Dekho Dosto Chhed Ka Maza!

September 18, 2016

Guest article by Shalan Lal [The title is adapted from Hasrat Jaipuri’s lyrics in the film ‘Shararat’ (1959)]

(From Krishna teasing the gopis to Kishore Kumar, Shammi Kapoor and other heroes teasing heroines in the films, chhed chhad has been an integral part of our culture.  You would expect from the title that the post would contain a brief write up and some chhed chhad songs.  But as the readers have seen Shalan Lal in her Aviary of Songs, she infuses even the most commonplace subject with deep knowledge of literature, arts and music. In her second guest article for SoY, she similarly explores the origin of teasing and myths related to the pastime of harmless leg-pulling across cultures, and also presents some of the best Hindi film songs in the genre. Thank you, Shalan.AK)

PadosanThe SoY posts bring attentions to certain aspects of music, songs, themes and music makers etc. So I laboured to see if there was any mileage in the genre called Chhed chhad songs in the SoY. I found that it was yet an uncovered territory and I could add some interesting material about it.

Both Indian and Western cultures have very rich heritage and their own theories in literature, arts, theatre, music, dance and films. European arts, philosophies, music theatre etc. mainly originated in Greece, then the Romans absorbed them and later on Italy developed them further. In respect of comedic art in the theatre, Italy’s Commedia dell’artè has influenced European theatre. The Commedia dell’artè is theatre of Chhed chhad. India has some folk theatres like Nautanki of UP and Tamasha of Maharastra similar to the Commedia dell’artè. The idea of the clowns and clowning all originated from this rich art form. The clowns in the early Hollywood’s silent films evolved from the tradition of the Commedia dell’artè! There is a good documentary film called, When the Comedy was the King, on the old silent Hollywood comics.

The early clowns like Key Stone Cops, Charlie Chaplin, Laurel Hardy, Bud Abbot and Lou Costello etc. provided a very rich treasure of comic and teasing songs and dialogues. Later, comedians like Bob Hope, Jerry Lewis and Danny Kaye added to this treasure by their own art.

There is also an independent and influential form called Burlesque. Burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of the serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco which, in turn, is derived from the Italian burla – a joke, ridicule or irreverent mockery. C.Ramchandra was master of musical burlesque. His films Khidki, Shehnai, Patanga and Sargam are rich with musical funs. Later the film Padosan (1968) with music by RD Burman had more fun in this style.

In America, from 18th century onwards two theatre arts called Vaudeville and Variety Theatre developed. Both had stationary and travelling companies. Stationary companies had their proper buildings in big cities, mostly in the East Coast of North America. The travelling companies were small and moved from place to place. These companies had variety of shows, songs, sketches, dances and acrobatic etc. All acts were light, intended to make people laugh and entertain. So comic situations and comic songs dominated the shows. The remnants of the performances of the travelling company are seen in the American Westerns. Doris Day’s songs in the comic Western Calamity Jane (1953) are burlesque of the Western songs and themes.

In Britain, the theatre called Music Hall was rich with all fun, gaiety, merriment. This came to India during the Victorian time and settled in Bombay and Calcutta. Bombay had many theatres presenting Music Hall style’s funs and feature length musical plays. The Marathi Music theatre evolved out of this tradition. During the Indian Independence movement there appeared what was called “Mela”, a theatrelette. The Mela was a short playacting with sketches, dances songs etc. This Marathi Mela, a theatrical art, gave Hindi films two good artistes like Shashikala and Shanta Apte. In Calcutta, too, comic art developed in the form called Review or Reviews. Calcutta Review became very famous in England and Europe. It was a satirical form and its contents were of the lifestyle of the East-Indiamen. The form called “Oh Calcutta!” was very bawdy, and the East-Indiamen enjoyed it. Indians were allowed in later half of the 19th century to visit these shows.

Some Marathi scholars advocate that the Marathi Musicals came out of Kannad’s Yaksh-Gaan. But the first Marathi play, probably called Sita Swayanwar, with songs and music acted out by all men, was presented in some Princely Court with special guests from the English ruling class who were fond of watching their musicals in Bombay. Marathi plays Sharada and Sanshay Kallol show both burlesque and Music Hall influence. Tamasha plays added sharpness to humour and bawdiness as well around the end of the Peshwa Rule in Poona. Women actors started acting Marathi plays probably in the thirties. The first film Raja Harishchadra had all men actors who also did female parts.

The chhed chhad, i.e. teasing each other has roots in the ancient Indian culture. In Indian aesthetics, one of the Nav-Rasas (nine emotions) is Haasya (laughter), which is provided by the Vidushak (clowns) in Sanskrit drama. These clowns daringly make fun of the heroes like in the Charudutt and Abhigyan Shaakuntalam. Some examples of humour in our epics are: In Ramayan, Ravan falling down while trying to lift the Shiva’s bow; waking Kumbhakarn by playing drums sitting in his ears; In Mahabharat, Duryodhan and other Kauravas tripping and stumbling in the Pandav’s newly built Maya Sabha (Illusion Palace). This could be the original chhed chhad.

In the Puranas, Shri Krishna was famous for making fun of the Gopis (the milkmaids) which has spawned several classical songs and dance abhinaya, one of the most famous being Mohe pangaht pe Nandlal chhed gayo re. Marathi Tamasha skits also played around Krishna’s teasing aspect and often descended into bawdiness in stripping the Gopis.

The stories of Badshah and Birbal are cheeky and funny, having gentle chhed chhad between them. The stories of Sheikhchilli are nonsensically funny with some chhed chhad in there. The stories of Baital Pachishi between the King Vikrmaditya and Baital, who is half demon and half human, are again battle of wits. The tradition of leg pulling stories of Jamai Raja i.e. (the son in law) are most popular all over India. All these are captured in the line, “Dekha babu chhed ka maza

Within the Indian family structure, parents doing some leg pulling of their children, or the siblings engaging in chhed chhad is not uncommon.

The Chhed chhad songs or the sketches are sub-division of a general term called Comedy. Indian and Hindi films appeared as response to an American Film. Dada Saab Phalke saw an American silent film called Birth of Christ in one of the Hotels in Bombay at the beginning of 1910. His father was a Professor of Sanskrit at the famous Wilson College. His family came from Tryambakeshvar which is the origin of the Godavari river. His ancestors were traditional temple story-tellers.

Phalke wanted to put Hindu stories on the films as it was the time for revival of the Indian culture and most people wanted to take pride in the past of India. This kind of pre-occupation is still seen today in Indian politics and art. The first film Phalke made was Raja Harishchandra. The film had plenty of opportunities for comic and chhed chhad scenes at the instigation of the arch Chhed chhadist, Narad Muni. With this debut in the very first feature film, comic scenes became part of the most of the silent films, and later, in the talkies, too.

I start the Chhed chhad songs with a film made by Prabhat called Aadmi in 1939 both in Hindi and Marathi. The interesting thing about Prabhat is that many times they made simultaneous films in Marathi, Hindi and Tamil to reach a larger audience. The original Marathi film would be translated into Hindi by Hindi experts with dialogues and lyrics. These were not verbal translation but artistic translations.

Aadmi was Shantaram’s interpretation of the German film Blue Angel. Just before the making of the film, Shantaram went to Germany to learn the colour film technique and as a result Prabhat had the credit of making the first coloured film in India called Sairandhri (1933). But the only copy of the film was burned down in the laboratory. So Kisaan Kanya (1937) made by the Imperial Film Company got the honour of being the first full coloured film of India.

When Shantaram was in Germany he saw the famous film Blue Angel and its effect on the audience. Later on, Shantaam made many films with some residue of the Blue Angel in them. Aadami was a film noir. This film was built around the life of a common policeman known by the belt-brass-buckle number 255. In his pursuit of crime, the 255 arrived at a red district in Bombay and listened to a song Ab kisliye kal ki baat which was in many Indian languages as the singer prostitute had customers who spoke many different languages. He fell for her, and took her home, but didn’t know how to tell his mother about his girl friend. His little sister realized this and did some chhed chhad and his leg pulling. The role of the little sister was acted out by a sweet-voiced girl called Manju who was about eleven years old and she sang and danced and made faces at her brother.

1. Film Aadmi (1939), Music by Master Krishna Rao, Lyric by Munshi Aziz, Singer Manju

Main jaan gayi, jaan gayi tumhare man ki baat

Manju did a lot of acting and singing in many films later on. After seeing her talent in the film Aadmi, Shataram bounded her with a contract. She could not act or sing in films outside Prabhat. She had to fight to get release from the contract. A lot of work in Bombay was waiting for her. Some say the films that Suraiya got from Naushad were going to be offered to her by the producers and directors due to the immense popularity of the film Aadmi.

Shantaram also contract-bounded the great Kashmiri actor Chandramohan, did not give him work and released him just for the film Shaheed (1948) as the father of Dilip Kumar. Poor actor died heart-broken. His real feelings came out when he walked in the funeral of Dilip Kumar’s character.

In America, this cruel game was played by many owners of the companies who were called Film Masters. Metro Goldwyn’s Louis B. Mayer contract-bounded Judy Garland, the star of Wizard of Oz (1939) and the winner of special Academy award as the Child Actor. They did not allow her to grow and the company doctors gave her drug injections, and used spring bodices to keep her chest flat like a little girl. Eventually when she was released from her contract she was just a wreck from drug addiction. Her biography The Other Side of the Rainbow was a pun on her most famous song Somewhere over the Rainbow, describing her painful life far removed from that of the glamour of Hollywood.

Alfred Hitchcock won many Academy Awards and eventually was knighted by the Queen Elizabeth. He contract-bounded Tippy Hedren, the heroine of the famous film Birds. When she was released from her contract she was too old to act in any film. This is the real and cruel world of filmy powerful persons.

This film Aadmi was sub-titled as “Life is for Living”. As per Shantaram’s biography, he made this film to create positive spirit among young men, especially to counter the fascination for Devdas-type character in the wake of enormously successful New Theatres film Devdas (1935).

By the time of Rattan, Manju was sixteen years old, and she did well in the small role of thesister she played. Her song Angadaai teri hai bahana, saaf kah do humein ki jana became very popular. Breaking the chronological order, I present this song as the second song in the post. AK has done a comprehensive post on Rattan.

2. Film Rattan 1944, Music: Naushad, Lyric: Dina Nath Madhok, Singer: Manju

Angadaai teri hai bahana, saaf kah do humein ki jana jana

Just a few lines from this song.

अंगड़ाई तेरी है बहाना
साफ़ कह दो हमें कि जाना, जाना

तेरी उठती जवानी पुकारे
तेरा यौवन किसी को ललकारे
दिल की धक-धक
दिल की धक-धक ये कह रही है
चोरी-चोरी बलम ज़रा आना

She sang another song from Rattan, Jhoote hain sab sapane suhane, a serious and sad song. She also sang in the chorus songs of the film. Her singing career was set to flourish but Karan Diwan fell for her and married her. Karan’s mother forbade her from singing in the films. She accepted the domesticity and gave birth to three daughters and two sons.

As we are on the theme of Shantaram and Marathi films influencing Hindi films in their translations, my third song will be from the film Brahmchaari (1938). This film was made by the cousin of Shanataram, named Vinayak, who in his days was as famous as the former. His elder brother Bhalji also was a very famous film maker whose film Valkimi (1946) gave acting break to Raj Kapoor as Narad Muni. Prithviraj Kapoor acted as Valmiki in the film. The release of the film was delayed by two years.

The story of Brahmchari was written by the famous Marathi stage writer PK Atrè who wrote many record-breaking plays. He was one of the vanguards of the Reformists’ movement in the society and heavily criticised religious norms of the then society. Brahmchari was about a young college student who came under the influence of a Hindu RSS party’s powerful and persuasive lecturer who looked for recruits among the students to tell them it was sinful and wastage to give oneself to a life of indulgences. The life’s real message according to this lecturer was “Be a celibate. Celibacy is life’s force and loss of semen is death.” This statement was a very popular political tool of many Hindu revivalists at that time.

So Vinayak, in his character of the impressionable young man, took an oath that all life he would stay celibate and would work to improve the state of the Indian people. But in that town in which Vinayak lived, there was a young daughter of a Zamindar who was a forerunner of modernity and a progressive college student who fell for him. The third song is how she seduces this celibate with her chhed chaad. The scene of the song is an imagined river Yamuna/Jamuna which in fact was a pond in the Prabhat Studio. She was wearing a bikini and she was halfway in the water. In the same river Vinayak was taking his morning holy bath. He hurriedly came out after seeing her in the water but kept looking at her as his natural instincts were awakened. She sang:

3. Brahmchaari 1938, Music: Dada Chandekar, Lyric: Pt. Indra based on Atrè’s original Song, Singer/Actor: Meenakshi.

Jamuna jal khelun khel Kanhaiya

Both the film and its bathing scene became a storming success. It was the first time that an actress was shown in a lady’s swimming suit. Revealing more and hiding little was the joyful criticism by many reviewers. Here is she in her swimming suit.  (The picture is courtesy Wikipedia)

Meenakshi Shirodkar

The film took the essentials of the Hindu Sangah philosophy in its dialogues and sketches and made satirical attacks. As a result the Sangh volunteers with their staff attacked Atrè one evening when he was going to speak before an audience at the Ferguson College in Poona. I wonder are the things better now? Are the writers, artists, and the researcher scholars, reformists etc. free to express their views freely without fear?

Meenakshi became very successful on the stage and in films as well. Years later, her granddaughter Shilpa Shirodkar, too, became famous in Hindi films and she, too, appeared in a swimming suit in a film. Meenakshi scene in the water became popular. Kidar Sharma’s film Chitralekha (1941) with the actress Mehtab went further and he showed Mehatab nude in the water. The film based on the famous Hindi novel Chitralekha by Bhagawati Charan Verma discussed the question “What is sin?” This film was a roaring success in audience rating and money earning.

Something similar happened in Hollywood as well. The actress Esther Williams appeared in the Bathing Beauty (1944). Here Bollywood led the trend. The women in water and out of the water in bikini suit or naked became exciting trend in the film making business. The lanky Ursula Andres in two-piece bikini in Dr No (1962) created sensation.

As a result of the daring scene of Meenakshi in the swimming suit, Bombay’s most popular Mafatlal Swimming Pool started women’s swimming classes in a progressive atmosphere. Later on, in the fifties, there appeared another swimming pool called Mahatma Gandhi Memorial Swimming Pool. This was better and inter-collegiate competitions were held here. Shubha Khote appeared in Inter-Collegiate Competitions. This swimming pool was the location for the famous song Thandi hawa kali ghata, aa hi gayi jhoom ke picturised on Madhubala and others in swimming suits in the film Mr and Mrs 55. This pool had regular classes and provision for women swimmers in the afternoon. It is ironical that Gandhi in his schooldays hated games and labelled them as British and his name was given to the most progressive swimming pool.

Raj Kapoor was much criticised for putting his heroines either in water or bringing them out from the water with their wet clothes clinging to their body. His song for Padmini rising from the waterfall and provocatively singing O maine pyar kiya, kya zulm kiya is as erotic as the long kiss of Burt Lancaster and Deborah Kerr in the film From Here to Eternity (1953).

Later on in its dying days Bombay Talkies made a film called Sangram in which Nalini Jaywant wore a bikini and swam in the river water joined by Ashok Kumar. This film was very much criticised for its “noirness” and for glorifying the criminal. But chhed chhad of the scantily-dressed Nalini and Ashok became popular. The music was by C.Ramchandra.

The Bombay Talkies in Bombay of the thirties developed their peculiar brand of chhed chhad songs or situations in their generally light films. Much is said by AK in his post on Mumtaj Ali, and in the post Pancchi. Here is the song from Sangram for this delightful theme.

4. Film Sangram (1950), Music: C.Ramchandra, Lyric: Brajendra Gaud, Singers: Chitalkar and Lata Mangeshkar

Ulfat ke jaadu ka dil mein asar hai, aadha idhar hai, aadha udhar hai

Whenever this song was played on our winding gramophone, my nutty uncle would say “Ye kyaa lagaya hai aadha idhar, aadha udhar?” This was a pointed remark about C.Ramchandra’s obsession for the use of “Aadhaa” in many songs, like Aadhaa hai chandrama raat aadhi.

In the same year, C.Ramchandra created a sensation in the music world with Sargam.

5. Sargam 1950, Music C.Ramchandra, Lyric by Pt. Santoshi, Singers: Lata and Chitalkar

Buddha hai ghoda, laal hai lagaam

A few lines from this song.

चि : हा आ
अरे बूढ़ा है घोड़ा, लाल है लगाम
ल : ओ बूढ़ा है घोड़ा, लाल है लगाम
कैसी ये जोड़ी मिलाई मेरे
दो : राम
कैसी ये जोड़ी मिलाई मेरे राम –३

This is a string puppets show manipulated by the actors Raj Kapoor and Rehana. The large family of a late famous singer are in difficult circumstances. So Uncle David has arranged with a marriage company to send a young rich man to marry Rehana. But the company manager after seeing the photo of Rehana decided to marry her and came to see the girl. He was very old. So the whole song was to make fun of the old man and his desire to marry a young girl. The song is a parody and burlesque as well. C.Ramchandra did very well for this film, so much so that when he got a new bungalow in a very posh part of Bombay he named it “Sargam”.

C.Ramchandra displayed his forte for comic and chhed chhad songs that became landmark in the Songs of Yore since 40s. AK has done a post on his Patanga (1949). Khidki (1948) and Shehnai (1947) had songs that brought down the theatre with laughter with audience singing and joining the actors on the screen. The sale of the records of these two films surpassed the sale of the records of other musicians of the decade. Let me present a song from Shehnai which established C Ramchandra as the king of chhed chhad songs and burlesque. The rip-roaring riotous tune of Ana meri jaan meri jaan Sunday ke Sunday made people go crazy in the year of independence

6. Shehnai 1947: Music by C.Ramchandra, Singers: Meena Kapoor and Chitalkar

Ana meri jaan meri jaan Sunday ke Sunday

A few lines from this song.

चि: आना मेरी जान, मेरी जान, Sunday के Sunday
आना मेरी जान, मेरी जान, Sunday के Sunday
चि: I love you
मी: भाग यहाँ से दूर
चि: I love you
मी: भाग यहाँ से दूर
चि: तुझे पैरिस दिखाऊँ, तुझे लन्दन घुमाऊँ
तुझे ब्रैन्डी पिलाऊँ, व्हिस्की पिलाऊँ
और खिलाऊँ
खिलाऊँ मुर्गी के, मुर्गी के, अण्डे, अण्डे
आना मेरी जान, मेरी जान, Sunday के Sunday

Towards the end of the 40s C.Ramchandra’s crown of comic songs was shaken by a promising young man named Vinod. There is a good post on Vinod by AK which contains very informative discussion in the comment section.  For my theme I have chosen one of his songs from his most famous film in this genre, Ek Thi Ladki (1949).

7. Ek Thi Ladki (1948), Music by Vinod, Lyric by Aziz Kashmiri, Singers: Lata, Rafi, GM Durani and chorus.

Lara lappa, lara lappa, lai rakhada

लारा लप्पा लारा लप्पा लाई रखदा -३
अडीडप्प अडीडप्प लाई रखदा
हो… देकर झूठे लारे -२
(लारा लप्पा लारा लप्पा लाई रखदा
अडीडप्प अडीडप्प लाई रखदा) –२

A few lines form this song.

This song outshone in popularity the other pretty songs in the film. From this time for a while Lata Mangeshkar was called “Lara Lappa Girl” without knowing her all round supremacy which came to be known in later years leading to her getting the highest civilian award of India, Bharat Ratna.

Now I look at the chhed chhad songs of the Big Three. Beginning from the mid-forties Raj Kapoor, Dilip Kumar and Dev Anand started making their presence felt and by the end of forties they started getting the most important roles in the tinsel town with Raj Kapoor and Dev Anand also setting up their own studios. From 50s onwards for about two decades they became the central Trinity of Hindi films.

So I looked at the films of Dilip Kumar first to see if he had any chhed chhad Songs. His main fame is as the Tragedy King. His screen roles started affecting him in real life compelling him to seek psychiatric treatment in London. His doctor advised him to do light-hearted comedy roles as therapy. This saw him doing films like Aazaad (1955), Kohinoor (1960), Leader (1964) and later Ram Aur Shyam (1967). But you see his comic side in his earlier films, too. Jugnu (1947) for most part is a pure chhed chhad film – the kind we came to see in the 60s led by Shammi Kapoor. You can clearly see Dilip Kumar’s flair for the comic in the film as precursor of his later comic roles. The following song comes after Dilip Kumar has distracted Noorjehan and her friends on a picnic by faking a suicide attempt, letting his friends run away with the girls’ food. An interesting trivia about the song is the screen appearance of Mohammad Rafi (from 0.59), as one of the gang of boys. Rafi had such bit several roles in several films around that period. Dilip Kumar appears very briefly though.

8. Jugnu (1947), Music by Firoz Nizami, Lyric by Shakeel Badayuni, Singers: Rafi and others

Wo apni yaad dilaae ko

The remaining two of the Big Triad Dev Anand and Raj Kapoor have mines of chhed chhad songs and also acting skills and presence on the screen to present them well.

Many of the early films of Dev Anad in the fifties had light touch within the story line and darkness of criminal laces around the films. The films gave primacy to songs and their presentation in the films. Dev Anand started loosening himself from Baazi (1951) onwards. His earlier acting was stilted, self-conscious and camera-conscious. Baazi was a noir film made from many famous influences of the Hollywood films. This film onwards, in almost every film there were songs picturised on Dev Anand which could be described as chhed chhad. From a large number of such songs I present the quintessential chhed chhad song.

9. Paying Guest (1957), Music: S.D.Burman, Lyric: Majrooh Sultanpuri, Singers:Asha Bhosle and Kishore Kumar

Chhod do aanchal zamana kya kahega

Some taste of the lyric.

आ: छोड़ दो आंचल ज़माना क्या कहेगा
छोड़ दो आंचल ज़माना क्या कहेगा
क: (इन अदाओं का ज़माना भी है दीवाना
दीवाना क्या कहेगा ) – (२)
आ: छोड़ दो आंचल ज़माना क्या कहेगा

Now we turn to Raj Kapoor who had a natural inclination to comedy. Besides, he was very natural in serious roles, too. Well trained on the stage of Prithvi Theatres that had been visited by English actors and had co-travelled with the company called Shakespearewallah, RK absorbed the Commedia dell’artè which was visible in his acting as well as his direction.

In his first film Aag under RK banner he put two adults in babies’ bob-headgears in buggies. Their Aayas carry them in the park and leave them and get busy talking to each other. The adult babies sing a very funny and chhed chhad song.

10. Aag (1948), Music: Ram Ganguli, Lyric: Majrooh Sultanpuri, Singers: Shamshad Begum and Mukesh

Raat ko ji chamke taare, dekh balam mohe ankhiyaan maare

Some taste of the lyric.

श : रात को जी हाय रात को जी चमकें तारें
देख बलम मोहे अँखियाँ मारे जी मैं मर गई रामा
मु : रात को जी हाय रात को जी चमकें तारें
पहलू में दिल मेरा पाँव पसारे जी मैं का करूँ रामा

In its first run Aag failed at the Box Office but all the songs became popular and in its second run it was recognised as one of the great films of RK. After such a nice chhed chhad song in the very first RK Film, chhed chhad became a recurring theme in several of RK’s subsequent films.

Now last but not the least the three comedians in the Hindi films – Johnny Walker, Mehmood and Kishore Kumar – who literarily created storm of fun and teasing songs. They started appearing in the beginning of fifties and went on flourishing all through sixties and lingered on in the seventies when romantic films were giving way to action films with fights. There were others like Rajendra Nath, Dhumal etc.

Johnny Walker dropped in as a drunkard in the office of Guru Dutt and surprised Dutt with his drunkard act as he was a teetotaller. Then onwards he started appearing in small parts in the films of Guru Dutt starting with Baazi (1951). As he went along, his stature started growing bigger and bigger and eventually some films were made around him as the hero of the films. A real story of a small man going through the story of rags to riches!

Many Johnny Walker fans believe that he was an off-shoot from the art of the comic of Noor Mohammed Charlie. I think Johnny Walker was his own man with unique talents, though helped by the expert dialogue and song writers. He created a treasure of songs that became all time popular and unforgettable. I present this delightful Rafi-Geeta Dutt duet which is representative of Johnny Walker.

11. Mr and Mrs 55 (1955), Music: O.P.Naiyyar, Lyric: Majrooh Sultanpuri, Singers: Rafi and Geeta Dutt

Jaane kahan mera jigar gaya ji

जाने कहाँ मेरा जिगर गया जी
अभी अभी यहीं था किधर गया जी
किसी की अदाओं पे मर गया जी
बड़ी बड़ी अंखियों से डर गया जी

कहीं मारे डर के चूहा तो नहीं हो गया
कोने कोने देखा न जाने कहाँ खो गया
यहाँ उसे लाए काहे को बिना काम रे
जल्दी जल्दी ढूँढो के होने लगी शाम रे

There is a plenty of horse playing between Johnny and Yasmin under the tables in the empty office of a newspaper during the lunch hour. There is also wordplay between Yasmin and him about “What is lost? That which is I’m looking for.” It is a very enjoyable presentation straight from the Music Hall skits of the Victorian British.

Now I come to that clown of all clowns, so far appeared in the Hindi films, Mehmood! Mehmood became popular among small children and also among the adults as his comic antics delighted all kinds of audiences. He created a comedy that could be only compared to the comedy of Charles Chaplin in the Hindi filmdom.

His poverty stricken life could be compared to the life of Badruddin who became Johnny Walker. Many people in the family to feed and no real income! He appeared as a child actor in Kismat (1943) of Bombay Talkies. He also appeared in the Dev Anand film C.I.D. (1956) in a small role of a thief who saw the murder. The same film had offered Johnny Walker a bigger role and a very good song as well. In Pyasa (1957), too, Mehmood had a small role and Johnny Walker had the bigger role and a very good song. However, Mehmood got the serious role of hero in the Chhote Nawab (1961) and Johnny Walker got a small role in it. This marked the end of Mehmood’s competition with Johnny Walker. In 1958, he appeared in the film Parvarish along with Raj Kapoor. Mehmood was so good in this film that it is said Raj Kapoor felt threatened and never agreed to work with him.

12. Do Phool (1973), Music: R.D.Burman, Lyric: Majrooh Sultanpuri, Singers: Mehmood and Asha Bhosle

Muttuko.dii kavaa.di ha.daa, aiyyo re pyaar mein jo naa karanaa chaaha

मुत्तुकोड़ी कवाड़िहड़ा मुत्तुकोड़ी कवाड़िहड़ा
अय्यो रे प्यार में जो ना करना चाहा
वो भी मुझे करना पड़ा …
कहता था चाहूँ तुझको जी से
तू तो घबराता है अभी से
चलने लग जा रे फिर दिखा दूं
धरती ऊपर है स्वर्ग नीचे
थोड़ा तो दुनिया से डर ले येंडेइ कर ले येंडेइ कर ले
ना माने बेदर्दी ऐय्योड़ा, मुत्तुकोड़ि …

Now Kishore Kumar! From Ziddi (1948) until his death in 1987 at the age of 58 is a journey of a film and music maker and the master of parody, burlesque, and comic and chhed chhad songs. At times it was difficult to differentiate between his reel comic world and his real world. He played practical jokes on his friends and enemies equally and hurt them. There are hundreds of stories about his being a joker in all packs. He reminds me the film Double Life (1947) acted superbly by Ronald Coleman as a Shakespearean actor who could not distinguish between Othello killing Desdemona on the stage and him killing another woman in real life. There are hundreds of stories that many artists do not make the difference between real life and acting life. A friend of mine always told me that her actor husband was always acting and it was difficult to live with him. She eventually divorced him and married another away from acting life. She is now much happier.

Kishore Kumar achieved enormous popularity as a comic actor-singer in the 50s reaching its climax in the comic classic film Chalti Ka Naam Gaadi (1958). His film roles were almost entirely about chhed chhad. It was probably he who gave rise to the song Dekha babu chhed ka maza in Shararat (1959). He did not sing the song, but dominated the film with his antics.

For Kishore Kumar I present this classic song from his film Chalti Ka Naam Gaadi.

13. Chalti Ka Naam Gaadi (1958), Music: S.D.Burman, Lyric:Majrooh, Singer:Kishore Kumar

Ek ladki bhigi bhagi si, soti raaton mein jaagi si

इक लड़की भीगी-भागी सी
सोती रातों को जागी सी
मिली इक अजनबी से
कोई आगे न पीछे
तुम ही कहो ये कोई बात है
दिल ही दिल में जली जाती है
बिगड़ी बिगड़ी चली आती है
मचली मचली घर से निकली
पगली सी काली रात में
मिली इक अजनबी से
कोई आगे न पीछे
तुम ही कहो ये कोई बात है
इक लड़की …

I end this post with the King of parody, burlesque, chhed chhad and comic songs.

14. Padosan (1968), Music: R.D.Burman, Lyric: Rajendra Krishna, Singers: Kishore Kumar, Manna Dey and Mehmood

Ek chatur naar, kar ke singar, mere man ke dwaar mein ghusat jaat

एक चतुर नार कर के सिंगार
मेरे मन के द्वार ये घुसत जात
हम मरत जात, अरे हे हे हे
यक चतुर नार कर के सिंगार…
प रे स, स स स नि ध स
स रे स ध ध प
प ध स रे स
स रे ग ध प
यक चतुर नर कर के सिंगार…

Dekha Dosto Chhed Ka Maza

I would like to end this post by saying what I have given here is just a scratch of the iceberg of the comic and chhed chhad songs. Many other variants like “Sawal Jawab” are not attended to as their chhed chhad is slightly different. But we have to admire that within the span of three or four decades of the Hindi talking films the comic genre grew up tremendously. These films deserve respect and must not be ignored because these are funny, comical and not serious. Those who created it were serious artistes. Comic songs take double efforts to make them successful than serious classical dhuns. So my line is this:

हैं सबसे प्यारे-प्यारे वो गीत जिन्हें, हम छेड़्छाड़के सुर में गाते हैं……
पहलू में पराये दर्द बसाके, हँसना हँसाना सीख ज़रा
तू हँसना हँसाना सीख ज़रा ………

{ 120 comments… read them below or add one }

1 Ravindra Kelkar September 18, 2016 at 1:46 am

Shalan Lal ji,
A truly wonderful post, very informative & extremely well written.
You have rightly mentioned that Mehmood & Kishore Kumar were by far the best.
I believe in CID, Mehmood was the murderer & Johny Walker was the small thief who sees the murderer. Later on in the film, Mehmood is killed by his own men from his gang.

2 ksbhatia September 18, 2016 at 1:09 pm

Ms. Shalan Lal ;

A great journey parading comedians of Bolly and hollywood in parallel sketches . It carries the nostalgia of living past during British raaj , extended raaj and subsequent raaj thru clean entertainments . The movies ….When comedy was king….and….Days of thrills and laughters…..released in india in early 60’s are so well documented that one wish to see them again and again .

The B&W era saw great comedians that had identity and style of their own . Subsequently We had some good hollywood comedies in mid 60’s when the canvas was bigger …..shot in color and panavision , cinema scope and 70mm as well . Around the world in 80 days , The great race and Those magnificient men in their flying machines….are a few movies which were hit with the audience . Jerry lewis / Dean Martin appeared in some western comedies also in pre 60s movies. There were some good romantic teasers mainly starring Doris Day [ Pillow talk ] , Gina Lolobrigeda , Sophia loren with Rock Hudson , Paul Newman …etc. The Bolywood at the same time produced their version of such movies….Mere Sanam, Kashmir Ki Kali…etc.

V. Shantaram also produced Pinjra in Hindi and Marathi which again were based on German classic Blue Angel . True to the tradition the film had many nautanki dance numbers .

Dekha babu chhed ka maza ….is a beautiful lilting teaser song . It is good to watch Rajendranath dancing with Kum kum and perhaps teasing Kishore as well.

Will come again after listening to the listed songs.

3 gaddeswarup September 18, 2016 at 2:37 pm

Does it mean teasing songs? I wonder whether this song ‘ tad beer…’ from Baazi 1951 fits the category

4 N Venkataraman September 18, 2016 at 3:07 pm

Your writing has a specialty in seeking out new aspects of expression even in apparently simple, but unexplored themes and in turning out enriching and interesting posts. I wish I had adequate words to express my admiration, but my words fail me. It seems that you go to some place within yourself where words and ideas live.

The introductory portion was a scholarly representation by itself. Traversing through the vast canvass, early European Theater,
18th century American Theater, similarities with the Nautanki of UP and Tamasha of Maharastra, Burlesque/ Burlesco, , Victorian-time Theater Halls , Marathi Melas, Calcutta Reviews, tracing of the roots chhed-chahd to our ancient roots, Puranas,epics etc., was an experience in learning. Thank you Shalan ji, for presenting us with your gift of words and concepts.

Yes, you have rightly pointed out C.Ramchandra was the pioneer in this genre of songs.

I have not yet gone through the songs and the add-on narration. Will be back, if I have something more to add.

5 mumbaikar8 September 18, 2016 at 6:56 pm

Shalan Lal,
Piggy backing Venkataramanji is such an advantage. All I have to do is ditto him, he has said it all.
All the scholars of SOY will have a great time.
My confession, I am not so scholarly and extremely impatient that’s why I was exhausted.
Coming to the songs, my preference for the chhed chaaad songs are more on teasing than song comedy.
I consider this Pyaasa song epitome of chhed chad song
Hum aap ki aankhon mein

6 D P Rangan September 18, 2016 at 7:52 pm

Shalanji once again you have brought out a great piece of writing. Such details about trivialities. One film I remember of Danny Key is Inspector General.

Here is a song from Munimji which will fit here. – Dil ki Umange Hai Jawan. Music S D Burman Singer : Hemant Kumar, Geeta Dutt and another male.

7 arvindersharma September 18, 2016 at 11:04 pm

Ms Shalan Lal,
I have to admit being a silent admirer of your literary prowess and scholarly writings, something that I envy but appreciate profusely.
I missed posting on your previous article on birds, but have been a great beneficiary of the article, as it helped me create a big playlist of such songs in my YouTube account.
It’s time now to add a few of my very favorite chedchad songs, four duets to begin with, and would be adding more later.

Kahe naino me kajra bharo by Mukesh and Lata from Badi Bahu composed by Anil Biswas

Bogi bogi bogi yo yo yo by Shamshad Begum and GM Durrani from Hum Log composed by Roshan

Aise rasiya ka kya Aitbaar by Rafi and Lata from Dholak composed by Shyam Sundar

Mukh se Na bolun Ankhiyaan Na kholun by Lata and Talat from i Bagh Ki Jyoti composed by Anil Biswas
(It’s very interesting to note how Lata renders her part in a fast teasing manner)

Will be adding more

8 ksbhatia September 19, 2016 at 12:41 am

Arvinder Sharma ji ;

Very rare and beautiful songs you have posted . When you are around its a fun . Hope there is no referee around ; so i will not jump on with ….the great race….and try to load songs like slow cycling , three legged or sack race .

Here are four songs from my side [ char ki chaal aa gayi ] which are my fav. All the songs have a Gold stamping of Naushad’s beautiful compositions . Hope they fit the bill.

1. Husn waloan ko na do dil….Talat….Babul….Naushad

2. Na bol pee pee more angnaa….Shamshad….Dulari….Naushad

3. Aag lagi tan man mein…..Shamshad….Aan…Naushad

4. Nazar na phero humse….Shamshad, Durrani….Deedar…..Naushad

9 Subodh Agrawal September 19, 2016 at 7:23 am

My compliments to Ms Shalan Lal for choosing an interesting theme and handling it so well. The songs are excellent, but what adds to the pleasure of listening to them is her writing – both in the introduction and the parts specific to each song. I envy her this skill – personally I struggle to find more than a couple of sentences to introduce each song that I present in my articles.

‘Chhed-chhaad’ as a behavioural phenomenon has always intrigued me. Reduced to its very basics it is behaviour designed to elicit a reaction – at least superficially negative – from another person who is otherwise minding his or her own business. Neighbourhood children who tease an old lady to be rewarded with a heap of curses, brothers who pull their sisters’ plaits, boys who trip someone in the school are all examples of this behaviour. The reaction is often genuinely negative, although in many cases the superficially negative reaction hides enjoyment – the person being teased is also enjoying the experience. ‘Ek ladki bheegi bhagi si’ and ‘Haal kaisa hai janab ka’ are wonderful examples. Another Madhubala song in the same vein is ‘Haal kaisa hai janab ka’. I love the way Madhubala’s face lights up at the beginning when she notices that Dev Anand is sulking – ‘ab mazaa aayega!’ her eyes say eloquently.

To borrow something from AK’s wonderful posts using the language of physics and mathematics to humorously deal with musical themes, ‘chhed-chhaad’ is the external force aimed at changing another body’s state of rest or of uniform motion in a straight like – as in Newton’s first law. The intriguing part is why this experience of disturbing someone else’s peace should be so rewarding – even when the reaction one elicits is genuinely negative. I used to wonder whether teasing was a uniquely human behaviour, until I stumbled upon this YouTube video featuring one of our ancestors:

10 Subodh Agrawal September 19, 2016 at 7:25 am

Sorry, the Madhubala song I meant in the previous comment was ‘Achcha i main hari’.

11 Ashok M Vaishnav September 19, 2016 at 9:04 am

Shalan Lal indeed all the laudatory words she has been showered with, I second ones that have already been said and the ones that will be said.

She also has to be credited for widening the scope of otherwise well-traversed subject(s) by adding a different point of view.

On behalf all my fellow SoY readers, I look forward to her future excursions into such known terrains with a new light to fathom unknoen knowns.

12 AK September 19, 2016 at 10:19 am

You have added excellent insight based on the Laws of Physics. I am tempted to extend it further for theoretical analysis. Thus, to codify it, “chhed chhad” is a validation of Newton’s First Law of Motion. There are two types of “chhed chhad”: 1. Benign – where the teaser is essentially good-hearted (Shammi Kapoor, Kishore Kumar etc). 2. Malevolent – where the teaser’s intentions are evil (Jeevan, Pran etc).

The lady in our films is usually not able to distinguish between the two, and for most of the first half mistakes the Type 1 chhed-chhad as the Type 2.

Once the smoke gets cleared, the purpose of chhed-chhad becomes mutual enjoyment. Thus, in terms of Game Theory the chhed-chhad in our films starts off as a sequential non co-operative game of imperfect information, progressing to a co-operative non-zero sum game having one or more Nash Equilibria.

The YT video you have located is wonderful. This one video is worth a thousand words.

13 Shalan Lal September 19, 2016 at 3:43 pm


I was so enamoured by the previous post On Asha B & O.P. that I forgot to look into th eright side column.

First huge praise and thanks to AK for doing extremely good editing job and supplying pretty suitable pictures for this post. My writing was more in nattering and a lot of rambling that was surgically cut down to precision and well sculpted by AK. He is an expert editor and half of the praise should go to him. Any kinds of gaps or incorrect information then blame me. Once again I express my gratitude to AK for taking such a great interest and careful and well presentation of my writing

Shalan La

14 Shalan Lal September 19, 2016 at 3:46 pm

Ravindra Kelkar @ 1
Thank you very much for your good remarks. Recently you have come out in the various comments as an authorative well appraiser. So I value your opinion. About C.I.D. film your observation is correct. Frankly ever since we have gone digital all my VHS videos have become redundant and for the last twenty years or so I have not seen any Indian films. I have got cassettes and I listen to them while doing my other work. This entire article and previous one I did from my memories and you know memories can always play games in the head. I hope you will forgive me for the gaps.

Shalan Lal

15 Shalan Lal September 19, 2016 at 3:49 pm

Ksbhatia @ 2
Thank you very much for creating the visual period in good words. Yes the “Chhedchhad of Doris Day and her many heroes in those comic films including the film “Come September”. Her early films were also very funny. Now I wait for your good list of songs that have teasing elements. I envy you for having so many songs at your finger touch. You are a real magician of song treasurer!

Shalan La

16 Shalan Lal September 19, 2016 at 3:53 pm

Gaddeswarup @ 3
Thank you for expressing your doubt about the “Chhedchhad” element in the Baazi song. If you can see what Geetabali does with the song? The song is teasing and seducing Dev Anand at once. His seriousness about his job is challenged by her. I hope you will get this point. But then it’s up to you if you do not want to see the teasing elements in it. You see art is subtle and art is not often obvious. Art is in hiding the art.

Shalan Lal

17 Shalan Lal September 19, 2016 at 3:55 pm

N Venkataraman @ 4
Praise from an expert will certainly spoil me. I will be bloated and become double in size like a frog in the rainy season. But I thank you very much for your abundant generosity
Shalan La

18 Shalan Lal September 19, 2016 at 4:03 pm

Mubaikar 8@5
I totaly agree with your choice of the song from Pyasa
You say “I consider this Pyaasa song epitome of chhed chad song
Hum aap ki aankhon mein”

There is an “Alankar” called “Apanhuti” in the song you have chosen. For more about Aalnkar in thesongs nd poetry you can read the Sanskrit tretise called “Kavya Prakash” by Baan Bhatta.

Thanks for your comment

Shalan La

19 Shalan Lal September 19, 2016 at 4:07 pm


Thanks for the praise. I agree with your choice of the song from Munimaji. It is very funny as well.

Shalan La

20 Shalan Lal September 19, 2016 at 4:12 pm

Arvinder Sharma@ 7
Thanks for your good words. Yes all your suggested sngs are very good. I particualrly like the Hum Log one.

Shalan La

21 Shalan Lal September 19, 2016 at 4:14 pm

ksbhatia @8

You have got them and I hope you will go on adding. They all are very good.

Shalan La

22 Shalan Lal September 19, 2016 at 4:27 pm

Subodh A@9 and AK @12

Subodhsaab thanks you very much for your comliments. I cherish them well.

I enjoy your intellectual analysis of some awful “Chhed Chhad” children and adults do. But in the art it is ususlly likable for both the audiences and the artists who enage in presnting them.

The Samkrit story of a King who was in the swiming pool with women and chucking water at them and the women compalin saying “Do not hit me with water. In Samkrit it is “Ma (Do not) Udakaih Taaday! Trnalated Do not hit me with the water. But the word Ma * Udak a compound becomes “Modak”. And the king orders to bring Modka i.t. sweet. When he does something like that the women laugh at the ignorance of the king.

That is art stretching too far.

Shalan Lal

23 Shalan Lal September 19, 2016 at 4:32 pm

Ashok Vaishnav @ 11

Thank you very much for your sweet words.

We are in th amusing business so I made it as light and serious as well.

Thanks again for your capcity to stand my long winded introduction.

Shalan La

24 N Venkataraman September 19, 2016 at 10:05 pm

Although I was familiar with all the songs posted by you, in the said context it was actually a pleasure listening to them again. You have deftly interlaced some enjoyable anecdotes, information and observations of social relevance into your narratives. The songs posted maybe just a scratch of the iceberg of the comic and chhedchhad songs, but they made a very good representation of the theme.

The first three songs from the vintage basket represent different aspects of the theme. In all the three songs the tormenter is female- Sister teasing her brother, Sister-in-law teasing her Bhabhi, and finally the lady in love trying to taunt and allure her would be paramour to come out of his social stupor/slumber and give up his khaki pants and foisted celibacy.

As already mentioned, C Ramchandra had a number of songs on this theme and you have given his songs a pride of place in your post.

The songs Jaane kahan mera jigar gayaji, Ekl adki bhigi bhagi si, soti raaton mein jaagi si are very good inclusions.

Thank you once again

With Bhatiaji and Arvinderji padded up for a long innings, the score-board has started moving. Let me too contribute by way a few extras and overthrows. Here are some vintage songs, which I feel should go with the theme.

Bharane De MoheNir by Devika Rani and Ashok Kumar, film Izzat( 1937), lyrics J S Kashyap, music Saraswati Devi

Ghoongaru ke Majha, singers unknown, film Janmabhoomi (1936), lyrics J S Kashyap, music Saraswati Devi

Kaantaa Laago Re Sajanavaa Mose Raah Chali Na Jaaye by Parul Ghosh and Arun Kumar, film Basant (1942) lyrics Pyarelal Santoshi, music Pannalal Ghosh

Dil Leke Bhaga Daga Deke Bhaga by Lalita Deulkar, film Nadiya Ke Paar (1948), lyrics?, music C Ramchandra

25 N Venkataraman September 19, 2016 at 11:14 pm


Your reference to Calcutta Review, a satirical form depicting the lifestyle of the East-Indiamen, reminded me of an anecdote mentioned by Naresh Fernandes in his book Taj Mahal Foctrot. Dave Carson and his troupe, Original San Francisco MinstrelDave Carson landed in Calcutta in 1861, after visiting UK, New Zealand and Australia. He and his troupe were in India till May 1863. Carson used his newly acquired Hindustanee vocabulary and keen observation of the native life to good effect. He performed musical sketches on ‘native life’ besides caricature on African-American life. His best-remembered tune was ‘Bengalee Baboo’ which continued to be performed by Bombay Street Bands well into the 1920s.

I very good Bengalee Baboo
In Calcutta I long time stop;
Ramchand TundaGhosh my name,
Radha Bazar I keep my shop.
Very good Hindu, smoke my hooka.
Eat my dal bhat every day;
Night come I make plenty pooja
Here is the nautchwalla tom tom play.
Koochparwanahi, good time coming (ache din aanewale hain)
Babu never make islave (slave).

Not surprisingly, many in Calcutta were outraged. On the Bengali stage, however, there was one man, who was a match for this Saheb and that was Babu Ardhendu SekharMustafi. In 1873, he mounted a counter pantomime, a retort to Carson’s above caricature. Ardhendu,dressed as a Saheb with an old hat, torn coat and dirty trousers and with Violin in hand, used to show Mustafi Sahabka Pucca Tamasha to caricature the so-called Sahebs in the following song, which he used to sing with gestures:

Ham Bada Saheb hai duniyame
None can be compared hamarasath;
Mister Mustafi name hamara
Chatgaon me mera Vilat.
Coat paini, pantaloon paini
Paini mera trousers;
Every two years new suit paini
Direct from Chadney Bazar.
Dirty niggar hate hamare
Bada maayp ache, chho chho.

26 ksbhatia September 20, 2016 at 12:00 am

Ms. Shalan Lal ;

Thanks for your kind words . With Venkatraman ji joining in with his vintage off breaks I have to bat with a caution . Here is another four runs.

5.Rootha hua chanda hai….Lata…Aaram[1951]…..Anil Biswas

6.Balma ja ja ja….Lata…..Aaram[1951]….Anil Biswas

7.Hum se bhi karlo….Geeta Dutt….Milap[1955]….N.Dutta

8.Dekho dekho huzoor yeh ….Shamshad, Rafi…Alibaba and 40 thieves..SNT

……to be contd……

27 mumbaikar8 September 20, 2016 at 4:32 am

Shalan Lal @ 18
You are too formal in your response, you are responding to chhed chhad थोड़ी छेड़ छाड़ तो बनती है.
Subodh’s vedio proves we have it in our DNA:)

28 AK September 20, 2016 at 6:06 am

Bharne de mohe neer is a perfect song fitting the theme. Though I was aware of this song, seeing it in the context of this post doubled the enjoyment.

You have added another gem of a dance song of Mumtaz Ali. My guess is that the singers (and the dancers, of course) are Mumtaz Ali and Sunita Devi as they were in Chudiyan laya anmol re in Achhut Kanya.

The chhed-chhad of Carson and his counter by Babu Ardhendu Sekhar Mustafi is too good.

Thanks a lot for these fabulous additions.

29 Arunkumar Deshmukh September 20, 2016 at 1:57 pm

Shalan Lal ji,

First of all thanks for an entertaining write up with great details, collected painstakingly.
However, after reading it I find some points which need to be rectified.

1.Though Seeta Swayamwar was the first play in Marathi, it was a PROSE play only.
The first musical play with songs and music was Nal Damayanti by Trilokekar.It came on stage in 1879.

2.In entire Bramhachari film or script nowhere RSS is mentioned. Acharya Atre never mentioned that the film was based on RSS. In those days there was another outfit Patit Pawan sanghatana, led by one Krishnarao Marathe which was the focus and the film was based on them, as per what Atre wrote in his autobiography “Karhe che paani”.
3. In showing a Bikini and water antics, Bollywood was NOT the first. Maureen O’sullivan in the film of Johnny Weissmuller,”Tarzan the ape man”-1932 had already done that in Hollywood.
4. It was Meena Shorey who was called “Lara Lappa Girl” till she died, and NOT Lata Mangeshkar.
5. Johnny Walker never worked in film Kismet-43 as a child artist. In his interviews he has said that he first worked in film Akhari Paigham-49.


30 Nasreen September 20, 2016 at 7:38 pm

Wow, what a magical bundle of information and nostalgic memories! Your mention of the old winding gramophone reminded me of the one we had at home along with the pile of some scratchy some fine HMV LP’s and EP’s (hindi and English songs) “Who do you love, I hope” was one of the songs and we, as children of all ages, sat around in a group and actually listened to those songs. I specially loved ” Summer wine”.

While reading about this chhed chhaad that seems to have flourished in our hindi films more in the past than today, a couple of songs came to mind, both filmed on Dilip, and I wondered if readers here would agree that they involve a bit of ” chhed chhaad”:

1. Teri husn ki kya taareef karoon…
2. Hameen se muhabbat hameen se laddayi, arrey maar daala……

And it strikes me that I can’t think of a Bengali song with this element. But there are certainly many scenes and one that I just thought of now while racking my brain for a bengali song was in a Ray film “Teen Kanya”, a trilogy of relatively short films, all of them excellent. I’m not even sure if I remember correctly but In one of them a young Aparna Sen hides the shoes of Soumitra Chatterjee and there is some mud and squelchiness in the scene along with Aparna’s cute and teasing naughtiness.
Sorry to have gone off on a tangent, but much of what Shalan wrote brought back pictures in my mind that are part of my past, the old house, the music, the conversations, names our elders mentioned such as Shantaram, Errol Flynn, Nalini Jaywant, Shanta Apte, Gina Lollibrigida, the movie Ratan” and others.

It’s a really great read on an interesting theme.

31 Shalan Lal September 20, 2016 at 7:39 pm

Arun Kumar Deshmukh@29

Thank you very much for your generous appreciation of the post. Thanks also for raising some questions about some issues.
I take first your number two. My source is following: “The film had dialogues written by Atre, who is known for his sense of humour.[3] His satirical handling of political nationalist party Rashtriya Swayamsevak Sangh’s ideologies in the Marathi medium and Pandit Indra’s writing for the Hindi medium brought in audiences. Critics have also credited the success of the film to these strong dialogue writers.[4][5] Apart from the dialogues, the film’s main attraction was Shirodkar’s song sequence with the swimsuit that brought repeat audience and also brought fame to Shirodkar.[4][6] The film was a hit at box-office and ran for twenty five weeks in Mumbai and for fifty in Pune.[7] The then critics had also criticized the bold song sequence.[8]” from the List of the Hindi films Wikipedia “Brahmachari (English: Celibate) 1938 ”
I agree with you with your number 3 but would like to say that in the light of above Wikipedia statment that Maureen O’Sullivan’s swimming did not create stir as much as Brhamachari did in that particular period of the Indian Society. British and American and French and other European ladies alwyas had swimming in the sea water near beaches in that period swimsuits and bikinies were used by women and to date as well. My grand father watched English colonial women swimming in the sea water by the Juhu Beach and also on the Mud Island in Bombay. There is a “Burkini” affair presently occured in France whne some Muslim women wearing full length body line costumes and walking by the seashore.

Your number 4 about Meena Shorey being Lari Lappa Girl is yes. But Lata was called Lari Lappa by some classical singers and I shall find that reference when I go to the British Library next time.

Your number 5. I think you have confused Mehmood with Johnny Walker

About your number 1 you may be right but I shall ask a Marathi theatre person. to double check. My information is from a lecture given by Dyaneshvar Nadkarni some fifteen years back at the Nehru Centre on Marathi Musical Theatre at the Nehru Centre, London.

Shalan Lal

32 Shalan Lal September 20, 2016 at 7:47 pm

Nasreen @ 30

Thanks for your comment and you are very right of those Dilip K’s songs. Somehow thye slipped out from my writing though I had penciled them in my preparation notes.

I am glad , very glad that you went back toyour childhood memories. It is very natural as we are dealing with the Songs of Yore.

Thanks again.

Shalan Lal

33 Shalan Lal September 20, 2016 at 7:55 pm

Venkatraman @ 25

Now you are showing your magical power of writing. Very good!

AK has done real appreciation of your comment and I totally agree with him.

Bring out some more Chhed Chhad songs.

Shalan La

34 N Venkataraman September 20, 2016 at 8:51 pm

“Piggy backing Venkataramanji is such an advantage.”

Hmmmm.. well…I am quite OK with piggybacking. Both piggybacking and tailgating are enjoyable pursuits (and at times risky too).

BTW, does this song go with the theme?
Teri patli kamar, teri bali umar, teri banki ada pe hum kurbaan by Md.Rafi and Asha Bhosle, film Dus Lakh (1966), lyrics Prem Dhawan, music Ravi

I am sure Bhatiaji would have dispatched this loose ball, soaring over the sight- screen, for a six.

35 N Venkataraman September 20, 2016 at 9:26 pm

In the opening over, with four slips and two gullies and a short cover, Sharmaji started with a well run four singles, placing the ball in the longest part of the outfield. You have executed two very sweetly timed shots, a fine leg-glance to the deep-fine-leg boundary and the other one grazing the ground and running away to the long-off boundary.
I am afraid my next delivery would end up as a long-hop. I am expecting an over-boundary from you. Here comes the next delivery.

Tum Rooth Gayeen by Surendra and Jyoti, film Aurat (1940), lyrics Safdar ‘Aah’ Sitapuri, music Anil Biswas

36 Arunkumar Deshmukh September 20, 2016 at 9:51 pm

Shalan Lal ji,

I guess details from P. K Atre’s Autobiography are anytime more credible than what some people said in wiki.
Bikini- The question is which was first-not which created stir. obviously western culture will not get stirred up with Bikinis,like Indian society of the 30s. 1932 is certainly earlier than Bramhachari-1938.
Few classical singers calling Lata Lara Lappa girl is nothing compared to what the world called Meena Shorey always.
Marathi play information is on written record, for checking anytime.
You are mixing up Mehmood with JW. Mehmood was son of Mumtaz Ali and spent his childhood playing in Bombay Talkies compound-not JW. Johnny Walker never worked as a child artiste, Mehmood did.

37 N Venkataraman September 20, 2016 at 11:16 pm

I was sure that you were aware of the song, a vintage song and Akji not aware of it, no way. I am glad that you enjoyed the songs, and the Carson-Mustafi stand-off. As regards the singers of the song Ghoongaru ke Majha, you are bang on. The singers and dancers are Mumtaz Ali and Sunita Devi. Thanks for the input. There are two songs of Mumtaz Ali and Sunita Devi in the film Izzat (1937). I remember you have posted one of the songs, Piya Aavan Kah Gaye Na Aaye…Na Ho Udas Ayenge Pass, in your post on Mumtaz Ali. I am posting the other song here. May be a wide ball, yet…

Prem Dor Me Bandh Hame Kit Chale Gaye Girdhari by Mumtaz Ali and Sunita Devi, film Izzat( 1937), lyrics J S Kashyap, music Saraswati Devi

38 N Venkataraman September 20, 2016 at 11:24 pm

@17 & @33
I am no expert, and I am sure, in no way you can get bloated. Borrowing from Mohammad Ali, you would rather float like a butterfly, and (if required) sting like a bee. Like Grass grows, birds fly, waves pound the sand. You bring out best of posts. And encouraging words from you is a motivation. Adieu.

39 ksbhatia September 21, 2016 at 12:03 am

Venkatraman ji ;

Nice nok jhonk coming from you in cricket field . With two days to go for 500th test match with New Zealand I have to bat firmly. I love to hit while the ball is shining and new [ songs of the golden period] . I welcome the bouncers and yorkers for a good hit including the leg glances . But have to be careful when the ball is old and rough [Vintage period songs] . For Leg break and googlies I have to study the flight .

Any way , here is a sixer on your flighted delivery of 1940 @35

9. Bholi soorat dil ke khote….CR, Lata….Albela[1952]…….CR

10.Jis pyaar mein yeh haal ho….Rafi, Mukesh….Phir subha hogi…Khayyam

11.Yun to hamne lakh ….Rafi….Tum sa nahin Dekha[1957]…OPN

12.Haseen ho tum khuda nahin ho…Rafi..Badtmeez…..SJ

13.Woh chale jhatak ke daman….Rafi…Humrahi….SJ

14.Dekho rootha na karo…Rafi, Lata…Tere ghar ke samne..SDB

15.Ja ja ja diwane ja…Rafi, Asha…Grahasti……Ravi

….to be contd….

40 Ashwin Bhandarkar September 21, 2016 at 12:14 am

Thumris and khayals based on the chhed-chhaad theme are legion. “Phoolagendawa aba na maaro’ is a well known bol baant thumri (also known as bandish ki thumri) in this category. Here is a link to a Malini Rajurkar rendition of this thumri:

The filmi version from “Dooj Ka Chaand” sung by Manna Dey under Roshan’s baton:

41 Shalan Lal September 21, 2016 at 2:18 pm

Ashwin Bhandarkar @ 40

Very good collection of classical Chhed Chaad. The one I and other readers may remmeber is the “Boot Polish” song “Lapak Jhapak Too Aare Badarwa”

I think thre may be many more.

Thanks for your contribution and bringing the classical apect of the “Chhed Chhad”.

42 Shalan Lal September 21, 2016 at 2:24 pm

Ksbhatiya @ 26

Wonderful list! I hope other will join a create a good treasure of songs to listen when you are down and in blue mood.

And your recent batting. I think nobody will ever dare to “bowl you out” from the game you are playing.

I like your comment on Venkatramnji.

Shalan La

43 Shalan Lal September 21, 2016 at 2:28 pm

Venkatraman @ 25 & 24

What a Khajana of stories you have got! Yes that was a time there was a lot of caricaturing went on both sides. AK has done the appreciation in better words and I ditto them.

Thank you for telling me that you liked the selection of songs. Your list is also gorgeous
And also @ 38

I like this comment very much I am going to get it printed in large Fonts and then Frame it and hang on my wall overlooking my PC.

Thanks, your very adorable.

Shalan La

44 Shalan Lal September 21, 2016 at 2:41 pm

Arunkumar Deshmukh@36

Sir I wrote following lines about Mehmood:

“Now I come to that clown of all clowns, so far appeared in the Hindi films, Mehmood! Mehmood became popular among small children and also among the adults as his comic antics delighted all kinds of audiences. He created a comedy that could be only compared to the comedy of Charles Chaplin in the Hindi filmdom.

His poverty stricken life could be compared to the life of Badruddin who became Johnny Walker. Many people in the family to feed and no real income! He appeared as a child actor in Kismat (1943) of Bombay Talkies. He also appeared in the Dev Anand film C.I.D. (1956) in a small role of a thief who saw the murder. The same film had offered Johnny Walker a bigger role and a very good song as well. In Pyasa (1957), too, Mehmood had a small role and Johnny Walker had the bigger role and a very good song. However, Mehmood got the serious role of hero in the Chhote Nawab (1961) and Johnny Walker got a small role in it. This marked the end of Mehmood’s competition with Johnny Walker. In 1958, he appeared in the film Parvarish along with Raj Kapoor. Mehmood was so good in this film that it is said Raj Kapoor felt threatened and never agreed to work with him.”

Confusion seems to be happened with the words “Johnny Walker” before the line “Many people in the family to feed and no real income! He appeared as a child actor in Kismat (1943) of Bombay Talkies. He also appeared in the Dev Anand film C.I.D. (1956) in a small role ………

The line “Many people in the family… etc seemd to have confused with Johnny Walker.

If that is a confusion for you I am very sorry for mentiong J.W before the lin “Many people……” etc.

About the other matters about Atre, etc we have toleave it for the time being. I feel sorry that you do not think “Wikipedia” is useful reference.

When I shall have more information about Atre and Vinayak I shall come back.

Thanks again.

45 mumbaikar8 September 21, 2016 at 4:51 pm

Venkataramanji, @34
Piggybacking Venkataramanji is always enjoyable I do not see any risk in that, but tailgating, I agree, is very risky.
Tailgating is the only safety rule I maintain, in my otherwise wild driving.
Well …….I will let Bhatiaji do the honour of handling your delivery.

46 N Venkataraman September 21, 2016 at 5:12 pm

It was not only a long-hop, but a no ball too. An over boundary + 1 extra. Thank you for the wonderful additions to the score.

Here is flat delivery with a lower trajectory.
Are Chal Re Amiran, Chal Re Fakire by Kishore Kumar, film Bombay Ka Chor (1962), lyircs Rajinder Krishan, music Ravi

It seems this song was earlier used in the film Dilli Ka Thug (1958).

47 N Venkataraman September 21, 2016 at 5:19 pm

Thanks for mentioning the film “Teen Kanya”. It brought back many memories. You are right. The last story of the trilogy was Samapti, where Aparna Sen plays the role of a tomboyish teenager to perfection, is about the transformation of a naughty village girl to a grown-up woman in love. The scene(s) mentioned by you, were sweet representations of chhed-chhad situations.

“I’m not even sure if I remember correctly but in one of them a young Aparna Sen hides the shoes of Soumitra Chatterjee and there is some mud and squelchiness in the scene along with Aparna’s cute and teasing naughtiness.”

Here are the links to scenes you mentioned.

There are few Bengali films and songs, I feel, they go with this theme.

The film Basanta Bilap, based on a story by Bimal Kar, is set against the backdrop of life in a hostel/mess. This light-hearted film, about girls vs. boys, brings characters together in an entertaining, unusual, and comical situation. Both the parties use hilarious tricks upon one another. In one of those pranks, the youths place an advertisement in the matrimonial column of the local newspaper, asking to contact Anuradha (Aparna Sen), the leader of the girls. Droves of bride seekers flock the hostel, Basanta Bilap. Thrilled at their success, the youths break into a song.

Legechhe Legechhe Agun by Manna Dey, film Basanta Bilap (1973), lyrics Pulak Bandopadhyay, music Sudhin Dasgupta

Mouchak is another uproarious Bengali comedy film. What happens when the fathers of marriageable girls spot an eligible groom? They pursue him and almost hound him into submission! Then the fun begins. A chhed chad song from this film

Ebar Morle Suto Habo, by Manna Dey, film Mouchak (1975), lyrics Gauriprasanna Majumdar, music Dr. Nachiketa Ghosh

There is another duet/duel (Pagla Garod Kothay ache) from this film, which also fits the bill.

Pagla Garodh Kothay Aachhe Neiko Moder Jana by Manna Dey and Asha Bhosle, film Mouchak (1975), lyrics Gauriprasanna Majumdar, music Dr. Nachiketa Ghosh

The teaser in the next song comes at 2:20.

Jibone Ki pabo na… ke tumi nandini by Manna Dey, film Teen Bhubaner Paarey (1969), lyrics and music Sudhin Dasgupta

Bhatia ji, that was four byes from me.

48 Arunkumar Deshmukh September 21, 2016 at 5:33 pm

Shalan Lal ji,

Thanks for your clarification,which indeed seems to be the cause of this confusion about JW and Mehmood. Now that things are clearer, let us forget about this.
I would,however,like to stress here that my intention of bringing up the issues was only to present the right informations.
As far as Wiki is concerned, my experience is that since Wiki is open to addition and correction by any and every interested person, many times wrong information is posted there. Sometimes intentional additions of wrong and misleading informations are also posted there. We have ‘n’ number of examples for this.
Thanks again and looking forward to your informative, knowledgeable and thoughtful comments here often.

49 Subodh Agrawal September 21, 2016 at 9:45 pm

After such a wonderful post on teasing songs I would request Ms Shalan Lal or AK to try a post on ‘cursing’ songs, in which our heroines lovingly call their men ‘zulmi’, ‘zalim’, ‘bedardi’, ‘dagabaaz’, ‘beimaan’, ‘bewafa’ etc. There can be an interesting discussion on why women, at least in our films, find men with such negative qualities attractive. Men, on the other hand, may have some preference for ‘loose’ women, but only for short term fun. They don’t fall in love with them – so say the pundits of Hindi cinema. I remember seeing a statement from the actress Huma Qureshi dismissing good, decent men as uninteresting.

50 Ashwin Bhandarkar September 22, 2016 at 12:21 am

Here’s another facet of teasing that is fairly well represented in the Hindi film song genre but possibly cannot be termed as chhed-chhaad since the parties involved are siblings. It is almost always the brother teasing the sister, and the topic of her marriage is a staple ingredient.

1. ‘Meri chhoti si behen’ (Geeta-Lata/Vasant Desai) from Toofaan aur Diya: Here the younger brother starts but the sister gives it back in good measure.

2. ‘Chhota sa ghar hoga’ (Kishore-Shaila Belle/Salil Chowdhury) from Naukri: A little bit of teasing about getting the sister married and some predictable mock-pouting by the sis.

BTW, the credit for the female voice has been given to one Shaila Belle in this video, but I have seen it being given to Usha Mangeshkar at other places. Which one is correct?

3. ‘Sun sun sun did tere liye’ (Asha/RD) from Khubsoorat: Here the older sis is at the receiving end from the younger sis.

51 Ashwin Bhandarkar September 22, 2016 at 12:46 am

And then we also have situations when a pair of lovers is teased by their friends/family/random passers-by.

”Chup chup khade ho’ (Lata-Premlata/Husnlal-Bhagatram) from Badi Behen:

BTW, this must be the only song in HFM that features Suraiya in silent mode and with Lata providing playback, though not for Suraiya.

52 Ashwin Bhandarkar September 22, 2016 at 12:58 am

1. The hero professes his love for the heroine in public, and the entire village takes part in teasing the heroine: ‘Tu ganga ki mauj’ (Rafi-Lata-Chorus/Naushad) from Baiju Baawra

2. Now it is the turn of the ‘sakhis’ to rag the poor heroine: ‘Door koi gaaye’ (Shamshad-Rafi-Lata-Chorus/Naushad) from Baiju Baawra

53 Subodh Agrawal September 22, 2016 at 7:23 am

I was reminded of this song in which a couple is teased by their Gorkha friend – ‘Hum bolega to bologe ki bolta hai’:

54 ksbhatia September 22, 2016 at 1:37 pm

Ms.Shalan Lal ;

Enjoying a rich cross section of songs contributed by Ashwin , Subodh , Arun Kumar and Venkat ‘ ji[s] . The scope of the theme is generating wild interest in all of us . I am still batting while the sun is shining and here are two more boundries on some loose bowling .

16.Sun sun o zalima…Rafi, Geeta…Aar Paar[1954]…OPN

17.Apni to har aah ek….Rafi…Kaala Bazaar[1960]….SDB

18.Yeh lo mein hari piya…Geeta,….Aar Paar…..OPN

19. Chhupne wale saamne aa….Rafi…Tum sa nahi dekha…OPN

……next over……

55 ksbhatia September 22, 2016 at 1:56 pm

…..batting next over…..

20.Zara si baat ka huzoor ne….Asha….Musafir khana…OPN

The antra of this song is very similar to antra of …leke pahla pahla pyar….of C.I.D song .

21.Dekho kasam se ….Asha, Rafi….Tumsa nahi dekha…OPN

22.Acha ji maaf kar do….Rafi, Geeta…Musafir Khana….OPN

23.Saiyan dil mein aana re….Shamshad…Bahar…OPN

……to be contd….

56 ksbhatia September 22, 2016 at 2:12 pm

To complete my Quarter century , here are two gem of songs which I dedicate to Venkatraman ji .

24. Two girls teasing hero and whistling as well….

Hai unki woh nigahain…..Asha….Aakhri Dao[1958]….MM

This tune got almost repeated after 57 years in Bhag Milkha Bhag song ……Slow motion Angreza …..including its interlude . For referal to experts, here is the link….

25.Yun na reh reh kar hume satiyee…..Master Madan , Private [1935]

….to be contd….

57 Shalan Lal September 22, 2016 at 2:15 pm

ksbhatia @ 54 & 55

All your selctions are apt for the subject. How do you do such chain of songs coming to you like the rain in the rainy season?

Some can and some can’t.!

Thanks for keeping up batting.

58 Shalan Lal September 22, 2016 at 2:27 pm

Subodh @ 49 & 53

‘cursing’ songs, in which our heroines lovingly call their men ‘zulmi’, ‘zalim’, ‘bedardi’, ‘dagabaaz’, ‘beimaan’, ‘bewafa’ etc”

“Zulmi Se Gaath Padi” Yes very good subject indeed!

Yes I see plenty of milage in this subject. Presently I see that it is just the other side of the teasing songs. But as women are accused that they say one thing and means the other thing. There is a good scope of light and heavy discussion on “What really woman means when she says above curses?

I shall sleep over but any one wnats have a go at it then let have go. I shall take at least four months to get all socio, psycho and cultural thinking brewed up properly in my head and then look at some songs. This being a woman’s subject close to my heart. How AK thinks? Will he let the dog bark again?

Shalan La

59 KB September 22, 2016 at 8:48 pm

Chhedona meri zulfen from Gangaa ki Lehren (1964) is the most beautiful chhedo song and is relished even today for its composition by Chitragupta.

60 Rahul Muli September 22, 2016 at 9:46 pm

Can one add a nice composition from OP Nayyar
Tere dil ka makan (Do Ustaad) to the above list?

61 Ashwin Bhandarkar September 22, 2016 at 11:48 pm

There was this 15-minute program – Swarsudha – that used to air between 6:45 and 7:00 pm on the Vividh Bharati channel of AIR in the 1970s and 80s. It used to feature 3 items of music, all based on the same raga – first, a Hindi film song, then a vocal performance of Hindustani classical music, followed by an instrumental performance of HCM. Whenever Raaga Raageshri (Raageshwari) was featured, the film song would either be ‘Kaun aaye mere man ke dwaare’ from ‘Dekh Kabeera Roya’ or this one:

‘Mohe chhedo na kaanha’ (Asha/Ravi) from ‘Aaj aur kal’

62 N Venkataraman September 22, 2016 at 11:58 pm

Once again some well executed shots, but a small slip-up and you might have got yourself runout in the process. You have repeated the link to the song Saiyan dilmein aana re against the song no.24, Hai unki woh nigahain. Do not be complacent.You were short of the crease and did not ground your bat while returning for the second run (No.24 & 25).Thus, your score stands at 24. Anyway, accept my applauds in advance for the quarter century you will be completing on scoring the next run or, will it be a huge six over the mid-wicket boundary? Apni to har aah ek from Kaala Bazaar[1960] was one of your subtle shots that I enjoyed. Yun Na Reh Reh Kar Hame Tarsaiye was another exquisite shot of yours. You have sharp eyes and ears and I am sure you will carry the bat till end of the innings. Thanks for dedicating the last two songs to me. I am honoured.

Here come my over No.3

A few O P Nayyar songs, first an entertaining dance sequence by Kumkum and Minoo Mumtaz….
Reshami Salawaar Kudataa Jaali Kaa by Shamshad Begum and Asha Bhosle, film Naya Daur (1957), lyrics Sahir Ludhyanvi, music O P Nayyar

…followed by anoher dance sequence, two of the Travancore sisters, Padmini and Ragini dancing to the tune of O P Nayyar
Sun Sun Madras Ki Chhori KeTere Liye Dil by Asha Bhosle and Geeta Dutt, film Mujrim (1958), lyrics Majrooh Sultanpuri, music O P Nayyar

then Rajkapoor and Madhubala…
Tu Ladki Mai Ladka, Tujhe Dekh Kaleja Dhadka by Md.Rafi and Asha Bhosle, film Do Ustad (1959), lyrics Qamar Jalalabadi, music O P Nayyar

Padmini once again with Kishore Kumar….
Main bangali chhokra. Karu pyar ko Nomaskaram by Kishore Kumar and Asha Bhosle, film Raagini (1958), lyrics Qamar Jalalabadi, music O P Nayyar

And now it is the turn of Nutan, Cuckoo and ?……….
Pichhe Hat Hat Hat Babu Chhed Na Mujhe Mithi Mithi Aankhiyo Se Dekhna by Asha Bhosle, film Basant (1960), lyrics Qamar Jalalabadi, music O P Nayyar

Shamii kapoor and Nalini Jaywant…..
O Mr Benjo, Ishara To Samjho by Md.Rafi and Asha Bhosle, film Hum Sub Chor hai (1956), lyrics Majrooh Sultanpuri, music O P Nayyar

63 N Venkataraman September 23, 2016 at 12:18 am

Over No.4

Two songs composed by Chitragupt

Akhiyan Apni Bacha Ke Rakh Goriye Jamana Shrabi Ban Jaayga by Md.Rafi, film Mera Qusoor Kya Hai (1964), lyrics Rajendra Krishna, music Chitragupt

Dekh Mera Dil Na Jala Maan Jaa Meri Laila by Md.Rafi and GeetaDutt, film Zimbo Comes To Town (1960), lyrics PremDhawan, music Chitragupt

…. followed by two from S D Burman’s basket,

Sa sa sa sa re, ga ga ga ga re, taar dilon ke ab jod do by Kishore Kumar and Asha Bhosle, lyrics Shailendra, music S D Burman

Dekhne Mein Bhola Hai Dil Ka Salouna by AshaBhosle, film Bambay Ka Babu (1960), lyrics Majrooh Sultanpuri, music S D Burman

Two more O P Nayyar compositions,

Aji Ulfat Ko Khushiyo Ki Khani Koun Kehta Hai by Md.Rafi, S D Batish, AshaBhosle, film Basant (1960), lyrics Qamar Jalalabadi, music O P Nayyar

Tere Dil Ka Makaan Saiyan by Asha Bhonsle and Md. Rafi, film Do Ustad (1959), lyrics Qamar Jalalabadi, music O P Nayyar

64 Ashwin Bhandarkar September 23, 2016 at 12:28 am

Parveen Sultana’s HMV album from the early 1970s features the cheez ‘Mohe chhedo na giridhaari’ in Raaga Ahir Bhairav – it starts at 11:58 of this video clip:

65 Manoj September 23, 2016 at 5:54 am

Comment 9 : The video showing Gibbon and two juvenile tigers is not Chhedchhad. Gibbon wanted tigers to leave his territory for the safety of his domain.
Chhedchhad / Flirtation has to utilize mixture of Shringar / Hasya and sometimes very little amount of Bibhatsa rasa. Bibhatsa rasa is overdose in many of our such songs ( meaning / acting ) and hence not enjoyable.
I don’t want to name an artist whose acting was Bibhasta most of the time.

66 Hans September 23, 2016 at 12:24 pm

I would only say – what a topic. Very nice selection of songs and themes and the persona on which such songs are picturised, barring perhaps Shammi Kapoor whose films included a good dose of chhed-chhad songs.

The subject is very close to my heart so I have many songs to offer. But, I may put a disclaimer here that I am in no race and the quality has my filter only. Happy enjoying for those who like and apologies to those who dont like.

First I would put some songs on a very common theme of the chhed-chhad at or related to marriage, which has not been touched yet.

This is a song for which I would have liked to see the video, but unfortunately could not find any. The song is ‘duniya se nyari gori teri sasural hai’ from Badi Bahoo (music Anil Biswas). Perhaps the bride’s friends are teasing her about the sasural, but in the end they relent and praise her would be saiyyan.

This song ‘mere banne ki baat na poochho’ is from Gharana 9 (music Ravi). Here people from both the inlaws have a verbal spat.

Now friends of the bridegroom indulge in light chhed-chhad. ‘Mera yaar ban hai dulha’ from Chaudhvin ka Chand (Ravi)

Dancing (bhangra) chhed-chhad by both sides composed by Madan Mohan in Heer Ranjha. Song is ‘jo moti teri nani hai’. This film has also ‘nache ang we’ in the same category.

Finally this fine song from Pati Patni Aur Woh ‘ladki cycle wali’ which has a blend of panjabi tappa and boliyan. This film also has ‘thande thande pani se’ where the father and son are teasing the housewife.

67 Hans September 23, 2016 at 2:28 pm

Now taking forward the theme of ‘aadmi’ vs ‘aurat’ or you may call it mard-aurat ka jhagda, which for me is different from the ishqiya chhed-chhad theme highlighted in the Brahamchari song. A very fine sample of mard-aurat jhagda was taken in ‘lara lappa’. In the same film there is a song ‘lambi joru badi musibat’ which is also on the same theme. Here Rafi is giving playback for a woman disguised as a man and Lata for a man (in my view) disguised as a woman.

The second song on this theme is ‘ye mard bade dil sard’ from Miss Mary (music Hemant). Here both aurat and mard take turns in blaming each other and naturally ladies first. The link is combined for both versions.

Now two songs from 1957. The first ‘aaya hai zamana aurat ka’ is from Laxmi music by Avinash Vyas.

The second is from Bhabhi (music Chitragupta). The song is ‘jawan ho ya budhiya’. Rajendra Krishan has perhaps written the best satire on aurat.

Now I jump straight to 1973 and present the song ‘mujhe meri biwi se bachao’ from Aaj Ki Taja Khabar – a pure comedy. Here Kishore is contributing to the comic song as a singer. Song is picturised on Kiran Kumar – the son of eternal villain cum Narad – who tried his hand as hero till he had to settle for the roles which his father did.

68 Shalan Lal September 23, 2016 at 3:24 pm

Ashwin Bhandarkar 64 and other comments

I think you are a very rare breed who finds classical based songs and Vividha Bharati programmes etc. It’s pity that I could not praise you more for yor great work. Simply wonderful! Keep amazing us.

Shalan La

69 Hans September 23, 2016 at 3:27 pm

Though Raj Kapoor was covered in the post, but there was no song in which he had acted. I had thought of some songs, one of them was ‘jis pyar men ye haal ho’ which has been posted by Bhatiaji. Two more duets from do Ustad have been posted by Venkataramanji. So I will concentrate on solos, because Raj Kapoor ke duets post karna shayad meri kismat men nahin hai. Posting of these solos will also show the other side of Mukesh, who has been tagged permanently as a sad song specialist.

First song is ‘Jap jap jap jap jap re’ from Sharada, the film in which Raj Kapoor ended calling Meena Kumari mother because she was married to his father.

Next is ‘ruk ja o janewali ruk ja’ from Kanhaiya. Here he sings to Nutan on the pretext of singing to the bottle of wine, while she goes unconcerned.

Third one is ‘dum dum diga diga’ from Chhalia (music Kalyanji Anandji)

Now we come to Sangam which has multiple chhed songs. Raj Kapoor starts with ‘ mere man ki ganga’ and ‘o mehbooba’ but Vyjyantimala has the last laugh with ‘main ka karun raam mujhe budha mil gaya’. I give here the links for ‘mere man ki ganga’ and ‘main ka karun raam’.

70 Shalan Lal September 23, 2016 at 3:30 pm

Hans @66 & 67
Your contribution is very rich and also all round. It is very good of you to say you do not want to be in the race. With certain people they get stimulated if they are in race. So I shall not demean them. It is all in good fellowship.

Thanks again for your free lancing.

Shalan La

71 Shalan Lal September 23, 2016 at 3:49 pm

Thanks for offering me the faminine utterance of “Zulmi” subject.

As mentioned I shall take good four months to work on the subject. So Subodha and all other will have to wait ands and feet and tongue tide up.

However if any one has idea not the song about the subject then send them to AK who may pass them tome.

Ak thanks again.

Shalan La

72 ksbhatia September 24, 2016 at 12:02 am

Venkatraman ji;

You caught me right. I never knew there was a slip fielder . Any way since there is no leg empire I will re-post that beautiful teaser song again.
Hai unki woh nigahen……

Hans ji have posted some nice ched chad songs of the 60s and 70s . He is a close fielder so taking no risk i am continuing my batting.

26.Yun to aapas mein….Rafi, Lata….Andaz…..Naushad

27.Bhole bhale sanam…..Shamshad, Moti….Mangla[1950]…Kala, Shastri

28.Hum se koi pyaar…..Lata, Rafi…Nagina[1951]……SJ

29.Kuchh to aisee baat karo jalim…Asha….Qaidi[1957]…OPN

30.Apni kaho kuch meri suno….Talat, Lata….Parchhaiyan[1952]…CR

Here is the last run of this over ; a song which is fav. of mine for its beautiful composition , beautiful dance and equally beautifully photographed of the pin up dancer / actress of the mid 50s….Sheila Remani. Navketan-S D Burman combo at their very best.

This song is dedicated to Arvinder Sharma ji ….for the obvious reason as he is also fond of this dancer.

31.Dil se milake dil pyar kijiye….Lata…Taxi Driver[1954]……SDB

…..continuing after a break…..

73 ksbhatia September 24, 2016 at 12:16 am

Ms. Shalan Lal; @70

There is no race here . Actually I am enjoying match with other fellow cricketers as long as test cricket fever is on . I am giving the serial numbers to the songs so that they are easily traceable for future references. So no umpiring ; only third empire for refferals only.

Since quite a number of SoY members are across the other side of the globe why not invite some western hollywood songs of the gone back eras from them . As a starter you can send some related songs on the current theme.

74 Hans September 24, 2016 at 12:41 am

Now I present some songs where the vehicle breakdown is the reason of chhed.

Kabhi na bigade kis ki motor raste men – moti mahal – suraiyya (sorry no video available)

Tooti footi gaadi anadi chalaiya – nirala – lata

Khat khat khat khat gaadi rok rahi hai – sansar – lata

Gore hathon par na zulm karo – pyar kiye ja – rafi

75 Ashwin Bhandarkar September 24, 2016 at 1:26 am

#68 – Shalan: Thanks a lot for your kind words.

76 mumbaikar8 September 24, 2016 at 3:28 am

After a cheeky single in very first over, I am patiently watching, Bhatiaji, Shamaji Venkataramanji and Hans hit fours and sixes, from the non-striker’s end. High time I take the strike.
Continuing with the romantic chhed chad
Kya humne bigagada hai kyoon humko satate ho K L Saigal and Amirbai Naseem Film Bhanwara
Aaja panchhi akela hai Rafi Asha in Nau do gyarah
Hum to jani pyaar karenga Chitalkar Asha Baarish
Who hai zara khafa khafa Rafi lata in Shagird
Yeh Chanda roos ka nay eh japan ka Rafi insaan jag utha
Aiga aiga aig ye kya ho gaya Rafi and Arti Mukhejee in Boyfriend
Moving from romantic to friends chhed chhad
Janu janu re Asha Geeta in Insaan jaag utha
Man kyoon mahka re mahke Lata Asha Utsav
Bade miya diwane Rafi Shagird
Now sibling chhed chhad. I was desperate for a boundary here but the hit wasn’t powerful enough to cross the fence.
Bhabhi aayi re subah tara Usha Mageshkar
Meri chhoti si bahen lata and Geeta Toofan aur diya
Sun sun tere liye rishta aaya hai Asha Khoobsuratmood

77 Siddharth September 24, 2016 at 9:09 am

Thanks for this wonderfully written and informative article.
You have provided a very sporting wicket resulting in a very entertaining match full of chhed chhad songs.
There are wonderful comments for this post and everything I could say have been wonderfully said.
I would just add this sher from Ghalib – (

yār se chheṛ chalī jāʾe asad
gar nahīñ vaṣl to ḥasrat hī sahī

78 ksbhatia September 24, 2016 at 3:03 pm

Hans ji; @74

A great shot with breakdown songs. Three of them heard for the first time. I have single run in my mind that depicts the breakdown car being towed down by cart. The song is a gentle tease with beautiful interludes.

32. Kyun uneh dil diya…..Surendra , Shamshad…Anmol Ghadi[1948]….Naushad

79 Shalan Lal September 24, 2016 at 3:11 pm

Siddharth @77
Thanks for your participation in the cricket match. Your single has reached the boundary line.

Go ahead and do more batting. No limits.

Shalan Lal

80 Shalan Lal September 24, 2016 at 3:17 pm

Mumbaikar8 @78

You have done a good steady batting and perhaps likely to do more than your tows and threes at atime. Coem to a sixer as well. The field is yours, and sun is still shining and lunch time is away.

Thanks for your efforts you have chosen all good old melodies full of subtle “Chhed Chhad”.

Well done

Shalan La

81 Shalan Lal September 24, 2016 at 3:26 pm

Hans @ 74, 69,67 etc,

I like the way you are grouping them. This certainly will help when Ak will find a group of volunteers who will start working on a SoY “Kosh of Songs”.

I like all those broken cars songs. Wonderful. The song in Naadaan which you have forgotten to mention is actually happened to C.Ramchandra.

Shalan La

82 Shalan Lal September 24, 2016 at 3:41 pm

Indeed you are so right about the cross section of songs and their varied and diversified qualities and by the experts in their fields. I am amazed at the readers memories of these old songs otherwise lost and forgotten.

Thanks for your statement.

Shalan La

83 N Venkataraman September 24, 2016 at 9:39 pm

Since Ashwinji and Hansji had taken the charge of the bowling from either ends, I had some respite, banished to third man boundary. With your deft footwork, you are batting solidly, and an occasional ball comes ambling my way. Enjoying your shots Bhatiaji.

You are sticking to a good line and length and varying your deliveries in each over. Your latest breakers have prompted an appreciative judgment even from the great master. I too should admit that three of the deliveries were also new to me. Can we call them zooters or a new variety of Doosra? Keep it up.

It was Sharmaji who started the innings with Bhatiaji. The rest of us Hansji, Ashwinji and I are bowlers. And there are few others occasionally turning their arms around. Glad to note that you have joined Bhatiaji on the other end, and with a mixture of orthodox and unorthodox strokes, you are already on run-riot. Good additions.

On the Kanpur front, on day 3, India’s 500th test match has completely swung India’s way after a terrific performance with both ball and bat by the hosts, as Ravindra Jadeja and Ashwin picked up five and four wickets respectively. We also have our Ravindra and Ashwin, but Ravindraji is nowhere to be seen and Ashwinji after delivering some good classical deliveries is silent. Well, till they turn-up let me will deliver a few overs. We are on the middle of the day four. Hope we can end this test with a draw.

Here comes my 5th over. A few wonderful Hansraj Behl- Prem Dhawan combo
A lively dance duet, . Who is the female dancer?
Lamba Chauda Jat Jat Khud Ko Mane Lat by Mohammed Rafi and Shamshad Begum,film Milan (1958), lyrics Prem Dhawan, music Hansraj Behl

Unchi Aedi Hai MangTedhi Tedhi Duptta Rangdar Karke by Md.Rafi and Shamshad Begum, film Miss Bombay (1957), lyrics Prem Dhawan, music Hansraj Behl (Video not available)

Geeta Dutt replaces Shamshad Begum
Maine Kaha Ji Ye Mausam Hai Suhana by Md.Rafi, GeetaDutt, film Milan (1958), lyrics Prem Dhawan, music Hansraj Behl

Now Suman Kalyanpur joins the team
Tere peechhe phirte phirte by Md.Rafi and Suman Kalyanpur, film Mud Mud ke na dekh (1960), lyrics Prem Dhawan, music Hansraj Behl

Aurato ke dabbe me mard aa gaya by Md.Rafi and Suman Kalyanpur, film Mud Mud ke na dekh (1960), lyrics Prem Dhawan, music Hansraj Behl

Mahendra kapoor replacing Md.Rafi
Tumne Kaha Chhu Maine Chhu Liya by Mahendra Kapoor and Suman Kalyanpur, lyrics Prem Dhawan, music Hansraj Behl

84 ksbhatia September 24, 2016 at 10:55 pm

With more players coming to field , I suppose I have to dodge the close in fielders and play my usual game .

Hans ji , my 32nd song was a defensive shot against your spin attack of the four breakdown songs . Surprise us for more of such deliveries.

Batting further and adding up the score . My wish….to make at least half a century.

33.Dekho mane nahi ruthi haseena…..Asha, Jagmohan Bakshi….Taxi Driver

34.Chura le na tumko…..Mukesh., Suman Kalyanpur….Dil hi to hai….Roshan

35.Tum agar mujhko na….Mukesh…Dil hi to hai….Roshan

36.Mera dulah Shehar se ….Geeta dutt, Rafi….Do Dulleh[1955]…B S Kalla

37.Lucknow chalo ab rani…Rafi, Geeta dutt…Sansar[1951]…Parthasarthi

38.Chalo Chalo chale hum ….Rafi, Shamshad….Alibaba and 40 thieves……SNT

These were six songs of the over . Now waiting for the next over.

85 N Venkataraman September 24, 2016 at 11:08 pm

Over no.6- few electrifying and lively Punjabi number of Hansraj Behl-Varma malik combo.

Jatt kudiyan to darda maara by Mohd Rafi and Shamshad Begum,film Bhangra (1959), lyrics Varma Malik, music HansrajBehl

Rab na kare by Mohd Rafi and Shamshad Begum,film Bhangra (1959), lyrics Varma Malik, music HansrajBehl

Teri Kanak Di Rakhi Mundiya by Md.Rafi and Shamshad Begum, film Do Lachhian (1960), lyrics Varma Malik, music Hanraj Behl

Gora rang na ho jaaye kaala, by Md.Rafi and Shamshad Begum, film Do Lachhian (1960), lyrics Varma Malik, music Hanraj Behl

Kateya Karoon Teri Roon by Shamshad Begum, film Pind Di Kurhi (1963), lyrics Varma Malik, music Hanraj Behl

Sanu Tak Ke Na Sangya Karo by Mohd Rafi and LataMangeshkar, Film Guddi (1961) lyrics Varma Malik, music Hanraj Behl

Bhatiaji, Hansji and Arvinderji
I am not all proficient in Punjabi. I tried to get the spirit of the song. I enjoyed the songs very much. Hope they fit the bill.

86 ksbhatia September 24, 2016 at 11:15 pm

To make up the score to 40, here are two more runs/ songs.

39.Milte hi nazar…..Kishore….New Delhi….SJ.

40. Halla gulla laai la….Shamshad, Rafi, Durrani…Dholak…Shyam sunder

……over to next batsman…..

87 Hans September 25, 2016 at 12:33 am

Thanks for the kind words. I have watched 4 or 5 more songs of this type but did not remember them at the time. Musicwise Anokhi Ada being a favourite of mine, I knew the song posted by you but it did not register with me as chhed song. In fact, I think Surendra’s voice is not fit for such songs. There was a song in Elan 1947 of this type, where also he did not impress me. The song is ‘aaine men ik chand si surat’. Here is the link

As against Surendra, Ashok Kumar though not a regular singer, could produce this chhed impact in his two songs in Nazma, 1943
Tarsi hui hain muddat se ankhen
Mujhe jo khilate hain panon men mirchen

After your mentioning the Anokhi Ada song, I immediately remembered two car-towing songs which fall in the chhed category
Haseen ho tum khuda nahin ho – rafi – budtmeez
Chal chal chal mere sathi – kishore – hathi mere sathi

Hope you enjoy these also. I am enjoying your as well as other’s songs.

88 Hans September 25, 2016 at 12:46 am

Thanks for the praise and liking the songs. I was surprised that three were new to you, because all except one (from sixties) were from old era, which is your domain. I have’nt listened to your panjabi bunch, but your 5th over I liked very much. In fact, the scene of the song ‘auraton ke dabbe me mard aa gaya’ was repeated with a different song in the 1968 film Man Ka Meet produced by Sunil Dutt to promote his brother Som Dutt. The film also introduced Leena Chandrawarkar and Vinod Khanna, who made a name for themselves, but Som Dutt’s career could not pick up. This film had three songs in the ‘chhed’ category. I am linking all of them.

1. Ek anadi junglee janwar badtameez deewana – asha
2. Ek anadi junglee janwar badtameez deewana – mahendra kapoor
This song was a reply to the first song.
3. Tu husn ka hai durbaan – mahendra kapoor

89 Hans September 25, 2016 at 1:08 am

So you are now the old Mumbaikar8, posting songs in bunch. I liked them.

I have in mind a few bhai-behan songs which I am posting for you.

1. Wo door jo nadiya behti hai from Barkha (music Chitragupta) by Rafi and Lata has very subtle bhai-behan chhed-chhad and is my eternal favourite alongwith the song posted by you from Toofan aur Diya
2. Aayega aayega ek chhail chhabila aayega from Meherban is sung by Rafi, music by Ravi.
3. Dekhne men bhola hai dil ka from Bambai Ka Babu (music SDB) by Asha. In this film Dev Anand enters Suchitra Sen’s family as her long lost brother with the purpose of theft and is attracted to her. He later on accepts the family as his own when he comes to know that he had accidentally killed the lost son of the family. Though he is not exactly her brother and the style of singing and teasing by Sen and her friends is not justified for the situation, but the song is from a sister to a brother.
4. Meri pyari behania banegi dulhaniya – kishore – sachcha jhutha. This song has two versions. I am giving link to the one Rajesh Khanna sings to his sister Naaz.

90 Hans September 25, 2016 at 1:24 am

Thanks for the kind words and liking the songs. The Nadaan song you are referring is not on Youtube. At least I did not find it.

The reason of my grouping the songs is that I am not in match play like my friends and am only doing net practice. So I can choose which kind of bowlers I have to face and also what kind of balls to face. Though my friends say they are affected by the test fever, they are actually scoring like 20-20 matches.

91 Hans September 25, 2016 at 1:56 am

Today I am presenting songs on Hajamat theme.
The first two songs are from the film Sagai 1951. Music by CR.

1. Tabiyat saaf ho gayi – rafi, shamshad, chitalkar
2. Mohabbat jata ke ankhen lada ke – rafi, chitalkar
In these two songs they are talking about the deed of ‘hazamat’ which has already been done.

The next song starts immediately after the deed of ‘hazamat is done. Song is ‘ladi ankh se ankh’ from Pocketmaar (music Madan Mohan) by Rafi and Lata.

In the next song the deed of ‘hazamat’ is done while the song is going. The song ‘chalo honolulu’ starts with Gope singing in the voice of Batish. The first ‘phatka’ changes his voice to that of Shamshad and the second ‘phatka’ brings his voice back. The film is Sanam and the MD Husnlal Bhagatram.

Now in the next song ‘jaan bachi so lakhon paaye’ from Sanjog (music Naushad), they are celebrating the fact that they escaped the ‘hazamat’. The singer is Shyam.

There was a song in film Humjoli in which there is a live ‘hazamat’ which goes on for quite some time. The song is ‘chal shuru ho ja’. I am not posting the link.

There was a song ‘bambai se aaya mera dost’ in film Aap Ki Khatir 1977, which I thought was about welcoming a friend till I saw the video. Here also the dost is subjected to ‘hazamat’.

92 Hans September 25, 2016 at 1:58 am

A wrong link was posted for ‘bambai se aaya mera dost’. The right one is

93 ksbhatia September 25, 2016 at 1:49 pm

Hans’ji ;

Your net practice have trapped many fishes of varying tastes and colors . Before I go in detail the awesome songs you have posted I am posting an interesting shaving scene enacted by Charlie chaplin over the famous Hungarian Dance no: 5. in the old classic film The Great Dictator.

Danney key also appeared in a similar scene in one of his film of the late 50s ; which was copied by Mehmood in one of his movie starring with Dhumal .

94 ksbhatia September 25, 2016 at 2:11 pm

Venkatraman ji ;

Before India New zealand match ends in an interesting note I am planning to complete my half century . No match fixing , bowl your normal deliveries .

41.Main kahin kavi na banjaun….Rafi…Pyar hi pyar….SJ

42. Oh chaliya re …Asha, Rafi…Ganga Jamuna….Naushad

43.Mere mehboob mein kya…..Asha, Lata…Mere Mehboob..Naushad

44.Nain lad jaiy hain…Rafi….Ganga Jamuna….Naushad

….over to next over….

95 ksbhatia September 25, 2016 at 4:00 pm

Venkatraman ji ;
Here is a sixer to finish my half century…..

45. Akhian milake jiya …..Zohrabai Ambala…Rattan[1944]…Naushad

46.O jaane wale balamwa….Ameer bai, Shyam…Rattan…Naushad

47.Jahan mein jaati hun…..Lata, Manna dey…Chori chori….SJ

48.Sham dhale khidki tale…Lata, CR…Albela…CR

49.Qusur aapka huzoor aapka…..Kishore…Bahar…SDB

50.Dadi amma dadi amma…Kamal barot, Usha…Gharana…..Ravi

Two more songs on no ball and wide deliveries of Hans ji and Venkatraman ji ….

51.Bari basi khatan gaya….Lata…New Delhi…SJ

52.Chahe koi khush….Kishore, Johny Walker….Taxi Driver….SDB

……declared rest for other batsman to bat……

96 N Venkataraman September 25, 2016 at 6:27 pm

What a bowling Sirji. I loved your deceptive orthodox deliveries / vintage stuff. While continuing to provide the variety, you are mixing the deliveries well, giving the batsman a run for the money.

But nothing can put off Bhatiaji. He is taking judiciously run singles, and keeping the score board ticking. He is well on his way to half century. Bhatiaji while you raise your bat, I will raise a toast for you. While Hansji is doing a wonderful job from the other end, I think I will have to continue bowling from this end.

Over no.7 – Madanmohan numbers.

O Madam Do Se Ho Gaye Ek Ham, O Mister Dil Kaa Horn Aaj Kushi Se by Shamshad Begum and Kishore Kumar, film Ashiana (1962), lyrics Rajinder Krishan, music Madanmohan

Desh Chhudaye Bhes Chhudaye by Kishore Kumar, film Chacha Zindabad (1959), lyrics Rajinder Krishan, music Madanmohan

Jo Tum Karo Main Kar Sakta Hu Badhke, Shamshad Begumand Kishore Kumar, film Ada (1951), lyrics Prem Dhawan, music Madanmohan

Pagdi Pahan KeTurredarAkadta Kyo Hai by Shamshad Begum, film Madhosh (1951), lyrics Raja Mehdi Ali Khan, music Madanmohan

Ladhi Aankh Se Aankh by by Lata Mangeshkar and Md.Rafi, film Pocket Maar (1956), lyrics Rajinder Krishan, music Madanmohan

Dulhan Marwad Ki AshaBhosle, Mohammad Rafi Anpadh (1962) Music Madan Mohan

97 N Venkataraman September 25, 2016 at 7:01 pm

At the end of the fourth day, India is poised for a certain victory. Here too on the fourth day, Bhatiaji going great guns, the match is at an interesting stage. Here comes my next over (no.8)

Tumtum Se Jhanko Na Raniji, Gaadi Se Gaadi Lad Jayegi by Shamshad Begum, film Namoona (1949), lyrics PyarelalSantoshi, music C Ramchandra

O Meri Sas Ke Ladke Dur Hat Re MeraDilDahdke by Md.Rafi and AshaBhosle, film Chakradhari (1954), lyrics KaviPradeep, music AvinashVyas

Chhodo Chhodo Ji Baiyyan Mori, Main Naajuk Chhori by Lata Mangeshkar and Shamshad Begum, film Baradari (1955), lyrics Khuma rBarabankwi, music Shaukat Dehlvi Nashad

Miyan Mera Baada Be Imaan by Geeta Dutt and Balbir, film Ek Saal (1957), lyrics Prem Dhawan, music Ravi

Hum Jaan Gaye Sarkar Tum Lakh Karo Inkaar by Lata Mangeshkar, film Love Marriage (1959), lyrics Hasrat Jaipuri, music Shankar-Jaikishan

Naam Mera Nimmo Mukam Ludhiana by Lata Mangeshkar, Manna Dey & Dwijen Mukherjee, film Sapan Suhane (1961), lyrics Shailendra, music Salil Choudhury

98 Shalan Lal September 25, 2016 at 7:31 pm

Hans @ 91
Thanks for your email.

The film Nadaan was made in 1951 by M&T Production company. It was Dev Aanda and Madhubala acted film losely based on the hollywood film “It happened One Ninght” acted in byClarke Gable.

Nadaan had Music Director as “Chick Chokolate” but real work was done by C.Ramchandra. It has famous song of Talay Mehmood “Aa Teri Tasbeer Bana Doo”

The bus broken song is something like this:

chalti huyi gadi
jo ho jaye fat re
pichhe na hat re
aage hi dat re
ho pichhe na hat
are aage hi dat
kabhi pichhe na hat

It makes a lot of fun of many people. The song is sung while pushing the bus. main voices are “Chitalkar and lata Mangeshkar” Lyric by Pandit Santoshi.

The song is on ” Hindi Geetmala” and you can hear. other songs from the film also you can hear.

Shalan La

99 N Venkataraman September 25, 2016 at 7:46 pm

Congrats for posting the half century and for the timely declaration. you have won the match with lot of time to spare.

Recently, I came across the term ‘Yips’. It is a mental affliction that affects many sportsmen, particularly golfers and spin bowlers. It is a mind block that can cause a player to forget the basics of his game and in the most serious cases can force the player into early retirement. I feel, I may go into the ‘Yips’ syndrome anytime.

100 Hans September 25, 2016 at 10:17 pm

Now it is the turn of chhed chhad with mummy-daddy.

1. O daddyji meri mummy ko satana nahin achha – lata – sagai
2. Mummy aur daddy men ladai ho gayi – asha – shola aur shabnam
3. Mummy o mummy tu kab saas banegi – kishore – khatta meetha
4. Hai na bolo bolo – andaz – sushma shreshtha, pratibha, rafi, suman
5 Munne ki amma ye to bata – kishore – tum haseen main jawan. In this song their is munna and its amma but with a difference. Video will make it clear to those who have not watched.

101 ksbhatia September 25, 2016 at 11:19 pm

Hans ji, Venkatraman ji ;
Thanks for liking the songs and making me run for the half mile stone. I must say what a combo of bowlers you both are . I had to quit my batting as I could not face the googlies and spin bowling of the kind of Ashwin and jadeja . Anyway presently I will do the role of cheer boy from the SoY stand and will come back in the second inning in the style of Pankaj Roy offering straight vintage bat [vintage ched chad songs]

Venkatraman ji,
You have posted the most popular punjabi songs. All the songs are my fav. I think both Hans ji and Arvinder Sharma ji would ditto my observations. Shamshad Begam and Hansraj Behl are the assured combo for a punjabi movie to be a hit. Late 50s upto mid 6os was a good period to watch punjabi movies . Earlier to that some good comedy movies like ….Kode Shah were popular in the 50s.

The Madan Mohan songs fitted the bill very well . These songs too carries punjabi flavour.

102 Shalan Lal September 26, 2016 at 4:00 pm

ksabhatia,, Venkatraman, Hans and other
All of you have enriched this post with so much Cricket culture brought in, that it seems for the New Post we will have to find Kabbadi or Football or some other game.

Hans is it is a stroke of genius, that you have now introduced delightful songs of “MummyDaddy” presents a new race.

Here is the word Genius Etymologied at the Google:
“In ancient Rome, the genius (plural in Latin genii) was the guiding spirit or tutelary deity of a person, family (gens), or place (genius loci).[2] The noun is related to the Latin verb genui, genitus, “to bring into being, create, produce”, as well as to the Greek word for birth.[3] Because the achievements of exceptional individuals seemed to indicate the presence of a particularly powerful genius, by the time of Augustus, the word began to acquire its secondary meaning of “inspiration, talent”

Shalan La

103 ksbhatia September 26, 2016 at 11:01 pm

Ms. Shalan Lal ;
Thanks for your kind words. Cricket is a clean gentleman game and that is why it is played in white outfits . During pre and post british period [till 60s ] even the ladies used to watch cricket match in white gowns and other outfits . Ladies siting on white caned chairs in enclosures bound by white picket fences were the deferectors for the viewers and players as well. The like of the famous white dress and beautiful hat worn by Audery Hepbern in Horse racing scene in My Fair Lady.

In Music world , James Last is known as Gentleman of Music . I think in this blog we have two Gentlemen of songs …..Hans ji and Venkatraman ji. who played the cricket very well .

104 ksbhatia September 27, 2016 at 1:01 pm

Ms. Shalan Lal ;

Though the match is over and India having won the match , still I can’t hold myself in contributing some classic down the ground shots . Here are few more runs from the nets….

1. A proxy ched chad thru beautiful dance and song

Balamwa bolo na bolo na…..Lata….Picnic…S. Mohinder

2.Another song of the same kind

Chali kaun se desh…..Asha, Talat….Boot Polish….SJ

3.Another beautiful proxy song from the master craftsman Salil Chaudhary

Meri waffaiyen teri jaffayein…..Asha…Amaanat…..Salil Chaudhary

4.A vintage ched chad

Udtey huye panchi….Suraiya , noor Mohd. Charlie….Sanjog[1943]…Naushad

5.Ched by a group thru qawaali

Aaj kyun humse parda hai….Rafi, Balbir….Sadhana…..N. Dutta

6.Direct ched chad

Zara nazaroan se kahe do ji….Hemant…Bees Saal Baad….Hemant

7.Another master composition ched chad song from salil Chaudhary

Banki adaiyen dekhna ji dekhna….Geeta Dutt…Ammanat….Salil

8.Ched chad on street

Kaun gali ka chhora….Raaj Kumari, Noor Mohd. …Sanjog [1943]…Naushad

9. Another direct ched

Taarsi huiyen hain…..Ashok Kumar…Najma[1943]….Parul Ghosh[?]

10. Ched chad on Tonga [ Missing Rangan ji in this post]

Prem ke tange pe….Singers[?]…Tigress[1948]…..Chitra gupt

….to be contd….

105 N Venkataraman September 27, 2016 at 3:18 pm

Thanks a lot. You were generous in your hospitality as a host, albeit most of your cheering during the lemon breaks was reserved for the batsman, Bhatiaji. But that always happens in cricket.

Cricket and Chhed Chhad songs go well together. Akji has done a post on 1st April 2011 on this theme.

And the song She’ ne khela ‘he’ se aaj cricket match can be considered as a chhed chad song.

106 N Venkataraman September 27, 2016 at 3:24 pm

How well you bowl, usually the scales weigh in favour of the batsmen. Compared to a century, even a 5/6 wickets haul does not fetch the bowler,the MoM. I found the same holds true when I tried to search for some songs dedicated to bowlers/spinners. I could find only one on Fred Titmus, but not a very impressive one.

Here is an interesting song, where Bret Lee, the Australian fast bowler lends his voice. This may qualify as a chhed Chhad song too. I dedicate this song to you.

Can you tell a girl you don’t know that you’re the one for me by Brett Lee and Asha Bhosle, Album: Asha & friends, lyrics Brett Lee, music composer Shamir Tandon

107 N Venkataraman September 27, 2016 at 3:27 pm

Thank you for the appreciative words. I am glad that you enjoyed the songs posted by me.

I found songs dedicated to three of the greatest batsmen, Don Bradman, Vivian Richards and Sunil Gavaskar. I dedicate the following calypso to you.

It was Bhatia (ji)
De real master
Just like a wall
We couldn’t out Bhatia (ji) at all, not at all
You know we couldn’t out Bhatia(ji) at all

‘A lovely day for cricket blue skies and gentle breeze’, writer, singer and musician Lord Relator

108 ksbhatia September 27, 2016 at 11:30 pm

Venkatraman ji ;

Oh ! Venkat ji , I am deeply moved by your Lovely five liner lyrical song which I think goes to every one who passionately followed the game of cricket vis a vis contributing a wealth of some very beautiful hidden gems and jewels of songs. Lord Relater song is superb and what a praise he showered on the great little master.

Myself during my I I T days either used to open or played one down .I used to enjoy playing new ball when it appeared fully red and shinning as well . There were good fast ballers who really could swing the ball both ways . Only player to dare face the wrath was allowed to open the innings. This passion came to me watching the documentaries on cricket test matches between india and west indies of the 60s . At that time Hall and Gilchrist were fast bowlers who could shatter all hopes for the opponents of winning the game . They were my fav. players. From Indian side I love to watch Umrigar , Hazare , Sardesai and Vijay Manjerekar. Later on Gavasker and Vishwanath got added in my List of fav. Of course trio of Bedi, Prasana and Venkatraman were dodging spinners of all time. Before that Gupte and Nadkarni did some splendid economical bowling .

Here is one more vintage song to keep the spirit of cricket alive….at a leisure pace…

Bharne de mohe nir…..Devika rani, Ashok Kumar….Izzat[1937]…Saraswati Devi

109 Hans September 28, 2016 at 12:40 am

Thanks for your praise, but dont compare me with these spinners who are called spinners because everybody in the world has forgotten how to play spin. We all are posting songs of golden and vintage eras, so why not talk about Bedi, Prasanna, Chandra and Venkat. You know people like P. Shivalkar – who still has the Bombay record for the most Ranji wickets – and Rajinder Goel – who has the all-India record for Ranji wickets – could not play a single test for India because of this quartet. In our times there were a lot of such ‘ek aane ke teen’ spinners in every State. In my hometown there was a Bengali boy Tapan Bhattacharya who used to bowl much better off-spin than Ashwin.

As regards your comment that cricket is a gentlemen’s game, I dont agree at all. Cricket can be called a gentlemen’s game only if we define a gentleman as the one who plays cricket. If you will say that it was earlier a gentlemen’s game, that is also not true. There are stories about WG Grace – the grand old man of the game – that say that he refused to leave the crease even when the umpires had given him out and it were the umpires who had to keep mum. The bodyline series came as early as 1932-33, which was a shame to any game, leave alone cricket. In fact, when England had the lethal pair of Trueman and Statham, the Windies complained against the intimidatory bowling and the whole press and British commentators said cricket is not a game for sissies (meaning ladies). But, when the same Windies had the famed pace quartet in the team and ten more waiting in the wings, there were comments that some day someone will be killed on the cricket field. England and Australia combined to apply the restriction on bouncers per over.

It is good you are continuing with songs. There is no match for posting of the songs, they can be posted at any time even after 4 years, if they fulfil the criteria.

110 Hans September 28, 2016 at 12:55 am

I watched again all of your panjabi songs, they are all marvellous. ‘Katiya karun teri roon’ was new to me. In fact, in panjabi songs there was so much emphasis on fun that every song except the sad songs could be put in the chhed-chhad category. Your focus on Madan Mohan is also relevant because, he has been restricted in the ghazal king category by critics. Raju Bharatan has in his book on Lata even said something to the effect that it would have been better if he had not restricted himself to Lata only. This was far from the truth. You know AK had also done a post on the other Madan Mohan.

Regarding Shalanji’s praise for Bhatiaji, I think he deserves it because in the last year and more he has almost single handed taken care of the song posting department and he can be justifiably called the ‘poster boy’.

111 Hans September 28, 2016 at 1:12 am

Thanks for your kind words. If we were to name genius or genii there would a number of that sort. You and AK have visualised this genius post. My only contribution is that I love such songs and regularly watch such clips so they come to mind, sometimes in groups. Actually, I had made the groups to put them at one place and also encourage others to post such songs from their remembrance. The true genius were those who created these situations and songs and that is why the era is called golder era. Alas, there are no such songs now.

112 Shalan Lal September 28, 2016 at 2:32 pm

Dear all from 1 to 12 presently

I am thrilled to see so much fellowship and bowling and batting and rememebering that another Venkat from the lost time or the time that has forgotten the great ones, oh! what a wonderful people you are all!

About Cricket as the Gentleman’s game I ditto Hans @10. he took all the goodies from my mouth.

In English there is a phrase “It’s not cricket” meaning the game is not played in the good game sense. It could be said about the present state of the International and Indian Cricket as well that “It’s not cricket”.

However the womsn’s cricket is clean for the time being and it is not sissy.

You wonderful people throw light on so many areas.

Thanks again for making the post wide and deep!


P.S. Those songs that Venkatraman found and the one he made is very pleasing.

113 Hans September 29, 2016 at 12:38 am

Today is Lata’s birthday. Here is a bunch of her chhed-chhad flowers (solo).

1. Tie laga ke mana ban gaye janab hero – Bhabhi
2. Chori chori meri gali aana hai bura – Jaal
3. Surat hasin lagta hai deewana – Budtameez
4. Wo to rutha hai mana lenge – Jwar Bhata
5. Tujhe dil ki baat bata doon – Main Sundar Hoon

114 ksbhatia September 29, 2016 at 2:52 pm

Hans ji;
Tagging me as Poster Boy made me a good laugh . I was wondering who could be a Spot Boy ? Yes you guessed it right . You have this exceptional knack of posting songs that come thru your search and making into small mini subject as appendix to the main theme.

In your above current series , Lata’s song from Jaal….chori chori meri gali aana hai buraa….is my fav. The song carries the sea breeze that reminds me of Goa. S D Burman gave an exceptional composition in all the songs where Lata and Hemant were also too good .

115 Nasreen September 29, 2016 at 7:16 pm

Venkat-ji, I did not see your response to my post until just recently, I think yesterday, so my apologies. I am very impressed that you know so much about bangla films too. Your knowledge is vast, that is obvious. I just did not expect it to extend to bengali films and music, but that’s my own unjust presumption.

Thank you for including the numerous clips you did. I actually have “Teen Kanya” at home (bought from “Music World” in Park Street, Kolkata – just couldn’t resist ‘owning’ it, I suppose 🙂 Now Music World doesn’t even exist anymore due to a fire some years ago – and you probably know about it all, seeing that you are so familiar with the language of Kolkata.

Anyway, do you think I’ve watched it even once after that first magical time when we all sat and watched together at home when it was screened on Doordarshan. Well, of course not! “Monihaar” was so scary!!

But your clips were a blast from the past, particularly the song “jibone ki pabo na”. I had totally forgotten it. But used to know it and sing it too as a much younger person, in that same debonair way as Manna Dey, not caring that I was not meant to sing so like a man.
And it strikes me too that “Manna da”is invariably the singer of all these upbeat bangla songs. His hindi songs are a bit different.

Anyway, I just wanted to acknowledge your wonderful response and say “Thank You so much” 🙂

116 N Venkataraman September 30, 2016 at 4:17 pm

Nasreen ji,
You are welcome.
Thanks for the acknowledgement and appreciative words.

117 ksbhatia October 3, 2016 at 11:32 pm

Ms. Shalan Lal ;

The Second Test also goes India’s way and to celebrate I am posting two vintage songs from a 1942 movie Jhula . Mumtaz Ali again dance to the tune of Sarswasti Devi in both the songs .

1. Aaj humrey raja ki sagai hai

2.Main to dilli se dulhan laya re

118 ksbhatia October 12, 2016 at 8:28 am

… continuation two more chhed chhad songs from the vintage era ….

1.Bangalli babu rahe jaye to bada majja hoye….Saubhagaya sundari[1933]….Zorabai Ambalewali….Pransukh nayak

2. O raza hamen na neharo….Balwant singh, Lalita Deulkar….Navjeevan[1939]…..Saraswati Devi

119 N Venkataraman December 16, 2016 at 7:59 am


I thank you very much for your profuse praise. In effect, you have presented a wonderful review to my post. You have competently explained the importance of contextual relevance while presenting our point of view. Advice and appreciation from a fellow writer with deep knowledge of literature, arts and music is ever welcome, but veneration…. ?????!!!!!

Thanks once again.

120 N Venkataraman December 16, 2016 at 8:01 am

I am sorry . This response was meant for the post on MS.

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