Stay tuned to our new posts and updates! Click to join us on WhatsApp L&C-Whatsapp & Telegram telegram Channel
ISSN 2231 - 699X | A Publication on Cinema & Allied Art Forms
 
 
Support LnC-Silhouette. Great reading for everyone, supported by readers. SUPPORT
L&C-Silhouette Subscribe
The L&C-Silhouette Basket
L&C-Silhouette Basket
A hand-picked basket of cherries from the world of most talked about books and popular posts on creative literature, reviews and interviews, movies and music, critiques and retrospectives ...
to enjoy, ponder, wonder & relish!

The A-Z of Rafi

December 24, 2024 | By

On Mohd Rafi’s 100th birth anniversary, Anuradha Warrier offers a curated list of Rafi songs that spans the letters of the English alphabet

Mohd Rafi

Mohd Rafi

Born in Kotla in Punjab, the young Mohammed Rafi was fascinated by the voice of a wandering fakir. When his father moved to Lahore, the young lad began his classical training under Ustad Bade Ghulam Ali Khan and Ustad Abdul Wahid Khan. Subsequently, he trained under Feroze Nizami and Pandit Jeevanlal Matto Kashmiri.

In an interview, Rafi talks about how destiny took a hand, setting his feet on the path to success. At a concert in Lahore, where the legendary KL Saigal was to perform, a power outage led to the concert being delayed. In order to still the audience’s restlessness, a friend (and soon-to-be brother-in-law), Abdul Hameed coaxed the organizers to let Rafi sing. His performance so impressed Saigal that he blessed the young lad. Music director Shyam Sundar, who was in the audience, offered him a chance to sing for him. Rafi was only 13.

It would take another few years before Shyam Sundar would make good his promise. The year was 1941, the song, Soniye nee Heeriye nee for the film, Gul Baloch (the film only released in 1944). But even before the film released, the young lad was making a name for himself, and by 1943, he had become a regular fixture on Radio Lahore. It was only a matter of time before Bombay beckoned.

Rafi’s father was not very encouraging of his son’s interest in music; even less was he enamoured of his son making a career in films. It took Rafi’s elder brother, Mohammed Deen (who was the only family member who encouraged and supported his ambitions) and Hameed’s combined coaxing to get his father, Haji Ali Mohammed, to agree to send Rafi to Bombay under Hameed’s guardianship.

However, the path to success was not a sinecure. The days of singer-actors was still the norm, and a singer who only wanted to sing was unusual. Though Shyam Sundar signed him to sing a couple of songs for Gaon ki Gori, the film only released in 1945. Days of struggle followed though people who heard the young man sing were enthralled by his voice. One of them was poet-lyricist Tanvir Naqvi, who introduced Rafi to industry stalwarts such as Mehboob Khan, AR Kardar and actor Nazeer.

Naushad and Rafi

Naushad and Rafi

Kardar, who was making Pehle Aap (1944) at the time, introduced Rafi to Naushad, who had been signed to compose music for the film. Naushad gave him Hindustan ke hum hain, a group song in which Rafi was accompanied by Allaudin, Shyam Kumar and chorus. Since Pehle Aap released in 1944, this is considered to be Rafi’s first-ever Hindi film song. It marked the beginning of a long collaboration between the composer and singer.

Slowly, but surely, Rafi was beginning to find his feet in the Bombay film industry and the world of Hindi film music. In 1946, one of Rafi’s cherished dreams would come true – a chance to sing in the chorus for a song in Shah Jehan, where the lead singer was his idol, Saigal. The next year, he would sing with another legend – singer-actor Noor Jehan; the song was Yahan badla wafa ka for Jugnu. He had earlier sung Tera khilona toota balak in Anmol Ghadi, but this was his first chance to sing a duet with the legendary chanteuse. Reports suggest that it was Noor Jehan herself who had recommended the young singer.  Yahan badla wafa ka catapulted Rafi to the top rung of artistes, as much as it gave a fillip to the film’s hero Dilip Kumar’s career.

Today, on his birth centenary, to celebrate the man who was not only a wonderful singer but, by all accounts, a wonderful human being, I offer a very subjective list of songs that traverse not just the letters of the alphabet but different genres and disparate moods; songs sung for several composers, picturised on many heroes whose careers reached their zenith not least because of Rafi’s contribution.

You will find a playlist of all the songs listed at the end of the article.

——xxxx——

A – Ajab hai dastan teri ae zindagi
Shararat (1959)
Music: Shankar Jaikishan
Lyrics: Shailendra
Picturised on: Kishore Kumar

Shararat featured Kishore Kumar in a double role opposite Meena Kumari and Kumkum. Despite an interesting plot of lookalike men (not related) and the conflict that crops up regarding them, Shararat soon fell into a morass of melodrama and contrived tragedy. The songs, however, were a delight, and this one, particularly, is a beautiful melody that appears in two versions. Rafi lends his voice to Kishore for this song and for the trippy duet Lushka lushka lushka lui lui.

 ——xxxx——

B – Baar baar dekho

China Town (1962)
Music: Ravi
Lyrics: Majrooh Sultanpuri
Picturised on: Shammi Kapoor (and Shakila)

A joyous serenade to a lover, a public declaration of love, and an exhortation to the people present not to leave when he’s praising her – Majrooh’s lyrics may not be serious poetry, but the master lyricist fits his verses to the context. Rafi adds all the vim and verve you expect in a Shammi Kapoor song, while Shammi does what he always does best – cavort on screen, even if in the close confines of a club.

——xxxx——

 C – Chale aaj tumse (O door ke musafir)

Udan Khatola (1955)
Music: Naushad
Lyrics: Shakeel Badayuni
Picturised on: Dilip Kumar (and Nimmi)

Among the revolving door of ‘my favourites’, O door ke musafir has remained a perennial favourite. The pathos of the lyrics – a man entreating his beloved to take him along as she walks to her death – never fails to move me. Composed in Raag Durga and filmed during the tragic climax, O door ke musafir is one of the most heart-breaking songs of farewell you will ever hear. Listen as Rafi scales an octave and a half with ease.

——xxxx——

D – Deewana mujhsa nahin
Teesri Manzil (1966)
Music: RD Burman
Lyrics: Majrooh Sultanpuri
Picturised on: Shammi Kapoor (and Asha Parekh)

Rafi has sung many songs for Shammi Kapoor. He has sung many exuberant songs for Shammi Kapoor, so it is no wonder that he does so yet again in Deewana mujhsa nahin. Rafi is quietly exuberant as Rocky (Shammi Kapoor) tries to ‘woo’ Sunita (Asha Parekh) even though he knows she’s trying to get the better of him. Rafi infuses the lyrics with an undercurrent of laughter – we know, without having to watch the visuals that the situation is not so much romantic as a game.

——xxxx——

E – Ek haseen shaam ko

Dulhan Ek Raat Ki
Music: Madan Mohan
Lyrics: Raja Mehdi Ali Khan
Picturised on: Dharmendra (and Nutan)

Despite being an adaptation of Tess of the D’Urbervilles, Dulhan Ek Raat Ki left much to be desired as a film. However, the score by Madan Mohan more than makes up for the lacklustre trauma drama. This song, sung so effortlessly by Rafi, is perhaps the best of the lot – his voice caresses the notes oh-so-softly, bringing with it a whiff of a long-gone romance that continues to linger faintly in our memories.

 ——xxxx——

F – Falak se tod kar dekho
Aan Milo Sajna (1970)
Music: Laxmikant-Pyarelal
Lyrics: Anand Bakshi
Picturised on: Rajesh Khanna (and Asha Parekh)

After Aradhana, Kishore Kumar became Rajesh Khanna’s default voice but Rafi was Laxmikant-Pyarelal’s first choice for a male singer. So, in Aan Milo Sajna, both Kishore and Rafi get one solo and one duet each – all four songs were picturised on Rajesh Khanna. While the Kishore-Lata duet Achcha toh hum chalte hain is the most popular song from the film, this sweet melody (for all that it is a ‘party song’) is, in my opinion, a far better composition, musically.

 ——xxxx——

G – Guzre hain aaj ishq mein  
Dil Diya Dard Liya (1965)
Music: Naushad
Lyrics: Shakeel Badayuni
Picturised on: Dilip Kumar

Dil Diya Dard Liya is a quasi-adaptation of another literary classic – Charlotte Brontë’s Wuthering Heights. Despite the stellar cast and excellent acting, Dil Diya Dard Liya is another film better watched for its music/songs. Naushad composed a bouquet of melodies, of which Guzre hain aaj ishq mein drips with the ache of heartbreak. Rafi imbues the scathing lyrics with both the pain of betrayal and the poisonous yearning for revenge.

 ——xxxx——

H – Hai bas ki har ek unke ishaare mein

Mirza Ghalib (1957)
Music: Ghulam Mohammed
Lyrics: Mirza Ghalib
Picturised on: ?

Ghalib was past master of wordplay, and nowhere is this more visible than in this ghazal, the maqtaa of which is perhaps the most well-known she’r among his prodigious canon.

Hain aur bhi duniya mein sukhanvar bahut acchhe
Kehte hain ki Ghalib ka hai andaaz-e-bayaan aur

Picturised on a fakir on screen, who learns it from Moti Begum (Suraiya), Rafi’s voice plays with the duality in the words, making the couplets sound even more ambiguous in meaning than they already are. It’s a fabulous rendition, with Rafi’s voice at a lower pitch than usual.

Mirza Ghalib is chock full of the poet’s ghazals, set to music by the woefully underrated Ghulam Mohammed. However, Rafi steps in only for this ghazal (Talat Mahmood lent his voice to ‘Ghalib’ (Bharat Bhushan)), and a duet with Banda Hassan.

  ——xxxx——

I – Ik chameli ke mandve tale (with Asha Bhosle)
Cha Cha Cha (1964)
Music: Iqbal Qureshi
Lyrics: Makhdoom Mohiuddin
Picturised on: Chandrasekhar (and Helen)

Helen was mostly signed for her unquestioned ability as a dancer. But she acted as a heroine in a few films, one of which was Cha Cha Cha, written and directed by Chandrasekhar, who also cast himself as the hero. The film may have sunk into obscurity, but the songs, by the underrated Iqbal Qureshi, continue to be very popular. This Rafi-Asha duet, picturised as a ‘waking dream’ sequence, has Rafi softly crooning his lines. The mellow fruitfulness of his voice lends a patina of sensuousness to what’s essentially a lovely romantic ditty.

Qureshi would recycle this tune from Aaj mausam ki masti mein gaaye pawan from Banarasi Thug (1963).

——xxxx——

J – Jinhe naaz hain hind par woh kahaan hain

Pyaasa (1957)
Music: SD Burman
Lyrics: Sahir Ludhianvi
Picturised on: Guru Dutt

What can one say about the songs of Pyaasa that hasn’t been said before? SD’s music, Sahir’s lyrics and Mohammed Rafi for playback – it’s a collaboration that leaves us sated and yet, wanting more.

Jinhe naaz hain Hind par woh kahaan hain is a slightly toned-down version of Sahir’s hard-hitting poem, Chakley (Brothels). Rafi begins the song with the music barely audible; then, as the protagonist (fuelled by alcohol) walks through the crowded streets, the instrumentation complements his voice, stunning in its minimalism. Rafi is effective because of his quiet intensity – one doesn’t realise how his voice soars because of the quietness with which he sings the verses. Once again, Rafi slurs the words as a drunk might, and his emoting really lets the bitterness come through.

[I’m cheating a little with this choice for ‘J’ since the song actually begins with Ye kooche ye neelaam ghar dilkashi ke, but since the song is more popularly known by its refrain, it seemed an apt fit.]

——xxxx——

K – Kar chale hum fida
Haqeeqat (1964)
Music: Madan Mohan
Lyrics: Kaifi Azmi
Picturised on: Dharmendra

Haqeeqat was one of the finest war films to be made in India, and Chetan Anand used long-time collaborator Madan Mohan’s tunes very effectively. Each and every song in this film is a gem, crafted with precision, and the perfect meld of melody, lyrics and rendition. In this song, sung with great poignancy by Rafi, Kaifi Azmi’s lyrics are dedicated to the brave men who gave their lives for the country.

Based on the Battle of Rezang La during the Sino-Indian War of 1962, Haqeeqat chronicled the tale of the brave soldiers of the 13th battalion of the Kumaon Regiment – 114 (of 120) of whom perished in battle, fighting until their last breath to repulse a vastly superior-in-numbers Chinese army.

——xxxx——

L – Lakhon hai nigaah mein
Phir Wohi Dil Laaya Hoon (1963)
Music: OP Nayyar
Lyrics: Majrooh Sultanpuri
Picturised on: Joy Mukherjee

Ah, the flush of first love! Who hasn’t yearned for someone to call their own? Here, it is Joy Mukherjee searching for that special someone. Despite the hundreds of women around, though they are all young and beautiful, how can he choose? How does he know who will ensnare his heart? He is sure that somewhere, sometime, he will find the woman he’s searching for… Hai jo yahi baatein, toh hongi mulaaqatein/Kabhi yahaan nahin toh wahaan…Rafi is youthful, joyful, and takes this lilting melody up a notch.

——xxxx——

M – Madhuban mein Radhika naache re
Kohinoor (1960)
Music: Naushad
Lyrics: Shakeel Badayuni
Picturised on: Dilip Kumar

The song was the perfect jugalbandi of music and dance as Prince Dhivendra Pratap Singh (Dilip Kumar) accepts the challenge of the danseuse, Rajalakshmi (Kumkum). It is also an example of the perfect amalgamation of music, lyrics and singing, and even picturisation: Dilip Kumar picked up the rudimentary skills of playing a sitar so he could look realistic playing it on screen. And Rafi, whom Dilip Kumar once described as ‘a great actor behind the microphone’, sings it beautifully.

[The taans, inserted as comic interludes picturised on Mukri, are sung by Ustad Niaz Ahmed Khan.]

——xxxx——

N – Na jaane kyun hamaare dil
Mohabbat Zindagi Hai (1966)
Music: OP Nayyar
Lyrics: SH Bihari
Picturised on: Dharmendra

Rafi sang some of his sweetest melodies for OP Nayyar. Their collaboration has led to some beautiful melodies that have withstood the test of time. The films may be forgotten but the songs endure. Such is the case with this romantic ode that complains of a loved one’s indifference to his feelings. Rafi infuses the song with his characteristic tenderness, underlined by a note of teasing.

——xxxx——

 O – O duniya ke rakhwale
Baiju Bawra (195)
Music: Naushad
Lyrics: Shakeel Badayuni
Picturised on: Bharat Bhushan

O duniya ke rakhwale is deservedly a classic – the meld of music, lyrics and singing, as I have noted before, is simply breathtaking. Based on the legend of Baiju, once regarded as a rival to the famed Tansen, the songs, with one exception, were all raga-based. (This song, for instance, is based on Raag Darbari-Kanada.) The score depended heavily on Rafi’s vocal ability and the singer did full justice to the trust reposed in him.

——xxxx——

P – Parvardigar-e-alam
Hatim Tai (1956)
Music: SN Tripathi
Lyrics: Akhtar Romani
Picturised on: P Jairaj

Many good songs languish in obscure films. Hatim Tai, directed by Homi Wadia for Basant Pictures, was a fantasy film based on the legend of Hatim al-Tai, an altruistic sixth-century chieftain. Lyricist Akhtar Romani composed a naat (a devotional song in praise of Allah) that speaks of miracles from the Qur’an and the Old Testament. Rafi’s devotion, always present in the many bhajans he has sung in Hindi films, is in evidence here as well.

——xxxx——

Q – Qismat ke likhe ko mita na sake (with Suraiya)
Duniya (1949)
Music: C Ramchandra
Lyrics: SH Bihari
Picturised on: Suraiya and Karan Dewan?

Rafi sang approximately 80+ songs for C Ramchandra; this low count could be due to the music director’s fondness for Talat Mahmood. However, C Ramchandra has composed some lovely melodies for Rafi, one of which is this duet with Suraiya.

——xxxx——

R – Raat bhar ka hai mehmaan andhera
Sone ki Chidiya (1958)
Music: OP Nayyar
Lyrics: Sahir Ludhianvi
Picturised on: Balraj Sahni

Once again, I’m cheating a little. The song begins with Maut kabhi bhi mil sakti hain/Lekin jeevan kal na milega.  For a change, Sahir writes of hope, of compassion, of encouragement. It’s a song that says that the ill winds that blow today will be gone tomorrow; that new dawns bring with them new beginnings. Pausing on the edge of despair, the woman who hears this song is emboldened by its message that it is the darkest before dawn but that a new life awaits her if only she grasps the opportunity.

——xxxx——

S – Saathi na koi Manzil
Bambai ka Babu (1960)
Music: SD Burman
Lyrics: Majrooh Sultanpuri
Picturised on: Dev Anand

Another song about heartbreak that yet differs from the searing anguish of O door ke musafir. This is a quieter agony, yet equally poignant and Rafi’s voice reflects the pathos.

Wanted for murder, Babu flees to a place far away, not realising that the house he finds himself in is that of the man he murdered. He is warmly welcomed as their long-lost son, Kundan, and is happy to be thought that until he begins to fall in love with the daughter of the house. She is attracted to him as well, but their sibling bond is sacrosanct. And even after she learns he is not her brother, the improbability of their relationship receiving social sanction throws both of them into despair.

——xxxx——

T – Toote hue khwaabon ne
Madhumati (1958)
Music: Salil Choudhuri
Lyrics: Shailendra
Picturised on: Dilip Kumar

Bimal Roy moved away from ‘realistic’ subjects to film Ritwik Ghatak’s whimsical tale of ill-fated lovers, reincarnation, a vengeful ghost and a love that transcends death. He used light and shadows to heighten the suspense and Shailendra’s lyrics matched the mood.  Salil Choudhury’s music for the film made full use of the folk music of the North East (with the exception of Dil tadap tadap ke which was based on a Polish marching song).

Salilda is one of the few composers of the time who used Rafi sparingly – he sang less than 30 songs under Salilda’s baton. It’s an unfortunate statistic; Rafi could – and did – do full justice to the maverick composer’s complicated melodies. Each song from their collaboration could find a place in any ‘Best of’ list. In Madhumati, Salilda used Rafi for two solos: Listen to the pathos in Rafi’s voice as he gives voice to Anand’s (Dilip Kumar) grief at the death of his beloved, and then listen to the drunken cheerfulness of Jungal mein mor naacha, picturised on Johnny Walker. One cannot believe the same man sang both songs – his voice modulation was different for both actors.

——xxxx——

U – Unke khayaal aaye toh
Lal Patthar (1971)
Music: Shankar-Jaikishan
Lyrics: Hasrat Jaipuri
Picturised on: GM Durrani (and Rajkumar)

One maestro singing for another! Rafi lends his voice to his erstwhile mentor, GM Durrani, himself a legendary singer and music composer for this lovely, lesser-known ghazal. Accompanied for the most part by only a table and a sarangi, it is Rafi’s voice that takes centre stage in this melodious SJ composition. A complex song sung with flawless precision by Rafi who traverses the octaves with seeming ease.

——xxxx——

V – Vrindavan ka Krishn Kanhaiya (with Lata Mangeshkar)
Miss Mary (1957)
Music: Hemant Kumar
Lyrics: Rajinder Krishan
Picturised on: Gemini Ganesan (and Jamuna)

Krishna is loved by everyone in Vrindavan, so why is Radha jealous? What is ostensibly a romantic ‘roothna manana’ song takes on the sweetness of a bhajan in this lovely Rafi-Lata duet. Arun (Gemini Ganesan) is teaching Sita (Jamuna) to sing, much to the distress of Mary (Meena Kumari) and Raju (Kishore Kumar).

I never fail to be amazed at how well Rafi could modulate his voice; here, he’s singing for Gemini Ganesan and his voice does not sound at all like it does when he sings for Dilip Kumar, Dev Anand or Shammi Kapoor. Except for a song picturised on Kishore (and sung by the actor-singer himself), music director Hemant Kumar chose Rafi as the playback for all the songs picturised on the hero.

——xxxx——

W – Woh bijli hain hum shola
Vallah Kya Baat Hain (1962)
Music: Roshan
Lyrics: Prem Dhawan
Picturised on: Shammi Kapoor

The Roshan-Rafi collaboration is responsible for giving us such gems as Mann re tu kaahe na dheer dhare and Zindagi bhar nahin bhoolegi. This song, a not-as-well-known ditty from Vallah Kya Baat Hain is a very unusual Roshan composition, given his penchant for composing mellow songs in Raag Yaman that envelop you in a soft cocoon of warmth. Upon first listening to this zippy melody, a ‘club song’, one may be forgiven for thinking it was composed by Shankar-Jaikishan or even C Ramchandra. It may not rank as highly as Roshan’s score for Chitralekha or Barsaat ki Raat, or even Taj Mahal, but it does serve as an example of his versatility. The song is, of course, quintessentially Shammi Kapoor.

——xxxx——

Y – Ye duniya ye mehfil
Heer Ranjha (1970)
Music: Madan Mohan
Lyrics: Kaifi Azmi is
Picturised on: Rajkumar

Heer Ranjha was an experimental film. Based on the epic poem, Heer, by Waris Shah, even the dialogues of the film were written in verse. This song, coming immediately after Heer’s forced marriage, is the pathos-laden plaint of a man who has lost all will to live. The orchestration here is rich, complementing Rafi’s voice as it rises in a grief that’s almost too much to bear. Music, lyrics, voice meld into one in this song that is so achingly heartbreaking.

——xxxx——

Z – Zindagi hai kya sun meri jaan
Maya (1961)
Music: Salil Choudhury
Lyrics: Majrooh Sultanpuri
Picturised on: Dev Anand

On the face of it, this should be a simple song – an ice cream seller hawking his wares. But this is Salil Choudhury and Majrooh Sultanpuri we are talking about; the song becomes an exposition on life, with the ice cream an allegory for his heart. The basic melody of the mukhda was inspired from the theme of Limelight (which in turn was inspired by Tchaikovsky’s Piano Concerto No.1 in B Minor), but Salilda’s composition of the antaras and his arrangement of the music made it wholly original.

Rafi sounds inordinately sweet in this lovely melody, so gentle, so mellow. Yet, just listen to how easily – and softly – Rafi traverses the octaves, and you realise that this song is not simple at all – just ‘Salil-da simple’ and it takes someone like Rafi to make it seem so effortless.

It is impossible to choose just a few songs from the repertoire of a singer of whom the Times of India wrote: ‘If there were 101 ways of saying “I love you” in a song, Mohammed Rafi knew them all.‘ And it was not only love songs that were his forte – Rafisaab sang deeply devout bhajans and energetic qawwalis, soulful ghazals and patriotic numbers with equal elan. His voice, combined with his range made him a force to reckon with.

Quietly, as was his wont, Mohammed Rafi cemented a place for himself in the world of Hindi film songs. When posterity looks back upon that golden era, his name will shine forth, not just as a great singer but also a genuinely humble and likeable personality, admired and respected by his peers and the beloved of all who appreciate good music.   

In the words of the inimitable Asad Bhopali:

Mujhko mere baad zamaana dhoondega
Waqt mere geeton ka khazana dhoondega

Mohammed Rafi can have no better epitaph.

Playlist of the A-Z of Rafi songs

Click Rafi@100

for Features & Song Analyses

— The Centenary Tribute Series

Rafi 100 centenary series

Creative Writing

Whether you are new or veteran, you are important. Please contribute with your articles on cinema, we are looking forward for an association. Send your writings to amitava@silhouette-magazine.com

Anuradha Warrier is an editor by profession, a writer by inclination, and is passionate about books, music and films, all of which she writes about on her blog, Conversations over Chai.
All Posts of Anuradha Warrier

Hope you enjoyed reading…

… we have a small favour to ask. More people are reading and supporting our creative, informative and analytical posts than ever before. And yes, we are firmly set on the path we chose when we started… our twin magazines Learning and Creativity and Silhouette Magazine (LnC-Silhouette) will be accessible to all, across the world.

We are editorially independent, not funded, supported or influenced by investors or agencies. We try to keep our content easily readable in an undisturbed interface, not swamped by advertisements and pop-ups. Our mission is to provide a platform you can call your own creative outlet and everyone from renowned authors and critics to budding bloggers, artists, teen writers and kids love to build their own space here and share with the world.

When readers like you contribute, big or small, it goes directly into funding our initiative. Your support helps us to keep striving towards making our content better. And yes, we need to build on this year after year. Support LnC-Silhouette with a little amount – and it only takes a minute. Thank you

Support LnC-Silhouette

Leave a Reply

Your email address will not be published. Required fields are marked *

Silhouette Magazine publishes articles, reviews, critiques and interviews and other cinema-related works, artworks, photographs and other publishable material contributed by writers and critics as a friendly gesture. The opinions shared by the writers and critics are their personal opinion and does not reflect the opinion of Silhouette Magazine. Images on Silhouette Magazine are posted for the sole purpose of academic interest and to illuminate the text. The images and screen shots are the copyright of their original owners. Silhouette Magazine strives to provide attribution wherever possible. Images used in the posts have been procured from the contributors themselves, public forums, social networking sites, publicity releases, YouTube, Pixabay and Creative Commons. Please inform us if any of the images used here are copyrighted, we will pull those images down.