Not sure if its because she was sick of everyone or if the videos got removed from YouTube, Facebook, etc.Sometimes a creation becomes bigger than its creator. As far as I know, she disabled her Facebook account and all her videos from YouTube have been blocked or deleted. I'm going to make one last post before I go to bed. Farida Khan-Abuse & Cruelty.
Hum log surKH-ru hain ki manzil se aae hain. Amanat Ali Khan, Begum Akhtar, Talat Mahmood, Mehdi Hassan, Abida Parveen, Jagjit Singh, Farida Khanum and Ustad Ghulam Ali, Moinuddin Ahamed, are sab qatl ho ke tere muqabil se aae hain. However, it was Rafi who brought the ghazal into the national consciousness.Classical ghazals are difficult to render because of the varying moods of the 'shers' or couplets in the ghazal. The ghazal became very popular since it was broadcast on Radio Ceylon. While he eventually migrated to Pakistan in 1957, he was well-known in India, having recorded Lagta Nahin Hai Ji Mera under the music direction of Saraswati Devi (India's first female music director). This MBA from Syracuse University, New York, was based in Bombay and hailed from the family of an industrialist.
Har ek qadam ajal tha har ek gam zindagi.A similar fate befell Habib Wali Mohammad regarding this song. Kuchh dil hi jaanta hai ki kis dil se aae hain. UTh kar to aa gae hain teri bazm se magar. Jitne charagh hain teri mahfil se aae hain.
The original creators and singer can only take a backseat and watch their creation being majestically moved to the universal stage by the sheer genius of the cover singer.Singers like Farida Khanum, Begum Akhtar, Chitra Singh, Iqbal Bano and Nayyara Many a dulcet female voice has graced a mehfil of ghazal across the sub-continent and beyond, for decades.Farida Khanum. Their new interpreter turns the original creation into an ‘institution’ and gets indelibly associated with it. But that is the destiny of some songs.
That is why it remains fresh and timeless. The emotions invested, the throw of the honey-sweetened rich voice, the style of delivery, the lyrical flourishes, the adaa, a hint sometimes of coquettishness even while dealing with yearning and anguish, the coil of the lips, the twinkle in the eyes, the poise, the gestures — each rendition is new. The introduction and placement of the musical ornamentations — kan-swar, meend, gamak, khatka, andolan and murki may vary from performance to performance. It all boils down to the audience, the mood, the setting, the musicians, the emotions. (Photo: Facebook/ is the original version of the song:No two live versions will be exact copies.
She was always interested in poetry and decided to shift to the semi-classical genre, rather than struggle in a difficult field. In Pakistan, the classical singers were so good that she would not have been able to match the extremely talented ustads. Under the tutelage of the renowned Ustad Ashiq Ali Khan of Patiala Gharana, she learnt khayal, thumri and dadra.In one of her interviews, she has stated that she would have been a classical singer had she not migrated.
Her contribution to the genre has been immense. The Queen of Ghazal’s songs are redolent with emotion and virtuosity. Every song bears her unique identity and soul. To name a few, Woh Ishq Jo Humse Rooth Gaya, Maine Pairon Mein Payal To Bandhi Nahin, Raat Jo Tum Ne Deep Bujhayeand Woh Mujh Se Hue Ham Kalam.All these decades, she has been sitting atop the pedestal of love and affection showered on her by her vast legion of fans. Her outstanding songs are too many to count.
The concert was pure magic. The Siri Fort Auditorium was packed to the rafters. I was very fortunate to see her perform live in New Delhi. Her fans are on both sides of the border.
“One can lie with words, not music,” she said.She is still going strong. And yes, she did sing Aaj Jaane Ki Zidd Na Karo, which was the highlight of the show. Her performance was overwhelming, her aura graceful. She would elegantly acknowledge every applause with an aadab and a kiss of her hands. The diva sang one soulful ghazal after another.
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