RMIM Archive Article "44".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM Archives..
# Subject: NAUSHAD: Quest for Better Music Continues
#
# Efforts of: Samiuddin Mohammed (sm0e@lehigh.edu)
# Source: India Journal
#
An article on the melody king, NAUSHAD, taken from "India Jour-
nal". It delineates the tough path which the maestro had to cross
before meeting success. Traces a lot of events in Naushad's life
and his musical career. Makes an interesting reading.
*****NAUSHAD: Quest for Better Music Continues*****
Naushad Ali, the man who has given the music world hundreds of
songs to hum, celebrated his 75th birthday on Dec 25. Currently
visiting his daughters in California, he took time off to talk to
Ansuya Chhabria and reminisce about the music industry and his
life.
It all started in Lucknow in 1937. Forced to make a choice he
walked out of his parents' home in search of his destiny into the
uncertain world of Hindi film industry in Bombay. Penniless but
with his feet firmly rooted in Hindustani classical music, he
toiled to take-off and what a take-off it was! The flight that
started in 1940, with "Premnagar" took him to unparalleled
heights, where he still soars at the top after fifty years.
Naushad Ali was born in Lucknow in 1919, in an orthodox religious
minded family, which did not regard music as a respectful career.
His parents were against his learning music, which he neverth-
less did secretly associating with the "Ustads" of Lucknow. He
spent a lot of his time doing their chores and absorbing music by
just staying around them.
When his "Ustad" presented him a harmonium, his father was so
angered that he had it thrown away, and made strict rules for
Naushad: He had to be home before 9 PM everyday or else he would
not be allowed inside, and neither would he be fed. Naushad very
often would get so engrossed in his music sessions, that he spent
many nights outside his home on the patio, below the stars, on an
empty stomach. Strictures only had the reverse effect on Naushad.
He drifted more and more towards his love for music. Ultimately
the day came, when he was confronted by his father, "Either you
leave your music or this house, the choice is yours." Naushad re-
plied, "Aap ka ghar aap ko mubarak ho, mujhe mera sangeet de
deejiye."
At the tender age of seventeen, Naushad left home to go to
Ahmedabad where he stayed with some acquaintances who forced him
to go back and paid for his fare home.
Fate had other plans for him. He ultimately landed in Bombay in
1937, where his pocket was picked - he lost all the money he had!
Penniless - he slept on the pavements of Dadar, and ultimately
got to know of a family friend - Prof. Nami, who gave him
shelter. Naushad had his dinner with their family, but had not
money. So he walked from Colaba to Dadar each morning in search
of a job at the studios, and wearily walked back every day - a
distance of more than 20 km. Not once did he mention to Prof.
Nami or his family about his dire economic condition.
A month or so later, a money order of Rs. 15 came in his name
from a friend and he had to spill the beans - that he was abso-
lutely penniless. Prof. Nami was shocked and inquired "How long
have you been doing this ? Why didn't you aske me for some money-
if you needed some. What will your friend and family think, that
I am so inconsiderate." At this, Naushad replied "No Sir, you
have showered me with your obligations. I do not want to lower
myself in your eyes by asking you for money."
Naushad cherishes fond memories of Prof. Nami and the tremendous
help and encouragement he provided at a crucial juncture.
It was a long arduous struggle. He got odd jobs at the studios,
moved to Dadar into a small single room with some friends oppo-
site Broadway and when the Bombay humidity and heat go too much,
which was almost 10 months of the year, he and his friends came
out and slept on the pavement to get fresh air and watch the
crowds at Broadway theater. Below the starry nights, many times
he prayed to Allah for strength to carry on and hoped that the
darkness in his life would be replaced by the lights that shone
across the street.
Things gradually got better. He got his first steady job at Rs.
40 a month in a studio in Chembur. Chembur was a large under-
developed swampy area with no amenities at the time. He used to
carry plain bread with him for lunch and survive through the day,
walking from Kurla station to Chembur and back. He worked long
hours and studied under prominent musicians like Mushtaq Hussain,
Ustad Jhande Khan, Khemchand Praksash and sharpened his skills.
Lady luck finally smiled upon him. In 1940, he got his first in-
dependent assignment for "Premnagar" at Rs. 300 a month, produced
by Mohan Bhavnani who gave him a break, with D.N. Madhok's refer-
ence whom he regards as his mentor. He then joined Prakash Films
on a full time basis and then went to Kardar productions where he
directed music for "Nai Duniya" which was highly successful and
was subsequently followed by films like "Sharda", "Diwana", "Du-
lari", etc. His career improved continuously and he was highly
successful and respected in the industry but his priority was
never money, he always believed in making music which the public
appreciated.
At this juncture the film industry was getting the first influ-
ence of western instruments, introduced by Pankaj Mullick, R.C.
Bohra and Biswas. On the other hand, Sharadchandra's novel "Dev-
das" was picturized with a powerful emotional performance by K.
Saigal. The impact of this movie with its social theme, and melo-
dious classical music created a wave so great that it set a trend
of music dominated films, the time when Ravindra Sangeet was at
its peak and it signified the essence of all music. Then came a
change with "Pancholi" with its fast paced folk music from Pun-
jab, which took the film industry by storm. In this context
Naushad introduced the "Dholak" in the famous moive "Ratan" from
Uttar Pradesh's folk music which he had grown up with. It was an
overnight success, and he was acclaimed and honoured form his
novel ideas in the industry and by the government.
On the family front, things had smoothened out, and his parents
had arranged his marriage. When he reached Lucknow to marry the
girl his mother had chosen and whom he had never seen, his mother
cautioned him about his profession, and advised him not to men-
tion it in front of his "in laws" who were told that he was a
professional tailor, as they too looked down upon a music career.
Naushad chuckles at the memory of his sitting on the traditional
Ghodi, dressed up as a groom, the bands playing all the tunes he
had composed, as they were the superhit songs of the times. His
father-in-law was annoyed at the bandplayers for playing trashy
film music and asked them to stop, since it was a tradition to
play pure classical shehnai for auspicious occasions. Little did
he know that his to be son-in-law was the composer of what he
called trash, but which was acclaimed all over India by the
masses.
After marriage things worked out fine with wife Aliya Khatoon who
supported him 100% and was always a pillar of strength. They were
blessed with ten children, six girls and four boys, whom she
brought up and left him free of deomestic responsibilities and
allowing him to concentrate on music career. He even confessed
that he called his children by their pet names and had to think
twice to remember their real names.
So oblivious was he as what was happening around him that he
remembers once when he was in the midst of some composition and
som some water drops fell on him and his group. He looked up to
see plastering and paint workers doing his home. His wife was
managing the show, handling the contractors, overseeing the job
done with an umbrella in her hand bearing the summer heat. He was
unaware of everything composing music for the epic movie "Baiju
Bawra" which went on to make waves.
At the jubilee function when he stood and looked across the
street, there were tears in his eyes. When everyone inquired
about it, he commented, "I just was down memory lane. It has been
a long time - 16 years to cross the distance from that pavement
to this pavement of the road". Life had brought him to a juncture
from the pavement to his own home "Aashiana". From then on there
was no looking back, Naushad has moved from popularity to being a
legend today!
Naushad has always given classical music its due place and has
created his own style of melodious memorable music. He is normal-
ly lost in his own thoughts while creating a song or tune and for
days together he would think about it even while eating, walking
and sleeping. Many of his memorable songs have been inspirations
in his dreams like "Dharti ko aakaash pukare...aana hi hoga". He
attributes this to the grace of God who has gifted him with this
unique talent. He is religious and this gets reflected in his
music which is warm and heart touching.
His feeling about the trend in the film industry are mixed. He
regrets that movies today no longer convey a message of love,
respect, tolerance and peace for which India has been famous. In-
dia is the only country in the world which has sheltered and em-
braced religions from all over the world. He regrets to see that
thsi same India has been continuously broken and divided on the
basis of religion.
Today the film industry is dictated by whims and fancies fo
stars, unlike yesteryears when the story was the focus around
which everything revolved. The music and songs were created as
per the scene and story. Today mass production, deadlines and
star dates have sucked out the creativity of the industry.
Still there is hope he says. There is a massive womens movement
and mass social movement to ban vulagarity and violence in films.
The government has taken a stand to enforce stiff regulations for
censorship. The present censorship board consists of fifty per-
cent women. Naushad has always taken an active stand for al these
moves and hopes for a clean entertainment. He proved his point
with "Pajeeza" (Pakeezah ??) where a social theme, melodious
music and a clean movie created historical records both on artis-
tic and box office fronts.
Today Naushad is selective about his work, he produced and com-
posed for the historical T.V. serial "Tipu Sultan". Last year he
produced a clean love story "Teri Payal Mere Geet" which is based
on classical Indian music and has received various music awards.
His present project is "Guddu", a modern cotemporary story. He is
presently working ont he TV serial "Akbar the Great" for which 14
episodes are already telecast. His dream project if "Taansen" a
TV serial he has proposed to Doordarshan and is awaiting appro-
val. "Taansen" is the story about the magic of music, how Taansen
and Swami Haridas created music which could work wonders - light
up candles, bring rains, cure the sick, spiritually lift up peo-
ple and bring goodwill.
Music, the universal language has always been artistically
developed in India he says. "Today there are no more artists who
can play the Jaltarang, Tarshenai, Tablatarang, Sarod, Naraka,
Ishraaj, Sajanda and other traditional instruments. Unless we
support these artists and encourage them, we will only be able to
see these instruments in museums", he added.
His advice to Indians, especially the young generation is "Be
proud to be Indians, don't ape the west blindly and don't feel
inferior to anybody. India is a great country with traditions and
cultures the world has aspired for, the need today is to keep our
traditions and cultures alive."
When questioned about his most challenging, memorable song, he
replied, "I am still to write that, I am searching for the song I
will call memorable!" And so the Great Quest continues....
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From the RMIM Article Archive maintained by Satish Subramanian