Top 10 best male dancers of Bollywood

The song and dance routine is the forte of Indian Cinema. If love is in the air, there needs to be a song; a misunderstanding, break into a song; a break up, sing a song; well you get the picture right? Many a times you might have also seen that the fate of a film does not really impact the fate of the music in that film. There are some movies that you would rather forget but the songs have been memorable! Its a double whammy if the choreography is a treat to watch. With all due respect to the choreographers. the end result of a music video is purely based on the way a song has been picturised and performed. And thankfully, Bollywood has some amazing dancers.

This is a list of MY favourite bollywood dancers (male). Let me know if you liked. Thanks for stop by!

10. JEETENDRA

Jeetendra, The Jumping Jack was one of those few men in industry who could make the classical dance moves and chest heaving look very manly! "Dhal gaya din ho gayi sham" with Babita and "naino mein sapna" with Sridevi, who can ever forget the videos of these songs!

9. RISHI KAPOOR

Why him? Ask your mother!

8. AKSHAY KUMAR

This man is brilliant in doing stunts. So he adds some stunts while dancing, that makes him one of the best live performers in Bollywood.

7. MITHUN CHAKRABORTY

Eii! Mithun-Da ushered in the eighties with his pelvis grooving to disco beats. One of the most iconic dancers ever.

6. SHAHID KAPOOR

A student of the Shiamak Davar Dance Academy, Shahid was earlier seen as a background dancer in the movie 'Taal'. Showed his brilliant dancing skills in debut movie 'ishk vishk', but took his talent to a different level with a lot of 'oomph' in later movies.

5. JAAVED JAFFERY

One of the country's pioneering breakdancers, Javed brought in modern moves and international styling to the generic Bollywood beats. One helluva performer.

4. PRABHUDEVA

When this man moonwalked his way up north, calling someone spineless actually became a good thing. An unbelievable contortionist and choreographer. A splendid performance in 'Muqabla muqabla'. What did you just say? He's not from Bollywood? just watch 'Que sera sera'. Peace.

3. GOVINDA

Chi-chi handled the most audacious and unthinkable of steps with a naive charm that had made audiences smile, sometimes despite themselves. A great dancer who loved having fun with his talent.

2. SHAMMI KAPOOR

Today, its all about the routine choreography but there was a time when it was the instincts of an actor while listening to the songs that transformed into steps of the dance. Shammi Kapoor, the man whose dance moves we still love to watch. The bobbling of the head, those one legged movements was the trademark steps of the 'larger than life' Shammi Kapoor. Remember 'Aaja aaja' and 'Yahhooo'?

1. HRITHIK ROSHAN

Wow! No surprise, since his Bollywood innings has been characterised by hit songs, trendsetting steps, and feet that can burn up a discotheque. Go Hrithik! As the years passed by, dance became all about technical details, proper finish and attitude. And the man responsible for that- Hrithik Roshan! He proved that men can be as flexible as women and yet look extremely stylish and manly. I don't need to give examples, do I?

Top 10 Gruesome Fairy Tale Origins

Top 10 Gruesome Fairy Tale Origins

"I'll make him an offer he can't refuse"

Mario Gianluigi Puzo (October 15, 1920 – July 2, 1999) was an American author and screenwriter, known for his novels about the Mafia, including The Godfather (1969), which he later co-adapted into a film by Francis Ford Coppola. He won the Academy Award for Best Adapted Screenplay in both 1972, and 1974.

Works:

Novels: The Dark Arena (1955), The Fortunate Pilgrim (1965), The Runaway Summer of Davie Shaw (1966), The Godfather (1969), Fools Die (1975), The Sicilian (1984), The Fourth K (1991), The Last Don (1996), Omerta (2000), The Family (2001, with Carol Gino)

Non-fiction: The Godfather Papers and Other Confessions (1972), Inside Las Vegas (1977)

Quotes by Mario Puzo :

A lawyer with his briefcase can steal more than a hundred men with guns. 

Even the strongest man needs friends. 

Finance is a gun. Politics is knowing when to pull the trigger. 

Friendship and money: oil and water. 

He was a degenerate gambler. That is, a man who gambled simply to gamble and must lose. As a hero who goes to war must die. Show me a gambler and I'll show you a loser, show me a hero and I'll show you a corpse.  

Like many businessmen of genius he learned that free competition was wasteful, monopoly efficient. And so he simply set about achieving that efficient monopoly. 

Never hate your enemies. It affects your judgment. 

The only wealth in this world is children, more than all the money, power on earth. 

What we think of as our sensitivity is only the higher evolution of terror in a poor dumb beast. We suffer for nothing. Our own death wish is our only real tragedy. 

Unforgettable Kishore

Yodelling or singing romantic songs, adding a note of comedy or a dash of sadness, Kishore Kumar could do it all.

Blessed are those who have one exceptional talent. The eccentric Kishore Kumar had several.

To label this maverick as an actor-singer would only tell part of the story. Kishore was also a composer who created some gracious notes in Koi humdum na raha and Thandi hawa ye chandni suhani. He was also a director with an eye for the unusual, the absurd and the sensitive. In an era when genuine wit was rare and comedy the domain of the hero's sidekick, Kishore was the only comic hero. There's more. Kishore was a delightful stage performer who often made other celebrities sharing space with him seem like part of the stage furniture.

The most easily-recalled image of Kishore Kumar is of him smiling with his eyes. But to assume that he sailed through life with a song on his lips and that grin on his face would be erroneous. There was a mysterious stillness beneath the madcap facade.

Twenty years after his death, Kishore Kumar still remains everyone's favourite. His unofficial school of clones keeps growing. Remixes are inconceivable without him. He rules on flashback FM programmes. And if the 156 Orkut communities - one of them has over 86,000 members -which swear by his name are a barometer, Facebook too has fallen for him. Almost 20 years since he passed away on October 13, 1987, Kishore Kumar's voice remains as cool as it's contemporary, endearing both the old and the now.

Kishore once sang. "Zindagi Ke Safar Mein Guzar Jaate Hai Jo Muqaam Woh Phir Nahi Aate." Kishore will never return but his songs will continue to hit airwaves for generations to come.

Ye jo halka halka suroor hai

There are great singers, and then there are those few voices that transcend time. The late Nusrat Fateh Ali Khan could not only transcend time, but also language and religion. There was magic when he opened his mouth, a sense of holy ecstasy that was exciting and emotional. It wasn’t  uncommon even for Western listeners, who didn’t understand a word he was singing or follow his Sufi traditions, to be moved to tears upon hearing him.

Nusrat Fateh Ali Khan (Punjabi: نصرت فتح علی خان (Shahmukhi)) (October 13, 1948 – August 16, 1997) a world-renowned Pakistani musician, was primarily a singer of Qawwali, the devotional music of the Sufis (a mystical tradition within Islam). Considered one of the greatest singers ever recorded, he possessed a six-octave vocal range and could perform at a high level of intensity for several hours.  Extending the 600-year old Qawwali tradition of his family, Nusrat Fateh Ali Khan is widely credited with introducing Sufi music to international audiences. He was popularly known as Shahenshah-e-Qawwali, meaning The King of Kings of Qawwali.

In his improvisations, his voice would soar skyward to heaven, carrying his audience with him. While the core of his work and his life was the Sufi texts, the mystic holy poetry of the spirit, Ali Khan didn’t limit himself to that in his career. He was happy to sing the love poems known as ghazals, to perform vocal exercises, and even lend his talents to Bollywood and Hollywood, to range into ambient and dance music. But none of it was at the expense of his soul.

Even before he became popular on account of Hindi film songs, there were groups of music enthusiasts for whom Nusrat Fateh Ali Khan was a cult figure. The ease with which he fused a Western beat with Eastern tradition won him many fans much before his plagiarised versions hit the Indian market.

Nusrat once told an interviewer: "Our young generation which was brought up abroad is totally ignorant of our culture. They listen to Western music, adopt Western fashions. With my awaaz (voice) I wanted to appeal to them - in our own language in their form..."

Nusrat’s concerts were a celebration of life, and the atmosphere always bordered on the ecstatic. The weighty Khan sat cross-legged with his harmonium beside him and his musical accompanists and chorus singers around him. Each song began with a slow, quiet introductory alaap; from there, a rhythmic pulse began on the tabla. Nusrat gradually wove a web of devotional lyrics and vocal acrobatics, bringing the music to a fever pitch of ecstatically repeated phrases, each slightly different from the others, and then lowered the intensity before taking it to an even higher peak. Almost every note, every beat was emphasised by a hand movement.
Nusrat once told an interviewer that he had decided to become a qawwal after a dream in which he saw himself singing at the shrine of Muinuddin Chisthi in Ajmer. Initially, he said, he dismissed the dream as absurd: no qawwal had ever been allowed to sing inside the Muslim shrine. But when the dream kept recurring, he felt that the sign was too important to ignore. And sure enough, in 1979, he became the first qawwal to be invited to sing at the Ajmer shrine.