Begum sang with such beauty and perfection that many wondered if it was Lata Mangeshkar (who rapidly gained popularity) behind the mic. Was doing). An example of this, in Begum's own words, was 'Kabhi Tanhaiyon Mein Yun Hamari Yaad Aayegi' from the film Hamari Yaad Aayegi (1961), which was actor Tanuja's first heroine-centric film as an adult. Directed by Kidar Sharma, when Sharma predicted the success of the song in the recording session, the title of the film was changed from Jawan Mohabbat to Hamari Yaad Aayegi. He was right – Begum's pained voice in this tune inspired people to imagine the plight of a heartbroken. Sadly, this eventually became Begum's last item. What she didn't realize was that she was rapidly becoming a scratch artist of sorts (one who initially records for someone else). SPECIAL THANKS TO DHEERAJ BHARDWAJ JEE (DRAMA SERIES INDIAN), THANKS FOR WATCHIN GOLDEN MOMENTS WITH VIJAY PANDEY https://podcasters.spotify.com/pod/da... https://www.facebook.com/profile.php?...   / actorvijaypandey     / panvijay