INCREDIBLE NOSTALGIA (I.N.) SONGS – PART I

Guest Writer

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…..

Meraa sundar sapana biit gayaa
mai.n prem me.n sab kuchh haar gayii
bedad.r zamaanaa jiit gayaa
meraa sundar sapanaa biit gayaa

kyo.n kaalii badariyaa chaayii hai
kyo.n kalii kalii mus_kaayii hai
merii prem kahaanii khatm hu_ii
meraa jiivan kaa sa.ngiit gayaa
meraa sundar sapanaa biit gayaa

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.

Until we meet again: Jai Hind.

FITNESS FREAK

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.

Fitness Freak

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.’

BAADAL OR BADRA SONGS FEST ON YAAD KIYA DIL NE

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’.

Aankhon mein kyaa ji11. 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

https://youtube.com/watch?v=FrPnB_Km9Cc%3F

3. Maj Vishwas Mandloi

BAADAL, BADRA SONGS FEST

DAY 2 Song 6

Mukhda – jhum baraabar jhum sharaabi, jhum baraabar jhum

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 emoticon wink 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 emoticon like 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

https://youtube.com/watch?v=9VIccDNz4nc%3F

8.   Surekha Saini

BAADAL BADRA SONG FEST. .
‪#‎DAY‬ 1 ‪#‎SONG‬ 1. .

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. )

https://youtube.com/watch?v=ECUJ8eACcz4%3F

9.   Surekha Saini

BAADAL BADRA SONG FEST. ..
‪#‎DAY1‬ ‪#‎SONG‬ 2.

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…

%bansuri and sitar duet
%tain tain tain, tataNtaN, tataNtaN, tataNtaN, tataNtaN
%daNandaNandaNang DHUNg

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

https://youtube.com/watch?v=RJ8YV7jHgv4%3F

19.  Anindya Chatterjee

 BAADAL, BADRA SONGS FEST
‪#‎DAY‬ 2 ‪#‎Song‬ 6

Phir se aaiyo badraa bidesi

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.

Enjoy

https://youtube.com/watch?v=s-wG3o_z_vw%3F

20.  Anindya Chatterjee

BAADAL BADRA SONG FEST. …
‪#‎DAY1‬ ‪#‎SONG‬ 1. .

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

Chakdhoom dhoom chakdhoom dhoom
Chakdhoom dhoom chakdhoom dhoom

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.

Please enjoy: Aankhon mein kyaa ji? Rupahala baadal…

aa.Nkho.n me.n kyaa jii
rupahalaa baadal
baadal me.n kyaa jii
kisii kaa aa.Nchal
aa.Nchal me.n kyaa jii
ajab sii halachal

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.

MERI DUNIYA HI AUR HAI

 

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)
(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?

Ishq mein jaan dene waalon ke liye hai

WHY DO INDIAN LAWYERS BEHAVE LIKE GODS?

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)
(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!

bar1In 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.

TALKING OLD ‘FAUJIS’

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

[embedplusvideo height=”467″ width=”584″ editlink=”http://bit.ly/1FMRF7e” standard=”http://www.youtube.com/v/GE2MmwUbC_E?fs=1″ vars=”ytid=GE2MmwUbC_E&width=584&height=467&start=&stop=&rs=w&hd=0&autoplay=0&react=1&chapters=¬es=” id=”ep9130″ /]

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)
(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)
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.

IMMORTAL GHAZALS OF SHAKEEL BADAYUNI – PART II

This post is in continuation of my ‘Immortal Ghazals of Shakeel Badayuni – Part I’.

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’)

Shakeel7

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.

Please enjoy: Chandini mein rukh-e-zebaa nahin dekha jaata:

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

(Zabt-e-gham=tolerance; ashkon=tears; talaatum=upheaval)

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.

(Mazloom= injured, oppressed; talkh-navaayi= saying bitter things; naghme= melodies; fughaan= 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

[hom=burnt offering; subu=wine cup; bazm=assembly, meeting]

https://youtube.com/watch?v=wFpK90fPA3A%3F

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?

(aalam = atmosphere; hayaat-e-mukhatsar = 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

(tanaa = rebuke, complaint; nakaam = failure; zauk = taste)

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.

Please enjoy: Koi aarzu nahin hai, koi mudda nahin hai…

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)

TU

एक मुद्दत से तमन्ना थी जिसे कहने की,
बात वो अब भी मैं कह नहीं पायूँगा सनम,
ज़िंदा हैं अश्क़ अब भी जो बहाये मैंने,
मैं उन अश्कों मैं कभी बह नहीं पायूँगा सनम I

याद आएँगी मुझे खामोश ओ मजबूर रातें,
अपने ही आप से मैं करता रहा था बातें
सोचा था अब तेरे दीदार को ना तरसूँगा कभी
जो न मुझे मिल सका उस प्यार को ना तरसूँगा कभी
सोच कर फिर वही मायूस सा हो कर सोचा
बिन तुम्हारे मैं रह भी ना पायूँगा सनम
वो बात अब भी मैं कह नहीं पायूँगा सनम I

मेरे बारे में कभी तुमने भी ये सोचा होगा
ये भी एक और दीवाना है दीवानो की तरह
मैं जो रौशन हूँ सियाह रात में शमा की तरह
मेरा परवाना है यह भी परवानो की तरह
सोच कर तूने इतना तो सोचा होता:
इतने सितम मैं सह भी ना पायूँगा सनम
वो बात अब भी मैं कह नहीं पायूँगा सनम I

खुद को मुझसे इतना भी ना तू दूर समझ
अपने परवाने को इतना भी ना मजबूर समझ
मैं अगर चाहूँ तो इतनी भी है ताक़त मुझ में:
याद को तेरी मैं इक तू ही बना सकता हूँ
इक तो तू है जो मेरी हर बात को समझे वहशत
अपनी तू को मैं हर इक बात सुना सकता हूँ
तुझको सजाना चाहूँ तो ज़ुल्फ़ भी छूने नहीं दे
अपने अरमानो से तेरा हर अंग सजा सकता हूँ
गम नहीं अब जो तू लाख भी रूठे मुझसे
अपनी तू को मैं जब चाहे मना सकता हूँ I

(Pic courtesy: www.dreamtime.com)
(Pic courtesy: www.dreamtime.com)

Ek muddat se tamanna thi jise kehane ki,
Baat wo ab bhi main keh nahin paayunga sanam,
Zinda hain ashq ab bhi jo bahaaye maine,
Main un ashqon main kabhi beh nahin paayunga sanam.

Yaad aayengi mujhe khaamosh o majbuur raaten
Apane hi aap se main karta raha tha baaten
Socha tha ab tere deedaar ko naa tarsuunga kabhi,
Jo naa mile mil saka us pyaar ko naa tarsuunga kabhi.
Soch kar phir wohi mayuus saa ho kar socha:
Bin tumhaare main reh bhi naa paayunga sanam,
Wo baat ab bhi main keh nahin paayunga sanam.

Mere bare mein tum ne bhi ye socha hoga,
Yeh bhi ik aur deewana hai deewano ki tarah;
Main jo raushan hoon siyaah raat ki shamaa ki tarah,
Mera parwaana hai yeh bhi parwaano ki tarah.
Soch kar tune itana to socha hota,
Itane sitm main she bhi naa paayunga sanam,
Wo baat ab bhi main keh nahin paayunga sanam.

Khud ko mujh se itana bhi naa tu door samajh,
Apane parwaane ko itana bhi naa majbuur samajh.
Main agar chaahun to itani bhi hai taaqat mujh mein,
Yaad ko teri main ik tu hi bana sakata hoon.
Ik to tu hai jo meri har baat ko samajhe vehshat,
Apani us tu ko main har ik baat suna sakata hoon.
Tujhako sjaana chaahun to zulf bhi chhune nahin de,
Apane armaano mein tera har ang saja sakata hoon.
Gam nahin ab jo agar laakh bhi roothe mujh se,
Aapni tu ko main jab chaahe manaa sakata hoon.

NADAAN HI RAHE HUM

 

दुनिया में रह के भी दुनियादारी नहीं सीखी I
होशियार करते रहे वो, होशियारी नहीं सीखी II

आरज़ू – ए – इश्क़ ने हर बार मुझे किया मायूस I
बेक़रार होके भी बेक़रारी नहीं सीखी II

हमसे तंग – हाल तो कोई भी ना था ज़माने में I
बेहाल होके भी हमने लाचारी नहीं सीखी II

मुक़ाब्ले की जिदो जेहद में खोये थे सारे दोस्त I
सब जान के भी हम ने खुद – दारी नहीं सीखी II

तेरी बेवफाई जब हद्द से गुज़र गयी I
उस वक़्त भी हमने बेवफादारी नहीं सीखी II

शरम्सार तालुक़ – ए – मोहब्बत में हुये हर बार I
अफसोस, फिर भी हमने शरम्सारी नहीं सीखी II

तूने हुस्न – ए – नज़र पे पेहरे लगा दिये है I
हमने खज़ाना – ए – अश्क़ की भी पेहरेदारी नहीं सीखी II

जबसे तेरे इश्क़ में मरने का मिला है काम I
खुदा गवाह है हमने बेरोज़गारी नहीं सीखी II

image

Duniya mein reh ke bhi duniyadaari nahin seekhi,
Hoshiyaar karte rahe woh, hoshiyaari nahin seekhi.

Aarzoo-e-ishq ne har baar mujhe kiya mayuus,
Beqraar hoke bhi beqraari nahin seekhi.

Hamase tang-haal to koi bhi na tha zamaane mein,
Behaal hoke bhi hamane laachaari nahin seekhi.

Muqaable ki jido jehad mein khoye the saare dost,
Sab jaan ke bhi hamane khud-daari nahin seekhi.

Teri bewafai jab hadd se guzr gayi,
Us waqt bhi hamane bewafadaari nahin seekhi.

Sharamsaar taluq-e-mahabbat mein huye har baar,
Afsos, phir bhi hamane sharamsaari nahin seekhi.

Tune husn-e-nazar pe pehre laga diye hain,
Hamane khazaana-e-ashq ki bhi pehredaari nahin seekhi.

Jabase tere ishq mein marne ka mila hai kaam,
Khuda gavaah hai hamane berozgaari nahin seekhi.

WHY DO WE SOMETIMES CRY LISTENING TO OLD SONGS?

Why do we sometimes cry listening to our favourite old songs?

Last night, I got the desire to see 1952 iconic movie Baiju Bawra after five decades. As each song was played from ‘Jhule mein pawan ke aayi bahaar’ as Gauri and Baiju grow up, to ‘Tu Ganga ki mauj’, ‘Door koi gaaye’, ‘Insaan bano’, Bachpan ki mohabbat ko, ‘Mujhe bhool gaye saanwariya’, ‘Man tadpat Hari darsan ko aaj’ and ‘O duniya ke rakhwaale’; I felt the eyes and heart becoming more and more moist.

(Pic courtesy: en.wilepedia.com)
(Pic courtesy: en.wilepedia.com)

Why do we cry when we listen to old favourites? Is it because of our own memories associated with the movie and the songs? Is it because of mixed feelings: one of joy that we lived in the same era as Shakeel Badayuni (Lyricist) and Naushad Ali (Music Director) and Mohammad Rafi lived in; and other of sadness that they aren’t there now. As far as Shakeel Badayuni is concerned, I have several posts on him in my blog and all are very popular since I can see in the blog stats (eg, ‘Shakeel Badayuni – The King Amongst Lyricists And Poets – Part I’ and ‘Part II’, ‘Another Tribute To Shakeel Badayuni In The Month Of His Death Anniversary’, and ‘Immortal Ghazals Od Sahkeel Badayuni – Part I’). However, arguably the greatest Music Director of our era: Naushad Ali, is mentioned by me in only two blog-post on him (‘The Best Of Old Hindi Songs – Rafi, Shakeel, Naushad and Dilip Kumar Together’ and ‘Immortal Songs of Mughal-e-Azam’; in both the cases clubbing him together with Shakeel Badayuni)

Why do we cry? Oh, I will give anything to have those movies and songs again; flute was an essential instrument, there was simplicity, there was innocence and there was as Badshaah Akbar said in the movie: Azmat!

I was thrillrd to see that credits to Ustaad Amir Khan and DV Paluskar ranked ahead of playback singers Rafi, Lata and Shamshad Begum.

Why do we cry?

Does anyone have the answer? Well, I posed this question in my Facebook Group ‘Yaad Kiya Dil Ne’ (I had to make this group when in the last group ‘Dil Ki Nazar Se’ people started putting up frivolous posts. All my groups, on the other hand, are based on the principle of mutual-learning than merely groups for entertainment and socialising). Here are the responses from some of my friends on the group.

1. Nitin Shringarpure “Poetry is the spontaneous overflow of Powerful feelings. It takes its origins from the emotions recollected in tranquillity” William Wordsworth, “Same is the thing with crying”.

2. Surekha Saini Well my reason for crying is a bit stupid. ..when I listen to these songs I start relating myself to the character n feel the same pain through lyrics n music the character must be feeling in that situation. …n I cry every time when I listen to. .Mann tadpat Hari darsan ko aaj…and..O duniyaa ke rakh wale. ..from my childhood so no chance of memories related to the songs…I mentioned both poetry n music. ..as a child I used to cry with no reason but now its lyrics n poetry n of course singing. ..n if I relate myself to the character means movie n the storyline come naturally. ..until I understand the film thoroughly how can I relate myself to the character. …actually mera dil mere dimag se jyada kaam karta hai. …

3. Raj Dutta When ever our Soul wishes to have a bath…it takes the body and the brain though a memory trip facilitated by sense organs mostly eyes and ears…the brain does some chemical locha and triggers and squeezes the tears ducts…moistening your eyes and sinuses…And lo the Soul is fresh again…sentimentally and temperamentally formatted…But my late eldest Tayyaji never wept even on the demise of his near and dear ones…When I once asked him the reason He in a shayrana andaz said, “Bahut roya hoon Ghame zindagi mein, Ab toh ansuon ne bhi mujhe bhula diya hai”…He had taken part in WW II.

Raj Dutta then put up a Pakistani song by Rahim Shah to explain this:

https://youtube.com/watch?v=KyHanHl5X30%3F

This only means one thing that the very songs that we rued kept us away from storyline and “avoidable” at that time when we used to see movies as children and teenagers, are actually the most wonderful memories of the movies of that time. And remember how we used to compare with Hollywood matter-of-fact, “professionally made” “no nonsense and no songs” movies?

There is no better way to express emotions than through poetry.

Tears are also seen as a ‘release’ of emotions. Indeed, at deep and traumatic shocks, the docs get worried if the affected person does not cry. There are many theories about crying. One lovely one was given to us by Mukesh through Anand Bakshi and Laxmikant Pyarelal in 1967 movie Milan:

Mubaarak ho sab ko samaa ye suhaanaa
mai.n khush huu.N mere aa.Nsuo.n pe na jaanaa
mai.n to diivaanaa diivaanaa diivaanaa – 2

Hazaaro.n tarah ke ye hote hai.n aa.Nsuu
agar dil me.n Gam ho to rote hai.n aa.Nsuu
khushii me.n bhii aa.Nkhe.n bhigote hai.n aa.Nsuu
inhe.n jaan sakataa nahii.n ye zamaanaa
mai.n khush huu.N mere aa.Nsuo.n pe na jaanaa
mai.n to diivaanaa diivaanaa diivaanaa – 2

The other is the 1964 movie Hamrahi song put together by Hasrat Jaipuri and Shankar Jaikishen and Rafi for Rajendra Kumar:

Ye aa.Nsuu mere dil kii zubaan hai.n -2
mai.n ro_uu.N to ro de.n aa.Nsuu
mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu
ye aa.Nsuu mere dil kii zubaan hai.n -2

Aa.Nkh se Tapakii jo chi.ngaarii, har aa.Nsuu me.n chhabii tumhaarii
chiir ke mere dil ko dekho, bahate lahuu me.n priit tumhaarii
ye jiivan jaise sulagaa tuufaan hai
ye aa.Nsuu mere dil ki zubaan hai.n -2
mai.n ro_uu.N to ro de.n aa.Nsuu
mai.n ha.Ns duu.N to ha.Ns de.n aa.Nsuu
ye aa.Nsuu mere dil kii zubaan hai.n -2

So then why did the eyes start becoming moist with the very first song: Jhule mein pawan ke aayi bahaar even though the song is nice, happy and romantic song in the movie Baiju Bawra?

Here are the responses:

Ritu Soni I cry sometimes because I connect with the lyrics and music to a very emotional and personal level and sometimes I cry as I feel where all this has gone.. The simple beautiful people and life.

Manju Saigal Mittal Tears r just an expression of emotion I think!

Surekha Saini Ravi ji. …its not necessary that u cry only when you feel sad or hurt…Hum log jab anandit hote hain tab bhi to aankhe chhalakti hain. …Ab main. ..Mann tadpat Hari darsan ko aaj. ..pe kyon roti hun….may be its my desire to see God…reason for crying while listening to a song varies person to person. ..

Vipan Kohli Much has been written by Surekha ji Raj Ritu Soni and Nitin Shingarpure about tears. Here’s Hindi poem on tears. I don’t know who wrote it but it appealed to me the moment I read it.

आंसू छंद नहीं होते हैं
आंसू नियम नहीं होते हैं

भावों की अनुभूति है आंसू, कभी ख़ुशी कभी गम होते हैं..
मैंने देखे सुख के आंसू, हंसते गाते झिलमिल आंसू

दुःख मे भी देखे हैं आंसू, दर्द भरे रोते से आंसू..
हुई बिदाई जब बिटिया की, छलक पड़े आँखों से आंसू

गौरव के पल आने पर भी, बह निकले आँखों से आंसू..
कभी किसी की मृत्यु हुई जब, बरबस बहते देखे आँसू

खुशियों के अवसर पर भी तो, रुक न सके आँखों मे आंसू..
दरिया कभी बनाते हैं आंसू, मोती सम पलकों मे आंसू

जार-जार रोते हैं आंसू, बार-बार आते हैं आंसू..
दिल ने जब भी रोना चाहा, सुख गए आँखों के आंसू

प्यार जहां इनको मिल पाया, छलक गये आँखों से आंसू..
सुख में भी आँखों मे आंसू, सूरदास के बहते आंसू

ऊँच -नीच का भेद न करते, नर-नारी के आते आंसू..
प्रियतम की चाहत है आंसू,
माँ नयनो मे ममता आंसू
भाई बहन का प्यार हैं आंसू,
जीवन का श्रृंगार है आंसू..

At this stage, Amit Lambah and Maj Vishwas Mandloi took opportunity to post some Aansu songs (the group is meant for that) such as:

“Teri aankh kay aansoo pii jaoon aisi meri taqdeer kahan”

“Tukde hain mere dil kay aye yaar tere aansoon, dekhey nahin jaate hain dildaar tere aansoo.”

“Rona kabhi nahi rona …chahe toot jaye koyi khilona”

I, therefore, realised that whilst I was looking for reasons as to why does one cry listening to old favourites, everyone has own reasons for the same. This thought itself was covered so nicely by Sahir Ludhianvi (I regard this as his best) in the 1961 Hum Dono’s most beautiful song:

कभी ख़ुद पे, कभी हालात पे रोना आया
बात निकली, तो हर इक बात पे रोना आया

हम तो समझे थे कि हम भूल गए हैं उनको
क्या हुआ आज, ये किस बात पे रोना आया

किस लिये जीते हैं हम किसके लिये जीते हैं
बारहा ऐसे सवालात पे रोना आया

कौन रोता है किसी और की ख़ातिर ऐ दोस्त
सबको अपनी ही किसी बात पे रोना आया

Vipan Kohli, at this stage, put up a most beautiful Punjabi song by Jimmy Shergil: Rona Chadita Mahi Mahi

Raj Dutta wasn’t to be left behind and put up: Aaj bahut roya main….

https://youtube.com/watch?v=qqd4RyezpP0%3F

Here is a moistening of eyes of different nature as a tribute to all my friends on YKDN: Yaaro mera saath nibhaao roz aisi mehfil kahan:

Yaro mera sath nibhao roj aisi mahfil kaha
bhig jaye aaj palke aao hase itna
yaro mera sath nibao roj aisi mahfil kaha
bhig jaye aaj palke aao hase itna

rahe na kuch aaj sab luta do
dilo me jitna hai pyar baki
rahe na kuch aaj sab luta do
dilo me jitna hai pyar baki
rang ho jitne bhi yahi saja do
hogi na kal ye bahar baki
hasi ke chirag jalao ho gayi raat jawan
bhig jaye aaj palke aao hase itna
yaro mera sath nibao roj aisi mahfil kaha
bhig jaye aaj palke aao hase itna

kisi liye koi luta to gham kya
jine ko ek ye khushi bahut hai
kisi liye koi luta to gham kya
jine ko ek ye khushi bahut hai
mile na mile ek sanam ki bahe
mujhe tumhari basti basti bahut hai
dekho aise dur na jao pyar ka yahi hai sama
bhig jaye aaj palke aao hase itna
yaro mera sath nibao roj aisi mahfil kaha
bhig jaye aaj palke aao hase itna
aao hase itna aao hase itna

And since it was the death anniversary of Talat Mehmood and since Patita is the movie of the title song of the group, I put up one more reason why aansu jhalak jaate hain.

Please enjoy: Hain sabase madhur woh geet jinhe…

हैं सबसे मधुर वो गीत जिन्हें, हम ददर् के सुर में गाते हैं
जब हद से गुज़र जाती है खुशी, आँसू भी छलकते आते हैं
हैं सबसे मधुर वो गीत

(पहलू में पराये दर्द बसाके, हँसना हँसाना सीख ज़रा
तू हँसना हँसाना सीख ज़रा ) – २
तूफ़ान से कह दे घिर के उठे, हम प्यार के दीप जलाते हैं
हम प्यार के दीप जलाते हैं
हैं सबसे मधुर वो गीत …

(काँटों में खिले हैं फूल हमारे, रंग भरे अरमानों के
रंग भरे अरमानों के ) – २
नादान हैं जो इन काँटों से, दामन को बचाये जाते हैं
दामन को बचाये जाते हैं
हैं सबसे मधुर वो गीत …

(जब ग़म का अन्धेरा घिर आये, समझो के सवेरा दूर नहीं
समझो के सवेरा दूर नहीं ) – २
हर रात की है सौगात यही, तारे भी यही दोहराते हैं
तारे भी यही दोहराते हैं
हैं सबसे मधुर वो गीत …

 

HAIN SABSE MADHUR WO GEET -TALAT MEHMOOD…

Manik Lakhkar Chava Awwww…. long discussion. Ravi, there is and can not be any remote control. One feels like crying… aansu bahane dijiye. Cry for some one with some one… the drop of pearls are too valuable…. for you, me for every one.

Evani Leela Aansoo aanaa matlab aatma parmatma ko chu rahi hai. Jab dil se dil ke taar juDte hain to jo bridge banta hai, wohi aansoo hote hain. Jab koi drishya dekha, kuch suna, kuch mehsoos kiya, kisi ki uaad aayi, koi kitab yaa kahani paDhi to aanssoo bhi chalakte hain, muskaan bhi khilti hai. Inn donon par jab sanyam nahin hai to samjho hum uss paramatma ke kareeb hain.

Evani Leela Phoolon ki khushboo bhi aapko rulasakti hai khushi se, bachon ki kilkaari bhi rulasakti hai. Manik Lakhkar Chava se poochiye jab humne inki poti par geet post kiye to kyon royi. Humne jab anniversary lar geet post kiye to kyon aansoo chalke?

Evani Leela Aansoo aur muskaan donon par jab hamara vash na rahe to hum saamne wale ke dil ke ander samaa gaye. Isi liye jab geetkaar ke shabd humen rulate hain to iska matlab hai, woh geetkaar hamare dil mein ufar gaya aur usne woh kaha jo hum khud kehna chahte the. Jab woh shabd hum tak pahunchte hain to hamare dil ke taaron mein jhankaar hoti hai. Wohi niyam sangeet ke liye bhi laagoo hota hai.

Amit Lambah “Jo hamne dastaan apni sunayii aap kyon roye….hamara dard o gham hai yeh issay kyon aap sehte hain, yeh kyun aansoo hamare aapki aankhon se behte hain….. qayamat aapke ashkon ne dhayi aap kyon roye .jo hamne dastaan aoni sunayi…..naa yeh ansoin rukke to dekhiye phir hum bhi ro denge, hum apne ansoo on mein chaand taaron ko dubbo denge, fanaah ho jayegi saari khudaayi aap kyon roye…

Evani Leela Maine ek baar ek choti si kahaani paDhi thi, jismein do sceintist shukr grah par pahunchte hainn wahan par ek hi praani dikha jo ek talab mein tair raha tha. Use ek sceintist ne dekha aur use chune ki koshish ki.par woh haath na aakar door door tairta …See More

This started another round of Aansu songs with Vipan Kohli suggesting that we have a Flash Fest on Aansu

Maj Vishwas Mandloi Jo hamne dastaan apni sunayi … aap kyu roye …

https://www.youtube.com/watch?v=Zf3RhMt_ljU

I reminded them that the other day Surekha Saini commented how at one time she was jealous of my comments on Evani Leela’s posts and comments.

“Now, take this post itself. All of us, in answer to the question ‘Why Do We Cry With Our Favourite Songs?‘ thought of this as an oopurtunity to put up Aansu songs. Some even suggested that we have an Aansu Fest here itself. Not Evani Leela. She responded with ‘dil se’ (something that she does in all her posts and comments, beautifully and brilliantly, in the wee hours of the morning after all the dust had settled down, as to why do we cry.

Now, you will understand, brothers and sisters, this special relationship of not just brother and sister but of love, dard, empathy, and emotions. I remember the time about two years back when her description of a song would be one or two words: eg, Song#1 and the first word of the song such as Aansu. However, I saw in her someone special, someone who feels deeply. The result is for all of you to see.

Evani Leela came up with a gem, at this stage that Aansu and Muskaan are two sides of the same coin. In her own words: “Maine yehi mehsoos kiya ki aansoo aur muskaan sikke ke do pehlu hain. Kisi bhi tarf dekgo sikke ki value kum nahin hoti. Haan yeh baat alag hai ki humari aankhen num hon to tapasya doosron ke aansoo pee saken to paramatma ka vardaan.

She put up a beautiful song by Shailendra from the 1959 Raj Kapoor Movie Anadi:

किसी की मुस्कुराहटों पे हो निसार
किसीका दर्द मिल सके तो ले उधार
किसीके वास्ते हो तेरे दिल में प्यार
जीना इसी का नाम है
किसी की …

(माना अपनी जेब से फ़कीर हैं
फिर भी यारों दिल के हम अमीर हैं ) – (२)
मिटे जो प्यार के लिये वो ज़िन्दगी
जले बहार के लिये वो ज़िन्दगी
किसी को हो न हो हमें तो ऐतबार
जीना इसी का नाम है

(रिश्ता दिल से दिल के ऐतबार का
ज़िन्दा है हमीं से नाम प्यार का ) – (२)
के मर के भी किसी को याद आयेंगे
किसी के आँसुओं में मुस्कुरायेंगे
कहेगा फूल हर कली से बार बार
जीना इसी का नाम है

So, ultimsately, I had dozens of excellent replies as to why do we cry when we listen to old favourite songs.

We feel for the era gone by: our own as well as the era of the song, we feel for the Lyricists, Music Directors, Singers and Actors of those movies. We relive their emotions. We are touched by the simplicity and innocence in people as there used to be (Read: Hindi Songs And The Age of Innocence). There are many valid reasons.

I think, there is one more reason; and that is the great longing to belong (both emotionally and poetically) and call something one’s own: my own thoughts with which I relate to others who have similar (if not identical thoughts); someone who can understand my state of mind; something that I can call my own.

I am past sixty years of age now. And yet, at the end of  six decades of going through this world, are friends my own? No. Are relatives my own? No. Are my children I can call my own? No. Is there something I can call my own? Hardly. Songs and poetry are something that helped me build my own private world. I cry when I am reminded of this world, however small, where I was I and I am still I

I was in school when Trini Lopez’s number by the name What Have I Got Of My Own? was released. I later heard the song from pop-singer Ajit during Summer Festival in Shimla.

The lyrics of the song went like this:

What have I got of my own, my own?
What have I got of my own?

The castles I build when I lie in the sand,
Belong to a king in a fairy tale land.
The treasures I find, when I dream in my sleep,
Are gone in the dawn. not a thjng I can keep.
What have I got of my own, my o~own?
What have I got of my own?

The stars all belong high in heaven above.
My heart belongs to the one that I love.
The rivers that flow all belong to the sea.
What have I got that belongs to me?
What have I got of my own, my o~own?
What have I got of my own?

I hope someday before too long
My heart will sing a happy song.
I’m tired of being lonely, unhappy and sad.
I wanna have the things that other men have.
What have I got of my own, my o~own?
What have I got of my own?

Solo interlude

If I could choose one thing forever to hold,
I know I would never choose diamonds or gold.
Just give me one true love to be mine alone,
Then I’ll have all the things of my own, my own.
What have I got of my own?

I was embarking on my journey through life and hence everything appeared within reach, everything was to be owned, to belong.

Four and half decades later, I am not too sure if anything at all belongs to me. Of course religion and scriptures tell me that finally when we go, we don’t take anything with us. And yet, there is this innate desire to own, to possess, to relate to; to be a little more precious than a speck of dust.

My own.

What have I got of my own?

I cry when I realise that just like Baiju Bawra, Naushad, Shakeel and Rafi; everything will pass away and even the memories would get blurred. As Shakeel, Naushad and Rafi voiced in the 1948 movie Mela:

ये ज़िंदगी के मेले, दुनिया में कम न होंगे
अफ़सोस हम न होंगे

इक दिन पड़ेगा जाना, क्या वक़्त, क्या ज़माना
कोई न साथ देगा, सब कुछ यहीं रहेगा
जाएंगे हम अकेले, ये ज़िंदगी …

दुनिया है मौज-ए-दरिया, क़तरे की ज़िंदगी क्या
पानी में मिल के पानी, अंजाम ये के पानी
दम भर को सांस ले ले, ये ज़िंदगी …

होंगी यही बहारें, उल्फ़त की यादगारें
बिगड़ेगी और चलेगी, दुनिया यही रहेगी
होंगे यही झमेले, ये ज़िंदगी …

These personalities are still being remembered at least by some one like me who relives their and my own era through their songs.

Who would ever think of me….. a katra (drop of water) in the river?

AH! THOSE PERSONNEL BRANCH GUYS!

This article is in good humour and not a punch below the belt. Some of my very good friends have been at one time or the other posted to the Personnel Branch. Read on.

This article is a tribute to the Personnel Branch guys in the Naval Headquarters; the demi-gods and gods. If the Army and Air Force friends and even civilians see some similarity with what they have, it is not just coincidental; it must be universal. Post retirement from the Navy, I am working in a corporate now and I can assure you the HR guys here are the all powerful, sought after, God’s own people and creme de la crème.

Their reasoning appears to us a little cockeyed (since we are not used to it). But, there is always method in their madness. For example, lets say you are looking for a transfer out of Vizag. The correct approach with your appointer (it never fails) would be: “Sir, just called to thank you for sending me to Vizag. We have just moved into ‘A’ type accommodation, children have finally been admitted to Timpany School after many years of waiting, and wife has found a job.  I was wondering if you would keep me here for a few more years….” By the end of the day, your transfer orders, by signal would be issued.

These guys are full of empathy. Indeed, they would never have been appointed in the Personnel Branch if they hadn’t displayed this trait somewhere or the other. In the Executive Branch of the Indian Navy, most of them were (during my time in the Navy) from the Navigation and Direction branch since ’empathy’ requires great navigational and directional skills. Just to give an example, in May 1984, my father died at the age of 56 years in a jeep accident. So, I sought a transfer closer home, ie, New Delhi itself. I wrote to my appointer and since they advertise it ad-infinitum, called on him in his office in Naval Headquarters. He responded with great empathy that he felt for me. And then he added with greater empathy (for his branch type, that is) that his analysis showed that 57.67 per cent officers lost one or the other parent at my age and that if Naval Headquarters were to transfer all of them to New Delhi, it would be like opening an orphanage. Since then, I have never stopped marvelling at the first four letters of the word analysis.

(Organogram courtesy: indiannavy,nic.in)
(Organogram courtesy: indiannavy,nic.in)

It appears that the two great principles of life that P branch people follow as gospel truths are:

1. People can always learn on-job and anything at all. Hence, it won’t make any difference whether you put square pegs in round holes or vice-versa. P branch is like the other P business: Police, that is; the customer is always wrong.

2. No matter whatever wretched place you transfer people to, they will eventually get so used to it that they won’t like to be transferred out from the place they didn’t want to be transferred in to.

P branch people listen to so many stories that they become great story tellers themselves. The most efficient of them have five stories to tell for every one of yours. There was one who became the Chief of Personnel and he was a great story-teller. So, if you ever went to him telling how all hell had broken loose at your home or in the ship, he would, in great style, open his table-drawer, take out one of his self-published books named Stephen’s Violin or some other musical instrument. He would vouch for it that one reading and all your problems – whilst they may not go away – would become insignificant. The guy who told you how to get rid of your severe headache by hitting yourself hard on the toe with a hammer was certainly a P branch guy.

How can you make out a P branch guy? Do they have special insignia? No, nothing of that sort; they don’t need anything special; they are special. For one thing, they use the pronoun we in their speech very often; eg, “We are looking at your peculiar problem with your best interest in our mind. And soon (mentally thinking of one or two years), we will have it behind us (and then it becomes our successors’ problem!). Secondly, they are always invited for promotion (stripe-wetting) parties on two counts: one, they make it appear like they are somehow responsible for the poor guy’s promotion; and two, promotion entails transfer and it is in the hands of these worthies. So, keeping them in good humour at all times is the done thing.

A rough depiction of the HR processes followed by the P branch people (Pic courtesy: www.123rf.com)
A rough depiction of the HR processes followed by the P branch people (Pic courtesy: www.123rf.com)

Can you guess as to which is the word that they have adapted their life to? The word is called flux. So, they are very much in control if they can keep maximum people in a state of flux. Contented people don’t even remember God; however, discontented, dissatisfied, and distressed people remember their Maker and Appointer until the three d’s last. The P branch people, therefore, keep you thus until it becomes a habit with you to remember them. Do you remember the Jenson & Nicholson paints ad: whenever you see colour, think of us. It is the same with P branch people guys: whenever you are in __it, think of us.

What else do they do in Naval Headquarters other than keeping the entire naval community in a state of flux? Well, they attend meetings and conferences. So if you are in so much __it that you can’t breathe, and you are desperately phoning up your appointer, anticipating the nature of the __it you are in, he doesn’t take your call for the next several days, he being busy in a meeting or conference until the __it settles down on its own.

Your ship or establishment is down to barest minimum officers and now out of two that you have, one has been sent to Timbuktu, you don’t know how to sail your ship or run your establishment. You are desperately trying to raise ACOP (HRD) on phone but he is attending meetings or conferences or both in India or/and abroad. Finally, when you get to him after ten sunrises and sunsets, the very first thing that he tells you is this: “Oh, please don’t tell me about manpower shortages”; as if, being ACOP (HRD) the only reasonable thing to discuss with him would be the state of underwater hull or firing rates of ship’s main weapons.

The P branch Johnnies have perfected the art of poking fun at all and sundry. For almost four decades when I was in the Navy, year after year, a P branch team would visit the Commands and give presentations on ACRs or Annual Confidential Reports. Besides PJs on pen – pictures such as “He would go far; the farther the better”, they would bring out hilarious mismatches between the pen-pictures and PP (Promotion Potential) points or vice-versa. If you ever sat in the front few rows during these presentations, you had no choice but to laugh appreciatively lest they should notice your lack of enthusiasm at their brilliant humour and transfer you to Timbuktu or neglect giving you or your ship’s officers and sailors their due awards and honours. By the way, there is hardly any officer appointed to P branch who hasn’t conferred upon himself an award during his tough tenure.

Changing Personnel Policies as frequently as Imelda M used to change her shoes is part of the flux plan that I discussed earlier. The joke going around in P branch is that when a senior officer retires or is transferred from the branch, during his farewell party, they handover to him all his policies as a farewell gift.

Two anecdotes about them before I close. One, there was this Flight Commander on Himgiri who had always been writing his first choice of transfer as Port Blair knowing pretty well that that effectively kept him from being transferred there. One fine day his transfer actually came to Port Blair because his appointer – hold your breath – took pity on him. He cursed and cursed.

appointers_mesh_hat

Then there was this case of Jaggi Bedi who was CO Ranvir at that time (he retired as a Vice Admiral and C-in-C West), attending a Combined Fleet party on Ganga in Kochi after a theatre level exercise. For about half an hour after the party started we bemoaned that no stewards came our way with either drinks or small-eats. JSB too was upset. But afterwards we noticed that a bevy of stewards stood around him with drinks and eats. We enquired from him the cause of this quick and welcome transformation. He said that having got fed up, he let it slip out that his next appointment, after handing over command of Ranvir, was to be DOP (Director of Personnel). And then the drinks and eats started flowing.

P branch people are the modern-day Pied Pipers.

HUSN WAALON KO NA DIL DENA

नींद में आती हो तो नींद हो जाती है दूर,
ख्वाब बन के उठते हैं और हो जाते हैं चूर.

आज तक भूला नहीं है तेरी नज़रों का सरूर,
मैं मदहोश अब भी हूँ, मेरा ही है यह जुनून ओ फितूर.

मुन्तजिर हूँ आज रात मेरे घर आना ज़रूर,
रोशनी के लिए काफी है तेरे चेहरे का नूर.

तेरे इश्क से पहले ना थे हम यूं मजबूर,
तेरे इश्क के बाद हुए हैं अब बेहद्द मश्हूर.

माना हमारा घुट घुट के मरना भी नहीं मन्जूर,
यहाँ हम सज्दे में हैं वहाँ तुम हो मग्रूर.

या खुदा समझ गए तेरी दुनिया का दस्तूर,
कत्ल वह करते गए, ये भी मेरा ही था कसूर.

image

Neend mein aati ho to neend ho jaati hai duur,
Khwaab ban ke uthate hain aur ho jaate hain chuur.

Aaj taq bhuula nahin hai teri nazaron ka saruur,
Main madhosh ab bhi hoon, mera hi hai yeh junoon o fitoor.

Muntazir hoon aaj raat mere ghar aana zaruur,
Raushni ke liye kaafi hai tere chehre ka noor.

Tere ishq se pehle naa the hum youn majbuur,
Tere ishq ke baad huye hain ab behadd mashhuur.

Maana hamaara ghut ghut ke marna bhi nahin manzuur,
Yahan ham sajde mein hain wahan tum ho maghruur.

Ya khuda samajh gaye teri duniyaa ka dastuur,
Qatl woh karte gaye, ye bhi mera hi tha kasuur.

NANAK SHAH FAKIR – THE MOVIE AND ITS MESSAGE

India is a nation of debates, discussions and controversies. Our news channels generate enough in a week to last us a few lifetimes. If you listen to a news hour debate anchored by Arnab Goswami, for example, you would conclude that he, by himself, can account for a major part of global-warming.

Religious controversies, however, are not just an Indian phenomenon; all over the world, religious fervour and fanaticism can result into tempers running high, killings and violence in the name of God and Religion. The more anyone would want to liberate the world from ritualistic adherence to religion, the more anyone would desire a world free from fundamentalist hydra-heads, the more these mushroom everywhere. Historically, when Mankind drifted away from God and Godliness, many right-minded saints, gurus and incarnations of God Himself descended on earth to show the right path to the people. However, it appears that the Devil is perhaps as strong and more wily than God that people easily become the followers of the former and require reminders, again and again, to align themselves with God.

The above were my first reactions on seeing the premiere of Harinder Sikka’s Nanak Shah Fakir on 16th April 2015 in PVR, Juhu, Mumbai; and the ban on the movie in Punjab engineered by SGPC (Shiromani Gurudwara Prabhandak Committee) and a few other organisations ostensibly representing the best interests of Sikhs. Whilst discussing the ills of Kalyug over Satyug, Guru Nanak brought out that there is a great positive in Kakyug; which is that whilst in Satyug you required someone to pray for you, in Kalyug you are one to one with God. Nothing stands between you and God.

(Poster courtesy: www.nanakshahfakir.co.in)
(Poster courtesy: www.nanakshahfakir.co.in)

SGPC and other organisations haven’t seen the writing on the wall if they feel that they are intermediaries between us and God. They are as much out of sync as various Hindu organisations including militant ones who tell you what is acceptable to Hindus. They don’t keep you intact because of common culture and love but because of threat of violence in case you don’t listen to them. Incidentally, Guru Nanak and the movie shunned violence but the modern protectors of our religion think nothing of keeping their flock together through threat of violence.

And, as I write this, Harinder Sikka after receiving directions from Akal Takht Jathedar Giani Gurbachan Singh has decided to withdraw the movie for the time being even though he had earlier decided to go ahead with the release of the movie on 17th April with the above poster despite opposition from SGPC, DSGMC and Akal Takht mainly because portrayal of Sikh Gurus on the celluloid is not permitted. The movie has also been banned in UK bowing to the sentiments of the Sikh community.

I feel that Harinder Sikka and his team (Cast of Arif Zakaria (playing Mardana), Puneet Sikka (Harry’s daughter playing Guru Nanak’s elder sister Nanaki, Shraddha Kaul, Anurag Arora, Adil Hussain (playing landlord Rai Bular), Narendra Jha and Tom Alter; Music of Uttam Singh; Sound of Rosul Pookutty; and Cinematographer AK Bir) deserve to be congratulated for an outstanding movie on several counts.

Firstly, the idea behind the movie and its focus. I am convinced that Harry Sikka must have been chosen by God to take up such a project. Sri Guru Granth Sahib has a mention of such blessings showered by God on the chosen ones. The focus throughout the movie is on Guru Nanak and his teachings. There is no other side story; there is no attempt at direct teaching by the chronicler of the movie Mardana, for example or by the movie makers.

One of the examples of stunningly beautiful cinematography of the movie (Pic courtesy ibnlive.in.com)
One of the examples of stunningly beautiful cinematography of the movie (Pic courtesy ibnlive.in.com)

Secondly, I like the anecdotes that have been selected from the life of Guru Nanak. These have been selected with an eye on their current relevance. Once again, rather than forcefully and imposingly preaching, these have been as gently brought out as we imagine Guru Nanak to be. There are, for example:

Guru Nanak as a young boy refusing to wear the holy thread Janeyu that every Hindu male is required to wear by religion. This was Guru Nanak’s first opposition to ritualistic adherence to religion rather than binding oneself with God.

Nanak selecting a friend and consort who was always booed as Marjana (Cursed to die) and calling him Mardana. Mardana, the rebab player, a Muslim, accompanies Guru Nanak wherever he goes and gives musical accompaniment to his raagas.

Nanak being sent by his father Mehta Kalu (Full name Kalyan Chand Das Bedi) with 20 rupees “to do business”. Nanak buys food with the money and distributes amongst saints and poor. When questioned by his father, he responds that he has done Sachcha Sauda or “True Business”. It would be sometime before his father would understand. The movie indeed brings out how Rai Bular, the local landlord and Nanak’s elder sister Bebe Nanaki were the first to have recognise divine qualities in him even when he was a boy.

Nanak selling baajra at Sultanpur Mandi and whilst emptying the bowls in buyers’ bags, getting stuck at the count of terah (13), since terah also means ‘yours’ (in this case God’s). A complaint is made against him to Daulat Khan Lodhi, employer of Nanaki’s husband, through whom the job was given to Nanak. But, when the gunny-bags of grains are counted, there is no discrepancy!

Nanak’s wedding with Sulakhani and the mature understanding relationship that he had with her. At the end of the movie, Guru Nanak, back from an Udaasi (travel) to spread the word of God, is seen leaning on the shoulders of their two sons, Sri Chand and Lakshmi Chand and telling them the simple essence of his teachings:

Vand Chhako: Share with others in need.
Kirat karo: Earn or make a living honestly without fraud or exploitation.
Naam Japna: Meditate on God’s name.

Nanak was thirty years old, in the year 1499 when he went to meditate and bathe beside the river Kali Bein (Black River), accompanied by Mardana. Mardana later discovered Nanak’s clothes on the bank but Nanak was missing. A search was mounted for him including divers sent by Daulat Khan but there was no success. Everyone, except Babe Nanaki, assumed that he had drowned. Three days later, Nanak emerged from the river alive. He had achieved Enlightenment and the locals started calling him Guru. The very first words that he uttered after his Enlightenment were: “Na koi Hindu; na koi Mussalman” (There is no Hindu; there is no Muslim). This led to his prime teaching: Ek Omkar, there is One God.

Soon after his Enlightenment, Guru Nanak, accompanied by Mardana, went on his first Udasi (travel) to Bengal, Assam and Manipur (Between the year 1500 to 1524, Guru Nanak undertook five Udaasis, covering a distance of more than 28000 kms, in all four directions, as far as Tibet, Ceylon, Kashmir, Baghdad, Mecca and Medina.

The movie brings out some remarkable anecdotes during the Udaasis. The incident of his having accepted the invitation of a low-caste artisan, Bhai Lallo and rejected that of the rich landlord Malik Bhago was well covered. When Malik Bhago was enraged, Guru Nanak asked for the two meals: one from Lallo’s house and one from Bhago’s. He produced milk from the former and blood from the latter. Thus, in his simple but clear way of teaching, he brought home the difference between honest work and exploitation in order to obtain riches.

The second anecdote very well covered was at Hasan Abdal, near Rawalpindi. Guru Nanak, Bhai Mardana and a congregation gathered at the foot if the hill, atop which a Muslim priest Bawa Wali Qandhari had established his dera next to the only source of water there. Since Guru Nanak’s congregation was thirsty, Guru Nanak sent Bhai Mardana to request Wali Qandhari to release water for them. The latter angrily turned down the plea. Mardana was asked by Guru Nanak to go up again and request for water. Reluctantly he did and Wali Qandhari derisively asked Mardana to tell Guru Nanak to directly appeal to his God for water. Guru Nanak then lifted a stone over sand, dug with his hands and produced water. Meanwhile Wali Qandhari’s pond began to dry. Enraged he launched a huge rock down the hill in order to crush Guru Nanak and his followers. When the hurling rock came charging towards Guru Nanak, he merely touched it with his hand and the rock stopped. Wali Qandhari witnessed this and suddenly realised that Guru Nanak was a messenger of God and he then fell at Guru’s feet. We all know that the spot of this miracle is marked by Gurudwara Panja Sahib.

My favourite incident of Guru Nanak’s Udaasis, accompanied by my favourite hymn, has been depicted so well in the movie that it left me stunned. The incident at Jagannath Puri, just before the annual rath yatra has Guru Nanak being invited for the Aarti at the temple.

The Guru visited the temple not to offer Aarti to Lord Krishna but to teach the people that the worship of God is superior to the worship of the deity. It was the evening time and the priests brought a salver full of many lighted lamps, flowers, incense and pearls and then all stood to offer the salver to their enshrined idol-god. The ceremony was called ‘Aarti’, a song of dedication. The high-priest invited the Guru to join in the god’s worship. The Guru did not join their service which enraged the priests. On being asked the reason the Guru explained that a wonderful serenade was being sung by nature before the invisible altar of God. The sun and the moon were the lamps, placed in the salver of the firmament and the fragrance wafted from the Malayan mountains was serving as incense. The Guru, therefore, instead of accepting the invitation of the high-priest to adore the idol, raised his eyes to the heaven and uttered the following Shabad as Aarti (Punjabi: Kaisi aarti hoy…)

“The sun and moon, O Lord, are thy lamps; the firmament
Thy salver; the orbs of the stars, the pearls enchased in it.
The perfume of the sandal is Thine incense; the wind is
Thy fan; all the forests are Thy flowers, O Lord of light.
What worship is this, O Waheguru (God)?

This hymn and the scene in the movie at the sea-shore are a powerful message against ritualistic observance of religion, meaningless and fruitless practices and institutions. Instead, one should directly be with God as a supplicant.

My favourite scene of the movie (Pic courtesy: www.sikhsiyasat.net)
My favourite scene of the movie (Pic courtesy: www.sikhsiyasat.net)

If I have to sum up the movie in one word, I would call it outstanding. And yet, the movie has controversies about it. The media talks about “objectionable scenes in the movie” but no one has specifically brought out as to what is objectionable. So, we are left to wonder whether the so-called guardians of religion have their egos hurt that such a fine movie has been made not because of them, but, in spite of them. Guru Nanak cautioned us all against giving in to haume (I am); five centuries later, is it that the guardians of religion themselves are ruled by haume?

Secondly, doesn’t Guru Nanak belong to all of us surpassing the boundaries of religion? In which case, does our personal observance of his teachings have to be coloured by some intermediaries?

Whilst on this issue, and it is a very touchy issue, the very first utterance of Guru Nanak, after Enlightenment is that there is no Hindu and there is no Mussalman. Five centuries later, we are propagating that even Hindus and Sikhs are different! If that is indeed the case then who exactly is going to reform the religious practices of Hindus and Muslims that Guru Nanak had set out to do? Why is it that idol worshipping is as prevalent today as it was many centuries back? Why are even elections in our so-called democratic society fought on basis of castes that Guru Nanak sought to eradicate? I have visited many gurdwaras and the ritualistic practice of sukh-aasan of the Sri Guru Granth Sahib (Resting of SGGS for the night) would compete with the ritualistic aarti of Jagannath Puri that Guru Nanak was opposed to. If Guru Nanak was to be born again, he would surely tell that when his tenth successor Gobind Singh ordained, “Guru Granth ko maaniyo, pargat Guran ki deh” (“Consider the Granth as your Guru now onwards; wherever the Granth is present, the Guru is bodily present”), he meant the observance of the teachings contained in SGGS and not ritualistically following it as the flesh and body of the Gurus. Guru Nanak wrote about one fifth of the Shlokas in the SGGS and many of these bring out how to be a true Muslim or Hindu sans the rituals. Even in the movie, when Daulat Khan asks him to do the Namaaz with them, he joins. But, when he is told that although he sat with them, he hardly said the Namaaz; Guru Nanak brought out that even they didn’t do so since whilst their lips moved, their minds were elsewhere! Why do we forget all his teachings and observe religion in rituals only?

The other day someone asked me as to why the Sikhs (the word Sikh, to me, has much greater meaning than the narrow confines of religion that were, in any case, opposed by Guru Nanak himself. The word means “the taught” or learned or one who has gained consciousness through his true intellectual growth) have prospered and survived many centuries after the Gurus? My instant response was that the Sikh gurus lived with their people through adversity and kept the flock together through personal sacrifices and examples. A Sikh, therefore, finds his way out of any adversity, trials and tribulations. His faith in oneness of God makes him so brave that he can battle against totally hopeless situations and emerge a winner (the Battle of Saragarhi, for example, on 12 Sep 1897, had 21 Sikhs of 4th Battalion of Sikh Regiment under the British fighting against 10000 Afghans; read ‘Battle of Saragarhi‘ on Wikipedia recorded by the UN as the bravest battle in the world ). Who were the leaders after our Gurus who were fired by the same spirit of sacrifice and selflessness? The factionalism both in our religion and politics, in the current world, is to be seen to be believed. Most of it is based on haume.

One of the arguments against the movie, surprisingly, is that “sentiments of the Sikhs have been hurt”. I have brought out in a series of articles (For example, read: ‘Who Are The “People” Whose “Sentiments Need To Be Respected”‘ and ‘Whose God Is It Anyway?’) that people or mobs do not always have the best sense. If they did in history, for example, we didn’t require the likes of Guru Nanak to bring them to the right path. Lets not follow the edict blindly that Sikh Gurus cannot be depicted on-screen. First of all, as the makers have clarified no human being is represented as the Guru; he being depicted only through a computer graphic. Secondly, if hundreds and thousands of pictures and write-ups are available on the net, in the books, movies, and on the television, why only in the movie that these are not permitted? And, most importantly, the movie makers have taken no license to distort history; the events have been, to the best of my knowledge, brought out as historically recorded.

Guru Nanak was one voice against the social ills of his times. He was eminently successful but now we are back to square one. Now is the time when a movie such as Nanak Shah Fakir should be most welcome and seen by all classes and conditions of men and women everywhere. The region of Punjab that Guru Nanak was born in and lived in has the menace of drug-addiction amongst the youth. His teachings would be most relevant to such misguided elements. Religious fundamentalism has shown its ugly ahead in the world again and there is violence and killings in various parts of the world; just as it was Babar’s forces that unleashed unheard of violence in India that was depicted at the end of the movie. We need the teachings of Guru Nanak all over again. Greater part of India is once again in the grip of idol worshipping, corruption, intolerance and the like. We need a messenger of God like Guru Nanak to do away with the dhund (mist) of ignorance and bless the people with chaanan (Light).

mitti-dhund-jagg-chanan-hoya

So, rather than banning, opposing or protesting against Harry Sikka’s movie, we should ensure that as many people as possible should see it and profit from Guru Nanak’s messages of one God and oneness with God, no haume, no religious and caste divides, Vand Chhako, Kirat Karo and Naam Japna. As the makers of the movie have proclaimed, all proceeds from the sale of tickets would be used to further the teachings of Guru Nanak.

MAIN THAK GAYA HOON

थक गया हूँ अब मैं ज़िन्दगी के झमेले में
गुम हो गया हूँ सरापर दुनिया के मेले में
मेरा वजूद क्या है मेरी हक़ीक़त क्या है?
पूछता हूँ अपने आप से यह सवाल अकेले में.

कोई जवाब नहीं आता सब धुंधला दिखता है
कौडी के बदले यहाँ इंसान बिकता है,
क्या मैं भी ऐसी “इंसानियत” की शख्सियत हूँ?
जो हो गुनाहगार पर मासूम लिखता है?

मुझे याद है अब भी वह सुहाना बचपन
वह हंसना खेलना वह लापरवाह लड़कपन
ज़िन्दगी ढूँढ़ते ढूँढ़ते कभी सोचा ही न था
वही तो था ज़िन्दगी का खूबसूरत अपनापन.

ज़िन्दगी ने ला दिया अब उस मुकाम पे
जुर्माना लग गया है अब किसी भी आराम पे
कभी जिस्म थक गया है कभी दिमाग हुआ है बंजर
तरस आ रहा है दिल – ऐ – नाकाम पे.

काश किसी जगह मिल जाए इस दिल को सुकून
आँख बंद हो जाए सर्द हो जाए ये गर्म खून
सांस थम जाए उभरते जज़्बात खामोश हो जाएँ
क़त्ल हो जाए दिल ओ दिमाग का जूनून.

बहुत देख लिया बहुत सोच लिया बहुत जी लिया
ग़म का जाम सुबह शाम पी लिया
फरेब – ऐ – नज़र से हयात बेइत्मेनान है
कांपते होंठों को मैंने कस के सी लिया.

(Pic courtesy: insideechenrysbrain.typepad.com)
(Pic courtesy: insideechenrysbrain.typepad.com)

Thak gaya hoon ab main zindagi ke jhamele mein
Gum ho gaya hoon saraapar duniya ke mele mein
Mera wajood kya hai meri haqeeqat kya hai
Poochhta hoon apne aap se yeh sawaal akele mein.

Koi jawaab nahin aata sab dhundhla dikhta hai
Kaudi ke badle yahan insaan bikta hai,
Kya main bhi aisi “insaaniyat” ki shakhsiyat hoon?
Jo ho gunaahgaar par maasoom likhta hai?

Mujhe yaad hai ab bhi wo suhaana bachpan
Wo hansna khelna wo laaparwaah ladhakpan
Zindagi dhoondte dhoondte kabhi socha hi naa tha
Wohi to tha zindagi ka khoobsurat apnaapan.

Zindagi ne laa diya ab us mukaam pe
Jurmaana lag gaya hai ab kisi bhi aaraam pe
Kabhi jism thak gaya hai kabhi dimaag hua hai banjar
Taras aa raha hai dil-e-nakaam pe.

Kaash kisi jagah mil jaaye is dil ko sukoon
Aankh band ho jaaye sard ho jaaye yeh garm khoon
Saans tham jaaye ubharte jazbaat khaamosh ho jaayen
Qatl ho jaaye dil o dimaag kaa junoon.

Bahut dekh liya, bahut soch liya, bahut jee liya
Gham kaa jam subah sham pi liya
Fareb-e-nazar se hayaat beitmaynan hai
Kaampte hontho ko maine kas ke si liya.

IMMORTAL GHAZALS OF SHAKEEL BADAYUNI – PART I

Why do I shed tears, year after year, on the day of the death anniversary of Shakeel (the name means Handsome or Good Looking), today, 20th April? Is it because he died too young (Having been born on 3rd Aug 1916, he was only 53 when he died on this day in 1970)? I am not even well versed in Urdu, not even a hundredth of what he was and yet I pray to God that before I die I should be able to write at least a couplet as good as he wrote.

Shakeel8

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 start the journey into his Ghazals. This is the first part; more to follow:

Ghazal #1

His most famous ghazal had Irony, Gham, Despondency and ruefulness in adequate measures; a ghazal made famous by Begum Akhtar, Mallika-e-Ghazal (Queen of Ghazals), though other vied to sing it too.

Please enjoy: Aye mohabbat tere anjaam pe rona aaya….

Aye Mohabbat Tere Anjaam Pe Ronaa Aayaa
O love your outcome makes me cry
Jaane Kyun Aaj Tere Naam Pe Ronaa Aayaa
Today I do not know why the mention of your name makes me cry

Youn To Har Shaam Ummidon Mein Guzar Jaati Hai
As it is that every evening passed by in expectations
Aaj Kuch Baat Hai Jo Shaam Pe Ronaa Aayaa
Today something is there that the evening makes me cry

Kabhi Taqdeer Ka Maatam Kabhi Duniyaa Ka Gilaa
Sometimes I grieve for my destiny, sometimes I blame the world
Manzil-e-Ishq Mein Har Gaam Pe Ronaa Aayaa
Every step I take towards the destination of love makes me cry

Mujh Pe Hi Khatam Huaa Silsila-e-nauhagari
With me ended series of lamenting
Is Kadar Gardish-e-Ayyaam Pe Rona Aaya
To this extent the vicissitudes of fortune made me cry

Jab Huaa Zikr Zamaane Mein Mohabbat Ka Shakeel
When there was a discussion on love, worldwide, Shakeel
Mujh Ko Apne Dil-e-Naakaam Pe Ronaa Aayaa
The futile struggles of my love made me cry

Ghazal #2

Another of his ghazals made immortal by Begum Akhtar had the same despondency, irony, sadness about it. Words melted into tears.

Please enjoy: Mere humnafas, mere humnuwa, mujhe dost ban ke daga na de….

Mere Humnafas, Mere Humnawaa,
My soul-mate, my dearest friend
Mujhe Dost Ban Ke Dagaa Na De
Do not be my friend and betray me
Main Hoon Dard-e-Ishq Se Jaan-Valab,
The pain of love has left me lifeless
Mujhe Zindagi Ki Dua Na De
Do not give to me the blessing of life

Main Gham-E-Jahan Se Nidhaal Hoon
I am listless with the sorrow of life
Ke Saraapaa Dard-O-Malaal Hoon
I am head to toe in the pain of grief
Jo Likhi Hai Mere Naseeb Mein
What has been written in my fate
Wo Aalam Kisi Ko Khudaa Na De
May God not grant to anyone this state

Na Ye Zindagi Meri Zindagi
Neither this life is my life
Na Ye Daastaan Meri Daastaan
Nor this story is my story
Main Khayaal O Weham Se Door Hoon
From thoughts and fancies I am far away
Mujhe Aaj Koi Sadaa Na De
May anyone not call me today

Mere Ghar Se Door Hain Raahatein
Relief is distant from my home
Mujhe Dhoondhti Hain Musibatein
Trouble has been searching for me
Mujhe Khauf Yeh Hai Ke Mera Pataa
I am scared of this, that my address
Koi Gardishon Ko Bataa Na De
May someone not reveal to my misfortunes

Mujhe Chhodd De Mere Haal Par,
Let me please be on my own
Teraa Kyaa Bharosaa Hai Chaaragar
How can I rely on you, O healer
Ye Teri Nawaazish-e-Mukhtasar,
This inadequate favor of yours
Meraa Dard Aur Badhaa Na De
May it not further aggravate my pain

Meraa Azm Itnaa Buland Hai
My resolve is so sublime
Ke Paraaye Sholo-n Kaa Darr Nahin
That the fire-bolts of others scare me not
Mujhe Khauf Aatish-e-Gul Se Hai,
I fear the flare within the flower
Ye Kahin Chaman Ko Jalaa Na De
May it not set the garden ablaze

Mere Daagh-e-Dil Se Hai Roshni,
The scar of my love begets a radiance
Isi Roshni Se Hai Zindagi
This radiance begets an existence
Mujhe Darr Hai Aye Mere Chaaragar,
I am scared of this O healer of mine
Ye Chiraag Tu Hi Bujha Na De
May you not yourself, blow out this lamp

Mera Chashm-E-Shauq Tera Bharam
The desire in my eyes is a delusion for you
Rahe Umr Bhar Yoon Hi Taaza Dam
Shall be fresh like this all of it’s life
Naa Pukaar Us Ko Ke Wo Sanam
Do not call her or that darling of yours
Kahin Jal Ke Jalwa Dikha Na De
May she not light up to display her splendour

Dar-E-Yaar Par Badi Dhoom Hai
There is a big ruckus at the door of my lover
Wahi Aashiqon Ka Hujoom Hai
That mob of her suitors has gathered there
Abhi Neend Aayi Hai Husn Ko
My sweetheart has just now gone to sleep
Koi Shor Kar Ke Jagaa Na De
By their noise they may not wake her up

Kabhi Jaam Lab Se Lagaa Diya
Sometimes she takes the wine-cup to my lips
Kabhi Muskura Ke Hataa Diyaa
Sometimes she smiles and takes it away
Teri Chedh Chaadh Aye Saaqiyaa
This teasing of yours O bar-tender
Meri Tishnagi Ko Badhaa Na De
May it not intensify my longing for you

Wo Uthein Hain Leke Khum-o-Suboo,
She rises-up holding a cup of wine
Are Aye ‘Shakeel’ Kahaan Hai Tu
Listen O Shakeel Where are you
Tera Jaam Lene Ko Bazm Mein
To take away your cup of wine
Koi Aur Haath Badha Na De
May Someone else not extend his hand

Ghazal #3

Whilst Beghum Akhtar sang some of his non-filmy ghazals, the best filmy ghazals of Shakeel Badayuni were sung by both Mohammad Rafi and Lata Mangeshkar. But, the fact is that they sang some of his non-filmy ghazals too.

Here is one of my favourites by Lata Mangeshkar: Aank se aankh milata hai koi…

Aa.Nkh se aa.Nkh milaataa hai ko_ii
Someone is making his eyes rest on mine
Dil ko khii.Nche liye jaataa hai ko_ii
Someone is tugging at my heart

Vaa-e-hairat ke bharii mahafil me.n
Alas in this party full of wonder
Mujh ko tanhaa nazar aataa hai ko_ii
I find someone is alone

Sub.h ko KHunuk fanaa.oñ ki qasam
I vow by the happy weather of the morning
Roz aa aa ke jagaata hai ko_ii
Someone comes again and again to awaken me

Manzar-e-husn-e-do-aalam ke nisaar
Offering of the spectacle of the beauty of two world
Mujh ko aa-iina dikhaataa hai ko_ii
Someone his showing me the looking-glass

Chaahiye Khud pe yaqiin-e-kaamil
One should have firm belief on oneself
Hausalaa kis kaa ba.Dhaataa hai ko_ii
Who is there to provide encouragement?

Sab karishmaat-e-tasavvur hai “Shakeel”
All are miracles of imagination, Shakeel
Varanaa aataa hai na jaataa hai ko_ii
Else no one comes, no one goes

Ghazal #4

Another singer who added his name into the list of immortal ghazal singers was Talat Mehmood.

Here is he singing Shakeel’s famous ghazal: Meri zindagi hai zaalim tere gham se aashkara…

Merii zindagii hai zaalim, tere Gam se aashkaaraa
My life is a manifestation of your sorrow, O tyrant
Teraa Gam hai dar-haqiiqat mujhe zindagii se pyaaraa
The truth is that your sorrow is dearer to me than my life

Vo agar buraa na maane to jahaa.N-e-rang-o-buu me.n
If she won’t mind then in this world of colour and fragrance
Mai.n sukuun-e-dil kii Khaatir koii Dhuu.NDh luu.N sahaaraa
May I search for support for the sake of peace of my heart?

Ye fulak fulak havaaye.N ye jhukii jhukii ghaTaaye.N
These happy winds, these low rain bearing clouds
Vo nazar bhii kyaa nazar hai jo samajh na le ishaaraa
What kind of eye is that which can’t take this hint?

Mujhe aa gayaa yaqii.n saa yahii hai merii ma.nzil
I have come to believe that this is my destination
Sar-e-rah jab kisii ne mujhe daffa’atan pukaaraa
On the road when someone called me spontaneously

Mai.n bataauu.N farq naasih, jo hai mujh me.n aur tujh me.n
I can tell you my counsellor, the difference between you and me
Merii zindagii talaatum, terii zindagii kinaaraa
My life is like a sea-storm, your life is like a shore

Mujhe guftaguu se ba.Dakar Gam-e-izn-e-guftaguu hai
More than the conversation, I have grief of permission to converse
Wahii baat puuchhte hai.n jo na kah sakuu.N dobaaraa
She asks me about that thing that I can’t repeat

Koii aye ‘Shakeel’ dekhe, ye junuu.N nahii.n to kyaa hai
Someone should see this, Shakeel, isn’t it madness
Ke usii ke ho gaye ham jo na ho sakaa hamaaraa
That I became hers but she couldn’t be mine

Ghazal #5

These ghazals are not in any order. Here is a famous ghazal of his (there are none of his ghazals that are not famous!). This has been sung by Pankaj Udhas.

Please enjoy: Kaise keh doon ke mulaaqaat nahin hoti hai….

Kaise kah duu.N ki mulaaqaat nahii.n hotii hai
How can I say that meeting with her doesn’t take place?
Roz milate hai.n magar baat nahii.n hotii hai
We meet everyday but don’t say anything

Aap lillaah na dekhaa kare.n aaiinaa kabhii
For God’s sake, don’t ever see a looking-glass
Dil kaa aa jaanaa ba.Dii baat nahii.n hotii hai
It is not such a big thing that I fell for you

Chhup ke rotaa huu.N terii yaad me.n duniyaa bhar se
Stealthily from the world I cry in your memory
Kab merii aa.Nkh se barasaat nahii.n hotii hai
That’s why rain of tears don’t freely fall from my eyes

Haal-e-dil puuchhane vaale terii duniyaa me.n kabhii
You aske me the wellness of my heart, in your world at any time
Din to hotaa hai magar raat nahii.n hotii hai
Day rises but night never comes

Jab bhii milate hai.n to kahate hai.n kaise ho “Shakeel”
When you meet me you ask me how are you, Shakeel
Is se aage to koii baat nahii.n hotii hai
Post this, no other conversation takes place

https://youtube.com/watch?v=I3-BbFDE5ys%3F

Ghazal #6

Anyone singing any of Shakeel’s ghazals would gain instant immortality. Begum Akhtar did and also Nirmala Devi, actor Govinda’s mother. She was a Hindustan classical vocalist of the Patiala Gharana and her rendition of Shakeel’s ghazal Bana bana ke tamanna mitayi jaati hai got her fame.

Please enjoy: Bana bana ke tamanna mitayi jaati hai….

Banaa banaa ke tamannaa miTaa_ii jaatii hai
Craving is repeatedly built up and destroyed
Tarah tarah se vafaa aazamaa_ii jaatii hai
In many different ways fidelity is tested

Jab un ko merii muhabbat kaa aitabaar nahii.n
When she has no trust in my love
To jhukaa jhukaa ke nazar kyo.n milaa_ii jaatii hai
Then why does she meet my eyes lovingly?

Hamaare dil kaa pataa vo hame.n nahii.n dete
She doesn’t let me know where has my heart gone
Hamaarii chiiz hamii.n se chhupaa_ii jaatii hai
My own thing is kept hidden from me

‘Shakeel’ duurii-e-manzil se naa-ummiid na ho
Shakeel, destination is far, don’t lose hope
Manzil ab aa hii jaatii hai ab aa hii jaatii hai
You are about to reach the destination now

Ghazal #7

This is very good and you ought to read it with translation. However, I couldn’t find either the video or the audio for this except for a recitation by Nomaan Shauque. It is still a very fine ghazal.

Please enjoy: Woh hamase door hote jaa rahe hain…

Woh hamase door hote jaa rahe hain
She is moving far from me
Bahut maghroor hote jaa rahe hain
And becoming arrogant

Bas ik tark-e-mohabbat ke iraade
Only the resolve for break-up
Hamen manzoor hote jaa rahe hain
Is becoming increasingly acceptable to me

Manaazir the jo firdaus-e-tasavvur
The scenes of paradise of imagination that were earlier accepted
Vo sab mastuur hote jaa rahe hain
Are becoming hidden now

Badalti jaa rahi hai dil ki duniyaa
The world of the heart is changing
Naye dastuur hote jaa rahe hain
New customs are arising

Bahut maghmuum tha jo deeda o dil
Very sad was the sight of my heart
Bahut masruur hote jaa rahe hain
Very cheerful is she becoming

Wafa par murdaani si chha chali hai
Fidelity has the shadow of death over it
Sitam kaa noor hote jaa rahe hain
She is becoming the light of the oppression

Kabhi woh pass aaye jaa rahe the
At one time she was coming closer
Magar ab door hote jaa rahe hain
But now she is moving farther

Firaq-e-hijr ke taareek lamhe
The dark moments of parting and separation
Saraapaa noor hote jaa rahe hain
Totally are becoming clearer now

Shakeel, ehsaas-e-gumnaami se keh do
Shakeel, let the feeling of anonymity know
Ke ham mashhuur hote jaa rahe hain
That I am becoming famous now

Ghazal #8

Begum Akhtar again and this time with a much simpler ghazal.

Please enjoy: Khush hoon mera husn-e-talab kaam to aaya…

Khush huu.N ki meraa husn-e-talab kaam to aayaa
I am happy my way of wanting beauty has found a use
Khaalii hii sahii merii taraf jaam to aayaa
Even though empty at least the wine glass has been offered to me

Kaafii hai mere dil ki tasallii ko yahii baat
This thing is sufficient for the consolation of my heart
Aap aa na sake aap kaa paiGaam to aayaa
You couldn’t come but at least your message came

Apano.n ne nazar pherii to dil ne to diyaa saath
When my own people moved away at least the heart accompanied me
Duniyaa me.n koii dost mere kaam to aayaa
In this world at least some friend was of some use

Wo subah kaa ehasaas ho yaa.N merii kashish ho
It may be the feeling of morning or my attraction
Duubaa hua Khurshiid sar-e-baam to aayaa
Sinking Sun came to the corner of the terrace

Log un se ye kahate hai.n ki kitane hai.n “Shakeel” aap
People tell her how Shakeel (good-looking) is she
Is husn ke sadaqe me.n meraa naam to aayaa
At least my name was uttered in the offering of the beauty

https://youtube.com/watch?v=fbYP0Y3pHXc%3F

Ghazal #9

If I have given you a ghazal of his sung by Lata Mangeshkar, I am bound to give you one by Asha Bhosle (Asha ji). This is from the 1953 movie Hazaar Raten.

Please enjoy: Meri Zindagi Pe Na Muskaraa Mujhe Zindagi Kaa Alam Nahin….

Merii zindagii pe na muskaraa mujhe zindagii kaa alam nahii.n
Don’t smile on my life, I have no anguish about life
Jise tere Gam se ho vaastaa vo Khizaa.N bahaar se kam nahii.n
The one that’s related to your sorrow, that autumn is not less than spring

Meraa kufr haasil-e-zuud hai meraa zuud haasil-e-kufr hai
My disbelief is in the realm of abstinence, my abstinence is in the realm of disbelief
Merii bandagii vo hai bandagii jo rahiin-e-dair-o-haram nahii.n
My devotion is that devotion that’s not pledged to temple or mosque

Mujhe raas aaye Khudaa kare yahii ishtibaah kii saa_ate.n
God willing my moments of ambiguity should become acceptable
Unhe.n aitabaar-e-vafaa to hai mujhe aitabaar-e-sitam nahii.n
She at least has trust in love, I don’t have trust in her tyranny

Vahii kaaravaa.N vahii raaste vahii zindagii vahii marahale
Same caravan, same raods, same stages of life’s journey
Magar apane-apane muqaam par kabhii tum nahii.n kabhii ham nahii.n
But in our own stations, sometimes you ain’t there, sometimes I am not there

Na vo shaan-e-jabr-e-shabaab hai na vo rang-e-qahar-e-itaab hai
Neither is there pride in being a young man, nor is there atmosphere of havoc and displeasure
Dil-e-beqaraar pe in dino.n hai sitam yahii ki sitam nahii.n
These days my restless heart is oppressed that there is no oppression

Na fanaa merii na baqaa merii mujhe ai ‘Shakeel’ na Dhuu.NDiye
Neither I own mortality nor death, please don’t search for me
Mai.n kisii kaa husn-e-Khayaal huu.N meraa kuchh vujuud-o-adam nahii.n
I am someone’s beauty of thought, I don’t have life or after life

Ghazal #10

K Asif’s 1960 magnum opus Mughal-e-Azam was as famous for depicting the love affair between Prince Salim and courtesan Ananrkali as for its songs and ghazals penned by Shakeel Badayuni with Naushad Ali’s music.

The best ghazal of the movie in his characteristic style is this.

Please enjoy in Lata’s voice: Aye ishq ye sab duniya waale bekaar ki baatein karte hain….

Ae ishq ye sab duniya wale
Oh love! All these people of the world
Bekaar ki baatein karte hai
Talk nonsense (about love)
Payal ke ghamon ka ilm nahin
They don’t have any knowledge of the pain in the ankle bells
Jhankaar ki batein karte hai
And then they talk about its jingling (sarcasm)
Ae ishq ye sab duniya wale
Oh love! All these people of the world

Har dil me chhupa hai teer koi
In every heart there is a hidden arrow
Har paanv me hai zanjir koi
In every leg there is a shackle
Puchhe koi unase gham ke maze
May someone go and ask them the joys of grief
Jo pyaar ki batein karte hai
All those who talk about love
Ae ishq ye sab duniya wale
Oh love! All these people of the world

Ulfat ke naye deewano ko
The ones who have recently fallen in love
Kis tarah se koi samjhaye
How to make them understand
Nazron pe lagi hai paabandi
Here, there is a restriction on gazing
Deedar ki baatein karte hai
And they are talking about getting a glimpse
Ae ishq ye sab duniya wale
Oh love! All these people of the world

Bhanware hain agar madhosh to kya
If the bees are intoxicated, then what
Parwane bhi hain khamosh to kya
If the moths are silent, then what
Sab pyaar ke nagme gaate hai
All of them sing melodies of love
Sab yaar ki baatein karte hai
All of them talk about their beloved’s
Ae ishq ye sab duniya wale
Oh love! All these people of the world
Bekaar ki baatein karte hai
Talk nonsense
Ae ishq ye sab duniya wale
Oh love! All these people of the world

https://youtube.com/watch?v=2_scqYgA92s%3F

Ghazal #11

A beautiful ghazal sung very beautifully by Kusum Sharma. Please keep thinking of what I have told you about irony.

Please enjoy: Shayad aagaz hua phir kisi afsaane ka….

Shaayad aaGaaz huaa phir kisii afasaane kaa
Perhaps there is beginning of a new romantic tale
Hukm aadam ko hai jannat se nikal jaane kaa
Edict has been given to Adam to quite the paradise

Un se kuchh kah to rahaa huu.N magar allaah na kare
I am saying something to her but it shouldn’t be Allah
Vo bhii mafahuum na samajhe mere afasaane kaa
She too is not able to understand the meaning of my tale of love

Dekhanaa dekhanaa ye hazarat-e-vaa_iz hii na ho.n
See again that it shouldn’t be the mister preacher himself
Raastaa puuchh rahaa hai ko_ii maiKhaane kaa
He is asking for the way to the tavern

Beta’alluq tere aage se guzar jaataa huu.N
Without your acknowledging I pass in front of you
ye bhii ek husn-e-talab hai tere diivaane kaa
This too is a way of longing for your mad-lover

hashr tak garmii-e-ha.ngaamaa-e-hastii hai “Shakeel”
Until the day of judgment the heat of riotous life is there
sil-silaa Khatm na hogaa mere afasaane kaa
The series of my tales of love shall never conclude

https://youtube.com/watch?v=xav5wjLUcs0%3F

Ghazal #12

Once again, I couldn’t find a video or audio for this ghazal. But, nevertheless, it is a beautiful ghazal.

Please enjoy: Teri mehfil se uthkar ishq ke maaron pe kyaa guzari….

Terii mahafil se uThakar ishq ke maaro.n pe kyaa guzarii
What happened with the love-stricken who left your assembly? 
muKhaalif ik jahaa.N thaa jaane bechaaro.n pe kyaa guzarii
The world was inimical, God knows what happened to the poor souls?

Sahar ko ruKhsat-e-biimaar-e-furqat dekhane vaalo
O you who look at the departure of ill with separation in the mornings
kisii ne ye bhii dekhaa raat bhar taaro.n pe kyaa guzarii
Did you ever think what happened to the stars in the nights?

Sunaa hai zindagii viiraaniyo.n ne luuT lii milakar
I have heard that life was looted by the deserted places
na jaane zindagii ke naaz_baradaaro.n pe kyaa guzarii
God knows what happened to those who tolerate coquetry in life?

Ha.Nsii aa_ii to hai bekaif sii lekin Khudaa jaane
Laughter came but joylessly God knows
mujhe masaruur paakar mere Gam_Khvaaro.n pe kyaa guzarii
After finding me cheerful what happened to my sympathisers?

Asiir-e-Gam to jaa.N dekar rihaa_ii paa gayaa lekin
Prisoners of sorrow escaped after sacrificing their life
kisii ko kyaa Khabar zindaa.N kii divaaro.n pe kyaa guzarii
Who knew what happened to the cells of the living?

Ghazal #13

This one is so perfect that I often marvel at its beauty. Once again, I could neither find a video or an audio.

Please enjoy: Ab taq shikaayetein hain dil-e-bad-naseeb se….

Ab taq shikaayetein hain dil-e-bad-nasiib se
Until now she has complaints about my unfortunate heart
Ik din kisi ko dekh liya tha kariib se
All I did was to see her closely

Aksar ba-zom-e-taraq-e-mohabbat Khudaa gavaah
Often with the pride and determination of renouncing love, God be my witness
Guzraa chala gaya huun dayaar-e-habiib se
I have crossed the place of the beloved

Dast-e-Khizaan badh ke wahin usako chun liya
Autumn’s hand came forward to select the one
Jo phool gir gaya nigaah-e-andaliib se
Flower that had fallen from Nightingale’s glance

Ahl-e-sukoon se khel naa ai mauj-e-imbisaat
O wave of ecstasy do not play with those who are at peace
Ik din ulajh ke dekh kisi gham-nasiib se
One day battle with those who are destined for grief

Naa ahl-e-naaz ko bhi mile fursat-e-niyaaz
People of vanity will not find leisure for amorous words
Main duur hat gaya who jo guzre kareeb se
I distanced myself when they passed close to me

Ye kis Khata pe rooth gayi chashm-e-iltifaat
On whose oversight glance of love became angry
Ye kab kaa intiqaam liya mujh gareeb se
I don’t understand of which thing’s revenge was this

Unake bagaair bhi hai wohi zindagi ka daur
Without her too there is era of life
Halaat-e-zindagi hain magar kuchh ajeeb se
Circumstances of life are there but a little strange

Samajhe huye the husn-e-azal jisako hum Shakeel
The one who I had imagined to be eternal beauty
Apna hi aks-e-rukh nazar aaya kareeb se
From close it turned out to be own reflection of face

Ghazal #14

Ghazal-king Talat Mehmood again with a very beautiful ghazal of Shakeel Badayuni.

Please enjoy: Unase umeed-e-ruunuumaai hai….

Un se ummiid-e-ruunumaa_ii hai
There is hope of guidance/leadership from her
Kyaa nigaaho.n kii maut aa_ii hai
Are my eyes heading for death?

Dil ne Gam se shikast khaa_ii hai
Heart has been defeated by sorrows
Umr-e-raftaa terii duhaa_ii hai
There is appeal to the past life

Dil kii barbaadiyo.n pe naazaa.N huu.N
I am proud of the ruins of heart
Fatah paakar shikast khaa_ii hai
I have tasted defeat after victory

Mere maa_abad nahii.n hai dair-o-haram
My house of worship is not the temple of sanctuary
Ehatiyaatan jabii.n jhukaa_ii hai
I have bowed my forehead to my misgivings

Vo havaa de rahe hai.n daaman kii
She is fanning with the hem of her dress
Haaye kis vaqt niind aa_ii hai
I don’t know when I went to sleep

Khul gayaa un kii aarazuu me.n ye raaz
The secret in her longing became known
Ziist apanii nahii.n paraa_ii hai
Life is not mine but belongs to someone

Duur ho Gunche-o-gul merii nazar se
Remain away from my sight flowers and buds
Tuu ne merii ha.Nsii churaa_ii hai
You robbed me of my laughter

Gul fasurdaa chaman udaas ‘Shakeel’
Flower is disappointed, garden is saddened
Yuu.N bhii aksar bahaar aa_ii hai
Sometimes spring comes in this manner

https://youtube.com/watch?v=QopXvVHibYs%3F

Ghazal #15

Must end Part I of this labour of love for Shakeel Badayuni’s poetry in the form of Ghazals with this Yaad ghazal.

Please enjoy: Rooh ko tadapa rahi hai unaki yaad….

Ruuh ko ta.Dapaa rahii hai un kii yaad
Soul is tormented by her memory
Dard ban kar chhaa rahii hai un kii yaad
Pain is the manifestation of her memory

Ishq se ghabaraa rahii hai un kii yaad
Scared of love is her memory
Rukate rukate aa rahii hai un kii yaad
It is coming haltingly is her memory

Vo ha.Nse vo zer-e-lab kuchh kah uThe
She laughed and whispered something
Khvaab se dikhalaa rahii hai un kii yaad
It is as if her memory is showing me dreams

Mai.n to Khuddaarii kaa qaa_il huu.N magar
I am in favour of self-respect, but
Kyaa karuu.N phir aa rahii hai un kii yaad
What can I do when her memory comes to me?

Ab Khayaal-e-tark-e-rabt zabt hii se hai
Now there is affinity towards tolerance of thought of giving up
Khud ba Khud sharmaa rahii hai un kii yaad
By itself her memory is shy

Please await Part II of Immortal Ghazals of Shakeel Badayuni

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