Sujata Dev, an entrepreneur with a background in Mathematics, Statistics and Economics, and over 20 years’ experience in the Media and Entertainment industry, started the first IPTV venture in India. A speaker at several seminars and forums on M&E, Telecom and Economics worldwide, her research and white papers on the convergence of Telecom and Entertainment have been widely appreciated across Asia, Europe and USA. In 2009, she represented India at Asia Women’s Business and Economic Conference, Tokyo. A recipient of the Global Indian Achiever’s Award, in 2011, she is also Managing Director, Third Generation Mobile Pvt. Ltd., Co-chairperson, National Committee of M&E, ASSOCHAM, Founder Member & Senior Vice President, Indian Broadband Forum, member of Executive Council, International Chamber of Commerce (ICC) & Society Member of the Governing body, IIM, Shillong. Passionate about music—Indian and Western—Sujata has been a fan of Mohammed Rafi since her childhood. This book is her tribute to the legendary playback singer whose songs have marked our growing-up years. Talking Points Authorized biography of legendary singer Mohammed Rafi Foreword by Dilip Kumar Rare insight into the subject’s life and his music Several contemporaries speak on the legend Photographs from the subject’s personal archives Free documentary film with close to 50 people including composers, lyricist, actors, singers and contemporaries speaking on Rafi Worldwide readership/market Cinema buffs, music lovers and teachers, composers, singers, music conductors, lyricists, film historians, students, special-edition collectors, libraries, museums, cultural and educational institutions, general-trade readers.

A collection of articles and memoirs from those who loved the legendary Hindi playback singer Mohammed Rafi

India is the largest film producing country in the world and its output has a global reach. After years of marginalisation by academics in the Western world, Indian cinemas have moved from the periphery to the centre of the world cinema in a comparatively short space of time. Bringing together contributions from leading scholars in the field, this Handbook looks at the complex reasons for this remarkable journey. Combining a historical and thematic approach, the Handbook discusses how Indian cinemas need to be understood in their historical unfolding as well as their complex relationships to social, economic, cultural, political, ideological, aesthetic, technical and institutional discourses. The thematic section provides an up-to-date critical narrative on diverse topics such as audience, censorship, film distribution, film industry, diaspora, sexuality, film music and nationalism. The Handbook provides a comprehensive and cutting edge survey of Indian cinemas, discussing Popular, Parallel/New Wave and Regional cinemas as well as the spectacular rise of Bollywood. It is an invaluable resource for students and academics of South Asian Studies, Film Studies and Cultural Studies.

Looks at the role of love in 1950s Bombay cinema in terms of its cultural function and its social significance.

The seven letters in Naushad’s name are like the seven notes of Hindustani classical music. After just a few years in films, Naushad (1919-2006) went to rule the Hindi cinema music world for around two decades, beginning with the landmark Rattan (1944). His oeuvre (from 1940 to 2005) consists of an unmatched list of jubilees, many of which are musical milestones such as Andaz (1949), Baiju Bawra (1952), Mother India (1957) and Mughal-e-Azam (1960). No individual stays supreme without putting in tremendous efforts to reach the pinnacle and to stay there as long as possible, as our maestro did. And no composer probably moved so cleverly, behind the scenes, than did Naushad to sustain his hold on the public imagination. Although we continue to marvel at the incredible variety of his mellifluous creations that have withstood the test of time, how little most of us know about Naushad the man. Renowned song historian Raju Bharatan fleshes out the real Naushad – his triumphs and tragedies – bringing into play more than 50 years of personal interaction with the tuneful titan. In the process, the author makes the book more sparking with a string of anecdotal gems. For instance: • How Naushad and his contemporaries despite their professed bonhomie, were fiercely competitive (both musically and monetarily) in their attempts to occupy the ‘top spot’. • How many days of rehearsal were needed for some of the Baiju Bawara masterpieces? • How the immortal compositions of Mughal-e-Azam were recorded in a studio no better than a tin shed. This volume also throws new light on the relations and interactions between Naushad and his singers (especially Suraiya, Mohammed Rafi, Lata Mangeshkar, Asha Bhosle and Shamshad Begum); his songwriters (mainly D.N Madhok, Shakeel Badayuni and Majrooh Sultanpuri); and his ‘unsung’ instrumentalists (some of whom were geniuses in their own right).

My Daddyji: Security Chief to India’s Nehru, by Rajshree Puri, presents simultaneously an intimate inside view for the reader of a particular time in the historical context of a country and a vulnerable era in the coming of age of a young girl. In the layers between the public and the private, the reader also gains an understanding of the rich heritage of family, culture, and personal faith of India. Through the eyes of the narrator, we follow the story of volatile political events while sensing, at the same time, a concern for the beloved father who must keep his country and his family safe from ensuing turbulence. When events turn to tragedy and loss, we witness the resilience and strength of the one who has become our heroine and see rising in her those qualities of power and tenderness we noted in her father. She becomes his legacy, and her story about him ensures the enduring essence of his