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Regulars of this blog are aware that my family had three pets namely Nuppy (cat), Bhole (dog) and Chhote (Dog) that my wife adopted in september 2010, october 2010 and december 2010 respectively in the place where she lived. I was based at Nagpur those days, some 300 km away. They were all very young when they were brought home. I would visit my wife and daughter and bring them to Nagpur along with the pets during their holidays.

These pets and their interesting tales are covered in several of my writeups, viz. Aaye ho to dekh lo duniya zaraa (Chiraag Kahaan Roshni Kahaan), Jab koi ladki baar baar mere dil ko tadpaaye (Chattan Singh), Ye pyaari pyaari paati (Janmbhoomi), Tu hai mera yaar (Milan),Jahaan chaar yaar mil jaaye wahaan raat ho gulzaar (Sharaabi)(1984), Jaa jaldi bhaag jaa (Deshpremi)(1982), Bade miyaan to bade miyaan (Bade Milaay Chhote Miyaan)(1998) etc.

Most of these writeups were happy tales describing the amusing antics of the pets. The first and so far the only sad writeup appeared on 29 june 2012, where I broke the news that the cat nuppy was no more.

There have been no detailed posts in the blog about my pets since 2015 though I had a collection of many new interesting stories about them.

I have finally decided to pen another writeup on my pets. This is unfortunately another obituary. It is Chhote, the youngest pet who passed away on 27 may 2020.

When we got the medical cards of our pets made in Nagpur in January 2011, the three of us were the owners of the three pets. Chhote was shown as owned by my wife, Bhole by me and Nuppy by our daughter.

The three pets have brought us countless hours of joy as long as they lived and left fond memories after two of them left us.

Chhote was the centre of attraction of our household. Not just the humans in the house, even the other two pets of the house were very fond of him. He had a natural knack of winning over strangers (animals as well as human beings). He was the youngest pet, and the other two pets were very protective of him. In the winter season of 2010-11, the three of them would sleep snuggled up with each other. The two senior pets would keep Chhote between them, protecting him from both sides.

My wife never pampered our daughter (despite she being our only child), but Chhote was pampered by her, to the extent that she began to give step motherly treatment to Bhhole. Later she realised the error of her ways and made amends. Chhote began to assert proprietary claims over my wife and would prevent Bhole form coming close to her. When I came visiting from Nagpur, Bhole paid Chhote in the same coin. He staked a proprietary claim over me and prevented Chhote from coming close to me, much to our amusement. Till the last moment, this ownership claim was not given up. But to our credit, we tried to treat both dogs fairly even if he was not the owner. 🙂

Chhote had such smooth silky coat. In Nagpur, I would hear the door bell. At the door, I would find the padosan living upstairs holding Chhote and telling me that he was going to the busy main road. I would thank her and take hold of Chhote. People loved to hold Chhote in their arms, just to feel the texture of his smooth silky coat.

Cat was allowed to go out and come in but the dogs were not. But Chhote, always looking for challenges and adventures would often escape out of the home. Bhhole would then seek to escape so that he could go out and protect Chhote.

While Bhole and nuppy knew their way back home, Chhote did not and he would lose his way. Then my wife would order nuppy to go and bring Chhote back. Amazingly, nuppy understood the command. She would go and bring Chhote home. This happened more than once and so it could not be just a coincidence.

Even street dogs began to know him. Once a street dog brought him back to the home! As a reward, my wife gave that dog some foodstuff to eat.

Chhote gave respect to his senior pets, just like humans do.

While Chhote had the temperament of being a dog seeking to socialise with everyone, Bhhole was an athletic dog, with strong jaws and good running speed. My daughter appointed him her sprint coach. The two would begin their sprint together. Bhhole would easily outrun her and then stop to allow her to catch up with him before resuming his sprint. Bhhole’s coaching was quite useful seeing that my daughter was the 100 metre sprinting champion of her class among girls and once she even won a District level sprint.

Bhhole would also play football with my daughter while being dressed properly in football shorts. Bhhole, proudly sporting his footballing short looking like Scoobie Doo, would be seriously tackling the daughter for ball possession when he would suddenly find his shorts being pulled down. It was Chhote (looking like Scrapy Doo) entering the arena wondering what happened to the tail of Bhhole. Bhhole would snarl at him, asking him to leave him alone. 🙂

Once, Chhote for some reason began to whine and whimper and got into the nerves of my wife. It is said by wise men, and morning message to this effect regularly gets circulated in whatsapp groups that “One should not take imortant decisions when angry and one should not make promises when happy”. It is a wise saying that my wife does not practice. She got annoyed with Chhote and decided to give away the trouble making Chhote to someone else. She convinced a lady to take Chhote and handed Chhote to her.

That was a saturday. When the daughter came back home from school and found Chhote missing, she started crying and insisted that Chhote be brought back. Even the other two pets were silent and sad. Next morning, wife and daughter went to that lady. They found Chhote, who roamed around freely inside his earlier home, tied by a chain in that household. Chhote was very happy to see them. My wife asked Chhote back. Much to their relief, the lady agreed to hand Chhote back. While they were bringing Chhote back, a cow who had recently given birth to a calf though that her calf was being taken away. she gave a chase. My wife went to the cow and showed her Chhote and convinced her that it was a pup and not her calf. 🙂 When Chhote was brought back home, the other pets, silent since morning, became happy and cheerful. The raunaq of the household had returned. The voice of Chhote which my wife was finding annoying till the previous day began to sound like music to her ears.

Chhote was quite intelligent and smart. Unlike most humans, he could think out of the box and outsmart humans. A human would chain him and think that Chhote cannot get away. Chhote would pull his head out of the neck collar and the human would be left holding the chain with the collar. Chhote had used this trick on many unsuspecting humans. In the early days, we tied him with chain made of fibre. He would bite off the rope and free himself. Then we bought metal chains to tie him and Bhole.

In Nagpur, we had a garden adjacent to my residence. The garden is closed from all sides. I would leave the dogs in the garden every morning for an hour before bringing them inside the home. I was secure in my knowledge that there was no way the dogs can go out of the garden. But as I mentioned before, Chhote outwitted me. He laid a detailed long term plan. This plan was carried out so well that I could notice nothing. One week later, when I went to the garden to bring the two pets back, they were nowhere to be found. They had escaped !

What Chhote had done was an example of a lateral thinking at its best. He found out that the mud under the gate was soft. So every day, he got Bhhole (the athletic dog) to dig some mud from under the gate. Bhhole dug some mud everyday for seven days. On the seventh day, enough gap got created under the gap and the two escaped through that gap.

Where did they go ? There was a children’s part nearby. The board said-“only for Children of Railway employees”. The two dogs were playing there, considering themselves as children of a Railway employee.

Both dogs had different natures and different qualities. Chhote, the brainy one, had the ability to analyse things and work out ingenious solutions, which is unusual for most other dogs. For instance Bhole could never do these things. When it came to opening doors, Bhhole only knew how to open door by pushing. If the door needed to be pulled then Bhole was all at sea. But Chhote could easily pull a door. He even worked out the way to go through spring loaded doors by pulling it safely.

Bhole was good in barking whereas Chhote was not. When Bhole barked, his bark was so furious that people thought that many dogs were barking. Chhote accompanied him in barking but he in reality would only be only lip syncing in Bhole’s voice.

Chhote had some superhuman abilities in him. For instance he could tell by smell if the foodstuff was edible. We often used to buy milk packets when running short of Milkman supplied milk. Once we bought one such milk packet and offered this milk to the pets. Pets, who would dring milkman supplied milk without a fuss, refused t drink it despite being hungry. Later they drank milkman supplied milk. That is how we realised that the milk suppled in milk packets was not safe.

Chhote’s hearing ability was truly superhuman. The car that we have is one of millions such cars built to the same specifications, but Chhote could tell this car apart by the sound of its engine. He could do it when the car was at least a kilometer away. The person driving the car could barely listen to the sound of the engine, whereas Chhote, located one kilometer away could tell that this car belonging to the family was arriving back home in five minutes.

Chhote was very fond of being driven around in that car. He would take the passenger seat and look around, soaking in the scenario. He has traveled a lot between Maharashtra and MP, seated on the passenger seat.

When visitors came home, they were afraid of Bhole and they would request that Bhole be tied down by chain. No one was afraid of Chhote. Chhote would remain free and join in watching the visitors (plumbers/ electricians etc) do their stuff. If luggage was being moved from one place to another (for instance during transfers) Chhote would sit on the furnitures and would get carried along with the furniture. If the school friends of the daughter drop in and had their discussion while seated on chairs, Chhote too would hop on a chair and give them company.

From Nagpur, I got transferred to Bilaspur during end of 2011 and shifted the luggage in February 2012. All six of us travelled from Nagpur to Bilaspur in that car.

Bilaspur residence had a sprawling premise. The wall was broken at places. Initially I was worried that the dogs would escape through the gaps and would be lost. But after nearly one year of tussle between the pets and me, I realised that the pets could go out and come in safely. There were many occasions when I felt that the dogs (one or both) were lost, but fortunately they came back safely every time. In due course, the premise became a safe haven for pups and their mothers. The two pets would repel any male dogs from entering the premise, but pups and their mothers were welcome to reside in the premise. There was a time when the premise housed, apart from Bhhole and Chhote, two female dogs and nearly a dozen pups.

Bhole and Chhote had their meals in their earmarked pots. Bhole was very possessive about his meal and would not share it with any other dogs. Chhote on the other hand was quite accommodating and shared the meal of his pot with any pup who approached him. The pups adored him. I had taken photographs (that I shared on facebook) that show Chhote walking around with nearly a dozen pups following him.

We also had some temporary pets there that lasted for just a few months before being lost for one reason or the other. My wife had given them interesting names. One of these temporary pets was a pup named Kabra Singh. Both Bhole and Chhote were quite friendly with Kabra Singh and they would teach him tricks of dogfight. I have a photograph where Kabra Singh is seen trying to apply those tricks on his own gurus. 🙂 Kabra Singh tried to copy the mannerisms of Chhote. If Chhote was seated on a chair then he would get seated on a small stool striking the same pose as Chhote.

When I was transferred from Bilaspur to Izatnagar in UP in 2015 then bringing the two pets offered challenges because of the distance involved. Finally I worked out an elegant solution (first suggested by the daughter). She suggested that we needed to bring them by train. Initially I told her that it was not possible. Then on checking up the rules I found that dogs could be brought in guards van or in AC first (if other passengers do not object). No self respecting pet dog would ever travel in the guard van with the guard (without the owner) so that option was ruled out. The dogs had to be taken only by AC first. The best and fail safe way to ensure that there was no objection from other fellow passengers was to ensure that we got the cabin of two berths instead of four berth cabin. I requested for it. I was ensured that I would get that provided no VIPs traveled that day by that train. I prayed and my prayers were answered. VIPs kept away and we were allotted two berth cabin. The dogs, duly certified fit to travel (certificate issued by a government vet), with their documents and tickets were with us. THe TTE saw the tickets and raised no alarms (I had already ensured that the TTE was briefed beforehand). Chhote occupied the lower berth and watched eagerly out of the window like a wide eyed kid. Bhole, not interested , made himself comfortable at the floor of the cabin. Chhote let my wife share the lower berth with him. 🙂

Early morning, we arrived at Agra cantt. From there, we reached Izatnagar by road.

Izatnagar in UP was different from Bilaspur in Chattisgarh. The premise of the residence was just as porous as was the case with Bilaspur residence but I realised that allowing the dogs to roam free like they did at Bilaspur was not safe. So after a few close shaves, it was made sure that the two dogs were taken out of the residence only while chained. Of course then escaped from the chain many a times and those who ran behind to bring them back aften had harrowing time cornering them and bringing them back.

Every morning I would take the dogs on walk, one dog at a time. It was alweays Chhote first, because it was he who insisted on being taken for a walk first thing in the morning, come rain or snow. Thanks to him, I became the most disciplined officer in Izatnagar who would regularly go on a walk at 6 AM and even earlier while others were still sleeping. Even during torrential rain, Chhote would insist on having his daily morning walk. He was that kind of outgoing dog.

The street dogs in Izatnagar were quite big built and fearsome. They would try to bully Chhote and Chhote would get nervous. I , armed with a stick, assured him that he was under Z category security and he was well protected. I would manage to keep the gang of street dogs at bay. When it was the turn of Bhole to go on his morning walk, the tables were turned. For some reason, the appearance of Bhole unnerved even those big built hardened street dogs assembled in a gang and they would quickly disperse at the sight of Bhole. Bhole walked the street like a dabang dog.

Like at Bilaspur, even at Izatnagar, pups and their mothers were allowed to stay in the premises of the residence. As at Bilaspur, even here the pups were fond of the pets. Even Bhole was admired by pets. When they went on their morning walk, these pups also accompanied them. Pups accompanying Bhole would take advantage of Bhole’s appearance to bully even big looking street dogs and chase them away. 🙂

Izatnagar has an IVRI (Indian Vetenary Research Institute) nearby. The two dogs would often go there for their medical check ups and there they would combine to bully other dogs.

When I was transferred from Izatnagar to Gorakhpur in August 2018, I and my wife travelled by our car with our pets. The residence at Gorakhpur had proper walls so the pets could not go out. So for the first time in years, we could leave the dogs in the premise without worrying about them going out of premises. On three occasions, during heavy rains, I found parts of wall falling down and the premise getinmg exposed to public. Those were harowing days, because it meant dogs could escape to busy main road and from then onwars there was no hope for seeing them again. On all these occasions, I managed to somehow keep the dogs restrained while the wall got repaired (first temporarity and then permanently). On those days, I would take them out of residence while chained. Otherwise the dogs had forgotten the experience of being chained after coming to Bilaspur.

After one year of stay at Gorakhpur, Chhote suddenly developed the desire to go on a walk out of the residence every morning and afternoon, like how it was in Izatnagar. It was from december 2019 onwards. Chhote continued to go on his walks till march 2020,

It was during the last months of 2019 that Chhote started suffering from a medical problem that initially went unnoticed. My wife feels that he had developed a tiny swelling inside his mouth on the right side. Later, on being checked, it turned out to be malignant cancer. My wife took him to a vet for treatment in early march 2020, hoping that it would help. Next date of treatment was 25 march 2020, which turned out to be the date when lockdown started in India. It was in the second week of april that the Vet clinic finally opened. When Chhote was taken to the vet, he had become quite weak and thin by then because he was not able to eat properly. He was given driops and some injections, which helped a bit, and his appetite returned a bit. He has stopped eating his normal food. My daughter suggested that he be fed soft chicken pieces. She ordered chicken biryaani online every afternoon. I would feed Chhote soft pieces morsel by morsel which he would struggle to eat. He would then drink lots of water in a bid to wash it down.

The cancerous growth was becoming bigger. It led to continuous secretion that Chhote would try to wipe on his forelimbs. So his shiny white coat wou;d get dirty and discolored. I began to give him baths every second day which gave him relief for some time before his body would once again be covered with that secretion.

Chhote was suffering. Inability to take in nourishment was telling on him. An erstwhile burly looking Chhote was getting shrunk in size which was sad to see. When I showed his video to my daughter she began to cry at his plight.

When Chhote was taken to the vet again one week later, this time he stated that it was a hopeless case. The swelling is solid swelling. Nothing can be done to reduce it- the vet stated.

So I came back and informed this fact tyo my wife on phone.

To the credit of Chhote, he endured this pain stoically. He had realised that his last time was approaching. He seemed to be reconciled to it, secure in the knowledge that we tried everything we could for him. In his prime, he would bother us for many things, but this time he had decided that he would try and be as less of a problem on us as he could help. He did not whimper once throughout his suffering.

On my part, I made sure that Chhote did not feel unwanted, unloved and uncared for because of his medical condition. He was given the same freedom as before. No quarantine, no restrictions, no stigmas. He in fact was given special attention as far as feeding him and bathing him was concerned.

When my wife and daughter first became aware of the worsening condition of Chhote, they opined that he should not be made to suffer like this and he should be given euthanasia. I opposed the idea telling them that he was eating chicken and so he was getting nourishment.

By 25th may, his condition took a turn for the worse. He stopped taking even the little nourishment he was able to take earlier. And he had become so weak that he struggled to stand on his feet.

On 26th may, I phoned my wife and informed her of Chhote’s situation. I told her that I could no see Chhote holding on for much longer. It was now I, instead of she, who broached the subject of euthanasia. My wife, from her location in MP tried to get things arranged by talking to people concerned. The feedback was that no doctor was prepared. So be it. But we needed to be ready since the end was near.

On 26th of night, Chhote struggled to move around in the hall. He tried to sit in one place, and then another, then at yet another place and so on. He did not eat anything. with some effort, he drank water.

At night, he was sleeping in the hall. Late at night, when I woke up and looked at the hall, he was not there. It meant that he had gone to some other room where he liked to stay.

Every night, I am woken up by Bhhole a few times who wants to go out to relieve himself. And I take his out. Every time I do that, more often than not, Chhote too joins in. On this night, Chhote did not come out.

Next morning, when I hardly got any sleep, I took Bhole out of residence. At about 5 AM, I mustered enough courage to venture in the direction where Chhote had gone at night. There he was, lying stone cold at the floor. He had expired, after bravely fighting off this killer disease for several weeks.

As instructed by my wife the previous day, I kept the body on Chhote’s bed, which my daughter had ordered for him online the previous year. Then I covered him with a dupatta of my wife.

My wife had phoned the concerned people. An area was located in one corner of the premise adjacent to the boudary wall. A grave was dug. Chhote along with his bed and my wife’s dupatta covering him was laid to rest in that grave. Flowers, plucked from the plants in the premise were laid on the grave. Agarbattis were lit.

When nuppy had died, it came as a sudden shock because Nuppy was young and without any ailments. Chhote’s death on the other hand was not unexpected. It had become nevitable after cancer was detected inside his mouth and it was diagnosed as incurable. The pain of losing Chhote was tempered by other feelings, viz, feeling of relief that Chhote was finally put out of the terrible misery he was going through.

Then there was the feeling that I was spared a moral dilemma of subjecting my pet to euthanasia. No doubt I wanted that in order to save the pet from further pain, but that would have still amounted to murder. I was mightily relived that I could now could keep a clear conscious. I also felt morally upright knowing that I did not lt my pet down, I did not betray him and I did not hurt his feelings while he was undergoing his suffering. He was in need of support and comfort and I tried to provide that. When I realised that his end was near then I decided not to leave him alone.I took leave from office and stayed at home in the second half of 26 may 2020. So I was at home when the end came sometime in the night of 26 may-27 may.

My daughter asked me, did Chhote sport his collar while being buried ? I replied in the affirmative. Then I realised how wise it was on my part to fit Chhote’s favourite collar around his neck. Pet dogs wear this collar proudly as a badge of honour for being a pet of a household. Chhote departed from the world, secure in the knowledge that he was sporting his favourite collar at that time.

How did Bhole react to the demise of Chhote ? In the morning of 27 may 2020. Bhole must have gone to the room where Chhote was lying dead. He must have seen that Chhote was no more alive. Bhole kept a sombre silence throughout the morning. He saw Chhote, with his bed and dupatta cover being carried out. So he knew that Chhote would no longer be around.

Chhote got a decent honorable burial with eight human beings present. If there is something like soul which watches from above, then the soul of Chhote would have felt that he was treated well in his life and also while bidding him a final farewell.

There is this concept of “Shaapit gandarv” and “shaapit dev”. In ancient mythology, some gods would anger some rishis/ munis and the rishis / munis woud curse them to get born in the Mrityulok. On request, the sentence would be reduced a bit. Like for instance, in Mahabharat, eight vasus were cursed by Rishi Vashisht that they would e born as humans. On request, it was stated by Rishi that they would hav to spend just a few moments as human, as their mother would kill them immediately and then they could be back as Vasus. Some acquaintances, who are familiar with our pets have suggested that our pets too were like such devas who were cursed by some munis that they would be born as dogs on earth. On being requested, their sentence was softened. It was ordained that they would be brought up by a kind human family that would bring them up with care and affection. It is a theory that I agree with. Chhote and Bhole, and also nuppy seem to be very special pets who possessed qualities that seem unreal in a normal cat/ dog.

So, nuppy and Chhote are back to being the devas that they were before they came into our lives. Bhole is the only one left now. He perhaps needed to serve the longest sentence of them all. Like the humans, Bhole too is remarkable well composed and is coping well with the loss. Hopefully, we will get over the loss soon. The font memories of Chhote will ofcourse linger for many years. We have not forgotten nuppy who left us eight years ago, and I am sure same will be the case with Chhote as well.

I am sad but also relieved, and philosophical about this loss. Two days have already passed. I thought that I would keep this news to myself. But then I decided that it would be a burden on my chest if I kept this fact to myself. So this writeup, the longest in the blog for some time is my effort to get the load off my chest and then resume my normal life.

I searched for a suitable somh to go with the occasion. The search led me to a song from “Pyaas”(1982).

“Pyaasa”(1982) was produced and directed by O P Ralhan for Ralhan Productions Bombay. It had Kanwaljeet, Zeenat Aman, Tanuja, Anju Mahendroo, Madan Puri, Kamini Kaushal, A K Hangal, Dheeraj Kumar, Manmohan Krishna, Ram Mohan, Brahmchaari, Kamaldeep, Jagdish Raj, Devyani Thakkar, Shivraj, R S Chopra, Asha Sharma, Gauri Verma, Sunil Dhawan, Dhanraj, Maqbool, Hakeem, Ashok, Rafiq, Anil Ahuja, Rani Gill, Surjit Kaur, Shwini Kumar, Zeenat, Satyarani, Ramlal , Jimmy, Gopal Ralhan, Vinod Talwar, Ashok, Ratan Gaurang, Harendra, Kumud Tripathi, Ramesh Kumar, V K Chopra, Renu Kumar, Tarana, G Ansari, Ameer, Raj Kishore, Master Chhotu, Debut-Aaloka, Guest appearances by McMohan and Om Shivpuri.

This forgotten movie had eight songs by three lyricists. This song from “Pyaasa”(1982) is a song that seems tailormade for the sombre occasion. The song is sung by Kishore Kumar. Shiv Kumar Saro is the lyricist. Music is composed by Bappi Lahiri.

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

With this song, “Pyaas”(1982) makes its debut in the blog.


Song=Saath mera chhod kar (Pyaas)(1982) Singer-Kishore Kumar, Lyrics-Shiv Kumar Saroj, MD-Bappi Lahiri
Chorus

Lyrics

hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

aaa aa aa aa
aaa aaa aa aaa aaa

gham se bhara hoon main
aur mujhe gham na do
phool maange thhe maine
mujhko khaar na do
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

hmm hmm hmm hmm
hmm hmm

yaaden thhin kitni haseen roye aasmaan roye zameen
sahar ka ham kya karen yaar apna saath nahin
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

aa aa aa aa
har dil mein zinda hai tu
insaan nahin farishta hai tu
gareebon ki hai jaan tu
insaan par ehsaan tu
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar
hmm hmm hmm hmm hmm


This article is written by Avinash Scrapwala, 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 :

4321 Post No. : 15609 Movie Count :

4300

(#Music Composer-Singer-Bappi Lahiri#2)
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#the Decade of Eighties – 1981 – 1990 #
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Rising temperatures is normal in our country in the month of May. At this time of the year, we are used to seeing temperatures soaring high. Under normal circumstances, terms like ‘rising temperatures’, ‘global warming’ etc would have been ‘hot’ topic of media and general talk. But the term ‘Covid19’ has taken the wind out of the sail of the usual terms.

The current ‘lockdown’ conditions have given respite to many people from going out for work in this ‘peak summer’. However even at home now people are feeling the ‘heat’ and currently my base-station Vadodara is recording 42 to 44 degC temperature during these days. Since work at my workplace has been resumed since 21st April, I can enjoy the ‘summer’ as I did in the past, an experience that I had “missed” for the last three years thanks to my stint at Kenya for three years.

The pandemic has forced people to be more worried about the other temperature i.e. the ‘body temperature’ or ‘fever’ as we generally talk about instead of worryng about atmospheric temperature. The current situation has also brought ‘Infrared thermometers’ (‘temperature guns’:) ) to daily usage and checking of body temperature has become customary for all venturing out of home for work. For me it is checked at our company bus stop then after arrival at workplace and before leaving the workplace. (Nose masks, Sanitisers and Handwash have also become a part of life now.)

Coming back to the ‘fever’ or ‘bukhaar’ it so happened recently that family members of one of our family friends were admitted to hospital in anticipation of ‘Covid19’. Since one of the family members was working in health department it was easy for ‘Corona’ to attack this person first. Because of to this one-person other family members also got infected and one by one they were admitted to hospital (thank god all of them have recovered and they are now back to home fully ‘fit’ after getting treatment). Since my daughter has her friend from this family, I was enquiring with her everyday about their health, after returning from office. One day she told me that her friend’s father is having ‘fever’ and the temperature was around 100. I do not know from where, but I immediately said “well, no need to worry’ the danger level is more or ‘104’ I think?”

Since she has been a ‘science student’ (more a ‘doodle artist’ now) I asked, “Is there anything that 104-degree fever is dangerous”. Guessing where I was heading, she immediately asked me is there any song on that? Or a movie I had in mind? “‘jinko filmon aur gaanon ka bukhaar ho, unke dimaag mein to hameshaa gaane hi chalte rahenge na?” (and now my family members have taken it as ‘normal’ for me 🙂 )

Yes, I know it there was a song something like … “ek sau chaar bukhaar!!!”

Though I said it but even I had not visited or listened to this song for many years or I should say almost thirty-six or thirty-five years now. I only remember the lines “ek sau chaar bukhaar, ek sau chaar bukhaar”.  I remember there was this song which I had listened to, and it was a part of all ‘disco’ compilations then in 1982-1983 or 1983-1984. But I had forgotten it after that, but the current ‘pandemic’ reminded me of this song. We are going to listen and enjoy this song today. Fortunately, the audio and a partial video link of this song was available when I looked for it.

I was not aware about any other details of this song like the movie, singers etc. I was only remembering its line “ek sau chaar bukhaar”. From the audio I got to the movie name this song was from and from the movie name I found the movie details in HFGK Vol-VI. The movie name is ‘Sugandh’ – must be an obscure movie, I think.

“Sugandh-1982” was directed by Ravikant Nagaich for Gopi Enterprises, Madras. He was also the producer of this movie and cinematographer too. This movie has Shakti Kapoor, Aarti Gupta, Anand Balraj, Paintal, Bindu, Birbal, Sunil Thapa, Gulshan Grover, Leena Das, Heena Kausar, Goga Kapoor, Prem Bedi, Mukri, Kasuhik Basin, Poornima, Amrish Puri and others. HFGK mentions that this movie was based on a novel ‘Khilaadi’ by writer Rajvansh. This movie was passed by Censor Board on 08.07.1982 with restricted viewing i.e. with ‘A’ Certificate.

As per information of this movie provided in HFGK, it has total seven songs in it. Lyricist Ramesh Pant wrote four songs and lyricist Farooque Kaiser wrote three songs for this movie. This song is written by Ramesh Pant, The seven songs include one song in two parts. Music of this movie was composed by Bappi Lahiri and Anil, Arun and Bansari Lahiri were his assistants in music of this movie. Kishore Kumar, Asha Bhonsle, Usha Mangeshkar, Shubha Dhote and SP Balasubramanian had given their voices to the songs in this movie.

1982-83 was the year of matriculation for me, and I remember that after finishing the exams we were relaxed and that time the we were regularly listening song on radio and around. And I remember that the songs of ‘Nikaah’ and ‘Disco Dancer’ were heard very frequently then and so were there many disco numbers, as ‘Disco’ wave and ‘Bappi Da’ era had already ‘taken-off’. Going by the date this movie was passed by Censor Board and guessing its releasing time I think the songs of this movie were over shadowed by the songs of the movie ‘Disco Dancer’ (1982) which came in December that year (passed by Censor Board on 10.12.1982).

On this auspicious 4321st day for the blog, let us get introduced to movie number 4300 on the blog with this song 🙂

This song is sung by Kishore Kumar with his characteristic style and gusto. Enjoy how every time he sings ‘disco o o o’ and ‘ek sau chaar bukhaar’ in this song. On screen Anand Balraj is lip syncing in Kishore Kumar’s voice and accompanying him performance is Leena Das while we can see Mukri, Paintal, Gulshan Grover and others present in picturization of this song.

Enjoy this foot tapping disco song. . .

[Ed Note: With this song, ‘Sugandh’ (1982) becomes the 4300th movie whose songs are represented in the blog.]

Audio (Full)

Video (Partial)

Song – Bukhaar ye hai disco bukhaar (Sugandh) (1982) Singer – Kishore Kumar, Lyrics – Ramesh Pant, MD – Bappi Lahiri
Male chorus
Female chorus
All Chorus
Mukri
Paintal

Lyrics

d
i
s
c
o

disco disco
disco disco
disco disco
disco disco
aa aa aa nachnaa
aa aa aa nachnaa
aa aa aa nachnaa
aa aa aa nachnaa
disco disco
disco disco

he he
arey kya huaa isko

ha ha ha ha
ek sau chaar bukhaar

bukhaar ye hai disco bukhaar
ye hai disco bukhaar

ek sau chaar bukhaar
ek sau chaar bukhaar

ye disco ka shikaar hai ae
isko chadhaa bukhaar hai ae
degree ek sau chaar hai ae
har ilaaj bekaar hai ae
arey
jhoomne do
naachne do
gaane do
disco o o o
ek sau chaar bukhaar
ek sau chaar bukhaar
disco disco
disco disco

bukhaar ye hai disco bukhaar
ye hai disco bukhaar

waah waah
waah waah
waah waah
waah waah

dil iska rangeen hai ae
soorat bhi namkeen hai ae
phir bhi is se rehnaa door
maamla sangeen hai ae
ye bijlee hai
jhatkaa lagtaa chhoone se jisko
disco o o o
ek sau chaar bukhaar
ek sau chaar bukhaar
disco disco
disco disco

bukhaar
ye hai disco bukhaar
ye hai disco bukhaar

aa aa aa naachnaa
aa aa aa naachnaa

jawaan dilon mein josh hai ae
kisko apnaa hosh hai ae
ye raftaar jawaani ki ee
nahin kisi ka dosh hai ae ae
phir kab aaye aisa maukaa
maaloom hai kisko
disco o o o
ek sau chaar bukhaar
ek sau chaar bukhaar
disco disco
disco disco

bukhaar
ye hai disco bukhaar
ye hai disco bukhaar

hey ae
hey ae
hey ae
hey ae

dil ko roz machalne do o o
pyaar ke rang badalne do o o
koyi hamaari khushiyon se ae ae
jaltaa hai to jalne do o
pyaar karo to thhokar maaro
tum har bandish ko
disco o o o
ek sau chaar bukhaar
ek sau chaar bukhaar
disco disco
disco disco

bukhaar
ye hai disco bukhaar
ye hai disco bukhaar

ek sau chaar bukhaar
ek sau chaar bukhaar
ek sau chaar bukhaar
ek sau chaar bukhaar
bukhaar
ye hai disco bukhaar
ye hai disco bukhaar

 

 


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 :

4315 Post No. : 15598

“Bandagi” (1972) was a “social” movie which was directed by K Shankar for MCR Films, Madras. The movie had Vinod Mehra, Sandhya Roy, Madan Puri, Sujit Kumar, Ramesh Deo, Sundar, Birbal, Shivraj, Prem Kumar, Gemini Balu, Indira Bansal, Shammi, Shabnam, Pandhari Bai, Padma Khanna, Jagdeep etc in it.

This movie had six songs in it. !972 was a time when I was as my precocious best as far as listening to Hindi movie songs on loudspeakers and radio was concerned. But I must admit that I never heard any songs of this movie. I was not even aware of the name of the movie till now ! So it is clear that the movie did not do well at the box office.

One song from the movie has been discussed in the past. Here is the second song from “Bandagi”(1972) to appear in the blog. This song is sung by Kishore Kumar. Rajinder Krishan is the lyricist. Music is composed by Shankar Jaikishan.

The picturisation shows Vinod Mehra (badminton racquet in hand) singing this teasing cum flattering song for Sandhya Roy (also holding a badminton racquet). The same song picturised over a Shammi Kapoor or Jeetendra would have made this song a hit song. Sadly Vinod Mehra never had the charisma of a top romantic hero. Investing on penny stocks like Vinod Mehra and Sandhya Roy and hoping to make handsome profits neither works in stock market nor in Hindi movies. 🙂


Song-Mera yaar zulf mein phool laga ke chalta hai (Bandagi)(1972) Singer-Kishore Kumar, Lyrics-Rajinder Krishan, MD-Shankar Jaikishan

Lyrics

haaye
o
waah waah
kya kehne hain

mera yaar
mera yaar zulf mein phool laga ke chalta hai
kambakht bahaaron ka kaleja jalta hai
o mera yaar
o mera yaar
o mera yaar
o mera yaar zulf mein phool laga ke chalta hai
hey hey

uff mastaani
haay bhari jawani
uff mastaani
bhari jawaani
jaise chadhti nadiya ka paani
mukhde ko
mukhde ko dekh ke sooraj aankhen malta hai ae ae
o mera yaar zulf mein phool laga ke chalta hai
hey hey

rang badan ka
haay chandan jaisa
rang badan ka chandan jaisa
chalta phirta ek chaman sa
sharma ke
sharma ke din bhi waqt se pehle dhalta hai ae ae
mera yaar zulf mein phool laga ke chalta hai
sadqe

roop ki barkha
aise barse
roop ki barkha aise barse
dhoop bhi chhup jaaye darte darte
palko ke
palko ke saaye me ik shola sa tapta hai ae ae
mera yaar zulf mein phool laga ke chalta hai
o mera yaar
o mera yaar
o mera yaaaar
o mera yaar zulf mein phool laga ke chalta hai


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 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 : 4205 Post No. : 15395

Memories that are pure gold – the mention of his name brings to mind a limited set of memories. Ah but these memories are pure gold.

Remembering Vijay Anand today, on his birth anniversary. He would have been 86 today.

Without any doubts, the best and the most remarkable sense of visualization of music. Not just thinking of films with Navketan – ‘Nau Do Gyaarah’ (1957), ‘Kaala Bazaar’ (1960), ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Jewel Thief’ (1967), ‘Johnny Mera Naam’ (1970) and more, his films outside of Navketan are also as memorable for their songs. ‘Teesri Manzil’ (1966) being the most popular and loved film for its songs, and their presentation. Of course, no one counters the wholesome effect of “O Haseena Zulfon Waali”. But then, see “O Mere Sona Re Sona Re Sona Re”. The superb performances in this song by both Shammi Kapoor and Asha Parekh are the handiwork of a most capable director, who knows how to bring out the maximum impact of everything that goes into presenting a song – the ambience, the words, the music, the facial expressions, the body language, crafting the merger of actions with music, the give and take between the two protagonists – everything brought together to convey this latent feeling in the heart, bringing it to the lips, and then expressing it with an un-tethered exuberance on the part of the lady, and a coy displeasure (to start with) on part of the gentleman. The end result – as Atul ji has often pointed out – after three stanzas, all is well and the lovers are seen walking hand in hand.

Take ‘Black Mail’ (1973) and the wonderfully soft rendition of a surreal presence of the loved one – felt through the written word, the voice of lover echoing through the letters, and the presence is so real that the lady wakes up with a start having felt the reality of a kiss on her forehead. Yes, the song is “Pal Pal Dil Ke Paas, Tum Rehti Ho”. I am never tired of replaying this song, the video I mean. Just the song itself is great, but its presentation on screen has enhanced its beauty and impact many folds.

Vijay Anand has also appeared in a handful of films. In some of the films that he directed himself, and he is not in the list of actors, one can catch a glimpse of him in very brief cameo appearances. However, he has appeared in bigger roles, and also as a hero. The first film in which he made his debut in a meaty role is ‘Joru Ka Bhai’ from 1955, a comedy film in which the lead pair was Balraj Sahni and Sheela Ramani.

His next major appearance is as the hero of the 1957 film ‘Agra Road’, a cops and robbers type of story. Next we see him on screen along with his two elder brothers, Chetan and Dev, in the 1960 film ‘Kala Bazaar’ which he also directed. In this film he plays the role of the ex-boyfriend of Waheeda Rehman, who has gone for higher studies to France, and returns with his amorous loyalties shifted elsewhere.

After a gap of four years, he is seen once again in a supporting role in ‘Haqeeqat’ (1964), a film that had a large ensemble of main line stars. The next gap is much longer – 7 years. And he makes his screen appearance once again in the 1971 film ‘Tere Mere Sapne’, a film that he has directed himself. His role in this film as Dr. Jagannath Kothari, a famous gynecologist (in film), is very impressive and effective.

The next film is ‘Chhupa Rustom’ in 1973. Dev and himself, are police agents who go undercover to capture a gang of smugglers. Once again, this film is directed by him. His role, masquerading as a shady, brash, small time, two-timing con man brings out the comedian in him – in my opinion one of his best screen appearances. This film is an Indianized version of the famous novel by Alistair MacLean – ‘Fear Is The Key’.

Parallel to ‘Chhupa Rustam’ in 1973, he also appeared in the film ‘Double Cross’. In this, he appears in a double role as the hero and his twin brother who is on the wrong side of the law. He was not yet 40, but he looked quite overage for this twin brothers roles. He appears to be trying very hard to be the role, but was not convincing. The con-man role in ‘Chhupa Rustam’ was a great act, but in ‘Double Cross’ he did not quiet click. It is interesting to note that in the role of the brother on the right side of the law, Vijay is a professional photographer. That rang a bell in my mind and I checked. Very much so, the film ‘Heera Panna’ in which Dev Anand plays the role of a professional photographer also, was released in 1973 itself. As one compares the two performances, they are quite similar in mannerism, attire and body language. Now who was copying from whom? 🙂

In 1973 came another good film, produced and directed by his elder brother Chetan – ‘Hindustan Ki Kasam’. He played the role of a fighter pilot, coming from a family of soldiers and pilots. There is a brief but a great monologue by him in this film – “Saathiyo, Dosto, Hum Hi To Aaj Ke Arjun Hain. . .”. (It can be viewed at 39:40 on the timeline at the link for the film ‘Hindustan Ki Kasam‘.) He presents this monologue, takes to the skies and then does not return. A short role, albeit an impressive one.

A year later he produced the film ‘Chor Chor’ (1974), but did not direct it himself. It is a suspense thriller that did not make it good on the box office, however, it was praised by the critics and reviewers. The film had no songs, and its star cast was very interesting. Vijay had assembled many actors of yesteryears for this film – Trilok Kapoor, Jairaj, and Ranjan. The female lead opposite to Vijay himself is Leena Chandawarkar. I have not seen this film, but it seems interesting enough to merit a view.

In 1974, he appeared in another film, in a very impressive performance once again. The film ‘Kora Kaagaz’, and he is cast with Jaya Bhaduri as the leading pair. The film is about an idealistic romance that transforms into matrimony. And the matrimony cannot withstand the reality of social relations and issues of personal choices – it breaks apart. Alas, there is a happy ending as the estranged spouses meet and make up in railway waiting room. Another very impressive performance.

Then, after a gap of another 4 years, Vijay appeared in another very good role – that of a rich landlord, very well performed. The film is ‘Main Tulsi Tere Aangan Ki’. A gem of a film by Raj Khosla, Vijay is pitted against two seasoned performers – Nutan as his first and legally wedded wife and Asha Parekh as his second companion in life, whom he brings home much to the dislike of the first lady of the house.

In 1981, came the film ‘Ghungroo Ki Awaaz’ – a tale of haunting and intrigues. Once again, Vijay finds himself out of his depth. Is that a reflection of being a very good director and then come to act under the direction of another director who may not be as well capable. Don’t know whether we should draw this comparison. But then this film is not in my list of impressive performances by Vijay.

In 1984, Chetan Anand produced and directed ‘Hum Rahe Na Hum’ in which Vijay and Shabana Azmi played the lead pair. Then in 2001, he produced and directed ‘Jaana Na Dil Se Door’ in which he and brother Dev played senior roles in a film with an impressive star cast that includes Kamini Kaushal, Mohnish Behl, Moushumi Chatterji, Indrani Bannerjee, Dinesh Hingoo and Vikram Gokhale.

Vijay also appeared in a mini series on TV in 1994, titled ‘Tehkikaat’, in the role of Sam D’Silva, an investigator.

Readers would remember that Alfred Hitchcock always made it point to appear in his own films in a fleeting cameo appearance. That was his signature mark in his films, and the audiences would eagerly await to catch his appearance as they viewed his films for the first time. Vijay Anand has also a similar reputation, albeit we are not sure we have tracked down his cameos in all the films that he directed. A brief list of what I have been able to compile.

He appears in ‘Funtoosh’ (1956) as a young out-of-work writer, who meets Funtoosh (Dev Anand) after he is released from the mental hospital. Funtoosh gifts him a pen to write.

Then in ‘Tere Ghar Ke Saamne’ (1963) he appears in the stairwell of Qutab Minar, wearing spectacles, walking down the stairs with two other persons, as Dev and Nutan are busy with their amorous inclinations singing “Dil Ka Bhanwar Karey Pukaar”.

In ‘Guide’ (1965), we hear his voice, as an unknown stranger is asking about Raju guide on the railway platform. Just a very brief dialogue.

In ‘Jewel Thief’ (1967), we hear his voice on the phone, in a brief conversation with Helen.

In ‘Prem Pujari’ (1970) he appears very briefly in the role of a spy, a fleeting cameo.

Again in 1970 ‘Johnny Mera Naam’, we hear his voice very briefly as an officer of Nepal Police greets Iftekhar at the Kathmandu airport, welcoming him to Nepal.

Here is a very interesting on screen appearance trivia. Hollywood producer and director, Mike Judge of the ‘Beavis And Butthead’ fame, was a great fan of Vijay Anand. In fact, in his animated film ‘Beavis And Butthead Do America’, there is a song being played in a casino in Las Vegas. On stage, among the musicians, there is a guitar player accompanying the singer. Mike Judge had based this character on Vijay Anand. The song in that film is ‘Love Roller Coaster’, available on YouTube; just click on the link.

A brief list of shelved films of Vijay Anand.

After ‘Rajput’ (1982) and before ‘Main Tere Liye’ (1988), Vijay Anand launched ‘Dekha Jaayega’ with Anil Kapoor and Jackie Shroff. Anil backed out at last moment. After a brief gap, the film was planned again with Saif Ali in place of Anil, but was later shelved.

In 1988, he planned the film ‘Dosti Ka Taqaaza’ starring Mithun and Govinda. It was later shelved.

He appeared in the film ‘Insha Allaah’ as the hero opposite to Zarina Wahab. The film was later shelved.

He directed ‘Chura Lenge Ankhon Se Kajal’ (1992) with Akshay Kumar and Kareena Karishma Kapoor. This film was also shelved.

In 1997 he starred in and directed the NFDC (National Film Development Corporation) film ‘Nyaymurty Krishnamurty’. This film also did not see the light of the day.

In the 1990s, he also started working on another film ‘Pal Pal Dil Ke Paas’, which could not be completed, probably did not go beyond the planning stage.

OK, so today’s song. It is contributed by Avinash ji. The film is ‘Ghungroo Ki Awaaz’. The story is of a family conspiracy with shades of reminders from the film ‘Mera Saaya’. The protagonist falls in love, the lady dies in confusing circumstances, then she returns as a ghost to haunt the man. The plot finally nails down another family member, who is attempting to get rid of the protagonist, for the sake of inheritance. There are maybe some more films that are based on this scenario.

The music is by RD Burman, the words are from the pen of Vijay Anand himself and Kishore Kumar is the playback voice.

A heartfelt salute to this celluloid artist who donned many a hat in his career, and had left behind a memorable legacy.

 

Video

Audio

Song – Tere Ghungroo Ki Awaaz  (Ghungroo Ki Awaaz) (1981) Singer – Kishore Kumar, Lyrics – Vijay Anand, MD – RD Burman

Lyrics (Provided by Avinash Scrapwala)

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

sitaaron ne sajaayee thhi dagar
hawaaon ne jhulaaya bhi magar
hmm hmm hmm
sitaaron ne sajaayee thhi dagar
hawaaon ne jhulaaya bhi magar
jalaa daaley
jalaa daaley
pankh naseebon ne
reh gayee hasrat e parwaaz
tere ghunghroo ki aawaaz
ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

andheron mein chhupi hai kiran
milan hai par ye kaisa milan
hmm hmm hmm
hmm hmm hmm
andheron mein chhupi hai kiran
milan hai par ye kaisa milan
adhura hai
adhura hain
geet jeewan ka
aur toota toota saaz
tere ghunghroo ki aawaaz

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghoonghroo ki aawaaz
tere ghoonghroo
ki aawaaz

————————————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————————————-

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

सितारों ने सजाई थी डगर
हवाओं ने झुलाया भी मगर
हं हं हं
सितारों ने सजाई थी डगर
हवाओं ने झुलाया भी मगर
जला डाले
जला डाले
पंख नसीबों ने
रह गयी हसरत ए परवाज़
तेरे घुँघरू कि आवाज़
हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

अंधेरों में छुपी है किरण
मिलन है पर ये कैसा मिलन
हं हं हं
हं हं हं
अंधेरों में छुपी है किरण
मिलन है पर ये कैसा मिलन
अधूरा हैं
अधुरा हैं
गीत जीवन का
और टूटा टूटा साज़
तेरे घुँघरू कि आवाज़

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़
तेरे घुँघरू कि आवाज़
तेरे घुँघरू ..
कि आवाज़


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 :

4194 Post No. : 15377 Movie Count :

4239

“Raees”(1976) was directed by Vishu Raje. It had Yogita Bali, Kiran Kumar, A K Hangal, Utpal Dutt, Sulochana (Ruby Meyers), Gulshan Arora, Ramesh Deo, Helen, Aruna Irani etc in it.

This obscure movie had four songs in it.

Here is the first song from “Raees”(1976) to appear in the blog. This song is sung by Kishore Kumar. Naqsh Llayalpuri is the lyricist. Music is composed by Sapan Jagmohan.

Only the audio of the song seems to be available as of now. I request our knowledgeable readers to throw light on the picturisation of the song.

With this song, “Raees”(1976) makes its debut in the blog.


Song-Duniya mein kya kya hota hai pyaare(Raees)(1976) Singer-Kishore Kumar, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan

Lyrics

Duniya mein kya kya hota hai pyaare
Duniya mein kya kya chalta hai pyaare
tu kya samjhe
tu kya jaane
tu kya samjhe
tu kya jaane
duniya abhi toone nahin dekhi
Duniya mein kya kya hota hai pyaare
arre Duniya mein kya kya chalta hai pyaare
chal aage badh andhernagri mein

karta hai koi kaala dhandhaa
kaala dhandhaa
khot ka koi hai vyopaari
kyaa
haan baaba
Bhagwaan bechta hai
mandir ka har pujaari
Hariom
ginti ke lakhpati yahaan
laakhon yahaan bhikhaari
arre tu kya chhamjhe
tu kya jaane
tu kya samjhe
tu kya jaane
duniya abhi toone nahin dekhi
Duniya mein kya kya hota hai pyaare
aur aage badh
kuchh aur dikhaata hoon

duniya mein aane ki izaajat
haan jee permission
hamne kisi se kahaan li thhi
yoon hi tapak pade
jab aa gaye hain ham tum
raahon mein zindagi ki
aansoo bahaa ke kaise
manzil miley khushi ki
tu kya samjhe
tu kya jaane re
tu kya samjhe
tu kya jaane
duniya abhi toone nahin dekhi
Duniya mein kya kya hota hai pyaare


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me.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 : 4190 Post No. : 15371

———————————————–——————————-
Blog 10-Year Challenge (2010-20) – Song No. 1
——————————————————————————

Welcome all to this first post under the ‘Blog 10-Year Challenge’ in this year “2020”, where we will be going back to the movies represented on the blog in the year “2010”.

Today we begin our journey in this year with a not-so-popular but yet a nice hummable song from the movie ‘Aashiq Hoon Bahaaron Ka-1977’. I had planned the post in the month of December’2019 itself when I had browsed for the movies represented in the month of January’2010.

However, I had not selected the song for the post then. The song that readily came to my mind was the ‘title song’ of this movie and since it had not been posted I thought I would present this one. But when I listened to the other song remaining from this movie, I like it and presenting the same today, since it also talks of a ‘journey’ and a ‘continuing journey’ without reaching the ‘destination’.😊

We, on the blog, have already entered in the thirteenth ‘calendar year’ for the blog since its inception in 2008, and we have still a long way to go and many new ‘topics’ to be explored and this song perfectly sets the tune for another entertaining musical year ahead …

So far, the following three songs from this movie have been posted on the blog earlier;

Song Posted on
mashrique-se-jo-nikle-maghrib-mein-kho-gaye 07.01.2010
I-am-in-love-you-are-in-love 18.07.2013
mere-gorey-gaalon-ka 20.03.2014

This movie had total five songs in it and the two remaining songs to be posted are;
‘nahin dekha kabhi pehle … main aashiq hoon bahaaron ka’
‘tera dil kya kehta hai mera dil to ye kehta hai’

(and if the listing of songs given in HFGK Vol V is in correct order of appearance of the songs in this movie, the above two songs remaining are the first and the last song appearing in this movie).

Looking back ten years back i.e. on 07.10.2010 the following two movies were represented on the blog ten years back (in ascending order of presentation).

Song Movie title-Year Remarks
Gudiya hamse roothi rahogi Dosti-1964 All songs covered on the blog
Mashrique se jo aaye … Aashiq Hoon Bahaaron Ka-1977 03 of 05 songs posted so far

“Aashiq Hoon Bahaaron Ka-1977” was directed by J. Omprakash for ‘Shiv Kala Mandir’, Bombay. S.K. Chand was its Chief Assistant Director.

“Aashiq Hoon Bahaaron Ka-1977” was produced by K.K. Talwar and Raj Bathija. It had Rajesh Khanna, Zeenat Aman, Danny Dengongpa with Asrani and Om Prakash. Sulochana makes a special appearance in this movie. Its supporting cast includes Rehman, Preeti Ganguly, Pinchoo Kapoor, Madhup Sharma, Julie and Nadira.

Story and screenplay of this movie was written by Ram Kelkar. Its dialogues were written by Ramesh Pant. Editing of this movie was done by Pratap Dave and Prakash Dave.

This movie was passed by Censor Board on 18.11.1977.

This movie had total five songs in it and only Lata Mangeshkar and Kishore Kumar gave their voices to the songs in this movie where Lata Mangeshkar had one solo song, Kishore Kumar had three solo songs and there was only one duet sung by them.

Lyrics for all the five songs were penned by Anand Bakshi and music was composed by Laxmikant-Pyarelal.

Today’s song is the fourth song from this movie to appear on the blog.

I think that, other than the title song of this movie and the song ‘I am in love’, the other songs were not very much popular, though I find the today’s song a nice hummable and an enjoying one. (also, I do not remember to have listened to the today’s song earlier before taking it for the presentation in this post).

I have not watched this movie so I cannot say much about it. I would request knowledgeable readers to throw more light on the movie and its songs …

Let us now enjoy this song …

(The songs is picturized on Rajesh Khanna and Zeenat Aman and many others are seen in the picturization of this song which is picturized on foreign locations).

Video

Audio

Song-Tera dil kya kehta hai (Aashiq Hoon Bahaaron Ka)(1977) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

(dialogues from the video link are not included)

Hmm hmm hmm
hmm hmm hmm
Hmm hmm hmm
Haa
Aa ha haa
Aa ha haa

Tera dil kya kehta hai
Mera dil to ye kehta hai
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa
Tera dil kya kehta hai
Mera dil to ye kehta hai
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa

Manzil jo nazdeek aayegi
Manzil jo nazdeek aayegi
Tu mujhse door chali jaayegi
Tere jaane ke baad
Teri yaad aayegi
Tere jaane ke baad
Teri yaad aayegi
Main tujh ko kahaan dhoondhoongaa
Tera pataa kis’se poochhoonga
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa

Mujhko to neend nahin aayegi
Mujhko to neend nahin aayegi
Tu kya mujhe bhool jaayegi
Mere jaane ke baad
Meri yaad aayegi
Mere jaane ke baad
Meri yaad aayegi
Achchhaa hai is doori se
Phir milne ki majboori se
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa

Tera dil kya kehta hai
Mera dil to ye kehta hai
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa

la la laa
La la laa
La la laa
La la laa
Hmm mm

———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————–
हम्म हम्म हम्म
हम्म हम्म हम्म
हा
आ हा हा
आ हा हा
तेरा दिल क्या कहता है
मेरा दिल तो ये कहता है
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
तेरा दिल क्या कहता है
मेरा दिल तो ये कहता है
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
मंज़िल जो नज़दीक आएगी
मंज़िल जो नज़दीक आएगी
तू मुझसे दूर चली जायेगी
तेरे जाने के बाद
तेरी याद आएगी
तेरे जाने के बाद
तेरी याद आएगी
मैं तुझ को कहाँ ढूंढूंगा
तेरा पता किस से पूछूंगा
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
मुझको तो नींद नहीं आएगी
मुझको तो नींद नहीं आएगी
तू क्या मुझे भूल जायेगी
मेरे जाने के बाद
मेरी बाद याद आएगी
मेरे जाने के बाद
मेरी बाद याद आएगी
अच्छा है इस दूरी से
फिर मिलने कि मजबूरी से
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
तेरा दिल क्या कहता है
मेरा दिल तो ये कहता है
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
ल ल ला
ल ल ला
ल ल ला
ल ल ला
हम्म म्म


This article is written by Peevesie’s mom, 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 : 4181 Post No. : 15360

Hullo Atuldom

Wishing everyone a Happy (last) Sunday of 2019. Last chance to be a TEEN for this century.

December saw a few posts from me and like last year I missed sending posts for a few birthdates for which I would have liked to write posts. But here is the song which I was saving up for today.

Today, 29th December we are thinking of THE FIRST SUPERSTAR of Bollywood. Born Jatin Khanna in 1942 in Amritsar and brought up by his adopted parents in Delhi and Bombay. He was a schoolmate of a person called Ravi Kapoor (Jeetendra). They grew up in the old Bombay region of Girgaon and attended school in Thakurdwar area. They were active on the stage in their school and college and even won prizes in Inter-college drama competitions.

Jatin Khanna played a wounded mute soldier in a play called ‘Andha Yug’ in 1962 and impressed the chief guest so much that he suggested that Khanna should try films. Khanna entered the 1965 All India Talent Contest as Rajesh Khanna, a name given by his uncle. He was one of eight finalists from among 10000 contestants. United Producers was created by the likes of BR Chopra, G P Sippy, Bimal Roy, H S Rawail, Nasir Hussain, J. Om Prakash, Mohan Saigal, Shakthi Samanta and Subodh Mukherjee; and they were the judges of the talent hunt. Khanna’s first film was Chetan Anand’s “Aakhri Khat” in 1966 followed by “Raaz” both of which were his pre-determined prize for winning the contest.

His real taste of success came with “Aradhana” which came after he had a few releases from 1967 to 1969 (when Aradhana released). He was appreciated in “Itteeaq” “Doli” etc. which are part of the contract with United Producers and he was noticed for his performances in them. But “Aradhana” saw him rise to instant national fame and then the floodgates to successful movies were thrown open. And that kind of fame has never been experienced by any actor since. His fans still rave about his movies like “Safar”, “Amar Prem”, “Aap Ki Kasam”, “The Train”, “Do Raaste”, “Aan Milo Sajna”, “Sachcha Jhootha” etc. (I am not going to name all the 15/17 superhits of that period here). And I am not a biographer, I am only a fan of his and loved him in all his movies from “Haathi Mere Saathi” to all his later releases; whether “Janta Hawaldar” or “Aaj Ka MLA Ramavatar” or “Avatar” or “Thodi Si Bewafaii” and the movies which released in the 80s too; when he was trying to rebuild his career by pairing with Sridevi, Jaya Prada, Tina Munim, Poonam Dhillon etc.

For today’s post I was on the lookout for a song where he is on-screen with a child, preferably girl child, and ran through a whole lot of song-videos beginning from “Babu”, “Apna Desh” etc and zeroed in on this song from “Hamshakal”. It had him in a dual role as husband to Tanuja and Moushumi Chatterjee. He had a child from each of them. One of them loses her baby in the course of the movie the other loses her mental balance when she witnesses an accident and in that state of mental imbalance gives birth to a baby girl. Now that is the story of the two heroines, as far as the two Rajesh Khannas are concerned, one stands-in for the other so that the first one can solve the accident issue, due to which his wife had become mentally unstable. This movie I have seen at the time of its release in the movie hall, and a few years ago on satellite television. I think what I have written about the movie is right.

Today’s song is sung onscreen by Moushumi’s husband at the birthday party of Tanuja’s daughter. If I recollect correctly Tanuja is partially recovered at this stage and Moushumi has begun to feel that her husband is two-timing her. The song shows how much expressive Rajesh Khanna’s eyes were and we could feel his sadness without his breaking into tears when he remembers his dead child during the song. It is sung by the Kishore Kumar under music by R D Burman and song is written by Anand Bakshi. The unavoidable combination of RDB-Kishore- Rajesh appears again. And a song written by Anand Bakshi is a joy to listen to.

Let us assume that the baby girl’s role is played by Twinkle Khanna and wish her too a very Happy Birthday. We know there cannot be any song where the father and daughter appeared together so I am using this song. Twinkle was an actress who starred in about 16 films from 1995 to 2001 beginning with “Barsaat” which was also Bobby Deol’s debut into filmdom. Her last film as heroine was “Love Ke Liye Kuch Bhi Karega” in 2001 with Fardeen Khan. So, the tradition that the father started of acting with the Khans – Rajesh Khanna and Feroz Khan were seen together in “Safar” and “Aurat”; Twinkle’s “Love ke liye Kuch Bhi Karega” had Feroz Khan’s son Fardeen Khan as the lead. Another parallel between the careers of father and daughter was that both of them had movies with the title “Joru Ka Ghulam” and the movies were comedies. These days the actress in Twinkle has retired and become an interior designer and also a writer whose fortnightly column in the papers are widely read. Her writings have a fun streak in them and one of her books is titled “Mrs. Funnybones”.

Video

Audio

Song-Ek taara thha bada pyaaraa thha (Hamshakal)(1974) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics (Based on video)

Aao bachchon
mein tumhe ek bahut hi achchi kahaani sunata hoon, kya?
jhoomo tum naacho
main gaata hoon
jhoomo tum naacho
main gaata hoon
sabko ek kahaani main sunaata hoon
ek taara thha
bada pyaara thha
hmm hmm hmm hmm hmm hmm
bada nyaara thha

papa papa papa

kaali kaali raaton mein jab woh chamakta thha
aasmaan ki pariyon ka bhi dil dhadakta thha
kaali kaali raaton mein jab woh chamakta thha
aasmaan ki pariyon ka bhi dil dhadakta thha
sitaare
nazaare
sab us’se jalte thhe
main bataata hoon
kya
ek taara thha
bada pyaara thha
hmm hmm hmm hmm hmm hmm
bada nyaara thha

maine us’se poochha
tum kya kaam karte ho
maine us’se poochha
tum kya kaam karte ho
jagmag jagmag tim tim
subah shaam karte ho
maine us’se poochha
tum kya kaam karte ho
jagmag jagmag tim tim
subah shaam karte ho
toh dola
woh bola
tumko meethhe sapne
main dikhaata hoon
kya
ek taara thha
bada pyaara thha
la la laa la lalla lal
bada nyaara thha

phir kya hua
bolo na
aage kya hua

bolo na
rota sabko chhod gaya
woh sabse roothh ke
jaane kahaan gir gaya
ambar se toot ke
rota sabko chhod gaya
woh sabse roothh ke
jaane kahaan gir gaya
ambar se toot ke
na jaana
deewaana
uski yaad mein aansoo
main bahaata hoon
ek taara thha
bada pyaara thha
ek taara thha
bada pyaara thha
ek taara thha
bada pyaara thha
ek taara thha
bada pyaara thha
ek taara thha
bada pyaara thha


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

Blog Day :

4104 Post No. : 15254 Movie Count :

4191

First of all, my apologies for my infrequent appearances here. Even calling it a cameo is unfair to a cameo, because, to be honest, it is not even that. It is more like, a “blink and you miss” situation.

Anyway, here I am today, back with a post. The occasion is the Remembrance Day of someone very special to the Hindi film industry, and also to me. He has millions of fans around the world and is easily one of the legends of the industry.

I am talking about Kishore Kumar, of course.

I’ve written about Kishore Kumar many times in the past. And yet, when Avinash ji requested me to write a post for this occasion, I immediately agreed. Such is my love for Kishore Kumar that even if I repeat myself and bore my readers in the process 🙂 , I could not bring myself to say no.  🙂

The problem then was to get the required writing mood back. What they say about writing is very true. If you don’t write for an extended period of time, you gradually lose the ability to do so. That is why many writers practise their writing everyday, by writing at least a minimum number of words.

When I wrote to Avinash ji saying “Mere thoughts gather nahin ho rahe. I have lost the ability to write”, he replied “Aap Kishore Kumar ke gaane suniye aur din bhar sunte rahiye. Thoughts will come, I am sure.” 🙂

So I did listen to a few songs – predictably songs of ‘my’ era. “Khizaan Ke Phool”, “Jeevan Se Bhari Teri Aankhen”, “Teri Duniya Se”, “Hum Bewafa Hargiz Na The”, “O Mere Dil Ke Chain”, “Ye Shaam Mastaani” and a few others.

I think that might have helped a bit, because here I am.

Anyway, coming to Kishore Kumar.

The years just roll by – it is already 32 years since he left us.

He was just 58 at the time – far too young to go.

But like they say, it is not the years in your life that count, it is the life in your years.

And Kishore Kumar had plenty of life in his years.

No one will dispute that Kishore Kumar was the No.1 all-rounder in the industry. There have been a few others who have had multiple skills. Manoj Kumar was actor, writer, director, producer. Mehmood was also quite an all-rounder.

But Kishore was in a league of his own, because in each of his roles, he left a mark. Of course he is best-known as a singer, but even today many remember his acting, especially in comedy roles like in ‘Dilli Ka Thug’, ‘Chalti Ka Naam Gaadi’, ‘Half Ticket’ and many other films.

But there was so much more to Kishore Kumar than just comedy. And probably to prove this point, he produced and directed films like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971). I was stunned when I saw both these films – they have tremendous depth and philosophy, uncommon for the times.

His versatility was not limited to singing, acting, producing and directing though. Kishore Kumar also composed music, for some of his films.  Like the two films mentioned above, whose songs are quite popular to this day. As are the songs of  ‘Jhumroo’ (1961).

This is why I call Kishore Kumar the Gary Sobers of the Hindi film industry. 🙂 He could take on any role, and make a success of it.

But beyond even his multifarious talents, there was Kishore the person. And even as a person, he is quite an inspiration for me. His attitude towards life is something I can only admire.

Those who worked with Kishore Kumar, especially Lata Mangeshkar and Asha Bhosle, vouch  for his ability to enliven a recording session with his sense of humour, his cracking a joke or pulling someone’s leg. Some people are like this – never a dull moment with them around.

It is not as if Kishore didn’t have low moments, or tough times. Everyone has these – Kishore was no exception. But he never let this affect his professionalism. He was very clear about himself, his philosophy towards life – and he never allowed others to define it for him.

Like he said “Duniya samajhti hai main paagal hoon….main samajhta hoon duniya paagal hai”.

I think, whatever his conflicts with the world might have been, especially later in his life, he was at peace with himself. And that is most important for a human being. Like he told Lata Mangeshkar in an interview in the fag end of his career “I am quite happy”. He expressed a desire to run away from it all, and go to a place which was calling out to him.

Today, on his Remembrance Day, I feel Kishore Kumar found that place and left us in order to go there.

And left us with SUCH a treasure of songs and memories that we are indebted to him for life.

So thank you, thank you, thank you, Kishore Kumar for what you have given us. Speaking purely for myself, as someone who has been part of my life from my very early years, when I listened repeatedly to songs like “Mere Sapnon Ki Raani” and “Ye Shaam Mastaani” on the radio, your impact on my life cannot be described.

Now onto the song for today.

It is a totally new song for me. In fact I have never even heard of the film. Details, including lyrics of the song, have been sent to me by Avinash ji.

This is what he says :

“Zindagi Jeene Ke Liye-1984’ was directed by K.S. Sethumadhavan for ‘Tirupati Chitra Mandir, Bombay’. It was produced by Hastimal.

It had Rakhi Gulzar, Suresh Oberoi, Vijay Arora, Manmohan Krishan, CS Dubey, Krishan Dhawan, Shobhha Khote, Birbal Raj, Raj Kishore, Rakesh Roshan, Tina Munim, Master Rinku, Shah Chaturvedi, Raghvaiyya, Santosh Kumar, Lata Kashmiri, Dolphin and others. Deepa and Ramu make a guest appearance in this movie.

This movie was passed by Censor Board on 06.06.1984. However, the movie was re-certified by Censor on 15.12.1987 with a UA certificate (as mentioned in HFGK).

The movie has total seven songs, including the three-part song being presented today (as per HFGK Vol-VI 1981-1985) composed by Rajesh Roshan. HFGK mentions Rajesh Roshan as the lyricist for this movie and the same is mentioned on the vinyl cover of this movie available on online sources, which I guess is correct. (myswar.co also mentions the same). Asha Bhonsle, Kishore Kumar, Pankaj Udhas and Yesudas had given their voices to the songs in this movie.”

This film, ‘Zindagi Jeene Ke Liye’ (1984), makes its debut entry on this blog today.

The song itself is amazing. I’d never heard it before, but when I heard it for the first time a few days ago, it touched my heart. It also suits this occasion, as it talks of a person who feels he is ready to move on.

Please do listen to this wonderful song. Quite a gem, it is, especially in Kishore Kumar’s voice. Thanks for the song, Avinash ji.

Audio, All Parts

Video, Partial

Song – Udte Udte Pyaase Panchhi (Zindagi Jeene Ke Liye) (1984) Singer – Kishore Kumar, Lyrics – Indeevar, MD – Rajesh Roshan

Lyrics (Provided by Avinash Scrapwala)

Part 1

hmmm mmmm mmmm mmmm mmmm
hmmm mmmm mmmm mmmm mmmm

udte udte pyaase panchhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

ek nadi thhi pyaar ki
saari duniya byopaar ki
ek nadi thhi pyaar ki
saari duniya byopaar ki ee
raah roke apni khadi thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
maar daalegi ye bebasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye

Part 2

door jaa rahe hain
ke nainaa ro rahe hain
door jaa rahe hain
ke nainaa ro rahe hain
saanson ki na toote ladi ee
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

Part 3

haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
nas nas basi buzdili thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye ae

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

भाग १

हम्मम मम्मम मम्मम मम्मम मम्मम
हम्मम मम्मम मम्मम मम्मम मम्मम

उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि
एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि ई
राह रोके अपनी खड़ी थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
मार डालेगी ये बेबसी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए

भाग २

दूर जा रहे हैं
के नैना रो रहे हैं
दूर जा रहे हैं
के नैना रो रहे हैं
साँसों की ना टूटे लड़ी ई
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

भाग ३

हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
नस नस में बसी बुज़दिली थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए


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 :

4097 Post No. : 15243

“Bade Dil Waala”(1983) was produced and directed by Bhappi Sonie for Bhappie Sonie Productions, Bombay.This “social” movie had Rishi Kapoor, Tina Munim, Sarika, Aruna irani, Jagdeep, Madan Puri, Kalpana Aiyyar, Roopesh Kumar, Bharat Bhushan etc in it.

The movie had seven songs in it. Four songs from the movie have been covered in the past. Here is the fifth song from the movie to appear in the blog.

This song is sung by Kishore Kumar and chorus. Majrooh Sultanpuri is the lyricist. Music is composed by R D Burman.

This song is lip synced by Rishi Kapoor as a party song in the movie.

Audio

Video

Song-Aaya sanam aaya deewaana tera (Bade Dil Waala)(1983) Singer-Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Chorus

Lyrics

hey
aaya sanam
aaya deewaana tera
o sanam o sanam o sanam
hey aaya sanam aaya deewana tera
o sanam o sanam o sanam
anokha ishq mera
niraali aan baan
nishaane par ye dil hai
hatheli par hai jaan
o jaani o jaani o jaani o jaani
arre aaya sanam aaya deewaana tera
o sanam o sanam o sanam
o aaya sanam aaya deewaana tera

ru ru ru ru
ru ru ru ru
ru ru ru ru
ru ru ru ru
ru ru ru ru
ru ru ru ru
ru

wo hi nahin ya main hi nahin
ab yaar ki mehfil mein
main bhi to dekhoon
zor hai kitna
baazu-e-kaatil mein
tere peechhe jo main hoon
mere peechhe jahaan
ru ru ru ru
nishaane par ye dil hai
hatheli par hai jaan
o jaani o jaani o jaani o jaani
hey aaya sanam aaya deewaana tera
o sanam o sanam o sanam
o aaya sanam aaya deewaana tera

ru ru ru ru
ru ru ru ru
ru ru ru ru
ru ru
ru ru ru ru
ru ru ru

dekh raha main sar pe mere maut khadi muskaaye
phir bhi tujhko pyaar karoonga
jaan rahe ya jaaye
anokha ishq mera
niraali aan baan
ru ru ru ru
nishaane par ye dil hai
hatheli par hai jaan
o jaani o jaani o jaani o jaani
arre aaya sanam aaya deewaana tera
o sanam o sanam o sanam
hey aaya sanam aaya deewaana tera
o sanam o sanam o sanam
anokha ishq mera
niraali aan baan
nishaane par ye dil hai
hatheli par hai jaan
o jaani o jaani o jaani o jaani
hey aaya sanam aaya deewaana tera


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

Blog Day :

4093 Post No. : 15237 Movie Count :

4188

Just like so many more human endeavors, wherein the concepts and philosophical models of ‘-isms’ are all so correct and convincing, and their practical implications and implementations are so faulty and distorted that the discussions about the defects and flaws, also sounds very convincing in the hindsight.

Take Communism for example. The writings of Karl Marx, Friedrich Engels and Vladimir Illych Lenin – as they write about the class struggle between the ‘haves’ and the ‘have nots’, and lucidly present their ideas on how to address this social divide, for the betterment of humanity – are so very a convincing, palpable and substantial, that it is easy to be convinced about the failings and deficiencies of the capitalist / imperialistic model of the world order, which should be replaced everywhere with the model of Communist social order. When Marx passed away in 1883, the debate on this subject was quite vigorous both amongst the elite and the working class in the countries of Europe.

Not long thereafter, the revolution of the working class came about in 1917, in Russia, under the leadership of Lenin. A new model of state and governance, and a new social order was established. The history is replete with the narrative of violence and misery that accompanied this change, but the Communist movement had come on to stay. Over the next three decades, this model of a new social order spread to other neighboring states – towards the west of the erstwhile USSR, which formed the countries in eastern European bloc and towards the South East, i.e. China.

For all the populism and the PR that was a big budget activity in the USSR, the model did not quite stick for very long. Within our own lifetimes, we have witnessed the downfall of Communism in 1980s – the so called perestroika or restructuring of the social order and government in the USSR, now Russia. The theories of the great philosophers of the late 19th century, did not quite hold on together when implemented and the rubber met the road. Although China still holds out with their powerful Communist Party supported by their strong army, the Communistic form of social order did last, albeit just for about seven decades.

A similar pageant has played out and is playing out, in India. The ‘-ism’ that is associated with Mahatma Gandhi, that Munna Bhai so endearingly likes to call ‘Gandhi-giri’ (‘Lagey Raho Munna Bhai’, 2006), has seen its prime during the early decades of the twentieth century, and its subsequent devaluation in the closing decades of the same twentieth century. I remember – in the 1980s and 90s, around the time of his birth anniversary (2nd October) every year, one was treated to editorials and articles in newspapers, and panel discussions on Doordarshan, with titles that were variations on “The Relevance of Gandhi Today”. Even then, my mind used to react that as a society, we have apparently lost Gandhi and his ideals, if now that the intelligentsia is beginning to discuss the relevance. Just so strongly underscores the fact that the question of relevance comes to fore, when the storm of doubts and disbelief is surging strong in the society. That discussion still continues.

Where and what are the fault lines? I had read his autobiography – ‘The Story of My Experiments with Truth’ way back when I was in college. I was, and honestly I still am, deeply impressed, influenced, overwhelmed by honesty and simplicity with which he has laid bare his persona and his internal turmoils, his candid admissions of his faults, expressions of his ideals and idealistic resolutions, and the strength of character to personally follow and implement those ideals in practical life. It is a frightening tale of development of a human mind from the basic animalistic existence to literally a sainthood. 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”

A time was, at the turn of the century, when the nation was seeking a simple philosophy in leadership. Here was a teacher, who did not just teach. In fact he refused to teach or direct others, for things that he himself had not practiced and not lived through himself. A hallmark of a true saint, whose existence within his own mind, and as seen by those around him, is starkly the same. My readings about the Tolstoy Farm that he established in South Africa in 1910, are such an impactful influence. And also a conviction that this soul is an honest and truthful spiritual leader, who will not lead his flock astray for personal or ideological gains.

For all his goodness and his saintly leadership of the people, his words and his teachings stand at crossroads today. The retinue of his followers diminishing over time, and bevy of protesters calling out their criticisms and insults – their tribe is incessantly increasing. Where is the fallacy? Is there an aberration that we see on the radar of history?

A lot has been written and continues to be written about him. But I really wonder how many of us are actually, really reading him. He has written extensively, and not just one book. His complete works including his articles and speeches, will form a complete section of a good size library. Many years ago, maybe more than three decades ago, I read the following in one of his articles printed in 1927 in the journal ‘Young India’. Countering all that I had read till then, and had been hearing about his philosophy of ahimsa (non-violence), here was a paragraph that stunned me with its clarity of thought and perfection of logic.

“My creed of non-violence is an extremely active force. It has no room for cowardice or even weakness. There is hope for a violent man to be someday non-violent, but there is none for a coward. I have therefore said more than once in these pages that if we do not know how to defend ourselves, our women and our places of worship by the force of suffering, i.e., nonviolence, we must, if we are men, be at least able to defend all these by fighting.”

All his life, he incessantly tried to differentiate for his followers, the distinction he made between non-violence and cowardice. In the same journal, in another article, even earlier in 1920, he writes,

“I do believe that, where there is only a choice between cowardice and violence, I would advise violence…. But I believe that non-violence is infinitely superior to violence, forgiveness is more manly than punishment. Forgiveness adorns a soldier. But abstinence is forgiveness only when there is the power to punish; it is meaningless when it pretend to proceed from a helpless creature.”

At another place, his words on this same theme are

“Where choice is set between cowardice and violence, I would advise violence. . . I prefer to use arms in defense of honor rather than remain the vile witness of dishonor. . .”

Are we, in this age and these circumstances, aware of this strong advocacy of the above distinction he makes between the oh so terribly misunderstood themes of non-violence vs cowardice? And are we teaching, nay even projecting the correct understanding of all that this great soul stood for all his life?

The generation that had spent time with him, that had experienced his influence and his aura first hand, is already relegated to history. Well, almost. The survivors of that generation are very few. In another few years, maybe a decade or so, we shall not be hearing of a Gandhian anymore. For the newer crop of followers that we see, Gandhi is more of a political crutch, and face to be put on the currency notes, nothing much more than that.

Where lies the answer to the ‘WHY’ connected with this scenario? I do not know. There are many an ill of the human tendencies and human traits that we can expound to explain. But probably the answer lies deeper – deeper inside the very constitution of this existence itself. A simple axiom that makes up the destiny of everything that we can observe. Simply put – everything decays. Ensconced in these two simple words is the terrible and profound truth that applies to everything in this universe, and to the universe itself. I will posit it from two different directions that I am aware of.

One – our scriptures. It is written in our scriptures, in the sections where the creation of this universe is described, that when He created this universe, it was perfect, in every possible way that can be thought of. But this perfection lasted for just that first instant of creation. This perfect universe started to decay in the very next instant. It is stated so, in our books. And this decay encompasses everything that is material and even non-material in existence. That is the progression of the ‘yugas’ (eras) that we are so familiar with in our scheme of the universe and its passage through time. The good shall diminish and the things will always be progressively worse.

Two – from the perspective the study of the physical nature of this universe as a subject – Physics. There is a branch of this study called Thermodynamics, which deals with the energy within a system, and all aspects related to it. This branch of physics was formalized as a subject through the research work, both physical and philosophical, of scientists in the 18th and 19th centuries – names like Count Rumford, Sadi Carnot, William Thomson, Gibbs, James Maxwell etc. Based on their works, this branch now has a set of laws called the Laws of Thermodynamics, which are time tested and form the foundations of a huge segment of physical sciences. The second of these laws has a very simple, very interesting statement, and a very profound implication for the entire universe itself. The law states that –

“The total entropy of an isolated system can never decrease over time.”

The key element to understand in this statement is ‘entropy’. Simply defined, entropy is the measure of the state of disorderliness in a physical system. Going by this law, a deduction that can be inferred immediately is that in any physical system, the disorderliness will always increase with time. To put it even more simply, and bluntly, every system will always and only, decay with time. That brings us back to a concurrence with the assertions contained in our scriptures.

And so, as with everything, the social systems will also decay with time. I am sure I do not need to explain this statement further. People with awareness of history, and also, the awareness of the experiences of a lifetime, will concur.

Truth, however, remains unchanged. In all the rigmarole of the eras and human evolution, and the transitions of history that we are aware of, the only thing that remains unchanged is the Truth. In Hindi, the word is ‘सत्य’ which comes from the root ‘सत्’. If I may draw an analogous word from the English language, it would be ‘stat’ or ‘static’, which also means – un-moving, at rest, unchanging. Truth, in this creation, and as a conceptual idea, remains static unchanged, in this tumultuous ocean of creation that is eternally in a chaos of constant change and decay.

The concept of this unchanging Truth is discussed and described quite at length in our scriptures. A basic characteristic of this Truth is that not just that it is unchanging, but it is also inert and passive. It does not DO anything. It just IS.

That thread now brings us back to the Mahatma again. Here is one person who realized quite early in life, the nature of this Truth, as is evident from the title of his autobiography – ‘The Story of My Experiments with Truth’. Understanding the passive and inactive nature of Truth, he set out on a journey to experiment with it, to understand it better. That realization, and his unflinching endeavor to pursue and investigate it, is what makes him stand out as a giant amongst men. He belongs to that list of a handful people in the history of the human civilization who have raised this query within themselves, and have encountered the answer. For that, he is a Mahatma – the extraordinary soul, and a notch above the Atma – the ordinary souls, who can be counted in millions.

The song being presented today, belongs to the 1978 film ‘Nasbandi. The period of history covered in this film is that of June 1975 to January 1977, during which Emergency was proclaimed in our country. I am not going into the politics behind this episode. Enough to say that in 1977, when the elections were held, the powers that proclaimed and benefitted from this state of emergency, lost, and a new political equation was written into history of India. The film deals with the topic of forced sterilization of menfolk, one of the key ingredients of the political battle in 1977.

The film is produced by Johar Films, and is directed by IS Johar. The name is sufficient to give an idea of what kind of a comical spoof this film is. Especially when we have IS Johar and Rajendranath playing the lead roles.

Geet Kosh lists seven songs for this film, written by Indeewar, Rajendra Krishan and Hullad Muradabaadi. This particular song is written by Indeevar and the music is composed by Kalyanji Anandji. This is a background song in the film, rendered by Kishore Kumar.

The song is a regretful complaint about the state of the nation, and a supplication to the Mahatma – as to the social and political conditions prevailing. That the dream of a disciplined and amiable social edifice that the Mahatama had envisioned, was in shambles. The instances of regrets are many, and the passing years and decades, have only added to them. None of them have been is taken away.

And that brings us back to the thread of the continuous decay, everywhere.

The philosophies and the visions of great men are like beacons of light in the thick fog of chaos and uncertainty that this universe, this existence is. And that existence is steadily moving towards more chaos, more uncertainty. That is the nature of existence itself. These great men – Nanak, Buddha, Abraham, Moses Prophet Mohammed, Christ, Socrates, Gandhi, Zoroaster, Kabeer, and many more – have been the extraordinary souls that have realized the Truth of this existence. Their messages to the humankind are an effort to make more of us ordinary souls understand this path, and its goal. But this world is what it is. Despite that so many extraordinary souls have visited and tried to spread this message. Or maybe, we can say that this world is what it is today, because of these enlightened souls – it would have been even a worse present, had these men not visited this earth.

O Gandhi, the vision of society that you shared with us, lies unread in books no one reads anymore, in libraries that no one visits any more.

And thieves have stolen the ‘बकरी’ (goat) whose milk had nourished your soul.

Song – Gandhi Tere Desh Mein Ye Kaisa Atyachaar  (Nasbandi) (1978) Singers – Kishore Kumar, Lyrics – Indeewar, MD – Kalyanji Anand ji
Chorus
Kishore Kumar + Chorus

Lyrics

janta ki awaaz hai ye
sun le o bapu gandhi
ye kaisa hahaakaar desh mein
ye kaisi aag ki aandhi

kahaan gayi wo teri ahinsa. . .
kahaan gayi wo teri ahinsa
kahaan gaya wo pyaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar
ek bharat mein ban gaye
jalianwaale baagh hazaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

tu ne jab awaaz lagaai..ee..ee
saara hindustan utha
saara hindustan utha
angrezon ke dil bhi dehle..ea..ea
aisa ik toofaan utha
aisa ik toofaan utha
khushi khushi tere kehne par
bharatwaasi jail gaye
seene par goli jhel gaye
apne praanon par khel gaye
apne praanon par khel gaye
naam pe tere par laakhon jawaan
duniya ke sab sukh bhool gaye
dulhan ka ghunghat bin khole hi
phaansi par jhool gaye
phaansi pe wo jhool gaye
tu swaraaj le aaya. . .
tu swaraaj le aaya
hum to phir bhi rahe lachaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

azaadi ki jung ladaa tha
isi liye kya hindostan
isi liye kya hindostan
arey nyaye maangne nyayaalay mein
ja na sakey koi insaan
ja na sakey koi insaan
kitne hi nirdosh yahaan
misa ke andar band huye
andhe kuen mein kitne hi
azaad samandar band huye
azaad samandar band huye
ismat loota karte hain jo
ban kar raaj ke pehredaar
apni satta rakhne ko jo
chheene janta ke adhikar
chheene janta ke adhikar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

dekhi kahin kalam-bandi
dekhi kahin zubaan-bandi
dekhi kahin zubaan-bandi
darr ki hukumat har dil par bhi
saara hindostan bandi
saara hindostan bandi
nasbandi ke naam pe zulm huye
wo dukhion deenon par
lagta tha latka ho jaise
prajatantr sangeenon par
prajatantr sangeenon par
prajatantr sangeenon par
turkmaan wo gate aasmaan
toota jahaan zameenon par
chala diye bulldozer jab
bebas logon ke seenon par
bebas logon ke seenon par
bebas logon ke seenon par
apnon ke haathon hi..ee..ee..ee
apnon ke haathon apnon pe
goli ki bauchhaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

saare desh par zulmon sitam ke
ghor andhere jab chhaaye
ghor andhere jab chhaaye
tab prakash ki kirnen le kar
jai prakash aage aaye
jai prakash aage aaye
gandhi tere naam ki
ab hogi jai jaikaar
gandhi tere name ki
ab hogi jai jaikaar
arey jo bhi hukumat zulm karegi
uski hogi haar
jo bhi hukumat zulm karegi
uski hogi haar

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

जनता की आवाज़ है ये
सुन ले ओ बापू गांधी
ये कैसा हाहाकार देश में
ये कैसी आग की आँधी
कहाँ गई वो तेरी अहिंसा॰ ॰ ॰
कहाँ गई वो तेरी अहिंसा
कहाँ गया वो प्यार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार
एक भारत में बन गए
जालियाँवाले बाग हज़ार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

तूने जब आवाज़ लगाई
सारा हिन्दोस्तान उठा
सारा हिन्दोस्तान उठा
अंग्रेजों के दिल भी दहले
ऐसा एक तूफान उठा
ऐसा एक तूफान उठा
खुशी खुशी तेरे कहने पर
भारतवासी जेल गए
सीने पे गोली झेल गए
अपने प्राणों पर खेल गए
अपने प्राणों पर खेल गए
नाम पे तेरे लाखों जवाँ
दुनिया के सब दुख भूल गए
दुल्हन का घूँघट बिन खोले ही
फांसी पर झूल गए
फांसी पे वो झूल गए
तू स्वराज ले आया॰ ॰ ॰
तू स्वराज ले आया
हम तो फिर भी रहे लाचार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

आज़ादी की जंग लड़ा था
इसीलिए क्या हिन्दोस्तान
इसीलिए क्या हिन्दोस्तान
अरे न्याय मांगने न्यायालय में
जा ना सके कोई इंसान
जा ना सके कोई इंसान
कितने ही निर्दोष यहाँ
मीसा के अंदर बंद हुये
अंधे कूंए में कितने ही
आज़ाद समंदर बंद हुये
आज़ाद समंदर बंद हुये
इस्मत लूटा करते हैं जो
बन कर राज के पहरेदार
अपनी सत्ता रखने को जो
छीनें जनता के अधिकार
छीनें जनता के अधिकार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

देखी कहीं कलम-बंदी
देखी कहीं ज़ुबान बंदी
देखी कहीं ज़ुबान बंदी
डर की हुकूमत हर दी पर भी
सारा हिन्दोस्तान बंदी
सारा हिन्दोस्तान बंदी
नसबंदी के नाम पे ज़ुल्म हुए
वो दुखिओं-दीनों पर
लगता था लटका हो जैसे
प्रजातंत्र संगीनों पर
प्रजातंत्र संगीनों पर
तुर्कमान वो गेट आसमान
टूटा जहां ज़मीनों पर
चला दिये बुलडोज़र जब
बेबस लोगों के सीनों पर
बेबस लोगों के सीनों पर
बेबस लोगों के सीनों पर
अपनों के हाथों ही॰॰ई॰॰ई॰॰ई
अपनों के हाथों अपनों पे
गोली की बौछार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

सारे देश पे ज़ुल्म ओ सितम के
घोर अंधेरे जब छाए
घोर अंधेरे जब छाए
तब प्रकाश की किरणें ले कर
जयप्रकाश आगे आए
जयप्रकाश आगे आए
गांधी तेरे नाम की
अब होगी जय जयकार
गांधी तेरे नाम की
अब होगी जय जयकार
अरे जो भी हुकूमत ज़ुल्म करेगी
उसकी होगी हार
जो भी हुकूमत ज़ुल्म करेगी
उसकी होगी हार


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.

Important Announcement

(© 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

15707

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4325

Total visits so far

  • 13,597,994 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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