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Showing posts with label Dosti. Show all posts
Showing posts with label Dosti. Show all posts

Sunday, July 11, 2010

631. Philosophical Song of Rafi: Jaane waalon zaraa...

Movie: DOSTI (1964)
Lyrics: Majrooh Sultanpuri
Music: Laxmikant-Pyarelal


Philosophical/Didactic Song of Rafi: The very popular: Jaane waalo.n zaraa...
Roman Transliteration/English Translation of the original Hindi-Urdu lyrics:


O~~~~~~O~~~~


jaane waalo.n zaraa~~
O PASSERS-BY! WOULD YOU JUST....


mu.D ke dekho mujhe,
TURN AROUND AND LOOK AT ME,


ek insaan hoo.n,  mai.n tumhaaree taraah,
I’M A HUMAN BEING, LIKE YOU,


jaane waalo.n zaraa,
O PASSERS-BY! WOULD YOU JUST


mu.D ke dekho mujhe,
TURN AROUND AND LOOK AT ME,


ek insaan hoo.n,  mai.n tumhaaree taraah,
I’M A HUMAN BEING, LIKE YOU,


jisne sab ko rachaa,  apne hee roop se,
THE ONE WHO’S CREATED EVERY ONE IN HIS OWN IMAGE,


us kee pehchaan hoo.n,  mai.n tumhaaree taraah,
I’M A SIGN OF HIS RECOGNITION, LIKE YOU,


jaane waalo.n zaraa….
O PASSERS-BY! WOULD YOU JUST...


is anokhe jagat kee mai.n taqdeer hoo.n,
OF THIS STRANGE WORLD, I’M THE DESTINY,


is anokhe jagat kee mai.n taqdeer hoo.n,
OF THIS STRANGE WORLD, I’M THE DESTINY,


mai.n vidhaataa ke haatho.n kee, tasveer hoo.n,
OF THE CREATOR’S OWN HAND, I’M A PICTURE,


ek tasveer hoo.n,
I’M A PICTURE,


is jahaa.n ke liye,
FOR THIS WORLD,


dhartee maa ke liye,
FOR THE MOTHER EARTH


shiv kaa vardaan hoo.n,  mai.n tumhaaree taraah,
A SHIVA’S BOON I’M, LIKE YOU,


jaane waalo.n zaraa…
O PASSERS-BY! WOULD YOU JUST....


mann ke andar chhipaaye milan kee lagan,
HIDING IN MIND, THE LONGING FOR THE UNION,


mann ke andar chhipaaye, milan kee lagan,
HIDING IN MIND, THE LONGING FOR THE UNION,


apne sooraj se hoo.n, ek bichha.Dee kiran,
I’M A STRAY BEAM OF MY SUN,


ek bichha.Dee kiran,
A STRAY BEAM,


phir rahaa hoo.n bhaTaktaa,
BEING ASTRAY, I’M WANDERING ABOUT


mai.n yahaa.n se wahaa.n,
FROM HERE TO THERE,


aur pareshaan hoo.n, mai.n tumhaaree taraah,
AND PERPLEXED AM I, LIKE YOU,


jaane waalo.n zaraa…
O PASSERS-BY! WOULD YOU JUST...


mere paas aao chho.Do yeh, saaraa bharam,
COME TO ME, ABANDON YE ALL MISGIVINGS!


mere paas aao chho.Do yeh, saaraa bharam,
COME TO ME, ABANDON YE ALL MISGIVINGS!


jo meraa dukh vohee, hai tumhaaree bhee gham,
THE SORROWS OF MINE ARE YOUR ANGST TOO,


hai tumhaaraa bhee gham,
ARE YOUR ANGST TOO,


dekhtaa hoo.n tumeh,
I SEE YOU,


jaantaa hoo.n tumeh,
I KNOW YOU,


laakh anjaan hoo.n, mai.n tumhaaree taraah,
MUCH IGNORANT AM  I,  LIKE YOU,


jaane waalo.n zaraa,
O PASSERS-BY! WOULD YOU JUST


mu.D ke dekho mujhe,
TURN AROUND AND LOOK AT ME,


ek insaan hoo.n, mai.n tumhaaree taraah,
I’M A HUMAN BEING, LIKE YOU,


jisne sab ko rachaa, apne hee roop se,
THE ONE WHO HAS CREATED EVERY ONE IN HIS OWN IMAGE,


us kee pehchaan hoo.n, mai.n tumhaaree taraah,
I’M A SIGN OF HIS RECOGNITION, LIKE YOU,


jaane waalo.n zaraa….
O PASSERS-BY! WOULD YOU JUST...


hmmm, hmmm, hmmm. hmmm


NASIR


“You are not a human being in search of a spiritual experience. You are a spiritual being immersed in a human experience.” Teilhard de Chardin


Friday, July 9, 2010

630. Philosophical Song of Rafi: Raahi manwaa dukh ki chinta...

Movie: DOSTI (1964)

Lyrics: Majrooh Sultanpuri
Music: Laxmikant-Pyarelal


Philosophical/Didactic Song of Rafi, the ever-popular: Raahee manwaa dukh kee chintaa…
Roman Transliteration/English Translation of the original Hindi-Urdu Lyrics:


dukh ho yaa sukh,
WHETHER ‘TIS GRIEF OR JOY,


jab sadaa sa.ng rahe naa koye,
AS NONE OF THESE STAYS ALONG EVER,


phir dukh ko apanaaiye,
THEN ADOPT GRIEF,


ke jaaye toh dukh naa hoye….
SO AT ITS DEPARTURE, THERE REMAINS NO GRIEF!


raahee manvaa dukh kee chi.ntaa kyoo.n, sataatee hai
O WAYFARER, WHY DOES THE GRIEF WORRY YOUR MIND,


dukh toh apnaa saathee hai,
GRIEF IS OUR COMPANION!


raahee manvaa dukh kee chi.ntaa kyoo.n, sataatee hai
O WAYFARER, WHY DOES THE GRIEF WORRY YOUR MIND,


dukh toh apnaa saathee hai,
GRIEF IS OUR COMPANION!


sukh hai ik chhaa.nv Dhaltee,
JOY IS A TRANSITORY SHADE,


aatee hai jaatee hai
IT COMES AND GOES,


dukh to apnaa saathee hai,
GRIEF IS OUR COMPANION!


raahee manvaa dukh kee chi.ntaa kyoo.n, sataatee hai
O WAYFARER, WHY DOES THE GRIEF WORRY YOUR MIND,


dukh toh apnaa saathee hai,
GRIEF IS OUR COMPANION!


duur hai ma.nzil duur sahee,
FAR IS THE DESTINATION, FAR ALRIGHT!


pyaar hamaaraa kyaa kam hai,
OUR LOVE’S NOT LACKING,


pag me.n kaa.nTe laakh sahee,
UMPTEEN PRICKLES OUR FEET MAY BEAR,


par yeh sahaaraa kyaa kam hai,
BUT IS THIS SUPPORT LESS THAT


hamraah tere koee, apnaa toh hai,
ALONG WITH YOU THERE’S SOMEONE YOUR OWN!


hamraah tere koee, apnaa toh hai,
ALONG WITH YOU THERE’S SOMEONE YOUR OWN!


Oh~~~~


sukh hai ik chhaa.nv Dhaltee,
JOY IS A TRANSITORY SHADE,


aatee hai jaatee hai,
IT COMES AND GOES,


dukh toh apnaa saathee hai,
GRIEF IS OUR COMPANION!


raahee manvaa dukh kee chi.ntaa kyoo.n, sataatee hai
O WAYFARER, WHY DOES THE GRIEF WORRY YOUR MIND,


dukh toh apnaa saathee hai,
GRIEF IS OUR COMPANION!


dukh ho koee tab jab jalte hai.n,
AS SOME SORROW STRIKES, THEN GLOWS


path ke deep nigaaho.n me.n,
THE PATH’S LAMPS IN SIGHTS,


itnee ba.Dee is duniyaa kee,
IN SUCH A WIDE WORLD,


lambee akelee raaho.n me.n,
ON THE LONG AND LONELY PATHS,


hamraah tere koee, apnaa toh hai,
THERE’S SOMEONE YOUR OWN, ALONG WITH YOU!


hamraah tere koee, apnaa toh hai,
THERE’S SOMEONE YOUR OWN, ALONG WITH YOU!


Oh~~~~


sukh hai ek chhaa.nv Dhaltee,
JOY IS A TRANSITORY SHADE,


aatee hai jaatee hai,
IT COMES AND GOES,


dukh to apnaa saathee hai,
GRIEF IS OUR COMPANION!


raahee manvaa dukh kee chi.ntaa kyoo.n, sataatee hai
O WAYFARER, WHY DOES THE GRIEF WORRY YOUR MIND,


dukh toh apnaa saathee hai,
GRIEF IS OUR COMPANION!


dukh toh apnaa saathee hai,
GRIEF IS OUR COMPANION!


dukh toh apnaa saathee hai,
GRIEF IS OUR COMPANION!


NASIR

Joy and grief were mingled in the cup; but there were no bitter tears: for even grief itself arose so softened, and clothed in such sweet and tender recollections, that it became a solemn pleasure, and lost all character of pain.  Oliver Twist of Charles Dickens


 

Thursday, December 31, 2009

ROMANCE OF A PUNJABI IN GOA - Nostalgic Recollections!


I had an opportunity to visit Goa in May-June 1965 for the first time. Goa had been liberated from the Portuguese rule only four years before. So it was still a ‘virgin’ in the sense that the “outsiders” had still not come in hordes to settle down here. What prompted me to visit this newly liberated colony was my daily interactions with my Goans friend whom I always found simple, frank, and friendly. Even during Christmas and the New Year I used to have a whale of a time with them and visited them at Byculla, Clare Road, Mazagaon, Nesbit Road, Mathar Pacadi, Rosary Church, and Dockyard areas of Bombay. What sent my heart aflutter was that it was so easy to make friends with the Goan young women who were charming, attractive, daring, and, at the same time, so unassuming. When my friend, Cajetan, offered to take me to Goa, I couldn’t refuse him.


As far as I remember now, there was no direct railway connection from Mumbai to Goa at that time. The popular route was by ship. So one early morning, Cajetan and I went to the Ferry Wharf, locally called “Bhaucha Dhakka”, which is located in the Dockyard-Mazagaon area. I think it was 10 a.m. when we boarded the S.S. Rohidas. This was a very small ship by today’s standard and nothing to marvel about. After the ship was full of passengers, the ship began its journey to Panjim or Ponje (Panaji), after a couple of hours, to the sound of hootings. We were so happy to be on board!


The ship began slowly and steadily, increasing its speed as it cut across the sea waves. To my dismay, I found that the ship was hardly steady most of the time during its course. My initial excitement of travelling by ship began to wane as I felt nauseated. I was not alone. The sea-sickness had gotten too many passengers. I avoided eating anything for the fear that I might vomit. Thus I was better off than those passengers who were vomiting unrestrained. It was a sickly sight. When the day was done, we slept on the deck under the summer skies of a starry night. Sleeping next to me was a very beautiful young woman who had just her granny for company. She was fairer than most Goan girls and I learnt that she was of Portuguese descent. We hardly talked much since she spoke no English. We had some conversations with the granny though, who spoke in Konkani which I could easily understand and even speak to a fair extent during those years – thanks to the Goan neighbours at home in Mazagaon.


My concern was to get off the ship as soon as we landed in Goa. I was counting on sleep to escape the sea-sickness. Gradually I drifted into the arms of Morpheus. I was woken up by my Goan friend who said we had arrived. I looked at my watch. It was only 4 a.m. Hurriedly I got up. There was no sign of the dock since it was dark. For some reason, the ship had anchored off-shore. The wait was excruciating. Finally, the darkness gave way to the rosy dawn and then the golden morn. I don’t remember whether it was another boat that took us all ashore. We had arrived at Panjim!

Our destination was Old Goa Velha where my friend’s aunt stayed. I don’t remember much of the travel details now. We got into a public motor vehicle, a kind of bus, called “caminhaao” and paid our fair to the ‘Klinder’ who acted as the conductor-cum-cleaner of the bus. The bus had a limited seating arrangement. My friend wanted to show me the kind of taxis that used to ply during the Portuguese rule some of which could still be spotted. He pointed out to a taxi. It was a black Chevrolet. “What?” I asked incredulously. We didn’t have that kind of a car let alone cabs in Bombay then. Well, after some ten passengers had boarded our motor vehicle, the driver switched on his ignition key and we set off. Even women travelled alone. The weather was pleasant and the air fresh. The roads were clean and tarred. Along the way, some people got down from the bus where they wanted to, while some more boarded it. I noticed that there were no bus stops and if anyone wanted to board the bus he would just call out “Rau Re” (Hey Wait!). As we progressed, I caught the whiff of fresh cashew-nuts wafting in the air. I still remember that heavenly smell. I could see miles of cashew gardens. “That’s Santacruz,” my friend pointed out. I was only aware of the Santacruz area of Mumbai. I just smiled at him. Finally, after some 10 kilometres, we arrived at Old Goa Velha.


I have no idea what’s Goa Velha like at present, but when I saw it was just a hamlet, not even a village. There were clusters of houses at different locations, each location removed from the other. There were paddy fields running by the side of some houses. There were also mangroves and palm trees. Across the field, I could see some villa - a rare sight those days - which evidently belonged to rich guy. This was the time when Goans had not migrated to the Gulf and elsewhere for jobs and money. The Portuguese had not built any industry there despite five centuries of their presence. While departing, they had even damaged the constructions they had built such as the bridges across the rivers. This Goa predominantly belonged to the poor and the middle-class. I knew many of the women who used to come from Goa to Bombay for jobs as Ayahs while the educated ones found themselves the jobs of a Governess or some office jobs. Men were mostly sailors or had jobs in the hotels of Mumbai. Some were musicians, advocates, stage actors, and sportsmen. A few were wealthy and we are not talking about the Goan industrialists. When men came for jobs, or even when some students came for higher studies to Bombay, they stayed in a club called “Kud”. I had an opportunity to visit some such Kuds in Dockyard area, Dhobi Talao, and Nesbit Road at Mazagaon way back in the early Sixties. Football is a very popular sport for the Goans. I used to play football with some of my Goan friends in the compound of St.Mary’s High School at Nesbit Road. I also knew a star player who used to play for some Goan Company called Dempo. Having broken his knee he was out of the game.





I remember that in Goa Velha I used to sojourn in the house of my friend’s aunt. The family and the people were extremely polite and friendly. In the morning I used to draw water from a well and have a bath there just in small shorts, right in the centre of the dwellings that surrounded the well. After the bath, I used to drink a glass of sweet and fresh nectar that had been extracted from the palm tree. The family was also deferential about my eating habits. I used to enjoy a typical Goan xitt-kodi, i.e. boiled rice and fish curry, for my meals. Sometimes I visited the neighbours who always welcomed me and were courteous to a stranger like me. Most of the time I sauntered through the countryside. On such occasions, I usually passed by a quaint structure which had an inscription “Casa De Pova” or some such thing, and the post office there which always seemed so quiet. There was a marketplace where the locals used to sell fish in the morning. Rest of the day there was no one in the market. This market abutted the road where I had got down from the bus. Sometimes I used to go visiting the nearby historical sites such as cathedrals and churches. I remember on one such occasion I had an opportunity to see the remains of the 16th-century missionary, St. Francis Xavier, which was kept in a crystal glass. My friend told me that such an exposition was rare and it happened once in 12 years. The evenings were usually dull for me since there was no electricity in the village at that time and so people tended to sleep early.

After a week, I had a chance to go to Vasco to visit another relative of my friend – this time the parents of my friend. Again, I am not aware of the current situation but the Vasco of 1965 was certainly different. The man of the house (one D’Cunha) lived with his wife, and two grown up children – a son and a daughter. He used to work in the docks there. My friend, Cajetan, was his eldest son who lived in Bombay as my father’s tenant.

Now, this house was a spacious single room but made of wood and dry leaves. The floor was nothing but sand. In fact, the entire area was sandy and interspersed with small palm trees. There was hardly any furniture. No radio to listen to. TV of course would take another ten years to come to India. Right next to the house were the walls of the Mazagaon Dock and I was pleasantly surprised for I had been under an impression that the Mazagaon Docks were only confined to Bombay. I liked my new sojourn. For one, there was electricity, and two, it was a big town though I never had an opportunity to explore it. I also liked this particular location because just about half a kilometer at the rear of the house there was the sea, and a part of it tapered into a sort of a U-shaped lagoon which was a secluded place. Hardly anyone came to this site. So my friend and I enjoyed swimming there in utter privacy in sparkling blue water.  

While walking down to this lagoon we had to pass by a villa which, my friend told me, belonged to a German engineer and his Goan wife and their four daughters. This was the only other house there. On one such occasion, we met those girls. One was very fair with blonde hair,  but no great shakes, and she was engaged to a boy. She had some airs about her. Younger to her was Celia or Cecilia (I don’t remember the exact name) who was a brunette, about 18 years old and had tanned skin. It was evident that she had taken after her Goan mother. The third one was Ruby who was 14 years old.  Ruby too was very fair to look at.  The youngest one was just ten years old.  These girls spoke English and Konkani too. With curiosity, they looked at me and wondered about my Konkani accent. The Konkani that I loved was the one spoken in the Bardes area of Goa since it was so easy to understand, but my accent could never match the local spoken dialect. They were glad to know that I was not a “Paklo”.  Very often owing to my fair complexion and my Konkani accent, I was taken to be a ‘Paklo’ (Portuguese white) in Goa. In short, the term “Paklo” was not a favourable one, especially where females were concerned and I used to be embarrassed when someone in a function came up with a song that had these wordings: “TUKA PAKLO POITA BURAKANT GHALUN TONDU…”

 I found Cecilia particularly attractive.  However, her tall young body was very much pronounced and shapely under the knee-length sleeveless frock that she wore. She was a picture of lusty and rustic youth, with longish black hair that fell over her shoulders and large black eyes that seemed to harbor some deep longings.  I would never have remembered these lasses if it were not for an incident. One evening it so happened that when I was near their villa, It was getting dark and there was no such thing as a streetlight in this patch. Ruby invited me to the jeep that was parked outside their house. I went and sat in the jeep. Cecilia and Ruby sat on either flank. Without any ado, they began to explore my body. I could feel their hands groping all over me.  All the time the girls were giggling as if they were indulging in some innocent fun. I understood that the girls wanted to have fun.  However, I was too dumbfounded. It had been too sudden and I was not ready for this. I made some excuses, jumped out of the jeep, and came back to my shack. All night I kept on thinking so much that I have never been able to erase this incident from my life. I never breathed a word about this to anyone ever, i.e. until now. The next day I decided to sleep outside the shack and told my friend so. So when the night drew nigh, my friend put some fresh palm leaves outside on the sand for me to sleep on.  I lay myself down for the night, fantasizing the girls would come up with a repeat performance of last evening.  Alas! This was not to be.  Days lingered on lazily while the nights were alive with the desire of budding romance.  

I did go round about the place sometimes crossing railway tracks to reach a public park there, but did not venture out too far. Sometimes, when I had nowhere to go and it became dull, I would sit under a palm tree that was just by the side of the road and belt out songs to while away the time.  Sometimes I would be emboldened to sing some Konkani songs that I knew such as from a hit Konkani film, Amchem Noxib, the lilting Molly number:


Mogaa assonk borem,
Jivit sukhi khorem,
Xitolkaichem varem,
Kalzan asta purem…..


I remember once that when I was singing KOI JAB RAAH NAA PAAYE – a Mohammed Rafi song from the 1964 movie, Dosti, a good motley crowd of passers-by gathered to listen and enjoy the song. His songs from Dosti were a nationwide hit at that time and are still popular.  Incidentally, Mohammed Rafi has given quite a number of Konkani songs too such as KITLEM SOBIT TU MARIA and BOM JESUCHEA CONVENTAN, both with Lorna, or the melodious KALZAC set to tune by Chris Perry, and other ‘cantaram’ including a mando and COMBEA SADARI, in the early Seventies.

At times there were wedding invitations to attend to, and these also provided me with fun and entertainment. At one such wedding, I remember to have picked up a young girl for a dance. When the band played a piece of slow fox-trot music, she just melted into my arms so that literally I had to carry her around the floor. We never spoke, strangers that we were to each other. But I have never been able to forget the warmth that the softness of her body exuded then.  At weddings and other functions I always joined the crowd to sing the sentimental TAMBDE ROSA TUZE POLE… or ANV SAIBA POLTEDI VETAM…the chorus of which was copied in the 1973 Bollywood movie, Bobby: GHE GHE GHE GHE RE SAIBA….These, I gather are folk songs that have passed into the rich Goan culture.

Another favourite of mine was the song MANDOVI, MANDOVI which was very popular then. Its singer, Alfred Rose, was a huge name in Konkani entertainment history whose stage shows and music were always great hits. Mandovi, by the way, is the river near Panjim, and the experience of crossing it was new to me what with so many people and even motor vehicles on the ferry.  
 
The early Sixties were also the decade when I was smitten by western singers such as Cliff Richard, Elvis Presley, Ricky Nelson, Connie Francis, Jim Reeves, The Cascades, The Echoes, The Everly Brothers, Pat Boone, Bobby Darin, and others. The soundtrack music of the movie, Come September, was an unending craze all over India.  I also had the good fortune of watching a new Konkani movie in some shanty theatre there. The movie was Nirmonn, which had a good storyline and excellent music. My favourite was a comedy song, CAZAR ZAUNC ASAA, which has meaningful lyrics meant for a person who wants to get married to anyone he can find – black or white, tall or short and is even ready to become a son-in-law who settles in his wife’s home; but unfortunately has no luck because NOXIBA MOJE BOSLA MAZOR (i.e. a cat sits on his fate, meaning “bad luck”). This movie was so popular that a Hindi version was made with the title of Taqdeer which had melodious songs of Mohammed Rafi. The heroine of Nirmonn, who happened to be Shalini, was once again given the heroine’s role in Taqdeer. A.A. Salaam of course was the director too. In the same theatre, I also chanced to see a Hindi film, Man Mauji, starring Kishore Kumar and Sadhna, which had a popular number of Kishore Kumar: ZAROORAT HAI ZAROORAT HAI…

A Look-Alike Young Woman


The vacation was nearing the end and soon it was time to bid goodbye to Vasco. I thanked my hosts and left for Old Goa Velha to spend the remainder of my holidays there. On the way, I was given a rude shock by my friend. He revealed to me that Cecilia used to come every night to the place where I slept soundly outside the shack. A cry escaped my lip. What courage she must have mustered to leave her villa just to see me, to be with me, by the shack in the darkness of the nights! I had missed the true romance of my lifetime - the starry nights, the balmy breeze and the waving fronds, the bedding of palm leaves on the cool sand, all this with Cecilia by my side! Alas, this was never to be! As I thought about this, I felt as if someone had stabbed my heart though the fact was that I had been stabbed in the back by the conniving circumstances for which I also blamed Cajetan rightly or wrongly.   I never forgave him for having concealed the fact. I also felt a deep pang of guilt so that I could never forgive myself!  I never had a chance to go back to her. I was not as courageous as her.  Now, whenever I hear about Goa, all those old memories come flooding in and  I remember Cecilia.  At such times I pray that may God keep Cecilia in good health and spirit wherever she is, Amen! 

NASIR

P.S. 4.2.2014:
It is rightly said that some truths are stranger than fiction. As if by some divine providence, I got the sad tidings through a reader of the above story that Cecilia died a few days ago.  She had been suffering from Cancer.  The news was not only painful and shocking but also astounding.  Astounding because after decades I was destined to know about her death. 

 I pray that may Cecilia's soul rests in everlasting peace, Amen!


NASIR.


Tuesday, November 11, 2008

THE PHILANTHROPIC SIDE OF RAFI - PART 2.



THE PHILANTHROPIC SIDE OF RAFI SAHAAB – PART 2.
By Nasir.

One need not be a Warren Buffett, or a Billy Gate, or a Rockefeller, or a even Carnegie, in order to be a philanthropist – a term that is sometimes used interchangeably with Charity. What matters is the spirit of goodwill towards others and malice towards none and can be used for any private action done for betterment of friends, neighbours, and fellow-humans at large. Rafi Sahaab was a family man with many responsibilities of his kith and kin. Yet within the limited framework of his own time and income, he was moved with simple compassion and made sincere efforts to bring joy, happiness and self-esteem to one and all with whom he interacted professionally as well as those who were strangers to him. It’s this aspect of Rafi Sahaab that makes him a great philanthropist.

In Part I, we have already noted the incident highlighting the philanthropical disposition of Rafi Sahaab. Many such instances we shall never know for he never publicised his good deeds but on the contrary insisted that they should be kept a secret. He never believed in giving for media attention.

Rafi Sahaab would always help the needy, but would ensure that the money was handed over by his secretary, Zaheer. Naushad Ali, the late Legendary music composer once asked him once why he made donations or charities through his secretary. The answer he received was not in the least expected. Raf Sahaab replied, “Main denewala kaun hoon? Denewala toh Allah hai!” (“Who am I to give? God is the Giver.”) The attribute of giving he did not assign to himself but to God. For him, “the deed was everything; the glory naught”. Such humility and lofty ideals put Rafi Sahaab on a saintly pedestal, looking to the fact that he worked in the world’s largest film industry where usury is rampant, cut-throat competition and backbiting a fact, bitching and gossiping a norm, wining, dining and womanising a convenience. Rafi Sahaab himself never gave in to those temptations of the film industry, but devoted himself to ‘Riyaaz’ and ‘Namaaz’. Attributing his fame and success to Allah, Rafi Sahaaab used his hard-earned money for not only fulfilling his family obligations but also for the good cause of helping out his friends and the needy.

A singer (name suppressed) who was out of job most of the time during that period, was picked up by Rafi Sahaab in his car outside the Mehboob Studio. He knew that the singer was going through a financial crisis. Rafi Sahaab had with him Ten Thousand Rupees that he had received as his fees. Without much ado, he quietly put that amount in the carry-bag of that singer. A third person who was also in the car then asked Rafi Sahaab why did he not put that amount directly in the hand of that singer. Rafi Sahaab replied: “I didn’t want to embarrass him by giving money in the presence of a third person.” Such was the way that Rafi Sahaab gave.

Rafi Sahaab was never a person who would turn down the offer to sing, just because the music director could not afford to pay him. Neither was he a person who would not give his hundred percent just because he had received a smaller amount or no amount at all from his music directors. This sterling fact is borne out by the many songs of Rafi Sahaab that have pushed the names of many lesser-known music directors into the Hall of Fame for posterity.

Do you remember the Jalgaon-born Nisar Bazmi? Despite his talents as a music composer of nearly 40 Indian films, his life was a struggle. For 15 long years he could never make it to the “A Grade movies” in Bollywood. Willy-nilly he had to migrate to Pakistan in 1962 where, finally, he made his fortune and career, winning many Nigar Awards as the best composer. But during those initial years when even Laxmikant-Pyarelal used to be his musicians, there were times when he was hard-up for money and did not have any money to pay to his musicians and singers. On one such occasion, rather than turning him down, Rafi Sahaab just charged him only One Rupee (i.e. about one-fiftieth of a U.S. Dollar) and sang his musical composition. In India, Nisar Bazmi is best remembered for his composition of Rafi Sahaab’s song: TOOT GAYA HAICHANDA KA DIL in a 1953 flick, Khoj.

Unlike Nisar Bazmi who was a veteran music composer, there were many new music directors who were trying their luck in Bollywood film industry. They would approach Rafi Sahaab and request him to sing for them, as in their opinion, if he sang for them they would get a firm foot-hold in the film industry. Rafi Sahaab would not only oblige them but to top it, he would gift to them his own earnings that he received from producers for such songs. In fact, he would send anonymous cheques to music directors who were going through bad times. This fact was divulged only after the sudden demise of Rafi Sahaab, when the cheques stopped coming.

Similarly, had it not been for Rafi Sahaab’s generosity in reducing his fee to a ludicruous extent, or even “adjustments” that he made for some of the music directors, we would have missed many of his gems of a song. Check out some of the following golden nuggets he sang for the music directors who could never make it into the big league:

• MAIN TOH TERE HASEEN KHAYAALON MEIN KHO GAYA from Sangram (1965) from the trio of Lala-Assad-Sattar;
• the peppy - O GORI ZULM KARE from Main Aur Mera Bhai (1961) or the ghazal a la Madan Mohan - PAAS BAITHO TABIYAT BEHEL JAAYEGI from Punarmilan (1964) to name just two of C.Arjun’s compositions;
• the chartbuster - DAULAT KE JHOOTE NASHE MEIN HO CHOOR from Oonchi Haveli (1955) – Music Pandit Shivram;
• the philosophical - TUM POOCHHTE HO ISHQ BALA HAI KE NAHIN HAI from Naqli Nawab (1962) –Music Babul;
• or the other philosophical – ALLAH HI ALLAH KAR PYAARE from Pavitra Papi (1969), Music Prem Dhawan;
• the waltz-style - YEH BAMBAI SHEHAR KA BADA NAAM HAI from Yeh Bambai Hai – Music Bipin Datta (of Bipin-Babul);
• the patriotic - PYAAR KI RAAH DIKHAA DUNIYA KO from Lambe Haath (1960) and the romantic - MAANA MERE HASEEN SANAM from Adventures of Robin Hood (1965) to name just two of G.S. Kohli’s breezy compositions;
• the thunderous, DONO NE KIYA THAAH PYAAR MAGAR from Mahua (1969) – music Sonik-Omi;
• the sad - NIGAAHEN NA PHERO from Black Prince(unreleased) –Music Dulal Sen;
• the romantic - MUJHE TUMSE MUHABBAT HAI from Bachpan (1963) - Sardar Mallik;
• or the melodious songs of Rafi Sahaab from CHA CHA CHA (1964) – all great hits, that had Iqbal Qureshi as the music director, and so on.

Mohammed Rafi, the playback singer who has been imitated the most, would often agree to sing for the producers who couldn’t afford him. As recounted by Sapan-Jagmohan over the Vividh Bharti Radio Station, one producer who was a die-hard fan of Rafi Sahaab had given the assignment of musical direction of his film to Sapan-Jagmohan who, on their part, wanted to record a solo song in the voice of some male singer other than Rafi, since they felt the producer would not be able to afford Rafi Sahaab’s fees. The producer, however, assured them that he would somehow manage to arrange for the payment. So Rafi Sahaab was booked by them. When Rafi Sahaab came promptly on the day and the time of recording he noticed a worried look on the faces both the Music Directors and the Producer. It took some time and some courage to tell Rafi Sahaab that they were not in a position to pay him after recording. They wanted to postpone the recording till such time as they could get the amount to pay him. Hearing this, Rafi Sahaab said: “Is that it? No problem”. As a rejoinder he added in a jest: “It wouldn’t be me the other way around who would do the paying Na?” Thus making light of the situation for both producer and music directors, Rafi Sahaab recorded the song. He wished them good luck for the film and departed without taking any fee but “the eternal gratitude of the producer” and leaving behind another great song: TERI AAWAAZ KI JADUGIRI... from Teri Talash Mein (1968). Much earlier, Rafi Sahaab had recorded the duo’s best composition, PHIR WOH BHOOLI SI YAAD AAYI HAI.. (Begaana – 1963) for a ludicrously lower amount. But the way he sang that composition made it better than their best, with the heart-rending emotions and pain of an unrequited lover, thus making their names unforgettable.

Once O.P. Nayyar asked Rafi Sahaab that as he was singing for the new and upcoming music directors were they paying him as much as he did. Rafi Sahaab informed him that such music directors told him that even if he sang one song for them their careers would be made. He further added: “Now, if just by one song of mine their careers take off, what remuneration can be greater this!”

It cannot be contradicted that Rafi Sahaab rendered great support to Laxmikant-Pyarelal during their initial struggling days and when he himself was at the zenith in the film industry. Pyarelal dispels the notion that they got their first break as the music directors because of Lata Mangeshkar. She never recommended their names to any Producer or Director according to him. Laxmikant-Pyarelal, who made their mark as music directors with Parasmani (1963) had in fact recorded their first song with Rafi Sahaab, earlier than that, for Chhaila Babu (which was released years later than Parasmani). The song was: TERE PYAAR ME.N MUJHE GHAM MILAA.... Rafi Sahaab was so much moved by this compostion that he refused any payment for the song. It is also said that Rafi Sahaab did not charge for his songs in Parasmani. Even for those great songs of Dosti (1964), it is said that Rafi Sahaab did not accept payment. But in keeping with the traditions of accepting payment for professional singing, he just charged them One Rupee only.

In passing, it’s said that the tune for one of the Dosti songs, CHAAHUNGA MAIN TUJHE.. was first made with a female singer in mind but the musical duo was told that it would be Rafi Sahaab who would be singing their tune. The duo even contemplated scrapping this composition but for Rafi Sahaab who prophesised its success. How right he was when the same song won Rafi Sahaab the Filmfare Best Playback Singer award, while the best music director award went to this musical duo. On the aside, having witnessed the musical trends of the Sixties, I would like to reiterate that the “Dosti Mania” or the craze was singularly due to the great voice and pathos of Rafi Sahaab who had rendered five of the six solo songs. Laxmikant-Pyarelal never looked back after this. In any case, the movie, Dosti, was not the usual run- of- the- mill type of story involving a hero and a heroine and there is no situation as such in the movie where a female voice is required for that song. As for the other story that the lyrics sounded to be more of Aashiq and Maashooq (Lover and his Lass) type and therefore needed to be scrapped, well, I wouldn’t like to comment on that since this is not our subject here. If there would have been no CHAAHUNGA MAIN TUJHE..., the Sangam song, YEH MERA PREM PATRA PADHKAR...which was also by Rafi Sahaab under the baton of Shankar-Jaikishen, would have easily won the Filmfare award. For Pyarelal, there was never a greater male singer than Rafi Sahaab. True. But it was also the innate charitable desire, efforts, and good wishes of Rafi Sahaab for the new team of music directors that led to their triumph. It was this song that put Laxmikant-Pyarelal in the big league of music directors. The bond of ‘Dosti’ (friendship) that was created between them and Rafi Sahaab lasted till the last breath of Rafi Sahaab when they recorded the Aas Paas song in 1980. No doubt, then, that the duo considered Rafi Sahaab “Pita Samaan” or a father-figure with whose passing away the very life went out of their music. In their words: “Laxmikant-Pyarelal ke Sangeet Se Jaan hee Chali Gayi Hai.”

The musical duo of Laxmikant-Pyarelal had rightly observed that Rafi Sahaab gave without thinking of returns. According to them: “Rafi Sahaab Ne Har Dukh Mein Hamara Saath Diya.” That is, he helped them at every stage of grief. Pyarelal recollects how once during their bad patch his father had taken him to Rafi Sahaab’s house for some monetary help. Pyarelal also recollects that he owed Rs.500 to Rafi Sahaab and when during the recording of Rafi-Lata duet, Yeh Dil Tum Bin Lagta Nahin (from Izzat – 1968) he reminded him about it, Rafi Sahaab did not “recall” giving any money to him. Giving without thinking was indeed the hallmark of Rafi Sahaab’s generosity and large-heartedness.

There were also times when Rafi Sahaab did not charge any money not because of the inability of the music director to pay, but because of a long- standing friendship. Therefore, when the producer-director-music director, Kishore Kumar (the popular singer,too) approached Rafi Sahaab for a song or two in his Chalti Ka Naam Zindagi (1981 release). Rafi Sahaab refused to take any payment. He just charged a token of One Rupee.

Rafi Sahaab had always considered Ashok Kumar, the veteran actor of Hindi silver screen, as his elder brother. Ashok Kumar, too, as a producer of his 1958 movie, Ragini, never took any objection when O.P. Nayyar made Rafi Sahaab playback the semi-classically-based song, MAN MORA BAAWRA..., for Kishore Kumar, the actor-singer brother of the producer. A decade later, Ashok Kumar’s son- in-law produced a movie called Yakeen (1969), for which Rafi Sahaab was the chosen male singer under the batons of Shankar-Jaikishen. When the time came for recording the songs, Devan Varma said In a jeu d’ spirit: “Rafi jee, I’m like your son-in-law. I won’t pay for the songs.” Taking a cue from this Rafi Sahaab said: “You’ve revealed my mind, my friend. I verily consider you my son-in-law.” On this note he recorded the songs. What romantic numbers were they, too! Can we forget, ‘GAR TUM BHULA NA DOGE and the catchy BAHAARON KI BAARAAT AA GAYEE? These were not the only instances of Rafi Sahaab’s cheerful acquiescence.

Whenever Rafi Sahaab liked any musical compostion which he rendered in his rich voice, he would refuse payment. Habba Khaatun is an unreleased film where Naushad Ali composed music. This film also happens to be the last film where both Naushad and Rafi Sahaab worked together. So much was Rafi Sahaab moved by the musical composition, that he refused any payment for his work. The song happened to be: JIS RAAT KE KHAWAAB AAYE.

Naushad Ali recounts how S.U. Sunny the Producer of Kohinoor (1960 release) wanted MADHUBAN ME.N RADHIKA NAACHE RE, composed in Raga Hamir, scrapped on the ground that it was a difficult composition. Rafi Sahaab picked up the gauntlet, prophesying that the song would be a hit. Rafi Sahaab was ready to forgo his singing fee, but stated that he would charge double the amount if the song proved a hit. S.U. Sunny agreed. However, the latter lost the best when that song indeed proved a great hit and is still a very well-known number despite being nearly 50 years old. But true to his nature, Rafi Sahaab refused the remuneration by saying that he had received the payment by way of rewards from the music lovers who had made this song a great hit.

The father of Hrithik Roshan, Rakesh Roshan who besides being an actor had started out as producer-director with Aap ke Deewaane. Rafi Sahaab sang the title song of this movie. But he did not charge Rakesh Roshan anything since Rafi Sahaab liked the song and it was a one-liner anyway. Tell us, how many singers are there who just dole out their songs for free?


Rafi Sahaab was the only man in the film industry who did not remind the film producers but rather “forgot” about his dues when their films did not do well. He even returned his fee-amount or earnings in such instances.

Once, it appears that a film-producer named S.P. Solanki had the gumption of using Rafi Sahaab’s voice for the songs in his movie. But when it came to paying, he played the truant. Several years later, this very producer happened to be in the same recording-room as Rafi Sahaab. On seeing him, the producer tried to make good his escape. Rafi Sahaab, however, asked him why he wanted to flee. The producer felt trapped. Blushing, he told Rafi Sahaab: “I owe you some money.” With his usual characteristic smile, Rafi Sahaab replied: “So what? You’re way behind in the line. There are many other producers before you in the line. “ So kind and charitable was Rafi Sahaab.

Again, a producer called Malkeit Thakur had produced a film called Aulad ki Khaatir. (1990 release) It appears that he had Rafi Sahaab sing two songs for this movie for a fee of Four Thousand Rupees. After the recording, Rafi Sahaab left the studio, and was moving towards his car when he saw the producer waiting for him. He had wrapped some currency notes, meant for Rafi Sahaab, in a handkerchief. The amount, which had some torn notes, however, was just Fifteen Hundred Rupees. Rafi Sahaab was not angry, for anger seldom touched him. Nor did he ask him why he was paying less than half the amount. On the contrary, he was moved by seeing those torn notes and the gesture of the producer. Treating him to a cup of tea, he told him: “Consider these Fifteen Hundred Rupees as my gift to your children.” Rafi Sahaab was well-known for giving gifts out of generosity.

Joy Mukherjee had produced and directed a movie called Humsaya which was released at the Maratha Mandir Cinema in 1968. It had great music by O.P. Nayyar. One song especially stood out from the rest: DIL KI AWAAZ BHI SUNN... It was a chartbuster from Rafi Sahaab. Unfortunately, the film bombed at the box-office and Joy Mukherjee who was also the hero of that movie, ran short of money. On learning about the shortfall of Joy Mukherjee, Rafi Sahaab discreetly visited his home to refund the amount that he had got for his singing assignment. The former, however, refused to take the money when Rafi Sahaab said: “DIL KI AWAAZ BHI SUNN”. So overwhelmed was Joy Mukherjee that he took the money. We learn that later on he did refund this amount to Rafi Sahaab. But how many of us can come forward to give unstintingly out of conviction to help others in times of need?

He used to help producers in completing their shelved films. Once such movie was Pandit Aur Pathan which was released in 1977.

Once the famous all-round and respected personality of Telegu films and the maker of Tyagaiah, Mr. C.V. Nagaiah, invited Rafi Sahaab to sing the songs for a character of Sant Kabir in his venture, Bhakta Ramdas. Bhakta Ramdas, by the way, had been many years in the making since the producer was in financial problems which was simply due to his own benevolence which used to exceed the limits. Rafi Sahaab recorded DIL KO HAMARE DARSHAN DENA, KAAHE KA RONA and RAM NAAM SE for this movie. When his fee was given, Rafi Sahaab not only returned the amount to Mr. Nagaiah, but also asked him if the latter needed any financial help for completion of the movie. He had also paid for his own air-fare from Madras to Bombay. Such was Rafi Sahaab’s unselfish concern for Mr. Nagaiah whom he knew only through the Hindi screen version of Meera.

How Rafi Sahaab was propelled more towards the general good rather than seeking his own benefit finds echoes in his stand on the question of “royalty” for the songs. This is the well-known issue that led to the rift between Rafi Sahaab and Lata Mangeshkar in the early Sixties. This was not on a personal matter but was based on principles alone. The view of Rafi Sahaab was that once the singers were paid their remuneration there was no need for any royalty. Lata Mangeshkar was of the view that royalty must be earned by the singers in addition to their remuneration, backed as she was with all the other playback singers. At that time, Music Directors used to get royalty for their musical compositions, based on the number of records sold. Both the views were right; only their perspectives were opposing: One was from a spiritual point of view; the other was from the materialistic point of view. The relevance of this is that no matter what, Rafi Sahaab was always a giving person. Otherwise, too, there was a positive outcome of this rift which lasted for about three years: This period saw the emergence of Suman Kalyanpur on the one hand; and recordings of more duets of Lata with Mukesh and Mahendra Kapoor, on the other. Asha Bhonsle, too, stood to gain as she got to sing still more duets with Rafi Sahaab. Above all, no dent had been made in the career of Rafi Sahaab.

Rafi Sahaab made lots of donations to various institutions. It was he who imported and donated the first dialysis machine to the Bombay Hospital at Marine Lines. But most of the stories about his charity will never be known since he practised the maxim of donating with right hand in such a manner that even his left hand wouldn’t know about.

Rafi Sahaab’s acts of altruism, charity, kindliness, and benevolence are evident not only from his financial help that he used to render so off and on, but are also further evident from his interaction and concerns for the people within the film industry and without. But then, that’s another story.

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Monday, October 27, 2008

184. Translation of Sad Songs of Rafi: Mera To Jo Bhi Kadam Hai...


Movie: Dosti (1964)
Lyrics: Majrooh Sultanpuri
Music: Laxmikant-Pyarelal


Rafi sings: Mera toh jo bhee qadam hai...(still popular after 44 years)

Roman Transliteration/English Translation of the original lyrics:


Mera toh jo bhee qadam hai, woh teri raah me.n hai,
WHATEVER MY STEP BE, THAT’S FOR YOU ALL THE WAY,

Mera toh jo bhee qadam hai, woh teri raah me.n hai,
WHATEVER MY STEP BE, THAT’S FOR YOU ALL THE WAY,

Ke tu kahee.n bhee...
FOR WHEREVER YOU MAY BE...

Ke tu kahee.n bhee, rahe tu, meri nigaah me.n hai,
FOR WHEREVER YOU MAY BE, ON YOU I’VE MY EYE,

Mera toh jo bhee qadam hai, woh teri raah me.n hai,
WHATEVER MY STEP BE, THAT’S FOR YOU ALL THE WAY,

Ke tu kahee.n bhee, rahe tu, meri nigaah me.n hai,
FOR WHEREVER YOU MAY BE, ON YOU I'VE MY EYE,


Khara hai dard ka rishta,
IF TRUE BE THE BOND OF AFFECTION,

toh phir judaai kyaa,
THEN SEPARATION THERE'S NONE,


kha.ra hai dard ka rishta, toh phir judaai kyaa,
IF TRUE BE THE BOND OF AFFECTION,

toh phir judaai kyaa,
THEN SEPARATION THERE'S NONE,

Judaa toh hote.n hai.n woh,
THEY GROW APART WHO

khot jin ke chaah me.n hai,
HAVE A FLAW IN THEIR AFFECTION.

Mera toh jo bhee qadam hai, woh teri raah me.n hai,
WHATEVER MY STEP BE, THAT’S FOR YOU ALL THE WAY,

Ke tu kahee.n bhee, rahe tu, meri nigaah me.n hai,
FOR WHEREVER YOU MAY BE, ON YOU I'VE MY EYE,


Chhupa huwa saa mujhee me.n,
AKIN TO HIDING INSIDE ME

hai tu kahee.n ay dost,
YOU’RE SOMEWHERE O FRIEND,

Chhupa, huwa saa mujhee me.n,
AKIN TO HIDING INSIDE ME

hai tu kahee.n ay dost,
YOU’RE SOMEWHERE O FRIEND,

Meri hasee me.n nahee.n hai,
IF YOU’RE NOT IN MY LAUGHTER

toh meri aah me.n hai,
THEN IN MY LAMENT YOU’RE.

Mera toh jo bhee qadam hai, woh teri raah me.n hai,
WHATEVER MY STEP BE, THAT’S FOR YOU ALL THE WAY,

Ke tu kahee.n bhee...
FOR WHEREVER YOU MAY BE...

Ke tu kahee.n bhee, rahe tu, meri nigaah me.n hai,
FOR WHEREVER YOU MAY BE, ON YOU I'VE MY EYE,

Mera toh jo bhee qadam hai, woh teri raah me.n hai,
WHATEVER MY STEP BE, THAT’S FOR YOU ALL THE WAY,

Ke tu kahee.n bhee, rahe tu, meri nigaah me.n hai,
FOR WHEREVER YOU MAY BE, ON YOU I'VE MY EYE.

NASIR.

“The most beautiful discovery true friends make is that they can grow separately without growing apart.”
Elisabeth Foley

Friday, October 3, 2008

168. Translation of Sad Songs of Rafi: Jaane Waalon Zaraa...


Movie: DOSTI (1964)
Lyricist: Majrooh Sultanpuri
Music: Laxmikant-Pyarelal


Rafi Sahaab sings about being ignored by people: Jaane Waalo.n Zara...
Again a super hit song of the Magical Rafi Sahaab in a beautiful style as only he could render it. If you've tears, Be prepared to shed them now!

Roman Transliteration/English Translation of the original lyrics:



O~~~O~O`O~~~O O O O~~~

Jaane waalo.n zaraa...
O PASSERS-BY...JUST A MOMENT...

Mu.d ke dekho mujhe...
TURN AROUND TO LOOK AT ME,

Ek insaan hoo.n – Mai.n tumhaari tarah,
I’M A HUMAN BEING LIKE YOU,

Jaane waalo.n zaraa,
O PASSERS-BY, JUST A MOMENT,

Mu.d ke dekho mujhe,
TURN AROUND TO LOOK AT ME,

Ek insaan hoo.n – Mai.n tumhaari tarah,
I’M A HUMAN BEING LIKE YOU,

Jis ne sab ko rachaa, apne hee roop se,
THE ONE WHO CREATED EVERYONE WITH HIS OWN IMAGE

Uss kee pehchaan hoo.n, mai.n tumhaaree tarah,
I’M HIS SIGN LIKE YOU,

jaane waalo.n zaraa ...
O PASSERSBY, JUST A MOMENT...


iss anokhe jagat kee mai.n taqdeer r hoo.n,
OF THIS UNCOMMON WORLD, I’M THE DESTINY,

iss anokhe jagat kee mai.n taqdeer hoo.n,
OF THIS UNCOMMON WORLD, I’M THE DESTINY,

mai.n vidhaataa ke haatho.n kee, tasveer hoo.n,
MADE BY THE CREATOR’S HANDS, I’M A PICTURE,

ek tasveer hoo.n,
I’M A PICTURE,

iss jahaa.n ke liye, dhartii maa.n ke liye,
FOR THIS WORLD, FOR THE MOTHER-EARTH,

Shiv kaa vardaan hoo.n, mai.n tumhaaree tarah,
I’M SHIVA’S BOON LIKE YOU,

jaane waalo.n zaraa...
O PASSERS-BY, JUST A MOMENT...


mann ke a.ndar chhipaaye milan kee lagan,
CONCEALING IN THE MIND THE URGE TO MINGLE,

mann ke a.ndar chhipaaye, milan kee lagan,
CONCEALING IN THE MIND THE URGE TO MINGLE,

apne sooraj se hoo.n, ek bichha.dee kiran,
SEPARATED FROM MY SUN, I’M A STRAY BEAM,

ek bichha.dee kiran,
A STRAY BEAM

phir rahaa hoo.n bhaTaktaa, mai.n yahaa.n se vahaa.n
GOING ABOUT WANDERING HERE AND THERE,

aur pareshaan hoo.n, mai.n tumhaaree tarah,
AND I’M BEWILDERED LIKE YOU,

jaane waalo.n zaraa...
O PASSERS-BY, JUST A MOMENT...


mere paas aao chho.do yeh, saaraa bharam,
COME TO ME, ABANDON ALL THIS MISGIVING,

mere paas aao chho.do yeh, saaraa bharam,
COME TO ME, ABANDON ALL THIS MISGIVING,

jo meraa dukh vahee, hai tumhaaraa bheee gham,
WHAT’S MY SORROW, ‘TIS YOUR GRIEF TOO,

hai tumhaaraa bhee gham,
‘TIS YOUR GRIEF TOO,

dekhtaa hoo.n tumeh, jaanataa hoo.n tumeh,
I SEE YOU, I KNOW YOU,

laakh anjaan hoo.n , mai.n tumhaaree tarah,
I’M VERY MUCH NAIVE LIKE YOU.

Jaane waalo.n zaraa,
O PASSERS-BY, JUST A MOMENT,

Mu.d ke dekho mujhe,
TURN AROUND TO LOOK AT ME,

Ek insaan hoo.n – Mai.n tumhaari tarah,
I’M A HUMAN BEING LIKE YOU,

Jis ne sab ko rachaa, apne hee roop se,
THE ONE WHO CREATED EVERYONE WITH HIS OWN IMAGE

Uss kee pehchaan hoo.n, mai.n tumhaaree tarah,
I’M HIS SIGN LIKE YOU,

jaane waalo.n zaraa...
O PASSERS-BY...

hmmm~~hmmm~~~hmmm~~

NASIR.

The true opposite of love is not hate but indifference. Hate, bad as it is, at least treats the neighbour as a thou, whereas indifference turns the neighbour into an it, a thing. This is why we may say that there is actually one thing worse than evil itself and that is indifference to evil. In human relations the nadir of morality, the lowest point as far as Christian ethics is concerned, is manifest in the phrase, T couldn't care less.'
- Joseph Fletcher

Friday, September 26, 2008

165. Translation of Sad Songs of Rafi: Chaahoonga Main Tujhe Saanjh Savere...


Movie: DOSTI (1964)
Lyrics: Majrooh Sultanpuri
Music: Laxmikant-Pyarelal


Rafi Sahaab’s Ode to Friendship in “Chaahoo.nga main tujhe Saanjh Savere” sent the nation into tizzy.
Fetched Rafi Sahaab the Filmfare's Best Playback Singer Award-1964).

Roman Transliteration/English Translation of the original lyrics:



Chaahoo.nga main tujhe, saanjh savere,
I’LL CRAVE FOR YOU DUSK AND DAWN,

Phir bhi kabhi ab, naam ko tere, Awaaz mai.n naa doon.ga,
DESPITE THIS, NOW OR NEVER, YOUR NAME I WON’T CALL OUT,

Awaaz, mai.n naa doon.ga,
I WON’T CALL OUT,

Chaahoo.nga main tujhe, saanjh savere,
I’LL CRAVE FOR YOU DUSK AND DAWN,

Phir bhi kabhi ab, naam ko tere, Awaaz mai.n naa doon.ga,
DESPITE THIS, NOW OR NEVER, YOUR NAME I WON’T CALL OUT,


Awaaz mai.n naa doon.ga,
I WON’T CALL OUT,

Awaaz, mai.n naa doon.ga,
I WON’T CALL OUT,

Chaahoo.nga main tujhe, saanjh savere...
I’LL CRAVE FOR YOU DUSK AND DAWN....


dekh mujhe, sab hai pataa,
LOOK, I KNOW ALL,

suntaa hai tuu, mann ki sadaa,
YOU DO LISTEN TO THE CRI DE COEUR,

dekh mujhe, sab hai pataa,
LOOK, I KNOW ALL,

suntaa hai tuu, mann ki sadaa,
YOU DO LISTEN TO THE CRI DE COER,

mitwaa...
O FRIEND....

mere yaar, tujh ko baar baar awaaz, mai.n naa doo.nga
MY FRIEND, EVERY NOW AND THEN I WON’T CALL OUT,

awaaz, mai.n naa doo.nga
I WON’T CALL OUT,

Chaahoo.nga main tujhe, saanjh savere,
I’LL CRAVE FOR YOU DUSK AND DAWN,

Phir bhi kabhi ab, naam ko tere, Awaaz mai.n naa doon.ga,
DESPITE THIS, NOW OR NEVER, YOUR NAME I WON’T CALL OUT,

Awaaz mai.n naa doon.ga,
I WON’T CALL OUT,

Awaaz, mai.n naa doon.ga,
I WON’T CALL OUT,

Chaahoo.nga main tujhe, saanjh savere...
I’LL CRAVE FOR YOU DUSK AND DAWN....


dard bhee tuu, chayn bhee tuu,
PAIN TOO YOU’RE, COMFORT TOO YOU’RE,

daras bhee tuu, nayn bhee tuu,
GLIMPSE TOO YOU’RE, EYES TOO YOU’RE,

dard bhee tuu, chayn bhee tuu,
PAIN TOO YOU’RE, COMFORT TOO YOU’RE,

daras bhee tuu, nayn bhee tuu,
GLIMPSE TOO YOU’RE, EYES TOO YOU’RE,

mitwaa...
O FRIEND,

mere yaar, tujh ko baar baar awaaz, mai.n naa doo.nga,
MY FRIEND, EVERY NOW AND THEN I WON’T CALL OUT,

awaaz, mai.n naa doo.nga,
I WON’T CALL OUT,

Chaahoo.nga main tujhe, saanjh savere,
I’LL CRAVE FOR YOU DUSK AND DAWN,

Phir bhi kabhi ab, naam ko tere, Awaaz mai.n naa doon.ga,
DESPITE THIS, NOW OR NEVER, YOUR NAME I WON’T CALL OUT,

Awaaz mai.n naa doon.ga,
I WON’T CALL OUT,

Awaaz, mai.n naa doon.ga,
I WON’T CALL OUT,

Awaaz mai.n naa doon.ga,
I WON’T CALL OUT,

Awaaz, mai.n naa doon.ga,
I WON’T CALL OUT,

Awaaz mai.n naa doon.ga,
I WON’T CALL OUT.


NASIR.


"Silence is the true friend that never betrays."
~ Confucius

Tuesday, April 29, 2008

Mohammed Rafi, the Creator of DOSTI Mania in the Sixties


That it was Rafi Sahaab's Voice that led to the immortalization of the Bollywood movie, "Dosti", is only an under-statement.

Mohammad Rafi’s was a huge name when Laxmikant Pyarelal began their journey as music directors in 1963. Even then their musical venture, right from 1963 to 1965 atleast, was confined to the “B” grade movies such as Chaila Babu (late release 1965)), Parasmani, Harishchandra Taramati, Sati Savitri, Sant Gyaneshwar, Mr. X in Bombay, Lootera, Ham Sab Ustad Hain, and Aaya Toofan. The music of these films, however, is what makes the names of those movies appear in print today . The exception is the low-budget movie Dosti which was Rajshri Productions’ second Black and White movie.

Looking to the plot of Dosti, most of the music directors had rejected the assignment as they did not want to do anything with the story of friendship between a blind boy and a lame boy suffering life’s privations. The main roles were enacted by unknown faces and even the romantic lead, if it could be called as such, was provided by the tall, lean and handsome Sanjay Khan who was a rank newcomer and an unknown face. So it was music that was the source of strength for this movie. But then who could give life and expression to the efforts of Majrooh Sahaab and Laxmi-Pyare? Only Rafi Sahaab could do that. His was the only voice that looked natural to the known or unknown actors lip-syncing songs on the screen. Then those songs required "Soz" pathos as well as ebullience, plus the power to render high octave. The compositions of the songs were mostly in Raag Pahadi which were fine-tuned to appeal to the masses. All the songs were rendered by Rafi Sahaab, except one which was sung by Lata Mangeshkar:

-Chaahunga Main Tujhe Saanjh Savere... Mohammad Rafi

-Mera To Jo Bhi Qadam Hai.. Mohammad Rafi

-Koyi Jab Raah Na Paaye.. Mohammad Rafi

-Jaanewalo.n Zara Mud ke Dekho Mujhe... Mohammad Rafi

-Raahi Manwa Dukh Ki Chinta.. Mohammad Rafi

-Gudiya Ham Se Roothi Rahogee .. Lata Mangeshkar


Rafi Sahaab’s magical rendition of the songs breathed life and spirit in the movie for without it, the movie would have just been a lifeless exercise in morality. Rafi Sahaab himself was so impressed with the songs that he refused to take any remuneration. However, to honour the dignity of the duo, he took just One Rupee as a token amount. To think of it, Laxmikant-Pyarelal had very nearly rejected the "Chaahonga Main Tujhe Saanjh Savere" number but for Rafi Sahaab. It was Rafi Sahaab who predicted the success of this song. He knew pretty well how a little more than a decade ago Naushad Sahaab had composed O Duniya Ke Rakhwaale...in Baiju Bawra. That song has been considered a landmark achievement in Rafi Sahaab's career. Thanks to the magical voice of Rafi Sahaab and his own touch of nuances to the lyrics, "Chaahoonga Main.." became the nation's craze fulfilling the prophecy of Rafi Sahaab. Laxmikant-Pyarelal won the Filmfare Award for best music directors and Rafi Sahaab himself was awarded the Filmfare Lady for the best singer of 1964. Incidentally, Dosti also won the President’s Award and six more Filmfare Awards in other categories.

Yes, the songs of Dosti sent the nation in tizzy. Luckily for most of us then, that was also the time when Juke Boxes had been installed in most of the restaurants in Bombay and as such were a great source of listening to the songs of one’s choice. In my many personal surveys, I used to sit with a cup of tea in a cosy corner of restaurants and watch every customer walking up to the juke box and selecting ALL Rafi Sahaab's Dosti songs almost to the exclusion of all other songs though that year we had amazing number of hit songs from other movies as well. In pure joy I used to witness the scene as the listeners in the cafe went into raptures on hearing those songs of Rafi Sahaab. We just couldn’t have enough!

It will be pleasant for Rafi Sahaab's admirers and fans to know that even the Dosti songs have spawned other singing legends in their own right. S.P. Balasubramanium, before he landed his career as a playback singer, always used to sing JAANE WAALON ZARAA MUD KE DEKHO MUJHE in various musical competition. It was the Telegu music director, Kondapani, who gave SPB the required break after hearing him sing this song. No doubt, then, that SPB considers Rafi Sahaab "The Ultimate."

This success of Dosti is to be viewed in juxtaposition with the following great musical movies of 1964: Sangam, Woh Kaun Thi, Leader, Kashmir ki Kali, Zindagi, Dooj Ka Chand, Sharabi, Beti Bete, Ghazal, Shabnam, Jahan Ara, April Fool, Aap ki Parchhaaiyaan, Door Gagan ki Chhaon mein, Kohra, Cha Cha Cha, Dulha Dulhan and Chitralekha to name just a few. Those who know the melodious songs of these pictures will realize how intense must have been the craze for Rafi Sahaab's Dosti songs. The only sad part to the episode was that Rafi Sahaab's "Yeh Mera Prem Patra Padh Kar..." which was from Sangam and easily the most romantic song of 1964 lost out in internecine competition.

"Dosti" had cemented the bond of friendship between Rafi Sahaab and Laxmi-Pyare in real life as well. The bond of respect and friendship between Rafi Sahaab and Laxmikant-Pyarelal grew day by day lasting till the great legendary Rafi Sahaab breathed his last on 31st July 1980. Even on this very day Rafi Sahaab had recorded his last song for Laxmikant-Pyarelal for a film called Aas Paas.

NASIR.