Wednesday, May 14, 2014

The Bawa In Chains

his body held captive
in iron chains , permanently
fused iron manacled immune
to the weight or pain
this way all his life he will
remain an ascetic a monk
completely sane a mystic
through this penance his
moksha attains .. the bawa
in chains travelling from shrine
to shrine from one urus to
the next ..follower of
ali his son hussain ..

a malang a mendicant
mind over matter heart
over brain...

Beti Achhe Din Anewale Hain



nanhe nane hathon se
chane bana .. tere bure
din badalnewale hain
tere nanhe hathon se
chatpata chana log
khanewale hain
tujhe kya padne ki
zaroorat ..teri zindagi
main yeh char chand
laganewale hain
girl child empowerment
ka yeh ek naya nara
 laganewale hain

Dargah of Hazrat Waris Ali Shah, Dewa Sharif, Barabanki




From Wikipedia, the free encyclope

Waris Ali Shah (Urdu: حاجی وارث علی شاہ‎, Hindi: हाजी वारिस अली शाह) or Sarkar Waris Pak (Urdu: سرکار وارث پاک, Hindi: सरकार वारिस पाक) (1819-1905) was a Sufi saint from Dewa, Barabanki, India, was the founder of Warsi order of Sufism, he travelled widely in the west and admitted people to his spiritual order.[1] His shrine is situated at Dewa, India.[2][3]


Father[edit]
His father's name was Qurban Ali Shah whose tomb too is located in Dewa.[4]

Haji Waris Ali Shah at a very early age showed an extraordinary inclination for a religious life and that even in his extreme boyhood he was regarded as amazingly proficient in his knowledge and practice of religion.[5]

Sufi order[edit]
Waris Ali Shah belonged to the Quadira and Chistaya schools of Sufism,[6] he was initiated in traditional Sufi order of Chishtia but he adopted more liberal view and permitted his followers to remain in their own religion.[1] When he was a small boy Waris Ali attached himself to Haji Khadim Ali Shah, a sufi darwesh of Golaganj, Lucknow and remained with him until his death in 1832-33 when Waris Ali was 16 years old.[7]

Social engagements[edit]
He went to Mecca for pilgrimage many times.[8] During his extensive travel to Europe he visited Sultan of Turkey and Bismarck of Berlin.[1] He also travelled to England and had an audience with Queen Victoria.[8]

He was a friend of Abdul Bari.[9]

Urs[edit]
An urs locally known as Dewa mela is observed in October–November, it is attended by nearly a million Muslims and Hindus.[8][10][11][12] It is said that this fair was started by Haji Waris Ali Shah in memory of his father, Qurban Ali Shah. Another fair is held beside the tomb of Haji Waris Ali Shah on the first of the Muslim month of Safar every year.[13]

Death[edit]
He died on thirteenth of Muharram 1323 AH corresponding to sixth of April 1905 CE.[14]

His disciples[edit]
His numerous disciples both Muslims and Hindus, add Warisi or Warsi to their names.[3][8] He had many prominent followers from several faiths.[15] Haji Waris Ali Shah was pir of Mushir Husain Kidwai of Gadia, a zamindar, barrister and pan-Islamist politician from Barabanki.[9] According to Narayan, Waris Ali Shah was the pir of famous Sai Baba of Shirdi.[16]

Shaiq Khuda Bakhsh was a follower of Waris Ali Shah, he collected sayings of his spiritual guide Malfūzāt-i-Hāji Wāris 'Ali Shāh.[2] His book Tohmat-ul-Asfiya is the biography of Waris Ali Shah.[17]

Mohomed Rafi Remembered





From Wikipedia, the free encyclopedia


Mohammed Rafi (24 December 1924 – 31 July 1980) was an Indian recording artist who is considered by many to be one of the greatest Indian playback singers of the Hindi film industry.[1] In his lifetime, he was awarded the National Film Award, Best National Singer Award and six Filmfare Awards. In 1967, he was honoured with the Padma Shri award by the Government of India.[2] His singing career spanned about 35 years. Rafi is noted for his ability to sing songs of different moods and varieties:[3] They ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawwalis to ghazals and bhajans. He is best known for romantic and duet songs and, as a playback singer, his ability to mould his voice to the persona of the actor lip-synching the song.[4]

Rafi is primarily noted for his songs in Hindustani, over which he had a strong command. He sang in other Indian languages including Assamese, Konkani, Bhojpuri, Oriya, Punjabi, Bengali, Marathi, Sindhi, Kannada, Gujarati, Telugu, Maghi, Maithili and Urdu. He also recorded a few songs in English, Persian, Spanish and Dutch. From available figures, Rafi sang 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980.


Mohammed Rafi was the fifth youngest of six brothers. The sixth youngest Mohammad Siddique is still alive and lives in Lahore, Pakistan in their ancestral house. His father was Hajji Ali Mohammad. The family originally belonged to Kotla Sultan Singh, a village near present-day Amritsar in Punjab, India.[5] Rafi, whose nickname was Pheeko, began singing by imitating the chants of a fakir in the streets of Bhati gate Lahore where his family lived.[5] Rafi's father moved to Lahore in the 1920s. His elder brother, Mohammad Deen, had a friend, Abdul Hameed, (future brother-in-law), who recognised the talent in Rafi in Lahore and encouraged him to sing. Abdul Hameed later convinced the family elders to let Rafi move to Mumbai; he accompanied him in 1944.

Rafi learnt classical music from Ustad Bade Ghulam Ali Khan, Ustad Abdul Wahid Khan, Pandit Jiwan Lal Mattoo and Firoze Nizami.[6][7] His first public performance came at the age of 13, when he sang in Lahore featuring K. L. Saigal.[6] In 1941, Rafi, under Shyam Sundar, made his debut in Lahore as a playback singer in the duet "Soniye Nee, Heeriye Nee" with Zeenat Begum in the Punjabi film Gul Baloch (released in 1944).[8] In that same year, Rafi was invited by All India Radio Lahore station to sing for them.[9]

He made his Hindi film debut in Gaon Ki Gori in 1945.[4]

Bombay (1944 to 1947)[edit]
In 1944, Rafi moved to Bombay. He and Hameed Sahab rented a ten-by-ten-foot room in the crowded downtown Bhendi Bazar area. Poet Tanvir Naqvi introduced him to film producers including Abdur Rashid Kardar, Mehboob Khan and actor-director Nazeer.[10] Shyam Sunder was in Mumbai and provided the opportunity to Rafi to sing a duet with GM Durrani, "Aji dil ho qaabu mein to dildar ki aisi taisi...," for Gaon Ki Gori, which became Rafi’s first recorded song in a Hindi film. Other songs followed.[11]

Rafi's first song with Naushad was "Hindustan Ke Hum Hain" with Shyam Kumar, Alauddin and others, from A. R. Kardar's Pehle Aap (1944). Around the same time, Rafi recorded another song for the 1945 film Gaon Ki Gori, "Aji Dil Ho Kaaboo Mein". He considered this song his first Hindi language song.[9]

Rafi appeared in two movies. In 1945, he appeared on the screen for the song "Tera Jalwa Jis Ne Dekha" in the film Laila Majnu.[9] He sang a number of songs for Naushad as part of the chorus, including "Mere Sapnon Ki Rani, Roohi Roohi" with K. L. Saigal from the film Shahjahan (1946). Rafi sang "Tera Khilona Toota Balak" from Mehboob Khan's Anmol Ghadi (1946) and a duet with Noor Jehan in the 1947 film Jugnu, "Yahan Badla Wafa Ka".[12] After partition, Rafi decided to stay back in India and had the rest of his family flown to Mumbai. Noor Jehan migrated to Pakistan and made a pair with playback singer Ahmed Rushdi.

In 1949, Rafi was given solo songs by music directors such as Naushad (Chandni Raat, Dillagi and Dulari) Shyam Sunder (Bazaar) and Husnalal Bhagatram (Meena Bazaar).

Rafi was influenced by the singers of that time like K. L Saigal and, most notably, by G. M. Durrani on whose style he based his singing. He sang with his idol in some of the songs such as "Humko Hanste Dekh Zamana Jalta Hai" (Hum Sab Chor Hain, 1956)[13] and "Khabar Kisi Ko Nahiin, Woh Kidhar Dekhte" (Beqasoor, 1950),[14] etc.

In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the song "Suno Suno Ae Duniyawalon, Bapuji Ki Amar Kahani".[11] He was invited by the Indian Prime Minister, Jawaharlal Nehru, to sing at his house. In 1948, Rafi received a silver medal from Jawaharlal Nehru on Indian Independence Day.

Recording career in the 1950s and 1960s[edit]
See also: List of songs by Mohammed Rafi
In his early career, Rafi associated with many contemporary music directors, most notably Naushad Ali. In the late 1950s and 1960s, he worked with other composers of the era such as O. P. Nayyar, Shankar Jaikishan, S.D. Burman and Roshan.

Association with Naushad
As per Naushad, Rafi came to him with a letter of recommendation from Naushad's father.[15] Rafi’s first song for Naushad was "Hindustan Ke Hum Hain" ("We belong to Hindustan") for the film Pehle Aap in 1944. The first song for the duo was the soundtrack of the movie Anmol Ghadi (1946). Before Rafi, Naushad’s favorite singer was Talat Mahmood. Once Naushad found Talat smoking during a recording. He was annoyed and hired Rafi to sing all the songs of the movie Baiju Bawra.[12]

Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi cinema.[9] Songs from Baiju Bawra (1952) like "O duniya ke rakhwale" and "Man tarpat hari darshan ko aaj" furthered Rafi's credentials.[8] Rafi ended up singing a total of 149 songs (81 of them solo) for Naushad.[16]

In the 1960 film Mughal-E-Azam, Mohammed Rafi sang "Ae Mohabbat Zindabad", composed by Naushad, with a chorus of 100 singers.[citation needed]

Association with S D Burman
S. D. Burman patronized Rafi as the singing voice of Dev Anand and Guru Dutt.[17] Rafi worked with Burman in movies like Pyaasa (1957), Kaagaz Ke Phool (1959), Tere Ghar Ke Samne (1963), Guide (1965), Aradhana (1969), and Abhimaan (1973). S. D. Burman was also another music director besides Naushad who used Rafi prolifically to sing for most of his songs.

Association with Shankar-Jaikishan
Rafi's partnership with Shankar Jaikishan was among the most famous and successful in the Hindi film industry. Under Shankar-Jaikishan, Rafi produced some of his songs for actors like Shammi Kapoor and Rajendra Kumar. Out of six Filmfare awards, Rafi won three for S-J songs — "Teri Pyari Pyari Surat Ko", "Baharon Phool Barsao", and "Dil Ke Jharokhe Mein". The song "Yahoo! Chahe Koi Mujhe Junglee Kahe" was sung by Rafi, only to be matched a fast-paced orchestra and a composition by Shankar Jaikishan. S-J made Rafi give playback for Kishore Kumar in the film Shararat ("Ajab hai daastan teri yeh zindagi"). Rafi sang a total of 341 numbers (216 solo) for Shankar-Jaikishan.[16] Among the films of this combination are Basant Bahar, Professor, Junglee, Suraj, Brahmachari, An Evening in Paris, Dil Tera Deewana, Yakeen, Prince, Love in Tokyo, Beti Bete, Dil Ek Mandir, Dil Apna Aur Preet Parai, Gaban and Jab Pyar Kisi Se Hota Hai.

Association with Ravi
Rafi got his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960), composed by Ravi. He got National Award for the song "Babul Ki Duaen Leti Ja" from the film Neel Kamal (1968), also composed by Ravi. Rafi wept during the recording of this song. He admitted this in his interview to the BBC in 1977.[18]

Ravi and Rafi produced several other songs in the films China Town (1962), Kaajal (1965), and Do Badan (1966).

Association with Madan Mohan
Madan Mohan was another composer whose favorite singer was Rafi. Rafi's first solo with Madan Mohan in Ankhen (1950) was "Hum Ishq Mein Barbad Hain Barbad Rahenge".[9] They teamed up to produce many songs including "Teri Aankhon Ke Siva", "Yeh Duniya Yeh Mehfil" and "Tum Jo Mil Gaye Ho".

Association with O. P. Nayyar
Rafi and O. P. Nayyar (OP) created music in the 1950s and 1960s. O. P. Nayyar was once quoted as saying "If there had been no Mohd. Rafi, there would have been no O. P. Nayyar".[19] He and Rafi created many songs together including "Yeh Hai Bombay Meri Jaan". He got Rafi to sing for singer-actor Kishore Kumar – "Man Mora Baawara" for the movie Raagini. Later, Rafi sang for Kishore Kumar in movies such as Baaghi, Shehzaada and Shararat. O. P. Nayyar used Rafi and Asha Bhosle for most of his songs. The team created many songs in early 1950s and 1960s for movies such as Naya Daur (1957), Tumsa Nahin Dekha (1957), and Kashmir Ki Kali (1964). Rafi sang a total of 197 numbers (56 solo) for Nayyar.[20] The songs "Jawaaniyan yeh mast mast" and the title song "Yun to humne lakh hansee dekhe hain, tumsa nahin dekha" of the film Tumsa Nahin Dekha were hits. They were followed by songs like "Taareef karoon kya uski jisne tumhe banaya" from Kashmir ki Kali.[21]

Rafi and OP had a fallout during the recording for movie "Sawan ki Ghata". As disclosed by OP during one of his interviews; Rafi reported late to the recording stating that he was stuck in Shankar Jaikishan's recording. OP then stated that from now on he too did not have the time for Rafi and cancelled the recording. They did not work together for the next 3 years.[22]

Association with Laxmikant-Pyarelal
The composer duo Laxmikant-Pyarelal (L-P) patronized Rafi as one of their singers, right from their very first song by him from the film, Chaila Babu-1967. Rafi honoured the affection and commitment of the duo by accepting no payment for the song "Tere pyaar ne mujhe gham diya" . Rafi and L-P won the Filmfare Awards for the song "Chahoonga Main Tujhe Saanjh Savere" from Dosti (1964). Rafi rendered the maximum number of songs for the music director duo Laxmikant-Pyarelal: 369 numbers (186 solo) for L-P.[16]

Once, when composer Nisar Bazmi (who had migrated to Pakistan) didn’t have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He also helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed – “He always gave without thinking of the returns”.[23]

Between 1950 and 1970, Rafi was the most sought after singer in the Hindi Film industry.[24] He sang for many male stars in Hindi films.[25] In 1965, he was honoured by the Government of India with the Padma Sri award. Rafi recorded two Hindi songs in English on 7" release in 1968. He also sang a song in Creole while on his visit to Mauritius in the late 1960s.[6] Rafi recorded two English albums as well. One of them is Pop Hits.

Association with his Contemporary Singers
Rafi associated with several of his contemporaries, singing duets with them and sometimes for them (as in case of Kishore Kumar who was also an actor). Rafi sang the maximum number of duets with Asha Bhonsle (female), Manna Dey (male) and Lata Mangeshkar (female).

In the song "Humko Tumse Ho Gaya Hai Pyaar Kya Karein" (Amar, Akbar, Anthony), Mohd Rafi sang with Kishore Kumar, Lata Mangeshkar and Mukesh,the most legendary singers in Bollywood - all in one song. This was probably the only time that all of them rendered their voices for one song.[26]

Singing career in other languages
Rafi sang several hit songs in Chris Perry's Konkani album Golden Hits with Lorna Cordeiro.[27]

Royalty issue[edit]
In 1962-1963, the popular female playback singer Lata Mangeshkar raised the issue of playback singers' share in the royalties. Recognizing Rafi's position as the leading male playback singer, she wanted him to back her in demanding a half-share from the 5 percent song royalty that the film's producer conceded to select composers. Lata's contention was that, there was no way producers and music directors could deny this singing duo, the royalty. Rafi stated that his claim on the filmmaker ended with his being paid his agreed fee for the song. After that, if the film proved a hit, the filmmaker was welcome to keep the Gramco (HMV) royalty he earned from it. If it did not prove to be a hit, argued Rafi, that he had already been paid the same fees for his song; so later the situation is resolved. Rafi stated that it is the producer who bets the money and the composer who creates the song, so his claim to the contribution of the song is compensated when the fees are paid. Lata viewed his stand as a stumbling block on the royalty issue and stated that it is because of the singer's name also that the records get sold. This difference of opinion subsequently led to differences between the two. During the recording of "Tasveer Teri Dil Mein" (Maya, 1961), Lata argued with Rafi over a certain passage of the song. Rafi felt belittled, as music director Salil Chowdhury sided with Lata. The situation worsened when Lata declared that she would no longer sing with Rafi. Rafi stated that he was only so keen to sing with Lata as she was with him.[28][29] The music director Jaikishan later negotiated a reconciliation between the two.[30]

Early 1970s[edit]
In early 1970s, Rafi recorded fewer songs. At the same period Kishore Kumar's popularity increased due to the songs he sang for the film Aradhana.[28][31] The music for Aradhana was composed by S. D. Burman, and he had used Rafi as the male playback voice for the first two recorded duets, "Baaghon Mein Bahaar Hai" and "Gunguna Rahen Hain Bhanwre".[17] After these two recordings, S. D. Burman fell ill and his son and assistant, R.D. Burman, took over the recordings. R. D. Burman got Kishore Kumar to sing the solos "Roop Tera Mastana" and "Mere Sapnon Ki Rani".

During 1971-1973, Rafi's musical output decreased; however, he did sing several songs.[32] Some of Rafi's songs of the early 1970s were with music directors like Laxmikant-Pyarelal, Madan Mohan, R.D. Burman and S. D. Burman. These include "Tum Mujhe Yun Bhula Na Paoge" (a signature song of Rafi in 1971) from Pagla Kahin Ka, "Yeh Duniya Yeh Mehfil" from Heer Ranjha (1970), "Jhilmil Sitaron ka" from Jeevan Mrityu (a duet with Lata Mangeshkar, 1970), "Gulabi Aankhen" from The Train (1970), "Yeh Jo Chilman Hain" and "Itna to Yaad Hain Mujhe" from Mehboob Ki Mehndi (1971), "Mera Mann Tera Pyasa" Gambler, "Chalo Dildar Chalo" from 1972 released Pakeezah, "Chura Liya Hain Tumne" from Yaadon Ki Baarat (a duet with Asha Bhosle, 1973), "Na tu Zameen Ke liye" from 1973 released Dilip Kumar movie Dastan, "Tum Jo Mil Gaye Ho" from Hanste Zakhm (1973), "teri bindiya re", from Abhimaan (1973) and "Aaj Mausam Bada Beimaan Hai" from Loafer (1973.)

Later years[edit]
Rafi made a comeback as a leading singer in 1974. That year, he won the Film World magazine Best Singer Award for the song "Teree Galiyon Mein Na Rakhenge Qadam Aaj Ke Baad" (Hawas, 1974) composed by Usha Khanna.[16]

In 1977, he won both Filmfare Award and the National Award for the song "Kya Hua Tera Wada" from the movie Hum Kisise Kum Naheen, composed by R.D. Burman.[17] Rafi sang for Rishi Kapoor in films like Laila Majnu (for which music was given by two composers Madan Mohan, and after his death by Jaidev), Amar Akbar Anthony (1977), Sargam (1979) and Karz (1980). The qawwali "Pardah Hai Pardah" from Amar Akbar Anthony (1977) was a superhit. Rafi's notable renderings in the late 1970s and early 1980s include Bairaag (1976), Laila Majnu (1976), Apnapan (1978), Suhaag (1979), Qurbani, Dostana (1980), The Burning Train (1980), Naseeb (1981), Abdullah (1980), Shaan (1980), Asha (1980), Aap To Aise Na The (1980), and Zamane Ko Dikhana Hai (1982).

In December 1979, Rafi recorded six songs for the Hindi remake of Dilip Sen's Bengali superhit Sorry Madam; the film was never completed due to a personal tragedy in Dilip Sen's life. These songs, written by Kafeel Aazar and composed by Chitragupta, were released digitally in December 2009 by the label Silk Road under the title "The Last Songs". The physical album was released only in India by Universal.

Guinness World Records controversy[edit]
During his last years, Rafi was involved in a controversy over Lata Mangeshkar's entry in the Guinness Book of World Records. In a letter dated 11 June 1977 to the Guinness Book of World Records, Rafi had challenged the claim that Lata Mangeshkar has recorded the maximum number of songs ("not less than 25,000" according to Guinness). After receiving a reply from Guinness, in a letter dated 20 November 1979, he wrote, "I am disappointed that my request for a reassessment vis-a-vis Ms Mangeshkar's reported world record has gone unheeded."[26] In an interview to BBC recorded in November 1977, Rafi claimed to have sung 25,000 to 26,000 songs till then.[19]

After Rafi's death, in its 1984 edition, the Guinness Book of World Records gave Lata Mangeshkar's name for the "Most Recordings" and stated, "Mohammad Rafi (d 1 August 1980) [sic] claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980."[33] According to the available figures, Rafi has sung 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980.[33] The Guinness Book entries for Rafi and Lata were removed in 1991.[34] In 2011, Lata's sister Asha Bhosle was given the title.[35]

Death[edit]
Rafi died at 10:50 p.m. on 31 July 1980, following a heart attack.[36] His last song was "Shaam phir kyun udaas hai dost" (Aas Paas), which he had recorded with Laxmikant-Pyarelal a few hours before his death.[26][37]

Rafi was buried at the Juhu Muslim cemetery.[38] His was one of the biggest funeral processions Mumbai had ever witnessed, with over 10,000 people attending.[39][40]

In 2010, his tomb was demolished to make space for new burials. Fans of Mohammed Rafi who visit his tomb twice a year to mark his birth and death anniversary use the coconut tree nearest to his grave as a marker.[41]

Legacy[edit]
Singers like Shabbir Kumar, Mohammed Aziz and, more recently, Sonu Nigam, made their names by adopting Rafi's style.[42]

On 22 September 2007, a shrine to Rafi designed by artist Tasawar Bashir was unveiled on Fazeley Street, Birmingham, UK. Bashir is hoping that Rafi will attain sainthood as a result.[43][44] The Padma Shri Mohammed Rafi Chowk in the Bandra suburb of Mumbai and Pune (extending MG Road) is named after Rafi.[45]

In the summer of 2008, the City of Birmingham Symphony Orchestra released a double CD titled Rafi Resurrected comprising 16 songs by Rafi. Bollywood playback singer Sonu Nigam provided the vocals for this project and toured with the CBSO in July 2008 at venues including the English National Opera in London, Manchester's Apollo Theatre and Symphony Hall, Birmingham.[46]

In June 2010, Rafi along with Lata Mangeshkar was voted the most popular playback singer in the Outlook Music Poll, conducted by Outlook magazine.[47] The same poll voted "Man re, tu kahe na Dheer Dhare" (Chitralekha, 1964), sung by Rafi as the #1 song.[48] Three songs were tied for the #2 place: Two were sung by Rafi. The songs were "Tere Mere Sapne Ab Ek Rang Hain" (Guide, 1965) and "Din Dhal Jaye, hai raat na jaye" (Guide, 1965). This poll was published in Outlook. The jury included people in the Indian music industry: Abhijeet, Adesh Srivastava, Alisha Chinai, Anu Malik, Ehsaan, Gulzar, Hariharan, Himesh Reshammiya, Jatin, Javed Akhtar, Kailash Kher, Kavita Krishnamurthy, Khayyam, Kumar Sanu, Lalit, Loy, Mahalaxmi Iyer, Mahendra Kapoor, Manna Dey, Prasoon Joshi, Rajesh Roshan, Sadhna Sargam, Sameer, Sandesh Shandilya, Shaan, Shankar, Shantanu Moitra, Shreya Ghoshal, Sonu Nigam and Talat Aziz.[49]

In an article in Times of India, Rafi is described as "a versatile singer, who could render classical, rock and roll, indeed any kind of song with ease, he was Hindi film's, favourite male voice through the 1950s and 1960s". Music director Rajesh Roshan, who composed some of the songs with Rafi, remembers him as "a warm-hearted simple person with no ego".[50]

There have been appeals [51] to the Government of India to honour the singer, posthumously, with the Bharat Ratna (India's Highest Civilian Award)[11]

Classical and playback singer Manna Dey, who was also a contemporary of Rafi said, "Rafi and I could sing everything, and he was such a gentleman. He was a better singer than me, and I will say this - that no one came even close to him! He deserved everything he got! We had a great understanding and it was never about one-upmanship".[52][53] Veteran actor Shammi Kapoor said, "I am incomplete without Mohammad Rafi. I used to often go for the recording of my song, which was sung by Mohammad Rafi, only because I used to like telling him how I would perform on this song on screen so that he can sing it that way. Even he liked my involvement".[54]

Over 9,000 musical tributes were organized in July 2011 commemorating the 31st anniversary of the singer's death.[55] A documentary about Rafi’s life is under production by the Films Division of India.[56]

Rafi's Baharon Phool Barsao was voted the most popular Hindi song in a BBC Asia Network poll commemorating 100 years of Hindi Cinema.[57] In a CNN-IBN survey in 2013, he was voted the greatest voice of Hindi Cinema.[58]

Popular culture[edit]
Mohammed Rafi Academy was launched in Mumbai on 31 July 2010 on the 30th anniversary of the singer's death, started by his son Sahid Rafi to impart training in Indian classical and contemporary music.[59][60]

After his death, seven Hindi movies were dedicated to Mohd Rafi: Allah Rakha, Mard, Coolie, Desh-Premee, Naseeb, Aas-Paas and Heeralal-Pannalal.[citation needed]

Rafi is one of the recording artists mentioned in the 1997 hit British alternative rock song "Brimful of Asha" by Cornershop.

Rafi's song from the film Gumnaam (1965), "Jaan Pehechan Ho", was used on the soundtrack of Ghost World (2001). The film opens with the lead character dancing around in her bedroom to a video of Gumnaam.[61] The song has also been used for Heineken's 2011 "The Date" commercial.[62][63]

His "Aaj Mausam Bada Beiman Hai" is featured in the 2001 film Monsoon Wedding.[64] His song "Mera Man Tera Pyasa" (Gambler, 1970) has been used as one of the soundtracks in the Jim Carrey-Kate Winslet starrer Eternal Sunshine of the Spotless Mind (2004). This song is played in the background in Kate Winslet's character's home while the lead pair are having a drink (at approximately 00.11.14 runtime).[65]

Personal life[edit]
Rafi married twice; his first marriage was to his cousin; Bashira[66] and took place in his ancestral village.[67] The marriage ended when his first wife refused to live in India following the killing of her parents during the riots of Partition of India and moved to Lahore, Pakistan.[68]

Rafi had four sons and three daughters. He was very much a family man, following a recording-room, to home and to recording-room itinerary. He rarely attended film parties, did not smoke or drink, was religious, and was considered a humble man.[69] He used to perform his riyaz (musical practice) regularly. His only indulgences were playing carom, badminton, and flying kites.[11]

Baad-e-Nabi (saw), Rasool ka farmaan hai ALI (as Mimber pe ho to bolta Koran hai ALI (as);



Imam Jafar al-Sadiq (A.S)
“If you want to know the religion of a man, do not look at how much he prays and fasts, rather look at how he treats people.”


Takbeer Ali ho meri azaan Ali ho.
Eman Ali ho meri pehchan Ali ho.
wajib ho ya farz ada krne se pehly.
Hr aik ibadat ka bs unwan Ali ho.
jis wqt mujhe mot ka aizaz mile tb.
Mere labon pe natiq-e-quran Ali ho.
Dozakh se bhala ku wo dre ga chishty
jis shakhs ka mehshar ma nigehban Ali ho..

13 Rajab Wiladat Imam Ali



Background of Imam Ali.

www.ezsoftech.com/stories/infallible2.asp

On the 13th of the month of Rajab, twenty-three years before the migration of the Prophet Mohammad (pbuh) a child was born in the family of Abu Talib, the light of whom kindled the whole World. Kunaab Mecci narrates about his birth: "We and Abbas (Ibne Abdul Mutalib) were sitting together when suddenly we saw Fatima bint-e-Asad moving towards the Kaabah in the condition having delivery pain and saying "Oh God I have faith in you and the Prophet (i.e., Abraham) who by your command laid the foundation of this house. O God! I swear you by the same Prophet Mohammad (pbuh) and swear you by the child in my womb make this birth comfortable and easy for me."

This was the time when all of us saw with our own eyes that the wall of Kaabah broke apart and Fatima bint-e-Asad entered into the Kaabah. Then the wall again united.

We ran terrified and trembling to our houses to send our women into the Kaabah for the help and assistance of Fatima bint-e-Asad. We did our best but the door did not open. This event surprised all the people of Makkah.

The women of Makkah were anxiously counting moments to meet Fatima bint-e-Asad till the time she came out of the Kaabah along with a beautiful baby, saying, "God has chosen me from among the ladies of Makkah and He made me His guest in His house and gave me meals and fruits of the heaven to eat.

The ladies who were surrounding her in the form of a circle and escorting her to her home asked her, "What name have you given to this child?"

Fatima bint-e-Asad said: "When I was in the Kaabah, I heard a hidden voice call," Name this child "ALI".

Yes! We are talking about Imam Ali ibn Abu Talib (AS) the pious man whose childhood and infancy period lasted in such a pure and chaste way that he himself stated in Nahjul Balagha, "The Prophet Mohammad (pbuh) used to pick me in his lap and embrace me and chew the food and put it into my mouth."

Early youth of Imam Ali ibn Abu Talib (AS):

Ali ibn Abu Talib describes this enlightening period of his age as under: The Prophet Mohammad (pbuh) used to go to the Cave of Hira but nobody except he (pbuh) and I did know about it. At the time when the religion of Islam had not yet reached the homes, he (pbuh) and his wife Khatijah (SA) were the only Muslims. I was the next person to them who saw the light of revelation and prophet hood and smelled the fragrance of the Prophet hood.

When the Prophet Mohammad (pbuh) of Islam was ordered by God to invite his family members to embrace Islam. Imam Ali ibn Abu Talib (AS) according to the advice of the Prophet Mohammad (pbuh) invited forty persons of the Prophet's family at his home. Although the food was quite little but all of them ate fully well. After the meal was over the Prophet Mohammad (pbuh) spoke to those present saying, "Oh the sons of Abdul Mutalib, God has ordered me to invite you to embrace Islam and get you introduced to it."

Whosoever, having believed in my Prophet hood, promises to help and assist me shall be my brother, deputy and successor and my caliph.

He (pbuh) repeated this sentence thrice but no one except "Imam Ali ibn Abu Talib (AS)" gave a positive response. As many times as the Prophet Mohammad (pbuh) addressed the persons present, nobody except Imam Ali (AS) answered. Imam Ali ibn Abu Talib (AS) was rising again and again to his feet and promising help to him and announcing his faith.

This is the very reason why the Prophet Mohammad (pbuh) said: "This Ali, is my brother and successor listen and lend ears to what he says and obey his orders." When Imam Ali ibn Abu Talib (AS) entered from his early youth into the phase of puberty, the part of age when all the human energies and powers are strong and firm, even in this part of the life he remained closely associated to the Prophet Mohammad (pbuh) like a flying moth which moves around the Candle. He defended Islam and the Prophet Mohammad (pbuh) with his strong, energetic arms.

When the enemy besieged and surrounded the Muslims in the battle of Hunain and they abandoned and left behind the Prophet Mohammad (pbuh) running away for their lives, it was only and only Imam Ali ibn Abu Talib (AS) who defended and saved the Prophet Mohammad (pbuh) and made the enemies retreat and take to their heals.

Imam Ali ibn Abu Talib (AS) killed Marhab the chief of army of Jews in the Khyber battle, whose power and bravery was making everybody tremble but Imam Ali ibn Abu Talib (AS) cut him into two and pulled apart the gate of the Khyber fort which used to be opened and closed by twenty men together. Imam Ali ibn Abu Talib (AS) used it as a bridge over the trench for the Islamic army to cross over to the Khyber fort. Many such events are the specimens and evidences about the faith, and spirit of self-sacrifice and devotion of Imam Ali ibn Abu Talib (AS).

Self-Sacrifice and Devotion of Imam Ali ibn Abu Talib (AS):

There is no doubt to it that every body loves his soul and very rarely gets ready to sacrifice it for another person but because of the fact that Imam Ali ibn Abu Talib (AS) loved the soul of the Prophet Mohammad (pbuh) even more than his own one, he got prepared to lay his life for him.

The event takes shape like this. When the polytheists saw that they are in danger, they jointly made a firm determination to take the Prophet Mohammad (pbuh) by surprise and martyr him. So all of them gathered in "Dar un Nadva" and choose one person from each family so that every tribe gets involved in getting Prophet Mohammad (pbuh) killed and then no one could take the revenge of him.

The Prophet Mohammad (pbuh) had come to know about this conspiracy through revelation. God ordered him (pbuh) to migrate from Makkah in the darkness of the night. The Prophet Mohammad (pbuh) needed someone, prepared to sacrifice his life and must be a trustworthy secret holder.

Hence, there was no one else except Imam Ali ibn Abu Talib (AS) in whom he confided, and told him "God has informed me that the infidels will break through the house to kill me so today you sleep on my bed." Imam Ali ibn Abu Talib (AS) smilingly accepted it, because he (as) knew that the life of the Prophet Mohammad (pbuh) would be saved by his action. In fact, Imam Ali ibn Abu Talib (AS) used to say later that the best sleep he had ever had was on that night (Shab-e-Hijrat).

Then the time came when the darkness of the night covered everything and Imam Ali ibn Abu Talib (AS) was sleeping on the Prophet's (pbuh) bed calmly and peacefully and the Prophet Mohammad (pbuh) came out of his house and started proceeding towards the Cave of Saur with Hazrat Abu Bakr (RA). The infidels besieged the house and got prepared with their swords and spears to attack it. The sooner they were instructed to make it, they break through the house rushing with naked swords. But when they found Imam Ali ibn Abu Talib (AS) laying on the bed of the Prophet Mohammad (pbuh) they immediately moved out of the house desperate and astonished, and sent a few horsemen to search the Prophet Mohammad (pbuh). But not very long afterwards they too returned defeated and hopeless.

Allah liked this action of Imam Ali ibn Abu Talib (AS) so much that HE revealed this verse in the Holy Quran: "And among men is he who sells his NAFS (self) in exchange for the pleasure of Allah..." (Surah 2: Baqarah / Verse 207)

Imam Ali ibn Abu Talib (AS) and Holy War:

Islam is the religion of peace and tranquility and does not like killing, plundering, and bloodshed. But if some one kills another without any reason then Islam has strong punishment to deal with him.

Of course, if an enemy attacks the Muslims then by the standards of wits, common sense, and religious law, self defense which as a form of Jihad/Jehad becomes essential and indispensable.

All the battles of the Prophet Mohammad (pbuh) in which Imam Ali ibn Abu Talib (AS) fought armed and truthfully were defensive battles.

Imam Ali ibn Abu Talib (AS) was such a brave, faithful, holy warrior who never got frustrated and upset and tired of the fighting and battles. He was afraid of no one except God. He used to say "By God if I see that on one side is the truth and on the other side all the rest of the people I, without caring and paying heed to those reproaching me, will fight all alone with my sword, on the way and path of the right, against them.

Imam Ali ibn Abu Talib's (AS) way or Training:

The city of Kufa was the capital of the Islamic Government. People from all over the World used to gather at that point to get the benefit of knowledge and learning from that great Islamic University.

One of those days two men came across each other in the vicinity of the city one of them was Imam Ali ibn Abu Talib (AS) and the other was a Christian who did not recognize him. The Christian man was moving towards the suburban area of Kufa, where as, Imam Ali ibn Abu Talib (AS) was on his way to Kufa.

They mutually agreed to accompany each other for a while, talking to each other, so that they do not get tired.

They reached a point where two ways split out, so that each one wanted to move on one of those two different roads. The Christian bade Farwell and went on his way but he observed that his Muslim companion, whose way was on the opposite side, was moving towards him. So he stopped and questioned him, "Don't you want to go to Kufa?"

Imam Ali ibn Abu Talib (AS) said, "Yes". The Christian man said, "Then why are you coming towards this direction?"

Imam Ali ibn Abu Talib (AS) replied, "I wish to accompany you to a certain length of distance because the Prophet Mohammad (pbuh) said, "when two persons are together on a way (journey companions) they get a right over each other."

"Now that you have got a right upon me, I go along with you up to a certain distance so that I must pay you (discharge) that right of yours in this world. Then I will part off on my own way." The Christian man was much pleased and moved by this humanly attitude and conduct and he liked his talk and said, "It is befitting that I should also embrace Islam which has such a culture and students."

His amazement and astonishment was only too enhanced when he discovered that his travel companion is Imam Ali ibn Abu Talib (AS), the ruler of Islam. So he immediately accepted and embraced Islam at his hand. Self-preservation of Imam Ali ibn Abu Talib (AS) :

Sayings of Imam Ali

www.shia.org/sayings.html

Giving the Eunuch the Right To Vote Could not Save Him From Becoming the Sacrificial Goat ..



rehabilitation of this  gender is not part of society's  ethos ..drugged on the street
marginalized for androgynous pause
dying for a lost cause ..

to be or not to be what he was not ,
,..held captive in the wrong slot
a battle he fought..cursing his lot
on the soul of humanity treated
as a blot ..hooked to pot.. he lives
he dies every day .. the cosmic
misplaced plot..he rots ..a picture
yet  it was his soul i captured
when i accidentally took this shot

releasing it from human  bondage
from the anvil of hope when the iron
was hot..

I Shut my Facebook Account ,, Targeted Shia Harassment

27 May 2018 As a Shia I am targeted even  by  Sufis Sufism that  I promoted vigorously as a Malang .. I have renounced my Malang...