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

Archive for the ‘Duet’ Category


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.

“Aaye Din Bahaar Ke”(1966) was produced by J Omprakash and directed by Raghunath Jhalani for Filmyug Private Limited. The movie had Dharmendra, Asha Parekh, Naazima, Sulochana Latkar, Raj Mehra, Rajendranath, Balraj Sahni, Sunder, Mubarak, Sabita Chatterjee, Leela Mishra, Dulari, Madhu Apte, Khairati, Sarita Devi, Brahm Bhardwaj, C.S.Dubey, Nazir Kashmiri, Lata Bose etc in it.

The movie had seven songs in it and all of them were quite popular songs. Five of these songs have been covered in the blog. Here is the sixth song from “Aaye Din Bahaar Ke”(1966) to appear in the blog. This song is sung by Lata and Mahendra Kapoor. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised as a song that was popularly described as the lead pair (Asha Parekh and Dharmendra) running around trees, though it is more like rolling on the grass and trampling them in the process, as far as I can tell. 🙂

Lyrics of this song were sent to me by Prakashchandra quite some time back.


Song-Ye kali jab talak phool ban ke khiley (Aaye Din Bahaar Ke)(1966) Singers-Lata, Mahendra Kapoor, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

ye kali
jab talak
phool ban ke khiley
intzaar intazaar
intzaar karo
intzaar karo
intazaar woh bhala kya kare
tum jise
beqaraar beqaraar
beqaraar karo

intzaar karo

pyaar mein pyaar ki bhi ijaazat nahin
pyaar mein pyaar ki bhi ijaazat nahin
berukhi hai aji ye mohabbat nahin

aa raha hai maza
tum shikaayat yahi
baar baar
baar baar
baar baar karo
intzaar karo
intzaar woh bhala
kya kare
tum jise
beqaraar beqaraar
beqaraar karo
beqaraar karo

husn pe to asar hone waala nahin
aa aa aa
husn pe to asar hone waala nahin
ishq tum ko na kar de deewaana kahin
hai ye deewaangi bhi qubool
tum agar
hamse pyaar
hamse pyaar
hamse pyaar karo
hamse pyaar karo

ye kali jab talak
phool ban ke khile
intzaar intzaar
intzaar karo
intzaar karo

roz hamne bayaan ye fasaana kiya
roz hamne bayaan ye fasaana kiya
roz tumne naya ik bahaana kiya

ye bahaana magar
aakhri hai sanam
aitbaar aitbaar
aitbaar karo
intzaar karo
intzaar woh bhala
kya kare tum jise
beqaraar beqaraar
beqaraar karo
beqaraar karo

intzaar intzaar
intzaar karo
intzaar karo
hamse pyaar
hamse pyaar
hamse pyaar karo

intzaar karo

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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.

“Riyaasat”(1955) was directed by Jaswant Jhaweri for Roopkamal Chitra, Bombay. The movie had Mahipal, Mala Sinha, Sunder, Kamal, Hiralal, Prakash, Babu Raje etc in it.

The movie had seven songs in it. One song from the movie has been covered in the past.

Here is the second song from “Riyaasat”(1955) to appear in the blog. This song is a duet sung by Geeta Dutt and Rafi. Prem Dhawan is the lyricist. Music is composed by Avinash Vyas.

Only the audio of this rare song is available. My guess is that this song is picturised on the lead pair of Mahipal and Mala Sinha, but I cannot be sure. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Aisi nazren na daal (Riyaasat)(1955) Singers-Geeta Dutt, Rafi, Lyrics-Prem Dhawan, MD-Avinash Vyas

Lyrics

aisi nazren naa daal
kar le khayaal
keh dengi aankhen saari duniya se haal
rakkho ji dil ko zara apne sambhaal
aa haa
ye gore gore gaal
lahraate baal
thumak thumak matwaali chaal
rakkhe ji kaise koi dil ko sambhaal

o o
teri mastaani aankhon mein dil mera kho gaya
ab kya karen ji
ab kya karen ji
jo bhi hona thha ho gaya

meethhi baaton ke jaal mujhpe na daal
main jaanoon pahchaanoon nazron ki chaal
rakho ji dil ko zara apne sambhaal

o o o
o o o
o o o
o o o
o o o
o o o

o o o
chhodo balam chhodo haath hamaara
jaao ji jhoothha hai pyaar tumhaara
ye tera jalaal
jaise jalti mashaal
patli kamar jaise phoolon ki daal
rakkhe ji kaise koi dil ko sambhaal

o o o
o o o
o o o
o o o
o o o
o o o
o o
o o
jab milte hain bichhde saathi to mil jaaye jag saara

deepak se mil jaaye baati to mit jaaye andhiyaara
mere dil ka sawaal
ab to na taal
nainon mein aaj zara naina to daal
rakkhe ji kaise koi dil ko sambhaal

aisi nazre na daal karle khayaal
keh dengi aankhen sari duniya se haal
rakkho ji dil ko zara apne sambhaal
o o o
o o o
o o o
aa aa aa aa aa
aa aa aaa


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.

Today, it is the turn of this 1973 Vinod Khanna starrer – ‘Dhamki’ to join the list of Yippeee films on our blog.

In 1973, it had been five years since Vinod Khanna made his debut with the film ‘Man Ka Meet’ (1968) and two years since he got his first break as a hero (in ‘Hum, Tum Aur Woh’ (1971)). He started his career as a villain, and continued to work with negative and also supporting roles in many films, before graduating into leading roles. His image as an energetic action person, actually brought to him more roles as an action hero. Many of his initial roles are either as a dacoit chief or a police inspector. The film ‘Dhamki’ is not much different. He plays the role of a CBI inspector who works to foils the plans of some foreign agents, trying to take over the control of a small erstwhile kingdom, by eliminating the new teenager heir to the throne. Vinod Khanna, helped by Mehmood Junior takes on this gang and saves the heir and the kingdom from falling into foreign hands.

This film was released, sandwiched between two other significant films of Vinod Khanna, in which he has played very sensitive roles which became better known films of that year. The first is ‘Achaanak’, which reprises the famous Nanavati murder case, and adds another dimension to it. The second is ‘Imtihaan’ in which Vinod Khanna has played the role of a college professor, taking on an educationist role very seriously. In comparison, ‘Dhamki’ may have been treated as just another cops and robbers tale.

The film is directed by Parvez for the banner of Tasveer Movies, Bombay. Interesting to note that Vinod, almost a debutante hero in 1973 was cast opposite to Kum Kum, who by this time was a veteran actress of a little over two decades, although her age does not show that on screen. Others in the list of actors are Ramesh Deo, Bela Bose, Junior Mehmood, Jaishree T, Meena T, Imtiaz, Tiwari, Sham Kumar, Brahm Bhardwaj, Munshi Munakka, Johnny Whisky etc. with special appearances by Helen, Ranjeet and Subhash Ghai.

There are five songs listed for this film. One song, “Kali Se Nazaaron Se Bahaaron Se” is penned by Verma Malik. The remaining four songs have been penned by Asad Bhopali. With the posting of this song, songwriter Asad Bhopali touches the double century milestone. He now has two hundred songs showcased on our blog.

The music is from the mind of that prodigal genius – Ganesh. The readers of this blog are by now very familiar with this name. Associated with an illustrious family of musicians, he is the son of Ram Prasad Sharma, and younger brother to Pyaarelal Ram Prasad Sharma (of the Laxmikant Pyaarelal duo).  In the beginning of 1960s, the name of Ganesh came to be acknowledged as the key contributor to the success of the music of Laxmikant Pyaarelal.  The effect of this impression in the industry was so strong that by the mid 1960s, he got about 10 assignments as an independent music director, even before a single film with his music had even got to the studio floors.

Ganesh was an expert with many instrument and a genius with creating tunes. He had the ability to create newer, fresher melodies that one had to stop and pay attention to. Pick up any film done by him (of which there sadly aren’t many), any song created by him, and as you listen, and if you are not aware of the identity of the music director, you will surely wonder who would it be, the creator of such a lovely melody. Somehow, the combination of the tones, the octaves and the emphases make the tunes created by this hugely talented musician simply touch a very endearing nerve, and the heart simply wants to sing along with the flow of the song.

But alas, recognition and success was not in his destiny. His songs, buzzing with hummable and memorable tunes, played themselves out in B and C grade cinema productions. Some of his songs escaped this banishment to the C grade world, and found a place on the radio waves, and in the mind and memories of listeners. Some such songs have remained in the memories; but then there are many other remarkable creations from him that are being rediscovered through this blog.

The earlier songs of this film that have been posted are,

1.       Chaand Kyaa Hai Roop Ka Darpan
2.       Hamsafar Ho Hamsafar Gham Na Kar
3.       Kali Se Nazaaron Se Bahaaron Se
4.       Yaaron Mujhe Peene Do

Today’s song is a stage dance song, which is performed on screen by Kum Kum, accompanied by. . .  an actress I am not able to place. She is either Jaishree T or Meena T. I request other readers and friends to kindly confirm. As is apparent from the sequence in this video clip, the plan is to eliminate the young heir to the throne by making him sit under a large glass chandelier, which will be made to fall on him at the end of the performance. The hero CBI officer and his side kick have been overpowered and are tied to water pipes in the basement. From the looks of it, all the members of the ‘evil’ gang are present in the audience. I can make out Sham Kumar and Ramesh Deo, and many more that I am not able to name, including a lady in yellow dress. Again, request to the more knowledgeable readers to help identify more people in this clip.

With this song, music director Ganesh now has 57 songs posted on our blog. Given that his total body of work is around 80 to 85 songs, we are close to getting all his songs on board. But for today, ‘Dhamki’ joins the list of films with all songs poster here. Time for another ‘Yippeee’ call.

[Ed Note: Dear Prakash ji has confirmed that the dancer on stage with Kum Kum is Jaishree T. And the lady in yellow dress, sitting in the audience, is Meena T. Prakash ji has also pointed out an error in the list of songs of this film – a case of incorrect cut and paste from another file. He has also pointed out the correction that there are two lyricists credited for this film. Prakash ji, thanks so much for your vigilant inputs, and for helping to update the correct information into this post. 🙂 ]

Song – Kaun Wafadaar Hai Kaun Bewafaa Hai (Dhamki) (1973) Singer – Asha Bhosle, Usha Mangeshkar,  Lyrics – Asad Bhopali, MD – Ganesh
Asha Bhosle + Usha Mangeshkar

Lyrics

kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai
raaz hai jo dil mein
paraai mehfil mein
hum kaise bataayen bataayen
kaun khatavaar hai
kaun be-khata hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai

jhhoothi
ye duniya jhhoothi
deti rahi hai dhokha sabhi ko
hoga
jo hona hoga
jee bhar ka chaaho tum bhi kisi ko
saagar
chhalke
aanchal
dhalke
aao naa. . .
aaao naa pyaar karen
haan karen
deewaano
raat mazedaar hai
baat bevajaah hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai

aankhen
do pyaasi aankhen
kehti hain rakh do
seene pe sar bhi
socho
haan itna socho
kal ki to kya
nahin pal ki khabar bhi
jalwe
le main
dil se
hoon main
aao naa. . .
aaao naa pyaar karen
haan karen
deewaano
ang lachakdaar hai
rang phool sa hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko bhi pata hai
raaz hai jo dil mein
paraai mehfil mein
hum kaise bataayen bataayen
kaun khatavaar hai
kaun be-khata hai
tumko bhi pata hai
humko bhi pata hai
kaun waafadaar hai
kaun bewafaa hai
tumko bhi pata hai
humko hi pata hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है
राज़ है जो दिल में
पराई महफिल में
हम कैसे बताएं बताएं
कौन खतावार है
कौन बे-खता है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है

झूठी
ये दुनिया झूठी
देती रही है धोखा सभी को
होगा
जो होना होगा
जी भर के चाहो तुम भी किसी को
सागर
छलके
आँचल
ढलके
आओ ना॰॰॰
आओ ना प्यार करें
हाँ करें
दीवानों
रात मज़ेदार है
बात बेवजह है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है

आँखें
दो प्यासी आँखें
कहती हैं रख दो
सीने पे सर भी
सोचो
हाँ इतना सोचो
कल की तो क्या
नहीं पल की खबर भी
जलवे
ले मैं
दिल से
हूँ मैं
आओ ना॰॰॰
आओ ना प्यार करें
हाँ करें
दीवानों
अंग लचकदार है
रंग फूल सा है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है
राज़ है जो दिल में
पराई महफिल में
हम कैसे बताएं बताएं
कौन खतावार है
कौन बे-खता है
तुमको भी पता है
हमको भी पता है
कौन वफादार है
कौन बेवफा है
तुमको भी पता है
हमको भी पता है


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.

“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.

The movie had seven songs in it. One song from the movie has been discussed in the blog in the past.

Here is the second song from “Hamaara Ghar”(1950) to appear in the blog. This song is sung by Geeta Dutt and Rafi. Rammurty Chaturvedi is the lyricist. Music is composed by Chitragupta.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Chupke chupke dil mein mere aane waale ho (Hamaara Ghar)(1950) Singers-Geeta Dutt, Rafi, Lyrics-Rammurty Chaturvedi, MD-Chitragupta
Both

Lyrics

chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
aji hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana

bachpan ke din bhole bhaale
khel khel mein beete
haan khel khel mein beete
bachpan ke din bhole bhaale
khel khel mein beete
ho khel khel mein beete

nayi kahaani kaho baalma
ham haare tum jeete
haan
ham haare tum jeete
nayi kahaani kaho baalma
ham haare tum jeete
haan
ham haare tum jeete

aaj umangon ka hai mela aa
aaj umangon ka hai mela

dheere dheere
dheere dheere rah rah ke tadpaane waale
ho
dekho preet nibhaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana

janam janam ke jeewan-saathi
saath kabhi na chhoote
ho saath kabhi na chhoote
janam janam ke jeewan-saathi
saath kabhi na chhoote
haan saath kabhi na chhoote
dekho apne madhur milan ka
taar kabhi na toote
ho taar kabhi na toote
dekho apne madhur milan ka
taar kabhi na toote
ho taar kabhi na toote

tum mere
main bani tumhaari ee
tum mere
main bani tumhaari
jhoom jhoom ke
jhoom jhoom ke dil mera bahlaane waale
ho
dekho preet nibhaana
chupke chupke dil mein mere aane waale
ho
dekho preet nibhaana
hanste hanste nainon mein bas jaane waale
ho
dekho bhool na jaana


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.

With this post, the blog has reached yet another very significant milestone – 1000 films Yippeee’d, i.e. all songs covered.

This blog was started on 19 July 2008 with a modest aim of discussing one song a day. It was expected at that time that the blog would have at the most 2500 songs in all and by that time all the songs worth discussing would have been covered.

Had this blog stuck to this original aim, and continued at the original rate of one song a day, then the blog would have reached 2500 posts on 23 may 2015 (2500th day for the blog) and that would have been it !

As we all know, the blog took on an entirely different course from what was originally intended. The blog began to cover multiple songs in a day beginning from the 41st day itself. 2500th song was covered in the blog in 680 days (on 29 May 2010) with this fantastic composition by Ganesh.

When one looks at comments on this post, one finds just four or five congratulatory comments. And what about the blog coming to a dead end after this song ? Here is what I wrote in that article:

I have chosen to post this song for a very special occasion for this blog. This song is a very special song for this blog in the sense that it is the 2500th song of this blog. When I had started this blog, I had looked up to the figure of 2500 as the holy grail. I had thought that reaching this magic figure would take me ages and that by that time I would have covered all the great songs that were there to be covered.

I was wrong on these counts, of course. I have reached the magic figure in less than two years, and having reached there, I find that I have only scratched the surface as far as covering all the great songs are concerned. I now realise that the journey to cover, uncover and discover the great songs of Bollywood is a very long journey indeed and the holy grail is nowhere in sight. In other words, I will continue to remain busy posting “new” songs in the forseeable future.

From the few comments on the blog, we can only identify Raja and Lalitha’s names. Those were the days when most of our regulars, and by now, strong pillars had not yet joined the bandwagon. The practice of guest posts and lyrics contributions had yet to take root. The first guest article was posted on 26 June 2010 and not surprisingly, it was by Raja. The concept of lyrics contribution by readers began on 31 January 2011 when Atif M became the first lyrics contributor with this song. In other words, the blog was still a one man show by the time 2500th song was posted.

Concepts of guest posts and lyrics contributions took roots and wings from 2011 onwards and that added new dimensions to the blog. From a one man show, it became an online collaboration of like minded music lovers. With time, these music lovers would help add new ideas and concepts in the blog that we now take for granted, but which were not there in the blog during the first few years of its existence.

With increasing number of songs in the blog, pages were introduced that had all the songs listed moviewise, music directorwise and yearwise. One fine day, we got the idea that remaining songs of movies that had most of their songs covered should be covered as well. Mr Arunkumar deshmukh, our beloved inhouse encyclopaedia, pored over all the volumes of HFGK and compared its entries with the moviewise list of songs in the blog. He then listed out the movies that had one or two songs remaining to be covered. That was the beginning of the concept of covering all the songs of movies. This idea occured to us in the blog in April 2012. The name YIPPEE was coined for this feat by Pradeep Raghunathan a few months later.

It is not that movies were not getting YIPPEED before april 2012. They were getting YIPPEED but we were not aware of this fact. When I checked up, I found that the very first movie that got YIPPEED (unnoticed to us at that time) was “Rajnigandha”(1974) on 10 september 2008 when its second and final song was covered in the blog. That was the only YIPPEED movie in the blog in 2008.

8 movies were YIPPEED in 2009, 19 in 2010 and 53 in 2011. 89 movies were already YIPPEED in the blog by the time we hit upon the idea of consciously going for covering all songs of movies.

The first movie which was greeted with a YIPPEE by Pradeep Raghunathan was “Chitralekha”(1964) on 27 october 2012. It was the 117th YIPPEED movie in the blog.

167 movies were YIPPEED in 2012 and 202 in 2013. 131, 167 and 112 movies were YIPPEED in 2014, 2015 and 2016 respectively.

2017 is a year when I decided to achieve one YIPPEE movie everyday. Though this new year resolution could last only upto april 2017, this determined approach towards YIPPYing movies means that we have already achieved 138 YIPPEED movies in 140 days in 2017.

Normally only one movie would get YIPPEED on one day, but there have been several occasions when two and even three movies were YIPPEED on the same day. The record is however four YIPPEED movies in one day, which was achieved on 20 march 2013. The four movies YIPPEED on that date were ‘Mera Gaon Mera Desh’ (1971), ‘Guddi’ (1971), ‘Roti’ (1974), ‘Taqdeer’ (1967). The rare feat was repeated on 23 feb 14 with ‘Kahin Din Kahin Raat’ (1968), ‘Prem Patra’ (1962), ‘Picnic’ (1966), ‘Post box 999’ (1958) YIPPEED on the same date.

Today’s song is from the movie ‘Aandolan’ (1975). This movie was directed by Lekh Tandon for J K Productions. The movie had had Rakesh Pande, Neetu Singh, Pratap Sharma, Nazneen, Uma Shankar, Pinchu Kapoor, Urmila Bhatt, Tiwari, Vishva Mehra, Durrani, Kumar Ajit, W G Doil, Aparna Chaudhury, Shantanu Bhattacharya, Deepak, Rajkumar, Sopariwala, Robert, Vachan Sinh, Ram Awtar, Shrikant, Vikram, Rajesh, Sandeep, Master Ravi etc. in it.

There are four songs in the movie. Three of these songs have been covered in the blog. This fourth and final song from the movie is a rare song. This fun roadside tamasha cum nautanki song is Krishna Kalle and Minu Purushottam. Jaan Nisar Akhtar is the lyricist. Music is composed by Jaidev.

The song is picturised on Neetu Singh and another dancer I am not able to identify. I request our knowledgeable readers to help identify the first dancer.

With this song, ‘Aandolan’ (1975) joins the list of movies that have all their songs covered in the blog. With this song, the blog now has 1000 YIPPEED movies. Seeing that there were around 6000 movies in all in HFM that were released from 1931 to 1980 (the catchment area for this blog), all songs of nearly 1/6th of all movies released during this era are now covered in the blog. It is quite an achievement for the blog seeing that this adds up to about 6800 songs.

[Ed Note: In case you are wondering what is the name GM Durrani doing in the list of tags, watch closely. Of the two gentlemen watching this dance performance, sitting on a charpoy and puffing on hookkaas, the bearded person on the left, with black rimmed spectacles, is none other than GM Durrani. And yes, Rakesh Pandey is visible very briefly, his face covered with the cloth from his saffron pugree.]

Song – Paanch Rupaiya De De Balamwa Mela Dekhan Jaaungi (Aandolan) (1975) Singer – Krishna Kalle, Minoo Purushottam, Lyrics – Jaan Nisar Akhtar, MD – Jaidev
Krishna Kalle + Minoo Purushottam

Lyrics

ho o o
o o o
o o o
ho o o
o o
o o
o o
aah hahaha
hahaah
hahaha

paanch rupaiyya
arre paanch rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ke paav jalebi
baithh sadak pe khaaungi
paanch rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ke paav jalebi
baithh sadak pe khaaungi
paanch rupaiyya

mo pe khile
are mo pe khile gota jari
mope khile chunri hari
gore gale laage bhali
champa kali moti bhari
haaye bichhuwe bhi loongi
main to bichhuwe bhi loongi
kanganwa bhi loongi
tohe pehan balam waari jaaungi
paanch rupaiyya de de balamwa
mela dekhan jaaungi
paanch rupaiyya

achcha chaar rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ki paav jalebi
baithh sadak pe khaaungi
arre chaar rupaiyya

kajra laga
kajra laga
gajra saja
ban thhan ke main kab se khadi
chanchal jiyaa
lalche mora
main kaa karoon sar pe padi
champa bhi jaaye
dekho champa bhi jaaye
chameli bhi jaaye
un sang main bhi ho aaungi
chaar rupaiyya de de balamwa
mela dekhan jaaungi
arre chaar rupaiyya de de

arre teen rupaiyya de de balamwa
mela dekhan jaaungi
arre paanch aane ki paav jalebi
baithh sadak pe khaaungi
arre teen hi rupaiyya

main to bhayi
arre main to bhayi balma tori
kaahe take chori chori
garwa tore laagoon tabhi
poori kare jab zidd mori
jhoole pe jhooloon
main to jhoole pe jhooloon
chak dolwa pe doloon
phooli na main samaaungi
arre teen rupaiyya de de balamwa
mela dekhan jaaungi
arre teen hi rupaiyya

bas do hi rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ki paav jalebi
baithh sadak pe khaaungi

tori kasam
tori kasam
kaahu se bhi
naina na main ladaaungi
bas do ghadi chakkar lagaa
saanjh dhale aa jaaungi
lautoongi jab ghar
lautoongi jab ghar
bajariya se thhak kar
painyya pare so jaaungi
do hi rupaiyya de de balamwa
mela dekhan jaaungi
paanch aane ki paav jalebi
baithh sadak pe khaaungi
uh
do hi rupaiyya de de

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

हो ओ ओ
ओ ओ ओ
ओ ओ ओ
हो ओ ओ
ओ ओ
ओ ओ
ओ ओ
आह हा हा हा
हा हाह
हा हा हा

पाँच रुपइया
अरे पाँच रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
पाँच रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच आने की पाव जलेबी’
बैठ सड़क पे खाऊँगी
पाँच रुपइया

मो पे खिले
मो पे खिले गोटा जरी
मो पे खिले चुनरी हरी
गोरे गले लागे भली
चम्पा कली मोती भरी
हाए बिछवे भी लूँगी
मैं तो बिछवे भी लूँगी
कंगनवा भी लूँगी
तोहे पहन बलम वारी जाऊँगी
पाँच रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच रुपइया

अच्छा चार रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
अरे चार रुपइया

कजरा लगा
कजरा लगा
गजरा सजा
बन ठन के मैं कब से खड़ी
चंचल जिया
ललचे मोरा
मैं का करूँ सर पे पड़ी
चम्पा भी जाये
देखो चम्पा भी जाये
चमेली भी जाये
उन संग मैं भी हो आऊँगी
चार रुपइया दे दे बलमवा
मेला देखन जाऊँगी
अरे चार रुपइया दे दे

अरे तीन रुपइया दे दे बलमवा
मेला देखन जाऊँगी
अरे पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
अरे तीन ही रुपइया

मैं तो भई
अरे मैं तो भई बलमा तोरी
काहे तके चोरी चोरी
गरवा तोरे लागूं तभी
पूरी करे जब ज़िद मोरी
झूले पे झूलूँ
मैं तो झूले पे झूलूँ
चक डोलवा पे डोलूँ
फूली ना मैं समाउंगी
अरे तीन रुपइया दे दे बलमवा
मेला देखन जाऊँगी
अरे तीन ही रुपइया

बस दो ही रुपइया दे दे बलमवा
मेला देखन जाऊँगी
अरे पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी

तोरी कसम
तोरी कसम
काहू से भी
नैना ना मैं लड़ाउंगी
बस दो घड़ी चक्कर लगा
साँझ ढले आ जाऊँगी
लौटूंगी जब घर
बजरिया से थक कर
पैंय्यान पड़े सो जाऊँगी
दो ही रुपइया दे दे बलमवा
मेला देखन जाऊँगी
पाँच आने की पाव जलेबी
बैठ सड़क पे खाऊँगी
उह
दो ही रुपइया दे दे


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.

Missing Films of 1960s – 30
– – – – – – – – – – – – – – –

Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.

The film ‘Aasmaan Mahal’ belongs in that category. When I got the list of missing films from 1960s from Khyati Ben, I was surprised to see this film listed there. I checked and double checked – yes this film has not yet made its entry on our blog. Khyati Ben’s communication is also quite a while ago now, so this debut has taken its own sweet time.

Released in 1965, this film is from one of those different line directors who will not walk a beaten path – Khwaja Ahmed Abbaas. Whenever, I have an encounter with his films, it always has been that the director himself stands out much taller than his creations. Abbaas Sb belongs to that set of directors whose approach to realism is starkly different. Over the decades, the film producers and directors have been raising the bar on creating a progressively more realistic experience for the audiences. Their violence is very real, their romancing and love making is very real, their action and the settings are getting more real, the scenic projections are getting more and more real with the help of better technology and methods. They will make one lose the sense of the medium, that you are watching a film. Their endeavor is to draw the audience so powerfully into the scene, that it seems like being there, seeing that. But there is something missing. And the missing element is the reality of life – the realism of the human situation. What remains is entertainment, no doubt a significant cause for the industry, but the message of life is lost beneath the noise of the effort to present a situation more and more realistically.

Abbaas Sb and other directors of his ilk will present you with drama that does not let you forget that it is after all a drama. They don’t spend any energies to transform reel life into real life. The situations, the expressions, the motions – will not make the audience forget that they are watching a make believe reel life. Au contraire, their triumph is that they are successful in projecting the human situation as it is, and confront the audience with the realism of human beings. They will present a slice of life that is most of the time, a part of our personal experience. Only that they bring it into a sharper focus. Entertainment is not the primary quest. The primary quest is to deliver a message without any soothing embellishments.

The era is late 1930s and early 1940s. The philosophy of communism, which in prior decades had made an impact in Europe, and created a new behemoth nation, the USSR, was maturing. The initial euphoria and the romanticism which captures the imagination of every generation coming of age, brought this philosophy to the centre of the world stage. The Russian influence would work in neighbuoring China also, which would become a communist nation, about a decade later. The influence carried to South America, to Africa and to South and South East Asia, In that backdrop, the communist movement started to take roots in India also.

Being a movement of the masses, their primary method was to reach out to the people in the rural areas and the in the lower strata of the society. The thinkers and dreamers in the cultural spaces were quite influenced by this ideology, and the IPTA (Indian Peoples Theatre Association) was born. In its heydays in the 1940s and 1950s, it boasted of membership that read like the who’s who of the Indian film industry, as well as the Indian writers / authors / poets of any and all significance. Abbaas Sb has been a prominent and leading luminary of this movement of cultural expression in India. I borrow from one of my earlier articles (the post on the song “Aandhi Aaye Ke Toofaan” – film ‘Saat Hindustani’ (1969)), and reproduce a set of paragraphs about him.

 The Wikipeadia page on Abbas Saab contains very interesting information about this personality, e.g. fact like his family tree is traced back to Ayub Ansari, a close associate of Prophet Mohammed, and that his grandfather was one of the prominent soldiers in the 1857 uprising against the Britishers and a martyr, sentenced to be blown on a cannon, and that Abbas Saab is the great great great grandfather of Shahid Kapoor. Besides these familial facts, Abbas Saab has been a prolific writer and journalist, and a noted story writer and film maker in Hindi Cinema. His column ‘Last Page’ in ‘Blitz’, the Bombay based newspaper, ran from 1935 to 1987, the longest running column in the history of Indian journalism. He wrote 73 books in Hindi, Urdu and English, and is considered as one of the premier Urdu short story writers of the 20th century.

Abbas Saab started his career in the film industry in 1936, as a publicist for Bomaby Talkies. He wrote the story and screenplay for ‘Naya Sansar’ (1941) that launched his career as a writer. He also had strong Marxist leanings, and was part of the IPTA (Indian People’s Theatre Association) movement in the 40s and 50s. His debut as a director was with the movie ‘Dharti Ke Lal’ (1945), a movie based on the catastrophic Bengal famine of 1943, produced by IPTA. His other notable screenplay contributions have been Chetan Anand’s ‘Neecha Nagar’, V Shantaram’s ‘Dr. Kotnis Ki Amar Kahaani’, and many movies from the RK studios including ‘Aawaara’, ‘Shri 420’, ‘Jaagte Raho’, ‘Mera Naam Joker’, ‘Bobby’, ‘Henna’ etc. Incidentally, the movie ‘Neecha Nagar’ (1946) has the unique distinction of being the first Indian film to win the Golden Palm at the Cannes Film Festival.

Abbas Saab was a pioneer of the neo-realistic parallel cinema, and through his own production house Naya Sansar, made many notable films like ‘Anhonee’, ‘Raahi’, ‘Munna’, ‘Shehar Aur Sapna’, ‘Aasmaan Mahal’, ‘Char Dil Char Raahen’, ‘Saat Hindustani’, ‘Do Boond Pani’ etc. He won the National Award for ‘Shehar Aur Sapna’, and the awards for best film on national integration for ‘Saat Hindustani’ and ‘Do Boond Pani’.

With ‘Aasmaan Mahal’, Abbaas Sb got the opportunity to present literally the decay and transition of the old feudal systems, being replaced by the power of the worker class – which is the central theme of the Marxist philosophy. The story revolves around the haveli named ‘Aasmaan Mahal’ – a once grand palace which has been the residence of a generation of Nawabs, in the city of Hyderabad. With all avenues of revenue and income dried out, the family and the palace has fallen into decay. There are no finances to maintain the place. The current Nawab, role played by Prithviraj Kapoor, lives on in the hope of one day being able to uncover a hidden treasure on the premises. The archaic tales of the palace tell of a previous generation Nawab having hidden away a large stash of gold and jewels some place in the palace. Its whereabouts are not known.

Meanwhile the errant and spoilt son of the Nawab, role played by Dileep Raj, would not know better, spending his time and days as young men of Nawab families are supposed to. The reality of penury comes home to roost one day. The young heir apparent chooses to start working in a car repair workshop. And he falls in love with the daughter of a commoner. Expectedly, the standoff happens between the generations, with both sides taking tough stands – the elder Nawab arguing about the opulence of the past and where they come from, and the young man talking about the ground realities of what they are now. A compromise consensus is arrive at, the young man gets to marry his beloved in a last big celebration that happens in the palace, after which the palace is auctioned off. The elder Nawab passes away on the day of the auction, and young man takes up work as a truck driver.

The film travels on an even keel, never forgetting the primary thread. The realism of the decay, so potently expressed in black and white, is not just of the palace and its facades, but also of the ageing generations and their belief systems. The uptake of the younger generation, conceding to work as a car mechanic, quite in contrast to his antecedents, is both romanticism as well as an acceptance of life’s realities. It is an out and out KA Abbaas film – the reality of life, and the message of change is very convincing, although viewing the film, the director ensures that you know that you are after all viewing a film.

This is the first song from this film to find its place on our blog. And this song is very special for couple of very important reasons. The first reason is the poet behind this song – Majaaz Lakhnawi. Most readers and friends will be familiar with this name. His iconic ghazal “Ae Gham e Dil Kya Karoon, Ae Vehshat e Dil Kya Karoo” has been made into the now memorable song in the voice of Talat Sb, for the film ‘Thokar’ (1953). It seems that Majaaz had a set of good friends in the industry. Recently, a friend pointed out to me that Majaaz has even made a cameo appearance in one film. In the film ‘Pyaasa’ (1957), just before Hemant Da’s song “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila”, there is a small session of the literati in progress. Majaaz is present in person in this scene, and also presents two she’er (couplets) in his own voice.
[Ed Note: As pointed out by Sadanand ji, and also after some more checking, the above sentences are deleted. Reason being that the reference to the film ‘Pyaasa’ in this context is incorrect and misplaced. In the above mentioned scene of a small party of the literati at the home of Rehman, two actors play the roles of Majaaz and Jigar Muradabaadi, for the cameos. The actual persona are not present in the scene, as I was led to believe based on a conversation with a friend. Sadanand ji has correctly pointed out that Majaaz passed away in 1955, and the shooting for ‘Pyaas’ commenced only in 1956.]

Given the quality of the song from ‘Thokar’ and the familiarity with the industry folks, it is amazing that Majaaz has not written anything else for the films. With one excpetion – this song from ‘Aasmaan Mahal’. As I searched the Geet Kosh and other sources, I am not able to locate any other writings of his being used in films – just these two solitary ghazals.
[Ed Note: Sadanand ji points out that Majaaz never wrote for films. That there are two instances of his poetry being used in Hindi films, is more about the film people choosing to use his pre-published poetry rather than him writing for films specifically.]

And the second thing special about this ghazal is the manner in which it has been framed and presented. It is a single ghazal, which tells of the pains of helplessness and inefficacies of a heart in love. The music director, JP Kaushik has presented this ghazal as a duet, with the two people in love taking turns to express their emotions using the couplets of the same ghazal. I cannot immediately recall another instance where this method is used. The lines are presented, not as a song, but as a ghazal in its pure form. The lady and the gentleman are shown situated long distances from each other, and are shown communicating through the rendition of this ghazal. The voices are of Mahendra Kapoor singing for Dileep Raj, and Vijaya Chaudhry singing for Surekha.

Another side note. I am presenting two versions of this ghazal, wherein clearly the version on the 78 rpm record is very different from the version that is present in the film. Obviously the two versions have been recorded separately. The body of the ghazal does not change. There is change in the order of the couplets and also which voice picks up which line. A very interesting thing to note is that the film version has NO accompanying music. However, the record version has accompaniment by tabla and sitar. It is quite possible that after the 78 rpm version was recorded, the director may have felt the need for an even more bare bones version to suit the situation in which he wanted to film it. And hence a different version may have been recorded.

More about the film and the people associated with it, in subsequent presentations of the songs of this film. Welcome to ‘Aasmaan Mahal’.

[Video]

[Audio]

Song – Main Aahen Bhar Nahin Sakta (Aasmaan Mahal) (1965) Singer – Mahendra Kapoor, Vijaya Majumdar, Lyrics – Majaaz Lakhnawi, MD – Jag Phool Kaushik
Mahendra Kapoor + Vijaya Majumdar

Lyrics

(Video Version)
main aahen bhar nahin sakta

ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta

haden wo kheench rakhi hain
haram ke paasbaanon ne
haden wo kheench rakhi hain
haram ke paasbaanon ne
ke bin mujrim baney
paighaam bhi pahuncha nahin sakta

ye majboori si majboori
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta
sukoon mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
na toofaan rok sakte hain
magar phir bhi main
us kasr e haseen tak jaa nahin sakta

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta

(Audio Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
sukoon lekin mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
magar phir bhi 
main us kasr e haseen tak jaa nahin sakta
sukoon mere dil ko

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
sukoon mere dil ko

ye majboori si majboori
ye lachaari si lachaari
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta

sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon mere dil ko

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

(व्हिडिओ से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता

हदें वो खींच रखीं हैं
हरम के पासबानों ने
हदें वो खींच रखीं हैं
हरम के पासबानों ने
के बिन मुजरिम बने
पैग़ाम भी पहुंचा नहीं सकता

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई के कौन है
बतला नहीं सकता

(आडियो से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई वो कौन है
बतला नहीं सकता
सुकून लेकिन मेरे दिल को

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

सुकून लेकिन मेरे दिल को

मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को


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.

We in this blog had two new resolutions and I had decided to stick to them as long as I can. One was to introduce a “new” movie daily and another was to to close the account of another movie by YIPPying it.

We are in may 2017, and both these resolutions have finally seen breaks. For instance, there was no YIPPEE song on 13 may 2017, a day that had only one post, a post that introduced a “new” song. The string on YIPPEE posts was in fact broken a few days earlier on 6 may itself when I posted a song that I thought was YIPPYing its movie but I was wrong. The “new” post string had got broken a while ago.

However, unlike most new year resolutions, these new year resolutions were not broken due to laziness or lack of motivation, rather than for more pressing reasons like inability to spend enough time near the computer, which is essential for posting article in the blog. So, we can be proud that we achieved quite a lot in the blog thanks to these resolutions.

One resolution (unstated) still continues, and it is the resolution that there would be no dot days in the blog this year.

Over one hour of Today (15 may 2017) is still remaining, so I will use this time to post a YIPPEE song for the day. This song is the sixth and final song from “Waaris”(1969). This movie was directed by Ramanna for Vasu Films, Madras. The movie had Jeetendra, Hema Malini, Sudesh Sharma, Nazima, Manorama, Daisy Irani, Sunder, Prem Chopra, Aruna Irani, Ashokan, David Abraham, Mehmood, Kamini Kaushal, Sachin etc in it.

This sith and final song from “Waaris”(1969) is sung by Asha Bhonsle, Manna Dey and chorus. Rajinder Krishan is the lyricist. Music is composed by R D Burman.

The song is picturised as a faux “jhaad phoonk” song where Hema Malini playacts as a woman who is under the spell of a buri aatmaa which Mehmood plays the hilarious looking witch doctor trying to rid Hema Malini of the buri aatmaa. Lots of other characters of the movie are also visible in the picturisation. This song is a diversion song as well. This song keeps people pre occupied and that gives Jeetendra as opportunity to climp up to the building where all this action is taking place.

With this song, “Waaris”(1969) joins the list of movies that have all their songs covered in the blog.

Song – Kaun Hai Wo Kaun Mujhe Jis Ne Jagaaya (Waaris) (1969) Singer – Lata Mangeshkar, Manna Dey, Lyrics – Rajendra Krishan, MD – RD Burman
Chorus

Lyrics

kaun hai wo kaun
mujhe jis ne jagaaya
arey dharti pe aaj yamlok se bulaaya
arey dharti pe aaj yamlok se bulaaya
arrey kau.. kau..aun hai

kaun hai wo kaun
mujhe jis ne jagaaya
arey dharti pe aaj yamlok se bulaaya
arey dharti pe aaj yamlok se bulaaya
arrey kau.. kau..aun hai

ye kangana
ye jhumka
aaa..
ye chunri ye kajra kyon
ye mehndi
ye bindiya
ye paayal ye gajra kyon
jaante nahin ho kya
mere sartaaj ko
thehro bulaati hoon
abhi yamraaj ko
kau..aun hai
kaun hai wo kaun
mujhe jis ne jagaaya
arey dharti pe aaj yamlok se bulaaya
arey dharti pe aaj yamlok se bulaaya
arrey kau.. kau..aun hai

ye bhutnaa
ye baamna
kyon aaya maala japne
hey..ey..ey..ey
ye bhutnaa
ye baamna
arey kyon aaya maala japne
kya samjhe ye chhalia
dekhe devi ke sapne
jaagi hui devi pe
aankh jo lagaaye ga
yahin baithe baithe wo bhasam ho jaayega
kau..aun hai
kaun hai wo kaun
mujhe jis ne jagaaya
arey dharti pe aaj yamlok se bulaaya
arey dharti pe aaj yamlok se bulaaya
arrey kau.. kau..aun hai

haarrup
haarrup
ulya ulya maalampo
ulya kodi bishee
yee..ee..ee
ulya ulya maalampo
ulya kodi bishee
hu..uu..uu..uu
acha kuli kacha kuli kacha kuli kacha kuli
gokhli re gokhli
haiyyaa teri pokhli
gokhli re gokhli
aiyyaa teri pokhli
bol maiyyaa bol
jaldi se khol
ey.. ey..
bol maiyyaa bol
jaldi se khol
aa.. aa..

jaldi se khol de
maanav ki potli
gokhli re gokhli
haiyyaa teri pokhli
haarrup
haa..aap
harrup
haarraa..
chhod de chhod de
pind maiyyaa chhod de
kanya kumari ka mayajaal tod de
haarrup
haarrup

ye kanya kumari hai
deewaan ki dulaari hai
ye kanya kumari hai
deewaan ki dulaari hai
beti bechaari hai
chhod de chhod de
beti bechaari hai
chhod de chhod de
chhod de chhod de
pind maiyyaa chhod de
chhod de chhod de
pind maiyyaa chhod de
bol
(chhod de chhod de)
maiyyaa bol
(pind maiyyaa chhod de)
maiyyaa bol
maiyyaa bol
maiyyaa bo..ol
bol maiyyaa bol
bhog lagaayegi
bol bol ho ke ratan kya khaaegi
charnon mein tere aam kela amrood hai
peene ko maiyyaa boodhi gaaye ka doodh hai
 oo hu hu hu hu
bhoo..hoo..hoo

bhoo bhoo
haaye haaye
bhoo bhoo
o maiyyaa bhoo bhoo
hoye hoye
bhoo bhoo

bhool hui bhool hui
maiyyaa maans dhaari hai
phal waale jaa
ab kasaai ki baari hai
hataao kharbuja
hataao tarbuja
arre jaldi se le ke aao
murgi ka chooza
arre murgi ka chalega ya bakre ka maas
aadmi ka chalega to haazir hai daas
bali nahin chaahiye
jo achhe insaan ki
to charbi khilaaun
kisi motey shaitaan ki
chhod
o pind chhod
maiyyaa chhod
o pind chhod
pind chhod
pind chhod
maaya jaal tod
(pind chhod)
pind chhod
pind chhod
maaya jaal tod
(pind chhod)
maaya jaal tod
maaya jaal tod
haa. . .

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

कौन है वो कौन
मुझे जिसने जगाया
अरे धरती पे आज यमलोक से बुलाया
अरे धरती पे आज यमलोक से बुलाया
अररे कौ॰॰ कौ॰॰औन है

कौन है वो कौन
मुझे जिसने जगाया
अरे धरती पे आज यमलोक से बुलाया
अरे धरती पे आज यमलोक से बुलाया
अररे कौ॰॰ कौ॰॰औन है

ये कंगना
ये झुमका
आ॰॰॰
ये चुनरी ये कजरा क्यों
ये मेहंदी
ये बिंदिया
ये पायल के गजरा क्यों
जानते नहीं हो क्या
मेरे सरताज को
ठहरो बुलाती हूँ
अभी यमराज को
कौ॰॰औन है
कौन है वो कौन
मुझे जिसने जगाया
अरे धरती पे आज यमलोक से बुलाया
अरे धरती पे आज यमलोक से बुलाया
अररे कौ॰॰ कौ॰॰औन है

ये भुतना
ये बामना
क्यों आए हैं माला जपने
हे॰॰ए॰॰ए॰॰ए
ये भुतना
ये बामना
क्यों आए हैं माला जपने
क्या समझे ये छलिया
देखे देवी के सपने
जागी हुई देवी पे
आँख जो लगाएगा
यहीं बैठे बैठे वो भसम हो जाएगा
कौ॰॰औन है
कौन है वो कौन
मुझे जिसने जगाया
अरे धरती पे आज यमलोक से बुलाया
अरे धरती पे आज यमलोक से बुलाया
अररे कौ॰॰ कौ॰॰औन है

हा॰॰ड़प
हा॰॰ड़प
उल्या उल्या मालमपो
उल्या कोडी बीशी
यी॰॰ई॰॰ई
उल्या उल्या मालमपो
उल्या कोडी बीशी
हू॰॰ऊ॰॰ऊ
अच्चा कुली कच्चा कुली कच्चा कुली कच्चा कुली
गोखली रे गोखली
हईय्या तेरी पोखली
गोखली रे गोखली
अईय्या तेरी पोखली
बोल मैय्या बोल
जल्दी से खोल
ए॰॰ए॰॰
बोल मैय्या बोल
जल्दी से खोल
आ॰॰ आ॰॰
जल्दी से खोल
मानव की पोटली
गोखली रे गोखली
हईय्या तेरी पोखली
हा॰॰ड़प
हा॰॰ड़प
हा॰॰ड़प
हा॰॰ड़ा॰॰
छोड़ दे छोड़ दे
पिंड मैय्या छोड़ दे
कन्या कुंवारी का मायाजाल तोड़ दे
हा॰॰ड़प
हा॰॰ड़प

ये कन्या कुंवारी है
दीवान की दुलारी है
ये कन्या कुंवारी है
दीवान की दुलारी है
बेटी बेचारी है
छोड़ दे छोड़ दे
बेटी बेचारी है
छोड़ दे छोड़ दे
छोड़ दे छोड़ दे
पिंड मैय्या छोड़ दे
बोल
(पिंड मैय्या छोड़ दे)
मैय्या बोल
(पिंड मैय्या छोड़ दे)
मैय्या बोल
मैय्या बोल
मैय्या बो॰॰ल
बोल मैय्या बोल
भोग लगाएगी
बोल बोल हो के रत्न क्या खाएगी
चरणों में तेरे मैय्या आम केला अमरूद है
पीने को मैय्या बूढ़ी गाय का दूध है

ऊ हू हू हू
भू॰॰हू॰॰हू
भू भू
हाए हाए
भू भू
ओ मैय्या भू भू
होये होये
भू भू

भूल हुई भूल हुई
मैय्या मांसधारी है
फल वाले जा
अब कसाई की बारी है
हटाओ खरबूजा
हटाओ तरबूजा
अरे जल्दी से ले के आओ
मुर्गी का चूज़ा
अरे मुर्गी का चलेगा या बकरे का मास
आदमी का चलेगा तो हाज़िर है दास
बाली नहीं चाहिए
जो अच्छे इंसान की
तो चर्बी खिलाऊँ
किसी मोटे इंसान की
छोड़
ओ पिंड छोड़
मैय्या छोड़
ओ पिंड छोड़
पिंड छोड़
पिंड छोड़
मायाजाल तोड़
(पिंड छोड़)
पिंड छोड़
पिंड छोड़
मायाजाल तोड़
(पिंड छोड़)
मायाजाल तोड़
मायाजाल तोड़
हा॰॰॰


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.

I was under the impression that “Johar Mehmood in Goa”(1965) was YIPPEED with the last song that was discussed in the blog. Now it turns out that I had incorrectly assumed that song as a multiple version song and that a song from the movie was actually left to be discussed.

So here is this missing fsong from “Johar Mehmood in Goa”(1965). This song is sung by Kamal Barot, Shamsdhad Begma and chorus. Akhtar Romani is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a villain’s den song cum disguise song. The song becomes innocuously enough as we see a young Simi Garewal lip syncing in Kamal Barot’s voice in a gathering of Portuguese rulers, protected by lots of security men. The next thing we see is that I S Johar and then Mehmood turn up, disguised as female dancers and lip syncing in the voices of Shamshad Begam and Kamal Barot respectively. The movie watchers are intelligent enough to see through the disguise but the Portuguese people are fooled of course. And then the accomplices of our cross dressing heroes easily kill poff the security men one by one, and replacing them with their cut outs, and none of the Portuguese big wigs notices anything amiss, of course.

This archtypically I S Johar brand picturisation of this song can be enjoyed only if one suspends one’s sense of disbelief, of course.

With this song, “Johar Mehmood in Goa”(1965) finally has all its songs covered in the blog. With this song, “Johar Mehmood in Goa”(1965) joins the listof movies that have all their songs covered in the blog.


Song-Jitni dil ki baat chhupaayi (Johar Mehmood in Goa)(1965) Singers-Kamal Barot, Shamshad Begam, Lyrics-Akhtar Romani, MD-Kalyanji Anandji

Lyrics

jitni dil ki baat chhupaayi ee
utni hi wo saamne aayi ee
arre haay mohabbat teri duhaai ee
oye mar gayi alla
haay mar gayi alla
chhod de palla,
baat badhegi mahfil mein
oye mar gayi alla
chhod de palla,
baat badhegi mahfil mein

tu bhi chup main bhi chup
dil ki baaten rakh dil mein
tu bhi chup
main bhi chup
dil ki baaten rakh dil mein
haay mar gayi alla
chhod de palla,
baat badhegi mahfil mein
oye mar gayi alla
chhod de palla,
baat badhegi mahfil mein

ek raaj chhupa ker dil mein
aaye hain bhari mahfil mein
kaise kahoon ji kaise kahoon
aji kaise kahoon ji kaise kahoon

ek raaz chhupa kar dil mein
aaye hain bhari mahfil mein

soorat pe na ja
moorat pe na ja
toofaan hai chhupa saahil mein

toofaan hai chhupa saahil mein
oy mar gayi alla
haay mar gayi alla
chhod de palla,
baat badhegi mahfil mein

tu bhi chup
main bhi chup
dil ki baaten rakh dil mein
hoy mar gayi alla
chhod de palla
baat badhegi mahfil mein

ye raah badi mushqil hai
har mod pe ek kaatil hai
kaise kahoon ji kaise kahoon
aji kaise kahoon ji kaise kahoon

ye raah badi mushkil hai
har mod pe ek kaatil hai

bahke na kadam
chal bach ke sanam
ki duoor abhi manzil hai

ki door abhi manzil hai
oy mar gayi alla
haay mar gayi alla
chhod de palla
baat badhegi mahfil me

tu bhi chup
main bhi chup
dil ki baaten rakh dil mein
haay mar gayi alla
chhod de palla
baat badhegi mahfil mein

ye shokh ada matwaare
ye mast nazar kajraare
kaise kahoon ji kaise kahoon
aji kaise kahoon ji kaise kahoon

ye shokh ada matwaare
ye mast nazar kajraare

koi yahaan mara
koi wahaan gira
sudh budh hi bisar gayee saaree

sudh budh hi bisar gayee saaree
oy mar gayi alla
haay mar gayi alla
chhod de palla
baat badhegi mahfil mein

tu bhi chup
main bhi chup
dil ki baaten rakh dil mein
haay mar gayi alla
chhode de palla,
baat badhegi mahfil mein
oy mar gayi alla
chhod de palla
baat badhegi mahfil mein


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.

Today’s song is from film Chaalbaaz (1958).

What an year 1958 was, in terms of musical films ! Most Music Directors had offered their best songs in this year. The popular playback singers were very busy and the musicians and the arrangers had a field day, running from this studio to that studio for rehearsals and recordings. The films that came in 1958 were full of wonderful music and one can not make choices in those films. Not only that but there was a variety of different Genres of films on offer. Historical, Costume, stunt,Mythologicals, social, Comedy….you name it and you would have it. A grade, B grade and C grade… all grades of films had A grade music. An example to quote would be “Hamen to loot liya mil ke husn walon ne…”a very popular qawwali from a C grade film like “Al Hilal “- 58.

Madan Mohan had 7 films in 1958 and almost all had superb music. Just take a look at these films of 1958… Panchayat, 24 Ghante, P.B.999, Samrat Chandragupta, Jasoos, Mausi, Do Phool, Police, Solva Saal, Sitaron se aagey, Talaq, Kaarigar, Amardeep, Yahudi, Baghi Sipahi, Sadhana, Light House, Dilli ka Thug, Adalat, Jailor, Aakhri Daav, Night Club, Khazanchi, Khota Paisa, Chandan,Kabhi andhera kabhi ujala, Mr. qartoon M.A., Mujrim, 12 o’clock, Howra Bridge, Phagun, Raagini, Sone ki chidiya, Lala Rukh, Phir subah hogi, Takdeer, Rambhakta Bibhishan, Savera, Detective, Parvarish, Suvarn Sundari, Sohni Mahiwal, Madhumati, Al Hilal, Naya Paisa, Aji bas shukriya………….

Film Chaalbaaz-58 too had very good songs, Chitragupta-the melody Maker being the composer for it. However the film being a stunt picture, songs from this film were not exposed to the elite or a larger section of population, hence it could not compete with other other film songs. As such the Indian public was drenched in lovely music from so many films in 1958 and for a stunt film there was no chance to showcase its music at all. The film had 7 songs- 5 written by Prem Dhavan and 2 by Anjum Jaipuri. Rafi, Lata, Asha,Geeta and Ram Kamlani had sung these songs. The main lead actors of the film were P.Jairaj and Nirupa Roy.

Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. An ordinary lower middle class housewife turned into an actress due to need to survive. Funny thing was that it was her husband who had visited the studio to get a job as an actor and the studio selected his wife instead ! Nirupa Roy who acted in over 250 movies has been variously branded as a Goddess of Mythological films, a suffering wife of a poor farmer, a troubled housewife of social films, an acclaimed quintessential mother of Bollywood and even a Stunt film actress !

She has been a Heroine in 110 films, a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 10 films. She sang Bhajans, romantic songs, Comedy songs, qawalis, sad songs and peasant folk songs on the screen.

She changed her Heros like “Badalate huwe saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).

Due to all this, one could never put any specific label to Nirupa Roy. God had given her a face which exuded Daya, Kshama,and Shanti all the time,so she suited best for the role of Goddesses in Mythological films. Not having a very beautiful face, she fitted very well as a poor farmer’s wife or a toiling,suffering middle class wife of a middle class husband. With heavy make up and Gaudy dresses, she could pass muster in Costume or Historical films. But while doing stunt films, same Nirupa Roy so ravishing,different and suitable ( in shirt and trousers) that one wondered if she was the same actress who did “Goddess “roles so convincingly ! This was possible due to her acting capabilities.

I have seen most of her stunt films. Recently, our own Raja ji said in one of his comments on the Blog that he can not think of Nirupa Roy in any dress other than a Saree or Salwar kameez ( not exact words, but with this meaning). I would stress that in films like Chaalbaaz-58 he could have seen Nirupa Roy in a different avatar all together. She has copied Fearless Nadia-almost, in being dressed in a shirt and trousers and by participating in various stunts and swordswomanship (like swordsmanship). The story of the film too was suitably built, with a trained Horse-Moti and a Trained Dog-Tiger too for masala effect.

The Director of film Chaalbaaz was Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was her director in many films,because he directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. he got Nanabhai a job as Sound Recordist.Soon he graduated to Production Executive.He also wrote several screenplays.

In 1942 he directed “Muqabala”, for Homi Wadia, as Batuk Bhatt. Homi Wadia became his good friend. When Homi established his own Basant Pictures, Nanabhai joined him and directed his “Hunterwali ki Beti”-43, with Nadia again. He also did mauj, Jee Haan, Chaalis Karod etc. He directed about 50 films of various genres like Stunts, Mythologicals,crime, social, costume etc.

Nanabhai’s first wife was Hemlata. He also married Shirin banu, his Heroine of few films. To circumvent the Bigamy law, he married her in a Temple and that too in the presence of Hemlata ! He had 3 children from Hemlata and 6 from Shirin. Mukesh and Mahesh Bhatt are from Shirin. His children and grandchildren married is different religions.Thus his big family was an example of Secularism ! In addition to 9 children Nanabhai also produced 20 films under his own Deepak Pics and Gautam Chitra !

FILMOGRAPHY OF NANABHAI BHATT: 1942: Muqabala; 1943:Hunterwali Ki Beti; Mauj; 1945: Chalis Karod; 1946: Maa Baap Ki Laaj; 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Ghar; Janmashthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Izzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.( Thanks to Harish Raghuwanshi ji and Encyclopedia of Indian Cinema for some information.)

Film Chaalbaaz was produced by his elder brother Balwant Bhatt and Ram Kamlani. Today’s song is only the second song to be posted here. It has a very melodious tune and is sung by Geeta Dutt and Mohd. Rafi. The story of the film is…

This is the story of the princess of a kingdom,who is very proud and selfish. She wanted her people to contribute for her crowning ceremony. Her army collected money from the people by force. A young son of a blind headman of a nearby village comes to Princes to complain against the army. He is arrested and hanged as a rebel.

Roopa (Nirupa Roy) his sister is shocked and wants to take a revenge. She dons a male costume and a hood and attacks the army people, snatching money from them and distributing to the people. She is soon declared as a rebel and becomes a wanted criminal.

Roopa and the Princess love the same young man-Randhir (P.Jairaj). Displeased with the Princess for her cruelty, Randhir leaves her court and joins Roopa and her fight against the army. He too is declared a rebel. They both are arrested by deceit and sentenced to death. Meanwhile the friends of Randhir and Roopa infiltrate the jail, liberate Randhir and Roopa.

There is a final show down when the princess and the army is attacked. A sword fight between Roopa and the princess takes place. No need to guess what will happen next. It happens same way and the end is sweet. Randheer becomes the King and Roopa becomes his Queen.


Song- Ho chat mangni to pat shaadi (Chaalbaaz)(1958) Singers-Geeta Dutt, Rafi, Lyricist- Anjum Jaipuri, MD- Chitragupta

Lyrics

ho chat mangni
to pat shaadi
na dil ko todo ji
bade lafde hain shaadi mein
ye lafde chhodo ji

ho chat mangani
to pat shadi
na dil ko todo ji
bade lafde hain shaadi mein
ye lafde chhodo ji

shaadi hogi bachche honge padega kamaana
muft ki roti khaane waale
karo na bahaana
aha shaadi hogi bachche honge
padega kamaana

muft ki roti khaane waale
karo na bahaana
ye rishta hai mohabbat ka
khushi se jodo ji
bade lafde hain shaadi mein
ye lafde chhodo ji

ho chat mangni to pat shadi
na dil ko todo ji
aha
bade lafde hain shaadi mein
ye lafde chhodo ji

shaadi hogi band bajega
karo na ghotaala
do din ki ye deewaali hai
phir hai deewaala
oho

shaadi hogi band bajega
karo na ghotaala
do din ki ye deewaali hai
phir hai deewaala
hain duniya mein bahut andhe
hamen to chhodo ji
bade lafde hain shaadi mein
ye lafde chhodo ji

gori rangat dil hai kaala
chali ho banaane

doodh se ujla naari ka man
arre o deewaane
arre gori rangat dil hai kaala
chali ho banaane

doodh se ujla naari ka man
arre o deewaane
ye dil le lo
wo dil de do
nazar na modo ji
bade lafde hain shaadi mein
ye lafde chhodo ji

ho chat mangni
to pat shadi
na dil ko todo ji
are baba re baba re
bade lafde hain shaadi mein
ye lafde chhodo ji


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.

Several years ago, I read a tale that made my blood boil. It was about a 96 year old lady, whose palatial house was snatched away forcibly from her by greedy land grabbers and she was forced to stay in the servant quarters of her own prime property. She was no ordinary lady either. she was the first female IAS officer of India.

When media got wind of this fact, the people who had usurped her property hurriedly brought her back to the mansion to “prove” to the media that she was very much the “owner” of her property.

Law abiding people earn some amount for their living and then try to live within them. Then there are some ambitious people who work hard and improve their earning and rise in economic status. They still live within their earning.

Then there are people who do not have the capability to earn more from honest means but they would still want to get rich. The easiest way to get rich for them is to befriend a rich person and rob him/ her of her property once he/she gets weak due to age/ retirement/ sickness etc. That is what happened with Isha Basant Joshi.

This happens not only with individuals but can happen with organisations too. Take the current case of BCCI vis a vis ICC and other cricket boards.

BCCI (board of control for cricket in India), which was one of the junior partner of ICC before the liberalisation of Indian economy , is now the biggest contributor of revenue to ICC. One of the major sources of earning for ICC is by organising international tournament. Selling TV broadcast rights for these tournaments is the major source of earning for ICC.

TV broadcast company buys right to organise these tournaments hoping to earn good amount by selling ad space during telecast time. India, because of its vast population (a few times bigger than all other cricket playing and watching nations combined), is easily the biggest chunk of target audience for companies that want to buy ad space during the telecast of matches of these tournaments. It is estimated that TV broadcasters earn 70 % of their entire ad revenue for Indian TV audience.

And this Indian TV audience eagerly watches these matches because Indian team participates in these tournaments and more often than not still survives in the tournament there till the final few matches in the tournaments.

One can say that TV company bids for these telecast rights mainly because they have the assurance that this vast Indian cricket viewing public would watch the tournament matches and will bring them the bulk of their ad revenue.

Now suppose India decides not to participate in the tornament. Then what ! The TV broadcast right owner becomes jittery because they know that their revenue from that tournament would reduce drastically. Indian TV audiences would lose interest in watching cricket matches if Indian team is not participating in that tournament.

Put in simple terms, Indian cricket watching public contributes about 70 % of the entire revenue that ICC gets from TV rights. So if ICC were an organisation and its constituent bodies as its employees then BCCI is the employee that helps earn the highest percentage of revenue for its employee.

ICC then shares a part of this money received from the broadcaster among its constituent boards.

In the original “big three ” arrangement in 2014, BCCI, ECB and CA got higher share of the revenue while other board members got lower amount. The figures were based on what the respective board helped earn to the ICC, mainly through the TV rights.

Now, in the recent ICC meet in april 2017, BCCI were dealt an unexpected blow. The big three model was dismantled. Other two members of big three did not lose any amount, and the remaining boards got more money, while BCCI’s share was drastically reduced. From $ 440 millions in the 8 years cycle, their share was reduced drastically to $ 287 millions. Every one else profited at the cost of BCCI so others happily voted in favour of the proposal, with BCCI being the only one voting against it. In effect, everyone ganged up and robbed the one member that helped bring the maximum revenue to ICC.

When it comes to ICC sharing its ad revenue, one would expect the teams to share them in more or less in the same proportion in which they contribute in generating it. But no, not at all. Boards that do not contributeeven 1 % of total ad revenue want to get 4 % each from ICC. All these non performing boards ganged up together and voted to enhance their revenue and voted to reduce BCCI’s share. Boards that do not contribute even 1 % will get 4 %, whereas BCCI that helps contribute 70 % and which was assured of 22 % revenue just three years ago, had now been voted down 8-1 to receive just 11 %. In others words, eight boards ganged up to vote themselvs higher amount than what they were getting three years ago, while they voted down BCCI’s share to half. They also preached that it was BCCI’s reponsibility to help globalisation of cricket so the hefty $ 280 millions share of BCCI has been chopped off. But none of these boards themselves are prepared to take a cut of even one penny to help globalise cricket. So in effect, they are behaving like the land grabbers who want to rob a rich land owner of his property and make him their slave who would them be required to work hard so that these parasites could live off his labour. It is like that hapless lady whose estate was usurped by crooks.

It is like East India company. Not just England, even the likes of Zimbabwe, West Indies and Bangladesh become India’s rulers and start to live off India the way Brish Empire did for two centuries. India got free from them, and Britain ceased to be the most influential nation in the world.

How do we know which country’s market brings how much ad revenue to the TV rights holder (and therrefore to ICC) ? ICC should have commissioned a firm to carry out this study the way most countries commission some firms to carry out these studies. But then ICC are the last organisation that can be expected of operating in a transparant manner in a matter dealing with money.

I have thought of a way to assess the relative size of ad revenue accruing to the TV broadcaster. One can take the amount of advertisement money that the advertisers of a country spend in one year. I have taken the annual figures of ad spend of the four test playing south Asian countries, viz India, Pakistan, Bangladesh and Sri Lanka. Since all four countries are similar in culture, cricket craze etc, I havbe assumed that a good portion of this ad spend goes to the coffers of the cricket broadcaster.

star sports are the cricket broadcaster of ICC for 18 ICC tournaments from 2015 to 2023. They have won this right for an amount of $ 2000 million. So they are required to pay ICC an amount of $ 2000 millions during this 8 year period. This amount will then be distributed among the test playing board members and associates.

ICC and other nine boards ganged up to rob a big chunk of money that BCCI was helping bring to ICC. We now know who is getting how much, but ICC is silent about how much each board is bringing to the table, so that one can find out whether there is any correlation between their pay and their contribution in ICC’s earning through them.

Since ICC would not do it, I have tried to find about the approximate amount of ad money that various cricket playing nations would bring to star sports for Champions trophy 2017.

First I have found out how much ad money the advertisers of various cricket playing countries of Indian sub continent as well as West Indies and Zimbabwe are spending this year.

Following are the figures:

Ad spend per year Remarks
India $ 9515 millions
Pakistan $ 630 millions
Bangladesh $ 200 millions
Sri Lanka $ 300 millions
West Indies $ 200 millions
Zimbabwe $ 0 (insignificantly small) No figures exist

I have excluded other countries because I feel that they are more or less getting what they deserve.

So, the relative market share of these countries as far as advertisers are concerned is

Percentage of ad share by countries Remarks
India 87 %
Pakistan 6 %
Sri Lanka 3 %
Bangladesh 2 %
West Indies 2 %
Zimbabwe 0%

Note: The above figures are what I gleaned from various sources online. Figures are indicative and there may be some inaccuracies, though the overall picture is unlikely to change much despite any corrections that may get noticed/ get pointed out.
I have excluded the figures of other boards that I feel are getting what they contribute.

Let us assume that all these markets are cricket crazy markets and a good portion of their ad spend this year will go to pay star network, during their TV coverage of Chmapions Trophy.

Let us assume that an uniform portion of total ad spend of the year will be spent by advertisers during champions Trophy in all these countries. Let us assume it to be 10 % of total ad spend for the year.

So, following is what Star network will get from these countries

Countrywise expected Ad revenue to broadcaster Remarks
India $ 951 millions
Pakistan $ 63 millions
Bangladesh $ 20 millions
Sri Lanka $ 30 millions
West Indies $ 20 millions
Zimbabwe $ Nothing
Total $ 1084 millions

Star TV is required to give $ 2000 millions to ICC in eight years (2015 to 2017). They will earn half of that amount in this champions trophy itself, if only BCCI could be persuaded to sent its team. If BCCI backs out, Star sports will earn an ad revenue of less than $ 150 millions and at this rate it will never be able to see any profit. Mind you, Star have already staged one tournament, T20 world cup in 2016 after it earned the broadcast rights and it has already made a hefty profit because BCCI participated in that tournament. With BCCI participation in this tournament, Star would have already earned the amount of $ 2000 millions that it was supposed to have paid to ICC. These are still six years left and lots of more tournaments left where BCCI participation would have seen star network rolling in mind boggling profits.

So now, we know why Star network is worried at the prospects of BCCI contemplating to back out. All the looters (ICC and the other non BCCI boards) are now worried and are trying all the tricks in their books. Star network made some ex cricketers to speak in favour of BCCI participation. Most of these ex cricketers are employed as expert commentators with star as most of us are well aware. So they are serving their masters and indirectly serving the cause of the gang of looters rather than the cause of BCCI and Indian cricket fans who are their real paymasters. Gavaskar and Shashtri did not speak in that voice and so their opinions were very conveniently blacked out.

Then there are some “responsible” people who are talking about Indian cricketers missing out and Indian cricket dying out. They are either talking out of ignorance or they are in the employs of anti BCCI parties to utter such inanities. BCCI are well within their rights to back out. Clause 6.4 of Members Participation Agreement (MPA), a legally binding document between the ICC and its member boards gives BCCI this right.

If CoA is asking BCCI not to back out and participate, then it means that CoA are not aware of Clause 6.4 of Members Participation Agreement (MPA), which speaks very poorly of their knowledge of the subject on which they are administrating.

They are also not aware that BCCI is only backing out of ICC tournaments. It does not mean that they are walking out of ICC. They will continue to play bilateral series as before which include tests, ODIs and T20s. They will continue to organise IPLs as well. So, the people saying that all these will be in jeoparty need to first understand the subject before giving their opinion on the topic.

In other words, BCCI is only taking recourse to a remedy that its agreement with BCCI allows them to have.

Those who are telling us that BCCI will be a loser and that ICC should expel them, or that BCCI will find itself expelled are talking out of ignorance as pointed out earlier.

In this case, it is not BCCI but ICC that is on sticky grounds. It is ICC’s credibility and existence that is at stake. BCCI is helping them earn bulk of $ 2000 millions that they are to get from TV broadcaster. In addition BCCI is helping earn Star network many times more by participating in these tournaments. Such a valuable partner must be treated with respect and dignity. Here we find that ICC has ganged up with other boards to deprive BCCI of the money that BCCI is allowing ICC and other board members to gain.

It would be better for BCCI to organise international tournaments on its own without involving ICC. such precedents are there. the 1985 WCC tournament, where Ravi Shashti became Champions of Champion was one such example. Even at present, BCCI is dealing with star sports directly in organising TV coverage of domestic tournaments. BCCI is also organising TV coverage of IPL without involving ICC, and the profits of IPL are in billions. So, BCCI backing out of this ICC is not the end of the road for BCCI. Rather it is the end of the road for ICC. Even if ICC finally agrees to give BCCI a higher share that will still be a big deal less than what BCCI deserves. And the humiliating manner in which BCCI has been treated by ICC and other board members is something that most Indian cricket fans will never be able to forget and forgive.

I am as much a stake holder in Indian cricket as BCCI, CoA and others. I have been following Indian cricket from 1974 and I feel that it is high time BCCI asserts its right the way other assertive organisations in other parts of the world do. BCCI should form a rival organisation to ICC and invite other boards to join them. If some boards (there will be none) decide to stick with ICC, let them do that. ICC should cease to exist in near future. As Indians, let us learn to be assertive and ruthless in dealing with people who harm us and who seek to humiliate us. In this case, it is ICC. Let us finish ICC off once and for all.

I have not been able to concentrate on blogging for the last few days because of this matter. I hope to get this lead out of my chest by writing on this topic that I have been feeling very strongly about.

I, as well as many cricket loving Indians are feeling the way our forefathers felt when they were slaves of foreigners. Foreigners would loot us of our resources and get rich at our cost, whereas we would be subjected to humiliation, indignity, famine, death etc. That is what happened to Indians during British Rule. This is what also happened in Goa which remained under Potruguese rule till 1960s !

Here is a song from “Johar Mehmood in Goa”(1965) which expresses my strong feeling on the subject of BCCI and Indian cricket lovers suffering indignities at the hands of foreigners out to subjugate us. This song is sung by Mukesh and Usha Khanna. Qamar Jalalbadi is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised on I S Johar and Sonia Sahni (I guess).

With this song, “Johar Mehmood in Goa”(1965) joins the list of movies that have all their songs covered in the blog.


Song-Sikandar bhi aaye kalandar bhi aaye (Johar Mehmood in Goa)(1965) Singers-Mukesh, Usha Khanna, Lyrics-Qamar Jalalabadi, MD-Kalyanji Anandji
Mukesh + Usha Khanna

Lyrics

Sikandar bhi aaye
Kalandar bhi aaye
na koi raha hai
na koi rahegaaa

na koi raha hai
na koi rahega
na koi raha hai
na koi raha hai
na koi rahega
na koi raha hai
hai tere jaane ki baari bidesi
hai tere jaane ki
hai tere jaane ki baari bidesi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
hai tere jaane ki baari bidesi
hai tere jaane ki
hai tere jaane ki baari bidesi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai

Sikandar ko Porus ki taaqat ne roka aa
Ghauri ko Prithvi ki himmat ne toka aa
jab khooni Naadar ne chhedi ladaai ee
ho o o
o o o o
jab khooni Naadar ne chhedi ladaai
to Dilli ki galiyon se aavaaz aayi ee
laga le tu kitna bhi zor ai sitamgar
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

Prataap ne jaan de di watan pe ae
Shivaaji ne bhagva udaaya gagan pe ae
mardon ne khaayi aazaadi ki kasmen aen
ho o o
o o o
mardon ne khaayi aazaadi ki kasmein
adaa auraton ne ki jauhar ki rasmen
kafan baandh kar raani Jhaansi pukaari
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

Siraaj aur Tipu
Zafar aur Nana aa
thha har ek inmein qaumi deevaana
yahaan le ke aaye bagaavat ki aandhi ee
Tilak, Nehru, Aazaad, Netaaji, Gaandhi ee
Bhagat Singh ki raakh ne ye pukaara
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

Halaaku raha hai na Hitler raha hai ae
Musolini kaa naa vo lashkar raha hai ae
nahin jab raha rus kaa Tzaar baaki ee
ho o o o
nahin jab raha roos kaa Tzaar baaki
to kaise rahega Saalaazaar baaki ee
Goa ka har bachcha bachcha pukaara
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

kal ko agar aaye Chaao yaa Maao o
laga denge ham zindgaani kaa daanv
hamaara hai Kashmir
NEFA hamaara aa
o o o
o o o
hamaara hai Kashmir
NEFA hamaara
kabhi jhuk sakega na jhanda hamaara aa
zara desh ke dushmanon se ye keh do
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai
hai tere jaane ki baari bidesi
hai tere jaane ki
hai tere jaane ki baari bidesi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai

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

सिकंदर भी आए
कलंदर भी आए
ना कोई रहा है
न कोई रहेगा

ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
है तेरे जाने की बारी बिदेसी
है तेरे जाने की
है तेरे जाने की बारी बिदेसी
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
है तेरे जाने की बारी बिदेसी
है तेरे जाने की
है तेरे जाने की बारी बिदेसी
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है

सिकंदर को पोरस की ताक़त ने रोका॰॰आ
गौरी को पृथ्वी की हिम्मत ने टोका॰॰आ
जब खूनी नादर ने छेड़ी लड़ाई
हो ओ ओ
ओ ओ ओ ओ
जब खूनी नादर ने छेड़ी लड़ाई
तो दिल्ली की गलियों से आवाज़ आई
लगा ले तू कितना भी ज़ोर ए सितमगर
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है

परताप ने जान दे दी वतन पे॰॰ए
शिवाजी ने भगवा उड़ाया गगन पे॰॰ए
मर्दों ने खाईं आज़ादी की कसमें
हो ओ ओ
ओ ओ ओ ओ
मर्दों ने खाईं आज़ादी की कसमें
अदा औरतों ने की जौहर की रस्में
कफन बांध कर रानी झांसी पुकारी
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है

सिराज और टीपू
जफर और नाना
था हर एक इन में क़ौमी दीवाना
यहाँ ले के आए बग़ावत की आँधी॰॰ई
तिलक नेहरू आज़ाद नेताजी गांधी॰॰ई
भगत सिंह की राख़ ने ये पुकारा
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है

हलाकू रहा है ना हिटलर रहा है
मसोलीनी ना वो लश्कर रहा है
नहीं जब रहा रूस का ज़ार बाकी
हो ओ ओ
ओ ओ ओ ओ
नहीं जब रहा रूस का ज़ार बाकी
तो कैसे रहेगा सलाज़ार बाकी
गोआ का हर बच्चा बच्चा पुकारा
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है

कल को अगर आए चाओ या माओ
लगा देंगे हम ज़िंदगानी का दाव
हमारा है कश्मीर नेफ़ा हमारा
हो ओ ओ
ओ ओ ओ ओ
हमारा है कश्मीर नेफ़ा हमारा
कभी झुक सकेगा ना झण्डा हमारा
ज़रा देश के दुश्मनों से ये कह दो
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है

ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
है तेरे जाने की बारी बिदेसी
है तेरे जाने की
है तेरे जाने की बारी बिदेसी
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है


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(© 2008 - 2017) 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 more than eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13273

Number of movies covered in the blog

Movies with all their songs covered =1003 Total Number of movies covered =3703

Total visits so far

  • 9,308,042 hits

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Historical dates

Blog Start date: 19 july 2008 Active for 3000 days.
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