“Tere Jaisa Yaar Kahan”
Tere jaisa yaar kahan
Kahan aisa yaarana
Yaad karegi duniya
Tera mera afsana
Tere jaisa yaar kahan
Kahan aisa yaarana
Yaad karegi duniya
Tera mera afsana
Meri zindagi sawaari
Mujhko gale lagake
Baitha diya falak pe
Mujhe khaat se oothake
Meri zindagi sawaari
Mujhko gale lagake
Baitha diya falak pe
Mujhe khaat se oothake
Yaara teri yaari ko
Maine to khuda mana
Yaad karegi duniya
Tera mera afsana
Mere dil ki yeh dua hai
Kabhi door tu na jaaye
Tere bina ho jeena
Woh din kabhi na aaye
Mere dil ki yeh dua hai
Kabhi door tu na jaaye
Tere bina ho jeena
Woh din kabhi na aaye
Tere sung jeena yahan
Tere sung mar jaana
Yaad karegi duniya
Tera mera afsana
Tere jaisa yaar kahan
Kahan aisa yaarana
Yaad karegi duniya
Tera mera afsana
Tere jaisa yaar kahan
Kahan aisa yaarana.
About Kishore Kumar
Known by his original name Abhas Kumar Ganguly, Kishore Kumar is an Indian actor, playback singer, composer, and director, who was born in Khandwa, British India on August 4, 1929; he died on October 13, 1987, Bombay [now Mumbai], Mumbai. He is known for his comic roles in Indian films from the 1950s, as well as his expressive and versatile singing voice that he lent to many of the country’s best screen actors throughout a career that spanned nearly four decades, he had a career that spanned nearly four decades.
Early Years of Life and Career
In his early years, Kumar belonged to a Bengali professional family that had settled in the current state of Madhya Pradesh in the west-central region of India, as the youngest of five children. During his adolescence, he got a job as an occasional chorus singer at Mumbai’s Bombay Talkies film studio, where his elder brother Ashok Kumar was the reigning star at the time, the place he loved more than anything else. It was in 1946, however, that he made his acting debut in the nondescript film Shikari, which had a brief starring role to play but a great deal of heart for him. Ultimately, it was the 1951 release of the film Andolan that propelled him to stardom as a singer and actor, breaking free from the shadow cast by his brother Ashok and finally achieving the stardom he so deserved.
As a young actor who appeared primarily in comedies, Kumar developed a flair for funny roles as well as a talent for singing during his early years of being a celebrity. A young man desperately seeking a job to support his family played the part of the unemployed tormented young man in a film by Bimal Roy called Naukri (1954) and a film by Hrishikesh Mukherjee titled Musafir (1957) directed by Mukherjee. With his film New Delhi (1956), Kumar reached his peak as a comic actor. In the film, he played a North Indian Punjabi who posed as a Tamil, in order to be able to rent a room in New Delhi. Likewise, he played a young girl who is pretending to be a young girl so that she can go to a dance class in New Delhi. In the self-produced film Chalti ka naam gaadi (1958; “That Which Runs Is a Car”), which featured three brothers – Anoop Kumar, Kishore Kumar and Akshik Kumar – in the roles of three brothers whose lives are disrupted by two women who threaten to threaten the three brothers’ vows of bachelorhood.
In the Indian film industry in terms of playback singers, Kumar’s rise to the top of the field was an amazing achievement. It is important to note that in contrast to his colleagues who were trained in Indian classical music, Kumar was not given any formal music training. It is nonetheless true that he was a skilled imitator, interpreter, and innovator of a number of works. It was particularly enlivened by upbeat rhythms and timbral effects, such as yodeling, that he used in his vocalizations and experiments with electric organs and other atypical instruments in his accompaniments in order to enhance the melodic content. In the end, these features and the songs themselves imparted an appealing sense of modernity to the overall sound of Kumar’s music.
Along with acting and singing, Kumar composed the music for several Indian films he was involved in. The director also has directed various productions, including Door gagan ki chhaon mein (1964) and Door ka rahi (1971) to his credit. Unlike the lighthearted films in which he was usually an actor, singer, or composer, Kumar’s films were often tragedies, in contrast to those in which he participated as an actor, singer, or composer.