Md. Rafi still inspires a lilt in film music ...
Venugopal V. Iyer
regards,
-venu
Md. Rafi still inspires a lilt in film music, 19
years
after his death
By Sanjay Ranade
MUMBAI: His voice ruled the world of Hindi film music
for well over two
decades from the late fifties, fitting the diverse
screen personas of heroes like
Dilip Kumar, Guru Dutt, Bharat Bhushan, Rajendra
Kumar, Sunil Dutt, Shammi
Kapoor, Dev Anand, Rajesh Khanna and the all-time
great comedian Johny
Walker.
Nineteen years after his death, Mohammed Rafi's
inimitable voice continues
to entertain and move millions of listeners. Known
respectfully and lovingly
throughout the film industry as Rafisahab, the
legendary singer died at the age
of 53 on July 31, 1980. His death anniversary is
being observed on Saturday.
``Rafisahab was the pride of India. His voice and his
memories are still with us
even though his body has left us,'' said Khayyam who
composed many of the
hits that Rafi sang. ``His hard work, dedication and
devotion to music was
remarkable. But the most important characteristic of
the man was his humility.
He would actually charge his fees according to the
budget of the movie. It
encouraged new film makers to take him even though he
was a super singer
and could have demanded his own price.''
Rafi's magic, according to prominent film critic Raju
Bharatan, was in his
excellent diction and his voice that had remarkable
fluidity and a wide range.
``He started playback singing in the early fifties
and by the end of the decade
he was the unchallenged male playback singer. His
only rival was Lata
Mangeshkar,'' Mr Bharatan said.
``He sang every style of songs from the
semi-classical in films like Baiju
Bawra to thumris, ghazals, romantic songs and popular
songs like `Yahoo'
which he sang for Shammi Kapoor in the film
Junglee,'' remembered Mr
Khayyam.
Mr Khayyam and Rafi got together to compose some of
the more popular
ghazals of Mirza Galib. One of them was
``Dard-e-Minnat Kash- e-dawa
na hua, Main na achcha hua bura na hua''(My pain is
neither healing nor is it
killing me. I am neither cured nor am I sick) which
became a big hit and still is
remembered as one of Rafi's best songs.
``I have been singing Rafisahab's songs since 1968
when I first started
performing on stage in my hometown of Baroda. I have
met Rafisahab only
twice and both meetings were very moving. He was so
nice and kind to me
even though I was a nobody at that time,'' said
Shabbir Kumar, playback
singer.
Mr Kumar recalled his first meeting with Rafi at
Famous studio in 1972.
``There were a lot of people waiting to meet him. I
used to sketch then and
drew a sketch of him when he was recording. As soon
as he passed me I
shoved the sketch in his hands to get his attention.
He encouraged me a lot,''
Mr Kumar said. Even today, said Mr Kumar, there was a
large audience for
Rafi's songs.
``The sale of Rafisahab's songs has been constant for
several decades now,''
said a senior official with HMV. Last year the
company came out with a five
-cassette pack of Rafi's songs and sold over 70,000
packs. ``The quality of his
voice was unmatched. The quality of compositions and
the lyrics were simply
out of this world then. Which is why we find that
those words and tunes linger
even after so many years where as the ones composed
today simply die out in
a couple of weeks.''
``Even today when I write something I imagine how it
would sound if
Rafisahab had sung it. His place can never be filled
again,'' said lyricist Anand
Bakshi.
swaraj
published article with the maximum errors. Has there been any other
article which was so downright awesome? How can Times of India print
such an article? It seems that the writer doesnot have his basic facts
clear.
> His voice ruled the world of Hindi film
music
> for well over two
> decades from the late fifties,
Late Fifties and two decades? Does that mean that he ruled the music
scene even in the late seventies? Yo!! I have got reasons to give a
party tonite!!I am a hardcore Rafi Fanatic, but I don't deny the fact
that Rafi was not a great match for KK in popular choice in seventies.
To add to that, does the author want to oppose the notion that Rafi was
the leader from late fourties and became the unchallenged king from
Baiju Bawra (1952)? And my math teacher told me that 1952 will come in
early fifties, not the late fifties. May be he was wrong.
fitting the diverse
> screen personas of heroes like
> Dilip Kumar, Guru Dutt, Bharat Bhushan, Rajendra
> Kumar, Sunil Dutt, Shammi
> Kapoor, Dev Anand, Rajesh Khanna and the all-time
> great comedian Johny
> Walker.
Hey, i think I have missed some great songs of Rafi-rajesh Khanna.
Eventhough I have a decent collection of Rafi (some 35 cassettes), I can
hardly think of to many songs of this combo. The Train is the only name
coming to my mind. After that Rajesh Khanna means KK.
> ``He started playback singing in the early fifties
> and by the end of the decade
> he was the unchallenged male playback singer.'' Mr
Bharatan said.
Eureka Mr. Bharatan! I have songs that are credited to Rafi, but going
by your statement, it seems that someone was trying to use the name of
this singer (who was going to be great in the future!). These include
songs like Suhani raat Dhal Chuki and Insaaf ka Mandir Hai.. Who ever is
the singer, you have sang these songs excellent. Why don't you come out
in the open and tell that u have sung them and not someone else called
Rafi? Mr. Bharatan here will vouch for you!
>
> He was so
> nice and kind to me
> even though I was a nobody at that time,'' said
> Shabbir Kumar, playback
> singer.
>
Do U mean to say U R somebody now???
Sorry if I have hurt somebody's sentiments. But I can never stand it
when someone disfigures Rafi's name or fame. He was the king of Hindi
Music for two decades, no doubt, but not the period specified, but
1950-70. I remember hearing Amin Sayani once, where he had said that in
Early seventies, so bad was the condition of Rafi that he did not get a
single hit untill Parda hai Parda in the seventies. However, he died at
the comeback stage of his life after Laila Majnu, Sargam etc. Infact,
during his last years, he had got a Best Playback Singer Award and one
of his songs had topped the Binaca Geetmala (Dafliwale). And I
particularly hate those, who claim that they are good singers, simply
because they play on people's love for Rafi Numbers by singing them. May
it be Anwar, Shabbir Kumar, Bipin Sachdeva or anybody.
Swaraj
--
Visit My Talat Mahmood Page at
http://www.angelfire.com/md/talat
Sent via Deja.com http://www.deja.com/
Share what you know. Learn what you don't.
Indranil K. Ghosh
swaraj wrote:
> > His voice ruled the world of Hindi film
> music
> > for well over two
> > decades from the late fifties,
> ...
....too much nitpicking!!!!
> Late Fifties and two decades? Does that mean that he ruled the music
> scene even in the late seventies? Yo!! I have got reasons to give a
> party tonite!!I am a hardcore Rafi Fanatic, but I don't deny the fact
> that Rafi was not a great match for KK in popular choice in seventies.
> To add to that, does the author want to oppose the notion that Rafi was
> the leader from late fourties and became the unchallenged king from
> Baiju Bawra (1952)? And my math teacher told me that 1952 will come in
> early fifties, not the late fifties. May be he was wrong.
>
> Hey, i think I have missed some great songs of Rafi-rajesh Khanna.
> Eventhough I have a decent collection of Rafi (some 35 cassettes), I can
> hardly think of to many songs of this combo. The Train is the only name
> coming to my mind. After that Rajesh Khanna means KK.
...actually there are some more....chhup gaye saare nazare (with lata),
gunguna rahe hain bhanwra, yeh reshmi zulfein, yeh jo chilman hai.
>
>
> >
> > He was so
> > nice and kind to me
> > even though I was a nobody at that time,'' said
> > Shabbir Kumar, playback
> > singer.
> >
>
> Do U mean to say U R somebody now???
hahahha!!!...good one!!
>
>
> Sorry if I have hurt somebody's sentiments. But I can never stand it
> when someone disfigures Rafi's name or fame. He was the king of Hindi
> Music for two decades, no doubt, but not the period specified, but
> 1950-70. I remember hearing Amin Sayani once, where he had said that in
> Early seventies, so bad was the condition of Rafi that he did not get a
> single hit untill Parda hai Parda in the seventies.
...in the early seventies rafi had a few good hits...aaja tujhko pukare mere
geet (geet), saj rahi gali tere amma (kunwara baap) and a vinod khanna song
which i forget......but it's true these were 3 big hits in 8 years or so!!
rafi's comeback year was 1977-78 where his songs parda hai parda and
taiyabali pyar ka dushman (amar akbar anthony); is reshmi paazeb (laila
majnu); chand mera dil, yeh larka hai allah, hum kissise kum nehin jammed
the charts in 77 while aadmi musafir hai(apnapan) and kya hua tera wada
(hkkn) were #2 and 3 on the geetmala charts for 1978.
> However, he died at
> the comeback stage of his life after Laila Majnu, Sargam etc. Infact,
> during his last years, he had got a Best Playback Singer Award and one
> of his songs had topped the Binaca Geetmala (Dafliwale).
if memory serves me right there was some controversy about daffliwale being
on the top spot...it had started playing towards the end of 1979 and carried
on in 1980.....but the qurbani song aap jaisa koi was far far more
popular....some of my friends tallied the points and imagine their surprise
when aap jaisa koi appeared at the 4th spot to be followed by (in ascending
order) om shanti om , sheesha ho ya dil ho and daffliwale!!!....most people
thought daffliwale was booosted up as a tribute to rafi!!
besides daffliwale, rafi in the year of his death, had a number of songs in
the top 15....salaamat rahe dostana hamara, maine poocha chand se, yamma
yamma, ashaon ke saawan mein.
Arun Sampath
> scene even in the late seventies? Yo!! I have got reasons to give a
> party tonite!!I am a hardcore Rafi Fanatic, but I don't deny the fact
> that Rafi was not a great match for KK in popular choice in seventies.
> To add to that, does the author want to oppose the notion that Rafi was
> the leader from late fourties and became the unchallenged king from
> Baiju Bawra (1952)? And my math teacher told me that 1952 will come in
> early fifties, not the late fifties. May be he was wrong.
You don't have to read to too much into the language here. People not only
tend to exaggerate things but also misrepresent a few facts and it happens
all the time. Read any article about Lata or hear live recordings and you
can see people exclaim "she was the undisputed melody queen for 5 decades"
(she was nowhere in the 40s, certainly not in the peak in the 90s), "even at
the ripe age of 70 she has a voice of a 16 year old" (wonder how many will
agree to that?) "you used to hear a nightingale's voice in Lata but these
days you hear Lata's voice in a nightingale" (that breaks all limits of
praise), etc etc. They should not be taken literally. As for
misrepresentation of facts, again we should bear in mind that people who
write articles are not all well-informed for whatever reason. Some of them
might have them good knowledge about music but many of them don't. Even
singers often say wrong things about their own songs or other's songs. About
the number of songs sung by Lata, Mukesh says while introducing her on stage
"koi kehta hai bees hazaar, koi kehta hai pachaas hazaar, koi kehta hai do
laakh, kitni gaane kis kis kism ke gaye hai, woh Lata Mangeshkar ...."
> Hey, i think I have missed some great songs of Rafi-rajesh Khanna.
> Eventhough I have a decent collection of Rafi (some 35 cassettes), I can
> hardly think of to many songs of this combo. The Train is the only name
> coming to my mind. After that Rajesh Khanna means KK.
It's true that Rajesh Khanna is associated with KK for the most part but I
remember that are a few songs of him sung by Rafi. The one that pops right
out of head is "Gun guna rahe hain bhanwre" from Araadhana.
> Eureka Mr. Bharatan! I have songs that are credited to Rafi, but going
> by your statement, it seems that someone was trying to use the name of
> this singer (who was going to be great in the future!). These include
> songs like Suhani raat Dhal Chuki and Insaaf ka Mandir Hai.. Who ever is
> the singer, you have sang these songs excellent. Why don't you come out
> in the open and tell that u have sung them and not someone else called
> Rafi? Mr. Bharatan here will vouch for you!
Again you are reading too much into it.
As for Rafi songs of the early seventies, I like "Aaj mausam bada beimaan",
"Teri bindiya re", "Wada karle sajna", "Mere mithwa mere meet re", "Yeh
duniya yeh mehfil" etc.
Arun
sanj...@my-deja.com
"Arun Sampath" <as...@hotmail.com> wrote:
> It's true that Rajesh Khanna is associated with KK for the most part
but I
> remember that are a few songs of him sung by Rafi. The one that pops
right
> out of head is "Gun guna rahe hain bhanwre" from Araadhana.
How about the songs of Aakhri Khat and Raaz (Akele Hain Chale Aao)?
--
Sanjeev Ramabhadran
Rajneesh P. Uzgare
> In article <7o4617$5...@nntpb.cb.lucent.com>,
> "Arun Sampath" <as...@hotmail.com> wrote:
> > It's true that Rajesh Khanna is associated with KK for the most part
> but I
> > remember that are a few songs of him sung by Rafi. The one that pops
> right
> > out of head is "Gun guna rahe hain bhanwre" from Araadhana.
>
> How about the songs of Aakhri Khat and Raaz (Akele Hain Chale Aao)?
It is interesting that this thread should come up now. A friend and I are
putting together some information on Rafi songs for Rajesh Khanna and
Amitabh. We had the hardest time finding any Rafi solos for Rajesh Khanna.
The only one I could come up with other than the ones already mentioned
before is "Nafrat ki Duniya ko Chhodkar" from "Haathi Mere Saathi". The
examples for solos for Amitabh are even harder to find. The one we could
come up with was "John, Jaani, Janaardan" from "Naseeb". Anyone think of
any other examples ? As always, your help is greatly appreciated.
Regards
Rajneesh
Ashok
>
>You don't have to read to too much into the language here. People not only
>tend to exaggerate things but also misrepresent a few facts and it happens
>all the time.
Looks like you are proving your own point! Witness your remark about
Lata:
>(she was nowhere in the 40s,
>............................................................. As for
>misrepresentation of facts, again we should bear in mind that people who
>write articles are not all well-informed for whatever reason. Some of them
>might have them good knowledge about music but many of them don't.
I see. That explains it, I suppose.
>Arun
Ashok
Arun Sampath
Ashok <ADhar...@WorldBank.Org> wrote in message
news:7o4gsq$1g...@news1.newsguy.com...
> In article <7o4617$5...@nntpb.cb.lucent.com>, as...@hotmail.com says...
> >
> >You don't have to read to too much into the language here. People not
only
> >tend to exaggerate things but also misrepresent a few facts and it
happens
> >all the time.
>
>
> Looks like you are proving your own point! Witness your remark about
> Lata:
>
> >(she was nowhere in the 40s,
I don't quite understand what was wrong with that statement. Lata was indeed
nowhere in the 40s. She came to hindi movies as we all know in 1947. Though
she did give a few hits in 1949 you still cannot say that she ruled the
hindi music then. Even if she did, you cannot credit the entire decade for
her. IMO Lata gained the No.1 position only in the early fifties.
> >............................................................. As for
> >misrepresentation of facts, again we should bear in mind that people who
> >write articles are not all well-informed for whatever reason. Some of
them
> >might have them good knowledge about music but many of them don't.
>
> I see. That explains it, I suppose.
Again I am kind of lost with this remark. Are you saying that I am
misrepresenting something here or are you hinting that I have little
knowledge of music? If it's the latter, I confess that you have hit right at
the bull's eye. If it's the former you have to clarify my
misrepresentation...
Arun
U.V. Ravindra
1. "teri bindiyA re" from Abhimaan?
2. The title song from Desh Premi
"nafrat kii duniyaa(?) chho.Do
lAlach (?) ka Khanjar phaiko
sukh ke peechhe mat dau.Do
... mere desh premiyo.N, aapas meN prem karo desh premiyoN"
I have absolutely no clear idea of what the lyrics are here.
There are more. I just can't think of them right now.
--
Ravindra.
Odd couple.
swaraj
u...@usa.net (U.V. Ravindra) wrote:
> ru69...@bcm.tmc.edu (Rajneesh P. Uzgare) writes:
>
> > In article <7o4bjk$mrp$1...@nnrp1.deja.com>, sanj...@my-deja.com
wrote:
> >
> > It is interesting that this thread should come up now. A friend and
I are
> > putting together some information on Rafi songs for Rajesh Khanna
and
> > Amitabh. We had the hardest time finding any Rafi solos for Rajesh
Khanna.
> > The only one I could come up with other than the ones already
mentioned
> > before is "Nafrat ki Duniya ko Chhodkar" from "Haathi Mere Saathi".
The
> > examples for solos for Amitabh are even harder to find. The one we
could
> > come up with was "John, Jaani, Janaardan" from "Naseeb". Anyone
think of
> > any other examples ? As always, your help is greatly appreciated.
>
> 1. "teri bindiyA re" from Abhimaan?
> 2. The title song from Desh Premi
> "nafrat kii duniyaa(?) chho.Do
> lAlach (?) ka Khanjar phaiko
> sukh ke peechhe mat dau.Do
>
Yamma Yamma
Chal Chal Mere Bhai
--
Visit My Talat Mahmood Page at
http://www.angelfire.com/md/talat
Aman S Kohli
> > > Amitabh. We had the hardest time finding any Rafi solos for Rajesh
> Chal Chal Mere Bhai
this is a duet, I think.
Rajneesh P. Uzgare
> The
> > > examples for solos for Amitabh are even harder to find. The one we
> could
> > > come up with was "John, Jaani, Janaardan" from "Naseeb". Anyone
> think of
> > > any other examples ? As always, your help is greatly appreciated.
> Yamma Yamma
This is a duet with RDB (and RDB provides the playback for Amitabh, I
think). Rafi is singing for Shashi Kapoor.
> Chal Chal Mere Bhai
Once again, a duet with Amitabh. Rafi sings for Rishi Kapoor and Amitabh
for himself.
I was thinking of solos that Rafi has sung for Amitabh. So far the only
one other than "John, Jaani, Janaardan" seems to be the title song from
Desh Premee (is it Rafi or one of the clones? My apologies if this hurts
any of the Rafi fans out there. I forget whether Desh Premee was released
before or after Rafi's death)
Regards
Rajneesh.
Sami Mohammed
ru69...@bcm.tmc.edu (Rajneesh P. Uzgare) wrote:
> Once again, a duet with Amitabh. Rafi sings for Rishi Kapoor and
>Amitabh
> for himself.
>
> I was thinking of solos that Rafi has sung for Amitabh. So far the
>only
> one other than "John, Jaani, Janaardan" seems to be the title song
>from
> Desh Premee (is it Rafi or one of the clones? My apologies if this
>hurts
> any of the Rafi fans out there. I forget whether Desh Premee was
>released
> before or after Rafi's death)
"Mere dost quissa ye kya ho gaya..." from Dostana may qualify. IIRC, it
was filmed on the Big B.
There is a chance that AB's earlier movies such as Ek Nazar and Adaalat
might have some more Rafi solos (the duets are quite well known).
Adaalat has a forgettable Mukesh solo for Amitabh "Humka aisa-waisa na
samjho...". The Mukesh/AB combo is also a rarity and occurs only "Kabhi
Kabhi".
Sami Mohammed (A Naushad fan)
> Rajneesh.
Venugopal V. Iyer
Ek pathe ki baat <something> sun mere humjoli, sab se ....?
I think there is a solo in The Great Gambler too, don't
recollect it, though.
regards,
-venu
Ashok
>
>
>Ashok <ADhar...@WorldBank.Org> wrote in message
>news:7o4gsq$1g...@news1.newsguy.com...
>> In article <7o4617$5...@nntpb.cb.lucent.com>, as...@hotmail.com says...
>> >
>> >You don't have to read to too much into the language here. People not
>only
>> >tend to exaggerate things but also misrepresent a few facts and it
>happens
>> >all the time.
>>
>>
>> Looks like you are proving your own point! Witness your remark about
>> Lata:
>>
>> >(she was nowhere in the 40s,
>
>
>I don't quite understand what was wrong with that statement.
What next? Looks like in order to show you where your nose is, one
will have to hold your finger and make it touch your nose!
A guy starts writing about exaggerations and misrepresentations of facts
done by others; then goes right ahead and comes up with the gem that Lata
was nowhere in the 1940s.
>Lata was indeed
>nowhere in the 40s. She came to hindi movies as we all know in 1947.
These two sentences are inconsistent.
>Though
>she did give a few hits in 1949 you still cannot say that she ruled the
>hindi music then. Even if she did, you cannot credit the entire decade for
>her.
Don't waste your breath. Learn some logic. The negation of "nowhere"
is "somewhere", not "everywhere".
>> >write articles are not all well-informed for whatever reason. Some of
>them
>> >might have them good knowledge about music but many of them don't.
>>
>> I see. That explains it, I suppose.
>
>
>Again I am kind of lost with this remark. Are you saying that I am
>misrepresenting something here or are you hinting that I have little
>knowledge of music? If it's the latter, I confess that you have hit right at
>the bull's eye. If it's the former you have to clarify my
>misrepresentation...
>
>Arun
Bull's eye? Either you are honest when you say it or you are dissmbling.
If it's the former, it's inconsistent with your shenanigans such as ranking
singers regardless of whether you know their work or not. If it is the
latter, it is one more example of disgusting things Indians do: exaggerated
humility, used as an underhanded weapon.
Ashok
Arun Sampath
I don't know what prompted you to use such strong language. I will
not add rejoinders to your points and prolong this discussion. We will
needlessly get into Clintonesque hair-splitting of the language. I just want
to say sorry if I have bristled your feathers (which I apparently have going
by your posting). I will just leave it at that. Thanks,
Regards
Arun
Ashok
>
>hi Ashok,
> I don't know what prompted you to use such strong language. I will
>not add rejoinders to your points and prolong this discussion. We will
>needlessly get into Clintonesque hair-splitting of the language.
If Clintonesque rejoinder is all that you are capable of, it is indeed a
good idea! I normally let sentences like "Lata was nowhere in the 40s"
pass as typical Indian sloppy writing. I remarked on it mainly because
I thought it amusing that such a specimen showed up in an article about
other people's careless writing!
>I just want
>to say sorry if I have bristled your feathers (which I apparently have going
>by your posting). I will just leave it at that. Thanks,
>
>Regards
>
>Arun
The best way to keep quiet is to keep quiet, not to add one more
bird-dropping to go with your earlier mess!
Ashok
Arun Sampath
> bird-dropping to go with your earlier mess!
This would be my last posting on this subject. I just want to say that this
is certainly not any way to treat a fellow RMIMer especially since we have
met each other as recently as the east coast meet. There are surely nicer
ways of saying things even if you are right and I am wrong.
Arun
Albela Kela
Arun Sampath <as...@hotmail.com> wrote in message
news:7ov45k$h...@nntpb.cb.lucent.com...
Ke...@iag.net
In article <7oq2os$q...@news1.newsguy.com>, ADhar...@WorldBank.Org says...
>singers regardless of whether you know their work or not. If it is the
>latter, it is one more example of disgusting things Indians do: exaggerated
^^^^^^^
>humility, used as an underhanded weapon.
In article <7ov0h3$b...@news2.newsguy.com>, ADhar...@WorldBank.Org says...
>If Clintonesque rejoinder is all that you are capable of, it is indeed a
>good idea! I normally let sentences like "Lata was nowhere in the 40s"
>pass as typical Indian sloppy writing. I remarked on it mainly because
^^^^^^
Dear Ashok,
Do let me know if you need a ride to the INS Center in Baltimore for your
naturalization process, a step closer towards renouncing your Indian citizenship
and becoming an American citizen. I take it you must be close to getting it,
since you have begun noticing these wonderful traits in Indians. The wait out
there is long so please take some stuff to help you kill time. Suggestions are
given below. The passport office for your new American passport is located right
between your office and my office on 19th Street.
>I thought it amusing that such a specimen showed up in an article about
>other people's careless writing!
Me too but in my case it was for specimens that showed up in the case of one
particular writer. See below for more info.
Ok to kill time you can do the following. Consider it as homework if you want :
1) Write a paper not exceeding 20 pages(single spaced) on how non-Indians are
perfect in all their writings and show no examples of sloppiness at all. The
paper should include : A Table of Contents, Summary of Principal Findings,
Summary of Solutions, Appendices, and a Bibliography.
2) Go through past articles on RMIM (some in this very thread) written by a
gentleman named Ashok Dhareshwar, and come up with atleast 3 instances of sloppy
writing(they are there, incase you doubt me). To make your task simpler, I will
allow you to include all forms of sloppiness--grammatical errors, exaggeration
of facts, spelling errors and whatever else you might want to include, since
after all sloppiness is such a devastating thing in this day and age, especially
on a recreational newsgroup (remember the 'R' of RMIM?) isn't it?
3) A brief report on how sloppy writing will be the death of RMIM and how
writing perfectly is more important than discussing music on RMIM. (You might
want to take the help of another RMIMer on the chapter "usage of
superlatives--when and how to use them"). Since it might be read by children
below 18, please don't use words like "stuff", "nonsense" and "balderdash".
Suggestions for a title for the paper and report : "How to make a mountain out
of a molehill" OR "Sloppy writing for Dummies" OR "How to make other RMIMers
quickly lose whatever little interest they have in RMIM".
Submission date is Monday, since I feel a man with your talents of research and
ability to pick up non-essential things should be well versed by now on this
subject.
Lastly, if you notice any sloppiness, exaggerated humility, etc. it is only
because I am still an Indian. Hope you will forgive me for that.
Ketan
Chetan Vinchhi
I am only responding to the part where, I think, you refer to me. Please
correct me if I am mistaken in this belief.
Ke...@iag.net wrote:
>
> 3) A brief report on how sloppy writing will be the death of RMIM and how
> writing perfectly is more important than discussing music on RMIM. (You might
> want to take the help of another RMIMer on the chapter "usage of
> superlatives--when and how to use them"). Since it might be read by children
> below 18, please don't use words like "stuff", "nonsense" and "balderdash".
What has usage of superlatives got to do with the current discussion?
You could of course argue that careless usage of superlatives is a
sign of sloppiness. I will even grant you that point.
What I do not understand is your insinuation that a correct usage of
superlatives is more relevant to writing perfection than it is to the
discussion of music. Please elaborate. I would have thought otherwise,
you know. For instance, would there be musically interesting argument
if a Rafian declared "KK is the worst singer of all times" and refused
to budge from that position?
> Lastly, if you notice any sloppiness, exaggerated humility,
Sloppiness, perhaps. But what humility?
C
ps - What is objectionable about stuff, nonsense and balderdash?
pps - I could object to your snide reference to me in an unrelated
thread, but I won't.
Ashok
>
>This would be my last posting on this subject. I just want to say that this
>is certainly not any way to treat a fellow RMIMer especially since we have
>met each other as recently as the east coast meet.
So? I try to be an equal-opportunity employer! :)
>Arun
Ashok
Ashok
>
> "How to make other RMIMers
>quickly lose whatever little interest they have in RMIM".
>
At this stage, I have some doubt as to what RMIMers (at least
some of them) have an interest in. For example, Ketan bluntly
told me that he had no time whatsoever even to read RJGK 52.
Now he is making it clear what kinds of threads and posts
engage his attention!
Ashok
Ke...@iag.net
>
>Hi Ketan,
>
>I am only responding to the part where, I think, you refer to me. Please
>correct me if I am mistaken in this belief.
>> writing perfectly is more important than discussing music on RMIM. (You might
>> want to take the help of another RMIMer on the chapter "usage of
>> superlatives--when and how to use them"). Since it might be read by children
>> below 18, please don't use words like "stuff", "nonsense" and "balderdash".
>
>What has usage of superlatives got to do with the current discussion?
Does anything have to be relevant to the current discussion, considering that
the current discussion was itself entirely irrelevant?
>You could of course argue that careless usage of superlatives is a
>sign of sloppiness. I will even grant you that point.
Not always!
>What I do not understand is your insinuation that a correct usage of
>superlatives is more relevant to writing perfection than it is to the
>discussion of music. Please elaborate. I would have thought otherwise,
>you know. For instance, would there be musically interesting argument
It isn't and you are right. I think otherwise too. Sorry if my initial writings
were confusing on this issue. I guess I was a bit er...sloppy. :)
>if a Rafian declared "KK is the worst singer of all times" and refused
>to budge from that position?
Not at all, so now you know how musically uninteresting your argument was in
reference to what was just another person's opinion on what HE felt was the
"greatest soundtrack" according to HIM.
>> Lastly, if you notice any sloppiness, exaggerated humility,
>
>Sloppiness, perhaps. But what humility?
Notice the word "if" in my sentence? Are we getting sloppy in reading too?
>ps - What is objectionable about stuff, nonsense and balderdash?
They were objectionable because none of them were 4 letter words. :)
>pps - I could object to your snide reference to me in an unrelated
>thread, but I won't.
Why not? What/Who is stopping you? Not me for sure. Incidentally, I object too.
It was NOT a snide reference. It was a direct reference to another equally
musically uninteresting thread. The similarities in musical irrelevance were my
reason for the direct--not snide--reference.
In article <7ovimr$1f...@news1.newsguy.com>, ADhar...@WorldBank.Org says...
>> "How to make other RMIMers
>>quickly lose whatever little interest they have in RMIM".
>At this stage, I have some doubt as to what RMIMers (at least
>some of them) have an interest in. For example, Ketan bluntly
>told me that he had no time whatsoever even to read RJGK 52.
>Now he is making it clear what kinds of threads and posts
>engage his attention!
Hmm not stating all the facts again Ashok? How about mentioning that I had said
that I would not participate mainly because I did not know enough on Bharat Vyas
in the first place. Since my knowledge was insufficient I saw no point in
reading the full quiz, since reading parts of it was enough to tell me that it
was beyond my league. But I guess my admitting my lack of knowledge would come
under "exaggerated humility" right? Further discussion if necessary when we next
meet.
Ketan
Chetan Vinchhi
>
> Does anything have to be relevant to the current discussion...
No, but relevance is a highly desirable quality.
> ...considering that
> the current discussion was itself entirely irrelevant?
If you think so, stay away. I would have stayed away from this
too, had you not deliberately involved me.
> It isn't and you are right. I think otherwise too. Sorry if my initial writings
> were confusing on this issue. I guess I was a bit er...sloppy. :)
What is the smiley for? You *were* sloppy.
> Not at all, so now you know how musically uninteresting your argument was in
> reference to what was just another person's opinion on what HE felt was the
> "greatest soundtrack" according to HIM.
It is MY theory that his opinion is "ill-informed". I was testing
the theory. Just as you are testing your own theories about my
patience.
> >> Lastly, if you notice any sloppiness, exaggerated humility,
> >
> >Sloppiness, perhaps. But what humility?
>
> Notice the word "if" in my sentence? Are we getting sloppy in reading too?
Is this the Victorian "we"? Otherwise, please speak for yourself.
> >ps - What is objectionable about stuff, nonsense and balderdash?
>
> They were objectionable because none of them were 4 letter words. :)
..none of them *was*... Talk about sloppiness.
> It was NOT a snide reference. It was a direct reference to another equally
> musically uninteresting thread.
Your lack of interest in two threads makes the two threads "related"?
And so much so that your are compelled to respond to both of them
(which, by the way, contradicts your alleged lack of interest)
together?
C