Archive for the ‘Song sung by three or more singers’ Category
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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Blog Day : |
5411 | Post No. : | 17747 |
Today’s song is from an obscure film called Sapna-1952. I had not heard its name till I purchased the HFGK in 2011 !
The film was made by the Producer Kishor Sahu, under the banner of Hindustan Chitra, Bombay. The film’s director was Kidar Sharma, who was in the second half of his career. Out of his 36 Directorial ventures Sapna-52 was his 20th film. The famous , creative and hard working Kidar Nath Sharma was slowly losing his sheen in direction. Maybe he found difficulty in dealing with the changing scenario of the Hindi films in the 50’s decade. I have his autobiographical book ” The one and the Lonely Kidar Sharma” which is indeed an informative and interesting book. It gives a peep into the film scene of the 30’s and the 40’s as well as the famous Studio system.
Kidar Nath Sharma (12 April 1910 – 29 April 1999), was a director, producer, screenwriter, and Lyricist of Hindi films. While he had great success as a director of such movies as Neel Kamal (1947), Bawre Nain (1950) and Jogan (1950), he is often most remembered for starting the acting careers of actors like Ramola, Madhubala, Geeta Bali, Raj Kapoor, Mala Sinha, Bharat Bhushan and Tanuja, who are considered to be one of the greatest entertainers of Indian cinema.
Kidar Sharma has often been given the title of ‘one-man film industry’. He was producer, director, actor, story/screen-play/dialogue writer, lyricist, editor, still photographer etc. He was also known to have working knowledge of Hindustani classical music. He also sang a song for himself in the film ‘Inquilaab’ (1935). With a vast knowledge gained from working in New Theatres, Kolkata during 1933-41 and in Ranjit Movietone during 1942-47, Kidar Sharma had already directed 11 films and written lyrics for 23 films before he turned producer with ‘Neel Kamal’ (1947).
Kidar Sharma had a passion for film making. Otherwise why would a young man of 22 years after completing M.A. in English literature join the New Theatres (NT) as a painter? He would have very well got the job of a lecturer in any college in his native Punjab. His progress in filmy career was rapid. Within 2 years of joining NT, he was a still photographer and the lyricist for ‘Devdas’ (1935). He became dialogue writer for the Hindi version of ‘Vidyapati’ (1937) in addition to songwriting. By 1939, Kidar Sharma had become a free-lance director with ‘Aulaad’ (1939’), his debut film as a director followed by ‘Chitralekha’ (1941) which became a much talked about film. Incidentally, after about 23 years, Nadiadwala of Pushpa Films engaged Kidar Sharma to direct ‘Chitralekha’ (1964), a remake of its 1941 version.
After directing 9 films for Ranjit Movietone, Kidar Sharma decided to produce and direct ‘Neel Kamal’ (1947) under his own banner, Oriental Pictures. In fact, nobody was prepared to produce this film, not even his employer, Ranjit Movietone. So, he was forced to become the producer. He arranged finances by selling the distribution rights of the film in advance. For his maiden venture, he introduced two new comers – Raj Kapoor and Madhubala. Both the actors had done some bit roles in films before they were given the lead roles for the first time in the film. The film was an average success in terms of box office collections. Since then, Kidar Sharma produced and directed 14 films between 1947 and 1980.
As a producer-director, Kidar Sharma was not a showman like Raj Kapoor for whom the production value in terms of star cast, techniques and costly sets for film shooting were as important as the theme of the film. On the other hand, Kidar Sharma was an antithesis of a showman. He believed in low budget films which ruled out taking star actors for the lead roles. Hence, for almost all his films which he produced and directed, he preferred newcomers and his protégées to whom he had earlier introduced in his films. In this process, he gave to the Hindi film industry, popular actors like Raj Kapoor, Madhubala, Geeta Bali, Bharat Bhushan, Mala Sinha, Tanuja etc to whom he introduced in his films as lead actors for the first time. Similarly, he mostly relied on Snehal Bhatkar and Roshan as music directors for his films who were introduced by him in his films ‘Neel Kamal’ (1947) and ‘Sohag Raat’ (1948), respectively for the first time.
Kidar Sharma’s last box office successful film as a producer-director was ‘Baawre Nain’ (1950) with Raj Kapoor and Geeta Bali in the lead roles. All his subsequent films like ‘Shokhiyaan’ (1951), ‘Gunaah’ (1953), ‘Chhora Chhori’ (1954) and ‘Rangeen Raaten’ (1956), did not fare well at the box office. All his films in the 1960s and thereafter numbering 6 either failed miserably at the box office or did not get released. ‘Sehme Hue Sitaare’ (1994) was his last film which remained unreleased in the theatres.
In most of his films, the story is based on a village or a small town and he tries to depict the intricate human relationships. All his films gives an impression that he had not come out of the Bengali mode of film making which were losing stream in Hindi film industry in the later 1960s where films were seen more as a medium of entertainment to fill the coppers of producers and distributors in terms of profits than covering the social issues concerning the society at large. Kidar Sharma did not fit in this milieu. So, the last 5-6 films produced and directed by him became obscure to such an extent that most of us do not even remember the title of the films.
An outstanding poet, Sharma wrote some of the most memorable songs including Balam aayo baso more man mein, Dukh kay ab din beetat nahi, Khayalon Mein Kisike (Bawre Nain), Kabhi Tanhaiyon Mein Bhi (Hamari Yaad Aayegi) and Teri duniya mein dil lagta nahi. Kidar would continue to contribute as a lyricist and to write and direct films through the 1990s. Ironically, many Indian film critics and historians argued that he deserved the highest cinema award from the government of India but he died a day before he was to receive the Raj Kapoor Award, named in honour of the actor he helped make a success. Allrounder Kidar Sharma acted in 8 films, directed 36 films, sang 2 songs in 2 films and wrote 312 songs in 44 films, in his illustrious career.
His autobiography, The One and Lonely Kidar Sharma was published posthumously in 2002, edited by his son Vikram Sharma. ( This is an article by Sadanand Kamath ji,. I have added some information from wikipedia, muVyz and my notes. I thank Sadanand ji.)
The film’s Music Director was Shyam Babu Pathak, ably assisted by Shankar Lal. This MD’s name is hardly known to the younger generation because he operated from 1940 to 1952 except for two odd films in 1960 and 1965. He died in 1980, almost 43 years ago. Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Rajabhaiyya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he sang only 1 song in a film.
While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was on an average of 12 to 15 songs each film.
V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedic. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double Face was Indivar’s first film.
Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much help. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.
After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career. In all he composed 224 songs in 29 films. He even sang a song in the film Krishna Sudama-47.
Shyam Babu Pathak died of a heart attack in Bombay on 23-11-1980.
All the 7 songs were by Bharat Vyas. The dialogues were by Ramesh Gupta. Ramesh Nanimal Gupta was born in Delhi on 26-10-1915. He debuted as a Lyricist with films Churiyan and Awaz, both in 1942. In 1943, his song ” Bharat ki ek sannari ki katha” from the film Ramrajya-43 is famous even today. He wrote 225 songs in 34 films. He acted in 2 films. He wrote stories and dialogues in 16 films. He was a poet, lyricist, story and dialogue writer, producer, director and even a singer and actor ! He produced and directed films like Ram darshan-1948, Bhakta Gopal Bhaiyya-1948, Rimjhim-1949 and Matalabi Duniya-1961. He sang a song in the film Raja-1943. His patriotic songs were famous in Gujarati films. He died in Ahmedabad on 19-1-1992.
The cast of the film was Kishor Sahu, Bina Rai,Shakuntala, Heeralal, Cuckoo, Narmada Shankar and many others. The story of this film was……
Kamal, s/o Jung Bahadur varma meets Achala d/o P.K.Bose and they fall in love. Kamal is the owner of a Saw mill. They get married. Achala’s father falls ill and dies. Kamal goes to Banaras to immerse the ashes. Achala goes to the local river kund for pooja.
Bandit Bhairav Nath (Safed Ghodewala) sees her. He has been on her trail, unknown to her, for many months. Seeing her now, he kidnaps her and rides away, injuring her servant on the way. When she does not return her father and others presume that she is drowned in the river.
When Kamal comes back, he learns about her drowning, but does not believe it. He goes to the Kund for investigations. He finds her Earring embedded in horse’s hair. He suspects kidnapping, which is confirmed by the servant who has returned from the Hospital.
Enraged, Kamal carries a Pistol and runs to the hiding place of the dacoit Bhairav. The father of Achala and her cousin sister Madhavi also follow him. Bhairav starts firing. Finally when they come face to face, Bhairav first shoots at Kamal, but the cousin sister of Achala, Madhavi comes in front and saves him. Kamal kills Bhairav but Madhavi dies. Achala is regained in one piece.
End of the story, end of the film and end of the audience’s tolerance. With great relief, the audience returns home happily !
Today’s song is a triad, sung by Shamshad Begum, Asha Bhosle and Indira. This is the 5th song of the film on this blog. Enjoy….
Song-Muhabbat mein dilon ke khel ye harbaar hote hain (Sapna)(1952) Singers- Asha Bhonsle, Shamshad Begum, Lyrics-Bharat Vyas, MD-Shyam Babu Pathak
Asha Bhosle + Shamshad Begam + Indira Mirchandani
Lyrics
Aa aa aa aa
karishme mohabbat ke ae ae
dikhla rahe hain
har ik shai mein
ham hee ee
nazar aa rahe hain
ae ae ae ae
ae ae ae ae
ae ae
muhabbat mein dilon ke khel ye
harbaar hote hain
ae jee harbaar hote hain
ae jee harbaar hote hain
haan aan aan aan
muhabbat mein dilon ke khel
har baar hote hain
aen aen aen aen aen aen
nazar ke teer chalte hain
jigar ke
jigar ke paar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
aa aa aa aa
aa aa aa aa aa
maza aataa hai marne mein
mazaa aataa hai marne mein
mazaa aataa hai marne mein
mazaa aataa hai marne mein
mazaa aataa hai jeete mein
mazaa aataa hai jeene mein
uthhaa karta hai aksar meethha meethha dard seene mein
o meethha dard seene mein
ae ae ae ae ae ee ae ae
dawa jitni karo utne din beemaar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
haseenon ke ae ae dilon se dil kaa aa aa
wo takraana nahin achcha
wo takraana nahin achcha
haseenon ke dilon se
dil ka takraana nahin achcha
ho takraana nahin achcha
kisi ke zulf ke phandon mein
phans jaana nahin achcha
o phans jaana nahin achcha
aa aa aa aa aa aa
bade hi bewafajallaad
ye sarkaar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
nazar ke teer chalte hain
jigar ke paar hote hain
muhabbat mein dilon ke khel ye
harbaar hote hain
muhabbat mein
Laali mere laal ki
Posted on: May 7, 2023
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.
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Blog Day : |
5406 | Post No. : | 17739 |
We often hear this lament from oldtimers that things were simpler in their days and they have become complicated now a days. As a fresh entrant into the club of oldtimers, I tend to agree. Things were really simple in the old days. And they were easy to remember as well if you were a student who was required to remember these facts.
Take some examples from the past(my days of 1960s) and compare them with the present situation (2023)
| Question asked | Reply in 1960s | Reply in 2023 |
|---|---|---|
| Name of all Presidents of India | Dr Rajendra Prasad, S Radhakrishnan, Zakir Hussain | Too many to recall and name |
| Name of all Prime Ministers of India | Jawaharlal Nehru, Lal Bahadur Shashtri, Indira Gandhi | Too many to recall and name |
| How many cricketers have scored over 8000 test runs | Only one, Garfield Sobers | Too many to recall and name |
| How many cricketers have taken over 300 test wickets | Only one, Freddie Trueman | Too many to recall and name |
| How many Indian cricketers have scored over 3000 test runs | Only three, Polly Umrigar, Vijay Manjrekar, Chandu Borde | Too many to recall and name |
| What are the various car models manufactured in India | Ambassador, Premier Padmini | Too many to recall and name |
| Days that are celebrated | New Year, Republic Day, Independence day, Children’s day, Labour day | Too many to recall and name |
It is the answer to the last question that has led to this writeup. This morning Avinash Scrapwala informed me that today (7 May) is Laughter day. Now what is this laughter day ? And who decides these days ? Every day now a days has some vague day or the other. There are some days that celebrate more than one topic, often vague and unheard ones. There are 365 days but there many be more number of “Day” to celebrate. It is an overload of “days” now a days. No one can remember them, and no one can “celebrate” them all.
Who decided that today is Laughter day ? Does he mean that we need not laugh on other days, or did he think that laughter has become so rare that a day needed to be dedicated for it ? I do not think that alarming situation has arrived as yet.
My own view is that all these days are meant to create business for say greeting card makers. But now a days even greeting card makers cannot keep up with these days.
We also have world music day. This one day is for others. We in this blog have our music day every day.
My take on all these days is that they are for lazy people. What is the need to have say Music day. We do not have this need. Every day is music day for us. Why should we have Women’s day. Every day should be a Women’s day and well as Men’s day. Also Children’s day.
Coming to Laughter day, I think this day too is unnecessary. At least for us music lovers. Regulars of this blog many of them also connected through whatsapp, share jokes in the group every day. So we are having our laughter day daily.
Nevertheless, someone has decided to have a world laughter day today on 7 May. By the way, is this fellow the same one who came up with the idea of Happiness Index ? Let him come up with a laughter Index as well. I can predict that European countries will top the ranking. India will be ranked behind Pakistan and Bangladesh and this ranking will be used by Western Media to pooh pooh India achievements in various sectors.
But that is in the future. So far we only have a world Laughter day today. So we have to celebrate it.
Looking at the right side of the blog, I notice that there are 88 songs under the category of “Comedy” and another 73 under “comedy songs”. Then there are 319 songs under the category of “lighthearted” songs. There may be more but they have not been categorised under these heads. So this suggests that we have about 450 songs out of 17000 plus songs as comedy song. This suggesdts that 2.5 % of the songs represented in the blog are comedy songs.
If we have world sadness day or world melancholic day, we in the blog will be right up there with the best sad and / or melancholic people there. But they someone will create a world melancholy index and prove that Indians are way down that list too. 🙂
When we think of laughter, one thinks of Kishore Kumar immediately. Quite a few of his comedy songs are already represented in the blog. To celebrate the Laughter day, here is a less known of his comedy song. This song is from “Phagun”(1973).
“Phagun”(1973) was directed by Rajinder Singh Bedi for ‘Dachi Films, Bombay’. The movie had Waheeda Rehman, Dharmendra (special appearance), Jaya Bhaduri, Vijay Arora, Om Prakash, Ravi Ghosh, Jagdev Bhambri, K.S. Kriplani, Vimal Joshi, Indu Mehta, Smita, Rajrani, Suman Sinha, Baldev Trehan, Ramlal, Pardesi, Narmada Shankar, V. Gopal, Anand (Mamaji), Beri and others in it.
“Phagun”(1973) had six songs in it. Four songs have been covered in the past. Here is this song, the fifth from the movie to appear in the blog. The song is sung by Kishore Kumar, Pankaj Mitra, Sunil Kumar and R.S. Bedi. Majrooh Sultanpuri is the lyricist. Music is composed by S D Burman.
It appears that only audio of the song is available. The movie itself came during the days when Rajesh Khanna ruled the roost and movies with other heroes did not find much favour with the audience. This movie was one of the lesser patronised movies of its time. That explains why this song, despite having the voice of Kishore Kumar in it failed to get popular. Personally I am listening to this for the first time. The song would have become popular had the movie done better at the box office.
Song-Laali mere laal ki (Phaagun)(1973) Singers-Kishore Kumar, Pankaj Mitra, Sunil Kumar, R.S. Bedi, Lyrics-Majrooh Sultanpuri, MD-S D Burman
Lyrics(Provided by Avinash Scrapwala)
Arey bhai
Tum log chup kyun ho
Bolo
Kuchh to bolo
So jaao o
Arre mitthu miyaan
Kuchh bolo ni
Hmm hmm
Kuchh chaalo ni
Hmm
Wadi chup kyun ho
Kuchh bolo ni
Haan bolon se Banti hai boli
Aur boli se bante hain geet
Geet
Haan haan geet
To phir
Haan haan aan aan
Hun hun hunh oon
Haan haan aan
Hun hun hunh oon
Haan haan aan
Hun hun hunh oon
Laali mere laal ki
Hun hun hunh oon
Laali mere laal ki
jit dekhoon tit laal
Hun hun hunh oon oon oon
Laali dekhan main gayi ee
arey
Arey main bhi ho gayi laal
Waah waah
Haa haa
Saadhu saadhu
Phir
Phir
raat huyi
Ek baat huyi
Chori chori chori ee
Mulaaqaat huyi
Phir
Phurr
Phurr phurr rr
Bataao ni wadi
Kyaa baat huyi
Keh doon
Keh do
Keh doon
Keh do
Hunh hunh
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Chaahe maaro
Chaahe peeto
Chaahe maskaa lagaao
Chaahe maaro
Chaahe peeto
Chaahe maskaa lagaao
Magar
Nahin boloongaa
Nahin boloongaa
Nahin boloongaa
Bolo naa
Nahin boloongaa
Nahin boloongaa
Nahin boloongaa
Chanakya pandit bol gaye
Udoon
Hi hi
Haa haa
Waah waah
Haa aa aa aan
Suno suno aur suno o
Wo oonchaa saa
Haan haan
Ped jo hain naa
Haan haan
Kal main uske
He hey
paas gayaa thhaa
achchaa achchaa
patte neeche pade huye thhe
pandit mullaah aa chadhey huye thhe
Ishwar allaah ladey huye thhe ae
Sar ke liye
Nahin re nahin
Ghar ke liye
Naahi re naahi
Dar ke liye
Nahin re nahin
To phir kiske liye ae
Keh doon
Keh do
Keh doon
Keh do
Hunh hunh
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Chaahe maaro
Chaahe peeto
Chaahe maskaa lagaao
Chaahe maaro
Chaahe peeto
Chaahe maskaa lagaao
magar
Nahin boloongaa
Nahin boloongaa
Nahin boloongaa
Bolo naa
Nahin boloongaa
Nahin boloongaa
Nahin boloongaa
Chanakya pandit bol gaye ae
Hi
Hoore ae…
Hi hi
Hurey
Hurey
Arey baap re a
Main to darr rrr gayaa
Ha
Ha
Ha
He ah ah ah
He ah ah ah
He ah ah ah
(hunh ha ha hunh ha ha )
He ah ah ah
(hunh ha ha hunh ha ha )
Gaadi roko o
Paaro
Bolo devdaashaa aa
Roti kyun ho paaro
Haan haan
Preetam jo main jaanti
Hunh hunh oon oon
Preetam jo main jaanti
Preet kiye dukh hoye ae
Hunh hunh oon oon oon
Nagar dhhandhhoraa
Dhhandhhoraa aa
pit ti
Preet na
kariyo koye ae
chh chh chh chh
Allaah
To aashiq ko naa
Dikhlaaye buddhaapaa
Allaah
To aashiq ko naa
Dikhlaaye buddhaapaa
Haaye haaye re
Budhhapaa
Haaye haaye
Haaye are budhhaapaa
Haaye haaye re
Budhhapaa
Haaye haaye
Haaye are budhhaapaa
Jab ham bhi chaley
Saath chaley
Reechh ka bachchaa
Jab ham bhi chaley
Saath chalaa
Reechh ka bachchaa
Arey reechh kaa bachchaa
Arey reechh kaa bachchaa
Jaako naahin
Phate biwaai
U kaa jaane
Peer paraayee
Jaako naahin
Phate biwaai
U kaa jaane
Peer paraayee
Ayin
Raghu kul chalaa sati
Raghu kul reet sadaa
Chali aayi
pran jaaye par bachan na jaayee
jaayee jaayee
Ban chaley
Raam raghuraayi ee
Ban chaley
Raam raghuraayi ee
Chanakya
chi chi chi chanakya
Ban chaley
Raam raghuraayi ee
Chanakya pandit bol gaye
Hi hi
Hi hi
Ae guduum
Arey bhaalu aaya
Nahin aaya
To phir so jaao
(Snoring sound)
(whistling sound)
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.
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Blog Day : |
5404 | Post No. : | 17731 |
We all have heard of World Happiness Index. We have heard about it because this index gives India a very low rating. People in India who believe in this rating ironically do not believe in ratings that shows India in good light. On the other hand, there are people who wonder how India can be ranked so low when we see countries that appear in far more distress than India ranked higher than India.
There are not too many people who actually buckle down and try to go to the details of this world Happiness Index. Not even the media who report on this topic. I have been thinking of going to the depth of this World Happiness Index for quite some time but I was not able to find time. You see, people like me who are inherently happy most of the time cannot be easily persuaded to waste time analysing an Index that accuses you of belonging to a country whose population is unhappy. 🙂
Nevertheless, someone had to do the painful job of analysing this world Happiness Index. No one in India is seemingly interested so I have volunteered and I have done it. In this post, I will give my findings on this index.
World Happiness Index is published by “The Sustainable Development Solutions Network” of the UN. They release their annual report on 20 march which has been declared as International Day of Happiness.
The General Assembly of the United Nations in its resolution 66/281 of 12 July 2012 proclaimed 20 March the International Day of Happiness recognizing the relevance of happiness and well-being as universal goals and aspirations in the lives of human beings around the world and the importance of their recognition in public policy objectives.
The meeting was convened at an initiative of Bhutan, a country which recognized the supremacy of national happiness over national income since the early 1970s and famously adopted the goal of Gross National Happiness over Gross National Product.
World Happiness Index is compiled considering six characteristics to rank countries on overall happiness: GDP per capita, social support, life expectancy, freedom to make choices, generosity, and perception of corruption.
| Factor | Source data | Remarks |
|---|---|---|
| GDP per capita | World Bank /IMF figures | Data can be considered objective |
| Social support | Gallup polls | Data is highly subjective as well be discussed later |
| Healthy Life expectancy | WHO figures | Data is objective |
| Freedom to make life choices | Gallup polls | Data is highly subjective as well be discussed later |
| Generosity | Gallup polls | Data is highly subjective as well be discussed later |
| Perception of corruption | Gallup polls | Data is highly subjective as well be discussed later |
Let us discuss these factors in detail
Following two factors (out of six) can be considered Objective factors:-
| Factor | Maximum to Minimum range | Remarks |
|---|---|---|
| GDP per capita | 2.200 to 0.000 | The GDP/capita is processed in a mathematically complicated mannner to arrive at figures where higher per capita nation gets assigned higher value. Luxembourg gets the highest value while Venezuela gets the lowest value |
| Healthy life expectancy | 0.702 to 0.000 | The life expectancy figure is processed in a mathematically complicated mannner to arrive at figures where country with higher life expectancy gets assigned higher value. Hongkong has the highest figure whereas Mozambique gets the lowest figure |
I thought it was not possible to bungle in the above factors because figures for them are available on reputed sites. For example, GDP per capita is available on sites like World Bank, IMF etc. Likewise figures of Life expectancy are available on WHO site.
I notice that the country with the lowest GDP per capita in the Happiness chart is Venuzuela ! It defies logic. Venezuela per capita GDP is $ 7260 on PPP basis and $3460 on Nominal GDP basis in 2022. There are at least 50 countries behind Venezuela on GDP per capita basis. Such glaring error casts severe doubts on the authenticity of Happiness Index, at least for Venezuelans, if not for others. Had Venezuela’s rank been correct on GDP per capita basis, they would have ended up in top 30, instead of ending up at 89th position in the latest Happiness Index, (all other things remaining same).
I hope healthy life expectancy figures do not contain any such glaring errors.
The highest figure theoretically achievable for the above two factors is 2.200 + 0.702= 2.902. The lowest figure theoretically possible is 0.00. The actual highest achieved figures is 2.383 by Taiwan followed by USA of 2.370. So these two countries are the happiest if only GDP per capita and life expectancy rankings are considered. The actual lowest figures achieved on these two factors is 0.341 by Venezuela and 0.570 by Mozambique.
As discussed above, the faulty ranking of Venezuela in GDP per capita means that they end up at the very bottom when we add up its marks for the two factors.
As for India, India will be in 101th position with 1.411 marks. Pakistan with 1.238 will be at 109th position. Nepal 107th with 1.260. Bangladesh 97th with 1.487 marks. Sri Lanka 68th with 1.847 marks.
Now we come to the subjective factors. Unlike figures of GDP per capita and life expectancy which are collected and maintained by reputed world bodies with considerable experience and expertise, no well defined and accepted standards exist to measure the four subjective factors that form such a large part of World Happiness Index..Following are the four subjective factors that are considered while measuring happiness :-
| Factor | Maximum to Minimum range | Remarks |
|---|---|---|
| Social support | 1.620 to 0.000 | Data is highly subjective as will be discussed later Iceland gets the highest rating Afghanistan the lowest |
| Freedom to make life choices | 0.772 to 0.000 | Data is highly subjective as will be discussed later .Finland scores the highest Afghanistan the lowest |
| Generosity | 0.422 to 0.000 | Data is highly subjective as will be discussed later. Indonesia scores the highest Georgia the lowest |
| Perception of corruption | 0.561 to 0.000 | Data is highly subjective as will be discussed later. Singapore scores the highest viz it is least corrupt-Romania considers itself the most corrupt |
How were these figures arrived at ? Based on Gallup world polls (GWP). What are gallup polls? Gallup is an organisation that supposedly approaches a few people and ask them simple YES/ No questions. Based on the reply, the countries’ Social Support, Freedom to make choices, generosity and perception of corruption are measured and entire country gets branded. It is basically the opinion of the people polled. We know that opinions are not facts, but this World Happiness Index tries to pass off opinion of a few people as facts about a country.
Let us see what questions are asked. Under social support, the question anked is “If you were in trouble, do you have relatives or friends you can count on to help you whenever you need them, or not?”. The national average of the binary responses (0=no, 1=yes) to the Gallup World Poll (GWP) question is taken. In “social support”. India ranked an abysmal 121st is social support, but Pakistan and Bangladesh were even behind India as 123 and 132. Perhaps all these people are watchers of sad Hindi movies where society does not support the love birds. 🙂 I was under the impression that Asian countries with better social and family ties offers way more support to an individual in need than in Western countries where these ties are quite weak. Nevertheless, what people say in this poll matters in the happiness ranking , not the reality.
Under generosity, the question asked was -“Have you donated money to a charity in the past month?”. If the ansewr is yes, then the people of that counry are considered generous other wise miser. The fact that there are ways of being generous other than donating money, such as helping out by devoting time and effort, feeding hungry people free of cost etc does not count towards generosity as far as this happiness index “generosity” factor is concerned. When we look at the chart, we find that Nepal (one of the least developed countries in the world) which even today is getting loan from IMF is ranked at number 26 in Generosity. They consider themselves far more generous than G-7 countries with money like Germany (57), France (113), Japan(135) etc even though they do not lend any money to any other country. All they had to do was just to reply YES to the relevant generosity related poll and they leapfrogged most of the actually generous countries of the world. Likwise Pakistan (ranked 65) is considered more generous than China (88). 🙂 And we thought otherwise. 🙂
Freedom to make life choices is the national average of binary responses to the GWP question “Are you satisfied or dissatisfied with your freedom to choose what you do with your life?” Reply to this question throws up some hilarious rankings. Nepalese, who have hardly any options to chose from, feel that they have full freedom to make their life choices. So much so that they get a rank of 63 which is higher than USA (70) and Japan (71).
Perceptions of corruption are the average of binary answers to two GWP questions: “Is corruption widespread throughout the government or not?” and “Is corruption widespread within businesses or not?” Where data for government corruption are missing, the perception of business corruption is used as the overall corruption-perception measure. Perception of corruption polls are no less amusing. Myanmar is ranked 33 which is higher than the ranking of USA (38). Even Bangladesh at 40 considers itself less corrupt than South Korea (41), Israel (44), Spain (45) etc. In Indian sub continent, Sri Lankans consider themselves more corrupt than their other south Asian neighbours.
Theoretically the highest scoring country can score the maximum of 3.375 in the four factors (viz. 1.620 + 0.772 + 0.422+ 0.561= 3.375). The highest figure actually achieved under these categories is 3.018 by Finland followed by 3.016 by Denmark.
Likewise the worst scoring country can score a low figure of 0.000 + 0.000 +0.000 + 0.000=0.000. In reality the lowest scoring country in these categories is Afghanistan at 0.152 followed by Lebanon at 0.687.
When we combine the marks of two objective categories with the marks obtained in the four subjective categories then we get overall points under the six catogories. According to that, Singapore emerges first at 5.52 points, Denmark comes at number 2 with 5.503, Sweden is third at 5.492 , Norway is fourth at 5.486, Finland is fifth at 5.441, Israel 23rd at 4.782, USA is 25th at 4.769.
Among Indian subcontinent countries, Sri Lanka is 73rd with 3.817, Nepal at 96th with 3.173, India 101st with 3.057,Bangladesh 106th with 2.922, Pakistan is 114th with 2.649.
I can see vehement protests coming from some quarters because the World Happiness ranking shows India behind all its neigbours in general, and behind Pakistan and Bangladesh in particular.
I am going to explain how India fell behind Pakistan, Bangladesh etc despite outscoring them in the six categories. India was put behind Pakistan and Bangladesh by shifting the goalpost. Yes, those who create this world Happiness Index have kept a trick up their sleeve which they use to manipulate the ranking arbitrary at their whim and fancy. To achieve this manipulation, they have introduced another category called Dystopia + residual.
“Dystopia” is a hypothetical nation that scores the lowest under all categories. Dystopia represents the lowest national averages for each of the six key variables and is, along with residual error, used as a regression benchmark.
From the earlier discussion we have seen that “Dystopia” nation would achieve a score of 0.000 under the six categories. The country that comes the closest to Dystopia in our ranking seen so far is Afghanistan that scores 0.883. Next country after Afghanistan is Comoros with 1.847.
From the above explanation of Dystopia, one would assume that countries that score high marks (and are thus far away from the hypothetical country of Dystopia would have similar marks under the heading of Dystopia + residual. Likewise countries that score poorly under the six factors and are thus closer to Dystopia would be expected to score similar marks under the heading of Dystopia + residual. Not by a long shot ! We cannot be more wrong !
We find that countries that score very high under the six headings and countries that score abysmally can have similar scores under the heading of Dystopia + residual. On the otherhand Countries that have similar scores under the six categories can have vastly different scores under the category of Dystopia + residual. In fact, countries that were way behind after adding up their marks under the six categories were made to leapfrog other nations rather unfairly and arbitrarily.
Here are some examples to show the arbitrariness of all this.
Singapore that stood first in ranking when the scores of six categories were counted was given a score of only 1.067 in the category of Dystopia + residual. Denmark was given 2.084, Sweden 1.903, Norway 1.829 and Finland 2.423.
When this dystopia + Residual category figures were added to the sum total total of the six categories, Finland became the number one nation, whereas Singapore, for no fault of theirs was relegated from number one position down to 26th position. Israel, who were on a lowly 23rd position, jumped up to 4th because they were given a whopping 2.691 under the category of Dystopia + residual.
Let us see the above discussion in tabular form:
| Country | sum total marks of six categories | Ranking after sum total of six categories | Marks given in the category of Dystopia + residual | Final marks | Final ranking | |
|---|---|---|---|---|---|---|
| Singapore | 5.520 | 1st | 1.067 | 6.587 | 26th | |
| Finland | 5.441 | 5th | 2.363 | 7.804 | 1st | |
| Israel | 4.782 | 23rd | 2.691 | 7.473 | 4th |
We have heard that Finland was number one in the happiness ranking for the fifth year in a row. How creditable, we are told. Now we know how they are achieving their number one ranking year after year. It is by using corrupt means. It has been done by awarding them very high marks and awarding the actual winner very low marks on the artificially and fraudulently created category of dystopia + Residual.
Let us now come to the changes in ranking of Indian subcontinent nations before and after Dystopia + residual marks.
| Country | sum total marks of six categories | Ranking after sum total of six categories | Marks given in the category of Dystopia + residual | Final marks | Final ranking | |
|---|---|---|---|---|---|---|
| India | 3.057 | 101st | 0.979 | 4.036 | 126th | |
| Pakistan | 2.649 | 114th | 1.907 | 4.555 | 108th | |
| Bangladesh | 2.922 | 106th | 1.361 | 4.282 | 118th | |
| Nepal | 3.173 | 96th | 2.187 | 5.360 | 78th | |
| Sri Lanka | 3.817 | 73rd | 0.625 | 4.442 | 112th |
We observe that Sri Lanka was 73rd and India was 101st in the happiness ranking. But those who publish the list had other ideas. They awarded low marks to India and Sri Lanka and such high marks to Pakistan and Bangladesh under Dystopia + residual that they rose above India. In their overenthusiasm, they awarded such high marks to Nepal that it reached a rank of 78th where it hardly belongs.
India finds itself behind Pakistan and Bangladesh, and also behind countries like Mali and Liberia, but then that was because Mali and Liberia were artificially granted huge points viz 2.070 and 1.869 respectively under the category of Dystopia + residual, otherwise they were at the bottom without the grace marks provided under Dystopia + residual.
The data for this happiness index 2023 is available in the excel sheet format at this link.
The relevant page containing the above data is this and this.
So, my conclusion is, this world happiness Index is a bogus ranking. It is hogwash, it is fraud. It should not be taken seriously. The people behind this ranking are taking people for a ride by creating a list that is based on dubious data where opinions of a few hundred people are used to brand an entire nation as happy or unhappy. When even that does not serve the purpose, they further move nations up or down the list by arbitrarily increasing or decreasing their marks in the column of dystopia + error which itself is a column created to manipulate the rankings.
Gallup methodology of poll shows that they take a poll of a few hundred people without doing any due diligence to ensure that their polls follows the principles of sampling. In a country like India, whose population is more than that of any continent (other than Asia), a truly representative sampling would run into at least 25 thousand people, may be a few lakhs, and it would take elaborate preparation and vast expenditure on the scale of Indian elections opinion polls. I do not think Gallup have bothered to spend so much time, money and effort while carrying out their polls in India, if at all they have bothered to carry it out. Had they done this exercise in India, this would have been a vast exercise and we would have known about it. But we do not know anything about it. So most likely, their poll in India has been an eyewash. Few people seem to have questioned their methodology. Most people interested in Indian affairs seem to have blindly believed this happiness ranking and they have used this ranking to bash the Indian government or it has been used to troll India and Indians.
Based on the above discussion, I feel that the world Happiness Index is not worth the paper it is printed on. Indians should stop giving credence to it because plainly speaking it is nothing but a fraud that has successfully been perpetrated for over a decade by now. Forget Indians, people worldwide should also question the people behind this Index. So far they have managed to avoid scrutiny and have continued on their own merry ways.
I hope readers will now gain some insight into the mechanism of this so called World Happiness Index. The creators of this index decide the ranking beforehand and then they artificially award points under the column of Dystopia + residual. It is the most corrupt methodology to make a list.
I have not yet analysed press freedom index, democracy index, human rights index etc. There too India is ranked low behind countries that have now press freedom, no democracy and no human rights. When I analyse them, I am sure I will find similar gory details there as well.
I have mentioned in the beginning of the post that I am by nature a happy person. My guess is that most readers of this blog are also like me. I feel that music lovers are by nature well adjusted people who find it easy to stay happy most of the time. Even our film songs are no different. In almost all movies of golden era, we had happy joyuos songs where actors would be seen singing and dancing, often for no apparent reasons. On other occasions, they are singing and dancing because it is some festival/ celebration. Indians have so many festivals, and so many occasions of celebration. And all those occasions finds people singing and dancing. If that does not count towards happiness index, that is the problem of the index makers. Indians are more happy than the Happiness Index makers can ever imagine.
Here is a happy song from a movie called “Dil Ka Raja”(1972).
‘Dil Ka Raaja-1972’ was produced by A K Nadiadwala and directed by P. Madhwan for ‘Nadiadwala Associates, Bombay’. The movie had Raj Kumar, Leena Chandavarkar, Ajit, Bindu, Jagdeep, Indrani Mukherjee, Randhir, Meena T., Sheikh, Surendra Rahi, Manjeet, Omkar, Pandit Iqbal, Jankidas, Uma Dutt, Rajesh, Maqbool, Master Anil, Master Ripal, and Waheeda Rehman (in special appearance) etc in it.
The movie had five songs in it. Two songs have been covered in the past.
While looking for a joyous song to go with this post on World Happiness ranking, I came across that song. I realised that I had last heard this song in 1972, when this song was quite a popular song. I loved this song, though I had no inkling which movie this song was from. Now more than half a century later, I find myself getting reunited with this song, like how it happens in a Manmohan Desai movie.
The song is sung by Rafi, Asha Bhonsle and Manna Dey. It is picturised as a joyous dance song on Raj KUmar (double role of father and son, Leena Chandawarkar and Jagdeep plus another person that I could not uidentify. I request our knowledgeable readers to identify the unidentified person. What a wonderfully lively and joyous song ! Enjoy !
Song-Jin ke paas haathhi ghoda un ke paas dil hai thhoda (Dil ka raaja) (1972) Singers-Rafi, Asha Bhonsle, Manna Dey, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Chorus
All together
Lyrics
jinke pas haathi ghoda
un ke paas dil hai thhoda
are tum se thhoda
aaha
ke dil ka badshah
aaha
koi tum sa kahaan
aha
kahe saara jaahaan
ho rajaji ee
jinke pass haathi ghoda
un ke paass dil hai thhoda
are tum se thhoda
aaha
ke dil ka badshah
aaha
koi tum sa kahaan
aaha
kahe saara jaahan
ohh raajaji ee ee ee
yoon to kehne sun’ne ko hum bhi hain jawaan
tumse naujawaan kaun hoga
itna(?) sakhi daata ke jaise Bhagwaan
aisa to yahaan kaun hoga
ho o
chaandi ka
sone ka dil tumhaara
aaha
ke dil ka baadshah
aha
koi tumsa kahaan
aha
kahe saara jahaan
o raaja jee ee ee ee
jis ne maanga aangan
diya hai tumne gaaon
jaane raaja saari nagariya
ho o o
laakhon ke liye leke thhandi thhandi chhaanv
tani hai tumhaari chadariya
ho ho ho
laakhon ka aangan hai dil tumhaara
aha
ki dil ka baadshah
aha
koi tumsa kahaan
aaha
kahe saara jahaan
ho rajaji ee ee
ho jinke pass hathi ghoda
unn ke pass dil hai thhoda
are tum se thhoda
aaha
ke dil ka badshah
aaha
koi tum sa kahaan
aaha
kahe saara jahaan
ho ohh rajaji
o o o
o o o o
o o o o o
o jinke paas haathi ghoda
un ke paas dil hai thhoda
are tum se thhoda
aaha
ke dil ka badshah
aaha
koi tum sa kahaan
aaha
kahe saara jaahaan
o raaja jee
Dukki Pe Dukki Ho Ya Satte Pe Satta
Posted on: May 2, 2023
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.
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Blog Day : |
5401 | Post No. : | 17723 |
This is the song, part of which is shot near to the Thajiwas glacier, near Sonamarg, Kashmir. This is the route going to Laddakh, travelling east of Srinagar. Further on this road falls Kargil area, about which many people have told me is much too beautiful to miss. Laddakh is a sight to behold too. I have missed both Laddakh and Kargil, but hope to visit in future, in-sha-Allah.
When we spoke to local people and guides in the valley at Sonamarg, one of them told us that many Hindi film songs are filmed in the area and very near to the Thajiwas glacier. He mentioned a song from the 1982 film ‘Satte Pe Satta’. I forgot all about this and only discovered this song accidentally. It is indeed filmed nearer to the glacier, than we could travel. A few decades ago, the vehicles were allowed to go up to the valley where the glacier is near, and the rivers and waterfalls start, fed by the Thajiwas glacier. Obviously, the location is visible from the highway, but far away for us city people to walk up or even ride a horse. I clicked great many photos, to capture different fingers of the main glacier, whatever I could see from one side i.e. the highway and Sonamarg side. It must be magnificent to look at from the other sides, which are truly remote and not habitable areas. This is only one glacier of the 10,000 which fall in the Indian territory. One needs several lives to fully watch and savour the magnificence of the Himalayan Mountain range, and its various attributes and aspects. The Himalayas were formed due to the friction and constant northward movement of the Indian plate against the Asian plate, over thousands of years.
This is my previous post on Kashmir visit – “Jiya Jiya Re Jiya Re“.
Todays’s song is from the film ‘Satte pe Satta’ (1982), which is mostly shot in Kashmir over 40 years ago, and one part of it is near the famous glacier. Must be in fair weather, the full star cast of the film went up there to shoot in bright sunlight. But they all returned to the base farmhouse/ farmstead where rest of the song is filmed. The singers are RD Burman, Kishore Kumar, Asha Bhosle, Bhupinder Singh, Sapan Chakraborty, Basu Chakraborty and the music is composed by RD Burman. The lyricist is Gulshan Bawra and it is the title song of the film.
Interestingly, Gulshan Bawra has rhymed the words satte pe satta with the word albatta. This gives us a unique word, and as far as I am aware, used only once in a Hindi film song. The word is a common usage affirmative / emphasising in cultured chaste Urdu. In old Hindi films this word is common, in dialogues, where the speaker wants to say or assert a view, despite this or inspite of that, ‘albatta‘, the truth prevails 😊.
اَلبَتَّہکےاردومعانی پوشیدہ فعلمتعلق یقیناً، قطعیطورپر، بےشک، ضرور، یقینہےکہ، لیکن، مگر، اتناضروریہے
albatta. अलबत्ताالبتہ. although, but, on the other hand. Isth
This explains the origin of the word.
Is the English word ‘albeit’ derived from the Urdu word ‘Albatta’?
No, the word ‘albeit’ is not derived from the Urdu word ‘Albatta’. ‘Although’ is a conjunction that means ‘in spite of the fact that’ or ‘even though’. It is derived from the Old English word ‘þeah’ which means ‘even though’ or ‘although’. The Urdu word ‘albatta‘ is a conjunction that means ‘although’ or ‘notwithstanding’. It is derived from the Arabic word ‘al-batta‘ which means ‘however’ or ‘despite’.
I have fond memories of watching this film at Minerva (or was it Apsara?) in 1982. We lived in the BEST officer’s quarters and the many families decided to watch the film collectively. The tickets were booked through the theater management, via the PSU’s good offices, as the supplier of electricity. I remember the theater management had put up a welcome message for the BEST officers and their families on screen, before the start of the film.
I am truly amazed to have had such unique experiences of movie watching, in theaters. Some memories, like being hit with a clothes hanger, and being forced to go to watch ‘Muqaddar ka Sikander’ (1978); and leaving the Liberty cinema in interval after not watching ‘Lekin’ (1990), walking up to Maratha Mandir to watch a re-release matinee show of ‘Mughal-e-Azam’ (1960) in knee deep water-logged streets; the experience of watching coins being thrown at the screen on the song “Tere Chehre Mein Wo Jaadu Hai” in a dilapidated theatre in Belgaum while watching ‘Dharmata’ (1975) sometime in the mid 80’s; the best of which is my friend being told by the usher, “No madam, it is waiting for you” at Regal cinema where we were late for the show of ‘Gone With The Wind’ (1939), in reply to her question “Has the movie started?”. There are more such memories, which will surface in time. I will share them in future posts.
Song – Dukki Pe Dukki Ho Ya Satte Pe Satta (Satte Pe Satta) (1982) Singer – Kishore Kumar, Asha Bhosle, Bhupinder Singh, Sapan Chakraborty, Basu Chakraborty, Lyrics – Gulshan Bawra, MD – RD Burman
Chorus
Lyrics
hey…
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
haan
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
tu mere dil ka raja hai
ya tere dil ki main raani
tu mere dil ka raja hai
ya teredil ki main raani
o o o
tu meri baahon mein aa
main teri baahon mein hoon
pyar to hoga jaani
banegi wohi kahaani
koi faraq nahin albatta
koi faraq nahin albatta
ho koi faraq nahin albatta
koi faraq nahin albatta
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
wow
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
ho ho ho
ah ha haa
oh ho ho ho ho ho ho
qismat mein jin ki milna hai
wo kisi tarah bhi mil jaayen
qismat mein jin ki milna hai
wo kisi tarah bhi mil jaayen
o o purab se paschim ki ee
uttar se dakshin ki ee
mil jaati hain rekhayen
laakhon pehre lagaayen
atak gaya
kyun
ka ko ka ko ka ka
ka ka kao kao
bolo bolo bolte raho
koi faraq nahin albatta
koi faraq nahin albatta
ho koi faraq nahin albatta
koi faraq nahin albatta
ho dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
dono ka ek matlab hai
dil de de ya to dil le le
ho dono ka ek matlab hai
dil de de ya to dil le le
ho….
sadiyon se hota hai jo
aakhir ko wohi hoga
lagte hain pyar ke mele
jaayenge sabhi akele
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हे ॰ ॰ ॰
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हाँ
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
तू मेरे दिल का राजा है
या तेरे दिल की मैं रानी
तू मेरे दिल का राजा है
या तेरे दिल की मैं रानी
ओ ओ ओ
तू मेरी बाहों में आ
मैं तेरी बाहों में हूँ
प्यार तो होगा जानी
बनेगी वही कहानी
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
वॉव
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो हो हो
आ हा हा
ओह हो हो हो हो हो हो
क़िस्मत में जिनकी मिलना है
वो किसी तरह भी मिल जाएँ
क़िस्मत में जिनकी मिलना है
वो किसी तरह भी मिल जाएँ
ओ ओ पूरब से पश्चिम की॰ ॰ ॰
उत्तर से दक्षिण की॰ ॰ ॰
मिल जाती हैं रेखाएँ
लाखों पहरे लगाएँ
अटक गया
क्यों
का को का को का का
का का काओ काओ
बोलो बोलो बोलते रहो
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दोनों का एक मतलब है
दिल दे दे या तो दिल ले ले
दोनों का एक मतलब है
दिल दे दे या तो दिल ले ले
हो॰ ॰ ॰
सदियों से होता है जो
आखिर को वोही होगा
लगते हैं प्यार के मेले
जाएँगे सभी अकेले
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
Bhar do jholi mori ya Moinuddin
Posted on: April 9, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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#the Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # (Qoowat E Parwardigaar 1970s (UR))
——————————————-———————
Today we get introduced to a movie from the seventies which was either shelved or remained incomplete.
This movie is ‘Qoowat-e-Parwardigaar’.
It was directed by A. Shamsheer for ‘Jaani Films’. I guess that Jaani Babu Qawwal was the producer of this movie.
Very less information about this movie is available in HFGK Vol-V (1971-1980). Under the cast for this movie it mentions name of only two artistes viz. Waheeda and Tabrez.
Music for this movie was composed by Jaani Babu. The songs in this movie were written by Payam Sayeedi, Anwar Farrukhabadi, Akhtar Warsi Lakhnavi and Samar Manchvi.
HFGK Vol-V (1971-1980) lists four songs from this movie which were recorded and released.
Today we listen to a devotional song or ‘qawwali’ which is sung by Jani Babu, Nisar Jani, Dilawar Jani, Munir Jani and chorus.
Lyrics are by Anwar Farrukhabadi and music is composed by Jani Babu.
Let us listen to this beautiful composition and welcome ‘Qoowat-E-Parwardigaar’ on the blog …
I would request knowledgeable readers to throw more light on this movie and its songs.
Only audio of this song is available.
(I have tried to note the lyrics as accurate as possible and left (?) wherever I have doubt in noting the correct words. I would like to apologies for any mistake on my side if I have fail to note correct words at other places (if any). Readers may kindly correct me and provide correct words there please).
Song-Bhar do jholi mori ya moinuddin (Qoowat e Parwardigaar)((UR)(1975) Singers-Jaani Babu, Nisar Jani, Dilawar Jani, Munir Jani, Lyrics-Anwar Farrukhabadi, MD-Jaani Babu Qawwal
Lyrics
Ae ke lukt e? to ilaaj e
har gham o
ahvaalema?
azr? maula ali sun
yak nazar barhaalema
kab lag huyi hai
karam morey khwaaja
kab lag huyi hai
karam morey khwaaja
beetaa jaaye janam
morey khwaaja
kab lag huyi hai
karam morey khwaaja
beetaa jaaye janam
morey khwaaja
kab lag huyi hai
ae
kab lag huyi hai
kab lag huyi hai
karam itnaa to mujh par
ae mere sarkaar ho jaaye ae
jidhar nazren uthhaaun main
tera deedaar ho jaaye
(haq hai)
lagaaye huye aas aayi hoon khwaaja
lagaaye huye aas aayi hoon khwaaja
yahi iltajaaa dar pe laayi hoon khwaaja
bhar do jholi mori
ya moinuddin
bhar do jholi mori
ya moinuddin
bhar do jholi mori
main kya jaanoon
din dharam ko o
main kya jaanoon
din dharam ko
tum hi mora dharam morey khwaaja
ae
tum hi mora dharam morey khwaaja
main kya jaanoon
din dharam ko o
sainyya
main kya jaanoon
din dharam ko
ae
tum hi mora dharam morey khwaaja
tum hi mora dharam morey khwaaja
lagaaye huye aas aayi hoon khwaaja
yahi iltajaaa dar pe laayi hoon khwaaja
bhar do jholi mori
ya moinuddin
bhar do jholi mori
ya moinuddin
bhar do jholi mori ee
tumhen jogan ke sar pe ab
daya ka taaj rakhnaa hai
bharam dukhiyaa kaa ae
ajmer ke maharaaj rakhnaa hai
hamesha mujh abhaagan ki
bhikhaaran ki
mere khwaaja
tum hi ne laaj rakhi hai
tum hi ko laaj rakhnaa hai
tumhi to ho sarkaar
dukhiyon ke waali
tumhi to ho sarkaar
dukhiyon ke waali
na jaaungi is dar se
main haathh khaali
bhar do jholi mori
ya moinuddin
bhar do jholi mori
ya moinuddin
bhar do jholi mori ee
karam ya shaah e ?
jamaal e ibn e haider
ajal ? liye payambar
moin o bandaa parwar
haneef e gham gusaara
maseeh e dilfigaaraan
ameer e kul ghareebaan
habib e dard mandaa
reham kun bahr e
shahanshaah e
umam ya khwaaja
bar fakir e
bafigan
Jashn e karam
Ya khwaaja
tumhi to ho sarkaar
dukhiyon ke waali
tumhi to ho sarkaar
dukhiyon ke waali
na jaaungi is dar se
main haathh khaali
bhar do jholi mori
ya moinuddin
bhar do jholi mori
ya moinuddin
bhar do jholi mori ee
yahi hai ab mera armaan
ya ghareeb nawaaz
karo ghareeb pe ehsaan
ya ghareeb nawaaz
banaayi tumne hazaaron ki
bigdiyaan khwaaja
ke roz bharte ho tum
sab ki jholiyaan khwaaja
khuda ke pyaare ho tum
mustafa ke pyaare ho
ali ke laadle
usmaan ke dulaare ho
kisi bhikhari ko
khaali na dar se lautaayaa
tumhaare dar se
farkiron ne kya nahin paayaa
kisi ko noor e vilaayat
kisi ko maal diyaa
muraad baanjh ne maangi to
naunihaal diyaa
tumhaaraa rishtaa hai aise
sakhi gharaane se
gayaa na koyi bhi maayus
???
nabi ka waastaa
ab mere sar pe haathh rakho
nabi ka waastaa
ab mere sar pe haathh rakho
ke main tumhaari bhikhaaran hoon
meri baat rakho
bhar do jholi mori
ya moinuddin
bhar do jholi mori
ya moinuddin
bhar do jholi mori
ya moinuddin
bhar do jholi mori
ya moinuddin …..
Jhoome jo pathan meri jaan
Posted on: April 2, 2023
This article is written by Gajendra Khanna, 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.
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5371 | Post No. : | 17615 | Movie Count : |
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While browsing the songs posted for various years on the Atul’s Song A Day website, I realised that the current year 2023 is still to make it’s debut on the blog and decided to make a post from the movie which is being reported as the biggest hit of the year so far – Pathaan.
Pathaan is a 2023 Indian Hindi-language action thriller film directed by Siddharth Anand and written by Shridhar Raghavan and Abbas Tyrewala, from a story by Anand.
This is the fourth movie in the YRF (Yash Raj Films’) Spy Universe. YRF Spy Universe is an Indian shared universe centered on a series of spy action-thriller films, which feature various fictional RAW agents. It is produced and distributed by Yash Raj Films. The franchise is commercially successful by having grossed ₹2,422 crore on a combined budget of ₹635 crore, thus becoming the second highest-grossing Indian franchise. The shared universe, initially started out as a single movie series, later was established by crossing over common plot elements, settings, cast, and characters.
The first film Ek Tha Tiger (2012) and its sequel Tiger Zinda Hai (2017) centre on a fictional R&AW agent played by Salman Khan. War (2019) tells the story of a RAW agent played by Hrithik Roshan who goes rogue. Before making War, producer Aditya Chopra and director Siddharth Anand came up with the idea of merging these films and creating a shared universe by crossing over the characters who all belong to the RAW. However, War was still made as a standalone film without directly connecting to the first two Tiger films—supporting the idea of creating a proper foundation for the War characters before a proper crossover. The fifth movie of the series, Tiger 3 starring Salman Khan and Katrina Kaif is scheduled to release on 10 November 2023, coinciding with Diwali.
Pathaan (2023) starring Shah Rukh Khan as the titular character and a RAW agent, directed by Anand, is the first film to have characters appearing from both the Tiger franchise and War. It is the fourth film in the SPY Universe and the first YRF film to have a crossover.
Pathaan which released on 25th January 2023, on the eve of the Indian Republic Day is reportedly breaking all sorts of box office records. Some reports claim that it has already crossed 1040 crores of revenue worldwide. The day the movie released, I happened to be on Bengaluru’s M.G. Road for some window shopping. I saw that the Fame Symphony cinema had a huge crowd in front of it thanks to the release of this film. This was quite an anticipated movie for the audience since Shah Rukh Khan was appearing in a film after 4 years (Zero had last released on 21st December 2018). There was a huge publicity campaign for the movie’s release which had got even more accentuated due to a controversy over Deepika Padukone’s orange bikini featured in the video and lyrics of the film’s hit song ‘Besharam Rang’. Before, I share my views on the movie let me share the movie’s plot below:-
In 2019, the Indian Government revokes Article 370, which grants special status for Jammu and Kashmir. The news impacts a cancer-ridden Pakistani army general, Qadir, who decides to exact vengeance against India. He signs a contract with Jim, who leads “Outfit X”, a private terrorist organization. Meanwhile, Pathaan, a former RAW agent, and his senior officer Nandini Grewal open a unit dubbed the “Joint Operations and Covert Research” (JOCR) unit, to recruit former RAW agents who were forced to retire due to past trauma or injury, but want to serve the country.
With RAW joint secretary, Colonel Sunil Luthra’s acceptance, Pathaan and his team head to Dubai to stop Outfit X’s plans of attacking the President of India at a scientific conference. However, they realize that their actual plan was to kidnap two scientists, Dr. Farooqui and Dr. Sahani instead and the information they received about the imminent attack on the President was a ruse to mislead them. Jim attacks the scientists’ convoy and Pathaan tries to stop him. A fight ensues, where Jim manages to escape with Dr. Sahani. At the debrief back at the agency, Luthra reveals that Jim was a former RAW agent and Kabir Dhaliwal’s partner, who was awarded with the Vir Puraskar for his bravery after the agency could not find his body when Somalian terrorists killed his wife and unborn child in a negotiation gone-wrong. He had apparently faked his death in order to seek vengeance against the agency and country for not saving his family.
Meanwhile, Pathaan learns about the codeword dubbed “Raktbeej” and also that the dead people in Dubai were ex-agents and their money was transferred from the account of Rubina “Rubai” Mohsin, a Pakistani doctor in Spain. He travels to Spain and is captured by Jim’s men, where he also learns that Rubai is an ex-ISI agent. When Jim leaves his hideout, Rubai attacks Jim’s men and escapes with Pathaan. Rubai reveals that Raktbeej is in Moscow, where they travel to steal it before Jim does. However, Rubai betrays Pathaan and has him captured by the police. It is revealed that Jim used Rubai to make Pathaan steal the Raktbeej for himself. Pathaan is captured and taken to prison by train, but is saved by Avinash “Tiger” Singh Rathore.Three years later, Pathaan travels to Africa and captures Jim’s henchman Raafe. He meets Nandini and reveals about Jim purchasing two saber missiles, while Nandini reveals Rubai’s location in Paris. Pathaan meets Rubai, who reveals that the Raktbeej is a mutated smallpox virus, which was forcibly developed by a captive Dr. Sahani under Jim’s orders. She also expresses guilt about betraying Pathaan without knowing that her country would plan such an heinous attack. They travel to Jim’s lab in Siberia and manage to recover one orb containing the virus with great difficulty, while Jim escapes with the other orb. Luthra and Nandini reach Jim’s lab to take the orb back to the Indian Institute of Contagious Diseases (IICD), in India in order to develop a vaccine. Luthra also has Rubai arrested for having questionable loyalties.
At the IICD in India, Dr. Farooqui demonstrates the orb to Nandini. Jim calls them and reveals that the orb has already spread the virus in the facility. The infected scientists, along with Nandini die in the facility by shooting themselves, to curb the spread of the virus. Later, the facility is destroyed in a controlled blast. Jim provides an ultimatum to evacuate Indian soldiers out of Kashmir within 24 hours. Pathaan interrogates Raafe about the location of the missile, and learns that the missile is situated in Afghanistan. After rescuing Rubai, they lure Jim’s associates into a trap, and attack Jim’s base. Qadir is killed by Rubai before activating the missile containing the virus. Pathaan chases after Jim with a jetpack and they both crash land into a cabin.
Meanwhile, Rubai deactivates the missile, but finds that Raktbeej is not in the missile, but instead in a passenger-bound airplane, which is about to land in Delhi. She informs Pathaan, who finds that Jim has the detonator. Luthra calls the air traffic control to prevent the plane from landing in Delhi. In the cabin, Pathaan and Jim fight brutally, resulting in the cabin begin sliding off a cliff. Despite getting stabbed by Jim, Pathaan steals the detonator, deactivates Raktbeej and throws Jim out of the cabin as the foundation is about to break. While Jim holds onto a plank, Pathaan takes away his Vir Puraskar, deeming him unworthy of it. He stomps and breaks the plank Jim was holding onto, resulting in him falling to his apparent death. Afterwards, Pathaan is reinstated into RAW and made as the head of JOCR, while Nandini is posthumously awarded with the Vir Puraskar for her bravery.
In a mid-credits scene, Pathaan and Tiger are seen pondering about retiring and suggesting young agents who can replace them, but eventually decide to keep fighting the threats themselves.
So that was the movie’s ‘plot’. From the reviews of colleagues I gathered that the movie is a total masala film and moviegoers are going to see Shah Rukh’s latest outing on the big screen after a long time. I got mixed reviews about the movie from colleagues and due to my busy schedule at the time could not manage to walk it in the cinemas. Finally, I was able to manage to watch it on 22nd March on Amazon Prime when it released there as it happened to be a holiday.
Now, why was it a holiday may be a surprise to some people in some parts of India but it is a very normal annual occurrence for us here in Bengaluru. Let me take the opportunity to talk a bit about the ‘holiday’ here, on occasion of ‘Ugadi’. This day is very important as per our Sanatana Dharma. This is the day our Vikram Samwat calendar starts. King Vikramaditya is recorded to have started this calendar in 57 B.C to commemorate his victory over the Sakas. His kingdom had many important Geographers like Varamihir and it was based on their calculations that the calendar was made. The calendar or ‘panchaang’ had been calculated as per precise time calculations in those days. As per their calculations, the moon travels through the twelve Raashis (constellations) in 354 days. Thus, the moon travels each constellation in 29days, on the basis of which the calendar year was divided into twelve months. It was for the first time in the world that a year was divided into twelve months. In the calculation, the year is counted on basis of the sun’s movement while the months are calculated as per the movement of the moon. This same principle was also adopted by the Greeks, Arabs and the British later. It is also interesting to note that in comparison to the western calendars, here the names of the months of the calendars is quite scientific. While the western calendars are named according to the names of kings, queens or Gods/Goddesses, our Hindu Navsanvatsar technique names the months according to the Nakshatras the moon is in at the time of the Poornima (full moon). For example, if it is in Chitra, it is called Chaitra, in Vishakha it is Vaishakh, In Shravan it is Shraavan and when in Phalguni it is Phalgun. Thus our calendar’s months are not only scientific but they also consider the natural changes in the solar system. Due to the speed of the Sun and moon, every year, a difference of ten days occurs due to which they also catered for an ‘Adhimaas’. The original British (Gregorian) calendar had only ten months and due to which every year the time of Christmas used tochange. Due to such discrepancies, European countries had taken inspiration from the provision of 12 months in our calendar.
This new year day falls in the Chaitra month and there is a lot of significance of it. Some people may be surprised and ask that why does the ‘new year’ start fifteen days into the Chaitra month. The western calendars normally start on the new year after all, isn’t it? Like the calendar, there is a rational explanation for this too in our Sanatan philosophy. The belief is that during the Krishna Paksh due to the decline in the moon for 15 days the sky starts to become dark. Our Sanatan Dharma is based on moving from darkness to light (the principal that the Brihadaranyaka Upanishad mentions as Tamaso Ma Jyotirgamaya -which incidentally was my school’s motto too- which means From darkness, lead me to light). Due to this reason, in Chaitra after 15 days in Shukla Paksh due to increase in size of the moon, the brightness of light also increases and on the Pratipada tithi we celebrate the Hindu New Year.
This day marks the beginning of the Chaitra Navratras which are considered very auspicious. Chaitra Navratri is the first of four navratris of the year and being the first is very important. During these navratris in Punjab and other areas where the Shakti philosophy is followed, the nine forms of the Goddess Shakti, Durga, Shailputri, Brahmcharini, Chandraghanta, Kushmanda, Skand Mata, Katyayini, Kaal Raatri, Maha Gauri and Siddhi Daatri are prayed to by the Devotees (Bhakts). According to traditional kathas, Devi Durga had descended from the heavens to visit her paternal home (Maayka) and spend time with her devotees on this day. People undertake fasts on each day praying to the specific form of the goddess for the day and finally it ends the Chaitra Navmi (Also celebrated Ram Navmi or Vasant Navratri). Kanjak or Kanya Poojan, also called as Kumari Pujan, is a significant ritual related to the Hindu festival of Navratri done on the Ashtami in which little girls, preferably nine girls (called as Kanya – Kanjak in Punjabi) are worshiped in the nine form of goddess Durga. Many people think there are only two navratris in the year, one this Chaitra Navratri and the other before Dussehra but there are actually four navratris as per our ancient practices with the other two being ‘gupt’ or secret Navratris. The second Navratri and the first gupt Navratri is the Aashaadh Navratri celebrated during the Krishna Paksh of the Aashaadh month (which occurs around June-July) during which the Goddess is made happy by tantra sadhna. The third Navratri is the Sharadiya Navratri which is celebrated during the Shukla Paksh of the Sharad month (which occurs around September-October) till the Navmi which is considered the beginning of the winter season and the nine forms of Goddess Durga are prayed to during the nine days. The fourth and final Navratri of the year is the Magh Navratri (second Gupt Navratri) which is celebrated during the Shukla Paksh of the Paush Maas (December-January) during which prayers for secret Siddhis are done.
Here in Karnataka and Andhra-Telangana we celebrate the new year by the name Yugadi or Ugadi is derived from the Sanskrit words yuga (age) and ādi (beginning): “the beginning of a new age”. Yugadi or Ugadi falls on “Chaitra Shudhdha Paadyami” or the first day of the bright half of the Indian month of Chaitra. The Telugu, Kannada, Kodava and the Tulu diaspora in Andhra Pradesh, Telangana, Karnataka and Tamil Nadu celebrate the festival with great fanfare; gatherings of the extended family and a sumptuous feast are ‘de rigueur’. The day begins early with ritual showers, rubbing the body with perfumed oil, followed by prayers.
Ugadi Pacchadi is a symbolic dish prepared by Hindu people on this festival.
Preparations for the festival begin a week ahead. Houses are given a thorough clean. People buy new clothes, including dhoti, and buy new items for the festival, decorate the entrance of their houses with fresh mango leaves. Mango leaves and coconuts are considered auspicious in the Hindu tradition, and they are used on Ugadi. People also clean the front of their house with water and cow dung paste, then draw colorful floral designs. People offer prayers in temples. The celebration of Ugadi is marked by religious zeal and social merriment. According to Vasudha Narayanan, a professor of Religion at the University of Florida:
The pacchadi festive dish symbolically reminds the people that the following year – as all of life – will consist of not just sweet experiences, but a combination of sweet, sour, salty, and bitter episodes. Just as the different substances are bound together, one is reminded that no event or episode is wholly good or bad. Even in the midst of bitter experiences, there are sweet moments. One is also reminded that the experience of taste is transitory and ephemeral; so too, is life, and one has to learn to put pain and pleasure in proper temporal perspective.
Special dishes are prepared for the occasion. In Karnataka, foods such as Holige or Obattu, and mango pickles are made. In addition, a speciality of yugadi in Karnataka is to create “bEvu-bella” a mixture of neem and jaggery. This symbolizes life’s own experiences with a little bit of bitternes and a hint of sweetness. In Andhra Pradesh, foods such as pulihora, bobbatlu (Bhakshalu/ polelu/ oligale), New Year Burelu and Pachadi, and preparations made with raw mango go well with the occasion. Of these, pachadi (or Ugadi pacchadi) is the most notable, and consists of a chutney-like dish which combines ingredients to give all six flavours of food (ṣaḍruculu) : sweet (tīpi), sour (pulupu), salty (uppu), spicy (kāraṁ), bitter (cēdu) and astringent (vagaru). This festive Hindu food is made from tamarind paste (sour), neem flowers (bitter), brown sugar or sweet jaggery (sweet), table salt (salt), green chilli (spicy) and raw mango (astringent). It is a symbolic reminder of complex phases of life one should reasonably expect in the new year.
Maharashtran Hindus refer to the festival, observed on the same day, as Gudi Padwa. The Sindhis celebrate the same day as Cheti Chand, which is the beginning of their calendar year as well as the Jayanti of Bhagwan Jhoole Lal. Manipuris also celebrate their New Year as Sajibu Nongma Panba on the same day.
The Hindus of Bali in Indonesia also celebrate their new year on the same day as Nyepi. Ugadi is one of the five Hindu national public holidays in Mauritius.
As per our scriptures, there are other significances of this day too. It is said that it was on the day of the Chaitra Pratipada that Brahma ji had created the universe. Thus, Satyuga had started on this day and it was the first day of the Kaal Chakra. Bhagwan Ram had killed Bali on this same day and it thus marked an important milestone towards his endeavour to bring back Sita ji from Lanka. It was also the day on which Yudhishthir had become the King. (Thus it is an important day both in the Ramayana and the Mahabharata). Finally, the Arya Samaj had also been established on this day.
After all these asides, I come back to how I had a holiday on 22nd March on occasion of Ugadi which also happened to be the day Pathaan was released on OTT platform Amazon Prime. After a solid lunch with some excellent puranpoli (sweet and savoury variants), I along with a close family decided to finally catch the movie. I have already talked about the plot above. The story line as such is fairly limited and I feel in terms of story depth and screen play there was a lot that could have been done (wish someone like Neelesh Mishra from Ek Tha Tiger could have been there to firm it up). The film keeps you seated but it is not a very pleasant experience. An ISI agent who helps India, A Raw Agent against India, Really?? Lots of elements remind you of the Mission Impossible series as well as Matrix and probably other Hollywood movies too. Shah Rukh and Deepika Padukone make their presence felt as does Salman Khan in this guest appearance as Tiger. However, for me, it is John Abraham as the villain Jim and Dimple Kapadia who plays Nandini Jaiswal as head of JOCR (not Joker but Joint Operations and Covert Research. We, the audience are the jokers!) who stand out in the acting department for me. They both played their roles very well and give an emotional depth to the movie. Without these two, I probably wouldn’t have sat through the whole movie. The animation standard could have been better (never mind the inspirations from the Hollywood movies I already mentioned) and leaves one missing the finesse one is used to in Hollywood blockbusters. Pathaan’s real name is not revealed (unlike Tiger’s whom we know as Avinash Singh Rathore though we do get the back story as to how he got the name due to an act of ‘bravery’ in an Afghan village) as is the quality storyline which one would have expected. Over all, I would say that if you have nothing else to do and like these actors, Go ahead and watch it. To say that it would be worth multiple watches is too much of a stretch. It is a one time watch masala film. SRK isn’t just a word! It’s an emotion for millions of fans across the world and will be loved by his die hard fans. For the rest, It doesn’t have that redeeming quality which defines timeless movies. Never mind the huge box office (if true).
I would now like to leave you with the lyrics of the title song, Jhoome Jo Pathaan. It is a nice dance number which is being loved by the kids (just the other day saw cricketer Irfan Pathan’s cute son dance to it with his father on Twitter) and is set in posh locales with good choreography. Worth seeing definitely as evident from the 402 Million views the song has already got on Youtube.
The hummable lyrics are by Kumaar who is a popular lyricist from Punjab known for his danceable songs and the music is by the Vishal-Shekhar duo. In some post in the future, I will discuss a bit about their careers. The composer duo are joined by Arijit Singh (flavour of the season or is it decade?) and Sukriti Kakkar in the singing department. I am sure this song will be playing in discos and all over for a while.
Here is the link to the video:-
Song Credits:
Music: Vishal and Sheykhar
Lyrics: Kumaar Singers: Arijit Singh, Sukriti Kakar, Vishal and Sheykhar
Director of Choreography: Bosco-Caesar
Recording At: YRF Studios (Abhishek Khandelwal, Chinmay Mestry, Dileep Nair)
Mixed By: Abhishek Khandelwal (YRF Studios), Dileep Nair (Assistant Mixing Engineer – YRF Studios)
Mastered By: Gethin John (Hafod Mastering, Wales UK)
Additional Music Credits:
Song Editor: Adele Pereira
Song Arranged By: Meghdeep Bose
Guitar: Meghdeep Bose
Video
Audio
Song-Jhoome jo pathan meri jaan (Pathan)(2023) Singers-Arijit Singh, Sukriti Kakar, Vishal, Sheykhar, Lyrics-Kumaar, MD-Vishal-Sheykhar
Lyrics
Tumne Mohabbat Karni Hai
Humne Mohabbat Ki Hai
Iss Dil Ke Alawa Kisi Se Bhi
Na Humne Ijaazat Li Hai
Hunar Hai Yeh Bhi Ishq Ka
Kisi Kisi Ko Aata Hai
Jaan Luta Ke Dushman Ki
Humne Hifaazat Ki Hai
Baat Karte Hain Hazaron
Hazaaron
Hai Tajurba Humein Yaaron
Haan Yaaron
Baat Karte Hain Hazaron
Hai Tajurba Humein Yaaron
Aisi Hai Ada
Bandh Loon Hawa
Mujhpe Woh Khuda
Dil Se Dua Barsaye
Jhoome Jo Pathaan Meri Jaan
Mehfil Hi Lut Jaaye
Dede Jo Zubaan Meri Jaan
Uspe Mar Mit Jaaye
Jhoome Jo Pathan Meri Jaan
Mehfil Hi Lut Jaaye
Dede Jo Zubaan Meri Jaan
Uspe Mar Mit Jaaye
Muqabla Kaise
Hum Karte Hain Yaar
Abki Baar Tareeka Hum Batayenge
Tareeka Hum Batayenge
Kaise Dushman Pe
Hum Marte Hain Yaar
Abki Baar Tareeka Hum Batayenge
Tarika Hum Batayenge
Yaar Karde Jo Ishaara
Ishaara
Dil Main De Doon Dobara
Dobara
Yaar Karde Jo Ishaara
Dil Main De Doon Dobara
Pyar Ka Nasha
Aisa Hai Chadha
Hoke Yoon Fida
Dushman Gale Lag Jaaye
Jhoome Jo Pathaan Meri Jaan
Mehfil Hi Lut Jaaye
Dede Jo Zubaan Meri Jaan
Uspe Mar Mit Jaaye
Jhoome Jo Pathan Meri Jaan
Mehfil Hi Lut Jaaye
Dede Jo Zubaan Meri Jaan
Uspe Mar Mit Jaaye
———————
Devnagri script Lyrics (Provided by Gajendra Khanna)
———————
तुमने मोहब्बत करनी है
हमने मोहब्बत की है
इस दिल के अलावा किसी से भी
न हमने इजाज़त ली है
हुनर है ये भी इश्क का
किसी किसी को आता है
जान लुटा के दुश्मन की
हमने हिफाज़त की है
बात करते हैं हज़ारों
हज़ारों
है तजुर्बा हमें यारों
हाँ यारों
बात करते हैं हज़ारों
है तजुर्बा हमें यारों
ऐसी है अदा
बाँध लूँ हवा
मुझपे वो खुदा
दिल से दुआ बरसाए
झूमे जो पठान मेरी जान
महफिल ही लुट जाए
दे दे जो ज़ुबान मेरी जान
उसपे मर मिट जाए
झूमे जो पठान मेरी जान
महफिल ही लुट जाए
दे दे जो ज़ुबान मेरी जान
उसपे मर मिट जाए
मुक़ाबला कैसे
हम करते हैं यार
अब की बार तरीका हम बताएँगे
तरीका हम बताएंगे
कैसे दुश्मन पे
हम मरते हैं यार
अब की बार तरीका हम बताएँगे
तरीका हम बताएँगे
यार कर दे जो इशारा
इशारा
दिल मैं दे दूँ दोबारा
दोबारा
यार कर दे जो इशारा
दिल मैं दे दूँ दोबारा
प्यार का नशा
ऐसा है चढ़ा
हो के यूँ फिदा
दुश्मन गले लग जाए
झूमे जो पठान मेरी जान
महफिल ही लुट जाए
दे दे जो ज़ुबान मेरी जान
उस पे मर मिट जाए
झूमे जो पठान मेरी जान
महफिल ही लुट जाए
दे दे जो ज़ुबान मेरी जान
उसपे मर मिट जाए
Beedi jalaile
Posted on: March 20, 2023
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.
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Vishal Bhardwaj’s Trilogy of Shakespeare Play – 2: ‘Omkara’ (2006)
In this article, I am exploring the second film of Vishal Bhardwaj’s Shakespeare trilogy, ‘Omkara’ (2006) which is based on ‘Othello’ (1603).
There is a trivia which was narrated by Vishal Bhardwaj in a TV interview about a couple of years back. At Goa International Film Festival, he met Naseeruddin Shah who enquired as to what he was currently doing. Vishal Bhardwaj said that he had just completed a script based on Shakespeare’s ‘Othello’. Naseeruddin Shah retorted that ‘Othello’ was the weakest character in Shakespeare’s play and it will not work in Indian context. Vishal Bhardwaj gave him a copy of the script to read. Next day morning, Naseeruddin Shah came to Vishal Bhardwaj and said that he had read the script in the night and he would do the character of Bhaisaheb in the film. This shows the power of screenplay writing which makes a so-called weak Shakespeare play strong.
For ‘Maqbool’ (2004), Vishal Bhardwaj had to wait for nearly two years to get a producer/financier after the script was ready. But it was a smooth sailing for him in ‘Omkara’ (2006). He not only got a producer, he also got all the main actors as per his requirements. In ‘Omkara’ (2006), Vishal Bhardwaj has blended his artistic approach with commercial elements to avoid the repeat of the box office failure of ‘Maqbool’ (2004). His strategy worked and ‘Omkara’ (2006) fared very well on the box office front.
‘Omkara’ (2006) was produced by Kumar Mangat Pathak (Ajay Devgan’s Manager and the executive producer of most of Ajay Devgan Films) and was directed by Vishal Bhardwaj. The cast included Ajay Devgan and Kareena Kapoor in the lead roles supported by Saif Ali Khan, Konkana Sen Sharma, Vivek Oberoi, Bipasha Basu (special appearance), Naseeruddin Shah, Deepak Dobriyal, Pankaj Tripathi, Kamal Tiwari etc. The Censor Board certified the film for Adult viewing (A).
In ‘Omkara’ (2006), Vilash Bhardwaj molded the story of ‘Othello’ (1603) with the rural backdrop of Uttar Pradesh where ‘Bahubalis’ played prominent role in the politics. A comparison of main characters in ‘Othello’ with that in the film, ‘Omkara’ (2006) is presented in a tabular format below:
| In Othello | In Omkara | Remarks |
|---|---|---|
| Othello is a dark-skinned Commander of the Venetian army in Venice. | Omi Shukla or Omkara (Ajay Devgan), the head of a criminal gang is the son of a Brahmin father and low-caste mother. | In both ‘Othello’ and ‘Omkara’, the race/caste is not the main reason for tragedy. It is the jealousy and revenge for which race/caste is discreetly used for instigation against Othello/Omkara. |
| Iago, a soldier, and Othello’s trusted adviser. | Ishwar ‘Langda’ Tyagi (Saif Ali Khan), a henchman of Omkara. | In ‘Othello’ Iago kills his wife, Emilia while in ‘Omkara’ Indu kills her husband, Langda. |
| Desdemona, the white-skinned wife of Othello who abducted her. | Dolly Mishra (Kareena Kapoor), the high caste fair-skin wife of Omkara who was abducted by him from the wedding venue. | – |
| Cassio, Othello’s white-skinned lieutenant in the army. | Keshav ‘Kesu Firangi’ Upadhayay (Vivek Oberoi), the trusted and a fair-skinned handsome aid of Omkara. | The reason for appointing Cassio as lieutenant is because of his courage while Kesu’s promotion as Bahubali is mainly because of his charming nature and vote drawing ability from the younger generation. |
| Emilia, wife of Iago and Attendant to Desdemona. | Indu Tyagi (Konkana Sen Sharma), wife of Langda and so-called sister of Omkara is a close companion of Dolly Mishra. | By making Indu, the so-called sister of Omkara, her character is more powerful in ‘Omkara’ than Emilia in ‘Othello’. |
| Roderigo, the lover of Desdemona. | Rajju (Deepak Dobriyal), the bridegroom who was to marry Dolly. | Rajju thinks that Langda will help him get back Dolly. But Langda is actually using him in his plan to take revenge against both Omkara and Kesu. |
| Brabantio, a senator of Venice and the father of Desdemona. | Raghunath Mishra (Kamal Tiwari), a lawyer and the father of Dolly. | – |
| Duke of Venice, the Administrator of Venice | Bhaisaheb (Naseeruddin Shah), a politician. | – |
| Bianca, a courtesan in Venice. | Billo (Bipasha Basu), a dancer and the mistress of Kesu. | – |
| Language used in the play is poetic. | Language used in the film is local dialect of Western UP. | In keeping with the setting of the story in rural UP. |
The gist of the film’s story is as under:
Omkara (Ajay Devgan) is the head of a criminal gang operating under the patronage of Bhaisahab (Naseeruddin Shah), a local politician. Langda Tyagi (Saif Ali Khan) and Kesu (Vivek Oberoi) are the close confidants of Omkara. The film opens with Langda attacking a marriage procession (baaraat). Dolly (Kareena Kapoor), the bride is kidnapped by Omkara before bridegroom, Rajju (Deepak Dobriyal) reaches the marriage venue.
Raghunath Mishra (Kamal Tiwari), Dolly’s father and a lawyer with his men rushes to Omkara’s house and asks him to handover his daughter. Omkara, however, claims that Dolly chose him rather than Rajju. The matter goes to Bhaisahab where Dolly tell her father that she willingly eloped with Omkara. Raghunath Mishra feels betrayed by his daughter and leaves by telling Omkara that a daughter who betrays her father can betray him also. Dolly stays with Omkara.
In an election, Bhaisahab is a candidate. Omkara’s gang arranges a video of a sex scandal of Bhaisaheb’s political opponent resulting in his reputation getting tarnished. Bhaisaheb wins the election. In token of his appreciation, Bhaisaheb selects Omkara as a candidate for a local election. In order to canvas for his election, Omkara makes Kesu as his Bahubali over the claim of Langda who is senior to him. This sows the seeds of anger and jealousy in Langda who secretly plans to get revenge on both Omkara and Kesu.
The gang celebrates the election victory with a nautanki performance by Billo (Bipasha Basu), the dancer who is the mistress of Kesu. Seeing this opportunity, Langda pressurises Kesu to drink and a drunk Kesu gets instigated by the cigarette smoke emanating from Rajju’s mouth affecting Billo. A brawl between Kesu and Rajju takes place injuring Kesu. The matter goes to Omkara who is enraged by Kesu’s behaviour. Omkara punishes Kesu by sidelining him from important assignments.
To restore his position in the gang, Kesu approaches Langda for a way out. He suggests to Kesu to approach Dolly who can plead with Omkara to pardon him. Dolly agrees to put a word to Omkara provided he teaches her an English song. Kesu starts visiting Dolly and spends time with her for rehearsing an English song. Once, Omkara sees Kesu coming out of Dolly’s room and asks Langda about this. Langda, using this opportunity create suspicion in the mind of Omkara suggesting an affair between Kesu and Dolly. As a proof, a ‘kamarbandh’ jewellery gifted by Omkara to Dolly is found with Billo which was given to her by Kesu. In fact this was clandestinely managed by Langda through Indu. Suspicion overtakes rationale in the minds of Omkara. He assigns Langda to kill Kesu.
On the first night of his marriage, Omkara confronts Dolly of her ‘infidelity.’ In uncontrolled anger, he kills Dolly by suffocating her with a pillow. Indu enters the room and see the dead body of Dolly when she finds kamarbandh jewellery. She admits that she has taken it from Dolly’s room and handed it over to Langda. A realization comes to their minds that Langda has given it to Kesu to create the suspicion in the mind of Omkara. Angered by Langda’s conspiracy, Indu slashes Langda’s throat with a sickle resulting in his death. A seriously injured Kesu returns when he watches Omkara killing himself with his revolver out of guilt.
The film had 5 songs written by Gulzar and set to music by Vishal Bhardwaj. I present the first song ‘beedi jalaile jigar se piya’ to appear on the Blog. The song is picturised on Bipasha Basu, Saif Ali Khan, Vivek Oberoi, and Deepak Dobriyal with a large crowd. It is a nautanki song in celebration of the election win. The song is choreographed by Ganesh Acharya. The song starts with a prelude of scat (wordless vocables) singing by Sunidhi Chauhan and Sukhwinder Singh.
I have watched the video clip of the songs many times since the release of the film. I thought the song to be an item number. When I watched the full film, I realised that this song was an essential part of the film. Gulzar saab’s lyrics are raunchy which is understandable as it is for a nautanki song.
Gulzar Saab, at the launch of the music album of the film, had said that his lyrics of the song reflected the feudal system that prevailed in UP. When I started interpreting the song with Gulzar Saab’s statement, the line, ‘dhuaan na nikaari o lab se piya ye duniya badi jhaag hai’ I felt as if a serf (or a peasant) telling his other colleagues to keep their mouth shut in front of a powerful feudal lord. Similarly, the line in the song ‘na kasoor, na fatoor bina zuram ke hazoor mar gaye’ apart from the raunchiness, also give the impression of a powerful feudal lord sitting in front of a pleading serf. Likewise, the line in the song, ‘aisa kaate ke daant kaa nisaan chhod de’ though sounds erotic, it can also be visualised with a feudal lord sitting with his German Shepherd dog who let loose his dog to bite a serf as a part of the punishment. Such thing used to happen under zamindari system.
I do not know whether Gulzar had considered in his lyrics feelings of Langda after he was overlooked by Omkara for promotion as Bahubali in favour of Kesu. But at some places in the song, lyrics give such an impression. For instance, the line ‘naa kasoor naa fatoor bina zuram ke hazoor mar gaye’ gives an inner feeling of Langda that he has been denied promotion by huzoor (in this case, Omkara) without his fault.
As per the audio album, the song under discussion is rendered by Sukhwinder Singh, Sunidhi Chauhan, Nachiketa Chakraborty and Clinton Carejo. However, I did not find the voice of Clinton Carejo in the song. Probably, he may have rendered some occasional chants in the background of the song and also a line or two in the prelude. The chanting by the crowd in western concerts is mainly by the fans of the performers. Vishal Bhardwaj has added this element in this nautanki song to give such a feel.
The raunchy lyrics with Urdu and local dialects, the bawdy dances, the elements of folk music in orchestration, the chants in the background from the crowd and the lighting effects give a feel of a real nautanki performance in a rural setting in modern India.
This song also represents as to how far the nautanki folk music has progressed from the harmonium, sarangi/clarinet, dholak with sitting crowd under petromax light as in paan khaaye sainyya hamaaro in ‘Teesri Kasam’ (1966) to the digital music with chanting by the standing crowd under electric lights.
Video Clip:
Audio Clip:
Song-Beedi jalaile (Omkara)(2006) Singers-Sukhwinder Singh, Sunidhi Chauhan, Nachiketa Chakraborty, Lyrics-Gulzar, MD-Vishal Bhardwaj
Sunidhi and Sukhwinder, Male Chorus, Unknown voices
Lyrics (Based on Audio Clip):
[scat singing]
[scat singing]
ae ae ae ae ae ae ae
naa gil..aaf
naa lih..aaf
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
o itni sardi hai kisi kaa lihaaf laile..ae..ae..ae
o jaa padosi ke chulhe se aag laile..ae
o jaa padosi ke chulhe se aag laile..ae..ae
haan beedi jalaile….e
jigar se piya..aa
jigar ma badi aag hai
[scat singing]
beedi jalaile jigar se piya
jigar ma badi aag hai
[scat singing]
dhuaan na nikaari o lab se piya aa aaaa
(scat singing)
dhuaan na nikaari o lab se piya
ye duniya badi ghaaghh hai
o beedi jalaile jigar se piya
jigar ma badi aag hai
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
o itni sardi hai kisi ka lihaaf laile
o jaa padosi ke chulhe se aag laile
jaa padosi ke chulhe se aag laile
ae ae ae
(ai ai ai ai
naa kasoo….r
naa fatoo…..r
naa kasoor naa fatoor
bina zuram ke hazoor
mar gaye
o mar gaye
(o aise ik din dupehri bulaayi liyo re
baandh ghoongroo kachehri lagaayi liyo re
bulaayi liyo re
bulaayi liyo re dupehri
(lagaayi liyo re
lagaayai liyo re kachehri
angeethi chadhhaile..ae
(chants)
jigar se piya
(chants)
jigar ma badi aag hai
(ai ai ai ai ai)
beedi jalaile jigar se piya
jigar ma badi aag hai…ai
(ai ai ai ai)
o o o o
naa to chakkuon ki dh..aar
ho naa daraanti naa kat..aar
naa to chakkuon ki dhaar
naa daraanti naa kataar
aisa kaate ke daant kaa nisaan chhod de
ke kataayi to koi bhi kisaan chhod de
o aise
zaalim kaa chhod de
makaan chhod de re billo
zaalim kaa chhod de
makaan chhod de re
aise zaalim kaa
o aise zaalim kaa
aise zaalim kaa chhod de
makaan chhod de
naa bulaaya..aa
naa bataaya..aa
naa bulaaya naa bataaya
maa ne neend se jagaaya haay re…ae
aise chaunkele haath mein naseeb aa gaya..aa aa aa
wo elaaichi khilaai ke kareeb aa gaya..aa aa aaa
(scat singing)
koyla jalaayile
(chants)
jigar se piya..aa
(chants)
jigar ma
aag hai
[chants]
itni sardi hai kisika lihaaf laile..ae..ae..ae
(chants)
o jaa padosi
o jaa padosi
jaa jaa padosi
o jaa padosi ke chulhe se aag laile
——————————-
Meaning of some words used in the lyrics
————————————
Gilaaf=Protective cover, Jacket
Lihaaf=Blanket, Quilt
Fatoor (Fitoor)= Obsession
Daraanti=Sickle
Chaunkele=Startled, Coward, Timid
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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