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Raj Kapoor was the son of well-known Indian actor Prithviraj Kapoor, who acted both in film and on stage. After apprenticing in the Bollywood production studios of the 1940's, at 24 years of age Raj Kapoor produced, directed and acted in Aag (1948), with his new company, RK Films. His next production, Barsaat (1949), was a smash hit. In 1951, he also produced, directed and starred in Awaara (1951), which was another megahit, and costarred Nargis, who had appeared in Aag and Barsaat. Awaara also gained popular acclaim in Russia, where the movie and songs were dubbed into Russian. The theme song, Awaara Hoon, was popular in the East for many years. Kapoor has been dubbed "a great showman," and a filmmaker in the purest Romantic tradition, as he strove to entertain as well as address social themes close to his heart. Awaara dealt with the question of what forms an individual's moral grounding, ("nurture or nature") while incorporating comedy and stirring love scenes; in Shree 420 (1955) he addressed issues of poverty, unemployment and national pride in the new Indian state at the same time maintaining the audience's interest in the romantic plot. While never revolutionary in tone, many of his films explore the ability of the individual to overcome economic and environmental injustice while maintaining his/her innocence and integrity. He is quoted as believing that the individual's struggles ultimately lead to the desire for love, to care and be cared for. This is consistent with his admiration of Charles Chaplin, and Kapoor's own "tramp" (Awaara, Shree 420, Mera Naam Joker (1970) is modeled somewhat on his mentor, though with a definite individual flair.

His films demonstrate an understanding of music and direction that continue to influence Bollywood filmmaking today. Also a musician, his understanding of the musical feel of his movies gives them a storytelling fluidity equal to that of the best American movie musicals. He surrounded himself with the foremost talents in filmmaking, acting, writing (Kwaja Ahmad Abbas'), music composition (Jaikishan Dayabhai Panchal, 'Shankarsinh Raguwanshi'), and playback singers, including Mukesh, 'Mohamed Rafi', and Lata Mangeshkar. Kapoor continued to make films of varying critical and popular success up until his death in 1988, and apparently considered Mera Naam Joker his personal favorite. He is still a well-known name not only in India, but in the Middle East, SE Asia, and Eastern Europe. His descendants have attempted to continue the RK Films banner.

Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."

Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.

Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.

Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.

The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.

Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.

He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.

Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.

Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.

As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.

He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar you enjoy a certain status. What's the point of venturing out into fields unknown where you have no say? No contact with the subject matter." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.

According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.

At the start of his career, he played supporting or villainous characters in films such as Purab Aur Paschim, Sachaa Jhutha, Aan Milo Sajna, and Mastana in 1970, and in Mera Gaon Mera Desh, Elaan and Aan Milo Sajna in 1971.He got his first break as the solo lead hero in the film Hum Tum Aur Woh (1971), which was followed by the 1971 multi-hero film 'Mere Apne' directed by Gulzar. It was the melodious R.D.Burman composed Rafi-Asha "Sasoan Mein Kabhi" from the film Parchaiyaan in 1972 and from Hum Tum Aur Woh - the Kishore Asha duet Do Bataon Ki Mujhko Hai Tamanna and the solo song Priye Praneswhari where his romantic skills got noticed among audiences.In 1973, his performance as an army officer facing death row in another film scripted and directed by Gulzar, Achanak, was critically acclaimed. The song-less film echoed the true life story of K. M. Nanavati vs. State of Maharashtra and Khanna portrayed Kawas Nanavati, the real life Navy officer.Between 1973 and 1982, Khanna played the lead role in in a number of solo and multi starer movies.In films with 'Rajesh Khanna' as the lead hero, Vinod Khanna always had either the antagonist role or supporting role and not even the parallel lead. These film were Sachaa Jhutha Aan Milo Sajna, Prem Kahani, Kudrat and Rajput. Vinod accepted his roles in Kudrat and Rajput even after he had become a successful solo lead hero himself just due to rapport he shared with Rajesh Khanna. His successful films as solo lead hero include 'Farebi' with Moushumi Chatterjee;Qaid in 1975 and 'Zalim' in 1980, both together with Leena Chandavarkar; and Inkaar in 1978 opposite Vidya Sinha followed by Aap Ki Khatir, Hatyara, Main Tulsi Tere Angan Ki, Khoon Ki Pukar, Taaqat, Jail Yatra, Raajmahal. His successful multi hero films, with him also playing the main lead hero, were Shankar Shambhu,Chor Sipahee and Ek Aur Ek Aur Ek Gyarah, where he appeared together with Shashi Kapoor; in Hera Pheri, Khoon Pasina, Amar Akbar Anthony and Muqaddar Ka Sikandar where he played lead hero with .Amitabh Bachchan; and in Haath Ki Safai and Aakhri Daku where he played lead hero with Randhir Kapoor. He later appeared as lead hero with Sunil Dutt in ,Daku Aur Jawaan.Khanna became a follower of the spiritual teacher Osho (Rajneesh) and left the film industry in 1982 for five years. Though he had stopped ,acting in films in 1982, the films with him as the main lead released in 1982(film-s for which he had completed shooting by the end of the year 1981) like Raj Mahal, Taaqat and the multi star Rajput , where Vinod Khanna played supporting role to main lead heroes Rajesh Khanna and Dharmendra were successful.He returned to Bollywood with Insaaf where he played together with Dimple Kapadia, became a hit.After his comeback he played romantic roles in Jurm and Chandni, but he was mostly offered roles in action films.After he made comeback in 1987, his successful solo hero films released in 1987-88 were Satyamev Jayate, Insaaf , Faisla, Mahaadev, Aakhri Adaalat. Aruna Raje's Rihaee (1990) where he played an emancipated man who accepts his wife's straying and Gulzar's underrated metaphysical melodrama, Lekin (1991) are regarded as his great work.His on screen pair with Meenakshi Seshadhri was widely appreciated and the pair had hits like Satyamev Jayate, Mahaadev,Jurm, Humshakal and Police Aur Mujrim.In the 1990s, Khanna successful solo hero films C.I.D. (1990), Jurm and Humshakal. He appeared in multi-hero casts in films such as Khoon Ka Karz, Police Aur Mujrim, Kshatriya, Insaaniyat Ke Devta, Ekka Raja Rani, Eena Meena Deeka, and the 2002 film Kranti. In 1997 he was the producer for Himalay Putra, in which he also starred, together with his son Akshaye Khanna.

Achala Sachdev was born on 3 May 1920 in Peshawar, North-West Frontier Province, British India. She was an actress, known for Kal Ho Naa Ho (2003), Kabhi Khushi Kabhie Gham... (2001) and Dilwale Dulhania Le Jayenge (1995). She was married to Clifford Douglas Peters. She died on 30 April 2012 in Pune, Maharashtra, India.

Premnath Malhotra was born on 21 November 1926 in Peshawar, North-West Frontier Province, British India. He was an actor and director, known for Johny Mera Naam (1970), Roti Kapada Aur Makaan (1974) and Barsaat (1949). He was married to Bina Rai. He died on 3 November 1992 in Bombay, Maharashtra, India.

A cleft-chinned, steely eyed and virile golden-era film star, Trilok Kapoor shifted from Peshawar to Bombay along with his brother Prithviraj Kapoor in the late 1920s.

He became an overnight star after his debut movie Char Darvesh (1933) in 1933. The 1930s saw him at the peak of his acting ability and his popular appeal, as he often portrayed down-to-earth characters with a carefree attitude. He was known as the epitome of masculinity with his larger than life bravado and knowing smile.

He starred as a romantic hero in movies like Wamaq Arza, Secretary, Pagal, Anath Ashram, and Vishwas. He also starred in the original Baazigar (1938). He was christened the 'Box-Office Prince' after a string of commercially successful historical films.

In 1947, he firmly cemented his status as a golden-era legend by starring as the titular Mirza in Mirza Sahiban (1947) which became the last blockbuster of undivided India. His last memorable role as a romantic lead was Prince Badar in Pyar Ki Baten (1951), opposite Nargis.

He starred as Lord Shiva in the 1955 all-time blockbuster Har Har Mahadev (1950) after which he transitioned into predominantly mythological films, usually paired with Nirupa Roy. He is remembered for his portrayal of Lord Rama Nanabhai Bhatt's Ramayana and some of the era's biggest hits like Shiv Shakti, Waman Avtar, Shiv Kanya, Jai Mahadev, Ganesh Janma, Ganesh Mahima.

He remained busy through the 1970s largely in character roles.

Yasir Hussain is a Pakistani theater, film and television actor, VJ and writer from Islamabad. He begin his career in Karachi by becoming a VJ for Aag TV. He worked as a VJ for two years and then he joined a theater where he started writing and acting in plays. He has written and acted in various plays including Angan Terha, Pawney 14 August and Sawa 14 August. Yasir made his Lollywood debut in the film Karachi Se Lahore written by himself and directed by Wajahat Rauf. Yasir has also acted in television serials including Coke Kahani and Dareecha.

Jayant was born on 15 October 1915 in Peshawar, North-West Frontier Province, British India. He was an actor, known for State Express (1938), Sardar-e-Awwal (1939) and His Highness (1937). He died on 2 June 1975 in India.

Rasheed Naz was a Pakistani film and television actor. He started his television career in 1971 as an actor in Pashto television play and has worked in several Pashto, Hindko and Urdu language plays. His first Urdu play was Aik Tha Gaoon (1973). His first popular play was Namoos. He also worked in Pakistan's first private television play Dasht, telecast on N T M.

In 1988, he worked in his first Pashto film Zama Jang (in Urdu "Meri Jang"). His first Urdu film was Syed Noor's Dakait. He also worked in Shoaib Mansoor's film Khuda Ke Liye. Rasheed Naz also worked in a Shoaib Mansoor's video song "Ishq Mohabbat Apna Pan" with Iman Ali. Aside from that, Raheed Naz also starred in the Bollywood film Baby in 2015 alongside Akshay Kumar, Anupam Kher, and Madhurima Tuli.

Qavi Khan was born on 15 November 1942 in Peshawar, North West Frontier Province, Pakistan. He was an actor and director, known for Roshni (1975), Aangan (2018) and Delhi Gate (2025). He died on 5 March 2023 in Canada.

Yasmeen Khan was born in 1951 in Peshawar, North West Frontier Province, Pakistan. She was an actress, known for Yousuf Khan Sher Bano (1970), Ek Raat (1972) and Ajab Khan Afridi (1971). She was married to Abdul Karim Baloch, Bari Malik and Arifullah. She died on 15 April 1999 in Peshawar, North West Frontier Province, Pakistan.

Kedar Kapoor was born on 2 September 1927 in Peshawar, North-West Frontier Province, British India. He was a director and producer, known for Patanga (1971), Chattan Singh (1974) and Dada (1966). He died on 5 June 1987 in Bombay, Maharashtra, India.

Smt. Kamla Devi Khanna was born in 1926 in Peshawar, Peshawar District, Khyber Pakhtunkhwa, Pakistan. Smt. Kamla Devi died in 1975 in Mumbai, Maharashtra, India.

F.C. Mehra was born on 29 August 1923 in Peshawar, British India. F.C. was a producer, known for Shikari (1963), Elaan (1971) and Professor (1962). F.C. died on 29 July 2008 in Mumbai, Maharashtra, India.

Khyal Mohammad belongs to the Afridi tribe of Pushtuns. He was born in Peshawar in 1946 to a musical family. His brother Saif Ul-Maluk was a popular singer in the 1960s, who often performed on Radio Peshawar. Saif introduced him to the radio station, where he first performed in 1958 at age of thirteen. However, for the next ten years he mainly restricted himself to playing instruments such as the tabla and harmonium. In the late 1960s he began singing and recording ghazals, traditional Pashto poems, a daring gamble since the music scene at that time was dominated by folk music. His style soon became popular in Peshawar and the NWFP.[3] After establishing his name on the local radio, in 1973-74 Khyal Mohammad appeared in his first movie, Dara-i-Khyber, one of the first "Pollywood" Pashto movies. This gave his career a kick-start, and since then he has appeared in many other movies. As his popularity continued to grow, he often toured in Afghanistan, Europe, the UAR and the USA.[4] Over the years he has recorded a volume of music, and has also appeared as a playback singer in many movies, winning many awards. He has been called the Elvis Presley of Pashto music.

Alison De Vere was born on 16 September 1927 in Peshawar, North-West Frontier Province, British India. She was a director and writer, known for Mr. Pascal (1979), The Black Dog (1987) and Yellow Submarine (1968). She was married to Karl Weschke. She died on 2 January 2001 in Cornwall, England, UK.

Lady Hemphill was born in 1931 in Peshawar, Pakistan. She was married to Lord Hemphill. She died on 7 July 2015 in Ireland.

Alamsher LLC is an innovative artist known for pushing boundaries in creative expression. Blending various artistic forms and mediums, Alamsher LLC has developed a distinctive style that resonates across diverse audiences. With a focus on exploring human emotions, societal themes, and abstract concepts, their work often challenges conventional ideas while inviting introspection and deeper thought.

Alamsher LLC's artistry spans a range of mediums including visual art, performance, and digital media, with an emphasis on storytelling and symbolic representation. Whether through solo exhibitions, collaborations, or digital projects, the artist continues to make a profound impact, leaving a lasting impression in the contemporary art world.

Zia Sarhadi was born in 1914 in Peshawar, North West Frontier Province, British India. He was a writer and director, known for Foot Path (1953), Abhilasha (1938) and Madhur Milan (1938). He died on 27 January 1997 in Karachi, Sindh, Pakistan.

Shah Fahad is a Web developer, specializing in WordPress, Linux server administrator, Digital marketing, and Pentesting. He has a worldwide client roster and his work is often featured in website development and hosting servers related. Shah Fahad also has rich experience in Social media marketing and SEO.

Social media is becoming one of the most essential aspects of digital marketing which provides incredible benefits by reaching millions of customers worldwide. They help you to connect with the customers, increase your brand awareness, and boost your leads and sales, says Shah Fahad.

Today we talk about the Shah Fahad, a well-known name in social marketing. The man's story forces you to know about the value of time and management in your life. In this modern era, where the internet spread its area, you can learn about anything within minutes, whereas you can now utilize it as a source of income.

Ahmad Umar Ayaz was born on 1 July 1994 in Peshawar, Khyber Pakhtunkhwa, Pakistan. Ahmad Umar is a writer, known for Araaf (2024).

V.G. Jog was born on 21 February 1920 in Peshawar, North-West Frontier Province, British India. He was an actor, known for Brahmachari (1938), Brandichi Batli (1939) and Brandy Ki Botal (1939). He died on 31 January 2004 in Kolkata, West Bengal, India.