हेतुहेतुमद्भूत songs are the songs that depict the one of the six forms of past tense in Hindi, and is used to describe situations of ‘insight in hindsight’.
Kucch aur zamana kehta hai: the freedom to not conform are a few songs from Bollywood movies that beautifully express the thoughts of a woman’s mind while pondering life dilemmas or decision making, or bring to life the hopes and desires, and the joy of freedom, beyond just the waiting for a knight-in-shining-armor.
Metaphors for the Lover in Songs, where both the lady and the gentleman use metaphors. Even if the song is a solo, metaphors have been used to describe both of them. Some common metaphors such as bhawra-phul (भवँरा-फूल), shama-parwana (शमा – परवाना), chaand – chaandni (चाँद चाँदनी) establish complementarity and an organic holism
From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:
In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will institute a series wherein we continue to listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022,
Hans Ke Na Teer Chalana Dil Khud Hi Banega Nishaana – Beqasoor (1950_ Ehsan Rizvi – Anil Biswas
Dil Awaaz Mein.. Ankhiyan Mila Ke Zara Baat Karoji – Pardes (1950) – Shakeel Badaayuni – Ghulam Mohammed
Mehfil Mein Meri Kaun Ye Diwana – Albela (1950) – Rajinder Krishna – C Ramchandra
Yaad Aane Lagi Dil Dukhane Lagi – Daaman (1951) – Ehsan Rizvi – K Datta
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
In the last episode, we have had two different points of view – from the seniors to our batch – in so far as the experiences of First Year are concerned.
But Ashok Thakkar has very interesting point of view of why he joined engineering, which he captions as ‘That one sentence which changed the direction of my life’:
When I graduated from high school (SSC) in 1965, I got 78% marks and became a state scholar. In those days, unlike today, the guy who stood first in the SSC Board had received 86% marks (today, the top scorer gets 100%). The social norm was such that with such high marks in SSC, you would either become an engineer or a doctor. I was very rebellious from childhood and very interested in literature and art. So, I had decided that I would go for a degree in Arts.
But my father (whom we called “Bapuji”) had different thoughts. He had nothing to do with his son becoming an Arts graduate. The only two options I was allowed to pursue were engineering and medical education, for which one had to join a science college. So, reluctantly, I enrolled in Science in the St. Xavier’s College in Ahmedabad. The year was 1965.
When I passed Pre-University Science in 1966, I was thinking, I would pass one more year in the St. Xavier’s College and then enrol in the local medical school. If I were allowed to go into Arts line, I wanted to become an Economist. If not, my first preference in science would be to become a physicist and second preference, a doctor. But engineering was not much of a preference. Bapuji never wanted to entertain any thoughts about Economics or Physics. So, the only remaining option was to be a doctor.
When Bapuji found out that his son was contemplating being a doctor, he solicited the help of his older cousin Tribhuvandas Thakkar.
Now, it would be appropriate to take a short detour and talk about Shree Tribhuvandas Thakkar, whom we called “Dasbapa”. He was no doubt a very loving, respectable family elder with a distinguished life story.
Bapuji and Dasbapa were actually third or fourth cousins. But no matter. Even today, their mutual love, respect and friendship inspire awe. Everyone always referred to these two as “brothers”. The word “cousin” was never used to describe their relationship.
The two brothers had their bungalows across the street from each other in the Prakashnagar Society in Ahmedabad’s Maninagar suburb. Every morning around 7:30, Dasbapa would cross the street and come to our house. My father would wait for him to drink the first cup of tea. Dasbapa was a man of few words. So, they did not talk much. They would read the newspaper while sipping tea. After approximately half an hour, Dasbapa would get up and leave. No words, no formalities exchanged. But we would all be very sad if Dasbapa skipped a day or two for any reason.
Dasbapa had hardly 6-7 grade education. No one asked about his education level. I have no idea if he knew the English language. He had polio in childhood and therefore was always limping. Ever since I remember, he always walked with a cane. He joined Sastu Sahitya Vardhak Karyalaya (also known as “Sastu Sahitya”) at the age of seventeen as an “Office Boy”. The founder of Sastu Sahitya, Swami Bhikshu Akhand Anand had personally chosen him. Bhikshu Akhand Anand has been mentioned in Gandhiji’s autobiography “My Experiments with Truth”. Tribhuvandas worked very hard with extreme honesty. Down the road, he became the Editor of Akhand Anand Magazine and General Manager and Trustee of Sastu Sahitya.
It was under Dasbapa’s leadership that Akhand Anand became the number one Gujarati magazine and Sastu Sahitya published scores of books on Hindu Scriptures, Mythology, Vedik knowledge, Bhagvad Geeta as well as Ayurveda. He was also instrumental in the creation of the Ayurvedic College near Bhadra in Ahmedabad. When Dasbapa retired from Sastu Sahitya at the age of 88, people were estimating that he might have created a world record by working at the same place for 71 years. In his 93-year life, he never took any non-Ayurvedic medicine.
The late Gujarati author and poet Shree Karsandas Manek was Dasbapa’s close friend. At Dasbapa’s invitation, Karsandas Manek would travel to Ahmedabad from Mumbai once every month (on Full Moon Day), spend two nights in our home and would deliver an amazing musical treatise on Hindu religion.
Now we return to my story.
One fine morning, while having their morning tea, both brothers cornered me. My father: “Dasbhai, Ashok wants to become a doctor. What is your opinion about it?”
Dasbapa invited me to sit there and asked me “do you know who becomes a doctor?”
Suspecting a conspiracy of sorts and bewildered by the very nature of the question, I just angrily stared at him without uttering a single word.
So, he continued: “Only a monster becomes a doctor”. I just sat there watching the two elders toying with my future. Very angry, I just snuck out into another room. I might even have cried. But there was no thought of hating them. I simply loved and adored them too much.
Subsequently, I secured admission in LD College of Engineering in 1966 but hated engineering none the less. It was a five-year degree course. I secured around 58% marks in the first two years of Engineering and got an ATKT (Allowed To Keep Term) in the third year. This meant that I would advance to the fourth year, but with a blot on my otherwise stellar student career. I was very upset. For an entire month before the final exam, I struggled with the idea of quitting engineering. My family was distraught – partly because they saw me very depressed and partly because their son would perhaps quit engineering studies.
Ashok Vaishnav, Atul Desai and a few other close friends were quite supportive in persuading me to stay on. I finally realized that it would be stupid to run away at the first sign of trouble. Success and failure are but two sides of the same coin called “life”. If I quit this time, I would never be able to manage future failures. So, I decided to continue with engineering studies with double the effort. The fact that I was forced to go into engineering was not justification enough to run away. When life gives you a lemon, you have to learn to make the best lemonade instead of yearning for a sweet mango!
Just like Lord Buddha attained enlightenment under the Peepal tree, I achieved my enlightenment under the ATKT tree. Soon after, I formulated two rules for my life:
Accept and enjoy every situation; and
Whatever happens, happens for the best.
After that I worked hard and graduated in Mechanical Engineering (1971) with first class. There have been many ups and downs in life ever since. But after the ATKT in BE3, I never got discouraged by failures and faced every single failure head on with unwavering faith in the above two principles.
Now let us get back to engineering.
It was as if I got life’s magic pill with the engineering knowledge and skill. Engineering has provided the skill to analyze and solve life’s problems. Thank you Dasbapa, thank you Bapuji! My eventual global rise in the world of quality in the fields of Supply Chain Management, Zero Defects quality and expertise in managing global manufacturing are a testament to this magic pill. And yes, about ARTS: I also became a documentary producer, an internationally published author, a singer, an occasional poet and acquired decent knowledge of Economics!
I also realized that regardless of our educational background (or the lack thereof) and regardless of the ranking in the school, we all possess solutions for all our problems. The trick is to persevere and dig those solutions out from the depths of our inner selves. Happy Engineering!
I would finally present my the story of MY experience of the First Year in the next episode.
Ashok Thakkar, well settled in USA for over three and half decades, was a very close friend then, and remains fairly closely connected even now. Even though core of our upbringing, beliefs and temperament are quite different, we shared similar approach to major issues then – and as we have recently discovered, continue to do so now, after 50 years as well – and to a fair extent, even now.
Welcome to March 2022 edition of the Xth volume ofCarnival of Quality Management Articles and Blogs.
The theme for the Xth volume of our Carnival of Quality Management Articles and Blogs is inspired from the editorial of the January 2022 special Issue of Prabuddha Bharata (The Awakened India) – Living a Meaningful Life in a Digital World.
For our present episode, we take up the article, Knowledge Revolution in the Digital Age – Human Knowledge at Crossroads by Swami Atmapriyananda.
Here is the excerpt from the article:
With the advent of the digital age, the boundaries of human knowledge seeming to be breaking down a, as the language through which the human knowledge expresses itself has been deconstructed and digitalised. This transition has affected generation previous to Gen X, GenY, GenZ and the Gen Alpha quite differently…. As can be expected Gen Z seem to have remarkably developed skills of working in a coordinated fashion between ‘work’ and the internet. The more demanding than the technical skill of this coordination is need for developing the soft skill of solving complex problems with a humane approach. This, in effect, calls for a paradoxical mixture of fierce resolve of professional will and persuasive softness of personal humility.
The new-found emphasis on multiple intelligences seems to converge with panch kosha – five sheaths of annamaya (The food), pranamaya (The vital energy or breath) , manomaya (The mind), vijnaanmaya (The intellect) and anandmaya (The bliss ), each having its own Chetana – the intelligence.
The knowledge in the digital age also has seamlessly integrated the two streams of jnana (the knowledge) and the action (karma). The interdisciplinary and cross-disciplinary approaches have revived the vison of ancient Indian Rishis of integrated, unified knowledge (akhanda advaita). Also getting revived is the Upanashidic idea of higher knowledge (para-vidya) and lower knowledge (apara-vidya) both need to be equally cultivated and is found in the concept of knowmad who is the unified version of digital age ‘nerd’ and ‘geek’ personalities. Knowmads are a different species than knowledge workers and knowledge seekers. They are seamless, unrestricted, open and free, capable of and enjoying swimming courageously on a voyage over an uncharted sea. The vulnerability and flexibility of thought and the ease of navigation and action are the products of unique revolution of the ‘Digital Age’.
For the knowmads, a job is a position, mere form of employment and the work is long term in scope and relates to creation of meaningful outcomes. Thus, for them work is distinct from a career. A career ‘carries’ a person through the life, whereas work is a collection of activities that are backed with elements that are purposive at the individual level. The personal knowledge consists of explicit element, conveyed as information and the tacit element, developed through experience and experimentation. To remain competitive, a knowmad must continuously learn, unlearn and refine what they know. Organizations need to create environment that supports expansion of knowledge ecology to keep the knowmads motivated.
As such, the knowmad society requires new mindsets that encourage greater leadership form all stakeholders – at personal, organizational and policy levels. This is more than an attitude that supportive of knowmads but requires a fundamental cultural transformation to embrace new approaches to the purposive use of individual knowledge with strong social supports to help each one to maximise his /her potential without fear of failure.
Change Reality – Reality is what you make of it. Life is defined by the way you choose to live it. So…if it doesn’t fit your expectations, make adjustments suitably. …. i.e., accept the way things are. They are what they are. …. To change your reality, change your expectations and work toward a new reality. …Give your sincere best in every moment, in every situation. Slowly, but surely, your current reality will become your new reality. How quickly that happens depends on many factors, much of which is under your control and influence. Begin today to make your reality of tomorrow achievable. You can determine the greatness that lies within.
‘From the Editor’ (of Quality Magazine) – by Darryl Sealand, we have –
Environmental Influences – Accelerating evolution, delivery apps, and handicapping – Acceleration can happen through conscious thought or natural reaction, it can wind up being positive or negative, and is part of a large host of things happening on our planet and in our societies…. However, it is a the battle between the irresistible force versus the immovable object – the evolutionary tendency of human being to change, and change fast versus inherent nature of environmental influences to allow the changes to evolve.
I look forward to your views / comments / inputs to further enrich the theme of Living a Meaningful Life in a Digital World.
Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.
Ghulam Mohammed (1903 – 17 March 1968)’s musical scores during the years 1943 to 1949 had established his identity as percussionist who had also gift of composing melodies as well. He had already been successful with the scores of Pugree (1948) and Shair (1949). However, it seems that his concurrent role as assistant to Naushad perhaps had cast some kind of shadow over his own identity as independent music director. This relationship continued till film Aan) 1952. Some historians consider him too naïve a businessman since he continued to assist Naushad even he had getting success by 1948.
This theory seems to hold some merit, because Ghulam Mohammed did get three films in 1950, two in 1951 and three again in 1952. These numbers need to be viewed in the back drop of the fact that several other (so-called) already stablished) music directors were also scoring successful music for the then big production banners in the same period. 1950 had Naushad scoring music for ‘Dastan’ and ‘Babul’, C Ramchandra for ‘Sargam’ and Anil Biswas for ‘Arzoo’. In 1951, along with “Deedar’ of Naushad, S D Buraman’s ‘Bahaar’ and Baazi’, C Ramchandra’s ‘Albela, Anil Biswas’s ‘Taraana’ and Shanker Jaikishan’s “Aawara’ occupied the space. There was hardly any respite in 1952 as well, with Naushad’s ‘Aan’ and ‘Baiju Bawra’, S D Burman’s Jaal and Shanker Jaikishan’s ‘Daag.’
In all the fairness to Ghulam Mohammed, it should also be noted that some other equally talented music directors also had not been able to break the glass ceiling, even if their music was also noted with high respect o their talent. For example, Bulo C Rani – Jogan (1950), Roshan – Hum Log (1951) and Anhonee (1952), Hemant Kumar – Anand Math (1951) and Madan Mohan – Ashiana (1952) to name a few representative cases.
Be that as it may, our principal focus of the present series to commemorate the death anniversary month of Ghulam Mohammed is to refresh our memories of his compositions and get an overview of Ghulam Mohammed’s repertoire of 37 films as independent music directors with special attention to the wide range of playback singer he has used for his compositions.
As such, we have sidestepped some of his popular compositions for the present series and intentionally chosen songs that may be called as less heard ones so as to get a better appreciation of Ghulam Mohammed’s talent.
Previously, in 2021, we have covered Ghulam Mohamamed’s songs with different singers for the years 1943 to 1949.
With this backdrop to be kept at the back of our minds, we now take up Ghulam Mohammed’s songs for different playback singers during the years 1950 to 1952.
Rajkumari, Mukesh – Maine Sapna Jo Dekha Hai Raat… Bhala Jo Koi Puchhe… To Main Kya KahuN – Hanste Aansoo (1950) – Lyrics: Majrooh Sultanpuri
Here is an archetypical vintage era styled composition. However, the song succeeds in conveying the feelings of a girl who has fallen in love, for the first time. Majrooh Sultanpuri also has preferred to use very simple lyrics to truly express the feelings.
One noteworthy feature of Ghulam Mohammed’s compositions was differently presented stanzas of his compositions, unlike many of his contemporaries who would not waste one more tune in one composition.
Shamshad Begum, Hameeda Banu, Raja Gul – O Jane Wale Theher Ja …., Dil De Ja Ya Le Ja Raja Ulfat Ka Ye Bazaar Hai – Hansate Aaansoo (1950) – Lyrics: Shevan Rizvi
Ghulam Mohammed has boldly experimented with non-traditional orchestration for this street dance triad song, while maintaining the identity of the song genre with the use of catchy piece of harmonium in the brief prelude.
Shamshad Begum – Hum Dil Hi Apna Haar Gaye – Maang (1950) – Lyrics: Husaini
Comparison of the present composition with the previous one, Maine Sapna Jo Dekha Hai Raat, evidently demonstrates the vastness of range of tunes that Ghulam Mohammed can command to present almost similar feeling.
Shamshad Begum, G. M. Durrani, Mohammed Rafi – Do Din Ki Zindagi Hai … Ik Baar Muskara Do, Parde Mein Tum Hansi Ke …. Dil Ki Lagi Ko Chhupaa Lo – Ajeeb Ladki (1952) – Shakeel Badayuni
This song indeed should tell us what effort Rafi must have put into create his own identity in his initial days as we find difficult to the way Rafi handles lower octave mukhada and high pitch opening of the first stanza or chips in with a cameo line in the second stanza.
In the stage dances, the dancers take up dress code of two cultures of two regions. Ghulam Mohammed has composed the tune matching to that culture. Especially noteworthy is the multi-instrument orchestra put to use by Ghulam Mohammed.
Mohammad Rafi – Churakar Dil Ko Yun Aankhein Churana Kisse Sikha Hai .. Chale Jaana Tum Door Bade Shaukh Se Huzoor…Mera Dil Mujhe Wapas Kar Do. – Amber (1952) – Lyrics: Shakeel Badayuni
Unlike majority of Ghulam Mohammed compositions, here we have complex to sing tune, and that too for a song where the hero is trying to please the heroine!
Lata Mangeshkar – Tutegi Nahi Pyar Ki Dor Duniya Chahe Lag Le Jhor – Amber (1952) – Lyrics: Shakeel Badayuni
Ghulam Mohammed has not only switched to Lata Mangeshkar as lead singer but has also stayed away in using Lata Mangeshkar in the shadow of vintage era singing style.
Shamshad Begum, Mohammed Rafi – Rote Hai Naina Gam Ke Maare, Dekh Rahi HuN Din Mein Taare – Amber (1950 – Lyrics: Shakeel Badayuni
I have selected this ‘masala’ dance song to validate the hypothesis – that Ghulam Mohammed has given Lata Mangeshkar the position of lead singer – put forward in the earlier song as soon as he has been entrusted the music for the film with the ‘hottest’ pair of the day – Nargis and Raj Kapoor.
Noteworthy is the change in the mood o the song that he has accomplished the way he has used Mohammad Rafi.
Mubarak Begum – Jal Jal Ke MaruN Kuchh Kah Na SakuN – Sheesha (1952) – Lyrics: Shakeel Badayuni
Ghulam Mohammed deploys vast orchestra during mukhada but then the stanza comes rendered with minimal instrumental support! This should easily rate as one of the best Mubarak Begum songs; however, the fact remains that, at least, I have heard it for the first time. So unfortunate that Mubarak Begum did not get many such high-quality singing opportunities!
What a pity that the failure of film at the box office also leads to the very short life of the songs, barring, of course, some exceptions!
Lata Mangeshkar – Jawani Ke Raaste Pe Aaj Mera Dil Hai – Sheesha (1952- Lyrics: Shakeel Badayuni
Ghulam Mohammed sets the tone of happiness of the song by a very catchy prelude and then follows it up with composing the song in the effervescent singing mode.
Thanks to the technology and resourcefulness and the commitment of all the YT uploaders, we can recreate the mesmerising magic of Ghulam Mohammed’s compositions, even today, whether it did cast spell then or not!
We take a break here till the next episode so that we can absorb the nuances and range of present batch of Ghulam Mohammed’s compositions.
Murphy’s Law has ‘folk’ adage variant, known as Finagle Law, which reads as “Anything that can go wrong, will—at the worst possible moment.”
Finagle has been used in the USA, as a verb meaning ‘to obtain a result by trickery; to deceive; to wangle’. A finagler is recorded in the American Dialect Society’s Dialect Notes, 1922 as: “One who stalls until someone else pays the check” The English Dialect Dictionary lists the words fainaigue and feneague – meaning ‘to cheat’. From this point of view, Finagle’s law is more often applied specifically as a spoof version of the Second Law of Thermodynamics and is stated as ‘The perversity of the Universe tends towards a maximum’.
However, in general. It is meant to convey the fickle nature of random events, the events that do happen and when they do happen, the timing is most inconvenient.
Definitions.net informs us that ‘The term “Finagle’s Law” was first used by John W. Campbell, Jr., the influential editor of Astounding Science Fiction. He used it frequently in his editorials for many years in the 1940s to 1960s but it never came into general usage the way Murphy’s Law has. In the Star Trek episode “The Ultimate Computer”, Dr. McCoy refers to an alcoholic drink known as the “Finagle’s Folly,” apparently a reference to “Finagle’s Law.” In Season 2, Episode 1, Captain Kirk tells Spock, “As one of Finagle’s Laws puts it: ‘Any home port the ship makes will be somebody else’s, not mine.'” Eventually the term “Finagle’s law” was popularized by science fiction author Larry Niven in several stories depicting a frontier culture of asteroid miners; this “Belter” culture professed a religion and/or running joke involving the worship of the dread god Finagle and his mad prophet Murphy. “Finagle’s Law” can also be the related belief, “Inanimate objects are out to get us,” also known as Resistentialism. Similar to Finagle’s Law is the verbless phrase of the German novelist Friedrich Theodor Vischer: “die Tücke des Objekts” (the spite of inanimate objects – a comic theory that inanimate objects conspire against humans!! This also is known by a fancy name Resistentialism
Murphy’s Law is concerned more about outcomes than the probability of such outcomes. Murphy’s law lends to the belief that if something can go wrong, some person will definitely be precipitating that action, whether accidentally or by the random ‘human error’ or by malice. To those who see better things in the world, this chance cause can happen for good at a time when it may be most beneficial. After all, if mistakes have fouled up some major experiments, mistakes have also been instrumental in many discoveries as well.
The fact the Finagles’ Law (or even Murphy’s Law) will inevitably come into play should make someone as cautious as one can ever be, so as to avoid such undesirable events. However, the fact that such events do keep on happening shows that either people, by the sheer human nature, tend to overlook some or the other thing or how so ever a human being is smart, nature has a way to outsmart his smartness.
The scale at which the Finagle’s Law is found to be operative can be judged by its n-number of variants in the fields of programming, hardware, IT etc., by visiting Murphy’s Law @ CASRAI.
There are many other versions also coined up, such as –
If an experiment works, something has gone wrong. (Finagles 1st Law).
No matter what the experiment’s result, there will always be someone eager to:
fake it, or
believe it supports his own pet theory. (Finagle’s 2nd Law).
In any collection of data, the figure most obviously correct, beyond all need of checking, is the mistake. (Finagle’s 3rd Law).
Once a job is fouled up, anything done to improve it only makes it worse. (Finagle’s 4th Law).
The available literature of the real-life examples of applicability of Finagle’s Law is replete with examples in almost all walks of life. We will take up just one, from the drama.
Finagles’s law is responsible for countless storylines in television sitcoms, plays, movies, novels, etc., most especially if they rely heavily on comedy. The odds of something happening as the plot unfolds does not depend on the actual likelihood of it happening. Instead, the odds of something happening as the plot unfolds depends on the potential for the most disastrous thing happening. Just recall any slapstick comedy, like that of Laurel Hardy for example, and the matter will be abundantly clear. Why would this be?
It’s because without drama and conflict, there really isn’t any reason for an audience to stick around to watch how it all ends. As George Barnard Shaw puts it, ‘no conflict, no drama. This is called the Rule Of Drama that states, “If the potential for conflict is visible, then it will never be passed over.” Were it not for Finagle’s Law, the Rule of Drama would have a much more difficult time of it all. Third Doctor puts it up this more dramatically – “The shortest distance between two points is a straight line. But it’s not necessarily the most interesting.”
And absence of Fiangle’s Law, would have paled our life !
Sahir Ludhianvi, whether as a person (at least outwardly) or as a poet or as a lyricist, was known to the world for his bitterness (‘talkhi‘), his moodiness, his ego, his sharp tongue or his fierce belief for the equality of lyrics in the effect of any composition. might have made him intolerable. Maybe it was these inherent traits that came in the way to build a lasting relationship with equally strong-willed, outspoken and fiercely proud of his artistic skill (as a music director) O P Nayyar. But then, on the other hand, he had had a very long, fruitful and epochal relationship with equally (artistically) moody, choosy and fiercely accord supremacy of melody, S D Burman. As such, one would not be inclined to buy a very passing observation that Sahir Ludhianvi was more at ease with talented, but not so-strong personal traits music directors like Roshan or N Datta or Ravi. Of these relationships, Sahir Ludhianvi’s relationship seems to be quite different.
Whatever be the factors for N Datta (a.k.a. Dattaram Baburao Naik – B: 12 December 1927 – D: 30 December 1987) and Sahir Ludhianvi’s professional association, there cannot be any denying that it was special in more ways. After working for some time with Ghulam Haider, D Datta joined S D Burman as his assistant. It was during the making of Jaal (1952) that he met Raj Khosla, who immediately took him up as independent music director for his own maiden directorial film Milaap -– Ye BahroN Ka Sama – (1955). Though the film did not do well on the box office, G P Sippy’s Marine Drive – Ab Woh Karam Kare Ke Sitam Main Nashe Mein HuN – in the same year and then Sippy’s next film Chandrakanta – Maine Chand Aur SitaroN Ki Tamanaa Ki Thi (1956).
When the time came for BR Chopra’s one more film, Gumrah (1963), N Datta suddenly developed cardiac trouble. He was jus 36 then. He did come out of that phase, but he had lost not only his place in B R Chopra camp, but also his own confidence. In order to maintain visibility, he started signing even B grade films. Sahir Ludhianvi, in fact supported him, even during this phase and did write lyrics for such films even when he had already scaled the front-line position by then. N Datta, in the company of Sahir Ludhianvi, could compose Talat Mahmood’s one of the all-time best Ashqon Ne Paya Hai Woh GeetoN Ne Diya Hai (Chandi Ki Deewar) in 1964 and then Ponchh Kar Ashq Apni AankoN Se (Naya Raasta) in 1970. Of course, N Datta also compsed several memorable songs in association with two other lyricists Jan Nissar Akhtar and Majrooh Sultanpuri in the same period. But the luck was not on his side.
N Datta’s exposure to Goan culture, can be very evidently seen in the use of Saxophone, Accordion or drum in the orchestration of his western-biased compositions. It is this genre of N Datta’s music which lends a special dimension to Sahir Ludhianvi – N Datta relationship. Sahir certainly has an extra mile to provide lyrics away from his traditional Urdu-heavy poetry even for the otherwise light-mood songs with other music directors.
My selection of the song for the present episode of Sahir Ludianvi’s 18 films association of Romantic Songs with N Datta has marked preference for such songs. In the process, I have also tended to give as wide as possible range of playback singers that N Datta has so comfortably used for his wide-ranging compositions, which have unfortunately received as much attention as their more famous songs already mentioned hereabove.
Bachnaa Zaraa Ye Zamaanaa Hai Buraa….. Kabhi Meri Gali Mein Na Aanaa – Milaap (1955) – Mohammad Rafi, Geeta Dutt, chorus
meri gali mein aane waale
ho jaate hain gham ke hawaale
in raahon se jo bhi guzre
soch samajh kar dil ko uchhaale
bade bade dil yahaan bane hain nishaanaa
chupke chupke nain ladaanaa
nain ladaa kar dil ko lubhaanaa
dil ko lubhaa kar paas bulaanaa
paas bulaakar khud ghabraanaa
ho teraa jawaab hi nahin waah
khud ghabraakar aankh churaana
aankh churaakar dil ko jalaana
dil ko jalaakar hosh bhulaanaa
hosh bhulaakar arre majnu banaanaa
in lailaaon kaa hai khel puraanaa
shokhi samjhein sharm-o-hayaa ko
daawat samjhien naaz adaa ko
in deewaanoo ka kyaa kahnaa
aap bulaayein apni kazaa ko
aur phir maange hamse harzaanaa
Mohabbat YooN Bhi Hoti Hai …. Tabeeyat YooN Bhi Aati Hai…Museebat YooN Bhi Hoti Hai – Marine Drive (1955) – Mohammad Rafi, Asha Bhosle
jo miltein hain to aapas mein
nigaahien tak nahin miltin
agar chalte hain to kadmoN ko
raahein tak nahin miltin
muhabbat pahli pahli ho
to haalat yoon hi hoti hai
kayi aise bhi majnu hain
jo aahein bharte rahte hain
koyi chaahe na chaahe
aap yoon hi marte rahte hain
samajhte hain ke lailaaon mein
shohrat yoon bhi hoti hai
jahaan dekhi bhali soorat
machal jaate hain deewaane
pahunch jaate hain sar par jootiyaan khaane
sharaarat hi sharaarat mein
hazaamat yoon bhi hoti hai
Mujhko Laga Hai Sal SolvaaN Haaye NahiN Chhedanaa – Chandrakanta (1956) – Shamshad Begum
main wo daali hoon ke jo
chhoone se kumhlaati hai
aisi nazroN se tabeeyat meri
gairoN ki kahaaN bhaati hai
main to aayina bhi dekhooN to
hayaa aati hai
haatha paayi na karo
jaao ji rastaa chhodo
apne jaisi kisi se
sharm se naata jodo
main hoon bholi
mujhe kya ilm chaahat kya hai
.. … … …..
ishq kehte hai kise
aur mohabbat kya hai
O Gumba Rumba Gumba Rumba Gelo …. Kal Ki Baat Kal Tak Chhodo Aaj Maaza Le Lo – Lighthouse (1958) – Mohammad Rafi, Suman Kalyanpur
tujhe kasam hai
.. ….. ….. … .
jahaan ka gham hai
dilwaalon ke iss mele mein
mauj mana lo yaaron
custom wustom culture wulture
sab ko goli maaro
dilwaalon ke iss mele mein
mauj mana lo yaaron
…. ….. …. …..
muft mile jab dil ki gudiya
phir takhleef kyon jhelo
nazaaren hain jawaan
tu gum ho kahaan
khilen khilen murja na jaaye
ye phoolon ke chehre
in phoolon ko goonth ke pahno
sar par baandho sehre
… …. … ….. ….
duniyaa tum se khel rahi hai
tum duniyaa se khelo
majaa le lo
Aise Waise ThikaanoN Pe Jaana Buraa Hai …. Bachh Ke Rehna Meri Jaan Zamaana Bura Hai, … … Dil Lagaana Bura Hai – Saadhana (1958) – Lata Mangeshkar
jo hum mein hai wo matwaali ada
sab mein nahin hoti
mohabbat sab mein hoti hai
wafa sab mein nahin hoti
zulf lehraaye to
zanjeer bhi bann jaati hai
aankh sharmaaye to
ek teer bhi bann jaati hai
dil lubhaane ko jo
dildaar bana karte hain
dil chura kar wahi
talwaar bana karte hain
ye wo mehfil hai jahaan
pyaar bhi lut jaata hai
dil to kya cheez hai
ghar baar bhi lut jaata hai
… ….. …..
isiliye to kehti hoon
aise waise thikaanoN
pe jana bura hai
tak’ke hanste hain to
mastaana bana dete hain
hans ke takkte hain to
deewaana bana dete hain
koi naghme mein koi
Saaz mein kho jaata hai
inse jo bachta hai
wo naaz mein kho jaata hai
yoon to gardan se lipat jaati hain baahen inki
…… ….. ….. ….
dil nahin jeb pe hoti hain nigaahen inki
isi liye to kehti hoon
aise waise thikaanoN
pe jana bura hai
hum sitam dhaate hain
bedaad kiya karte hain
dil liya karte hain
aur dard diya karte hain
dard lena ho to aa
mehfil meri aabaad karo
warna jaao ji
kisi aur ka ghar yaad karo
aaj jaaoge to kal laut ke phir aaoge
…. ….. ….. ….. …..
hum sa maashooq na duniya mein kahin paaoge
isiliye to kehti hoon
aise waise thikaanon
pe jaana bura hai
Jaate Jaate Ishaaron Se Maar Gayi Re, Main To Aise LafaNgoN Se Haar Gayi Re – Bhai Bahen (1959) – Mohammad Rafi, Geeta Dutt
ban sanwar kar tu jis dam chaley
ho dekhne waala dil ko maley
ban sanwar kar tu jis dam chaley
haaye dekhne waala dil ko maley
arre man jaley ho
pad kisi doosri ke galey
saare nakhre hain jaadu bharey
haaye koi kaise na tujh pe marey
gaaliyaan doongi hatt ja parey ho
mujhko kya tu jiye ya mare haaye
kyun jalaati hai itna mujhe
hai kisi ki to ban’na tujhe
chor le jaaye chaahe mujhe ho
paas aane na doongi tujhe haaye
Tere Sheheron Se Raja Hamein Ban Hi Bhaley, Wahaan Chain Se To Sote The … Sitaaron Ke Taley – Naach Ghar (1959) – Mohammad Rafi, Lata Mangeshkar
tujhko bhi dekh liya sheher bhi teraa dekha jagmagaahat ki har ik teh mein andhera dekha aish kartein hain tere sheher mein daulatwaale aur faankon ke sitam sehte hain mehnatwaale tere shehron mein zubaan jhoothi hain dil khotein hain buildinge oonchi hain insaan bahot chhote hain
shor itna hain ke dil ki bhi sadaa kho jaaye bheed aisi hain ke khud apna pataa kho jaaye ishq waalon ko yahaan rasm e wafaa yaad nahin husn ko husn ki sharm aur hayaa yaad nahin jism se ruh ka hain bair tere shehron mein nazar aaten hain sabhi gair tere shehron mein
Rimjhim Rimjhim Saawan Barse .. Tumhre Milan Ko Jiyaraa Tarse Chham Chham Chham Chham Paayal Chhanke, Bol Sajan Kaise Nikloon Ghar Se – Dilli Ka Dada (1962) – Manna Dey, Asha Bhosle
chanchal sheetal pawan jhakhore
vyaakul man mein agan lagaayen
garaj garaj kar kaare badarwa
deh ki soyee peer jagaayen
nain hatat naahin tumhri dagar se
tumhre milan ko jiyaraa tarse
morey anganwa laaj ka pehra
band kiwadiya khol naa paaoon
geeli lakadiyaa ban ban sulgoon
mukh se kuchh bhi bol na paaoon
mar mar jaaun jag ke darr se
bol sajan kaise nikloon ghar se
Aye Mere Meharbaan Ab Na Le Imtihaan, Hum Bhi Tere Huye Dil Bhi Tera Huaa Ab Hamein Aazmaana Hai Kya – Sachche Moti (1962) – Suman Kalyanpur, Mahendra Kapoor
shaam ke saaye dhalne lagey
dard karwat badalney lagey
jab chali thhandi thhandi hawaa
dil ke armaan machalne lagey
saans ghutney lagi
aas chhutney lagi
is qadar bhi sataanaa hai kya
jab pukaaro chaley aayenge
dil ki dhadkan mein lehraayenge
hum kisi haal mein bhi rahen
door tum se na reh paayenge
tum bulaati raho
jee lubhaati raho
to khushi ka thhikaanaa hai kya
tum ruko to zamaanaa rukey
tum chalo to chaley zindagi
tum jo hum se miley
mit gaye sab giley
ab hamein aur paanaa hai kya
Laage To Se Naina Laage Laage… Daras Bina Na PauN Chain.., JaagooN Saari Rain – Chandi Ki Deewar (1964) – Talat Mahmood, Asha Bhosle
jab se lagi
bhool gayi sudh budh saari
kal naa pade din ho ke rain
man mein basi
tan mein jagi agan suhaani
gayo re more jiyaraa ka chain
Chunar Mori Kori Kori Kori, Umar Mori Baali Baali Baali Dheere Rang Daaro Karo Na Joraa Jori… , Baras Bhar Beete Tab Aaye Kahin Hori, Jhijak Nahin Hamse Nikat Aajaa Gori – Naya Raasta (1971) – Mohammad Rafi, Asha Bhosle
dheere dheere pichkaari maaro
nahin maaro bedardi se kas ke
dekho dekho bainyya na kheencho
mori resham ki choli na masske
mohe tumri kasam
mohe laage sharam
maano maano araz maano mori
chunar mori kori
bheegi bheegi chunri se jhaanke
torey matwaale angon ka jaadoo
aaja meri baanhon mein chhup jaa
gori ghabra ke yoon na simat tu
miley tan se jo tan
bujhye tan ki agan
kahen ham bhi ki aayi hai hori
Aaj Socha Hai Khayaalon Mein Bulaa Kar Tum Ko, Pyaar Ke Naam Pe Thodi Si Shikaayat Kar Lein – Chehre Pe Chehra (1981) – Sulakshana Pandit, Mohammad Rafi
aise bichhade ho ke jaise kabhi milna hi nahin aise bhoole ho ki jaise kabhi jaana hi na thha ajnabhi ban ke agar yoon hi sitam dhaana thha paas aana hi na thha paas bulaana hi na thha
ranjishien bhi wahiN palti hain jahaaN pyaar paley pyaar hi jis se nahiN us se gilaa kya hoga meri ummeed hai tu teri tammanna main hooN aur chaahat ki duaaoN ka sila kya hoga ranjishein bhool ke khwaaboN ko haqeeqat kar lein
aaj socha tha kya kahoon main tumhein
kya samjha hai kya maana hai meri chaahat ne tumhen apna khudaa maana hai apna hissa hi tumhe maine sadaa maana hai jaan ko kis ne bhalaa tan se judaa maana hai jaan aur tan se jaan aur tan se naya ahd-e-mohabbat kar lein
Sahir Ludhianvi and N Dattaa’s 18 film association has one un-released fil, Picnic- one of the many shelved because Guru Dutt had committed before it could be completed.. A couple of songs are available on YT. Here is one romantic song, which is penned by Majrooh Sultanpuri, but needs a mention here because the tune is so similar to Aaj Ki Raat NahiN Shiqve Shiqayat Ke Liye (Dharmputra, 1961)
Kitna Rangeen Hai Ye Chand Sitaron Ka Sama – Picnic UNR
So this is where we end Sahir Ludinavi and N Datta’s 18 film association which began with N Datta’s maiden film as independent music director, Baalo (1951, a Punjabi film), and ended with N Datta’s last film Chehre Pe Chehra (1981), and thus, has spanned over no less than 30 years.
We will next take up last episode of the present serries of Sahir Ludhianvi’s Romantic Songs, which also is a long 19 films association of Sahir Ludhianvi and Ravi
Even though one would easily presume that all those who join the engineering as a discipline for graduate study would have done so because that was their field of interest. Oh well, some may also have joined the course because was the most obvious thing for someone who was considered a ‘bright’ student to do. To some more, it was the aura of prestige of the degree in engineering that also had been a good motivation.
How would all the entrants have felt when they came face-to-face with realities of the studies of the engineering, is the question that simmered up in my mind, when I went reminiscing what I was feeling then.
Before I come back to my own feelings, it seemed a good idea to look at what feelings the other students had at that juncture.
Fortunately, I have three different experience available now to share. Two of the experiences come from the then students of three-year duration – course where one joined the engineering degree course after completing F.Y. B. Sc (or inter-science as it was known earlier, and one form my own batch-mate.
Suresh Jani, has very vivid recall of his ‘first’ year. To someone who, has gone through many more cycles of ‘firsts’ now, he seems to be viewing that young novice more objectively, and as such has chosen a third person form of narrative, an arms-distance approach, to refresh his memories of first day at the college in June 1961 –
“June, 1961 ……
Suresh Jani, on that memorable day, you had set your foot in the lecture room of the first-year engineering at LD College of Engineering for the first time. You were lucky to get admission in Mech. Engineering. branch in the prestigious engineering college at Ahmedabad – your own native town. Your other friends were not that lucky. They had to compromise with the branch of engineering. or the town of the college.
“But you were not feeling the joy for this feat. You were deeply engrossed in your much coveted subject of nuclear physics for the entire year of your study at Inter-science class of Gujarat College, Ahmedabad. Your love for this subject had blossomed in the company of two friends who too had similar interest. Your highly cherished dream was to be a renowned scientist like Einstein or Heisenberg.
“Alas! You had to put a full stop to that dream, due to pressure from family members to make you understand that your wishful thinking would, in fact, land you to become a mere science teacher. You had succumbed to the pressure, but your conscience deeply grieved with the pangs of the thorn of remorse and lack of courage to resist that pressure.
“The first lecture in an engineering was, of course, in English. You could not understand a single sentence, since you were used to lectures in the science college classes in Gujarati only. Your pain of having come to a wrong place magnified. Though your command over reading and writing in English was reasonably good, you were not well acquainted with spoken English. When you returned home, you were almost in tears. virtually weeping.
“Gradually, over the next few weeks, that grief subsided. But it did have an unexpected side effect on your health, in the form of a common cold that refused to go away. The common medicines at home failed to control it. In a very short period, it worsened into an attack of bronchitis. You had to stop going to the college. Medicines from a specialist doctor did control it, but the side effects of the medicines had made you very weak.
“After a long lapse of three months, you could resume the college in its second term.”
Though technically a ‘senior’, my good friend, Dilip Vyas shares his experience in this regard more logically, from a very interesting angle. He states:
“I had absolutely no reason to be in LD other than the conventional thinking prevalent in those days that If you are a bright student you go to Science (college), then if you do well (there), you go to either Medicine or Engineering. It was also wrong place for me for another reason. When I passed Pre-Science, the new Engineering course had just opened with limited seats. After passing over the chance to get admission in Civil (only bottom ones go for Civil !! ) after my Pre Science, as you probably remember, I went in to old course after F.Y. B. Sc. Now old Engineering course had become somewhat of a stepchild because new course had all the bright, or brighter, students and old course was just going to run its course and so it did not get the typical attention. This was especially bad for me.
“Until that point, I had studied in so called elite institutions. My primary education was in a public school in Rajkot. From 5 to 8, I went to Virani High School, which was best high school in Rajkot at that time. More importantly, it was so strict that even when commuting to school you were watched by prefaces and if you wander around, you can get punished! Then we moved to Ahmedabad, and I went to CN (Vidyalaya) for three years. It has high reputation in terms of its education and discipline. Then it was on to St. Xavier’s college, where just for missing two periods of Physics, parents received a letter from Father Braganza. After first bi-monthly test, Father D’Souza used to come to the class with a giant book, filled with subject-wise marks. He would make each and every student get up and present that student’s progress, or lack of it, in most caustic and warning tone.
“Reason for this long discourse is to give an idea about why when I got into old engineering course where attendance was almost voluntary, I was ripe for complete melt down as far as discipline was concerned. Being an above-average student, I had never had any reason to work hard to get good (enough) marks. In any case, I never had any ambition to get to number #1 position! This combination was recipe for disaster which sure enough resulted in to failing in F.E. Miraculously, even then that was in only two subjects with 5 or so marks short. Rest of the years at LD in S.E. and B.E. passed similarly without any interest or effort.”
Many of our batchmates also had come from, more or less, similar situations. As such, they may have had similar feelings in their first few weeks. However, because of the undercurrents of partly our individual, as well as collective immaturity, partly ‘ that happens when you study engineering beliefs and partly our (so-called) above-average calibre, we never had any reason to talk with each other, then and later. On such feelings.
…. whether these were pleasantly interesting and direction-orienting or were direction determining? I have an interesting view form my own batchmate, Ashok Thakkar and my own point of view on the matter.
However, it would be better if we take these up in next episode…..
In the meanwhile, I do long for some more responses or recollections to enrich this journey….
 Suresh Jani has had a very successful stint at (the then) Ahmedabad electricity Company after his graduation. He has subsequently settled down at USA.
However, it is our post-retirement hobby of ‘blogging’ that brought us together as contributors to Web Gujjari, has cemented our common bond of being LDCEian alumni
 Dilip Vyas has since settled well in USA, was student of the ‘last’ batch of three-years ‘old’ degree course, which had passed out two years ahead of our graduation in 1971. Our friendship was because of the common residential colony where we (the families of Government of Gujarat service staff lived. As can be expected that easily had created highly, informal, if not very close, friendship bond among all the ‘boys’ of around five-years age difference group of contemporaries.
 When I reflect on Dilip’s observation that ‘an above-average’ student had to face a failure in the first year, I do recollect that some of our batchmates also did face such uncomfortable situations. I, too, couple of occasions where I had almost hit that ‘red-line’. However, my recollections are in somewhat different contexts. So, I propose to take them up at more opportune moment.