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"Prabodh Chandra Dey (1 May 1919 − 24 October 2013), known by his stage name Manna Dey, was an internationally acclaimed Indian playback singer, music director, musician and Indian classical vocalist. As an classical vocalist, he was belonged from Bhendibazaar gharana. He was trained under Ustad Aman Khan.He is considered one of the most versatile and celebrated vocalists of the Hindi film industry. He was one of the playback singers credited with the success of Indian classical music in Hindi commercial movies. He debuted in the film Tamanna in 1942. After the song "Upar Gagan Bishal" composed by S D Burman he saw success and went on to record more than 4,000 songs till 2013. The Government of India honoured him with the Padma Shri in 1971, the Padma Bhushan in 2005, Padma Vibhusan in 2012 and the Dadasaheb Phalke Award in 2007.Manna Dey: Manna Dey archive in a shambles Kolkata News – The Times of India . The Times of India. (25 October 2016). Retrieved 6 November 2018. Dey sang in all the major regional Indian languages, though primarily in Bengali and Hindi Dey also sang in Bhojpuri, Magadhi, Maithili, Punjabi, Assamese, Odia, Konkani, Sindhi, Gujarati, Marathi, Kannada, Malayalam, and Nepali. His peak period in Hindi playback singing was from 1953 to 1976. His singing was simple and always had a classical touch. Kishore Kumar with his versatile singing according to mood overshadowed him in 70s and 80s. Finally he had to withdraw singing Hindi songs because of inability to improvise as per changing trends in Bollywood. Early life Dey was born in a Bengali family to Mahamaya and Purna Chandra Dey on 1 May 1919 in Calcutta (Now Kolkata). Besides his parents, his youngest paternal uncle, Sangeetacharya Krishna Chandra Dey highly inspired and influenced him. He received his early education at Indu Babur Pathshala, a small pre-primary school. He started doing stage shows in school from 1929. He attended Scottish Church Collegiate School and Scottish Church College.Some Alumni of Scottish Church College in 175th Year Commemoration Volume. Scottish Church College, April 2008. page 589 He participated in sports events like wrestling and boxing in his college days, taking training from Gobar Guha. He graduated from Vidyasagar College. Dey began taking music lessons from Krishna Chandra Dey and Ustad Dabir Khan. During this period, he stood first for three consecutive years in three different categories of inter-collegiate singing competitions. Career =Early career (1942–1953)= In 1942, Dey accompanied Krishna Chandra Dey on a visit to Bombay. There he started working as an assistant music director first under Krishna Chandra Dey, and then under Sachin Dev Burman. Later, he assisted other music composers and then started to work independently. While working independently as a music director for various Hindi movies, Manna Dey continued to take musical lessons in Hindustani classical music from Ustad Aman Ali Khan and Ustad Abdul Rahman Khan. Dey started his career in playback singing with the movie Tamanna, in 1942. The musical score was by Krishna Chandra Dey and Manna sang a duet named "Jago Aayee Usha Ponchi Boley Jago" with Suraiya which was an instant hit. But it was only in 1943 that he got his first solo break with Ram Rajya. Incidentally, the producer of the film Vijay Bhatt and its composer Shankar Rao Vyas had approached K C Dey with an offer for playback in the film. When K C Dey refused the offer on the grounds that he would not lend his voice to other actors, they spotted Manna Dey sitting in the corner of the room and offered him the opportunity. Shankar Rao Vyas taught Manna Dey the songs and he chose to sing them in his uncle's distinct style. And thus started the illustrious career with the first song "Gayi tu gayi Seeta sati"(Ram Rajya, 1943). His songs like "O Prem Diwani Sambhal Ke Chalna" from 1944 film Kadambari composed by Anil Biswas, "Dil Churaney Ki Liye from Dur Chaley" (1946) composed by Jafar Khurshid, his duets with Amira Bahee like "E Diniya Jara Suney" from Kamala (1946) and duet song "Aaj Bor Aayee" with Meena Kapoor from 1947 film Chaltey Chaltey became chartbusters in respective years. Between 1945 and 1947 many Manna Dey-Rajkumari duets like "Hay Gagan Me Badal Tharey" in 1945 for the film Vikaramaditya, "Aowji Morey" from Insaaf (1946), all 4 duets from the film Geet Govind composed by Pandit Indra – "Kit Ho Nando Kumar", "Chorr Sakhi Aaj Laj", "Apney Hi Rang", "Lalit Labang Lata" from Geet Govind became popular. He sang for first time songs composed by Sachin Dev Burman, Upar Gagan Vishal and Duniya Ke Logo in the 1950 movie Mashal, which became popular and from here his association with S.D.Burman began. Its lyrics were written by Kavi Pradeep. In 1952, Dey sang for a Bengali and a Marathi movie with the same name and storyline, Amar Bhupali. This established him as a leading playback singer in Bengali films and Marathi films as well by 1953. In the post independence period, after 1947, Manna Dey was regularly used by music composers Anil Biswas, Shankar Rao Vyas, S.K.Pal, S.D.Burman, Khem Chand Prakash, Mohd.Safi from 1947 to 1957. Dey-Anil Biswas combination gave hit numbers from films like Gajre (1948), Hum Bhi Insaan Hai (1948), Do Sitaare (1951), Hamdard (1953), Mahatma Kabir (1954),Jasoos (1957) and Pardesi (1957). Though Anil Biswas worked with Dey in very few films, their songs remain famous. He recorded his first duet with Shamshad Begum, who was the Hindi female singer most in demand from 1940 to 1961, "Phoolon Ka Swapna" in the films Girls School (1949) composed by S.K.Pal. His first duet with the then upcoming singer Lata Mangeshkar was "Lapat Ke Pot Pahaney Bikral" composed by Vasant Desai for Narsingh Avtar (1949), and with Kishore Kumar it was "Subaho Ki Paheli Kiran" from 1951 film Anadolan composed by Pannalal Ghosh. His first duet with Geeta Dutt was "Dhonyo Dhonyo He Ayodh Puri" from the film Ram Vivah (1949) composed by Shankar Rao Vyas, first duet with Umadevi (Tun Tun) was "Hay Ye Hain" from Jangal Ka Jaanwar (1951) composed by Ghantshala. His first duet with the then struggling singer Asha Bhosle was "O Raat Gayee Fir Din Aya" from 1953 film Bootpolish. Manna Dey established his verstality between 1948 to 1954 by singing not only the classical based film songs but also singing such film songs which were fusion of Indian classical music and pop music and by giving classical music concerts. His experimentation with western music too produced many unforgettable melodies resulting in an increase in singing offers in films from 1955. He began singing ghazals in Hindi films from 1953. He became a music composer in Hindi films when he composed music along with Khemchand Prakash for both Shri Ganesh Janma (1951) and Vishwamitra (1952). =1953–1967= Manna Dey after Getting D.Litt degree from Rabindra Bharati University (May 2004) By 1954, Manna Dey became popular among musical circle across film industries of various Indian languages. He became nationally famous after release of Do Bigha Zamin (1953) where two of the songs sung by him and composed by Salil Choudhury became hits. Salil Choudhury worked with Dey from 1953 to 1992 in Hindi films and made Dey sing even in Bengali and Malayalam films right from the late 1950s to early 1990s. His association with Shankar-Jaikishan and producer Raj Kapoor had begun while working for Awara, but their combination became famous while working together for Boot Polish in 1954. The trio worked in many films together from 1954 to 1971 whose musical scores were appreciated, irrespective of their box-office fate, like Shree 420, Chori Chori, Mera Naam Joker, Parvarish, Dil Hi to hai, Awara, Sriman Satyavadi, Kal Aaj aur Kaal, Abdullah etc.. The Raj Kapoor- Manna Dey combination produced superhits (both music and film, the only exception being Mera Naam Joker where the songs were chartbusters but the film was a flop) and was a pair to reckon with. While Mukesh sang the slow pathos for Raj Kapoor, Manna Dey sang the fast peppy ones, the classical numbers, the romantic duets (in case one analyses Manna Dey has sung more than 95% of Raj Kapoor's superhit duets) and the naughty numbers. Manna Dey has the rare distinction of doing playback for both father and son – Raj Kapoor and Randhir Kapoor (In fact Manna Dey later sang for Rishi Kapoor in Zamane ko dikhana hai). C. Ramchandra worked with Dey very first time in Insaniyaat in 1955 and then recorded songs with Dey consistently even in the 1960s in films like – Tallaq (1959), Navrang, Paigham, Stree (1961), Veer Bhimsen etc. In 1956, he sang with a new batch of singers. He recorded his first duets with Sudha Malhotra "Ghar Ghar Deep Jalao Re" from Ayodhyapati in 1956, with Binata Chatterjee in the duet "Tum Mile Mil Gaye Karaar" from Grand Hotel (1956) composed by Suresh Talwar, and then his first duet with Sabita Banerjee in the song "Jamine Hamari Jamana" composed by A.R.Quereshi from Laal-E-Yaman (1956) and with singer Meena Kapoor in the song "Rim Jhim Jhim Rim Jhim" from Pardesi (1957) composed by Anil Biswas. Dey turned into an independent music composer in Hindi films with Maha Poojaa in 1954. He sang eighty-three Hindi songs in three years from 1953 to 1955 and his demand increased such that he sang 45 songs in the year 1956. His career reached in peak form when he recorded 95 Hindi songs in single year 1957 and 64 in 1958. His peak period in Hindi film industry is considered to be from 1953 to 1969 where he recorded 758 Hindi songs of which 631 came between 1957 and 1969. He worked extensively with other music directors like Naushad, K.Dutta, Vasant Pawar & Ram, Vasant Desai, Ravi, S.K.Pal, Avinash Vyas, S. N. Tripathi, Sanmukh Babu, Nissar Bazmi, Husanlal Bhagatram, B.N. Bali, Sushanta Banerjee, O.P. Nayyar, G.Ramanathan, T.G.Lingappa, Nirmal Kumar, Ghulam Mohhammed, Bipin Dutta, Rabin Banerjee, Roshan, Sapan Jagmohan from 1954 to 1968. New age composers like Kalyanji- Anandji started recording songs with Manna Dey from 1958 and Laxmikant Pyarelal from 1964. Rahul Dev Burman made Manna Dey sing the westernised songs – "Aao Twist Karen" and "Pyar Karta Ja" which became chartbusters in 1965. But the composers who gave Manna Dey consistent popular song numbers in commercially successful films from 1955 to 1969 were S.D.Burman, C.Ramachandra, Ravi, Avinash Vyas, Vasant Desai, Anil Biswas, Salil Choudhury and Shankar Jaikishan. The solo songs sung by Manna Dey like "Lapak Jhapak Tu Aa Re" from Boot Polish(1954), "O Gori Tori Tu Pyar Ka Sagar Hai" from Seema(1955), "Yeh Kahani Hai Diye Aur Toofan Ki" from Diya Aur Toofan (1956) composed by Vasant Desai, "Humdum Se Gaye" from Manzil (1960), "Aye Mere Pyare Watan" from Kabuliwala (1961), "Laga Chunari Mein Daag" from Dil Hi Toh Hai (1963), classical songs like "Sur Na Saje" from Basant Bahar (1956), "Kaun Aya Mere Mann" from Dekh Kabira Roya (1957), "Pucho Na Kaise Maine Rain" from Meri Surat Teri Aankhen (1963), "Jhanak Jhanak Tore Baje Payalia" from Mere Huzoor (1965); folk based songs like "Kisi Chilman Se" from Baat Ek Raat Ki (1962), "Ae Meri Zohra Jabeen" from Waqt (1965), "Chalat Musafir Moh Liya" from Teesri Kasam (1967), "Aao Aao Sawariya", and duets with Lata like "Masti Bhara Yeh Sama" from Parvarish(1958), "Nain Mile Chain Kahan" from Basant Bahar(1956), "Kehdoji Kehdo Chupaona Pyar" from Kismat Ka Khel (1956), "Tum Gagan Ke Chandrama" from Sati Savitri (1964), "Dil Ki Girah" from Raat Aur Din (1966), "Chunari Sambhal Gori" from Baharon Ke Sapne (1967), were chartbusters in their respective year of release. Credit is also given to Manna Dey for popularising classical based solo and duet songs to the masses like the duet with Lata – "Pritam Daras Dikhao" from Chacha Zindabad (1959), became a popular song though it was based on classical Raag Lalit. His rendition of "Kasame Vaade Pyar" from Upkar (1967) pictured on Pran and composed by Kalyanji Anandji won accolades for Dey, and was also significant in Pran's career as he began to do positive roles. Manna Dey gave playback for Raj Kapoor in Shree 420 (Mud Mud Ke Na Dekh), Chori Chori (Yeh Raat Bheegi, Jahan Main Jati and Aja Sanam), Parvarish (Masti bhara hai sama), Dil Hi To Hai (Laga chunari mein daag), Mera Naam Joker (Ae bhai zara dekh ke chalo) and "Ek Paon Chal Raha Hai" from Kal Aaj Aur Kal (1971). R.D.Burman recorded hit songs with Manna Dey regularly from 1965 with films like Bhoot Bangla, Gomti Ke Kinare, Chandan Ka Palna, Baharon Ke Sapne, Padosan, in late 60s. He sang for Balraj Sahni in many films from 1950 till 1969 and was voice of Mehmood and Anoop Kumar in many films from 1960 to 1975. Among the new breed of singers which emerged after 1956, Manna Dey's duets with Suman Kalyanpur were popular making them a celebrated team. Their first duet was "Prem Bada Balwan Jagat" from Maayaa Nagri (1957) composed by B.N.Bali and since then have sung around 45 songs together. Their popular duets include "Tum Jo Aao" from Sakhi Robin (1962) composed by Robin Bannerjee, "Dil Se Jo Baat" from Al Hilal (1958) composed by C.Ramachandra, "Na Jane Kahan" from Zindagi Aur Khwab (1963), "Ye Din Hai Khushi Ke" from Jab Se Tumhe Dekha Hai (1963) and "Bheegi Hawaon Mein" from Shriman Sataywadi (1960)- all 3 composed by Dattaram Wadkar, "Aankh Mein Shokhi" from Reshmi Roomal (1960) composed by Babul, "Aao Hilmil Ke Nacho Re" from Jaane Anjaane (1970) composed by Shankar-Jaikishan and "Dil To Dil Hain Phool Bhi" from Dafaa 302 (1975) composed by Laxmikant Pyarelal. Dey recorded popular duets with Mohd. Rafi, Dey sang 101 Hindi songs along with Rafi which include 58 duets with Rafi such as "Ishq Ishq" (Barsaat Ki Raat) "Tu hai mera prem Devta" (Kalpana), "Mama o mama" (Parvarish), Duniyaan ke liye from Maan Gaye Ustaad (1981), "Main Hoon Tera Prem Aur Tu Ho Meri Pran" from Rahu Ketu (1979), the song "Hindustan Ki Kasam" from Hindustan Ki Kasam (1973), "Hum To Tere Hai Deewane" from Johar Mehmood in Hong Kong, "Badey Miya Diwane" from Shagird, "Ye Do Diwane Dil Ke" from Johar Mehmood in Goa, "Agar Dil Dil Se" from Shola Aur Shabnam (1961). With Asha Bhosle, Manna recorded around 160 Hindi songs from 1953 to 1982 though their duets kept releasing till 1986 and their last song sung together was in Teri Maang Sitaaron Se Bhar Doon (1982). Popular duets of Asha-Manna Dey include "Ye Hawa Yeh Nadi Ka" from Ghar Sansar (1958), "Tu chupi hai kahan" from Navrang (1959), "Jodi Hamari Jamegi" from Aulad(1968), "Sanjh Dhali Dil Ki Lagi" from Kala Bazar (1960), "Aye Kash Chalte Milte" from Manzil (1960), "Na Tohh karvan Ki Talaash Hai" from Barsaat Ki Raat (1960), "Jane Na Doonga" from Dadimaa (1966), "Re man sur me ga" from Lal Patthar (1971), "Zindegi hai khel" from Seeta Aur Geeta (1972) and "Paisa Daulat" from Dharkan (1972). Dey sang around 27 Hindi duets with Geeta Dutt from 1949 with the last being from Ziddi in 1964. The popular duets of Geeta Dutt-Manna Dey include both classical songs as well as those which have style of Twist dance, Rock & Roll, cha-cha-cha like "Aan aan milo" from Devdas, :O Mister Suno Ek Baat" from Agra Road (1957), "Karo Na Phere Gali Ke Mere" from Bengali film Gali Theke Rajpath (1959) composed by Sudhin Dasgupta, "Naya Naya Chand Hai Jee" Khuda Ka Banda (1957) starring actor Chandrashekar and composed by S.N.Tripati. The song "Picnic Me Tick Tick" from Piya Milan Ki Aas (1961) composed by S.N.Tripati is noted for Manna Dey yodeling and singing in a style which is known as forte of Kishore. With Lata Mangeshkar, Manna recorded around 103 Hindi duets of which songs like "Tere Bina Aag Yeh Chandni" from Awara, "Yeh raat bhigi bhigi" and "Aaja Sanam Madhur Chandni Mein" from Chori Chori, "Pyar hua iqrar hua" from Shree 420, "Woh Chand Muskaye" from Akhri Dao (1958), "Ritu aye", "Dil Ki Girah Khol Do" from Raat Aur Din (1966), "Aya Abdulla Aya" from Juaari (1968), "Soch Ke Ye Gagan Jhume" from the flop film Jyoti (1969) and "main buddho lambo lambo" of Buddha Mil Gaya (1971) are still extremely popular. =1968–1991= Kishore Kumar and Manna Dey had recorded only 6 songs together until 1968 and all proved to be hits, some of them being "Ye Duniya hai usaki nyari hai" from Sauraksha composed by Bappi Lahiri, "Ye Dosti humnai todenge" from Sholay, "Tubhi Piya Chikara Hoon" and "Tu Jaam Liye Jaa" from Bewakoof (1960), "Babu Samjho Ishaare" from Chalti Ka Naam Gaadi (1958) all three composed by S.D. Burman and "Baheta Pani Baheta Jaye" from Dhaake Ke Malmal composed by C. Ramachandra, "Joyo Joyo Mere Lal" composed by S.K. Pal in 1952 and their first duet together – "Subaho Ki Paheli Kiran" in 1951 from Andolan. In 1968, R.D. Burman brought them together for "Ek Chatur Naar" in Padosan. Reportedly the song "Ek Chatur Naar" (a duet by Kishore Kumar and Manna Dey) from Padosan (1965) was partly improvised by Kishore Kumar at the time of recording and Manna Dey, determined to show Kishore Kumar how he would sing the duet better (since Kishore had not been trained classically), got into the mood of the song and immortalised "Ek Chatur Naar". Dey recorded around 31 songs with Kishore from 1951 to 1987 and all of them became chartbusters. From 1969, after release of Aradhana, the highest in demand playback singer was Kishore Kumar, so careers of Mukesh, Rafi and Manna Dey were affected and they got lesser number of songs to sing. His peak period as a playback singer is considered to be from 1953 to 1969 and in the year 1969 it seemed that Dey's career in Hindi films would be over due to resurgence of Kishore Kumar but he had an extended peak period till 1976. The song "Tujhe Suraj Kahun Ya Chanda" from Ek Phool Do Mali in 1969, S.D. Burman composition "Mitwa Mitwa Piya Maine Kya Kiya" from Us Paar (1974) and his duet with Shailendra Singh from Bobby – "Na Maangoon Sona Chandi" were a chartbusters in respective years. His song "Sawan Ki Rimjhim Main" was aired in non-film program section in Vividh Bharati and became popular on the radio. He received a fresh lease of life in his playback singing career from 1971 after Rajesh Khanna allowed music directors to picturise or feature songs sung by Dey in films with Khanna in lead role beginning with Anand, composed by Salil Chowdahry. For Rajesh Khanna, Dey had sung songs "Zindagi kaisi hai paheli" (Anand, 1971), "Tum bin jeewan kaisa jeewan" and "Bhor Aaye Gaya Andhera" (Bawarchi, 1972), "Nadiya Chale Re" (song sung with Rajesh and Dey), "Hasne ki chah ne kitna mujhe" (Avishkaar, 1973) and "Gori tori paijaniya" (Mehbooba, 1976). Later in a 2012 interview, Dey said, "I loved the way he picturised music. The success of a song depends upon how an actor picturises it. He was the number one in picturising songs. I will be ever indebted to him." From 1970 to 1983, he recorded around 503 songs used in Hindi films. Thereafter he became selective of the kinds of songs he sings and chose to do less work in Hindi. The demand for Kishore-Manna Dey combination only grew after 1972. Their popular songs were "Mere Pyale Mein" from Aamir Garib (1974), "Is Ishq Mein Har" from Mr. Romeo (1974), "Yeh Dosti" from Sholay (1975), "Duniya Me Jeeney" from Naukri, "Kamal Hain" from Karz, "Phool Chaahiye Na" from Pyas (1982) and their last duet was in 1986 film Maqqar – "Tu Hi Mera Sapna". Salil Chowdhry compositions rendered by Dey from films like Ananad and Anadatta became popular as well. Also the trio of Rafi- Kishore-Manna Dey sang together hits like "Tujhme Ishwar, Allah Tujhme" from Nanha Farishta (1969) and "Band Mutthee" from Chalti Ka Naam Zindagi (1981). Kishore-Manna Dey together also sang with Asha in many films and famous among them are "Khan Chacha" from Dil Deewana (1974), "Aa Kitni Sundar Jagah" from Chandi Sona, both composed by R.D. Burman and with Lata in "Goyakechu Nanche" from Manoranjan (1974), "Logo Ke Juban Me Apna" from Nehla Pe Dehla, both composed by Pancham. Lata and Manna Dey recorded fusion songs, which used both Indian and western instruments. Several such songs included the duets "Kaanhaa Bole Naa" and "Balma Moraa Aanchaar" for the film Sangat, composed by Salil Chowdhury in 1975, which became very popular and was picturised on Rakesh Pandey and Kajri. The song "Neela peela hara gulabi" is a famous Holi song sung by Lata with Dey in Aap Bete (1976). In 1974, Dey sang along with Lata- Kishore in the song "Goyakechu Nanche" from Manoranjan (1974) which became a chartbuster in 1974. Manna Dey continued to have hit Hindi songs to his credit from 1971 to 1986, such as "Dulhan Banungi" from Who Jo Hasina (1983), composed by Raamlaxman and sung with Lata, "Aankhon Ka Salaam Lo" with Lata- Rafi in Samraat, "Dilwaale Dilwaale" from Kranti (1981), "Yaari Hai Imaan" from Zanjeer, "Ye Duniya Hey Usi Ko" sung with Kishore-Usha from Suraksha (1979), "Tum Besahara Ho To Kisi" from Anurodh (1977), "Jo Likha Gaya Hai" from Umar Qaid (1975), among others. "Sab Kho Diya Sab Pa Liya" from Maqqar (1986), composed by Rajesh Roshan was the last duet of Lata-Manna Dey for a Hindi film and was a chartbuster. He worked with composers like Laxmikant Pyarelal, Kamlyanji Anadji, Pancham, Bappi Lahiri, Raam Laxman, Sonik Omi, S. Rajeswar Rao, Ravi, Rajesh Roshan extensively from late 70s to 1990 in Hindi films. However, offers for him to sing solo songs in Hindi films reduced since 1976 gradually and rarely songs sung by him was picturised in the hero. He sang "Bohey Nirontaro Ananto Anandadhara" from the album Rabindra Sudha in 1961, and then went on to sing 14 songs composed by Rabindranath Tagore until 2002 in Hindi. He sang title songs of Hindi serials like Hum Hindusthaani (1986), Khari Khari (1984), Aasmaan Se Oonchaa (1997) and Aao Jhoome Gaaye (2001), all composed by Barma Malik. His first duet with Usha Khanna was "Janemon Janemon Tum Din Raat" from film Haye Mera Dil (1968), composed by Kalyanji Anandji. His first song with S. Janaki was "Itna Manta Tu Mera" from Aashiq C.I.D (1973) and with P. Susheela was "Joy Ho Gaanga Maiya Ki" from Gangaa Ki God Mein (1980). He recorded his first song with Vani Jayram, "Rataiya Baba, Rajania Baba" for the film Ratnaa Dakoo in 1972 and their other popular duets include "Mitwa More Man Mitwa" from the film Parinay (1974), composed by Jaidev. Dey also sang with singer/composer, Hemant Kumar (Hemanta Mukherjee), in Bengali movies, and also with some other Bengali composers like Nachiketa Ghosh and Sudhin Dasgupta. He sang a duet, "Ke Prothom Kachhe Esechi", with Lata Mangeshkar in the movie Sankhyabela. He also performed Rabindra Sangeet and recorded over 4000 songs till 2012. In addition to film songs, Dey released several albums of devotional songs of Jagadguru Shree Kripaluji Maharaj.Kinnear, M. 1985. A discography of Hindustani and Karnatic music. Greenwood Press. =1992–2013= Since 1992, Dey withdrew himself from Hindi film music. But he continued to sing in Bengali movies, bhajans and gazals in different languages and appeared in live performances during 1992 to 2012 . His last live performance was in 2012 in Mumbai. His last recorded song in Hindi films was for the film Umar in 2006 composed by Shamir Tandon, Duniyawaalo Kee Nahee Kuchh Bhee Khabar, which he sang along with Kavita Krishnamoorthy and Sonu Nigam. He was presented the Filmfare Life Time Achievement Award in 2011. He sang duets with singers like Md Rafi,Mukesh, Sandhya Mukherjee, Mahendra Kapoor, Talat Mahmood, Amit Kumar, Shailendra Singh, Krishna Kalle, Shardha Rajan Iyengar, Arati Mukherjee, Chandrani Mukherjee, Anuradha Pudwal, Hemlata (singer), Minu Purushottom, Bhupinder Singh, K.J. Yesudas, P Jayachandran, Suresh Wadkar, Kavita Krishnamoorty, Alka Yagnik, Antara Chowdhury, Preeti Sagar, Dilraj Kaur, Yunus Fazmi, Jaspal Singh, Anwar, Manhar Udhas, Joginder and Mubarak Begum. He worked with more than 102 music directors in Hindi film industry from working with Krishna Chandra Dey in Tamanna in 1942 to music composer Shamir Tandon in 2006. Personal life In December 1953, Manna Dey married Sulochana Kumaran. She was originally from Kannur, Kerala. Together they had two daughters – Shuroma (b. 1956) and Sumita (b. 1958). Sulochana died in Bengaluru in January 2012. She had been suffering from cancer for some time. After her death Dey moved to Kalyan Nagar in Bengaluru after spending more than fifty years in Mumbai. Death On 8 June 2013, Dey was admitted to the ICU in a Bengaluru hospital after a chest infection gave rise to other complications. His health gradually improved and about a month later doctors took him off the ventilator support. Later, he was released from hospital. He was hospitalized again in the first week of October 2013, and died of a cardiac arrest at 3:45 pm on 24 October at Narayana Hrudayalaya hospital in Bengaluru, aged 94. Musicians, politicians, cricketers and other notable persons issued statements on his death. He was cremated at Bengaluru itself. Media Manna Dey 2016 stamp Dey's Bengali language autobiography, Jiboner Jalsaghorey, has been published by the renowned Ananda Publishers in the year 2005 which has been translated in English as Memories Come Alive, in Hindi as Yaden Jee Uthi and in Marathi as Jivanacha Jalasagarat. Jibaner Jalsaghore, a documentary on Dey's life, was released in 2008. Manna Dey Sangeet Academy is developing a complete archive on Manna Dey. In association with Rabindra Bharati University, Kolkata, the Manna Dey Music Archive has been developed in the Sangeet Bhawan. He also lent his voice for Madhushala, composed by Harivansh Rai Bachchan. Filmography Awards Dey on a 2016 postcard from the series Legendary Singers of India Dey was bestowed with the Padma Shri and Padma Bhushan. The following is the list of Manna Dey's other awards: *1965 Bengal Film Journalists' Association Award – Best Male Playback Award for Kanchan Jangha *1967 Bengal Film Journalists' Association Award – Best Male Playback Award for Sankhyabela *1968 Bengal Film Journalists' Association Award – Best Male Playback Award for Antony Firingi *1968 National Film Award for Best Male Playback Singer for the Hindi Film Mere Huzoor *1969Bengal Film Journalists' Association Award – Best Male Playback Award (Hindi) for Mere Huzoor *1970Bengal Film Journalists' Association Award – Best Male Playback Award for Chira Diner *1971 National Film Award for Best Male Playback Singer for the Bengali film Nishi Padma and Hindi film Mera Naam Joker *1971 Padma Shri Award by Government of India *1972 Filmfare Award for Best Male Playback Singer for Mera Naam Joker *1973Bengal Film Journalists' Association Award – Best Male Playback Award for Stree *1985 Lata Mangeshkar Award awarded by Government of Madhya Pradesh *1988Bengal Film Journalists' Association Award – Best Male Playback Award for Lalan Fakir *1988 Michale Sahittyo Puraskar awarded by Renaissance Sanskritik Parishad, Dhaka *1990 Shyamal Mitra Award by Mithun Fans Association *1991 Sangeet Swarnachurr Award awarded by Shree Khetra Kala Prakashika, Puri *1993 P.C.Chandra Award by P.C.Chandra Group & others *1995 Kalidas Samman by Government of Madhya Pradesh *1999 Kamala Devi Roy Award by Kamala Devi Group *2001 Anandalok Lifetime Award by the Anandabazar Group *2002 Special Jury Swaralaya Yesudas Award for outstanding performance in music *2003 Alauddin Khan Award by the Government of West Bengal *2004 National Award as Playback singer by Government of Kerala *2004 Hony D. Lit Award by the Rabindra Bharati University *2005 Lifetime Achievement award by the Government of Maharashtra *2005 Padma Bhushan Award by the Government of India *2007 First Akshaya Mohanty Award by Government of Orissa *2007 Awarded the Dada Saheb Phalke Award by the Government of India *2008 Hony D. Lit Award by Jadavpur University *2011 Filmfare Lifetime Achievement Award *2011 Banga-Vibhushan by Government of West Bengal *2012 Annanyo Samman given by 24 Ghanta TV channel for his lifetime achievement. *2013 Conferred with Sangeet Maha Samman by Government of West Bengal. References Further reading * Autobiography in Bengali, Jeeboner Jalsaghorey, published by Ananda Publishers, Kolkata. * Autobiography in English, Memories Come Alive, published by Penguin Books. * Autobiography in Hindi, Yadein Jee Uthi, published by Penguin Books. * Autobiography in Marathi "Jeeboner Jalsaghorey", published by Sahitya Prasar Academy, Nagpur. * A biography of Sri Manna Dey in Bengali, Manna Dey Mannyoboreshu, by Dr Gautam Roy, published by Anjali Publishers, Kolkata. External links *https://web.archive.org/web/20100108052343/http://www.bfjaawards.com/legacy/pastwin/196629.htm *https://web.archive.org/web/20100108052343/http://www.bfjaawards.com/legacy/pastwin/196629.htm[http://malayalasangeetham.info/songs.php?tag=Search&singers;=Manna%20Dey&limit;= 2 Manna Dey's songs in Malayalam – Publisher Malayalasangeetham.info] *https://web.archive.org/web/20100106143248/http://www.bfjaawards.com/legacy/pastwin/196730.htm *https://web.archive.org/web/20100108050315/http://www.bfjaawards.com/legacy/pastwin/196831.htm *https://web.archive.org/web/20090218224447/http://www.bfjaawards.com/legacy/pastwin/196932.htm *https://web.archive.org/web/20100108033915/http://www.bfjaawards.com/legacy/pastwin/197033.htm *https://web.archive.org/web/20100109041555/http://www.bfjaawards.com/legacy/pastwin/197336.htm *https://web.archive.org/web/20100108095827/http://www.bfjaawards.com/legacy/pastwin/198851.htm *Manna Dey's profile in Malayalasangeetham.info *Manna Dey Sangeet Academy * *"Being Manna Dey: The modest musical maestro" – IBNLive interview *"Manna Dey: A Rare Voice That Excelled In All Music Genres" Indian male singers 1919 births 2013 deaths Bengali people Bollywood playback singers Indian autobiographers Indian male ghazal singers Indian male film singers Indian memoirists Filmfare Lifetime Achievement Award winners Recipients of the Padma Bhushan in arts Recipients of the Padma Shri in arts Recipients of the Banga Bibhushan Scottish Church Collegiate School alumni Scottish Church College alumni Vidyasagar College alumni University of Calcutta alumni Dadasaheb Phalke Award recipients Nepali- language singers Marathi-language singers Marathi playback singers Singers from Kolkata Male actors from Kolkata 20th-century Indian male actors 21st-century Indian male actors 20th-century Indian singers 21st-century Indian singers Bengali singers Best Male Playback Singer National Film Award winners Music of Bengal 20th-century male singers 21st-century male singers si:මන්නා ඩේ ur:منا ڈے "
"Real-time application interface (RTAI) is a real-time extension for the Linux kernel, which lets users write applications with strict timing constraints for Linux. Like Linux itself the RTAI software is a community effort. RTAI provides deterministic response to interrupts, POSIX-compliant and native RTAI real-time tasks. RTAI supports several architectures, including IA-32 (with and without FPU and TSC), x86-64, PowerPC, ARM (StrongARM and ARM7: clps711x-family, Cirrus Logic EP7xxx, CS89712, PXA25x), and MIPS. RTAI consists mainly of two parts: an Adeos-based patch to the Linux kernel which introduces a hardware abstraction layer, and a broad variety of services which make lives of real-time programmers easier. RTAI versions over 3.0 use an Adeos kernel patch, slightly modified in the x86 architecture case, providing additional abstraction and much lessened dependencies on the "patched" operating system. Adeos is a kernel patch comprising an Interrupt Pipeline where different operating system domains register interrupt handlers. This way, RTAI can transparently take over interrupts while leaving the processing of all others to Linux. Use of Adeos also frees RTAI from patent restrictions caused by RTLinux project. RTAI-XML RTAI-XML is a server component of RTAI, implementing a service-oriented way to design and develop real-time (RT) control applications. This project was born to fulfill the needs of a university group, mainly focused to have a flexible platform for learning control systems design, allowing the students to test their programs remotely, over the Internet. Leaving the first wishful thinking and going to the real implementation gave rise to the alpha version of RTAI-XML, that showed the potential impact of the basic idea of a net separation of hard and soft real- time tasks in the programmation logic. What was necessary to assure that students could not crash the RT process, is now becoming a new RTAI paradigm. RTAI-XML consists of a server component waiting for incoming calls on a box where a real-time process, the Target, is running (or ready to). A generic client program, the Host, can reach the server through the TCP/IP network, using a standard protocol based on XML, and hence interact with the Target, in order to monitor the status of the RT process, to see the signals collected (or generated) by the system and also to fetch and change the RT parameters (for example, the gains of a PID feedback ring). In other words, RTAI-XML provides a simple way towards remoting of control applications, adding flexibility to the RTAI project, without losing the key features of an open and standard implementation. The RTAI-XML section of this site presents the details of the implementation. The general architecture is revised, in order to focus the three key components, the Server, the Server-Target interface and the Server-Host communication. The Applications section contains some examples of control systems based on RTAI-XML and the References section contains hints and links for further readings on this topic. See also * Xenomai References External links Univ. di Padova - RTAI / Xenomai presentation * RTAI-XML official website Linux kernel Real- time operating systems "
"Adeos (Adaptive Domain Environment for Operating Systems) is a nanokernel hardware abstraction layer (HAL), or hypervisor, that operates between computer hardware and the operating system (OS) that runs on it. It is distinct from other nanokernels in that it is not only a low level layer for an outer kernel. Instead, it is intended to run several kernels together, which makes it similar to full virtualization technologies. It is free and open-source software released under a GNU General Public License (GPL). Adeos provides a flexible environment for sharing hardware resources among multiple operating systems, or among multiple instances of one OS, thereby enabling multiple prioritized domains to exist simultaneously on the same hardware. Adeos has been successfully inserted beneath the Linux kernel, opening a range of possibilities, such as symmetric multiprocessing (SMP) clustering, more efficient virtualization, patchless kernel debugging, and real-time computing (RT) systems for Linux. Unusually among HALs, Adeos can be loaded as a Linux loadable kernel module to allow another OS to run along with it. Adeos was developed in the context of real-time application interface (RTAI) to modularize it and separate the HAL from the real-time kernel. Prior work Two categories of methods exist to enable multiple operating systems to run on the same system. The first is simulation-based and provides a virtual environment for which to run additional operating systems. The second suggests the use of a nanokernel layer to enable hardware sharing. In the simulation category, there are tools such as VMware, Plex86, VirtualPC and SimOS. There is also Kernel-based Virtual Machine (KVM) which is more similar to Adeos, but is not RT and requires specific virtualization hardware support. These methods are used for users who desire to run applications foreign to their base OS, they provide no control over the base OS to the user. Simulation was never meant to be used in a production environment. In the nanokernel category there are tools such as SPACE, cache kernel and Exokernel. All of these suggest building miniature hardware management facilities which can thereafter be used to build production operating systems. The problem of this approach is that it does not address the issue of extant operating systems and their user base. Adeos addresses the requirements of both categories of application by providing a simple layer that is inserted under an unmodified running OS and thereafter provides the required primitives and mechanisms to allow multiple OSes to share the same hardware environment. Adeos does not attempt to impose any restrictions on the hardware’s use, by the different OSes, more than is necessary for Adeos’ own operation. Instead, such restriction is to be imposed by the system administrator or the system programmer. This exposes the system to mismanagement, but the idea behind Adeos is to give back control to system administrators and programmers. Architecture Adeos architecture. Adeos implements a queue of signals. Each time that a peripheral sends a signal, the different operating systems that are running in the machine are awakened, in turn, and must decide if they will accept (handle), ignore, discard, or terminate the signal. Signals not handled (or discarded) by an OS are passed to the next OS in the chain. Signals that are terminated are not propagated to latter stages. As Adeos has to ensure equal and trusted access to the hardware, it takes control of some hardware commands issued by the different OSes; but, it also must not intrude too much on the different OSes’ normal behavior. Each OS is encompassed in a domain over which it has total control. This domain may include a private address space and software abstractions such as process, virtual memory, file-systems, etc. Adeos does not attempt to impose any policy of use of the hardware except as needed for its operation. The task of determining policy is left to the system architect. =Adeos interrupt pipe= Adeos interrupt pipe. Adeos uses an interrupt pipe to propagate interrupts through the different domains running on the hardware. As some domains may prefer to be the first to receive hardware interrupts, Adeos provides a mechanism for domains to have access to priority interrupt dispatching. In effect, Adeos places the requesting domain's interrupt handler and accompanying tables, which may be called as an interrupt mechanism in SPACE terminology, at the first stages of the interrupt pipeline. Domains can control whether they accept, ignore, discard or terminate interrupts. Each of these has a different effect and is controlled differently. Accepting interrupts is the normal state of a domain's interrupt mechanism. When Adeos encounters a domain that is accepting interrupts it summons its interrupt handler after having set the required CPU environment and stack content for the interrupt handler to operate correctly. The OS then may decide to operate any number of operations including task scheduling. Once the OS is done, the pipeline proceeds as planned by propagating interrupts down the pipeline. When an OS in a domain does not want to be interrupted, for any reason, it asks Adeos to stall the stage its domain occupies in the interrupt pipeline. By doing so, interrupts go no further in the pipeline and are stalled at the stage occupied by the domain. When the OS is done wanting to be uninterrupted, it asks Adeos to install the pipeline and thereafter all the interrupts that were stalled at the corresponding stage follow their route to the other stages of the pipeline. When a domain is discarding interrupts, the interrupt passes over the stage occupied by the domain and continues onto the other stages. When a domain terminates interrupts then the interrupts that are terminated by it are not propagated to latter stages. Interrupt discarding and termination is only possible when the OS in a domain recognizes Adeos. Since some OSes do not recognize Adeos, it is possible to create a domain which only serves as a handler for that OS. Hence, in the interrupt pipeline, this stage always precedes the handled domain's stage and may take actions for that domain with Adeos in order to provide the handled domain's OS with the illusion of normal system operation. Once Adeos is done traversing the pipeline it checks if all domains are dormant. If that is the case, it then calls on its idle task. This task remains active until the occurrence of the next interrupt. If all the domains aren't dormant it restores the processor to the state it had prior the interrupt entering the pipeline and execution continues where it had left. Since Adeos is very much hardware dependent, many details are specific to one of its particular implementations. Applicability =General-purpose operating system resource sharing= General-purpose operating system resource sharing is one of the main objectives of Adeos, to provide an environment which enables multiple general purpose OSes to share the same hardware. =Operating system development= Developing OSes is usually a complicated process which sometimes requires extra hardware such as in-circuit emulators to probe the hardware on which an OS is running. Using Adeos, OS development is eased since any undesired behavior may be controlled by an appropriate domain handler. It can also provide a default domain handler for OS development under which developers may have controlled direct access to the hardware they are meant to control. As Adeos is itself a kernel-module, such development domain handlers may be developed independently from Adeos. =Patchless kernel debuggers and probers= Adeos provides for a way for kernel debuggers and probers to take control of Linux without modifying Linux. As with other Adeos domains, these facilities would load as normal kernel modules and would thereafter request a ring-zero domain from Adeos. Once that is done, they may request priority interrupt dispatching in the interrupt pipeline. Hence, before Linux gets to handle any interrupts, they will be able to intercept those interrupts and carry out the requested debugging tasks. This can also be extended to performance profilers and other such development tools. See also * Nanokernel * Hardware abstraction layer * HAL (software) References External links Adeos Workspace Nanokernels Virtualization software "