एक वक्त था scam की होती थी सनसनीखेज खबर,
अब इसके बारे में सुन के कुछ होता नहीं असर,
आजकल लोग पूछते हैं: क्या scam है आज का?
जैसे कह रहे हों: आज का scam, आपकी नज़र।
दस लाख का scam समझा जाता था बहुत भारी,
अब तो करोड़ों का भी नींद नहीं चुराता हमारी,
ऐसा ही चलता रहा तो मुझे तो यूँ लगता है:
कहीं एक ऐसा ऐलान न हो जाय जारी:
“Scam ना करने वाले को हो सकती है सज़ा,
और आपने भी ज़िन्दगी का गर लेना हो मज़ा,
बैंक से करोड़ों के पैसे चुरा लीजिये हज़ूर,
ऊपर से नीचे तक सबकी है टोटल रज़ा”!
“देर किस बात की है, वक़्त न करो बर्बाद,
भरा हुआ यह जाम, आप भी ले लो स्वाद,
बैंक स्टाफ एक दूसरे को ही गर नहीं जानते,
आपकी KYC डिटेल्स किसको हैं याद?”
हमारे देश का है यह बहुत अहम असूल,
जो कानून मानते हैं उन्ही पे और लगते हैं रूल,
जो देते हैं tax उन्हें और दबाया जाता है,
जिनकी income ब्लैक है उनसे कौड़ी भी नहीं वसूल।
इसलिए जनाब अच्छे बने रहने में न है कोई अच्छाई,
तिजोरियां भरने में बिल्कुल नहीं है बुराई,
Right to Scam का बिल पास होने ही वाला है,
बहती गंगा में हाथ धोने में ही है हम सबकी भलाई।
(Pic courtesy: ABP News)
Ek waqt tha scam ki hoti thi sansanikhej khabar,
Ab iske baare mein sun ke kuchh hota nahin asar,
Aajkal log poochhte hain: kya scam hai aaj ka?
Jaise keh rahe hon: Aaj ka scam, aapki nazar.
Dus laakh ka scam samjha jaata tha bahut bhaari,
Ab to karodhon ka bhi neend nahin churaata hamaari,
Aisa hi chalta raha to mujhe to youn lagta hai,
Kahin ek aisa ailaan na ho jaaye zaari:
“Scam na karne waale ko ho sakti hai saza,
Aur aapne bhi zindagi ka gar lena ho maza,
Bank se karodhon ke paise chura leejiye huzoor,
Ooper se neeche taq sabki hai total raza”!
“Der kis baat ki hai, waqt na kari barbaad,
Bhara hua yeh jaam, aap bhi le lo swaad,
Bank staff ek doosre ko hi gar nahin jaante,
Aapki KYC details kisko hain yaad?”
Hamaare desh ka hai yeh bahut aham asool,
Jo kanoon maante hain unhi pe aur lagte hain rule,
Jo dete hain tax unhe aur dabaaya jaata hai,
Jinaki income black hai unse kaudhi bhi nahin vasool.
Isliye janaab achhe bane rehne mein na hai koi achhayi,
Tijoriyan bharne mein bilkul nahin hai buraayi,
Right to Scam ka bill paas hone hi waala hai,
Behti Ganga mein haath dhone mein hi hai sabki bhalaayi.
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?'”
अब तो आ जाओ के रात चुकी है ढल,
सुबह होने को थोड़े ही बचे हैं पल,
आज रात का वादा था तुम्हारा,
अब तो आ जाओ के शुरू हो गयी है कल।
(Pic courtesy: timeanddate.com)
Sher of the Day #23
दिल में छुपी है तेरे प्यार की परछाई,
कई अरमान लेते हैं अंगड़ाई,
वक़्त यूँ है जैसे थम ही गया हो,
कब सहर हुई, कब रात आयी।
Sher of the Day #24
कुछ ना कुछ ज़िन्दगी में रह ही जाता है,
लोग कहें ना कहें, ज़मीर कह ही जाता है,
हालांकि वक़्त एक दरिया की तरह है,
इसके बहाव में अच्छा बुरा बह ही जाता है।
(Drawing courtesy: individual.utoronto.ca)
Sher of the Day #25
बचपन के वो दिन मुझे आते हैं याद,
हर ग़म से, मायूसी से, रश्क़ से हम थे आज़ाद,
कभी सोचा न था, अक्लमंद बनने की तमन्ना मैं,
सबसे बड़ी अक्लमंदी हो जाएगी बर्बाद।
Sher of the Day #26
गर दर्द और ग़म मोहब्बत के हैं अंजाम,
तो खुशी ढूंढने कहाँ जायें प्यार में,
सारी जिंदगी उनकी एक नज़र के नाम,
कुछ तो होगा उनके इक़रार में।
चलिए नहीं करते हम मोहब्बत को बदनाम,
हमें ही इत्मिनान है दिल-ए-बेक़रार में।
Sher of the Day #27
आपके प्यार ने क्या क्या बना दिया मुझे,
आपके दिल ने क्या क्या सुना दिया मुझे,
अब खामोश राहों पे खड़ा हैरान सोचता हूँ,
क्या हुआ जो तूने दफ़अतन भुला दिया मुझे।
Sher of the Day #28
तेरे तग़ाफ़ुल में हम मर ही जाएं पर सोचा,
फिर भी तुझे खबर न हुई तो कहां जाएंगे?
तुझे एहसास न हो हम कहाँ और कैसे मरे,
आंसू भी क्या हम खुद ही बहायेंगे?
एक बार सिर्फ एक बार कह दो मेरी जान:
“चले जाने पे आप बहुत याद आयेंगे।”
फिर देखना कितने इत्मिनान से,
हमारे सांस सीने से निकल जाएंगे।
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 again by itself, being long enough:
ODE TO COPY-PASTERS ON FACEBOOK
Facebook पे original की नहीं कॉपी पेस्ट की है fame,
कई महारथियों ने इसमें बनाया है name,
और अगर आपकी पोस्ट अपनी बनाई हुई है,
Well, you have only yourself to blame.
सभी बने हैं मुसन्निफ़ और शायर,
सभी इस art में हो गए हैं माहिर,
किसी के लिए किसी और के पढ़ने का वक़्त कहाँ है?
सभी sellers हैं कोई नहीं है buyer.
इस माहौल में, एक चीज़ मैने की है taste,
“Like हम तब करते हैं, when there is haste”
और, कभी कभार आप comment भी तो करते हो?
“वो हम तब करते है, when there is time to waste.”
पर original आपको क्यों नहीं लगता सही?
“अरे भाई, ऐसी कोइ बात ही नहीं,
हम जानते हैं इसको, इसी के साथ बड़े हुए हैं,
यह हम जैसा लिख सकता है कहीं?”
लेकिन इसी के कॉपी पेस्ट पे सौ like और comment इतने सारे,
क्या कहना है आपको इसके बारे?
“Well, मैं तो सिर्फ इतना कहूंगा जिन्होंने कॉपी पेस्ट किया है,
वह बहुत ही अज़ीज़ हैं हमारे”!
Facebook pe original ki nahin copy paste ki hai fame,
Kayi maharathiyon ne ismein banaya hai name,
Aur agar aapki post apni banayi hui hai?
Well, you have only yourself to blame.
Sabhi bane hain musannif aur shayar,
Sabhi is art mein ho gaye hain mahir,
Kisi ke liye kisi aur ko padhne ka waqt kahan hai?
Sabhi sellers hain koi nahin hai buyer.
Is mahaul mein, ek cheez maine ki hai taste,
“Like ham tab karte hain, when there is haste”
Aur kabhi kabhaar aap comment bhi to karte ho?
“Wo ham tab karte hain, when there is time to waste.”
Par original aapko kyun nahin lagta sahi?
“Are bhai, aisi koi baat hi nahin,
Ham jaante hain isko, isi ke saath badhe huye hain,
Yeh ham jaisa likh sakta hai kahin?”
Lekin iske copy paste pe sau like aur comment itne saare,
Kyaa kehna hai aapko iske baare?
“Well, main to sirf kahunga jinhone copy paste kiya hai,
Woh bahut hi azaaz hain hamaare”!
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 again by itself, being long enough:
HONHAAR BIRWAAN KE CHIKNE CHIKNE PAAT
पिछले दस सालों से मारी है हमने नक़ल,
तब कहीं जाके exam में हुए हैं सफल,
कड़ी मेहनत का काम था, दोस्तो,
और बहुत ही यूज़ करनी पड़ी थी अकल।
सबसे मुश्किल था अंग्रेजी का टेस्ट,
Essay की पर्ची ले के गए थे ‘My Friend Best’
लेकिन उस साल ‘Journey by Aeroplane आ गया,
सारी मेरी एफर्ट हो गयी वेस्ट।
और उस साल भी हम हो गए फेल,
पिता जी की पिटाई करनी पड़ी झेल,
लेकिन पता था कभी तो आयेगा नंबर,
अंग्रेज़ी में क्यों रहेंगे हम अनवेल?
और इस साल प्रभु ने खोल दी किस्मत,
हमारी पर्ची ने रख ली हमारी इज़्ज़त,
If I Were The Prime Minister की पर्ची ले के गए थे,
वही आया, मंज़ूर की प्रभु ने हमारी ख़िदमत।
अब हम भी matric पास हैं कहलाते,
पढ़े लिखों में हम भी हैं गिने जाते,
प्लीज, यस सर, गुड़ मारनिंग के इलावा,
कई वर्ड्स हमें अंग्रेज़ी के हैं आते।
देखना एक दिन हम बनेंगें HRD मिनिस्टर,
बड़ी कार और मकान होगा, हम कहलायेंगे मिस्टर,
हाऊ आर यू कह के विदेशियों को मिलेंगे,
हेलो जेंटलमैन, हेलो बरादर, और हेलो सिस्टर।
(Clipart courtesy: WikiHow)
Pichhle das saalon se maari hai hamne nakal,
Tab kahin jaa ke exam mein huye hain safal,
Kadhi mehnat ka kaam tha, dosto,
Aur bahut hi use karni padhi thi akal.
Sabse mushkil tha angrezi ka test,
Essay ki parchi le gaye the: ‘My Friend Best’,
Lekin us saal ‘Journey by Aeroplane aa gaya,
Saari meri effort ho gayi waste.
Aur us saal bhi ham ho gaye fail,
Pita ji ki pitayi karni padhi jhel,
Lekin pata tha kabhi to aayega number,
Angrezi mein kyun rahenge ham unwell?
Aur is saal prabhu ne khol di kismat,
Hamari parchi ne rakh li hamari izzat,
If I Were The Prime Minister ki parchi le ke gaye the,
Wohi aaya, manzoor ki prabhu ne hamari khidmat.
An ham bhi matric paas hain kehlaate,
Padhe likhon mein ham bhi hain gine jaate,
Pleej, Yas Sar, Gud Maarning ke ilaawa,
Kayi words hamen angrezi ke hain aate.
Dekhna ek din ham banenge HRD Minister,
Badhi car aur makaan hoga, ham kehlaayenge mister,
How are you keh ke videshiyon ko milenge,
Hello gentleman, hello brather, aur hello sister.
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 again by itself, being long enough:
PYAAR KI SHURUYAAT
आये वो हमारे पहलू देने को हमें गाली,
हमने तुरंत उनको यह याद दिला डाली:
गाली नहीं, मांगे थे हमने आपके गाल,
यह काली है, हमने मांगे थे लाल लाल।
सैंडल खोल के उन्होंने हाथ मे ले लिया,
हमने भी छाता बिन बरसात में ले लिया,
Self defence की ट्रेनिंग खूब आयी काम,
वरना तो उस दिन हमारी हो गयी थी राम राम।
धीरे धीरे उनको हम पे आ गया तरस,
खास करके जब बरसात होने लगी थी बरस,
एक छाते के नीचे हम झट से हो गए एक,
और आपसी झगड़े पे लगा दी हमने ब्रेक।
ऐसे हुई थी यारो हमारे प्यार की शुरुआत,
मुक्का-लात ही बनी थी हमारी पहली मुलाकात,
लेकिन इस अंदाज – ए – इश्क़ को आप ना आजमाना,
मुश्किल है यारो गर्मियों में बरसात का आना!
Aaye wo hamaare ghar dene ko hamen gaali,
Hamne turant unako ye yaad dila daali:
Gaali nahin, maange the hamne aapke gaal,
Yeh kaali hai, hamne maange the laal laal.
Sandal khol ke unhone haath mein le liya,
Hamne to chhata bin barsaat mein le liya,
Stelf defence ki training khoob aayi kaam,
Varna to us din hamaari ho gayi thi Ram, Ram.
Dheere dheere unako ham pe aa gaya taras,
Khaas karke jab barsaat hone lagi thi baras;
Ek chhate ke neeche ham jhat se ho gaye ek,
Aur aapsi jhagde pe laga di hamne break.
Aise hui thi yaaro hamaare pyaar ki shuruyaat,
Mukka-laat hi bani thi hamaari pehli mulaqaat;
Lekin is andaaz-e-ishq ko aap na aazmaana,
Mushkil hai yaaro garmiyon mein barsaat ka aana!
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 by itself since it is long enough:
DESH KE NETA AUR BABU
चलो हंसने का साधन तो ज़रूर हैं,
हमारे देश के नेता और बाबू,
देश के हित की बातें तो इनसे दूर हैं,
Progress पे इनका न है काबू।
किन मुद्दों पे उठाते हैं ये आवाज़,
हम तो सुन के हो जाते हैं हैरान;
देश के गरीबों के पास नहीं है अनाज,
यह गाय और धर्म को कहते हैं शान।
Human growth index में थोड़े ही देश हमसे नीचे हैं,
पर यह पकड़ बैठे हैं GDP के बढ़ावे को,
हर आंकड़ों में हम दुनिया से पीछे हैं,
पर यह हमें खींचते हैं मंदिर के चढ़ावे को।
किसी party का नहीं है दोष,
सभी हैं एक से एक बड़ के,
यह रहेगा जब तक लोगों को नहीं यह होश,
Divisive aur criminal politics को निकालें जड़ से।
यह न किया तो अगले चुनाव में भी,
यह हमें बनाएंगे उल्लू,
हमें कुछ करना है बदलाव में भी,
न के फिरसे चुने गडकरी, पप्पू, मायावती और लल्लू।
अब आप कहेंगे आज की पंक्तियों में कहाँ है joke,
यह तो मामला है काफी serious,
पर सोचिये अगर मज़ाक में ही रहे हम लोग,
फिर से we will miss the bus!
Chalo hansne ka saadhan to xaroor hain,
Hamare desh ke neta aur babu,
Desh ke hit ki baaten to inse door hain,
Progress pe inka na hai kaabu.
Kin muddon pe uthhate hain ye awaaz,
Ham to sun ke ho jaate hain hairaan;
Desh ke gareebon ke paas nahin hai anaaj,
Yeh gaye aur dharm ko kehte hain shaan.
Human growth index mein thode hi desh hamse neeche hain,
Par yeh pakad baithe hain GDP ke badhave ko;
Har aankdon mein ham duniya se peechhe hain,
Par yeh hamen kheenchte hain mandir ke chadhave ko.
Kisi party ka nahin hai dosh,
Sabhi hain ek se ek badh ke;
Yeh rahega jab taq logon ko nahin hai hosh,
Divisive aur criminal politics ko nikaalen jadh se.
Yeh na kiya to agle chunaav mein bhi,
Yeh hamen banaayenge ullu;
Hamen kuchh karna hai badlaav mein bhi,
Na se phirse chune Gadkari, Pappu, Mayawati aur Lallu.
Ab aap kahenge aaj ki panktiyon mein kahan hai joke,
Yeh to maamla hai kaafi serious;
Par sochiye agar mazaak mein hi rahe hum log,
Phir se we will miss the bus!
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?'”
उसकी आँखों से झलक जाती है शराब,
जब रुख से उठा देती है नक़ाब,
हम तो वैसे भी बुरों में गिने जाते हैं,
अच्छे अछों की नीयत हो जाती है ख़राब।
Sher of the Day #16
आपकी ज़ालिम निगाहों से डरता हूँ,
आपकी मन्द मन्द मुस्कान पे मरता हूँ,
डरता हूँ, मरता हूँ, आहें भरता हूँ,
पर सजदा भी आप ही का करता हूँ।
(Sridevi sketch by one of her fans on Twitter)
Sher of the Day #17
जाने इस मोहब्बत में क्या रखा है,
लोग क्यों हैं ईस पर इतना फिदा,
ग़मों को सीने से लगा रखने का आगाज़ है,
और रातों की नींद करने को अलविदा।
(Pic courtesy: impactofthoughts.blogspot.in)
Sher of the Day #18
तिनका तिनका बटोर के बनाया था आशियाना,
लेकिन तूफान को भी कभी ना कभी है आना,
जो मगरूर थे यह सोच कर हमेशा रहेंगे महल,
वो भी अब गिरते मरते ढूंढ रहे हैं ढिकाना।
(Painting courtesy: kemstudio.blogspot.in)
Sher of the Day #19
रुखसार आपका माहताब की तरह,
अदाएं हैं हुस्न – ऐ – शबाब की तरह,
आपको देखा, तो देखते ही रह गए हम,
सूरत है मेरे सबसे हसीन ख्वाब की तरह।
Sher of the Day #20
गीत वही सुंदर है जिसका दिल से नाता हो,
जो दिल ओ दिमाग को नहीं, रूह को भी भाता हो,
लिखते हैं नगमागर बहुत से गीत,
गीत वही दिलकश है, जिसे रोम रोम गाता हो।
Sher of the Day #21
कितनी हसीन थी वो बरसात,
हम दोनों की पहली मुलाकात,
गीले हाथ से मेरा हाथ छू के,
प्यार की हुई थी शुरुआत।
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 third one:
Hasya Panktiyan of the Day #15
हमारी दोनों आंखे देख के काली और लाल,
दोस्तों ने पूछा किसने बनाया यह हाल?
हमने कहा आपकी भाभी की गलती नहीं है,
हम ही सालगिरह भूल जाते हैं हर साल।
Hasya Panktiyan of the Day #16
बंदर, लोमड़ी, सूयर, गधा और सांप अगले चुनाव के चिन्ह हैं,
हमने ढप्पा लगाने के लिए पहले से ही गधे को चुना है,
हमने सोचा यह बिल्कुल देश की जनता जैसा है,
फ़र्क़, वो बनाए जाते हैं, यह पहले ही से बना है।
(Cartoon courtesy: amreekandesi.com)
Hasya Panktiyan of the Day #17
आग लगने पर उन्होंने fire-brigade बुला ली,
उन्होंने पूछा बताओ तो सही कहाँ है लगी,
“Party में मैं पुरानी साड़ी पहन के गयी,
पर पड़ोसन ने पहनी थी कीमती और नई,
पूछते हो कहाँ लगी जब दिल ही जल गया,
प्लीज जल्दी आओ, यहां सब कुछ सड़ गया”
(Pic courtesy: hotstar.com)
Hasya Panktiyan of the Day #18
उन्होंने कहा, “होश सम्भालते ही अपने पैरों पे खड़े हैं”,
यह सुनते ही, भैया, हम तो सोच में थे पड़े,
कभी न कभी तो माँ बाप ने गोदी में उठाया होगा,
या होश संभालने को लग गए साल बड़े।
Dialogue मारने से पहले तो होश में आ जाते,
नहीं हैं इस में कोई हीरे मोती जड़े,
हमारी बात पे गौर फरमाना लंबू जी,
वैसे तो आपने फिल्मों में कई जंग हैं लड़े।
(Photo courtesy: www.bollywoodlife.com)
Hasya Panktiyan of the Day #19
Newspaper पहले पत्र कहलाता था,
तभी लोग कहते थे इसे The Mail,
आजकल यह केवल दिल बहलाता है,
News की तो लगी हुई है sale.
जिसने पैसा दिया अच्छी खबर छपवा ली,
बाकी चाहे हो जाएं fail.
ऐसे newspapers की बस यही value है,
रद्दी में दो या खायो इस में भेल।
Hasya Panktiyan of the Day #20
Elections आ रहे हैं, किस का करें यकीन,
सब अपनी अपनी बजा रहे हैं बीन,
“हम बुरे हैं पर उतने नहीं जितने तुम थे”
यह तो है TV Debates का scene.
Democracy के सही माईने किस को पता हैं?
“आपको उल्लू बनाना है हाज़रीन”!
नेता का भाषण सुनके मैं तो हुआ impress,
बीवी ने मंगवाई थी मुझसे एक नई dress,
घर आते ही मैंने कहा, “एक क्यों मैं इतनी ला दूंगा,
सपनों भी तुम ना कर सकोगी कभी guess”
बीवी Indian Voters की तरह नहीं थी भोली,
कड़क आवाज़ में वह मुझसे गुस्से में बोली:
“लाना है तो आज ही लाओ, वरना याद रखना,
कल दोगे दस, इसकी मुझे ना देना गोली”।
काश मुल्क में भी होती बीवी की सरकार,
कल का काम आज होता, कोई ना होता लाचार,
वज़ीर ए आज़म तक़रीर में सब्ज़ बाग ना दिखाते,
अच्छे दिन लाने में, हमसे ना करते उधार।
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?'”
ना जाने क्यों वो मुझे इन्सान नहीं समझते,
उनके दिल में रहता हूँ पर मेहमान नहीं समझते,
सारी जिंदगी गुजार दी जिनके प्यार में मैंने,
वो फिर भी मुझे अपना कदरदान नहीं समझते।
Sher of the Day #9
काश हम फिर से बच्चे बन जाते,
चालाक नहीं, मन के सच्चे बन जाते,
अमीर गरीब, धर्म जाति के भेद भाव मिटा कर,
सब के लिए प्रिय और अच्छे बन जाते।
काश हम फिर से बच्चे बन जाते……
(Pic courtesy: The Indian Express)
Sher of the Day #10
मैं लोगों से अब थोड़ा दूर रहता हूँ,
अपनी तनहाईयों में इतना मगरूर रहता हूँ,
मुझे हमज़ुबां, हमसफर, हमनशीं की नहीं तलाश,
अंजाम ऐ आशिक़ी से भी बेकसूर रहता हूँ।
(Pic courtesy: www.thoughtco.com)
Sher of the Day #11
हमने आपके ग़म को सीने से लगा रखा है,
जैसे ग़म नहीं, मोहब्बत में मिला हो कोई इनाम,
लोग एक दिन इश्क में मर जाते हैं,
हमने आप पे मरने पेे गुज़ारी है उम्र तमाम।
Sher of the Day #12
हर एक बात मेरी, तेरा दिल लुभाया करती थी,
मेरे हिज्र में चांदिनी आंसू बहाया करती थी,
क्या हसीन आलम था वो, दिल भूलता ही नहीं,
दिल की खामोश बातें, नज़रें सुनाया करती थी I
Sher of the Day #13
तेरे मेरे प्यार के अफ़साने बन गए,
नए और पुराने तराने बन गए,
पर दिल की बेकसी और भी बढ़ गयी,
जब हम ही फिर से अनजाने बन गए।
(Pic courtesy: directionlesspoetry.com)
Sher of the Day #14
ज़िन्दगी भर तुझे प्यार किया मुझे क्या मिला?
तुझे तो रहा वही शिकवा वही गिला,
मुझे लगता है अगले कई जन्म चलता रहेगा,
यही गर्म-सर्द, सर्द-गर्म का सिलसिला।
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 second one:
Hasya Panktiyan of the Day #8
हम Olympics में क्यों नहीं जीत पाते हैं Gold,
जब्कि Traffic में हम हैं तेज़, चालाक और बोल्ड,
किसी न किसी तरीके हम दूसरों से आगे बढ़ जाते हैं,
मर जाते हैं हम young, होते ही नहीं ओल्ड।
(Pic courtesy: lifto.in)
Hasya Panktiyan of the Day #9
मोदी सरकार फौज को छोटा दिखाने में लगी है,
कभी नहीं सुनी इनसे फौज की बढ़ाई,
इसके मंत्री भी फ़ौज को तुरंत डांट देते हैं,
दुश्मन के साथ नहीं, इनकी है फौज के संग लड़ाई।
इस लड़ाई में इन्हें स्वर्ण पदक मिला है,
फौजी OROP के लिए दे रहे हैं दुहाई।
Hasya Panktiyan of the Day #10
रेड लाइट क्रॉस करते ड्राइवर को पुलसिये ने दिया रोक,
उसने तुरंत जेब से निकाला सौ रुपये का नया नोट,
पुलसिये ने कहा GDP Growth का कुछ तो ख्याल करो,
आजकल यह है कम से कम पांच सौ रुपये की चोट।
(Clipart courtesy: dnaindia.com)
Hasya Panktiyan of the Day #11
हम Indians के लिए Good Morning कहना बहुत ज़रूरी है,
क्यूंकि इसी से कम होती है जो दिलों के बीच दूरी है,
मैंने एक को कहा, “भाई, अब तो बंद करो, net clog हुआ है”,
तो उसने कहा, “यह अब choice नहीं है मजबूरी है”।
मियां बीवी की लड़ाई पहले प्राइवेट होती थी,
पर आजकल है इंटरनेट का ज़माना,
दोनों ही फेसबुक पर स्टेटस लोड करके कहते हैं:
“कोई तो इस पागल को समझाना”!
Hasya Panktiyan of the Day #13
कौन कहता है हसीनो के पास दिल नहीं होता,
हमने तो देखा है उनका धड़कता दिल,
इससे पहले कि उस पे हम शेर लिखें,
उन्होंने पकड़ा दिया Pacemaker का बिल!
Hasya Panktiyan of the Day #14
“हम आपके लिए दे सकते हैं अपनी जान”,
यह सुन के मैं तो हुआ बहुत हैरान,
कियुंकी एक बार स्कूटर मांगा था चंद घंटों के लिए,
और उन्होंने excuses की लगा दी थी दुकान।
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 first one:
Sher of the Day #1
उन्होंने कहा तुम्हें मरने का कोई हक़ ना था,
पर मुझे तो अपने मरने पे कोई शक़ ना था ।
Sher of the Day #2
खामोशी में वो हाल ए दिल बयान कर गए,
मुझ ग़रीब पर इतना एहसान कर गए,
उनकी याद ही अब मेरी ज़िंदगी बन गयी है,
जीते जी मेरी मौत का सामान कर गए।
Sher of the Day #3
मेरी माँ की अलमारी में रखी थी एक किताब,
मैं समझता था रखती हैं उसमें वह अपना हिसाब,
जाने के बाद खोल के देखा तो हैरानी हुई,
यहीं पे रखे थे सब उनके ख्वाब ।
Sher of the day #4
ज़िन्दगी की राह में कई ऐसे मोड़ आते हैं,
हमारे अपने भी हमें छोड़ जाते हैं,
जिनका दम भरते थे सुबह ओ शाम,
वो भी दामन अपना निचोड़ जाते हैं ।
Sher of the Day #5
प्यार में जो हुआ उनको सब पता है,
मैं लूट गया, बर्बाद हुआ, यह भी मेरी ही खता है।
(Clipart courtesy: darklight436.devianart.com)
Sher of the Day #6
हमको तो उनकी अदाओं ने मार डाला,
ख़ामोश धड़कनो की सदायों ने मार डाला,
लोग मरते हैं बेवफाई के सबब से,
हमको तो उनकी वफाओं ने मार डाला ।
Sher of the Day #7
तुम्हारे प्यार ने ना जाने मुझे क्या क्या बना दिया,
जो कुछ भी याद था, सब कुछ भुला दिया,
अब मैं कौन हूँ, मेरी हस्ती क्या है मेरा वजूद,
ऐसे सवालों ने मुझे अक्सर रुला दिया ।
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 first one:
Hasya Panktiyan of the Day #1
खुशी के साथ ग़म हैं, ग़म के साथ है खुशी,
क्या इस के बारे किसी ने सोचा है कभी?
खुदा की मार्केट में ही पहली बार स्कीम निकली थी:
बाइ वन एंड गेट वन फ्री ।
(Courtesy: freefunguides.com)
Hasya Panktiyan of the Day #2
ग़रीबी वो बला है जो मिटने का नहीं लेती नाम,
इसमें हम देश के नेता क्यों हो रहे हैं बदनाम?
पहले अपनी और फिर खानदान की मिटा डाली,
सारे देश की मिटा दें, यह भी क्या हमारा ही है काम?
“A Marathi caricature from early 70s” put up in ashoksridharan.files.wordpress.com)
Hasya Panktiyan of the Day #3
चोर मेरे घर आया, अंधेरे का हुआ उसे भर्म,
मैने कहा अंधेरा क्यों है, इस का तो जान लो मर्म,
अंधेरा इसलिए नहीं के मैं सोने जा रहा था,
घर में कुछ है नहीं, इसी की आ रही थी शर्म।
(Caricature courtesy: ruhani786.blogspot.in)
Hasya Panktiyan of the Day #4
आप यूहीं हमें वोट देते रहें,
जेब के सिक्के और नोट देते रहें,
हम भी वादा करते हैं, हर चुनाव के बाद,
हम ऐसे ही तुम्हें चोट देते रहें ।
(Clipart courtesy: moziru.com)
Hasya Panktiyan of the Day #5
दिल में अरमान थे देश के लिए कुछ कर लूं,
फिर मैंने सोचा पहले अपनी तिजोरी तो भर लूँ,
Charity begins at home स्कूल में सीखा था,
भई जो सीखा है उस पर तो अमल कर लूं।
(Cartoon courtesy: thefunlearning.com)
Hasya Panktiyan of the Day #6
जब से आम हुए हैं तेरे मेरे प्यार के चर्चे,
तब से बढ़ गए हैं मेरी ज़िंदगी के खर्चे,
सारी रात बीत जाती है रोते रोते,
सारे दिन में सवाल है अगरचे मगरचे ।
(Clipart courtesy: elmcityvineyard.org)
Hasya Panktiyan of the Day #7
पिछले बीस सालों से आप ही का केस कर रहा हूँ,
वक़्त के साथ बढ़ी तेज रेस कर रहा हूँ,
बस दस पंद्रह सालों में फैसला हो ही जायेगा,
मैं कौन सा वकीलों को डिसग्रेस कर रहा हूँ।
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!
रुह कांप गयी उसे जब चला पता,
घर में आज शराब खत्म है;
कैसे हो गई यह शर्मनाक खता?
खता नहीं हक़ीक़त में सितम है।
पूरे घर को छान मारा,
कहीं न मिले गांधी वाले नोट,
सोचा आज करते हैं मय से किनारा,
हालांके दिल पे लगेगी चोट।
फिर देखा बीवी गयी है नहाने,
बाहर छोड़ गई है सोने की चेन,
बाद में उसके सुनेंगे ताने,
पहले हो जाये शराब का लेन देन।
बोतल गयी अंदर, झूम गया आलम,
बन गए कल्लू मियां तानसेन,
बीवी ने पूछा सुनते हो बालम,
कहाँ गयी मेरे सोने की चेन?
“भूल जाओ आज ज़िन्दगी के गम” वो गाये,
“चेन से तुम कई गुना हो हसीं”
बीवी चिल्लाई: “मैं मर गयी, हाय,
इसकी भी शराब तो न पी ली कहीं?”
रसोई से बीवी ने बेलन उठाया,
और दिया कल्लू के सर पर मार;
तानसेन झट हो गया पराया,
उतर गया फितूर ए खुमार I
भाईयो इसमें छुपी है एक गहरी सीख:
गरीबखाने में गर शान से जीना,
और मांगनी न पड़े किसी से भीख
तो बीवी को भी सिखा दो पीना।
गोल्ड चेन के सारे ख्वाब,
उसके चले जायेंगे दूर;
हसीं लगेगी उसको भी शराब,
चढ़ा रहेगा हरदम सरूर।
देर मत कीजिये, बीवी को है सिखाना,
आज ही शुरू करें online class,
Women empowerment का है ज़माना,
उसके लिए अलग बोतल और गिलास।
Raaga Based Song of the Day:Jeevan jyot jale…. Raag Sohani, Tal Tintal
Today sees me returning to my favourite lyricist Shakeel Badayuni after a long time. And, he is with Ravi here – the composer and music director with whom he got two of his three Filmfare Awards for Best Lyricist.
Today is the third day that I am giving you a song based on Raag Sohani. The first time I gave you a Sohani based song was, I hope, a treat for you since I gave you Ustaad Bade Ghulam Ali Khan‘s rendition of it: Prem jogan ban ke, also penned by Shakeel for K Asif’s Mughal-e-Azam; however, composed by Naushad (Please see: ‘Raaga Based Song Of The Day #42’). Exactly 42 more songs later, I gave you another song based on this raag: Jhoomati chali hawa yaad aa gaya koi; this time in Tal Dadra. This was penned by a great lyricist Shailendra on a composition by SN Tripathi in Tripathi’s own directed 1962 movie Sangeet Samrat Tansen (Please see: ‘Raaga Based Song Of The Day #84’).
We have completed ninety-one days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge. It is in Raag Jhinjhoti, Tal Kaherava.
Our ninety-first post or the last post was titled ‘Raaga Based Song Of The Day #91’ and the song was an Asha Bhosle song from the 1966 Shailendra production and Basu Bhattacharya movie Teesri Kasam starring Raj Kapoor and Waheeda Rehman. It is in Raag Kalyan, Tal Dadra.
In the last ninety days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand and Mian Ki Malhar; making it a total of 61 raagas. The raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti and Shivaranjani. Today, I am repeating Raag Sohani for the third time.
Sohani, also known as Sohni and Sohini, is a raaga that belongs to Marwa Thaat. Its Jati is Audhav – Shadav, ie, five notes in Aaroha and six in Avroha. The time for performing this raaga is in the wee hours of the morning or last prahar of the night, that is, from 3 to 6 AM. In the Marwa thaat, Sohani is similar to Marwa and Puria raagas. In the Poorvi thaat, it is similar to Basant.
In the wee hours of the morning, you would find the atmosphere of dew. Hence, the mood of the raaga is the moist atmosphere that prevails in a tranquil and silent night.
Some of the other songs composed in Raag Sohani are:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Prem Jogan Ban Ke
Jhoomti Chali Hawa
Kuhu Kuhu Bole
Jeevan Jyot Jale
Saawan Ban Gaye Nain
Muft Hue Badnaam
Jhoote Zamane Bhar Ke
Bedardi Nazarein Mila Ke
Sajan Tori Preet
Naina Hai Jadoo Bhare
Payal Chham Chham
Mughal-E-Azam
Sangeet Samrat Tansen
Suvarna Sundari
Grihasthi
Karorpati
Baraat
Musafir Khana
Aji Bas Shukriya
Sagai
Bedard Zamana Kya Jaane
Basant
Bade Ghulam Ali Khan
Mukesh
Lata, Rafi
Asha
Asha
Mukesh
Nirmala Devi, Rafi
Lata
Asha
Mukesh
Asha
I had given you an introduction to Tal (musical measure) on the second day itself. Some of you would recall that I had mentioned that Tal, Taal or Tala is a word that is variation of the word Taali (Clap). Before the advent of Tabla, the standard method of keeping the musical measure was with the clapping or tapping of one’s hand on the arm or thigh. Indeed, now that we have Tabla, this beat is still maintained by clapping and waving of hands. If you recall, I had also mentioned that whilst the Raaga sets the mood, time of day and season of a composition, Tal constitutes the time-cycle. Therefore, a Raaga and Tal go hand in hand. On the 14th Raaga Based Song of the Day, was the only occasion when we didn’t have a Raaga (Kalyan) accompanied by a Tal since the entire composition of Lagata nahin hai dil mera was in Alaap.
The rhythmic hand gestures used to denote Tal are called Kriyas. If you recall, I laid emphasis on something called Vibhag or sections or angas or parts of a Tal. In Hindustani music, the first beat of a Vibhag is Tali (Clap), whilst the empty beat (Khali) is indicated is indicated by the sideways wave of the dominant clapping hand. And thus, you would recall, I represented the Tal for you with Claps and Waves.
We had also learnt that a Tal doesn’t have a fixed tempo or laya. Hence, we had learnt three different tempos: Vilambit (delayed or slow), Madhya (medium) and Drut (fast).
Teental or Tintal is the most popular Tal in North India/Hindustani Music. It is also the most symmetrical. It has 16 beats in four vibhags. The period between every two beats is the same. We already know that the first beat is called Sam (to be pronounced like the English word Sum) and the ninth beat is Khali or empty. To perform the kriya of Tintal, one has to clap on the first beat, clap on the 5th beat, then waves on the 9th beat and lastly again claps on the 13th beat; these three claps give the rhythm its name: Teental or Tintal.
The Theka for Tintal
dha
dhin
dhin
dha
|
dha
dhin
dhin
dha
|
x
2
dha
tin
tin
ta
|
ta
dhin
dhin
dha
|
o
3
This can also be shown using the following figure:
Taal signs
X
2
0
3
Maatra
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Bols
dha
dhin
dhin
dha
dha
dhin
dhin
dha
dha
tin
tin
ta
ta
dhin
dhin
dha
(Poster courtesy: Wikipedia)
The song I have taken for you today is from the 1963 SS Vasan production and Kishore Sahu movie Grahasti starringAshok Kumar, Manoj Kumar, Rajshree, Nirupa Roy and Mehmood. As I said, it was penned by Shakeel Badayuni, composed by Ravi and sung by Asha Bhosle. “Grahasti was the first film to “start the trend” of family dramas being made in South India. The story revolves around Harish Khanna (Ashok Kumar) who leads a dual life, having two sets of families in different cities. The effect the exposure has on him and his family forms the basis of the story.”
The music composer Ravi won an award for the song Jeevan Jyot Jale. It was adjudged the Best Classical Composition in the Sur-Singar Film Awards for 1963.He won the Swami Haridas Award, while Asha Bhosle won the Mian Tansen Award as the singer. The song was cited as the best song of 1963 out of the 544 songs released that year from a total of 77 films. Of course, Ravi has won the Filmfare Award only twice out of seven nominations and in 1964 (the awards after the movie was made), he lost out to Roshan for Taj Mahal and joined other losers: Naushad Ali for Mere Mehboob and Shankar Jaikishan for Dil Ek Mandir.
I don’t have to give you more about Shakeel Badayuni since this blog has as many as sixteen posts about and involving him. I won’t even give you a list of my favourite songs penned by him since all his songs and ghazals are my favourite. I indulge in writing poetry in Hindustani/Urdu and many of these are on this blog. My fervent wish is that sometime or the other I shall write something as good as Shakeel Badayuni.
For Music Director Ravi to compose one of the finest raaga based songs was nothing short of miracle since he had no formal education in Raagas at all. He learnt music by listening to his father sing bhajans. He worked as an electrician to support the family whilst learning harmonium and other classical instruments entirely on his own. He shifted to Bombay to become a singer in the movies and continued to work as an electrician for the railways. How tough life was for him can be made out from the fact that he had no house/room in Bombay and he used to sleep at Malad Railway Station.
Ravi is my namesake and my favourite singer Hemant Kumar gave him a break in 1952 to sing the vocals of his composition Vande Mataram in the 1952 Hemen Gupta movie Anand Math. Within three years he emerged as an independent music director for Albeli, a 1955 movie starring Pradeep Kumar and Geeta Bali. Ravi got his first Filmfare Award for the 1962 movie Gharana.Two years before that he gave Shakeel his first Filmfare Award for Chaudhvinh Ka Chand. For a musician without any formal training in music, Ravi came a long way. Some of the Sitar based songs of Ravi are classics such as Tora man darpan kehlaaye for the 1965 movie Kaajal (Please see: ‘Songs That Tug At Your Emotions – Song #9’).
Asha Bhosle with Ravi on her right
As far as Asha Bhosle, the singer of this song is concerned, I am one who thinks of Asha Bhosle as a complete singer and not just a singer of sexy and sensuous numbers. Have a look at some of the sad and serious numbers that she has sung: Phir thes lagi dil mein phir yaad ne tadpaaya (Kashmir Ki Kali), Ye khaamoshiyan ye tanhaayiyan mohabbat ki duniya hai kitani jawan (Ye Raaste Hain Pyaar Ke), Wo subah kabhi to aayegi (Phir Subah Hogi), Tang aa chuke hain kashm-e-kash zindagi se ham (She sang the same song of Sahir Ludhianvi in 1958 movie Lighthouse as was sung by Mohammad Rafi in 1957 movie Pyaasa), Sun le pukaar aayi (Phool Aur Patthar), Sawan aaye ya na aaye (Dil Diya Dard Liya), Sach huye sapne tere (Kaala Bazaar), Raaton ko chori chori bole mera kangana (Mohabbat Zindagi Hai), Raat ke hamsafar thak ke ghar ko chale (An Evening In Paris), Puuchho na hamen ham unake liye kyaa kyaa nazraane laaye hain (Mitti Mein Sona), Piya piya na laage mora jiya (Phagun), Mujhe gale se laga lo bahut udaas hoon main (Aaj Aur Kal), Mere bhaiya mere chanda mere anmol ratan (Kaajal), Main jab bhi akeli hoti hoon tum chupake se aa jaate ho (Dharmputra), Koi aaya dhadkan kehati hai (Lajwanti), Koi shikwa bhi nahin koi shikaayat bhi nahin (Neend Hamari Khwaab Tumhaare), Kali ghata chhaye mora jiya tarsaaye (Sujata), Jab chali thandi hawa (Do Badan), Jaa jaa re jaa saajana (Adaalat), Ik pardesi mera dil le gaya (Phagun), Ham intezzar karenge tera qayaamat taq (Bahu Begum), Ham tab simat ke aapki baahon mein aa gaye (Waqt), Do ghadi woh jo paas aa baithe (Gateway Of India), Dil ki tamanna thi masti mein (Gyaarah Hazaar Ladkiyan), Dekh hamen awaaz na dena (Amardeep), Chain se hamako kabhi aap ne jeene na diya (Pran Jaaye Pazr Vachan Na Jaaye), Chand sa mukhada kyun sharmaaya (Insaan Jaag Uthja), Bachchon tum taqdeer ho kal ke Hindostan ki (Didi), Aur is dil mein kyaa rakha hai (Imaandaar), Ashkon mein hamane tasveer banayi hai (Dekh Kabira Roya), Ab ke baras bhej bhaiya ko babul (Bandini), Aapse maine meri jaan mohabbat ki hai (Ye raat phir na aayegi), and Aaj ki raat badhi shok badhi natkhat hai (Nai Umr Ki Nai Fasal).
Asha Bhosle’s Bandini song ‘Ab ke baras bhej bhaiya ko babul’ is as popular today as it was 55 years ago.
Before we actually take up the song, first, lets take up the value added learning of today. From the last ten times we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan,thefinest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked about Ali Akbar Khan, the greatest Sarod player in the country. Then we took up Pandit Ravi Shankar, the greatest Sitar player in the world. Then we took up the greatest classical singer in the country (of Carnatic tradition): MS Subbulakshmi. Then, we took up the greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about the Shehnai maestro Ustad Bismillah Khan. Then, we learnt about Annapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music. Thereafter, we took up Pandit Shiv Kumar Sharma, the grestest Santoor player in the country. Then we learnt a little more about Ustaad Alla Rakha Qureshi or simply Alla Rakha, the Tabla Maestro and father of Ustaad Zakir Hussain. And finally, we learnt about the master and one of the pioneers of fusion: Anand Shankar.
(Pic courtesy: Amazon India)
Tonight, we shall take up a personality who represents both the worlds: that of classical Veena player as well as that of an accomplished filmmaker: Sundaram Balachander. He was born on 18 Jan 1927 to V Sundaram Iyer and Parvathi alias Chellamma in Mylapore, Madras Presidency. British India. His elder brother S Rajam was a well-known singer and teacher, and a gifted artist as well. His elder sister is S Jayalakshmi (who later acted as MK Thyagaraja Bhagavathar’s pair in Sivakavi), S Saraswathi was his younger sister, followed by the twins S Karpagam and S Gopalaswami.
From the age of five, Sundaram Balachander showed an interest in classical music and his first musical attempt was with the kanjeera, which is a small, circular percussion instrument. Within a year he was accompanying his brother and other musicians on the kanjeera during regular concert engagement, in Sabhas, in temple festivals, in devotional congregations, etc. From age six on his career achieved steady growth. He also learnt to play tabla, mridangam, harmonium, bulbul tarang, dilruba, and shehnai. On the sitar, Balachander was a fully fledged solo concert artist by age twelve and it is interesting to note that he performed South Indian Carnatic music on that instrument. And then Veena entered his life. Falling in love with the instrument, from the beginning he felt that it deserved his undivided attention and every skill. Without a tutor or master to guide him, within two years he was an established concert veena player.
He travelled all over the world, and won international fame as an instrumentalist of rare repute. The famous electric bassist Mark Egan cites Balachander as a major influence on his music. At one time, Balachander held the record for cutting the highest number of records (21 in India, and 6 outside India). The 12-LP set encompassing the 72 melakartas is a piece of work that has no parallel. Magic Music of India (World Pacific), Sounds of the Veena (WPS), Veena Virtuoso (World Music Library), Immortal Sounds on the Veena (Oriental Records), veeNa (EMI), The Music of the Veena (JVC, Japan), and The Music of India (Nonesuch Explorer) are some his releases that have been best-sellers worldwide.
He is also known for his work in cinema, his writing and his polemics. Balachander was awarded the Padma Bhushan in 1982.
As far as movies are concerned, he began as a child artist in Tamil film Seetha Kalyanam in 1934 as a child musician in Ravana’s court. His other Tamil movies that he acted include Devaki (1951), Rajambal (1951), Rani (1952), Inspector (1953), Penn (1954), Kodeeswaran (1955), Doctor Savitri (1955) and Maragadham (1959). In addition to acting and composing film music, from the late 1940s to the mid-1960s Balachander directed a number of Tamil films. He had acted, directed, composed music and sang in Idhu Nijama (1948), En Kanavar (1948) and Kaidhi (1951). A number of Telugu movies followed. In the 1960s, he formed his own production company called SB Creations where he made 3 movies, produced, directed, composed music and sang in Avana Ivan (1962), Bommai (1964) and Nadu Iravil (1965).
Ladies and gentlemen, please enjoy in Raag Sohani Taal Tintal, Asha Bhosle sing a composition of Ravi on the lyrics of Shakeel Badayuni in the 1963 SS Vasan Production and Kishore Sahu directed movie Grahasti: Jeevan jyot jale…..
जीवन ज्योत जले
कोउ न जाने कब निकसे दिन
और कब रात ढले
जीवन ज्योत जले …
भोर भये तो मन मुस्काये
सँझ भये तो नीर बहाये
एक पल मान करे संसारी
एक पल हाथ मले
जीवन ज्योत जले …
https://www.youtube.com/watch?v=UemDW8KonE8
We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:
On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
On the second day we learnt about Tal or Taal.
On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
On the fourth day, we learnt about Sargam.
On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
On the eighth day, we learnt the parts of a composition in Indian Classical Music.
On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
On the tenth day, we learnt about the sources of names of Raagas.
On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
On the twelfth day, we learnt about Khammaj Thaat.
On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
On the fourteenth day, we learnt about Alap.
On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
On thesixteenth day, we learnt about tips for raaga identification.
On the seventeenth day, we learnt the basics of Gharana system.
On the eighteenth day, we learnt about Filmi Sangeet.
On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
On the twentieth day, we learnt about the Kafi Thaat.
On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
On the twenty-fifth day, we learnt about Tintal.
On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
On the twenty-seventh day, we learnt about Lehar.
On the twenty-eighth day, we learnt about the history of the Hindustani Music.
On the twenty-ninth day, we learnt about Dhrupad.
On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
On the thirty-first day, we learnt about Khayal.
On the thirty-second day, we learnt about Thumri.
On the thirty-third day, we learnt about Tappa.
On the thirty-fourth day, we learnt about Tarana.
On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
On the thirty-sixth day, we learnt about Tabla.
On the thirty-seventh day, we learnt about Kirtan.
On the thirty-eighth day, we learnt about Pakhawaj.
On the thirty-ninth day, we learnt about Hori.
On the fortieth day, we learnt about Dadra.
On the forty-first day, we learnt about Kajri.
On the forty-second day, we learnt about Chaiti.
On the forty-third day, we learnt about Sarangi.
On the forty-fourth day, we learnt about Shehnai.
On the forty-fifth day, we learnt about Sarod.
On the forty-sixth day, we learnt about Bansuri.
On the forty-seventh day, we learnt about Ektal and Tanpura.
On the forty-eighth day, we learnt about Veena.
On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
On the fiftieth day, we learnt about Dilruba/Esraj.
On the fifty-first day, we learnt about Jaltarang.
On the fifty-second day we learnt about Qawwali.
On the fifty-third day, we learnt about Sitar.
On the fifty-fourth day, we learnt about Surbahar.
On the fifty-fifth day, we learnt about Harmonium.
On the fifty-sixth day, we learnt about Santoor.
On the fifty-seventh day, we learnt about Swarmandal.
On the fifty-eighth day, we learnt about the Shruti Box.
On the fifty-ninth day, we learnt about Alankar.
On the sixtieth day, we learnt about singing in Aakaar.
On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
On the sixty-second day, we learnt a little about Carnatic Music.
On the sixty-third day, we learnt about Natya Shastra.
On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
On the sixty-fifth day, we learnt about Riyaaz.
On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
On the sixty-seventh day, we learnt about the health benefits of raagas.
On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
On the seventieth day, we learnt about Melakarta Raagas.
On the seventy-first day, we learnt about Sangita Makarand.
On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
On the seventy-eighth day, we learnt about Jhaptal.
On the seventy-ninth day, we learnt about Ektal.
On the eightieth day, we learnt about Tivra Tal.
On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
On the eighty-sixth day, we not just learnt about the greatest vocalist of Hindustani tradition: Pandit Bhimsen Joshi but also learnt about Tal Hinch.
On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
And today, on the ninety-second day, we learnt about Sundaram Balachander,the great Veena player and film-maker.
There is much more still to be learnt and enjoyed.
