I have done a long stint in the Indian Navy that lasted for nearly thirty seven years; I rose as far as my somewhat rebellious and irreverent nature allowed me to. On retirement, in Feb 2010, the first thing that occurred to me, and those around me, was that I Flew Over the Cuckoo's Nest (you will find an article with this title in this blog) and hadn't lost all my noodles and hence thought of a blog titled 'This 'n That'. I later realised that every third blog is called 'This 'n That' and changed the name to 'Sunbyanyname'. I detest treading the beaten track. This blog offers me to air 'another way' of looking at things. The idea is not just to entertain but also to bring about a change. Should you feel differently, you are free to leave your comments. You can leave comments even when you agree and want to share your own experience about the topic of the blog post. Impudent or otherwise, I have never been insousciant and I am always concerned about the betterment of community, nation and the world. I hope the visitors of this blog would be able to discern it.
रफी साहब जैसा गायक ना हुआ है ना हो सकता है,
उनकी याद में हर एक सिर्फ पलकें भिगो सकता है l
मुझ जैसा नाचीज़ उनके मोहब्बत के गीत Lyn को सुना के,
कुछ तो दिल के दाग कभी कभी धो सकता है l
सच कहा है, गायकी का जब पूरा हो जाये ज्ञान,
फिर भी हम ज़मीन रहेंगे और वह थे आसमान l
अदाकारी उनकी सिर्फ गीतों में ही नहीं थी,
आदमी तो सब होते हैं, वह थे मिसाली इन्सान l
उनके गीत गाने से रूह को मिलता है सुकून,
हर रफी गायक को रफी का लग जाता है जुनून l
उनकी बुलंद आवाज से गाने की कोशिश में,
साँस तेज़ हो जाती है, चेहरे पे आ जाता है खून l
काश, थोड़ा सा रफी का हुनर हमें भी जाये मिल,
एक अंश उनकी काबलियत का हो जाये हासिल,
हम भी गिने जाएँ लाखों रफी के गायकों में,
उनके मुतरिब-ए-अंदाज़ में हम भी हों शामिल l
उन्हें अपने दोस्त से क्या मिलवाया,
वह उसी के यार बन बैठे l
हमें भूलने में ना लगा उन्हें वक़्त,
अब वह उसी से प्यार कर बैठे l
मेरे गीत सुनने में उन्हें आता था आनंद,
पर अब वह उसी का वादन सुनते हैं l
उसकी हर पोस्ट पे देके कमेन्ट,
अपने सपनो का जाल वह बुनते हैं l
उसकी शोहरत, उसकी काबलियत है मैग्नेट,
उन्हें ले गई है मुझसे काफी दूर l
आपने परवाने की हालत तो देखी होगी,
शमा की लौ जिसे कर देती है मजबूर l
चलो अच्छा हुआ अपने ओ पराये की,
इससे तो हो गई जल्द पहचान l
कुछ तो वक़्त लगेगा उन्हें समझने में,
जितनी ऊंची दुकान, उतना फीका पकवान l
चाहे कोई किसी के कितना भी हो नज़दीक,
खुदगर्जी ही है दुनिया की बुनियाद l
आमला बहुत ज़बरदस्त फल है दोस्तो,
बड़े अर्से के बाद भी देता है स्वाद l
सालों के बाद फिर मिलेंगे सब,
अपने उस छोटे से आशियाने में l
टूटने को जिसे दफ़’अतन न लगा वक़्त,
बरसों लगे थे जिसे बनाने में l
हमें क्या, हम तो हमेशा ही इसी तरह,
तसव्वुर में, वफाई में, हुनर में रहे हैं अमीर l
दिल के दरवाज़े उसी तरह खुले हैं अब भी,
रुसूख़ ओ शोहरत के लिए, नहीं बेचते हैं ज़मीर l
Two of the greatest: Madan Mohan with Mohammad Rafi)
Madan Mohan was born on 25 Jun 1924 at Erbil, Iraqi Kurdistan, where his father Rai Bahadur Chunilal was working as an Accountant General with the Kurdistan Peshmerga forces. Madan Mohan spent the early years of his life in the Middle East. After 1932, his family returned to their home town of Chakwal, then in Jhelum district of Punjab, British India. He joined the Army as a Second Lieutenant in the year 1943. He served there for two years until end of World War II, when he left the Army and returned to Bombay to pursue his musical interests. In 1946, he joined the All India Radio, Lucknow as Programme Assistant, where he came in contact with various artists such as Ustad Faiyaz Khan, Ustad Ali Akbar Khan, Begum Akhtar, and Talat Mahmood.
He was very fond of singing, and so in 1947 he got his first chance to record two ghazals penned by Behzad Lucknawi, Aane Laga Hai Koi Nazar Jalwa Gar Mujhe and Is Raaz Ko Duniya Jaanti Hai. Soon after, in 1948 he recorded two more private ghazals penned by Deewan Sharar, Wo Aaye To Mahfil Mein Ithlaate Huye Aaye and Duniya Mujhe Kahti Hai Ke Main Tujhko Bhoolaa Doon. In 1948, he got his first opportunity to sing a film duet Pinjare Mein Bulbul Bole and Mera Chhotasa Dil Dole with Lata Mangeshkar under composer Ghulam Haider (composer) for the film Shaheed (1948 film), though these songs were never released or used in the film. Between 1948 and 1949, he assisted music composers SD Burman for Do Bhai, and Shyam Sundar in Actress and Nirdosh.
As Music Director, he scored his first big break with the film Aankhen in 1950. He was soon to emerge as a music director par excellence especially for ghazals. Indeed, music director OP Nayyar once said about Madan Mohan that two of his ghazals were better than all that OP Nayyar composed. Some of the best songs of Lata Mangeshkar (she fondly called him “Madan Bhaiyya”) were composed by him on the lyrics of Raja Mehdi Ali Khan and Rajinder Krishan.
Some of my favourite songs of Madan Mohan are: Aaj soch to aansu bhar aaye, Betaab dil ki tamanna yehi hai, Tum jo mil gaye ho (Hanste Zakham 1973), Aapke pehlu mein aa ke ro diye, Naino mein badra chhaye, Jhumka gira re, Tu jahan jahan chalega (Mera Saya 1966), Aapki nazaron ne samajha, Hai isi mein pyaar ki aabru, Vo dekho jala ghar kisi ka (Anpadh 1962), Aapko pyaar chhupane ki buri aadat hai, Tere paas aake mera waqt nikal jaata hai (Neela Akash 1965), Agar mujhase mohabbat hai, Main nigaahen tere chehre se hatayun kaise (Aap Ki Parchhayiyan), Ai mere dil mujhe bata de (Bhai Bhai 1946), Ari vo shokh kaliyon muskara dena vo jab aayen (Jab Yaad Kisi Ki Aati Hai 1967), Baad muddat ke yeh ghadi aayi, Haal-e-dil youn unhe sunaya gaya, Jab jab tumhe bhulaya tum aur yaad aaye, Kisi ki yaad mein duniya ko jhain bhulaye huye, Main teri nazar ka saroor hoon, Phir wohi shaam wohi gham wohi tanhaayi hai, Teri aankh ke aansu pi jaayun, Wo chup rahen to mere dil ke daag jalate hain (Jahan Ara 1964), Hamare baad mehfil mein (Baghi 1953), Bainya na dharo O balma, Ham hain mataa-e-kuchcha-e-bazaar ki tarah, Mai ri main kaase kahun, Tumse kahun ik baat (Dastak, 1970), Bairan neend na aaye mohe (Chacha Zindabad 1959), Basti basti parbat parbat gaata jaaye banjara, Chand madham hai aasman chup hai, Dekh tere Bhagwan ki haalat (Railway Platform 1955), Bhooli hui yaado mujhe itna na satayo, Vo bhooli dastaan lo phir yaad aa gayi (Sanjog 1961), Chanda ja re ja re, Main to tum sang nain mila ke (Manmauji 1962), Chhadi re chhadi kaise gale mein padhi, Dil dhoondata hai fursat ke, Ruke ruke se kadam (Mausam 1975), Chhod kar tere pyar ka daaman, Jao hamane dastaan apni sunaayi, Lag jaa gale ke phir, Naina barse rimjhim rimjhim, Shokh nazar ki bijliyan (Woh Kaun Thi 1964), Do dil toote do dil haare, Doli chadate hi Heer ne bain kiye, Milo na tum to ham ghabraayen, Ye duniya ye mehfil mere kaam ki nahin (Heer Ranjha 1970), Ham chal rahe the wo chal rahe the (Duniya Na Maane 1959), Ham pyar mein jalane waalo ko chain kahan (Jailor 1958), Hamsafar saath apna chhod chale, Tujhe kya sunayun main dilruba (Aakhri Dao 1958), Hamse aaya na gaya, Kaun aay mere man ke dwaare, Meri veena tum bin roye, Tu pyar kare ya thukraye (Dekh Kabira Roya 1957), Har taraf ab yahi afsaane hain, Hai tere saath meri wafa main nahin to kya (Hindustan Ki Kasam 1973), Hoke majbuur mujhe usne bhualaya hoga, Kar chale ham fida, Khelo na mere dil se, Main ye soch kar uske dar se, Zara si aahat hoti hai (Haqeeqat 1964), Husn haazir hai mohabbat ki saza paane ko, Is reshmi paazeb ki jhankar ke sadake, Tere dar pe aaya hoon (Laila Majnu 1976), Ik haseen raat ko dil mera kho gaya, Kabhi ai haqeeqat-e-muntazar, Sapano mein agar mere (Dulhan Ek Raat Ki 1966), Ishq ki garmi-e-jazbaat kise pesh karun. Mere mehboob kahin aur mila kar mujhase, Naghma o sher ki saugat, Rang aur noor ki baraat (Ghazal 1964), Jaa jaa re jaa saajna, Jaana tha hamse door, Unako ye shikayat hai, Youn hasaraton ke daag (Adalat 1958), Kabhi na kabhi kahin na kahin koi na koi to aayega, Mujhe le chalo aaj us jagah, Sawan ke mahine mein (Sharaabi 1964), Koi shikwa bhi nahin koi shikayat bhi nahin (Neend Hamari Khwab Tumhaare 1966), Main paagal mera manwa paagal (Aashiyana 1952), Meri yaad mein tum na aasnu bahana (Madhosh 1951), Na tum bewafa ho na ham bewafa hain (Ek Kali Muskaaye 1958), Sapne mein sajan se do baaten, Do ghadi wo jo paas aa baithe (Gateway Of India 1957), Teri aankhon ke siwa duniya mein rakha kya hai (Chirag 1969), Tumhari zulf ke saaye mein shaam kar loonga (Naunihaal 1967), Tu mere saamne hai teri zulfen hain khuli (Suhagan, 1964), and Vo jo milate the kabhi hamsase deewano ki tarah (Akeli Mat Jaiyo 1963).
When I learnt singing, I soon got to sing Madan Mohan. Here I present six more of his songs that I sang:
Song #13 Har taraf ab yahi afsaane hain
Just like J Om Prakash made many his movies’ titles starting with the letter ‘A’, Chetan Anand made many movies starting with the letter ‘H’: Haqeeqat made after the 1962 Indo China War was the first with the letter ‘H’. It ws followed by Heer Ranjha, Hanste Zakhm, and then Hindustan Ki Kasam. The last one is the 1973 movie from where I have taken this song. The movie depicts the role of Indian Air Force in the 1971 Indo Pak War, in the Western Sector.
Chetan Anand’s preferred actress Priya Rajvansh was the heroine opposite Raaj Kumar who was an IAF pilot in the movie.
As in Haqeeqat, Heer Ranjha, and Hanste Zakhm, Kaifi Azmi was the lyricist, Madan Mohan the composer.
This song was superbly sung by Manna Dey.
Please enjoy: Har taraf ab yahi afsaane hain…
Song #14 Teri Aankhon ke siwa duniya mein rakha kya hai?
This is the kind of song that I would like to sing to Lyn.
Madan Mohan composed it in Raag Jhinjhoti, Tal Dadra.
The director of the 1969 movie Chirag, from where this song is taken, made the lyricist Majrooh Sultanpuri take permission from Faiz Ahmad Faiz to use this line from Faiz’s nazm Mujhse pehli si mohabbat mere mehboob na maang made immortal by the singer Noorjehan.
Mohammad Rafi, as he always did, sang the song so well that it became unforgettable.
Please enjoy: Teri aankhon ke siwa duniya mein rakha kya hai…
Song #15 Tum jo mil gaye hao
Ultra Entertainment has blocked this song (containing snippets of original video) to be displayed here. But, you can click on ‘Watch on YouTube’ and it will take you there to watch.
This is from the 1973 Chetan Anand movie Hanste Zakhm starring Naveen Nischol and Chetan Anand’s favourite heroine Priya Rajvansh.
It is one of the most unique compositions of Madan Mohan on the lyrics of Kaifi Azmi.
The singer, once again, is Mohammad Rafi. Just one line has also been sung by Lata Mangeshkar.
Please enjoy: Tum jo mil gaye hao…
(In case you read the message Video unavailable, please click on Watch on YouTube. Thank you)
Song #16 Main teri nazar ka suroor hoon, tujhe yaad ho ki na yaad ho
The 1964 Vinod Kumar movie Jahan Ara had some of the best songs (ghazals) of Madan Mohan. These were on the lyrics of Rajinder Krishan. Indeed, the success of this movie was largely due to these songs. Mala Sinha in the title role nearly got the Filmfare Award. She enacted emperor Shahjahan’s daughter through his most beloved of four wives: Mumtaz, in whose memory he erected one of the seven Wonders of the World: the Taj Mahal.
When Mumtaz was dying, she took a promise from Jahan Ara that she would look after the father and not marry. She was in love with Mirza Yusuf Changezi (played by Bharat Bhushan). But, their love couldn’t go further because of Jahan Ara’s promise to Mumtaz.
Hence, this song and many others in the movie portraying their predicament and sob-story; eg, Phir wohi shaam wohi gham wohi tanhayi hai, and Teri aankh ke aansu pi jayun.
In this movie, Madan Mohan favoured Taal Mahmood to sing these songs. Mohammad Rafi sang only one: Kisi ki yaad mein duniya ko hain bhulaye huye in Raag Kedar.
Please enjoy: Main teri nazar ka suroor hoon…
Song #17 Yahi hai tamanna tere dar ke saamne
This is from the 1964 Mohan Kumar movie Aap Ki Parchhaiyan starring Dharmendra and Supriya Choudhury.
Madan Mohan stunned us by composing two songs of the movie in the same Raaga and Tal: Darbari Kanada and Dadra. The songs were: Rafi’s Main nigaahen tere chehre se hatayun kaise and Lata’s Agar mujhse muhabbat hai mujhe sab apne gham de do.
Mohan Kumar’s Aap Ki Parchhaiyan suffers from the same malaise that most of the movies of that era did: the second half used to drag on and on without the end in sight. Indeed, whilst watching most of the movies now, one can see the second halves in fast-forward mode. Another such movie was DD Kashyap’s 1961 movie Maya starring Dev Anand and Mala Sinha.
Anyway, most of these had excellent songs.
This was penned by Raja Mehdi Ali Khan and sung by Mohammad Rafi.
Please enjoy: Yahi hai tamanna tere dar ke saamne….
Song #18 Tum bin jeevan kaisa jeevan
This was penned by Kaifi Azmi and composed by Madan Mohan in Raag Hemant, Tal Punjabi Theka (Sitarkhani) for the 1972 Hrishikesh Mukherjee movie Bawarchi with superstar Rajesh Khanna in the title role.
The singer was Manna Dey.
It is one of Madan Mohan’s difficult songs attempted by me.
Please enjoy: Tum bin jeevan kaisa jeevan….
So that this post won’t become too long, I shall end here today. Next time I shall give you another six songs of Madan Mohan sung by me in Part IV.
Our Raj masi ji was 95 years old. We were looking forward to another five
Raj masi ji and Pal masi ji, the eldest and the youngest
years when we would be celebrating her century; the first in our larger family. It was not to be. An early morning call from Daljit mama ji, on Thursday, 13th June 24, followed a few hours later by a call from our adorable Pal (short for Jaspal) masi ji, confirmed the sad news that Raj masi ji left us. An era ended. Memories remain; these will never die.
Raj masi ji was the eldest of the six surviving children (out of ten) of our Pita ji and Beeji (my maternal grandparents); five sisters and a brother. In Indian middle class families and particularly in Punjabi families, a male child was a sought after asset (many years ago I was shocked to read a news item about female fetuses having been discarded in a well in Patiala). Pita ji’s and Beeji’s family is a proud exception. All of us were and are in awe of Raj masi ji and her sisters. Indeed, we the children bonded in the family largely due to the sisters. I don’t remember a single occasion when one of them was heard talking ill of the other(s) even in private. Some of us have tried (purely in jest), but we soon learnt that driving a wedge between them was more difficult than climbing the Everest.
Picture of my Pita ji and Beeji at Urapur
With the present focus (of education) on acquiring as many degrees as possible, particularly from abroad, lets pause to look at the upbringing and education imparted by my ostensibly anpadh Pita ji and Beeji. I would wish that the kind of values and character that they imparted in their children would be a national pursuit. It is not my aim to go into each one of them. I would take just three that my Raj masi ji and her sisters and brother epitomise: One, being forever truthful (in the most holistic meaning of the word); two, finding and implementing solutions to problems; and three, never shirking responsibility.
The entire family was grief stricken when Beeji died. That’s the time when Raj masiji told her siblings: “Maa tanh meri gayi hai; thuade layi tanh main haan (I am the only one who has lost a mother; for all of you I am still here).” This was far from being a vain promise. Throughout her life, Raj masi ji was a mother to her siblings and a godmother to all of us. This particular sense of responsibility was not restricted towards her siblings but towards the larger family of her husband, too. Indeed, the number of people that she nurtured would easily run into hundreds. And when, all of us could stand on our feet, her attention turned to the grandchildren; they received even more love and care than all of us did. A very, very large family got used to the assurance that individual and collective problems conveyed to Raj masi ji were considered resolved.
Through all this, if you are picturing a sad, burdened, and stodgy person, then you don’t know my Raj masi ji. She, with her joie de vivre, wit, and deep-rooted affection for all who came in contact with her, was easily the life of any gathering. This was to be seen at its best during wedding parties. During Lyn and my wedding, for example, she broke into boliyan and gidda with her sisters; our most cherished memory. Her presence at any family gathering promoted laughter, positivity, warmth, and kindheartedness. Raj (Rule) didn’t rule with a heavy hand; but always gently and with enormous compassion.
Picture of my masad ji and masi ji as found in her parent’s house in Urapur
My masad ji, Inder Jeet Singh, was the most blessed and proudest person. Having Raj beside him was so heavenly that all of us felt it all the time. Their loving togetherness was legendary. They easily found ways and means of supporting each other in every which way. We compared them with the best in Indian history and folklore: Radhe Krishna, Heer Ranjha, and Sassi Pannu. An anecdote comes to mind when our family visited them in Pathankot from our town in Mandi (HP) in the year 1961. There were signs of early morning altercation and commotion between them with such clarion calls as: Masad ji: “Main chhadna nahin hain ajj (I am not going to leave (her) alive)”; and Masi ji: “Main bhi nahin chhadna (I, too, am going to kill (him).” Our family crouched in fear that the unthinkable had taken place with our most beloved couple. It, soon, came out that the target of their rage was a cat who used to enter the kitchen and polish off their milk for the day and they were in hot pursuit of the wily feline.
Incidentally, visiting them was a veritable pleasure next only to visiting Pita ji and Beeji in Urapur. In addition to all the familial gup-shup, and fun and frolic, we used to see movies in special boxes of cinema halls (masad ji was a respected Excise and Taxation Officer). In addition to the movies, we used to be served mouth watering snacks and cold Coca-Cola. Two of these movies left quite an impact on me: Hrishikesh Mukherjee’s Anuradha that we saw with them in Phagwara, and DD Kashyap’s Dulhan Ek Raat Ki that we saw in Dalhousie (at that time in Punjab). The first had music by the Bharat Ratna Pandit Ravi Shankar and the second had music by the maestro, Madan Mohan.
My mother (L) with Raj masi ji (R) on her bed in Ludhiana
I am sure that the hundreds of people who were helped in need by Raj masi ji must be talking about their personal, one-to-one relationship with her (masi ji always made each one of us feel special and the only one); but I would like to think that masi ji had the warmest place in her heart for her sister (my mother) Herkrishan and family. I was the first male in the family who cut off my long hair (now many have); something that Sikhs ain’t supposed to do. After that, when I planned to visit Raj masi ji, I was cautioned by relatives to desist from it. Else (knowing what a devoted Sikh she was), she would launch me into outer space like a rocket. I still went to see her. She was as loving and warm as before after I confirmed when she asked, “Nitnem karda hain ki nahin (Do you (still) say your daily prayers as a Sikh)?”
All hell broke out in the family when I married a Catholic girl from the South. Her name, Marilyn, suggested ultra-modern, self and beauty conscious woman. As I said, masi ji attended the wedding. But, my parents were fearful that after the festivities would get over she would pass her judgment that was expected to be severe and taunting. We went together to India Coffee House at Solan. She had the occasion to see Lyn at close quarters as also to engage her in conversation. After we returned home, and when we were expecting the worst, she simply said, “Mainu pata si Ravi di choice galat nahin hovegi (I knew that Ravi’s choice won’t be wrong).”
Picture shows, from L to R: Lyn, Pal masi ji, Raj masi ji, and my mom (Arjun is the centre of attraction as the newborn boy, two weeks after my dad died)
When my dad died suddenly and tragically of a jeep accident on 01 May 1984, the kind of support that we got from Raj masi ji and my cousins was many times more than what she had earlier done for us. We were totally shattered. She visited us many times in Kandaghat all the way from Ludhiana and provided succour in the form of soft loans, use of her car, physical and moral support. There was a time when I went to her house in Ludhiana to obtain one such loan. Whilst I was there a police raid took place (I learnt later that it was masterminded by someone as political vendetta. The ostensible cause, later proved to be totally unfounded, was that her driver had contacts with terrorists). Neither Raj masi ji nor my cousin lost cool even though it was so humiliating and disturbing as the police went around rummaging and chucking things around. As soon as the posse of policemen left, here is the first thing that Raj masi ji said smilingly, “Shukr hai, Ravi, tere loan de paise safe rahe (thank God, Ravi, your loan money is safe).” On my return bus trip with the loan money, I cried; all through the raid, she could only think of my mother and our dire need.
A small mention about the gifts that were showered on us by her. In addition to buying new things for us, I was the recipient of all the clothes that my cousin (six months elder to me) grew out of. My favourite was a woolen sleeveless sweater. It was given to me when I was just 15 years old. I used it for the next 15 years, first as a pullover and later when it faded, as an inner warm vest. It has, now, holes in it. But, a sweater knitted by my Raj masi ji is more dear to me than the three great honours I received in my naval career; so, it is still with me. Finally, when I meet her in God’s house, I am going to tell her to knit me another.
Raj…what an apt name. All through my life she had raj (rule) over my heart and over hundreds of other hearts. It is unlikely to change.
P.S. I am writing this from Mumbai whereas all the albums with my masi ji’s pics are in Kandaghat (Shimla Hills). I have retrieved some of these pics from the Facebook.
P.P.S. More pics for this piece would be put up when I visit Kandaghat.
कहानियाँ बनतीं हैं लहरों की तरह,
झूम के उठती हैं चली जाती हैं l
और हम साहिल पे खड़े सोचते हैं,
चंद यादें हैं जो मन्द मन्द मुस्कराती हैं l
लफ्ज़ साँसों में फंसे यूँ दिखते हैं,
जैसे सूखी ज़ुबाँ कुछ कह ना पाती है l
कोई तो हो जिसे ज़िंदगी बता सके,
रह रह के जो राज़ हमें समझाती है l
अब ना तो वह तूफान, ना वह फ़िज़ायें,
दूर दूर तक गर्म रेत ही नजर आती है l
और वह हसरतें जो उभरती थीं दिल में,
ना वह गाती हैं, ना लुभाती हैं l
खुदा, मेरी जान, मेरे प्यार को रखना सलामत,
मेरी धड़कने उन्हीं से ही थरथराती हैं l
मेरी उम्र मेरी ज़िंदगी भी उन्हें दे देना,
उनके बगैर तो मुझसे एक शब भी ना जीई जाती है l
Nearly forty-weeks of labour,
Three trimesters of increasing pangs,
Anxiety, hopes, desires, and dreams,
And then one fine morning,
In the month of June,
At the Angel Number 666,
The umbilical was finally cut
Between me and my God:
Mother.
Dad said, “He is a Bubble of joy.”
Mom said, “He is the Sun god, Ra.”
The Eleventh Guru
Confirmed the name:
Ravinder or Ravi.
Born in the likeness of God?
Like everyone else?
Ha…
…..and not Ra.
He is…different,
Almost “a maverick.”
Nothing seemed to have
Put him in any known mould.
He can even think
In a world where brilliance
Of learning past knowledge by rote
Counts.
He isn’t just different.
He is evil,
Supercilious,
Egotistical,
Megalomaniac,
Even dangerous.
Actually…..
…..good for nothing.
How can he think
As if he is the only one?
How can he see beyond,
Hear unheard voices?
Travel to places no one dreamt about?
He spurns
Friends, family, society.
We can’t let him live
In a world he calls his own.
He breaks our walls.
He shatters our images.
He is detached, distant, aloof.
Unsociable.
Even anti-social.
It has taken us eons
To build something
We can be proud of:
This society.
This bedrock of civilization.
This paradigm of virtue.
No one,
Not even in the name of creativity
And innovation
Can go beyond.
In our derived and set standards
He is and will always be
A failure..
He will always be…
….good for nothing.
My prayer:
God, in my next life
Don’t give me
A mind that can think,
A heart that can feel.
Just make me a clone,
Of Survival of the Fittest Theory.
And send me on Life’s highway,
Like any other remotely piloted car,
Going generally
In everyone’s direction.
Admired
Loved
Respected
Idolised
Even remembered.
I shall respect all their rules,
And they shall adore me.
From nothingness we emerge,
And into nothingness we go.
But, this way,
The only way,
Tested and tried,
We shall be
Anything, but…
….good for nothing.
Most of us have
Nothing to say.
Silence is gold, and we have
Discovered a mine.
Nay, many mines.
But, look closely.
Our calm and quiet
Are only when others
Suffer and are in pain.
Those tales don’t touch us.
Waters down the mackintosh
Without a moist spot within.
But, own pain is real.
That blood drips agony.
Those piercing nails
Torment more than
Even Christ on the cross.
Every moment is torturous.
I am the world.
When I suffer
My world suffers.
The same world
Whose pangs and woes
Left me untouched.
Nary a whisper of dew
On the petals of my cheeks.
Love is that magic wand.
Me becomes they.
They become us.
There are no pains
Separate and different:
One real and the other imagined.
You feel, you cry.
On the cross you die.
Even when He is the one
Who is nailed.
Everything is real
Within and without.
You own his or her pain.
His world is yours.
Your world is his.
You own the universe.
You’ve never been so rich.
How bizarre it can get:
I am
When I am not.
There are times,
More often than before,
When I feel lonely and sad.
When friends, relatives and circumstances,
Are ranged against me,
Like brothers, cousins, and uncles,
In Mahabharta.
There are times,
When tears want to break out,
Like feral animals from wicket cages.
When everything looks alien,
Everything looks inimical.
When words from either side,
Are chucked as pointed stones.
There are times,
When rose petals have blown away,
Leaving thorns – stark and sharp.
Hopes have dried,
Like the autumn tree leaves.
Darkness of my heart,
Engulfs everything in and around.
There are times,
When nothing seems to work.
Even gods and my guardian angel,
Appear to have deserted me.
With my soul bruised,
My limbs fatigued,
My voice hoarse,
My lips parched,
I whisper, barely audible, “Mom, I need you….”
I hear that loving voice,
Clear and kind,
Even in the howling storm.
It is near me,
It is within me;
My mother, my God,
My Creator, my Protector,
My joy, my succour:
“Kaka, I hear you,
Put your head in my lap,
Close your eyes and rest.
All your problems will go;
I’ll make sure of that.”
Suddenly, I am aware,
Of my dormant strength.
My mother is beside me,
My God is within me.
My tears and sadness,
Despair and despondency,
Problems and evils,
Deceit and chicanery,
Are outwitted and weakened.
There is just serenity,
Hope and happiness.
It’s name is Maa.
(The featured image is a copy of the 1905 painting titled: ‘Mother And Child’ by Gustave Klimt and is housed in National Gallery of Contemporary and Modern Art in Rome since 1912.)
Many of the expressions in the English language are either nautical (that’s how they ruled greater part of the world) or based on the game they invented in the 16th century: cricket. The expression “not cricket” is popularly used to denote: not fair, honest or moral, and in bad, poor, or worst possible taste.
After its inception in 2007, my curiosity got the better of me and I started watching Indian Premier League 2024 matches. Soon, “not cricket” is the expression that came to my mind.
Michael Holding, the former West Indian cricketer and commentator was asked as to why he chose not to commentate on T20 matches. His response was: “I commentate only on cricket.”
During our era, in a 1964 match against England, Indian all-rounder Bapu Nadkarni bowled a record twenty-one consecutive maiden overs. In today’s game standards, it means that a complete T20 innings would have gotten over without scoring a run. Cut to today, here is a commentary on a bowler: “A very tight over from him; he has just given away only seven runs in this over.”
I also recall that in a test match against the mighty West Indies (I think it was in Dec 1966 in Bombay), Bapu Nadkarni hit a sixer. An excited fan, listening to the commentary on his radio, broke his transistor-radio in excitement. We lost the match thanks to a 400 plus first first innings total by the WI. However, that sixer (a rarity those days) glorified our resistance against the best cricketers in the world. In contrast, the IPL T20 matches are so heavily tilted in favour of the batters that, recently (on 27 Apr 24), in Eden Gardens, in a match between KKR and PBKS, 42 sixes were scored (252 runs in just sixes!) A total of 532 runs were scored in the match; nearly half being in sixes.
Such sixes and fours are because of pitches being especially made batter friendly and the reduced boundaries in length. It has to be a spectacle or a tamasha that wins the moolah for BCCI, the richest cricket club in the world. It is not all; watching the IPL T20 matches over TV has been made into a punishment for the viewers by making them watch advertisements over and over. I can visualise, for example, a man telling us to convert his credit card into CRED UPI, “Please, please, please, please………..please a thousand times, convert your credit card to CRED UPI. It will earn us crores of rupees and may also get you discounts ranging from one to five percent. We are prepared to run this ad for you, the Guantanamo way, of playing it over and over again even in your sleep. Just don’t forget CRED UPI.”
Here is the truth about these ads versus watchability of IPL: with the repeated ads and strategic times-out, we run an over, on an average, in 5 minutes; ie, 50 seconds a ball. As it is, there are only a handful of countries in the world who play cricket. Doesn’t BCCI have any responsibility towards promoting this game, the only game that we actually excel in? How can anyone be interested in watching this game @ 50 seconds a ball? Does money mean everything to BCCI?
One of the most popular ads is that of Kamla Pasand Elaichi, a proxy ad for the unhealthy Pan Masala. Who are the cricketers who have succumbed to the lure for money to these ads for unhealthy products? Well, hold your breath, our cricketing role models: Virendra Sehwag, Sunil Gavaskar, Kapil Dev, and Chris Gayle. What a fall!
Has the IPL tamasha really made us into better players world wide? Aha, we won the ICC T20 World Cup only once in 2007, the inaugural one in South Africa when we bowled out Pakistan for 152 runs in 19.4 overs and won by 5 runs. In 2021 ICC T20 World Cup, the seventh one since its inception in 2007, the highest number of runs, 345 that is, were scored between Australia and New Zealand. Australia made 173/2 in 18.5 overs and won. The team playing second won the cup a total of seven times out of eight. In IPL T20 2004 edition, ever since 27 Mar, when in a match between SRH and MI, more than 500 runs were scored, it has happened four times. Surely, our performance in IPL and the rampant run fest indulged in by our players don’t appear to be helping our abilities and potential in winning the world cup.
In democracies people pay for everything: armies, roads, railways, education, and entertainment. BCCI doesn’t become the richest cricket club in the world without people paying for it, whether in the stadia or on the net. I don’t suppose that BCCI can ascribe credit to itself for befooling all the people all the times. It is only a matter of time before people, at large, realise that IPL T20 tamasha isn’t cricket.
I recall my visit to Spain and curiosity to see a bull-fight. There appeared to be so much of bravado involved in killing a bull in a bull fight until I learnt that what appeared to be sport is primarily a play in three parts (tercios): Tercio de Varas, Tercio de Banderillas, and Tercio de Muerte. In the first two acts, with the help of picadors and banderillas, the bull is sufficiently weakened so that in the final act, an accomplished estocada (swordsman) gives the bull a clean and quick death by thrusting a sword into the already weakened hump in the shoulder. I was among the large percentage of people around the world who see the cruelty of the bull fight only once.
I wonder how many more of IPL T20 matches I shall see before the bull is finally killed?
Just like J Om Prakash made many his movies’ titles starting with the letter ‘A’, Chetan Anand made many movies starting with the letter ‘H’: Haqeeqat made after the 1962 Indo China War was the first with the letter ‘H’. It ws followed by Heer Ranjha, Hanste Zakhm, and then Hindustan Ki Kasam. The last one is the 1973 movie from where I have taken this song. The movie depicts the role of Indian Air Force in the 1971 Indo Pak War, in the Western Sector.
the lyricist Majrooh Sultanpuri take permission from Faiz Ahmad Faiz to use this line from Faiz’s nazm Mujhse pehli si mohabbat mere mehboob na maang made immortal by the singer Noorjehan.
This is from the 1973 Chetan Anand movie Hanste Zakhm starring Naveen Nischol and Chetan Anand’s favourite heroine Priya Rajvansh.
(ghazals) of Madan Mohan. These were on the lyrics of Rajinder Krishan. Indeed, the success of this movie was largely due to these songs. Mala Sinha in the title role nearly got the Filmfare Award. She enacted emperor Shahjahan’s daughter through his most beloved of four wives: Mumtaz, in whose memory he erected one of the seven Wonders of the World: the Taj Mahal.
This is from the 1964 Mohan Kumar movie Aap Ki Parchhaiyan starring Dharmendra and Supriya Choudhury.
Hemant, Tal Punjabi Theka (Sitarkhani) for the 1972 Hrishikesh Mukherjee movie Bawarchi with superstar Rajesh Khanna in the title role.
