The Story of Babul mora naihar chhooto hi jaye-The Queen of Thomris

We all have heard this famous song of K L Sehgal.After close to nearly 80 years of it being released (for the 1938 movie, Street Singer), this still remains a favorite of the discerning listener of vintage Indian film music. This is being one of my favorites of K l Sehgal songs.
A thought came in my mind why not write a blog on this Immortal song.Very few  would know that this Bhairavi thumri, was composed by Wajid Ali Shah,when he was expelled to Calcutta, he wrote the parting song Babul Mora,picturing the mind of a heart broken man. He expressed his pain of parting in the lyrics of ‘Babul mora naihar chhuto jaye’, It has been one of the favorite thumris of many a singers over generations—from Ustad Faiyaz Khan—the most well-known singer of Agra Gharana and arguably one of the best voices on record—to Alisha Chinoy. 
The most famous version of Wajid Ali Khan’s Babul Mora was sung by Kundan Lal Saigal in the movie Street Singer in 1938. The music was composed by Rai Chand Boral, who is considered as a father figure among  cine-music composers.  
The list of luminaries who sang ‘Babul Mora’ includes-  Bhim Sen Joshi, Kesarbai Kerkar, Siddheshwari Devi, Rasoolan Bai, Khadim  Hussain Khan, Mushatq Hussain Khan, Girija Devi, Kishori Amonkar, Jagmohan, Padma Talwalkar, Shanti Vaidyanathan Sharma, Mahender Chopra (son-in-law of K.L.Saigal) and none other than Ghazal queen Begum Akhtar.
Thumri arose in popularity during the 19th century in the Lucknow court of Nawab Wajid Ali Shah. At that time it used to be a sung by courtesans accompanied by dance. It is said that Thumri is a short piece of semi-classical rendition usually sung at the conclusion of a classical music concert. 
The Saigal version is set in Raag Bhairavi – Bhairavi had traditionally been performed in the early morning hours.  However, due to the fact that performances lasted all night, it has now become common to consider Bhairavi to be the finale.
To my readers I have taken the videos of various version of this immortal song sung by the great singers of their time In fact the latest version with modern instruments by Rajesh Panwar at New Jersey in 2015. 

K L Sehgal

Song from Street Singer 1938

Kanan Devi

Song from Street Singer 1938

Kesar Bai Kerkar

                                                 kesarbai kerkar sings 'babul mora' 

MALKA JAAN

Ustad Khadim Husain Khan

Begum Akhtar

                           Babul Mora Naihar Chhooto Jaaye - Beghum Akhtar version

Girija Devi

                                  Jugalbandi babul mora shobha gurtu & girija devi 

Sidheshwari Devi

                                       Babul Mora - Thumri in Bhairavi - Girija Devi

Pandit Bhimsen Joshi

                                 Pt Bhimsen Joshi -Babul Mora Raga Bhairavi, 1960s

Kishori Amonkar

                               Kishori Amonkar - Raag Bhairavi Thumri - Babul Mora Naihar Chhuto Hi Jai

Jagjit Singh and Chitra Singh 

Song from Avishkar

Alisha Chinoy

Ruchira Kedar

                                      Ruchira Kedar Live "Babul Mora" Bhairavi Thumri

 Rajesh panwar 

                               Babul mora naihar by Rajesh panwar At New jersey 2015

Folk Dances in Bollywood

We are seeing a controversy in the latest film PADMAVATI,another controversy has emerged about the Ghoomar Dance by Deepika Padukone.In this context I think that Films are more of imagination than the reality,we should see films in that manner and appreciate its creativity.
Bollywood dance is a difficult topic to discuss.It is a mixture of numerous styles.No folk dance shown in films is exactly the same but it has many steps from other folks also.Films before 1960 tended to draw heavily on classical and folk dance.  Since neither "classical dance" nor "folk dance" are homogenous entities.In this blog I have selected some popular folk dances of Bollywood.
The common  folk dances are Bhangra, Rajasthani Folk, Garba, Dandiya, Bihu Lavani etc shown in our films.There are many hit songs and dances in bollywood are worth mentioning.

Song from Khajanchi 1941

Song from  Baadal 1951

Song from Pahli Jhalak (1954)

Song from Jhanak Jhanak Payal Baje [1955]

Song from Shree 420 (1957)

Song from Kathputli 1957

Song from Naya Daur 1957

Song from Madhumati 1958

Song from  Mughal E Azam 1960

Song from Ganga Jamuna 1961

Song from Saraswatichandra 1968

Song from Bandhan  (1969)

Song from Bobby 1973

Song from Inkaar 1978

Song from  Lamhe 1991

Song from Hum Dil De Chuke Sanam 1999

Song from Mission Kashmir 2000

Song from Zubeidaa 2001

The 11 Emotions of Mohammad Rafi

In Indian classical music, each raga is an inspired creation for a specific mood.In Hindi Film music Mohammad Rafi was a superb vocal artist and could bring a range of emotions into the limited time 3 to 4 minutes a song allowed him.As per Indian classical music there are 9 rasas or 9 major basic emotions/expressions.In music rasa is associated with the emotion of a Raga.There are now a total of 11 rasas and all of them go into the making of a good Bollywood masala flick! And guess what - Rafi Saab’s voice has given us a song for every emotion. So without much ado I give you the 11 emotions or Rasas of Rafi.
One element that is common among all performing arts is their ability to express the emotions which make up different slices of life. Rafi Saab’s voice has given us a song for every emotion. 

Bhakti Rasa-Bhajans, Ghazals, Nagmas, Shairi and Sufi Sangeet are part of Bhakti Rasa. Bollywood has properly used these in its music.Mohammad Rafi sang many songs in this Rasa. Some of the popular are

Man Tadpat Hari Darshan ko Aaj

Insaaf ka Mandir hai yeh 

Tere Dar pe aaya hoon kuchh kar ke jaaonga

Song from Baiju Bawra 1952

Vatsalya Rasa

vatsalya is linked to mother but in Bollywood Parental love  is emoted in many songs sung by male singers also.There are many songs sung by Rafi Saheb in this category
Babul ki duaayein leti ja (Neel Kamal)
O Nanhe se farishtey (Ek Phool Do Maali)
So ja baba mere so jaa” from Koshish

Song from Ek Phool Do Maali 1969

Shringara Rasa
This emotion can be used to paint love for any person, be it specifically sweetheart or anybody else. Rafi certainly was a master at expressing romance and the sheer number of his great romantic songs is a testament to that.Some of his popular shringar rasa songs are
Aaj ki raat yeh kaisi raat ke hum ko (Aman)
“Aise toh na dekho” from Teen Deviyaan
Chaudvin Ka Chaand Ho  
Mere Mehboob tujhe meri mohabbat (Mere Mehboob)

Song from Chaudhvin Ka Chaand 1960

 Karuna Rasa
The sympathy and fellow-feeling.The actual Karuna means the sadness,Karuṇarasa  refers to the “pathetic sentiment”There are many popular songs in this emotion
Kahan ja raha hai (Seema, 1955)
“Main gaaoon tum so jaao” (Brahmchaari)
Chahunga main tujhe (Dosti)
Na tu Zameen ke liye (Dastaan)

Song from Dosti 1964

Hasya Rasa
Teasing and laughing with a friend is one face of “Hasya rasa”. Much has been said about Rafi and Johnny Walker  and their superb comedic partnership. But Rafi did great comedy for others too  like Mehmood and Om Prakash
Sar jo tera chakraye ya dil ( Pyasa )
Chhuri ban kaanta ban (Jaali Note, 1960)
Hamein kale hain to kya hua (Gumnaam)
Chakke pe Chakka (Brahmchaari)

Song from Jaali Note, 1960

Roudra Rasa
Raudra Rasa is one of the important rasa in Natyashastra and the dominant emotion or the Sthayi Bhava in this rasa is Krodha or anger. Rafi was especially adept at expressing anger, his voice could slip into the high notes and quick enunciation of the angry man, with extraordinary control and with such great effect. The songs depicting anger where Rafi excelled in this emotion
O Duniya ke rakhwaale (Baiju Bawra)
Mere dushman tu meri dosti ko tarse (Aye din bahar ke)
Yeh mahalon yeh takthon yeh taajon ki duniya(Pyasa)
Yeh Duniya ye mehfil mere kaam ki nahin (Heer Ranjha)

Song from Aye din bahar ke 1966

Vibhatsya Rasa
The bhava it represents is Disgust or aversion.This emotion is evoked by anything that is a symbol of repugnance, nausea  Rafi at its best to render  this rasa more effective 
Yeh Duniya agar mil bhi jaye to kya hai(Pyasa)
Mere Dushman tu meri (Aaye din bahar ke).
Kya miliye aise logon se (Izzat)

Song from Pyaasa 1957

Bhayanak Rasa
The Sthayi Bhava of Bhayanaka rasa is Bhaya or fright. The outcome of Bhayanaka rasa is through the Vibhavas or determinants such as Vikrta Rava or terrific noise, Rafi Saab brings this rasa effortlessly in the following songs which shows sheer disgust and antipathy towards the atrocities of the society
Guzre hain aaj ishq main us maqam se (Dil Diya Dard liya)
Mili khaak main mohabbat (Chaudvin ka Chand)
Dono ne kiya tha pyar magar (Mahua)
Main apne aap se ghabra gaya hoon (Bindiya)

Song from Bindiya 1960

Veera Rasa
 it deals with the exhibition of energy and enthusiasm with persons of high rank. Most of the patriotic songs are in this Rasa.Rafi’s voice quickens with the strength of his emotions and how heroic and sad the high notes sound in veer rasa.
Kar chale hum fida jan-o-tan saathiyo(Haqeeqat)
Apni Azaadi ko hum hargiz mita sakte nahin(Leader)
Zindabad aye Mohabbat zindabad (Mughal-E-Azam)
Mere desh premiyo aapas main prem karo (Desh Premi

Song from Leader 1964

Adbhuta Rasa
It is about the sentiment of wonderment surprise. The Sthayi bhava of the rasa is Vismaya or astonishment. Rafi has many songs in this Rasa.While most if us are lost in the wonder of his voice, Rafi could be vocally lost in the wonder of discovery in other ways – as this song highlights. "Tumne mujhe dekha hokar meherbaan" (you looked kindly on me) – you can hear the joy and the wonder of a man who, contrary to his expectations, finds himself loved by his beloved.Tumne mujhe dekha (Teesri Manzil, 1966
“Yeh duniya patang nit badley yeh rang koi jaane na udaane waala kaun hai”
Maine poocha chand se (Abdullah)
Wadiyan mera daaman, raaste meri bahaen(Abhilasha)

Song from Teesri Manzil, 1966

Shaanta Rasa
Beyond all these emotions lies the emotion of peace and serenity.“Shantha Rasa“ represents complete harmony among mind, body and the universe. This is a state where the mind is in rest, a state of tranquility.One of my all time favourite songs is “Tere Mere Sapne” from Guide. When Rafi Saab says “Tere dukh ab mere, mere sukh ab tere, tere yeh do naina chand aur suraj mere”, he sounds so utterly reassuring and comforting
.Basti basti parvat parvat (Railway Platform, 1955)
Main Zindagi ka saath Nibhata (Hum Dono)
Tere Mere Sapne (Guide)

Song from Guide, 1965

Nehru's Love For Indian Cinema

When the young generation film directors  of today blame Nehru for his so called ‘mistakes’, they speak out of ignorance, not knowing how great a visionary he was in laying for them the foundation of the largest film industry in the world.Nehru took cinema very seriously.
After independence when Nehru began to build the nation he deployed all available means in the process of nation building. That included using a vast pool of cultural assets to revive the glorious past of its various civilizations and communities.Cinema could become its powerful engine.
He wanted Indian Films to Flourish not only in India but also internationally.He started inviting foreign film personalities to India. he started the International Film Festival in India. The first International Film festival held in 1952. Films from the USSR, USA, UK, France, Italy, Germany and Japan were screened to audiences in Bombay, Calcutta, Madras and New Delhi. Leaders of the Indian film industry joined hands to support the effort.India’s first Prime Minister, Pandit Jawaharlal Nehru presided over the first Film Festival held in the auditorium of the National Physical Laboratory.
The first International Film Festival did not lay the foundation for holding international film events in the country. However, it did leave an indelible impact on the Indian film industry. 
It was Nehru who insisted to establish an Institute for training of various aspects of cinema.The Film Institute of India was opened in 1961.He also constituted Acadmies for arts, literature and music with a similar one in mind for Indian cinema. He asked the Sangeet Natak Academy to organize a national seminar on Indian Cinema. Indira Gandhi was made the Secretary for this seminar. Prithviraj Kapoor and Devika Rani were appointed directors, representing the film industry.
It was his dream that Indian films to be seen all over the globe.A seminar on Development Of Indian cinema was organised in 1955 which was inaugurated by Nehru Ji .On his innaugral speech he said-
‘I see a great future, a glorious future, for Indian films. Before long I expect Indian films to be exhibited to crowded houses all over the world, and they will earn not only money for our country but also a reputation for beauty, goodness and truth. India must, and will make a distinctive contribution to the film art of the world and I am confident, it will’.
Nehru did not see many filmsduring his lifetime. We know that he did see the long feature documentary film on Netaji’s Subhash Chandra Bose’s struggle in Burma and Malaya as a fighter for India’s freedom. This documentary had been smuggled into India by Vallabhbhai Patel for an early morning winter screening in the local Regal Theater in Delhi.
Nehru Ji wanted a feature film on Gandhi.Do you know that before Richard Attenborough's dream project,  in 1952, Gabriel Pascal, a Hungarian film producer and director had secured an agreement with the Prime Minister of India at that time, Pandit Jawaharlal Nehru to produce a film on Mahatma Gandhi's life. However, Pascal passed away in 1954 and the film could not be made.
Nehru saw Achhut Kanya, Doctor Kotnis Ki Amar Kahaniin 1949. In 1955, he saw the Japanese filmThe Last Warbased on the effects of nuclear warfare and Battleship Potemkin. He was the Chief Guest at the Bombay premiere of Charlie Chaplin’s film Limelightin New Excelsior cinema. He also saw Mehboob Khan’s Mother India,Bimal Roy’s Sujata,Abbas’s Munnaand Satyajit Ray’s PatherPanchali. He was a great fan of Devika Rani.He even wrote a fan letter to Devika which finds mentionin Khwaja Ahmad Abbas’sI am Not anIsland: An Experiment in Autobiography.
As we all know that it was Lata Mangeshkar's patriotic song Aai mere watan ke logon...that made our first Prime Minister of India, Pandit Jawaharlal Nehru cry but it may come as a shock to you that even before Lata Mangeshkar sung this song in 1963, long before in 1948 
a Mohammad Rafi song had such overwhelming effect on Pandit Jawaharlal Nehru that tears rolled down his cheeks!The song was Suno suno aye duniya walo bapu ki yhe amar kahani...'written by Rajendra Kishen and music composer Hussan Lal Bhagatram.
In 1957 Raj Kapoor produced Ab Dilli Dur Nahin  in search of justice a boy Ghaseeta decides to go to Delhi with Rattan to plead Hariram's case before Pt. Nehru. Similarly in 1967 film Naunihal a song was picturized over the funeral procession of Prime Minister of India, Jawahar Lal Nehru.

Song from Naunihal 1967

Suno suno aye duniya walo bapu ki yhe amar kahani.

Aye Mere watan Ke Logo

Non Filmy Song of Mukesh On Nehru Ji

Remembering AMJAD KHAN on his 77th Birth Anniversary

Born on 12th Nov 1940 Amjad Khan was an actor who made the character of Gabbar Singh an Immortal.He played many good roles in Bollywood as well, but is still popularly known as the most dreaded villain.On the birth anniversary of the iconic actor, here are some of his famous dialogue that make him the best Bollywood villain till date.

Gabbar Singh's dialogue from sholay

                             Jo Daar Gya Samjho Mar Gya- Gabbar Singh Dialogue

                           Yeh Haath Humko Dede Thakur | Film - Sholay | Gabbar & Thakur

Scene from Kaalia

Song from Yaarana

How Badruddin Qazi Became JOHNY WALKER

On his 97th Birth Anniversary we look back how the legendary comedian got his new name JOHNY WALKER.He reigned the Hindi Film Industry in the 1950s and 60s. No film was complete without a cameo from the son of a mill worker in Indore.He made his audiences smile gently and laugh uproariously without resorting to a single vulgarity or double entendre.
He started life in Mumbai as a bus conductor. And he would have continued to be so if the late actor Balraj Sahni had not spotted him entertaining passengers in a bus.
Those days Balraj Sahini was penning the script for “Baazi,he thought that if he brings this character in the script it will give boost to the film.He asked Badruddin Qazi about working in films.

It was on the sets of “Baazi” that Badruddin Qazi met director Guru Dutt, and the rest, as they say, is history.

Those days it was the practice of changing the names of the actors,this was also done to him.So the new name for him was planned.It is said that the director of the film Guru Dutt was drinking the most popular brand of scotch whisky at that time,the idea came to his mind why not the brand Johny Walker should be given to this new comedian.Everybody sitting with him liked this name.So Badruddin Qazi became Johnny Walker.

There was no looking back after that. The talented actor-director and the fledgling comedian had an enduring partnership and went on to make great films like “Pyaasa”, “CID”, “Mr and Mrs 55” and “Sahib, Bibi aur Ghulam”.

The great comedian once said: “If it was not  Guru Dutt sahib, I would have remained a bus conductor. I had a great understanding with him that made my career.”

“Baazi” gave him a foothold into the industry and the other films, which followed, established him forever.

He was last seen in 1997 in Kamal Haasan’s “Chachi 420”, a remake of the Hollywood comedy “Mrs Doubtfire”, for which he returned to the screen after a gap of 14 years.

Song from Mr & Mrs 55 (1955)

Song from C I D 1956

Song from Chori Chori 1956

Song from Pyaasa 1957

Song from Gateway Of India 1957

Song from Choudhavin Ka Chaand 1960