I have this Facebook group called ‘Main Shayar To Nahin‘. Unlike many other groups on Shair-o-Shayari with members running into tens of thousands, I am very cautious about adding members. Following is the description:
“A group for Nazams, Ghazals and Shayari (but not songs). You can either upload your own or of a poet/writer. This is indeed a group for earnest fans of good and serious poetry. YOU SHOULDN’T BE JOINING IT IF YOU ARE ONLY INTO FRIVOLOUS, COPY-PASTE, FAST-FOOD EQUIVALENT IN SHAIR – O – SHAYARI.
Please avoid:
1. Greetings except in poetry.
2. Religious posts including pictures of gods and goddesses.
3. Pornographic, obscene or vulgar stuff.
4. Irrelevant stuff such as sharing phone numbers and ‘Hi, anyone from Pahargang?'”
On the 19 Jan 18, I started with a regular ‘Sher Of The Day’ penned by me. I shall be doing a weekly compilation of those too on this blog. Three days later, on 22 Jan 18, I started with another series ‘Hasya Panktiyan of the Day’. I am doing a weekly compilation of those that are not long enough to stand as separate posts. This is the fourth one:
Hasya Panktiyan of the Day #39
शादी के बाद पड़ गया उनको भी रोना,
जिन्हें बीवी नज़र आती थी चांदी या सोना,
बर्तन और कपड़े धोने में वह माहिर हैं अब,
जिन्हे कभी हाथ तक भी आता न था धोना।
Hasya Panktiyan of the Day #40
रात ख्यालों में वह आयी सांस रुक गयी,
कांपते लबों की प्यास बुझ गयी;
भारी भरकम बदन पेड़ पर जब बैठा,
हर शाख पेड़ की खुद बा खुद झुक गयी।
Hasya Panktiyan of the Day #41
काश उन्हें रोक लेता आने से पहले,
और सोच लेता तसवीर बनाने से पहले;
लेकिन क्या करूँ मेरी किस्मत ही ऐसी थी,
देख लिया उनको मैने नहाने से पहले।
Hasya Panktiyan of the Day #42
ज़ालिम तूने मुझे कर दिया है तबाह,
रात से अब हौले हौले हो गयी है सुबह;
तेरे पैर दबाते दबाते थक गए हैं हाथ,
और यह करने की तू देती नही कोई तनख्वाह।
Hasya Panktiyan of the Day #43
बहुत अरसे से वह आये नहीं इधर,
जो ले गए थे मुझसे उधार,
रह रह के मैं देखता हूँ उधर,
पैसे ले के जहां हुए थे वो फरार।
Hasya Panktiyan of the Day #44
खुदा के बाद उनका ही नाम आता था लब पे,
पर एक दिन उनकी बहन को देख जो लिया;
अब भी बीवी दूसरे नंबर पर ही है,
और साली को कहते हैं: या खुदा, या खुदा।
Hasya Panktiyan of the Day #45
आखिर उसने दे ही दिया नज़राना,
सिखा दिया शौहर को रोटी बनाना;
लेकिन पूरा हुनर उसने फिर भी न दिया,
अपने हाथ में रखा बेलन चलाना।
Today I can share with you as to why I selected Waltzing numbers as the theme of the Live Fest in Kandaghat this year.
The day of the Fest, Saturday, 14th April, coincides with the Festival of Baisakhi or Vaisakhi. On this day, the tenth Guru of the Sikhs, Sri Guru Gobind Singh ji founded the Khalsa Panth. This day also coincides with the harvesting of crops in Punjab and the famous lines: Kanka di muk gayi raakhi, o jatta aayi baisakhi (We have finished looking after the wheat plants; now, baisakhi (harvesting) is there).
Now, you are bound to interject as to what Baisakhi has to do with Waltz. Well, the joy of the jatt(farmer) on harvesting is translated in the men and women getting together and performing the bhangra and the gidda. Both are peasant dances. So is Waltz! Next you are bound to ask me that Waltz is now a sophisticated ballroom dance and how come its origin is peasant dance? It is a fact. The noble of that era in Europe used to dance the minuet but found the close, vigorous, rhythmic dance of the peasants more inviting. Thus the dance called Walzer (German) of the farmers in Bavarai, Tyrol and Styria actually went into the ballrooms of the noble and delighted them. We have many equivalents in India of the elite following in the footsteps of the commoners.
Fests So Far
Our journey of Music Fests is FIVE AND A HALF YEARS old TODAY! Here is a list of Music Fests that we have hosted so far on the group ‘Yaad Kiya Dil Ne’:
1.Dec 2012 – Chand Songs 2.Jan 2013 – ShaamKeGeet 3.Feb 2013 – Dil Ki AwaazBhi Sun 4.Mar 2013 – Boat Scene Songs 5.Mar 2013 – Piano Scene Songs 6.Jun 2013 – Songs of Rain 7.Jul 2013 – Bhajans in Hindi Movies 8.Aug 2013 – Funny, Comical and Anglicized Hindi Songs 9.Sep 2013 – Sadhana Songs 10.Nov 2013 – Mala Sinha Songs 11.Nov 2013 – Story Telling, Kahani, Katha Songs 12.Dec 2013 – Mohammad Rafi Songs 13.Jan 2014 – Complementary Songs (same number repeated by Hero/heroine later in the movie) 14.Feb 2014 – Qawwali Songs 15.Feb 2014 – Nutan Songs 16.Mar 2014 – Bicycle Scene Songs 17.Apr 2014 – Flute Scene Songs 18.May 2014 – Sapna, Khwaab, Dream Songs 19.Jun 2014 – Maa, Maiyya, Mata, Maan Songs 20.Jul 2014 – Raahi or Mussafir Songs 21.Aug 2014 – Patriotic Songs 22.Sep 2014 – Train Scene Songs 23.Sep 2014 – Jeep, Car, Bus, Truck Scene Songs 24.Oct 2014 – Deewana or Paagal Songs 25.Nov 2014 – Hindi Flavour Songs 26.Dec 2014 – Guitar Scene Songs 27.Jan 2015 – Songs With Whistle 28.Jan 2015 II- Zindagi (Happy or Sad) Songs 29.Feb 2015 – Horse (Mule and Donkey too) Scene Songs 30.Feb 2015 II- Flash Rain Scene Songs 31.Mar 2015 – Neend Songs 32.Mar 2015 II- Zamana or Duniya Songs 33.Apr 2015 – Indoor Party Scene Songs 34.May 2015 – ChamanBaagBagiya Songs 35.May 2015 II- ZulfGesu Baal Songs 36.Jun 2015 – BaadalBadra Songs 37.Jun 2015 II- Mujra Songs 38.Jul 2015 – Hawa Songs 39.Aug 2015 – Shraabi Songs 40.Aug 2015 II- Na or Nahin Songs 41.Sep 2015 – ChalChaliChalo Songs 42.Oct 2015 – Kabhi Songs 43.Nov 2015 – Dance Scene Songs 44.Dec 2015 – Mil Milan Songs 45.Jan 2016 – KhushiHansiMuskaan Songs 46.Feb 2016 – GeetGaanaNagmaTaraana Songs 47.Mar 2016 – Bahaar Songs 48.Apr 2016 – Funny Songs 49.May 2016 – Hill Scene Songs 50.Jun 2016 – Ghar Songs 51.Jul 2016 – KahinKahan Songs 52.Aug 2016 – Yellow Dress Songs 53.Sep 2016 – DostDosti Songs 54.Oct 2016 – MeraApnaHamara Songs 55.Nov 2016 – Songs in Headgear 56.Dec 2016 – Ajanabee Songs 57.Jan 2017 – Krishna Songs 58.Feb 2017 – Husn Songs 59.Feb 2017 II- Hot Songs of LataMangeshkar 60.Mar 2017 – Rang, Rangeen Songs 61.Apr 2017 – Raat or Din Songs Live Fest at Kandaghat 62.May 2017 – Aansu Songs 63.Jun 2017 – Koi Songs 64.Jul 2017 – Combination Songs 65.Aug 2017 – Not Held 66.Sep 2017 – Maa Songs 67.Oct 2017 – Chand & Chand Scene Songs 68.Nov 2017 – Bada, Badi, Bade Songs 69.Dec 2017 – Sajan, Sajani Songs 70.Jan 2018 – Drunken Scene Songs 71.Feb 2018 – Ek, Ik, One Songs 72.Mar 2018 – Sridevi Songs
Counting that in the month of August 2017 no Fest was held, the Fest on Waltzing numbers is going to be our 72nd Fest.
Waltz
Waltz is defined as a ‘A gliding dance done to music having three beats to the measure’ or ‘the kind of music suitable for Waltzing’.
The basic Waltz is a box movement as given below:
With a couple, another way to look at the Waltz is:
One last look at Waltz Box before we move on:
For the beginners any number of online classes are available to learn Waltz. Here is one Demo Waltz for the beginners by Michael Thomas:
Waltz in Hollywood Movies and Music
Waltz has been a popular theme of music (and dance) for English movies. One of the most popular has been Lara’s Theme for the David Lean 1966 movie Doctor Zhivago with Omar Sharif in the title role and Julie Christie as Lara Antipova. The leitmotif was later adapted as the number Somewhere My Love and it was very popular indeed:
Another popular number has been Engelbert Humperdinck’s The Last Waltz:
Waltzing Numbers in Hindi Movies (Thanks Anand Desai for helping me with this):
“The Waltz a 3/4 beat or the Time Signature has been a very popular beat among Indian Music directors. The beat is divided into 2 Vibhags or
Cycles of 3 beats each i.e. 3 beats make 1 Bar.. Now since its played in a tempo cycle we call it 3/4 coz you would play it fully twice so have 4 bars.”
Ladies and gentlemen, if you look at the Waltz Box pictures that I provided, you will understand it better.
It is similar to Tal Dadra since that too is a 3 beat Tal divided into 2 Vibhags.
“The Hinch / Khemta or Udaliyo that one hears in Raas Garbas has 6 beats each of two cycles and thus sounds similar but is not the same. Its a variation of the Dadra … Dha tin tin Na dhin dhin again 6 beats make a Bar However one plays the total cycle twice so we have four bars.”
The first known appearance of waltz in a Hindi song is in “Hum Aur Tum AurYehKhushi” from Ali Baba (1940) composed by the legendary Anil Biswas.
Music director Naushad, known for his brilliant Hindustani classical compositions, helped usher the waltz rhythm into Bollywood mainstream as early as with the tragic “Tod Diya DilMera” from Andaz (1949), “Ab Raat Milan Ki” from Jadoo (1951), and “Tara RiYaraRi” from Dastan (1952).
Hats off to Naushad to come up with Waltzing on a very sad number!
Anand Desai and his friends came up with a list of songs in Hindi movies based on the Waltzing beat:
1.Aaja panchhiakelahai
2.Aapkehaseenrukhpeaajnayanoor
3.Agar mujhsemohhobathai
4.Ai dilhaimushkiljeenayahan
5.Bedardibalamatujhkomeramaanyaadkarta
6.Bhanwrekigunjan
7.Chuphaidhartichuphaichandsitare
8.Dilkejharaokomeintujhkobithakar
9.Dilkigirah kholdo chuppnabaitho
10.Dilkinazar se
11.Dilmeinsamagayesaajan
12.Dilbarmere kabtakmujhe
13.Hum aapkiaankhonmein
14.Humnetohdilkoaapkekadmonmein
15.Jeenayahanmarnayahan
16.Jeevan kedin chhotesahi hum bhibade dilwale
17.Kuchh nakaho
18.Lag jaagale kephiryehhaseenraat
19.Mai shayartohnahi
20.Meri neendonmein tum
21.Mud mudkenadekhmud mud ke
22.Na yehchandhoganataarerahenge
23.Pyarkiyehkahanisuno
24.Suniyekahiye
25.Tarariarariarari
26.Tera merapyaramar
27.Tera mujhsehaipehelekanaata
28.Tum jo hue mere humsafar
29.Udhar tum haseenho
30.Yehdil tum bin kahinlagtanahi
31.Yehraateinnayipurani
32.Yehraateinyehmausam
33.Zulfonkohatalechehere se
My own favourite is Bhanwre ki gunjan that I shall be singing during the Fest (even though I hardly know how to sing). I am giving you the movie version of the song. After the Fest, I shall replace it with my own singing:
https://www.youtube.com/watch?v=6aMH-zOmTh8
And now, friends, with this curtain-raiser for the Fest tomorrow, I must rush as my sister from Nagpur Manik will be arriving at the Kandaghat Railway Station shortly with her husband Sreehari and during the evening Vipan Kohli, Jaswant Lagwal and Kavita will arrive from Hamirpur.
I hope you know now as to why I selected this theme (I always have a reason!)
These poems are for my close friend Maj Vishwas Mandloi’s delightful group of tipplers called i-peg. One has to raise a toast to the committed lot for their single-minded aim of spreading cheers!
These poems are for my close friend Maj Vishwas Mandloi’s delightful group of tipplers called i-peg. One has to raise a toast to the committed lot for their single-minded aim of spreading cheers!
A drink at the sunset,
Makes you completely forget,
What you went through the day;
The rogues you met,
Physically and on the net,
Who kept happiness away.
Yes, the day was hard,
It was almost a discard,
That actually came your way;
You were constantly on your guard,
Facing one or the other retard,
Who was hell-bent to have his say.
Now let the drinks glasses clink,
And before anyone can blink,
Everything becomes happy and gay;
Suddenly the surroundings become pink,
And you can say with a wink:
Even after the sunshine one can make hay.
As the first sip goes down,
Say “bye-bye” to your frown,
Don’t let your hair prematurely turn grey;
Wear the king’s crown,
Not that of his clown,
Let a sundowner show you the way.
There are many truths of life,
Some for peace, some for strife,
But a drink a day keeps the doctor away;
So don’t cut your throat with a knife,
Whilst being scared of your wife,
Just enjoy your drink at the end of the day.
Sooner or later we had to come to the innovativeness of this species on earth that is so curious that it is almost enigmatic. Away from the hills and plains, it makes its home at sea and learns to live there with hardly any means of subsistence. At times when the sea is rough, it wretches out its guts until there is nothing more to bring out; and yet, if you ask it its favourite place, it would unerringly point a resolute finger towards the seas, the oceans and beyond.
Yes, ladies and gentlemen, I am talking about The Sailor. The most innovative of this species is the Indian Naval Sailor. He finds a way where none exists!
To cement your realization of this fact, I must tell you about this incident in the year 1976 during the Monsoons. I had just got my watch-keeping ticket on INS Himgiri and suddenly realized that the whole world was waiting for me to finish my under-trainee watch-keeping phase. One of the “whole world” was officiating CO Betwa; who realized that his CO and many of his watch-keeping officers were on leave, when Betwa had to sail for a prolonged sailing called MONEX (Monsoon Exercise). He requested my CO and my CO, always ready to oblige, dispatched me to him for the duration of the MONEX.
It was the toughest sailing I have done. At the dining table, because of constant rolling and pitching, your plates and cutlery would go from one side of the table to the other and you had to wait for your plate to return it to you with the next rolling and pitching. Even at that you had to carefully look at what you were eating; for, if the quantity of gravy in your meat had become more than earlier, chances were that in its journey on the table, someone would have puked in the plate.
Many people never got out of their cabins, lest we should all see the changed colours of their faces.
The officiating CO (actually the XO of the ship) was man of steel and good humour. Rolling and pitching and even cork-screw motions had as much effect on him as water on a duck’s back. He devised ways and means of letting the ship’s company see the humour in those trying conditions. For the officers, he had an interesting story book, in which men and women did many naughty things. He took out the pages of the book and distributed these between the officers. So the trick was to come to the end of the page, when, for example, things were hotting up between a character called Jack and another called Julie and then figure out who would have the next page!
For the sailors too he devised another game. Since, in a cat and mice game, the officers had got the cat end, the sailors had to be content with the mice game. Through the medium of daily orders he announced that anyone catching a mouse would be rewarded with a prize of Five Rupees (which wasn’t peanuts during those days).
Topass (sweeper) First Class Pillai caught the first mouse and was promptly given Rupees Five. For the next few days, we noticed that at about five in the evening, he’d bring a freshly killed rat and collect his Five Rupees and go.
On the fifth day, the XO got suspicious and sent his best spy after Pillai to see if he could…..well, smell the rat.
This super-spy discreetly followed Pillai and half an hour later reported the story to XO and it speaks volumes for the innovativeness of Pillai.
The story was that whilst the XO expected that Pillai would go straight out of his cabin to the ship’s side and get rid of the bandicoot, Pillai took it straight to his mess where a plastic bag awaited him. He packed the rat nicely into the plastic and then in a paper bag and then deposited it in the freezer in the galley. This would now be taken out about 30-45 minutes before going to XO next evening, thawed and readied as a freshly killed rat.
Finding a freshly killed rat, therefore, for Pillai, was less trying than for all of us trying to find the next page about what Jack did to Julie.
On my first birthday, after I went away,
I know you will be miserable and sad,
But today I have something else to say,
I hope that would make each one glad.
Let me start with the eldest of you,
Mona’s husband our dearest Maharaj,
I always loved you, my son Linoo,
You were always the jewel in my taj.
Mona, you have always been a daughter,
That can make any mother proud,
We have shared together tons of laughter,
Sometimes subdued, at others loud.
I am not going to write for you much,
The one nearest, my dear son Ravi,
I know you can write anything as such,
After all, you were born (to me) a kavi.
That brings me to my bahu, my Lyn,
Who shared with me endless love,
I hope that brings, on your face, a grin,
When I shower blessings from above.
JP, my darling, my little “Sweet”,
You were always closest to my heart,
You were there whenever we could meet,
Even death can’t make us apart.
Chuck you came into our lives gently,
I really adored your attitude and skill,
You are smart physically and mentally,
Having you in family was always a thrill.
Let me turn to first of grand and great-grand, Ankur, Simran, Mohiraa and Noor,
Anywhere they went on sea and land, Nani‘s house was never too door (away).
Tiny and Ippy are my favourite darlings,
Can’t describe the joy of being with them,
Whenever they visited I developed wings,
One a diamond and the other a gem.
Samira and Arjunfilled me with elation,
When they tied their knot together,
I would have given them great celebration,
If they had visited Kandaghat ever.
That brings me to my youngest grandson,
One and only Arun-the-great,
There is no one like you under the sun,
You were really worth the wait.
Birthdays are special, I know,
You’d have wanted me to be there,
But look for me wherever you go,
And you’d find me everywhere.
And I would be waving at you, as always,
When you’d leave Whispering Winds, my abode,
Then, waiting for you to return on important days,
My eyes forever fixed on the road.
I am back after a long break caused by my blog having been hacked. It is absolutely alright now and back with you.
The twenty-eighth day of songs in this series.
In the last twenty-seven days, we have taken up songs of thirteen male singers: Talat Mahmood, Manna Dey, Kishore Kumar, Mohammad Rafi, Mukesh, Hemant Kumar, Mahendra Kapoor, SD Burman, KL Saigal, Pankaj Mullick, Jagmohan ‘Sursagar’, Hariharan and Yesudas. We also took up songs of eleven female singers: Lata Mangeshkar, Asha Bhosle, Suman Kalyanpur, Shamshad Begum, Geeta Dutt, Uma Devi (Tun Tun), Suraiya and Zohrabai Ambalewali, Sudha Malhotra, Amirbai Karnataki and Kavita Krishnamurthy. We took up a duet between Mohammad Rafi and Asha Bhosle in the last post. And lastly we took up a Talat Mehmood song: Phir wohi shaam wohi gham wohi tanhaayi hai. After that, on the twenty-sixth day we took up a Kishore Kumar song for Piya Ka Ghar: Ye jeevan hai. The twenty-seventh post was devoted to Shankar Jaikishan Foundation’s Mumbai Meet with the Lata Mangeshkar and Manna Dey song from Raat Aur Din: Dil ki girah khol do.
Today, I am back with Mohammad Rafi with one of the best of Laxmikant Pyarelal from the 1964 Satyen Bose movie Dosti, a movie whose songs made L-P one of the most loved music duos in India and a movie whose songs are still fondly remembered even today. Majrooh Sultanpuri penned the lyrics and L-P composed it in the raaga of my place: Pahadi.
Lets start with the movie. Bombay based Rajshri was founded by Tarachand Barjatya in the year 1947. However, Rajshri Productions Pvt Ltd engaged in films production came about in the year 1962. Its first film Arti, in 1962 was highly acclaimed. However, the grand success of its second production Dosti in 1964 included winning the National Award for Best Feature Film and as many as six Filmfare Awards: Best Film, Best Music Director (the debut Filmfare Award for L-P), Best Story: Ban Bhatt, Best Dialogue: Govind Moonis, Best Playback Singer: Mohammad Rafi for the song I am giving you today, and finally Best Lyricist: Majrooh Sultanpuri for the same song.
Dosti was directed by Satyen Bose. It was Sanjay Khan’s debut film and had Sudhir Kumar Sawant, and Sushil Kumar Somaya in lead roles. The film focuses on the friendship between two boys, one blind and the other a cripple.
Laxmikant Pyarelal started off with 1963 movie Parasmani and they made such popular songs for their very first movie that these are fondly remembered even today:
1.
“Hansta Hua Noorani Chehra”
Asad Bhopali
Lata Mangeshkar, Kamal Barot
3:40
2.
“Mere Dil Mein Halki Si”
Asad Bhopali
Lata Mangeshkar
4:56
3.
“Ooi Maa Ooi Maa Yeh Kya Ho Gaya”
Asad Bhopali
Lata Mangeshkar
3:24
4.
“Salamat Raho Salamat Raho”
Indeevar
Mohammad Rafi
5:57
5.
“Woh Jab Yaad Aaye”
Asad Bhopali
Mohammad Rafi, Lata Mangeshkar
4:43
6.
“Chori Chori Jo Tumse Mili”
Faruk Kaiser
Mukesh, Lata Mangeshkar
4:01
The duet Woh jab yaad aaye was picturised on small time actors Mahipal and Geetanjali. However, even after 55 years, its popularity continues being as strong as it was when the film was released:
The duo that started off so outstandingly well in their very first movie had indeed great future ahead for them. Dosti was only their sixth movie (they did a total of 635 movies between 1963 to 1998) after Parasmani (1963), Harishchandra Taramati (1963), Sati Savitri (1964), Sant Gyaneshwar (1964) and Mr X in Bombay (1964). All these movies too had excellent and memorable songs; eg, Main ek nanha sa main ek chhota sa bachcha hoon and Suraj re jalte rehna from Harishchandra Taramati; Tum gagan ke chandrama ho main dhara ki dhool hoon, Jeevan dor tumhi sang bandhi, Sakhi ri pi ka naam naam na poochho, and Itni jaldi kya hai gori saajan ke sang jaane ki from Sati Savitri; Jaago re prabhat aaya, Jyot se jyot jalaate chalo, and Ek do teen chaar bhaiya bano hoshiyar from Sant Gyaneshwar; Mere mehboob qyaamat hogi, Khoobsurat haseena jaan-e-jaan jaan-e-mann, Chali re chali re gori paniya bharan ko, and Julmi hamaare saanwariya ho Raam from Mr X In Bombay.
The 1964 movie Dosti was a landmark for Laxmikant Pyarelal as the movie’s songs enabled them to receive their first Filmfare Award for Best Music Director. Out of the six songs of the movie, Mohammad Rafi sang six and Lata Mangeshkar sang one. These two playback singers, the best in their fields, stayed with Laxmikant Pyarelal till the end and even sang for them in low budget movies.
Here are the iconic songs that Majrooh Sultanpuri, Laxmikant Pyarelal, Mohammad Rafi and Lata Mangeshkar made together for Dosti:
1.
“Chahoonga Main Tujhe Saanj Savere”
Mohammad Rafi
04:55
2.
“Meri Dosti Mera Pyar”
Mohammad Rafi
04:23
3.
“Rahi Manwa Dukh Ki Chinta”
Mohammad Rafi
04:07
4.
“Mera To Jo Bhi Kadam”
Mohammad Rafi
04:03
5.
“Gudiya Humse Roothi Rahogi Kab Tak Na Hasogi”
Lata Mangeshkar
03:31
6.
“Jaanewalo Zara”
Mohammad Rafi
04:06
Lastly, before we take up the song, lets for a minute talk about the lyricist Majrooh Sultanpuri.
Presently, on my Facebook page Lyrical, I am engaged in covering Lyricist #5: Majrooh Sultanpuri under my RememberingGreat Lyricists series. I have kept my favourite Shakeel Badayuni out of this series since I already have a number of articles and tributes on him.
Majrooh is the fifth of our lyricists who was a contemporary of Shakeel Badayuni. Out of all these six (*including Shakeel), three have been from Uttar Pradesh, which says something about that region producing some great poets and lyricists.
Majrooh Sultanpuri was born on 01 Oct 1919 as Asrar ul Hassan Khan in a Tarin Pashtun family, in Sultanpur, Uttar Pradesh. His father was an officer in the police department, but, preferred to send his son for traditional madrasa (Urdu school) rather than provide him with English schooling.
He tried his hand at being a quack until he was noticed in a mushaira in Sultanpur.
He was a disciple of the great Urdu poet Jigar Moradabadi. When he visited Bombay in 1945 to participate in a mushaira, the director Abdul Rashid Kardar noticed him and invited him to write for the movies. Majrooh turned it down as he looked down upon movies! He was persuaded through his mentor Jigar Moradabadi and then there was no turning back.
Many traditionalists of the Urdu literature, however, felt that Majrooh sold his soul to the Hindi films and that he could have emerged a great poet in the likeness of Ghalib and Jigar.
The takhalus Majrooh means “injured” or “wounded”.
Majrooh was awarded, in 1993, the highest award – Dadasaheb Phalke award – for his lifetime contribution towards lyrics and poetry. He was the first lyricist ever to be given that award. For the film Dosti, that made Laxmikant Pyarelal famous, he was awarded the Filmfare Best Lyricist Award for the song: Chahunga main tujhe saanjh savere.
For someone who didn’t want to join Hindi movies, Majrooh emerged as a natural lyricist, very popular, very romantic and enchanting.
Laxmikant Pyarelal and Majrooh Sultanpuri paired in a number of movies to make songs: Dosti (1964), Mere Lal (1966), Dillagi (1966), Shagird (1967), Patthar Ke Sanam (1967), Duniya Nachegi (1967), Mere Hamdam Mere Dost (1968), Wapas (1969), Pyasi Sham (1969), Meri Bhabhi (1969), Dharti Kahe Pukar Ke (1969), Abhinetri (1970), Jal Bin Machli Nritya Bin Bijli (1971), Bikhre Moti (1971), Ek Nazar (1972), Anokhi Ada (1973), Imtihaan (1974), Mere Sajana (1975), Anari (1975), Aaj Ka Mahatma (1976), Dus Numbri (1976), Master Dada (1977), Kali Raat (1977), Parvarish (1977), Swan Ke Geet (1978), Naach Utha Sansar (1978), Phaansi (1978), Prayaschit (1979), Ladies Tailor (1981), Ek Aur Ek Gyarah (1981), Watan Ke Rakhwale (1987), Janam Janam (1988), Humshakal (1992), Badi Bahen (1993), West is West (2011) and Soundtrack (2011).
These movies that Majrooh and LP did together produced some really enchanting songs such as Bade miyan deewane, Dil wil pyar wyar, Kanha kanha aan padhi, Woh hain zara khafa khafa, Ruk ja aye hawa, and Duniya pagal hai ya main deewana (all from 1967 movie Shagird); Koi nahin hai phir bhi hai mujhako, Tauba ye matwali chaal, Mehboob mere, and Patthar ke sanam (all from 1967 movie Patthar Ke Sanam); Chhalkaye jaam, Chalo sajna jahan taq, Na jaa kahin ab na jaa, Allah ye ada kaisi, Hui shaam unka khyaal aa gaya, Hamen to ho gaya hai pyaar, and Tum jao kahin (all from 1968 movie Mere Hamdam Mere Dost); and Ye kaisa gham sajna and Yaaro mera saath nibhao (both from 1969 movie Pyasi Sham).
Before we take up the song, let me tell you briefly as to how it came about in the movie. Ramu (Sushil Kumar) is a cripple and good at playing harmonica. Thrown out of his home, crippled and penniless, he roams around the streets of Mumbai. Here he comes across Mohan (Sudhir Kumar), a boy who is blind and has a similar tale of woe. Mohan is a singer. Both meet on the streets of Bombay and form a good pair. One day, Ramu gets into trouble for no fault of his own and is bailed out on the condition that he would keep no contact with Mohan. That’s how this song came about.
Please enjoy Mohammad Rafi sing a composition of Laxmikant Pyarelal on the lyrics of Majrooh Sultanpuri, a song from the 1964 Satyen Bose movie Dosti: Chahunga main tujhe saanjh savere….
चाहूँगा मैं तुझे साँझ सवेरे
फिर भी कभी अब नाम को तेरे
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा
देख मुझे सब है पता
सुनता है तू मन की सदा (२)
मितवा …
मेरे यार तुझको बार बार
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा
चाहूँगा मैं तुझे साँझ सवेरे
दर्द भी तू चैन भी तू
दरस भी तू नैन भी तू
मितवा …
मेरे यार तुझको बार बार
आवाज़ मैं न दूँगा, आवाज़ मैं न दूँगा
I have been giving you Songs that Tug at your Emotions, off and on, since 04 Oct 2017. However, I don’t think other songs would tug at your emotions as much as songs of the 1964 movie Dosti that made Laxmikant Pyaralal very famous indeed. It was, first of all, the unlikeliest of the stories to succeed: a cripple and a blind boy; hardly any entertainment there. However, Majrooh, Laxmikant Pyarelal, and Mohammad Rafi created songs that went deep and touched your heart like nothing had ever done before.
Another song from the movie: Jaanewalo zara mudh ke dekho mujhe main bhi insaan hoon was a pointer towards how we treat cripples on our streets.
Chahunga main tujhe not just tugged at our emotions but rightly won so many awards for all three who made it possible.
I have recounted to you many tales about Gunners; an endless topic of mirth and bewilderment with me.
Today, after a few years, I return to this.
His name was Lieutenant B and he was the Gunnery Officer of the ship on which we were borne as Midshipmen (a rank between being Cadets and full-fledged commissioned officers).
He was as clear-headed as all the gunners that I have told you about in the anecdotes so far; gunners, as I told you, seek clarity at both ends.
Long before the Army’s Bofors guns landed into media controversy, the naval ships had guns from Swedish company Bofors. Indeed, Bofors 40 mm anti-aircraft gun, designed by AB Bofors in 1930s, was a standard gun on all our ships and the gun was simply called Bofors. In 1934, Bofors improved this gun and came up with a model 40mm L/60. It was simply called Forty-Sixty on board the ships. All of us, whether gunners or not, have been trained on this gun. Here is a picture of this gun, many many years later on Sukanya class of Offshore Patrol Vessels:
Even after the gunners moved into the missile world, they continued playing with these toys.
Generally, evening twilight times used to be reserved for these AA Firing serials called CRAA Firing (Close Range Anti-Aircraft gun firing). As cadets and midshipmen we have often manned and fired these guns.
Gunnery Officers when they are conducting these serials, have an air of importance about them. After all, signals, navigation and other things are only supporting roles; the main role of the navies is to slam the daylights out of the enemy and that’s where gunners come in.
Lieutenant B, after his Policy orders for the firings by our Starboard and Port Bofors, called G1 (Starboard) and G2 (Port) started giving orders about the bearing and range of firing. To our horror, he had crisply (GO’s are always crisp), instructed the Port Gun (G2) to train to Green 90 (Right) and Starboard Gun (G1) to train to Red 90 (Left).
After that, he smartly saluted the CO and asked permission to commence firing. We were manning the guns and at that stage the logic of both guns firing at each other had totally beaten us. However, we had been trained in:
Ours is not to reason why, Ours is but to do and die.
Fortunately, the Captain made a last-minute visual check and found both the guns pointing at each other and cancelled the firing.
Lieutenant B, incidentally, was the same officer, who angrily picked up a sound-powered telephone on the Bridge when he was on watch as OOW and barked out, “Engine Room, stop making black smoke”. From the other hand, Captain who had been woken up at two in the morning shouted, “Captain here; who is this idiot (who has picked up the wrong phone)?” And, Lieutenant B had the presence of mind to answer, “Sorry Sir; Midshipman of the Watch here.”
(I started a new series recently on this topic. Many of you would be incredulous but I vouch for their factual correctness. All of these are first hand.)
The first one was titled: ‘Facts Stranger Than Fiction – Part I – Mister India And His Ship‘. This was about a Seaward Defence Boat undergoing refit and everyone just forgot about it. The second one was titled: ‘Facts Stranger Than Fiction – Part II – All Cats Are Grey In The Dark‘. This was about some of my course-mates mistaking another tanker at anchorage for my ship INS Aditya when they were invited by me on board. The third one was titled: ‘Facts Stranger Than Fiction – Part III – Huge Mirages At Sea’. This was about a visual encounter between INS Ganga and INS Viraat when both of them were 180 nautical miles apart.
Here is the fourth one. It is about an exercise nearly four decades ago in the Navy that I was part of (circa 1981, that is 37 years ago). The exercise was called Maghreb.
In Arabic, the word Maghreb means ‘the place where the sun sets’ or the West, whilst Mashriq means ‘the place where the sun rises’ or the East. The Maghreb or Maghrib is the name given in pre-modern times by Arab writers on geography and history to the northern part of Africa, that which Europeans often came to call Barbary. In modern usage the Maghreb comprises the political units of Morocco, Algeria, Tunisia, Libya and Mauritania.
Now why would anyone give an exercise a mystical code-name Maghreb? Well, code-names are supposed to be like that; they shouldn’t ever give away what is actually happening.
But the Naval Headquarters authorities who code-named this exercise by this near occult name Maghreb won’t have ever known in advance what would happen during the first phase of the exercise, that is in the forces deployment stage.
Before the exercise, the available platforms of ships, submarines and aircraft were divided into two forces Blue (Friendly forces) and Red (Enemy forces); the colours that represent contenders all over the world and taken from the boxing ring. Neutral umpires were embarked on many of these platforms to decide on casualties during encounters. The Chief Umpire and his team operated from Bombay (now Mumbai). Every encounter between the platforms were to be signalled in a particular format. Based on the tracks of the platforms and other data, the Chief Umpire and his team would then signal Casualty by a pre-defined signal.
Despite all the modern means available such as radar, often ships would like to remain silent so as not to give away passive electronic intelligence to the other force. Even for a layman, it is easy to understand that in a radar (RADAR is actually an acronym that stands for Radio Assisted Detection And Ranging), radio signals have to travel two ways to and from an object for its detection to take place on the radar platform. However, for a passive detection (by another ship with Electronic Warfare equipment), it only has to travel one way. Hence passive detection ranges are anything between one and half to two times the radar ranges. Therefore, the radar ship, being active, loses the surprise element.
So, in the deployment phase of Maghreb, we had these two modern frigates, with (that time) state of art radars and other means, wanting to silently open out from each other and rejoin in wee hours. On one of these the OTC (Officer in Tactical Command; an admiral) Blue force was embarked.
Now, in case you have understood the scenario and the restrictions for both of them being silent on electronic means, the funny part starts. The funny part is somewhat similar to Spy versus Spy in Mad comics. To start with, here is the picture of both the ships about to part on opposite tracks:
They went their ways, silently, cautiously, thinking of enemy lurking in every part of the Arabian Sea, especially since the OTC had already made a signal to all the Blue forces to be extra cautious so that nothing untoward would take place during the initial stage of the war. Within two hours of their opening out from each other, the Naval Headquarters signalled commencement of the hostilities. The OTC patted himself on the back (I know it is not physically possible but in the Navy we do the impossible too) for having had the good sense to have given detailed orders before the commencement of hostilities so that no one would have to break radio and radar silence after that and thus give itself away.
Another two hours and now with their relative speeds away from each other, both the ships were more than a hundred miles apart. Each one had investigated suspicious contacts along the way and had to several alterations of courses to indulge in such investigations. The currents and winds played their parts too.
At the pre-planned time, they reversed courses so as to affect a rendezvous (RV) between the two. Lookouts with powerful binoculars had been placed on both the ships to scan the horizon all around. As Asrani would say in the movie Sholay: Hamari jail mein patta bhi pankh nahin fadfada sakta (Even a bird can’t flutter its wings in my jail). For the purpose of the remaining narrative, lets call them OTC Ship and Other Ship.
After about three hours of steaming (the world sleeps but we the guardians of the seas are forever vigilant), the Other Ship Lookout sighted a silhouette on the horizon and reported to Bridge: Bridge, Port Lookout, Red 20, a darkened ship on the horizon. The Bridge of Other Ship suddenly came into action. Action Stations were sounded and all sensors and weapons were manned. A similar scenario took place on OTC Ship too.
It occurred to both the ships that this could be friendly force. There was only one way to find out; which was to challenge the ship with a predetermined code on flashing light and receive either friendly reply or else.
Now, on the OTC Ship, the OOW (Officer of the Watch) of the First Watch (2000 hrs (8 PM) to midnight) hadn’t handed over these Challenges and Replies Codes and Replies to the OOW of the Middle Watch (Midnight to 0400 hrs (4 AM)). Hence, when the Other Ship visually challenged the OTC Ship with the Light as shown above, the OTC Ship’s OOW suddenly realised that he didn’t have the appropriate Reply Code to signal back. He sent for the First Watch OOW who had gone to sleep.
The delay in the challenged ship replying confirmed the suspicion of the Other Ship that this was indeed an enemy ship. To be on the safe side, she made another challenge on the Signalling Projector and still didn’t receive a reply. She remembered all the Principles of War and seized the moment and fired her Ship to Ship Missile at the ‘Enemy Ship‘ and then signalled Maghreb’s first encounter, within four hours of commencement of hostilities to the Chief Umpire.
You would recall Rudyard Kipling’s famous:
“Oh, East is East, and West is West, and never the twain shall meet,
Till Earth and Sky stand presently at God’s great Judgment Seat;”
In this case, it wasn’t even Mashriq meeting Maghreb; but, the Other Ship, that night, successfully fired at his own OTC and nearly sank him. Blue OTC’s Ship was the first casualty of war in Maghreb and after quickly analysing the tracks and getting inputs from umpires on both the ships, OTC’s Ship was declared out of the exercise.
When I was at the Naval Academy, many years ago, I had done a small parody during one of the outdoor camps in which the Passwords and Responses of Friendly and Enemy Forces happened to be the same (as a coincidence) one night and two soldiers encountered each other with comical consequences as a result of this.
Little did I know that my parody would actually come true at sea with equally comical but results with far more enormity.
(I started a new series recently on this topic. Many of you would be incredulous but I vouch for their factual correctness. All of these are first hand.)
The first one was titled: ‘Facts Stranger Than Fiction – Part I – Mister India And His Ship‘. This was about a Seaward Defence Boat undergoing refit and everyone just forgot about it. The second one was titled: ‘Facts Stranger Than Fiction – Part II – All Cats Are Grey In The Dark‘. This was about some of my course-mates mistaking another tanker at anchorage for my ship INS Aditya when they were invited by me on board. Here is the third one. It was about a strange encounter that a ship INS Ganga that I was the commissioning SCO (Signal Communication Officer) of had with the aircraft carrier INS Viraat that I was Ship’s Commander of.
In the introduction to the series, I had brought out how Navy, as a service, is different from the service on land or in the air. It is not just because of the medium in which it operates. Unlike the other two services, naval platforms operate in all three media: the surface, underwater, and in the air. It is much more than that.
Although it doesn’t require great technical expertise to be at sea (you can be on a log that floats), the Navy continues being a quaint service. Some of the curious things that happen at sea often amaze people and they keep asking such questions as: How could they have missed such a huge ship at sea? How did the ship just vanish? Was it a submarine? If I was there, it won’t have happened this way.
The fact is that seas are associated with strange things happening and many of these anecdotes beat common sense and that’s why the title of the series.
Navy is a silent service that very few actually understand. Before we go into the third anecdote let me tell you how much people actually understand this quaint service.
I remember when I was undergoing the Army Higher Command Course in 1996-97 and it was being discussed how two-third of India’s energy imports are in the Gulf of Kuchh, within easy reach of the Pakistan Navy and PAF, it was discussed as to why should we have it imported there? Why can’t we transport it “by lorries” etc to safer places? When I mentioned that a lorry carried upto about 20 tons of fuel and that an average VLCC – just one VLCC that is (VLCC – Very Large Crude Carrier) being received at GoK ports was anything between 100000 tonnes to 250000 tonnes, this was the first time that their minds were exposed to something as large as this.
There is, therefore, no shame in admitting that one doesn’t know. Even some of the Navy guys don’t understand the enormity of things of another branch or department.
A ship at sea wanted to exercise with a submarine that she had met by chance encounter. The submarine signaled back, regretting her inability to do so since ‘she was charging her batteries’. At this, the ship signaled to the submarine that she would approach close to her and batteries could be transferred for charging by the ship.
Didn’t understand the joke? Well, a subamarine displaces about 2000 tonnes. Roughly about one-fourth to one-third displacement of the submarine is her propulsion batteries. These are the batteries that the submarine charges whilst on surface or at periscope depth so as to provide her with underwater propulsion. And, the CO of the ship was asking her to transfer them to the ship for charging! A submarine’s battery is not a small, unitary device like a car battery, but a massive collection of huge individual cells gathered in a large compartment in the lower section of the hull. (See picture)
Viraat is a light aircraft carrier (only about 25000 tonnes). Yet she carries with her, in the form of her flight deck only, about 3 acres of Indian sovereignty wherever she goes. And she has done this, until 23 Jul 2016, when she sailed last, 1,094,215 kilometers of passage around the globe (Vikrmaditya is about twice her tonnage and more than 4 acres of flight deck). Viraat is about a quarter of a kilometre long and you add another about 60 metres for Vikramaditya. Anything between 28 to 33 feet of the ships are underwater. Vikramaditya, for example, has 22 decks (equivalent to ‘storeys’ of a building)
However large a ship may be, it can never match the enormity of the sea. Ask a pilot of an aircraft, for example, and he would tell you that at sea, landing on Viraat appears to be like landing on a match box.
In one of the theatre-level exercises, being the Director of Maritime Warfare Centre (MWC), my staff and I were in the Control Centre and also asked to analyse the exercise. One of the ships (my ex ship Ganga) sent a report from sea of not just detecting (on radar) Viraat, but actually sighting (imagine sighting with naked eyes) Viraat at close quarters. The CO asked his ship’s company to come up on the upper decks and they not just saw Viraat but some of them took pictures too. In that exercise Ganga and Viraat were enemies.
We married the tracks in MWC and found that Viraat was actually 180 Nautical Miles away at that time from Ganga. And yet, even in the debrief, Ganga CO insisted that they saw Viraat. The more we told him that he saw a mirage, the less he believed us. It is similar to Indian sages telling us that the whole universe is merely maya (mirage) and we think that the sages have gone bonkers.
This is just one example of illusions we see at sea.
And, these are not seen by commoners only but by hard-core professionals.
P.S. INS Viraat was decommissioned last year. It was sad to let the old lady go. INS Ganga would be decommissioned in end Mar 2018.
(I started a new series recently on this topic. Many of you would be incredulous but I vouch for their factual correctness. All of these are first hand.)
In the first one I had brought out how Navy, as a service, is different from the service on land or in the air. It is not just because of the medium in which it operates. Unlike the other two services, naval platforms operate in all three media: the surface, underwater, and in the air. It is much more than that. Although it doesn’t require great technical expertise to be at sea (you can be on a log that floats), the Navy continues being a quaint service. Some of the curious things that happen at sea often amaze people and they keep asking such questions as: How could they have missed such a huge ship at sea? How did the ship just vanish? Was it a submarine? If I was there, it won’t have happened this way.
The fact is that seas are associated with strange things happening and many of these anecdotes beat the logic of the common sense and that’s why the title of the series.
I was commanding the tanker INS Aditya and whilst at anchorage in Mumbai: E3, (which is closer to Karanja than Mumbai because of a C-in-C who loved me intensely and hence kept me as far away from him as possible), I invited my course mates for dinner on board.
Someone commented: “I never knew that if you loved someone, you had to keep him at a distance.” I had only this to say: “Keeping distance from the loved one is part of Urdu folklore. Ever heard of Shama (Candle) and Parwana (Moth)? Parwana loves Shama but survives only if it keeps distance.
In order that the invitees won’t get lost, I sent the ship’s boat to fetch them. The engineering course mate Chaks, dutifully took the boat and arrived on board without much ado. But this is what three others, who were Fleet Commanding Officers, did: they refused to go by the tanker’s boat and said that they preferred to go by Brahamputra’s “more efficient and safer” boat. The subbie I had sent to fetch them offered to help with the navigation and Billoo, with the pride of a super navigator, declined the offer.
So, in order to cut a long story short, they ventured into the nightly Mumbai harbour with song on their lips and made fun of me, CO Aditya, for having lost his beans by sending my own boat for super-hot COs of the mighty Western Fleet. Luck favours the bold and sure enough on the horizon they spotted Aditya and asked the coxswain of the boat to steer a straight course for her.
However, as they drew closer, to their increasing chagrin, they discovered that Aditya had made no preparations to receive them. An averagely efficient ship would have hailed the boat at a distance of about five cables and established the identities of the passengers and guided the boat to the lower platform of the accommodation ladder. But, Ravi’s Aditya, might have had other fine qualities; but, they reckoned that receiving honoured guests on board in appropriate manner wasn’t amongst those.
The next horror was when they discovered that the ship hadn’t even lowered the accommodation ladder! “Aha” said my course-mates and their wives in unison, “For this slip, I think, Ravi would owe us drinks for the rest of their lives.”
Eventually, they did the opposite of good seamanship practice; and hailed the ship. For quite some time there was no response until one sleepy-eyed Officer of the Day (OOD) appeared on the upper deck. Three super hot course mates, on sighting the OOD, slanged him appropriately and told him to at least lower a jumping ladder for them. The dazed OOD had this going in about twenty minutes; in which time, my guests, nearly exhausted the expletives describing the ship Aditya and its Captain.
For my civilian friends, I must add here that a jumping ladder is normally used by such people as Pilots and Boarding Parties who board the ship at sea. These personnel are highly trained to board through this tricky hanging-by-ropes ladder; more so since the freeboard of a tanker is quite high.
Anyway, one by one three of my course mates and the ladies (in their high heels) eventually climbed on the upper decks. The OOD was now subjected to close quarters invective as opposed to the long-distance barrage that he was facing for the last about 45 mins. They pointed out all kinds of mistakes in the rigging of the jumping ladder and in other upper deck fittings. Still having no signs of their host appearing, they finally asked the OOD, “Where is your CO?” The OOD replied without a hint of remorse that CO was ashore!
“Ah” said one of them, “We should have known that Ravi has got the dates mixed up.”
At this, the OOD told them, “Sir, my CO is Captain Babu. Captain Ravi is CO Aditya, which is that ship beyond.”
The first one to recover from this faux pas was Bobby Chowdry who told the OOD, “Of course we know this is not Aditya; this is Shakti. But, on the way there we wanted to see for ourselves Shakti’s reactions. And, boy, you failed miserably. Now hurry up and help get the ladies back in the boat.”
I had no idea of the above snafu when I eventually received them on board about 90 minutes behind schedule. As Billoo stepped on board, I introduced my OOD, who was also the Navigating Officer of Aditya thus: “Billoo, please meet my NO, the second best Navigating Officer in the Fleet.”
This had an instant reaction on Billoo, “If you are mentioning tongue-in-cheek, that is, that I am the best Navigating Officer in the Fleet; you have another guess coming. First offer us a drink and then we shall tell you the story.”
The above story was then told to me. That night, we were into our fifth drinks when we hadn’t yet come to the end of the story and the laughter.
P.S. In the first anecdote in the series, you saw how a small Seaward Defence Boat became invisible. In the second you saw a huge tanker that became invisible. Wait for my third anecdote.
(Starting a new series today on this topic. Many of you would be incredulous but I vouch for their factual correctness. All of these are first hand.)
Navy, as a service, is different from the service on land or in the air; and it is not just because of the medium in which it operates. Unlike the other two services, naval platforms operate in all three media: the surface, underwater, and in the air. It is much more than that. Although it doesn’t require great technical expertise to be at sea (you can be on a log that floats), the Navy continues being a quaint service. Some of the curious things that happen at sea often amaze people and they keep asking such questions as: How could they have missed such a huge ship at sea? How did the ship just vanish? Was it a submarine? If I was there, it won’t have happened this way.
I was on the staff of the FOC – in – C (East) as Command Communication Officer (CCO) and used to attend CinC’s Morning Briefings in MOR (Maritime Ops Room; now called MOC). Before the discussions would start, there would be a standard presentation regarding deployment of ships, submarines and aircraft and their operational readiness or otherwise. Platforms under refit or maintenance period would be displayed separately. Then there would be briefing for weather and other command activities such as visits of dignitaries.
In one of these, the ASD (Admiral Superintendent Dockyard) had to face unprecedented embarrassment for having an SDB (Seaward Defence Boat; these too are commissioned as Indian Naval Ships; please see the attached picture of SDB T55 at the time of her decommissioning recently in Mumbai) under refit for about four years!
Inquiry brought out that the ship was brought from Port Blair (where she was based) fot refit at Vizag. The CO (a Lieutenant Commander) had his family at Vizag (his last duty station before he was appointed CO of the SDB at Port Blair in Andaman & Nocobar groups of islands) and he was quite happy about the refit taking its own time. There was no attempt by him and his successor for expediting the refit.
Soon, everyone forgot about his ship and him. Like Anil Kapoor in Sridevi movie Mr. India, they just vanished from public eye.
Happy Women’s Day! But, are there any Happy Women somewhere? Where do the Sad Women go?
When I wished her Happy Women’s Day,
She said: “Why I am not included?
If Happy Women can have to themselves a day,
Why are sad ones like me excluded?”
“Shouldn’t it be just Women’s Day,
Whether they are happy or sad?
I have just this little something to say:
Women’s Day be for all, good or bad.”
I looked at her strange reasoning,
Ability to convert into argument everything;
And then I thought, without seasoning,
What flat taste a salad would bring?
So I bowed to her from below and above,
My dark cloud lined with a silver ray;
And I said, “You are right here too, love,
Have your kind of Women’s Day”!