Saturday, November 22, 2014

The Myth of the Caliphate

http://www.foreignaffairs.com/articles/142379/nick-danforth/the-myth-of-the-caliphate




                                   The Myth of the Caliphate

                     The Political History of an Idea

                                         By
                               Nick Danforth  





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A caliphate (in Arabic: خلافة‎ khilāfa, meaning "succession") is a form of Islamic political-religious leadership which centers around the caliph—i.e. "successor"—to Muhammad. The succession of Muslim empires that have existed in the Muslim world are usually described as "caliphates".


  • Caliphate - Wikipedia, the free encyclopedia

    en.wikipedia.org/wiki/Caliphate
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  •   More about Caliphate











                      
    November 19, 2014
                         
    Abdulhamid II, who would become the last Ottoman Sultan and Caliph, as a prince in 1867.



    Abdulhamid II, who would become one of the last Ottoman sultans and caliphs, as a prince in 1867.

    (W.&D. DOWNEY / Jebulon)  

               
    In 1924, Turkish leader Kemal Ataturk officially abolished the Ottoman caliphate. Today, most Western discussions of the Islamic State of Iraq and al-Sham (ISIS), the extremist group that has declared a caliphate across much of Iraq and Syria, begin by referencing this event as if it were a profound turning point in Islamic history. Some contemporary Islamists think of it this way, too: there’s a reason, for example, that Lion Cub, the Muslim Brotherhood’s children’s publication, once
    awarded the “Jewish” “traitor” Ataturk multiple first prizes in its “Know the Enemies of Your Religion” contest.



    Even if today’s Islamists reference the Ottomans, though, most of them are much more focused on trying to re-create earlier caliphates: the era of the four Rightly Guided Caliphs, who ruled immediately after Muhammad’s death in the seventh century, for example, or the Abbasid caliphate, which existed in one form or another from the ninth to the thirteenth centuries (before being officially abolished by the Mongols). By conflating the nineteenth-century Ottoman royal family with these caliphs from a millennium ago or more, Western pundits and nostalgic Muslim thinkers alike have built up a narrative of the caliphate as an enduring institution, central to Islam and Islamic thought between the seventh and twentieth centuries. In fact, the caliphate is a political or religious idea whose relevance has waxed and waned according to circumstance.



    The caliphate’s more recent history under the Ottomans shows why the institution might be better thought of as a political fantasy—a blank slate just as nebulous as the “dictatorship of the proletariat”—that contemporary Islamists are largely making up as they go along. (If it weren’t, ISIS could not so readily use the same term to describe their rogue and bloody statelet that Muslim British businessmen use to articulate the idea of an elected and democratic leader for the Islamic world.) What’s more, the story of the Ottoman caliphate also suggests that in trying to realize almost any version of this fantasy, contemporary Islamists may well confront the same contradictions that bedeviled the Ottomans a century ago.



    OTTOMAN REBRANDING

    When the Ottoman Empire conquered Egypt and the Arabian Peninsula in 1517, Sultan Selim the Grim officially claimed the title of caliph for himself and his heirs. In addition to taking control of the cities of Mecca and Medina, Selim bolstered his claim by bringing a collection of the Prophet’s garments and beard hairs back to Istanbul.


    Centuries after the fact, the Ottomans decided that they needed to make the whole process look a little more respectable, so royal historians began to assert that the final heir to the Abbasid caliphate, living in exile in Cairo centuries after losing his throne, had voluntarily bestowed his title on Selim. More practically, the Ottomans buttressed their claim to Islamic leadership by serving as guardians of the hajj and sending an elaborately decorated gilt mantle to cover the Kaaba each year.


    To put the title grab in perspective, when the Ottoman Sultan Mehmed II conquered the Byzantine capital of Constantinople 64 years before Selim conquered Egypt, he had claimed the title Caesar of Rome for his descendants. To the extent that being caliph had any more purchase than being Caesar for the Ottomans in the late nineteenth century, it was largely the result of a political campaign on the part of Sultan Abdulhamid II to rally anticolonial sentiment around the Ottoman state and to boost his own domestic legitimacy. His techniques included seeking to have his name read out at Friday prayers and distributing Korans around the Muslim world from Africa to Indonesia.


    There is no doubt that many Muslims, faced with the triumph of European colonialism in their own countries, did come to admire the idea of a pious and powerful leader like the Ottoman sultan defying Western imperialism on behalf of the entire Muslim world. Certainly, British and French officials expressed increasing fear about his potential power over Muslim colonial subjects in North Africa and India. Although he was eager to try to leverage such fears, however, even Abdulhamid had his misgivings about how much real influence his efforts won him in such far-flung locales.



    One thing that particularly worried him was the fact that not everyone accepted his claims on the caliphate. Separate from those who rallied around Abdulhamid out of religious solidarity were others, motived by Arab nationalism or dissatisfaction with Abdulhamid’s tyranny, who questioned the religious foundation of his rule. Such thinkers, including at some points Rashid   Rida,  justified the creation of a different, Arab caliphate by quoting Muhammad as saying that the true caliph needed to be a descendant of the Prophet’s Quraysh tribe. (The Ottomans, it seems, accepted the validity of this quote but had their own interpretation of it, in which the Prophet actually meant that the caliph didn’t need to be a descendant of the Quraysh tribe.)




    But in either case, the violent politics of the early twentieth century quickly outmatched theology. Despite his best efforts as defender of the faith, Abdulhamid kept losing territory and political power to Christian imperialist forces. That helped the secular leaders of the Young Turk movement, such as Enver Pasha, sideline the sultan and take power for themselves on the eve of World War I. When the Ottoman Empire then enjoyed some military success, belatedly holding its own in the Second Balkan War, Enver became an inspiration to the Muslim world. Indeed, the list of babies reportedly named after him at the time includes Enver Hoxha, the future leader of Albania, and Anwar al-Sadat, the future leader of Egypt.



    ARAB HEIR


    Of course, Enver’s own star faded, too, with the Ottoman defeat at the end of World War I. Ataturk quickly emerged as a new hero by leading a successful campaign to drive French, Italian, British, and Greek armies out of Ottoman Anatolia. Quickly, some of the same politically attuned Muslims who had supported Abdulhamid’s anti-imperial caliphate found even more to admire in Ataturk's armed defiance of European might. In Palestine, for example, Muslims who had once turned to the Ottoman caliph for protection against Zionist settlers and British occupiers began to cheer Ataturk, leading one suspicious British officer to worry that the Turkish figure had become “a new savior of Islam.”



    At the same time, the decline of Ottoman power before, during, and after World War I loaned increasing credence to the idea of a new, non-Ottoman caliph in the Arab world. But it was never entirely clear just who that Arab caliph would be. The result was that when Ataturk finally abolished the institution of the caliphate in 1924, there was no clear or coherent outcry from the Muslim world as a whole. Many Muslims, particularly those in India for whom pan-Islamic symbols such as the caliph were an important part of anticolonialism, protested. Others were more interested in maneuvering to claim the title for themselves.


    Most famous was Husayn ibn Ali, sherif of Mecca, who is known to Lawrence of Arabia fans for his leading role in the Arab Revolt. As the local leader with control of Mecca and Medina—and a supposedly clear line of descent from the Prophet’s tribe—Husayn believed that after driving the Ottomans out of the Middle East, he could become an Arab king, with all the religious and temporal powers of the caliph. In pursuit of this goal, when Ataturk exiled the Ottoman sultan, Husayn invited him to Mecca. (The exiled monarch soon decided he preferred the Italian Riviera.)



    Several years later, Husayn’s son Abdullah—founder of the Jordanian monarchy—would declare that, in ending the caliphate, Turks had “rendered the greatest possible service to the Arabs,” for which he felt like “sending a telegram thanking Mustafa Kemal.” Of course, Husayn’s plans didn't come off exactly as expected. Despite getting British backing for his scheme early in the war, he famously fell afoul of the Sykes-Picot Agreement. The French drove his son out of Syria, and before long, the Saudis drove him out of the Arabian Peninsula. By the time Husayn officially declared himself caliph, supposedly at the insistence of a select group of Muslim leaders, his power had dwindled to the point where the declaration seemed like an act of pure desperation.



    The Egyptian monarchy, meanwhile, had a claim of its own to advance. Despite being closely aligned with the British and descended from Circassian Albanian ancestors with no tie to the Prophet’s family, King Fuad covertly put forward his case to succeed the Ottomans. In the words of one Islamic scholar, Egypt was better suited to the caliphate than, say, a desert nomad like Husayn “because she took the lead in religious education and had a vast number of highly educated and intelligent Muslims.” King Idris I of Libya  also seemed to consider making a bid for the title but, like Fuad, ultimately decided he had too little support to do so officially.



    Saudi Arabia’s King Saud, despite eventually seizing the Holy Land from Husayn, was one of the few leaders who never put forward a claim to the caliphate, although the idea was certainly discussed. Saud was aligned with the Wahhabi movement, which arose as a rebellion against the supposed decadence of the Ottoman government in the eighteenth century. Ironically, although his opposition to the Ottoman-style caliph was shared by other Arabs, his particular brand of religiosity was too radical for him to ever think he had much chance of becoming caliph himself.


    In the end, though, the unseemliness of such political wrangling was just one of the factors that helped put the caliphate discussion to rest for the next several decades. Many Muslims had responded to its abolition by redoubling their efforts to build secular constitutional governments in their own countries. Indeed, some of the strongest opposition to the Egyptian king’s caliphal aspirations came from Egyptian liberals who opposed any moves that would increase the monarchy’s power. Egyptian scholar Ali Abd al-Raziq, in his famously controversial criticism of the very idea of a caliphate, even went so far as to claim

    that the Koran contains “no reference to the caliphate that Muslims have been calling for.”


    This was also the period where a number of thinkers, secularists and religious Muslims alike, began discussing the possibility that the caliph should be a purely religious figure, like an “Islamic pope,” unencumbered by any temporal power.





    A HOPE AND A PRAYER

    It would be a mistake to think that twenty-first-century Islamist movements trying to revive the caliphate are doing so in the name of a clear, well-defined Islamic mandate. Rather, they are just other players in a centuries-long debate about a concept that has only occasionally taken on widespread relevance in the Islamic world.


    The legacy of earlier rounds of this argument can still be felt today. It is no surprise that, as a historical inspiration, the Ottoman caliphate holds most sway among Turkish Islamists, whose nostalgia owes far more to the way Turkish nationalists have glorified the empire than it does to the piety of the sultans. Conversely, the religious legacy of Abd al-Wahhab’s eighteenth-century critique of the Ottoman state, combined with the political legacy of more recent anti-Ottoman Arab nationalism, gives plenty of non-Turkish Islamists ample reason to prefer the precedent of an Arab caliphate.



    By treating the Ottoman caliphate as the final historical reference point for what current Islamists aspire to, Western pundits conflate the contemporary dream of a powerful, universally respected Muslim leader with the late Ottoman sultan's failed dream of becoming such a figure himself. The circumstances uniting these dreams—and the appeal of strong religious power in the face of Western political, military, and economic power—may be the same. But so are the challenges. Contemporary claimants to the title of caliph may quickly find themselves in the same boat as Ottoman caliphs. Political or military success, rather than history or theology, can bring short-lived legitimacy, but failure in these realms will bring other contenders for power.




       

    Sunday, October 12, 2014

    NUKES IN THE SPACE : Threat from Electromagnetic Pulse (EMP) Attack

    Source:
    http://empcommission.org/docs/empc_exec_rpt.pdf
                                                        

                                                   PART - ONE




    Threat  From Electromagnetic Pulse  Attack
                                                      
     
     
     
     
     

    Report of the Commission to Assess the



    Threat to the United States from


    Electromagnetic Pulse (EMP) Attack

    Volume 1: Executive Report


    2004
      

    ABSTRACT


    Several potential adversaries have or can acquire the capability to attack the United States with a high-altitude nuclear weapon-generated electromagnetic pulse (EMP).

     A determined adversary can achieve an EMP attack capability without having a high level of sophistication.

    EMP is one of a small number of threats that can hold our society at risk of catastrophic consequences. EMP will cover the wide geographic region within line of sight to the nuclear weapon. It has the capability to produce significant damage to critical infrastructures and thus to the very fabric of US society, as well as to the ability of the United States and Western nations to project influence and military power.

    The common element that can produce such an impact from EMP is primarily electronics, so pervasive in all aspects of our society and military, coupled through critical infrastructures. Our vulnerability is increasing daily as our use of and dependence on electronics continues to grow. The impact of EMP is asymmetric in relation to potential protagonists who are not as dependent on modern electronics.

    The current vulnerability of our critical infrastructures can both invite and reward attack if not corrected. Correction is feasible and well within the Nation's means and resources to accomplish.


                   FOR FULL DETAILS PLEASE READ HERE



                    http://empcommission.org/docs/empc_exec_rpt.pdf



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                                                          PART - TWO





           Nukes in Space-The Rainbow Bombs  
                         (Published on Jun 18, 2013)

             
    "Nukes in Space" provides an interesting overview of the development of the military space program of missiles and space-based nuclear weapons testing with spectacular, never-before-seen images.

    Starting with the V-1 and V-2, this film takes you through missile development of ICBM's with nuclear warheads, the Cuban Missile Crisis through anti-ballistic missile systems and what implications the they hold for the future of our nation's security.

    During the heart of the Cold War, the United States and the former Soviet Union launched and detonated a combined total of over 20 thermo nuclear weapons in the upper atmosphere and near space region of earth in an effort to test the effects of launching an offense as well as countering an offense. Even during the Cuban Missile Crisis!

    Almost unknown to the public, much of the information on theses tests has been kept secret for over 35 years until recently, when newly declassified test footage and secret government documents obtained from both countries reveals everything from the ICBM to outer space testing to ABM.

    From filmmaker Peter Kuran, creator of the award-winning film "Trinity and Beyond" .
     
     
     
    Narrated by William Shatner. Music performed by the Moscow Symphony Orchestra.http://www.imdb.com/title/tt0206179/

    http://www.vce.com/nukes.html


                                                           PART - THREE

            

      ADDITIONAL BACK GROUND INFORMATION


                 A Very Scary Light Show:

                Exploding H-Bombs In Space

                                                             
          
          Declassified U.S. Nuclear Test Film #62  
                     (Uploaded on Sep 25, 2007 )



    0800062 - Starfish Prime Test Interim Report by Commander JTF-8; Fishbowl Auroral Sequences - Silent; Dominic on Fishbowl Phenomenon -Silent; Fishbowl XR Summary - Silent - 1962 - 1:01:25 - Black&White and Color - Four Films on One Video






    Starfish Prime Test Interim Report by Commander JTF-8 -
    7:45 - Sound - STARFISH PRIME, was one of the high-altitude nuclear tests in the Operation Fishbowl series conducted in the Pacific Proving Ground in 1962. It was launched in the Johnston Island area to an altitude of about 400 kilometers by a Thor rocket and had a yield of 1.4 megatons.


    The test evaluated the capabilities of an antiballistic missile to operate in a nuclear environment and the vulnerability of a U.S. reentry vehicle to survive a nearby nuclear blast. It also provided information on the ability of a U.S. radar system to detect and track reentry vehicles. Another goal was to discern the effects of a high-altitude blast on command and control systems, which were shown to be vulnerable in earlier high-altitude tests. The final goal was to obtain information on the feasibility of testing in outer space.



    Fishbowl Auroral Sequences -
    7:50 - Color - Silent - BLUEGILL and STARFISH were high-altitude nuclear tests, part of Operation Fishbowl, conducted in the Johnston Island area of the Pacific Proving Ground in 1962. These tests produced auroral effects, a special feature of explosions where the extreme brightness of the fireball is visible at great distances. Within a second or two after the burst, a brilliant aurora appears from the bottom of the fireball.


    The formation of the aurora is attributed to the motion, along the lines of the earths magnetic field, of beta particles emitted by the radioactive fission fragments. About a minute after the detonation, the aurora could be observed in the Samoan Islands, 2000 miles from the detonation. These auroras could be seen for approximately 20 minutes. The video shows footage of the auroras from Somoa, Mauna Loa (Hawaiian Islands) and Tongtapu (Tonga Islands) at various film speeds.



    Dominic on Fishbowl Phenomenon -
    1:12 - Color - Silent - Operation Fishbowl was the high-altitude testing portion of a larger Operation Dominic I. This video is a compilation of footage of the five nuclear tests comprising Operation Fishbowl conducted in the Johnston Island area of the Pacific Proving Ground in 1962. A high-altitude burst is one occurring above 100,000 feet. The video does not identify the date, time or name of the tests.


    When a nuclear weapon detonates at a high altitude, many of the effects are attenuated. Most of the x-ray energy is absorbed in the air, which decreases the fireball temperature. Absorption of thermal x-ray energy also decreases the energy available for a shock wave. This all results in the development of a toroidal or donut-shaped cloud instead of the usual mushroom shape of ground or near ground explosions.



    This also shows the auroral effect of high-altitude explosions where the extreme brightness of the fireball is visible at great distances. Within a second or two after the burst, a brilliant aurora appears from the bottom of the fireball. The formation of the aurora is attributed to the motion, along the lines of the earths magnetic field, of beta particles emitted by the radioactive fission fragments. About a minute after the detonation, the aurora can be observed from as far away as 2000 miles. These auroras can be seen for approximately 20 minutes.



    Fishbowl XR Summary -
    34:38 - Black&White - Silent - The video shows the five, rocket-launched, Operation Fishbowl tests at various camera speeds and from different camera locations. Operation Fishbowl was the Department of Defenses high-altitude testing portion of Operation Dominic I, conducted in the Johnston Island area of the Pacific Proving Ground in 1962. In a high-altitude blast, many of the effects are attenuated, resulting in a toroidal or donut-shaped cloud instead of the mushroom cloud from a surface burst. These weapons-effects tests, launched by Strypi, Thor, and Nike Hercules rockets, were as follows:


    STARFISH PRIME, July 9, 400-kilometer altitude, 1.4 megaton


    CHECKMATE, October 20, tens of kilometers altitude, low (less than 20 kt)


    BLUEGILL 3 PRIME, October 26, tens of kilometers altitude, submegaton (less than 1 Mt, but more than 200 kt)


    KINGFISH, November 1, tens of kilometers altitude; submegaton (less than 1 Mt, but more than 200 kt)


    TIGHTROPE, November 4, tens of kilometers altitude, low (less than 20 kt)
    Two goals of these tests were to determine if radiation and blast and heat effects of high- altitude detonations were capable of neutralizing an enemy reentry vehicle and capable of determining the blackout effects on radar and communications of various yields and altitudes of bursts





            
    Since we're coming up on the Fourth of July, and towns everywhere are preparing their better-than-ever fireworks spectaculars, we would like to offer this humbling bit of history. Back in the summer of 1962, the U.S. blew up a hydrogen bomb in outer space, some 250 miles above the Pacific Ocean. It was a weapons test, but one that created a man-made light show that has never been equaled — and hopefully never will. Here it is:

    https://www.youtube.com/watch?feature=player_detailpage&v=9Y8UDupb1Gg









                                          Published on Jul 1, 2014


    High-altitude nuclear explosions (HANE) have historically been nuclear explosions which take place above altitudes of 30 km, still inside the Earth's atmosphere. Such explosions have been tests of nuclear weapons, used to determine the effects of the blast and radiation in the exoatmospheric environment. The highest was at an altitude of 540 km (335.5 mi).

    The only nations to detonate nuclear weapons in outer space are the United States and the Soviet Union. The U.S. program began in 1958 with the Hardtack Teak and Hardtack Orange shots, both 3.8 megatons. These warheads were initially carried on Redstone rockets. Later tests were delivered by Thor missiles for Operation Fishbowl tests, and modified Lockheed X-17 missiles for the Argus tests. The purpose of the shots was to determine both feasibility of nuclear weapons as an anti-ballistic missile defense, as well as a means to defeat satellites and manned orbiting vehicles in space. High-altitude nuclear blasts produce significantly different effects. In the lower reaches of vacuous space, the resulting fireball grows much larger and faster than it does near the ground, and the radiation it emits travels much farther.



    List of high-altitude nuclear explosions


    The debris fireball and aurora created by the Starfish Prime test, as seen from a KC-135 aircraft at 3 minutes.


    The Starfish Prime flash as seen through heavy cloud cover from Honolulu, 1,300 km away.

    United States USA -- Hardtack I -- Johnston Atoll, Pacific Ocean
    Yucca 28 April 1958, 1.7 kt, 26.2 km
    Teak, 1 August 1958, 3.8 Mt, 76.8 km
    Orange, 12 August 1958, 3.8 Mt, 43 km
    United States USA -- Argus -- South Atlantic Ocean
    Argus I, 27 August 1958, 1.7 kt, 200 km
    Argus II, 30 August 1958, 1.7 kt, 240 km
    Argus III, 6 September 1958, 1.7 kt, 540 km (The highest known man made nuclear explosion)
    Soviet Union USSR -- 1961 tests -- Kapustin Yar
    Test #88, 6 September 1961, 10.5 kt, 22.7 km
    Test #115, 6 October 1961, 40 kt, 41.3 km
    Test #127, 27 October 1961, 1.2 kt, 150 km
    Test #128, 27 October 1961, 1.2. kt, 300 km
    United States USA -- Dominic I -- (Operation Fishbowl) -- Johnston Atoll, Pacific Ocean
    Bluegill, 3 June 1962, failed
    Bluegill Prime, 25 July 1962, failed
    Bluegill Double Prime, 15 October 1962, failed
    Bluegill Triple Prime, 26 October 1962, 410 kt, 50 km
    Starfish, 20 June 1962, failed
    Starfish Prime, 9 July 1962, 1.4 Mt, 400 km (The largest man made nuclear explosion in outer space)Checkmate, 20 October 1962, 7 kt, 147 km
    Kingfish, 1 November 1962, 410 kt, 97 km
    Soviet Union USSR -- Soviet Project K nuclear tests -- Kapustin Yar
    Test #184, 22 October 1962, 300 kt, 290 km
    Test #187, 28 October 1962, 300 kt, 150 km
    Test #195, 1 November 1962, 300 kt, 59 km
        




                                                           PART - FOUR

    Some of the images in this video were until recently top secret. Peter Kuran of Visual Concept Entertainment collected them for his documentary Nukes In Space

    If you are wondering why anybody would deliberately detonate an H-bomb in space, the answer comes from a conversation we had with science historian James Fleming of Colby College.


    "Well, I think a good entry point to the story is May 1, 1958, when James Van Allen, the space scientist, stands in front of the National Academy in Washington, D.C., and announces that they've just discovered something new about the planet,"

                                               he told us.


    Van Allen described how the Earth is surrounded by belts of high-energy particles — mainly protons and electrons — that are held in place by the magnetic fields.




    Van Allen belts circling Earth


    There are two Van Allen radiation belts that circle the Earth (shown here in purple): an inner belt and an outer belt. The belts are contained by the Earth’s magnetic field (pictured as gray lines). Red marks a radiation-safe orbit path for satellites.

        NASA 
     
     
     
               
    Today these radiation belts are called Van Allen belts. Now comes the surprise: While looking through the Van Allen papers at the University of Iowa to prepare a Van Allen biography, Fleming discovered "that [the] very same day after the press conference, [Van Allen] agreed with the military to get involved with a project to set off atomic bombs in the magnetosphere to see if they could disrupt it."



    Why Starfish Prime Created Rainbow Skies

    To understand where the colors come from in Starfish Prime, you first have to know a little bit about Earth's atmosphere. Nitrogen and oxygen are the two most abundant gases in our air. The concentration of each gas is different depending on the altitude.
    When Starfish Prime detonated, charged particles — electrons — were released from the explosion. According to NASA astrophysicist David Sibeck, those particles came streaming down through the Earth's atmosphere, energizing oxygen and nitrogen atoms, causing them to glow in different colors.
    But why?
    As electrons collide with the atoms, energy is transferred to the atoms. After holding onto it for a moment, the excess energy is released as light. When many excited atoms release energy together, the light is visible to the naked eye. Depending on the type of atom and the number of atoms, you get different colors.
    It's similar to what causes the aurora borealis, although those electrons are coming from the solar wind pounding into Earth. The electrons first encounter a high concentration of oxygen at the upper reaches of Earth's atmosphere, causing the atoms to release a red light. Then green appears as the electrons travel to lower altitudes where there are fewer oxygen atoms. Even lower, where more nitrogen atoms are present, the collisions throw off a blue light.
    But in the Starfish Prime explosion, charged particles went in every direction. That's why you see the sky filled with a rainbow of colors nearly all at once in the footage. — Meagen Voss



     
                    Discover It, Then Blow It Up


    The plan was to send rockets hundreds of miles up, higher than the Earth's atmosphere, and then detonate nuclear weapons to see:

     a) If a bomb's radiation would make it harder to see what was up there (like incoming Russian missiles!);

     b) If an explosion would do any damage to objects nearby;

    c) If the Van Allen belts would move a blast down the bands to an earthly target (Moscow! for example); and — most peculiar —

    d) if a man-made explosion might "alter" the natural shape of the belts.



    The scientific basis for these proposals is not clear. Fleming is trying to figure out if Van Allen had any theoretical reason to suppose the military could use the Van Allen belts to attack a hostile nation. He supposes that at the height of the Cold War, the most

    pressing argument for a military experiment was, "if we don't do it, the Russians will."

     And, indeed, the Russians did test atomic bombs and hydrogen bombs in space.

    In any case, says the science history professor,

    "this is the first occasion I've ever discovered where someone discovered something and immediately decided to blow it up."




    Code Name: Starfish Prime

    The Americans launched their first atomic nuclear tests above the Earth's atmosphere in 1958. Atom bombs had little effect on the magnetosphere, but the hydrogen bomb of July 9, 1962, did. Code-named "Starfish Prime" by the military, it literally created an artificial extension of the Van Allen belts that could be seen across the Pacific Ocean, from Hawaii to New Zealand.


    In Honolulu, the explosions were front page news.

     "N-Blast Tonight May Be Dazzling: Good View Likely," said the Honolulu Advertiser. Hotels held what they called "Rainbow Bomb Parties" on rooftops and verandas. When the bomb burst, people told of blackouts and strange electrical malfunctions, like garage doors opening and closing on their own. But the big show was in the sky.




     

    Correction July 14, 2010
    In the audio and video versions of this story, it was incorrectly stated that the Starfish Prime bomb was 1,000 times bigger than the atomic bomb dropped on Hiroshima in 1945. Starfish Prime was 100 times bigger than the Hiroshima bomb.

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    Friday, October 10, 2014

    RANGE OF HINDI SONGS 1937 TO 1962










    RANGE  OF  HINDI  SONGS
    1937  TO  1962



    This is the one you do not want to delete!
     
    No need for cds. The whole collection is here!
     
    Just click and enjoy the music.
     
    Whoever has composed this email is just great.
     
    Lot of effort put into it









    Year =Movie =Name Of Song
     

    1937=President =Ek Bangla Bane Nyaara K.L.Saigal
    1938=Street Singer =Babul Mora K.L.Saigal
    1940=Zindagi =So Ja Rajkumari
    1940=Zindagi =So Ja Rajkumari : Lata's Tirbute To Saigal
    1940=Zindagi =Soja Rajkumari
    1943=Tansen =Diya Jalao Jagmag Jagmag - K.L.Sehgal
    1944=My Sister =Do Naina Matware K.L.Saigal
    1945=Pehli Nazar =Dil Jalta Hai Mukesh
    1946=Sahajehan =Jab Dil Hi Toot Gaya K.L.Saigal
    1947=Do Bhai =Mera Sunder Sapna Beet Gaya
    1948=Mela  < Old > =Dharti Ko Aakash Pukare
    1948=Mela  < Old > =Gaaye Jaa Geet Milan Ke
    1948=Mela  < Old > =Yeh Zindagi Ke Mele
    1948=Mela  < Old > =Yeh Zindagi Ke Mele
    < FONT face=Arial color=#808000 size=1>1949=Andaz  < Old > =Hum Aaj Kahin Dil Kho Baithe
    1949=Andaz  < Old > =Jhoom Jhoom Ke Nacho Aaj
    1949=Andaz  < Old > =Tu Kahe Agar
    1949=Barsaat  < Old > =Chhod Gaye Balam
    1949=Barsaat  < Old > =Hawa Mein Udta Jaye
    1949=Barsaat  < Old > ; =Jiya Bekarar Hai
    1949=Barsaat  < Old > =Jiya Beqarar Hai Ai Bahar Hai
    1949=Barsaat  < Old > =Mein Zindagi Mein Hardam Rota Hi Raha Hun
    1949=Dillagi  < Old > =Tu Mera Chand - Suraiya & Shyam
    1949=Dillagi  < Old > =Tu Mera Chand Main Teri Chandni
    1949=Dulari =Suhani Raat Dhal Chuki
    1949=Mahal =Aayega Aa< New >Ala
    1949=Mahal =Ayega A< New >Ala - Lata Mangeshkar
    1950=Baabul  < Old > =Chhod Babul Ka Ghar
    1950=Baabul  < Old > =Chhod Babul Ka Ghar [2]
    1950=Baabul  < Old > =Milte Hi Aankhein
    1950=Malhar =Bade Arman Se Rakhha Hai

    1950=Nirala= Tooti Footi Gaadi
    1951=Albela =Bholi Surat
    1951=Albela =Dhire Se Aaja Ri Akhiyan Mein - Lata Mangeshkar
    1951=Albela =Sham Tale Khidki Tale
    1951=Albela =Shola Jo Bhadke
    1951=Albela =Shola Jo Bhadke
    1951=Awara =Awaara Hoon
    1951=Awara =Awara Hoon
    1951=Awara =Ek Bewafa Sey Pyar Kiya
    1951=Awara =Ghar Aya Mer a Pardesi
    1951=Awara =Hum Tujh Se Muhabbat - Mukesh
    1951=Awara =Jab Se Balam Ghar Aae
    1951=Deedar =Bachpan Ke Din Bhula Na
    1951=Deedar =Hue Hum Jinke Liye Barbad
    1951=Naujawan =Thandi Hawaien
    1951=Sazaa =Tum Na Jane Kis Jahaan Mein Kho Gaye
    1952=Ambar =Song Of Great Legend Mohammad Rafi With Lata
    1952=Anand Math =Jai Jagdish Hare
    1952=Anand Math =Vande Madaram
    1952=Baiju Bawara =Bachpan Ki Mohabat
    1952=Baiju Bawara =Bachpan Ki Mohabbat - Lata
    1952=Baiju Bawara =Bachpan Ki Muhabbat Ko Dil Se Na Juda Karna

    1952=Baiju Bawara =Hari Omraga Malkauns From Film 'Baiju Bawra'
    1952=Baiju Bawara =Jhoole Mein Pawan Ke Aayi Bahar
    1952=Baiju Bawara =Mana Tarapath Hari Darushanko
    1952=Baiju Bawara =Mohe Bhool Gaye Sanvaria 1952=Baiju Bawara =O Duniya Ke Rakhwale 
    1952=Baiju Bawara =Tu Ganga Ki Mauj 
    1952=Baiju Bawara =Tu Ganga Ki Mauj 
    1952=Daag  < Old > =Ae Mere Dil Hai Nadaan 
    1952=Daag  < Old > =Ae Mere Dil Kahin - Male 
    1952=Daag  < Old > =Ae Mere Dil Kahin Aur Chal 
    1952=Do Bhiga Zameen =Mausam Beeta Jaye 
    1952=Jaal =Ye Raat Ye Chandni 
    1952=Jaal =Yeh Raat Yeh Chaandni Phir Kahaan 
    1953=Aah =Chhoti Si Yeh Zindagani 
    1953=Aah =Raja Ki Aayegi Baraat 
    1953=Anarkali =Yeh Zindagi Usi Ki Hai - Lata Mangeshkar 
    1953=Anarkali =Yeh Zindagi Usi Ki He 
    1953=Anarkali =Yeh Zindgi Usiki Hai Part 2 
    1953=Anarkali =Zindgi Pyar Ki Do Char Ghadi 
    1953=Nastik  < Old > =Dekh Tere Sansaar Ki Haalat 
    1953=Patita =Yaad Kiya Dil Ne 
    1953=Patita =Yaad Kiya Dil Ne Kaha Ho Tum 
    1953=Patita =Yaad Kiya Dil Ne Kahaan 
    1954=Aar - Paar =Sun Sun Sun Sun Zalima 
    1954=Aar Paar =Babuji Dheere Chalna 
    1954=Aar Paar =Babuji Dheere Chalna 
    1954=Aar Paar =Kabhi Aar Kabhi Paar Laga Teer - E - Nazar 
    1954=Jagruti =Aao Bachchon Tumhen Dikhayen 
    1954=Jagruti =Cahlo Chalen Ma - Slow 
    < U>1954=Jagruti =De Di Hamen Azadi Bina Khadag 
    1954=Naagin  < Old > =Jadugar Saiyan - With English Sub Title 
    1954=Naagin  < Old > =Man Dole Tan Dole - With English Sub 
    1954=Naagin  < Old > =Mera Dil Ye Pukare - Lata Mangeshkar 
    1954=Naagin  < Ol d > =Mera Dil Yeh Pukare - Lata Mangeshkar 
    1954=Naagin  < Old > =Nagin 1954 Colour Scene 
    1954=Naagin  < Old > =O Zindagi Ke Dene Wale 
    1954=Naagin  < Old > =Tere Dwar Khada Bhagwan 
    1954=Naagin  < Old > =Tere Dwar Khada Ek Jogi 
    1954=Shart =Na Ye Chaand Hoga, Na Taare Rahenge - Geeta Dutt 
    1954=Subah Ka Tara =Chamka - Chamka Subah Ka Taraf 
    1954=Taxi Driver =Jayen To Jayen Kahan 
    1954=Taxi Driver =Jayen To Jayen Kha Lata 
    1955=Baradari =Bhoola Nahi Dena 
    1955=Baradari =Tasveer Banata Hu Talat 
    1955=Bhabhi =Chal Ud Ja Re Panchi 
    1955=Bhabhi =Chal Ud Ja Re Panchi - Part 1 - Mohd Rafi 
    1955=Bhabhi =Chal Ud Ja Re Panchi - Part 2 - Mohd Rafi 
    1955=Bhabhi =Chal Ud Ja Re Panchi 2 
    1955=Bhabhi =Chal Ur Ja Re Panchi 
    1955=Bhabhi =Chali Gori - Hemant Kumar 
    1955=Bhabhi =Chali Gori Pee Ke Milan Ko Chalee. 
    1955=Devdas  < Old > =Balam Aaye Baso K.L.Saigal 
    1955=Devdas  < Old > =Dukh Ke Ab Din K.L.Saigal 
    1955=Dupatta =Chandani Raatain
     
    1955=Dupatta =Chandani Raatain 
    1955=Dupatta =Chandni Raaten Remix 
    1955=House No. 44 =Teri Duniya Me Jeene Se 
    1955=House No. 44 =Teri Duniya Mein Dil Lagata Nahin - Mukesh 
    1955=House No. 44 =Teri Duniya Mein Jeene Se 
    1955=Jhanak Jhanak Payal Baje =Jahanak Jhanak Payal Baje 
    1955=Jhanak Jhanak Payal Baje =Jhanak Jhanak Pāyal Bāje: Rādhā - Krishna Dance - 2 
    1955=Jhanak Jhanak Payal Baje =Jo Tum Toro 
    1955=Jhanak Jhanak Payal Baje =Nain Se Nai n 
    1955=MR. & MRS. 55 =Thandi Hawa Kaali Ghata 
    1955=Munimaji =Jeevan Ke Safar Me 
    1955=Munimaji =Jeevan Ke Safar Mefemale 
    1955=Munimaji =Jeewan Ke Safar Mein Rahi - Lata Mangeshkar 
    1955=Seema =Tu Pyar Ka Sagar Hai
    < A href="http://www.youtube. com/watch? v=5QM8ohMGneY&feature=PlayList&p=7A8A752918180BB0&playnext=1&playnext_from= PL&index=44" rel=nofollow>1955=Seema =Tu Pyar Ka Sagar Hai[2] 
    1955=Shree 420 =Ichak Dana Beechak Dana With English Subs! 
    1955=Shree 420 =Mera Juta Hai Japani 
    1955=Shree 420 =Mera Juta Hai Japani 
    1955=Shree 420 =Pyar Hua Iqrar Hua 
    1955=Shree 420 =Ramaiya Wasta Waiya 
    1955=Shree 420 =Shri 420 - 
    1955=Udan Khatola =Mera Salam Leja 
    1955=Udan Khatola =More Saiyan Ji Utrenge Paar Ho 
    1955=Udan Khatola =O Door Ke Musafir 
    1955=Udan Khatola =O Door Ke Musafir 
    1955=Udan Khatola =Udan Khatola Lata Chorus 
    1955=Yasmin =Bechain Nazar Betaab Jigar - Talat 
    1956=< New > Delhi =Nakhrewali 
    1956=Basant Bahar =Nain Mile Chain Kaha 
    1956=Bhai Bhai =Aae Dil Mujhe 
    1956=Bhai Bhai =Aae Dil Mujhe Bata De F/M Bhai Bhai 
    1956=Bhai Bhai =Ae Dil Mujhe Bata De Tu Kis Pe A Gaya He 
    1956=C.I.D.  < Old > =Aankhon Hi Aanknon Mein 
    1956=C.I.D.  < Old > =Ankho Hi Ankho Me Ishara Ho Gaya 
    1956=C.I.D.  < Old > =Bhooj Mera Kya Naam Re 
    1956=C.I.D.  < Old > =Boojh Mera Kya Naam Re 
    1956=C.I.D.  < Old > =Kahin Pe Nigahen 
    1956=C.I.D.  < Old > =Yeh Hai Bombay Meri Jaan 
    1956=Chori Chori  < Old > =Aja Sanam Madhur Chandani Me 
    1956=Chori Chori  < Old > =Aja Sanam Madhur Chandni 
    1956=Chori Chori  < Old > =All Line Clear 
    1956=Chori Chori  < Old > =Jahan Mei Jati Hoon 
    1956=Chori Chori  < Old > =Man Bhaawan Ke Ghar 
    1956=Chori Chori  < Old > =Panchhi Banu Udati Phiru 
    1956=Chori Chori  < Old > =Panchi Banu Urti Phiroon 
    1956=Chori Chori  < Old > ; =Rasik Balama 
    1956=Chori Chori  < Old > =Ye Raat Bheegi Bheegi 
    1956=Chori Chori  < Old > =Yeh Raat Bheegi Bheegi 
    1956=Ek Hi Raasta =Sanwale Salone 
    1956=Nau Do Gyarah =Aankhon Mein Kya Jee 
    1956=Paying Guest =Chand Phir Nikla 
    1957=Asha =Ina Mina Dika 
    1957=Baarish =Dane Dane Pe Likha Hai Khane Wale Ka Naam 
    1957=Chandi Puja =Koi Laakh Karay Chaturai - Pardeep Kavi 
    1957=Janam Janam Ke Phere =Zaraa Saamne Aao Tou Chaliye 
    1957=Mother India =Dukh Bhare Din 
    1957=Mother India =Duniya Main Hum Aaye 
    1957=Mother India =Ghunghat Nahin Kholu 
    1957=Mother India =Matwala Jia 
    1957=Mother India =Nagri Nagri Dware Dware 
    1957=Mother India =O Gadiwale 
    1957=Naag Mani =Pinjre Ke Panchhi Re 
    1957=Nau Do Gyarah =Aankhon Me Kya Ji 
    1957=Naya Daur  < Color >=Uden Jab Jab Zulphen Teri 
    1957=Naya Daur =Aana Hai Toh Aaja 
    1957=Naya Daur =Maang Ke Sath Tumhara 
    1957=Naya Daur =Ude Jab Jab Zulfe Teri 
    1957=Naya Daur =Ye Desh Hai Veer Jawano Ka 
    1957=Parvarish =Aansu Bhari Hai - Mukesh 
    1957=Paying Guest =Chhod Do Aanchal 
    1957=Paying Guest =Mana Janab Ne Pukara Nahi 
    1957=Pyaasa =Hum Aap Ki Aankhon Mein 
    1957=Pyaasa =Jaane Woh Kaise Log The
     
    1957=Pyaasa =Jane Woh Kaise Log The 
    1957=Pyaasa =Jine Naaz Heh Hind Par 
    1957=pyaasa =Sar Jo Tera Chakaraye 
    1957=Pyaasa =Ye Duniya Agar Mil Bhi Jaaye 
    1957=Rani Rupmati =Aa Laut Ke Aaja Mere Meet 
    1957=Rani Rupmati =Aa Laut Ke Aaja Mere Meet Lataji 
    1957=Rani Rupmati =Aa Laut Ke Aaja Mere Meet Mukesh 
    1957=Suvarna Sundari =Kuhu Kuhu Bole Koyaliya 
    1957=Suvarna Sundari =Kuhu Kuhu Bole Koyaliya - - Lata Mangeshkar & Mohammad Rafi 
    1957=Tumsa Nahin Dekha  < Old > =Chhup Ne Wale Saamne Aa 
    1957=Tumsa Nahin Dekha  < Old > =Jawaniyan Yeh Mast Mast 
    1958 = Phir Subah Hogi = Vo Subha Kabhi to Aayegi - 1
     
    1958 = Phir Subah Hogi = Vo Subha Kabhi to Aayegi - 2
     
    1958=Adalat =Unko Ye Shikaiat Hai 
    1958=Adalat =Youn Hasratan Ke Daag 
    1958=Amar Deep =Dekh Hame Awaz Na Dena Happy 
    1958=Amar Deep =Dekh Hame Awaz Na Dena Sad 
    1958=Amar Deep =Dekh Humen Awaaj Sad 
    1958=Amar Deep =Dil Ki Duniya 
    1958=Chalati Ka Naam Gaadi =Babu Samjho Ishaare 
    1958=Chalati Ka Naam Gaadi =Ek Ladaki Bheegi Bhaagi Si 
    1958=Chalati Ka Naam Gaadi =Haal Kaisa Hai Janab Ka 
    1958=Chalati Ka Naam Gaadi =Main Sitaron Ka Taraana 
    1958=Chanpakali =Chhup Gaya Koi Re Lata 
    1958=Dilli Ka Thug =Yeh Rate Yeh Mausum 
    1958=Howrah Bridge =Aayiye Mehrbaan 
    1958=Howrah Bridge =Mera Naam Chin Chin Choo 
    1958=Kaagaz Ke Phool =Dekhi Jamane Ki Yaari 
    1958=Kala Pani =Achhaji Mei Hari Chalo 
    1958=Lajwanti = Ek Hans Ka Joda 
    1958=Madhumati =Aaja Re Perdasi 
    1958=Madhumati =Aja Re Pardeshi 
    1958=Madhumati =Bichuwa 
    1958=Madhumati =Dil Tadap Tadap 
    1958=Madhumati =Dil Tadap Tadap Ke 
    1958=Madhumati =Ghadi Ghadi Mora Dil Dhadke 
    1958=Madhumati =Suhana Safar 
    1958=Madhumati =Zhulmi Sang Aankh Ladi 
    1958=Paying Guest =Chhod Do Aanchal 
    1958=Phagun =Ek Pardesi 
    1958=Phagun =Ek Pardesi Mera - Re mix Song . 
    1958=Phagun =Ek Pardesi Mera Dil 
    1958=Phir Subah Hogi =Woh Subah Kabhi To Aayegi 
    1958=Post Box 999 =Neend Na Mujhko Aaye 
    1958=Post Box 999 =Neend Na Mukho Aaye 
    1958=SAMRAAT CHANDRAGUPT =Chahe Paas Ho 
    1958=Solawa Saal =Hai Apna Dil To Awara Hemant Kumar 
    1958=Yahudi =Dil Mein Pyar Ka Tufan 
    1958=Yahudi =Meri Jaan Meri Jaan 
    1958=Yahudi =Yeh Mera Deewanapan Hai 
    1959=Anari  < Old > =Ban Ke Panchi 
    1959=Anari  < Old > =Kisi Ki Muskaraho Ko 
    1959=Anari  < Old > =Kisi Ki Muskurahato 
    1959=Anari  < Old > =Nutan In Anari 1959 - Her Sweetest Scene Of All Time 
    1959=Anari  < Old > =Sab Kuchha Sikha Hamne 
    1959=Anari  < Old > =Tera Ja ana Anari Rajkapoor Nutan 
    1959=Anari  < Old > =Woh Chaand Khila 
    1959=Bedard Zamana Kya Jane =Naina Hai Jadoo Bhare 
    1959=Chhoti Bahen =Jaoon Kahan Bata - Ye Dil - Mukesh 
    1959=Dhool Ka Phool =Dhadak Ne Lagi - - Mahendra Kapoor & Asha Bhosle 
    1959=Dhool Ka Ph ool =Tere Pyar Ka Aasraa 
    1959=Dhool Ka Phool =Tu Hindu Banegana Musalman Banega 
    1959=Didi =Tum Muze Bhool Bhi Jao Sudha Mukesh 
    1959=Dil Deke Dekho =Baar Baar Dekho Shammi Kapoor 
    1959=Dil Deke Dekho =Bade Dil Ke Kale 
    1959=Dil Deke Dekho =Bade Hai Dil Ke Kle 
    1959=Dil Deke Dekho =Dil Deke Dekho 
    1959=Kaagaz Ke Phool =Dekhi Zamaane Ki Yaari 
    1959=Kaagaz Ke Phool =Opening Of Guru Dutt's Film Kaagaz Ke Phool 
    1959=Kaagaz Ke Phool =Waqt Ne Kiya 
    1959=Kaali Topi Lal Rumal =Laagi Chhoote Na - Mohammad Rafi & Lata Mangeshkar 
    1959=Kaali Topi Lal Rumal =Laagi Chhute Na Ab To Sanam 
    1959=Love Marriage =Kahe Jhoom Jhoom Raat - Lata Mangeshkar 
    1959=Love Marriage =Teen Kanastar Peet Peet Kar 
    1959=Main Nashe Mein Hoon =Mujhko Yaaro Maaf Karna - Mukesh 
    1959=Navrang =Holi Clasical 
    1959=Naya Daur =Yeh Desh Hai Veer Jawanon Kaa 
    1959=Quidi No.911 =Mithi Mithi Baatonse - Lata 
    1959=Satta Bazar =Tumhe Yaad Hoga Kabhi Hum Mile The 
    1959=Sujata =Jalte Hain Jiske Liye 
    1959=Sujata =Tum Jo Hamare Meet Na Hote - Mukesh 
    1959=Ujala =Dunia Walon Say Door 
    1959=Ujala =Yaala Yaala 
    1960=Barsaat Ki Raat =Ye Ishq Ishq Ha - Mohd Rafi 
    1960=Barsaat Ki Raat =Ye Ishq Ishq Hai - Part 1 
    1960=Barsaat Ki Raat =Ye Ishq Ishq Hai - P art 2 
    1960=Barsaat Ki Raat =Zindagi Bhar Nahin 
    1960=Barsaat Ki Raat =Zindagi Bhar Nahin Bhoolegi - Mohd Rafi, Lata Mangeshkar 
    1960=Bombai Ka Babu =Chal Re Sujni 
    1960=Bombai Ka Babu =Diwana Mastana 
    1960=Bombai Ka Babu =Sathi Na Koi 
    1960=Chhaliya =Baje Payal Chhun Chhun 
    1960=Chhaliya =Chhalia Mera Naam 
    1960=Chhaliya =Dum Dum Digha Digha Mausam 
    1960=Choudhveen Ka Chand =Chaudhvin Ka Chand 
    1960=Choudhveen Ka Chand =Choudhveen Ka Chand 
    1960=Dil Apana Aur Preet Parai =Ajib Dastan Hai Ye 
    1960=Dil Apana Aur Preet Parai =Dil Apna Aur Preet Parai 
    1960=Dil Apana Aur Preet Parai =Mera Dil Abb Tera O Sajna 
    1960=Dil Bhi Tera Hum Bhi Tere =Muz Ko Is Ki Tanhai Me - Mukesh 
    1960=Ek Phool Char Ka nte =Matwali Naar 
    1960=Ek Phool Char Kante =Matwali Naar Thumak Thumak 
    1960=Hum Hindustani =Chhodo Kal Ki Batein 
    1960=Jis Desh Mein Ganga Bahti Hai =Aa Ab Laut Chale 
    1960=Jis Desh Mein Ganga Bahti Hai =Begani Shadi Me Abdulla Deewana 
    1960=Jis Desh Mein Ganga Bahti Hai =Hoton Pe Sachchai Rehti Hai 
    1960=Jis Desh Mein Ganga Bahti Hai =Jis Desh Mein Ganga Behti Hai 
    1960=Jis Desh Mein Ganga Bahti Hai =O Basanti Pawan Pagal 
    1960=Jis Desh Mein Ganga Bahti Hai =O Basanti Pawan Pagal 
    1960=Kala Baz aar =Apni To Har Aah Ek Toofan Hai 
    1960=Kala Bazaar =Khoya Khoya Chhan 
    1960=Kala Bazaar =Rimjim Ke Tarane Lake Ayee Barsat 
    1960=Kohinoor =Do Sitaron Ka Zameen 
    1960=Kohinoor =Madhuban Mein Radhika 
    1960=Manzi l =Yaad Aa Gayi 
    1960=Manzil =Yaad Aa Gayi Wo Nasheeli - 2 
    1960=Mughal - E - Azam  < Color >=Pyar Kiya To Darna Kya 
    1960=Mughal - E - Azam =Khuda Nigehban Ho 
    1960=Mughal E Azam =Mohe Panghat Pe 
    1960=Mughal E Azam =Mughal - E - Azam 1960=Mughal E Azam =Pyar Kiya Tho Darna Kya Full Video!! 
    1960=Mughal E Azam =Pyar Kiya To Darna Kya Part I 
    1960=Mughal E Azam =Pyar Kiya To With Extra 
    1960=Mughal E Azam =Teri Mehfil Main 
    1960=Mughal E Azam =Ye Dil Ki Lagi Kum Kya Hogi < BR>1960=Nazarana =Bikhra Ke Zulfein 
    1960=Parakh =O Sajana 
    1960=Saranga =Haan Deewana Hoon Main 
    1960=Saranga =Saranga Teri Yaad Mein 
    1961 = Hum Dono = Dukh Aur Sukh [Abhi Na Jao Chodkar] - Asha
     
    1961 = Junglee = Chahe K oi Muze Jangali Kahe - Long Version
     
    1961=Aas Ka Panchhi =Tum Ruthi Raho Mein Manata Rahun - Lata Mangeshkar & Mukesh 
    1961=Aashiq =Main Aashiq Hoon Baharon Ka 
    1961=Aashiq =O Shama Mujhe Fook De 
    1961=Chhaya =Ankhon Mein Masti 
    1961=Chhaya =Itna Na Mujhse Tu Pyar Badha [2] 
    1961=Chhaya =Itna Na Mujhse Tu Pyar Badha.[Duet] 
    1961=Ganga Jamuna =Do Hanso Ka Joda 
    1961=Ganga Jamuna =Do Hanson Ka Joda 
    1961=Gharana =Husnwale Tera Jawab Nahin Rajendra Kumar & Asha Parekh 
    1961=Hum Dono =Abhi Na Jao Chhod Kar 
    1961=Hum Dono =Abhi Na Jao Chodkar 
    1961=Hum Dono =Allah Tero Naam - Lata - Jaidev 
    1961=Hum Dono =Mai Jindagi Ka Saath Nibhata Chala 
    1961=Hum Dono =Main Zindagi Ka Saath 
    1961 =Jab Pyar Kisi Se Hota Hai  < Old > =Asha Parekh In Jab Pyar Kisi Se Hota Hai 
    1961=Jab Pyar Kisi Se Hota Hai  < Old > =Jiya Ho Jiya Female 
    1961=Jab Pyar Kisi Se Hota Hai  < Old > =Sau Saal Pehle 
    1961=Jab Pyar Kisi Se Hota Hai  < Old > =Yeh Aankhen Uffyumma 
    1961=Jhumroo =Jane De Jane De Ja Ja 
    1961=Jhumroo =Koi Door Se Awaaz De - Geeta Dutt 
    1961=Jhumroo =Koi Humdam Na Raha 
    1961=Jhumroo =Thandi Hawa, Yeh Chaandni 
    1961=Junglee =Chahe Koi Muze Janglee Kahe 
    1961=Junglee =Din Sara Guzara Tore Angana 
    1961=Junglee =Ehsaan Tera Hoga - Lat a Mangeshkar 
    1961=Junglee =Ja Ja Ja Mere Bachpan 
    1961=Junglee =Nain Tumhare Mazedar 
    1961=Maya =Koi Sone Ke Dilwala 
    1961=Modern Girl =Ye Mausam Rangin Sama 
    1961=Modern Girl =Yeh Mausam Rangee n Sama 
    1961=Nazarana =Ek Woh Bhi Diwaali Thi - Mukesh 
    1961=Oomar Qaid =Mujhe Raat Din 
    1961=Passport =Saze Dil Chhed De 
    1961=Professor =Aye Goolbadan 
    1961=Pyaar Ka Saagar =Mujhe Pyaar Ki Zindagi 
    1961=Pyaar Ka Saagar =Sada Khush Rahe Tu Jafa Kar< New >Ale 
    1961=Pyaar Ka Saagar =Wafa Jinse Ki - Mukesh 
    1961=Reshmi Rumaal =Gardish Main Hoon Taare - Mukesh 
    1961=Sanjog =Woh Bhooli Daastaan 
    1961=Sasural =Ek Sawal Main Karun Rajendra Kumar 
    1961=Sasural =Jana Tumhare Pyar Mein Shobha Khote & Mehmood 
    1961=Sasural =Sataale Aye Jahan Mukesh 
    1961=Sasural =Teri Pyaari Pyaari Surat Rajendra Kumar & Saroja Devi 
    1961=Sasural =Teri Surat Se Nahin Milti Joy Mukherji 
    1961=Surayya =Bachpan Beeta Ayi Jawani 
    1961=Zabak =Teri Duniya Se Door
     
    1962=Aashiq =Mahtaab Tera Chehera - Lata Mangeshkar & Mukesh 
    1962=Anapadh =Aap Ki Nazaron Ne Samjha 
    1962=Anapadh =Jiya Le Gayo Ji Mora Sanvaria 
    1962=Asali Nakali =Tujhe Jeevan Ki 1962=Baat Ek Raat Ki =Na Tum Hamen Jaano 
    1962=Baat Ek Raat Ki =Na Tum Hamen Jano - Male 
    1962=Baat Ek Raat Ki =Na Tum Hamen Jano Female 
    1962=Bees Saal Baad  < Old > =Bekaraar Karke Hume 
    1962=Bees Saal Baad  < Old > =Beqarar Karke Hamen 
    1962=Bees Saal Baad  < Old > =Beqarar Karke Humey Yoon Na Jayiye 
    1962=Bees Saal Baad  < Old > =Kahein Deep Jale Kahein Dil 
    1962=Bees Saal Baad  < Old > =Sepne Suhane 
    1962=Dil Tera Deewana =Dil Tera Deewana Shammi Kapoor & Mala Sinha 
    1962=Dil Tera Deewana =Mujhe Kitna Pyaar Hai Shammi Kapoor & Mala Sinha
     



    With Best Wishes,