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

Archive for the ‘Songs of 1976’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3986 Post No. : 15075

“Shankar Shambhu”(1976) was directed by Chaand for A K Movies Bombay. The movie had Feroz Khan, Vinod Khanna, Sulakshana Pandit, Bindu, Jagdeep, Ajeet, Anwar Hussain, Suhir, Sulochana, Jayshree T, Shantanu, Jankidas, Viju Khote, Kishore Sinha etc with guest appearances by Pradeep Kumar and Lalita Pawar.

The movie had five songs in it. Two songs have been covered in the past.

Here is the third song from “Shankar Shambhu”(1976) to appear in the blog. This song is sung by Suman Kalyanpur. Sahir Ludhianvi is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a mujra song on Bindu and Vinod Khanna.

It appears to be a rare song in the sense that it is one of rare occasions when Sahir Ludhianvi must have penned lyrics for Kalyanji Anandji.

This song appears to be a forerunner of the “Muqaddar Ka Sikandar”(1978) mujra song “Salaam e ishq meri jaan zara kubool kar le”.


Song-Mera dil churaa kar na aankhen chura (Shankar Shambhu)(1976) Singer-Suman Kalyanpur, Lyrics-Sahir Ludhianvi, MD-Kalyanji Anandji

Lyrics

mera dil chura kar na aankhen chura
mera dil chura kar na aankhen chura
sab kahenge tujhe bewafa bewafa
bewafa bewafa
dekh dil ko laga kar na dena daga
dekh dil ko laga kar na dena daga
sab kahenge tujhe bewafa bewafa
bewafa bewafa
mera dil chura kar na aankhen chura

hamne de di hai tujhko jubaan
ho hamne de di hai tujhko jubaan
tere kadmon mein niklegi jaan aan
tere kadmon mein niklegi jaan
dil ka naazuk sa hai ye aayina
dil ka naazuk sa hai ye aayina
tod dena na ae meharbaan aan
tod dena na ae meharbaan
ban ke toota agar silsila silsila
ban ke toota agar silsila silsila
sab kahenge tujhe bewafa bewafa
bewafa bewafa
mera dil chura kar na aankhen chura

gair ke ghar na rakhna kadam
ho gair ke ghar na rakhna kadam
ye sitam sah na paayenge hum m
ye sitam sah na paayenge hum
toone gar hamko dhokha diya
toone gar hamko dhokha diya
zahar kha lenge teri kasam m
zahar kha lenge teri kasam
jab janaaza uthha pyaar ka pyaar ka
jab janaaza uthha pyaar ka pyaar ka
sab kahenge tujhe bewafa bewafa
bewafa bewafa
mera dil chura kar na aankhen chura

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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.

Blog Day :

3935 Post No. : 15010 Movie Count :

4112

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # 83 # Remembering Feroz Khan#
—————————————————————————–——

Welcome all to this post of today, where, once again, I am taking you back to a song from the Seventies from a movie which is part of ‘nostalgia’ of my growing years.

In this blog we fondly discuss about ‘songs which bring back memories’. Many of my posts would fall into this ‘category’ as I have tried to share them with the memories of my childhood years and growing years thereafter.

During the ‘blog’s ten thousandth song –milestone’ I had written a post here and mentioned about few songs which for me bring back memories of my childhood and /or growing years.
At that time, I had listed many ‘prominent songs’ for me falling in ‘songs that brings back memories’ category. I had also noted that in future I may come with a second list of such songs which I get reminded time to time due to the connected memories of those years and they surface from vague and dormant memories.

Recently when I was going through this ‘first list’ of mine and noting down the songs which are yet to make it to the blog, I noticed that now very few songs from this list of mine are yet to be posted on the blog. One of these songs is the song being covered today.

And the reason for posting this song today is, it is picturised on actor Feroz Khan whom we fondly remember today on his tenth ‘Remembrance Day’.
(This song also has a female version which is picturised on actress Rekha).

Feroz Khan (25 September 1939 – 27 April 2009), born Zulfikar Ali Shah Khan, was born in Bangalore and he also breath his last in the city of Bangalore on 27th April 2009.

He came to Mumbai (Bombay then) and made his debut in Hindi movies with the movie ‘Didi’ in 1960. Initially he got smaller roles or roles in the second lead. After completing almost a decade in the Hindi Film Industry he ventured into production and direction with the movie ‘Apraadh-1972’.

Though I have not watched many of his movies, but whatever movies I had watched of him have left an indelible impression on my mind since my childhood.

And whenever the Hindi movies of the seventies will be discussed Feroz Khan’s name is going to be surely there. Because he has a special place carved for him in the midst of the so many actors of that decade and his ‘aura’ is something that cannot be forgotten by the ‘fans of the seventies’.

I never forgot the movie ‘Khotey Sikkey-1974’ which I must have watched with my elders earlier and later may be on TV. And for me it is this movie which I remembered most associated with his name. I had also shared a song from this movie when I joined this blog as a lyrics contributor.

Then I remember watching ‘Nagin-1976’, ‘Shankar Shambhu-1976’, ‘Sharaafat Chhod Di Maine-1976’, ‘Kabeela-1976’ and ‘Khoon Aur Paani-1981’ which I clearly remember of watching with my brothers and cousins may be in vacations. I think we also watched ‘Kaala Sona-1975’ and ‘Chunaoti-1979-80’ later, but I don’t remember it now.

‘Qurbaani-1980’ was a big hit in those years and all family watched it together.

Later I watched ‘Safar-191’, ‘Aadmi Aur Insaan-1970’ on TV. ‘Dharmatma-1975’ with friends on VCR (during the VCR days).
In between these years, around 1986-87 I watched ‘Aarzoo-1965’ in theatres in its re-re-released in end eighties.

After that I watched ‘Yalgaar-1992’ and ‘Dayaawan-1988’ in parts (on TV).

I watched ‘Apradh-1972’ again in 2008-2009 by buying its VCD because it had one my favourite songs in it i.e. ‘tum miley pyaar se’.

However I am yet watch his ‘Upaasna-1967’ and ‘Mela-1971’ which I think I should watch sometime in the future.

I will not go into more details about him and thus I will come to the today’s song thanking Feroz Khan for all the entertainment and those lovely memories of his movies he has given to us. His ‘cow boy’ image and specially his ‘dialogue deliveries’ riding on a horse 🙂 are his special features that I am always reminded of with his ‘steering eyes’:) (or may be, because of his image in my mind I am thinking that he might have spent more time sitting on the Horse’s back going by nature of roles he played in the majority of the movies) 🙂

Today’s movie ‘Kabeela-1976’ was directed by Bolu Khosla for ‘Khosla Enterprises, Bombay’. It was a ‘costume drama’ movie. Bolu Khosla was also the producer of this movie.

It had Feroz Khan, Rekha, Kamini Kaushal, Imtiaz, Premnath, V. Gopal, Sudhir, Shyam Kumar, Manju Bansal, Dhoomal, Surendranath, Heeralal, Habib, Baby Soniya, Darshan, Sharad Saxena and others. Bindu and Trilok Kapoor make a Special appearance in this movie.

Story of this movie was written by A.K. Agarwal. Screenplay was written by Jayant Dharmadhikari. Akhtar Romani wrote the dialogues of this movie and editing was done by Waman Bhonsle.

This movie had four songs, including one multiple version song (which is being posted today). All its songs were written by Farooque Qaisar and composed to music by Kalyanji-Anandji. Kishore Kumar, Lata Mangeshkar, and Mukesh had given their voices to the songs in this movie.

This movie was passed by Censor Board on 20.10.1976.

Today I am presenting a song from this movie which since years has been in my memory and it is a ‘catchy’ composition too. This song is in two versions male and female and sung respectively by Kishore Kumar and Lata Mangeshkar.

I could not find a separate video for the female version, but we have audio version for our listening pleasure. The female version is picturised on Rekha and male version is picturised on Feroz Khan and who we can see performing in his ‘dynamic-dashing’:) style on this song.

By the way this song ranked at number twenty-five in the annual list of ‘Binaca Geetmala-1977’.
With this song ‘Kabeela-1976 (or Qabeela-1976’) makes a debut on the blog !!

(I also had the opportunity to introduce ‘Shankar -Shambhu-1976’ on the blog. ‘Naagin-1976’ – I had already shared a song.
And as noted earlier I think this year ‘1976’ had the most impact on my mind relating to songs and movies of that year when I was around 8 years old 🙂 )

Let us enjoy today’s song now.

Male version
Video

Audio

Female version
Audio

Song-Arre koi maane ya na maane mere dil ki mehbooba ne (Kabeela)(1976) Singer-Kishore Kumar/Lata, Lyrics-Farooque Kaiser, MD-Kalyanji Anandji
Female voice
Chorus

Lyrics
—————————
Male version-Kishore Kumar
—————————
Arey koi maane yaa naa maane
Mere dil ki mehbooba ne
Mera tohfaa kiya qubool
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool

Koi maane yaa naa maane
Meri dil ki mehbooba ne
Mera tohfaa kiya qubool
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool

Aankhen teri tauba tauba
Aankhen teri tauba tauba
Zulfen allaah allaah aa aa
Zulfen allaah allaah
Chaahe kuchh ho
Thhaam liya hai
Maine tera ye pallaa
Chhodo na
Maine tera ye pallaa
Sab kuchh mera leja
Achchaa
Arey sab kuchh mera le ja
Bas ek nishaani de ja
Pyaar bharaa ye phool
De ae de ae
Ye le
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool

Vaade kya hain
Qasmein kya hain
Vaade kya hain
Qasmein kya hain
Ye to duniyaa jaane ae
Ye to duniyaa jaane
Tera mera pyaar hai sachchaa
Baaki sab afsaane ae ae
Baaki sab afsaane
Kaahe ka ye sharmaana
Arrey kaahe ka ye sharmaana
Kaahe ka ye ghabraana
Aaj mere sang jhool
Aa …
aa naa
Lo aa gayi
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool

——————————————————–
(Female version -Singer – Lata Mangeshkar, chorus)
——————————————————–
Koi maane yaa naa maane
Mere zulmi saanwariyaa ne
Mera tohfaa kiya qubool
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool

Koi maane yaa naa maane
Mere zulmi saanwariyaa ne
Mera tohfaa kiya qubool
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool

Jaane kab se dekh rahi thhi
Jaane kab se dekh rahi thhi
Main to sapne tere ae
Main to sapne tere
Tujh ko paa ke
Ho gaye poore
Ab ye sapne mere
Tu hi tu meri nazron mein
Tu hi tu meri nazron mein
Pyaar se tu meri zulfon mein
Hans ke sajaa de phool
Sajaa de naa
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool

Hoti hai to
Ho jaane de
Hoti hai to
Ho jaane de
Donon ki ruswaayi ee ee
Donon ki ee ruswaayi
Aaj nahin to kal baajegi
Angnaa mein shehnaayi
Dil ki duniya laayi main
Dil ki duniya laayi main
Bhool ke sab ko aayi
Tu bhi ye gussaa bhool
Bhool gaye na
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool
Khuda ki qasam
aaj paise vasool
Paise vasool

——————————————————-
(Lyrics in Devnagri Script provided by Avinash Scrapwala)
—————————————————-
Male version
—————-
अरे कोई माने या ना माने
मेरे दिल की महबूबा ने
मेरा तोहफा किया कुबूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
कोई माने या ना माने
मेरे दिल की महबूबा ने
मेरा तोहफा किया कुबूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल

आँखें तेरी तौबा तौबा
आँखें तेरी तौबा तौबा
जुल्फें अल्लाह अल्लाह आ
जुल्फें अल्लाह अल्लाह
चाहे कुछ हो
थाम लिया है
मैंने तेरा ये पल्ला आ
छोडो ना
मैंने तेरा ये पल्ला आ
सब कुछ मेरा लेजा
अच्छा
अरे सब कुछ मेरा ले जा
बस एक निशानी दे जा
प्यार भरा ये फूल
दे ए दे ए
ये ले
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल

वादे क्या है
कसमें क्या है
वादे क्या है
कसमें क्या है
ये तो दुनिया जाने ए
ये तो दुनिया जाने ए
तेरा मेरा प्यार है सच्चा
बाकी सब अफ़साने ए ए
बाकी सब अफ़साने
काहे का ये शरमाना
अरे काहे का ये शरमाना
काहे का ये घबराना
आज मेरे संग झूल
आ … आ ना
लो आ गयी
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल

————————————
(महिला स्वर)
———————–
कोई माने या ना माने
मेरे जुल्मी सांवरिया ने
मेरा तोहफा किया कुबूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल

कोई माने या ना माने
मेरे जुल्मी सांवरिया ने
मेरा तोहफा किया कुबूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल

जाने कब से देख रही थी
जाने कब से देख रही थी
मैं तो सपने तेरे ए
मैं तो सपने तेरे
तुझ को पा के
हो गए पूरे
अब ये सपने मेरे
तू ही तू मेरी नज़रों में
तू ही तू मेरी नज़रों में
प्यार से तू मेरी जुल्फों में
हँस के सजा दे फूल
सजा दे ना
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल

होती है तो
हो जाने दे
होती है तो
हो जाने दे
दोनों की रुसवाई ई ई
दोनों की ई रुसवाई
आज नहीं तो कल बाजेगी
अंगना में शहनाई
दिल की दुनिया लायी मैं
दिल की दुनिया लायी मैं
भूल के सब को आई
तू भी ये गुस्सा भूल
भूल गये ना
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल
खुदा की क़सम
आज पैसे वसूल
पैसे वसूल


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3894 Post No. : 14934

“Aarambh”(1976) was directed by Gyan Kumar for Prerna Pictures, Calcutta. This obscure social movie had Rakesh Pandey, Rama Vij, Kishore Kapoor, Bipin Gupta, Rohin Kumar, Kalyan Chatterji, Chandrakala, M L Daga, Trilochan Jha, Nanu, B P Tiwari, Madan Sudan, Ravi Yagnik, Surendra Gupta, Tej Bahadur, C R Tenani, Naval Joshi, Akhtar, Gayatri Mukherji, Laxmi Chaaya etc with Master Piyush (new discovery) and Pallavi Mehta (guest role) etc in it.

This movie had four songs in it. Three of these songs have been covered in the past.
Here are the details of the songs from the movie that have been covered so far:-

Song Title

Post No.

Post Date

Sabhi sukh door se guzren 5199 26-Dec-2011
Waadiyon mein kho jaayen ham tum 7542 22-Feb-2013
Tumhaare bina o sajna adhoori hoon main 14690 12-Oct-2018

Here is the fourth and final song from “Aarambh”(1976) to appear in the blog. The song is sung by Aarti Mukherji. Shri Shalabh is the lyricist. Music is composed by Anand Shankar.

Only the audio of the song is available. Assuing that Rama Vij was the leading lady of the movie, my guess is that this song was picturised on her (playing a wronged lady) standing near a piano (being played by the hero) where she is blessing the hero despite being wronged. 🙂

Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get one word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, all the songs in the movie are now covered and “Aarambh”(1976) joins the list of movies that are YIPPIED in the blog. This movie becomes the 150th movie starting with the letter “A” that has been YIPPIED in the blog. 🙂


Song-Khush rahe tu ke khushi ki shama jalti rahe (Aarambh)(1976) Singer-Aarti Mukherji, Lyrics-Shri Shalabh, MD-Anand Shankar

Lyrics

khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe
zindagi pyaar ke saanche mein sada dhalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe

manzilen khud hi miley raah se teri aakar
manzilen khud hi miley raah se teri aakar
tere jazbaat e tamanna ki raushni paa kar
teri azmat mein
azmat mein
nihaan rasme wafa milti rahe ae
khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe
khush rahe ae
khush rahe tu

zindagi phoolon bhari geeton bhari ho teri ee
zindagi phoolon bhari geeton bhari ho teri
bas yahi ek dua tere liye hai meri
tere gulshan mein kali kali
khwaabon mein pali khilti rahe ae
khush rahe tu ke khushi ki shama jalti rahe
zindagi pyaar ke saanche mein sada dhalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe tu
khush rahe ae
khush rahe tu


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3836 Post No. : 14845

“Mera Jeewan”(1976) was directed by Vindu Shukla for Shreejee International, Bombay. This “social” movie had Vidya Sinha, Ambika Johar, Dushyant, Satyen Kappu, Jairaj, Shivraj, Viju Khote, Dinesh Hingoo, Padma Rani, Arvind Rathod, Baby Guddi, Sunita, Shekhar Purohit, Uday Kumar, Ranveer Raj, Jugnu, Anand Bihari,Harbans Pape, Pardesi, Amrit Patel, Madhavi, Master Ajay, Baby Sabiha etc. A K Hangal (friendly appearance) and Sulochana, Veena and Harindranath Chattopadhyay (special appearances) also figured in the movie.

The movie had four songs in it. Two songs from the movie have been covered in the past, including the title song which was the most popular song from the movie.

When I checked up on the four songs of this movie, I realised that all the four songs were quite popular during its time before they were forgotten.

Here is the third song from “Mera Jeewan”(1976) to appear in the blog. The song is sung by Asha Bhonsle. M G Hashmat is the lyricist. Music is composed by Sapan Jagmohan.

The song is picturised on Vidya Sinha as a “man mein laddoo phootna” genre of song. 🙂

I have not been able to get one word in the lyrics. I request our readers with keener ears to help fill in the blank/ suggest correction as applicable.


Song-Koi mere haathhon mein mehandi laga de (Mera Jeewan)(1976) Singer-Asha Bhonsle, Lyrics-M G Hashmat, MD-Sapan Jagmohan

Lyrics

Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
aaj bole re lagan
jisko kehte hain dulhan
koi kaise sajaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de

aaj meri aankhon mein chamke pyaar ki jyoti
seep ke man mein muskaaye armaanon ke moti
khushiyon ke moti
pyaar ki jyoti
khushiyon ke moti
pyaar ki jyoti
aaj meri aankhon mein chamke
pyaar ki jyoti
aaj bole mera man
jisko kehte hain sajan
koi us’se milaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de

aaj suni kaanon ne mere
dil ki shehnaai
tod ke pinjra panchhi bhaaga
tooti tanhaai
suni shehnaai
tooti tanhaai
suni shehnaai
tooti tanhaai
aaj suni kaanon ne mere
dil ki shehnaai
jaise udti hai pawan
aur jhhoome re gagan
koi kaise uda de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de
aaj bole re lagan
jisko kehte hain dulhan
koi kaise sajaa de
Koi mere haathhon mein mehandi laga de
Koi mere haathhon mein mehandi laga de


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.

Blog Day :

3823 Post No. : 14825 Movie Count :

4054

Today’s song is from film Manthan-76. This was one of the films, which was very close to my heart. I must have seen it at least 3 times-an honour which I bestowed on only few films. Everything about this film was good-Story, Director, Actors and above all the only song in the film, sung so beautifully by Preeti Sagar.

This film was based on the work of Dr. Verghese Kurien, the person who helped the White Revolution to bloom in India. This film is close to my heart, because I have met Dr Kurien twice in my professional career. While working as the Head of the Veterinary Division of Glaxo, for the Western India, I had two occasions when I personally met Dr. Kurien in his office at Anand. That was somewhere in 1981.

I reduced seeing films in the 70’s beginning, for two reasons. One I was busy in Career building and family raising. The second reason was, the complexion of the films made from the 70s onwards were mostly ‘ Boy Meets Girl ‘ type escapist films.The films had sweet looking Heroines and Chocolate Heroes. There was no difference in film stories- only change of names and locations. Directors like Nasir Hussain publically admitted to having made films on same stories with minor changes. Such escapist films ended my interest in them In addition, the type of music in films was not of my choice or liking.

just imagine. a Chocolate Hero- Rajesh Khanna-emerged on the success horizon with film Aaradhana-69 and created an all time record( still unbroken) of 15 consecutive solo Hit films from just 1969 to 1971 ! The public too wanted to only the goody-goody films. Of course, there were exceptions but only exceptions, mind you, in Hindi films.
During this period, films called ” Parallel Cinema” or ” New Wave Cinema” or just the ” Art Films” flourished and provided relief to people like me. Some of these were blatant Art films, but most were entertaining and tackled day to day issues of the common people.

Parallel cinema was a film movement in Indian cinema that originated in the state of West Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema, represented especially by popular Hindi cinema, known today as Bollywood.

Inspired by Italian Neo realism, Parallel Cinema began just before the French New Wave and Japanese New Wave, and was a precursor to the Indian New Wave of the 1960s. The movement was initially led by Bengali cinema and produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and others. It later gained prominence in other film industries of India and Bangladesh.

It is known for its serious content, realism and naturalism, symbolic elements with a keen eye on the sociopolitical climate of the times, and for the rejection of inserted dance-and-song routines that are typical of mainstream Indian films.

Realism in Indian cinema dates back to the 1920s and 1930s. One of the earliest examples was Baburao Painter’s 1925 silent film classic Savkari Pash (Indian Shylock), about a poor peasant (portrayed by V. Shantaram) who “loses his land to a greedy moneylender and is forced to migrate to the city to become a mill worker. Acclaimed as a realistic breakthrough, its shot of a howling dog near a hut, has become a milestone in the march of Indian cinema.” The 1937 Shantaram film Duniya Na Mane (The Unaccepted) also critiqued the treatment of women in Indian society.

The Parallel Cinema movement began to take shape from the late 1940s to the 1965, by pioneers. This period is considered part of the ‘Golden Age’ of Indian cinema. This cinema borrowed heavily from the Indian literature of the times.

Early examples of Indian cinema’s social realist movement include Dharti Ke Lal (1946), a film about the Bengal famine of 1943 directed and written by Khwaja Ahmad Abbas, and Neecha Nagar (1946), a film directed by Chetan Anand and written by Khwaja Ahmad Abbas that won the Grand Prize at the first Cannes Film Festival. Since then, Indian independent films were frequently in competition for the Palme d’Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival.

During the 1950s and the 1960s, intellectual filmmakers and story writers became frustrated with musical films. To counter this, they created a genre of films which depicted reality from an artful perspective. Most films made during this period were funded by state governments to promote an authentic art genre from the Indian film fraternity. The most famous Indian “neo-realist” was the Bengali film director Satyajit Ray. Ray’s most famous films were Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959), which formed The Apu Trilogy. Produced on a shoestring budget of Rs. 150,000 , the three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest films of all time.

Certain art films have also garnered commercial success, in an industry known for its surrealism or ‘fantastical’ movies, and successfully combined features of both art and commercial cinema. An early example of this was Bimal Roy’s Do Bigha Zamin (1953), which was both a commercial and critical success. The film won the International Prize at the 1954 Cannes Film Festival and paved the way for the Indian New Wave. Hrishikesh Mukherjee, one of Hindi cinema’s most successful filmmakers, was named the pioneer of ‘middle cinema’, and was renowned for making films that reflected the changing middle-class ethos. Renowned Filmmaker Basu Chatterjee also built his plots on middle-class lives and directed films like Piya Ka Ghar, Rajnigandha and Ek Ruka Hua Faisla. Another filmmaker to integrate art and commercial cinema was Guru Dutt, whose film Pyaasa (1957) featured in Time magazine’s “All-TIME” 100 best movies list.

In the 1960s, the Indian government began financing independent art films based on Indian themes. Many of the directors were graduates of the Film and Television Institute of India(FTII), in Pune. The Bengali film director Ritwik Ghatak was a professor at the institute and a well-known director. Unlike Ray, however, Ghatak did not gain international fame during his lifetime. For example, Ghatak’s Nagarik (1952) was perhaps the earliest example of a Bengali art film, preceding Ray’s Pather Panchali by three years, but was not released until after his death in 1977. His first commercial release Ajantrik (1958) was also one of the earliest films to portray an inanimate object, in this case an automobile, as a character in the story, many years before the Herbie films.

During the 1970s and the 1980s, parallel cinema entered into the limelight of Hindi cinema to a much wider extent. This was led by such directors as Gulzar, Shyam Benegal, Mani Kaul, Rajinder Singh Bedi, Kantilal Rathod and Saeed Akhtar Mirza, and later on directors like Govind Nihalani, becoming the main directors of this period’s Indian art cinema. Mani Kaul’s first several films Uski Roti (1971), Ashadh Ka Ek Din (1972), Duvidha (1974), were critically appreciated. Parallel cinema of this time gave careers to a whole new breed of young actors, including Shabana Azmi, Smita Patil, Amol Palekar, Om Puri, Naseeruddin Shah, Kulbhushan Kharbanda, Pankaj Kapoor, Deepti Naval, Farooq Shaikh, and even actors from commercial cinema like Hema Malini, Raakhee, Rekha ventured into art cinema.

These actors did not have an easy entry even in Parallel cinema. Basu Chatterji once narrated how Amol palekar’s entry met with opposition.” I was to make ” Piya ka ghar”-72 for Rajeshree prodn. I took Rajkumar Barjatya to watch Amol in drama ” Aadhey Adhurey”, but Raj was not willing to gamble with an actor, who was the very antithesis of a ‘ Star ‘. He took Anil Dhavan for that film. After ‘ Rajnigandha ‘ became a hit, the same Rajkumar Barjatya wanted only Amol for his next film ” Chitchor”-76. ”

By the early 1990s, the rising costs involved in film production and the commercialisation of the films had a negative impact on the art films. The fact that investment returns cannot be guaranteed made art films less popular amongst filmmakers. Underworld financing, political and economic turmoil, television, and piracy proved to be fatal threat to parallel cinema, as it declined.

One of the major reasons for the decline of the parallel cinema in India is that the F.F.C. or the National Film Development Corporation of India did not seriously look into the distribution or exhibition of these films. The mainstream exhibition system did not pick up these films because these films did not have the so-called ‘entertainment value’ that they were looking for. Thus, it left to a few Film Societies to screen these film; that too on a single screening basis. The advent of television and its popularity saw the film society movement decline. Gradually, the government reduced the patronage of such films, for they had only unseen films to be shown on their balance sheets.
Manthan ( Churning) is a 1976 Hindi film directed by Shyam Benegal, inspired by the pioneering milk cooperative movement of Verghese Kurien, and was written jointly by him and Vijay Tendulkar. It is set amidst the backdrop of the White Revolution of India. Aside from the great measurable success that this project was, it also demonstrated the power of “collective might” as it was jointly crowd funded by 500,000 farmers who donated Rs. 2 each, when it was found that the budget provided by NFDC for it, was insufficient.
The film won the 1977 National Film Award for Best Feature Film in Hindi and National Film Award for Best Screenplay for Vijay Tendulkar, and was also India’s submission for the Academy Award for Best Foreign Language Film for 1976.

The title song (“Mero Gaam Katha parey”) was sung by Preeti Sagar. She won the Filmfare Award for Best Female Playback Singer for that year. The song was later used as the soundtrack for the television commercial for Amul.

The word Manthan literally means “churning”, and other meanings may be deep contemplation, churning of facts, analysis aimed at a solution or conclusion. The film traces a small set of poor farmers of Kheda district in Gujarat who had the vision and foresight to act in a way that was good for the society and not for the self alone. Under leaders like local social worker Tribhovandas Patel, who took up the cause of the farmers, lead to the formation of Kaira District Co-operative Milk Producers’ Union. Soon the pattern was repeated in each district of Gujarat, which in turn led to the formation of Amul, a dairy cooperative in Anand, Gujarat in 1946, which is today, jointly owned by some 2.6 million milk producers in Gujarat, India.

Eventually, this led to the initiation of White Revolution of India in 1970, by creating a “Nationwide Milk Grid”, and the setting up of Gujarat Co-operative Milk Marketing Federation Ltd. (GCMMF) in 1973, whose 500,000 members jointly financed the film, by donating Rs. 2 each, when NFDC budget for this film as sanctioned was found to be insufficient. Upon its release, truckloads of farmers came to see “their” film, thus making it a box office success.

Trivia- From 1946 to 2012, till his death, Kurien was in Gujarat, but he could never speak Gujarati. Though a Christian, he was cremated in Nadiad, where he breathed his last, as per his last wish.

The Music Director for this film was Vanraj Bhatia, a very highly educated Music expert. Born in 1927 in Bombay, Vanraj Bhatia trained in Western classical music while studying at the Elphinstone College in Mumbai for M.A. (English Honours); after graduating in 1949 he left for the Royal Academy of Music, London, to study music composition, which he passed with a Royal Academy Gold Medal in 1954.

Thereafter he entered the Paris Conservatory between 1954 and 1959. During his studies abroad he received various scholarships.

In 1960, he started his career as Reader in Musicology in charge of Western Music, at the Faculty of Music Delhi University, where he stayed until 1965.

Meanwhile, in 1959, he created his first advertising jingle for Shakti Silk Sarees. From that point on he became one of the pioneering ad jingle makers in India, and also one of the most successful, later moving to Mumbai and working for the advertising industry. In all he has created over 7000 scores for advertising jingles, corporate and business films.

His first film as a music composer was Ankur (1974), and he soon became a regular composer for Shyam Benegal and other art film makers of the time. He gave music to 23 films,composing 78 songs. His most noted works in this period are Manthan (1976), Bhumika (1977), Junoon (1978), 36 Chowringhee Lane (1981), Trikal (1985) and Mandi (1983) and Jaane Bhi Do Yaaro (1983).

He has also created music for Indian theatre productions such as “Tughlak” and “Andha Yug”.

In the following decade, his work was heard constantly on Indian television with the title scores for TV series like Khandaan, Yatra, Lifeline, Discovery of India, Wagle Ki Duniya, and the made-for-TV film Tamas (1987), for which he received the National Film Award for Best Music Direction in 1988.

In the 1990s, he worked in many commercial Hindi films as well as providing background scores for many other films, working on over 40 films during his career. His most noted works were for Shyam Benegal’s film Sardari Begum in 1996 and for Vijay Singh’s international film Jaya Ganga.

He is the composer of the famous Liril soap jingle “La… Lalala.la..”

The story of film Manthan-76, adapted from Wikipedia is …

The film traces the origins of the movement through its fictionalised narrative, based around rural empowerment, when a young veterinary surgeon, played by Girish Karnad, a character based on the then National Dairy Development Board (NDDB) chief, the 33-year-old Verghese Kurien, who joined hands with local social worker, Tribhovandas Patel, which led to the setting up of a local milk cooperative, in Anand, Gujarat.

Dr. Rao (Girish Karnad), a young veterinary doctor with his team of Deshmukh (Mohan Agashe), Chandravarkar (Anant Nag) and others comes to a village in Kheda district, Gujarat. The village is inhabited by poor people whose chief occupation seems to be cattle-rearing and producing milk, which they sell to a local dairy owner Mishra Ji (Amrish Puri). Mishra Ji pays them ridiculously low amounts for their milk. Dr. Rao and his team have arrived with the purpose of setting up a co-operative society dairy which will be owned collectively and managed by the villagers themselves. As Dr. Rao and his team grapple with village politics, rigid casteism and general distrust of the village folk, they face planned hostility from the local Harijan community’s leader Bhola (Naseeruddin Shah) who harbours deep anger and resentment against the higher caste Panchayat Head (Kulbhushan Kharbanda). Local village women are led by a feisty young woman Bindu (Smita Patil), mother of a young child whose husband has supposedly left her.

Dr. Rao wins the trust of Bindu and other villagers by testing their milk and paying them fair amounts for their high fat-content milk and this irks Mishra Ji. Deshmukh is worried by the caste politics and divide between the higher castes and Harijans in the village and repeatedly warns Rao against getting involved in it. Chandravarkar gets attracted to a local Harijan girl and has a few rendezvous with her in secret. The Harijans don’t want to join the co-operative as they feel that the higher caste Panch and his cronies will usurp the society as well. Rao and his associates talk sense into them and organise for an election for the post of the head of the co-operative. Bhola begins to trust and believe in Rao’s ideals when Rao fires Chandravarkar for having fun with the Harijan girl on pretext of marrying her and bails Bhola out of jail when Panch gets him arrested for rowdy behaviour.

Meanwhile, a mutual admiration and liking develops between Rao and Bindu, which is cut short when Bindu’s husband returns home suddenly and Rao’s wife comes to visit him in the village. In the election, the Harijan representative Moti defeats the Panch in a tiebreaker and the Harijans erupt in joy. The Panch takes the loss terribly on his ego and joins Mishra Ji, also aided by Bindu’s husband. Together, they force Bindu to put her thumb impression on legal papers that claim Dr. Rao has raped her. Dr. Rao is extremely agitated when the allegations are brought against him and starts to wonder whether or not he has bitten off more than he can chew. His wife also falls sick with Typhoid. Dr. Rao finishes the setting up of the board and leaves with his wife. This greatly troubles Bhola as he considers this cowardice on Dr. Rao’s part. Bhola, however, continues to carry on the work of the co-operative with support from a few villagers and notably, Bindu. Both of them have been inspired and churned as new, brave individuals by the work of Dr. Rao.

With this song, the film makes a Debut on the Blog and since there was only one song in the film, all songs in the film also completed.The song is the Title song of the film, used many times in the film as background song. It is based on a Folk song of Gujarat. The song is enchanting and once heard it keeps on coming back again and again. See for yourself…..

(Ack- information from Gaata rahe mera dil by Aniruddha and Balaji, wiki and The Hindu is used in adapted form here.)


Song- Mero gaam kaatha paarey (Manthan)(1976) Singer- Preeti Saagar, Lyricist- Neeti Saagar, MD- Vanraj Bhatia

Lyrics

mero gaam kaatha paare
jyaan doodh ki nadiya waahe
jyaan koyal tahuko gaaye
mhaare ghar aangna na bhoolo na
hey mhaare ghar aangna na bhoolo na
mero gaam kaatha paare
jyaan doodh ki nadiya waahe
jyaan koyal tahuko gaaye
mhaare ghar aangna na bhoolo na
hey mhaare ghar aangna na bhoolo na

mhaare gaamde leelalaher
jyaan naache mor ne dhel
jyaan doodh ki relamchhel
jyaan vad pipal ni chhainyaa
suh ti charti gaiya
aao aao re ae ae
aao aao re mhaare gaam
sabko pyaaro mhaaro dhaam
yaad rakhiyo mero shyaam
mare ghar aangna na bhulo na
hey mhaare ghar angana na bhoolo na
kabhi rukna mhaare gaam
o pardesiya
o pardesiya
o pardesiya
o pardesiya


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3798 Post No. : 14788

“Bullet”(1976) was directed by Vijay Anand for Navketan Productions on the occasion of the silver jubilee of this production house. This movie had Dev Anand, Parveen Babi, Rakesh Roshan, Kabir Bedi, Jyoti Bakshi (new discovery), Sonia Sahni, Shreeram Laagoo, Jagdeep, Mohan Sherry, Ranjana Sachdev, Murad, Ranjan, Sheela, Shefali, Jazebel, Julie, Ratna, Julien, Mamaji, Moolchand, Sharat Saxena etc in it.

This movie had four songs in it. Three songs have been covered in the past. Here is the list of the songs already covered:-

Song Title

Post No.

Post Date

Jab tum chale jaaoge to yaad bahut aaoge 5100 4-Dec-11
Chori chori chupke chupke tere mere bin 13614 26-Sep-17
Mat chhedo gham ki baaten 14785 9-Dec-18

The fourth and final song left to be covered is in fact the first song in the movie. It is the title song of the movie as well, where the word bullet appears more than fifty times.
Sudhir Jee, in his comments to the earlier song mentions that

Praveen Babi is the love interest of Dev Anand, and Jyoti Bakshi is the love interest of Rakesh Roshan. Both are police officers. Praveen Babi works for Kabir Bedi, who is actually a gangster. Dev Anand is after him, but Kabir Bedi is successful in getting Dev Anand suspended from the police force on fabricated charges.

In the sequence of events, Jyoti Bakshi gets killed, and that pits Rakesh Roshan against Dev Anand, as the suspicion falls on the latter. Dev Anand then visits Kabir Bedi in his office and drops a bullet on his table, and challenges him that this bullet carries his (Kabir Bedi’s name) and that his days are numbered. That is where the title of the film comes from.

The song is sung by Kishore Kumar. Anand Bakshi is the lyricist. Music is composed by R D Burman.

With this song, “Bullet”(1976) joins the list of movies that have all their songs covered in the blog.

Audio

Video

Song-Bullet bullet (Bullet)(1976) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman
Chorus

Lyrics

bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet

hey dekho
yeh kya hai
ispe naam tera likha hai
arre dekho
yeh kya hai
ispe naam tera likha hai

bullet bullet bullet bullet
bullet bullet bullet
bullet bullet bullet bullet
bullet bullet bullet

hey dekho yeh kya hai
ispe naam tera likha hai

bekhabar baitha hai
mast hai peene mein
ek din yeh lagegi pyaare tere seene mein
bekhabar baitha hai
mast hai peene mein
ek din yeh lagegi pyaare tere seene mein
are yaar mere abb hota kya hai aage aage aage aage
dekho yeh kya hai
tere dard e dil ki dawa hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet

are dekho yeh kya hai
ispe naam tera likha hai

lallalala
lala
lalla
lalla

yeh nahin toh kya hai
jisse tu darta hai
main tujhe aur tu kisko talaash karta hai
yeh nahin toh kya hai
jisse tu darta hai
main tujhe aur tu kisko talaash karta hai

are yaar mere ab hota kya hai
aage aage aage aage
dekho yeh kya hai
yeh kya hai yeh tujhko pata hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet

are are dekho yeh kya hai, ispe naam tera likha hai

yaad rakh deewaane
yaad rakh deewaane
tu woh parwaana hai
usko apni lagaayi aag mein jal jaana hai
yaad rakh deewaane
tu woh parwaana hai
usko apni lagaayi aag mein jal jaana hai
arre yaar mere abb hota kya hai aage aage aage aage
dekho yeh kya hai,
yeh inaam hai ya saza hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet

hey dekho yeh kya hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet


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.

Blog Day :

3797 Post No. : 14787 Movie Count :

4043

#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 75# Dharmendra- Memories of the Seventies #
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 Welcome all to this article of mine which comes after a long gap of more than a month, and though I am late in sending this article, I hope our editors will consider this for post. And that will also help me in getting back into the ‘article writing’ again, because since last two months I am trying to complete and send some of my unfinished articles, but the schedule at work front and very less time after official work is not allowing me time and the concentration to focus on the articles I wish to share.

Well, with this article I hope I get back into writing and share my thoughts taking you down memory lane into the ‘seventies’ again 🙂

***

8th December 2018 is the 83rd birth anniversary (08.12.1935) of actor Dharam Singh Deol whom we fondly know as Dharmendra. And, ‘maa kasam …’ 🙂 , he will be there in our fond memories of the movies from almost every decade ever since he began his career in the Hindi movies with ‘Dil Bhi Tera Ham Bhi Tere’ (1960) till the very recently released movie ‘Yamla Pagla Deewaana-Phir Se’ (2018).

For me I have fond memories of watching many of his movies with my uncles, like ‘Shikaar’ (1966), ‘Yakeen’ (1969), ‘Kab? Kyun? Aur Kahaan?’ (1970), ‘Mera Gaon Mera Desh’ (1971), ‘Resham Ki Dori’ (1974), ‘Raja Jaani’ (1973), and more. Then I also remember some of his movies which I must have watched with my parents like ‘Yaadon Ki Baarat’ (1973), ‘Dost’ (1974), ‘Sholay’ (1975), ‘Maa’ (1976), ‘Charas’ (1976), ‘Dream Girl’ (1977), ‘The Burning Train’ (1980) etc. I still remember watching his ‘Devar’ (1966), during the Ganpati Festivals on the small 16mm screen in open grounds in the seventies.

Then there were movies which I watched with my brothers and cousins during the ‘summer vacations’ like ‘Dharam-Veer’ (1977), ‘Chacha Bhatija’ (1977), ‘Ram Balram’ (1980), ‘Teesri Aaankh’ (1982), ‘Samrat’ (1982), ‘Main Intaqaam Loonga’ (1982). And then movies like ‘Aap Ki Parchhaayiyaan’ (1964), ‘Main Bhi Ladki Hoon’ (1964), ‘Izzat’ (1968), ‘Mere Hamdam Mere Dost’ (1968), ‘Khamoshi’ (1969), ’Sharaafat’ (1970), ‘Samadhi’ (1972), ‘Jheel Ke Us Paar’ (1973), ‘Chaitaali’ (1975), ‘Chupke-Chupke’ (1975), ‘Ek Mahal Ho Sapnon Ka’ (1975), ‘Kinaara’ (1977), ‘Blackmail’ (1978), ‘Dillagi’ (1978) which I watched during the weekly screening of movies in the re-creation club building in our colony where we were staying then.

Then, when I was a grown-up boy 🙂 there was a phase in my life when I was learning in 11 -12th std but was less on studies and more on cricket and movies. I watched many of his movies like ‘Haqeeqat’ (1964), ‘Pyaar Hi Pyaar’ (1968), ‘Jugnu’ (1973), ‘Patthar Aur Paayal’ (1974), ‘Pratigya’ (1975), and the other movies released during those years (1983-1985) i.e. ‘Naukar Biwi Ka’ (1983), ‘Qayaamat’ (1983), ‘Jeene Nahin Doonga’ (1984), ‘Baazi’ (1984), ‘Dharam Aur Kanoon’ (1984), ‘Jaagir’ (1984), ‘Jhoothha Sach’ (1984), ‘Raj Tilak’ (1984) etc. And then I got to watch some movies like ‘Bandini’ (1963), ‘Neela Aakaash’ (1965), and ‘Satyakaam’ (1969), ‘Phagun’ (1973), on television (‘Doordarshan’) during this period.

The above was when we were still located in the Akola District of Maharashtra (CP & Berar circuit for the movies). And by that time I was already a Rajesh Khanna fan 🙂 . Reading the film magazines then I came to know that it was Dharmendra whose movies were still running good even during the Kaka’s Superstardom days. After that we shifted to Parli Vaijnath – Marathwada region of Maharashtra (and known as in the Nizam Circuit for the movies).

There I had already taken up working in a construction company and during this period till 1988 I watched many of the old and new movies. I remember I watched Dharmendra’s ‘Aaayi Milan Ki Bela’ (1964), ‘Kaajal’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Anupama’ (1966), ‘Dil Ne Phir Yaad Kiya’ (1966), ‘Phool Aur Patthar’ (1966), ’Aankhen’ (1968), ‘Aaya Saawan Jhoom Ke’ (1969), ‘Rakhwaala’ (1971), ‘Loafer’ (1973), ‘Keemat’ (1973), ‘Baghaawat’ (1982), ‘Hukumat’ (1987), ‘Aag Hi Aag’ (1987) etc.

Then I shifted to Kota (Rajasthan) in Nov 1988 for my professional career and there also watching the movies was the ‘main source of entertainment’. I got to watch many old Hindi movies as well as the new ones. I got to watch Dharmendra’s movies like ‘Batwaara’ (1989), ‘Naakabandi’ (1990), ‘Farishtey’ (1991) and after many years I got to watch ‘Mera Gaon Mera Desh’ (1971) again in a theater. I watched the film repeatedly on consecutive days and enjoyed it a lot. Later on, based at Kota and traveling around places like Nimach, I watched ‘Tehalka’ (1992). I also remember correctly that I watched his ‘Man Ki Aankhen’ (1970), on VHS cassettes on ‘VCR’ we use to hire to watch movies then during our weekly get-together or holiday. Later I bought VCDs of the films ‘Ganga Ki Lehren’ (1964), ‘Dulhan Ek Raat Ki’ (1967), which has one of my favorite songs “Ek Haseen Shaam Ko. . .“.

And there are other movies like ‘Aadmi Aur Insaan’ (1968), ‘Bahaarein Phir Bhi Aayengi’ (1966), ‘Chunaoti’ (1980), ‘Do Chor’ (1972), ‘Ishq Par Zor Nahin’ (1970), ’Jeevan Mrityu’ (1970), ‘Jwaar Bhaata’ (1973), ‘Kahaani Kismat Ki’ (1973), ‘Mohabbat Zindagi Hai’ (1966), ‘Naya Zamaana’ (1971), ‘Razia Sultan’ (1983), ‘Tum Haseen Main Jawaan’ (1970), which I don’t remember correctly but I think I watched them either in theatre or on TV. As I was going through his filmography for this article, I was thinking that there are still many movies of him (till seventies) which I have not watched and should watch them as and when possible.

The latest movies that I have seen of Dharmendra is ‘Apne’ (2007), which I could not watch in theatre when I was in Kachchh-Gujarat and had later bought its DVD and watched with my parents and family at home.

Watching his movies has always been a different experience and entertaining and enjoyable too. I think me, and many others like me, will always be thankful to him for the joy he has given to us through his movies. His fight scenes with Shetty are always a favorite of mine and those were the main attractions from his movies too, wherever Shetty was co-star in the movies he acted.

Then there are songs from his ‘black and white’ movies and many other ‘musicals’ of the ‘seventies’ which I cannot forget and many of them are ‘songs that brings back memories’ for me. I have watched many of his movies more than once and it is always pleasant to watch him on the screen. I cannot forget his ‘emotional speech’ in the ‘Filmfare awards function’ when he was felicitated with the ‘Filmfare Lifetime Achievement Award’.

His movies also have many emotional scenes between a ‘mother and son’ where I always find him very natural and touching. For today’s occasion I am presenting a song from the 1976 movie ‘Maa’. As I had mentioned earlier in one of my articles that there are few Hindi movies where an elephant has been a central character in the movies and few of these movies have been a part of my permanent memory since then. I remember to have watched this movie with my parents but have forgotten it now except Dharmendra, the elephants in the movie and this song that I am presenting today.

Though the song is a background song and not lip-synced by Dharmendra, I want to introduce it with this article. (I had earlier sent this song to Atul ji in Oct 2012). Also, this is the song which brings back memories of those years for me. It is part of that ‘nostalgia’ of Hindi movies and the songs for me over the years.

So, I when decided to share an article for Dharmendra’s birth anniversary (now belated), I searched for other songs from his movies where he also lip-synced the songs, or even from this movie ‘Maa’, but I strongly feel sharing of this song sung by Rafi Saab which is a trip down memory lane for me from the movies of Dharmendra of the seventies.

‘Maa-1976’ is edited and directed by M.A. Thirumugam for ‘Devar Films, Madras’. It is produced by Sandow M.M.A. Chinnappa Devar who had also written the story of this movie. It has Dharmendra, Hema Malini, Nirupa Roy, Ranjeet, Padma Khanna, Devar, Om Prakash, Paintal, Bramhachari, Shashi Kiran, Rajan Haksar, Urmila Bhatt, Umesh Sharma, Raj Baldev, Viju, Kalpana, Gemini Balu, Narayan Mustafa, Anand Kumar and others. Dialogues for this movie were written by Inder Raj Anand and editing was done by M.G. Balurao (assisted by K. Ramu). The movie was passed by Censor Board on 10.09.1976.

The movie has total seven songs in it as per HFGK and all the seven songs are written by Anand Bakshi and composed by Laxmikant-Pyarelal. HFGK also mentions about two tracks as club dance music and dance music in this movie. Kishore Kumar, Lata Mangeshkar, and Mohd Rafi had given their voices to the songs in this movie.

I am reproducing below the ‘plot summary’ of this movie as mentioned on IMDB

Vijay lives with his mother in a palatial house deep in the jungles in South India where he makes a living trapping animals for circuses, zoos – both nationally and internationally. He meets with beautiful US-returned Nimmi, both fall in love with each other and want to get married. Vijay’s mother cautions them both against separating new-born animals from their birth mothers, but both refuse to listen. Then the unexpected happens, a mother lioness, angered at Vijay for taking her cubs, attacks him, and leaves him badly wounded. With the help of his mother, and Nimmi, Vijay recovers and despite of what happened, and his mother’s warning, he again goes to trap animals – this time a baby elephant for a circus. He does manage to trap the elephant in a pit, but the angered mother elephant pursues them, even after they transport it in a truck. Her maternal and protective instincts come to fore, she overtakes the truck, dismantles it, but is chased away by Vijay and his employees. She turns to attack Vijay, but his mother intervenes – and is instantly attacked and crushed. Holding his mother in his arms, Vijay swears to hunt them the elephant as well as all other animals and kill them one by one, but his dying mother makes him promise that he will not do so, but instead return all cubs to their parents, as well as the baby elephant. Vijay promises to do so, and his mother passes away. Vijay is devastated, in heart-wrenching sorrow & pain, he calls out to his mother, and carries out her promise. He releases all trapped animals, and returns the cubs to the jungle. But returning the baby elephant, Ganesh, is another issue altogether as it has been transported to the city, and must be brought back. When Vijay goes to bring it back, he finds out that the truck had broken down, the elephant had escaped and is lose in the city. He desperately goes around looking for it. In the meantime, back home, the mother elephant is on a rampage, enraged at being separated from its child, it crushes vegetation, attacks villagers, and tears down their dwellings. And the next target that looms before it is none other than Vijay’s beloved – Nimmi…

 Today’s song is sung by Mohd Rafi and composed by Laxmikant-Pyarelal. Lyrics are by Anand Bakshi. The movie ‘Maa’ also makes a debut on the blog today …!!!

Belatedly wishing Dharam ji a very happy birthday and a healthy and peaceful life ahead …

[Author’s Note: This also serves one of my purpose of introducing movies having ‘same title’ too. We already have the movie ‘Maa-1952’ and ‘Maa-1960’(UR) on the blog. And fortunately, I had the opportunity to share couple of songs from the ‘1952-Maa’ and one song from the ‘1960-Maa’ on the blog].

Maa Tujhe Dhoondhoon Kahaan

 

Song – Maa. . . Tujhe Dhoondhoon Kahaan (Maa) (1976) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

Part 1

maa aa aa

maa tujhe dhoondhoon kahaan aa
maa tujhe dhoondhoon kahaan aa
maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa°°°°°°

maa ek jaisi hoti hai
bachche ik jaise hote hai
chot lage to insaanon ki tarah
pashu bhi rotey hai
bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

tu sach kehti thi ee
kisi ki bad duaa lag jaati hai
tu sach kahti thi ee
kisi ki bad duaa lag jaati hai
apni hi bandook se goli
khud pe bhi chal jaati hai
maine kaisa khel yeh khela
roun baitha aaj akela
tujhko kho kar man aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan

maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa
maa tujhe dhoondoon kahaan
maa tujhe dhoondoon kahaan
maa aa aa

Part 2 (at the end of the movie)

bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

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

भाग १

माँ आ आ

माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ °°°°°°

माँ एक जैसी होती है
बच्चे इक जैसे होते है
चोट लगे तो इंसानों कि तरह
पशु भी रोते हैं
बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
अपनी ही बन्दूक से गोली
खुद पे भी चल जाती है
मैंने कैसा खेल ये खेला
रोऊँ बैठा आज अकेला
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ°°°

भाग २

बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

माँ आ आ



This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3793 Post No. : 14779

“Khan Dost”(1976) was directed by Dulal Guha for Ramayan Chitra Mandir, Bombay. The movie had Raj Kapoor, Shatrughan Sinha, Mithu Mukherji (new discovery), Satyen Kappu, Sulochana, Asit Sen, Jagdish Raj, Maruti, Prakash, Shekhar Purohit, Rajan Haksar, Duggal, Saminder Pande, Chandulal, Rajrani, Amar Sen, Sameer, Baby Lubna etc, with special appearances by Subhash Ghai, Jagdeep, Sundar, Leela Mishra and Yogita Bali.

The movie had three songs in it. One song has been covered in the past.

Here is the second song from “Khan Dost”(1976) to appear in the blog. This song is sung by Manna Dey. Indeewar is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a poignant song on Shatrughan Sinha who plays a prisoner and who is seen looking back at his wasted life with regret in this picturisation. The pictorisation also shows Satyen Kappu playing a jailor and Raj Kapoor playing his subordinate.

Incidentally, Hindi movie jails look like a police station where a prisoner is seen kept behind bars in a small room. That is because Hindi moviemakers cannot differentiate between a police station and a jail. 🙂

Audio

Video

Song-Meri zindagi tujhpe roye (Khan Dost)(1976) Singer-Manna Dey, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics

meri zindagi mujhpe roye ae
roye

meri zindagi mujhpe roye ae
roye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye

jo karz liya hai saanson ka
wo karz chuka na paaya
jo karz liya hai saanson ka
wo karz chuka na paaya
baaqi hi raha har karz mera
koi farz nibha na paaya
ab waqt kahaan kuchh kar sakoon
ab waqt kahaan kuchh kar sakoon
koi zakhm kisi ka bhar sakoon
ab pachhtaaye kya hoye
meri zindagi mujhpe roye ae
roye

kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
jisne dikhlaai duniya mujhe
us maa ka dil bhi dukhaaya
jis pe hon gunaahon ke saaye
jis pe hon gunaahon ke saaye
wo chain kahaan se paaye
dariya bhi ye daag na dhoye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye
roye


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

Blog Day : 3778 Post No. : 14757

‘Dhongee’ (censor certificate 23-12-1976), was a movie directed by Ashok Roy and produced by Kant Kumar productions. It seems to have had a delayed release (Wikipedia says it was released 4th May 1979). It has a starcast of Randhir Kapoor, Neetu Singh, Asrani, Sujit Kumar, Farida Jalal, Iftikhar, and Premnath. Rakesh Roshan had a friendly appearance. The lyricist to this movie was Anand Bakshi and music director was Rahul Dev Burman. The movie had five songs and Asha Bhonsle, Kishore Kumar and Amit Kumar were the playback singers. One song of this film – “Haaye Re Haaye Tera Ghunghta” – has been posted earlier, as a contribution by Pamir Harvey where a brief outline of the movie is provided. This song is popular to this day. I remember that sometime in the late 90s or early 2000 there was a remix version to this song which triggered the memory of this song. As I sat to write this post I discovered that there has been another version of this song which has been used in a recent movie titled ‘Paisa Vasool’ (2004) – I don’t know anything about this recent movie.

Continuing after seeing the movie 🙂

So, ‘Dhongee’ is the usual masaala stuff, with a brother (Randhir Kapoor) and sister (Farida Jalal) loving and helping each other with wooing their prospective fathers-in-laws (Raj Mehra and Satyen Kappu). The brother’s aim is to fulfil his ‘dead’ father’s promise to the groom’s father and see that his sister lives a happy married life. On the way to fulfilling this he meets with an accident and ‘dies’. The insurance amount that his sister gets post the brother’s death is used by his fiancée (Neetu Singh) and her father to get the sister married. This is one part of the movie. But it is not even ‘interval time’ in the movie. Now begins the tale. The brother has actually survived the accident, has been unconscious for about 2 months, tended by a Nepali Gurkha – typically named Bahadur; recovers just in time to remember his sister’s wedding date; rushes home to witness the wedding without being seen by anyone. Now he is guilt-ridden that he has cheated the insurance company and is ready to do any activity that will earn him the money to repay the insurance. Here Bahadur steps in, suggests a name and location change & sends him to Nepal. Randhir Kapoor (Anand) is intrigued that random people around Kathmandu recognise him and escort him to a palace. After a few scenes that show the goings-on in the palace it is revealed that the palace is the headquarters for printing fake notes, belongs to Bahadur alias John and Anand has been cleverly sweet-talked into standing-in for the actual John (Premnath – it was the period when he used to play the BADMAN). Additionally, it is also revealed that the ‘dead’ father is a captive in the palace; the fiancée reaches Kathmandu (on duty, being an air-hostess); sees Anand; goes back; reports to the sister and then the whole family comes to help and rescue the father and brother and finish the movie. The songs are spread through the movie with a mandatory dance with the villain – Premnath is made to sing and dance.

Remembering Premnath today on his birth anniversary, he would have been 92. He was already the cute roly-poly fisherman – Braganza (‘Bobby’, 1973)- when I first became aware of the actor. And through the 70s he was Rai Saab Bhupendra Singh (‘Johnny Mera Naam’, 1970) Khan Badshah (‘Shor’, 1972), Dharmdas ‘Dharmatma‘ (‘Dharmatma’, 1975), IG Khanna (‘Kalicharan’, 1976), Sir Juda (‘Karz’, 1980) etc. I don’t remember having seen any of his movies where he had played a hero. I remember my father was a fan of the songs pictured on him in Raj Kapoor’s ‘Barsaat’ (1949) – “Patli Kamar Hai Tirchhi Nazar Hai“; “Main Gareebon Ka Dil Hoon Watan Ki Zabaan” from ‘Aab-e-Hayaat’ (1955) and “Main Raahi Bhatakne Waala Hoon” from ‘Baadal’ (1951). I recently discovered Vodafone Play – an app offered by Vodafone – which has a section dedicated to old movies, and I discovered ‘Saaqi’ (1952) – an interesting Arabian Nights type fantasy film where he co-starred with Madhubala.

Today’s song has Premnath sharing screen space with Randhir Kapoor (his nephew – ‘bhaanja’, in real life) and Neetu Singh, and shaking a leg outside the Kathmandu temple. I think this was a popular song in the past. Amit Kumar is the playback for Premnath.

Song – Rangon Ki Chhaaon Dhoop Mein (Dhongee) (1976) Singer – Asha Bhosle, Kishore Kumar, Amit Kumar, Lyrics – Anand Bakshi, MD – RD Burman

Lyrics

ho o oooo
ooo ooo
ooo ooo

mmmm. . .
usey jaan lo
pehechaan lo

rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo
rangon ki chhaon dhoop mein
woh aaya hai naye roop mein
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

jaise koi dulha baandhe sehra
us ke chehre pe hai naqli chehra
hooo ooo
jaise koi dulha baandhe sehra
us ke chehre pe hai naqli chehra
aaaa aaaaa
ab is mein kya raaz hai
poora dhokhebaaz hai
usey jaan lo pehechaan lo
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

suljha di aankhon ne dil uljhan
haan haan yahi to hai hum sab ka dushman
he he
suljha di aankhon ne dil uljhan
haan haan yahi toh hai hum sab ka dushman
ooo oooooo
ooo ooo
ooo ooo
ooo ooo
iski sab kahaaniyan
iski hai nishaaniyan
usey jaan lo pehechaan lo
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

tum dhongee ho to hum bhi kuchh kam nahin
tum ne jaal bichhaaya hai to gham nahin
he he
tum dhongee ho to hum bhi kuchh kam nahin
tum ne jaal bichhaaya hai to gham nahin
in baaton mein dam nahin
darne waale hum nahi
hamen jaan lo pehechan lo
rangon ki chhaon dhoop mein
main aaya hoon naye roop mein
arey
main hoon. . . ek behroopiya
hamen jaan lo
pehechaan lo
hamen jaan lo
pehechaan lo

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

हो ओ ओssss
ओsss ओsss
ओsss ओsss

मम्ममम॰ ॰ ॰
उसे जान लो
पहचान लो

रगों की छाँव धूप में
वो आया है नए रूप में
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

जैसे कोई दूल्हा बांधे सेहरा
उसके चेहरे पे है नक़ली चेहरा’
हो ओ
जैसे कोई दूल्हा बांधे सेहरा
उसके चेहरे पे है नक़ली चेहरा’
आsss आsss
अब इस में क्या राज़ है
पूरा धोखेबाज़ है
उसे जान लो
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

सुलझा दी आँखों ने दिल की उलझन
हाँ हाँ यही तो है हम सबका दुश्मन
हे हे
सुलझा दी आँखों ने दिल की उलझन
हाँ हाँ यही तो है हम सबका दुश्मन
ओsss ओsssss
ओsss ओsss
ओsss ओsss
ओsss ओsss
इसकी सब कहानियाँ
इसकी हैं निशानियाँ
उसे जान लो॰॰ओ
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

तुम ढ़ोंगी हो तो हम भी कुछ कम नहीं
तुमने जाल बिछाया है तो ग़म नहीं
हे हे
तुम ढ़ोंगी हो तो हम भी कुछ कम नहीं
तुमने जाल बिछाया है तो ग़म नहीं
इन बातों में दम नहीं
डरने वाले हम नहीं
हमें जान लो
पहचान लो
रगों की छाँव धूप में
मैं आया हूँ नए रूप में
मैं॰ ॰ ॰ हूँ एक बहरूपिया
मुझे जान लो
पहचान लो
मुझे जान लो
पहचान लो


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3738 Post No. : 14690

“Aarambh”(1976) was directed by Gyan Kumar for Prerna Pictures, Calcutta. This obscure social movie had Rakesh Pandey, Rama Vij, Kishore Kapoor, Bipin Gupta, Rohin Kumar, Kalyan Chatterji, Chandrakala, M L Daga, Trilochan Jha, Nanu, B P Tiwari, Madan Sudan, Ravi Yagnik, Surendra Gupta, Tej Bahadur, C R Tenani, Naval Joshi, Akhtar, Gayatri Mukherji, Laxmi Chaaya etc with Master Piyush (new discovery) and Pallavi Mehta (guest role) etc in it.

This movie had four songs in it. Two of these songs have been covered in the past.

Here is the third song from “Aarambh”(1976) to appear in the blog. The song is sung by Aarti Mukherji. Shri Shalabh is the lyricist. Music is composed by Anand Shankar.

Only the audio of the song is available. Assuing that Rama Vij was the leading lady of the movie, my guess is that this song was picturised on her. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Tumhaare bina o sajna adhoori hoon main (Aarambh)(1976) Singer-Aarti Mukherji, Lyrics-Shri Shalabh, MD-Anand Shankar

Lyrics

tumhaare bina o sajna
adhoori hoon main
tumhaare bina o sajna
adhoori hoon main
jiski manzil ho tum
aisi doori hoon main
tumhaare bina o sajna
adhoori hoon main

mere man ke gagan ke tumhi chandrma
meri har raat tumse bani poornima
tum ho baadal
tumhaari mayuri hoon main
jiski manzil ho tum
aisi doori hoon main
tumhaare bina o sajna
adhoori hoon main

tum mujhe yoon miley
gandh se jyun pawan
dhany hai paa tumhen mera tan mera man
preet ki kalpna se poori hoon main
jiski manzil ho tum
aisi doori hoon main
tumhaare bina o sajna
adhoori hoon main


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

What is this blog all about

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

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

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

Total number of songs posts discussed

15125

Number of movies covered in the blog

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

Total visits so far

  • 11,927,707 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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