Category: Philosophy

Raaga Based Song of the Day: Tumhi ho mata pita tumhi ho….
Raag Bhairavi, Tal Kaherava

I am in awe of Raag Bhairavi and its variations. On the eleventh day’s value added learning, I had told you about why Bhairavi is the first raag to be taught to beginners and why it is generally the last in a performance (Please read: ‘Raaga Based Song Of The Day #11‘). On that day, if you recall, I gave you the finest song composed in Raag Bhairavi in the Hindi movies: Baabul mora, naihar chhooto hi jaaye… in Raag Bhairavi, Tal Kaherava. In the 1938 Phani Majumdar movie Street Singer, having Kundan Lal Saigal in the title role, this song was performed live on camera by him since playback singing hadn’t yet become popular. The song had been penned by Nawab Wajid Ali Khan, the Nawab of Awadh when the British exiled him from his favourite city of Lucknow. Rai Chand Boral had composed the song for the movie.

I gave you another song in Ahir Bhairavi on the 22nd day: Poochho na kaise maine rain bitayi and even that would be a fine tribute to my mother who went to reside with God on the morning of Wednesday, the 9th Aug 17.

Today’s song is a final tribute to her in the current series. By now you know why Bhairavi is so well suited for it. Raag Bhairavi is often regarded as the Queen of Melodies. It is a Sampurna – Sampurna (Heptatonic) raaga both in ascent (Aaroha) and descent (Avaroha). This simply means that it uses all seven notes (swar). The komal (soft) swar make for a sobering devotional atmosphere which is full of love and piety and makes one closer to one’s Creator.

My Creator, my mother, the incarnation of God on Earth for me, lived with me for six decades and four years and Bhairavi shall always connect me to her; I am sure of that. Praying to her, for me, is praying to God. Particularly, after the untimely demise of my father on 01 May 1984 in a jeep accident, she has been Mata, Pita, Bandhu, Sakha; in short, everything to me. Hence, once again, the lyrics are so appropriate for me.

Bhairavi is a raaga that is normally sung in the wee hours of the morning. The reason is that since it is usually the last piece in a night long performance, the performance concludes in the morning. The reason why it is kept in the end is because in a night long concert, it is left to Bhairavi to cure the mistakes in the earlier performances. The devotional and peaceful bhaav of Bhairavi also makes it suitable as a concluding piece.

We have completed fifty-six 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 fifty-sixth post or the last post was titled ‘Raaga Based Song Of The Day #56‘ and the song was a Lata Mangeshkar song from the 1957 Nandlal Jaswantlal movie Champakali starring Bharat Bhushan and Suchitra Sen: Chhup gaya koi re door se pukaar ke. It is in Raag Jhinjhoti, 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 Yaman – Part III‘.

In the last fifty-six 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 and Hamir. The only four raag that have been repeated so far are Pahadi, the raaga of my home place in the Himalayas, Maru Bihag, Raag Kirwani and Jhinjhoti. That makes a total of 49 raagas so far; today’s one too I am repeating: Raag Bhairavi.

Today, I give you a bhajan, one of my favourites, in Raag Bhairavi, Tal Kaherava, sung by Lata Mangeshkar.

However, first, lets take up the value added learning of today. Today, we shall learn about Swarmandal.

Swarmandal is a drone instrument like Tanpura and Shruti Box. Swarmandal is a combination of two words: Swar (Notes) and Mandal (Group). Therefore, Swarmandal has the ability to produce a large number of notes. It is also called Surmandal.

Swarmandals are 24 to 30 inches in length and 12 to 15 inches in width. The number of strings employed by the singer vary between 21 to 36. If you have a look at the accompanying picture, you will see that the strings are hooked in a nail lodged in the right edge of the swarmandal and on the left are wound around rectangular pegs which can be tightened with a special key. Wooden pegs were used instead of metal ones in the medieval period. A sharp ¹⁄₂-inch (13 mm) ridge on both sides of the swarmandal stands a little apart from the nails on which the strings are tightened. This ridge functions as a bridge on both sides. The swarmandal is similar to the autoharp or zither in many respects.

Some of the vocalists who have used this instrument extensively are Ustad Bade Ghulam Ali Khan (1902–1968), Ustad Salamat Ali Khan (1934–2003), Pandit Jasraj (b 1930), Kishori Amonkar (1932-2017), Ustad Rashid Khan (b. 1966) and Pandit Shyam Sundar Goswami.

The Beatles’ 1967 single “Strawberry Fields Forever” features a swarmandal, played by George Harrison, as does “Within You Without You”, from the band’s Sgt. Pepper’s Lonely Hearts Club Band album.

As I mentioned, today’s song is composed in Raag Bhairavi, Tal Kaherava.

Some of the songs composed in this raaga are:

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. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55.

Baat Chalat Nayi Chunri Kaisay Jaaoon Jamuna Kay Teer Chod Gaye Baalam Sudh Bisar Gayee Baat Chalat Nayi Saanwaray Saanwaray Phul Gendwa Na Maaro Laga Chunari Mein Daag Hato Kaahe Ko Jo Tum Todo Piya Meray Aey Dil Bata Mori Cham Cham Bajay Tu Ganga Ki Mauj Sun Neel Kamal Madhukar Shyam Hamaray Babul Mora Naihar Mat Ja Jogi Bhagwan Do Ghadi Ab Teray Siva Kaun Dheeray Dheeray Aaray Piu Piu Bol Aaee Diwali Hamein To Shamein Gam Akeli Mat Jaeeyo Kya Mil Gaya Bhagwan Main To Girdhar Saiyan Ho Tose Bujhti Hui Is Jot Bajuband Khul Khul Tu Pyar Kare Ya Armaan Bhare Dil Shri Ram Bhajo Such Mein Piya Ji Main To Karam Gati Tare Dekho Ji Bahar Aayi Aaya Hai Mujhe Phir Dil Ka Khilona Haye Toot Gaya Kaise Samjhaoon Duniya Bananewalay Jiya Jale Jaan Jale Na Tufan Say Khelo Jai Bolo Beimaan Tumharay Sang Main Bhi Khamosh Hai Khewanhar Do Hanso Ka Joda Main Pyar Se Teray Tumhee Ho Mata, Pita Tumheen Ho Main Dekhoon Jis Or Sakhi Insaaf Ka Mandir Main Zindagi Mein Jot Se Jot Jagaatay Chalo Sajna Kahe Nahin Babul Mora Shyam Mohe Chakar Aaja Sawariya

Ladki Devta Barsaat Sangeet Samrat Tansen Rani Roopmati Anuradha Dooj Ka Chand Dil Hi To Hai Manzil Jhanak Jhanak Payal Baje Jhanak Jhanak Payal Baje Ghoonghat Baiju Bawara Chitralekha Bhakt Surdas Street Singer Jogan Bahar Kismat Kismat Bandhan Ratan Jugnu Lalat Anmol Ghadi Jogan Nai Raahein Lajawab Bajuband Dekh Kabira Roya Ambar – Milan Milan Azaad Devar Goonj Uthi Shehnai Suraj Teesri Kasam Dil Se Udan Khatola Beimaan Sohni Mahiwal Amar Ganga Jamuna Saathi Main Chup Rahoongi Anita Amar Barsaat Sant Gyaneshwar Badnam Basti Avishkar Meera Gaman

Geeta Roy Lata Mangeshkar Mukesh, Lata Manna Dey Krishnrao, Mohd.Rafi Lata Manna Dey Manna Dey Manna Dey Lata Mangeshkar Lata, Manna Dey Lata Mangeshkar Rafi, Lata Ram Dulari K. L. Saigal K. L. Saigal Geeta Roy Geeta Roy Amirbai Karnataki Arun, Amir Pradeep Zohrabai Ambalawali Noorjahan Heerabai Barodkar Noorjahan Geeta Roy Rafi , Asha Geeta Roy Lata Mangeshkar Lata Mangeshkar Geeta Dutt, Talat Mehmood K. C. Dey Lata Mangeshkar Manna Dey Lata Mangeshkar Mukesh Lata Mangeshkar Rafi, Lata Mukesh Lata Mohd. Rafi Mukesh Lata Lata Lata Lata Lata Lata Mohd. Rafi, chorus Mohd. Rafi Lata & Mukesh Ghulam Mustafa Jagjit & Chitra Singh Vani Jayaram Hiradevi Mishra

56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110.

Aapki Yaad Aati Rahi Raat Bhar O Bansi Bajaiya Ho Gori Tori Baanki Jara Man Ki Satyam Shivam Sundaram Jo Tum Todo Rang Mahal Kay Kanha Re Peed Sahi Na Jaye Meri Jaan Aey Ji O Dekha Pyar Hai Re Main To Jo Bhajay Hari Tero Naam Dil Ka Na Karna Aitbar Mehndi Lagi Mere Haath Suno Choti Si Gudiya Ki Sar Pay Kadam Ki Chaiya Sun Le Baapu Ye Paigam Meray Man Ki Ganga Mujhko Is Raat Ki Chhaliya Mera Naam Ek Paisa Day Day Main Chali Main Chali Garib Jaan Kay Chahe Koi Mujhay Sur Badle Kaisay Piya Te Kahan Gayo Ye Zindagi Kay Melay Aey Dil Ab Kahin Yahi Hai Vo Sanjh Aur Savera Dil Apna Aur Preet Parayee Shisha-e-dil Itna Na Mera Naam Raju Hothon Pe Sacchai Rehti Hai Hai Aag Hamare Seene Mein Sab Kuch Seekha Hamne Tu Hindu Banega Na Dil-e-betaab Ko Tera Jaadu Na Chalega Waqt Se Din Aur Raat Mera Rang De Basanti Raja Ki Aayegi Baraat Ek Dil Aur Sau Afsane O Shama Mujhe Phook De Main Aashiq Hoon Barsaat Mein Kehta Hai Joker Mera vichada yaar milaaday Mera Joota Hai Japani Ramaiya Vasta Vaiya Pyar Hua Ikrar Hua Hai Teri Nigahon Pe Bane To Ban Jao Jis Dil Mein Basa Ae Mere Dost Ae Mere Pagdi Samhal

Gaman Sapne Suhane Aadhi Raat Ke Baad Kohinoor Satyam Shivam Sundaram Silsila Satyam Shivam Sundaram Aakrosh Anubhav Dekha Pyar Tumhara Bedag Taqdir Ka Badshah Halaku Mehndi Lagi Mere Haath Seema Bhakt Surdas Balak Sangam Dil Bhi Tera Hum Bhi Tere Chhaliya Vachan Professor Chhoo Mantar Junglee Barkha Toofan Aur Diya Mela Bluff Master Sanjh Aur Savera Dil Apna Aur Preet Paraee Dil Apna Aur Preet Paraee Jis Des Mein Ganga Behti Hai Jis Des Mein Ganga Behti Hai Jis Des Mein Ganga Behti Hai Anari Dhool Ka Phool Palki Guest House Waqt Shaheed Aah Ek Dil Aur Sau Afsane Aashiq Aashiq Barsaat Mera Naam Joker Sohni Mehiwaal Shri 420 Shri 420 Shri 420 Shabnam Dulha-Dulhan Saheli Meherbaan Shaheed

Chhaya Ganguli Suman Kalyanpur Manna Dey Mohd. Rafi Lata Lata Lata , Nitin Vandana Purandare Geeta Dutt Suman Kalyanpur Manna Dey Lata Lata Lata Lata Sehgal, Rajan Hemlata Mukesh Mukesh Mukesh Asha Bhosle Lata, Rafi Mohd. Rafi, Geeta Dutt Mohd. Rafi Lata Lata Rafi Hemant Kumar Asha , Rafi Lata Lata Mukesh Mukesh Manna Dey, Mukesh, Geeta, Lata Mukesh Rafi Rafi, Suman Kalyanpur Lata Rafi Rafi Lata Lata Lata, Mukesh Mukesh Lata Mukesh Lata Mukesh Rafi, Lata, Mukesh Manna Dey, Lata Mukesh Lata, Mukesh Mukesh Rafi Rafi

111. 112. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152.

April Fool Banaya O Jane Wale Jao Aa Asmaan Wale Mera Rang De Basanti Chola Manzil Ki Dhun Mein Mehtaab Tera Chehra Dhanya Bhagya Sewa Ka Chali Pee Ke Nagar Nain Mile Chain Kahan Dhire Dhire Chal Chand Mile Jo Kadi Kadi Ek Matwala Jiya Aana Hai To Aa Tumko Hamari Umar lag Ae Qaatibe Taqdir Jab Dil Hi Toot Gaya Ek Tara Bole Bacchhe Man Ke Sacchhe Reshmi Salwar Kurta Tu Pyar Kahe Khushiyon Ke Phool Suno Chhoti Se Gudiya Kisi Ne Apna Main Piya Teri Jaise Radha Ne Maala Japi Ae Dil Tujhe Kasam Jeet Hi Lenge Baazi Main Piya Teri Tu Dil Ka Khilona Ja Re Ud Ja Re Baki Kuch Bachaa Doli Chadte Hi Beshak Mandir Chal Chal Ae Dil Garibon Ki Suno Yeh Pyar Vyar Kya Hai Chingari Koi Bhadke Dil Aaj Shayar Hai Kisi Baat Par Main Ae Mere Dil Kahin Ae Mere Dost Bhor Bhaye Panghat Pe

April Fool Mother India Pardes Shaheed Anokhi Ada Aashiq Sur Sangam Sardari Begum Basant Bahar Love Marriage Kasme-Vaade Mother India Naya Daur Aayee Milan Ki Bela My Sister Shahjahan Yaadgaar Do Kaliyan Naya Daur Dekh Kabira Roya Mayurpankh Seema Patita Basant Bahar Tere Mere Sapne Dulari Shola Aur Shabnam Basant Bahar Goonj Uthi Shehnai Maya Roti Kapda Aur Makaan Heer Ranjha Bobby Jheel Ke Us Paar Dus Lakh Darar Amar Prem Gambler Bemisal Daag Meherbaan Satyam Shivam Sundaram

Rafi Lata Lata Rafi, Mukesh Mukesh Mukesh, Lata Kavita Krishnamurti Aarti Anklikar Lata, Manna Dey Lata, Rafi Kishore Rafi, Lata Rafi Lata K. L. Saigal K. L. Saigal Mahendra Kapoor Lata Asha, Shamshad Begum Lata Lata Lata Lata Lata Lata Lata Rafi, Lata Lata Lata Lata Mukesh Lata Narendra Chanchal Lata Rafi, Asha Abhijeet,Alka Yagnik Kishore Kishore Kishore Talat Mehmood Rafi Lata

As far as Tal Kaherava is concerned, I have already told you enough about this most popular Tal.

Once again, I have made use of the song in memory of my late mother. The song, originally, is from the 1962 A Bhimsingh movie Main Chup Rahungi starring Meena Kumari and Sunil Dutt. The song was penned by Shimla man Rajinder or Rajindra (he used both spellings) Krishan that has my mom’s name in part (Harkrishan). Rajinder Krishan was the richest lyricist in Hindi movies and my mom was thje richest person at heart that I know of. The song was composed by Chitragupta. As a coincidence, the song is pictured, in the movie, on Babloo and my nickname during my childhood days was Bubble.

Please enjoy in Raag Bhairavi, Tal Kaherava: Tumhi ho mata pita tumhi ho….

Tumhi ho mata pita tumhi ho
Tumhi ho bandhu sakha tumhi ho
Tumhi ho mata pita tumhi ho
Tumhi ho bandhu sakha tumhi ho

Tumhi ho saathi tumhi sahare
Koi na apna siwa tumhaare
Tumhi ho saathi tumhi sahare
Koi na apna siwa tumhaare
Tumhi ho naiyya tumhi khewayya
Tumhi ho bandhu sakha tumhi ho
Tumhi ho mata pita tumhi ho
Tumhi ho bandhu sakha tumhi ho

Jo khil sake na wo phool ham hain
Tumhaare charno ki dhool ham hain
Jo khil sake na wo phool ham hain
Tumhaare charno ki dhool ham hain
Daya ki drishti sada hi rakhna
Tumhi ho bandhu sakha tumhi ho
Tumhi ho mata pita tumhi ho
Tumhi ho bandhu sakha tumhi ho.

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. And today, on the fifty-seventh day, we learnt about Swarmandal.

There is much more still to be learnt and enjoyed.

Please stay tuned!

Last night we concluded the Mera, Apna, Hamara Songs Fest on my Facebook group ‘Yaad Kiya Dil Ne’ at about 11 P.M. This Fest had large number of theme songs; I myself had a list of some 620 songs. It is, therefore, not possible for me to give all songs here. I am generally the organiser of the fests on YKDN. In addition, I participate like an ordinary participant with two exceptions: one, I put up my songs after everyone has put up theirs; and two, generally, the song of the cover picture of the Fest is reserved for me. This time the reserved song was Kahin door jab din dhal jaaye.

The rules of the fests remain the same fest after fest and these were:

1. Starts at 0600 hrs on Sat, 15th Oct 16.
2. Concludes at 2300 hrs on Sun, 16th Oct 16.
3. The songs are to have the word Mera or Apna or Hamara or any other synonyms/variations of these, either in the mukhada or the antara of your songs. Words such as Main and Hum are not permitted. However, Mora, Hamra etc are permitted.
4. Every participant is permitted to put up five songs per day and a total of ten songs in two days. You can’t put up ten songs in one day. If you have repeated someone’s song, you can’t replace it with another.
5. You must put up the mukhada (first few words) of the song as a comment in the pinned post (the post right on top; it is generally that month’s Calendar post.) to avoid repetitions. Also, read the previous comments put up by others to find what others have put up.
6. Don’t write full story in the comment as at Pt. #5 above. Just the first few words. Put up just one song per comment. I shall be copying and pasting these comments for preparing the Results and don’t want to copy the link: “See More”.
7. The description of your song (in your post and not in the pinned post) must have the title ‘MERA, APNA, HAMARA SONGS FEST” and the Day number and song number; eg, “MERA, APNA, HAMARA SONGS FEST, Day#1, Song #1 and so on). Immediately below this, copy pasre the mukhada that you put in the pinned post so that your song can be related to the mukhada. Immediately below this write the line in which the Theme-word/Keyword of the Fest occurs.
8. You neither write the lyrics of the song, nor sing it, nor make its music, not even make its video. Your total contribution is how well you present the song that you are putting up. Markings for presentation will be independent of Likes as that would be a separate category.
9. Negative marks (upto 5) for those who repeat songs that others have put up. Positive marks (upto 10) for those who put up rare songs.
10. All are requested not to put up, like or comment upon other than Fest theme songs for the duration of the Fest. These can be put up before 0600 hrs on Day #1 and after 2300 hrs on Day #2.
11. Songs are to be put up in YKDN group and not on the event page.
12. The second day starts at midnight after the first day.
13. In order to help me find your songs please title your songs “MERA, APNA, HAMARA SONGS FEST Day #1, Song #1′ and so on only. Don’t use your own synonyms or spellings. Negative marks will be awarded to those who default since members not following these make me spend extra time searching for your posts whilst preparing results.
14. Please put up one mukhada followed by a song and then the next one. Do not reserve songs by putting up nember of mukhadas together.
15. Please discourage copy-paste ‘artistes’ who put up just the url of the song (without any effort), by totally ignoring their posts. I intend awarding negative marks to those who mechanically ‘Like’ such posts.

Alright, with this introduction lets plunge into the ten songs on the theme put up by me. In this Fest, I tried telling a story through these songs and I am sure you will enjoy the story whilst listening to the songs.

Day #1 Song #1

Mera mujh mein kichh nahin…
Keyword: First word of mukhada

And now that we are nine hours into the Fest, it is finally my turn to put up my posts. As I said, I have made a list of over 600 theme songs but, if I can help it, I don’t want to put at random. I want to make it into a story.

Of this story, this song is the introduction. What is the essence of the song? Only this that the word MERA or any of its synonyms is a myth. Nothing actually belongs to any of us. On my Facebook page: ‘Make Your Own Quotes’ I had put up a quote about the futility and ridiculousness of offering sweets etc to God in temples. We accept the fact that everything – even every thought of our minds – is owned by Him. Hence, to then take out a small portion of that everything and offer it back to him is totally incongruous. It is like going to a jeweller and offering him free a beautiful necklace from his own shop. When you offer His own things back to God, it reeks of your desire to show ownership over those gifts. How ludicrous it sounds.

I was conscious of this recently when I did and asked you too to help Anindya Chatterjee in distress. Money is the least of the things that belong to us. Love and gratefulness may actually last longer. For example, any time (100 percent) I chat with and talk to Raj Dutta, he wins! That’s the least I can do for all the love that he showers upon me without holding back anything.

I was conscious of this thought when I planned the Fest. How arrogant MERA, APNA, HAMARA sounds! You already know my last song: Kahin Door Jab Din Dhal Jaaye and hence some of you can guess the intervening story that I shall be knitting for you.

A word about the hymn: Mera mujh mein kichh nahin, jo kichh hai oh tera (I don’t have (O’ God) anything of my own. Whatever is there is yours). This Shabad is composed by Bhagat Kabeer Ji, Guru Arjan Dev Ji and Guru Nanak Dev ji. It is on Page 1375 of Sri Guru Granth Sahib Ji:

1. Kabeer, mayraa mujh meh kichh nahee
Jo kichh hai so tayraa
tayraa tujh ka-o-sa-upatay
ki-aa laagai mayraa

2. Mai naahee parabh sabh kichh tayraa.
eeghai nirgun ooghai sargun kayi karat
bich su-aamee mayraa.

3. Tu jeevan too paraan adhaaraa.
tujh hee paykh paykh man saadhaaraa.
too saajan too pareetam mayraa.
chiteh na bisrahi kahoo bayraa.
ha-o kichh, naahee sabh kichh tayraa.
ot pot naanak sang basayraa.

4. Kabeer, mayraa mujh meh kichh nahee
Jo kichh hai so tayraa

Translation:

1. (Kabeer) Nothing within myself is mine. Whatever there is, is Yours.
If I surrender to You what is already Yours, what does it cost me?

2. I am nothing, God; everything is Yours.
In this world, You are the absolute, formless Lord; in the world hereafter, You are the related Lord of form. You play it both ways, O my Lord and Master.

3. You are my Life, the very Support of my breath of life.
Gazing upon You, beholding You, my mind is soothed and comforted.
You are my Friend, You are my Beloved.
I shall never forget You.

4. (Kabeer) Nothing within myself is mine. Whatever there is, is Yours.

The shabad or the hymn teaches us to ‘Let Go’! A story of Guru Nanak comes to my mind. I was fortunate to see the movie ‘Nanak Shah Fakir’ with my brother Raj Dutta. In his youth, Guru Nanak was working as a storekeeper. One day, he was counting provisions verbally whilst dispensing them to the buyers, ‘One, two, three, …, eleven, twelve, thirteen’. When he reached thirteen, he started saying that number repeatedly. In Punjabi, the number thirteen is ‘Tera’, which also means ‘Yours’. This was called ‘Sachcha Sauda‘ (True Trade or Business) in Guru Nanak’s life as well as in the movie.

There are many different uses of this hymn to bring us inner peace. However, now that we are grief-stricken because of Anindya Chatterjee and Priti Chavan, let me recall the use of the hymn in grief:

Grief is an inevitable part of human experience. For example, the discovery that your child is autistic triggers grief. The discovery that the person you love so dearly does not reciprocate your feelings triggers grief. The discovery that you no longer have your job triggers grief. The discovery that you can never bear a child triggers grief. The list is endless.

In modern psychology, the KÃbler-Ross Model for the grieving process is quite popular. It was developed in 1969 by a Swiss psychiatrist KÃbler-Ross who spent many decades working with the terminally ill. The model has five stages: denial, anger, bargaining, depression and acceptance. The first four stages reflect non-acceptance. Note the words used for describing non-acceptance: ‘denial’, ‘anger’, ‘bargaining’ and ‘depression’.

How does one reach ‘acceptance’ when faced with grief? Many techniques and ideas are found in psychology and spiritual books. There is no single technique or algorithm that works for everybody. For those with a devotional bent of mind, hymns like ‘Mera Mujh Mein‘ are helpful. They shorten the time period that we would otherwise have spent in denial, anger and depression. They also lessen the impact of these negative states of mind, quickly bringing us back on track, with smiles adorning our faces.

And now, you would know why, when I put up pics of Arun Chavan’s daughter Priti Chavan with her husband and the twins who were born to die (all of us are; but in their case it was much much shortened due to SMA Type #1 or Spinal Muscular Atrophy; a rare ailment), I used the words in the cover picture itself: ‘God is always kind’. Tera tujhko saunpte, kyaa laagat hai mera?

Even at the risk of this post becoming long, here is a story that we used to hear and read when I was small:

Once, There was a fakeer (Typical name for a Muslim saint who perpetually worships ‘Allah‘). He used to always recite God’s name. If he got something to eat, then only he’d have his meal, else not. He wasent in need of any of the worldly wants: home, clothes, etc.

But one day, while meditating, a thought came into his mind, ‘O Allah, I pray to you a lot with full heart, but what have you given to me ? I don’t have any home/shelter, there is no second pair of clothes for me, I don’t even know from where am I going to get my next meal. What have you given me?’

So, he went to dargah (Muslim place to worship) and started ‘razoi‘ (We have akhand paath (Prayers without a break) in Sikhism, Muslims have ‘razoi‘). In the end, he put forth the same question to allah.

A voice came: What do you want dear fakeer ?

Fakeer: Hey Allah, you know very well why have I came here. Look at me, the condition of the person who praises you. My clothes are torn apart, I have rashes all over my body, I don’t even have even shoes. At some door, I get some food to eat, else I am left alone with hunger. Put something in my lap. Give me something.

Same voice (of Allah): Ok, here you go.

(‘1′ was placed in his lap/jhooli. (Now don’t ask what is ‘1’. Later you all will know, what is it).

Fakeer: Huh? Just ‘1’? What am I going to do with that ‘1’? You have just ‘1’ for me from your treasure house? You give loads of riches to others and just ‘1’ to me?

Same voice: Go dear, this ‘1’ is very valuable.

Fakeer: As you say Allah.

So he went …

After some time, a ‘0’ (zero) was added after that ‘1’. (Means he progressed 10 times). Then after some more time, one more ‘0’ was added making it ‘100’. Now as the time passed by, the 0’s (zeros) kept on adding.

A worthy thing to notice here is that the ‘0’s’ (zeros) are getting added after that ‘1’ which Allah gave to him. If that ‘1’ was not there, then no matter how many ‘0’s’ you have, the sum will always be equal to 0.

After some time, he became the richest man in the country. Now he had so much wealth, that it was difficult for him to take care of the same. He was very happy being so rich.

One day, he was sitting and reciting … Allah … Allah … and then suddenly he thought that he had so much wealth, now what’s the use of that ‘1’ given to him by his Allah? That ‘1’, he mused, was the only thing He gave me, rest all the wealth was accumulated up by me only. (Sri Guru Granth Sahib calls it: ‘Hau-main’, that is, the feeling of ‘I’ came). Why not I return the ‘1’ to Him back so that it won’t be said that I took Allah’s favour?

So he went back to that dargah and again called upon his Allah.

Allah: Fakeer what do you want now?

Fakeer: Nothing Allah. Now I haven’t came to ask for something, I came here to give you something. (See, a mortal human – Fakeer, acting as a daata/giver in front of the greatest and only true giver of the universe).

(Just think about this for a moment, are we in a position to give anything to our God?)

Allah: First you came to me being a bhikhari (beggar) and now you are in front of me in the form of daata (Great giver)? What is it that you are giving to me?

Fakeer: I came to you last time and you gave me just ‘1’, after that, it was me who gathered all the wealth myself. So I am here to return you that ‘1’.

Allah: (Laughing at his stupidity) Are you sure?

Fakeer: Absolutely. I made up my mind and then came with strong will to return to you your ‘1’.

Allah: Ok. As you wish. (And took back that ‘1’)

Now, in the absence of that ‘1’, it didnt took any time for that so called fakeer turned richest man to be turned back to the same old begger fakeer which  he was in the beginning.

Then he again went back to that dargah.

Fakeer: Mere allah, please return me that ‘1’.

Allah: Fakeer, go, you won’t starve because you have recited my name, but I cannot give you back that ‘1’ because it has been taken by some other true lover.

Ladies and gentlemen, Mera mujh mein kichh nahin, jo kichh hai o tera is indeed the beginning of true knowledge and happiness.

My sister Surekha Saini would have told you (If she was participating, she would have certainly put this up) that various singers have sung this hymn over a period of time but the best was the original, sung in 1972, by Bhai Gopal Singh Ragi.

Please enjoy: Mera mujh mein kichh nahin….

Day #1 Song #2

Ai bhai zara dekh ke chalo…
Keyword: Last line: Viraan chidhiya ka basera hai, na tera hai, na mera hai.

The story so far: After announcing the Fest on this theme, I have been hit with emotions of regret. The word ‘Mera‘ (Mine) is a myth. Nothing is ever mine or yours. Everything belongs to God.

I read a lot of philosophy and have written a fair bit on my blog Sunbyanyname.com. A lot of debate and dicussion is there on the concept of Free-Will. However, if you have followed me so far, you would know that if nothing belongs to you, how can a mere mortal have ‘Free-Will’. One of the foremost modern thinkers on this subject was Swami Vivekananda. According to him you cannot find Free-Will in the universe. For obtaining Free-Will, as per Swami ji, one has to get out of the confines of the universe. And guess what, by invoking Consciousness, from the Vedic period, our sages have been actually traveling beyond the confines of the universe.

Generally, songs for Raj Kapoor movies have been penned by either Shailendra or Hasrat Jaipuri. However, this one from the 1970 movie Mera Naam Joker has been penned by Neeraj.

Mera Naam Joker is a comic theme about a circus joker who makes his audiences laugh, hiding his own sorrows and sadnesses. This song and the other: Jeena yahan marna yahan, is ke siwa jaana kahan, are actually, at the higher level, representative of the thoughts I have penned above. Things have been already writ for you (What the Guru Granth Sahib calls ‘Kirt‘. By the way, as an aside I must mention that my return to Sri Guru Granth Sahib, every now and then, is not to proclaim that it is the best amongst treatises of various religions. However, only give a thought that SGGS is already amalgamation of various religious thoughts in our country between 15th to 18th century and should not actually be the proprietary document of any particular religion).

Pay attention to every line penned by Neeraj and you would know that it is straight from the scriptures. Lets start with the first two: Tu jahan aaya hai, woh tera ghar nahin, gaanv nahin, gali nahin, kuuchcha nahin, rasta nahin, basti nahin…..duniya hai. And what happens in this duniya, since nothing belongs to us:

“Veeraan chidhiya ka basera hai, na tera hai, na mera hai“.

Many years before, Shakeel Badayuni, brought out similar thoughts in his famous Mela (closeness to ‘Circus’ of Mera Naam Joker) song:

“Duniya hai mauj-e-dariya,
Katre ki zindagi kyaa”

A person who says Mera Mera (Mine, Mine) is like this:

“Jab tak tha dum mein dum,
na jhuke aasma se hum,
jab maut aagai,
tab zameen ne daba liya”

(When there was life in this body,
The sky was the limit for me,
When I died
I was burried inside the earth)

Ladies and gentlemen, at this stage, remember what Bahadur Shah Zafar wrote (he was an emperor!):

“Kitana hai badnaseeb Zafar dafan ke liye,
Do ghaz zameen bhi na mili kuye yar mein“.

We might have differences about the best lyricist: my sisters Manik Lakhkar Chava and Evani Leela would insist it is Sahir and I proclaim it is Shakeel. However, we have no differences about the music duo ever in Hindi films (I did a 45 days tribute to them on Lyrical). This too has been composed by them; Shankar Jaikishan. Manna Dey is the singer.

Please enjoy – and now that some of you at least are reading my story – pay attention to Neeraj’s lyrics: Ai bhai zara dekh ke chalo…. For example, see how each line has a meaning at a higher level. Let me give an example: “Ooper hi nahin, neeche bhi“. This is not just entertainment; as I said, it is straight out of the scriptures!

(Ai bhaaii, zaraa dekhake chalo, aage hii nahii.n piichhe bhii
daaye.n hii nahii.n baaye.n bhii, uupar hii nahii.n niiche bhii) – 2
Ai bhaaii

Tuu jahaa.N aayaa hai vo teraa – ghar nahii.n, gaa.Nv nahii.n
Galii nahii.n, kuuchaa nahii.n, rastaa nahii.n, bastii nahii.n

Duniyaa hai, aur pyaare, duniyaa yah ek sarakas hai
Aur is circus me.n – ba.De ko bhii, choTe ko bhii
Khare ko bhii, khoTe ko bhii, moTe ko bhii, patale ko bhii
Niiche se uupar ko, uupar se niiche ko
Baraabar aanaa-jaanaa pa.Dataa hai

(Aur ri.ng maasTar ke ko.De par – ko.Daa jo bhuukh hai
Tho.Daa jo paisaa hai, ko.Daa jo qismat hai
Tarah-tarah naach kar dikhaanaa yahaa.N pa.Dataa hai
Baar-baar ronaa aur gaanaa yahaa.N pa.Dataa hai
Hero se jokar ban jaanaa pa.Dataa hai) – 2

Girane se Darataa hai kyo.n, marane se Darataa hai kyo.n
Thokar tuu jab na khaaegaa, paas kisii Gam ko na jab tak bulaaegaa
Zi.ndagii hai chiiz kyaa nahii.n jaan paayegaa
Rotaa huaa aayaa hai chalaa jaaegaa
Kaisaa hai karishmaa, kaisaa khilavaa.D hai
Jaanavar aadamii se zyaadaa vafaadaar hai
Khaataa hai ko.Daa bhii rahataa hai bhuukhaa bhii
Phir bhii vo maalik par karataa nahii.n vaar hai

Aur insaaN yah – maal jis kaa khaataa hai
Pyaar jis se paataa hai, giit jis ke gaataa hai
Usii ke hii siine me.n bhokataa kaTaar hai

Circus?

Haa.N baabuu, yah circus hai sho tiin gha.nTe kaa
Pahalaa gha.nTaa bachapan hai, duusaraa javaanii hai
Tiisaraa bu.Dhaapaa hai

Aur usake baad – maa.N nahii.n, baap nahii.n
BeTaa nahii.n, beTii nahii.n, tuu nahii.n,
Mai.n nahii.n, kuchh bhii nahii.n rahataa hai
Rahataa hai jo kuchh vo – Kaalii-Kaalii kursiyaa.N hai.n
Kaalii-Kaalii taambuu hai, Kaalii-Kaalii gheraa hai
Veeran chi.Diyaa kaa baseraa hai, na teraa hai, na meraa hai

https://www.youtube.com/watch?v=2nRzs4BHzxY

Day #1 Song #3

What have I got of my own?
Keyword (s): In the mukhada (two out of the seven words)

Just before I went for my evening walk, followed by calisthenics, I got a live demo (arranged by God) of the fact that nothing belongs to me. I spent about 45 mins preparing this post and I was about to press ‘Post’, when Vipan Kohli commented on my Song #1. It popped up and instead of pressing ‘Post’, his pop-up notification got pressed. Lo and behold, my post vanished. This was God’s way to tell me that even the posts are not my posts! Ha!

THE STORY SO FAR: Nothing belongs to us; Everything belongs to God and to understand this simple fact is the beginning of true knowledge and real happiness. We do not have Free-Will. To obtain Free-Will one has to go beyond the confines of the universe. In the absence of Free-Will, we are like puppets in a Mela or Circus (Aur ring-master ke kodhe pe). And, we have an Invisible Force that controls our everything.

By the mukhada of this song, if you feel that mine is a one track mind and I am continuing relentlessly with this sub-theme, you are mistaken. With this song, I introduce the highest feeling on earth called Love. That invisible force, who gave us everything, every emotion, every thought in this world (duniya) gives us Love to exercise partial control. It is because Love controls everything. Love is God Himself.

It brings us sadnesses and grief, but, ultimately Love is Happiness.

As I was typing this, last time, I had Raj Dutta commenting on my post with a poem by Baba Farid where he compares human beings to maati ke putle. Here is for you, Raj Dutta, by a most respected lyricist Shailendra in a song from a movie produced by him (This song is not my post but introduction to my post):

(दुनिया बनाने वाले, क्या तेरे मन में समाई
काहेको दुनिया बनाई, तूने काहेको दुनिया बनाई ) – २

काहे बनाए तूने माटी के पुतले,
धरती ये प्यारी प्यारी मुखड़े ये उजले
काहे बनाया तूने दुनिया का खेला – २
जिसमें लगाया जवानी का मेला
गुप-चुप तमाशा देखे, वाह रे तेरी खुदाई
काहेको दुनिया बनाई, तूने काहेको दुनिया बनाई …

तू भी तो तड़पा होगा मन को बनाकर,
तूफ़ां ये प्यार का मन में छुपाकर
कोई छवि तो होगी आँखों में तेरी – २
आँसू भी छलके होंगे पलकों से तेरी
बोल क्या सूझी तुझको, काहेको प्रीत जगाई
काहेको दुनिया बनाई, तूने काहेको दुनिया बनाई …

प्रीत बनाके तूने जीना सिखाया, हंसना सिखाया,
रोना सिखाया
जीवन के पथ पर मीत मिलाए – २
मीत मिलाके तूने सपने जगाए
सपने जगाके तूने, काहे को दे दी जुदाई
काहेको दुनिया बनाई, तूने काहेको दुनिया बनाई …

Dear Raj Dutta, if you listen to the last stanza, you will now know what my story is leading to and perhaps now you will be able to guess why I kept Kahin door jab din dhal jaaye as the last song.

Trini Lopez’s What Have I Got Of My Own? was a song that I listened to when I was a boy and this song has found repeated mention in my blog. His songs like Lemon Tree, La Bamba, If I had a Hammer, and Love Me Tonight were popular during our times.

In the first three stanzas, he rues not having anything of his own; but, in the last stanza, he says if he’d have true love, he won’t want anything else on earth!

In short: ‘When you have love, you have everything‘. It lasts a lifetime being with you (Hindus believe it last saat janam) and, for God’s sake, that’s owning it much much longer than anything else!

I am not going to repeat my complete earlier post. What has gone is gone!

But, please enjoy: What have I got of my own?

What have I got of my own, my own?
What have I got of my own?

The castles I build when I lie in the sand,
Belong to a king in a fairy tale land.
The treasures I find, when I dream in my sleep,
Are gone in the dawn. Not a thjng I can keep.
What have I got of my own, my o~own?
What have I got of my own?

The stars all belong high in heaven above.
My heart belongs to the one that I love.
The rivers that flow all belong to the sea.
What have I got that belongs to me?
What have I got of my own, my o~own?
What have I got of my own?

I hope someday before too long
My heart will sing a happy song.
I’m tired of being lonely, unhappy and sad.
I wanna have the things that other men have.
What have I got of my own, my o~own?
What have I got of my own?

Solo interlude

If I could choose one thing forever to hold,
I know I would never choose diamonds or gold.
Just give me one true love to be mine alone,
Then I’ll have all the things of my own, my own.
What have I got of my own?

My own.

What have I got of my own?

Day #1 Song #4

Saare jahan se achcha Hindostan hamara
Keyword: In the mukhada.

THE STORY SO FAR: Nothing belongs to us. Everything belongs to God. Hence, we should never rue the loss of anything; it was God’s and He took it back. We have no Free-Will. We are like people in a play or circus who are given their parts to play and we do so to the best of our ability (Please recall the sermon given to Arjuna before the Battle of Mahabharta by our Lord Krishna) However, amongst everything that goes gives and takes back, Love is an emotion that gives us some sort of control after we fall in love (one has no control over Love and hence the expression “falling” in love and not “stepping” into it!)

Love is, hence, not a reasoned emotion! It is an attachment at one end and at the highest end, it is the greatest feeling on earth.

IT GIVES US OWNERSHIP!

Lets see, if all of us were to become saints and sages, what will happen to the world? No one would ever “fall” in love and people would be ‘selfishly‘ in pursuit of God. Now, it can’t be that God sent us on this earth to get back to Him; then, why to send us at all?

Let me take the Love between a Man and a Woman first, the commonest form of Love. Guru Nanak thinks of it as the purest form of Love since he in Sri Guru Granth Sahib (SGGS) regards himself as a woman seeking her Lover, God. He goes about advising all of us to be in that relationship with God as a ‘suhaagan‘ is with her ‘suhaag‘.

The other day, whilst commenting on one of the Sufi songs of Surekha Saini, I brought out this commonality between SGGS and Sufism.

What does this ownership born out of LOVE do to you? Well, it inspires you to be loyal to your love so that you are in true and perfect relationship and not just infatuated. This Love then is the beginning of all other relationships on earth: Brothers, Sisters, Uncles, Aunts etc. Without this Love relationship, the world won’t have progressed and hence when Shailendra bemoaned in Teesri Kasam as to why God made Love, he already had the answer.

The ownership (for as long as you love, you have it) born out of Love is the aspect that makes highest attainments in human beings possible.

Recently, we had the Surgical Strikes across LOC. What was the controlling feeling? Naturally, it is Love for one’s country and countrymen and women. That’s why we have defence forces and not offence forces. We are protectors of that Love for our country.

Let me give you one of the poems as introduction to the National Song to which I am leading you now. This poem was written by Ram Prasad Bismil. He was born on 11th June 1897 in Shahjahanpur. He was hanged by the British at the age of 30 years for what? For his love for the country. Look at the junoon this love manifests into:

सरफ़रोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू-ए-क़ातिल में है

(ऐ वतन,) करता नहीं क्यूँ दूसरा कुछ बातचीत,
देखता हूँ मैं जिसे वो चुप तेरी महफ़िल में है
ऐ शहीद-ए-मुल्क-ओ-मिल्लत, मैं तेरे ऊपर निसार,
अब तेरी हिम्मत का चरचः ग़ैर की महफ़िल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है

वक़्त आने पर बता देंगे तुझे, ए आसमान,
हम अभी से क्या बताएँ क्या हमारे दिल में है
खेँच कर लाई है सब को क़त्ल होने की उमीद,
आशिक़ोँ का आज जमघट कूचः-ए-क़ातिल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है

है लिए हथियार दुशमन ताक में बैठा उधर,
और हम तय्यार हैं सीना लिये अपना इधर.
ख़ून से खेलेंगे होली गर वतन मुश्किल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है

हाथ, जिन में हो जुनून, कटते नही तलवार से,
सर जो उठ जाते हैं वो झुकते नहीं ललकार से.
और भड़केगा जो शोलः सा हमारे दिल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है

हम तो घर से ही थे निकले बाँधकर सर पर कफ़न,
जाँ हथेली पर लिये लो बढ चले हैं ये कदम.
जिन्दगी तो अपनी मॆहमाँ मौत की महफ़िल में है,
सरफ़रोशी की तमन्ना अब हमारे दिल में है

यूँ खड़ा मक़्तल में क़ातिल कह रहा है बार-बार,
क्या तमन्ना-ए-शहादत भी किसी के दिल में है?
दिल में तूफ़ानों की टोली और नसों में इन्क़िलाब,
होश दुश्मन के उड़ा देंगे हमें रोको न आज.
दूर रह पाए जो हमसे दम कहाँ मंज़िल में है,

जिस्म भी क्या जिस्म है जिसमें न हो ख़ून-ए-जुनून
क्या लढ़े तूफ़ान से जो कश्ती-ए-साहिल में है
सरफ़रोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू-ए-क़ातिल में है

This poem inspired many. One of them was Shahid Bhagat Singh. He sang (another theme song): Mera rang de basanti chola and when he was to be hanged for his own Love for India and his mother came to see him in the prison, he had this to say to her:

तू ना रोना, के तू है भगत सिंह की माँ
मर के भी लाल तेरा मरेगा नहीं
डोली चढ़के तो लाते है दुल्हन सभी
हँसके हर कोई फाँसी चढ़ेगा नहीं !

That is what Love can do for you. Mile sur tera hamaara. Just as a man in love thinks of his beloved as dulhan, the one who is in true love with his nation, thinks of his country as the Motherland. Just as a man thinks of his beloved as the most beautiful on earth, a man in love with his country thinks of his country (motherland) as the most beautiful.

And that brings us squarely to our national song:

It is known as Taranah-e-Hind or Anthem of the People of Hindustan. Forty three years before independence, it was written by the poet Muhammad Iqbal and published in the Ittehad, a weekly journal.

The next year, it was read by him in Government College Lahore (then in India) and it soon became the manifestation of our opposition to the British rule. He was, of course, a lecturer in the same college.

There is no Indian, whose chest doesn’t swell with pride at the recitation of this poem/song.

In parades all over the country, men and women march to the tune of this song.

I am giving you the poem in all three languages: Urdu, Hindi and English and its meaning in English:

Urdu

سارے جہاں سے اچھا ہندوستاں ہمارا
ہم بلبلیں ہیں اس کی، یہ گلستاں ہمارا

غربت میں ہوں اگر ہم، رہتا ہے دل وطن میں
سمجھو وہیں ہمیں بھی دل ہو جہاں ہمارا

پربت وہ سب سے اونچا، ہمسایہ آسماں کا
وہ سنتری ہمارا، وہ پاسباں ہمارا

گودی میں کھیلتی ہیں اس کی ہزاروں ندیاں
گلشن ہے جن کے دم سے رشکِ جناں ہمارا

اے آبِ رودِ گنگا! وہ دن ہیں یاد تجھ کو؟
اترا ترے کنارے جب کارواں ہمارا

مذہب نہیں سکھاتا آپس میں بیر رکھنا
ہندی ہیں ہم، وطن ہے ہندوستاں ہمارا

یونان و مصر و روما سب مٹ گئے جہاں سے
اب تک مگر ہے باقی نام و نشاں ہمارا

کچھ بات ہے کہ ہستی مٹتی نہیں ہماری
صدیوں رہا ہے دشمن دورِ زماں ہمارا

اقبال! کوئی محرم اپنا نہيں جہاں میں
معلوم کیا کسی کو دردِ نہاں ہمارا!

Hindi

सारे जहाँ से अच्छा हिन्दोसिताँ हमारा
हम बुलबुलें हैं इसकी यह गुलसिताँ हमारा

ग़ुर्बत में हों अगर हम, रहता है दिल वतन में
समझो वहीं हमें भी दिल हो जहाँ हमारा

परबत वह सबसे ऊँचा, हम्साया आसमाँ का
वह संतरी हमारा, वह पासबाँ हमारा

गोदी में खेलती हैं इसकी हज़ारों नदियाँ
गुल्शन है जिनके दम से रश्क-ए-जनाँ हमारा

ऐ आब-ए-रूद-ए-गंगा! वह दिन हैं याद तुझको?
उतरा तिरे किनारे जब कारवाँ हमारा

मज़्हब नहीं सिखाता आपस में बैर रखना
हिन्दी हैं हम, वतन है हिन्दोसिताँ हमारा

यूनान-व-मिस्र-व-रूमा सब मिट गए जहाँ से
अब तक मगर है बाक़ी नाम-व-निशाँ हमारा

कुछ बात है कि हस्ती मिटती नहीं हमारी
सदियों रहा है दुश्मन दौर-ए-ज़माँ हमारा

इक़्बाल! कोई महरम अपना नहीं जहाँ में
मालूम क्या किसी को दर्द-ए-निहाँ हमारा!

English

Sāre jahāṉ se acchā, Hindositāṉ hamārā
Ham bulbuleṉ haiṉ is kī, yih gulsitāṉ hamārā

G̱ẖurbat meṉ hoṉ agar ham, rahtā hai dil wat̤an meṉ
Samjho wuhīṉ hameṉ bhī dil ho jahāṉ hamārā

Parbat wuh sab se ūṉcā, hamsāyah āsmāṉ kā
Wuh santarī hamārā, wuh pāsbāṉ hamārā

Godī meṉ kheltī haiṉ is kī hazāroṉ nadiyāṉ
Guls̱ẖan hai jin ke dam se ras̱ẖk-i janāṉ hamārā

Ai āb-i rūd-i Gangā! wuh din haiṉ yād tujh ko?
Utrā tire kināre jab kārwāṉ hamārā

Maẕhab nahīṉ sikhātā āpas meṉ bair rakhnā
Hindī haiṉ ham, wat̤an hai Hindositāṉ hamārā

Yūnān o-Miṣr o-Rūmā, sab miṭ ga’e jahāṉ se
Ab tak magar hai bāqī, nām o-nis̱ẖaṉ hamārā

Kuch bāt hai kih hastī, miṭtī nahīṉ hamārī
Ṣadiyoṉ rahā hai dus̱ẖman daur-i zamāṉ hamārā

Iqbāl! ko’ī maḥram apnā nahīṉ jahāṉ meṉ
Maʿlūm kyā kisī ko dard-i nihāṉ hamārā!

English Translation

Better than the entire world, is our Hindustan,
We are its nightingales, and it (is) our garden abode

If we are in an alien place, the heart remains in the homeland,
Know us to be only there where our heart is.

That tallest mountain, that shade-sharer of the sky,
It (is) our sentry, it (is) our watchman

In its lap frolic where thousands of ponds,
Whose vitality makes our garden the envy of Paradise.

O the flowing waters of the Ganges, do you remember that day
When our caravan first disembarked on your waterfront?

Religion does not teach us to bear ill-will among ourselves
We are of Hind, our homeland is Hindustan.

In a world in which ancient Greece, Egypt, and Rome have all vanished without trace
Our own attributes (name and sign) live on today.

Such is our existence that it cannot be erased
Even though, for centuries, the cycle of time has been our enemy.

Iqbal! We have no confidante in this world
What does any one know of our hidden pain?

At this stage, I can hear my friend Jaswant Singh Lagwal ask me, “Sirjee, is baar Raagas ka kyaa huaa?“. Dear Jaswant Singh Lagwal, yes this is in Raag Pahadi (the raaga of your and my place in the hills). I could have given you Sarfroshi ki tamanna itself in Raag Darbari.

Day #1 Song #5

Tere bachpan ko jawani ki duaa deti hoon
Keyword in first line of first stanza: Mere munne mere gulazaar ke nanhe paudhe

THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara).

Lets proceed further:

One of the oft talked about Love (ownership) is by a mother for her child. If love can inspire people to highest attainments in everything, a love of a mother always reaches such pinnacles. I am fond of giving this example of a mother and her infant stuck under the rubble for three full days in an earthquake in Russia. As the rubble was moved away after three days, without having anything to eat or drink, the couple (mother and child) were found alive! It came out that the mother fed the child her own blood in order to keep it alive and willed herself to remain alive because if she would die the infant was certain to die (without any nourishment). That’s the love (ownership: mere bachche) of a mother for you.

I have been giving a song as introduction to my song (there are plenty of songs on the theme, that is why) Here is an introductory song from the movie Amar Prem. She is not even the blood-mother of the child (Vipan Kohli in his hymn of Anup Jalota would know that Yashoda wasn’t the blood mother of Krishna) and yet look at the words used by her:

बड़ा नटखट है रे कृष्ण-कन्हैया
का करे यशोदा मैय्या, हाँ … बड़ा नटखट है रे

(ढूँढे री अंखियाँ उसे चारों ओर
जाने कहाँ छुप गया नंदकिशोर ) – २
उड़ गया ऐसे जैसे पुरवय्या
का करे यशोदा मैय्या, हाँ … बड़ा नटखट है रे

(आ तोहे मै गले से लगा लूँ
लागे ना किसी की नज़र मन मे छुपा लूँ ) – २
धूप जगत है रे ममता है छैंया
का करे यशोदा मैय्या, हाँ … बड़ा नटखट है रे

(मेरे जीवन का तू एक ही सपना
जो कोई देखे तोहे समझे वो अपना ) – २
सब का है प्यारा, हो सब का है प्यारा बंसी-बजय्या
का करे यशोदा मैय्या, हाँ … बड़ा नटखट है रे

She wants her child to be as beloved to the people as Kanhaiyya is to all of us.

If this can be the feelings of the not-blood-mother, imagine the sense of ownership of the blood-mother wishing her child the best.

I copy the lyrics of the songs from Smriti.com. Normally, there is no introduction to the songs, just the lyrics. However, this song’s lyrics have an introduction and this is it:

“This song is sung by a mother (Waheeda) to her child as a “lori“. The father (Sunil Dutt) is a “daaku” and is on the run from the law. Hence the entire family is constantly in hiding, moving from place to place hoping to remain undetected. This song is basically an expression of how the sins of the parents visit the children. The “dard” and softness in Lata’s voice as she sings this song makes it
one of the most moving songs I have heard.”

Manik Lakhkar Chava and Evani Leela, I have to give it to you: the lyrics by Sahir Ludhianvi (your favourite poet and lyricist) are simply out of this world. As it is, in this world, after a new child is born, the mother thinks of how the child would face the cruel, selfish, and hostile world. However, if he/she is a dacoit’s son, one worries extra for the society treating the child with added animosity.

The fact of the matter is that a child carries with it, on its tiny shoulders, some of (if not most of) the virtues and sins, fruits of good deeds and bad deeds of its parents. In that sense, this song’s lyrics are truly a reflection of how one generation (sense of ownership) is carried forward to the next.

Mujhe Jeene Do. Chalo, mujhe to jeene na diya; ab isse to jeene do!

Please enjoy: Tere bachpan ko jawani ki dua deti hoon….

Tere bachapan ko javaanii kii duaa detii huu.N
Aur duaa deke pareshaan sii ho jaatii huu.N

Mere munne mere gulazaar ke nanhe paudhe
Tujhako haalat kii aa.ndhii se bachaane ke liye
Aaj mai.n pyaar ke aa.nchal me.n chhupaa letii huu.N
Kal ye kamazor sahaaraa bhii na haasil hogaa
Kal tujhe kaa.nTo.n bharii raaho.n pe chalanaa hogaa
Zi.ndagaanii kii ka.Dii dhuup me.n jalanaa hogaa
Tere bachapan ko javaanii …

Tere maathe pe sharaafat kii koI mohar nahii.n
Cha.nd hote hai.n muhabbat ke sukuun hii kyaa hai.n
Jaise maao.n kii muhabbat kaa koI mol nahii.n
Mere maasuum farishte tuu abhii kyaa jaane
Tujhako kis-kisakii gunaaho.n kii sazaa milanii hai
Diin aur dharm ke maare hue i.nsaano.n kii
Jo nazar milanii hai tujhako vo khafaa milanii hai
Tere bachapan ko javaanii …

Be.Diyaa.N leke lapakataa huaa kaanuun kaa haath
Tere maa.N-baap se jab tujhako milii ye saugaat
Kaun laaegaa tere vaaste khushiyo.n kii baaraat
Mere bachche tere a.njaam se jii Darataa hai
Terii dushman hii na saabit ho javaanii terii
Khaak jaatii hai jise sochake mamataa merii
Usii a.njaam ko pahu.nche na kahaanii terii
Tere bachapan ko javaanii …

https://www.youtube.com/watch?v=P2D-Z7XM7aU

Day #2 Song #1

Kisi raah mein kisi mod par
Keyword: In the last two words of the mukhada: Mere hamsafar.

THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara). One of the forms of pure Love is between a mother (acting in the likeness of a Creator) and her child and she does everything to protect her child (Song #5: Tere bachpan ko jawani ki dua deti hoon)

Lets proceed further, today, the second and the last day of the Fest:

It has been nearly 16 hours since everybody else started putting up songs for the second day and hence it is safe for me to start putting up now without anyone telling me that I put up his/her song. I had to re-jig my story a little bit because of some of you putting up the songs I had planned to do.

In any case, if you would have noticed I am trying to tell my story through the medium of very ordinary songs rather than trying to impress you with my choices. I maintain that anybody could have chosen the songs through which I am telling my story.

Love between a husband and wife is regarded in our scriptures as the purest form of love, so much so that Guru Nanak used the simile of husband and wife to talk about the Love that must exist between a man (or woman) and God. Isn’t it surprising that Guru Nanak didn’t choose the Love simile of a mother or father for her/his child?

How does this Love (not infatuation but real Love) take place? Our (culture and religion) theory is that this Love and the ensuing wedding is made in heaven. Please don’t forget what I told you about “Duniya bananewaale ne preet banayi”.

After undertaking the journey of life singly, the lovers are now planning to undertake this journey together, enjoying it together and surpassing all obstacles together: Tere mere sapane ab ek rang hain and so on.

Hamsafar is the right word to use for them in undertaking this journey. The girl has a doubt (in our culture, she is the one who leaves her family and moves with and into the boy’s family; or at least that used to happen during the period of the songs we are talking about); if not several doubts and she requires reassurance whether she has made the right choice in taking him as a hamsafar.

Sometimes even the boy has doubts, especially if he is poorer. There are several songs to this effect. One of the best that I can give you (as an introduction) is from the 1959 movie Kali Topi Laal Rumaal (as ordinary a movie as any of my songs). Majrooh, Chitragupta, Rafi and Lata have put this together:

ल : लागी छूटे ना अब तो सनम
चाहे जाए जिया तेरी क़सम
लागी छूटे ना …

र : तुझको पुकारे बन के दीवाना ना माने रे जिया -२
ल : ओ जी हो
प्यार किया तो करके निभाना सुनो जी रसिया
र : ओ प्यार किया तो प्यार किया तेरी क़सम
लागी छूटे ना …

ल : दूर हूँ फिर भी दिल के क़रीब निशाना है तेरा -२
र : सोच ले फिर से एक गरीब दीवाना है तेरा -२
ल : सोच लिया जी सोच लिया तेरी क़सम
र : लागी छूटे ना …

ल : जब से लड़ी है तुझसे निग़ाहें तड़प रहा दिल -२
र : देख के चलना प्यार की राह बड़ी है मुश्किल
ल : देख लिया जी देख लिया तेरी क़सम
लागी छूटे ना …

Please pay particular attention to the words: Soch liya ji soch liya, teri kasam!

Even in Ajnabee (and for that matter in several hundred movies) she still continues to have these doubts. Do you remember the train scene when he asks (in the song, that is): Kyaa soch rahi ho? And she answers:

“Aisa na ho tu kabhi chhod de mera saath”

And he immediately answers: “Phir na kabhi karna dil todane waali baat”

Reassured, she quips, “Maine to ki thi dillagi“!

You can call this Dillagi to ask this most important question sooner than later but the fact is you don’t want to be alone, high and dry when he leaves (Don’t forget that the Man by his very nature, from Stone Age onwards is actually polygamous) and then sing (Acknowledging his polygamous nature): Tum mujhe bhool bhi jaao to yeh haq hai tumako, meri baat aur hai maine to mohabbat ki hai (another theme song that is).

A similar thing happened with Sharmila Tagore in the 1970 movie Mere Hamsafar when she is running away with her love Jeetendra. Last night I was responding to Suman Saxena and I brought out this curious coincidence that Sharmila, in various movies, was the most easily impregnated woman and most often than not she landed up being an unwed mother from Aradhana to Daag to Aa Gale Lag Ja. Even in Amar Prem she took fancy to a boy who was not her son. Hence, for her to be asking this question is really important!

The beauty of this song penned by Anand Bakshi is that he reassures her with the sweetest sounding words: Teraa sa.ng saayaa bahaar kaa teraa ruup aa_iinaa pyaar kaa; tujhe aa nazar me.n chhupaa luu.N mai.n tujhe lag na jaa_e kahii.n nazar. Which is another way of saying what Suchitra Sen and Pradeep Kumar said to each other in Mamta: Chhupa lo youn dil mein pyaar mera ke jaise mandir mein lau diye ki. And yet, in that movie, he couldn’t be hers!

This song was composed by Kalyanji Anandji (KgAg for Jaswant Singh Lagwal) in Raag Charukesi, Tal Rupaktal (Rare combination that makes this ordinary song get the veneer of being extraordinary).

Suman Saxena brought out that Laxmikant Pyarelal were well versed with the use of Flute in their songs. Of course, I agreed with her and even gave her Milan song: sawan ka mahina pawan kare sor, as an example. But, the fact is that many composers of that era used Flute extensively. You should hear OP Nayyar in Phagun (Piya O piya na laage mora jiya, another theme song) or Naushad in Baiju Bawra or Kalyanji Anandji in this song or in the songs of Jab Jab Phool Khile (eg, Pardesiyon se na akhiyan milana).

The duet that I have selected for you has been sung by Lata Mangeshkar and Mukesh, the pair that put together some of the most enchantingly romantic songs in Hindi movies: eg, Dil ki nazar se.

Please enjoy: Kisi raah mein kisi mod par, kahin chal na dena tu chhod kar….

La : Kisii raah me.n kisii mo.D par kahii.n chal na denaa tuu chho.D kar
mere hamasafar -4
Mu : Kisii haal me.n kisii baat par kahii.n chal na denaa tuu chho.D kar
mere hamasafar -4

La : meraa dil kahe kahii.n ye na ho ( nahii.n ye na ho ) -2
kisii roz tujhase bichha.D ke mai.n tujhe Dhuu.NDhatii phiruu.N dar-ba-dar
mere hamasafar -4

Mu : teraa sa.ng saayaa bahaar kaa teraa ruup aa_iinaa pyaar kaa
tujhe aa nazar me.n chhupaa luu.N mai.n tujhe lag na jaa_e kahii.n nazar
mere hamasafar -4

La : Teraa saath hai to hai zindagii
Mu : Teraa pyaar hai to hai roshanii
La : Kahii.n din ye Dhal jaa_e kyaa pataa
Mu : Kahaa.N raat ho jaa_e kyaa Kabar
Do : Mere hamasafar -4

La : kahii.n chal na denaa …

Day #2 Song #2

Baabul moraa naihar chhootoo hi jaae
Keyword: Second word of the mukhada: moraa.

THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara). One of the forms of pure Love is between a mother (acting in the likeness of a Creator) and her child and she does everything to protect her child (Song #5: Tere bachpan ko jawani ki dua deti hoon).

And today, in the very first song we started with the Love between Man and Woman that would eventually lead to wedlock but she (and sometimes he) has doubts whether he would walk with her all throughout the journey of life or leave her midway (Song #6: Kisi raah mein kisi mod par kahin chal na dena tu chhod kar).

Lets proceed further:

He is in love with her and she wants to tell the whole world (Aaj mere man mein sakhi baansuri bajae!). She hopes for the best (Tera mera sath rahe). They sing together: Tere mere sapane ab ek rang hain and Hum tuhaare liye, tum hamare liye phir zamaane ka kya ho? or Tere mere beech mein kaisa hai yeh bandhan or Kisi ne apna bana ke mujhako muskarana sikha diya or even Kora kaagaz that ye man mera, likh diya naam uspe tera. She is grateful to God and him: Aap ki nazaron ne samajha pyaar ke kaabil mujhe.

And finally, it is: Mehandi lagi mere haath re!

And then, she has to leave her parents’ to join him and his family. Hundreds and even thousands of songs to describe this feeling such as: Chal ri sajani ab kyaa soche, Mujhe baabul ke ghar jaana hai, Baabul ki duaayen leti jaa and finally, after she reaches ther: Main to bhool chali baabul ka des, piya ka ghar pyaara lage.

However, the best in this category is the one that addresses this at two different planes: the material world plane of a woman leaving her home to join her new home, that of her husband. And the spiritual plane of finishing the journey of this world and going to the other world (jahan se koi nahin waapis aaya!).

By the way, there is a third plane at which the song is addressed:

The song was written by Nawab Wajid Ali Shah, the 19th-century Nawab of Awadh as a lament when he was exiled from his beloved Lucknow by the British Raj before the failed Rebellion of 1857, where he uses the metaphor of bidaai (bride’s farewell) of a bride from her father’s (babul) home, and his own banishment from his beloved Lucknow, to far away Calcutta, where he spent the rest of his years.

This song has, therefore, illustrious lineage about it. As I said earlier, it was written by Wajid Ali Shah, the last Nawab of Awadh. He was a poet, playwright, dancer and great patron of the arts. He is widely credited with the revival of Kathak as a major form of classical Indian dance. If you see Satyajit Ray’s movie Shatranj Ke Khiladi based on a story by Munshi Premchand, you would know how his kingdom was annexed by the British in a bloodless coup whilst he, the Nawab, busied himself in his artistic pursuits.

It was composed by RC Boral or Rai Chand Boral, widely considered as the father of Hindi films music. Naturally, he was the recipient of the highest in performing arts: the Babasaheb Phalke Award conferred by the government of India.

It was sung by the first super-star of the Hindi or even Indian movies: Kundan Lal Saigal. He often sang for himself playing the title and lead roles in the movies; before the playback era, he is credited with a song that he sang live whilst performing!

This thumri of the days of Wajid Ali Shah was composed by RC Boral in Raag Bhairavi, Tal Kaherava. The name of this 1938 movie was: Street Singer.

Please enjoy a song that addresses itself at three different planes (I am providing the translation): Baabul mora naihar chhooto hi jaay….

Baabul moraa, naihar chhuuTo hii jaae
Baabul moraa, naihar chhuuTo hii jaae

Chaar kahaar mil, morii Doliyaa sajaave.n – 4
Moraa apanaa begaanaa chhuTo jaae
Baabul moraa …

Aa.Nganaa to parbat bhayo aur deharii bhayii bidesh
Je baabul ghar aapanaa mai.n piiyaa ke desh
Baabul moraa …

Baabul moraa, naihar chhuuTo hii jaae
Baabul moraa, naihar chhuuTo hii jaae

बाबुल मोरा, नैहर छूटो ही जाए
चार कहार मिल, मोरी डोलिया सजावें (उठायें)
मोरा अपना बेगाना छूटो जाए | बाबुल मोरा …

आँगना तो पर्बत भयो और देहरी भयी बिदेश
जाए बाबुल घर आपनो मैं चली पीया के देश | बाबुल मोरा …

O My father! I’m leaving home.
The four (coffin) bearers lift my palanquin.
I’m leaving those who were my own.

Your courtyard is now like a mountain, and the threshold, a foreign country.
I leave your house, father, I am going to my beloved’s country.

Day #2 Song #3

Tere mere sapne ab ek rang hain
Keyword: Second word of the mukhada: mere.

THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara). One of the forms of pure Love is between a mother (acting in the likeness of a Creator) and her child and she does everything to protect her child (Song #5: Tere bachpan ko jawani ki dua deti hoon).

And today, in the very first song we started with the Love between Man and Woman that would eventually lead to wedlock but she (and sometimes he) has doubts whether he would walk with her all throughout the journey of life or leave her midway (Song #6: Kisi raah mein kisi mod par kahin chal na dena tu chhod kar).

In the next song (Song#7: Baabul mora naihar chhooto hi jaay) she leaves her baabul’s place and joins him. This song was, some of you must have guessed it, a most important link to the journey that we started with abnegating Mera to start with and then having Mera pyaar, mera pati, meri patni.

Lets proceed further:

At this stage, I had dozens of songs to carry forward the story and none of them had been put up so far; for example:

1. Agar mujhse mohabbat hai mujhe sab apne gham de do (in which she tells him to share his sorrows just as he is sharing life with her; viz, Shareek-e-zindagi ko kyun shareek-e-gham nahin karte, dukhon ko baant kar in dukhon ko kam nahin karte). (Raag Darbari Kanada)

2. Aap ki nazaron ne samajha pyaar ke kaabil mujhe (Ji hamen manzuur hai aapka yeh faisla; and padh gayin dil pe mere aap ki parchhayian (and to think the Song#1 above is from the movie called Aap Ki Parchhayiyan! Coincidence? Hardly, since both have been penned by Raja Mehdi Ali Khan. (Raag Adana).

3. Naino mein badra chhaye bijali si chamake haay (Picchale janam se teri prem kahani hoon main; aa is janam mein bhi tu apna bana le (Raag Bhimpalasi)

I can go on and on but the song (a most ordinary one at that) that suits my story is Tere mere sapne. The fact, if you have followed the story so far, is that nothing is absolute, nothing is permanent; indeed, nothing is even real! It is merely a dream. However, it a dream worth having. It is a thought worth entertaining. Tere mere milan ki ye raina, naya koi gul khilayegi…..chanchal naina finally result in ….. nanha sa gul khilega angana, sooni bainyan sajegi sajana……and then it starts all over again.

You have to give it to Shailendra for having come up with these fine lyrics. All lyricists of that era were seeped in spiritualism and religion and Shailendra has very often taken us to a different plane with his songs. Here too he talks about the bond between them as the one that cannot be broken by “duniya“. And, he talks about “Jahan bhi le jaayen raahen (the journey of life) ham sang hain“.

However, he acknowledges it in his Teesri Kasam songs that the bond and its breaking are actually beyond us. These are in the hands of that invisible force that made you revel in Mera and Tera to start with. Guru Nanak went one step further and said that even the sense required for thinking of God or the Invisible Force is given to us by God; you cannot ask for it.

SD Burman who was responsible for having composed most of the songs for Dev Anand composed it in Raag Gara, Tal Dadra. Look at the beauty of this Raag. Two widely opposite songs, viz: Jeevan mein piya tera saath rahe and Hamsafar saath apna chhod chale have both been composed in this Raag. On my Facebook Page Lyrical, I had given you the ten basic thaats in which most, if not all raagas fall. Gara is from Khammaj thaat (O sajana barkha bahaar aayi being in Raag Khammaj).

Mohammad Rafi sang it for Dev Anand.

Please enjoy: Tere mere sapne ab ek rang hain…….

Tere mere sapane ab ek ra.ng hai.n
Ho jahaa.N bhii le jaae.n raahe.n, ham sa.ng hai.n

Tere mere dil kaa, tay thaa ik din milanaa
Jaise bahaar aane par, tay hai phuul kaa khilanaa
O mere jiivan saathii…

Tere dukh ab mere, mere sukh ab tere
Tere ye do nainaa, chaa.nd aur suuraj mere
O mere jiivan saathii…

Laakh manaa le duniyaa, saath na ye chhuuTegaa
Aa ke mere haatho.n me.n, haath na ye chhuuTegaa
O mere jiivan saathii…

https://www.youtube.com/watch?v=ORFczJpiwfI

Day #2 Song #4

Kahin door jab din dhal jaaye
Keyword: Fourth line of the mukhada: Mere khayalon ke aangan mein koi sapano ke deep jalaaye.

THE STORY SO FAR: Nothing belongs to us, everything belongs to God. This realisation is indeed true knowledge and happiness (Song #1: Mera mujh mein kichh nahin, jo kichh hai o tera). We do not have free-will and we do everything as directed to us by an invisible force (Song #2: Ai bhai zara dekh ke chalo). However, if at all we must own anything, we must own Love, the highest feeling on earh (Song #3: What have I got of my own?) This love has many different forms such as between Man and Woman. Love always inspires us to do everything to protect our loved one. This can be and has been used to lead people into sacrificing their lives in love for their country (Song #4: Saare jahan se achha Hindostan hamara). One of the forms of pure Love is between a mother (acting in the likeness of a Creator) and her child and she does everything to protect her child (Song #5: Tere bachpan ko jawani ki dua deti hoon)

And today, in the very first song we started with the Love between Man and Woman that would eventually lead to wedlock but she (and sometimes he) has doubts whether he would walk with her all throughout the journey of life or leave her midway (Song #6: Kisi raah mein kisi mod par kahin chal na dena tu chhod kar).

In the next song (Song#7: Baabul mora naihar chhooto hi jaay) she leaves her baabul’s place and joins him. This song was, some of you must have guessed it, a most important link to the journey that we started with abnegating Mera to start with and then having Mera pyaar, mera pati, meri patni.

In the song before this (Song #8: Tere mere sapne ab ek rang hain) I told you why I selected this song from dozens; primarily because of the pledge by the Man and Woman to Dream together, even forgetting the dream-maker!

Why am I ending the story with one song still to go, you will ask me. Wait, ladies and gents, guys and gals, it would become clear to you with the last song after the story! Now, I have a gut feeling that no one would put it up.

Why this song? Well isn’t it clear? I prepared you for Love and the relationship between Man and Life and everything else in the universe as just a dream (Sapna): Zindagi khwaab hai aur khwaab mein jhoot hai kya, sach hai kyaa!

In case of Raja Mehdi Ali Khan, Geeta Dutt sang one of his songs when he was just 17 years old:

मेरा सुन्दर सपन बीत गया
मैं प्रेम में सब कुछ हार गयी
बेददर् ज़माना जीत गया
मेरा सुन्दर सपना बीत गया

क्यों काली बदरिया चायी है
क्यों कली कली मुस्कायी है
मेरी प्रेम कहानी खत्म हुई
मेरा जीवन का संगीत गया
मेरा सुन्दर सपना बीत गया

ओ चोड़ के जाने वाले आ
दिल तोड़ के जाने वाले आ
आँखें असुवन में डूब गयीं
हँसने का ज़माना बीत गया
मेरा सुन्दर सपना बीत गया

हर रात मेरी दिवाली थी
मैं पिया की होने वाली थी
इस जीवन को अब आग लगे, आग लगे
इस जीवन को अब आग लगे
मुझे चोड़के जीवन मीत गया
मेरा सुन्दर सपना बीत गया

The time taken by this dream to get over varies. However, in all of us, without exception, the dream (sapna) gets over sometime or the other. In some cases, it lasts a lifetime.

In case it is still not clear, here it goes; it is from the same movie Anand, the 1970 movie, from where I have taken the last or the final song for this Fest. Here is the famous dialogue from the movie. A dear friend of mine Anindya Chatterjee informed me thus: ‘By the way, this dialogue of Anand was straightaway lifted from — The Seven Seasons — by Shakespeare —- You can find the poem in class 9th English CBSE Book’:

मौत तू एक कविता है,
मुझसे एक कविता का वादा है मिलेगी मुझको

डूबती नब्ज़ों में जब दर्द को नींद आने लगे
ज़र्द सा चेहरा लिये जब चांद उफक तक पहुचे
दिन अभी पानी में हो, रात किनारे के करीब
ना अंधेरा ना उजाला हो, ना अभी रात ना दिन

जिस्म जब ख़त्म हो और रूह को जब साँस आऐ
मुझसे एक कविता का वादा है मिलेगी मुझको

The above was spoken on the microphone by Dr Bhaskar (Amitabh Bachchan) to Anand (Rajesh Khanna) holding the mike and recording a memory. And then Anand role-plays the following dialogue:

‘Babumoshai, zindagi aur maut uparwale ke haath hai jahanpanah. Usse na toh aap badal sakte hain na main. Hum sab toh rangmanch ki kathputhliyan hain jinki dor uparwale ki ungliyon main bandhi hain. Kab, kaun, kaise uthega yeh koi nahi bata sakta hai. Ha, ha, ha.’

Still require clarification, ladies and gents? Well, this recorded tape plays on when Anand is no more and the spounds of Ha, ha, ha are the last sounds on the tape….. the tape of life.

Here is further introduction to this song by a song from the same movie:

Zi.ndagii …
kaisii hai pahelii, haae
kabhii to ha.nsaaye
kabhii ye rulaaye
zi.ndagii …

Kabhii dekho man nahii.n jaage
piichhe piichhe sapano.n ke bhaage
ek din sapano.n kaa raahii
chalaa jaae sapano.n ke aage kahaa.N
zi.ndagii …

Jinhone sajaae yahaa.N mele
sukh-dukh sa.ng-sa.ng jhele
vahii chunakar Kaamoshii
yuu.N chalii jaae akele kahaa.N
zi.ndagii …

So, the Man and the Woman having vowed to share sorrows and happinesses together, if you follow the above introduction, are only role playing; it is just a dream sequence! But, it is the best dream sequence that we ever go through!

So finally:
Kahin door jab din dhal jaaye (The meaning on another plane would be clearer to you if you have followed my story, that is, Somewhere in the twilight years of your life!)
Saa.Njh kii dulhan badan churaae (Even the twilight fades)
Chupake se aae (It flits in silently)
Mere Kayaalo.n ke aa.Ngan me.n (In the threshold of my thoughts)
Koii sapano.n ke diip jalaae, diip jalaae (Someone lights the lamps of dreams) (I am sure you are following me now and you are wondering why you never thought of the song with its meaning at this plane!)
Kahii.n duur …

Kabhii yuu.Nhii.n, jab huii.n, bojhal saa.Nse.n (Sometimes, like this only, when breathing became a burden)
Bhar aa_ii baiThe baiThe, jab yuu.N hii aa.Nkhe.n (And simply whilst sitting, the eyes got moist)
Tabhii machal ke, pyaar se chal ke (Then in a light-hearted manner, moving on the steps of love)
Chhue koii mujhe par nazar na aae, nazar na aae (Someone touches me but I cannot see) (Ok, you got the point; I am not attempting any more translation)
kahii.n duur …

Kahii.n to ye, dil kabhii, mil nahii.n paate
Kahii.n se nikal aae, janamo.n ke naate
Ghanii thii ulajhan, bairii apanaa man
Apanaa hii hoke sahe dard paraaye, dard paraaye
Kahii.n duur …

Dil jaane, mere saare, bhed ye gahare
Kho gae kaise mere, sapane sunahare
Ye mere sapane, yahii to hai.n apane
Mujhase judaa na ho.nge inake ye saaye, inake ye saaye
Kahii.n duur …

That’s the reward for Love, for having gone through this Sapna (Dream): You have memories that you can finally call your own! Yeh mere sapane, yehi to hain apne. MERA, APNA, HAMARA is this only! Nothing more, nothing less!

The last line is the most important part of the story, ladies and gentlemen: Mujhase judaa na honge inake ye saaye (Their shadows (of those dreams and memories) will never be separated from me.

Even when you are re-born and some of those memories are still there with you. By the way, even scientific studies are holding that we carry forward all these.

Hats off to Yogesh the lyricist for helping me complete my story. It is better to have loved and lost than not to have loved at all. You have memories and dreams that no one can take from you….not even that Invisible Force. Mujhase judaa na honge (and he (Anand) knew he was going to die) inake ye saaye! What can be a better ending?

Hasts off to Salil Chowdhury for the heart-touching tune (copied from the original sung in Bengali by Hemant Kumar). And hats off to Mukesh for its meaningful and superb rendition.

Babumoshai, zindagi aur maut ooper waale ke haath mein hai Jahanpanah!

Hahahahahahaha
HAHAHAHAHAHA

https://www.youtube.com/watch?v=BmYT79bYIQw

Day #2 Song #5

Ashqon mein jo paya hai….
Keyword: First word of the last line: Apne liye le de ke bas ik daaG mila hai!

Finally the story has ended: Meri apni kahani; my own story! Even the tape has screeched to a halt after the maddening Hahahahaha. Then why this?

Well, I have acted in a number of plays and directed quite a few. This is the curtain call!

Yeh zindagi jise ham meri, hamari, apna kehte hain, yeh sirf ek rangmanch hai aur ham ismein kaam karne waale kathputliyan. All of us.

It is my karma to plan and organise the fests. It is your karma to participate in these; we are all role playing. And the best part is that I too participate. Each one of us deserves a curtain call, that 15 seconds of applause for having gone through two days of sharing songs that are close to our hearts, for liking, for commenting, for sharing emotions, for burning the midnight oil in first researching and then in putting up posts. All that we want in the end, as Manik Lakhkar Chava would tell you, is someone liking and commenting on our posts, to show empathy for all the hard-work that has gone into our participation in the Fest.

And the last thing that I want or anyone of us wants is ‘Zamaane ko gila hai‘ (The world has a complaint or grudge).

Yes, dreams are ours! But apne liye le de ke daaG to na do, please. How much time does it take to read, to view, to like and encourage with comments?

Hum (all of us here) phool hain auron ke liye laaye hain khushboo!

Go through the lyrics, ladies and gentlemen and see how appropriate the words are. Take two lines, for example:

“Jo taar pe nikali hai woh dhun sab ne suni hai,
Jo saaz pe guzri hai woh kis ko pata hai”

Yeh zindagi ek rangmanch hai! No one knows what all has gone into, for example, each song that we have shared with others and then we have these copy-paste artistes who like to tell us by simply sharing a url or the lyrics that they have excellent taste! To them I have this to say (all my introductions of songs have been other songs):

दिल आज शायर है, ग़म आज नग़मा है
शब ये ग़ज़ल है सनम
गैरों के शेरों को ओ सुनने वाले
हो इस तरफ़ भी करम

(आके ज़रा देख तो तेरी खातिर
हम किस तरह से जिये) – २
आँसू के धागे से सीते रहे हम
जो ज़ख्म तूने दिये
चाहत की महफ़िल में ग़म तेरा लेकर
क़िस्मत से खेला जुआ
दुनिया से जीते पर तुझसे हारे
यूँ खेल अपना हुआ …

(ये प्यार हमने किया जिस तरह से
उसका न कोई जवाब) – २
ज़र्रा थे लेकिन तेरी लौ में जलकर
हम बन गए आफ़ताब
हमसे है ज़िंदा वफ़ा और हम ही से
है तेरी महफ़िल जवाँ
जब हम न होंगे तो रो रोके दुनिया
ढूँढेगी मेरे निशां …

(ये प्यार कोई खिलौना नहीं है
हर कोई ले जो खरीद) – २
मेरी तरह ज़िंदगी भर तड़प लो
फिर आना इसके करीब
हम तो मुसाफ़िर हैं कोई सफ़र हो
हम तो गुज़र जाएंगे ही
लेकिन लगाया है जो दांव हमने
वो जीत कर आएंगे ही …

That was a song penned by the poet Neeraj for Dev Anand starrer Gambler. This has been penned by our man from Ludhiana: Sahir. It has been composed by N Dutta and Talat Mehmood has sung this. Each word is a gem.

Please enjoy: Asqon mein jo paaya hai woh geeton mein diya hai,
Is par bhi suna hai ki zamaane ko gila hai….

Ashko.n ne jo paayaa hai vo giito.n me.n diyaa hai
is par bhii sunaa hai ki zamaane ko gilaa hai

Jo taar se nikalii hai vo dhun sab ne sunii hai
jo saaz pe guzarii hai vo kis dil ko pataa hai
ashko.n ne jo paayaa hai …

Ham phuul hai.n auro.n ke liye laaye hai.n khushabuu
apane liye le de ke bas ik daaG milaa hai
ashko.n ne jo paayaa hai …

अश्कों ने जो पाया है वो गीतों में दिया है
इस पर भी सुना है कि ज़माने को गिला है

जो तार से निकली है वो धुन सब ने सुनी है
जो साज़ पे गुज़री है वो किस दिल को पता है
अश्कों ने जो पाया है …

हम फूल हैं औरों के लिये लाये हैं खुशबू
अपने लिये ले दे के बस इक दाग़ मिला है
अश्कों ने जो पाया है …

I hope you enjoyed my selection of ten Mera, Apna, Hamara songs in the Fest. I shall put up a selection from others’ posts later.

See you in the next Fest on ‘Yaad Kiya Dil Ne’.