DO PREMI

सारे सपने आप ही से सजाये हैं,
सिर्फ आप अपने, बाकी सब पराये हैं।

दिल में तो सब बस जाते हैं आशिक़ के,
आप हैं जो मेरी धड़कन में समाए हैं।

अभी मिले हैं पर यूँ लगता है मुझे,
कई जनम साथ साथ बिताए हैं।

सारा आलम खुशगवार नज़र आने लगा,
नाज़ुक होंठों से जब आप मुस्कराये हैं।

सोचता हूँ कोई गीत आपके लिए लिख दूँ,
हज़ारों नग़में होंठों पे उभर आये हैं।

तेरी नज़र ने किया इन पे यूँ जादू,
चमन में फूल ही फूल खिलखिलाये हैं।

भँवरे इस अंदाज से मंडराने लगे,
जैसे तेरे जिस्म को छू के आये हैं।

ऐ खुदा अब आगे तुम देख लेना,
दो प्रेमी पीछे सारा जहां छोड़ आये हैं।

SAPNE – MERE APNE

सपनो का राही हूँ,
सपने ही तो मेरे हैं।
जब सपनो से आगे बढ़ा,
वो दिन फिर क्या तेरे हैं?
सपने ही तो उजाले हैं,
बाकी सब अंधेरे हैं।
तुझे रातों के साये पसंद हैं,
मेरे लिए सपने ही सबेरे हैं।
चंद दिन की यहां खुशियां हैं,
जाने कहाँ फिर डेरे हैं?
ज़िन्दगी के क्या माईने हैं?
दो चार रोज़ के फेरे हैं।
जी लेने दे अपनी ज़ुल्फ़ों तले,
जब तक इनके साये घनेरे हैं।

BHOOL JAO TO MUJHE BHI BATANA

जब तुम भूल जाओ हमें तो हमें भी बता देना,
क्या करेंगे हम भी तुम्हें फ़िर याद करके?
प्यार लौटा देते हैं जहां उसका हमें भी पता देना,
हमें भी खबर हो कहाँ बसते हैं औरों को बर्बाद करके।

सारी जिंदगी तेरी इबादत में ही गुज़ारी है,
ना जाने किस उम्मीद में रहे रोज़ फरियाद करके।
क्या कहें कैसी अब यह हालत हमारी है,
गमों और आँसुयों की दुनिया आबाद करके।

कितने वादे किए थे कितनी कसमें खाई थी,
दिल हलका कर लिया तूने इस बोझ से आज़ाद करके,
जाने क्यों मेरी ज़िंदगी में तूं आयी थी,
क्या मिल गया तुझे मुझको नाशाद करके?

Songs That Tug At Your Emotions – Song #36

The thirty-sixth song in this series.

Woh jab yaad aaye bahut yaad aaye….

This song is from the 1963 Babubhai Mistri movie Parasmani (Gold making stone). The movie starred Mahipal and Geetanjali. The story of the movie was written by Pandit Madhur (a lyricist in his own right, he wrote lyrics for Banphool (1945), Tulsidas (1954), Prabhu Ki Maya (1955), Lalkar (1956), Harishchandra (1958) and Chandrasena (1959) and Vishwanath Pande. Asad Bhopali penned four of the six songs in the movie. All were composed by Laxmikant Pyarelal.

Before we take up anything else about the movie, we should take up the music duo of Laxmikant Pyarelal who ruled the Hindi films music world from 1963 to 1998. Even though they had worked with several music directors earlier both separately and together, Parasmani was the debut movie of Laxmikant Pyarelal as Music Directror.

Laxmikant Pyarelal started off with 1963 movie Parasmani and they made such popular songs for their very first movie that these are fondly remembered even today:

1. “Hansta Hua Noorani Chehra” Asad Bhopali Lata Mangeshkar, Kamal Barot 3:40
2. “Mere Dil Mein Halki Si” Asad Bhopali Lata Mangeshkar 4:56
3. “Ooi Maa Ooi Maa Yeh Kya Ho Gaya” Asad Bhopali Lata Mangeshkar 3:24
4. “Salamat Raho Salamat Raho” Indeevar Mohammad Rafi 5:57
5. “Woh Jab Yaad Aaye” Asad Bhopali Mohammad Rafi, Lata Mangeshkar 4:43
6. “Chori Chori Jo Tumse Mili” Faruk Kaiser Mukesh, Lata Mangeshkar 4:01

The duo that started off so outstandingly well in their very first movie had indeed great future ahead for them. They received their first Filmfare Award for Best Music Director for the 1964 Satyen Bose movie Dosti.  Dosti was only their sixth movie (they did a total of 635 movies between 1963 to 1998) after Parasmani (1963), Harishchandra Taramati (1963), Sati Savitri (1964), Sant Gyaneshwar (1964) and Mr X in Bombay (1964). All these movies too had excellent and memorable songs; eg, Main ek nanha sa main ek chhota sa bachcha hoon and Suraj re jalte rehna from Harishchandra Taramati; Tum gagan ke chandrama ho main dhara ki dhool hoon, Jeevan dor tumhi sang bandhi, Sakhi ri pi ka naam naam na poochho, and Itni jaldi kya hai gori saajan ke sang jaane ki from Sati Savitri; Jaago re prabhat aaya, Jyot se jyot jalaate chalo, and Ek do teen chaar bhaiya bano hoshiyar from Sant Gyaneshwar; Mere mehboob qyaamat hogi, Khoobsurat haseena jaan-e-jaan jaan-e-mann, Chali re chali re gori paniya bharan ko, and Julmi hamaare saanwariya ho Raam from Mr X In Bombay.

Laxmikant Shantaram Kudalkar was born on the day of Laxmi Pujan, Dipawali on 3 November 1937. Probably, because of the day of his birth, his parents named him Laxmikant, after the goddess Laxmi.

Pyarelal Ramprasad Sharma (born 3 September 1940) is the son of a renowned trumpeter Pandit Ramprasad Sharma (popularly known as Babaji), who taught him the basics of music. He started learning violin at the age of 8 and practised it 8 to 12 hours daily. He learnt to play violin from a Goan musician named Anthony Gonsalves. The song “My Name Is Anthony Gonsalves” from the movie Amar Akbar Anthony is regarded as a tribute to Mr. Gonsalves (the movie had music by Laxmikant–Pyarelal). Presently, he is amongst the leading violinists in the country. The violin notes that he played for Ek pyar ka nagma hai are amongst his memorable renditions.

Laxmikant was a great fan of Shankar Jaikishan and initially L-P’s music sounded like that of S-J. However, their meteoric rise spelt the end of not just S-J Era but the era of so many other MDs such as Naushad, Madan Mohan, SD Burman, Roshan, C Ramchandra and OP Nayyar. Of course, some of the credit was shared by RD Burman and Kalyanji Anandji.

L-P have won seven Filmfare Awards, two short of Shankar Jaikishan and three short of AR Rehman who has won it a record ten times. They are, of course, nominated for a record 25 times.

The lyricist who worked with Laxmikant Pyarelal the most was Anand Bakshi whose songs featured in as many as 220 of their movies.

Asad Bhopali, the lyricist of this song was born as Asadullah Khan on 10 Jul 1921 in Bhopal.

Asad Bhopali wrote two songs for Fazli Brothers’ Duniya (1949): Rona hai to chupke chupke (sung by Mohammad Rafi) and Armaan lute, dil toot gaya (sung by Suraiyya). The next year, he wrote songs for a couple of films; these songs were sung by Lata Mangeshkar and Shamshad Begum. Bhopali’s big break was BR Chopra’s Afsana (1951), for which he wrote 5 songs.

He received his only Filmfare Award for Best Lyricist very late for the 1989 movie Maine Pyar Kiya’s song: Dil deewana bin sajna ke maane na.

The song Woh jab yaad aaye bahut yaad aaye made him very popular. After Parasmani, L-P and Asad Bhopali were together for another ten movies: Mr. X In Bombay (1964; with such delightful songs as: Mere mehboob qayamat hogi, Zulmi hamare saanwariya ho Ram, Chali re chali re gori paniya bharan ko, and Khubsoorat hasina); Aaya Toofan (1964; Hum pyaar kiye jaayenge koi rok sake to rok le); Shreeman Funtoosh (1965; he wrote only one song. The others were penned by Anand Bakshi); Lootera (1965); Hum Sab Ustaad Hain (1965; Ajnabi tum jaane pehchane se lagte ho, Pyar bantate chalo); Boxer (1965; Khudaya khudaya mohabbat na hoti); Naag Mandir (1966; Ek manzil ek safar hai hamara aap ka); Chhaila Babu (1967; Tre pyar ne mujhe gham diya); Nirdosh (1973; Tujhe khanjar se kya maru ek nazar hai kafi); and Ranbhoomi (1991; Pee ke Shankar ji ki booti).

This song from 1964 movie Mr X In Bombay was another super-hit number from Asad Bhopali and Laxmikant Pyarelal.
(Poster courtesy: Wikipedia)

As I said in the beginning, this song is from the 1963 Babubhai Mistri movie Parasmani. Lets look at the story penned by Pandit Madhur and Babubhai Mistri to see how this song came about in the movie:

The actor Mahipal plays Paras in the movie from whom the title is derived. Son of a Senapati, he is lost at sea when his ship passes through a cyclone. He is found and brought up by a villager and because of his genes becomes an accomplished swordsman and singer.

One day, he encounters the princess ( Rajkumari played by Gitanjali) and falls in love with her. His fame as a singer soon reaches the palace, and the Emperor summons him to sing for him. Pleased with his singing, the Emperor asks him for a wish, and Paras asks for the hand of his daughter. Enraged, the Emperor decides to punish Paras, but Paras escapes.

Appearing defeated, the Emperor asks Paras to seek a rare gem called a Parasmani, because he is under a curse that as soon as his daughter marries, it will be the last day for the Emperor. If Paras can find the Parasmani, the life of the Emperor can be saved. Only then can Paras marry the princess. Paras agrees to this and leaves on the search with his sister and brother.

Paras receives clues from various places and is directed to a cave. From this point, the film that is black and white earlier becomes Eastman Color. Fighting various magical creatures and volcanic lava, Paras meets the Sorceress Mayanagri (Jeevan Kala), who falls in love with the brave Paras. Taking him in confidence, she shows him her real self, which is an old woman. The Sorceress shows him the Parasmani, which Paras gains after killing a giant spider-like creature. Soon the old sorceress also meets her end. Paras and his siblings fly back to their kingdom where, after some crucial fights, he meets his father, Senapati, and is married to the princess.

The song comes about when the lovers are separated.

Laxmikant Pyarelal composed the song in Raag Kalyan, Tal Kaherava.

Raag Kalyan is the basic raag of Kalyan thaat, which is also known as Raag Yaman (from the Mughal period onwards). It is a Sampooran (all seven swars; ie, heptatonic) raaga with Madhyam being teevra and rest all swar being shuddha, which is normally to be played during the first prahar of the night (6 PM to 9 PM).

Raag Kalyan or Yaman is a fundamental raag and often the first raag taught to students of classical music.

Kalyan or Yaman is a very popular raag for composing Hindi movies’ songs. Following songs, as examples, have been composed in this raag:

 

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.

 

Khuda Nigahbaan Ho
Main Kya Jaanu Kya
Aansoo Bhari Hai
Man Re Tu
Ang Ang Rang
Re Man Sur Mein Ga
Aapke Anorodh Par
Is Mod Se Jate
Jo Tum Todo Piya
Hamari Thodi Si Bewafai
Aaj Hum Apni
Nav Kalpana Nav Roop
Na Jao Saeeyan
Mithe Bol Bole
Mitwa Bole Meethe
Jane Kya Sochkar
Tarana
Mohe Maro Na Kanha
Dekho Ri Koi
Ehsaan Tera Hoga
Chale Ja Rahe Hain
Yahi Hai Tamanna
Gahar Se Nikalte
Saras Raat Man Bhaye

Kabhi Kabhi Mere Dil Mein
Nigahein Milane Ko
Paan Khayo Saiyan Hamaro
Sabere Ka Suraj
Tera Chhehera
Woh Shaam Kuchh
Maangne Se Jo Maut
Mausam Hai Aashiqana
Sapna ban Saajan
Chhupalo Yun Dil
Woh Jab Yaad Aaye
Jhamela Jhoote Jag Ka
Diya Jalao Jagmag
Nukta Chi Hain
Salaam-e-Hasrat

Mughal-E-Azam
Zindagi
Parvarish
Chitralekha
Sandhya
Lal Pathar
Anurodh
Aandhi
Meera
Thodi Si Bewafai
Pakeezah
Mrigtrishna
Sahib Bibi Aur Ghulam
Kinara
Parichaye
Kinara
Pakeezah
Manavta
Ganga Ki Leherein
Junglee
Kinare Kinare
Aapki Parchhaiyan
Papa Kehte Hain
Suwarn SundariKabhi Kabhi
Dil Hi To Hai
Teesri Kasam
Ek Baar Muskura Do
Aapas Ki Baat
Khamoshi
Sunehere Kadam
Pakeezah
Shokhiyan
Mamta
Parasmani
Bhajan
Tansen
Mirza Galib
Babar
Lata
K L Saigal
Mukesh
Rafi
Sulakshana
Asha, Manna Dey
Kishore
Lata, Kishore
Vani Jayram
Kishore, Lata
Lata
Rafi
Geeta Dutt
Bhupendra, Lata
Bhupendra
Kishore
Lata
Lata
Asha
Rafi
Manna Dey
Rafi
Udit Narayan
Rafi, LataMukesh, Lata
Asha
Asha
Kishore
Kishore
Kishore
Lata
Lata
Lata
Lata, Hemant
Lata, Rafi
Mukesh
K L Saigal
Suraiya
Sudha Malhotra

Please enjoy a composition of Laxmikant Pyarelal in Raag Kalyan or Yaman, Tal Kaherava on the lyrics of Asad Bhopali this unforgettable song sung by Mohammad Rafi and Lata Mangeshkar for Mahipal and Gitanjali in the 1963 Babubhai Mistri movie Parasmani: Woh jab yaad aaye bahut yaad aaye…..

वो जब याद आए बहुत याद आए
ग़म-ए-ज़िंदगी के अंधेरे में हमने
चिराग-ए-मुहब्बत जलाए बुझाए

आहटें जाग उठीं रास्ते हंस दिये
थामकर दिल उठे हम किसी के लिये
कई बार ऐसा भी धोखा हुआ है
चले आ रहे हैं वो नज़रें झुकाए

दिल सुलगने लगा अश्क़ बहने लगे
जाने क्या-क्या हमें लोग कहने लगे
मगर रोते-रोते हंसी आ गई है
ख़यालों में आके वो जब मुस्कुराए

वो जुदा क्या हुए ज़िंदगी खो गई
शम्मा जलती रही रोशनी खो गई
बहुत कोशिशें कीं मगर दिल न बहला
कई साज़ छेड़े कई गीत गाए

Laxmikant Pyarelal’s song for their debut movie is not counted merely among their good songs; it is considered one of their great numbers and here is what makes it so memorable:

Firstly, their composition and music arrangement is so good that you feel the pain of the separated lovers. It starts with an alaap from Lata Mangeshkar followed by silence when Rajkumari imagines Paras and vice-versa and then the music hits you like waves breaking against shore rocks. And then you hear the deep sonorous voice of Mohammad Rafi singing Woh jab yaad aaye…

At this stage, I must also bring out that there are many people (including me) who praise the duets of Mukesh with Lata or Hemant Kumar with Lata. However, if you recall the duets of Rafi with Lata (such as Mere Mehboob number Yaad mein teri jaag jaag ke ham, and this number) you would find sheer magic.

The lyrics and notes match perfectly and even though the song is in three stanzas, the strong tugs at your own emotions never cease. It must easily be the most liked Yaad song of all times.

The song has some compelling interludes and the silences before the music takes over (for example after Rafi sings the mukhada) add to its overall appeal.

Being in Raag Kalyan it is also relatively easy to sing; as easy as another great number in the same raag composed by Duttaram, penned by Hasrat Jaipuri and sung by Mukesh: Aansu bhari hain ye jeevan ki raahen.

I hope you enjoyed it too.

Please await the next song in the series.

Raaga Based Song Of The Day #96

Raaga Based Song of the Day: Teri aankhon ke siwa duniya mein rakha kya hai….
Raag Jhinjhoti, Tal Dadra

The legendary poet Faiz Ahmed Faiz wrote a nazm (poem) with the opening words: Mujh se pehli si mohabbat mere mehboob na maang. Malika-e-Tarannum (Queen of Melody) Noorjehan composed the nazm into an immortal ghazal in a gathering that was celebrating his release from prison (he was imprisoned for supporting Communist ideology). It became so popular because of her composition that she started being credited for having penned it in almost the same manner as Begum Akhtar owns Ai mohabbat tere anjaam pe rona aaya and not the poet Shakeel Badayuni.

The mukhada of that ghazal ended in the title of this song:

Mujh se pehli si muhabbat mere mehboob na maang
Maine samjhaa tha ke tu hai to darakhshaan hai hayaat
Tera gham hai to gham-e-dehar ka jhagdaa kyaa hai
Teri surat se hai aalam mein bahaaron ko sabaat
Teri aankhon ke siwaa duniyaa mein rakhkhaa kya hai

Raj Khosla, the director of the 1969 movie Chirag called the lyricist Majrooh Sultanpuri and asked him to use this line as the title of the song. Due permission was taken to do so. This is how this great song was born.

This song was first sung by Mohammad Rafi for Sunil Dutt in the movie. He addressed it to Asha Parekh. Later, Asha Parekh lip-synced it to Sunil Dutt in the voice of Lata Mangeshkar. This is the second song in succession in which I am giving you both the versions.

Today is the second time that I give you a song in this raaga. The first time I gave you a song in this raag was on the very first day: Tum mujhe youn bhula na paoge (Please see: Raaga Based Song Of The Day #1).

I couldn’t have given you the best song ever composed in this raaga: Mere mehboob tujhe meri mohabbat ki kasam and hence I gave you what I thought was the second best. Coincidentally, that song, penned by Hasrat Jaipuri and composed by Shankar Jaikishan had two versions: first sung by Mohammad Rafi for Shammi Kapoor and then sung by Lata Mangeshkar for Asha Parikh. Ninety-five songs later we have come back to where we started from.

We have completed ninety-five days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge.  It is in Raag Jhinjhoti, Tal Kaherava.

Our ninety-fifth post or the last post here was titled Raaga Based Song Of The Day #95 and the song was a Lata Mangeshkar song from the 1965 Kalidas movie Bheegi Raat starring Meena Kumari, Pradeep Kumar and Ashok Kumar: Dil jo na keh saka. It is in Raag Maru Bihag, Tal Kaherava.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: The Best Raaga Based Songs in Hindi Movies – Raaga Darbari Kanada – Part I.

In the last ninety-five days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand and Mian Ki Malhar; making it a total of 61 raagas. The raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. Today, I am repeating Raag Jhinjhoti for the second time.

(Poster courtesy: Lyricsia.com)

Today’s song is from the 1969 Raj Khosla movie Chirag starring Sunil Dutt and Asha Parekh.  Lets understand the story-line to see where the two versions of the song fit in the movie:

Ajay Singh (Sunil Dutt) meets Asha Chibber (Asha Parekh) and is led to believe that she belongs to a wealthy family. After a few misunderstandings, he does find out that she is a simple girl living a poor lifestyle. Both do fall in love, and Ajay goes to meet with Asha’s brother, Dr. O.P. Chibber (Om Prakash), and his wife, Shanti (Sulochana Latkar). They are pleased to meet him, and Ajay’s mother, Gayetridevi (Lalita Pawar) visits them and approves of Asha. Ajay and Asha get married and settle down. After marriage Asha is expected to conceive, but she is unable to do so. After a certain incident she also loses her eyesight and becomes dependent on Ajay. Frustrated Gayetridevi decides to ask Asha to leave the house, and arranges a second marriage for Ajay.

The first time the song is sung is the happy occasion when they are in love and he finds in her eyes the world that is waiting for him after marriage. She sings the last stanza of the song indicating that for her too his eyes were the whole world.

The second time this song is sung is when she loses her eyesight. She begins with the stanza that she had sung earlier with him and now every word has a new meaning. She concludes with the second stanza saying that as long as his eyes were hers too, she would live by that support.

Clearly, the movie’s story revolves around this song. And that’s why Raj Khosla wanted to get it right by borrowing a line from Faiz’s famous nazm.

The lyricist of the song was, once again, Majrooh Sultanpuri and the composer was Madan Mohan.  On my Facebook page Lyrical I have, in the last few months, put up over a hundred of my favourite songs penned by Majrooh Sultanpuri.

Majrooh Sultanpuri was born on 01 Oct 1919 as Asrar ul Hassan Khan in a Tarin Pashtun family, in Sultanpur, Uttar Pradesh. His father was an officer in the police department, but, preferred to send his son for traditional madrasa (Urdu school) rather than provide him with English schooling.

He tried his hand at being a quack until he was noticed in a mushaira in Sultanpur.

He was a disciple of the great Urdu poet Jigar Moradabadi. When he visited Bombay in 1945 to participate in a mushaira, the director Abdul Rashid Kardar noticed him and invited him to write for the movies. Majrooh turned it down as he looked down upon movies. He was persuaded through his mentor Jigar Moradabadi and then there was no turning back.

Many traditionalists of the Urdu literature, however, felt that Majrooh sold his soul to the Hindi films and that he could have emerged a great poet in the likeness of Ghalib and Jigar.

The takhalus Majrooh means “injured” or “wounded”.

Majrooh was awarded, in 1993, the highest award – Dadasaheb Phalke award – for his lifetime contribution towards lyrics and poetry. He was the first lyricist ever to be given that award. For the film Dosti, that made Laxmikant Pyarelal famous, he was awarded the Filmfare Best Lyricist Award for the song: Chahunga main tujhe saanjh savere.

For someone who didn’t want to join Hindi movies, Majrooh emerged as a natural lyricist, very popular, very romantic and one who kept pace with the changing times.

Madan Mohan was born on 25 June 1924, at Erbil, Iraqi Kurdistan, where his father Rai Bahadur Chunilal was working as an Accountant General with the Kurdistan Peshmerga forces. In the later part of his life Madan Mohan, frustrated at not finding enough assignments, took to heavy drinking and finally he died of liver cirrhosis on 14 July 1975, in Mumbai.

However, during the peak of his career, some of the most memorable songs of Mohammad Rafi (for example for Dev Anand starrer Sharabi; viz, Sawan ke mahine mein, Mujhe le chalo phir aaj us gali, and Kabhi na kabhi kahin na kahin koi na koi to aayega) and Lata Mangeshkar were composed by him. He was the composer of choice for Raj Khosla in that for his triology on Sadhana, Raj Khosla took Madan Mohan for two of the three movies: Woh Kaun Thi and Mera Saya. Some of his best songs are to be found in Haqeeqat, Aap Ki Parchhayiyan, Anpadh, Jahan Ara and Dekh Kabira Roya.

He earned the reputation of being the best composer of ghazals in the movies and these became very memorable; eg, for the movie Adaalat: Unako yeh shikayat hai ke ham kuchh nahin kehte, and Youn hasraton ke daag.

As far as Lata Mangeshkar is concerned, some of her most memorable songs have been composed by Madan Mohan either on the lyrics of Rajinder Krishan or Raja Mehdi Ali Khan. These include Lag jaa gale se phir, and Aapki nazaron ne samajha.

Madan Mohan and Majrooh Sultanpuri worked together in seven movies: Night Club (1958), Ek Shola (1958), Aakhri Dao (1958), Jagir (1959), Akeli Mat Jaiyo (1963), Chirag (1969) and Dastak (1970).

These films had some very beautiful songs. Some of these are: Nigaahon ka ishara hai bahon ka sahaara hai (Night Club, 1958); Kahin chal na de raat ka kya thikana (Ek Shola, 1958); Tujhe kya sunayun main dilruba, and Hamsafar saath apna chhod chale (Aakhri Dao, 1958); Maane na haay baalam pardesiya (Jagir, 1959); Ye to kaho kaun ho tum, Thodi der ke liye mere ho jayo, and Woh jo milate the kabhi (Akeli Mat Jaiyo, 1963); Teri aankhon ke siwa and Chirag dil ka jalao (Chirag, 1969); Baiyan na dharo, Ham hain mata-e-koocha-o bazaar ki tarah, Mai ri main kaise kahun, and Tumse kahoon ek baat (Dastak, 1970).

Dastak’s Baiyan na dharo O balma is one of the most memorable songs put together by Majrooh Sultanpuri and Madan Mohan. It starred Sanjeev Kumar and Rehana Sultan.

Madan Mohan also made many memorable songs based on Raagas. One of his most memorable numbers is in Raag Pahadi, Tal Dadra, which was penned by Raja Mehdi Ali Khan: Lag jaa gale ke phir.

This song, as I told you, is in Raag Jhinjhoti, Tal Dadra.

Raag Jhinjhoti, as I told you on the first day itself (Please go through Raaga Based Song Of The Day #1) is a raag named after an apsara. It belongs to Khammaj or Khamaj thaat. Its Jati is Shadhav-Sampoorna (Vakra) (Nishad is Varjya in Aaroh, Nishad is Komal in Avroh. Rest all Shuddha Swaras). It is normally to be sung in the second prahar of the night (9 PM to midnight).

Hindi songs composed in this raag have an element of self-pity about them; eg, Tum mujhe youn bhula na paoge, Badli badli duniya hai meri, Mose chhal kiye jaaye, Chhup gaya koi re door se pukaar ke, Ghungroo ki tarah bajta hi raha hoon main, Jaayun kahan bata ai dil, and Koi hamdam na raha koi sahara na raha.

I have, at various places earlier, told you about the Dadra Tal and hence don’t feel the need to repeat it here (For example, the latest being in Raaga Based Song Of The Day #93).

Before we actually take up the song, first, lets take up the value added learning of todayFrom the last fourteen times we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan, the finest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked about Ali Akbar Khan, the greatest Sarod player in the country. Then we took up Pandit Ravi Shankar, the greatest Sitar player in the world. Then we took up the greatest classical singer in the country (of Carnatic tradition): MS Subbulakshmi. Then, we took up the greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about the Shehnai maestro Ustad Bismillah Khan. Then, we learnt about Annapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music. Thereafter, we took up Pandit Shiv Kumar Sharma, the grestest Santoor player in the country. Then we learnt a little more about Ustaad Alla Rakha Qureshi or simply Alla Rakha, the Tabla Maestro and father of Ustaad Zakir Hussain. Then we learnt about the master and one of the pioneers of fusion: Anand Shankar. Then we learnt about a Veena player who was also a great filmmaker: Sundaram Balachander. Then we learnt about Sarod Player Ustad Amjad Ali Khan. And then we learnt about Ustaad Zakir Hussain, the Tabla maestro. Finally, we learnt about Sitar Player and Composer Anoushka Shankar.

(Pic courtesy: The Hindu)

Tonight, we shall take up the great living vocalist: Pandit Jasraj of the Mewati gharana.  He was born on 28 Jan 1930 in Village Pili Mandori in Hisar (now Fatehabad) district of Haryana. His father Motilal was a classical singer. He died when Jasraj was only 4 years old. Jasraj’s elder brother, Pratap Narain, was also an accomplished musician and was the father of music composer duo Jatin-Lalit, of singer-actress Sulakshana Pandit and of actress Vijeta Pandit.

Jasraj was initiated into vocal music by his father, but initially trained as an accompanist, playing the tabla at vocal performances by his brother, the singer Maniram. He credits the vocalist, Begum Akhtar, as inspiring him to take up classical music. Jasraj began training as a vocalist at the age of 15, and performed his first stage concert as a vocalist at the age of 22. Before becoming a stage performer, Jasraj worked as a performing artist on radio for several years.

Pandit Jasraj is a recipient of Padma Bhushan and Padma Vibushan (the third and second highest civilain honours in India). Jasraj has tutored several students who have gone on to perform as classical musicians including Sanjeev Abhyankar, Kala Ramnath,Tripti Mukherjee, Suman Ghosh, Kavita Krishnamurthy, Anuradha Paudwal, Sadhana Sargam, Shankar Mahadevan, and Ramesh Narayan.

Pandit Jasraj is married to Madhura Shantaram, the daughter of film director V Shantaram.

Returning to the song now. For a great song by both Majrooh and Madan Mohan, neither the direction nor cinematography is actually great. Even the acting by the lead actors is average. However, that doesn’t take away from the song superb lyrics, outstanding composition and remarkable singing by both Mohammad Rafi and Lata Mangehskar.

Ladies and gentlemen, please enjoy in Raag Jhinjhoti Tal Dadra, first Mohammad Rafi and Lata (one stanza) and later in the movie Lata sing a composition of Madan Mohan on the lyrics of Majrooh Sultanpuri in the 1969 Raj Khosla movie Chirag starring Sunil Dutt and Asha Parekh: Teri aankhon ke siwa duniya mein rakha kya hai…..

Mohammad Rafi and Lata First:

तेरी आँखों के सिवा दुनिया में रक्खा क्या है
ये उठें सुबह चले, ये झुकें शाम ढले
मेरा जीना मेरा मरना इन्हीं पलकों के तले
तेरी आँखों के सिवा …

Rafi

पलकों की गलियों में चेहरे बहारों के हँसते हुए
हैं मेरे ख़ाबों के क्या-क्या नगर इनमें बसते हुए
ये उठें सुबह चले …

इनमें मेरे आनेवाले ज़माने की तस्वीर है
चाहत के काजल से लिखी हुई मेरी तक़दीर है
ये उठें सुबह चले …

Lata

ये हों कहीं इनका साया मेरे दिल से जाता नहीं
इनके सिवा अब तो कुछ भी नज़र मुझको आता नहीं
ये उठें सुबह चले …

Lata Now: Asha Parekh is blinded and the words have a different meaning. She is looking forward to seeing the world through his eyes. Majrooh has done outstandingly well with the lyrics especially इनके सिवा अब तो कुछ भी नज़र मुझको आता नहीं:

तेरी आँखों के सिवा दुनिया में रक्खा क्या है
ये उठें सुबह चले, ये झुकें शाम ढले
मेरा जीना मेरा मरना इन्हीं पलकों के तले
तेरी आँखों के सिवा …

ये हों कहीं इनका साया मेरे दिल से जाता नहीं
इनके सिवा अब तो कुछ भी नज़र मुझको आता नहीं
ये उठें सुबह चले …

ठोकर जहाँ मैने खाई इन्होंने पुकारा मुझे
ये हमसफ़र हैं तो काफ़ी है इनका सहारा मुझे
ये उठें सुबह चले …

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:

  1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
  2. On the second day we learnt about Tal or Taal.
  3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
  4. On the fourth day, we learnt about Sargam.
  5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
  6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
  7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
  8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
  9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
  10. On the tenth day, we learnt about the sources of names of Raagas.
  11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
  12. On the twelfth day, we learnt about Khammaj Thaat.
  13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
  14. On the fourteenth day, we learnt about Alap.
  15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
  16. On the sixteenth day, we learnt about tips for raaga identification.
  17. On the seventeenth day, we learnt the basics of Gharana system.
  18. On the eighteenth day, we learnt about Filmi Sangeet.
  19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
  20. On the twentieth day, we learnt about the Kafi Thaat.
  21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
  22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
  23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
  24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
  25. On the twenty-fifth day, we learnt about Tintal.
  26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
  27. On the twenty-seventh day, we learnt about Lehar.
  28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
  29. On the twenty-ninth day, we learnt about Dhrupad.
  30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
  31. On the thirty-first day, we learnt about Khayal.
  32. On the thirty-second day, we learnt about Thumri.
  33. On the thirty-third day, we learnt about Tappa.
  34. On the thirty-fourth day, we learnt about Tarana.
  35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
  36. On the thirty-sixth day, we learnt about Tabla.
  37. On the thirty-seventh day, we learnt about Kirtan.
  38. On the thirty-eighth day, we learnt about Pakhawaj.
  39. On the thirty-ninth day, we learnt about Hori.
  40. On the fortieth day, we learnt about Dadra.
  41. On the forty-first day, we learnt about Kajri.
  42. On the forty-second day, we learnt about Chaiti.
  43. On the forty-third day, we learnt about Sarangi.
  44. On the forty-fourth day, we learnt about Shehnai.
  45. On the forty-fifth day, we learnt about Sarod.
  46. On the forty-sixth day, we learnt about Bansuri.
  47. On the forty-seventh day, we learnt about Ektal and Tanpura.
  48. On the forty-eighth day, we learnt about Veena.
  49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
  50. On the fiftieth day, we learnt about Dilruba/Esraj.
  51. On the fifty-first day, we learnt about Jaltarang.
  52. On the fifty-second day we learnt about Qawwali.
  53. On the fifty-third day, we learnt about Sitar.
  54. On the fifty-fourth day, we learnt about Surbahar.
  55. On the fifty-fifth day, we learnt about Harmonium.
  56. On the fifty-sixth day, we learnt about Santoor.
  57. On the fifty-seventh day, we learnt about Swarmandal.
  58. On the fifty-eighth day, we learnt about the Shruti Box.
  59. On the fifty-ninth day, we learnt about Alankar.
  60. On the sixtieth day, we learnt about singing in Aakaar.
  61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
  62. On the sixty-second day, we learnt a little about Carnatic Music.
  63. On the sixty-third day, we learnt about Natya Shastra.
  64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
  65. On the sixty-fifth day, we learnt about Riyaaz.
  66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
  67. On the sixty-seventh day, we learnt about the health benefits of raagas.
  68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
  69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
  70. On the seventieth day, we learnt about Melakarta Raagas.
  71. On the seventy-first day, we learnt about Sangita Makarand.
  72. On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
  73. On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
  74. On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
  75. On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
  76. On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
  77. On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
  78. On the seventy-eighth day, we learnt about Jhaptal.
  79. On the seventy-ninth day, we learnt about Ektal.
  80. On the eightieth day, we learnt about Tivra Tal.
  81. On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
  82. On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
  83. On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
  84. On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
  85. On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
  86. On the eighty-sixth day, we not just learnt about the greatest vocalist of Hindustani tradition: Pandit Bhimsen Joshi but also learnt about Tal Hinch.
  87. On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
  88. On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
  89. On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
  90. On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
  91. On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
  92. On the ninety-second day, we learnt about Sundaram Balachander, the great Veena player and film-maker.
  93. On the ninety-third day, we learnt about Ustaad Amjad Ali Khan, the great Sarod player.
  94. On the ninety-fourth day, we learnt about the Tabla maestro: Ustaad Zakir Hussain.
  95. On the ninety-fifth day, we learnt about the Sitar player and Composer: Anoushka Shankar.
  96. And today, on the ninety-sixth day, we learnt about the Vocalist Pandit Jasraj.

There is much more still to be learnt and enjoyed.

Please stay tuned!

CHAND MERE LIYE KYA HAI?

कैसे बतायूँ किसीको चांद मेरे लिए क्या है,
चांदनी प्यार बन के बिखरी है उसी की तो दुआ है।

होने को ज़िन्दगी में बहुत कुछ हो चुका, लेकिन
जब जब चांद निकला, लगता तभी कुछ हुआ है।

उनकी आंखों में झलक उठती है किरण माहताब की,
मैं कुछ कहूँ तो कहते हैं जाईये यह सिर्फ हया है।

लोग कहते हैं सदियों से ऐसे ही उगता रहा है,
मेरे दिल में नज़र डालो, हर चांद कुछ नया है।

दिल के ख़ज़ाने रौशन हुए यह चांद की खिदमत है,
पूछते हैं वह चांद ने तुम्हें दिया ही क्या है।

तन्हाई में मुझे और मेरी कलम को इक सहारा मिला,
चांद न हो तो जीने में क्या मज़ा है।

डगमगाता हूँ चांदनी रातों में कुछ ऐसे, रवि,
जैसे चांदनी चांदनी नहीं इक अजब सा नशा है।

Raaga Based Song Of The Day #95

Raaga Based Song of the Day:Dil jo na keh saka….
Raag Maru Bihag, Tal Kaherava

We recently had, on my Facebook group on music Yaad Kiya Dil Ne, a Fest on Interludes, Preludes and Codas. I mentioned it there that the songs that were repeated in the movie because of nostalgia – good or bad – had very distinctive preludes and interludes so that just by a few strains the song could be recognised. This is one of those songs penned by Majrooh Sultanpuri and composed by Roshan. Under happier circumstances, in the 1965 Kalidas movie Bheegi Raat, it was sung by Lata Mangeshkar and lip synced by Meena Kumari to Pradeep Kumar. Later, when she is to be married to Ashok Kumar, Pradeep Kumar sings it in the party in the voice of Mohammad Rafi.

I shall be giving you both the versions.

Today is the third time that I give you a song in this raaga. The first time I gave you a song in this raag was on the 37th day: Tum toh pyaar ho sajna (Please see: Raaga Based Song Of The Day #37). Naturally, I give you the best song composed in the raaga first. That song in Kaherava tal was from the 1963 V Shantaram movie Sehra. Next I gave you a song in this raaga and Kaherava Tal as the 45th song: Matwali naar thumak thumak chali jaaye (Please read: Raaga Based Song Of The Day #45). It was from the 1960 Bhappi Sonie movie Ek Phool Chaar Kaante starring Waheeda Rehman and Sunil Dutt. It was penned by Shailendra and composed by Shankar Jaikishan.

We have completed ninety-four days of Raaga Based Songs of the Day. Our first post in the series was titled ‘Raaga Based Song Of The Day #1’ and the song was a Mohammad Rafi and Lata Mangeshkar song from the 1970 Shakti Samanta movie Pagla Kahin Ka: Tum mujhe youn bhula na paoge.  It is in Raag Jhinjhoti, Tal Kaherava.

Our ninety-fourth post or the last post here was titled Raaga Based Song Of The Day #94 and the song was a Lata Mangeshkar song from the 1962 Mohan Kumar movie Anpadh starring Mala Sinha and Dharmendra: Aap ki nazaron ne samajha. It is in Raag Adana, Tal Rupaktal.

This blog has a number of posts on Raaga based songs in Hindi movies titled similarly; for example: The Best Raaga Based Songs in Hindi Movies – Raaga Bhimpalasi – Part II.

In the last ninety-four days of sharing Raaga based songs of the day, I have given you songs based on Raag Jhinjhoti, Gara, Bhimpalasi, Madhuvanti, Shivaranjani, Bihag, Pahadi, Sarang, Pilu, Bhairavi, Khammaj, Charukesi, Kalyan or Yaman, Desh, Malgunji, Kirwani, Kedar, Bageshri, Megh Malhar, Bhupali, Ahir Bhairav, Malkaush, Mand, Adana, Kafi, Rageshri, Jaunpuri, Tilang, Janasammohini, Chayanat, Shuddha Kalyan, Gaur Sarang, Jogiya, Asavari, Maru Bihag, Durga, Lalit, Puria Dhanashri, Bhinna Sahdja, Sohani, Multani, Patdeep, Jaijaiwanti, Tilak Kamod, Hemant, Basant Mukhari, Gujri Todi, Kalavati, Hamir, Bhatiyar, Gawati, Shyam Kalyan, Gorakh Kalyan, Madhamat Sarang, Manj Khammaj, Darbari Kanada, Vibhas, Shankara, Bahar, Nand and Mian Ki Malhar; making it a total of 61 raagas. The raagas that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani, Jhinjhoti, Bhairavi, Gara, Basant Mukhari, Malkauns, Bhairavi, Mand, Sohani, Madhuvanti, Shivaranjani and Adana. Today, I am repeating Raag Maru Bihag for the third time.

(Poster courtesy: HindiMovies.to)

Today’s song is from the 1965 Kalidas movie Bheegi Raat starring Ashok Kumar, Meena Kumari and Pradeep Kumar.  Lets understand the story-line to see where the two versions of the song fit in the movie. Pradeep Kumar as Ajay is a painting artiste, living a wealthy lifestyle along with his Bombay-based father Dwarkanath (Ulhas). His father wants him to marry Vinita (Shashikala). Ajay not only refuses but also insults her and she swears to avenge this humiliation. He then re-locates to Nainital, rents a cottage from Colonel Bhim Singh, meets with his neighbor’s Governess, Neelima (Meena Kumari), and both fall in love. Neither are aware that Neelima’s employer, Pushpa, would prefer that she marry her London-based widower Civil Engineer brother, Anand (Ashok Kumar), so that she could look after his child, Munni (Baby Irani). After a dramatic and life-threatening hunt, Ajay asks Neelima to be present at their engagement – not knowing that she will not only not show up but also subsequently announce that she is going to marry Anand.

The first time the song is sung is on that Bheegi Raat when Neelima and Ajay have taken shelter at a place and lit a fire. She sings it to him. The second time, he sings at the party wherein she announces the engagement with Anand. Please have a look at the expressions of Shashikala for having taken revenge.

The lyricist of the song was Majrooh Sultanpuri and the composer was Roshan.  On my Facebook page Lyrical I have, in the last few months, put up over a hundred of my favourite songs penned by Majrooh Sultanpuri.

Majrooh Sultanpuri was born on 01 Oct 1919 as Asrar ul Hassan Khan in a Tarin Pashtun family, in Sultanpur, Uttar Pradesh. His father was an officer in the police department, but, preferred to send his son for traditional madrasa (Urdu school) rather than provide him with English schooling.

He tried his hand at being a quack until he was noticed in a mushaira in Sultanpur.

He was a disciple of the great Urdu poet Jigar Moradabadi. When he visited Bombay in 1945 to participate in a mushaira, the director Abdul Rashid Kardar noticed him and invited him to write for the movies. Majrooh turned it down as he looked down upon movies. He was persuaded through his mentor Jigar Moradabadi and then there was no turning back.

Many traditionalists of the Urdu literature, however, felt that Majrooh sold his soul to the Hindi films and that he could have emerged a great poet in the likeness of Ghalib and Jigar.

The takhalus Majrooh means “injured” or “wounded”.

Majrooh was awarded, in 1993, the highest award – Dadasaheb Phalke award – for his lifetime contribution towards lyrics and poetry. He was the first lyricist ever to be given that award. For the film Dosti, that made Laxmikant Pyarelal famous, he was awarded the Filmfare Best Lyricist Award for the song: Chahunga main tujhe saanjh savere.

For someone who didn’t want to join Hindi movies, Majrooh emerged as a natural lyricist, very popular, very romantic and one who kept pace with the changing times.

Roshanlal Nagrath was born on 14 Jul 1917 in Gujranwala, Punjab, now in Pakistan. He began music lessons at a young age and later attended Marris College (now Bhatkhande Music Institute) in Lucknow under the training of Pt. S N Ratanjankar (principal of the institute). In the early 1940s, Khawaja Khurshid Anwar, programme producer/music, AIR Delhi, hired Roshan as staff artist for Esraj, the instrument he used to play. Some of you would recall that I covered Esraj or Dilruba on the 50th day and told you that it was an instrument created by the tenth Guru of the Sikhs: Sri Guru Gobind Singh ji (Please read: Raaga Based Song Of The Day #50).

In 1948, Roshan came to Mumbai to find work as a Hindi film music director and became assistant of music composer Khawaja Khurshid Anwar in the film Singaar. He struggled until meeting Kidar Sharma, who gave him the job of composing for his film Neki aur Badi (1949). While it was a flop, Roshan emerged as a player on the Hindi film music scene with Baawre Nain, released the following year. The movie had two really beautiful songs: Khyalon mein kisi ke and Teri duniya mein dil lagta nahin.

Majrooh and Roshan worked together in five movies: Chandni Chowk (1954), Aarti (1962), Bheegi Raat (1965), Mamta (1966), and Daadi Maa (1966).

Amongst their memorable songs are: Hamen aye dil kahin le chal (Chandni Chowk); Aapne yaad dilaya, Ab kya misaal doon, Baar baar tohe kya samjhatye, Bane ho ek khaak se, Kabhi to milegi, and Tere bin laage na jiya (all from Aarti, 1962); Dil jo na keh saka, Aise to na dekho kahin behak jaayen ham, and Mohabbat se dekha khafa ho gaye hain (Bheegi Raat, 1965); Chhupa lo youn dil mein pyar mera, Rahen na rahen ham, Rehte the kabhi, and In baharon mein (Mamta, 1966); Usko nahin dekha hamne kabhi, and Jaata hoon main mujhe ab na bulaana (Daadi Maa, 1966).

The same pair (as in the present song) of Pradeep Kumar and Meena Kumari enacting the 1962 movie Aarti song: Aap ne yaad dilaya. Aarti was the best movie that Majrooh and Roshan worked together on.

Roshan has made many memorable songs based on Raagas. One of his most memorable numbers is in Raag Kalyan, Tal Kaherava, which was penned by Sahir Ludhianvi: Zindagi bhar nahin bhoolegi wo barsaat ki raat.

This song, as I told you, is in Raag Maru Bihag, Tal Kaherava.

Maru Bihag, as I already told you on the 37th day (Please go through ‘Raaga Based Song Of The Day #37’) is a very melodious raaga that belongs to the Kalyan Thaat. It is to be sung during the second prahar of the night: from 9 PM to midnight. Its Jati is Audhav-Sampoorna. Maru Bihag is a variation of Raag Bihag in which I gave you the song Tere sur aur mere geet from Goonj Uthi Shehnai that had Shehnai-vaadan by Ustaad Bismillah Khan. In the Sri Guru Granth Sahib, Raag Bihagara occurs on 20 pages from 537 to 557 and is similar to its modern version: Raag Bihag.

Some of the other songs composed in Raag Maru Bihag are: Tum to pyar ho sajna (Tal Kaherava), Dil jo na keh saka(Tal Kaherava), Payal wali dekhana (Tal Kaherava) and Radha jaaye na (Tal Dadra).

I have, at various places earlier, told you about the commonest Tal in raagas: Kaherava and I know that by now you know enough about it.

Before we actually take up the song, first, lets take up the value added learning of todayFrom the last thirteen times we started learning about some of the leading personalities in Indian Classical Music or Shastriya Sangeet. The first one that we took up was Ustaad Asad Ali Khan, the finest Rudra Veena player in the country. Then we took up Pandit Hari Parsad Chaurasia, the greatest Bansuri player in the country. Then we talked about Ali Akbar Khan, the greatest Sarod player in the country. Then we took up Pandit Ravi Shankar, the greatest Sitar player in the world. Then we took up the greatest classical singer in the country (of Carnatic tradition): MS Subbulakshmi. Then, we took up the greatest classical singer in the country (of Hindustani tradition): Pandit Bhimsen Joshi. Then, we learnt about the Shehnai maestro Ustad Bismillah Khan. Then, we learnt about Annapurna Devi, a great Surbahar (bass sitar) player of Hindustani Classical Music. Thereafter, we took up Pandit Shiv Kumar Sharma, the grestest Santoor player in the country. Then we learnt a little more about Ustaad Alla Rakha Qureshi or simply Alla Rakha, the Tabla Maestro and father of Ustaad Zakir Hussain. Then we learnt about the master and one of the pioneers of fusion: Anand Shankar. Then we learnt about a Veena player who was also a great filmmaker: Sundaram Balachander. And then we learnt about Sarod Player Ustad Amjad Ali Khan. Finally, we learnt about Ustaad Zakir Hussain, the Tabla maestro.

(Pic courtesy: Wikipedia)

Tonight, we shall take up the Sitar Player and Composer Anoushka Shankar.  She is the daughter of Sitar maestro Pandit Ravi Shankar and Sukanya Shankar. She is the half-sister of Singer, Song-writer and Pianist Norah Jones who was born to Pandit Ravi Shankar and American Concert Producer Sue Jones.

Anoushka, a London born, started training on Sitar with her father when she was only seven years old. At the age of ten, she started accompanying him for his performances on stage by playing tanpura. Anoushka gave her first public sitar performance on 27 February 1995 at the age of 13, at Siri Fort in New Delhi as part of her father’s 75th birthday celebration concert. For this solo debut, she was accompanied by tabla maestro Zakir Hussain.

She released her first album, Anoushka, in 1998, followed by Anourag in 2000. In 1999 Anoushka graduated from high school with honors, but decided against university in favour of beginning to tour as a solo artist. Both Anoushka and her half-sister Norah Jones were nominated for Grammy awards in 2003 when Anoushka became the youngest-ever and first woman nominee in the World Music category for her third album, Live at Carnegie Hall. Since then, she has been nominated for Grammy awards five more times, the last time being in 2016.

Ladies and gentlemen, please enjoy in Raag Maru Bihag Tal Kaherava, first Lata Mangeshkar and then Mohammad Rafi sing a composition of Roshan on the lyrics of Majrooh Sultanpuri in the 1965 Kalidas movie Bheegi Raat starring Pradeep Kumar and Meena Kumari: Dil jo na keh saka…..

Lata First:

दिल जो ना कह सका
वही राज-ए-दिल, कहने की रात आई

नग्मा सा कोई जाग उठा बदन में
झनकार की सी थरथरी है तन में
प्यार की इन्हीं धड़कती फ़िज़ाओं में
रहने की रात आई…

अब तक दबी थी एक मौज-ए-अरमां
लब तक जो आई, बन गई हैं तूफां
बात प्यार की बहकती निगाहों से
कहने की रात आई…

गुज़रे ना ये शब, खोल दूँ ये जुल्फें
तुम को छुपा लूँ, मूँद के ये पलकें
बेक़रार सी लरज़ती सी छाँव में
रहने की रात आई…

https://www.youtube.com/watch?v=9WrSdaDI51g

Rafi Now:

दिल जो ना कह सका
वोही राज़-ए-दिल कहने की रात आई
दिल जो ना कह सका

तौबा ये किस ने अंजुमन सजा के
टुकड़े किये हैं गुंच-ए-वफ़ा के – २
उछालो गुलों के टुकड़े
के रंगीं फ़िज़ाओं में रहने की रात आई
दिल जो ना कह सका

चलिये मुबारक ये जश्न दोस्ती का
दामन तो थामा आप ने किसी का – २
हमें तो खुशी यही है
तुम्हें भी किसी को अपना कहने की रात आई
दिल जो ना कह सका

सागर उठाओ दिल का किस को ग़म है
आज दिल की क़ीमत जाम से भी कम है – २
पियो चाहे खून-ए-दिल हो
के पीते पिलाते ही रहने की रात आई
दिल जो ना कह सका

https://www.youtube.com/watch?v=7ANtZ53ygIY

We have intended to learn about Raaga based music whilst we entertain ourselves with Raaga based songs. So, lets, once again, take stock of our collective learning so far:

  1. On the first day we learnt about the Raaga system devised by Pandit Vishnu Narayan Bhatkhande, which is the prevalent system in Hindustani Classical Music and based on ten Thaats.
  2. On the second day we learnt about Tal or Taal.
  3. On the third day we learnt about characteristics of Raagas that included Swar, Jati, Thaat, Arohana and Avarohana, Vadi, Samvadi and Pakad.
  4. On the fourth day, we learnt about Sargam.
  5. On the fifth day, we learnt about notations used in Indian classical music or simply Swar Lipi.
  6. On the sixth day, we learnt about the Ras (sentiments) that Raagas evoke.
  7. On the seventh day, we learnt about various types of Swar: Shuddha, Achal, Vikrut, Komal and Teevra.
  8. On the eighth day, we learnt the parts of a composition in Indian Classical Music.
  9. On the ninth day, we learnt the names of some of the popular instruments used in Indian Classical Music.
  10. On the tenth day, we learnt about the sources of names of Raagas.
  11. On the eleventh day, we learnt about why Bhairavi is the first raag to be taught to beginners and also why it is the last in a performance.
  12. On the twelfth day, we learnt about Khammaj Thaat.
  13. On the thirteenth day, we learnt about Tal Punjabi Theka or Sitarkhani.
  14. On the fourteenth day, we learnt about Alap.
  15. On the fifteenth day, we learnt about List of Raagas (Raagmala) in my favourite book: Sri Guru Granth Sahib.
  16. On the sixteenth day, we learnt about tips for raaga identification.
  17. On the seventeenth day, we learnt the basics of Gharana system.
  18. On the eighteenth day, we learnt about Filmi Sangeet.
  19. On the nineteenth day, we learnt about the commonest Tal in Raagas: Tintal.
  20. On the twentieth day, we learnt about the Kafi Thaat.
  21. On the twenty-first day, we learnt a little more in detail about the classification of Raagas.
  22. On the twenty-second day, we learnt the essential differences between Bhairavi and Bhairav.
  23. On the twenty-third day, we learnt a little more in detail about the Jati or Jaati of a raaga.
  24. On the twenty-fourth day, we learnt details of Thaat Bilawal, the most basic thaat in the Bhatkhande’s system of raagas.
  25. On the twenty-fifth day, we learnt about Tintal.
  26. On the twenty-sixth day, we learnt in detail about the Raaga – Samay linkage.
  27. On the twenty-seventh day, we learnt about Lehar.
  28. On the twenty-eighth day, we learnt about the history of the Hindustani Music.
  29. On the twenty-ninth day, we learnt about Dhrupad.
  30. On the thirtieth day, we learnt about Rupaktal that I was introduced to, a few months back, by my friend Anand Desai.
  31. On the thirty-first day, we learnt about Khayal.
  32. On the thirty-second day, we learnt about Thumri.
  33. On the thirty-third day, we learnt about Tappa.
  34. On the thirty-fourth day, we learnt about Tarana.
  35. On the thirty-fifth day, we learnt about Tal Dipchandi (Moghali).
  36. On the thirty-sixth day, we learnt about Tabla.
  37. On the thirty-seventh day, we learnt about Kirtan.
  38. On the thirty-eighth day, we learnt about Pakhawaj.
  39. On the thirty-ninth day, we learnt about Hori.
  40. On the fortieth day, we learnt about Dadra.
  41. On the forty-first day, we learnt about Kajri.
  42. On the forty-second day, we learnt about Chaiti.
  43. On the forty-third day, we learnt about Sarangi.
  44. On the forty-fourth day, we learnt about Shehnai.
  45. On the forty-fifth day, we learnt about Sarod.
  46. On the forty-sixth day, we learnt about Bansuri.
  47. On the forty-seventh day, we learnt about Ektal and Tanpura.
  48. On the forty-eighth day, we learnt about Veena.
  49. On the forty-ninth day, we repeated our learning of Veena with a small excitement added.
  50. On the fiftieth day, we learnt about Dilruba/Esraj.
  51. On the fifty-first day, we learnt about Jaltarang.
  52. On the fifty-second day we learnt about Qawwali.
  53. On the fifty-third day, we learnt about Sitar.
  54. On the fifty-fourth day, we learnt about Surbahar.
  55. On the fifty-fifth day, we learnt about Harmonium.
  56. On the fifty-sixth day, we learnt about Santoor.
  57. On the fifty-seventh day, we learnt about Swarmandal.
  58. On the fifty-eighth day, we learnt about the Shruti Box.
  59. On the fifty-ninth day, we learnt about Alankar.
  60. On the sixtieth day, we learnt about singing in Aakaar.
  61. On the sixty-first day, we learnt about the Classification of Indian Musical Instruments.
  62. On the sixty-second day, we learnt a little about Carnatic Music.
  63. On the sixty-third day, we learnt about Natya Shastra.
  64. On the sixty-fourth day, we learnt about evolution of musical instruments in India down the ages.
  65. On the sixty-fifth day, we learnt about Riyaaz.
  66. On the sixty-sixth day, we looked at a list of Raagas in Hindustani Classical Music.
  67. On the sixty-seventh day, we learnt about the health benefits of raagas.
  68. On the sixty-eighth day, we learnt a little more comprehensively about the moods and emotions that raagas evoke.
  69. On the sixty-ninth day, we learnt about a mobile application to help identify raagas.
  70. On the seventieth day, we learnt about Melakarta Raagas.
  71. On the seventy-first day, we learnt about Sangita Makarand.
  72. On the seventy-second day, we learnt about TaalMala an Android application for personalized accompaniment of musical instruments during Riyaaz or even during Concert.
  73. On the seventy-third day, we learnt about Indian Classical Ragas, an Android application for mobile phones.
  74. On the seventy-fourth day, we learnt about Saregama Classical, another application for Classical Raagas.
  75. On the seventy-fifth day, we learnt about a free online service available to learn Indian Classical Music.
  76. On the seventy-sixth day, we learnt about List of Hindustani Classical Musical Festivals in India and Abroad.
  77. On the seventy-seventh day, we learnt about List of Carnatic Musical Festivals in India and Abroad.
  78. On the seventy-eighth day, we learnt about Jhaptal.
  79. On the seventy-ninth day, we learnt about Ektal.
  80. On the eightieth day, we learnt about Tivra Tal.
  81. On the eighty-first day, we learnt about the greatest Rudra Veena player ever: Ustaad Asad Ali Khan.
  82. On the eighty-second day, we learnt about the greatest Bansuri player alive: Pandit Hariprasad Chaurasia.
  83. On the eighty-third day, we learnt about the best Sarod player in the country: Ustaad Ali Akbar Khan.
  84. On the eighty-fourth day, we learnt about the greatest Sitar player in the world: Pandit Ravi Shankar.
  85. On the eighty-fifth day, we learnt about the greatest Indian vocalist of Carnatic tradition: MS Subbulakshmi.
  86. On the eighty-sixth day, we not just learnt about the greatest vocalist of Hindustani tradition: Pandit Bhimsen Joshi but also learnt about Tal Hinch.
  87. On the eighty-seventh day, we learnt about the Shehnai maestro Ustaad Bismillah Khan.
  88. On the eighty-eighth day, we learnt about Annapurna Devi, the greatest Surbahar player in India.
  89. On the eighty-ninth day, we learnt about Pandit Shiv Kumar Sharma, the greatest Santoor Player in the country.
  90. On the ninetieth day, we learnt about Ustaad Alla Rakha, the Tabla maestro.
  91. On the ninety-first day, we learnt about Anand Shankar, the great fusion musician from Bengal.
  92. On the ninety-second day, we learnt about Sundaram Balachander, the great Veena player and film-maker.
  93. On the ninety-third day, we learnt about Ustaad Amjad Ali Khan, the great Sarod player.
  94. On the ninety-fourth day, we learnt about the Tabla maestro: Ustaad Zakir Hussain.
  95. And today, on the ninety-fifth day, we learnt about the Sitar player and Composer: Anoushka Shankar.

There is much more still to be learnt and enjoyed.

Please stay tuned!

A DANCE OF DEATH

Police Inspector Vilas Shinde was very excited; finally, after routine calls of noise-pollution during Navratri and all too familiar cases of eve-teasing, drunken-driving and even unwanted pregnancies, now, there was a real case of murder. At last, he sighed, a real crime to trigger his adrenalin rather than those boring petty offences. So far, anyway he looked at it, it defeated him. First of all, at the behest of victim Mahesh’s family, it was registered as a case of murder under section 302 of the Indian Penal Code even though the police hadn’t been able to find the motive for the murder, let alone find its object: the dead-body. That was on the basis of a suicide-note allegedly penned by Mahesh, which, even Shinde had to admit, had obvious anomalies.

The more Shinde looked at it, the more he was fascinated by it. At a very young age, he had read most of the works of Sherlock Holmes and he had started regarding himself as the person who was the modern-day avatar in India of the 19th century sleuth at 221B, Baker Street, London.

Shinde knew that one day, he would be able to crack the case and make himself eligible for promotion and public adulation.

 

Veena loved the festival of Navratri, particularly Sharad Navratri, celebrated every year in the months of September/October (Hindu month of Ashvin) to celebrate Goddess Durga’s victory over Mahishasur and of Lord Rama over Ravana. However, in her case as also for her friends in Maharashtra, Navratri goes beyond Durga and Rama and extends to other gods and goddesses such as Lakshmi, Saraswati, Kali, Ganesha, Kartikeya, Shiva and even Krishna. It satiated her religious quest and it was a great social and cultural event that went on for nine evenings and nights. She particularly liked both Garba and Dandiya dances and in her circles, she was known as an accomplished and graceful dancer.

But then, so was Mahesh; not just handsome but also great to watch when he was dancing Garba and Dandiya. Many girls went out of their way to beat their sticks against his whilst going around in swirling dance movements, re-enacting the sword-dance or the mock-fight between Goddess Durga and Mahishasura, the demon king.

Veena and Mahesh had grown up together in their colony in Borivali, a Western Mumbai suburb. Their parents were great friends too. Veena’s parents had produced three daughters, all having names starting with the letter ‘V’; Veena was the eldest, then there was Vibha and the youngest was Vishranti. Mahesh was the only son of his parents. Mahesh’s father Mahendra Nath often teased Veena’s father Vikas that the latter kept producing daughters, in a quest to get a son, and rested (Vishranti means rest or relaxation) only after producing three and still seeing no signs of a son. Both the fathers knew that this was only a joke since, in their families, girls were not considered a curse, unlike in many other parts of the country. Vikas had retorted to Mahendra Nath that the latter’s son was latter’s only for the time being until he married one of the Vs: Veena, Vibha or Vishranti. Everytime they indulged in this light-hearted banter, they cemented not just their relationship of past decades but also of the future.

Veena and Mahesh were nearly of the same age; Mahesh was older by about six months. So, it was considered natural that both should have mutual attraction. He had graduated from the JJ College of Arts and had emerged a painter with enormous promise. Indeed, some of his paintings had been displayed in art galleries including the famous Jehangir Art Gallery at Kala Ghoda in South Mumbai. Veena had just finished her Master of Science from Xavier’s and was undergoing a Diploma Course in Forensic Science. Her mind was, she found out at a very early stage in life, full of inquisitiveness and investigative skills; much more than an average female mind that effortlessly spots the minutest piece of foreign hair on the coat or shirt of her husband.

When she enrolled for the course, Mahesh joked with her that he was already scared of her lest he should leave some tell-tale signs of his aberrations. What aberrations are you thinking of? I would kill you, she had responded equally jokingly.

But jokes apart, Veena had felt that Mahesh wasn’t very serious about their relationship. There was something amiss and she sometimes sighed that it must be lack of commitment. At first she had thought of it as the usual shyness of boys and girls of their age. But, later she felt that perhaps he was undecided and wanted to explore a bit before making a final choice.

She had decided that perhaps it would help him decide faster if she were to afford them a degree of privacy that wasn’t possible at home, what with her other sisters and parents always around. Hence, she had started planning to visit places with him – a little on the secluded side – and perhaps hasten up the process of his committing to her for life. Until then, the only places that they had visited together were the movie halls whereat no meaningful romantic conversations were possible, other than between the hero and heroine on the screen.

One of the places that fascinated her was the Borivali National Park renamed in 1996 as the Sanjay Gandhi National Park, named after the younger son of Indira Gandhi, who died on 23 Jun 1980 in an air-crash in Delhi when he was performing some aerobatic manoeuvres. Wikileaks revealed many decades later that until then three attempts had been made on his life. Nine years later, on 2nd Dec 1989, the elder son Rajiv Gandhi was also killed in a bomb blast in Sriperumbdur. In between, on 31 Oct 1984, Indira Gandhi, their mother and the then Prime Minister of India, was killed in her own residence by one of her security guards. However, Veena noted that Borivali National Park (she still preferred to call it by its earlier name) reflected none of the violence associated with the death of the Gandhi family members. It was serene, verdant and quiet; especially those places that were not usually visited by the frequent visitors and tourists. Those included the two lake areas: Tulsi and Vihar, and the Kanheri Caves, sculpted by Buddhist monks between 9th and 1st century B.C.

 

Police Inspector Shinde spread the so called suicide note on the table in front of him for the umpteenth time. It was in black ink whereas he had already established that Mahesh normally wrote in blue. It was in the same artistic handwriting that was reflected in Mahesh’s paintings with clear strokes rather than aimless ones. There wasn’t any sign of tremor in the handwriting of a man who was contemplating suicide. The note read:

“What’s the point in going on with this life? Perhaps I should just vanish. No one is happy with me, my parents, friends, not even her. There would be nothing gained in trying to find me. By the time this note is read I would have mingled with the breeze and blown to distant places. Adieu. Forgive me for all the wrongs that I have committed.”

The suicide note was found in a book on his table, so neatly folded that his family said they nearly missed it. They confirmed that it was his handwriting but neither his family nor the woman he was going to marry could confirm any of the thoughts in the note. It came out that there was never an occasion when either of the two families was unhappy with him. It also came out that he was the darling of his large number of friends who swore by him, his vivacity and extrovert nature. Hence, the only thing that jelled in the note was his handwriting and nothing else. Shinde concluded that there was little or no motive for suicide, let alone murder. Another thing, Shinde observed, was that the paper was torn after the word ‘committed’ as if he had actually written more. Now that deepened the mystery; beautiful handwriting without any tremor and hurriedly torn paper just didn’t go together. Shinde Holmes had no choice but to conclude that there was something sinister about the note; it was meant to convey a particular sense but it actually conveyed just the opposite.

 

Veena remembered the Navratri of the year before. She was, to say the least, very disappointed. Not only that there was no commitment from Mahesh so far, he had started exhibiting signs that she abhorred. For her, Navratri was a deeply religious festival, signifying victory of good over evil. Even the cultural and social aspects for her were secondary. She was aware that many young people were taking recourse to such social evils as drinking and dancing and even indulging in sexual activities during the fest since most of it was celebrated, as the name suggested, at nights; nine nights to be precise. She looked down on these and felt that these were sacrilegious, to say the least. She was alright with dancing and merry-making since victory of good over evil had to be celebrated appropriately. However, she drew the line there and never wanted to go beyond.

So, one night, when she smelled liquor on Mahesh, she felt that he had crossed the line of her trust. When questioned by her, Mahesh had given a long harangue regarding madira being the drink of choice of gods and goddesses and even suggested that she too should partake of it to make gods and goddesses happy.

She, of course, noticed that his mood became far more intimate and romantic when under the influence of liquor. She was looking for some sign of commitment from him and she felt that liquor wasn’t such a bad thing after all since he said and did things that were far more attentive of her than she had hitherto experienced. Later, of course, he earned her ire for having suggested that, like other boys and girls, they could too have a little fun on the side.

That night, nay, the early morning of next day, as she lay in her bed awake, she went over the incidents of night before. Anyway she looked at them, she found that they were not to her liking. Like any other girl of her age, she had wistfully dreamt of sex but, she was firm in her mind that it had to be not casual but with her life-partner. She liked Mahesh, even loved him and she wanted him to be her life-partner. However, with the kind of upbringing that she had, casual sex would reduce her to being merely an object of desire whereas she was to be content with being his wife and lead a happy and secure life.

In the forenoon, they went to Borivali National Park again and sat at their spot near the Tulsi Lake. It was a very secluded spot on the slope of the hill looking down straight into the lake over a cliff. She suggested to him that whilst both of them were separately very talented, they must indulge in some joint creative activities. What did she have in mind, he asked her. She said she had seen an old Hindi movie called Gateway of India (the name fascinated her) wherein the hero and heroine wrote a poem in the wee hours of the morning; he would write a line and she would sing it and then she would write and he would sing it. The song, as she remembered was Do ghadi woh jo paas aa baithe, ham zamaane se door jaa baithe (For those two moments that he/she sat near me, I reached far from the rest of the world). He said whilst he painted imaginatively, poetry wasn’t his cup of tea. Perhaps we could write a play or a story together, she suggested.

So next forenoon, he brought a note-book but forgot a pen. She had taken out her black inked ball-point pen from her purse. She suggested that since he had a beautiful handwriting, he should write whilst they contemplated the story together. They titled the story ‘A Dance Of Death’ that was about a shy boy who was very fond of dancing during Navratri but not just that he was awkward, no one wanted to dance with him. Gradually, as the days passed, their joint story emerged on the paper complete with the state of mind of the hero of the story. He secretly loved a girl who was not just beautiful but accomplished dancer but she scarcely acknowledged his existence, let alone love him back. He was too scared to express his love to her.

He was often subjected to ridicule by almost everyone around him. Whilst she never joined in teasing him, he was quick to notice that she never stopped others.

He had, therefore, decided to commit suicide. On the fifth day, as dictated by Veena, Mahesh wrote on a page of the writing pad: What’s the point in going on with this life? Perhaps I should just vanish. No one is happy with me, my parents, friends, not even her. There would be nothing gained in trying to find me. By the time this note is read I would have mingled with the breeze and blown to distant places. Adieu. Forgive me for all the wrongs that I have committed. Unfortunately (Mahesh wrote further) the note fell from his pocket during a hectic and awkward dancing just before his contemplated suicide. By one of those curious coincidences that one sees so often in Hindi movies, she was the one who picked it up, read it and confronted him. She said she too was attracted to him and was wanting him to make the first move as a man must. Not finding any move from him she had kept distance. She said it didn’t matter if he didn’t know dancing as she would be able to teach him within no time. The story, therefore, was going to have a happy ending, just as both Mahesh and Veena had wanted it.

Having come to the last part of their joint story, Mahesh put his arm around Veena’s waist and with a twinkle in his eye said that night was the last Navratri night and perhaps they could take their joint story-writing from fiction to reality and bring themselves physically together at the back seat of his father’s car that he would borrow for the occasion.

Story? Commitment? Fiction? Reality? She wasn’t sure. She was indeed confused. Next night, he indeed came to the pandal by his dad’s Nano. But, she had left early.

Next day they completed their story ‘A Dance Of Death’ and he gave her the pages to keep to publish whenever she felt like. She never did.

 

It was finally her evidence that was to be recorded. For the last two days she had gone into near coma. After all, as both families brought out, she was betrothed to be married to Mahesh and she was as much a victim of the incident as he was. She confirmed that it was his handwriting on the suicide note. Anything unusual about the note, Shinde asked. She said, it was most unlike him to write such a note. He never displayed any signs of contemplating suicide; it wasn’t his nature at all, she said. She said they were perfectly happy with each other and she felt devastated by his disappearance. She kept saying that he won’t have ever committed suicide and he would reappear and then the fog would be cleared. She said she herself would commit suicide if indeed it came out that he was dead; she loved him so much. Since his father’s Nano had also vanished with him, she was questioned on that. She said they used to visit cinema theatres and restaurants together and that she was a frequent co-passenger with him in that car. Shinde then questioned her about any other places that they visited together and she confirmed that they were never away from public places. He then questioned her about the black handwriting. She showed him several love-notes that he had written to her in black. He made a mental note of it that perhaps the note, if at all it was a suicide note, was meant to be seen by her more than by anyone else. He questioned and questioned and she kept sobbing and crying and finally he felt nothing was to be gained by questioning her unless fresh evidence surfaced. Shinde even joked with her that since she was learning Forensic Science, perhaps she could give him a clue for cracking the case. She openly cried at his insensitivity and he promised that he would be more careful if there was to be any future questioning of her.

 

She was doing well in her diploma course in Forensic Science at Xavier’s. They had just learnt about knock-out drugs. These were becoming increasingly more common in – what the instructor told about – Drug Facilitated Sexual Assault, particularly in night parties in Mumbai and its nearby hill resorts. Many of these drugs were used together with alcohol to knock-out a victim for sexual purposes. She learnt that a drug called Gamma-Hydroxybutyric Acid or GHB for short was often referred to, in forensic circles, as Date-Rape Drug. The only problem, she learnt, was that once administered, it rapidly eliminated both in urine and blood and the next morning, even after tests, one could never say with certainty whether the victim was indeed administered it. She was horrified when the instructor told that although such drugs were strictly prescription drugs, there were many illegal ways of purchasing it. A notorious case of use of this drug in a party at Lonavla was discussed in the newspapers for a few days. She and the class, of course, learnt the professional ramifications of such benzodiazepines.

In yet another class, she learnt about how long does it take for a body to float after drowning. She learnt that the time for body to resurface was a function of the temperature of the water as well as body fat. She learnt that in warm water the body rises rapidly because the formation of gas within the body would be fast. How rapidly, she enquired from the instructor. He said it would be within a day or two. However, in cold water the bacterial action would e rather slow and sometimes it would be weeks before a body would surface. As an example, the instructor brought out that in Mumbai Harbour, occasionally bodies of construction workers were discovered on surface many days after they fell into the sea from construction sites adjoining the harbour. These were in such decomposed state after having been in water for several days that nothing worthwhile could be learnt from them. She also learnt that when a body is fully distended, it couldn’t easily be sunk even with counter-weights. However, counter-weights would keep a body down if already sunk.

 

Shinde remained awake in bed; the more he looked at the case, the more it seemed to defeat him and yet, he knew there would be that one clue that everyone would miss except Sherlock Holmes and that clue, if correctly pursued, would help solve the case. In this case, the clue would be that one can’t vanish in Mumbai or even out of it in a car without being detected at one of the cameras of a toll plaza. He had made extensive queries at all toll-plazas in the city and the suburbs and this particular Nano with its registration number hadn’t been sighted anywhere. Hence, if it were to be within the city, it could be either in the garage of someone’s house or abandoned in a remote place or perhaps in a watery grave. He made queries at Sanjay Gandhi National Park and found that the vehicle passes there didn’t capture the licence plate number and hence counterfoils of vehicle passes merely mentioned the licence plate number as verbally told by the driver. In any case, there wasn’t a single record of this particular Nano having entered or exited the park.

 

It was the happiest day of Veena’s life. On the auspicious day of Ganesh Chaturthi, both Mahesh and her parents had decided to hold an engagement ceremony for them, after consulting them. Lord Ganesha was associated with Shubh Ganesh (Good Beginning) and hence a betrothal on the day of Ganesh Chaturthi was to spell the beginning of a lifetime of happiness for the couple. After the ceremony, when he was leaving, Mahesh whispered to her that in the coming Navratri, any of her objections against not giving in to him won’t be valid. All that she did was to blush.

On the first day of Navratri, she joined her sisters and parents for Kali Pujan at home after the ghatasthapana. Now that she was betrothed, she was cautious not to over indulge in eating all the goodies that were prepared at home staring with Ganesh festivities and ending with the ninth night of Navratri. The last thing that she wanted to do was to put on weight and not look as comely as she normally did, during her forthcoming wedding.

During the dandiya, as she beat her sticks against Mahesh’s, he whispered to her, “Tell me when should I get the Nano?”

Veena realised that it was becoming increasingly difficult to keep him at bay. On the fifth night, the last day of Laxmi Pujan, she finally gave in. Close to midnight, when the dancing and music was still at crescendo, they simply vanished from the hall. He had already parked the Nano at a secluded place in the parking.

It wasn’t anything that she had wistfully prepared herself for. First of all, the smell of liquor on his breath was so detestable. At least on their first night together he could have avoided liquor. And then, the Nano didn’t have enough manoeuvering space. And finally, he didn’t appear to be mindful of her desires and was focussed only on giving himself maximu m pleasure.

It wasn’t any better in the next two nights of Saraswati Pujan. And finally, the Eighth day of Navratri was there.

 

No untoward incident of any nature had been reported around any of the water bodies of Mumbai including the Sanjay Gandhi National Park, Borivali. To start with, that year, the rains had continued well up to the first week of October and the tell-tale signs, if any, had been obliterated with the rain and rapidly growing grass and shrubbery. Shinde realised that the British were of set habits and it would have been easier for Sherlock Holmes to find some clues or signs that were against the grain of the British. However, in India and particularly in Mumbai, chaos was indeed the order of the day. No forensic science skills really worked. Nothing.

 

The eighth day of Navratri was devoted to Goddess Durga when a Yajna or Hom is performed in her honour. Everyone has his or her favourites; Veena’s favourite was Durga, the Shakti, or Devi, the incarnation of Goddess Parvati. Whilst many people bemoaned the condition of women in modern India, Veena thought with justifiable pride that just a look at Hindu ancient scriptures would show the concept of Shaktism wherein metaphysical reality of human being is not masculine but feminine. Devi (Goddess), according to these texts, is not just Supreme but also Creator of Universe. She is the one combating evils and demonic forces that threaten peace, prosperity and dharma.

Veena had given herself freely to Mahesh because she was betrothed to him now and would be married in near future. More than the sexual pleasure, it was an act of love for her would be husband, her master, her life. There were small irritants like his habit of drinking even during a religious festival. However, she had faith in her love that it would overcome all these irritants. After all, in many different ways he was ideal for her. They had grown up together and as expected he had shown inclination to be with her rather than with Vibha or Vishranti. She wasn’t just content with life; she was ecstatic at the turn of the events.

That night, there was a much bigger crowd at the dance-hall than on other days. It usually happens on the eighth and ninth nights, being holidays. She and Vibha had gone for the Dandiya since Vishranti wasn’t feeling well and hence stayed at home. They had taken an auto-rickshaw  to the hall since Veena had spurned Mahesh’s offer of going by Nano. She had told him there was no way that she could think of anything or anyone other than Goddess Durga on those two days. He had said that he was disappointed because he had started enjoying the act with his future wife. Repeating a Hindi films dialogue, she had told him to wait since she was going to be completely his for life.

As they went through the swirling motions of Dandiya, Veena noticed that Mahesh had a far-off and disenchanted look. What was more, he was displaying more than usual interest in Vibha. Being a family friend, there was nothing unusual about a sense of intimacy that Mahesh enjoyed with Vibha or for that matter with Vishranti. However, she was feeling jealous of the kind of attention that he was giving Vibha. At one point in the night, she saw them in a conspiratorial conversation too. And it shocked her to see Vibha drinking from his hip-flask. She prayed that it would be just orange squash.

At about midnight, when she was dancing with her female friends, she suddenly noticed that Mahesh was missing from the hall. She looked for him here and there and couldn’t find him. Alarmed, she also noticed that Vibha too was missing. It was time for them to get back home and she knew that auto-rickshaws were difficult to find at that hour. She went outside to the parking lot to find an auto rickshaw before calling Vibha on her cellphone.

As she hailed an auto-rickshaw, to her shocked surprise she found Mahesh’s Nano parked at the same spot whereat, for the last three days, they had made love. She had turned down his offer of bringing the car even that night and hence wasn’t expecting it there at all. As she tiptoed to the rear of the car, there was discernible movement inside at the back seat and at one time, she caught a glimpse of his face with ruffled hair. There was hardly any doubt that he was there with someone; no one goes to the rear-seat of his car just to doze off in the midst of a dance.

By that time the auto-rickshaw that she had hailed had approached and now she must call Vibha to return home with her. She did and this she wasn’t prepared for: the answering tone came from inside of Mahesh’s Nano. Her face became white. She boarded the auto-rickshaw and was in a dazed state in the ten minutes ride home.

After about half an hour Vibha returned too. She knew that he had dropped her by his father’s Nano. Nothing was spoken between them as they went to sleep. The fact was that both remained awake for different reasons.

 

Shinde gathered all his facts. It wasn’t a suicide as given in his note. A man hell-bent on suicide, doesn’t cover his tracks to the extent that neither the vehicle he is supposedly traveling in nor his body is traceable even a week after the crime. No one associated with him, his family and friends, had reported anything unusual. If it was a murder it was a perfect murder since the victim had just vanished without a trace. His fiancee’ was devastated and so were both the families. There were no suspicions, no accusations. How was he, Shinde, supposed to solve the case? Sherlock Holmes was fictional and could plant clues in the story. In reality, in this particular case, there were no leads, no clues.

When Mahesh had vanished, as established by Shinde, Mahesh, Veena and Vibha had gone together to see a movie at a cinema hall close to their house. He had taken the two sisters by his Nano. Halfway along, he had simply disappeared. When he didn’t return at the end of the movie, the two sisters had taken an auto-rickshaw back home. The parents had confirmed the fact of two sisters being picked up by Mahesh for the movie and returning alone by auto-rickshaw. Mahesh hadn’t told the sisters where he was going and hence they had as little clue about it as Shinde had about the entire case.

 

Veena remained awake throughout the night. Her first reaction was self-pity. Here she was, recently betrothed and about to marry her dream-boy and then this happened. It shattered her life totally. When she and Mahesh had exchanged rings, just a few days back, she had felt that he had seen their future together and all that she had to do later was to tame some of his feral tendencies. Liquor wasn’t such a great challenge. However, a man, who, after committing to her, still looked for other avenues, had not been worthy of her trust.

In the wee hours of the next morning, she had turned to Goddess Durga to show her the way. The word ‘Shakti‘ came returning to her over and over again. The kind of love that Veena had in mind was similar to that of Goddess Parvati (Durga’s avatar), after immolation as Sati, returning to Lord Shiva. She felt that wedding was a sacred bond that lasted for many lives. And here Mahesh was, not just being licentious, but being so with her own younger sister; the one who was to look up to him as a brother. She watered down Vibha’s own role in the debauchery by taking into consideration his relentlessly goading her, as also under the influence of liquor. She would have trusted him as a devar (brother-in-law) or brother.

By the time, others woke up, her mind was made up. She said a silent prayer to Durga to give her Shakti, strength.

In the forenoon, she went to his house and as was usual for her, tidied up his room whilst he had a bath. Some of the books had started gathering dust and she not only dusted them but also rearranged them.

He suggested that they go out to see a movie. She consented and said they could take Vibha too with them. The parents approved of it since Visharanti in her condition couldn’t have accompanied.

He sat between the two sisters. The movie turned out to be boring. About half an hour after the movie started, he whispered to Veena, “Shall  we make use of the car?” She was already prepared for it. She said yes, indeed, that’s what she had been thinking of. So they sneaked out. Being a boring movie, many people were going out and coming in. Half an hour later, they were at their favourite spot near the lake.

He parked on the slope facing the lake, in a clearing in the woods. He took out a flask of liquor and two glasses and said now that they had already gone ahead and consummated their love, perhaps she could join him in having a drink. She said she wasn’t comfortable with the idea but if it made him happy, she would do it. After he poured out liquor in two glasses and handed over both to her, he got out to answer nature’s call behind the bushes and she was able to mix adequate quantity of GHB in his drink.

“Cheers”, he said, “To a lifetime of love and commitment”. She raised her glass and said, “May we be happy and content with what we are going to do.”

It didn’t take him much time to be knocked out on the driver’s seat. She lowered the window panes a little bit so that the water would enter the car when driven into the lake. It started raining. She prayed that it would be unnoticed both in sound and sight when the car was driven into the lake. In any case, there was no one around.

She put the car in neutral whilst it was still on hand-break, came from outside near the driver’s window, opened the door, released the hand-brake, locked the door from inside and banged the door shut. She went behind the car to give a push. It slowly started going downhill. Since she had taken out the ignition key, the tyres got locked straight and soon the car picked up speed and went over the cliff into the lake. It wasn’t long before the car sank.

She walked back to where she could get an auto-rickshaw. Some ninety minutes after she had left Vibha, she was back with her in the cinema hall.

Whispered Vibha to her, “Deedi, last night when you phoned me up…….”

“…..we were both at home, Vibha…..we didn’t know about the other, we should have known……Durga shows the way….”

KOI LAUTA DE WOH DIN

मुझे याद आते हैं बचपन के वो पल,
लगता न था कभी आएगी कल,
मासूमियत में कह देते थे दोस्तों को:
मैं आता हूँ तेरे पीछे, तूँ चल।

एक एक करके होने लगे वो विदा,
जो रात को भी न होते थे जुदा,
हमारी फुसफ़साहट भी वो सुन लेते थे,
अब नहीं पहुंचती उन तक मेरी सदा।

आती हैं वो सब शरारतें याद,
पेड़ से तोड़े आम का अलग था स्वाद,
क्या लुत्फ था उन हरकतों का,
हालांकि बहुत मार खाई उनके बाद।

क्या अजब खेल था लुकन छिपाई।
कब दिन शुरू हुआ और कब रात आयी,
सब सांझेदारी में बराबर के हकदार थे,
न कोई चीज़ अपनी, न कोई चीज़ परायी।

लगता न था वो प्यारे दिन गुज़र जाएंगे,
तिनके तिनके से बनाये घरोंदे बिखर जाएंगे,
ज़िन्दगी की ऊंचाईयां चढ़ने की ख्वाइश में,
जहां चढ़े बैैठे थे वहीं से उतर जााएंगे।

काश रोक लेते वो दिलकश समां,
हम सब संग संग थे उस जगह जहां,
ढूंढते फिरते हैं उस बीते ज़माने को,
कोई तो बता दो वो बचपन गया है कहां।

GOOD MORNING MESSAGE #126

The end of good morning messages.

From the first of June, 2018, I started writing Good Morning messages in the form of poems (Please read: ‘Good Morning Message #1‘).

The last such message was: Good Morning Message #125‘.

Good morning Friends,

I am constrained to stop morning verses,
The readership has dwindled to twenty-five*;
For me, two hours a day and umpteen curses,
And an intent to write whether dead or alive.

Out of everything that I have ever written,
These attracted the least views on my blog;
It appears, by these, people ain’t smitten,
There is no need, for me, to strive or slog.

I am reduced to being like that Boy Scout,
Wanting to do his good deed for the day;
Who is increasingly filled with this doubt,
If anyone really needs to be shown the way.

It remains for me to profusely thank everyone,
For giving me the opportunity to serve and learn;
Yes, for the time being, I appear to be done,
But, who knows some day I may actually return?

I also humbly seek forgiveness from all of you,
For my daily morning trespasses and intrusions;
Out of 126, if you can even recall just one or two,
I can happily live by their acceptance illusions.

Adieu, my friends, may God bless your day,
Not just today but everyday of the year;
Whether I write or not, I shall continue to pray,
That every moment of life would bring you cheer.

Good morning everyday, friends.

(* From a peak of 300 plus a day)

GOOD MORNING MESSAGE #125

Cruelty and Violence can go away from the world…..

From the first of June, 2018, I started writing Good Morning messages in the form of poems (Please read: ‘Good Morning Message #1‘).

The last such message was: Good Morning Message #124‘.

Good morning Friends,

Will all the cruelty go away one day?
Will all the violence in the world cease?
Will beings continue to hold others as prey?
Or the world would finally be at peace?

Will the strong continue to dictate to meek?
Or will we all actually emerge as equal?
Will someone rich for the downtrodden speak?
Will the life on earth have another sequel?

We live in a world full of all the imperfections,
We keep thinking why God made it so;
Could not, He have applied the corrections,
And really made a fair and just world grow?

The answer is simple if we care to think:
God wanted us to make the world fair;
We have to pull the world away from brink,
And show God that for our home we care.

Lets not talk about others in this universe,
Lets talk in specific terms only about ourselves;
Lets do everything to make it better and not worse,
They all will eventually sort out themselves.

Lets do away with inequalities in our mind,
And make our inner selves free of violence;
Lets not to others’ needs and rights be blind,
Lets practise, in our daily lives, non-violence.

Today is the day when we start this change,
For acting on it, lets not wait until tomorrow;
At first it may sound difficult, unreal and strange,
Lets be the agent to make the world free of sorrow.

.…if we make our inner selves cruelty and violence free.

GOOD MORNING MESSAGE #124

Lonely and Sad may just be virtues.

From the first of June, 2018, I started writing Good Morning messages in the form of poems (Please read: ‘Good Morning Message #1‘).

The last such message was: Good Morning Message #123‘.

Good morning Friends,

Lonely and sad are actually not so bad,
If you want to look for great inner joy;
The world around us can make us mad,
Many things are there that seek to annoy.

The world is, at times, too much with us,
We lose sight of our heart and soul;
There is, sometimes, much ado and fuss,
And life tends to get out of control.

God is good, loving, generous and kind,
Even when we think He has done us bad;
This is one example that comes to mind,
When He graciously makes us lonely and sad.

Lonely and sad actually make us realise,
The happiness that we’d taken for granted;
Losing sight of land whilst seeking the skies,
We probably never had our feet firmly planted.

It may be for no other apparent reason,
That we suddenly feel empty and alone;
It sounds like cosmos is planning treason,
There is nothing that we can call our own.

Cheer up, friend, if you are going through,
This occasional churning of heart and soul;
Before you can it as a conspiracy construe,
I want to make you see through the keyhole.

Have a day with inner joy.

LOG KEHTE HAIN ISHQ MEIN KYA RAKHA HAI

क्या कहूँ अब कहने को क्या रखा है,
तूने मेरी जान मुझे खुदा बना रखा है।

दिल नहीं है मेरा एक आईना है जिसमें,
मैंने तुझे सनम सब से छुपा रखा है।

मैं मगरूर रहा कभी किसी के आगे न झुका,
सजदे में तेरे अब सर को झुका रखा है।

अब मेरा नाम ही तेरे नाम से बदला गया,
प्यार में तेरे अपनी हस्ती को मिटा रखा है।

तू चले जाती है, फिजायें भी चली जाती हैं,
कुदरत की हर चीज़ को तूने जो सिखा रखा है।

अपने ही दिल का पता तुझसे पूछता हूँ,
अब तो बता दे मेरे दिल को कहां रखा है।

यादों की लहरें उमड़ती हैं सागर बन के,
हर इक याद को मैंने सीने से लगा रखा है।

पहले तुम भी इश्क करो फिर पूछना यारो,
मैंने क्या पाया और किसको गँवा रखा है।

अगली बार मिलेंगे तो अकेले न होंगे हम, रवि,
मैंने सारे ख्वाबों ओ अरमानों को जगा रखा है।

GOOD MORNING MESSAGE #123

House and Home are different.

From the first of June, 2018, I started writing Good Morning messages in the form of poems (Please read: ‘Good Morning Message #1‘).

The last such message was: Good Morning Message #122‘.

Good morning Friends,

A House is made of bricks and cement,
A Home on the other hand is made of hearts;
A House you can even hire or rent,
A Home is known for the joys it imparts.

There is no sense of belonging in a House,
But to your Home you always belong.
Love of parents, siblings, and your spouse,
Would make the bonds in a home strong.

Moreover, a House is just a walled erection,
A Home lives with an emotion called Love.
A House has to feelings no connection,
Feelings is what a Home is made of.

A House can be rented, built or bought,
A Home has to be made and treasured.
A Home can be, inside a House caught,
But, nothing in a Home can be measured.

Hopes and Dreams are the building blocks,
For making a Home for one’s own clan;
Once made, there is hardly ever a paradox,
That it lasts you till your entire lifespan.

May your Home remain your favourite place,
For joys, love, warmth, peace and affection;
May empathy each one of the you embrace,
And with God the family retain a connection.

House and Home can be made the same.

GOOD MORNING MESSAGE #122

Regularity can’t be dreary if you have imagination.

From the first of June, 2018, I started writing Good Morning messages in the form of poems (Please read: ‘Good Morning Message #1‘).

The last such message was: Good Morning Message #121‘.

Good morning Friends,

The regularity with which these messages come,
Doesn’t by itself make these passé;
If numbers or repetitions would add to humdrum,
No one would ever admire a bouquet.

It is actually true of all those motley things,
That come to you routinely everyday;
Each one some freshness or newness brings,
No one’s significance you can downplay.

Each day has a sunrise, each day has a sunset,
The hours and minutes are the same;
In every respect, there is regularity and yet,
Each has a different flavour and name.

In God’s world, there is regularity everywhere,
And yet He has given means to discover newness;
Even if something is a repetitive affair,
Each has its uniqueness, its own trueness.

Greeting one another should never be trite,
Each friend is special and actually unique;
The regularity can fill you with great delight,
If you look afresh at its individual mystique.

To you, regular things won’t really look banal,
Because you have curiosity and imagination;
That each new day would freshly enthrall,
And result in renewed and unique exultation.

Freshness and newness come from within.

 

Follow

Get every new post delivered to your Inbox

Join other followers: