Posts Tagged ‘Chitragupta’
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.
“Insaaf”(1956) was directed by Kedar Kapoor for Bhagyoday Pictures, Bombay. This movie had Nalini Jaiwant, Ajit, Kamal Kapoor, Ramesh Tiwari, Durga Khote, Helen, Johny Walker etc in it.
There were eight songs in this movie which is described as costume drama (veshbhoosha pradhan) in HFGK. Two songs from the movie have discussed in the blog in the past.
Here is the third song from “Insaaf”(1956) to appear in the blog. This song is sung by Rafi. Asad Bhopali is the lyricist. Music is composed by Chitragupta.
Only the audio of this song is available. From the sounds of it, the song appears to be a fakir song. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Daulat ke andhere mein tera kho gaya imaan…Allah ki nazron mein baraabar hain sab insaan (Insaaf)(1956) Singer-Rafi, Lyrics-Asad Bhopali, MD-Chitragupta
Lyrics
daulat ke andhere mein aen aen
tera kho gaya imaan aan
tujhko na rahi
apne paraaye ki bhi pehchaan
magroor na ho
magroor na ho
apne muqaddar pe o naadaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan
duniya ka ajab rang nazar aane laga hai
ik bhaai hai jo bhaai se takraane laga hai
ik beta hai jo maa ko bhi thhukraane laga hai
o o o
afsosh ke insaan bana jaata hai shaitaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan
zaalim ko har ik zulm se baaz aana padega
looti huyi har cheez ko lautaana padega
insaaf ki aawaaz pe jhuk jaana padega
o o o o
kudrat ka ye kaanoon badalna nahin aasaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan
ye saaz ye mehfil ye taraane na rahenge
ye husn o mohabbat ke fasaane na rahenge
jo aaj hai kal tak wo zamaane na rahenge
o o o o
mit jaayenge ik pal mein gunaahon ke ye saamaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan
allaah ki nazron mein
baraabar hain sab insaan
Yaaron manaao jashn e bahaaraa
Posted on: August 4, 2017
- In: Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Kishore Kumar solo | Kishore Kumar songs | Lyrics contributed by readers | Post by Avinash Scrapwala | Rare song | Song from unreleased movie | Songs of 1950s (1951 to 1960) | Songs of 1960 | Yearwise breakup of songs
- Leave a Comment
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 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(4 august 2017) we remember ‘The Versatile Genius – Kishore Kumar’ on his birth anniversary (04th August 1929 – 13th October 1987). Had he been alive today he would have been celebrating his eighty-eighth birth anniversary.
Kishore Kumar was born at Khandwa (Madhya Pradesh) and our regular readers’ would recall that I had mentioned about my visits to Khandwa during August’2015 to August’2016 in a few of my posts. During this period I visited Khandwa more than a dozen times.
Incidentally it has been almost a year now that I last visited Khandwa in August’2016 about which I mentioned in my post here.
Many thoughts and emotions went through my mind whenever I visited Khandwa and particularly when I visited the ‘Gauri Kunj’ (the place of the ‘Gangulys’) and the ‘Kishore Kumar memorial (‘Samadhi sthal’) on the Khandwa-Indore Road at Khandwa.
We all know how Kishore Kumar loved this place and was eager to return to Khandwa and spend his life there. It was a wish which remain un-fulfilled. After his death his dead body was brought and kept in the same house/room where he was born prior to his last rites. That was also what he had wished for.
Nowadays this place ‘Gauri Kunj’ is in very bad shape and dilapidated condition. As per some very recent news from Khandwa the government is going to dismantle and remove a part of this building, whereas the popular sentiment that the government should take over and build a museum in his memory there is not being taken care of (may be because of some ‘technical snag’ 🙂 )
In our country we are all familiar with this type of ‘apathy’ from the government as well as the general public too as there is no strong initiative taken to preserve and value our ‘art, culture and traditions, and places that have importance.
But, well, that is a subject matter of another post and we will come back to the today’s post and to the main purpose of the blog i.e. the song for this post.
As we are aware that we still have a long way to go in the journey of Kishore Kumar songs on the blog and when one looks for his songs to be covered on the blog there are many options.
So, when I was looking for some of his songs for sharing I was looking for particular combinations and I came across many songs and many combinations.
And so finally I find myself flooded with choices and could not decide which song I should select and share.
There are many songs that were in my vague memories even though they were frequently heard on radio and loud speakers in those years when I was just a child. And was surprise to note that some of them are still remaining to be posted on the blog.
As the search for the song went on, and as I would select a song, another would crop up, again from the lesser heard and almost forgotten category of songs coming my way.
Then there were few which I had in my mind since long, but could not share till now.
Finally, I am sharing herewith this song from the 1960’s Un-released movie ‘Maa’.
One song, a gem of songs, has already been shared by our respected Kamath Sir on 13.05.15 here
No information is about this movie in HFGK (Vol III). I would request knowledgeable readers to throw more light on this film and its songs.
This song has been composed by Chitragupt. Lyricist for this song is Majrooh Sultanpuri as mentioned on the YT link.
Thanking the YT up loader for this wonderful share let us now enjoy this song and remember Kishore Kumar the one and only one of his kind …
Song-Yaaron manaao jashn e bahaara (Maa)(UR)(1960s) Singer-Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics
yaaron manaao jashn e bahaaraan
maan gayi
maan gayi
mehbooba
yaaron manaao jashn e bahaaraan
maan gayi
maan gayi
mehbooba
aaj sajegi mehfil yaaraa
maan gayi
maan gayi
mehbooba
milne ko mili wo
har rut har ghataa ke neechhe
par ye nahin jaana
gham kya hai nazar ke peechhe ae
milne ko mili wo
har rut har ghataa ke neechhe
par ye nahin jaana
gham kya hai nazar ke peechhe
magar aaj to
mera dard bhi
pehchaan gayi
mehbooba
yaaron manaao jashn e bahaaraan
maan gayi
maan gayi
mehbooba
aaj sajegi mehfil yaaraa
maan gayi
maan gayi
mehbooba
usne sun li hai
har hasrat hamaare jee ki
aayegi mere ghar tak
ghunghat mein wo chaandni si ee
usne sun li hai
har hasrat hamaare jee ki
aayegi mere ghar tak
ghunghat mein wo chaandni si
wo hi baat jo
main naa keh sakaa
wahi maan gayi
mehbooba
yaaron manaao jashn e bahaaraan
maan gayi
maan gayi
mehbooba
aaj sajegi mehfil yaaraa
maan gayi
maan gayi
mehbooba
——————————
Hindi Script Lyrics (Provided by Avinash Scrapwala)
——————————
यारों मनाओ जश्न ए बहारां
मान गयी
मान गयी
महबूबा
यारों मनाओ जश्न ए बहारां
मान गयी
मान गयी
महबूबा
आज सजेगी महफ़िल ए यारां
मान गयी
मान गयी
महबूबा
मिलने को मिली वो
हर रुत हर घटा के नीचे
पर ये नहीं जाना
ग़म क्या है नज़र के पीछे ए
मिलने को मिली वो
हर रुत हर घटा के नीचे
पर ये नहीं जाना
ग़म क्या है नज़र के पीछे
मगर आज तो
मेरा दर्द भी
पहचान गयी
महबूबा
यारों मनाओ जश्न ए बहारां
मान गयी
मान गयी
महबूबा
आज सजेगी महफ़िल ए यारां
मान गयी
मान गयी
महबूबा
उसने सुन ली है
हर हसरत हमारे जी की
आएगी मेरे घर तक
घूँघट में वो चांदनी सी ई
उसने सुन ली है
हर हसरत हमारे जी की
आएगी मेरे घर तक
घूँघट में वो चांदनी सी
वो ही बात जो
मैं ना कह सका
वही मान गयी
महबूबा
यारों मनाओ जश्न ए बहारां
मान गयी
मान गयी
महबूबा
आज सजेगी महफ़िल ए यारां
मान गयी
मान गयी
महबूबा
Daakaa daaley been tihaari
Posted on: August 1, 2017
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Yesterday (31st July 2017) was the birthday of Mumtaz, one of Hindi cinema’s leading heroines in the early 70s.
Yesterday also happened to be the death anniversary of Rafisaab, and our posts were focussed on remembering him. So this post for Mumtaz is being posted a day late. Hopefully, if she is reading this, she won’t mind. 🙂
Anyway, on behalf of the blog, we wish Mumtaz a very happy birthday – and many happy returns of the day.
There have been a fair number of big stars in Hindi cinema but I don’t think there have been many who have “worked their way up the ladder” quite like Mumtaz.
Some got success early and didn’t have to struggle to become stars.
Some struggled early on, with the odd hit, a few flops, and eventually became stars.
In both cases, the goal was to become a star – and any bit roles done did not stereotype the actor, so it was a matter of just getting bigger roles.
But the case of Mumtaz was different. She moved from being a starlet to becoming a B-film “stunt heroine” to often playing the “second” woman to finally move into A-films – and then to become a big star in A-films.
Now that’s quite a career progression.
It’s SO easy in the industry to get stereotyped – if you’re a B-film heroine, chances are you might never get an A-banner. Producers are very conscious of their banner, who they cast – and even A-actors might not want to act opposite B-actors. In Mumtaz’ case, apparently Shashi Kapoor refused to act opposite her in Sacha Jhootha (1970).
This progression is what makes Mumtaz’ career quite amazing. Where others like Nishi, Nazima, and Farida Jalal couldn’t break into A-films as leading ladies, Mumtaz broke that ceiling when she bagged the leading role in Raj Khosla’s Do Raaste (1969).
And after that, there was no looking back.
But let’s start at the beginning.
Mumtaz started as a child artiste role in Sone Ki Chidiya (1958) and followed it up with a few films in the early 60s, mainly in small roles.
Although I haven’t seen the film, she can be seen in the “pankh hoti to ud aati re” song picturisation in Sehra (1963).
And in Rustom Sohrab (1963), another film I haven’t seen yet, there is a beautiful Asha Bhosle song “ab der ho gayi vallah” picturised on her and Premnath.
In the same year, she got a role in Gehra Daag, the Rajendra Kumar – Mala Sinha starrer. Again, a film I haven’t seen.
By then, she was beginning to get B-film lead roles opposite Dara Singh. They acted in many films together – Faulad (1963), Veer Bhimsen (1964), Samson (1964), Hercules (1964), Aandhi Aur Toofaan (1964), Tarzan Comes to Delhi (1965), Tarzan and King Kong (1965), Sikander-e-Azam (1965), Raaka (1965), Boxer (1965), Jawan Mard (1966), Daku Mangal Singh (1966), Do Dushman (1967), Jang Aur Aman (1967), Apna Khoon Apna Dushman (1969)…
The reason for mentioning all these films is to just emphasise how strongly entrenched Mumtaz was in B-films and how strong her partnership with Dara Singh was. Dara Singh was a very popular B-film hero at the time,always playing the role of a strongman, wrestling or breaking iron chains. (Even Naseeruddin Shah, in an interview, once said he was fond of Dara Singh films.)
Mumtaz herself admitted that Dara Singh was largely responsible for her success at that time.
During this period, she also used to do “secondary” roles for bigger banners. Films that come to mind are Kajal (1965), Mere Sanam (1965) – who can forget “ye hai reshmi”, Suraj (1966), Sawan Ki Ghata (1966), Hamraaz (1967), Patthar Ke Sanam (1967).
In Khandaan (1966), she had an important, somewhat negative role, triggering separation in the family.
Mumtaz was growing in stature, no doubt. All these films had big stars and did well – so even when she wasn’t the leading lady, she was getting reasonable opportunity to be known to the audience.
Mumtaz had a good dancing sense too. She could easily impress on a dance floor. In Pyar Kiye Ja (1966), where she is opposite Mehmood in a joint-lead role, she can be seen having fun in “o meri maina”. And who can forget her dance with “aaj kal tere mere pyar ke charche” with Shammi Kapoor in Brahmachari (1968)? And another dance I love – “Ruby O Ruby”, from Chaahat (1971).
It was in 1967 that Mumtaz broke into the big league when she got a lead role (albeit joint-lead) in Ram Aur Shyam. That was a huge thing for her – to star opposite Dilip Kumar.
This was when the next phase of her career started. The B-film “stunt” heroine began getting roles opposite A-film actors. She would still do the “second” heroine role in films like Aadmi Aur Insaan (1969) but lead roles were coming her way. I remember seeing her in Boond Jo Ban Gaye Moti (1967) opposite Jeetendra.
The big turning point then came with Do Raaste (1969). The film was a huge hit – and though it was very much a Rajesh Khanna film, Mumtaz had four songs picturised on her, including the superhit song “bindiya chamkegi”.
No looking back thereafter – Mumtaz just went from strength to strength. Even heroes who were hesitant to work with her earlier, were now happy to work with her.
Mumtaz got her one and only Filmfare award for Khilona (1970). It wasn’t a very big role – and like other roles she had got, this too apparently came to her because it had been rejected by others. But to her credit, Mumtaz not just took the role – she earned an award for it.
I remember there were a number of Mumtaz hit films with Jeetendra in the early 70s.
And around that time, she also had hits with Dharmendra with Jheel Ke Us Paar (1973) and Loafer (1973).
Feroze Khan was another popular co-star. He had gone through his own B-film struggles in the 60s, so their careers were rather parallel in that sense. When Feroze got into film-making himself, he cast Mumtaz in Apradh (1972).
Mumtaz also starred in a couple of Navketan films opposite Dev Anand. The superhit Hare Rama Hare Krishna (1971) and the less-successful (but a film I’m very fond of) Tere Mere Sapne (1971).
But of course, I am saving the best for last. 🙂
For all her other hits with other co-stars (and there were many), Mumtaz’ partnership with Rajesh Khanna was special – it was just phenomenal.
They seemed to have great chemistry – in every film that they were in together (with the exception of their last film together, Aaina), they dazzled.
And since this was the period I remember most fondly from my childhood, many of my Rajesh Khanna memories are linked to Mumtaz. From “ye reshmi zulfein” to “chhup gaye saare nazaare” to “yun hi tum mujh se baat karti ho” to “maine dekha, toone dekha” to “kajra laga ke” to “suno champa suno taara” to “duniya mein logon ko” to “gore rang pe” to “karvatein badalte rahein” to “jai jai Shivshankar” to “chal dariya mein doob jaayen – each one of these songs was very popular in its time, and most of them are popular to this day!
And then it ended abruptly.
Mumtaz got married in 1974 – while still at the peak of her career. Her husband, a successful businessman Mayur Madhvani, lived in England and Mumtaz moved there too. She just wrapped up her last few engagements and bid the industry goodbye.
After that, she could be seen in Aaina (1977) and much later, in 1990, in Aandhiyaan – but her career is best remembered till the mid-70s.
Looking back, even as I have been charting this journey, I have been thoroughly impressed – imagine the person who has gone through the journey herself!
I can only admire Mumtaz for not just sticking it out in the industry (that is tough enough) but for getting to where she eventually did – and then leaving it on her terms.
Now, moving on to the song for today.
It is from Pardesi (1970), a film in which Mumtaz has the lead role opposite Biswajeet. I remember seeing this film as a young boy, but can’t remember the storyline now. I vaguely remember someone falling off a cliff, being bitten by a snake or something like that. 🙂 It was probably Biswajeet – who then loses his memory (the famous “main kaun hoon, kahaan hoon”) as he is then brought back to health by these village folk. He is called Pardesi by them, and lives with them for a while. Not an uncommon storyline in Hindi cinema. 🙂
This film had fairly popular songs composed by Chitragupt – in particular, “lagi na chhutegi” was quite popular. I remember also hearing “pardesi piya o pardesi piya” off and on.
Today’s song is “daaka daale”. To be honest, I have no clue about the situation in the film (this is one film I did not see recently to get the song’s context). But it looks like a typical hero-heroine song out in nature – I am reminded of “kaanto mein phasa aanchal” from Do Dil (1966), also a Biswajeet film, albeit opposite Rajshree.
Anyway, it is quite a pleasant song, wonderfully composed by Chitragupt. Hope you enjoy it.
Song-Daaka daale been tihaari(Pardesi)(1970) Singer-Lata, Lyrics-Majrooh sultanpuri, MD-Chitragupta
Lyrics
Daaka daale
O daaka daale been tihaari
Hamre jiyaa pe ho sanwariya re
Ho sanwariya re
Daaka daale
hO daaka daale been tihaari
Hamre jiyaa pe ho sanwariya re
Ho sanwariya re
Julmi ki har taan jaise
Thhaame mori bainya
Julmi ki har taan jaise
Thhaame mori bainya
Ajab si hulchul padi jiyaa mein
Ka karoon sainya
ho ji ho o o
Le gayi tan man been tihaari
Baaj ke bairan loote hamaari
nagariya re
ho nagariya re
Daaka daale
ho daaka daale been tihaari
Hamre jiyaa pe ho sanwariya re
Ho sanwariya re
Sun ke tere bol
main to jaagi sotey sotey
Sun ke tere bol
main to jaagi sotey sotey
Teri lagan mein nikal padi main
Baawri hoke ho ji ho o o
Nainon mein aise jhool gayi main
Jaoongi kaise
bhool gayi main
Dagariya re
ho dagariya re
Daaka daale
ho daaka daale been tihaari
Hamre jiyaa pe
ho sanwariya re
Ho sanwariya re
Mohe ab kya chaandni ho
Ya raina andhiyaari
Mohe ab kya chaandni ho
Ya raina andhiyaari
Teri hi dhun mein thhumak rahi main
Bani matwaari ho ji ho o o
Preet ke ban mein paayal chhanki
Jaagi badan mein tere milan ki
Lahariya re
ho lahariya re
Daaka daale
ho daaka daale been tihaari
Hamre jiyaa pe ho sanwariya re
Ho sanwariya re
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.
“Jai Shree”(1956) was directed by Balchandra Shukla and Harsukh Bhatt for Rajshree Productions, Bombay. HFGK mentions that Rajshree Productiions had apparently bought the distribution rights of this movi and had released it under the banner of Ratndeep Pictures.
The movie had Nimmi, Pradeep Kumar, Lalita Pawar, Jeewan, Jayant, Radhakishan, Roopmala, Chaman Puri, Kesri, Gadadhar Sharma, Jagdeesh Kanwal, Baby Daisy Irani, Master Vijay Kumar etc in it.
This “social” movie had eight songs in it.
Here is the first song from “Jai Shree”(1956) to appear in the blog. This song is sung by Lata and chorus. Gopal Singh Nepali is the lyricist. Music is composed by Chitragupta.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
With this song, “Jai Shree”(1956)makes its debut in the blog.
Song-Baadarwa chale jhoom ke bijuriya ka munh choom ke (Jai Shree)(1956) Singer-Lata, Lyrics-Gopal Singh Nepali, MD-Chitragupta
Chorus
Lyrics
baadarwa chale jhoom ke
bijuriya ka munh chum ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke
o o o
baari umariya meri
jhoome jhoole pe chadhke
jhoome jhoole pe chadhke
jhoome jhoole pe chadhke
utre ghoonghatwa
ude re dupattwa
muft mein jiyara dhadke
haaye raam
haaye raam
purwaiya aaye jhoom ke
jaaye to gesu choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke
o o o o
baadarwa taan maare
chham chham boondon ki goli
chham chham boondon ki goli
chham chham boondon ki goli
barkha bahaar mein
rimjhim phuhaar mein
bheege hamaari choli
haaye raam haaye raam
hariyali dole jhoom ke
maasoom kali choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke
o o o
jamuna ki dhaar sakhi
chhaaya mein dhoop naache
chhaaya mein dhoop naache
chhaaya mein dhoop naache
machhliya banke
paani mein chhanke
maujon mein roop naache
haaye raam haaye raam
maujon ne chheda jhoom ke
humne bhi chhoda choom ke
saanwariya
tum nahin aaye abhi ghoom ke
baadarwa chale jhoom ke
bijuriya ka munh choom ke
saanwariya
tum nahin aaye abhi ghoom ke
Shankar ki poojaa chhoote na
Posted on: July 24, 2017
- In: Artist century song in blog | Asha Bhonsle solo | Asha Bhonsle songs | Bhajan | Century songs for the blog | Feelings of heart | Festival song | Guest posts | Post by Arunkumar Deshmukh | Shiv bhajan | Shivratri Song | Songs of 1950s (1951 to 1960) | Songs of 1954 | Yearwise breakup of songs
- Leave a Comment
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 (24 july 2017) is the First Monday of the Holy month of Shravan, as observed in the Western, some Eastern and Southern states of India. On this occasion, here is a very melodious Shiv bhajan from the film Shivratri-54. Chitragupta, the King of melody, has composed this bhajan by G.S. Nepali, and is sung sweetly by Asha Bhosle.
India is simply a wonderful and unique country in this world. With 22 languages, recognized by Indian Constitution ( and 122 major and 1599 smaller languages), 9 major and 125 minor religions and over 25 states having exclusive cultures, it was a wonder that Independent India survived after the British left in 1947.
India not only survived but is becoming and recognized as one of the developing countries, supplying its talents to the modern world almost for every industry. It was predicted that within 5 to 10 years after Independence, India will destroy itself with internal chaos and religious infighting. India not only proved the world wrong, but also showed the world how Unity can be achieved in Diversity !!!
This is because of Indian culture which crosses the religious boundaries. When there are killings and riots everyday in “One- Religion ” countries of the world, India is the only hope for the world with its diverse cultural diaspora. The high degree of adaptability and tolerance in the Indian Culture, leading to Peaceful Co-Existence of Religions and languages is the secret of India’s uniqueness.
Take the case of Calendar, as an example of adaptability. Throughout the world, there is uniform calendar in every country. Only in India, the Calendar is based on regional needs. More than 80% population follows a Calendar which has adapted itself to regional climatic routines and the Agricultural diversity of North and South India. The country has 2 ways of counting days. One- followed in the west,south and part of east, wherein the month ends on the No-Moon Day or Amavasya. The Hindi speaking belt of North, Northwest and Northeast follows the system wherein the month ends on the Full Moon Day or Pournima. There is a difference of only 15 days in these systems and due to 15 days’ counting system, all the Festivals fall on the same day all over the country. Hats off to whosoever devised this methodology which unites while maintaining the individuality of different states.
This year in Andhra Pradesh, Telangana, Goa, Maharashtra, Gujarat, Karnataka, Tamil Nadu, West Bengal, Assam and Tripura ( Amavasyant states), Shravan month will be started from Monday, 24th of July 2017 which will be observed as the 1st Shravan Somvar Vrat. Shravan Somvar Vrat will be observed on every Monday i.e. 24th of July, 31st of July, 7th of August, 14th of August and 21st of August which will be the last day of Shravan Month as well.
Shravan month has already started from Monday, 10th of July, 2017 which will be observed as the 1st day of Shravan Month as well as 1st day of Shravan Somvar Vrat. Shravan Somvar Vrat will be observed on every Monday i.e. on 10th July, 17th July, 24th July, 31st July and 7th August which will be the last day of Shravan Month for Delhi, Rajasthan, Uttar Pradesh, Madhya Pradesh, Punjab, Himachal Pradesh’, Bihar, Chhattisgarh, Odisha and J&K. ( Purnimant states)
This entire period will be very auspicious for Lord Shiva Devotees and almost everyone of them will observe fast either for the entire month or at least on every Monday which falls during this period. The month of Shravan ( Saawan) is considered a very Holy month, especially for the Shiv Bhakts and every Monday is auspicious for Lord Shiva’s Pooja, Vrat or Fasting etc.
Shiv literally means auspiciousness, welfare. He is the third God of the Hindu Trinity, representing darkness. Because he is often portrayed as the angry god and the God of destruction, Lord Shiv is one of the most feared and worshipped Gods in Hinduism. He is said to play a complementary role to Brahma because he is protector of souls until they are ready for recreation by Lord Brahma. Shiv has eight forms: Rudra, Sharva, Bhava, Ugra, Bhima, Pashupati, Ishana and Mahadeva; which, according to the Shiv Purana, correspond to the earth, water, fire, wind, sky, a yogi called Kshetragya, the sun, and the moon respectively.
Shiv symbolically represents the tamasic quality. This happens to be one of the gunas in Hinduism, symbolizing inactivity. His body color, which is white, denotes his purity and association with the snowy mountains. His three eyes represent the sun, the moon and the earth, the three paths of liberation and the triple nature of creation. The third eye is actually the eye of wisdom or occult knowledge. Epithets note his distinctive hairstyle; he has matted hair which holds the flowing Ganges River and a crescent moon. Shiv is said to be the essence of the Vedas and the creator of the Word. He is also the creator of Dance. Shiv’s dance of anger is called the Roudra Tandava and his dance of joy, the Ananda Tandava. He dances both the dance of destruction and the dance of creation. The rhythms he dances to are that of a world continuously forming, dissolving and re-forming.
The legend of marriage of Shiv and Shakti is one the most important legends related to the festival of Mahashivaratri. The story tells us how Lord Shiv got married a second time to Shakti, his divine consort. According to legend of Shiv and Shakti, the day Lord Shiv got married to Parvati is celebrated as Shivaratri – the Night of Lord Shiva.
Legend goes that once Lord Shiv and his wife Sati or Shakti were returning from sage Agastya? ashram after listening to Ram Katha or story of Ram. On their way through a forest, Shiv saw Lord Rama searching for his wife Sita who had been kidnapped by Ravana, the King of Lanka. Lord Shiv bowed his head in reverence to Lord Rama. Sati was surprised by Lord Shiv’s behavior and inquired why he was paying obeisance to a mere mortal. Shiv informed Sati that Rama was an incarnation of Lord Vishnu. Sati, however, was not satisfied with the reply and Lord asked her to go and verify the truth for herself.
Using her power to change forms, Sati took the form of Sita appeared before Rama. Lord Rama immediately recognized the true identity of the Goddess and asked, “Devi, why are you alone, where’s Shiv?” At this, Sati realized the truth about Lord Ram. But, Sita was like a mother to Lord Shiv and since Sati took the form of Sita her status had changed. From that time, Shiv detached himself from her as a wife. Sati was sad with the change of attitude of Lord Shiv but she stayed on at Mount Kailash, the abode of Lord Shiv.
Later, Sati’s father Daksha organised a yagna, but did not invite Sati or Shiv as he had an altercation with Shiv in the court of Brahma. But, Sati who wanted to attend the Yagna, went even though Lord Shiv did not appreciate the idea. To her great anguish, Daksha ignored her presence and did not even offer Prasad for Shiv. Sati felt humiliated and was struck with profound grief. She jumped into the yagna fire and immolated herself.
Lord Shiv became extremely furious when he heard the news of Sati’s immolation. Carrying the body of Sati, Shiv began to perform Rudra Tandava or the dance of destruction and wiped out the kingdom of Daksha. Everybody was terrified as Shiv’s Tandava had the power to destroy the entire universe. In order to calm Lord Shiv, Vishnu severed Sati’s body into 12 pieces and threw them on earth. It is said that wherever the pieces of Shakti’s body fell, there emerged a Shakti Peetha, including the Kamaroopa Kamakhya in Assam and the Vindhyavasini in UP.
Lord Shiv was now alone undertook rigorous penance and retired to the Himalayas. Sati took a re-birth as Parvati in the family of God Himalaya. She performed penance to break Shiv’s meditation and win his attention. It is said that Parvati, who found it hard to break Shiv’s meditation sought help of Kamadeva – the God of Love and Passion. Kaamadeva asked Parvati to dance in front of Shiv. When Parvati danced, Kaamadeva shot his arrow of passion at Shiva breaking his penance. Shiv became extremely infuriated and opening his third eye that reduced Kaamadeva to ashes. It was only after Kamadeva’s wife Rati’s pleading that Lord Shiv agreed to revive Kaamadeva.
Later, Parvati undertook severe penance to win over Shiv. Through her devotion and persuasion by sages devas, Parvati, also known as Uma, was finally able to lure Shiv into marriage and away from asceticism. Their marriage was solemnized a day before Amavasya in the month of Phalgun. This day of union of God Shiv and Parvati is celebrated as Mahashivratri every year.
I have been fasting on every Monday during Shravan and Mahashivratri since I was a child. Our family was a staunch Shiv Bhakt and we had our own big Shiv Temple in the compound of our Bungalow in Hyderabad. My father had spent some time in Banaras studying Vedas. I too was there for 2 years when I was a small kid. Anyway, all this had immense impact on me and I follow whatever is possible in the month of Shravan.
This time there are 5 Mondays in Shravan. We will try to discuss one Shiv Bhajan on every Monday from 24th July onwards.
Let us enjoy today’s Bhajan which is very sweet indeed. This song is the 2300th song of Asha Bhonsle as a playback singer in the blog.
Song-Shankar ki pooja chhoote na (Shiv Ratri)(1954) Singer-Asha Bhonsle, Lyrics-Gopal Singh Nepali, MD-Chitragupta
Lyrics
Shankar ki pooja chhoote na
chhoote na
Shankar ki pooja chhoote na
chhoote na
shambhu ke bina
bulbula bhi jal mein phhoote na
ho o
shambhu ke bina bulbula bhi jal mein phhoote na
ho Shankar ki pooja chhoote na
chhoote na
raaja roothhe
taqdeer phhire
duniya badle
ho o
raaja roothhe
taqdeer phhire
duniya badle
kailaashpati saubhaagyawati se roothhe na
ho o o
kailaashpati saubhaagyawati se roothhe na
ho Shankar ki pooja chhoote na
chhoote na
shiv ko pooje jo
apne piya ki matwaali
shiv ko pooje jo
apne piya ki matwaali
shambhu ka trishool kare nit uski rakhwaali
ho o o o
shambhu ka trishool kare nit uski rakhwaali
vrat toote na to
phir suhaag koi loote na
ho o o
vrat toote na to
phir suhaag koi loote na
ho Shankar ki pooja chhoote na
chhoote na
harihar chaahe to janmon ka phera chhoote
harihar chaahe to janmon ka phera chhoote
bandhan toote
taala toote
ghera toote
ae ae ae
bas janam janam natwar se naata toote na
ho o o
bas janam janam natwar se naata toote na
ho Shankar ki pooja chhoote na
chhoote na
Koi kaise bachaaye dil ko
Posted on: July 21, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Son of Sindbad”(1958) was produced by Ram Kamlani and Balwant Bhatt, and directed by Nanabhai Bhatt for Neo Light Films, Bombay. The movie had Premnath, Jabeen, Bhagwan, Poornima, Nishi, Tiwari, Cuckoo, Shammi, Sunder, Kuldeep Kaur, Jagdeep, Samson, Jagdish, Ridku, Kriplani, K Tewari, Saroj, Heera, Fazlu, Sayyed, Keshav, Abdul, Kenny etc in it.
The film had eight songs in it. One song from the movie has been covered in the blog in the past.
Here is the second song from “Son of Sindbad”(1958) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by Chitragupta.
Only the audio of this song is available. I Request our knowledgeable readers to throw light on the picturisation of this “expression of love” genre of song.
Song-Koi kaise bachaaye dil ko (Son of Sindbad)(1958) Singer-Lata, Lyrics-Prem Dhawan, MD-Chitragupta
Lyrics
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
jo nazar se bacha
zulfon mein phansa
jo nazar se bacha
zulfon mein phansa
ek dil hai to laakhon nishaane aen
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
zamaana kahe ke bacho pyaar se
in aankhon ki do-dhaari talwaar ae
zamaana kahe ke bacho pyaar se
in aankhon ki do-dhaari talwaar ae
magar wo hua jo dil ne kaha
huye hum tumhaare deewaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
haseenon se chhup ke kahaan jaaoge
jahaan jaaoge tum inhen paaoge
haseenon se chhup ke kahaan jaaoge
jahaan jaoge tum inhen paaoge
kahin na kahin
koi to haseen
laga dega dil ko thhikaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
jo nazar se bacha
zulfon mein phansa
ek dil hai to laakhon nishaane ae
koi kaise bachaaye dil ko o
dil jaane ke sau hain bahaane
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.
“Hamaara Ghar”(1950) was directed by Nanabhai Bhatt for Hindustan Chitra, Bombay. The movie had Durga Khote, Umakant Desai, Veera, Agha, Meena Kumari, Geeta Bose, David, Jankidas, Ramesh Gupta etc in it.
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