No, this article is not about the 1970s British sitcom by the same name. Nowadays, in Mumbai, for example, it is common to see a man sharing a house with two single women (all students or all in their early careers); the women preferring the man’s presence for safety and security. However, in the 70s sitcom, starring Richard O’Sullivan, Paula Wilcox and Sally Thomsett, it was considered a very daring idea.
This article is about the fantasy that the wives in the armed forces have about having their husbands home and what actually happens when this dream is realised.
If you read my piece titled ‘Selfing’ – An ‘Evolutionary’ Way For Navy Wives? , you would have known (if you ain’t from the Navy, that is; else, you would have known without any articles reminding you) that any further neglect of wives by their husbands would eventually force the wives into doing everything by themselves. The husbands are so busy sailing and doing (or not doing) a motley of things on the ships and in the offices that the wives are virtually on their own.
From the comments on that post by my friends I could make out that the situation is no different in the other two armed forces. The percentage of husband’s contribution in the running of the households in the armed forces is what was believed to have been discovered by Aryabhata in the fifth century AD: Zero.
The armed forces personnel’s wives are, therefore, always day-dreaming that a day would come when their husbands would retire (like I did six years ago) and be a man about the house, helping her tackle a number of things that she had hitherto been tackling all by herself.
And, God, satisfied with her relentless prayers, gives her her heart’s desire. He is retired from the Navy and at home, finally.
As she walks by his side, tugging at his shirt-sleeve, and happily tripping over his feet, she wants the whole world to take notice of the fact that finally her husband is all hers and not married anymore to her sauten (a Hindi word that translates into co-wife or the other wife): the Navy.
The entire evening and the night is spent in wistfulness. Late in the night, she, as she revels in his presence in the bed next to her, is filled with those what-if feelings. “What if”, she thinks, “The Navy guys could finish their day’s work at some earthly hours and then I could’ve had more of him”. It starts a chain of thoughts, “What if the Navy would retire its officers early so that they could be of some use to their wives and children?” And so on.
The next morning she is already in the kitchen when he saunters along. “You should have stayed in bed”, she tells him, “I would bring tea for you in the bed”. He ignores it by saying, “No, no, no and no. I don’t want to do that now that I have retired. I want to help, something that I missed doing with all the work the Navy gave me…….ah, what do I see here? A leaking tap.”
She: “You don’t have to worry about that, darling. During the forenoon, the plumber will be coming to set it right”.
He: “Plumber? Plumber? When I, your husband, am around? No, no, no and no (looks like he loves this expression that has been borrowed from his Fleet Commander when he used to suggest he could go on leave). For what do you think I bought that complete plumber’s kit including wrenches of all sizes during my foreign cruise? I shall have this leak behind us within no time.”
She has that look of foreboding on her face, but he, with the sweep of his hand, reassures her: “Darling, do you know anything about NBCD and DC? No, you don’t? Well, NBCD is Nuclear, Biological, Chemical, Defence and DC is Damage Control. We have exercised these on the ships any number of times. A leaking faucet is nothing. Just watch me for a minute and you would know that a Navy man is a plumber, electrician, carpenter, painter, odd-job-man, all rolled into one.
She watches him as he fiddles with the wrench and soon there is water everywhere. To end a long story short, she has to make an emergency call to the Society office to stop all water to the building and send the plumber immediately to arrest leak from a badly broken pipe.
(Pic courtesy: www,flickr.com)
She feels thankful that there was nothing wrong with the cooking gas stove, lest he should have offered to help there too. It could have been serious.
It takes her hours to clear up the mess, what with his helping suggestions on how to clean up. By this time, the jhaadu-bota (broom and mop) bai (maidservant) comes along and the retired husband’s helpful suggestions are now directed at her, through the wife, “You know, darling, during the annual inspection of ships, it was the favourite of the Fleet Commander to lift up the carpets and find dust underneath. I lifted up our drawing-room carpet and found tons of dust under that. I am sure the bai is doing a magnificent job but, I think, I should tell her where all the dust normally settles….”
He has endless suggestions for the cooking maid too, “From very young age in the Navy, ever since I was an AOOD (Assistant Officer of the Day), I have been tasting food in the sailors galleys so that they would get wholesome, well cooked, delicious food. We are experts in this area too. Abhi dekho amma, tum ne kya kiya? Tumane gas on karke pan chadha diya par tumahaare baaki samaan ready nahin. Gas waste jaa raha hai. Ise pehle band karo…..(Now look here, amma, what you did? You turned on the gas and put on a pan but the rest of your stuff is not ready. Gas is being wasted. First turn it off…”
And to the jhaadu-bota bai, “Dusting ghar ke liye bahut zaroori cheez hai. Hamaare ship mein to jo achha dusting karta tha, hum use inaam dete the….dekho wahan chhoot gaya….arre pehle sookhe kapade se aur phir geele kapade se karo na….aur brass shells ko daily brasso karo (Dusting is very essential for the house. On my ship the one who used to do dusting well, I used to give him an award….see, you left some dust there….you should first try a dry mop and then a wet one…. and brass shells need to be shined with brasso everyday)”
(Cartoon courtesy: www.cartoonstock.com)
And in the children’s room, “What do we have here? Watching Television? During our days (another favourite expression of the Fleet Commander), television was allowed only for half an hour each day…..in fact, if I recall correctly, we didn’t have television at all….So what? Napoleon didn’t have television, Nelson didn’t have, Kanhoji Angre didn’t have, Kunjali Marakkar never heard of it….and they still became great…”
And during all this, she goes about doing her work like any other day….not really like any other day since she couldn’t play the music of her choice because he listened to his songs. As it is those stupid Hemant Kumar songs don’t make any sense to her; but, he insisted on playing them over and over again and as loud as they could get. And she decided that if he were to play zindagi kitani khoobsurat hai (How beautiful life is), one more time, she would tell him!
All the helping that he has done the whole day, assisted by the beer in the afternoon and his favourite Navy rum in the night, whilst listening to those idiotic songs, makes him tired and he goes to sleep early with the resolve that next day he’d sort out more things in and around the house.
Late in the night, as she lies awake in her side of the bed, she whispers to God, “God, I had a good thing going for me all this while and I didn’t know about it. Now, do me a favour: Find him a job….. urgently, PLEASE.”
Armed forces are called uniformed services. Many uninformed (not the opposite of uniformed) people feel that they are called so only because of the uniform that they wear: olive-green for the army, white for the navy and the sky blue for the air-force. Of course, that’s right but it is only a small part of the uniformity obtained in the services. The major part is to do with the uniformity of training, operations and responses. What it then boils down to is that, a uniformed person, in dress and in every other sense, is a disciplined person with as standard or near standard responses to situations as possible.
We Indians are as far from being uniformed or disciplined as possible. We are creative in our responses and approach, which makes us destructive in our outlook. The best example to understand this is our traffic sense or more aptly: traffic non-sense. Continuing in one lane for anything more than a few seconds gets on our nerves and mars our creativity and sense of adventure. So we leave the relative safety of our lane and venture out in other lanes or in-between areas to see if we can speed up things a bit. From experience we know that it doesn’t help. But, so sure we are of our traffic skills that rather than experience teaching us, we can teach the bally experience a thing or two.
In India, therefore, we offer lip-service to the services and publicly (because of the acute sense of jingoism that we possess, something which can only be called Indianness) extol their discipline and sense-of-purpose. However, privately we hate their guts for being what they are. And that’s precisely the reason why in our country there is so much of chasm between the society and the armed forces. Any number of WhatsApp forwards, for example, tell us how abroad the politicians, bureaucrats and general public have deep respect for their armed forces; but, here in India no one gives a damn.
Here is, therefore, a fantasy (nightmare). After having made relentless abortive attempts so that some of the civilians in our country, if not the majority, would become like the uniformed armed forces, the armed forces decide to follow the dictum when in Rome do as the Romans do. Politically, it doesn’t mean to follow Sonia Gandhi; it simply means that the armed forces decide to adopt the civilian ways of doing things. Here are some of the scenarios thought of by my creative mind:
Scenario I
Kargil War II
CO: We have received orders to capture the Tiger Hill…. Officer1 (Cutting him short): I know, Sir, that Tiger is our national animal and all that. However, too much focus on one animal, to the exclusion of others, is not good. The PM has shown Lion as the prominent symbol of Make in India. Why can’t we go and capture Lion Hill?
(Pic courtesy: ideasmakemarket.com)
Officer2 (Cheerfully): Simply because there is no Lion Hill anywhere in the vicinity. Officer1 (Not giving up so easily; no Indian ever does): That’s no excuse. What’s the use of ‘Make in India‘ campaign if we can’t even make a Lion Hill? Lets make one, Sir (this is said with the same resolve as the one employed by a passenger with the railway conductor to somehow find him a seat even though he has no reservation but merely a heavy wallet). CO (Straightway seeing a flaw in this. Even though these days COs are elected rather than selected, he is quick to see this flaw): But, for us to capture Lion Hill, the enemy should have occupied it. Officer3 (Dismissing this as something insignificant): That’s hardly a problem, Sir. If we can do match-fixing in cricket right in front of thousands of people sitting in the stadium, here it shouldn’t be any problem. Let me call my friend Abbas on the cellphone and ask them if they are willing to occupy a fictional Lion Hill so that we can evict them in return for our first occupying and then being evicted from the Markhor Hill. CO (Reaching a quick decision; people in the higher echelons are adept at quick decisions): Alright guys, we shall capture Lion Hill and make a report to the HQ that Tiger Hill wasn’t occupied and hence we had no choice but to capture Lion Hill. 2nd-in-Command (Understanding his duty well and with determination; they are paid to do precisely this): I think I should get on with the citations for the gallantry awards after the successful match-fixing – sorry – successful operations.
Scenario II Somewhere in the Arabian Sea (Renamed Bhartiya Samundra after the Modi government took up the issue at the United Nations)
Signal Communication Officer (SCO) (To CO on the Bridge of a warship): Sir, on the Tactical Primary we have just got a signal asking us to proceed on course 270 at a speed of 14 knots. CO (with a chuckle): Splendid (the standard response of acknowledging messages by saying Very Good has been done away with long time back and now officers use all kinds of adjectives. Only the other day, on the communication circuit, instead of asking for ‘Say again your last’, someone got the brain-wave (at sea you get all kinds of waves) of using the more creative “mukarrar”. The South Indian communication operator on the other end responded to it by a safe, “Same to you, over”), I was expecting it. Can we quickly check up with the quartermaster in the wheelhouse and engineers in the engine room if they have any objection to it. I must carry everyone along. Quartermaster in the Wheelhouse on the Conning Intercom: I overheard that, Captain Sir. I am from Delhi and must advise against this politically incorrect course. You see, Sir, probably the Fleet Commander has forgotten about the fact that today is an odd day and courses and speeds must conform with Kejriwal’s odd day directives. I would suggest steering 269 or 271 until midnight at least. Machinery Control Room: Captain Sir, I have called a meeting of all concerned to ask we can do 14 knots and for how long. With the staggered lunch timings of between 1 to 3:30 PM, I hope to have an answer by about 4 PM. We are at it, Sir, and we shall inform you if we can proceed at 14 knots. Else, we shall suggest to you the speed that we can do. CO: Beautiful, lovely, remarkable. What I love about this ship is the spirit. I wouldn’t be surprised if we eventually get the Most Spirited Ship trophy this year. I mean, just look at it this way: it has been less than ten minutes since we were asked to steer course 270 and proceed at 14 knots and already we are about to take a decision whether we can do it or not. Many of my engine room sailors would probably have to let go of their siesta. But, for us, the country comes first, the ship next and our own welfare last. Alright, SCO, make a signal to the Fleet Commander that by about 1615 hrs today we shall let them know what course and speed we would be doing. SCO: Never mind Sir, they have cancelled their last order and are asking for suggestions as to what course or courses the Fleet should do.
The uniform formations of the Indian Navy ‘at one time’ (Pic courtesy: nausena-bharati.nic.in)
Scenario III Fly-Past for the Republic Day Parade
Commentator: For the last about nine and half hours we have been witnessing smart march-past by the smartly dressed soldiers, sailors and airmen. The nine and half hours were required due to jawans trickling in as and when they had time to do so. But, it is still better than last year when the 26th January parade spilled over to 27th January. The Department of Diversity and LGBT has given the first prize to a sailor who came dressed as a banana (he nearly added: the fruit that describes best the present state of our armed forces). And now we are all expecting the grand-finale of Fly-past by the IAF aircraft that would appear at the end of the Raj Path or any other path as is hereinafter mentioned. Please keep your eyes glued for the aircraft in all kinds of possible directions. It is as much a surprise for them as for you. Commentator (after much wait): And now as you can see, one lone aircraft has appeared over the horizon. And what do we see? It is a commercial flight that has been re-routed safely over the Raj Path since the IAF planes are going all over the place. We may actually see more commercial flights over this route……ah, here is another….and hold your breath….this one is from Pakistan, which should have flown over Islamabad on 14th Aug but is competing with IAF in creativity.
How we used to enjoy these R-Day Fly-pasts until the Air-Force became non-uniform! (Pic-courtesy:
Scenario V
The Aftermath
As the modern young officers, men and women of the three services have all become more non-uniformed, independent-minded and independent-actioned, there is a small bunch of veterans sitting in the most uniformly disciplined manner and chanting slogans in unison. These are the men and women who are still protesting against the anomalies in OROP and the recommendations of the Seventh Pay Commission. An old, wrinkle-faced, former Major General of the Indian Army, raises a feeble hand high in the air and screams: Sadda haq (Our right).
And a few dozen veterans, equally feeble, respond weakly but with determination and in unison: Ithe’ rakh (Keep it here).
They are the last of the men and women who have any kind of faith and pride in being uniformed and disciplined.
An orderly conduct of an OROP Rally! Even agitation has to be done in ‘disciplined manner!
Post-Script
By the way, the Roget’s Thesaurus gave me the following antonyms of Uniform:
disorderly
flexible
pliable
pliant
soft
unmethodical
unsystematic
yielding
abnormal
broken
changeable
changing
corrupt
different
dishonest
disloyal
eccentric
imbalanced
inconsistent
inconstant
intermittent
irregular
rough
uncommon
unconventional
uneven
unfair
unfixed
unstable
unsteady
untrustworthy
unusual
variable
varying
wobbly
deviating
dissimilar
divergent
unalike
unlike
varied
God save us all. However, in keeping with the non-uniform practices, it should be gods (thousands of them) save us all.
As you are already aware, these blogs are being recreated from the posts on my Facebook page Lyrical wherein I started with this theme of giving you the best raaga based songs in Hindi movies on the 8th of Aug 2015. Presently, I am on my 24th Raaga: Raag Kafi. I have already given you blogs on Raaga Bhairavi (Part I, II and III), Yaman or Kalyan (Part I, II and III), Jhinjhoti (Part I, II), Darbari Kanada (Part I, II, and III), Bhimpalasi (Part I and II) Raag Khammaj, Raag Todi, and Raag Pilu Part I, which make only seven and a half of the twenty-four Raagas. This means that I have to make a determined effort to catch up. I had therefore decided to start giving you Raagas even as I put up on Lyrical, in addition to the back-log.
With this, lets start with our Ninth Raaga here (the 23rd Raaga on Lyrical): Raag Jaijaivanti.
The cover picture on Lyrical is from the 1955 movie Seema with Lata Mangeshkar singing for Nutan a great composition by Shankar Jaikishan, the best music duo in Hindi films who were very adept with Raaga based songs; Raag Bhairavi being their favourite. This song has special value for me now having attended Shankar Jaikishan Music Foundation Mumbai meet on Sunday, 19th June whereat Dinesh Shailendra Singh, son of lyricist Shailendra was present amongst other luminaries.
I belong to all the religions in the world. But, I am a Sikh by birth. Here is a Raag composed by the ninth guru of the Sikhs: Guru Teg Bahadur.
Raag Jaijaivanti is also spelled as Raag Jaijaiwanti. I have often given you the ten fundamental thaats of the Indian classical music. Raag Jaijaivanti belongs to the Khamaj Thaat.
Those of you, like me, who are familiar with the Sri Guru Granth Sahib, would know that Raag Jaijaivanti is considered a blending of two raagas that happen to come in the middle of SGGS of 1430 pages. However, the raag is not mentioned in the Raagmala at the end of SGGS on pages 1429-30. This raaga is also not mentioned in the list of raagas in any ancient scriptures about Indian classical music.
The time of the raaga is evening time. frpm 6 to 9 pm. Normally the season is summer season.
“A soul in whose life dawn has come finds its path. Duality has ended and soul has merged with God and garland of victory will be put around the neck of that soul. Four shabads recited by Guru Tegh Bahadur Ji in Raag Jaijawanti have come at the end. Soul has been freed from ‘Love for Body’ for ever. By giving new appearance, new shape and new musical form, Guru Sahib has caused a big new expansion and made it a tool to achieve peace for the soul.”
Song #1
Manmohna bade jhoote….
As far as Hindi movies are concerned, the first song that comes to mind in this Raaga, as I have already said above whilst describing the cover picture, is from the 1955 movie Seema starring Balraj Sahni and Nutan.
The movie, directed by Amiya Chakravarty had a very intense plot. Here is the story from Wikipidea:
“After her parents pass away, teenager Gauri (Nutan) goes to live with her paternal uncle, Kashinath (Shivraj), and his wife. She is ill-treated there, made to do all the housework, and verbally abused by her aunt. She is made to work as a servant for meager wages in another household, and her earnings are taken away by her aunt. One day, Kashinath is summoned to the Police Station where he is told that since Gauri has been convicted of stealing a necklace from her employer, she is placed under his care for 12 months. Kashinath undertakes to look after her, but she manages to escape, and beats up Bankelal (CS Dubey), who had originally accused her of stealing the necklace. The Police are summoned again, and this time Gauri is placed with Shree Satyanand Anathalaya, an orphanage run by a compassionate Manager, Ashok (Balraj Sahni). Gauri revolts against all the rules imposed upon her and she is placed in solitary, where she ends up breaking all the windows and furniture. Then one day she escapes, beats up Bankelal severely, and returns. She is once again placed in solitary. Then Ashok and his associate Murlidhar (Surender) find out that Bankelal had framed Gauri, and they inform the Police, who make Bankelal confess. In this way, Gauri gets a pardon, and is asked to leave the orphanage, but she refuses to do so and stays on after promising that she will always obey Ashok. When Ashok has a heart attack, she proposes to stay and look after him, but Ashok wants her to leave and get married to Murlidhar. The question remains, will Gauri disobey Ashok or keep her promise and get married to Murlidhar?”
The song portrays, as I said above, the excellence of the best music duo in Hindi films Shankar Jaikishen in Raaga based songs. Lyrics are, predictably, by Shailendra. The tal is Ektal.
Jaikishan (of Shankar Jaikishan music duo) with Shailendra (Pic courtesy: flickrhivemind.net)
The singer is Lata Mangeshkar.
Please enjoy in Raag Jaijaivanti: Man mohna bade jhoothe…
manamohanaa ba.De jhuuThe
haar ke haar nahii.n maane
manamohanaa …
bane the khilaa.Dii piyaa
nikale anaa.Dii piyaa
mose beimaanii kare
mujhase hii ruuThe
manamohanaa …
tumharii ye baa.Nsii kaanhaa
banii galaa phaa.Nsii
taan sunaake meraa
tan man luuTe
manamohanaa …
Song #2
Yeh dil ki lagi kam kya hogi…
The second song of the Raaga composed by the ninth guru of the Sikhs: Guru Teg Bahadur.
Anyone at all knowing me knows that when a new Raag is started, as soon as possible, I return to Shakeel Badayuni and Naushad.
I had put up this song in Raag Gara too but some feel that it belongs to Raag Jaijaivanti.
Do you remember this part of the story of Mughal-e-Azam? Madhubala as Anarkali buys the life of her love Prince Salim (Dilip Kumar) from Emperor Akbar (Prithviraj Kapoor) by offering her own in exchange. She is granted one last wish; which is that she could spend a night with Prince Salim but must drug his drink so that he won’t resist when she is taken to the dungeon.
Life is just one night of love… (Pic courtesy: www.amazon.com)
Shakeel Badayuni, the king of Irony, wrote the lyrics that are as ironical as they sound joyous. Naushad has composed them and Lata Mangeshkar sang it.
Please enjoy in Raag Jaijaivanti: Ye dil ki lagi kam kyaa hogi…
ye dil kii lagii kam kyaa hogii
ye ishq bhalaa kam kyaa hogaa
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
naGamo se barasatii hai mastii
chhalake hai.n khushI ke paimaane – 2
aaj aisI bahaare.n aaii hai.n
kal jinake bane.nge afasaane – 2
ab ise jyaadaa aur hasii.n ye pyaar kA mausam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
ye aaj kA ra.ng aur ye mahafil
dil bhI hai yahaa.N diladaar bhI hai – 2
aa.Nkho.n me.n kayaamat ke jalave
siine me.n sulagataa pyaar bhI hai – 2
is ra.ng me.n koI jii le agar marane kA use Gam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
haalat hai ajab dIvaano.n kii
ab khair nahii.n paravaano.n kii – 2
anjaam-e-mohabbat kyaa kahiye
laya ba.Dhane lagI aramaano.n kii – 2
aise me.n jo paayal TuuT gayii phir ai mere hamadam kyaa hogaa – 2
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
https://www.youtube.com/watch?v=7vLKhdjXBkg
Song #3
Bairan ho gayi raina…
‘Bairan ho gayi raina’ is the title of our third and last song for tonight. It is from the 1957 movie Dekh Kabira Roya. Although the movie was a lighthearted comedy, it had some excellent songs thanks to the lyrics by Rajinder Krishan and compositions by Madan Mohan. Today, as I write this, it happens to be the Birth Anniversary of this great composer and music director.
This was sung by Manna De who excelled in classical and semi classical songs in Hindi movies.
Manna Dey (Pic courtesy: www.indianexpress.com)
Please enjoy: Bairan ho gayi raina….
bairan ho ho gayi raina
bairan ho ho gayi raina
bairan ho ho gayi raina
raina raina bairan ho ho gayi raina
bairan ho ho gayi raina, bairan ho
aawan kah gaye aur na aaye
piya bin kari rain daraye
baat sakat are nain
bairan ho ho gayi raina, bairan ho
bairan ho aa aa ho gayi raina
bairan ho ho gayi, bairan ho
bairan ho aa aa bairan ho
ho gayi raina aa aa aa
bairan ho ho gayi, bairan ho
bairan ho, bairan ho
Song #4
Tere mere sapne ab ek rang hain…
We started with our 23rd Raag yesterday, a raag composed by Guru Teg Bahadur, the ninth guru of the Sikhs.
When two people fall in love, even their dreams become of the same hue. That’s the underlying theme of this song from the 1965 Dev Anand classic movie Guide directed by his brother Vijay Anand and which is listed at #4 in the Best Hindi Movies of all times.
The movie was based on a story by RK Narayan with the same title. A great deal of the success of the movie owes to its songs penned by Shailendra and composed by Sachin Dev Burman who directed music in most of Dev Anand movies.
SD Burman (Pic courtesy: movies.ndtv.com)
Have a look at the songs of this movie:
“Aaj Phir Jeene Ki Tamanna” Lata Mangeshkar Dev Anand & Waheeda Rehman
“Din Dhal Jaaye” Mohammed Rafi Dev Anand & Waheeda Rehman
“Gaata Rahe Mera Dil” Kishore Kumar & Lata Mangeshkar Dev Anand & Waheeda Rehman
“Kya Se Kya Ho Gaya” Mohammed Rafi Dev Anand & Waheeda Rehman
“Piya Tose Naina Laage Re” Lata Mangeshkar Waheeda Rehman
“Saiyaan Beimaan” Lata Mangeshkar Dev Anand & Waheeda Rehman
“Tere Mere Sapne” Mohammed Rafi Dev Anand & Waheeda Rehman
“Wahan Kaun Hai Tera” Sachin Dev Burman Dev Anand
“He Ram Hamare Ramchandra” Manna Dey & Chorus Dev Anand
“Allah Megh De Paani De” Sachin Dev Burman Dev Anand
I have selected for you this one by Mohammad Rafi singing for Dev Anand and telling Nalini (Waheeda Rehman) that now that they are in love (to hell with the taboo about a married woman (she had a wretched marriage with the archaeologist Kishore Sahu who was more interested in ruins than in her) re marrying), they better see the world through the same eyes.
Please enjoy in Raag Jaijaivanti: Tere mere sapane ab ek rang hain…
tere mere sapane ab ek ra.ng hai.n
ho jahaa.N bhii le jaae.n raahe.n, ham sa.ng hai.n
tere mere dil kaa, tay thaa ik din milanaa
jaise bahaar aane par, tay hai phuul kaa khilanaa
o mere jiivan saathii…
tere dukh ab mere, mere sukh ab tere
tere ye do nainaa, chaa.nd aur suuraj mere
o mere jiivan saathii…
laakh manaa le duniyaa, saath na ye chhuuTegaa
aa ke mere haatho.n me.n, haath na ye chhuuTegaa
o mere jiivan saathii…
https://www.youtube.com/watch?v=kNkpApxkqhk
Song #5
Meri aankhon se koi neend liye jaata hai…
Next, I turn to this really beautiful Neend song from the 1964 AVM Production Pooja Ke Phool directed by Bhim Singh. The movie starred Ashok Kumar, Mala Sinha, Dharmendra, Pran, Nimmi and Leela Chitnis.
It had the genius of the pair of Rajinder Krishan as lyricist and Madan Mohan as music director who composed its songs. Some of Lata Mangeshkar‘s top songs were created by the duo. This is one of them.
“Brother and sister” jodi of Madan Mohan with Lata Mangeshkar (Pic courtesy: www.thequint.com)(
Please enjoy in Raag Jaijaivanti: Meri aankhon se koi neend liye jaata hai….
Meri aankhon se koi neend liye jaata hai
Door se pyar ka paighaam diye jaata hai
Raatbhar jaagenge hum tumse chhup chhupke sanam
Aankh jhapke na kabhi chand taaron ki qasam
Dil mera aaj iqrar kiye jaata hai
Door se pyar ka paighaam diye jaata hai
Meri aankhon se koi neend liye jaata hai
Baat jo unse chali woh idhar aake ruki
Naam jab unka liya ek khushboo si udi
Ek tasavvur hai jo madhosh kiye jaata hai
Door se pyar ka paighaam diye jaata hai
Meri aankhon se koi neend liye jaata hai
Song #6
Muhabbat ki raahon mein chalna sambal ke….
The best of old Hindi songs, as I have mentioned any number of times, are with the quartet of Shakeel Badayuni as lyricist, Naushad as composer, Mohammad Rafi as singer and Dilip Kumar as actor. This happened in many movies. One of these was the 1955 movie Udan Khatola in which Nimmi acted opposite Dilip Kumar.
(Pic courtesy: munshimaniac.wordpress.com)
This song has Shakeel’s irony at its best; he brings out the uselessness of Love!
Please enjoy in Raag Jaijaivanti: Mohabbat ki raahon mein chalna sambhal ke…
muhabbat kii raaho.n me.n
chalanaa sambhal ke
yahaa.N jo bhii aayaa
gayaa haath mal ke
na paaii kisii ne muhabbat kii ma.nzil
qadam Dagamagaae, zaraa duur chal ke
hame.n Dhuu.NDhatii hai, bahaaro.n kii duniyaa
kahaa.N aa gae ham, chaman se nikal ke
kahii.n Duub jaae na, hasarat bharaa dil
na yuu.N tiir fe.nko, nishaanaa badal ke
Song #7
Zindagi aaj mere naam pe sharmaati hai…
Third day of Raag Jaijaivanti based songs.
Lets begin, once again, with my favourite lyricist Shakeel Badayuni. This is from the 1962 movie Son of India, a movie that Mehboob Khan made after the 1957 iconic movie Mother India, which lost at the Academy Awards by just one vote. Mehboob Khan took up, in Son of India, relatively minor actors Kamaljit, Simi Grewal, Jayant and Kumkum.
(Producer-Director Mehboob Khan who made such movies as Mother India, Son Of India, Andaz, Anmol Ghadi, Aan, Amar, and Roti. (Pic courtesy: www.indianetzone.com)
He however, retained the team of Shakeel Badayuni as lyricist and Naushad Ali as Music Director and composer and they didn’t fail him in the excellence of the songs. This one was sung by Mohammad Rafi.
The movie had the following songs including the ever popular patriotic song: Nanha munha raahi hoon:
1. “Aaj Chhedo Mohabbat Ki” Lata Mangeshkar 3:57
2. “Aaj Ki Taaza Khabar” Shanti Mathur 3:58
3. “Chal Diye Peeke Gham” Lata Mangeshkar 3:05
4. “Dil Todne Wale” Lata Mangeshkar, Mohammed Rafi 4:28
5. “Diya Na Bujhe Ri Aaj” Lata Mangeshkar, Chorus 3:14
6. “Insan Tha Pehle Bandar” Shanti Mathur 2:47
7. “Mujhe Huzoor Tum Se” Geeta Dutt 2:18
8. “Nanha Munna Rahi Hoon” Shanti Mathur, Chorus 4:13
9. “Zindagi Aaj Mere Naam” Mohammed Rafi 3:48
Please enjoy in Raag Jaijaivanti: Zindagi aaj mere naam se sharmaati hai….
zindagii aaj mere naam se sharamaatii hai
apane haalaat pe mujhe khud hii ha.Nsii aatii hai
zindagii aaj mere …
ek Gam chain se jiine nahii.n detaa mujhako -2
ek ulajhan hai jo aksar mujhe ta.Dapaatii hai
zindagii aaj mere …
is tarah chho.D ke nikalaa huu.N mai.n apanii ma.nzil
jaise hasarat ko_ii siine se nikal jaatii hai
zindagii aaj mere …
raah chalate hu_e kuchh soch ke ruk jaataa huu.N -2
har qadam par ko_ii bhuulii hu_ii yaad aatii hai
zindagii aaj mere …
Song #8
Pyaare darshan dijo aaye…
The 1979 movie Meera starred Hema Malini in the title role of the Rajasthani princess Meerabai who was born in a royal family but she renounced everything in her deep devotion and love for Lord Krishna.
The 16th century Rajasthani princess Meerabai who renounced everything in her devotion for Lord Krishana (Pic courtesy: www.youtube.com)
The movie itself was extraordinary in that it had Pandit Ravi Shankar, the sitar maestro as the music director. The songs/bhajans were sung by Vani Jairam, one of the finest exponents of Indian classical music. Of course, the bhajans were all written by Meerabai herself.
Please enjoy in Raag Jaijaivanti: Pyaare darshan dijo aaye…
pyare darshan dijo aaye
tum bin jiyo na jaaye, darshan dijo jaye
pyare darshan dijo aaye
jal bina kamal chanda bina rajani
aise tum dekhe bin sajani
jal bina kamal chanda bina rajani
aise tum dekhe bin sajani
aakul byakul firu re din
biraah kalejo khaayo
darshan dijo aaye
pyare darshan dijo aaye
bivas na bhukh nind nahi raina
mukh su kahat na awe baina
kaha kahu kuchh kahat na aawe
milkar tadap bujhaye
kyu tarso antaryami
aaye milo kripa kar swami
kyu tarsao antaryami
aaye milo kripa kar swami
meera dasi janam janam ki
meera dasi janam janam ki
padi tumhare paaye
darshan dijo aaye
tum bin jiyo na jaaye, darshan dijo jaye
pyare darshan dijo aaye
https://www.youtube.com/watch?v=7efN9y44U2o
Song #9
Maare gaye gulfam….
For the last song of the evening, I am going to take a song from Teesri Kasam for the sole reason that yesterday I was honoured to meet Shailendra’s son Dinesh Shailendra at Shankar Jailkishan Music Federation Meet at Mumbai. The movie was produced by the lyricist Shailendra and starred Raj Kapoor and Waheeda Rehman.
The movie wasn’t a commercial success even though it won the National Award for Best Feature Film. However, many years later, it was critically acclaimed as a very fine movie.
The lyrics that Shailendra wrote for the songs of the movie are amongst his greatest, eg:
1. Sajan re jhoot mat bolo khuda ke paas jaana hai.
2. Duniya banane waale kya tere mann mein samaayi.
3. Chalat musaffir moh liyo re pinjare waali muniyaa.
4. Sajanva bairi ho gaye hamaar.
5. Paan khaayo sainyaa hamaro.
Shankar Jaikishan outperformed themselves in the compositions of the songs. So strong were the bonds between Shailendra, Hasrat Jaipuri, S-J and Raj Kapoor that Shailendra asked Hasrat Jaipuri to pen two songs for the movie.
And which songs? The movie’s story was based on a short story Maare gaye gulfaam by Phanishwarnath Renu. So, in asking Hasrat Jaipuri to pen this song, Shailendra virtually gave him the title song in his own production that was directed by Basu Bhattacharya.
(Pic courtesy: www.indianetzone.com)
It was sung by Lata Mangeshkar.
One little thing more about the song. Yesterday, Yunus Khan, in an interactive audio based session referred to three of the songs of S-J as what he called as: “Happy-Sad Songs”; meaning that even though these were sad songs, these had lively music. Songs such as Anaadi’s Tera jaana fitted into this definition.
This one is another one that fits in with the description. It is fast paced and Waheeda could dance on it. However, it is a song that carried a sad emotion.
Please enjoy in Raag Jaijaivanti: Maare gaye gulfaam….
is pyaar kii mahafil me.n
wo aaye muqaabil me.n
( wo tiir chale dil par
halachal sii hu_ii dil me.n ) -2
halachal sii hu_ii dil me.n
chaahat kii sazaa paa_ii
Tonight lets start with Sahir Ludhianvi for a change. As is often the case with Sahir Ludhianvi, this has been composed by Roshan. The singers are several: Mohammad Rafi, Asha Bhosle, Meena Kapoor and Manna De.
Mahendra Kapoor, Yash Chopra, N Dutta and Sahir Ludhianvi (Pic courtesy: www.livemint.com)
The name of this 1963 movie is Taj Mahal that starred Pradeep Kumar as Shah Jehan and Beena Roy as Mumtaz. Everyone knows their historic love story that ended in Shah Jehan erecting the Taj Mahal in her memory; one of the seven wonders of the world.
One of the most wonderful things about the movie was its songs. These are some of the best by the team of Sahir Ludhainvi with Roshan:
1. “Jo Baat Tujh Mein Hai” Mohammed Rafi
2. “Jo Wada Kiya Wo” Mohammed Rafi, Lata Mangeshkar
3. “Jurm-E-Ulfat Pe” Lata Mangeshkar
4. “Qhuda-E-Burtur” Lata Mangeshkar
5. “Na Na Na Re Na Na, Haath Na Lagana” Suman Kalyanpur, Minoo Purshottam
6. “Paaon Chhoo Lene Do” Mohammed Rafi, Lata Mangeshkar
7. “Chandi Ka Badan” Mohammed Rafi, Manna Dey, Asha Bhosle, Meena Kapoor
8. “Husn Se Duniya Hansi” Asha Bhosle
Please enjoy in Raag Jaijaivanti: Chandi ka badan sone ki nazar…
Male:
chaa.Ndii kaa badan sone kii nazar
us par ye nazaakat kyaa kahiye
ejii kyaa kahiye
kis kis pe tumhaare jalvo.n ne
to.Dii hai qayaamat kyaa kahiye
ejii kyaa kahiye
chaa.Ndii kaa badan sone kii nazar
Female:
gustaaKh zubaa.N gustaaKh nazar
ye ra.ng-e-tabiyat kyaa kahiye
ejii kyaa kahiye
aise bhii kahii.n is duniyaa me.n
hotii hai muhabbat kyaa kahiye
ejii kyaa kahiye
GustaaKh zubaa.N gustaaKh nazar
Male:
aa.Nchal kii dhanak ke saaye me.n
ye phuul gulaabii cheharo.n ke
ye phuul gulaabii haaye gulaabii cheharo.n ke
is vaqt hamaarii nazaro.n me.n
kyaa chiiz hai jannat kyaa kahiye
ejii kyaa kahiye
is vaqt hamaarii nazaro.n me.n
tumase nazare.n jo milii.n
diin-o-duniyaa se gaye
ik tamannaa ke sivaa
har tamannaa se gaye
mast aa.Nkho.n se jo pii
jaam-o-miinaa se gaye
zulf laharaa_ii jahaa.N
ham bhii laharaa se gaye
huure.n milatii hai.n kise
is kii paravaah se gaye
is kii paravaah se, paravaah se, paravaah se gaye
is vaqt hamaarii nazaro.n me.n
kyaa chiiz hai jannat kyaa kahiye
ejii kyaa kahiye
chaa.Ndii kaa badan sone kii nazar
Female:
yuu.N garm nigaahe.n mat Daalo
ye jism pighal bhii pighal bhii sakate hai.n
ye jism pighal bhii sakate hai.n
u.De na kahii.n ruup kii shabanam *
garm nigaahe.n Daalo kam-kam *
aadaab-e-nazaaraa bhuule ho – 2
tum logo.n kii vahashat kyaa kahiye
ejii kyaa kahiye
tum hame.n jiit sako
is kaa imkaan nahii.n
Khud ko badanaam kare.n
ham vo naadaa.N nahii.n
ko_ii marataa hai mare
ham pe ehasaan nahii.n
un se kyuu.N baat kare.n
jin se pahachaan nahii.n
tum ko aramaa.N hai to hai
ham ko aramaan nahii.n
ham ko aramaan ke aramaan ke aramaan nahii.n
aadaab-e-nazaaraa bhuule ho
tum logo.n kii vahashat kyaa kahiye
ejii kyaa kahiye
gustaaKh zubaa.N gustaaKh nazar
Male:
jin logo.n ko tum Thukaraa ke chalo *
vo log bhii qismat vaale hai.n *
tum jis kii tamannaa kar baiTho *
un logo.n kii qismat kyaa kahiye *
ejii kyaa kahiye
ye javaanii ye adaa **
kyo.n na maGaruur ho tum **
farsh par utarii hu_ii **
arsh kii huur ho tum **
shoKh jalvo.n kii qasam **
sholaa-e-tuur ho tum **
ko_ii dekhe to kahe **
nashe me.n chuur ho tum **
tum jis kii tamannaa kar baiTho *
un logo.n kii qismat kyaa kahiye *
ejii kyaa kahiye
chaa.Ndii kaa badan sone kii nazar
Female:
din raat duhaa_ii dete hai.n
ye haal hai in diivaano.n kaa
jahaa.N dekhii na_ii suurat machal baiThe
yahii, yahii, yahii le.nge
ye haal hai in diivaano.n kaa diivaano.n kaa
Male:
jin kii Khaatir Gam sahe.n aur ro-ro jaa.N gavaaye.N
haay rii qismat u.nhii.n ke muu.Nh se diivaane kahalaaye.N
Female:
in aashiqo.n ke haath hai
ai zi.ndagii bavaal
in kaa kare.n Khayaal ke
apanaa kare.n Khayaal
har lab arz-e-shauq to
har aa.Nkh hai savaal
ye Gam se beqaraar hai
vo dard se niDhaal
arey ye haal hai in diivaano.n kaa
ye haal hai in diivaano.n kaa
Male:
merii nii.nd ga_ii meraa chain gayaa
vo jo pahale thii taab-o-tabaan ga_ii
yahii ra.ng rahaa yahii Dha.ng rahaa
to ye jaan lo jaan kii jaan ga_ii
ye haal hai in diivaano.n kaa – 2
Female:
kisii ko Khud-Khushii kaa, shauq ho to, kyaa kare ko_ii
Male:
davaa-e-hijr de, biimaar ko, achchhaa kare ko_ii
Female:
ko_ii bevajah sar pho.De to kyo.n paravaah kare ko_ii
Male:
kisii majabuur-e-Gam kaa haal kyo.n aisaa kare ko_ii
Female:
mazaa to hai ke jab tum,
tum ta.Dapaa karo,
dekhaa kare ko_ii
Male:
mare.n ham aur tum par,
ke tum par Khuun kaa
daavaa kare ko_ii
Song #11
Badle badle mere sarkaar nazar aate hain….
And, after Sahir Ludhianvi, who was good no doubt, lets return to the best: Shakeel Badayuni. This is from Guru Dutt’s 1960 movie Chaudhvinh Ka Chand, which starred the ‘Living Legend” Waheeda Rehman in the title role. This song, a sad song after love went sour between them, was composed by Ravi and sung by Lata Mangeshkar for Waheeda Rehman.
Mohammad Rafi recording a song with the music director Ravi (Pic courtesy: www.hamaraphotos.com)
Marvel at the mastery of each word crafted by the master craftsman: Shakeel (Handsome).
Please enjoy in Raag Jaijaivanti: Badle badle mere sarkar nazar aate hain….
badale badale mere sarakaar nazar aate hai.n -2
ghar kii barabaadii ke aasaar nazar aate hai.n
badale badale mere sarakaar nazar aate hai.n
badale badale
Duube rahate the mere pyaar me.n jo shaam-o-sahar -2
mere chehare se na haTatii thii kabhii jinakii nazar
merii suurat se vo bezaar nazar aate hai.n -2
ghar kii barabaadii ke …
vo jo badale to zamaane kii hawaa bhii badalii -2
dil kii Kushiyaa.N bhii ga_ii.n ghar kii fazaa bhii badalii
suune suune dar-o-diiwaar nazar aate hai.N -2
ghar kii barabaadii ke …
mere maalik ne muhabbat kaa chalan chho.D diyaa -2
kar ke barabaad mere dil kaa chaman chho.D diyaa
phuul bhii ab to mujhe Kaar nazar aate hai.n -2
ghar kii barabaadii ke …
https://www.youtube.com/watch?v=Pjf9ORFDwQA
Song #12
Dhal chuki shaam-e-gham muskara le sanam…
I will tell you one major concern that I have whenever I put up Shakeel Badayuni; which is that how does one get out of the mood or the atmosphere that his lyrics create?
At the time when Chaudhvinh Ka Vhand was made, another 1960 movie was made and it was called Kohinoor. The movie was primarily made to get Dilip Kumar out of the depression that constantly playing sad and tragic roles had caused him.
(Pic courtesy: songsmp3.info)
If he was the tragedy king, Meena Kumari was an equivalent tragedy queen and she too needed a lighthearted role to get out of the sadness.
This song by Shakeel, therefore, gave hope rather than putting them in further gham and misery that his songs normally caused.
Naushad composed it and the God of Songs: Mohammad Rafi sang it.
Please enjoy in Raag Jaijaivanti: Dhal chuki shaam-e-gham muskara le sanam…
Dhal chukii shaam-e-Gam muskaraa le sanam
ik na_ii subah duniyaa me.n aane ko hai
pyaar sajane lagaa saaj bajane lagaa
zindagii dil ke taaro.n pe gaane ko hai
Dhal chukii shaam-e-Gam …
aaj paayal bhii hai naGmaa-e-dil bhii hai
ra.ng-e-ulfat bahaaro.n me.n shaamil bhii hai
aa ga_ii hai milan kii suhaanii gha.Dii
vaqt kii taal pe ( naachatii hai Kushii ) -2
ghu.Ngharu_o.n kii sadaa ra.ng laane ko hai
Dhal chukii shaam-e-Gam …
jhuumate aa rahe hai.n zamaane na_e
hasarate.n gaa rahii hai.n taraane na_e
aaj dil kii tamannaa nikal jaa_egii
giit hogaa vahii ( lay badal jaa_egii ) -2
ik nayaa raag qismat sunaane ko hai
Dhal chukii shaam-e-Gam …
https://www.youtube.com/watch?v=1bzh9FyAoPE
Song #13
Sooni sooni saans ke sitaar par….
The other day – 19th June, Sunday to be exact – during the Shankar Jaikishan Music Foundation Meet in Mumbai, it was talked about how most of S-J’s songs were penned by Shailendra or Hasrat Jaipuri and how, only in later years that lyricists like Neeraj stepped in.
This is a song of the 1971 movie Laal Patthar in which Hema Malini had her only negative role in the movies. She, as Saudamani, acted as a jealous mistress of Zamindar Kumar Bahadur Gyan Shankar Rai played by Raaj Kumar. Raaj Kumar married Sumita played by Rakhee; although he was in love with Sadamani (whom he called Madhuri), he never married her and kept in his palace as a mistress. Later he found out that Sumita was earlier in love with Shekhar (Vinod Mehra) and hence the plot to get rid of him.
A scene from the 1971 movie Laal Patthar, which had the only negative role of Hema Malini (Pic courtesy: www.rediff.com)
The movie had excellent songs composed by S-J, which included an outstanding one Unake khayaal aaye to aate chale gaye, which we have already covered in Raag Gara.
This one has been sung by Asha Bhosle.
Please enjoy in Raag Jaijaivanti: Sooni sooni saans ki sitaar par….
suunii suunii saa.Ns kii sitaar par
bhiige bhiige aa.Nsuo.n kii taar par
ek giit sun rahii hai zi.ndagii
ek giit gaa rahii hai zi.ndagii
suunii suunii saa.Ns kii sitaar par …
pyaar jise kahate hai.n
khel hai khilonaa hai
aaj ise paanaa hai kal ise khonaa hai
suunii suunii saa.Ns kii sitaar par
bhiige bhiige aa.Nsuo.n kii taar par
ek sur milaa rahii hai zi.ndagii
ek sur vbhulaa rahii hai zi.ndagii
suunii suunii saa.Ns kii sitaar par …
koii kalii gaatii hai
koii kalii rotii hai
koii aa.Nsuu paanii hai
koii aa.Nsuu motii hai
suunii suunii saa.Ns kii sitaar par
bhiige bhiige aa.Nsuo.n kii taar par
kisii ko ha.Nsaa rahii hai zi.ndagii
kisii ko rulaa rahii hai zi.ndagii
suunii suunii saa.Ns kii sitaar par …
https://www.youtube.com/watch?v=0OzEIS4Rix8
Song #14
Dil shaam se dooba jaata hai….
Now that you had a song from 1971 movie Laal Patthar that brought out the singing excellence of Asha Bhosle, here is another of approximately a decade and a half before that.
It is from the 1958 movie Sanskaar starring Anant Kumar with Ameeta. Sarshar Sailani penned the lyrics. Other than this movie, he wrote lyrics for the songs of the 1949 movie Rakhi including Babul ka ghar chhod ke gori ho gayi aaj prayyi re, and 1952 movie Bewafa.
Anil Biswas composed the song.
Anil Biswas with Lata Mangeshkar (Pic courtesy: chandrakantha.com)
Please enjoy in Raag Jaijaivanti: Dil shaam se dooba jaata hai….
dil shaam se Duubaa jaataa hai -2
raat aa_egii to kyaa hogaa -2
jab naagan banakar tanahaa_ii -2
Das jaa_egii to kyaa hogaa -2
dil shaam se Duubaa …
jab pyaas mere aramaano.n kii
har saa.Ns pe ba.Dhatii jaa_egii -2
ye kashtii jab tuufaano.n se -2
Takaraa_egii to kyaa hogaa -2
dil shaam se Duubaa …
raah takate agar thak jaa_e nazar
detii hai tasallii aas magar -2
jab aas tasalii de-de kar -2
thak jaa_egii to kyaa hogaa -2
dil shaam se Duubaa …
Song #15
And to end with Raag Jaijaivanti based songs tonight, this song is not from a Hindi movie but a Pakistani movie. Noorjehan sang for herself in the 1959 movie Koel or Koyal that starred her opposite Aslam Parvez.
Noorjehan with Aslam Parvaiz (Pic courtesy: cineplot.com)
Tanvir Naqvi who gave us that remarkably beautiful number in the 1956 movie Shirin Farhad (sung by Lata Mangeshkar): Guzara hua zamaana, aata nahin dobara, also penned this song.
Khurshid Anwar composed it.
Please enjoy in Raag Jaijaivanti: Dil ka diya jalaaya…..
dil kaa diyaa jalaayaa,
mai.n ne dil kaa diyaa jalaayaa
tujh ko kahii.n na paayaa,
tujh ko kahii.n na paayaa
kahii.n naa bahalaa dil bechaaraa,
kahii.n milaa naa mujh ko sahaaraa
aas ke taare Duube saare,
ghor a.ndheraa chhaayaa
tujh ko kahii.n na paayaa
dil kaa diyaa jalaayaa, mai.n ne dil kaa diyaa jalaayaa
biit gayaa hai ek zamaanaa,
kahii.n milaa na teraa Thikaanaa
tak tak haare nain bechaare,
kuchh bhii nazar na aayaa
tujh ko kahii.n na paayaa
tujh ko kahii.n na paayaa …
dil kaa diyaa jalaayaa,
dil kaa diyaa jalaayaa
mai.n ne dil kaa diyaa bujhaayaa
There that is my list of fourteen Best Songs in Hindi movies and one in Pakistani movie composed in our 23rd Raaga on Lyrical: Raag Jaijaivanti. I hope you liked the selection.
Please await my post regarding the next Raaga based songs in Hindi movies.
Jal Vayu (Navy, Air Force) colonies, through AFNHB (Air Force Navy Housing Board with head-office in New Delhi) are meant to provide affordable housing to officers and other ranks of IAF and Navy). Here is from the Home page of AFNHB site:
“AFNHB generally constructs two categories of dwelling units, one for the officers category and the other for airmen / sailors category of Air Force and Navy. The funding for the dwelling units is through Self Financed Schemes with an approximate of 10% of the expected price of the flat being deposited at the time of registration and balance in easy installments.
The Air Force Naval Housing Board (AFNHB) as a Service Welfare Body is committed to serve the housing needs of the Naval and Air Force community purely on ‘No Profit No Loss’ basis. This Board was registered under the Societies Registration Act 1860, with an objective to promote housing schemes in cities all over the country as per the demand of the Naval and Air Force personnel.
AFNHB can proudly claim to have a clientele of over 18,000 allottees and by the turn of the millennium, it had completed handing over of almost 14,000 dwelling units and farm units.”
JVDE Phase I, Kharghar was advertised by AFNHB as an Officers’ Colony though over a period of time it has mixed clientele of officers, other ranks and even civilians.
Whilst the colony (due to the focus on Societies Act, these days it is convenient to call a colony as a ‘society’) residents enjoy the facilities and privileges as planned by AFNHB, being a defence housing society, it has a responsibility of becoming an ideal society or a role model that people all around should look up to.
Regrettably, due to raging environment of animosity between the members for over five years now (ranging from strong under-currents to open fist-fighting hostilities), the ordinary members like me have suffered. I joined the scheme in 1994-5 itself and my serial number in the scheme was KHA0004 (the fourth member to have joined the scheme!) On retirement from the Indian Navy on 28th Feb 2010, I looked forward to a peaceful, officer-like atmosphere. Sadly, within no time it was made home to me that the atmosphere was more like a melee. In the Annual General-body Meets of the Society (that used to last for days and even nights), all the proceedings used to be video recorded so that in case of serious injuries due to free-for-all there would be some legal record for the police and other authorities. Everyone used to hurl something called bye-laws at one another. Everyone used to look at everyone suspiciously. People had formed various camps and the only agenda that members followed was to somehow sort out the other party/camp.
During one such melee, I got up to speak and requested everyone to behave like officers (the word, that to me, is always synonymous with gentlemen). The mike that I held was rudely snatched from my hands and the person snatching the mike spoke with ferocity, “That’s exactly what is wrong with this Society; officers think that they are the only ones staying here. We ain’t officers; we are sailors and we have every right to be here.”
That put an end to my active participation in any discussion or debate in the AGMs. I find it rather lowly to win an argument with lung power and noise. But, then we have quite a few experts in the Society who revel in noise (Please also read: ‘Noise Is The Newest Form Of Devotion’) and blasting the day-lights out of other members for them is routine).
I silently (I have always done it in this manner) pray to God to let good sense return to the JVDE, Kharghar Society.
However, for the time being, there is a major camp that is forever drilling into all of us, a la political parties style debates in the media: Yes, we did some mistakes and we were bad. But, we weren’t as bad as the new management committee that you have elected.
Then there is a camp of the new MC that is seeking to set right every wrong that was earlier done and lead the Society into better days.
And then there is a small camp (you can call it a camp but we ain’t formally organised as the other two) of people like me who wish that we would actually live in harmony and work towards making JVDE, Kharghar the best colony ever.
Lets look at some of the issues that have divided us and made us choose, sometimes unwittingly, one or the other camp. Most often people start taking sides without understanding the issues. I may not be right in the kind of legalese that has come to prevail in our colony now. However, I do know that I am factually right and have, as always, no axe to grind.
Encroachments. These were made into such a huge issue. At one time it was made to look like that the very existence of JVDE was dependent upon removing the so called encroachments. Anyone listening to the term and the ensuing heated discussions and fist-fights would have thought that somehow members of JVDE had become so unlawful that they thought of nothing but encroaching upon what was called as common areas. Basically, if my memory serves me right, the issue first came up in an SGM of 2012 when an agency called MM Consultants were asked by the then MC to carry out a survey to establish the extent and nature of encroachments. Two internal committees were constituted too; one of them to see if any structural concerns were there. Meanwhile, it appeared to most people that people were targeted (this approach of putting the other party in its place became a way of life). Whilst it was said that CIDCO had pointedly objected to such encroachments, it later came out that we ourselves went to CIDCO repeatedly with the list of encroachments until they’d take notice. This aa-bail-mujhe-maar (Come-bull-hit-me) approach finally divided the entire community. Curiously, it came out that two opposite flats being combined together was done by AFNHB themselves in their show-case flats and AFNHB itself sought from CIDCO regularisation of the same. However, some 18 members who emulated AFNHB were made to feel like worms and repeatedly and publicly humiliated. With this issue, with each of the two major camps relentlessly approaching CIDCO and AFNHB, it was amply demonstrated that we had no vision towards a harmonious, ideal, and happy society, but that, we considered ego and prestige issues above the welfare of everyone. This non-issue also kept us away from discussing issues that we should have been discussing to make ours as the best colony.
Fire-Safety. Having divided the community squarely on the above issue of Encroachments, the next thing was to scare the hell out of all of us by combining the issue of encroachments with that of Fire-Safety. I have been a keen listener during the heated discussions (having been shut-up by absolutely rude conduct by some of the other members). It was repeatedly told, in the anti-people approach that was perfected, that the Maharashtra Fire Safety Rules were flouted by members indiscriminately by encroachments and that our Fire Insurance of Rupees 17 Lakhs was wasted because of the self-serving approach of these members. Flower-pots, shoe racks, foot-mats were all targeted. It finally came out that what stood in the way of Fire Insurance wasn’t so much as these items but the deficiencies that were to be made up in the Fire-equipment. Somehow, in the prevailing spy versus spy atmosphere that prevailed, the significant issues were put under the carpet. Take for example the fact that MSEB had taken a complete transformer sub-station and we were not bothered to get it back, which would have ensured that every two buildings had a transformer instead of at that time four buildings per transformer. However, we were fighting amongst ourselves in our holier-than-thou attitude.
Water Shortages. In relentless attempt to divide the society and hence prove that the earlier camp of the MC was a better proposition, this issue came in handy. The timing of this was perfect; most acute water shortages were noticed when the transition took place last year. Passions were so strong that no one wanted to go into the reasons for it but spew his/her venom with impunity. In the midst of constant din and vitriol, the problem was sorted out by resorting to firstly, overall cleaning and upkeep of the pump-house; secondly, upgrading the water treatment plant; and lastly, replacement of about 75 metres of pipeline from CIDCO pipe to our pump-house.
Conveyance Deed. Everyone is concerned about the fact that the Conveyance Deed of the Land and the Buildings hasn’t yet taken place between the AFNHB and the JVDE Society. This is a little complex issue than meets the eye. During the period 1996-99, there is an unregistered agreement between AFNHB and CIDCO (for a 60 years lease deed) and it should always have been AFNHB’s intention to pass it on to us when the society would be registered. However, it seems that between Dec 2010 and Jul 2011, some change of thought-process has taken place. Also, the CIDCO project accounts were finalised only in 2012. AFNHB has been, in the meantime, earning money on resale of flats and it is estimated that it has made some Rupees 14 Lakhs so far (for each resale of flat, the JVDE and AFNHB get Rupees 20000 each and CIDCO gets Rupees 10000). Meanwhile, two other issues have made the matter a little more complicated: One, that AFNHB has written to CIDCO to regularise the alterations to flats (some of which was being touted heatedly as Encroachment issue) that it did at that time. And two, residents of Gulab building took HCC, AFNHB, and Architect Kukreja to Consumer Court and won an award of Rupees 8.59 Lakhs to compensate them for poor construction. This money cannot be paid out of Society funds as it is discriminatory against those who haven’t gone to the court (all the other buildings) though they too face issues of similar poor construction. Now that AFNHB has been caught on the wrong foot on a number of these issues, there is quite a bit of softening of their earlier stand. We must, therefore, get the best deal in favour of the society from both AFNHB and CIDCO.
It can thus be seen that the issues that engage our attention most of the times, at present, are really not the issues that we should dissipate extensive time and energy on unless it is a viable argument that an eye for an eye and one-upmanship are the correct approach for the Society.
Here are some of the issues that should really be worthy of our consideration in order that JVDE should become an ideal society:
Water re-cycling.
Rainwater harvesting.
Waste management leading to composting and zero waste.
Long term structural issues of buildings.
Roofs over terraces of all buildings in the manner of Tulip and Daffodil.
Flogging dead horses is a hobby fit for those who want to win popularity contests and let ego rule over everything. On the other hand, time has come for all of us to abandon camps and one-upmanship and truly become participants in the management of our society and lead it to become the best colony anywhere.
Our colony is really very beautiful with its central lawn and landscaping, thanks to all those earlier and now who have managed the affairs of our colony. Lets all pull together and focus on positives rather than being constantly surrounded by negatives all the while and pull in different directions.
Four years ago, when I wrote an essay about my home-station Kandaghat, titled ‘Home Is Where The Heart Is – Kandaghat In Shimla Hills‘ little did I know that it would be the venue for a meet of our Facebook Group ‘Yaad Kiya Dil Ne‘, on the 24th April 16; and that, I would be writing another photo and video essay about this meet.
There are many Song and Music groups on the Facebook; but, ‘Yaad Kiya Dil Ne‘ is different. Most other groups simply have members putting up urls of songs from YouTube and other sources and then members congratulate the choice of the one who has posted by such comments as “Wow”, “I love this too”, “Really nice” and so on.
‘Yaad Kiya Dil Ne‘ is different and unique. It is a successor to my group ‘Dil Ki Nazar Se‘, which I had to abandon when some of the members insisted on just putting up urls from YouTube with very little or no contribution of their own. Here is the description o ‘Yaad Kiya Dil Ne‘:
“A group for serious music lovers who not just relish putting up and listening to songs but also identify these with Lyricists, Music Directors, Singers and Actors who brought the songs to us. The group pays tributes to these four classes of people on their birth and death anniversaries. The group is also interested in sharing knowledge about all aspects of songs including Raagas. The group also has thematic Music Fests at least once in a month. If you are a casual copy-paste music lover who can copy-paste ten songs (urls) from You Tube in ten minutes, this group is NOT recommended for you.
The name of the group has been derived from the title of a duet between Hemant Kumar and Lata Mangeshkar from the 1953 movie Patita starring Dev Anand and Usha Kiran.”
From its inception in Nov 2013, the group has come a long way off. Many of the members research everything about the song that they are going to put up, write descriptions that can compete with the best blogs, and everyone is on a learning curve of knowing more about songs and music.
Now who says Facebook is for dumbos only?
Here is my description of the leading lights of YKDN, written during one of the monthly Fests’ Results:
RESULTS OF CHAL SONGS FEST
12 – 13 SEP 15
Sincere thanks to you, dear Vipan,
It is finally YOU who has won,
You proved it, my dear friend,
A fest, without Ravi, can actually be done.
Your total conduct in this entire fest,
Was by far most praiseworthy and best,
You chose me the winner, I am humbled,
I would ANY TIME choose one of the rest:
I’d choose Raj Dutta, my dear brother,
There isn’t, like him, another;
I’d choose Sumedha Nair, whose posts,
Can bring to life long-dead ghosts.
I’d choose Evani Leela, whose junoon
Is the best under any sun or moon.
I’d happily choose Surekha, the greatest,
Who makes worthwhile, every fest.
I won’t err in choosing Surinder Grewal,
In passionate music lovers, he stands tall;
Or else, I’d choose Sumona, his pretty wife,
She brings to fest, loads of life.
I would readily put my money on Nitin,
It is just a matter of time before he’d win.
Then there is Maj Vishwas, whose selections,
Takes him to unimaginable directions.
And what about our new find, Sanjay Menon?
The Hindi avatar of John Lennon.
Or Hemalata Ayyagari, the debutante,
There is nothing that she can’t.
Manik, my behna, isn’t down the line,
Her presence in the fest is simply benign.
I would choose Manju, whose golden oldies,
Are amongst the best melodies.
What about our youngster Hauptmann?
I am, of his choices, already a fan.
One cannot ignore Amitabh Nigam,
You missed him as winner, how come?
And then what about Anindya Chatterjee?
He is at least ten times better than me.
And lastly, you yourself Vipan,
Is by far the best under the sun.
So, whilst as a “winner”, I must rejoice,
At the same time, let me forcefully raise my voice,
You are good, Vipan, really good,
But, I have to strongly contest your choice.
I am not saying this for effect,
Sorry, for being so brash and direct,
I am not worthy of being a winner,
When you have the galaxy from where to select.
My sincere thanks to you, once more,
Your sagacity and hard-work, I adore,
YOU are the WINNER of the Fest, pal, Ravi, your poor choice, you can simply ignore.
Since that time, we have had hardly any contribution from Varun Hauptmann and Amitabh Nigam and only scanty contribution from Manju Saigal. However, another bright star emerged in the YKDN sky: Jaswant Singh Lagwal. Here is a fresh tribute for him:
Long after we are gone, they’d recall,
Our newest star: Jaswant Singh Lagwal,
He came like a whiff of hilly fresh breeze,
And is already in YKDN’s Fame’s Hall.
Also, my course-mate and gentlest person on earth, Milind Madhav Hastak was missing from the Chal Songs Fest in Sep 15 and hence I failed to put up a tribute for him. So here it is:
Milind‘s favourites are Mukesh and Raj Kapoor,
Wherever he is, he is never, from the group too door,
He is a teetotaler and never drinks alcohol,
But, is often intoxicated with puraane geeton ka saroor.
Why Whispering Winds as the venue of the Meet?
Here it is in the words of Vipan Kohli:
“Now 24 Apr 2016 was a red letter day in the history of YKDN. Not because a few of us met and had a get together. Not because we had a great time. Not because we met for the first time. But because of all this and more over, it was the first get together hosed by Ravinder, Lyn and Mummyji. It was for the first time the get together was organised at Whispering Winds Kandaghat. I consider Whispering Winds Kandaghat as a monument. A monument built by Dr Mani Singh. Mani (gem) he really was. A horticulturist with a heart of a soldier. He built a house in the company of most picturesque surroundings with trees on both sides. Overlooking the horticulture research centre @ Kandaghat Dr Mani Singh ensured that he could oversee what he had nurtured with so much love and labour. He and his
family aptly named it Whispering Winds. Why was it named Whispering Winds? Ravi has brought out in his blog (Home is where the heart is)- because of being in the Ghats with perpetual winds in the area, which tended to tell tales of far lands. Ravi spent most of his boyhood in Whispering Winds.Due to all these reasons I consider Whispering Winds a monument of YKDN. So attending a Milan (Meet, get together etc are too common for what it was. It was truly a Milan) at the monument of YKDN was what made 24 Apr 2016 a red letter day.”
Surekha Saini had this to say:
“Ladies and Gentlemen …. I feel blessed to pay SHRADHANJALI to Dr S Mani Singh ji father of Ravinder PS Ravi. .. who united us together through his love for music. I wrote BARSI. . instead I always write death anniversary… bcz after visiting His house Whispering Winds at Kandaghat I found Him present between us as I saw the photo of Dr S Mani Singh ji in drawing room. Such a Noorani or Tejassvi personality as if he was talking to us telling us about his Empire.
When Ravi veer ji was showing me n my children his beautiful house, Mani Singh uncle was there with us ..felt Him saying, ” Look Surekha..I m a self made King and I established this wonderful Empire with my own hardwork. I m proud of my Son Ravi who has kept my DHAROHER as I wanted to maintain it.”…Whispering Winds is a beautiful place with heavenly surroundings and Ravi veer ji has maintained it’s divinity and originality. …imagine a person who loves his first car so much that he is still keep it with him..hw much he can love people related to him…this is bcz of the SANSKARAS give to him by his parents. ..S Mani Singh and Herkrishan Kaur…regards to both of them.”
Whispering Winds, Kandaghat, in short is a place whereat the winds speak to you, sing to you and remind you of all those “bhoole bisre geet or bhooli dastaan” as Raj Dutta put it as. Have a look at the surroundings that became the theme of next month’s Music Fest:
The idea of the Meet to be at Whispering Winds, Kandaghat, was conceived by Vipan Kohli as follows:
Vipan Kohli to Yaad Kiya Dil Ne March 28, 2016
Dear Friends on YKDN,
It is proposed to have a YKDN get together at Kandaghat on 24 April 2016 from 1200 noon. We shall try to wind up by 3.00 pm so that those who wish to return to Palma to catch the Palma mail can depart well in time. All those who are keen to attend please intimate the following :-
(a) Whether attending Y/N
(b) Whether spouse accompanying Y/N
(c) Travel details
(d) Whether accommodation required Y/N
(e) Food preference V/NV
Please intimate the above details asap so that necessary arrangements can be made.
Thanks
41 Comments (10 Surekha Saini, Evani Leela and 8 others) later, we had the Meet planned.
After it happened, here is my immediate chronicle about it, on 24th April itself:
Ravinder PS Ravi to Yaad Kiya Dil Ne April 24, 2016
Yaad Kiya Dil Ne Kandaghat Meet
Sunday, 24th June 16
Ladies and Gents,
Today history was made. We had our second get-together at Whispering Winds Kandaghat. The idea was conceived by our dear friend and able co-administrator Vipan Kohli who went to all kinds of tribulations to reach here from Delhi.
Vipan waiting at the Delhi Jn. Railway Station on the night of 23/24 April 16 when Howrah Kalka Mail, the train that he was scheduled to travel by was reported to be more than four hours late.
He was accompanied in the morning by another dear friend and one of the gentlest persons that I know: Surinder Grewal from Ludhiana and two of his friends: Dr Sukhinder Gill from Chandigarh and Dr Avatar Padda from Chandigarh.
No sooner had we finished breakfast that Jaswant Singh Lagwal, his wife Kavita and son Neeraj arrived from Hamirpur. Jaswant came like Santa Claus: a shawl for Herkrishan Kaur, my mom, Kulu caps for the complete gathering and an idol of Goddess Saraswati.
The last to arrive was my sister Surekha Saini, her son Aakash, daughter in law Aarti, and grandson Angad and granddaughter Seerat. Surekha brought a pair of exquisite lamp stands and home (Aarti) made cookies.
We cut the Yaad Kiya Dil Ne cake before lunch and got our friends Manik Lakhkar Chava, Evani Leela, Raj Dutta, Maj Vishwas Mandloi and Nitin Shringarpure on conference call when Kavita being youngest lady blew the candles and cut the cake. The highlight of this moment was all of us singing Yaad Kiya Dil Ne in unison. Vishwas piped in on Harmonica and Leela with her exquisite Nightingale voice.
Here is the video of the song that we all sang together:
Here are some more pictures of the get together.
Thank you, everyone, for making it happen and making my mom Herkrishan Kaur, Marilyn Ravi and I walk on clouds.
Raj Dutta, my brother, put up two excellent videos of the get-together. Here are these:
Vo bhuli daastaa lo phir yaad aa gayi….. Sanjog
(na jaane inse kyo mil kar, nazr sharma gyi…1st stnza, 5th Line)
Dear YKDNians, Whispering Winds have whispered that History has been made on 24th Apr 2016, with successful MILAN of some lucky YKDN members….….History shall repeat again may be in near future…But until then vo daastan unn sab ko yaad aati rahegi….as this was the first ever Milan of YKDN in Ravi’s Kandaghat abode….It was memorable no doubt for the people who attended, but even those who could not and watched from the side-lines, our virtual presence was always with them– Ravinder PS Ravi, Marilyn Ravi, Herkrishan Kaur Mummyji, Vipan Kohli, Surinder Grewal, Surekha Saini, Jaswant Singh Lagwal and their family members.
Lets watch this distinct MSOD, which you are likely to like !! Amen.
LYRICS
vo bhuli daastaa lo phir yaad aa gayi
nazar ke saamane ghata si chha gayi
vo bhuli daastaa lo phir yaad aa gayi
nazar ke saamane ghata si chha gayi
kaha se phir chale aaye, vo kuchh bhatake hue saaye
vo kuchh bhule huye nagame, jo mere pyaar ne gaaye
vo kuchh bikhari hui yaade, vo kuchh tute hue nagame
paraaye ho gaye to kyaa, kabhi ye bhi to the apane
na jaane inse kyo mil kar, nazar sharma gayi
vo bhuli daastaa lo phir yaad aa gayi
ummido ke hansi mele, tamannaao ke vo rele
nigaaho ne nigaaho se, ajab kuchh khel se khele
hava me zulf laharaayi, nazar pe bekhudi chhaai
khule the dil ke darvaaze, muhabbat bhi chali aai
tamannaao ki duniya par javaani chha gayi
vo bhuli daastaa lo phir yaad aa gayi
bade ragin zamaane the, taraane hi taraane the
magar ab puchhta hai dil, vo din the ya fasaane the
faqat ik yaad hai baaki, bas ik fariyaad hai baaki
vo khushiya lut gayi lekin, dil-e-barbaad hai baaki
kaha thi zindagi meri, kaha par aa gayi
vo bhuli daastaa lo phir yaad aa gayi
nazar ke saamane ghata si chha gayi
nazar ke saamane ghata si chha gayi
vo bhuli daastaa lo phir yaad aa gayi
vo bhuli daastaa lo phir yaad aa gayi
And the second is about the venue: Whispering Winds, Kandaghat:
This meet was summed by Surinder Grewal in this manner:
“The Kandaghat Milan was great thing that happened in our lives…We knew each other so well but were meeting one another for the first time..In the people there we found a sweet mother who made us bring a tear in our eyes remembering our own mother…we found brothers, sisters, friends in the small gathering…and above all Ravi is so energetic I could not believe; you feel him everywhere in the party”.
Here is a neat summing up by someone who wasn’t there in the meet but keenly watches the proceedings of YKDN; I am talking about Baljit Ahluwalia, our respected senior:
“I have been watching with awe and admiration the recent happenings which culminated with the gathering of the core group of YKDN at Ravinder PS Ravi’s place in Kandaghat. The warmth and hospitality was so palpable that I could feel it from such a distance. Many of you met each other for the first time – but that was not a problem at all. It seemed that long lost friends were meeting after decades. The posting of status updates and participation in the various contests had broken the barriers long ago and it seemed that you knew each other intimately. The small video clippings and the exchange of gifts made it a Punjabish affair.
This only goes to show that bonding and camaraderie extends beyond uniformed people; it is an integral part of a well woven group which relies on each other for trivial issues. In fact, at certain times, a few comments by a few about the others can only be accepted if there is a tremendous amount of understanding.
A word about the Leader of the group – Ravinder PS Ravi in the last few years has ignited the passion and love for music and has been instrumental in raising a few FB groups. The manner in which he encourages others – young and old and the respect that he showers is only to be seen to be believed. I have not met him – but it seems that we have known each other for years. Some day the twain shall meet – and there will be outpourings galore.
I have been a distant observer of the various contributions because I am a keen follower of music over the years. I have often made my two pence contribution and have struck a strange bond with Raj Dutta, Vipan Kohli, Surekha Saini, Manik Lakhkar Chava and Evani Leela and other integral members of these groups. They are truly genuine friends and bask in each others’ glory.
On this memorable occasion, I can only wish each one of you many glorious years in the future. May your bonds become stronger and may you all contribute to the inimitable Bollywood music. GOD BLESS.”
There will be many more sunsets and sunrises across Whispering Winds, Kandaghat. Ladies and gents, please do remember that we shall await the next Meet of YKDN there; for, you can have these meets anywhere, but, your heart will tell you:
याद किया दिल ने कहाँ हो तुम
झूमती बहार है कहाँ हो तुम
प्यार से पुकार लो जहाँ हो तुम – २
(ओ, खो गये हो आज किस खयाल में
ओ, दिल फ़ंसा है बेबसी के जाल में ) – २
मतलबी जहाँ मेहरबां हो तुम
याद किया दिल ने कहाँ हो तुम
प्यार से पुकार लो जहाँ हो तुम – २
(ओ, रात ढल चुकी है सुबह हो गयी
ओ, मै तुम्हारी याद लेके खो गयी ) – २
अब तो मेरी दास्ताँ हो तुम
याद किया दिल ने कहाँ हो तुम
प्यार से पुकार लो जहाँ हो तुम – २
(ओ, तुम तो मेरे ज़िंदगी के बाग़ हो
ओ, तुम तो मेरी राह के चिराग़ हो ) – २
मेरे लिये आसमाँ हो तुम
याद किया दिल ने कहाँ हो तुम
प्यार से पुकार लो जहाँ हो तुम – २
This article is written in jest only. When we were in the Navy, many of us were at the receiving end of a number of these weirdos’ intended or unintended jest. It is, therefore, alright to recall some of their eccentricities in sheer nostalgia. When you get a rotten tooth pulled out, you sometimes miss the slow ache the tooth used to cause and your tongue goes to the void every-time and feels its absence.
A Weirdo is a person whose dress or behaviour seems strange or eccentric. When I was in the Navy, I came across many such persons; I am sure every profession or group has at least one such person.
It is, sometimes, awkward and embarrassing to deal with weirdos. Many a times, it is downright frustrating. However, in all cases, life is interesting because of weirdos; there is always something to talk about, something to bemoan, something to be amused about.
Why am I reminded of him today? Well, recently (on the 31st May to be exact), we have a new Chief of the Naval Staff. Admiral Sunil Lanba is not a weirdo. I am reminded of the weirdo who nearly made it to the CNS. His weirdness became even more acute when he came to know that he was nearly there (by that unique navigation expression called: time and space) and yet so far (by his predecessor CNS having been kicked out by the last BJP government and thus upsetting the apple-cart or the succession plan for him).
When you become very very senior in the armed forces, succession-plan becomes your favourite plan and you would do anything to have this plan, at least, go your way (like General VK Singh did; please also read: Army Chief’s Age – The Other Issues; Hats Off To General VK Singh; and Indian Army Before And After Operation Vijay). In the last sentence, if you would have noticed, I used the expression ‘at least‘; thereby implying that all your other plans are likely to be thrown out of the porthole the moment you swallow the anchor. This is actually true since most armed forces persons are good at reinventing the wheel (Please read Reinventing The Wheel, Armed Forces Style).
This gentleman, rich in the puss that oozed out of his super-ego, in the OK Corral Model, placed himself in the center of the one-up position (quadrant) with everyone, called by Eric Berne and several other transactional analysis people as: I am OK, You are not OK position. When he talked to any of his men and women, they were made to feel smaller than worms.
He had a reason for every one of his eccentricities. A la Kejriwal style (many years before Kejriwal became a phenomenon), this gentleman had his entire command divided into just two kinds of people: those who were facing Boards of Inquiry and Courts Martial for such serious crimes as having taken a few kgs of extra chicken for themselves or for their ships; and those who conducted these BoIs and CMs (whilst awaiting their own turn for sitting on the other side). He gave the reason for each one of these: ‘If I can’t trust him with chicken, how can I trust him in war?’
Another of his fads was to investigate (more torturous than the Spanish Inquisition) from which of the Ship’s Funds were Greeting Cards paid for; which he termed as “utterly wasteful expenditure”. Most of us had learnt the hard way never to send him any greetings whatsoever. However, youngsters sometimes didn’t know about such embargoes. One of my young commanding officers once sent him a New Year Greeting card. I was immediately summoned to his office to participate in the Inquisition. It went like this:
Rich-in-puss: “What’s this?” (he asked pointing derisively towards the offending card on the table) Me (Poor in everything including puss): “Looks like a greeting card, Sir”. (I silently prayed that it should be none of my men/women. God, didn’t listen to me that day.) Rich-in-puss: “It is a New Year greeting card sent to me by your CO_____”. Me (with resolve): “Give me sometime, Sir. I shall investigate and find out”.
He dismissed me with the sway of his hand, which I was quick to translate as: you can’t be trusted to find out even the most basic things; but, nevertheless, go and do your bit whilst I conduct my independent investigation into this very serious misdemeanour.
Just one hour later I was back. It was obvious from the expression on his face that his independent investigators had also given him similar report. I mentioned to him with unconcealed glee that CO____ had actually purchased the greeting cards with his own money.
My glee was short-lived when I heard him thus, “It is still utter wasteful expenditure. We are living in a country that doesn’t have resources to feed millions of poor or to give them shelter. And here we have CO____ indulging in such ostentatious splurging of money as to send greeting cards. Put a stop to this immediately.”
After returning to office, it was now my turn to summon CO____. I told him: “When the greeting mood ever overwhelms you, as it does with so many human beings who are humane, you should send these to people in all corners of the world but never – please say after me N-E-V-E-R, never – to the C-in-C or any of his friends or kith and kin, near or distant. I also have to discuss the forthcoming sailing and exercise programme with you. But, first let this important lesson sink in with you and we could discuss those relatively less important issues after the sailing tomorrow.”
The Rich-in-puss had indefatigable energy though. Let us say you are CO of a Seaward Defence Boat (SDB) and your SDB is deployed for patrol in the Palk Bay. Lets say you, during this patrol, start feeling really important as a CO with nothing between you and the skies, nothing around and below you but the sea. Suddenly you hear a whirring sound. Lo and behold a Chetak helicopter hovers over you. Who do you see winching down from the helo? You guessed it; the C-in-C himself to remind you of your smallness. As you go to bed that night, one thought that calls for your attention, like the whirring of the helicopter is: there is no escape from God and C-in-C; He is everywhere.
One such incident took place with me too. One day I had an ex colleague of mine who had flown into the port with his Islander aircraft. I was going to sail with my flotilla. I arranged with D to have an Islander sortie with us to exercise avanguard procedure with us (to provide attack information to my missile boats; they with their low freeboards being unable to get target information at long ranges on their own radars). We exercised with D for many runs. At the end of the day, since my ETA (Expected Time of Arrival) at the port was drawing close, I altered the course of the Flotilla to head home. D still had some more time with us. Hence, I instructed D on the net, to provide us with target information in the direction of the port. He insisted on targets in the opposite direction. I thought he was not understanding my intention and hence, over the net, I used my call-sign as Senior Officer to direct him to go the other way. To my frustration, he used a strange call-sign to tell me that he was going ahead with the earlier targets. We went through the call-sign book and found it was C-in-C’s. D told me later that he was on the runway, about to take off for us, when he saw C-in-C’s car approaching. C-in-C got into the other seat and breezily told him, “Lets go”!
Islander aircraft of the Indian Navy
I was reminded of a lady complaining to the lift operator, after pressing the button for the lift several times, “Where have you been?” And the lift-operator replying, “Ma’am, where can you go in a lift?” Similarly, we in the Fleet and the Flotilla, were never too far from the Rich-in-puss.
In the definition of a weirdo in the beginning, I had said that Weirdo is a person whose dress or behaviour seems strange or eccentric. You would have noticed that I concentrated only on the behaviour. Here is about the dress.
The dress that was his favourite was Dress #8 or white shorts and shirt and white stockings for officers and blue stockings for sailors. Before he made this dress compulsory for all ships and submarines, the daily orders would read ‘Dress for the Day’ as ‘No.8s/8As’, the latter being with white trousers. Hence. there was a choice given. Rich-in-puss felt that giving choice was akin to losing total control, a la Asrani, the angrezon-ke-zamaane ka jailer in the 1975 movie Sholay. Hence, personnel had no choice but to be wearing it day after day. He himself wore it except whilst sleeping and bathing. Once he called on the Governor of Tamilnadu, Justice M Fathima Beevi, dressed in his shorts, shirt and stockings. She was totally scandalized, she not being used to the nautical manner of dressing. Her tenure lasted for four and half years. She declined to meet any other navy officer during this period lest she should be exposed to further mortification.
Weirdos generally have other outstanding attributes. People like me, for example, grudgingly admitted that he had elephantine memory, remarkable intelligence, professionalism and all other qualities that make great leaders. However, it is a fact that we do remember weirdos more for their idiosyncrasies than for those other attributes. In this particular case, except for the fact that he totally destroyed you in case you ever differed with him, he didn’t mean any other harm to you.
During his farewell, he gave the Command an empty bottle of champagne, glass-cased. He said this was the same bottle that he had with his officers when it was rumoured that he wasn’t making it to a Rear Admiral from a Captain!
The intent of this essay is to start a healthy debate on the subject of expert versus common knowledge, the pros and cons, that is, of each.
First of all, those of you who don’t know the meaning of the second word, here it is from Wikipedia:
“Ultracrepidarianism is the habit of giving opinions and advice on matters outside of one’s knowledge.
The term ultracrepidarian was first publicly recorded in 1819 by the essayist William Hazlitt in an open Letter to William Gifford, the editor of the Quarterly Review: “You have been well called an Ultra-Crepidarian critic.” It was used again four years later in 1823, in the satire by Hazlitt’s friend Leigh Hunt, Ultra-Crepidarius: a Satire on William Gifford.
The term draws from a famous comment purportedly made by Apelles, a famous Greek artist, to a shoemaker who presumed to criticise his painting. The Latin phrase “Sutor, ne ultra crepidam“, as set down by Pliny and later altered by other Latin writers to “Ne ultra crepidam judicaret“, can be taken to mean that a shoemaker ought not to judge beyond his own soles. That is to say, critics should only comment on things they know something about. The saying remains popular in several languages, as in the English, “A cobbler should stick to his last”.
(Slide courtesy: slideplayer.com)
A charlatan, we all know, is a person falsely claiming to have special knowledge or skill.
In ancient India, we had the Hindu Varna system or a classification of all society into four varnas or classes:
the Brahmins: priests, scholars and teachers.
the Kshatriyas: rulers, warriors and administrators.
the Vaishyas: cattle herders, agriculturists, artisans and merchants.
the Shudras: labourers and service providers.
A Shudra, for example, was not supposed to fight battles like a Kshatriya and was not expected to even enter the temples like a Brahmin. The Varna system ensured that the son of a Vaishya would become a Vaishya and so on. This wasn’t the caste system or the Jati system. It was simply vocation based classification.
Gradually, as knowledge became more widely and evenly spread, people started learning skills beyond the Varna system. Basically, all professions became open to everyone on merit and reservation was only for the backward classes. Hence, we did away with the elitist Varna system and in order to ensure that a Shudra family could also produce an engineer or a doctor, we provided anti-elitist reservation (affirmation) to the Shudras to catch up with the rest. However, since records of professions (Varnas) were not so easily available as those of Jati (Caste), the political classes thought of combining Scheduled Castes with Scheduled Tribes rather than with Varnas.
The present day reversal of pyramid notwithstanding, it is a fact that those that belonged to higher Jati and Varna resisted the encroachments into their Jati and Varna by the lower classes and castes. How could, they reasoned, anyone mar their exclusivity? We are all aware of the havoc caused in our society by, for example, the practice of untouchability.
There were experts all along and then there were those who guarded their exclusive turf. Those who learnt or tried to learn skills by themselves were looked down upon, jeered, made to feel miserable and in the case of Eklavya of Mahabharata, had his arching thumb cut as a guru-dakshina (Offering to the Teacher) for Dronacharya since he learnt archery keeping a clay model of Drona when the latter declined to take him up as his disciple.
Eklavya made to cut off his arching thumb by Drona as ‘Guru Dakshina’ (Pic courtesy: mug.shainsingh.com)
And now cut to the modern age of free-knowledge and free-skills availability everywhere especially on the Internet. The Varna system has collapsed in many ways though vested interests want to keep the Jati or Caste system alive to perpetuate . You could be selling tea and yet you could lead the country as a Prime Minister. You could, as Indra Nooyi, be born in a Tamil speaking family in Madras and yet make it to be the CEO of PepsiCo, the second largest food and beverage business in the world.
And yet, the turf-guarders are always on their guard. They would tell you that you need more and more experts to solve problems, to repair, to rectify, to manage, to control, to heal, to do anything and everything. The lawyers, for example, make sure that they make legalese and court procedures so complicated and complex that the average citizen would have no choice but to call them to save his or her soul; in a repeat of the popular 1975 movie Sholay’s dialogue by the evil dacoit: Gabbar se tumhen ek hi aadmi bacha sakta hai, woh hai Gabbar khud (Only one man can protect you from Gabbar and that is Gabbar himself). The doctors circulate any number of videos on social-media mocking all those who learn about their ailments from the net. Most of the videos cleverly mix human skills with expert knowledge of ailments and cures making the so called ultracrepidarians look like buffoons, doing immense damage to themselves through their half-baked knowledge. They do forget the fact that the most difficult and responsible medical skill in the world – of being a parent – is learnt by most of us on the job and that for every failed unskilled parent there is a failed expert parent.
The Internet indeed is a great equalizer in a world wherein institutionalised training has been brought to its knees by the self-learners. One of the most spectacular examples of this is something that we grudgingly acknowledge: that is, how the most powerful armed forces have found their equal in self-trained terrorists; in many cases the latter having an edge over the former. We can have a debate about the means and the intent of the latter as opposed to the armies. But, the fact is that the Eklavyas of today, such as they are, don’t lose their thumbs in Guru-Dakshina but demand the heads of the elite trainers.
Last year I wrote a piece titled ‘All Photographers And Writers, No Viewers And Readers’. Just a few decades earlier, photographers and writers were an elite lot. Now everyone is one or the other. Everyone has an opinion and the Apelles of the world ridiculing shoemakers for expressing opinions about works of art have been simply outnumbered.
Lets look at the case of doctors predicting dire consequences for those who self-diagnose and self-medicate their ailments. There are counter views of course; the least of them is that doctors are known to fleece you and make your ailment really big and complex (requiring MRIs and other expensive tests) if you have no knowledge of your ailment.
Also, why only doctors? If we have to let only the experts do their job, then how come, these days:
Everybody is a national security expert.
Everybody knows how to run the country.
Other than the 13 cricketers in the field, everybody knows how to play.
Everyone knows how to get rid of terrorists.
Everybody knows how to act on screen or stage.
Everybody is a scientist.
Many people know how to make a bomb from the net.
We used to have a funny anecdote of an Engineer and the Captain of the ship exchanging their jobs, if only to win a bet. After an hour of this exchange, the Captain-turned-Engineer called the Bridge on the Intercom and said, “I am afraid the engines have stopped turning.” At this the Engineer-turned-Captain responded, “Oh, that’s alright since we just ran aground.”
Getting into non-expert fields is fraught with great risk. And yet, the most powerful navy in the world – the US Navy, that is – follows Line Officer Concept or Officer of the Line Concept.
What then is the answer? Do we require experts or not? What about the charlatans pretending to possess skills that they do not actually possess? In my last job in India’s largest corporate, we had a great and practical industrial security expert leading a proud team of officers, men and women in the best industrial security organisation in the country. However, his communication and image-building skills were just average. The management, therefore, brought in a person who had these skills in abundance but little knowledge of practical industrial security. Within a year the complete edifice that was painstakingly built in last twenty years crumbled. However, great sounding talks, write-ups and power-point presentations proliferated.
To build up the answer to the questions whether we require experts or not, and how to deal with ultracrepidarians and charlatans, I think intent is the key. If by acquiring common and free knowledge, one is thinking of doing away with the expert when his services become indispensable, then there is something wrong. Also, if the intent is to expose the expert to ridicule just as the expert holds the half-baked-knowledge ignoramuses in ridicule, then too it is wrong. However, if the intent is to assist in making a more detailed examination which would have perhaps escaped the attention of the expert; or to fore-arm yourself whilst being fore-warned, then perhaps it makes sense.
I dealt with ultracrepidarians and charlatans in my ‘One Good Advice Deserves Another’ soon after I started this blog on 02 Mar 10. Admittedly, I didn’t even know that such a word as ultracrepidarian existed (I learnt about the word on WhatsApp only recently) and admittedly the piece is merely on the humorous side; however, I hasten to add that sometimes the advice of the non-experts throws open a perspective that was hitherto missed. I invite you to read an interesting bit I brought out in my ‘Being Non-Sensical May Be Far Sighted’.
There are no easy answers. Little knowledge is a dangerous thing is to be carefully balanced against Ignorance is bliss. As I mentioned in the beginning of this essay, the intent here is to start a debate about the pros and cons of expertise versus common knowledge. Please do give your views in the comments below. I am not an expert and I don’t want to have the final say on this.
Love and Life are two four-lettered words about whom volumes have been written by poets and writers alike. And yet, like writing about Nature, God and Beauty, there is always something more to write.
There is a great deal of confusion whether Love is a selfless emotion or the most selfish of the emotions. It is selfless because when you love, in near absolute terms, you come to a point when you are oblivious about yourself, your needs and desires. Amongst the popular lovers of yore, Majnu was so much in love with his Laila that when asked to write God’s name in school, he wrote Laila. He was caned so hard by his teacher (maulvi) that it was feared that his hands would start bleeding. Lo and behold, the hands that started bleeding were those of Laila. Love is so selfless that you can lose your identity in love and assume the identity of your beloved.
“Duniya pukarti hai mujhe tere naam se…”
It is also a selfish feeling since you love a person to the exclusion of others and that person is called ‘my love’, ‘my life’ etc. As the holy book of the Sikhs, Sri Guru Granth Sahib brings out, my is roughly tranlated to ‘haume’ and loving someone to the exclusion of others is like claiming something for yourself and hence has an element of selfishness about it.
A mother’s love for her child has both elements in it: the selfishness and selflessness. A few decades back, in an earthquake in USSR a woman was buried with her child under the rubble for three full days and nights. She kept her child alive by feeding it her blood! It is a feeling of supreme selflessness. However, the feeling with her, “The life that I am saving is my child, my creation, my life, my love. If I die it would die. So I have to keep myself too alive”, is indeed a selfish feeling.
Lets put it this way: would you expect Laila to bleed for the entire humanity? No, she bled for her own love. Would you expect the mother in USSR to do such a sacrifice for other children? No, she would do it for her own children.
Selfless or selfish or a mixture of both, Love brings out the best in human beings. Yes, one has to get rid of ‘haume‘, as per the scriptures. However, the highest attainments of Leadership through Love are only possible if there is ‘haume’ (my-ness or ego) involved. Soldiers lay down their lives for the love of their country. Cricketers win matches, snatching victory from the jaws of defeat by having the feeling of my-ness for their team, province, state or country. Getting rid of ‘haume‘ is to be rid of belonging and attachment. However, if you are rid of it Love dies for everyone except for paramatma (Supreme soul) or God.
So, don’t think too much whether it is Selfish or Selfless to love. If you are thinking of it, you are aware of ‘Self’! It can’t be the purpose of Life to reach back to God. To love one another may also be the will of God.
I have always challenged the oft-held views. In my ‘An Alternate Philosophy of Life‘, for example, I have challenged our obsession with seeking God for ourselves. I have, on the other hand, suggested that we get out of this obsession and think of the society, the way the Westerns do. In India, most people love God but are not so prone to love one another, cleanliness (despite the renewed stress on Swachchh Bharat (clean India), and values. We would if there was some self-interest or ‘haume’ involved in these.
Here are some of the things that I suggest that we love:
1. Love Life. The greatest gift that God has given us is that of Life. We should love ours and those of others. As Indians, when we drive, pardon my saying so, but, it isn’t apparent whether we love ours’ and those of others. Perhaps we should demonstrate it in more ways than the present one of furiously honking and abusing another person off the road. Each one of has the feeling of self-preservation in some degree or the other. Yes, it is selfish to love one’s own life. However, if you don’t love your own and value it, you cannot be expected to value others’. Last year’s Alejandro Inarritu movie The Revenant (a movie that I didn’t like because of its raw and relentless violence) won him the Best Director’s Award as well as Best Actor award for Leonardo DiCaprio. The movie is all about the quest for survival under extreme harsh conditions for Hugh Glass whilst seeking revenge against John Fitzgerald, a fellow trapper who left him (Hugh Glass played by DiCaprio) as dead after stabbing him. Take the opposite extreme, that of a Jehadi or a Mujahid. He doesn’t value his own life and those of others in the mistaken belief that by killing himself and others he would, perhaps, serve some purpose of God. Loving Life is the first signs of gratefulness towards God for having created beings, mountains, plains, rivers, seas, etc.
2. Love Nature. God made the Universe very beautiful indeed. We are part of it and we are beautiful too. However, Nature is more beautiful than all of us individually and collectively. It is our beloved. It is not ashamed to have a bath right in the open and emerge even more beautiful. It doesn’t bore us with the same shape, colour, fragrance and hue all the times. One of the most enchanting things about Nature is that it is forever changing. Just when we feel that we have seen the most alluring part of it, it unashamedly reveals another even more fascinating. Nature reflects the endless attribute of God Himself in case we are used to personifying God.
3. Love Music. It doesn’t matter what kind of music you like or love; be it classical, instrumental, Western, Raaga based, or even punk. However, I would be very suspicious of a person who doesn’t like music and considers all music as jarring noise. Music is the expression of the soul. There must be some expression of your own inner self that finds resonance with some music. My family and I consider life without music to be no life at all.
4. Love Children. God gave us innocence at birth and even before it. We had it when we were children. But then, we plunged into worldly knowledge and lost it gradually. That’s the reason that we, with all our knowledge, are farthest from God and little children with their innate innocence are God-like (Please read: ‘How Unbiased Or Innocent Can We Become?’). Therefore, it makes sense to love the child in you as also to love children.
5. Love Animals. Many of you must have seen the most successful South African movie ever: the 1980 movie ‘Gods Must Be Crazy’. The movie is about the simple bushmen of Kalahari Desert in Botswana who are happy and content with what God has given them until they are exposed to a Coca Cola bottle (symbolic of the modern world) having been thrown close to them from a plane. And now, the single coca-cola bottle is the source of envy, jealousy, anger, frustration and violence that they had never experienced before. The animal world is like the world of the bushmen as seen in the movie. There is no fear, danger, jealousy, greed and guile. If you can’t be in the wilderness, the next best thing to do is to have a pet and then you suddenly start realising that God made all His beings in His own liking. You can’t help loving them. Indeed, nowadays, scientific and psychological studies have shown that loving a pet relaxes you and enriches your life.
7. Love the Jawan (Soldier). As long as there is ‘haume’, there is violence. As long as there is violence, someone needs to protect us from being subjugated by violence. That chosen one of God is the Jawan or the Soldier. Whilst others have a profession or vocation, his is a devotion, a sacrifice and way of life. To love a Jawan is to thank him for risking his own life whilst protecting ours. No money, awards, gratitude on earth can ever repay him for what he does 24/7, 365 days in a year.
8. Love India. We Indians are the most vociferous jingoists in the world. We carry our patriotism on our shirt-sleeves for everyone to see. But, do we really love our country? The answer is a big NO. The person who loves his or her country as his or her own home won’t do any of the following, for example:
Dirty it relentlessly and expect someone else to clean up the mess.
Indulge in everyday petty corruption and short-cuts knowing that it makes the country weaker.
Whiling away time at work knowing that the country’s well-being is dependent upon each one of us working at full efficiency and dedication.
Sell the country’s interests both overtly and covertly to the enemies of the country within and without.
Have no respect for the law of the land.
There, I have given you my short list of things that we ought to love as our own and cherish that we were given these to love.
As you are already aware, these blogs are being recreated from the posts on my Facebook page Lyrical wherein I started with this theme of giving you the best raaga based songs in Hindi movies on the 8th of Aug 2015. Presently, I am on my 22nd Raaga: Raag Lalit. I have already given you blogs on Raaga Bhairavi (Part I, II and III), Yaman or Kalyan (Part I, II and III), Jhinjhoti (Part I, II), Darbari Kanada (Part I, II, and III), Bhimpalasi (Part I and II), Raag Khammaj, and Raag Todi which make only seven of the twenty-two Raagas. With the last post on Raag Todi, I have made a determined effort to catch up. I decided to start giving you Raagas even as I put up on Lyrical, in addition to the back-log. Now that I gave you the last Raag based songs’ post, let me also give you one from the back-log.
With this, lets start with our Eighth Raaga here (the 6th Raaga on Lyrical): Raag Pilu.
The cover picture in this Raag is from the 1958 movie Phagun starring Madhubala and Bharat Bhushan. The music director of the movie OP Nayyar was so fond of this Raaga that roughly about half the songs of the movie have been composed by him in Pilu or Peelu. This was OP Nayyar’s favourite raga.
Raga Pilu is a light classical raga or thumri that is quite varied. Like Bhairavi, all the 12 notes can be used in a composition. Since the structure of the raga is left to the artist’s style and interpretation, it is sometimes referred to as Misra Pilu (“mixed version of Pilu“) which incorporates not only the main notes but grace notes like komal re, suddha Ga, tivra Ma, komal dha, and both Nis.
Moods: Bhakti, Ebullience of folk love (often samuh-gaan, with clapping of hands). Many Krishna bhajans are in this raga.
Song #1 Piya piya naa laage mora jiya….
Lets take the first song composed in this raag from the 1958 moviePhagun directed by Bhibhuti Mitra. As with most other movies for which OP Nayyar was the music director, Phagun too had a large number of hit songs that were penned by Qamar Jalalabadi and sung by Asha Bhosle and Mohammad Rafi:
Please enjoy in Raag Pilu, a song sung by Asha Bhosle: Piya piya naa laage mora jiya….
piyaa piyaa na laage moraa jiyaa
aajaa chorii chorii ye bai.nyaa.n gorii gorii
ta.Dap uThii re tere pyaar ko
piyaa piyaa …
ek ban kii kalii matavaalii nagarii me.n aaii khilane
ja.ngal kii moranii aaii baago.n ke mor se milane
milane ho milane, mor se milane
haay … apanaa banaa le sai.nyaa ho
piyaa piyaa …
o baa.Nke nainaa vaale o paradesii matavaale
tuu muralii mujhe banaa le ho.nTho.n se haay lagaa le
muralii banaa le ho.nTho.n se lagaa le
haay … apanaa banaa le sai.nyaa ho
piyaa piyaa …
Song #2 Jhoole mein pawan ke aayi bahar…
Matching OP Nayyar note by note in the Phagun jhoola song is Naushad, six years before Phagun in his best ever movie Baiju Bawra. Baiju (Bharat Bhushan) and Gauri (Meena Kumari) grow up and are in love. This song is sung to show them having grown up and in love.
Interestingly, each one of the Baiju Bawra’s 13 song-tracks was based on a classical raaga.
The great Shakeel Badayuni penned the lyrics and it was sung by Mohammad Rafi and Lata Mangeshkar for Bharat Bhushan as Baiju and Meena Kumari as Gauri. Naushad received his only Filmfare Best Music Director award for this movie.
My choice of the greatest music director in Hindi movies: Naushad Ali (Pic courtesy: hamaraforums.com)
Please enjoy in Raag Pilu: Jhule mein pawan ke aayi bahaar….
do : jhuule me.n pawan ke aa_ii bahaar
naino.n me.n nayaa ra.ng laa_ii bahaar
pyaar chhalake ho pyaar chhalake
la : o
Dole man moraa sajanaa
Dole man moraa
ra : ho jii ho
la : Dole man moraa sajanaa
chuunariyaa baar-baar Dhalake
do : jhuule me.n pawan ke aa_ii bahaar
pyaar chhalake ho pyaar chhalake
ra : o o o
merii taan se uu.Nchaa teraa jhuulanaa gorii -2
la : mere jhuulane ke sa.ng tere pyaar kii Dorii -2
do : tuu hai jiivan si.ngaar
pyaar chhalake
jhuule me.n pawan ke aa_ii bahaar
pyaar chhalake ho pyaar chhalake
ra : o o o
baadal jhuum ke aaye gaagar pyaar kii laaye -2
la : koyal kuukatii jaaye ban me.n mor bhii gaaye -2
do : chhe.De.n ham-tum malhaar
pyaar chhalake
aa aa aa
chhe.De.n ham-tum malhaar
jhuule me.n pawan ke aa_ii bahaar
naino.n me.n nayaa ra.ng laa_ii bahaar
pyaar chhalake ho pyaar chhalake
ho ho pyaar chhalake -3
https://www.youtube.com/watch?v=AS0h73s0XyI
Song #3 Mat maaro Shyam pichkari….
Did you get a good idea of what the Raag Pilu is all about from the first two songs: one each from Phagun and Baiju Bawra.
Let me add to your knowledge by giving you a song from the 1956 movie Durgesh Nandini based on the novel by that name by Bankim Chandra Chatterjee.
This was composed by my favourite Hemant Kumar on the lyrics of Rajinder Krishan. Lata Mangeshkar sang it.
Hemant Kumar recording a song with Lata Mangeshkar (Pic courtesy: mrandmrs55.com)
Please enjoy in Raag Pilu: Mat maaro sham pichkaari….
mat maaro shaam pichakaarii
morii bhiigii chunariyaa saarii re…
naajuk tan moraa ra.ng na Daaro shaamaa
a.ng-a.ng mora pha.Dake
ra.ng pa.De jo more gore badan par
ruup kii jvaalaa bha.Dake
kit jaa_uu.N mai.n laaj kii maarii re
mat maaro shaam…
kaah karuu.N kaanhaa, ruup hai bairii meraa
ra.ng pa.De chhil jaaye
dekhe yah jag mohe, tirachhii najariyaa se
moraa jiyaa ghabaraaye
kit jaa_uu.N mai.n laaj kii maarii re
mat maaro shaam…
https://www.youtube.com/watch?v=-wEEX3Ox75o
Song #4 Sur na saje kya gaayun main….
The second day of our sixth Raag: Raag Pilu or Peelu. We have so far taken up compositions of OP Nayyar whose favourite raag was Pilu, Naushad and Hemant Kumar.
We turn now to Shankar Jaikishen. I have taken this from their composition in 1956 movie Basant Bahaar starring Nimmi and Bharat Bhushan. As is usual with S-J songs, this one has been penned by Shailendra. It has been sung by Manna Dey
Manna Dey, the greatest singer of classical songs in Hindi movies.
Please enjoy in Raag Pilu: Sur naa saje kyaa gaayun main….
sur nA saje kyA gAU.N mai.n – 2
sur ke binA, jIvan sUnA – 2
sur nA saje kyA gAU.n mai.n
sur nA saje …
jalate gayaa jiivana meraa -2
is raat kaa na hogaa saveraa -2
sur naa saje …
dono.n jahA.n, mujhase rUThe – 2
tere binA ye gIt bhI jhUThe – 2
sur nA saje …
taT se lagii nadiyaa gaave -2
pii tum kahaa.N papiihaa gaave -2
sur naa saje …
(sa.ngIt man ko pa.nkh lagAe
gIto.n me.n rimajhim ras barasAe ) – 2
svar kI sAdhanA – 2
paramesh{}var kI
sur nA saje …
Song #5 Tere bin soone nayan hamaare….
Now that I have given you a beautiful composition by Shankar Jaikishen, I have to give you a matching and somewhat similar one by Sachin Dev Burman. It is regarded, by many, as the best Raaga based song ever in Hindi movies.
It is from the 1963 movie Meri Soorat Teri Aankhen. The movie had a beautiful story with a lesson for all of us. Raj Kumar (Ishwarlal) is a wealthy businessman and dislikes everything ugly. When his wife, Kamla (Achla Sachdev), becomes pregnant and gives birth to an ugly son, he asks the attending Dr. Mathur (Tarun Bose) to inform his wife that their child was still-born. Dr. Mathur places the child in the hands of Rahmat (Kanhaiyalal Chaturvedi) and his wife, Naseeban (Paro), who welcome him with open arms. But misfortune follows them, as the child, who is named Pyare (Ashok Kumar), accidentally burns their dwelling down, killing Naseeban. Rahmat then re-locates to his village when he teaches Pyare the skills required to play musical instruments and sing. Years later, Rahmat passes away, and informs Pyare that he is really a Hindu. Dr. Mathur fills the rest of the blanks for Pyare, and arranges a song and dance play and hopes that Raj will overcome his dislike for his now-grown son. But that does not happen, instead, Raj offers to pay some compensation so that Pyare can look after himself. When Pyare goes to Raj to return the money, Kamla sees him and asks him not to leave and adopts him as her son. Then misfortune visits the Raj family when their other son, Sudhir (Pradeep Kumar) , is abducted and held for ransom for 4 Lakh rupees. Sudhir’s fiancée (Asha Parekh as Kavita) believes that Pyare is behind this abduction. Finally, they all learn that Pyaare saves Sudhir’s life by sacrificing his own.
This song is sung when Pradeep Kumar and Asha Parekh are in the wilderness. Asha Parekh listens to Ashok Kumar sing this song from a distance and is enchanted by his voice.
Shailendra is the lyricist. The song has been sung by Mohammad Rafi and Lata Mangeshkar for Ashok Kumar and Asha Parekh respectively.
Please enjoy in Raag Pilu: Tere bin soone nain hamaare….
tere bin suunii, nain hamaare
haay! tere bin suunii
baaT takat gaye saa.Njh sakhaare
haay! tere bin suunii
raat jo aaye Dhal jaaye pyaasii
din kaa hai duujaa naam udaasii
nindiyaa na aaye ab mere dvaare
haay! tere bin suunii …
jag me.n rahaa mai.n jagase paraayaa
saayaa bhii meraa mere saath na aayaa
ha.Nsane ke din bhii roke guzaare
haay! tere bin suunii …
o anadekhe, o anajaane
chhup ke na gaa ye prem taraane
kaun hai tuu mohe ab to bataa re
haay! tere bin suunii …
https://www.youtube.com/watch?v=BYmpRsVKjkw
Song #6 Tu jo mere sur mein sur mila le….
I was thinking that I would not be able to find a third song matching the first two this evening: Sur naa saje kyaa gaayun main, and Tere bin soone nain hamaare.
And then I thought of Ravindra Jain! I have written several times that putting up songs, for me, is like dominos: one leads to the other.
This song sung by Yesudas and Hemlata became very popular. It has lyrics too by Ravindra Jain and is from the 1976 movie Chitchor.
Please enjoy in Raag Pilu: Tu jo mere sur mein sur mila le…..
ye: tuu jo mere sur me.n -2
sur milaa le, sa.ng gaa le
to zi.ndagii ho jaae safal
he: tuu jo mere man kaa -2
ghar banaa le, man lagaa le
to ba.ndagii ho jaae safal
dono.n: tuu jo mere sur me.n
ye: chaa.Ndanii raato.n me.n, haath li_e haatho.n me.n
he: chaa.Ndanii raato.n me.n, haath li_e haatho.n me.n
dono.n: Duube rahe.n ek duusare kii, ras bharii baato.n me.n
ye: tuu jo mere sa.ng me.n -2
muskuraa le, gunagunaa le
to zi.ndagii ho jaae safal
he: tuu jo mere man kaa…
dono.n: tuu jo mere sur me.n…
he: kyo.n ham bahaaro.n se, khushiyaa.N udhaar le.n
ye: kyo.n ham bahaaro.n se, khushiyaa.N udhaar le.n
dono.n: kyo.n na milake ham khud hii apanaa jiivan sudhaar le.n
he: tuu jo mere path me.n -2
diip gaa le o ujaale
to ba.ndagii ho jaae safal
ye: tuu jo mere sur me.n -2
sur milaa le, sa.ng gaa le
to zi.ndagii ho jaae safal
Song #7 Pardesiyon se na akhiyan milana….
Two days of one of the most popular raagas amongst Hindi songs composers had us take up the compositions of OP Nayyar, Naushad, Hemant Kumar, Shankar Jaikishen, SD Burman and Ravindra Jain.
Let me start tonight with a very popular number composed by Kalyanji Anandji for the 1965 movie Jab Jab Phool Khile starring Shashi Kapoor and Nanda.
It was one of the most popular songs of its era. Anand Bakshi penned the lyrics and Mohammad Rafi sang it.
Please enjoy in Raag Pilu: Pardesiyon se na akhiyan milana……
paradesiyo.n se naa a.Nkhiyaa.n milaanaa
paradesiyo.n ko hai ik din jaanaa
aatii hai jab ye rut mastaanii
banatii hai koii na koI kahaanii
ab ke bas dekhe bane kyaa fasaanaa
sach hii kahaa hai pa.nchhii inako
raat ko Thahare to u.D jaae.n din ko
aaj yahaa.N kal vahaa.N hai Thikaanaa
ye baabul kaa des chhu.Daae.n
des se ye parades bulaae.n
haay sune.n naa ye koI bahaanaa
hamane yahii ek baar kiyaa thaa
ek paradesii se pyaar kiyaa thaa
aise jalaae dil jaise paravaanaa
pyaar se apane ye nahii.n hote
ye patthar hai.n ye nahii.n rote
inake liye naa aa.Nsuu bahaanaa
naa ye baadal naa ye taare
ye kaagaz ke phuul hai.n saare
in phuulo.n ke baag na lagaanaa
hamane yahii ek baar kiyaa thaa
ek paradesii se pyaar kiyaa thaa
ro ro ke kahataa hai dil ye diivaanaa
https://www.youtube.com/watch?v=Kld8HZ-8j2g
Song #8 Na jahtako zulf se paani…,
How about my namesake Ravi as a composer in Raag Pilu? It happened in 1964 movie Shehnai starring Biswajeet and Rajshree. Lyricist is Rajinder Krishan and the singer is Mohammad Rafi.
Music Director Ravi (Pic courtesy: america.pink)
Please enjoy in Raag Pilu: Na jhatako zulf se paani ye moti toot jaayenge…..
naa jhaTako sulf se paanii yah motii TuuT jaaye.nge
tumhaaraa kuchh na biga.Degaa magar dil TuuT jaaye.nge
naa jhaTako sulf se paanii …
ye bhiigi raat ye bhiigaa badan ye husn kaa aalam
ye sab andaaz mil kar do jahaa.N ko luuT jaaye.nge
naa jhaTako sulf se paanii …
yah naazuk lab hai.n yaa aapas me.n do lipaTii huI kaliyaa.N
zaraa inako alag kar do, tarannum phuuT jaaye.nge
naa jhaTako sulf se paanii …
hamaarii jaan le legaa yah niichii aa.Nkh ka jaduu
chalo achchha huaa mar kar jahaa.N se chhuuT jaaye.nge
naa jhaTako sulf se paanii …
Song #9 Tere pyaar ka aasra chahata hoon….
Going ahead with the mood set with the other two songs tonight, viz, Pardesiyon se na akhiyan milaana, and Na jhatako zulf se panni; I give you a composition by N Dutta for the 1959 movie Dhool Ka Phool starring Rajendra Kumar and Mala Sinha. They are participating in a college mushaiyra and are at their best on the stage. Mahendra Kapoor and Lata Mangeshkar have sung for them respectively.
Please enjoy in Raag Pilu: Tere pyaar ka aasra chahata hoon….
tere pyaar kaa aasaraa chaahataa huu.N
vafaa kar rahaa huu.N vafaa chaahataa huu.N
hasiino se ahad-e-vafaa chaahate ho
ba.De naasamajh ho ye kyaa chaahate ho
tere narm baalo.n me.n taare sajaa ke
tere shokh kadamo.n me.n kaliyaa.n bichhaa ke
mohabbat kaa chhoTaa saa mandir banaa ke
tujhe raat din pUjanaa chaahataa huu.N, vafaa …
zaraa soch lo dil lagaane se pahale
ki khonaa bhii pa.Dataa hai paane ke pahale
ijaazat to le lo zamaane se pahale
ki tum husn ko pUjanaa chaahate ho, ba.De …
kahaa.N tak jiye.n terii ulfat ke maare
guzaratii nahii.n zindagii bin sahaare
bahut ho chuke duur rahakar ishaare
tujhe paas se dekhanaa chaahataa huu.N, vafaa …
mohabbat kii dushman hai saarii khudaaii
mohabbat kii taqadiir me.n hai judaaii
jo sunate nahii.n hai.n dilo.n kii duhaaii
unhii.n se mujhe maa.Nganaa chaahate ho, ba.De …
dupaTTe ke kone ko mu.Nh me.n dabaa ke
zaraa dekh lo is taraf muskuraa ke
mujhe lUT lo mere nazadiik aa ke
ki mai.n maut se khelanaa chaahataa huu.N, vafaa …
galat saare daave.n galat saarii kasame.n
nibhe.ngii yahaa.N kaise ulfat ki rasme.n
yahaa.N zindagii hai rivaazo.n ke bas me.n
rivaazo.n ko tum to.Danaa chaahate ho, ba.De …
rivaazo.n kii paravaah naa rasmo.n kaa Dar hai
terii aa.Nkh ke faisale pe nazar hai
balaa se agar raastaa purkhatar hai
mai.n is haath ko thaamanaa chaahataa huu.N, vafaa …
Song #10 Aaj ki raat badi shokh badi natkhat hai….
Fourth day of our sixth raag: Pilu after we have taken up the following Raagas already:
1. Bhairavi.
2. Yaman or Kalyan.
3. Darbari Kanada.
4. Raag Bhimpalasi.
5. Raag Khammaj.
In the present Raag Pilu, so far, we took up the compositions of OP Nayyar, Naushad, Hemant Kumar, Shankar Jaikishen, SD Burman, Ravindra Jain, Kalyanji Anandji, Ravi and N Dutta.
Lets take up our tenth composer in this raag: Roshan. This is a favourite of mine penned by Neeraj and sung by Mohammad Rafi. It is from the 1965 movie Nai Umr Ki Nai Fasal that starred Tanuja with Rajeev and was shot in the campus of Aligarh Muslim University.
Even after 50 years, the songs of the movie are fondly remembered:
“Aaj Ki Raat Badi De Se Aayee Hai” – Mohd Rafi
“Aaj Ki Raat Badi Shaukh Badi Natkhat Hai” – Mohd Rafi & Asha Bhosle
Please enjoy in Raag Pilu: Aaj ki raat badi shokh badi natkhat hai….
aaj kii raat ba.Dii shokh ba.Dii naTakhaT hai
aaj to tere binaa nii.nd na aayegii
ab to tere hii yahaa.N aane kaa ye mausam hai
ab tabiiyat na Kayaalo.n se bahal paayegii
dekh vo chhat pe utar aayii hai saavan kii ghaTaa
de rahii dvaar pe aavaaz kha.Dii puravaaii
bijalii rah rah ke pahaa.D.n pe chamak uThatii hai
suunii aa.Nkho.n me.n koii Kvaab le jyo.n a.nga.Daaii
kaise samajhaa_uu.N?
kaise samajhaa_uu.N ki is vaqt kaa matalab kyaa hai
dil kii hai baat
ho dil kii hai baat na ho.nTho.n se kahii jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
ye bhaTakate hue jugunuu ye diye aavaaraa
bhiigate pe.Do.n pe bujh-bujh ke chamak uThate hai.n
tere aa.Nchal me.n Take salame.n sitaare jaise
mujh se milane ko binaa baat damak uThate hai.n
saaraa aalam
saaraa aalam hai giraftaar tere husn me.n jab
mujhase hii kaise
ho, mujhase hii kaise ye barasaat sahii jaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
raat raanii kii ye bhiinii sii nashiilii khushabuu
aa rahii hai ke jo chhan chhan ke ghanii Daalo.n se
aisaa lagataa hai kisii DhiiTh jhakhore se lipaT
khel aayii hai tere ulajhe hue baalo.n se
aur bezaar
aur bezaar na kar, mere ta.Dapate dil ko
aisii ra.ngiin
ho, aisii ra.ngiin Gazal raat na phir gaayegii
aaj to tere binaa nii.nd nahii.n aayegii …
Song #11 Dheere se aaja akhiyan mein…
Our eleventh music director is C Ramchandra and he composed one of the best lullabies in Hindi movies in this Raag. So enchanting is this lullaby that a few months back I saw the 1951 movie Albela starring Bhagwan and Geeta Bali on my computer so as to see the lullaby. Rajinder Krishan penned the lyrics and the lullaby has been sung by both Lata Mangeshkar and C Ramchandra.
Please enjoy in Raag Pilu: Dheere se aaja ri akhiyan mein nindiya….
Comments: An excellent and classic lullaby. The song is in two parts.
The duet version is a sadder song. Chitalkar just sings the mukha.Da
and Lata sings the two antaraas. The tune is the same for both versions.
dhiire se aajaa rii a.Nkhiyan me.n
ni.ndiyaa aajaa rii aajaa, dhiire se aajaa
chhoTe se nainan kii bagiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
o …
lekar suhaane sapano.n kii kaliyaa.N, sapano.n kii kaliyaa.N
aake basaa de palako.n kii galiyaa.N, palako.n kii galiyaa.N
palako.n kii chhoTii sii galiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
dhiire se …
o …
taaro.n se chhup kar taaro.n se chorii, taaro.n se chorii
detii hai rajanii cha.Ndaa ko lorii, cha.Ndaa ko lorii
ha.Nsataa hai cha.Ndaa bhii nindiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
dhiire se …
Sad / Duet version
dhiire se aajaa rii a.Nkhiyan me.n
ni.ndiyaa aajaa rii aajaa, dhiire se aajaa
chhoTe se nainan kii bagiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
o …
aa.Nkhe.n to sab kii hai.n ik jaisii
jaisii amiiro.n kii, gariibo.n kii vaisii
palako.n kii suunii sii galiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
dhiire se …
o …
jagatii hai a.Nkhiyaa.N sotii hai qismat, sotii hai qismat
dushman gariibo.n kii hotii hai qismat, hotii hai qismat
dam bhar gariibo.n kii kuTiyan me.n
nindiyaa aajaa rii aajaa, dhiire se aajaa
dhiire se …
https://www.youtube.com/watch?v=8h94Qg1g-JI
Song #12 Dhadakte dil ki tamanna ho mera pyaar ho tum….
Now that I have given you a favourite from C Ramchandra, I might as well give you another from Ghulam Mohammad. It has lyrics by Kaifi Azmi and has been sung by Suraiyya for herself in the 1961 movie Shama.
Here is the story-line:
Lucknow-based poet Parvez (Vijay Dutt) lives a wealthy lifestyle along with his parents. Also living in this household is an orphaned distant relative, Shama (Nimmi), who secretly loves him. He does confide in her that he is attracted to Roshan Ara (Suraiyya), and she, though heartbroken, arranges his wedding with her. After the wedding, Roshan’s brother, Dilawar (Tarun Bose), wants to wed Shama and Parvez’ father accepts this alliance. Anger, rage and bitterness will surface when Shama will not only reject Dilawar but also refuse to marry anyone. But the worst is yet to come when the family will be told the real reason why she wants to remain single.
Ghulam Mohammad, though older to Naushad Ali, took the latter as his mentor for many years. He was music director for 1954 movie Mirza Ghalib, 1961 movie Shama and finally 1972 Pakeezah. The last one was so much delayed that when the movie was finally released Ghulam Mohammad was no more. Pakeezah has some of the most stunningly popular songs in Hindi movies and elegantly composed. However, Ghulam Mohammad wasn’t given the Filmfare Best Music Director for it. Character actor Pran declined to receive his own Best Supporting Actor award in protest against Ghulam Mohammad having been overlooked for his award.
Music Director Ghulam Mohammad
Please enjoy in Raag Pilu; Dhadakate dil ki tamanna ho mera pyaar ho tum….
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(mujhe qaraar nahii.n) – 2
(jab se beqaraar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
(khilaao phuul kisii ke kisii chaman men raho) – 2
jo dil kii raah se (guzarii hai vo bahaar ho tum) – 2
(zah-e-nasiib ataa kii jo dard kii sauGaat) – 2
vo Gam hasiin hai jis (Gam ke zimmedaar ho tum) -2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
cha.Daauu.N phuul yaa aa.Nsuu tumhaare qadamo.n me.n
merii vafaao.n ke (ulfat kii yaadagaar ho tum) – 2
dha.Dakate dil kii tamannaa ho meraa pyaar ho tum
https://www.youtube.com/watch?v=M64silP33xY
That brings us to the half-way mark of two-dozen best songs in Hindi movies based on Raag Pilu. Please await the Part II with the other dozen songs.
As you are already aware, these blogs are being recreated from the posts on my Facebook page Lyrical wherein I started with this theme of giving you the best raaga based songs in Hindi movies on the 8th of Aug 2015. Presently, I am on my 22nd Raaga: Raag Lalit. I have already given you blogs on Raaga Bhairavi (Part I, II and III), Yaman or Kalyan (Part I, II and III), Jhinjhoti (Part I, II), Darbari Kanada (Part I, II, and III), Bhimpalasi (Part I and II) and Raag Khammaj, which make only six of the twenty-two Raagas. This means that I have to make a determined effort to catch up. I have therefore decided to start giving you Raagas even as I put up on Lyrical, in addition to the back-log.
With this, lets start with our Seventh Raaga here (the 21st Raaga on Lyrical): Raag Todi.
Todi (Hindi: तोडी) is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten modes of Hindustani classical music. Ragas from the Todi raganga include Todi (a.k.a. Miya ki Todi) itself, Bilaskhani Todi, Bahaduri Todi, and Gujari Todi.
The equivalent raga in Carnatic music is Shubhapantuvarali. The Carnatic raga Todi is the equivalent of Bhairavi and does not have any similarity to the Hindustani Todi.
Todi is a raaga of the late morning.
As can be seen in the profile picture of the Raag, Todi is nearly always shown as a gentle, beautiful woman, holding a veena and standing in a lovely green forest, surrounded by deer. Kaufman cites the Sangita-Darpana “With a fair erect body like the white lotus, and delicate like the gleaming dew drop, Todi holds the vina and provides fun and frolic to the deer deep in the forest. Her body is anointed with saffron and camphor.”
Rasa in Indian classical music is understood as mood of the raga. Miyan ki todi predominantly is mostly pervaded by a pensive, mournful mood which is then relieved in the drut (faster tempo) part, by a festive piece, possibly to alleviate the heavy pathos in the earlier stages of rendering, though not always. The composition is such as to afford an artist of high calibre to mould it in either the inherent pensive mood or to entirely present a festive mood.
Song #1 Ae ri main to prem diwani mera dard na jaane koye….
The cover picture that I have put up is that of Hema Malini in the 1979 movie Meera in which she was in the title role. She is singing a Meerabai bhajan: Ae ri main to prem diwani. It comes close to the description of the Raaga.
Pandit Ravi Shankar composed the bhajan and Vani Jairam sang it.
Please enjoy in Raag Todi: Ae ri main to prem diwani mera dard na jaane koye….
aeri mai to prem diwani mera dard na jane koi
aeri mai to prem diwani mera dard na jane koi
aeri mai to prem diwani
jurm aisa janti prit piye dukh ka
nagar dhidhora pitti preet na jane koi
mera dard na jane koi
aeri mai to prem diwani mera dard na jane koi
aeri mai to prem diwani mera dard na jane koi
aeri mai to prem diwani
We started with our 21st Raag today that gave birth to a Thaat having been named after it; one of the ten fundamental thaats in Hindustani stream of music.
It is a raaga of the late morning.
Song #2 Insaan bano….
As soon as I start with a Raaga, as is usual for me, I think of the combine of Shakeel Badayuni with Naushad Ali. The 1952 movie Baiju Bawra was the only movie for which Naushad was given the Filmfare Award. Each one of its songs is based on some Raag or the other.
Shakeel Badayuni (Sitting) and Naushad (Standing)
Insaan Bano was sung by Mohammad Rafi for Bharat Bhushan who acted in the title role. When a group of dacoits attack the village in which he and Gauri (Meena Kumari who got the Filmfare award for Best Actress for the movie, one of the four that she got) live, Baiju sings this song to them to appeal to them to spare the village and become human. In the end, they take him away and spare the village.
Please enjoy in Raag Todi: Insaan bano….
nirdhan kaa ghar lUTane vaalo.n
luuT lo dil kaa pyaar
pyaar vo dhan hai jisake aage
sab dhan hai bekaar
insaan bano, insaan bano karalo bhalaaI kaa koI kaam
insaan bano
duniyaa se chale jaaegaa rah jaaegaa badanaam insaan bano
o …
is baag me.n sUraj bhii nikalataa hai liye Gam
phUlo.n kii ha.Nsii dekh ke ro detii hai shabanam
kuchh der kii khushiyaa.N hai.n to kuchh der kaa maatam
kis nii.nd me.n ho …
kis nii.nd me.n ho jaago zaraa dekh lo anjaam, insaan bano
o …
laakho.n yahaa.N shaan apanii dikhaate hue aaye
dam bhar ko rahe naach gaye dhUp me.n saaye
vo bhUl gaye the ke ye duniyaa hai saraay
aataa hai koI …
aataa hai koI subah ko jaatA hai koI shaam, insaan bano
o …
kyo.n tumane bichhaaye hai.n yahaa.N zulm ke Dere
dhan saath na jaayegaa bane kyo.n ho luTere
piite ho gariibo.n kaa lahuu shaam savere
khud paap karo …
khud paap karo naam ho shaitaan kA badanaam, insaan bano
Song #3 Sun rasiya, sun rasiya, kaahe ko jalaaye jiya aaja….
The 1954 movie Nagin had some of the best music by Hemant Kumar. The movie starred Pradeep Kumar and Vyjayanthimala as children of two rival snake venom catchers groups with such intense enmity between them that a match between them was an impossibility. However, in the end, as always, Love wins.
The movie had the magical been sound by Kalyanji who was at that time assistant to Hemant as music director. Lyrics of this song that I have selected, the characteristic pensive mood of Raag Todi, were by Rajinder Krishan and Lata Mangeshkar sang it for Vyjayanthimala.
Kalyanji Veerji Shah was assistant to Hemant Kumar in Nagin and created the famous been tune of the movie
Please enjoy in Raag Todi: Sun rasiya, sun rasiya, kaahe ko jalaaye jiya aaja….
sun rasiyaa -2
kaahe ko jalaa_e jiyaa aajaa
( likh likh haarii balam tohe patiyaa.N
tum bin kaise bitaa_uu.N kaarii ratiyaa.N ) -2
sun rasiyaa kaahe ko jalaa_e …
( kab hogaa puuraa sajan meraa sapanaa
piyaa tum aa ke kahoge mujhe apanaa ) -2
sun rasiyaa kaahe ko jalaa_e …
https://www.youtube.com/watch?v=3lHUJjG0jg4
Song #4 Watan pe jo fida hoga….
The 1963 movie Phool Bane Angaare starred Mala Sinhaas Usha. Based in Santa Cruz, Bombay, Usha undertakes to look after her family consisting of her widowed mother and younger brother, Ashish (Ashish Kumar), and even decides to not marry her army officer sweetheart, Captain Rajesh (Raj Kumar), so that she can look after them. Rajesh is called to the front in Korea, her mom passes away, and she brings up Ashish on her own. Years later, Rajesh has still not returned, Ashish gets married to Kamla (Nasreen), much to Usha’s chagrin. Shortly after the marriage, Kamla humiliates Usha and she decides to leave. The question remains where will a lone woman re-locate, and what prevented Ashish from coming to her assistance.
The movie has a beautiful Mukesh number: Chand aahen bharega phool dil thaam lenge.
The other is this patriotic song composed in this raag. Anand Bakshi penned the lyrics and Kalyanji Anandji composed the song.
Pic shows Anand Bakshi with Kalyanji, Anandji, Shammi Kapoor and Shashi Kapoor (Pic courtesy: memsaabstory.com)
I was very fond of the song when I was a boy. During those days, all of us were proud of being patriotic and to sing such songs wasn’t considered passe’.
Please enjoy in Raag Todi: Watan pe jo fida hoga….
himalya ki bulandi se suno aawaj hai aayi
kaha maao se de bete kaho behno se de bhai
vatan pe jo fida hoga amar vo naujawan hoga
vatan pe jo fida hoga amar vo naujawan hoga
rahegi jab talak ye duniya ye asfana bayaa hoga
vatan pe jo fida hoga amar vo naujawan hoga
himalya kah raha hai is vatan ke naujawano se
khada hu santh veer ban ke mai sarhad pe jamano se
bhala is vaqt dekhu kon mera pasbaan hoga
vatan pe jo fida hoga amar vo naujawan hoga
chaman walo ki gairat ko hai saiyado ne lalkara
utho har phul se kah do ke ban jaye vo angara
nahi to dosto rusva humara gulistan hoga
vatan pe jo fida hoga amar vo naujawan hoga
humare ek padosi ne humare ghar ko luta hai
humare ek padosi ne humare ghar ko luta hai
bharam ek dost ki dosti ka aise tuta hai
ki ab har dost pe duniya ko dusman ka guman hoga
vatan pe jo fida hoga amar vo naujawan hoga
sipahi dete hai aawaj matao ko behano ko
hame hathiyar la do bech do apne gehno ko
ki is kurabn bekuraban vatan ka har naujawan hoga
vatan pe jo fida hoga amar vo naujawan hoga
rahegi jab talak ye duniya ye asfana bayaa hoga
vatan pe jo fida hoga amar vo naujawan hoga
himalya ki bulandi se suno aawaj hai aayi
kaha maao se de bete kaho behno se de bhai
vatan pe jo fida hoga amar vo naujawan hoga
vatan pe jo fida hoga amar vo naujawan hoga
rahegi jab talak ye duniya ye asfana bayaa hoga
vatan pe jo fida hoga amar vo naujawan hoga
Now that I have given you a song in Raag Todi composed by Kalyanji Anandji, let me tell you that this duo of brothers learnt music because someone owed money to their father and paid in kind by teaching the sons music. They made some very popular numbers, for example, in Jab Jab Phool Khile: Pardesiyon se na akhiyan milana, Ye sama, sama hai pyaar ka, Ek tha gul aur ek thi bulbul and Yahan main ajnabee hoon.
Their 1965 movie Himalaya Ki God Mein had equally super-hit numbers such as Chand si mehbooba ho meri, Ek tu jo mila, ek tu na mila, O tuu raat khadi thi chhat pe, Kankariya maar ke jagaaya, and the number that I am presenting now: Main to ek khwaab hoon.
Main to ek khwaab hoon is the finest creation ever of Lyricist Qamar Jalalabadi, Music Director Kalyanji Anandji, and singer Mukesh. It has been shot in Kulu-Manali.
Please enjoy in Raag Todi: Main to ek khwaab hoon….
mai.n to ek khvaab huu.N, is khvaab se tuu pyaar na kar
pyaar ho jaae to, phir pyaar kaa izahaar na kar
mai.n to ek khvaab huu.N …
ye havaae.n sabhii chupachaap chalii jaae.ngii
lauT kar phir kabhii gulashan me.n nahii.n aae.ngii
apane haatho.n me.n havaao.n ko gariftaar na kar – 2
mai.n to ek khvaab huu.N …
shaakh se TuuT ke gunche bhii kabhii khilate hai.n
raat aur din bhii zamaane me.n kahii.n milate hai.n
bhuul jaa jaane de taqadiir se taqaraar na kar – 2
mai.n to ek khvaab huu.N …
https://www.youtube.com/watch?v=s_jJgXflpUg
Song #6 Jaago re prabhat aaya….
Anybody who has been following Lyrical for some time would know that one genre’ of music that I am really fond of is Bhajans. Amongst these, the 1964 movie Sant Gyaneshwar‘s bhajan: Jyot se jyot jagate chalo is a favourite one.
Sant Gyaneshwar is a 1964 film directed by Manibhai Vyas, starring Sudhir Kumar, Surekha, Babloo and Shahu Modak. The film is on the life of Sant Gyaneshwar. Dnyaneshwar or Dnyandev (IAST: Jñāneśvar) (1275–1296) was a 13th-century Marathi saint, poet, philosopher and yogi of the Nath tradition whose Dnyaneshvari (a commentary on the Bhagavad Gita) and Amrutanubhav are considered to be milestones in Marathi literature.
Now, when it comes to singers of Raaga based songs, there was none to beat Manna Dey.
This song that I have selected for you has been penned by Bharat Vyas, composed by Laxmikant Pyarelal and sung by Manna Dey.
Please enjoy in Raag Todi: Jago re prabhat aaya….
har nayi kiran ke sath mangal sandesh laya
jago se jago parbhat aaya parbhat aaya
har nayi kiran ke sath mangal sandesh laya
jago se jago parbhat aaya parbhat aaya
angna me khele karishan kanahiya
angna khele khele
angna me khele karishan kanahiya
hai dhanya wo dhara jaha swam gyan aaya
jaha gyan jagmagaya
jago re jago re jago re parbhat aaya
https://www.youtube.com/watch?v=oEVz3Aq1F8w
Song #7 Kuchh log mohabbat karke ho jaate hain barbaad…
Third day of Raag Todi.
Love or mohabbat brings different things for different people. There are some who get all the joys of life through love. Then there are others who wish they had never loved.
This song from the 1985 movie Laava is about the latter.
Anand Bakshi penned the lyrics and RD Burman composed it. It was sung by Kishore Kumar.
Anand Bakshi with Rahul Dev Burman (Pic courtesy: www.hindilyrics.com)
Please enjoy in Raag Todi: Kuchh log mohabbat karake, ho jaate hain barbaad….
kuchh log mohabbat karake ho jaate hai.n barabaad
kuchh log mohabbat karake kar dete hai.n barabaad
kis naam se yaad kare.nge ham tujhako aaj ke baad
is khudagarzii ko dekar ik majabuurii kaa naam
ulfat ke naam ko tuune kar Daalaa hai badanaam
uupar se bhole pa.nchhii tum andar se saiyyaad
kuchh log mohabbat …
ik roz kahaa thaa tumane hamako apanaa mahabuub
mahabuub badalane kaa ye a.ndaaz bahut hai Kuub
is baat pe ham Kush ho kar dete hai.n mubaarakabaad
kuchh log mohabbat …
chup rahe zubaan-e-kha.nzar chhupataa nahii.n ye ilzaam
letaa hai lahuu kaa qataraa-qataraa qaatil kaa naam
kyaa chain se jiine degii tumako merii fariyaad
kuchh log mohabbat …
Song #8 Duniya na bhaaye mohe….
So what if the name of the movie is Basant Bahaar, a 1956 movie, two of whose songs we had in the last raaga: Raag Bahaar based songs?
The fact is that even in Basant Bahar, there is place for the pensive mood of Raag Todi.
In this song, for a change, the Tal is Punjabi Theka or Sitarkhani. Punjabi theka is a common tal of 16 beats. Some suggest that it is not really a separate tal, but is merely a prakar (form) of tintal. There are different views as to its name. Some call it Punjabi Theka and others call it Sitarkhani.
Vocalists usually refer to this as Punjabi Theka; presumably, at some time in the past, this was a variation of tintal that was popularised by musicians from the Punjab.
Instrumentalists tend to call this Tal Sitarkhani. Presumably, this is a corruption from the phrase “Siddhar-Khan-e-theka” which literally translates to “Siddhar Khan’s Groove”. Siddhar Khan was a great musician who is sometimes credited with the invention of the tabla. In spite of the name, there seems to be no evidence that Siddhar Khan ever played this theka.
Sitarkhani has a very distinctive movement. It is just tintal where the two Dhins in the middle of each measure (vibhag) have been replaced by a single Dhin that rests on the off-beat. It is this distinctive syncopation that gives this tal its pleasant effect.
Shailendra was the lyricist and Shankar Jaikishen the composers. Mohammad Rafi sang it.
Pic showing Rafi with Shailendra, Shankar Jaikishen and Asha Bhonsle
Please enjoy in Raag Todi with Punjabi theka taal: Duniya na bhaaye mohe ab to bulaa le….
aa .a .a
duniyaa naa bhaaye mohe ab to bulaa le
charano.n me.n, charano.n me.n tere,
charano.n me.n, charano.n me.n
mere giit mere sa.ng sahaare
ko_ii na meraa sa.nsaar me.n
dil ke ye Tuka.De kaise bech duu.N
duniyaa ke baazaar me.n
man ke ye motii rakhiyo tuu sambhaale
charano.n me.n, charano.n me.n tere,
charano.n me.n, charano.n me.n
saat suro.n ke saato.n saagar
man kii uma.ngo.n se jaage
tuu hii bataa mai.n kaise gaa_uu.N
baharii duniyaa ke aage
terii ye biinaa ab tere havaale
charano.n me.n, charano.n me.n tere,
charano.n me.n, charano.n me.n
mai.nne tujhe ko_ii sukh naa diyaa
tuune dayaa luTaa_ii dono.n haatho.n se
tere pyaar kii yaad jo aaye
dard chhalak jaa_e aa.Nkho.n se
jiinaa nahii.n aayaa mohe ab to chhupaa le
charano.n me.n, charano.n me.n tere,
charano.n me.n, charano.n me.n
duniyaa naa bhaaye mohe ab to bulaa le
charano.n me.n, charano.n me.n tere,
charano.n me.n, charano.n me.n
https://www.youtube.com/watch?v=ZDM_xBO_wrg
Song #9 Jis din se piya dil le gaye dukh de gaye….
Continuing with the pensive mood of Raag Todi (as I told you on the first day, there are Raag Todi songs in festive mood too), this one is not from Hindi movie but from a Pakistani movie. Noorjehan of Awaaz de kahan hai (in the Hindi movie) sang it. Qateel Shifai who penned my favourite Mehdi Hasan ghazal: Zindagi mein to sabhi pyaar kiya karte hain, wrote this one too. Music was composed by Khurshid Anwar.
Noorjehan (Pic courtesy: pics.urduwire.com)
Please enjoy in Raag Todi, in Tal Kaherava: Jis din se piya dil le gaye dukh de gaye….
jis din se piyaa dil le gaye dukh de gaye
us din se Gha.Dii pal haaye chain nahii.n aaye
GhaTatii nahii.n dil kii duuriyaa.N, majabuuriyaa.N
mera tum bin jii ghabaraaye chain nahii.n aaye
jab chahake.n pa.nchhii shaam ke
rah jaauu.N mai.n dil ko thaam ke
karuu.N bain tumhaare naam ke
aa.Nsuu ab kis kaam ke
luuTaa hai tumhaare pyaar ne, iqaraar ne
baiThii huu.N mai.n aas lagaaye, chain nahii.n aaye
jis din se piyaa dil le gaye dukh de gaye
aaraam nahii.n mere bhaag me.n
main to kho ga_ii Gam ke raag me.n
dil jalate jalate jalagayaa pyaar kii Tha.NDii aag me.n
jab yaad tumhaarii aa ga_ii ta.Dapaa ga_ii
mere dukhiyaa nain bhar aaye chain nahii.n aaye
jis din se piyaa dil le gaye dukh de gaye
us din se Gha.Dii pal haaye chain nahii.n aaye
https://www.youtube.com/watch?v=g_ZAA43qFrI
Song #10 Ek tha bachpan ek tha bachpan….
Fourth day of Raag Todi based songs in the Hindi movies, a raag of late mornings, with an underlying pensive mood though there are songs in Raag Todi that are in festive mood too.
The raag inspired a thaat by the same name, one of the ten fundamental thaats in Raaga based songs.
Vasant Desai as a music director and composer had been giving us beautifully composed songs for V Shantaram movies (Do Aankhen Barha Haath wherein his song Ai maalik tere bande ham became an iconic bhajan; and Jhanak Jahnak Payal Baaje). Bharat Vyas penned those lyrics for him. He also gave us songs for Sant Gyaneshwar (with my favourite: Jyot se jyot jalaate chalo), Sampooran Ramayan and Goonj Uthi Shehnai. He also composed for Hrishikesh Mukherjee movies Guddi (Bole re papihara and Hamako mann ki shakti dena) and Aashirwaad.
Music Director Vasant Desai
It is from Ashirwaad that I have taken this song. It has been penned by Gulzar and sung by Lata Mangeshkar and chorus. The pensive mood is the underlying mood.
Please enjoy in Raag Todi: Ik tha bachpan, ik tha bachpan….
ik thaa bachapan, ik thaa bachapan
chhoTaa saa nanhaa saa bachapan, ik thaa bachpan
bachapan ke ik baabuujii the, achchhe sachche baabuujii the
dono.n kaa su.ndar thaa ba.ndhan, ik thaa bachapan
Tehanii par cha.Dhake jab phuul bulaate the
haath usake vo Tehanii tak naa jaate the
bachapan ke nanhe do haath uThaakar vo phuulo.n se haath milaate the
ik thaa bachapan, ik thaa bachapan
chalate chalate, chalate chalate jaane kab in raaho.n me.n
baabuujii bas gaye bachapan ki baaho.n me.n
muTThi me.n ban.d hai.n vo suukhe phuul bhii
khushabuu hai jiine kii chaaho.n me.n
ik thaa bachapan, ik thaa bachapan
ho.NTho.n par unakii awaaz bhii hai, mere ho.NTho.n par unakii awaaz bhii
hai
saa.Nso.n me.n sau.Npaa vishwaas bhii hai
jaane kis mod pe kab mil jaaye.nge wo, puuchhe.nge bachapan kaa ehasaas bhii
hai
ik thaa bachapan, ik thaa bachapan…
https://www.youtube.com/watch?v=-Kt60ZFdxOM
Song #11 Tere bachpan ko jawani ki dua deti hoon….
The word Bachpan in the last song leads me to another song on Bachpan. Though not altogether pensive, it is filled with the anxiety of a mother (Waheeda Rehman) for her child through a dacoit (Sunil Dutt). Since the police was after him, she gives vent to her doubts in the song whether the police and the world would let her child grow up as a normal child.
Predictably, the name of this 1963 movie was Mujhe Jeene Do. Sahir Ludhianvi did full justice to the lyrics of this song and others in the movie including: Nadi naare naa jayo Shyam paiyyan padhun; and Raat bhi hai kuchh bheegi bheegi.
Jaidev, who paired with Sahir Ludhianvi in Dev Anand double role starrer Hum Dono (as a Captain and Major in the Army) and gave us delightful songs such as Abhi na jaayo chhod kar, Main zindagi ka saath nibhaata chal gaya, and Kabhi khud pe kabhi halaat pe rona aaye, gave us this beautiful number, the last song in the movie.
The song was sung by Lata Mangeshkar.
Music Director Jaidev with Lata Mangeshkar
Please enjoy in Raag Todi: Tere bachpan ko jawani ki duaa deti hoon….
tere bachapan ko javaanii kii duaa detii huu.N
aur duaa deke pareshaan sii ho jaatii huu.N
mere munne mere gulazaar ke nanhe paudhe
tujhako haalat kii aa.ndhii se bachaane ke liye
aaj mai.n pyaar ke aa.nchal me.n chhupaa letii huu.N
kal ye kamazor sahaaraa bhii na haasil hogaa
kal tujhe kaa.nTo.n bharii raaho.n pe chalanaa hogaa
zi.ndagaanii kii ka.Dii dhuup me.n jalanaa hogaa
tere bachapan ko javaanii …
tere maathe pe sharaafat kii koI mohar nahii.n
cha.nd hote hai.n muhabbat ke sukuun hii kyaa hai.n
jaise maao.n kii muhabbat kaa koI mol nahii.n
mere maasuum farishte tuu abhii kyaa jaane
tujhako kis-kisakii gunaaho.n kii sazaa milanii hai
diin aur dharm ke maare hue i.nsaano.n kii
jo nazar milanii hai tujhako vo khafaa milanii hai
tere bachapan ko javaanii …
be.Diyaa.N leke lapakataa huaa kaanuun kaa haath
tere maa.N-baap se jab tujhako milii ye saugaat
kaun laaegaa tere vaaste khushiyo.n kii baaraat
mere bachche tere a.njaam se jii Darataa hai
terii dushman hii na saabit ho javaanii terii
khaak jaatii hai jise sochake mamataa merii
usii a.njaam ko pahu.nche na kahaanii terii
tere bachapan ko javaanii …
https://www.youtube.com/watch?v=P2D-Z7XM7aU
Song #12 Raat suhaani jaag rahi hai dheere dheere chupake chupake…
Enough of pensive songs in Raag Todi. Lets have a song in a light mood. I can’t think of anyone better than this song from the 1969 movie Jigri Dost starring Jeetendra and Mumtaz.
Hats off to Laxmikant Pyarelal for this festive mood song set in this raag. The lyricist of his choice Anand Bakshi penned the lyrics and the song is a duet between Mohammad Rafi and Suman Kalyanpur.
Suman Kalyanpur is a Bangladesh descendant singer who made good name for herself in Hindi movies. She has sung nearly a thousand songs and her singing style is sometimes mistaken for Lata Mangeshkar. Although a great singer, she has been rather unfortunate in that she never received any Filmfare or National awards.
The recording of the song Raat suhaani jaag rahi hai (In the pic: Suman Kalyanpur with Mohammad Rafi and Laxmikant Pyarelal) (Pic courtesy: i.ytimg.com)
Please enjoy in Raag Todi: Raat suhaani jaag rahi hai dheere dheere chupake chupake….
raat suhaanii jaag rahii hai
dhiire-dhiire chupake-chupake chorii-chorii ho
prem kahaanii jaag rahii hai
dhiire-dhiire …
chal rahe hai.n jaaduu tham gayaa zamaanaa
dil churaa rahaa hai ye samaa.N suhaanaa
paalakii chaman me.n phuulo.n kii utaar ke
ye bahaar gaa rahii hai giit pyaar ke o
aur javaanii jaag rahii hai
dhiire-dhiire …
chaa.Nd kar rahaa hai pyaar ke ishaare
ye hamaare nayanaa ban ga_e hai.n taare
nii.nd ne na aane kii uThaa_ii hai qasam o
nii.nd kaise aa_e man ke dvaar pe sanam o
priit diivaanii jaag rahii hai
dhiire-dhiire …
ek pahelii tum mujhase puuchho
aa ga_e kahaa.N ham ye kisii se puuchho
ye zamiin lag rahii hai aasamaan sii
dil kii dha.Dakano.n me.n pa.D ga_ii hai taan sii o
zindagaanii jaag rahii hai
dhiire-dhiire …
https://www.youtube.com/watch?v=mfOBa1u4Gus
Song #13 Ghar aaya mera pardesi…
Fifth day of Raag Todi based songs.
I have taken this song from the dream sequence (the first one picturised in Hindi movies (later bastardized as “Bollywood” movies).
Many feel that the song is actually in Raag Bhairavi (Jaikishen’s favourite raaga) but there are abundant traces of Raag Todi in it. Indeed, as I mentioned to you in very early stages of putting up Raag based songs, there are not many Hindi films songs that are purely in one raaga.
Awara is the 1951 RaJ Kapoor movie that has been contending for the most successful Hindi film of all times. Its popularity transcended national boundaries and reached Russia, China, Turkey, Gulf and many other countries. In Turkey, so popular was the movie and the title song that it was remade into a Turkish movie “Avares’.
A few years back, Time magazine included the movie in their revised list of 100 Top Movies of All Times.
The chemistry between Raj Kapoor and Nargis (they acted together in 19 movies!) was to be seen to be believed. In the movie, he acted as Awara (Tramp, a character he perfected by copying Charlie Chaplin) and she as a millionaire’s daughter.
Most Raj Kapoor movies’ songs have been penned by either Shailendra or Hasrat Jaipuri and composed by Shankar Jaikishen. This one was penned by Shailendra. Lata sang it.
Please enjoy in Raag Todi: Ghar aaya mera pardesi…
om namah shivay, om namah shivay, om
ghar aaya mera pardesi, pyas bujhi meri ankhiya kee
too mere mann kaa moti hai, in nainan kee jyoti hai
yad hai mere bachpan kee, ghar aaya mera pardesi
abb dil todke mat jana, rote chhod ke mat jana
kasam tujhe mere ansuan kee, ghar aaya mera pardesi
Song #14 Diya na bujhe ri aaj hamaara….
Once upon a time, a Muslim from Gujarat, almost won the Best Foreign Film award in Academy Awards (Oscars) for his 1957 film Mother India, arguably the most well known of Indian movies amongst foreign audiences (and not just Indians settled abroad).
Mehboob Khan was born Mehboob Khan Ramzan Khan in Bilimora in Gandevi Taluka of Baroda State (now Gujarat) on 9 September 1907. He was a pioneer director-producer of Hindi movies and has the famous Mehboob Studio (still functional) in Bandra, Mumbai, to his credit.
He started with 1935 movie Al Hilal (Judgment of Allah) and went on to make highly successful, some iconic and memorable movies such as Deccan Queen (1936), Alibaba and Aurat (in 1940), Andaz (1949), Aan (1951), Amar (1954), Mother India (1957) and Son of India (1962).
The team of lyricist Shakeel Badayuni and music director Naushad Ali was his favourite and he took the pair for several movies including Mother India and Son of India. They never failed him.
Son of India had minor actors such as Kamaljit, Simi Grewal, Kumkum amd Jayant in the lead roles.
This song is as pensive as songs characteristically in Raag Todi can get. It has been sung by Lata Mangeshkar.
Please enjoy in Raag Todi: Diya na bhuje ri aaj hamaara…
la : diyaa naa bujhe rii aaj hamaaraa
ko : diyaa naa bujhe rii aaj hamaaraa
la : chale rii pawan
sananan sanan
thar-thar kaa.Npe jiyaraa
aa
ko : diyaa naa bujhe rii aaj hamaaraa
la : aasathaa jag-mag ruup nikhaare
aa
ko : aasathaa jag-mag ruup nikhaare
la : priit me.n khoye nain hamaare
Dhuu.NDhe.n pii kaa dhaaraa
ko: diyaa naa bujhe
la : ek to badaraa ghan ghan garaje
aa
ko : ek to badaraa ghan ghan garaje
la : duuje bijariyaa cham-cham chamake
jal-thal hai jag saaraa
aa
ko : diyaa naa bujhe rii aaj hamaaraa
chale rii pawan
sananan sanan
thar-thar kaa.Npe jiyaraa
aa
diyaa naa bujhe rii
aa
https://www.youtube.com/watch?v=wCyMzWafZp0
Song #15 Mose rooth gayo banwari….
This is a rare song from the 1964 movie Vidyapati (you remember the famous song from the movie More naina sawan bhadon?)
This too was penned Prahlad Sharma and composed by V Balsara. This was sung by Mohammad Rafi and once again, as pensive as it can get.
Music Director V Balsara (Pic courtesy: imusti.com)
Please enjoy in Raag Todi: Mose rooth gayo Banwari….
Door gagan ke chanda
Kahiyo saajan se sandes
Ghar ghar alakh jagaawe
Radha kar joganiya bhes
Mo se rooth gayo banwaari
Mo se rooth gayo banwaari
Jari gayo madhuban
Sukhi jamuna gali gali dukhiyari
Mo se rooth gayo banwaari
Chhod gayo re man ka mitwa
Jiya na ab to maane
Jiya na ab to maane
Kaun tarat re na koi samjhe
Tum jaano hum jaanen
Tum jaano hum jaanen
Piye bin kaamni jee na sakegi
Piye bin kaamni jee na sakegi
Laage ghaavat bhaari
Mo se rooth gayo banwaari
Mo se rooth gayo banwaari
Ye poonam ki raat chaandni
Aag jiya mein laagi
Aag jiya mein laagi
Chanda se yun door chakori
Virhaa vedna jaagi
Virhaa vedna jaagi
Rowat sagri ran bitaai
Rowat sagri ran bitaai
Aayo na girdhaari
Mo se rooth gayo banwaari
Mo se rooth gayo banwaari
Madhur milan ki aas lagaaye
Phulwan sej bichhai
Phulwan sej bichhai
Path herat akhiyaan pathraai
Nindiya kab hu na aayi
Nindiya kab hu na aayi
Aao kaanha der karo na
Aao kaanha der karo na
Tum jeete main haari
Mo se rooth gayo banwaari
Mo se rooth gayo banwaari.
https://www.youtube.com/watch?v=_N0RgkL0M3o
Song #16 Jhoote naina bole saanchi batiyan…
Last day of Raag Todi based songs tonight.
The very first song is from the 1990 movie Lekin that was based on a short story Kshudhit Pashaan by Rabindranath Tagore. The versatile lyricist, story and dialogue writer, screenplay writer director Gulzar directed the movie that starred Vinod Khanna, Dimple Kapadia, Amjad Khan, Alok Nath, and Beena Banerjee, and featured a special appearance by Hema Malini.
The film was Lata Mangeshkar’s production. Her rendition of the song ‘Yara Seeli Seeli’ won the 1991 National Film Award for Best Female Playback Singer. The song also won film’s lyricist, Gulzar, both the 1991 National Film Award for Best Lyrics and the 1992 Filmfare Best Lyricist Award. The film’s music director, Lata’s brother Hridayanath Mangeshkar, won the 1991 National Film Award for Best Music Direction.
Lata Mangeshkar’s sister Asha Bhosle and Satyasheel Deshpande sang the song.
Hridaynath Mangeshkar, Asha Bhonsle & Lata Mangeshkar at Pandit Dinanath Mangeshkar Awards ceremony (Pic courtesy: india-forums.com)
Please enjoy in Raag Todi: Joothe naina bole saanchi batiyaan….
jaanuu jaanuu jhuuThe maahii kii jaat (3)
kin sautan sa.nga tum kaaTii raat
ab lipaTii lipaTii
ab lipaTii lipaTii banaao na batiyaa.n
jhuuThe nainaa bole saa.nchii batiyaa.n (2)
bolo bolo kaisii bhaayii saa.nvarii (3)
jis ko de de nii morii mundarii
ab bhiinii bhiinii
ab bhiinii bhiinii banaao naa batiyaa.n
juuThe nainaa bole saa.nchii batiyaa.n (2)
nita chamakaave chaa.Nd kaalii ratiyaa.n
juuThe nainaa bole saa.nchI batiyaa.n
https://www.youtube.com/watch?v=iTd9JxGjskA
Song #17 Raina beeti jaaye, Shyam na aaye…
This song from 1971 Shakti Samanta movie Amar Prem is disputed to be from Raag Lalit. Yes, it leans heavily towards that but it is still primarily from Raag Todi in Tal Kaherava.
The movie’s story is based on a Bengali short story Hinger Kochuri by Bibhutibhushan Bandopadhyay about a school boy, who is ill-treated by his step mother, and becomes friends with their neighbour, a prostitute. The story was made into a Bengali film Nishi Padma in 1970 directed by Arabinda Mukherjee, who wrote screenplay for Amar Prem too; it starred Uttam Kumar and Sabitri Chatterjee as leads.
The film portrays the decline of human values and relationships and contrasts it by presenting an illustrious example of a boy’s innocent love for a neighbourhood courtesan.
Sharmila Tagore plays a prostitute with a heart of gold, with Rajesh Khanna in the role of a lonely businessman who visits her often.
The film’s songs were composed by RD Burman on lyrics by Anand Bakshi. These are amongst the best and most meaningful songs in Hindi movies, eg,
I end Raag Todi based songs in Hindi movies with this song from 1960 movie Phool Aur Kaliyan which was produced by V Shantaram and directed by Ram Gabale. The film won a Gol Medal in the National Film Awards for being the Best Children’s film. It starred Ramesh Talwar as a child artiste (we saw him as a child artiste in 1958 movie Love In Shimla and 1959 movie Dhool Ka Phool. Ramesh Talwar later rose to become an Indian film, theatre, television and film director, co-producer and actor.
The song that I have selected for you has been penned by Bharat Vyas (as most songs in V Shantaram movies) and composed by Shivram Krishna. V Shantaram was fond of Mahendra Kapoor singing in his movies (such as Aadha hai chandrama in his Navrang). Here too Mahendra Kapoor has sung it.
Please enjoy in Raag Todi: Ye dhaaga hai pyaar ka….
https://www.youtube.com/watch?v=Pl2MID6GoII
With that I conclude the Best of Songs in Hindi Movies based on Raag Todi. I shall be curious to know your reactions in the comments below.
Upon starting my blog in 2010, I did a comprehensive piece on Leadership (my three favourite words all start with L: Lyn (my wife), Love and Leadership): ‘Leadership In The Navy – Past, Present And Future’ and then later, having joined India’s largest corporate, I did another piece: ‘Ten Things To Avoid As A Leader’, which reflected my observations of the environment around me.
My fascination with Leadership continues. Many of you are already aware of my Facebook page (one of the sixteen groups and pages that I administer) called ‘Make Your Own Quotes’. I started it three years back in Feb 13 and on Facebook I see many people around the world sharing these quotes. I have maintained that even though great men and women inspire us, we can be our own teacher and be guided by our own quotes. The analogy of Law comes to mind. Despite all the complexities introduced by the lawyers and the judges and the other court officials to have exclusive right (and hence add to their income) over the wranglings in the courts, the fact is that all Law is Commonsense (Please read: ‘The Great Indian Judicial Circus’ and ‘Why Do Indian Lawyers Behave Like Gods?’) It is the same with lessons of life. As I have given in the description of the page: ‘There is nothing simpler than giving sane advice; you don’t have to follow great teachers. Make your own quotes and let others follow you!’
Leadership too is as easy as that. If you love what you are doing, you would be a great Leader and great Subordinate too; the fact is that good subordinates make good leaders too.
It has been over a year since I started with the Leadership Lessons series. Let me take you on the tour of the simple, common-sense quotes that I have made on the subject.
The first one is about the natural linkage of Leadership with Love. A mother, for example, loves her child. She would shower all her love on the child and yet correct his/her mistakes and make sure that he/she is able to stand on his/her feet on its own.
Lord Nelson, as an example, was like that. When he died there were tears in the eyes of his sailors. Indian Navy’s own former Chief of the Naval Staff, Admiral RL Pereira was like that too. After his demise, many who hadn’t even served under his command came to pay homage.
Your intention is read by people you command better when you love. There ia no confusion in their minds. They know that you mean well even when you are harsh with them sometimes. Here is, therefore, my first lesson in leadership. As a corollary permit me to bring out that a put-up act of love so as to enhance your leadership value can be disastrous.
The next quote is based on the same advice that came my way: Good Leaders have Good Men. When I listened to this advice for the first time, I started thinking that there appears to be something amiss and it cannot be a complete advice by itself. For example, what happens if a leader is stuck with bad men that he has to lead? And then gradually it dawned on me that good leaders always bring out the best in people and they emerge as good men even if they started being bad men.
Hence, if you ever come across a leader who constantly cribs about the caliber of people he is asked to lead, you can be certain that he isn’t quite the leader he pretends to be
In the corporate in which I worked (the largest corporate in India), I have come across the so-called leaders who would be fussy about such petty matters as Font Size and Font Colours of presentations. Indeed, I used to notice that discussions on other matters used to be stymied in comparison to such petty matters; the forte’ of some of the super-leaders. The desire to be somehow in control of everything through detailed instructions about such insignificant matters was the stuff they loved.
I noticed, to my dismay, that the style of Leadership with some of the people that I associated with was Leadership-for-Effect. It was as if there was a dire need to establish such relationship as would obtain the maximum influence. However, I was amazed how quickly people saw through all this. Indeed, my own assessment is that an average leader with good intent is much better than an outstanding leader with bad intent. In the latter variety was our former Prime Minister Indira Gandhi with excellent communication skills and outstanding efficiency. She, however, did enormous damage to the long-established institutions in the country by declaring Emergency when her own election was set aside by the Allahabad High Court.
Yes indeed great leaders are blessed with great communication skills. However, I came across some with great communication skills and almost zero listening skills. These persons would give you a chance to speak about one or two percent of the time in a meeting. These people would then hog all the time in giving solutions to problems that they had perceived without listening to anyone fully. Every new situations were quickly compared by them with one of the previous ones in their previous appointments and solution provided. Most people didn’t quarrel with the solution lest they should embark on another of his self-congratulatory harangues.
Now, here one has to be very judicious. One has to stay focused on the objective with single-minded resolve. However, one doesn’t have to be rigid and continue with the selected plan even if one knows that it is leading to disaster. In case of contingencies, even if one’s plan is an excellent one, one has to have an alternate plan ready. Many people get emotionally involved with their plans and think that ditching the plan would be akin to a lover ditching his beloved.
When I was in school, in our Hindi class, we used to have an anecdote about a mathematician who, in his journey with his family, came across a river. He fathomed the depth next to the bank and then the slope; he did some quick calculations and asked his family to cross the river. Within no time, in front of his eyes, the complete family perished. Undeterred, he again fathomed the depth and the slope and did his calculations again and said: “Abhi to jyun kaa tyun, kunba dooba kyun?” (My calculations still hold true; why did the family perish?”
A good leader is always a good subordinate. He isn’t a megalomaniac who considers himself above the rest of his team. He is one of them. Hence, he never gives advice that he won’t follow himself.
When I was small, my dad told me this tale and I find it very relevant to the point that I am making:
In the hills of Kangra (in Himachal Pradesh) there once was a wise saint. He appeared to have miraculous powers. The ill and needy walked for several miles to seek his advice. Once, there was a middle-aged lady who walked all of eight miles in the hills and brought her seven years old boy with her. She stood in the queue whole day to see the saint. Finally, when her turn came, she told the saint that her son’s teeth were getting bad as he had a sweet-tooth and voraciously ate all kinds of sweets. She had told him several times to break the habit but it was of no avail. The saint told her to come the next week.
The next week she again went through the ordeal and when she narrated her son’s problem, the saint asked her to come the next week. This continued for four weeks and the woman was getting more and more annoyed with the saint for having made a simple problem complex. Finally, at the fifth visit, the saint kept a hand at the back of the lad and told him, “Son, tomorrow onward please give up eating sweets.”
The woman was quite cheesed off. She went home incensed. However, the next day onward she found that her son had given up eating sweets. She was elated but knew that she must get back to the saint and give him her piece of mind.
This time, she broke the queue, charged in with rage and let the saint have it: “Five times I walked eight miles each to seek your advice. At the end of it all that you did was to tell him not to eat sweets. If it was as simple an advice as that, why couldn’t you tell the first time?”
This is what the saint said calmly, “When you came the first time, and narrated your son’s problem, I realised I had the same problem. I thought, before giving him advice, I would be able to break the habit within a week and hence I called you. I then realised that though I had cut down a little on sweets, I still couldn’t give up. This continued and once I had finally abandoned sweets, I knew I could then give advice to your son with moral authority”.
Have a look at the following and recall all your seniors who gave you sane advice but never seemed to follow it themselves and see if that advice ever helped you:
I have come across many a leader who was quick to take the credit if things went right or met with success. However, he was quick to make a volt-face the moment things appeared to go askew.
It isn’t true that god leaders don’t make mistakes. However, they don’t make the same mistake twice and also shoulder responsibility for it.
Leaders are not super human beings. They are human beings. However, they never show they are overwhelmed by situations. One of the signs of being overwhelmed by a situation is to lose temper. The fact is that there is no situation so bad in which you can’t lose your temper and make it worse. A good leader does his home-work before handling a situation. He thinks of the situations and contingencies that may arise during the execution of his plan and is prepared when and if the situation develops. This becomes a second nature with him. As a result, even when a situation develops suddenly, he knows what to do.
I have come across many people who, in order to impress their subordinates about the complexity of the problem, keep driving into them how such problems required extremely intricate solutions. A good leader, on the other hand, puts himself in the shoes of his subordinates and gives them not the product of his confusion but of the clarity of his mind. A good leader never complicates things but explains to his people in simple terms.
When the modern trend of making simple things complex started in 1970s, by management experts who laughed all the way to their banks selling complex management jargon, there was an anecdote of door-to-door salesman selling toys. He came across what he called his most modern toy that was also most expensive. He explained to the mother, “The aim of the toy is to put together these pieces. Any which way your child would do it, would be wrong.”
The chips are down, all hell has broken loose, and the task is really very difficult. The team is getting increasingly frustrated and full of doubts whether they would be able to finally get it right. The leader himself has doubts but he doesn’t transmit these to his team. He transmits to them hope. He makes them see the silver lining.
Two examples come to my mind:
One is about Aamir Khan movie Lagaan (Tax). People of Aamir Khan’s village produce crops but do pay a substantial portion of their earnings as Lagaan to their British masters. Once, the British challenge them to play a game of cricket with them and if they (the villagers) would succeed, they would be excused Lagaan for three years. They had never played cricket before. They start learning. A few days before the match, they are full of doubts. That’s the time when Aamir Khan steps in and makes them see the silver lining. They eventually win.
The second is about Christopher Columbus:
“Behind him lay the grey Azores,
Behind the gates of Hercules.
Before him not the ghost of shores,
Before him only the shore-less seas.
The good mate said, “Now must we pray,
For, lo, the very stars are gone.
Brave adm’ral, say, what should we pray.”
“Why, pray, sail on, sail on and on”.
Loyalty is something that can’t be demanded. It has to be earned. People may follow your instructions because of various compulsions such as you are their employer and responsible for their salary, promotions and retention. However, they are loyal to you only when they know you are deserving of it. It is the best gift they can give you. When they are loyal, they work in your best interest even when you haven’t given them specific instructions; and many a times they keep you from harming yourself by doing the right thing. Many a corporate follow hire-and-fire policies exploiting and manipulating their employees. The danger in those is that employees, when they find a better jobs, leave them.
The next one is a very natural one. A leader, if he has to constantly be in control and lead, would be devoid of the modern realities. A good leader, on the other hand, empowers his people to become leaders in their own right so that they innovate and lessen his burden. This is somewhat difficult because if not done with the right intent, it would amount to dispensing with one’s responsibility and accountability. However, with adequate finesse it can be done and yields dividends.
The next one came my way when I saw some of the leaders around me concentrating on the jargon of quick-wins. However, at the end of two years, I found that quick-wins, some of them with an eye to impress the organisation about their dynamic and charismatic leadership, were all that they achieved. There is only so much that you can get out of such tactics. Eventually, people find out that you are good at winning battles but lose sight of wars.
For all those petty leaders who want to be seen to be in control, there is nothing like endless series of meetings, con-calls and VCs. These meetings don’t really achieve much. However, their purpose is only to tell the subordinates how tight and great is your control. I have seen action-points of these meetings being made; and, after one year, action points are made again and both the earlier and later day action points appear to be the same except for jargon.
A good leader, on the other hand, first makes his team worthy of its trust. He simultaneously empowers them to make micro-plans on his broad instructions. He also lays down bottom lines and timelines and then leaves it to the team to translate his instructions into action. He doesn’t dissipate time and energy on endless meetings that deceptively look like progress when no progress is being made at all.
I spent six long years in a corporate. We had endless meetings about getting an integrated marine solution for one of our facilities. At the end of more than hundred meetings, con-calls and VCs, we were as close to square-one as one can get.
Commanding leaders is a much better option than commanding subordinates. A good leader, as I said earlier, is a good subordinate too. Everyone doesn’t have to look towards him all the while. He empowers his people to be leaders in their own right and they then have ownership mindset rather than doing it for someone.
The best example is that of the cricket team. A good captain doesn’t always have to score the maximum runs or take maximum wickets. He brings out the best in his team and his mere presence then ensures that there are eleven Captains in the team.
This is an unfortunate trend that has started in the corporate sector. One is a good leader if one knows all the definitions, tales and anecdotes and has one for every occasion and situation. I would call this style of leadership as Leadership by Anecdotes. Regrettably, so impressive is the effect of this style that many are carried away by the impression or illusion of having encountered a great leader. In sharp contrast Leadership is probably only ten percent in theory. Ninety percent of it needs to be practised.
The example that comes to mind is that of a learner of the game of tennis who is trying to learn by reading books. For a perfect shot the book tells you, “As you see the ball coming towards you, don’t run towards the ball; run towards the future position of the ball and reach there a split second before the ball reaches. Raise and take back your racquet arm to an angle of 135 degrees and as the ball is about to reach the estimated future position, bring down and forward the arm with the racquet in a continuous swing and connect to the ball and lob it with force across the net.” Now, if only the signals in your brain accumulated through such instructions are translated into action, you would indeed be the world’s best. As the great Indian cricket commentator of yesteryear: DN Chakrapani said in a test match that India had against the MCC (the England XI was known as that at one time) at Lords in London: “The last Indian batsman, Bishen Singh Bedi, has taken a mighty swing with his bat. If only it had connected, the ball would have gone all the way to the Ganges.”
Great leaders are always modest and humble. I have seen Dr. Abdul Kalam at close quarters; as Director of the College of Naval Warfare (now Naval War College) I had invited him to speak to my students. He never gave the impression of speaking to people from a height. He appeared to be one of us. His solutions were never the ones that he had read in some book or seen in some movie. These were everyday commonsense solutions. He didn’t have to remind us constantly through word and gesture what a great personality he was. I have given below the analogy of a bad or inexperienced driver who honks the most and curses the most. Have a look:
If you are a sanctioned leader such as monitor in a class or GM or VP in a company, people have to perforce follow you. However, as you emerge a great leader, even when your sanctioned powers have been withdrawn people still turn to you for advice, for leadership. The reason? You demonstrated that you are a natural leader.
I started off with Leadership and Love relationship and I have considered it important enough to reiterate in another manner. I really consider it the crux of leadership. Love automatically has ownership. You constantly remind yourself: These are my people. These are the best in the world. They will make me proud. I will never let them down and they will never let me down. I can write volumes about this relationship. The highest attainments of leadership are only possible through a feeling of love towards the people one commands. You can be harsh with them but you never make them the objects of derision and slant because they are your own. You give credit to them for the team’s achievements just as you shoulder responsibility for the team’s failure. As they say: Bouquets travel downwards; brickbats travel upwards and stop at you.
This follows naturally from the ability to win wars and not merely battles. Your quick-wins are not by taking short-cuts or unfair means. Today you are a small leader – say, a supervisor. Tomorrow you will be a big leader such as Vice President or President. You won’t be able to look people in the eye in case you used the wrong and unfair means to reach there. Remember, you are always being watched when you think no one is watching.
You cannot be expected to know every situation when you join. You cannot be constantly using previous knowledge of your earlier appointments when you take over as a leader whilst at the same time telling people to be rid of their previous knowledge which indeed is relevant in their job. You have the humility and modesty to learn about your new job. If from day one you start giving instructions, if from day one you show them down that their earlier knowledge is zilch, you will never learn and never emerge as a great leader. You would be like a hot air balloon; you would eventually come down when the gas runs out.
The next one is a natural extension of the previous one. When you make your people feel small, they cannot make you feel tall. It is not a see-saw; it is indeed a win-win or a lose-lose situation.
Aha, at the fag-end of the blog, I have given you this. You want people and the organisation to win and not your leadership style to be justified through Power-point Presentations. So, if people are going to win by no effort from your part, you want to make it difficult for them so that they’d remember that it is your dynamic leadership that made them win. This is indeed poor leadership and I have seen it often.
Lastly, before I come up with Part II of this blog sometimes later let me tell you about the ability to listen correctly if at all you have conditioned yourself to listen more than you speak. People interact with you at different levels of knowledge, bias and attitude. All that you listen to isn’t fact. It is laced with the perception of the speaker narrating his tale. So, if you ain’t skillful at sifting facts from perception and get carried away with the tale, you can’t be a good leader. A good leader respects emotions and attitudes but more often than not takes decisions based on facts.
That brings me to the end of Part I of the series on Leadership Lessons on my Facebook page ‘Make Your Own Quotes’. None of these can do wonders for you unless you practise them.
Here is wishing you a great and effective leadership wherever you are.
It has been a little more than three years since I put up in this blog ‘Best Of ‘Make Your Own Quotes’ and fifteen months since I put up here ‘Best Of ‘Make Your Own Quotes’ – Part II’. In these three years or so since the first blog-post and 38 months since I started with the Facebook Page called ‘Make Your Own Quotes’, a lot has happened. One, from a membership of just 30 or so, the Page has a membership of more than 600 now. Two, I started two series: one, about Leadership Lessons and the second about ‘I Thank You, O’ God’. Both are favourite topics with me. I believe that we have to be thankful to God for whatever He/She/It has given us even when we feel that we haven’t got enough. I sincerely feel that gratefulness is the beginning of the journey into happiness,
Why did I start with the page? As I mentioned in the introduction of the first post, “I noticed that on the Facebook and elsewhere, there is a great penchant about putting up Quotes. These range from quotes about Love, Friendship, Politics, Life; indeed about each and every subject. Whilst reading these quotes I was stuck by the realisation that somehow we have this feeling that the sages, saints and wise-people of the past had abundance of sane-advice on all kinds of subjects; but, by a curious quirk of fate, we ourselves and fellow citizens have nothing great to offer in terms of such advice. When I started analysing this, I reached the conclusion that there is nothing simpler than giving sane advice; the answer is really blowing in the wind; it is everywhere. We only have to gather these pearls around us and weave them in a garland”. That’s how I started this Facebook page called ‘Make Your Own Quotes’ with an introduction: “There is nothing simpler than giving sane advice; you don’t have to follow great teachers. Make your own quotes and let others follow you.”
This venture started on the 25th of Feb 2013 and, as I said, I have finished three years of it and it is still going strong. I have received tremendous interest from friends in these Quotes and I am told that around the world these Quotes are being circulated in all kinds of garbs. I have nothing against these since I shall never be making this into a commercial activity.
I like all quotes on Facebook; these provide quick and easy solutions to life’s seemingly complex problems. I believe life is as simple as Facebook; what you get is dependent upon your “settings”.
I started off by giving tips to people on how to make their own quotes, eg,:
Great Quotes Tip #1: Compare Life, Love, Relationships etc to something mundane and infer “great” sounding advice out of it.Here is an (original example): “Friends should be like electricity wires; opposite poles, running parallel and lighting up lives by meeting”. For effect, inscribe this on a totally unrelated picture of, say, a Frog in a Pond. Wanna try your hand at it; go ahead….nothing is simpler! Try comparing Life to Beans!! Go ahead, now that you have joined this site, you will eventually follow your own quotes!!!
Here is therefore the third tranche of Best of ‘Make Your Own Quotes’, but, on a unique topic of finding reasons to thank God.
I may not be a traditional believer in God, the one who personifies God and identifies with Him or Her with innumerable idols and pictures. In the ‘Philosophy’ section of my blog there are a number of posts about how the current concepts of God and Religion are causing more harm and even evil than the evil these were conceived to eradicate. Of particular interest to readers would be a blog-post titled: ‘Whose God Is It Anyway?’ that I wrote five and a half years ago. I am into God as a supreme force that should guide us, bind us together, keep us from doing wrong and look after us as children. I am also a believer in the concept of ‘Ik Omkar’, a concept given to us by Sri Guru Nanak Dev ji, and which translated means: ‘God Is One’ and hence there isn’t a separate God for Hindus or Muslims or for that matter Christians or followers of any other religion (Please read: ‘Nanak Shah Fakir – The Movie And Its Message’).
Now that I have explained my concept of God, please go through the following quotes as addressed to that God and not to Ishwar, Allah, Jesus or Buddha.
Lets begin.
The first one is something that we take for granted: our five senses; particularly the sense of seeing. Here is what a friend Puneet Narula had to write about seeing: “We went to a restaurant in Singapore called “NOX- Dine in the dark”. You are served in pitch dark (No watches and mobile phones allowed) by visually impaired / blind waiters. Amazing experience. You can feel and eat- can’t see a thing. The food tastes better because your entire focus is on taste and not how beautiful it looks. You realize how lucky we are that we can see, hear, feel and smell. Check out http://www.noxdineinthedark.com/”
I believe that God has really made this world beautiful. However, all the beauty that God made would have been lost on us if God hadn’t given us the good sense to appreciate this beauty. So here is a quote about it:
Thank God, we have been given the ability to smile; to make light of our troubles, burdens and situation. If it hadn’t been for this ability, we would have led and lead such hopeless lives:
We can never, even if we try our best individually and collectively, to thank God enough for giving us the emotion of Love. God gave us Dark, so that we know the importance of Light. Likewise, God gave us all the other emotions so that we would realise that Love indeed is the best:
We are often frustrated, especially in arguments, that the other person has a different point of view. But, what if God had given us all the same way of looking at things. It would indeed be such a dull and drab world:
There is no end to God’s Creation. Just at the time when you feel that you have got handle on some part of it, another world opens before your eyes and other senses. It is pointless trying to see the beginning and the end of the universe as if God’s creation is finite. It would be better to adore its infinity and rejoice that there is enough for us for all times to come:
We feel it is intrinsic and innate. However, we refuse to believe that God gave it to us. There is great merit in believing that God gave it to us since, when the chips are down, and darkness engulfs us, we can ask for more. My own experience is that when I have asked for more, God has given it to me:
The holy book of the Sikhs have repeated mention of this Music that is beyond ears. Even if we talk only about the aural experience (within the reach of our five known senses), it is still heavenly. Who else, but God would have thought of giving us this wonderful gift:
There is considerable debate about what is Right and what is Wrong, about Good and Evil. Since all virtues on earth are relative (Please read ‘Absolute Virtue’), it is quite possible that someone’s Wrong is another man’s Right and vice-versa. However, Reverend Emerson once said, “God, don’t let me prove right with arguments that I know to be wrong.” This quote is about that ability and I sincerely feel that God gave to most of us, if not to all of us:
God gave us Life – a four lettered word. He gave us Love – another four lettered word – and most of us love the life that God gave us. For others, God ensured that another four-lettered word was given to them so that even if they won’t love their current life, they would know that the future would be better. God gave us Hope:
We often bemoan the fact that nothing is permanent in this universe. One form is always evolving into another. In some cases it is so slow that we ain’t conscious of it. However, it surely is changing. Whilst we think of it, many a times, as a bad thing, the fact is that it would have been hopeless if we were to encounter a permanent situation and world:
We require worldly knowledge. However, worldly knowledge also confines us and puts limits on our imagination and innovation (I have several posts on this such as ‘How Unbiased Or Innocent Can We Become?’ and ‘Being Non-Sensical May Be Far Sighted’). A child, in this aspect, is better than us. I am fond of giving this example that when a bus tumbles down a hill in an unfortunate accident, often the children and infants are saved. There is, therefore, merit in looking at things afresh as a child; somewhat different from the pejorative expression: ‘Putting one’s foot in one’s mouth’. Have a look:
The next one is related to it. We sometime feel that we haven’t been given the requisite skills to live and survive. However, the fact is that God has provided for us to live and survive. Here is from Sri Guru Granth Sahib:
“Sail patthar mein jant upaaye,
Taa ka rizk aage kar dharaya,
….Un kavan khilaave, kavan chugaave,
Man mein simran karaya”
(The one who gave birth to creatures in moist rocks,
It provided for their nourishment there too,
…..who makes them feed, who provides for them,
Think about it in your mind)
Here is my quote about it:
The next one is the simplest of the quotes and should have come much earlier:
God made no secret of it. God didn’t send us on a wild-goose chase. However, it has made sure that its own abilities (being the Creator) would be far beyond the sum total of all our individual and collective abilities. Here is the quote that was born out of this:
Yes, there is God, if not as a person or a being, but as a Force or Creator. But, of what use these knowledge had been if God had not blessed us with the ability to reach out to it. And since God made everything, it is conceivable that God only gave this ability to us. Hence lets thank God for having given us this ability:
The concept of God as that Force to whom we can pray to solve our problems provides us with tremendous relief. Just imagine that if we hadn’t invented God we would have felt alone and helpless. Here is the quote for that:
God’s Creation is totally discover-able by us; like they say: Seek and thou shalt find. Here is the quote for thanking God for that:
I have discovered – and I am sure each one of you who is reading this would have – that there is newness in God’s Creation everyday, every hour, every moment. It has been medically established that millions of cells in our body are dying everyday and being rejuvenated. Have a look at this, put up by me on the New Year Day of the year 2016:
We have thoughts and emotions and ideas and we want to convey to others and listen to theirs. Over centuries, various languages evolved to convey these to others and those who understood these languages had not much difficulty in understanding thoughts, feelings and ideas of others. However, there is a language of humanity that God gave each one of us and it is beyond the languages that we ourselves made. This is a language that is beyond verbal and text means. It is the language beyond all senses too. It is a language between hearts. Here it is:
I have maintained that there are more reasons to thank God for than we can think of. We feel that the most precious gift that God has given us is Life. However, each one of us in our lifetime discover that there are many things that God made, for which it is worth giving up life. Taste this:
This is something that most of us discover during our lifetime but many of us never think of thanking God for. The fact is that despite our putting a price on many things – the more precious we feel they are, the more is the price – there are quite a few of the most precious things of life that are absolutely free. Have a look at this:
We fall in the habit of cursing our memory and the oft heard crib is: “I don’t seem to remember many a thing”. We reason it out that all that God had to do was to give us elephantine memory so that we would never forget anything. However, think again after seeing the following quote:
Every once in a while the chips are down for us and we feel that the whole world and even God is lined up against us. I am convinced that God never gives a problem to us without giving us the skills and abilities to solve it. And, it adds to our happiness when we have solved it.
And the last one in this part of the series is about Faith, Hope and Love, the building bricks of the house of our happiness. God is, I am convinced, not like human beings (whatever its shape, size and form be). It isn’t seeking happiness by making us think of it all the while. It is purely in our interest. Hence, if you want to have Faith, Hope and Love without ascribing these to God, there is nothing ungodly about it. That knowledge has also come to you from God that I believe in. I would rather thank it for these since I obtain enormous satisfaction and happiness by thanking it for it:
I am sure by now I have convinced you to subscribe to ‘Make Your Own Quotes’. What do you have to pay for the subscription? Nothing; not a cent, pence or paisa. It is totally free. All that you have to do is to like the Page and these Quotes would be delivered to your timeline automatically. You can, on the page, make your own Quotes and share these too with others. Dozens of subscribers have done it already.
As I brought out in the introduction of ‘A Hundred Ghazals In Hindi Movies – Part I’, ‘A Hundred Ghazals In Hindi Movies – Part II’, and ‘A Hundred Ghazals in Hindi Movies – Part III’, the ghazal is a poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The form is ancient, originating in ancient Arabic poem in Arabia long before the birth of Islam. The term Ghazal is of North African and Middle Eastern origin. Its root term in Arabic is “gh-zl” and is derived from the Arabian panegyric qasida.
The ghazal spread into South Asia in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate. Although the ghazal is most prominently a form of Dari poetry and Urdu poetry, today it is found in the poetry of many languages of the Indian sub-continent.
I gave you 18 Ghazals in Part I starting with Shakeel Badayuni‘s Na milata gham to barbaadi ke afsaane kahan jaate, to Rajinder Krishan‘s Jahan Ara ghazal sung by Talat Mahmood: Phir wohi shaam wohi gham wohi tanhaayi hai. In between I packed ghazals by Kaifi Azmi, Sahir Ludhianvi, Bahadur Shah Zafar, Muztar Khairabadi, Hasrat Mohani, Hasrat Jaipuri, Jaan Nisar Akhtar, Majrooh Sultanpuri, and Farooq Qaiser.
I followed it up with another 18 Ghazals in Part II starting with Mohammad Rafi singing Sahir Ludhianvi‘s ghazal Tum ek baar mohabbat ka imtehaan to do for the 1960 movie Babur, to Lata Mangeshkar singing Jaan Nisar Akhtar‘s Aap youn faaslon se guzarte rahe for the 1977 movie Shankar Hussain. In between I gave you ghazals sung by Mubarak Begum, and ghazals of Mirza Ghalib, Raja Mehdi Ali Khan, Majrooh Sultanpuri, Rajinder Krishan, Gulzar, Bashar Nawaz and Mir Taqi Mir.
I followed the second part with another 16 Ghazals in Part III, starting with Talat Mehmood singing Sardar Jafri’sShaam-e-gham ki kasam, aaj gamgeen hain ham, Aa bhi jaa, aa bhi jaa, aaj mere sanam…. modified by Majrooh Sultanpuri for the 1953 movie Footpath and ending with Lata Mangeshkar singing Sahir Ludhianvi’s Jurm-e-ulfat pe hamen log saza dete hain, Kaise nadaan hain sholon ko hawa dete hain… for the 1963 movie Taj Mahal. In between I gave you three more ghazals by Talat Mehmood, one sung together by Mohammad Rafi and Mahendra Kapoor, a ghazal of Hassan Kamal, a few of Majrooh sultanpuri, one of Anand Bakshi and a few for which the great music director Roshan composed music.
Lets resume our journey into the fascinating world of Ghazals.
Ghazal #53
Mahendra Kapoor
He was born on 9th January 1934 in Amritsar, not too far from the birth place of his guru, guide and mentor Mohammad Rafi.
He made a distinct identity of his own with his smooth silky voice.
He excelled in ghazal singing too.
Mahendra Kapoor
I particularly like his rendition of Qamar Jalalabadi’s most famous ghazal: Rafta rafta woh hamare dil ke armaan ho gaye that he sang with Asha Bhosle. The 1966 movie Ham Kahan Jaa Rahe Hain starred Neena and Prakash and had Basant Prakash’s music.
Please enjoy: Rafta rafta woh hamare dil ke armaan ho gaye…
raftaa raftaa vo hamaare dil ke armaa.N ho gae
pahale jaa.N, phir jaan-e-jaa.N
phir jaan-e-jaanaa.N ho gae
raftaa raftaa…
raftaa raftaa vo merii taskii.n kaa saamaa.N ho gae
pahale dil phir dil_rubaa phir dil ke mehamaa.N ho gae
raftaa raftaa…
raftaa raftaa un kii aa.Nkho.n kaa nashaa ba.Dhane lagaa
pahale may phir maikadaa phir may kaa tuufaa.N ho gae
raftaa raftaa …
raftaa raftaa husn nikharaa aur nikharataa hii gayaa
pahale gul phir gul_badan phir gul ba_daamaa.N ho gae
raftaa raftaa …
https://www.youtube.com/watch?v=gQg5eddcz1A
Ghazal #54
Mahendra Kapoor
I have given you a few ghazals of Mahendra Kapoor and today I gave you his rendition of Qamar Jalalabadi’s most popular Rafta rafta woh hamaare dil ke armaan ho gaye.
SH Bihari as a lyricist was certainly most under valued lyricist. One composer who brought out the best in him was OP Nayyar. The two of them made 1960 movie Kashmir Ki Kali songs immortal.
SH Bihari – the most under-rated Lyricist
Here is one of SH Bihari’s ghazals on the music of OP Nayyar for the 1968 movie Kahin Din Kahin Raat. Once again, it has been sung by Mahendra Kapoor and Asha Bhosle.
When the ghazal finally starts in the video, you won’t believe such a lovely ghazal is hidden in the initial fast music.
Please enjoy: Ham pe ilzaam ye kyun hai ki mohabbat ki hai……
( ham pe ilzaam ye kyuu.N hai
ki mohabbat kii hai ) -2
hamane to aapako puujaa hai
ibaadat kii hai
ham pe ilzaam ye kyuu.N hai
ki mohabbat kii hai
( hamane kab aapase maa.Ngaa hai
wafaa_o.n kaa silaa ) -2
( kab sunaa aapane hamase ko_ii
shiqawaa yaa gilaa ) -2
( hamane kab dil ke ta.Dapane kii
shiqaayat kii hai ) -2
hamane to aapako puujaa hai
ibaadat kii hai
( Gam nahii.n isakaa agar aap
hamaare naa huye ) -2
( Gam to ye hai ke tumhaare bhii
tumhaare na huye ) -2
( aapane jinake liye aaj ye
haalat kii hai ) -2
hamane to aapako puujaa hai
ibaadat kii hai
ham pe ilzaam ye kyuu.N hai
ki mohabbat kii hai
Ghazal #55
Shakeel Badayuni
I can never have enough of Shakeel. He wrote exactly how I would like to write, except that I cannot have his mastery over words.
Shakeel Badayuni – the King of Irony
This ghazal from the 1962 movie Son OF India has everything that you look for in a ghazal: superb music by Naushad and excellent singing by Mohammad Rafi and tons of irony since Shakeel was the King of Irony.
Please enjoy: Zindagi aaj mere naam se sharmaati hai…
zindagii aaj mere naam se sharamaatii hai
apane haalaat pe mujhe khud hii ha.Nsii aatii hai
zindagii aaj mere …
ek Gam chain se jiine nahii.n detaa mujhako -2
ek ulajhan hai jo aksar mujhe ta.Dapaatii hai
zindagii aaj mere …
is tarah chho.D ke nikalaa huu.N mai.n apanii ma.nzil
jaise hasarat ko_ii siine se nikal jaatii hai
zindagii aaj mere …
raah chalate hu_e kuchh soch ke ruk jaataa huu.N -2
har qadam par ko_ii bhuulii hu_ii yaad aatii hai
zindagii aaj mere …
Ghazals #56
Shakeel Badayuni
As I said, I can never have enough of Shakeel. He wrote the best songs and the finest ghazals in Hindi movies.
This one is a favourite of mine from the 1962 movie Mulzim and is pictured on Pradeep Kumar and doe eyed Shakeela. Music was composed by Ravi. Mohammad Rafi was the singer.
Please enjoy: Deevana keh me aaj mujhe phir pukaariye…
diivaanaa kah ke aaj mujhe phir pukaari_e
haazir huu.N ko_ii tiir-e-nazar dil pe maari_e
diiwaanaa kah ke …
lag jaa_e aapako naa kisii kii nazar kahii.n -2
ghar jaa ke apane husn kaa sadakaa utaari_e
haazir huu.N ko_ii …
zulfe.n sa.Nvaarane se banegii na ko_ii baat -2
uThi_e kisii gariib kii qismat sa.Nvaari_e
haazir huu.N ko_ii …
ik baar kar hii diiji_e is dil kaa faisalaa -2
rah-rah ke yuu.N nigaah kaa Ka.nzar naa maari_e
haazir huu.N ko_ii …
https://www.youtube.com/watch?v=f3d1mQ9zkik
Ghazal #57
Shakeel Badayuni
The 1967 movie Palki starred Rajendra Kumar and Waheeda Rehman and had two beautiful ghazals sung by Mohammad Rafi. One of these I have decided to share with you. It is on Naushad’s music.
Please enjoy: Kal raat zindagi se mulakaat ho gayi….
kal raat zindagii se mulaaqaat ho ga_ii
lab tharatharaa rahe the magar baat ho ga_ii
kal raat zindagii …
ek husn saamane thaa qayaamat ke ruup me.n
ek Kvaab jalvaagar thaa haqiiqat ke ruup me.n
cheharaa vahii gulaab kii ra.ngat li_e hu_e
nazare.n vahii payaam-e-muhabbat li_e hu_e
zulfe.n vahii ki jaise dhu.Ndhalakaa ho shaam kaa
aa.Nkhe.n vahii jin aa.Nkho.n pe dhokhaa ho jaam kaa
kuchh der ko tasallii-e-jazbaat ho ga_ii
lab tharatharaa rahe …
dekhaa use to daaman-e-ruKsaar nam bhii thaa
vallaah usake dil ko kuchh ehasaas-e-Gam bhii thaa
the usakii hasarato.n ke Kazaane luTe hu_e
lab par ta.Dap rahe the fasaane ghuTe hu_e
kaa.NTe chubhe hu_e the sisakatii uma.ng me.n
Duubii hu_ii thii phir bhii vo vafaa_o ke ra.ng me.n
dam bhar ko Katm gardish-e-haalaat ho ga_ii
lab tharatharaa rahe …
e merii ruuh-e-ishq merii jaan-e-shaayarii
dil maanataa nahii.n ki tuu mujhase bichha.D ga_ii
maayuusiyaa.N hai.n phir bhii mere dil ko aas hai
mahasuus ho rahaa hai ke tuu mere paas hai
samajhaa_uu.N kis tarah se dil-e-beqaraar ko
vaapas kahaa.N se laa_uu.N mai.n guzarii bahaar ko
majabuur dil ke saath ba.Dii ghaat ho ga_ii
lab tharatharaa rahe …
https://www.youtube.com/watch?v=u3a0TCdSUj4
Ghazal #58
Hasrat Jaipuri
Hasrat Jaipur was born as Iqbal Hussain on 15th April 1922. At the age of 18 he came to Bombay and started his career as a bus conductor at a monthly salary of eleven rupees. At a mushaira in Bombay, he was heard by Prithvi Raj Kapoor who recommended him to his son Raj Kapoor and Raj saab took him for Barsaat recording his first song: Jiya beqraar hai and his second song Chhor gaye baalam.
From there started an unbreakable association between Hasrat Jaipuri, Shankar Jaikishen and Raj Kapoor and his singing voice Mukesh. One of their most famous songs Aansu bhari hain yeh jeevan ki raahen is considered the standard bearer of songs in Hindi movies of old.
His title song for the 1968 movie Mere Huzoor was so popular a ghazal that many people would spontaneously sing it everywhere. Mohammad Rafi is the singer.
Please enjoy: Rukh se zara naqaab utha do mere huzoor….
apane rukh pe nigaah karane do
khuubasuurat gunaah karane do
rukh se pardaa haTaao jaan-e-hayaa
aaj dil ko tabaah karane do
rukh se zaraa naqaab uThaa do, mere huzuur
jalvaa phir ek baar dikhaa do, mere huzuur
tum hamasafar mile ho mujhe is hayaat me.n -2
mil jaae chaa.Nd jaise koii suunii raat me.n
jaage tum kahaa.N ye bataa do, mere huzuur
rukh se…
husn-o-jamaal aapakaa shiishe me.n dekh kar -2
madahoshh ho chukaa huu.N mai.n jalavo.n kii raah par
Gar ho sake to hosh me.n laa do, mere huzuur
rukh se…
vo marmarii se haath vo mahakaa huaa badan -2
Takaraayaa mere dil se, muhabbat kaa ek chaman
mere bhii dil kaa phuul khilaa do, mere huzuur
rukh se…
apane rukh pe nigaah karane do
khuubasuurat gunaah karane do
rukh se pardaa haTaao jaan-e-hayaa
aaj dil ko tabaah karane do
rukh se zaraa naqaab uThaa do, mere huzuur
jalvaa phir ek baar dikhaa do, mere huzuur
tum hamasafar mile ho mujhe is hayaat me.n -2
mil jaae chaa.Nd jaise koii suunii raat me.n
jaage tum kahaa.N ye bataa do, mere huzuur
rukh se…
husn-o-jamaal aapakaa shiishe me.n dekh kar -2
madahoshh ho chukaa huu.N mai.n jalavo.n kii raah par
Gar ho sake to hosh me.n laa do, mere huzuur
rukh se…
vo marmarii se haath vo mahakaa huaa badan -2
Takaraayaa mere dil se, muhabbat kaa ek chaman
mere bhii dil kaa phuul khilaa do, mere huzuur
rukh se…
Ghazal #59
Hasrat Jaipuri
He was awarded the Filmfare Best Lyricist award twice: once for his song that became super hit in Andaz: Zindagi ek safar hai suhaana; and the other for Baharon phool barsaayo in Rajendra Kumar movie Suraj. This means that his efforts for Raj Kapoor were never recognised by the Hindi film industry. Even for 1968 movie Mere Huzoor he missed out on getting Best Lyricist award (he wasn’t even nominated!) and the award went to Gulshan Bawra for his Upkaar song: Mere desh ki dharti. Even Anand Bakshi didn’t get that year for his Milan songs and Sahir too didn’t get for Neele gagan ke tale.
Anyway, such is luck.
This ghazal of his is close to my heart. It is from another Raaj Kumar movie (like Mere Huzoor): the 1971 movie Laal Patthar in which Raaj Kumar starred opposite Hema Malini.
Predictably, the ghazal has Shankar Jaikishen’s music and Mohammad Rafi’s voice.
Please enjoy: Unake khayaal aaye to aate chale gaye….
un ke Kayaal aae to aate chale gae
diivaanaa zi.ndagii ko banaate chale gae
jo saa.ns aa rahii hai usii kaa payaam hai
betaabiyo.n ko aur ba.Dhaate chale gae
is dil se aa rahii hai kisii yaar kii sadaa
viiraan meraa dil thaa basaate chale gae
hosh-o-havaas pe mere bijalii sii gir pa.Dii
mastii bharii nazar se pilaa ke chale gae
https://www.youtube.com/watch?v=hjr8Q_i-Kc0
Ghazal #60
Hasrat Jaipuri
This ghazal penned by Hasrat Jaipuri is amongst the best of Mohammad Rafi in Hindi movies. It is from the 1956 movie Raajhath starring Pradeep Kumar and Madhubala. No surprise, again, about the music director. It is Shankar Jaikishen again.
Please enjoy a ghazal very close to my heart: Aaye bahar ban ke lubha kar chale gaye…
aa_e bahaar ban ke lubhaa kar chale ga_e
kyaa raaz thaa jo dil me.n chhupaa kar chale ga_e
aa_e bahaar ban ke …
kahane ko vo hasiin the aa.Nkhe.n thii.n bevafaa
haay aa.Nkhe.n thii.n bevafaa
kahane ko vo hasiin the aa.Nkhe.n thii.n bevafaa
haay
daaman merii nazar se bachaa kar chale ga_e
aa_e bahaar ban ke …
itanaa mujhe bataa_o mere dil kii dha.Dakano.n
haay dil kii dha.Dakano.n
itanaa mujhe bataa_o mere dil kii dha.Dakano.n
haay
vo kaun the jo Kvaab dikhaakar chale ga_e
aa_e bahaar ban ke …
https://www.youtube.com/watch?v=-aBsePa-LJU
Ghazal#61
Naqsh Lyallpuri
He was born Jaswant Rai Sharma in Lyallpur (Punjab). His interest in literature, specially Urdu literature, started as a young boy. He became aware of his talent when his school teacher borrowed his notebooks at the end of the year because of the poems he wrote on them.
After Partition, he moved to Lucknow with his family. He moved to Bombay to find a job and ended up working at the Department of Post and Telegraph. He quit soon after thanks to the monotony of job and his keen interest in making a career in Hindi films. His film career began in 1952, when an introduction to film maker Jagdish Sethi led to his first song – “Agar Teri Ankhon Se Ankhen Mila Doon” (“Jaggu”, 1952). However, success eluded him for many years and he sustained himself through B and C grade Hindi films as well as Punjabi films. His first big hit came with “Main To Har Mod Par Tujhko Doonga Sada” (“Chetana”, 1970), almost two decades after his debut in Hindi films.
Naqsh Lyallpuri with Lata Mangeshkar (Pic courtesy: www.hindu.com)
Lets start with his most famous ghazal for the 1973 movie Dil Ki Raahen starring Rehana Sultan and Rakesh Pande. Who could have given better music for it than the maestro himself: Madan Mohan. Lata Mangeshkar sang it beautifully.
Please enjoy: Rasmen ulfat ko nibhaayen to nibhaayen kaise….
rasm-e-ulfat ko nibhaae.n to nibhaae.n kaise
har taraf aag hai daaman ko bachaae.n kaise
rasm-e-ulfat ko nibhaae.n…
dil kii raaho.n me.n uThate hai.n jo duniyaa vaale -2
koii kah de ke voh diivaar giraae.n kaise -2
rasm-e-ulfat ko nibhaae.n…
dard me.n Duube hue naGame hazaaro.n hai.n magar -2
saaz-e-dil TuuT gayaa ho to sunaae kaise -2
rasm-e-ulfat ko nibhaae.n…
bojh hotaa jo Gamo.n kaa to uThaa bhii lete -2
zi.ndagii bojh banii ho to uThaae.n kaise -2
rasm-e-ulfat ko nibhaae.n…
https://www.youtube.com/watch?v=UxMW7klhq_U
Ghazal #62
Naqsh Lyallpuri
For someone who took more than a decade to establish himself in Hindi movies, Naqsh Lyallpuri wrote some excellent songs and ghazals.
This one is gentle since it has Khaiyyam’s music. As a rare interesting point, it has Sulakshna Pandit’s voice.
Sulakshna Pandit
This is from the 1981 movie Ahista Ahista and pictured on Padmini Kolhapur and is very very good.
Please enjoy: Maana teri nazar mein tera pyaar ham nahin….
maanaa terii nazar me.n teraa pyaar ham nahii.n
kaise kahe.n ke tere talabaGaar ham nahii.n
tan ko jaalaake raaKh banaayaa, bichhaa diyaa
lo ab tumhaarii raah me.n diivaar ham nahii.n
sii.nchaa thaa jisako hamane tamanna ke khoon se
chaman me.n us bahaar ke haqadaar ham nahii.n
dhokha diyaa hai khud ko mohabbat ke naam par
ye kis tarah kahe.n ke gunehagaar ham nahi.n
https://www.youtube.com/watch?v=gaiMGBoF4FQ
Ghazal#63
Naqsh Lyallpuri
Here is one of his earliest popular ghazals sung by Asha Bhosle. It is from the 1968 movie Teri Talaash Mein starring Kumkum. Sapan-Jagmohan composed the music for it.
Unfortunately I couldn’t find the original video for it.
Nevertheless, please enjoy: Raaz-e-dil hamase kaho ham to koi gair nahin….
raaz-e-dil ham se kaho ham to ko_ii Gair nahii.n
yuu.N pareshaan na ho ham to ko_ii Gair nahii.n
raaz-e-dil ham se …
mahakii mahakii sii ye tanahaa_ii gilaa karatii hai
Gair tum bhii na raho ham to ko_ii Gair nahii.n
raaz-e-dil ham se …
kisii hamadard ko kuchh dard ba.nTaa lene do
dard tanahaa na saho ham to ko_ii Gair nahii.n
raaz-e-dil ham se …
Ghazal #64
Naqsh Lyallpuri
As I mentioned earlier, for someone who took his time establishing himself, he finally ended up penning some really fine ghazals. This one from 1979 movie Khandaan is a favourite. The movie starred Jumping Jack Jeetu, Bindiya Goswami and Sulakshana Pandit. Music was composed by Khaiyyam and Lata ji sang it.
Please enjoy: Ye mulaqaat ik bahaana hai….
ye mulaaqaat ik bahaanaa hai
pyaar kaa silasilaa puraanaa hai
dha.Dakane dha.Dakano.n me.n kho jaaye.n
dil ko dil ke qariib laanaa hai
Kvaab to kaa.Nch se bhii naazuk hai
TuuTane se inhe.n bachaanaa hai
man meraa pyaar kaa shivaalaa hai
aap ko devataa banaanaa hai
mai.n huu.N apane sanam ke baaho.n me.n
mere qadamo.n tale zamaanaa hai
https://www.youtube.com/watch?v=RCa1-MmF38o
Ghazal #65
Shahryar
Akhlaq Mohammad Khan ‘Shahryar’ (16 June 1936 – 13 February 2012), was an Indian academician, and a doyen of Urdu poetry in India. As a Hindi film lyricist, he is best known for his lyrics in Gaman (1978) and Umrao Jaan (1981) directed by Muzaffar Ali. He retired as the head of Urdu Department at the Aligarh Muslim University, and thereafter he remained sought after name in mushairas or poetic gatherings, and also co-edited the literary magazine Sher-o-Hikmat.
He was awarded the Sahitya Akademi Award in Urdu for Khwab Ka Dar Band Hai (1987), and in 2008 he won the Jnanpith Award, the highest literary award and only the fourth Urdu poet to win the award. He has been widely acknowledged as the finest exponent of modern Urdu poetry.
I start with his ghazals tonight and will continue tomorrow.
This of course is from 1981 movie Umraao Jaan based on the novel by the same name by Mirza Hadi Ruswa (1905). The movie won six Filmfare Award including Best Actress Rekha, Best Music Director Khaiyyam and Best Direction and Best Singer Lata.
However, Shahryar didn’t win any award.
Shahryar (Pic courtesy: www.thewire.in)
Nevertheless, the ghazals of this movie are amongst the best in Hindi movies.
Lets start with this one sung by Talat Aziz for Farooq Sheikh.
Please enjoy: Zindagi jab bhi teri bazm mein laati hai hamen…
zi.ndagii jab bhii terii bazm me.n laatii hai hame.n
ye zamii.n chaa.Nd se behatar nazar aatii hai hame.n
surkh phUlo.n se mahak uThatI hai.n dil kI rAhe.n
din Dhale yU.N terI AvAz bulAtI hai hame.n
zi.ndagii …
yAd terI kabhii dastak kabhii saragoshI se
raat ke pichhale pahar roz jagaatI hai hame.n
zi.ndagii …
har mulAqAt kA a.njaam judAI kyU.N hai
ab to har vaqt yahI baat satAtI hai hame.n
zi.ndagii …
https://www.youtube.com/watch?v=82tyHLrjuBo
Ghazal#66
Shahryar
I have enjoyed putting up these Ghazals for you for almost three weeks now.
My idea was to give you the hundred best ghazals in Hindi movies. From last night, some sadness is coming to me now that in another week or ten days it would be over.
Last night I had embarked on the great Urdu poet Shahryar. I had given you his ghazal sung by Talat Aziz for the 1981 movie Umrao Jaan starring Rekha, Farooq Sheikh and Naseeruddin Shah.
Here is another ghazal from the same movie sung by Asha Bhosle on Khaiyam‘s music.
Please enjoy: Justaju jisaki thi us ko to na paaya hamane……
justajuu jisakii thii us ko to na paayaa hamane
is bahaane se magar dekh lii duniyaa hamane
tujhako rusavaa na kiyaa Khud bhii pashemaa.N na huye
ishq kii rasm ko is tarah nibhaayaa hamane
kab milii thii kahaa.N bichha.Dii thii hame.n yaad nahii.n
zi.ndagii tujhako to bas Khvaab me.n dekhaa hamane
ai ‘Ada’ aur sunaaye bhii to kyaa haal apanaa
umr kaa lambaa safar tay kiyaa tanahaa hamane
‘adaa” was taKallus of umraao jaan ‘adaa’ in the film.
https://www.youtube.com/watch?v=NMppeXU7Fl4
Ghazal #67
Shahryar
The 1981 movie Umrao Jaan was full of excellent ghazals.
Here is another one put together by the same combine of Shahryar, Khaiyyam and Asha Bhosle.
Please enjoy: In aankhon ki masti ke mastaane hazaaron hain…
in aa.Nkho.n kii mastii ke mastaane hazaaro.n hai.n
in aa.Nkho.n se vaabastaa afasaane hazaaro.n hai.n
in aa.nkho.n…
ik tum hii nahii.n tanhaa, ulafat me.n merii rusavaa
is shahar me.n tum jaise diivaane hazaaro.n hai.n
in aa.Nkho.n…
ik sirf ham hii may ko aa.Nkho.n se pilaate hai.n
kahane ko to duniyaa me.n mayakhaane hazaaro.n hai.n
in aa.Nkho.n…
is shamm-e-farozaa.N ko aa.ndhii se Daraate ho
is shamm-e-farozaa.N ke paravaane hazaaro.n hai.n
in aa.Nkho.n…
Ghazal # 68
Shahryar
The 1981 movie Umrao Jaan’s ghazals not only were very popular but also left you gaping with their excellence of lyrics by Shahryar and music by Khaiyyam.
This was the most popular, sung by Asha Bhosle.
Please enjoy: Dil cheez kyaa hai aap meri jaan leejiye…
dil chiiz kyaa hai, aap merii jaan liijiye
bas ek baar meraa kahaa, maan liijiye
is a.njuman me.n aapako aanaa hai baar baar
diivaar-o-dar ko gaur se pahachaan liijiye
% is the last word naaz?
maanaa ke dosto.n ko nahii.n dostii kaa naaz
lekin ye kyaa ke gair kaa ahasaan liijiye
kahiye to aasamaan ko zamiin par utaar laae.n
mushkil nahii.n hai kuchh bhii agar Thaan liijiye
https://www.youtube.com/watch?v=60O11sF9_-o
Ghazal # 69
Shahryar
The 1981 movie Umrao Jaan’s ghazals not only were very popular but also left you gaping with their excellence of lyrics by Shahryar and music by Khaiyyam.
Here is another one sung by Asha Bhosle and pictured on Rekha who in the title role won the Best Actress Award.
Please enjoy: Ye kyaa jagah hai dosto, ye kaun sa dyaar hai….
ye kyaa jagah hai dosto.n, ye kaun saa dayaar hai
had-e-nigAh tak jahA.n gubAr hI gubAr hai
ye kyA jagah hai dosto.n
ye kis mukaam par hayaat, mujhako leke aa gaI
na bas khushI pe kahA.n, na Gam pe ikhtiyaar hai
ye…
tamAm umr kA hisAb mA.ngatI hai zindagI
mA.ngatI hai zindagI
ye merA dil kahe to kyA, ye khud se sharmasAr hai
ye khud se sharmasAr hai
ye…
bulA rahA kyA koI chilamano.n ke us taraf
chilamano.n ke us taraf
mere liye bhI kyA koI udAs beqarAr hai
udaas beqarAr hai
ye…
(A nazm not in the song, but is there in the movie)
na jisakI shakal hai koI, na jisakA naam hai koI
ik aisI shai kA kyo.n hame.n azal se intazaar hai
ye…
https://www.youtube.com/watch?v=moJUfnqRqZE
That brings us to the end of Part IV of A Hundred Ghazals in Hindi Movies. We have had a total of 69 ghazals so far.
Please let me know in the comments below if some ghazal of yours should appear in the Top 100. I shall try to accommodate. Only, please remember two things: One, there are still two more parts to go with a total of 31 ghazals. And, secondly, these are not the best ghazals in all fora; these are only considered the best that appeared in Hindi movies.
I have a Facebook Group called Yaad Kiya Dil Ne. It is group for serious music lovers who not just relish putting up and listening to songs but also identify these with Lyricists, Music Directors, Singers and Actors who brought/bring the songs to us. The group pays tributes to these four classes of people on their birth and death anniversaries. The group is also interested in sharing knowledge about all aspects of songs including Raagas. The group also has thematic Music Fests at least once in a month.
The name of the group has been derived from the title of a duet between Hemant Kumar and Lata Mangeshkar from the 1953 movie Patita starring Dev Anand and Usha Kiran.
The last music Fest that was held was on the theme: Funny Songs. For the first time we had a unique Fest in which there was no keyword to look for. For the first time we had a Fest wherein every participant was his/her own judge about whether the song was according to the theme, ie, funny.
Just four days prior to the Fest, I put up clarification about what would constitute ‘Funny Song’. Here it is:
“FUNNY SONGS FEST
Guys and gals,
Just want to remind you that the Funny Content of the song is solely your judgment (I am not going to be the judge). You have to convince others as to what you find funny about the song. It can be (and this is not a comprehensive list) some or all of the following:
Lyrics are funny.
The tune is funny.
The situation is funny.
There is unintentional humour/comedy in the song, eg, a buffoon like Manoj Kumar has murdered the seriousness of the song; such as his Zulfon ko hata le chehre se with Sharmila Tagore. P.S. It doesn’t mean all his songs are comic! His Shaheed songs, for example, are classics.
You have a hostel/classroom/school/college/family funny anecdote about the song; eg, whenever we used to bathe on the ship as cadets, someone would sing: Parde mein rehane do parda na uthaao.
It is a fine song but a bozo such as Anil Dhawan looks so funny singing it, eg, Teri galiyon mein na rakhenge kadam.
You can pun on the words and bring out the humour, eg, Aadmi hoon aadmi se pyaar karta hoon!”
From amongst the songs that were put up by my friends and me, I have selected the following as the Top Twelve or Dozen. These twelve are not in any order or ranking.
Funny Song #1
Ek chatur naar karke singaar….
Traditionally, since I only organise the Fests and don’t contest, all the songs that I put up are considered out of contest. The other members give me a concession in that they allow me to put up the song of the cover picture.
However, lately, people have found ways and means to circumvent this concession. Here is one of the ways; and see how beautifully she has done it:
“No this is not Kishor Kumar and neither Padosan but this is the amazing original song from film Jhoola(1941) which was much later sung by the younger brother Kishor Kumar. The choice between Kishor Kumar and this one was anyway taken from me as Kishor’ s song figured in the event poster. But if I had a choice, I would have still posted this only. Frankly this might not be as hilarious as the newer one (but this one is minus the ethnic slur) there is an innocence to Ashok Kumar‘s madness here which Is missing in the later version. This was the time when to act, actors had to sing their own songs. Imagine the scenario where Ashok is given a bucket full of ice n water to pour on himself to come out with the shivery voice required for the song. (I don’t know if that ever happened). See the start of the song. Heroine is watching- Ashok Kumar comes running inside and jumps on the bed – bed breaks, he starts singing, the finger on his cheek, the expression after looking into the hand mirror, not bothered with what he sees about himself in the mirror but goes on singing. Then the bath starts and with it the tempo of the song. The song goes in a hilarity mode. Along with actor/singer, you feel the onslaught of cold cold water too. Ashok Kumar, I think was blessed with a sense of humour that manifested in so many of his songs. Can we forget his amused acting in ‘ Aaiye Meherbaan’?.
‘One man’s meat is another’s poison’ I think the same goes for fun and laughter. Some jokes may make one person to double up laughing while it might only bring a smile or grin or snigger or happiness to another. A collective belly laughing or falling off the couch is a phenomena, I have rarely or may be never witnessed in any Hindi movie that I have seen till date. Amusement yes!
Kavi Pradeep‘s lyrics, Saraswati Devi‘ s composition and Ashok Kumar’s singing/acting does not make me feel hysterically funny but it leaves me feeling jolly good happily satisfied.I felt this one is a true classic and has to be shared on this platform.
ek chatur naar karkar singaar ek chatur naar karkar singaar thaade apne dwaar jiya leke sujaat ek palak maar hans mora man leenho ek chatur naar karkar singaar ek chandra kiran chanda si baran main to aaya hoon sanad tore nek nazar ek palak maar hans mora man leenho ek chatur naar karkar singaar ek chatur naar karkar singaar ek chatur naar karkar singaar ek chatur naar karkar singaar thaade apne dwaar jiya leke sujaat ek palak maar hans mora man leenho ek chatur naar karkar singaar ek chandra kiran chanda si baran main to aaya hoon sanad tore nek nazar ek palak maar hans mora man leenho ek chatur naar karkar singaar ek chatur naar karkar singaar”
As given in the above beautiful description by her, the Padosan song still continues being the most hilarious song in the Hindi movies. But, it is not in Hindi movies that the comedy germinated. There was first (in 1952) a Bengali story by Arun Chowdhury titled Pasher Bari, which was made into a movie by the same name starring Sudhir Mukherjee and Bhanu Bannerjee. Eight years later, it was re-made into a Tamil movie Adutha Veettu Penn starring Anjali Devi, TR Ramachandran and KA Thangavelu. Then came the Hindi version Padosan in 1968. It didn’t stop at that and in 1981, came the telugu version as Pakkinti Ammayi starring Chandra Mohan, Jayasudha, SP Balasubramanyam and K. Chakravarthi. Such is the universal popularity of the theme that in 2003, it was remade in Kannada as Pakkadamane Hudugi starring Raghavendra Rajkumar and Anant Nag.
Nitin Bose (the Director of famous movie Ganga Jamuna) has been credited with the first use of playback singing in Indian films in a Bengali film directed by him in 1935 titled Bhagya Chakra. Later, in the same year, he introduced playback singing in Hindi movie too by the remake of his Bengali film as Dhoop Chhaon. Who would have thought that Mehmood in his 1968 movie Padosan (Lady Neighbour) would have a spoof on playback singing itself.
Sunil Dutt as Bhola doesn’t know singing, let alone classical singing. In the process of wooing his neighbour Bindu (Saira Bano), his friend and mentor Vidyapati (Kishore Kumar) advises him to learn singing so that he, Bhola, could outsmart in singing, Bindu’s current favourite Mehmood as a South Indian classical singing maestro Pillai or Masterji. But, seeing that singing is to Sunil Dutt, what classical dancing was to Dara Singh, Vidyapati now advises him to just stand in the window and lip-sync whilst Vidyapati would sing hidden in the background. Bindu would think that it is Bhola singing. There is thus a dual between Manna Dey singing for Mehmood and Kishore Kumar singing for Sunil Dutt. The funny part also is that Manna Dey was a much better singer of classical songs than Kishore Kumar but in the song and the antics, Kishore Kumar has the better of Mehmood lip-syncing to Manna Dey. With this, Manna Dey’s ignominy of having won from the great Bhimsen Joshi, twelve years ago, in the 1952 movie Basant Bahar, must have been lessened.
The story of the movie, adapted from the original, was written by the great lyricist Rajinder Krishan. He has been credited with some of the best songs of Lata Mangeshkar (the movie has one of them: Sharm aati hai magar). And yet, in this and the other playback spoof song – mere saamne waali khidaki mein – Rajinder Krishan has come up with excellent comical lyrics. It was left to Kishore Kumar and Mehmood to make it into the funniest song in Hindi movies. The whole song is funny but the last part of the dual between Chatur and Ghode is a riot indeed. Kishore Kumar was vastly influenced by his uncle, a classical singer, Dhananjay Banerjee and music director Khemchand Prakash in his acting.
Finally, who can beat Rahul Dev Burman in this superb composition that is a cross between classical and comical, two of the genre’ that RD Burman excelled in with equal ease.
Please enjoy: Ek chatur naar kar ke singaar…..
ek chatur nAr kar ke si.ngAr
mere man ke dvAr ye ghusat jaat
ham marat jaat, are he he he
yak chatur nAr kar ke si.ngAr…
pa re sa, sa sa sa ni dh sa
sa re sa dha dha pa
pa dha sa re sa
sa re ga dha pa
yak chatur nar kar ke si.ngaa… r
ki: ##ummm ## dham
mah: ayyo !
ki: are dham, o dham, o dham dham dham ruk
##umm ## bru – 2
o a aa i ii u U e ai o au a.n a: ##(vowels)##
um nAm nAm nAm nAm nAm nAm
nAm nAm lama lama lama lama la
um bal bal bal bal re,
bal bal bal bal re, bal bal bal bal re
om
ek chatur nAr ba.DI hoshiyAr – 2
apane hI jaal me.n phasat jaat
ham hasat jaat are ho ho ho ho ho !
ek chatur nAr ba.DI hoshiyar
su: tuu kyo.n…
mah: chhI re
kare lAkh lAkh duniyA chaturAI
chhuTTI kar dU.ngA mai.n usakI
abake jo AvAz lagAI
chhuTTI kar dU.ngA, aa aa aa…
tA jum, taka jum, taka num, yaka jum
tak tankidia…
ki: pa.Dh ke botan chIr bi chakkar – 2 (?)
har bud khudi-budi khud kar – 2
chhiTake to rere mon mAkhan – 2
sab chale gaye, sab chale gaye chidamudh chiting chitubud
chitubud gaay, chitubud gaay, chitubud haay haay haay
jA re, jaa re kAre kAgA
kA kA kA kyo.n shor machaaye
us nArI kA dAs nA ban jo
rAh chalat ko rAh bulAe
kaalaa re jaa re jaa re
are nAle me.n jaake tuu mu.Nh dhoke aa
Kaalaa re ga re ga re
mah: ye ga.Daba.D jI
ki: o gA re gA re
mah: ye sur badalA
ki: o gA re gA re
mah: ye hamako maTakA bolA
ki : o gA re gA re
mah: ye sur kidhar hai jI, ye sur…; ye…, ennAyA idhu ##(Tamil)##
yek chatur naar…
am chho.DegA nahii.n jI
yek chatur naar…
am paka.Dake rakhegA jI
ye ghusat jaat
ham marat jaat are aa aa aa
tuu kyA jAne kyA hai nArI
jis tan laage more nainA
usape sArI duniyA vArI
mah: nAch nA jaane, A.ngan te.DhA
Teee.DhA, Te.DhA Te.DhA Te.DhA Te.DhA – 4
naach nA jaane, aa.ngan Te.DhA
Te.DhA Te.DhA Te.DhA Te.DhA – 4
us sa.ng lAge more nainA
abake jo AvAz lagAI
ki: o Te.Dhe!
mah: oy
ki: o ke.De!
mah: o yA
ki: are sIdhe ho jaa re
sIdhe ho jaa re
sIdhe ho jaa
vAh rI cha.ndaniyA, vAh re chakore
rAm banAI ye kaisii jo.DI
kare nachAyA tA tA thaiyyA
tAl pe naache la.nga.DI gho.DI
are dekhI
are dekhI terI chaturAI
mah: ye phir ga.Daba.D
ki: are dekhI terI chaturaaI
mah: phir bhaTakAyA
ki: tujhe suro.n kI samajh nahii.n aaI
tUne korI ghAs hI khAI
are gho.De!
mah: ye gho.DA bolA
ki: o nigo.De!
mah: ye gaalI diyA
ki: are dekhI terI chaturAI
mah: yek chatur naar…
ki: gho.De dekhI terI chaturAI
mah: yek chatur naar…
ki: gho.De dekhI terI chaturAI
mah: yek chatur naar…
ki: ek chatur naar…
ki: ek chatur naar…
mah: ayyo gho.De terI…
ki: are gho.De terI…
mah: kyA re ye gho.DA-chatur, gho.DA-chatur bolA,
yek pe rahanA yA gho.DA bolo yA chatur bolo… gaao
ki: ek chatur naar ba.DI hoshiyaar
apane hI jaal me.n phasat jaat
ek chatur naar! ##(Tune becomes faster here) ##
ba.DI hoshiyArI!
ye ghusat jaat
mah: ham marat jaat, marat jaat ##(Mahmood gets stuck) ##
ye aTak gayaa !!!
ki: sa re ga ma pa, he aa aa…, he … … !!!!
Funny Song #2
Pyaar ki aag mein tan badan jal gaya….
This song was put up by a member Evani Leela and if you can see the song without splitting your side, you can win a bit! Here is her original description:
“Mehmood Mehmood Mehmod kya style hai baba unke abhinay ka. Jaise nartaki ek ek shabd ko naatya mein dikhaati hai, waise hi Mehmood ek ek shabd ko apne haav bhaavon se abhineet karke dikhate hain ki itne achhe classical geet ka bhi kaise achaar dala jaa sakta hai. And hatsoff to Manna Dey, jinka itna sureela gaayan hai comic flavour mein bhi ki geet ko bhi enjoy karo aur hanste bhi jao. Bachpan mein Manna Dey ke jaisa gaane ki koshish karti thi aur ek ek shabd ko jaise unhone gaaya, gaane ki koshish karti thi aur ghar walon se daant bhi khaati thi.
Mehmood ka chhat par chadhna, rengte hue jaana aur baad mein mooh se dhuan nikaalna, last mein Mohan Choti ko leke naachna aur Dhumal ke saath aankh micholi; each and every moment is so hilarious and fantastic. Main thakti nahin yeh geet dekhte. asha hai aap bhi enjoy karenge.”
During the Fest, whilst I was watching the song, I burst out laughing and kept laughing and my wife was looking at me to find out if I have gone loony! That’s the effect of this song on you. I have seen it at least half a dozen times since then and I am sure you would too.
What a serious number by Manna Dey in a super funny situation….two extremes. Pata nahin chalta roye yaa hanse.
The song is from the 1968 Pramod Chakravorty movie Ziddi starring Joy Mukherjee, Asha Parekh, Mehmood, Shobha Khote, Mohan Choti, Dhumal, Raj Mehra, Sulochana, Ullhas, Madan Puri, Nazima, and Majnu. The scene depicted is of Dhumal (Shobha Khote’s father) deciding to marry off Shobha Khote to someone other than the love of her life Mehmood.
Hasrat Jaipuri, the lyricist, didn’t do a Rajinder Krishan in this song. He maintained the seriousness of the situation of a lover seeing his beloved being married to someone else. The song is solely made funny by Mehmood’s acting, with Shobha Khote, Mohan Choti and Dhumal adding to it. If the first song above had RD Burman’s composition, this one has his father, SD Burman‘s. It requires a lot of imagination as a composer to have a serious number being used in a comical way. But, then, it was SD Burman who composed the comical Ek ladaki bheegi bhaagi si with the same ease as he did the classical Tere bin soone nayan hamaare; the hallmark of a great composer.
Please enjoy: Pyaar ki aag mein tan badan jal gaya…
Dunia banane wale sunle meri kahani
Roye meri mohabbat
Tadpe tadpe meri jawani
Pyar ki aag mein tan badan jal gaya
Pyar ki aag mein tan badan jal gaya
Jane fir kyu jalati hai dunia mujhe
Jane fir kyu jalati hai dunia mujhe
Pyar ki aag mein tan badan jal gaya
Mai to rota firu badlo ki tarah
Thandi aahe bharu paglo ki tarah
Mai to rota firu badlo ki tarah
Are mai to rota firu
Mai to rota firu badlo ki tarah
Thandi aahe bharu paglo ki tarah
Jane fir kyu fir kyu
Jane fir kyu rulati hai dunia mujhe
Pyar ki aag mein tan badan jal gaya
Pyar ki aag mein tan badan jal gaya
Bat jab mai karu muh se nikle dhua
Jal gaya jal gaya mere dil ka jaha
Bat jab mai karu muh se nikle dhua
Bat jab mai karu muh se nikle dhua
Jal gaya jal gaya mere dil ka jaha
Jane fir kyu fir kyu
Jane fir kyu satati hai dunia mujhe
Pyar ki aag mein tan badan jal gaya
Pyar ki aag mein tan badan jal gaya
Ishk mujhko nachata raha hai sada
Kya kya sapne dikhata raha hai sada
Ishk mujhko nachata raha hai sada
Ishk mujhko nachata raha hai sada
Kya kya sapne dikhata raha hai sada
Jane fir kyu fir kyu
Nachati hai dunia mujhe
Pyar ki aag mein tan badan jal gaya
Pyar ki aag mein tan badan jal gaya
Tan badan jal gaya
Tan badan jal gaya.
https://www.youtube.com/watch?v=lwb-gjMd_n0
Funny Song #3
Kuve mein kood ke mar jaana yaar tum shaadi mat karna…
Kishore Kumar was to comic singing what Mehmood was to comic acting. However, it was a treat to watch Kishore Kumar acting on his comic songs. I can think of scores of songs by Kishore da which are funny in lyrics, in singing style, in situational comedy and in their message. But, even I have to think hard to come up with funnier lyrics and acting than this song. It is from the 1956 movie Parivar (Family).
Before I go further into the song, I will tell you my own association with the song. I have described this in the latest issue of the Navy Foundation magazine called Quarterdeck in an article called ‘A REAL LIFE PLAY OF INS AGRANI OR NAVY’.
I was asked to prepare a play in Navy’s Leadership establishment called INS Agrani and take it to Cochin to participate in the Southern Naval Command Annual Dramatic Championship. Why me? Because I was the junior most officer there! I roped in another officer and we started searching for a suitable play. With just a week to go for the championship, we hadn’t found a play.
That night, I wrote the script for a three-act-play titled Hamara Drama (Our Drama). Whatever we had done in search and preparation for the play was put in the first two acts. In the last act, Bajwa (my friend whom I had selected to help me) and I were sitting dejected that we still didn’t have a play and that everything had failed. And then yet another brainwave occurred to me and I told him, “Why don’t we present our search for a suitable play and a cast as a play…is mein khushi hai, gham hai, bebasi hai, suspense hai, comedy hai, tragedy hai….aur kahin kahin to paagalpan bhi hai…hahahaha…hahahaha (there is joy in it, sadness in it, helplessness, suspense, comedy, tragedy…and at places, there is madness too)..exactly like our navy life..” The play ended there with a freeze shot.
When we went to Cochin for presenting the play, our hearts sank seeing the plays of other establishments. Each one of them had elaborate sets, cast, background music and other props. We had nothing. But, now, at that late stage could do nothing about it.
Ours was the last play on the second day. Each play was to be one hour’s duration with ten minutes given for changing sets. During our preparation time, Bajwa and I were sitting with the audience in uniform. When the curtain opened, we got up from the audience and performed on stage.
It was a riot. The audience roared with every dialogue. For example, at one stage, I told Bajwa that I could do the famous Rajesh Khanna’s Anand movie dialogue, “Babu moshaye, ye zindagi ek rang manch hai aur ham sabb ismein kaam karne wali kathputliyan; in kathputliyon ki dore ooper waale ke haath mein hai. Kab, kahan, kaise kis kis ko uthana hai ye koi nahin jaanata…ha, ha, ha…ha, ha, ha..(Sir, this life is a stage and we are like puppets on a stage; the strings of these puppets are held by God. Who, where, when would be lifted by Him, no one knows.” And Bajwa asked me on stage, “But, what has this got to do with the naval audience?” And then I told him that we could modify it…and I enacted the modified dialogue:
“Babu moshaye, yeh navy ek rang manch hai aur hum sabb is mein kaam karne waale afsar ya sailor. Ham sabaki dore DOP (Directorate of Personnel) ke haath mein hai. Kabb, kaise, kahan kis kis ka transfer ho jaaye yeh koi nahin jaanata..ha, ha, ha…ha, ha, ha…”
I espied C-in-C and his wife in the front row having side-splitting laughs. It was difficult to proceed from one dialogue to the other throughout the play as the laughter and applause won’t die down. No one could believe we could actually present a play, a humorous take on how we did things in the Navy or for that matter in the armed forces.
The jury was unanimous in voting for Hamara Drama as the Best Play and yours truly as the Best Actor.
I sang this song when the jury was deciding! The audience roared and literally begged the jury to give us all the awards!
The movie has been directed by another great Bengali Asit Sen and has our group’s (Yaad Kiya Dil Ne) heroine Usha Kiran acting opposite Kishore Kumar. The story is by Panchu Mukherji. The story is about a joint family consisting of four brothers, their wives, and their respective children, living under one roof. Some of the brothers are professionals, one a lawyer, a doctor, and others businessmen. They are a happy family, living and sharing each other’s joys and sorrows. Then one day, an argument breaks out over a glass of milk, and the entire family is thrown into chaos, and the only resolution seems to be nothing but dividing the entire property amongst the brothers and their respective families.
After the film was completed and the unit dissolved, according to an interview by the lead actress Usha Kiran, the unit members wept miserably, so strong was the bondage developed between members during the course of the film-making. The entire unit literally lived up to it’s name Parivar, meaning family.
And now, lets glance at who put this song together for Kishore Kumar to perform on the stage? Lyricist is Shailendra! Wow, how can anyone of his emotional set-up write something as funny as this? The composer is Salil da (another Bengali who, like SD Burman and RD Burman above, can give vent to the funny and light-hearted songs). The singer is Kishore himself.
Please enjoy: Kuve mein kood ke mar jaana, yaar tum shaadi mat karna…..
( kuve.n me.n ) -2 kuud ke mar jaanaa
yaar tum shaadii mat karanaa -2
mat karanaa -3
kuve.n me.n kuud ke …
dekhii dillii kii ek la.Dakii jisako dekh tabiiyat pha.Dakii
mukh se aah nikal ga_ii Tha.nDii andar-andar aag sii bha.Dakii
usakaa naam gharaanaa puuchhaa usakaa Thaur-Thikaanaa puuchhaa
apane dil kii uma.nge lekar pahu.Nchaa mai.n usake ba.ngale par -2
jaate hii jhuk ke salaam bajaayaa ##daddy## ko dil kaa bayaan sunaayaa
bhole-bhaale ##daddy## bole haa.N haa.N jii -2
haa.N haa.N jii
achchhaa Kyaal hai aapakaa diiji_e mujhe pataa apane baap kaa
aapake baap ko chiTThii ke zari_e bataa duu.Ngaa
jii achchhaa Kyaal hai aapakaa
chaay pilaa_uu.N ke Tha.nDaa ma.ngaa_uu.N oy hoy oy hoy
chaay pilaa_uu.N ke Tha.nDaa ma.ngaa_uu.N
ke muragii ke a.nDe kii bhurajii banaa_uu.N
chaay pilaa_uu.N ke Tha.nDaa ma.ngaa_uu.N
ke a.nDe khilaa_u.N ke bhurajii banaa_uu.N
ha.Ns kar jab vo la.Dakii bolii mere dil pe chal ga_ii golii
mere man ke bataashe TuuTe aakhir maan ga_e prabhu ruuThe
terii jay-jay ho karataar -3
ho terii jay-jay ho karataar ho -3
terii jay-jay ho karataar
are baap re
itane me.n aa gayaa usakaa bhaa_ii zaalim nikalaa ba.Daa hii kasaa_ii
kahane lagaa
mu.Nh aur masuur kii daal ve ( nikal jaa ) -2 yahaa.N se cha.nDaal ke bachche
( usakaa bhaa_ii thaa baaksar bhaarii ) -2 usane kii hamale kii taiyaarii
mai.n to dum ko dabaakar bhaagaa raste me.n bolaa man kaa kaagaa
kyaa kyaa
( kuve.n me.n ) -2 kuud ke mar jaanaa …
Funny Song #4
Munne Ki Amma yeh to bata…..
This song was put up by my sister Manik Chava Lakhkar with the following description:
“Good Morning Friends and now lets start with the Funny Songs Fest. But before that A very Happy Birthday to our active member Anindya … My first post is from the movie Tum Haseen Mai Jawan. Iss geet ke bol likhe hain Rajinder Krishan ne, sangeet diya hai Shankar Jaikishan ne aur swar diye hai Kishore Kumar and Pankaj ne.
Doston, ek mushkil hai – or rather ek paheli hai – jo geet mujhe funny lagata hai woh agar aap ko funny na lage to?
Khair, I hope aap ko bhi yeh geet Funny lagega. How does one define “Funny Song”? Going by the lyrics or by the picturization or by the situation?
In my opinion a song that make you want to chuckle is a funny song. I am posting one such song here. Let us see the lyrics first:
munne ki amma ye to bata, tere bete ke aba ka naam kya hai munne ki amma ye to bata, tere bete ke aba ka naam kya hai sach sach bata tu ham se na chupa, bol gori karta vo kam kya hai munne ki amma ye to bata, tere bete ke aba ka naam kya hai
fir se ro ro rha hai bin badal ki barkha hai ye, jane kha se tapka hai ye bin badal ki barkha hai ye, jane kha se tapka hai ye kya bin mage hi god bhari, patzdh dali hri hue kya bin mage hi god bhari, patzdh dali hri hue dekha rani juthe na aasu bha munne ki amma ye to bata, tere bete ke abaa ka naam kya hai munne ki amma ye to bata, tere bete ke abaa ka naam kya hai
rona mat rona mat ro mat chup kar chup kar besura ye baja ru ru ka, kambakt murbba chu chu ka besura ye baja ru ru ka, kambakt murbba chu chu ka
bukhe ko dud pila degi, to nahhi si jaan duaa degi bukhe ko dud pila degi, to nahhi si jaan duaa degi jhula jhula esko lori suna munne ki amma ye to bata, tere bitua ke aba ka naam kya hai are munne ki amma ye to bata, tere bete ke aba ka naam kya hai
me ban gae eski amma ji sadke, to eske aba ban jao me ban gae eski amma ji, tum eske aba ban jao tum mard ho tum kurbani do, is dhul ke ful ko apnao tum mard ho tum kurbani do, is dhul ke ful ko apnao nakhare na kar ese duddu pila munne ki amma ye to bata, tere bitua ke abua ka naam kya hai munne ki amma ye to bata, tere bete ke aba ka naam kya hai sach sach bata tu ham se na chupa, bol gori karta vo kam kya hai munne ki amma ye to bata, tere bete ke aba ka naam kya hai me marugi
If you have by now gone through the lyrics, I am sure you are smiling. Go through the video and you will laugh out loud… LOL…
This song is picturized on a Ship as the hero Sunil (Dharmendra) is a Naval Officer and so my friend Raj Dutta, Jaswant Singh Lagwalji and Ravinder PS Ravi bhaiyya will connect immediately with the picturisation. Rajendra Nath and Dharmendra are seen on screen with other cadets. Making merry and singing and laughing. The actions of Dharmendra and Rajendra Nath and their expressions qualify this song to be a part of Funny Songs Fest. Don’t just chuckle… laugh… enjoy”:
Here is the story from Wikipedia to understand the situation:
“Sunil (Dharmendra) is a navy officer, and has had numerous affairs with a number of attractive young women. One day he meets with beautiful Anuradha (Hema Malini), and falls in love with her. Anuradha too loves him, and she is introduced to his mom. Anuradha has another admirer in Ranjeet (Pran), who informs Sunil and his mom, that Anuradha is deceiving them, and is the mother of a baby boy. Sunil and his mother are shocked, and will have nothing to do with Anuradha. Then the child, in question, is kidnapped, and held for ransom. It is then Sunil comes to know the shocking truth behind the abduction, which will change his life forever.”
Songs with the actors cross-dressing are always funny. Here in this song, it is not just Rajendra Nath cross-dressed as a woman but also as the mother of the child.
Please enjoy: Munne ki amma ye to bata tere bete ke abba ka naam kyaa hai….
Funny Song #5
Saala main to saahab ban gaya
The hallmark of a great actor is that he or she is comfortable with playing all kinds of roles whether tragic, serious, mystery, sad and gloomy or even laughable, comic and funny.
Various great actors have won our hearts in this aspect. We have had songs from the great Amitabh Bachchan and we can think of Sanjeev Kumar and the modern day Devdas Shah Rukh Khan.
But, when an actor is dubbed as the Tragedy King because of all the lugubrious roles that he has undertaken and then he comes up with comedy (at least during the song), he is to be admired.
Yes, ladies and gentlemen, I am talking about the great Dilip Kumar. He acted in the title role in the 1974 Tapan Sinha movie Sagina that also starred his wife Saira Bano and Om Prakash. Four years before that, in 1970, Tapan had made the same movie in Bengali, Sagina Mahato with the same actors.
“Sagina is a factory laborer, and aggressive, honest and lovable character who was the first to fight against the tyranny of the British bosses in the Tea gardens of North-Eastern India”.
With this background you would understand the song and why it is so brilliantly funny! He isn’t aping the British (as in Mehmood’s Jodi hamaari). Dilip Kumar here is making fun of them!!
Now that we have finished (for the time being) with the great actor, lets take on the brilliant composer SD Burman. He was the master of classical based songs such as Poochho na kaise maine rahn bitaayi. He was the best in the Hindi movies in assimilating the western guitar in his songs (eg, Ye rat eye chandini phir kahan). And, he has the best comical sounding music in Hindi films: Ik ladaki bheegi bhaagi si. No wonder his son RD Burman too could handle from ultyra serious to ultra comical. This one does justice to the funny situation of the song.
There are two other Bengalis who helped to make this song great and funny: Kishore da singing for Dilip Kumar and Pankaj Mitra singing for Om Prakash. Kishore too, could tackle all kinds of songs from Beqraar dil tu gaaye jaa to the ultra comical (Ek chatur naar). Pankaj Mitra’s role is only to remind Dilip Kumar of his rustic and poor background.
And finally not too far from Bengal, we have Majrooh Sultanpuri. He gave us those lovely and sad songs from Mamta such as Rehate the kabhi. And then he gave us Do ekum do, do dooni chaar from (I think) Dil Deke Dekho.
Truly, all these greats getting together to make a funny song for our own Tragedy King speaks of their genius. The lyrics are very funny and the way Kishore Kumar says Landhan (London) makes it even funnier.
There is nothing funnier than role playing. Since the morning we have had songs with men role playing women, as pregnant women too. Now here is a slave (that’s how the British treated us) role playing his masters and making them look laugheable.
Go to my native state Punjab and you would hear them deliberately mis-pronouncing English words in order to make them laugheable and funny. Bengalis are like Punjabis in this respect: hot blooded but ready to laugh at anything.
Hidden in the comicality of the song, is a message for the present day saahabs to get back to India and Indian way of doing things.
Please enjoy: Saala main to saahab ban gaya….
kishor:
( saalaa mai.n to saahab ban gayaa
are, saalaa mai.n to to saahab ban gayaa, hai.n
re, saahab banake kaisaa tan gayaa
ye buuT meraa dekho, ye suuT meraa dekho
jaisaa goraa koii lanaDhan kaa, haa! ) -2
pa.nkaj:
suurat hai bandar kii phir bhii lagatii hai alabelii -2
kaisaa raajaa bhoj banaa hai meraa ga.Nguu telii
kishor:
teraa ga.Nguu telii !?
tum la.ngoTii-vaalaa na badalaa mai.n na badalegaa
tum sab saalaa log kaa kismat, ham saalaa badalegaa
ham saalaa badalegaa
haa.N, ham saalaa badalegaa
haa … (khaa.nstaa hai)
siinaa dekho kaisaa tan gayaa !! haa haa haa …
(ha.Nsate hu_e) saalaa mai.n to …
Funny Song #6 Mere angne mein tumhaara kyaa kaam hai…
We are now at the half-way mark. This song was put up by another friend Jaswant Singh Lagwal with the following description:
“What Is Funny about the Song: Friends, no life without wife. And almost everyone who desires, gets one and has a life. But, it is also true that to the majority … Biwi hamesha doosre ki hi achchhi lagati hai (I being in minority). Most husbands dislike secretly their wives on one pretext or the other and have sharp eye on the others’ (I not being in those most). Now this is not fair at all. This is not a simple matter and it has to be included into the most serious and dangerous social evils. It must be the foremost task at the hands of the authorities; though it may not be able to solve this but it must be there in its agenda. Other organaizations including all the eminient babaji etc must also come to the forefront and try to solve this social evil. We can take lesson and derive motivation from filmwallas how they are so sincerily working to eradicate this evil. Now take this song, how by just one song, Amitabh Bachchan, Anjaan and Kalaynji Anandji almost convinced all the husbands of India that they all are bade bade naam waale if and if they have such and such kinds of wives. Now who do not want to be a bade naam waala? In that attempt the secret hate will certainly atleast convert into deliberate love.
This song with funny lyrics and an added super comical performance by Amitabh in drag wears gives nice tribute to all kinds of wives be they fat, tall, dark skinned or fair skinned. A great feat towards miyan-biwi harmony, as it will definitely drastically reduce Miyan Biwi ki ladaai.
Friends, first of all , I welcome you all in the Funny songs fest. We are already in the month of April and weather, too everywhere, is fine and pleasant and in that Ravi Sir is not at all wrong in bringing out a Song fest based on pure fun and there seems no reason not to have fun all around and that too in the fest. In a quite funny mood, here, I present my first number of the fest. Mere Angne mein………. And it is from the movie Laawaris released in 1981 directed by Prakash Mehra and starring Amitabh Bachchan, Amjad Khan and Zeenat Aman.
The film became known for its hit song “Mere Angene Mein, Tumhara Kya Kaam Hai” rendered twice: the first time by a young Alka Yagnik who earned her first Filmfare nomination as best female playback singer, and the second time by Amitabh Bachchan. The second version turned out to be a mega hit . Even today the song is popular as it was then.
In Urdu, “Laawaris” means bastard or loosely means orphan. Although the word has a negative connotation, it is not as negative as the English connotation. The story revolves around an orphan who stumbles upon reality in search for his parents. A child born of an illegitimate relationship is named Heera after the name of a dog by a drunkard who makes him work hard for liquor. After knowing that he is a Laawaris (orphan), he leaves home looking for a job with Ranjeet. Fate brings Heera and his biological father together. Will they ever know about the relation between them? What happens if they find out about it?
The film was an ‘All Time Highest Earner’ that year, got highest verdict present at that time by Trade Guide [Bollywood boxoffice magazine], and was among those rare movies, which crossed 2 Crore per territory. There was only 13 All time earner [Crossed 1 Crore per territory] movies till 1984 and Laawaris was among them.
It earned additional Filmfare nominations for Best Actor (Amitabh Bachchan) and Best Supporting Actor (Suresh Oberoi).
The film is remembered for Amitabh Bachchan’s over-the-top acting and fiery dialogues using his all famous Bachchan-baritone, his charismatic and stylish screen presence.
It was another movie of Prakash Mehra where the ending have similarity with the ending of Namak Halal with his favourite villain Ranjeet and Satyen Kapoo.
This film was remade as Naa Desam, in Telugu in 1982, starring NTR, Kaikala Satyanarayana and Jayasudha.andPanakkaran, in Tamil in 1990, starring Rajinikanth, Vijayakumar and Gouthami.
Song : Mere Angne Mein Music : Kalayanji-Anandji Lyrics : Prakash Mehra & Anjaan Singers : Amitabh Bachchan & Alka Yagnik”
Please enjoy: Mere angane mein tumhaara kyaa kaam hai…
La la la la…
La la la la…
La la la la…
La la la la…
Mere angne mein
Mere angne mein tumhara kya kam hai… (2)
Joh hai naam wala
Arre joh hai naam wala wahi toh badnaam hai
Mere angne mein tumhara kya kam hai
Jiski biwi lambi usska bhi bara naam hai… (2)
Kothe se lagado
Arre kothe se lagado seerhi ka kya kam hai… (2)
Mere angne mein tumhara kya kam hai
Jiski biwi moti usska bhi bara naam hai
Jiski biwi moti, o moti, o moti, o moti moti moti
Jiski biwi moti uska bhi bara naam hai
Bistar pe litado
Bistar pe litado gaade ka kya kam hai… (2)
Mere angne mein tumhara kya kam hai
Jiski biwi kali usska bhi bara naam hai… (2)
Aankhon mein basalo
Aankhon mein basalo surme ka kya kam hai… (2)
Mere angne mein tumhara kya kam hai
Jiski biwi gori uska bhi bara naam hai… (2)
Kamre mein bithalo
Kamre mein bithalo bijli ka kya kam hai… (2)
Mere angne mein tumhara kya kam hai
Jiski biwi choti usska bhi bara naam hai… (2)
God mein bithalo, haan haan haan
God mein bithalo bache ka kya kam hai… (2)
Mere angne mein tumhara kya kam hai
Mere angne mein tumhara kya kam hai… (2)
Joh hai naam wala
Arre joh hai naam wala wahi toh badnaam hai
Mere angne mein, haan mere angne mein
Haan mere angne mein tumhara kya kam hai
https://www.youtube.com/watch?v=lM3l1duDPmg
Funny Song #7
Meri bhains ko danda kyun maara….
When it came to Shankar Jaikishen and Raj Kapoor, I had several songs to choose from and then I short-listed two of them. One, from Raj Kapoor’s classic Mera Naam Joker, that is, Ai bhai zaraa dekh ke chalo. I soon rejected it when I realised that the movie and the song, though outwardly comical with comical name, is actually very serious life movie and that Raj Kumar has used comedy to send a serious message. The second one is from Shree 420, one of the rare songs that has a funny punchline in every stanza: Yes, I am talking about Dil ka haal sune dilwaala. One of the punchlines is:
Bole ye kyaa kar baithe ghotala,
Haay ye kyaa kar baithe ghotala,
Ye to hai thaanedaar ka saala!
Both the songs have been sung by Manna Dey, the ace classical singer in Hindi movies. Yes, they laugh in the songs but somehow I didn’t find them as funny as this third song from Shankar Jaikishen. It is not picturised on Raj Kapoor but on his brother Shammi Kapoor.
Who should you laugh at whilst listening to this song? Yes, the obvious choice is Shammi Kapoor since he was enacting (in his own words this is the most challenging role that he ever did) the title role of the 1969 movie Pagla Kahin Ka. But, after a little while into the movie, you realise that if Shammi Kapoor is to be called Pagla or Crazy or Mad, we in the society are all even more Mad and Crazy. A pagla is a simpleton whereas we find complex characters in the society who don’t make us laugh and smile but make us wince and cry.
Once again Manna Dey, the often very serious classical singer is the comic singer. And guess what? Hasrat Jaipuri who made name for himself with such deep songs as Rasik balmaa and such romantic numbers as Masti bhara hai samaa, also wrote this delightfully farcical song. Goes to prove that all of us have a funny bone somewhere.
For the situation and the acting, I leave it entirely to you (Hint: you will have to watch the song and dissipate 5 mins 10 seconds of your precious time).
This is one funny song wherein the lyrics, notes, sitaution and acting is not just funny but maddeningly farcical.
Please enjoy: Mei bhains ko danda kyun maara….
Meri bhains ko danda kyun maara?
kyu mara kyu mara kyu mara kyu mara
kyu kyu kyu kyu kyu kyu kyu meri bhais ko danda
meri bhais ko danda kyu mara wo khet me chara charti thi
tere bap ka wo kya karti thi meri bhais ko danda kyu mara
wo khet me chara charti thi tere bap ka wo kya karti thi
meri bhais ko danda kyu mara
wo laddu pede khati hai wo pedo pe chad jati hai
wo laddu pede khati hai wo pedo pe chad jati hai
ye machhar been bajate hai wo apna rag sunati hai
wo thumak thumak nache jam mai dil ka bajau
mai dil ka bajau ek tara meri bhais ko danda kyu mara
wo khet me chara charti thi tere bap ka wo kya karti thi
meri bhais ko danda kyu mara
are ghar ka ye station hai or jhandi pyari pyari hai
are ghar ka ye station hai or jhandi pyari pyari hai
hum sab to rail ke dibbe hai wo apni eingine gadi hai
wo gussa jab bhi karti hai to ban jati hai
ban jati hai angara meri bhais ko danda kyu mara
wo khet me chara charti thi tere bap ka wo kya karti thi
meri bhais ko danda kyu mara
bandhu re bandhu re wo jan se badhkar payari hai
badhu re bandhu re kya bolu mai kya bolu mai
ek katari hai bandhu re bandhu re wo jan se badhkar payari hai
kya bolu ek katari hai wo jan se badhkar pari hai
kya bolu ek katari hai kajrari uski ankhiya hai
viswas se apni yari hai maine to apni kallo ka nam rakha
hai nam rakha jaha nara meri bhais ko danda kyu mara
wo khet me chara charti thi tere bap ka wo kya karti thi
meri bhais ko danda kyu mara wo khet me chara charti thi
tere bap ka wo kya karti thi meri bhais ko danda kyu mara
wo khet me chara charti thi tere bap ka wo kya karti thi
meri bhais ko danda kyu mara wo khet me chara charti thi
tere bap ka wo kya karti thi meri bhais ko danda kyu mara
https://www.youtube.com/watch?v=gP4jHdxko4g
Funny Songs #8
Muthukodi kawaadi hadda….
In the Funny Song #1 above, I didn’t give you the Jhoola song that Sumedha Nair had put up (though I gave you her sterling description) but opted for the more hilarious Padosan number with the same mukhada: Ek chatur naar…
Here is then one by her that is really funny with her own description:
“Whats funny is (no I don’t mean in this song, I’ll come to that later) that so many titles of films are repeated over and over again in India and so many remakes. Now for instance this ‘Do Phool’ was made in 1973 but earlier same name in 1958. Later this story was copied for a film Aankhen. And Aankhen is being made again with new cast. Do Phool was a remake of Tamil film which was later remade in Kannada. Can understand it if all these were some super classic stories and had to be showcased again n again …
The song muthukodi kawaadi hadda is a direct lift from a Tamil film. Mehmood wanted it and RD Burman obliged, he couldn’t have said no to the producer. The first two words mean – Give me a kiss. Wow that would take you to a special scenario, a girl, a boy, picturesque setting, candle lights, water, beaches and whatnot. What do we get? Water yes, beaches yes, lots of trees yes – coconuts 😀, Hero and the heroine of the song yes, but do we get tender moments – No, Give me a kiss? Ok take it but you have to catch me first. Hilarious! So they play catch me if you can around the trees, they wrestle on the beach, they also perform couple of Bharatnatyam steps. And while all this is going on, I can well imagine the audience in the theatre laughing and whistling and clapping.
Mehmood was one of our best comedians but he could do serious roles with great intensity too. His acting in ‘Aa ri aaja nindiya tu’ can bring tears to any eyes then why would he take meaningless roles with bad comic timing is beyond me. Though he sang well in this song along with Asha Bhonsle.
This song for me is very funny not in its literal sense though.
Lyrics Muthukodi kawadi hadaaMuthukodi kawadi hadaa aiyyo Muthukodi kawadi hadaaMuthukodi kawadi hadaa aiyyo re pyaar me jo na karna chaahawo bhi mujhe karna padaa haaa ha haa aa Muthukodi kawadi hadaaMuthukodi kawadi hadaa aiyyo re pyaar me jo na karna chaahawo bhi mujhe karna padaa aiyyo da aiyyo aiyyo Muthukodi kawadi hadaaamme Muthukodi kawadi hadaa kahta tha chaahoon tujhko jee se tu to ghabraata hai abhi se amme amme gale lag jaa re phir dikhaa doon achaa haan dharti oopar hai swarg neeche ui maa thoda to duniya se dar le yende karle yende karlena maane bedardi aiyyo daaiyyo daaiyo aiyyo Muthukodi kawadi hadaaamma Muthukodi kawadi hadaaaiyyo re pyaar me jo na karna chaaha wo bhi mujhe karna padaaaiyyo amma Muthukodi kawadi hadaaamme Muthukodi kawadi hadaa kar detaa hai re mujhebekal kal kal kal kal kal kal seene se gir ke tera aanchallahala lahala lahala laha laha dagmag chalke na gir padoon mainphir kyaa matwaale mujhko thaam ke chalammaseena taane baanhe taane aisi ye mastaani doledole jaise daaru ka ghadaaaiyyo amma Muthukodi kawadi hadaaamma Muthukodi kawadi hadaaaiyyo re pyaar me jo na karna chaahawo bhi mujhe karna padaa aiyyo da amma Muthukodi kawadi hadaaammaMuthukodi kawadi hadaaaiyyo re pyaar me jo na karna chaahawo bhi mujhe karna padaa aiyyo da aiyyo aiyyo Muthukodi kawadi hadaaamme Muthukodi kawadi hadaaaiyyo Muthukodi kawadi hadaaaiyyo daa amma Muthukodi kawadi hadaaamma Muthukodi kawadi hadaaMuthukodi kawadi hadaa Muthukodi kawadi hadaa”
Please enjoy: Muthukodi kawaadi hadda….
Funny Song #9
Lambu ji lambu ji bolo tingu ji……
When Sumedha Nair put up the predecessor of the song in the cover picture of the Fest (Ek chatur naar that I didn’t eventually put up in the Fest), she was adamant that I should put up mine also. I told her that when PG Wodehouse wrote his ‘Summer Lightning’, it was pointed out to him that a novel by that name, by another author, already existed. So, in the introduction to his book, PGW wrote, “I hope mine will be in the first ten books titled Summer Lightning.”
It is only so long that one can go on repeating songs!
I have plenty up my sleeve and here is a really funny one.
Manmohan Desai, the director of popular though trash movies, compared himself with – hold your breath – Satyajit Ray; a similar comparison can only be between Ludhiana and London! And why did he do so? He said, “Ray and I both make movies about poor people; only in my movies they become rich during the movie itself”.
MD decided to make movies initially about two brothers having been lost: he called them Dharam and Veer. Seeing the success of that, he tried it with three brothers: Amar, Akbar and Antony. At last count, he had brothers galore in every nook and corner.
He directed the 1983 movie Coolie. The movie, even before it was made, was made famous by a fight scene between Amitabh Bachchan and Puneet Issar that nearly showed AB the door to heaven that his celebrated dad Harivanshrai Bachchan often alluded to in his poems.
The contest between AB and PI wasn’t the only contest in the movie. In the song for which I have put up the mukhada above, there is one between Amitabh Bachchan as Lambu ji and Rishi Kapoor as Tingu ji. They are literally the Spy Vs Spy team trying to woo a lady-love. In just one song sequence the total story of their tooth-and-nail contest ends. Throughout the song they are wanting the other one to keep clear of her. At the end of the song, after meeting the parents, and realising that there is no dowry (a humorous take on dowry!) they are palming off her to the other!
It is such a funny situation that, in case you have forgotten, you have to see for yourself.
The movie was, of course, edited by Hrishikesh Mukherjee who is adept at making light comedies that are meaningful too.
The song is a tribute to the most abiding and most popular pairing of a lyricist with music director in the Hindi movies. As I have said many times earlier too, they have the maximum songs for which the Binaca (later Cibaca) Geetmala bugle was sounded. Yes, ladies and gentlemen, I am talking about Anand Bakshi and Laxmikant Pyarelal. The singers are Shailendra Singh and Shabbir Kumar for the Lambu and Tingu respectively.
Please put your hair down and enjoy the story of an ultimate comedy in the duration of just one song: Lambu ji lambu ji, bolo tingu ji….
lambuji lambuji bolo tinguji, lambuji lambuji ha bolo tinguji
mere raste me tang na adana mere raste me tang na adana
iss kanya ko hath na lagana ho hath na lagana
yeh tinguji tinguji bolo lambuji, tinguji tinguji ha bolo lambuji
mere raste me tang na adana mere raste me tang na adana
iss kanya ko hath na lagana ho hath na lagana
tinguji tinguji bolo lambuji, lambuji lambuji bolo tinguji
ha dekha isse maine tumse pehle, dhundha maine isse tumse pehle
ha dekha isse maine tumse pehle, dhundha maine isse tumse pehle
par ley rahi hai yeh nam mera, chhodo ji yeh hai inam mera inam mera
lambuji lambuji bolo tinguji, mere gusse ko na nind se jagana
iss kanya ko hath na lagana, ho hath na lagana
lambuji lambuji kya bolo tinguji
madras se mai aya hu bombay, raste me ho gaye tum kitne lambe
lambi uidane kad kitna chota
iss khel me kya chota kya mota kya chota kya mota
lambuji lambuji bolo tinguji, lambe kad ka na rob too jamana
iss kanya ko hath na lagana ho hath na lagana
lambuji lambuji o bolo bolo tinguji
laya nahi isko bhagakar, yeh faisala karega iska father
laya nahi isko bhagakar, yeh faisala karega iska father
kar dale na yeh kissa barabar, dono ka yane hissa barabar
lambuji lambuji bolo tinguji, ladki hai yeh nahi koyi khajana
iss kanya ko hath na lagana ho hath na lagana
hath na lagana hath na lagana, lambuji tinguji
https://www.youtube.com/watch?v=K-I3DvoH8MQ
Funny Song #10 Pag ghungroo baandh Meera nachi thi….
This song was put up by my friend Vipan Kohli with the following description:
“What is funny about thus song? Just watch Amitabh Bachhan and the other actors performing on this song to find the answer to this question. Particularly watch Amitabh’s dance steps and the antics of the drunkard guest of the hotel.
This song from Namak Halaal is an awesome song. Just listening to this song cheers one up. Kishore Kumar has sung the song so well and with such enthusiasm that one can feel the enthusiasm every time one listens to this song.
Not just Kishore Kumar, everyone associated with the creation of the song seem to have caught the enthusiasm bug. When everyone is so keyed up, then the result has to be a wonderful song, and indeed this song is a memorable song. Lyricist Anjaan, as well as Bappi Lahiri, the music director and his team have freaked out and have come up with an amazing song.
So far, I have only talked about the audio. The picturisation matches the audio just as well. In fact, the picturisation just before the song begins is also worth watching. The entire picturisation, before the first word of the song appears, sets the tone for a wonderfully hilarious and light hearted experience. Amitabh Bachchan, with the picturisation of this song, enhanced his reputation as an actor with great comic sense. The supporting cast, especially the actor who is determined to shake the hand of Amitabh, only to get rebuffed each time, Ranjit- the hotel manager, Ram Sethi- the photographer friend of Amitabh, everyone have contributed in making this song a great visual experience.
Namak Halal is a 1982 movie about a youngster named Arjun Singh who is the son of Bhim Singh, the bodyguard and a loyal employee of Seth Raja Singh. Bhim Singh and Seth die at the hands of Girdhar Singh Seth Raja’s step brother. Seth entrusts the custody of his properties and his son Raj Kumar to Bhim Singh’s wife Savitri Devi. Savitri promises to Bhim Singh that she will take care of Raj Kumar under all circumstances. She hands over her own son Arjun to the care of her father in law Dashrath Singh.
Young Arjun (Amitabh Bachchan) is brought up by his Daddu (Om Prakash). His Daddu decides for him to go to the city in search of a new job and life. Arjun reluctantly agrees, and re-locates to Bombay. While in the city he meets up with Bhairon (Ram P. Sethi) who guides him into finding a job as a servant in a 5-star hotel owned by Raj Kumar aka Raja (Shashi Kapoor). While in the hotel, Arjun meets Poonam (Smita Patil) and falls in love with her. Arjun is very loyal to the owner, Raja. He also looks up to Savitridevi who manages the hotel, until he finds out that Savitridevi is his biological mother, and that the Raja believes that she is involved in a plot to kill him. During this time, many attempts are made to kill Raja by the one and only Girdar Singh (Satyendra Kappoo) and his son Ranjeet (Ranjeet). All these attempts are thwarted by Arjun. Finally goons kidnap Arjun’s and Raja’s family members and blackmail them to transfer all his property to Ranjit’s name. Arjun and Raja beat all bad guys and save their loved ones. Raja marries Nisha and Arjun marries Poonam at the end and they reconcile with their mother Savitri.
Amitabh in the role of Arjun is a laugh riot. I particularly liked his English speaking skills at the interview “I can talk English I can laugh English because English is a very Phunny language. You see Bhairon becomes Bhairan and Bhairan becomes Bhairon because their minds are very Nairon.” This movie was Amitabh all through. His performance on this song remain in my memory till date and will continue to be there till I breathe my last.”
I have to add and the movie and the song are dear to me sincde this was the last movie that I saw with my dad before he died of a jeep accident. It is unforgettable comedy by Amitabh, poking fun at the usurpers and evil people. And yet, when he sees the love of his life, Smita Patil, he suddenly turns serious: mausam-e-ishq mein machale huye armaan hain ham.
Imagine Bappi Lahiri composing it in a royal raag: Raag Darbari Kanada!
So ladies and gentlemen enjoy this must watch audio visual treat:Pag ghungroo baandh Meera nachi thi….
Buzurgon ne,
Buzurgon ne, farmaya ki pairo mein apne khade hoke dhiklavo
phir yeh zamana thumhara hai,
zamane ke sur thaal ke saath, badthe chale jaao
phir har taraana, fasaana tumhara hai
arey tho lo bhaiya hum, apne..
pairon pe oopar, khade ho gayeeeeey,
aur milalee hai taal
dabha lega daanton thale ungliyaan…liyaan..
yeh jahan dekh kar, dekh kar
apnee chal…<WAH WAH> <WAH WAH>
Dhanyavaadh…
Ki pag ghunghuroo baandh, meera naachithi
aur hum naache bin ghunguroo ke
Ki pag ghunghuroo baandh, meera naachithi
woh theer bhala, kis kaam ka hai
jo theer nishane se chooke chooke chooke rrre..
ki pag ghunguroo…
<Sa sa sa> <ga ga> <ree ree> <sa ree ree> <ga ga ga> (2)
<pa pa pa> <pa pa> <ma ma> <ga ree ree> <ma ma ma> (2)
<pa nee sa>(2)…<ma pa nee>(2)
<re re re re> <re ga> <re ga> <re ga>
<pa ni da ni sa……..?????????>
<pa ma ga ri sa ni da pa da>(3) PHEW!!!!!!
MMMMMMM…..
aap andhar se kuch, aur baahar se kuch aur nazar aathe hain,
bakhuda shakl se tho, CHOR nazar aathe hain,
umr guzri hai saari chori mein
saare sukh cheyn bandh, jurm ki thijhori mein
aap ka tho lagta hai bas yahi sapna
ram naam japna paraya maal apna (2)
vatan ka khaya namak tho, namak halal karo,
farz imaan yahan zinda misaal bano
paraya dhan, parayi naar pe nazar math dalo
buri aadath hai yeh, aadhath abhi badal dalo
kyon ki!!!!
yeh aadath to, woh aag hai jo
????????
Mausam-e-ishq mein machle hua armaan hai hum
aisa lagta hai ki do jism ek jaan hai hum
aisa lagta hai to lagne mein kuch burai nahin
dil yeh kahta hai aap apnee hai, parayee nahin
Sangemarmar ki hai, koi moorath ho tum
koi dilkash badi, khoobsurat ho tum
dil dil se milne ka koi muhurat ho
pyaase dilon ki zaroorath ho tum
dil cheer-ke, dikhladoon mein,
dil mein yahi, soorath haseen
Kya aap ko lagtha nahin,hum hai mile pahle kahin..
kya des hai, kya jaath hai,
arey chodiye inn baaton se,
hamko bhala kya kaam hai
ajee suniye tho….hum aap miley
to phir ho shuru
afsaane laila, majnu laila majnu ke…
Ki pag ghunghuroo………
https://www.youtube.com/watch?v=cTvUrpSr9ck
Funny Song #11
Rukmani rukmani shaadi ke baad….
In my list of Top Twelve Funny Songs in Hindi movies, I am steering clear from any more cross-dressing songs though several more were put up. One of these from the 1975 movie Rafoo Chakkar, put up by my friend Raj Dutta had Rishi Kapoor and Paintal enetering the railway compartment of ladies only by cross-dressing as females. However, here is my attempt to give you another genre’ of Funny songs: the subtle humour that is.
And this is subtle humour at its best.
Let me build up to it. The subject of sex is privately our most favourite topic. Some of us (including me) spend more time thinking of sex than about anything else. God is often a distant second. But, we are shy to discuss it in public!
DN Chakrapani was the greatest cricket commentator that India ever had. It was during those days when we used to listen to commentary on the Short Wave radio and through commentary only imagine the scene. Well, one day, when India was playing against England (that time it used to be India Vs MCC) at Lord’s in London, a man streaked and ran around naked in the stadium. Here is what DNC had to say about it, “Old ladies in the crowd can now see what they haven’t seen for quite a while”. This song has that element too.
Someone has said and with great justification that there is nothing funnier than love-making or sex! I mean, just imagine, it is almost like wrestling. The only difference is that instead of winning, both the partners are trying to lose. A famous cartoon of two kids shows them naked with the boy standing on the head of the girl with this caption from the boy: “So, okay, we are rid of our clothes now and I am on top of you. I wonder when the delirious fun would start?” And the girl, bearing his weight on her head says, “I don’t know about fun; but, now I understand why mom complains of headache everytime dad wants sex”!
It is as funny as that.
It is a fact that though we don’t want to admit it, we all have a degree of voyeurism in us. Not only, our own sexual experiences excite us but even those of others do fascinate us. A latest whatsapp forward, for example, has this guy on his honeymoon night giving his Facebook status update, “We are now in the bedroom” and whole lot of his friends comment, “We are there with you Aslam bhai. Don’t be scared. Just keep telling us what is happening”.
Talking about status updates, showing sexual prowess, at least in bragging, is an art. Three of these close buddies get married on the same date and go to the same hotel for honeymoon. They said when they meet for breakfast they would tell one another about the number of times. But, it would be too crude and too direct and the ladies would be offended. So they devised a code. They would wish each other ‘Good morning’ with the number of times that they managed.
Next day, in the breakfast room, Sandeep was the first one there. Soon, Deepak joined him and wished him, “Good morning, good morning”. To this Sandeep heartily responded, “Good morning, good morning, good morning”.
Having settled the score between them, they awaited Amrik Singh to join them. Amrik Singh (totally bedraggled) joined in with his wife Kartar Kaur looking fresh as a daisy. Sandeep and Deepak greeted him with their specified number of Good mornings. There was no immediate response from Amrika. They goaded him to say something. Then in a frail voice, Amrik muttered, “Good morning, good morning, good morning, good…….until morning”!
As I said, we are shy to discuss sex in public though Indians, taditionally, use more sex than the rest of the world (the whole world is now concerned that through this obsession with sex, every one in six person on earth is an Indian).
In the movie, of course, it requires more sensitive handling. This sensitivity, excitement, and voyeurism has added to the funny quotient of this remarkably well choreographed song from the 1993 movie Roja starring Arvind Swamy and Madhu. Mani Ratnam won accolades for the movie even more than he did for Bomaby. Many also feel that AR Rehman‘s music in this movie is par excellence; much much better than the Jai Ho number for which he got Oscar.
Shweta and Baba Sehgal have sung this song. Lyrics are by PK Mishra. I heard Baba Sehgal last November in Bacardi Weekender at Pune. He hasn’t lost his penchant for really funny songs.
In the meantime, please enjoy: Rukmani, Rukmani, shaadi ke baad….
rukamanii rukamanii shaadii ke baad kyaa-kyaa hu_aa
(o rukmani! what all took place after the marriage)
shaadii ke baad kyaa kyaa hu_aa
kaun haaraa kaun jiitaa
(who won and who lost)
khi.Dakii me.n se dekho zaraa
(peek a little into the window)
baa.Nho.N me.n hai.n baa.Nhe.N Daale miiThii baate.n hone lagii.n
(putting arms in the arms, sweet talks started)
khaTiyaa pe dhiire-dhiire khaT-khaT hone lagii
(slowly the bed started making noise)
aage piichhe hu_aa to chhaT-paT hone lagii
(when they went ahead of went back then it started persisting)
chaachii tujhe baa.Nho.N me.n Daalaa hogaa chaachaa ne
(o aunty, the uncle must have put you in his arms)
maamii tujhe pyaar se chhe.Daa hogaa maamaa ne
(o aunty, the uncle must have sneered at you with love)
chhoTii sii dulhaniyaa ne piyaa ko sataayaa hogaa
(the little bride would have tortured the husband)
haath jo.D balamaa ne gorii ko manaayaa hogaa
(the husband would have clasped hands to appease the fair girl)
piyaa ne god me.n phir biThaayaa pyaar se
(then after the husband would have taken her to sit in his lap)
ek baar dil se phir lagaayaa pyaar se
(once again he would have again embraced her to his heart)
u.Ngalii se chhu_aa hogaa kaa.Np ga_ii gorii tab
(when he would have touched with finger then the fair girl would have shivered)
kaamadev mast ho ke naachane lage the tab
(the the god of sex had broken into dancing with enjoyment)
bi.ndiyaa chamak ga_ii chuu.Diyaa.N khanak ga_ii.N
(the forhead jwelery started shining, the bangles started crackling)
mile do badan to ye javaanii khil ga_ii
(when the two bodies met, then the adulthood bloomed)
zamii.n-aasamaa.N kii har Kushii tab mil ga_ii
(then they achieved every happiness of the land and the sky)
https://www.youtube.com/watch?v=j4e_DmnoODk
Funny Songs #12
Jori hamari jamega kaise jani…..
I have a dilemma now. I had decided to give only twelve songs and this is the last one. Already the blog-post is quite long. In this much length of post, my friends from IndiBlogger would have given twelve posts and many of them as many as two to three dozen posts!
I have such really funny songs still remaining from the Fest such as:
Parody of Pritam aan milo from the comi-drama Angoor based on Shakespearian play Comedy of Errors put up by Manik Lakhkar Chava.
Aao aao aao sawariya from the movie Padosan put up by Nitin Shringarpure.
O meri pyaari Bindu from Padosan put yup by Vipan Kohli.
Ham to mohabbat karega from Dilli Ka Thug by Maj Vishwas Mandloi.
Wo pari kahan se laayun from 1970 movie Pehchaan by Anindya Chatterjee.
Sun sun sun didi tere liye from Khoobsurat by Manik Lakhkar Chava.
Sar jo tera chakraaye from Pyaasa by Vipan Kohli.
Aslam bhai from Love Ke Liye Kuchh Bhi Karega by Nitin Shringarpure.
Emotional atyaachaar from Dev D by Sumedha Nair.
Ae meri meri johra jabeen from Phir Hera Pheri by Raj Dutta.
I have, however, opted for the following:
Funny Song #12
Jodi hamaari jamega kaise jaani….
This was put up by my friend Sumona Jaswant Grewal with the following description:
“It is from the flm Aulaad. This film released in 1968 had Jeetendra, Babita, Mehmood, and Aruna Irani in main roles. This song a comic one was picturised on Mehmood and Aruna Irani, while Mahmood was at the peak of his career as top comedian and Aruna was just a new comer. I liked this song as not only its lyrics create comedy in itself but Mehmood’s imitation of Hollywood comedian Charlie Chaplin created very good comedy for those who had never seen Charlie Chaplin thinking this action belonged to our comedian and for those who had already watched Charlie this was very close imitation. Not only dressing but even acting and walking and other actions with small stick in hands matched perfectly. Chitragupta had created music for this movie, Majrooh Sultanpuri wrote the lyrics and Manna Dey and Asha Bhonsle sang this in comedy style.”
One has to give full marks to Chitragupta for seamlessly fusing Western pop tune with Indian one. Full marks also to both Mehmood and Aruna Irani for their acting. Majrooh’s take on crazy fascination of the youth for all things Western is also to be admired.
Please enjoy: Jodi hamaari jamega kaise jaani…
jodi hamari jamega kaise jani
jodi hamari jamega kaise jani
ham to hai angreji tum ladki hindustani
tumko bhi mushkil mujhe bhi pareshani
tumko bhi mushkil mujhe bhi pareshani
bat mano saiya ban jao hindustani, jodi hamari
angreji mulak me kitna romance hai
bahar kaa chokari kitna advance hai
angreji mulak me kitna romance hai
bahar kaa chokari kitna advance hai
dekhe bina kabhi koyi itane pyar se
mukhde pe laj ka ancharva dar ke
khilti hai ghunghat me jawani
jodi hamari jamega kaise jani
jodi hamari jamega kaise jani
bat mano saiyan ban jao hindustani, jodi hamari
baho me tham ke do ghanta roj me
tumko shikhlayega ulfat ka poz me
baho me tham ke do ghanta roj me
tumko shikhlayega ulfat ka poz me
daiya re nain ka kajra na chhut jayey
jhankoro na piya jhumka na tut jayey
ro degi dekho tumhare dil ki rani
tumko bhi mushkil mujhe bhi pareshani
tumko bhi mushkil mujhe bhi pareshani
ham to hai angreji tum ladki hindustani, jodi hamari
lau me kat du lambi lambi yeh lat
tumko to hir se banana hai juliet
lau me kat du lambi lambi yeh lat
tumko to hir se banana hai juliet
yun na pagal bano dekho re balma
chila ke shor me kar dungi jalima
julfen ghata ki naa dungi me diwani
jodi hamari jamega kaise jani
jodi hamari jamega kaise jani
ham to hai angreji tum ladki hindustani
tumko bhi mushkil mujhe bhi pareshani
tumko bhi mushkil mujhe bhi pareshani
bat mano saiyan ban jao hindustani, jodi hamari
https://www.youtube.com/watch?v=zWAKBMvILpY
So that’s my list of the Top Twelve Funny Songs in Hindi movies. With the deluge of such songs, I am sure you would have your own list. You may share with me in the comments below.
तुम रूठो तो मेरी गलती, मैं रूठूँ तो मेरी I
दोनों रुख़ से जीत हुई है, ऐ सनम अब तेरी I
जीत के तुझे वह मिल गया जो हार के मुझे मिल न पाया I
फिर भी लगता है तेरे दिल पे पढ़ा है कोई ग़म का साया I
तुम चाहो तो चाहत है, मैं चाहूँ तो भूल है मेरी I
दोनों रुख़ से जीत हुई है, ऐ सनम अब तेरी I
काश जो अब तुम समझ रही हो, वह पहले ही समझती I
कदम कदम पे बात बात पर मुझसे ना उलझती I
गाली गलोज और इल्ज़ामों की तुमने लगाई थी ढेरी I
दोनों रुख़ से जीत हुई है, ऐ सनम अब तेरी I
मैं मायूस उदास ज़रूर हूँ, लेकिन हूँ नहीं तनहा I
याद है मुझको संग बिताया हर एक अनोखा लम्हा I
मेरी मुहब्बत साथ रहती है, बनके याद सुनहरी I
दोनों रुख़ से जीत हुई है, ऐ सनम अब तेरी I
मुझे तुमसे कोई शिकवा नहीं, ना है कोई शिकायत I
इक तरफ़ा प्यार की, तेरी महफ़िल में थी रिवायत I
तुम्हें ज़िन्दगी की खुशियां मुबारक, मेरे लिए चोट है गहरी I
दोनों रुख़ से जीत हुई है, ऐ सनम अब तेरी I
इक डोर थी जो अब टूटने को है , सजाई थी ख़्वाबों की जन्नत I
इक सांस है जो अब झूटने को है, मांगी थी ज़िन्दगी की मन्नत I
तेरी कामयाबी पर, कबूल हो बधाई अब मेरी I
दोनों रुख़ से जीत हुई है, ऐ सनम अब तेरी I
(Pic courtesy: america.pink)
Tum rootho to meri galti, main roothun to meri,
Dono rukh se jeet hui hai, ai sanam ab teri.
Jeet ke tujhe woh mil gaya, jo haar ke mujhe mil naa paaya,
Phir bhi lagta hai tere dil pe padha hai koi gham ka saaya;
Tum chaaho to chaahat hai, main chaahun to bhool hai meri,
Dono rukh se jeet hui hai, ai sanam ab teri.
Kaash jo ab tum samajh rahi ho, wo pehle hi samajhati,
kadam kadam pe baat baat par mujhase na ulajhati.
Gaali galoz aur armaano ki tumane to lagaayi thi dheri,
Dono rukh se jeet hui hai, ai sanam ab teri.
Main maayus udhass zaroor hoon, lekin hoon nahin tanha,
Yaad hai mujhako sang bitaaya, har ek anokha lamha.
Meri mohabbat sang rehti hai, banake yaad sunehri,
Dono rukh se jeet hui hai, ai sanam ab teri.
Mujhe tumase koi shikwa nahin, naa hai koi shikaayat,
Ik tarfa pyaar ki, teri mehfil mein thi riwaayat.
Tumhen zindagi ki khushiyan mubarak, mere liye chot hai gehri,
Dono rukh se jeet hui hai, ai sanam ab teri.
Ik dore thi jo ab tootne ko hai, sajaayi thi khwaabon ki jannat,
Ek saans hai jo ab jhootne ko hai, maangi thi zindagi ki mannat.
Teri kamyaabi pe, ai dost, qabool ho badhaayi meri,
Dono rukh se jeet hui hai, ai sanam ab teri.
Your total conduct in this entire fest,
my dear brother,
ani Leela, whose junoon
put my money on Nitin,
Manik, my behna, isn’t down the line,
And then what about Anindya Chatterjee?
I am not saying this for effect,
Long after we are gone, they’d recall,
