Hi,

bad news is that I could not tune in to VB from the guest house i m
staying in gurgaon. it should have come on delhi medium wave, can
delhites of this grp help me out and tell me the exact frequency/meter
band details?

Thanks!

Sujoy

----- Original Message -----

From: Ajay A

To: vividhbharati@...

Sent: Thursday, October 26, 2006 8:37 PM

Subject: [vividhbharati] Manchahe Geet

Hi all,

Can anyone tell me when Manchahe Geet, a program playing songs requested by listeners was started.

I'm sure regular Manchahe Geet listeners might not have missed Pankah Road
se Rakesh Sethi and Pintu Diwana.

Is Pintu's real name Shashikant Joshi? What about Rakesh Sethi?

All I know is there is indeed Pankha road near Janakpuri in New Delhi.

Rgds,
Ajay

---

Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less.

Dear all,

As I am changing my location from Pune to Gurgaon, I am unable to post
transcripts for some days. I hope to continue the activities from 15th
Nov onwards.

Anup: I lost your mobile number as my mobile was stolen, pls call me, I
need to return your CD, I am leaving on 1st Nov.

Bye

Sujoy

Hi Krish,

Welcome to this group! Let me clarify u that this is not an official
website of Vividh Bharati. And no member of this group is associated
officially with VB. Its just a fanclub. U can send ur suggestions
directly to VB at vbsmumbai@... or post ur letter at the
following address. BTW, u can listen to good songs from 6:15 to 7 pm
daily in Gaane Suhaane programme.

Vividh Bharati Seva
P O Box No 19705
Mumbai 400 091

Sujoy

--- In vividhbharati@..., "kristheone11"
<kristheone11@y...> wrote:
>
> hi
> i am kris a student
> i think you have already noticed that its not convinient for the
college
> guys(like me and my friends) to listen to oldies . so why dont you
> play some cool new songs at that time around 4to 6 in the evening ?
>
> its a request from me and my friends to you .......
>
> we all love vividhbhaarathi  !!!!!!!!!!!!!!!!!!!!11
>

hi
i am kris a student
i think you have already noticed that its not convinient for the college
guys(like me and my friends) to listen to oldies . so why dont you
play some cool new songs at that time around 4to 6 in the evening ?

its a request from me and my friends to you .......

we all love vividhbhaarathi  !!!!!!!!!!!!!!!!!!!!11

hi
i am kris a student
i think you have already noticed that its not convinient for the college
guys(like me and my friends) to listen to oldies . so why dont you
play some cool new songs at that time around 4to 6 in the evening ?

its a request from me and my friends to you .......

we all love vividhbhaarathi  !!!!!!!!!!!!!!!!!!!!11

Shuklaji Namashkar,
Thanks for your mail . You can speak with Ms.Kanchan at AIR Mumbai
tel no. in the office.

I would also appreciate more mails from interested listners who want
to hear these programs on CD.
Thanks and Regards

--- In vividhbharati@..., Vikas Shukla
<anupamcomp@y...> wrote:
>
> Dear Lakshmanji,
>   I wholeheartedly support your idea. I will like to have the
recording of Madan Mohan series of Sangeet Sarita program. This 20
program series was fantastic. In fact I came into contact with this
group due to this MM series only. I wanted to congratulate
Ms.Kanchan Prakash Sangeet on production of such a wonderful program
and I was searching her e mail address or phone. But Soojoi
suggested to try writing a letter. Which I wrote but no answer.
Anyway, if it is possible, please include me also in your campaign.
>   Yours truly,
>   Vikas Shukla
>
> soojoi_india <soojoi_india@y...> wrote:
>   Hello,
>
> I am a huge Hindi Film Music fan. Since I belong to the senior
group
> (30-40yrs), my initial intro to music was from Radio Ceylone
(1970s)
> which I used to listen at the influential age of 2yrs and then
> onwards Vividha Bharati. Some programs are excellent.
>
> 1. Sangeet Sarita:- A 15 minute program which is broadcast in the
> morning, this gives an excellent intro to Classical music through
the
> popular medium of Hindi Film music of yesteryears. This is a
> wonderful program and it's education value is underestimated. Some
> very good ones were the series on tabla beats and one 20 part
seris
> on Madan Mohan and the classical music he has used in his songs. I
> really was surprised to find that the song from Love In
> Tokyo "Sayonara.. Sayonara..."was actually Raag Bhopali in derived
> form whereas I thought it was a Japanese tune.
>
> 2. Ujale Unki Yaadon ke:- Currently broadcast every Sunday A/N and
> evening. This multi part program features discussions with music
> directors on their life and work in Bollywood. Currently focussing
on
> Music Director Ravi, this has featured Anandji (Kalyanji-Anandji),
> Pyarelal (Laxmi-Pyare), Khayyam, Naushad and also poets like Naksh
> Lyalpuri...
>
> I spoke with Ms.Kanchan Prakash Sangeet who has produced many of
the
> Sangeet Sarita programs. According to her, we can get the Audio
CDs
> of these programs if sufficient number of such requests are made
to
> Program Director AIR Vividha Bharati, Mumbai.
>
> I would like to know, through this forum, how many of fellow music
> enthusiasts would be interested in this. Please send me your mail
in
> response to this. I will then make a request to AIR listing your
> names and the programs you are interested in.
>
> This year 6th October marks the 75 years of AIR and we should
utilize
> this opportunity and see what we can preserve from AIR.
>
> With the Best wishes
>
> Lakshman
>
>
> 
>
>                         
> ---------------------------------
>  Find out what India is talking about on  - Yahoo! Answers India
>  Send FREE SMS to your friend's mobile from Yahoo! Messenger
Version 8. Get it NOW
>

                     MY MEMBERS  AND TEAM  HAVE A
                         " HAPPY DEEPAWALI"
                     AAP SAB KO KUSHIYA AUR SANTI DEE.


DHALL& FAMLLY

MY MEMBERS  AND TEAM  HAVE A
                          " HAPPY DEEPAWALI"
                      AAP SAB KO KUSHIYA AUR SANTI DEE.


DHALL& FAMLLY

Shuklaji Namashkar,
Thanks for your mail . You can speak with Ms.Kanchan at AIR Mumbai
tel no. in the office.

I would also appreciate more mails from interested listners who want
to hear these programs on CD.
Thanks and Regards

--- In vividhbharati@..., Vikas Shukla
<anupamcomp@y...> wrote:
>
> Dear Lakshmanji,
>   I wholeheartedly support your idea. I will like to have the
recording of Madan Mohan series of Sangeet Sarita program. This 20
program series was fantastic. In fact I came into contact with this
group due to this MM series only. I wanted to congratulate
Ms.Kanchan Prakash Sangeet on production of such a wonderful program
and I was searching her e mail address or phone. But Soojoi
suggested to try writing a letter. Which I wrote but no answer.
Anyway, if it is possible, please include me also in your campaign.
>   Yours truly,
>   Vikas Shukla
>
> soojoi_india <soojoi_india@y...> wrote:
>   Hello,
>
> I am a huge Hindi Film Music fan. Since I belong to the senior
group
> (30-40yrs), my initial intro to music was from Radio Ceylone
(1970s)
> which I used to listen at the influential age of 2yrs and then
> onwards Vividha Bharati. Some programs are excellent.
>
> 1. Sangeet Sarita:- A 15 minute program which is broadcast in the
> morning, this gives an excellent intro to Classical music through
the
> popular medium of Hindi Film music of yesteryears. This is a
> wonderful program and it's education value is underestimated. Some
> very good ones were the series on tabla beats and one 20 part
seris
> on Madan Mohan and the classical music he has used in his songs. I
> really was surprised to find that the song from Love In
> Tokyo "Sayonara.. Sayonara..."was actually Raag Bhopali in derived
> form whereas I thought it was a Japanese tune.
>
> 2. Ujale Unki Yaadon ke:- Currently broadcast every Sunday A/N and
> evening. This multi part program features discussions with music
> directors on their life and work in Bollywood. Currently focussing
on
> Music Director Ravi, this has featured Anandji (Kalyanji-Anandji),
> Pyarelal (Laxmi-Pyare), Khayyam, Naushad and also poets like Naksh
> Lyalpuri...
>
> I spoke with Ms.Kanchan Prakash Sangeet who has produced many of
the
> Sangeet Sarita programs. According to her, we can get the Audio
CDs
> of these programs if sufficient number of such requests are made
to
> Program Director AIR Vividha Bharati, Mumbai.
>
> I would like to know, through this forum, how many of fellow music
> enthusiasts would be interested in this. Please send me your mail
in
> response to this. I will then make a request to AIR listing your
> names and the programs you are interested in.
>
> This year 6th October marks the 75 years of AIR and we should
utilize
> this opportunity and see what we can preserve from AIR.
>
> With the Best wishes
>
> Lakshman
>
>
>
>
>
> ---------------------------------
>  Find out what India is talking about on  - Yahoo! Answers India
>  Send FREE SMS to your friend's mobile from Yahoo! Messenger
Version 8. Get it NOW
>

Hello,

I am a huge Hindi Film Music fan. Since I belong to the senior group
(30-40yrs), my initial intro to music was from Radio Ceylone (1970s)
which I used to listen at the influential age of 2yrs and then
onwards Vividha Bharati. Some programs are excellent.

1. Sangeet Sarita:- A 15 minute program which is broadcast in the
morning, this gives an excellent intro to Classical music through the
popular medium of Hindi Film music of yesteryears. This is a
wonderful program and it's education value is underestimated. Some
very good ones were the series on tabla beats and one 20 part seris
on Madan Mohan and the classical music he has used in his songs. I
really was surprised to find that the song from Love In
Tokyo "Sayonara.. Sayonara..."was actually Raag Bhopali in derived
form whereas I thought it was a Japanese tune.

2. Ujale Unki Yaadon ke:- Currently broadcast every Sunday A/N and
evening. This multi part program features discussions with music
directors on their life and work in Bollywood. Currently focussing on
Music Director Ravi, this has featured Anandji (Kalyanji-Anandji),
Pyarelal (Laxmi-Pyare), Khayyam, Naushad and also poets like Naksh
Lyalpuri...

I spoke with Ms.Kanchan Prakash Sangeet who has produced many of the
Sangeet Sarita programs. According to her, we can get the Audio CDs
of these programs if sufficient number of such requests are made to
Program Director AIR Vividha Bharati, Mumbai.

I would like to know, through this forum, how many of fellow music
enthusiasts would be interested in this. Please send me your mail in
response to this. I will then make a request to AIR listing your
names and the programs you are interested in.

This year 6th October marks the 75 years of AIR and we should utilize
this opportunity and see what we can preserve from AIR.

With the Best wishes

Lakshman

namaste doston, haazir aapki 'radio sakhi' Mamta Singh lekar Aaj Ke
Fankaar. hamaare Aaj Ke Fankaar hain sangeetkaar Shyamal Mitra.

Song: Dil Aisa Kisi Ne Mera Thodaa (Amanush)

doston, kithni ajeeb baat hai ki is geet ke liye geetkaar Indeevar
aur gaayak Kishore Kumar ko Filmfare Award diya gaya lekin sangeetkaar
Shyamal Mitra vanchit reh gaye. lekin yeh baat bhi sach hai ki kisi
puraskaar ke milne ya na milne se koi fankaar chhoTa ya baDaa naheen
ho jaata, kalaa to apne aap mein ek pooja hai, ek saadhana hai, aur
aisi hi sureeli saadhana ke saadhak the Shyamal Mitra.

Song: neele ambar ke taley (Safed Jhooth)

Khushi is baat ki bhi zaroor hai ki pehli 'break film' mein hi unhone
safalta haasil kee. Hindi filmon mein aane se pehle we Bangaa geeton
ke jaanemaane gayak aur sangeetkaar ban chuke the. Hindi film sangeet
mein unki 'entry' huyi bataur gaayak film Biraj Bahu mein jismein
unhone Lataji ke saath gaya tha yeh yugal geet.

Song: kiska yahaan Thikaana (Biraj Bahu)

jaisa ki hamne aapko bataaya ki Shyamal-da ne Bangla geeton se apnaa
sangeet safar shuru kiya aur Bangla ke behad lokapriya gaayak
sangeetkaar bane. lekin kyaa aapko pataa hai ki Bangla geeton mein
unhe pehlaa mauka kisne diya tha? yeh mauka unhe diya tha Bangla
geeton ke jaanemaane sangeetkaar Sudhin Dasgupta ne, jinhone
Shyamalda ko Kalkatte mein gaate huye sunaa aur unki gaayiki se
prabhaavit hokar unhe gaane ka mauka diya. aayiye baharhaal sunte
hain yeh geet.

Song: jise yaar ka sachcha pyar mile (Bandi)

bataur sangeetkaar Shyamal Mitra ki pehli Bangla film thi Jai Maa
Kaali Boarding jo aayi thi san 1955. Hindi filmon mein bataur
sangeetkaar unkaa aagaman huya tha film Biwi Aur Makaan ke saath.
aayiye sunte hain Kishore Kumar ka gaaya film Anand Ashram ka yeh
gaana.

Song: raahi naye naye rastaa naya naya (Anand Ashram)

Shyamal Mitra ki dhunon mein shastriya aur lok sangeet ki jhalak
milti hai. ek achchhe gayak aur sangeetkaar hone ke saath saath
unhone Deya Neya jaisi kaamyaab Bangla film ka nirmaan bhi kiya jise
Shakti Samanta ne Anurodh shirshak se Hindi mein banayee.

Song: tere gaalon ko choomoon jhumka banke (Amanush)

Shyamal Mitra ke sangeet se saje kuch Hindi filmon ke naam hain
Mamta, Bandi, Safed Jhooth, Amanush, aadi. lekin sabse zyaada saraha
gaya film Anand Ashram ka sangeet.

Song: saara pyar tumhaara (Anand Ashram)

Shyamal Mitra Hindi aur Bangla filmon ke liye hameshaa alag alag
dhune banaate the. unki maanyata yeh thi ki dono bhaashaaon ka
shabdon ka matlab alag hota hai.

Song: honTh bhale inkaar kare pyar naheen chhupta hai (Bandi)

to yeh tha gaayak sangeetkaar Shyamal Mitra par kendrit Aaj Ke
Fankaar kaaryakram jise prastut kiya aapki is 'radio' sakhi Mamta ne,
ab deejiye ijaazat, namaskaar!

Song: safal wohi jeevan hai (Anand Ashram)

THE END

2006

fauji bhaiyon, main sangeetkaar Jatin Lalit ka Jatin bol raha hoon.
mujhe aap sab se bahut pyaar hai. Kargil ke waqt ham logon ne bahut
baDaa 'show' kiya tha Delhi mein "Ae Watan Tere Liye" ke naam se.
usmein Amitabh bachchanji aur tamaam baDe baDe 'ministers' aaye the,
1 laakh se upar log usmein aaye the. phir ham log 'hospitals' mein
gaye the jahaan par aap log zakhmee haalat mein bharti the, aapko
chonTen lagi theen, aap logon ko bahut izzat milee, bahut achchha
lagaa tha. agar main phir kabhi aapke kaam aa sakoon to main apne aap
ko bhaagyashaali samjhoonga. aaj sabse pehle main aapko hamaari shuru
shuru ki pehli 'hit film' ka ek geet sunwaane jaa raha hoon jo ki
Abhijeet-ji aur Alka Yagnik-ji ne gaaya th, film Khilaadi ka
gaana "vaada raha sanam".

Song: vaada raha sanam honge judaa na ham (Khilaadi)

fauji bhaaiyon, aap log, pataa naheen kis haal mein rehte hain, kis
haal mein chalte hain, kis haal mein din kaaT-te hain. barfili
pahaaDiyon mein, taptee registaan mein, na jaane kahaan kahaan
ghoomte hain. aap Lataji ka yeh gaana sunenge to 4/4.5 'minute' ke
liye aapko lagegaa ki maa ki godee mein aap so rahe hain. Madan Mohan-
ji ke sangeet mein "sapnon mein agar mere", yeh geet aap suniye.

Song: sapnon mein agar mere (Dulhan Ek Raat Ki)

hamaare desh mein itni saari vividhtaaen hain, itne saare tyohaar
hain, alag alag kism ke 'historic monuments' hain, na jaane kitni
nadiyaan hain, aur inmein sabse mahatwapoorna hai Ganga. Ganga nadee
par Kishore ne ek gaana gaaya tha jo bahut kam bajtee hai lekin mujhe
bahut pasand hai. gaana kuchh is tarah hai "machalti huyi hawaa mein
chham chham, hamaare sang sang chale ganga ki lehren".

Song: machalti huyi hawaa mein chham chham (Ganga Ki Lehren)

mere pyaare fauji bhaaiyon, ab main Khamoshi 'picture' ka ek gaana
aapko sunwaana chaahta hoon. is gaane mein do dilon ka milan hai, ek
pyaar ki gehree seema ko chhooti hai yeh gaana, aur Majrooh
Sultanpuri saahab ne likhaa hai yeh gaana, "baahon ke darmiyaan do
pyar mil rahe hain"

Song: baahon ke darmiyaan do pyar mil rahe hain (Khamoshi)

fauji bhaaiyon, jab kabhi bhi sangeet ki baat chalegi Rafi saahab ka
zikr zaroor chhiDegaa. unke bina sangeet adhuraa hai, 'industry'
adhuraa hai, unke chaahnewaale adhure hain. unke gaaye hazaaron gaano
mein ek behatareen geet chunna bahut mushkil hai. phir ek geet jo
mujhe Khaas taur se pasand hai woh hai Naushad saahab ka film Mere
mehboob ka "ae husn zaraa jaag tujhe ishq jagaaye". mujhe yaad hai
yeh gaana main apni maa ko sunaaya kartaa tha.

Song: ae husn zaraa jaag tujhe ishq jagaaye (Mere Mehboob)

fauji bhaaiyon, kaash main aapke ru-ba-ru baiThaa hotaa, phir main
aapko aapke pasand ke gaane sunwaata.Khair aap jahaan kahin bhi hain,
main aapke saamne hoon. ab aglaa geet film Pyar To Hona Hi Tha se
pesh hai. Kumar Sanu-ji ne ek baar mujhse kahaa tha ki logon ne unse
yeh kahaa hai ki yeh gaana unkaa gaaya 'one of the best songs' mein
se hai. aur main bhi yahi kehtaa hoon ki jab kisi ki taraf dil jhukne
lage, baat aakar zubaan tak rukne lage, aankhon aankhon mein ikraar
hone lage, bol do gar tumhe pyar hone lage.

Song: jab kisi ki taraf dil jhukne lage (Pyar To Hona Hi Tha)

fauji bhaaiyon, yeh saatwaan aur aakhri gaana, kyunki aap barson se
is desh ki sevaa karte aaye hain, sachche desh bhakt aap hi hain, aap
hi apne praaNon ki aahuti dete aaye hain, main apni nayee film Fanaa
ka yeh gaana sunwaana chaahoonga, "des mera rangeela" aur isi ke
saath aapse ijaazat chaahoonga, Jai Hind!

Song: des mera rangeela (Fanaa)

THE END

Hello,

I am a huge Hindi Film Music fan. Since I belong to the senior group
(30-40yrs), my initial intro to music was from Radio Ceylone (1970s)
which I used to listen at the influential age of 2yrs and then
onwards Vividha Bharati. Some programs are excellent.

1. Sangeet Sarita:- A 15 minute program which is broadcast in the
morning, this gives an excellent intro to Classical music through the
popular medium of Hindi Film music of yesteryears. This is a
wonderful program and it's education value is underestimated. Some
very good ones were the series on tabla beats and one 20 part seris
on Madan Mohan and the classical music he has used in his songs. I
really was surprised to find that the song from Love In
Tokyo "Sayonara.. Sayonara..."was actually Raag Bhopali in derived
form whereas I thought it was a Japanese tune.

2. Ujale Unki Yaadon ke:- Currently broadcast every Sunday A/N and
evening. This multi part program features discussions with music
directors on their life and work in Bollywood. Currently focussing on
Music Director Ravi, this has featured Anandji (Kalyanji-Anandji),
Pyarelal (Laxmi-Pyare), Khayyam, Naushad and also poets like Naksh
Lyalpuri...

I spoke with Ms.Kanchan Prakash Sangeet who has produced many of the
Sangeet Sarita programs. According to her, we can get the Audio CDs
of these programs if sufficient number of such requests are made to
Program Director AIR Vividha Bharati, Mumbai.

I would like to know, through this forum, how many of fellow music
enthusiasts would be interested in this. Please send me your mail in
response to this. I will then make a request to AIR listing your
names and the programs you are interested in.

This year 6th October marks the 75 years of AIR and we should utilize
this opportunity and see what we can preserve from AIR.

With the Best wishes

Lakshman

Hi,

In the 1st episode of this prog, recording of Pt Narendra Sharma
speaking about the birth of VB was aired. Also, the poetry that he had
recited on the very 1st transmission was aired. Then, comments from
various old announcers and VB directors (Read my transcript of this
prog, attached below) were also broadcast.

This prog would run for 1 full year and many other recordings are
awaited.

Sujoy

SWARNA SMRITI - A JOURNEY THROUGH MEMORIES OF 50 YEARS
******************************************************
Celebrating the Golden Jubilee Year of Vividh Bharati
------------------------------------------------------

We, the family of Vividh Bharati, have been together since the last
49 years. Time never stops for anyone and keeps rolling on and on
and on. But when we look backwards in those past 49 years, a galaxy
of memories starts shining in front of our eyes and ears. 3rd
October 2006 marks the beginning of the 50th year of broadcasting by
Vividh Bharati and through this special series, we are going to
refresh our memories of all those 50 years.

Vividh Bharati was born on 3rd October 1957. But first things first,
why Vividh Bharati? What was the need of Vividh Bharati? In those
days, film music was not a part of radio programmes. People used to
quench their thirst of film music by tuning to two radio stations -
one was Radio Ceylon, and the other was Radio Goa based at Panaji.
As Radio Goa was unable to reach every nook and corner of the
country, people started tuning in to Radio Ceylon solely. It was a
serious matter that Indians had to tune in to a foreign station to
listen to their own film songs. And hence a new channel was needed.
The Government took it up with full weightage and called upon Pt
Narendra Sharma to Delhi for a meeting. Yes, it was Pt Sharma who
made the foundation of Vividh Bharati, from the name to the
programme schedule, everything was his concept. Today, Pt Sharma is
not present with us, but the recording of his voice is present in
our archives.

Pt Narendra Sharma speaks: What was the need of Vividh Bharati?
Akashvani used to broadcast many programmes which were in tune with
the intelligent masses only. There was a need of an 'All India'
concept which would be for the common people, or in other words, for
the laymen listeners, and also on the condition that it would cater
to the concepts of 'vividhata' and 'Bharatiyata'. Vividh Bharati was
based absolutely on this concept.

Another pioneering name is that of S S Thakur, who was in AIR Simla
and transferred to Vividh Bharati.

S S Thakur speaks: In 1957 I was working in Simla for Akashvani
Himachal as director. One day I got the news that a new channel
called Vividh Bharati was going to start and for that I would have
to take trasfer to Bombay. I resisted as AIR Simla had just started
and the work was not completed there. Anyway, I reached Bombay,
preparations were going on. Pt Narendra Sharma was already the Chief
Producer. I was also mae the Joint Chief Producer. The mission of
Vividh Bharati was to provide entertainment to the common masses.
Music programmes, not too classical and not too western, were
designed, light music sort of programmes.

And now here is the signature tune of Vividh Bharati...

Clip: AIR Signature tune

This is the tune with which any session of each and every AIR
station begins. This may not be a special thing for you listeners
today. But on 3rd October 1957 at 10:13 hrs, when the waves of this
ear-pleasing tune, boarding the short waves of 19 and 25 meter
bands, reached the household, it was a new thing to happen in the
history of Indian radio. It was the notification of the birth
of 'Akashvani Ka Pancharangi Kaaryakram Vividh Bharati'.

The signature tune was followed by poetry of Maithili Sharan Gupt,
recited by Pt Narendra Sharma.

At that time, Vividh Bharati programmes were broadcast from
transmitters located at Bombay and Madras. These two cities were
chosen for their geographical location. The Bombay transmitter
covered the northern and western parts of teh country while the
Madras transmitter covered the eastern and southern regions.

On the first day of VB's transmission, Rajlakshmi was the announcer
at the Madras station.

Rajlakshmi speaks: I was working as a Telugu announcer at Madras.
God knows where the Vividh Bharati announcer of the evening
transmission vanished, I was asked to announce. I made the opening
announcement and I remember it was followed by Karnataki vaadya
sangeet. After that I was attached to this channel for 7 long years.

Similarly, the announcer at the Bombay station was Sheel Verma.

Sheel Verma speaks: When VB was started, it was not a small scale. I
could not believe that it would become so big and vast. The most
important reason that i think behind VB' success is the independence
given to it from the authorities. No other AIR station enjoys so
much of free enviroment as VB.

Here is Shaulat Kaifi, another announcer.

Shaukat Kaifi speaks: I had full liberty to make whatever I wanted
in the 15 minute Hawa Mahal programme. I also feel proud that Man
Chaahe Geeet programme was started with my voice.

Shaukat Kaifi later left VB and joined the film industry. But the
needle of his radio always pointed to VB as most of the programmes
were film-music based. In other words, film music forms the spinal
chord of Vividh Bharati. Vividh Bharati is grateful to those film
producers who let their music play on this channel. In those days,
film music used to appear on gramophone records and to broadcast
from various stations we needed to copy on tapes. But it was illegal
to copy songs from gramophone records to tapes. So, VB approached
the producers, who used to record the songs on tapes for VB and
allowed VB to broadcast them only once.

Today, the high tower of Doordarshan stands at the place where the
original Bombay studio of Vividh Bharati existed. 49 years ago,
without any sound-profing and air-conditioner, who would have
thought that the foundation of the most popular radio channel was
being laid at this place!

Here is Satyendra Sharad, the first producer of Hawa Mahal programme:

Satyendra Sharad speaks: Hawa Mahal was not started on 3rd October
1957, but on 20th October. The first play broadcast in Hawa Mahal
was a 'sangeet naaTika' written by Pt Narendra Sharma, titled as
Maha Raas. The signature tune of Hawa Mahal was at first
straightaway taken from a Gujarati song's prelude. Later in 1960, a
tune similar to the original tune was composed and recorded.

Talking about signature tunes of various programmes, the mentionable
ones are:

Vandanvaar
Geeton Bhari Kahani
Jaimala
Udaygaan
Indradhanush
Raag Rang - classcal & semi-classical music
Chaubara - folk music
Manjusha - sugam sangeet
Gajra - ghazals & non-film light songs

Eminent music directors like Anil Biswas, S K Pal, Ninu Mazumdar,
and many others were behind these signature tunes.

TO BE CONTINUED...




--- In vividhbharati@..., "Kaustubh Pingle"
<kcpingle@g...> wrote:
>
> On 10/1/06, soojoi_india <soojoi_india@y...> wrote:
> >
> > Swarna Smriti - 14:30 to 15:00 Saturdays - Priceless old recordings
> > from the VB Archives.
> >
>
>
>
> Old recordings of what ?
>
> KCP
>

Dear Prabhaji,

First of all let me thank you for this wonderful series that u have
come up with. Many non-Punekars have been asking me to provide them
the recordings or the transcripts of the programme. I am getting
transferred to Gurgaon from 1st Nov, so I will miss the last episode
of 5th Nov.  Also as I am going to Goa this week, so I will miss
episode 17 as well.

So, if possible, please try to send me the transcripts of episode 17
& 20. Transcripts in Marathi will do, I will translate.

Thanks & best regards,

Sujoy



--- In vividhbharati@..., "Ramaswamy"
<ramaswamy21in@y...> wrote:
>
> Prabha ji,
> Sujoy has been transcripting the series and will be doing so still
he
> stays at Pune. He is shifting base to Delhi by this month so now it
> will be not possible for him to listen and hence transcript the
> programme. So I request you to atleast provide him with the scripts
> as I believe Recordings are a part of Vividh Bharati.
> It will be worthwhile for Sujoy and us too. A request only.
>
> Regards,
> Ramaswamy
>
>
> --- In vividhbharati@..., Praveen J <jopveen@y...>
> wrote:
> >
> > Soojoi,
> >   Thank you for this gr8 work of loading transscript of this
> program and making is available to all HFM lovers.
> >   Phase 1 of Flash back will be covering period upto 1960 and
will
> end on November 5.
> >   Phase 2 will be planned in next year. I would like to have
> suggestions from the film & music lovers.
> >   With regards,
> >   Prabha
> >
> > soojoi_india <soojoi_india@y...> wrote:
> >   A SPECIAL SERIES CELEBRATING THE 75 YEARS OF HINDI FILM MUSIC
> >
> > (PRESENTED BY PRABHA JOSHI ON VIVIDH BHARATI PUNE)
> >
> > EPISODE 15 (01/10/2006)
> > -----------------------
> >
> > Good morning listeners,
> >
> > Welcome to the 15th episode of Flashback! In the first 10
episodes
> > we have discussed about the film music from 1931 to 1950. You
came
> > across many rare songs and some of you might not have even heard
> > some of them before. But from 1950 onwards the golden era of film
> > music started and most of the songs turned out to be highly
popular
> > both with the masses and classes. As we said in last two episodes
> > that the new generation of directors like Bimal Roy, Guru Dutt
and
> > Raj Kapoor have been the major names in this golden era of Hindi
> > cinema, so we begin today's episode with Raj Kapoor's 1955 film
> > Shree 420.
> >
> > ---------------------------------------
> > Song: mera joota hai Japani (Shree 420)
> > ---------------------------------------
> >
> > With Khwaja Ahmed Abbas's screenplay and powerful acting by Raj
> > Kapoor, Nargis, Nadira and Lalita Pawar, Shree 420 was story of
> Raj,
> > an orphan who comes to Bombay with the dream of making it big.
The
> > poor and chaplinesque Raj has to choose between a simple life
with
> > teacher Vidya, who he loves, and a fancy but morally corrupt life
> at
> > the sides of master crook 'Shree 420' Seth Sonachand Dharmanand.
> > Matters come to a head when a housing scam threatens to defraud
> > thousands of common men and women of their life's savings.
> >
> > -------------------------------------------
> > Song: dil ka haal sune dilwaala (Shree 420)
> > -------------------------------------------
> >
> > "Gham se abhi aazaad naheen main, khush hoon magar aabaad naheen
> > main, manzil mere paas khaDi hai, paaon mein lekin beDee paDee
> hai",
> > such were words from lyricist Shailendra portraying the character
> of
> > Indian Chaplin. The credit for the success of Shree 420 also goes
> to
> > Shankar Jaikishan. Every song of this film has a strong situation
> > and flow with the film. Take the case of "muD muD ke na dekh muD
> muD
> > ke"; it has a slow beginning but in the later part it catches up
a
> > fast rhythm symbolising the dilemna and restlessness in the
hero's
> > mind.
> >
> > -----------------------------------------------
> > Song: muD muD ke na dekh muD muD ke (Shree 420)
> > -----------------------------------------------
> >
> > Awara and Shree 420 are considered to be the best films of Raj
> > Kapoor, which were not only popular in India but also in Russia
and
> > the other countries of Central Asia. Decades later, Aziz Mirza
made
> > Raju Ban Gaya Gentleman said to be inspired from Shree 420 and in
> > this way paid tribute to the genius of Raj Kapoor.
> >
> > --------------------------------------
> > Song: ramaiyya vattavaiyya (Shree 420)
> > --------------------------------------
> >
> > 1955 was the year when the third version of Sarat Chandra's
Devdas
> > was portrayed on the silver screen. In 1935 Pramathesh Chandra
> > Baruah of the New Theatres had made this film in Bangla and then
in
> > Hindi. In 1955, it was Bimal Roy who cast Dilip Kumar for the
title
> > role as no other actor of that time could be thought of for the
> role
> > other than Dlip Kumar.
> >
> > -------------------------------
> > Song: kisko khabar thi (Devdas)
> > -------------------------------
> >
> > The character of Paro was played by Suchitra Sen who was slowly
> > becoming a known name in the Bengali households at that time. And
> > Chandramukhi's character, which required dancing, was played by
> > Vyajayanthimala who had moved the audience the previous year by
her
> > dancing in Nagin.
> >
> > ------------------------------
> > Song: aage teri marzi (Devdas)
> > ------------------------------
> >
> > The sets of Devdas, in the traditional Bengali art forms, were
> > erected in Mohan Studios. Sahir Ludhinavi took charge of the
lyrics
> > while Burman Dada, with his expertise of Bengali folk, kirtan,
> > Bhatiali and Baul type of music, did full justice to the music of
> > this film.
> >
> > S D Burman sings "rongeela rongeela rongeela re...." (Clip from
> > Jaimala)
> >
> > -----------------------------------------------
> > Song: aan milo aan milo Shyam saanvare (Devdas)
> > -----------------------------------------------
> >
> > Films like Daag, Sangdil, Footpath and Devdas, all these films
> > casting Dilip Kumar had tragic ending. Doing repeated tragic
roles
> > had made Dilip Kumar mentally sick and depressed. His doctor
> advised
> > him not to take up any more tragic films for the time being. He
got
> > relieved when filmmaker S M S Naidu approached him for Azad in
> which
> > has required to play a superhero. Packed with music, action and
> > glamour, this film was completed in just 2 months and proved
highly
> > successful and the music composed by C Ramchandra rose to the
lips
> > of the masses.
> >
> > --------------------------------------
> > Song: aplam chaplam chaplaai re (Azad)
> > --------------------------------------
> >
> > Azad was the remake of M G Ramachandra's Tamil film. At first,
> > Naushad was approached for the music but on the condition that he
> > compose and record all 9 songs in just 1 month. Naushad turned
down
> > the offer and after him no other music directors could gain
courage
> > to accept the offer with the said condition of time constraint.
> > Finally, C Ramchandra took up the challenge and gave all 9 songs
in
> > less than a month without any compromise on the quality, thus
> > proving his excellence.
> >
> > -------------------------------------------
> > Song: jaa ri jaa ri o kaari badariya (Azad)
> > -------------------------------------------
> >
> > For one duet song of Azad, C Ramchandra called up Talat Mahmood
to
> > sing with Lata. As Talat saahab used to playback for Dilip saahab
> in
> > those days, so Anna had composed the song keeping Talat in mind.
> But
> > due to certain problem, Talat could not make up for the recording
> > and C Ramchandra decided to sing the song himself. He sang it
just
> > like Talat saahab and sometimes it really appears to be Talat's
> > voice. Lets us listen to this song as well, its written by
Rajinder
> > Krishan!
> >
> > ------------------------------------
> > Song: kitna haseen hai mausam (Azad)
> > ------------------------------------
> >
> > Mehboob Khan, Sohrab Modi and V Shantaram, the super trio, who
have
> > been the major filmmakers in the 40s continued to produce
effective
> > movies in the 50s decade as well. Aan, released in 1952, by
Mehboob
> > Khan was the first tecnicolour film of India. Sohrab Modi's name
is
> > associated with the 1952 film Jhansi Ki Rani, while V Shantaram's
> > Jhanak Jhanak Payal Baaje of 1955 is counted in one of the
landmark
> > films of Indian cinema.
> >
> > ------------------------------------------------------------
> > Song: jhanak jhanak paayal baaje (Jhanak Jhanak Payal Baaje)
> > ------------------------------------------------------------
> >
> > Dance and music formed the soul of Jhanak Jhanak Payal Baaje.
> > Eminent dancer Gopi Krishna played the character of Giridhar
while
> > the heroine was Sandhya. Vasant Desai was the music director, who
> > proved his hold over Indian classical music in this film. Using
> only
> > Indian instruments and that too played by eminent musicians,
Desai
> > composed the dance based songs and received wide acclaim for the
> > work. Shantaram too did not make any compromise and invited some
of
> > the renowned musicians to play certain instruments in the songs
and
> > background music. These include Samta Prasad the renowned Tabla
> > player, Sudarshan the noted Khol player from Calcutta, Ustad
Haleem
> > Jafar Khan the famous Sitarist, and Pt Shiv Kumar Sharma the
noted
> > Santoor player.
> >
> > ----------------------------------------------------------------
> > Song: murli manohar krishna kanhaiya (Jhanak Jhanak Payal Baaje)
> > ----------------------------------------------------------------
> >
> > Sohrab Modi, under his banner Minerva Movietone, released Kundan
in
> > 1955. It was inspired from Victor Hugo's book Les Miserables. Let
> us
> > listen to one very rare song from this film composed by Ghulam
Mohd
> > and sung by Lata Mangeshkar.
> >
> > ------------------------------------------------------------------
> > Song: jahaanwaale hamein duniya mein kyun paida kiya tune (Kundan)
> > ------------------------------------------------------------------
> >
> > Actor Sunil Dutt had played a small role in Kundan. In the same
> year
> > 1955, director Ramesh Sehgal launched Sunil Dutt as hero in his
> > Railway Platform. Today, Railway Platform is remembered only for
> > this song, written by Sahir, composed by Madan Mohan and sung by
> > Rafi saahab.
> >
> > ------------------------------------------------------------------
--
> -
> > --
> > Song: basti basti parbat parbat gaata jaaye banjaara (Railway
> > Platform)
> > ------------------------------------------------------------------
--
> -
> > --
> >
> > Guru Dutt tried to depict the prevailing social and political
> > situation of the country through his comic film Mr & Mrs 55.
> > Released obviously in 1955, this film had Madhubala opposite Guru
> > Dutt in the lead roles.
> >
> > ---------------------------------------
> > Song: udhar tum haseen ho (Mr & Mrs 55)
> > ---------------------------------------
> >
> > After Aar Paar, Mr & Mrs 55 was the next musical hit for O P
> Nayyar.
> > Once again, O P Nayyar and Majrooh Sultanpuri fulfilled Guru
Dutt's
> > imagination of the situations and characters.
> >
> > --------------------------------------------
> > Song: ThanDi hawaa kaali ghaTaa (Mr & Mrs 55)
> > --------------------------------------------
> >
> > Producer-Director A R Kardar roped in Kishore Kumar and Chand
> Osmani
> > for Baap Re Baap. Once again O P Nayyar's music, lyrics by
Janisar
> > Akhtar, and Kishore Kumar's own acting style and mannerisms
brought
> > a new trend in film music, the Kishore Kumar style of acting and
> > singing.
> >
> > --------------------------------------------------------
> > Song: daal kaise galey jab ke joota jaley (Baap Re Baap)
> > --------------------------------------------------------
> >
> > One more song of this film, an Asha-Kishore duet, is worth
> > mentioning. There is an interesting incident related to this
song.
> > Lets hear it from Asha Bhosle herself:
> >
> > Asha Bhosle speaks: ek gaana main aur hamaare mazaakiya
Kishoreda,
> > dono gaa rahe the, (sings) 'piya piya piya...', gaana
> > poora 'rehearsal' hoke 'final recording' shuru huya, aur maine
> > galati se unki 'line' pe (sings) 'haaann' aisaa keh diya, to
unhone
> > meri taraf aise haath baDhaake kaha ki aage, matlab, band naheen
> > karna, waise 'recording' chaalu rakhaa, jaise hi 'recording'
khatam
> > huya maine kahaa 'dada, phir se karte hain, maine galati kee hai,
> > bahut baDi galati kee hai maine, beech mein bol diya'. kehne
> > lage, 'bilkul chinta mat karo, main hoon na us 'picture' mein,
> > main 'hero' hoon, jaise hi 'heroine' gaane lagegi, main uske munh
> > par haath rakh doonga'.
> >
> > -----------------------------------------------------
> > Song: piya piya piya mera jiya pukaare (Baap Re Baap)
> > -----------------------------------------------------
> >
> > O P Nayyar's music was also heard this year in films like
> > Musafirkhana and Miss Coca Cola. The later was the film from
which
> > the love story of Geeta Bali and Shammi Kapoor had started. Here
is
> > a Geeta Dutt number from Miss Coca Cola.
> >
> > ---------------------------------------------------------
> > Song: ban dhaDkan kajraare naina Dole re (Miss Coca Cola)
> > ---------------------------------------------------------
> >
> > Raj Khosla, after producing Aar Paar and Baazi, directed Milap
> > independently in 1955. This film was also the first independent
> film
> > of N Dutta as music director, who used to be assistant to S D
> > Burman. Milap had Geeta Bali and Dev Anand in the main roles and
> > Sahir Ludhianvi wrote the songs. One such song from this film in
> > Geeta Dutt's voice is here for you.
> >
> > -------------------------------------------------
> > Song: jaate ho to jaao par jaayoge kahaan (Milap)
> > -------------------------------------------------
> >
> > Another assistant of S D Burman was Jaidev. He also made debut as
> > independent composer in 1955 in Chetan Anand's Joru Ka Bhai.
Chetan
> > Anand had left Navketan over differences with Dev Anand. Vijay
> Anand
> > had played a small role in Joru Ka Bhai.
> >
> > ------------------------------------------------
> > Song: subah ka intezaar kaun kare (Joru Ka Bhai)
> > ------------------------------------------------
> >
> > Navketan's House No 44 was made in 1955 under M K burman's
> > direction. Dev Anand once again played the role of wrong doer
> > getting changed in the end.
> >
> > -----------------------------------------------------------
> > Song: tei duniya mein jeene se to behetar hai (House No 44)
> > -----------------------------------------------------------
> >
> > Houes No 44 brought the poet inside Sahir Ludhianvi and S D
Burman
> > also did full justice to his poetry by his soulful compostions.
> Lets
> > listent o one more track from this film.
> >
> > ------------------------------------------------------------
> > Song: chup hai dharti chup hain chaand sitaare (House No 44)
> > ------------------------------------------------------------
> >
> > House No 44 was the first film of Dev Anand and Kalpana Kartik
> after
> > their marriage on the sets of Taxi Driver through a mariage
> > registrar. The picturesque locations used in this film were those
> of
> > Mahabaleshwar. One such song beautifully picturised in these
> > Sahyadri range is here for you.
> >
> > -----------------------------------------------------
> > Song: phaili huyi hain sapnon ki baahen (House No 44)
> > -----------------------------------------------------
> >
> > Dev Anand paired up with Nalini Jaywant in the Subodh Mukherjee
> > directed Filmistan's Munimji. Dev Anand's typical style and
> > mannerisms were first noticed in this film in its full form,
which
> > over the years have remained his trademark.
> >
> > ------------------------------------------
> > Song: jeevan ke safar mein raahi (Munimji)
> > ------------------------------------------
> >
> > Munimji had Shailendra as the lyricist and S D Burman as the
> > composer. Based on classical music, here is a wonderful
composition
> > from this film in Lata Mangeshkar's honey-filled voice.
> >
> > ----------------------------------------------------
> > Song: ghaayal hiraniya main ban ban Doloon (Munimji)
> > ----------------------------------------------------
> >
> > Director Amiya Chakraborty have always given us social films
packed
> > with entertainment. His films have taken up various social issues
> > over the years. The 1955 film Seema has been one of his memorable
> > films.
> >
> > ----------------------------------------------------
> > Song: suno chhoTi si guDiya ki lambi kahaani (Seema)
> > ----------------------------------------------------
> >
> > Seema is also remembered for actress Nutan's powerful performance
> > and music director Shankar Jaikishan's powerful music. This song
by
> > Lata Mangeshkar is one of her noted songs based on pure classical
> > music.
> >
> > ------------------------------------
> > Song: manmohana baDe jhooThe (Seema)
> > ------------------------------------
> >
> > Another important film of 1955 was S U Sunny's Udan Khatola,
based
> > on Frank capra's Lost Horizon. Shaqeel-Naushad combo was heard in
> > the songs and the star cast of the film included Dilip Kumar,
> Nimmi,
> > Jeeva, and Surya Kumari.
> >
> > ---------------------------------------
> > Song: mera salaam le jaa (Udan Khatola)
> > ---------------------------------------
> >
> > Naushad did a lot of experiments in this film. He tells about the
> > music of one such experimental songs of this film:
> >
> > Naushad speaks: isi film ka ek aur geet hai raag pilu par
aadhaarit
> > jise maine ek 'experiment' ke taur par banaya tha. iski khaasiyat
> > yeh hai ki ismein ek bhi saaz istemaal nahin huya par log yeh
> > pehchaan bhi nahin paaye. is gaane mein mardaana aur
> > janaana 'humming' se poore gaane ka 'music' tayyaar kiya gaya
> > tha. "More saiyanji utrege paar o darya dheere baho", suniye
> >
> > -----------------------------------------------
> > Song: More saiyanji utrenge paar (Udan Khatola)
> > -----------------------------------------------
> >
> > A name similar to that of Naushad, in the list of music
directors,
> > was Nashad. His real name was Shaukat Dahelvi. He made debut as
> > composer in 1955 in K Amarnath's film Baradari. This Lata-Rafi
duet
> > of this film is remembered for its beautiful composition and
> > orchestration.
> >
> > -------------------------------------------------------
> > Song: bhula naheen dena ji bhula naheen dena (Baradari)
> > -------------------------------------------------------
> >
> > Nashad, Jamal Sen, Sajjad Hussain, S Mohindar, Sardar Malik - we
> > often forget these names while discussing about the music
directors
> > of the golden era of film music. Its true that these composers
> could
> > not reach to that level of success unlike the other successful
> > composers, but we cannot overlook their contribution towards
Hindi
> > cine music. So, before ending today's episode of Flashback, let
us
> > pay tribute to all these lesser-known music directors and listen
to
> > one more song composed by Nashad for the film Baradari in Talat
> > Mahmood's velvette voice. We shall meet again next week same day
> > same time, till then, Good-Bye!
> >
> > ----------------------------------------------------------
> > Song: tasveer banaata hoon tasveer naheen banti (Baradari)
> > ----------------------------------------------------------
> >
> > END OF EPISODE 15
> >
> >
> >
> >
> >
> >
> > ---------------------------------
> >  Find out what India is talking about on  - Yahoo! Answers India
> >  Send FREE SMS to your friend's mobile from Yahoo! Messenger
> Version 8. Get it NOW
> >
>

Prabha ji,
Sujoy has been transcripting the series and will be doing so still he
stays at Pune. He is shifting base to Delhi by this month so now it
will be not possible for him to listen and hence transcript the
programme. So I request you to atleast provide him with the scripts
as I believe Recordings are a part of Vividh Bharati.
It will be worthwhile for Sujoy and us too. A request only.

Regards,
Ramaswamy


--- In vividhbharati@..., Praveen J <jopveen@y...>
wrote:
>
> Soojoi,
>   Thank you for this gr8 work of loading transscript of this
program and making is available to all HFM lovers.
>   Phase 1 of Flash back will be covering period upto 1960 and will
end on November 5.
>   Phase 2 will be planned in next year. I would like to have
suggestions from the film & music lovers.
>   With regards,
>   Prabha
>
> soojoi_india <soojoi_india@y...> wrote:
>   A SPECIAL SERIES CELEBRATING THE 75 YEARS OF HINDI FILM MUSIC
>
> (PRESENTED BY PRABHA JOSHI ON VIVIDH BHARATI PUNE)
>
> EPISODE 15 (01/10/2006)
> -----------------------
>
> Good morning listeners,
>
> Welcome to the 15th episode of Flashback! In the first 10 episodes
> we have discussed about the film music from 1931 to 1950. You came
> across many rare songs and some of you might not have even heard
> some of them before. But from 1950 onwards the golden era of film
> music started and most of the songs turned out to be highly popular
> both with the masses and classes. As we said in last two episodes
> that the new generation of directors like Bimal Roy, Guru Dutt and
> Raj Kapoor have been the major names in this golden era of Hindi
> cinema, so we begin today's episode with Raj Kapoor's 1955 film
> Shree 420.
>
> ---------------------------------------
> Song: mera joota hai Japani (Shree 420)
> ---------------------------------------
>
> With Khwaja Ahmed Abbas's screenplay and powerful acting by Raj
> Kapoor, Nargis, Nadira and Lalita Pawar, Shree 420 was story of
Raj,
> an orphan who comes to Bombay with the dream of making it big. The
> poor and chaplinesque Raj has to choose between a simple life with
> teacher Vidya, who he loves, and a fancy but morally corrupt life
at
> the sides of master crook 'Shree 420' Seth Sonachand Dharmanand.
> Matters come to a head when a housing scam threatens to defraud
> thousands of common men and women of their life's savings.
>
> -------------------------------------------
> Song: dil ka haal sune dilwaala (Shree 420)
> -------------------------------------------
>
> "Gham se abhi aazaad naheen main, khush hoon magar aabaad naheen
> main, manzil mere paas khaDi hai, paaon mein lekin beDee paDee
hai",
> such were words from lyricist Shailendra portraying the character
of
> Indian Chaplin. The credit for the success of Shree 420 also goes
to
> Shankar Jaikishan. Every song of this film has a strong situation
> and flow with the film. Take the case of "muD muD ke na dekh muD
muD
> ke"; it has a slow beginning but in the later part it catches up a
> fast rhythm symbolising the dilemna and restlessness in the hero's
> mind.
>
> -----------------------------------------------
> Song: muD muD ke na dekh muD muD ke (Shree 420)
> -----------------------------------------------
>
> Awara and Shree 420 are considered to be the best films of Raj
> Kapoor, which were not only popular in India but also in Russia and
> the other countries of Central Asia. Decades later, Aziz Mirza made
> Raju Ban Gaya Gentleman said to be inspired from Shree 420 and in
> this way paid tribute to the genius of Raj Kapoor.
>
> --------------------------------------
> Song: ramaiyya vattavaiyya (Shree 420)
> --------------------------------------
>
> 1955 was the year when the third version of Sarat Chandra's Devdas
> was portrayed on the silver screen. In 1935 Pramathesh Chandra
> Baruah of the New Theatres had made this film in Bangla and then in
> Hindi. In 1955, it was Bimal Roy who cast Dilip Kumar for the title
> role as no other actor of that time could be thought of for the
role
> other than Dlip Kumar.
>
> -------------------------------
> Song: kisko khabar thi (Devdas)
> -------------------------------
>
> The character of Paro was played by Suchitra Sen who was slowly
> becoming a known name in the Bengali households at that time. And
> Chandramukhi's character, which required dancing, was played by
> Vyajayanthimala who had moved the audience the previous year by her
> dancing in Nagin.
>
> ------------------------------
> Song: aage teri marzi (Devdas)
> ------------------------------
>
> The sets of Devdas, in the traditional Bengali art forms, were
> erected in Mohan Studios. Sahir Ludhinavi took charge of the lyrics
> while Burman Dada, with his expertise of Bengali folk, kirtan,
> Bhatiali and Baul type of music, did full justice to the music of
> this film.
>
> S D Burman sings "rongeela rongeela rongeela re...." (Clip from
> Jaimala)
>
> -----------------------------------------------
> Song: aan milo aan milo Shyam saanvare (Devdas)
> -----------------------------------------------
>
> Films like Daag, Sangdil, Footpath and Devdas, all these films
> casting Dilip Kumar had tragic ending. Doing repeated tragic roles
> had made Dilip Kumar mentally sick and depressed. His doctor
advised
> him not to take up any more tragic films for the time being. He got
> relieved when filmmaker S M S Naidu approached him for Azad in
which
> has required to play a superhero. Packed with music, action and
> glamour, this film was completed in just 2 months and proved highly
> successful and the music composed by C Ramchandra rose to the lips
> of the masses.
>
> --------------------------------------
> Song: aplam chaplam chaplaai re (Azad)
> --------------------------------------
>
> Azad was the remake of M G Ramachandra's Tamil film. At first,
> Naushad was approached for the music but on the condition that he
> compose and record all 9 songs in just 1 month. Naushad turned down
> the offer and after him no other music directors could gain courage
> to accept the offer with the said condition of time constraint.
> Finally, C Ramchandra took up the challenge and gave all 9 songs in
> less than a month without any compromise on the quality, thus
> proving his excellence.
>
> -------------------------------------------
> Song: jaa ri jaa ri o kaari badariya (Azad)
> -------------------------------------------
>
> For one duet song of Azad, C Ramchandra called up Talat Mahmood to
> sing with Lata. As Talat saahab used to playback for Dilip saahab
in
> those days, so Anna had composed the song keeping Talat in mind.
But
> due to certain problem, Talat could not make up for the recording
> and C Ramchandra decided to sing the song himself. He sang it just
> like Talat saahab and sometimes it really appears to be Talat's
> voice. Lets us listen to this song as well, its written by Rajinder
> Krishan!
>
> ------------------------------------
> Song: kitna haseen hai mausam (Azad)
> ------------------------------------
>
> Mehboob Khan, Sohrab Modi and V Shantaram, the super trio, who have
> been the major filmmakers in the 40s continued to produce effective
> movies in the 50s decade as well. Aan, released in 1952, by Mehboob
> Khan was the first tecnicolour film of India. Sohrab Modi's name is
> associated with the 1952 film Jhansi Ki Rani, while V Shantaram's
> Jhanak Jhanak Payal Baaje of 1955 is counted in one of the landmark
> films of Indian cinema.
>
> ------------------------------------------------------------
> Song: jhanak jhanak paayal baaje (Jhanak Jhanak Payal Baaje)
> ------------------------------------------------------------
>
> Dance and music formed the soul of Jhanak Jhanak Payal Baaje.
> Eminent dancer Gopi Krishna played the character of Giridhar while
> the heroine was Sandhya. Vasant Desai was the music director, who
> proved his hold over Indian classical music in this film. Using
only
> Indian instruments and that too played by eminent musicians, Desai
> composed the dance based songs and received wide acclaim for the
> work. Shantaram too did not make any compromise and invited some of
> the renowned musicians to play certain instruments in the songs and
> background music. These include Samta Prasad the renowned Tabla
> player, Sudarshan the noted Khol player from Calcutta, Ustad Haleem
> Jafar Khan the famous Sitarist, and Pt Shiv Kumar Sharma the noted
> Santoor player.
>
> ----------------------------------------------------------------
> Song: murli manohar krishna kanhaiya (Jhanak Jhanak Payal Baaje)
> ----------------------------------------------------------------
>
> Sohrab Modi, under his banner Minerva Movietone, released Kundan in
> 1955. It was inspired from Victor Hugo's book Les Miserables. Let
us
> listen to one very rare song from this film composed by Ghulam Mohd
> and sung by Lata Mangeshkar.
>
> ------------------------------------------------------------------
> Song: jahaanwaale hamein duniya mein kyun paida kiya tune (Kundan)
> ------------------------------------------------------------------
>
> Actor Sunil Dutt had played a small role in Kundan. In the same
year
> 1955, director Ramesh Sehgal launched Sunil Dutt as hero in his
> Railway Platform. Today, Railway Platform is remembered only for
> this song, written by Sahir, composed by Madan Mohan and sung by
> Rafi saahab.
>
> --------------------------------------------------------------------
-
> --
> Song: basti basti parbat parbat gaata jaaye banjaara (Railway
> Platform)
> --------------------------------------------------------------------
-
> --
>
> Guru Dutt tried to depict the prevailing social and political
> situation of the country through his comic film Mr & Mrs 55.
> Released obviously in 1955, this film had Madhubala opposite Guru
> Dutt in the lead roles.
>
> ---------------------------------------
> Song: udhar tum haseen ho (Mr & Mrs 55)
> ---------------------------------------
>
> After Aar Paar, Mr & Mrs 55 was the next musical hit for O P
Nayyar.
> Once again, O P Nayyar and Majrooh Sultanpuri fulfilled Guru Dutt's
> imagination of the situations and characters.
>
> --------------------------------------------
> Song: ThanDi hawaa kaali ghaTaa (Mr & Mrs 55)
> --------------------------------------------
>
> Producer-Director A R Kardar roped in Kishore Kumar and Chand
Osmani
> for Baap Re Baap. Once again O P Nayyar's music, lyrics by Janisar
> Akhtar, and Kishore Kumar's own acting style and mannerisms brought
> a new trend in film music, the Kishore Kumar style of acting and
> singing.
>
> --------------------------------------------------------
> Song: daal kaise galey jab ke joota jaley (Baap Re Baap)
> --------------------------------------------------------
>
> One more song of this film, an Asha-Kishore duet, is worth
> mentioning. There is an interesting incident related to this song.
> Lets hear it from Asha Bhosle herself:
>
> Asha Bhosle speaks: ek gaana main aur hamaare mazaakiya Kishoreda,
> dono gaa rahe the, (sings) 'piya piya piya...', gaana
> poora 'rehearsal' hoke 'final recording' shuru huya, aur maine
> galati se unki 'line' pe (sings) 'haaann' aisaa keh diya, to unhone
> meri taraf aise haath baDhaake kaha ki aage, matlab, band naheen
> karna, waise 'recording' chaalu rakhaa, jaise hi 'recording' khatam
> huya maine kahaa 'dada, phir se karte hain, maine galati kee hai,
> bahut baDi galati kee hai maine, beech mein bol diya'. kehne
> lage, 'bilkul chinta mat karo, main hoon na us 'picture' mein,
> main 'hero' hoon, jaise hi 'heroine' gaane lagegi, main uske munh
> par haath rakh doonga'.
>
> -----------------------------------------------------
> Song: piya piya piya mera jiya pukaare (Baap Re Baap)
> -----------------------------------------------------
>
> O P Nayyar's music was also heard this year in films like
> Musafirkhana and Miss Coca Cola. The later was the film from which
> the love story of Geeta Bali and Shammi Kapoor had started. Here is
> a Geeta Dutt number from Miss Coca Cola.
>
> ---------------------------------------------------------
> Song: ban dhaDkan kajraare naina Dole re (Miss Coca Cola)
> ---------------------------------------------------------
>
> Raj Khosla, after producing Aar Paar and Baazi, directed Milap
> independently in 1955. This film was also the first independent
film
> of N Dutta as music director, who used to be assistant to S D
> Burman. Milap had Geeta Bali and Dev Anand in the main roles and
> Sahir Ludhianvi wrote the songs. One such song from this film in
> Geeta Dutt's voice is here for you.
>
> -------------------------------------------------
> Song: jaate ho to jaao par jaayoge kahaan (Milap)
> -------------------------------------------------
>
> Another assistant of S D Burman was Jaidev. He also made debut as
> independent composer in 1955 in Chetan Anand's Joru Ka Bhai. Chetan
> Anand had left Navketan over differences with Dev Anand. Vijay
Anand
> had played a small role in Joru Ka Bhai.
>
> ------------------------------------------------
> Song: subah ka intezaar kaun kare (Joru Ka Bhai)
> ------------------------------------------------
>
> Navketan's House No 44 was made in 1955 under M K burman's
> direction. Dev Anand once again played the role of wrong doer
> getting changed in the end.
>
> -----------------------------------------------------------
> Song: tei duniya mein jeene se to behetar hai (House No 44)
> -----------------------------------------------------------
>
> Houes No 44 brought the poet inside Sahir Ludhianvi and S D Burman
> also did full justice to his poetry by his soulful compostions.
Lets
> listent o one more track from this film.
>
> ------------------------------------------------------------
> Song: chup hai dharti chup hain chaand sitaare (House No 44)
> ------------------------------------------------------------
>
> House No 44 was the first film of Dev Anand and Kalpana Kartik
after
> their marriage on the sets of Taxi Driver through a mariage
> registrar. The picturesque locations used in this film were those
of
> Mahabaleshwar. One such song beautifully picturised in these
> Sahyadri range is here for you.
>
> -----------------------------------------------------
> Song: phaili huyi hain sapnon ki baahen (House No 44)
> -----------------------------------------------------
>
> Dev Anand paired up with Nalini Jaywant in the Subodh Mukherjee
> directed Filmistan's Munimji. Dev Anand's typical style and
> mannerisms were first noticed in this film in its full form, which
> over the years have remained his trademark.
>
> ------------------------------------------
> Song: jeevan ke safar mein raahi (Munimji)
> ------------------------------------------
>
> Munimji had Shailendra as the lyricist and S D Burman as the
> composer. Based on classical music, here is a wonderful composition
> from this film in Lata Mangeshkar's honey-filled voice.
>
> ----------------------------------------------------
> Song: ghaayal hiraniya main ban ban Doloon (Munimji)
> ----------------------------------------------------
>
> Director Amiya Chakraborty have always given us social films packed
> with entertainment. His films have taken up various social issues
> over the years. The 1955 film Seema has been one of his memorable
> films.
>
> ----------------------------------------------------
> Song: suno chhoTi si guDiya ki lambi kahaani (Seema)
> ----------------------------------------------------
>
> Seema is also remembered for actress Nutan's powerful performance
> and music director Shankar Jaikishan's powerful music. This song by
> Lata Mangeshkar is one of her noted songs based on pure classical
> music.
>
> ------------------------------------
> Song: manmohana baDe jhooThe (Seema)
> ------------------------------------
>
> Another important film of 1955 was S U Sunny's Udan Khatola, based
> on Frank capra's Lost Horizon. Shaqeel-Naushad combo was heard in
> the songs and the star cast of the film included Dilip Kumar,
Nimmi,
> Jeeva, and Surya Kumari.
>
> ---------------------------------------
> Song: mera salaam le jaa (Udan Khatola)
> ---------------------------------------
>
> Naushad did a lot of experiments in this film. He tells about the
> music of one such experimental songs of this film:
>
> Naushad speaks: isi film ka ek aur geet hai raag pilu par aadhaarit
> jise maine ek 'experiment' ke taur par banaya tha. iski khaasiyat
> yeh hai ki ismein ek bhi saaz istemaal nahin huya par log yeh
> pehchaan bhi nahin paaye. is gaane mein mardaana aur
> janaana 'humming' se poore gaane ka 'music' tayyaar kiya gaya
> tha. "More saiyanji utrege paar o darya dheere baho", suniye
>
> -----------------------------------------------
> Song: More saiyanji utrenge paar (Udan Khatola)
> -----------------------------------------------
>
> A name similar to that of Naushad, in the list of music directors,
> was Nashad. His real name was Shaukat Dahelvi. He made debut as
> composer in 1955 in K Amarnath's film Baradari. This Lata-Rafi duet
> of this film is remembered for its beautiful composition and
> orchestration.
>
> -------------------------------------------------------
> Song: bhula naheen dena ji bhula naheen dena (Baradari)
> -------------------------------------------------------
>
> Nashad, Jamal Sen, Sajjad Hussain, S Mohindar, Sardar Malik - we
> often forget these names while discussing about the music directors
> of the golden era of film music. Its true that these composers
could
> not reach to that level of success unlike the other successful
> composers, but we cannot overlook their contribution towards Hindi
> cine music. So, before ending today's episode of Flashback, let us
> pay tribute to all these lesser-known music directors and listen to
> one more song composed by Nashad for the film Baradari in Talat
> Mahmood's velvette voice. We shall meet again next week same day
> same time, till then, Good-Bye!
>
> ----------------------------------------------------------
> Song: tasveer banaata hoon tasveer naheen banti (Baradari)
> ----------------------------------------------------------
>
> END OF EPISODE 15
>
>
>
>
>
>
> ---------------------------------
>  Find out what India is talking about on  - Yahoo! Answers India
>  Send FREE SMS to your friend's mobile from Yahoo! Messenger
Version 8. Get it NOW
>

Soojoi,

Thank you for this gr8 work of loading transscript of this program and making is available to all HFM lovers.

Phase 1 of Flash back will be covering period upto 1960 and will end on November 5.

Phase 2 will be planned in next year. I would like to have suggestions from the film & music lovers.

With regards,

Prabha

soojoi_india <soojoi_india@...> wrote:

A SPECIAL SERIES CELEBRATING THE 75 YEARS OF HINDI FILM MUSIC

(PRESENTED BY PRABHA JOSHI ON VIVIDH BHARATI PUNE)

EPISODE 15 (01/10/2006)
-----------------------

Good morning listeners,

Welcome to the 15th episode of Flashback! In the first 10 episodes
we have discussed about the film music from 1931 to 1950. You came
across many rare songs and some of you might not have even heard
some of them before. But from 1950 onwards the golden era of film
music started and most of the songs turned out to be highly popular
both with the masses and classes. As we said in last two episodes
that the new generation of directors like Bimal Roy, Guru Dutt and
Raj Kapoor have been the major names in this golden era of Hindi
cinema, so we begin today's episode with Raj Kapoor's 1955 film
Shree 420.

---------------------------------------
Song: mera joota hai Japani (Shree 420)
---------------------------------------

With Khwaja Ahmed Abbas's screenplay and powerful acting by Raj
Kapoor, Nargis, Nadira and Lalita Pawar, Shree 420 was story of Raj,
an orphan who comes to Bombay with the dream of making it big. The
poor and chaplinesque Raj has to choose between a simple life with
teacher Vidya, who he loves, and a fancy but morally corrupt life at
the sides of master crook 'Shree 420' Seth Sonachand Dharmanand.
Matters come to a head when a housing scam threatens to defraud
thousands of common men and women of their life's savings.

-------------------------------------------
Song: dil ka haal sune dilwaala (Shree 420)
-------------------------------------------

"Gham se abhi aazaad naheen main, khush hoon magar aabaad naheen
main, manzil mere paas khaDi hai, paaon mein lekin beDee paDee hai",
such were words from lyricist Shailendra portraying the character of
Indian Chaplin. The credit for the success of Shree 420 also goes to
Shankar Jaikishan. Every song of this film has a strong situation
and flow with the film. Take the case of "muD muD ke na dekh muD muD
ke"; it has a slow beginning but in the later part it catches up a
fast rhythm symbolising the dilemna and restlessness in the hero's
mind.

-----------------------------------------------
Song: muD muD ke na dekh muD muD ke (Shree 420)
-----------------------------------------------

Awara and Shree 420 are considered to be the best films of Raj
Kapoor, which were not only popular in India but also in Russia and
the other countries of Central Asia. Decades later, Aziz Mirza made
Raju Ban Gaya Gentleman said to be inspired from Shree 420 and in
this way paid tribute to the genius of Raj Kapoor.

--------------------------------------
Song: ramaiyya vattavaiyya (Shree 420)
--------------------------------------

1955 was the year when the third version of Sarat Chandra's Devdas
was portrayed on the silver screen. In 1935 Pramathesh Chandra
Baruah of the New Theatres had made this film in Bangla and then in
Hindi. In 1955, it was Bimal Roy who cast Dilip Kumar for the title
role as no other actor of that time could be thought of for the role
other than Dlip Kumar.

-------------------------------
Song: kisko khabar thi (Devdas)
-------------------------------

The character of Paro was played by Suchitra Sen who was slowly
becoming a known name in the Bengali households at that time. And
Chandramukhi's character, which required dancing, was played by
Vyajayanthimala who had moved the audience the previous year by her
dancing in Nagin.

------------------------------
Song: aage teri marzi (Devdas)
------------------------------

The sets of Devdas, in the traditional Bengali art forms, were
erected in Mohan Studios. Sahir Ludhinavi took charge of the lyrics
while Burman Dada, with his expertise of Bengali folk, kirtan,
Bhatiali and Baul type of music, did full justice to the music of
this film.

S D Burman sings "rongeela rongeela rongeela re...." (Clip from
Jaimala)

-----------------------------------------------
Song: aan milo aan milo Shyam saanvare (Devdas)
-----------------------------------------------

Films like Daag, Sangdil, Footpath and Devdas, all these films
casting Dilip Kumar had tragic ending. Doing repeated tragic roles
had made Dilip Kumar mentally sick and depressed. His doctor advised
him not to take up any more tragic films for the time being. He got
relieved when filmmaker S M S Naidu approached him for Azad in which
has required to play a superhero. Packed with music, action and
glamour, this film was completed in just 2 months and proved highly
successful and the music composed by C Ramchandra rose to the lips
of the masses.

--------------------------------------
Song: aplam chaplam chaplaai re (Azad)
--------------------------------------

Azad was the remake of M G Ramachandra's Tamil film. At first,
Naushad was approached for the music but on the condition that he
compose and record all 9 songs in just 1 month. Naushad turned down
the offer and after him no other music directors could gain courage
to accept the offer with the said condition of time constraint.
Finally, C Ramchandra took up the challenge and gave all 9 songs in
less than a month without any compromise on the quality, thus
proving his excellence.

-------------------------------------------
Song: jaa ri jaa ri o kaari badariya (Azad)
-------------------------------------------

For one duet song of Azad, C Ramchandra called up Talat Mahmood to
sing with Lata. As Talat saahab used to playback for Dilip saahab in
those days, so Anna had composed the song keeping Talat in mind. But
due to certain problem, Talat could not make up for the recording
and C Ramchandra decided to sing the song himself. He sang it just
like Talat saahab and sometimes it really appears to be Talat's
voice. Lets us listen to this song as well, its written by Rajinder
Krishan!

------------------------------------
Song: kitna haseen hai mausam (Azad)
------------------------------------

Mehboob Khan, Sohrab Modi and V Shantaram, the super trio, who have
been the major filmmakers in the 40s continued to produce effective
movies in the 50s decade as well. Aan, released in 1952, by Mehboob
Khan was the first tecnicolour film of India. Sohrab Modi's name is
associated with the 1952 film Jhansi Ki Rani, while V Shantaram's
Jhanak Jhanak Payal Baaje of 1955 is counted in one of the landmark
films of Indian cinema.

------------------------------------------------------------
Song: jhanak jhanak paayal baaje (Jhanak Jhanak Payal Baaje)
------------------------------------------------------------

Dance and music formed the soul of Jhanak Jhanak Payal Baaje.
Eminent dancer Gopi Krishna played the character of Giridhar while
the heroine was Sandhya. Vasant Desai was the music director, who
proved his hold over Indian classical music in this film. Using only
Indian instruments and that too played by eminent musicians, Desai
composed the dance based songs and received wide acclaim for the
work. Shantaram too did not make any compromise and invited some of
the renowned musicians to play certain instruments in the songs and
background music. These include Samta Prasad the renowned Tabla
player, Sudarshan the noted Khol player from Calcutta, Ustad Haleem
Jafar Khan the famous Sitarist, and Pt Shiv Kumar Sharma the noted
Santoor player.

----------------------------------------------------------------
Song: murli manohar krishna kanhaiya (Jhanak Jhanak Payal Baaje)
----------------------------------------------------------------

Sohrab Modi, under his banner Minerva Movietone, released Kundan in
1955. It was inspired from Victor Hugo's book Les Miserables. Let us
listen to one very rare song from this film composed by Ghulam Mohd
and sung by Lata Mangeshkar.

------------------------------------------------------------------
Song: jahaanwaale hamein duniya mein kyun paida kiya tune (Kundan)
------------------------------------------------------------------

Actor Sunil Dutt had played a small role in Kundan. In the same year
1955, director Ramesh Sehgal launched Sunil Dutt as hero in his
Railway Platform. Today, Railway Platform is remembered only for
this song, written by Sahir, composed by Madan Mohan and sung by
Rafi saahab.

---------------------------------------------------------------------
--
Song: basti basti parbat parbat gaata jaaye banjaara (Railway
Platform)
---------------------------------------------------------------------
--

Guru Dutt tried to depict the prevailing social and political
situation of the country through his comic film Mr & Mrs 55.
Released obviously in 1955, this film had Madhubala opposite Guru
Dutt in the lead roles.

---------------------------------------
Song: udhar tum haseen ho (Mr & Mrs 55)
---------------------------------------

After Aar Paar, Mr & Mrs 55 was the next musical hit for O P Nayyar.
Once again, O P Nayyar and Majrooh Sultanpuri fulfilled Guru Dutt's
imagination of the situations and characters.

--------------------------------------------
Song: ThanDi hawaa kaali ghaTaa (Mr & Mrs 55)
--------------------------------------------

Producer-Director A R Kardar roped in Kishore Kumar and Chand Osmani
for Baap Re Baap. Once again O P Nayyar's music, lyrics by Janisar
Akhtar, and Kishore Kumar's own acting style and mannerisms brought
a new trend in film music, the Kishore Kumar style of acting and
singing.

--------------------------------------------------------
Song: daal kaise galey jab ke joota jaley (Baap Re Baap)
--------------------------------------------------------

One more song of this film, an Asha-Kishore duet, is worth
mentioning. There is an interesting incident related to this song.
Lets hear it from Asha Bhosle herself:

Asha Bhosle speaks: ek gaana main aur hamaare mazaakiya Kishoreda,
dono gaa rahe the, (sings) 'piya piya piya...', gaana
poora 'rehearsal' hoke 'final recording' shuru huya, aur maine
galati se unki 'line' pe (sings) 'haaann' aisaa keh diya, to unhone
meri taraf aise haath baDhaake kaha ki aage, matlab, band naheen
karna, waise 'recording' chaalu rakhaa, jaise hi 'recording' khatam
huya maine kahaa 'dada, phir se karte hain, maine galati kee hai,
bahut baDi galati kee hai maine, beech mein bol diya'. kehne
lage, 'bilkul chinta mat karo, main hoon na us 'picture' mein,
main 'hero' hoon, jaise hi 'heroine' gaane lagegi, main uske munh
par haath rakh doonga'.

-----------------------------------------------------
Song: piya piya piya mera jiya pukaare (Baap Re Baap)
-----------------------------------------------------

O P Nayyar's music was also heard this year in films like
Musafirkhana and Miss Coca Cola. The later was the film from which
the love story of Geeta Bali and Shammi Kapoor had started. Here is
a Geeta Dutt number from Miss Coca Cola.

---------------------------------------------------------
Song: ban dhaDkan kajraare naina Dole re (Miss Coca Cola)
---------------------------------------------------------

Raj Khosla, after producing Aar Paar and Baazi, directed Milap
independently in 1955. This film was also the first independent film
of N Dutta as music director, who used to be assistant to S D
Burman. Milap had Geeta Bali and Dev Anand in the main roles and
Sahir Ludhianvi wrote the songs. One such song from this film in
Geeta Dutt's voice is here for you.

-------------------------------------------------
Song: jaate ho to jaao par jaayoge kahaan (Milap)
-------------------------------------------------

Another assistant of S D Burman was Jaidev. He also made debut as
independent composer in 1955 in Chetan Anand's Joru Ka Bhai. Chetan
Anand had left Navketan over differences with Dev Anand. Vijay Anand
had played a small role in Joru Ka Bhai.

------------------------------------------------
Song: subah ka intezaar kaun kare (Joru Ka Bhai)
------------------------------------------------

Navketan's House No 44 was made in 1955 under M K burman's
direction. Dev Anand once again played the role of wrong doer
getting changed in the end.

-----------------------------------------------------------
Song: tei duniya mein jeene se to behetar hai (House No 44)
-----------------------------------------------------------

Houes No 44 brought the poet inside Sahir Ludhianvi and S D Burman
also did full justice to his poetry by his soulful compostions. Lets
listent o one more track from this film.

------------------------------------------------------------
Song: chup hai dharti chup hain chaand sitaare (House No 44)
------------------------------------------------------------

House No 44 was the first film of Dev Anand and Kalpana Kartik after
their marriage on the sets of Taxi Driver through a mariage
registrar. The picturesque locations used in this film were those of
Mahabaleshwar. One such song beautifully picturised in these
Sahyadri range is here for you.

-----------------------------------------------------
Song: phaili huyi hain sapnon ki baahen (House No 44)
-----------------------------------------------------

Dev Anand paired up with Nalini Jaywant in the Subodh Mukherjee
directed Filmistan's Munimji. Dev Anand's typical style and
mannerisms were first noticed in this film in its full form, which
over the years have remained his trademark.

------------------------------------------
Song: jeevan ke safar mein raahi (Munimji)
------------------------------------------

Munimji had Shailendra as the lyricist and S D Burman as the
composer. Based on classical music, here is a wonderful composition
from this film in Lata Mangeshkar's honey-filled voice.

----------------------------------------------------
Song: ghaayal hiraniya main ban ban Doloon (Munimji)
----------------------------------------------------

Director Amiya Chakraborty have always given us social films packed
with entertainment. His films have taken up various social issues
over the years. The 1955 film Seema has been one of his memorable
films.

----------------------------------------------------
Song: suno chhoTi si guDiya ki lambi kahaani (Seema)
----------------------------------------------------

Seema is also remembered for actress Nutan's powerful performance
and music director Shankar Jaikishan's powerful music. This song by
Lata Mangeshkar is one of her noted songs based on pure classical
music.

------------------------------------
Song: manmohana baDe jhooThe (Seema)
------------------------------------

Another important film of 1955 was S U Sunny's Udan Khatola, based
on Frank capra's Lost Horizon. Shaqeel-Naushad combo was heard in
the songs and the star cast of the film included Dilip Kumar, Nimmi,
Jeeva, and Surya Kumari.

---------------------------------------
Song: mera salaam le jaa (Udan Khatola)
---------------------------------------

Naushad did a lot of experiments in this film. He tells about the
music of one such experimental songs of this film:

Naushad speaks: isi film ka ek aur geet hai raag pilu par aadhaarit
jise maine ek 'experiment' ke taur par banaya tha. iski khaasiyat
yeh hai ki ismein ek bhi saaz istemaal nahin huya par log yeh
pehchaan bhi nahin paaye. is gaane mein mardaana aur
janaana 'humming' se poore gaane ka 'music' tayyaar kiya gaya
tha. "More saiyanji utrege paar o darya dheere baho", suniye

-----------------------------------------------
Song: More saiyanji utrenge paar (Udan Khatola)
-----------------------------------------------

A name similar to that of Naushad, in the list of music directors,
was Nashad. His real name was Shaukat Dahelvi. He made debut as
composer in 1955 in K Amarnath's film Baradari. This Lata-Rafi duet
of this film is remembered for its beautiful composition and
orchestration.

-------------------------------------------------------
Song: bhula naheen dena ji bhula naheen dena (Baradari)
-------------------------------------------------------

Nashad, Jamal Sen, Sajjad Hussain, S Mohindar, Sardar Malik - we
often forget these names while discussing about the music directors
of the golden era of film music. Its true that these composers could
not reach to that level of success unlike the other successful
composers, but we cannot overlook their contribution towards Hindi
cine music. So, before ending today's episode of Flashback, let us
pay tribute to all these lesser-known music directors and listen to
one more song composed by Nashad for the film Baradari in Talat
Mahmood's velvette voice. We shall meet again next week same day
same time, till then, Good-Bye!

----------------------------------------------------------
Song: tasveer banaata hoon tasveer naheen banti (Baradari)
----------------------------------------------------------

END OF EPISODE 15

---

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A SPECIAL SERIES CELEBRATING THE 75 YEARS OF HINDI FILM MUSIC

(PRESENTED BY PRABHA JOSHI ON VIVIDH BHARATI PUNE)

EPISODE 15 (01/10/2006)
-----------------------

Good morning listeners,

Welcome to the 15th episode of Flashback! In the first 10 episodes
we have discussed about the film music from 1931 to 1950. You came
across many rare songs and some of you might not have even heard
some of them before. But from 1950 onwards the golden era of film
music started and most of the songs turned out to be highly popular
both with the masses and classes. As we said in last two episodes
that the new generation of directors like Bimal Roy, Guru Dutt and
Raj Kapoor have been the major names in this golden era of Hindi
cinema, so we begin today's episode with Raj Kapoor's 1955 film
Shree 420.

---------------------------------------
Song: mera joota hai Japani (Shree 420)
---------------------------------------

With Khwaja Ahmed Abbas's screenplay and powerful acting by Raj
Kapoor, Nargis, Nadira and Lalita Pawar, Shree 420 was story of Raj,
an orphan who comes to Bombay with the dream of making it big. The
poor and chaplinesque Raj has to choose between a simple life with
teacher Vidya, who he loves, and a fancy but morally corrupt life at
the sides of master crook 'Shree 420' Seth Sonachand Dharmanand.
Matters come to a head when a housing scam threatens to defraud
thousands of common men and women of their life's savings.

-------------------------------------------
Song: dil ka haal sune dilwaala (Shree 420)
-------------------------------------------

"Gham se abhi aazaad naheen main, khush hoon magar aabaad naheen
main, manzil mere paas khaDi hai, paaon mein lekin beDee paDee hai",
such were words from lyricist Shailendra portraying the character of
Indian Chaplin. The credit for the success of Shree 420 also goes to
Shankar Jaikishan. Every song of this film has a strong situation
and flow with the film. Take the case of "muD muD ke na dekh muD muD
ke"; it has a slow beginning but in the later part it catches up a
fast rhythm symbolising the dilemna and restlessness in the hero's
mind.

-----------------------------------------------
Song: muD muD ke na dekh muD muD ke (Shree 420)
-----------------------------------------------

Awara and Shree 420 are considered to be the best films of Raj
Kapoor, which were not only popular in India but also in Russia and
the other countries of Central Asia. Decades later, Aziz Mirza made
Raju Ban Gaya Gentleman said to be inspired from Shree 420 and in
this way paid tribute to the genius of Raj Kapoor.

--------------------------------------
Song: ramaiyya vattavaiyya (Shree 420)
--------------------------------------

1955 was the year when the third version of Sarat Chandra's Devdas
was portrayed on the silver screen. In 1935 Pramathesh Chandra
Baruah of the New Theatres had made this film in Bangla and then in
Hindi. In 1955, it was Bimal Roy who cast Dilip Kumar for the title
role as no other actor of that time could be thought of for the role
other than Dlip Kumar.

-------------------------------
Song: kisko khabar thi (Devdas)
-------------------------------

The character of Paro was played by Suchitra Sen who was slowly
becoming a known name in the Bengali households at that time. And
Chandramukhi's character, which required dancing, was played by
Vyajayanthimala who had moved the audience the previous year by her
dancing in Nagin.

------------------------------
Song: aage teri marzi (Devdas)
------------------------------

The sets of Devdas, in the traditional Bengali art forms, were
erected in Mohan Studios. Sahir Ludhinavi took charge of the lyrics
while Burman Dada, with his expertise of Bengali folk, kirtan,
Bhatiali and Baul type of music, did full justice to the music of
this film.

S D Burman sings "rongeela rongeela rongeela re...." (Clip from
Jaimala)

-----------------------------------------------
Song: aan milo aan milo Shyam saanvare (Devdas)
-----------------------------------------------

Films like Daag, Sangdil, Footpath and Devdas, all these films
casting Dilip Kumar had tragic ending. Doing repeated tragic roles
had made Dilip Kumar mentally sick and depressed. His doctor advised
him not to take up any more tragic films for the time being. He got
relieved when filmmaker S M S Naidu approached him for Azad in which
has required to play a superhero. Packed with music, action and
glamour, this film was completed in just 2 months and proved highly
successful and the music composed by C Ramchandra rose to the lips
of the masses.

--------------------------------------
Song: aplam chaplam chaplaai re (Azad)
--------------------------------------

Azad was the remake of M G Ramachandra's Tamil film. At first,
Naushad was approached for the music but on the condition that he
compose and record all 9 songs in just 1 month. Naushad turned down
the offer and after him no other music directors could gain courage
to accept the offer with the said condition of time constraint.
Finally, C Ramchandra took up the challenge and gave all 9 songs in
less than a month without any compromise on the quality, thus
proving his excellence.

-------------------------------------------
Song: jaa ri jaa ri o kaari badariya (Azad)
-------------------------------------------

For one duet song of Azad, C Ramchandra called up Talat Mahmood to
sing with Lata. As Talat saahab used to playback for Dilip saahab in
those days, so Anna had composed the song keeping Talat in mind. But
due to certain problem, Talat could not make up for the recording
and C Ramchandra decided to sing the song himself. He sang it just
like Talat saahab and sometimes it really appears to be Talat's
voice. Lets us listen to this song as well, its written by Rajinder
Krishan!

------------------------------------
Song: kitna haseen hai mausam (Azad)
------------------------------------

Mehboob Khan, Sohrab Modi and V Shantaram, the super trio, who have
been the major filmmakers in the 40s continued to produce effective
movies in the 50s decade as well. Aan, released in 1952, by Mehboob
Khan was the first tecnicolour film of India. Sohrab Modi's name is
associated with the 1952 film Jhansi Ki Rani, while V Shantaram's
Jhanak Jhanak Payal Baaje of 1955 is counted in one of the landmark
films of Indian cinema.

------------------------------------------------------------
Song: jhanak jhanak paayal baaje (Jhanak Jhanak Payal Baaje)
------------------------------------------------------------

Dance and music formed the soul of Jhanak Jhanak Payal Baaje.
Eminent dancer Gopi Krishna played the character of Giridhar while
the heroine was Sandhya. Vasant Desai was the music director, who
proved his hold over Indian classical music in this film. Using only
Indian instruments and that too played by eminent musicians, Desai
composed the dance based songs and received wide acclaim for the
work. Shantaram too did not make any compromise and invited some of
the renowned musicians to play certain instruments in the songs and
background music. These include Samta Prasad the renowned Tabla
player, Sudarshan the noted Khol player from Calcutta, Ustad Haleem
Jafar Khan the famous Sitarist, and Pt Shiv Kumar Sharma the noted
Santoor player.

----------------------------------------------------------------
Song: murli manohar krishna kanhaiya (Jhanak Jhanak Payal Baaje)
----------------------------------------------------------------

Sohrab Modi, under his banner Minerva Movietone, released Kundan in
1955. It was inspired from Victor Hugo's book Les Miserables. Let us
listen to one very rare song from this film composed by Ghulam Mohd
and sung by Lata Mangeshkar.

------------------------------------------------------------------
Song: jahaanwaale hamein duniya mein kyun paida kiya tune (Kundan)
------------------------------------------------------------------

Actor Sunil Dutt had played a small role in Kundan. In the same year
1955, director Ramesh Sehgal launched Sunil Dutt as hero in his
Railway Platform. Today, Railway Platform is remembered only for
this song, written by Sahir, composed by Madan Mohan and sung by
Rafi saahab.

---------------------------------------------------------------------
--
Song: basti basti parbat parbat gaata jaaye banjaara (Railway
Platform)
---------------------------------------------------------------------
--

Guru Dutt tried to depict the prevailing social and political
situation of the country through his comic film Mr & Mrs 55.
Released obviously in 1955, this film had Madhubala opposite Guru
Dutt in the lead roles.

---------------------------------------
Song: udhar tum haseen ho (Mr & Mrs 55)
---------------------------------------

After Aar Paar, Mr & Mrs 55 was the next musical hit for O P Nayyar.
Once again, O P Nayyar and Majrooh Sultanpuri fulfilled Guru Dutt's
imagination of the situations and characters.

--------------------------------------------
Song: ThanDi hawaa kaali ghaTaa (Mr & Mrs 55)
--------------------------------------------

Producer-Director A R Kardar roped in Kishore Kumar and Chand Osmani
for Baap Re Baap. Once again O P Nayyar's music, lyrics by Janisar
Akhtar, and Kishore Kumar's own acting style and mannerisms brought
a new trend in film music, the Kishore Kumar style of acting and
singing.

--------------------------------------------------------
Song: daal kaise galey jab ke joota jaley (Baap Re Baap)
--------------------------------------------------------

One more song of this film, an Asha-Kishore duet, is worth
mentioning. There is an interesting incident related to this song.
Lets hear it from Asha Bhosle herself:

Asha Bhosle speaks: ek gaana main aur hamaare mazaakiya Kishoreda,
dono gaa rahe the, (sings) 'piya piya piya...', gaana
poora 'rehearsal' hoke 'final recording' shuru huya, aur maine
galati se unki 'line' pe (sings) 'haaann' aisaa keh diya, to unhone
meri taraf aise haath baDhaake kaha ki aage, matlab, band naheen
karna, waise 'recording' chaalu rakhaa, jaise hi 'recording' khatam
huya maine kahaa 'dada, phir se karte hain, maine galati kee hai,
bahut baDi galati kee hai maine, beech mein bol diya'. kehne
lage, 'bilkul chinta mat karo, main hoon na us 'picture' mein,
main 'hero' hoon, jaise hi 'heroine' gaane lagegi, main uske munh
par haath rakh doonga'.

-----------------------------------------------------
Song: piya piya piya mera jiya pukaare (Baap Re Baap)
-----------------------------------------------------

O P Nayyar's music was also heard this year in films like
Musafirkhana and Miss Coca Cola. The later was the film from which
the love story of Geeta Bali and Shammi Kapoor had started. Here is
a Geeta Dutt number from Miss Coca Cola.

---------------------------------------------------------
Song: ban dhaDkan kajraare naina Dole re (Miss Coca Cola)
---------------------------------------------------------

Raj Khosla, after producing Aar Paar and Baazi, directed Milap
independently in 1955. This film was also the first independent film
of N Dutta as music director, who used to be assistant to S D
Burman. Milap had Geeta Bali and Dev Anand in the main roles and
Sahir Ludhianvi wrote the songs. One such song from this film in
Geeta Dutt's voice is here for you.

-------------------------------------------------
Song: jaate ho to jaao par jaayoge kahaan (Milap)
-------------------------------------------------

Another assistant of S D Burman was Jaidev. He also made debut as
independent composer in 1955 in Chetan Anand's Joru Ka Bhai. Chetan
Anand had left Navketan over differences with Dev Anand. Vijay Anand
had played a small role in Joru Ka Bhai.

------------------------------------------------
Song: subah ka intezaar kaun kare (Joru Ka Bhai)
------------------------------------------------

Navketan's House No 44 was made in 1955 under M K burman's
direction. Dev Anand once again played the role of wrong doer
getting changed in the end.

-----------------------------------------------------------
Song: tei duniya mein jeene se to behetar hai (House No 44)
-----------------------------------------------------------

Houes No 44 brought the poet inside Sahir Ludhianvi and S D Burman
also did full justice to his poetry by his soulful compostions. Lets
listent o one more track from this film.

------------------------------------------------------------
Song: chup hai dharti chup hain chaand sitaare (House No 44)
------------------------------------------------------------

House No 44 was the first film of Dev Anand and Kalpana Kartik after
their marriage on the sets of Taxi Driver through a mariage
registrar. The picturesque locations used in this film were those of
Mahabaleshwar. One such song beautifully picturised in these
Sahyadri range is here for you.

-----------------------------------------------------
Song: phaili huyi hain sapnon ki baahen (House No 44)
-----------------------------------------------------

Dev Anand paired up with Nalini Jaywant in the Subodh Mukherjee
directed Filmistan's Munimji. Dev Anand's typical style and
mannerisms were first noticed in this film in its full form, which
over the years have remained his trademark.

------------------------------------------
Song: jeevan ke safar mein raahi (Munimji)
------------------------------------------

Munimji had Shailendra as the lyricist and S D Burman as the
composer. Based on classical music, here is a wonderful composition
from this film in Lata Mangeshkar's honey-filled voice.

----------------------------------------------------
Song: ghaayal hiraniya main ban ban Doloon (Munimji)
----------------------------------------------------

Director Amiya Chakraborty have always given us social films packed
with entertainment. His films have taken up various social issues
over the years. The 1955 film Seema has been one of his memorable
films.

----------------------------------------------------
Song: suno chhoTi si guDiya ki lambi kahaani (Seema)
----------------------------------------------------

Seema is also remembered for actress Nutan's powerful performance
and music director Shankar Jaikishan's powerful music. This song by
Lata Mangeshkar is one of her noted songs based on pure classical
music.

------------------------------------
Song: manmohana baDe jhooThe (Seema)
------------------------------------

Another important film of 1955 was S U Sunny's Udan Khatola, based
on Frank capra's Lost Horizon. Shaqeel-Naushad combo was heard in
the songs and the star cast of the film included Dilip Kumar, Nimmi,
Jeeva, and Surya Kumari.

---------------------------------------
Song: mera salaam le jaa (Udan Khatola)
---------------------------------------

Naushad did a lot of experiments in this film. He tells about the
music of one such experimental songs of this film:

Naushad speaks: isi film ka ek aur geet hai raag pilu par aadhaarit
jise maine ek 'experiment' ke taur par banaya tha. iski khaasiyat
yeh hai ki ismein ek bhi saaz istemaal nahin huya par log yeh
pehchaan bhi nahin paaye. is gaane mein mardaana aur
janaana 'humming' se poore gaane ka 'music' tayyaar kiya gaya
tha. "More saiyanji utrege paar o darya dheere baho", suniye

-----------------------------------------------
Song: More saiyanji utrenge paar (Udan Khatola)
-----------------------------------------------

A name similar to that of Naushad, in the list of music directors,
was Nashad. His real name was Shaukat Dahelvi. He made debut as
composer in 1955 in K Amarnath's film Baradari. This Lata-Rafi duet
of this film is remembered for its beautiful composition and
orchestration.

-------------------------------------------------------
Song: bhula naheen dena ji bhula naheen dena (Baradari)
-------------------------------------------------------

Nashad, Jamal Sen, Sajjad Hussain, S Mohindar, Sardar Malik - we
often forget these names while discussing about the music directors
of the golden era of film music. Its true that these composers could
not reach to that level of success unlike the other successful
composers, but we cannot overlook their contribution towards Hindi
cine music. So, before ending today's episode of Flashback, let us
pay tribute to all these lesser-known music directors and listen to
one more song composed by Nashad for the film Baradari in Talat
Mahmood's velvette voice. We shall meet again next week same day
same time, till then, Good-Bye!

----------------------------------------------------------
Song: tasveer banaata hoon tasveer naheen banti (Baradari)
----------------------------------------------------------

END OF EPISODE 15

>yes we are planning some event in Dubai, in
> the next one or two months
All the Best !!!!!!
Now that Kamall is there in Dubai you will have good support. Keep us
updated.

Regards,
Ramaswamy



--- In vividhbharati@..., "Kaustubh Pingle"
<kcpingle@g...> wrote:
>
> Thanks Rama for the account...yes we are planning some event in
Dubai, in
> the next one or two months
>
> KCP
>
>
> On 10/6/06, Ramaswamy <ramaswamy21in@y...> wrote:
> >
> > A special note of thanks to Bheemsinh, for providing myself and
other
> > Mumbaikars with an opportunity to know Sachin. Dev. Burman  even
> > better. And a special mention of Mr. Ashok Bindal  and Mr. Lalit
> > Shah.
> >
> > Bheemsinh was in Mumbai from Thursday itself. I was somehow busy
with
> > work and couldn't help him during this time. Although I wonder if
I
> > would have been of that much help in any case.  I called up Bheem
on
> > Saturday from my office. He told me to give a call when i leave my
> > office. I called him up at 6 P.M. and was told to meet him near
> > Andheri Station.
> >
> > We decided to have some light snacks before going anywhere. After
> > that we collected the canvas prints of Sachin. Dev. Burman from
the
> > printing shop nearby and made our way to Amitabh Banerjee's house.
> > Amit and Bheem had been working all night since Thursday to give
> > shape to the audio visual presentation which was the main
highlight
> > of this event. Amitabh is a  big fan of Kishore Kumar and Amit
Kumar
> >
> > Amit treated us to some Bengali songs composed by Rahul. Dev.
Burman
> > while we sipped on the lemon tea which was specially prepared for
us.
> > Bheem worked on the background for the presentation till late
night
> > while I returned back to my place so that I could start afresh the
> > next day for the main event.
> >
> > Early morning showers were making my mind uneasy the next day. I
was
> > thinking of leaving early for the event. I was supposed to reach
> > Bhavan&#8217;s Campus by 1 P.M. The late-comer that I am I turned
up at
> > 2:30 P.M. at Andheri Station. We were meeting early so that I
could
> > rehearse with Shri. Vishnu Sharma, a character actor in Television
> > serials, whom I remember last seeing in Kohinoor and Shri. Ashok
> > Bhanthia, another character actor who is also a familiar face in
TV
> > serials. I was supposed to play and pause the DVD containing the
> > Audio Visuals. Due to some slight communication gap between Bheem
and
> > myself I reached Bhavan&#8217;s Campus by 4: 15 P.M. only. More
than 3 hrs
> >
> > behind schedule I soon had to rush back to Andheri station on an
> > errand. Two prints, some flowers for decoration and a Bouquet. It
was
> > a funny scene where I had some 3 kilos of flowers in a bag in one
> > hand and an Umbrella (Thank god it wasn&#8217;t raining ) ,
Prints, and
> > the
> > bouquet in the other. It  was not possible for me to reach for the
> > mobile which was ringing to make matters even worse. Somehow when
I
> > did eventually reach the Campus I saw that the audience had
already
> > made themselves comfortable.
> >
> > I was nervous because I never got time to rehearse. Bheem
relieved me
> > of that difficult situation by volunteering himself for the task.
So
> > now, unlike in Delhi I was part of the audience and could have a
> > better view of the happenings on stage.  While Shri. Ashok
Bhanthia
> > was seated in a bench under a street lamp which reminded me of the
> > good old movies, Shri. Vishnu Sharma was seated in a chair with a
> > writing table in front of him. I believe the idea was to convey
that
> > these two narrators were very fondly remembering the music given
by
> > Sachin. Dev. Burman.
> >
> > As most events tend to start late this event was no exception. It
> > started 10-15 Minutes late. Then there were some problems with the
> > lights that were supposed to focus on the scripts assigned to the
> > narrators. Then the audio visual presentation took some time to
> > appear on the screen. Both the narrators carried the programme
till
> > the intermission wonderfully.
> >
> > After the intermission, the audience were treated to some rare
songs
> > and somewhat unknown information of Sachin. Dev. Burman. In fact,
> > Shri. Vishnu Sharma was enjoying himself so much that he inserted
> > some tit-bits about Majrooh which were not there in the original
> > script. This was revealed to me later that evening by Bheem. He
had
> > cleverly given the Majrooh part to Shri. Vishnu Sharma as he had
> > spoken about Sachin. Dev. Burman&#8217;s love for Majrooh when
they had
> > fixed up a meeting just days before the event. Among other
> > celebrities in the audience there was
> > Rajkumar                         .Having been part of the Delhi
event
> > too I can say that both efforts were done well. Both were
organized
> > by first timers. I believe the event in Mumbai had rarer
information
> > as compared to the Delhi event. The Delhi event was liked by
> > audiences for the live orchestra. All in all both were humble
> > efforts. Hopefully other individuals also take initiative and
> > organize such events in their respective areas.
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
>

SWARNA SMRITI - A JOURNEY THROUGH MEMORIES OF 50 YEARS
******************************************************
Celebrating the Golden Jubilee Year of Vividh Bharati
------------------------------------------------------

We, the family of Vividh Bharati, have been together since the last
49 years. Time never stops for anyone and keeps rolling on and on
and on. But when we look backwards in those past 49 years, a galaxy
of memories starts shining in front of our eyes and ears. 3rd
October 2006 marks the beginning of the 50th year of broadcasting by
Vividh Bharati and through this special series, we are going to
refresh our memories of all those 50 years.

Vividh Bharati was born on 3rd October 1957. But first things first,
why Vividh Bharati? What was the need of Vividh Bharati? In those
days, film music was not a part of radio programmes. People used to
quench their thirst of film music by tuning to two radio stations -
one was Radio Ceylon, and the other was Radio Goa based at Panaji.
As Radio Goa was unable to reach every nook and corner of the
country, people started tuning in to Radio Ceylon solely. It was a
serious matter that Indians had to tune in to a foreign station to
listen to their own film songs. And hence a new channel was needed.
The Government took it up with full weightage and called upon Pt
Narendra Sharma to Delhi for a meeting. Yes, it was Pt Sharma who
made the foundation of Vividh Bharati, from the name to the
programme schedule, everything was his concept. Today, Pt Sharma is
not present with us, but the recording of his voice is present in
our archives.

Pt Narendra Sharma speaks: What was the need of Vividh Bharati?
Akashvani used to broadcast many programmes which were in tune with
the intelligent masses only. There was a need of an 'All India'
concept which would be for the common people, or in other words, for
the laymen listeners, and also on the condition that it would cater
to the concepts of 'vividhata' and 'Bharatiyata'. Vividh Bharati was
based absolutely on this concept.

Another pioneering name is that of S S Thakur, who was in AIR Simla
and transferred to Vividh Bharati.

S S Thakur speaks: In 1957 I was working in Simla for Akashvani
Himachal as director. One day I got the news that a new channel
called Vividh Bharati was going to start and for that I would have
to take trasfer to Bombay. I resisted as AIR Simla had just started
and the work was not completed there. Anyway, I reached Bombay,
preparations were going on. Pt Narendra Sharma was already the Chief
Producer. I was also mae the Joint Chief Producer. The mission of
Vividh Bharati was to provide entertainment to the common masses.
Music programmes, not too classical and not too western, were
designed, light music sort of programmes.

And now here is the signature tune of Vividh Bharati...

Clip: AIR Signature tune

This is the tune with which any session of each and every AIR
station begins. This may not be a special thing for you listeners
today. But on 3rd October 1957 at 10:13 hrs, when the waves of this
ear-pleasing tune, boarding the short waves of 19 and 25 meter
bands, reached the household, it was a new thing to happen in the
history of Indian radio. It was the notification of the birth
of 'Akashvani Ka Pancharangi Kaaryakram Vividh Bharati'.

The signature tune was followed by poetry of Maithili Sharan Gupt,
recited by Pt Narendra Sharma.

At that time, Vividh Bharati programmes were broadcast from
transmitters located at Bombay and Madras. These two cities were
chosen for their geographical location. The Bombay transmitter
covered the northern and western parts of teh country while the
Madras transmitter covered the eastern and southern regions.

On the first day of VB's transmission, Rajlakshmi was the announcer
at the Madras station.

Rajlakshmi speaks: I was working as a Telugu announcer at Madras.
God knows where the Vividh Bharati announcer of the evening
transmission vanished, I was asked to announce. I made the opening
announcement and I remember it was followed by Karnataki vaadya
sangeet. After that I was attached to this channel for 7 long years.

Similarly, the announcer at the Bombay station was Sheel Verma.

Sheel Verma speaks: When VB was started, it was not a small scale. I
could not believe that it would become so big and vast. The most
important reason that i think behind VB' success is the independence
given to it from the authorities. No other AIR station enjoys so
much of free enviroment as VB.

Here is Shaulat Kaifi, another announcer.

Shaukat Kaifi speaks: I had full liberty to make whatever I wanted
in the 15 minute Hawa Mahal programme. I also feel proud that Man
Chaahe Geeet programme was started with my voice.

Shaukat Kaifi later left VB and joined the film industry. But the
needle of his radio always pointed to VB as most of the programmes
were film-music based. In other words, film music forms the spinal
chord of Vividh Bharati. Vividh Bharati is grateful to those film
producers who let their music play on this channel. In those days,
film music used to appear on gramophone records and to broadcast
from various stations we needed to copy on tapes. But it was illegal
to copy songs from gramophone records to tapes. So, VB approached
the producers, who used to record the songs on tapes for VB and
allowed VB to broadcast them only once.

Today, the high tower of Doordarshan stands at the place where the
original Bombay studio of Vividh Bharati existed. 49 years ago,
without any sound-profing and air-conditioner, who would have
thought that the foundation of the most popular radio channel was
being laid at this place!

Here is Satyendra Sharad, the first producer of Hawa Mahal programme:

Satyendra Sharad speaks: Hawa Mahal was not started on 3rd October
1957, but on 20th October. The first play broadcast in Hawa Mahal
was a 'sangeet naaTika' written by Pt Narendra Sharma, titled as
Maha Raas. The signature tune of Hawa Mahal was at first
straightaway taken from a Gujarati song's prelude. Later in 1960, a
tune similar to the original tune was composed and recorded.

Talking about signature tunes of various programmes, the mentionable
ones are:

Vandanvaar
Geeton Bhari Kahani
Jaimala
Udaygaan
Indradhanush
Raag Rang - classcal & semi-classical music
Chaubara - folk music
Manjusha - sugam sangeet
Gajra - ghazals & non-film light songs

Eminent music directors like Anil Biswas, S K Pal, Ninu Mazumdar,
and many others were behind these signature tunes.

TO BE CONTINUED...

Aaj Ke Fankaar, aaj ka yeh kaaryakram kendrit hai Rahul Dev Burman
par. aaj ismein unki gaayiki ke andaaz pesh hain.

Song: piyaa tu ab to aaja (Caravan)

jaisa ki aap jaante hain Sachin Dev Burman ke beTe Rahul Dev Burman
ko sangeet dharohar mein hi milaa tha. chhoTpan se hi sangeet ke
saath khelte rahe, aur bachpan hi mein apne pitaa ke naqsh-e-qadam
par chalne ka Thaan liya tha unhone.

Song: dhanno ki aankhon mein raat ka soorma (Kitaab)

R D Burman sahi maaine mein harfanmaula kalaakaar the. unki gaayiki
ko sunkar unki pratibhaa ka pataa to chalta hi hai, unki bemisaal
fankaari ka ahsaas hotaa hai.

Song: yamaa yamma yeh khoobsoorat samaa (Shaan)

Sholay ne 'filmmaking' mein kraanti kee thi yeh to aap sabhi jaante
hi hain, jaise ki 70 mm vagerah. film ke 'editing' ke samay yeh
sochaa gaya tha ki R D Burman ka gaaya gaana 'edit' kiya jaaye film
ki lambaaee ki vajah se. lekin aakhirkaar us gaane ko film mein
rakhne ka nirmay liya gaya. is gaane ne bhi is film ko chaar chaand
lagaaye, ismein koi doraay naheen hai.

Song: mehbooba mehbooba (Sholay)

R D Burman ke gaayiki ki Khaasiyat yeh hai ki unkaa gaaya har gaana
judaa judaa hota hai, har gaane ka andaaz judaa hota hai. aur jin
fankaaron par yeh gaane filmaaye gaye the woh bhi 'league' se haTkar
lagte the.

Song: o meri jaan maine kahaa (The Train)

R D Burman ke sangeet mein 'versatility' hain, yaani ki woh apne
sangeet mein 'experiments' karte rehte the. ya yun kahen ki unhone
sangeet mein ek nayaa yug lekar aaye the. yahi baat unke gaaye huye
geeton mein bhi nazar aata hai. zaraa sochiye to aise gaane R D
Burman ke alaawa aur kaun gaa saktaa tha?

Song: bhaanumati ne taanga joDaa (Kasme Vaade)

Aaj Ke Fankaar mein aaj hamne charchaa kee sangeetkaar Rahul Dev
Burman ke gaaye huye geeton ki. ab is kaaryakram ko samaapt karn eki
deejiye apne dost Ashok Sonawane ko anumati, namaskaar!

Song: kal kya hogaa kisko pataa (Kasme Vaaden)

THE END

sabhi sunnewaalon ko Renu Bansal ka namaskaar! hamaari Aaj Ke
Fankaar hain aaj ke daur ki dhoom machaati gaayika Sunidhi Chauhan.

Song: dhoom machaa le dhoom (Dhoom)

bachpan se hi Sunidhi ko ishq ho gaya tha sangeet se. isi sangeet ki
chhatra-chhaaya mein paleen baDheen aur sangeet se hi dosti kee aur
sangeet hi unkaa 'guiding force' banaa. Sunidhi ne apna
pehla 'performance' 4 saal ki umra mein ek sthaaniya samaaroh mein
diyaa tha. gharwaalon ne unhe baDhaawa diya aur Mumbai lee aaye.
yahaan aakar woh shaamil huyi Kalyanji Anandji ke Little
Wonders 'troupe' mein jahaan unhone Lata Mangeshkar, Asha Bhosle aur
Ila Arun ke gaane gaakar sabko chaunkaa diya. 1996 mein 'talent hunt
competition' mein 8 saal ki Sunidhi sarvashreshTha saabit huyi aur
is 'talent hunt' ke ek 'judge' swayam Lataji the. Lataji ne unhe
ashirvaad diya aur unhe apne zimme par 'train' karne ki peshkash bhi
kee. lekin us waqt praakritik kaaranon se unidhi ki aawaaz badal
rahi thi. isliye unhone 4 saal aur prateeksha kee aur phir Lataji se
sangeet seekhaa. phir uske baad unki ruki ruki zindegi ko ek raasta
mil gaya, ek raftaar mil gayi.

Song: ruki ruki thi zindegi (Mast)

Sunidhi Chauhan ki 'career' ko Ram Gopal Verma ki film Mast se jo
raftaar milee to Sunidhi ka dil 'ding dong' gaane lagaa.

Song: dil Ding Dong Ding Doley (Kuch To Hai)

Sunidhi Chauhan ne 'folk' aur 'semi-classical music' mein 'trained'
hain. unki aawaaz mein gaaon ki alhaDta hai, jharne ki rawaani hai,
hawaaon ki masti hai. aur unhe oonche sur mein gaane ka mahaarath
haasil hai.

Song: aisaa jaadoo Daala re (Khakee)

ek or jahaan oonche sur mein gaane ki wajah se unki Khoob aalochana
huyi to unhone naazuk gaane gaakar 'film critics' ko chup karaa diya.

Song: bhaage re man kahin (Chameli)

ek aisa hi aur narm-o-naazuk dil ko chhoo lenewaala naghma pesh hai
Sunidhi Chauhan ki aawaaz mein.

Song: ham aaj mile hain mushkil se (Chetana - The Excitement)

filmon mein jab se 'item songs' ka prachalan baDhaa, Sunidhi Chauhan
ne bindaas gaane gaaye.

Song: bindaas (Krishna Cottage)

Sunidhi Chauhan ki aawaaz mein nashaa hai, masti hai, miThaas hai.
unkaa alag anokhaa 'style' hi unke kaamyaabi ka raaz hai. aisaa
kahaa jaata hai ki Asha Bhosle ke baad wohi doosri 'versatile'
gaayika hain jo har kism ke geet baDe hi kushlta se gaa leti hain.

Song: baras jaa ae baadal baras jaa (Fareb)

Sunidhi Chauhan ko abhi aur bhi bahut saari oonchaaion ko chhoona
hai, ek lambaa sureela safar tay karna hai. unke ujjwal bhavishya ki
kaamna karte huye aaj ka yeh kaaryakram samaapt karne ki Renu Bansal
ko ijaazat deejiye, namaskaar!

Song: kaisi paheli zindegaani (Parineeta)

THE END

A SPECIAL SERIES CELEBRATING THE 75 YEARS OF HINDI FILM MUSIC

(PRESENTED BY PRABHA JOSHI ON VIVIDH BHARATI PUNE)

EPISODE 15 (01/10/2006)
-----------------------

Good morning listeners,

Welcome to the 15th episode of Flashback! In the first 10 episodes
we have discussed about the film music from 1931 to 1950. You came
across many rare songs and some of you might not have even heard
some of them before. But from 1950 onwards the golden era of film
music started and most of the songs turned out to be highly popular
both with the masses and classes. As we said in last two episodes
that the new generation of directors like Bimal Roy, Guru Dutt and
Raj Kapoor have been the major names in this golden era of Hindi
cinema, so we begin today's episode with Raj Kapoor's 1955 film
Shree 420.

---------------------------------------
Song: mera joota hai Japani (Shree 420)
---------------------------------------

With Khwaja Ahmed Abbas's screenplay and powerful acting by Raj
Kapoor, Nargis, Nadira and Lalita Pawar, Shree 420 was story of Raj,
an orphan who comes to Bombay with the dream of making it big. The
poor and chaplinesque Raj has to choose between a simple life with
teacher Vidya, who he loves, and a fancy but morally corrupt life at
the sides of master crook 'Shree 420' Seth Sonachand Dharmanand.
Matters come to a head when a housing scam threatens to defraud
thousands of common men and women of their life's savings.

-------------------------------------------
Song: dil ka haal sune dilwaala (Shree 420)
-------------------------------------------

"Gham se abhi aazaad naheen main, khush hoon magar aabaad naheen
main, manzil mere paas khaDi hai, paaon mein lekin beDee paDee hai",
such were words from lyricist Shailendra portraying the character of
Indian Chaplin. The credit for the success of Shree 420 also goes to
Shankar Jaikishan. Every song of this film has a strong situation
and flow with the film. Take the case of "muD muD ke na dekh muD muD
ke"; it has a slow beginning but in the later part it catches up a
fast rhythm symbolising the dilemna and restlessness in the hero's
mind.

-----------------------------------------------
Song: muD muD ke na dekh muD muD ke (Shree 420)
-----------------------------------------------

Awara and Shree 420 are considered to be the best films of Raj
Kapoor, which were not only popular in India but also in Russia and
the other countries of Central Asia. Decades later, Aziz Mirza made
Raju Ban Gaya Gentleman said to be inspired from Shree 420 and in
this way paid tribute to the genius of Raj Kapoor.

--------------------------------------
Song: ramaiyya vattavaiyya (Shree 420)
--------------------------------------

1955 was the year when the third version of Sarat Chandra's Devdas
was portrayed on the silver screen. In 1935 Pramathesh Chandra
Baruah of the New Theatres had made this film in Bangla and then in
Hindi. In 1955, it was Bimal Roy who cast Dilip Kumar for the title
role as no other actor of that time could be thought of for the role
other than Dlip Kumar.

-------------------------------
Song: kisko khabar thi (Devdas)
-------------------------------

The character of Paro was played by Suchitra Sen who was slowly
becoming a known name in the Bengali households at that time. And
Chandramukhi's character, which required dancing, was played by
Vyajayanthimala who had moved the audience the previous year by her
dancing in Nagin.

------------------------------
Song: aage teri marzi (Devdas)
------------------------------

The sets of Devdas, in the traditional Bengali art forms, were
erected in Mohan Studios. Sahir Ludhinavi took charge of the lyrics
while Burman Dada, with his expertise of Bengali folk, kirtan,
Bhatiali and Baul type of music, did full justice to the music of
this film.

S D Burman sings "rongeela rongeela rongeela re...." (Clip from
Jaimala)

-----------------------------------------------
Song: aan milo aan milo Shyam saanvare (Devdas)
-----------------------------------------------

Films like Daag, Sangdil, Footpath and Devdas, all these films
casting Dilip Kumar had tragic ending. Doing repeated tragic roles
had made Dilip Kumar mentally sick and depressed. His doctor advised
him not to take up any more tragic films for the time being. He got
relieved when filmmaker S M S Naidu approached him for Azad in which
has required to play a superhero. Packed with music, action and
glamour, this film was completed in just 2 months and proved highly
successful and the music composed by C Ramchandra rose to the lips
of the masses.

--------------------------------------
Song: aplam chaplam chaplaai re (Azad)
--------------------------------------

Azad was the remake of M G Ramachandra's Tamil film. At first,
Naushad was approached for the music but on the condition that he
compose and record all 9 songs in just 1 month. Naushad turned down
the offer and after him no other music directors could gain courage
to accept the offer with the said condition of time constraint.
Finally, C Ramchandra took up the challenge and gave all 9 songs in
less than a month without any compromise on the quality, thus
proving his excellence.

-------------------------------------------
Song: jaa ri jaa ri o kaari badariya (Azad)
-------------------------------------------

For one duet song of Azad, C Ramchandra called up Talat Mahmood to
sing with Lata. As Talat saahab used to playback for Dilip saahab in
those days, so Anna had composed the song keeping Talat in mind. But
due to certain problem, Talat could not make up for the recording
and C Ramchandra decided to sing the song himself. He sang it just
like Talat saahab and sometimes it really appears to be Talat's
voice. Lets us listen to this song as well, its written by Rajinder
Krishan!

------------------------------------
Song: kitna haseen hai mausam (Azad)
------------------------------------

Mehboob Khan, Sohrab Modi and V Shantaram, the super trio, who have
been the major filmmakers in the 40s continued to produce effective
movies in the 50s decade as well. Aan, released in 1952, by Mehboob
Khan was the first tecnicolour film of India. Sohrab Modi's name is
associated with the 1952 film Jhansi Ki Rani, while V Shantaram's
Jhanak Jhanak Payal Baaje of 1955 is counted in one of the landmark
films of Indian cinema.

------------------------------------------------------------
Song: jhanak jhanak paayal baaje (Jhanak Jhanak Payal Baaje)
------------------------------------------------------------

Dance and music formed the soul of Jhanak Jhanak Payal Baaje.
Eminent dancer Gopi Krishna played the character of Giridhar while
the heroine was Sandhya. Vasant Desai was the music director, who
proved his hold over Indian classical music in this film. Using only
Indian instruments and that too played by eminent musicians, Desai
composed the dance based songs and received wide acclaim for the
work. Shantaram too did not make any compromise and invited some of
the renowned musicians to play certain instruments in the songs and
background music. These include Samta Prasad the renowned Tabla
player, Sudarshan the noted Khol player from Calcutta, Ustad Haleem
Jafar Khan the famous Sitarist, and Pt Shiv Kumar Sharma the noted
Santoor player.

----------------------------------------------------------------
Song: murli manohar krishna kanhaiya (Jhanak Jhanak Payal Baaje)
----------------------------------------------------------------

Sohrab Modi, under his banner Minerva Movietone, released Kundan in
1955. It was inspired from Victor Hugo's book Les Miserables. Let us
listen to one very rare song from this film composed by Ghulam Mohd
and sung by Lata Mangeshkar.

------------------------------------------------------------------
Song: jahaanwaale hamein duniya mein kyun paida kiya tune (Kundan)
------------------------------------------------------------------

Actor Sunil Dutt had played a small role in Kundan. In the same year
1955, director Ramesh Sehgal launched Sunil Dutt as hero in his
Railway Platform. Today, Railway Platform is remembered only for
this song, written by Sahir, composed by Madan Mohan and sung by
Rafi saahab.

---------------------------------------------------------------------
--
Song: basti basti parbat parbat gaata jaaye banjaara (Railway
Platform)
---------------------------------------------------------------------
--

Guru Dutt tried to depict the prevailing social and political
situation of the country through his comic film Mr & Mrs 55.
Released obviously in 1955, this film had Madhubala opposite Guru
Dutt in the lead roles.

---------------------------------------
Song: udhar tum haseen ho (Mr & Mrs 55)
---------------------------------------

After Aar Paar, Mr & Mrs 55 was the next musical hit for O P Nayyar.
Once again, O P Nayyar and Majrooh Sultanpuri fulfilled Guru Dutt's
imagination of the situations and characters.

--------------------------------------------
Song: ThanDi hawaa kaali ghaTaa (Mr & Mrs 55)
--------------------------------------------

Producer-Director A R Kardar roped in Kishore Kumar and Chand Osmani
for Baap Re Baap. Once again O P Nayyar's music, lyrics by Janisar
Akhtar, and Kishore Kumar's own acting style and mannerisms brought
a new trend in film music, the Kishore Kumar style of acting and
singing.

--------------------------------------------------------
Song: daal kaise galey jab ke joota jaley (Baap Re Baap)
--------------------------------------------------------

One more song of this film, an Asha-Kishore duet, is worth
mentioning. There is an interesting incident related to this song.
Lets hear it from Asha Bhosle herself:

Asha Bhosle speaks: ek gaana main aur hamaare mazaakiya Kishoreda,
dono gaa rahe the, (sings) 'piya piya piya...', gaana
poora 'rehearsal' hoke 'final recording' shuru huya, aur maine
galati se unki 'line' pe (sings) 'haaann' aisaa keh diya, to unhone
meri taraf aise haath baDhaake kaha ki aage, matlab, band naheen
karna, waise 'recording' chaalu rakhaa, jaise hi 'recording' khatam
huya maine kahaa 'dada, phir se karte hain, maine galati kee hai,
bahut baDi galati kee hai maine, beech mein bol diya'. kehne
lage, 'bilkul chinta mat karo, main hoon na us 'picture' mein,
main 'hero' hoon, jaise hi 'heroine' gaane lagegi, main uske munh
par haath rakh doonga'.

-----------------------------------------------------
Song: piya piya piya mera jiya pukaare (Baap Re Baap)
-----------------------------------------------------

O P Nayyar's music was also heard this year in films like
Musafirkhana and Miss Coca Cola. The later was the film from which
the love story of Geeta Bali and Shammi Kapoor had started. Here is
a Geeta Dutt number from Miss Coca Cola.

---------------------------------------------------------
Song: ban dhaDkan kajraare naina Dole re (Miss Coca Cola)
---------------------------------------------------------

Raj Khosla, after producing Aar Paar and Baazi, directed Milap
independently in 1955. This film was also the first independent film
of N Dutta as music director, who used to be assistant to S D
Burman. Milap had Geeta Bali and Dev Anand in the main roles and
Sahir Ludhianvi wrote the songs. One such song from this film in
Geeta Dutt's voice is here for you.

-------------------------------------------------
Song: jaate ho to jaao par jaayoge kahaan (Milap)
-------------------------------------------------

Another assistant of S D Burman was Jaidev. He also made debut as
independent composer in 1955 in Chetan Anand's Joru Ka Bhai. Chetan
Anand had left Navketan over differences with Dev Anand. Vijay Anand
had played a small role in Joru Ka Bhai.

------------------------------------------------
Song: subah ka intezaar kaun kare (Joru Ka Bhai)
------------------------------------------------

Navketan's House No 44 was made in 1955 under M K burman's
direction. Dev Anand once again played the role of wrong doer
getting changed in the end.

-----------------------------------------------------------
Song: tei duniya mein jeene se to behetar hai (House No 44)
-----------------------------------------------------------

Houes No 44 brought the poet inside Sahir Ludhianvi and S D Burman
also did full justice to his poetry by his soulful compostions. Lets
listent o one more track from this film.

------------------------------------------------------------
Song: chup hai dharti chup hain chaand sitaare (House No 44)
------------------------------------------------------------

House No 44 was the first film of Dev Anand and Kalpana Kartik after
their marriage on the sets of Taxi Driver through a mariage
registrar. The picturesque locations used in this film were those of
Mahabaleshwar. One such song beautifully picturised in these
Sahyadri range is here for you.

-----------------------------------------------------
Song: phaili huyi hain sapnon ki baahen (House No 44)
-----------------------------------------------------

Dev Anand paired up with Nalini Jaywant in the Subodh Mukherjee
directed Filmistan's Munimji. Dev Anand's typical style and
mannerisms were first noticed in this film in its full form, which
over the years have remained his trademark.

------------------------------------------
Song: jeevan ke safar mein raahi (Munimji)
------------------------------------------

Munimji had Shailendra as the lyricist and S D Burman as the
composer. Based on classical music, here is a wonderful composition
from this film in Lata Mangeshkar's honey-filled voice.

----------------------------------------------------
Song: ghaayal hiraniya main ban ban Doloon (Munimji)
----------------------------------------------------

Director Amiya Chakraborty have always given us social films packed
with entertainment. His films have taken up various social issues
over the years. The 1955 film Seema has been one of his memorable
films.

----------------------------------------------------
Song: suno chhoTi si guDiya ki lambi kahaani (Seema)
----------------------------------------------------

Seema is also remembered for actress Nutan's powerful performance
and music director Shankar Jaikishan's powerful music. This song by
Lata Mangeshkar is one of her noted songs based on pure classical
music.

------------------------------------
Song: manmohana baDe jhooThe (Seema)
------------------------------------

Another important film of 1955 was S U Sunny's Udan Khatola, based
on Frank capra's Lost Horizon. Shaqeel-Naushad combo was heard in
the songs and the star cast of the film included Dilip Kumar, Nimmi,
Jeeva, and Surya Kumari.

---------------------------------------
Song: mera salaam le jaa (Udan Khatola)
---------------------------------------

Naushad did a lot of experiments in this film. He tells about the
music of one such experimental songs of this film:

Naushad speaks: isi film ka ek aur geet hai raag pilu par aadhaarit
jise maine ek 'experiment' ke taur par banaya tha. iski khaasiyat
yeh hai ki ismein ek bhi saaz istemaal nahin huya par log yeh
pehchaan bhi nahin paaye. is gaane mein mardaana aur
janaana 'humming' se poore gaane ka 'music' tayyaar kiya gaya
tha. "More saiyanji utrege paar o darya dheere baho", suniye

-----------------------------------------------
Song: More saiyanji utrenge paar (Udan Khatola)
-----------------------------------------------

A name similar to that of Naushad, in the list of music directors,
was Nashad. His real name was Shaukat Dahelvi. He made debut as
composer in 1955 in K Amarnath's film Baradari. This Lata-Rafi duet
of this film is remembered for its beautiful composition and
orchestration.

-------------------------------------------------------
Song: bhula naheen dena ji bhula naheen dena (Baradari)
-------------------------------------------------------

Nashad, Jamal Sen, Sajjad Hussain, S Mohindar, Sardar Malik - we
often forget these names while discussing about the music directors
of the golden era of film music. Its true that these composers could
not reach to that level of success unlike the other successful
composers, but we cannot overlook their contribution towards Hindi
cine music. So, before ending today's episode of Flashback, let us
pay tribute to all these lesser-known music directors and listen to
one more song composed by Nashad for the film Baradari in Talat
Mahmood's velvette voice. We shall meet again next week same day
same time, till then, Good-Bye!

----------------------------------------------------------
Song: tasveer banaata hoon tasveer naheen banti (Baradari)
----------------------------------------------------------

END OF EPISODE 15

A special note of thanks to Bheemsinh, for providing myself and other
Mumbaikars with an opportunity to know Sachin. Dev. Burman  even
better. And a special mention of Mr. Ashok Bindal  and Mr. Lalit
Shah.

Bheemsinh was in Mumbai from Thursday itself. I was somehow busy with
work and couldn't help him during this time. Although I wonder if I
would have been of that much help in any case.  I called up Bheem on
Saturday from my office. He told me to give a call when i leave my
office. I called him up at 6 P.M. and was told to meet him near
Andheri Station.

We decided to have some light snacks before going anywhere. After
that we collected the canvas prints of Sachin. Dev. Burman from the
printing shop nearby and made our way to Amitabh Banerjee's house.
Amit and Bheem had been working all night since Thursday to give
shape to the audio visual presentation which was the main highlight
of this event. Amitabh is a  big fan of Kishore Kumar and Amit Kumar

Amit treated us to some Bengali songs composed by Rahul. Dev. Burman
while we sipped on the lemon tea which was specially prepared for us.
Bheem worked on the background for the presentation till late night
while I returned back to my place so that I could start afresh the
next day for the main event.

Early morning showers were making my mind uneasy the next day. I was
thinking of leaving early for the event. I was supposed to reach
Bhavan&#8217;s Campus by 1 P.M. The late-comer that I am I turned up at
2:30 P.M. at Andheri Station. We were meeting early so that I could
rehearse with Shri. Vishnu Sharma, a character actor in Television
serials, whom I remember last seeing in Kohinoor and Shri. Ashok
Bhanthia, another character actor who is also a familiar face in TV
serials. I was supposed to play and pause the DVD containing the
Audio Visuals. Due to some slight communication gap between Bheem and
myself I reached Bhavan&#8217;s Campus by 4: 15 P.M. only. More than 3 hrs
behind schedule I soon had to rush back to Andheri station on an
errand. Two prints, some flowers for decoration and a Bouquet. It was
a funny scene where I had some 3 kilos of flowers in a bag in one
hand and an Umbrella (Thank god it wasn&#8217;t raining ) , Prints, and the
bouquet in the other. It  was not possible for me to reach for the
mobile which was ringing to make matters even worse. Somehow when I
did eventually reach the Campus I saw that the audience had already
made themselves comfortable.

I was nervous because I never got time to rehearse. Bheem relieved me
of that difficult situation by volunteering himself for the task. So
now, unlike in Delhi I was part of the audience and could have a
better view of the happenings on stage.  While Shri. Ashok Bhanthia
was seated in a bench under a street lamp which reminded me of the
good old movies, Shri. Vishnu Sharma was seated in a chair with a
writing table in front of him. I believe the idea was to convey that
these two narrators were very fondly remembering the music given by
Sachin. Dev. Burman.

As most events tend to start late this event was no exception. It
started 10-15 Minutes late. Then there were some problems with the
lights that were supposed to focus on the scripts assigned to the
narrators. Then the audio visual presentation took some time to
appear on the screen. Both the narrators carried the programme till
the intermission wonderfully.

After the intermission, the audience were treated to some rare songs
and somewhat unknown information of Sachin. Dev. Burman. In fact,
Shri. Vishnu Sharma was enjoying himself so much that he inserted
some tit-bits about Majrooh which were not there in the original
script. This was revealed to me later that evening by Bheem. He had
cleverly given the Majrooh part to Shri. Vishnu Sharma as he had
spoken about Sachin. Dev. Burman&#8217;s love for Majrooh when they had
fixed up a meeting just days before the event. Among other
celebrities in the audience there was
Rajkumar                         .Having been part of the Delhi event
too I can say that both efforts were done well. Both were organized
by first timers. I believe the event in Mumbai had rarer information
as compared to the Delhi event. The Delhi event was liked by
audiences for the live orchestra. All in all both were humble
efforts. Hopefully other individuals also take initiative and
organize such events in their respective areas.

Lata Mangeshkar Fan club

A special note of thanks to Bheemsinh, for providing myself and other
Mumbaikars with an opportunity to know Sachin. Dev. Burman  even
better. And a special mention of Mr. Ashok Bindal  and Mr. Lalit
Shah.

Bheemsinh was in Mumbai from Thursday itself. I was somehow busy with
work and couldn't help him during this time. Although I wonder if I
would have been of that much help in any case.  I called up Bheem on
Saturday from my office. He told me to give a call when i leave my
office. I called him up at 6 P.M. and was told to meet him near
Andheri Station.

We decided to have some light snacks before going anywhere. After
that we collected the canvas prints of Sachin. Dev. Burman from the
printing shop nearby and made our way to Amitabh Banerjee's house.
Amit and Bheem had been working all night since Thursday to give
shape to the audio visual presentation which was the main highlight
of this event. Amitabh is a  big fan of Kishore Kumar and Amit Kumar

Amit treated us to some Bengali songs composed by Rahul. Dev. Burman
while we sipped on the lemon tea which was specially prepared for us.
Bheem worked on the background for the presentation till late night
while I returned back to my place so that I could start afresh the
next day for the main event.

Early morning showers were making my mind uneasy the next day. I was
thinking of leaving early for the event. I was supposed to reach
Bhavan’s Campus by 1 P.M. The late-comer that I am I turned up at
2:30 P.M. at Andheri Station. We were meeting early so that I could
rehearse with Shri. Vishnu Sharma, a character actor in Television
serials, whom I remember last seeing in Kohinoor and Shri. Ashok
Bhanthia, another character actor who is also a familiar face in TV
serials. I was supposed to play and pause the DVD containing the
Audio Visuals. Due to some slight communication gap between Bheem and
myself I reached Bhavan’s Campus by 4: 15 P.M. only. More than 3 hrs
behind schedule I soon had to rush back to Andheri station on an
errand. Two prints, some flowers for decoration and a Bouquet. It was
a funny scene where I had some 3 kilos of flowers in a bag in one
hand and an Umbrella (Thank god it wasn’t raining ) , Prints, and the
bouquet in the other. It  was not possible for me to reach for the
mobile which was ringing to make matters even worse. Somehow when I
did eventually reach the Campus I saw that the audience had already
made themselves comfortable.

I was nervous because I never got time to rehearse. Bheem relieved me
of that difficult situation by volunteering himself for the task. So
now, unlike in Delhi I was part of the audience and could have a
better view of the happenings on stage.  While Shri. Ashok Bhanthia
was seated in a bench under a street lamp which reminded me of the
good old movies, Shri. Vishnu Sharma was seated in a chair with a
writing table in front of him. I believe the idea was to convey that
these two narrators were very fondly remembering the music given by
Sachin. Dev. Burman.

As most events tend to start late this event was no exception. It
started 10-15 Minutes late. Then there were some problems with the
lights that were supposed to focus on the scripts assigned to the
narrators. Then the audio visual presentation took some time to
appear on the screen. Both the narrators carried the programme till
the intermission wonderfully.

After the intermission, the audience were treated to some rare songs
and somewhat unknown information of Sachin. Dev. Burman. In fact,
Shri. Vishnu Sharma was enjoying himself so much that he inserted
some tit-bits about Majrooh which were not there in the original
script. This was revealed to me later that evening by Bheem. He had
cleverly given the Majrooh part to Shri. Vishnu Sharma as he had
spoken about Sachin. Dev. Burman’s love for Majrooh when they had
fixed up a meeting just days before the event. Among other
celebrities in the audience there was
Rajkumar                         .Having been part of the Delhi event
too I can say that both efforts were done well. Both were organized
by first timers. I believe the event in Mumbai had rarer information
as compared to the Delhi event. The Delhi event was liked by
audiences for the live orchestra. All in all both were humble
efforts. Hopefully other individuals also take initiative and
organize such events in their respective areas.

Thanks Soojoi
Romee

--- soojoi_india <soojoi_india@...> wrote:

> Here are the new programme details:
>
> 12:00 to 13:00 Daily - Suhana Safar: 1 hour
> programme of songs from
> the golden era (Sun: S D Burman, Mon: Naushad, Tue:
> C Ramchandra,
> Wed: Shankar Jaikshan, Thu: Roshan, Fri: O P Nayyar,
> Sat: Madan Mohan)
>
> 14:30 to 15:00 Saturdays - Swarna Smriti: Old
> recordings from the AIR
> archives
>
> 16:00 to 17:00 Sundays - Youth Express: 1 hour Youth
> magazine.
>
>
> The bad part is that Jaimala Gold has been
> discontinued :(
>
> Bye
> Sujoy
>
>
> --- In vividhbharati@..., Romee
> <romee_76@y...> wrote:
> >
> > Hi all,
> >
> > Recently VB has launched three new programme in
> > celebration of there jubliee, I want to know the
> > timings and titles of these programmes.
> >
> > Can any one plz provide some inputs.
> >
> > -Romee
> >
> > __________________________________________________
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> >
>
>
>
>
>
>


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