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

Posts Tagged ‘Sahir Ludhianvi


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 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 : 3941 Post No. : 15017

“Insaaf Ka Taraazu”(1980) was produced and directed by B R Chopra for B R Films, Bombay. This movie was inspired from an American movie called “Lipstick” (1976). The movie was a rape and revenge movie. Many people who thronged to watch “Insaaf Ka Taraazu”(1980) were attracted to the movie hall because of this fact.

The movie had Zeenat Aman, Raj Babbar (new discovery), Deepak Parashar (new discovery), Padmini Kolhapure, Shreeram Lagoo, Simi Garewal, Iftekhar, Jagdish Raj, Vijay Sharma, Prem Sagar, Sunil Dhawan, Om Shivpuri, Sujit Kumar, Yunus Parvez, Sudha Shivpuri etc in it, with Hiralal in a guest appearance and Dharmendra in a special appearance.

“Insaaf Ka Taraazu”(1980) had four songs in it. Three of these songs have been covered in the past.

The details of the songs from the movie that have been covered earlier :-

1 Insaaf ka taraazu 8774 27-Sep-13
2 <Log aurat ko faqat jism samajh lete hain 13021 8-Mar-17
3 Hazaar khwaab haqeeqat ka roop le lenge 14913 8-Mar-19

The three songs that have been covered so far were serious songs all penned by Sahir Ludhianvi. The fourth and final song under discussion is a light hearted happy teasing song picturised on Padmini Kolhapure, Zeenat Aman (playing her sister)and Deepak Parashar (playing her would be jeeja ji). Sahir Ludhianvi demonstrates that he was capable of penning superb light hearted non jhonk songs as well.

The song is sung by Asha Bhonsle, Hemlata and Mahendra Kapoor.

With this song, allthe four songs are covered and “Insaaf Ka Taraazu”(1980) joins the list of movies that have been YIPPEED in the blog.


Song-Hai jo yehi pyaar ka trailer to picture na jaane kya hogi(Insaaf ka Taraazu)(1980) Singers-Asha Bhonsle, Mahendra Kapoor, Hemlata, Lyrics-Sahir Ludhainvi, MD-Ravindra Jain
Asha Bhonsle + Hemlata
All
Deepak Parashar

Lyrics

jeeja ji
didi ko dekhe
hmm
didi jeeja ji ko
main bhookhi pyaasi baithi hoon
ye nahin hosh kisi ko
chup saali
saali nahin
sister-in-law
sister-in-law

hai jo yahi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
o hero ji
heroine ji
ab aur rehearsal jaane do o
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi

na maangoon ghoda
na maangoon haathi
maangoon hoon keval
only
only
maangoon hoon keval l l
sabji chapaati
kyun yunhi tar tar bheja hai khaati
bheja hi tum donon ka nahin hai
warna kabhi ki main kha bhi jaati
tu baaz nahin aati
kya baaz aaun
tum khud hi socho
faake se meri
hai jaan jaati
mujhko bacha lo
shaadi ke din tak
ghat jaayega warna aa aa
aaj ik baaraati
chaawal bhi dhare hain
kaddu bhi hai kaata

o ho
kyun sar pe chadhe hai
jaa goondh le aata

achcha ji
hai jo yahi
o ho ho
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi

is bhootni ko
ghar se bhaga do
jaldi se iski o o o o
shaadi racha do

haan ji
kya kasht pahuncha hai
ye to bata do
what is the trouble sir
main kisko dekhoon
tum jija ji ho
apne sa husband isko bhi la do

arre husband jaanti hai
pati pati

pata hai
are pata nahin
pati pati

is jaisa budhu main to na loongi
chahe gaddhe mein ae ae ae ae
mujhko gira do
hmm
gaali deti hai saali

saali de sakti hai gaali
ladka to hai dekha
achcha
langdaata hai thoda
oooon
aur baat kare to
hak hak haklaata hai thoda

aa maaroongi
o sister ji
o mister ji
ye maara maari jaane do

jaane do
hai jo yahi
o o o
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi


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 : 3892 Post No. : 14928

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 17
————————————————

‘Joshila-1973’ is another movie which I remember to have watched around end of seventies. It was screened during the weekly screening of movies at our ‘colony club’ where we stayed at that time. I never got a chance to watch it again. However, its heart touching song ‘Kiska rasta dekhe ai dil ai saudaayi’ became a permanent memory associated with this movie. This also became to be the most popular and famous song from this movie. Very aptly this movie was launched on this blog with this Kishore Kumar song on 15.03.2009.

Couple of other songs from this movie like ‘Dil mein jo baaten hai aao chalo ham keh den ’ and ‘Kuchh bhi kar lo ik din tumko ’ were also good and they were frequently heard on radio. Having the typical RD touch, they were also heard frequently on radio and loudspeakers.

However, none of the songs from this movie could make it to the annual list of ‘Binaca Geetmala -1973’.

All the songs of this movie were written by Sahir Ludhianvi. But at that time, I was not a fan of Sahir Saab and had not read or known much about him. And it is natural for anybody given the age at that time not to bother about other things except listening the songs.

Coming back to our ‘blog ten-year challenge’ let us go through the list of movies of which the songs were represented ten years back on 15.03.2009;

‘Shareef Badmaash-1973’
‘Saawan Ko Aane Do-1979’
‘Joshila-1973’
‘Kashmir Ki Kali-1964’
‘Manzil-1960’
‘Dil Tera Deewaana-1962’

All the above movies except ‘Joshila-1973’ have attained ‘Yippeee’ed status (all songs covered status) on the blog.

That brings us to the today’s movie, a song from which we are going to listen …

‘Joshilaa-1973’ or ‘Joshila’ was directed by Yash Chopra for ‘Trimurti Films Pvt Ltd’. It was produced by Gulshan Rai.

It had Dev Anand, Hema Malini, Pran, Bindu, Madan Puri, Manmohan Krishna, Padma Khanna, Sulochana, Iftekhar, Sudhir, Hercules, Master Satyajit, I.S. Johar, Vikas Anand, Jagdish Raj, S.N. Bannerjee, Chandu Allahabadi, Praveen Kumar, Uma Khosla, Ramlal, Shamlal, Uma Dutt and Nazeer. Rakhi and Mahendra Sandhu had a special appearance in this movie.
And Roopesh Kumar, A.K. Hangal, Sheetal, Ashu and Laxmichhaya in guest appearance.

Story of this movie was written by Gulshan Nanda and screenplay was written by C.J. Pavri and Akhtar Mirza. Diagloues of this movie were written by Akhtar-Ul-Iman. Editing of this movie was done by Pran Mehra.

This movie was passed by censor board on 26.09.1973.

This movie had total eight songs. So far five songs from this movie have been posted on the blog. The other two songs posted (from the three I mentioned above) are ‘Kaanp rahi main ’ and ‘Sona Rupa laayo re ’. The song being posted today is the sixth song from this movie to be posted on the blog.

Also, I was under the impression that the song ‘sharma nan yoon ghabra na yoon’ was already covered, but that remains to be covered.

However, for today’s post I have selected a ‘lesser heard’ song from this movie. (Even I don’t remember to have heard it before preparing of this post).

As mentioned above all songs of this movie were penned by Sahir Ludhianvi and music was composed by R.D. Burman. Lata Mangeshkar, Asha Bhonsle and Kishore Kumar gave their voices to the songs in this movie. As per HFGK track listing of this movie Dev Anand’s voice is credited in one song.

Lata had two solos and one duet, Asha Bhonsle three solos (including one with Dev Anand’s dialogues) and one duet, and Kishore Kumar having one solo and two duet songs.

I guess that the today’s song and one more Lata solo were excluded* from the movie and hence their video seem to be unavailable. (I request knowledgeable readers to throw more light on this.)
*(though HFGK doesn’t have any note about this)

Let us now listen to today’s song. After repeat listening, we may find ourselves humming the other RD gem ‘khaali haath shaam aayi hai’ 🙂 as well. (that is the magic of music or ragas (if I am not wrong 🙂 )

Audio

Song-Jo baat ishaaron mein kahi (Josheela)(1973) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-R D Burman

Lyrics

Ho o o
Jo baat ishaaron mein kahi
Tum nahin samjhe
Hamne to hazaaron mein kahi
Tum nahin samjhe
Tum nahin samjhe ae
Tum nahin samjhe ae
Jo baat ishaaron mein kahi
Tum nahin samjhe
Hamne to hazaaron mein kahi
Tum nahin samjhe

Hamne ye chaaha thhaa
Kadmon mein bas rehte
O lekin ham ye hasrat
Apne munh se kaise kehte ae ae
Hamne ye chaaha thhaa
Kadmon mein bas rehte
Ho o lekin ham ye hasrat
Apne munh se kaise kehte
Saanson ki pukaaron mein kahi
Tum nahin samjhe ae
Jo baat ishaaron mein kahi
Tum nahin samjhe
Ho hamne to hazaaron mein kahi
Tum nahin ee samjhe

O o hamne neendein haari
Tumne chaahat jeeti
Ho o bheegi rut mein
Tapte dil par
Tum bin jo jo beeti ee ee
hamne ae neendein haari
Tumne chaahat jeeti
Ho o bheegi rut mein
Tapte dil par
Tum bin jo jo beeti
Ashqon ki phuhaaron mein kahi
Tum nahin samjhe ae
Jo baat ishaaron mein kahi
Tum nahin samjhe
Hamne to hazaaron mein kahi
Tum nahin samjhe
Laa laa laa laa
Hmm hmm hmm hmm
Hmm hmm hmm hmm
Hmm hmm hmm hmm
Hmm hmm hmm hmm

——————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————–

हो ओ हो ओ
जो बात इशारों में कही
तुम नहीं समझे
हमने तो हज़ारों में कही
तुम नहीं समझे
तुम नहीं समझे ऐ
तुम नहीं समझे
जो बात इशारों में कही
तुम नहीं समझे
हमने तो हज़ारों में कही
तुम नहीं समझे

हमने ये चाहा था
क़दमों में बस रहते
ओ लेकिन हम ये हसरत
अपने मुंह से कैसे कहते
हमने ये चाहा था
क़दमों में बस रहते
हो ओ लेकिन हम ये हसरत
अपने मुंह से कैसे कहते
साँसों कि पुकारों में कही
तुम नहीं समझे ए
जो बात इशारों में कही
तुम नहीं समझे
हमने तो हज़ारों में कही
तुम नहीं ई समझे

ओ ओ हमने नींदें हारी
तुमने चाहत जीती
हो ओ भीगी रुत में
तपते दिल पर
तुम बिन जो जो बीती ई ई
हमने ए नींदें हारी
तुमने चाहत जीती
हो ओ भीगी रुत में
तपते दिल पर
तुम बिन जो जो बीती ई ई

अश्कों कि फुहारों में कही
तुम नहीं समझे
जो बात इशारों में कही
तुम नहीं समझे
हमने तो हज़ारों में कही ई
तुम नहीं ई समझे
ला ला ला ला
हं हं हं हं
हं हं हं हं
हं हं हं हं


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 : 3885 Post No. : 14913

Today 8th March (2019) is the ninety-eighth ‘birth anniversary’ (08.03.1921 – 25.10.1980) of Sahir Ludhianvi. Imagine, in another two years it will be his birth centenary celebrations and we can say that ‘sau saal pehle is sarzameen par ‘Sahir’ ka janam huaa tha’…

Regulars on this blog are well aware that already much has been written about Sahir Ludhianvi on this blog and other sources, and as mentioned by me in one of my earlier posts people are still exploring ‘Sahir’ in their own way. Many researches have been done and still continuing about Sahir and his poems.

I have mentioned in one of my earlier posts that we know Sahir Ludhianvi as a poet of the highest quality, a romantic at heart, and a rebel.
But for me, he was much more than this.

For me he was a truly secular individual, a humanitarian, and a motivational philosopher. There were many aspects to Sahir’s poetry and writing.

He has in his poems talked about Women’s issues and raised his concerns over their ‘plight’ in the Society and how women are still subjected to insult, exploitation, torture which is still prevailing around us. The issues Sahir wrote about and had concerns about are still relevant since years and years and on …

While Sahir has given us many memorable ‘romantic songs’ he has also given us many memorable or ‘immortal’, bhajans which lead us to the world of the sublime, to introspect within ourselves. His many motivational songs can inspire people and have been a source of motivation to many like me in this journey of life. They will continue to be so if someone listen to them with interest and also studies life and times of Sahir in right earnest.

In today’s post I have a lovely song penned by Sahir touching the ‘romantic’ side of his poetry and presenting one of those many many lovable and beautiful songs which Sahir Ludhianvi has written.

Today’s song is from the ‘1980’ movie ‘Insaaf Ka Taraazu’.

‘Insaaf Ka Taraazu-1980’ was produced and directed by B.R. Chopra for his home production ‘B.R. Films, Bombay’.

Ravi Chopra was the Associate Producer for this movie.

It had Zeenat Aman, Raj Babbar (new discovery), Deepak Parashar (new discovery), Padmini Kolhapure, Shreeram Lagoo, Simi Garewal, Iftekhar, Jagdish Raj, Vijay Sharma, Prem Sagar and Sunil Dhawan.

Om Shivpuri, Sujit Kumar, Yunus Parvez, Sudha Shivpuri, and Hiralal make a ‘guest appearance’ in this movie.

Dharmendra makes a ‘special appearance’ in this movie.

This movie had four songs written by Sahir Ludhianvi and composed by Ravindra Jain. Asha Bhonsle, Hemlata and Mahendra Kapoor gave their voices to the songs in this movie.

Story, Screenplay and Dialogues for this movie were written by Shabd Kumar. S.B. Mane was the Chief Editor for this movie, while R.P. Bapat was the Associate Editor.

Two songs from this movie have been posted earlier on this blog as given below;

Song Title Post Date
Insaaf ka taraazu 27.09.2013
Log aurat ko faqat jism samajh lete hain 08.03.2017

Today we are going to enjoy the third song of this movie sung by Asha Bhonsle and Mahendra Kapoor.

Lyrics are by Sahir Ludhianvi and music composed by Ravindra Jain as mentioned above.

Incidentally, and this I noted today only while drafting this post and going through the HFGK Vol-V, this movie was passed by Censor Board (or the certificate was issued on) on 25.10.1980.
Sahir Ludhianvi passed on the same day 25.10.1980. I am not aware if the movie was also released in theatres on the same day.

Let us now listen to this song of eternal – everlasting love …

Video

Song-Hazaar khwaab haqeeqat ka roop le lenge (Insaaf Ka Taraazu)(1980) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Ravindra Jain
Both

Lyrics

Hazaar khwaab
Haqeeqat ka roop le lenge
Hazaar khwaab
Haqeeqat ka roop le lenge
Magar ye shart hai tum
Muskuraa ke haan keh do o o
Muhabbaton mein hai donon ka
Ek hi matlab
Muhabbaton mein hai donon ka
Ek hi matlab
Adaa se na kaho ya
Muskuraa ke haan keh do o o

Hazaar khwaab
Haqeeqat ka roop le ae lenge

Hazaar khwaab
Bahaaron ke aur sitaaron ke
Tumhaare saath meri zindagi mein
Aaye hain
Tumhaari baahon ke jhoole mein
Jhoolne ke liye
Machal machal ke mere ang
Gun gunaaye hain

Ho o
Ye saare shauq
Saare shauq
Ye saare shauq
Sadaaqat ka roop le lenge
Magar ye shart hai tum
Muskuraa ke haan keh do o o
Hazaar khwaab
Haqeeqat ka roop le lenge

Bharegi maang tumhaari
Wo din bhi kya hoga
Sajegi sej hawaaon ki
Saans mehkegi
Tum apne haath se sarkaaoge
Mera aanchal
Ajeeb aag mere
Tan badan mein dehkegi

Ho o
Ye saare shauq
Saare shauq
Ye saare shauq
Sadaaqat ka roop le lenge
Magar ye shart hai tum
Muskuraa ke haan keh do o
Hazaar khwaab
Haqeeqat ka roop le lenge

Ho o o o o
Aa aa aa aa
Aa aa aa aa aa aa aahaa
Aa aa aa aa aa aa aa aa

Main apni zulfon ke saaye
Bichhaaungi tum par

Main tumpe apni jawaan
Dhadkanen lutaaunga
Main subah tum ko jagaaungi
Lab pe lab rakh kar

Main tumko bheench ke kuchh aur
Paas laaunga
Ho o
Ye saare shauq
Saare shauq
Ye saare shauq
Sadaaqat ka roop le ae lenge

Magar ye shart hai tum
Muskuraa ke haan keh do o o
Muhabbaton mein hai donon ka
Ek hi matlab
Adaa se na kaho

Ya aa
Muskuraa aa ke haan keh do
Hazaar khwaab
Haqeeqat ka roop le lenge ae

(Meaning of Sadāqat – True or sincere friendship; love, affection; friendliness; sincerity, candour; loyalty, fidelity; truth)

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

हज़ार ख्वाब
हकीकत का रूप ले लेंगे
हज़ार ख्वाब
हकीकत का रूप ले लेंगे
मगर ये शर्त है तुम
मुस्कुरा के हाँ कह दो
मुहब्बतों में है दोनों का
एक ही मतलब
मुहब्बतों में है दोनों का
एक ही मतलब
अदा से ना कहो या
मुस्कुरा के हाँ कह दो ओ ओ

हज़ार ख्वाब
हकीकत का रूप ले ए लेंगे

हज़ार ख्वाब
बहारों के और सितारों के
तुम्हारे साथ मेरी ज़िन्दगी में
आये हैं
तुम्हारी बाहों के झूले में
झूलने के लिए
मचल मचल के मेरे अंग
गुन गुनाए हैं

हो ओ ओ ओ
ये सारे शौक़
सारे शौक़
ये सारे शौक़
सदाक़त का रूप ले लेंगे
मगर ये शर्त है तुम
मुस्कुरा के हाँ कह दो ओ ओ
हज़ार ख्वाब
हकीकत का रूप ले लेंगे

भरेगी मांग तुम्हारी
वो दिन भी क्या होगा
सजेगी सेज हवाओं की
सांस महकेगी
तुम अपने हाथ से सरकार्ओगे
मेरा आँचल
अजीब आग मेरे
तन बदन में देह्केगी

हो ओ
ये सारे शौक़
सारे शौक़
ये सारे शौक़ सदाक़त का रूप ले लेंगे
मगर ये शर्त है तुम
मुस्कुरा के हाँ कह दो ओ ओ
हज़ार ख्वाब
हकीकत का रूप ले लेंगे

हो ओ ओ ओ ओ
आ आ आ आ
आ आ आ आ आ आ आहा
आ आ आ आ आ आ आ

मैं अपनी जुल्फों के साए
बिछाउंगी तुम पर

मैं तुमपे अपनी जवाँ
धड़कने लुटाऊंगा
मैं सुबह तुमको जगाऊंगी
लब पे लब रख कर

मैं तुमको भींच के कुछ पास लाऊंगा
हो ओ ओ ओ
ये सारे शौक़
सारे शौक़
ये सारे शौक़ सदाक़त का रूप ले लेंगे

मगर ये शर्त हा तुम
मुस्कुरा के हाँ कह दो ओ ओ
मुहब्बतों में है दोनों का
एक ही मतलब
अदा से ना कहो

या आ
मुस्कुरा के हाँ कह दो ओ ओ
हज़ार ख्वाब
हकीकत का रूप ले लेंगे ए


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 : 3876 Post No. : 14898

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 10
————————————————

Today is 27 february 2019. The day is almost over and the first post of the day is just about coming up. Things were much different on this day ten years ago. On that day (27 february 2009), as many as seven songs were covered. Those were the days when I would discuss six or seven sog a day with ease, and a century of songs would come up in sixteen days or so.

Even I am surprised at the level of energy motivation and passion that I used to possess those days. 🙂

Coming to this day ten years ago, as many as seven songs were covered. Six of these movies have been YIPPEED by now. The only unyippeed movie from that day is “Kaajal”(1965).

“Kaajal”(1965) was directed by Ram Maheshwari for Kalpanalok, Bombay. The movie had Meena Kumari, Raj Kumar, Dharmendra, Padmini, Sailesh Kumar, Helen, Durga Khoy=te, Jageerdar, Tiwari, Mahendra, Gopal Sahgal, Tuntun, Keshav Rana, Madhu Apte, Abhimanyu Sharma, Polson, Rajan Kapoor, Mumtaz, Mehmood etc in it.

The movie had eleven songs in it. Eight songs from the movie have been covered in the past. The movie made its debut in the blog on this day ten years ago with the song Tora man darpan kahlaaye.

I had not watched any movies in movie halls from 1972 to 1977. Only after I reached College and got “freedom” that I began to watch movies with a vengeance, as if to make up for lost time. It was during this movie watching spree that I watched “Kaajal” (1965) in 1978 or 1979 in a movie hall called Ratan Talkies in Ranchi. So that was nearly forty years ago. I think that this cinema hall no longer exists. If we have any Ranchi based readers then I request the to help confirm or refute this fact.

When I watched the movie, I kept getting surprised repeatedly by the feeling-“arre, ye gaana is film ka hai”. The movie was full of well known timeless classic songs. Base somewhere in a neighbouring state, Raja too independently felt the same way when he watched this movie.

Coming to today’s song, it is a “shringaar” ras song which is sung by Mahendra Kapoor. Sahir Ludhianvi is the lyricist. Music is composed by Ravi, whom I had begun to regard as a creator of conic songs, thanks to a plethora of sungs composed by him that had ended up becoming timeless classics.

This song is picturised on Dharmendra and Padmini. Incidentally, This movie was the first occasion for me to watch Dharmendra, Padmini and many others.

Lyrics of this song were sent to me by Avinash Scrapwala.


Song-Muddat ki tamannaaon ka sila (Kaajal)(1965) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

muddat ki tamannaaon ka sila
jazbaat ko ab mil jaane do
muddat ki tamannaaon ka sila
jazbaat ko ab mil jaane do
jis tarah mili hai do roohen
us tarah se lab mil jaane do
muddat ki tamannaaon ka sila

seene se hataa do aanchal ko
shaane se jhatak do zulfon ko
seene se hataa do aanchal ko
shaane se jhatak do zulfon ko
shaane se jhatak do zulfon ko
jaati huyi rangeen ghadiyon ko
rukne ka sabab mil jaane do
muddat ki tamannaaon ka sila

in paak gunaahon ki ghadiyaan
aati hai magar har raat nahin
in paak gunaahon ki ghadiyaan
aati hai magar har raat nahin
aati hai magar har raat nahin
is raat mein sab kho jaane do
is raat mein sab mil jaane do
muddat ki tamannaaon ka sila

—————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————
मुद्दत की तमन्नाओं का सिला
जज़्बात को अब मिल जाने दो
मुद्दत की तमन्नाओं का सिला
जज़्बात को अब मिल जाने दो
जिस तरह मिली है दो रूहें
उस तरह से लब मिल जाने दो
मुद्दत की तमन्नाओं का सिला

सीने से हटा दो आँचल को
शाने से झटक दो जुल्फों को
सीने से हटा दो आँचल को
शाने से झटक दो जुल्फों को ओ
शाने से झटक दो जुल्फों को
जाती हुयी हंगीन घड़ियों को
रुकने का सबब मिल जाने दो
मुद्दत की तमन्नाओं का सिला

इन पाक गुनाहों कि घड़ियाँ
आती है मगर हर रात नहीं
इन पाक गुनाहों कि घड़ियाँ
आती है मगर हर रात नहीं ई
आती है मगर हर रात नहीं
इस रात में सब खो जाने दो
इस रात में सब मिल जाने दो
मुद्दत की तमन्नाओं का सिला


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 : 3802 Post No. : 14794

“Kaala Patthar”(1979) was directed by Yash Chopra for Yashraj Films Bombay.

This movie was a multi starrer movie and it had Shashi Kapoor, Rakhi, Amitabh Bachchan, Shatrughan Sinha, Neetu Singh, Parveen Babi, Prem Chopra, Parikshat Sahni, Romesh Sharma, (special apopearance), Poonam Dhillon (special appearance), Manmohan Krishan, Madan Puri, Ifthikar, Satyen Kappu, Yunus Parwez, Geeta Sidharth, Gautam Sareen, Sharat Saxena, MacMohan, Mahaan, Sudhir Dalwai, Sudha Chopra, Harish, Mohan Sherry, Vikas Anand, Jagdeesh Raj, Suresh Oberoi, Prem Sagar, Pardesi, Nazir Kashmiri, Ashok Rajdan etc in it.

The movie was released with great fanfare and it was expected to be a blockbuster. But the movie received lukewarm response from the movie goers, much to the surprise of experts. Subsequently it was concluded that Indian audience do not patronise movies that depict disasters. They are into escapist stuff rather than into tales based on real life disaster. “Kaala Patthar”(1979) was inspired from the Chasnala mine disaster that had taken place on 27 december 1975.

Chasnala mine was located adjacent to an abandoned mine (separated by a wall of coal) that tended to get filled with rain water. A panel of experts had recommended that water accumulation in that abandoned mine was required to be avoided and secondly the barrier of coal separating this abandoned mine from adjacent locations was to be left untouched.

The recommendations were disregarded. Permission was sought and obtained to mine coal from the barrier.

As coal from this barrier was being mined, the coal wall separating this mine from the abandoned water filled mine caved in and water flooded the Chasnala mine, killing 372 miners who were working inside the mine.

This incident was the biggest industrial tragedy of India till that time and subsequently it was overtaken by Bhopal gas tragedy on 2 and 3 december 1984.

Coming to the movie, the movie had six songs in it. Five songs have been covered in the past. Here are their details:-

Song Title

Post No.

Post Date

Ik raastaa hai zindagi 2970 15-Sep-10
Ishq aur mushq kade na chhupde 5273 9-Jan-12
Baahon mein teri masti ke ghere 6005 24-May-12
Mujhe pyaar ka tohfa de ke 14337 12-May-18
Dhoom mache dhoom 14761 24-Nov-18

The sixth and final song from the movie is sung by Lata and chorus. Sahir Ludhianvi is the lyricist. Music is composed by Rajesh Roshan.

The song is picturised as a wedding ritual song where Neetu Singh lip syncs the song. The picturisation shows Poonam Dhillon playing the bride and Romesh Sharma the groom while almost the entire starcast seems to be attending the wedding function.

This song has gone on to become one of several must sung songs in Indian weddings.

Lyrics of this song were sent to me by Avinash Scrapwala long long ago in 2013.

With this song, all the songs of “Kaala Patthar”(1979)have been covered and the movie joins the list of movies that have all their songs covered in the blog.

Video

Audio

Song-Meri dooron se aayi baaraat (Kaala Patthar)(1979) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-Rajesh Roshan
chorus

Lyrics(Provided by Avinash Scrapwala)

meri dooron se aayi baaraat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

balma chhail chhabeela
mann ko mohe
joda rang rangeela
tan pe sohe
balma chhail chhabeela
mann ko mohe
main to waari jaaun
balihaari jaaun
pada paaon yeh kiska aangan mein
phool khile phool se mere tan mann mein
chhoota mayke ki galiyon kaa saath
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

le gaye dil ko loot ke tere bol raseele ae
ghaayal kar gaye haay
ghaayal kar gaye jaan ko tere nain kateele ae
le gaye dil ko loot ke tere bol raseele
main toh waari jaaun
balihaari jaaun
jab mukhda dekhoon darpan mein
teri soorat ubhre nainan mein
bhali laage naa naihar ki baat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni

waar diya maine tujh par
dil waar diya
haar diya maine sab kuchh
are haar diya
maar diya toone julmi
haay maar diya
main to waari jaaun balihaari jaaun
teraa naam base meri dhadkan mein
teraa roop hanse mere sapnan mein
liya saajan ne haathon mein haath
maiya main to ho paauni
meri dooron se aayi baaraat
maiya main to paauni
meri dooron se aayi baaraat
maiya main to paauni


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 : 3781 Post No. : 14761

I in this blog often talk about “natural” landmarks and “artificial” landmarks for the blog. “Natutral” landmaks for the blog are those that are intuitive, viz. century of songs in the blog, and later century of songs in the blog for an artist, a contributor etc.

Later, when we began to keep track of blog related statistics, we became aware when a duo of singers completed their century of duet songs, or the blog itself completed a century (or its multiple) of days.

Many of these “artificial” (more accurately “derived” or “secondary”) landmarks went unnoticed in the early days of the blog. For instance, we completed several hundred days and also thousand days in the blog but we remain blissfully unaware. In fact, the level of blissful unawareness was such that we did not even noticed it when the blog completed one year of its existence on 19 july 2009. 🙂

We have come a long way since.

While many of these landmarks events have to be created by effort, there are some landmarks that happen on their own. Time related landmarks, viz hundreds of days or thousands of days get achieved with time.

Likewise, number of visitors in the blog also happen with time, though that is dependent on factors like ability of the blog to attract visitors.

This blog had a humble beginning on 19 july 2008. During its early days, it attracted less than 100 visitors daily. There were only 406 visitors for the blog during july 2008, the month when this blog started.

I regarded it as a “landmark” occasion when the blog clocked more than one hundred visits for the first time. It was on 16 august 2008, the day of Rakhi festival, when I covered the iconic Rakhi song Bhaiyya mere raakhi ke bandhan ko nibhaana .

The blog averaged 31 visitors a day in july 2008 and 72 visitors a day in august 2008 before breaking into the three figure region with 276 visitors per day during september 2008. 23 january 2009 was the first day when this blog received more than one thousand visitors in a day. 1145 visitors arrived on the blog on that day. The blog reached four figure a day mark for the first time during february 2009 with 1069 visitors daily. It was in june 2011 that the 2000 mark was breached for the first time. An average of 2226 visitors visited daily during this month. It took only two more months to reach the 3000 visitors a day mark. August 2011 saw 3109 visitors daily in the blog. The next peak arrived in october 2011. It was not 4000 mark or 5000 mark or even 6000 mark, rather an average of 7224 visiors per day that was achieved in this month ! On one particular day, viz 19 october 2011, as many as 10630 visitors arrived at the site !

It was too good to last though. By now we have settled at an average of over 3000 visitors daily.

In the process, the blog recorded its first one million visits on 25 october 2010, after 829 days. The subsequent million visits have come rather more quickly, as can be expected. The third millionth mark was reached the fastest- in just 152 days. Now a days, it is taking around 300 odd days (nearly ten months ) to reach one million visitos mark.

The blog clocked 10 million visits on 14 january 2018 at around 22:30 IST. The 11th million visitor was clocked on 22 november 2018 at around the same time.

Here is the summary of the eleven million visitors in the blog so far:-

Number of Visitors Date when achieved Blog day days taken for the million visits
1 million 25-Oct-10 829 days 829
2 millions 07-Nov-11 1207 days 378
3 millions 30-Apr-12 1359 days 152
4 millions 10-Dec-12 1606 days 247
5 millions 29-Oct-13 1929 days 323
6 millions 12-Oct-14 2277 days 348
7 millions 04-Jul-15 2542 days 265
8 millions 20-Apr-16 2833 days 291
9 millions 24-Feb-17 3144 days 311
10 millions 14-Jan-18 3466 days 332
11 millions 22-Nov-18 3779 days 313

I was wondering what song to discuss on the occasion. Finally I zeroed in on a joyous song from “Kaala Pathhar”(1979). This song is sung by Rafi, Lata, S K Mahan, Mahendra Kapoor and chorus. Sahir Ludhianvi is the lyricist. Music is composed by Rajesh Roshan.

The picturisation shows almost the entire star cast (this was a multi starrer movie !) – viz Amitabh Bachchan, Shashi Kapoor, Shatrughan Sinha, Neetu Singh, Parveen Babi etc.

The video version of this song from “Kaala Patthar”(1979) is nearly six minutes long. But the audio version is even longer (nearly eight minutes long). I have provided both version of the some here.

I take this opportunity to thank one and all for their continued support and encouragement. It goes without saying that it was the support and encouragement of music lovers that helped the blog achieve this impressive number of visits from music lovers. Here is hoping that this musical bandwagon will continue on its merry ways with many more landmarks to achieve enroute.

Video

Full audio


Song-Dhoom mache dhoom (Kaala Patthar)(1979) Singers-Rafi, Lata, S K Mahaan, Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Rajesh Roshan
Male chorus
Female chorus
All chorus
Rafi + Lata

chaahe koi roke re saathee
chaahe koyee toke re saathi
nav yug aayega
nav yug aayega

tanee huyi baahon kaa rela badhta hee jaayega
khoon maatee ke bhaav bik naheen paayega
khoon maatee ke bhaav bik naheen paayega

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
ho o o
subah tak ham kahen ek kahaani
jhoomati dhadkanon ki zubaani ee

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak
aa aa aa
jaage jawaani
aa aa aa
dhoom mache dhoom

jab talak raat chale
pyaar kee baat chale
teri meri meri teri palken naa jhapken
rang lehraate rahen
ang tharraate rahen
tape tape chehron se shole see lapken

ho o toka tohari hi kasam
tod mat aur julam
hamka dai de angoothhi nisaani
tori hogi badi meharbaani
ae kya samajhta hai hamko re praani
hamra kaata to maange naa paani
dhoom mache dhoom
aaj ki raina
bhor huye tak jaage jawaani

dhoom mache dhoom
aa aa aa
aaj ki raina
bhor huye tak jaage jawaani
aa aa aa
dhoom mache dhoom

masti kuchh aur badhe
nasa kuchh aur chadhe
dukh waala dhyaan koi aaj hamen aaye na
dukh jo aaye toh kya
gham sataaye to kya
aadmi ko chaahiye ke kabhi ghabraaye naa

ho o o
tootne waala hai dam
khaaye jaata hai yeh gham
bane dulhan meri bitiya raani

umr ghar mein pade naa bitaani
hai har museebat hai aani te jaani
hai yeh apne guruji di baani

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

dhoom mache dhoom
aa aa aa
aaj ki raina
bhor huye tak jaage jawaani
aa aa aa
dhoom mache dhoom

pale naa sog jahaan
sukhi hon log jahaan
hamko hai saath aisee duniya basaani
seenon mein aag liye
honthon pe raag liye
hamko andheron mein hai shamme jalaanee
ho o o
kaale patthar kee kasam
jab talak dam mein hai dam
ham yeh dekhenge rasmen puraani
kar naa paaye yahaan hukmraani
hey ae
aaj se hamne hai dil mein thhaani
laayenge ek nayi rut suhaani
dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani

ho o o
subah tak ham kahen ek kahaani
jhoomti dhadkanon ki jubaani ee

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
dhoom mache dhoom
aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
dhoom mache dhoom

dhoom mache dhoom
aaj ki raina bhor huye tak jaage jawaani
dhoom mache dhoom

aa aa aa
aaj ki raina
aa aa aa
bhor huye tak jaage jawaani
aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa


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

3773 Post No. : 14750 Movie Count :

4034

na tu zameen ke liye hai na aasmaan ke liye
tera wajood hai sirf dastaan ke liye
 

palat ke su-e-chaman dekhne se kya hogaa
wo shaakh hi na rahi jo thhi aashiyaan ke liye

garaz paarast jahaan mein wafaa talaash na kar
ye shai bani hai kisi dusre jahan ke liye

Thus wrote Sahir Ludhianvi for the film ‘Daastaan’ (1972). Here he takes a cue from Allama Iqbal who said ….

na tu zameen ke liye hai na aasmaan ke liye
jahaan hai tere liye tu nahin jahaan ke liye

Ever the cynic….

Whereas Iqbal was always motivational, Sahir had an inverted view of things.  Maybe this solitude and despair was because of ‘Pyasaa” or vice versa.  Take the instance of “Wo Sub’ha Kabhi To Aayegi“ in the film ‘Phir Subah hogi’ (1958). These verses are said to have inspired his contemporary Jaan Nisaar Akhtar to write the song “Gham Ki Andheri Raat Mein” in ‘Susheela’ (1966), with the lines,

gham ki andheri raat mein dil ko na beqaraar kar
sub’ha zaroor aayegi, sub’ha ka intezaar kar

Just last week, I was thinking about the Hindi poem I had written in 2016. It was published in my office magazine. This poem has some heavy references of Sahir’s songs.  And that I should write a post about Sahir Ludhianvi on his anniversary. But for some reason I had the impression that his death anniversary falls in June or July. I thought I will look up on the blog for the birth anniversary and if it is anytime soon I will write a post.

As it happened my office computer was out of order last week and it returned to work only on Friday and there is no lap-top currently in my use at home, I missed the opportunity to write this article on time. It was Raja ji’s article which alerted me to the fact of Sahir Ludhianvi’s death anniversary on 25th October.

Before I get to the song in hand, let’s take a look at my poem.  This is rather long and I am told it lacks something.  But this is the finished product:

कोशिश करने वालों की कभी हार नहीं होती ?

सुना मैंने के कोशिश करने वालों की कभी हार नहीं होती
सोचा के अपनी सी कुछ कोशिश मैं भी कर देखूं
कोशिश एक जद्द-ओ-जहद हालात को बेहतर करने की
कोशिश जो हर एक करे खुद को बेहतर इंसान बनाने की
कोशिश वो जो अपने परिवार की, सम्मान की रक्षा की
कोशिश के ऐसे जीऐं अपना स्तर उँचा हो नजर में खुदा की
कोशिश वो जो हो इज्जत से जीने की और इज्जतदार मरने की
फिर कहें
कि कोशिश करने वालों की कभी हार नहीं होती ।

फिर कहा किसी ने कि मरने की बात क्यू करें
मौत में कैसी इज्जत कैसी आबरू
क्यूं जब मर कर बाबुल से नजरें मिलाना है
तो जीना और मरना ऐसे रहे के अपना सर उँचा हो
ये ना हो कि बहू और बेटी को बाजार में खड़ा करे
और कहें कि
कोशिश करने वालों की कभी हार नहीं होती ।

शायद ये साहिर नें 1957 में लिखा हो के
“संसार की हरेक बेशर्मी
गुरबत की गोद में पलती है”
सोचने लगी के क्या ये आज भी सच है
कोई सोचे या नहीं, बात काबिले गौर है
क्यूं की
कोशिश करने वालों की कभी हार नहीं होती ।

और कहा साहिर ने के
“अवतार पयंबर जनती है,
फिर भी शैतान की बेटी है”
मुझे लगा जैसे आज मैं ही बैठी हूं
किसी टेलीविजन के ‘टॉक शो’ पर
और दुहार लगाई हूं “फ्रीडम ऑफ एक्सप्रेशन” की
वहां तक,
कोशिश करने वालों की कभी हार नहीं होती ।

आज का दौर हम सब ‘अय्याश’!
माडर्न और सैवी होने का हमें फक्र है

‘अय्याश’ इतना ‘ओल्ड फैशन्ड’ शब्द है,
की ‘हम अय्याश’ सुन कर सब चौंके,
अय्याश वो है जो ऐश में डूबा हुआ है
जिंदगी के मजे लेने में, जानों और पहचानों
“औरत ने जन्म दिया मर्दों को, मर्दों ने उसे बाजार दिया”
और तो
कोशिश करने वालों की कभी हार नहीं होती ।

मेरी बहनों और बेटियों, अपनी इज्जत अपने हाथ
जब खुद अपनी इज्जत करना सीख जाओ
के औरों को तुम्हारी इस्मत पर नजर डालते शरम आये
संघर्ष का सब से बड़ा मैदान यहीं है के
कोख में अपनी बेटी का कत्ल ना होने देना हरगिज
और ना खुद को शैतान की बेटी बनने दो,
बात बहुत बड़ी मेरी तुच्छ कलम कह गयी
सच है,
कोशिश करने वालों की कभी हार नहीं होती ।

ओ बाबुल प्यारे, मुझे नाज से लाड से पालने वाले
कल तू मुझे संजोता, संवारता था और ससुराल भेजता
कल मैं तेरी आँखों की चमक और पगड़ी का फक्र थी
आज ये हाल है, कि हम अपनी बेटियों को परदेसी कर देते हैं
ताकि वो अपनी पोजिशन बनाये दुनियाँ में
जाओ,
के कोशिश करने वालों की कभी हार नहीं होती ।

नतीजा ये की आज दुनियाँ की कोई गैर-जरूरी चीज नहीं
जिसे बेचने में मेरा इस्तेमाल नहीं होता
आज मैं हर अखबार में हर फिल्मी पोस्टर में
हर पल हर वक्त बेची और खरीदी जाती हूं
मजे की बात तो ये हुई के मुझे एहसास तक नहीं
की मैं हर लम्हे कितनी “निर्भय” हो गई इस बाजार में
पता है, कोशिश करने वालों की कभी हार नहीं होती
अगर ये मेरी और तुम्हारी हार नहीं है
तो कोई मुझे बताये कि ये क्या है?

ये कैसी कोशिश है
कि हर तरह से मेरी हार होती है ।

Sounds rather like a long story.  But the story is original and sort of a parody of the original ‘Koshish Karnewaalon Ki Kabhi Haar Nahin Hoti” by Harivansh Rai Bachchan.

Now moving to the song in hand, from the film ‘Begum Jaan’ (2017).  This is an adaptation of the original song in “Phir Subah Hogi”(1958) written by Sahir Ludhianvi.   Only a word in the mukhda is changed and the whole song in re-rendered by Arjit Singh and Shreya Ghoshal. Credit for the lyrics and composition is given to Sahir Ludhianvi and Khayyam.
(As per myswar.com  http://myswar.co/song_details/begum-jaan-2017-woh-subah-hami-se-aayegi-7 )

A big fan of Arjit Singh I am not and this particular rendition has not endeared him to me.  I believe singing has to be of words and uttering words in a loose manner somehow dilutes the impact.  I don’t know if the singing here was required this way due to the situation, as I haven’t seen the movie.   The background music is a haunting fall back on “Tadap Tadap Ke Iss Dil Se” (‘Hum Dil De Chuke Sanam’, 1999). While listening to this and the original by Khaiyyam I was reminded of “Dekh Lo Aaj Hum Ko Ji Bhar Ke” (‘Baazaar’, 1982) as well as “Najariyaa Ki Maari” (“Pakeezah”, 1971).

This is a tribute to the poet of such inimitable songs such as:

Tum Mujhe Bhool Bhi Jaao To Ye Haqq Hai Tum Ko

Tum Agar Mujh Ko Na Chaaho To Koi Baat Nahi

Chalo Ek Baar Phir Se Ajnabi Ban Jaayen Ham Donon

Jaane Wo Kaise Log Thhe Jin Ke Pyar Ko Pyar Mila

Mann Re Tu Kaahe Na Dheer Dhare

And many more such songs.

[Editor’s Note: The delay in publication is an oversight of the editors, the author had sent in this contribution just in time.]


Song – Wo Sub’ha Ham Hi Se Aayegi (Begum Jaan) (2017) Singer – Arijit Singh, Shreya Ghoshal, Lyrics – Sahir Ludhianvi, MD – Khayyaam
Arijit Singh + Shreya Ghoshal
Chorus

Lyrics

in kaali sadiyon ke sar se
jab raat ka aanchal dhhalkega aa
aaaa aaaaa aaaaaaaaa
jab dukh ke baadal pighlenge
jab sukh ka saagar chhalkega aa
aaa aaa aaa aaa
jab ambar jhhoom ke naachega
jab dharti naghme gaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

jis sub’ha ki khaatir jug jug se
ham sab mar mar ke jeete hain

aaa aaa aaa
jis subah ki amrit ki dhun mein
ham zehar ke pyaale peete hain
in bhooki pyaasi roohon per
ek din to karam farmaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

maana ke abhi tere mere
armaanon ki qeemat kuch bhi nahin

hmm hmm hmm
mitti ka bhi hai kuchh mol magar
insaanon ki qeemat kuchh bhi nahin
aa aa aa
insaanon ki izzat jab jhoothhe
sikko mein na toli jaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

इन काली सदियों के सर से
जब रात का आँचल ढलकेगा
आssss आssss आssssssss 
जब दुख के बादल पिघलेंगे
जब सुख का सागर छलकेगा
आss आss आss आss
जब अम्बर झूम के नाचेगा
जब धरती नग़मे गाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

जिस सुबहा की खातिर जुग जुग से
हम सब मर मर के जीते हैं
आss आss आss
जिस सुबहा के अमृत की धुन में
हम ज़हर के प्याले पीते हैं
इन भूखी प्यासी रूहों पर
एक दिन तो करम फरमाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

माना के अभी तेरे मेरे
अरमानों की क़ीमत कुछ भी नहीं
हम्ममम हम्ममम हम्ममम
मिट्टी का भी है कुछ मोल मगर
इन्सानों की क़ीमत कुछ भी नहीं
आs आs आs
इन्सानों की इज्ज़त जब झूठे
सिक्कों में ना तोली जाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी


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.

Blog Day : 3751 Post No. : 14716

The Hindi film industry has seen many legends in its 100+ years of existence. Giants in their chosen field, revered by not just their generation but by generations that followed. They have a very fond place in the hearts of film lovers, who are eternally thankful for their immense contribution to cinema. They all recognise the the world of cinema would be much the poorer without this contribution.

One such legend, and one who probably elevates the worth of the term “legend”, is, without doubt, yesteryear poet and lyricist, Sahir Ludhianvi.

Today (25 october 2018)happens to be his death anniversary – and, as we’ve done on previous occasions, we pay our humble tribute to him today.

Among various artistes that I’ve written about on this blog, Sahir has probably featured the most, alongside Rafisaab. I’ve written many times about him, on his birth and death anniversaries.

And yet, I’m never bored while discussing Sahir. Yes, readers of my posts might get bored 🙂 – but I’m not.

Whenever I write about him, I feel a rush of energy in my body. The content might be repetitive, but the huge regard I have for him overcomes everything else.

Sahir’s status as poet and lyricist extraordinaire is established beyond debate. He might not have been the most popular person around (and that’s the understatement of the millennium!) but even his most ardent critics would have to grudgingly acknowledge the sheer magic of his poetry.

Such is the richness of the treasure trove that he has left us that no post can do justice to it. In previous posts on him, I have often listed some of his songs – the sheer power of many of them transports you to a different world. Yes, there’s much more to a song than just its lyrics – but with Sahir, you could be assured that the lyrics never missed your attention.

Sahir’s lyrics were a direct reflection of his personality. He had strong views on various aspects of life and society, on relationships, on politics – and never hesitated to let the world know of them. It was as if he was waiting for an opportunity to use his poetry and lyrics to convey the message that Sahir, the person, wanted to get across to the world.

Thus, when you listened to “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai”, you felt it was Sahir exhorting you to demand your rights in life.

Or even, later in life, when he was disillusioned with the way things were going in his life, “main pal do pal ka shaayar hoon”.

Sahir had a very strong sense of justice and injustice in society. Early in life, when called upon to choose between his mother and his far wealthier father, he chose his mother. Till her very end, he was totally devoted to her. Many of his songs reflect the loving relationship between a mother and child.

Throughout his life, Sahir spoke out against injustice and tyranny. He spoke for the underprivileged, the marginalized, the labour class. He tried to show society a mirror, however ugly it looked. He was trenchant in his criticism of the state of affairs – “Samaj ko badal daalo” was one of his lines.

Sahir’s lament about the pathetic state of living for the poor in India is well illustrated in the poignant songs of Pyaasa (1957). “Yahaan par to jeewan se hai maut sasti” he wrote, following it up with “ye duniya agar mil bhi jaaye to kya hai”. “Jinhe naaz hai Hind par wo kahaan hain”, he said.

Continuing in this refrain, he went satirical, writing “Cheen-o-Arab hamara, Hindustan hamara, rehne ko ghar nahin hai, saara jahaan hamaara” for Phir Subah Hogi (1958).

Each line, one could feel, coming straight from the heart.

There were other aspects also that Sahir was concerned about and discussed in his lyrics. Hindu-Muslim unity for example. Always a sensitive topic, and even more so in the years following independence. But Sahir was never one to shy away from a topic – his lines “tu Hindu banega na Musalmaan banega” are some of the greatest lines of Hindi cinema.

The other thing that bothered Sahir greatly was the treatment of women in Indian society. He was deeply disturbed by the lack of respect accorded to women, thanks to a patriarchal society that privileged men over women. Sahir minced no words while lamenting this – his “aurat ne janam diya mardon ko” is a classic in Hindi cinema, with its entire theme revolving around women and how they have been treated by men in India.

It is therefore only fitting that on his death anniversary, the song picked for the blog reflects his thoughts on this topic. The song is “Seeta bhi jahaan sukh paa na saki” from Lakshmi (1982). The film was released after Sahir’s death – in fact, the film starts with a tribute to Sahir.

This song was one of several songs proposed to me for this write-up by Avinashji. As usual, he has been kind enough to prepare the lyrics for this song.

Though this song is not all that well-known, certainly not as well known as “aurat ne janam diya mardon ko”, its words are trademark Sahir. Typical of him, in this song too, he laments the way women have been treated in Indian society. But this time he uses Seeta as his example, saying even she could not find happiness on this earth. He says women have forever suffered, and in today’s world, there isn’t even a Valmiki to give a Seeta refuge in time of need. She has to fend for herself all alone, and constantly seek to avoid the predatory eye of men around her.

Talking of the predatory eye, I cannot help talking about one of the hottest topics right now in India – at least in urban India and on social media. And that is the #MeToo movement. I’m sure Sahir would have had something to say about it, had he been around. So I’m taking the liberty of sharing my thoughts on the subject.

The #MeToo movement, in my opinion, is primarily about those who have been sexually abused and harassed, coming out with their story. While these are mostly women, it is not necessarily limited to women alone. There have been a few cases of men too coming out with their horrific stories. At the moment, it is largely focussed on workplace harassment, but there’s no reason it couldn’t go way beyond that.

It is a fact that, mainly thanks to our patriarchal society, there is a huge power imbalance between men and women in India. This actually exists around the world, but the patriarchy makes it much worse in India.

Power, as we all know, is a hugely corrupting and intoxicating drug. So it is not at all surprising that those in power, mostly men, would tend to exploit those they have power over, mostly women. This shouldn’t come as a surprise to anybody.

What makes it worse, as if to add insult to injury, Indian society is also unforgiving towards women in this respect. Instead of being supportive, it tends to blame the victim. Even the woman’s own family make her feel guilty for what is essentially a man’s wrongdoing. She is often gaslighted into thinking that it is somehow her fault, that she invited it. She is encouraged to just be quiet about it, since “the honour of the family” might be at stake.

If she is a working woman, she might even be encouraged to stop working. Many women have fallen out of the workforce in India for this reason alone.

Then again, thanks to the power imbalance, she is up against it if she even chooses to seek justice through the justice system. To even make a complaint to the police, to get an FIR registered is a huge challenge. When you’re complaining about a more powerful party, the system will bend towards that party. The police will either discourage you from giving your complaint, or will mock you, or will flatly refuse to write an FIR.

If you do get past the police hurdle, you still have the rest of the justice system to deal with. Courts which will insist on evidence – which in most cases of this sort is just not available.

Besides, the other party being much more powerful, he can ensure your life is made miserable.

So justice through the normal justice system (which is often referred to as “due process”) is almost always a pipedream.

To help matters, at least in the workplace, new legislation was brought in in 2013, replacing the earlier Vishakha guidelines which laid out steps to be taken at a workplace to deal with sexual harassment complaints. An employer is supposed to set up an Internal Complaints Committee (ICC) and so on.

I won’t go into all the details, but the reality is that many employers have not even set this up. And even where this is theoretically in place, women who have complained have failed to get justice. On the contrary, it has boomeranged on them – they’ve been marked as “trouble-makers” in the organisation. Remember, they are complaining about someone who is almost invariably in a higher power position in the company.

With this being the stark reality, whether we like it or not, is it surprising that many women have just kept their pain buried within themselves? They have tolerated harassment but not brought it out in the open. Maybe they didn’t want to jeopardize their careers – after all, it is the woman who tends to bear the brunt of any negative fallout in these matters.

But now we have #MeToo.

Some women at least have decided enough is enough. It is not their shame to bear, so why should they? So they have decided to come out with their story. It is cathartic for them – it must be so hard to keep this buried within you for years.

Some of them have disclosed their identity, some have not. Some have disclosed the identity of the predator, some have chosen not to specifically name him (although there are usually enough hints in their story). It’s upto each person to decide what level of comfort she has – no one can demand she behave in a particular way.

One complaint about #MeToo is that many of these stories are coming out after many years. Ten years, even twenty years. Why didn’t they come out earlier? How can we possibly believe something that might or might not have happened a decade ago?

I feel this is unreasonable. I’ve already explained how the odds are stacked against the woman – the situation was even worse a decade ago. Besides, when women have been constantly shamed, why would they invite further ridicule by complaining, especially when they have no hope of justice?

It is only now, that thanks to the #MeToo movement, they are coming out with their story – hoping to get closure if nothing else. If they get justice, great – if not, at least they’re hoping for closure.

Many have complained that outing men on social media is not the right way to go about this. That women should follow due process – that is, go through the justice sytem of police and courts, or through the workplace structures for this purpose.

And that has worked, right? After trying all that, and hitting their heads against a wall, women have finally chosen social media as their hope for getting their message across. And who can blame them? It’s not like they didn’t want due process – it is that “due process” failed them completely.

Another criticism of #MeToo is that it is often just accusation, without evidence. And no court can possibly accept that. There’s a chance that an innocent person is maligned out of malice or whatever other reason, and his reputation totally destroyed by a #MeToo accusation.

Yes, this is possible. In the spate of accusations, it is possible that some are fake too. Which is why every accusation needs to be attempted to be vetted to the extent possible. Having said that, it is also very unreasonable and unrealistic to expect evidence in cases of sexual harassment, because of its very nature. It tends to happen behind closed doors. So there will be many cases where such evidence is just not available.

Yet another criticism is that #MeToo is about the urban elite and about sometimes seemingly trivial harassment, while women in rural India suffer far worse.

I think this is unfair. Yes, rural women suffer harassment too – possibly much more. Does that mean urban women should be silent? What sort of logic is that? Rather, we should hope the movement spreads to rural India too. Most movements anyway start with those who have relatively more agency – and then spread.

All in all, I think #MeToo in India was long overdue. It started in the US almost exactly a year ago, and exposed many well-known Hollywood personalities like Harvey Weinstein and Kevin Spacey. Around that time, an Indian in the US, Raya Sarkar, prepared a list of predators in academia – but she was unfortunately criticized and the movement did not pick up steam then in India.

Now it has.

No one knows how it will go from here. Will it evolve further? Or will it fizzle out?

I’m sincerely hoping it evolves further. I’d like to see it grow – go beyond urban India, go beyond the few sectors it has so far been largely restricted to (films, media, advertising). There must be many more cases in politics, in government and corporate India, where power is most prone to abuse. Maybe those stories are slow in coming because the women involved are less comfortable coming out with their stories.

And that’s only fair. Each person has to decide for herself – she has to weigh the consequences of her actions. We need to respect that.

One huge positive impact of #MeToo has been that men themselves seem to be re-assessing their behaviour. Not just in the past but also in the present. They seem to be becoming more sensitized and aware of boundaries and space. And about consent. At least I hope so.

Hopefully films too will become more sensitized to gender from now on. I think it is already happening. Films in the past have been hugely misogynistic, often presenting stalking as romantic! And considering how much of an influence films/TV have on society, they might have playe thei role too in moulding society into what it is today.

But then, they were a function of their times – I don’t want to dwell on the past. We can’t change that anyway.

What we can change is the present and the future. And hopefully from now on at least, we will see better-behaved men, whether triggered by #MeToo or not.

Of course, we need much more to happen. Until we dismantle patriarchy there is always going to be victim-blaming and shaming. We all know that men are the root cause of the problem, yet we will continue to blame the women and expect them to “behave themselves”.

So much more needs to happen. We can all do our bit – by calling out patriarchy when we see it, even if it happens without our close circles. By bringing up the next generation with a better understanding of gender equality so that boys don’t grow up with a sense of entitlement. This is what manifests itself in most undesirable behaviour when the boy becomes a man.

Clearly we haven’t done enough in the last 60 years, since Sahir wrote “aurat ne janam diya” in 1958. It’s a sad reflection of our society that it feels relevant even in 2018.

I’d like a future generation to listen to it and say “Oh, how horrible things were for women in those days! Thank God things are so much better today, and women don’t go through all that!”

I know I’m dreaming – but you know what they say. Ummeed pe duniya kaayam hai.

Let’s do our bit to make it happen?

Thanks for listening.


Song-Seeta bhi jahaan sukh paa na saki (Lakshmi)(1982) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Usha Khanna

Lyrics (Provided by Avinash Scrapwala)

Naa tera durbhaagya nayaa hai
Naa jag ka vyavhaar nayaa aa
Naa raahon ke shool naye ae
Naa patthar dil sansaar nayaa

Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Jo zulm teri taqdeer banaa
Jo zulm teri taqdeer banaa
Wo zulm yugon se zaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Avtaaron ki nasl badhaa kar bhi
Patitaaon mein sthaan mila
Sadiyon se yahaan har ablaa ne
Sadiyon se yahaan har ablaa ne
Ro ro kar umar guzaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Do pyaar ke meethhe bolon ki
Martey dam tak pyaasi hi rahi
Jo zehar miley wo peeti jaa
Jo zehar miley wo peeti jaa
Tu kaun si Janak dulaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Ab Valmiki saa koyi rishi
Is dharti par paayegi kahaan
Ab tu ik bhatki hirni hain
Ab tu ik bhatki hirni hain
Aur mard ki aankh shikaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
ना तेरा दुर्भाग्य नया है
ना जग का व्यवहार नया आ
ना राहों के शूल नए ए
ना पत्थर दिल संसार नया

सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
जो ज़ुल्म तेरी तकदीर बना
जो ज़ुल्म तेरी तकदीर बना
वो ज़ुल्म युगों से जारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
अवतारों की नस्ल बढ़ाकर भी
पतिताओं में स्थान मिला
सदियों से यहाँ हर अबला ने
सदियों से यहाँ हर अबला ने
रो रो कर उम्र गुजारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

कहने को तो देवी कहलाई
पर नार यहाँ दासी ही रही
कहने को तो देवी कहलायी
पर नार यहाँ दासी ही रही
दो प्यार के मीठे बोलों की
मरते दम तक प्यासी ही रही
जो ज़हर मिले वो पीती जा
जो ज़हर मिले वो पीती जा
तू कौनसी जनक दुलारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
अब वाल्मीकी सा कोई ऋषि
इस धरती पर पाएगी कहाँ
अब तू इक भटकी हिरनी है
अब तू इक भटकी हिरनी है
और मर्द की आँख शिकारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है


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.

Blog Day : 3680 Post No. : 14574

The 15th of August, is a special date in the calendar for India.

Every year, there are events across the country celebrating the day. There is flag-hoisting in schools, offices and public places. There are patriotic songs played on radio. There’s a lot more to mark the date and occasion.

All of this is understandable. After all, it was on the 15th of August that many years ago, India became an independent nation, free from British rule.

Today is the 72nd Independence Day for India. I still remember the Silver Jubilee celebrations in 1972 – I was part of my school March Past event. How time flies!

But there is more to this date than just celebration. It is an occasion that at least some of us use to reflect. On India’s journey as an independent nation so far. We take stock of where we are, and where we’d like to see us go from here.

I am sure there must be many articles written on this subject in various media publications this week. On our part, our Avinashji has sent me the lyrics for today’s song and requested me to share my thoughts on this occasion. I am therefore taking the liberty of doing so.

Whenever I think of 15th August, the first thing that comes to my mind is our Freedom Struggle and our Founding Fathers. Today we take our freedom for granted – it is hard to even imagine that we were once a colony of the British Empire.

But if it were not for the struggles and sacrifices of millions of Indians, from every corner of the country, would we have got independence when we did? We are familiar with some of the more prominent names who were part of this struggle. But there were so many more who made sacrifices, who gave up their lives for the cause – and died unsung.

I always think of them on 15th August.

Then the Founding Fathers themselves. Once India became an independent country, Britain left it to fend for itself. Can you imagine the challenges a new-born India would have faced at that time?

India was then a country reeling from the horrors of partition. Although there had been talk of partition for a while, the actual execution of the whole process was done very hastily, without enough attention to detail. Political lines were drawn to create India and Pakistan, but these were still being “negotiated”. Even on independence, many villages did not even know whether they belonged to India or Pakistan. And there were the tricky issues of princely states like Junagadh and Hyderabad. And there was Kashmir.

So things were very fluid on 15th August 1947, though technically India and Pakistan had both become independent nations.
The mass migration of millions across borders, with all the violence and pain that ensued – how can one ever forget that! People lost everything, their families, their possessions. Their entire life got uprooted as they became refugees in their new world.

Then, post independence, the massive task of bringing more than 565 princely states into the fold of one nation. How challenging was that! Some agreed to be part of India. Different tactics were needed to bring the others into the fold.

All this while communal harmony, already severely tested in the tense times leading upto the partition, was just about hanging by a thread. The partition exposed fault lines much more nakedly – there was resentment amongst Hindus in India for Muslims who had not migrated. And the other way round in Pakistan.

As we know, many Muslim artistes in the Hindi film industry even changed their names to Hindu-sounding names to avoid becoming targets of hatred, and to appeal to the largely Hindu audiences.

Such was the fragility of Indian communal harmony in the immediate aftermath of independence.

Talking of fragility, it was not only communal harmony that was fragile. Independent India had inherited unprecedented levels of poverty, exacerbated by partition woes. Its economy was in very bad shape. Poor living conditions meant disease was not uncommon. Added to this was a very high level of illiteracy and social backwardness in general.

Kashmir was still a burning issue, Gandhiji got assassinated.

The overall situation looked so bleak at one time that Life Magazine, in the late 1940s, even ran a story along the lines of “Will India survive?” Clearly the world was skeptical.

Thankfully, our Founding Fathers were not.

Even in the midst of all these seemingly insurmountable challenges, they stayed steadfast on course, buoyed by the exuberance of having a new baby to nurture and nourish. Yes, there were challenges – but, to them, these were teething troubles.

Despite differences amongst themselves (yes, they did have differences!), they were united on one thing – all of them had a dream of a strong, resilient, and free India. Their views on how to get there might have been different – Nehru might have had a socialist mindset, Rajaji a more capitalist mindset – but they shared this common dream.

This dream involved providing, for every Indian, a fair opportunity at life. A life of dignity. India would be a country where justice would be available to one and all. A country which had hitherto been suppressed, but whose peoples would now be able to breathe freely, not be enslaved to any thought. They would be free to pursue a religion of their choice. India would be a country whose people would feel a sense of fraternity towards each other, not be divided by regionalism, casteism, religion and other such divisive elements.

This dream got enshrined in the form of a Constitution for India. When India became a Republic on 26th January 1950, it further underlined the vision of the Founding Fathers – that there would be no monarchy in India, that there would be elected representatives, elected by the people. There’s a lot more in the Constitution – it lays down the terms of reference between organs of the State, separation of powers between the Executive, Legislature and Judiciary, it talks about fundamental rights and duties of citizens.

While there is always scope for improvement, and any document should be a living document kept in tune with the times, the Constitution of India does provide a great framework for the country. Without it, there would be utter chaos.

And for this Constitution too, we need to thank our Founding Fathers and their vision.

I know none of this is new to anyone – and I am rambling – but I do think that at least on Independence Day (if not on other days) we need to remind ourselves of how much struggle, sacrifice and effort went into first making India an independent nation, and then ensuring it survived against the greatest of odds.

Unless and until we appreciate the magnitude of the challenges that were faced and overcome at that time, we will not be able to value the freedom we have today.

So I hope you will excuse my rather long history lesson. 🙂 If there are any inaccuracies here, please do let me know. I’m happy to be corrected.

The song “hum laaye hain toofaan se kashti nikaal ke” comes to mind in this regard.

Now to today’s India. Let’s take stock of where we are.

We’ve come a long way from those early fragile years. Sure, we’re still not where we’d like to be, but we’re definitely not looking at an existential crisis.

Economically too we are far better off today. Although we still have millions below the poverty line, and many above it still struggling to make both ends meet, we are better off than the “independence” generation. Many of us will admit that our own fathers and forefathers had a much tougher life than we are having now.

Education levels have also significantly improved. I have doubts about the quality of education as I see many “highly-qualified” Indians unable to comprehend basics, completely lacking in logical or analytical thinking, lacking in life-skills, but that’s for another debate. Let’s just say, we have many millions more “educated” Indians today.

In many other areas, like tackling disease, or improving sanitation or road infrastructure, India is progressing. It’s a 71-year young nation now, one would expect nothing less.

So on the material front, I think India is on the right track. Still a long way to go, still a lot of poverty to eradicate, but I have hope.

My bigger concern is to do with freedom and independence. Not of India, but of Indians.

I happen to think India became free and independent on 15th August 1947 – but only in a political sense.

Indians are FAR from being free or independent, even today, 71 years later.

When Indians attained freedom from colonial rule, they expected to be able to lead their lives as free citizens. No more being slaves to anyone, no more being treated like third-class citizens.

The reality though is that we are still slaves. Not to British masters anymore, but to Indian ones.

The difference is, we didn’t elect those British masters, we now elect our Indian masters. The specific individuals change, but the underlying master-slave relationship doesn’t.

In theory, in a democracy, we, the people, have power. We elect representatives on our behalf to run the affairs of the country. These representatives are therefore “public servants”, supposed to serve the interests of the people. They are supposed to be accountable to the people for the tasks assigned to them. They are also accountable to the people for funds utilized by them because these funds are collected from, and on behalf of, the people. They are supposed to be transparent about their work, so that the public can evaluate progress (or lack of it).

This is the theory.

We all know how things work in practice.

But why don’t they work?

Simply because there is a huge power imbalance between the people and their representatives. These representatives, so-called “public servants”, have steadily increased their power quotient at the cost of the people they are supposed to serve. As it is, they have the power to make laws – so they make or modify laws to strengthen their power position, to legitimize their power grab, thus further skewing the imbalance in their favour. Sel-aggrandizement is the mantra.

This isn’t just the story of one political party – this is with practically every political party.

Which is why the solution isn’t to just replace one party with another.

The solution is to structurally redress this power imbalance.

Make the public more powerful.

How?

There is very little power in the hands of one individual. I can scream from my rooftop but my single voice means nothing.

But there is a lot of power in a large group. The larger, the better.

When a large group chooses to raise its voice, these representatives have no choice but to listen. Otherwise they know they will be on the wrong side of the numbers game.

And in a democracy, it is all about a numbers game.

But for a large group to raise its voice against the powers-that-be, it has to, first of all, be free. It must NOT have a slave mentality.

And that’s a big problem in India.

Maybe due to historical baggage of being ruled by maharajas, many Indians are still subservient to authority. They are still happy to be “ruled”. Feudalism, although less today, still plays its role in perpetuating this master-slave relationship.

This is also why SO many Indians still have this “mai-baap” attitude towards government and other powers-that-be. They fall at the feet of politicians, seeking favours, sometimes even begging for something that is their right, but has been denied to them.

And of course, the politicians then act high-and-mighty, dishing out largesse as if they are royalty. They act generous – it’s easy to be generous with other people’s money. A sizeable share of the public’s hard-earned money is distributed as an act of generosity by the politicians. And they get praise for this. Not to mention votes.

It is THIS mentality that is my biggest issue with Indians. This slave mentality.

Which is why I say India became a free country on 15th August 1947 – but Indians are still slaves.

Just to clarify, I wouldn’t blame the poor or destitute for this. They are barely struggling to survive on a daily basis – they hardly have any choice or agency. But those who DO have a choice, who don’t HAVE to grovel before the powers-that-be but still do so, they are the ones who are undermining the effort to redress the power imbalance. They are often the ones to first stand up in defence for the powers-that-be, against their own fellow citizens.

So on this Independence Day, my request to all Indians is to abolish this slave mindset – and be free. If you don’t want to be treated like a third-class citizen, you first need to stop behaving like one.

Freedom is too precious to let it be taken away from you by anyone. Like Sahir said “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai…apna haq sangdil zamaane se, chheen pao, to koi baat baney”.

And please stand up for those who try to break these chains of slavery. As I said earlier, this battle cannot be fought by one individual. So when someone is trying to fight against oppression, against slavery, please support his or her effort, instead of undermining it by being loyal to the master.

Even during our Freedom Struggle, there were Indians who undermined the effort of fellow Indians by taking the side of the British. This only made the freedom struggle harder.

I hope we have learnt from that lesson.

There are a lot more thoughts in my head on this Independence Day – there are a lot more improvements I’d like to see in India. Especially with regard to society.

The thing is, if we harbour aspirations to be a truly developed nation, we need to also have progressive thought in society. Mere material progress isn’t enough.

It saddens me to see that even in 2018, some of our thinking is regressive.

Patriarchy is still rampant in Indian society – with all its negative consequences for women, and even men. It is one of the biggest reasons for rapes and other forms of violence against women.

Then, our casteism. Even today, Dalits are discriminated against – let’s not pretend they aren’t.

Indian society is full of prejudices – just look at matrimonial columns to get an idea.

There’s a lot more that bothers me – I could go on and on.

But this post has already become too long – and each of these topics deserves proper discussion and treatment of its own.

So I will stop here on these topics.

Just to clarify, I’m not saying we haven’t come a long way. We have. But we still have a very long way to go – in terms of poverty alleviation/elimination and society upgradation.

The responsibility lies largely with those of us who are relatively privileged and educated. Even the Freedom Struggle counted amongst its leaders many well-educated Indians, of whom many had had the opportunity to study or live abroad and get a different perspective on life and their country.

So those of us who are in a position to make a difference need to do so. But for that, we first need to CARE for our less-privileged fellow citizens. Instead of looking down on them, we need to think of how we can make their lives better. We need to help make them free and independent citizens. Remember, WE are the fortunate ones, to even be able to read this online. I don’t mean this in the slightest patronizing sense – the fact is that we are all privileged. Millions are not.

Also remember, those well-off Indians from the Freedom Struggle could very easily have just enjoyed their privilege instead of throwing themselves into the Struggle. They chose to make sacrifices because the cause they were fighting for, was bigger than their individual selves.

We need a similar cause that we can all rally around today. If that is the prosperity of India, it must mean the prosperity of all Indians, not just a select few. But prosperity, without peace and harmony, is useless. So the cause must encompass all these components.

India is nothing without Indians. It would be just a piece of land. So talking about “making INDIA a great nation” is all just empty rhetoric if we are not working towards making the future of INDIANS great. And again here I mean ALL Indians, not a select few.

For me it is all about the individual first. She or he is the unit-level of existence. If the individual isn’t empowered, if she or he isn’t free, what’s to celebrate about the nation being free? The nation is just a bunch of individuals, right?

You might not agree with my thoughts (and that’s perfectly fine!) – I’m just sharing them here on request of Avinashji. 

A lot more running in my head too – but this post has already become way too long now, so let me get to the song for the occasion.

It is a non-film song. A patriotic song composed by Khayyam, sung by Rafisaab, to Sahir’s lyrics.

I heard this song for the first time only a few days ago – I quite liked it. I hope you like it too.

Happy Independence Day. And thanks for your patience in tolerating this long post. 🙂


Song-Watan ki aabroo khatre mein hai (Rafi NFS)(1962) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Khayyam
chorus
Rafi+Chorus

Lyrics

Watan ki aabroo khatre mein hai
Aa aa aa aa aa
Watan ki aabroo khatre mein hai
Hoshiyaar ho jaao
Hoshiyaar ho jaao
Hoshiyaar ho jaao o

Hamaare imtihaan ka waqt hai
Taiyyaar ho jaao
Taiyyaar ho jaao
Taiyyaar ho jaao o

Hamaari sarhadon par khoon behta hai
Jawaanon ka
Aa aa
Huaa jaata hai dil chhalni
Himaalaa ki chattaanon ka
Aa aa
Uthho rukh pher do dushman ki
Topon ke dahaanon ka aa
Aa aa
Watan ki sarhadon par aahni
Deewaar ho jaao
Hoshiyaar ho jaao
Watan ki aabroo khatre mein hai

Wo jinko saadgi mein hamne
Aankhon par bithhaaya thha
Aa aa
Wo jinko bhai kehkar
Hamne seene se lagaaya thha
Aa aa
Wo jinki gardanon mein haar
Baahon ka pehnaaya thha
Aa aa aa
Ab unki gardanon ke waaste
Talwaar ho jaao o
Aa aa aa
Ab unki gardanon ke waaste
Talwaar ho jaao o
Hoshiyaar ho jaao
Watan ki aabroo khatre mein hai

Na ham is waqt Hindu hain
Na Muslim hain
Na Isaayi
Hmm hmm hmm
Agar kuchh hain to hain
Is desh is dharti ke shaidaai
Hmm hmm hmm
Isi ko zindagi denge
Ae ae ae
Isi ko zindagi denge
Isi se zindagi paayi
Lahu ke rang se likhaa huaa
Ikraar ho jaao
Watan ki aabroo khatre mein hai
Hoshiyaar ho jaao
Hoshiyaar ho jaao
Hoshiyaar ho jaao o

Watan ki aabroo khatre mein hai

Khabar rakhna koi gaddaar
Saazish kar nahin paaye ae
Aa aa
Nazar rakhna koi zaalim
Tijori bhar nahin paaye ae
Aa aa
Hamaari kaum par ar ar ar
Hamaari kaum par
Taareekh tohmat dhar nahin paaye ae
Aa aa aa
Kafan dushman
Darindon ke liye
Lalkaar ho jaao
Lalkaar ho jaao
Lalkaar ho jaao o
Lalkaar ho jaao o
Lalkaar ho jaao o o

————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————–
वतन की आबरू खतरे में है
आ आ आ आ आ
वतन की आबरू खतरे में है
होशियार हो जाओ
होशियार हो जाओ
होशियार हो जाओ ओ

हमारे इम्तिहान का वक़्त है
तैयार हो जाओ
तैयार हो जाओ
तैयार हो जाओ ओ

हमारी सरहदों पर खून बहता है
जवानों का
आ आ
हुआ जाता है दिल छलनी
हिमाला की चट्टानों का
आ आ
उठो रुख फेर दो दुश्मन कि
तोपों के दहानों का आ
आ आ
वतन की सरहदों पर आहनी
दीवार हो जाओ
होशियार हो जाओ
वतन की आबरू खतरे में है

वो जिनको सादगी में हमने
आँखों पर बिठाया था
आ आ
वो जिनको भाई कहकर
हमने सीने से लगाया था
आ आ
वो जिनकी गर्दनों में हार
बाहों का पहनाया था
आ आ आ
अब उनकी गर्दनों के वास्ते
तलवार हो जाओ ओ
आ आ आ
अब उनकी गर्दनों के वास्ते
तलवार हो जाओ ओ
होशियार हो जाओ
वतन की आबरू खतरे में है

ना हम इस वक़्त हिन्दू है
ना मुस्लिम है
न इसाई
हम्म हम्म हम्म
अगर कुछ हैं तो है
इस देश इस धरती के शैदाई
हम्म हम्म हम्म
इसी को ज़िन्दगी देंगे
ए ए ए
इसी को ज़िन्दगी देंगे
इसी से ज़िन्दगी पायी
लहू के रंग से लिखा हुआ
इकरार हो जाओ
वतन की आबरू खतरे में है
होशियार हो जाओ
होशियार हो जाओ
होशियार हो जाओ ओ

वतन की आबरू खतरे में है

खबर रखना कोई गद्दार
साज़िश कर नहीं पाए ए
आ आ
नज़र रखना कोई ज़ालिम
तिजोरी भर नहीं पाए ए
आ आ
हमारी कौम पर र र र
हमारी कौम पर
तारीख तोहमत धर नहीं पाए ए
आ आ आ
कफ़न दुश्मन
दरिंदों के लिए
ललकार हो जाओ
ललकार हो जाओ
ललकार हो जाओ ओ
ललकार हो जाओ ओ
ललकार हो जाओ ओ ओ

Dahaan – दहान -دہان
mouth; orifice

Shaidaa. ii – शैदाई – شیدائی
lover, enamored

Tohmat – तोहमत – تہمت
Allegation, Accuse
false accusation, suspicion of guilt


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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 over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1172
Total Number of movies covered =4139

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