FLASHBACK - A SPEAIAL SERIES CELEBRATING THE COMPLETION OF 75 YEARS
OF HFM

(Presented by Prabha Joshi on Vividh Bharati Pune)

EPISODE 1 (25/06/2006)
----------------------

Namaskaar & heartiest welcome to Flashback. From the title itself,
you might have guessed the content of this programme. The Hindi Film
Music has completed 75 glorious years and this series is a
celebration for the same. In the coming 10 weeks, we shall make a
journey through these 75 years. Film music has always been an
important medium to reach the masses. India has vast diversity
across its length and breadth, but films have always stitched the
people through a common thread. Before we start our journey from the
first Hindi talkie Alam Ara that was released on 14 March 1931, let
us have a brief look on the important developments in the world of
cinema. Film business in India may be dated back to 1896 when films
of the Lumiere Brothers (pioneers of the cinematograph in France on
28 December 1895) were exhibited at Watson Hotel, Bombay. Agents of
these brothers arranged the first cinema show in the same hotel on 7
July 1896. The first Indian film was The Return of Wrangler
Paranjapee shot in 1901 by Harishchandra Sakharam Bhatvadekar, who
had for the first time imported a cine-camera from London in 1897.
In 1907, J.F. Madan, in Calcutta, built the first cinema hall in
India, the Elphinstone Picture Palace. Dhundiraj Govind Phalke,
popularly known as Dada Saheb Phalke, is considered to be the Father
of Indian Cinema, who made the very first indigenous film titled as
The Birth of a Pea Plant, for which he exposed single frames of a
seed sprouting to a growing plant, shot once a day, over a month,
with his imported camera. The first full-length story film of
Phalke, Raja Harishchandra, was released at the Coronation cinema,
Bombay on April 21, 1913. This followed a number of silent movies by
a number of filmmakers. Though Imperial Movietone's Alam Ara was the
first full-length talkie feature film of India, J.F. Madan and J.J.
Madan of Madan Theaters Ltd., Calcutta had already received their
sound equipment from America and had released a two-reeler sound
film in Calcutta, in 1929. Some talkie shots produced by Madan
Theatres Ltd., Calcutta and Krishan Film Company, Bombay, were
released for the first time in the Lamingrone and Empress Cinemas in
Bombay on February 4, 1931. In the west, in Kolhapur, Baburao
Painter's Maharshtra Film Company was also making silent films. And
then finally came the historic day of 14 March 1931, which saw the
release of Alam Ara. Produced by Ardeshir Irani under the banner of
Imperial Film Company, this film had Vitthal and Zubeida in the lead
roles. The first Hindi film song was "de de khuda ke naam par pyare"
sung by Wazir Mohammad Khan in this film.

Motivated by the phenomenal success of Alam Ara, two big film
companies to emerge the very next year were B N Sircar's New
Theatres in Calcutta and Prabhat Film Company in Kolhapur, founded
by V Shantaram, V G Damle and S Fattehlal. Their first film was
Ayodhya Cha Raja, in Marathi, directed by Shantaram himself. It
proved to be a big hit which led him to make it in Hindi as well
with the name Ayodhya Ka Raja. Due to the non-availability of Alam
Ara's print, this film is now presented as the first available
talkie film. Ayodhya Ka Raja had launched the first Indian actress,
Durga Khote. During that time, performing arts by the women were not
considered "good" for the respectable families, cinema being the
last one. After Durga Khote, many others followed her. Govindrao
Tembe, the famous figure in Maharashtra's theatre world, composed
the music of this film. The other films released in 1932 by Prabhat
Films were Jalti Nishani and Maya Machinder.

--------------------------------------------
Song: aadi purusha narayan (Ayodhya Ka Raja)
--------------------------------------------

Films used to be based on historical and ancient stories. The other
release of Prabhat in 1932 was Maya Machhinder, whose story idea was
based on Govindrao Tembe's platy 'Siddha Sansar'. Let us listen to
one song from this film composed and sung by Govindrao himself.

---------------------------------------------------------------
Song: chhoD aakash ko sitaare zameen par aaye (Maya Machhinder)
---------------------------------------------------------------

There was no system of playback at that time and hence film actors
and actresses were required to have some expertise in singing as
well. Classical and folk music have long been an integral part of
Indian tradition and culture, and hence songs and music had to be
included in the films as well. In 1933, Prabhat Film Co shifted its
base from Kolhapur to Pune and produced the first film Sairandhri.

--------------------------
Song: Song from Sairandhri
--------------------------

In 1933, the New Theatres of Calcutta came with Puran Bhagat and
Yahudi Ki Ladki. Kundan Lal Saigal's rendition of "Radhe Rani de
Daaro na" in Puran Bhagat gave the hint that he is going to have a
glorious future.

-------------------------------------------
Song: Radhe Rani de Daaro na (Puran Bhagat)
-------------------------------------------

After shifting its base from Kolhapur to Pune in 1933 and building
its new soundproof studio, Prabhat Film Company released Amrit
Manthan in the following year. A fast moving tale of palace
intrigues, Amrit Manthan opposed the senseless violence of Hindu
rituals. Composed by K. Bhole and sung by Shanta Apte, two songs of
this film are worth mentionable. One is "Raatlaayi hai naya rang
jamaane ke liye " and the other is beat-less "Kamsini mein dil pe
gham ka baadh kyun". This was the first Hindi talkie to celebrate
silver jubilee at the Krishna Talkies in Bombay, by running for
twenty-nine weeks at one go. V. Shantaram emerged as a highly
socially responsible filmmaker with a powerful directorial
capability. The publicity leaflet that was distributed said, "Shanta
Apte made 200000 persons shed tears at Krishna Talkies". Though K.
Bhole's music was based on 'natya sangeet', he made use of
instruments like the piano and the violin.

--------------------------------------------------------------
Song: raat laayi hai naya rang jamaane ke liye (Amrit Manthan)
--------------------------------------------------------------

While the Marathi version of Amrit Manthan became immensely popular
in Maharashtra, the Hindi version was highly appreciated in the
North, the Punjab and Lahore.

------------------------------------------------------------
Song: Kamsini mein dil pe gham ka baaDh kyun (Amrit Manthan)
------------------------------------------------------------

The most happening film of 1934 was New Theatres' Chandidas. K.L.
Saigal formed pair with Uma Shashi, the film turned out to be a huge
hit and Saigal became a star in the true sense. Directed by Nitin
Bose, this film was previously made in Bangla in the year 1932 by
the same banner. Chandidas is the story of a Vaishnavite poet-priest
who falls in love with a low caste washerwoman and stands against
the conventional system.

-----------------------------------------
Song: taDapat beete din raina (Chandidas)
-----------------------------------------

Though majority of the songs were devotional, it gave clean
indication that the style of film music was changing. In the first
three years, songs used to be based on theatre music, but Chandidas
marks the beginning of popular film music. The specialty of the
songs of this film was that instruments like Manjira, Khol and
Mridang were used extensively, which is in contrast to the music of
most of the earlier films that used only harmonium and tabla.
Lyricist Agha Hashra Kashmiri had written the songs for this film.
Music director R.C. Boral created magic in the duet "Prem nagar mein
banayungi ghar main" sung by Saigal and Uma Shashi.

-----------------------------------------------------
Song: Prem nagar mein banayungi ghar main (Chandidas)
-----------------------------------------------------

Prabhat and the New Theatres had emerged as the two influencial film
production units of the country. 1934 saw the emergence of another
important company, the Bombay Talkies. The first Indian talkie to
release, in England, was an Anglo-Indian co-production, titled Karma
(titled Fate in the English version), in which Devika Rani co-
starred with Himanshu Rai. The English version was premiered in
London in May 1933, while the Hindi version was premiered at Bombay
on 27 January 1934. Daughter of Cornell Choudhury and grandniece of
Rabindranath Tagore, Devika Rani is considered as the First Lady of
the Indian Screen. She went to London in the 1920s to pursue a
degree in architecture from the Royal Academics of Art & Music.
There she met Himanshu Rai and got married to him. She entered the
film industry as a fashion designer for the silent film Prapanch
Pash in 1929 whose post-production was done in Germany. She got wide
acclaim for her work on an international scale. Karma, the double
version film, was her first film as an actress. After coming back to
India, they founded the Bombay Talkies in 1934, which during its
lifetime of 25 years made some of the highly popular films of that
period, both in terms of story as well as music, some of which are
popular among the masses till date. It should also be remembered
that BT was the first Public Ltd Company in the Indian film
industry. Nevertheless, a number of great filmstars, directors and
music directors had started their careers in Bombay Talkies.

The most happening film of 1935 was New Theatres' Devdas. Based on
the famous novel of Sarat Chandra Chattopadhyay, K.L. Saigal played
the title role with Jamuna, Rajkumari and Pahari Sanyal playing the
other main characters of Paro, Chandramukhi and Chunibabu
respectively. The film was a blockbuster making Saigal a superstar.
The words 'Saigal' and 'pathos' became synonymous. Devdas, directed
by Pramathesh Chandra Barua, who had also played the lead role in
the Bangla version of this film, established him as a grade one rank
filmmaker and New Theatres became a major film production studio.

---------------------------------------------
Song: baalam aaye baso more man mein (Devdas)
---------------------------------------------

Sarat Chandra's writing, Nitin Bose's direction, Timir Baran's
music, Bimay Roy's cinematography and K L Saigal's characterization
of Devdas, each one of these played vital role in the success of
this film.

------------------------------------------
Song: dukh ke din ab beetat naahi (Devdas)
------------------------------------------

The other films released by New Theatres this year were Dhoop
Chhaon, Bhagya Chakra, and Karwan-e-Hayat. The year 1935 is one of
the memorable years in the history of Hindi cinema as well as in the
history of Hindi Film Music. Music director R.C. Boral, with his
assistant Pankaj Mullick, in New Theatres introduced the system of
playback for the first time in India in the film Dhoop Chhaon. The
song was "teri gathri mein laaga chor musafir jaag zara" by K.C.
Dey.

------------------------------------------------
Song: teri gathri mein laaga chor (Dhoop Chhaon)
------------------------------------------------

In 1935, Bombay Talkies came up with their first production, Jawani
Ki Hawa, a film based on a story of a murder mystery. R.C. Boral and
K.L. Saigal had created magic in Chandidas. Govindrao Tembe and K.
Bhole were also associated with the Prabhat. Thus, to stand straight
in front of these major pillars of cine-music, Himanshu Rai was in
search for a new music director for his Bombay Talkies. His search
led him to the discovery of Khursheed Manchersher Minocher Homji,
known by Saraswati Devi. She had learnt music from Pt Vishnu Narayan
Bhatkhande. There was a huge protest in the Parsi community, as they
could not imagine a Parsi lady to work in the films and that too in
the field of music. Even morchas were taken out to prevent release
of the film. However, the film was released under police protection
at the Imperial Cinema. Being a public company, the Bombay Talkies
had four of its Board of Directors from the Parsi community who
wanted the Parsi girls out of the company. But Himanshu Rai stood in
support of them and to conceal their identity, Khursheed became
Saraswati Devi.

Wadia Movietone was known for its stunt films. In 1935, Homi Wadia
made Hunterwali starring Nadia and John Cavas, which was the first
superhit film of this banner. Nadia, the famous circus artiste in
Zacko's Russian troupe and a ballet dancer in Madame Astrova's
ballet troupe, was introduced in Wadia films by J.B.H. Wadia for his
real action based films. She was known as the Lady Robinhood and
holds a special position in the genre of stunt films.

Then came 1936. The political instability in the country was growing
faster. Gandhiji had started his mission to eradicate untouchability
and rural development while Pt Nehru, Netaji and others were busy in
the freedom struggle. In this situation, Bombay Talkies came up with
three films, all directed by Frenz Osten. These were Jeevan Naiya,
Achhut Kanya and Janmabhoomi. With Jeevan Naiya, Ashok Kumar had
made his debut in films. Achhut Kanya, starring Ashok Kumar and
Devika Rani was the most popular film of the day. With Saraswati
Devi in charge of music, the songs of this film rose to the heights
of popularity.

--------------------------------------------
Song: kit gaye ho khevanihaar (Achhut Kanya)
--------------------------------------------

Based on Niranjan Pal's story, Achhut Kanya brought out the grim
situation of untouchability. Pt Nehru and Sarojini Naidu had watched
this movie in the Bombay Talkies.

----------------------------------------------
Song: main ban ki chiDiya banke (Achhut Kanya)
----------------------------------------------

After the success of Amrit Manthan in 1934, V. Shantaram came up
with another social film Amar Jyoti in 1936. It had both Durga Khote
and Shanta Apte, the two most successful stars of the company. Amar
Jyoti was shown at the IV International Film Festival at Venice.
Back-projection was used for the first time in this film, and the
latest innovation of playback singing was exploited. The film
revolves around a wronged wife, rebelling against the different
standards of morality for men and women, forming a group of other
victims of similar injustice and becoming an outlaw. Composed by
Master Krishna Rao, the Shanta Apte number "Ab maine jaana hai haaye
prem kya hai, prem bana ab dil ki beri jo zevar maana hai, ishq-o-
dil hil-mil ke dosti mein ek hai, dil se agar ishq nikaale to dil
bhi jaata hai" brings out the pain effectively. Another song "suno
suno ban ke praani" also echoed throughout the country.

------------------------------------------
Song: suno suno ban ke praani (Amar Jyoti)
------------------------------------------

The New Theatres continued with Saigal and released Millionaire
(Karodpati), co-starring Molina Devi, Pahari Sanyal and Rajkumari,
lyrics by Kidar Sharma and music by R.C. Boral and Pankaj Mullick.
The memorable Saigal solo of this film is "Jagat mein prem hi prem
bhara hai, bina prem yahaan kachhu na bhara hai". Lets listen to
another rare number of this film in Saiga's voice.

--------------------------------
Song: beet chuki jo (Amar Jyoti)
--------------------------------

One important happenning of 1936 was the foundation of the Indian
Motion Pictures Association (IMPA).

The New Theatres released President in 1937. Directed by Nitin Bose,
President had Saigal, Kamlesh Kumari and Prithviraj Kapoor in the
lead roles. The songs of this film are memorable till date.

---------------------------------------
Song: ek bangla bane nyaara (President)
---------------------------------------

One more song of this film, basically a story teller, that brings
out Saigal's yet another aspect of singing.

--------------------------------------------------------
Song: ek raajya ka beTa lekar uDnewala ghoDa (President)
--------------------------------------------------------

One more film of New Theatres that was released in 1937 was Mukti,
directed by Pramathesh Barua, of the Devdas fame. In this film,
Pankaj Mullick used Rabindra Sangeet for the first time in a Hindi
film.

--------------------------------
Song: kaun des hai jaana (Mukti)
--------------------------------

The Prabhat Film Company released two films in 1937; the most
important one being V. Shantaram directed Duniya Na Maane that
created waves across the country. After touching burning social
issues in Amrit Manthan (1934) and Amar Jyoti (1936), Shantaram
continued his genre of films attacking the obsolete and wrong social
customs of our country, with Duniya Na Maane depicting the plight of
young women married to older men. Lets us listen to one song of this
film sung by Master Parshuram.

---------------------------------------------------
Song: man saaf tera hai ya naheen (Duniya Na Maane)
---------------------------------------------------

Music director Anil Biswas had made his debut in 1935 in the film
Dharam Ki Devi. In 1936 Mehboob Khan made Jagirdar in the Hollywood
style and Biswas was chosen the music director. Sung by Motilal and
Maya Banerjee, let us listen to this rare song from this film.

-----------------------------------------------------------------
Song: nadi kinaare baiThke aayo sur mein jee behlaayen (Jagirdar)
-----------------------------------------------------------------

So, this was the journey through the first 7 years of Hindi Talkies.
With this we come to an end of the first episode of this series. The
story would continue next week. Good-bye!

END OF EPISODE 1

Hi!
Music Lover>>

Iam Shahid Hussain and an ardent lover of music specially the golden era music.Which of course never fades with the passage of time but remains green ever.>>

The history of film music is incomplete sans-Rafi. The golden voice which haunts to date. His voice has truly expressed the innermost feelings of all of us. So Muhammad Rafi Singer (MRS) Yahoo Group is created by me in order to pay homeage to the very voice.>>

You are invited to your very own group.>>

My very dear Surhall Sahib (In Canada) always provides me courage and information about the rare treasure of music records he possesses.
And this group is also indebited to the our very dear Mr. Haneef  Ahmad (Holland) whose collection of Rafi`s songs is really mind-blowing. >>

I hope you will enjoy and also participate in the group of our very loved one Muhammad rafi.
I have uploaded few rare songs to start with.
If you wish to join the group please click the link  below now.>>

Thanks
Shahid Hussain(Owner Of MRS Group)>>

http://launch.groups.yahoo.com/group/muhammad_rafi_singer/>>

Hi Prabhaji,

These episodes covering the primitive years of HFM are not at all
boring but highly interesting and informative. Its useful not only
for those who belong to that era but also for those who missed that
era :)

Regds,
Sujoy

--- In vividhbharati@..., Praveen J <jopveen@y...>
wrote:
>
>   Hi Soojoi,
>   Thank you for compliments. Actually first 5/6 episodes will cover
era upto 1950. These episodes may be boring for young generation but,
I think they have lot of archival value. It is also very interesting
to look at transition phase of Indian Cinema and film music from pre-
independent, post independence to present phase. I am sure listeners
who belong to or can associate with that era will definitely enjoy
these episodes. My efforts will be to present information and songs
not commonly available or songs gone out of memory.
>   With regards,
>   Prabha
>
>
> soojoi_india <soojoi_india@y...> wrote:
>   Hi Prabhaji,
>
> First of all let me congratulate you for the great start of this
> series. And about the transcript, I was only joking. I have noted
> down the main points and shall post as a summary soon.
>
> Thanks for this great series.
>
> Sujoy
>
> --- In vividhbharati@..., "Praveen" <jopveen@y...>
> wrote:
> >
> > Hi Soojoi,
> > Transcript of the program is in Marathi I am not sure how that
will
> > help you?
> > Regards,
> > Prabha
> >
> > --- In vividhbharati@..., "soojoi_india"
> > <soojoi_india@y...> wrote:
> > >
> > > Thanks a lot Prabha-ji for this great initiative that u have
> > taken. I
> > > was really waiting for such a series since Suhana Safar had
> > completed.
> > >
> > > By the way, can I get the copyright of transcript for this
> > > programme? :) Then non-Punekars can atleast read the summary of
> > the
> > > programme.
> > >
> > > Regards,
> > > Sujoy
> > >
> > >
> > >
> > > --- In vividhbharati@..., Praveen J
<jopveen@y...>
> > > wrote:
> > > >
> > > > Dear Group Members,
> > > >
> > > >   Vividbharati Pune is going to broadcast new program `Flash
> > Back'
> > > from June 25, 2006 on every Sunday. Timing is from 10 a.m. to
11
> > a.m.
> > > This special program is on occasion of completion of 75 years
to
> > > Indian talkies. Program will narrate history on Indian hindi
film
> > > music from 1930 and will also play old classics and rare songs.
> > > Program will cover development of Indian hindi film music from
> > > initial days and will highlight the influence and impact of
> > > surrounding situation on changing trend of film music. Music
> > lovers
> > > will get pleasant surprise to listen some of the songs of those
> > > golden days not available easily in market today.
> > > >
> > > >   Program will be in Marathi and will be presented by Ms.
> Prabha
> > > Joshi. She had earlier presented `Suhana Safar' program
dedicated
> > to
> > > 25 great Music Directors from Vividbharati, Pune.
> > > >
> > > >   Please do listen and post your comments to group.
> > > >
> > > >   With regards,
> > > >
> > > >
> > > > ---------------------------------
> > > >  Yahoo! India Answers: Share what you know. Learn something
new
> > > Click here
> > > > Catch all the FIFA World Cup 2006 action on Yahoo! India
Click
> > here
> > > >
> > >
> >
>
>
>
>
>
>
>
>
> ---------------------------------
>  Yahoo! India Answers: Share what you know. Learn something new
Click here
> Catch all the FIFA World Cup 2006 action on Yahoo! India Click here
>

Hi Prabhaji,

First of all let me congratulate you for the great start of this
series. And about the transcript, I was only joking. I have noted
down the main points and shall post as a summary soon.

Thanks for this great series.

Sujoy

--- In vividhbharati@..., "Praveen" <jopveen@y...>
wrote:
>
> Hi Soojoi,
> Transcript of the program is in Marathi I am not sure how that will
> help you?
> Regards,
> Prabha
>
> --- In vividhbharati@..., "soojoi_india"
> <soojoi_india@y...> wrote:
> >
> > Thanks a lot Prabha-ji for this great initiative that u have
> taken. I
> > was really waiting for such a series since Suhana Safar had
> completed.
> >
> > By the way, can I get the copyright of transcript for this
> > programme? :) Then non-Punekars can atleast read the summary of
> the
> > programme.
> >
> > Regards,
> > Sujoy
> >
> >
> >
> > --- In vividhbharati@..., Praveen J <jopveen@y...>
> > wrote:
> > >
> > > Dear Group Members,
> > >
> > >   Vividbharati Pune is going to broadcast new program `Flash
> Back'
> > from June 25, 2006 on every Sunday. Timing is from 10 a.m. to 11
> a.m.
> > This special program is on occasion of completion of 75 years to
> > Indian talkies. Program will narrate history on Indian hindi film
> > music from 1930 and will also play old classics and rare songs.
> > Program will cover development of Indian hindi film music from
> > initial days and will highlight the influence and impact of
> > surrounding situation on changing trend of film music. Music
> lovers
> > will get pleasant surprise to listen some of the songs of those
> > golden days not available easily in market today.
> > >   
> > >   Program will be in Marathi and will be presented by Ms.
Prabha
> > Joshi. She had earlier presented `Suhana Safar' program dedicated
> to
> > 25 great Music Directors from Vividbharati, Pune.
> > >   
> > >   Please do listen and post your comments to group.
> > >   
> > >   With regards,
> > >
> > >                         
> > > ---------------------------------
> > >  Yahoo! India Answers: Share what you know. Learn something new
> > Click here
> > > Catch all the FIFA World Cup 2006 action on Yahoo! India Click
> here
> > >
> >
>

Hi Prabhaji,

First of all let me congratulate you for the great start of this
series. And about the transcript, I was only joking. I have noted
down the main points and shall post as a summary soon.

Thanks for this great series.

Sujoy

--- In vividhbharati@..., "Praveen" <jopveen@y...>
wrote:
>
> Hi Soojoi,
> Transcript of the program is in Marathi I am not sure how that will
> help you?
> Regards,
> Prabha
>
> --- In vividhbharati@..., "soojoi_india"
> <soojoi_india@y...> wrote:
> >
> > Thanks a lot Prabha-ji for this great initiative that u have
> taken. I
> > was really waiting for such a series since Suhana Safar had
> completed.
> >
> > By the way, can I get the copyright of transcript for this
> > programme? :) Then non-Punekars can atleast read the summary of
> the
> > programme.
> >
> > Regards,
> > Sujoy
> >
> >
> >
> > --- In vividhbharati@..., Praveen J <jopveen@y...>
> > wrote:
> > >
> > > Dear Group Members,
> > >
> > >   Vividbharati Pune is going to broadcast new program `Flash
> Back'
> > from June 25, 2006 on every Sunday. Timing is from 10 a.m. to 11
> a.m.
> > This special program is on occasion of completion of 75 years to
> > Indian talkies. Program will narrate history on Indian hindi film
> > music from 1930 and will also play old classics and rare songs.
> > Program will cover development of Indian hindi film music from
> > initial days and will highlight the influence and impact of
> > surrounding situation on changing trend of film music. Music
> lovers
> > will get pleasant surprise to listen some of the songs of those
> > golden days not available easily in market today.
> > >
> > >   Program will be in Marathi and will be presented by Ms.
Prabha
> > Joshi. She had earlier presented `Suhana Safar' program dedicated
> to
> > 25 great Music Directors from Vividbharati, Pune.
> > >
> > >   Please do listen and post your comments to group.
> > >
> > >   With regards,
> > >
> > >
> > > ---------------------------------
> > >  Yahoo! India Answers: Share what you know. Learn something new
> > Click here
> > > Catch all the FIFA World Cup 2006 action on Yahoo! India Click
> here
> > >
> >
>

Thanks a lot Rawat bhai. Great job!!!! :)
Sujoy


--- In vividhbharati@..., V S Rawat <vsrawat@g...>
wrote:
>
> To help Soojoi in transcribing the episodes, here is the transcript
of
> second episode.
>
> However, I got only second half recorded. So, it is not the
transcript
> of complete second episode, but only of its second half part.
counting
> on soojoi to add the missing portion.
>
> The 2.2 MB mp3 audio file has been loaded in the file section under
> Audio File folder.
>
> Ujale Unki Yadon Ke - Naushad - Part 2 (second half)
> UUYK 2 (2nd half) Naushad.mp3
> --
> Rawat
>
> Ujaale Unki Yaadon Ke - Naushad (Part 2 - Second half)
>
> SONG: O duniya ke rakhwale (Baiju bawra)
>
> NA: mai.nne majiid saahab ko likhaa thaa ki meraa aisaa\-aisaa haal
ho
> gayaa hai, kyaa karoo.N, to majiid saahab ne ek ##money-order##
bhejaa,
> naiimii saahab kii maarfat. ##restaurant## me.n mere saath, raat ko
> baiThe mere saath khaanaa khaane,
>
> "are bhaaii, tumhaaraa ek ##money-order## aayaa hai. bhaii tumhe.n
> zaruu_at pa.D gaii thii to mujhase kyo.n nahi.n kahaa? are mai.n,
aadil
> saahab kyaa soche.nge ki mai.n is qaabil bhii nahi.n thaa ki mai.n
> tumhaarii ko_ii madad karataa."
>
> mai.nne kahaa ki mai.nne yah sochaa ki jo sar chhupaane kii jagah
bhii
> milii hai shaayad yah bhii kho duu.N. agar aapase yah mai.n
darKhwaast
> karuu.Ngaa to aapakii nazaro.n se gir jaauu.Ngaa.
>
> "tumhaare paas ##Diary## rahatii thii. jeb me.n rakhate ho? abhii
hai?"
>
> mai.nne kahaa, "jii haa.N".
>
> "likho. jo mai.n likhaataa huu.N."
>
> mai.nne kahaa "faramaa_iye."
>
> unho.nne kahaa, "likho. tum jis maqasad ke liye aaye ho, ek din
isame.n
> qaamayaabii haasil karoge. mai.n agar zi.ndaa rahaa, to tumako
salaam
> karane aa_uu.Ngaa."
>
> mai.nne kahaa, "naiimii saahab, kis ummiid par aapane yah jumalaa
> likhawaayaa mujhase? mujhame.n koii Khuubii nahii.n hai, aapane
kyaa
> dekhaa? kuchh to mai.n jaanataa bhii nahii.n huu.N mausiiqii ke
baare
> me.n bhii."
>
> kah rahe, "dekho. tum do mahiine se paidal aate-jaate ho, yah ma_ii
juun
> kaa mahiinaa. garmiyo.n me.n, aur tumane uf tak nahii.n kii.
mujhase
> kabhii sawaal nahii.n kiyaa. to jo tumhaarii lagan hai, wo tumhe.n
le
> kar jaayegii ma.nzil tak."
>
> SONG: aaj puraanii raaho.n se koii mujhe aawaaz na de (Aadmi)
>
> NA: ek din gaffoor saahab se mulaaqaat huii, ##film city## ke
##gate##
> par. aur wo mujhe le gaye, mushtaaq husain saahab se milaayaa. aur
> mushtaaq husain saahab ne mujhase kuchh sunaa. usake baad unho.nne
> kahaa, "achchhaa. tum kal se aao. mere saath kaam karo."
>
> to mai.n, kabhi peTii bajaa_uu.N, kabhii pyaano bajaa_uu.N, aise,
jo
> saaz wo de de.n, tiis rupaye mahiine par wahaa.N naukarii milii.
yah
> pahalaa ittefaaq thaa.
>
> SONG: jhuum jhuum ke naacho aaj, naacho aaj (Andaz)
>
> NA: us waqt ##contract business## nahii.n thaa. ##payroll## par
asad
> hotii thii. to saab. wahaa.N mai.nne. shaayad wo ##picture##
aaKhirii
> thii. kuchh usakaa kaam baaqii rah gayaa thaa. ##film## niraalaa
> hi.ndustaan. usame.n mai.n shaamil huaa. aur ek gaanaa baaGabaan
kaa
> bhii thaa. jisame.n mai.n shaamil huaa thaa. to mushtaaq husain
saahab
> ke saath mujhe ba.Daa, wahaa.N, mauqaa milaa. kuchh karataa rahaa
mai.n.
> phir wo ##picture## Khatam ho gaii. ##picture## Khatam ho gaii. to,
mere
> Khayaal se, ek do yaa tiin mahiine kaa mauqaa milaa thaa.
>
> usake baad mushtaaq husain saahab ne kahaa, dekho beTaa, wo mai.n,
##E M
> I NDIA, Record Company## thii us waqt yahaa.N, "flora fountain##
par.
> usame.n koi ##private recording## kaa ##contract## unho.nne kiyaa
thaa,
> koii giit waGairah kaa. mujhe usame.n bhii unho.nne shaamil kiyaa.
to
> kuchh ##compose## kare.n to mujhe bhii biThaaye.n ki dekho kaisaa
rahaa.
> , ustaad bahut achchhaa. to mai.n bhii kuchh ##suggestion##
waGairah
> duu.N to bahut pasa.nd kare.n.
>
> to mushtaaq husain saahab mujhe zaraa ba.Dhaawaa dene lage.
>
> usake baad mushtaaq husain saahab ko ek ##film## aur milii.
##film## kaa
> ##title## thaa sitaaraa. izaraa miir ek the, yahuudii. wo usake
> ##director, producer## the. usame.n mushtaaq husain saahab ko
rakhaa
> gayaa. lekin unako ##music## chaahiye thaa kuchh ##gypsy style##
kaa.
> unakii kahaanii jo thii wo us qisam kii thii. to rafii Gazanavii
saahab
> ko bulaayaa gayaa. to rafii Gazanavii saahab ne apanaa ra.ng
sunaayaa
> unhe.n. phir saahab, rafii Gazanavii saahab ko wo ##picture## mil
gaii.
> ham log ko wahaa.N se nikaalaa gayaa. ab ham mushtaaq husain saahab
kaa
> puuraa ##staff## niiche utar rahaa hai. aur uupar jaane. aur unake
saath
> tabalaa jo bajaate the wo sii.Dhii pe mujhe mile. wo Gulaam
Mohammad the.
>
> interlude music: yuu.N hii koii mil gayaa thaa (Pakeezah)
>
> Khair. sii.Dhii par alaam-salaam huaa. Khair. ham log jaa rahe
hai.n
> mu.Nh phailaaye, ham log niiche utar rahe hai.n. Khair.
>
> aur usake baad phir ham ##try## karate rahe idhar-udhar. ek prem
adiib
> saahab mile mujhe. kahane lage, "dekho. ek mere dost hai.n seTh
> banaatawaalaa. unako ba.Daa shauq hai koii ##recording company##
banaane
> kaa. to tum mere saath chalo."
>
> le gaye. unase milaayaa banaatawaalaa se. bole ki "bhaii, ye
##music##,
> ye de.nge. aur bahut samajhadaar hai.n."
>
> phir ##grant road## par ek ##office## liyaa gayaa. ##rainbow
recording
> company## usakaa naam rakhaa gayaa. ab usame.n ham ##music
composer##
> kii haisiyat se rakhe gaye. to prem adiib phir usake ##partner##
bhii
> bane, ##company## ke.
>
> achchhaa. ham log ##recording## karate the, ##private recording##
jaise
> qawwaaliyaa.N, bhajan hai.n, is qisam kii. Gazal hai.n. yah bhii
> silasilaa rahaa. usake baad wo ##rainbow recording## bhii ba.nd ho
gaii,
> ##company##.
>
> phir usake baad ek ishtihaar mai.nne pa.Dhaa ki khetawaa.De me.n,
ek
> ##office## hai, yah ##address## hai, yah ##telephone number## hai.
aur
> usame.n ##musician##o.n kii zaruurat hai. ek ##film company## ban
rahii
> hai ##new picture## ke naam se. salamaan saaheb ek the banaaras ke,
wo
> usake ##manager## the. to unako sab ##application## dete the.
> maanakaa(?) "baiThiye, baiThiye."
>
> ##music## jo de rahe the ustaad jha.nDe Khaa.N saahab. to ustaad
jha.nDe
> Khaa.N saahab kaa ##theatre## kii duniyaa se mai.n naam sunataa aa
rahaa
> thaa. ki ##theatre## me.n us zamaane me.n jo ##stage play## hote
the
> usame.n sab ##classical music## kaa istemaal hotaa thaa. bandishe.n
sab
> Khayaal kii. aur asthaaii antare aur Thumarii. to saahab wahaa.N
andar
> ##trial## ho rahaa thaa. sab log jo ##trial## dene aaye
##musician##
> bahut achchhaa=achchhaa wo sunaa rahe. to mainne kahaa ki merii to
> isame.n koii jagah hii nahii.n ho sakatii, mai.n to kuchh bhii
nahii.n
> huu.N, itanaa achchhaa log sunaa rahe hai.n ustaad jha.nDe Khaa.N
saahab
> ko, mai.n kyaa sunaa_uu.N. phir jab meraa ##number## aane lagaa to
mai.n
> wahaa.N se bhaag kha.Daa huaa. to uupar salamaan saahab ne aawaaz
dii,
> "are, are. idhar aaiye." wo zabaradastii le gaye uupar. aur mujhe
wo
> ##room## me.n Dhakel diyaa unho.nne.
>
> ustaad jha.nDe Khaa.N saahab baiThe huye the.
>
> "sunaao kuchh."
>
> mai.nne kahaa, "ustaab mujhe kuchh nahii.n maaluum. itanaa
> achchaa-achchhaa logo.n ne sunaayaa. unake aage merii koii haisiyat
hii
> nahii.n. mai.n aapako kyaa sunaa_uu.Ngaa huzuur. bas aapake diidaar
ho
> gaye, yahii mere liye bahut hai."
>
> SONG: bin guruu GYaan kahaa.N se paauu.N (baiju baawra)
>
> =============
> End of Second Episode
>

Hi,

This is episode 3.

Sujoy

--- In vividhbharati@..., V S Rawat <vsrawat@g...>
wrote:
>
> To help Soojoi in transcribing the episodes, here is the transcript
of
> second episode.
>
> However, I got only second half recorded. So, it is not the
transcript
> of complete second episode, but only of its second half part.
counting
> on soojoi to add the missing portion.
>
> The 2.2 MB mp3 audio file has been loaded in the file section under
> Audio File folder.
>
> Ujale Unki Yadon Ke - Naushad - Part 2 (second half)
> UUYK 2 (2nd half) Naushad.mp3
> --
> Rawat
>
> Ujaale Unki Yaadon Ke - Naushad (Part 2 - Second half)
>
> SONG: O duniya ke rakhwale (Baiju bawra)
>
> NA: mai.nne majiid saahab ko likhaa thaa ki meraa aisaa\-aisaa haal
ho
> gayaa hai, kyaa karoo.N, to majiid saahab ne ek ##money-order##
bhejaa,
> naiimii saahab kii maarfat. ##restaurant## me.n mere saath, raat ko
> baiThe mere saath khaanaa khaane,
>
> "are bhaaii, tumhaaraa ek ##money-order## aayaa hai. bhaii tumhe.n
> zaruu_at pa.D gaii thii to mujhase kyo.n nahi.n kahaa? are mai.n,
aadil
> saahab kyaa soche.nge ki mai.n is qaabil bhii nahi.n thaa ki mai.n
> tumhaarii ko_ii madad karataa."
>
> mai.nne kahaa ki mai.nne yah sochaa ki jo sar chhupaane kii jagah
bhii
> milii hai shaayad yah bhii kho duu.N. agar aapase yah mai.n
darKhwaast
> karuu.Ngaa to aapakii nazaro.n se gir jaauu.Ngaa.
>
> "tumhaare paas ##Diary## rahatii thii. jeb me.n rakhate ho? abhii
hai?"
>
> mai.nne kahaa, "jii haa.N".
>
> "likho. jo mai.n likhaataa huu.N."
>
> mai.nne kahaa "faramaa_iye."
>
> unho.nne kahaa, "likho. tum jis maqasad ke liye aaye ho, ek din
isame.n
> qaamayaabii haasil karoge. mai.n agar zi.ndaa rahaa, to tumako
salaam
> karane aa_uu.Ngaa."
>
> mai.nne kahaa, "naiimii saahab, kis ummiid par aapane yah jumalaa
> likhawaayaa mujhase? mujhame.n koii Khuubii nahii.n hai, aapane
kyaa
> dekhaa? kuchh to mai.n jaanataa bhii nahii.n huu.N mausiiqii ke
baare
> me.n bhii."
>
> kah rahe, "dekho. tum do mahiine se paidal aate-jaate ho, yah ma_ii
juun
> kaa mahiinaa. garmiyo.n me.n, aur tumane uf tak nahii.n kii.
mujhase
> kabhii sawaal nahii.n kiyaa. to jo tumhaarii lagan hai, wo tumhe.n
le
> kar jaayegii ma.nzil tak."
>
> SONG: aaj puraanii raaho.n se koii mujhe aawaaz na de (Aadmi)
>
> NA: ek din gaffoor saahab se mulaaqaat huii, ##film city## ke
##gate##
> par. aur wo mujhe le gaye, mushtaaq husain saahab se milaayaa. aur
> mushtaaq husain saahab ne mujhase kuchh sunaa. usake baad unho.nne
> kahaa, "achchhaa. tum kal se aao. mere saath kaam karo."
>
> to mai.n, kabhi peTii bajaa_uu.N, kabhii pyaano bajaa_uu.N, aise,
jo
> saaz wo de de.n, tiis rupaye mahiine par wahaa.N naukarii milii.
yah
> pahalaa ittefaaq thaa.
>
> SONG: jhuum jhuum ke naacho aaj, naacho aaj (Andaz)
>
> NA: us waqt ##contract business## nahii.n thaa. ##payroll## par
asad
> hotii thii. to saab. wahaa.N mai.nne. shaayad wo ##picture##
aaKhirii
> thii. kuchh usakaa kaam baaqii rah gayaa thaa. ##film## niraalaa
> hi.ndustaan. usame.n mai.n shaamil huaa. aur ek gaanaa baaGabaan
kaa
> bhii thaa. jisame.n mai.n shaamil huaa thaa. to mushtaaq husain
saahab
> ke saath mujhe ba.Daa, wahaa.N, mauqaa milaa. kuchh karataa rahaa
mai.n.
> phir wo ##picture## Khatam ho gaii. ##picture## Khatam ho gaii. to,
mere
> Khayaal se, ek do yaa tiin mahiine kaa mauqaa milaa thaa.
>
> usake baad mushtaaq husain saahab ne kahaa, dekho beTaa, wo mai.n,
##E M
> I NDIA, Record Company## thii us waqt yahaa.N, "flora fountain##
par.
> usame.n koi ##private recording## kaa ##contract## unho.nne kiyaa
thaa,
> koii giit waGairah kaa. mujhe usame.n bhii unho.nne shaamil kiyaa.
to
> kuchh ##compose## kare.n to mujhe bhii biThaaye.n ki dekho kaisaa
rahaa.
> , ustaad bahut achchhaa. to mai.n bhii kuchh ##suggestion##
waGairah
> duu.N to bahut pasa.nd kare.n.
>
> to mushtaaq husain saahab mujhe zaraa ba.Dhaawaa dene lage.
>
> usake baad mushtaaq husain saahab ko ek ##film## aur milii.
##film## kaa
> ##title## thaa sitaaraa. izaraa miir ek the, yahuudii. wo usake
> ##director, producer## the. usame.n mushtaaq husain saahab ko
rakhaa
> gayaa. lekin unako ##music## chaahiye thaa kuchh ##gypsy style##
kaa.
> unakii kahaanii jo thii wo us qisam kii thii. to rafii Gazanavii
saahab
> ko bulaayaa gayaa. to rafii Gazanavii saahab ne apanaa ra.ng
sunaayaa
> unhe.n. phir saahab, rafii Gazanavii saahab ko wo ##picture## mil
gaii.
> ham log ko wahaa.N se nikaalaa gayaa. ab ham mushtaaq husain saahab
kaa
> puuraa ##staff## niiche utar rahaa hai. aur uupar jaane. aur unake
saath
> tabalaa jo bajaate the wo sii.Dhii pe mujhe mile. wo Gulaam
Mohammad the.
>
> interlude music: yuu.N hii koii mil gayaa thaa (Pakeezah)
>
> Khair. sii.Dhii par alaam-salaam huaa. Khair. ham log jaa rahe
hai.n
> mu.Nh phailaaye, ham log niiche utar rahe hai.n. Khair.
>
> aur usake baad phir ham ##try## karate rahe idhar-udhar. ek prem
adiib
> saahab mile mujhe. kahane lage, "dekho. ek mere dost hai.n seTh
> banaatawaalaa. unako ba.Daa shauq hai koii ##recording company##
banaane
> kaa. to tum mere saath chalo."
>
> le gaye. unase milaayaa banaatawaalaa se. bole ki "bhaii, ye
##music##,
> ye de.nge. aur bahut samajhadaar hai.n."
>
> phir ##grant road## par ek ##office## liyaa gayaa. ##rainbow
recording
> company## usakaa naam rakhaa gayaa. ab usame.n ham ##music
composer##
> kii haisiyat se rakhe gaye. to prem adiib phir usake ##partner##
bhii
> bane, ##company## ke.
>
> achchhaa. ham log ##recording## karate the, ##private recording##
jaise
> qawwaaliyaa.N, bhajan hai.n, is qisam kii. Gazal hai.n. yah bhii
> silasilaa rahaa. usake baad wo ##rainbow recording## bhii ba.nd ho
gaii,
> ##company##.
>
> phir usake baad ek ishtihaar mai.nne pa.Dhaa ki khetawaa.De me.n,
ek
> ##office## hai, yah ##address## hai, yah ##telephone number## hai.
aur
> usame.n ##musician##o.n kii zaruurat hai. ek ##film company## ban
rahii
> hai ##new picture## ke naam se. salamaan saaheb ek the banaaras ke,
wo
> usake ##manager## the. to unako sab ##application## dete the.
> maanakaa(?) "baiThiye, baiThiye."
>
> ##music## jo de rahe the ustaad jha.nDe Khaa.N saahab. to ustaad
jha.nDe
> Khaa.N saahab kaa ##theatre## kii duniyaa se mai.n naam sunataa aa
rahaa
> thaa. ki ##theatre## me.n us zamaane me.n jo ##stage play## hote
the
> usame.n sab ##classical music## kaa istemaal hotaa thaa. bandishe.n
sab
> Khayaal kii. aur asthaaii antare aur Thumarii. to saahab wahaa.N
andar
> ##trial## ho rahaa thaa. sab log jo ##trial## dene aaye
##musician##
> bahut achchhaa=achchhaa wo sunaa rahe. to mainne kahaa ki merii to
> isame.n koii jagah hii nahii.n ho sakatii, mai.n to kuchh bhii
nahii.n
> huu.N, itanaa achchhaa log sunaa rahe hai.n ustaad jha.nDe Khaa.N
saahab
> ko, mai.n kyaa sunaa_uu.N. phir jab meraa ##number## aane lagaa to
mai.n
> wahaa.N se bhaag kha.Daa huaa. to uupar salamaan saahab ne aawaaz
dii,
> "are, are. idhar aaiye." wo zabaradastii le gaye uupar. aur mujhe
wo
> ##room## me.n Dhakel diyaa unho.nne.
>
> ustaad jha.nDe Khaa.N saahab baiThe huye the.
>
> "sunaao kuchh."
>
> mai.nne kahaa, "ustaab mujhe kuchh nahii.n maaluum. itanaa
> achchaa-achchhaa logo.n ne sunaayaa. unake aage merii koii haisiyat
hii
> nahii.n. mai.n aapako kyaa sunaa_uu.Ngaa huzuur. bas aapake diidaar
ho
> gaye, yahii mere liye bahut hai."
>
> SONG: bin guruu GYaan kahaa.N se paauu.N (baiju baawra)
>
> =============
> End of Second Episode
>

To help Soojoi in transcribing the episodes, here is the transcript of
second episode.

However, I got only second half recorded. So, it is not the transcript
of complete second episode, but only of its second half part. counting
on soojoi to add the missing portion.

The 2.2 MB mp3 audio file has been loaded in the file section under
Audio File folder.

Ujale Unki Yadon Ke - Naushad - Part 2 (second half)
UUYK 2 (2nd half) Naushad.mp3
--
Rawat

Ujaale Unki Yaadon Ke - Naushad (Part 2 - Second half)

SONG: O duniya ke rakhwale (Baiju bawra)

NA: mai.nne majiid saahab ko likhaa thaa ki meraa aisaa\-aisaa haal ho
gayaa hai, kyaa karoo.N, to majiid saahab ne ek ##money-order## bhejaa,
naiimii saahab kii maarfat. ##restaurant## me.n mere saath, raat ko
baiThe mere saath khaanaa khaane,

"are bhaaii, tumhaaraa ek ##money-order## aayaa hai. bhaii tumhe.n
zaruu_at pa.D gaii thii to mujhase kyo.n nahi.n kahaa? are mai.n, aadil
saahab kyaa soche.nge ki mai.n is qaabil bhii nahi.n thaa ki mai.n
tumhaarii ko_ii madad karataa."

mai.nne kahaa ki mai.nne yah sochaa ki jo sar chhupaane kii jagah bhii
milii hai shaayad yah bhii kho duu.N. agar aapase yah mai.n darKhwaast
karuu.Ngaa to aapakii nazaro.n se gir jaauu.Ngaa.

"tumhaare paas ##Diary## rahatii thii. jeb me.n rakhate ho? abhii hai?"

mai.nne kahaa, "jii haa.N".

"likho. jo mai.n likhaataa huu.N."

mai.nne kahaa "faramaa_iye."

unho.nne kahaa, "likho. tum jis maqasad ke liye aaye ho, ek din isame.n
qaamayaabii haasil karoge. mai.n agar zi.ndaa rahaa, to tumako salaam
karane aa_uu.Ngaa."

mai.nne kahaa, "naiimii saahab, kis ummiid par aapane yah jumalaa
likhawaayaa mujhase? mujhame.n koii Khuubii nahii.n hai, aapane kyaa
dekhaa? kuchh to mai.n jaanataa bhii nahii.n huu.N mausiiqii ke baare
me.n bhii."

kah rahe, "dekho. tum do mahiine se paidal aate-jaate ho, yah ma_ii juun
kaa mahiinaa. garmiyo.n me.n, aur tumane uf tak nahii.n kii. mujhase
kabhii sawaal nahii.n kiyaa. to jo tumhaarii lagan hai, wo tumhe.n le
kar jaayegii ma.nzil tak."

SONG: aaj puraanii raaho.n se koii mujhe aawaaz na de (Aadmi)

NA: ek din gaffoor saahab se mulaaqaat huii, ##film city## ke ##gate##
par. aur wo mujhe le gaye, mushtaaq husain saahab se milaayaa. aur
mushtaaq husain saahab ne mujhase kuchh sunaa. usake baad unho.nne
kahaa, "achchhaa. tum kal se aao. mere saath kaam karo."

to mai.n, kabhi peTii bajaa_uu.N, kabhii pyaano bajaa_uu.N, aise, jo
saaz wo de de.n, tiis rupaye mahiine par wahaa.N naukarii milii. yah
pahalaa ittefaaq thaa.

SONG: jhuum jhuum ke naacho aaj, naacho aaj (Andaz)

NA: us waqt ##contract business## nahii.n thaa. ##payroll## par asad
hotii thii. to saab. wahaa.N mai.nne. shaayad wo ##picture## aaKhirii
thii. kuchh usakaa kaam baaqii rah gayaa thaa. ##film## niraalaa
hi.ndustaan. usame.n mai.n shaamil huaa. aur ek gaanaa baaGabaan kaa
bhii thaa. jisame.n mai.n shaamil huaa thaa. to mushtaaq husain saahab
ke saath mujhe ba.Daa, wahaa.N, mauqaa milaa. kuchh karataa rahaa mai.n.
phir wo ##picture## Khatam ho gaii. ##picture## Khatam ho gaii. to, mere
Khayaal se, ek do yaa tiin mahiine kaa mauqaa milaa thaa.

usake baad mushtaaq husain saahab ne kahaa, dekho beTaa, wo mai.n, ##E M
I NDIA, Record Company## thii us waqt yahaa.N, "flora fountain## par.
usame.n koi ##private recording## kaa ##contract## unho.nne kiyaa thaa,
koii giit waGairah kaa. mujhe usame.n bhii unho.nne shaamil kiyaa. to
kuchh ##compose## kare.n to mujhe bhii biThaaye.n ki dekho kaisaa rahaa.
, ustaad bahut achchhaa. to mai.n bhii kuchh ##suggestion## waGairah
duu.N to bahut pasa.nd kare.n.

to mushtaaq husain saahab mujhe zaraa ba.Dhaawaa dene lage.

usake baad mushtaaq husain saahab ko ek ##film## aur milii. ##film## kaa
##title## thaa sitaaraa. izaraa miir ek the, yahuudii. wo usake
##director, producer## the. usame.n mushtaaq husain saahab ko rakhaa
gayaa. lekin unako ##music## chaahiye thaa kuchh ##gypsy style## kaa.
unakii kahaanii jo thii wo us qisam kii thii. to rafii Gazanavii saahab
ko bulaayaa gayaa. to rafii Gazanavii saahab ne apanaa ra.ng sunaayaa
unhe.n. phir saahab, rafii Gazanavii saahab ko wo ##picture## mil gaii.
ham log ko wahaa.N se nikaalaa gayaa. ab ham mushtaaq husain saahab kaa
puuraa ##staff## niiche utar rahaa hai. aur uupar jaane. aur unake saath
tabalaa jo bajaate the wo sii.Dhii pe mujhe mile. wo Gulaam Mohammad the.

interlude music: yuu.N hii koii mil gayaa thaa (Pakeezah)

Khair. sii.Dhii par alaam-salaam huaa. Khair. ham log jaa rahe hai.n
mu.Nh phailaaye, ham log niiche utar rahe hai.n. Khair.

aur usake baad phir ham ##try## karate rahe idhar-udhar. ek prem adiib
saahab mile mujhe. kahane lage, "dekho. ek mere dost hai.n seTh
banaatawaalaa. unako ba.Daa shauq hai koii ##recording company## banaane
kaa. to tum mere saath chalo."

le gaye. unase milaayaa banaatawaalaa se. bole ki "bhaii, ye ##music##,
ye de.nge. aur bahut samajhadaar hai.n."

phir ##grant road## par ek ##office## liyaa gayaa. ##rainbow recording
company## usakaa naam rakhaa gayaa. ab usame.n ham ##music composer##
kii haisiyat se rakhe gaye. to prem adiib phir usake ##partner## bhii
bane, ##company## ke.

achchhaa. ham log ##recording## karate the, ##private recording## jaise
qawwaaliyaa.N, bhajan hai.n, is qisam kii. Gazal hai.n. yah bhii
silasilaa rahaa. usake baad wo ##rainbow recording## bhii ba.nd ho gaii,
##company##.

phir usake baad ek ishtihaar mai.nne pa.Dhaa ki khetawaa.De me.n, ek
##office## hai, yah ##address## hai, yah ##telephone number## hai. aur
usame.n ##musician##o.n kii zaruurat hai. ek ##film company## ban rahii
hai ##new picture## ke naam se. salamaan saaheb ek the banaaras ke, wo
usake ##manager## the. to unako sab ##application## dete the.
maanakaa(?) "baiThiye, baiThiye."

##music## jo de rahe the ustaad jha.nDe Khaa.N saahab. to ustaad jha.nDe
Khaa.N saahab kaa ##theatre## kii duniyaa se mai.n naam sunataa aa rahaa
thaa. ki ##theatre## me.n us zamaane me.n jo ##stage play## hote the
usame.n sab ##classical music## kaa istemaal hotaa thaa. bandishe.n sab
Khayaal kii. aur asthaaii antare aur Thumarii. to saahab wahaa.N andar
##trial## ho rahaa thaa. sab log jo ##trial## dene aaye ##musician##
bahut achchhaa=achchhaa wo sunaa rahe. to mainne kahaa ki merii to
isame.n koii jagah hii nahii.n ho sakatii, mai.n to kuchh bhii nahii.n
huu.N, itanaa achchhaa log sunaa rahe hai.n ustaad jha.nDe Khaa.N saahab
ko, mai.n kyaa sunaa_uu.N. phir jab meraa ##number## aane lagaa to mai.n
wahaa.N se bhaag kha.Daa huaa. to uupar salamaan saahab ne aawaaz dii,
"are, are. idhar aaiye." wo zabaradastii le gaye uupar. aur mujhe wo
##room## me.n Dhakel diyaa unho.nne.

ustaad jha.nDe Khaa.N saahab baiThe huye the.

"sunaao kuchh."

mai.nne kahaa, "ustaab mujhe kuchh nahii.n maaluum. itanaa
achchaa-achchhaa logo.n ne sunaayaa. unake aage merii koii haisiyat hii
nahii.n. mai.n aapako kyaa sunaa_uu.Ngaa huzuur. bas aapake diidaar ho
gaye, yahii mere liye bahut hai."

SONG: bin guruu GYaan kahaa.N se paauu.N (baiju baawra)

=============
End of Second Episode

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mere pyare fauji bhaiyon ko Asha ka namaskaar. aapko namaskaar kehna
aapki tauheen hogi. na jaane aap kahaan kahan baiThe honge, barf
par, sarhadon par, aur hamari raksha kar rahe honge. aap ko to jhuk
kar pranaam karna chaahiye. aaj aap mere pasand ke kuchh gaane
sunnewale hain. asha hai aapko yeh gaane pasand aayenge. to suniye
mere pasand ka pehla geet.

Song: panchhi ko jaana hai panchhi uD jaayenge (Paise Ki Gudiya)

yeh jo buland aawaaz aap sun rahe hain, aisi aawaaz bhagwaan hazaar
saalon mein ek baar paidaa karti hai. is aawaaz ki gehraai aur
oonchaai ka kya kehna. main Rafi saahab ko kaha karti thi ki aap jab
tak chaahen gaate rahenge. aap yeh geet suniye jo mujhe bahut pasand
hai, "panchhi ko jaana hai panchhi uD jaayenge". kise pataa tha ki
yeh panchhi itni jaldi hamein chhoD kar uD jaayegaa.

The song "panchhi ko jaana hai panchhi uD jaayenge" continues.

aap ko ek baat bataayun, jab main 15 saal ki thi, tabhi Hemant mere
god mein aa gaya tha aur woh mujhe apni baDi bahen se zyaada kuchh
bhi naheen maanta tha. har baat mein zid karta, kabhi khaane mein
zid to kabhi sone mein zid. ek baar maine usey 'bathroom' mein band
kar diya to woh paani bhar bhar kar darwaaze se baahar phenkne lagaa
aur poora ghar paani se bharne lagaa. aisa naTkhaT tha mera Hemant.
baad mein sangeetkaar banne ke baad jab maine uska banaaya huya film
Shraddhanjali ka yeh geet gaane lagi, to woh natKhaTpan yaad aa gaya.

Song: haaye baDaa naTkhaT hai baDa shaitaan (Shraddhanjali)

ek baat aur kahoon? is geet ko maine Kishore-da ke beTe Amit ke
saath milkar gaaya tha. kitni ajeeb baat hai na, ek taraf mera beTa
sangeet de raha hai aur doosri taraf main Kishore-da ke beTe ke
saath woh geet gaa rahi hoon.

The song "haaye baDaa naTkhaT hai baDa shaitaan" continues.

beTe ke saath saath mujhe mere bhai ka bachpan bhi yaad aa raha hai.
usey main apne beTe se bhi zyaada pyar karti hoon. jee haan,
Hridaynath, jo aajkal aapke liye pyari pyari dhune bana raha hai.
jab woh chhoTa tha main usey apni godi mein taange rehti aur woh
meri baal kheenchta. kabhi maa se jaakar kehta ki 'isey aur maar,
aur maar' (laughs). to leejiye Hridaynath ke sangeet nirdeshan mein
suniye film Dhanwaan ka geet jisey Lata didi aur Suresh Wadekar ne
gaaya hai. uresh ke baare mein main kehna chaahoongi ki woh 8 saal
ki umra se 'classical' seekh raha hai aur uski aawaaz mein wohi baat
hai jo kisi bhi 'classical' seekhe huye kalakaar ke gale mein hoti
hai. mujhe asha hai ki woh naam karega.

Song: yeh aankhen dekhkar hum saari duniya bhool jaate hain
(Dhanwaan)

ab jo gaana main aapko sunwaane jaa rahi hoon woh Marathi mein hai,
jo ki meri maatribhaasha hai. aap shaayad is geet ka arth na samajh
paayen lekin iski miThaas mein zaroor kho jaayenge. yeh ek premgeet
hai. yun to mujhe mere gaaye huye gaane pasand naheen aate, lekin
yeh geet mujhe pasand hai. isey mere chhoTe bhai ne bahut achchha
sangeet diya hai aur shaayad maine gaaya bhi achchha hai, zara
suniye to...

Song: karuNa aali raatra azuna (Marathi Song)

fauji bhaaiyon, hum logon ko filmi gaanegaate huye bahut lamba arsa
ho gaya hai, isliye aajkal filmi geet gaane mein zyaada mushkil
naheen hoti. lekin is film ne mujhe sochne par majboor kar diya tha.
Umraojaan ke liye jab Khayyam saahab mere ghar aaye aur kaha ki
yeh 'picture' ek 100 saal puraani kahani par aadharit hai to aine
unse kaha ki aap mujhe woh kitaab de deejiye. maine kitaab paDhee
aur apni aawaaz ka 'tone' alag kiya, taane aur harkat ko kaabu mein
rakhne ki koshish kee. aap ne dekhaa hoga ki maine Umraojaan ke
geeton mein taane naheen lee hain. log mujhse poochte ki aisa kyun
kiya? Khayyam saahab ne bhi logon se kaha ki yeh gaane shaayrana
hai, inmein taane zaroori naheen hai. isi 'picture' ka ek gaana
suniye "dil cheez kya hai aap meri jaan leejiye"

Song: dil cheez kya hai aap meri jaan leejiye (Umraojaan)

ab main aapko ek aisi aawaaz sunwaayungi jo ek sangeetkaar bhi hain
aur jinhe nayee nayee cheezen laane ki koshish rehti hai aur mujhe
bhi naye naye tarah ke geet gaane ka shauk hai. aapko yaad hoga
Teesri Manzil film mein ek gaana tha "aaj aaja main hoon pyar tera".
yeh gaana baDaa mushkil tha, peT ko dabaana paDta tha. ek baar main
apni gaaDi mein jaate waqt " a aa aaja a aa aaja" 'practise' kar
rahi thi to mera 'driver' samjha ki meri tabeeyat Kharaab ho rahi
hai. usne mujhse poochha ki 'kya baat hai didi?'. maine kahaa 'kuchh
naheen , chal gaaDi chalaa'.

Song: aaja aaja main hoon pyar tera (Teesri Manzil)

arey dekhiye main unka naam kehna to bhool hi gayi, yeh hain R D
Burman saahab.

The song "aaja aaja main hoon pyar tera" continues.

ek aur nayee aawaaz hai, jo Hindi geeton ke liye naya hai lekin
Tamil aur Telugu mein bahut geet gaa chuke hain. main baat kar rahi
hoon Balasubrahmanyam ki. bahut ki meeTha aur sureela gaate hain.
unka gaaya ek geet sunwaati hoon jismein unke saath ek chhoTi si
bachchi Rajeshwari hain. aisi laykaari ek chhote bachche ke liye
aasaan kaam naheen, lekin agar woh sangeetkaar Laxmikant ki beTi hai
phir to hogi hi.

Song: achchha main daddy se baat karoonga (Ek Hi Bhool)

ab woh aawaaz jo hazaaron hazaaron saal mein bhagwaan ek baar
banaata hai. yeh woh aawaaz hai jise sun sun kar main preraNa paati
hoon. yeh aawaaz kabhi hamko hansaate hain, kabhi rulaate
hain. 'recording' ke waqt woh hamein itna hansaate hain ki ham logon
ko kehna paDta hai ki 'Kishore-da, aur mat hansaaiye naheen gaa
naheen paayenge'. jab mere beTe Hemant ne kahaa ki woh Kishore-da se
apna gaana gawaana chaahta hai, to main Dar gayi ki yeh mera kal ka
laDka Kishore-da jaise gaayak ko kya gaana seekhaayega! lekin
Kishore-da ne ussey gaana seekha aur gaaya. yeh mere beTe ke
pehle 'picture' ka gaana tha jise Kishore-da ne gaaya.

Song: jeevan mein humsafar milte to hain zaroor (Taxi Taxi)

ab is aawaaz ke baad aur kaun si aawaaz aapko sunaayun? aur itna
waqt bhi naheen ki Kishore-da ka gaaya koi aur geet sunaayun. aage
jab kabhi phir mauka milegaa main aapke liye haazir ho jaayungi. ab
ijaazat deejiye, Jai Hind!

THE END

EPISODE 2 (18/06/2006)

NA: Naushad Ali
AW: Ahmed Wasee

NA: I became very upset and went back to the shop and started
crying. Khan saahab asked me what had happenned. When I told the
whole incident, he got the indication that my father did not like my
interest in music. He then offered me to do the practice in his
shop. There was 'koThri' sort of place where I used to sit and do
the 'riyaaz'. Then one day Ustad Ghurbat Khan told me that he knows
ustad Babban Saahab and that he would take me to him to make me his
disciple. We went to Babban saahab who asked me to sing something.

-----------------------------------------------------------
Song: kyun yaad aa rahe hain guzre huye zamaane (Shahjehan)
-----------------------------------------------------------

NA: What a nice man he (Babban sahab) was! He appreciated my singing
and agreed to teach me. He had a big hall. And not only me, there
were many students like me whom he taught without taking any fees.
Instead he used to provide food to them. He maintained that music is
a thing to share. The more you give to someone the richer you become
in it.

------------------------------------------------
Song: aaj gaawat man mero jhoom ke (Baiju Bawra)
------------------------------------------------

NA: Ustad Ghulam Mustafa Khan was also a student of Babban sahab. I
still have a diary of that time in which I used to note down
the 'ThaaTs of various raagas like Bhopali, Durga, Bihaag and so
on. "sargamen likhi huyi hain, us zamaane ki sab cheezen 'diary'
mein likhi huyi hain jo aaj tak mere paas hai".

-------------------------------------------------------
Song: ghanana ghanana garjo re jhanana jhanana barso re
-------------------------------------------------------

AW: How was the film industry and the films in that period of which
you are talking about?

NA: It happenned to be the silent era. Most of films used to come
from Maharashtra. Many famous and popular artistes were there. Stunt
films were also made. Master Vitthal was the most popular hero. He
was from Kolhapur. He was called the Indian Douglas. He used to pair
with Zebunnissa. In that period before a film released, the
filmmaker would make a shaayar write a ghazal on the theme of the
film and it was printed in the form of handbills and distributed
publicly. This was the technique of film publicity in those days.
That was the time when Urdu poetry was immensely popular, so this
method was liked by all and attracted huge people when the film
released. What a great period it was. Babu Tulsidas used to write
such ghazals, while Babban sahab celebrated Krishna-janam. Where
have these type of people gone? Then there was another pair - D.
Billimoria and Sulochana. I remember a silent movie called Anarkali
made by R.S. Chowdhary. People cried when Anarkali was burried in
the wall and a ghazal was played "bachpan ki mohabbat ko dil se na
judaa karna, jab yaad meri aaye milne ki duaa karna"

----------------------------------------------------------------
Song: bachpan ki mohabbat ko dil se na judaa karna (Baiju Bawra)
----------------------------------------------------------------

NA: Ustad Laddan Khan saahab used to treat us like children. We used
to visit his place daily. There was a club in Lucknow where amateurs
used to stage a drama every year, mostly by the lawyers. I also took
part one year. I was 16 or 17 years that time. My father came to
know from some source about my involvement in that drama. When one
day I returned home, he said,"inspite of my unwillingness you have
remained associated with music and drama, so you have to decide
right at this moment whether you want music or home?" It was the
night of Diwali, everywhere there was happiness in the atmosphere.
My mother tried to console my father, but he wanted my answer right
at that moment. I replied, "ghar aapka aapko mubaaraq ho", and I
left home immediately in the same clothes I was wearing, my mother
kept crying.

-------------------------------------------------------
Song: yahi armaan lekar apne ghar se hum nikle (Shabab)
-------------------------------------------------------

NA: After coming out of the home, I went to my friend Adil Majid's
house. He was a shaayar and elder to me. He liked me and my music
and always used to encourage me. Then there was Dr Abdul Aleem Nami,
whom I knew earlier through Adil Majid. Majid told me that I should
go to Bombay as films had already started talking and that there
were lots of music, singing and dancing in the films. And Dr Nami
sahab was also in Bombay. He was working as a professor in St
xavier's College. Majid bhai arranged my train ticket, wrote a
letter for Dr Nami and in this way my first journey started. In the
3rd class compartment of teh train, I met a person from
Shahjehanpura who worked as a taxi-driver in Bombay. I was sitting
in the train in hungry stomach. He offered me his food. I was
hesitant but he forced me. I told him about myself and he promised
to help me out. After getting down in Boribandar, we took a 'ghoDaa-
gaaDi' and reached his house near J J Hospital. There was a Haji
Hotel nearby. He ordered tea and snacks and told me that after the
refreshment we would go out and look for Dr Nami sahab. Then we went
to Bhindi Bazar to look for Dr Nami, but we were informed by the
neighbours that Dr nami no longer lived there and that he was
staying soemwhere in Colaba but they were unaware of the exact
address. We did not lose hope and started asking in every house. We
have been searching since orning and now it was night. Then finally,
someone told us that Dr Nami stays as a paying guest with a European
family on the 3rd floor of the building infront. Now the European
family had put off all lights as it was already 9 o'clock.
Hesitatingly we knocked at the door. They opened and informed that
Dr Nami would come home late as he had lectures. We waited and
finally Dr sahab arrived. He recognized me immediately and said in a
low voice that we would talk in the morning and took me inside. Dr
Nami also promised him that he would take him to shaayar Faiz.

--------------------------------------------
Song: tere kooche mein armaanon ki (Dillagi)
--------------------------------------------

END OF EPISODE 2

sabhi sunnewaalon ko Nimmi Mishra ka namaskaar!

Song: titli uDi uD jo chali (Suraj)

hamaare aaj ke Fankaar hain gaayika Sharada.

Clip: le jaa le jaa mera dil (An Evening in Paris)

Sharada speaks: aap sabhi ko Sharada ka pyar bhara namaskaar! aaj
aapke saamne aakar mujhe kitni Khushi ho rahi hai iska main bayaan
naheen kar sakti.

Sharada chants devotional shlokas.

Sharada speaks: mera janam 'south' ke prasiddha tirath sthaan
Kupakonam mein ek Vaishnav Brahmin parivaar mein huya. ghar ke ek
taraf mandir, ek taraf Kaveri nadi, aage phoolon phalon ke bageeche,
aur door tak failey huye khet. subah neend hi naheen khulti thi ki
mandir ki ghanTiyaan aur suprabhaat geet kaano mein paDte the, ved-
paaTh ke swar bhi goonjte the, ghar mein bhi roz pooja paaTh huya
karta tha. kabhi kabhi baDon ke saath kheton mein jaate the, wahaan
jaane ke baad, mat poochhiyega, kabhi aam toDte, kabhi naariyal,
kabhi chaaval ke kheton mein kaam karnewaalon ke saath khelte
koodate, shaam ko ghar lauT aate the.

Song: chale jaana zara Thehro kisi ka dam nikalta hai (Around The
World)

dakshin ke aise dhaarmik Khayaalaat waale parivaar se seedhe filmi
duniya mein kadam rakha Sharada ne. us waqt yahaan Lataji aur Ashaji
ke awaazon ka jaadoo har kisi ke sar chaDhkar bol raha tha, aise
mein kisi naye kalaakaar ke liye jagah banaana koi aasaan kaam
naheen tha.

Sharada speaks: us maahaul se aane ke baad filmi duniya ki raftaar
ko jaanna, samajhna mere liye kitna mushkil hoga, usey jaane samjhe
bina hi main bas gaati chalee.

Clip: dekho mera dil machal gaya (Suraj)

hamesha kuchh naya, jo humein aakrishT karti ho, aisi hi alag aawaaz
hai gaayika Sharada ki. aur yahi wajah hai ki aaj bhi jab hum unke
geet sunte hain to ek alag hi kashish paidaa hoti hai, ek alag hi
samaa sa bandh jaata hai.

Song: door khaDa dil na jalaa muDke idhar dekh zara (Sapno Ka
Saudagar)

Sharada speaks: jab shuru shuru mein mere geet filmon mein aaye to
aap sabhi ne saraaha, saare desh se mujhe preraNa mili. mere bahut
se geet lokpriyata ki choTi pe gaye, lekin na jaane kyun filmi
duniya ke kuchh logon ne mujhe pasand naheen kiya, yahee naheen,
unhone meri 'career' ko khatam karne ki bhi koshish kee, kuchh hadh
tak shaayad safal bhi huye honge. par isse bhala unhe kyaa faayda
huya hoga!

Clip: jab bhi yeh dil udaas hota hai (Seema)

Sharada speaks: main to alag hi Dhang se gaati thi, gaati hoon. meri
awaaz bhi kisi se naheen milti. aur sabse baDee baat yeh ki jab
sabhi logon ne mere geeton ko pasand bhi kiya to yeh baat kyun? main
to samajhti hoon ki zamaane ki raftaar ke saath saath kalaa ki
duniya mein bhi nayaa rang, naya moD, nayaa dauD aana hi chaahiye
aur nayi dishaayen bhi khulni hi chaahiye.

Song: Sajan tum humein yunhi sataaya na karna (

Sharada speaks: kuchh saal pehle sirf filmi geet hi lokpriya huya
karte the. 'pop' geeton ka dauD naheen tha. jab maine pehla 'pop'
geet 'record' kiya to kaafi lokpriya huya, uske baad kaafi
saare 'pop' geet aane lage. un dino aisa tha ki koi bhi
geet 'record' karna ho to kam se kam 50 'musicians' chaahiye aur
agar film baDee 'budget' ka ho to 100 ya usse bhi zyaada 'musicians'
ko bulaate the. chhoTi 'budget' ki film ho to 'recording' karna
mushkil ho jaata tha, aur kam 'musicians' ho to 'quality' mein fark
aa jaata tha. maine apne 'pop' geeton mein 6 ya 8 'musicians' ko
lekar 'modern type' ka 'rhythm' banaakar 'record' kiya to kisi ko
yakeen naheen huya ki maine itne kam 'musicians' ko
lekar 'recording' kiya hai. yeh sunkar kai 'producers' ne apne
filmon mein 'music' dene ke liye mujhe 'sign' kiya lekin museebat
yeh ho gayi ki woh saari chhoTe 'budget' ki filmen theen. meri kuchh
filmen hain Gareebi Hataayo, Mandir Masjid, Maila Anchal, ityaadi.
leejiye unhi mein se ek film ka geet suniye jise maine Yesu Das ke
saath gaaya hai, film hai Hazaar Haath.

Song: dekho saajan churaaye man, tera mera milan (Hazaar Haath)

jab yugal geet ki baat chal hi paDee hai, to phir lage haath Sharada
ka Rafi saahab ke saath gaaya film Gumnaam ka yeh sadaabahaar geet
bhi sun len?

Song: jaan-e-chaman shola badan (Gumnaam)

Sharada speaks: aaj sangeet ki duniya mein bahut se sitaare chamak
rahe hain. logon ki ruchi film sangeet ke alaawa anya kai tarah ki
sangeet mein baDh gayi hai. filmon mein bhi bahut saare
naye 'singers' aa gaye hain yeh to bahut achchhi baat hai, magar jab
bhi sangeet premiyon ke vichaar sunne ko milte, to yahee ki aaj ke
sangeet mein woh baat naheen hai jo puraane sangeet mein thi. woh
madhurta, woh maadakta, woh bhaavna aaj ke sangeet mein naheen hai.
aisa kyun ho raha hai? aaj itni suvidhaayen hain jo pehle naheen thi
jaise 'modern recording system', 'latest instruments orchestra' ke
liye aur 'publicity' ke liye TV, 'cassettes', 'stage
programmes', 'video' hone ke baawjood koi geet aisa 'hit' naheen
hota jaisa pehle ke zamaane mein hota tha. kya aaj pehle ke jaisa
sangeet aur kabhi naheen ban sakta? kyun naheen, zaroor ban sakta
hai agar hum usi lagan, sachchai, imaandaari ke saath mehnat karen
to pehle se bhi achchha sangeet ban sakta hai.

Song: aayega kaun yahaan kisko sadaayen deta hai dil (Gumnaam)

cine sangeet ke aakaash mein kuchh aise sitaare bhi aaye hain jo
kuchh samay tak chamakte rahe, lekin shrotaaon ke dilon mein ek amiT
chhaap bhi chhoD gaye. aisi hi gaayika hain Sharada.

Clip: aap ke peechhe paD gayi main dil leke main (Ek Naari Ek
Brahmachari)

aur ab ek aisa geet jise Sharada ne Khud likhaa aur swarbaddha kiya
hai.

Song: Mere maata pitaa sa yeh desh mera pyara Bharat desh

to yeh thaa gaayika Sharada par kendrit Aaj Ke Fankaar. ab deejiye
Nimmi Mishra ko ijaazat, namaskaar!

Clip: jaane bhi de sanam mujhe abhi jaane de (Around The World)

THE END

UJAALE UNKI YAADON KE - NAUSHAD ALI

(BASED ON A LONG INTERVIEW OF NAUSHAD RECORDED IN THE YEAR 2000)


EPISODE 1 (11/06/2006)

Medley of Naushad's compositions is played

aisi anginat sureelee dhuno ke amar-shilpi ka naam hai Naushad.

Clip: yaad mein teri jaag jaag ke hum raat bhar karwaTen badalte hain

raag-raaginiyon ke saundarya se sajee divya-sangeet jo rom rom mein
samaa jaaye. sangeet jo de nirmal aanand

Clip: aaj mere man mein sakhi baansuri bajaaye koi

in bemisaal dhuno ke rachanakaar Naushad saahab ki kahaani, suniye
unhi ki zubaani.

Clip: tan rang lo ji aaj man rang lo

film sangeet ke is mahaan sangeetkaar ko sureelee shraddhanjali hai
kaaryakram Ujaale Unki Yaadon Ke.

Clip: phir teri kahaani yaad aayi phir tera fasaana yaad aaya
-------------------------------------------------------------

NA: Naushad Ali
AW: Ahmed Wasee

AW: Naushad saahab, heartiest welcome to Vividh Bharati. We are
honoured to get you with us.

NA: Thank you, it is my pleasure to speak to my listeners.

AW: We would like to begin from the early days of your life. Tell us
about your childhood days.

NA: I was born in Lucknow on 25 December 1919. My father Wahid Ali
was a munshi at the Rajdarbar. Ours was a Sufi family where music
was not considered to be good.

AW: As it is clear that music was not present in your family, then
how did you develop your 'adaayigi' in music?

NA: 'adaayigi' is a God-gifted thing. Its absolutely God's 'adaa'.
When I was only 10 years old, there used to be 'urs', a 10 day long
fair in Lucknow. Many artistes from different places used to come
there. I remember one flute player used to visit and I used to get
carried away in his tunes.

--------------------------------------
Song: murliwaale murli bajaa (Dillagi)
--------------------------------------

NA: Some of the biggest 'qawwaals' used to come there. One more
great artiste, Ustad Bashir Khan used to come. He was a great ghazal
singer.

------------------------------------------------------------
Song: ek tu hai ek main hoon aur nadi ka kinara hai (Rattan)
------------------------------------------------------------

NA: In those days, films used to be silent. I used to go and watch
movies frequently. In those times, as films were silent, so the
theatre owners used to arrange orchestras during the screening of
the film and the musicians used tp play music or vocals depending on
the mood of the scene. In Lucknow, we had Royal Cinema where I used
to go. In its orchestra, there were many noted music personalities
like Ustad Laddan Khan, Kalyanji with the tabla, Babuji with the
clarionet. I used to go the theatre just to listen to these great
artistes. I was so much obsessed with music that even in sleep, I
used to move my fingers on the stripes of my 'chaarpaai' thinking
them to be the keys of the harmonium. Then I started working in the
musical instruments shop owned by ustad Ghurbat Khan. I used to open
the shop in the morning, clean all the isntruments before Khan
saahab arrived at the shop. I even used to do riyaaz with the
instruments in his absence. One day someone told him that I sing
very well and that I am highly qualified. Ustad-ji became very happy
and impressed with me and gifted me a harmonium from his shop.

----------------------------------------
Song: shubhghaDi aayo re (Mughal-e-Azam)
----------------------------------------

NA: I was very happy and brought the harmonium home. One day when I
was practising on it, my father suddenly came there and became very
happy as he never liked my fascination towards music. He lost his
cool and threw away the harmonium outside. It broke to pieces and my
heart as well.

---------------------------------
Song: toD diyaa dil meraa (Andaz)
---------------------------------

END OF EPISODE 1

Hi Soojoi,
Transcript of the program is in Marathi I am not sure how that will
help you?
Regards,
Prabha

--- In vividhbharati@..., "soojoi_india"
<soojoi_india@y...> wrote:
>
> Thanks a lot Prabha-ji for this great initiative that u have
taken. I
> was really waiting for such a series since Suhana Safar had
completed.
>
> By the way, can I get the copyright of transcript for this
> programme? :) Then non-Punekars can atleast read the summary of
the
> programme.
>
> Regards,
> Sujoy
>
>
>
> --- In vividhbharati@..., Praveen J <jopveen@y...>
> wrote:
> >
> > Dear Group Members,
> >
> >   Vividbharati Pune is going to broadcast new program `Flash
Back'
> from June 25, 2006 on every Sunday. Timing is from 10 a.m. to 11
a.m.
> This special program is on occasion of completion of 75 years to
> Indian talkies. Program will narrate history on Indian hindi film
> music from 1930 and will also play old classics and rare songs.
> Program will cover development of Indian hindi film music from
> initial days and will highlight the influence and impact of
> surrounding situation on changing trend of film music. Music
lovers
> will get pleasant surprise to listen some of the songs of those
> golden days not available easily in market today.
> >
> >   Program will be in Marathi and will be presented by Ms. Prabha
> Joshi. She had earlier presented `Suhana Safar' program dedicated
to
> 25 great Music Directors from Vividbharati, Pune.
> >
> >   Please do listen and post your comments to group.
> >
> >   With regards,
> >
> >
> > ---------------------------------
> >  Yahoo! India Answers: Share what you know. Learn something new
> Click here
> > Catch all the FIFA World Cup 2006 action on Yahoo! India Click
here
> >
>

Dear Members in India,

         Hope you all fine the time to listen to this
broadcast. Unfortunately, we
( Members in USA ) will not be able to listen to it,
especially me. Enjoy! and let us know how it is. Details
please!!

Regards,
Susan

--- Praveen J <jopveen@...> wrote:

> Dear Group Members,
>
>   Vividbharati Pune is going to broadcast new program
> ‘Flash Back’ from June 25, 2006 on every Sunday. Timing
> is from 10 a.m. to 11 a.m. This special program is on
> occasion of completion of 75 years to Indian talkies.
> Program will narrate history on Indian hindi film music
> from 1930 and will also play old classics and rare songs.
> Program will cover development of Indian hindi film music
> from initial days and will highlight the influence and
> impact of surrounding situation on changing trend of film
> music. Music lovers will get pleasant surprise to listen
> some of the songs of those golden days not available
> easily in market today.
>
>   Program will be in Marathi and will be presented by Ms.
> Prabha Joshi. She had earlier presented ‘Suhana Safar’
> program dedicated to 25 great Music Directors from
> Vividbharati, Pune.
>
>   Please do listen and post your comments to group.
>
>   With regards,
>
>
> ---------------------------------
>  Yahoo! India Answers: Share what you know. Learn
> something new Click here
> Catch all the FIFA World Cup 2006 action on Yahoo! India
> Click here


__________________________________________________
Do You Yahoo!?
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http://mail.yahoo.com

Thanks a lot Prabha-ji for this great initiative that u have taken. I
was really waiting for such a series since Suhana Safar had completed.

By the way, can I get the copyright of transcript for this
programme? :) Then non-Punekars can atleast read the summary of the
programme.

Regards,
Sujoy



--- In vividhbharati@..., Praveen J <jopveen@y...>
wrote:
>
> Dear Group Members,
>
>   Vividbharati Pune is going to broadcast new program `Flash Back'
from June 25, 2006 on every Sunday. Timing is from 10 a.m. to 11 a.m.
This special program is on occasion of completion of 75 years to
Indian talkies. Program will narrate history on Indian hindi film
music from 1930 and will also play old classics and rare songs.
Program will cover development of Indian hindi film music from
initial days and will highlight the influence and impact of
surrounding situation on changing trend of film music. Music lovers
will get pleasant surprise to listen some of the songs of those
golden days not available easily in market today.
>
>   Program will be in Marathi and will be presented by Ms. Prabha
Joshi. She had earlier presented `Suhana Safar' program dedicated to
25 great Music Directors from Vividbharati, Pune.
>
>   Please do listen and post your comments to group.
>
>   With regards,
>
>
> ---------------------------------
>  Yahoo! India Answers: Share what you know. Learn something new
Click here
> Catch all the FIFA World Cup 2006 action on Yahoo! India Click here
>

On 6/19/2006 11:20 PM India Time, _soojoi_india_ wrote:

> this is why I started this group :)))
> stay tuned!!!
>
>
> --- In vividhbharati@..., V S Rawat <vsrawat@g...> wrote:
>> OOps! I missed to hear Ujali Unaki Yaadon Ke on Naushad that was
>> supposed to start today.
>>
>> If any one can give its transcript, a million thanks to him.
>>
>> --
>> Rawat

waiting. waiting. waiting.

--
Rawat

Naqsh is undoubtedly one of the Greatest Lyricist we have.
Unfortunately he got very little due as far as commercial success is
concerned.
   Thanks Sujoy for those wonderful transcripts. I hope people would
have got lot of info about this unsung but talented lyricist.
   Parag.

--- In vividhbharati@..., sonu <oye_shonu@y...> wrote:
>
> Thanks soojoi for the interview......
>
>   knew  littel abt naqsh saab
>
>
>   Sonu
>
> soojoi_india <soojoi_india@y...> wrote:
>   EPISODE 9 (04/06/2006)
>
> KS: We have talked much about your film songs. Now in this last
> episode, let us talk about your non-film songs and Ghazals. Tell us
> about your album with Ghulam Ali and Asha Bhosle.
>
> NL: This happened by chance. One Sunday afternoon, at around 2:30
or
> 3 pm, I received a telephone call that Asha Bhosle wants to speak
to
> me.
>
> KS: What were you doing at that time?
>
> NL: I was playing with the kids.
>
> KS: OK, then?
>
> NL: Ashaji asked me to take a taxi and straightaway come to HMV. I
> said, "today is Sunday, who will be there in HMV?" She said, "No,
we
> all are here for a recording, so please come quickly". I took a
taxi
> and went there. A person was standing outside HMV and he paid the
> taxi fare. After going inside, Ashaji told me, "Ghulam Ali has a
> nice tune, but we dont have lyrics, so please write something for
> this tune". After listening to the tune, I said that the tune is
for
> a song, not for a ghazal. "Kuchh bhi keejiye, par kuchh deejiye",
> was Ashaji's reply. Then I wrote, "naina tose laage saari raina
> jaage".
>
> KS: Oh ho, I see! Apart from this, did you write any ghazal in this
> album?
>
> NL: No, I could write this only song. It was my ill-fate that HMV
> was destroyed in a fire, so for the songs they went to Kolkata and
> recorded there. It might not have been possible for them to take
> the 'shaayar' there. So, that only song was mine, the ghazals were
> by someone else.
>
> KS: Let us listen to this beautiful song.
>
> ----------------------------------------
> Song: naina tose laage saari raina jaage
> ----------------------------------------
>
> KS: Apart from Hindi songs, you have also written in Punjabi films.
> In how many Punjabi films approximately you have written the songs?
>
> NL: 46 films.
>
> KS: Have you written any book?
>
> NL: I have published one book of my poetry, its called 'Teri Gali
Ki
> Taraf'.
>
> KS: The CD of Shahhed Bhagat Singh is in my hand now. The music
> director is Jaidev Kumar. Its one of your latest films. Tell us
> something about it.
>
> NL: One nice song of this film is a mujra by Kavita Krsihnamurthy.
> She has sung it well. It goes like "chhup chhup ke zamaane se
mehfil
> mein meri aana, yeh kaisi mohabbat hai tu kaisa hai deewana?"
>
> KS: kya baat hai!
>
> -----------------------------------------------------
> Song: chhup chhup ke zamaane se mehfil mein meri aana
> -----------------------------------------------------
>
> KS: Recently, you have worked with Naushad saahab as well.
>
> NL: Yes, in Taj Mahal, its my first time with him.
>
> KS: Why this is so? Both of you are in this industry for such a
long
> time, still how is it that you never came together in a single film?
>
> NL: Naushad saahab had his own team, his own lyricists, so there
was
> hardly any scope for an outsider to work with him. Akbar Khan
called
> me during Taj Mahal. My favourite song of this film is "Mumtaz
tujhe
> dekha jab taaj mahal dekha, phir aaj ki aankhon se guzra huya kal
> dekha".
>
> KS: Wah wah!
>
> NL: After writing this mukhra when I took it to Naushad saahab, he
> said that the mukhra is nice but how I would be able to write the
> antaras as I have used 'dekha' so many times in the mukhra. I
> replied that when I have begun I will finish as well. After
> finishing the song when I went to meet him again, he was very happy
> to read the song and told Akbar Khan, "tumhe daad detaa hoon ki
> tumne shaayar achchha chuna hai!!!"
>
> ---------------------------------------------
> Song: Mumtaz tujhe dekha jab taaj mahal dekha
> ---------------------------------------------
>
> KS: What type of views you have about the rpesent day films?
> Everything has changed, the mood of music, the mood of lyrics. How
> do you feel?
>
> NL: I do whatever I like to do. Today there is remixed songs full
of
> vulgarity. I could never write illogocal and irrelevant things and
> wont be able to do so. 'bemaani cheezen na likhna pasand karta hoon
> aur na sunna, maine achchhe maahaul mein kaam kiya hai, betuki
> cheezen likhna mujhe pasand naheen'.
>
> KS: Did you ever receive any award?
>
> NL: I have heard that today awards are being purchased. I never
> received any award for any of my film songs. But I received a
number
> of awards for my TV serials like Daraar, Milan, and Shikwa. I got
> lots of trophies.
>
> KS: Till now I have been questioning you. Now that we have reached
> the climax of our conversation, do you like to say something from
> your heart?
>
> NL: For the new generation I would like to say that if you want to
> work, then do good work. Till today, I have sticked to my point of
> not writing anything cheap. You would hardly find any bad song of
> mine. New talents should come forward and contribute something good
> to this industry which he can watch and listen sitting with his
> sister and mother.
>
> KS: We hope that the new breed of lyricists would walk on your
NAQSH-
> E-QADAM and would definitely contribute something meaningful to the
> film music. We thank you very much for giving us so much of your
> time and sharing so many of your timeless memories with our
> listeners. We wish you all the very best for a healthy and long
life
> and hope to see you again on Vividh Bharati!
>
> NL: Thank you very much, I shall try to come again to my listeners!
>
> END OF EPISODE 9
>
> INTERVIEWER: KAMAL SHARMA
> TECHNICAL ASSISTANT: P K A NAIR
> PRODUCTION ASSISTANT: CHITRALEKHA JAIN
> PRODUCER: KALPANA SHETTY
>
> END OF SERIES
>
>
>
>
>
>
>  __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>

namaste, main hoon Amarkant. aaj ke Fankaar hain gaayika Alka Yagnik.

Premukhra words of "ek do teen" song... "namaskaar, kahiye kya
sunenge aap?"

Alka-ji ne haal hi mein apne gaayiki ke 25 varsh poore keejye hain.
in 25 saalon mein na jaane kitne hi filmon mein unhone geet gaaye
hain, aur unmein se na jaane kitne hi geet -super hit' huye hain. ab
is chhoTe se kaaryakram mein hum kaun sa geet sunaayen aur kaun sa
chhoD den, samajh naheen aa raha. lekin hum aap ko Alkaji ki baaten
zaroor sunwa sakte hain Khud unhi ki zubaan se. to leejiye Alkaji se
suniye unki baaten.

Song: ek do teen (Tezaab)

Alka Yagnik speaks: The last year, that is 2005 was the 25th year
that completes in 2006. Yes, it has been a long journey but I did
not even realize how all these years passed off. Even today when I
sing a song, it seems to be my first song and I sing as if I am a
new singer.

Song: kyunki itna pyar tumko karte hain hum (Kyunki)

Alka Yagnik speaks: You have to ask 'uparwaala', its His gift. I
have only taken lessons and have polished my voice, I have taken my
first lessons from my mother who is a classical singer.

Song: tu mera kaun laage (Batwara)

Alka Yagnik speaks: I did not have to go through any struggle as
such. I did not have to struggle for the basic necessities
like 'roTi, kapDa aur makaan' (laughs) as my parents were very well
to do. I got their full support, like bringing me from Calcutta to
Bombay, etc. Whatever struggle I had to do was with my own singing.
When i started singing, my voice was immature. When I sang "mere
angane mein", people said that 'she is a fluke, gaana chal gaya, koi
quality naheen hai voice mein'. I had determined that I have to
prove that I am not someone who just came with the wind and flew
away (main aayi gayi hawaa ka jhonkaa naheen).

Song: mere angane mein tumhara kya kaam hai (Lawaris)

Alka Yagnik speaks: It was very very difficult. Nowadays its a
child' play. At that time, Lataji and Ashaji were in full force,
Anuradha & Kavita had also started singing. There was no help from
the media, no media hype was there at that time. There was only some
pre-release publicity. People did not recognize the faces of the
playback singers for long time as radio was the main medium of
publicity. So, it was impossible for new voices to make an impact.

Song: taal se taal milaa (Taal)

Alka Yagnik speaks: In those days, new singers used to start their
careers as dubbing artistes. It means if the singer, those days
mostlt Lataji and Ashaji, was not available for recording, the music
director would record the song with the voice of any other singer to
prepare the soundtrack and later superimposing the voice of the main
singer. Laxmikantji asked me if I am interested to sing as a dubbing
artiste. He told me that many singers including Anuradha Paudwal and
Kavita Krishnamurthy had also started their career as dubbing
artistes and that it happened in several occassions that these
dubbing versions were retained in the final soundtrack. But I said
that if I sing a song I would get attached to it emotionally and
later if it comes out in someone else's voice, that would really
pain me. I also told him that I am ready to wait for years, but dont
want to sing a dubbing version now. On hearing this Laxmikantji only
smiled. However I did not have to wait for years and he called me
soon. He used to tell everybody about that incident of my refusing
to sing as a dubbing artiste, "itni chhoTi bachchi thi, phir bhi
kitna determined'.

Clip: so gaya yeh jahaan (Tezaab)
Clip: tumse baDhkar duniya mein (Kaamchor)
Clip: gali gali mein phirta hai (Tridev)
Clip: aaja ve maahi (Fida)

to yeh tha gaayika Alka Yagnik par kendrit Aaj Ke Fankaar. ab
Amarkant ko deejiye ijaazat, namaste!

Song: aksar is duniya mein anjaane milte hain (Dhadkan)

THE END

On 6/19/2006 11:20 PM India Time, _soojoi_india_ wrote:

> --- In vividhbharati@..., V S Rawat <vsrawat@g...> wrote:
>> OOps! I missed to hear Ujali Unaki Yaadon Ke on Naushad that was
>> supposed to start today.
>>
>> If any one can give its transcript, a million thanks to him.
>>
>> --
>> Rawat

  > this is why I started this group :)))
  > stay tuned!!!
  >

Can't wait. :-)

thanks again and again.
--
Rawat

INTERVIEW OF SHAILENDRA SINGH, THE NOTED SINGER

SS: Shailendra Singh
SR: Shruti Ranade

--------------------------------------------
Song: hum tum ek kamre mein band hon (Bobby)
--------------------------------------------

SR: Shailendra Singh-ji, namaskaar & welcome to Vividh Bharati.

SS: Thank you

SR: The first question- We have heard that you had come to this
industry to become an actor. How did you become a singer instead?

SS: No, basically I always wanted to become a singer only. Once I
met Lekh tandon, the noted film maker. He asked me why I am not
interested in acting instead. I said, "you give me work, I will
definitely act". Then he suggested me to join Pune Film Institute
and asked me to see him after completing the course. I joined the 2
year acting course, but somehow got chance in 1972 to sing in Bobby.

------------------------------------
Song: main shaayar to naheen (Bobby)
------------------------------------

SR: And Bobby was an instant hit. We also see that you have sung
most of your songs for R D Burman. What is the secret behind this?

SS: May be he liked my voice (laughs). I was very close to Pancham.
We were great friends. The most important thing about him is that if
a singer is not able to sing to the scale that he has fixed for a
song, then changes it accordingly with proper modifications of the
use of instruments. We used to share a good rappo and used to
understand each other very well. In Nassir Hussain's Zamaane Ko
Dikhana Hai, he made a song based on the rhythm of a train, I simply
love this song, please play it.

----------------------------------------------------
Song: hogaa tumse pyara kaun (Zamane Ko Dikhana Hai)
----------------------------------------------------

SR: As you said that you preferred to be a singer. Then we also
watched you in some films. In the film Agreement, you had both acted
and sang, isn't it?

SS: Yes, but my first film as an actor was Do Jasoos. Then my father
thought of producing a film. This was Agreement. One song of this
film "jeena yeh koi jeena to naheen" is my favourite. This is Bappi
Lahiri's one of the finest compositions.

SR: Hope our listeners will also like this song.

SS: Definitely!

-----------------------------------------------
Song: jeena yeh koi jeena to naheen (Agreement)
-----------------------------------------------

SR: You told us that you did a course of acting from Film Institute.
But did you take any formal training for singing?

SS: Yes, Chhote Iqbal Saahab was my guru. I learnt classical music
from him for 15/16 years.

SR: And who is your inspiration?

SS: I used to copy all the singers, like Rafi Sahab, Kishoreda,
Mukesh bhai and Lataji as well when I was very young. Then I started
learning music and finally got Bobby.

SR: What difference do you find in music of yesterday and that of
today?

SS: In earlier days, music directors used to find out which singer
would be the best for a particular song. Then there used to
rehearsals as many times as required, may be 10 to 15 times before
the actual recording. But now no one has time, neither the singer
nor the music director, nor the lyricist. A song is completed in 2
days. Then about orchestra, earlier there used to be a perfect
blending of the voice and the instrumentation. Nowadays, the sounds
of keyboards are overpowering other aspects of the song. In my first
film itself, I got the opportunity to sing with Lataji, Manna Dey
saahab, then with Rafi sahab, Mukeshji, Mahendra Kapoorji. All of
these singers were so sincere in their work. They never opted to
record a song unless they were fully rehearsed.

SR: Let us now listen to one of your favourite songs from among
these singers.

SS: There is film called Oonche Log, with Chitragupt's music. I love
Rafi sahab's "jaag dil-e-deewana" of this film, so lets listen to
this number.

--------------------------------------------------------------
Song: jaag dil-e-deewana rut jaagi vasl-e-yaar ki (Oonche Log)
--------------------------------------------------------------

SR: As you said that you have sung with a lot of great singers. Do
you remember any memorable incident related to these singers?

SS: Once I was singing with Kishoreda and Lataji. As you know that
Kishoreda never used to sit quiet. It was in the Mehboob Studios.
During rehearsals, after singing his lines, he used to make peculiar
funny faces to make the other singers laugh. Lataji told him that if
he keeps on making such faces, she cannot sing and she asked him not
to make her laugh. So, the next time, after singing his lines,
Kishoreda made a very sad expression on his face and seeing that
everybody started laughing. All such memories come to the mind
thinking aboyt these great stars. lets now listen to Kishoreda's
song from Amar Prem, its a Pancham song as well.

--------------------------------------
Song: chingaari koi bhaDke (Amar Prem)
--------------------------------------

SR: We heard how Kishore used to make the atmosphere of the
recording studio light with his charming nature. Any special
experience with Lataji?

SS: I met her first on the 'mahurat' of Bobby in the Navrang
Studios. My solo number "main shaayar to naheen" was the mahurat
song. Lataji came, broke the coconut. I touched her feet and took
her blessings.

SR: On this note, which song of Lataji would you like to play?

SS: Its really a difficult question. You better ask me which song of
Lataji I dont like. One film had come, Jab Jab Phool Khile. There is
one song in that (hums) "yeh samaa, samaa hai yeh pyar ka"

------------------------------------------------------------
Song: yeh samaa, samaa hai yeh pyar ka (Jab Jab Phool Khile)
------------------------------------------------------------

SS: I remember one more incident. One award function was going on
just after the success of Bobby. Lataji asked me to sing "main
shaayar to naheen". There was no orchestra present, so I did not
know how to sing without music. Mukesh bhai was sitting in the
audience, he came forward and said that he would play the harmonium
for me. Just imagine how great he was that inspite of being such a
big personality, he agreed to play for a newcomer like me. You wont
find such people today.

SR: On this note, why dont we listen to a Mukesh number?

SS: Sure, "chandan sa badan"

-----------------------------------------------------------
Song: chandan sa badan chanchal chitvan (Saraswati Chandra)
-----------------------------------------------------------

SR: And with Ashaji? Anything memorable?

SS: As I was a close friend of Pancham, so in that connection I was
also a good friend of Ashaji as well and shall remain in future as
well. There is duet with Ashaji in Zehreela Insaan "mere dil se yeh
nain mile rehne do"; please play it.

----------------------------------------------------------
Song: mere dil se yeh nain mile rehne do (Zehreela Insaan)
----------------------------------------------------------

SR: But right now the song from Saagar is coming to my mind.

SS: While making Saagar, ramesh Sippy's idea was to bring Bobby's
team together - Rishi Kapoor, Dimple Kapadia and myself. "paas aayo
na", this song was used as the mahurat song of this film, you can
play it.

---------------------------------------
Song: jaane do na paas aayo na (Saagar)
---------------------------------------

SR: I can see the gramophone record of Rafu Chakkar in your
hand. "tumko mere dil ne pukaara hai", this is from this film only,
isn't it?

SS: Yes, this was the first time I worked with Kalyanji Anandji
bhai. Kanchan was used as the dubbing artiste for this song, later
Lataji was supposed to sing it. But somehow she didn't sing and it
was kept in Kanchan's voice.

--------------------------------------------------
Song: tumko mere dil ne pukaara hai (Rafu Chakkar)
--------------------------------------------------

SR: After that many films came like Do Jasoos, Akhiyon Ke Jharonkhon
Se. Shall we play any song of AKJS?

SS: There are two songs in this film that I have sung. Really good
songs by Ravindra Jain saahab. "kai din se mujhe koi sapnon mein"

-----------------------------------------------------------------
Song: kai din se mujhe koi sapnon mein (Akhiyon Ke Jharonkhon Se)
-----------------------------------------------------------------

SR: You spoke us about the olden days, the all time great singers.
Do you think that the same period of melodious music shall return
back? Like Talat Mahmood's songs?

SS: When you have mentioned about Talat saahab, I would like to
listen to the song "yeh hawaa yeh raat yeh chaandni" from Sangdil.
Coming back to your first question, yes, the melodious era shall be
back soon. The 'dhamaakedaar' trend that is going on is the choice
of the day; this would also be over soon.

-----------------------------------------------
Song: yeh hawaa yeh raat yeh chaandni (Sangdil)
-----------------------------------------------

SR: And about Manna Dey saahab?

SS: I like this song very much. Its not a classical based song of
Manna-da. What a range in his voice and how extraordinarily he has
sung it, so simply. Film is Bahaaron Ke Sapney, music by
Pancham, "chunri sambhaal gori"

-----------------------------------------------
Song: chunri sambhaal gori (Bahaaron Ke Sapney)
-----------------------------------------------

SR: Apart from music, what are your hobbies?

SS: If I can do it, I would love to remain immersed in music all 24
hours. I do watch films on TV and sometimes in the theatre, but very
less in theatre. I dont have any more hobbies. Till few years back,
I used to play tennis, but now after becoming a music director, I
dont have time to do anything else other than working on my music.

SR: In which other languages have you sung?

SS: I have sung in Bengali, Punjabi, Marathi, Gujarati, Konkani, but
not in English. In Malayalam, I have sung under the music direction
of Yesu Das, isn;t that great? In Bengali films, I have acted as
well.

SR: As a music director, what are your experiences till now?

SS: Experiences have been good. i have got good studios, good
musicians and singers as well.

SR: The great music directors of the yesteryears whom you consider
your inspiration, do you try to bring the same quality in your music
as well?

SS: I really try, but frankly speaking it is just not possible. That
period has gone, those people have gone, those singers have gone, so
the same thing cant be heard again. But I always try that the lyrics
are good and the music is melodious.

SR: Shailendra-ji, you came to our studios, shared so many things
with us, played such nice songs, thank you very much!

SS: Its my pleasure, thank you!

---------------------------------------------------------
Song: Will you forget me then? (Akhiyon Ke Jharonkhon Se)
---------------------------------------------------------

THE END

this is why I started this group :)))
stay tuned!!!


--- In vividhbharati@..., V S Rawat <vsrawat@g...> wrote:
>
> OOps! I missed to hear Ujali Unaki Yaadon Ke on Naushad that was
> supposed to start today.
>
> If any one can give its transcript, a million thanks to him.
>
> --
> Rawat
>

OOps! I missed to hear Ujali Unaki Yaadon Ke on Naushad that was
supposed to start today.

If any one can give its transcript, a million thanks to him.

--
Rawat

On 6/17/2006 10:58 PM India Time, _soojoi_india_ wrote:

> --- In vividhbharati@..., V S Rawat <vsrawat@g...> wrote:
>> Is there any site/ mailing list where we can get the summary info
> about
>> which personality will feature in which program or what will be the
>> subject of some program?
>>
>> Like, who will present next vivesh-jaymala, jaymala-gold, aaj ke
>> fankaar, the film of ek hii film se (12:30 noon), the film of
> biscope ki
>> baatein on friday pitara, etc.
>>
>> thanks.
>> --
>> Rawat


  > No such website is there. U can get next day's programme highlights at
  > 13:00 hrs & 23:00 hrs on Vividh Bharati.
  >
  > Sujoy
  >

So sad to know. We can't plan our listening.

Now that vividhbharati has gone enough into hightech, with all those
call-in programs, I think if enough members request they might consider
putting the info on their website or even run a mailing list to inform
the subscribers.

If members of this list think it useful, maybe we all should send mails
to vb's email-id, requesting the same.

--
Rawat

No such website is there. U can get next day's programme highlights at
13:00 hrs & 23:00 hrs on Vividh Bharati.

Sujoy



--- In vividhbharati@..., V S Rawat <vsrawat@g...> wrote:
>
> Is there any site/ mailing list where we can get the summary info
about
> which personality will feature in which program or what will be the
> subject of some program?
>
> Like, who will present next vivesh-jaymala, jaymala-gold, aaj ke
> fankaar, the film of ek hii film se (12:30 noon), the film of
biscope ki
> baatein on friday pitara, etc.
>
> thanks.
> --
> Rawat
>

Aaj Ke Fankaar mein aaj ek ubharte, dhoom machaate sangeetkaar ki
baaten...

Prelude of "dhoom machaa le dhoom"

jee haan doston, aaj ka yeh kaaryakram kendrit hai sangeetkaar
Preetam par jinki dhoom aisi ki sangeet ke har chaahnewaale ke yeh
sar chaDh ke bolta hai.

Song: dhoom machaa le dhoom (Dhoom)

aaj ki filmen, aaj ka daur, in sabkaa jaayza karaate hain
sangeetkaar Preetam ka sangeet.

Clip: dil bole shikdum shikdum (Dhoom)

aaj yaani ki 11 June ko Preetam manaa rahe hain apna janamdin. jee
haan, hum de rahe hain Preetam ko Happy Birthday wishes, to kuchh
cake chocolate ho jaaye!

Song: halka halka sa yeh nashaa (Chocolate)

aisi halke halke madhosh kar denewaali nasheele dhune banaanewaale
Preetam ka sangeet ek alag hi samaa baandh deta hai. kisi ka dil
kahin bahekne lagtaa hai to kahin kisi ka dil Doob sa jaata hai unke
sangeet mein.

Clip: dil samundar aa Doobaa doon tujhko is par (Garam Masala)
Clip: bheega bheega sa yeh December hai (Chocolate)
Clip: lamha lamha doori yun pighalti hai (Gangster)
Clip: ek pal ke liye hi sahi ghaDiyaan humko mili (Ankahee)

kuchh log apni pehchaan aap hote hain, aisa hi andaaz hai Preetam ka
bhi. hota hai, hota hai, kuchh log aise bhi hote hain doosron se
judaa. adaa? jee haan, adaa bhi aur judaa bhi.

Song: adaa, aaye haaye adaa, jaanleva adaa (Garam Masala)

doston, waise to 'rhythm-based music' aaj ki visheshta hai aur
chalan bhi, lekin mauka milne par geeton ko 'melody' mein pironaa
Preetam ko Khoob aata hai. kai aise gaane hain jinmein uski shiddat
mehsoos kee jaa sakti hai.

Song: aa paas aa sanam (Ankahee)

Preetam ke sangeet ki samajh, uski gehraai film Gangster ke is geet
se mehsoos kee jaa sakti hai.

Song: mujhe mat roko (Gangster)

film sangeet ek kalaa hone ke saath saath vaanijya vyavsaay bhi hai.
isliye samay, kaal, logon ki ruchi aur badalte daur ko dhyaan mein
rakhkar kai baar geetkaar aur sangeetkaar ko kaam karne paDte hain.

Song: jhoom baahon mein aa jhoom bheege lab ko choom (

doston, hum yahi ummeed karenge ki Preetam ne apni sangeet se jo
mast samaa baandha hai, jo taazgee aur nayaapan woh lekar aaye hain,
woh yunhi barakaraar rahegi, hum dete hain unhe Dheron
shubhkaamnaayen aur karte hain unki pratibha ko salaam.

Clip: salaame salaame (Dhoom)

to yeh tha sangeetkaar Preetam par kendrit aaj ka yeh Aaj Ke Fankaar
kaaryakram. ab Ashok Sonawane ko ijaazat deejiye, namaskaar!

Song: yaa Ali rahemwaali (Gangster)

THE END

INTERVIEW OF PRASOON JOSHI - UPCOMING LYRICIST & AD-FILM WRITER

PJ: Prasoon Joshi
YK: Yunus Khan

YK: Prasoon-ji, heartiest welcome to Vividh Bharati! How do you feel
to be here?

PJ: I am feeling great. In fact in childhood, I used to go to the
radio station and perform in Sunday's Children's programme. I used
to live in Rampur, so many fond memories are there of that place.

YK: This means, apart from studies, you were active in extra-
curricular activities also?

PJ: Yes, my hobby was writing, towards the 'lalit kalaa'. I used to
write poems since childhood, my first book was published when I was
17 years age.

YK: There is a general concept that those who write poems are
useless people, and that it is better to do some professional
studies. So, what was the reaction of your family?

PJ: It is totally true what you said. So, I never used to show my
poetry to anyone. But one day my father read one of my poems and
said that I write well. Then he only took me to a publisher. We
cannot blame anybody for such thinking, especially in our country
where it is so difficult to earn a livelihood. So, it is quite
natural not to get support for things like poetry.

YK: What was your aim of life that time?

PJ: I just want to write till my death, either as a professional or
as an amateur. I have done MBA, so I can do something else
professionally, but I will keep on writing.

YK: Did you do MBA to satisfy your parents?

PJ: I was not a rebellious child. I never had the feeling that
whatever my parents are saying is wrong. I decided that untill I
stand on my feet, I wont pursue my artistic hobbies. After doing
MBA, I joined an ad company, but not in the management section, but
in the creation department.

YK: You said that you were not a rebellious child, but it is quite
opposite to what you have written in Rang De Basanti. You are ru-ba-
ru with us, so why not listent o this track from Rang De Basanti!

PJ: Sure!

--------------------------------
Song: ru ba ru (Rang De Basanti)
--------------------------------

YK: You did your MBA but did not go into the managerial section, but
in the creative team. How did it happen?

PJ: There are several departments in an ad-agency, like the creative
team who think of new ideas, then there is financial section who
would decide how much to claim from the clients. The client is the
manufacturer of the item whose ad we are making. So, I went to the
creative section.

YK: But how did you land up in the ad agency?

PJ: I had gone to that agency for a training during my course. I
would say it was a God'f gift.

YK: What was your specialisation?

PJ: Marketing. But I write slogans, jingles and scripts there.

YK: OK, now tell us how you got the job.

PJ: After passing out, when I went for the interview, the director
told me that I have written poems, published books, but writing for
ads is totally different from the conventional writing. At that time
he was stuck in an ad and he was unable to get a punch line for the
ad. He told me about it and I quickly said a punch line and he was
amazed. He asked me to join the next day and finalize the salary
etc. That was the beginning of my professional career. It was in
Delhi.

YK: Then how did you reach Mumbai?

PJ: I won several awards in DElhi and earned a good position in the
company. Then, Peeyush Pandey, the creative director in Mumbai asked
me to join his team.

YK: Which year did it happen?

PJ: 8 years back.

YK: Everyone said that life would be very tough in Mumbai. But I
knew that opportunities and chances will increase manyfold in
Mumbai. So, I finally reached here.

YK: Let us listent o one song of your choice now.

PJ: "khul ke muskuraale tu, dard ko sharmaane de" from Phir Milenge

--------------------------------------------------------------
Song: khul ke muskuraale tu dard ko sharmaane de (Phir Milenge)
--------------------------------------------------------------

YK: This song was from Revathi's film Phir Milenge. Though this song
did not become very popular with the masses, but its very close to
the true music lovers. "khul ke muskuraale tu dard ko sharmaane de",
so how did you write this song?

PJ: As you know that this film is on an AIDS victim, so it was a
challenging job to write a song for this situation when the girl for
the first time comes to know that she is HIV+. She knew that it was
not her fault, so I had to write something that would portray the
mental condition of the girl accurately. Its a background song and
an informative song as well. Its not only applicable for an AIDS
victim but for all people in general.

YK: In this song you have given a number of examples from the
nature. So are you really close to the nature?

PJ: Whenever I am in tension, I think of the mountains. To me there
is nothing as much stress-relieving as the mountains.

YK: Your songs are soft and you have used 'lalit bhasha' as you have
mentioned yourself. What is the difference in writing an ad and a
song? How difficult it is to write a song or an ad?

PJ: If you dont have the excuse to write something bad in the name
of writing in 'simple' words, it is really difficult to write simple
things in the true sense. One who has a thorough understanding of
the language can only write in simple words. There are many people
around who claim to write simple but even dont know what language
is. My teacher used to say that simplicity and ignorance have a very
thin border line. 'sab kuchh jaan lene ke baad hi aadmi mein
simplicity aati hai, varnaa woh ignorant hai'. There is profoundness
in simplicity that we find in the songs of Shailendra or Majrooh.
They never made any song complicated. They have spoken out the
philosophy of life in very simple words.

YK: Now let us go back to that period when you wrote your first film
song.

PJ: My first song was for the film Lajja with music director Ilayya
Raja. The song was "kaun dagar kaun dishaa". Its a background song.
I am highly fortunate that I got the opportunity to work with such
stalwarts like Ilayya Raja and Lata Mangeshkar in my very first song.

------------------------------------
Song: kaun Dagar kaun dishaa (Lajja)
------------------------------------

YK: For the past 6 or 8 years, you have been associated with the ad
of a popular cold drink (Thanda matlab Coca Cola!!!), and some
others as well, of telecom and other products. So, which one do you
find easy to write, an ad or a song?

PJ: Before writing an ad, one has to know about the product, what is
its position in the market, who will be the consumers, we have to
give positive message about it to the masses so that they get
attracted, but at the same time we have be careful not to do any
exagerration that may backfire. making an ad is also an art. On the
other hand, a song is not a product, but it is an account of life,
of love, of celeberation, of separation, its the story of the common
man. A song is in itself an aim or objective.

YK: These days one song of Fanaa is topping the charts. "chaand
sifaarish jo karta hamaari". It may sound simple but actually its
not. tell us about it.

PJ: You are right. Aditya Chopra, Kunal Kohli, Jatin Lalit  and
myself were sitting and discussing about this song situation.
Earlier it was thought to be dialogue but I opposed. "aaj sanam mohe
ang lagaa le janam safal ho jaaye", this eternal song, had it been
said in words, it would have sounded highly vulgar. It is the power
of music which filters out this vulgarity and brings out those
feelings which we cannot speak out in normal conversation. In my
song too, "chaand sifaarish jo karta hamaari detaa woh tumko bataa,
sharm-o-haya ke parde gira ke karni hai humko Khata", this is also
not a very graceful line, but portraying it in the form of poetry
preserves the grace.

-----------------------------------------------
Song: chaand sifaarish jo karta hamaari (Fanaa)
-----------------------------------------------

YK: Did you write this song on tune?

PJ: Yes

YK: Oh, then it would have been more difficult. We have heard that
you sing also and that Lataji has apreciated your singing. Have you
been trained under any guru or ustaad?

PJ: My father is a learned person of music, my mother does riyaaz
with a tanpura every morning. So, I used to give her 'sangat' on the
tabla. So, music was in our family itself. We were not allowed to
listen to film music in our childhood, only classical music was
permitted. So, I think its the combination of 'parvarish'
and 'pratibha'.

YK: We have heard that Lataji had once advised you to become a
playback singer.

PJ: No, she did not exactly advise to become a playback singer. I
met her for "lukka chhupi" in Rang De Basanti. In this age also,
what a great singer she is! She appreciated the lyrics of this song.

YK: We would like to listent o Prasoon Joshi, the singer.

PJ sings "khul ke muskuraale tu....."

YK: From where do you get the ideas for your ads?

PJ: There was a hit ad with Aamir Khan in which he is a Punjabi
farmer. When the girls from the city goes to the village and asks
for something cold, Aamir takes out the bottles from the well. So,
it was the observation that in rural areas, people keep the mangoes
in the well to make them cool and then take them out and eat. Thus,
this ad idea came from the observations of life. When a person
drinks something from a abottle, his head moves upwards. So, I put
the tag line as "har achchhi cheez ke liye sar upar jaata hai".

YK: For the cold drink ad with Aamir Khan, you come out every year
with a new idea and with each passing year it gets better. So, it
must be a challenging job and you must be in tension what to think
of for the next year?

PJ: Yes, every year the expectation of the people rises. And what
happens with an ad is that you watch it again and again every day,
may be 25 to 50 times a day or even more. So, if the ad is not good,
people may get irritated. Earlier there was only few channels on TV,
but now with so many channels, the ad repeat value has increased.

YK: How does Aamir react to your ideas? Has he ever said that 'no I
wont do this or that'?

PJ: In fact, he provokes me to think of more challenging ideas. He
is always ready to try out new things. These days you must be seeing
him as a Japanese. The bees have sung him and his face got swollen.

YK: To write the dialogues for Rang De Basanti, how challenging it
was?

PJ: It was a bit tough. I had to catch the pulse of today's
generation. So, I started observation. From my own experiences of my
college days and what they are today, then what will be the language
of each character, all these things had to be worked upon in detail.
So, it took time in the beginning but once started, it went off
smoothly.

YK: There is an important dialogue in this film that claims for a
change (badlaav). How did you write that?

PJ: Once you blend the character and the truth properly, it is not
very difficult after that. As I already said, to begin was difficult
but once it began it went off smoothly. I had gone to Goa to write
the dialogues. Whenever I needed help I used to call the team in
Mumbai.

YK: All the songs of this film are hit, especially the title track.
One song that is not that popular but I like the most is the
Madhushree number "tu bin bataaye mujhe le chal kahin"

----------------------------------------------------------
Song: tu bin bataaye mujhe le chal kahin (Rang De Basanti)
----------------------------------------------------------

YK: How difficult it is to work with A R Rahman?

PJ: He doesn't know Hindi, I mean the poetic Hindi, that is why he
never interferes with the words. So, in that sense, it is easy to
work with him. Whatever we used to communicae with each other was at
the spiritual level. He is a Sufi, so if I dont raise myself up to
that level, then it would have been very difficult to work with him.
He is a very noble human being. He is first an excellent human
being, and then an artiste. He helps people silently without
disclosing it to anyone.

YK: Finally, we would like to know about Hum Tum.

PJ: Hum Tum truly happened by chance. Once I was sitting at the
airport lounge. Aditya Chopra came there and recognized me. He sat
beside me and gave a light hint that he was going to start work on
his new film and he would like to work with me. Few days later, I
got a call from him and then we met. He showed me the sript and
dialogues of Hum Tum that Kunal Kohli had written. As Kunal was new,
he wanted me to go through and re-write if necessary. I told him
that it was already very nicely written and that there is no need of
any changes. So, I only wrote the songs for this film. Aditya Chopra
is a very sharp and intelligent guy and I simply loved working with
him. We then went to Jatin Lalit, heard the tunes. In the beginning,
the song "laDki kyun na jaane kyun" was not the way it was later
made. While writing the lyrics, some dialogues struck my mind and we
put those in the interludes in the voices of Saif and Rani.

--------------------------------------------------------------
Song: laDki kyun na jaane kyun laDkon si naheen hoti (Hum Tum)
--------------------------------------------------------------

YK: And now the last question, what do you think is the future of
the radio?

PJ: Our country has followed the tradition of learning by hearing
(shruti ki parampara). Nothing has been properly documented.
Kabirdas was a great saint but he was an illiterate. Whatever he has
mastered is by listening. So, a country which follows such a
tradition of hearing and listening, the future of radio in that
country is bound to be glorious!

YK: Parasoon-ji, thank you very much for giving time to us. We wish
you all the very best for a great career ahead!

PJ: Thank you very much!

THE END