I had always wanted to be a communicator; I like the nice ring to the word and imagined myself as an enlightened human being communicating with fellow netizens on this earth, with nature and God. Therefore, in the Navy, when the time came for me to do my specialisation, I decided to specialise in Communications and Electronic Warfare. However, I soon realised that one can’t help becoming a navigator when the call of duty demands. The first time I donned the role of a navigator was when I became the ‘other officer’ (other than the XO, (Executive Officer or second-in-command, that is) on the minesweeper Karwar. I totalled more miles there than in my watch-keeping tenure on Himgiri, even though we sailed like crazy on Himgiri and even went to a three nation foreign cruise too. There is hardly a port on the West coast of India (big, small or minor) that I didn’t navigate my way through as the other officer on Karwar.
However, after my specialisation in Communications, I wasn’t prepared to become the navigator of Himgiri. But, such is fate; you don’t chase it as much as fate chases you. And it was all because of our CO: Captain Jerry Patel. He was the world’s most avid Anti-Submarine Warfare Officer. When he was Director of ASW School, and we, undergoing Long Communications course, visited him in his school, he made us feel like worms that we had chosen to waste our time in the Indian Navy doing anything other than ASW. So, when he became CO of Himgiri, naturally, he considered that the only role Himgiri had to perform was to complete its trials of indigenous SONAR developed by a team under the famous Captain Paul Raj.
INS Himgiri (Pic courtesy: www.bharat-rakshak.com)
After long trials at sea when we returned to Bombay, it came out that Paul Raj and his team won’t be ready for trials in a hurry after setting right the anomalies and defects observed. The debrief done on board brought out that it would take minimum of six weeks. So, my course-mate Billoo, who was the Navigator of the ship, asked Jerry if he could proceed on a month’s leave and, since we were expected to be in harbour, I could carry out NO’s duties in addition to my own.
Billoo’s leave was duly sanctioned and he hadn’t yet left station when news came from Cochin that Paul Raj felt that we should progress trials in other areas whilst defectation was in progress. Billoo wanted to be recalled from leave; but, Jerry told him that like Lord Rama honouring the mere word of his father Dasharath, he, Jerry, had never gone back on his word. We merrily sailed and the plus point was that I collected a lot of Pilotage Fee that kept me in good ‘spirits’ for months after that.
However, the bad news was that Jerry, though excellent in ASW, wasn’t a great ship-handler. Billoo told me later, after the hair-raising experience that I was subjected to, that in the interests of the safety of the ship, many a times, he had quietly passed orders to the MCR (Machinery Control Room) and Wheel House, different from the orders concocted by the CO. However, I was not well versed in such stratagems.
We were to enter Cochin on a certain morning after several incident-free entering and leaving harbour sorties in Goa. In the night before, they signaled us a berth on the trots in Mattancherry Channel. We hadn’t been there earlier. So, I worked out a plan totally by myself without going through Billoo’s earlier N.O.’s notes. After that, before CO made his Night Orders, I discussed the plan with CO on the chart and he approved it without any alterations. We were to enter with a slight flood; but, I assured CO that it would be alright. According to the plan, after passing the head rope to the closest mooring buoy, the ship would swing on its own with the current, and would thus be facing towards the entrance of the channel. This would also enable us quick getaway whilst leaving harbour.
In the morning at about 6:30 AM Special Sea Dutymen for entering harbour closed up. Everything went according to the plan made by me. However, when we came to the entrance of the Mattancherry Channel, near Malabar Hotel, suddenly, without any warning, Jerry said we should try a stern-board approach to the trots so as to head the tide all the while! I was aghast. And that’s where, later day wisdom imparted too late by Billoo, would have come in handy!
So, here was Himgiri entering harbour and somewhere near the Starboard hand buoy near Malabar Hotel, CO suddenly decided to go stern-board. Following sequence followed:
1. We tried to turn around with engines and wheel. The Foxle Officer, Vincent Dhanraj was giving us distances from the buoy and in agitated voice he kept telling us that we were coming rather close to the buoy since the tide and the current were pushing us to the buoy.
View of the Buoy as seen from Malabar Hotel
2. At one time, when we were too close to the buoy for comfort, CO had no choice but to give Full astern both engines. The Engine Room took some time in responding but when it did, it took our breath away. The navigable width of the channel at this point is only about a cable (200 yards) and suddenly we started going full speed towards the vessels at the trots on the other side of the vessel.
3. Many of these vessels started warning us by ‘all available means’ (and you thought George Bush is the only one who ever used this expression!) These included beating drums, doing curious Zulu dances and the like and emergency pressing of ship’s siren as if it was midnight on the night of 31st Dec and 1st of Jan.
The type of boats that we were heading straight towards
4. By this time, we had already started giving orders to reverse the trend of our going astern towards these hapless vessels and fishing boats. First, “stop both engines” order was given. Nothing happened; and the people on these vessels started doing much more vigorous version of Zulu dance and even bhangra to ward off the evil of our hitting them with full force. So, in quick succession, orders such as “slow ahead both engines” and “half ahead both engines were given. We felt that we would have hit the vessels astern and hence finally “full ahead both engines” was given.
Malabar Hotel as it is now
5. By this time, the current had made us abreast of Malabar Hotel. Some of the foreigners there had heard a lot about Indian Navy coming of age and initially they were cheering our “bold Manoeuvres” through loud clapping. But soon, they saw us approaching them in full speed like a rogue missile. So they started running helter-skelter. The fishermen on that side of the channel had hurriedly started casting off their boats to evade a Tsunami called Himgiri hitting them.
6. Fortunately, after a series of orders and me visibly praying to all sorts of gods post my quick transformation into a believer, we found ourselves the first of the mooring buoys. Every piece of hair on my head was pointing towards the sky. We lowered the whaler with the buoy jumpers. They themselves were finding it difficult to approach the buoy because by this time the flood had really built up into a strong current.
7. In the midst of all this, the CO spotted Captain Paul Raj standing at the jetty, a little distance from the trots. He smilingly waved at him as if nothing had happened and told me, “Send a boat for him immediately. We can’t have him waiting there.”
8. I just looked at him wondrously; here we were with just one boat with buoy jumpers trying valiantly to approach the buoy and hence secure the ship lying in precarious position and there he was telling me to send the boat to receive Captain Paul Raj!
Finally, to cut a long story short, we secured at the trots and CO stopped trotting. After, we returned to Bombay, he came down to the wardroom to attend a wining-out of an officer and he good-naturedly told everyone: “Never go against the advice of your navigator, even if he is only a stand-by navigator”!
This song is based on a popular song of our era: Chhod de saari duniya kisi ke liye, yeh munaasib nahin aadmi ke liye. The original had lyrics by Indeevar and music by Kalyanji Anandji and was sung by Lata Mangeshkar for the 1968 movie Saraswati Chandra.
Now for the parody: first in Hindi and then in English script:
[lineate][/lineate]छोड़ दे इंडिया देश हित के लिए[lineate][/lineate]ये मुनासिब नहीं politician के लिए[lineate][/lineate]भारत निर्माण से ज़रूरी बहुत काम हैं[lineate][/lineate]भारत सब कुछ नहीं politician के लिए[lineate][/lineate]
[lineate][/lineate]देश का भला हो न पाया तो क्या[lineate][/lineate]Family का भला कोई कम तो नहीं[lineate][/lineate]Economy down हो at all times low[lineate][/lineate]Swiss Bank full हो कोई कम तो नहीं[lineate][/lineate]बिजली मिलती नहीं सबको संसार में[lineate][/lineate]एक दिया ही बहुत है रोशनी के लिए[lineate][/lineate]छोड़ दे इंडिया देश हित के लिए[lineate][/lineate]ये मुनासिब नहीं politician के लिए[lineate][/lineate]
[lineate][/lineate]कितनी हसरत से तकते हैं देशवासी तुम्हें[lineate][/lineate] इनको गरीबी से ऊपर क्यूँ उठाते नहीं[lineate][/lineate]रोज़ मरते हैं भूखे बिलकते यह लोग[lineate][/lineate]इनको vote banks politics से क्यूँ हटाते नहीं[lineate][/lineate]चले जाओ वहां तुम्हारा धन है जहाँ[lineate][/lineate]रहने दो देश को देशवासियों के लिए[lineate][/lineate]छोड़ दे इंडिया देश हित के लिए[lineate][/lineate]ये मुनासिब नहीं politician के लिए[lineate][/lineate]भारत निर्माण से ज़रूरी बहुत काम हैं[lineate][/lineate]भारत सब कुछ नहीं politician के लिए[lineate][/lineate]
(Pic courtesy: Kureel)
[lineate][/lineate]Chhod de India desh hit ke liye,[lineate][/lineate]Ye munaasib nahin politician ke liye[lineate][/lineate]Bharat Nirmaan se zaroori bahut kaam hain,[lineate][/lineate]Bharat sab kuchh nahin politician ke liye.[lineate][/lineate]
[lineate][/lineate]Desh ka bhala ho naa payaa to kyaa,[lineate][/lineate]Family ka bhala koi kam to nahin[lineate][/lineate]Economy down ho at all time low[lineate][/lineate]Swiss bank full ho koi kam to nahin[lineate][/lineate]Bijali milati nahin sabako sansaar mein[lineate][/lineate]Hai diya hi bahut roshani ke liye[lineate][/lineate]Chhod de India desh hit ke liye[lineate][/lineate]Ye munaasib nahin politician ke liye.[lineate][/lineate]
[lineate][/lineate]Kitani hasrat se takate hain desh waasi tumhen[lineate][/lineate]Inako gareebi se ooper kyun uthaate nahin?[lineate][/lineate]Roz marate hain bhookhe bilakate ye log,[lineate][/lineate]Inako vote banks politics se kyun hatate nahin?[lineate][/lineate]Chale jaayo wahan tumhaara dhan hai jahan[lineate][/lineate]Reheno do desh ko deshwaasiyon ke liye.[lineate][/lineate]Chhod de India desh hit ke liye[lineate][/lineate]Yeh munaasib nahin politician ke liye[lineate][/lineate]Bharat Nirmaan se zaroori bahut kaam hain[lineate][/lineate]Bharat sab kuchh nahin politician ke liye.[lineate][/lineate]
I was posted on Ganga We returned from our cruise to Jeddah in Saudi Arabia (Read about an anecdote in Jeddah harbour in ‘Gunners Too Are Human – Part III – Gun Salutes’). Frankly, we had gone a wee-bit overboard in our purchases. We did well in our custom-clearance. The custom guys were ‘managed’ very well. Now all that stood between us having these items on board and us having them at home was the Security at the Lion Gate, Naval Dockyard, Bombay.
Once again, the lesser beings there were ‘managed’ very well but there was this Commander-at-Arms who was renowned to be the toughest egg in the entire Navy. It was rumoured that he used to have junior officers for breakfast after – as PGW would say – jumping over their remains with hobnailed shoes. To get past Cdr A was as tough as getting past Satan.
I had a friend on Ganga who was renowned for his resourcefulness. This friend on whilst going out of the Lion Gate smartly parked his vehicle on the side and went to meet Cdr A in his office. He paid his regards; Cdr A wasn’t amused. He talked about this and that: Cdr A wasn’t amused. Finally, my friend came straight to the point. He said he was a law-abiding citizen and would like to take out a few items with Cdr A’s permission.
Established in 1735 (Pic courtesy: indiannavy.nic.in)
Cdr A (brightening; as he had already seen in this an opportunity to chew my friend): When?
My Friend (fearfully): Er…if you permit…tomorrow, Sir.
Cdr A (eyes gleaming now): What kind of items?
My friend (alarmed now but he had reached point of no return): (Rattled out list of items) Cdr A (Visibly on top of the world now since rather than his catching the fish, the fish had come to him!): Don’t worry. Bring the items tomorrow and we shall see.
My friend saluted, dejectedly went to his vehicle and drove off.
Next day, at the appointed hour, he came to the Lion Gate and the entire Lion Gate Security Staff descended on his vehicle and ransacked it. All supervised by Cdr A smiling from ear to ear. To Cdr A’s utter horror and dejection, they found nothing.
At this stage, thoroughly frustrated at having missed a chance to get a Nao Sena Medal, Cdr A bellowed: But, you told me yesterday that you’d be taking out those items today.
My friend: I did Sir; but, knowing how you normally are, I didn’t take chances and took them out yesterday itself!
I could have given highest Gallantry Reward to my friend!
Can anyone live without water?
Or live without breathing at all?
Then how is this you can’t hear
Our pining-for-you call?
Yes, you lived with us long ago
And taught us Love, Peace, and Right from Wrong
But, we need you now, O Krishna
We need your flute and song.
You may say that when you came
It was the worst time in Indian past
But, we can prove to you, our Lord God
We are close to Bharat’s last.
It is the last chance before our rot
Make us worse than any Kaurava
And the polity fragments our once great nation
Whilst they dance on the ruins like Bhairava.
All that Love that you left with us
Where can it be found now?
Not on banks of Jamuna or anywhere
We love only money, and how!
Our chariot wheels are stuck in the slime
Of dishonesty, immorality and corruption
We don’t have urge or will to fight
The Evil Forces’ sudden eruption.
Krishna, if you fail us now
We won’t know where to go
We have seen enough of the predicted Kalyug
Please put an end to our woe.
Lets hear your divine flute again
As also your battle conch
Guide us to live in Love and Justice
But, against the rot, a war to launch.
Come to us again Lord Krishna
We need you more than ever before
We want you to live amongst us again
And not just in folk-lore.
Many of my friends and fans have asked me to write and publish a novel. I am doing the first part: to write. So, chapter by chapter, this novel, without any editing from my part, shall appear here on this blog. Please let me know in the comments if you like it. I shall also be looking at your comments if you don’t like it or any part of it; so that, if considered necessary, I can make amends. Alright, fasten your seat belts and prepare for this long flight.
One
The Jet Airways Flight from Mumbai to Goa was full. All flights to Goa are generally full at the end of the year; it being the favourite destination for Christmas and New Year Eve parties.
This was the last flight before Twinkle would have her holidays. She had joined Jet Airways three years back and, as in everything else in life, she didn’t entertain any regrets. She was an agreeable young lady with a radiant smile that all people close to her found infectious. Indeed, as far as passengers were concerned, it was the firm opinion of others in cabin crew that Twinkle had a kind of sobering effect on the passengers as if they were being served by one of their own. When Twinkle was selected for the Executive Class, none of the other crew objected; it was considered the most natural progression.
At the door, as the passengers came in, a lean and tall man, Twinkle gathered in his eighties, nearly tripped over an obstruction and she instantly bent to help him. He immediately righted himself, picked up his fallen walking stick and beamed a smile at her, “I think I can manage.” Just five words before the next passengers came in; but, Twinkle was sure those words conveyed far more than just the present tripping. It instantly occurred to her that perhaps he was making a statement about his entire life: ‘I think I can managewithout any help from anyone. I am used to it’. However, the smile was not of derision or complaint, but, of acceptance, of being content with what life had dished out for him.
He was on seat 2F of the Executive Class space that had become her duty to serve. She offered to hang his jacket but he declined that. Later in the flight she realised why; he took out from one pocket his pouch of medicines. Later, when she offered him a newspaper he took out his reading glasses from another pocket and a pen to solve the crossword with. This man, she decided, didn’t depend upon people for anything. He was self-sufficient.
For the take-off, as she strapped herself to the folding chair, she could see him. He held both his hands together as if in prayer and closed his eyes. Many passengers did that and pretended that they were merely dosing off. However, he did that with great dignity as if he knew God would be instantly there when he’d close his eyes. Another glance and she found that a curious smile had formed on the edges of his lips as if in remembrance of something delightful. Perhaps, she thought a little mischievously, he was already in conversation with God. And then, it suddenly occurred to her that she was paying him far too much attention. It also surprised her to know that she couldn’t help it. There was something magnetic about this man in his eighties; she found herself being drawn to him, as if…as if…she forced herself not to drift into those thoughts and as soon as she announced about the seat belt sign having been switched off she jumped to her duties as a hostess.
There were eleven other passengers to be served but it occurred to her that she wanted to serve only him. “I don’t feel like eating anything”, he told her, “But, I have to since I shall be taking my medicine after that.” He didn’t indicate a choice and she didn’t want to be seen as fussing over; so, she decided that Continental Breakfast was what he’d prefer. He appeared to relish it but declined second helpings, even of bread. She noticed that the beverage was just black-tea. After the breakfast, she wanted to help him with his black leather bag in the overhead locker so as to take out the medicines, but, he took them out of a small plastic pouch in the right inner pocket of his coat.
After breakfast and medicines, he read the newspaper for a while and then started solving the crossword. He dozed off whilst holding the pen and the folded newspaper. She went to take the newspaper from his hands and she should have returned it to the pouch in front of his seat. But, curiosity got the better of her and she took the paper to her working space behind the curtain. She took the pen from his hand, capped it, and gently put it on the flat space between the two seats.
In her working pantry space, she found that the only word that he hadn’t solved was 16 Across and from the letters that were already inserted by him and the clue ‘Sometimes, even a small pebble thrown in a pond can cause_____, _____(7,7)’ she could guess the solution: UNDYING RIPPLES. She started guessing as to why had he left inserting the other letters; the solution was so obvious. Why? Didn’t he know? Was it too difficult? It then occurred to her that she was fascinated by the cluehe had left for her to solve! Perhaps he wanted her to! She took out her pen and inserted the missing letters that didn’t make any difference in the other solutions either across or down.
His head had tilted to the right whilst dozing and she went back to insert a pillow between the head and the back-rest next to the window. She also reclined his seat to make him comfortable. Fortunately, he had kept the seat-belt on. She put the window shutter down.
Just before the landing, she went back to upright his seat, open the window shutter and perhaps to wake him up but, she noticed, there was no movement from him whatsoever. She touched him and found him rather cold. She hurried back to make an announcement requesting if there was any doctor on the flight. A kindly gentleman from the economy class approached seat 2F, made the motions of checking his pulse, eyes etc and shook his head, “I am afraid the passenger has died in his sleep.”
Despite her training, she almost screamed. She went and reported to the Captain and the Co-pilot and they made arrangements on the ground to receive the dead body. Since he was at the window seat, he won’t be in the way of disembarking passengers.
Whilst preparing him to be taken away, she wanted to know who he was. She felt for his boarding pass in the outside left pocket of his coat. As she felt for and took out his boarding pass, a picture fell out.
Three years back I wrote ‘Mumbai Rains’ in this blog and it continues to be very popular. Now, I bring you some of the side-effects of Mumbai Rains and traffic during the rains. One of my friends had put up this:
[lineate][/lineate]Foreigner: In Mumbai, do you drive to the left or the right?[lineate][/lineate]Mumbaiite: In Mumbai, we drive on what’s left of the roads.[lineate][/lineate]
(Courtesy: www.indianexpress.com)
Mumbai is a melting pot of cultures and languages. I came to know recently that ‘highway‘ is a Punjabi word, after all. When your vehicle goes over an unseen ditch or pothole (which happens in Mumbai quite often), you nurse injuries to yourselves and your vehicle and with every jump say in Punjabi: “Hai ve”! (O, my God)
Lets look at some peculiar scenes and situations caused by the havoc on roads as a result of Mumbai Rains.
I
Swayamvar
Deshpandes are looking for a husband for their elder daughter. She has finished her engineering in computer sciences and has landed a well deserved job at TCS. After her family gave the advertisement in the Matrimonial columns of several dailies, a few eligible boys have pressed their suits. The family has short-listed three of them: Ashok, Ganesh and Sunil. All three boys are also engineers and earning good salaries and from good families. Finally, it has to be Jyoti’s choice. She asks her brother to help. It comes out that since she has to spend the rest of her life with her husband, she wants to be sure (as any girl would) of the essential nature of her man. What if he curses and swears? What if he doesn’t have patience with her? What if he is utterly selfish? Her brother has the most pragmatic plan to find this out, “I shall drive with each one of them from Colaba to Borivali by car. At the end of the journeys, I shall have the answers for you.”
Modern day ‘swayamvar’, tougher than Arjuna shooting with arrow the eye of the fish and most effective way to separate men from boys.
II
Army Headquarters
During a presentation to the Chief, his Principal Staff Officers are in attendance. The subject is the purchase of the Tatra trucks, the controversy-ridden Tatra trucks.
[lineate][/lineate]Lieutenant General I: Finally, the government has cleared the purchase of these ****ing trucks. It took some coaxing.[lineate][/lineate]The Chief: It always does. But, I guess your team needs to be congratulated for all the hard work put in.[lineate][/lineate]Lieutenant General I: Thank you, Sir[lineate][/lineate]Lieutenant General II: But, Sir, there is a problem. Now that General VK’s assertions have called in question the quality of these vehicles, we need to carry out a rigorous acceptance test-inspection.[lineate][/lineate]Lieutenant General III: We have already prepared for this, Sir. Our engineers have designed an indigenous (stressing on the word so as to invite praise) testing terrain track for the inspections. It would cost only Rupees 5 Crores as compared to the imported track worth 20 Crores.[lineate][/lineate]The Chief: I think we can avoid the wasteful expenditure. Let the vehicles be received in Mumbai and test-drive on Mumbai roads during rains. If they can survive that, they can survive any terrain and conditions.[lineate][/lineate]Lieutenant General I to II (aside): Now why couldn’t we think of that?[lineate][/lineate]Lieutenant General II to I (aside): That’s why he is the Chief and not us.[lineate][/lineate]
III
Times Now’s Evening Top-Story
[lineate][/lineate]Arnab Boswami: This is the third case in the month when a woman in Mumbai has filed for divorce proceedings. She had been suspecting her husband of having an affair. She has been, therefore, timing her husband during his return journey from the office. The duration has been inexplicably (to her) on the increase and that confirmed her deep rooted suspicion that he has been spending time with the other woman, on the side. On the evening before filing the divorce proceedings, her husband spent all of five hours reaching back home. I have on the panel tonight Mister All-is-well Pigvijay Singh from Congress, Mrs. All-men-are-the-same Mamta Besharma, Chairperson of Women’s Commission in India, BJP spokesperson Arun Ketley and finally representative of Aam Aadmi Gharib Das. Let me first put this question to Pigvijay Singh; What is your government doing about this?[lineate][/lineate]PVS: The track record of our government on women’s issues is excellent. You may recall when Nirbhay died in Delhi, Manmohan Singh ji personally went to receive the dead body…[lineate][/lineate]Arnab (Cutting him short, as he always does): No, all this is only a façade. On an everyday basis women are still getting raped. Let me ask Mamta ji: Do you think this is the normal state or an exception that husbands reach back late from work?[lineate][/lineate]MB: This is on the increase, the traditional image of the Indian woman of being a housewife and being at the beck-and-call of her husband hasn’t changed much. We need to make strict laws to force men to return home on time and not to spend time with other women.[lineate][/lineate]Arun Ketley (on alert after MB uttered the word “law”: I don’t think making new laws will change the situation. For every known law, there are at least a dozen loopholes.[lineate][/lineate](Meanwhile the Aam Aadmi representative had been frantically raising his hand to be able to speak but no one pays him attention. Finally, Arnab Goswami, notices him and asks him: I think Gharib Das has something to say on this; are you on the side of the husband or the lady?[lineate][/lineate]Gharib Das (helplessly): I think you have caught the bull by the tail. The issue here is not a women’s issue at all. The issue is why did it take the husband all of five hours to reach home from office. And I will tell you why: it is because of the poor state of the roads in Mumbai during the rains. Anywhere to anywhere takes this much time.[lineate][/lineate]Arnab: I think Gharib Das here is digressing from the issue at hand; let me get back to Mamta now: do you really think making new laws will help?[lineate][/lineate](Poor Gharib Das hold his head in both hands and would have pulled out his hair if there were any left.[lineate][/lineate]
IV
Scene at the Airlines Office
[lineate][/lineate]Harried Manager: For an hour’s flight, we have started calling people two hours in advance “due to traffic congestion in Mumbai” and yet people have been coming late. What should we do?[lineate][/lineate]Efficiency Expert (with solutions to all problems): I think we should start calling them three to four hours in advance. Indeed, for early morning flights, we must suggest to them to spend the night at the airport itself.[lineate][/lineate]Manager (with doubts): But, won’t it be a punishment for travellers?[lineate][/lineate]EE (Confidently): Since when has travel been anything but punishment in and out of Mumbai?[lineate][/lineate]
V
Scene at Watch Repair Shop
[lineate][/lineate]Irate Customer: This is my third visit to you to collect my repaired watch; every time you tell me you didn’t get time. What do you do with your time?[lineate][/lineate]Watch Repairer: Sir, the same thing what you do with your time; I spend most of my time commuting.[lineate][/lineate]Customer: Well, next time will be my last visit; what should I do if next time the watch is not ready?[lineate][/lineate]Watch Repairer: Sir, I suggest next time you buy a calendar. In Mumbai’s traffic, there is no point in looking at the watch for the time; one requires to keep track of the day and date one embarked on the journey.[lineate][/lineate]
VI
Somewhere in Headquarters of LeT
[lineate][/lineate]Terrorist Chief: We need to plan another attack on Mumbai to avenge the hanging of Shaheed Ajmal Kasab[lineate][/lineate]Loyal Terrorist I: Inshallah, we need to do that; they cannot hang our young, innocent lads like Ajmal bhai.[lineate][/lineate]Loyal Terrorist II: But, we need to wait until the rains are over. During the rains we just can’t even reach our targets.[lineate][/lineate]Terrorist Chief: Trust the Indians for having come up with the ultimate defence against our brave Jehaadis.”
I can go on and on. But, the fact is that we shall soon come to a situation when Mumbaiites will stop going from anywhere to anywhere for fear of ageing on the roads during the rains.
[lineate][/lineate]Over there, in that dark corner[lineate][/lineate]Is the old relic of a radio set[lineate][/lineate]It screeches and whines, if you turn it on[lineate][/lineate]No music comes out of it now[lineate][/lineate]At one time, not long ago[lineate][/lineate]I used to hear my favourite Hindi songs on it[lineate][/lineate]And then, it broke.[lineate][/lineate]But, still, I had music[lineate][/lineate]On my cell and lips[lineate][/lineate]And I miss the radio[lineate][/lineate]Only in nostalgia[lineate][/lineate]
[lineate][/lineate]Here on the wall[lineate][/lineate]Is my favourite clock[lineate][/lineate]Whereat I used to see the time[lineate][/lineate]To see you and be with you[lineate][/lineate]At one time, not long ago[lineate][/lineate]I used to love its tick-tock[lineate][/lineate]Counting minutes for the tryst[lineate][/lineate]And then it broke[lineate][/lineate]But, still, I have time[lineate][/lineate]On my cell and mind[lineate][/lineate]Though I scarcely need to know it now[lineate][/lineate]And I miss the clock[lineate][/lineate]Only in nostalgia[lineate][/lineate]
[lineate][/lineate]Over there, on the table[lineate][/lineate]Is the old wine-glass[lineate][/lineate]We used to drink from it together[lineate][/lineate]Sipping from the same stemmed glass[lineate][/lineate]As if it was a magic bowl[lineate][/lineate]That held us together[lineate][/lineate]In love, in warmth, in joys[lineate][/lineate]And then it broke[lineate][/lineate]But, still, I have another[lineate][/lineate]To drink and sip from[lineate][/lineate]And I miss the old glass[lineate][/lineate]Only in nostalgia[lineate][/lineate]
(Pic courtesy: thestrategyexchange.co.uk)
[lineate][/lineate]Deep inside my body[lineate][/lineate]Is my old bleeding heart[lineate][/lineate]It is dead and useless now[lineate][/lineate]It doesn’t feel anymore[lineate][/lineate]At one time, not long ago[lineate][/lineate]It was on a high[lineate][/lineate]Singing and flying[lineate][/lineate]But then, it broke[lineate][/lineate]And I don’t have another[lineate][/lineate]To beat, to feel, to live[lineate][/lineate]I miss my heart[lineate][/lineate]I wish it’d come alive again.[lineate][/lineate]
[lineate][/lineate]I shouldn’t have ever loved even though,[lineate][/lineate]I saw you in everything beautiful and so,[lineate][/lineate]I saw you in the flowers, birds and brooks,[lineate][/lineate]In nests, crannies, niches and nooks[lineate][/lineate]I saw you in the changing shades of twilight[lineate][/lineate]And in the whispering silence of moonlit night[lineate][/lineate]I should never have loved.[lineate][/lineate]
[lineate][/lineate]I am a man and it is more than well known,[lineate][/lineate]A man can never cry, sob or bemoan[lineate][/lineate]A woman has express right to feign heartbreak[lineate][/lineate]Even though he often suffers for hers sake[lineate][/lineate]So, you could deceive, cheat and spend your hours[lineate][/lineate]in drenching me in your abusive showers[lineate][/lineate]I should never have loved.[lineate][/lineate]
(Pic courtesy: fineartamerica.com)
[lineate][/lineate]I wish, in my next life, I will be a woman born,[lineate][/lineate]And subject men around me to equal scorn[lineate][/lineate]And tell the story of what you did and do,[lineate][/lineate]And jeer, “No man, to a woman, can be true”[lineate][/lineate]Whilst giving him a life of perpetual agony[lineate][/lineate]And rejoice in this sweet irony[lineate][/lineate]I should never have loved.[lineate][/lineate]
[lineate][/lineate]Else, I would hope to get to that elusive verge[lineate][/lineate]Where heavens and earth finally merge[lineate][/lineate]And tell my story to the angels above[lineate][/lineate]Those poor men who once were abused in love[lineate][/lineate]By heartless women who accused and abused[lineate][/lineate]The trust that were held in often misused[lineate][/lineate]I should never have loved[lineate][/lineate]
[lineate][/lineate]I shouldn’t ever have loved being a man[lineate][/lineate]In a world where he can’t do what a woman can[lineate][/lineate]Through tears to tell all those around[lineate][/lineate]That a man is a wolf, a bull, a hound[lineate][/lineate]For every wrong he is often blamed[lineate][/lineate]Whilst it might just be opposite of what she claimed[lineate][/lineate]I should never have loved.[lineate][/lineate]
A few years back, in order to prop us up as a bulwark against China, the US, supported by the Western media, started a relentless campaign to obliquely praise India for its “spectacular GDP growth”. This suited our politicians and bureaucrats since all this while they had to face the wrath of the people for let alone their aspirations, but, even the barest minimum necessities of life not having been met. Soon the think-tanks in India and the intelligentsia took up the anthem of ‘the growth story of India’ and Indian self-serving analysts started working out the exact dates by which we would overtake the economies of Japan, China and finally the US. The feel-good factor made many people happy and excited.
What went wrong? Firstly, we forgot that all indices, particularly the Human Development Index, put us at the bottom of the heap, tucked roughly between Belize and Uganda. We forgot that GDP growth largely reflected how well are the richest of the rich amassing wealth in India.
Secondly, together with Europe, the US economy had slowed down to near recession and in comparison, isolated (and bolstered too) as we were with our ‘self-sufficiency’ of domestic demand, we seemed to have been unaffected by the global economic slow-down. Since this economic complacency was not based on any robust fundamentals, it was soon to take a hit; which it has done now that the US economy is recovering. The dollar is already at an exchange rate of more than 62 rupees. How low is the value of the Indian currency can be made out by this curious observation that the politicians have stopped accepting Indian currency in bribes and now accept only gold. As a result of this artificially raised demand the gold-prices have experienced a sudden spurt.
Indeed, even abroad, the perception about India being touted as an economic giant gave way to India being the most corrupt country in the world. One German business daily which wrote an editorial on India said: “India is becoming a Banana Republic instead of being an economic superpower. To get the cut motion designated out, assurances are made to political allays. Special treatment is promised at the expense of the people. So, Ms Mayawati who is Chief Minister of the most densely inhabited state, is calmed when an intelligence agency probe is scrapped. The multi-million dollars fodder scam by another former chief minister wielding enormous power is put in cold storage. Prime Minister Manmohan Singh chairs over this kind of unparalleled loot.”
This newspaper editorial is a bit dated and we have since had many cusecs of water having gone down our polluted and corrupt, but still sacred river of Ganga. Economically, nothing describes our state of affairs better than our perpetually pot-holed roads. Enormous moneys go into maintaining these. And yet, with the first sign of rains, life becomes hell for all commuters. A routine trip to the office that used to take only twenty minutes, then starts taking ninety or more accompanied by the mood of the computer having been marred for the whole day having to battle against the pot holes and fellow traffickers. But, curiously, those who reach the other end silently pat themselves on the back for having reached safely whilst fellow commuters are still stuck on the road. This is, hence, representative of some of our Indians complacency in the face of the disaster that stares us in the face.
The dismal economic scenario, accompanied by rampant corruption and lack of even basic infrastructure, have come about when the shadow Prime Minister, who is strong in economics, is repeatedly asked to indulge in politics, wherein he is a weakling. Isn’t it a shame that the only time he showed he had a spine was when, on behest of the US, he took a firm stand that nuclear power is what the nation needs most at this juncture and would automatically solve all our other problems?
Since the ruling Congress front has failed miserably, one would start hopefully assuming that the main opposition – BJP front – would come up with an alternate plan or strategy to buck up economy, provide basic amenities and infrastructure, and control corruption. Nay, on the other hand, BJP has come up with their oft-repeated clincher of Ram Mandir. Do you think they have gone bonkers? No, I think that they have done their mathematics well (I have shown this maths at a post ‘How Proud Should We Be Of Indian Republic At 62?’ in this blog). They know that less than one per-cent swing in the votes is all that is required to be winners and make a government. For obtaining this one per-cent swing they can either take the ‘risky‘ way of being idealists and mean well for the Indian society or obtain it ‘safely’ by polarising the Indian society. They would, therefore, invariably tilt towards such polarisation; knowing very well that Congress too is only pseudo-secularist and panders to the vote bank of the Muslims in a huge way.
(Pic courtesy: indiawires.com)
With this, the voter is stuck between the devil and the deep-sea; and, the chances of Indian conditions improving are just a pipe-dream. It saddens me to know that this hopeless state of affairs has come about at a time when we should have done the best. It is because the country’s demographic profile suits high-growth. We are a young country with average age of an Indian being only 29 years. This youth could have been employed in rebuilding a nation. Gradually, our population will start ageing like those of European countries and Japan and then favourable conditions for growth would become even more scarce.
What should we do in this scenario? We don’t have the wherewithal and nor is it necessary to jump into the dirty world of elections by fielding candidates. I think the solution lies in this adage: ‘In democracy you don’t just elect a government, you get the one that you deserve’. We can have a voice through social media including blogs, Facebook and Twitter to let the candidates know that we can’t be fooled by promises of Ram Mandir or doles under Food Security Bill. Lets raise our voices so that it becomes mandatory for the candidates to shun corruption, crime, parochialism and come up with realistic and pragmatic plans for the betterment of our people and nation.
For this it is necessary that we choose the right candidates not emotionally but objectively; not merely by his/her party affiliations but by his/her own attributes and potential.
Lets spread the word around that next elections are the last ones before people become so frustrated and alienated from their elected representatives that they are forced to choose the path of revolution.
[lineate][/lineate]A ten minute ride now takes hours,[lineate][/lineate]Thanks to Mumbai’s perpetual pot holes,[lineate][/lineate]All that happens is a few showers,[lineate][/lineate]
That make us scream: “Please Save Our Souls”.[lineate][/lineate]
[lineate][/lineate]Save Our Souls from the pools of corruption,[lineate][/lineate]That surround Mumbai’s make-over schemes,[lineate][/lineate]Everywhere it results in wasteful disruption,[lineate][/lineate]Throwing water over our hopes and dreams.[lineate][/lineate]
[lineate][/lineate]The same contractors who do shoddy work,[lineate][/lineate]Are the preferred bidders of the big-wigs,[lineate][/lineate]The taste of money gives them a smirk,[lineate][/lineate]As they move on the roads, their junky rigs.[lineate][/lineate]
[lineate][/lineate]Cordoning off roads for some future repairs,[lineate][/lineate]Is for them most of the work done,[lineate][/lineate]People suffer and are in tears and despair,[lineate][/lineate]But these leeches have their bloody fun.[lineate][/lineate]
[lineate][/lineate]The courts then come in and order a count,[lineate][/lineate]Of thousands of pot holes big and small,[lineate][/lineate]Controversies then begin to mount,[lineate][/lineate]That less than four feet is no hole at all![lineate][/lineate]
(Pic courtesy: meri-awaaz-suno@blogspot.in)
[lineate][/lineate]Lives are lost, people and vehicles are injured,[lineate][/lineate]But nothing moves these thick skinned thieves,[lineate][/lineate]They witness the effect of what they conjured,[lineate][/lineate]Public money passing through their corrupt sieves.[lineate][/lineate]
[lineate][/lineate]Life goes on with not a change in sight,[lineate][/lineate]Across Mumbai’s dismal road-show,[lineate][/lineate]We nurture a hope that the future is bright,[lineate][/lineate]We shall soon reach where we want to go.[lineate][/lineate]
[lineate][/lineate]Alas, our Netas and Babus know for sure,[lineate][/lineate]That people tolerance levels are high,[lineate][/lineate]Next Monsoons the same fate they can endure,[lineate][/lineate]Though this Monsoon may make them cry.[lineate][/lineate]
[lineate][/lineate]The financial capital of our nation,[lineate][/lineate]Is reflective of the state we are in,[lineate][/lineate]High hopes but lack of determination,[lineate][/lineate]Makes us, of our future, unfairly sanguine.[lineate][/lineate]
(On the suggestion that woman should approach man bare and also help to disrobe him)
You can take each piece of clothing, And on the floor coyly drop. Does it fill men with loathing, To permit women on top?
To answer I must go back to stone age, When women used to be dragged by the hair, Later it filled them with just rage, And they screamed: “It’s not fair.”
As hunter and bread winner, the poor man, Battled and fought and loved the chase; He got used to it as anyone can, And now we call his pursuit a craze!
Women, yes, do venture into men’s world, And do everything he used to do, But don’t approach him naked as a bird, Let him at least disrobe you.
Pic courtesy: ‘Disrobed’ by Neil Young
I know, left to yourself, in the same vein, You’d soon want to become from heroine to hero, I don’t know what you will eventually gain, By making yesterday’s hunter today’s zero.
Despite all the differences that are there, It is fun to be woman and man, So on your own don’t try to be bare, Just because you know you can.
[lineate][/lineate]She held it in her hand[lineate][/lineate]Pulled out the pin with her teeth[lineate][/lineate]And hurled it where I stood[lineate][/lineate]And suddenly it exploded[lineate][/lineate]All around me.[lineate][/lineate]Everything was torn to shreds:[lineate][/lineate]Ego, pride, shame, pretence[lineate][/lineate]All lay in tatters, blown to bits[lineate][/lineate]And I lay there zapped[lineate][/lineate]Stunned but alive[lineate][/lineate]Blinded and deaf[lineate][/lineate]To anything but Love[lineate][/lineate]She saw me[lineate][/lineate]Saw my condition[lineate][/lineate]And rested her hand[lineate][/lineate]That was ready to pull[lineate][/lineate]Another pin[lineate][/lineate]From another Love Grenade[lineate][/lineate]Total triumph from her side[lineate][/lineate]Complete surrender from mine.[lineate][/lineate]
Suddenly, the age old adage has come alive for the airlines: ‘Travel light, if you must’; not the lean-and-hungry look but the lean-and-mean look. Heavy weights may be alright in politics; they may be of immense value in industry and bureaucracy. But, they are a big No No for the airlines. Reminds you of the Blue Jeans revolution of the sixties and seventies. Until then, the clothes were tailor-made for you. But, with the advent of Blue Jeans it was one-size-fits-all and you had to re-shape yourself to fit into those jeans. They came up with ‘ideal figure’ (Twiggy) and you had no choice but to be ideal.
Similarly, GoAir, for example, has given NoGoAir sign to its male stewards since they are generally heavier than their female counterparts. If it was the other way round, by this time Jantar Mantar would have been full of women activists telling the whole world through their middle fingers that the government must take charge of GoAir for showing sexual discrimination. But, men are supposed to take it lying down. Preity Zinta, the promoter of GoAir, for example, first made inroads into the till then men’s world of cricket and is now chucking out men from a traditionally female world.
However, the way the airlines are at it, sky is the limit for traveling light. Anything and everything is chargeable. Very soon we may have little children serving us in the flight in their cute infantile babble, “Uncle, hele iz yore maltini; and aunty, you will like some chicken na?” After all, they weigh the least and the airlines may be able to save a few more crores of rupees by employing them.
Another bright idea that will occur to the airlines is to come up with a dress code for travel. No suits, shoes and ties…in any case you have to remove your jacket, belt and shoes at the Security. So, why wear them at all? The airlines will tout this as a ‘customer friendly’ idea as it results in ‘hassle-free security check’. The airlines tend to gain a few crores per year and it appears that every rupee counts.
I suspect that the airlines will soon come up with another ‘customer friendly’ idea – after all, the customer is the king (Ha ha) as proclaimed by them – which is, to have you visit the gym between check-in and security check. The programme will make you lose a few kilos and the airlines can then squeeze in a few more passengers between the last row and the toilets.
Frequent flyers programme will have additional points for those less than fifty kgs and carrying less than ten kgs of check-in baggage and/or nil cabin baggage.
The very first announcement after you board will be, “Ladies and gentlemen, in order to cut down on unnecessary weighty items in the aircraft, we have done away with in-flight magazines, newspapers and instructions cards for wearing the life jackets. You have ten minutes to download these on your mobile phones by accessing www.GoAir.Wecareforguests site. You may not be able to use your mobiles during the flight as these interfere with the navigation systems.”
What about those who used to carry various kinds of foot-wear: Jogging shoes, sandals, brown shoes to go with brown clothing, black with black, and just one extra pair just in case required. Well, research is on to come up with new modular footwear that can change over from chappals to party-wear by pressing a few light-weight buttons.
Another idea that the airlines are working on is to give all passengers, male or female, close hair-cuts (appropriately called crew-cuts) prior to take-off. This too will be a customer friendly (airlines are committed to be customer-friendly all the way) idea since the airlines will offer to share half the cost of haircut with you at merely Rupees Five Hundred a hair-cut (Frequent Light-weight Flyers will be given such crew-cuts free).
And finally back to the male stewards of flights who have been told it is NoGoAir for them; they might actually have the last laugh when the air-hostesses are told – in the same fashion as instructions from Badminton Association of India last year to female players – to wear as little clothing as possible. At last the male passengers will then say, “Finally, you have come up with a real customer-friendly idea.”
Trying a ‘Fast Poem’ on cellphone, similar to ‘Fast Food’.
Here goes:
[lineate][/lineate]Purple hair,[lineate][/lineate]Green nails,[lineate][/lineate]Orange eyes,[lineate][/lineate]Indigo brows,[lineate][/lineate]Red hot cerebral cells?[lineate][/lineate]Lemon coloured blood?[lineate][/lineate]Ultra modern world.[lineate][/lineate]
Pic courtesy: listofimages.con
[lineate][/lineate]And yet,[lineate][/lineate]The look in your eyes[lineate][/lineate]Gave you away,[lineate][/lineate]As it did in the life before[lineate][/lineate][lineate][/lineate][lineate][/lineate][lineate][/lineate]And before[lineate][/lineate]And ages before.[lineate][/lineate]
[lineate][/lineate]Juliet? Meera? Sohni?[lineate][/lineate]The colour of love,[lineate][/lineate]Engulfing my world[lineate][/lineate]With richness beyond words[lineate][/lineate]Beyond hues[lineate][/lineate]Beyond feelings[lineate][/lineate]Beyond thoughts[lineate][/lineate]
[lineate][/lineate]In every life[lineate][/lineate]I came[lineate][/lineate]I saw[lineate][/lineate]I was conquered.[lineate][/lineate]I loved[lineate][/lineate]I loved[lineate][/lineate]I love..[lineate][/lineate]Try, if you please[lineate][/lineate]A different camouflage in the next life.[lineate][/lineate]
Lets start our journey through the Final Part, the Part III.
We had completed Day – 7 of the 15 days tribute in Part II.
Day – 8
Lets begin tonight with the 1955 movie Udan Khatola starring Dilip Kumar and Nimmi. An uran khatola is a fictional flying vehicle in the traditional folktales of North India and Pakistan. The term literally means ‘flying bedstead’ or ‘flying cot’ but in folklore the term is used more expansively to cover any flying vehicle.
It was also synonym with Flight of Fancy and hence the song penned by Shakeel was so appropriate: O door ke musafir, hum ko bhi saath le le, hum reh gaye akele. There are no surprises: Naushad composed the music and Mohammad Rafi sang the song.
Enjoy: O door ke musafir hamko bhi saath le le…
chale aaj tum jahaa.N se, huii zi.ndagii paraayii
tumhe.n mil gayaa Thikaanaa, hame.n maut bhii na aayii
o duur ke musaafir ham ko bhii saath le le re
ham ko bhii saath le le
ham rah gaye akele
tuune vo de diyaa Gam, bemaut mar gaye ham
dil uTh gayaa jahaa.N se, le chal hame.n yahaa.N se
le chal hame.n yahaa.N se
kis kaam kii ye duniyaa jo zi.ndagii se khele re
ham ko bhii saath le le, ham rah gaye akele
suunii hai.n dil kii raahe.n, khaamosh hai.n nigaahe.n
naakaam hasarato.n kaa uThane ko hai janaazaa
uThane ko hai janaazaa
chaaro.n taraf lage hai.n barabaadiyo.n ke mele re
ham ko bhii saath le le, ham rah gaye akele
o duur ke musaafir ham ko bhii saath le le re
ham ko bhii saath le le
ham rah gaye akele
https://youtube.com/watch?v=pD7HziV7204%3F
Udan Khatola has this number where Shakeel expressed the dark side of Mohabbat.
The number is: Mohabbat ki raahon pe chalna sambhal ke, Yahan jo bhi aaya gaya haath mal ke…
muhabbat kii raaho.n me.n
chalanaa sambhal ke
yahaa.N jo bhii aayaa
gayaa haath mal ke
na paaii kisii ne muhabbat kii ma.nzil
qadam Dagamagaae, zaraa duur chal ke
hame.n Dhuu.NDhatii hai, bahaaro.n kii duniyaa
kahaa.N aa gae ham, chaman se nikal ke
kahii.n Duub jaae na, hasarat bharaa dil
na yuu.N tiir fe.nko, nishaanaa badal ke
https://youtube.com/watch?v=2bUviGAnI9s%3F
Lets now turn to the 1967 movie Ram Aur Shyam. This too had music by Naushad and lyrics by Shakeel Badayuni. The movie starred Dilip Kumar, Pran, Waheeda Rehman, Mumtaz, Nirupa Roy.
The theme owes its origins to Alexandre Dumas’s story The Corsican Brothers: twins separated at birth who grow up with very different temperaments and then exchange places, leading to the villain being taught a lesson. Like The Corsican Brothers, which has been adapted into several feature films, Ram Aur Shyam has inspired remakes in Hindi movies too, with Seeta Aur Geeta (featuring female twins, played by Hema Malini) in 1972; Chaalbaaz (starring Sridevi) in 1989; and Kishen Kanhaiya (starring Anil Kapoor) in 1990.
This one was a super hit song from the movie:
Enjoy: Aaj ki raat mere dil ki salaami le le…
THIS TOO IS A PIANO NUMBER
ye raat jaise dulhan ban gaI hai chiraago.n se
karu.ngaa ujaalaa mai.n dil ke daaGo.n se
aaj kii raat mere, dil kii salaamii le le
dil kii salaamii le le
kal terii bazm se diivaanaa chalaa jaaegaa
shammaa rahe jaaegii paravaanaa chalaa jaaegaa
terii mahafil tere jalave ho.n mubaarak tujhako
terii ulfat se nahii.n aaj bhii inakaar mujhe
teraa may-khaanaa salaamat rahe ai jaan-e-vafaa
muskuraakar tuu zaraa dekh le ik baar mujhe
phir tere pyaar kaa mastaanaa chalaa jaaegaa
maine chaahaa ki bataa duu.N mai.n haqiiqat apanii
tuune lekin na meraa raaz-e-muhabbat samajhaa
merii ulajhan mere haalaat yahaa.N tak pahu.nche
terii aa.Nkho.n ne mere pyaar ko nafarat samajhaa
ab terii raah se begaanaa chalaa jaaegaa
tuu meraa saath na de raah-e-muhabbat me.n sanam
chalate-chalate mai.n kisii raah pe mu.D jaauu.ngaa
kahakashaa.n chaa.nd sitaare tere chuume.nge qadam
tere raste kii mai.n ek dhuul huu.N u.D jaauu.ngaa
saath mere meraa afasaanaa chalaa jaaegaa
https://youtube.com/watch?v=PrjHjEFwz5g%3F
Shakeel Badayuni was to Dilip Kumar what Hasrat Jaipuri and Shailendra were to Raj Kapoor. This lovely number from the 1968 movie Sanghursh shows Dilip Kumar at his dancing best. And why not, when he sings:
Mere pairon mein ghunghru pehna de to phir meri chaal dekh le…
https://youtube.com/watch?v=HCYCIVXCz10%3F
Before we take on our usual ghazal ending, lets take this absolutely enchanting song from Ganga Jamuna starring Dilip Kumar and Vyjayantimala. Lata Mangeshkar sang it on Naushad’s music.
Enjoy: Dagabaaz tori batiya na maanu re…
Naa maanuu.N naa maanuu.N naa maanuu.N re
dagaabaaj torii batiyaa.N naa maanuu.N re
piyaa man me.n tore kaa hai mai.n naa jaanuu.N re
dagaabaaj torii batiyaa.N …
saa.Njh kahe tose ( chundarii ma.nga_ibe ) -2
chundarii ma.nga_ibe tose chundarii ma.nga_ibe
bhor bha_e to bisar ga_ii batiyaa.N -2
naa maanuu.N re
dagaabaaj torii batiyaa.N …
hamarii garaj pe ( mukh se naa bole ) -2
mukh se naa bole sai.nyaa mukh se naa bole
apanii garaj pe milaay le akhiyaa.N
naa maanuu.N re
dagaabaaj torii batiyaa.N …
https://youtube.com/watch?v=KtlMv1j5Evw%3F
And finally the promised ghazal:
Duur hai manzil raahe.n mushkil aalam hai tanahaa_ii kaa aaj mujhe ehasaas huaa hai apani shikastaapaa_ii kaa
[shikastaah_paaii=infirmity of the feet]
dekh ke mujh ko duniyaaa vaale kahane lage hai.n diivaanaa
aaj vahaa.N hai ishq jahaa.N kuchh Khauf nahii.n rusavaa_ii kaa
chho.D de.n rasm-e-Khud_nigarii ko to.D de.n apanaa iimaa.N
Khatm kiye detaa hai zaalim ruup terii a.nga.Daa_ii kaa
Note: Peenaz Masani sinsg this as:
chho.D de rasm-e-Khud_nigarii ko chho.D de apanaa haath yahaa.N
Khaak kiye detaa hai zaalim ruup terii a.nga.Daa_ii kaa
mai.n ne ziyaa husn ko baKhshii us kaa to ko_ii zikr nahii.n
lekin ghar ghar me.n charchaa hai aaj terii raanaa_ii kaa
ahal-e-havas ab ghabaraate hai.n Duub ke behar-e-Gam me.n “Shakeel”
pahale na thaa bechaaro.n ko a.ndaazaa geharaa_ii kaa
[havas=desire; behar=sea, gulf, bay]
Enjoy Begum Akhtar sing this famous ghazal:
https://youtube.com/watch?v=PHwT0PF2c2E%3F
Day – 9
There are instances in one’s life when one wants to sing Shakeel’s verses written for Ananrkali in the 1960 movie Mughal-e-Azam: Hamen kaash tumase mohabbat na hoti! The fact is that Dil is not under the control of the Dimaag and mohabbat ho hi jaati hai. Once again, Naushad is the music director and the singer is Lata Mangeshkar.
Enjoy: hame.n kaash tum se muhabbat na hotii
kahaanii hamaarii haqiikat na hotii
na dil tum ko dete na majabuur hote
na duniyaa na duniyaa ke dastuur hote
qayaamat se pahale qayaamat na hotii
hamii.n ba.Dh gaye ishq me.n had se aage
zamaane ne Thokar lagaayii to jaage
agar mar bhii jaate to hairat na hotii
tumhii.n phuu.Nk dete nasheman hamaaraa
muhabbat pe ahasaan hotaa tumhaaraa
zamaane se koi shikaayat na hotii
https://youtube.com/watch?v=8-Hu4tr8Mv8%3F
This is from the 1954 movie Amar on similar theme as the Mughal-e-Azam song. Shakeel, Naushad, Lata made this too.
.Enjoy: (na shikawaa hai koii na koii gilaa hai)-3
salaamat rahe tuu ye merii duaa hai
na shikawaa hai koii
(bahut hii kaThin hai.n mohabbat kii raahe.n)-2
zaraa bach ke chalanaa zamaanaa buraa hai
na shikawaa hai koii
(ajab terii mahafil me.n dekhaa tamaashaa
kahii.n raushanii hai kahii.n hai a.Ndheraa)-2
kahii.n hai a.Ndheraa
(muqaddar chiraaGo.n ke badale hue hai.n)-2
koii bujha rahaa hai koii jal rahaa hai
na shikawaa hai koii
(mubaarak tujhe ho tere dil kii duniyaa
merii zi.ndagii kaa koii Gam na karanaa)-2
koii Gam na karanaa
(ye sab gardishe.n hai.n nasiibo.n kii pyaare)-2
na merii Kataa hai na terii Kataa hai
na shikawaa hai koii
https://youtube.com/watch?v=U40XA559-UY%3F
This is a beautiful Talat Mehmood number sung by him on his own acting in the 1953 movie Dil-e-Nadaan. Shakeel’s lyrics were adorned by Ghulam Mohammed’s music.
Enjoy: Jo khushi se chot khaaye vo jigar kahan se laayun?
terI khAtir sitam dil pe gavaaraa kar liyaa mai.nne
kahaa kisane muhabbat se kinaaraa kar liyaa mai.nne
jo khushI se choT khaaye,
vo jigar kahaa.N se laauu.n – 2
kisii aur ko jo dekhe,
vo najar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
mujhe terI aarazuu hai,
mere dil me.n tuu hii tuu hai – 2
base gair jisame.n aa kar,
mai.n vo ghar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
terI berukhii pe sadake,
terI har adaa pe kurbaa.n – 2
kare aur ko jo sajade,
mai.n vo sar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
vo jigar kahaa.N se laauu.n – 2
jo khushI se choT khaaye
https://youtube.com/watch?v=CDG0C9HiZJg%3F
Shakeel Badayuni, Ravi and Mohammad Rafi have put together this sad number for the 1964 movie Door Ki Awaaz.
Enjoy: Kya younhi rooth ke jaane ko mohabbat ki thi Zindagi meri mitaane ko mohabbat ki this?
banaa ke meraa muqaddar bigaa.Dane vaale
javaab de o meraa ghar ujaa.Dane vaale
kyaa yuu.N hii ruuTh ke jaane ko mohabbat kii thii -2
zindagii merii miTaane ko mohabbat kii thii
kyaa yuu.N hii …
aa.Nkh me.n aa.Nsuu lab pe kahaanii terii
mujhako ta.Dapaatii hai din-raat nishaanii terii
kyaa mujhe tuune rulaane ko mohabbat kii thii
kyaa yuu.N hii …
o mujhe bhuulane vaale tuu kahaa.N hai aajaa
kyaa hu_ii mujhase Kataa ye to zaraa batalaa jaa
yaa ye kah de ke dikhaane ko mohabbat kii thii
kyaa yuu.N hii …
https://youtube.com/watch?v=Q6p-ylR6v_k%3F
Day – 10
I started telling you about ‘the beauty of the Lyrics of Shakeel Badayuni’ ten days back and by this time you must know as to why I have been so fond of his songs, nazms, ghazals etc. Lets begin Day 10 with a ghazal that is so full of meaning:
Various singers have sung this beautiful ghazal such as Begum Akhtar and Ustad Raza Ali Khan. I have, however, chosen Farida Khanum singing it live. Remember her? Her famous ghazal: Aaj jaane ki zid naa karo, younhi pehlu mein baithe raho? Of course you remember; how can anyone forget?
Enjoy:
Mere Ham-Nafas, Mere Ham-Navaa, Mujhe Dost Banake Dagaa Na De Main Hun Dard-E-Ishq Se Jaanvalab, Mujhe Zindagi Ki Duaa Na De
[Jaanvalab=death, Dead]
Mere Daag-E-Dil Se Hai Raushani, Usi Raushani Se Hai Zindagi
Mujhe Dar Hai Aye Mere Chaaraagar, Ye Charaag Tu Hi Bujhaa Na De
[Chaaraagar=physician]
Mujhe Chhod De Mere Haal Par, Teraa Kyaa Bharosaa Hai Chaaraagar
Ye Teri Nawaazish-E-Mukhtasar, Meraa Dard Aur Badaa Na De
[Mukhtasar=brief]
Meraa Azm Itanaa Baland Hai Ke Paraaye Sholon Kaa Dar Nahin
Mujhe Khauf Aatish-E-Gul Se Hai, Ye Kahin Chaman Ko Jalaa Na De
[Sholon=balls Of Fire; Aatish=fire]
Wo Uthe Hain Leke Hom-O-Subu, Arey O ‘Shakeel’ Kahaan Hai Tu
Teraa Jaam Lene Ko Bazm Mein Koi Aur Haath Badaa Na De
[Hom=burnt Offering; Subu=wine Cup]
https://youtube.com/watch?v=JGpOe3Rn_Kc%3F
How I have dedicated the start of Day 10 to a deceiving friend! The first song is also so dedicated to the same person. It is from the 1952 movie Aan starring Dilip Kumar and Nimmi. Music is by Naushad and the song is a duet between Mohammad Rafi and Lata Mangeshkar.
Enjoy: Tujhe kho diya hamane paane ke baad…
https://youtube.com/watch?v=lGq7Fh21FvE%3F
Shakeel, Naushad, Rafi again on the same theme but for the 1951 movie Deedar starring Dilip Kumar Nimmi, Nargis and Ashok Kumar. This was amongst the rare movies in which the career of Mohammad Rafi coincided with that of his idol GM Durani. The movie had some lovely numbers such as:
1. Bachpan Ke Din Bhoola Na Dena – Male Mohammad Rafi
2. Hue Hum Jinke Liye Barbad – I Mohammad Rafi
3. Hue Hum Jinke Liye Barbad – II Mohammad Rafi
4. Naseeb Dar Pe Tera Aazmane Aya Hon Mohammad Rafi
5. Meri Kahani Bhoolne Wale Mohammad Rafi
6. Dekh Liya Maine Kismat Ka Tamasha Mohammad Rafi & Lata Mangeshkar
7. Tu Kon Hai Mera Kehde Balam Lata Mangeshkar
8. Le Ja Meri Duayeein Le Ja Lata Mangeshkar
9. Duniya Ne Teri Duniyawale Lata Mangeshkar
10. Bachpan Ke Din Bhoolana Dena – Female Shamshad Begum & Lata Mangeshkar
11. Chaman Mein Rakhe Verana Shamshad Begum
12.Nazar Na Phero Humse Shamshad Begum & GM Durani
What a veritable treat! On an everyday basis I am literally finding dozens of songs by Shakeel Badayuni penned so beautifully that one marvels at his ability to write. Lets just take one: Huye ham jinake liye barbaad. Even before you see and hear, just read and digest the lyrics:
(asire panjae ahade shabab karke mujhe
kaha gaya meraa bachpan, kharab kaa key mujhe
ha ha ha ha aa…..)
huye ham jhinke liye barbad, woh hamko chahe kare naa yad
jivan bhar, jivan bhar unkee yad me, (ham gaye jayenge -2)
ek jamana tha woh pal bhar (hamse rahe naa dur -2)
ek jamana hai key huye hai (milane se majbur -2)
rahe woh dil kaa nagar aabad, basee hai jis me kisee kee yad
ham dil ko -2 unkee yad se, bahelaye jayenge gaye jayenge
me hu aisa dipak jis me (naa batee naa tel -2)
bachpan bita, banee muhobbat (char dino kaa khel -2)
woh gham se lakh rahe aajhad, sune naa dard bharee fariyad
afsana -2 unke pyar kaa ham gaye jayenge, gaye jayenge
huye ham jhin key liye barbad………
SHAKEEL BADAYUNI I SALUTE YOU!
https://youtube.com/watch?v=N7dWUwyffxE%3F
One can spend a whole night singing not just Shakeel Badayuni songs but just Deedar songs. Here is another on the same theme:
mere giit sune duniyaa ne magar
meraa dard koI na jaan sakaa
ek teraa sahaaraa thaa dil ko
par tuu bhii na mujhe pahachaan sakaa
bachapan ke vo giit puraane aaj tujhe na yaad rahe
merii kahaanii
mai.n apanaa fasaanaa kah na sakaa
mere dil kii tamannaa dil me.n rahii
lo aaj kinaare par aake
aramaano.n kii kashtii Duub ga_ii
qismat ko ma.nzuur yahii thaa lab par mere fariyaad rahe
merii kahaanii
https://youtube.com/watch?v=gkbU2zUmxmk%3F
Before we call it a day, I am going to give you yet another number from Deedar. It is a duet between Mohammad Rafi and Lata Mangeshkar.
Enjoy: Dekh liya maine kismet ka tamaasha dekh liya
ra : dekh liyaa maine
qisamat kaa tamaashaa dekh liyaa
ik aaG bujhii
ik aaG lagii
aa.Nkho.n ne merii kyaa dekh liyaa
la : dekh liyaa maine
saajan teraa vaadaa dekh liyaa
rasate pe huu.N mai.n
ma.nzil pe hai tuu
ye pyaar kaa naataa dekh liyaa
dekh liyaa maine
ra : aayaa mai.n kisii kii mahafil me.n
mahafil me.n
tuufaan liye laakho.n dil me.n
milakar bhii rahaa mai.n mushkil me.n
milane kaa natiijaa dekh liyaa
ik aaG bujhii
ik aaG lagii
aa.Nkho.n ne merii kyaa dekh liyaa
dekh liyaa maine
la : chhupate hii tere o chaa.Nd mere
o chaa.Nd mere
suuraj bhii na nikalaa aa.Ngan me.n
phir Gam kii a.Ndherii raat hu_ii
do din kaa ujaalaa dekh liyaa
rasate pe huu.N mai.n
ma.nzil pe hai tuu
ye pyaar kaa naataa dekh liyaa
dekh liyaa maine
dekh liyaa maine
saajan teraa vaadaa dekh liyaa
ra : dekh liyaa maine
qisamat kaa tamaashaa dekh liyaa
https://youtube.com/watch?v=1W8ZEbF_q3c%3F
I am going to do something rare tonight:
After all these lovely songs, even though I started with a ghazal, I am going to end with another ghazal of Shakeel Badayuni.
Enjoy: Begum Akhtar sing:
Khush huu.N ki meraa husn-e-talab kaam to aayaa Khaalii hii sahii merii taraf jaam to aayaa
[talab=pursuit; jaam=wineglass]
kaafii hai mere dil ki tasallii ko yahii baat
aap aa na sake aap kaa paiGaam to aayaa
apano.n ne nazar pherii to dil ne to diyaa saath
duniyaa me.n koii dost mere kaam to aayaa
wo subah kaa ehasaas ho yaa.N merii kashish ho
Duubaa hua Khurshiid sar-e-baam to aayaa
[kashish=strife; Khurshiid=sun; baam=morning]
log un se ye kahate hai.n ki kitane hai.n “Shakeel” aap
is husn ke sadaqe me.n meraa naam to aayaa
https://youtube.com/watch?v=WKD1yBTuWjs%3F
Day – 11
This is one of the most famous ghazals of Shakeel Badayuni; indeed the first that I heard during my boyhood days. To say that it has been penned beautifully is only saying the obvious. I leave it to you to refresh your memory of this ghazal:
Nazar nawaaz nazaaron mein jee nahin lagtaa aa wo kyaa gaye ke bahaaron mein jee nahin lagtaa aa
na poochh mujh se tere gham mein kyaa guzarti hai ae
na poochh mujh se tere gham main kyaa gujarti hai ae
yahi kahoongaa hazaaron mein jee nahin lagtaa aa
nazar nawaaz nazaaron mein jee nahin lagtaa aa
kuchh iss qadar hai gham-e-zindagi se dil-e-manoos
kuchh iss qadar hai gham-e-zindagi se dil-e-manoos
fizaan gayi to bahaaron mein jee nahin lagtaa aa
nazar nawaz nazaaron mein jee nahin lagtaa aa
fasaana e shab-e-gham khatm hone waala hai ae
fasaana e shab-e-gham khatm hone walaa hai ae
Shakeel ab chaand sitaaron mein jee nahin lagtaa aa
wo kyaa kahen ke bahaaron mein jee nahin lagtaa aa
This ghazal also owes a lot to the singing of Shanti Hiranand Mansukhani who was born in Lucknow in a business family in 1940. From the childhood, she was drawn towards singing. So her mother admitted her to a music college in Lucknow. However, her father had to shift to Lahore for business purposes. Being the youngest in the family, Shanti Hiranand went with her parents to Lahore in early 40s. Here, she came into contact with a blind woman who was a music teacher. She learnt the nuances of classical singing from her for about 5 years. In 1947, she gave her first singing performance on All India Radio, Lahore. After partition, the family returned to Lucknow where she began learning music from Ustad Aijaz Hussain Khan. She continued to participate in singing and musical dramas on AIR, Lucknow. It was one of AIR Lucknow’s senior staff who introduced her to Begum Akhtar. In 1957, she became the disciple of Begum Akhatar who trained her in thumri, dadra and ghazal singing. After the death of Begum Akhtar in October 1974, Shanti Hiranand propagated her style of singing by giving public concerts both in India and abroad. She was instrumental in bringing out a book ‘The Story of My Ammi Begum Akhtar’. She also acted in Conard Rooks’s ‘Siddhartha’ (1972) donning the role of Shashi Kapoor’s mother.
Enjoy the ghazal of a great poet by a great singer:
https://youtube.com/watch?v=WYQRvcaU8FA%3F
And what about the idol of Shanti Heranand Mansukhani: the great Begum Akhtar herself? She was simply called Mallika-e-Ghazal (the Queen of Ghazals). I have already put up her singing of Shakeel’s most famous ghazal ‘Ai mohabbat tere anjaam pe rona aaya’. Here is another Nazar ghazal by her (penned by Shakeel) for the 1948 movie Anokhi Ada on the music of Naushad. The movie starred Naseem Bano, Murad, Cuckoo and Surendra.
Enjoy: Nazar mil gayi jaane kis ki nazar se…
nazar mil ga_ii jaane kis kii nazar se – 2
Dha.Dakane lagaa dil mohabbat ke Dar se-2
nazar mil ga_ii jaane kis kii nazar se
uThii huu.N ki yuu.N aaj pahaluu me.n jaise
pahaluu me.n jaise – 2
uThii huu.N ki yuu.N aaj pahaluu me.n jaise
ko_ii chiiz Takaraa ga_ii hai jigar se – 2
jaane kis kii nazar se
nazar mil ga_ii jaane kis kii nazar se
Dha.Dakane lagaa dil mohabbat ke Dar se
nazar mil ga_ii jaane kis kii nazar se
ko_ii jaane vaale kii himmat to dekhe
himmat to dekhe – 2
ko_ii jaane vaale kii himmat to dekhe
mujhii ko churaa le gayaa mere ghar se – 2
jaane kis kii nazar se
nazar mil ga_ii jaane kis kii nazar se
Dha.Dakane lagaa dil mohabbat ke Dar se
nazar mil ga_ii jaane kis kii nazar se
https://youtube.com/watch?v=nR56_u1EV6w%3F
Last of Nazar songs/ghazals tonight. This is a duet between Shanti Heranand Mansukhani’s idol Begum Akhtar and Mohammad Rafi’s idol GM Durrani. It is from the 1951 movie Deedar starring Dilp Kumar, Ashok Kumar, Nimmi and Nargis. Last night too I gave two or three songs from the same movie.
Each one of us has a desire, sometimes, to live in another era. How I wish I could live in the era of Shakeel Badayuni. Many a times when someone chooses to compare him with other lyricists and poets, I feel like telling him/her about the pristine beauty of Shakeel’s lyrics. This tribute of mine that has been going on for the last eleven days is as a result of this feeling.
Enjoy: Nazar Phero Na Hamse Ham Hain Tum Par Marne Walon Mein
Nazar Phero Na Hamse
Ham Hain Tum Par
Marne Walon Mein
Hamara Naam Bhi Likh Lo
Mohabbat Karne Walon Mein
Shamshad : Jahan Nazaren Mili
Bole Ke Ham Hain Marne Walon Mein
Banawat Hi Banawat Hai
Mohabbat Karne Walon Mein
Gm: O
Tumhari Shokiyon Ko Dil Mera
Nakam Kar Dega
Aa..N
Suna Kar Pyar Ke Nagmein
Tumhein Badnam Kar Dega
Haan
Aji Ye Dil Nahi Chhip-Chhip Ke
Aahen Bharne Walon Mein
Hamara Naam Bhi Likh Lo
Mohabbat Karne Walon Mein
Shamshad: Wahi Dil Hai Jo Is Duniya Mein
Apna Nam Kar Jaye
Mohabbat Kya Karega Wo
Jo Badnami Se Dar Jaye
Haan
Nahi Ham Aapki In Dhamkiyon Se
Darne Walon Mein
Banawat Hi Banaawat Hai
Mohabbat Karne Walon Mein
https://youtube.com/watch?v=F59isyJfYA4%3F
During the good old days, expressing love wasn’t as easy as it is these days; young boys and girls now announce it on facebook and twitter and put up photos etc.
Here is the old andaaz; though very forward looking during those days! It is from 1963 movie Mere Mehboob. Rafi sings it on Naushad’s music.
Enjoy: Tumase izhaar-e-haal kar baithe Bekhudi mein kamaal kar baithe…
aaj furakat kA khvaab TuuT gayaa
mil gaye tum hijaab TuuT gayaa
tum se izahaar-e-haal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kho gaye husn kI bahaaro.n me.n
kah diyaa raaz-e-dil ishaaro.n me.n
kaam ham bemisaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
kitane majabuur ho gaye dil se
soche samajhe bagair qaatil se
zindagii kA savaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
ye adaae.n ye shokhiyaa.n taubaa
bas khudaa hii khudaa hai us dil kA
jo tumhaaraa khayaal kar baiThe
bekhudii me.n kamaal kar baiThe
tum se izahaar-e-haal …
https://youtube.com/watch?v=-fmYt9Qa_BA%3F
Day – 12
How I wish Shakeel would have lived longer and I would reach the 100th day still putting up his songs, nazms and ghazals!
Lets start with the usual ghazal and pay attention to the second couplet:
terii mahafil se uThakar ishq ke maaro.n pe kyaa guzarii muKhaalif ik jahaa.N thaa jaane bechaaro.n pe kyaa guzarii
sahar ko ruKhsat-e-biimaar-e-furqat dekhane vaalo
kisii ne ye bhii dekhaa raat bhar taaro.n pe kyaa guzarii
sunaa hai zindagii viiraaniyo.n ne luuT lii milakar
na jaane zindagii ke naaz_baradaaro.n pe kyaa guzarii
ha.Nsii aa_ii to hai bekaif sii lekin Khudaa jaane
mujhe masaruur paakar mere Gam_Khvaaro.n pe kyaa guzarii
asiir-e-Gam to jaa.N dekar rihaa_ii paa gayaa lekin
kisii ko kyaa Khabar zindaa.N kii divaaro.n pe kyaa guzarii
Rare picture shows Rafi, Lata, Shakeel and Naushad.
I have already given you a Zindagi number from the 1948 movie Mela starring Dilip Kumar and Nargis. The song is the ultimate lesson of life that life will go on even when we won’t be there…. How about a Mukesh number from the same movie? Surely, this would rank amongst the best of Mukesh’s songs even though Mukesh normally sang the lyrics of Shailendra or Hasrat Jaipuri. Music is by Naushad.
Enjoy: Gaaye jaa geet Milan ke, tu apni lagan ke, Sajan ghar jaana hai…
gaae jaa giit milan ke, tuu apane lagan ke
sajan ghar jaanaa hai
kaahe chhalake naino.n kii gagarii kaahe barase jal
tum bin suunii saajan kii nagarii paradesiyaa ghar chal
pyaase hai.n diip nayan ke, tere darshan ke
sajan ghar…
luT na jaae jiivan kaa Dheraa mujhako hai ye Gam
ham akele, ye jag luTeraa bichha.De.n na milake ham
biga.De nasiib na banake ye din jiivan ke
sajan ghar…
Dole nayanaa priitam ke dvaare milane kii ye dhun
baalam teraa tujhako pukaare yaad aanevaale sun
saathii mile.nge bachapan ke khile.nge phuul man ke
sajan ghar…
https://www.youtube.com/watch?v=oYknpzlVlxo
In the various genres of poetry, the one that Shakeel had perfected the best was the Irony. He did it so marvelously that it left you gaping. Take this one from Mughal-e-Azam. The Emperor has granted Anarkali her last wish to spend one night with Prince Salim before she is thrown into the dungeon; she having traded her own life to save his life. Read every word of this qwaali carefully, digest every sentence when you hear it and then compare it with the scene that I have described….and the irony will make you get goose pimples. Only, Shakeel could write as if he himself was present at the scene!
Enjoy: Lata singing on Naushad’s music: Jab raat hai aisi matvaali phir subah ka aalam kyaa hoga…
Jab raat hai aisi matvaali
Phir subah kaa aalam kaya hoga?
ye dil kii lagii kam kyaa hogii
ye ishq bhalaa kam kyaa hogaa
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
naGamo se barasatii hai mastii
chhalake hai.n khushI ke paimaane – 2
aaj aisI bahaare.n aaii hai.n
kal jinake bane.nge afasaane – 2
ab ise jyaadaa aur hasii.n ye pyaar kA mausam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
ye aaj kA ra.ng aur ye mahafil
dil bhI hai yahaa.N diladaar bhI hai – 2
aa.Nkho.n me.n kayaamat ke jalave
siine me.n sulagataa pyaar bhI hai – 2
is ra.ng me.n koI jii le agar marane kA use Gam kyaa hogaa – 2
jab raat hai aisI matavaalii
phir subah kA aalam kyaa hogaa – 2
haalat hai ajab dIvaano.n kii
ab khair nahii.n paravaano.n kii – 2
anjaam-e-mohabbat kyaa kahiye
laya ba.Dhane lagI aramaano.n kii – 2
aise me.n jo paayal TuuT gayii phir ai mere hamadam kyaa hogaa – 2
jab raat hai aisI matavaalii – 2
phir subah kA aalam kyaa hogaa – 2
https://www.youtube.com/watch?v=7vLKhdjXBkg
Finally to end tonight, let me give you a ghazal sung by Melody Queen Lata Mangeshkar:
Enjoy: Aankh se aankh milata hai koi, Dil ko kheenche liye jaata hai koi
aa.Nkh se aa.Nkh milaataa hai koii
dil ko khii.nche liye jaataa hai koii
hai ye hairat ki bharii mahafil me.n
mujhako tanhaa nazar aataa hai koii
chaahiye Kud pe yaqiin-e-qaamil
hausalaa kisakaa ba.Dhaataa hai koii
sab karishmaat-e-tasavvur hai shaqiil
van.raa aataa hai na jaataa hai koi
Day – 13
What about magical simplicity? You mean “Jaadu”? Well, that is the name of the 1951 movie for which Shakeel wrote his lyrics. This one is a particularly enchanting number. Lata sings it for Nalini Jayawant singing for Suresh, on Naushad‘s music.
Enjoy: Lo pyaar ki ho gayi jeet, Balam ham tere ho gaye…
lo pyaar kii ho gayii jiit
balam ham tere ho gaye
ham tujh se lagaa kar priit
nayii duniyaa.N me.n kho gaye
naino.n ne tere saajan
man ko lubhaa ke chho.Daa
dil pe kiyaa vo jaaduu
apanaa banaa ke chho.Daa
mere dil me.n khushii kaa ra.ng
ho.nTho.n pe khushii ke giit
lo pyaar kii ho gayii jiit …
aramaan bhare do dil hai.n
duniyaa.N pe hai javaanii
terii qasam o saajan
rut hai ba.Dii suhaanii
o~
rahe.n mil ke sadaa ham tum
yuu.Nhii jaaye umariyaa biit
lo pyaar kii ho gayii jiit …
How about starting tonight with a duet, for a change? It is sung by Mohammad Rafi and Asha Bhosle. The film is the 1963 movie Gehra Dagh. Ravi composed the music on Shakeel’s lyrics….
Enjoy: Tumhen paa ke hamne jahan paa liya hai,
Zameen to zameen aasman pa liya hai….
aa : tumhe.n paa ke hamane jahaa.N paa liyaa hai -2
zamii.n to zamii.n aasamaa.N paa liyaa hai
ra : tumhe.n paa ke …
aa : miTaa na sakegii jise ab Kizaa.N bhii
jalaa na sake.ngii ab bijaliyaa.N bhii
mohabbat kaa vo aashiyaa.N paa liyaa hai
tumhe.n paa ke …
ra : zamaane ke Gam pyaar me.n Dhal ga_e hai.n -2
ummiido.n ke laakho.n di_e jal ga_e hai.n -2
ke jabase tumhe.n meharabaa.N paa liyaa hai
tumhe.n paa ke …
aa : jahaa.N se mohabbat kii raahe.n milii hai.n
ra : vahii.n se merii gardishe.n tham ga_ii hai.n
do : na bichha.De.nge ham kaaravaa.N paa liyaa hai
tumhe.n paa ke …
Day – 14
Only a week left for the Death Anniversary of the great poet and lyricist who wrote from the heart…. The 1966 movie Do Badan, a Raj Khosla directed movie was another one that had the combination of Shakeel Badayuni and Ravi for its songs. The movie not only had some excellent songs but some of the saddest songs; which, as mentioned by the poet Shelley, are amongst our sweetest.
Jab Chali Thandi Hawa Asha Bhosle
Bhari Duniya Mein Akhir Dil Mohammad Rafi
Raha Gardishun Main Har Dum Mohammad Rafi
Naseeb Mein Jisko Jo Mohammad Rafi
Lo Aa Gayi Unki Yaad Lata Mangeshkar
Mat Jayio Naukariya Chor Ke Asha Bhosle
Raha Gardishun Mein (Reprise) Mohammad Rafi
Lo Aa Gayi unki Yaad (Reprise) Lata Mangeshkar
To understand the beauty of these songs, one has to know the story: Vikas (Manoj Kumar) comes from a poor family, and is attending college so that he can complete his studies, get a job, and look after himself and his dad. He meets with wealthy Asha (Asha Parekh) at this college, and after a few misunderstandings, both fall in love. Vikas’ dad passes away during the exams. Because Vikas leaves to attend the funeral, he is unable to complete his studies. Asha feels sorry for him and arranges to get him employed with her dad, without telling Vikas about it. Asha’s dad wants her to get married to Ashwini (Pran), and he soon announces their engagement. Ashwini finds out that Asha is in love with Vikas, and arranges an accident for Vikas. Vikas survives the accident, but loses his eyesight. After this incident, Vikas does not want to burden Asha, and strikes up a new friendship with Dr. Anjali (Simi Grewal). Meanwhile, Ashwini informs Asha that Vikas has died in the accident. Asha loses interest in life after listening to the news of Vikas’s death. Ashwini then meets Vikas and requests him to convince Asha that he does not love her any more. Vikas agrees and convinces Asha that he is having an affair with Dr. Anjali. Asha marries Ashwini but refuses to live with him in the same room.Vikas starts singing to earn money. Dr. Anjali asks him to get an eye operation, but Vikas refuses. One day Dr. Anjali visits Asha and requests her to persuade Vikas for the operation. While Asha is asking Vikas to undergo the operation, Ashwini takes her away and locks her in a room. She feels suicidal. One day Asha’s uncle goes to meet her and feels saddened by her condition. He takes her to her father’s home. Within three days, Asha becomes sick and doctors are unable to do anything for her. Meanwhile, Vikas’s eye operation is successful. Ashwini apologizes to Asha. He goes to Vikas and tells him about Asha’s condition. Vikas and Ashwini go to Asha. She dies after taking one look at Vikas. He is not able to bear that and also dies. Both of them reunite after their death.
With this background, you will be able to understand the emotions behind this song for which Shakeel was nominated for the Best Lyricist award that year:
Enjoy Mohammad Rafi singing: Naseeb mein jisake jo likha tha…
nasiib me.n jisake jo likhaa thaa
vo terii mahafil me.n kaam aayaa
kisii ke hisse me.n pyaas aaii
kisii ke hisse me.n jaam aayaa
mai.n ik fasaanaa huu.N bekasii kaa
ye haal hai merii zi.ndagii kaa
na husn hii mujhako raas aayaa
na ishq hii mere kaam aayaa
nasiib me.n …
badal ga_ii.n terii ma.nzile.n bhii
bichha.D gayaa mai.n bhii kaaravaa.n se
terii muhabbat ke raaste me.n
na jaane ye kyaa makaam aayaa
nasiib me.n …
tujhe bhulaane ki koshishe.n bhii
tamaam naakaam ho ga_ii hai.n
kisii ne zikr-e-vafaa kiyaa jab
zubaa.N pe teraa hii naam aayaa
nasiib me.n …
This too was a Shakeel – Ravi combine movie; only it came three years earlier than Do Badan. The movie was ‘Pyar Kiya To Darna Kya’ starring Shammi Kapoor and Saroja Devi…. This is another sad sad song on almost the same thought as the one of Do Badan. Ravi’s music is fantastic and suits the personality of Shammi Kapoor.
Enjoy: Zindagi kya hai, gam ka dariya hai
Na jeena yahan bas mein, na marna yahan bas mein
Ajab duniya hai…
zindagii kyaa hai Gam kaa dariyaa hai
na jiinaa yahaa.N bas me.n na maranaa yahaa.N bas me.n
ajab duniyaa hai
zindagii kyaa hai …
haay re vo insaan ke jisako Gam kii nazar lag jaa_e
chupake-chupake aahe.n bhare aur mu.Nh se na kuchh kah paa_e
dil apanaa ha.Nsataa hai khud par ( aur kabhii rotaa hai ) -2
zindagii kyaa hai …
jhuuThii hai.n duniyaa kii bahaare.n ra.ng hai.n saare kachche
vaqt pa.De to thaam le.n daaman phuul se kaa.NTe achchhe
is gulashan me.n qadam-qadam par ek ( nayaa dhokhaa hai ) -2
zindagii kyaa hai …
jab insaan akelaa thaa to dukh bhii na the jiivan me.n
paayaa jab hamaraahii usane Duub gayaa ulajhan me.n
ye duniyaa hai begaano.n kii kaun ( yahaa.N apanaa hai ) -2
zindagii kyaa hai …
https://www.youtube.com/watch?v=dzA2H_xErPE
Yet another piano number! This one is sung by Jagjit Kaur for the 1953 movie Dil-e-Nadaan starring Shyama and Talat Mehmood. Ghulam Mohammad is the music composer. The other night I had put up another beautiful number from the same movie: Jo khushi se chot khaaye.
Tonight, enjoy: Khamosh zindagi ko ik afsaana mil gaya…
( Kaamosh zi.ndagii ko o
Kaamosh zi.ndagii ko ik afasaanaa mil gayaa
ajii afasaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa ) -2
o
dil me.n Kumaariyaa.N sii
mastii jagaate giit ho -2
diiwaanagii me.n kaun ye diiwaanaa mil gayaa
ajii diiwaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
o
sabakaa hai dil ke hosh me.n
aane ke din gaye -2
aaye bahaar shiishe se paimaanaa mil gayaa
ajii paimaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
o
laayaa hai ko_ii mere liye
dil kii dha.Dakane -2
nazaro.n ke chaar hote hii nazaraanaa mil gayaa
ajii nazaraanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
Kaamosh zi.ndagii ko o
Kaamosh zi.ndagii ko ik afasaanaa mil gayaa
ajii afasaanaa mil gayaa
bha.Nware ko phuul shammaa ko parawaanaa mil gayaa
ajii parawaanaa mil gayaa
What would you say about this most enchanting bhajan; whether the credit goes to Shakeel as lyricist or Sachin Dev Burman as music director? I think both are deserving of our deep appreciation. The bhajan has been sung by Mohammad Rafi, Sudha Malhotra and SD Batish. Its music and lyrics leave you spellbound. The movie is the 1964 movie Kaise Kahoon. The other night I had put up: Tum hamen pyaar karo ya na karo, ham tumhen pyaar kiye jaayenge.
Enjoy: Manmohan mein ho tumhin…..
shi : a~ tanu~~um aa~ aa~ aa aa~
su : aa~ aa~ aa~ aa~ aa~
shi : aa~ manamohan man me.n ho tumhii.n
ra, su : manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano ya jaano na ho tumahii
manamohan man ## SDB joins in, R+S fade out ## me.n …
R: manamohan man me.n man me.n
S: ho tumhii.n ho tumhii.n ho tumhii.n
R+S=manamohan man me.n ho tumhii.n
more a.ng a.ng tumhii.n samaaye
jaano yaa jaano naa ho tumhii.n
manamohan ## SDB joins in, R+S fade out ## man me.n …
SDB: dekh dekh torii chhab saa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano naa ho tumhii.n
manamohan man ## R fade out, S alone ## me.n
R: dekh dekh torii chhab saa.Nvariyaa
S: ho~o bani hai raadha tumharii baa.Nvariyaa
R+S: dekh dekh torii chhab saa.Nvariyaa
banii hai raadhaa tumharii baa.Nvariyaa
rom rom tumhare guN gaaye
maano yaa maano na ho tumhii.n
manamohan man(R fade out, S alone) me.n
R: a~ aa~
S: aa~ aa~ a~
As usual lets end tonight with a ghazal. Please forgive me for the poor quality of the audio.
Here is Talat Mahmood singing Shakeel’s ghazal: Un se ummiid-e-ruunumaa_ii hai
kyaa nigaaho.n kii maut aa_ii hai
dil ne Gam se shikast khaa_ii hai
umr-e-raftaa terii duhaa_ii hai
dil kii barbaadiyo.n pe naazaa.N huu.N
fatah paakar shikast khaa_ii hai
mere maa_abad nahii.n hai dair-o-haram
ehatiyaatan jabii.n jhukaa_ii hai
vo havaa de rahe hai.n daaman kii
haaye kis vaqt niind aa_ii hai
khul gayaa un kii aarazuu me.n ye raaz
ziist apanii nahii.n paraa_ii hai
duur ho Gunche merii nazar se
tuu ne merii ha.Nsii churaa_ii hai
gul fasurdaa chaman udaas ‘Shakeel’
yuu.N bhii aksar bahaar aa_ii hai
https://www.youtube.com/watch?v=QopXvVHibYs
Final Day
It has been exactly two weeks back that I started this tribute to Shakeel Badayuni whom I call the Best Lyricist and Ghazal writer that the Hindi film industry has ever seen; before it rejoiced in being bastardized as “Bollywood”.
On this day, 43 years back, at the age of 53, Shakeel from the town of Badayun in Uttar Pradesh succumbed to diabetes. As I said, in the beginning of my tribute, he left but he left with generations to come some of the finest songs and ghazals that we ever heard such as Ai mohabbat tere anjaam pe rona aaya, Gam-e aashiqui se keh do raah-e aam taq na pahunche, bana bana ke tamanna mitaayi jaati hai, nazar nawaaz nazaron mein dil nahin lagata, mere mehboob tujhe meri mohabbat ki kasam, chaudhvinh ka chand ho, beqraar karake hamen youn naa jayiye, husn vale tera jawaab nahin, ye zindagi ke mele duniya mein kam na honge, suhani raat dhal chuki, koi sagar dil ko behlata nahin…..and many many more.
Tonight, I may repeat some though I shall try not to.
I have already put up the song: Husn vale tera jawaab nahin for the 1962 movie Gharana for which Shakeel Badayuni got the Best Lyricist Award for the second time. Also, I have brought out the fact that even though Shakeel Badayuni was an Urdu poet, he wrote some of the best Hindi bhajans; the best out of them being Man tadpat Hari darshan ko aaj.
On the occasion of Ramnavami, whilst wishing my friends, I brought out that we are blessed indeed that Lord Ram was born in our midst. He set before the world the finest example of service before self. I accompanied my greetings with an Anand Bakshi bhajan: Ram ji ki nikali sawaari, Raam ji ki leela hai nayari.
Lets celebrate Ramnavami with this beautiful Ram bhajan from Shakeel Badayuni: Please enjoy: Jay Raghunandan, Jay Siyaram sung by Mohammad Rafi and Asha Bhosle on Ravi’s music.
jay raghunandan jay siyaaraam
he dukhabha.njan tumhe.n praNaam
bhraat-bhraat ko he parameshvar sneh tumhii.n sikhalaate
nar-naarii ko he parameshvar sneh tumhii.n sikhalaate
o naiyaa ke khevanahaare japuu.N mai.n tumharo naam
jay raghunandan …
tum hii dayaa ke saagar prabhu jii tum hii paalanahaare
chain tumhii.n se paa_e bekal manavaa saa.Njh-sakaare
jo bhii tumhaarii aas lagaa_e bane usii ke kaam
jay raghunandan …
The 1963 movie Grahasti was released at the height of Shakeel Badayuni’s popularity as a lyricist. The movie starred Ashok Kumar, Manoj Kumar, Rajshree, Nirupa Roy, Mehmood, Shubha Khote, Indrani Mukherjee and others. I want to draw your attention to the simplicity of this Hindi (not Urdu) song (bhajan) written by Shakeel sung by Asha Bhosle on Ravi‘s music: jiivan jyot jale
jiivan jyot jale
kou na jaane kab nikase din
aur kab raat Dhale
jiivan jyot jale …
bhor bhaye to man muskaaye
sa.Njh bhaye to niir bahaaye
ek pal maan kare sa.nsaarii
ek pal haath male
jiivan jyot jale …
https://www.youtube.com/watch?v=UemDW8KonE8
The 1954 movie Amar had the complete quartet together of Shakeel as Lyricist, Naushad as Music Director, Mohammad Rafi as singer and Dilip Kumar as actor opposite Madhubala who was head over heels in love with Dilip Kumar and wanted to marry him.
Lets go to the temple together with Dilip Kumar and Madhubala and hear and see the beauty of Shakeel’s lyrics for this song:
##during casting##
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
ra: kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
##casting ends here##
part 2
##Dilip and Madhubaalaa go to temple##
ra: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
kahanaa hai jo kah de tujhe kis baat kaa Dar hai
hai khoT tere man me.n jo bhagavaan se hai duur -2
hai.n paa.Nv tere
hai.n paa.Nv tere phir bhii tuu aane se hai majabuur
aane se hai majabuur
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
insaaf kaa mandir hai ye bhagavaan kaa ghar hai
dukh de ke jo dukhiyo.n se na insaaf karegaa
bhagavaan bhii usako na kabhii maaf karegaa
ye soch le -2
ye soch le har baat kii daataa ko Kabar hai
daataa ko Kabar hai
himmat hai to aa jaa ye bhalaa_ii kii Dagar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai
Part 3:
##at the end##
ra: maayuus na ho haar ke taqadiir kii baazii
pyaaraa hai vo Gam jisame.n ho bhagavaan bhii raazii
dukh dard mile
dukh dard mile jisame.n wohii pyaar amar he
wohii pyaar amar he
ye soch le har baat kii daataa ko Kabar hai
ko: insaaf kaa mandir hai ye bhagavaan kaa ghar hai -2
I have already put up two songs from the 1960 Guru Dutt movie Chaudhvinh Ka Chand: the title song and Mili khaak mein mohabbat. This one is picturised on Waheeda Rehman who was Guru Dutt’s find. She acted as a vamp in her first movie C.I.D. and then as a heroine in Guru Dutt’s 1957 classic Pyasa. Three years later, in 1960, she acted in Guru Dutt’s movie Chaudhvinh Ka Chand and look how she had matured as an actor.Marvel at the beauty of the lyrics by Shakeel. Lata Mangeshkar sang it on Ravi’s music.
Enjoy: Badale badale mere sarakaar nazar aate hai.n -2
chaudahavii.n kaa chaa.Nd ho, yaa aafataab ho
jo bhii ho tum khudaa ki qasam, laajavaab ho
zulfe.n hai.n jaise kaa.Ndhe pe baadal jhuke hue
aa.Nkhe.n hai.n jaise may ke payaale bhare hue
mastii hai jisame pyaar kii tum, vo sharaab ho
chaudahavii.n kaa …
cheharaa hai jaise jhiil me khilataa huaa ka.nval
yaa zi.ndagii ke saaj pe chhe.Dii huii gazal
jaane bahaar tum kisii shaayar kaa Kvaab ho
chaudahavii.n kaa …
ho.nTho.n pe khelatii hai.n tabassum kii bijaliyaa.N
sajade tumhaarii raah me.n karatii hai.n kaikashaa.N
duniyaa-e-husn-o-ishq kaa tum hii shabaab ho
chaudahavii.n kaa …
https://www.youtube.com/watch?v=Pjf9ORFDwQA
The 1965 movie Bedaagh had Nanda, Manoj Kumar, Shashikala and Mehmood in the lead roles together with Shubha Khote and Laita Pawar…. This song has Shakeel’s lyrics and talks about the inevitability of every path in hero Manoj Kumar’s life leading back to his lost love. Mohammad Rafi has sung this on Roshan‘s music.
Enjoy: Zindagi ke mor par jo koi raasta mila
Teri gali se jaa mila…
zindagii ke mo.D par jo ko_ii raastaa milaa
terii galii se jaa milaa -2
aaj khaate hai.n Thokare.n shahar me.n zindagii ke ham -2
tujhase chale the duur-duur Gam kii sharaab pii ke ham -2
terii taraf bahak ga_e -2
aisaa hame.n nashaa milaa
teraa Kyaal chho.D ke ba.Dh ga_ii.n aur ulajhane.n
tere hii naam kii sadaa detii hai dil kii dha.Dakane.n -2
ab ye hii sochate hai.n ham ruuTh ke tujhase kyaa milaa -2
tujhase ko_ii garaz nahii.n phir bhii hai terii aarazuu
dil ne tujhe bhulaa diyaa phir bhii hai dil me.n tuu hii tuu -2
tujhase bichha.D ga_e to ab -2
teraa hame.n pataa milaa -2
terii galii se jaa …
https://www.youtube.com/watch?v=qXaw5Dw69QY
We have already talked about the 1954 movie Baiju Bawra, who went to the court of Emperor Akbar to win in a contest against the great musician Tansen in order to avenge his father’s death. Baiju Bawra got Meena Kumari her first (out of four) Best Actress awards and Music Director Naushad his first and only Best Music Director award.
Shakeel penned some of his loveliest numbers for the movie and I have already put up one of them: Tu Ganga ki mauj. Here are the others:
sh: duur koii gaae dhun ye sunaae
tere bin chhaliyaa re baaje na muraliyaa re
ra: ho jii ho
ko: duur ko_ii gaa_e dhun ye sunaae
tere bin chhaliyaa re baaje na muraliyaa re
sh: man ke a.Ndar ho pyaar kii agni
ko: ho man ke a.Ndar pyaar kii agnii
sh: nainaa khoye-khoye ki are raamaa naina khoye-khoye
ko: are ramaa nainaa khoye khoye
sh: ho abhii se hai ye haal ho
abhii se hai ye haal to aage
naa jaane kyaa hoe
ko: ke are raamaa na jaane kyaa hoe
nii.nd nahii.n aae birahaa sataae
tere bin chhaliyaa re
baaje na muraliyaa re
ra: ho ji ho
ko: duur ko_ii gaa_e …
la: ho more a.Nganaa laaj kaa paharaa
ko: laaj kaa paharaa raamaa laaj kaa paharaa
la: paa.Nv pa.Dii za.njiir
ki are raamaa paa.Nv pa.Dii za.njiir ho
yaad kisii kii jab-jab aae
laage jiiyaa pe tiir
yaad kisii kii jab-jab aae
laage dil pe tiir
ko: ke are raamaa lage dil pe tiir
la: aa.Nkh bhar aae jal barasaae
tere bin chhaliyaa re baaje na muraliyaa re
ra: ho ji ho
ko: duur ko_ii gaaye …
Until Sahir Ludhianvi’s 1968 tear-jerker song for the movie Neelakamal (Babul ki duyaanyen leti jaa) came on the scene, the standard doli number for Indian weddings was from the 1950 movie Babul starring Dilip Kumar and Madhubala. Shakeel penned the lyrics, Naushad composed the music and Mohammad Rafi, Talat Mehmood and Shamshad Begum sang it together with chorus.
Enjoy: Chhod babul ka ghar…
Part I
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : yaad mayake kii tan se bhulaaye chalii
ko : haa.N bhulaaye chalii
sha : priit saajan kii man me.n basaaye chalii
ko : haa.N basaaye chalii
sha : yaad kar ke ye ghar, ro_ii.n aa.Nkhe.n magar
muskuraanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : ( chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa ) -2
% Part II
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
sha : sa.ng sakhiyo.n ke bachapan bitaatii thii mai.n
ko : haa.N bitaatii thii mai.n
sha : byaah gu.Diyo.n kaa ha.Ns-ha.Ns rachaatii thii mai.n
ko : haa.N rachaatii thii mai.n
sha : sab se mu.Nh mo.D kar, kyaa bataa_uu.N kidhar
dil lagaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
% Part III
ta : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
ho
aaj jaanaa pa.Daa
pahan ulafat kaa gahanaa dulhan mai.n banii
Dolaa aayaa piyaa kaa sakhii mai.n chalii
ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : aa
ra : aa_o saajan kha.De hai.n duwaar
lene ko aaye kahaar
Dolii me.n ho jaa sawaar
sha : ye thaa jhuuThaa nagar, isaliye chho.D kar,
mohe jaanaa pa.Daa
o
aaj jaanaa pa.Daa
ko : chho.D baabul kaa ghar, mohe pii ke nagar
aaj jaanaa pa.Daa
I can go on and on and it has been only two weeks and I have only given about 100 top songs and ghazals of the greatest Lyricist in Hindi movies: Shakeel Badayuni. I have given you many songs from the movie Bees Saal Baad, eg: Beqraar karke, kahin deep jale kahin dil, sapane suhaane ladakpan ke and ai muhabbat meri duniya mein tera kaam na tha.Why am I partial towards these songs? These have Hemant Kumar’s music and some of them his singing.
Let me end my tribute to Shakeel Badayuni with this one.
Enjoy: Zara nazaron se keh do ji….
zaraa nazaro.n se kah do jii nishaanaa chuuk na jaae
zaraa nazaro.n se kah do jii
mazaa jab hai tumhaarii har adaa qaatil hii kahalaae
zaraa nazaro.n se…
qaatil tumhe pukaaruu.N ke jaan-e-vafaa kahuu.N
hairat me.n pa.D gayaa huu.N ke mai.n tum ko kyaa kahuu.N
zamaanaa hai tumhaaraa
zamaanaa hai tumhaaraa chaahe jisakii zi.ndagii le lo
agar meraa kahaa maano to aise khel na khelo
tumhaarii is sharaarat se na jaane kis kii maut aae
zaraa nazaro.n se…
haay, kitanii maasuum lag rahii ho tum
tumako zaalim kahe vo jhuuThaa hai
ye bholaapan tumhaaraa
(ye bholaapan tumhaaraa ye sharaarat aur ye shokhii
zaruurat kyaa tumhe.n talavaar kii tiiro.n kii kha.njar kii ) – (2)
nazar bhar ke jise tum dekh lo vo khud hii mar jaae
zaraa nazaro.n se…
ham pe kyo.n is qadar biga.Datii ho
chhe.Dane vaale tumako aur bhii hai.n
bahaaro.n par karo gussaa ulajhatii hai.n jo aa.Nkho.n se
havaao.n par karo gussaa jo Takaraatii hai.n zulfo.n se
kahii.n aisaa na ho koii tumhaaraa dil bhii le jaae
zaraa nazaro.n se…
https://www.youtube.com/watch?v=eqts8urMO-g
Ladies and gentlemen,
It has been veritable pleasure putting up 100 Best Ghazals and Songs of the greatest Lyricist and Poet in the Hindi movies in three parts. His poetry and songs were all about love – particularly irony in love, feelings, emotions and a host of other things. As he himself said:
[lineate][/lineate]Main Shakeel Dil Ka Hoon Tarjuman[lineate][/lineate]Keh Mohabbaton Ka Hoon Raazdaan[lineate][/lineate]Mujhe Fakhr Hai Meri Shayari[lineate][/lineate]Meri Zindagi Se Juda najin[lineate][/lineate]
