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

Archive for the ‘NFS’ Category


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

Blog Day :

3997 Post No. : 15093

Mohammed Rafi : The Incomparable (II) – Song No. 12
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This particular ghazal, as some other Mirza Ghalib ghazals, has been sung by various singers.  Some of the famous renditions by KL Sehgal Sb, Suraiyya and also by Jaddanbai are already posted in the blog:

https://atulsongaday.me/2012/11/20/nuktaa-cheen-hai-gham-e-dil/      KL Sehgal (‘Yahudi Ki Ladki’, 1933)

https://atulsongaday.me/2010/04/17/nukta-cheen-hai-gham-e-dil/        Jaddanbai (Non-Film song, 1930)

https://atulsongaday.me/2011/03/13/nukta-cheen-hai-gham-e-dil-2/         Suraiyya  (‘Mirza Ghalib’, 1954)

Another rendition of the golden era is yet to find its way into the blog, so here is the Rafi Sahab rendition.  This is a very small simple ghazal with only the four sha’irs being rendered.

The starting word is ‘nuktaa cheen’, which means to be critical or criticism of something or someone.  The word ‘nuktaa’  in common urdu actually means ‘a point” or ‘a dot’.  In geometry it used to be ‘nukta alif’ to ‘nukta bey” as in point A to point B.

Nukta cheeni as being critical of someone or something, ably comes out in this sha’ir by Qateel Shifai :

wohi to sab se zyada hain nukta cheen mera
jo muskura ke hamesha gale lagaye mujhe 

Here the word is used in the sense of ‘being critical of someone”.  But Ghalib says “nuktaa cheen hai gham-e-dil”, he means to use the word in the other English meaning of the word i.e. cirtical, as in serious ill or a critical condition of health.  I have always felt like this about this sha’ir.  Did Ghalib have knowledge of the English word for ‘nukta-cheeni’ and also its another usage, i.e. critical ?  Who can say!  It is more likely that ‘nukta cheen’ is a Persian origin word meaning critical, as in health condition.

Actually this blog has quite a few anecdotes about Mirza Ghalib recorded in the write-ups and comments. Those who wish to know more can read the comments on this page : https://atulsongaday.me/2011/02/23/aah-ko-chaahiye-ik-umr-asar-honey-tak/  including anecdote regarding this sha’ir :

banaa hai shah ka musaahib phire hai itraata
w
agarna shehar mein ghalib ki aabroo kya hai

 Also a few more things that I can recite from memory high lighting the legendary poets talent for ‘fil-ba-dih” replies  i.e. quid pro que replies, what we mean when we say tit-for-tat.

Once Ghalib was taking a walk in the garden with the Emperor (Bahadur Shah Zafar) a few days after the holy month of Ramazaan.  The Emperor asks him “Roze kitne rakkhe ?”.

Ghalib who is known for not observing the religious obligations, was ready with his reply “huzur, ek nahi rakkha”.  Perfect example of telling the truth yet not saying it.

Mirza Ghalib was said to be very fond of mangoes.  Once he was sitting down with friends and eating mangoes to the heart’s content.  They all kept eating the mangoes and throwing the peel (chhilka) to one side.  One among them who didn’t like mangoes was not eating.  Some donkeys happened by and they made towards the mango peels, but did not eat them.  The person who was not eating the mangoes, took the opportunity to ridicule the others including Ghalib, saying that “ke dekho aam to gadhe bhi nahin khaate”.  To this Ghalib had the last word saying “gadhe hi aam nahin khaate”.

It has now been a few years since I had any meaningful, at length discussion with my cousins, uncles or even friends in live discussions.  Since we grew up and became responsible persons in our lives, we all seem to meet on occasions, for a few short hours or days if we are lucky.  And since most of my cousins are staying abroad, and lone friend from my school days is staying in faraway place, I miss this type of discussions.

It’s really funny how some conceptions or misconceptions are formed in mind and are difficult to dislodge. There are a few such instances related to words, where I carried misconceptions that were later corrected.  One was about the Urdu word ‘habshi’ (meaning – a person belonging to the Habsh tribe of North Africa, a dark coloured person).  I read the word as ‘Jashi”, since both words have the same formation as written in Urdu, except for placement of the dot below the alphabets. the ‘hai in ‘habshi’ is the same in the word as ‘jeem’, except for the dot below ‘jeem’. Actually the dot below the next alphabet ‘be’ may have looked like it below ‘hai’ and I read it as ‘jeem’ and read the word as ‘jashi’ to begin with, and the first impression stuck.

It was as late as 1981, when the film ‘Razia Sultan’ was released, and I became aware of my mistake.  My elder sister had a hearty laugh at that time and she told the joke to her friends too. 🙂

Next such thing happened to me with the song “Mera Mann Tera Pyaasa” from Gambler (1971). In this song there is this stanza :

 

zindagi hai meri ik daao
tu hai haar jeet meri
aise waise jaise bhi tu khel ham se
jaisi marzi teri …..

This is one of my favourite Rafi/SDB song, but I thought the lines were:

zindagi hai meri ik daao
tu hai ‘haathhi’ meri

It must have been as late as 2003-04 when I was disabused of the fact that the word was ‘haar jeet’ and not ‘haathi’, by my friends in office.  I took pain to explain how I could have thought of a ‘haathi’ in this line, mainly that since there is daao in first line, it can be a chess game and hence the haathi !  The friends managed not to double over with mirth 🙂 .

Having come to this song, I can leave it without quoting the last stanza :

pataa nahin kaun hoon main
kyaa hoon aur kahaan mujhe jaanaa
apni wo kahaani jo ajaani
ho ke ban gayi, fasaanaa
jeewan kyaa hai, tamaashaa
meraa man tera. . .

Here is this non-film ghazal rendered by Mohammed Rafi Sahab, which is composed by Khayyaam. Each and every word is rising from the throat as rose petals, falling on water – so light and slow, floating in the air first and resting on the water to swim.

This voice – a gift from the Almighty and a favour for mankind. . .

[Ed Note: This recording is from the LP released by HMV in 1967 on the occasion of the birth centenary celebrations of Mirza Ghalib. This is a very special LP – music by Khayyaam, singing voices of Begum Akhtar and Rafi Sb, narration by Kaifi Azmi and sleeve notes prepared by Ali Sardar Jafri. In current times, this LP has become a collector’s item.]

Song – Nukta-cheen Hai Gham e Dil, Us Ko Sunaaye Na Baney (NFS – Mohammed Rafi) (1967) Singer – Mohammed Rafi, Lyrics – Ghalib (Traditional), MD – Khayyaam

Lyrics 

nuktaa-cheen hai gham-e-dil
us ko sunaaye na baney ea ea
kya baney baat jahaan
baat banaaye na baney ea ea
nuktaa-cheen hai gham-e-dil

khel samjha hai kahin
chhod na de bhool na jaaye
kaash yoon bhi ho ke 
bin mere sataaye na baney ea ea
kaash yoon bhi ho ke

bojh wo sar se giraa hai ea
ke utthaaye na utthe ea ea
kaam wo aan padaa hai
ke banaaye na baney ea ea
kaam wo aan pada hai

ishq par zor nahi  
hai ye wo aatish ghaalib
ke lagaaye na lagey
aur bujhaaye na baney ea ea
ke lagaaye na lagey
aur bujhaaye na baney ea ea
nuktaa-cheen hai gham-e-dil

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Hindi script lyrics (Provided by Nahm)
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नुकता चीं है ग़म-ए-दिल
उस को सुनाये न बने ए ए
क्या बने बात जहां
बात बनाए न बने ए ए
नुक़ता चीं है ग़म-ए-दिल

खेल समझा है कहीं
छोड़ न दे भूल न जाए
काश यूँ भी हो के
बिन मेरे सताये न बने ए ए
काश यूँ भी हो के

बोझ वो सर से गिरा है ए
के उठाये न ऊठे ए ए
काम वो आन पड़ा है
के बनाए न बने ए ए
काम वो आन पड़ा है

इश्क़ पर ज़ोर नहीं
है ये वो आतिश ग़ालिब
के लगाए न लगे
और बुझाए न बने ए ए
के लगाए न लगे
और बुझाए न बने ए ए
नुकता चीं है ग़म-ए-दिल

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This article is written by nahm, 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 : 3930 Post No. : 15001

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 11
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Mohammed Rafi : The Incomparable (II) – Song No. 09
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Another momentous occasion, another celebratory post and I was feeling lost. Where was the inspiration ? I saw the e-mailer for the celebration posts planned, just after I had prepared and submitted a post for another song(yet to be posted). This post took a whole three weeks to complete. I am actually not happy writing posts this way. I prefer to write the complete post, in one go. I may look at it 2-4 times and make certain corrections/improvements if required before submitting the post. If I am forced to take breaks while writing the posts, than it takes forever to complete the job.

Fresh instructions were issued to write a post and send it ASAP 🙂 . Incidentally, this acronym is three quarters same as ASAD. ASAD means “Lion” in Arabic and Urdu. I tried to find if this word has a meaning in any other language and found on Google that it means “shubha Mahurat” in Hindi. How appropriate is all this !

On receipt of the above ASAP request, I informed the kaptan’s that I can send a post only next week. They were given no other option but to agree 🙂 .

Than I suddenly remembered the song which had brought me to the blog back in 2010. Predictably it was an illusion of a Rafi song. Why I call it an illusion is that there are just signs of it existing, but so far it has not surfaced. As per some online comments I had gathered this information that Rafi Sahab had rendered this Poem by Pradeep “Khud jiyo auron ko bhi jeene do” for a documentary film made by films division of India. In this document Prithvi Raj Kapoor is shown singing this peom in a class room. I chanced upon this blog in January 2010 while looking for the full lyrics of this poem.

Last week I again searched for any more clues about this rendition by Rafi Sahab and found that a documentary named “khud jiyo auron ko bhi jeene do” was listed in the archives of Films Division of india. This raises hopes that this song exists. So I have requested Sudhir Sir to try to find it.

But this celebration post cannot wait and it started on the blog and I needed a special song for this. Four posts on this 15KSMC have already appeared , awesome songs and posts by Peeviecee’s Mom, Avinash Ji, Shenoy ji and Ava ji. In my own searches and looking for inspiring song, I have just skimmed by these articles and not been able to give comments. All of these were relatively newer songs, so I looked for an old song. I found one Rafi Solo from the 50’s which should have been here already.

But just as I was trying to introspect and decide how to start the post and what to write in it, I remembered this endearing philosophical song rendered by Rafi Sahab in English. The song exhorts us to remember that the world is one and that we share one earth, sky and sun. For all that we know, we are alone in the universe. The universe out there is huge, mean and dangerous. It makes sense for the dwellers of this planet to stick together and not try to wipe each other out from the face of the earth. The past Civilizations of the bygone eras were destroyed due to natural calamities and due to excesses committed by humanity. There are traces of these bygone civilizations, some of which were literally rotten to death. There are continents on this earth, where the entire aboriginal races were eliminated to cater to the human greed of the so called civilized races. That was the era where the strong destroyed the weak for greed of land and resources and wealth.

Now the continents of the world and its controllers are invested in each other and are dependent on each other for accumulation of their virtual wealth and power. And the nation states of the modern world are sailing in the same seas. It is the financial interests of the market forces of modern civilsation, that guide the national pride and the fervor of strategically important market places. In this wider picture also the old adage “united we stand, divided we fall” holds good.

The lyrics of the song are written by Harindernath Chattopadhyay, to suit the meter of the song ‘Bahaaron Phool Barsaao” arguably the most popular song ever. The composers of these iconic songs are Shankar-Jaikishan.

The earnest and honest rendition by Rafi Sahab is to be heard and absorbed in the heart. This is Rafi Sahab singing in an unfamiliar language. He used write down the lyrics in urdu, which is the only language he knew to read and write. A humble person is showing us a wider picture in the mirror.
He tries to make us see ‘ A world his dignity demands. ‘ The Almighty creator looks at the world as one, so remember friends the world is one. And most major monotheistic religions of the world also believe that the human race is created from a single male and female.

So the Rafi song from 1950’s, which is my favorite period for widest range of Rafi Sahabs songs, will wait for its turn in this series. Just a reminder to myself, that I need to write a post each to commemorate 100 years of Majrooh Sultanpuri, Kaifi Azmi and Shamshad Begum.

Meanwhile, to all those connected with blog, my fellow contributors and the kaptans, I extend heartiest congratulations on this milestone of 15000 songs, and wish that we all find the gems we look for in the musical khazana.


Song-Remember friends the world is one (Rafi NFS)(1970) Singer-Mohammed Rafi,Lyrics-Harindernath Chattopadhyay, MD-Shankar-Jaikishan

Lyrics

although we hail from different lands
we share one earth and sky and sun
remember friends the world is one
although we hail from different lands
we share one earth and sky and sun
remember friends the world is one

we want all enmity to cease
for we want peace
we all want peace
we want no hate
we want no strife
since we were born
for love and life

come let us chant while joining hands
we shall not rest till wars are done
remember friends the world is one
although we hail from different lands
we share one earth and sky and sun
remember friends the world is one

we have met here to dream and build
we want our dreams to be fulfilled
we have come here to dream and plan
a world of joy and hope for men
a world His dignity demands
a world that we shall see begun
remember friends the world is one

although we hail from different lands
we share one earth and sky and sun
remember friends the world is one


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

Blog Day : 3874 Post No. : 14895

Mohammed Rafi : The Incomparable (II) – Song No. 07
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I remember during the radio days, whenever a non filmy song programme would start, we would shut down the radio.  Now it was time to play or to do some study seriously or even watch TV.  The time for all of these things was limited.  Entertainment was available only on its time with fixed hours and no more, because even if we were free the friends will be called home and play time was over.  Time spend with friends in the colony playing or just doing gup-shup was precious.

One Doordarshan showed, programs in English, Marathi and Gujarati in variety of topics, kids shows, game & sports, filmy shows, quiz shows, songs etc.  There used to be a program even for farmers called ‘Aamchi Maati Aamchi Manasa” (Our Soil and Our People).  Childrens shows such as ‘Aao Maare Saathe’ and ‘Santa Kukdi’ are there in the memory.  Shows like Sabira Merchants ‘Whats the Good Word’ and Tabassum’s ‘Phool Khile Hain Gulshan Gulshan’ and some shows by Yaqub Saeed are also in the recesses of deep memory.

Now everything is available anytime anywhere, with no fixed hours.  Unlimited everything and I am back to the same theme of technology being good, but too much dependence on it is not so good.  Its advancement are there for the human use, but what is happening all around is the other way round.  The technology of internet /wi-fi is occupying the total collective human waking time and imagination.  In fact there is nothing left to imagination, all of it is on display, so to speak.

Now back to what I was saying in the first paragraph.  So sugam sangeet and anyhting non-filmy was a no-go zone as far as I can remember.  I think it was my older sister who found those geet/songs drama shows like ‘Hawal Mahal’ etc. boring.  So Vividh Bharati and All India Radio Urdu Service, both were only used to … listen to film songs. 🙂  Now I realise that this way I missed out on the non-film songs of various singers including those of Rafi Sb.  Even Radio Ceylon was only for Binaca Geet Mala, and nothing else.  So I had zero exposure of non film songs till those private videos started on television, for popularising the private music albums.  Since my association with the blog I have learnt to appreciate the non-film songs and geets a lot better.

This post is to revive a series on Rafi Sb which I had started in 2016. The last post (no. 6) appeared in the blog on 31.07.2016, which was song No. 06 – Hum To Chale Pardes Hum Pardesi Ho Gaye.

Now his song no. 07 is a non-film ghazal which is written by Mirza Ghalib and composed by Khayyaam Sb.  And rendition is by the one and only Rafi Sb.  This is taken from the LP ‘Ghalib – Portrait of a Genius’, which was released by HMV in 1968 on the occasion of the birth centenary celebrations of this poet genius.

This is a popular ghazal and there are many renditions by other singers too.  They seem to have been circumspect in selecting the ‘asha’ar’ to include in the rendition as have Khayyaam and Rafi Sb.  This ghazal was made popular also by Gulzar Sahab, when he used a sha’ir from this ghazal for the mukhda of the song ‘Dil Dhoondta Hai Phir Wohi‘ in ‘Mausam’ (1975).

About the rendition what can one say that has not been said before.  Words are inadequate as the listeners can listen and realise.


Song – Muddat Hui Hai Yaar Ko Mehmaan Kiye Huye (NFS) (1968) Singer – Mohammed Rafi, Lyrics – Mirza Ghalib, MD – Khayyaam

Lyrics

muddat hui hai yaar ko mehmaan kiye huye..ea
josh-e-qadah se bazm charaghaan kiye huye..ea
muddat hui hai yaar ko. . .

maange hai phir kisi ko lab-e-baam par hawas 
maange hai phir kisi ko lab-e-baam par hawas 
zulf-e-siyaah rukh pe pareshaan kiye huye..ea
zulf-e-siyaah rukh pe. . .

ik nau bahaar-e-naaz ko taake hai phir nigaah
chehra farogh-e-mai se gulistaan kiye huye..ea
chehra farogh-e-mai se. . .

ji dhoondhtaa hai phir wohi fursat ke raat din
ji dhoondhtaa hai phir wohi fursat ke raat din
baitthe rahe tasavvur-e-jaanan kiye huye..ea
baitthe rahe tasavvur-e. . .

‘Ghalib’ hamen na chhed ke phir josh-e-ashk se..ea
baitthe hain ham tahaiyya-e-toofan kiye huye..ea

muddat hui hai yaar ko mehmaan kiye huye..ea..ea

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

मुद्दत हुई है यार को मेहमां किए हुये॰॰ए
जोश ए क़दाह से बज़्म चरागां किए हुये॰॰ए
मुद्दत हुई है यार को॰ ॰ ॰

मांगे है फिर किसी को लब ए बाम पर हवस
मांगे है फिर किसी को लब ए बाम पर हवस
ज़ुल्फ ए सियाह रुख पे परेशान किए हुये॰॰ए
ज़ुल्फ ए सियाह रुख पे॰ ॰ ॰

इक नौबहार ए नाज़ को ताके है फिर निगाह
चेहरा फ़रोग़ ए मय से गुलिस्ताँ किए किए हुये॰॰ए
चेहरा फ़रोग़ ए मय से॰ ॰ ॰

जी ढूँढता है फिर वही फुर्सत के रात दिन
जी ढूँढता है फिर वही फुर्सत के रात दिन
बैठे रहे तसव्वुर ए जानां किए हुये॰॰ए
बैठे रहे तसव्वुर ए॰ ॰ ॰

ग़ालिब हमें ना छेड़ के फिर जोश ए अश्क से॰॰ए
बैठे हैं हम तहइय्या ए तूफाँ किए हुये॰॰ए

मुद्दत हुई है यार को मेहमां किए हुये॰॰ए॰॰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 : 3873 Post No. : 14892

Today (24 february 2019) is the 95th birth anniversary of Talat Mehmood (24 February 1924-9 May 1998).

Talat Mehmood sang some 450 songs in all which includes HFM as well as NF songs. This blog contains 377 of his songs. So we are only about 70 odd songs short of covering all Talat Mehmood songs in the blog.

Today, on this occasion, here is a non film song of Talat Mehmood. Like most NFS, this song too has superb lyrics which are penned by Jigar Muradabadi. The song is composed by Iqbal. The date of release in not known, and I have assumed it to be 1960.

This is a Talat Mehmood song that I heard for the first time only just now, when I realised that today was Talat Mehmood birth anniversary.

Lots of me to Ghazal singers came up on the scene in later decades, but it is Talat Mehmood was the original pioneer of this genre of songs. And it can safely be said that few other ghazal singers can cast a spell over their listeners as Talat Mehmood can. Here is this ghazal as a ready proof.


Song-Bekaif dil hai aur jiye ja raha hoon main(Talat Mehmood NFS)(1960) Singer-Talat Mehmood, Lyrics-Jigar Moradabadi, MD-Iqbal

Lyrics

Bekaif dil hai aur
jiye ja raha hoon main
Bekaif dil hai aur
jiye ja raha hoon main aen
khaali hai sheesha
aur piye jaa raha hoon main aen
khaali hai sheesha
aur piye jaa raha hoon main aen
Bekaif dil hai ae

majboori e kamaal e muhabbat to dekhna aa aa
majboori e kamaal e muhabbat to dekhna aa aa
jeena nahin qubool
jiye jaa raha hoon main aen
Bekaif dil hai ae

wo dil kahaan hai
abke jise pyaar keejiye ae ae
wo dil kahaan hai
abke jise pyaar keejiye ae ae
majbooriyaan hain
saath diye ja raha hoon main aen
Bekaif dil hai ae ae

pehle sharaab jist thhi
ab jist hai sharaab
pehle sharaab jist thhi
ab jist hai sharaab
koi pila raha hai
piye ja raha hoon main
Bekaif dil hai aur
jiye ja raha hoon main aen
Bekaif dil hai ae ae


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3809 Post No. : 14805

I am presenting a non-filmi ghazal recorded sometime in the early 1940s which I had heard a few years back. But after a long gap, this ghazal resurfaced when I was looking for information on the music director Chitta Roy in the context of one of the songs, aayi jawaani aayi aayi composed by him. The ghazal is ‘gham-e-zindagi kaa yaa rab na milaa koi kinaaraa’ (1940) sung by Talat Mehmood. Chitta Roy composed the music for this ghazal. The shaayar of this ghazal has been mentioned as I A Minai or Idris A Minai, a name I heard for the first time.

Despite searching extensively on the internet, I could not get even the basic information about Idris A Minai. A Google search on him gave information mostly about Ameer Minai, a well-known classical Urdu poet of the 19th century whom the current generation of fans of ghazals identify with his popular ghazals like ‘sarakati jaaye re rukh se naqaab aahista aahsta’ and ‘jab se bulbul tu ne do tinke liye’. There was, however, one name ‘Khalid Minai’ which appeared on a Google search as a Facebook page. A surprise was in store for me when I opened the page. Khalid Minai was none other than Idris A Minai who had adopted ‘Khalid’ as his nom de plume. The Facebook page, started by his son on the occasion of his 100th birth anniversary has a detailed biography of Idris A Minai. I have majorly edited his biography from the Facebook page – Khalid Minai, to make it concise. The edited version follows as under:

Idris Ahmad ‘Khalid’ Minai (29/08/1916 – 08/02/2008) was the grandson of the great Urdu poet and scholar, Ameer Minai (1827 – 1900) and the son of Mohammad Ahmad Minai and Raees Fatima. He was born in the “Purani Khandsar” quarter of the State of Rampur, (now in Uttar Pradesh) where both Ameer Minai and his son Mohammad Ahmad Minai served as high officials of the State of Rampur. The family who had settled in Rampur since 1858, moved to Hyderabad (India) in 1937 shortly after the death of his father, Mohammad Ahmad Minai.

Idris Minai completed his BA from Allahabad University in 1937, and MA in Economics from Osmania University, Hyderabad, in 1940. After a stint as a journalist for the paper “Payaam”, edited by Qazi Abdul Ghaffar, Idris Minai joined the Hyderabad State Bank (now State Bank of Hyderabad) in 1941, serving as the branch chief in Aurangabad (now in Maharashtra).

After Partition, Idris Minai was the first of the seven Minai brothers to move to Pakistan in 1948. After working in the State Bank of Pakistan for 2 years, he moved to the then newly formed National Bank of Pakistan – Pakistan’s first official commercial bank. Over the next twenty years, he served the bank in various capacities – both in West and the then East Pakistan (now Bangla Desh). He retired from the National Bank of Pakistan as Deputy Managing Director in 1971.

Literature and poetry were a major part of the environment in which Idris Minai grew up. His grandfather, Ameer Minai, was regarded as one of the major poets in the history of Urdu literature, and had succeeded the great poet, Ghalib, as the poetic mentor of the Nawab of Rampur. His father, Mohammad Ahmad Minai, was also a prolific poet, though he gave up the pursuit later in life. It was, therefore, natural for him to express himself in poetry, and, following the common practice, he chose a nom de plume, ‘Khalid’ (meaning, ‘eternal’).

Most of his poetic training occurred informally through interaction with his peers and elders which included Jaleel Manakpuri, the famous Urdu poet and the student of Ameer Minai, Fani Badayuni, Jigar Muradabadi, Hasrat Mohani, Hairat Badayuni, and Qazi Abdul Ghaffar, who gave him his first job. He developed close personal friendships with poets such as Sikandar Ali Vajd, Mahirul Qadri, Saeed Shaheedi, and several others. A notable influence for him was his eldest brother, Ismail Ahmad “Tasneem” Minai, who was himself a distinguished poet and writer. He was also influenced by Allama Iqbal for his universal vision which went beyond the classical poetry.

One of Idris Minai’s early works is an ode on the River Ganga which he wrote based on his experience while he was staying in Allahabad for his graduation. A collection of Idris Minai’s works is in the preparatory stage. In addition to poetry, he also wrote Urdu prose pieces in a language that recalled Oscar Wilde in its stylish beauty

Throughout his active life, Idris Minai participated in literary activities, beginning with mushairas in Allahabad, Hyderabad, Bombay (Mumbai), and elsewhere. After moving to Pakistan, the Minai siblings organised regular poetic events in Karachi and Lahore featuring the leading poets of the time.

Idris Ahmad ‘Khalid’ Minai breathed his last on February 8, 2008 in Karachi.

The ghazal under discussion has two versions. Talat Mehmood sang the original version in 1940 as per the uploader of the video. I could not get information on the internet as to when the original record was released. If the uploader is correct, then this ghazal precedes Talat Mehmood’s first recorded song sab din ek samaan nahin thha (1941). Talat Mehmood re-recorded this ghazal in almost identical orchestration sometime in 1960. I have given videos of both the versions for comparison purpose. My preference is the original version because Talat Mehmood voice was fresh without much of quiver as against the 1960 version.

Audio Clip :

(Original recorded in 1940)
Audio Clip :
\
(Re-recorded in 1960)
Song-Gham e zindagi ka ya rab na milaa koi kinaara (Talat Mehmood NFS)(1940) Singer-Talat Mehmood, Lyrics-Idrees A Minai, MD-Chitta Roy

Lyrics (based on Original recording)

gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
meri fikr-e-bekaraan ne
do jahaan ko chhaan maaraa
meri fikr-e-bekaraan ne

meri aarzoo ko bakhshi
teri har nazar ne rafat
meri aarzoo ko bakhshi
teri har nazar ne rafat
usse bekaraan karegaa
mere shauq kaa sharaaraa
usse bekaraan karegaa

main kabhi ravaan davaan thhaa
kahin dasht-e-bekhudi mein
kisi door ki sadaa ne
mujhe pyaar se pukaaraa
kisi door ki sadaa ne

meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
meraa zarf ye ki lekar
gham-e-bekaraan main chup hoon
na sukhan se raaz paidaa
na jabeen se aashkaaraa
gham-e-zindagi kaa yaa rab
na milaa koi kinaaraa
gham-e-zindagi ee ee ee ee eee

———————————–
Meaning of some Urdu words

Yaa rab= Oh God

Fikr-e-bekaraan= Limitless anxiety

Rafat= Elevation

Shararaa= Spark, Flash

Ravaan= Moving

Davaan= Running

Dasht-e-bekhudi= Wilderness of intoxication

Sadaa= Call

Zarf= Capability

Sukhan= Words, News

Jabeen= Forehead

Aashkaaraa= Clear, Visible


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3803 Post No. : 14795

Jigar Muradabadi (06/04/1890 – 09/09/1960) has been often called as ‘shaayar of beauty and love’. Jigar confined his poetry mostly covering his admiration for beauty, love, and emotions. It is said that his poetry has some influence of Daagh Dehlvi and Momin Khan Momin.

I have read through almost all of his ghazals that are available online and in Hindi (or Roman Hindi). There are no philosophical or spiritual tones in almost all of his ghazals. Like-wise I have not come across any poetry depicting the situations during the British rules though he had spent much of his life under British rule. Even if such poems do exist, perhaps they have not been well publicised. After independence also, his poetry did not venture much into the socio-economic situations in the country which had been the main plank of Urdu poets associated with PWA.

Jigar says :

Unka jo farz hai wo ahl-e-siyasat jaane
Mera paighaam mohabbat hai jahaan tak pahunche

[What is their duties only politician would know.
I give the message of love wherever it reaches]

As in the case of some Urdu poets like Majaaz Lucknawi, Jigar’s ghazals are a sort of his own autobiography. From 1920 to 1938, his life was captivated by alcohol and the beauty. Married at an early age, he had numerous love affairs, all of which turned out to be failures. These are all reflected in his ghazals. But unlike Majaaz who rued his failed love affairs in his poetry, Jigar can find joy even in his unfulfilled love because, for him, the experience of love itself is a joy.

It has been stated that he had a huge fan following encompassing both the elites and the masses. The respect he got cut across the religious lines. It is said that participation of Jigar Muradabadi was a sure success of a mushiara due to his poetry and the melodious renditions.

Jigar did not formally become guide to the budding young Urdu poets of his time. But he was a source of inspirations and mentors for poets like Behzad Lucknawi, Majrooh Sultanpuri, Shakeel Badayuni, Khumar Barabankvi etc.

I am presenting Jigar Muradabadi’s one of those ghazals which seems to have been ignored by many prominent ghazal singers. This beautiful non-film ghazal is ‘sharmaa gaye lajja gaye daaman chhuda gaye’ (1993). Ghazal is composed and rendered by Rochana Dahanukar. Her rendition of the ghazal is preceded by a she’r which has, more or less, the same meaning as that of the maqta of the ghazal. I am not sure whether the first she’r was written by Jigar Muradabadi. I have tried to translate the ghazal below to the best of my ability:

taghaaful tajaahul tabassum takallum
yahaan tak to pahunche hain wo aate aate

Taghaaful = Neglect, unmindful.
Tajaahul= Feigning ignorance.
Tabassum= Smile.
Takallum= Converations, Talking.

[She is uncaring, she ignores me, at times she talks and smiles.
At least she has slowly reached me thus far.]

sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye

Marhabaa=Hello, Welcome

[She blushed, shied and then moved away from me.
O my love, welcome, at least she came thus far.]

dil par hazaar tarah ke auhaam chhaa gaye
yeh tum ne kya kiya meri duniya mein aa gaye

Auhaam= Whims, superstitions.

[A thousand types of superstitions descended on me.
What you have done by coming into my life.]

sehn-e-chaman ko apni bahaaron pe naaz thha
wo aa gaye to saari bahaaron pe chaa gaye

Sehn-e-chaman= Garden courtyard.

[The courtyard of garden was so proud of the season of spring.
When she came, she overshadowed the season of spring.]

ab kya karoon main fitrat-e-nakaam-e-ishq ko
jitne thhe haadsaat mujhe raas aa gaye

Fitrat-e-nakaam-e-ishq= nature/creation of unrequited love.
haadsaat= Calamities

[What can I do about the creation of unrequited love?
The number of such calamities I faced, I enjoyed them.]

Rochana Dahanukar had started as a classical/ghazal singer with 3 albums to her credit in the 90s. Later on, she had her own musical band giving performance in India and abroad. She is also a voice trainer for the upcoming singers.

This ghazal of Jigar Muradabadi has joie de vivre in all the she’rs except the last one where the poet is helpless in facing numerous calamities from his unrequited love. But he still says that he enjoyed them because of the experience of imagining the love.

Enjoy this beautiful ghazal in the sonorous voice of Rochana Dahanukar.

Audio Clip:

Song-Sharma gaye laja gaye daaman chhuda gaye (Rochana Dahanukar NFS)(1993) Singer-Rochana Dahanukar, Lyrics-Jigar Muradabadi, MD-Rochana Dahanukar

Lyrics

taghaaful tajaahul tabassum takallum
taghaaful tajaahul tabassum takallum
yahaan tak to pahunche hain wo aate aate

sharmaa gaye laja gaye daaman chhuda gaye
sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

dil par hazaar tarah ke auhaam chhaa gaye
dil parrrrrrrrrr
dil par
dil par hazaar tarah ke auhaam chhaa gaye
yeh tumne kya kiya meri duniya mein aa gaye
yeh tumne kya kiya meri duniya mein aa gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

sehn-e-chaman ko apni
sehn-e-chaman ko apni bahaaron pe naaz thhaa
sehn-e-chaman ko apni bahaaron pe naaz thhaa
wo aa gaye to saari bahaaron pe chhaa gaye
wo aa gaye to saari bahaaron pe chhaa gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye

ab kya karoon main fitrat-e-naakaam ishq ko
ab kya karoon main fitrat-e-naakaam ishq ko
jitne thhe haadsaat mujhe raas aa gaye
jitne thhe haadsaat mujhe raas aa gaye
ai ishq marhaba wo yahaan tak to aa gaye
sharmaa gaye laja gaye daaman chhuda gaye
ai ishq marhabaa wo yahaan tak to aa gaye
sharmaa gaye laja gaye


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 : 3730 Post No. : 14673

The palat side of today’s song, was posted – goodness, four years ago.  And Sandhya ji is now completing 87 years today, and stepping into her 88th. Abundant greetings to Sandhya Mukherji – we wish for her good health and comfort, and that we may get many more such opportunities to greet her.

Four years back, I had posted the lovely, lively “O Re Jeene Waale, Hans Le Gaa Le Dhoom Mach Le” – one of her very few non film songs recorded in Hindi. From the same gramophone record (GE 24065 – Columbia), I present today, the song from the other side. A more poignant song, a sad song of separation – this song is no less iconic. As I tried to search for more, I drew a blank (so far).  It seems that this gramophone record and these two songs may well be the only two non-film Hindi songs that have been recorded by Sandhya ji.

For a brief bio sketch of this artist, I request readers to go back to the song referred above, and view that article.

She worked at New Theatres from 1948 to 1950, and sang under the music direction of RC Boral. She came to Bombay in 1950 – ‘Sazaa’ (1951) was her debut in the Bombay industry, after which she recorded songs for another eight films. And then, in 1956 she decided to return to Calcutta, after having recorded “Maine Jo Li Angdaai. . .” under the music direction of Salil Da, for the film ‘Jaagte Raho’ (1956). After that, she stayed only in Calcutta, and recorded a few songs for a handful of Hindi films.

Today’s song is penned by Prem Dhawan and is set to music by Kanu Ghosh. The melancholia of this song is such a surprising antipode of the song “O Re Jeene Waale. . .”. Listen and enjoy.

Once again, greetings to Sandya ji, and best wishes for a healthy and comfortable years ahead.


Song – Tum Gaye Lut Gaya Pyaar Ka Ye Jahaan (Sandhya Mukherji NFS)(1950) Singer – Sandhya Mukherji, Lyrics – Prem Dhawan, MD – Kanu Ghosh

Lyrics

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan

meri aankhon ki tum
roshni le gaye
meri aankhon ki tum
roshni le gaye
mere hothon ki tum
sab hansi le gaye
ab meri zindagi
zindagi hai kahaan

wo bahaaren gayin
wo nazaare gaye
wo bahaaren gayin
wo nazaare gaye
meri raaton se wo
chaand taare gaye
na meri hai zameen
na mera aasmaan

tum gaye
lut gaya
pyaar ka
ye jahaan
na rahi
wo khushi
na rahe
armaan
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां

मेरी आँखों की तुम
रोशनी ले गए
मेरी आँखों की तुम
रोशनी ले गए
मेरे होठों की तुम
सब हंसी ले गए
अब मेरी ज़िंदगी
ज़िंदगी है कहाँ

वो बहारें गईं
वो नज़ारे गए
वो बहारें गईं
वो नज़ारे गए
मेरी रातों से वो
चाँद तारे गए
ना मेरी है ज़मीं
ना मेरा आसमां

तुम गए
लुट गया
प्यार का
ये जहां
ना रही
वो खुशी
ना रहे
अरमां


This article is written by Bharat Upadhyay, 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 : 3695 Post No. : 14612

Month of August is full of so many National memories. Whenever we celebrate 9th August or 15th August, there will be invariably references of martyrs who dedicate their lives for the nation. We fought one war with China and four with Pakistan, and our loss of ‘shaheeds‘ was substantial.

Jaidev ji composed these Pt Narendra Sharma’s expressive lyrics in the voice of Lata ji. He recorded the same song with the voice of Asha ji and even that is equally popular.

(After the China war Lata and Asha had practised with a song of Pradeep ji, composed by C Ramchandra. But when Lata ji sang it ALONE on 26th January function at New Delhi, it became a much discussed controversy, as everybody will recall.)

The lyrics are so impressive and expressive, that there is no need for longer explanation. I am sure that the listeners of the song will become totally emotional.


Song: Jo Samar Mein Ho Gaye Amar (Patriotic NFS)(1962) Singers: Lata Mangeshkar, Lyrics: Pt Narendra Sharma, Music: Jaidev

Lyrics

jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
 
laut kar na aayenge
vijay dilaane waale veer
mere geet anjali mein
un ke liye nayan-neer
laut kar na aayenge
vijay dilaane waale veer
mere geet anjali mein
un ke liye nayan-neer
sang phool-paan ke
rang hai nishaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar

vijay ke phool khil rahe hain
phool adh-khile jhare
unke khoon se hamaare
khet baag ban harey
vijay ke phool khil rahe hain
phool adh-khile jhare
unke khoon se hamaare
khet baag ban harey
dhruva hain kraanti-gaan ke
surya nava-vihaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
 
wo gaye ke reh sakey
swatantrata swadesh ki
vishwa bhar mein maanyataa ho
mukti ke sandesh ki
wo gaye ke reh sakey
swatantrata swadesh ki
vishwa bhar mein maanyataa ho
mukti ke sandesh ki
praan desh-praan ke
moorti swaabhimaan ke
shoorveer aan ke
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar
main un ki yaad mein
gaa rahii huun aaj shradhdhaa-geet
dhanyavaad mein
jo samar mein ho gaye amar

——————————————————
Hindi script lyrics (Provided by Bharat Upadhyay)
——————————————————

जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

लौट कर न आएंगे
विजय दिलाने वाले वीर
मेरे गीत अंजली में
उनके लिए नयन-नीर
लौट कर न आएंगे
विजय दिलाने वाले वीर
मेरे गीत अंजली में
उनके लिए नयन-नीर
संग फूल-पान के
रँग हैं निशान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

विजय के फूल खिल रहे हैं
फूल अध-खिले झरे
उनके खून से हमारे
खेत बाग बन हरे
विजय के फूल खिल रहे हैं
फूल अध-खिले झरे
उनके खून से हमारे
खेत बाग बन हरे
ध्रुव हैं क्राँति-गान के
सूर्य नव-विहान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …

वो गए कि रह सके
स्वतंत्रता स्वदेश की
विश्व भर में मान्यता हो
मुक्ति के संदेश की
वो गए कि रह सके
स्वतंत्रता स्वदेश की
विश्व भर में मान्यता हो
मुक्ति के संदेश की
प्राण देश-प्राण के
मूर्ति स्वाभिमान के
शूर वीर आन के
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर
मैं उनकी याद में
गा रही हूँ आज श्रद्धा गीत
धन्यवाद में
जो समर में हो गए अमर …


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 : 3680 Post No. : 14574

The 15th of August, is a special date in the calendar for India.

Every year, there are events across the country celebrating the day. There is flag-hoisting in schools, offices and public places. There are patriotic songs played on radio. There’s a lot more to mark the date and occasion.

All of this is understandable. After all, it was on the 15th of August that many years ago, India became an independent nation, free from British rule.

Today is the 72nd Independence Day for India. I still remember the Silver Jubilee celebrations in 1972 – I was part of my school March Past event. How time flies!

But there is more to this date than just celebration. It is an occasion that at least some of us use to reflect. On India’s journey as an independent nation so far. We take stock of where we are, and where we’d like to see us go from here.

I am sure there must be many articles written on this subject in various media publications this week. On our part, our Avinashji has sent me the lyrics for today’s song and requested me to share my thoughts on this occasion. I am therefore taking the liberty of doing so.

Whenever I think of 15th August, the first thing that comes to my mind is our Freedom Struggle and our Founding Fathers. Today we take our freedom for granted – it is hard to even imagine that we were once a colony of the British Empire.

But if it were not for the struggles and sacrifices of millions of Indians, from every corner of the country, would we have got independence when we did? We are familiar with some of the more prominent names who were part of this struggle. But there were so many more who made sacrifices, who gave up their lives for the cause – and died unsung.

I always think of them on 15th August.

Then the Founding Fathers themselves. Once India became an independent country, Britain left it to fend for itself. Can you imagine the challenges a new-born India would have faced at that time?

India was then a country reeling from the horrors of partition. Although there had been talk of partition for a while, the actual execution of the whole process was done very hastily, without enough attention to detail. Political lines were drawn to create India and Pakistan, but these were still being “negotiated”. Even on independence, many villages did not even know whether they belonged to India or Pakistan. And there were the tricky issues of princely states like Junagadh and Hyderabad. And there was Kashmir.

So things were very fluid on 15th August 1947, though technically India and Pakistan had both become independent nations.
The mass migration of millions across borders, with all the violence and pain that ensued – how can one ever forget that! People lost everything, their families, their possessions. Their entire life got uprooted as they became refugees in their new world.

Then, post independence, the massive task of bringing more than 565 princely states into the fold of one nation. How challenging was that! Some agreed to be part of India. Different tactics were needed to bring the others into the fold.

All this while communal harmony, already severely tested in the tense times leading upto the partition, was just about hanging by a thread. The partition exposed fault lines much more nakedly – there was resentment amongst Hindus in India for Muslims who had not migrated. And the other way round in Pakistan.

As we know, many Muslim artistes in the Hindi film industry even changed their names to Hindu-sounding names to avoid becoming targets of hatred, and to appeal to the largely Hindu audiences.

Such was the fragility of Indian communal harmony in the immediate aftermath of independence.

Talking of fragility, it was not only communal harmony that was fragile. Independent India had inherited unprecedented levels of poverty, exacerbated by partition woes. Its economy was in very bad shape. Poor living conditions meant disease was not uncommon. Added to this was a very high level of illiteracy and social backwardness in general.

Kashmir was still a burning issue, Gandhiji got assassinated.

The overall situation looked so bleak at one time that Life Magazine, in the late 1940s, even ran a story along the lines of “Will India survive?” Clearly the world was skeptical.

Thankfully, our Founding Fathers were not.

Even in the midst of all these seemingly insurmountable challenges, they stayed steadfast on course, buoyed by the exuberance of having a new baby to nurture and nourish. Yes, there were challenges – but, to them, these were teething troubles.

Despite differences amongst themselves (yes, they did have differences!), they were united on one thing – all of them had a dream of a strong, resilient, and free India. Their views on how to get there might have been different – Nehru might have had a socialist mindset, Rajaji a more capitalist mindset – but they shared this common dream.

This dream involved providing, for every Indian, a fair opportunity at life. A life of dignity. India would be a country where justice would be available to one and all. A country which had hitherto been suppressed, but whose peoples would now be able to breathe freely, not be enslaved to any thought. They would be free to pursue a religion of their choice. India would be a country whose people would feel a sense of fraternity towards each other, not be divided by regionalism, casteism, religion and other such divisive elements.

This dream got enshrined in the form of a Constitution for India. When India became a Republic on 26th January 1950, it further underlined the vision of the Founding Fathers – that there would be no monarchy in India, that there would be elected representatives, elected by the people. There’s a lot more in the Constitution – it lays down the terms of reference between organs of the State, separation of powers between the Executive, Legislature and Judiciary, it talks about fundamental rights and duties of citizens.

While there is always scope for improvement, and any document should be a living document kept in tune with the times, the Constitution of India does provide a great framework for the country. Without it, there would be utter chaos.

And for this Constitution too, we need to thank our Founding Fathers and their vision.

I know none of this is new to anyone – and I am rambling – but I do think that at least on Independence Day (if not on other days) we need to remind ourselves of how much struggle, sacrifice and effort went into first making India an independent nation, and then ensuring it survived against the greatest of odds.

Unless and until we appreciate the magnitude of the challenges that were faced and overcome at that time, we will not be able to value the freedom we have today.

So I hope you will excuse my rather long history lesson. 🙂 If there are any inaccuracies here, please do let me know. I’m happy to be corrected.

The song “hum laaye hain toofaan se kashti nikaal ke” comes to mind in this regard.

Now to today’s India. Let’s take stock of where we are.

We’ve come a long way from those early fragile years. Sure, we’re still not where we’d like to be, but we’re definitely not looking at an existential crisis.

Economically too we are far better off today. Although we still have millions below the poverty line, and many above it still struggling to make both ends meet, we are better off than the “independence” generation. Many of us will admit that our own fathers and forefathers had a much tougher life than we are having now.

Education levels have also significantly improved. I have doubts about the quality of education as I see many “highly-qualified” Indians unable to comprehend basics, completely lacking in logical or analytical thinking, lacking in life-skills, but that’s for another debate. Let’s just say, we have many millions more “educated” Indians today.

In many other areas, like tackling disease, or improving sanitation or road infrastructure, India is progressing. It’s a 71-year young nation now, one would expect nothing less.

So on the material front, I think India is on the right track. Still a long way to go, still a lot of poverty to eradicate, but I have hope.

My bigger concern is to do with freedom and independence. Not of India, but of Indians.

I happen to think India became free and independent on 15th August 1947 – but only in a political sense.

Indians are FAR from being free or independent, even today, 71 years later.

When Indians attained freedom from colonial rule, they expected to be able to lead their lives as free citizens. No more being slaves to anyone, no more being treated like third-class citizens.

The reality though is that we are still slaves. Not to British masters anymore, but to Indian ones.

The difference is, we didn’t elect those British masters, we now elect our Indian masters. The specific individuals change, but the underlying master-slave relationship doesn’t.

In theory, in a democracy, we, the people, have power. We elect representatives on our behalf to run the affairs of the country. These representatives are therefore “public servants”, supposed to serve the interests of the people. They are supposed to be accountable to the people for the tasks assigned to them. They are also accountable to the people for funds utilized by them because these funds are collected from, and on behalf of, the people. They are supposed to be transparent about their work, so that the public can evaluate progress (or lack of it).

This is the theory.

We all know how things work in practice.

But why don’t they work?

Simply because there is a huge power imbalance between the people and their representatives. These representatives, so-called “public servants”, have steadily increased their power quotient at the cost of the people they are supposed to serve. As it is, they have the power to make laws – so they make or modify laws to strengthen their power position, to legitimize their power grab, thus further skewing the imbalance in their favour. Sel-aggrandizement is the mantra.

This isn’t just the story of one political party – this is with practically every political party.

Which is why the solution isn’t to just replace one party with another.

The solution is to structurally redress this power imbalance.

Make the public more powerful.

How?

There is very little power in the hands of one individual. I can scream from my rooftop but my single voice means nothing.

But there is a lot of power in a large group. The larger, the better.

When a large group chooses to raise its voice, these representatives have no choice but to listen. Otherwise they know they will be on the wrong side of the numbers game.

And in a democracy, it is all about a numbers game.

But for a large group to raise its voice against the powers-that-be, it has to, first of all, be free. It must NOT have a slave mentality.

And that’s a big problem in India.

Maybe due to historical baggage of being ruled by maharajas, many Indians are still subservient to authority. They are still happy to be “ruled”. Feudalism, although less today, still plays its role in perpetuating this master-slave relationship.

This is also why SO many Indians still have this “mai-baap” attitude towards government and other powers-that-be. They fall at the feet of politicians, seeking favours, sometimes even begging for something that is their right, but has been denied to them.

And of course, the politicians then act high-and-mighty, dishing out largesse as if they are royalty. They act generous – it’s easy to be generous with other people’s money. A sizeable share of the public’s hard-earned money is distributed as an act of generosity by the politicians. And they get praise for this. Not to mention votes.

It is THIS mentality that is my biggest issue with Indians. This slave mentality.

Which is why I say India became a free country on 15th August 1947 – but Indians are still slaves.

Just to clarify, I wouldn’t blame the poor or destitute for this. They are barely struggling to survive on a daily basis – they hardly have any choice or agency. But those who DO have a choice, who don’t HAVE to grovel before the powers-that-be but still do so, they are the ones who are undermining the effort to redress the power imbalance. They are often the ones to first stand up in defence for the powers-that-be, against their own fellow citizens.

So on this Independence Day, my request to all Indians is to abolish this slave mindset – and be free. If you don’t want to be treated like a third-class citizen, you first need to stop behaving like one.

Freedom is too precious to let it be taken away from you by anyone. Like Sahir said “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai…apna haq sangdil zamaane se, chheen pao, to koi baat baney”.

And please stand up for those who try to break these chains of slavery. As I said earlier, this battle cannot be fought by one individual. So when someone is trying to fight against oppression, against slavery, please support his or her effort, instead of undermining it by being loyal to the master.

Even during our Freedom Struggle, there were Indians who undermined the effort of fellow Indians by taking the side of the British. This only made the freedom struggle harder.

I hope we have learnt from that lesson.

There are a lot more thoughts in my head on this Independence Day – there are a lot more improvements I’d like to see in India. Especially with regard to society.

The thing is, if we harbour aspirations to be a truly developed nation, we need to also have progressive thought in society. Mere material progress isn’t enough.

It saddens me to see that even in 2018, some of our thinking is regressive.

Patriarchy is still rampant in Indian society – with all its negative consequences for women, and even men. It is one of the biggest reasons for rapes and other forms of violence against women.

Then, our casteism. Even today, Dalits are discriminated against – let’s not pretend they aren’t.

Indian society is full of prejudices – just look at matrimonial columns to get an idea.

There’s a lot more that bothers me – I could go on and on.

But this post has already become too long – and each of these topics deserves proper discussion and treatment of its own.

So I will stop here on these topics.

Just to clarify, I’m not saying we haven’t come a long way. We have. But we still have a very long way to go – in terms of poverty alleviation/elimination and society upgradation.

The responsibility lies largely with those of us who are relatively privileged and educated. Even the Freedom Struggle counted amongst its leaders many well-educated Indians, of whom many had had the opportunity to study or live abroad and get a different perspective on life and their country.

So those of us who are in a position to make a difference need to do so. But for that, we first need to CARE for our less-privileged fellow citizens. Instead of looking down on them, we need to think of how we can make their lives better. We need to help make them free and independent citizens. Remember, WE are the fortunate ones, to even be able to read this online. I don’t mean this in the slightest patronizing sense – the fact is that we are all privileged. Millions are not.

Also remember, those well-off Indians from the Freedom Struggle could very easily have just enjoyed their privilege instead of throwing themselves into the Struggle. They chose to make sacrifices because the cause they were fighting for, was bigger than their individual selves.

We need a similar cause that we can all rally around today. If that is the prosperity of India, it must mean the prosperity of all Indians, not just a select few. But prosperity, without peace and harmony, is useless. So the cause must encompass all these components.

India is nothing without Indians. It would be just a piece of land. So talking about “making INDIA a great nation” is all just empty rhetoric if we are not working towards making the future of INDIANS great. And again here I mean ALL Indians, not a select few.

For me it is all about the individual first. She or he is the unit-level of existence. If the individual isn’t empowered, if she or he isn’t free, what’s to celebrate about the nation being free? The nation is just a bunch of individuals, right?

You might not agree with my thoughts (and that’s perfectly fine!) – I’m just sharing them here on request of Avinashji. 

A lot more running in my head too – but this post has already become way too long now, so let me get to the song for the occasion.

It is a non-film song. A patriotic song composed by Khayyam, sung by Rafisaab, to Sahir’s lyrics.

I heard this song for the first time only a few days ago – I quite liked it. I hope you like it too.

Happy Independence Day. And thanks for your patience in tolerating this long post. 🙂


Song-Watan ki aabroo khatre mein hai (Rafi NFS)(1962) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Khayyam
chorus
Rafi+Chorus

Lyrics

Watan ki aabroo khatre mein hai
Aa aa aa aa aa
Watan ki aabroo khatre mein hai
Hoshiyaar ho jaao
Hoshiyaar ho jaao
Hoshiyaar ho jaao o

Hamaare imtihaan ka waqt hai
Taiyyaar ho jaao
Taiyyaar ho jaao
Taiyyaar ho jaao o

Hamaari sarhadon par khoon behta hai
Jawaanon ka
Aa aa
Huaa jaata hai dil chhalni
Himaalaa ki chattaanon ka
Aa aa
Uthho rukh pher do dushman ki
Topon ke dahaanon ka aa
Aa aa
Watan ki sarhadon par aahni
Deewaar ho jaao
Hoshiyaar ho jaao
Watan ki aabroo khatre mein hai

Wo jinko saadgi mein hamne
Aankhon par bithhaaya thha
Aa aa
Wo jinko bhai kehkar
Hamne seene se lagaaya thha
Aa aa
Wo jinki gardanon mein haar
Baahon ka pehnaaya thha
Aa aa aa
Ab unki gardanon ke waaste
Talwaar ho jaao o
Aa aa aa
Ab unki gardanon ke waaste
Talwaar ho jaao o
Hoshiyaar ho jaao
Watan ki aabroo khatre mein hai

Na ham is waqt Hindu hain
Na Muslim hain
Na Isaayi
Hmm hmm hmm
Agar kuchh hain to hain
Is desh is dharti ke shaidaai
Hmm hmm hmm
Isi ko zindagi denge
Ae ae ae
Isi ko zindagi denge
Isi se zindagi paayi
Lahu ke rang se likhaa huaa
Ikraar ho jaao
Watan ki aabroo khatre mein hai
Hoshiyaar ho jaao
Hoshiyaar ho jaao
Hoshiyaar ho jaao o

Watan ki aabroo khatre mein hai

Khabar rakhna koi gaddaar
Saazish kar nahin paaye ae
Aa aa
Nazar rakhna koi zaalim
Tijori bhar nahin paaye ae
Aa aa
Hamaari kaum par ar ar ar
Hamaari kaum par
Taareekh tohmat dhar nahin paaye ae
Aa aa aa
Kafan dushman
Darindon ke liye
Lalkaar ho jaao
Lalkaar ho jaao
Lalkaar ho jaao o
Lalkaar ho jaao o
Lalkaar ho jaao o o

————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————–
वतन की आबरू खतरे में है
आ आ आ आ आ
वतन की आबरू खतरे में है
होशियार हो जाओ
होशियार हो जाओ
होशियार हो जाओ ओ

हमारे इम्तिहान का वक़्त है
तैयार हो जाओ
तैयार हो जाओ
तैयार हो जाओ ओ

हमारी सरहदों पर खून बहता है
जवानों का
आ आ
हुआ जाता है दिल छलनी
हिमाला की चट्टानों का
आ आ
उठो रुख फेर दो दुश्मन कि
तोपों के दहानों का आ
आ आ
वतन की सरहदों पर आहनी
दीवार हो जाओ
होशियार हो जाओ
वतन की आबरू खतरे में है

वो जिनको सादगी में हमने
आँखों पर बिठाया था
आ आ
वो जिनको भाई कहकर
हमने सीने से लगाया था
आ आ
वो जिनकी गर्दनों में हार
बाहों का पहनाया था
आ आ आ
अब उनकी गर्दनों के वास्ते
तलवार हो जाओ ओ
आ आ आ
अब उनकी गर्दनों के वास्ते
तलवार हो जाओ ओ
होशियार हो जाओ
वतन की आबरू खतरे में है

ना हम इस वक़्त हिन्दू है
ना मुस्लिम है
न इसाई
हम्म हम्म हम्म
अगर कुछ हैं तो है
इस देश इस धरती के शैदाई
हम्म हम्म हम्म
इसी को ज़िन्दगी देंगे
ए ए ए
इसी को ज़िन्दगी देंगे
इसी से ज़िन्दगी पायी
लहू के रंग से लिखा हुआ
इकरार हो जाओ
वतन की आबरू खतरे में है
होशियार हो जाओ
होशियार हो जाओ
होशियार हो जाओ ओ

वतन की आबरू खतरे में है

खबर रखना कोई गद्दार
साज़िश कर नहीं पाए ए
आ आ
नज़र रखना कोई ज़ालिम
तिजोरी भर नहीं पाए ए
आ आ
हमारी कौम पर र र र
हमारी कौम पर
तारीख तोहमत धर नहीं पाए ए
आ आ आ
कफ़न दुश्मन
दरिंदों के लिए
ललकार हो जाओ
ललकार हो जाओ
ललकार हो जाओ ओ
ललकार हो जाओ ओ
ललकार हो जाओ ओ ओ

Dahaan – दहान -دہان
mouth; orifice

Shaidaa. ii – शैदाई – شیدائی
lover, enamored

Tohmat – तोहमत – تہمت
Allegation, Accuse
false accusation, suspicion of guilt


This article is written by Bharat Upadhyay, 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 : 3679 Post No. : 14571

 

[Dated 06 Aug, 2018]

Yesterday I was NOT on earth, for more than four hours . Now I know how joyful it will be in Heaven. I was a VIP guest at Jaidev’s 100 year Birthday celebration organised by by Hariharan and Chhaya Ganguli. I had full one and a half hours on back stage with artists and even was given a centre first row seat.

During that heavenly program Jaidev’s creations were presented by Hariharan, Penaaz Masani, Vibhavari Joshi,  Mahalakshmi Iyer and Suresh Wadkar.  Many luminaries like Shivkumar Sharma, Amol Palekar, Ashit Desai (who conducted the 20 piece orchestra for all the singers) etc talked about their association with Jaidev.

Penaaz Masani surprised everybody by singing a non-film, hardly heard composition written by the great poet Ramdhaari Singh Dinkar ji – a segment from his mahakavya ‘Urvashi’.  She interjected every stanza with the translated English poetry written by Khushwant Singh.

It may not be popularly known that Jaidev – the underrated genius composer, probably the best of our times, has composed literary pieces from poets like Ghalib and Kabeer to Harivanshrai Bachchan, Mahadevi Varma, Jaishankar Prasad, Maithilisharan Gupt and Ramdhaari Singh ‘Dinkar’.

I present today Jaidev ji composition of a renowned literary work – a lovely melody for Ramdhaari Singh Dinkar’s legendary opus – ‘Urvashi’. Unfortunately this partial composition, rendered by S. Janki remained unheard as the project got shelved and never completed. Jaidev truly was the Literary Composer.

In my khazaana I have a video of Jaidev ji in his own voice talking  about how he composed ‘Urvashi’ and the subsequent singing by S Janki – popularly and aptly called Lata from South India.

Enjoy this enchanting NFS, by listening to the song – you will want to listen to it repeatedly.

[Editor’s Note: ‘Urvashi‘ is a legendary lyrical drama, which is written by one of the greatest poets of modern India – Ramdhari Singh Dinkar. This creation was first published in 1961. This is a long play in 5 acts. It deals with the subject of beauty, love and passion, and the goes much beyond the superficial in exploring the depth of the quest for the truth behind the male-female union in this creation. The basis of this lyrical storytelling is the love saga of Urvashi and Pururava.

Urvashi is an apsara from swarg lok. As per the pauraanic texts, she appeared during the churning of the ocean – सागर मन्थन – the joint endeavour of the devatas (demigods) and the asuras (demons) in the quest for अमृत – the nectar of immortality. In another narrative, it is stated that when Narayan Rishi was doing penance and meditation in the Himalayas, Indra, the king of demigods, afraid for his throne, sent a group of apsaras to disturb his penance. Narayan Rishi became incensed, and to show Indra his powers, created a most beautiful apsara by simply stroking his chest (ur – ‘उर’), whose beauty surpassed the combined attraction of all the ones sent by Indra. Since she was created from the उर of Narayan Rishi, her name became Urvashi.

Pururava is the primeval male personality of the chandra vansh – the Lineage of the Moon (in which after many generation, Lord Krishna also appears as an incarnation). As per the Puraanas, at the beginning of creation, Manu and Shraddha, the original primal man and woman created by Brahma, called upon Vashisht Rishi to perform a yajna (यज्ञ) for begetting a child. Manu wanted a son to be born, and Shraddha wanted a daughter. As the outcome of this yajna, a duaghter was born. On seeing the disappointment on the face of Manu, Vashisht Rishi gave a boon and turned the daughter into a son. He was named Sudyuman (सुद्युम्न). When he grew up, once he went to a forest for hunting. Unknown to him, the forest was cursed, and he was not supposed to enter it. Being in the presence of that curse, he reverted to his original female form, and now he/she was named Ila (इला). In good time, Ila was married to Budh, the son of Chandrma, and from their union, a child was born who became the first generation of the chandra vansh. He was named Pururava.

In metaphysical terms, Urvahsi represents the epitome of the eternal female of this creation, and Prururava is the representation of the eternal male. Pururava is of the earth, and he desires for the pleasures and gratifications of the swarg lok. Urvashi is of the swarg lok, and with an innate and natural certainty, wants to partake the pleasures of the earth. She descends from the heavens to the earth and the two share a relationship of love. Urvashi is a representation of unbridled desires and passions, but having descended from the heavens, she is free from inner conflict and struggles. Pururava represents the earthly persona who is distracted and inconvenienced by a multitude of disturbing vibrations (रव).

In this lyrical creation, Dinkar explores the depth of the quest in a man-woman relationship. The thesis expounded is that inside a man, there is another level of existence of a man, beyond the physical. And the same holds true for the woman. Their longing for each other is a pursuit of seeking out this inner existence within each other. Their quest does not end simply on the physical union but goes much deeper, seeking the true ‘other’, the true counterpart for a more fulfilling and nourishing accord.

Dinkar received the Sahitya Academy award for this creation in 1959, and the Jnaanpeeth Award in 1972.]


Song: Main Roop-Rang-Ras-Gandh-Poorn Sakaar Kamal (S Janaki NFS) (1980)Singers: S Janki, Lyrics: Ramdhari Singh Dinkar, Music: Jaidev
Jaidev
[Ed Note: The clip includes some initial lines of this piece, in the voice of Jaidev ji himself.]

Lyrics (Provided by Sudhir)

par kya bolun?
kya kahoon?

bhraanti, yeh deh-bhaav

[Brief commentary by Jaidev ji]

main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

 

par kya bolun?
kya kahoon?

bhraanti, yeh deh-bhaav

main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

main nahin sindhu ki sutaa
talaatal-atal-vital-pataal chhod
neele samudra ko phod
shubhr jhalmal fenanshuk mein pradeept
naachti urmion ke sir par
main nahin mahatal se nikli

main nahin gagan ki lata
taarkao mein pulkit phoolti hui
main nahin vyompur ki baala
vidhu ki tanya chandrika sang
poorima sindhu ki parmojjwal abha-tarang
main nahin kirnon ke taaron par
jhoolti hui bhu par utri

main naam-gotr se rahit pushp
ambar mein udti hui mukt anand-shikha
itivrittheen saundrya chetna ki tarang
sur-nar-kinnar-gandharv nahin
priye main kewal apsara
vishw-nar ke atript ichha-saagar se sumudhbhoot

jan-jan ke mann ki madhur vhni
pratyek hriday ki ujiyaali
naari ki main kalpana charam
nar ke mann mein basne waali
main manodesh ki vaayu
vyagra, vyaakul, chanchal
avchet praan ki prabha
chetna ke jal mein
main roop-rang-ras-gandh-poorn sakaar kamal
sakaar kamal
sakaar kamal. . .

—————————
Hindi script lyrics
—————————
पर, क्या बोलूँ?
क्या कहूँ?

भ्रांति, यह देह-भाव

 

[जयदेव जी द्वारा संक्षिप्त समीक्षा]

मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

 

पर, क्या बोलूँ?
क्या कहूँ?

भ्रांति, यह देह-भाव

मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰

मैं नहीं सिन्धु की सुता
तलातल-अतल-वितल-पाताल छोड़
नीले समुद्र को फोड़
शुभ्र, झलमल फेनांशुक में प्रदीप्त
नाचती उर्मियॉ के सिर पर
मैं नहीं महातल से निकली

मैं नहीं गगन की लता
तारकॉ में पुलकित फूलती हुई
मैं नहीं व्योमपुर की बाला
विधु की तनया, चन्द्रिका-संग
पूर्णिमा-सिन्धु की परमोज्ज्वल आभा-तरंग
मैं नहीं किरण के तारों पर
झूलती हुई भू पर उतरी

मैं नाम-गोत्र से रहित पुष्प
अम्बर में उड़ती हुई मुक्त आनन्द-शिखा
इतिवृत्तहीन, सौन्दर्य चेतना की तरंग
सुर-नर-किन्नर-गन्धर्व नहीं
प्रिय मैं केवल अप्सरा
विश्वनर के अतृप्त इच्छा-सागर से सुमुद्भूत

जन-जन के मन की मधुर वह्नि
प्रत्येक हृदय की उजियाली
नारी की मैं कल्पना चरम
नर के मन में बसने वाली
मैं मनोदेश की वायु
व्यग्र, व्याकुल, चंचल
अवचेत प्राण की प्रभा
चेतना के जल में
मैं रूप-रंग-रस-गन्ध-पूर्ण साकार कमल
साकार कमल
साकार कमल॰ ॰ ॰


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15100 song posts by now.

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

Total number of songs posts discussed

15125

Number of movies covered in the blog

Movies with all their songs covered =1172
Total Number of movies covered =4153

Total visits so far

  • 11,925,549 hits

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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