The Teary-eyed Songs

Guest article by Anita Rupavataram

(Mukesh once famously sang, ‘Hazaaron tarah ke ye hote hain aansoo’ (song #5 in this post). There are literally thousands of types of tears.  Of joy, of sorrow. Of victory, of defeat. Of success, of failure. Of love, of break-up. Of parting, of union. Involuntary tears caused by music, painting, dance, theatre, cinema, sports. Anita Rupavataram makes her debut as a guest writer on SoY, with this excellent post on the songs of tears in different situations.

Anita has been a recent active participant on SoY. She herself writes an interesting blog titled, Trivia: The spice of Life. In her own words, “Trivia is what adds flavour to life. At the end of a day, when you sit back and reflect, what you rejoice and reminisce are the little things that occurred which made your day – a small thank you message from a friend, a song that you heard after years, a parrot that you saw perched on a branch outside your window – the list could be endless. It is this trivia that distinguishes one day of life from another.”

With her busy professional career, being a homemaker, mother to two daughters, amateur singer,  part-time Radio Jockey, an aficionado of handlooms and handicrafts, writer of a blog, Anita is truly a Multitasker as she describes herself on her blog. She has quite an insight into literature. I was pleasantly surprised by her offer to write an article for SoY, which she could very well have done for her own blog.

It was a pleasure to interact with her in the course of preparing for this post. She was very receptive to my random ideas, even if these came after she had done and dusted her final draft and had already mailed it to me. Coming soon after our collective grief on the passing away of Lata Mangeshkar, this is a very timely post. I have great pleasure in welcoming and presenting before the readers a new guest author. – AK)

Have you ever wondered why we cry? Albert Smith, an English international footballer once said, “tears are the safety valve of the heart when too much pressure is laid on it.” Tears release stress-relieving hormones. Once copious tears have been shed, one feels much better, with all the pent up emotions having found a vent. I am reminded of Alfred Lord Tennyson’s famous lines for a woman who has lost her husband in war. She is unmoved, even after seeing his mortal remains. The maidens around her say, “She must weep or she will die.” This line, perhaps, consummately sums up the significance of tears.

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Lata Mangeshkar Lives Forever

The story of my deep romance for Lata Mangeshkar (28.9.1929 – 6.2.2022)

Lata MangeshkarLata Mangeshkar is no more – her mortal body that is. She was over 92, she had been in and out of hospital in recent days, and had been on ventilator support for her last couple of days. This was bound to happen some day – जातस्य हि ध्रुवो मृत्युः. But can she ever go out of our lives? I don’t remember a time when I was not aware of her songs, nor can I think of a time when her voice would vanish from the face of the earth.

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Romancing the Jaadugar Balma

Jadugar qatilBy now the regular readers of the SOY can easily answer if Amitabh Bachchan were to ask on KBC, बलमा के कितने प्रमुख प्रकार हैं? It is sad that this season of KBC has come to an end; if it is revived, he might some day ask this question! We have met with anaari, pardesi, ajanabi, and beimaan balmas. It is difficult to make an exhaustive list of the several types of ‘balmas’ found in our films – in which category would you put the ‘Balma’ Shakti Kapoor in Chaalbaaz (1989)?. But there is one major category, Jaadugar Balma/Baalma, which was quite ubiquitous in our films once, and quite distinct from the other forms covered on SOY. These categories are not watertight compartments. There are shades of meaning and the context which may overlap in more than one category. In my last post on the ‘Beimaan baalma’, many readers posted songs which were closer to ‘Jaadugar baalma’, and I had to be careful not to let out this planned post.

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Romancing the Rogue or Songs of Beiman Balma

Wishing everyone a very Happy New Year

Bedardi baalmaReaders would recall that one favourite of our film heroines was the Dunce, who went by various names such as anari balma, naadan balma, bhole balam etc. Raj Kapoor was the leading light of the type, followed by Bharat Bhushan. They were clueless about the girls, which was a part of their charm. The girls would patiently woo them and teach them about the birds and bees. They would sing songs which we have seen in Romancing the Dunce.

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Mohammad Rafi’s Non-film Hindi Geets and Ghazals

A tribute to Mohammad Rafi on his 97th Birth Anniversary (b. December 24, 1924 – d. July 31, 1980) by guest author Ashok M Vaishnav and wishing Merry Christmas to all

(Ashok M Vaishnav is a solid Rafi fan, without wearing it as a medallion, and without picking up a sword to slay anyone at the slightest suspicion that he might be slighting Rafi. His love for Rafi is evident in this article on his non-film geets and ghazals. This does not cover his non-film bhajans and naats. Therefore, there is a possibility that at some opportune time Ashokji might have plans for covering that too.

Ashokji is a retired engineer, now a freelance management trainer, based out of Ahmedabad. He has written a number of guest articles on SOY. He anchored the mega series on Multiple Version Songs. Thank you Ashokji for this impressive tribute to Rafi on his 97th Birth anniversary, which would be befittingly the last post of the year. This is also to wish Merry Christmas to all the readers and their families. – AK)

In the 1930s and 40s, it was a normal practice for the recording companies to contract singers with exclusive rights. That would require other companies to launch non-film songs with other singers to make their presence felt in the market. That probably laid the foundation of the practice of publishing the records of non-film songs. By the turn of the 1940s, the singers turned freelancers, hence the major recording companies took up to buying the rights of the entire album of the films. That again led the smaller players to approach the singers for recording non-film songs. In the 1950s, 60s and thereafter, the market forces kept changing the rules, but non-film songs had created such a niche for themselves that the genre has survived and thrived. (A contra view: Jagmohan, Juthika Roy, etc. emerged primarily as NFS singers. It is difficult to accept that they became NFS singers because leftovers came their way. –AK)

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Book review: ‘Yesterday’s Melodies Today’s Memories’

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Yesterday’s Melodies Today’s Memories
by Manek Premchand
1st Edition 2003
2nd Edition 2004
3rd Updated Edition: 2018
Notion Press, Chennai

A book review is generally meaningful when the book has come fresh out of the mint. But there are a number of reasons why it is never too late to review ‘Yesterday’s Melodies Today’s Memories’ (YMTM) on this forum. YMTM had made quite a splash when it came out and it has since remained quite popular. Book Review is not a regular feature on this blog. A reader Shachindra Prasad suggested that I review well-known books on Hindi film music, and I recall that he also mentioned this book. But the most important reason for me is that, true to its title, it is so much like Songs of Yore. The tagline of this blog says “A tribute to old film music. Songs of the 30s through 60s”. And Manekji says in the first line of his introduction to the book that it is “essentially about the many creative individuals whose genius produced unforgettable Hindi film songs from 1931 to 1970, and specifically between the years 1947 and 1970”. There couldn’t have been a better fit than this book for review on SOY.

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Rajendra Krishna with Chitragupta and Ravi: Reaching for the skies

Guest article by Hans Jakhar in continuation of his series on Rajendra Krishna

(When some readers observed that the lyricists have not been give their due importance on SOY, Hans Jakhar offered to write a series of articles on Rajendra Krishna’s combination with different music directors. He has already written two articles in the series on his association with two of his most famous combinations – with C Ramchandra and Madan Mohan. Continuing the series, in this article he covers Rajendra Krishna’s prolific combination with two other music directors, Chitragupta and Ravi. Among his several guest articles, he had earlier written on Shakeel Badayuni’s combination with Ravi.

Not everyone relates to lyrics as intensely as Hans Jakhar does. In most music lovers’ mind a great song is associated with the voice (singer) and the tune (music director). We often lose sight of the contribution of the lyricist, except for a very few prominent ones. Hans has shown his special expertise in analysing the lyrics of a song.

Once Hans takes up a work, he does a thorough job of it in spite of time constraints. He has done this article in face of his personal difficulties. Thank you Hans for another thorough article on a lyricist-music director combination. – AK)

Rajendra Krishna with Chitragupta and RaviWith Chitragupta and Ravi we move into the Rafi territory. It is not that C Ramchandra (CR) or Madan Mohan (MM) did not use Rafi enough, but their main focus was Lata Mangeshkar. CR did not care for Rafi after he got settled with Lata Mangeshkar, and even for MM, Rafi was in an assisting role. When in the 1960s MM used Rafi on a larger scale his use of Rajendra Krishna declined due to Raja Mehdi Ali Khan and Kaifi Azmi getting the lion’s share of good Rafi songs in that phase of his association with MM.

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The out of sight genius Hansraj Behl

A tribute to the great Master Hansraj Behl (19 November 1916 – 20 May 1984) on his 105th birth anniversary

Hansraj BehlA fellow-blogger and SOY regular, Anup (Mehfil Mein Meri), has written an exhaustive series on Lata Mangeshkar’s songs for relatively unknown composers. He did a very sincere job, but some of us were taken aback by inclusion of music directors like Khemchand Prakash, Ghulam Mohammad and Hansraj Behl in the list of ‘unknown’ composers. Khemchand Prakash is among the undisputed greats of the vintage era, and was instrumental in catapulting Lata Mangeshkar to great fame with his Chanda re ja re ja re and Ayega aanewala. Ghulam Mohammad has been well-recognised as an unlucky genius. I have written on both of them. Hansraj Behl has been an equally talented composer whose Chanda gaye pardes chakori aaj ro ro mare (Chakori, 1949) was among the songs that caused Lata Mangeshkar Tsunami in 1949. That was not a flash in the pan, he went on to compose several all-time great songs for her and other major playback singers throughout the Golden Era. Therefore, finding his name among ‘unknown’ composers struck me as odd and I have been intending to write on him since. Yet, I must make it clear that it is not to rebut Anup’s labelling because he explained that for many in the new generation, their awareness does not go beyond the most famous names.

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Songs of women for the women by the women

Wishing the readers a very Happy Chhath festival

Aao ri suhagan nariMy fellow bloggers Madhu and Anu are apt to say, no sooner do you put two women together in our films than they start singing. There must be something about women and singing – female solos outnumber male solos by more than three times, and female duets outnumber male duets likewise. Therefore, if there are several women together that should instantly lit a spark for singing. And that is what happens in our culture, which has sanskars and rituals from birth till the end of life, all accompanied by women’s songs.

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