It's always intriguing to see the faces of the creators behind famous works of art. While Picasso, Dali, Matisse and perhaps a handful of other artists are recognized around the world, however, countless other painters and sculptors of note — including some of the finest, most influential artists of the past century — are, in a sense, invisible. Their works endure; but their…
May 21, 2013
May 13, 2013
A very useful, to-the-point, set of guidelines – for remaining free while maintaining schedules and keeping up with promises :
May 4, 2013
‘A Delicate Truth,’ by John le Carré – NYTimes.com. – is as good a review as it can be when some one talks of Le Carre’s work. But that is , possibly because, Olen Steinhauer is the author of eight novels, most recently “An American Spy.” He lives in Budapest.
““A Delicate Truth,” like most of le Carré’s recent novels, feels like a rebuttal to George Smiley’s theory. How many stray cats can we allow to be snuffed in order to reach our ends? Or, as le Carré put it in an essay in last month’s issue of Harper’s, “How far can we go in the rightful defense of our Western values without abandoning them along the way?” Back in 1963, in “The Spy Who Came In From the Cold,” we watched that novel’s stray cat, Liz Gold, die on the Berlin Wall. A shame, yes, but in the grand scheme of things an acceptable loss. Fifty years later, “A Delicate Truth” suggests that even little Liz Gold would be too much of a sacrifice.”
I have been able to get le Carre book form British Library these days. This is THE 23rd novel, and I have completed just three of them.. WOW.. what a way to go ahead…….
- The 6th Floor Blog: John le Carré Starter Kit (6thfloor.blogs.nytimes.com)
- Ranking Le Carré’s Novels (slate.com)
- Steinhauer on le Carre (collectedmiscellany.com)
- Le Carre Tangles Texan Mercenaries With British Spies – Bloomberg (bloomberg.com)
- John le Carré’s new thriller, A Delicate Truth, exposes hypocrisy and corruption at the top (metro.co.uk)
- Ranking Le Carré’s Novels (slate.com)
- Reviewed: A Delicate Truth by John le Carré (newstatesman.com)
- Deception at the heart of all we trust (standard.co.uk)
- John Le Carre lunches with Ian McEwan (stflk.wordpress.com)
- Spymaster Le Carré awaits tip-off for his final chapter(thetimes.co.uk)
- A Delicate Truth, by John le Carré: review (telegraph.co.uk)
April 28, 2013
Welcome to April 2013 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
We begin our journey by visiting quite unique tributes /events this month –
SoY has so vividly and even more creatively, weaved in 94th birthday of Shamshad Begum in through one of the most iconic song ever – Mere Piya Gaye Rangoon – in the article ‘Mere piya gaye Rangoon’ and some more Indo-Burmese links . This in turn isso vividly linked to the memory of the pitiable last days of confinement of The Last Moghul Emperor (!) Bahadur Shah Zafar, his poignant ghazals “he wrote in captivity – Lagta nahi hai jee mera ujade dayar mein and Na kisi ki aankh ka noor hun”. and very pensive renderings of these ghazals by Habib Wali Mohammad , from among several versions. And then going in for, one more link down the chain to MANDALAY, its historical inks with our freedom movement, is nothing sort of a masterstroke of connecting it with the memories of the exile of the last Burmese Emperor to that place, till the present day cultural connections of Myanmar.
The irony of the fate is that Shamshad Begum passed away on 24th April 2013. Long live Shamshad Begum, though the memories of her immortal songs, still alive the hearts of her fans..
Here are a few selected obituaries, from among a flurry of such articles that poured in:
#RIP- Shamshad Begum: A song in her hear - Written by: Gitanjali Roy @ kracktivist
Shamshad Begum Passes Away at 94 – Shamshad Begum: The Original Nightingale
Shamshad Begum: A tribute to a voice long gone By Ankush Arora @ India Insight
Jhumka gira re Bareli ke baazaar mein – Atul’s Bollywood Song A Day – with full lyrics . The site has presented several ‘gems’ a day earlier.
Shri Shrikant Gautam, in his regular column (in Gujarati), “Raag Rang” in Janmabhoomi Pravasi pens ‘lighter’ dimension of the multi-faceted histrionic virtuosity of Pran, on his being belatedly feted with Phalke Award for 2013 in the article (in the translated ) titled “Hillarious Laughs of a Villain”:
Here are the ‘lighter’ songs that Shri Guatam has picked up when Pran was in the thick of a ‘villainous’ role in the film:
Aake Sidhi Lagi Dil Pe Jaise Katariya – Film: Half Ticket (1962), Music Director: Salil Chaudhary, Playback: Kishore Kumar, in male and female voices.
Subhan Allah Haseen Chehra – Film: Kashmir Ki Kali (1964) – Music Director: O P Nayyar, Playback: Mohammad Rafi
Dil Ki Umange Hai Jawan – Film: Munimji (1955) – Music Director: S D Burman – One Mr. Thakur has caricatured the portion of the song filmed on Pran.
One more side of that virtuosity is Qawwali of Adikhhar (1971) – Jina Hai Usika Jisne Yeh Raaz Jaana - filmed on Pran on the screen – Composed by R D Burman, and sung by Mohammad Rafi. The song is a birth day song, and to that extent can be treated as new experiment of use of quawaali form for such events.
Our knowledgeable and prolific co-reader of the blogs normally covered by these Carnivals, Shri Arun Kumar Deshmukha scored a century of posts on ‘Atul’s Bollywood Song A Day – with full lyrics’. The article, “Aa ri sakhi main tohe preet sikha doon’ “which has Historical Importance in Hindi Film Industry of Bombay. MAHAGEET-1937 was THE film for which the FIRST Playback song was recorded and filmed at Bombay”.
We also have two very distinctive sets of songs of Mohammad Rafi –
The first one is, Rare Gems of Mohammad Rafi, by Vijay Bavdekar, has listed 20 songs, the songs that are seemingly gradually fading from the memory, but gems in their own right. I have picked up (with great difficulty) SIX of the songs here:
Us Paar Is Deewwarke Jo Baithe Hai Koi Unse Jake Kahde Hum Jo Kehte Hai – Film: Saiyan (1951)– Music Director: Sajjad
Mohabbat Mein Khudaya –Film: Shahnaz (1948)–Music Director: Ameerbai
Hum To hai Tum Par Dilse Fida Yaar Dedo Hame Kasm-e-Khuda–Film: Bewaqoof (1960)–Music Director: S D Burman
Dilne Pyaar Kiya Hai Ek Bewafase–Film: Shararat (1972)–Music Director: Ganesh
Shaam-e-bahara subah-e-chaman tu mere khwabonki pyaari dulhan –Film Aaja Sanam (1975)–M D Usha Khanna
Ye Kiski Aankhonka Noor Ho Tum Ye Kiska Dilka Quraar Ho Tum-Film: Pakeezah-Music Director: Gulam Mohammad. This song was not included in the film.
Another very defining list of songs by Mohammad Rafi is Mohammad Rafi and Joy Mukherjee combination had only gave everlasting hits. I have selected FIVE songs from the ones presented in the article for this edition of carnival:
Ae Baby Idhar Aao – Film: Love in Simla (1960) – Music Director: Iqbal Quereshi – a duet with Asha Bhosle
Phir Tere Shahr Main Mitne Ko Chala Aya Hun –Film: Ek Musafir Ek Haseena (1962)- Music Director: O P Nayyar -
Pyar Ki Manzil Mast Haseen – Film: Ziddi (1964) – Music Director: S D Burman –
Dil Ke Aine Men Tasveer Teri - Film: Aao Pyar Karen -Music Director: Usha Khanna –
Kisne Mujhe Sada Di – Film: Saaz Aur Awaaz - Music Director: Naushad – a duet with Suman Kalyanpur
The archive of Conversations over Chai also provides us a take on Joy Mukherjeee in Remembering Joy Mukherjee.
And the third one, a standalone song, is from the ‘messages’ category, Songs movies , on Inde Bollywood and Cie has a range of around 271 songs, as of writing this piece. We may give quite some them a miss, because they fall beyond the bounds of the scope of the time period that we take up in the carnival. A recent post – Song Sasural (1961) of course has the signature song – Teri Pyari Pyari Surat Ko Nazar Na Lage – from the film, but also has a shot of the Filmfare Title Page of the film. The song clip has the third stanza that is normally seen on the film track only.
We have more sets of articles with a very definite classification:
The songs linked with dancing –
Harvey Pam’s Blog presents 10 of favourites featuring Waheeda Rehman in Dancing Grace, which, as can be expected, have some of the great dance songs.
And that leads us to more links to Whaeeda Rehaman songs -
10 of my Favorite Waheeda Rehman Songs @ Sunahariyaaden – This is a maiden visit to this blog from this carnival platform.
Ten of my favourite Waheeda Rehman songs @Dusted Off
In addition to these, we have some excellent articles on Waheeda Rehman in our February 2013 edition.
Shishir Kuamr Shrama takes up vintage moments, people from the Hindi Films on Beete Hue Din. As of now, it has two articles (in April 2013) – Mera Sunder Sapana Beet Gaya – Kamini Kaushal, which has listed the links to some of the songs that can be treated as high points of Kamini Kaushal’s histrionic career – and “A Crystalline Eyed Bad Man – Kamal Kapoor, that takes us through the actor’s career.
I did find an article on ‘sad songs’ on “Raat Akeli Hai”. However the site seems more focused on film reviews. I would be visiting them often and see if we can catch up something that can be discussed in detail here.
The series ‘Multiple Versions of Songs’ also continues its journey through Multiple Versions Songs (7) – Both Versions By Female Playback Singers (2) – A Happy And A Sad Version.
As I was closing up this carnival, Conversations Over Chai posted an interesting (!) article – My Favourites: Songs of Cynicism, which ought to not ‘merely philosophical’, but ‘cynical’ lyrics as well.
Similarly SoY has presented us a ‘chance-caused-relation-induced’ 71st birthday greetings and a mine of information In Conversation with Minoo Mumtaz
To sum up the present edition of the blog carnival, we have Songs for all times: Celebrating 100 years of Hindi film music from Dusted Off. This is an article prepared for the April-June 2013 issue of ForbesLife India on ‘100 years of Indian cinema’, and documenting the YT channel – The Best of Hindi Movies and TV Shows.
Our pursuit of adding more variety to the articles and /or blogs continues on its pleasant journey…
I do look forward to suggestions, inputs…………….
February 20, 2013
This is to record my liking of the site, the Old Indian Photos:
January 1, 2013
The seeds of my hobby of listening to Hindi Film Music were planted in my early childhood, when we would listen to the songs of the film currently being screened at Modern Talkies, a cinema hall located a street away from the back-wall window of our home, in Bhuj (Kutch, Gujarat). The cinema halls of those days used to play the songs of the current film, as a means of promoting the film, before the show and during the intervals.
However, it was only at the beginning of my ‘second innings’ that I started penning down my views on songs that I liked. But, for this to happen, the credit goes to blogs / sites dedicated to vivaciously re-visiting Golden Era of Hindi Film Music, in a very innovatively and creatively structured manner.
I started by writing tentative ‘comments’ to the articles posted @ Songs of Yore. The articles on artistes like Jagjit Kaur, Suman Kalyanpur, Kamal Barot, Subir Sen; on music directors like Daan Singh, Vinod, C Arjun, Shailesh Mukherji made me to subscribe to the site for receiving the articles as they were published and post my own views and likings on the articles.
Then came an article: Best songs of 1955: And the winners are! , where upon I went on long on expressing my views. And to the surprise of surprises, Shri AKji seemed to receive these excursions very positively.
That built up my rapport not only with SoY, but with also with other blogs linked- rolled thereto – Dusted Off , Conversations Over Chai ,Harveypam’s Blog ,Atul’s Bollywood Song A Day – with full lyrics.
The Genesis of Carnival of Blogs on Golden Era of Hindi Film Music
I have also been reading a special compilation of articles published on blogs having a common underlying theme. One such very successful and effective series is Leadership Development Carnival, primarily host-anchored by Dan McCarthy of Great Leadership.
So, I also would like to take up Carnival of Blogs on Golden Era of Hindi Film Music. I would compile and present the work of the blogs that I already visit very regularly and share mu views thereto. I would also introduce myself to at least one new blog on the subject, thereby enriching the carnival collection under one roof.
I plan to publish the post on last Sunday of every month, beginning with January, 2013.
November 26, 2012
“Be Money Aware” is a very well – written, well-reseacrhed site/ blog on the matters of the world of finance and investments as, seen from the point of view of a [typical] lay, ’retail investor’ .
The present article on “Gangnam Style” seems to have been spurred by the inherent trend of more and more and Indians also gravitating to the mindset of spending (first) rather than saving.
THe writer of the blog has dug up an intersting underlying aspect of Ganganam Style – “an upscale neighborhood of Seoul like Beverly Hills of California. It occupies a psychic place in the minds of Korea’s 99% and represents the luxurious life for which they strive”.
But as is the typical style of tis blog, it does not just rest with the introduction and /or detailing of the subject. It goes on to present all possible aspects, that a (lay) investor / reader should know in order to a n ‘awakened consumer’.
So we have an excellent treatise on Gangnam Style, to read on, enrich our knoweldge and fully enjoy …………
I thank “Be Money Aware” to concur to reblog this article here.
August 21, 2012
Shri Shrikant Gautam has presented a wonderful concept of “Is But Is Not” in the Hindi Films, in his article, the title of which is roughly translated as “Solidity of Is But Is Not”, in his weekly column “Rang Raag” in Madhuvan supplement of Janamabhoomi Pravasi, Mumbai in its issue of 19th August,2012.
The concept that he has picked up for discussion is absolutely novel. The subject of the discussion is that character, which has significant impact on the story of the movie, but the character itself is, physically, not to be “seen” in the entire film, but is to be “felt” only –through the dialogues which refers to that character or the actions that protagonists take [or do not take, as the case may be] under the ‘unseen’ guiding influence of that character.
To explain the concept, he uses a very simple, by highly effective, hypothetical story: Shekhar boasts with his friend circle that he has played a role in the latest Hritik Roshan starrer. So, naturally, the whole team visits the cinema hall, on the first day, first show, to see that movie. They fail to locate Shekhar. Thinking that he must be under some form of disguise for that role, they repeat seeing the film in the successive shows, but with no positive result. When they ask Shekhar , Shekhar says” Did you not listen Hrithik’s mother telling him of a letter received by his younger brother, from Kochi. I am that younger brother.”
Shri Gauatm has picked up five case studies.
In Shakti Samanta film, Amar Prem, (1972) [Eternal Love] starring Rajesh Khanna and Sharmila Tagore, the hero, Anandbabu is wealthy, but dejected and lonely. The reason is his wife, who is ‘shown’ to be busy in her own world, so much so that Anandbabu hardly seems to exist in her world. This is the fundamental undercurrent that fashions the whole films.
Similarly, Sunil Dutt’s mono-character film, Yaadein, (1964)[Memories] would be rated as one of the most experimental films ever on Hindi Film arena. The film moves through the “eyes’ of the chief protagonist, through his monologues. He talks to his wife, his children, he remembers the moments he has lived with them, but these characters are to be felt only – by their dialogues, their images, two songs which run in the background. The storyline of this movie which revolved around fights between a husband-wife, her leaving the house and then her return was appreciated all over.
The [virtual] Trivedi is the root-cause for a growing, close friendship between two chief protagonists –Anand (Rajesh Khanna) and Dr. Bhaskar (Amitabh Bachchan) in Hrishikesh Mukherjee’s epochal film ‘Anand’ (1971). It was that Delhi-based Trivedi’s note which introduces Anand , and his terminal disease, to Dr. Bhaskar in Mumbai.
Govind Nihalani’s ‘Rukamavati Ki Haveli’ (1991) [Rukamavati’s Mansiom] was an all-female cast film. The story is about friction among advanced- middle-age women, the daughters and their maid on account of that ‘presence’ of the man whom one of the daughters courts love.
Basu Chatterjee’s ‘Ek Ruka Hua Faisla’ (1986) [A Stalled Judgement] is the story of 12 male Jurors, assembled to arrive at a verdict on a case against a juvenile boy, who is alleged to have committed murder of his father. The story is about prejudices of the individuals, their right or not-so-right beliefs and their emotional, many a a times quite heated, discussions to reach a unanimous decision about that in-absentia boy. Incidentally, the story is considered to be based on a English film –“Twelve Angry Men” (1957), which in turn was adapted from a 1954 play by the same name.. A Gujarati stage play ‘Maanas Naame Kaaraagar’ [A Man Named as Prison] is also a quite creative adaptation from this film.
Shri Shrikant Gauatam’s column is known to pick up quite a different points-of-view-hypothesis, and then build equally interesting case studies to validate that hypothesis. But the present article has surpassed own high standards of the column in picking up the topic of “Be [always there] by not Being’ characters and /or “ Is Not by Being [virtually]Is” cinematic personalities.
August 15, 2012
Beifore I commence documenting the third part of the post, I should acknowledge that Shri AKji [SoY] has put the matter in the further clear perspective in his comment to the first part of the present series here. He has, very rightly, called the songs as “hybrid” ones, when we see a deviation form the classic format of the “version” songs. In fact, the second part of the present series would be considered a total digression.
So at the cost of expanding / further digressing the subject even further, let me add one more variety to the subject.- there are several ghazals rendered by a large number of different singers, bringing in their own subtle variations in the style, structure and all that
Here are some of the samples:
DIL HI TO HAI
CH Atma and Talat Mahmood
Begum Akhtar -
DIL-E-NADAN TUJHAY HUA KYA HAI
Jagjit & Chitra Singh
YEH NA THEE HAMARI QISMAT
Ustad Amanat Ali Khan
Farida Khanum, Ustad Sabri Khan
RANJISH HI SAHI DIL HI DUKHANE KE LIYE AA-
LAGTAA NAHI HAI DIL MERA –
Habib Wali Muhammad Sahab
If anyone has reasonably good command of classical music, the subject can be extended to same Raag rendered by different singers, particularly male and female vocal artists to identify the differences in the singing and possible reasons.
August 14, 2012
In the first part of this post, we looked at some of the additions to the already documented the songs in the classic versions songs model.
In this second part,we now take a look at a slightly different model of the version songs:
In the first version Dev Anand woos stunning Sadhana by ‘Abhi na jao chhod ke’ – Hum Dono – Jaidev, and Sadhana soothes the frayed impatience in the duet –
whereas the second version is based on the same tune, but has altogether a different mood. Sadhana calmly goes on restore the sagging confidence of Dev Ananad. In Jahan Men Aisa Kaun Hai. This clip –
shows the connection between two versions by triggering Sadhana’s response with ‘Adhuri Pyas Chhod ke’ moment of the previous occasion.
In Bachpan Ke Din Bhula Na Dena – Deedar – Naushad –
the version with which we are so familiar is the one rendered by Shamshad Begum and Lata Mangeshkar, a jovial ride by two friends, their childlike innocence does not recognise the distance between their social class. The clip has a piece by Shamshad and Rafi which then goes to the time when times have separated the friends @ 3.17 and then @4.44 has Rafi extolling his love to his beloved child friend and the anguish that flows out at the end, @6.17, evident to all the protagonists.
Film Gumrah – Ravi- had a couple of interesting use of version songs. The first version of Tujhko Mera Pyar Pukare-
is the statement of romance by the two person’s love for each other, whereas the second version -
truly reflects the physical separation but not the severance of emotional bond [Asha’s part is from the background in the picturisation of the song.
In "EK THI LADKI MERI SAHELI- FIRST VERSION" BY ASHA BHONSLE –
the mausi turned-mother aims to win the two children by an [autobiographical] story, whereas in the SAD VERSION –
[now accepted as[ mummy is not able to prevent her dilemma of her past and future – but does remorsefully hopes that whatever shall happen will be for the good.
Aa Laut Ke Mere Meet from Rani Rupamati is probably more standard form of version songs Here is one by Mukesh –
and the one by Lata Mangeshkar –
It is the filming of the second version – you will see in the video clip of female version that male member of the regal family is enjoying the worldly pleasures, whereas our heroine suffers her loss of love - that brings out the difference between two versions.
Similarly, it would be an interesting study to document some of the Hindi film songs, recorded either originally by another singer [or may be the same singer] in a different language. I would present just one such song here to drive the point of essential difference when two singers present the same tune - Rafi – Hum Bekhudi Mein Tumko Pukaare Chale Gaye – Kala Pani :-
and here is its original version in Bangla by S D Burman [himself] Ghoom Bhulechi (Hum Bekhudi Mein in Hindi) -
We can see a very different being enacted in – Ye Mera Prem Patra Padhkar Ke Tum – Sangam – primarily a Mohd Rafi solo but you can trust Raj Kapoor to always come with very special. Here Lata’s pitching in later in the film sequence adds another dimension to the subject of the post.
We will look at more possible variation in the next, concluding part, of this post.