Haqeeqat (lit. Reality) is a 1964 Indian Hindi-language war-drama film directed and produced by Chetan Anand. The film stars Dharmendra, Balraj Sahni, Priya Rajvansh, Sudhir, Sanjay Khan and Vijay Anand in major roles. The music of the film is composed by Madan Mohan and the lyrics of the songs are by Kaifi Azmi. The film is based on the events of the 1962 Sino-Indian War about a small platoon of soldiers in Ladakh pitched against a much larger adversary. The film was constructed around the battle of Rezang La in Ladakh and showcases a fictionalised version of the last stand of Ahir Company, 13 Kumaon led by Major Shaitan Singh. However the film is not only a representation of war, but a dramatic retelling of the impact war has on the common soldier. Chetan Anand dedicated the film to Jawaharlal Nehru and the soldiers in Ladakh. The film is widely considered one of India's greatest black and white war-films.
The music of this film has several notable songs. The music is composed by Madan Mohan and all of the songs are written by Kaifi Azmi.[20] In a 2012 interview with Namrata Joshi for Outlook magazine, composer Madan Mohan's son Sanjeev Kohli recalls that Chetan Anand had given the music director a brief which went something like, "Indeed at the back of the mind was the lost war, but the anguish and suffering of the armed forces and the nation was all pervading. Thus, the music had to be pathos-laden, with an air of despondency. But at the end, it needed to celebrate the contribution of those that laid down their lives."[20][21]
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Border was Dutta's dream project. He had begun working on the film's script in September 1995 and completed it by April 1996. The film was mostly shot in Bikaner, Rajasthan. Some parts were also filmed in Jodhpur.[3] One of the film's songs, "Sandese Aate Hai", sung by Sonu Nigam and Roop Kumar Rathod, became one of the most popular Hindi songs. The popularity of the song led several directors to offer Nigam for singing in their film's songs. Javed Akhtar wrote the lyrics of the songs while Anu Malik composed them. The song "Mere Dushman Mere Bhai" was sung by Hariharan.[4]
The music of the movie was composed by Anu Malik, while the lyrics were penned by Javed Akhtar. Songs like "Toh Chalun", "Sandese Aate Hai", "Mere Dushman, Mere Bhai" and "Hamein Jab Se Mohabbat" became memorable.[9] To this day, the songs of the film are not only popular in India, but also in Pakistan.[10] Javed Akhtar won Filmfare Award for Best Lyricist, while Anu Malik was nominated for the Filmfare award for his work in composing the music of this movie.
Here are 25 recent hand drawn music lyrics that I've created. As I move passed day 150 of this year long challenge, I've realized there is an ebb and flow to it all, weekly peaks and valleys, days that feel like a grind while some that are filled with inspiration. I Hope a few of these strike a chord with you! (pun intended) See gallery here.
"Mothra's Song" ( or [2], Mosura no Uta) is a song composed by Yuji Koseki for the 1961 Toho film Mothra. It was initially performed by the musical duo The Peanuts, comprised of sisters Emi and Yumi Ito, who portrayed the Shobijin in the film. The Peanuts reprised the role in Mothra vs. Godzilla, in which they also performed the song. The song was later performed by Sayaka Osawa and Keiko Imamura in Godzilla vs. Mothra, Megumi Kobayashi and Sayaka Yamaguchi in Rebirth of Mothra, Rebirth of Mothra 2, and along with Misato Tate in Rebirth of Mothra 3, and Chihiro Otsuka and Masami Nagasawa in Godzilla: Tokyo SOS. The song is also included in the soundtrack for Godzilla: King of the Monsters, with a choir version that was excluded from the film. A different version of Mothra's song was composed by Masaru Sato for the 1966 film Ebirah, Horror of the Deep, and performed by Pair Bambi. A spin on "Mothra's Song" entitled "Fly On, Mothra" was also recorded by Sachiko Matsumura in 1971. Though numerous songs have been performed by the Shobijin in Mothra's films over the years, none are as recurring as "Mothra's Song," which is typically sung in order to summon Mothra to the fairies' aid.
If your songs are published through Universal Music Publishing Group (UMPG), or you otherwise believe you are owed Royalties from UMPG, you may visit UMPG Window to view your royalties. If you have questions you can leave a message with the UMPG Royalty Customer Service Line (1-888-474-4979) or contact UMPG by email at umpg.royalty@umusic.com. Please include your full name and phone number in your message. For additional information you may also visit the For UMG Artists section on this website.
Music in the movies is an essential element of thefilmmaking process and is one of the main factors thathelps to determine box office success or failure. Thinkof a motion picture without music - whether it's anorchestral or synthesizer score, a brand new hit songor a long time standard - and you'll begin to realizethe value and contribution of music and lyrics to film.And whether you're a producer, a director, an agent,a composer, a songwriter, a studio executive, a musicsupervisor, a business affairs executive, or anyoneinvolved in film, or who wants to get involved.
Motion picture music falls into three basic categories:underscore (James Horner's score to Titanic,John Williams' score to E.T.,or Randy Newman'sscore to Toy Story 2); the pre-existing songor song and original master recording (Bruce Springsteen's"Hungry Heart" for The Perfect Storm,Steve Miller's "Fly Like An Eagle" for SpaceJam, the Guess Who's "American Woman"in American Beauty); and the song written specificallyfor the film (Diane Warren's "I Don't Want To MissA Thing" for Armageddon, Phil Collins' "You'llBe In My Heart" for Tarzan and Harold Arlen'sand E.Y. Harburg's "Over The Rainbow" forThe Wizard Of Oz.)
Each of these three distinct types of music in filminvolve very different negotiations, contracts and considerationsand produce very different backend royalties once thefilm is released.
Most successful motion pictures use hit songs to createa period flavor, establish a mood, give an actor a chanceto sing, make people laugh, make people cry, elicitemotions, and create interest in the movie through successfulsoundtrack albums and hit singles. A film producer whowants to use an existing song in a motion picture mustsecure the permission of the music publisher to usethe composition in the film. Once an agreement is reachedas to a fee, the producer will sign what is known asa synchronization or broad rights license, which willgive the studio the right to distribute the film theatrically,sell it to television, use the song in motion picturetheater trailers or television and radio promos, andsell videos. The synchronization fee received by themusic publisher is shared by contract with the songwriter.
When the call comes in from the music supervisor ofa motion picture, there are a number of factors thatmust be considered in determining how much to chargefor the inclusion of a song in a film, including:
The synchronization fees charged by music publishersfor major studio films are usually between $15,000 and$60,000 (with the majority ranging from $20,000 to $45,000)but can be lower if the music budget is small or higherif the song is used several times in the motion picture,if the use is under the opening or closing credits,if the song is a major hit, or if it is vital to theplot or particular scene of the motion picture. Thereare no hard and fast rules in this area as the feesare negotiated in the context of each individual film;the same song may be licensed at very different ratesfor different projects (i.e. major studio release, independentfilm, foreign film, film festival license only, webproduction, or student film).
It should also be mentioned that record companies normallycharge between $15,000 and $70,000 for the use of existingmaster recordings in a major studio film but, dependingon the stature of the artist, the length of the use,the music budget and how the recording is being used,these fees can be greater or less.
Because the songs used over the opening credits ofa motion picture many times reflect the theme or ambianceof the film, they are many times more important to thefilm than other songs used for background. The sameis often true for use of a song over the end credits,although it is becoming more common for many songs tobe run during the closing credits in order to completethe requirements for a soundtrack album. The fees chargedby publishers are almost always higher than other usesof music in a film and usually range from between $30,000to $65,000 for synchronization and video rights, buteach negotiation and final price depends upon many ofthe factors mentioned earlier (i.e. budget of the film,music budget, importance of the song, whether thereare replacement songs available, etc.). If the titleof one of these opening credit songs is also used asthe title of the film (but the film's plot is not basedon the story line of the song) the fees are increasedfurther (i.e. from $75,000 to over $500,000).
As previously indicated, the synchronization licenseusually grants the producer the right to use all musicin the film in theatrical trailers (previews of upcomingfilms which are shown in movie theaters) as well asin television and radio promos. An extra fee is chargedfor promos which use the song out of context (i.e. whenthe song is used throughout the entire commercial overmany scenes, as opposed to just in the scene in whichit actually occurs).
On occasion, producers of documentaries, lower budgetfilms or films which have substantially exceeded theirproduction budgets at the time music is being selectedwill ask a publisher to reduce its up-front synch feefor a song and, in return, guarantee an additional paymentor payments at some time in the future if the motionpicture turns a profit or exceeds certain agreed-upongross or net dollar plateaus. 17dc91bb1f
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