The subtle pathos of Gulzar's poetry is also dryly taunting. Emotions are 'samaan', things. They take shape, become real. Maya does not merely haunt; she lives.
16.2.14
Sunday ka Funda
The subtle pathos of Gulzar's poetry is also dryly taunting. Emotions are 'samaan', things. They take shape, become real. Maya does not merely haunt; she lives.
23.6.13
Sunday ka Funda
“Democracy don't rule the world
You'd better get that in your head
This world is ruled by violence
But I guess that's better left unsaid
From Broadway to the Milky Way
That's a lot of territory indeed
And a man's gonna do what he has to do
When he's got a hungry mouth to feed."
— Bob Dylan
Whistle-blower Edward Snowden leaves for Russia. A 'non-democracy' will protect him. Who would have thought? The answer my friends is blowin' in the wind in this delightful snap clip:
22.5.11
Sunday ka Funda
from...
3.4.10
Empty-handed evening
When I wrote Break Lighting, I had a feeble idea. My mailbox brought me up-to-date with emptiness. Thank you for sharing this gem...
Aaj bhi na aaye aansoon
Aaj bhi na bheege naina
Aaj bhi kori raena
Kori laut jaayegi
(Today too there were no tears
The eyes remained dry
The blank night
Returned blank)
Khaali haath shaam aayi hai
Movie: Ijaazat
Lyrics: Gulzar
Music: R.D.Burman
Singer: Asha Bhosale
Actors: Naseeruddin Shah, Rekha, Anuradha Patel
Year: 1987
1.12.09
That little sigh
Zara Si Aahat Hoti Hai To Dil Sochta Hai
* Movie: Haqeeqat
* Singer: Lata Mangeshkar
* Music Director: Madan Mohan
* Lyricist: Kaifi Azmi
* Actors/Actresses: Dharmendra, Priya Rajvansh
* Year: 1964
13.9.09
Sunday ka Funda
Eik Aise Gagan Ke Taley
Jahaan Gham Bhi Na Ho, Aansoon Bhi Na Ho
Bas Pyaar Hi Pyaar Paley
Let me take you
Beneath such a sky
Where there are no tears or grief
And only love lives
Aa chal ke tujhe
Movie: Door Gagan Ki Chaaon Mein
Lyrics: Kishore Kumar
Music Kishore Kumar
Singer: Kishore Kumar
The film was also produced and directed by Kishore Kumar.
30.6.09
Angels and Demons
However, there have been more contemporary songs that have used the Bollywood formula and created a language quite different.
Chupke se is the Angel factor of love. The imagery is soft and flowing. There seems to be no hurry…in fact, there is time to talk…about poetry by Mir (Taqi Mir) to the strains of Raga Marwa…
haule haule marwa ke raag mein
Mir kee baat ho
Chupke Se
* Movie: Saathiyaa
* Singer(s): Sadhana Sargam, Murtaza, Qadir
* Music Director: A R Rahman
* Lyricist: Gulzar
* Actors/Actresses: Rani Mukherjee, Vivek Oberoi
* Year: 2002
At the simplest level, the next song may not appear too different. Watch it closely. There is something animalistic in the movements, the expressions – they flow not outward but inward, as in reaching a yogic trance through some much disciplined movements to climax. The sublime is sexual.
Interestingly, it is a long song and yet there is a frenzy. For me the brilliant touch is the use of a classic Ghalib verse that is woven into the lyrics, “Ishq par zor nahin”. (There is no force in love). The lovers are challenging each other, and they do it with the arsenal of lust. Note the voice dropping several octaves, a voice in the throes of passion, a voice inviting punishment:
Satrangi Re
* Movie: Dil Se
* Singer(s): Kavita Krishnamurthy, Sonu Nigam
* Music Director: A R Rahman
* Lyricist: Gulzar
* Actors/Actresses: Manisha Koirala, Shah Rukh Khan
* Year: 1998
14.2.09
Tum...pukar lo...
Sometimes it is a line; sometimes the holding back of a line…taken over by a rhythm like a pulse beat.
I can think of several songs, and I know it is a cheesy thing to do today, but I feel like it. Perhaps I have already shared the words in bits and pieces. Perhaps, I have bared many words in bits and pieces.
There are several faces and phases of love.
Here are two subtle ones…
The beginning of the first one is both profound and playful, “Pyaar par bas to nahin hai mera lekin phir bhi tu bataa de ke tujhe pyaar karoon ya na karoon” (I have no control over my love, even so you tell me whether I ought to love you or not.)
And the lines that grab me:
poochh kar apni nigaahon se bataa de mujhko
meri raaton ke muqaddar mein sehar hai ke nahin
(Ask your eyes and then tell me
If my nights are destined to see the dawn or not)
Pyaar par bas to nahin hai mera lekin phir bhi
* Movie: Sone Ki Chidiya
* Singer(s): Asha Bhonsle, Talat Mehmood
* Music Director: O P Nayyar
* Lyricist: Sahir Ludhianvi
* Actors/Actresses: Talat Mehmood, Nutan, Balraj Sahni
* Year: 1958
- - -
A beautiful aspect of this one are the visuals of long shadows, curtains, light falling and creating patterns. The woman can only hear his voice and in that there is stillness as she enters the house and moves towards the stairs, framed at one point climbing them – there is a tantalising building up of expectation that may never see fruition, as though moving willingly towards imprisonment. Even when she first sees him in the course of the song, only his back is visible. How much we suppress…
For those acquainted with Hindi literature she is carrying a copy of Kalidasa’s Meghdoot (The Cloud Messenger). So much darkness with promise of rain…
As I have said often. I don’t think anything can surpass this simple expression:
dil bahal to jaayega is khayaal se
haal mil gayaa tumhara apne haal se
(The heart will be sated with the thought
That I know how you feel because of how I feel)
* Movie: Khamoshi
* Singer: Hemant Kumar
* Music Director: Hemant Kumar
* Lyricist: Gulzar
* Actors/Actresses: Waheeda Rehman, Dharmendra, Rajesh Khanna
* Year: 1969
2.1.09
Jaaye to jaaye kahaan...
This might sound strange. I put this song in the romantic category. Romantic in capital letters, as in a love beyond love.
apna bhi gham hai, unka bhi gham hai
ab dil ke bachneki, ummeed kam hai
This is about making another’s sorrow one’s own. A soul crying out…
Jaaye tau jaaye kahaan:
Film: Taxi Driver (1954)
Singer: Talat Mehmood
Music: S.D.Burman
Lyrics: Sahir Ludhianvi
15.11.08
Saawan Beeta Jaaye
I had no idea how this song was filmed. It took me by surprise to see Mehmood and Shubha Khote performing since Guru Dutt and Meena Kumari were the principal characters. It is film classical at one of its best…
Saawan Beeta Jaaye- Suman Kalyanpur & Rafi
Movie: Saanjh Aur Savera
Singer(s): Mohammad Rafi, Suman Kalyanpur
Music Director: Shankar-Jaikishan
Lyricist: Hasrat Jaipuri
11.11.08
You're so last summer
I did not want to use visuals with this. Have fun. It’s almost winter here and autumn elsewhere…but…
You're So Last Summer - Taking Back Sunday - (lyrics)
7.5.08
yahi armaan lekar aaj apne ghar se ham nikale
Am sure Naushad saab had no such desires when he left this world – to see his beloved Carter road named after him. But it is now Sangeet Samrat Naushad Ali Marg. Indeed, a well-deserved posthumous honour. This is not the first time it has happened and not the last, therefore we will have to stop cribbing about the changing of road names. If there is one thing about this one, it is that it is not a political act.
My little memories have been penned here, but today I am thinking about the film Babul and Dilip Kumar at the piano and Munnawar Sultana joining him intoning Shakeel Badayuni’s words. Talat Mehmood of the quiver in the voice and Shamshad Begum with that nasal tone singing in low notes sounding like she always did – frisky and feverish. I liked the contrast in the two sounds.
Milte hi aankhein dil hua deewana kisi ka
Afsaana mera ban gaya afsaana kisi ka
I have often talked about subsuming in love…this is one more example when two stories merge and become one.
The same applies to Man Tadpat Hari darshan ko aaj(Baiju Bawra)
Here it is oneness with god, a god-figure, a unifying force, even the higher self that seeks a path (guru)…
This song is in Raag Malkauns, an evening raag supposed to possess supernatural powers. I have watched Baiju Bawra four times, and even in black and white the sense of dusk, dust settling, sun setting is so palpable. I choke just listening to the alaap… “Hari om, hariiiiiii…om”…imagine starting at the pit of the stomach and stretching every syllable in the body of the words…am eternally grateful to a childhood that was filled with these sounds…
I will be repeating what has been stated several times, if this is seen as a bhajan (a devotional song sung for Lord Krishna), then it is almost entirely a Muslim creation…
Music: Naushad; Lyrics: Shakeel Badayuni; Singer: Mohammed Rafi
These things are immaterial in the larger scheme. Just as Shanker-Shambhu took singing at dargahs and in praise of Allah and the paighambars to great heights, devotion is about belief in oneself to become better.
“sun more vyaakul man ki baat”
A mind that is constantly in search will always find.
31.3.08
Chhupa lo yun dil mein pyaar mera
I love everything about this song...the lyrics may seem regressive, but I see it as a higher plane of subsuming rather than submission.
Think about it:
chhupaa lo yuu.N dil me.n pyaar mera
Ke Jaise mandir mein lau diye ki
That flame never dies...
4.3.08
Meera

Ravindra Jain is probably among the most under-rated lyricists. He has beautifully expressed the longing of two kinds of love – one seeking fulfilment, the other sublimation. I still get completely bowled over by the line: “Ek jeet na maani, ek haar na maani”…
The picture here is of a doll, one among many, that my mother has made down the years. This was especially for me (there is also a peacock dancer, and Anarkali). These are not dolls you play with; you admire them. And god knows how many people have been gifted these. I dread to imagine their fate.
She is more generous. Or, creation is all that counts to her…she does not think of what is destroyed.
- - -
ek raadhaa, ek miiraa dono.n ne shyaam ko chaahaa
antar kyaa dono.n kii chaah me.n bolo
ik prem diivaanii, ik daras diivaanii
ek raadhaa, ek miiraa ...
raadhaa ne madhuban me.n Dhuu.NDhaa
miiraa ne man me.n paayaa
raadhaa jise kho baiThii
vo govind aur daras dikhaayaa
ek muralii ek paayal, ek pagalii, ek ghaayal
antar kyaa dono.n kii priit me.n bolo
ek suurat lubhaanii, ek muurat lubhaanii
ik prem diivaanii, ik daras diivaanii ...
miiraa ke prabhu giridhar naagar
raadhaa ke manamohan
raadhaa din {sh}R^i.ngaar kare
aur miiraa ban gayii jogan
ek raanii ek daasii, dono.n hari prem kii pyaasii
antar kyaa dono.n kii tR^ipti me.n bolo
ek jiit na maanii, ek haar na maanii
ik prem diivaanii, ik daras diivaanii ...
Music: Ravindra Jain; Lyrics: Ravindra Jain; Singer: Lata Mangeshkar; Film: Ram Teri Ganga Maili
11.2.08
Today morning

A song that may seem unconnected but which I hummed...
jalate hai.n jisake liye, terii aa.Nkho.n ke diye
Dhuu.NDh laayaa huu.N vahii, giit mai.n tere liye
jalate hai.n jisake liye
dard banake jo mere dil me.n rahaa Dhal naa sakaa
jaaduu banake terii aa.Nkho.n me.n rukaa chal naa sakaa
aaj laayaa huu.N vahii giit mai.n tere liye
jalate hai.n jisake liye
dil me.n rakh lenaa ise haatho.n se ye chhuuTe na kahii.n
giit naazuk hai meraa shiishe se bhii TuuTe na kahii.n
gunagunaauu.ngaa yahii giit mai.n tere liye
jalate hai.n jisake liye
jab talak naa ye tere ras ke bhare ho.nTho.n se mile
yuu.N hii aavaaraa phiregaa ye terii zulfo.n ke tale
gaaye jaauu.ngaa yahii giit mai.n tere liye
jalate hai.n jisake liye
26.1.08
January 26
maaTii se ham laal nikaale.n motii laae.n jal se
jo kuchh is duniyaa me.n banaa hai banaa hamaare bal se
kab tak mehanat ke pairo.n me.n ye daulat kii za.nziire.n
haath ba.Dhaakar chhiin lo apane sapano.n kii tasvIre.n
Saathi haath badhana
For those who want the more conventional, there is Vande Mataram: The following are two versions, both not the original.
Lata Mangeshkar
A R Rehman
28.10.07
The fool on the hill
Killing people with statistics amounts to zilch if you don’t have an original idea to stand on its head and yours. When I started getting letters on my rejoinder to the Jemima piece, I was a bit perturbed. Someone said I had not ‘researched’ it. Heck, she got away with the Hermes scarf and I have to go through musty books to tell her off? I like using chalk over chalk and not wasting cheese.
Besides, if you have done your work already, you don’t need a bibliography. I am happy being the fool on the hill:
Well on the way head in a cloud,
The man of a thousand voices is talking perfectly loud
But nobody ever hears him,
Or the sound he appears to make,
And he never seems to notice,
But the fool on the hill
Sees the sun going down,
And the eyes in his head,
See the world spinning 'round.
(The Beatles)
- - -
Funny how simple ideas, conveyed simply or even simplistically, get completely destroyed with intellectual input. I enjoyed reading Foucault at one point in time and recently when I saw the complete bafflement regarding the theory of exceptionalism, it made me wonder. Is it really all that complicated, especially if one sees it in the context ofI decided to detonate it:
Theory A:
George Bush imagines there are WMDs in
Theory B:
1. McDonald’s divides
2. Historians to study how it affects caloric intake, given the sweat factor.
3. In the post-quarrel context, it must be analysed whether the sesame bun is an exceptionalist concept although it is known to always go with the patty.
4. In its crudest form, Indians use heeng to prop up culture. They therefore become custodians of morality. Ergo, culture is moral.
5. While these individuals insist on heeng, they are not open to the idea of adding mudduku, zeera or dhania that belong to different regions.
6. Those who protest against too much freedom of choice are also being exceptionalist because they are taking exception to the exception.
7. There does not seem to be a problem with the latter, but still the violence at Big Mac needs to be understood before you decide to add heeng or zeera.
8. Due to this fast-food battle, some people believe that villages are safe from such influences. However, when there is a shortage of other ingredients in the village and the local tantric is called upon to get the ‘bhoot’ out (The Exorcist replayed, in reverse colonialism), the Big M types start imagining that those creatures are weird. Irrespective of all this the Indian free market thrives because Big M and KFC co-exist and everyone stands in line to get their chicken wings.
9. The right and left in
10. Mayo and heeng in fact show us the leap from colonial to post-colonial
13.10.07
Mere naina saawan bhaadon, phir bhi mera man pyaasa...
Today is Kishore Kumar’s 20th death anniversary. Everyone has their special Kishoreda song or moment.
I was not a huge fan, although unlike Mukesh or Hemant Kumar, he did have a wide range. In fact, he was perhaps a rarity among the silvery smooth voices of the conventional hero’s playback singing. He had almost a smoker’s quality and strangely enough it sat rather well with the gooey charm of Rajesh Khanna. Perhaps, it was in the song sequences that Khanna got liberated, either when he yodelled or dipped low into a whisper…
Hrishikesh Mukherjee probably used Mukesh to sing for Anand because Khanna’s character is terminally ill. I am trying to imagine Kishore Kumar sing. “Kaheen door jab din dhal jaayein…” Why not? After all, his voice cried in Amar Prem as he belted out “Chingaari koi bhadke tau saawan usey bujhaaye, saawan jo agan lagaye usey kaun bujhaaye”…and to think that the preamble to this was Rajesh Khanna telling Sharmila Tagore, “Pushpa, I hate tears”.
Kishore the buffoon, as actor and singer, excelled, but he could not get the slapstick perfect. I am biased. I don’t think anyone besides Chaplin can, so we can forget it…but again I am thinking: how would he have sung, “Teil maalish…sar jo tera chakraye” to Johnny Walker’s contorted facial rhythms? If he managed it in Padosan (“Eik chatur naar kar ke singaar”, where I think Manna De was superb, and not a mere foil), he would…wouldn’t he?
Here, let me take that leap into blasphemy. Mohammed Rafi extended the horizons to become not just the character but also the actor. In Hindi cinema however good an actor is he still remains the star. Rafi subsumed his own identity and it melded with the actor’s. Kishore Kumar was the star himself.
To take just one example. Listen to “Humein tumse pyaar kitna…” The female version is vastly better, sung by Parveen Sultana, the latter a classical diva and divine act, but both have sung it like stars.
“Kora kaaghaz tha yeh man mera” and “Musafir hoon yaaron na ghar hai na thikana”…now these are something. But then S.D.Burman and RD did bring out the best in him…
My favourite Kishore Kumar number remains “Jeevan se bhari teri aankhein”. Mainly because it is simple, the romance in the words rather than the vocal nuance…it is like reading out a poem. And Indivar’s lyrics are vastly superior to the Javed Akhtar “Eik ladki ko dekha tau aisa lagaa”…
Kishoreda, was no mishti, but the essential jhaal moodi…what we in Mumbai call bhelpuri. A good outdoor snack with wind blowing in your face and the smell of the sea…he is indeed not quite gone with the wind…hawaa ke saath-saath…o…saathi chal…
- - -
“jiivan se bharii terii aa.Nkhe.n
majabuur kare jiine ke liye
saagar bhii tarasate rahate hai.n
tere ruup kaa ras piine ke liye
jiivan se bharii terii aa.Nkhe.n ...
kyaa koii likhe tujhape kavitaa
ra.ngo.n chha.ndo.n me.n samaaegii
kis tarah se itanii su.ndarataa
ek dha.Dakan hai tuu dil ke liye
ek jaan hai tuu jiine ke liye
jiivan se bharii terii aa.Nkhe.n ...
baaho.n me.n ka.nval kii komalataa
kiraNo.n kaa tej hai chehare pe
hirano.n kii hai tujh me.n cha.nchalataa
aa.nchal kaa tere ek taar bahut
koI chhaak jigar siine ke liye
jiivan se bharii terii aa.Nkhe.n”
(Film: Safar; Music: Kalyanji-Anandji)
6.9.07
Pavarotti in Paradiso
Opera is not something I listen to, but whenever I have done so it has cast a spell. As a youngster I would try and mimic the style – wide open mouth stretching an aching moment to an eternal longing. I would have tears in my eyes just from the effort. I believe I did a good job of the imitation. Somewhere along, the emotions, in a language I did not understand, did touch me. The way Chaplin in the silent movies does.
It would be disingenuous to compare, but at times some of the singing appears like an alaap that extends right into the body of the raag in Indian classical music. Aficionados will beat me up, but my amateur understanding begs to be permitted the licence of flawed interpretation.
There will be several befitting obits and it would be a learning experience. He was a star, and fortunately in his case one has not heard anyone complaining about dumbing down despite it being the easiest thing to do. His showmanship was a part of his persona, not an acquired trait, though in The King and I, his biographers do refer to the story behind the use of the white handkerchief which started out due to a cold he suffered from. As Herbert Breslin wrote, "Working with opera singers is a recipe for nervous collapse. The more carefully you make your plans, the more likely it is they'll get sick when the big night rolls around." Later, the hanky was used to wave at the crowd, for emphasis in a song, or as a hiding place for throat lozenges.
I smile. Luciano did that all the time.
RIP: Rock In
- - -
Picture: ‘L'Elisir d'Amore’ ("The Elixir of Love") with Pavarotti in the role of Nemorino
- - -
Ave Maria Prayer : Music by Franz Schubert. One of Pavarotti's notable performances.
Ave Maria! Ave Maria! maiden mild!
Listen to a maiden's prayer!
Thou canst hear though from the wild,
Thou canst save amid despair.
Safe may we sleep beneath thy care,
Though banish'd, outcast and reviled -
Maiden! hear a maiden's prayer;
Mother, hear a suppliant child!
Ave Maria!
Ave Maria! undefiled!
The flinty couch we now must share
Shall seem this down of eider piled,
If thy protection hover there.
The murky cavern's heavy air
Shall breathe of balm if thou hast smiled;
Then, Maiden! hear a maiden's prayer;
Mother, list a suppliant child!
Ave Maria!
Ave Maria! stainless styled!
Foul demons of the earth and air,
From this their wonted haunt exiled,
Shall flee before thy presence fair.
We bow us to our lot of care,
Beneath thy guidance reconciled;
Hear for a maid a maiden's prayer,
And for a father hear a child!
Ave Maria!
The original words in Latin:
Ave Maria Gratia plena
Maria Gratia plena
Maria Gratia plena
Ave, ave dominus
Dominus tecum
Benedicta tu in mulieribus
Et benedictus
Et benedictus fructus ventris
Ventris tui Jesus
Ave Maria
Ave Maria Mater dei
Ora pro nobis pecatoribus
Ora, ora pro nobis
Ora ora pro nobis pecatoribus
Nunc et in hora mortis
In hora mortis, mortis nostrae
In hora mortis nostrae
Ave Maria!
19.7.07
Damn, I cussed!
Yes, it makes me feel good that I don’t use abusive words. I do it for myself, for my self-esteem. Perhaps in very close intimate company I might utter an expletive.
When I say fuck, I mean it…as in ‘fetch’. Okay?
So, I surprised myself the other day when I used a fairly horrendous word in Urdu/Hindi. “You are such a chootiya,” I told him. It wasn’t meant to be literal, but even then it was not something I would condone. I don’t even know what it really means, although I have a fair idea.
This was the second time I used the word. The first time was with an Egyptian friend. He was dropping me off somewhere at Jumeirah in
“Hello,” I said. “I am Indian.”
“You are different.”
Well, I am…at least I was nowhere like that bloke who moved his vehicle like a bulldozer.
“Come on, come on, tell me some baad wordh thu give him…”
“Chootiya…” my tongue whipped it out like a magic wand.
“Wallah! What it means?”
“Very bad,” I said.
I thought I was inculcating subcontinental values in the Arab mind.
Next thing I know is he had rolled down the glass and was yelling out, “Ay, ay, shoot-ya.”
“Wait,” I restrained him. “If you have to, then at least say it right.”
Oh, the driver of that offending vehicle mattered no more. My friend was on a roll.
Till we reached Jumeirah I had to listen to his rendition of the different ways of saying ‘shoot-ya’… It was slightly better than his version of Bob Marley, though.
Yup, there he was humming and asked me, “You know Boob Marlee?”
“Yes…I like him a lot…”
“Gooth…listen…Woy, yoy, yoy…” he began tapping the steering wheel…
“Boofellow soljur, dhreadhlock raster
There was a boofellow soljur in the harth of Amerikha,
Stholan from Aafrica, broughth to Amerikha,
Farthing on arrawal, farthing for surwawul…”
Oh, it was soon my destination. He opened the door for me and as I waved out, he called back, “Habibi, shoot-ya!”
PS: For those who want the real words of Bob Marley:
“Buffalo Soldier, Dreadlock Rasta:
There was a Buffalo Soldier in the heart of
Stolen from Africa, brought to
Fighting on arrival, fighting for survival.”