Aur Ek Hazrat ... More Joban Ko Dekho ...
shahrukh
excerpt from the January 1947 issue of Film India concerning Hazrat
Josh Malihabadi [noted Urdu poet and lyricist (often remembered for O
O O Mujhe Kisise Pyar Ho Gaya from Barsaat)]. He is also the same poet
who apparently was in the group that left Majaz Lucknowi to freeze in
the cold after an extended drinking binge. Majaz died soon after
that. (Aye gham e dil kya karoo?)
Here is a song that Hazrat Josh Malihabadi penned for the film Man Ki
Jeet (1945) based on Thomas Hardy's Tess Of Dubervilles. It might be
amusing to note that Film India was owned and edited by Baburao Patel
and the Home Minister at that time was Morarji Desai.
Over to the Film India excerpt ...
the literal translation is also from Film India!
"
More Joban Ka Dekho Ubhaar
(Come look at the giddy blossom of my youthful breasts)
Paapi Joban Ka Dekho Ubhaar
(Come look at the bloom of my sinning breasts)
Jaise Nadi Ki Mauj, Jaise Turkon Ki Fauj
(My breasts are like the ripples on a river bed
My breasts are as militant as Turkish soldiers)
Jaise Sulage Se Bum, Jaise Balak Udham
(My breasts are like impregnated bombs
My breasts are like impudent kids)
Jaise Koyal Pukaare - More
(My breasts are like the call of the cuckoo)
Jaise Hirni Kulel, Jaise Toofan Mail
(My breasts are gambol like little deers
My breasts have the speed of Toofan Mail)
Jaise Bhanware Ki Joom, Jaise Sawan Ki Dhoom
(My breasts are like the whirl of butterflies
My breasts are like the storm of monsoon)
Jaise Gaati Phoohaar - More
(My breasts sing the music of early rain drops)
Jaise Sagar Pe Bhor, Jaise Udtaa Chakor
(My breasts herald the dawn on the horizon
My breasts are like fire eating birds of the skies)
Jaise Gendva Khilem Jaise Latto Hile
(My breasts are like marigolds in blossom
My breasts are dizzy like toy tops)
Jaise Gadhdhar Anaar - More
(My breasts are like half ripe pomegranates)
More Joban Ka Dekho Ubhaar
(Come look at the giddy blossom of my youthful breasts)
Paapi Joban Ka Dekho Ubhaar
(Come look at the bloom of my sinning breasts)
FilmIndia commented :
Hazrat Josh Malihabadi who is considered to be the best rebel poet of
the nation. He has clearly prostituted his mighty pen in writing those
filthy lines. It must have been for money. Because it is difficult to
believe that a poet of Josh's eminence could have so radically changed
his ideals of poetry for our people. ... If Josh continues his present
career in film writing with songs like this, he should drop that
Hazrat that is fixed to his name. He doesn't deserve that even today,
with that filthy song broadcast to the world.
FilmIndia Excerpt Over ...
Now to some comments and questions - all mine ...
1. Of course, this song was written before Barsaat.
How come Raj Kapoor chose this lyricist when he had already another
Hasrat in his team? What did the showman and the pensmith have in
common ?
(I wonder why ... but I tend to remember Devyani Chaubal! ;-)
2. This song has an uncanny resemblance to the one penned by Javed
Akhtar for
1942 A Love Story. Was he inspired by those times - that is the 40s?
Of course, Javed Akhtar went the other way by getting nearly
devotional in it -
Jaise Mandir Mein Ho Ek Jaltaa Diyaaaaaa ho ho ho ... !
3. In the times of Aati Kya Khandala and other dubious 'lyrical
destinations' are the above lyrics bad enough to be termed 'filthy'?
Or have we become a lyrically liberal community?
4. I don't know about you - but I would surely like to listen to this
song.
Can anyone please tell me where I could download it?
Final request ... please do respond to this and make a clean breast of
it ;-)
Cheers
Shahrukh
P.S. Here is Josh's biography from urdupoetry.com ...
Josh Malihabadi was born as Shabbir Hasan Khan on 5th December, 1898
at Malihabad. He did his senior Cambridge from St. Peter's College,
Agra in 1914. In 1918, he spent about six months at Shantiniketan. He
studied Arabic and Persian. Due to the death of his father, Bashir
Ahmed Khan, in 1916, Josh was unable to avail of a college education.
In 1925, Josh started work at the Osmania University, supervising
translation work. He was exiled from the state of Hyderabad for
writing a nazm against the Nizam. He then started the
newsletter/magazine called the 'Kaleem' in which he openly wrote
articles in favour of independence and against the British. Soon, he
was being called "shaayar-e-inquilaab". He also got actively involved
in the freedom struggle and became close to quite a few of the
political leaders of that era, specially Jawahar Lal Nehru.
On the advice of director W.Z.Ahmed, he also wrote songs for Shalimar
Pictures. During this time, he was staying in Pune. After
independence, he became the editor of 'Aajkal'. He was later honoured
with the Padmabhushan. Josh spent the latter part of his years in
Pakistan.He passed away on 22nd February, 1982 in Islamabad. Some of
Josh's important works are: Shola-o-Shabnam, Junoon-o-Hikmat,
Fikr-o-Nishaat, Sunbal-o-Salaasal, Harf-o-Hikaayat, Sarod-o-Kharosh.
His autobiography is titled "Yaadon ki Baarat".
Satish Kalra
"shahrukh" <shahrukh...@indiainfo.com> wrote in message
news:42119b10.03030...@posting.google.com...
> I was doing some research and came across this rather hilarious
> excerpt from the January 1947 issue of Film India concerning Hazrat
> Josh Malihabadi [noted Urdu poet and lyricist (often remembered for O
> O O Mujhe Kisise Pyar Ho Gaya from Barsaat)]. He is also the same poet
> who apparently was in the group that left Majaz Lucknowi to freeze in
> the cold after an extended drinking binge. Majaz died soon after
> that. (Aye gham e dil kya karoo?)
>
> Here is a song that Hazrat Josh Malihabadi penned for the film Man Ki
> Jeet (1945) based on Thomas Hardy's Tess Of Dubervilles. It might be
> amusing to note that Film India was owned and edited by Baburao Patel
> and the Home Minister at that time was Morarji Desai.
Morarji Desai, a Home Minister in January 1947! India had not even won
freedom yet.
--
Happy Listenings.
Satish Kalra
UVR
> [...]
>
> Over to the Film India excerpt ...
> the literal translation is also from Film India!
>
> "
> More Joban Ka Dekho Ubhaar
> (Come look at the giddy blossom of my youthful breasts)
> Paapi Joban Ka Dekho Ubhaar
> (Come look at the bloom of my sinning breasts)
>
> FilmIndia commented :
>
> Hazrat Josh Malihabadi who is considered to be the best rebel poet of
> the nation. He has clearly prostituted his mighty pen in writing those
>
> FilmIndia Excerpt Over ...
>
> Now to some comments and questions - all mine ...
>
> 1. Of course, this song was written before Barsaat.
> How come Raj Kapoor chose this lyricist when he had already another
> Hasrat in his team?
What an odd (and silly?) question to ask! The words "Hasrat" and
"Hazrat" are not even remotely related to each other!
Hasrat = ardent desire, fervent wish, OR intense sorrow/grief
Hazrat <X> = shrii <X>, respected <X> ...
> What did the showman and the pensmith have in common ?
Money, perhaps? One had lots of it and the other wanted some?
> 3. In the times of Aati Kya Khandala and other dubious 'lyrical
> destinations' are the above lyrics bad enough to be termed 'filthy'?
> Or have we become a lyrically liberal community?
I don't know what the scene on the screen for this song was.
Suppose it was shot as a mujra being sung by a woman of easy
virtue? In that case "mere joban kaa dekho ubhaar" would
actually be quite apposite to the situation, wouldn't it?
-UVR
Vinayak K.Gore
> excerpt from the January 1947 issue of Film India concerning Hazrat
> Josh Malihabadi [noted Urdu poet and lyricist (often remembered for O
> O O Mujhe Kisise Pyar Ho Gaya from Barsaat)]. He is also the same poet
> who apparently was in the group that left Majaz Lucknowi to freeze in
> the cold after an extended drinking binge. Majaz died soon after
> that. (Aye gham e dil kya karoo?)
>
Dear Shahrukh
The information which you have given is no doubt regarding Shair e
inkilaab Josh Malihabadi.But The perosn who wrote songs for Barsat
and who left Majaz to freeze in cold after drinking binge was a
different person.His name was Jalal Malihabadi.
This fact is borne out by Barsar titles as well as Madhav Moholkar's
book.
regards
vinayak
Surjit Singh
>inkilaab Josh Malihabadi.But The perosn who wrote songs for Barsat
He wrote just one song, o o o o mujhe kisiise pyaar ho gyaa
> and who left Majaz to freeze in cold after drinking binge was a
> different person.His name was Jalal Malihabadi.
>
> This fact is borne out by Barsar titles as well as Madhav Moholkar's
> book.
>
> regards
>
> vinayak
--
Surjit Singh, a diehard movie fan(atic), period.
http://hindi-movies-songs.com/index.html
shahrukh
> >
> > Here is a song that Hazrat Josh Malihabadi penned for the film Man Ki
> > Jeet (1945) based on Thomas Hardy's Tess Of Dubervilles. It might be
> > amusing to note that Film India was owned and edited by Baburao Patel
> > and the Home Minister at that time was Morarji Desai.
>
> Morarji Desai, a Home Minister in January 1947! India had not even won
> freedom yet.
Dear Satish,
Your estimate that India got its independence after January 1947 is
close to the mark. However Morarji Desai WAS a Home Minister before
that ... as the incontrovertible evidence below suggests.
I was hoping for a reaction about the song and not Indian history
... would appreciate that from you!
Shahrukh
http://pmindia.nic.in/pmoffice/pm_morarji.htm
When the first Congress Government assumed office in 1937 Shri Desai
became Minister for Revenue, Agriculture, Forest and Co-operatives in
the Ministry headed by Shri B.G. Kher in the then Bombay Province. The
Congress Ministries went out of office in 1939 in protest against
India involvement in the World War without the consent of the people.
Shri Desai was detained in the individual Satyagraha launched by
Mahatma Gandhi, released in October, 1941 and detained again in
August, 1942 at the time of the Quit India Movement. He was released
in 1945. After the elections to the State Assemblies in 1946, he
became the Minister for Home and Revenue in Bombay. During his tenure,
Shri Desai launched a number of far-reaching reforms in land revenue
by providing security tenancy rights leading to the ‘land to the
tiller’ proposition. In police administration, he pulled down
the barrier between the people and the police, and the police
administration was made more responsive to the needs of the people in
the protection of life and property. In 1952, he became the Chief
Minister of Bombay.
shahrukh
Thanks for your input.
It is likely that I might be making a mistake in their identities.
Are you sure that JOSH and JALAL Malihabadi are NOT the same person?
You are right - the lyricist of Barsaat is credited as JALAL.
However, there is no evidence about these guys being different people.
In fact, the same name Malihabadi, botht being lyricists etc. are
rather unusual similarities.
Can anyone throw light on that?
Cheers
Shahrukh
P.S. And talking of mix ups who has posted this message ? Vinayak or
Surjit? Confused ! Thanks again.
Surjit Singh <surjit...@yahoo.com> wrote in message news:<3E617031...@yahoo.com>...
Surjit Singh
> You are right - the lyricist of Barsaat is credited as JALAL.
> However, there is no evidence about these guys being different people.
What kind of evidence would you like? If you believe they are the same
people, the burden is on you. If I claim that you and SRK are the same
person, I have to prove it.
UVR
> shahrukh wrote:
>
>> You are right - the lyricist of Barsaat is credited as JALAL.
>> However, there is no evidence about these guys being different people.
>
> What kind of evidence would you like? If you believe they are the same
> people, the burden is on you. If I claim that you and SRK are the same
> person, I have to prove it.
>
>
>> In fact, the same name Malihabadi, botht being lyricsts etc. are
>> rather unusual similarities.
They're not unusual at all! Malihabadi is just a reference to
the person hailing from Malihabad (UP, India). Clearly not
everyone from Malihabad is the same person! :)
Anyway, to give just a few examples of people with the same
'last name', who were/are both lyricists, but are different
individuals:
- Jan Nisar Akhtar & Javed Akhtar: father and son
- Qamar Jalalababi & Gulshan Jalalabadi: brothers
- Shakeel Badayuni & Fani ("Pt. Phani") Badayuni: no relation (AFAIK)
- Aarzoo Lucknowi & Noor Lucknowi: no relation (again, AFAIK)
- Hasrat Jaipuri & Shamim Jaipuri: no relation (again, AFAIK)
Need I go on?
-UVR.
Satish Kalra
news:<zE48a.28978$x.1...@nwrdny01.gnilink.net>...
...snipped...
> > > and the Home Minister at that time was Morarji Desai.
> >
> > Morarji Desai, a Home Minister in January 1947! India had not even won
> > freedom yet.
>
> Dear Satish,
>
> Your estimate that India got its independence after January 1947 is
> close to the mark.
It would ahve been funny, if it weren't hilarious.
Your remark above reminds me of the following conversation I had about five
years ago with a radio DJ who was airing a special on Mukesh's death
anniversary and had stated the year of his death as 1978, incorrect by two
years. When I phoned him to mention it to him, his question was how could I
prove it. My reply to him was what proof he had that it was the year that
'he' was stating, i.e., the burden of proof lied with him.
(Going by the standards that these self-promoted and egotistic DJ's keep, he
refused to believe me. His problem, not mine.)
A few minutes later, he played the Sambandh song "chal akelaa chal
akelaa..." and said that this was the only song which Mukesh had sung for
the MD O.P.Nayyar. I called them again and mentioned the Miss Coca Cola
song "jhukaa jhukaa ke nigaahe.n milaaye jaate hai.n...", way back in 1955,
which Mukesh did with OPN.
His reply: "But I wasn't even born yet".
(Read that as saying whatever happened before someone was born is
immaterial/irrelavant.)
But the above pales in comparison with another DJ who last year aired a
Mukesh Birth Anniversary special on his death anniversary, and included the
declaration on air "aaj ke din unhon ne is planet par pehla saans liyaa
tha"!
However Morarji Desai WAS a Home Minister before
> that ... as the incontrovertible evidence below suggests.
>
> I was hoping for a reaction about the song and not Indian history
> ... would appreciate that from you!
>
> Shahrukh
When Indian history is part of the musical post, it becomes as subject to
the music as anything. Especially the piece of history that is related to
that particular piece of music.
You certainly don't mean to say that you just brought in Indian history as a
'coincidental'!
>
> http://pmindia.nic.in/pmoffice/pm_morarji.htm
>
> When the first Congress Government assumed office in 1937 Shri Desai
> became Minister for Revenue, Agriculture, Forest and Co-operatives in
> the Ministry headed by Shri B.G. Kher in the then Bombay Province. The
> Congress Ministries went out of office in 1939 in protest against
> India involvement in the World War without the consent of the people.
>
> Shri Desai was detained in the individual Satyagraha launched by
> Mahatma Gandhi, released in October, 1941 and detained again in
> August, 1942 at the time of the Quit India Movement. He was released
> in 1945.
After the elections to the State Assemblies in 1946, he
> became the Minister for Home and Revenue in Bombay.
I think the key point here is **"The Minister for Home and Revenue in
Bombay..."**.
This speciifcally means the 'province' (see the specific reference to "State
Assemblies" above)government of Bombay or Maharashtra, whatever the state
was known as at that time.
The fact that he was a provincial Home Minister was also mentioned to me in
response to my post, but in a private email.
When someone states just that Morarji was the "Home Minister", what does it
mean? Of what? The country or a state?
You, as a journalist/student of music, have to be careful how the facts are
stated, not how they are meant.
Surjit Singh
> - Hasrat Jaipuri & Shamim Jaipuri: no relation (again, AFAIK)
Sometimes the "last" names themselves are part of the confusion, om
shivpuri, madan puri, inderjit hasanpuri; guru dutt, sunil dutt, utpal
dutt; asha sachdev, achala sachdev; nitu singh, amrita singh; natthaa
singh, prem singh etc.
Many of the above end names are not even real last names. I had a
Bengali friend who refused to believe that guru dutt was not a bengali.
After all, he spoke fluent bangala, was brought up in bengal, worked in
uday shankar's team, looked like a bengali, wore bengali-style
clothes, made bengali-style movies, was a genius. How could he not be a
bengali.
>
> Need I go on?
>
> -UVR.
>
Vinayak K.Gore
> "
> >
> freedom yet.
Dear Kalraji
Even under British rule, Bombay Province, like most other provinces,
had a local government (with limited power)led by Bal Gangadhar Kher,
known as prime minister and Morarji Desai was indeed, home minister in
his ministry.
regards
vinayak
Surjit Singh
> Even under British rule, Bombay Province, like most other provinces,
> had a local government (with limited power)led by Bal Gangadhar Kher,
> known as prime minister and Morarji Desai was indeed, home minister in
> his ministry.
I think the confusion was caused by mentioning plainly that he was home
minister. We are all in a hurry sometimes.
>
> regards
>
> vinayak
Sudhir
================================
1. During the period when Subash Ghai was feeding the press
that his song 'Choli Ke Peeche Kya Hai' is the most provocative
number ever and, news-writers, idiot as the are, readily accepted this
fiction, I had written on this forum about this song and the fact
that this is number from MAN KI JEET , is (and most probably will
always be) the most vulgar song of Hindi Film world.
If someone is to be blamed for its creation, than it is the producer (who
was also the director) Mr. W.Z. Ahmed.
2. I am not 100% sure, but had read it long time back, that the song
was banned from All India Radio. If true, then very few people
had heard this song, after the initial run of the film. It became
available when an LP of Man Ki Jeet was released.
3 It seems that Mr. Shah Rukh, is not aware of the other song
of Man Ki Jeet, which earned Josh Saheb lots of respect (I am
not mentioning the song for obvious reasons, since Mr. Shah Rukh
knows only one other song of Josh - Mujhe Kisi Se ...). You cann't
blame him for mixing up Josh and Jalal or for that matter,
Hazrat and Hasrat.
NOTES ON MR.SHAH RUKH'S WRITE-UP
===============================
4 Mr. Shah Rukh thinks that Hazrat is a name and is similar to Hasrat
(Jaipurwale Saheb) and that is how Raj Kapoor was thrown in the
frying pan.
At the time of making Barsaat, Raj had one flop film to his credit,
and was almost broke. With his charm and talks, he was able to rope-in
four under-employed artists to work for him, but their
output was still unknown to most people in the industry and
of course to the public.
Malihabad (in Uttar Pardesh) population was certainly more than
one (i.e.: Josh). Jalal Malihabadi - no relation to Josh Malihabadi,
wrote the song: Mujhe Kisi Se Pyar Ho Gaya. Incidentally, Barsaat
had a fourth song writer also: Ramesh Shastri, who wrote the
song: Hawa Mein Udta Haye... Mera Laal Dupatta Malmal Ka, the
first picturized song in exhibitor's print.
5 Comparing 1942 A LOVE STORY's song - Ik Ladki Ko Dekha, with
Mere Jobna Ka is hilarious. Simply becuase they have common
word 'Jaise' , (repeated often) is a idiotic basis for
grouping them together.
May be the 1942.... song is closer to CHAUDVIN KA CHAND's title
song.
Sudhir
-------------------
shahrukh...@indiainfo.com (shahrukh) wrote in message
Satish Kalra
But, I was just going by what met the eyes. Without the qualification of
the state or province being included in that post, I had to (and I do) go by
what I read, not what is/was meant.
--
Happy Listenings.
Satish Kalra
"Vinayak K.Gore" <vinay...@rediffmail.com> wrote in message
news:289bd32a.03030...@posting.google.com...
Surjit Singh
> In fact, the same name Malihabadi, botht being lyricists etc. are
> rather unusual similarities.
<GONE>
While looking for any possible relation between the 2 malihaabaadiis I
found this date list of 1933 urdu poets
http://www.columbia.edu/itc/mealac/pritchett/00fwp/srf/dates_nodiacrit.html
It has names, most birth-death dates and even if the poet is male or female.
shahrukh
So the evidence could be as simple as listing out a couple of songs by
both the lyricists or any biographical details you might know.
I am not so sure about this 'burden' you mention - to me it could be
straight, simple facts - if you know them please state them. That
would be illuminating !
And thanks in advance for that ...
Cheers
Shahrukh
Surjit Singh <surjit...@yahoo.com> wrote in message news:<3E622578...@yahoo.com>...
shahrukh
http://www.columbia.edu/itc/mealac/pritchett/00fwp/srf/dates_nodiacrit.html
Here there are three Malihabadi's listed
35) Abd ur-Razzaq Malihabadi (journalist, historian)==1889/90-1959
#790) Josh Malihabadi (poet, autobiographer)==1898-1982
1423) Safiyah Shamim Malihabadi+ (poet)==fl. 1930-50
But now no Jalal here !
Any songs that come to mind will be nice.
Best Always
Shahrukh
Surjit Singh <surjit...@yahoo.com> wrote in message news:<3E622578...@yahoo.com>...
shahrukh
> Some Notes on 'Mora Jobna Ka'...
> 3 It seems that Mr. Shah Rukh, is not aware of the other song
> of Man Ki Jeet, which earned Josh Saheb lots of respect (I am
> not mentioning the song for obvious reasons, since Mr. Shah Rukh
> knows only one other song of Josh - Mujhe Kisi Se ...). You cann't
> blame him for mixing up Josh and Jalal or for that matter,
> Hazrat and Hasrat.
Hey cool it, Sudhir, I am NOT claiming in any case to be an expert on
Josh or Jalal. And thanks for NOT mentioning the song I dont know what
you have accomplished by this non action ... but hope it makes you
happy.
If you had mentioned the song some people in this world who could be
ignorant could have been happy too !
> 5 Comparing 1942 A LOVE STORY's song - Ik Ladki Ko Dekha, with
> Mere Jobna Ka is hilarious. Simply becuase they have common
> word 'Jaise' , (repeated often) is a idiotic basis for
> grouping them together.
>
> May be the 1942.... song is closer to CHAUDVIN KA CHAND's title
> song.
Now you must be laughing becaude you find the comparison hilarious ...
but
look at the composition of the lyric closely .. both list out similes
by the dozen ... and you are right ... jaise is the word used to
compare the attributes ! Both songs do exactly and only that ! I
wonder why you use a word like idiotic here?
Shahrukh
shahrukh
if he has heard the song? And how could one get to listen to it?
Cheers
Shahrukh
UVR
Yes, I have heard the song. I got an mp3 from a friend.
The song is on a CD one can purchase from IndianScreen
dot Com (which is what I'm planning to do).
-UVR.
Ashok
>
>................... I had a
>After all, he spoke fluent bangala, was brought up in bengal, worked in
> uday shankar's team, looked like a bengali, wore bengali-style
>clothes, made bengali-style movies, was a genius. How could he not be a
>bengali.
>
If he walks like a duck and quacks like a duck, then it must
be a Bengali!
Ashok
Surjit Singh
You can also get a cassette with songs from two movies:
Parwana and Man Ki Jeet.
>
> -UVR.
>
--
Surjit Singh, a diehard movie fan(atic), period.
Surjit Singh
> Thanks for the excellent link ... to the list of shaayar's
>
> http://www.columbia.edu/itc/mealac/pritchett/00fwp/srf/dates_nodiacrit.html
>
> Here there are three Malihabadi's listed
>
> 35) Abd ur-Razzaq Malihabadi (journalist, historian)==1889/90-1959
> #790) Josh Malihabadi (poet, autobiographer)==1898-1982
> 1423) Safiyah Shamim Malihabadi+ (poet)==fl. 1930-50
>
> But now no Jalal here !
>
> Any songs that come to mind will be nice.
jalaal saahib seems to have written at least one more song for Hindi movies:
ai shaam kii havaao, unase salaam kahanaa
from ek raat (1967), MD Usha Khanna.
If somebody can get to Usha Khanna, she may be able to throw some light
on this lyricist/poet.
Sudhir
My message is quite clear. If you had posted the write-up only
on this song, without your comments, it would have been fine.
Without knowing anything about Josh Malihabadi or far that matter
not even knowing what 'Hazrat' means, you wanted to become an expert
and added your comments on the poet, Raj Kapoor, on this song and
even tried to compare it with another song, based on just one
common word 'Jaise'
*********************************************
Sir, don't bite more than what you can chew.
*********************************************
If writing bug has hit you, just type in 'Hare Rama Hare Krishna'
and hit the button: Post Message - No Preview
As far as me having the song, I did mentioned in my post that it was
re-issued on LP of Man Ki Jeet. I certainly didn't buy the record to
explore Jobna Ka Ubhar. It was for the two part song:
Nagri Meri Kab Tak Yuhin Barbad Rahegi
Duniya, Yehi Duniya Hai To Kya Yaad Rahegi
The artists name on LP is listed as Tarabai Lucknow, who might have
changed the name to: Sitara Kanpur. However, the 78 rpm records
listed the singer as: Nina (which is wrong). You can search this
forum with key word 'Man Ki Jeet' and will find quite a number of
threads.
Me, or for that matter, many other RMIMer would have been happy to help
you, if you had asked the question (e.g.: What other good songs Josh
Malihabadi had written, or if Josh / Jalal Malihabidi are the same or
different persons etc. etc. Now that you have got the answers, you
still want a 'Proof Positive. How about a DNA test ?
Common words don't make the song similar in theme. There are zillions
of songs with the common word: 'Dil'.
Sudhir
---------------------
shahrukh...@indiainfo.com (shahrukh) wrote in message news:<42119b10.03030...@posting.google.com>...
shahrukh
Thanks for your message which has a tone that is getting not only
acidic but reeks with sarcasm - which I guess has more to do with you,
and not my message or even me!
And thanks for all the advise which you have given which is entirely
uncalled for. I suggest you keep it to yourself.
First of all, I do NOT want to be an expert nor have I ever claimed to
be one.
And certainly not on the subject of the Malihabadis of the world !
Read my first post again and you would notice that Hasrat & Hazrat are
mentioned distinctly. Someone else has twisted the thread and you have
picked that up ...
I would like to urge you strongly to refrain from advising me again
...
Your words (marked by >>) are unecessarily acerbic ... some of your
nasty statements ...
>>If you had posted the write-up only on this song, without your
comments,
it would have been fine.
Thanks for taking the liberty of deciding what I should be writing
about and how.
>>If writing bug has hit you, just type in 'Hare Rama Hare Krishna'
and hit the button: Post Message - No Preview
Thanks again Pradip ... I only hope that this is NOT out of your
personal experience ;-)
And this gem ...
>>
*********************************************
Sir, don't bite more than what you can chew.
*********************************************
>>
I can understand someone advising about writing but also about BITING
!
Pradip, that is too much ... cut it out.
And then you write ...
>>Common words don't make the song similar in theme. There are
zillions
of songs with the common word: 'Dil'.
Somewhere, I sense that you clearly seem to feel fervently about all
this -
so I shall leave your sarcasm aside and respond by showing you the
SIMILARITIES.
Both songs - the one by Malihabadi and the one by Akhtar talk about a
woman.
Akhtar's focus is on what the man feels when he saw the 'ladki.'
Malihabadi has a sharper focus on the woman particularly
on a part of the woman's anatomy. In his song the woman speaks about
herself
in fact - it has a 'showing off' vein.
And that is probably the only point of difference. Having taken that
into account, now look at the similarities.
The rest of the song is all about SIMILES.
A simile is a figure of speech which is used to describe one thing in
terms of another.
Like ... or to use that dreaded word ... Jaise ...
A camel is like the ship of the desert.
And it is here that both Malihabadi and Akhtar take off !
Remember Pradip ...
the rest of the song is ONLY repeat ONLY similies galore.
Nothing ELSE !
Whereas, Akhtar prefers similies which tend to 'sound sublime',
Malihabadi tends writes with more abandon ...
So Akhtar talks about the ladki to be like ... jaise ...
'Mandir Mein Ho Ek Jalta Diya' ...
Malihabadi is much more liberal ...
He gets the girl to say that a part of her anatomy is like the 'Toofan
Mail' !
In fact, if at all the Joban song was a hit in its times ...
I do not know if Akhtar has picked up the entire format because
the composition is exactly the same.
Let us take off on that theme using the same structure for a moment
...
Tere messsage ko dekha to aisa laga ...
Jaise Naariyal Paani
Jaise Chicken Biryani
Jaise Aloo Mutter
Jaise Bahtaa Gutter ...
Get the point ... ?
The lyricist twists around the comparisons and that can get a
strong reaction from the listener.
Or if cuisine is not to ones taste one could even fly to elevated
heights with it ...
Jaise Ved o Quran
Jaise Urdu Zubaan
Jaise Shaayar Ke Geet
Jaise ... take a shot if you like ...
I have used Akhtar's lyrics as a reference now ...
once I hear Malihabadi's song - I would be able to do that too ...
for that matter ANYONE could because ...
The entire structure is there - one just has to substitute the
simile's !
Now what I did to Akhtar's basic structure ...
Is it possible Akhtar did that to Malihabadi too?
It is here, that I cannot help but get the feeling that if at all
Akhtar
had heard this song ... may be he was 'inspired' by it.
So it should now be abundantly clear, that the similarities are beyond
the word Jaise as you suggest ...
Finally, let me place things in perspective ... for the entire thread
...
Put simply, I read a rather unusual article about the Joban song and
found it similar to another. Also the Joban song had a rather
interesting background to it which I put forth. And many people
responded to it. Thanks to all of them. Sure, it also lead to other
incidental discussions but that is fine by me which includes some of
the nitpicking responses (expected) and other more sensible ones.
Sure, I would make mistakes, but I feel that is entirely human and I
do NOT for a moment suggest that I am an expert on any of these
matters. In fact, I would like to question this assumption that only
experts can post or express themselves.
Trust you do not bear any ill will about all this in your heart.
So here is to the best of spirits that genuine music lovers
who ever listened to the finest music and felt good about it !
Shahrukh
Vijay Kumar K
> ================================
>
>
> 1. During the period when Subash Ghai was feeding the press
> that his song 'Choli Ke Peeche Kya Hai' is the most provocative
> number ever and, news-writers, idiot as the are, readily accepted this
> fiction, I had written on this forum about this song and the fact
> that this is number from MAN KI JEET , is (and most probably will
> always be) the most vulgar song of Hindi Film world.
>
> If someone is to be blamed for its creation, than it is the producer (who
> was also the director) Mr. W.Z. Ahmed.
>
>
"joban kaa ubhaar" can be translated into something like "bloom of youth"
and would probably be more accurate.
More Joban Ka Dekho Ubhaar
Paapi Joban Ka Dekho Ubhaar
Jaise Nadi Ki Mauj, Jaise Turkon Ki Fauj
Jaise Sulage Se Bum, Jaise Balak Udham
Jaise Koyal Pukaare - More
Jaise Hirni Kulel, Jaise Toofan Mail
Jaise Bhanware Ki Joom, Jaise Sawan Ki Dhoom
Jaise Gaati Phoohaar - More
Jaise Sagar Pe Bhor, Jaise Udtaa Chakor
Jaise Gendva Khile, Jaise Latto Hile
Jaise Gadhdhar Anaar - More
More Joban Ka Dekho Ubhaar
Paapi Joban Ka Dekho Ubhaar
If I attempted a translation, it would certainly have gone this way....
see me, a damsel in the bloom of youth
accursed youth, see the bloom of youth
Like a river in spate, like an army on the move
like a smouldering bomb, like boisterous boys
like the call of a cuckoo
see me, a damsel in the bloom of youth
like a frolicsome doe, like an onrushing train
like the flight of butterflies, like the joyous monsoon
like the music of rainshowers
see me, a damsel in the bloom of youth
Like the first flush of dawn on the sea, like a flight of lovebirds
like a flower in bloom, like a dizzy spinning top
like a half-ripe pomegranate
see me, a damsel in the bloom of youth
Now, you can blame that for being bad poetry, and some of the similies make
little sense, but you can't blame that for being vulgar. If you were to find
a list of similies/adjectives to describe that first feeling of youth (many of
us have probably forgotten it by now :-() you would come up with similar
words - dizzy, tempestuous, restless, joyful, magical, frolicsome - how is
this rather mediocre poem so different?
I don't care if cholii ke peeche is or is not the most provocative number.
As to sharukh's comment "1. Of course, this song was written before Barsaat.
How come Raj Kapoor chose this lyricist when he had already another Hasrat in
his team?" could have been interpreted as "RK had a song writer of Hasrat's
(non) ability, why did he have to choose another of similar (non) ability"
and it could be disputed on the quality of the lyrics of either of the two,
but both you and UVR seemed to interpret this comment in a different way...
Vijay
Ritu
> maild...@yahoo.com (Sudhir) wrote in message news:<e32c7906.03030...@posting.google.com>...
> > Some Notes on 'Mora Jobna Ka'...
> > ================================
> >
> >
> > 1. During the period when Subash Ghai was feeding the press
> > that his song 'Choli Ke Peeche Kya Hai' is the most provocative
> > number ever and, news-writers, idiot as the are, readily accepted this
> > fiction, I had written on this forum about this song and the fact
> > that this is number from MAN KI JEET , is (and most probably will
> > always be) the most vulgar song of Hindi Film world.
> >
> > If someone is to be blamed for its creation, than it is the producer (who
> > was also the director) Mr. W.Z. Ahmed.
> >
> >
> hmm... isn't it more the English translation that is vulgar. After all,
> "joban kaa ubhaar" can be translated into something like "bloom of youth"
> and would probably be more accurate.
>
> More Joban Ka Dekho Ubhaar
> Paapi Joban Ka Dekho Ubhaar
I agree with Vijay. I always thought 'Joban' was an 'apbransh' of
'Youvan' which means 'Youth'. And by that translation the song is, as
Vijay pointed out, mediocre. Maybe by the 1947 standards even that was
a bit blasphemous, but I too think the vulgarity is in the mind of the
person who made those explicit English translations.
And I also do request posters to respect the sensabilities of people
who read these posts and practice a basic restraint in their posts.
There is always a less offensive and more parlimentary way to go about
with these issues.
Regards,
Ritu
shahrukh
When one reads your translation - the lyric actually sounds like a
nice romantic celebration of youth.
Clearly, the translation by Film India was more towards titillating
the reader.
And sure the restraint that you mention Ritu I myself would endorse
it.
But I thought that in my original post it was important to reproduce
what was printed in January 1947 ... I wonder how the sensibilities
that existed more than half a century ago took it ...
Finally, if the Film India translation or any of my comments did (to
use a Wodehouse phrase) bring 'the blush of shame to the cheek of
modesty' ...
a thousand apologies.
Shahrukh
rc0...@rediffmail.com (Ritu) wrote in message news:<8777cccd.03030...@posting.google.com>...
UVR
> vijay...@my-deja.com (Vijay Kumar K) wrote in message news:<f9e9d452.03030...@posting.google.com>...
>
>>"joban kaa ubhaar" can be translated into something like "bloom of youth"
>>and would probably be more accurate.
>>
>>More Joban Ka Dekho Ubhaar
>>Paapi Joban Ka Dekho Ubhaar
>
> I agree with Vijay. I always thought 'Joban' was an 'apbransh' of
> 'Youvan' which means 'Youth'. And by that translation the song is, as
> Vijay pointed out, mediocre. Maybe by the 1947 standards even that was
> a bit blasphemous, but I too think the vulgarity is in the mind of the
> person who made those explicit English translations.
You're right, of course, about 'joban' being an apabhra.nsh of
'yauvan', Ritu. However, it is also true that the phrase 'joban
kaa ubhaar/ubharanaa' is somewhat of a standard double entendre
of Hindi -- and it refers to the appearance of said feature of
the female anatomy. It's even listed in dictionaries as such.
It's tasteless, but that's what it is.
It is, thus, entirely within the realm of possibility that the
lyricist used this phrase with the explicit aim (pun intended)
of utilizing the double entendre.
> And I also do request posters to respect the sensabilities of people
> who read these posts and practice a basic restraint in their posts.
> There is always a less offensive and more parlimentary way to go about
> with these issues.
Agreed. Vijay's translation is a lot more 'decent' than the
one that was posted earlier (*clap clap*, Vijay). But I can
bet good money that there exist people who will say that
"damsel in the bloom of youth" is no less vulgar! :)
-UVR.
Surjit Singh
> kaa ubhaar/ubharanaa' is somewhat of a standard double entendre
I always thought it was single entendre.
> -UVR.
Surma Bhopali
> Ritu wrote:
> >
> > I agree with Vijay. I always thought 'Joban' was an 'apbransh' of
> > 'Youvan' which means 'Youth'. And by that translation the song is, as
> > Vijay pointed out, mediocre. Maybe by the 1947 standards even that was
> > a bit blasphemous, but I too think the vulgarity is in the mind of the
> > person who made those explicit English translations.
>
> You're right, of course, about 'joban' being an apabhra.nsh of
> 'yauvan', Ritu. However, it is also true that the phrase 'joban
> kaa ubhaar/ubharanaa' is somewhat of a standard double entendre
> of Hindi -- and it refers to the appearance of said feature of
> the female anatomy. It's even listed in dictionaries as such.
> It's tasteless, but that's what it is.
>
"jobnaa se chunariyaa sarak ga_ii re... morii patlii kamariyaa lachak
ga_ii re"
> It is, thus, entirely within the realm of possibility that the
> lyricist used this phrase with the explicit aim (pun intended)
> of utilizing the double entendre.
>
> > And I also do request posters to respect the sensabilities of people
> > who read these posts and practice a basic restraint in their posts.
> > There is always a less offensive and more parlimentary way to go about
> > with these issues.
>
> Agreed. Vijay's translation is a lot more 'decent' than the
> one that was posted earlier (*clap clap*, Vijay). But I can
> bet good money that there exist people who will say that
> "damsel in the bloom of youth" is no less vulgar! :)
>
> -UVR.
I agree with Ritu's views. However, I don't see any reason for not
reproducing a word for the sake of discussion in the ng. And, with due
apologies if it hurts someone, 'breast' is not vulgar IMO so long as
it is used decently. Come on we have Tagore using 'vaksha' quite often
and it is NOT vulgar anywhere.
Binod Thapa
are travelling in different directions and some are not even traveling, some
have gone back home):
Of course, nothing could be bad in any communication or presentation,
whether it is in the form of words, pictures, or any other media. What is
considered good or bad depends on whether, as we look through the lens of
our own individual or society's standards, we deem the item being
scrutinized passes our cutoff point and as these cutoff points could be
different for different people, there are no absolute goods or bads for that
matter -- everything is relative and contextual.
Having said that, I would like to think about the standards of the receiver
of my message too and not be preoccupied solely by my own standards -- the
standards of the sender -- so my communication becomes a worthwhile
exercise. So, I must be extra careful to ensure that there is no clash of
standards, which would result in conflicts or breakdown in the channel of
communication -- causing too much static or noise in the system.
That is why to preclude any chances of ambiguity, for the sake of an
illustration, I would like to distinguish between expressions such as such
as the "female sex" and the "female gender". The former is immutable
(God-made), whereas the latter can be changed or completely abolished if
society so desires as it is only man-made (it is just a social construct --
it is what society sees the former through its own lens).
Thus, I would prefer "bosom" to "breast". Because, to me the word "breast"
is more anatomically-oriented and could be misinterpreted by dirty old minds
who could consider it fit raw material for pornographic connotations,
although in reality no part of the body is dirty -- each part of the human
body is really beautiful because it has been designed and constructed by the
most beautiful Engineer, but it is the lens which tends to get dirty so
easily and often, and Sigmund Freud would say it is the dirty mind at work.
When I think of "bosom", I conjure up images of love, nurturing, protection,
warmth, solace, something more ethereal than phyical. Whereas, I find
"breast", the symbol of vulnerability of women, I find "bosom" their bastion
of strength. Perhaps, that is why the sweet American poet Joyce Kilmer, I
read as a child -- as an aside, he died in World War and I have been
thinking of wars these days a lot because of what is going inside and
outside this NG lately -- expressed such sweet thoughts when penned the poem
"Tree" and described it as having a bosom. The use of breasts here would
clearly be inappropriate and mean something else.
What I analyzed above reflects my standards and could clash with some of the
RMIMers. But, I welcome your standards as there is enough space for all of
us to coexist under the same sun. It's your turn now. Let me hear about your
standards.
Binod.
"Surma Bhopali" <nanhaf...@yahoo.co.in> wrote in message
news:622ae881.03030...@posting.google.com...
Prithviraj Dasgupta
<rest snipped>
> Come on we have Tagore using 'vaksha' quite often
> and it is NOT vulgar anywhere.
'vaksh' in Bengali (and Sanskrit) is used to refer
to the human chest region. I have not read all
Rabindranath's works but in the fair amount that I have
(especially almost all his songs) I do not remember
him having used a direct reference to the Bengali
word for bosom.
The only place where Tagore uses a derivative of the
word bosom, is to refer to new born infants feeding
from their mother - mother's milk is called 'stanya'
in Bengali.
-Prithviraj
Binod Thapa
Yes, like Bangla, Nepali is also highly Sanskritized though not to that
extent as Bengali. From my limited musical circle in India (most of whom
were Bengalis) I found that even day to day usage words were often
Sanskritized in Bangla, whereas we in Nepal tend to use Sanskrit for more
formal write-ups or for technical literature where there are no local words.
In refined Nepali we use the words 'Sthan' and 'Vaksh'. In Nepali we have a
third word "Doodh" derived from Sanskrit "Dughda" meaning milk and is used
in a more common parlance or by the more illiterate and is meant to cover
both Sthan and Vaksh without reference to any psycho-socio connotations.
This is really inaccurate because it shows the physical liquid describing
solid structures. In common Nepali word usages are almost invariably
inaccurate like we say 'eat tea', 'eat an oath.'
It appears from the way the words 'Sthan' and 'Vaksh' are presented and
analyzed here, both words are dignified. Excuse my false pretense of being
an etymologist here. I gather from your analysis (let me know if I have
decoded your message wrong) that whereas, Sthan would be restricted to
lactation or suckling only and would only encompass the two mammary glands,
the Vaksh is much more extensive and comprehensive as it includes the Sthans
as well as the valley in between and the surrounding foothills.
Basing on the above analysis, I would functionalize the Sthans as having two
prime functions that of providing physical nourishment to infants and
providing psycho-physical attraction to adult males (to obviate the risk of
highly imaginative decoders -- you never know what you get in this NG -- I
would say in no uncertain terms that the infants and males referred to here
are both assumed to be Homo sapiens). So sthans would be breasts.
Extending, the above logic to "Vaks" it provides the infant additionally
psychological nourishment, comfort, warmth and a resting place at the valley
for its head. It is bereft of sexual connotations and also provides strength
and solace to the wounded or weary "warrior husband whose head she rested on
her soothing bosom."
Thus, bosom would have less of so called dirty images of sex.
But of course, I shouldn't have looked too much into this sort of imputation
of meaning. Furthermore, it was my carelessness in not reading the full text
of Surma Bhopali's post which had the Hindi word 'vaksha' in it and
concentrated the English word 'breast' which in my opinion should have been
'bosom' instead.
While we are with you can I ask you two questions:
1. I remember seeing a Bengali black and white movie called Anthony
Firinge(??) starring Uttam Kumar with a song rendered by Manna Dey "Aami Je
Jol Shaghore". It sounded very much as the Title song of the Hindi movie
Mere Mehboob by Rafi. Can you tell me which movie was screened earlier in
India and who was the MD of the Bengali movie?
2. While in India one of my Bengali bandhus taught me a few lines from a
very intricately scored and rendered song by the great Nazrul singer
Manobendra Mukherjee (Mukhopadhya??). The opening lines were:
"Aami Je Mando Taate ShonginiGo Shonde Hoki, Tumi Jey Bhaalo Sokhi Natun
Kore Janbo Sekhi...." I want to relearn this song. I cannot find it here in
Toronto. In the internet I find a lot of Manabendra's, Hemant's, & Manna's
Bengali songs from which I can either d/l or record but this song, the one
considered one of the best I have heard from Indian songs so far as eluded
me. I have recorded some Bengali Bhajans from Rafi, my favorite singer but
really don't get carried away by them. But this is terrific.The voice
modulations and the range, depth are simply indescribable -- they remind of
the Nepali singer Narayan Gopal who died nearly fifteen years ago but whose
voice still haunts all young and old alike and drowns even the best
contemporary compositions. Any pointers as to where I can find this song?
Don't tell me India. I have no one there.
Thnx
Binod.
"Prithviraj Dasgupta" <prith...@yahoo.com> wrote in message
news:fc0bc0a7.03030...@posting.google.com...
Sumantra Dutta Roy
> 1. I remember seeing a Bengali black and white movie called Anthony
> Firinge(??) starring Uttam Kumar with a song rendered by Manna Dey "Aami Je
> Jol Shaghore". It sounded very much as the Title song of the Hindi movie
> Mere Mehboob by Rafi. Can you tell me which movie was screened earlier in
> India and who was the MD of the Bengali movie?
Thapa-ji, I reproduce a nice writeup on this issue which Dr. Prithviraj
Dasgupta has posted last year, in response to a post by Anindya Roy:
And yes, it is very nice that Dr. Dasgupta is back with this newsgroup.
His Hemanta-da series was very nice.
With warm regards,
Sumantra.
==========================================================================
===================== Dr. Prithviraj Dasgupta's post =====================
==========================================================================
andy...@hotmail.com (Anindya) wrote:
> > an instance of reverse copying (Hindi=>Bengali) that comes to mind is
> > the title song of Mere Mehboob (Naushad), which was used (lifted?) by
> > MD Anil Bagchi for the song - Aami je jawlshaaghawrey (movie: Antony
> > Firingi)
>
> goofed again! that shld be Adhir Bagchi. Anil, the son, was also a
> fledgling MD.
>
> Anindya
Actually, you "goofed" with an unnecessary goof-up. The MD of the
Bengali movie 'Antony Firingee' which has the song "Ami je jalsaghare"
is indeed Anil Bagchi. His son's name is Adhir Bagchi who sang
a couple of songs in the movie, and also had a reputation as
a Nazrulgeeti exponent in the 70s and 80s.
Here is what Manna De has to say about Anil Bagchi in his biography
titled "Ami niralay bosey": "'Antony Firingee'(1967) went a long way
in strengthening my base in Bengal as the voice of Uttamkumar. Among
the MD's from Calcutta, I loved Anil-da(Bagchi)'s technique of
compsing music. Although the basis of his music was Indian
classical music, but he would always add a touch of modernism to
the basic raga to make it appropriate for commercial film music.
He would mingle strains of Abhogi Kanada with Bengali folk music
to create his remarkable signature. Of all the songs that I sang
for that movie "Ami je jalsaghare" is alive even today after 25
years (the interview was probably taken in the mid 90s) amidst
the cacophony of un-musical songs. I admire Anil-da. He was
unique in his own way". And then MannaD goes on to narrate
a personal incident that exemplifies the magnanimity of Anil Bagchi.
Interestingly, Manna De mentions MD's in HFM such as KC De, SDB, SJ,
KA, Naushad, SalilC, RDB, HemantK, etc., but surprisingly never takes
the name of the other Anil-da.
The link to the Bengali song is below. It is indeed a very nice rendition,
my personal favorite over its Hindi "inspiration".
http://www.ganguly.de/mannadey/manna_64.ram
-Prithviraj
Binod Thapa
Thanks for your warm response. Although it started off pretty mildly, this
year's winter here in Ontario in making a last ditch effort to make me
forget all the wind chill I suffered for seven long winters in the Ice Box
of the US (Minnesota) and the two winters I spent a long time ago where the
sun rose in the southeast and settled in the southwest (Scotland). I am sure
the impact of your message where you went overboard will be reflected in my
next month's reduced heating utility bill.
The RM audio file of Manna which I could d/l from the site you provided
(Bangla Ganer Asor) has been warming my heart and I think warmly of those
warm times in warm India.
One of the first songs that my Bengali Bandhus taught me to sing was
Hemant's "Aamai Proshnu Kore Neel Dhruba Tara, Aar Koto Kaal Aami
Robodishahaara .. ." Later on Mukesh is believed to have sung the same tune
in Hindi. I can't remember it because when I am alone and in the shower I
usually sing the Hemant one. I sing the Hindi one in front of friends and
family, though I feel uncomfortable doing so, because it would make them
uncomfortable with me if I were to do otherwise. Was it the same music
director?
Now don't send me the link. I have a lot of Hemant links, only I do not have
enough disk space to d/l them. He was my favorite during my childhood and
still one of my favorites even now. I have his 5-Vol. cassette series with
me in addition to songs from individual movies. I remember his Patita duet
"Yaad Kiya Dilne Kaha..." which was blaring from the loudspeaker in a
marriage function I was attending and I got so distracted from chewing my
mouthful of paan that as I attempted to join in I stained my shirt with the
paan and had to go back home to change my clothes and consequently missed a
lot of the remaining songs. Another of my favorites was the duet "Tumhen
Yaad Hoga.." I did not know which movie it was from but I now know that is
from Satta Bazar. In some his songs he sounds like the better Nepali singers
especially when he suddenly kisses a mandra saptak swar and comes to where
he left from. "Hey Apana Dil" was every mouthorganer's mandatory first
lesson. I even got carried away by his clone Dwijen in "Aye Dil Kahan Teri
Manzil.." in Maya.
But suddenly Hemant completely vanished from the scene as we teenagers
wanted to impress the gals with Shammi Kapoor's antics and Rafi became the
romantic rage. Then once we accepted Rafi's voice we went into his more
serious renderings too. When Hemant finally came out from his hibernation or
hiding, it no more the same Hemant --time had taken its toll and with the
time warp the audience had changed too.
My next project after Talat and Rafi will concentrate on Hemant and Kishore.
Till then, any pointers to the Manobendra song I was referring to?
Regards.
Binod.
"Sumantra Dutta Roy" <suma...@ee.iitb.ac.in> wrote in message
news:43e4018a.03030...@posting.google.com...
> "Binod Thapa" <binod...@sympatico.ca> wrote in message
>>
> http://www.ganguly.de/mannadey/manna_64.ram
>
> -Prithviraj
Urzung Khan
Binod Thapa wrote:
>
> Sumantra Bandhu:
>
> Now don't send me the link. I have a lot of Hemant links, only I do not have
> enough disk space to d/l them. He was my favorite during my childhood and
> still one of my favorites even now. I have his 5-Vol. cassette series with
> me in addition to songs from individual movies. I remember his Patita duet
> "Yaad Kiya Dilne Kaha..." which was blaring from the loudspeaker in a ...
>
> Binod.
>
Do you by any chance have Hemant's non-film geet:
diivaane dil kyo.n rotaa hai
duniyaa me.n dukh bhii hotaa hai
duniyaa me.n sukh bhii hotaa hai
tuu kyo.n itanaa ghabaraataa hai
Urzung Khan
Binod Thapa
I am just a starter and will surely give you the audio when I get hold of
it. I have put you in my list of things to do. But I do not know how long
it will take because I have very limited resources and not hobnob with music
guys here in Toronto. I am very much a family man and we just have four
families we visit or get visited by regularly because we believe in intense
relationships with a small circle instead of shallow relationships with the
masses -- we simply do not go after the votes and public adulation. Please
feel free to ask me anything else you want either in this NG or directly by
email to me. You can also ask me for other audio files too.
Regards and salaam.
Binod.
"Urzung Khan" <urz...@hotmail.com> wrote in message
news:3E6EA097...@hotmail.com...