Anand Bakshi
Srinivas Ganti
The ultimate lyricist has gone. Anand Bakshi has finally, almost incredibly,
left us. The pen that grew younger every year, brooked no limitations and
certainly no pretentiousness has run dry. Run dry after a non-stop run of 45
years and almost 4500 songs during which it proved that a monumental talent
had no need to tom-tom its presence, manipulate the media, show off its
writing skills at the expense of the situation, character and script or
attend mushairas to show he was a great poet...
ANAND Bakshi was one of a kind.
Philosophy, cynicism, spirituality, patriotism or metaphor-rich flowery love
songs - the great names of lyricdom excelled or were known for their grip on
lyrics in one or two of these genres. Maybe that is why Anand Bakshi was
never considered in their league - creatively and otherwise, the man simply
refused to be strait-jacketed anywhere, though given the opportunity, Bakshi
could match the best in each of them. "A lyricist is a poet at heart," he
told me once. "But he does not write to satisfy his own creative urges, and
does not unnecessarily display his knowledge of language. As a lyricist in
films, one has to write for every conceivable situation and for characters
ranging from a tawaif to a child, a boatman to a pop star. I hate using
heavy language - anything can be written with simplicity. In our country we
demand funny qualifications of a poet. You must write in obscure language,
attend mushairas, contribute to Urdu magazines and publish books in verse!
But look at our folk songs - many of them have greater depth than all the
shaayari and heavy kavitayen!"
Born on July 21, 1930 in Rawalpindi, Bakshi hailed from a family of army and
bank personnel. Not much is known and even less certain about his early
life, and there are different versions about his being in the army or navy.
The radio addict and habitual singer was also fond of writing poems - some
of which were published - and actually served in a bank till 1956. He came
to Mumbai determined to be in films, if not as a lyricist, then as a singer.
The first break (in Bhagwan's 1958 film Bhala Aadmi with music by Nisar
Bazmi) came almost immediately, the breakthrough took four years (Mehndi
Lage Mere Haath/1962 with Kalyanji Anandji), and after Devar (1964/Roshan),
Himalay Ki God Mein and Jab Jab Phool Khile (both Kalyanji Anandji/1965),
Anand Bakshi zoomed to the top echelons and remained there, to notch up
almost 575 films, more than 250 of which were with the phenomenal Laxmikant
Pyarelal alone.
THE PEERLESS LYRICIST
THE ANAND BAKSHI SMASH-HITS
Pardesiyon se na ankhiyan - Jab Jab Phool Khile
Sawan ka mahina - Milan
Bindiya chamkegi - Do Raaste
Jhilmil sitaron ka - Jeevan Mrityu
Accha to hum chalte hai - Aan Milo Sajana
Maar diya jaaye - Mera Gaon Mera Desh
Sacchai chhup nahin sakti - Dushmun
Chingari koi bhadke - Amar Prem
Dum maro dum - Hare Rama Hare Krishna
Hum tum ek kamre mein - Bobby
Mehbooba o mehbooba - Sholay
Parda hai parda - Amar Akbar Anthony
Dafli wale - Sargam
Om shanti om - Karz
Tere mere beech mein - Ek Duuje Ke Liye
Chitthi aayi hai - Naam
One two ka four - Ram Lakhan
Tirchhi topiwale - Tridev
Jumma chumma - Hum
Choli ke peeche - Khal-nayak
Tu cheez badi hai - Mohra
Tujhe dekha to - Dilwale Dulhania Le Jayenge
Meri mehbooba - Pardes
Le gayee - Dil To Pagal Hain
Main nikla gaddi lekar - Gadar-Ek Prem Katha
BAKSHI'S songs were suffused with the warmth that only a good human being
could radiate. There are so many lyrics where the songs touched an instant
chord, cheered you up immeasurably, or brought a lump to your throat, but
there are others where the song you loved would keep tantalising you till
weeks or even years later, the real meaning would hit you like a
thunderbolt!
For example, 'Mere deewanepan ki bhi dawaa nahin' (Mehboob Ki Mehndi/1971)
was a song that hooked the populace instantly. But how many realize even
three decades later how beautifully Bakshi expressed the unspoken emotional
telepathy of two lovers with the second line, 'Maine jaane kya sun liya,
toone to kuch kahaa nahin!'
Bakshi, who could write your 'Choli ke peeche kya hai (Khal-Nayak), 'Jumma
chumma de de' (Hum), 'Saat saheliyan' (Vidhaata) and 'Le gayee' (Dil To
Pagal Hai) as easily as a 'Chingari koi bhadke' (Amar Prem) and Chanchal
sheetal nirmal komal (Satyam Shivam Sundaram) would often couch the deepest
of philosophies in the simplest of phraseology. His songs, as Javed Akhtar
once told me, "will always be cherished as folk songs. They will instruct,
inspire and elevate, because they have the power to change society."
Such was the potency of Bakshi's popular and prolific writing that he could
present uncomfortable posers, or offer guidance or inspiration with his
awesome insights into human nature, universal truisms and the axioms of
life. In the song 'Nafrat ki duniya (Haathi Mere Saathi) for which he was
given a special award by the SPCA (Society for Prevention Of Cruelty to
Animals) he questions, "Jab jaanwar koi insaan ko maare/ Kehte hain duniya
mein vahashi usse saare, Ek jaanwar ki jaan aaj insaano ne li hai/ Chhup
kyoon hai sansaar?"
In Amar Prem, through the lips of Rajesh Khanna, he scoffs at the judgmental
hypocrisy of society with "Kuchh to log kahenge/Logon ka kaam hai
kehna/Chhodo bekaar ki baaton mein/Kahin beet na jaaye raina!" In Dost, he
wrote what is inarguably one of the most optimistic and cheering songs in
Hindi film music, "Gaadi bulaa rahi hai/ Seeti bajaa rahi hai" in which he
penned the unforgettable lines, "Dekho woh rail, baccho ka khel/ Seekho
sabak jawaano/ Sar pe hai bojh/ seene mein aag/ lab pe dhuan hai jaano/ phir
bhi woh gaa rahi hai/ naghme sunaa rahi hain!"
And in that masterpiece from Aya Sawan Jhoom Ke, he pens those wonderfully
thought-provoking lines, "Yeh shama to jali roshni ke liye/ iss shama se
agar lag jaaye to yeh shama kya karen?/ yeh hawaa to chali saans le har koi/
ghar kisika ujad jaaye aandhi mein to yeh hawaa kya kare?"
And an axiom of cosmic proportions lies in the deceptive simplicity of his
Anurodh number, "Tum besahara ho to kisika sahara bano/ tumko apen aap hi
sahara mil jaayega/ kashti koi doobti pahunchaa do kinare pe tumko apne aap
hi kinara mil jaayega."
Bakshi's patriotism was rarely overt, but its subtlety ("Des paraya chhod ke
aaja/ panchhi pinjra tod ke aaja/ aaja umar bahut hai chhoti/ apne ghar mein
bhi hai roti/ chitthi aayi hai"/ Naam) and sting ("Teri baahon mein dekhoon
sanam auron ki baahein/ main laaoonga kahaan se bhalaa aisi nigahein/ yeh
koi raks hoga, koi dastoor hoga/ mujhe dastoor aisa kahaan manzoor hoga/
bhalaa kaise yeh mera lahoo ho jaaye paani/ maine kaise bhool jaoon main
hoon Hindustani/ yahaan main ajnabi hoon"/ Jab Jab Phool Khile) reflected
the fierce pride of a nationalist who could never go over-the-top merely
because he needed literary appreciation.
"Story sunkar hi mind chalta hai," he once told me, explaining his
reluctance then to write for albums, though he later worked on Raju Singh's
Dhun and Talat Aziz's Khubsoorat (some others are on the way) because "they
offered me imaginary situations." And therein lies the crux of Bakshi's
complete self-identity as a lyricist. For him, the situations in albums were
'imaginary', but those in films were 'real'! For Bakshi became that boatman,
that pop star, that tawaif and that child, to quote his own four categories,
when needed.
He admitted that songs like "Maine poochha chand se" (Abdullah) and
"Chingari koi bhadke" (Amar Prem) were written by him as poems in the
pre-film days, but stressed that he would offer such songs from his 'stock'
only when he felt that they matched a situation to perfection.
I recall Padma Shri Neeraj, that giant among Hindi poets and scholars,
telling me, "Jo situation ki pakad Bakshi ko hai, kisi ko nahin. I admire so
many of the great lyricists, but he is unmatched!'
A Raj Khosla anecdote comes to mind. "I had finalized the title of my film
Main Tulsi Tere Aangan Ki and Laxmikant had composed the line to a terrific
tune. But we were flummoxed for even a dummy second line. Bakshi had a
fractured leg then and was convalescing at home. We went there and I told
him the storyline of my film. Instantly, Bakshi replied, 'Oh, the second
line is very simple. It should be "Koi nahin main tere saajan ki." Awe crept
into Khosla's voice when he added, "In six everyday words that fitted the
tune perfectly, Bakshi had encapsulated the entire theme of my film!"
Many an apparent example of catchy rhyme written by Bakshi took on another
dimension in the film, as in the Gumrah number, "O tere pyar ko salaam o
sanam/ meri jaan tere naam o sanam/ main teri ho gayi teri kasam."
Now let us examine the situation - here is this tapori guy who is completely
in (one-sided) love with the heroine, who is a star and rebuffs him. The
heroine is later framed in Hong Kong for carrying narcotics, and gets the
death penalty. The hero manages by hook and crook to reach there and
engineer her acquittal, saving her life. Now examine the lines again - what
a different meaning appears!
The Bakshi forte was writing a song that was so perfect that one could never
imagine any other lines in their place, and never imagine those lines
elsewhere. As he once told me, "A song always exists hidden in a given
situation. All that I have to do is take it out!"
THE SECRET OF HIS SUPREMACY
What were the other secrets of Bakshi's complete supremacy as a lyricist?
Certain things that he said in the many exhaustive interviews with him over
the years give some insight into his enduring success.
"I give several antaras (stanzas) for every song even if only two or three
are needed. I gave Mahesh Bhatt 15 antaras for a song in Zakhm. He asked me
why I had written so many. But that way, both he and I will be satisfied.
When you are a buyer, you must have a wide choice to make the right
decision!"
"The humblest businessman knows that when he is selling something, the buyer
is paying him for something that HE has liked. You cannot tell him to buy
what YOU as a seller like and expect him to pay you for it too."
"There is no substitute for hard work, In any field that is the first
requisite. There is no room for complacency either: If you have won one
race, you cannot assume that you will win next time. The effort has to be
the same every single time. People pay hard-earned money for entertainment
and they deserve the best!"
"I approach every song with the nervous fear that I will not be able to
write it, aur yehi darr mujhe shakti deta hai."
"As a song "Ghar aaja pardesi" from Dilwale Dulhania Le Jayenge may be
superior to "Tujhe dekha to yeh jaana sanam" for which I won an award, but
it was nowhere as popular. The public must feel that the judges have been
just. You may write the best lyrics ever written, but if they do not become
popular, the song will never even be noticed, let alone awarded. For Ek
Duuje Ke Liye, the same thing happened, I won an award for "Tere mere beech
mein" when "Solah baras ki bali umar" was not even nominated. But why should
I feel upset? I have never tried to project myself at the expense of a
film."
"Change is axiomatic. I believe in changing with the times. Today's
generation is more open, more forthright. Like there was an element of
sobriety even in the comic older songs."
"I miss writing the sad song, which is extinct today. Probably the people
are very happy. Or maybe there is so much sadness that they cannot bear to
see it on screen too!"
"I mentally tape a situation and try and see the circumstances, mood and
story before and after the song. You cannot write the same song, even for
the same feelings, when the lovers are meeting clandestinely and when they
are meeting openly."
"Insight and richness in lyrics come when you have lived in the countryside,
experienced the gaon ke mele, the harvest festivals, the moonlit fields and
the winter bonfires. And a good story and a good filmmaker are important
too."
"Destiny is all-powerful, which is why I cannot understand what people hope
to gain by manipulations. The wheels keep turning. I remember Guru Dutt
turning down Dada Burman's recommendation that I work in Kaagaz Ke Phool.
The film flopped. I was destined to form a hit team with SD Burman only a
decade later with Aradhana and many other films."
"A song can be written in 20 minutes or may take weeks. It is not necessary
that longer time spent on a song yields a better product."
"I do not make unreasonable demands or thrust my seniority on youngsters.
That is why I have no problems working with younger composers and
filmmakers."
"A director came to know some years ago because he had dropped his lyricist
midway and he wanted me to write 'hit' songs. I told him, 'maaf kijiye,
maine zindagi mein kabhi hit gaana nahin likha"!'
-Rajiv Vijayakar
PERSONAL GLIMPSES
We met five or six times for detailed interviews. He would always have a
hugely disinterested air about him each time, and anyone meeting him for the
first time could hardly be blamed for feeling a bit annoyed by his seeming
indifference.
So was I when we first met 10 years ago, with those deep eyes seemingly far
away in a different world. But I was in for a great surprise. The answers
came - not with bored apathy but with concise and considered clarity - just
like his lyrics. But the bored air returned when I left. Later I would bump
into him at functions and parties. He would not recognise me till someone
re-introduced us. He would then nod with a detached air. When I needed an
urgent interview once for a specific reason, his voice came across the line,
"Call me after ten days!" I was a stranger again. Desperate due to a
deadline, I requested Kavita Krishnamurthi to put in a word. She agreed, but
added, "I hope he will remember me!' said Kavita, "Bakshi-saab is so
engrossed in his own world that he's even known to ignore everyone even at a
recording till he is made aware of that person. After that, he is perfectly
warm and friendly!"
In company of close associates, however, Bakshi would become quite
uninhibited. After a few drinks at parties (as at the bash that Subhash Ghai
hosted on his 68th birthday) he would even begin to sing - in amazing sur. I
once asked him whether it was true that he would supply the tune to several
of his songs. He said, "When I write a song before any tune is made, it has
a metre to it. Sometimes a tune comes as I am writing it, that's all. And in
any case, being a radio-addict, I was crazy about singing even before I
realised I could write poetry!" The late Raj Khosla never forgot how
Bakshi - at Laxmikant Pyarelal's behest - completed 'Hai nazar ka ishara'
for Anita after the death of lyricist Raja Mehndi Ali Khan. "He declined to
take his cheque, and told me to hand it over to Khan's widow, though he had
not exactly made it big then!"
DID YOU KNOW THAT...
» Anand Bakshi wrote the lyrics for the first films of Sunny Deol, Jackie
Shroff, Kamal Haasan, Kumar Gaurav, Rajnikant, Raakhee, Dimple Kapadia,
Amrita Singh, Jayapradha, Manisha Koirala, Tabu (as heroine), Mahima
Chowdhury, Namrata Shirodkar and Arjun Rampal?
» Bakshi was also the lyricist of the films that catapulted to fame Shashi
Kapoor, Mumtaz, Jeetendra, Babita, Rajesh Khanna, Randhir Kapoor, Anil
Kapoor, Meenakshi Seshadri, Sridevi, Sonam and Raveena Tandon, music
directors Kalyanji Anandji, RD Burman, Rajesh Roshan, Viju Shah and
Jatin-Lalit?
» Anand Bakshi was an addiction with filmmakers Manmohan Desai, Yash Chopra
(after Chandni), Raj Khosla, Shakti Samanta, T Rama Rao, Pramod Chakravorty,
Dulal Guha, Rahul Rawail, Mahesh Bhatt, J Om Prakash, Mohan Kumar, Gulshan
Rai, Rajiv Rai, LV Prasad and many others.
» He also wrote one or more home productions of stars as varied as Dev
Anand, Dharmendra and Sunny Deol, Raj, Shammi, Shashi, Randhir, Rishi and
Rajiv Kapoor, Jeetendra, Rajesh Khanna, Sunil Dutt, Shatrughan Sinha,
Amitabh Bachchan, Hema Malini, Rekha, Anil Kapoor, Rajendra Kumar, Joy
Mukerji, Shah Rukh Khan, Juhi Chawla, Ajay Devgan, Kajol and Sanjay Khan
among others?
» Aamir Khan once told me he was considering Anand Bakshi for Lagaan?
» Bakshi worked with two generations of composers Kalyanji(-Anandji) and
Viju Shah, Chitragupta and Anand-Milind, SD & RD Burman, Roshan and Rajesh
Roshan, and (Nadeem-)Shravan and Sanjeev-Darshan?
» Bakshi wrote the first recorded Hindi film songs of Shailendra Singh,
Kumar Sanu (Yeh Desh/1984), Kavita Krishnamurthi, SP Balasubramaniam,
Sukhwinder Singh, Talat Aziz and Roopkumar Rathod and the breakthrough songs
of Pankaj Udhas and Anuradha Paudwal? And that Kishore Kumar zoomed to the
top with Aradhana and Rafi staged a comeback with Amar Akbar Anthony and
Dharam-Veer?
» Bakshi himself sang seven songs, beginning with the hit duet 'Baagon mein
bahaar aayi' with Lata Mangeshkar in Mom Ki Gudia (1972/L-P)? He also had a
solo in the film. Of the four songs for which he sang later (Sholay, Maha
Chor and Balika Badhu under RD Burman, Jaan under Anand-Milind) he got
another hit in Ke aaja teri yaad aayi (with Lata-Rafi in the 1976 L-P film
Charas).
» Bakshi worked with Laxmikant Pyarelal in over 250 films, followed by RD
Burman in about a 100 films, Kalyanji Anandji, Anu Malik and SD Burman?
» Among today's youngest composers he worked with AR Rahman, Sajid-Wajid,
Nikhil-Vinay, Ismail Darbar, Sanjeev-Darshan, Anand Raaj Anand, Aadesh
Shrivastav, Vishal Bharadwaj, MM Kreem, Sukhwinder Singh and Rahul Sharma?
» His last release in his lifetime was Kitne Door Kitne Paas a day before
his death? And it contained one of his finest songs in recent times, 'Humko
mohabbat dhoond rahi thi/ naam pataa sab poonch rahi thi'?
» He has already had five audio releases this year and was working on more
than six films, with his last recording being for Subhash Ghai-Satish
Kaushik's Majnu with Anu Maliik?
» Though he did one film each with Jaikishan (as S-J), Vasant Desai,
Naushad, Nusrat Fateh Ali Khan and Salil Choudhury he never worked with OP
Nayyar, Ravi, Madan Mohan and Khaiyyam?
» He wrote 'Hum tum ek kamre mein band ho' when he got lost while looking
around Laxmikant's sprawling bungalow and Raj Kapoor loved the song so much
he created a situation for it in Bobby?
» He wrote the lyrics for the biggest hit of 2001 - Gadar-Ek Prem Katha?
» His filmography includes three films named Majboor and two each of Raja,
Yaadein, Aamne Saamne, Jaal, Jyoti, Kachche Dhaage and Dushman?
» He was paid a mere Rs 150 for the four songs he wrote in his first film
and Rs 25,000 per song in the '90s?
Srinivas Ganti
>Srinivas Ganti <gant...@hotmail.com> wrote in message
news:a97lb7$12sd1$1...@ID-75004.news.dfncis.de...
> http://www.screenindia.com/20020412/mcov.html
This one from Screeindia has more information than the one I posted earlier
from
http://www.rediff.com/entertai/2002/mar/31anand.htm
sg.
Surajit A. Bose
"Srinivas Ganti" <gant...@hotmail.com> wrote:
>
> THE ANAND BAKSHI SMASH-HITS
> Pardesiyon se na ankhiyan - Jab Jab Phool Khile
> Sawan ka mahina - Milan
> Bindiya chamkegi - Do Raaste
> Jhilmil sitaron ka - Jeevan Mrityu
> Accha to hum chalte hai - Aan Milo Sajana
>
"achchhaa to ham chalate hai.n" counts as peerless poetry? I thought the
song was in prose!
achchhaa to ham chalate hai.n
phir kab milogii
jab tum kahoge
jumme raat ko
haa.N, haa.N aadhii raat ko
a, kahaa.N?
vahii.n, jahaa.N koii aataa jaataa nahii.n
What makes this poetry?
> » Bakshi himself sang seven songs, beginning with the hit duet 'Baagon mein
> bahaar aayi' with Lata Mangeshkar in Mom Ki Gudia (1972/L-P)? He also had a
> solo in the film. Of the four songs for which he sang later (Sholay, Maha
> Chor and Balika Badhu under RD Burman, Jaan under Anand-Milind) he got
> another hit in Ke aaja teri yaad aayi (with Lata-Rafi in the 1976 L-P film
> Charas).
>
What Bakshi-sung song is in Sholay? and Balika Badhu?
-s
surjit singh
> In article <a97lb7$12sd1$1...@ID-75004.news.dfncis.de>,
> "Srinivas Ganti" <gant...@hotmail.com> wrote:
>
> >
> > THE ANAND BAKSHI SMASH-HITS
> > Pardesiyon se na ankhiyan - Jab Jab Phool Khile
> > Sawan ka mahina - Milan
> > Bindiya chamkegi - Do Raaste
> > Jhilmil sitaron ka - Jeevan Mrityu
> > Accha to hum chalte hai - Aan Milo Sajana
> >
>
> "achchhaa to ham chalate hai.n" counts as peerless poetry? I thought the
> song was in prose!
I do not know much about poetry, but let me try.
On the surface, it is just a boy and a girl departing.
On a deeper level, it has to do with the everlasting
longing of the soul (aatma) for God (paramaatmaa).
It is a remarkable commentry on advaita darshan or as we say in modern
days, wave-particle (or field-particle) duality. There is only ONE who
split at the double slits, underwent quantal interference (a la
Feynman), and longs to be ONE again on the other side of the
interferometer.
It is like that other song (zaraa saamane to aa{o} chhaliye). The only
difference is that there the poet had to be explicit because the
fifties audiences were hopelessly dumb. Here the poet could be subtle
because "modern" listeners have heard all sorts of poetry (and read
books linking PHYSICS and ANCIENT philosophy) and do not have to
spoon-fed.
aatma is taking a human shape (separating from the ONE).
ONE is asking when will they meet again.
aatma says whenever you want.
ONE wants to meet on the Friday of DEATH (or JUDGEMENT).
aatma suggests mid-night(the very fine line between LIFE and DEATH).
Of course, they will meet at the VOID (or FALSE VACCUM) where there is
nobody else, in fact NOTHING (shuunya) else.
Sad.
Surajit A. Bose
surjit...@yahoo.com (surjit singh) wrote:
> aatma is taking a human shape (separating from the ONE).
> ONE is asking when will they meet again.
> aatma says whenever you want.
> ONE wants to meet on the Friday of DEATH (or JUDGEMENT).
> aatma suggests mid-night(the very fine line between LIFE and DEATH).
> Of course, they will meet at the VOID (or FALSE VACCUM) where there is
> nobody else, in fact NOTHING (shuunya) else.
All very convincing, except, isn't "jummeraat" Thursday? If it were
Friday night, wouldn't it be "jumme kii raat"?
-s
surjit singh
I forgot to mention that my tongue was in my left cheek, and, I am a
paid subscriber to Skeptical Enquirer, the leading magazine of, by,
and for debunkers!
Sad
>
> -s
Roop Singh Chandel (Assoc Prof)
On price front too: Shailendra used to get Rs 5000/song at the time of his death (before 1966) so considering the inflation Rs 25,000 is cheap. Sahir used to charge = MD Fee +Rs 1
RSC
Anindya
>
> > » Bakshi himself sang seven songs, beginning with the hit duet 'Baagon mein
> > bahaar aayi' with Lata Mangeshkar in Mom Ki Gudia (1972/L-P)? He also had a
> > solo in the film. Of the four songs for which he sang later (Sholay, Maha
> > Chor and Balika Badhu under RD Burman, Jaan under Anand-Milind) he got
> > another hit in Ke aaja teri yaad aayi (with Lata-Rafi in the 1976 L-P film
> > Charas).
> >
>
> What Bakshi-sung song is in Sholay? and Balika Badhu?
>
in case you are still interested in knowing:
Balika Badhu: Jagat musafir khaana, lagaa hai aana jaana
Sholay: a qawalii (actually, not a qawalii, but based on
"Chaarbaandh", a folk form of Bhopal, as per Anupama Chopra's book) -
along with KK, Manna and Bhupendra. This song wasn't there in the
movie.
Anindya
Anindya
>
follow-up on y earlier post - the Sholay song is "Chaand sa koi
mukhra". AnandB starts the song with "Shuruu hota hai phir baato.n kaa
mausam, Suhanii chaandni raato.n ka mausam"
- the famous Bakshi rhymings, now part of folklore.
Anindya
Uttam
seems Anand Bakshi could never get a proper song written. Finally the
team Anand Bakshi and LP decided to give it up for the day and the
song was just the farewell conversation at that time and the words
jelled and the song got written.
I recollect the Late Lakshmikant narrating this in a TV interview a
few years ago..
Uttam
"Surajit A. Bose" <sb...@saintmarys.edu> wrote in message news:<sbose-D884D2....@news.fu-berlin.de>...