Film songs in classical ragas (11) – The evocative duo: Mand and Shivranjani

Guest article by Subodh Agrawal

(When Subodh came back after a long hiatus with his post on Bihag, he had promised us that he would now be more regular. He keeps his promise with another excellent piece on Mand and Shivranjani. ‘Kesariya balam’ has made everyone familiar with Mand. As for Shivranjani, the readers may recall a scene in ‘Bheja Fry’ when Vinay Pathak and Milind Soman go in raptures discussing Shankar-Jaikishan’s special fondness for this raga. It is Subodh’s creativity to find a connection between the two ragas. I have to also especially thank his wife Renu for the beautiful painting ‘Rajastahani flute player’ which I have used as the thumbnail for this article. Incidentally, the readers must have noticed that 2017 has turned out to be a Festival of Guest Authors, with entire January and February taken by guest articles.  Our venerable Arunkumar Deshmukh has already acclaimed it as SoY’s growing popularity among serious music lovers. – AK)

Rajasthani flute playerThere is not much in common between Mand and Shivranjani as far as their structure goes. The reason I have clubbed them in this post is the mood they both evoke – like a spirit calling out to another across the divide that separates this world from the other. Both strongly evoke longing and the pain of separation. Another raga that evokes the same mood is Pahadi, and I had once thought of clubbing the three in one post. However, Pahadi is a great favourite of Hindi film music directors and one full post (third in this series) dedicated to that raga could barely accommodate a fraction of great songs in it.

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Hundreds of shades of Pyaar

Wishing the readers a very happy Valentine’s Day with guest article by Shalan Lal

(Today on Valentine’s Day, love is in the air everywhere. Love of mushy messages; of roses and chocolates; of romance and togetherness. ‘Genre’-theorists hold that the concept of genre is not relevant for Indian films, as all our films are essentially musical romances. Thus, right from the beginning of the talkies we had love songs aplenty in our films. On Songs of Yore, I have explored some variants of love: New Theatres’ Prem’ which was deeply spiritual; the intelligent woman’s romance for the dunce etc. Its converse is the attraction women have for the ‘zulmi’ or ‘bedardi’.

The ‘bedardi balma’s in our songs are naughty and playful, but not mean or vicious. However, taking off from Subodh’s query as to why the women in our films find men with such negative qualities attractive, Shalan Lal explores the darker side of love based on domination by men over women in literature, arts and films. Her thesis may jolt you and you may find the narration discordant to the occasion, but her selection of songs is quite benign depicting love with many shades. Her research is as usual very exhaustive. I wish the readers a very happy Valentine’s Day with this befitting piece by Shalan Lal. Thank you Shalan.AK)

Pyar hua iqaraar huaThe Hindi word “Pyaar” evolved out of the Sanskrit word “Prem”, so says the “Hindi Shabd Saagar”, the mammoth Hindi word dictionary in many volumes, published by the Nagari Prachaarini Sabha of Varanasi in 1933. It has had many reprints, and revised editions. AK has written a wonderful post on “Prem” and called it New Theatres’ romance with Prem. And he has interpreted the songs of love by the New Theatres’ composers, lyricists, singers and actors who presented them as he said, “The New Theatres took love to entirely unexpected heights. It was not merely a matter of semantics that pyar, mohabbat, ishq, for them was Prem or Preet. It also denoted for them something deeply spiritual, other-worldly and supremely blissful.”

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Flowers bloom in Bollywood

Guest article by DP Rangan

(Someone suggested a post on flower songs, Hans offered to compile a list of such songs, and our man of many flowers, the evergreen and eternal romantic, DP Rangan, offered to write a post. And here we are.

Flowers are a common motif across cultures with a variety of associations – from offering in pujas, to greetings for all occasions, to decorations, to expression of love, to varmala, to funeral wreath etc. The wilted flower can also denote sadness of a lady whose lover is away. Bollywood found another use during its prudish phase when two flowers touching each other due to breeze signified intimacy between the leading couple hiding behind the bushes. Mr Rangan explores through film songs several of these emotions and moods. His write-up shows his usual in-depth research of the subject. As we welcome the onset of spring with blooming of myriad flowers, let us enjoy another fine post by Mr Rangan with thanks to him. – AK)

FlowersThe mere sight of flowers lining the roads and pathways sends us into a tailspin of unbounded joy and uplifts us into a higher plane of existence. When we see them spread all over the meadow or covering bushes and trees in full bloom with resplendent hues and colours, our spirit is uplifted and romantic illusions start building up. Flowers in splendid array affect human beings in a myriad ways and we all succumb to its magic of seduction to forget our day to day worries and travails and be a part of the magic world they entice us to.

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The three distinct phases of OP Nayyar’s career

A tribute to OP Nayyar on his 10th death anniversary (16 January 1926 – 28 January 2007) by guest author Ravindra Kelkar (After I had written on OP Nayyar’s best songs for Mahendra Kapoor, Rafi, Shamshad Begum and Asha Bhosle, I had no intention of writing any more on him. But the readers’ clamour for ‘YeREAD THE FULL ARTICLE

Film Songs Based on Classical Ragas (10) – Bihag and its family

Guest article by Subodh Agrawal

(Subodh makes an appearance as a guest author after about two years, of which I am responsible for a few months in scheduling his article. He makes up for it by presenting a selection of film songs and classical pieces which best represent Bihag and its variants.  As he explains, Bihag is the raga of love in its myriad forms: Happy, sad, expectant, despondent etc. His writing is as usual sure, fluent and crisp, and demystifies the raga for the lay listeners. Thank you, Subodh for another excellent article in your series, hoping, as you are assuring us, that we would now be getting offerings from you regularly. – AK) 

Bihag_Tere sur aur mere geetLet me begin with a few words of apology and explanation. The last article in this series appeared about two years back. Readers of SoY and AK have often egged me to get back into action, but I have not been able to respond. Most of last year was lost to my habitual laziness. I thought of starting again with the New Year but then a series of problems with my internet connection alternating with problems with my own health took care of most of this year. Fortunately, I have recovered fully now and the internet also seems to be in a good mood for the past couple of weeks, so here is my much belated post in this series.

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Forgotten Composers Unforgettable Melodies (11): Dilip Dholakia

Dilip Dholakia? D. Dilip? Dilip Rai? – A Singer or A Music Director or A Music Arranger?

A tribute to Dilip Dholakia on his 6th death anniversary (15 October 1921 – 2 January 2011) by guest author Ashok M Vaishnav

(Hindi film music attracted talents from different regional languages and musical traditions.  Some, especially from Bengal, achieved great success and, in fact, became known as founding fathers of Hindi film music, such as RC Boral, Pankaj Mullick, Anil Biswas and, later, SD Burman, Hemant Kumar and Salil Chaudhary.  Stalwarts from some other regional languages, such as Gujarati, could not achieve the same success. Dilip Dholakia is one such doyen from Gujarat who in Hindi film music is primarily known as assistant to Chitragupta.  Ashok Vaishnav introduces us to many unknown aspects of this multi-faceted talent.  Earlier, he had written an excellent article on another doyen from Gujarat, Avinash Vyas. This is an important addition in the series on Forgotten Composers Unforgottable Melodies.  Thank you Ashokji for this enlightening article as a tribute on the 6th death anniversary of Dilip Dholakia which was a few days ago. – AK)

Dilip DholakiaThose who are familiar with any aspect of Dilip Dholakia’s world of music probably may know of him by any one of these names that he used for his different music career roles. For Hindi Film’s mundane history, Dilip Dholakia (Born: 15 October 1921 / Death: 2 January 2011) was probably noticed more as an assistant to Chitragupta or S N Tripathi or to the music-duo Laxmikant Pyarelal. And yet, Dilip Dholakia remained all of singer, music director, music arranger and at times even lyricist and an actor, during his active career. Probably that is the reason the lady luck did for not favour him with great worldly success in any one field!

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Steam behemoth rides in Bollywood

Wishing everyone a very Happy New Year with guest article by DP Rangan

(Steam engines are everyone’s childhood romance.  The billowing smoke, the speck of light becoming bigger, the strange rhythmic sound of the wheels clanking with the rails, and a gentle tremor as the train chugged into the station, were a source of wonder not only for the children, but also for the adults. Waiting for the train was as exciting as the journey itself. Those days ‘people like us’ did not travel by planes. With air travel becoming middle class, and the modern diesel/electric-powered successors of the steam engine entering the station quietly, the train journey has been denuded of a great deal of its charm. Taking us on a nostalgia-trip is our seventy-plus-but-eternally-young DP Rangan, who packs in a massive amount of research into the origin of the steam engines, interesting trivia and their uses in films and songs all over the world.  One couldn’t ask for a better New  Year gift. I am delighted to wish the readers a very Happy New Year with this guest article by Mr. Rangan. Than you, Mr. Rangan. – AK)

World's Oldest Fairy Queen Steam Locomotive EIR 22The little boy standing at the railway platform with his uncle is completely entranced. As a 7 year old, he is going on a rail journey to the great metropolis Madras, capital of the Madras Presidency, with his uncle. He is keenly gazing at the distant spot where he expects the steam engine to emerge. Suddenly, he sees a dark shape hurtling towards him belching smoke and steam with a tell-tale rhythm peculiar to the steam engines. He is quite close to the edge ignoring his uncle’s warnings. As the engine rushes past him with passenger cars in tow, he is pulled back by his alarmed uncle, but not before a fire-spark from the smokestack has burnt a nice hole in his shirt and also scorched his skin. He is all smiles and brushes off his uncle’s rebukes after they are seated in the train. His uncle does not understand the enthusiasm of his nephew and tells him he has made umpteen number of journeys by train since his birth. The boy states that this is the first time he is conscious of it and would savour every moment of it. They had to travel seated as sleepers were not invented in British days. The boy did not sleep during the whole night and was always peeping out to have look at the steam engine. He was brushing off irritating carbon specks lodged in his eyes. By the time they landed in Madras Egmore next morning, his upper half was besmirched in coal dust and his eyes were a bright red. The boy was following by sight a bunch of white cap-clad young men being shepherded by a few policemen. His uncle, a keen wit, simply remarked they were in the garb of satyagrahis protesting against British, but, in reality, were seeking His Majesty’s prison to ensure they do not starve for a few days, not at all bothered by the hard looks of passers-by. Concerned at the sorry state of his nephew, the uncle hauled him off quick to his residence where an indulgent grandmother started right away to make him look presentable. The boy could not conceal his joy when he saw railway lines close to the house. During the summer vacation he was forever watching the trains plying to and fro throughout the day. All good days come to an end and, eventually, he was back in his home town to resume his humdrum life. The boy preserved the mutilated shirt as a talisman and guarded it fiercely from being worried by his siblings. One day his mother, unable to find the usual mop cloth, picked up the fragile shirt and wiped the rough floor of the house and reduced it to tatters. The boy, on discovering it, was disconsolate for some time and kept a frosty silence with his mother. Eventually, he made peace with her, after her profuse apology, tendered from time to time for her act of inconsideration, was accepted. This is not a figment of imagination, but an episode from the life of the author. Since that tender age, I had made many journeys in trains hauled by steam engines and my fascination for them has only grown more since they were phased out of operation. I am about to unfold history of steam engine none too briefly. After my previous posts, you all must expect something of the kind. I know it is a bitter pill to swallow but would compensate it with offerings of wonderful songs to bring smiles to your faces.

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MS Subbulakshmi: A journey from Kunjamma to Meera

A tribute on MS Subbulakshmi on her birth centenary (16 September 1916 – 11 December 2004) by guest author N Venkataraman (About three months ago, there was a burst of discussion on SoY on MS Subbulaxmi, initiated by a new member RSR (RS Ramaswamy) to which many others joined. Shalan Lal posed a question whyREAD THE FULL ARTICLE

Bollywood celebrates Deepavali

Wishing Happy Diwali with guest article by DP Rangan

(Readers are now used to seeing DP Rangan’s name as a guest author regularly.  He can write faster than I can schedule him on SoY. At any point of time I have a couple of his articles in my mail. I admire his amazing enthusiasm. I am happy to present another well-written article by him containing some rare vintage Diwali songs – impressive for someone whose first language is not Hindi.  Thank you Mr Rangan for this offering of Diwali songs. – AK)

DiwaliIndia, that is Bharat as it was known in ancient days, is populated by heterogeneous group of people following their own religion. Many religions like Buddhism, Jainism flourished at one time or the other, but disappeared over time with very few or none practicing it today. Hinduism is the predominant religion followed by the populace right from the Punjab in the North to Kanyakumari in the South. Despite difference in language and custom in the country, the basic tenets of Hinduism have remained the same and one could perceive a tenuous link among Hindus across the country. Again Hinduism is not a religion in the strict sense of the term, but a way of life amidst its followers. The basic tenets of life, i.e. creation, maintenance and destruction, are represented by the triumvirate of Gods and their consorts in the Hindu religion and there are numerous festivals in honour of them. That way all religions of the world have their own festivals. Hindus celebrate more festivals in a year compared to other religions. The major festival among them are Deepavali and Dussera. The present blog will confine itself to discussion of Deepavali, and the manner of its celebration in the country.

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Bacchus in Bollywood

Guest article by DP Rangan

(The intoxicating drink as elixir of life is a part of mythology in almost all cultures. Harivansh Rai ‘Bachchan’ said that while the world celebrates Holi and Diwali only once a year, दिन को होली रात दीवाली रोज़ मनाती मधुशाला. After galloping on the High Horse, riding the tonga, and romancing with moon and stars in the night, DP Rangan ventures into the delights and sorrows of drinking. I have described him as a seventy plus-going on-seventeen, which makes him short of the minimum legal age for drinking. But this is an age when a youthful heart is filled with forbidden thoughts. In this well-researched article, typical of him, he takes us through the mythology and history of liquor and some drunken songs of Bollywood. Thank you Mr Rangan for another nice article from your inexhaustible repertoire. – AK)

Dilip Kumar and MotilalHomo sapiens have been indulging in drinks from time immemorial. There are enough records in writing or stone carving to demonstrate this fact. Our religious literature talks of Aryans drinking somras after performing yagnas. Adverse effect on health of habitual drunkards did not deter them from indulgence. It came to be accepted as a consequential hazard. History is replete with instances of kings ruining themselves by excessive drinking and also destabilising their kingdoms due to negligence of proper administration leaving it in the hands of their incompetent or even villainous henchmen. The final sufferers were the common populace.

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