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

Posts Tagged ‘1942


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

At the time of the release of National Studios’ film ‘Roti’ (1942) in August 1942, the production house was sold to KM Modi, a prominent film exhibitors of that time who had no interest in producing films. At that time, three films of National Studios were under the advance stage of completion. ‘Jawaani’ (1942) was one among the three films, other two films being ‘Lala ji’ (1942) and ‘Apna Paraaya’ (1942). Anil Biswas was the music directors for all the three films.
I find from the issues of ‘Filmindia’ magazines of 1942 that the publicity given to these three films was subdued as compared with the scale of publicity which National Studios normally used to indulge for their earlier films. Probably, for the new owner, the publicity for the films was not a priority.

‘Jawaani’ (1942) had the usual star cast of National Studios which included Surendra, Husn Bano, Jyoti, AR Kabuli, Sankatha Prasad, Gulzar, Kayam Ali, Wasekar etc. The film was directed by Wajahat Mirza Changezi, his first and the last under National Studios. He did direct a few films for other production houses later.

Wajahat Mirza was a familiar name in my younger days because of his association with ‘Mughal-e-Azam’ (1960) as one of the dialogue writers for which he received the Filmfare Award. Later, as a solo dialogue writer, he got the same category of Filmfare Award for ‘Ganga Jamuna’ (1961). His other famous films as a dialogue writers in the 50s and thereafter was ‘Mother India’ (1957), ‘Yahudi’ (1958), ‘Kohinoor’ (1960), ‘Leader’ (1964), ‘Palki’ (1967) etc. His last film as a dialogue writer was ‘Daaku Aur Jawaan’ (1978). K Asif’s swan song – the film ‘Love and God’ (1986) for which he had written the dialogues, was in the making for a long time and got released later.

As per Wikipedia, Wajahat Mirza Hussain Changezi (known as Wajahat Mirza) was born on 20/04/1908 in Sitapur, a part of Awadh region. He did his college education in Government Jubilee College, Lucknow where he got acquainted with a cinematographer from Calcutta. He accompanied the cinematographer to Calcutta to work as his assistant.

I became aware of Wajahat Mirza’s career in the film industry as lyricist and director only when I ventured into the films of 1940s as a part of the project for the blog. Details taken from his filmography indicate that his first film was New Theatres’ ‘Yahudi Ki Ladki’ (1933) as a dialogue writer. After this work, he had a 5-year hiatus from the film industry. Probably, he may have worked in the film industry during this period in a different capacity about which no information could be found online.

Wajahat Mirza joined Sagar Movietone as a screenplay/dialogue writer and lyricist in 1938. His first film as a dialogue writer/lyricist was ‘Watan’ (1938). Baburao Patel, in his review of the film, has complimented Wajahat Mirza by saying that for the first time in a Bombay film, good Urdu dialogue was written. From this point onward, his career got mostly associated with Mehboob Khan until ‘Roti’ (1942) after which he worked for the films as a free-lancer.

During the course of his association with Sagar Movietone and National Studios, he also worked as a lyricist in films ‘Watan’ (1938), ‘Hum Tum Aur Woh’ (1938), ‘Bahen’ (1941), Jawaani’ (1942) and ‘Roti’ (1942). After leaving National Studios, Wajahat Mirza worked as a dialogue writer in the popular films like ‘Zeenat’ (1945), ‘Shaheed’ (1948), ‘Shikast’ (1953) and those of 50s and 60s listed above.

During his career, Wajahat Mirza directed 5 films – ‘Jawaani’ (1942), ‘Swaminath’ (1942), Shahenshah Babar’ (1944), ‘Prabhu Ka Ghar’ (1945) and ‘Nishaana’ (1950). In his later career, he gave up direction and lyrics writing and concentrated only on story/screeplay/dialogue writing. He was regarded as an expert in writing dialogues in simple language which had the ability to create the desired impact on the scene. Because of this quality, Mehboob Khan recalled Wajahat Mirza to write the dialogue for ‘Mother India’ (1957) which had the story in rural setting. Incidentally, Wajahat Mirza had also written the dialogue for its earlier avatar ‘Aurat’ (1940).

Wajahat Mirza died on 4/08/1990 at the age of 82 in Karachi.

‘Jawaani’ (1942) was advertised as a romantic comedy film where ‘the youth triumphs over the age’. The film had 11 songs written by Wajahat Mirza (7) and Aarzoo Lucknowi (4). Two songs have been covered in the blog. Here is the 3rd song ‘Roney Se Nahi Fursat Jisko Wo Hansna Hansaana Kya Jaane’, sung by Husn Bano who was the female lead in the film. The song is written by Aarzoo Lucknowi and is set to music by Anil Biswas.


Song – Roney Se Nahin Fursat Jisko (Jawaani) (1942) Singer – Husn Banu, Lyrics – Aarzoo Lakhnawi, MD – Anil Biswas

Lyrics

rone se nahin fursat jisko
wo hansna hansaana kya jaane
rone se nahin fursat jisko
kya dard mein dil par banti hai
kya dard mein dil par banti hai
bedard zamaana kya jaane
bedard zamaana kya jaane
rone se nahin fursat jisko

jo dil ki tamanna ban ke rahe
wo dil kaa lagaana kya jaane
jo dil ki tamanna ban ke rahe
wo dil kaa lagaana kya jaane
dil aap hi naazon kaa hai pala
dil aap hi naazon kaa hai pala
wo naaz uthhaana kya jaane
wo naaz uthhaana kya jaane
rone se nahin fursat jisko

jis par bhi bharosa hamne kiya
jis par bhi bharosa hamne kiya
ki milke usi zaalim ne daga
ki milke usi zaalim ne daga
patthar ko jo phool samajhta ho
patthar ko jo phool samajhta ho
wo chot bachaana kya jaane
wo chot bachaana kya jaane
rone se nahin fursat jisko
wo hansna hansaana kya jaane
rone se nahin fursat jisko
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रोने से नहीं फुर्सत जिसको
वो हँसना हँसाना क्या जाने
रोने से नहीं फुर्सत जिसको
क्या दर्द में दिल पर बनती है
क्या दर्द में दिल पर बनती है
बेदर्द ज़माना क्या जाने
बेदर्द ज़माना क्या जाने
रोने से नहीं फुर्सत जिसको

जो दिल की तमन्ना बन के रहे
वो दिल का लगाना क्या जाने
जो दिल की तमन्ना बन के रहे
वो दिल का लगाना क्या जाने
दिल आप ही नाज़ों का है पला
दिल आप ही नाज़ों का है पला
वो नाज़ उठाना क्या जाने
रोने से नहीं फुर्सत जिसको

जिस पर भी भरोसा हमने किया
जिस पर भी भरोसा हमने किया
की मिलके उसी ज़ालिम ने दग़ा
की मिलके उसी ज़ालिम ने दग़ा
पत्थर को जो फूल समझता हो
पत्थर को जो फूल समझता हो
वो चोट बचाना क्या जाने
वो चोट बचाना क्या जाने
रोने से नहीं फुर्सत जिसको
वो हँसना हँसाना क्या जाने
रोने से नहीं फुर्सत जिसको

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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Some established producer-directors generally have their wish list to make a film or two on the subjects that are close to their hearts. The fulfilment of their wishes gets postponed until such time the producer-directors are able to make the successful films in normal course of their career. After all, they need the financial security to take risk in producing films of their personal choices irrespective of the outcome at the box office.

Producer-director Guru Dutt had one such subject on which he was keen to make a film on a life of a successful director whose career is ruined by the will of the financiers and the personal circumstances in his life. Ultimately, the director dies as a lonely and forgotten man. The film was ‘Kaagaz Ke Phool’ (1959). The film was said to be based on the life of his mentor Gyan Mukherjee, one of the successful directors of Bombay Talkies.

Given the depressing theme of the story with a tragic end, Guru Dutt seems to have been aware of the box office risk of such a film. He took to produce and direct this film only after his three successive films became the box office hits – ‘Aar Par’ (1954), ‘Mr & Mrs, 1955’ (1955) and ‘Pyaasa’ (1957). Now he was ready to show his mastery over the artistic films and the use of the latest techniques in the film making. Guru Dutt’s expectations about his pet project was very high.

Unfortunately, ‘Kaagaz Ke Phool’ (1959) was a disaster at the box office putting Guru Dutt in dire financial difficulties. But what affected Guru Dutt more than the box office failure was that even the film critics had branded this film as boring and incoherent. But today, this film is regarded as one of the classics in Hindi films’ history.

Producer-Director Raj Kapoor, after producing a series of box office hits, produced ‘Mera Naam Joker’ (1970) which he had called his favourite film under RK Banner. The film was in the making for about 5-years. Because of the length of the film, it had two intervals. Raj Kapoor may have felt unsure about the risk at the box office. For that, he had some box office ingredients in the film and had roped in Rajendra Kumar, Dharmendra, Manoj Kumar and Dara Singh in the star cast. As usual, the expectation from the director’s pet project was very high from the financiers and distributors.

The film failed at the box office and Raj Kapoor was put into financial distress. Today, ‘Mera Naam Joker’ (1970) is regarded as the best films from RK Films banner.

Something similar happened to Mehboob Khan in 1942 when ‘Roti’ (1942) was released. After directing films like ‘Alibaba’ (1940), ‘Aurat’ (1940) and ‘Bahen’ (1941), which achieved the tremendous successes at the box office, Mehboob Khan announced the film ‘Roti’ (1942) which went to the floor in June 1941. The theme in the story of the film was the class conflict or disparity between rich and poor, a subject close to the heart of Mehboob Khan if one goes by the logo of Mehboob Productions.

I have seen in an advertisement of National Studios in which along with the names of the then current films under productions, the name of ‘Roti’ (1942) was written in bold letters with a statement ‘Mehboob’s Pride Picture With 5 Renowned Stars’. This shows the status of and the high expectations from the film.

The five ‘renowned stars’ of the film were Chandra Mohan, Sheikh Mukhtar, Sitara Devi, Akhtari Faizabadi (Begum Akhtar) and Ashraf Khan. For the first time, Chandra Mohan worked under the direction of Mehboob Khan in the film. Chandra Mohan was known to be a tough actor to handle as he was frank in giving his opinions to the directors about the shots to be framed on him. I had read in his interview taken sometime in 1941 in which he spelled out the director’s and actor’s roles in the film making. While the director sets his requirement of the scene to the actor, it is the actor who decide how to portray the acting for the scene. In other words, Chandra Mohan did not like to follow the director’s inputs in the acting.

Begum Akhtar who had not worked in the films after 1936 was roped in probably with the recommendation of Anil Biswas. It was doubtful whether she would accept the offer to act in the film. But for her, the offer had come at the right time. At that time, she was the court singer in the state of Rampur and the Nawab of Rampur wanted to marry her. She was not interested in marrying the already married Nawab. So she shifted to Bombay (Mumbai) in the guise of working in the film to wriggle out of Nawab’s marriage proposal.

The film took more than one year to complete and its release was delayed due to a last minute problem. Megaphone Recording Company brought a stay order as Akhtaribai had an exclusive singing contract with the Company. Finally, the stay order was withdrawn and the film was released only after all her six songs were deleted from the film. Later, Megaphone released 78 RPM records of these six songs. The film was released in Bombay (Mumbai) on 25/08/1942.
The film did not create ripple on the box office front though it ran for few weeks. I have watched the film on YT and my take as to why the film did not click for Mehboob Khan as much as it was expected is as under:

1. It was expected that with Chandra Mohan in terms of star value, Begum Akhtar in terms of her singing, and Sitara Devi with her dances would attract the audience to the theatres. The deletion of all the six songs of Begum Akhtar from the film would have definitely disappointed her fans.

2. With the deletion of all the six songs of Begum Akhtar, continuity in the film was lost. One can notice the abrupt moves from one scene to another scene in the film. Also Begum Akhtar did not look like a sophisticated daughter of a businessman. For her fans, she was engraved in their minds as a vocalist in semi-classical music.

3. In the traditional definition of the hero and the heroine of the film, Chandra Mohan and Begum Akhtar had leading roles with Chandra Mohan one sided love with Begum Akhtar. But Chandra Mohan had also had the role of a villain as he was responsible for murdering his partner whose daughter he now loves. Under such a situation, unless the director is able extract the emotional scenes to bond with the audience with such a character, it is difficult to maintain the interest of the audience in the film.

4. The class conflict as the main theme of the film was not brought out in a manner which could have kept the audience interest intact. The whole idea of bringing the life style of Sheikh Mukhtar and Sitara Devi in their forest dwelling in contrast with that of Chandra Mohan as a rich and greedy businessman in a palatial residence did not create a forceful anti-capitalist impact in the film. The scenes of Ashraf Khan giving his philosophical preaching was boring.

Later, Mehboob Khan adopted the sickle and the hammer as the logo for his film production company, Mehboob Productions in 1942 in accordance with the main theme of his film ‘Roti’ (1942).

‘Roti’ had 14 songs of which Begum Akhtar had 6 songs. 7 songs (3 Begum Akhtar’s songs) have already been covered in the Blog. I am presenting the 8th song from the film which is a ghazal rendered by Begum Akhtar. The ghazal is ‘wo hans rahen hain aah kiye jaa raha hoon main’ written by Aarzoo Lucknowi. After listening to the style of rendition of the ghazal, I feel that it has more of Begum Akhtar’s contribution than that of Anil Biswas as a music director.


Song – Wo Hans Rahe Hain Aah Kiye Jaa Raha Hoon Main (Roti) (1942) Singer – Akhtari Bai, Lyrics – Aarzoo Lakhnawi, MD – Anil Biswas

Lyrics

wo o o o
wo o o  o o o
wo hans rahe hain
aah kiye jaa raha hoon main
main
wo hans rahe hain
aah kiye jaa raha hoon main
main
pathar ke dil mein raah
kiye jaa raha hoon main
main
pathar ke dil mein raah
kiye jaa raha hoon main

bahr e karam ko  ..oo
josh mein
laane ke wa..aaste ae
ae ae ae ae
ae ae ae ae
aen aen aen  aen  aen
daanishtaa
daanishtaa kuchh gunaah kiye
jaa raha hoon main
main
daanishtaa kuchh gunaah kiye
jaa raha hoon main
main
daanishtaa kuchh gunaah kiye
jaa raha hoon main

aadat ke ba..aad
dard bhi dene lagaa aa mazaa
aaa
aa  aa aaa
aa aa aa aa
aa aa aaa
hans hans ke
ae ae ae 
ae ae ae
hans hans ke
aah aah kiye
jaa raha hoon main
main
hans hans ke aah aah kiye
jaa raha hoon main
aen aen

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

वो ॰॰ओ॰॰ओ
वो ॰॰ओ॰॰ओ॰॰ओ
वो हंस रहे हैं
आह किए जा रहा हूँ मैं
मैं
वो हंस रहे हैं
आह किए जा रहा हूँ मैं
मैं
पत्थर के दिल में राह
किए जा रहा हूँ मैं
मैं
पत्थर के दिल में राह
किए जा रहा हूँ मैं

बहर ए करम को॰॰ओ॰॰ओ
जोश में
लाने के वास्ते॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
दानिश्ता
दानिश्ता कुछ गुनाह
किए जा रहा हूँ मैं
मैं
दानिश्ता कुछ गुनाह
किए जा रहा हूँ मैं
मैं
दानिश्ता कुछ गुनाह
किए जा रहा हूँ मैं

आदत के बा॰॰आद
दर्द भी देने लगा मज़ा
॰॰आ
॰॰आ॰॰आ॰॰आ
॰॰आ॰॰आ॰॰आ
॰॰आ॰॰आ॰॰आ
हंस हंस के
॰॰ए॰॰ए॰॰ए॰॰ए
॰॰ए॰॰ए॰॰ए॰॰ए
हंस हंस के
आह आह किए
जा रहा हूँ मैं
मैं
आह आह किए
जा रहा हूँ मैं ॰॰एं॰॰एं


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 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.

Today’s song is from film ‘Jawani Ki Pukaar’ aka ‘Call Of Youth’ (1942). The film makes its debut on our blog today. It is sung by Sarfaraz Deen, who too makes his debut with this song.

The song is a parody song. The dictionary meaning of ‘parody’ is ” humorous exaggerated imitation”. This was quite a popular genre of songs in Hindi films. The earliest parody song is found in film ‘Deccan Queen’ (1936), sung by Surendra in his debut film. The song – “Birha Ki Aag Lagi Mere Mann Mein“, which is a parody of the iconic KL Saigal song from the 1935 film ‘Devdas’ – “Baalam Aaye Baso Morey Mann Mein“. The producers at Sagar Movietone, (the banner under which ‘Deccan Queen’ was produced) wanted Surendra to become ‘Saigal’ of Bombay !

People have a misconception that making a parody song is very easy, but it is not so. First of all, there should be a suitable situation in the film. Secondly, the lyrics should not only be funny, but they should also fit into the metre of the original tune. Thirdly, the singer must sing more or less in the original singer’s style. Lastly, the composer must arrange the music appropriately. The basic condition for a parody song is that the original song or songs must be well known and popular. In a good parody song, tunes of at least 3 stanzas are used from 3 different songs. I know of longer songs where 6 to 7 famous songs have been used.

During the period 16-3-2013 to 2-4-2013, I had discussed 10 parody songs on this blog, for my series ‘Parody Songs’. On the blog, a total of 22 parody songs have been discussed so far. Even after the series was over, I have discussed 4 more parody songs. Many MDs, though not all, used to compose parody songs in their films.

When I was searching for parody songs for my series, I found that there is a list of more than 150 parody songs, between the years 1936 to 1980, available on the website ‘Hamara Forum’, which was once upon a time a very popular and active site for film songs and related topics. Sad that this site is no more active, but one can still find valuable information even on it. (I have been able to locate several lists on various topics, for example I found a list of double role movies. The list was so detailed that it gave details by and by year. Like in how many films Amitabh Bachchan has done double role, in which year etc.) I have seen many sites closing down after only few years on the internet. Some of them were very useful too. Alas !

Initially, when I got today’s song from one of my friends, I became excited, for 2 reasons. One, the film and the singer would make their debut and two, this song will give me an opportunity to write about a less known or rather unknown Music Director, Vasant Kumar Naidu. With my recent experience with the song “Hum Aage Badhte Jaayen” from film ‘Anban’ (1944), I first sent this song to our Sudhir ji to inquire if he had this song in his collection and if it was longer than the one I had sent. Sure enough, Sudhir ji replied yes for both points. This was a good news as the song would have its full length now. Very kindly, Sudhir ji has uploaded the song and here we are to enjoy it. Thank you Sudhir ji. The world is a better place with people like you !

This blog is read by millions of music lovers from all over the world. Considering the figure of visitors by the counter, a quick rough calculation tells me that on an average 3000 visitors come to the blog every day. Some of them are connected with the film industry too, in direct or indirect way. Sometimes, people who are close or distant relatives of alive or departed artists, leave their comments here. I have been able to establish contact with them and get valuable information about those cine artistes. Like this, I was able to write articles on actor/singer Parshuram, actress Indurani, Bhudo Advani, Latika, Mukri and Mirza Musharraf etc.

In case of music director Vasant Kumar Naidu, no information is available in any book or on the internet. Only Pankaj Raag writes about his films and songs in his book ‘Dhunon Ki Yatra’. This too is based on HFGK only. Luckily Ms. Sai Lakshmi and Mr. Krishna Kumar Naidu, niece and nephew of Vasant Kumar Naidu have visited our blog and left some comments when Sadanand ji had discussed a different song (not of Vasant Kumar Naidu) and had just mentioned his name in the write up. I picked up this slender lead and wrote to both of them. It is to their credit that both responded promptly . They tried to provide song and film information from different sites, which I already knew. After exchanging few mails, they sent me a newspaper cutting, announcing the passing away of Vasant Kumar Naidu, along with his photo and his a copy of his death certificate. Krishna Kumar ji also gave me some information about his family. I can understand their limitations. Naidu ji died in 1951. At that time these two were very young and now there may not be any other elder who may provide information about this artist.

Anyway, earlier I had zero information, now at least I have some information about him, plus his filmography as per the HFGK. I sincerely thank Ms. Sai Lakshmi ji and Shri Krishna Kumar Naidu ji for their help.

Vasant Kumar ji was born in 1915. His family had settled in Burma like thousands of other South Indian families. When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India. Mr.Vasant Kumar’s family was one amongst them. They walked from Rangoon to Madras. The family settled in Madras for some years.

Vasant Kumar ji had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen in dressing up and had several suits in those days. He joined the industry and started growing as a Music Director. He then called his mother and other siblings to live with him in Mumbai along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar ji was the second eldest. He had two younger brothers as well. They all lived on Peddar Road initially. Later, he left his Peddar Road flat and moved to Parel.

Vasant Kumar ji thereafter lived in Parel until his passing away on 16-10-1951.

Vasant Kumar ji got married in Madras. This marriage was arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar ji. His younger brother, the late Mr. Pandurang Naidu was also working towards a career in music. He became a musician (played banjo and mandolin). Vasant Kumar ji taught several string instruments to his brother, Pandurang ji. His youngest brother, the late Mr. Sreenivasn Naidu, became a composer at a later stage of his life for the Indian Railways Music Academy (Central Railway Cultural Academy).

Vasant Kumar ji is survived by his only daughter, Mrs. Pramila Naidu, who is now a widow. She lives in Pune with her grown up children. Pramila ji was around 5 years when her fatherpassed away. She has vague memories of her father. It is sad to see her struggling now financially. She continues to gives tuition at the age of 70 to make her living. She lawfully owns 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate. This property is now worth in crores. The cousins of Pramila ji have gotten together and have filed a law suit against these 3rd generation greedy family members. The law suit is going on now for the past 3 years.

Vasant Kumar ji started his career in 1939 by giving music to films ‘Thunder’ and ‘Pakke Badmash’. Till 1947, he composed music for 22 films, as per the HFGK. He sang 1 song as a duet with Khan Mastana for film ‘Mere Sajan’ (1941). He has composed 160 songs in these 22 films. His filmography, as per the Geet Kosh, is ‘Thunder’ (1939), ‘Pakke Badmash’ (1939), ‘Rangeela Jawaan’ (1940), ‘Jung-e-Azadi’ (1940), ‘Desh Bhakt’ (1940), ‘Suhaana Geet’ (1941), ‘Meri Khwaish’ (1941), ‘Mere Saajan’ (1941), ‘Lehri Jawaan’ (1941), ‘Lala ji’ (1942), ‘Call Of Youth’ (1942), ‘Maata’ (1942), ‘Watan Ki Pukaar’ (1943), ‘Nai Zindagi’ (1943), ‘Mohabbat Ki Jeet (1943), ‘Daawat’ (1943), ‘Circus Girl’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Beda Paar’ (1944), ‘Shaahi Khazaana’ (1946), ‘Chamkati Bijli’ (1946) and ‘Toote Dil’ (1947).

Unfortunately, Vasant Kumar ji got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with film ‘Lala ji’ (1942), in which he got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audience was limited and his name did not gain any fame. Actually, many big, well known and popular singers have sung for him.

However, without a mentor, God Father or the support of a big banner, it became impossible for Vasant Kumar ji to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small time composers like him.

The film ‘Jawani Ki Pukaar’ (1942) has 9 songs. Lyricists are AK Sindhi. He has written lyrics for another film – ‘Meri Khwahish’ (1941). The film was directed by D Bilimoria, who was also the hero of the film. I tried to find out more about this film in the 1942 issue of ‘Film India’, but nothing is mentioned anywhere- not even an advertisement. Other cast of the film includes Harish, Kalyani, WM Khan, Samson, Urmila, Alaknanda (elder sister of Sitara Devi), Gulab etc.

This song is sung by Sarfaraz Deen. I could not get any information about Deen as a singer. This song is a parody of 3 famous and popular songs, namely
1.  “Saawan Ke Nazaare Hain” from film ‘Khazaanchi’ (1941) ( Shamshad Begum, Ghulam Haider)
2.   “Chal Chal Re Naujawaan” from film “Kangan” (1941) ( Ashok Kumar, Leela Chitnis)
3.   “Main Kya Jaanu Kya Jaadu Hai” from film “Zindagi” (1940) (KL Saigal)

Now, let us enjoy this parody song….


Song – Saalan Mein Bataate Hain (Jawaani Ki Pukaar aka Call Of Youth) (1942) Singer – Master Deen, Lyrics – AK Sindhi, MD – Vasant Kumar Naidu
Chorus

Lyrics

saalan mein bataate hain
saalan mein bataate hain
haan chheelo chheelo
haan chheelo chheelo
saalan mein bataate hain
saalan mein bataate hain

chal chal ri chhuri chal
chal chal ri chhuri chal
cheelna tera kaam
khaana meri shaan
cheelna tera kaam
khaana meri shaan

jisne tujhe kha liya wo jag ko suna de
jisne tujhe kha liya wo jag ko suna de
haan sabko suna de
haan sabko suna de
duniya hai paani mujhe ik baar pila de
duniya hai paani mujhe ik baar pila de
aahe waar bataate
waar bataate
aahe waar bataate
waar bataate

tu hind ka rehbar
tu hind ka rehbar
zoorat ka tu parwar
zoorat ka tu parwar
jis ne
tujhko kabhi na khaaya
jis ne
tujhko kabhi na khaaya
un ne
mazaa kabhi na paaya
un ne
mazaa kabhi na paaya

tum kya jaano kyaa
tum kya jaano kyaa
aaloo hai
aaloo hai
aaloo hai

saalan mein bataate hain
haan saalan mein bataate hain
haan chheelo chheelo
haan chheelo chheelo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

सालन में बटाटे हैं
सालन में बटाटे हैं
हाँ छीलो छीलो
छीलो छीलो
सालन में बटाटे हैं
सालन में बटाटे हैं

चल चल री छुरी चल
चल चल री छुरी चल
छीलना तेरा काम
खाना मेरी शान
छीलना तेरा काम
खाना मेरी शान

जिसने तुझे खा लिया वो जग को सुना दे
जिसने तुझे खा लिया वो जग को सुना दे
हाँ सबको सुना दे
हाँ सबको सुना दे
दुनिया है पानी मुझे इक बार पिला दे
दुनिया है पानी मुझे इक बार पिला दे
आहे वार बटाटे
वार बटाटे
आहे वार बटाटे
वार बटाटे

तू हिन्द का रहबर
तू हिन्द का रहबर
ज़ूरत का तू परवर
ज़ूरत का तू परवर
जिस ने
तुझको कभी ना खाया
जिस ने
तुझको कभी ना खाया
उस ने
मज़ा कभी ना पाया
उस ने
मज़ा कभी ना पाया

तुम क्या जानो क्या
तुम क्या जानो क्या
आलू है
आलू है
आलू है

सालन में बटाटे हैं
हाँ सालन में बटाटे हैं
हाँ छीलो छीलो
हाँ छीलो छीलो


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Before the partition in 1947, two of the well-known and successful Lahore-based producers-directors were Dalsukh M Pancholi of Pancholi Art Pictures and Roop K Shorey of Shorey Pictures. After the partition, both of them had to shift to Bombay (Mumbai), having lost their assets including the studios which were burnt down during the communal riots. It took some time for both of them to re-organise their film production companies in Bombay. Roop K Shorey released his first post-partition film, ‘Ek Thhi Ladki’ (1949) under a new banner, Shorey Films. Dalsukh M Pancholi took one more year to release his first post-partition film ‘Meena Baazar’ (1950) under a new banner, Pancholi Productions.

There was one more producer-director who was also affected by the partition woos. But his case was on a different footing. His filmy career started in Bombay and then ended in Bombay, traversing the Calcutta-Lahore-Calcutta route. His name was Raghubir Chand Talwar, better known as RC Talwar.

I was aware of his association with films like ‘Sangdil’ (1952), ‘Mem Sahib’ (1956) and ‘Ek Dil Sau Afsaane’ (1963) which he produced and directed. But it was only during the last 5-6 years, I became aware of the fact that RC Talwar also produced and directed some films in the 1940s and that he was one time the First Assistant to Director Kidar Sharma for the film ‘Aulad/Dil Hi To Hai’ (1939).

A few days back, I came across an interview of RC Talwar, taken sometime in 1949 at the time of commencement of the shooting of ‘Khilaadi’ (1950), his first film in Bombay as producer-director after the partition. I was amazed by his fighting spirit to come out successfully each time he faced problems due to extraneous factors during his film career from 1937-1965. The interview was published in August 1949 issue of SOUND magazine. I am thankful to Prof. Surjit Singh ji for making available some old issues of filmy magazines on his website which have some invaluable information and rare images of the films of the second half of 1940s.

RC Talwar was born on 21/10/1910 at Talagang, near Rawalpindi (now in Pakistan) in an affluent family. After completing his school in Rawalpindi, Talwar graduated from Dayal Singh College, Lahore. The father had observed that his son was interested in pursuing a filmy career. In order to specialise in some branches of film production, Talwar was enrolled in The Institute of Photography and RCA Institute of Sound Engineering, both in New York. After completing the two years courses in these institutions, Talwar was awarded Diplomas in the respective subjects.

Having gone to USA, Talwar spent 6 months in Hollywood but was disappointed as he could not get to meet any film technicians. While returning to India, he took break at London to study the working of film studios. In London, with the help of Diwan Sharar who was his father’s friend and a well-known person in the Fleet Street film circle, Talwar got opportunity to visits film studios in London and met some technicians.

Armed with the technical knowledge about the film productions, Talwar returned to India and landed in Bombay sometime in the middle of 1937. On his very first day in Bombay, he was employed by Bombay Talkies as a Technical Assistant in its laboratory. He worked in Bombay Talkies for one year after which he joined Film Corporation of India (FCI), a film production company based in Calcutta as the Head of Laboratory, a higher post with a higher salary.

Having worked in two full-fledged film production companies, Talwar’s ambition was to become a film director, a commanding position in the film industry at that time. When FCI roped in Kidar Sharma as director for their film ‘Aulad/Dil Hi To Hai’ (1939) and ‘Chitralekha’ (1941), Talwar got chance to work as his First Assistant. When ‘Chitralekha’ (1941) was in the making, FCI’s financial position worsened with debtors going to court for the liquidation of the company. Before ‘Chitralekha’ (1941) was released, the company went into liquidation. For the first time, Talwar faced the impending unemployment.

Instead of looking for work elsewhere, Talwar decided to form his own film production company called Talwar Productions by taking some of the displaced staff of FCI and getting an office space in FCI’s studio at Tollygunj. After producing and directing two Punjabi films, Talwar decided to produce and direct his first Hindi film ‘Khamoshi’ (1942). The film was an average success at the box office.

When Talwar was planning his next ambitious film on a big scale, he faced his second tragedy. The Japanese air force bombed some part of Calcutta in December 1942. In the circumstances, he decided to close down his production office in Calcutta and shifted to Lahore along with his staff who were willing to join him in Lahore. He reorganised his film production unit and started the shooting of his next film ‘Manchali’ (1943), followed by ‘Shikaayat’ (1944) in one of Lahore studios. Both these films were box office hits and celebrated jubilees.

Talwar’s next film was ‘Albeli’ (1945) followed by ‘Raazdaar’ and ‘Toote Sapne’. While ‘Albeli’ (1945) was released, the other two films could not be released due to the tense situations in Lahore following the announcement of partition. The situation in Lahore became worse, turning into communal riots. Following the partition in 1947, Talwar faced his third tragedy. He had to leave everything in Lahore except the negative of his completed film ‘Toote Sapne’ which he carried with him when he decided to shift to India after partition.

While Pancholis and Shoreys decided to shift to Bombay, Talwar decided to shift once again to Calcutta where he was more familiar with the film industry than in Bombay. To his surprise, the conditions in Calcutta had so much changed in the post-partition period that Talwar could not even make a new start. Sometime in 1949, he shifted to Bombay and started reorganising his film production unit. He got an office space in Bombay Talkies and in June 1949, he launched his first Hindi film in post-partition period. The name of the film was ‘Khilaadi’ (1950) starring Ashok Kumar and Suraiya in lead roles. The film was a box office success.

Talwar’s other films in the post-partition period were ‘Sangdil’ (1952), ‘Saaqi’ (1952), ‘Ilzaam’ (1954), ‘Rukhsana’ (1955), ‘Mem Saheb’ (1956), ‘Ek Dil Sau Afsane’ (1963). His last film which he directed was ‘Naya Kaanoon’ (1965).
As mentioned earlier, ‘Khamoshi’ (1942) was RC Talwar’s first Hindi film he produced and directed under his own banner, Talwar Productions. The star cast included his favourite actress Ramola Devi paired with AS Gyani. Others actors included Sundar, Ram Dulari, Manorama, Leela Mishra, Shyam Sundar, Nand Kishore, Himmat Rai etc. It may be observed that some of the actors had worked in the films produced by Film Corporation of India before it became defunct.

The film had 11 songs written by Himmat Rai, the younger brother of Kidar Sharma. All the songs were set to music by GA Chishti. The interesting features of the songs are that all the 11 songs have been rendered by actors on themselves and Ram Dulari who was in the supporting role in the film has sung 10 out of 11 songs. Two songs have been covered in the blog.

I am presenting the third song from the film to appear in the blog, a rare one. This song was not available on YT until I uploaded the video a few months back. The song is ‘Mann Ko Kaise Behlaayen’ sung by Ram Dulari.


Song – Mann Ko Kaise Behlaayen (Khamoshi) (1942) Singer – Ram Dulari, Lyrics – Himmat Rai, MD – GA Chishti

Lyrics

mann ko kaise behlaayen
mann ko kaise behlaayen
ye bipda aa
ye bipda kise sunaayen 
hum mann ko kaise behlaayen

kisko o mann ki baat sunaayen
kisko o mann ki baat sunaayen
kaise mann ka meet bulaayen
kaise mann ka meet bulaayen
neer bhare pyaase nainon ki
neer bhare pyaase nainon ki
kyonkar pyaas bhujaayen
o o o o
kyonkar pyaas bhujaayen
hum mann ko kaise behlaayen

kit jaayen ab kaun hamaara
kit jaayen ab kaun hamaara
rooth gaya hamse jag saara
rooth gaya hamse jag saara
kaah karen ab kaun jatan se
kaah karen ab kaun jatan se
bigdi baat banaayen
o o o o o
bigdi baat banaayen
hum mann ko kaise behlaayen
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
मन को कैसे बहलाएं
मन को कैसे बहलाएं
ये बिपदा॰॰आ
ये बिपदा किसे सुनाएँ
हम मन को कैसे बहलाएं

किसको मन की बात सुनाएँ
किसको मन की बात सुनाएँ
कैसे मन का मीत बुलाएँ
कैसे मन का मीत बुलाएँ
नीर भरे प्यासे नैनों की
नीर भरे प्यासे नैनों की
क्योंकर प्यास बुझाएँ
ओ ओ ओ
क्योंकर प्यास बुझाएँ
हम मन को कैसे बहलाएं

कित जाएँ अब कौन हमारा
कित जाएँ अब कौन हमारा
रूठ गया हमसे जग सारा
रूठ गया हमसे जग सारा
काह करें अब कौन जतन से
काह करें अब कौन जतन से
बिगड़ी बात बनाएँ
ओ ओ ओ
बिगड़ी बात बनाएँ
हम मन को कैसे बहलाएं


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.

“Jawaani”(1942) was directed by Wajahat Mirza for National Studios, Bombay. The movie had Surendra, Jyoti, Husn Banu, Kayamali, Agha, Nawab, Dulari, Gulzar, A. R. Kabul, Sankata Prasad etc in it.

The movie had ten songs in it. One song from the movie has been covered in the blog in the past.

Here is the second song from “Jawaani”(1942) to appear in the blog. This song ois sung by Surendra. Wajahat Mirza Changezi, the directed, penned this song. Music is composed by Anil Biswas.

Only the audio of this song is available, but it is clear that the song was picturised on Surendra himself.


Song-Nazaare huye hain ishaare huye hain (Jawaani)(1942) Singer-Surendra, Lyrics-Wajahat Mirza Changezi, MD-Anil Biswas

Lyrics

aa aa
aa haa
nazaare huye hain
ishaare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain
nazaare huye hain
ishaare huye hain
o ham unke huye
ae ae ae
ham unke huye
wo hamaare huye hain
ham unke huye
wo hamaare huye hai
nazaare huye hain
ishaare huye hain
nazaare huye hain

kya jaan ke baat
kya hai hamaare
kya jaan ke baat
kya hai hamaare
ho ke dil to mohabbat mein
haare huye hai
ke dil to mohabbat mein
haare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain

bataayen tumhen haal
apna jo samjho
o o
bataayen tumhen ae ae haal
apna jo samjho
o kisi ki adaaon ke maare huye hain
kisi ki adaaon ke maare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain
o ho
nazaare huye hain
ishaare huye hain
ham unke huye
wo hamaare huye hain
nazaare huye hain


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

In my recent article, I had listed the films from 1936 to 1942 in which Anil Biswas was associated with producer-director, Mehboob Khan under the banners of Sagar Movietone and later National Studios. Their association came to an end with the release of ‘Roti’ (1942). A news clipping in October 1942 issue of ‘Filmindia’ magazine revealed that on the eve of the release of ‘Roti’ (1942), National Studios was sold to K M Modi (I believe, he was the younger brother of Sohrab Modi) who was a film exhibitor.

At the time of the sale of National Studios, there were 3 films on the floor – ‘Apna Paraaya’ (1942), ‘Jawaani’ (1942) and ‘Lala ji’ (1942). These films were completed and released under the banner of National Studios with Mehboob Khan as producer. Incidentally, one song each from these films have been covered in the Blog which means that these films have already made their debuts in the Blog.

APNA PARAAYA (1942) was directed by Ramchandra Thakur. The star cast included Shahu Modak, Hansa Wadkar, Urmila, Sankatha Prasad, Qaiyam Ali, Agha, Jyoti, Dulari, Gulzar, Pesi Patel, Raj Rani, Wasekar etc. The condensed version of the story of the film, based mainly on a review of the film in ‘Filmindia’ magazine is set out below:

Vasant (Shahu Modak) returns to India from England after a long stay and finds everything not to his taste in India. Prior to his departure to England, he was married to Veena (Hansa Wadkar). Both have not seen each other as grown up persons for a long time. In England, Vasant has fallen in love with a sophisticated Laxmi (Urmila) who also returns to India with him. His father Jeewan Seth(Sankatha Prasad) wants him to stay with Veena which he refuses as he thinks that she is not suitable for him. This angers Jeewan Seth and in the ensuing quarrel, Vasant decides to leave the house of his parents.

Vasant wanders all over the places, looking for job but he gets none.(I wonder as to how England-return Vasant cannot get a job!). His love interest, the sophisticated Laxmi, deserts him. Ultimately, he gets a job in a village where his wife Veena stays with her poor uncle (co-incidence). She is waiting for her husband (Vasant) to take her to his place. She is heart broken when he does not turn up. Ultimately, her other rich uncle takes her with him in his place. Now Vasant gets a job as a teacher for Veena at her rich uncle’s place (another co-incidence).

While travelling in a train to reach his new place of employment, Vasant loses his bag to a thief who while on a run is crushed under the train. Vasant reaches Veena’s place and starts teaching Veena without knowing that they are actually husband and wife. Both Veena and Vasant are fond of each other but having already married, Veena does not outwardly show her feeling towards Vasant.

In the meanwhile, the thief who had been run over by the train is unidentified because of severity of the accident. At last, from the tag of the bag, dead body is identified as that of Vasant. Now Veena considers herself to be widow. However, seeing the condition of Veena, he narrates the true incidence in the train thereby disclosing himself to be Vasant. However, with this revelation, Vasant finds himself in difficulties. Due to some misunderstanding, police keeps him in lock-up for some time until the confusion gets cleared from both the families and Vasnat and Veena are united.

The film did not fare well at the box office. The film was not much advertised probably due to the change of hands at National Studios. I guess, the story of the film was not of much interest to the front benchers in theatres and for other cinegoers, the story of the film was too pedestrian to be interesting.

As of now, I could locate online only two songs (out of 11) from the film of which one has already been covered in the Blog. Here is the second song ‘gori kaahe khadi anganaa atariyaa mein aao’ to appear in the Blog. The song is sung by Anil Biswas and Maya on the words of Pandit Indra.

I am aware of the names of two female actor-singers of the 1940s – Maya Bannerji and Maya Devi. None of them seems to have acted in ‘Apna Paraaya’ (1942). To the best of my knowledge, none of them have done playback singing. Probably, Maya in this song may be a different person.

The composition and rendering by Anil Biswas show his mastery over folk music. Note the flute prelude, probably by Pandit Pannalal Ghosh. From the singing style and wordings, the song may have been picturised on some side actors performing in a nautanki (folk theatre).


Song-Gori kaahe khadi angna (Apna Paraaya)(1942) Singers-Anil Biswas, Maaya, Lyrics-Pt Indra Chandra, MD-Anil Biswas

Lyrics

gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
aayi aayi balmaa
diya to jalaao
diya to jalaao
aayi aayi balmaa
diya to jalaao
diya to jalaao

o gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao

atariya mein naahin
nazariyaa mein aao
atariya mein naahin
nazariyaa mein aao
aayi aayi balmaa
nazar na lagaao
aayi aayi balmaa
nazar na lagaao

nazariyaa mein naahin
karejwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
karejwaa mein aao
jigarwaa mein aao
karejwaa mein aao
jigarwaa mein aao
nazariyaa mein naahin
karejwaa mein aao
nazariyaa mein naahin
karejwaa mein aao

gori aisi aao
jaise baaghon mein phool
jaise joban mein dhool(??)
jaise baaghon mein phool
jaise joban mein dhool(??)
aayi aayi balmaa
zaraa to dam khaao
zaraa to dam khaao
aayi aayi balmaa
zaraa to dam khaao
zaraa to dam khaao

o gori kaahe khadi anganaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
aayi aayi balmaa
diya to jalaao
diya to jalaao
aayi aayi balmaa
diya to jalaao
diya to jalaao

o gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa
atariya mein aao
gori kaahe khadi angnaa aa aa


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.

“Chaandni” (1942) was a Ranjit Production movie. It was directed by Jayant Desai. This movie had Ishwarlal and Khursheed in lead roles, with Dixit, Kesri, Noorjahaan, Rajkumari Shukla, Tarabai, Baby Kamla etc also there in support roles.
Read more on this topic…


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.

“Jawaab”(1942) was produced and directed by P C Barua for M P Production, Calcutta. The movie had P C Barua, Kanan Devi, Jamuna, Ahindra Chaudhary, Devbala, Zahar Ganguly, Tulsi Chakraborty, Tandon, Bikram Kapoor etc in it.
Read more on this topic…


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.

“Jawaab”(1942) was produced and directed by P C Barua for M P Production, Calcutta. The movie had P C Barua, Kanan Devi, Jamuna, Ahindra Chaudhary, devbala, Zahar Ganguly, Tulsi Chakraborty, Tandon, Bikram Kapoor etc in it.
Read more on this topic…


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

During the early days of sound films in 1931, Calcutta (Kolkata) film centre had actresses like Patience Cooper, Jahanara Kajjan, Violet Cooper, Anwari, Sabita Devi (real name: Iris Maude Gasper), Kanan Devi, Radharani etc. Most of them had graduated from the silent films. Those days, in the absence of playback singing system, actresses had to sing their own songs in the films. So, those with good voices also got chance to act in the films made especially in the 30s. Begum Akhtar, Mukhtar Begum, Indubala, Kamala Jharia etc are few names that come to my mind. Ratan Bai was also one of those who joined the bandwagon of actresses in Calcutta in 1932 as an actor-singer. Incidentally, this Ratan Bai (Begg) was a different actor and as such she should not to be confused with Ratan Bai (Shilotri), the mother of Shobhna Samarth.
Read more on this topic…


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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 more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13378

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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  • 9,407,761 hits

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Category of songs

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Historical dates

Blog Start date: 19 july 2008

Active for more than 3250 days.

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