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

Archive for the ‘Post by nahm’ Category


This article is written by Nahm, 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 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 :

4346 Post No. : 15655

This is one of the songs of which made an impact at the time of watching the film.  I had seen this film ‘Phir bhi dil hai Hindustani’ in theatre.  This was before the multiplexes, so there were only the theatres, where the folks went to see the movie.

Now in multiplexes which are always above malls, there is the added temptation of shopping. This must be the reason, my husband is so reluctant to go to watch a movie. Over the last few years, I have also lost all interest in watching movies, altogether. As a weekend approaches, I am thinking I want to see this film or that film.  Some of those I have seen earlier or some which I have never seen. But the weekend comes and goes, without my attempting to watch them. There must be lot of reasons for this lack of motivation. For almost two months now, a 2017 movie’s link is sitting in the browser, but I have not watched it. Recently I even got my old laptop working so that I could watch some of the long pending movies and dramas. I saw a rerun of a few dramas, but new ones I am very reluctant to start. Sometimes I feel that there is a reluctance in me, to see newer things, which may supersede what has been seen earlier. It is strange, but there.

The film ‘Phir Bhi Dil Hai Hindustani’ (2000) is a movie worth seeing or even revisiting for some of us who have seen it. Or the reviews of the film on the IMDB site make us believe. What I remember of the film is that SRK and Juhi are both television news presenters, and there is a lot of comic situations and romantic songs. Eventually they get embroiled in a nexus of politicians with the owners of the media channels, for whom they work. The song which is most endearing in the film is the title song “Phir Bhi Dil Hai Hindustani“.  I had a general idea that the movie was ahead of its time and relevant to the electronic media’s role in the hyperbola of fear psychosis, that seems to surface every now and then.  I wrote about the role of media as a pawn in creation of propaganda in my essay ‘Corruption- A Global Phenomena’ in my post for the song “Apne Haathon Ko Pehchaan” from the 1960 film ‘Apna Haath Jagannath’.

Just recently I remembered the title song, looked for it and saw some other songs of the film including the group song which is the present post. The singers team is the old and trusted one, Sonu Nigam and Alka Yagnik with chorus. The song is very catchy and relevant to the party scene happening in the film. Reminds me of another song by the duo from ‘Yuvraj’ (2008) – “Mast Mast Dar Mastam“.

As I didn’t remember much about the film, and possibility of watching it soon is also remote, I visited the IMDB page.  The movie synopsis given there is quite lengthy and complicated.  Better to turn to reviews of which there are plenty.  Some of the reviews which were brief, I am reproducing here.

“This movie was way ahead of it’s time. . . and is highly underrated”

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“Movie was way ahead of its time. Couldn’t understand then why the film flopped may be because of overacting by SRK or Georgia’s effect. People expected a romcom but turned to be product which was attempted before in ‘Main Azad Hoon’. It is still reparable to today’s media circus where politics and media barons move hand in hand.”  (The meaning of “Georgia’s effect” is not known)

=====

“Way ahead of its time in the Indian context. Audiences in late 90s-early 2000s just wanted to see a romcom, especially if it featured SRK. The movie starts off that way but takes a political turn which exposes the nexus between people in power. It kind of displays the current situation in India in the year 2019. A lot of scenes would remind viewers of real-life situations that have occurred in the country over the past few years.  Maybe it was too much to take in for the viewers of the early 2000s, but this film would be a sure shot hit if it were to be released today or it may get banned in the country. Although, it does get too melodramatic in the final sequence.”

Certainly that this has been my own opinion all these years.  Every time we see a media circus, hypocrisy happening around, this was a recall sort of movie. A few of these reviews are giving the movie 10/10 rating.  Some are calling it highly underrated and a prelude to ‘Rang de Basanti’ (2006) etc. I personally feel it was less seriously tackled than ‘Rang De Basanti’, packaged more as a satirical comedy.

Song is very colourful for sure.  Jatin – Lalit are the composers and lyrics are by Javed Akhtar. On screen we see a few other artists, notably Satish Shah, Johnny Lever, Shakti Kapoor, Dalip Tahil, Dilip Doshi and others.

Song – Tu Yaar Tu Hi Dildaar (Phir Bhi Dil Hai Hindustani) (2000) Singer – Sonu Nigam, Alka Yagnik, Lyrics – Javed Akhtar, MD – Jatin Lalit
Chorus

Lyrics

haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa
haa

tu yaar
tu hi dildaar (haa)
tu hi mera pyar (haa)
tera mere dil  (haa)
mein hai darbaar (haa)
kar de ek baar beda paar (haa)
mujhe gharbaar lage bekaar (haa)
phirun main (haa)
ban ke teraa aa jogi ee ee(haa)
tu yaar
tu hi dildaar (haa)
tu hi mera pyar (haa)
tera mere dil  (haa)
mein hai darbaar (haa)
kar de ek baar beda paar (haa)
mujhe gharbaar lage bekaar (haa)
phirun main (haa)
ban ke teraa aa jogi ee ee (haa)

hey ea ea ey
la ra ra re ra re ra re ra
rey ea ea
aa aaa

hey
hey
hey

kehta hai deewaana
teraa hi afsaana
tere bin duniya mein
kya khona kya paana
aarzoo hai
dil hai tu hi too oo oo
tere sang bana hoon malang
to sab hai dang
huyi ye duniya
mujh se tang (haa)
laayi hai umang ik tarang (haa)
baaje mridang (haa)
to badle dhang (haa)
phirun main (haa)
ban ke teraa jogie ee (haa)
tu yaar
tu hi dildaar (haa)
tu hi mera pyar (haa)
tera mere dil  (haa)
mein hai darbaar (haa)
kar de ek baar beda paar (haa)
mujhe gharbaar lage bekaar (haa)
phirun main (haa)
ban ke teraa aa jogi ee ee (haa)

dharti ke aangan mein
ambar ke daaman mein
sooraj ki kirnon mein
saagar ki lehron mein
har kahin har su hai
tu hi tu uu uuu
sab log manaayen sog
kahen ye jog
hai mere man ko koi rog (haa)
hai ye prem aag to belaag (haa)
raat ko jaag (haa)
gaaun main raag (haa)
phirun main (haa)
ban ke teraa aa jogi ee ee (haa)

tu yaar
tu hi dildaar (haa)
tu hi mera pyar (haa)
tera mere dil  (haa)
mein hai darbaar (haa)
kar de ek baar beda paar (haa)
mujhe gharbaar lage bekaar (haa)
phirun main (haa)
ban ke teraa aa jogi ee ee (haa)

ban ke teraa aa jogi ee ee (haa)
jogee eee eee
ban ke teraa jogi ee ee
tera jogi tera jogi
ban ke teraa jogi ee ee
jogee eee jogeee eee
ban ke teraa jogi ee ee
jogi jogi teraa jogi jogi
ban ke teraa jogi ee ee
jogi jogi teraa jogi jogi
ban ke teraa jogi ee ee
jogi jogi teraa jogi jogi
ban ke teraa jogi ee ee
jogi jogi teraa jogi jogi
ho oo yaar
jogi jogi teraa jogi jogi
ho oo yaar
jogi jogi teraa jogi jogi
mere dil mein teraa darbaar
jogi jogi teraa jogi jogi


This article is written by nahm, a fellow enthusaist 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 : 4239 Post No. : 15451

Mohammed Rafi: The incomparable (II) – Song No. 16
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25/02/2020 – Death anniversary of S. H. Bihari
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I am presenting this Rafi sahab solo, philosophical song in memory of Shamsul Huda Bihari (1922-1987) on his 33rd death anniversary day today (25 february 2020).

S. H. Bihari was born in 1922 and his filmy career started in late 1940s it appears.

First song in Rafi Excel sheet is the Rafi-Suraiyya duet “Qismat ke likkhe ko mitaa na sakaa” from Duniya(1949). This would appear to be the first film song by S. H. Bihari, because even the website(http://www.shbihari.com/Welcome.html) on S. H. Bihari is listing his film career from 1950 onwards. There is no mention of his having written this song or other songs from the film. Another song from this film has featured in my series “Divas of hindi film music”.

As per the stats page in the blog he has written total 425 film songs, out of which 175 are posted in the blog. Frankly, through 50’s and 60’s the lyricist scene was full of stalwarts and legendary poets mainly urdu shayars. The music director had multiple choices. Some chose to stick to their tried and tested poets for long durations like Shankar-Jaikishan and Naushad. Others are moving from lyricist to lyricist and poet to another poet or using a combination of poets to write songs for them. But by and large, each music director would work with one lyricist for a particular movie, depending of the genre of the film and type of songs required. A case in point is Ravi- Shakeel Badayauni for ‘Chaudhvi ka chaand” and S. D. Burman- Shakeel Badayuni for ‘Benazir”. Another situation is Madan Mohan-Kaifi Azmi for Chetan Anand’s films like namely ‘Haqueeqat”, ‘Hindustaan ki Qasam”, “Hanste Zakhm” and “Heer Ranjha”. Otherwise Madan Mohan had distinct preference for Raja Mehdi Ali Khan, Rajendra Krishan and Majrooh Sultanpuri. Madan Mohan even did “Laila Majnu” with Sahir Ludhianvi.

Let’s go back to S. H. Bihari. Seeing his filmography, he seems to be a favourite of Hemant Kumar through 50’s and Ravi’s during late 50’s. Through 60’s he worked extensively with O. P. Nayyar, achieving the peak with block buster films like ‘Kashmir ki Kali” and “Ek Musafir Ek Hasina”. The 60’s is the productive decade also working with various music director like, Usha Khanna, Ravi, Shankar-Jaikishan, Ram-Ganguly etc. During 70’s again is mixed fare with Shankar- Jaikishan, O. P. Nayyar and various composers. And the 80’s is mostly with Laxmikant-pyarelal and notable hit music score is in Pyar Jhukta Nahi(1985).
This song from Madhur Milan(1955) is a sweet sounding melodious, motivational and philosophical song. The more I hear such Rafi song the more I am enamoured with Rafi sahab solos of 50’s decade. Song of this film released on 01.01.1955, are composed by Bulo C. Rani. The cast is Mahipal, Madanpuri, Bhudo Advani, Roopmala and Nigar Sultana. Out of twelve songs only 5 songs are posted in the blog. A trivia I gathered from these posts is that the lead actor Nigar Sultana has written a song for the film which is picturized on herself.

The song talks of long journey and hurdles in the journey. It could also mean the eternal journey which is inevitable, seeing that “jaana hai musaafir tujhe har haal mein jaana” is repeated many times. Also the ‘thikaana’ is not just ‘dur’ but ‘badi door’ also, means a long struggle to reach the destination. The line “Chhoti teri seemaaon ka dushman hai zamaana” is meant to convey the personal limitations of the ‘musaafir’ or it can even mean the ‘boundaries of integrity/values’ which the musaafir is loath to lose that the ‘zamaana’ would prefer to destroy. Also those ‘taqdeer ki faujen’ is a phantom, creating a scene where there is a fight with the destiny for the values, truth and maintain the integrity.

The second stanza is too fascinating. This talks of ‘revolution’ or great upheaval, which will go down in history as an achievement. “chaand sitaare” bear witness of this ‘bravery’ and the world shall remember the fascinating story.

I am taking a liberty of reproducing an essay which I wrote(again) for an essay competition in the office.

Integrity – A way of life.

Integrity for me – definitely should be a way of life.
Integrity will come with total transparency in all aspect of life. This is the only way of achieving it. Total integration of thoughts, speech and deeds. Ha, so simple isn’t it?
There is no doubting that a human beings integrity should be beyond doubt. One may ask the question that it is beyond doubt in all cases, where exactly? In the utopian world would be my answer.
We may lament all we want about the limitations of human fallibility. The path of truth is always fraught with thorns, as the thinkers and philosophers throughout the history of this civilization have concurred.
As the most superior creation of the God Almighty, we have a unique gift to offer to the world. We can be true to ourselves as we possess the intelligence to see the truth and recognize it and achieve a semblance of it, to whatever extant it is possible for each one of us. Truth truly is an achievement, has always been one in all eras. The very nature and purity of the concept makes sure that it is a superior achievement, taking the achiever to a higher plain. In an ideal society this achievement should have been the goal of life. All the ancient philosophies and religions point to this.

Religious beliefs are a very sure shot way of achieving this recognition of truth and total amalgamation of truth in thoughts, speech and deeds. The belief that the god Almighty is watching us, nothing is hidden from him and that we have to answer for all our deeds on the ‘Day of Judgment’, will go all the way to the achievement of this task. The fact that nothing can be hidden from a superior force will make each and every one of us to face facts.
During my school days, I recall that there used to a lecture/period for the topic of ‘Deeniyat’. Here as very young children, we were taught that there are two angels sitting on both our shoulders, recording our deeds. The angel on the right shoulder records all our good deed, like we helped someone, gave charity, spoke truth. Alternatively, the angel on the left shoulder records all our bad deeds, if we lied, if we deceived someone, or treated anyone badly etc. Come to think of it, when all is said and done, there are more things that we can do are in the category of bad deeds and there are very few falling under good deeds. I can elaborate, but there is no need for it. In our circumstances and makeup, it is easier to do bad deeds than good. Because sticking to the truth is tougher and keeps getting tougher.

Here is another story heard in childhood, which adds value addition to my discourse here:

A teacher gave a task to the children – He gave them a chick each, asked them to take it to a place where no one can see you and kill it.
Next day, all the kids came and told their story of the task. Somebody went to the bathroom, someone went to the storeroom, to garage etc to kill the chick. Only one child had still not killed it and brought it to school. The teacher asked him that why he did not complete the task. The child replied that he could not find a place where no one can see it to complete the task, because God almighty was everywhere and is constantly watching, so where to go. There is no place where you can hide from the omnipresence of God almighty.

The religions, I have always believed are the means to achieve one goal,that is to regulate human behavior.

A wise man was once asked: Sir, in which field could I make a great career ?

He said: Be a good human being. There is a huge opportunity in this area and very little competition.
And lastly, life is about choices. Some we regret, some we are proud of and some will haunt us. We are what we choose to be.
Everything that happens in life is not fixed… it can be changed by a weapon called will power.
I think Allama Iqbal meant this only here :
Khudi ko kar buland itna ke har taqdeer se pehle
Khuda bande se khud puchhe bataa teri razaa kya hai.


Song-Hai door badi door (Madhur Milan)(1955) Singer-Mohd Rafi, Lyrics-S H Bihari, MD-Bulo C Rani

Lyrics

Hai door badi door
badi door thikaana
Jaana hai musaafir
Tujhe har haal mein jaana
Jaana hai musaafir
Tujhe har haal mein jaana

Utthtaa hua toofaan hai
Behti hui maujen ean
Utthtaa hua toofaan hai
Behti hui maujen
Badhti hi chali aati hain ea ea ean
Badhti hi chali aati hain
Taqdeer ki faujen
Chhoti si(teri) seemaaon ka
Dushman hai zamaana
Jaana hai musaafir tujhe
har haal mein jaana
Jaana aa hai musaafir tujhe
har haal mein jaana
Hai door
Hai door badi door
badi door thikaana
Jaanaa hai musaafir
Tujhe har haal mein jaana
Jaanaa hai musaafir
Tujhe har haal mein jaana aa

Aati hai to ooo ooo
Aati hai to aa jaane de
Kashti se tabaahi
Aati hai to ooo ooo
Aati hai to aa jaane de
Kashti se tabaahi
Hain chaand sitaare
Teri himmat ki gawaahi ee eeee
Duniya ko sadaa yaad rahegaa ye fasaanaa
Jaana hai hai musaafir tujhe
har haal mein jaana
Jaanaa hai musaafir tujhe
Hai door badi door badi door thikaana
Jaana hai musaafir
Tujhe har haal mein jaana
Hai doo ……ooo…….oooo …..ooor

—————————–
Lyrics in Devnagri script (Provided by nahm)
—————————–
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना

उट्ठता हुआ तूफ़ान है
बहती हुई मौजें एँ
उट्ठता हुआ तूफ़ान है
बहती हुई मौजें
बढ़ती ही चली आती हैं
बढ़ती ही चली आती हैं
तक़दीर की फौजें
छोटी सी सीमाओं का
दुश्मन है ज़माना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दूर
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना

आती है तो ओ ओ
आती है तो आ जाने दे
कश्ती से तबाही
आती है तो ओ ओ
आती है तो आ जाने दे
कश्ती से तबाही
हैं चाँद सितारे
तेरी हिम्मत की गवाही
दुनिया को सदा
याद रहेगा ये फसाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दू………उ ……उ……र


This article is written by nahm, a fellow enthusaist 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 : 4233 Post No. : 15443

It was the 94th Birth Anniversary of Late Khaiyyam yesterday (18 february 2020).

Born as Mohammed Zahur Khayyam Hashmi(18 February 1927 – 19 August 2019), he started his career as music director, as Sharmaji of duo of Sharmaji-Vermaji with Rehman Verma.

He passed away last year on 19th August 2019, after an illustrious career of more than 4 decades. As per the stats page, he has composed 377 songs in 42 movies, out of which 179 songs are already posted. My personal favourite songs list has to start with the songs of Rafi songs in ‘”Shola aur Shabnam” , include “Bazaar”, “Umrao Jaan”, “Shaam e gham ki Qasam”(Footpath), Rafi solo “hai kali kali ke lab par”, some songs of “Razia Sultan” especially the sehra “Aye khuda Shukr tera”, songs of ‘Kabhi Kabhi”, “bahaaron mera jeewan bhi sanwaaro” (Aakhri Khat) etc.

I cannot forget to mention two songs of “Shankar Husaain” both the unforgettable solos by Rafi and Lata Mangeshar. The list will go all the way to the songs of ‘Phir Subah hogi” . And “Simti hui ye ghadiyaan” of “Chambal Ki Qasam”. The song of “Khandaan” (ye Mulaquat ek bahana hai) and Rafi-Lata duet from “Chambal kiQasam” were special favourites at the All India Radio’s Urdu service afternoon show (Aap ki farmaish ).

From a layman point of view also the songs composed by Khaiyyam are always melodious and have a distinctive style of their own. I can call it almost a ‘Genre”, very similar to the style of “Jaidev”. Jaidev was an assistant to S. D. Burman, but I was able to find any references it Khaiyyam was an assistant to anyone. He may have been as the training is required here also as any other field.

He composed non film songs and ghazals also, almost 34 of which were sung by Mohammed Rafi.

As per Wikipedia :

“On his 89th birthday, Khayyam announced the formation of a charitable trust, Khayyam Jagjeet Kaur KPG Charitable Trust, and decided to donate his entire wealth to the trust to support budding artists and technicians in India. His wealth at the time of announcement was valued at around ₹10 crore (US$1.4 million)”

The song I have selected to present on this occasion is from the film ‘Bambai ki Billi”, alternatively named “Wild Cat”. How does “Bambai” translate of Wild in this instance, I can’t begin to decipher. The singer of this song is Lata Mangeshkar, with chorus. Lyricist is Hasrat Jaipuri, composer is the the one and only Khaiyyam.

The tune of the song is reminiscent of this song from “Kabhi Kabhi”.


Song-Main baaghon ki morni jab naachhon taa taa thaiyya (Bombay Ki Billi )(1960) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Khaiyyam
Chorus

Lyrics

Jab jab mori paayal baaje
Logan ka aa dil dhhadke
Dekh ke mori chhalbalwa ??
man mein bijuriyaa kadkey ae
ho o

Main baaghon ki morni
Jab naachun taa taa thhaiyya
Dilwaalon ki julmi najar se
Koyi bacha le daiyya
Haay re mori maiyya aa
Main baaghon ki morni
Jab naachoon taa taa thhaiyya
Dilwaalon ki julmi najar se
Koyi bacha le daiyya
Haay re mori maiyya hoye

Nain kateele aur sooratiyaa saanwri
hoye hoye hoye hoye hoye
Nain kateele aur sooratiyaa saanwri
Ho gayee main ko dekh ye duniyaa baawri
Hoye
Ho gayee main ko dekhye duniyaa baawri
Haay re ra rararara ra ra
Jinki batiyaan zeher bhari hain
Jaise koi kasaiyya
Dilwaalon ki julmi najar se
Koyi bacha le daiyya
Haay re mori maiyya hoye

Chaand bhi sharmaaye hai
Mere roop se
hoye hoye hoye hoye hoye
Chaand bhi sharmaaye hai
Mere roop se
Raat bhi din ban jaaye
Badan ki dhoop se
Hoy Raat bhi din ban jaaye
Badan ki dhoop se
Haay re la lalalara la la
Jin raston se chham chham jaaun
Taake mohe sipahiyaa
Dilwaalon ki julmi najar se
Koyi bacha le daiyya
Haay re mori maiyya hoye
tu baaghon ki morni
Jab naache taa taa thhaiyya
Dilwaalon ki julmi najar se
Koyi bacha le daiyya

baal ye kaale
Pyaar se paale naag hain
hoye hoye hoye hoye hoye
baal ye kaale
Pyaar se paale naag hain
Haathh badha ke chhoo na lenaa
aag hain
hoye
Haathh badha ke Chhoo na lenaa
aag hain
Haay re ra rararara ra ra
Man ki been bajaaun jab jab
Jhoome prem kanhaiyya
Dilwaalon ki julmi najar se
Koyi bacha le daiyya
Haay re mori maiyya hoye


This article is written by nahm, a fellow enthusaist 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 :

4228 Post No. : 15437 Movie Count :

4253

As valentine day party songs go, this one is not really so big on the event. Except for the heart shaped balloons, there is no other indication of this being a valentine day song. Point to be noted is that, the blog seems to have ignored this occasion also, along with a host of other days that are specifically designated throughout the year. Whatsapp university does a quite adequate job of reminding us of all these days, be it mother’s day, father’s day, couple day, hug day, chocolate day to name a few. These are just the days which came readily to mind, because a few of them were during this past week.

I remembered this song today just out of the blue from the film “Dil to paagal hai”. I remember seeing this film in theatre, must be in 1997. My elder sister was very fond of Yash Chopra films and the star cast was, as it is very much ascending stars of the era. Nevertheless I remember at one point in the film, where I told my sister that I don’t want to see this film and we are leaving. Which point I don’t care to share here.

This song talking of ‘Chaand’ & ‘Raat’ is actually compliant with my posts series titled ‘Chaandni Raatien”. Composer is Uttam Singh and the lyrics are by Anand Bakshi. It is picturized on Shah Rukh Khan, Karishma Kapoor and Madhuri Dixit. Shah Rukh and Karishma are at a Valentine Day party, whereas Madhuri Dixit is at her home, dreaming and singing along. At this point I think Shah Rukh and Madhuri haven’t met each other, but are scheduled to meet and fall in love. This song is in anticipation of the things to come in the story, because you see they have read the script and the song was ready, so the situation had to be created for it. Udit Narayan sings for Shah Rukh and Lata Mangeshkar is singing for Madhuri and Karishma both. The song is very catchy too despite being a mood song.

The film is full of melodious hit songs which were a rage then. Film and the songs won quite a few awards too. This song is having the tunes of other songs from the same film, as interlude. Again as I said the characters are anticipating the songs to feature in the film later on. Good imagination all around.


Song-Chaand ne kuchh kaha raat ne kuchh suna(Dil To Paagal Hai)(1997) Singers-Udit Narayan, Lata, Lyrics-Anand Bakshi, MD-Uttam Singh
Chorus

Lyrics

Hey hey
oo ho ho ho ho
Hmmm mmmmm
La la la laa laaaa

Chaand ne kuchch kahaa
Raat ne kuchh sunaa
Chaand ne kuchch kahaa
Raat ne kuchh sunaa
Tu bhi sun bekhabar
Pyaar kar
Oh ho ho pyaar kar
Aayi hai chaandni
Mujh se kehne yahi
Aayi hai chaandni
Mujh se kehne yahi
Meri gali mere ghar
Pyaar kar
Oh ho ho pyar kar

Chaand ne kuchch kahaa
Raat ne kuchh sunaa
Tu bhi sun bekhabar
Pyaar kar
Oh ho ho pyaar kar
La la
laa laa laa laa laa

Kya kahoon kya pataa
Baat kya ho gayee ee
Dillagi ye mere
Saathh kya ho gayee
Ik ishaara hai yeh
Dil pukaara hai ye
Ik ishaara hai yeh
Dil pukaara hai ye
Iss se churaa na nazar
Pyaar kar
Oh ho ho pyar kar
Chaand ne kuchch kahaa
Raat ne kuchh sunaa
Tu bhi sun bekhabar
Pyaar kar
Oh ho ho pyaar kar

Hey hey
Ah ha ha
aa haa

Ru ru ru ru ru ru uuuu
La la la la laa la laa
Ru ru ru ru ru ru uuuu
La la la la laa la laa
Ru ru ru ru ru ru uuuu
La la la la laa la laa

Ho oo ooo
Ooo ooooo
Hmmm mmmm
Mmmmmmm
La la la la la la
La la la laa la laa
Hai kaun kya khabar
Koyi to hai magar
Sapnon mein hai kahin
Aata nahin nazar
Main yehaan
wo wahaan
Aa rahi phir yehaan
Main yehaan wo wahaan
Aa rahi phir yehaan
Aawaaz kis ki magar

Pyaar kar
Oh ho ho pyaar kar
Chaand ne kuchch kahaa
Raat ne kuchh sunaa
Tu bhi sun bekhabar
Pyaar kar
Oh ho ho pyaar kar
La la
laa laa laa laa laa

Aaa aaaa aaaaaa
Aaa aaaa aaaaaa

Jis pe ham mar mitey
Uss ko pataa bhi nahin

aa aa aa aa aa
O Jis pe ham mar mitey
Uss ko pataa bhi nahin
Kya gila ham Karen
Wo bewafaa bhi nahin
Ham ne jo sun liyaa
Uss ne kahaa bhi nahin
Ae dil zara soch kar
Pyaar kar
Oh ho ho pyar kar

Hey hey
Ah ha ha aa haaaa
La la laa laa laaa laaa
Chaand ne kuchch kahaa
Raat ne kuchh sunaa
Tu bhi sun bekhabar
Pyaar kar
Oh ho ho pyaar kar
Aayi hai chaandni
Mujh se kehne yahi
Aayi hai chaandni
Mujh se kehne yahi
Meri gali mere ghar
Pyaar kar
Oh ho ho pyaar kar

Hey hey
La la la la laa la laa
Oh ho ho
Hmm mmmm mmm hmm hmm
Pyaar kar
Oh ho ho pyaar kar
Pyaar kar
Oh ho ho pyaar kar


This article is written by Nahm, 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 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 :

4209 Post No. : 15405

 

Preamble of the Indian Constitution

WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:

JUSTICE, social, economic and political;

LIBERTY of thought, expression, belief, faith and worship;

EQUALITY of status and of opportunity;

and to promote among them all FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;

IN OUR CONSTITUENT ASSEMBLY this twenty sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.

 

Components of Preamble
1. It is indicated by the Preamble that the source of authority of the Constitution lies with the people of India.
2. Preamble declares India to be a sovereign, socialist, secular and democratic republic.
3. The objectives stated by the Preamble are to secure justice, liberty, equality to all citizens and promote fraternity to maintain unity and integrity of the nation.
4. The date is mentioned in the preamble when it was adopted i.e. November 26, 1949.

Key Words In The Preamble

1. Sovereign

The term ‘Sovereign’ which is proclaimed by the Preamble means that India has its own independent authority and it is not a dominion of any other external power. In the country, the legislature has the power to make laws which is subjected to certain limitations.

2. Socialist

The term ‘Socialist’ was added in the Preamble by 42nd Amendment, 1976 which means the achievement of socialist ends through democratic means. It is basically a ‘Democratic Socialism’ that holds faith in a mixed economy where both private and public sectors co-exist side by side.

3. Secular

The term ‘Secular’ was incorporated in the Preamble by 42nd Constitutional Amendment, 1976 which means that all the religions in India get equal respect, protection and support from the state.

4. Democratic

The term ‘Democratic’ implies that the Constitution of India has an established form of Constitution which gets its authority from the will of the people expressed in an election.

5. Republic

The term ‘Republic’ indicates that the head of the state is elected by the people directly or indirectly. In India, the President is the head of the state and he is elected indirectly by the people.

BR Ambedkar said about the preamble:-

It was, indeed, a way of life, which recognizes liberty, equality, and fraternity as the principles of life and which cannot be divorced from each other: Liberty cannot be divorced from equality; equality cannot be divorced from liberty. Nor can liberty and equality be divorced from fraternity. Without equality, liberty would produce the supremacy of the few over the many. Equality without liberty would kill individual initiative. Without fraternity, liberty and equality could not become a natural course of things.

As today we all are celebrating the 71 Republic Day , being the day of inception of the constitution of India, I thought that we should start this post with ‘The Preamble to the Constitution’.  The Preamble though is very much part of the constitution itself.

I have the great pleasure of writing the post on this song celebrating the very appropriateness of the justice, liberty, equality and fraternity. This is also the song which brought me to this blog incidentally on 25th of January 2011, and this was my first comment on this blog’s farmaish page.

 

47 | nahm
January 25, 2011 at 1:06 am

I have surfed the net all over for this song/nazm:

khud jiyo auron ko bhi jeene do,
yehi to hai zindagi ka raasta,
tumhien aman ka shanti ka vasta,

This is not available even on youtube. i am very much surprised did not anticipate this difficulty. This was widely used in school assembly , and i found on some website that today itself that it is sung by the great Mohammed Rafi (also). Frankly i was expecting many versions (by various singers). If u could find and just send the lyrics at least, on urgent basis. i shall be ever grateful.

It was exactly 9 years ago that I stumbled upon this blog and life as I knew it before, changed for me.  In many ways I can define the journey of my life before and after 26th January 2011.

Now about the page “Readers farmaishes” :  I wonder at how beautifully the word “Farmaish” has adapted to its Anglicized plural ‘farmaishes’. Another unique word which require a few sentences to get at the spirit of it, in any other language.  Google’s English is showing the pathetically legal “Petition”, or it is most likely a Victorian equivalent. The concept of ‘farmaishi programme’ is so intrinsically Indian, be it a much indulged child’s or an overindulged housewife’s.  Or it fits us ‘spoilt-for-choices’ lovers of Hindi film music.

So it turns out that all those years ago I was looking for the lyrics of this song and in my search found that it is a Rafi song picturized on Prithvi Raj Kapoor in a classroom singing in front of school children. That time, the archives page of the website of Films Division of India was empty. I was searching the youtube intermittently for this song, in the hope that it will surface somehow.  I tried everything I could for this was a Rafi song and no effort was to be spared.  As luck would have it a few months ago I again searched for it and this time found a FDI film ‘Khud Jiyo Auron Ko Bhi Jeene Do’ in the Films Division archives pages. I requested Sudhir Sir to try and find the song, if it exists.

A few days ago Sudhir Sir had emailed me that the song is located and he had the video of the song, but it was not Rafi Sahab’s song. A decade old search has come to an end. All the info pertaining to it was correct, except for the singing voice. But when I heard the song today, when Sudhir Sir, sent the upload link to me, I am so glad that I persisted in the search, my search and quest is very much justified. Though it is not in Rafi Sahab’s voice, but a wonderfully worthy song written, composed and sung by the multi-talented Prem Dhawan. All the thanks and gratitude we the listeners, the beneficiaries of hard work of Sudhir Sir, can give to him, are just not enough.

The tune, voice, rendition and the lyrics are all soothing to the jaded soul.

 

Song – Khud Jiyo Auron Ko Bhi Jeene Do (NFS) (1971) Singer – Prem Dhawan, Lyrics – Prem Dhawan, MD – Prem Dhawan
Chorus
Chorus + Prem Dhawan

Lyrics

khud jiyo auron ko bhi jeene do
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raasta
yahi to hai zindagi ka raasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta

khud jiyo auron ko bhi jeene do
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raasta
yahi to hai zindagi ka raasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raasta
tumhen aman ka shanti ka waasta

aa aaaa aaaa
aaaaa aaaaa aaaa
aaaaa aaaaa aaaa

hmm mmmmm
mmmmmmmmm

chaman mein phool khilte bhaant bhaant ke
magar sabhi ka hota ek hi chaman
magar sabhi ka hota ek hi chaman
hon rehnewaale ham kisi bhi praant ke
hai ek apni dharti ek hi watan
hai ek apni dharti ek hi watan
to phir khinche khinche se dil hain kis liye
chalo dilon mein le ke ek hi lagan
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

yahi likhaa hai geeta aur quraan mein
yahi hai baani nanak aur kabir ki
isi liye to gandhi ji ne jaan di
ke jaane ham ye baat us faqeer ki
unhin ki zindagi hai  kisi kaam ki
samajhte hain jo doosron ki peed bhi
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raasta
tumhen aman ka shanti ka waasta

alag alag hai apni bhaasha to bhi kya
ke dil jo samjhe wo zubaan to ek hai
ke dil jo samjhe wo zubaan to ek hai
punjab ho bangal ho madras ho
hamaara ye hindostan to ek hai
hamaara ye hindostan to ek hai
allah kaho ishwar kaho ke wah guru
jaana jahan hai wo nishaan to ek hai
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

ha aaa aaaa
haa aaaa
haa aaaa
aaaaa aaaaa
aaaaa aaaaa aaaaa aaaaa
aaaaa aaaaa

hai ladna hi to mil ke lado bhook se
jo bhook saare desh ko hai khaa rahi
mitaao zaat paat lado phoot se
wo phoot jo hamaare ghar jalaa rahi
hai khelna hi khoon se to aao phir
tumhe hai seema desh ki bulaa rahi
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

diye diwaali ke jalaao mil ke sab
manaao gale mil se saare eid bhi
manaao gale mil se saare eid bhi
mitaa hai bhagat singh jo apne desh pe
to tipu bhi mitaa hai aur hameed bhi
to tipu bhi mitaa hai aur hameed bhi
hai desh zindaa kyun ke desh sab ka hai
na rehti warna jeene ki ummeed bhi
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

aa aaaa
aaaaa aaaaa
aaaaa aaaaa
aaaaaaa aaaaa
hmmm mmmmm
mmmmmmm

wo swarg jo rakhaa hai aasmaan pe
usey na kyun zameen pe utaar len
chalo uss apne ujde huey bagh ko
nayi nayi bahaaron se nikhaar len
banaayen taaj jaise aur mahal kayi
ajanta jaise but naye sanwaar len
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta

mili hain aise saath apni qismatien
ke jaise saath ganga ke jamnaa bahe
ke jaise saath ganga ke jamnaa bahe
to kyun na tere dil ki baat main kahoon
to kyun na mere dil ka raaz tu kahe
to kyun na mere dil ka raaz tu kahe
samajh len ek doosre ke gham ko ham
to phir jahaan mein koyi gham hi kyun rahe
khud jiyo auron ko bhi jeene do
yahi to hai zindagi ka raastaa
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta
tumhen aman ka shanti ka waasta

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

 


This article is written by nahm, 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 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 : 4178 Post No. : 15357

Commemorating Naushad Sahab’s 100th birth anniversary on 25th December 2019 :
————————————————————————————
Naushad Sahab’s journey as a music director is an astounding journey of 65 years beginning from 1940 to 2005. This is as in active working career. Born in Lucknow on 25th December, 1919, he completed his journey of the mortal existence on 5th May, 2006, in Mumbai. He is described as a composer, music director, film producer, writer, and a poet. Also credited for being the major contributor towards incorporating Hindustani classical into film music right from the 40’s.

I have just now found a portion of the thumri extracted from the movie “Paakezah” where it plays in the background in one of the scene’s. I have often seen references to the lost thumris of “Paakeezah”. They all have been used in the film in different scenes.

This particular thumri is having a famous ghazal by Mir Taqi Mir ‘dekh to dil ke jaan se utthtaa hai …..ye dhuaan sa kahan se utthtaa hai”. This ghazal has been immortalized by many singers in recorded version too. One of those versions by Mehdi Hasan was used in the background of one scene in Sai Pranjpe’s “Chashme Bad-door”. That also is a one memorable scene, where the friends sharing accommodation in Delhi, sharing much more including their cigarette’s are Farooq Shaikh, Rakesh Bedi and Ravi Baswani, while this ghazal is playing in the background. The full ghazal’s link is here.

I am giving the link here as those interested can see the full ghazal and can try and understand the spirit of it through meaning of words and terms also.

In the stats page, there are 3 songs credited to Mir Taqi Mir, so this should be the fourth. Two songs namely Patta patta boota boota from “Ek nazar” and dikhaayi diye yoon ke bekhud kiya I could connect with Mir Taqi Mir. Third one I couldn’t find.

He finds mention in this Mirza Ghalib Sha’ir:

Rekhte ke ek tumhi ustaad nahi Ghalib
Kehte hain agle zamaane mein koi ‘Mir’ bhi thha
Actually in the portion of this ghazal used in the film is only two sha’irs with words in the matla’a changed. Actual words are like this :
ishq ik ‘Mir’ bhari patthar hai
kab ye tujh na-tawaan se utthta hai

Here is the word “na-tawaan”. I have just recently written a hindi poem, which has this word “na-tawaan”, which I simply must share here.

आहट
जो मैं सुनती हूँ अँधेरों में
वो आहट, क्या तुम्हें भी सूनाई देती है
इन दीवारों की गहरी खौफनाक दराडों में
अनगिनत नातवां चींटियाँ दफन हैं
इन चींटियों को क्या हक़ था
की वो महलों के ख्वाब देखतीं
खुद को बुलबुल जान कर
गुलिस्ताँ में चहचहाती
क्या यह उनका अपना गुलिस्ताँ था
फिर क्यूँ वो इतना खिलखिलाती थीं ?
फिर जो भारी गूंज उठी गुलिस्ताँ में
बुलबुलों का चहचहाना बंद हो गया
क्यूंकी एक खूबसूरत इमारत जो बननी थी
उस में कुछ खुश्क रंगों की ज़रूरत थी
अति सुंदर, रंगीन, अंतिम लिबादा ओढ़े
सामने वही खूबसूरत इमारत खड़ी है
जो मैं सुनती हूँ अँधेरों में
वो आहट, क्या तुम्हें सूनाई देती है ।
——- x ——–

This small portion of the ghazal in thumri format is composed by Naushad and singer is Naseem Chopra. This song is a debut for Naseem Chopra in the blog, as her name is not featuring in the ‘stats’ page.

Audio :

Video :

Song-Dekh to dil ke jaan se uthhaa hai (Paakeezah)(1971) Singer-Naseem Chopra, Lyrics-Mir Taqi Mir, MD-Naushad

Lyrics

Dekh to dil ke jaan se utthtaa hai ae
Ye dhuaan sa kahaan se utthtaa hai
Ye dhuaan sa kahaan se utthtaa hai
Ishq ek ‘Mir’ bhaari patthar hai
Ishq ek ‘Mir’ bhaari patthar hai
Bojh itnaa kahaan se utthtaa hai
Ye dhuaan sa kahaan se utthtaa hai

——————————
Devnagri script lyrics (Provided by nahm)
——————————-

देख तो दिल के जाँ से उठता है
ये धुआँ सा कहाँ से उठता है
ये धुआँ सा कहाँ से उठता है
इश्क़ एक ‘मीर’ भारी पत्थर है
इश्क़ एक ‘मीर’ भारी पत्थर है
बोझ इतना कहाँ से उठता है
ये धुआँ सा कहाँ से उठता है


This article is written by nahm, 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 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 : 4178 Post No. : 15356

Mohammed Rafi : The incomparable (II) – Song No. 15
———————————————————————–
It is very much true even today that the title of ‘Sone ki chidiya” suits India very well. This guileless person, named Mohammad Rafi is one of the genuine golden feathers of this ‘Sone ki Chidiya”

“Sona” in material terms as we all know is Gold, as in precious metal. And in our country traditionally and religiously Gold is treated as Goddess Laxmi. Other cultures in the world treat it as a precious metal and metal alone. But we in india have been revering “Gold” as much more than a costly metal. It is equated with wealth and prosperity. If a percentage of the country’s household are super rich, a bigger percentage of households are comprising of the so called middle classes and all of these people have amassed gold reserves in the families. I have seen women, mostly housewives saving up to buy gold jewelry. My own mother used to save up to years, so that she could get some small gold jewellery pieces. My mother’s savings habit has saved many a rainy day, if we believe the stories she tells of this event or that event. Many times the relatives will be in trouble and some or the other need will arise in the household and her savings or even gold jewellery was the only thing to be cashed.

It boggles the imagination to ascertain the quantum of gold stashed away in small or minute holdings even, over crores of households. And most of it will hopefully be useful in their hours of need. If a small token of wealth is not useful in saving a life or a way of paying a child’s school fees, than it is not ‘laxmi’, not really.

Southern India and it’s cultural make up is famous for flaunting its obsession with gold. Temples and shrines all over the country are reportedly laden with gold and jewelry, naturally donated by the devotees.

Since ancient times, the regions of present day india were part of the larger region broadly known as ‘Hind’ or ‘Hindustan’. This region is sometimes described as ‘sone ki chidiya’ in legends and ‘daastaan’. By now even if it has broken into many pieces and fragments, with conflict and strife spread over the whole region, with malice towards one and all, inside these fragmented nation states and elsewhere, it is worth reminding ourselves of the history and cultural heritage of our ancestors. A sense of preservation needs to prevail in our collective deeds, if this flourishing civilized society, invaded for centuries on end, and yet surviving all trials and tribulations, because of its thinkers, philosophers, poets, musicians and sant mahatma’s, is to continue the journey into eternity. Languages, arts and cultural values and music has always been the backbone of this heritage.

Some months ago I had written one article in hindi titled “sone ki chidiya” for the office magazine. I am including that article here for the readers benefit and contemplation.

– सोने की चिड़िया –
मकानी हूँ के आज़ाद –ए-मकां हूँ
जहां में हूँ के ख़ुद सारा जहाँ हूँ
वो अपनी लामकानी में रहें मस्त
मुझे इतना बता दें मैं कहाँ हूँ
कुछ दिन पहले मैं अपनी बहन के साथ एक मॉल में गयी । वहाँ घूमते हुए और दुकानों की चकाचौंध देखते हुए अचानक मेरी बहन जो वर्षों से गल्फ में बसी है, कहने लगी की यह बात बहुत उपयुक्त है की यह देश पिछले दो से तीन सौ सालों में दोबारा से ‘सोने की चिड़िया’ बन गया।
प्राचीन काल में हमारा भारत देश सोने की चिड़िया के नाम से मशहूर था यह सब तो हम ने किताबों में बचपन से पढ़ा है। यही वजह थी की हजारों सालों से इस सर – ज़मीन पर विदेशी हुकमुरानों ने बार बार आक्रमण किए । कुछ लोगों ने लूट मार की तो कुछ लोगों ने यहां की तहजीब में रच बस कर इसे और निखारा और संवारा और इस धरती का ‘सोने की चिड़िया’ खिताब को सदियों से बने रहने में अपनी अपनी भूमिका निभाई।

यह भी सम्झना आवश्यक है की ये वो ज़माना था जब सब तरफ ‘ माइट इस राइट ‘ का चलन था , जो कोई भी अपनी भारी भरकम सेना ले कर किसी दूसरे के राज्य पे आक्रमण कर फतेह कर ले वो राज्य उस का हो गया । और इस तरह इस फतेह किए हुए राज्याओं पर राज्य बनाए रखने के लिए ‘फ़िज़िकल माइट’ का बहुत महत्व होता था ।

ऊपर मैंने आक्रमण करने वाले हुकमूरानों के संदर्भ में न चाहते हुए या यूं कहें की बड़ा हिचकिचाते हुए विदेशी शब्द का प्रयोग किया। उस काल में तो हर क्षेत्र के लोग अपने आस पास के इलाक़ो के बाहर हर जगह को विदेश ही समझते होंगे । जबकि यह देश और विदेश की कल्पना उन्नीसवी / बीसवीं सदी में ही जागृत हो कर पूरे विश्व में फैल गयी और एक प्रकार का विभाजन हुआ और अलग अलग ‘nation states’ का चलन चला, चल क्या निकला , पूरा विश्व छोटे छोटे टुकड़ों में बट गया। कहीं मज़हब, कहीं भाषा, कहीं संस्कृति तो कहीं कुछ और, हर एक मुल्क अपनी अपनी सीमाओं में बंद हो गया । यह कैसा सोचों का, विचारों को, नदियों का, हवाओं का, पहाड़ों का, खेतों का, शहराहों का, शहर-क़स्बों का, तंग घाटियों का, द्वीपों का, क़िस्से कहानियों का, गीतों और रागों का, और जाने क्या क्या कुछ….. बटवारा हो गया । साथ ही बंटवारा हुआ प्राकृतिक संसाधनों का और कुदरत की दी हुई बेशुमार नयमतों का । बट गईं मानवता की धार्णएं और 21वी सदी में तो ऐसा लगता है की यह धरनाएं सिर्फ किताबों में सीमित हैं। पिछले युग के राजे महाराजे अपनी ताक़त के बल बूते राज्य करते और आज भी नेशन स्टेट्स अपना ‘पॉलिटिकल माइट ‘ इस्तेमाल कर न सिर्फ स्टेट पर बल्कि दूसरे स्टेट्स की प्रकृतिक संसाधनों पर भी अपना नियंत्रण बनाते हैं और उसे बनाए रखने के लिए हर एक मानव्य/अमानव्य हत्यारों का इस्तेमाल करने से बिलकुल संकोच नहीं करते। और इसी से ज़मीर के साथ conflict वाली स्टीथि भी है की जो कोई कार्य या विचार धारणा मेरे लिए सही है तो वही सोच और धारणा दूसरे के लिए गलत है । मुझे नहीं लगता की इस सृष्टि की रचना का उद्देश्य यह होगा की मानविक समाज इस तरह देशों, प्रान्तों ,भाषाओं और इन सब के प्रेम की आड़ में अपने अपने अहंकारों की, आत्महित के दायरे में, और चक्रव्युह में फंस कर, एक दूसरे से सदैव संघर्ष और तुछ लड़ाईयाँ लड़ता रहे। क्यूंकी आज भी जब हम आपस के संघर्ष को , अपने नजरियों का दायरा बड़ा कर के देखें तो यह सब तुछ ही हैं।
आज मानवता पूरी तरह से बटी हुई है । यह वो मनुष्य जाति है जो इस ब्रह्माण्ड में ईश्वर की सर्वश्रेष्ठ रचना है । सारी की सारी रचनाओं में सर्वश्रेष्ठ होना क्या होता है ये शायद हम मनुष्यों को रास न आया।

ऐसी अंतर्राश्त्र्य अनुशासन तथा सामाजिक तंत्र के चलते किसी एक व्यक्ति, कोन्सोर्टिउम, कॉर्पोरेट, या व्यवस्था या कोई नेशन-स्टेट को सोने की चिड़िया बने रहने में जो मनव्य मूल्यों के त्याग की आवश्यकता थी वो तो हमारी अर्थव्यवस्था कर ही चुकी है और इस की मानवता ने भारी क़ीमत भी चुकाई है और चुका रहें हैं हम सब ही व्यक्तिगत सतह पर। सिर्फ यह है की इस क्षति का और उस के परिणामों का आभास कुछ ही लोग कर पा रहे हैं।

एक और अनुभव जो पिछले कुछ महीनों में मुझे छू गया , उस का विवरण यहाँ करना उपयुक्त है।

मैं मुंबईकर हूँ और यही पली बढ़ी होने के कारण मुझे यहाँ के विद्यालयों के प्रति लगाव है। मेरे माता पिता के बाकी परिवार के सभी लोग बेलगाम (कर्नाटक) में रचे बसे हैं और हर तरफ फैल गए हैं। मेरे छोटे मामा के बेटे ने कुछ वर्ष पूर्व बेलगाम से पढ़ाई पूरी की थी, और नेत्र विशेषज्ञ के रूप में केरल में प्रशिक्षण कर रहा है। मैं ने उसे फोन किया यह पुछने की मैं मेरे बेटे के लिए मुंबई के अलावा कौन से कॉलेज में प्रवेश को प्राथमिकता दूँ। सारी औपचारिकताएँ समाप्त होते ही मैं ने मुद्दे की बात छेड़ दी । मेरी सारी बात सुनते ही पहली बात जो मेरे ममेरे भाई ने कही वो यह थी की आप अपने बेटे को बेलगाम में क्यूँ नहीं दाखिला दिलाते? मैं इस प्रश्न को सुन परेशान हो उठी, की यह सवाल मेरे दिल-ओ-दिमाग में दूर दूर तक नहीं आया। मैं ने अपने लहजे के पूरे आश्चर्य को बिलकुल भी न छिपाते हुए कहा की मुंबई और महाराष्ट्र में इतने अच्छे और नामचीन कॉलेज के होते हुए भी मैं मेरे बेटे के लिए बेलगाम का कॉलेज क्यूँ चुनुंगी । पर वो तो बिलकुल भी प्रभावित न हुआ मेरी बात से और अपने बिन्दु पर टिका रहा और कहा “क्यूँ बेलगाम की जीएमसी तो कर्नाटक के चोटी के 3 कॉलेज में है अच्छे कॉलेज की शिक्षा से काफ़ी फर्क पड़ता है “ । मैं ने कहा की ऐसा होगा लेकिन जब मैं मुंबई निवासी हूँ और यहाँ के 5 में से 4 कॉलेज पूरे देश की किसी भी सूची में चोटी के पंद्रह या बीस के अंदर ही आती हैं तो बेलगाम के कॉलेज के बारे मुझे विचार की भी आवश्यकता नहीं लगती।

इतनी बातचित के बाद भी मेरा ममेरा भाई मेरे दृष्टिकोण को नहीं समझ पा रहा था, तो अंत में मैं ने उस से कह दिया के वो अपने मित्र मण्डल में जो की महाराष्ट्र में पढे हैं उन से सलाह कर के मुझे यहां के कॉलेज की आपस में श्रेणी की सही सही जानकारी दे दे ताकि मेरे बेटे को उस के श्रेणी के अनुकूल मुंबई या मुंबई के बाहर के कॉलेज में प्रवेश मिल सके।

इस वार्तालाप के बाद मैं सोच में पड़ गयी कि वो एक चिकित्सीय व्यवसायिक होने के बावजूद क्यूँ नहीं समझ पा रहा या मान रहा की मैं मुंबई में हूँ जो की हमारे देश की दूसरी बडी जगह है चिकित्सीय शिक्षा के लिए, दिल्ली के बाद । फिर जब सोच की इंतेहा पर समझ आया की वो तो उस का दृष्टिकोण था । ऐसा बिल्कुल नहीं था की वह मेरी बात समझने की क्षमता नहीं रखता । लेकिन यह दोष उसके दृष्टिकोण का था जो उस को उसकी सोच के दायरे से बाहर देखने ही नहीं देता। क्यूंकी वो खुद बेलगाम से हैं और पढ़ाई पूरी वही की और अब भी वहीं जा के बसने की कामना करता है, और उसे अपने शहर और कॉलेज के प्रति बहुत गर्व भी है । यह सब जब मेरे दिमाग में और यादों के पर्दों से बाहर आया, तो प्रतीत हुआ की उस का नज़रिया उस को रोक रहा था मेरे नजरिये को देखने से । उस की सोच की सीमा वहीं तक सीमित है और वो उस से आगे देख नहीं पा रहा।

यही काम तो है सीमाओं का जो की मानवता को बांधने में, इस की मानसिक रूप से मर्यादित करने में सफल हो गयी हैं। सोच की सीमाएं, चाह की सीमाएं, अनजानी चीजों को देखने परखने में संकोच और ऐसी सीमित करने वाली मानसिक पीड़ाओं से हमारा समाज और सामाजिक-तंत्र बंधा हुआ है। हर कोई अपनी सोच और अपने दृष्टिकोण के आगे, बाहर या आस पास और उस से दूर पनपने वाली बेहतर और उच्च चीजों या बातों को अपनी पहुँच से बाहर पता है। ऐसा क्यूँ है ?

और देखिये क्या कहते हैं अललमा इकबाल :

सितारों से आगे जहां और भी हैं ।
अभी इश्क़ के इम्तेहान और भी हैं ।
तिही ज़िंदगी से नहीं ये फ़ज़ाएं
येहां सैकड़ों कारवाँ और भी हैं ।
कनाअत न कर आलम-ए-रंग-ओ-बु पर
चमन और भी हैं आशियाँ और भी हैं।
अगर खो गया एक नशेमन तो क्या ग़म
मुक़ामात-ए-आह-व-फुगाँ और भी हैं।
तू शाहीन है परवाज़ है तेरा काम
तेरे सामने आसमां और भी हैं ।
इसी रोज़-व-शब में उलझ कर न रेह जा
के तेरे ज़मान-व-मकां और भी हैं ।
गए दिन के तन्हा था मैं अंजुमन में
येहां अब मेरे राज़दान और भी हैं ।
***************

Also remembering this song :

jahaan daal par sone ki chidiya karti hai baseraa
woh bhaarat desh hai meraa

The Rafi song featured here is from the film ‘Johar in Kashmir’. The word ‘Johar’ means, a jewel or a gem and pearl. ‘jawahrat’ – is a word for collection of precious jewels, diamonds, pearls etc. ‘Johar’ also means talent or stupendous ability etc.

This song is written by Indeevar and composed by Kalyanji Anandji. The tune is reminding me of Jis ka koi nahin uska to Khuda hai yaaron from Laawaris.

Rafi sahab has rendered this song with his customary gusto. ‘Gusto’ is a word that Atulji used a lot in respect of Rafi songs years ago.

The message in the song is quite apparent. The I S Johar is the dervaish, giving sermons to all and sundry that the day of judgement is not far and none of the oppressors (those committing excesses on fellow beings) will be forgiven and allowed to go scot free.

Essentially what the dervaish is doing is trying to warn the oppressors to be afraid of God almighty and his wrath, ask for his forgiveness while there is still time. It is like trying to help the oppressors, by convincing them to stop the bad deeds and obtain forgiveness from the God Almighty.

Like this hadith:

Allah’s messenger (pbuh) said, ‘Help your brother, whether he is an oppressor or he is an oppressed one.”
People asked “O Allah’s Messenger! It is all right to help him if he is oppressed, but how should we help him if he is an oppressor?”
The Prophet said, “By preventing him from oppressing others.”

Video :

Song-Aanewaala hai din qayamat kaa… koi zaalim na bakhsha jaayegaa (Johar in Kashmir)(1966) Singer-Rafi, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

Begunaahon ka lahu hai
ye rang laayegaa
begunaahon ka lahu hai
ye rang laayegaa
daag daaman pe na aaya
to dil pe aayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koi zaalim na bakhsha jaayegaa
koi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

hamaare bhai huye ham na huye
karbala ke sitam to kam na huye
zulm duniya mein ab bhi zinda hai
aadmeeyat hai ke sharminda hai
aadmeeyat hai ke sharminda hai
maa shaheedon ki ab bhi roti hai
zulm ki hadd bhi koyi hoti hai
haqq paraston ko bhi na-haqq maara
haay dil gham se hai paara paara
haay dil gham se hai paara paara
yazid ki ho hukumat ya kisi zaalim ki
har ek zulm ka insaaf kiya jaayegaa
har ek zulm ka insaaf kiya jaayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

zarre zarre mein guzar rakkhta hai
sab ki harkat pe nazar rakkhta hai
nek aur bad chhupaa nahi uss se
khudaa to sab ki khabar rakkhtaa hai
khudaa to sab ki khabar rakkhtaa hai
meher pe aaye to gaffar bhi hai
qehar pe utre to jabbar bhi hai
yun to har deen se upar hai khudaa
qadmeeyat ka tarafdaar bhi hai
aadmeeyat ka tarafdaar bhi hai
sholey nafrat ki dilon mein
na tu bhadkaa zaalim
apni hi aag mein tu
aap hi jal jaayegaa
apni hi aag mein tu
aap hi jal jaayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

nahin kaafi hai musalmaan honaa
bas nahin hafiz-e-quraan honaa
Allah ta’alaa ka pyaar paane ko
laazmi hai teraa insaan hona
laazmi hai teraa insaan hona
amal to saathh tere ho le gaa
khoon to sar pe chadh ke bole gaa
khudaa mazhab hi na dekhegaa teraa
teri insaaiyat bhi toley gaa
teri insaaiyat bhi toley gaa
pyaar par rakkhi hai buniyaad har ek mazhab ki
koyi talwaar pe rakkhegaa to kya paayegaa
koyi talwaar pe rakkhegaa to kya paayegaa
aanewaala hai din qayamat kaa aa aa aaaa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

tu ne pyaason se Pyaale chheene
tu ne honton se niwaale chheene
tu ne sham’ean jalaayin qabron par
aur makaanon se ujaale chheene
aur makaanon se ujaale chheene
dilon mein farq iss qadar daale
tu ne dariyaa bhi khoon se bhar daale
ek dharti banaayi Allah ne
tu ne tukde hazaar kar daale
tu ne tukde hazaar kar daale
tunaah kartaa hai tu kis ke liye soch to le
thaali haathon hi tu tanhaa yehaan se jaayegaa
khaali haathon hi tu tanhaa yehaan se jaayegaa
aanewaala hai din qayamat kaa aa aa aaaa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa

ye padosi se ladaayi kaisi
sabhi bhaai hain judaayi kaisi
ye tabaahi ki saari baaten hain
iss mein insaan ki bhalaayi kaisi
iss mein insaan ki bhalaayi kaisi
nek neeyat ko tu armaan kar le
aadmeeyat ko tu imaan kar le
yahi islaam ki naseehat hai
apne dil ko bhi musalmaan kar le
apne dil ko bhi musalmaan kar le
hadd se aage na tu badh waqt hai kar le taubaa
roz samjhaane ko darvesh nahin aayegaa
roz samjhaane ko darvesh nahin aayegaa
aanewaala hai din qayaamat kaa aa aa aa aa
koyi zaalim na bakhsha jaayegaa
begunaahon ka lahu hai
ye rang laayegaa
daag daaman pe na aaya
to dil pe aayegaa


This article is written by nahm, 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 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 : 4176 Post No. : 15352

Mohammed Rafi : The Incomparable (II) – Song No. 14
———————————————————

Remembering Mohammed Rafi Sahab on his 95th birth anniversary :

Someone once told me that to become cynical you first had to be an idealist and it was the loss of those ideals that created the disillusionment. But than what is an idealist if not an individual with independent thinking and with the added ability to incorporate diverse ideas. And cynicism is bound to be an integral part of any ideological theory if it seeks to negate the perceived or real concepts of injustice against humanity. Critical analysis of any ideological concepts will possibly make the ideologist a cynic if the said ideology is not perfect enough or as perfect as the ideologist wanted it to be. Cynical person is often very critical of things and situations and their repercussions. While as an idealist, will find a lot to express about the idea rather than focusing on criticism of anything else. That makes cynicism the anti-thesis of idealism. On the other hand, idealism if it seeks to unilaterally implement a social order in a given society is regressive to its intellectual and overall progress as a civilization, since it seeks no introspection and encourages narrow thoughts. Whereas a cynic will look at all things surrounding it and might even be able to look beyond it.

It looks like I want to have my cake and eat it too. Isn’t it ?

Of course, in the complex scheme of nature, nothing is as simple as the above monologue. Things are almost always multi-layered and multi-hued. There is also the matter of view-points, one can put in a blob of prejudices and rigidity. But overall there is also a certain accounting for taste.

I am remembering a word of Urdu which is “zarf”. This word is almost always pre-fixed with “aa’laa” and it becomes “Aa’la Zarf”. Urdu is the language of ‘adab’ i.e. respectfulness and ‘adaab’ i.e. principles. Any student or seeker of these two qualities will end up with the ‘zarf’, which is better taste, with or without the prefix.

It can be as domestic as the idealism of my brother against the cynicism/pragmatism/practicality of my own.

And what does one call people who do not expect anything from anyone? Not loyalty, not goodness of heart, nothing. And these are often the neediest, in terms of attention and togetherness.

This was certainly Rafi sahab. This type of personalities which who have refused to claim any material benefits, were without ambitions or nor made demands on anyone. It must have been so easy to convince him that he has sung so many songs that he can approach the “Guinness book of world record” for singing highest number of songs.

The other day I saw a video on youtube, where the presenter is trying to analyse, what made Mohammed Rafi such an exceptional person. He says this about Rafi Sahab : “ Unhen pata hi nahi thha ke duniya mein sharafat ke ilaawa bhi koyi cheez hai ”. “Sharafat” is too simple a word in my understanding which just is a way of life that includes simplicity, honesty and integrity. But when I googled it, I found nobility, civility, good manners. So my own definition is more integral and personal than google’s definition. To be “Shareef” on personal level is one thing, but to believe that there is no other thing in the world apart from “Sharafat” is another thing altogether. We see quotable quote which say similar things like to think and believe the best about others also. These type of exhortations are common is all social, religious set ups across the board.

To be on that plane where you see the best in others and believe the best about others, discarding all negative notions about anything and anybody, what a blissful state that must be. Rafi Sahab had this inherent quality without trying to achieve it. Truly blessed by the Almighty. Where is the ‘Zarf” in all this ? ‘zarf’ cannot be left behind, because it is also high ideals and values. By all accounts Rafi Sahab never let go of his ‘zarf’, without ever realising those high ideals/values were chronicled widely in literature and philosophies. I hope that he was always giving thanks to the Almighty for these known and unknown blessings. It is a fact that we the ignorant humans are unable to know in what all ways the Almighty has blessed us all.

I am presenting a solo song by Rafi song from the film ‘Mera Geet’ (1946). The composer is Shankar Rao Vyas and Ramesh Gupta is the lyricist. My favourite period for Rafi Sahabs songs in actually 1950’s. It is picturised on Susheel Kumar as per the excel sheet. I am aware that huge no of Rafi songs from 50’s are yet to be posted in the blog. There are a few songs from 40’s also are available for posting. For the last few months I was trying to do the series of ‘Dheere dheere” songs and some other newer songs of post-Rafi era.

Hopefully, the new year we will see more songs by Rafi Sahab in the blog,

The audio link available is reasonably clean and clear, unlike most songs of this period.


Song-Aapas ke jhagdon ne dekho Bharat ko barbaad kiya(Mera Geet)(1946) Singer-Rafi, Lyrics-Ramesh Gupta, MD-Shankar Rao Vyas

Lyrics

aapas ke jhagdon ne dekho
bharat ko barbaad kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya
aapas mein ham rahen jhagadte
gairon ne aa raaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

kabhi mere iss bharaat mein bhi jee
doodh ki nadiyan behti thhi
thhi doodh ki nadiyaan behti thheen
dhan dhaan ke thhe kothhaar bhare
aanand mein duniya rehti thhi
dhan dhaan ke thhe kothhaar bhare
aanand mein duniya rehti thhi
thha kuber ka bhandaar yahaan
heeron ki hoti kheti thhi
mitti ka sonaa bantaa thha
anmol yahaan ki reti thhi
mitti ka sonaa bantaa thha
anmol yahaan ki reti thhi
aaj ussi gulshan ko dekho
kusum(?) ? ? ka raaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

kabhi mere gulshan ki daaliyaan
hari bhari lehraati thhin
haan hari bhari lehraati thhin
jhoom jhoom ke sundar kaliyaan
geet suhaane gaati thheen
jhoom jhoom ke sundar kaliyaan
geet suhaane gaati thheen
thhaa saraswati ka vaas yahaan
daulat insaan ki daasi thi
thhey roz naye tyohaar yahaan
har roz deewaali aati thhi
thhey roz naye tyohaar yahaan
har roz deewaali aati thhi
sur mein thhe sab saaz mere
ye kis ne besur aaj kiya
jinka thha mohtaaj zamaana
aaj unhen mohtaaj kiya

naye taraane sunte sunte
bhool gaye ham apnaa taal
gairon ke sang chalte chalte
bhool gaye ham apni chaal
aish mauj fashion mein phans kar
aaj huaa bhaarat kangaal
aaj huaa bhaarat kangaal
roti roti khade pukaaren
bhaarat maa ke laakhon laal
roti roti khade pukaaren
bhaarat maa ke laakhon laal
roti eee
roti eee
roti eeee


This article is written by nahm, 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 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 : 4163 Post No. : 15335

Today is 97th birthday of the thespian Dilip Kumar. Dilip Kumar, real name Yusuf Khan is the most revered and copied star of this film Industry. The second most inspiring and copied star would be Mohammed Rafi’s voice. Because truly the voice was the star in Rafi Sahab’s case.

Dilip Kumar has had a fruitful and successful career of more than 50 years. This has again been equalled only by Amitabh Bachchan in recent years.

Dilip Kumar is like a lone man standing from the pre-independence era. Again he has only Lata Mangeshkar for company. Also yesteryears actress Nimmi(Born 1933) is giving him company, but she is more than a decade younger than Dilip Kumar. Nimmi was a co-star in significant films in Dilip Kumar’s career, namely Amar, Aan and Deedar. I feel she was type cast in this as the third angle in a triangle.

Dilip Kumar is the true ‘Gulfaam’ of the hindi film world. There was a Urdu Magazine by that name back in the 80’s which I had thought was dedicated to Dilip Kumar, as almost every issue had Dilip Kumar on its cover. I found a very interesting article on “The lost world of Urdu film magazines” in the net, link is here.

Dilip Kumar has often been described as an institution, by many of the later day film stalwarts, especially by the actors.
I have found the genesis of acting style of all the major superstars of hindi film industry can be found in Dilip Kumar’s style of acting.
As per the excel sheet of “Mohammed Rafi songs”, there are roughly 60 songs where Rafi Sahab gave playback for Dilip Kumar. This include one small ditty from Ganga Jamuna and the small snippet of a beautiful song from ‘Insaaniyat’ (1955). The list misses a song from “Kranti” (1981), “chana jor garam baabu” where Rafi Sahab sang just this line for Dilip Kumar :

Mera chana hai apni marzi ka
Ye dushman hai khudgarzi ka
Sar kafan baandh ke nikla hai
Deewana hai ye pagla hai
Mit jaane ko mit jaayega
Aazaad watan kar jaayegaa

I am presenting here the small snippet from the film ‘Insaaniyat”(1955) , which is composed by C. Ramchandra. Lyrics are by Rajendra Krishan and Dilip Kumar is singing this with obvious enjoyment while driving a bullock cart. I tried finding a whole song, which was not available. It may have been recorded as a full- fledged song, but I could not find it on youtube.
Some of my favourite songs by Rafi songs on Dilip Kumar are :

1. Dil mein chhupa ke pyaar ka toofaan le chale
2. maan mera ehsaan arre naadaan
3. Huye ham jinke liye barbaad
4. Meri kahaani bhoolne waale
5. Nain lad jainhe to manwa maa kasak
6. Ude jab jab zulfen teri
7. Ye desh hai veer jawaanon ka
8. Na tu zamaneen ke liye hai

So presenting a small but appealing ditty in Rafi Sahab voice to celebrate Dilip Kumar Sahab’s 97th birthday today.


Song-Gori kar le tu aaj singaar (Insaaniyat)(1955) Singer-Rafi, Lyrics-Rjinder Krishan, MD-C Ramchandra

Lyrics

Hoye ye ye
Ha haa aaa haa
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu
Ho Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Ho oo ooo
Ah haa aaa haa


This article is written by Nahm, 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 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 :

4154 Post No. : 15321

As I have said in one of my recent posts, whenever I read something inspiring, be it a poem or an article, it inspires me to write something of my own thoughts. Nowadays there is less and less readable material forthcoming from the print media. The blog and its posts are sometimes savior’s for the intellect. One such article was the post by Sudhir Sir – “Gandhi Tere Desh Mein Ye Kaisa Atyachaar“, on the birth anniversary of Mahatma Gandhi.  It appeared quite late in the night, but as I read it completely, it was a thoroughly readable and thought provoking post. At least I found it thought provoking and for the next few days the matters and the quotes from the Mahatma’s books, and my own thought relating to them were reverberating in my mind. I wrote a lengthy comment on the post which I am reproducing here.

Sir,

Congratulations on writing such an extensive, studied article on Mahatma Gandhi and his philosophies. Reading it, I realised I haven’t read any of his books.  Being a Kitaabi keeda from childhood hasn’t helped me reach out to any of Mahatma’s books. Where ever I have found a bookshelf and a rack of books I tend to go through the titles and authors. In my defence, I can only say that non-fiction is not my strong case. Nevertheless, it is sad and tragic that the works of such great thinking minds are nowhere to be found in present day libraries.

The para’s you quote from his writings, about non-violence and cowardice; I dare say are the sort of philosophy which is popular as well as non-popular, depending on disparities in viewpoints.

I will quote an incident to explain what I mean. This happened in friends household. The son was playing football with his friends. A few other boys from the neighborhood, came up to one of the boy and started beating him over some fight or rivalry. All the friends including my friend’s son ran away from there. The boy came home and told the parents about this. This was just a school going kid. The father said, how can you do this, being a punjab da puttar, how could you not help your friend. The son said, if tried to help him than they will start hitting me too. Logic here, self-preservation not cowardice, the mother opined.

In the light of the above incident, the Mahatma’s point is first one will try to stop the violence by non-violence. But avoiding the situation altogether is not non- violence, but cowardice.  As opposed to valour.  The will to defend the one in difficult situation. Not just defend, but save. This is valour, opposite of cowardice.

But this is an era of “tamashbeen”.  A vast majority of public now prefers to just be a bystander and watch, rather than doing anything to stop the violence. Which neither here, nor there. This is a side kick of mass media. We are used to watching violence and it doesn’t make us flinch. A humans natural tendency to reject violence is gone. We watch it like it is a natural movie watching experience.

I believe, big cities are little better, with regards to violence of any kind. For the disruption is bigger and inconvenient. Crowd will be of various dispositions in any urban setting, someone will be a local and saner than others. Hopefully.

One more point, I would make here is about the “decay” of creation. The decay in creation is caused by impurities. The very nature of creation in mortal. What has started will end, whatever has lived will die. A natural death. Like some civilisation of the past died, due to natural calamities and became a step for newer civilisation to develop.

It is the truth which is pure. The lies added to it make it impure, and cause decadence. The civilisations that decay and then die of decadence,  rot. No new civilisation can emerge from such decayed rot.

So, we as humans, the superior among all creation, have a duty to preserve this purity in ourselves.

Regards.

I realize that the comment is just one dimensional, and could not carry the total sum of my impressions on the article.   I have said that non-fiction is not my strong case, and here I am, daily trying my hand at writing non-fiction  :).

Now I simply must quote this from the article :

It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”.

Of course I have read this quote before and this is not fiction. Another important thing he highlighted was about the discourse around ‘the relevance of the Mahatma today’.  And films like “Lage Raho Munna Bhai” were just a final stone dropped in the (already dry) pond, through the popular film media, to explain to the second generation Indians born after the end of the Gandhian era, that over dose of Gandhian philosophy like any other philosophy is also capable of creating a ‘chemical locha’ in the mental equilibrium.

May be the decay of this great civilization of homo-sapiens has started. The very nature of creation is temporary; all that exists will be destroyed one day.  The Universe may be infinite, but the only definite thing here is death. So be it, whether it is the death of a philosophy, a society or a world. The very wisdom of this species is in danger of being homogenized with its earlier extinct versions.

If one really gives deep thought about the situation the human race is facing, it feels as if the ‘Qayamat’ is truly underway.  The life we are living is like a tight rope walk of ‘pul-e-siraat‘.  One wrong step and below is hellfire. It’s that difficult to keep to the truth, obey the truth and keep faith in the truth.

But then there is a superior power, the creator, the sustainer and the nourisher of all that exists. As Allama Iqbal said :

mudda’ee laakh buraa chaahe to kya hota hai
wohi hota hai jo manzoor-e-khuda hotaa hai

So I have here a very positive kind of feel good song written by Javed Akhtar from ‘Dil Chahta Hai’ (2001).  The singer is Srinivas and composers are Shankar-Ehsan-Loy.   Yeah, the name of composers has a message in it.  I can try and translate the middle one i.e. ‘Ehsan’.

We all are familiar with word  ‘ehsaan‘ in songs like “Ehsaan Mere Dil Pe Tumhaara Hai Dosto” and “Ehsaan Tera Hoga Mujh Par“. The word ‘ehsan’ is a related word, with a change in meaning.  It means the ‘beauty of good conduct’. Or rather the beauty of best behavior.

The song I am presenting has a dream like quality with Dimple in white, Akshaye Kumar in white, and a white canvas.  The portrait of Dimple gradually develops on the canvas, while the Akshaye is dreaming on of pure water streams, dipping his hand into the stream,  full moon, in a dreamy halo of light and roshni.   In this moon light, all the colours are amalgamated to make a portrait, in which the fragrances are visibly mingling. Moon, stream, clouds, song, rain and butterflies are all in favour – in favour of the flavor of love, that is created of such different matter.  Some physical and some metaphorical matter, to make the billions and trillions of DNA that comprise this universe.

Video

Audio

Song – Kaisi Hai Ye Rut Ke Jis Mein Phool Ban Ke Dil Khile (Dil Chaahta Hai) (2001) Singer – Srinivas, Lyrics – Javed Akhtar, MD – Shankar-Ehsan-Loy

Lyrics

kaisi hai ye rut ke jis mein
phool ban ke dil khile. . .

kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile

dekho
nadi ke kinaare
panchhi pukaare..ea
kisi panchhi ko
dekho
ye jo nadi hai
milne chali hai..ea
saagar hi ko
ye pyaar ka hi
saara hai kaarwaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile

ho ooo
kaise
kisi ko bataayen
kaise ye samjhaayen..en
kya pyaar hai
iss mein
bandhan nahin hai
aur na koi bhi
deewar hai
suno pyaar ki niraali
hai daastaan
kaisi hai ye rut ke jis mein
phool ban ke dil khile
ghul rahe hain rang saare
ghul rahi hain khushbooen
chaandni jharne ghataayen
geet baarish titliyaan
hum pe ho gaye hain
sab meherbaan

kaisi hai ye rut ke jis mein
phool ban ke dil khile
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn
hnmnmnmnm
hmnmnmnmnmn

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

कैसी है ये रुत के जिस में
फूल बन के दिल खिले॰ ॰ ॰

कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले

देखो
नदी के किनारे
पंछी पुकारे॰॰ऐ
किसी पंछी को
देखो
ये जो नदी है
मिलने चली है॰॰ऐ
सागर ही को
ये प्यार का ही सारा
है कारवां
कैसी है ये रुत के जिस में
फूल बन के दिल खिले

हो॰ ॰ ॰
कैसे
किसी को बताएं
कैसे ये समझाएँ॰॰ऐं
क्या प्यार है
इसमें
बंधन नहीं है
और न कोई भी॰॰ई
दीवार है
सुनो प्यार की निराली
है दास्ताँ
कैसी है ये रुत के जिस में
फूल बन के दिल खिले
घुल रहे हैं रंग सारे
घुल रही हैं खुशबूएं
चाँदनी झरने घटाएँ
गीत बारिश तितलियाँ
हम पे हो गए हैं
सब मेहेरबाँ

कैसी है ये रुत के जिस में
फूल बन के दिल खिले
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न
हम्म ह्म म्न हम्न


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 ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) 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.

Total number of songs posts discussed

15723

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Movies with all their songs covered =1212
Total Number of movies covered =4329

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