Archive for the ‘Songs of 1965’ Category
De de de de mera dil
Posted on: May 29, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Janam Janam Ke Saathi”(1965) was directed by Nand Kishore for M B Brothers, Bombay. The movie had Kamini Kaushal, Premnath, Lalita Pawar, Mubarak, Sheila Kashmiri, Durga Khote, Umakant, Maruti, Yakoob etc in it.
This by now forgotten movie had eight songs in it. Details of only four of these songs are avilable in HFGK. The songs of this movie are rare songs.
Here is the first song from “Janam Janam Ke Saathi”(1965) to appear in the blog. The song is sung by Suman Kalyanpur and Mukesh. D N Madhok is the lyricist. Music is composed by Gyan Dutt.
The song may be obscure, but what a lovely and magical song it is.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Gyan Dutt, who made his debut as a music director as far back as in 1937 with “Toofaani Toli” composed some 600 songs in 59 movies. This movie
“Janam Janam Ke Saathi”(1965) was Gyan Dutt’s last movie as a music director. I have a feeling that this movie could well be on the last few movies of D N Madhok (as a lyricist) as well.
Gyan Dutt bowed out of HFM scene with this beautiful composition in his last movie. Enjoy this forgotten gem !
With this song, “Janam Janam Ke Saathi”(1965) makes its debut in the blog.
Song-De de de de mera dil (Janam Janam Ke Saathi)(1965) Singers-Suman Kalyanpur, Mukesh, Lyrics-D N Madhok, MD-Gyan Dutt
Lyrics
de de de de mera dil
phir hamse mil na mil saajanwaa
de de de de mera dil
phir hamse mil na mil saajanwaa
chhoti chhoti baat pe naa
rooth rooth jaya karo
ham jo bulaayen to chale aaya karo
chhoti chhoti baat pe naa
rooth rooth jaaya karo
ham jo bulaayen to chale aaya karo
paapi pet jo na ho na jaaun chhod tujhko
bolo bolo ri sajaniya karoon main kya
de de de de mera dil
o o
din khoye khoye
raat roye roye
teri kasam kate meri
tere pyaar ka sabr pade jo na ho
saans saans mein yaad teri
yaad teri
in jhoothi jhoothi baaton se
bane na kuchh mera
maine teri kasam
sach sach kaha
de de de de mera dil
o chanda gagan ke waasi
mujhe aasraa tera
o chanda gagan ke waasi
mujhe aasraa tera
paani ke relon se khelen
nisdin saajan mera aa
palchhin saajan mera
chali piya ji ki naav
chali piya ji ki naav
chanda saath saath jaao
mere man mein bharam sa uthhne laga
chali piya ji ki naav
Main Aahen Bhar Nahin Sakta
Posted on: May 17, 2017
- In: Calling the beloved | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Ghazal | Guest posts | Lover's Complaint | Lyrics contributed by readers | Mahendra Kapoor - Vijaya Majumdar Duet | Mahendra Kapoor songs | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1965 | Vagaries Of Love | Vijaya Majumdar Songs | Waiting for love | Yearwise breakup of songs
- 7 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Missing Films of 1960s – 30
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Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.
The film ‘Aasmaan Mahal’ belongs in that category. When I got the list of missing films from 1960s from Khyati Ben, I was surprised to see this film listed there. I checked and double checked – yes this film has not yet made its entry on our blog. Khyati Ben’s communication is also quite a while ago now, so this debut has taken its own sweet time.
Released in 1965, this film is from one of those different line directors who will not walk a beaten path – Khwaja Ahmed Abbaas. Whenever, I have an encounter with his films, it always has been that the director himself stands out much taller than his creations. Abbaas Sb belongs to that set of directors whose approach to realism is starkly different. Over the decades, the film producers and directors have been raising the bar on creating a progressively more realistic experience for the audiences. Their violence is very real, their romancing and love making is very real, their action and the settings are getting more real, the scenic projections are getting more and more real with the help of better technology and methods. They will make one lose the sense of the medium, that you are watching a film. Their endeavor is to draw the audience so powerfully into the scene, that it seems like being there, seeing that. But there is something missing. And the missing element is the reality of life – the realism of the human situation. What remains is entertainment, no doubt a significant cause for the industry, but the message of life is lost beneath the noise of the effort to present a situation more and more realistically.
Abbaas Sb and other directors of his ilk will present you with drama that does not let you forget that it is after all a drama. They don’t spend any energies to transform reel life into real life. The situations, the expressions, the motions – will not make the audience forget that they are watching a make believe reel life. Au contraire, their triumph is that they are successful in projecting the human situation as it is, and confront the audience with the realism of human beings. They will present a slice of life that is most of the time, a part of our personal experience. Only that they bring it into a sharper focus. Entertainment is not the primary quest. The primary quest is to deliver a message without any soothing embellishments.
The era is late 1930s and early 1940s. The philosophy of communism, which in prior decades had made an impact in Europe, and created a new behemoth nation, the USSR, was maturing. The initial euphoria and the romanticism which captures the imagination of every generation coming of age, brought this philosophy to the centre of the world stage. The Russian influence would work in neighbuoring China also, which would become a communist nation, about a decade later. The influence carried to South America, to Africa and to South and South East Asia, In that backdrop, the communist movement started to take roots in India also.
Being a movement of the masses, their primary method was to reach out to the people in the rural areas and the in the lower strata of the society. The thinkers and dreamers in the cultural spaces were quite influenced by this ideology, and the IPTA (Indian Peoples Theatre Association) was born. In its heydays in the 1940s and 1950s, it boasted of membership that read like the who’s who of the Indian film industry, as well as the Indian writers / authors / poets of any and all significance. Abbaas Sb has been a prominent and leading luminary of this movement of cultural expression in India. I borrow from one of my earlier articles (the post on the song “Aandhi Aaye Ke Toofaan” – film ‘Saat Hindustani’ (1969)), and reproduce a set of paragraphs about him.
The Wikipeadia page on Abbas Saab contains very interesting information about this personality, e.g. fact like his family tree is traced back to Ayub Ansari, a close associate of Prophet Mohammed, and that his grandfather was one of the prominent soldiers in the 1857 uprising against the Britishers and a martyr, sentenced to be blown on a cannon, and that Abbas Saab is the great great great grandfather of Shahid Kapoor. Besides these familial facts, Abbas Saab has been a prolific writer and journalist, and a noted story writer and film maker in Hindi Cinema. His column ‘Last Page’ in ‘Blitz’, the Bombay based newspaper, ran from 1935 to 1987, the longest running column in the history of Indian journalism. He wrote 73 books in Hindi, Urdu and English, and is considered as one of the premier Urdu short story writers of the 20th century.
Abbas Saab started his career in the film industry in 1936, as a publicist for Bomaby Talkies. He wrote the story and screenplay for ‘Naya Sansar’ (1941) that launched his career as a writer. He also had strong Marxist leanings, and was part of the IPTA (Indian People’s Theatre Association) movement in the 40s and 50s. His debut as a director was with the movie ‘Dharti Ke Lal’ (1945), a movie based on the catastrophic Bengal famine of 1943, produced by IPTA. His other notable screenplay contributions have been Chetan Anand’s ‘Neecha Nagar’, V Shantaram’s ‘Dr. Kotnis Ki Amar Kahaani’, and many movies from the RK studios including ‘Aawaara’, ‘Shri 420’, ‘Jaagte Raho’, ‘Mera Naam Joker’, ‘Bobby’, ‘Henna’ etc. Incidentally, the movie ‘Neecha Nagar’ (1946) has the unique distinction of being the first Indian film to win the Golden Palm at the Cannes Film Festival.
Abbas Saab was a pioneer of the neo-realistic parallel cinema, and through his own production house Naya Sansar, made many notable films like ‘Anhonee’, ‘Raahi’, ‘Munna’, ‘Shehar Aur Sapna’, ‘Aasmaan Mahal’, ‘Char Dil Char Raahen’, ‘Saat Hindustani’, ‘Do Boond Pani’ etc. He won the National Award for ‘Shehar Aur Sapna’, and the awards for best film on national integration for ‘Saat Hindustani’ and ‘Do Boond Pani’.
With ‘Aasmaan Mahal’, Abbaas Sb got the opportunity to present literally the decay and transition of the old feudal systems, being replaced by the power of the worker class – which is the central theme of the Marxist philosophy. The story revolves around the haveli named ‘Aasmaan Mahal’ – a once grand palace which has been the residence of a generation of Nawabs, in the city of Hyderabad. With all avenues of revenue and income dried out, the family and the palace has fallen into decay. There are no finances to maintain the place. The current Nawab, role played by Prithviraj Kapoor, lives on in the hope of one day being able to uncover a hidden treasure on the premises. The archaic tales of the palace tell of a previous generation Nawab having hidden away a large stash of gold and jewels some place in the palace. Its whereabouts are not known.
Meanwhile the errant and spoilt son of the Nawab, role played by Dileep Raj, would not know better, spending his time and days as young men of Nawab families are supposed to. The reality of penury comes home to roost one day. The young heir apparent chooses to start working in a car repair workshop. And he falls in love with the daughter of a commoner. Expectedly, the standoff happens between the generations, with both sides taking tough stands – the elder Nawab arguing about the opulence of the past and where they come from, and the young man talking about the ground realities of what they are now. A compromise consensus is arrive at, the young man gets to marry his beloved in a last big celebration that happens in the palace, after which the palace is auctioned off. The elder Nawab passes away on the day of the auction, and young man takes up work as a truck driver.
The film travels on an even keel, never forgetting the primary thread. The realism of the decay, so potently expressed in black and white, is not just of the palace and its facades, but also of the ageing generations and their belief systems. The uptake of the younger generation, conceding to work as a car mechanic, quite in contrast to his antecedents, is both romanticism as well as an acceptance of life’s realities. It is an out and out KA Abbaas film – the reality of life, and the message of change is very convincing, although viewing the film, the director ensures that you know that you are after all viewing a film.
This is the first song from this film to find its place on our blog. And this song is very special for couple of very important reasons. The first reason is the poet behind this song – Majaaz Lakhnawi. Most readers and friends will be familiar with this name. His iconic ghazal “Ae Gham e Dil Kya Karoon, Ae Vehshat e Dil Kya Karoo” has been made into the now memorable song in the voice of Talat Sb, for the film ‘Thokar’ (1953). It seems that Majaaz had a set of good friends in the industry. Recently, a friend pointed out to me that Majaaz has even made a cameo appearance in one film. In the film ‘Pyaasa’ (1957), just before Hemant Da’s song “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila”, there is a small session of the literati in progress. Majaaz is present in person in this scene, and also presents two she’er (couplets) in his own voice.[Ed Note: As pointed out by Sadanand ji, and also after some more checking, the above sentences are deleted. Reason being that the reference to the film ‘Pyaasa’ in this context is incorrect and misplaced. In the above mentioned scene of a small party of the literati at the home of Rehman, two actors play the roles of Majaaz and Jigar Muradabaadi, for the cameos. The actual persona are not present in the scene, as I was led to believe based on a conversation with a friend. Sadanand ji has correctly pointed out that Majaaz passed away in 1955, and the shooting for ‘Pyaas’ commenced only in 1956.]
Given the quality of the song from ‘Thokar’ and the familiarity with the industry folks, it is amazing that Majaaz has not written anything else for the films. With one excpetion – this song from ‘Aasmaan Mahal’. As I searched the Geet Kosh and other sources, I am not able to locate any other writings of his being used in films – just these two solitary ghazals.
[Ed Note: Sadanand ji points out that Majaaz never wrote for films. That there are two instances of his poetry being used in Hindi films, is more about the film people choosing to use his pre-published poetry rather than him writing for films specifically.]
And the second thing special about this ghazal is the manner in which it has been framed and presented. It is a single ghazal, which tells of the pains of helplessness and inefficacies of a heart in love. The music director, JP Kaushik has presented this ghazal as a duet, with the two people in love taking turns to express their emotions using the couplets of the same ghazal. I cannot immediately recall another instance where this method is used. The lines are presented, not as a song, but as a ghazal in its pure form. The lady and the gentleman are shown situated long distances from each other, and are shown communicating through the rendition of this ghazal. The voices are of Mahendra Kapoor singing for Dileep Raj, and Vijaya Chaudhry singing for Surekha.
Another side note. I am presenting two versions of this ghazal, wherein clearly the version on the 78 rpm record is very different from the version that is present in the film. Obviously the two versions have been recorded separately. The body of the ghazal does not change. There is change in the order of the couplets and also which voice picks up which line. A very interesting thing to note is that the film version has NO accompanying music. However, the record version has accompaniment by tabla and sitar. It is quite possible that after the 78 rpm version was recorded, the director may have felt the need for an even more bare bones version to suit the situation in which he wanted to film it. And hence a different version may have been recorded.
More about the film and the people associated with it, in subsequent presentations of the songs of this film. Welcome to ‘Aasmaan Mahal’.
[Video]
[Audio]
Song – Main Aahen Bhar Nahin Sakta (Aasmaan Mahal) (1965) Singer – Mahendra Kapoor, Vijaya Majumdar, Lyrics – Majaaz Lakhnawi, MD – Jag Phool Kaushik
Mahendra Kapoor + Vijaya Majumdar
Lyrics
(Video Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko
main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
haden wo kheench rakhi hain
haram ke paasbaanon ne
haden wo kheench rakhi hain
haram ke paasbaanon ne
ke bin mujrim baney
paighaam bhi pahuncha nahin sakta
ye majboori si majboori
ye lachaari si lachaari
ke us ke geet bhi
jee khol kar main gaa nahin sakta
sukoon mere dil ko
na aandhi rok sakti hai
na toofaan rok sakte hain
na toofaan rok sakte hain
magar phir bhi main
us kasr e haseen tak jaa nahin sakta
zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
(Audio Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko
main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
sukoon lekin mere dil ko
na aandhi rok sakti hai
na toofaan rok sakte hain
magar phir bhi
main us kasr e haseen tak jaa nahin sakta
sukoon mere dil ko
zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
sukoon mere dil ko
ye majboori si majboori
ye lachaari si lachaari
ye lachaari si lachaari
ke us ke geet bhi
jee khol kar main gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon mere dil ko
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
(व्हिडिओ से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को
मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
हदें वो खींच रखीं हैं
हरम के पासबानों ने
हदें वो खींच रखीं हैं
हरम के पासबानों ने
के बिन मुजरिम बने
पैग़ाम भी पहुंचा नहीं सकता
ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता
ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई के कौन है
बतला नहीं सकता
(आडियो से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को
मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
सुकून लेकिन मेरे दिल को
ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
सुकून लेकिन मेरे दिल को
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई वो कौन है
बतला नहीं सकता
सुकून लेकिन मेरे दिल को
ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को
Sikandar bhi aaye Kalandar bhi aaye
Posted on: May 6, 2017
- In: Devnagri script lyrics by Sudhir | Duet | Freedom song | Lyrics contributed by readers | Mukesh songs | Mukesh Usha Khanna duet | Multiple version song | Patriotic song | Songs of 1960s (1961 to 1970) | Songs of 1965 | Songs picturised on real life couples | Usha Khanna songs | Yearwise breakup of songs
- 2 Comments
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Several years ago, I read a tale that made my blood boil. It was about a 96 year old lady, whose palatial house was snatched away forcibly from her by greedy land grabbers and she was forced to stay in the servant quarters of her own prime property. She was no ordinary lady either. she was the first female IAS officer of India.
When media got wind of this fact, the people who had usurped her property hurriedly brought her back to the mansion to “prove” to the media that she was very much the “owner” of her property.
Law abiding people earn some amount for their living and then try to live within them. Then there are some ambitious people who work hard and improve their earning and rise in economic status. They still live within their earning.
Then there are people who do not have the capability to earn more from honest means but they would still want to get rich. The easiest way to get rich for them is to befriend a rich person and rob him/ her of her property once he/she gets weak due to age/ retirement/ sickness etc. That is what happened with Isha Basant Joshi.
This happens not only with individuals but can happen with organisations too. Take the current case of BCCI vis a vis ICC and other cricket boards.
BCCI (board of control for cricket in India), which was one of the junior partner of ICC before the liberalisation of Indian economy , is now the biggest contributor of revenue to ICC. One of the major sources of earning for ICC is by organising international tournament. Selling TV broadcast rights for these tournaments is the major source of earning for ICC.
TV broadcast company buys right to organise these tournaments hoping to earn good amount by selling ad space during telecast time. India, because of its vast population (a few times bigger than all other cricket playing and watching nations combined), is easily the biggest chunk of target audience for companies that want to buy ad space during the telecast of matches of these tournaments. It is estimated that TV broadcasters earn 70 % of their entire ad revenue for Indian TV audience.
And this Indian TV audience eagerly watches these matches because Indian team participates in these tournaments and more often than not still survives in the tournament there till the final few matches in the tournaments.
One can say that TV company bids for these telecast rights mainly because they have the assurance that this vast Indian cricket viewing public would watch the tournament matches and will bring them the bulk of their ad revenue.
Now suppose India decides not to participate in the tornament. Then what ! The TV broadcast right owner becomes jittery because they know that their revenue from that tournament would reduce drastically. Indian TV audiences would lose interest in watching cricket matches if Indian team is not participating in that tournament.
Put in simple terms, Indian cricket watching public contributes about 70 % of the entire revenue that ICC gets from TV rights. So if ICC were an organisation and its constituent bodies as its employees then BCCI is the employee that helps earn the highest percentage of revenue for its employee.
ICC then shares a part of this money received from the broadcaster among its constituent boards.
In the original “big three ” arrangement in 2014, BCCI, ECB and CA got higher share of the revenue while other board members got lower amount. The figures were based on what the respective board helped earn to the ICC, mainly through the TV rights.
Now, in the recent ICC meet in april 2017, BCCI were dealt an unexpected blow. The big three model was dismantled. Other two members of big three did not lose any amount, and the remaining boards got more money, while BCCI’s share was drastically reduced. From $ 440 millions in the 8 years cycle, their share was reduced drastically to $ 287 millions. Every one else profited at the cost of BCCI so others happily voted in favour of the proposal, with BCCI being the only one voting against it. In effect, everyone ganged up and robbed the one member that helped bring the maximum revenue to ICC.
When it comes to ICC sharing its ad revenue, one would expect the teams to share them in more or less in the same proportion in which they contribute in generating it. But no, not at all. Boards that do not contributeeven 1 % of total ad revenue want to get 4 % each from ICC. All these non performing boards ganged up together and voted to enhance their revenue and voted to reduce BCCI’s share. Boards that do not contribute even 1 % will get 4 %, whereas BCCI that helps contribute 70 % and which was assured of 22 % revenue just three years ago, had now been voted down 8-1 to receive just 11 %. In others words, eight boards ganged up to vote themselvs higher amount than what they were getting three years ago, while they voted down BCCI’s share to half. They also preached that it was BCCI’s reponsibility to help globalisation of cricket so the hefty $ 280 millions share of BCCI has been chopped off. But none of these boards themselves are prepared to take a cut of even one penny to help globalise cricket. So in effect, they are behaving like the land grabbers who want to rob a rich land owner of his property and make him their slave who would them be required to work hard so that these parasites could live off his labour. It is like that hapless lady whose estate was usurped by crooks.
It is like East India company. Not just England, even the likes of Zimbabwe, West Indies and Bangladesh become India’s rulers and start to live off India the way Brish Empire did for two centuries. India got free from them, and Britain ceased to be the most influential nation in the world.
How do we know which country’s market brings how much ad revenue to the TV rights holder (and therrefore to ICC) ? ICC should have commissioned a firm to carry out this study the way most countries commission some firms to carry out these studies. But then ICC are the last organisation that can be expected of operating in a transparant manner in a matter dealing with money.
I have thought of a way to assess the relative size of ad revenue accruing to the TV broadcaster. One can take the amount of advertisement money that the advertisers of a country spend in one year. I have taken the annual figures of ad spend of the four test playing south Asian countries, viz India, Pakistan, Bangladesh and Sri Lanka. Since all four countries are similar in culture, cricket craze etc, I havbe assumed that a good portion of this ad spend goes to the coffers of the cricket broadcaster.
star sports are the cricket broadcaster of ICC for 18 ICC tournaments from 2015 to 2023. They have won this right for an amount of $ 2000 million. So they are required to pay ICC an amount of $ 2000 millions during this 8 year period. This amount will then be distributed among the test playing board members and associates.
ICC and other nine boards ganged up to rob a big chunk of money that BCCI was helping bring to ICC. We now know who is getting how much, but ICC is silent about how much each board is bringing to the table, so that one can find out whether there is any correlation between their pay and their contribution in ICC’s earning through them.
Since ICC would not do it, I have tried to find about the approximate amount of ad money that various cricket playing nations would bring to star sports for Champions trophy 2017.
First I have found out how much ad money the advertisers of various cricket playing countries of Indian sub continent as well as West Indies and Zimbabwe are spending this year.
Following are the figures:
| Ad spend per year | Remarks | |
|---|---|---|
| India | $ 9515 millions | |
| Pakistan | $ 630 millions | |
| Bangladesh | $ 200 millions | |
| Sri Lanka | $ 300 millions | |
| West Indies | $ 200 millions | |
| Zimbabwe | $ 0 (insignificantly small) | No figures exist |
I have excluded other countries because I feel that they are more or less getting what they deserve.
So, the relative market share of these countries as far as advertisers are concerned is
| Percentage of ad share by countries | Remarks | |
|---|---|---|
| India | 87 % | |
| Pakistan | 6 % | |
| Sri Lanka | 3 % | |
| Bangladesh | 2 % | |
| West Indies | 2 % | |
| Zimbabwe | 0% | |
Note: The above figures are what I gleaned from various sources online. Figures are indicative and there may be some inaccuracies, though the overall picture is unlikely to change much despite any corrections that may get noticed/ get pointed out.
I have excluded the figures of other boards that I feel are getting what they contribute.
Let us assume that all these markets are cricket crazy markets and a good portion of their ad spend this year will go to pay star network, during their TV coverage of Chmapions Trophy.
Let us assume that an uniform portion of total ad spend of the year will be spent by advertisers during champions Trophy in all these countries. Let us assume it to be 10 % of total ad spend for the year.
So, following is what Star network will get from these countries
| Countrywise expected Ad revenue to broadcaster | Remarks | |
|---|---|---|
| India | $ 951 millions | |
| Pakistan | $ 63 millions | |
| Bangladesh | $ 20 millions | |
| Sri Lanka | $ 30 millions | |
| West Indies | $ 20 millions | |
| Zimbabwe | $ Nothing | |
| Total | $ 1084 millions | |
Star TV is required to give $ 2000 millions to ICC in eight years (2015 to 2017). They will earn half of that amount in this champions trophy itself, if only BCCI could be persuaded to sent its team. If BCCI backs out, Star sports will earn an ad revenue of less than $ 150 millions and at this rate it will never be able to see any profit. Mind you, Star have already staged one tournament, T20 world cup in 2016 after it earned the broadcast rights and it has already made a hefty profit because BCCI participated in that tournament. With BCCI participation in this tournament, Star would have already earned the amount of $ 2000 millions that it was supposed to have paid to ICC. These are still six years left and lots of more tournaments left where BCCI participation would have seen star network rolling in mind boggling profits.
So now, we know why Star network is worried at the prospects of BCCI contemplating to back out. All the looters (ICC and the other non BCCI boards) are now worried and are trying all the tricks in their books. Star network made some ex cricketers to speak in favour of BCCI participation. Most of these ex cricketers are employed as expert commentators with star as most of us are well aware. So they are serving their masters and indirectly serving the cause of the gang of looters rather than the cause of BCCI and Indian cricket fans who are their real paymasters. Gavaskar and Shashtri did not speak in that voice and so their opinions were very conveniently blacked out.
Then there are some “responsible” people who are talking about Indian cricketers missing out and Indian cricket dying out. They are either talking out of ignorance or they are in the employs of anti BCCI parties to utter such inanities. BCCI are well within their rights to back out. Clause 6.4 of Members Participation Agreement (MPA), a legally binding document between the ICC and its member boards gives BCCI this right.
If CoA is asking BCCI not to back out and participate, then it means that CoA are not aware of Clause 6.4 of Members Participation Agreement (MPA), which speaks very poorly of their knowledge of the subject on which they are administrating.
They are also not aware that BCCI is only backing out of ICC tournaments. It does not mean that they are walking out of ICC. They will continue to play bilateral series as before which include tests, ODIs and T20s. They will continue to organise IPLs as well. So, the people saying that all these will be in jeoparty need to first understand the subject before giving their opinion on the topic.
In other words, BCCI is only taking recourse to a remedy that its agreement with BCCI allows them to have.
Those who are telling us that BCCI will be a loser and that ICC should expel them, or that BCCI will find itself expelled are talking out of ignorance as pointed out earlier.
In this case, it is not BCCI but ICC that is on sticky grounds. It is ICC’s credibility and existence that is at stake. BCCI is helping them earn bulk of $ 2000 millions that they are to get from TV broadcaster. In addition BCCI is helping earn Star network many times more by participating in these tournaments. Such a valuable partner must be treated with respect and dignity. Here we find that ICC has ganged up with other boards to deprive BCCI of the money that BCCI is allowing ICC and other board members to gain.
It would be better for BCCI to organise international tournaments on its own without involving ICC. such precedents are there. the 1985 WCC tournament, where Ravi Shashti became Champions of Champion was one such example. Even at present, BCCI is dealing with star sports directly in organising TV coverage of domestic tournaments. BCCI is also organising TV coverage of IPL without involving ICC, and the profits of IPL are in billions. So, BCCI backing out of this ICC is not the end of the road for BCCI. Rather it is the end of the road for ICC. Even if ICC finally agrees to give BCCI a higher share that will still be a big deal less than what BCCI deserves. And the humiliating manner in which BCCI has been treated by ICC and other board members is something that most Indian cricket fans will never be able to forget and forgive.
I am as much a stake holder in Indian cricket as BCCI, CoA and others. I have been following Indian cricket from 1974 and I feel that it is high time BCCI asserts its right the way other assertive organisations in other parts of the world do. BCCI should form a rival organisation to ICC and invite other boards to join them. If some boards (there will be none) decide to stick with ICC, let them do that. ICC should cease to exist in near future. As Indians, let us learn to be assertive and ruthless in dealing with people who harm us and who seek to humiliate us. In this case, it is ICC. Let us finish ICC off once and for all.
I have not been able to concentrate on blogging for the last few days because of this matter. I hope to get this lead out of my chest by writing on this topic that I have been feeling very strongly about.
I, as well as many cricket loving Indians are feeling the way our forefathers felt when they were slaves of foreigners. Foreigners would loot us of our resources and get rich at our cost, whereas we would be subjected to humiliation, indignity, famine, death etc. That is what happened to Indians during British Rule. This is what also happened in Goa which remained under Potruguese rule till 1960s !
Here is a song from “Johar Mehmood in Goa”(1965) which expresses my strong feeling on the subject of BCCI and Indian cricket lovers suffering indignities at the hands of foreigners out to subjugate us. This song is sung by Mukesh and Usha Khanna. Qamar Jalalbadi is the lyricist. Music is composed by Kalyanji Anandji.
The song is picturised on I S Johar and Sonia Sahni (I guess).
With this song, “Johar Mehmood in Goa”(1965) joins the list of movies that have all their songs covered in the blog.
Song-Sikandar bhi aaye kalandar bhi aaye (Johar Mehmood in Goa)(1965) Singers-Mukesh, Usha Khanna, Lyrics-Qamar Jalalabadi, MD-Kalyanji Anandji
Mukesh + Usha Khanna
Lyrics
Sikandar bhi aaye
Kalandar bhi aaye
na koi raha hai
na koi rahegaaa
na koi raha hai
na koi rahega
na koi raha hai
na koi raha hai
na koi rahega
na koi raha hai
hai tere jaane ki baari bidesi
hai tere jaane ki
hai tere jaane ki baari bidesi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
hai tere jaane ki baari bidesi
hai tere jaane ki
hai tere jaane ki baari bidesi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
Sikandar ko Porus ki taaqat ne roka aa
Ghauri ko Prithvi ki himmat ne toka aa
jab khooni Naadar ne chhedi ladaai ee
ho o o
o o o o
jab khooni Naadar ne chhedi ladaai
to Dilli ki galiyon se aavaaz aayi ee
laga le tu kitna bhi zor ai sitamgar
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai
Prataap ne jaan de di watan pe ae
Shivaaji ne bhagva udaaya gagan pe ae
mardon ne khaayi aazaadi ki kasmen aen
ho o o
o o o
mardon ne khaayi aazaadi ki kasmein
adaa auraton ne ki jauhar ki rasmen
kafan baandh kar raani Jhaansi pukaari
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai
Siraaj aur Tipu
Zafar aur Nana aa
thha har ek inmein qaumi deevaana
yahaan le ke aaye bagaavat ki aandhi ee
Tilak, Nehru, Aazaad, Netaaji, Gaandhi ee
Bhagat Singh ki raakh ne ye pukaara
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai
Halaaku raha hai na Hitler raha hai ae
Musolini kaa naa vo lashkar raha hai ae
nahin jab raha rus kaa Tzaar baaki ee
ho o o o
nahin jab raha roos kaa Tzaar baaki
to kaise rahega Saalaazaar baaki ee
Goa ka har bachcha bachcha pukaara
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai
kal ko agar aaye Chaao yaa Maao o
laga denge ham zindgaani kaa daanv
hamaara hai Kashmir
NEFA hamaara aa
o o o
o o o
hamaara hai Kashmir
NEFA hamaara
kabhi jhuk sakega na jhanda hamaara aa
zara desh ke dushmanon se ye keh do
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai
hai tere jaane ki baari bidesi
hai tere jaane ki
hai tere jaane ki baari bidesi
ye desh aazaad ho ke rahega
mera desh aazaad ho ke rahega
na koi raha hai
na koi raha hai na koi rahega
na koi raha hai
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
सिकंदर भी आए
कलंदर भी आए
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
है तेरे जाने की बारी बिदेसी
है तेरे जाने की
है तेरे जाने की बारी बिदेसी
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
है तेरे जाने की बारी बिदेसी
है तेरे जाने की
है तेरे जाने की बारी बिदेसी
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
सिकंदर को पोरस की ताक़त ने रोका॰॰आ
गौरी को पृथ्वी की हिम्मत ने टोका॰॰आ
जब खूनी नादर ने छेड़ी लड़ाई
हो ओ ओ
ओ ओ ओ ओ
जब खूनी नादर ने छेड़ी लड़ाई
तो दिल्ली की गलियों से आवाज़ आई
लगा ले तू कितना भी ज़ोर ए सितमगर
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
परताप ने जान दे दी वतन पे॰॰ए
शिवाजी ने भगवा उड़ाया गगन पे॰॰ए
मर्दों ने खाईं आज़ादी की कसमें
हो ओ ओ
ओ ओ ओ ओ
मर्दों ने खाईं आज़ादी की कसमें
अदा औरतों ने की जौहर की रस्में
कफन बांध कर रानी झांसी पुकारी
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
सिराज और टीपू
जफर और नाना
था हर एक इन में क़ौमी दीवाना
यहाँ ले के आए बग़ावत की आँधी॰॰ई
तिलक नेहरू आज़ाद नेताजी गांधी॰॰ई
भगत सिंह की राख़ ने ये पुकारा
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
हलाकू रहा है ना हिटलर रहा है
मसोलीनी ना वो लश्कर रहा है
नहीं जब रहा रूस का ज़ार बाकी
हो ओ ओ
ओ ओ ओ ओ
नहीं जब रहा रूस का ज़ार बाकी
तो कैसे रहेगा सलाज़ार बाकी
गोआ का हर बच्चा बच्चा पुकारा
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
कल को अगर आए चाओ या माओ
लगा देंगे हम ज़िंदगानी का दाव
हमारा है कश्मीर नेफ़ा हमारा
हो ओ ओ
ओ ओ ओ ओ
हमारा है कश्मीर नेफ़ा हमारा
कभी झुक सकेगा ना झण्डा हमारा
ज़रा देश के दुश्मनों से ये कह दो
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
है तेरे जाने की बारी बिदेसी
है तेरे जाने की
है तेरे जाने की बारी बिदेसी
ये देश आज़ाद हो के रहेगा
मेरा देश आज़ाद हो के रहेगा
ना कोई रहा है
ना कोई रहा है
न कोई रहेगा
ना कोई रहा है
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Tarzan Comes To Delhi”(1965) was directed by Kedar Kapoor for Amar Chhaaya pictures. The movie had Bhagwan, Helen, Bela Bose, Dara Singh, Mumtaz, Siddhu, Vishwa Mehra etc in it.
The B grade movie had si songs in it. Three of these songs have been covered in the past.
Here is the fourth song from “Tarzan Comes To Delhi”(1965) to appear in the blog. This song is sung by Asha Bhonsle. Anand Bakshi is the lyricist. Music is composed by Dattaram.
The song is picturised on Mumtaz and Dara Singh, who play (Indian version of) Jane and Tarzan (Indian version) respectively.
Song-Nigaahen chaar karoon ye meri tamanna hai (Tarzan comes to Delhi)(1965) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-Dattaram
Lyrics
nigaahen chaar karoon
ye meri tamanna hai
kisi se pyaar karoon
ye meri tamanna hai
nigaahen chaar karoon
ye meri tamanna hai
kisi se pyaar karoon
ye meri tamanna hai
nigaahen chaar karoon
ye bekaraari ae dil
ye bekaraari ae dil aur kuchh zyaada ho
ke tum na aao magar aaoge ye waada ho
aji haan waada ho
main intzaar karoon oon
main intzar karoon
ye meri tamanna hai
kisi se pyaar karoon
ye meri tamanna hai
nigaahen chaar karoon
kabhi kahoon ke meri
kabhi kahoon ke meri neend tum churaate ho
kabhi kahoon ke mera chain tum udaate ho
mujhe sataate ho
gile hazaar karoon oon
gile hazaar karoon
ye meri tamanna hai
kisi se pyaar karoon
ye meri tamanna hai
nigaahen chaar karoon
ye zindagi hai
ye zindagi hai
bahaaron ki daastaan jaisi
guzar rahi hai magar pyaar bin khizaan jaisi
haseen khizaan jaise
ise bahaar karoon
ise bahaar karoon ye meri tamanna hai
nigaahen chaar karoon
ye meri tamanna hai
kisi se pyaar karoon
ye meri tamanna hai
nigaahen chaar karoon
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Son Of Hatimtai”(1965) was directed by Dharam Kumar for Sunrise Films, Bombay. The movie had Randhawa, Malika, Mumtaz, Maruti, Sherry, Jillani, Nazir Kashmiri, Roopesh Kumar, Samson, Thakur, Shashimala, Shamim, Kishori, Jaani Babu etc in it.
Read more on this topic…
Mera saanwla salona mehboob
Posted on: April 15, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
When I switch on the computer and open the blog in the morning, I have two things in mind. First, I need to find a song that would YIPPEE a movie, and second, a song that would cause a movie to make its debut in the blog.
Read more on this topic…
Balma kitna naadaan hai tu
Posted on: April 13, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Shrimaan Funtoosh”(1965) was directed by Shantilal Soni for S B Production, Bombay. The movie had Kishore Kumar, Kumkum, Anoop Kumar, Mohan Choti, Ashalata, Kesari, Harin Chattopadhyay etc in it.
Read more on this topic…
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