Subject: RJGK 52 tere sur aur mere geet Posted by: ADhareshwar@WorldBank.Org (Ashok) Posting Date: 4 Aug 1999 03:50:31 GMT RJGK 52: tere sur aur mere geet PRIVATE Welcome to the 52nd edition of RJGK. The theme is: songs written by Bharat Vyas. --------------------------------------- Please do not post answers on the net. Send your answers by e-mail to me at ADhareshwar@WorldBank.Org by Tuesday, 31 August, 1999 Also, please observe the following points of netiquette: * To avoid confusion, please do not make any followup response to this post. If you notice any errors, please send me an e-mail. I shall take the corrections on board in a re-post with full credit to those who pointed out the inaccuracies. * For the duration of the quiz, please refrain from "knowingly(!)" discussing any of the songs featured in the quiz, in any other thread on RMIM. If you have comments on the songs or on any of my remarks, please send them to me, preferably along with an entry! I shall include the comments in the answers/results posts. --------------------------------------- About RJGK For those who are new to the newsgroup, or at least to RJGK, here is a brief description. RJGK stands for "R(m)im Jhim Geeton Ki". It is the oldest of the numerous on-going events on RMIM that make RMIM more than just another special-interest usenet group, but a growing community. Drily put, RJGK is a quiz series: roughly once in six weeks, a fellow-RMIMer, who has patiently waited his/her turn in queue for the honour, becomes the quiz organizer and posts a quiz on generally a pre-announced theme of his/her choice. A large number (well, sometimes!) of nettors send in their anwers by e-mail organizer by the due date. The organizer tallies the correct answers and announces the results and it is time for the next quiz. But as Abhay Avachat put it in an earlier quiz, RJGK is more than a quiz, but is a symbol of the spirit of the newsgroup. It gives a sense of continuity and of shared tradition to the newsgroup. It is also a very positive example of how a habitually unruly bunch--read Indians--can voluntarily bring into being a stable structure. Most of the 51 quizzes of the past, dating from 4 July 1993, fateful day when Samiuddin Mohammed posted RJGK 1, have taken place flawlessly, and such a record holds out hope in me that the ideal form of human social and political organization--namely anarchy, a la Bakunin, Kroptkin, Gandhi, Noam Chomsky, and on his good day, Karl Marx--may be within the realm of possibility! You can read an account of the evolution of the RJGK series on Sami's Webpage: http://www.geocities.com/~sm0e/RJhistory2.txt You can access all the old RJGKs (very entertaining reading) at the following sites: http://www.geocities.com/~sm0e/rjgk.html http://www-users.cs.umn.edu/~subraman/rjgk/ If you are like most RMIMers, once bitten by the RJGK bug, you would want to organize a quiz of your own on a theme you like. You can do so by joining the queue! You can do that by contacting the current facilitator of RJGK, Ikram Ahmed Khan, at iakhan@bigfoot.com Also, be on the lookout for Ikram's monthly posting on forthcoming RJGKs and guidelines. So much for history and philosophy! What you have to do in this or any other RJGK is very simple. The quiz consists of a set of questions (called clues) related to the theme. Each clue is one or more (or, occasionally, shorter than one!) lines from the middle (or, occasionally, the prelude) of a song. All you need to do is identify the song from which the clue lines come. Many clues are accompanied by helpful hints, which sometimes are! Here is an example. ---------------------- Clue #00 maangi khusiyaa.n magar gham milaa pyaar me.n dard hi bhar diyaa dil ke har taar me.n aaj koi nahi.n meraa sansaar me.n chhoD kar chal diye mujh ko maj_dhaar me.n haaye teer-e-nazar kaa nishaana hu.N mai.n Hint: A rare instance of the use of izaafat by our artist. A Mukesh song from a sensationally successful soundtrack of the early 1960s, all the more remarkable because it was a B-budget film. A desert-island calibre work from an unkown but worthy composer of yesteryears, whose son is a well-known but hmmm.. composer today. I am sure you easily identified the song. All you need to say in your entry is: #00 haa.n deewaana hu.N mai.n Yes. That's it. Just make sure you remember the golden rule of RMIM quizzes. To reiterate: Please do not post answers on the net. Send your answers by e-mail to me at ADhareshwar@WorldBank.Org by Tuesday, 31 August, 1999 ---------------------------------- Feel free to add comments, criticisms, corrections, etc. in your entry, either for partcular songs, or for the quiz as a whole, or if you disagree with anything the organizer said, or you just want to add your reminiscences and impressions. Do be ready, though, for your comments becoming grist to the threadmill! ================================= On to the current quiz. There is a minor variation to the customary RJGK format. There are two versions of the quiz given: a shorter version and a longer one. Shorter does not mean it has fewer questions (sorry!). It just means you have less to plough through. The clue lines are often shorter and there is no lecture by me accompanying the clue! I request you to first try the shorter version to answer as many as you can using just the clue lines. You can then go to the longer version to solve the remainder. In your entry, please let me know, for each clue whether you solved the shorter version (S), or used the longer version (L) for cracking the clue. My purpose in having the twist is to collect some data pertaining to a claim I made in my writeup on Bharat Vyas, that many of his songlines have become part of us. There will be no extra credit for solving any or all clues basing yourself only on the short version. In the results post I'll only give aggregate statistics for each clue, as to how many solved it using only the short version. If you prefer, you can send me the entry in two batches, first using the short version, and later on, using all the information. I'll take the union of the two sets of correct answers. (I realize that this mode allows two cracks at a correct guess!) Or, you can send me one entry with (S) or (L) marked for each answer. Whichever you prefer. I believe a more elaborate version of this feature was tried out by Nuts before my time. But here, the idea is not to offer a two-tiered quiz with differential points. Please treat it just as a sample survey! And one warning: the lines in the short version are not always a subset of the lines in the long version. Just a minor trick to stop you from skipping the short version! The transcription is on a commonsense basis. I have used only a few Of the ITRANS conventions: mostly to disambiguate t/T, d/D and the ending nasal from n proper, etc. Here are some customarily provided statistics that might be useful. There are 36 clues, from 32 films. No non-film song, and no more than two songs from any film. The breakdown by singer (soloss followed by duets): Mukesh* 5 1 Rafi* 1 5 Manna Dey 2 1 Kishore 1 1 Mahendra Kapoor 1 1 Hemant Kumar 1 Talat 1 Male chorus* 1 Lata* 9 8 Asha 4 Geeta 1 1 Suman 1 Arti Mukherjee 1 Meena Kapoor 1 24 12 (* Tandem songs or assigned to Mukesh or male chorus.) Distribution by music director: Vasant Desai 8 SN Tripathi 7 Laxmikant-Pyarelal 3 C. Ramchandra 3 Sardar Malik 2 Adi Narayan Rao 1 Anil Biswas 1 Aroon Kumar 1 Avinash Vyas 1 Hemant Kumar 1 Hridayanath Mangeshkar 1 Kalyanji 1 Khemchand Prakash 1 Madan Mohan 1 RD Burman 1 S. Mohinder 1 Satish Bhatia 1 Shivram 1 By period: 1940s 1 1950-59 16 1960-69 17 1970s 2 ==================================== RJGK 52 Bharat Vyas: Short version Please do not post answers on the net. Send your answers by e-mail to me at ADhareshwar@WorldBank.Org by Tuesday, 31 August, 1999 1 ba.Daa kam_zor hai aadami abhi laakho.n hai.n is me.n kami 2 chetak mahaan hai tu bijali ka baan hai tu 3 saj singaar ritu aayi basanti jaise naar koi ho rasavanti 4 ye ghaDi na jaaye beet 5 jhilmil jhilmil taare damakate, jagamag hai jag saaraa 6 more man mai.n uThi hai umang re o mera bha.Dake hai baayaa.N ang re 7 raag hai wahi raag hai, wahi paraag hai, wahi pavan phir bhi kyo.n ... . 8 duniyaa ke mele me.n laakho.n mile par tu hi tu dil ko bhaayaa hua 9 na mai.n mai.n rahoo.n na tum tum ek dooje me.n ho jaaye.n gum ban ke shamaa parvaana dono.n pyar me.n jaaye.n jal ham to pyar me.n jaaye.n jal pal pal, ho pal pal 10 svapn bachpan ke adhoore ho rahe hai.n aaj poore phir na jaane kab aayenge ye sunehre pal o chandaa 11 praNay geet ki pratham pankti ho yaa manu ki pehali santaan nav yauvan ki pratham drishhTi ho yaa nayano.n ki pehali pehachaan 12 ham tumhe.n chaahe, tum nahi.n chaaho, aisaa kabhi naa ho sakataa pitaa apane baalak se bichha.D ke sukh se kabhi naa so sakataa 13 sang tumhaare do ghaDi, beet gaye jo pal jal bhar_ke mere nain me.n aaj hue ojhal sukh le ke dukh de gayee.n sukh le ke dukh de gayee.n, do ankhiyaa.n chanchal o o 14 tab diyaa dukhiyaara vo bechaara besahaara chalaa Daa.nv pe lagaane baazi praan ki baazi praan ki, baazi praan ki, baazi praan ki 15 dono.n dost mil gaye, dil ke phool khil gaye pyaar ke jo taar band the, vo phir se hil gaye 16 gori chunda.Di lahar laharaaveli laharaaveli chunda.Di lahar laharaaveli 17 mai.n ne ek din zaraa si jo kee maskhari 18 ye kis kavi ki kalpanaa ye kis kavi ki kalpanaa kaa chamat_kaar hai 19 kaun hai oonchaa kaun hai neechaa, sab me.n vo hi samaayaa 20 jab purushh pareekshhaaye.n legaa naari me.n doshh nikaalegaa sati par vishvaas nahi.n karate pati unhe.n agni me.n Daalegaa naari par laanchhan jvaalaa ki lapaTe hongee poorNa nahi.n 21 mehaa barase, jiyaraa tarase pyaasaa manavaa tujh ko pukaare aanchar bheege, angiyaa bheege jiyaraa me.n jalate angaare 22 koyaliyaa kuhu kuhu bole kaliyo.n ne ghunghat khole kaliyo.n se kahe ek bha.nvaraa dil de do hole hole 23 ankhiyaa.n neeli aur nasheeli dil me.n bas gayi vo lajeeli 24 bheekh maangate nayan, inhe suhaas do is niraash kaampate hriday ko aash do 25 gokul ki ye galiyaa.n roye madhuban ki ye kaliyaa.n roye jamunaa roye raadhaa roye rasavanti rangaraliyaa.n roye 26 aaj kaliyo.n ke man me.n nayaa geet hai o o o aa aa aaj leharo.n me.n jaadoo ka sangeet hai goonjati har dishaa me.n nayi raagini aaj man hai magan jhoomati preet hai (trrrrrrrrrrrrr) 27 teri daras ki mai.n pyaasi re pyaasi 28 mera bhaiyaa pyaara bhaiyaa senapati vo hi banegaa dushmano.n ke sar jhukenge jang vo aisaa laDegaa jeetenge ham, aa haa haa o ho ho jeevan me.n apni jhoomke aaengi aisi bahaar 29 o pardesi bhool na jaanaa ham ne kiyaa tujhe dil nazaraanaa dil ye hamaara tu ne na jaanaa seekhaa hai ham ne bhi vaadaa nibhaanaa ho vaadaa nibhaanaa 30 pehali kiran to chhoo kar ke phool chaman ka khil jaata ek pyar ke chumban se jaD patthar bhi hil jaata 31 .. .. .. ... adhoori 32 piyaa charan ki bhabhoot ramaayi preet ki pehani maalaa ab kaahe ka Daranaa jag se man me.n hua ujaalaa 33 ham ne chaaha tha ke is pyar ko singaar mile teri baaho.n ka mehaktaa ha ek haar mile pyar hi pyar ho aisa koi sansaar mile dukh bhari raat mili, khushiyo.n ka sapnaa na mila 34 ye to jug jug ki hai pyaas jise bha.nvaraa bujhaaye, kali kali paas jaaye kare poori adhoori vo aas 35 soorat hai mere sapano.n ki tu sohini jamunaa tu hi hai tu hi meri mohini 36 sar pe himaalay ka chhatr hai charaNo.n me.n nadiyaa.n ekatr hai.n haatho.n me.n vedo.n ke patr hai.n he e e desh nahi.n aisaa anyatr hai dhue.n se paavan ye vyom hai ghar ghar me.n hotaa jahaa.N hom hai pulakit hamaare rom rom hai e e e aadi anaadi shabd om hai jis bhoomi pe janma liyaa raam ne geeta sunaayi jahaa.N shyaam ne paavan banaaya chaaro.n dhaam ne he e e svarg bhi lajaaye jis ke saamane That's it! On to the long version. ========================================= RJGK 52 Bharat Vyas: Long version Please do not post answers on the net. Send your answers by e-mail to me at ADhareshwar@WorldBank.Org by Tuesday, 31 August, 1999 ----------------------------------------- 1 baDaa kam_zor hai aadami abhi laakho.n hai.n is me.n kami par tu jo kha.Daa hai dayaalu baDaa teri kirpaa se dharati thami diyaa tu ne hame.n jab janam tu hi jhelegaa ham sab ke gham I know all these lines are an overkill. I think almost any half-line of this song would be enough to recognize the song. It is a pleasure to write and read and observe and listen. Notice the double-line radeef and kaafiyaa. Also notice the seamless tapestry Bharat Vyas creates using .... whatever you want to call the words, Hindi and Urdu, Sanskrit/Desi and Persian/Arabic, Hindu and Muslim words. --------------------------------------------- 2 tere kandho.n pe aaj bhaar hai mevaa.D ka karnaa paDegaa tujh ko saamanaa pahaa.D ka haldi ghaaTi nahi.n kaam koi khil_vaa.D ka denaa javaab vahaa.N shero.n ki dahaa.D ka Know any other song addressed to a horse, that too by name? Catchy ghoDaa beat (not to be confused with ghoDaa gaadi beat!) by SN Tripathi. I like the arresting phrase "bijali kaa baan" that comes in the line after the next stanza chetak mahaan hai tu, bijali ka baan hai tu Bharat Vyas himself seems to have liked it a lot; he had also used it in 'Stree' in the "viraha" version of a song. You don't have to deal with it, but you do have to deal with the "milan" version later in the quiz! ---------------------------------------- 3 Lata: saj singaar ritu aayi basanti Rafi: jaise naar koi ho rasavanti Both: Daali Daali kaliyo.n ko titaliyaa.n choome phool phool pankhaDiyaa.n khole amrit ghole aaa a aaa Ever since Kalidas at least, poets have liked writing songs to celebrate the cycle of seasons. And given the easy mapping that Indian classical music allows with the cycle of seasons, music directors are also too happy to compose raagamaalas for them. I can recall two great raagamaalas penned by Bharat Vyas. The one from 'Kavi Kalidas' was mentioned in the writeup on Bharat Vyas and a different song is used in the quiz to represent that soundtrack. So, here is the other one. Perhaps the most loved raagamaala in the annals of Indian light-classical music. The tune comes from music director Adi Narayana Rao's own Telugu original. ----------------------------------------------- 4 ek pal hai ha.Nsanaa, ek pal hai ronaa kaisaa hai jeevan ka khelaa ek pal hai milanaa, ek pal bichhaDanaa duniyaa hai do din ka melaa Whatever one says about the song will be inadequate. So, let me just say that my only dilemma was: should I count the song under Mukesh or under Lata?! ================================================ Songs 5 through 9: Songs from more mainstream films On and off in his career, Bharat Vyas wrote songs for social films. In spite of the success of the music, and often the films, for unfathomable rasons these opportunities didn't multiply. A look at some of his major successes in this subsection. ----------------------------------------------- 5 ye mad_maati raat ye ThanDi Thandi havaa ke jhonke tere binaa mere soone jigar me.n birahaa ki agani khonkhe jhilmil jhilmil taare damakate, jagamag hai jag saaraa When I started work on this RJGK, I wasn't sure whether the universe of Bharat Vyas and that of a major playback singer had ever crossed! Turns out they had crossed at a very early stage in their careers. At the turn of half-century mark in the century, Bharat Vyas had the good fortune of establishing close working relation with perhaps the greatest music director of HIndi films. Thd films ranged across genres, incluidng social and mythological films. The relation was cut short by the untimely death of the music director. If you are a true-blood RJGKer (Rjerk?), you don't need me tell me the name of the film! ---------------------------------------------- 6 more man mai.n uThi hai umang re o mera bhaDake hai baayaa.n ang re more man ki muraliyaa pe hole hole sur khole khole koi gaa rahaa hai Madan Mohan got a flying start to his career by tuning this song of Bharat Vyas. As far as I know, they did not meet professionally again, after this film. Note the wonderful use of a superstition in the stanza (it is supposed to forebode good things on that day for a woman if her left eye or shoulder "flutters"; I am not sure what word to use!) The opening lines use another superstition. You want a hint? OK. Don't do the mistake of focusing on koyal, swan, chakor, et al, and forgetting lowly birds! --------------------------------------------- 7 aaj mere man ki baansuri bhi maun hai nis ko DhoonDhate mere nayan vo kaun hai raag hai wahi raag hai wahi paraag hai wahi pavan The only time Bharat Vyas got to work with Bimal Roy led to a sensationally good soundtrack for an excellent film. As bad luck would have it, the music director (who was also a singer earlier) died soon after the film. ---------------------------------------------- 8 dha.Dkan me.n tu hai samaayaa hua khayaalo.n me.n tu hi tu chhaaya hua duniyaa ke mele me.n laakho.n mile par tu hi tu dil ko bhaayaa hua A superhit soundtrack. A superhit film. If the world were rational, Bharat Vyas-Vasant Desai ought to have been a highly sought-after combination. But Rajendra Kumar seems to have been the sole beneficiary >from the success of the film. Would I be right in presuming this to be the easiest clue ever to crack? :) -------------------------------------------- 9 Vidya Sinha: aaj mai.n bahut khush hu.N| Rajesh Khanna: achchhaa? VS: chaahati hu.N din dugani, aur raat chauguni ho jaaye| vaqt Thehar jaaye| RK: vaqt kabhi nahi.n Thehartaa| VS: lekin dheere dheere to chal saktaa hai| RK: sach? Asha: ruk jaaye.n ghaDiyaa.n ruk jaaye.n chhin raat ki zulfo.n me.n bas jaaye.n din na mai.n mai.n rahoo.n na tum tum ek dooje me.n ho jaaye.n gum ban ke shamaa parvaana dono.n pyar me.n jaaye.n jal ham to pyar me.n jaaye.n jal "geet_kaar hai.n Bharat Vyas, aur sangeet_kaar hai.n Rahul Dev Burman". Doesn't it have a funny ring to it? Well, perhaps no more than when in 1955 Pradeep and C. Ramchanrdra came togehter for 'Nastik.' Gulzar recycled the idea in the mukhaDaa later for a famous "set of songs" in 'Rudali.' ======================================== 10 svapn bachpan ke adhoore ho rahe hai.n aaj poore phir na jaane kab aayenge ye sunehre pal A similar poetic idea as above here in this song >from a 1960 film about one of the most famed murderers in history. Might become a sher if you string out the first two lines! Bharat Vyas and Anil Biswas had met earlier for one song in 'Badi Bahu'. This full-fledged reunion gave rise to many gems, such as "buddhham sharaNam gachchhaami", "aayi aayi basanti belaa", and a lovely rendering of a Ravindra Sangeet song "more chanchal nainaa, madhu ras ke bhare" by Meena Kapoor. The selection here is very endearingly sung in a maasoom/frail voice by Arti Mukherjee. -------------------------------------------- 11 praNay geet ki pratham pankti ho yaa manu ki pehali santaan nav yauvan ki pratham drishhTi ho yaa nayano.n ki pehali pehachaan The answer expected here would be a very prosaic matter of fact question, if pulled out of the context. But what a song it turned out to be! ---------------------------------------- 12 ham tumhe.n chaahe, tum nahi.n chaaho aisa kabhi naa ho sakataa pitaa apane baalak se bichha.D ke sukh se kabhi naa so sakataa One of the most spectacular successes, the song hit the top of Binaca Geetaala. A mythological film, but had interesting features. Has a reasonably serious discussion of the issue of existence og god, as brought out by another hit song >from the film: "tu hai yaa nahi.n bhagavaan." --------------------------------------- 13 madhubuan ke madhukunj me.n chalat viraha sameer baaT rakoo.n teri mai.n priye, jal jamunaa ke teer Oops! Rafi won't do, you say? Has to be Mukesh? OK. But I am too lazy to type. You have to look up the short version. Same answer, though. :) Not enouhg? You want a hint? You are making me work too hard. Let me cut and paste! A Mukesh song from a sensationally successful soundtrack of the early 1960s, all the more remarkable because it was a B-budget film. A desert-island calibre work from an unkown but worthy composer of yesteryears, whose son is a well-known but hmmm.. composer today. ============================================== Songs 14 and 15 Saga songs Bharat Vyas was uniquely suited to compress a complex, classic work within the compass of a song, as he did with many of Kalidasa's. It is unreasonable to represent them in this quiz, as they didn't get much of a radio play due to their length. These two songs tell a different kind of story. The stanzas perhaps appear all through the film and portray the vicissitudes of the symbolic or real characters. They were very successful on the radio, but given their fragmentary picturization, I don't know if they had any TV play. Manna Dey seems to be the automatic choice for such songs. --------------------------------------------- 14 phir aisi ghaDi aayi ghan ghor ghaTaa chhaayi ab diye kaa bhi dil lagaa kaampne baDe zor se toofaan aayaa bharataa uDaan us chhoTe se diye kaa bal maapne tab diyaa dukhiyaara vo bechaara besahaara chalaa Daa.nv pe lagaane baazi praan ki, baazi praan ki, baazi praan ki, baazi praan ki Try as much as I did, I couldn't hide the identity of this song! The struggle of the weak against oppression and tyranny is indeed a very unequal one. -------------------------------------------------- 15 dono.n dost mil gaye, dil ke phool khil gaye pyaar ke jo taar band the, vo phir se hil gaye kaT gayi vo dushmani, dos_ti ke vaar se pichhale paap miT gaye aansuo.n ke dhaar se This S. Mohinder composition from an unreleased film of about 1960 tells the saga of two friends and their friendship: the idyllic beginning, the breakup, and the reunion. ========================================== 16 Lata: thaane chandan haar baNaalyu.n mhaare hirade su.n lagaalu.n chunda.Di me.n lukaay thaane raakhu.n lii Mukesh: gori chunda.Di lahar laharaaveli laharaaveli chunda.Di lahar laharaaveli When a lyrics request had come on RMIM sometime ago, I had difficulty transcribing the song and gave up. A superior force came through, in the form of our RMIMer from down under, David Windsor. (Where is he these days?) My only exposure to the liltingly romantic Marwari tongue. ---------------------------------------------- 17 mai.n ne ek din zaraa si jo kee maskhari chal diyaa nazare.n milaake vo gusse bhari Couldn't resist including a song which uses the word "maskhari"! I haven't been able to showcase any of the comic songs Of Bharat Vyas in this quiz. For example, `Suvarna Sundari' had the Rafi song "raam naam japanaaa, paraaya maal apanaa". This one isn't a comic song, though. It is more like a teasing song; a laavaNi perhaps? ------------------------------------------------ 18 tapasviyo.n si hai aTal ye parbato.n ki choTiyaa.n ye sarp si ghumer_daar gher_daar ghaaTiyaa.n dhvajaa se ye kha.De hue dhvajaa se ye kha.De hue hai.n vrikshha dev_daar ke galeeche ye gulaab ke, bageeche ye bahaar ke ye kis kavi ki kalpanaa ye kis kavi ki kalpanaa ka chamat_kaar hai A great Mukesh song by a music director, desribed in a recently posted article as a one-hit wonder, but what a soundtrack! A very interesting structure of stanzas, with the refrain (the repeated line) coming at the end of each stanza. Later, Neeraj used it in the 'Prem Pujari' song. Any earlier (or later) instances? ============================================ Songs 19 and 20: Songwriter as social activist Poets interested in social change have broadly speaking two approaches. Some derive the message by appealing to abstract principles, such as justice; many songs of Sahir and Majrooh belong to this category. The alternative is to tap into a part of the tradition itself to draw support for the desired change. Bharat Vyas appears to prefer the second approach. --------------------------------------------- 19 kaun hai oonchaa kaun hai neechaa sab me.n vo hi samaayaa bhed bhaav ke jhooTe bharam me.n ye maanav bharamaayaa Here, the ideas of a Maharashtrian saintly figure are used to propagate enLIGHTenment. --------------------------------- 20 (Prelude) ham raamachanra ki chandrakalaa me.n bhi kalank dikhalaate hai.n naari ki aansuo.n se likhi raamaayaN tumhe.n sunaate hai.n in taaro.n se angaaro.n ki jhankaar nayi sunavaate hai.n ye shlok nahi.n, atyaachaaro.n ke agnigeet ham gaate hai.n (stanza) jab purushh pareekshhaaye.n legaa naari me.n doshh nikaalegaa sati par vishvaas nahi.n karate pati unhe.n agni me.n Daalegaa naari par laanchhan jvaalaa ki lapaTe hongee poorNa nahi.n Quite daringly written refrain (the one you have to supply!). I wonder if the BJP/VHP/SS hooligans are aware of it, but the setting for this song is perhaps the earliest significant use in world literature of the flashback technique. In the Valmiki version, most of the story is presented as sung by Lava and Kusha in Rama's court. One conveneint way for the English-knowing ones among the hooligans to correct their ignorance would be by reading the excellent "abridged" (at 600+ pages!) translation of Valmiki Ramayan by Arshia Sattar (Viking 1996). (Note: laanchhan: disfiguring mark, stigma, aspersion; lapaT: toungue of flame, blast of fire or heat) ========================================= 21 mehaa barase, jiyaraa tarase pyaasaa manavaa tujh ko pukaare aanchar bheege, angiyaa bheege jiyaraa me.n jalate angaare Same story, different film, same music director, different kind of song. My only Complaint about the song is that it is too short; only one stanza. I have been hoping that it shows up in the FITB series. But, perhaps there is no missing stanza even in the film version. ------------------------------------------- 22 Geeta: koyaliyaa kuhu kuhu bole kaliyo.n ne ghunghat khole Hemant: kaliyo.n se kahe ek bha.nvaraa dil de do hole hole Geeta: haT mere sanam mujhe laage sharam Stereotypes are so strong that we tend to get surprised when Bharat Vyas is the lyricist for a film with an English word as the name! ---------------------------------------------- 23 ankhiyaa.n neeli aur nasheeli dil me.n bas gayi vo lajeeli chaandani si mad_bhari thi gagan se utari pari thi yaad hai vo din suhaana yaad hai vo din suhaana, vo suhaani shaam There was some question whether the words were "vo lajeeli" or "chhail chhabeeli". From my radio days, I did remember it as "vo chhabeeli", but the recording does have it as given. ============================================ Songs 24 and 25 Men in their dark times Should be women rather! Two wonderful sad songs, both by Lata. Also, both are repeats in terms of films. The earlier songs are the better-known ones. I like these two much better, and one is a masterpiece. --------------------------------------------- 24 zingagi ki naav ye liye hame.n kidhar chali raah DhhonDhati hui bha.nvar me.n aaj ghir chali hil_milaa rahaa hriday, nayan ki putaliyaa.n hili aansuo.n ki dhaar aaj baadalo.n si jhar chali One of those songs where all elements click. Bharat Vyas: SN Tripathi: Lata. (Note: putalee is pupil) ------------------------------------------------ 25 (prelude) bhor bhayee nit sooraj ooge, saanjh paDe Dhal jaaye aise hi meri aas bhandhe, aur bandh bandh kar miT jaaye gokul ki ye galiyaa.n roye, madhuban ki ye kaliyaa.n roye jamunaa roye raadhaa roye, rasavanti rangaraliyaa.n roye more shyaam haay roye roye, mere do nainaa bhaye reete re (reetaa: empty; deprived) One of the best of Laxmikant-Pyarelal. Unusual verbal construction in the opening line. ======================================== 26 Lata; aaj kaliyo.n ke man me.n nayaa geet hai Talat: o o o aa aa Lata: aaj leharo.n me.n jaadoo ka sangeet hai Talat: goonjati har dishaa me.n nayi raagini aaj man hai magan jhoomati preet hai I get confused between two Talat-Lata duets that came at about the same time, both composed by Vasant Desai. One was written by Pradeep and went "o dildaar, bolo ek baar, kyaa meraa pyaar pasand hai tumhe.n". This is the other one. ------------------------------------------- 27 yu.N ghul mil rehanaa jeevan me.n jaise rahe kajaraa ankhiyan me.n teri chhabi chaayi rahe man me.n tera hi naam rahe dha.Dkan me.n Another Laxmikant-Pyarelal song Lata need not be ashamed of singing in concerts! Seems to be thought well of by afficianados of semiclassical songs as being one of the better yaman compositions. ------------------------------------------- 28 mera bhaiyaa pyaara bhaiyaa senapati vo hi banegaa dushmano.n ke sar jhukenge jang vo aisaa laDegaa jeetenge ham, aa haa haa o ho ho jeevan me.n apni jhoomke aaengi aisi bahaar Interesting song. Lyrically, the young woman fantasizes good things in turn, by stanza, for herself and her relations. Musically, well, it is a Hridayanath composition. -------------------------------------------- 29 Lata: o pardesi bhool na jaanaa ham ne kiyaa tujhe dil nazaraanaa Rafi: dil ye hamaara tu ne na jaanaa seekhaa hai ham ne bhi vaadaa nibhaanaa The film had 4 lyricists, others being Hasrat Jaipuri, Indeewar and Nirupa Roy chipping in with a song! The most famous song of the film was by Bharat Vyas (am I supposed to add, "of course"?!). Another music director who had his first big hit with Bharat Vyas's lyrics. The music director's name is given as K.V. Shah in some HMV recordings. ============================================== Songs 30 and 31 How often can a word be used? I remember a thread on RMIM long ago, about songs in which a particular word (and its grammatical variants) was repeated surprisingly many times. These two songs would be strong candidates. ------------------------------------------- 30 pehali kiran to chhoo kar ke phool chaman ka khil jaata ek pyar ke chumban se jaD patthar bhi hil jaata jug jug se pyase chaatak ko jug jug se pyase chaatak ko ek boond ki aas Title song of the film that is supposed to be India's first cinemascope and colour film. Masterly composition by Vasant Desai with all his trademarks, aalaap, chorus, and waltzing violins. -------------------------------------------- 31 .. .. .. ... adhoori ================================ 32 (prelude) piyaa charan ki bhabhoot ramaayi preet ki pehani maalaa ab kaahe ka Daranaa jag se man me.n hua ujaalaa This Suman song, composed by Pandit Shivram, won my heart just the prelude. Nice continuation, too. Here is a stanza. tere liye mai.n ne to sharam laaj chhoDi re tere sang joDi to jagat sang toDi re tu hai mohan mera ho tu hai mohan mera, mai.n teri mohaniyaa So what if the whole world makes fun? Note: bhabhoot is the same as vibhhoti. --------------------------------------------- 33 ham ne chaaha tha ke is pyar ko singaar mile teri baaho.n ka mehaktaa ha ek haar mile pyar hi pyar ho aisa koi sansaar mile dukh bhari raat mili, khushiyo.n ka sapnaa na mila The big-time success of `Saranga' did lead to a few films in the 1960s with Bharat Vyas-Sardar Malik combination. From the title of the film, it is a mythological, but the song has the kind of elegance one associates with, say, a Sahir-N. Dutta song. Lyrically, the song is even one up on the usual filmsong extension of the ghazal structure: three rhyming lines and then the radeef-kaafiyaa line! ========================================== Songs 34 and 35 Lyrics provide the denouement I know of two films, where the final resoultion of the central dramatic tension is carried out purely through the lyrics of a song. -------------------------------------------- 34 Rafi: ye to jug jug ki hai pyaas jise bha.nvaraa bujhaaye, kali kali paas jaaye kare poori adhoori vo aas Lata: ras ke lobhi chain na paaye ulTe apani pyaas baDhaaye ek pyaali so jo preet lagaaye janam janam ki pyaas bujhaaye jaise dharati aur aakaash jab dono.n mile, to saari srishhTi hile aaye patajhaD me.n bhi madhumaas A dumb shepherd gets to marry the intellectually arrogant Princess, but is denied consummation. He finds the hidden reserves in himself with the help of his faithful companion and emerges as the greatest poet ever. The princess changes her mind now, of course, but he is willing to treat her only as his guru and claims his rights to a life of free love. The king sets up a debate through poetry to choose the winning party. Very ingeniously constucted lyrics. Like Sahir's lyrics for `Didi', but goes through more rounds. ------------------------------------------------- 35 ye kaun ghungharu jhamakaa, ye kaun chaand chamakaa ye dharati pe aasamaan aa gayaa poonam kaa ye kaun phool mehakaa, ye kaun panchhi chehakaa mehfil me.n kaisi khushboo uDi dil jo mera behakaa lo tan me.n jaan aayi, hoTho.n pe taan aayi meri chakori chaandani me.n kar ke snaan aayi bichhaDaa vo meet aaya, jeevan ka geet aaya do aatamaavo.n ke milan ka din puneet aaya Here, a poet's wife finally discovers that the gamour girl her husband is after is none other than herself, transformed in his mind's eye through poetic fantasy. In my first draft of the quiz, this song was going to provide the clue no. 31, with just jamunaa tu hi hai tu hi meri mohini But I decided that it wasn't radical enough! =============================== 36 sar pe himaalay ka chhatr hai charaNo.n me.n nadiyaa.n ekatr hai.n haatho.n me.n vedo.n ke patr hai.n he e e desh nahi.n aisaa anyatr hai dhue.n se paavan ye vyom hai ghar ghar me.n hotaa jahaa.N hom hai pulakit hamaare rom rom hai e e e aadi anaadi shabd om hai jis bhoomi pe janma liyaa raam ne geeta sunaayi jahaa.N shyaam ne paavan banaaya chaaro.n dhaam ne he e e svarg bhi lajaaye jis ke saamane Since I have asked you to guess a whole song from just one word, I think to be fair to you folks, I should take on the opposite.burden for some song! Here's nearly the entire song. You just provide the opneing words! Lata of 1990s has re-sung the song after nearly 40 years. You can still feel the beauty of the tune. ================================= Please do not post answers on the net. Send your answers by e-mail to me at ADhareshwar@WorldBank.Org by Tuesday, 31 August, 1999 Hope all of you find it exciting enough to send in an entry. Ashok