Advertisements

Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Background song’ Category

Older Entries

Maa. . . Tujhe Dhoondhoon Kahaan

Posted by: on: December 10, 2018


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 3797 Post No. : 14787 Movie Count :

4043

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 75# Dharmendra- Memories of the Seventies #
————————————————————————————————–

 Welcome all to this article of mine which comes after a long gap of more than a month, and though I am late in sending this article, I hope our editors will consider this for post. And that will also help me in getting back into the ‘article writing’ again, because since last two months I am trying to complete and send some of my unfinished articles, but the schedule at work front and very less time after official work is not allowing me time and the concentration to focus on the articles I wish to share.

Well, with this article I hope I get back into writing and share my thoughts taking you down memory lane into the ‘seventies’ again 🙂

***

8th December 2018 is the 83rd birth anniversary (08.12.1935) of actor Dharam Singh Deol whom we fondly know as Dharmendra. And, ‘maa kasam …’ 🙂 , he will be there in our fond memories of the movies from almost every decade ever since he began his career in the Hindi movies with ‘Dil Bhi Tera Ham Bhi Tere’ (1960) till the very recently released movie ‘Yamla Pagla Deewaana-Phir Se’ (2018).

For me I have fond memories of watching many of his movies with my uncles, like ‘Shikaar’ (1966), ‘Yakeen’ (1969), ‘Kab? Kyun? Aur Kahaan?’ (1970), ‘Mera Gaon Mera Desh’ (1971), ‘Resham Ki Dori’ (1974), ‘Raja Jaani’ (1973), and more. Then I also remember some of his movies which I must have watched with my parents like ‘Yaadon Ki Baarat’ (1973), ‘Dost’ (1974), ‘Sholay’ (1975), ‘Maa’ (1976), ‘Charas’ (1976), ‘Dream Girl’ (1977), ‘The Burning Train’ (1980) etc. I still remember watching his ‘Devar’ (1966), during the Ganpati Festivals on the small 16mm screen in open grounds in the seventies.

Then there were movies which I watched with my brothers and cousins during the ‘summer vacations’ like ‘Dharam-Veer’ (1977), ‘Chacha Bhatija’ (1977), ‘Ram Balram’ (1980), ‘Teesri Aaankh’ (1982), ‘Samrat’ (1982), ‘Main Intaqaam Loonga’ (1982). And then movies like ‘Aap Ki Parchhaayiyaan’ (1964), ‘Main Bhi Ladki Hoon’ (1964), ‘Izzat’ (1968), ‘Mere Hamdam Mere Dost’ (1968), ‘Khamoshi’ (1969), ’Sharaafat’ (1970), ‘Samadhi’ (1972), ‘Jheel Ke Us Paar’ (1973), ‘Chaitaali’ (1975), ‘Chupke-Chupke’ (1975), ‘Ek Mahal Ho Sapnon Ka’ (1975), ‘Kinaara’ (1977), ‘Blackmail’ (1978), ‘Dillagi’ (1978) which I watched during the weekly screening of movies in the re-creation club building in our colony where we were staying then.

Then, when I was a grown-up boy 🙂 there was a phase in my life when I was learning in 11 -12th std but was less on studies and more on cricket and movies. I watched many of his movies like ‘Haqeeqat’ (1964), ‘Pyaar Hi Pyaar’ (1968), ‘Jugnu’ (1973), ‘Patthar Aur Paayal’ (1974), ‘Pratigya’ (1975), and the other movies released during those years (1983-1985) i.e. ‘Naukar Biwi Ka’ (1983), ‘Qayaamat’ (1983), ‘Jeene Nahin Doonga’ (1984), ‘Baazi’ (1984), ‘Dharam Aur Kanoon’ (1984), ‘Jaagir’ (1984), ‘Jhoothha Sach’ (1984), ‘Raj Tilak’ (1984) etc. And then I got to watch some movies like ‘Bandini’ (1963), ‘Neela Aakaash’ (1965), and ‘Satyakaam’ (1969), ‘Phagun’ (1973), on television (‘Doordarshan’) during this period.

The above was when we were still located in the Akola District of Maharashtra (CP & Berar circuit for the movies). And by that time I was already a Rajesh Khanna fan 🙂 . Reading the film magazines then I came to know that it was Dharmendra whose movies were still running good even during the Kaka’s Superstardom days. After that we shifted to Parli Vaijnath – Marathwada region of Maharashtra (and known as in the Nizam Circuit for the movies).

There I had already taken up working in a construction company and during this period till 1988 I watched many of the old and new movies. I remember I watched Dharmendra’s ‘Aaayi Milan Ki Bela’ (1964), ‘Kaajal’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Anupama’ (1966), ‘Dil Ne Phir Yaad Kiya’ (1966), ‘Phool Aur Patthar’ (1966), ’Aankhen’ (1968), ‘Aaya Saawan Jhoom Ke’ (1969), ‘Rakhwaala’ (1971), ‘Loafer’ (1973), ‘Keemat’ (1973), ‘Baghaawat’ (1982), ‘Hukumat’ (1987), ‘Aag Hi Aag’ (1987) etc.

Then I shifted to Kota (Rajasthan) in Nov 1988 for my professional career and there also watching the movies was the ‘main source of entertainment’. I got to watch many old Hindi movies as well as the new ones. I got to watch Dharmendra’s movies like ‘Batwaara’ (1989), ‘Naakabandi’ (1990), ‘Farishtey’ (1991) and after many years I got to watch ‘Mera Gaon Mera Desh’ (1971) again in a theater. I watched the film repeatedly on consecutive days and enjoyed it a lot. Later on, based at Kota and traveling around places like Nimach, I watched ‘Tehalka’ (1992). I also remember correctly that I watched his ‘Man Ki Aankhen’ (1970), on VHS cassettes on ‘VCR’ we use to hire to watch movies then during our weekly get-together or holiday. Later I bought VCDs of the films ‘Ganga Ki Lehren’ (1964), ‘Dulhan Ek Raat Ki’ (1967), which has one of my favorite songs “Ek Haseen Shaam Ko. . .“.

And there are other movies like ‘Aadmi Aur Insaan’ (1968), ‘Bahaarein Phir Bhi Aayengi’ (1966), ‘Chunaoti’ (1980), ‘Do Chor’ (1972), ‘Ishq Par Zor Nahin’ (1970), ’Jeevan Mrityu’ (1970), ‘Jwaar Bhaata’ (1973), ‘Kahaani Kismat Ki’ (1973), ‘Mohabbat Zindagi Hai’ (1966), ‘Naya Zamaana’ (1971), ‘Razia Sultan’ (1983), ‘Tum Haseen Main Jawaan’ (1970), which I don’t remember correctly but I think I watched them either in theatre or on TV. As I was going through his filmography for this article, I was thinking that there are still many movies of him (till seventies) which I have not watched and should watch them as and when possible.

The latest movies that I have seen of Dharmendra is ‘Apne’ (2007), which I could not watch in theatre when I was in Kachchh-Gujarat and had later bought its DVD and watched with my parents and family at home.

Watching his movies has always been a different experience and entertaining and enjoyable too. I think me, and many others like me, will always be thankful to him for the joy he has given to us through his movies. His fight scenes with Shetty are always a favorite of mine and those were the main attractions from his movies too, wherever Shetty was co-star in the movies he acted.

Then there are songs from his ‘black and white’ movies and many other ‘musicals’ of the ‘seventies’ which I cannot forget and many of them are ‘songs that brings back memories’ for me. I have watched many of his movies more than once and it is always pleasant to watch him on the screen. I cannot forget his ‘emotional speech’ in the ‘Filmfare awards function’ when he was felicitated with the ‘Filmfare Lifetime Achievement Award’.

His movies also have many emotional scenes between a ‘mother and son’ where I always find him very natural and touching. For today’s occasion I am presenting a song from the 1976 movie ‘Maa’. As I had mentioned earlier in one of my articles that there are few Hindi movies where an elephant has been a central character in the movies and few of these movies have been a part of my permanent memory since then. I remember to have watched this movie with my parents but have forgotten it now except Dharmendra, the elephants in the movie and this song that I am presenting today.

Though the song is a background song and not lip-synced by Dharmendra, I want to introduce it with this article. (I had earlier sent this song to Atul ji in Oct 2012). Also, this is the song which brings back memories of those years for me. It is part of that ‘nostalgia’ of Hindi movies and the songs for me over the years.

So, I when decided to share an article for Dharmendra’s birth anniversary (now belated), I searched for other songs from his movies where he also lip-synced the songs, or even from this movie ‘Maa’, but I strongly feel sharing of this song sung by Rafi Saab which is a trip down memory lane for me from the movies of Dharmendra of the seventies.

‘Maa-1976’ is edited and directed by M.A. Thirumugam for ‘Devar Films, Madras’. It is produced by Sandow M.M.A. Chinnappa Devar who had also written the story of this movie. It has Dharmendra, Hema Malini, Nirupa Roy, Ranjeet, Padma Khanna, Devar, Om Prakash, Paintal, Bramhachari, Shashi Kiran, Rajan Haksar, Urmila Bhatt, Umesh Sharma, Raj Baldev, Viju, Kalpana, Gemini Balu, Narayan Mustafa, Anand Kumar and others. Dialogues for this movie were written by Inder Raj Anand and editing was done by M.G. Balurao (assisted by K. Ramu). The movie was passed by Censor Board on 10.09.1976.

The movie has total seven songs in it as per HFGK and all the seven songs are written by Anand Bakshi and composed by Laxmikant-Pyarelal. HFGK also mentions about two tracks as club dance music and dance music in this movie. Kishore Kumar, Lata Mangeshkar, and Mohd Rafi had given their voices to the songs in this movie.

I am reproducing below the ‘plot summary’ of this movie as mentioned on IMDB

Vijay lives with his mother in a palatial house deep in the jungles in South India where he makes a living trapping animals for circuses, zoos – both nationally and internationally. He meets with beautiful US-returned Nimmi, both fall in love with each other and want to get married. Vijay’s mother cautions them both against separating new-born animals from their birth mothers, but both refuse to listen. Then the unexpected happens, a mother lioness, angered at Vijay for taking her cubs, attacks him, and leaves him badly wounded. With the help of his mother, and Nimmi, Vijay recovers and despite of what happened, and his mother’s warning, he again goes to trap animals – this time a baby elephant for a circus. He does manage to trap the elephant in a pit, but the angered mother elephant pursues them, even after they transport it in a truck. Her maternal and protective instincts come to fore, she overtakes the truck, dismantles it, but is chased away by Vijay and his employees. She turns to attack Vijay, but his mother intervenes – and is instantly attacked and crushed. Holding his mother in his arms, Vijay swears to hunt them the elephant as well as all other animals and kill them one by one, but his dying mother makes him promise that he will not do so, but instead return all cubs to their parents, as well as the baby elephant. Vijay promises to do so, and his mother passes away. Vijay is devastated, in heart-wrenching sorrow & pain, he calls out to his mother, and carries out her promise. He releases all trapped animals, and returns the cubs to the jungle. But returning the baby elephant, Ganesh, is another issue altogether as it has been transported to the city, and must be brought back. When Vijay goes to bring it back, he finds out that the truck had broken down, the elephant had escaped and is lose in the city. He desperately goes around looking for it. In the meantime, back home, the mother elephant is on a rampage, enraged at being separated from its child, it crushes vegetation, attacks villagers, and tears down their dwellings. And the next target that looms before it is none other than Vijay’s beloved – Nimmi…

 Today’s song is sung by Mohd Rafi and composed by Laxmikant-Pyarelal. Lyrics are by Anand Bakshi. The movie ‘Maa’ also makes a debut on the blog today …!!!

Belatedly wishing Dharam ji a very happy birthday and a healthy and peaceful life ahead …

[Author’s Note: This also serves one of my purpose of introducing movies having ‘same title’ too. We already have the movie ‘Maa-1952’ and ‘Maa-1960’(UR) on the blog. And fortunately, I had the opportunity to share couple of songs from the ‘1952-Maa’ and one song from the ‘1960-Maa’ on the blog].

Maa Tujhe Dhoondhoon Kahaan

 

Song – Maa. . . Tujhe Dhoondhoon Kahaan (Maa) (1976) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

Part 1

maa aa aa

maa tujhe dhoondhoon kahaan aa
maa tujhe dhoondhoon kahaan aa
maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa°°°°°°

maa ek jaisi hoti hai
bachche ik jaise hote hai
chot lage to insaanon ki tarah
pashu bhi rotey hai
bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

tu sach kehti thi ee
kisi ki bad duaa lag jaati hai
tu sach kahti thi ee
kisi ki bad duaa lag jaati hai
apni hi bandook se goli
khud pe bhi chal jaati hai
maine kaisa khel yeh khela
roun baitha aaj akela
tujhko kho kar man aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan

maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa
maa tujhe dhoondoon kahaan
maa tujhe dhoondoon kahaan
maa aa aa

Part 2 (at the end of the movie)

bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

भाग १

माँ आ आ

माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ °°°°°°

माँ एक जैसी होती है
बच्चे इक जैसे होते है
चोट लगे तो इंसानों कि तरह
पशु भी रोते हैं
बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
अपनी ही बन्दूक से गोली
खुद पे भी चल जाती है
मैंने कैसा खेल ये खेला
रोऊँ बैठा आज अकेला
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ°°°

भाग २

बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

माँ आ आ


Advertisements
Tags: , , , , , ,

Nisaar main teri galiyon pe ae watan

Posted by: on: November 19, 2018


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

 3776 Post No. : 14754 Movie Count :

4035

Muzzafar Ali, the producer-director of some of the parallel films has been very proud of the Awadhi culture. His father was the raja of Kotwara which is located in Lakhimpur Kheri district, a part of Awadh region. Moreover, he had completed his schooling in Lucknow, the centre of Awadhi culture. His sensibility towards Awadhi culture can be judged from his films, Gaman’ (1978), ‘Umrao Jaan’ (1981), Aagaman’ (1984), ‘Anjuman’ (1986) and the last one, “Jaanisaar’ (2015) with Awadh as background. “More than a ‘royal’, I am ‘loyal’ to my root – Awadh” says Muzzafar Ali.

In ‘Gaman’ (1978), the young Ghulam Hasan goes to Mumbai from Lucknow in search of employment opportunity and ultimately become a taxi driver living in a slum. His wife and the ailing mother live in Lucknow eagerly waiting for his return. But he has no saving after working as a taxi driver for months to visit his native place. True to his love for Awadh, Muzzafar Ali chose the location in Kotwara for shooting a part of the film covering the scenes of Ghulam Hasan’s wife and his ailing mother. The dialogues during the scenes in the film in the native village between Ghulam Hasan, his wife and mother were in Awadhi.

Muzzafar Ali was so much into Awadh that for ‘Gaman’ (1978), he had first approached Amitabh Bachchan who is also from the Awadh region, for the role of Ghulam Hasan (The reason could be that there were many dialogues in the film in Awadhi). Amitabh Bachchan had first agreed to do the role in principle. However, later he felt that his ‘angry young man’ image would be affected by doing the role in the film. So he declined the offer. The role went to Farooque Shaikh. (This was revealed by Mazzafar Ali in a documentary video film).

In ‘Umrao Jaan’ (1981), Muzaffar Ali takes us to the heartland of Awadhi culture – Lucknow-Faizabad belt in the film. The film depicts the nawabi Lucknow with its all grandeur – the language, the costumes, the sets etc. Probably, after his first experience of film production with ‘Gaman’ (1978), Muzzafar Ali became wiser. So he built into this film, some elements of commercial films like selecting Rekha for the role of Umrao Jaan. On a second thought, Asha Bhonsle was selected to sing songs for Rekha. He also selected the well-known theatre actors like Naseeruddin Shah, Shaukat Azmi, Deena Pathak, Gajanan Jagirdar to give the film a strong acting prowess in subsidiary roles. The mixing this ‘parallel’ film with commercial elements paid a rich dividend to Muzzafar Ali in that even after 37 years, this film has remained in the bloodstream of cinema fans.

‘Aagaman’ (1984) was Muzaffar Ali’s 3rd film, making it a part of the trilogy of films with the commonality of Awadhi culture. The film was produced by Uttar Pradesh Sugarcane Seed and Development Corporation under the banner of Integrated Films and was directed by Muzzafar Ali. The star cast included Suresh Oberoi, Bharat Bhushan, Saeed Jaffrey, Anupam Kher (his debut film), Dilip Dhawan, Deepa (her debut film), Sudhir Pandey, Yunus Parvez, Raj Bisaria, Javed Khan, Anjaan Srivastav etc.

It was the idea of Muzzaffar Ali to Vishwanath Pratap Singh, the then Chief Minister of Uttar Pradesh to commission a feature film highlighting the plights of sugarcane growers in Lakhimpur Kheri, which is called the ‘sugar bowl of Uttar Pradesh’. Most of the shooting of the film had taken place in Kotwar and around.

It is surprising that ‘Aagaman’ (1984) is not available for watching online. It appears that the DVD of the film is also not available for sale. I remember that in one of the programmes on Doordarhsan, Muzzafar Ali had mentioned that the sound negatives of both ‘Aagaman’ (1984) and ‘Anjuman’ (1986) were lost/destroyed. That means that the only chance to see the film is from the private collectors. I find that video clips of most of the songs of ‘Aagaman’ (1984) are available online.

Anyway, the broad story line of the film as I understand from some online sources is that a sugar mill owner of a village has been exploiting the sugarcane growers by not paying them remunerative prices. As a result, sugarcane growers remained poor and debtors. A young man from the village after completion of his education from Lucknow takes up the issue of sugarcane growers with the sugar mill owner. But his efforts do not bear fruit as there are vested interests in the village. Ultimately, with great persuasion, he makes reasons to sugarcane growers to set up a cooperative sugar mill. Now they not only get the fair price for the sugarcane but being the members of the cooperative sugar mill, they also share the profits from the mill.

The film has 8 songs out of which as many as 7 songs were composed on the published nazms of Faiz Ahmed Faiz. The remaining one song was written by Hasrat Jaipuri. All the songs were set to music by Padma Vibhushan Ustad Ghulam Mustafa Khan. It was his first film as a music director.

I am presenting the first song ‘nisaar mein teri galiyon ke ae watan ke jahaan’ from the film which is a nazm written by Faiz Ahmed Faiz. He wrote this nazm in the backdrop of the establishment of Pakistan’s first military government in 1958 when many repressive measures were taken. Dissents were not tolerated. There was censorship on the newspapers. Political leaders and intellectuals were arrested and imprisoned. The song is rendered by Ustad Ghulam Mustafa Khan.

Ustad Ghulam Mustafa Khan (born 03/03/1931) is the doyen of Rampur-Sahaswan Gharana and is highly respected among the new generation of Hindustani classical singers. He has a large number of his disciples/trainees which include Asha Bhonsle, Geeta Dutt, Manna Dey, Kamal Barot, Suresh Wadkar, Hariharan, A R Rahman, Alisha Chinoy, Sonu Nigam, Shaan etc. I propose to write a detailed article on him sometime later.

The song in the video clip is somewhat shorter than the record version of the song due to a few lines repeated in the latter version. Furthermore, the order in which antara parts of the song is recorded in record version is different than the order in the sound track.

With this song, ‘Aagaman’ (1983) makes its debut in the Blog. The singer-composer also makes his debut in the blog.

Video Clip:

Audio Clip:

Song-Nisaar main teri galiyon pe ae watan (Aagaman)(1983) Singer-Ustad Ghulam Mustafa Khan, Lyrics-Faiz Ahmad Faiz, MD-Ustad Ghulam Mustafa Khan

Lyrics (based on video clip)

nisaar main teri galiyon pe ae watan ke jahaan
chali hai rasm ke koi na sar uthha ke chale ae
nisaar main teri galiyon pe ae watan ke jahaan
jo koi chaahne waala tawaaf ko nikle
nazar churaa ke chale jism-o-jaan bachaa ke chale
nisaar main teri galiyon pe ae watan ke jahaan

bahut hain zulm ke dast-e-bahaana joo ke liye
jo chand ahl-e-junoon tere naam leva hain
bane hain ahl-e-hawas muddai bhi munsif bhi
kise vakil karen kis se munsafi chaahen
magar guzaarne waalon ke din guzarte hain
tere firaaq mein hi subah-o-shaam karten hain
nisaar main teri galiyon pe ae watan ke jahaan

yoon hi hamesha ulajhti rahi hai zulm se khalq
na unki rasm nayi hai na apni reet nayi
yoon hi hamesha khilaayen hain hamne aag mein phool
na unki haar nayi hai na apni jeet nayi
isi sabab se falak ka gila nahin karte
tere firaaq mein hum dil bura nahin karte
nisaar main teri galiyon pe ae watan ke jahaan

gar aaj tujhse juda hain to kal baham honge
ye raat bhar ki judaai to koi baat nahin
gar aaj auj pe hain taala-e-raqib to kya
ye chaar din ki khudaai to koi baat nahin
jo tujhse ahd-e-wafa ustawaar rakhte hain
ilaaj-e-gardish-e-lail-o-nihaar rakhte hain
nisaar main teri galiyon pe ae watan ke jahaan

bujha jo rauzan-e-zindaan to dil ye samjha hai
ke teri maang sitaaron se bhar gayi hogi
chamak uthhe hain salaasal to hamne jaana
ke ab sahar tere rukh par bhi kar gayi hogi
garaz-e-tasawwur-e-shaam-o-sahar mein jeete hain
giraft-e-saaya-e-deewaar-o-dar mein jeete hain
nisaar main teri galiyon pe ae watan ke jahaan

———————————————
Translation (Provided by Sadanand Kamath)
———————————————-
nisaar main teri galiyon pe ae watan ke jahaan
chali hai rasam ke koi na sar utha ke chale
jo koi chaahne waala tawaaf ko nikle
nazar churaaake chale jism-o-jaan bachaake chale

O my country! I bow to your streets.
They have decreed a custom that none shall walk holding his head high.
If any one wishes to take a round of walk,
walk sneakily, walk with a bend body (to avoid detection).

bahut hai zulm ke dast-e-bahaana-joo ke liye
jo chand ahl–e-junoon tera naam leva hain
bane hain ahl-e-hawas mudaai bhi munsif bhi
kise vakil kare kis se munsafi chaahen
magar gujaarne waalon ke din gujarten hain
tere firaaq mein hi subah-o-shaam karten hain

There are many excuses to continue the oppression
for some crazy people in the guise of your name.
With power of lust, they are both the plaintiff and the judge,
Whom to appoint lawyer and from whom does get justice?
But one has to persist with these hard times for days.
In separation from you, they spend time from dawn to dusk.

yoon hi hamesha uljhati rahi hai zulm se khalq
na unki rasm nayi hai na apni reet nayi
yoon hi humesha khilaayen hain humne aag mein phool
na unki haar nayi hai na apni jeet nayi
isi sabab se falak ka gila nahi karte
tere firaaq mein hum dil bura nahi karte

As always, we reel under oppression.
Neither their rituals nor our traditions is new
As always we have made flowers to bloom in fire
Neither their defeat, nor our victory is new
We do not blame the sky
Nor we feel bad in our hearts for separation from you.

gar aaj tujhse juda hai to kal baham honge
ye raat bhar ki judaai to koi baat nahin
gar aaj auj pe hai taale-e-raqib to kya
ye chaar din ki khudaai to koi baat nahin
jo tujhse ahd-e-wafa ustuvaar rakhte hain
ilaaj-e-gardish-e-lail-o-nahaar rakhte hain

Though separated today, tomorrow we shall be re-united.
Separation is only for the night it does not matter.
If today our rivals are at the peak of powers, so what?
These four days of divinity do not matter.
Those who love you keep a firm belief in you.
We keep the remedy of revolution day and night.

bujha jo rauzan-e-zindaan to dil ye samjha hai
ke teri maang sitaaron se bhar gayi hogi
chamak uthi hai salasil to hamne jaana hai
ke ab sahar tere rukh par bhikar gayi hogi
garaz-e-tasawwur-e-shaam-o-sahar mein jeete hain
giraft-e-saya-o-deewaar-o-dar mein jeete hain

When lights in the prison dim, my heart has felt
that your forehead has been lighted with stars.
When my chains have sparkled, I have known
that the dawn must have straggled upon your face.
We live by imagining the dawn and dusk
We live in the shadows of the high prison walls

Tags: , , , ,

Seeta bhi jahaan sukh paa na saki

Posted by: on: October 25, 2018


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3751 Post No. : 14716

The Hindi film industry has seen many legends in its 100+ years of existence. Giants in their chosen field, revered by not just their generation but by generations that followed. They have a very fond place in the hearts of film lovers, who are eternally thankful for their immense contribution to cinema. They all recognise the the world of cinema would be much the poorer without this contribution.

One such legend, and one who probably elevates the worth of the term “legend”, is, without doubt, yesteryear poet and lyricist, Sahir Ludhianvi.

Today (25 october 2018)happens to be his death anniversary – and, as we’ve done on previous occasions, we pay our humble tribute to him today.

Among various artistes that I’ve written about on this blog, Sahir has probably featured the most, alongside Rafisaab. I’ve written many times about him, on his birth and death anniversaries.

And yet, I’m never bored while discussing Sahir. Yes, readers of my posts might get bored 🙂 – but I’m not.

Whenever I write about him, I feel a rush of energy in my body. The content might be repetitive, but the huge regard I have for him overcomes everything else.

Sahir’s status as poet and lyricist extraordinaire is established beyond debate. He might not have been the most popular person around (and that’s the understatement of the millennium!) but even his most ardent critics would have to grudgingly acknowledge the sheer magic of his poetry.

Such is the richness of the treasure trove that he has left us that no post can do justice to it. In previous posts on him, I have often listed some of his songs – the sheer power of many of them transports you to a different world. Yes, there’s much more to a song than just its lyrics – but with Sahir, you could be assured that the lyrics never missed your attention.

Sahir’s lyrics were a direct reflection of his personality. He had strong views on various aspects of life and society, on relationships, on politics – and never hesitated to let the world know of them. It was as if he was waiting for an opportunity to use his poetry and lyrics to convey the message that Sahir, the person, wanted to get across to the world.

Thus, when you listened to “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai”, you felt it was Sahir exhorting you to demand your rights in life.

Or even, later in life, when he was disillusioned with the way things were going in his life, “main pal do pal ka shaayar hoon”.

Sahir had a very strong sense of justice and injustice in society. Early in life, when called upon to choose between his mother and his far wealthier father, he chose his mother. Till her very end, he was totally devoted to her. Many of his songs reflect the loving relationship between a mother and child.

Throughout his life, Sahir spoke out against injustice and tyranny. He spoke for the underprivileged, the marginalized, the labour class. He tried to show society a mirror, however ugly it looked. He was trenchant in his criticism of the state of affairs – “Samaj ko badal daalo” was one of his lines.

Sahir’s lament about the pathetic state of living for the poor in India is well illustrated in the poignant songs of Pyaasa (1957). “Yahaan par to jeewan se hai maut sasti” he wrote, following it up with “ye duniya agar mil bhi jaaye to kya hai”. “Jinhe naaz hai Hind par wo kahaan hain”, he said.

Continuing in this refrain, he went satirical, writing “Cheen-o-Arab hamara, Hindustan hamara, rehne ko ghar nahin hai, saara jahaan hamaara” for Phir Subah Hogi (1958).

Each line, one could feel, coming straight from the heart.

There were other aspects also that Sahir was concerned about and discussed in his lyrics. Hindu-Muslim unity for example. Always a sensitive topic, and even more so in the years following independence. But Sahir was never one to shy away from a topic – his lines “tu Hindu banega na Musalmaan banega” are some of the greatest lines of Hindi cinema.

The other thing that bothered Sahir greatly was the treatment of women in Indian society. He was deeply disturbed by the lack of respect accorded to women, thanks to a patriarchal society that privileged men over women. Sahir minced no words while lamenting this – his “aurat ne janam diya mardon ko” is a classic in Hindi cinema, with its entire theme revolving around women and how they have been treated by men in India.

It is therefore only fitting that on his death anniversary, the song picked for the blog reflects his thoughts on this topic. The song is “Seeta bhi jahaan sukh paa na saki” from Lakshmi (1982). The film was released after Sahir’s death – in fact, the film starts with a tribute to Sahir.

This song was one of several songs proposed to me for this write-up by Avinashji. As usual, he has been kind enough to prepare the lyrics for this song.

Though this song is not all that well-known, certainly not as well known as “aurat ne janam diya mardon ko”, its words are trademark Sahir. Typical of him, in this song too, he laments the way women have been treated in Indian society. But this time he uses Seeta as his example, saying even she could not find happiness on this earth. He says women have forever suffered, and in today’s world, there isn’t even a Valmiki to give a Seeta refuge in time of need. She has to fend for herself all alone, and constantly seek to avoid the predatory eye of men around her.

Talking of the predatory eye, I cannot help talking about one of the hottest topics right now in India – at least in urban India and on social media. And that is the #MeToo movement. I’m sure Sahir would have had something to say about it, had he been around. So I’m taking the liberty of sharing my thoughts on the subject.

The #MeToo movement, in my opinion, is primarily about those who have been sexually abused and harassed, coming out with their story. While these are mostly women, it is not necessarily limited to women alone. There have been a few cases of men too coming out with their horrific stories. At the moment, it is largely focussed on workplace harassment, but there’s no reason it couldn’t go way beyond that.

It is a fact that, mainly thanks to our patriarchal society, there is a huge power imbalance between men and women in India. This actually exists around the world, but the patriarchy makes it much worse in India.

Power, as we all know, is a hugely corrupting and intoxicating drug. So it is not at all surprising that those in power, mostly men, would tend to exploit those they have power over, mostly women. This shouldn’t come as a surprise to anybody.

What makes it worse, as if to add insult to injury, Indian society is also unforgiving towards women in this respect. Instead of being supportive, it tends to blame the victim. Even the woman’s own family make her feel guilty for what is essentially a man’s wrongdoing. She is often gaslighted into thinking that it is somehow her fault, that she invited it. She is encouraged to just be quiet about it, since “the honour of the family” might be at stake.

If she is a working woman, she might even be encouraged to stop working. Many women have fallen out of the workforce in India for this reason alone.

Then again, thanks to the power imbalance, she is up against it if she even chooses to seek justice through the justice system. To even make a complaint to the police, to get an FIR registered is a huge challenge. When you’re complaining about a more powerful party, the system will bend towards that party. The police will either discourage you from giving your complaint, or will mock you, or will flatly refuse to write an FIR.

If you do get past the police hurdle, you still have the rest of the justice system to deal with. Courts which will insist on evidence – which in most cases of this sort is just not available.

Besides, the other party being much more powerful, he can ensure your life is made miserable.

So justice through the normal justice system (which is often referred to as “due process”) is almost always a pipedream.

To help matters, at least in the workplace, new legislation was brought in in 2013, replacing the earlier Vishakha guidelines which laid out steps to be taken at a workplace to deal with sexual harassment complaints. An employer is supposed to set up an Internal Complaints Committee (ICC) and so on.

I won’t go into all the details, but the reality is that many employers have not even set this up. And even where this is theoretically in place, women who have complained have failed to get justice. On the contrary, it has boomeranged on them – they’ve been marked as “trouble-makers” in the organisation. Remember, they are complaining about someone who is almost invariably in a higher power position in the company.

With this being the stark reality, whether we like it or not, is it surprising that many women have just kept their pain buried within themselves? They have tolerated harassment but not brought it out in the open. Maybe they didn’t want to jeopardize their careers – after all, it is the woman who tends to bear the brunt of any negative fallout in these matters.

But now we have #MeToo.

Some women at least have decided enough is enough. It is not their shame to bear, so why should they? So they have decided to come out with their story. It is cathartic for them – it must be so hard to keep this buried within you for years.

Some of them have disclosed their identity, some have not. Some have disclosed the identity of the predator, some have chosen not to specifically name him (although there are usually enough hints in their story). It’s upto each person to decide what level of comfort she has – no one can demand she behave in a particular way.

One complaint about #MeToo is that many of these stories are coming out after many years. Ten years, even twenty years. Why didn’t they come out earlier? How can we possibly believe something that might or might not have happened a decade ago?

I feel this is unreasonable. I’ve already explained how the odds are stacked against the woman – the situation was even worse a decade ago. Besides, when women have been constantly shamed, why would they invite further ridicule by complaining, especially when they have no hope of justice?

It is only now, that thanks to the #MeToo movement, they are coming out with their story – hoping to get closure if nothing else. If they get justice, great – if not, at least they’re hoping for closure.

Many have complained that outing men on social media is not the right way to go about this. That women should follow due process – that is, go through the justice sytem of police and courts, or through the workplace structures for this purpose.

And that has worked, right? After trying all that, and hitting their heads against a wall, women have finally chosen social media as their hope for getting their message across. And who can blame them? It’s not like they didn’t want due process – it is that “due process” failed them completely.

Another criticism of #MeToo is that it is often just accusation, without evidence. And no court can possibly accept that. There’s a chance that an innocent person is maligned out of malice or whatever other reason, and his reputation totally destroyed by a #MeToo accusation.

Yes, this is possible. In the spate of accusations, it is possible that some are fake too. Which is why every accusation needs to be attempted to be vetted to the extent possible. Having said that, it is also very unreasonable and unrealistic to expect evidence in cases of sexual harassment, because of its very nature. It tends to happen behind closed doors. So there will be many cases where such evidence is just not available.

Yet another criticism is that #MeToo is about the urban elite and about sometimes seemingly trivial harassment, while women in rural India suffer far worse.

I think this is unfair. Yes, rural women suffer harassment too – possibly much more. Does that mean urban women should be silent? What sort of logic is that? Rather, we should hope the movement spreads to rural India too. Most movements anyway start with those who have relatively more agency – and then spread.

All in all, I think #MeToo in India was long overdue. It started in the US almost exactly a year ago, and exposed many well-known Hollywood personalities like Harvey Weinstein and Kevin Spacey. Around that time, an Indian in the US, Raya Sarkar, prepared a list of predators in academia – but she was unfortunately criticized and the movement did not pick up steam then in India.

Now it has.

No one knows how it will go from here. Will it evolve further? Or will it fizzle out?

I’m sincerely hoping it evolves further. I’d like to see it grow – go beyond urban India, go beyond the few sectors it has so far been largely restricted to (films, media, advertising). There must be many more cases in politics, in government and corporate India, where power is most prone to abuse. Maybe those stories are slow in coming because the women involved are less comfortable coming out with their stories.

And that’s only fair. Each person has to decide for herself – she has to weigh the consequences of her actions. We need to respect that.

One huge positive impact of #MeToo has been that men themselves seem to be re-assessing their behaviour. Not just in the past but also in the present. They seem to be becoming more sensitized and aware of boundaries and space. And about consent. At least I hope so.

Hopefully films too will become more sensitized to gender from now on. I think it is already happening. Films in the past have been hugely misogynistic, often presenting stalking as romantic! And considering how much of an influence films/TV have on society, they might have playe thei role too in moulding society into what it is today.

But then, they were a function of their times – I don’t want to dwell on the past. We can’t change that anyway.

What we can change is the present and the future. And hopefully from now on at least, we will see better-behaved men, whether triggered by #MeToo or not.

Of course, we need much more to happen. Until we dismantle patriarchy there is always going to be victim-blaming and shaming. We all know that men are the root cause of the problem, yet we will continue to blame the women and expect them to “behave themselves”.

So much more needs to happen. We can all do our bit – by calling out patriarchy when we see it, even if it happens without our close circles. By bringing up the next generation with a better understanding of gender equality so that boys don’t grow up with a sense of entitlement. This is what manifests itself in most undesirable behaviour when the boy becomes a man.

Clearly we haven’t done enough in the last 60 years, since Sahir wrote “aurat ne janam diya” in 1958. It’s a sad reflection of our society that it feels relevant even in 2018.

I’d like a future generation to listen to it and say “Oh, how horrible things were for women in those days! Thank God things are so much better today, and women don’t go through all that!”

I know I’m dreaming – but you know what they say. Ummeed pe duniya kaayam hai.

Let’s do our bit to make it happen?

Thanks for listening.


Song-Seeta bhi jahaan sukh paa na saki (Lakshmi)(1982) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Usha Khanna

Lyrics (Provided by Avinash Scrapwala)

Naa tera durbhaagya nayaa hai
Naa jag ka vyavhaar nayaa aa
Naa raahon ke shool naye ae
Naa patthar dil sansaar nayaa

Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Jo zulm teri taqdeer banaa
Jo zulm teri taqdeer banaa
Wo zulm yugon se zaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Avtaaron ki nasl badhaa kar bhi
Patitaaon mein sthaan mila
Sadiyon se yahaan har ablaa ne
Sadiyon se yahaan har ablaa ne
Ro ro kar umar guzaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Do pyaar ke meethhe bolon ki
Martey dam tak pyaasi hi rahi
Jo zehar miley wo peeti jaa
Jo zehar miley wo peeti jaa
Tu kaun si Janak dulaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Ab Valmiki saa koyi rishi
Is dharti par paayegi kahaan
Ab tu ik bhatki hirni hain
Ab tu ik bhatki hirni hain
Aur mard ki aankh shikaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
ना तेरा दुर्भाग्य नया है
ना जग का व्यवहार नया आ
ना राहों के शूल नए ए
ना पत्थर दिल संसार नया

सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
जो ज़ुल्म तेरी तकदीर बना
जो ज़ुल्म तेरी तकदीर बना
वो ज़ुल्म युगों से जारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
अवतारों की नस्ल बढ़ाकर भी
पतिताओं में स्थान मिला
सदियों से यहाँ हर अबला ने
सदियों से यहाँ हर अबला ने
रो रो कर उम्र गुजारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

कहने को तो देवी कहलाई
पर नार यहाँ दासी ही रही
कहने को तो देवी कहलायी
पर नार यहाँ दासी ही रही
दो प्यार के मीठे बोलों की
मरते दम तक प्यासी ही रही
जो ज़हर मिले वो पीती जा
जो ज़हर मिले वो पीती जा
तू कौनसी जनक दुलारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
अब वाल्मीकी सा कोई ऋषि
इस धरती पर पाएगी कहाँ
अब तू इक भटकी हिरनी है
अब तू इक भटकी हिरनी है
और मर्द की आँख शिकारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

Tags: , , , ,

Phulwa Mangaao Zara Angna Sajaao Gori

Posted by: on: October 1, 2018


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3727 Post No. : 14668

ये किसने गीत छेड़ा॰ ॰ ॰

There is always a freshness – a freshness as fresh as the cool early morning breeze. Pick up any film, and you will find this freshness wash all over you, as the music and the songs of that film play. Be it “Nadiya Kinaare Heraaye Aayi Kangna”, or “Naina Diwaane, Ik Nahin Maanen”, or “Thandi Hawaayen, Lehra Ke Aayen”, or “Ye Raat Ye Chandani Phir Kahaan”, or “Phaili Huyin Hain Sapnon Ki Baahen”, or “O Nigaahen Mastaana”, or “Mehfil Mein Aaye Wo Aaj Dheere Se”, or “Khoya Khoya Chaand”, or “Dil Ka Bhanwar Kare Pukaar”, or “Haule-Haule Jiya Dole”, or “O Mere Bairaagi Bhanwra”, or “Megha Chhaaye Aadhi Raat”, or “Sun Ree Pawan, Pawan Purvaiya”, or “Sandhyaa Jo Aaye Mann Ud Jaaye”. . . the list seems to be endless.

Other authors have written about this; this and the daily routine of his morning walk – creating the rhythm with snapping of his fingers, and humming the melody softly in his breaths. That is where most of his masterpieces have come from – plucked out of the cool and fresh morning breeze during his morning walks. One can almost feel as if he saw the peacock when he contemplated on “Mann Mor Hua Matwaala. . .”. And one can feel the whiff of cold breeze in “Thandi Hawa Ka Shor Hai. . .” as the stanza lines of “Chupke Se Miley Pyaase Pyaase. . .”. Maybe it was an encounter with a dreamy eyed young lady that brought to life “Yaad Aa Gayin Wo Nasheeli Nigaahen. . .”. Or that the “Khoya Khoya Chaand. . .” melody came about on a day when the moon was still visible in the early morning gray skies. Conjectures all, but surely, the music came with the early morning breeze.

One also wonders where the eternity of melancholy came to him – “Pyaar Ne Kitne Sapne Dekhe. . .”, “Dukhi Mann Mere. . .”, “Bharam Teri Wafaaon Ka. . .”, “Badi Sooni Sooni Hai. . .”, “Jaane Wo Kaise Log The. . .”, “Jaayen To Jaayen Kahaan. . .”, “Saathi Na Koi Manzil. . .”, “1 . .”, “Tum Mujhse Door Chale Jaana Na. . .” – and many more. Maybe so, that these compositions simply cannot be believed to exist outside of Sachin Da’s regime.

Celebrating the anniversary of his birth today (1st October), I present this completely forgotten and unknown piece of music that is a very short song that plays when the credits of the film ‘Tere Mere Sapne’ (1971) are rolling on the screen. Practically all the songs that Sachin Da has sung for the screen, have all been accounted for on our blog. But not this one.

The unmistakable folk flavor, that is Sachin Da’s favourite genre, is present predominantly in this music piece. As the prelude of this music plays on, one is struck by how the maestro has melded the music with the sounds of machinery and the hammering sound of the miner’s picks and axes. Really remarkable.

ये किसने गीत छेड़ा
दिल मेरा नाचे थिरक थिरक॰ ॰ ॰

ये किसने गीत छेड़ा

 

Song – Phulwa Mangaao Zara Angna Sajaao Gori (Tere Mere Sapne) (1971) Singer – SD Burman, Lyrics – Neeraj, MD – SD  Burman

Lyrics

hey ey..ey..ey
phulwa mangaao zara angna sajaao gori
bichhde balam ghar aayenge

ye ey..ey..ey
jiyaha ye doley jaise neem ki hi pori
bichhde balam ghar aayenge
bichhde balam ghar aayenge

———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–

हे ए॰॰ए॰॰ए
फुलवा मंगाओ ज़रा अंगना सजाओ गोरी
बिछड़े बलम घर आएंगे

ये ए॰॰ए॰॰ए
जियाहा ये डोले जैसे नीम की ही पोरी
बिछड़े बलम घर आएंगे
बिछड़े बलम घर आएंगे

Tags: , , , ,

Bapu sehat ke liye tu to haanikaarak hai

Posted by: on: September 6, 2018


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3702 Post No. : 14625

———————————————————————
Discussion of Railway related matters-2
——————————————————————–
Discussion on economics-1
——————————————————————–

We in this blog have covered lots of HFM from all eras. While doing that, we have had lots of discussions on Hindi movies as well.

Yesterday night, and early morning today, I was thinking about the differences between Indian music and Western music, and I realised that there is considerable technical and conceptual differences between the two and the difference between the two kinds of music is something that very few people are aware of. I realised that the “western” music that we in India have brought in is not really “western” music as it is in the west. We have failed to import the spirit of western music. We have ended up introducing western instruments in India but we have failed to tap the vast richness of western music. We have ended up largely becoming a frog in the well, deluding ourselves that our music is older and richer and all that vis a vis western music, whereas the real facts are altogether different. It is a very interesting (at least to me) topic and a rather vast and somewhat involved topic as well. I hope to able to discuss it in detail when I get my thoughts sorted out on this topic.

While thinking about Indian music vis a vis Western music, my thoughts veered to movies- Indian movies vis a vis western movies. And I realised another very interesting and deeply significant difference between the two kinds of movies. This is the topic of discussion in this writeup.

When Hindi (and other Indian language) movies began to be made, the movie makers obviously wanted to make profits. Those were the days when India was quite a poor country with extremely low purchasing power per capita. Moreover, vast majority of Indians were illiterate. Under there circumstances, the movie makers decided that they needed to address each and every section of society as well as age group in their movies. Their idea was to maximise the head count for their movies and they hoped to achieve that by catering to all their “requirements”. Thus we had the situation where the movie would pack in all possible kinds of situations and scenarios, viz love, misunderstanding, separation, bedard zamaana, remonstrating with the Almight mother, cruel villain, helpless sister etc. Likewise, we have several songs in the same movie catering to the different emotion requirements of the movie.

Each and every movie tried to attract the same (real all) sections of the population. If a movie became successful, they everyone else would try to ape the contents of that movie. In short, every movie wanted to be a please all movie, and in the process it often ended up pleasing none.

There are some cases where niche market movies were made that appeals to a small portion of audience rather than entire audience, for instance religious movies. But these niche movies were made more out of financial considerations ( availability of small budget) rather than by design.

When one tried to pack in everything in every movie, then obviously the movie ended up looking like jack of all trades and master of none. So the qualities achieved by these movies were not as high as they possibly could have been had they dispensed with some of the lesser important ingredients (for instance comic side plots) and had concentrated only on the main ingredients.

When I compared Indian movies with Western movies, I found a startling difference. Western movie makers did not try to cater to every section of their population. They made movies on a particular genre and tried to cater to lovers of that particular genre only. The result was overall high quality of their movies. Even though these western movies were not targetted at the entire population, they still did big business becaue the audience there were prosperous and even smaller head count for a Western movie meant bigger amount of revenue for Western movies than say for Indian movies that attracted bigger head count. So good quality movies meant for niche market (plus prosperity of the market) meant that overall good quality movies with good budget were made in the West and that did good business.

To put it arithmetically, Indian movie makers had the LCD (least common denominator) of population in mind while making their movies while Western movie makers had the HCF (highest common factor) of population in mind while making their movies. And Western movies proved that quality products aimed at niche market can earn far more in a prosperous population that what can be earned by lesser quality product (where ceiling on quality was imposed deliberately) aimed at impoverished masses in a poor country. So Western movie makers considered market segmentation whereas Indian movie makers tried to cater to the entire population treating that as a unified market without any segmentation.

I have often likened Hindi movies to Indian Railways. And I find that Indian Railways have traditionally followed the very same policy as Hindi movie makers as far as their target audience is considered. Hindi movies try to pack in all ingredients in each and evey movie and end up with a movie that is often unsatisfactory. Indian Railways try to run all kinds of trains, viz Rajdhani, Express Trains, Passenger trains, Goods trains etc on the same track. The passenger tickets are kept artificially lower and goods fares are kept artificially high. As a result, Indian Railways ends up losing punctuality as well as revenue while running passenger trains. They also end up losing goods traffic because goods traffic switches to road which turns out to be economical for them.

Today India is not a poor country unlike in the past. India is the sixth biggest economy in the world with a nominal GDP of $ 2.8 trillions. Per capita annual GDP of $2000 may be low but it is still a vast improvement (200 times) from the past when Indian per capita annual income used to be $100 in 1960s. Using 80:20 principle, which states that 20 % popuation has 80 % of money and the rest 80 % population has the remaining 20% money, it means that today 20 % population of India has a per capita income of $8000 whereas remaining 80 % population has a per capita income of $500. So one can say that 20 % population (viz 26 crore population) of India is already reasonably well off. 26 crore population is equal to the population that Indonesia, the fourth most populous country in the world. So now it is possible for Hindi movies makers to produce movies of various genres with niche audiences as targets audience rather than seeking to attract the entire population as the target audience, because the niche audiences are now sizeable in number and they are prosperous enough.

Indeed that is happening. Many recent movies are meant for niche audience and the movie makers do not try and make all kinds of compromises that old time movie makers did in their attempt to make please all movies. And the results are quite outstanding.

Take the example of “Dangal”(2016). It is the tale of a rustic retired wrestler who wants to live his dream of wrestling glory through his daughters. He fights society that disapproves of girls taking up such activities and he subjects his daughters to lives of extreme discipline and physical exertion. Usual Hindi movies of yore woould show the girls winning their bouts rightaway after just a token exercise or two, but that is not how it is shown in this movie. The girls work hard but keep losing repeatedly and after every loss, they are made to work even harder. That is how it is in real life. In the past, such movies would not work in India. Movie watchers in the past expected their lead actors to be supermen/ supergirls who were not required to work hard. In fact Indian movies themselves rarely showed the lead actors doing any hard work, or for that matter any work at all. They would only sing songs and that is all they seemed to be doing throughout the movie.

“Dangal” (2016) was a professionally made movie and it caught the imagination of Indian public. More dramatically, it caught the imagination of movie goers in China as well, and the movie did bigger business in China than in India ! It earned more than Rs 800 crores from Chinese market !

It showed that a movie that had outstanding quality had universal appeal even beyond the traditional Indian audience and their diaspora.

That is true for Railways as well. India is at present in a situation where they can think of catering to niche markets of customers by providing them dedicated facilities. Instead of running all kinds of trains on the same track, running goods trains on a dedicated track and passenger trains of separate track would ensure that both kinds of customers would get proper attention. Work on dedicated freight corridor is in advance stages and soon we will be in a situation when goods trains will run on their own dedicated tracks and that would free up the existing Indian Railway tracks for passenger carrying trains.

Then Bullet trains are coming up as well. People who criticise this project as a wasteful exercise are like old time movie makers and old time Railway organisation who feel that all trains and all movies should be for everyone. Bullet trains have noting to do with Indian Railway. They are more like metro rails which too have nothing to do with Indian Railways. We have seen how Metro Rail has changed the face of commuter services in Delhi. Unlike Indian Railways, Metro rail have proved that it is possible to ensure that every commuter enters with a valid ticket and after proper security check. So Metro Railway has been a quantum leap in public transportation in India and it is absolutely world class. Bullet trains too will have its own track and it will have nothing to do with existing rail ntwork. Bullet train too will have Metro rail like effect. In fact Bullet train has more in common with Metro rail rather than normal trains. It competes with short duration flights and it will in fact be a more convenient option compared to flights in those sectors where they will run. It will basically ensure that places like say Ahmadabad and Mumbai would become like suburbs that one could reach in a couple of hours or so.

Just like airlines are meant for more prsperous people, bullet trains too will be for the same segment of population. as mentioned by me earlier, India have 26 crore people who are prosperous and this bullet train is meant for them. They will use it and they will pay full unsubsidised ticket price. Just because the existing Indian Railways train tickets are subsidised does not mean that all future trains and other services need to be subsidised. As mentioned earlier, India is no longer a poor third world coutry. Japan started its bullet rtrains in 1964, just before it became the first Asian country to host Olympics. Japan GDP per capita at that time was $ 840. China had its first bullet train in 2003. at that time. Chinese per capita income was $ 1289 . So these two Asian countries were poorer than India when they developed their high speed trains for the first time. And these bullet trains changed the face of these countries. Now one can reach from Beijing to Shanghai (1300 km) in a little over four hours. This distance is similar to the distance between New Delhi and Mumbai (1386 km). At present New Delhi- Mumbai Central Rajdhani takes about 16 hours to cover this distance. Just imagine this distance being covered in 5 hours ! That would shrink distance for people. This train is a success in China and such trains would succeed in India as well.

I was telling our regulars that I would discuss Railway related topics in detail in my writeups. This writeup gives me one such opportunity where I have put my views across about bullet trains. I hope rail enthusiasts among us (such as Raja, PAvinash Scrapwala, eevesie’s mom, Peevesie’s brother etc) will get some food for thougt with this writeup.

As I mentioned, it is time India stopped thinking local and started thinking global. Bullet train would be a step in that direction. “Dangal”(2016) was very much a world class movie made in India. “Bahubali” was another world class movie. These movies have earned India great respect worldwide and have enhanced Indian soft power among foreigners. When I visited Bali recently with my family, a local of Bali asked where we were from. I replied “India”. “Bahubali part two!”- that person exclaimed. 🙂

I watched “Dangal”(2016) onboard the flight on my way back from Bali. And I was suitably impressed. It is a fantastic movie that keeps one spellbound throughout. It is a professionally made movie that has an universal appeal.

Hindi movies cannot do without songs. This movie too has songs but they are background songs and they blend in nicely with the movie. I am happy that the movie makers did not consider throwing in the usual formula of yore where hero’s wife would sing a bhajan, hero would sing an inspirational song, a fakeer would sing a philosophical song and a comedian would sing a comedy song follwed by a cabarat. A movie like this would have fallen flat. Many such Dev Anand movies have fallen flat because of such reasons in the past. Fortunately Aamir Khan the producer of this movie is a professional.

The songs are quite interesting. The song under discussion is especially interesting. The lyricist Amitabh Bhattacharya has come up with fun lyrics from the point of view of the two daughters of Mahavir Singh Phogat (played by Aamir Khan). A word like “haanikarak” is what Hindi medium students use in their science class while discussing some chemicals. 🙂

The song is sung by Sarwar Khan and Satraz Khan. Music is composed by Preetam.

The song picturisation is quite good as well. Overall, a superbly created and picturised song.

With this song. “Dangal”(2016) makes its debut in the blog.


Song-Baapu sehat ke liye tu to haanikaarak hai(Dangal)(2016) Singers- Sarwar Khan, Sartaz Khan, Lyrics-Amitabh Bhattacharya, MD-Preetam

Lyrics

re bapu
re bapu
hmm
Auron pe karam, bachchon pe sitam
Re baapu mere ye zulm na kar
Auron pe karam
bachchon pe sitam
Re bapu mere ye zulm na kar
Ye zulm na kar

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong

Baapu sehat ke liye
Baapu sehat ke liye
Tu toh haanikaarak hai
Baapu sehat ke liye
Tu toh haanikaarak hai
Hum pe thhodi daya toh karo
Hum nanhe baalak hain
Hum pe thhodi daya toh karo
Hum nanhe baalak hain

Discipline itna
aa aa aa
Re discipline itna
Khudkushi ke laayak hai
Baapu sehat ke liye
Tu toh haanikaarak hai
ham pe thhodi daya to karo
ham nanhe baalak hain
ham pe thhodi daya to karo
ham nanhe baalak hain
Discipline itna
aa aa aa
Re discipline itna
Khudkushi ke laayak hai
Baapu sehat ke liye
Tu toh haanikaarak hai

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong

re bapu
Tanne bola picnic shiknik jaana hai mana
Yo toh torture hai ghana
Re yo toh torture hai ghana
re baabu
Re bachcho se hi bole
Ke na karna bachpana
Yo toh torture hai ghana
Re yo toh torture hai ghana

Re bapu!

Toffee churan khel khilone
Kulche naan paratha
Keh gaye hain tata
Jabse bapu toone daanta

Jis umar mein shobha dete
Masti sair-sapaata
Uss umar ko naap raha hai
Kyun ghadi ka kaanta

Apni kismat ki gaadi ki
Khasta haalat hai ae
Apni kismat ki gaadi ki
Khasta haalat hai

Aur humaare bapu
O aa gayo re bapu
O humare bapu
Iss gaadi ke vaahan chalak hain
Bapu sehat ke liye
tu toh haanikaarak hai

Tanne bola khatta teekha khaana hai mana
Yo toh torture hai ghana
Re yo toh torture hai ghana
re bapu
Re mitti ki gudiya se bole
Chal body bana
Yo toh torture hai ghana
Re yo toh torture hai ghana

Hey… Re bapu
re bapu
Mmm.. tail lene gaya re bachpan
Jhad gayi phulwaari
Kar rahe hain jaane qaisi
Jang ki taiyyaari

Sote jagte chhoot rahi hai
Aansu ki pichkaari
Phir bhi khush na hua Mogambo
Hum tere balihaari

Teri nazron mein kya hum
Itne naalayak hain ae
Teri nazron mein kya hum
Itne naalayak hain

Re tujhse behtar toh o
(Manne chhod do re bapu)
Re tujhse behtar apni
Hindi filmon ke khalnaayak hain
Bapu sehat ke liye
Tu toh hanikarak hai

Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong
Ding dong
ding dong… Re bapu!

Tags: , , , , , , ,

Chali apne ghar ko Shakuntala

Posted by: on: August 31, 2018


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3696 Post No. : 14613

Today’s song is from film Shakuntala-43. It was the first film made by V.Shantaram, in his newly established own studio Rajkamal Kalamandir Ltd. This name was made by combining the first few letters of his parents- RAJaram and KAMALabai Vankudre. The studio was set up in 1942 and the first film was made almost immediately with Shantaram’s second wife, Jayashree as the Heroine opposite Chandramohan- the (actually) Blue Eyed boy of Shantaram.

The year 1942 was an eventful and Milestone year for Hindi film industry.

It was in 1942 that a splinter group from Bombay Talkies, led by S Mukherjee, separated and established their own Filmistan Studio.
Abdul Rasheed Kardar started his own Kardar Studios, after working for many famous film makers of Bombay and Calcutta.
Leaving Prabhat Films, with select associates like brother V.Awadhoot (cinematographer), Vasant Desai and few others, Shantaram started his own studio-Rajkamal Kalamandir.

Mehboob Khan left National studios( earlier Sagar movietone) and established his own Mehboob Studios, with the famous Sicle and Hammer on its Logo.

Homi Wadia left Wadia Movietone ,along with fearless Nadia, and started his own Basant pictures.

Begum Akhtar made her rare appearance in film Roti-42.

Muqabala-42 was the ffirst film with many Trick scenes and double role of Fearless Nadia,speaking shudh Hindi in one character and donning Saree with bangles, kumkum etc.

Bharat Milap was the first film in which Prem Adib and Shobhana Samarth played the roles of Ram and Seeta. Later they created history with film Ramrajya-43 in the same roles.

Madhubala debuted as Baby Mumtaz in Basant-42.

This splurge of activities in 1942 and its roll over effect flooded the next year 1943 with ” ek se badhkar ek ” films from the new establishments, competing with the established ones. Films like Aabroo from Hind Pictures of Nazeer Ahmed, Adab Arz by Amar pictures of Virendra Desai (ex Sagar), Kanan Devi’s Hospital, Hamari Baat and Kismat from Bombay Talkies, Kanoon and Namaste by Kardar, Hunterwali ki beti and Mouj from Basant pictures, Andhera, Bansari, Gauri and Nurse from Ranjit, First film Najma by Mehboob studios, Panghat and Ramrajya by Prakash, Poonji from Pancholi of Lahore,Prithvi wallabh by Minerva and the biggest grosser Shakuntala from Rajkamal made the year 1943 a memorable year indeed. In addition other films from Circo, Mohan, Murali and many other production houses too joined in.
Out of all this, Shakuntala ran for 104 weeks and it was the First film shown in USA also. The success reassured Shantaram about his decision to go alone. He started with new vigour.

film Shakuntala had a cast of Jayashree ( Shantaram’s second wife), Chandramohan,Kumar Ganesh, Ratan Piya, Nana Palshikar, Shantarin etc etc. The songs were written by Dewan Sharar and Ratan Piya. The music was given by Vasant Desai. This was his first film with Shantaram. He went on to give music to several films from Rajkamal, like Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala Shayar Ram Joshi-47 ( Amar Bhoopali-50, Marathi), Dahej-50, Surang-53, J.J.Payal Baje-55, Do ankhe bara haath-57 and Ladki Sahyadri ki-66.

Sharar had adapted the story from the original ” अभिज्ञान शाकुंतल by Mahakavi Kalidas ” written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.

Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.

Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.

Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in few generations. His name was Atmanand Sharar. He was born (1899-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated in many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.

This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.

After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.

In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”

The other Lyricist of film Shankuntala-43 was a poet with a very romantic name-Ratan Piya. He was born on 5-3-1904 at Lucknow. His father Pt. Madan Mohan was secretary to Motilal Nehru. His father was a theatre lover and so started his own Theatre company at Allahabad. Ratan, after his matriculation started working in it. He was trained to write songs for its dramas. Their company was patronised by the Viceroy, who paid Rs. 20 p.m. as his Patronage !

Ratan debuted as a Lyricist in film Pakke Badmash-1939. For this film, he even wrote an English song. His films were Zaban-43, Mali-44, Umang-44 Nai Baat-47 and Batohi-48. For sustenance, he even acted in few films like, Shakuntala-43, Umang-44, Meena-44, Mahakavi Kalidas-44, Panna Dai-45, Khush Raho-49, Janam Patrika-49 and Begunah-49. After this ratan Piya returned to Allahabad to look after their Theatre when his father died.

Today’s song is sung by Vasant Desai himself. He gave music to 46 films. He acted in 4 films. He sang 13 songs in 9 films. He was often called for giving Background music to films. He gave Background music to 99 films.

( credits- http://www.sacf.co.uk, stagecrafttheatre.com, film directory-48, HFGK, MuVyz, and my notes )


Song-Chali apne ghar ko Shakuntala (Shakuntala)(1943) Singer-Vasant Desai, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics

is bargad ko abmain tumhaare palle daal chali
par bahan
hamen kiske palle daal chali ho

hamen kiske palle mein daalegi
sakhi laadli
tu chali
chali
hamen kyon thhi ye ghadi dekhni
chhuta chhutpane ka jo naata thha
chali
chali aashram se shakuntala
chali aashram se shakuntala

??priya
priyamvada
?? mat
chhodo
shakuntala ko dheeraj do

madan
mere nanhe
ab main tujhse juda ho rahi hoon
ghabra nahin
baba teri paalna karenge

gurubaba
apne pyaaron ko vida karne jal tak hi aana thheek hota hai
ab ye jheel ka kinaara aa gaya
hamen aagya de kar
aap aashram ko laut jaayiye

kya
aap sab yahin se laut jaayenge

main tum sabko phir kab dekhoongi

baba se kab miloongi
baba
tapasya seap waise hi duble ho rahe hain
mere jaane se aur dukhi na hona
baba
mere baba

jo hansaati thhi
usey do diye
jise paaya thha
usey kho diye
gale mil ke rona judaai ka
pita putri ki hai yahi vidha
chali

beti
samay ho gaya

chali apne ghar ko shakuntala
ye safar tera path yatra
tujhe chhaaon achchi ghani miley
miley tujh ko chaman khile khile
tujhe peene ko miley ganga jal
path yatra teri ho sufal
chali

Tags: , , , , ,

Barbaad Hiroshima ki tasweer dekh lo

Posted by: on: August 9, 2018


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3674 Post No. : 14561

6 August is remembered as Hiroshima day. It was on this day that in 1945 that Hiroshima became the first unfortunate city to be subjected to the dropping of Atom Bomb.

Three days later, on 9 august 1945, another bomb was dropped on Nagasaki. Kokura was the primary target, but that was obscured by cloud and smoke, so the secondary target of Nagasaki became the unfortunate victim of this second atom bomb, named ‘Fat Man’. The bomb exploded at 11:02 a.m. at an approximate altitude of 1,800 feet. 35, 000 people, nearly 15 % of the population of the city were killed.

These two bombings finally persuaded Japan to surrender and that signalled the end of second World war.

The destruction that Atom bombs could cause have led to consternation among many people. It also made some countries realise that they too needed to have atom bombs for their own safety (as a deterrence). Some countries developed the capabilities on their own while a few others did so by stealing nuclear technologies from other countries.

There have been calls to ban nuclear bombs. The first five nuclear bomb owning countries have formed their own exclusive club. Their rules are quite discriminatory. They can have their nuclear bombs, but other countries are prohibited to have them. Moreover, some of these nuclear powered countries keep on threatening others about using them. USA have threatened to use they atom bombs many times in the past. North Korea is well known to threaten its neighbours and even USA with its atom bomb. A few former Pakistani politicians used to threaten India with their atom bomb quite regularly.

To say that killing by atom bombs is bad but killing by normal bombs is not bad is hypocritical. If one looks at people killed during “normal” bombing, then more people were killed by “normal” bombing of Tokyo on 10 march 1945 than were killed by either of the two atom bombs at Hiroshima and Nagasaki. Likewise more people have been killed by AK 47 rifles than by Atom bombs. So ultimately the call should be to end violence by banning all kinds of weapons. It is not that atom bombs should be banned but “normal” weapons should be used with impunity. In fact, defence industry is a thriving industry where suppliers often sell the same weapons to two warring nations. There are some countries that spend more money on their military than for the development of their people.

“Aman”(1967) is a movie that deals with the subject of atom bomb and its effects on the victims. “Rajendra Kumar is a doctor who volunteers to go to Japan to help survivors of the Hiroshima-Nagasaki atomic blasts. The film deals with his experiences in Japan, the physical and mental effects of the atomic explosions on the survivors, and so on.”- This is what Raja wrote about this movie while covering a song from the movie.

Though the movie covers a serious and sobering topic, a Hindi movie cannot help having its share of songs. “Aman”(1967) had seven songs in it. Six songs have been covered in the past. Here are their details:-

Song Title

 Post No.

Post Date
Aajki raat ye kaisi raat 706 8-Feb-09
Apne piyaa ki prem pujaaran 3373 18-Dec-10
Suraahidaar gardan koyal si hai aawaaz (Aman) 7752 25-Mar-13
Ae husn pari chehra 7756 26-Mar-13
Ai suru ai suru mera watan Japan 8579 23-Aug-13
Aman ka farishta kahaan jaa raha hai 13423 12-Jul-17

The song, the seventh and final song from the movie is sung by Rafi. Prem Dhawan is the lyricist. Music is composed by Shankar Jaikishan. The song speaks about the barbaadi of Hiroshima. Today is 9 august 2018, and atom bomb was dropped on Nagasaki on 9 august 1945, exactly 73 years ago.

With this sobering song, “Aman”(1967) joins the list of movies that have all their songs covered in the blog.


Song-Barbaad hiroshima ki tasweer dekh lo (Aman)(1967) Singer-Rafi, Lyrics-Prem Dhawan, MD-Shankar Jaikishan

Lyrics

barbaad hiroshima ki tasweer dekh lo
aa aa aa
aa aa
insaan ki sabse badi takseer dekh lo
aa aa aa
is atomi bala ka hai pahla shikaar hum
rang e bahaar thhe kabhi
ab hain gubaar hum
aa aa aa
insaan ke is gunaah se aakash jhuk gaya
thha waqt jis jagah pe
bas wahin pe ruk gaya

ye haath kate paanv kate jhoolte dhaanche
aa aa aa
in dhaancho mein hum jaise hi insaan dhale thhe
aa aa aa
maao ki muskuraati god khaali ho gayi
poonam ki raat bhi suna hai kaali ho gayi
aa aa aa
kehti hai hiroshima ki basti pukaar ke
gujro na tum main gujri hoon jis rahgujaar se

aa aa aa aa
aa aa aa aa

Tags: , , , ,

Dil Chaahta Hai

Posted by: on: August 8, 2018


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3673 Post No. : 14559

ASAD 10th Anniversary Celebrations – 19
———————————————————————

मिले ना फूल
तो काँटों से दोस्ती कर ली॰ ॰ ॰

दस बरस पहले, एक सफर शुरू हुआ – एक सफर जिसका कुछ भी नियत नहीं था, कुछ निश्चित प्रयोजन नहीं था, कुछ आशा भी नहीं थी के ये सिलसिला जाने कब तक चले। बस सिर्फ एक धुन, और एक नग़मा – ले चला जिधर ये दिल निकल पड़े।

और साथ ये भी कह दिया कि मंज़िल कहाँ कहाँ रुकना है ऊपर वाला जाने॰ ॰ ॰

कुछ मालूम नहीं था ये सफर क्या शक्ल हासिल करेगा। क्या कोई हमसफर मिलेगा? मालूम नहीं, ये सोचा भी था के नहीं। लेकिन फिर भी क्या॰॰॰ एक ज़िंदगी का तार पकड़ कर चल दिये। और सोचा यूं कि चलते चलो चलता हुआ साहिल है ज़िंदगी। ये तो अच्छा किया कि दूर की सोची नहीं। अब तीन साल में क्या हो या पाँच सात साल में क्या होगा ऐसी हर फिक्र को धुएँ में उड़ाते हुये, बस एक दिन और एक गीत – इस क्रम पे चलना शुरू किया।

कहते हैं, जब कर्म और विचार में खोट नहीं, तो प्रकृति, दिशाएँ, तत्व, देव – सब कुछ ही साथ हो संबल देते है।  दस साल पहले जो सफर अकेले ही शुरू हुआ था, आज इन दस साल के बाद अब इसकी गिनती करोड़ों में होती है।  क्रम नहीं बदला, नीयत नहीं बदली – जो बदला वो बस यही के लोग साथ आते गये और कारवां बढ़ता गया।

दस साल बाद भी, आज कोई पूछे तो जवाब नहीं बदला – ये हँसता हुआ कारवां ज़िंदगी का न पूछो चला है किधर॰॰॰।

कितने पड़ाव आए और गुज़र गये, कितने ही मील पत्थर रास्ते में मिले और नज़रों से ओझल हुये।  इस सफर में हम कहाँ कहाँ से गुज़र गये – देस भी घूमा, दुनिया भी घूमी; सागर, नदियां, पर्वत, वादियाँ, जंगल और सैहरा, रास्ते और गलियाँ, पनघट और खलिहान, बाज़ार भी, मेले भी और अकेले भी – सब कोने छू लिए। कभी रेल में, तो कभी मोटर कार में, कभी घोड़े कि टापों के संग, तो कभी रिक्शे में। कभी बैल कि गाड़ी में घूमे, तो कभी तांगे के हिचकोले खाये। कशतियों में कभी झीलों का झरोखा, और कभी जहाज़ में समुद्र का दीदार किया। साइकल की सैर भी की, और कभी प्लेन से सारी धरती को देखा। और तो और, क्रेन, ट्रक और ट्रैक्टर को भी नहीं छोड़ा।

कभी हरी दर्शन को तड़पते मन देखे, कभी मदीने की दुआएं मांगी।  कभी बंजारों के गीत सुने, और तो फिर कभी सूफी के कलाम। बुद्ध कि शरण में गये तो कभी येशु के दर पे सर झुकाया। कभी सृष्टि के चित्रकार को ढूँढा, और कभी कर्म गति की शिक्षा सुनी। कभी शुक्राने फरमाए उस खुदा की बंदगी में, तो कभी ज़िंदगी से ऊब कर उसे खूब खरी खोटी भी सुनाई।

कभी किसी नाज़नीं से लहंगे कि फरमाइश सुनी, और कभी प्रेमी कि ज़ुबान से चाँद कि उपमाएँ। कभी बरसात ने दिल लुभाया, तो कभी बात बात में मैंने दिल तुझको दिया। कभी गर्मी की धूप से बचने की सलाह देखी, तो कभी बर्फ की सर्दी को दिल की आंच से कम होते देखा।

गोद में बच्चों को सुलाते हुये माँ कि लोरियाँ सुनी, तो कभी बच्चों से माँ के आँचल कि पुकार। नग़में सुने दोस्ती के और ग़ज़लें सुनी इश्क़ की।  मोहब्बत के जलवों से रोशन जन्नत के नज़ारे किए, तो कभी टूटे दिल के नालों ने हमें भी रुलाया।

कभी दिल मचला और झूम के गा उठा – किसान अपनी फसल देख के, फौजी छुट्टी पर घर जाते हुये, इक जवान दिल इश्क़ का इक़रार पा कर, और तो कभी बस इस कायनात की खूबसूरती पर।

कभी दिल रोया और रो कर गाया – भीख मांगते हुये बच्चे, कोई बिछड़ कर जाने लगा, कभी मोहब्बत के धोखे उठाए, और तो कभी किस्मत के थपेड़ों की शिकायत में।

कभी एक चोर की कहानी सुनी, कभी बिक्री वालों से उनकी उम्दा दलीलें सुनी, कभी मेहनतकशों की प्रेरणा भा गई, और तो कभी सड़क पे तमाशों के नज़ारे किए।

हुस्न की जल्वानुमाई देखि, तो कभी हुस्न के एहसान; कभी हुस्न की संगदिली ज़ाहिर हुई, तो कभी सिर्फ शिकवों का ज़िक्र हुआ। फ़लक पे सूरज चाँद और तारों की कहानी सुनी, तो कभी शराब की मस्ती शराबी की जुबानी सुनी।

फूलों से किसी कमसिन के चेहरे को मुक़ाबिल देखा, तो कभी किसी अल्हड़ की लापरवाह चाल से झरनों की उपमा हुई।

कसमें वादे होते देखे साँसों की हद तक, और कभी टूटे वादों के साथ दिल के टुकड़े बिखरते देखे।

कोई जश्न का मौका छूटा नहीं, कोई नाम अछूता रहा नहीं।

कभी धरती और देश के झंडे से बुलंद हुये, तो कभी इंसानी ज़ुल्म से हताश।

कभी शहीदों की कहानियाँ पलटीं, तो कभी भली आत्माओं का दर्शन किया।

सुख की घड़ियाँ, दुख के बादल; हंसी के लम्हे, आँसू की ढलकन; मिलने की खुशी, ना मिलने का ग़म; प्यार का झगड़ा, बेवफाई के ज़ख्म; बारात का बाजा, दिल का राजा; मंदिर का दीपक, खुदा से दुआएं; रिश्तों की संवेदना, और साथ ही वेदना; प्यार का फलसफा, और ज़िंदगी की तालीम।

कभी वो गीत में, कभी नज़्म में, कभी ग़ज़ल में, तो कभी भजन में, कभी ट्विस्ट में तो कभी डिस्को में; कभी क़व्वाली में, तो कभी सहगान में; कभी कविता जैसी लगी, तो कभी कथा जैसी; कभी तुम्हारी छवि दिखी, कभी उसकी; और तो ज़्यादा कहानी अपनी सी लगी।

दस साल। दस साल और पन्द्रह हज़ार उमंगें। रोज़ की नई नवेली। कभी लगता भी है कि पहले सुना था, लेकिन फिर भी लगता है नया सा। कितने सारे भावों की बरसात हुई है, क्या बेशुमार दौलत मिली है – दस साल में। नायाब खजाना है। और सोचो तो, शुरू कहाँ से किया था – “॰॰॰काँटों से दोस्ती कर ली॰॰॰”। मुनासिब ही तो है, ये दौलत काँटों से गुज़र के ही पाते हैं। और तमन्नाएं॰॰॰ उनका तो कहना ही क्या। कुछ मिल जाये, इसकी तो फिक्र कभी थी ही नहीं। बस एक ही बात, एक ही लगन॰॰॰ दिल चाहता है॰॰॰  साथ चलते रहें हम न बीते कभी ये सफर॰॰॰

जी हाँ, दिल चाहता है। जब एक गाना ढूंढ रहा था इस जश्न के लिए, तो मन बहुत घूमने के बाद इस बात पे ठहरा कि एक सफरनामा होना चाहिए, एक गाना जिस में बस सफर हो, कोई मंज़िल न हो। जिसमें बस हमख्यालों का दख़ल हो। जो सब मेरे हमकदम हों, मेरे हमनशीं, मेरे हमज़ुबाँ हों। अपनी यादों और आदतों से वहीं ढूँढता रहा साठ और सत्तर से पहले। इत्तेफाक़ देखिये, मिला तो बखूबी वही जो दिल चाहता है। हाँ ‘दिल चाहता है’ – फिल्म भी वही और नग़मा भी वही। 2001 में जारी हुई ये फिल्म मेंने उन्हीं दिनों में अपने सफरगुज़ारी के दौरान देखी। न जाने क्यों, इस फिल्म से मोहब्बत हो गई। और खास कर के इस गाने से। हल्की सी मस्ती की लहर में हल्का सा ढुलकता सा गाना, सुस्ताता हुआ, आलसी सा गाना, धीरे धीरे बहता जैसे बहार में सुबह कि मीठी सी सबा॰॰॰ लापरवाही में एक प्रतिबिम्बित चिंतन॰॰॰ गाना तो ऐसे मन को भाया के बस।

दिल चाहता है
कभी ना बीतें॰॰॰   चमकीले दिन
दिल चाहता है
हम ना रहें कभी॰॰॰ यारों के बिन

होता है ना कभी कभी ऐसे ही। कुछ ऐसा कहा जाता है दो लफ्जों में, के और कुछ कहने की कसर बाकी रहती नहीं। जो बात मन की है, वो बस इतनी ही मुकम्मल है, जो ऊपर लिखे मिसरों में ब्याँ हो गई – तमन्ना है ये साथ चलते रहें हम न बीते कभी ये सफर॰॰॰

और कुछ कहना वाजिब नहीं।

इस फिल्म के ज़्यादातर किरदारों को पहली बार देखा था। बहुत सालों बाद एक हिन्दी फिल्म देखी थी शायद। मन को जम गई। 🙂

गीत जावेद अख्तर का लिखा है, संगीत बद्ध किया शंकर-एहसान-लोय कि तिकड़ी ने। गाने वाली आवाज़ शंकर महादेवन की है। स्क्रीन पर ये गाना बैक्ग्राउण्ड में फिल्माया गया। और क्या असरदार फिल्माया गया। गीत ही गीत सुनता है, बाकी सब खामोशी है। एक तुष्टि की, एक पूर्णता की खामोशी है। एक खुशी भरी सुस्ती की खामोशी है॰॰॰ जो दिल चाहता है वो मुझे मिला है॰॰॰ ऐसी खामोशी है

कभी ना बीतें॰॰॰   चमकीले दिन
हम ना रहें कभी॰॰॰ यारों के बिन

दस बरस, फिर एक और दस बरस, फिर एक और दस बरस॰॰॰ सिलसिलेवार

कभी ना बीतें॰॰॰   चमकीले दिन
हम ना रहें कभी॰॰॰ यारों के बिन

[Author’s Note: Apologies due on many counts, including the sudden and surprising change in the presentation language above. The writing started and then I just couldn’t stop the flow. And so I let it flow. In case there are requests, I can add the English translation also. Regarding the gap in celebration sequence, that story is coming up tomorrow. 🙂 ]

Song – Dil Chaahta Hai (Dil Chaahta Hai) (2001) Singer – Shankar Mahadevan, Lyrics – Javed Akhtar, MD – Shankar-Ehsaan-Loy
Chorus

Lyrics

dil chaahta hai

dil chaahta hai

dil chaahta hai
kabhi na beeten
chamkeele din
dil chaahta hai
hum na rahen kabhi yaaron ke bin
din din bhar hon
pyaari baaten
jhoomen shaamen
gaayen raaten
masti mein rahe dooba dooba hamesha samaa
hum ko raahon mein yun hi milti rahen khushiyaan
dil chaahta hai
kabhi na beeten
chamkeele din
dil chaahta hai
hum na rahen kabhi yaaron ke bin

jagmagaate hain
jhilmilaate hain apne raaste
ye khushi rahe
roshni rahe
apne waaste
jagmagaate hain
jhilmilaate hain apne raaste
ye khushi rahe
roshni rahe
apne waaste

oo oo ooo
ooo ooo oo ooo ooo ooo
oo oo ooo
ooo ooo oo ooo ooo ooo

jahaan rukey hum
jahaan bhi jaayen
jo hum chaahen
wo hum paayen
masti mein rahe dooba dooba hamesha samaa
hum ko raahon mein yun hi milti rahen khushiyaan

dil chaahta hai

dil chaahta hai

dil chaahta hai

dil chaahta hai

dil chaahta hai

kaisa ajab ye safar hai
socho to har-ek hi bekhabar hai
us ko jaana kidhar hai
jo waqt aaye
jaane
kya dikhaaye

oo oo ooo
ooo ooo oo ooo ooo ooo
oo oo ooo
ooo ooo oo ooo ooo ooo
oo oo ooo
ooo ooo oo ooo ooo ooo
oo oo ooo
ooo ooo oo ooo ooo ooo

dil chaahta hai
kabhi na beeten
chamkeele din
haan haan
dil chaahta hai
hum na rahen kabhi yaaron ke bin
din din bhar hon pyaari baaten
jhoomen shaamen
gaayen raaten
masti mein rahe dooba dooba hamesha samaa
hum ko raahon mein yun hi milti rahen khushiyaan
jagmagaate hain
jhilmilaate hain apne raaste
ye khushi rahe
roshni rahe
apne waaste
jagmagaate hain
jhilmilaate hain apne raaste
ye khushi rahe
roshni rahe
apne waaste

oo oo ooo
ooo ooo oo ooo ooo ooo
(dil chaahta hai)
oo oo ooo
ooo ooo oo ooo ooo ooo
(dil chaahta hai)
oo oo ooo
ooo ooo oo ooo ooo ooo
(dil chaahta hai)
oo oo ooo
ooo ooo oo ooo ooo ooo

dil chaahta hai

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दिल चाहता है

दिल चाहता है

दिल चाहता है
कभी ना बीतें
चमकीले दिन
दिल चाहता है
हम ना रहें कभी यारों के बिन
दिन दिन भर हों
प्यारी बातें
झूमें शामें
गायें रातें
मस्ती में रहे डूबा डूबा हमेशा समां
हम को राहों में यूं ही मिलती रहें खुशियाँ
दिल चाहता है
कभी ना बीतें
चमकीले दिन
दिल चाहता है
हम ना रहें कभी यारों के बिन

जगमगाते हैं
झिलमिलाते हैं अपने रास्ते
ये खुशी रहे
रोशनी रहे
अपने वास्ते
जगमगाते हैं
झिलमिलाते हैं अपने रास्ते
ये खुशी रहे
रोशनी रहे
अपने वास्ते

ओ ओ ओss
ओss ओss ओ ओss ओss ओss
ओ ओ ओss
ओss ओss ओ ओss ओss ओss

दिल चाहता है

दिल चाहता है

दिल चाहता है
जहाँ रुकें हम
जहाँ भी जाएँ
जो हम चाहें
वो हम पाएँ
मस्ती में रहे डूबा डूबा हमेशा समां
हम को राहों में यूं ही मिलती रहें खुशियाँ

दिल चाहता है

दिल चाहता है

दिल चाहता है

दिल चाहता है

दिल चाहता है

कैसा अजब ये सफर है
सोचो तो हर एक ही बेखबर है
उस को जाना किधर है
जो वक़्त आए
जाने
क्या दिखाये

ओ ओ ओss
ओss ओss ओ ओss ओss ओss
ओ ओ ओss
ओss ओss ओ ओss ओss ओss
ओ ओ ओss
ओss ओss ओ ओss ओss ओss
ओ ओ ओss
ओss ओss ओ ओss ओss ओss

दिल चाहता है
कभी ना बीतें
चमकीले दिन
हाँ हाँ
दिल चाहता है
हम ना रहें कभी यारों के बिन
दिन दिन भर हों
प्यारी बातें
झूमें शामें
गायें रातें
मस्ती में रहे डूबा डूबा हमेशा समां
हम को राहों में यूं ही मिलती रहें खुशियाँ
जगमगाते हैं
झिलमिलाते हैं अपने रास्ते
ये खुशी रहे
रोशनी रहे
अपने वास्ते
जगमगाते हैं
झिलमिलाते हैं अपने रास्ते
ये खुशी रहे
रोशनी रहे
अपने वास्ते

ओ ओ ओss
ओss ओss ओ ओss ओss ओss
(दिल चाहता है)
ओ ओ ओss
ओss ओss ओ ओss ओss ओss
(दिल चाहता है)
ओ ओ ओss
ओss ओss ओ ओss ओss ओss
(दिल चाहता है)
ओ ओ ओss
ओss ओss ओ ओss ओss ओss

दिल चाहता है

Tags: , , , , , , , ,

Duniya mein sada rahne ko aata nahin koi

Posted by: on: July 31, 2018


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3665 Post No. : 14535

Here is that day again.

Yes, it is the 31st of July (2018) today – which for HFM lovers, wherever they are in the world, signifies just one thing.

The death anniversary of Mohammad Rafi – respectfully referred to as Rafisaab, by one and all.

I am sure there will be events around the country to solemnly mark the occasion. Why just in the country, probably even across the world, considering how distributed India’s diaspora around the world is.

Millions of people will be remembering today as Rafisaab’s Remembrance Day – a term we also often use on this blog.

Truth is, at least for me (and I’m sure it’s true for many), every single day of the year is Rafisaab’s Remembrance Day. For there isn’t a single day in the year that I do not remember Rafisaab in some way or the other. It is usually in the form of a song I’m listening to – or sometimes singing (thankfully only to myself). 🙂

Of course, the 31st of July adds a huge extra layer of remembrance because it brings with it a sense of loss. Although it is 38 years now, this sense of loss remains. And for me, it will remain all my life.

As I sit to write this post, I’m not sure what I should write about Rafisaab that I haven’t already written here.

The thing is, I’ve written a lot about Rafisaab here. My posts here might be relatively infrequent now but I make it a point to always write a post on Rafisaab’s birth and death anniversaries. These are two dates I never miss. It is just my very small way of paying tribute to Rafisaab, and thanking him for enriching my life in a way, and to an extent, that I just cannot describe.

And I’d like to think, he is up there, smiling as always, reading these tributes.

There isn’t much I can think of writing now that I haven’t already written before. And although I don’t mind repeating myself, I don’t want to bore the readers. Having said that, I never tire of repeatedly watching the same tributes to Rafisaab on youtube. I’ve listened to Jeetendra’s story of Deedaar-e-Yaar multiple times, SP Balasubramaniam’s story about “deewaana hua baadal” multiple times. 🙂 And each time, it feels good to listen to it.

But that’s different from my repeating stories, that too in text, not video. Besides, they speak about their personal experiences involving interaction with Rafisaab – mine are just my personal thoughts.

So I will refrain from repeating myself.

One thing I will say – I’ve often felt lucky that Rafisaab’s era was before mine. Imagine somebody living in the 1920s/30s and passing away before 1947. He or she would never have had the opportunity of listening to Rafisaab. Of course there were greats even then – like Saigal saab and Pankaj Mallick, but we now have the good fortune of being able to listen to them AND to Rafisaab, Talat Mahmood, Lataji and others.

Future generations will have even more music available to them, in addition to what is available today.

That’s the greatness of a legacy. Every individual has to die sometime – nobody can do anything about that. Yes, one can delay the inevitable – but it is still inevitable. No one has yet invented the elixir of immortality – and that might not be such a bad thing.

Coming to Rafisaab, I’ve spent hours and hours listening to him. I’ve spent all night listening to his songs. It starts with one song, then I think “ok, one more”, then “one more” and so it goes on. On youtube, you keep getting prompted anyway – so it’s just one click after another. You start with “chaudvin ka chand ho”, then, as if on cue, you’re prompted “abhi na jao chhod kar”, which then takes you to “deewana hua baadal”, which takes you to “pukaarta chala hoon main” and so on. You know the drill – you’re hooked. This has happened to me many times.

Not that I’m complaining. It has always been a thoroughly enjoyable experience. I often don’t even watch the video – I just close my eyes and let Rafisaab’s voice take over. And suddenly everything seems to either fall in place, or become inconsequential. For that period at least. When SPB says that at the end of a long day in the recording studios he would come home and listen to Rafisaab to relax, I think I can understand where he’s coming from. Rafisaab’s voice can be extremely relaxing, if you listen to the right songs. I don’t know how often I’ve listened to “ab kya misaal doon” (Aarti-1962) or “maine shaayad tumhe pehle bhi kahin dekha hai” (Barsaat Ki Raat – 1960). And think of songs like “husnwaale tera jawaab nahin” (Gharana–1961) or “ek haseen shaam ko” (Dulhan Ek Raat Ki – 1967) or “mujhe dekh kar aapka muskuraana” (Ek Musafir Ek Haseena – 1962). And if you’re looking for duets, how about “theheriye hosh mein aa loon” with Suman Kalyanpur (Mohabbat Isko Kehte Hain – 1965) or “dil pukaare” with Lata (Jewel Thief – 1967) or “phir miloge kabhi is baat ka vaada kar lo” with Asha (Ye Raat Phir Na Aayegi – 1966). And of course, one of my all-time favourites – which is why I keep coming back to it – “abhi na jao chhod kar” with Asha (Hum Dono – 1961). 🙂

And so many more. I just realized that all the songs I’ve mentioned above, which came randomly to my mind, are all 1960s songs – but this is purely a coincidence. One can find a treasure of songs from the 1950s or even 1970s. Yes, even the 1970s, when Rafisaab was supposed to be going through a lean patch for the first half of the decade. The half in which he still gave us songs like “tum jo mil gaye ho” (Hanste Zakhm – 1973) and “aaj mausam bada beimaan hai” (Loafer – 1973). And my favourite Rafisaab duet song of the 1970s – “teri bindiya re” (Abhimaan – 1973) with Lata, which I have listened to a zillion times, and can never have enough of.

Rafisaab sang practically every genre, from qawwali and devotional songs to rock-n-roll and romantic songs, adjusting his singing style and voice for every actor, depending on the needs of the situation. He was always conscious that he was the playback voice – and that the actor on screen was bringing that song to the audience in “his” (the actor’s) voice. This elevated not just the song, but often even the film, for the viewers, because very often the songs of the film carried the film. 🙂

And, to add to all this, as if his divine voice wasn’t enough, he was also one of the most gentle souls the industry has ever seen. In an industry where ego clashes and tempers were not uncommon, he was ever-smiling, ever accommodating of others, never throwing his weight around – which he could very easily have done. He had a very big heart, ever generous and helpful to those in need. And he did a lot of it without publicity. It was only after he died, that a number of his charitable actions came to light.

So SUCH is the person Rafisaab was. Will we ever see another like him in the industry? Hard enough to imagine another singer like him – add to that his nature, and I think it’s safe to rule out the chance of another Rafisaab. No, Rafisaab was one of a very special kind – like SPB says, we were just very lucky he came in our midst before he was called back.

Indeed, he was 100% right when he sang “mujh ko mere baad zamaana dhoondhega”.

I will now move on to today’s song.

As it is the 31st of July, I have selected a song, sung by Rafisaab of course, about the inevitability of passing away. It is a very short song from the film Amardeep (1979) – but it suits the occasion perfectly. Lyrics have been provided to me, as usual, by Avinashji.

The song’s lyrics, written by Anand Bakshi, talk about how death is inevitable. And yet how sudden and shocking an unexpected death can be. “Tum aise gaye, aise bhi jaata nahin koi”. Everyone knows how sudden Rafisaab’s death was. That was just no way to go. Everyone was in shock – and he was just 55.

The song also refers to having a smile on one’s face even while dead. “Kyon mar ke bhi honthon pe hansi khel rahi hai”- this could also be said of Rafisaab. He was ever-smiling, reportedly even in death.

This song brought a lump to my throat.

Also, listening to his voice only further made me realize how wonderful his voice was even just a year before he passed away. It left me with a loss of what might have been. I felt he had so much more singing in him.

Anyway, one cannot control these things. One can only be thankful for what one has got. And we have got a LOT from Rafisaab. A price can never be put on his legacy – it is just priceless. He will be in our hearts for ever, and remembered for ever.

Rafisaab is truly “amar” in this sense – and lighting amardeep in all our hearts.

Thank you, Rafisaab.

Thank you for everything.

bahut shukriya, badi meherbaani,
hum sab ki zindagi mein huzoor aap aaye

Audio

Video


Song-Duniya mein sada rehne ko aata nahin koi (Amardeep)(1979) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Duniya mein sadaa rehne ko
Aata nahin koyi
Tum jaise gaye aise bhi
Jaata nahin koyi

Kyun mar ke bhi honthhon pe hansi
Khel rahi hai ae
Sab jaante hain aur
Bataata nahin koyi ee

Dil pehle hi dartaa thaa
Ke jal jaayega daaman
Daaman se amardeep
Bujhaataa nahin koyi
Bujhaataa nahin koyi ee
Bujhaataa nahin koyi
—————————————–
(Devnagri Script lyrics) Provided by Avinash Scrapwala)
—————————————–
दुनिया में सदा रहने को
आता नहीं कोई
तुम जैसे गए ऐसे भी
जाता आ नहीं कोई

क्यूँ मर के भी होंठों पे हंसी
खेल रही है ए
सब जानते हैं और
बताता नहीं कोई ई

दिल पहले ही डरता था
के जल जाएगा दामन
दामन से अमरदीप
बुझाता नहीं कोई
बुझाता नहीं कोई ई
बुझाता नहीं कोई

Tags: , , , ,

O is desh ke rahne waalon

Posted by: on: July 14, 2018


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3648 Post No. : 14485

“Poornima”(1965) was directed by Narendra Suri for Roopkala pictures, Bombay. This “social” movvie had Meena Kumari, Dharmendra, Anita Guha, Mehmood, Siddhu, Nazeer Hussain, Durga Khote, Parveen Chaudhary, Sadhana Khote, Raja Nene, Kanu Roy, Kanchanmala, Kesri, Polson, Honey Irani, Bablu etc in it.

The movie had eight songs in it that were penned by four lyricists. Three of these songs have been covered in the past.

Here is the fourth song from “Poornima”(1965) to appear in the blog. The song is sung by Lata. Bharat Vyas is the lyricist. Music is composed by Kalyanji Anandji.

The song is picyturised as a background song where a dukhiyaari (what else) Meena Kumari is shown roaming around helplessly with her child. Nazeer Hussain, a perrenial dukhi budhha, is also visible in the picturisation.


O is desh ke rehne waalon (Poornima)(1965) Singer-Lata, Lyrics-Bharat Vyas, MD-Kalyanji Anandji

Lyrics

o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani

bichhaaye jo kismat ne kaante
unhen bhi gale se lagaaya
magar haaye re badnaseebi
tere man ko ye bhi na bhaaya
chali aisi aandhi
uthha aisa toofaan
bhikhaaran bani aaj mahlon ki raani
zara sunte jaana ye meri kahaani

bhatakti phiroon aaj dar dar
hai roti bina pet khaali
uchhaale zamaane ne sikke
na roti kisi ne uchhaali
har ek dil hai maila
har ek aankh bhookhi
hawas ne sabhi ka kiya khoon paani
zara sunte jaana ye meri kahaani

ye dharti ka nanha sa munna
hai rahbar tumhaare watan ka
ye maangega jab bheekh tumse
to jhuk jaayega sar gagan ka
magar tumpe phir bhi asar kuchh na hoga
tumhaare liye khel hai zindgaani
zara sunte jaana ye meri kahaani

o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani

Tags: , , , , , ,

Older Entries
Advertisements

Important Announcement

(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14786

Number of movies covered in the blog

Movies with all their songs covered =1152
Total Number of movies covered =4042

Total visits so far

  • 11,069,800 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,647 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

networked blogs

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Visit blogadda.com to discover Indian blogs

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements

Create a free website or blog at WordPress.com.

%d bloggers like this: