4th AUGUST1929 KHANDWA -13th OCTOBER 1987 KISHORE KUMAR -ABHAS KUMAR GANGULY
- Kishore Kumar
- Spouse: Leena Chandavarkar (m. 1980–1987), more
Kishore Kumar
From Wikipedia, the free encyclopedia
| Kishore Kumar | |
|---|---|
 | |
| Native name | কিশোর কুমার |
| Born | Abhas Kumar Ganguly 4 August 1929 Khandwa, Central Provinces and Berar, British India |
| Died | 13 October 1987 (aged 58) Mumbai, Maharashtra, India |
| Occupation | Singer, Lyricist, composer, Actor,Film producer, Film director,Screenwriter |
| Years active | 1946–1987 |
| Spouse(s) | Ruma Guha Thakurta (1950-1958) Madhubala (1960-1969) Yogeeta Bali (1975-1978) Leena Chandavarkar (1980-1987)(his death) |
| Children | Amit Kumar Sumit Kumar |
| Relatives | Ashok Kumar (Brother) Anoop Kumar (Brother) Sati Devi (Sister) See Ganguly family See Mukherjee-Samarth family |
Kishore Kumar (4 August 1929 – 13 October 1987) was an Indian film playback singer, actor, lyricist, composer, producer, director, screenplay writer and scriptwriter.[1] He is considered as one of the most successful playback singers of the Hindi film industry. Apart from Hindi, he sang in many Indian languages including Bengali, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam, Odia, and Urdu. He has also sung in private albums in several languages especially in Bengali which are noted as all time classics. He won 8 Filmfare Awards for Best Male Playback Singer and holds the record for winning the most Filmfare Awards in that category. He was awarded the "Lata Mangeshkar Award" by the Madhya Pradesh government and from that year onwards, the Madhya Pradesh Government initiated a new award called the "Kishore Kumar Award" for contributions to Hindi cinema.
Contents
[hide]Early life[edit]
Kishore Kumar was born in a Bengali Ganguly family in Khandwa, Central Provinces and Berar (now in Madhya Pradesh) as Abhas Kumar Ganguly.[2] His father Kunjalal Ganguly (Gangopadhyay) was a lawyer and his mother Gouri Devi came from a wealthy Bengali family. Kunjalal Gangopadhyaya was invited by the Kamavisadar Gokhale family of Khandwa to be their personal lawyer. Kishore was the youngest of four siblings, the other three were Ashok (the eldest), Sati Devi, and Anoop.[3] While Kishore was still a child, his brother Ashok became a Bollywood actor. Later, Anoop also ventured into cinema with Ashok's help. Spending time with his brothers, Kishore became interested in films and music. He became a fan of singer-actor K. L. Saigal—whom he considered his guru, and tried to emulate his singing style.[4] He graduated from Christian College, Indore.[5]
Career[edit]
Main articles: Kishore Kumar filmography and List of songs by Kishore Kumar
 | This section needs additional citations for verification. (October 2013) |
After Ashok became a star of Hindi films, the Ganguly family visited Mumbai regularly. Abhas Kumar changed his name to Kishore and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. Kumar's first film appearance was in Shikari (1946), in which his brother Ashok played the lead role. Music director Khemchand Prakash gave Kumar a chance to sing "Marne ki duayen kyon mangu" for the filmZiddi (1948). After this, Kumar was offered many other assignments, but he was not very serious about a film career.[6] In 1949, he settled in Mumbai.[citation needed] Kumar played the hero in the Bombay Talkies filmAndolan (1951), directed by Phani Majumdar. Although he got some acting assignments with the help of his brother, he was more interested in becoming a singer. Ashok wanted Kumar to be an actor like him.[7]
Kumar next starred in Bimal Roy's Naukri (1954) and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil Chowdhury, the music director for Naukri, was initially dismissive of Kumar as a singer when he found that Kumar had no formal training in music.[8]However, after hearing his voice, Chowdhury gave him the song Chhota sa ghar hoga, which was supposed to be sung by Hemant Kumar.[citation needed] Kumar starred in films New Delhi (1957), Aasha (1957), Chalti Ka Naam Gaadi (1958), Half Ticket (1962), andPadosan (1968). Chalti Ka Naam Gaadi (1958), his home production, starred the three Ganguly brothers and Madhubala. Kumar played a car mechanic who has a romance with a city girl (Madhubala) with a subplot involving the brothers.[9]:29
Music director S. D. Burman is credited with spotting Kumar's talent for singing. During the making of Mashaal (1950), Burman visited Ashok's house, where he heard Kumar imitating K. L. Saigal. He complimented him and told him that he should develop a style of his own, instead of copying Saigal.[7] Kumar eventually developed his own style of singing, which featured yodeling, which he had heard on the records of Tex Morton and Jimmie Rodgers.[9]:60
Burman recorded in Kumar's voice for Dev Anand's Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kumar's home production Chalti Ka Naam Gaadi (1958). Some of their songs were; "Maana Janaab Ne Pukara Nahin" from Paying Guest, "Hum Hain Rahi Pyar Ke" from Nau Do Gyarah (1957), "Ai Meri Topi Palat Ke Aa" from Funtoosh, and "Ek Ladki Bheegi Bhaagi Si" and "Haal Kaisa Hai Janaab Ka" from Chalti Ka Naam Gaadi (1958).[10] Asha Bhosle and Kumar performed duets composed by Burman including "Chhod Do Aanchal" from Paying Guest (1957), "Ankhon Mein Kya Ji" from Nau Do Gyarah (1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from Chalti Ka Naam Gaadi (1958) and "Arre Yaar Meri Tum Bhi Ho Gajab" from Teen Deviyan (1965).[11]
Music director C. Ramchandra also recognized Kumar's talent as a singer.[8] They collaborated on songs including "Eena Meena Deeka" from Aasha (1957). Kishore Kumar's work includes "Nakhrewaali" from New Delhi (1956) by Shankar Jaikishan, "C.A.T. Cat Maane Billi" and "Hum To Mohabbat Karega" from Dilli Ka Thug (1958) by Ravi, and "Chhedo Na Meri Zulfein" from Ganga Ki Lahren (1964) by Chitragupta.[citation needed]
Kumar produced, directed, acted in composed the music for Jhumroo (1961), and wrote the lyrics for the film's title song, "Main Hoon Jhumroo". Later, he produced and directed Door Gagan Ki Chhaon Mein (1964). He wrote the script and composed music for the film, which is about the relationship between a father (Kishore Kumar) and his deaf and mute son (played by his real-life son (Amit Kumar).[12]:52
In the 1960s, as an actor, Kishore Kumar built up a notoriety for coming late for the shootings or bunking them altogether.[13] His films flopped frequently and he landed in income tax trouble.[7] As a singer, his work in this period includes "Zaroorat Hai Zaroorat Hai" from Manmauji (1961), "Gaata Rahe Mera Dil" from Guide (1965), and "Yeh Dil Na Hota Bechara" from Jewel Thief (1967).
In the late 1960s, Rahul Dev Burman worked with Kishore Kumar on the soundtrack of the film Padosan (1968), in which Kumar sang "Mere Saamne Wali Khidki Mein" and "Kehna Hai." Padosan was a comedy in which Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as a simpleton named Bhola. Kumar's character was inspired by his uncle, Dhananjay Bannerjee, a classical singer.[6] The highlight of the film was a musical, comical duel between Kishore Kumar-Sunil Dutt and Mehmood: "Ek Chatur Nar Karke Singaar."
In 1969, Shakti Samanta produced and directed Aradhana. He sang two songs in the film; "Meri Sapnon Ki Rani" and "Roop Tera Mastana". Shakti Samanta suggested that Kumar sing the other songs. When the film was released, Kumar's two songs established him as a leading Bollywood playback singer.[14] Kishore Kumar won his first Filmfare award for"Roop Tera Mastana".[12]:54
1970s and 1980s[edit]
In the 1970s and 1980s, Kumar sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Mithun Chakraborty, Vinod Khanna, Dilip Kumar, Randhir Kapoor, Rishi Kapoor, Rajiv Kapoor, Sanjay Dutt, Sunny Deol, Anil Kapoor, Rakesh Roshan, Dilip Kumar, Pran, Sachin, Vinod Mehra, Rajini Kanth, Chunky Pandey, Kumar Gaurav, Govinda and Jackie Shroff.[citation needed]
S. D. Burman and Kumar continued to work together, including "Phoolon Ke Rang Se" and "Shokhiyon Mein Ghola Jaaye" from Prem Pujari (1969), "Aaj Madhosh Hua Jaaye Re," "Khilte Hain Gul Yahan" and "O Meri Sharmilee" from Sharmilee (1971), "Meet na mila" from Abhimaan (1973), and "Jeevan ki Bagiya mehkegi" from Tere Mere Sapne (1974). In 1975, S. D. Burman composed his last song for Kumar; "Badi Sooni Sooni Hai" for the film Mili.[8]
R.D. Burman recorded several songs with Kumar in the 1970s, including "O Maajhi Re" from Khushboo, "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971) and "Chingari Koi Bhadke (Amar Prem)" and "Jab Bhi Koi Kangana" from Shaukeen (1986). Although he was not formally trained in the classical music, R.D. Burman often had Kumar sing semi-classical songs, such as "Hamein Tum Se Pyaar Kitna" from Kudrat and "Mere Naina Saawan Bhadon" from Mehbooba.[citation needed]
R.D. Burman recorded several duets pairing Kumar with Asha Bhosle and with Lata Mangeshkar, including "Panna Ki Tamanna" from Heera Panna (1973), "Neend Chura Ke Raaton Mein" from the film Shareef Budmaash, "Rimjhim Gire Sawan" from Manzil, "Kya Yehi Pyaar Hai" from Sanjay Dutt's debut film Rocky (1981), "Jaane Ja Dhoondta" and "Kharoshoo" from Harjai (1982).[citation needed]
Apart from the Burmans, Kumar worked with other music directors. The composer duo Laxmikant-Pyarelal (L-P) composed many songs sung by him, including "Mere Mehboob Qayamat Hogi" from Mr. X In Bombay, "Mere Naseeb Mein Aye Dost" from Do Raaste, "Yeh Jeevan Hai" from Piya Ka Ghar, "Mere Dil Mein Aaj Kya Hai" from Daag, "Nahi Mai Nahi Dekh Sakta" from Majboor, "Mere diwanepan ki bhi" from Mehboob Ki Mehndi, "Naach Meri Bulbul" from Roti, "Chal Chal Mere Haathi" from Haathi Mere Saathi and "Tu Kitne Baras Ki" from Karz. L-P also worked with Kumar and Mohammed Rafi on duets for the films Dostana, Ram Balram and Deedaar-E-Yaar. L-P composed "I love you (Kaate Nahin Katate Yeh Din Yeh Raat)" from Mr. India in (1987), a duet with Kumar andAlisha Chinoy. Salil Chowdhury recorded songs like "Koi Hota Jisko Apna" from Mere Apne and "Gujar Gaye Din Din" from Annadata. Ravindra Jain recorded "Ghungroo Ki Tarah" and the duets "Le Jaayenge Le Jaayenge" from Chor Machaye Shor and "Tota Maina Ki Kahani" from Fakira.[citation needed]
Khayyam recorded Kumar's duets with Lata Mangeshkar, including "Hazaar Raahein" from Thodisi Bewafaii and Aankhon Mein Humne Aapke Sapne Sajaye Hain, Chandani Raat Mein Ek Bar. Hridaynath Mangeshkar recorded Zindagi Aa Raha Hoon Main fromMashaal. Kalyanji Anandji recorded several songs with Kumar including Zindagi Ka Safar and Jeevan Se Bhari Teri Aankhein, from Safar, O Saathi Re from Muqaddar Ka Sikandar and Pal Bhar Ke Liye from Johny Mera Naam.[citation needed]
Kumar worked with other composers including Rajesh Roshan, Sapan Chakraborty and Bappi Lahiri. Kumar sang Bhool Gaya Sab Kuchh (duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise for Rajesh Roshan's film Julie.[citation needed] Their other songs includeYaadon Mein Woh from Swami, Chhookar Mere Man Ko Kiya Toone Kya Ishaara from Yaarana and Kahiye, Suniye (duet with Asha Bhosle) from Baton Baton Mein. Bappi Lahiri also recorded many songs with Kishore Kumar, including Pag Ghunghroo Bandh fromNamak Halaal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984) and Saason Se Nahi Kadmose Nahi from Mohabbat in (1987) and duets with (Lata Mangeshkar)) like Albela Mausamand Pyar Ka Tohfa from Tohfa (1985). Kishore and Bappi pair also recorded hits in Bengali, including Chirodini Tumi Je Amar from Amar Sangee (1987) and E Amar Gurudakshina from Gurudakshina (1987). Another Bengali musician was Ajay Das who made many hit songs using Kishore Kumar's voice. He also recorded a duet song Hello hello kya haal hai with Asha Bhosle for Naushad in 1975 for the movie Sunehra Sansar, this is the only song of Kishore Kumar for Naushad.[citation needed]
During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kumar to sing for an Indian National Congress rally in Mumbai, but he refused.[15] As a result, Information and broadcasting minister Vidya Charan Shukla (1975–1977) put an unofficial ban on playing Kishore Kumar songs on state broadcasters All India Radio and Doordarshan from 4 May 1976 till the end of Emergency.[16][17]
Later years[edit]
Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as Badhti Ka Naam Daadhi (1978), Zindagi (1981) and Door Wadiyon Mein Kahin (1980)—his last appearance as an actor.[citation needed] With patronage from R. D. Burman and Rajesh Roshan, Kumar's son Amit Kumar became a Bollywood singer in the 1980s. Kumar continued singing for several actors and performed in stage shows to earn money to pay his income tax arrears.[13] Kumar stopped singing for Amitabh Bachchan in the mid-1980s after Bachchan refused to appear as a guest in the film Mamta Ki Chhaon Mein which Kumar produced, but called a truce with Amitabh by singing for him in Toofan.[18] He also temporarily stopped singing for Mithun Chakraborty after Yogeeta Balidivorced him and married Chakraborty.[19] However, Kumar sang for Chakraborty in Surakkhsha in the 1970s, and in the 1980s in many films, including Disco Dancer, Fareib and Waqt Ki Awaz.[citation needed]
In the mid-1980s, Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, Woh Saat Din and also recorded Mr. India. He sang a duet with Alka Yagnik, "Tumse Badhkar Duniya Mein Na Dekha" for Kaamchor in 1982 and recorded some songs for the film Saagar with R. D. Burman. By this time, Kumar had decided to retire and was planning to return to his birthplace Khandwa.[13]
On 13 October 1987—his brother Ashok's 76th birthday—he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. Kumar had recorded his last song, Guru Guru—a duet with Asha Bhosle for the film Waqt Ki Aawaz (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi—the day before he died.[citation needed] His song Pal Bhar Ke Liye from the film Johny Mera Naam (1970) was used in an episode of The Simpsons titled "Kiss Kiss, Bang Bangalore".[20] His songs have been featured in several films, including Such a Long Journey (1998) and Side Streets (1998).[21] Sony TV organised the television singing contest K For Kishore to search for a singer like Kishore Kumar.[citation needed]
Personal life[edit]
Kishore Kumar married four times. His first wife was Bengali singer and actress Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958.[12]:53 His second wife was actress Madhubala, who had worked with him on many films including his home production Chalti Ka Naam Gaadi (1958) and Jhumroo (1961). When Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. She had a ventricular septal defect (hole in the heart), and he was married to Ruma. After his divorce, the couple had a civil wedding in 1960 and Kishore Kumar converted to Islam and reportedly changed his name to Karim Abdul.[22] His parents refused to attend. The couple also had a Hindu ceremony to please Kumar's parents, but Madhubala was never truly accepted as his wife. Within a month of her wedding she moved back to her bungalow in Bandra because of tension in the Kumar household. They remained married but under great strain for the remainder of Madhubala's life. Their marriage ended with Madhubala's death on 23 February 1969.[23]
Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore was married to Leena Chandavarkar from 1980 until his death. He had two sons, Amit Kumar with Ruma, and Sumit Kumar with Leena Chandavarkar.[24]
Kumar is said to have been paranoid about not being paid.[6] During recordings, he would sing only after his secretary confirmed that the producer had made the payment.[25] On one occasion, when he discovered that his dues had not been fully paid, he appeared on set with makeup on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment).[6] On the sets of Bhai Bhai, Kishore Kumar refused to act because the director M V Raman owed him ₹5,000. Ashok Kumar persuaded him to do the scene but when the shooting started, Kumar walked across the floor, walked a few places and said, Paanch Hazzar Rupaiya (five thousand rupees) and did a somersault. After he reached the end of the floor, he left the studio.[26] On another occasion, when producer R.C. Talwar did not pay his dues in spite of repeated reminders, Kumar arrived at Talwar's residence and shouting "Hey Talwar, de de mere aath hazaar" ("Hey Talwar, give me my eight thousand") every morning until Talwar paid him.[25]
The film Anand (1971) was originally supposed to star Kumar and Mehmood Ali in the lead.[27] Hrishikesh Mukherjee, the director of the film, was asked to meet Kumar to discuss the project. However, when he went to Kumar's house he was driven away by the gatekeeper due to a misunderstanding. Kumar—himself a Bengali—had not been paid for a stage show organized by another Bengali man and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.[27]
In spite of his "no money, no work" principle, sometimes Kumar recorded for free even when the producers were willing to pay. Such films include those produced by Rajesh Khanna and Danny Denzongpa.[28] On one occasion, Kumar helped actor-turned-producerBipin Gupta by giving him ₹ 20,000 for the film Dal Mein Kala (1964). When actor Arun Kumar Mukherjee—one of the first persons to appreciate Kishore's singing talent—died, Kumar regularly sent money to Mukherjee's family in Bhagalpur.[26][26]
Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior.[29][30] He placed a sign that said "Beware of Kishore" at the door of his Warden Road flat. Once, producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kumar took the money and when Rawail offered to shake hands with him, Kumar reportedly put Rawail's hand in his mouth, bit it and asked "Didn’t you see the sign?". Rawail laughed off the incident and left quickly.[26] According to another reported incident, once Kumar was due to record a song for producer-director G. P. Sippy. As Sippy approached his bungalow, he saw Kumar going out in his car. Sippy asked Kumar to stop his car but Kumar increased his speed. Sippy chased him to Madh Islandwhere Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kumar refused to recognize or talk to him and threatened to call the police. The next morning, Kumar reported for the recording session. An angry Sippy questioned him about his behaviour the previous day but Kumar said that Sippy must have dreamt the incident and said that he was in Khandwa on the previous day.[31]
Once, a producer went to court to get a decree that Kumar must follow the director's orders. As a consequence, he obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. After filming a car scene in Mumbai, Kumar drove until he reached Khandala because the director forgot to say "Cut".[26] In the 1960s, a financier named Kalidas Batvabbal, who was disgusted with Kumar's alleged lack of cooperation during the shooting of Half Ticket, reported to the income tax authorities, who raided his house. Later, Kumar invited Batvabbal to his home, asked him to enter a cupboard for a chat and locked him inside. He unlocked Batvabbal after two hours and told him, "Don’t ever come to my house again".[26]
Kishore Kumar was a loner; in an interview with Pritish Nandy (1985) he said that he had no friends—he preferred talking to his trees instead.[32] Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden, named some of the trees there and introduced them to the reporter as his closest friends.[26]
Awards[edit]
Winner:
| Year | Song | Film | Music director | Lyricist |
|---|---|---|---|---|
| 1969 | "Roop Tera Mastana" | Aradhana | Sachin Dev Burman | Anand Bakshi |
| 1975 | "Dil Aisa Kisi Ne Mera" | Amanush | Shyamal Mitra | Indeevar |
| 1978 | "Khaike Pan Banaras Wala" | Don | Kalyanji Anandji | Anjaan |
| 1980 | "Hazaar Raahen Mudke Dekheen" | Thodisi Bewafaii | Khayyam | Gulzar |
| 1982 | "Pag Ghungroo Baandh" | Namak Halaal | Bappi Lahiri | Anjaan |
| 1983 | "Agar Tum Na Hote" | Agar Tum Na Hote | Rahul Dev Burman | Gulshan Bawra |
| 1984 | "Manzilein Apni Jagah Hain" | Sharaabi | Bappi Lahiri | Anjaan |
| 1985 | "Saagar Kinaare" | Saagar | Rahul Dev Burman | Javed Akhtar |
Nominated:
| Year | Song | Film | Music Director | Lyricist |
|---|---|---|---|---|
| 1971 | "Zindagi Ek Safar" | Andaz | Shankar Jaikishan | Hasrat Jaipuri |
| 1971 | "Yeh Jo Mohabbat Hai" | Kati Patang | Rahul Dev Burman | Anand Bakshi |
| 1972 | "Chingari Koi Bhadke" | Amar Prem | Rahul Dev Burman | Anand Bakshi |
| 1973 | "Mere Dil Mein Aaj" | Daag: A Poem of Love | Laxmikant-Pyarelal | Sahir Ludhianvi |
| 1974 | "Gaadi Bula Rahi Hai" | Dost | Laxmikant-Pyarelal | Anand Bakshi |
| 1974 | "Mera Jeevan Kora Kagaz" | Kora Kagaz | Kalyanji Anandji | M.G.Hashmat |
| 1975 | "Main Pyaasa Tum" | Faraar | Kalyanji Anandji | Rajendra Krishan |
| 1975 | "O Manjhi Re" | Khushboo | Rahul Dev Burman | Gulzar |
| 1977 | "Aap Ke Anurodh" | Anurodh | Laxmikant-Pyarelal | Anand Bakshi |
| 1978 | "O Saathi Re" | Muqaddar Ka Sikandar | Kalyanji Anandji | Anjaan |
| 1978 | "Hum Bewafa Harghiz" | Shalimar | Rahul Dev Burman | Anand Bakshi |
| 1979 | "Ek Rasta Hai Zindagi" | Kaala Patthar | Rajesh Roshan | Sahir Ludhianvi |
| 1980 | "Om Shanthi Om" | Karz | Laxmikant-Pyarelal | Anand Bakshi |
| 1981 | "Hameh Tumse Pyar" | Kudrat | Rahul Dev Burman | Majrooh Sultanpuri |
| 1981 | "Chhookar Mere Mann Ko" | Yaraana | Rajesh Roshan | Anjaan |
| 1983 | "Shayad Meri Shaadi" | Souten | Usha Khanna | Sawan Kumar |
| 1984 | "De De Pyar De" | Sharaabi | Bappi Lahiri | Anjaan |
| 1984 | "Inteha Ho Gayi" | Sharaabi | Bappi Lahiri | Anjaan |
| 1984 | "Log Kehete Hai (Mujhe Naulakha Manga De)" | Sharaabi | Bappi Lahiri | Anjaan |
Winner:
- 1971 - Best Male Playback Singer for Aradhana[33]
- 1972 - Best Male Playback Singer for Andaz[34]
- 1973 - Best Male Playback Singer for Hare Rama Hare Krishna[35]
- 1975 - Best Male Playback Singer for Kora Kagaz[36]
In popular culture[edit]
- An official biopic on his life and times is being made by director Anurag Basu, which stars Ranbir Kapoor as Kishore Kumar.[37]
- Search Engine Google showed a special doodle on its Indian home page for Kishore Kumar on 4 August 2014 for his 85th Birthday.[38]
See also[edit]
Kishore Kumar: Astrology and Horoscope |
| Born: | August 4, 1929, 12:00 PM (unknown) | |||
| In: | Khandwa, Madhya Pradesh (India) | |||
| Sun: | 11°23' Leo | |||
| Moon: | 28°57' Cancer | |||
| Dominants: | Leo, Cancer, Gemini Sun, Moon, Saturn Fire, Water / Mutable | |||
| Chinese Astrology: | Earth Snake | |||
| Numerology: | Birthpath 6 | |||
| Height: | Kishore Kumar is 5' 8½" (1m74) tall | |||
| Popularity: | 6,868 clicks, 5,637th man, 9,335th celebrity | |||
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Biography of Kishore Kumar
Kishore Kumar (Bengali: কিশোর কুমার গাঙ্গুলী; 4 August 1929 – 13 October 1987), born Abhas Kumar Ganguly was an Indian film playback singer and an actor who also worked as lyricist, composer, producer, director, screenwriter and scriptwriter. Kishore Kumar sang in many Indian languages including Bengali, Hindi, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. He won 8 Filmfare Awards for Best Male Playback Singer and holds the record for most number of Filmfare Awards won in that category. He was awarded the "Lata Mangeshkar Award" by the Madhya Pradesh government and from that year onwards, the Madhya Pradesh Government initiated a new award called the "Kishore Kumar Award" for contributions to Hindi cinema.
Early life
Kishore Kumar was born into the Ganguly family in Khandwa, Central Provinces and Berar (now in Madhya Pradesh) as Abhas Kumar Ganguly. His father Kunjalal Ganguly (Gangopadhyay) was a lawyer. His mother Gouri Devi came from a wealthy Bengali family. Kishore was the youngest of four siblings, the other three being Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar. The composer Bappi Lahiri is also related to Kishore Kumar on his mother's side.
While Kishore was still a child, Ashok Kumar became a Bollywood actor. (Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar). Spending time with his brothers, Kishore also started to take a keen interest in movies and music. He became a fan of singer-actor Kundan Lal Saigal, whom he considered his guru, and tried to follow Saigal's singing style.
Career
After Ashok Kumar became a Bollywood star, the Ganguly family used to visit Bombay regularly. Abhas Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. Kishore Kumar's first film as an actor was Shikari (1946), in which Ashok Kumar played the lead role. Music director Khemchand Prakash gave Kishore Kumar a chance to sing "Marne ki duayen kyon mangu" for the film Ziddi (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about a film career. In 1949, he decided to settle in Mumbai.
Kishore Kumar played hero in the Bombay Talkies film Andolan (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an actor like himself.
He starred in Bimal Roy's Naukri (1954) and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil Chowdhury, the music director for Naukri was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music. However, after hearing his voice, he gave him the song Chhota sa ghar hoga, which was supposed to be sung by Hemant Kumar.
Kishore Kumar starred in films New Delhi (1957), Aasha (1957), Chalti Ka Naam Gaadi (1958), Half Ticket (1962), and Padosan (1968). Chalti Ka Naam Gaadi(1958), his home production, starred the three Ganguly brothers and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving the brothers.
Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of Mashaal (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating K. L. Saigal. He complimented Kishore and told him that he should develop a style of his own, instead of copying Saigal. Kishore Kumar did not have a formal training in music. He kept Burman's advice in mind and eventually developed his own style of singing, which featured the yodeling that he had heard on the gramophone records of Tex Morton and Jimmie Rodgers bought by his brother Anoop Kumar.
S. D. Burman recorded with Kishore for Dev Anand's Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kishore Kumar's home production Chalti Ka Naam Gaadi (1958). Some of their initial films included the songs "Maana Janaab Ne Pukara Nahin" from Paying Guest, "Hum Hain Rahi Pyar Ke" from Nau Do Gyarah (1957), "Ai Meri Topi Palat Ke Aa" from Funtoosh, and "Ek Ladki Bheegi Bhaagi Si" and "Haal Kaisa Hai Janaab Ka" from Chalti Ka Naam Gaadi (1958). Asha Bhosle and Kishore Kumar performed duets composed by S. D. Burman including "Chhod Do Aanchal" from Paying Guest (1957), "Ankhon Mein Kya Ji" from Nau Do Gyarah (1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from Chalti Ka Naam Gaadi (1958), "Chhedo Na Meri Zulfein" from Ganga Ki Lahren (1964), and "Arre Yaar Meri Tum Bhi Ho Gajab" from Teen Deviyan (1965).
C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer. Their collaborations include "Eena Meena Deeka" from Aasha (1957). Kishore Kumar's work includes "Nakhrewaali" from New Delhi (1956) by Shankar Jaikishan, and "C.A.T. Cat Maane Billi" and "Hum To Mohabbat Karega" from Dilli Ka Thug (1958) by Ravi.
Kishore Kumar produced, directed, and acted in Jhumroo (1961). He wrote the lyrics for the title song, "Main Hoon Jhumroo," and composed music for all the songs in the film. Later, he produced and directed Door Gagan Ki Chhaon Mein (1964). He wrote the script and composed music for the film. Its based on the relationship between a father (Kishore Kumar) and his deaf and mute son (played by his real-life son, Amit Kumar). He made another two films called Door Ka Rahi (1971) and Door Waadiyon Mein Kahin (1980).
In the 1960s, as an actor, Kishore Kumar built up a notoriety for coming late for the shootings, or bunking them altogether. His films flopped frequently, and he landed in income tax trouble. As a singer, his work in this period includes "Zaroorat Hai Zaroorat Hai" from Manmauji (1961), "Gaata Rahe Mera Dil" from Guide (1965), and "Yeh Dil Na Hota Bechara" from Jewel Thief (1967).
In the late 1960s, Rahul Dev Burman worked together on the soundtrack of the film Padosan (1968), in which Kishore Kumar sang the songs "Mere Saamne Wali Khidki Mein" and "Kehna Hai." Padosan was a comedy film starring Kishore Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as a simpleton named Bhola. Kishore Kumar's character in was inspired by the personality of his uncle, Dhananjay Bannerjee (a classical singer). The highlight of the film was a musical, comical duel between Kishore Kumar-Sunil Dutt and Mehmood: "Ek Chatur Nar Karke Singaar."
In 1969, Shakti Samanta produced and directed the film Aradhana, for which the music was composed by S. D. Burman. Burman fell ill after recording some duet songs with Mohammed Rafi, Asha Bhosle, Lata Mangeshkar and Kishore Kumar. Afterwards, his son and assistant Rahul Dev Burman took over the recording. R. D. Burman got Kishore Kumar to solo sing the songs "Mere Sapno Ki Rani" and "Roop Tera Mastana". These songs established Kishore Kumar as a leading playback singer in Bollywood. Kishore Kumar won his first Filmfare award for the song "Roop Tera Mastana".
1970s and 1980s
In 1970s and 1980s Kishore Kumar sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor,Vinod Khanna, Rakesh Roshan, Dilip Kumar, Pran, Vinod Mehra, Chunkey Pandey, Kumar Gaurav, Govinda and Jackie Shroff.
S. D. Burman and Kishore Kumar continued to work together, including "Phoolon Ke Rang Se" and "Shokhiyon Mein Ghola Jaaye" from Prem Pujari (1969), "Aaj Madhosh Hua Jaaye Re," "Khilte Hain Gul Yahan" and "O Meri Sharmilee" from Sharmilee (1971), "Meet na mila" from Abhimaan (1973), "Pyaar Ke Is Khel Mein" from Jugnu, "Phoolon Ke Dere Hain" from Zameer (1974). In 1975, S. D. Burman composed his last song for Kishore Kumar. S. D. Burman went into a coma for the second time, soon after Kishore recorded the song "Badi Sooni Sooni Hai" for the film Mili. He sang memorable songs with deep soft voice such as "Yeh Jeevan hai", "Zindagi Ka Safar", "Chingari Koi Bhadke", "Kuch to log kahenge", "Jeevan Ke Din", "Chookar Mere Mann Ko", " Aanewala pal janewala Hai", "Koi hota Jisko Apna ". The amazing depth in his voice spelling the philosophy mesmerized listeners. Although not trained classically, he sang "Mere naina Saawan Bhado " a semi-classical song and in the soft romantic version of the song "Hume tumse pyar Kitna " he out-shined the classical version of "Parveen Sultana ". Though he was patronized initially by of one of the greatest composers of India "Sachin Deb Burman", in the Seventies and Eighties he was the lead singer for almost every composer. He is very popular and a craze amongst the youth of the 21st century as well. He was awarded the "Lata Mangeshkar Award" by the Madhya pradesh government and immediately a new award "Kishore Kumar Award" was initiated by the Madhya Pradesh government to honour him. The committee which conferred him the award was chaired by noted classical singer "Kumar Gandharva" and had noted journalist "Pritish Nandi " as a member.
Kishore has won the filmfare award for best male playback singer a record eight number of times.
R. D. Burman frequently used Kishore Kumar as the male singer and recorded several songs with him in the 1970s. Some Kishore Kumar-R. D. Burman songs include "O Maajhi Re" from Khushboo, "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Chingari Koi Bhadke" and "Kuchh To Log Kahenge" from Amar Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), "Musafir Hoon Yaaron" from Parichay (1972), "Diye Jalte Hain" from Namak Haraam (1973), "Meri Bheegi Bheegi Si" from Anamika (1973), "Zindagi Ke Safar Mein" from Aap Ki Kasam (1974), "Agar Tum Na Hote" and "Humein Tum Se Pyaar Kitna" from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and "Chingari Koi Bhadke (Amar Prem)" and "Jab Bhi Koi Kangana" from Shaukeen (1986).
R. D. Burman recorded several duets pairing Kishore Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include "Panna Ki Tamanna" from Heera Panna (1973), "Neend Chura Ke Raaton Mein" from the film Shareef Budmaash, "Kya Yehi Pyaar Hai" from Sanjay Dutt's debut film Rocky (1981), "Sagar Kinare" from Sagar in , "Aap Ki Aankhon Mein Kuchh" from Ghar, "Jaane Ja Dhoondta" and "Nahi Nahi" from Jawani Diwani, "Kharoshoo" from Harjai (1982).
Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo Laxmikant-Pyarelal (L-P) composed many songs sung by him. Some of their songs include "Mere Mehboob Qayamat Hogi" from Mr. X In Bombay, "Mere Naseeb Mein Aye Dost" from Do Raaste, "Yeh Jeevan Hai" from Piya Ka Ghar, "Mere Dil Mein Aaj Kya Hai" from Daag: A Poem of Love, "Nahi Mai Nahi Dekh Sakta" from Majboor, "Mere diwanepan ki bhi" from Mehboob Ki Mehndi, "Naach Meri Bulbul" from Roti, "Chal Chal Mere Haathi" from Haathi Mere Saathi, "Gaadi Bula Rahi Hai" from Dost, "Ruk Jaana Nahi" from Imtihaan, "Ek Ritu Aaye" from Gautam Govinda, "My Name Is Anthony Gonsalves" from Amar Akbar Anthony, "Bahut Khoobsurat Jawan Ek Ladki" from Dostana and "Om Shanti Om" as well as "Paisa Yeh Paisa" from Karz. Laxmikant-Pyarelal composed several Kishore-Lata duets, including "Achchha To Hum Chalte Hain" from Aan Milo Sajna, "Gore Rang Pe Na Itna" from Roti, "Main Solah Baras Ki" from Karz, and "Din Mahine Saal" from Avtaar, "Tu Kitne Baras Ki" from Karz. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films Dostana, Ram Balram and Deedaar-E-Yaar. L-P composed a duet with Kishore Kumar and Alisha Chinoy, "I love you (Kaate Nahin Katate Yeh Din Yeh Raat)" from Mr. India in (1987). Salil Chowdhury recorded songs like "Koi Hota Jisko Apna" from Mere Apne and "Gujar Gaye Din Din" from Annadata. Ravindra Jain recorded "Ghungroo Ki Tarah" and the duet "Le Jaayenge Le Jaayenge" from Chor Machaye Shor and the duet "Tota Maina Ki Kahani" from Fakira. Khaiyyaam recorded beautiful duets with Lata Mangeshkar such as "Hazar Rahein" from Thodisi Bewafai, Aankhon Mein Humne Aapke Sapne Sajaye Hain, Chandani Raat Mein Ek Bar. Hridaynath Mangeshkar recorded Zindagi Aa Raha Hoon Main from Mashaal. Kalyanji-Anandji recorded several songs with Kishore Kumar including Zindagi Ka Safar and Jeevan Se Bhari Teri Aankhein, from Safar, Pal Pal Dil Ke Paas from Black Mail, Apne Jeevan Ki Uljhan from Uljhan, Mera Jeevan Kora Kagaz from Kora Kagaz, O Saathi Re from Muqaddar Ka Sikandar, Khaike Paan Banaraswala from Don, Neele Neele Ambar Par from Kalakar and Pal Bhar Ke Liye from Johny Mera Naam.
Other composers including Rajesh Roshan, Sapan Chakravarty, Jaidev, Chitragupta (composer), Usha Khanna, Sohnik Omi, Prem Dhawan, Vanraj Bhatia and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's film Julie featured songs sung by Kishore Kumar, Bhool Gaya Saab Kuchh (duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise. Their other songs include Yaadon Mein Woh from Swami, Chhookar mere man ko from Yaarana, Tune Abhi Dekha Nahin from Do Aur Do Paanch and Kahan Tak Ye Man Ko Andhere Chhalenge as well as Kahiye, Suniye (duet with Asha Bhosle) from Baaton Baaton Mein. Bappi Lahiri also recorded many songs with Kishore Kumar, including Pag Ghunghroo Bandh from Namak Halal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984) and Chalte Chalte Mere Ye Geet from Chalte Chalte (1976), Saason Se Nahi Kadmose Nahi from Mohabbat in (1987) and duets with (Lata Mangeshkar)) like Taa thaiya from Himmatwala in (1984), Albela Mausam from Tohfa in (1985) and another duet Pyar Ka Tohfa from the same film.
During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for an Indian National Congress rally in Mumbai, but he refused. As a result, Information and broadcasting minister Vidya Charan Shukla (1975–1977) put an unofficial ban on playing Kishore Kumar songs on the All India Radio and Doordarshan from 4 May 1976 till the end of the Emergency.
Later years
Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as Badhti Ka Naam Daadhi (1978), Zindagi (1981) and Door Wadiyon Mein Kahin (1980): His last appearance as an actor.
With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar became a Bollywood singer in the 1980s. Kishore Kumar also continued singing for several actors. He also did some stage shows, apparently to earn money to pay his income tax arrears. Kishore Kumar stopped singing for Amitabh Bachchan in the mid-1980s, after Bachchan did not do a guest appearance in a film produced by him but called a truce with him by singing for him in Toofan. He also temporarily stopped singing for Mithun Chakraborty, after Yogeeta Bali divorced him and married Chakraborty. However, later Kumar sang for him in many films like Disco Dancer, Muddat, and Pyar Ka Mandir.
In the mid-1980s, Kishore Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, Woh Saat Din and also recorded Mr. India. He sang a duet with Alka Yagnik, "Tumse Badhkar Duniya Mein Na Dekha" for Kaamchor in (1986). He also recorded some songs for the film Saagar with R. D. Burman. By this time, he had decided to retire and was planning to go back to his birthplace, Khandwa.
On 13 October 1987, his brother Ashok's 76th birthday, he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. He had recorded his last song a day before he died. The song was Guru Guru, a duet with Asha Bhosle, for the film Waqt Ki Aawaz (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi.
Kishore Kumar's song Pal Bhar Ke Liye from the film Johny Mera Naam (1970) was used in an episode of The Simpsons titled "Kiss Kiss, Bang Bangalore." His songs have been featured in several films, including Such a Long Journey (1998) and Side Streets (1998). Sony TV organised the television singing contest K for Kishore to search for a singer like Kishore Kumar.
Personal life
Kishore Kumar married four times. His first wife was Bengali singer and actress Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958.
Kishore's second wife was actress Madhubala, who had worked with him on many films including his home production Chalti Ka Naam Gaadi (1958) and Jhumroo (1961). When Kishore Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had a ventricular septal defect (hole in the heart), and her father wanted her to wait and consult the London doctors first. Furthermore, at the time he was married to Ruma. After his divorce, because Kishore Kumar was Bengali Hindu (Brahmin) and Madhubala Muslim, they had a civil wedding ceremony in 1960. His parents refused to attend. The couple also had a Hindu ceremony to please Kumar's parents, but Madhubala was never truly accepted as his wife. Within a month of her wedding she moved back to her bungalow in Bandra because of tension in the Kishore Kumar household. They remained married but under great strain for the remainder of Madhubala's life. The doctors in London told Madhubala that she would not live for long. The marriage lasted for nine years, and ended with Madhubala's death on 23 February 1969.
Kishore Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore was married to Leena Chandavarkar from 1980 until his death. Kishore Kumar sired two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena Chandavarkar.
Kumar is said to have been paranoid about not being paid. During recordings, he would sing only after his secretary confirmed that the producer had made the payment. Once, when he discovered that his dues hadn't been fully paid, he landed up for shooting with make-up on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment). On the sets of Bhai Bhai, Kishore Kumar refused to act because the director M V Raman owed him five thousand rupees. Ashok Kumar persuaded him to do the scene. But, when the shooting started, he walked across the floor and, each time he walked a few places, he said, Paanch Hazzar Rupaiya (five thousand rupees) and did a somersault. After he reached the end of the floor, he went out of the studio, jumped into his car, and ordered his driver Abdul to drive away. On another occasion, when producer R. C. Talwar did not pay his dues in spite of repeated reminders, Kishore turned up at Talwar's residence one morning and started shouting "Hey Talwar, de de mere aath hazaar" ("Hey Talwar, give me my eight thousand"). He did this every morning until Talwar paid him.
The film Anand (1971) was originally supposed to star Kishore Kumar and Mehmood Ali in the lead. Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project. However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.
In spite of his "no money, no work" principle, sometimes Kishore Kumar recorded for free even when the producers were willing to pay. Such films include those produced by Rajesh Khanna and Danny Denzongpa. On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs. 20,000 for the film Dal Mein Kala (1964). When actor Arun Kumar Mukherjee died, Kishore Kumar regularly sent money to his family in Bhagalpur. Mukherjee was one of the first persons to appreciate Kishore's singing talent.
Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior. Kishore Kumar had put a "Beware of Kishore" sign at the door of his Warden Road flat, where he stayed for some time while his bungalow was being done up. Once, producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kishore Kumar took the money, and when Rawail offered to shake hands with him, he reportedly put Rawail's hand in his mouth, bit it, and asked "Didn’t you see the sign?". Rawail laughed off the incident and left quickly. Kishore Kumar was a loner, and in an interview with Pritish Nandy (1985), he said that he had no friends – he preferred talking to his trees instead. Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to the reporter as his closest friends.
According to another reported incident, once Kishore Kumar was to record a song for producer-director G. P. Sippy. As Sippy approached his bungalow, he saw Kishore going out in his car. Sippy pleaded him to stop his car, but Kishore only increased the speed of his car. Sippy chased him to Madh Island, where Kishore Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kishore Kumar refused to recognize or talk to him and threatened to call police. Sippy had to return. Next morning, Kishore Kumar reported for the recording. An angry Sippy questioned him about his behavior on the previous day. However, Kishore Kumar insisted that Sippy must have seen a dream, and claimed that he was in Khandwa on the previous day.
Once, a producer went to court to get a decree that Kishore Kumar must follow the director's orders. As a consequence, Kishore Kumar obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. Once, after a car scene in Mumbai, he drove on till Khandala because the director forgot to say "Cut". In the 1960s, a financier named Kalidas Batvabbal, patently disgusted with Kishore Kumar's alleged lack of cooperation during the shooting of Half Ticket, gave him away to the income tax authorities. Kishore had to face a raid at his house. Later, Kishore invited Batvabbal home, tricked him by asking him to enter a cupboard for a "chat" and locked him inside. He unlocked Batvabbal after two hours and told him "Don’t ever come to my house again."
Filmography
Main article: Kishore Kumar filmography
List of songs
Main article: List of songs by Kishore Kumar
Awards
Filmfare Awards
Winner:
Year Song Film Music director Lyricist
1969 "Roop Tera Mastaana" Aradhana Sachin Dev Burman Anand Bakshi
1975 "Dil Aisa Kisi Ne Mera" Amanush Shyamal Mitra Indeevar
1978 "Khaike Pan Banaras Wala" Don Kalyanji-Anandji Anjaan
1980 "Hazaar Raahen Mudke Dekheen" Thodisi Bewafaii Khayyam Gulzar
1982 "Pag Ghungroo Baandh Ke Meera Nachi" Namak Halaal Bappi Lahiri Anjaan
1983 "Hamen Aur Jeene Ki" Agar Tum Na Hote Rahul Dev Burman Gulshan Bawra
1984 "Manzilen apni jagah" Sharaabi Bappi Lahiri Anjaan
1985 "Saagar Kinaare" Saagar Rahul Dev Burman Javed Akhtar
Nominated:
Year Song Film Music Director Lyricist
1971 "Zindagi Ek Safar" Andaz Shankar-Jaikishan Hasrat Jaipuri
1971 "Yeh Jo Mohabbat Hai" Kati Patang Rahul Dev Burman Anand Bakshi
1972 "Chingari Koi Bhadke" Amar Prem Rahul Dev Burman Anand Bakshi
1973 "Mere Dil Mein Aaj" Daag: A Poem of Love Laxmikant-Pyarelal Sahir Ludhianvi
1974 "Gaadi Bula Rahi Hai" Dost Laxmikant-Pyarelal Anand Bakshi
1974 "Mera Jeevan Kora Kagaz" Kora Kagaz Kalyanji Anandji M.G.Hashmat
1975 "Main Pyaasa Tum" Faraar Kalyanji Anandji Rajendra Krishan
1975 "O Manjhi Re" Khushboo Rahul Dev Burman Gulzar
1977 "Aap Ke Anurodh" Anurodh Laxmikant-Pyarelal Anand Bakshi
1978 "O Saathi Re" Muqaddar Ka Sikander Kalyanji-Anandji Anjaan
1978 "Hum Bewafa Harghiz" Shalimar Rahul Dev Burman Anand Bakshi
1979 "Ek Rasta Hai Zindagi" Kaala Patthar Rajesh Roshan Sahir Ludhianvi
1980 "Om Shanthi Om" Karz Laxmikant-Pyarelal Anand Bakshi
1981 "Hameh Tumse Pyar" Kudrat Rahul Dev Burman Majrooh Sultanpuri
1981 "Chhookar Mere Mann Ko" Yaraana Rajesh Roshan Anjaan
1983 "Shayad Meri Shaadi" Souten Usha Khanna Sawan Kumar
1984 "De De Pyar De" Sharaabi Bappi Lahiri Anjaan
1984 "Inteha Ho Gayi" Sharaabi Bappi Lahiri Anjaan
1984 "Log Kehete Hai Main" Sharaabi Bappi Lahiri Anjaan
Bengal Film Journalists' Association Awards
Winner:
1971 - Best Male Playback Singer for Aradhana
1972 - Best Male Playback Singer for Andaz
1973 - Best Male Playback Singer for Hare Rama Hare Krishna
1975 - Best Male Playback Singer for Kora Kagaz
Early life
Kishore Kumar was born into the Ganguly family in Khandwa, Central Provinces and Berar (now in Madhya Pradesh) as Abhas Kumar Ganguly. His father Kunjalal Ganguly (Gangopadhyay) was a lawyer. His mother Gouri Devi came from a wealthy Bengali family. Kishore was the youngest of four siblings, the other three being Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar. The composer Bappi Lahiri is also related to Kishore Kumar on his mother's side.
While Kishore was still a child, Ashok Kumar became a Bollywood actor. (Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar). Spending time with his brothers, Kishore also started to take a keen interest in movies and music. He became a fan of singer-actor Kundan Lal Saigal, whom he considered his guru, and tried to follow Saigal's singing style.
Career
After Ashok Kumar became a Bollywood star, the Ganguly family used to visit Bombay regularly. Abhas Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. Kishore Kumar's first film as an actor was Shikari (1946), in which Ashok Kumar played the lead role. Music director Khemchand Prakash gave Kishore Kumar a chance to sing "Marne ki duayen kyon mangu" for the film Ziddi (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about a film career. In 1949, he decided to settle in Mumbai.
Kishore Kumar played hero in the Bombay Talkies film Andolan (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an actor like himself.
He starred in Bimal Roy's Naukri (1954) and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil Chowdhury, the music director for Naukri was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music. However, after hearing his voice, he gave him the song Chhota sa ghar hoga, which was supposed to be sung by Hemant Kumar.
Kishore Kumar starred in films New Delhi (1957), Aasha (1957), Chalti Ka Naam Gaadi (1958), Half Ticket (1962), and Padosan (1968). Chalti Ka Naam Gaadi(1958), his home production, starred the three Ganguly brothers and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving the brothers.
Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of Mashaal (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating K. L. Saigal. He complimented Kishore and told him that he should develop a style of his own, instead of copying Saigal. Kishore Kumar did not have a formal training in music. He kept Burman's advice in mind and eventually developed his own style of singing, which featured the yodeling that he had heard on the gramophone records of Tex Morton and Jimmie Rodgers bought by his brother Anoop Kumar.
S. D. Burman recorded with Kishore for Dev Anand's Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kishore Kumar's home production Chalti Ka Naam Gaadi (1958). Some of their initial films included the songs "Maana Janaab Ne Pukara Nahin" from Paying Guest, "Hum Hain Rahi Pyar Ke" from Nau Do Gyarah (1957), "Ai Meri Topi Palat Ke Aa" from Funtoosh, and "Ek Ladki Bheegi Bhaagi Si" and "Haal Kaisa Hai Janaab Ka" from Chalti Ka Naam Gaadi (1958). Asha Bhosle and Kishore Kumar performed duets composed by S. D. Burman including "Chhod Do Aanchal" from Paying Guest (1957), "Ankhon Mein Kya Ji" from Nau Do Gyarah (1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from Chalti Ka Naam Gaadi (1958), "Chhedo Na Meri Zulfein" from Ganga Ki Lahren (1964), and "Arre Yaar Meri Tum Bhi Ho Gajab" from Teen Deviyan (1965).
C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer. Their collaborations include "Eena Meena Deeka" from Aasha (1957). Kishore Kumar's work includes "Nakhrewaali" from New Delhi (1956) by Shankar Jaikishan, and "C.A.T. Cat Maane Billi" and "Hum To Mohabbat Karega" from Dilli Ka Thug (1958) by Ravi.
Kishore Kumar produced, directed, and acted in Jhumroo (1961). He wrote the lyrics for the title song, "Main Hoon Jhumroo," and composed music for all the songs in the film. Later, he produced and directed Door Gagan Ki Chhaon Mein (1964). He wrote the script and composed music for the film. Its based on the relationship between a father (Kishore Kumar) and his deaf and mute son (played by his real-life son, Amit Kumar). He made another two films called Door Ka Rahi (1971) and Door Waadiyon Mein Kahin (1980).
In the 1960s, as an actor, Kishore Kumar built up a notoriety for coming late for the shootings, or bunking them altogether. His films flopped frequently, and he landed in income tax trouble. As a singer, his work in this period includes "Zaroorat Hai Zaroorat Hai" from Manmauji (1961), "Gaata Rahe Mera Dil" from Guide (1965), and "Yeh Dil Na Hota Bechara" from Jewel Thief (1967).
In the late 1960s, Rahul Dev Burman worked together on the soundtrack of the film Padosan (1968), in which Kishore Kumar sang the songs "Mere Saamne Wali Khidki Mein" and "Kehna Hai." Padosan was a comedy film starring Kishore Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as a simpleton named Bhola. Kishore Kumar's character in was inspired by the personality of his uncle, Dhananjay Bannerjee (a classical singer). The highlight of the film was a musical, comical duel between Kishore Kumar-Sunil Dutt and Mehmood: "Ek Chatur Nar Karke Singaar."
In 1969, Shakti Samanta produced and directed the film Aradhana, for which the music was composed by S. D. Burman. Burman fell ill after recording some duet songs with Mohammed Rafi, Asha Bhosle, Lata Mangeshkar and Kishore Kumar. Afterwards, his son and assistant Rahul Dev Burman took over the recording. R. D. Burman got Kishore Kumar to solo sing the songs "Mere Sapno Ki Rani" and "Roop Tera Mastana". These songs established Kishore Kumar as a leading playback singer in Bollywood. Kishore Kumar won his first Filmfare award for the song "Roop Tera Mastana".
1970s and 1980s
In 1970s and 1980s Kishore Kumar sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor,Vinod Khanna, Rakesh Roshan, Dilip Kumar, Pran, Vinod Mehra, Chunkey Pandey, Kumar Gaurav, Govinda and Jackie Shroff.
S. D. Burman and Kishore Kumar continued to work together, including "Phoolon Ke Rang Se" and "Shokhiyon Mein Ghola Jaaye" from Prem Pujari (1969), "Aaj Madhosh Hua Jaaye Re," "Khilte Hain Gul Yahan" and "O Meri Sharmilee" from Sharmilee (1971), "Meet na mila" from Abhimaan (1973), "Pyaar Ke Is Khel Mein" from Jugnu, "Phoolon Ke Dere Hain" from Zameer (1974). In 1975, S. D. Burman composed his last song for Kishore Kumar. S. D. Burman went into a coma for the second time, soon after Kishore recorded the song "Badi Sooni Sooni Hai" for the film Mili. He sang memorable songs with deep soft voice such as "Yeh Jeevan hai", "Zindagi Ka Safar", "Chingari Koi Bhadke", "Kuch to log kahenge", "Jeevan Ke Din", "Chookar Mere Mann Ko", " Aanewala pal janewala Hai", "Koi hota Jisko Apna ". The amazing depth in his voice spelling the philosophy mesmerized listeners. Although not trained classically, he sang "Mere naina Saawan Bhado " a semi-classical song and in the soft romantic version of the song "Hume tumse pyar Kitna " he out-shined the classical version of "Parveen Sultana ". Though he was patronized initially by of one of the greatest composers of India "Sachin Deb Burman", in the Seventies and Eighties he was the lead singer for almost every composer. He is very popular and a craze amongst the youth of the 21st century as well. He was awarded the "Lata Mangeshkar Award" by the Madhya pradesh government and immediately a new award "Kishore Kumar Award" was initiated by the Madhya Pradesh government to honour him. The committee which conferred him the award was chaired by noted classical singer "Kumar Gandharva" and had noted journalist "Pritish Nandi " as a member.
Kishore has won the filmfare award for best male playback singer a record eight number of times.
R. D. Burman frequently used Kishore Kumar as the male singer and recorded several songs with him in the 1970s. Some Kishore Kumar-R. D. Burman songs include "O Maajhi Re" from Khushboo, "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Chingari Koi Bhadke" and "Kuchh To Log Kahenge" from Amar Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), "Musafir Hoon Yaaron" from Parichay (1972), "Diye Jalte Hain" from Namak Haraam (1973), "Meri Bheegi Bheegi Si" from Anamika (1973), "Zindagi Ke Safar Mein" from Aap Ki Kasam (1974), "Agar Tum Na Hote" and "Humein Tum Se Pyaar Kitna" from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and "Chingari Koi Bhadke (Amar Prem)" and "Jab Bhi Koi Kangana" from Shaukeen (1986).
R. D. Burman recorded several duets pairing Kishore Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include "Panna Ki Tamanna" from Heera Panna (1973), "Neend Chura Ke Raaton Mein" from the film Shareef Budmaash, "Kya Yehi Pyaar Hai" from Sanjay Dutt's debut film Rocky (1981), "Sagar Kinare" from Sagar in , "Aap Ki Aankhon Mein Kuchh" from Ghar, "Jaane Ja Dhoondta" and "Nahi Nahi" from Jawani Diwani, "Kharoshoo" from Harjai (1982).
Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo Laxmikant-Pyarelal (L-P) composed many songs sung by him. Some of their songs include "Mere Mehboob Qayamat Hogi" from Mr. X In Bombay, "Mere Naseeb Mein Aye Dost" from Do Raaste, "Yeh Jeevan Hai" from Piya Ka Ghar, "Mere Dil Mein Aaj Kya Hai" from Daag: A Poem of Love, "Nahi Mai Nahi Dekh Sakta" from Majboor, "Mere diwanepan ki bhi" from Mehboob Ki Mehndi, "Naach Meri Bulbul" from Roti, "Chal Chal Mere Haathi" from Haathi Mere Saathi, "Gaadi Bula Rahi Hai" from Dost, "Ruk Jaana Nahi" from Imtihaan, "Ek Ritu Aaye" from Gautam Govinda, "My Name Is Anthony Gonsalves" from Amar Akbar Anthony, "Bahut Khoobsurat Jawan Ek Ladki" from Dostana and "Om Shanti Om" as well as "Paisa Yeh Paisa" from Karz. Laxmikant-Pyarelal composed several Kishore-Lata duets, including "Achchha To Hum Chalte Hain" from Aan Milo Sajna, "Gore Rang Pe Na Itna" from Roti, "Main Solah Baras Ki" from Karz, and "Din Mahine Saal" from Avtaar, "Tu Kitne Baras Ki" from Karz. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films Dostana, Ram Balram and Deedaar-E-Yaar. L-P composed a duet with Kishore Kumar and Alisha Chinoy, "I love you (Kaate Nahin Katate Yeh Din Yeh Raat)" from Mr. India in (1987). Salil Chowdhury recorded songs like "Koi Hota Jisko Apna" from Mere Apne and "Gujar Gaye Din Din" from Annadata. Ravindra Jain recorded "Ghungroo Ki Tarah" and the duet "Le Jaayenge Le Jaayenge" from Chor Machaye Shor and the duet "Tota Maina Ki Kahani" from Fakira. Khaiyyaam recorded beautiful duets with Lata Mangeshkar such as "Hazar Rahein" from Thodisi Bewafai, Aankhon Mein Humne Aapke Sapne Sajaye Hain, Chandani Raat Mein Ek Bar. Hridaynath Mangeshkar recorded Zindagi Aa Raha Hoon Main from Mashaal. Kalyanji-Anandji recorded several songs with Kishore Kumar including Zindagi Ka Safar and Jeevan Se Bhari Teri Aankhein, from Safar, Pal Pal Dil Ke Paas from Black Mail, Apne Jeevan Ki Uljhan from Uljhan, Mera Jeevan Kora Kagaz from Kora Kagaz, O Saathi Re from Muqaddar Ka Sikandar, Khaike Paan Banaraswala from Don, Neele Neele Ambar Par from Kalakar and Pal Bhar Ke Liye from Johny Mera Naam.
Other composers including Rajesh Roshan, Sapan Chakravarty, Jaidev, Chitragupta (composer), Usha Khanna, Sohnik Omi, Prem Dhawan, Vanraj Bhatia and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's film Julie featured songs sung by Kishore Kumar, Bhool Gaya Saab Kuchh (duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise. Their other songs include Yaadon Mein Woh from Swami, Chhookar mere man ko from Yaarana, Tune Abhi Dekha Nahin from Do Aur Do Paanch and Kahan Tak Ye Man Ko Andhere Chhalenge as well as Kahiye, Suniye (duet with Asha Bhosle) from Baaton Baaton Mein. Bappi Lahiri also recorded many songs with Kishore Kumar, including Pag Ghunghroo Bandh from Namak Halal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984) and Chalte Chalte Mere Ye Geet from Chalte Chalte (1976), Saason Se Nahi Kadmose Nahi from Mohabbat in (1987) and duets with (Lata Mangeshkar)) like Taa thaiya from Himmatwala in (1984), Albela Mausam from Tohfa in (1985) and another duet Pyar Ka Tohfa from the same film.
During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for an Indian National Congress rally in Mumbai, but he refused. As a result, Information and broadcasting minister Vidya Charan Shukla (1975–1977) put an unofficial ban on playing Kishore Kumar songs on the All India Radio and Doordarshan from 4 May 1976 till the end of the Emergency.
Later years
Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as Badhti Ka Naam Daadhi (1978), Zindagi (1981) and Door Wadiyon Mein Kahin (1980): His last appearance as an actor.
With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar became a Bollywood singer in the 1980s. Kishore Kumar also continued singing for several actors. He also did some stage shows, apparently to earn money to pay his income tax arrears. Kishore Kumar stopped singing for Amitabh Bachchan in the mid-1980s, after Bachchan did not do a guest appearance in a film produced by him but called a truce with him by singing for him in Toofan. He also temporarily stopped singing for Mithun Chakraborty, after Yogeeta Bali divorced him and married Chakraborty. However, later Kumar sang for him in many films like Disco Dancer, Muddat, and Pyar Ka Mandir.
In the mid-1980s, Kishore Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, Woh Saat Din and also recorded Mr. India. He sang a duet with Alka Yagnik, "Tumse Badhkar Duniya Mein Na Dekha" for Kaamchor in (1986). He also recorded some songs for the film Saagar with R. D. Burman. By this time, he had decided to retire and was planning to go back to his birthplace, Khandwa.
On 13 October 1987, his brother Ashok's 76th birthday, he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. He had recorded his last song a day before he died. The song was Guru Guru, a duet with Asha Bhosle, for the film Waqt Ki Aawaz (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi.
Kishore Kumar's song Pal Bhar Ke Liye from the film Johny Mera Naam (1970) was used in an episode of The Simpsons titled "Kiss Kiss, Bang Bangalore." His songs have been featured in several films, including Such a Long Journey (1998) and Side Streets (1998). Sony TV organised the television singing contest K for Kishore to search for a singer like Kishore Kumar.
Personal life
Kishore Kumar married four times. His first wife was Bengali singer and actress Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958.
Kishore's second wife was actress Madhubala, who had worked with him on many films including his home production Chalti Ka Naam Gaadi (1958) and Jhumroo (1961). When Kishore Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had a ventricular septal defect (hole in the heart), and her father wanted her to wait and consult the London doctors first. Furthermore, at the time he was married to Ruma. After his divorce, because Kishore Kumar was Bengali Hindu (Brahmin) and Madhubala Muslim, they had a civil wedding ceremony in 1960. His parents refused to attend. The couple also had a Hindu ceremony to please Kumar's parents, but Madhubala was never truly accepted as his wife. Within a month of her wedding she moved back to her bungalow in Bandra because of tension in the Kishore Kumar household. They remained married but under great strain for the remainder of Madhubala's life. The doctors in London told Madhubala that she would not live for long. The marriage lasted for nine years, and ended with Madhubala's death on 23 February 1969.
Kishore Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore was married to Leena Chandavarkar from 1980 until his death. Kishore Kumar sired two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena Chandavarkar.
Kumar is said to have been paranoid about not being paid. During recordings, he would sing only after his secretary confirmed that the producer had made the payment. Once, when he discovered that his dues hadn't been fully paid, he landed up for shooting with make-up on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment). On the sets of Bhai Bhai, Kishore Kumar refused to act because the director M V Raman owed him five thousand rupees. Ashok Kumar persuaded him to do the scene. But, when the shooting started, he walked across the floor and, each time he walked a few places, he said, Paanch Hazzar Rupaiya (five thousand rupees) and did a somersault. After he reached the end of the floor, he went out of the studio, jumped into his car, and ordered his driver Abdul to drive away. On another occasion, when producer R. C. Talwar did not pay his dues in spite of repeated reminders, Kishore turned up at Talwar's residence one morning and started shouting "Hey Talwar, de de mere aath hazaar" ("Hey Talwar, give me my eight thousand"). He did this every morning until Talwar paid him.
The film Anand (1971) was originally supposed to star Kishore Kumar and Mehmood Ali in the lead. Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project. However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.
In spite of his "no money, no work" principle, sometimes Kishore Kumar recorded for free even when the producers were willing to pay. Such films include those produced by Rajesh Khanna and Danny Denzongpa. On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs. 20,000 for the film Dal Mein Kala (1964). When actor Arun Kumar Mukherjee died, Kishore Kumar regularly sent money to his family in Bhagalpur. Mukherjee was one of the first persons to appreciate Kishore's singing talent.
Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior. Kishore Kumar had put a "Beware of Kishore" sign at the door of his Warden Road flat, where he stayed for some time while his bungalow was being done up. Once, producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kishore Kumar took the money, and when Rawail offered to shake hands with him, he reportedly put Rawail's hand in his mouth, bit it, and asked "Didn’t you see the sign?". Rawail laughed off the incident and left quickly. Kishore Kumar was a loner, and in an interview with Pritish Nandy (1985), he said that he had no friends – he preferred talking to his trees instead. Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to the reporter as his closest friends.
According to another reported incident, once Kishore Kumar was to record a song for producer-director G. P. Sippy. As Sippy approached his bungalow, he saw Kishore going out in his car. Sippy pleaded him to stop his car, but Kishore only increased the speed of his car. Sippy chased him to Madh Island, where Kishore Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kishore Kumar refused to recognize or talk to him and threatened to call police. Sippy had to return. Next morning, Kishore Kumar reported for the recording. An angry Sippy questioned him about his behavior on the previous day. However, Kishore Kumar insisted that Sippy must have seen a dream, and claimed that he was in Khandwa on the previous day.
Once, a producer went to court to get a decree that Kishore Kumar must follow the director's orders. As a consequence, Kishore Kumar obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. Once, after a car scene in Mumbai, he drove on till Khandala because the director forgot to say "Cut". In the 1960s, a financier named Kalidas Batvabbal, patently disgusted with Kishore Kumar's alleged lack of cooperation during the shooting of Half Ticket, gave him away to the income tax authorities. Kishore had to face a raid at his house. Later, Kishore invited Batvabbal home, tricked him by asking him to enter a cupboard for a "chat" and locked him inside. He unlocked Batvabbal after two hours and told him "Don’t ever come to my house again."
Filmography
Main article: Kishore Kumar filmography
List of songs
Main article: List of songs by Kishore Kumar
Awards
Filmfare Awards
Winner:
Year Song Film Music director Lyricist
1969 "Roop Tera Mastaana" Aradhana Sachin Dev Burman Anand Bakshi
1975 "Dil Aisa Kisi Ne Mera" Amanush Shyamal Mitra Indeevar
1978 "Khaike Pan Banaras Wala" Don Kalyanji-Anandji Anjaan
1980 "Hazaar Raahen Mudke Dekheen" Thodisi Bewafaii Khayyam Gulzar
1982 "Pag Ghungroo Baandh Ke Meera Nachi" Namak Halaal Bappi Lahiri Anjaan
1983 "Hamen Aur Jeene Ki" Agar Tum Na Hote Rahul Dev Burman Gulshan Bawra
1984 "Manzilen apni jagah" Sharaabi Bappi Lahiri Anjaan
1985 "Saagar Kinaare" Saagar Rahul Dev Burman Javed Akhtar
Nominated:
Year Song Film Music Director Lyricist
1971 "Zindagi Ek Safar" Andaz Shankar-Jaikishan Hasrat Jaipuri
1971 "Yeh Jo Mohabbat Hai" Kati Patang Rahul Dev Burman Anand Bakshi
1972 "Chingari Koi Bhadke" Amar Prem Rahul Dev Burman Anand Bakshi
1973 "Mere Dil Mein Aaj" Daag: A Poem of Love Laxmikant-Pyarelal Sahir Ludhianvi
1974 "Gaadi Bula Rahi Hai" Dost Laxmikant-Pyarelal Anand Bakshi
1974 "Mera Jeevan Kora Kagaz" Kora Kagaz Kalyanji Anandji M.G.Hashmat
1975 "Main Pyaasa Tum" Faraar Kalyanji Anandji Rajendra Krishan
1975 "O Manjhi Re" Khushboo Rahul Dev Burman Gulzar
1977 "Aap Ke Anurodh" Anurodh Laxmikant-Pyarelal Anand Bakshi
1978 "O Saathi Re" Muqaddar Ka Sikander Kalyanji-Anandji Anjaan
1978 "Hum Bewafa Harghiz" Shalimar Rahul Dev Burman Anand Bakshi
1979 "Ek Rasta Hai Zindagi" Kaala Patthar Rajesh Roshan Sahir Ludhianvi
1980 "Om Shanthi Om" Karz Laxmikant-Pyarelal Anand Bakshi
1981 "Hameh Tumse Pyar" Kudrat Rahul Dev Burman Majrooh Sultanpuri
1981 "Chhookar Mere Mann Ko" Yaraana Rajesh Roshan Anjaan
1983 "Shayad Meri Shaadi" Souten Usha Khanna Sawan Kumar
1984 "De De Pyar De" Sharaabi Bappi Lahiri Anjaan
1984 "Inteha Ho Gayi" Sharaabi Bappi Lahiri Anjaan
1984 "Log Kehete Hai Main" Sharaabi Bappi Lahiri Anjaan
Bengal Film Journalists' Association Awards
Winner:
1971 - Best Male Playback Singer for Aradhana
1972 - Best Male Playback Singer for Andaz
1973 - Best Male Playback Singer for Hare Rama Hare Krishna
1975 - Best Male Playback Singer for Kora Kagaz
Astrological portrait of Kishore Kumar (excerpt)
Disclaimer: these short excerpts of astrological charts are computer processed. They are, by no means, of a personal nature. This principle is valid for the 49,157 celebrities included in our database. These texts provide the meanings of planets, or combination of planets, in signs and in houses, as well as the interpretations of planetary dominants in line with modern Western astrology rules. Moreover, since Astrotheme is not a polemic website, no negative aspect which may damage the good reputation of a celebrity is posted here, unlike in the comprehensive astrological portrait.
Introduction
Here are some character traits from Kishore Kumar's birth chart. This description is far from being comprehensive but it can shed light on his/her personality, which is still interesting for professional astrologers or astrology lovers.
In a matter of minutes, you can get at your email address your astrological portrait (approximately 32 pages), a much more comprehensive report than this portrait of Kishore Kumar.
N.B.: As this celebrity's birth time is unknown, the chart is drawn for 12:00 PM - the legal time for his/her place of birth; since astrological houses are not taken into account, this astrological profile excerpt is less detailed than those for which the birth time is known.
The dominant planets of Kishore Kumar
When interpreting a natal chart, the best method is to start gradually from general features to specific ones. Thus, there is usually a plan to be followed, from the overall analysis of the chart and its structure, to the description of its different character traits.
In the first part, an overall analysis of the chart enables us to figure out the personality's main features and to emphasize several points that are confirmed or not in the detailed analysis: in any case, those general traits are taken into account. Human personality is an infinitely intricate entity and describing it is a complex task. Claiming to rapidly summarize it is illusory, although it does not mean that it is an impossible challenge. It is essential to read a natal chart several times in order to absorb all its different meanings and to grasp all this complexity. But the exercise is worthwhile.
In brief, a natal chart is composed of ten planets: two luminaries, the Sun and the Moon, three fast-moving or individual planets, Mercury, Venus and Mars, two slow-moving planets, Jupiter and Saturn, and three very slow-moving planets, Uranus, Neptune and Pluto. Additional secondary elements are: the Lunar Nodes, the Dark Moon or Lilith, Chiron and other minor objects. They are all posited on the Zodiac wheel consisting of twelve signs, from Aries to Pisces, and divided into twelve astrological houses.
The first step is to evaluate the importance of each planet. This is what we call identifying the dominant planets. This process obeys rules that depend on the astrologer's sensitivity and experience but it also has precise and steady bases: thus, we can take into account the parameters of a planet's activity (the number of active aspects a planet forms, the importance of each aspect according to its nature and its exactness), angularity parameters; (proximity to the four angles, Ascendant, Midheaven, Descendant and Imum Coeli or Nadir, all of them being evaluated numerically, according to the kind of angle and the planet-angle distance) and quality parameters (rulership, exaltation, exile and fall). Finally, other criteria such as the rulership of the Ascendant and the Midheaven etc. are important.
These different criteria allow a planet to be highlighted and lead to useful conclusions when interpreting the chart.
The overall chart analysis begins with the observation of three sorts of planetary distributions in the chart: Eastern or Western hemisphere, Northern or Southern hemisphere, and quadrants (North-eastern, North-western, South-eastern and South-western). These three distributions give a general tone in terms of introversion and extraversion, willpower, sociability, and behavioural predispositions.
Then, there are three additional distributions: elements (called triplicity since there are three groups of signs for each one) - Fire, Air, Earth and Water - corresponding to a character typology, modality (or quadruplicity with four groups of signs for each one) - Cardinal, Fixed and Mutable - and polarity (Yin and Yang).
There are three types of dominants: dominant planets, dominant signs and dominant houses. The novice thinks astrology means only "to be Aries" or sometimes, for example, "to be Aries Ascendant Virgo". It is actually far more complex. Although the Sun and the Ascendant alone may reveal a large part of the character - approximately a third or a half of your psychological signature, a person is neither "just the Sun" (called the sign) nor just "the first house" (the Ascendant). Thus, a particular planet's influence may be significantly increased; a particular sign or house may contain a group of planets that will bring nuances and sometimes weaken the role of the Ascendant, of the Sun sign etc.
Lastly, there are two other criteria: accentuations (angular, succedent and cadent) which are a classification of astrological houses and types of decanates that are occupied (each sign is divided into three decanates of ten degrees each). They provide some additional informations.
These general character traits must not be taken literally; they are, somehow, preparing for the chart reading. They allow to understand the second part of the analysis, which is more detailed and precise. It focuses on every area of the personality and provides a synthesis of all the above-mentioned parameters according to sound hierarchical rules.
Warning: when the birth time is unknown, which is the case for Kishore Kumar, a few paragraphs become irrelevant; distributions in hemispheres and quadrants are meaningless, so are dominant houses and houses' accentuations. Therefore, some chapters are removed from this part.
For all paragraphs, the criteria for valuation are calculated without taking into account angles and rulerships of the Ascendant and of the Midheaven. The methodology retains its validity, but it is less precise without a time of birth.
Elements, Modalities and Polarities for Kishore Kumar
Kishore Kumar, Fire is dominant in your natal chart and endows you with intuition, energy, courage, self-confidence, and enthusiasm! You are inclined to be passionate, you assert your willpower, you move forward, and come hell or high water, you achieve your dreams and your goals. The relative weakness of this element is the difficulty to step back or a kind of boldness that may prompt you to do foolish things.
The predominance of Water signs indicates high sensitivity and elevation through feelings, Kishore Kumar. Your heart and your emotions are your driving forces, and you can't do anything on Earth if you don't feel a strong affective charge (as a matter of fact, the word "feeling" is essential in your psychology). You need to love in order to understand, and to feel in order to take action, which causes a certain vulnerability which you should fight against.
The twelve zodiacal signs are split up into three groups or modes, called quadruplicities, a learned word meaning only that these three groups include four signs. The Cardinal, Fixed and Mutable modes are more or less represented in your natal chart, depending on planets' positions and importance, and on angles in the twelve signs.
The Mutable mode is the most emphasized one in your natal chart, Kishore Kumar, which indicates a mobile character that is curious and thirsty for new experiences and evolution. You are lively and flexible, and you like to react quickly to solicitations, but don't confuse mobility with agitation, since this is the danger with this configuration - and with you, stagnation is out of the question. Security doesn't matter as long as you are not bored. You optimize, you change things, you change yourself... all this in a speedy way.
The twelve signs are divided into two polarities, called active or passive, or sometimes masculine and feminine, positive and negative, Yang and Yin. This classification corresponds to two quite distinct tonalities, the first one bringing extraversion, action, self-confidence and dynamism, the second one, introversion, reactivity, reflection and caution. None is superior to the other, each group has its own assets and shortcomings. Odd signs - Aries, Gemini, Leo, Libra, Sagittarius and Aquarius - belong to the first group, whereas even signs - Taurus, Cancer, Virgo, Scorpio, Capricorn and Pisces - belong to the second group.
N.B.: this dominant is a minor one. It is not essential that you read its meaning in the beginning. You can get back to them later on, once you have read more important interpretations.
According to the disposition and qualities of your planets and angles, you are rather influenced by Yang energy, the active polarity, Kishore Kumar: more concerned about actions than reflection, you sometimes rush without standing back and without the deepness that is needed. However, your spontaneity prompts you to take fresh starts, even after repeated failures caused by your rashness.
Each sign contains 30 degrees and can be divided into three equal parts: the decanates. The Tradition indicates that specific meanings can be associated to each of the three decanates. Their sphere of activity is usually limited to the Sun sign, however, it is even more interesting to observe the distribution of all the planets in the chart to get an idea of the respective importance of the three decanates, which can complement the description of the personality.
These meanings must be considered with the greatest caution. Indeed, they are minor characteristics that can only underline other outstanding traits of character.
Traditionally, the first decanate highlights the characteristics of the sign where a planet is located. The two other decanates correspond to sub-dominant planets, depending on the nature of each sign. This system leads to a multiplication of meanings and it is impossible to have a clear understanding: here, we prefer to give only the meaning of one decanate in comparison with the other two, within the birth chart as a whole. Again, the greatest caution is needed with regard to this minor indication as it is not always reliable: it is not essential that you read these texts in the beginning. You can get back to them later on, once you have read more important interpretations
The second decanate, which means the part between 10° and 20° of any zodiacal sign, prevails in your natal chart, Kishore Kumar: these 10 zodiacal degrees emphasize logical thought and mental values. Therefore, you may be drawn to some kind of scientific activities, research, writing or any sort of expression where you have to... think a lot.
Dominants: Planets, Signs and Houses for Kishore Kumar
The issue of dominant planets has existed since the mists of time in astrology: how nice it would be if a person could be described with a few words and one or several planets that would represent their character, without having to analyse such elements as rulerships, angularities, houses, etc!
The ten planets - the Sun throughout Pluto - are a bit like ten characters in a role-play, each one has its own personality, its own way of acting, its own strengths and weaknesses. They actually represent a classification into ten distinct personalities, and astrologers have always tried to associate one or several dominant planets to a natal chart as well as dominant signs and houses.
Indeed, it is quite the same situation with signs and houses. If planets symbolize characters, signs represent hues - the mental, emotional and physical structures of an individual. The sign in which a planet is posited is like a character whose features are modified according to the place where he lives. In a chart, there are usually one, two or three highlighted signs that allow to rapidly describe its owner.
Regarding astrological houses, the principle is even simpler: the twelve houses correspond to twelve fields of life, and planets tenanting any given house increase that house's importance and highlight all relevant life departments: it may be marriage, work, friendship etc.
In your natal chart, Kishore Kumar, the ten main planets are distributed as follows:
The three most important planets in your chart are Sun, Moon and Saturn.
One of the dominant planets in your natal chart is the Sun. He symbolizes will, magnetism, sense of honour and dignity. You are a Solar being, and you often display charismatic and leadership qualities. Your warmth and your persuasive power lead you far away from pettiness. You enjoy thinking big and, consequently, you move forward according to what you decide.
Your Solarian weakness may be related to the sin of pride or to excessive authority. The frontier between pride and vanity is tenuous: be careful not to overstep it and to keep the nobleness of heart that is part of your charm.
The Moon is one of the most important planets in your chart and endows you with a receptive, emotive, and imaginative nature. You have an innate ability to instinctively absorb atmospheres and impressions that nurture you, and as a result, you are often dreaming your life away rather than actually living it.
One of the consequences of your spontaneity may turn into popularity, or even fame: the crowd is a living and complex entity, and it always appreciates truth and sincerity rather than calculation and total self-control.
As a Lunar character, you find it difficult to control yourself, you have to deal with your moods, and you must be careful not to stay passive in front of events: nothing is handed on a plate, and although your sensitivity is rich, even richer than most people's, you must make a move and spare some of your energy for... action!
Saturn is part of your dominant planets: among the facets of your character, you have a grave and serious side, wise and somewhat severe, since your concentration can be powerful, to the detriment of carelessness and friendliness.
You often look austere, but it is only an appearance, a kind of modesty or reserve; however, it is true that the Saturnian, who is fond of time, effort, asceticism, rigour and sobriety, may have popularity issues. Nevertheless, honesty and straightforwardness, reliability, as well as slow, wise and deep mental process, although not very popular and visible qualities, eventually become noticed and appreciated. Saturnians' second part of life is usually easier and more fulfilling.
Like the Jupiterian, your Saturnian facet prompts you to seek the essential, security, and longevity. However, the difference with the former is that you will never give priority to wealth or "the bigger, the better" philosophy for the sake of power. Saturn, like Jupiter, symbolizes social integration, and it is usually considered positive to have a harmonic Jupiter and Saturn in one's chart because of their social adaptation capacities.
Your vulnerability lies in your too serious and austere side, which may lead to unwanted loneliness and affective frustration. This generally does not last because Saturnians often hide deep down a golden heart that ends up revealing itself...
In your natal chart, the three most important signs - according to criteria mentioned above - are in decreasing order of strength Leo, Cancer and Gemini. In general, these signs are important because your Ascendant or your Sun is located there. But this is not always the case: there may be a cluster of planets, or a planet may be near an angle other than the Midheaven or Ascendant. It may also be because two or three planets are considered to be very active because they form numerous aspects from these signs.
Thus, you display some of the three signs' characteristics, a bit like a superposition of features on the rest of your chart, and it is all the more so if the sign is emphasized.
With Leo as a dominant sign, you naturally shine brightly. Your dignity, your sense of honour, and your generosity can almost turn you into a solar mythological hero, a knight or a lord from the ancient times. People may blame you for your selfishness, your pride or your somewhat loud authority, but if you are self-confident, kind-hearted and strong-willed, it surely makes up for your little flaws, as long as they remain moderate...
Cancer is one of your dominant signs and endows you with imagination and exceptionally shrewd sensitivity. Although suspicious at first sight - and even at second...- as soon as you get familiar with people and let them win your confidence, your golden heart eventually shows up, despite your discretion and your desire for security that make you return into your shell at the slightest alert! Actually, you are a poet and if you are sometimes blamed for your nostalgia and your laziness, it is because your intense inner life is at full throttle...
With Gemini as a dominant sign, your qualities include being lively, curious, mobile, clever, and flexible: you often make others dizzy, and you may come across as a dilettante - a bit inquisitive, shallow, and insensitive because you may be too intellectualizing. However, your natural curiosity, a nice quality, and your quick humour, allow you to demonstrate to everyone how much they may gain from your company, and that your apparent flightiness hides an appetite (particularly mental) for life, which itself conceals a terrific charm!
After this paragraph about dominant planets, of Kishore Kumar, here are the character traits that you must read more carefully than the previous texts since they are very specific: the texts about dominant planets only give background information about the personality and remain quite general: they emphasize or, on the contrary, mitigate different particularities or facets of a personality. A human being is a complex whole and only bodies of texts can attempt to successfully figure out all the finer points.
Your sensitivity
Affectivity and intuition are very developed, Kishore Kumar, and you are very sensitive to your environment. You “feel” atmospheres, moods and other people's emotions and when you capture negative influences, a feeling of ill-being immediately overwhelms you, all the more so because your lively imagination may destabilize you as it amplifies your receptiveness. Your nature is anxious and you tend to worry for your entourage. You strive to offer them a reassuring family atmosphere, the much needed comforting and warm sort of cocoon where you can laze around, at will. Because you care so much for your family, they may think that you are intrusive and that you try to rule their life through subtle affective blackmail. Trust them... and also learn to have more confidence in yourself!
Your intellect and your social life
Your intellectual and nervous energy is considerable, Kishore Kumar, with good concentration abilities and a strong determination. You have plenty of planning and organization skills and enthusiasm. Your helpfulness is deep and you never hesitate to solve other people's problems. You are thought of as a reliable person and you enjoy it very much. You believe in your own capacities and you tend to speak with a dramatic pomposity because you want to attract attention. People who do not share your opinion are in trouble! Your determination is strongest and you may show stubbornness and inflexibility because you do not easily accept it when your ideas or your actions are criticized. Some people believe that you assert yourself in an authoritarian and condescending way, but you are not aware of it and therefore, you keep on thinking that you are right.
Your affectivity and your seductiveness
In your chart, the Sun is in Leo and Venus, in Gemini. The association of signs as resolutely playful as Leo and Gemini is very attractive. With the Sun in Leo, you are dramatic, more concerned than others about your public image and you make use of emotions and feelings. Venus in Gemini prompts you to increase the number of your experiments and of your charm offensives: despite a possibly unfailing loyalty, you are always sensitive to others' opinion, to the esteem you enjoy and to the impression you make. Your affectivity lives on fleeting excitements, on smiles and on signs or glances furtively exchanged. You play around (no pejorative connotation), because a human being never completely exhausts the range of his emotions and never tries all the possibilities of the heart. A fascinating adventure such as love never ceases to amaze and captivate you. Therefore, it is hard for you to remain a prisoner within an affective setting, bogged down in habits that rapidly become unbearable. Love has so much more to offer to those who do not take themselves seriously! Better than anyone, you can find the ingredients to fuel an intense excitement, even if it means upsetting a homebody partner. In this regard, you are quite demanding. You have an exceptional affective vitality and the ability to never allow the flames of a passion-love to fade.
What is it, that really appeals to you, Kishore Kumar, to love or to please? You have so much charm and so much volubility that you easily manage to be what is known as a lady-killer. Feelings and intellect are so tightly mingled that you may not know any more whether you are really in love or whether you are acting. You have a taste for flirt and variety, and you appreciate very much complicated situations where no one knows where the truth lies any more. You shift from one game to another. To you, everything can be an agent for seduction, be it your attitudes, your words or the way you dress. You do not separate your actions from your desire to please. People who do not understand this are in trouble because, if they take your sweet and well-phrased speeches too literally, they are likely to undergo cruel disappointments: for you, it is only a matter of living in the moment and you never commit yourself because, above all, you loathe confinement, even just its thought.
Your will and your inner motivations
Psychologically speaking, your nature is powerful and self-assured. You are a leader whose strength and nobleness naturally arouse your entourage’s respect and adherence and your legitimacy is unquestioned. Your sense of commandment, the honour your person constantly exudes, your prestige and your charisma is a whole which puts you into the spotlight wherever you go.
As you are born under this sign, you are proud, determined, wilful, loyal, solemn, generous, ambitious, courageous, heroic, full of vitality, creative, confident, seductive, happy, daring, proud, majestic, honest, magnanimous, charismatic, responsible, noble, brilliant, radiant, dramatic, affectionate, full of humour, demonstrative, swaggering and self-confident.You can also be domineering, conceited, touchy, authoritarian, stubborn, intolerant, self-centered, irascible, violent, and nonchalant.
In love, Sir, you are very demanding. You are a powerful and loyal lover. Your partner must be the most beautiful and the most brilliant person and she must make you feel that she admires you. In such a case, your generosity has no limit and you give your love without reservation, with nobleness, liberalities and luxury. You set up a stable and brilliant home where children have the essential part.
The main danger is that you value trust to the extent that you grant it generously but too hastily: if you happen to find out that your trust is misplaced, the whole world around you crumbles and the relationship is forever damaged. In this regard, you are cut-and-dried and you feel so hurt and humiliated that you seldom can forgive.
Another similar danger comes from the fact that your expectations are very high and it is very unlikely that real life offers such unconditional and lasting love: for this reason, it is not unusual that you never marry, all the more so because your self-centered character is not prone to self-questioning…
Your ability to take action
Kishore Kumar, you skilfully make use of your energy and you are like the arrow that reaches its target with great precision: with piercing eye and sharp mind, you take action meticulously and efficiently. Like the surgeon with his scalpel, you know exactly what you want and you belong to the category of specialists, not the generalists. Critical, pernickety, extremely organized, you want to foresee and to analyze. You prefer to master your business too well rather than not enough, even if you must put a huge, sustained, long lasting effort into it. Sexually, you remain fanatical about cleanliness. You may be prone to fantasies such as fetishism. Your love life is fine if you avoid the unforeseen events that you loathe.
Conclusion
This text is only an excerpt from of Kishore Kumar's portrait. We hope that it will arouse your curiosity, and that it will prompt you to deepen your knowledge of astrology, as well as to visit and use the wide range of free applications at www.astrotheme.com.
Astrological studies describe many of the character traits and they sometimes go deeper into the understanding of a personality. Please, always keep in mind that human beings are continuously evolving and that many parts of our psychological structures are likely to be expressed later, after having undergone significant life's experiences. It is advised to read a portrait with hindsight in order to appreciate its astrological content. Under this condition, you will be able to take full advantage of this type of study.
The analysis of an astrological portrait consists in understanding four types of elements which interact with one another: ten planets, twelve zodiacal signs, twelve houses, and what are called aspects between planets (the 11 aspects most commonly used are: conjunction, opposition, square, trine, sextile, quincunx, semi-sextile, sesqui-quadrate, quintile and bi-quintile. The first 5 aspects enumerated are called major aspects).
Planets represent typologies of our human psychology: sensitivity, affectivity, ability to undertake, will-power, mental process, aptitude, and taste for communication etc., all independent character facets are divided here for practical reasons. The twelve signs forming the space where planets move will "colour", so to speak, these typologies with each planet being located in its particular sign. They will then enrich the quality of these typologies, as expressed by the planets. The Zodiac is also divided into twelve astrological houses. This makes sense only if the birth time is known because within a few minutes, the twelve houses (including the 1st one, the Ascendant) change significantly. They correspond to twelve specific spheres of life: external behaviour, material, social and family life, relationship, home, love life, daily work, partnership, etc. Each planet located in any given house will then act according to the meaning of its house, and a second colouration again enriches those active forces that the planets symbolize. Finally, relations will settle among planets, creating a third structure, which completes the planets' basic meanings. A set of ancient rules, which has stood the test of experience over hundreds of years (although astrology is in evolution, only reliable elements are integrated into classical studies), are applied to organize the whole chart into a hierarchy and to allow your personality to be interpreted by texts. The planets usually analysed are the Sun, the Moon, Mercury, Venus, Jupiter, Saturn, Uranus, Neptune and Pluto, which means two luminaries (the Sun and the Moon) and 8 planets, a total of 10 planets. Additional secondary elements may be taken into account, such as asteroids Chiron, Vesta, Pallas, Ceres (especially Chiron, more well-known), the Lunar nodes, the Dark Moon or Lilith, and even other bodies: astrology is a discipline on the move. Astrological studies, including astrological portrait, compatibility of couples, predictive work, and horoscopes evolve and become more accurate or deeper, as time goes by.
Precision: concerning the horoscopes with a known time of birth, according to the Tradition, we consider that a planet near the beginning (called cuspide) of the next house (less than 2 degrees for the Ascendant and the Midheaven, and less than 1 degree for all other houses) belongs to this house: our texts and dominants take this rule into account. You can also choose not to take this shift into account in the form, and also tick the option Koch or Equal houses system instead of Placidus, the default houses system.
Warning: In order to avoid any confusion and any possible controversy, we want to draw your attention upon the fact that this sample of celebrities is very complete and therefore, it also includes undesirable people, since every category is represented: beside artists, musicians, politicians, lawyers, professional soldiers, poets, writers, singers, explorers, scientists, academics, religious figures, saints, philosophers, sages, astrologers, mediums, sportsmen, chess champions, famous victims, historical characters, members of royal families, models, painters, sculptors, and comics authors or other actual celebrities, there are also famous murderers, tyrants and dictators, serial-killers, or other characters whose image is very negative, often rightly so.
Regarding the latter, it must be remembered that even a monster or at least a person who perpetrated odious crimes, has some human qualities, often noticed by his/her close entourage: these excerpts come from computer programmes devoid of polemical intentions and may seem too soft or lenient. The positive side of each personality is deliberately stressed. Negative sides have been erased here - it is not the same in our comprehensive reports on sale - because it could hurt the families of such people. We are hoping that it will not rebound on the victims' side.
Numerology: Birth Path of Kishore Kumar
Testimonies to numerology are found in the most ancient civilizations and show that numerology pre-dates astrology. This discipline considers the name, the surname, and the date of birth, and ascribes a meaning to alphabetic letters according to the numbers which symbolise them.
The path of life, based on the date of birth, provides indications on the kind of destiny which one is meant to experience. It is one of the elements that must reckoned with, along with the expression number, the active number, the intimacy number, the achievement number, the hereditary number, the dominant numbers or the lacking numbers, or also the area of expression, etc.
Your Birth Path: 
Your Life Path is influenced by the number 6, Kishore, and indicates a destiny marked with an intense desire for love, conciliation, and harmony. You feel driven by an ideal of perfection which brings about responsible behaviour and devotion to a group, a family, or a homeland... At times, your thirst for balance prompts you to adopt intransigent, even tyrannical attitudes, which is the other side of the coin for your constant concern for equity and justice which is sometimes disappointed by the blunt reality. You undeniably demonstrate devotion to your parents or your spouse, which is a sign that your family life is harmonious. In this field, owing to your sense of duty, you are a reliable person. Your balance depends on a harmonious life and on your capacity to make the good choices. It is on these conditions that your qualities can fully bloom: creativity, altruism, personal radiance...
Kishore Kumar was born under the sign of the Snake, element Earth
Chinese astrology is brought to us as a legacy of age-old wisdom and invites us to develop an awareness of our inner potential. It is believed that the wise man is not subjected to stellar influences. However, we must gain the lucidity and the distance without which we remain locked up in an implacable destiny. According to the legend of the Circle of Animals, Buddha summoned all the animals to bid them farewell before he left our world. Only twelve species answered Buddha's call. They form the Chinese Zodiac and symbolize the twelve paths of wisdom that are still valid nowadays.
The Asian wise man considers that a path is neither good nor bad. One can and must develop one's potentialities. The first step is to thoroughly know oneself.
In China, the Snake is associated with wisdom. You belong to the category of people who would not let life ensnare them and prefer to carefully ponder over their decisions. You are stable and level-headed, you try to qualify your judgments and review problems thoroughly.
Lucidity is certainly one of your prevailing qualities and it will be difficult to take you for a ride, all the more so since you don't like situations where your feelings are manipulated! The people who would strive to thwart your plans would run the risk of a merciless retaliation. Snakes are cold-blooded: you remain in control of your actions, even and especially when you are in a difficult situation. Therefore, in case of crisis, you become a talented and particularly tenacious schemer who is to be dreaded.
You may indulge in some sort of Machiavellism, influencing in the dark your close friends' behaviour. Behind the scenes actions is your speciality. You manage to keep your distances in all circumstances, and this is probably the source of the charm that everybody agrees to credit you with.
Better than anyone else, you can get whatever you fancy, at your own pace, with your own methods. Some people consider this ability as a gift to bewitch one's entourage. In any case, it is undeniable that you have a remarkable knack for playing with your entourage's emotions and affects.
Chinese astrology has five elements, which are referred to as agents: Wood, Fire, Earth, Metal and Water.
You have a deep affinity with the agent Earth. In China, this element corresponds to the planet Saturn, the yellow colour and the number 5.
You are realistic, often cautious, and you plan your life carefully, leaving nothing to chance and handling situations pragmatically. The objectivity you display can but prevent you from being caught into traps and illusions. Therefore, you are a very reassuring person to your entourage: they readily rely on your sense of reality.
Far be it from you to take an interest in fancy projects or chimeras that appeal to a good many people! It is important that you retain only sound viewpoints and orientations, as well as elements that have proved their worth.
Of course, you still have to show a bit of fantasy: some inconsiderate risks may prove to pay off and hare-brained ideas, as trivial as may be, may bring an undeniable pleasantness into a dull and stiff routine. Then, the seriousness with which you manage your life can but bear fruit.
N. B.: when the birth time is unknown, (12:00 PM (unknown)), these portrait excerpts do not take into account the parameters derived from the time, which means, the domification (Ascendant, astrological houses, etc.). Nonetheless, these analyses remain accurate in any case. Regarding the sources of the birth data in our possession, kindly note that the pages we publish constitute a starting point for more detailed research, even though they seem useful to us. When the sources are contradictory, which occurs rarely, after having analysed them, we choose the most reliable one. Sometimes, we publish a birth date just because it is made available, but we do not claim that is it the best one, by no means.
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