I am fascinated by the talented Bengali film makers, story writers, directors, actors, singers and music directors of Hindi movies. Most of them have brought something refreshingly new, challenging and memorable to the table. I am indeed working on an essay to bring out their contribution to the Hindi cinema; which is mammoth indeed. This essay or article is only about one aspect, that is, movies based on neglect of women in the emerging Bengali society. Now, I am not saying there is no neglect of women in other Indian societies; after all, just a few years back, when female foetuses were found abandoned in a well in Patiala (Punjab), it shocked our nation to know that even the state that touts itself as the most progressive has scant regard for the female child. It is just that the projection of these issues has been so repeatedly and so well done in Bengal based Hindi movies that it is worthy of comment.
Bringing out treatment of women and making movies wherein a woman is the main protagonist has been the focus of many Bimal Roy movies. Take the 1953 movie Parineeta (literally translated as ‘Married Woman’) for example. Meena Kumari as Lalita, daughter of a poor clerk Gurcharan, is in love with Shekhar Rai, a landlord’s son, portrayed by Ashok Kumar and they are married in their minds. All is well except for the poverty in her family that makes her father to take loan from a kind hearted gentleman Girin. By an unfortunate misunderstanding, it is rumoured that Lalita is sold off to Girin.
The movie, based on a story by Sharat Chandra Chattopadhayay went on to receive the Filmfare Best Film award as also got its heroine Meena Kumari, the Best Actress award.
A scene from Bimal Roy’s 1953 movie Parineeta. Shekhar accepts Lalita as his wife even before they are married.
Except for his first movie Do Bigha Zameen (which, by the way, was not just the first movie to win Filmfare Best movie award but also the first Indian movie to win an international award at Cannes Film Festival) that was based on Indian neo-realist movement, all his other Hindi movies had women as the main protagonists. After Parineeta, we had Biraj Bahu starring Kamini Kaushal, Madhumati, Sujata and Bandini.
The last scene and song of Bimal Roy’s 1963 movie Bandini with an outstanding song sung by SD Burman on his own music and Shailendra’s lyrics: Mere saajan hain us paar. A woman is bandini (in bondage) in many different ways.
For depicting the theme of neglect of women or their desires, which is what this essay is all about, I have picked up four movies: Anuradha, Sahin Bibi Aur Ghulam, Anubhav and Piku.
Anuradha is a 1960 movie directed by Hrishikesh Mukherjee with story by Sachin Bhowmick and screenplay and dialogues by Rajinder Singh Bedi. The story based roughly on the novel Madame Bovary by Gustav Flaubert. Leela Naidu plays the protagonist Anuradha Roy, daughter of a rich father who has earned fame as a singer on All India Radio and in public functions. Shailendra as lyricist and Pandit Ravi Shankar as Music Director have done remarkably well to bring out her feelings through songs: those of blithe happiness when with her father and of sadness and neglect when with her husband Nirmal Chaudhury played by Balraj Sahni. He is an idealist doctor who has taken it upon himself to render selfless service to the rural poor. He is unmindful of the fact that his obsession results in his wife’s talent lying totally atrophied. He doesn’t even remember their anniversary. In the end when he is gifted Rupees 20000 (a princely sum during those days) by a millionaire for saving the life and looks of his daughter who meets with a car accident when traveling with Anuradha’s erstwhile ardent lover Deepak played by Abhi Bhattacharya, his family doctor played by Nasir Hussain brings out that Nirmal Chaudhury is not as deserving of the reward as his wife Anuradha since she sacrificed everything for the sake of her husband. Indeed, in the movie, when Deepak tells her that she hadn’t got anything from her husband, she takes offence to it and reminds him that he shouldn’t be insulting her husband under her husband’s roof. I was immediately reminded of Bimal Roy’s Bandini wherein Nutan is portrayed as Bandini (in bondage) to tradition and her first love Ashok Kumar despite her subsequent relationship with a kind-hearted and understanding jailer Dharmendra. There must be something about the portrayal of a Bengali woman’s undying devotion for her husband as a virtue worth acquiring.
Leela Naidu as Anuradha Roy singing to Abhi Bhattacharya as Deepak: Kaise din beete kaise beeti ratiyan piya jaane na; and yet not accepting his denigrating her husband Balraj Sahni as Nirmal Chaudhury.
In Guru Dutt’s 1962 movie Sahib Bibi Aur Ghulam, directed by Abrar Alvi (who was Guru Dutt’s favourite writer and director; they did Aar Paar, Kaagaz Ke Phool, Pyaasa and Mr & Mrs 55 together, in addition to Sahib Bibi Aur Ghulam), Meena Kumari as Chhoti Bahu had a very poignant role opposite Rehman as a husband. Rehman was the face if the moral rot in Bengalu feudalism; he’d spend more time in the company of courtesans than with his wife. The movie’s songs are exceedingly beautiful and meaningful, penned by my favourite lyricist Shakeel Badayuni with music by my favourite Hemant Kumar. Two of the songs, sung by Guru Dutt’s wife Geeta Dutt, and picturised on Meena Kumari bring out the intensity of her emotions; Piya aiso jiya mein samaayi gayo re, and Na jaao sainyya chhuda ke bainyaa kasam tumhari mai ro padhungi. Both bring out how she would dress up, do make up, and even drink alcohol to please him enough so that he’d spend time with her rather than with courtesans. This theme is the same as Anuradha’s; which is that a woman would do anything to win the attention of her husband and that husband, irrespective of the treatment meted out to her, is still worthy of veneration.
A scene from Guru Dutt’s 1962 movie Sahib, Bibi Aur Ghulam. Meena Kumari as Chhoti Bahu is desperate to keep her husband Chhote Sarkar from visiting courtesans. In this song: Na jaayo sainyya chhuda ke bainyya, she promises everything that a courtesan would give him.
Cut now to the third movie on this theme: the 1971 movie Anubhav directed by Basu Bhattacharya (who made a trilogy on similar themes with Avishkaar (1973) and Griha Pravesh (1979). In this movie it is Tanuja as Meeta Sen who is facing neglect by her husband Sanjeev Kumar as a newspaper editor Amar Sen. In order to win his attention, she gets rid of all the domestic staff except AK Hangal. It has a positive effect only partly. However, by this time her ex lover Dinesh Thakur as Shashi Bhushan enters the scene. The movie ends with Sanjeev Kumar acknowledging that her past wouldn’t have had a chance to wreck their lives if he had taken care of the present. Her ending dialogue in the movie was: “Main samajh gayi hoon ke tum samajh gaye ho” (I have understood that now you have understood). The movie has some excellent songs sung by Geeta Dutt and Manna Dey on the music of Kanu Roy; three of which are outstandingly beautiful: Meri jaan, mujhe jaan na kaho meri jaan; Mera dil jo mera hota; and Phir kahin koi phool khila, chahat na kaho isako.
A scene from Basu Bhattacharya’s 1971 movie Anubhav. Real ecstasy is to have husband at home giving her full attention.
The fourth movie, Piku directed by Shoojit Circar, is only different in one respect in that the neglect of the woman, Deepika Padukone as Piku Banerjee, is not at the hands of a husband but by her father, Amitabh Bachchan as Bhaskor Banerjee. He has chronic constipation and gastric condition and he takes it for granted that life of everyone in general and his daughter in particular should revolve around his minute to minute condition. For her, as an architect, there are many embarrassing moments such as when she is busy in her office and news of her father’s latest constipated condition is broken publicly over sms. In his obsession with himself and his constipation in his old age (70 years), he totally ignores her desires. For example, when she is romantically inclined with her co-worker in office, Syed, Bhaskor tells him that his daughter is moody like him and also not a virgin. Bhaskor decides to visit his house in Kolkatta where his brother and his wife live. But, fastidious that he is, he finds going there from Delhi by train or plane unsafe. So, finally, he is driven there by Rana Chaudhary played by Irrfan Khan, who is the owner of a cab company only because none of the drivers want to do duty with Piku due to her moods. He closely observes the totally self-centered, annoying and always complaining habits of Bhaskor and her dedication towards him despite these and tells us, “You have now fallen into the league of great women like Rani Laxmi Bai and Annie Besant.” In the end, Bhaskor dies a kind of death his always wanted – peaceful, no tubes, no ventilator. At a funeral ceremony, Piku tells family and friends, “My father was in peace. No ache or dilemma on his face. And those who know my father, they know, that he only had one problem – constipation. But he was cured of that as well before he passed away. So his death was a happy one. And I’m gonna miss him.”
2015 movie Piku’s pics courtesy: www.feastforyou.com. Bhaskor’s obsession with his constipation at the expense of his daughter’s happiness is reflected in the commode he carries atop the vehicle that takes them 1500 kms from Delhi to Kolkatta
There are, I am sure, many more such movies in which self-abnegation in comparison to her husband’s or if single, her father’s comfort, happiness and success exemplifies the Bengali women. Bengali women, as shown in such movies are the epitome of self-sacrificing love, unquestionable loyalty to their husbands, and the ones who would display genuine offence if their husbands are insulted in front of them. Portrayal of Bengali women in the movies is perhaps a reflection of their society wherein women are not displayed as sensuous or young or attractive but as devoted wives, mothers and grandmothers. Even when they are neglected or ignored they continue to be devoted wives, mothers, grandmothers and daughters.
There are, of course, dissenting or divergent voices. Anirvan Chatterjee in a January 1997 essay titled ‘Exploring Bengali Women’s History’ abhors the idea and psychology of arranged marriages for Bengali women. She writes, “I find it a bit puzzling how my mother, and other Bengali women like her, could so casually accept the idea of being sent into the houses of men they’d never met, living in a country 8,000 miles away, having their whole future lives’ paths determined for them in a single act outside their control. The thought of being in my mother’s shoes scares me; I picture myself as a much-bedecked lamb being led almost forcibly to the “slaughter” of the marriage ceremony.” However, she also brings out that just two books helped her get a better understanding of Bengali women: Malavika Karlekar’s Voices from Within and Manisha Roy’s Bengali Women.
Despite the motley of divergent views as those of Anirvan Chatterjee, the most endearing image of Bengali woman would continue being the one who’d do anything in her devotion for her man. The 1953 movie Anuradha, for example, has, in the last scene, Anuradha busy sweeping the floor of her husband’s house. Anyone watching the movie would know that for her self-abnegation has been honed into a fine-art. She may be meek in her devotion or she may actually be like Durga as in Sujoy Ghosh‘s 2012 movie Kahaani avenging the disappearance of her husband; the raison d’être for her.
In her quest to avenge the disappearance of her husband, the distinction between Vidya Bagchi (played by Vidya Balan) and goddess Durga is blurred.
This is a humorous take on our penchant for secrecy, the kind that evokes nostalgic mirth. It is not meant as criticism. Of course we have our reasons for secrecy and most of these are valid reasons. Humour, of course, obtains from those quaint situations and anecdotes that arise from this ubiquitous penchant.
www.outsiderclub.com
Armed forces personnel are, by nature, secretive and suspicious. I must have had traits of a potential fauji at very early stages of my life. As kids, we were of impressionable age when the Indo-Pak War of 1965 started. We were in the town of Mandi in Himachal Pradesh. Our group of 11 to 12 year olds had felt that what stood between the country’s continued freedom and hostile destruction was – to a large measure – our vigilance. Inspired by the news on All India Radio wherein Paki spies routinely disguised themselves as sadhus and beggars, every such person visiting our colony was subjected to intense search and scrutiny. One or two of them were severely beaten up for not being able to prove their identities. A Horticulture (my dad’s chosen field of work) Colony was coming up in Jawahar Nagar (now must be called Sonia or Rahul Nagar in keeping with the equivalent penchant of our netas) and the labourers were mainly of Tibetan origin. They were living in tents across our house and used to cook on wood. One night – the first night after we had finished putting carbon paper on all glass window panes so that no light would show outside during black-outs – our vigilant group spotted these Tibetans cooking on wood-fires. We felt that these were open invitations for the PAF Canberras to bomb the hell out of us. So, we stridently ordered the labourers to take their fires inside the tents; much against their protests. After about 30 minutes of their complying with our orders, two of the tents caught fire and it took us hours to put out the fires. Luckily, PAF Canberras were not as vigilant as we were.
Ten years later, I joined the Indian Navy as a commissioned officer and realised that my sense of secrecy was still precocious; I had much more to learn. As a Lieutenant I was made a member of a pricing board for buying fresh vegetables. Those days, rations were not supplied to us by the naval Base Victualing Yard (BVY) but through the ASC or Army Supply Corps depot in what we had erroneously been thinking of as naval area but was later confirmed as military area because of the Army’s penchant to hold land even in naval stations. I was stunned to see that the proceedings of this board were marked SECRET. I was thinking of it as a misprint but the board president, a Colonel, assured me otherwise. Later, when I became married, and started receiving those free rations (subsequently called entitled rations so that our civilian counterparts would not exercise their own penchant for always bringing out that freebies were given to us at the drop of a hat), I knew that marking them SECRET was the right thing to do; even I would have wanted them to be SECRET so that others won’t see my mortification at their poor quality. There is always a reason!
Often, the marking of classification evokes curiosity in others. It is somewhat similar to the boss telling the secretary: “Mark this SECRET; I want everyone in the office to read it”. Take social media, for example; you painstakingly put up your posts on which you spend hours researching. However, no one reads them including those who press the Like button. However, if there was some way you could tell people that it has information meant only for the few select ones, see how fast the readership would grow. At one time, the information about Pak Navy assets including weaponry and missiles was SECRET and all of us knew the details like the back of our hands. And then it occurred to Naval Headquarters as to why should stuff that had been gleaned from Jane’s publications be SECRET; so they made it unclassified. End of our curiosity and their being widely known! I can imagine the Naval Intelligence officers exchanging chuckles whilst reading this; they know they were engaged in something useful all these years by passing off news items as intelligence.
(Pic courtesy: www.secrecyfilm.com)
Now, I am sharing with you another source of real intelligence for the naval community in Mumbai, during our days: the newspaper vendor called ODI Mendon. Lets say a friend of yours owed you money (a realistic scenario) and he told you that as soon as he’d get his pay (an unrealistic scenario) he’d return the money since during those days you received your pay in cash. On the first of the next month when you went by you mobike (with the last drops of petrol in it) to extract your owing from him, you found that his ship had sailed. It was a catastrophe and only the hope of the ship’s return would provide you with some silver lining. However, the ships’ movements are highly classified and you can’t get information from anywhere. If you thought hard, you’d find that ODI Mendon was the answer. He’d tell you when exactly the ship would be back; they having stopped the newspaper with him, before sailing, for a specific number of days. He would also tell you which other ships and submarines had sailed. Similarly, MM Pajni, the LIC agent would tell you the ships’ programme as he knew when exactly to come to Naval Dockyard and collect the due premiums of the Life Insurance policies.
But, SECRET or even TOP SECRET doesn’t attract as much curiosity as something called PERSONAL AND CONFIDENTIAL (P&C). As a young Lieutenant I was posted as an instructor in Navy’s Leadership School INS Agrani at Coimbatore. Our CO, we came to know through rumours, was being overlooked for promotion. During those days, officers received P&C letters regarding the status of their promotions. So, when such a letter arrived at Agrani, curiosity got the better of us. We broke the seals, opened the letter and read how the Navy is such a pyramidal structure and how at various stages some people, however outstanding they are, have to fall off; and so on. The problem was how to put it back: there was an outer ordinary cover and then there was a sealed cover inside; whose seals now had perished. So the Captain’s Secretary (Cap Sec) overnight got a seal manufactured and on the next forenoon the operation of resealing it was done. During those days, it cost him a bomb.
When the CO arrived next day and the mail presented to him, he took out the sealed envelope, didn’t even open it, gave it to his Cap Sec and said, “Just open it and file it in my P&C File. It is a letter from ACOP (Assistant Chief of Personnel); I am not making it to the next rank.” Cap Sec felt like a heel.
The most curious incident of this misplaced secrecy was a signal regarding the movement of one of our Chiefs of Naval Staff (CNS) who was accorded high security due to our operations in Sri Lanka against the LTTE (Liberation Tigers of Tamil Eelam). Hence, whilst a MOVREP (Movement Report) signal is generally unclassified, his MOVREP signals used to be SECRET and encrypted accordingly. As CCO (Command Communication Officer) it was my duty to decrypt them and show them to only the C-in-C and the Chief of Staff (COS). The MOVREP signal is in a format that reads: Name, rank, number, designation, arrival date and time, from where arriving and how (train, air etc), purpose of visit, number of days of visit, departure date and time, and whether transport and mess accommodation are required and any other information. I showed the decrypted signal to COS and he remarked, “By making it SECRET, at least his movements are now classified and not known to everyone.” I disagreed and showed him three unclassified MOVREP signals of three Naval Headquarters officers received simultaneously. In the palce about how were they arriving, each one of them had dutifully written: ‘By CNS Aircraft’.
This was like the parts of those messages received at sea wherein the classified words were coded in Naval Tactical Code. So a signal would read something like: “Call-sign F1 (say Fleet Commander) would be airborne from 1630 to 1715 hours by NATCO blah blah blah blah UNNATCO”. You didn’t even have to decode it to bring out that blah blah blah blah meant HELO. Only the absolute dumbo would imagine that Fleet Commander would be airborne by KITE or BIRD!
Life goes on. Some of our things are so SECRET that even we don’t have any idea of what they are.
Seeing the quality and popularity of my blog posts, people frequently ask me to write and publish books. In addition to love for my writing, I know that they mean well by suggesting that I do something about my ever dwindling financial resources. When I left the Navy after nearly 37 years, I didn’t have much and I didn’t even covet much. I also know that they feel that the posts ought to be read by wider audiences.
My biggest concern is that I do not want to get into a rut wherein the quality or even acceptability of something that I am passionate about is to be measured in terms of money earned or readership.
There must be something that we do that is not done with a purpose, intent, end or aim in mind. However, in our current national and community thinking all tasks and engagements must have a specific purpose or reason. We even call into question God’s accountability and use such phrases as: “All the money that I donated to the temple fund appears to have been wasted since our son still couldn’t get admission in medical college” or “Yes, God answered our prayers in getting mataji’s health back. But, out of rupees 10000 that I paid as chadhawa (offering to God), God appears to have given back only about 2000 rupees worth”.
A few years back I started trying my hand at the game of golf. Since I am fond of open spaces (Please also read: ‘Walk Or Gym? I Like It In The Open’), I liked walking on greens, through bunkers and woods chasing a small white ball. However, soon many of my friends started teasing me, “So, you have decided to become an Admiral? This is the sure shot way.”
It must be a world-wide phenomenon; but, it is much pronounced in India. Everything has to lead to something. You can’t have friends unless they can be of some use to you when the chips are down. Indeed, many people actually think of friendship as an investment. Similarly, political people, babus, doctors, lawyers etc have to be nurtured assiduously with the purpose of providing some return when needed.
Children’s education too is seen as an investment. There has to be some return else it is not worth making him or her an engineer or even well read or well educated.
After retirement from the Navy, I started this blog with the idea of giving vent to my creative energies. It was supposed to be a leisurely pursuit. However, then I made the mistake of joining Indiblogger (Please also read ‘Blogging – Race Or Stampede?‘). Soon I was hooked on to monthly ranking: mozRank, Alexa rank, frequency of posting, and external juice passing links and the like and then it became as banal as anything that we do in our life.
The other day, I was reading this light-hearted take on blog writing: ‘It is like various stages of prostitution; first you start doing it for fun, then for your intimate friends, thereafter for wider circle of friends and acquaintances but finally you start doing it for money. My writing is still at the first stage and I am – as they say in McDonald’s ad – I’m lovin’ it.
Yesterday, once again, I was taking a class with the young executives of my company on Leadership and Team Building. In yet another talk, I reminded them about Abraham Maslow’s Hierarchy of Needs. In the pyramid, at the base, are the Physiological Needs, going up to Safety Needs, Love and Belonging Needs, Esteem Needs and finally Self Actualisation Needs. Privately I was thinking that we Indians are almost perpetually at the bottom of the pyramid, doing things only to satisfy some basic need or the other. There is always a purpose for doing anything.
Is there no time when we would do things because of passion, a fire that burns inside, a quest that needs to be quenched? Is there no time when we would be like the avid mountaineer who was asked why did he have to climb a
mountain and he replied, “Because it is there”?
(Pic courtesy: skreened.com)
There is no price that can be placed on a smile; and, if you can smile inwardly, without any apparent reason, it is priceless indeed. A mother does it so often with her child and doesn’t ever count the number of likes and comments her child gets or her ranking in the world because of him.
Your pet does it and you do it for your pet; you read a number of articles about how having a pet is good for you. But, those are after you have got him or her.
Love is not a reasoned emotion and yet, it is the greatest of human emotions.
There must be thousands like me in the armed forces of India; we join at a very young age (I was 19 when I joined the Naval Academy or NAVAC at Cochin (now called Kochi) in 1973) and retire when we do not have much life left to see (I retired in end Feb 2010 as Commodore at the age of 56). The other day, on Facebook, I saw security executives in my present corporate where I work celebrating four years (to them it appears a long time with the present trend of job-hopping) of having been there in the same industry. I spent 37 years in the Indian Navy and I could have celebrated this feat nine times over!
I was given the President’s Commission on 01 July 1975 and just a few days back my course-mates and I greeted one another on having completed 40 years of commissioned life. At the time of joining, some of my course-mates were suave, smart, confident and in with the naval way of life. To me, it was all very strange (if I were a girl, I would have been called Alice irrespective of what my parents would have named me!). One or two of the course-mates even appeared to have been from a different planet; one still appears thus. I must have been the most awkward and unlike a Labrador, the least trainable.
What fascinated me about the Navy? The short answer is books and movies; I lapped them up during my boyhood days and imagined myself standing on the deck of a ship like, say, Willie Keith in Caine Mutiny or George Ericson in The Cruel Sea. I also had this strange wanderlust and hence going to sea was as far as I could get from the hills of Himachal where I had been for all my childhood and boyhood years. Now that I have retired from the Navy though the sea is still as fascinating (Please read ‘The Lure Of The Sea’), my next fascination is about matters of philosophy and meta-physics (you will find my writings on these in the Philosophy section of this blog)
So, one fine day, from my home-station in Simla (now spelt Shimla), in May 1973, I took a train to Cochin to be trained (tough job for them!) to become an Indian Navy officer. Here are the last two pictures with my people before Navy claimed me:
You must have seen two things in the above pictures: the short hair-cut that I supported in preparation for the Naval life and the huge smile. As soon as I landed up at Cochin they modified both. The journey to Cochin from Simla had taken only two and half days and how much my hair would have grown in less than three days? However, the urgency with which I was taken to the barber (barbarian?) made it seem like I was some hirsute sadhu who had emerged from the caves in the hills after long hibernation. I couldn’t believe the mirror when this barbarian had finished with me; all resemblance to a wantonly college-going teenager was gone forever. My snake-leather belt, large brass buckle and my bell-bots were all gone. Even civvies for us were the muftis with a neck-tie. Uniform became a way of life in profession, in spare time, in thoughts and even in sub-consciousness.
The next were my seniors who appeared to be direct descendants of Goebbels; they made me wipe my smile as if it was an ugly scar. One of them got used to ragging me with a simple monosyllable word repeated ad-inifinitum (one of the two in his extensive vocabulary; the other being No). An intelligent conversation with him went like this:
A: Why didn’t you report to me yesterday?
Me: Sir, I broke my leg.
A: So?
Me: I reported to the hospital.
A: So?
Me: They put my leg in a cast. It is still in the cast as you can see.
A: So?
“So, Sir, I prayed whole night to God to make me a bird” I wanted to add, “But, then He told me I would have to do without a brain because He had given you the bird(‘s)-brain.”
I also found out that neither my seniors nor any of the staff at NAVAC respected time of the day or night; one could be asked to do front-rolls immediately after dinner or do somersaults in the middle of the time. I was also to learn, at great cost to my dignity (or whatever remained of it) and physique that during war we may have to change various rigs in less than a minute each time lest the enemy should steal advantage over us. And, in order to prevent enemy from seeking this advantage, those of us who couldn’t finish rig-changing in a minute’s time had to go through the kind of torture that the enemy would have unleashed on all.
These staff and seniors, totally bereft of even the remotest traces of civility, made me do things that were well beyond my own endurance and stamina and against my loudest protestations. For example, they predicted that if they threw me in the deep end of the swimming pool, I would automatically learn swimming. I knew it was impossible and I tried my best to tell them so. However, they insisted on the correctness of their theory. Lo, and behold, after a few dunkings and after my having drunk gallons of chlorinated water, it is they who were proved right and I automatically learnt swimming. Late at night in my bed I formed the opinion that it wasn’t correct that God listened to the godly and righteous people; He also listened to such devils.
In likewise manner, I automatically learnt many a thing and discovered newer limits for my own endurance and stamina.
I learnt, for example, that one could go to sleep whilst standing erect on the bridge of Cadet Training Ship Delhi with binoculars in hand tied to a lanyard around the neck.
I also learnt about Relativity of Time; four hours spent in the club (Officers Institute) in the drunken company of my course mates would pass in a jiffy; whilst the same four hours during the middle watch on the ship appeared like four years.
To add to the misery of training days was the naval lingo that had quaint feel about it. One had to say “Aye aye Sir” if one wanted to say “Yes Sir”; port for left, starboard for right, and “very good” whilst acknowledging a report even if the report was about an impending collision.
I remember seeing the Daily Orders for the first time and laughed that even in an official document personnel were called by their nicknames such as Popti for our physical training instructor until it was explained to me after considerable front-rolling and bend-stretches that it wasn’t Popti but PO PTI (Petty Officer Physical Training Instructor).
Armed forces are, I gradually learnt, always training. Many years later, when I was the Director of Maritime Warfare Centre at Mumbai (I am the only officer who has been Director of all three MWCs in the Navy involved in tactical operational training of Command teams), the motto on the Large Screen Display in the auditorium was by General Patton: ‘The more you sweat in peace, the less you bleed in war’. Armed forces, therefore, are always sweating.
On Cadet Training Ship INS Delhi, our only contact with the civilian world was to be taken for what was called RWR (Road Walk and Run) along the Marine Drive in Bombay. What a world awaited us, we thought; Bombay, the dream city of Hindi films (not yet bastardised to ‘Bollywood’) and glamour, the city of marines and window to the rest of the world, the city of money, and the city of possibilities. And when I finally joined it, honestly, there was this air about us that put us on a pedestal. During those days, you rubbed shoulders with the elite and they were dying to be seen with you. During my Acting Sub Lieutenant days, we could sit in the Ante Room and enjoy the company of Nutan and Tanuja. A video of those days is going around showing really big film stars, singers and music directors attending the Navy Ball.
Forty years back, I remember, I had gone in uniform to receive a senior officer at Bombay Central. After receiving him, as I stood in the queue for a cab to take me back to my ship INS Himgiri, a cop who was directing people into cabs, beckoned me at the end of the queue, stopped the next cab for me, put me into it, without any protest or demurring from anyone ahead of me in the queue. It felt really nice being a uniformed naval officer.
And what about going abroad? For a boy from a small town in Himachal, who was awed by walking and running along the Marine Drive in Bombay, stepping on a foreign shore was ecstasy indeed. Our CO said we were to be ambassadors of our great country and as I covered in ‘Foreign Jaunts’, it felt great to be in the naval-diplomatic role wherever we went. Many decades later, in the year 2001, as the Indian Navy organised its International Fleet Review in Mumbai, the motto selected by them was ‘Bridges of Friendship Across the Seas’. I remember our visit to Odessa in erstwhile USSR (now in Ukraine) on Himgiri, my second ship as a commissioned officer after three weeks on Vikrant in harbour. The official reception was held on the second evening. All the lovely Russian damsels attending the reception asked us why the officers were not attending the reception. We were flummoxed until the mystery unfolded. In foreign shores, sailors go on shore leave in uniform whereas officers go out in civvies. Some of these damsels, fascinated by naval uniforms, gave company to some of the sailors over drinks, dancing and dinner. When they inquired from these sailors the meaning of two crossed anchors badges on their sleeves, the sailors responded that they were officers (conveniently forgetting to add that they were Petty Officers!) and hence permitted to wear uniform ashore whereas the other ranks had to perforce go out in civvies.
In Split, erstwhile Yugoslavia, my first foreign visit as an officer
The fascination for naval uniform abroad was to be seen to be believed. I have seen in real life and in pictures people stopping to have their pictures clicked with men in uniform.
During the training period and in our formative years in the Navy, we almost totally forgot about our families. My only sister, for example, got married when I was a cadet, holy-stoning the decks of INS Delhi (erstwhile HMS Achilles that took part in the famous Battle of the River Plate against German battleship Graf Spee, together with HMS Ajax and HMS Exeter. The movie was shot in 1956 and the ship had already been transferred to us in 1958. During the shooting an aerial photo shoot was to be redone because when the reel was developed, it came out that a Sikh sailor, complete with his turban, had come out on the upper deck of Delhi!). I never attended her marriage or any other marriage; I was married to the Navy.
We did manage to fall in love and get married (Please read ‘Lyn And I – Scene By Scene‘); but, the Navy proudly and correctly told our wives that Navy happened to be our first love and they could, at best, be Number Two. The wives themselves had no doubt and never tried to be Numero Uno in our lives. Strangely, the ladies too learnt the ropes through the automatic process that I mentioned above. Whilst we had learnt quick rig-changing, my wife learnt the art of quick packing and unpacking both on permanent as well as temporary duties. They also automatically learnt how to get the best from MES (Military Engineering Service); for example, how many incandescent bulbs of what wattage they were entitled to in exchange for how many. They waited endlessly for us to return to harbour; only to see us off again on another mission, which, they complained the newspaper man and the dhoodhwalla knew all about; but, which “thanks to your stupid secrecy norms, you don’t tell us”.
Our first child, Arjun, was born immediately after my father’s untimely death in an accident and hence under trying circumstances. Our second child, Arun, was born when I was away for a month to Andaman and Nicobar islands on my ship INS Ganga with Prime Minister Rajiv Gandhi and his Italian wife Sonia embarked. Lyn, my wife, walked to the hospital, quickly delivered and returned home so as to look after the first one too. Now that we were raising a family – and in my case, under most difficult conditions (as you would have gathered from the blog ‘Lyn And I – Scene By Scene’) – for the nth time, the automatic process came in handy. Both the children too became fiercely independent (Read ‘Diminishing Dad‘), capable and accomplished almost entirely on their own. The other day, my erstwhile coxswain of INS Aditya, a retired Petty Officer, brought his daughter for selection in ICSI (Institute of Company Secretaries of India) run institute called CCGRT (Centre for Corporate Governance Research and Training). She is from a small town in Andhra and just 12th standard pass. She had to compete against graduates and diploma holders but she easily got selected, thanks to the automatic learning process of the armed forces.
During our days there was a joke about a naval officer’s involvement with his family (I believe the joke is still prevalent). A naval officer was asked how big his two children were. He pointed out with his hands, not vertically, but horizontally. This was rather quaint way of bringing out the size of his children and he was asked to explain. He responded, “I see them in the bed only; when I leave in the morning they are still in bed, when I return late at night, they have already gone to bed.”
Naval families ‘automatically’ grow up and learn to stand on their own feet.
Ask a naval officer as to what are his most nostalgic experiences in the Navy. With very few exceptions, he would answer:
#1, the Midshipman Tenure. It was a rank unique to the Navy when one was not quite a commissioned officer yet and also not a cadet. This lasted for only six months whereas we would have wanted it to last a lifetime; you’d start getting some perks of being and officer and yet not too much of responsibility. Indeed, in the naval slang a Midshipman used to be called Snotty as he would be frequently wiping his nose on his sleeve. Our Midshipman tenure was on INS Tir, an erstwhile River Class Frigate of the Royal Navy; and we had a ball, even though we had to do hot-bunking (the number of bunks in our mess being much less than the number of Midshipmen on the premise that a certain number would be on duty by rotation all the times).
#2, the Command of a Ship, Submarine or Aircraft. A Commanding Officer is next to God. Indeed, as the old timers used to say: “Ham God nahin hain, par, God se kam bhi nahin hain.” (I am not God; but I am no less than God). The responsibility that the nation places on a CO of a ship, submarine or aircraft at sea is as mammoth as the unfettered powers given to him; you can’t afford to make mistakes; people’s lives are dependent on you. During our training years we used to wonder how the CO, even whilst asleep in his cabin, instinctively knew what revolutions the ship did by the sound of the engines and whether we were headed into danger. Two decades later when I commanded my own ship, I realised that it comes to you automatically.
#3, to be given an official transport (vehicle). Ahh, for this, during our days, one had to be a very senior officer! And then, the moment this honour (Read: Navy And Staff Cars) was bestowed on you, you sat at the left rear of an Ambassador car, saluted back with a flourish all those who saluted you and failed to recognise your erstwhile friends lest they should ask you to share the prized possession.
Nearly 37 long years went as if in a jiffy. And before you can pause, the Navy retires you. Three days after I retired from the Navy on 28th Feb 2010, I wrote a blog ‘I Flew Over The Cuckoo’s Nest – Did I?’ in which I concluded “I have no desire to fly over the cuckoo’s nest. The loony bunch is family, for heaven’s sake.” There is nowhere to go. Five years later, after working in India’s largest corporate, there is still nowhere to go; Navy is the only home I knew, the only life I had.
We hadn’t seen any life on civvie street at all. The civilians must be smart in their own ways; after all they command large organisations, governments and countries, whereas all that we do is to command ships, submarines and aircraft. However, frankly, I haven’t met anyone half as smart as a naval officer! In my case, in the Naval Academy, in the Ante Room, I distinctly remember that we waited for someone smart to switch on the television as one, we hadn’t seen one before; and two, with its complex sounding controls such as Contrast, Brightness, V hold and H hold, people would laugh at us if we didn’t know how to get a picture that didn’t jump on the screen. Years later, we were handling with ease, the most complex Electronic Warfare and Action Information systems. The Navy lets you learn all these – well, by now even you know the process – automatically.
Navy was life, a system that used to work; and I know it still works. We were always responsible and accountable for all our actions and non actions; except perhaps during our Midshipmen days. And then you are faced with the lack of discipline and accountability to that extent wherein people die and no one is to be blamed; wherein brand new bridges collapse and no one is accountable; wherein after 40 years of promises and more promises, we still don’t have an OROP (One Rank One Pension) and everyone assures you it would be there shortly.
A Navy man is totally at home when he is at sea as I wrote in Lure of the Sea. But, the moment he is out, he pines for the sea, the only life he’s had.
As Director, College of Naval Warfare in Mumbai, in the year 2008; I took the Naval Higher Command Course student officers with me to a tour of South Africa and Mauritius. In Mauritius we visited the Folk Museum of Indian Immigration. We were surprised to see the records of all indentured labourers who came to British Mauritius from Bihar between 1834 and 1921 (the museum houses 2000 volumes of these). In the year 1835, slavery was abolished in Mauritius and hence these were called indentured labourers.
Similarly, if you go to the Cellular Jail in Port Blair, you would be stunned at the painstaking way in which the British maintained the records of all the prisoners brought from India to the jail that came to be known as Kala Pani (Black Water). The British were cruel and committed untold atrocities on Indian slaves, but, they were much better than us for their record-keeping or documentation.
When I saw Satyajit Ray’s Shatranj Ke Khiladi I was surprised to see in the end that almost all the credits and acknowledgments of Indian history records were to the Britishers.
We learnt many a thing from our rulers but we didn’t learn from them this due diligence in record keeping. This has resulted in many an embarrassing situation. After the Kargil War in July 1999, Grenadier Yogendra Singh Yadav was awarded the highest military honour: The Param Vir Chakra. His citation read that he was being awarded this posthumously. It was a big relief and huge embarrassment for Army Headquarters to know that he was actually alive. The Armed Forces of India are at perpetual war with the Indian bureaucracy for the step-motherly treatment that they often get (the present OROP controversy is one of the examples). However, it is a fact that we are equally poor in record keeping at least. Please read: Rediff On The NeT Army battling to correct its Param Vir mistakes.
After the infamous 26/11 Mumbai Attacks, Indian government handed over two demarches to Pakistan. Amongst other things, the demarches asked for the arrest of and handing over of about 20 persons including gangster Dawood Ibrahim, Jaish-e-Mohammad terrorist leader Maulana Masood Azhar and Lashkar-e-Taiba chief Hafeez Mohammad Saeed. It was widely reported in the Indian newspapers that the list also included at least four names of “hardened criminals” enjoying “immunity” in Pakistan when actually they were held in Indian prisons.
We fought a major war with China in 1962. Fifty three years later, we still do not have an officially accepted record of the history of the war. The Henderson Brooks-Bhagat report, also referred to as the Henderson Brooks report, is the report of an analysis (Operations Review) of the Sino-Indian of 1962. Its authors are Indian Army officers: Lieutenant-General TB Henderson Brooks and Brigadier Premindra Singh Bhagat, Commandant of the Indian Military Academy at that time. However, the report has not been declassified even though there has been hue and cry about its publication.
Why do we, as a nation and armed forces, land up in this mess? The reason appears to lie in the glory and glamour attached to operations and looking down on administrative skills. The armed forces have a Defence Services Staff College in Wellington (Nilgiris) to teach the middle ranking armed forces officers administrative skills. However, when an armed forces officer lands up after the Staff Course, say, in Naval Headquarters, he quickly finds out that practically it is so different from what has been theoretically taught to him. Many have realised that locating an earlier letter or file is a virtual impossibility. Hence, an armed forces officer is most likely to indulge in what is known as reinventing the wheel when it comes to long-standing issues (these are “long-standing” because of the babus in the Ministry of Defence).
In the IAF, for example, fliers want to do flying all the times. Attending courses, for them, is considered beneath their macho spirit. When I underwent Higher Command course with the Army (I did HC 25 in the year 1996-97), I was able to learn from my IAF counterparts that officers pull strings to get out of attending courses so that they can continue doing what they like most: flying.
On the lighter side, after leaving the Navy in end Feb 2010, I have found that my name and address held in various departments in the Western Naval Command has rarely been correct. Because of this, many a times, I have missed important meetings and functions. I have tried my best in the last five years to get the records corrected by writing mails with my correct name and address and have personally visited the Command Headquarters to get these corrected. However, so strong is our inclination to be administratively poor that until now I haven’t received many letters with my correct name and address.
Another curious thing that I have discovered is that in the header of the mail from an official/authority in the Armed Forces, if a telephone number is given, it is rarely of the officer signing it. If you have a query regarding the letter that you have received and you dial this number, you are likely to get connected to the clerk who typed out the letter and he would have no idea of what you are asking.
The Army Headquarters are the worst in this. At one time an opportunity arose in my corporate to employ retired Major Generals for some very senior billets. Through my friends in Naval Headquarters, I got in touch with the Army Headquarters (MS Branch). The officer there seemed to understand my request for the names of a few Major Generals who had just retired. However, after a few days when I was expecting a list from him, I received a mail asking me to spell out my requirement again by mail (this is a favourite ploy with all services headquarters). A phone number and Fax number was given at the letter head. Fifteen days of unsuccessfully trying to get in touch on those numbers left me totally drained out.
On the First of July this year, my course completed 40 years of having received President’s Commission. I retired five years back and likewise with my coursemates except those who retired as Rear and Vice Admirals later. All of us were full of nostalgia about our active time in the Navy. As if to bring me down to mother earth, just a day prior to that, on 30th June, I received a letter from the Pension Cell in Naval Pay Office that my Genform (a General Information order regarding movements of personnel) for having retired on 28th Feb 2010 had not been received by them. It has been only five and half years. Perhaps in another half a decade they would get it. Nothing changes; we are proud of our administrative inefficiency despite the computer age and improved means of communications.
Now that after retirement I am employed in a corporate, I am able to see the difference in work culture: you have people specifically for specific duties as given in their JDs or Job Descriptions. In the armed forces, one is expected to do everything as and when the need arises; and many a times someone else’s job too. No one tells you how; you learn as you go along. If the armed forces were to be a play or drama, there is rarely a prepared script or dialogues or plot; you ad-lib the entire thing. People’s lives are at stake, at times, and hence you better get your role right; the first time itself without any rehearsals. For example: “That over there is Tiger Hill. Now get it vacated of intruders.”
Why did I think of the Navy as a drama or a play when I was in active service? Well, come to think of it, even life is like that. But, I had one more reason: my fondness for acting and directing honed from my school and college days. In the NAVAC or Naval Academy, on the positive side, I was much in demand for plays and skits, even extempore ones during camps. On the negative side, I recall that a boxing bout between me and my course mate was stopped by the referee on the ground that whilst the entire thing looked very impressive complete with wincing and all that, he was sure that we should stop acting and get on with real boxing for a change. Actual blood and bruises followed after that and then only our officers and instructors were happy. Histrionics have their time and place elsewhere in the Navy, I learnt.
One such opportunity came my way when I was posted to Navy’s Leadership School at INS Agrani in Coimbatore. One fine day, our CO called a senior colleague and me to his office and said a letter had arrived from Southern Naval Command at Cochin for us to field a team at the Annual Dramatic Championship. He said the responsibility for taking this task on rested on my shoulders since I was the junior most officer posted there. He said my colleague Amarjit Bajwa would help me out.
Bajwa and I took our task rather seriously and that night discussed our strategy over several bottles of beer that continued till wee hours of the morning. In our drunken stupor a brainwave hit us; which is, that in order to enact a play, we require a script. So, next day we started searching in our library for play scripts. We found that the library was loaded with books on current affairs, history, poems, stories and the like; however, there was not a single play. In the next few days, we ransacked various libraries in and around Coimbatore; but we couldn’t find a suitable play.
We even went to the Staff College Library in Wellington by Bajwa’s Bullet mobike. But, it appeared that whilst in real – life in the armed forces, everybody is acting, there was a dearth of good play-scripts to help out people acting on stage.
After these expeditions, we involved a few sailors in doing a play. Various problems came our way. One prominent one was that most of the play scripts had some female cast. Our tall Regulating Petty Officer (Naval Police) was persuaded by us to put on a saree and shifting his role from being a terror in office to being a terror at home. But, somehow even the donning of Saree made no difference to his austere and upright naval police looks.
We tried a few sailors for their suitability in various roles and found that they were typically suited only for one role!
Dejected, one day, I performed various roles for Bajwa that I had performed in school and college and some that I would have wanted to do. In his no-nonsense mood, he wasn’t tickled. In one of these, I made him sit on a bench complete with his turban and beard. But imagining him as a girl, I approached him with a large sunflower, and wearing a tapori cap and started a dialogue that I had heard in one of Sunil Dutt’s movies, “Dilo dildaar, gulo gulzaar, ahd-e-bahaar, rango khumaar, film star, mallika-tarunnam, malika-e-jahan….” Before, I could finish with “….roop ki raani, baharon ki mallika…” Bajwa had given up on me as a gone case nut.
The date for staging the play was getting closer and it had come to last one week. Let alone rehearsing the play for a prestigious event, we hadn’t even selected a play. That day Bajwa was so annoyed with me that he could have eaten me alive.
That night, I wrote the script for a three-act-play titled Hamara Drama. Whatever we had done in search and preparation for the play was put in the first two acts. In the last act, Bajwa 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 tell 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..exactly like our navy life..” The play ended there with a freeze shot. Bajwa and I, until the last day, kept adding to the dialogues in order to make them more satirical and comical.
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..” 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.
Some pictures of the play are still there with me but they are lying in my home-station Kandaghat in the baggage yet to be unpacked, after my retirement in Feb 2010. I shall, subsequently, put them up when I visit Kandaghat next. In the meantime, Bajwa could persuade his wife Jaya to search in his baggage and find some pictures (he himself is on his ship at sea). She was able to find one and I am putting it up:
Persuading one of our sailors to showcase his talent in Hamara Drama. The background prop was from the play preceding ours!
Many years later, in the year 2003, I directed the inaugural play in Mulla Auditorium in Mumbai. The Chief of the Naval Staff was the Chief Guest. My son Arjun acted in it. I adapted it from a Moliere’s play and called it Suddenly In The Park. Navy is a life’s drama in which your families are also acting and involved!
I did many other plays. For example, in Peter Shaffer’s farcical play called Black Comedy, I was Schuppanzigh, the German electrician, sent to repair the fuse since the entire play is as if performed in the dark.
After repairing the fuse, I as Schuppanzigh move to the light switch, saying “God said: “Let there be light!” And there was, good people, suddenly — astoundingly — instantaneously — inconceivably — inexhaustibly — inextinguishably and eternally — LIGHT!”
I also directed and acted in Mahesh Dattani’s play on incest called ’30 Days in September’. The fauji audiences are normally used to only two type of plays: comedies and suspense-dramas. We were not sure how the audience would view a serious play on incest. Our C-in-C summed up the response by saying, “If Mahesh Dattani had been present tonight at the staging of his play by this team, he would have really felt proud. I was, of course, the bad guy, the perpetrator of incest. For many months after the staging of the play, women and girls, in naval residential areas would scream and run for cover after seeing me.
The last one I did was in 2007, a Neil Simon play called ‘Come Blow Your Horn’. I also acted as the father of Alan and Buddy Baker. Just before the curtains, Aunt Gussie who was all the while only talked about made her appearance. The only problem was that we hadn’t got anyone to do Aunty’s role. So, after my last appearance as father, I quickly changed my clothes and make up and appeared as Aunt Gussie!
Me as father Baker with my elder son Alan Baker, who lives the life of a playboy.Me as Mr. Baker with Mrs Baker. Our younger son Buddy is seen in the backgroundMe berating the younger son Buddy Baker for having been spoiled under the influence of his elder brother Alan.
In the final scene of this three act play me appearing as Aunt Gussie with Buddy, the spoiled brat
That was true reflection of what Navy is all about; we change roles together with the situation; and, we do absolutely strange roles that people least expect us to do. We don’t ever say we ain’t ready for a particular role.
We also do many roles on the stage but not half as difficult or strange as in real life.
I have already given you a blog – post on a favourite lyricist Raja Mehdi Ali Khan: ‘The Magic Of The Lyrics Of Raja Mehdi Ali Khan’. He paired with the great Music Director Madan Mohan to make some of the most memorable songs of Lata Mangeshkar. His song for the 1946 movie ‘Do Bhai’: Mera sundar sapna toot gaya reminds us that he was capable of deep philosophy and understanding of womanly pain and anguish at a very young age (he wasn’t yet 18 years of age when he wrote the song sung by Geeta Dutt on SD Burman’s music.
The great music director Naushad Ali brought out that two of his ghazals: Aap ki nazaron ne samajha and Hai isi mein pyaar ki aabru, with Madan Mohan‘s music were better than the entire compositions of Naushad!
And yet, not many people are aware of this that Raja Mehdi Ali Khan delved in funny, humorous and satirical Urdu poetry. As an example, I am giving you his nazm: Adib Ki Mehbooba. It is really very humorous. He has used the takhallus (pen names or non de plume) of various poets and writers both in their metaphorical sense as well as their identities to bring out the tale of his failed love.
I have attempted not just a translation of this humorous poem but also have given you the full names and short description and life-span of the poets and writers mentioned.
Please enjoy: Raja Mehdi Ali Khan’s Adib Ki Mehbooba:
Tumhaari ulfat mein harmonium pe Meer ki ghazlen ga raha hoon
Bahattar in mein chhupe hain nashtar jo sab ke sab aazma raha hoon.
In your love I am singing the ghazals of Meer
These have 72 cutters (nashtar) hidden in them that I am trying out all.
Bahut dinon se tumhaare jalwe Khadija Mastoor ho gaye hain,
Hai shukr-e-baari ki saamne apne aaj phir tumako paa raha hoon.
Since many days your splendor has become Khadija Mastoor (Pakistani writer 1927-1982)
But, thank God, I still find you in front of me today.
Lihaf ‘Ismat’ ka o.Dh kar tum fasane Manto ke pa.Dh rahi ho
Pahan ke ‘Bedi’ ka garam coat aaj tumase aankhen mila raha hoon
Wrapping the quilt of Ismat (Chugtai Ismat; Urdu writer 1915-1991), you are reading the tales of Manto (Saadat Hassan Manto; 1912-1955, short-story writer)
I am wearing Bedi’s (Rajinder Singh Bedi) warm coat and looking into your eyes.
Tumhaare ghar Noon Meem Rashid ka le ke aaya sifarshi KHat,
Magar ta.ajjub hai phir bhi tumase nahin main kuchh Faiz pa raha hoon.
I came to your house with a letter of recommendation by Noon Meem Rashid (1910-1975)
But it is surprising that I am not getting any Faiz (success or victory; and also the poet Faiz Ahmed Faiz; 1911-1984) from you
Bahut hai sidhi si meri baat na jaane tum kyun nahin samajhati,
Kasam KHuda ki kalaam-e-Ghalib nahin main tumako suna raha hoon.
My talk is straight, why do you not understand it
By God, I am not making you listen to some (difficult) poetry of Ghalib (1797-1869).
Tumhaari zulf-e-siyaah pe tangiid kis se likhwaayun tum hi bolo, Shri Ibadat Barelvi ko main taar de kar bula raha hoon
The criticism (tangiid) of your black tresses (zulf-e-siyaah) who should I ask to write,
I am sending a telegram to call Shri Ibadat Barelvi (1920-1999)
Main tum pe hoon Jaan Nisar Akhtar, kasam hai Munshi Fida Ali ki,
Bahut dinon se main tum pe Sahir se jaadu tone kara raha hoon.
I am Jaan Nisar Akhtar (poet and lyricist 1914 – 1976) on you, I swear by Munshi Fida Ali (a Lucknow poet),
Since many days I am trying Sahir’s (Sahir Ludhainvi 1921 – 1980) magic and black magic on you.
Agar ho tum Hajara to phir mujh se mil ke Masroor kyun nahin ho
Tumhaare aage Upendra Nath Ashq ban ke aansu baha raha hoon
If you are Hajara (abandoned; also feminist Pakistani poet Hajara Masroor 1930-2012), then why are you not happy (Masroor) upon meeting me,
I am shedding tears in front of you like Upendra Nath Ashq (novelist 1910-1996).
Haseen ho zehra-jamaal ho tum mujhe sata ke nihal ho tum
Tumhaare ye zulm Qurrat-ul-Ain ko bataane jaa raha hoon
You are beautiful, you are like Zahra Jamal (Dr Zahra Jamal – leading protagonist of international Women’s right), you are joyous (nihal) after oppressing me,
I am going to Qurrat-ul-Ain (Qurrat-ul-Ain Hyder, female novelist 1927-2007) to tell about your tyranny (zulm).
Meri mohabbat ki dastaan sun ke ro pa.De Josh Malsiyani,
Sukha ke pankhe se un ke aansu abhi wahan se main aa raha hoon.
After hearing the tale (dastaan) of my love, Josh Malsiyani (poet, 1883-1976) was in tears,
I am just returning after blowing dry his tears by a fan.
Meri tabaahi ki chhap denge Naqsh ka ek KHaas number, Tufail sahib ke paas saare musavvade le ke jaa raha hoon.
The imprint of my wreck shall be given in a special number by Naqsh (84 years old poet and lyricist from Lyallpur in Pakistan)
I am taking all manuscripts to Tufail sahib (Ibn Tufail – writer, novelist, philosopher 1105-1185)
Vazir Agha pathan hain saath saath yaaron ke yaar bhi hain,
Pakad ke who tum ko peet denge main kal unhe saath la raha hoon.
Vazir Agha (Pakistani poet and writer 1922-2010) is a pathan and also friend of friends,
He will catch you and beat you; I shall arrive with him tomorrow.
Hakim Yousuf Ali ne jab meri nabz dekhi to ro ke bole: Jigar hai zakhmi tabah gurde yeh baat tum se chhupa raha hoon.
Doctor Yousuf Ali (Sir Abdullah Yusuf Ali, the famous scholar who translated Quran into English 1872-1953) when he felt my pulse, he cried and said:
Your Jigar (Liver; also famous poet Jigar Moradabadi 1890 – 1960) is wounded, kidneys are ruined; this fact I am hiding from you.
Malihabad aaj jaa raha hoon main Josh laa.un ki aam laa.un,
Tumhaare hontho pe gham ki maujon ko dekh kar tilmila raha hoon.
I am going to Malihabad (the town of famous Pakistani poet Josh Malihabadi 1894-1982) today; should I bring Josh or mangoes,
I am agitated to see the waves of sorrow on your lips.
Fasana-e-ishq mukhatsar hai qasam KHuda ki na bore hona, Firaq Gorakhpuri ki ghazalen nahin main tum ko suna raha hoon.
The tale of love is short, I swear by God, please don’t get bored,
I am not reciting to you (the long) ghazals of Firaq Gorakhpuri (1896-1982)
Meri mohabbat ki daastaan ko gadhe ki mat sarguzisht samajho,
Main Krishan Chander nahin hoon yakeen tum ko dila raha hoon.
Do not think of the tale of my love as a donkey’s biography,
I am not Krishan Chander (Urdu writer of short stories & novels 1914-1977) I can assure you that.
Pilaao aankhon se taaki mujh ko kuchh ‘aal-e-ahmed-suruur’ aaye,
Bahut hain gham aashiqi ke bina piye dagmagaa raha hoon.
Make me drink from your eyes so that I should get Ale Ahmed Suroor (Intoxication; as well as famous poet 1911-2002)
I have a lot of sorrows of love, without drinking I am ambling.
This is my second post that has inputs from a Guest Writer. The first one was ‘Incredible Nostalgia (I.N.) Songs – Part I’ which had Surekha Saini, my sister, who lives in Ambala, as the Guest Writer. She has given IN Song #8 here. Another sister of mine Evani Leela, also an Administrator of two of my Facebook groups, has abiding interest in Music and Old Hindi Songs. Her part of the post is easy to make out as it is in transliterated Hindi. She too is capable of research and burning of the midnight oil to find out facts about songs that would escape the casual fan of songs.
Incredible Nostalgia Songs or IN Songs
These songs not just fill you with nostalgia of the era of melody that existed; but, these songs also fill you with disbelief and wonder. Part I indicates that we shall follow up on these subsequently. This part’s selection includes: Devika Rani’s song Mere Haath Mein Tera Haath Rahe of 1933 movie Karma that she made with her husband Himanshu Rai; Zeenat Begum’s and Pt. Amarnath’s Hamari Gali Aaana from 1944 movie Shukriya; Mohammad Rafi’s Dil Mein Chhupa Ke Pyaar Ka Toofan Le Chale from 1952 movie Aan; Asha Bhosle’s First Solo Song: Do Chaar Idhar, Do Chaar Udhar from 1949 movie Raat Ki Rani; Mohammad Rafi singing for Raj Kapoor: Main Zindagi Mein Hardam Rota Hi Raha Hoon from the 1949 movie Barsaat; Krishna Chandra Rey’s bhajan Jaao Jaoo Ai Mere Sadhu from the 1932 movie Puran Bhagat; and, Hemant Kumar singing for Raj Kapoor on Madan Mohan’s music in 1953 movie Dhun: Hum pyar karenge.
Let us re-start our Incredible and Nostalgic journey.
IN (Incredible Nostalgia) Song #7 Mere Haath Mein Tera Haath Rahe 1933 Movie Karma
I think the first movie song of the first lady of Indian Cinema Devika Rani deserves to be included in IN Songs!
She was the grand niece of Rabindra Nath Tagore who was born on 30th Mar 1908. When at the age of 20, she met Himanshu Rai, a film producer who asked her to join him. She joined him in wedlock as well as in films. Within a year she got married to him and went to Germany to receive training in film-making.
The 1933 movie Karma was the first movie that they made together as the lead cast. The movie, directed by JL Freer Hunt won her critical acclaim. The movie had a 4 minute long kissing scene between her and her husband, a record that has not been broken yet in Indian movies. It was however, controversial in our prudish society.
That was not the only controversial thing that she did. Her husband and she started the famous Bombay Talkies. In 1935, Bombay Talkies first production, a crime thriller Jawani Ki Hawa was produced with her being in lead role opposite Najam-ul-Hassan. The movie was entirely shot in a train. Something about him must have attracted her to him for in their next movie, Jeevan Naiyya, she eloped with him. She was persuaded by her husband’s friends to return since considerable part of the movie had been shot at large cost. She eventually returned as she knew divorce (during those days) was virtually impossible and a Hindu marrying a muslim wasn’t something that the society condoned. The movie was reshot with Ashok Kumar as hero and he then acted with her in several movies starting with 1936 movie on untouchables called Achhut Kanya.
Himanshu Rai died in 1940 and she took up reins of Bombay Talkies and made some very successful films. At the peak of her career in 1945 she chose to retire and marry and settle down with Russian Painter Svetsolav Roerich. They lived together in Manali where several of his paintings are displayed in what was called Roerich Estate. I visited the estate with my father and that’s how I know Devika Rani, the recipient of highest award in Indian Films: the Dadasaheb Phalke Award as well as Padam Shri.
The 1933 movie Karma starring her and her husband Himanshu Rai was a joint production between Germant, UK and India.
The movie was just two years after the first talkie on Indian screen, the 1931 movie Alam Ara.
Lets listen to the song Mere haath mein tera haath rahe sung by Devika Rani. No video is available and the still shows the famous kissing scene between Devika Rani and Himanshu Rai. Roy Douglas and Earnest Broadhurst are the Music Directors but the lyricist is unknown.
Please enjoy: Mere haath mein tera haath rahe….
mere haath mein tera haath rahe
saamne se dono saath rahen
tum mere man ki chaaya ho
tum mere karm ki chaaya ho
mere haathon mein tera haath rahe
aa milke donon saath rahen
tum mere man ki chaaya ho
tum mere karm ki chaaya ho
aa aa aa aa aa aa
aa aa aa aa aa aa aa
karma
karma
aa aa aa aa aa
karma
karma
karma
https://youtube.com/watch?v=hOpLvMLLVpQ%3F
IN (Incredible Nostalgia) Song #8
Hamari Gali Aana 1944 Movie Shukriya
The song I am going to present in IN songs or Incredibly Nostalgic songs is ‘Hamari gali aana’ from film Shukria (1944) sung by Zeenat Begum and Amarnath. When one listens to it with eyes closed, one can feel fragrance of soil after rain and very earthy sounds. The music of this song was composed by GA Chishty who was known for his music from soil. His music was called: “ZAMEEN KI MAUSEEQI”; very simple with eastern tunes but too melodious with the use of basic musical instruments. The song was penned by himself. GA Chishty was also known as Baba Chishty for whom the famous music director Khayyam Saab worked as assistant.
The singer Zeenat Begum was a heart throb voice of 1940s vintage era in Hindi film industry. She had very versatile voice, sweet and melodious but strong and effective. Though not much know about her personal life but she was spotted by Pt Amarnath who was a renowned composer of that period as she used to sing in mehfils and social gatherings. Mostly she sang Punjabi songs for HMV during 1937 till singing for Hindi cinema. Pt Govindram introduced her to Hindi cinema for playback singing in 1942. Mangti (1942) was her first Hindi film for which she sang 10 songs;all super-hit. She sang in another film Nishane (1942) which too was a hit. In the next year she sang in three movies named Paapi, Poonji, Sahara.
After 12 yrs the song, Hamari gali aana, was recorded for film Mem Sahab (1956). The song is almost same copy of that of film Shukria (1944). Madan Mohan composed the song for Mem Sahab, a very delightful film, added very nice and improved instrumentation making it faster in tempo. Lyrics – almost similar – were written by Rajinder Krishan. Song was pleasantly rendered by Talat Mehmood and Asha Bhosle and of course with song recorded with better orchestration and technology.
Why do I find vintage songs nostalgic is because when I listen to these a wish comes to mind: I wish I had a Time Machine which could take me to that era and I see how these songs were recorded with in the absence of today’s advanced technology. This used to be the power of vocals that made vintage songs immortal. Incredible. …hats off. ..
Please enjoy: Hamari gali aana ….
Hamari gali aana
Dekho ji hame na bhulana
Dekho ji hamari gali aana
Hamko ji hame na bhulana achha ji
Shadi mohabbat ki bate
Aur hai jawnai ki rate
Shadi mohabbat ki bate
Aur hai jawnai ki rate
Pehli pehli mulakate
Pehli pehli mulakate
Hai ye khushi ka jamana
Hamari gali aana dekho ji
Hai ye khushi ka jamana
Hamari gali aana dekho ji
Dekho ji hame na bhulana
Dekho ji hamari gali aana
Hamko ji hame na bhulana achha ji
Sawan ki rut hai suhani
Sawan ki rut hai suhani
Joban pe aayi jawani
Kehti dilo ki kahani
Kehti dilo ki kahani
Kahe ko ab sharmana
Hamari gali aana
Kahe ko ab sharmana
Hamari gali aana
Dekho ji hame na bhulana
Dekho ji hamari gali aana
Hamko ji hame na bhulana achha ji
Gata khushi ki har bela
Gata khushi ki har bela
Dhole hai man ki naiya
Dhole hai man ki naiya
https://youtube.com/watch?v=Rk1KWPmyvPU%3F
IN (Incredible Nostalgia) Songs #09 Dil Mein Chhupa Ke Pyaar Ka Toofan Le Chale 1952 Movie Aan
This post is being done almost entirely from memory, on a cellphone in my bed, since I have excruciating toothache. Hence, if anyone of you brings out a historical error, I would readily correct it.
My favourite quartet: Shakeel Badayuni as Lyricist, Naushad Ali as Music Director, Mohammad Rafi as Singer and Dilip Kumar as Actor (Please also read: ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’), have been so far missing from IN Songs even though they made some incredibly beautiful songs. The reason is that I couldn’t think of a fact that sounds incredible!
And then I thought of Mehboob Khan’s 1952 movie Aan wherein they were together just as they were together for K Asif’s Mughal-e-Azam, though only for one song: Zindabad, zindabad.
What is so special about Aan? Well, if you remember the fact that it was India’s first Technicolor movie! If that’s not enough, for the first time in an Indian movie a large orchestra of 100 pieces was used. Still not enough? Well, for the first time in India, Naushad used Western system of musical notations or symbols for Indian raagas.
Aha..now we are getting to the incredible parts. Here is one more incredible part: Aan was the first Indian movie internationally released. So impressed was Cecil De Mille on seeing it in London that he wrote to Mehboob Khan about its directorial excellence. Nimmi was nearly signed by him for a stint in Hollywood!
No one experimented with music the way Naushad did. He ushered in Indian classical raagas into movies. Although he ushered in large orchestras in Hindi movies, 11 years later, in 1963 movie Mere Mehboob’s title song, he used only six instruments! Unfortunately, I can never put up that song; I am not worthy of putting up a song that has no parallel in Hindi movies.
So please enjoy this Aan song put together by my favourite quartet: Dil mein chhupa ke pyaar ka toofaan le chale..
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ham aaj apanii maut kaa saamaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ha ha haa a aa
miTataa hai kaun dekhiye ulafat kii raah me.n
he
ulafat kii raah me.n
miTataa hai kaun dekhiye ulafat kii raah me.n
wo le chale hai.n aan to ham jaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
ha ha haa a aa
manzil pe hogaa faisalaa qisamat ke khel kaa
aa
qisamat ke khel kaa
manzil pe hogaa faisalaa qisamat ke khel kaa
kar de jo dil kaa Kuun wo mehamaan le chale
maut kaa saamaan le chale
dil me.n chhupaa ke pyaar kaa tuufaan le chale
https://youtube.com/watch?v=RhJUZbnlF04%3F
IN (Incredible Nostalgia) Songs #10 Do Chaar Idhar Do Chaar Udhar 1949 Film Raat Ki Rani
Jab aise geeton ki khoj ki jaati hai to bahut sambhal sambhalkar kadam uThana paDta hai. Lekin jab khoj ke dariya mein utarte hain to haath pair chalane ka mood nahin hota. Gota lagaane mein hi mann Dooba rehta hai. Main dekh rahi thi ki Ravinder PS Ravi aur Surekha Saini bahut mehnat se iss theme ko ek anokha roop dene ke liye pata nahin kahan kahan se anmol ratna khoj laa rahe the. To mera bhi mann lalchaaya ki main bhi ek ratna ko pakaD loon. Aur jab mila aur aankh uThakar dekha to woh KOHINOOR se bhi chamakdaar aur moolyvaan nikala.
Asha karti hoon ki aap sabko bhi pasand aayega.
Yeh geet hamari dulari, hamare dilon par raaj karne wali Asha Bhosle ka pehla solo song hai jo Raat ki Rani (1949) film se hai. aap ko dhyaan se sun.na paDega kyonki aap sunenge to aise lagega ki Yeh Lata mangeshkar ki naqal utaar rahi hai. yaani itni prabhaavit.
Sunkar achambha hua ki Guinness book mein apna naam darj karvaane wali apna ek style aur mukaam haasil karne wali ne kaise aur kitni mehnat ki hogi yahan tak aane ke liye.
Main unke mooh se aaj yeh geet sun.na pasand karungi. lekin woh baat shaayad hi aaye.
Iss naayaab geet ke geetkaar Arzoo Lucknowi hain jinka zikr faqr ke saath karna ho to “karoon kya aas niras bhayi” ke saath kar sakte hain.
Music director Hansraj Behl mere most fav hain. Dada Saheb Phalke award graheeta Smt Asha Bhosle ka pehla solo geet sagarv aapke liye pesh hai.
Yeh Mujra fest mein rarest geet ho sakta tha.
Please enjoy: Do chaar idhar, do chaar udhar…
Hai mauj mein apne begaane
Ae ae ae ae
Ae ae
Hai mauj mein apne begaane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udhar
Dhalke hain chhalakte
O ji chhalakte
Aaaa chhalakte paimaane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udharKi aafat dhaa ke gaye
Matwaali adaa dikhlaa ke gaye
Matwaali adaa dikhlaa ke gaye
Sar phod rahe hain deewaane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udharTooti ummeedon ke tukde
Haaye bikhre hai
Aansoon ban ban ke
Kyun bikhre hain
Aansoon ban ban ke
Jaise kisi maala ke daane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udharLehraati batti kya jaane
Aapey mein nahin hain mastaane
Aapey mein nahin hain mastaane
Jal jal ke girey hain parwaane
Haaye parwaane
Do chaar idhar
Do chaar udhar
Do chaar idhar
Do chaar udhar.
https://youtube.com/watch?v=tcKCrXV1JNU%3F
IN (Incredible Nostalgia) Songs #11 Main Zindagi Mein Hardam Rota Hi Raha Hoon 1949 Film Barsaat
I have stated this ‘incredible’ fact earlier. However, now I am going to include it in IN Songs. The 1949 movie Barsaat was the first of my Great Songs Movies on Lyrical with as many as 11 Songs. It was the debut movie of Nimmi. It was also the debut movie of Shankar Jaikishen with whom Raj Kapoor worked in 20 movies (10 of his own).
It was the second movie to be directed by Raj Kapoor after 1948 Aag with Nargis (They worked together for 16 movies including six of RK Productions)
Now, Aag already had the IN Song sung for Raj Kapoor by his singing voice Mukesh: Zinda hoon is tarah ki gham-e-zindagi nahin. What is ‘incredible’ about the song? Well, this that Raj Kapoor doesn’t have his moustache that we see in all his movies including his debut film the 1947 movie Neelkamal!
Ok, so what’s so ‘incredible’ about the only song that he sings in the 1949 movie Barsaat? Only this that Mohammad Rafi sang it for him wherever his singing voice Mukesh sang for Prem Nath: Tirchhi nazar hai!
So in this IN song that I am giving you Hasrat Jaipuri is there as Lyricist (which was in all RK Productions; either him or Shailendra), Shankar Jaikishen are there as Music Director (in all RK Productions after this until Jaikishen died). However, in the only song picturised on Raj Kapoor in the movie, Mohammad Rafi sang for him!
Please enjoy Mohammad Rafi singing for Raj Kapoor in his own production: Main zindagi mein hardam rota hi raha hoon….
mai.n zi.ndagii me.n haradam rotaa hii rahaa huu.N
rotaa hii rahaa huu.N, ta.Dapataa hii rahaa huu.N
mai.n zi.ndagii …
ummiid ke diye bujhe dil me.n hai a.ndheraa
jiivan kaa saathii na banaa koI bhii meraa
phir kisake liye
phir kisake liye aaj mai.n jiitaa hii rahaa huu.N
mai.n zi.ndagii …
rah-rah ke ha.Nsaa hai merii haalat pe zamaanaa
kyaa dukh hai mujhe ye to kisii ne bhii na jaanaa
Kaamosh
Kaamosh mohabbat liye phirataa hii rahaa huu.N
mai.n zi.ndagii …
aaI na mujhe raas mohabbat kii phizaaye.n
sharamaaI merii aa.Nkh se saavan kii ghaTaae.n
laharo.n me.n sadaa
laharo.n me.n sadaa Gam ko bahaataa hii rahaa huu.N
mai.n zi.ndagii …
https://youtube.com/watch?v=kgXoz51hxTg%3F
IN (Incredible Nostalgia) Song #12 Jaao Jaao Ai Mere Sadhu
1932 Movie Puran Bhagat
Krishna Chandra Rey ek aisi hasti hai jise hum pehle hum naman karenge phir unke baare mein baat karenge.
Inka jeewan charita sabhi insaanon ke liye ek maargdarshan hai.
Inhone apni 13 saal ki umar mein kisi kaaraN apni aankhen kho di aur poori tarah andhe ho chuke the. Par Bhagwan ki aseem kripa ki sangeet mein itni oonchai chaDhe ki famous sangeet kaar S D Burman ke pehle Guru aur maargdarshak bane. Manna dey ke chacha hone ke kaaraN yeh unke liye bhi guide rahe guardian rahe aur unhe Bombay lekar aaye. As an assistant Manna Dey unke saath rahe aur apne career ki neenv bahut sudruDh Dali. Aaj pata chal raha ki Sachin Da aur Manna Da ki safalta ke peeche kiska haath unke sir pe tha. K C Dey as actor, singer, aur music director kamaal ki safalta haasil ki. Ek se ek geet diye films mein sangeet bhi diya aur Pankaj Mullick, RC Boral jaise diggaj angeetkaron ke geet bhi gaaye. Faqr ho raha hai iss geet ko, iss shaqhs ko aapke sammukh prastut karte hue. Inke bhajan aaj bhi bahut shraddha ke yad kiye jaate hain.” teri gathari mein laaga chor musafir jaag zara”, “mann ki ankhen khol baba mann ki ankhen khol”. Aaj bhi itne saalon ke baad bhi unki aawaaz mein jo bhakti rass hai, use aap apne mann mein mehsoos kar sakte hain. Iss geet ko suniye to aapko pata chalega ki woh aankhon mein shaayad aansoo liye gaa rahe the.
Puran Bhagat film ka yeh bhajan aapke liye: Jaao jaao ai mere sadhu…
aa
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng -2
solah baras par aaye the ik din shaant rahe ham log -2
ab phir chho.D chale ham sabako -2
kaho ye kaun hai Dha.ng
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng -2
jitanii duur bhii jaa_o rahoge hiraday hii ke samiip -2
aise hii tum har ik yug me.n -2
badalo har ik ra.ng
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng -2
jaavo parameshwar ko bhajate karo bhalaa_ii sabakii -2
sab sansaarii ju.D jaaye.nge -2
puuran naam ke sa.ng
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng -2
solah baras par aaye the ik din shaant rahe ham log -2
ab phir chho.D chale ham sabako
kaho ye kaun hai Dha.ng
jaavo-jaavo e mere saadhuu raho guruu ke sa.ng
https://youtube.com/watch?v=T80Cd9Vmc-c%3F
IN (Incredible Nostalgia) Song #13 Ham Pyaar Karenge, Ham Pyar Karenge 1953 Film Dhun
The 1953 movie Dhun was the 13th of the 16 movies that Raj Kapoor did together with Nargis. Mukesh was his singing voice and Shankar Jaikishen his Music Directors.
He acted in only two movies that had Madan Mohan’s music: the 1953 movie Dhun and 1952 movie Ashiana.
In the former, there is a duet between Hemant Kumar and Lata Mangeshkar singing for Raj Kapoor and Nargis. Bharat Vyas was the lyricist.
Please enjoy a rare song in which Hemant Kumar sang for Raj Kapoor: Ham pyaar karenge, ham pyaar karenge…..
he: ham pyaar kare.nge ham pyaar kare.nge
ham la.Dake jhaga.Dake bhii pyaar kare.nge
la: ek baar kare.nge do baar kare.nge
sau baar sau baar sau baar kare.nge
do: ham pyaar kare.nge ham pyaar kare.nge
he: (gar saare saare din ham aa na sake) -2
(vaadaa karake bhii apanaa nibhaa na sake) -2
la: (saarii saarii raat teraa i.ntazaar kare.nge ) -2
ek baar kare.nge do baar kare.nge
sau baar sau baar sau baar kare.nge
do: ham pyaar kare.nge ham pyaar kare.nge
la: (ham laaj ke maare mar jaaye.nge) -2
(par saamane na tere kabhii aaye.nge ) -2
he: (chhup-chhup ke teraa diidaar kare.nge) -2
ek baar kare.nge do baar kare.nge
sau baar sau baar sau baar kare.nge
do: ham pyaar kare.nge ham pyaar kare.nge
do: (hame.n lage hai.n ba.De is duniyaa ke Dar
kahii.n pyaar ko hamaare lag jaaye na nazar ) -2
(ham chorii-chorii yuu.N hii taqaraar kare.nge ) -2
ek baar kare.nge do baar kare.nge
sau baar sau baar sau baar kare.nge
ham pyaar kare.nge ham pyaar kare.nge
https://youtube.com/watch?v=vQODcwnsRuI%3F
There, then, is the second part of Incredible Nostalgia songs. We shall entertain you with more such gems in the subsequent parts of this blog.
This is my first post that has inputs from a Guest Writer. The Guest Writer in this case is Surekha Saini, my sister, who lives in Ambala. She is an Administrator of a few of my 15 Groups and Pages on Facebook. From a casual interest in music and old Hindi songs, she has come a long way. As she herself says often, “I just liked music and songs, particularly Sufi music of Abida Parveen (my favourite); veerji encouraged me to appreciate various aspects of music”.
In the past she helped me research Moods and Raagas and her posts in our Music Group ‘Yaad Kiya Dil Ne’, particularly during the Fests (that we have on a theme at least once in a month; eg, ‘Baadal Or Badra Songs Fest’ on 06 – 07 June 15) have been well researched and appreciated by all.
Incredible Nostalgia Songs or IN Songs
These songs not just fill you with nostalgia of the era of melody that existed; but, these songs also fill you with disbelief and wonder. Part I indicates that we shall follow up on these subsequently. The selection includes: a Madhubala song nearly two years before what was believed to be her first song; a Meena Kumari song a year before what is reputed to be her first song in Baiju Bawra; the first time Inhi logon ne was sung, 27 years before Pakeezah; Raja Mehdi Ali Khan’s first song when he wasn’t yet 18 years old; the first song composed by Rahul Dev Burman at the age of 9; and, a song by Rajkumari Dubey at the age of 13. Incredible and nostalgic, all siz songs.
Let us start our Incredible and Nostalgic journey.
IN Song #1 Jaayo Na Bides Mora Jiya Bhar Aaayega 1947 Movie Neelkamal
The 1947 movie Neelkamal was a landmark movie in that it was the debut movie of two great actors: Raj Kapoor and Madhubala as hero and heroine; she being only 13 at that time! How did I hit upon it? Well, I am researching Madhubala’s life after I put up her 1958 movie Phagun songs on Lyrical under the on-going theme Great Songs Movies. In 1954 she was discovered with a medical condition that is known in common parlance as having a hole in the heart. And yet in Phagun songs such as: Piya piya na laage mora jiya; Tum rooth ke mat jaana; and Ik pardesi mera dil le gaya, you cannot make out that in another two years time her condition would worsen to the extent of her being reduced to becoming a vegetable. In Feb 1969, she died.
Many people have erroneously listed her Mahal Song (at the age of 16) as her first song in Hindi movies. Yes, it was the first when Lata Mangeshkar started being known as a playback singer. But, it wasn’t the first for Madhubala as heroine!
Her 1947 songs for the movie Neelkamal are her first songs.
Set in the royal court of Janakgarh, the film opens with the palace coup led by the villainous Mangal Singh, resulting in the deaths of the king and queen. Princess Kamala (Madhubala) and her sister are spirited out the court and given over to a family of untouchables. Later, she and her sister fall in love with a rakish artist (Kapoor), resulting in Kamala having to commit suicide.
In the song that I am giving you, Kidar Sharma the director of the movie is also the lyricist. Snehal Bhatkar is the composer. Singers are Rajkumari Dubey and Snehal Bhatkar.
See her running after Raj Kapoor going to Bides (away from the village in another des (country); great distance almost till the end of the song. Do not forget to watch the beautiful end!
Please enjoy the first of my IN Songs: Jaayo na bides mora jiya bhar aayega…..
Jaiyo na bides mora jiya bhar aayega
Jiya bhar aayega jiya bhar aayega
Moko kaulayega moko kachu sa suhayega
Jaiyo na bides mora jiya bhar aayega
Jiya bhar aayega jiya bhar aayega
Moko kamulayega moko kachu sa suhayega
Aiso se kya moh badhana
Aiso se kya moh badhana
Jo nahi sikhe jo nahi sikhe
Jo nahi sikhe preet nibhana
Jinka na ghar bar koi
Jinka na koi thikana
Jinka na ghar bar koi
Jinka na koi thikana
Mana ji hamne mana jaiyo na bides
Jaiyo na bides jiya bhar aayega
Jiya bhar aayega moko kamulayega
Moko kachu sa suhayega jaiyo na
Ham chali ye chal premat aana
Ham chali ye chal premat aana
Sapan hai hum bas man bharmana
Sapan hai hum bas man bharmana
Hamri hasi udane nikle
Dil ki hasi na udana
Hamri hasi udane nikle
Dil ki hasi na udana
Tana delo ji delo tana jaiyo na bides
Jaiyo na bides jiya bhar aayega
Jiya bhar aayega moko kamulayega
Moko kachu sa suhayega jaiyo na
Tum nahi kahte pas bulao
Tum nahi kahte pas bulao
Hum nahi kahte man me basao
Hum nahi kahte man me basao
Jo ankhiya dars ki pyasi
Jo ankhiya dars ki pyasi
Unki najro se dur na
Jao julm ho jayega
Julm ho jayega jaiyo na.
IN Song #2 Pagadi Pehen Ke Turredaar 1951 Movie Madhosh
Just as with our very first IN song that made to stand on its head the oft held popular belief that Madhubala’s Mahal song: Aayega aayega aanewala aayega was the first one picturised on her as a heroine (We put up above that her debut movie as heroine, the 1947 Neelkamal that she did with Raj Kapoor in his debut role, had several of her songs as heroine (nearly two years before her Mahal song!); we have now found out that the popularly held belief that Meena Kumari‘s role as Gauri in 1952 movie Baiju Bawra had first of the songs picturised on her as heroine (Jhoole mein pawan ke aayi bahaar) is wrong. Actually, her song as a feisty damsel making fun of Manhar in 1951 movie Madhosh is the first song!
Having been born on 01 Aug 1932, for the first few months of her existence in the world, Meena Kumari was kept in an orphanage as her parents (mother a dancer on stage and father worked in a theatre company) didn’t have the money to bring her up. She hated acting but Mahjabeen Bano (her name at birth) was made to act from the age of 7 years, so as to earn money for the family.
As Mahjabeen embarked on her acting career at the age of 7, she was renamed Baby Meena. Farzand-e-Watan or Leatherface (1939) was her first movie, which was directed for Prakash Studios by Vijay Bhatt (he later directed her in Baiju Bawra!). She became practically the sole breadwinner of her family during the 1940s. Her early adult acting, under the name Meena Kumari, was mainly in mythological movies like Veer Ghatotkach (1949), Shri Ganesh Mahima (1950), and fantasy movies like Aladdin Aur Jadui Chirag or Aladdin And The Wonderful Lamp (1952).
I know for sure that as a heroine she acted in 1950 movie Anmol Ratan but I couldn’t find a single video of Anmol Ratan songs. They all show Lata Mangeshkar’s stills singing for her.
The storyline of Madhosh is ridiculous:
Soni(Meena Kumari) and Raya(Manhar) belong to families who are enemies. Soni and Raya both have the attitude and till about one quarter of the movie she spurns his advances. But gradually they fall in love. At the same time Raina(Usha Kiran) also loves Raya but Raya has no feelings for Raina. One day in an accident Raya wounds a police man. Afraid, Raya leaves his village and goes to Bombay with Soni and Raina. Raya and Soni get married. But since Raya lives a luxurius life earlier he feels that it would be difficult for Soni to manage it. Raya start tourtouring Soni and one day finally Soni leaves Raya and comes back to the village with Anand (Rayan). But now Raya realises the love for Soni and goes to the village to meet her but police try to capture him. Police start firing in which Raya and Soni both die.
You would recall a song of the movie that has her going on a bullock cart with Anand (Rayan) whilst Manhar is left high and dry and sings in the voice of Talat Mahmood: Meri yaad mein tum na aansu bahana…(how could they ever tell that Gauri was her first adult role as heroine in Baiju Bawra?!)
Anyway, listen to and see her first song for which I could find a video. The song has Manhar trying to woo her but she, together with her friends, makes fun of him.
The lyricist of the song is my second most favourite lyricist: Raja Mehdi Ali Khan and the composer is my second most favourite composer after Naushad: Madan Mohan. The singing voices are those of Shamshad Begum and GM Durrani (who, as you know, was the guru of Mohammad Rafi!).
Please enjoy Meena Kumari’s first song for which I could find a video (also see the contrast between her being dubbed as ‘Tragedy Queen’ later and the bubbly acting that she did here as an 18 year old about to become 19: Pagadi pehen ke turredaar….
Pagdi pehan ke turredaar
akadtaa kyun hai
pagdi pehan ke turre daar
akadtaa kyun hai
tu to nahin hai thaanedaar
tu to nahin hai thaanedaar
oye akadtaa kyun hai
pagdi pehan ke turre daar
akadtaa kyun hai
saare gaaon mein nahin tera jawaab re
saare gaaon mein nahin tera jawaab re
dil mein hai gussa moonh pe jhootha rubaab re
dil mein hai gussa moonh pe jhootha rubaab re
maathe pe sau sau tyuri daal
maathe pe sau sau tyuri daal
oye bigadtaa kyun hai
pagdi pehan ke turre daar
akadtaa kyun hai
humse na tum jhagadnaa
gaaon ki chhoriyo
dekho bhaago yahaan se
kaali aur goiryo
phir na kehna hamraa sardaar
phir na kehna hamraa sardaar
bigadtaa kyun hai
pagdi pehan ke turre daar
akadtaa kyun hai
hum ko na tum samjhnaa
shehar ki chhoriaan
ji shehar ki chhoriaan
oye
chutney banaa dein teri
gaaon ki goiraan
ji gaaon ki goiraan
peechhe hamaare tu bekaar
ae eee ae eee ae eee ae eee ae eee
peechhe hamaare tu bekaar
hmmm mmmm hmmmmm
peechhe hamaare tu bekaar
haaye padtaa kyun hai
pagdi pehan ke turre daar
akadtaa kyun hai
tum jaisi laakhon mere peechhe phirin hain
mere kadmon pe aa ke ro ro girin hain
kehti thin hum se o dildaar
haaye dildaar
kehti thin hum se o dildaar
bichhdtaa kyun hai
kehti thi hum se o dildaar
bichhdtaa kyun hai
jaa jaa
tu garoor se madhosh
o tere gum kar denge hosh
jaa jaa bhaag jaa bhaag jaa
jaa jaa bhaag jaa
o tera thanda kar dein josh
o tujhe kar denge be-hosh
jaa jaa bhaag jaa bhaag jaa
jaa jaa bhaag jaa
oye jaa jaa bhaag jaa bhaag jaa
jaa jaa bhaag jaa
pagdi pehan ke turre daar
akadtaa kyun hai
pagdi pehan ke turre daar
akadtaa kyun hai
hoye
pagdi pehan ke turre daar
akadtaa kyun hai
https://youtube.com/watch?v=SIXznyG3KH8%3F
IN Song #3
Inhi Logon Ne Le Lena Dupatta Mora 1941 Movie Himmat
This Mujra song is Shamshad Begum’s early and very rare songs. I came to know only when I was searching Songs for Mujra song fest that the same song was sung by Shamshad Begum 30 years before ‘Paakeezah’ was released. This song, Inhi logon ne, first appeared in film Himmat in 1941, sung by Shamshad Begam and set to music by Pt Govindram. The lyrics were provided by Aziz Kashmiri but the creation was of Amir Khusro.
We are all well aware of one of the popular songs ‘Inhi logo ne le leena dupattaa mera’ from the film ‘Paakeezah’ (1972) which was sung by Lata Mangeshkar. This song was written by Majrooh Sultanpuri and set to music by Ghulam Mohammed. Very good orchestration gives an impression of a sophisticated mujra song. The difference is understandable as during the intervening period, the concept of courtesan and mujra songs changed in keeping with the changed circumstances.
Shamshad Begum is one of my favorite singers and I love her for she has such a rich and strong voice. It has been said that many singers with a strong voice left for Pakistan during partition. We were lucky Shamshad stayed behind and continued singing for Hindi film industry and made so many filmi and non filmi songs. She has an enviable place in classical singing.
The memorable classic song ‘Inhi Logon Ne’ sung by Shamshad Begum is from the film Himmat (1941), probably her second Hindi film. When a song with more or less the same lyrics and same tune is composed by two different music directors and sung by two different playback singers, comparison is obvious . Shamshad Begum has sung this song in a thumri style with some different words in lyrics. The background and interlude music is simple. In my view, with her earthy voice, the song does give the feel of a typical Mujra or Kotha song. In the song from film Pakeezah sung by Lata Mangeshkar there was some improvisation of lyrics by Majrooh Sultanpuri, eg,
mora to meri
mori to hamari
jinane to jisne
The lyrics of the song from film Himmat provided by Aziz Kashmiri were according to thumri more prevalent in mujra or Kotha songs in that era. The music composed by Pt Govindram was so magical in that period when there was not such refined technology. Even today when I listen to this version I can feel myself going back to that era. Truly nostalgic and incredible.
Please enjoy: Inhi logon ne le lena dupatta mora….
Inhi logon ne le leenaa dupattaa moraa
inhi logon ne le leenaa dupattaa moraa
mori na maana bajajwaa se poochho
mori na maano
haan mori na maano
haan mori na maano
bajajwaa se poochho
jine ashrafi gaz deenaa dupattaa moraa
jine ashrafi gaz deenaa dupattaa moraa
inhi logon ne le leena dupattaa moraa
inhi logon ne le leenaa dupatta moraa
inhi logon ne le leenaa dupatta moraa
mori na maano rangrejawaa se poochho
mori na maano
ho mori na maano
rangrejwaa se poochho
jinane gulaabi rang deenaa dupattaa moraa
jiane gulaabi rang deenaa dupattaa moraa
mori na maana padosan se poochho
mori na maano
haan mori na maano
haan mori na maano
padosan se poochho
jinane hansi hansi mein chheenaa dupattaa moraa
jinane hansi hansi mein chheenaa dupattaa moraa
inhi logon ne le leenaa dupattaa moraa
inhi logon ne le leenaa dupattaa moraa
https://youtube.com/watch?v=F0QpprJJ1Ig%3F
IN Song #4
Ae Meri Topi Palat Ke Aa 1956 Movie Funtoosh
This song was the discovery of another YKDN member Vipan Kohli. Why does it deserve a place in Part I of IN Songs? I shall tell you the reasons.
If you listen to Lata Mangeshkar wherein, about a decade and a half back, she compiled her best songs, she talks about Pancham visiting her in shorts in Mahalaxmi recording studio and asked for her autograph. She immediately recognised him and knowing that he was fond of pranks, she wrote: “Badmaashi chhodo“. A few years later, she was recording what she called as “his first song” with him, for the movie Chhote Nawab. The song in Raag Malgunji (a not so common Raag) conveyed to her that ‘Pancham ek din bahut badha artiste banega’. And Pancham proved her right.
However, in this case, recorded history shows that RD Burman, under the tutelage of his father Sachin Dev Burman, actually composed two songs before the 1961 Chhote Nawab number. The first one was at the age of nine that his father used for the 1956 movie Funtoosh starring his favourite hero Dev Anand. Pancham also composed the tune of Sar jo tera chakraaye as a child and Sachin Dev Burman used it for the iconic Guru Dutt 1957 movie Pyaasa.
Yesterday, on the birth anniversary of this great music director, who left us prematurely on 4th January 1994, we recalled the first song composed by him in the Hindi movie Funtoosh at the age of nine. His last, of course are 1942 Vidhu Vinod Chopra film 1942: A Love Story songs including ‘Ek ladhaki ko dekha to aisa laga’.
Please enjoy Kishore Kumar singing for Dev Anand for the 1956 movie Funtoosh (Sheela Ramani acted opposite him), on the lyrics of Sahir Ludhianvi and music credited to SD Burman (in the movie) but actually composed by his son RD Burman, who was being remembered yesterday on his 76th Birth Anniversary:
Ae meri topi palat ke aaa….
Ai merii Topii palaT ke aa
na apane fanTuush ko sataa
ai mere dilabar idhar nazar kar
na jaa bichhu.D kar
na jaa na jaa
ai merii Topii …
ai merii hamajolii tuu bhii Gair kii ho lii
tuu bhii de ga_ii ghakkaa
auro.n ke sa.ng ghuume.n iThalaa_e aur jhuume.n
dekhuu.N mai.n bhauchakkaa
merii Topii -3
ai merii Topii …
baa.Ndh ke sar pe sehare chuume gore chehare
aur mujhe tarasaa_e
kaaro.n pe cha.Dh jaa_e ho.nTho.n tak ba.Dh jaa_e
dil pe tiir chalaa_e
merii Topii -3
ai merii Topii …
dekhe jise akelii usase kare aThakhelii
raah me.n raas rachaa_e
moraa peT bajaa_e ga.nje sar ko chhupaa_e
chhe.De aur chhup jaa_e
merii Topii -3
ai merii Topii …
https://youtube.com/watch?v=oVE8zvQPINM%3F
IN Song #5
Mera Sundar Sapna Beet Gaya 1946 Movie Do Bhai
I was going to include the first song of Shakeel – Nuashad combine picturised on Uma Devi (Tun Tun) for the 1947 movie: Dard; a song that immediately made Shakeel Badayuni famous. The song is: Afsana likh rahi hoon. However, even though the song is iconic, Surekha and I chatted and rejected it that it cannot be “Incredible” if Shakeel has written it at the age of 30.
I immediately thought of Raja Mehdi Ali Khan‘s first movie: the 1946 movie Do Bhai. He wasn’t yet 18 when he wrote the lyrics for the song: Mera sundar sapna beet gaya. We are convinced it must be really ‘incredible” for someone to write such deep feminine philosophy at the age of 17!
In any case, 5 out of 10 Top Songs of Lata Mangeshkar are credited to him; the other five to Rajinder Krishan. This one has been sung by Geeta Dutt when she was still Geeta Roy (it would take her another 6 years to marry Guru Dutt).
Music is that of SD Burman (the father of RD Burman whose birth anniversary we celebrated yesterday). He has composed it in Raag Bilawal.
Please enjoy Surekha and my choice of our 5th IN Song, picturised on Kamini Kaushal: Mera sundar sapna beet gaya…..
o cho.D ke jaane vaale aa
dil to.D ke jaane vaale aa
aa.Nkhe.n asuvan me.n Duub gayii.n
ha.Nsane kaa zamaanaa biit gayaa
meraa sundar sapanaa biit gayaa
har raat merii divaalii thii
mai.n piyaa kii hone vaalii thii
is jiivan ko ab aag lage, aag lage
is jiivan ko ab aag lage
mujhe cho.Dake jiivan miit gayaa
meraa sundar sapanaa biit gayaa
https://youtube.com/watch?v=zaka9-uC0S4%3F
IN Song #6
Kudrat Hai Rabb Ki Nyaari 1935 Movie Lal Chitthi
Oh my God; I am spellbound and my body is numb after listening to this masterpiece by Rajkumari Dubey from film Lal Chitthi (1935). My reaction is very obvious as this song, Kudrat Hai, was recorded in 1935 and Rajkumari Dubey was born in 1924. Imagine such mature, polished and effective voice, hits straight on one’s heart, is the voice of just 11 years old girl. This is truly incredible and I just wish I could back in time and watch the cute girl singing live. Look at the vocals of 11 yrs old Rajkumari so clear and bang on with very little use of musical instruments by music director Lallubhai Nayak. A few days back I was listening to a thumri: Najariya ki maari, sung by her in the 1972 movie and now I have this song to compare it with. See how incredible is her journey of singing. Hats off.
Rajkumari Dubey was born in 1924 and recorded her first non filmi song in 1934 for All India Radio with HMV just at the age of 10 yrs. Her voice was a God’s gift to her as she didn’t really have the opportunity to learn singing properly. She came into limelight with the songs of film Naukar 1943. She sang in Gujarati and Punjabi too. Although she was not formally trained in classical music but she was great in picking up what her composers taught her. She sang with almost all renowned music directors and singers.
Rajkumari Dubey sang for many leading composers including Anil Biswas, O.P Nayyar, Gyan Dutt, Shyam Sunder, S.D. Burman, Naushad and Roshan. She remained a particular favorite with Roshan, who used her voice in Bawre Nain (1950), Anhonee (1952), Raag Rang (1952) and Naubahar (1952). Her famous songs include Ghabra ke and Ek teer chala from Mahal (1949), Nazron mein samane sai from Hyderabad ki Nazneen (1952), Kajrari matwali from Nau Bahar (1952), Mere roothe huwe chanda from Bawre Nain (1950). She also sang with K.L. Saigal in Bhakt Surdas (1942) and Noor Jehan in Naukar (1943). The last song she sang was a bhajan for Gulzar’s Kitaab (1977) composed by R.D. Burman. One of her last public performances was in 1996, when she received the Aashirwad Navratna Award.
Please enjoy: Kudrat hai rabb ki nyaari….
Kudarat hai rab ki nyaari
Kudarat hai rab ki nyaari
Kudarat hai rab ki nyaari
Kudarat hai rab ki nyaari
baade bahaari aayi
gulshan mein kaisi hariyaali chhaayi
dekho gulshan mein
ye kaisi hariyaali chhaayi
koodti hai daali daali
koodti hai daali daali
koyaliya kaali
par hai kisne paaya
shaan hai niraali
par hai kisne paaya
shaan hai niraali
hai phooli kyaari kyaari
hai phooli kyaari kyaari
baade bahaari aayi
gulshan mein kaisi hariyaali chhaayi
dekho gulshan mein
kaisi hariyaali chhaayi
naache hai titli matwaali
haan
naache hai titli matwaali
naache hai titli matwaali
haan
naache hai titli matwaali
naache hai titli matwaali
haaan naache hai titli matwaali
bhanwra hai deta taali
naache hai titli matwaali
bhanwra hai deta taali
har ?? hai tera jalwa
tu hi hai waali
har ?? hai tera jalwa
tu hi hai waali
sab tum par waari waari
sab tum par waari waari
baade bahaari aayi
gulshan mein ye kaisi hariyaali chhaayee
ye dekho
gulshan mein ye kaisi hariyaali chhayee
https://youtube.com/watch?v=NYplNp-YlrA%3F
There then are the first half dozen of IN or Incredible Nostalgia Songs in the Hindi films. We shall entertain you with more such gems in subsequent parts of this blog.
They look at my gaunt frame and ask:
“What keeps you so fit and lean?”
I tell them try to look inside the mask,
And see all the running I have seen.
When I was small I used to run,
From poverty, violence and abuse,
The taunts of my classmates were no fun,
It almost made me a recluse.
They teased me for my long hair,
Since I was born and brought up as a Sikh,
Horrible jokes they cracked on me,
Sexist, racist, I could take my pick.
At home, we always had “discussions”
My dad’s favourite subject,
Anger and abuses were the concomitants,
I used to run away in fear abject.
In studies there were these smarties,
Who always knew more than I did;
I used to race away from them,
Until my face from them I hid.
I joined the Navy at an early age,
It was indeed a dream come true;
Here I could be at peace with myself,
And the seas: black, green and blue.
But some men there that I met,
Were suave, clever and cunning;
They were skilled in pretense and deceit
And I soon resumed my running.
I made a lot of friends, but I know,
There were some that I’ve had,
I had to quickly run from them
For they made me lonely and sad.
I’ve had my share of wise men,
The so called pseudo-intellectuals;
I ran away as far as I could,
Since they were neither real nor factual.
I ran away from gathering riches,
By means that were suspect;
And hence I stayed poor at heart,
I raced from being abject.
On retirement, I didn’t have much,
But I had my running shoes,
So I kept fit by running away from
All those who often talk loose.
I joined the social media
Blog, Twitter, Whatsapp and Facebook,
But I often run away from those
Who post by hook or crook.
I have listed a few things above,
But this isn’t a list complete;
Greed, mobs, falsehood and unfairness,
Are others that make my legs fleet.
There, that’s my exercise regime,
That I follow without pause and break;
All the running keeps me in good shape,
Though I may not do it for fitness’s sake.
So, if there is one advice that I can give,
For the health of body and mind:
‘Live life, love life, love all you can,
But there are things that you must leave behind.’
‘Run away from them as fast as you can,
Don’t ever regret their loss,
Listen to everyone, and yet,
Love yourself and be your own boss.’
Yaad Kiya Dil Ne (YKDN) is a Music or Songs Group on Facebook. Whilst there are hundreds of such groups on Facebook, this one is unique. Here is the description:
“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 thematic Music Fests on the group are keenly contested; though the focus is more on presentation of the songs being put up and their rarity. The group was formed in Nov 14 since members had started putting up frivolous stuff in the earlier group Dil Ki Nazar Se. So far, we have already had eleven Fests as follows:
[lineate][/lineate]1. Hindi Flavour Songs Fest 15-16 Nov 14.[lineate][/lineate]2. Guitar Scene Songs Fest 06-07 Dec 14[lineate][/lineate]3. Songs With Whistle Fest 03-04 Jan 15[lineate][/lineate]4. Zindagi (Happy or Sad) Songs Fest 24-25 Jan 15[lineate][/lineate]5. Horse (Mule & Donkey too) Scene Songs Fest 07-08 Feb 15[lineate][/lineate]6. Flash Rain Scene Duets Songs Fest 21-22 Feb 15[lineate][/lineate]7. Neend Songs Fest 07-08 Mar 15[lineate][/lineate]8. Music Fest on Zamaana or Duniya 28-29 Mar 15[lineate][/lineate]9. Indoor Party Scene Songs Fest 04-05 Apr 15[lineate][/lineate]10. Music Fest on Chaman, Baag, Bagiya 02-03 May 15[lineate][/lineate]11. Zulf, Gesu, Baal Songs Fest 16-17 May 15.[lineate][/lineate]
Normally, as the Monsoons set in, we have been having a Fest on Songs of Rains. This time on YKDN, I changed the theme to Baadal or Badra songs and what a beautiful Fest it turned out to be. I am giving you select description and songs so as to let wider audiences have a feel of these Fests and encourage them – provided they are earnest and not just copy-paste types – to participate.
Rules. The Fest is announced as an Event to all members of the group Yaad Kiya Dil Ne. Normally, there are the following rules:
[lineate][/lineate]1. The Fest starts at 1000 hrs on a Sat (normally the first Saturday of the month) and ends at 1600 hrs on Sun. During this time, on YKDN, we do not allow any other posts on YKDN other than regarding the Fest.[lineate][/lineate]2. Every participant (a participant is required to confirm his her participation on the Event Page) is limited to putting up 3 songs in a day (the first day is from 1000 hrs to midnight; and the second day is from midnight to 1600 hrs) and total of 6 songs in the Fest.[lineate][/lineate]3. In order to preclude repetitions, before putting up a song, a participant is required to put up the mukhada (first few words only) of the song in a comment on the pinned post (the post right on top). In this way, at one glance, before putting up a song, a participant can make out in one glance, what others have put up and hence avoid repetitions. (there are negative marks for repetitions!)[lineate][/lineate]4. Marks are awarded for the presentation (description or write-up with which the song is put up), the number of likes that a song fetches and its rarity.[lineate][/lineate]5. Results are declared within 2-3 days of the Fest (any member of YKDN can click on ‘Files’ under the cover picture of the group YKDN and see the complete results of any of the Fests conducted so far.
With this background, let me give you some of the select songs of the Baadal, Badra Songs Fest that was conducted on 06-07 Jun 15, with their presentations by the members to give you a feel of the Fest. You may like to notice the lengths to which members go to find rare songs and information about the songs including their raagas. For results, please click on the ‘Files’.
1. Maj Vishwas Mandloi
He won the award for the #1 song in the Fest with this song. Indeed, all his six songs were the top six songs of the Fest; an unprecedented feat! I am giving the selected three.
BAADAL, BADRA SONGS FEST
DAY 1 Song 3
Mukhda – Dil hum hum kare ghabraaye
Keyword line – Ghan dham dham kare darr jaaye
Not all Badra/Badal songs need be associated with love or joy as we should also have due consideration for people who only get sufferings in their lives.!! I found this one to depict the fear of unknown as a rare Badra (Ghan) song and only wonder if it does fit the QR (Qualitative Requirement) of rarity.!!
Rudali is a Kalpna Lajmi’s film released in 1993 based on a short story by Mahasweta Devi, who is a renowned Bengali litterateur. The title of the film refers to those women from remote areas of Rajasthan hired by the upper-caste people to mourn for a death in their families. The star casts in the film are Dimple Kapadia, Rakhee, Raj Babbar, and Amjad Khan. Dimple Kapadia won the National Award For Best Actress.
Music Director: Bhupen Hazarika.
Lyrics: Gulzar
Singer : Lata Mangeshkar & Bhupen Hazarika
Cast: Raj Babbar, Dimple Kapadia, Raakhee
Director: Kalpana Lazmi
Producer: Ravi Gupta, Ravi Malik
Year: 1993
Story of Movie Rudaali:-
Rudaali is a 1993 Hindi film directed by the Feminist Indian director Kalpana Lajmi, based on the short story written by famous Bengali litterateur Mahasweta Devi.
The title is a reference to a custom in certain areas of Rajasthan where women of a lower caste are hired as professional mourners upon the death of upper-caste males. These women are referred to as a ‘rudaali’ (roo-dah-lee),literally translated as ‘female weeper’ or “Weeping Woman” Their job is to publicly express grief of family members who are not permitted to display emotion due to social status.
The film is set in a small village in Rajasthan, India. It tells the story of a woman named Shanichari, who was abandoned by her mother shortly after her father’s death. Bad fortune follows as she marries an alcoholic, who leaves her with little hope of a brighter future for herself and her mentally-retarded son.
Throughout Shanichari’s lifetime of misfortune she has never cried. This creates great difficulty once she is called to become a rudaali until Bhinkni, an experienced mourner, enters her life. Shanichari and the local landlord’s son fall in love with each other, but Shanichari is reluctant to ask the rich lover for money as she does not want to lower her love even for the sake of getting out of poverty and misery.
But Shanichari is simply led to more misery that will surely bring her to tears.
Many viewers commented upon the fact that for a movie based in a semi-arid desert, it had more scenes of rain-fall { which is a common backdrop for song-&-dance sequences in Bollywood } than was geographically or metereologically plausible.
Awards and honors:-
Dimple Kapadia won a National Film Award for her role of Shanichari in the film.
The film also features Raakhee, Raj Babbar and Amjad Khan in one of his last films. Khan died before the film’s release, and the film is dedicated to him in the beginning credits.
Samir Chanda won National Film Award for Best Art Direction.
Simple Kapadiawon the National Film Award for Best Costume Design.
Soundtrack :-
The film has music by Bhupen Hazarika – one of his few forays of this classical musician into providing soundtracks for Bollywood.!!
It would be quite apt to dedicate this song to Dr. Bhupen Hazarika who was called a living legend as he was a multi-faceted artist from Assam, a state in the north-eastern part of India.
Hazarika was born ( 8 September 1926 ) in Sadiya, Assam. A child prodigy, he wrote and sang his first song at the age of 10 and worked for the second Assamese talkie, Indramalati, in 1939, when he was 12 years old. He completed his Intermediate Arts from Cotton College in 1942, and went on to Banaras Hindu University to complete his B.A. in 1944 and his M.A. in Political Science in 1946.He earned a Ph.D. from Columbia University, New York, USA in 1954, submitting a dissertation titled “Proposals for Preparing India’s Basic Education to Use Audio-Visual Techniques in Adult Education”.
As a singer, he is known for his crisp baritone voice and flawless diction; as a lyricist, he is known for poetic compositions and parables that touch on a wide range of themes—ranging from the erotic to social and political commentary; and as a composer for his use of folk music with a touch of the contemporary. He also participated, first as a child artist, and later as a director, in the nascent Assamese film industry. He is immensely popular, touching on reverence, in the states of Assam, West Bengal as well as in neighbouring Bangladesh.
Hazarika was hospitalized in the Kokilaben Dhirubhai Ambani Hospital and Medical Research Institute in Mumbai in 2011. He died of multi-organ failure on 5 November 2011. His body lay in state at Judges Field in Guwahati and cremated on 9 November 2011near the Brahmaputra river in a plot of land donated by Gauhati University. His funeral was attended by an estimated half a million people.
The list of Honours & Awards he received is long and goes as below:-
Award for the Best Feature Film in Assamese (Shakuntala; Directed by Bhupen Hazarika) in the 9th National Film Awards (1961)
The Best Music Director National Award for “Chameli Memsaab” (Chameli Memsaab; music by Bhupen Hazarika) in the 23rd
National Film Awards (1975)
Padma Shri – the fourth highest civilian award in the Republic of India (1977)
Gold medal from the State Government of Arunachal Pradesh for “outstanding contribution towards tribal welfare, and uplift of tribal culture through cinema and music.” (1979)
All India Critic Association Award for best performing folk artist (1979)
In 1979 and 1980 he won the Ritwik Ghatak Award as best music director for two theatre plays, Mohua Sundari, and Nagini Kanyar Kahini
Bengal Journalist’s Association Indira Gandhi Smriti Puraskar in (1987)
Sangeet Natak Akademi Award (1987)
Dadasaheb Phalke Award (1992)
Best Music Director National Award for Rudaali in 1993.
First Indian to win Best Music for the film Rudaali at the Asia Pacific International Film Festival in Japan (1993)
Padma Bhushan – the third highest civilian award in the Republic of India (2001)
Honorary Degree from Tezpur University (2001)
10th Kalakar Award for Lifetime Achievement in the year 2002, Kolkata.
Sangeet Natak Akademi Fellowship (2008)
Asom Ratna – the highest civilian award in the State of Assam, India (2009)
In February 2009, the All Assam Students Union erected a life size statue of Hazarikaon the banks of Digholi Pukhuri in Guwahati.
A full length docu-feature biopic film on his life titled Moi Eti Zazabor(‘I am an Wanderer’) jointly directed by Late Waesqurni Bora and Arnab Jan Deka has been under production since 1986
Muktijoddha Padak – Awarded as a “Friend of the Freedom Struggle” award by Bangladesh Government (posthumously, 2011)
Asom Sahitya Sabha has honoured him with the title “Biswa Ratna”.
Padma Vibhushan – second highest civilian award in the Republic of India (2012)
A postage stamp, bearing his face, was released by India Post to honour him on 3 May 2013.
Please do take time to listen to such a fine and decorated man once again and enjoy his music.!!
Raag – Bhoopali / Bhopali / Bhupali
Lyrics :-
Dil hum hum kare ghabraaye
Ghan dham dham kare darr jaaye
Ek bund kabhee paanee kee
Moree ankhiyo se barsaaye
Dil hum hum kare ghabraaye
Teree jhoree daru sab sukhe pat jo aaye
Teraa chhua lage, meree sukhee dar hariyaaye
Dil hum hum kare ghabraaye
Jis tan ko chhua tune, uss tan ko chhupaau
Jis man ko lage naina, woh kisko dikhaau
O more chandrama, teree chaandanee ang jalaaye
Teree unchee ataree maine pankh liye katwaaye
Dil hum hum kare ghabraaye, ghan dham dham kare darr jaaye
Ek bund kabhee panee kee moree ankhiyo se barsaaye
Dil hum hum kare ghabraaye
[## There was some copyright problem in the original clip I posted in the morning and it was perhaps removed.!! Now posting male and female versions seperately.!! ##]
https://youtube.com/watch?v=fFWHR7jbv44%3F
2. Maj Vishwas Mandloi
BAADAL, BADRA SONGS FEST
DAY 1 Song 1
Mukhda – Mora gora ang lai le, mohe sham rang dai de
Keyword line – Badali hata ke chanda chupke se jhanke chanda
Let me start the day with the debutant song of a Lyricist, writer, director, poet, filmmaker, playwright … as a tribute for being one of the greatest living legends of Indian cinema named Sampooran Singh Kalra who was born on August 18, 1936 to Makhan Singh Kalra and Sujan Kaur in Dina, Jhelum District, British India, located in the current-day West Punjab, Pakistan. As a lyricist, he is best known for his association with the music director Rahul Dev Burman, and has also worked with other leading Hindi movie music directors including Sachin Dev Burman, Salil Chowdhury, and Madan Mohan who in his early life was a mechanic and went on to become the Chancellor of a University, awarded with Padma Bhushan and one of the first among Indians to have won a Grammy Awad.!!
Yes here I am talking of the living legend famously known as Gulzar who started his career as a songwriter with the music director Sachin Dev Burman for the movie Bandini (1963). Shailendra who has penned rest of the songs of the movie requested Gulzar to write the this song “Mora Gora Ang Layle”, sung by Lata Mangeshkar.!! Before becoming a writer, Sampooran worked in Mumbai as a car mechanic in a garage. As his father rebuked him for being writer initially he took the pen name Gulzar Deenvi and later simply Gulzar.
Gulzar began his career under the film directors Bimal Roy and Hrishikesh Mukherjee. His book Ravi Paar has a narrative of Bimal Roy and the agony of creation. Directed and produced by Hrishikesh Mukherjee, the 1968 film Aashirwad had dialogues and lyrics written by Gulzar. Song lyrics and poems written by Gulzar gave the poetic attribute and the “much-needed additional dimension to Kumar’s role in the film. Kumar received the Best Actor at the Filmfare and at the National Film Awards for this role.
Gulzar’s lyrics however did not gain much attention until the 1969’s Khamoshi, where his song “Humne Dekhi Hai Un Aankhon Ki Mehekti Khushboo” (lit., “I have seen the fragrance of those eyes”) became popular. Ganesh Anantharaman in his book Bollywood Melodies describes Gulzar’s lyrics, with the purposeful mixing of the senses, to be “daringly defiant”. For the 1971 film Guddi, he penned two songs of which “Humko Man Ki Shakti Dena” was a prayer which is still sung in many schools in India. As a lyricist, Gulzar had close association with the music director Rahul Dev Burman. He has also worked with Sachin Dev Burman, Shankar Jaikishan, Hemant Kumar, Laxmikant-Pyarelal, Madan Mohan, Rajesh Roshan, and Anu Malik. Gulzar worked with Salil Chowdhury Anand (1971), Mere Apne (1971), Madan Mohan (Mausam (1975) and more recently with Vishal Bhardwaj (Maachis (1996), Omkara (2006), Kaminey (2009), A. R. Rahman Dil Se.. (1998), Guru (2007), Slumdog Millionaire (2008), Raavan (2010) and Shankar–Ehsaan–Loy Bunty Aur Babli (2005).
Gulzar took inspiration from Amir Khusrow’s “Ay Sarbathe Aashiqui” to pen “Ay Hairathe Aashiqui” for Mani Ratnam’s 2007 Hindi film Guru which had music composed by A. R. Rahman. Another Ratnam-Rahman hit, “Chaiyya Chaiyya” from Dil Se.. also had lyrics written by Gulzar, based on the Sufi folk song “Thaiyya Thaiyya” with lyrics by poet Bulleh Shah. For another collaboration with Rahman for Danny Boyle’s 2007 Hollywood film Slumdog Millionaire, Rahman and Gulzar won the Academy Award for Best Original Song for “Jai Ho” at the 81st Academy Awards. The song received international acclaim and won him a GrammyAward (shared with Rahman) in the category of Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media.
After writing dialogues and screenplay for films like Aashirwad, Anand, Khamoshi, Gulzar directed his first film Mere Apne (1971). The film was a remake of Tapan Sinha’s Bengali film Apanjan (1969). He then directed Parichayand Koshish. Parichay was based on a Bengali novel, Rangeen Uttarain by Raj Kumar Maitra. He wrote story of Koshish based on the struggle faced by deaf-dumb couple. In 1973, he directed Achanak inspired by the 1958 murder case KM Nanavati v State of Maharashtra. Later he directed Aandhi, based on the Hindi novel “Kaali Aandhi” by Kamleshwar. His next film Khushboo was based on Sharat Chandra Chattopadhyay’s Pandit Mashay. His Mausam which won National Award for 2nd Best Feature Film, Filmfare Best Movie and Filmfare Best Director awards, along with other six Filmfare nominations, was loosely based on the story “Weather”, from the novel, The Judas Tree, by A.J. Cronin. His 1982’s film
Angoor was based on Shakespeare’s play The Comedy of Errors.
In 1988, Gulzar directed an eponymous television serial Mirza Ghalib starring
Naseeruddin Shah and broadcast on Doordarshan. Later he also directed
Tahreer Munshi Premchand Ki about the novels of Premchand. None of the Gulzar’s film were very commercially successful. His films told stories of human relationships entangled in social issues. Libaas was a story of extra-marital affairof an urban couple. Due to its objectionable subject the film never got released in India. Mausam pictured a story of a father who tries to improve the life of his prostitute-daughter. In Maachis, a young Punjabi boy engages in terrorism to fight a bad situation only to realise its temporary nature. Hu Tu Tu dealt with corruption in India and how a man decides to fight it.
Many of his popular songs were sung by Kishore Kumar , Lata Mangeshkar and Asha Bhosle. These include “Musafir Hoon Yaron” (Parichay ), “Tere Bina Zindagi Se Koi” (Aandhi), and “Mera Kuch Samaan” (Ijaazat ).
Gulzar primarily writes in Urdu and Punjabi; besides several dialects of
Hindi such as Braj Bhasha, Khariboli, Haryanvi and Marwari. His poetry is in
Triveni type of stanza. His poems are published in three compilations: Chand Pukhraaj Ka , Raat Pashminey Ki and Pandrah Paanch Pachattar. His short stories are published in Raavi-paar (also known as Dustkhat in Pakistan) and Dhuan (smoke). For the peace campaign (Aman ki Asha) jointly started by India’s and Pakistan’s leading media houses, Gulzar wrote the anthem “Nazar Main Rehte Ho”, which was recorded by Shankar Mahadevan and Rahat Fateh Ali Khan. Gulzar has written ghazals for Jagjit Singh’s albums “Marasim” and “Koi Baat Chale”. Gulzar has written lyrics and dialogues for several Doordarshan TV series including Jungle Book, Alice in Wonderland, Hello Zindagi, Guchche and Potli Baba Ki with Vishal Bhardwaj. He has more recently written and narrated for the children’s audiobook series
Karadi Tales. In April 2013, Gulzar was appointed as the Chancellor of the Assam University.
Gulzar is married to actress Raakhee. The couple have a daughter, Meghna Gulzar(Bosky); when their daughter was only one year old, they separated but never divorced. Meghna Gulzar grew up with her father and, after completing her graduation in films from New York University, went on to become a director of films like Filhaal,
Just Married and Dus Kahaniyaan , and authored the biography of her father Gulzar, in 2004.
Gulzar was awarded the Padma Bhushan in 2004 for his contribution to the arts and the Sahitya Akademi Award in 2002.He has won a number of National Film Awards and 20
Filmfare Awards. At the 81st Academy Awards, he won the Academy Award for Best Original Song for “Jai Ho” (shared with A.R.Rahman), for the film Slumdog Millionaire. On 31 January 2010, the same song won him a GrammyAward in the category of
GrammyAward for Best Song Written for a Motion Picture, Television or Other Visual Media. Gulzar has won the most Filmfare Awards for Best Lyricist (11 in total) as well as four Filmfare Awards for Best Dialogue. He was also awarded the 2012Indira Gandhi Award for National Integration. Gulzar received the 2013 Dadasaheb Phalke Award, the highest award of the Indian cinema, on 3 May 2014at the 61st National Film Awards.
As a first time lyricist Gulzar (just about 26-27 year old) takes firm and assured steps without falling prey either to over simplification or over complication in choosing the words. Though this song is about a woman in love who is wishing to meet her lover, Gulzar also steers clear of the words like Pyar, Milan, Dil etc. and uses the plot of begging for a dark complexion (skin) to camaflogue herself in the darkness of night in order to meet her lover undetected.!!
The song comes out a winner with just the right mix of naivety in the lyrics, sweetness in Lata’s voice, innocence in Nutan’s expressions and formidable support by S D Burman’s music.!! Enjoy.!!
Raag – Khamaj
Lyrics :-
Mora gora ang lai le, mohe sham rang dai de
Chhup jaungi rat hi me, mohe pi kaa sang de de
Ek laj roke paiyya, ek moh khinche baiyya
Jau kidhar naa janu, humka koyi batayide
Badali hata ke chanda chupke se jhanke chanda
Tohe rahu lage bairi musakaye ji jalayake
Kuchh kho diya hain payake, kuchh paa liya gawayake
Kaha le chala hain manwa, mohe bawari banayake
Keyword line – kaali ghataa hai, aa aa, mast fazaa hai, aa aa
I am in a dilemma whether to choose a softer note light classical song(s) or a qawwali…
Since most of the songs in the current theme of Badal, Badra, Ghata, Badariya are all so soft I wish to break the trend and take you into altogether a different world of qawwalis … and the one which comes to my mind is this one.!! I know you will all love it because of I S Johar smile emoticon As kids we used to feel great and thrilled while going to watch movies which had him in the cast obviously for the fun he used to be.!!
This movie “5 Rifles” was his own production and more of the description you may read which goes along the video clip.!!
Film cast:
Rakesh Khanna (a Rajesh Khanna look-alike) as Rajesh Khanna
Shahi Kapoor (a Shashi Kapoor look-alike) as Dacoit Raka
Ambika Johar as Rajkumari/Khatari
I.S. Johar as Harfan Mama
Kamal Kapoor as Police Commissioner
Veena as Maharani
Murad as Wajid Saab
D.K. Sapru as Maharaja (as Sapru)
Keshto Mukherjee as Drunkard (as Keshto Mukerji)
Ram Avtar as Constable (fatso)
Anil Johar as Captain Aslam
Satyadeep
Anu (as Master Anu)
Ketty Irani
Singer: Asha Bhosle, Kishore Kumar, Aziz Nazan
Lyricist: Indeevar, Rajendra Krishan, Naza Sholapuri
Music Director: Kalyanji Anandji, Aziz Nazan
Film Director: I S Johar
Film Producer: I S Johar
This was a non-film qawwaali that became a super-hit and more popular than many filmi songs.!! So I.S. Johar picked it up as a novel stunt and filmicized it on his daughter Ambika Johar in this movie. Its not a woman whos giving the playback for this Qawwali… But its Late Ustad Aziz Naza who singing. This gave this qawwaali a new lease of life.!!
Yes on screen its Ambika Johar whos performing this song. Its very rare to see a woman lips-syncing a male voice but our film makers do sometime like to experiments.
With this premise in view I present this rare qawwali and I am sure those who have heard it before would love to hear it again and read the lyrics along smile emoticonwink emoticon I hope this one qualifies as a rare one.!!
Lyrics:-
naa haram me, naa sukun milataa hai butakhaane me
chain milataa hai to saaqi tere maikhaane me
jhum, jhum, jhum
( jhum baraabar jhum sharaabi, jhum baraabar jhum ) -3
kaali ghataa hai, aa aa, mast fazaa hai, aa aa
kaali ghataa hai mast fazaa hai, jaam uthaakar ghum ghum ghum
jhum baraabar…
aaj angur ki beti se muhaubbat kar le
shekh saahab ki nasihat se bagaavat kar le
isaki beti ne uthaa rakhi hai sar par duniyaa
ye to achchhaa huaa ke angur ko betaa naa huaa
kamasekam surat-e-saaqi kaa nazaaraa kar le
aake maikaane me jine kaa sahaaraa kar le
aankh milate hi javaani kaa mazaa aayegaa
tujhako angur ke paani kaa mazaa aayegaa
har nazar apani bakad shauq gulaabi kar de
itani pile ke zamaane ko sharaabi kar de
jaam jab saamane aaye to mukaranaa kaisaa
baat jab pine ki aajaaye to daranaa kaisaa
dhum machi hai, aa aa, maikaane me, aa aa
dhum machi hai maikaane me, tu bhi machaa le dhum dhum dhum
jhum baraabar…
isake pinese tabiyat me ravaani aaye
isako budhaa bhi jo pile to javaani aaye
pine vaale tujhe aajaaegaa pine kaa mazaa
isake har ghunt me poshidaa hai pine kaa mazaa
baat to jab hai ke tu mai kaa paraskaar bane
tu nazar daal de jis par vohi maikvaar bane
mausam-e-gul me to pine kaa mazaa aataa hai
pine vaalo ko hi jine kaa mazaa aataa hai
jaam uthaale, aa aa, munh se lagaale, aa aa
jaam uthaale, munh se lagaale, munh se lagaakar chum chum chum
jhum baraabar…
jo bhi aataa hai yahaan pike machal jaataa hai
jab nazar saaqi ki padati hai sambhal jaataa hai
aa idhar jhumake saaqi kaa leke naam uthaa
dekh vo abr uthaa tu bhi zaraa jaam uthaa
is qadar pile ke rag-rag me surur aajaaye
qadarat-e-mai se tere chehare pe nur aajaaye
isake har katare me naazaan hai nihaan dariyaadili
isake pinese pataa hoti hai ke zindaadili
shaan se pile, aa aa, shaan se jile, aa aa
shaan se pile shaan se jile, ghum nashe me ghum ghum ghum
jhum baraabar…
[ PS : Being one of the Admins of the facebook group i-Peg , participating in a facebook event like this and not posting it would have been unjust somewhat.!! heart emoticonlike emoticon Cheers.!! ]
https://youtube.com/watch?v=HYaoFVmXiRQ%3F
4. Sumedha Nair
Baadal Badra fest Day # 1 song # 2
Yeh ratein yeh mausam yeh hasana hassana
“Ye badli ka chalana ye bundon ki rimjhim”
I am the die hard fan of this non filmy song (NFS) sung and composed by Pankaj Mullick and written by Faiyyaz Hashmi. The 40s were the era that saw the dawn of NFS. The wave got consolidated in 50s and 60s and is going on to this day though frankly the popularity and following these non filmy songs had in 40s 50s is lacking now or rather NFS’ enthuses people much less with the exception of classical, semi classical and few other songs that do whip up similar fervor. Pankaj Mullick, K.L Saigal, Jagmohan and K.C Dey recorded large number of NFS. All iconic songs and most of them my favorite
The beauty of these songs e.g. this one is that you make your own images to go with the words.
The perfect night, dark floating clouds, light drizzle, gentle breeze, sound of silence and your beloved … Sheer magic. The best part is that everyone can rustle up their own scenario.
This song was much later used for film Tarana featuring Madhubala and Dilip Kumar.
ye raate ye rate ye mausam ye hasna hasaana ye rate
mujhe bhul jana inhe na bhulana bhulana bhulana ye rate
ye behki nigahe ye behki nigahe ye behki adaaye
behki nigahe ye behki adaaye
ye ankho ke kajal me dubi ghataye
fiza ke fiza ke labo par fiza ke
fiza ke labo par ye chup ka fasana
mujhe bhul jana inhe na bhulana bhulana bhulana ye rate
chaman me chaman me jo mil ke bani hai kahani
hamari muhabbat tumhari javani chaman me
ye do garm sanso ka ik sath aana
ye badli ka chalna ye bundo ki rumjhum
ye badli ka chalna ye bundo ki rumjhum
ye masti ka alam ye khoye se ham tum
tumhara tumhara mere sath ye gungunana
mujhe bhul jana inhe na bhulana bhulana bhulana ye rate
https://youtube.com/watch?v=KShVPx91zaA%3F
5. Sumedha Nair
Baadal Badra fest Day # 1 Song # 1
Barsan laagi badariya rumjhum re
Gmorning folks! Went out in the balcony to see the morning sky, may be real time nice clouds would inspire me to post a song but all I found was a wisp of cloud on Gurgaon horizon. Instead heard most soothing CooOooing of Koyal. What immediately struck a cord was ‘Koyalia mat kar pukar karejwa lage kataar’ Daadra from Begum Akhtar. No I am not posting it as there is no mention of baadal or badra or any other of its synonyms but yes it brought to mind Pt. Chhannulal Mishra (an exponent of Kajri, Chaitri, Thumri and hori) and his famous Kajri – barsan laagi badariya rumjhum re. I heard this Kajri long back at one of the SPIC MACAY dos and has stayed with me all these years.
Kajris are traditionally sung in UP and Bihar but you can narrow its emergence down to Mirzapur. After long summers the advent of monsoon also heralds’ longing of a maiden for her lover which this genre of music is all about.
In mythologhy thanks to Kans the Devis were sent up in the sky from where they came down to nestle in Vindhyas. One of the Devi is Kajala Devi where people pray and put Kohl or kajal in their eyes. The songs that are sung to please the Devi especially in rains are called Kajlis.
Another interesting story is of Raja of Kansit who was perpetually at war with Mughals. Raja had a daughter named Kajri who was married to Raja’s senapati. In one of the skirmishes with Mughals her husband died but as she was not told about this Kajri kept waiting for his return. She would sit in the jungle and sing songs of separation. People would hear her and say “Kajri gawat” Over centuries people forgot her but what remained were the songs she sang which till date are know as Kajri.
Found following on net re. Pandit Ji- “one of the greatest and most gifted classical vocalists of India, he can be reckoned among the all time great vocalists to hail from the ancient city of Varanasi, Playing on the ‘Swarmandal’ Shri Mishra holds his audience spell-bound with his mellifluous rendition, He has the distinction of being a Versatile Vocalist, equally proficient in classical and light classical music such as Khayal, Dadra, Thumri, Chaiti, Kajri, Sawani, Holi and Bhajan.
Although the vocal style which Mishra ji has evolved is a blend of the ecstatic Kirana Badhat and the highly embellished features of the Patiala Gharana His Classical pieces reveal a fascinating harmony of Punjab, Purab and Gaya Styles. Yet’ it can be said for Panditji that he has transcended the confines of gharana styles and has brought into his singing a streak of spirituality. His eclectic style thus draws on leading traditions of lnidan Classical and. Semi Classical music. His elaborations are distinguished by his aesthetic approach, and his rich understanding of the literature, or Sahitya of Music.”
The beat of this kajri is exceptional. Enjoy!
https://youtube.com/watch?v=Gn8B0l1Y–A%3F
6. Vipan Kohli
Badal Badra Songs fest. Day 2 Song#1. Kahan se aaye Badra (Chashme Baddoor-1981) Key word Badra in mukhda
This song in Raag Megh can melt our heart. What a beautiful composition. Written by Indu Jain and composed by Rajkamal, it has been rendered by Yesudas and Haimanti Shukla. The lyrics are meaningful. It says that from where have these clouds come (to remind me of my beloved), The kajal (I have put in my eyes) is getting dissolved (in my tears). The singing by Yesudas is superb. Haimanti Shukla is no less. The acting by Vinod Nagpal and Deepti Naval is apt and touching. Without any hint of makeup, Deepti is marvellously beautiful. Some songs straightaway touch our heart; bring tears to our eyes; such is the effect KJ Yesudas has on the listener of this song. Every time I hear it, it is as fresh as ever. The melody of the raag is aptly quantified by Yesudas. Yesudas &Hemanti blend so well.
Deepti Naval is such a good actor. Just watching her sadness in this song makes you sad.
The music is full of emotions and the vocals express the feelings. Matchless music…ornamental poetry…..I have been listening this song for last 34 years and still it sounds so fresh….so lively that it relieves me of all the stress. Sublime composition by Raj Kamal. Amazing the way the resonant table sounding like thundering clouds catches up, just as the vocals start “kahan se aaye badra”.
Few voices in the music industry are as soothing as that of Yesudas. He is a great singer who unfortunately, could not make it as big in the Hindi industry as he did in Malayalam or Tamil cinema. Still, the few songs he sang in Hindi are masterpieces and one never tires listening to them
Haimanti Sukla is a Bengali singer. The tradition of Hindustani classical music was in her family and this helped her to become a classically trained singer. Presumably this is the only song she sang for hindi movies. That’s why we don’t know much about her.
Enjoy this stupendous song.
Kahaan Se Aaye Badra
Ghulataa Jaaye Kajra
Kahaan Se Aaye Badra
Ghulata Jaaye Kajra
Palakon Ke Satrangi Deepak
Ban Baithe Aansu Ki Jhalar
Moti Ka Anmolak Hira
Mitti Me Jaa Phisla
Kahaan Se Aaye Badra
Neend Piyaa Ke Sang Sidhaari
Sapanon Ki Sukhi Phulvaari
Amrit Hothon Tak Aate Hi
Jaise Vish Mein Badla
Kahaam Se Aaye Badra
Utare Megh Yaa Phir Chhaaye
Nirday Jhonke Agana Badhaaye
Barase Hain Ab Tose Saavan
Roye Man Hai Pagla
Kahaan Se Aaye Badra
https://youtube.com/watch?v=bO73V_jJrcg%3F
7. Vipan Kohli
Badal Badra Songs fest. Day 2 Song#3. Aha Rimjhim ke ye pyare pyare geet lie (Usne Kaha tha-1960)
Keyword Baadalon in line – Dil ki yeh duniya aaj baadalon ke saath jhume.
When monsoon comes, love is in the air. And can there be a better way to express love than a duet? So a duet it is. A lovely duet by Talat Mehmood and Lata Mangeshkar. The combination of the velvet voice of these two excellent crooners, great lyrics of Shailendra and beautiful music of Salil Chaudhry..coupled with superb performances by Sunil Dutt and Nanda create a lovely song. The music is so sweet as if someone is pouring honey in ones ears and it straight goes down into the heart. Hats of to Salilda for this superb composition. Shalendera has written simple heart touching words. Truly, a pleasant, sweet romantic duet and is well picturised .
It is very Impressive Romantic song of all times. What a excellent Pure Lovely Lyrics has expressed through this beautiful song. This is one of the best, memorable duet with five stars rating. It is a timeless classic. Talat’s voice is, as usual, smooth as silk. And Lata’s voice is, as usual, as pleasant as the sound of tinkling glass. What makes this duet extra special is the exquisite poetry from Shaiendra’s pen and the breezy tune from the music magician Salilda! Simply unforgettable. This song topped the charts in Binaca Geetmala for several weeks and finally became the Sartaj Geet. An honour very few top quality songs can boast of.
If you listen to this song in the morning, then your whole day becomes very pleasant. It must be the Happy Raaga. No matter how many times you listen to this, you never get bored.
Superb orchestration adds value to this gem. Salil Chowdhury was perhaps the best among his contempories and that his compositions were far ahead of his time.
Ladies and Gentlemen put your hands together fir this lovely duet.
aaha rimjhim ke yeh pyaare pyaare git liye
aayi raat suhaani dekho prit liye
mit mere suno jara hava kahe kya, aa
suno toh jara, jhingar bole chikimiki chikimiki
rimjhim ke yeh pyaare pyaare git liye
aaha rimjhim ke yeh pyaare pyaare git liye
aayi raat suhaani dekho prit liye
mit mere suno jara hava kahe kya, aa
suno toh jara, jhingar bole chikimiki chikimiki
rimjhim ke yeh pyaare pyaare git liye
khoyi si bhigi bhigi raat jhume
aankho me sapno ki baraat jhume
khoyi si bhigi bhigi raat jhume
aankho me sapno ki baraat jhume
dil ki yeh duniya aaj baadalo ke saath jhume
aaha rimjhim ke yeh pyaare pyaare git liye
aayi raat suhaani dekho prit liye
mit mere suno jara hava kahe kya, aa
suno toh jara, jhingar bole chikimiki chikimiki
rimjhim ke yeh pyaare pyaare git liye
aa jaao dil me basa lu tumhe
naino ka kajra bana lu tumhe
aa jaao dil me basa lu tumhe
naino ka kajra bana lu tumhe
jaalim jamane ki nigaaho se chhupa lu tumhe
aaha rimjhim ke yeh pyaare pyaare git liye
aayi raat suhaani dekho prit liye
mit mere suno jara hava kahe kya, aa
suno toh jara, jhingar bole chikimiki chikimiki
rimjhim ke yeh pyaare pyaare git liye
haatho me tere mera haath rahe
dil se jo nikali hai woh baat rahe
haatho me tere mera haath rahe
dil se jo nikali hai woh baat rahe
mera tumhara saari jindagi ka saath rahe
aaha rimjhim ke yeh pyaare pyaare git liye
aayi raat suhaani dekho prit liye
mit mere suno jara hava kahe kya, aa
suno toh jara, jhingar bole chikimiki chikimiki
rimjhim ke yeh pyaare pyaare git liye
Megha barse sabnee thaeen. .
—————————————————
When we think of word Baadal or Megha….we imagine showers n breeze around to soothe our body n soul. I m presenting a shabad in which Megha denotes to hands of Almighty showering blessings on us. I always love listening to Shabads as these actually drizzle the water of God’s grace on our souls. Since I was in school n college I used to sit in Golden Temple n other Gurudwaras listening to Shabads for hours.
This soulful shabad is from Jagjit Singh ‘s album Guru Manyo Granth. Jagjit Singh used to sing Shabads from his childhood but he introduced his album when he saw punjabi music being vulgar by so called pop singers. He directed audience to spirtual n devotional music Jagjit Singh has also sung many songs for Hindi movies. Popular films include Arth, Saath Saath, Premgeet, Tum Bin, Sarfarosh, Dushman and Tarkeeb. Jagjit Singh has proved himself as a genius as he brings out the true meaning of Mirza Ghalib’s poetry by singing them as melodious Ghazals. The album can be easily called as a masterpiece. His transition from the 90’s till date has been absolutely marvelous as he has moved towards much more melodious and meaningful Ghazals. The quality of his voice has only become better. Besides movies, he has sung many devotional songs also that are very peaceful to hear. Jagjit Singh is any day the undisputed Ghazal artist in the modern times. ..
I couldn’t get the lyrics of this Shabad from net so wrote lyrics by listening to the video n translated for my friends who don’t understand Punjabi ……please enjoy the divine showers from the clouds of God’s grace. ….
Megha barse sabnee thaeen
Hey kripal govind go gosayin
Deen dayal sada kripala
Thand paayi kartaare jiyo
(O Almighty, the clouds of ur grace are giving showers of ur blessings everywhere. U are so kind that ur showers of love made our souls cool n contented )
Aapne jeev jantu sab paare
Jyon paarit Mata sambhaare
Dukh bhanjan Sukh saagar swami
Det sagal humare jiyo
(Lord you take care of all the creatures including human being like a mother does for her children by giving us complete happiness )
Jal thal tui raha meharbana
Sada balihaar jaiye kurbaana
Ren divas tis sada dhayai
Jin tin meh sagal udaare jiyo
( God you are benevolent to all the beings the on earth n underwear. I m totally devoted to ur grace as you give Moksh to all )
Raakh liye sagle Prabhu aape
Utar gaye sab sab santaape
Naam japat mann tann Hari bhavat
Prabhu naal katat ren humare jiyo
( Satguru you have all my worriesn sadness and now I m free from all hardships. Now my body n soul recites ur name and I pray to you day n night as there are showers of ur blessings everywhere. )
Piya basanti re kaahe sataaye aaja ———————————————————- Keyword. …. O baadal ne angdayi li jo kabhi Lehraya dharti ka aanchal
Baadal ….we have different feelings associated to this word. ..sometimes showering love n affection. ..sometimes sad n expresses the separation of loved ones. In piya basanti. ..baadal showing love n protection in the form of a lover as the girl being earth. ..
I am presenting one of my most favourite non-filmy pop songs ‘piya basanti re kaahe sataaye aaja’ It is a duet sung by Ustad Sultan Khan and K S Chitra and set to music by Sandesh Shandliya. It was Ustad Sultan Khan’s first Hindi non-filmy pop song and it became the top album for the year 2000.
Piya basanti is a celebration of love. A musical journey that explores all the shades n tones of music. Mature voice of Ustad Sultan Khan with SK Chitra created a musical magic. Sandesh Shandiyal effortlessly blended the Sarangi with Saxophone, the Dolak with Drums, Indian Classical n folk with western pop n jazz to create unique harmony. This song was penned by Mehboob . ..lyricist associated with the music directors like AR Rehman and Ismile Darbar. It was Ustad Sultan Khan’s first hindi album and became the top album of year 2000…
Ustad Sultan Khan’s entry into Hindi films as a playback singer was a mere coincidence. Ismail Darbar, the music director of ‘Ham Dil De Chuke Sanam’ (1999) wanted a classical singer for a song ‘Albela saajan aayo re’. His father who was a close friend of Ustad Sultan Khan persuaded him to sing this song along with Kavita Krishnamurty and Shankar Mahadev. He was associated with about a dozen Hindi non-filmy albums as a singer as well as composer.Ustad Sultan Khan was a member of the fusion group ‘Tabla Beat Science’ with Ustad Zakir Hussain and Bill Laswell. A year before his death, Govt of India conferred on him ‘Padma Bhushan’ award.
I chose Piya basanti for Baadal fest as the atmosphere and the effect created in the song is truly unique as clouds n rain in hilly areas….very refreshing feeling. ..
Sultan:
Piya basanti re kaahe sataaye aaja -2
Jaane kya jaadoo kiya
Pyaar ki dhun chhede jiya
Chitra:
O kaahe sataaye aaja
Piya basanti re kaahe sataaye aaja
Sultan:
(O baadal ne angdayi li jo kabhi
Lehraya dharti ka aanchal) -2
Yeh patta pata yeh boota boota
Chhede hai kaisi yeh halchal
Manwa yeh dole jaane kya bole -2
Chitra:
Maanega na mera jiya
Tere hain ham tere piya
O kaahe sataaye aaja
Piya basanti re kaahe sataaye aaja
Chitra:
Palkon ke sirhaane baithe khwaab wahi jo aane wale
Dil ki giraha giraha khole man mein pyaar jagaane wale
Haan palkon ke sirhaane baithe khwaab wahi jo aane wale
Dil ki giraha giraha khole man mein pyaar jagaane wale
Satrangi sapne bole re
Kaahe sataaye aaja
Sultan:
O piya basanti re kaahe sataaye aaja
Chitra:
Piya basanti re kaahe sataaye aaja
Sultan:
Jaane kya jaadoo kiya
Pyaar ki dhun chhede jiya
Chitra:
O kaahe sataaye aaja
Piya basanti re kaahe sataaye aaja
https://youtube.com/watch?v=XFT2niDEy28%3F
10. Surinder Grewal
Badal/Badra song fest–day 1—-song2
Nache man mora magan dhik ta dhigi dhigi,
badra ghir aaye rut hai bheegi bheegi
film Meri surat ti aankhen–released in 1963 this film had the star cast of Ashok Kumar,,Pardeep Kumar,,and Asha Parikh…In this Ashok Kumar played an ugli man ,black complexion,singer of repute,,while Asha Parikh played beautiful damsel,,in this song too she dances on the classical rendition of the ugli singer and it is a beautiful compition of song and dance….. Shalindra wrote the lyris of this song and versatile S.D.Buman made the tune…Mohd. Rafi sang this beautiful creation in his lilting voice and accompanying music adds great flavor and makes this song immortal…It was is and will main superhit song.
aa aa aa…
naache man moraa, magan, dhiigadhaa dhiigii dhiigii -2
badaraa ghir aaye, rut hai bhiigii bhiigii
naache man moraa magan, dhiigadhaa dhiigii dhiigii -2
dhiigadhaa dhiigii dhiigii, dhiigadhaa
%bansuri: tana~~N … tan tan tan tuu~~~~N tuu
%sitar: tain tain tain, tataNtaN, tataNtaN, tataNtaN, tataNtaN
kuhuke koyaliyaa, kuhuke koyaliyaa, kahii.n duur papiihaa pukaare
%daNaNaNaNaNaN
jhuulaa jhuule.n sakhiyaa.N, jhuulaa jhuule.n sakhiyaa.N, ke ghar aajaa baalam hamaare
ghir aaye, badaraa ghir aaye, rut hai bhiigii bhiigii
naache man moraa, magan, dhiigadhaa dhiigii dhiigii
naache re man moraa re
naache man moraa, magan…
%tan ta tan taNa tanatu tan~~ tanatu
%tainta taiN, tainta taiN
yahii.n ruk jaaye, yahii.n ruk jaaye, ye shaam aaj Dhalane na paaye
%daNaNaNaNaNaN
TuuTe na ye sapanaa, TuuTe na ye sapanaa, ko_ii ab mujhe na jagaaye
ghir aaye, badaraa ghir aaye, rut hai bhiigii bhiigii
naache re man moraa, dhiigadhaa dhiigii dhiigii
e, naache man moraa re
naache man moraa, magan…
chhup chhup aise me.n, chhup chhup aise me.n, ko_ii madhur giit gaaye
%chhanchhanchhanchhan chhananchhan
giito.n ke bahaane, giito.n ke bahaane, chhupii baat ho.nTho.n pe aaye
ghir aaye, badaraa ghir aaye, rut hai bhiigii bhiigii
naache re man moraa, dhiigadhaa dhiigii dhiigii
e, naache man moraa, aa aa
naache man moraa, magan…
https://youtube.com/watch?v=CI0QTW4_iBc%3F
11. Surinder Grewal
Badal/badra song fest–day 2–song 3
Jhoole mein pawan ke aayee bahar–film Baiju Bawra–(Badal jhoom ke aaye,,gager pyar ki laye,,)
This film made in 1952 was on the life on Baiju Bawra..also a famous poet of Akbar era..Lo what a coincidence,, my fourth song was on Tansen and 6th on Baiju Bawra..both of them were compatriots while Tansen was enjoying the comforts of the Emperor ,,Baiju who was even better than Tansen was living a poor man’s life..He was able to reach in the court of Akbar but could not make a place there ..His cofrontations with Tansen are history…………….This duet was sung by Lata and Mohd. Rafi and was picturised on lead pair of the movie Bharat Bhushan who gave many super hit films but was never counted in the big league ,,actually actors were not handsomely paid in those times or they did not have the sense to save or put in some side business,,many a times they were forced to live hand to mouth life after they get no offers for films,,I heard he too went into oblivion after his retirement as was Pardeep Kumar…Female lead of the film was Meena Kumari who too was a successful actress but died young… Again top names who created this song were lyricist Shakeel Badayuni,,and music director Naushad………….
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://youtube.com/watch?v=AS0h73s0XyI%3F
12. Amit Lambah
Day 2 song 4 baadal badra song fest “O ashaadh kay pehle baadal”
Cloud messenger we talk in technology now the cutting edge cloud computing et al . Ladies and Gentlemen of Ykdn millenia ago the mahakavi Kalidas conceptualised and poetised a khand kavya where he made the cloud a messenger the “Meghdoot” ( meghdutam) The cloud messenger who would deliver a banished yakshas message to his wife on mount kailash…. Kalidas visualised the cloud as a powerful and accurate tool of communication though romanticised in the literary sense…such is the power and influence of this kavya that globally many poets musicians dramatists playwrights have been influenced by it and have written poems, music scores based on this.
Meghdoot is the genesis of clouds being used as a subject the” khasid” the messenger and that too by a fifth century a.d. indian poet and playwright. We are today having a fest on baadal badra and get hold of innumerable songs because generations of poets have penned them , the fountainhead being “meghdoot”. Aashaadh kay pehle baadal…..the yaksha describing to the cloud the beauty of the route he should take to reach alaka on kailash..exquisitely described where one feels part of the scenery the places..song a bit lengthy because describes both poorvmegh and uttarmegh…
https://youtube.com/watch?v=3fGh6McOX9s%3F
13. Amit Lambah
Day 1 song 2 badal badra fest Kaise koi jiye zehar hai zindagi…. ( badal hai ya dhuaan aag lagi kahan…)
A song individually sung by both Geeta Dutt and Hemant kumar..music by lesser known timir batan and sk pal..indeevar penning it….”taare naa jaane unchayi gagan ki, ankhein naa samjhein gehrayee mann ki, pyaase papihe nein aas si bandhi..Udd gaye Baadal aa gayi aandhi
Gham nay jo chedda , dil ne hansi se honth se liye..kaise koi jiye… with all well musicalled friendsin ykdn…try to fit these words in the meter and tune made for it..belueve me its difficult..ample reflection on the vocal capabilities of both Geeta Dutt and Hemant kumar…
kaise ko_ii jiye -2
zahar hai zi.ndagii
uThaa tuufaan wo
uThaa tuufaan naach ke
sab bujh gaye diye
kaise ko_ii jiye
baadal hai.n yaa dhu_aa.N
aaG lagii kahaa.N
jalataa na ho kahii.n
meraa hii aashiyaa.N
angaare the aa.Nsuu nahii.n wo
dil ne jo piye
kaise ko_ii jiye
zahar hai zi.ndagii
uThaa tuufaan wo
uThaa tuufaan naach ke
sab bujh gaye diye
kaise ko_ii jiye
taare naa jaane.n
uu.Nchaa_ii gagan kii
aa.Nkhe.n naa samajhe.n
gaharaa_ii man kii -2
taare naa jaane.n
pyaase papiihe ne
aas thii baa.Ndhii
u.D gaye baadal
aa ga_ii aa.Ndhii
Gam ne jo chhe.Daa
dil ne ha.Nsii se
ho.NTh sii liye
kaise ko_ii jiye
zahar hai zi.ndagii
uThaa tuufaan wo
uThaa tuufaan naach ke
sab bujh gaye diye
kaise ko_ii jiye
https://youtube.com/watch?v=SBzvXaEdQWw%3F
14. Amit Lambah
Day 2 song 5 baadal badra fest Tu iss taranh se meri zindagi mein shaamil hai ( yeh aasmaan yeh baadal yeh raaste yeh hawa)
This song was sung by three individually hemlata, manhar and rafi and i am putting one from Manhar who has sung great numbers but couldnt attain the rocking popularity othrs did. Anecdotically Rafi had a spat with the director and music director (usha khanna) to push the Manhar sung piece out but usha khanna and nidal fazli ( lyricist) insisted that this number by manhar captured the ethos of what nidal fazli had conceived for his nazam !! And what a song it turned out to be..the slow beat the clear vibrant notes the vocalisation by manhar udhas ..listen to the notes of the shehnaii at the fag end of the song…usha khanna gave the best works here..
With eloquent poetry he declares love ..some excerpts from the song
Tere baghair jahan mein koi kamii si thi, bhatak rahi thi…
Tere jamaal se roshan hai qainaat meri…
Yeh aasmaan yeh baadal yeh raaste yeh hawa har ek cheez hai apni jaganh theekane pe..kayi dino se shikaayat nahin zamaane se
Yeh zindagi hai safar tu safar ki manzil hai…
Tu iss taranh se..from “aap to aise na they”
https://youtube.com/watch?v=vjh20uFlzKI%3F
15. Evani Leela
Badal barkha fest day 2 Song 3 ghata sawan ki shubha mudgal
yeh geet bahut masti bhara pop song hai. Pop song hi kehte hain na! smile emoticon
jeewan mein ullas aur dilvmein umang bhar dene wala geet.
sunte sunte naachne jhoomne par majboor ho jaayenge sab. Swayam Shubha Mudgal kobhi jhoomte gaate dekhkar josh bhar jaata hai. Isi se pata chalta hai ki barkha ritu baarish, badal bache buDhe aur jawan sabko apne rang mein rang lwta hai. Aur aisa koi nahin jo baarish ki puharon se apne aapko bachana chahega.
uska swagat karna sabke liye khushnuma ehsaas hai.
16. Evani Leela
Barkha badal fest day 1 song 1 o’ Sajna barkha bahar aayi
(Key words: Saanvali saloni ghata jab jab chhayi)
parakh film ka yeh sunder geet barkha ki yaad ko hamesha taaza kar deta hai. Salil choudhary ka melodious music ki main bahut baDi fan hoon. Baarish ki puharon ko dekhte hue unke cheenTe apne chehre pe mehsoos karte hue apne chajje ke neeche khaDe hokar unki cham cham awaaz sun.na ek alag sa anubhav hain. Aise mein agar sajna ki yaad aaye aur tan mein meethi agan bhar jaaye to aise barkha mein kaun nahin behkega.
Lata ki khanakti awaaz mein baarush ki cham cham mehsoos hoti hai. Shailendra to jaise premika ke hriday mein baske yeh geet likha hai.
enjoy d song.
(o sajanaa, barakhaa bahaara aaI
rasa kii phuhaara laaI, a.Nkhiyo.n me pyaar laaI ) – 2
o sajanaa
tumako pukaare mere mana kaa papiharaa – 2
miiThii miiThii aganii me.n, jale moraa jiyaraa
o sajanaa …
(aisI rimajhima me.n o saajan, pyaase pyaase mere nayana
tere hii, khvaaba me.n, kho gae ) – 2
saa.nvalii salonii ghaTaa, jaba jaba chhaaI – 2
a.Nkhiyo.n me.n rainaa gaI, nindiyaa na aaI
o sajanaa …
https://youtube.com/watch?v=eJKNtjkNqxs%3F
17. Manik Lakhkar Chava
Music Fest Badal / Badra Day # 2 Song # 1
More ang lag ja balma….
Kaare Kaare Badra Suni Suni Ratiya
film Mera Naam Joker
Mera Naam Joker (translation: My Name is Joker) is a 1970 Hindi film directed by Raj Kapoor. The screenplay was written by Khwaja Ahmad Abbas. This film was the debut of Rishi Kapoor. Mera Naam Joker is a film about a clown who must make his audience laugh at the cost of his own sorrows. The film is considered to be one of the most lengthy films of Indian cinema. After Sangam became a blockbuster, Mera Naam Joker was highly anticipated as it took six years in the making and was heavily publicized to be loosely based on Raj Kapoor’s own life. Upon it’s release the film turned out to be a critical and commercial disaster putting Kapoor into a financial crisis. The film was heavily panned for it’s length and plot. However, over the years, the film has gained a cult status and is regarded as a classic today. Both audience’s and critics’ response has turned highly favorable with the passage of time. An abridged version was released in the 1980’s and had a highly successful run at the box office. Raj Kapoor considered this to be his favorite film and described it to have deep philosophical depth and meaning. Mera Naam Joker is regarded as a cult classic and one of Kapoor’s finest works today with film experts labeling it as a ‘misunderstood masterpiece’
Mera Naam Joker is the story of Raju, considered the best circus clown ever. Ever since Raju’s father died in an accident during his performance, Raju’s mother had been repulsed by the circus. As luck would have it, Raju had a natural affinity towards the circus world. The film traces Raju’s journey from his childhood to the day of his last performance.
The first chapter is about the adolescent Raju and deals with his infatuation with his teacher Mary (Simi Garewal). She gives him confidence in himself, and he discovers the world of femininity and desire. She is older than him, and he attends her wedding in a state of false merriment. Mary’s lessons nevertheless aren’t lost: Raju comes to realise that he was born to make the world laugh, despite his own troubles.
After his first heartbreak, the story follows adult Raju who has found work with Gemini Circus as a clown. His dream materialises! The circus is owned by Mahendra Singh (Dharmendra) who has understood Raju’s potential and hires him. The circus hosts a visiting group of artists from Russia, and he falls in love with Marina (Kseniya Ryabinkina), the lead trapezist. Despite the language barrier they become close, and Raju half hopes that they might live together. But he faces heartbreak once again when the circus ends and Marina returns to Russia. It is in this chapter that Raju’s mother dies during his performance, watching him perform the very stunts which caused his father’s death.
In the final chapter, Raju has left the circus and wanders aimlessly. One day he meets Meenu (Padmini), an orphaned girl who has ambitions of becoming a famous actress. Meenu and Raju set up an association, start a small circus business and later move on to the theatre. They are quite successful, but their collaboration ends when she is offered a role in a film. She leaves him, and he realises she has used him in her lust for success.
Raju always carries a clown doll which belonged to his father. Every time he falls in love, he gives away his beloved doll, only to see it come back to him. The doll is used as a metaphor for Raju’s simplistic heart where there is room for everyone.
At the end of the film, Raju is shown doing his final act, as promised to Mahender. He invites the three ladies he was in love with, to watch his last performance.
Raag Megh Malhar par adharit is rachana ko music diya hai Shankar Jaikishan ne aur swar diya hai the only ASHA bhosale ne…
https://youtube.com/watch?v=4Ob5LlptOqo%3F
18. Manik Lakhkar Chava
Music Fest Badal / Badra Day # 1 Post # 2 Jhookti Ghata gaati haawa From the famous movie Dhool ka Phool
Meena (Mala Sinha) and Mahesh (Rajendra Kumar) are madly in love with each other. One day both of them get carried away and Meena becomes pregnant. On the other side Mahesh gets married to Malti Rai (Nanda) who belongs to a good family. Meena gives birth to a little boy and takes the baby to his father, Mahesh Kapoor. Mahesh disowns both of them,saying that it was his mistake.
Meena leaves the 5 month old baby boy in a dark forest, where a snake guards the baby’s life. On way back from city Abdul Rasheed (Manmohan Krishna) sees the child and protects him. Abdul also gets disowned by the society because the baby is illegitimate and nobody knows about the parents and religion. In spite of all the odds Abdul fights with the entire society and raises the child wholeheartedly. He names him Roshan.
On the other side Meena starts working as assistant to a lawyer Ashok Kumar (Ashok Kumar). Ashok Kumar starts developing a soft corner for her. They both get married without Meena revealing her past. Mahesh is now a judge and is blessed with a baby boy. One fine day both Meena’s son Roshan (raised by Abdul) and Mahesh’s son meet each other in school with their respective parents. In the presence of Mahesh, Abdul tells the principal of the school that he found Roshan in a forest 8 years ago.
In school Roshan and judge’s son become close to each other. They become best of friends. When other kids make fun of Roshan, the judge’s son supports him. One day he takes Roshan to his home, where his mother Malti welcomes him with love and affection but Mahesh throws the boy out of his house, saying that he is not worth our respect and love, as he is illegitimate.
After all this, Roshan gets depressed and falls into bad company. Mahesh’s son tries to stop him and dies in a car accident. This leaves Roshan under more depression. He gets engaged in a theft, but he is innocent. The case comes in the court of Mahesh Kapoor. Abdul goes to Ashok Kumar to fight this case, as he is a lawyer. He tells Ashok, in front of his wife Meena, as to who actually is the mother of Roshan, that when and under what circumstances he found Roshan. She immediately recognizes Roshan as her son. She testifies in his favour, in the court. Mahesh, recognizing Meena and the son, admits his fault.
Next day Malti tells Mahesh to go to Abdul’s house and bring Roshan since he is his son. On the other side Meena is ready to leave the house sneakingly but Ashok stops her saying that he respects her even more now. She can bring the child home. Both Meena and Mahesh go to Abdul’s house to ask for Roshan. He first says no but after that he gives Roshan to Meena and Ashok Kumar.
Asha Bhosle and Mahendra Kapoor sing lyrics of my favorite Sahir Ludhianvi and music is by N Dutta
Namkeen (1982) tells us the story of the truck driver Gherulal (Sanjeev Kumar), who arrives in the life of an old woman (Waheeda Rehman) and her three daughters, and how his arrival changes their lives.
He falls in love with the elder daughter (Sharmila Tagore), who reciprocates his love. Mitthu (Shabana Azmi) also thinks that he is in love with her and is happy since she has fallen in love with him too.
Mitthu, though speech-impaired, writes poems. After Gherulal has gone, she starts spending time in the hills and writing poems. This is one of them.
Gulzar says in the book by A. Bhatacharjee and B. Vittal, — R. D. Burman – The Man The Music —
“This was picturized in the dense fog, rain and biting cold of Rohtang Pass where it is impossible to stand for more than two minutes.
Shabana, with only a shawl, sincerely braved the weather in which one could turn blue. And she was inspired by Pancham and Asha as well.”
No wonder !!!! She is Shabana , after all !!!! The great daughter of Kaifi Aazmi.
This is a very beautiful and rare song from the movie — Bahaadur – 1953.
It was a Ranjit Film Company Production. It was directed by Ratibhai Punatkar. The movie had Suresh, Shyama, Roopmala, Amarnath, Anwar Hussein, Shammi etc in it.
This song is a duet.
The female voice is of Asha Bhonsle who is still singing like Geeta Dutt !!!
Can you recognise the male voice ???
It seems like Talat Mahmood is singing but actually it is an unknown singer called Sant Ram !!!
Rajinder Krishan is the lyricist. Music is composed by S Mohinder.
Enjoy !!!
https://youtube.com/watch?v=BfQ-vETcrKI%3F
21. Raj Dutta
BADAL BADRA FEST DAY#1, SONG#1 ================================= Koi Ladki hai….Dil to Pagal hai ( Baadal jhuke jhuke se hain- 16th Line)
In my Curtain Raiser and Pre- Monsoon appeal, I’d mentioned that collective chants to Lord Indra, the God of Rains could relent him into having mercy over this sub-continent during this monsoon season….Its for this reason that we need to refresh our knowledge of INDRA.
Indra , also known as Śakra in the Vedas, is the leader of the Devas and the lord of Svargalok or heaven. He is the deva of rain and thunderstorms. In Hindu mythology, the rainbow is called Indra’s Bow. He wields a lightning thunderbolt known as vajra and rides on a white elephant known as Airavata. Indra is the most important deity worshiped by the Rigvedic tribes and is the son of Dyaus and the goddess Savasi. His home is situated on Mount Meru in the heaven. He has many epithets, notably Meghavahana “the one who rides the clouds” and Devapati “the lord of devas”. He is also regarded as one of the Guardians of the directions, representing the east. As the most popular god of the Vedic Indians, Indra has about 250 hymns dedicated to him in the Rigveda.
The Rigveda states, He under whose supreme control are horses, all chariots, the villages, and cattle; He who gave being to the Sun and Morning, who leads the waters, He, O men, is Indra. It further states, Indra, you lifted up the pariah who was oppressed, you glorified the blind and the lame. In China, Korea, and Japan, he is known by the characters 帝释天 (Chinese: 釋提桓因, pinyin: shì dī huán yīn, Korean: “Je-seok-cheon” or 桓因 Hwan-in, Japanese: “Tai-shaku-ten”, kanji: 帝釈天). In Bali, the legend of Tirta Empul Temple origin is related to Indra. The sacred spring was created by the Indra, whose soldiers were poisoned at one time by Mayadanawa… Indra pierced the earth to create a fountain of immortality to revive them….
By the age of the Vedanta, Indra became the prototype for all lords and thus a king could be called Mānavēndra …In modern age most names in north indian house holds are prefixed with ‘inder/ indra/endra’….eg, Ravinder and Rajinder ( abbr Raj),
Toh chaliye Dosto, Indra Dev ko apne is Fest dwara rijhane ki koshish karte hain…Pesh karta hoon ek tadakta bharakta geet, “ Koi Ladki hai” from the superhit movie, ‘Dil toh pagal hai’…Lyrics are by my wife’s uncle Anand Bakshi for the soulful music of Uttam Singh…. ‘Ghode jaisi chaal, haathi jaisi dum. O saawan raja, kahan se aaye tum?’ Innocence and merriment marks the rhythmic design of Uttam Singh’s zingy beats and Shiamak Davar’s clear-cut steps livened by the combined charisma and vivacity of Madhuri Dixit and Shah Rukh Khan….
Why I chose this song ? One – The cinematography is wonderful…Two – Life, Ladies and Gentlemen, is a rhythm …Rhythm of people, rhythm of nature, rhythm of thoughts…Shiyamak’s troop of kids have accomplished funtastic synchronous steps, amidst the rhythmic downpour of nature, creating within us a mind calming cerebral rhythm that would soothen anyones tired nerves… Three – Shahrukh and Madhuri have been successful in stirring up our emotions of romanticism…Four- Uttam Kumar’s music is wow and complements the appealing voices of Udit and Lata !…
Last but not the least, I could have gone for the one like’Allah Megh de’…But today is my BHAIYYA’S very Auspicious day and I had to give him a peepy number to remind him of his childhood days, via these marvelous children…Amen !! Lets Enjoy….
Ghode jaisi chaal haathi jaisi dum
O saawan raja kahaan se aaye tum-2
Koi ladki hai jab vo hansti hai
Chakdhoom dhoom, chakdhoom dhoom
Koi ladki hai jab vo hansti hai
Baarish hoti hai chhanar chhanar chhumchhum
Koi ladka hai jab vo gaata hai
Chakdhoom dhoom chakdhoom dhoom
Arre koi ladka hai jab vo gaata hai
Saawan aata hai ghumar ghumar ghumghoom
Koi ladka hai jab vo gaata hai
Saawan aata hai ghumar ghumar ghumghoom
Chakdhoom dhoom chakdhoom dhoom
Baadal jhuke jhuke se hain
Raste ruke ruke se hain
Kya teri marzi hai megha
Par hum ko jaane na dega
Aage hai barsaat peechhe hai toofan
Mausam beimaan kahaan chale humtum
Chakdhoom dhoom chakdhoom dhoom
Koi ladki hai jab vo hansti hai
Baarish hoti hai chhanar chhanar chhumchhum
Koi ladka hai jab vo gaata hai
Saawan aata hai ghumar ghumar ghumghoom
Chakdhoom dhoom chakdhoom dhoom
Ambar jhuka jhuka sa hai
Sab kuchh ruka ruka sa hai
Chhaya samaa kitna pyaara
Saawan ka samjho ishaara
Aise mausam mein tum bhi kuchh kaho
Tum bhi kuchh karo khadi ho kyon gumsum
Chakdhoom dhoom chakdhoom dhoom
https://youtube.com/watch?v=-gaXmQtKF30%3F
22. Raj Dutta
BADAL BADRI FEST DAY #1 SONG #2 ================================ Yug Yug se yeh geet milan ke …. Milan (Sawan mein jab kabhi badal gagan pe chhaye- 7th Line )
Friends, I was remembering Ravi’s 34th Anniv today and going over the Anniv post and realized that the Milan song’s Antra was very apt to qualify for our Fest song, so its worth to make Ravi track back in foot-prints of time and remind him of their Auspicious Day , yet again today…..
Legend has it that there were two simple Souls in love in heaven, whom the almighty wanted to test and sent them to Persia as Shirin, the princess and Farhad, the stone-cutter…they won in love, but life failed them due to evil designs of fate…”There’s a place where now the two lovers sleep. side by side. Shirin and her Farhad. That place is very high up in the mountains of Kurdistan. And can only be reached when the snow comes washing down in spring. If you want to meet the two of them, you will have to ask the crow to take you there.” …They returned to Heaven but God sent them again as Laila and Majnu…Again they won in love, but life failed them miserably ….God sent them again and again as Heer-Ranjha, Romeo-Juliet, Salim-Anarkali and each time the evil hand of fate deceived them even as they won in Love…Ultimately he sends them one last time to spread bonhomie in this Kalyug and unite people of different faiths…as Ravi, born to a Sikh home and Marilyn into a Christian family…this time they not only win in Love, fate too smiles on them even as they defeat it together as one entity on 24th Mar 1981….And every year they take a solemn pledge on this auspicious Day to reunite for ages to come, birth after birth, century after century…both of them visiting the Church as well as Gurudwara to pray, walking Hand in Hand !!
Dosto, Aaj ke iss sunehre avsar par, ek hi geet labon par aata hai, jisse apni kalam ki ammit syahi se likha hai, Ravi aur Lyn ke liye, Anand Bakshi ji ne…Isse swar diye hain Mukesh aur Lataji ne …Aur dhunon se sanwara hai Laxmikant- Pyarelal ne…
Toh chaliye, apne ashruon ko thamne ki asafal koshish karte huey, suntey hain yeh yugon- yugon ka avismarniya Geet…Aur Ravi-Marlyn ki attut Jodi ko Vivah ki chaunteesween , 34th saalgirha par ek baar punha badhayee dettey hain !! Amen !
P.S. – It appears there can never be another song more suited than this, for this auspicious occasion !!
Hum tum yug yug se ye geet milan ke
Gaate rahen hain gaate rahenge
Hum tum jag mein jeevan saathi bankar
Aate rahen hain aate rahenge
Hum tum …yug yug se ye geet milan ke
Gaate rahen hain gaate rahenge
Sawan mein jab kabhi,ye badal gagan pe chhaye,
Bijli se darr gaye tum,Dar kar kareeb aaye..
Phir kya hua batao,Barsat tham na jaye-2
Jab jab hamne jeevan paya
Tera hi roop saja sajna
Har baar tumhi ne maang bhari
Tumhi ne pehnaye kangana
Hum phool bane ya raakh huye
Par saath nahin chhoota apna
Har baar tumhi tum aan base
In aankhon mein bankar sapna
Hum tum …
Hum aaj kahen tumko apna
Tum bhi kisi roz paraye thhe
Duniya samjhi hum bichhad gaye
Aise bhi zamaane aaye thhe
Lekin woh juda honewalle
Hum nahin hamare saye thhe
Hum tum …
https://youtube.com/watch?v=9jeOsEMCfgE%3F
23. My Own #1
BAADAL, BADRA SONGS FEST Day #2, Song #3
Aankhon mein kyaa ji rupahala baadal
Dev Anand had one attribute that no other actor had; that is, he brought out the best in his heroines especially in romantic duets. And, if the actress was to be his own wife, Kalpana Kartik, you could expect the kind of chemistry that you could write about.
Why did I choose this song over others for the cover picture of the Fest? Well, a Baadal or Cloud spells romance and beautiful (rupahala) romance at that. When you are in love, what do your eyes have? No guessing on that: rupahala baadal; what else?
This is one of the first of the tete-a tete songs between a hero and heroine. Many years later this was repeated in Aradhana with the lyrics: Baagon mein bahaar hai; and Joroo Ka Ghulam song: Phir kaun si jagah hai khali o matwaali main kahan rahunga.
Music for most of Dev Anand movies was given by SD Burman who claimed that his middle name Dev stood for Dev Anand. In the 1957 movie Nau Do Gyaarah too the music was that of Sachin Dev Burman. Lyrics were penned by Majrooh Sultanpuri. The duet is between Kishore Kumar and Asha Bhosle.
ra.ngii.n hai mausam
tere dam kii bahaar hai
phir bhii hai kuchh kam
bas teraa i.ntazaar hai
dekhane me.n bhole ho
par ho ba.De cha.nchal
aa.Nkho.n me.n kyaa jii…
jhukatii hai.n palake.n
jhukane do aur jhUm ke
u.Datii hai.n zulphe.n
u.Dane do ho.nTh chuum ke
dekhane me.n…
jhuume.n laharaae.n
nayanaa mil jaaye nain se
saathii bana jaae.n
rastaa kaT jaaye chain se
dekhane me.n…
https://youtube.com/watch?v=edqh8JLnV7s%3F
24. My Own #2
BAADAL, BADRA SONGS FEST Day #1, Song #3
Itana na mujhase tu pyaar badha Ke main ik baadal awaara
The 1961 movie Chhaya was a Hrishikesh Mukherjee movie starring Sunil Dutt and Asha Parekh. Just a few days back, I saw his Anaari which is now amongst Time magazine’s 100 Top Movies of All Times.
Amongst the movies that he directed are: 1960 movie Anuradha starring Balraj Sahni and Leela Naidu that had songs with music composed by Pandit Ravi Shankar, 1966 movie Anupama starring Dharmendra and Sharmila Tagore who grew up into an introvert thanks to her father Tarun Bose blaming her for her mother’s death, 1968 movie Aashirwad starring Ashok Kumar, 1970 movie Anand starring Rajesh Khanna, 1971 movie Guddi starring Jaya Bahaduri, Bawarchi starring Rajesh Khanna; and later day movies Abhimaan, Chupake Chupake, Mili, Gol Maal and Khoobsurat.
Indeed, movies made by Hrishikesh Mukherjee came to be known as wholesome and clean entertainment.
Chhaya’s songs were composed by Salil Choudhary who became popular with his tunes based on Western classical music. He learnt this type of music because of a treasure trove of records that he found in his dad’s collection.
In the end, Salil da had a unique blend of Western beats for Indian songs and tunes. Some of his signature songs with this blend are:
1. Dil tadap tadap ke keh raha hai.
2. Ghadi ghadi mera dil tadape.
3. Rajnigandha phool tumhaare.
4. Na jaane kyun….chhoti chhoti si baat.
This song from Chhaya too has his signature beat (metronomic). The song sung by Talat Mehmood and Lata Mangeshkar is based on Mozart’s Symphony Number 40 in G Minor KV 550.
What does the song portray:
He tells her that he is a vagabond like a cloud….and, hold your breath….she tells him that that is precisely why she loves him!
Please enjoy: Itana na mujhse tu pyaar badha ke main ik baadal awaara….
ta:
itanaa na mujhase tuu pyaar ba.Dhaa
ke mai.n ek baadal aavaaraa
kaise kisii kaa sahaaraa banuu.N
ke mai.n khud beghar bechaaraa
itanaa na…
ta:
mujhe ek jagah aaraam nahii.n
ruk jaanaa meraa kaam nahii.n
meraa saath kahaa.N tak dogii tum
mai desh videsh kaa ba.njaaraa
la :
is liye tujhase pyaar karuu.n
ke tU ek baadal Avaaraa
janam janam se huu.N saath tere
ke naam meraa jal kii dhaaraa
la:
o niil gagan ke diivaane
tuu pyaar na meraa pahachaane
mai.n tab tak saath chaluu.N tere
jab tak na kahe tuu mai.n haaraa
ta:
kyuu.N pyaar me.n tuu naadaan bane
ik baadal kaa aramaan bane
meraa saath kahaa.N tak dogii tum
mai.n des-bides kaa ba.njaaraa
itanaa na…
% The slower/sad version by Talat
ta:
madahosh hameshaa rahataa huu.N
khaamosh huu.N kab kuchh kahataa huu.N
koii kyaa jaane mere siine me.n
hai bijalii kaa bhii a.ngaaraa
ta:
aramaan thaa gulashan par barasuu.N
ek shokh ke daaman par barasuu.N
afasos jalii miTTii pe mujhe
taqadiir ne merii de maaraa
itanaa na…
25. My Own #3
Baadal, Badra Songs Fest Day #1, Song #1
Kaa Karun sajani, aaye na baalam
Saawan ho tum, main hoon tori badariya.
When I opted for the Baadal, Badra songs Fest, it was, for the first time, a diversion away from Saawan Songs with the onrush of monsoons.
There are many songs that bring out the relationship between Saawan and Baadal but none do it as refreshingly as this Raaga based song sung by the great classical singer KJ Yesudas.
“Saawan ho tum, main hoon tori badariya”. What does this mean in the language of Love? It means that both of us draw from each other. It means that both of us are incomplete without each other.
This expression of incompletion in Saawan has come about in many songs. One of the most wonderful is from the 1975 movie Faraar starring Amitabh Bachchan and Sharmila Tagore. The song is: Main pyaasa tum saawan; main dil tum meri dhadkan.
Anyway, lets get back to Kaa Karun sajani, aaye na baalam.
It is a classical song of Hindustani classical music; a Thumri sung in the Raaga Sindh Bhairavi. It was popularised by legendary Hindustani vocalist, Bade Ghulam Ali Khan, Barkat Ali Khan, Bismillah Khan on shehnai, Pandit Ajoy Chakrabarty etc.
KJ Yesudas, born on 10th Jan 1940, has sung many Raaga based songs in the Indian movies. Some of his best are:
1. Jab deep jale aana, jab sham dhale aana – Raag Yaman.
2. Gori tera gaaon badha pyaara – Raag Palasi,
3. Tu jo mere sur mein – Raag Pilu.
A word about Amit Khanna, the lyricist. He is the former chairman of Reliance Entertainment. He received the National Award for Best Lyricist in the 1995 movie Bhairavi; which has another beautiful Saawan number: o Balam kesariyaa; bhiigaa saavan hai o man bhaavan hai toraa saa.nvariyaa.
Lastly about the Music Composer and Director: Rajesh Roshan. We celebrated his birthday recently on YKDN on 24th May. And by now we know that he is the younger brother of Rakesh Roshan and uncle of Hrithik. Some of the beautiful songs that he has composed are:
1. Kyun chalati hai pawan.
2. Mujhe chhu rahin hai teri naram saanse.
3. Julie songs.
Please enjoy my first post in the Baadal, Badra Songs Fest (not meant to compete with anyone: I cannot because you are so good and outstanding): Kaa Karun sajani, aaye naa baalam….
kaa karuu.N sajanii, aae na baalam
khoj rahii hai.n piyaa paradesii a.Nkhiyaa.N – 2
aae na baalam
jab bhii koii, aahaT hoe, manavaa moraa bhaage
dekho kahii.n, TuuTe nahii.n, prem ke ye dhaage
ye matavaarii priit hamaarii
chhupe na chhupaae – (2)
saavan ho tum mai.n huu.N torii badariyaa
aaye na baalam, kaa karuu.N…
bhor bha_ii aur, saa.Njh Dhalii re, samay ne lii a.nga.Daaii
ye jag saaraa, nii.nd se haaraa, mohe nii.nd na aaii
mai.n ghabaraauu.N, Dar Dar jaauu.N
aae vo na aae – (2)
raadhaa bulaae kahaa.N khoe ho kanhaiyyaa
aae na baalam, kaa karuu.N…
I have given you a partial coverage of just one of the Music Fests on Yaad Kiya Dil Ne. So, if you are a serious music lover and would like to join the group and participate in these absorbing fests, please go ahead. Read the description of the group and the rules for the fests and you can’t do any wrong.
All the best. Look forward to seeing you in our next fest.
दुनिया उनके लिए नहीं जो दुनिया से डरते हैं,
दुनिया उनके लिए नहीं जो रह रह के मरते हैं,
दुनिया उनके लिए नहीं जो दुनिया का दम भरते हैं,
दुनिया उनके लिए नहीं जो यह करते हैं और वह करते हैं.
दुनिया उनके लिए नहीं जो दुनिया से दौड़ते हैं दूर
दुनिया उनके लिए नहीं जो जीने से हैं मजबूर
दुनिया उनके लिए नहीं जो अपने आप में हैं मग्रूर
दुनिया उनके लिए नहीं जिनका दुनिया नहीं है दस्तूर.
दुनिया उनके लिए नहीं जिन्हें दुनिया से है रंजिश
दुनिया उनके लिए नहीं जिन्हे दुनियादारी लगती है बंदिश
दुनिया उनके लिए नहीं जिन्हे हर बात में लगती है साजिश
दुनिया उनके लिए नहीं जो करते हैं दुनिया की गुज़ारिश
दुनिया तो सिर्फ बेखबर मत्वालों के लिए है,
हर इक लमहा शान में जीने वालों के लिए है
जो हर बात दिल पे न लें ऐसे दिल्वालों के लिए है
हर हाल में मुत्मैन रेहने वालों के लिए है
दुनिया उनकी है जो वक्त की रफ्तार समझते हैं
हर इन्कार को जो दुनिया का ईकरार समझते हैं
जंग – ओ – जदल को भी जो प्यार समझते हैं
बेकार कचरे को जो हुसन – ए – शिन्गार समझते हैं
दुनिया में रह के जो जानते हैं दुनिया का सबब
दुनिया उन्ही को करती है झुक झुक के अदब
हम तो हैरान हैं, ये कैसा है गज़ब :
हस्ती उन्ही की है जो दुनिया में हैं जज्ब
फिर भी:
क्या करेंगे दुनिया में दुनिया के हो के ?
जल जल के मर के, घुट घुट के रो के,
नंगे ज़खम अपने आंसुयों से धो के
टूटे हुए जज्बात नज्मों में पिरो के
देख लो ए दुनिया, हम दुनिया को नहीं मानते,
तुम्हारे बनाए कानून हम नहीं पहचानते
चढा दो हमें फाँसी, हम यह नहीं जानाते:
कयुं दुनिया वाले रब्ब ओ इमान को नहीं पहचानते?
(Pic courtesy: paulzef.deviantart.com)
Duniya unake liye nahin jo duniya se darte hain,
Duniya unake liye nahin jo reh reh ke marte hain,
Duniya unake liye nahin jo duniya ka dam bharte hain,
Duniya unake liye nahin jo yeh karte hain aur woh karte hain.
Duniya unake liye nahin jo duniya se bhaagte hain door
Duniya unake liye nahin jo jeene se hain majboor
Duniya unake liye nahin jo apane aap mein hain magroor
Duniya unake liye nahin jinaka duniya nahin hai dastoor
Duniya unake liye nahin jinhen duniya se hai ranjish
Duniya unake liye nahin jinhe duniyaadari lagati hai bandish
Duniya unake liye nahin jinhe har baat mein lagati hai saazish
Duniya unake liyer nahin jo karte hain duniya ki guzarish
Duniya to sirf bekhabar matwaalon ke liye hai,
Har ik lamhaa shaan mein jeene waalon ke liye hai
Jo har baat dil pe na lein aise dilwaalon ke liye hai
Har haal mein mutmain rehane waalon ke liye hai
Duniya unaki hai jo waqt ki raftaar samajhate hain
Har inkaar ko jo duniya ka ikraar samajhate hain
Jang-o-jadal ko bhi jo pyaar samajhate hain
Bekaar kachre ko jo husn-e-shingaar samajhate hain
Duniya mein reh ke jo jaante hain duniya ka sabab
Duniya unhi ko karti hai jhuk jhuk ke adab
Ham to hairaan hain, ye kaisa hai ghazab:
Hasti unhi ki hai jo duniya mein hain jazb
Phir bhi:
Kyaa karenge duniya mein duniya ke ho ke?
Jal jal ke mar ke, ghut ghut ke ro ke,
Nange zakham apne aansuyon se dho ke
Toote huye jazbaat nazmon mein piro ke
Dekh lo ai duniya, ham duniya ko nahin maanate,
Tumhaare banaye kanoon ham nahin pehchante
Chadha do hamen faansi, ham yeh nahin jaanate
Kyun duniya waale rabb o imaan ko nahin pehchaante?
Some of you will feel that the question is a meaningless one. For example, those of you who had to face the indignity of dealing with one or more Indian lawyers or the extreme misery and frustration of trying to find justice through Indian courts (Please also read ‘The Great Indian Judicial Circus’), will point out that no questions need to be asked; Indian lawyers are gods and devils rolled into one and have every right to behave like gods.
Then there are others who would tell you that the sobriquet “gods” is reserved for Indian cricketers, politicians and religious leaders and that lawyers, even if they are gods, are very much lower down the order.
In the recent Kangana Ranaut film ‘Tanu Weds Manu Returns’, there is this character called Arun “Chintu” Kumar Singh played by Mohammed Zeeshan Ayyub who is a law student and about to become an advocate. Armed with the knowledge of law that can make others lives miserable, he is an illegal lodger with Tanu (Kangana Ranaut’s) parents in Kanpur. He refuses to either pay rent or leave with the street-smartness that he has acquired from his study of the Indian law.
Is that the true face of the Indian lawyer? Actually it is much worse. It is almost like the dacoit Gabbar Singh in the 1975 movie Sholay with his now famous dialogue: “Gabbar Singh se tumhen ek hi aadmi bacha sakta hai; woh hai khud Gabbar Singh” (Only one person can save you from Gabbar Singh; that is Gabbar Singh himself). Our advocate of 14 years, who made my widowed mother run from pillar to post, dropped our case altogether (by pleading “no instructions” in the court and hence warrants of arrest were issued for me!) only because I inquired from him about the progress of the cases. As per the Bar Council of India Rules, I filed a complaint against him for Professional Misconduct. I was called all the way from Mumbai to Shimla for a hearing by the H.P. Bar Council only to inform me that the case had been decided against me in my absence! The Chairman of the Disciplinary Committee of the Bar Council chided me for having spent Rupees 20000 for coming to Shimla whereas for half that much money I could have commissioned a lawyer to handle my complaint!
It is almost universal in India that litigants have waited for decades for their cases to be resolved. How is it that in court after court in India, no one realises that no one, other than them are interested in solving the cases. The employment of lawyers, judges and the courts staff is actually dependent upon delaying the cases. There is nil incentive for any of them to expeditiously solve the cases.
(Cartoon courtesy: mysay.in)
The fact is that in the Indian judicial system, the judges are not accountable for their acts of commission or omission. An act of commission or omission by them can cause you untold misery and/or delay. The only remedy available is to appeal in the next higher court. This means that now you will have to face more such judges and more such lawyers! And hence, you would realise why Gabbar Singh analogy is so apt.
Because the judges are not accountable, the lawyers assume such unaccountability themselves. They brushes his hands off everything you suffer by saying that the “system is bad; what can we do?”
To top it, in case you are a fauji (armed forces personnel) or ex fauji, everyone chides you for not being well versed with the intricacies of the civil society and the “system“. None of them take notice of the irrefutable fact that whilst we have some of the best armed forces in the world, we have one of the worst judicial and legal system in the world. They are still arrogant about their superiority (translated it means the ability to keep you at their mercy).
As citizens of the country we often fall prey to joining media orchestrated and politically motivated agitations about corruption at higher places. There is never a public outcry about everyday corruption and efficiency that affect us; eg, the ones we are subjected to by lawyers, judges, policemen, railway conductors, hospital and electricity officials and the like. Life loses its dignity altogether but we keep quiet.
A French man in IC 814, the infamous flight that got hijacked to Kandhar on 24th Dec 1999, observed that Indians in the flight appeared to have lot of patience to go through more than 60 hours of abject misery. That’s a reflection on us. We are like that only (Read ‘We Are Like That Only’). We are quite alright with the corrupt and most inefficient system. An odd person like me who voices concern is straightway dubbed as “out of reality” because he is a “bloody fauji” who hasn’t seen life since he has lived in a sequestered environment.
It is not just in Tanu Weds Manu Returns that you hear of unlawful occupation of your flat. The illegal occupant is emboldened by his lawyer friends to even renovate it with marble flooring and modular kitchen. Now, your advocate advises you to file a case. Those with adequate experience or inkling of Indian law and justice system know that it would take no less than 20 yrs to get our property back. Hence, they secure back possession through “other means“. The ball is now in the court of the other party. Let them go to the court against you as aggrieved party. Let them face the music.
More and more people are now convinced that sorting out “by other means” or with “whatever resources” is the only workable solution. There is just one major problem in that. For example, today’s newspaper talks about ‘Privatisation of Railways’. We have already finished with government-run airlines (almost), govt run schools, colleges, hospitals, roads, shipping etc. In the end, if an ordinary citizen is reduced to sorting out things of law and justice too “by other means“, we must reflect on it as to what do we require the government for?
My dad’s elder brother, HS Dilgir, was an intellectual, a respected professor of journalism in Punjab University, and had the first Academy of Performing Arts in Chandigarh called Kala Darpan. He had told me several decades back that in India, the only way to sort out the mess that we have landed up in, is not the evolutionary route but that of revolution. During his lifetime itself he saw this happen when one-third of the about 600 districts in India landed up in having bloody revolution in the form of ‘Left Wing Extremism’. We had the former Prime Minister Mr Manmohan Singh admitting that LWE is not a law and order problem but that of poor governance. In most of these districts now the writ of the government doesn’t run at all. People dissatisfied with the miserable way of governance, law and justice, poverty eradication etc, have taken the law in their own hands.
And still, our people, netas, lawyers, judges, haven’t woken up to the reality of the future. We still feel that people would continue being ruled over, hoodwinked, ill-treated, made to live undignified existence and continue paying them for their ills.
I feel that it is just around the corner when the lack of law and justice, corrupt police, lawyers and judges force people in the remaining 2/3rd districts too to sort out things “by other means“. Yes, at present the lawyers and advocates get away by behaving like gods; however, people’s tolerance with their ways is already running thin.
In short, time has come when we either implement long pending Police and Judicial Reforms, or allow people to sort out things by “whatever resources“.
Every person has a desire to be seen as virtuous. I am sure if you talk to the lawyers, they too paint themselves as “victims of circumstances” and “victims of a corrupt system“. However, I remember what the then Editor-in-Chief of Indian Express Arun Shourie wrote once: “The only way for evil to last is for good-men to do nothing about it.”
We, therefore, need to fight these systems both individually and collectively. We owe it to our children and grandchildren.
I have come across lawyers (and they are more a rule than exception) who have such large egos that they would totally drop your case in case you ask them anything or comment upon lack of justice. They like being part of the corrupt and inefficient system rather than being on your side (the correct and the right side). A friend shared with me that his own lawyer had the temerity to file an FIR against him when questioned about the slow and meaningless progress of the case. My own advocate fell short of filing FIR against me.
They are a band of brothers. In case a lawyer drops your case, no other lawyer would take up your case/cause.
If you report the conduct of the lawyer to the Bar Council, you multiply your miseries many times because those who sit in judgement over your case are lawyers themselves!
In my state Himachal (where I was born and brought up), there is another despicable thing going on (it must be going on in other states too). It is that the lawyers and judges are perceived to favour what they think are indigenous Himachalis as opposed to “outsiders“. Because we are Punjabi speaking and have names that end in ‘Singh’ and ‘Kaur’, people routinely ask us as to what made us migrate to Himachal from Punjab. They are stunned when I tell them that I was born and brought up entirely in this state. They are even more stunned when I remind them that each one of our states is supposed to be multilingual, multi-religious, and multi-caste. You should see their incredulous expressions! Needless to say, your advocate exploits this to his advantage fully by putting you at defensive.
Who profits from such parochial, corrupt and inefficient system? Think. As a parallel, who do you think gains from the perpetual traffic jams in (say) Mumbai caused by perpetual religious festivities on the roads that result in exorbitant fuel costs. The petrol pumps are also owned by the politicians and their cronies; and hence your guess is as good as mine. They always win.
The correct analogy of trying to approach Indian courts for justice is that of rape victims. A politician in Goa proclaimed that women deserve to be raped if they dress so provocatively. Similarly, we deserve to be ‘raped’ by the judicial system if we are so foolish as to take matters to court. The fault eventually lies with ‘We, the People of India’.
It is like after a traffic accident, one or both parties approaching the police. The police lightens the burden of the pockets of both the parties and “settles” the case!
Indian lawyers behave like gods because we allow them to. We let go our powers to demand service and accountability. The more people demand these, the more the lawyer shall diminish in size from being a god to a pygmy.
Today I attended my sixth Annual General Meeting and lunch of the Navy Foundation, Mumbai Chapter. Once again, I was reminded of this old song by Elton John titled ‘Talking Old Soldiers’. When you read the lyrics and at the end of it listen to Elton John sing the song, you would realise why I get reminded of this:
Why hello, say can I buy you another glass of beer
Well thanks a lot that’s kind of you, it’s nice to know you care
These days there’s so much going on
No one seems to want to know
I may be just an old soldier to some
But I know how it feels to grow old
Yeah that’s right, you can see me here most every night
You’ll always see me staring at the walls and at the lights
Funny I remember oh it’s years ago I’d say
I’d stand at that bar with my friends who’ve passed away
And drink three times the beer that I can drink today
Yes I know how it feels to grow old
I know what they’re saying son
There goes old man Joe again
Well I may be mad at that I’ve seen enough
To make a man go out his brains
Well do they know what it’s like
To have a graveyard as a friend
`Cause that’s where they are boy, all of them
Don’t seem likely I’ll get friends like that again
Well it’s time I moved off
But it’s been great just listening to you
And I might even see you next time I’m passing through
You’re right there’s so much going on
No one seems to want to know
So keep well, keep well old friend
And have another drink on me
Just ignore all the others you got your memories
You got your memories
Elton John wrote the lyrics together with Bernie Taupin. Whilst the entire song has lyrics that invoke nostalgia and many old ‘faujis‘ would identify with these, here are some words that are said in regret:
No one seems to wants to know…
That’s what happens when you retire from the armed forces. You join a wonderful territory called Oblivion where no one disturbs you. You are by yourself.
We are having an endless debate in the media and elsewhere about something called OROP (One Rank One Pension). As usual, both political fronts, ie, NDA (led by BJP) and UPA (led by Congress) are vying with each other to bring out, rightly or wrongly (mostly wrongly, I am sure) how the other front has been responsible for the delay in implementing this for the last many decades. Horrible jokes and cartoons are going around. One of these is about a veteran going through a graveyard and suddenly held by his leg by a hand coming out of the grave and a ghostly voice asking, “OROP aa gaya kyaa?” (Has the OROP (finally) arrived?)
(Pic courtesy: exairforce.blogspot.com)
Veterans in my Facebook Group called ‘Humour In And Out Of Uniform’ (HIAOOU) routinely bring out how soldiers are respected in every other country except in India wherein everyone pays lip-service but leaves them in their exclusive territory ‘Oblivion‘.
With this background, lets take stock of yet another AGM of the Navy Foundation; I am sure it is like any other ‘Talking Old ‘Faujis‘ Forum. We didn’t touch the OROP since adequate heat is already being generated about it elsewhere; I believe the Energy companies are seriously contemplating whether they can light up a few cities by converting such heat into electricity. Our most important issue was another four letter acronym called ECHS (Ex-servicemen Contributory Health Scheme); this joke brings us as much mirth as OROP. Indeed, whilst pensioners post 2006 are indeed a happy lot as compared to pre-2006 period, ECHS is one issue that has all of us as hapless victims. ECHS brings home the sad fact to all of us that there are Rules and Regulations and beyond them more Rules and Regulations and beyond them more. The other ‘R’ that you are looking for: ‘Relief’, that is, is lost in these other R’s and R’s. There are experts who have figured out some of these rules and regulations. For others, ECHS rules and regulations act as an index of the health of the ex-servicemen; if you can figure out majority of these, you are fit and do not require any treatment!
Every AGM starts with ECHS and ends with ECHS. The future is bright. Once all the empanelment is complete and the latest R’s and R’s implemented, ECHS would start being beneficial and less tedious, if not downright insulting. Officers who are still in service and somewhat responsible for ECHS invariably assure us that they are doing everything within their means to ensure ECHS becomes effective. However, as veterans we must understand that one, nothing is in their hand and two, whatever little powers they had to purchase medicines have also been usurped by the bureaucrats by a latest order dated 30th April 2015.
Where is humour in this? Well, it is in the fact that about ten of the veterans were given mementoes for having become octogenarian. This means that despite the inadequacies of ECHS veterans do live long. Perhaps the long wait for OROP doesn’t let them go. Many veterans would have become seriously ill but knowing that they would then be at the mercy of ECHS keeps them feeling fit.
What are the other earth-shaking issues of the Talking Old ‘Faujis‘? Here is a really important one (Ha!Ha!): Auto-rickshaws should be allowed by patients visiting ECHS clinics right up to the clinics and not stopped at the gate! This point would be discussed with the Command authorities to understand their point of view and if possible be implemented in due course of time.
Another very significant (Ha!Ha!) point was brought out that to call widows of ex-servicemen as widows is rather demeaning and the veterans must think of a more respected word to describe their status! Someone suggested ‘Wives of Late Veterans’. This was seriously contested by some veterans who arrived late for the AGM and had missed most of the proceedings. They said they weren’t always late but hadn’t reckoned for the traffic conditions. Hence, to single them out for reproach wasn’t called for! Over drinks, I made a suggestion that Hinglish could be used to describe the widows of veterans. Since the retired officer is called Veteran; perhaps his widow could be called Veterani.
The best point of the AGM was a gem indeed:
The venerable secretary of the Navy Foundation announced that arrangements have been worked out with the Command that when a veteran conks off, two sailors in uniform would be deputed by the Command to lay wreath on his/her mortal remains; and, in case he/she is a gallantry award winner, the Command would arrange for a Guard of Honour at his/her funeral.
The ‘R’ of Relief that eludes the ECHS has finally been provided in the form of a wreath and bugle at the death of a veteran.
Wreath Laying Ceremony for victims of INS Sindhuratna Mishap (Pic courtesy: www.dailypioneer.com)
There was a Ghazal Singer who sang during the drinks and lunch. Most ‘Talking Old ‘Faujis’ however preferred the sound of guzzle (of beer and gin) rather than of ghazal.
We await the next AGM and Annual Lunch for more of ‘Talking Old ‘Faujis‘. We are secure in our knowledge that at least we have earned a flower-wreath after decades of being in the Navy. My former CO on Ganga used to say, “In the Navy, brickbats travel upwards; bouquets travel downwards.” After thirty years, I understood what he was trying to say.
On the 10th of January this year I started a Facebook group ‘Main Shayar To Nahin’ primarily to air my devotion for him and some other Urdu poets. I regularly put up Shakeel’s poetry with meanings so that more and more people can savour his excellence. I call him the King of Irony since no one can write irony better than he did. Just one example:
Na milata gham to barbaadi ke afsaane kahan jaate? If there was to be no sorrow, where would odes of ruin find a place Agar duniya chaman hoti to veeraane kahan jaate? If the world would be just a garden, where would deserts find a place Chalo achha hua apano mein koi gair to nikala, It is good that amongst own people there was an outsider too Agar hote sabhi apane to begaane kahan jaate? If all people were your own (in the world) where would strangers find a place
My blog already has a number of articles on Shakeel Badayuni (‘Shakeel Badayuni – The King Amongst Lyricist And Poets – Part I’; ‘Shakeel Badayuni – The King Amongst Lyricist And Poets – Part II’, ‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad And Dilip Kumar Together’, and ‘Another Tribute To Shakeel Badayuni In The Month Of His Death Anniversary’)
We were a slave nation for 31 years of his 53 that he walked on this earth. All his contemporaries wrote about social inequalities, poverty, slavery and the like. Shakeel wrote about Love, Mohabbat, Ishq, Wafa, Ulfat; it is as if he lived in a different world. In addition, his god faring nature ensured that he also wrote the finest Bhajans in Hindi movies.
Lets restart the journey into his Ghazals:
Ghazal #16
This is not just beautiful; Shakeel has crafted it to perfection with his lament.
Chandnii mein rukh-e-zebaa nahin dekha jaata
Maah o khurshiid ko yakjaa nahin dekha jaata In the moonshine you shouldn’t see (her) beautiful face,
(Just as) You can’t see moon-month and sun together.
(rukh-e-zebaa=beautiful face; maah= moonmonth; khurshiid= the sun; yakjaa=together)
Youn to un aankhon se kyaa kyaa nahin dekha jaata
Haan magar apana hi jalwa nahin dekha jaata Those eyes, they can see this and that and everything,
However, they cannot see their own splendour
(jalwa=display, splendour)
Diida o dil ki tabaahi mujhe manzuur magar
Un kaa utara huaa chehra nahin dekha jaata
I accept the ruining of my sight and heart,
But, I just can’t bear to see her fallen face
(Diida=sight; tabaahi=ruin; manzuur=accepted)
Zabt-e-gham haan ashkon kaa talaatum
Ab to suukhaa huaa dariyaa nahin dekha jaata
Tolerance is necessary to see the upheaval of tears,
Now, it is unbearable to see the river having dried up
Zindagi aa tujhe qaatil ke havaale kar duun
Mujhase ab khoon-e-tamanna nahin dekhaa jaata My life, come I shall offer you to the murderer
I cannot bear to see the murder of my desires
(qaatil=murderer; khoon-e-tamanna=murder of desires)
Ab to jhuutii bhi tasalli ba-sar-o-chashm qubuul
Dil kaa rah rah ke tadapanaa nahin dekha jaata Now I accept by all means false or fake assurance
I cannot bear to see my heart repeatedly sobbing
(tasalli=assurance, comfort; ba-saro-chashm=by all means; qubuul=consented)
Ghazal #17
This too has been sung by Talat Mahmood and has exquisite lyrics.
Please enjoy: Dil ko behlaane ki tadbeer to hai
Dil ko behlaane ki tadbeer to hai
Tu nahin teri tasveer to hai I have a solution for amusing my heart
I don’t have you but have your picture
(Tadbeer=solution)
Hamsafar chhod gaye mujhako to kyaa
Saath mere meri taqdeer to hai So what if fellow travellers abandoned me
I have my destiny to keep me company
(Hamsafar=fellow travellers; taqdeer=destiny)
Qaid se chhoot ke bhi kyaa paaya
Aaj bhi paanv mein zanjeer to hai. What did I obtain by freeing myself from the prison
Even today my feet are shackled
Kyaa majal unaki ke na den khat ka jawaab
Baat kuch baa.is-e-taakheer to hai How dare she not reply to my epistle?
It is just that there is some cause for delay
(baa.is-e-taakheer=cause of delay)
Purshish-e-haal ko woh aa hi gaye
Kuchh bhi ho ishq mein taaseer to hai She came just to enquire about my well-being
Whatever happens there is power in Love
(Purshish-e-haal=to enquire about well-being; taaseer=effect)
Gham ki duniyaa rahe aabaad Shakeel
Muflisi mein koi jaagir to hai
The world of sorrows may prosper, Shakeel
There are riches even in poverty
(Muflisi=poverty; jaagir=property)
Ghazal#18
Please enjoy: Hum unaki anjuman ka samaan ban ke reh gaye
Ham unaki anjuman ka samaan ban ke reh gaye
Sar-taa-qadam nigaah o zubaan ban ke reh gaye. I only remained a scene in her society
From head to foot I remained just eyes and tongue.
(Anjuman=society, party; samaan=scene; Sar-taa-qadam= from head to foot)
Palte muqqadaraat kuchh is taur se ki ham
Tasveer-e-inqilaab-e-jahaan ban ke reh gaye My destiny turned in such a manner
That I could just become the picture of world’s revolution
(Muqqadaraat= destiny; taur=manner; tasveer-e-inqilaab-e-jahaan= picture of world’s revolution)
Mazloom dil ki talkh-navaayi to dekhna
Naghme to jab taq aaye fugaan ban ke reh gaye
Just have a look at the bitter things said by my oppressed heart
Songs were yet to arrive, I could just become clamour.
Ab ham hain aur haqeeqat-e-aalam hai ai Shakeel,
Lamhe khushi ke khwaab-e-giraan ban ke reh gaye. Now I am here and the reality of tragedy, O Shakeel
Hours of happiness were just dream makers.
(Haqeeqat-e-aalam= reality of tragedy; lamhe= moments; khwaab-e-giraan= dream makers)
Ghazal #19
A little difficult but very meaningful.
Please enjoy: Duniya ki rawayat se begaana nahin hoon
Duniya ki rawayat se begaana nahin hoon,
Chhedo naa mujhe main koi deewana nahin hoon. I am not a stranger to the tradition of the world
Don’t tease me, I am not some mad man
(Rawayat=tradition)
Is kasrat-e-gham pe bhi mujhe hasrat-e-gham hai,
Jo bhar ke chhalak jaaye wo paimaana nahin hoon. I have a desire for sorrows for this excess of sorrows
It is not a true wine measure that overflows after being full
(kasrat-e-gham=excess of sorrows; hasrat-e-gham=desire for sorrows)
Ruudaad-e-gham hai taaza mere dam se
Unvaan-e-har-fasaana hoon afsaana nahin hoon Story of sorrows is fresh because of me
I am the beginning of every romance but not the tale of romance
(Ruudaad-e-gham=story of sorrows; taaza=fresh; unvaan-e-har-fasaana=Beginning of romance; afsaana=tale of romance)
Ilzaam-e-junoon den na mujhe ahl-e-mohabbat,
Main khud ye samajhtaa hoon deewana nahin hoon. People of love shouldn’t accuse me of madness
I consider myself that I am not a mad man
(Ilzaam-e-junoon= Accusation of madness; ahl-e-mohabbat= people of love; deewana=crazy in love)
Main qaayal-e-khud-daari-e-ulfat sahi lekin
Aadaab-e-mohabbat se begaana nahin hoon. I may be a fan of selfish love, but
I am not a stranger to the norm of Love
(Qaayal-e-khud-daari-e-ulfat= Fan or follower of selfish love; Aadaab-e-mohabbat=ways/norms of love; begaana=stranger)
Hai barq-e-sar-e-toor se dil shola-ba-daaman
Sham-e-sar-e-mahfil hoon parvaana nahin hoon Because of lightening on Toor mountain, there is fire at the hem of my heart
I am a patron if the evening assembly of poets and not a moth
(barq-e-sar-e-toor=lightening on Toor mountain; shola-ba-daaman= fire at hem of apparel; Sham-e-sar-e-mahfil=Patron of evening assembly of poets; parvaana=moth)
Hai gardish-e-saagar meri taqdeer ka chakker
Mohtaaj-e-tavaaf-e-dar-e-maikhaana nahin hoon The movement (or revolution) of the wine-glass is the turn of my fate,
(But) I am not a slave of the door knob of the bar
(gardish-e-saagar=movement of glass of wine; taqdeer= fate; Mohtaaj-e-tavaaf-e-dar-e-maikhaana=slave of the door-knob of the bar)
Kaanto se guzr jaata hoon daaman ko bacha kar
Phoolon ki siyaasat se mein begaana nahin hoon. I pass through the thorns protecting the hem if my apparel
However I am not a stranger to the administration or rule of flowers
(siyaasat=administration)
Lazzat-kash-e-nazraana Shakeel apni nazar hai
Mahruum-e-jamaal-e-rukh-e-jaanaana nahin hoon. It is in my eye the taste of the pull (like a cigarette) of the gift (or present)
I am not deprived of the beauty of the female face
(Lazzat-kash-e-nazraana=taste of the pull of gift or present; nazar=eye; Mahruum-e-jamaal-e-rukh-e-jaanaana= deprived of the beauty of the female face)
Ghazal #20
This one is so good!
Please enjoy: Jab kabhi ham tere kuche se guzar jaate hain
Jab kabi ham tere kuche se guzr jaate hain
Lauh-e-idraak pe kuchh aur ubhar jaate hain When I go through your narrow streets
Levels of perception become even higher (than before)
(Lauh-e-idraak = level of perception)
Husn se leejiye tanzeem-e-do-aalam ka sabaq
Subah hoti hai to gessu bhi sanvar jaate hain Let the Beauty give a lesson in administration of the two worlds
As the morning comes, the tresses are combed too
(tanzeem-e-do-aalam = administration of two worlds; sabaq = lesson; gessu = hair, tresses)
Ham ne paaya hai mohabbat ka khumaar-e-abadi
Kaise hote hain vo nashe ki utar jaate hain? I have obtained the everlasting intoxication of Love
What kind of intoxications are those that come down?
(Khumaar-e-abadi = everlasting intoxication)
Itne khaaif hain mai-o-mah se janaab-e-vaaiz
Naam-e-kausar bhi jo sunte hain to dar jaate hain Mister Abstinent is so timid with wine and moon
He hears the name of fountain of wine in paradise and he trembles with fear
(Khaaif = timid, afraid; mai -o-mah = wine and moon; janaab-e-vaaiz = respected abstinent; Naam -e-kausar = name of fountain of wine in paradise)
Maikada band muqaffal hain dar-e-daur-o-haram
Dekhna hai ki Shakeel aaj kidhar jaate hain The bar is closed and locked are the doors of the temple and mosque
Lets see Shakeel where do the go today
(Maikada = bar; muqaffal = locked; dar-e-daur-o-haram = doors of temple and mosque)
Ghazal #20
This has been sung by both Begum Akhtar and Farida Khanum. At the end of the original ghazal and its translation I am going to give you the version by Farida Khanum.
Please enjoy: Mere ham-nafas, mere ham-navaa, mujhe dost banake dagaa na de…
Mere ham-nafas, mere ham-navaa, mujhe dost banake dagaa na de
Main huu.N dard-e-ishq se jaa.N_valab, mujhe zindagii ki dua na de My friend, my co-speaker, don’t deceive me after befriending me I am almost dead with heartache, don’t wish life for me
[ham-nafas=friend; ham-navaa=speaking in unison; dagha=deceit; dard-e-ishq=heart sore; jaa.N_valab=near death, heart/life in mouth]
Mere daag-e-dil se hai raushani, usi raushani se hai zindagi
Mujhe dar hai aye mere chaaraagar, ye charaag tuu hi bujhaa na de There is light because of my heartache, there is life because of that light I am afraid my physician, you may not extinguish this lamp
[daag-e-dil=heart sore; chaaraagar=physician]
Mujhe chhod de mere haal par, teraa kyaa bharosaa hai chaaraagar
Ye teri nawaazish-e-muKhtasar, mera dard aur badaa na de Please leave me on my condition, I have no trust in you physician This small request of yours may not augment my ache
[nawaazish= request; muKhtasar=brief]
Mera azm itana baland hai ke paraaye sholon kaa dar nahin
Mujhe Khauf aatish-e-gul se hai, ye kahin chaman ko jalaa na de My conviction is so great that I do not fear the other’s cinders My fear is with the flame of flower that may burn down the garden
[azm=conviction; baland= high, great; sholo.n=balls of fire; khauf=fear; aatish-e-gul=flame of flower]
Wo uthe hain leke hom-o-subu, arey o ‘Shakeel’ kahaan hai tuu
Tera jaam lene ko bazm mein koi aur haath badaa na de
She has risen holding the wine cup, O Shakeel, where are you?
In this assembly in order to hold that wine cup someone else shouldn’t extend his hand
The subject of drinking wine from the hands of the beloved is a common subject in Urdu poetry. Shakeel did full justice to it.
Please enjoy: Laa raha hai mai koi sheeshe mein bhar ke saamne….
Laa raha hai mai koi sheeshe mein bhar ke saamne,
Kis kadar pur-kaif hai manzar nazar ke saamne Someone is bringing wine before me in a glass How intoxicated the scene is in front of my eyes
(pur-kaif = full of intoxication; manzar = scene, view)
Main to is aalam ko kyaa se kyaa bana deta magar,
Kis ki chalti hai hayaat-e-mukhatsar ke saamne I could have changed this atmosphere into something, but, Who is in control in the face of this short-life?
Phir na dena tanaa-e-nakaam-e-zauk-e-nazar
Hausla hai kuchh to aa jaao nazar ke saamne Again do not rebuke me about the taste of failure I challenge you if you have courage come face me
Aah ye rudaad-e-hangaam-e-tarab ai gham-gusaar
Zikr-e-gulshan jaise ik be-baal-o-par ke saamne O you who comforts, my sigh is that story of happening of music As the narration of garden is in front of a bird without feathers and wings
(rudaad-e-hangaam-e-tarab = story of happening of music; gham-gusaar = one who comforts or consoles; zikr-e-gulshan = narration of garden; be-baal-o-par = without feathers and wings; helpless)
Ho chukaa jab khaatma saari ummidon ka to phir
Jaa rahe ho kyun Shakeel us fitnagar ke saamne After the (brutal) end of all your hopes Why then are you going Shakeel in front of the mischief maker?
(fitnagar = mischief maker)
Ghazal #22
This is so perfect that it is bound to leave you breathless!
Please enjoy: Nigaah-e-naaz ka ik vaar kar ke chhod diya…..
Nigaah-e-naaz ka ik vaar kar ke chhod diya
Dil-e-hareef ko bedaar kar ke chhod diya She left with after just one attack of her look of love
She left me after awakening my rival heart
(Nigaah-e-naaz=Look of love; vaar=attack; Dil-e-hareef=heart of rival; bedaar = awake, vigilant)
Hui to hai younhi tardeed-e-ahd-e-lutf-o-karam
Dabi zubaan se ikraar kar ke chhod diya It has happened somehow the refusal to accept the promise of pleasure and favour With pursed lips she left me after giving consent
(tardeed=to refuse to admit/accept; ahd=promise; lutf=pleasure; karam=favour; ikraar=consent, promise)
Chhupe kuchh aise ki taa-ziist na aaye nazar
Raheen-e-hasrat-e-deedaar kar ke chhod diya She hid herself such that even the trace of life cannot be seen She left after making a pledge about the desire to see
(taa-ziist=trace or proof of life; Raheen-e-hasrat-e-deedaar=pledged to the desire to see)
Mujhe to qaid-e-mohabbat azeez thi lekin
Kisi ne mujh ko giraftaar kar ke chhod diya The prison of love became dear to me, but, Someone made me a prisoner but then left me
Nazar ko jur.at-e-takmeel-e-bandagii na hui
Tavaaf-e-kucha-e-dildaar kar ke chhod diya My eyes couldn’t get the courage for completion of devotion I left after circumambulation of the street of the beloved
(jur.at-e-takmeel-e-bandage=courage for completion of devotion; tavaaf-e-kucha-e-didaar=circumambulation of street of the beloved (just as you circumambulate around the idol of a god/goddess)
Khushaa vo kashmakash-e-rabt-e-baahamii jis ne
Dil-o-dimaag ko bekaar kar ke chhod diya Blessed is she who through the dilemma of slow sadomasochism Has left me after making my heart and mind useless
(Khushaa=blessed, fortunate; kashmakash=dilemma; rabt=slow; baahami=sadomasochism. So the meaning of this really excellent couplet is=Fortunate/blessed is she who through the dilemma of slow sadomasochism has made my heart and mind useless!)
Zahe-naseeb ki duniya ne tere gham se mujhe
Masarraton ko talabgaar kar ke chhod diya The world of the lucky has done to me in your sorrow That I am left as a seeker of happinesses
(Zahe-naseeb=one who has good luck/lucky; Masarraton=happinesses; talabgaar=seeker, desirous; Another excellent couplet; I am lucky in the world wherein your sorrow has left me after making me a seeker of happinesses)
Karam ki aas mein ab kis ke dar pe jaaye Shakeel
Jab aap hi ne gunaahgaar kar ke chhod diya. Shakeel, in the hope of kindness (karam) now at whose door should I go When you yourself has abandoned me as an accused
Ghazal #23
This one is as expressive as it is simple.
Please enjoy: Pehlu mein dard-e-ishq ki duniya liye hue….
Pehlu mein dard-e-ishq ki duniya liye hue,
Baitha hoon zindagi ka sahaara liye hue. In the flank with the world of pain of love I sit leaning on life
Dil hai tajalii-e-rukh-e-zebaa liye hue,
Aagosh mein hai chand ko dariya liye hue. Heart has the lightening of her beautiful face (As if) The river has moon in its embrace
(tajalii-e-rukh-e-zebaa=lightening of beautiful face; Aagosh=embrace)
Pahunche to dil mein josh-e-tamanna liye hue,
Laute magar lutii hui duniyaa liye hue. I reached there with heart full of zeal and desire I returned with my world in shambles
Main jii raha hoon gham-kada-e-rozgaar mein,
Teri mohabbaton ka sahaara liye hue. I am living in the house of sorrow of livelihood With the support of your love
(gham-kada-e-rozgaar=house of sorrow of livelihood/employment)
Utha hoon bazm-e-husn se loghzish-ba-paa Shakeel,
Behaki hui ik nazar ka sahaara liye hue. I have risen from the assembly of beauty having slipped with my feet But seeking the support of her intoxicating eyes
(bazm-e-husn=assembly of beauty; loghzish-ba-paa=slipping of foot)
Ghazal #24
Irony and despondence are two characteristics of Shakeel Badayuni’s poetry. Here both are seen together. At the end of the translation, please listen to Ustaad Moin Khan and his group.
Please enjoy: Zindagi uanki chaah mein guzari….
Zindagi unaki chaah mein guzari
Mustaqil dard o raah mein guzari My life was spent desiring her Permanently spent in the street of pain
(Mustaqil=permanently, firmly)
Rahmaton se nibaah mein guzari
Umr saari gunaah mein guzari It was spent dealing with blessings The whole life was spent sinfully
(Rahmaton=blessings; nabaah=dealing)
Haay vo zindagi ki ik saa.at
Jo teri baargaah mein guzari Alas, those moments in my life Which were spent in your court
(saa.at=moment; baargaah=audience hall, court)
Sab ki nazaron mein sar-buland rahe
Jab taq unaki nigaah mein guzari My head was held high in every eye Until I passed in front of her eyes
Main vo ikraar-e-mohabbat hoon
Jis ki manzil bhi raah mein guzari I am that consent of love Whose destination is lost on the way
Ik khushi hamane dil mein chaahi thi
Vo bhi gham ki panaah mein guzari I sought just one joy, but That too was at the mercy of (panaah) of her sorrow
Zindagi apani ai Shakeel ab tak
Talkhi-e-rasm-o-raah mein guzari O Shakeel, my life so far Was spent in the bitterness of the path of tradition
(Talkhi-e-rasm-o-raah= bitterness of the path of tradition)
Ghazal #25
The subject of wine-glass or goblet again; but, with a difference.
Please enjoy: Naa paimaane chhalakte hain naa daur-e-jam chalta hai….
Naa paimaane khanakte hain naa daur-e-jaam chalta hai,
Nayi duniya ki rindon mein khuda ka naam chalta hai. Neither there is tinkle of peg-measures nor there is round of wine drinking In the world of the drunkards the name of God is prevalent
(rindon=drunkards)
Gham-e-ishq se hain gham-e-hasti ke hungaame judaa lekin,
Vahan bhi din guzarte hain yahaan bhi kaam chalta hai. The commotion (hungama) of sorrow of existence (gham-e-hasti) is separate from sorrow of love (gham-e-ishq) There too days pass, here too work goes on
Chhupe hain laakh haq ke marhale gumnaam hontho par,
Usi ki baat chal jaati hai jiska naam chalta hai. Lakhs of stages of right are hidden on unnamed lips He who has a name is able to dictate terms
Junoon-e-rah-ravii-e-waqt ki raftaar se poochho,
Koi manzil nahin lekin yeh subah o shaam chalta hai.
Enquire from the speed of the madness of time’s journey
It has no destination but it goes on morning and evening (meaning all the time)
(Junoon-e-rah-ravii-e-waqt=madness of time’s journey in orbit)
Shakeel-e-mast ko masti main jo kehna hai kehne do,
Ye maikhaana hai ai vaaiz yahan sab kaam chalta hai. Let Shakeel who is fun-filled say whatever he wants to say in fun This is a tavern O preacher, here anything is acceptable
(vaaiz=preacher)
Ghazal #26
There wasn’t a poet and lyricist like him. Probably, there won’t ever be. He used words as a goldsmith uses gold to make beautiful ornaments.
Here is his second most popular ghazal sung by Shanti Heranand.
Please enjoy: Nazar Nawaz nazaron mein ji nahin lagata….
Nazar nawaaz nazaron mein ji nahin lagata,
Woh kyaa gaye ki bahaaron mein ji nahin lagata. My heart cannot find joy in sights that are pleasing to the eye She left and now spring cannot amuse me
(Nazar nawaaz=Pleasing to the eye)
Shab-e-firaaq ko ai chaand aa ke chamka de,
Nazar udaas hai taaron mein ji nahin lagata. Only moon (her) can come and brighten the night of separation My sight is sad, stars cannot amuse me
(Shab-e-firaaq=Night of separation/longing)
Gham-e-hayaat ke maare to ham bhi hain lekin,
Gham-e-hayaat ke maaron mein ji nahin lagata.
Even I am a victim of sorrow of life, but
I do not find amusement in the midst of other victims of sorrow of life.
(Gham-e-hayaat=Sorrow of life)
Na poochh mujhase tere gham mein kyaa guzarti hai,
Yahi kahunga hazaaron mein ji nahin lagata. Don’t ask me how I spend my time in your sorrow I shall say only this that I don’t find amusement in the midst of thousands
Kuchh is qadar hai gham-e-zindagi se dil maayus,
Khizaan gayi to bahaaron mein ji nahin lagata. In this manner is the heart saddened by sorrow of life That when autumn was over, spring doesn’t amuse me
Fasaana-e-shab-e-gham khatm hone waala hai,
Shakeel chand sitaaron mein ji nahin lagata.
Story of the night of grief is about to end now
Shakeel, (now) moon and the stars don’t amuse me anymore
(Fasaana-e-shab-e-gham=Story of the night of grief)
https://youtube.com/watch?v=WYQRvcaU8FA%3F
Ghazal #27
One wonders how Shakeel was able to write one after the other beautiful ghazal!
Please enjoy: Shikwe tere huzoor kiye jaa raha hoon main….
Shikwe tere huzoor kiye jaa raha hoon main,
Jo kuchh bhi ho qusoor kiye jaa raha hoon main. Respected Sir, I keep complaining to you Whatever happens I keep doing wrong
(Shikwe=Complaints)
Vahm-e-ta.ayyunaat ka anjaam dekhna,
Nazdeekiyon ko door kiye jaa raha hoon main. Look for the result of the whim of fixtures I keep converting nearness into distances
(Vahm-e-ta.ayyunaat=Whim of fixtures)
Mahv-e-tavaaf koocha-e-hasti mein rahmaten,
Shayad koi qusoor kiye jaa raha hoon main. I seek mercies through being busy in circumambulation of street of life Perhaps I am committing some wrong somewhere
(Mahv-e-tavaaf=Busy in circumambulation; Koocha-e-hasti=Street of life; Rahmaten=Mercies)
Rakhi hui hai sang-e-dar-e-yaar par jabeen,
Is ijz par ghurur kiye jaa raha hoon main. My forehead is kept at the stone of my beloved’s doorstep This modesty of mine fills me with pride
(Sang-e-dar-e-yaar=Stone of beloved’s doorstep; Jabeen=Forehead; Ijz=Modesty; Ghurur=Pride)
Nazar-e-nigaah-e-naaz hain dil ki nazaakten,
Sheeshe ko choor choor kiye jaa raha hoon main. Offerings of beloved’s glance are the delicacies of heart I am smashing into fragments the wine-glass
(Nazar-e-nigaah-e-naaz=Offering of beloved’s glance; Nazaakten=Delicacies)
Rabt-e-niyaaz-o-naaz ka aalam to dekhna,
Naadim hain vo qusoor kiye jaa raha hoon main. Just look at the contact of love and coquetry She is sorry for the wrongs that I am committing
(Rabt-e-niyaaz-o-naaz=Contact of love and coquetry; Naadim=Sorry)
Socha kabhi na hazrat-e-vaa.iz ne ye Shakeel,
Rindon mein zikr-e-hoor kiye jaa raha hoon main. The master preacher never thought of this, O Shakeel In the midst of drunkards I am describing a beautiful angelic woman
(Hazrat-e-vaa.iz=Master preacher; Rindon=Drunkards; Zikr-e-hoor=Description of beautiful woman)
Ghazal #28
Please enjoy Gayatri Gaekwad sing this beautiful ghazal: Unake bagair hum jo gulistaan mein aa gaye…..
Unake bagair ham jo gulistaan mein aa gaye,
Mehsoos ye hua ke bayabaan mein aa gaye. Without her when I entered the flower-garden It felt like I entered some wilderness
(Bayabaan=wilderness)
Tash.heer-e-dil-giraftagi-e-husn ho gayi,
Aansu chhalak ke chashm-e-pashemaan mein aa gaye. Her heart-ravishing beauty was publicised when My tears dropped from my repentant eyes
(Tash.heer-e-dil-giraftagi-e-husn=publicity of captivating or heart ravishing beauty; Chashm-e-pashemaan=repentant eyes)
Ham tark-e-rabt-o-zabt-e-mohabbat ke baavjuud,
Sau baar khinch ke kuucha-e-jaanan mein aa gaye. I, in spite of the renunciation of contact with and control over love Hundreds of times fell victim to the pull of beloved’s street
(Tark-e-rabt-o-zabt-e-mohabbat=Renunciation of contact with and control over Love; Kuucha-e-jaanan=beloved’s street)
Phuulon ko raas aaya na jab arsa-e-bahaar,
Gulshan se hat ke gosha-e-daaman mein aa gaye. Flowers didn’t find alright the duration of spring Abandoning the garden they came to the piece of her hem
(Gosha-e-daaman=piece of the hem)
Har-chand ahl-e-hosh the arbaab-e-zindagi,
Lekin fareb-e-gardish-e-dauraan mein aa gaye. Although people of reason were the ambassadors (ardaab) of life But they fell victim to the deception of movement of times
(Har-chand=although; Ahl-e-hosh=people of reason; Fareb-e-gardish-e-dauraan=deception of movement of times)
Aaya meri zubaan pe yaka yak jo unka naam,
Kis kis ke haath mere garebaan pe aa gaye. When suddenly her name came on my tongue Whose all hands held my collar (in anger)
(Garebaan=collar)
Chhup kar nigaah-e-shauk se dil mein panaah li,
Dil mein naa chhup sake to rag-e-jaan mein aa gaye. My heart sought refuge hidden from the eye that seeks pleasure When it couldn’t hide in the heart, it came into the jugular vein
(Rag-e-jaan=jugular vein)
The muntashar azal mein jo zarraat-e-kuu-e-dost,
Insaan ban ke aalam-e-imkaan mein aa gaye. The particles from the street of the beloved were disorderly They became human and entered the world of possibilities
(Muntashar=disorderly; Azal=beginning; Zarraat-e-kuu-e-dost=particles from the street of the beloved; Aalam-e-imkaan=world of possibilities)
Jinaki adaa adaa mein hain raanaayiyan Shakeel,
Ash.aar ban ke vo mere deevaan mein aa gaye. In whose grace are beauties, Shakeel They entered my royal court after becoming couplets
(Raanaayiyan=beauties; Ash.aar=couplets; deevaan=royal court)
Ghazal #29
A relatively simpler one sung by the Ghazal King Talat Mehmood.
Koi aarzu bahin hai, koi mudda nahin hai,
Tera gham rahe salaamat, mere dil mein kyaa nahin hai. There is no desire (aarzu), there is no issue (mudda) Long live your sorrow, what is not there in my heart?
Kahaan jaam-e-gham ki talkhi kahaan zindagi kaa darmaan,
Mujhe vo dawa mili hai jo meri dawa nahin hai. Where is bitterness of goblet of sorrow, where is remedy for life I have got that medicine, which is not my medicine
(Jaam-e-gham=goblet of sorrow; Talkhi=bitterness; Darmaan=remedy)
Tu bachaaye laakh daaman mera phir bhi hai ye vaada,
Tere dil mein main hi main hoon koi doosra nahin hai. You may take your hem of dress away, but I still make that promise In your heart only I am there, no one else resides there
Tujhe keh diya sitamgar ye qusoor tha zabaan kaa,
Mujhe tum muaaf kar do meraa dil bura nahin hai. I called you a tyrant (sitamgar), it was guilt of my tongue Please forgive me, my heart is not bad
Mujhe dost kehne waale zaraa dosti nibha de,
Ye mutaalba hai haq kaa koi iltija nahin hai. You who calls me friend, you come a little equal to friendship This is a demand of right and not a request
(Mutaalba=demand; Iltija=request)
Ye udaas udaas chehre ye haseen haseen tabassum,
Tere anjuman mein shayad koi aainaa nahin hai. These sad faces, these beautiful smiles Perhaps there is no mirror in your society
(Anjuman=society or gathering)
Meri aankh ne tujhe bhi bakhudaa Shakeel paaya,
Main samajh raha tha mujh sa koi doosra nahin hai. My eyes found you too, Shakeel swears by God (Before that) I thought there is no one like me
(Bakhudaa=swear by God)
https://youtube.com/watch?v=E12S5MsrpO4%3F
Ghazal #30
This is the last one in this Part II (wait for Part III for the remaining ghazals)
Please enjoy: Jazbaat ki rau mein beh gaya hoon….
Jazbaat ki rau mein beh gaya hoon,
Kehna jo naa tha wo keh gaya hoon. I have flown in the flow of emotions (Jazbaat) What I didn’t want to say I have said
Har lamha-e-sar khushi mein aksar,
Do ashq baha ke reh gaya hoon. Often in every moment of ecstasy I couldn’t help shedding two tears
(Lamha-e-sar-khushi=moment of ecstasy)
Thaa jin pe gumaan tere sitam kaa,
Kuchh aise karam bhi seh gaya hoon. Those that were suspiciously your tyrannies Even those mercies I have tolerated
(Gumaan=suspicion; Sitam=tyranny)
Shayad vo ise junoon samajh lein,
Ik baat pate ki keh gaya hoon. Perhaps she may think of this as my madness (junoon) (But) one thing of substance I have said
Ab kyaa gham-e-saahil-o-talaatum,
Ik mauj ke haath beh gaya hoon. Now what is the sorrow of shore and storm I have flown at the hands of a wave
(Gham-e-saahil-o-talaatum=sorrow of shore or storm; Mauj=wave)
