EPISODE 4 (06/05/2007)
----------------------
In the last episode, Omi described about that priceless period that
he had passed as an assistant of composer Roshan. Those priceless
moments, those wonderful years. He also recalls how he had climbed
stairs carrying Roshan in his arms because Roshan saahab had got
terribly tired while climbing the stairs.

------------------------------------------------------------------
Song: yeh dil hai mohabbat ka pyaasa (Dil Ne Phir Yaad Kiya)
------------------------------------------------------------------

OM: Rajesh and Rakesh were kids when I was working with Roshan
saahab. Rajesh had interest in music.

MS: So, did you learn the minute details while working with Roshan
sahab?

OM: One thing I would like to mention that one gets success according
to his fate. Even if you know many things, but if luck does not
support you, you cannot become successful!

MS: Now I would like to ask you about Mukesh-ji who has sung a number
of songs for you. There is a nice song in Umarqaid "yaad rahega pyaar
ka rangeen zamaana".

OM: Yes, Mukesh has sung many songs for us like "jinhe ham bhoolna
chaahen woh aksar yaad aate hain", then "dil ne phir yaad kiya", then
this song from Umarqaid.

MS: We shall talk about Mukeshji and his songs in detail, but first
lets listen to this song from Umarqaid.

-----------------------------------------------------
Song: yaad rahega pyaar ka rangeen zamaana (Umarqaid)
-----------------------------------------------------

MS: Oh it was a beautiful song! Now tell us about Mukeshji.

OM: " bahut hi mast maula insaan the, doston ke dost, yaaron ke
yaar". He was a very nice person. Every singer at that time had his
own style, be it Rafi saahab, or Mukeshji, or Manna Dey, or Kishore
Kumar. And composers used to make songs keeping in mind the singer. A
song made for Mukesh could not be sung by Rafi saahab. If it is made
for Mukesh, it must be sung by him. Mukesh had a very good voice, a
voice with depth. Though sometimes his voice would go out of track,
he used to do full justice with his songs and his songs used to touch
the heart of the listener. He used to sing straight forward. Take for
example the title song of Dil Ne Phir Yaad Kiya, (sings) "ham woh
parwaane hain jo shamma ka dam bharte hain, husn ki aag mein khaamosh
jalaa karte hain, aah bhi nikle to yeh pyaar ki ruswaaee hai, phir
koi choT mohabbat ki ubhar aayi hai".

MS: waah!

--------------------------------------------------------------
Song: ham woh parwaane hain jo...dil ne phir yaad kiya (DNPYK)
--------------------------------------------------------------

MS: To remind you listeners that today Omiji of Sonik Omi duo is
present in our studios and we having a wonderful discussion with him
about his musical career. Omiji, we were talking that Mukeshji has
sung a number of songs for you. Please mention some songs from your
films which Mukeshji has sung and you like them.

OM: Whatever songs Mukesh has sung for us, all are hits. In our very
first film, he has sung a song that became super-duper hit, then
second song is "jinhe ham bhoolna chaahen woh aksar yaad aate hain",
then in Raftaar "jeevan ek darya sukh dukh do kinaare hain", then the
song of Umarqaid that you just listened to. So, whichever songs he
sang for us, they all became hits. We used to keep him in mind while
composing songs for him. Not only him, this applies to Rafi saahab
and manna Dey also. We composed a song for Manna Dey in Dil Ne Phir
Yaad Kiya "hamne jalwaa dikhaaya to jal jaayoge". All 9 songs of this
film were superhits. I dont know if it is known to you or not, but
when this film was released in Delhi, then in one of the reviews in a
leading daily, it was mentioned that the hero-heroine of Dil Ne Phir
Yaad Kiya are Sonik and Omi (laughs). The music of this film was so
powerful that people felt that the music carried off the film. While
composing, we knew that the songs are going to be good. The feeling
came from inside.

----------------------------------------
Song: jinhe ham bhoolna chaahen (Aabroo)
----------------------------------------

MS: We were talking about Mukesh-ji. You said that he used to sing
staright forwardly (seedha seedha sur lagaate the). So, in case you
had certain suggestions, how he used to perceive that? How was the
atmosphere?

OM: I had told you earlier that we used to compose keeping in mind
the singer. We knew that this singer could sing this line in this
way. Barring the two sisters Lata and Asha, every singer was
dependent on the music director. For Lata and Asha, if you expect 18
or 19 from them, they would give you 20 or 21. But all the male
singers were dependent on the composer.

MS: How was Mukesh-ji on a personal level?

OM: He was real gentleman. Once I called him up and said that there
is a song for you but the producer does not have money to pay you. He
asked me if its a solo or a duet. Its a duet, I told him. Then he
asked me, "kiske saath gawaa raha hai?" I said, "aap jiske saath
kaho". He said, "to phir Sulaxana Pandit ke saath gawaa le" (laughs).
I remember one more incident about Mukeshji. Once I asked Latabai
that Mukeshji sometimes gets diverted from the actual 'sur', dont you
think so? Latabai replied that Mukesh bhai sings exactly whatever he
has heard from the composer. I said, "This means I was singing
incorrectly?" (laughs).

MS: Omiji, we have been talking about Mukeshji, so before we move
forward in this interview, why not listen to one more of his songs.
We shall also talk about Lataji, but at this moment, lets listen to a
Mukesh number.

-------------------------------------------------
Song: gusse mein jo nikhraa hai (Dil Hi To hai)
-------------------------------------------------

MS: Dil Ne Phir Yaad Kiya, your first film that created waves in the
film music world. What is the secret behind this tremendous success?

OM: This was our first film and the first child of every parent is
very very big thing to him/her. And we did a of of hard work for this
film. We spent sleepless nights composing 8 to 10 tunes for each
song. And God has given the reward for this hard work.

MS: Which song of this film you like the most? Any special memory?

OM: All songs of this film are dear to me. I remember the song "aaja
re pyaar pukaare, koi na jaane dard mera", when Latabai came out of
the recording room, G.L. rawail saahab, who was the director of teh
film, he told me, "Omi, yeh gaana sunne ke baad bhi agar 'hero'
waapas na aaye to bhaaD mein jaaye" (laughs). This song is so nice
that anyone would come back after hearing this song.

---------------------------------------------------
Song: aaja re pyaar pukaare (Dil Ne Phir Yaad Kiya)
---------------------------------------------------

END OF EPISODE 4

Bappi Lahiri sets a new record with Lata Mangeshkar

By Subhash K. Jha, Indo-Asian News Service

http://www.dailyindia.com/show/120750.php/Bappi-Lahiri-sets-a-new-
record-with-Lata-Mangeshkar

Mumbai, March 3 (IANS) Music composer Bappi Lahiri is on cloud nine
as singing legend Lata Mangeshkar, who has worked with his father and
him, will record a song for his son Bappa.

Ebullient Bappi told IANS: 'Lata didi, who recorded songs for my
father Aparesh Lahiri, also sang some of my most beautiful ballads
including 'Saiyyan bina ghar soona' ('Aangan Ki Kali'), 'Jaane kyon
mujhe' ('Agreement'), 'Dard ki ragini' ('Pyaas') and 'Sooni Sej sajaa
doon' ('Jyoti') and, of course, the song 'Thoda resham lagta hai'
which became a huge international re-mix hit. Now Lata didi will
record a song for my son Bappa.

'There have been many instances of Lata didi singing for father and
son composers, like Sachin Dev Burman-Rahul Dev Burman, Roshan-Rajesh
Roshan and Chitragupta-Anand-Milind. But never has she sung for a
third-generation composer from the same family, or any family. I feel
very blessed,' he added.

Bappi is very much in demand as a singer. In the last few months he
has recorded as many as 15 songs in 15 days for music directors as
far ranging as Vishal-Shekhar and debutant Nitin Shankar for whom he
has sung for a film called 'Bombay To Goa'.

'Earlier I'd sing only my own songs. Now suddenly new-generation
music composers want my vocals. What can I say? But my proudest
moment came when I sang for my son for an untitled film being
produced by Sanjay Gupta.

'It was a very big moment for me, because I had sung for my father
and now I got to sing for my son. I don't think any composer had the
privilege to sing for both his father and son.'

The other occasion when a father-composer got to sing for his son was
when Sachin Dev sang 'Doli mein bithaiyeeke' for Rahul Dev in 'Amar
Prem'.

Copyright Indo-Asian News Service

Note: forwarded message attached.




________________________________________________________________________________\
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Hello Friends,
This is my first message and I am thankful to the moderator for
accepting my request to join this group. I have been a fan of VB since
as long as I can remember & have always enjoyed the broadcasts on the
SW channel.

I wanted to know more about announcers like Shraddha Bhardwaj ji, Amar
Kant Dubey saab, Shehnaz Hussein Akhtari ji as well as the indomitable
Kamal Sharma saab. The Chhaya Geet as well as Jaimala program rendered
by these luminaries have been a treat to listen to.

Yunus Bhai, will it be possible for you or some other members to do a
profile of these greats in your proposed blog?

Thanx.

Regards,

Amitabh

Hi Yunus bhai,

Its a great idea. In that blog, pls try to put the stuff that
Kanchanji broadcasts in Swarna Smriti.

Sujoy


--- In vividhbharati@..., "brij_mohangupta"
<brij_mohangupta@...> wrote:
>
>  dear yunus
> it's a very good idea.involve a few broadcasters also.
> regards
> brijmohangupta
> --- In vividhbharati@..., "yunuskhanvividhbharati"
> <yunuskhanvividhbharati@> wrote:
> >
> > hello friends
> >
> > one day i was chatting with a blog friend from hydrabad on g mail.
> >
> > and suddenly during chat, one idea strucked in my mind.
> > why not start a blog on 50 years of vividh bharati wher people
can
> > share ther feelings about vividh bharati.
> > they can write how vividh bharati has changes ther lives.
affected
> > ther lives,how they shared ther sad and happy moments with VB.
> >
> > so we are in the process.
> > the name will be radionama.
> > initially it will be in hindi ( devnagari )
> > since we are in the process, u people can suggest me whether we
can
> > start this blog only in hindi or we have to start a roman blog
also.
> >
> > one more thing ther is a trans literation engine called bhomiyo.
> > with the help of bhomiyo u can read the blog into many languages.
> > like bangla, gujrati, tamil etc.
> > you can go to bhomiyo. com and see the magic.
> >
> > anyways
> > ur suggestions are awaited
> > till then i am preparing for the first post.
> > then it will be ur turn
> >
> > regards
> >
> > yunus
> >
>

dear yunus
it's a very good idea.involve a few broadcasters also.
regards
brijmohangupta
--- In vividhbharati@..., "yunuskhanvividhbharati"
<yunuskhanvividhbharati@...> wrote:
>
> hello friends
>
> one day i was chatting with a blog friend from hydrabad on g mail.
>
> and suddenly during chat, one idea strucked in my mind.
> why not start a blog on 50 years of vividh bharati wher people can
> share ther feelings about vividh bharati.
> they can write how vividh bharati has changes ther lives. affected
> ther lives,how they shared ther sad and happy moments with VB.
>
> so we are in the process.
> the name will be radionama.
> initially it will be in hindi ( devnagari )
> since we are in the process, u people can suggest me whether we can
> start this blog only in hindi or we have to start a roman blog also.
>
> one more thing ther is a trans literation engine called bhomiyo.
> with the help of bhomiyo u can read the blog into many languages.
> like bangla, gujrati, tamil etc.
> you can go to bhomiyo. com and see the magic.
>
> anyways
> ur suggestions are awaited
> till then i am preparing for the first post.
> then it will be ur turn
>
> regards
>
> yunus
>

From: yunuskhanvividhbharati

To: vividhbharati@...

Sent: Sunday, May 27, 2007 11:39 AM

Subject: [vividhbharati] i am starting a blog radionama on occasion of 50 years of vividh bharati

hello friends

one day i was chatting with a blog friend from hydrabad on g mail.

and suddenly during chat, one idea strucked in my mind.
why not start a blog on 50 years of vividh bharati wher people can
share ther feelings about vividh bharati.
they can write how vividh bharati has changes ther lives. affected
ther lives,how they shared ther sad and happy moments with VB.

so we are in the process.
the name will be radionama.
initially it will be in hindi ( devnagari )
since we are in the process, u people can suggest me whether we can
start this blog only in hindi or we have to start a roman blog also.

one more thing ther is a trans literation engine called bhomiyo.
with the help of bhomiyo u can read the blog into many languages.
like bangla, gujrati, tamil etc.
you can go to bhomiyo. com and see the magic.

anyways
ur suggestions are awaited
till then i am preparing for the first post.
then it will be ur turn

regards

yunus

hello friends

one day i was chatting with a blog friend from hydrabad on g mail.

and suddenly during chat, one idea strucked in my mind.
why not start a blog on 50 years of vividh bharati wher people can
share ther feelings about vividh bharati.
they can write how vividh bharati has changes ther lives. affected
ther lives,how they shared ther sad and happy moments with VB.

so we are in the process.
the name will be radionama.
initially it will be in hindi ( devnagari )
since we are in the process, u people can suggest me whether we can
start this blog only in hindi or we have to start a roman blog also.

one more thing ther is a trans literation engine called bhomiyo.
with the help of bhomiyo u can read the blog into many languages.
like bangla, gujrati, tamil etc.
you can go to bhomiyo. com and see the magic.

anyways
ur suggestions are awaited
till then i am preparing for the first post.
then it will be ur turn

regards

yunus

The following vividhbharati poll is now closed. Here are the
final results:

POLL QUESTION: Has AAJ KE FANKAAR programme lost its charm since it became a live programme? (Earlier it used to be a recorded programme with good editing and post-production.)

CHOICES AND RESULTS
- Yes, the standard of AKF has degraded, 3 votes, 75.00%
- No, I dont think so, 0 votes, 0.00%
- I do not listen to AKF, 1 votes, 25.00%

INDIVIDUAL VOTES
- Yes, the standard of AKF has degraded
- soojoi_india@yahoo.co.in
- kempadali@yahoo.com
- arch_mb@yahoo.co.in
- No, I dont think so
- I do not listen to AKF
- email2pr@yahoo.com

For more information about this group, please visit
http://in.groups.yahoo.com/group/vividhbharati

For help with Yahoo! Groups, please visit
http://help.yahoo.com/help/in/groups/

Here is a Vividh Bharati interview of Manohari Singh:

MS: Manohari Singh
YK: Yunus Khan

PART 1

Manohari Singh plays "O mere dil ke chain" on saxophone.

YK: We are fortunate to have you in Vividh Bharati studio today.
Welcome!

MS: Thank you!

YK: You have 40/50 years of experience in saxophone and metal flute.
We would like to know about your childhood days.

MS: I was born in the Hooghly district of West Bengal. I got the
musical instruments in my family only. My father, grandfather, uncle,
all used to play flute. I also started practising flute at home. Then
I came to Calcutta and joined an orchestra band in a place called
Batanagar. It was a Hungarian band, of Joseph Neumann. Both my
paternal and maternal uncles were there.

YK: What was your age at that time?

MS: It was 1942, I was about 13/14 years old.

YK: What about your education then?

MS: I could not study much, I studied in private afterwards.

YK: OK, what happened next?

MS: Then I joined His Master's Voice (HMV) in 1945 as a flute player.
At first I used to play in Bengali songs composed by Kamal Dasgupta.

YK: Kamal Dasgupta, who composed the first private songs of Talat
Mahmood?

MS: Yes, yes. In Calcutta, at the time of Durga Puja every year, some
special songs are released which is a regular thing there. I started
playing these intruments in Bengali and Hindi non-film songs. At that
time I used to play for a very less number of film songs. During
those Puja songs, I met Hemant-da & Salil-da, who use to come there
(in HMV most likely!). Salil-da had a fancy on me. Once there was a
big show in the Eden Gardens. Naushad saahab, Hemant-da, Burman dada
and many others performed in that show. Around that time Hemant-da's
Nagin had become a big hit. So, for this show, they selected the good
musicians from HMV and I was also given the chance to play in that
show. I startec playing saxophone after I joined HMV.

YK: Do you remember which songs you had played for the first time on
your saxophone?

MS: In those days, I used to play "gore gore o baanke chhore",
then "lare lappa lare lappa lai rakh da". I had recorded these
instrumental versions of these songs.

YK: Oh, instrumentals were made in those days also? (surprised)

MS: Yes

YK: So, some LP records were released for these instrumentals?

MS: No, 78 rpm was released.

YK: Oh yes, it was the 50s, this 78 rpm was known as "patthar ke
record".

MS: Yes, so in that show, Basu, who was my very good friend, had also
played. Naushad saahab, Burman dada, they were so happy with our
performances that Naushad saahab said, "bulaa lo inko Bombay, agar
yeh log Bombay aa jaayen to hum denge kaam inko". Salil-da used to
travel to Bombay frequently at that time. He also started putting
pressure on me. Hemant-da had also got setteled there. All of them
started calling us. After partition, the Calcutta film industry was
also in a poor state, so we (myself & Basu) decided to move to Bombay.

YK: Basu Chakraborty and Manohari Singh, whom we know as Basu-
Manohari.

MS: Yes, Basu was a good friend of mine since long. Salil-da then
took us to Burman dada. He was doing the background of Madhumati and
Sitaron Se Aage. The songs were completed, only background was
remaining. I did the background in Madhumati.

YK: So, why dont we listen to one song from madhumati at this point?

MS: I did not play in any song of Madhumati, only in the background
music I played key flute. Then in Maya, I first played Saxophone.

YK: We shall come to Maya, but right at this moment, which song of
Madhumati you like me to play?

MS: The best is "Aaja re pardesi"

---------------------------------
Song: Aaja re pardesi (Madhumati)
---------------------------------

YK: Why is this song special? What is unique about it?

MS: It is romantic song, see the melody according to the location. In
that respect, the "utaav-chaDhaav" of the "mukhDa" and "antara" are
superb. The song begins witha  low register (hums) 'aaja re', a
fantastic atmosphere builds up in this part. Then the music as well
as the song proceeds step by step, just as romance proceeds step by
step.

YK: You were talking about Maya.

MS: After madhumati, I played in 1 or 2 films and then in Maya. In 1
song, I first played Key flute in the prelude and saxophone in
the "antara".

Manohari Singh plays the prelude and mukhDa of "Jaa re jaa re uD jaa
re panchhi" on metal flute.

YK: Waah, waah!

MS: Then this interlude on saxophone.

Manohari Singh plays the interlude, antara and mukhDa of "Jaa re jaa
re uD jaa re panchhi" on saxophone.

YK: 'Kya baat hai'! The sound of saxophone makes us move into another
world, a starnge intoxicating effect is there. How do you feel when
you play it?

MS: I have done very hard work on this instrument. I tried to control
it so that it produces good sound, I did a lot of practice.

YK: Saxophone is not an Indian instrument, and I believe at that time
it was not manufactured in India. So how did you get it?

MS: I had purchased this saxophone (the one he had brought for this
interview) from New York. And the first saxophone I used was also
made in America. In Anil Biswas's orchestra, Ram Singh used to play
saxophone, he was Anil-da's assistant. I got inspired after listening
to Ram Singh. When I played for Maya in the Bombay Lab, Pyarelal was
playing violin. He became very happy with my playing and
congratulated me, gave me a gift also. The news became public that a
man has come from Bengal who plays a western instrument in purely
Indian style and peole started knowing me. Kalyanji bhai gave me a
big break and this song by Lata and Hemant-da was an overnight hit.

YK: Which song was it?

MS: "Tumhe yaad hogaa kabhi hum mile the"

YK: Aha ha, what a song!

Manohari Singh plays "Tumhe yaad hoga kabhi hum mile the" on Saxophone

YK: Other than these, which are the other songs in which you played
saxophone in those initial days?

MS: Then Shankar Jaikishen also called me. Jaikishen-ji had high
respect for me. I played for him first in a duet song of Professor.
Everbody started asking which instrument is this. 'What a feeling has
come out in this tune!' The song was "Awaaz deke humein tum bulaao"

Manohari Singh plays "Awaaz deke humein tum bulaao" on Saxophone

YK: What was special in Shakar Jaikishen's music. They made a
significat contribution in the orchestration side of film music.

MS: Shankar Jaikishen and Naushad used to keep a regular and
permanent orchestra. In every song of Shankar Jaikishen, about 50/60
musicians used to be present. After Shankar Jaikishen, other music
directors like Laxmikant Pyarelal and R D Burman used to keep such
large orchestras. Other music directors kept reasonable orchestras. O
P Nayyar also had a regular orchestra.

YK: Nayyar saahab also called you up?

MS: Yes, wherever I go, requests come for the song "Hai duniya usi ki
zamana usi ka"

Manohari Singh plays "Hai duniya usi ki zamana usi ka" on Saxophone

------------------------------------------------------
Song: Hai duniya usi ki zamana usika (Kashmir Ki Kali)
------------------------------------------------------

YK: Nayyar saahab has a unique style with "joshila" music. Did you
play both saxophone and metal flute in his songs?

MS: Saxophone mostly.

YK: Can you cite few more songs of Nayyar saahab in which you played
saxophone?

MS: "Kitne aTal the tere iraade", then, "Yahi woh jagah hai yahi woh
fizaa hai"

--------------------------------------------------
Song: Yahi woh jagah hai (Yeh Raat Phir Na Aayegi)
--------------------------------------------------

YK: It is heard that O P Nayyar is a hard task master and that he
records a song in a single take?

MS: Yes, if he feels that the take is OK, then no one can ask him for
a retake.

YK: Any memorable incident with Nayyar saahab?

MS: I had played this song (above song) in a show in Delhi. It was a
Defence Show in 1962. Pt nehru, Asha-ji and Lata-ji were present.
Lata-ji sang "Ae mere watan ke logon" composed by C Ramchandra.

YK: Oh, so it was this memorable show!

MS: Yes, I had played flute in "Ae mere watan ke logon". After this
song, I was sitting behind. I did not know that Asha-ji was singing
this song "Yahi woh jagah hai". When she started singing, I could not
control myself and came infront with saxophone and stated playing at
the correct instant. The public was overwhelmed. After coming back,
when Asha-ji told this to Nayyar saahab, Nayyar sshab took out a 100
rupee note and put in my hand.

YK: Wah!, For Bappi Lahiri also, you have played in the memorable
song - chalte chalte.

MS: Yes, Chalte Chalte was a good composition.

YK: You said you had played flute in C Ramchandra's "Ae mere watan ke
logon". how was the experience with him?

MS: I had also played Mandolin for him. In "ae mere watan ke logon",
I had played only flute.

---------------------------------------
Song: Ae mere watan ke logon (Non-film)
---------------------------------------

YK: When did you start working with S D Burman?

MS: "gaa mere man gaa yunhi beetaaye jaa din zindegi ke" was the
first song in which I played for Burman dada. Then I played in Solva
Saal. I was Arrangement Assistant in Insaan Jaag Utha. In the
song "Jaanu jaanu ri kaahe khanke hai tore kangna", I played mandolin
with Laxmikant. Then in films like Guide, Jewel Thief, Teen Deviyan,
I did the arrangement.

Manohari Singh plays "Tere mere sapne ab ek rang hai" on Saxophone

YK: What a wonderful piece!

--------------------------------------------
Song: Tere mere sapne ab ek rang hai (Guide)
--------------------------------------------

YK: Now, let us come to R D Burman with whom you have worked the
longest period. So, when did you first meet him and how was it?

MS: First time I met him was in S D Burman's recording in Bombay
Labs. Salil Choudhury had brought me from Calcutta in 1958. S D
Burman was doing the background music of 'Sitaaron Se Aage' in Bombay
labs. Salilda took me there and introduced me to Burman dada. Pancham
and Laxmikant were sitting there, they were musicians there. I was
introduced to Pancham as well, his age was about 26/27 that time. He
asked me if I had come from Bengal. Jaidev, who was the assistant of
Burman dada, was also present there.. They asked me to play few
pieces. I played on my metal flute. Few days later I was called."

YK: Which was the first song in which you played flute or saxophone
for Pancham?

MS: In the first song of Pancham itself, in the film Chhote Nawab, I
had played flute.

YK: You yourself being musician, what do you think of Pancham as a
music director?

MS: His depth of composition is very deep, his knowledge of Indian
music is also very rich. He could sustain the sweetness of Indian
music in his songs inspite of using western colours."

YK: Can you cite one example to prove this?

MS: Take the Teesri Manzil song - O haseena zulfonwaali. Beautiful
melody is there, later in the song you can find some flute pieces,
the comes the trumpet, guitar, etc. So how many different colours are
there in this single song!

-------------------------------------------
Song: O haseena zulfonwaali (Teesri Manzil)
-------------------------------------------

YK: How many piece orchestra was used for this song?

MS: There were 80 to 85 musicians in this song, 30 to 40 were used
for violins, then there were brass, trumpets, guitar, base-guitar,
etc, and it was a live recording, not like the track system of the
present day.

YK: Tell us something about the 'mehbooba mehbooba' song of Sholay.

MS: In that song I had played Suprano instrument. It was this song by
which Pancham introduced this instrument in the film music.

--------------------------------
Song: Mehbooba mehbooba (Sholay)
--------------------------------

MS: He also introduced several other instruments like the
Nepali 'Maadal', the bottle (soda bottle).

YK: From bottle, I remember that in 'chura liya hai tumne' song, ek
glass was used in the prelude.

MS: Yes, the situation in the film was something like party was going
on, atmosphereis that someone is drinking, someone made some sounds
in the glass. For your information, real glass was used in this song.
In this song Bhupendra had played guitar, George Fernandez played
trumpet and Uttam Singh had played violin. Uttam Singh has played all
violin solos in all his songs.

-------------------------------------------------------
Song: Chura liya hai tumne jo dil ko (Yaadon Ki Baraat)
-------------------------------------------------------

YK: Would you like to play some Pancham tune on your saxophone by
which you would like to pay him tribute?

Manohari Singh plays the tune of "Humein aur jeene ki chaahat na hoti
agar tum na hote" on his saxophone.

------------------------------------------------------------
Song: Humein aur jeene ki chaahat na hoti (Agar Tum Na Hote)
------------------------------------------------------------

YK: Manohari-da, you came to Vividh Bharti studio, shared with us so
many unknown things about yourself and various composers. I, on my
behalf, on behalf of Vividh Bharati aur on behalf of its crores of
listeners, I thank you and wish you all the best!

MS: Thank you very much!

THE END

--- In sangeet_ke_sitare@..., "Kaustubh Pingle"
<kcpingle@...> wrote:
>
> Just heard that on 25th May there is a show on Pancham in Pune and
> Manoharidada is getting a Jeevan Gaurav puraskaar....who is
organizing this
> show ? If done with right intentions, its just great !!
>
> KCP
>
>
> [Non-text portions of this message have been removed]
>

The following vividhbharati poll is now closed.  Here are the
final results:


POLL QUESTION: Has AAJ KE FANKAAR programme lost its charm since it became a
live programme? (Earlier it used to be a recorded programme with good editing
and post-production.)

CHOICES AND RESULTS
- Yes, the standard of AKF has degraded, 3 votes, 75.00%
- No, I dont think so, 0 votes, 0.00%
- I do not listen to AKF, 1 votes, 25.00%

INDIVIDUAL VOTES
- Yes, the standard of AKF has degraded
      - soojoi_india@...
      - kempadali@...
      - arch_mb@...
- No, I dont think so
- I do not listen to AKF
      - email2pr@...


For more information about this group, please visit
http://in.groups.yahoo.com/group/vividhbharati

For help with Yahoo! Groups, please visit
http://help.yahoo.com/help/in/groups/

EPISODE 3
---------

KS: Anandji, aap yeh bataayenge ki aap jo hain Kalyanji bhai se kis
film se juDe the?

AN: naam se main Madari se juDaa lekin kaam se to pehle se hi juDaa
huya hoon. 'joint family' mein yeh hota hai na ki baDe jaise bolen
waisa karna hai aapko, to unhone dono ka nam joD diya. kabhi
main 'manager' ka kaam karta tha, kabhi 'background' banaata tha,
kabhi 'story' sunne jaana hai, kabhi 'producer' se milne jaana hai.
to wahaan se Kalyanji Anandji karke naam joD diya. to Anandji to
chhoTa bhai hai, Gujraation mein aisa hota hai ki baDon ka naam
peechhe lagaaya jaata hai. Kalyanji Veerji mein Veerji mere pitaaji
ka naam tha. Kalyanji Anandji hote hi log yeh kehne lage ki film mein
jaate hi apne baap ka naam badal diya. bole Kalyanji Anandji kar
diya, kaise log hain! to Madari se yeh naam chali aayi, aur
kaam 'continuously' chalta raha.

KS: to aap Madari ka koi gaana bhi sunwaana chaahenge kyunki joDi ke
roop mein yeh aap dono ki pehli film thi?

AN: haanji, yeh jo been waala gaana

---------------------------------------
Song: dil looTnewaale jaadugar (Madari)
---------------------------------------

AN: isse pehle, Kamalji, do chaar bahut achchhe gaane hain jo sunaane
hain logon ko, yeh shuru ki 'picture'-en chalee naheen,
hamaari 'picture' chalee 25th 'picture' se, Jab Jab Phool Khile,
jab 'colour' ka 'era' aaya, lekin har 'picture' ke gaane chal gaye
the. Samrat Chandragupt mein "chaahe paas ho chaahe door ho", "bhar
bhar aaye akhiyaan", "naina hain jaadoo bhare", "qaid mein hai bulbul
sahyad muskuraaye". uske baad ek naya 'trend' bhaaisaahab ne bahut
achchha 'compose' kiya tha "mujhko is raat ki tanhaaee mein aawaaz na
do", 'music' ka ek naya daur ek nayi 'style' mein unhone banaaya tha.
maine unse kaha ki 'bahut achchha compose kiya'. bole, 'kya kiya? ho
gaya'. maine kaha, 'ho gaya, kuchh to sochaa hoga?' Gazal ko ek naye
andaaz mein pesh kiya gaya hai, to woh gaana chal gaya, uske
baad "neend na mujhko aaye", Satta Bazar ke gaane chale, "tumhe yaad
hoga kabho ham mile the", uparwaala itna meherbaan tha hampe ki
har 'picture' ke do-teen gaane chal jaate the.

KS: yahaan par, jaisa ki aapne kaha ek naya 'trend', ek naya rang
diya, Mukeshji ki aawaaz mein yeh gaana hai, yeh rachna hai...

AN: Shamim Jaipuriji ne likha huya tha yeh gaana

KS: to isko sunwaa den?

AN: zaroor sunwaa deejiye

-----------------------------------------------------------------
Song: mujhko is raat ki tanhaaee mein (Dil Bhi Tera Hum Bhi Tere)
-----------------------------------------------------------------

KS: Anandji, jaisa ki aapne kahaa ki yun to sangeet aapne bahut se
filmon mein diya lekin pehli pehchaan banee Jab Jab Phool Khile ke
gaano se, lekin un sab ka 'music' baDaa 'popular' huya.

AN: Kamalji, ek baat poochhoon main aapse?

KS: haan ji

AN: yeh jo pehla 'episode' gaya aapka, koi 'letter' aaya kya? logon
ko pasand aaya?

KS: abhi to shuru huya hai, ab dheere dheere 'letter' aane shuru
honge, main sab aapko dikhaayunga.

AN: saare, 'feedback' to milne chaahiye

KS: jee haan! shrotaaon ko bahut pasand aa raha hai yeh 'programme'.

AN: yeh to dekha maine Hindustan ke jagah jagah 'programme' karte
waqt. aajkal TV Video se zyaada log 'radio' ko zyaada pasand karte
hain kyunki aap log meeThe achchhe gaane dete hain, isliye Vividh
Bharati ki mujhe aur bhi taarif karni chaahiye.

KS: aapne bhi logon ki zindagi ko baDa meeTha aur sureela banaaya
hai, aur bahut achchha sangeet diya hai. usi sangeet ki baat ham
karna chaahte hain, woh jo shuru ki bahut saari filmen aayi,
vyaavsaayik roop se bahut zyaada safal na huyi hon lekin unkav angeet
bahut 'popular' raha. unmein se kuchh gaano ki jhalkiyaan ham apne
shrotaaon ko zaroor sunwaana chaahenge.

AN: zaroor zaroor sunwaaiye. Kamalji, aisa hai ki 1958 se ham logon
ne 'start' kiya, to woh daur aisa tha ki 'competition' ka daur tha,
aur 'competition' bhi bahut 'healthy' tha, yeh naheen tha ki
main 'number 1' hoon, 'number 2' hoon, lekin hamse bhi pehle jo log
the, unse bhi 'inspire' huye, woh bhi itna achchha kaam kar gaye ki
jo log naye aaye unko lagaa ki usse bhi achchha kaam dena chaahiye.
us zamaane mein jo 'artiste' huya karte the, woh sahi maaeene
mein 'artiste' the, koi 'actor' hai to usey gaana bhi aata hai,
aajkal bahut zyaada 'commercial' ho gaya hai. to hamaari 'picture'-en
aane lagi, jaise Bedard Zamana Kya Jaane, Chandrasena, 'mythological
film' thi.

KS: Bedard Zamana Kya Jaane ka koi gaana sunwaana chaahenge yahaan
par?

AN: kaun sa gaana suniyega? "door kahin tu chal dil raha hai machal"

--------------------------------------------------
Song: door kahin tu chal (Bedard Zamana Kya Jaane)
--------------------------------------------------

KS: Mukeshji ne aapke liye bahut sare gaane gaaye hain.

AN: jee haan, bahut achchhe gaayak aur insaan the. dil se gaate the,
bahut mehnat karte the. kabhi kabhi to gaane ke baad paisa liye
baGair hi chale jaate them, paisa bhi bahut kam lete the. teen
baar 'rehearsal' par aate the. woh saaf saaf kehte the ki isko aisa
kardo, yeh mere se naheen gaaya jaayega.

KS: yaani woh apne sujhaav dete the?

AN: waise to shabdon ke liye un dino geetkaar 'recording' par aaya
karte the, waise bhi ham Gujarati hain, Hindi ka zyaada pataa naheen
hai. kuchh geetkaar, jaise Indeevarji hain, ab dekhiye, "waapas"
shabd ko woh "baapas" bolte the, to ham 'singer' ko kehte the ki
isey "waapas" gaayo. Mukeshji bahut achchha gaate the. kuchh log
kehte hain ki woh sur mein naheen gaate. woh zyaada muDkiyaan naheen
dete the, sirf muDkiyon se hi achchha geet naheen bantaa, geet ko dil
se gaaya jaata hai. aur aap dekhenge to paayenge ki Mukeshji ne
hamaare liye sabse zyaada geet gaaye hain.

KS: sahee baat hai! Anandji, Mukeshji ke baare mein aur bhi baaten
karenge, lekin yahaan par ham aapki pasand ka Mukeshji ka koi gaana
sunwana chaahenge apne shrotaaon ko.

AN: jee haan, waise bhi log 'bore' ho rahe honge meri baaton
se. "naina hain jaadoo bhare" sunaa deejiye.

--------------------------------------------------------------
Song: naina hain jaadoo bhare (Bedard Zamana Kya Jaane)
--------------------------------------------------------------

KS: Mukeshji ne aapke liye zyaadatar dard bhare gaane gaaye hain.

AN: haan dekhiye yeh gaana jo abhi aapne suna, yeh Bharat Vyas ka
likha huya tha "naina hain jaadoo bhare"

KS: baDa hi shokh aur 'romantic' gaana hai lekin unhone Khaastaur se
jo hai udaas 'mood' ke gaane gaaye hain aur woh bhi bahut
zyaada 'popular' huye hain.

AN: unhone har kism ke gaane gaaye, lekin unki aawaaz mein ek
meeThapan aisa hota tha ki aapko lagta hai ki woh 'serious' gaane gaa
sakte hain, woh hota hai na ki agar koi aadmi mazaakiya hai to uspe
mazaakiya gaane achchhe lagenge, aur agar woh 'serious' aadmi hai
to 'serious' gaane achchhe lagenge, lekin woh har kism ke gaane bahut
achchhi tarah gaa lete the, ab yeh gaana dekhiye, Dil Bhi Tera Hum
Bhi Tere ka yeh gaana tha, "jis dil mein basa tha pyar tera woh dil
hamne toD diya". Kalyanji bhaai ne bahut achchha 'compose' kiya tha
is gazal ko, Pyare bhaai bhi the 'assistant', unhone 'violin' ka
bahut achchha 'composition' kiya tha. yeh gaana ab tak logon ko yaad
hai. jo achchha hota hai woh har daur mein pasand kiya jaata hai.

KS: bilkul!

------------------------------------------------------------------
Song: jis dil mein basaa tha pyar tera (Dil Bhi Tera Hum Bhi Tere)
------------------------------------------------------------------

END OF EPISODE 3

Hi,

Those who have watched last saturday's Sa Re Ga Ma Pa on Zee TV might
have enjoyed Ashaji's rendition of Himesh Reshammiya's 'jhalak dikhlaa
jaa' amidst laughter of all present in the show.

Its a nice show with lots of Extra Shots :) Asha, Himesh, Bappida,
Ismail Darbar & Vishal-Shekhar.

Watch every Fri & Sat at 22:00 hrs on Zee TV.

Sujoy

PART 2

shrotaaon, pichhle hafte Sargam Ke Sitaare kaaryakram mein aap sun
rahe the shaayar aur geetkaar Shaqeel Badayuni par kendrit kaaryakram
ka pehla bhaag, jismein aaKhir mein ham zikr kar rahe the unke likhe
bhajano ka.

--------------------------------------------------------------
Song: bekas pe karam keejiye sarkaar-e-madeena (Mughal-e-Azam)
--------------------------------------------------------------

to aayiye Shaqeel saahab ke likhe geeton ka caravan aage baDhaate
hain Yunus Khan ke saath.

doston, pichhle hafte hamaara yeh kaaryakram aakar ruk gaya tha un
gaano par jinmein the bhakti aur shaastriya sangeet ka ras.
shaastriya sangeet par aadhaarit Shaqeel badayuni ke likhe geeton ka
agar ham zikr karen to film Baiju Bawra mein Baiju aur sangeet
samraaT Tansen ke beech huyi laDaai ke is geet ko kaise bhool sakte
hain! isey film mein gaaya tha do baDe hi prasiddh shaastriya
gaayakon ne, ek the Ustad Amir Khan sahab aur doosre D V Paluskar.

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

doston, jab main Shaqeel saahab ke likhe geeton ko sun raha tha to
maine paaya ki unhone kai Holi geet likhe hain jo behad lokapriya
huye hain. maslan, film KOhinoor ka yeh Holi geet to jaise Holi
geeton ka sartaaj hai.

-----------------------------------------------
Song: tan rang lo ji aaj man rang lo (Kohinoor)
-----------------------------------------------

"Radha sang Hori khele Banwaari, ang ang pe chalaaye pichkaari, kahin
baiyaan pakaD ke anaaDi". film Mother India mein bhi ek aisa Holi
geet hai jo aaj bhi Holi ke avsar par usi taazgee se sune jaate hain.

-----------------------------------------
Song: Holi aayi re kanhaai (Mother India)
-----------------------------------------

doston, ab tak hamne jitne bhi gaane aapko sunwaaye woh sabhi Shaqeel
saahab ke likhe huye to the hi, unke sangeetkaar the Naushad saahab.
Naushad saahab ke saath Shaqeel saahab ne ek lambi paari kheli hai
aur ek se ek naayaaab gaane hamein deeye hain. lekin Naushad saahab
ke alaawa bhi Shaqeel Badayuni ne doosre kai sangeetkaaron ke liye
gaane likhe hain. Guru Dutt ki film Chadhween Ka Chand to aapko yaad
hi hoga, jismein sangeetkaar the Ravi. chaliye ham aapko Ravi saahab
ke ek 'interview' ka woh hissa sunaate hain jismein unhone isi film
ke bante samay unki Shaqeel saahab se huyi pehli mulaaqaat ka zikr
kar rahe hain:

Ravi (translated): My life took one more turn when Guru Dutt phoned
me and told me that he wanted me to work as music director in his
next film. I went to meet him. He asked me if Shaqeel would be good
as lyricist. I told that Shaqeel is very good but there is a doubt
whether he would come leaving Naushad. Anyway, Shaqeel came and we
met. He was a very noble man. After discussing with Guru Dutt, when
we came out, Shaqeel saahab grabbed my hand and told me, "maine
baahar kahin kaam naheen kiya hai, mujhe sambhaal lena".

--------------------------------------------------
Song: chadhveen ka chaand ho (Chaudhveen Ka Chand)
--------------------------------------------------

"zulfen hain jaise kaandhon pe baadal jhuke huye, aankhen hain jaise
may ke pyaale bhare huye, masti hai jismein pyaar ki tum sharaab ho",
husn ki taarif ka yeh bemisaal naGmaa Shaqeel ki kalam se hi aa sakta
tha. Ravi ke alaawa unhone kai aur sangeetkaaron ke saath kaam kiya,
lekin is waqt ham zikr kar rahe hain Shaqeel aur Ravi ke joDe ki.
Chadhveen Ka Chand, Do Badan, Gharana, Ghunghat, Door Ki Awaaz jaise
filmon mein in dono ne deeye ek se ek bemisaal nagmein. kehte hain
Gamzadaa naGmein zyaada sureele hote hain, Shaqeel aur Ravi ne is
baat ko ek baar phir sach saabit kiya. "lage hain shamma par pehre
zamaane ki nigaahon ke, jinhe jalne ki hasrat hai woh parwaane kahaan
jaayen, mohabbat ho gayi jinko woh deewaane kahaan jaayen"

------------------------------------------------
Song: bhari duniya mein aaKhir dil ko (Do Badan)
------------------------------------------------

gaayak aur sangeetkaar Hemant Kumar ke saath Shaqeel Badayuni ka
zabardast saath raha. Bees Saal Baad, Saheb Biwi Aur Ghulam, Bin
Badal Barsat jaisi filmen. film Saheb Biwi Aur Ghulam ka woh
geet "kuchh kehte kuchh sunte kyun chale gaye dil ko masalke, meri
duniya hyi sooni bujhee aas ka deepak jham se, chhaya re andhera meri
akhiyan mein, meri baat rahi mere man mein kuchh keh na sakee uljhan
mein, mere sapney adhure huye naheen poore aag lagi jeevan mein", is
geet mein naayika ki bekaraari, tanhaaee aur udaasi waisi ki waisi
utar aayi hai. naayikaapne pati ko ghar mein rukne ke liye kehti
hain, lekin woh rukta naheen, chalaa jaata hai koThe mein.

----------------------------------------------------------------
Song: na jaayo saiyaan chhuDa ke baiyaan (Saheb Biwi Aur Ghulam)
----------------------------------------------------------------

yun to Hemant Kumar aur Shaqeel saahab ke jode ke kai anmol yaadgaar
naGmein hain, lekin ek gaane ko chhoDne ka man naheen kar raha. is
gaane mein naayak sharaarat bhare andaaz mein geet gaata hai. yun to
Hemantda aur Shaqeel saahab, dono gambheer insaan the, lekin is gaane
mein un par bhi chaDhaa hai sharaarat ka rang, zara suniye to...

----------------------------------------------------------
Song: bekaraar karke hamein yun na jaaiye (Bees Saal Baad)
----------------------------------------------------------

Shaqeel Badayuni ke geeton ke itne rang hain ki lagaataar kai hafton
tak tafseel se charchaa kee jaa sakti hai. isliye ham is kaaryakram
mein unke kuchh chuninde kaaljayee geeton ka zikr kar rahe hain.
Shaqeel ne film Leader mein likha tha "ek shahenshah ne banwaake
haseen taaj mahal, is zamaane ko mohabbat ki nishaani dee hai".
shaayar aur geetkaar Sahir Ludhianvi ne iska jawaab diya tha yeh
kehkar - "ek shahenshah ne banwaake taaj mahal ham Gareeb premiyon ka
uDaaya hai mazaak, mere mehboob chal kahin aur jaake baiThen". dekhaa
jaaye to Shaqeel aur Sahir, dono apne apne jagah sahee hain. Sahir
saahab Shaqeel saahab ki qadr karte the. unhone hi ek baar kaha tha
ki Jigar aur Firaq ke baad Shaqeel hi aise shaayar hain jo nazm se
zyaada gazal par dhyaan dete hain. chaliye, ab ek aur rang Shaqeel
saahab ke geeton ki aapko sunwaayen. yeh hai woh mazaakiya geet jise
Shaqeel saahab ne film Chadhveen ka Chand mein likha tha.

------------------------------------------------------
Song: mera yaar banaa hai dulhaa (Chaudhveen Ka Chand)
------------------------------------------------------

Shaqeel Badayuni ne bahut saare Gair filmi Gazlen bhi likhe jinhe
naamcheen fankaaron ne gaaye, jaise Begum Akhtar, Farida
Khanan. "mere hamnafaz mere hamnawaa mujhe dost banke daGaa na de",
yeh Gazal Begum Akhtar ki aawaaz mein sunte hain.

--------------------------------------------------
Song: mere hamnafaz mere hamnawaa (Non-film Gazal)
--------------------------------------------------

isi tarah Begum Akhtar jab gaati hain "kabhi taqdeer ka maatam kabhi
duniya ka gilaa, manzil-e-ishq mein har gaaon pe ronaa aaya, jab huya
zikr zamaane mein mohabbat ka Shaqeel, mujhko apne dil-e-naakaam pe
ronaa aaya, ae mohabbat tere anjaam pe ronaa aaya"

------------------------------------------------------------
Song: ae mohabbat tere anjaam pe ronaa aaya (Non-film gazal)
------------------------------------------------------------

Shaqeel saahab ke aise hi anginat naGmein hain, is 'programme' mein
hamne kuchh chuninde naGmon ko salaam kiya. ek shaayar ki daastaan
uski paidaaish se shuru to zaroor hoti hai lekin uski maut par jaakar
Khatam naheen hoti. uske ashaar waqt aur zamaane ki hadon ke paar
jaakar uski yaad ko zinda rakhte hain. shaayar paidaa to hote hain
par kabhi marte naheen.

-----------------------------------------------------
Song: jaanewaale se mulaaqaat na hone paayi (
-----------------------------------------------------

Shaqeel ek seedha saada insaan the, unke maasoom se sapney the. Dilli
ki naukri karte huye shaayri karne se Khush the aur logon se waah
waahi looT le jaate aur Khud Khush ho jaate. "Shaqeel dil ka hoon
tarjuma, muhabbaton ka hoon raazdaan, mujhe fakr hai meri shaayri
meri zindagi se judaa naheen".

abhi aap sun rahe the mashoor shaayar aur geetkaar Shaqeel Badayuni
par kendrit Sargam Ke Sitaare kaaryakram ka doosra aur antim bhaag.
is kaaryakram mein shodh, aalekh aur swar Yunus Khan ka tha aur
prastuti Kanchan Prakash Sangeet ki. ab deejiye ijaazat, namaskaar!

THE END

when we transcribe playing a fine in winamp or wmp, the problem is that
the pause/play restarts the files at the exact point at where it has paused.

This particular software is specially designed to help in transcription.
this has option to restart playing the audio at some previous point that
can be coded in the settings up to five seconds.

that means if you are at the line "vividhbharati ke shrotaaon" and you
pause at "shro" (in winamp, the play will start at "taaon") but in this
software if you had put a 1 sec replay option, the play will begin at
"vividhbharati ke".

that helps a lot in understanding the context, and if we are having
particular difficulty at understanding some particular spoken word, we
can play/pause it again and again and it will play the same word.

I have used it and find it very useful.

anybody doing the transcription of audio should try this software. it
can accept mp3, wav and several other formats.

it is free for use.

download from: http://www.nch.com.au/scribe/essetup.exe

hope it helps.

thanks.
--
Rawat

when we transcribe playing a fine in winamp or wmp, the problem is that
the pause/play restarts the files at the exact point at where it has paused.

This particular software is specially designed to help in transcription.
this has option to restart playing the audio at some previous point that
can be coded in the settings up to five seconds.

that means if you are at the line "vividhbharati ke shrotaaon" and you
pause at "shro" (in winamp, the play will start at "taaon") but in this
software if you had put a 1 sec replay option, the play will begin at
"vividhbharati ke".

that helps a lot in understanding the context, and if we are having
particular difficulty at understanding some particular spoken word, we
can play/pause it again and again and it will play the same word.

I have used it and find it very useful.

anybody doing the transcription of audio should try this software. it
can accept mp3, wav and several other formats.

it is free for use.

download from: http://www.nch.com.au/scribe/essetup.exe

hope it helps.

thanks.
--
Rawat

Hi,

VB is soon going to broadcast a brand new interview of Lataji, you
might have come to know from Yunus Khan's blog that he met Lataji in
her residence last Sunday.

I would request you all, if you have the recording facility and ease,
then pls be prepared to record this interview.

Atul: Can you help in this regard, as VB is available on FM in Pune, so
the recording will be of high quality.

More details about the prog as and when I get.

Sujoy

1988

VB: Namaskaar Amitabhji, aapka Vividh Bharati par bahut bahut swaagat
hai. Aaj aapko is karyakram mein paakar humein behad khushi ho rahi
hai, aur humein poori ummeed hai ki hamare shrotaaon ko bhi utni hi
khushi ho rahi hogi.

AB: Aapko aur VB ke sabhi shrotaaon ko mera namaskaar aur aapka bahut
bahut dhanyavaad.

VB: Isse pehle ki baaton ka silsila shuru karen, sunte hai yeh geet.

Song: Jiska mujhe tha intezaar (Don)

VB: Amitji, filmon ka aana is sadi ka ek chamatkaar hai. Aapko kya
lagta hai ki isse hamare saanskritik aur saamaajik jeevan mein kya
badlaav aaya hai?

AB: Yeh bilkul sach hai ki filmon ka aana is sadi ka ek bahut bada
chamatkaar hi hai. Lekin pehle pehle jab filmen banni shuru huyi to
yeh maana jaane lagaa ki achchhe ghar ke ladke ladkiyon ko is line
mein naheen jaana chahiye. Khaas kar ladkiyon ko. Par dheere dheere
yeh maadhyam badhta chala gaya aur ubhartaa gaya. Filmon se ek
parallel culture ki shuruwaat huyi. Main yeh naheen kahoonga ki yeh
achchha hai ya bura, par mujhe garv hai ki main ek aisi industry se
judaa hoon jo vishva vikhyaat hai. Filmon se samaaj par prabhaav to
padta hai hi ismein koi shaq naheen hai. Isliye humein yeh dhyaan
mein rakhna hai ki jo padaarth filmon ke zariye samaaj ko hum de rahe
hain, usse kisi ko nuksaan na pahunche. Hamari kahaaniyan basically
Ramayan aur Mahabharat se prabhaavit hoti hain kisi na kisi roop mein
aur hamesha achchhai ki vijay hi dikhaayee jaati hai. Buraai ki
hamesha haar hi hoti hai.

Song: Chhookar mere mann ko (Yarana)

VB: Filmen to manoranjan ka saadhan hai hi, par peechhle kuch saalon
se ek aur maadhyam aaya hai - Television. Satellite Television ke
zariye jo kuchh bhi dikhaya jaa raha hai, uske baare mein aapki kya
raay hai?

AB: Main yahi kahoonga ki hazaaron saalon ki jo sanskriti hai, usey
in sab se koi khatra naheen hai. Hamari sanskriti ko kisi se kisi
tarah ki koi aanch aa sakti hai main naheen maanta.

VB: Lekin aajkal ke yuva varg jo western culture ki ore jhuk rahe
hain, uske baare mein aap kya kahenge?

AB: Main naheen maanta. Bhale hi yuva varg satellite TV channel ke
karyakram dekh rahe hain, par main naheen maanta ki woh use apna bhi
rahe hain.

VB: Amitji,aaj ke yuva varg bhi aapko apna prernashrot maante hain,
aapki copy karte hain, aap humein bataaiye ki aapki prernashrot kaun
hain?

AB: Maine jo bhi kuchh seekha hai apne babuji se, unki kavitaaon se,
unke lekhan se, unke chaal chalan se.

VB: Amitji, parde par aap badi se badi kartoot karte huye nazar aate
hain, lekin ghar mein aap kaise hain ek pita ke roop mein, ek pati ke
roop mein aur ek bete ke roop mein?

AB: Aur ab ek nana ke roop mein?

VB: Jee haan?

AB: Main ghar mein bahut hi aam insaan hoon kisi bhi aam insaan ki
tarah. Main bhi ek aam naagrik hoon aur bahut hi aam jeevan vyateet
karta hoon aap hi ki tarah.

Song: Mere paas aao mere doston (Mr Natwarlal)

VB: Amitji, aap abhinay ke saath saath kai gaane bhi gaaye hain. Aap
ke shauk kya kya hain?

AB: Kaam ki vajah se zyaada kuch shauk paalne ka samay to kabhi mila
naheen. Par khaali samay mein ghar par gharwaalon ke saath baatchit
karne mein bahut achchha lagta hai.

VB: Amitji, ab aap jis mukaam par hai wahaan par sangharsh aapko chho
bhi naheen sakti, par jab pehli baar aapko safalta mili thee, to
aapko kaisa mehsoos huya tha?

AB: Pehli baat to yeh hai ki sangharsh kabhi khatam naheen hoti, aaj
bhi mujhe utna hi sangharsh karna padta hai jitna us zamaane mein
tha. Mere babuji kahte hain ki jab tak jeevan hai sangharsh hai. Aur
jahaan tak pehli safalta ka sawaal hai, khushi to huyi thee, par uske
liye koi khaas tareeke se manaya naheen gaya tha.

Song: Manzilen apni jagah hai (Sharabi)

VB: Amitabhji, jab film Hum mein "Jumma chumma" wala geet aaya tha,
to kai logon ne use oppose kiya tha. Lekin us geet mein jab parde par
aapko dekha to utna bura naheen lagaa. Aapka kya khayaal hai?

AB: Main is baare mein kuch keh naheen sakta. 50 aur 60 ke dashak
mein bhi kuchh aisi cheezen bani thee jo us samay boori maani jaati
thee aur jo us samay naheen honi chahiye thee.

VB; Amitji, film Zanjeer se vyavsaayik cinema ki kai zanjeeren tooti
hain, aur aap ne angry young man ki jo image sthaapit kee, usey phir
kai abhinetaaon ne apnaaya aur ek trend shuru ho gaya.

AB: Yeh media ka kehna hai par main naheen maanta ki maine angry
young man ka trend shuru kiya. Mujhse pehle Sunil Dutt Mother India
mein angry young man ka role kar chuke hain, aur bhi kai abhinetaaon
ne kiya hai. Maine kabhi Sholay kiya hai to Chupke Chupke bhi kiya
hai, Muqaddar Ka Sikandar kiya hai to Bade Miya Chhote Miya bhi kiya
hai.

Song: Yaari hai imaan mera (Zanjeer)

VB: Amitji, aapko ek disciplined kalaakaar maana jaata hai, yaani ki
jo director kehte hain aap wahee karte hain. Lekin aapke peechhle do
teen filmon ke baad (most likely indicating Lal Badshah etc) , aap
kya kahenge?

AB: Agar main ek professional kalaakaar hoon, to phir mujhe jo
director kehta hai karne ke liye, mera farz banta hai poori koshish
karoon apne abhinay se woh kar dikhaane ka. Haan yeh sach hai ki kuch
filmen commercially hit naheen huyi, par yeh to sabhi ke saath hota
hai aur pehle se kuch kaha naheen jaa sakta.

VB: Aisa maana jaata hai Bollywood aur Hollywood mein ki jo awards
ceremony hote hain, unmein jo filmen saal ke aakhir mein aate hain,
unhi ko awards mil jaate hain aur saal ke shuru ke filmon ko
nazarandaaz kiya jaata hai. Aap ka kya vichaar hai?

AB: Sabse pehle hamari film industry ko Bollywood na kahen. Aisa
lagta hai jaise koi hamara mazaak udaa raha hai. Hamari film industry
bhai koi kam naheen hai, use Hindi Filmi Duniya ya Indian Film
Industry hi kahen to behtar hoga. Aur jahaan tak awards ka savaal
hai, main to yahi maanta hoon ki kisi bhi kalakaar ko awards ke
peechhe naheen bhaagna chahiye. Use khud apni performance ki
samalochana karni chahiye aur agar woh samajhta hai ki uska
performance award paane yogya hai, to wahi uske liye sabse badaa
puraskaar hai. Usey yeh feel hona chahiye ki woh award paane ke yogya
hai.

VB: Amitji, aapko Bharat mein hi naheen, balki poore vishva ke logon
se beshumaar mohabbat aur shohrat mili hai, phir bhi kya aapki koi
aur tamanna hai?

AB: Main bhi ek aam insaan hoon aur auron ki tarah mere jeevan mein
adhurapan hain. Aadmi kabhi hi santusht naheen ho sakta, woh aur
nirantar koshish aur sangharsh karta rehta hai.

VB: Aapke pita ek naami saahityakaar hain, aapne unki kaun kaun si
rachnaayen padhee hain?

AB: Main unhi se ghar par unki kavitaayen, gadya sunta rehta hoon.
Yeh kehna galat hoga ki maine unki tamaam rachnaayen padhee hain. Is
waqt yeh kehna badaa mushkil hai ki maine unki kaun kaun si kitaaben
padhee hain.

Song: Main pal do pal ka shayar hoon (Kabhi Kabhie)

VB: Amitji, film Sholay ki safalta ke peechhe aap apni yogdaan kitna
maante hain?

AB: Mera yogdaan us film mein to sabse kam hi tha. Us film ke
nirmata, nirdeshak, Sanjeev Kumarji, Dharmendraji, Jayaji, Hemaji ne
bahut hi achchha kaam kiya hai. Hum sab ne ek team ke roop mein kaam
kiya aur film hit ho gayee.

Song: Yeh dosti hum naheen todenge (Sholay)

VB: Amitji, bhavishya mein celluloid ki duniya mein kya badlaav aa
sakta hai aap samajhte hain?

AB: Main yahi samajhta hoon ki cinema ka jo mool roop hai woh aisa hi
rahega, woh kabhi naheen badlega. Zyaada se zyaada log iske saath
judte chale jayenge aur aur adhik logon ko isse faayda hoga, rozgaar
badhegi, main yahi maanta hoon.

VB: Amitji, Vividh Bharati ki or se aapka bahut bahut dhanyavaad.

AB: Bahut bahut dhanyavaad.

Song: Rote huye aate hain sab (Muqaddar Ka Sikander)

THE END

Hi,

VB is soon going to broadcast a brand new interview of Lataji, you
might have come to know from Yunus Khan's blog that he met Lataji in
her residence last Sunday.

I would request you all, if you have the recording facility and ease,
then pls be prepared to record this interview.

Atul: Can you help in this regard, as VB is available on FM in Pune, so
the recording will be of high quality.

More details about the prog as and when I get.

Sujoy

Hi,

KATHA YATRA is a programme of radio plays on AIR FM Gold, aired every
Saturday at 13:30 hrs. The plays are Hindi radio adaptation of famous
international stories & plays by renowned writers like Shakespeare,
Tolstoy etc.

Its a very good programme and the quality of voice and acting are of
good standard. So, if you can tune in to AIR FM Gold in your city, try
to listen to this programme.

You will find similarity of this programme with the DD serial Katha
Saagar.

Sujoy

PART 1

"tere baGair ajab dil ka aalam hai, charaaG saikDon jalte hain roshni
kam hai, kafas se aaye chaman mein to yahi dekhaa, bahaar kehte hain
jise Khizaan ka aalam hai"

ek kahaani jiskaa aaGaaz 3 August 1916 ko huya tha, 20 April 1970 ko
pahoonchi apne anjaam par. us daastaan ka naam tha Shaqeel badayuni.
to aaiye aaj Sargam Ke Sitaare kaaryakram mein is daastaan ko jaane,
sune.

kisi ne kya Khoob kahaa hai ki shaayar ki daastaan uski paidaaish se
shuru to zaroor hoti hai lekin uski maut par jaakar Khatam naheen
hoti. uske ashaar waqt aur zamaane ki hadon ke paar jaakar uski yaad
ko zinda rakhte hain. shaayar paidaa to hote hain par kabhi marte
naheen. aaj Shaqeel Badayuni jaise amar shaayar ki shaayri ke
samandar mein Dubki lagaayenge ham. ham gungunaayenge uske taraano
ko. ham pataa lagaayenge ki aaaKhir aisa kya hai uske naGmon mein jo
barson baad bhi ham unhe gungunaa rahe hain.

"Shaqeel dil ka hoon tarjuma, muhabbaton ka hoon raazdaan, mujhe fakr
hai meri shaayri meri zindagi se judaa naheen".

rawaayat to yeh hai ki pehle ham shaayar ka taarruf karaayen, uske
baad aage baDhen. lekin rawaayat toDne ko dil chaahta hai, kyunki
Shaqeel itne baDe aur oonche darje ke shaayar aur geetkaar the ki
agar woh Badayun ki jagah Aligarh ya Allahbad mein bhi paidaa hote to
koi fark naheen paDnewaala tha. haan, woh is duniya mein naheen aate
to unke naGmon ke bina yeh sansaaar kitna Khaali Khaali aur pheeka
hota, iska andaaz aapko yeh kaaryakram sunkar lag jaayega.

"zindagaani Khud hareefe zindagaani ho gayi, maine jab rakha kadam
duniya puraani ho gayi, hai wahi afsaana lekin kehnewaale aur hain,
hai wahi unwaan magar lambi kahaani ho gayi".

Shaqeel shaayri ki duniya se filmon mein aaye the. yaani filmon mein
aane se pehle shaayri ke aasmaan par woh ek chamakta sitaara ban
chuke the. woh mushaayron ki jaan huya karte the. us daur mein
tarakki pasand shaayri poore uFaan par thi. zulmaton ke Khilaaf
aawaaz buland kee jaa rahi thi, Gareebon aur laachaaron ko jagaane ke
liye shaayri kee jaa rahi thi. shaayri ko kraanti ka baayas maana jaa
raha tha. aise toofaani daur mein bhi Shaqeel Urdu shaayri ke gehree
rawaayat ka daaman pakDe rahe. woh muhabbaton ke shaayar bane rahe.
aur mushaayron ko looTte rahe.

"yeh falak falak hawaayen, yeh khuki jhuki ghataaen, woh nazar bhi
kya nazar hai jo na samajh le ishaara, mujhe aa gaya yakeen sa ki
yahi hai meri manzil, sar-e-raah jab kisi ne mujhe daffatan pukaara,
koi aaye Shaqeel dekhe yeh junoon naheen to kya hai, ki usi ke ho
gaye ham jo na ho sakaa hamaara".

yeh hai Shaqeel ki shaayri ki misaal. maze ki baat yeh hai ki shaayar
Shaqeel badayuni jis waqt mushaayron par hukumat kar rahe the tabhi
ghar grihasthi chalaane ke liye raajya sarkaar ke Supply vibhaag mein
kaam bhi kar rahe the. kitna ajeeb tha na yeh taalmel? ek taraf
Supply vibhaag ki naukri ki sookhee aur ubaau likhaapDhee, doosri
taraf shaayri ki naazuktareen duniya. san 1942 se 1946 tak Dilli mein
naukri mein rehte huye unhone Khoob shaayri kee aur Khoob naam
kamaaya. phir san 1946 mein ek mushaayre mein shirkat karne ke liye
woh Bambai tashreef laaye. woh likhne paDhne ka zamaana tha. aur film
nirmaata bhi mushaayre sunne jaaya karte the. naamcheen nirmaata
nirdeshak A R Kardar ne jab Shaqeel Badayuni ko suna to woh us waqt
ban rahi apni film Dard mein unhe likhne ka nyota de Daala. bas phir
kya tha, Munawwar Sultana, Shyam aur Suraiyya ki adaaygee se sajee is
film se ek sureela afsaana shuru huya, aapko yaad honge is film ke
naGmein.

-----------------------------------------------------
Song: afsaana likh rahi hoon dil-e-beqaraar ka (Dard)
-----------------------------------------------------

Tuntun yaani Uma Devi ke gaaye film Dard ke is gaane se hi shuru huya
tha geetkaar Shaqeel badayuni aur sangeetkaar Naushad ka saath.
dilchasp baat yeh hai ki shaayri ki duniya se aane ke baawjood
Shaqeel ne filmi geeton ke vyaakaraN ko fauran samajh liya tha. unki
pehli hi film ke gaane ek taraf saral aur seedhe saade hain to doosri
taraf unmein shaayri ki oonchaai bhi hai. is gaane mein Shaqeel
saahab ne likha hai - "aaja ke ab to aankh mein aansoo bhi aa gaye,
saagar chhalak uThaa hai mere sabr-o-qaraar ka, afsaana likh rahi
hoon dil-e-neqaraar ka". kisi ke intezaar ko jitne shiddat bhare
alFaaz Shaqeel ne deeye, shaayad kisi aur geetkaar ne naheen deeye.
aisa karte hain ki intezaar ko shiddat bhare alfaaz dene ki isi baat
par ham san 1946 se seedhe chhalaang lagaate hain san 1949 ki taraf.
ek baar phir A R Kardar ki film. ek baar phir Naushad ki dhun aur ek
baar phir Shaqeel Badayuni ka intezaar ki koshish se labrez naGma. is
gaane ko Naushad ne raag Pahaadi mein kyaa Khoob banaaya hai. is
gaane ka doosra antara hai - "taDap rahe hain ham yahaan kisi ke
intezaar mein, Khizaan ka rang aa chalaa hai mausam-e-bahaar mein,
hawaa bhi ruKh badal chukee, na jaane tum kab aayoge". film Dulari ka
yeh geet gaaya hai Mohd Rafi ne. bahut hi kam saazon ke istemaal se
banaaye gaye gaano mein yeh gaana choTee par aata hai. aaj ke
sangeetkaaron ko is gaane ko sunkar seekhna chaahiye ki achchha gaana
banaane ke liye 'beats' ya 'string' Daalkar gaane ko Thoons Thoons
kar bharna zaroori naheen hota. achchha gaana dil se banta hai.

---------------------------------------
Song: suhaani raat Dhal chukee (Dulari)
---------------------------------------

"ishq ka koi KhairKhwaah to hai, tu naheen hai teri nigaah to hai,
zindagi is siyaah raat sahee, aashiqui ek charaaG-e-raah to hai".
Shaqeel Badayuni ka yeh sher siyaah aur sunsaan raat ko aashiqui ke
charaaG ke sahaare kaaT lene ki baat karta hai. aapke is dost ko
Shaqeel ke naGmon ko sunte sunte achaanak yeh ahsaas huya ki is
shaayar ko raat se be-intehaa muhabbat thi. haalaanki duniya mein
raat par agar kisi ne sabse Khoobsoorat Gazlen ya nazmein kaheen hain
to woh hain Raghupati Sahaay Firaak Gorakhpuri. haan, to baat chal
rahi thi ki Shaqeel Badayuni ko raat se beintehaa muhabbat thi. aur
ho bhi na kyun! muhabbaton ka shaayar har us cheez se TooTkar pyaar
karta hai jo naazuk-o-tareen hoti hai. phir chaahe woh phool ki
naazuk pankhuDiyaan hon ya kisi haseen shakhs ka pankhuDi jaisa
naazuk dil. aapne shaayad hi kabhi dhyaan kiya hoga ki ek hi geetkaar
ne raat ke kitne kitne rang apne alag alag naGmon mein bhare
hain. "aayi hai woh bahaar ki naGmein ubal paDe, aisi Khushi hai ki
aansoo nikal paDe, honthon par hain duyaaen magar dil pe haath hai,
kaisi haseen aaj yeh bahaaron ki raat hai".

-------------------------------------------------------
Song: kaisi haseen aaj yeh bahaaron ki raat hai (Aadmi)
-------------------------------------------------------

film mein yeh geet Mohd Rafi aur Mahenedra Kapoor ki aawaaz mein hai,
darasal Manoj Kumar ne apne liye Talat ki aawaaz ki bajaay mahendra
Kapoor ki aawaaz lene par zor diya aur Naushad saahab ko yeh baat
maanni paDee. par 'record' par Rafi aur Talat ki hi aawaaz mein hai.
yeh baat hamein ek baar Naushad saahab ne bataaya tha. baharhaal, san
1967 mein aayi film Palki mein Shaqeel Badayuni ne raat ka ek aur
anmol naGma likha. Hindi filmon mein kuchh gaane jaise kaaljayee
banne ke liye hi rache gaye hain. unmein se ek hai yeh gaana. phier
wohi sanyog, Naushad, Rafi aur Shaqeel saahab ki. "ae meri rooh-e-
Gazal meri jaan-e-shaayri, dil maanta naheen ki tu mujhse bichhaD
gayi, maayusiyaan hain phir bhi mere dil ko aas hai, samjhaayun kis
tarah se main dil beqaraar ko, waapas kahaan se laayun guzree bahaar
ko, majboor dil ke saath baDee ghaat ho gayi".

---------------------------------------------------
Song: kal raat zindagi se mulaaqaat ho gayi (Palki)
---------------------------------------------------

ham baat kar rahe hain Shaqeel Badayuni ke likhe un gaanon ki jinmein
aata hai raat ka zikr. yeh raat ke alag alag rang hain. kahin
Khushiyaan hain to kahin Gam hain. raat kahin judaai ki prateek hai
to kahin yeh raat bahut maaneekhez badlaav lekar aanewaali hai. Hindi
filmon ke itihaas ki ek azeemushaan film thi Mughal-e-Azam. aur is
film ke kathaanak mein jab moD aata hai to hoti hai ek qawwaali. ishq
ki baGaawat ki qawwaali. zaraa suniye Shaqeel Badayuni ne isey kis
tarah nibhaaya hai. woh likhte hain "naGmon se barasti hai masti
chhalke hain Khushi ke paimaane, aaj aisi bahaaren aayi hain kal
jinke banenge afsaane, ab isse zyaada aur hanseen yeh pyaar ka mausam
kya, jab raat hai aisi matwaali phir subah ka aalam kya hoga".

------------------------------------------------
Song: jab raat hai aisi matwaali (Mughal-e-Azam)
------------------------------------------------

agar aapne Mughal-e-Azam film dhyaan se dekhee hai to aapko samajh
aayega ki aisi 'situation' par aisa qawwaalinuma geet likhna kitni
baDi chunauti rahi hogi. aur ise Shaqeel ne kitni Khoobi ke saath
nibhaaya hai. isi tarah film Ram Aur Shyam mein jab mauka aaya to
Shaqeel Badayuni ne raat se juDaa hamaari smritiyon ka sabse shiddat
bhara gaana diya. bewafaaee se tadapta aashiq shabdon ke zahar bujhe
teer chalaa raha hai aur peechhe se Piano, Group Violin aur Dholak ki
jugalbandi. Rafi saahab ki woh beqaraar aawaaz aur Shaqeel ke alfaaz
ka andaaz ki munh se besaaKhta waah waah nikal aati hai. "tu mera
saath na de raah-e-muhabbat mein sanam, chalte chalte main kisi raah
pe muD jaayunga, kahkashaan chaand sitaare tere choomenge qadam, mere
raste ki main ek dhool ban jaayunga, saath mere mera afsaana chalaa
jaayega, kal teri bazm se deewana chalaa jaayega, shamma reh jaayegi
parwaana chalaa jaayega".

-----------------------------------------------------------
Song: aaj ki raat mere dil ki salaami le le (Ram Aur Shyam)
-----------------------------------------------------------

Shaqeel ke likhe raat ke naGmon ka silsilaa yaheen Khatm naheen ho
jaata balki film Kohinoor mein ek nayi oonchaai par pahunchta hai.
gaana Khwaabon ki taabeer ka gaana hai, zindagi ke Khushnaseeb palon
ka naGma hai. Shaqeel likhte hain, "jinse milne ki tamanna thi, woh
hi aate hain, chaand taare meri raahon mein bichhe jaate hain,
choomta hai tere qadmon ko gagan aaj ki raat, saari duniya nazar aati
hai dulhan aaj ki raat". Naushad ne is gaane ke 'interlude' mein
pashchimee Dhang ke 'chorous' ka istemaal kiya hai, upar se Rafi
saahab ki aawaaz ki pavitrata aur Lataji ki aawaaz ki maasoomiyat,
jisse yeh gaana aur bhi divya ban gaya hai.

----------------------------------------------------------------
Song: do sitaaron ka zameen par hai milan aaj ki raat (Kohinoor)
----------------------------------------------------------------

doston, ek shaayar aur geetkaar muhabbat ke fasaane apne shaayrana
andaaz mein bayaan to karta hi hai, lekin aisa kam hi dekhne ko milta
hai ki koi shaayar bhaktiras ke gaane bhi usi laajawaabi se likhe.
aayiye ab charcha karen Shaqeel Badayuni ke likhe kuch aisi hi filmi
bhakti rachnaaon ka. "maayoos na ho haar ke taqdeer ki baazi, pyaara
hai woh gham jismein ho bhagwaan ki raazee, dukh dard mile jismein
wohi pyaar hai, yeh soch le har baat ki daata ko Khabar hai".

---------------------------------------------------------
Song: insaaf ka mandir hai yeh bhagwaan ka ghar hai (Amar)
----------------------------------------------------------

film Amar ka yeh bhakti geet aapne sunaa. Shaqeel aur Naushad ke
sangeet safar ka ek mahatwapoorna makaam hai film Baiju Bawra. is
film mein haqeel ne aise do bhakti geet likhe hain jo aaj bhi film
sangeet ke shreshTh bhakti rachnaaon mein gine jaate hain aur jinkaa
koi saani naheen hai. unmein se ek hai yeh...

--------------------------------------------------
Song: man taDpat hari darshan ko aaj (Baiju Bawra)
--------------------------------------------------

Naushad ka divya sangeet, Rafi saahab ki divya aawaaz, aur Shaqeel
saahab ke amar bol. "tumhre dwaar ka main hoon jogi, hamaari or najar
kab hogi, sun more vyaakul man ka baar, tadapat hari darshan ko aaj".
apne bhagwaan ke darshan ke pyaase naayak ke dil ki aas ko is geet
mein Shaqeel ne aisi Khoobsoorti ke saath ubhaara hai, aise sundar
shabdon se sajaaya hai, ki yeh geet sunkar man Khud ba Khud chanchal
ho uThtaa hai hari darshan ko. aise gaane saabit karte hain ki
Shaqeel kitne mahaan geetkaar the. isi film mein ek aur geet hai
jismein Shaqeel likhte hain, "aag banee saawan ki barkhaa, phool bane
angaarey, naagan ban gayi raat suhaani, patthar ban gaye taare, sab
TooT chuke hain sahaare, jeevan apna waapas le le jeevan denewaale o
duniya ke rakhwaale".

-----------------------------------------
Song: o duniya ke rakhwaale (Baiju Bawra)
-----------------------------------------

abhi aap sun rahe the mashoor shaayar aur geetkaar Shaqeel Badayuni
par kendrit Sargam Ke Sitaare kaaryakram ka pehla bhaag. is
kaaryakram ka doosra bhaag suniyega alge hafte. is kaaryakram mein
shodh, aalekh aur swar Yunus Khan ka tha aur prastuti Kanchan Prakash
Sangeet ki. ab deejiye ijaazat, namaskaar!

END OF PART 1

EPISODE 2
---------

KS: aapki shuruwaat kaise huyi? kaise shuruwaat kee, 'editor' ke roop
mein ya 'instrumentalist' ke roop mein aapne shuruwaat kee? sangeet
ki duniya se aap kaise juDe, kyunki aapke aane ke baad phir aagaman
hota hai Kalyanji bhai ka.

AN: dekhiye, jab pehli baar mujhe bulaaya gaya hamaare 'school' mein
se to woh gaana hi tha, 'school' ke bachchon ke liye gaana tha, to
ham gaane ka 'rehearsal' karte the. ham 5/10 bachche the, un
dino 'music' ke 'classes school' mein huya karte the. maze ki baat
yeh thi ki bachche the to yaad reh jaata tha. ham har 'music
director' ko 'masterji' bulaaya karte the. ham log ek ek
maheena 'rehearsal' karte the. Sharmaji ek masterji the, woh aaj ek
bolenge ki (sings) "basanti phool khile", hamne yaad kar liya, kal
kahenge (sings in different tune) "basanti phool khile", hamne
kahaa, "masterji, kal to alag bataaya tha aapne?". un dino
Gujarati 'producers' huya karte the, Topiwaala, Dhotiwala. woh bhi
aake baiThte the aur 'final' dhun wohi 'select' karte the. to woh har
din badlaa karte the kyunki jab tak 'final' naheen karte, kuchh hota
naheen tha.

KS: Anandji, beech mein Tokne ke liye main maafi chaahoonga. kyunki
baat aapke bachpan ki chal rahi hai aur bachpan se juDaa, yaani
bachchon se juDaa ek bahut hi Khoobsoorat gaana aapne 'compose' kiya
tha film Kalicharan mein, pehle usey sun lete hain.

---------------------------------------
Song: mummy daddy ka pyaar (Kalicharan)
---------------------------------------

KS: Anandji, aapne kisi ko 'assist' kiya us dauraan?

AN: dekhiye, 'assist' to naheen kiya lekin jo honaa hai na woh ho
jaata hai. ham chhoTe the to ham log kya karte the pataa hai,
hamaari 'camp' huya karti thi, kuchh Maharashtra ke the, kuchh
Gujarat ke the, ham log prasaad ke liye jaate the, shanivaar ko
Ganapati ke mandir mein jaana, mangal ko Hanumanji ke mandir mein
jaana, to uskaa aarti ka samay hamko maaloom hotaa tha. hamein pataa
hota tha ki kis waqt kahaan prasaad milta hai. to kahin pe "jai dev
jai dev jai dev" ho raha hai aur ham log bheeD mein ghuste ghuste
aage nikal ke prasaad leke phir doosre jagah jaate the. yeh karne se
kya huya ki aarti ka jo dhun hai woh andar ghustaa gaya. aazaadi ke
pehle ke the to Gandhiji ko sunte the, subah ko uThnaa jaldi, jhaaDoo
maarna, yeh karna, woh karna, apna saaf safaaee karna, schoolon mein
bhi yeh seekhaaya jaata tha. aur aazaadi ka ek bhoot sawaar tha, ki
aazaadi ke baad ham yeh ban jaayenge, ham sapnaa dekhte the, samjhe
na aap, 'in between' Hindu Muslim ke jhagDe bhi hote the, 'political
confusion' bahut karta tha, 'war' ka zamaana tha, 1944 mein ham log
gaaon chale gaye the, wahaan jaakar kuchh aur sunte the.

KS: us daur mein aap filmen dekhte the?

AN: filmen dekhte the, mujhe yaad hai ham 'morning show' mein filmen
dekhte the.

KS: kuchh yaad hai kaun si filmen theen?

AN: Mother India, puraani dekhi huyi hai, aur Padosan, Padosi, Amrit
Manthan dekhi huyi hai, puraane sabhi Sohrab Modi ke pehle ki
saari 'picture'-en dekhi huyi hain. kaun si 'picture'-en chalegi ham
sab aapas mein 'discuss' karte the ki yeh chalegi yeh naheen chalegi.

KS: ek gaane ki gunjaaish yahaan par hai, ham apne shrotaaon ko
sunaana chaahte hain koi gaana us daur ka.

AN: dekhiye, pehli 'picture' jo aayi hamaari Samrat Chandragupt,
usmein gaana tha "chaahe door ho chaahe paas ho"

--------------------------------------------------------
Song: chaahe door ho chaahe paas ho (Samrat Chandragupt)
--------------------------------------------------------

KS: yeh jo film hai Samrat Chandragupt, ismein Kalyanji Veerji Shah
ke naam se unhone sangeet diya tha. yeh unki pehli film thi?

AN: haan, 1954 mein unhone Nagin mein been bajaaee, phir ham 'shows'
karte the, aur Subhash Chandra, Subhash Desai hamaare
Gujarati 'producer' the, unhone Janam Janam Ke Phere, jo 'picture'
bani thi na, usmein bhaaisaahab claviolin bajaa rahe the, to unhone
kaha ki tumko 'next picture' mein 'music' dena hai. ham un
dino 'shows' karte the to main 'manager' ka kaam karta tha.

KS: kaahe ka 'show'?

AN: cinema ke gaano ko lekar ham 'concert show' jaisa karte the,
ghoomne ka bhi shauk tha, to hamne kya kiya ki ek chhoTa sa 'group'
banaake ham log 'shows' karne lage. un dino mein ek do 'mike' huya
karta tha, to 'duet' huya to 'mike' usko do, claviolin ke liye 'mike'
do. to uske baad Nagin ke baad ham 'programme' karne lage.

KS: aap Nagin ka zikr kar rahe the jismein kalyanji bhai ne
ek 'instrument' bajaaya tha jismein se khaas taur se been ki aawaaz
nikalti thi, charchit bhi huye the, baDaa hangama huya tha us samay
ki ek naya 'instrument' aaya hai, woh kaun sa 'instrument' tha?

AN: dekhiye, aaj jo 'synthesizers' hain, 'that was the first
synthesizer' jismein bahut saari 'instruments' ek hi 'instrument'
mein tha. Nagin mein been bajaane ka 'reason' yeh tha ki ham jisko
been bolte hain, pungee bolte hain, usmein kuchh kamee thi, aur
filmon mein crescendo hota hai jismein aawaaz dheer dheere baDhti
jaati hai, woh usmein naheen tha. Dilip Dholakia karke jo Chitragupt
ke 'assistant' rahe, woh hamaare paas huya karte the, Khud bhi
Gujarati ke 'composer' hain, to unhone inko bataaya ki Naag panchami
karke ek 'picture' banee thi, jismein pehli baar been bajee thi,
woh 'picture' Madras mein banee thi, to yahaan 'producer' ne poochha
ki yeh 'picture' itni kyun chal rahi hai? bole ki usmein ek saamp ka
gaana hai, saamp aata hai, Dans leta hai, Khoon choos ke chalaa jaata
hai. bole ki bas itne mein hi 'picture hit' ho gayi? to bole ki poore
saamp pe 'picture' banaa Daalo. to Nagin banee. Hemantda ka 'music'
tha, to bole ki been chaahiye ismein. Kalyanji bhai bole ki been to
naheen bajegi. 'nahi nahi, been chaahiye ismein'. to ismein claviolin
aur harmonium ke 'combination' se ek 'tone' banana paDta hai. usse
been ka 'tone' banaa. un dino doosre doosre 'instruments' bajte the,
to pungi ki baat yeh thi ki isko dekhne ke liye 'different different'
log aate the, 'different communities' ke log.

KS: to yeh claviolin baahar se khareed kar laaye the?

AN: haan yeh 'popular' ho gaya tha aur yeh 49 ka ek 'reason' ho gaya
tha. kyunki aazaadi ke pehle jab ham 'school' mein paDhte the to
sunte the 'Quit India, Quit India', to ham logon ne kabhi angrezi
naheen paDhaa, to main jab 'school' se 'matric' tak pahuncha to , un
dino 'matric' hota tha, usmein  angrezi ke 'paper' mein maine likh
diya ki Hindi hamaari maatrubhaasha hai aur angrezi seekhne ki hamein
koi zaroorat naheen hai, dhanyavaad. ab kahaan se 'pass' honge? uske
baad dekha ki Jawaharlalji angrezi mein bol rahe hain. maine kaha
pitaaji se ki yeh to kamaal hai, angrezon ne desh chhoD diya aur yeh
to abhi bol rahe hain. to unhone bola ki 'beTa dekh tu samjhaa
naheen, ismein kya hai ki angrezi bhaasha to rahegi, angrez chale
gaye hain to kya'. to aise dheere dheere angrezi paDhna likhna shuru
kiya. to aise hi kisi angrezi kitaab mein dekha ki ek
naya 'instrument' aaya hai ki 'which can play so many instruments in
one instrument', vyaapaari ke beTe to the hi, 'risk' lenaa tha, to
unhone isey mangwaaya, hamne mangwaaya, thoDe din 'practice'
kee, 'practice' karne ke baad dekha ki yeh kaam ho saktaa hai, been
ki aawaaz bhi nikal sakti hai.

KS: to Anandji, woh jo dhun Nagin ki, jo mashoor huyi thi, uska
ek 'piece' bajaaya jaaye yahaan pe.

AN: bilkul!

-------------------------------------
Song: man Doley mera tan Dole (Nagin)
-------------------------------------

KS: to is film Nagin mein sangeet Hemantda ka tha, to kya Kalyanji
bhaai unko 'assist' karte the?

AN: naheen, 'he was a musician'. Ravi Shankar, Ravi unko 'assist'
karte the.

KS: ek baar jab Raviji se hamaari mulaaqaat huyi thi to unhone kahaa
tha ki yeh jo been ka 'music' hai woh unhone bajaaya tha?

AN: woh to unko, Hemantda ka 'music' tha, ho sakta hai aadhaa kaam
unhone kiya ho. aadha kaam bahu karti hai, aadha kaam saas karti hai.

KS: achchha, Kalyanji bhaai ne Samrat handragupt ke baad aur kitne
filmon mein sangeet diya tha akele?

AN: dekhiye, yeh to shaukiya taur the, aisa kuchh naheen tha
ki 'music director' banna hai, 'music director' banne ke liye sochaa
bhi naheen tha, jab yeh Subha bhaai peechhe paD gaye ki 'music dena
hai aapko', to main 'manager' tha, maine dekha ki 5000 rupay milte
the 5/7 gaano ke liye, iske liye itni mehnat, to woh bole ki
5/6 'picture'-en doonga aur paisa bhi baDhaa doonga, un dino 2/3
maheeno mein 'picture'-en ban jaati thi hamne kahaa ki 'social
picture' banaayenge to karenge, ab yeh 'mythology' mein kya karenge?
to bole ki 'naheen naheen, agli 'picture social' banaayenge, Raj
Kapoor ko lenge, yeh karenge, woh karenge. pitaaji sun rahe the to
bole ki 'yeh 2/4 din se tum logon ka kya chal raha hai guspus
guspus?' to unko bola ki koi 'producer' aaya hai, unke 'picture'
mein 'music' dene ko keh raha hai. unko bhi maaloom naheen tha
ki 'music' denaa yaani kya hai. to bole 'do na!' woh peechhe paD
gaye, bole ki paas aaye kaam ko kabhi chhoDna naheen chaahiye,
eeshwar ne ismein tumhaare liye kuchh rakha hoga, tum yeh karo'. to
inhone 'music' dena shuru kiya. ab dene mein yeh tha ki 'already' ham
log 'stage' pe reh chuke the, 'public' ki nas maaloom thi hamko,
Raipur waalon ko kya paasnd hai, Chhindwara mein kya pasand hai,
Gujarat waalon ko kya pasand aata hai, kaun se gaano ko log pasand
karte hain, kaun se gaano ko naheen karte. to ek 'pulse' maaloom thi
ki logon ko kya chaahiye. gaaen kaisi honi chaahiye, aisi bhaari bhi
naheen ki kisi ko samajh mein na aaye. Hyderabad waalon ko pasand aa
jaaye aur Gujarat waalon ko samajh mein na aaye to koi faaydaa
naheen. iska ek kissa suno aap, ek baar Jamnagar mein ek 'singer' gaa
raha tha "teri pyaari pyaari soorat ko kisi ki nazar na lage CHASHME
PAR DHOOL' (laughs), "chashme par dhool", to chashme baddoor" ko
usne "chashme par dhool" kar diya.

KS: (laughs) yahi gaana sun lete hain (laughs)

AN: yeh gaana hamaara naheen hai, Shankar Jaikishan ka hai.

KS: jee haan (laughs)

--------------------------------------------
Song: teri pyaari pyaari soorat ko (Sasural)
--------------------------------------------

END OF EPISODE 2

Hi All,

This coming Sunday (13th) will have Shailendra as the person who will
be remembered for his lyrical contributions through a nearly hour long
listening session at Gujarati Seva Mandal, Matunga.

The songs will be played from a tape. The songs have been recorded from
LP's EPs and 78 RPM



Time: 10 AM

Contact Person: Subash Bhatt
Mobile No.: 9967338853

Regards,
Ramaswamy

Thanks to u and Lakshman for your mails on Aaj Ke Fankaar!

Yes, its sad but true that AKF has been discontinued. It seems VB is
gradually putting an end to the informative progs. The end of
Bioscope Ki Baaten, Chitrashala, Cine Paheli, Aaj Ke Fankaar are
examples of this.

Anyway, AKF has been replaced by the following progs:

SUN Ujaale Unki Yaadon Ke - Omi
TUE Ujaale Unki Yaadon Ke - Anandji
THU Ujaale Unki Yaadon Ke - Chandrashekhar
REST Ek Hi Film Se

A new programme of non-film songs & ghazals, titled GULDASTA has been
started at 9 pm daily.

Sujoy


--- In vividhbharati@..., Seshagiri Rao <kempadali@...>
wrote:
>
> Hello,
>
>   You have been doing a wonderful work by reporting Aaj ke Fankar
episodes.
>   My suggestion is you also mention the date on which it was
broadcast, as you may report it on the next day or the following day.
It gives the idea that this date is special for that artist- may be
the birthday or the date of death
>
>   I am surprised that Vividhbharathi has decided to stop this
program now, as I have seen that they have some other program at 9.30
pm now. Ek hi Film se at 9 pm and Aaj ke Fankar at 9.30 pm should
have continued.
>
> soojoi_india <soojoi_india@...> wrote:
>           Aaj Ke Fankaar, yeh kaaryakram sunnewaalon ko aapke dost
Ajay Joshi
> ka pyar bhara namaskaar! doston, aaj ke is kaaryakram mein us
> sangeetkaar ka sangeet jisne jawaan dilon ko dhaDakne par majboor
kar
> diya.
>
> Song: kaho na kaho yeh aankhen bolti hain (Murder)
>
> kaho na kaho unkaa sangeet bolta hai, jee haan, Aaj Ke Fankaar mein
> ham aaj baat kar rahe hain sangeetkaar Anu Malik ki. ham sab jaante
> hain ki woh guzre daur ke mashoor sangeetkaar Sardar Malik ke beTe
> hain. yaani ki Anu ko sangeet viraasat mein hi milee. baawjood iske
> unke 'career' mein sangharsh ki bharmaar rahi. 1977 se 1986 tak woh
> sangeet to dete rahe par kisi ne shaayad unki taraf zyaada dhyaan
> naheen diya. unhe sahee pehchaan milee film Baazigar mein. is film
ke
> baad unhone phir peechhe muDkar naheen dekha aur chhaa gaye ham
sabke
> dil-o-dimaag par.
>
> Song: pehle kabhi na hamne kahaa (Hum Aapke Dil Mein Rehte Hain)
>
> 1997 mein Border, Ishq, Naajayaz, 1998 mein China Gate, 1999 mein
> Soldier aur Mela jaisi filmen. lagaataar 'hit' geet denaa jaise Anu
> Malik ki aadat ban gayi.
>
> Song: tumse milke dil ka hai jo haal (Main Hoon Na)
>
> doston, jis tarah Main Hoon Na fil ki is qawwaali ko aap naheen
bhool
> paaye hain, waise hi 2004 mein Murder, 2005 mein Zeher, aur phir
Fiza
> bhi to woh film thi jiske naGmon ko aap shaayad hi bhulaa paayenge.
>
> Song: tu hawaa hai fizaa hai zameen ki naheen (Fiza)
>
> pitaa sangeetkaar Sardar Malik aur maama geetkaar Hasrat Jaipuri ke
> saannidhya mein rehkar Anu Malik ki gaayiki ka andaaz barbas hi
unke
> gale se jhalakta hai. ek achchhe sangeetkaar hone ke saath saath
woh
> ek umdaa gaayak bhi hain. unke gaaye geeton ko bhi ham kabhi na
kabhi
> gungunaate rehte hain. filhaal unke sangeet ka ek aur Khoobsoorat
> namunaa pesh hai.
>
> Song: aisa lagta hai jo na huya hone ko hai (Refugee)
>
> aaj ke daur mein jahaan itne saare sangeetkaar hain, Anu Malik ki
ek
> alag pehchaan hai. unka filmi 'graph' utaav chaDhaav se bhara huya
> hai, lekin waqt dar waqt safalta ki seeDhee unhe salaam karti rahi
> hai.
>
> Song: salaam salaam (Umraojaan)
>
> aur doston, chalte chalte ham duya karte hain ki saflata ke dwaar
Anu
> Malik ke liye yunhi khulte rahe aur unkaa naam bulandion ko yunhi
> chhoota rahe.
>
> Song: hamko maaloom hai ishq maasoom hai (Jaaneman)
>
> THE END
>
>
>
>
>
>
> KG Seshagiri Rao
> 409, Govinda Nilaya
> V Cross
> NGEF Layout
> NrupathungaNagara
> Nagarabhavi P.O.
> Bangalore-560072
>
> Phone- + 91 80 2321 5014
> Mobile- + 91 (0) 94484 65010
>
> ---------------------------------
> Ahhh...imagining that irresistible "new car" smell?
>  Check outnew cars at Yahoo! Autos.
>

Aaj Ke Fankaar, yeh kaaryakram sunnewaalon ko aapke dost Ajay Joshi
ka pyar bhara namaskaar! doston, aaj ke is kaaryakram mein us
sangeetkaar ka sangeet jisne jawaan dilon ko dhaDakne par majboor kar
diya.

Song: kaho na kaho yeh aankhen bolti hain (Murder)

kaho na kaho unkaa sangeet bolta hai, jee haan, Aaj Ke Fankaar mein
ham aaj baat kar rahe hain sangeetkaar Anu Malik ki. ham sab jaante
hain ki woh guzre daur ke mashoor sangeetkaar Sardar Malik ke beTe
hain. yaani ki Anu ko sangeet viraasat mein hi milee. baawjood iske
unke 'career' mein sangharsh ki bharmaar rahi. 1977 se 1986 tak woh
sangeet to dete rahe par kisi ne shaayad unki taraf zyaada dhyaan
naheen diya. unhe sahee pehchaan milee film Baazigar mein. is film ke
baad unhone phir peechhe muDkar naheen dekha aur chhaa gaye ham sabke
dil-o-dimaag par.

Song: pehle kabhi na hamne kahaa (Hum Aapke Dil Mein Rehte Hain)

1997 mein Border, Ishq, Naajayaz, 1998 mein China Gate, 1999 mein
Soldier aur Mela jaisi filmen. lagaataar 'hit' geet denaa jaise Anu
Malik ki aadat ban gayi.

Song: tumse milke dil ka hai jo haal (Main Hoon Na)

doston, jis tarah Main Hoon Na fil ki is qawwaali ko aap naheen bhool
paaye hain, waise hi 2004 mein Murder, 2005 mein Zeher, aur phir Fiza
bhi to woh film thi jiske naGmon ko aap shaayad hi bhulaa paayenge.

Song: tu hawaa hai fizaa hai zameen ki naheen (Fiza)

pitaa sangeetkaar Sardar Malik aur maama geetkaar Hasrat Jaipuri ke
saannidhya mein rehkar Anu Malik ki gaayiki ka andaaz barbas hi unke
gale se jhalakta hai. ek achchhe sangeetkaar hone ke saath saath woh
ek umdaa gaayak bhi hain. unke gaaye geeton ko bhi ham kabhi na kabhi
gungunaate rehte hain. filhaal unke sangeet ka ek aur Khoobsoorat
namunaa pesh hai.

Song: aisa lagta hai jo na huya hone ko hai (Refugee)

aaj ke daur mein jahaan itne saare sangeetkaar hain, Anu Malik ki ek
alag pehchaan hai. unka filmi 'graph' utaav chaDhaav se bhara huya
hai, lekin waqt dar waqt safalta ki seeDhee unhe salaam karti rahi
hai.

Song: salaam salaam (Umraojaan)

aur doston, chalte chalte ham duya karte hain ki saflata ke dwaar Anu
Malik ke liye yunhi khulte rahe aur unkaa naam bulandion ko yunhi
chhoota rahe.

Song: hamko maaloom hai ishq maasoom hai (Jaaneman)

THE END

SUN S D Burman
MON Naushad
TUE Ravi
WED Shankar Jaikishen
THU Chitragupt
FRI O P Nayyar
SAT Salil Chaudhury

Suhaana Safar, Daily at 12:00 hrs.

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

From: soojoi_india

To: vividhbharati@...

Sent: Wednesday, May 02, 2007 6:05 PM

Subject: [vividhbharati] Aaj Ke Fankaar - Bulo C Rani

sabhi sunnewaalon ko Renu Bansal ka namaskaar. hamaare Aaj Ke Fankaar
hain sangeetkaar Bulo C Rani.

Song: hamein to looT liya milke husnwaalon ne (Al Hilaal)

jee haan, film Al Hilaal ke is dil looT lenewaali qawwaali ke
sangeetkaar the Bulo Chandiram Ramchandani, jo aaj bhi filmi duniya
mein Bulo C Rani ke naam se yaad keeye jaate hain.

Song: main hoon deewaana baDaa mastaana (Haqdaar)

is deewaane sangeetkaar ka janam 1920 mein Hyderabad mein huya tha jo
ab Sind Pakistan mein hai. unki filmi 'career' ki shuruwaat huyi thi
1939 mein Ranjit Movietone mein sangeetkaar Khemchand Prakash ke
sahaayak ke roop mein. aapko yeh bhi bataa den ki Khemchand Prakash
kabhi New Theatres ke sangeetkaar Timir Baran ke sahaayak huya karte
the. Khair, Khemchand Prakash ne Bulo C Rani ko bataur gaayak gaane
ka mauka diya tha san 1942 ki film Mehman mein. 1943 ki mashoor film
Tansen mein Bulo C Rani the Khemchandji ke sahaayak sangeet
nirdeshak. swatantra roop se Bulo C Rani ne pehli baar sangeet diya
film Pagli Duniya mein, yeh bhi Ranjit Movietone ki hi film thi. unke
sangeet nirdeshan mein san 1946 ki film Rajputani ka Mukesh aur
Hamida Bano ka gaaya yeh yugal geet aaj bhi lokapriya yugal geeton
mein yaad kiya jaata hai.

Song: jaa parwaane jaa kahin shamaa jal rahi hai (Rajputani)

Bulo C Rani ka sangeet sureela hai, kam saazon ka istemaal karte the
woh. unka sangeet Khemchand Prakash ke sangeet se prereet to tha hi,
lekin apni alag pehchaan ke saath.

Song: teri mast nigaahon ne banaaya hai hamein deewana (

Bulo C Rani us daur ke sangeetkaar the jab bhaari aawaazon ko zyaada
mauke deeye jaate the, jaise ki Hamida Bano, Khursheed, Amirbai
Karnataki, Zohrabai, vagerah. Bulo C Rani ne Geeta Roy ko chunaa film
Jogan ke liye. Geeta Roy ki dard bhari aawaaz mein Meerabai ke bhajan
gaayeen jo aaj bhi baDi shraddhaa ke saath sune jaate hain.

Song: ghunghaT ke paT khol (Jogan)

usi daur mein film sangeet sansaar mein ek aur aawaaz chhaane lagi
thi, jo sirf patlee hi naheen balki baareek maanee jaati thi. yeh
aawaaz thi Lata Mangeshkar ki. lekin is aawaaz mein dard kamaal ka
tha. Bulo C Rani ne unse gawaaya film Sunehre Kadam mein ek dard
bharaa geet. Lata Mangeshkar ki dard bhari aawaaz aur Bulo C Rani ke
sangeet ka yeh ek 'milestone' maana jaata hai.

Song: maangne se jo maut mil jaati (Sunehre Kadam)

Bulo C Rani ka sangeet safar bahut lambaa naheen rahaa, is baat ka
unhe ranj tha lekin fakr is baat ka tha ki unhone kabhi kisi dbaav
mein aakar apne sangeet ke saath samjhauta naheen kiya. san 1947 mein
film Piya Ghar Aaja mein unhone 10 mein 8 gaane Meena Kumari se
gawaaya. 1954 mein Bulo C Rani ki ek aur mahatwapoorna film aayi,
Bilwamangal. Is film mein Suraiya ka gaaya huya yeh gaana unke gaaye
tamaan lokpriya geeton mein se ek hai.

Song: parwaano se preet seekh lee (Bilwamangal)

dikhne mein duble patle se, Bulo C Rani ne 60 ke dashak mein bahut
si 'stunt' filmon ke liye bhi sangeet diya. lekin sangeet wahi,
sureela, meethaa.

Song: ab dekh ke kya karen taaron ki baraat ko (

aapko yaad hogaa maine aapko bataaya tha ki shuru shuru mein Bulo C
Rani Khemchand Prakash ke liye ek film mein apni aawaaz dee thi. aage
chalkar unhone Sindhri lokgeeton mein apna swar diya.

Song: Sindhri folk song sung by Bulo C Rani

hamaare Aaj Ke Fankaar the beete daur ke sangeetkaar Bulo C Rani, ab
deejiye Renu Bansal ko ijaazat, namaskaar!

THE END

UJAALE UNKI YAADON KE
---------------------
Omi (of Sonik Omi fame)
***********************

OM: Omi
MS: Mamta Singh
---------------

EPISODE 1 (15/04/2007)
----------------------

MS: Omiji, welcome to Vividh Bharati, namaskaar!

OM: I was also waiting eagerly for this day when I would be able to
talk to the listeners and meet you all, namaskaar!

---------------------------------------
Song: yun chaal chalo na matwaali (
---------------------------------------

OM: I had come to this film industry too early. Omi is my nickname
that I had in my childhood days. Sonik is our surname. In the film
Dil Hi To Hai, we had prepared the background music for Roshan. And
our name had come on screen for the first time as Sonik Omi as
Assistant Music Director for this film. Sonik for Manohar Lal Sonik,
my paternal uncle, and Omi for myself.

MS: So, thus formed the Sonik Omi duo with your uncle. Tell us about
your childhood days.

OM: My childhood days were great. We used to live in West Pakistan in
Sialkot. I had never thought of coming into this film industry. My
grandfather used to sing but not professionally. His name was
Amarnath Sonik. And mu uncle Manohal Lal's father was Diwan Chand
Sonik, who also used to sing.

MS: So, how was your journey from Pakistan to Punjab?

OM: Terrible! My eyes fill up with tears when I think of those
terrible days of partition. I still remember the millitary camp in
Sialkot where we were put into. They used to give us boiled pulses to
eat. My mother refused to eat and started crying. But when the Head
(Chaudhary) of our village took it, we also took it and ate. Then we
came to Jammu after travelling 1996 miles on foot. I can never forget
those days of pain.

MS: We have seen such scenes in the films.

OM: We have experienced this pain. We did not have money for train
tickets, so we travelled by bullock carts.

MS: When did you come to Mumbai?

OM: From Delhi I came to Mumbai in 1948. Sonikji was already a singer
and I was too young that time.

MS: We shall come to Mumbai little later, but now tell us about your
days in Punjab. How were you influenced by Pujab's rich folk music?

OM: At that time, we were all the same. In Pakistan, people just
loved music. Even the fruitsellers would sell fruits by singing. For
example, there was one fruitseller who used to sing (sings) "kele
aane de do, kele chaar aane de". It felt as if the seller is happy at
his heart while selling his fruits.

MS: How did you learnt music? From the fruit-seller's songs?

OM: Music is in my blood. As I told you my grandfather used to sing.
He used to sing at Maata's darbaar. He sang mostly devotional songs,
(sings) "nangi nagi pairi...". I had used this in one of our songs.
Music was there in each and every household. I was brought up in
music in a natural phenomena.

MS: Do you remember any special incident related to partition?

OM: The partition was full of incidents. I still remember that packed
up train. All my family members got down, but I was left in the train
and it started moving. My mother was running with the train like a
mad woman. I jumped down from the train. Then there were no utensils,
we were 30-35 people, there was no food. My maternal grandfather has
some money, he used to buy some food for us. We used to drink daal in
cups made by folding piple leaves.

MS: 'yeh sab sunkar mere rongTe khaDe ho rahe hain'

OM: 'mere saath bhi yahi ho raha hai bataate huye'. Had I not moved
to Mumbai, I would have also ended up sitting at some shop.

MS: Omiji, we have talked a lot, now we would give little halt to our
discussion and would like to listen to one of your songs.

OM: Lets listen to our first song from our first film - Dil Ne Phir
Yaad Kiya.

---------------------------------------------------
Song: dil ne phir yaad kiya (Dil Ne Phir Yaad Kiya)
---------------------------------------------------

MS: Omiji, let us go back to Jammu. You came from Pakistan, entered
India through Jammu. Then where did you go?

OM: From Jammu, we came to Amritsar. One of our relatives was working
there as a police officer. We then came to Delhi with his help.
Sonikji was working in Manik Lal's Theatre group. It was actor Om
Prakash's brother Jung Bahadur's theatre group called Manik Lal's
Theatre. Sonikji was in Mussoorie or Dehradoon, i dont remember
exactly.

MS: Sonikji also came after partition?

OM: No, he came here before partition with this job. You may noy know
this, but I would like to tell you that the heroine Ameeta is none
other than Manik Lal's daughter. Sonikji used to sing in that theatre
and used to play an instrument. The theatre closed down in 1948 and
both of us came down to Mumbai.

MS: But how did you manage to sustain your family, what was your
source of income in Mumbai?

OM: Sonikji also used to sing in Lahore for Pandit Amarnath. Here
also he started singing in films as M L Sonik. He was a filmi
disciple of Shanti Sharma. But they soon got separated on some
differences.

MS: Omiji, we would like to hear about your struggle in detail, but
before that lets listen to one song of your choice.

OM: We were assistants of Roshanji. So, lets listen to "saari saari
raat teri yaad sataaye"

MS: What a lovely song!

-----------------------------------------------------------
Song: Saari saari raat teri yaad sataaye (Aji Bas Shukriya)
-----------------------------------------------------------

MS: How were you in studies?

OM: Whatever education I got, it happened in Sialkot. I used to study
Urdu. I was good in accounting, so later on I looked ater the
accounts (laughs).

MS: Your youth period has passed in Punjab. So, I woulde like to
request you to sing few lines from Punjabi folk song that you used to
sing at that time.

OM: (sings) "je rab mil da mandir masjid..."

MS: 'bahut sureelaa gaaya aapne, bahut achchha lagaa humein!'

---------------------------------------------------
Song: dil ne phir yaad kiya (Dil Ne Phir Yaad Kiya)
---------------------------------------------------

END OF EPISODE 1

UJAALE UNKI YAADON KE
---------------------
INTERVIEW OF ANANDJI
********************

swaagat hai aap sab ka is nayi shrinkhala mein. aaj se hamaare beech
hain...

AN: namashkaar! vividh bhaarati ke mere sunnewaale bhaaiyon, main
Anandji bol raha hoon, main Anandji yaani chhoTa bhai hoon Kalyanji
bhaai ka, yaadon ka Khazaana leke aaya hoon. haalaanki main 'radio'
pe aapse miloonga lekin dil se main aapke saath hi rahoonga har waqt.
to 'enjoy' keejiyega.

Medley of preludes & interludes from Kalyanji Anandji compositions.

to aayiye sunte hain Kalyanji Anandji bhaai ke Anandji Shah se Kamal
Sharma ki lambee baatchit par aadhaarit is shrinkhalaa ki pehli kaDee:

AN: Anandji
KS: Kamal Sharma

EPISODE 1
---------

KS: Anandji, aapka is kaaryakram mein bahut bahut swaagat hai.

AN: Kamalji, aapko mera namashkaar, sunnewaale sabhi bhaaiyon ko mera
namashkaar! Vividh Bharati ke sunnewaalon ke liye main Anandji,
kalyanji bhaai ka chhoTa bhaai hoon, 'Kalyanji bhaai is no more
here', aaj woh hote to wohi yahaan aate.

KS: Kalyanji bhaai aapse kitne baDe the?

AN: Kalyanji mere se saaDhe chaar saal baDe the, mujhse kaafi
lambe, 'handsome', 'he was a tall man', gore bhi the, aap dekh sakte
hain mere ko, main paanch 'foot', sawaa paanch 'foot' ka hoon, samjhe
na? lekin 'he was very tall and very simple person', bahut sanjeeda
baat karte the, bolna bhi jo tha unka, ki kis 'time' pe bolnaa, kitna
bolna, woh jaante the, main bachpan se chhoTa bhaai hi rahaa, kuchh
bhi boltaa tha.

KS: Anandji, aapke bachpan ka bahut baDaa hissa jo hai woh Mumbai
mein beeta, lekin paidaaish kahaan ki hai aapki?

AN: ham log Kuchchi hain, Gujarat ke, Kuchch ko aajkal log jaanne
lage hain 'earth quake' ke baad, naheen to log poochhte the ki yeh
Kuchch kahaan pe hai? samjhe na? taajjub hota tha ki yeh Hindustan
ka 'part' hai ya kya hai? yahaan pe Mohenjodaro aur sab cheezen
jahaan pe hai, aur yeh sanskriti jo hai itni, Shree Krishnaji jo aaye
the aisi jagah mein, to aise jagah ko log jaante naheen kyunki 'map'
mein iski itni ahmeeyat naheen hai, aur wahaan ke ham rehnewaale log
jo hain, wahaan ki 'climatic conditions' ki wajah se log dheere
dheere wahaan se nikal gaye, lekin ek baat jo hai Kuchch mein, ki
Kuchch ke log Kuchch ko bhoole naheen hain abhi tak. wahaan Kuchch
mein rahe thoDe dino tak. Mumbai mein kaarobaar tha to aana jaana
lagaa rehta tha, pitaaji ki dukaane thi yahaan.

KS: Kuchch ka gaaon kaun sa tha jismein aap rehte the?

AN: yeh Mundhra taaluka mein Bhadreshwar karke ek bahut puraana Jain
Temple hai uske paas hamaara gaaon hai Kundroli karke, wahaan pe
rehte the ham. bahut achchha gaaon hai, jin logon ne gaaon ghoome
hain unko pataa hogaa, hamaara gaaon bilkul alag hai, abhi tak woh
gaaon hai, jahaan pe chauraaha bhi hai, talaab bhi hota hai, achchhe
makaane bhi hain, log baiThe huye hain, achchha lagta hai ki gaaon
abhi bhi gaaon ki tarah hai. TV aane ke baad wahaan bhi ab badlaav
dekh raha hoon, 'lights' aa gayi naheen to chaandni raaton mein
ghoomne ka mazaa aata tha, baarish mein mor jo bole uskaa mazaa aata
tha, panchhion ki chahak thi, lok sangeet the.

KS: lok sangeet ki baat bhi karenge, lekin usse pehle yeh geet sun
lete hain.

------------------------------------------------------------
Song: main to bhool chalee baabul ka des (Saraswati Chandra)
------------------------------------------------------------

KS: yahaan Mumbai mein aap aate the aapne bataaya, yahaan aapke
pitaaji ki dukaan thi, kaahe ki dukaan thi?

AN: anaaj ki dukaane, kyunki Gujarati, Jaini jo hain, maine ek baar
pitaaji se poochha tha ki 'aapne anaaj ki dukaane kyun kee?' to
unhone kaha ki 'ham log jab Kuchch se nikle to vyaapaari aadmi the,
mere pitaaji bhi vyapaari the, to Kutch ke logo.n ne yeh faislaa kiya
ki aise kisi cheez ka vyaapaar kiya jaaye jiski hamesha zaroorat bani
rahegi, ameer ho gareeb ho dukh ho sukh ho, to wohi kaam sabne kar
lee, is anaaj ke 'business' mein aa gaye Kutch ke log. unhone kahaa
ki ismein mehnat hai lekin ismein kabhi chhoTaapan naheen hogaa. un
dino mein 'packing' mein jo maal mil raha hai, waisa naheen tha,
sab 'loose' miltaa tha, dukaano mein kaafi boriyaan dikhti hain, tel
ke Dabbe dikhte hain.

KS: to aap bhi baiThe the? dono baiThte the?

AN: dono baiThte the, mazaa aata tha, Kalyanji bhaai kam baiThte the,
main to mazaa letaa tha uska.

KS: kab tak baiThe aap?

AN: 'picture'-en, 1958-59 tak to main baiThtaa raha, bas 1960 mein
pitaaji ko akele chhoD denaa paDaa, to hamne dukaane band kee, kyunki
woh yeh the ki 'bhai kaam karna hai to 'seriously' karo, teen teen
dukaane sambhaalna'. baDe bhaai mauji the, woh gaate the, 'radio' par
bhi gaate the, unhone woh zimmedaari lee, uske baad 'high funda' hone
lage to 'factory'-ian lagaa lee.

KS: yaani ki aapke parivaar ka sangeet se kuchh lenaa denaa naheen
tha?

AN: kataee naheen, kataee naheen, jaisa kehte hain na ki bachpan se
seekhte aaye hain, aisa kuchh naheen tha. lekin mere naanaa jo the
woh Rangoon mein rehte the, woh bhi hamaare liye 'foreign' jaisa hi
tha, un dino mein unka bhi aana jaana Bombay mein hotaa tha, to woh
bhi thoDe 'music' seekhe huye bhi the, 'harmonium' bhi tha, gaaon
mein jaate the to baaja bajaate the. gaaon mein aisa tha ki 'folk
music' ka, Rajasthan mein, Kuchh mein, yahaan pe, Gujarat mein, shaam
ko jab 'ladies' jamaa ho jaati theen, woh gaati rehti theen, naachtee
theen, phir Jainion ke bhajan hote the, yeh sab sunte rahe hain
bachpan se aur saath mein gaate rahe hain. maahaul tha par 'not as a
professional'.

KS: Anandji, lok sangeet ki baat chal rahi hai aur mujhe yaad aata
hai ek gaana film Paap Aur Punya ka, aapne lokgeet shailee
mein 'compose' kiya tha, pehle woh gaana sun lete hain, phir baatchit
ko aage baDhaayenge.

-------------------------------------------------
Song: main hoon Jodhpur ki Jugni (Paap Aur Punya)
-------------------------------------------------

KS: Anandji, filmi sangeet mein aapka padaarpaN to baad mein huya,
pehle Kalyanji bhaai aaye, Kalyanji Veerji Shah ke naam se. aap kab
aaye?

AN: aisa to naheen kahoonga main, baat thoDi si ulTee hai, 1944 mein,
aazaadi ke pehle ki baat kar raha hoon main, jab bahut
saare 'studios' huya karte the. wahaan pe, ham logon ko 'school' se
ek 'shooting' pe bulaaya gaya tha. to haqm log 'shooting' pe gaye to
Devika Rani aur yeh sab the. to wahaan pe ham gaye aur ek nayaa
maahaul tha, mere chaacha the jo 'encourage' karte the to thoDi
chhooT bhi milee thi, to wahaan pe gaye aur aana jaana shuru ho gaya.
aur 'school' mein bhi to 'teacher' ko paTaana paDega na? 'teacher' ko
bhi samjhaa diya ki 'aap 'roll number' lagaa denge' to chhuTTiyaan
mil jaati thi, to faaida isse bhi huya ki main dheere
dheere 'monitor' ban gaya 'class' ka, 'monitor' banne ka faayda yeh
huya ki mera 'lesson' poochhne ki kisi ko zaroorat naheen thi, ab
pehle se paDhne mein the hi maasha-allah! samjhe na aap? uska
bhi 'advantage' ho gaya. lekin yeh sab jo kuchh kar rahe the yeh
sab 'professionally mind' mein naheen tha. 'acting' karte huye dheere
dheere thoDa sa lamba hone lagaa main, lekin aaine mein dekhaa
to 'height' naheen baDh rahi thi. aur un dino jo 'hero' the, woh sab
6 fooTiye the, aur apna 5/5.25 se aage baDh naheen rahe the.
maine 'cycle' chalaaee, 'swimming' karke dekhaa, bahut kuchh karke
dekhaa, goliyaan khaake dekhee, usse kam hotaa gaya, baDaa naheen
huya. phir main 'editing' mein bhi chalaa gaya kuchh din. 'but
everthing was not in a professional level'. un dino ham 'studio' mein
jo 'recording' karte the, to is tarah ke 'studio' naheen
the, 'recording' jo hoti thi woh 'set' pe hi hoti thi. 'stage' lagaa
huya hai, usi 'acoustics' mein sab kuchh karna paDta tha. to gaane
ki 'recording' jo hoti thi, 'stage' lagaa huya hai, kahin pe pahaaD
banaa huya hai, kahin par peD banaa huya hai, kahin par jaake khaDe
jaaiye aap, aur uspe yeh hai ki 'train' ki paTree paas hai to 'train'
jaa rahi hai to 'recording' band karni paDti thi. isliye log jaan
boojhkar raat ko 12:30 ke baad, 'trains' band ho jaane ke
baad 'start' karte the.

KS: 'recording' kis tarah ka hota tha un dino?

AN: dekhiye un dino 'magnetic recording' naheen aaya tha, 'optical'
hi chal raha tha to jab film 'shoot' karte the to 'negative' chalaate
the, usi pe gaane 'record' ho jaate the. 'cameras' bhi 'technically
advanced' naheen the, usmein na to 'zoom' hotaa tha, na 'trolley'
aayi thi, kuchh naheen thi aur shuru mein to yeh tha ki jo 'actor'
tha wohi gaana gaata tha. hamne to yeh bhi dekhaa tha ki peTiwaale ko
camere ke peechhe rakhke woh apna bajaa rahe hain Dham Dham Dhum
Dhum, aur saamne woh gaana gaa rahe hain. koi bhi puraana gaana
dekhenge aap to 4/5 'shots' mein poore gaane ho jaate the.

KS: us daur ka koi gaana yaad aata hai aapko jo yahaan par ham apne
shrotaaon ko sunwaayen aur woh gaana unhe us daur mein le jaaye.

AN: kai gaane hain jaise "dheere dheere aa re baadal dheere mera
bulbul so raha hai..", woh gaana bahut chalaa tha, phir ham log sunte
the "aayo bachchon tumhe dikhaayen...", haalaanki woh, us waqt
thoDi 'advanced technology' aa gayi thi. hotaa yeh tha ki yeh gaana
jab aa jaaye to 'negative print' karni paDti thi. to 'print' karke
jab 'negative' 'positive' ho jaaye to agar gaana OK naheen huya hai
to woh phir se karna paDta tha. aur wohi 'singer' mile na mile, kabhi
kuchh hota tha, 'length' kaaTne ke liye kuchh naheen tha, abhi jo
3 'minute' ka gaana banaate the, uske liye HMV mein jaake 3 'minute'
ka 'record' banaana paDta tha. 'So you had to record the song twice',
samjhe na aap?

KS: ek baar film ke 'purpose' ke liye aur ek baar agar bechnaa hai
aapko, 'record' ke liye?

AN: jee haan, 'that was part of life', har gaana jo hai do baar karna
paDta tha.

------------------------------------------------
Song: dheere dheere aa re baadal dheere (Kismet)
------------------------------------------------

KS: Kalyanji bhaai ka hamne jab zikr kiya to aapne kahaa ki kahaani
kuchh doosri tarah ki hai, yaani ki unse pehle aap filmon mein aa
gaye the. aisa kyun?

AN: ek to ghar mein bigDaa huya main hi tha (laughs), to woh maukaa
mujhe milaa aur woh thoDaa sanjeeda kism ke the, kam bolte the. main
to pitaaji se Hindi mein hi baat karta tha ki mujhe filmon mein jaana
hai, chaachaaji bhi kehte the. aur jahaan pe ham rehte the Girgaum
mein, wahaan pe ek gaDh tha jahaan pe yeh puraane zamaane ke log
rehte the, yeh V Shantaramji, sab nazdeek nazdeek rehte the, Hema
Malini, Hemlata, Shankarji bhi waheen se aaye huye hain, N Duttaji
bhi waheen se aaye huye hain, Lataji bhi Nana Chowk mein rehti theen,
apne Mahendra Kapoorji bhi paas mein rehte the, to woh ek 'area' ha
ki, Sanjeev Kumar bhi waheen pe rehte the, Rajesh Khanna bhi waheen
ke, phir apne Jeetendraji ko aap Jeetendra bolte hain, woh...

KS: Jeetendra Kapoor

AN: Jeetendra Kapoor, Ravi Kapoor unkaa naam tha!

KS: Ravi Kapoor!

AN: to yeh log wahaan se hain, lekin iske pehle ka jo zamaana tha ki
koi 'star' hai to kaise pataa lage ki 'star' hain, to Topi
hogi, 'white shirt' hogaa, aur woh sab 'train' mein jaate the, 'first
class' mein, phir usse utarkar baggi mein baiThkar 'studio' mein
jaate the.

KS: aapki umra kya thi us samay?

AN: us samay, meri 11 to ho gayi thi.

KS: sangeet ki taraf aap kaise muDe the?

AN: yeh kya hai na ki aap jo sochte hain ki yeh mujhe karna hai,
waisa eeshwar karta naheen, pehle to kis ghar mein paidaa hona hai
yeh bhi aapke haath mein naheen hai. to uparwaale ne poora 'plan'
banaa rakha hai ki isko kya karna hai, isko kya karna hai. ham
khaamakhaa apni sar khori karte rehte hain ki yeh bannaa tha ur yeh
naheen banaa. 'So, time to tme everything is changing'. aap jis ghar
mein paidaa huye woh jab aapke haath mein naheen, laDka banna laDkee
banna yeh aapke haath mein naheen, 'businessman' ke ghar mein paidaa
hona hai ya gareeb ke ghar mein paida hona hai yeh bhi aapke haath
mein naheen, aur aapka kismat bhi aapke haath mein naheen.

---------------------------------------------------------
Song: aayi jhoom ke basant jhoomo sang sang mein (Upkaar)
---------------------------------------------------------

END OF EPISODE 1