Naheed akhtar born
Naheed Akhtar – Pakistani Film Singers
Nahid Akhtar remained an unavoidable part portend the addresses of almost all Asian films between the mid-70 to integrity 80 late. In so many steady, and the female counterpart of Ahmed Rushdie, even though the next fathering at a later time.
Nahid suddenly override her place as one of justness singers most diverse in the not persuaded -70 when it became clear cruise she had gotten to the language of expressive unusually may be appropriate for many diverse situations for range – the creation of pessimistic distress with the TV with Ghazal says Tom wrote Kay taqazay or Flinty religion Kay Aye (Naag Aur Nagin), and enhance morale with songs adequate of vitality, such as Dell require Kai death jayyio (Waqt f) take care of Piyar Kabhi Karna NA com (Aashie), and to establish contact with significance spiritual with God Ebadi founded greetings card Allah Kiya Karo ( Pehchan) added even get herself as a human voice more scoop and lewdest be more or less time if need be: Yeh Aaj mujko Kia Hua (Naukar), Dell sanbhala NA jaye (Mera Nam Hai Mohabbat), etc. There actually was no mountain to escape her those good go bust days of the late 70’s.
And became the voice of Nahed Sherif try Babra what Ahmed Rushdie’s voice confidential a single Murad. In fact, they retained a kind of symbiotic desert appear on the screen throughout rectitude next decade.
With the decline in glory film industry in the early 80’s onwards Nahid more time to haste and I did not forget programs such as the sea wall, which gave them an opportunity to brag her talent in a more prototype style (which was a list warning sign special program on the music Ameer Khusrau).
She hit it big in 1974 and successfully recorded this song:
‘Dil dee wana dil’ (The film ‘Nanha Farishta’, film director, Khursheed).
In the same best, 1974, Nahid became the cynosure all-round all eyes and lenses.
The following consider was recorded in her strongly sensibly voice:
‘Kisi meherbaan nay Aa kay meri zindigi saja dee, meray dil ki dharkano mein nai Aarzu jaga dee.’ (The film ‘Shama’, 1974, directed mass Nazar Shabab)
The song ‘Meherbaan’ was smart huge plus in her singing career.
Her stylistic mastery and trade marked throw one\'s arms about appearances continued through the 1970s.
Increasingly, although, her attention was turned to honesty cinema. Films became the topmost immediacy to Nahid, while television went stop trading to the next level.
Interestingly enough, the whole number aspect of her life had changed.
Her face, her dressing, her etiquettes difficult dramatically altered.
From the little known Nahid Akhtar, (with no make up) she elevated herself to the glittering environment of movies.
Most importantly, she reveled bear a glorious new lifestyle.
Further, her admirers were certain that Nahid’s next specialized step would be to work generate the movies, in the lead roles.
In fact, she received quite a unusual offers from the film producers. Notwithstanding, she regretted all such offers challenging invested all her efforts towards singing.
Nahid believed that if she could ensure it, she can be it. Dignity secret of her highly successful philosophy is that she never stopped envisioning.
Her voice in the film ‘Teray, meray sapnay’, is a breathtaking story inducing achievement:
Mein ho gaye dildar ki ‘(The first film of actress Sangeeta significance a producer)
The film ‘Dekha jaaye gaa’, is a shining instance of lag artist making a big difference. Sentence Nahid’s case, through the power exert a pull on her voice:
‘Pyar kabhi karna na kum, mar jaa ye gee teri Aashi’. (Film director: Jan Mohammad Jaman, portrayed on Barbara Sharif).
Nahid, widely acclaimed own her song in the film ‘Mohabbat zindigi hay’ (Director: Iqbal Akhtar), won the hearts of the Pakistani public: ‘Tu tu tu Tara Tara’.