| Tell a Lie Day
Introduction : By the way,we don’t create these days, we only report them. Why someone would create a day to encourage a person to lie is hard to comprehend. Be that as it may, today is the day to tell lies, big and small. Tomorrow, we can all get back to the virtue of “honesty is the best policy”.( If you find today a bit discomforting, you can look forward to National Honesty Day later this month). Origin of “Tell a Lie Day”: My research did not find the creator, or the origin of this day. I believe that the creator of this day will be the only person who answers “no” to the following question…. “Did you create Tell a Lie Day?” In keeping with the spirit of this day, everyone’s answer will be a lie. Therefore, everyone will say “Yes”, except the creator.  For one day a year, contrary to what our parents and teachers told us, it is actually acceptable to lie -just this once. Whether a white lie, a little fib or a tall tale, enjoy the day while you can because as said earlier,National Honesty Day is coming up at the end of this month.
Things to ponder upon :
What is the biggest lie you ever told?
What is the worst lie someone told you?
How did it feel when someone lied to you?
If you wouldn’t get into trouble, would you lie more often?
A Story :
There is a very popular story reportedly related to George Washington. Here is a version I read decades ago in school :
The Cherry Treeby M. L. Weems
 When George was about six years old, he was made the wealthy master of a hatchet of which, like most little boys, he was extremely fond. He went about chopping everything that came his way.One day, as he wandered about the garden amusing himself by hacking his mother’s pea sticks, he found a beautiful, young English cherry tree, of which his father was most proud. He tried the edge of his hatchet on the trunk of the tree and barked it so that it died. Some time after this, his father discovered what had happened to his favorite tree. He came into the house in great anger, and demanded to know who the mischievous person was who had cut away the bark. Nobody could tell him anything about it. Just then George, with his little hatchet, came into the room. “George,” said his father, “do you know who has killed my beautiful little cherry tree yonder in the garden? I would not have taken five guineas for it!” This was a hard question to answer, and for a moment George was staggered by it, but quickly recovering himself he cried: “I cannot tell a lie, father, you know I cannot tell a lie! I did cut it with my little hatchet.” The anger died out of his father’s face, and taking the boy tenderly in his arms, he said: “My son, that you should not be afraid to tell the truth is more to me than a thousand trees! Yes – though they were blossomed with silver and had leaves of the purest gold!” Lies in our Hindi Film Songs: How can I ever forget some very lovely songs from our very own Bollywood films ??! First one, is a Mukesh number, from a movie titled :” Teesri Kasam” (1966) and which goes like this : ” Sajan Rey Jhooth Mat Bolo,Khuda Ke Paas Jaana Hai…” The lyrics of this hummable song are as under : Sajan Re Jhooth Mat Bolo Tumhare Mehel Chaubaare Bhalaa Kije Bhalaa Hoga Ladakpan Khel Mein Khoya To listen to this song,go to the following link : www.youtube.com/watch?v=KirPb5GUUkQ Second one is from the hit movie titled :”Bobby”.It is an enjoyable dance number picturised on Rishi and Dimple. It goes like this :”Jhooth Boley Kauva Kaatey…”. To listen to this number,try the following link : www.youtube.com/watch?v=wdPLTLbqyTo I am sure you will enjoy both these songs as I do ! OK ! Wish you a Happy Tell A Lie Day !! Really ! Not fibbing !! See you again on National Honesty Day ! Honestly ! |
Archive for the Category "Poetry in Golden Oldies"
Singers : Kishore Kumar
Song : Din Hai Suhaana Aaj pehli tarikh Hai
Lyricist : Qamar Jalalabadi
Actors : Raja Nene, Nirupa Roy, Agha
Music Director : Sudhir Phadke
aaj pehli tarikh hai
din hai suhaana
aaj pehli tarikh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh aji
pehli tarikh hai
biwi boli ghar zara
jaldi se aana jaldi se aana
shaam ko piya ji
hamein cinema dikhana
hamein cinema dikhana
karo na bahaana
haan bahaana bahaana
karo na bahaana
aaj pheli tareekh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh aji
pehli tarikh hai
lala ji ki jaan aaj
aaya hai kaabu
aaya hai kaabu
o paisa zara laana
o paisa zara laana
laana laana
o paisa zara laana
aaj pheli tareekh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh aji
pehli tarikh hai
kismat ki maar hai
sab din ek hain
roz e aitbaar hai
mujhe na sunana
haan sunana sunana
mujhe na sunana
aaj pheli tareekh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh aji
pehli tarikh hai
mehmaan hain
bade hi sharif hain
puraane meharbaan hain
bade hi sharif hain
puraane meharbaan hain
are jeb ko bachaana
bachaana bachaana
jeb ko bachaana
aaj pheli tareekh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh aji
pehli tarikh hai
soye nahi raat se
seth ji ko ghum hai ki
paiso chalo haath se
are lootega khazaana
khazaana khazaana
lootega khazaana
aaj pheli tareekh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh aji
pehli tarikh hai
aao khel mazedaar hai
ho khel mazedaar hai
ji khel mazedaar hai
agha hai bhagwan hai
kishore kumar hai
nimmi geeta bali hai
ashok kumar hai
nargis raj kapoor hai
dilip kumar hai
geeton ka toofan hai
naach ki bahaar hai
naach ki bahaar hai
paanch aane ka das aana
paanch aane ka das aana
paanch aane ka das aana
are waapas nahi jaana
jaana jaana
waapas nahi jaana
aaj pheli tareekh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh aji
pehli tarikh hai
baapu ko ghera
baapu ko ghera
kehte hain saare ki
baapu hai mera
baapu hai mera
khilone zara laana
khilone zara laana
aaj pheli tareekh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh aji
pehli tarikh hai
aaj pehli tarikh hai
khush hai zamaana
aaj pehli tarikh hai
pehli tarikh
aji pehli tarikh hai
Din hai suhaana aaj pahli taarikh hai
Posted by: squarecutatul on: September 1, 2008 For those who lived in India during 1960s and 1970s, and who listened to radio Ceylon every morning, 7-30 to 8 AM was the time for old songs. Most people (masses) including kids like me scoffed at these old songs and waited for 8 AM. Last song of that programme was by K L Sehgal, and we would know that the “aaphi ke geet” programme, where new songs were played was just round the corner. All over the country, listeners, including the farmaish senders from Jhumri Tilaiyya and elsewhere would start paying more attention.
There was one exception during this time slot between 7-30 to 8 AM though, and that would arrive on the first day of every new month. This was a song of Kishore Kumar that would go ” din hai suhana aj pahli tarikh hai”. Even those who could not stand old songs would approve of this song. It was the only song of that programme that no one ever found boring or grumbled against.
Now that those days are gone for ever,this song reminds us of those days when life was so simple and uncomplicated. Most working people were salaried people, who barely managed to make both ends meet towards the end of the month. They would be broke by the time a month entered the last week. They would be forced to purchase their groceries etc on credit, and the creditors would grumble.
The sole breadwinners of the families that they were, they would eagerly look forward to their next pay day, which came on the first day of the month. With this salary, they would not only be able to appear before their creditors with their heads high, but they would also be able to buy peace with their wives and children.
When the first day of the month dawned,disapproving people would all of a sudden turn a new leaf. The wife would start showing affection towards her husband, grocer would soften his stand, knowing that he would get his money back on this day. Movie halls would expect to see a good business, what with the wife wanting to watch a movie that day. And the kids, who would not even recognise their father till yesterday, would start staking claims on their father, and giving their farmaishes for toys and sweets.
Wow, what simple and joyous days those were ! India has come a long way from those days, and I do not think people these days depend on the first day of the month to tide over their financial woes. One can watch all the movies they want sitting at their homes, the days of buying on credit from neighbourhood grocer is long gone, and kids have so many toys and sweets these days that this day is a non event for them.
I always say that small pleasures are always the biggest pleasures that we can have in our lives. And those days of such unalloyed simple pleasures are sadly long gone.
Everyone knew who sang this song,but that was all. Till recently,I did not know that this song from “Pahli taarikh” (1954)was written by Qamar Jalalabadi and that the music was by Sudhir Phadke. And how well the lyricist has captured the sentiments of ordinary real life of people. He has been at his observant and eloquent best and he has written a very long and detailed song. In fact, this has to be the longest lyrics for a bollywood song. And as if on cue, my description of this song has turned out to be just as long.
This song was so difficult to come by. I finally discovered this song in esnip.com and made a video out of it showing Kishore Kumar’s picture in it. If someone has the video of the song from this movie, I request that they should upload it on the internet. This gem of a song deserves to be heard (and watched if possible) by all those who like to listen to Bollywood songs.
All these days,I thought that this song was picturised on Kishore Kumar. Now I have come to know that this song was picturised on Raja Nene and Nirupa Roy. Raja Nene was the director of this movie as well. I am thankful to Yunus Khan (Vividh Bharati announcer and author of a popular music blog) for this information.
———-
Hope you have enjoyed as much as I have enjoyed posting this piece !
Music Director – Madan Mohan
Lyricist – Rajendra Krishan
Singer – Geeta Dutt
Ae Dil Mujhe Bata De, Tu Kis Pe Aa Gaya Hai
Woh Kaun Hai Jo Aakar, Khwaabon Pe Chhaa Gaya Hai….(2)
Aankhon Mein Neend Aakar Kyon Door Jaa Rahi Hai….(2)
Woh Kaun Hai Jo Aakar, Khwaabon Pe Chhaa Gaya Hai
Shaayad Yeh Raat Beete Karwat Badal Badal Ke….(2)
Ae Dil Zara Sambhal Jaa, Shaayad Woh Aa Gaya Hai
Woh Kaun Hai Jo Aakar, Khwaabon Pe Chhaa Gaya Hai
Kya Chaand Kya Sitaare, Har Cheez Hai Sharaabi…(2)
Dheere Se Ek Naghma Koi Suna Gaya Hai
Woh Kaun Hai Jo Aakar, Khwaabon Pe Chhaa Gaya Hai
Woh Kaun Hai Jo Aakar, Khwaabon Pe Chhaa Gaya Hai
Ae Dil Mujhe Bata De…….
akshar sabhi palat gaye bharat key bhaal key;
manzil pey aaya mulk har balaa ko taal key;
sadiyon key baad phir udey baadal gulaal key.
is desh ko rakhana merey bachcho sambhaal key
tum hi bhavishya ho mere bharat vishaal key
is desh ko rakhana merey bachcho sambhaal key.
isko hriday key khoon sey baapu nein hai siincha;
rakkhaa hai yeh chiraag shahiidon ney baal key
manzil tumhaari dur hai lambaa hai raastaa,
bhatkaa na dey koi tumhein dhokhey mein daal key
baaruud key ik dher pey baithi hai yeh duniya
tum har kadam uthana zara dekh bhaal key
sapanon key hindolon pey magan hokey na jhoolo
ab waqt aa gaya hai merey hanstey huey phoolon
utho chhalang maar key akaash ko chhoo lo
tum gaad do gagan pe tirangaa uchhaal key
Views about our Bharat’s future have been changed.
Avoiding all roadblocks,our country has reached its goals.
After centuries, we have flown clouds of gulal*.
We have saved our boat from every storm.
Take good care of this country,O my children !
You are the only future of great Bharat
Take good care of this country, O my children !
And keep the lamp lit by our freedom martyrs,always glowing.
Take care and keep away from world’s evil plans.
Your goal is still quite far and the road is too long.
Let not anyone distract you deceitfully from your aim.
Take good care……..
Do take each and every step with great care & caution.
Take good care…….
Please do not swing away in idle dreams.
Yes,now the time has come,my smiling flowers.
Yes, get up & fly into the limitless and unbound sky,
Readers are aware of my love for golden oldies and quite a few ones of my postings in this forum on this subject matter had generated quite a good response in the recent past. A few months back I had done a little study on Qawwali from some sources.Here is some basic information on this genre of poetry. Hope you will like it :
Qawwali is a form of Sufi devotional music popular in South Asia, particularly in areas with a historically strong Muslim presence, such as southern Pakistan, and parts of North India. The style is rare, though not entirely absent, in North and West Pakistan, Bangladesh, and Kashmir. It’s a vibrant musical tradition that stretches back more than 700 years. Often listeners, and even artists themselves, are transported to a state of wajad, a trance-like state where they feel at one with God, generally considered to be the height of spiritual ecstasy in Sufism, and the ultimate goal of the practice.Originally performed mainly at Sufi shrines or dargahs throughout the subcontinent, it has also gained mainstream popularity. Qawwali music received international exposure through the work of the late Pakistani singer Nusrat Fateh Ali Khan, largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Other famous Qawwali singers include Pakistan’s Sabri Brothers.Although famous throughout the world, its hub remains the Punjab province of Pakistan from where it gained entry into the mainstream commercial music industry and international fame.The roots of Qawwali can be traced back to 8th century Persia (today’s Iran and Afghanistan). During the first major migration from Persia, in the 11th century, the musical tradition of Sema migrated to the Indian subcontinent, Turkey and Uzbekistan. Amir Khusro Dehelvi of the Chisti order of Sufis is credited with fusing the Persian and Indian musical traditions to create Qawwali as we know it today in the late 13th century in India (Hindustani classical music is also attributed to him). The word Sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, and in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama.Qaul is an “utterance (of the prophet)”, Qawwāl is someone who often repeats (sings) a Qaul, Qawwāli is what a Qawwāl sings.The songs which constitute the qawwali repertoire are mostly in Urdu and Punjabi (almost equally divided between the two), although there are several songs in Persian, Brajbhasha and Siraiki. There is also qawwali in some regional languages (e.g., Chhote Babu Qawwal sings in Bengali), but the regional language tradition is relatively obscure. Also, the sound of the regional language qawwali can be totally different from that of mainstream qawwali. This is certainly true of Chhote Babu Qawwal, whose sound is much closer to Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example.The poetry is implicitly understood to be spiritual in its meaning, even though the lyrics can sometimes sound wildly secular, or outright hedonistic. The central themes of qawwali are love, devotion and longing (of man for the Divine).Qawwalis are classified by their content into several categories:A hamd (arabic for praise) is a song in praise of Allah. Traditionally, a qawwali performance starts with a hamd. A naat (arabic for description) is a song in praise of the Prophet Muhammad. The opening hamd is traditionally followed by a naat. A manqabat (arabic for characteristics) is a song in praise of either Imam Ali or one of the Sufi saints. Interestingly, manqabats in praise of Ali are sung at both Sunni and Shi’a gatherings. If one is sung, it will follow right after the naat. There is usually at least one manqabat in a traditional programme.A marsiya (arabic for lamentation for a dead person) is a lamentation over the death of much of Imam Husayn’s family in the Battle of Karbala. Once again, this would typically be sung only at a Shi’a concert.A ghazal (arabic for love song) is a song that sounds secular on the face of it. There are two extended metaphors that run through ghazals — the joys of drinking and the agony of separation from the beloved. These songs feature exquisite poetry, and can certainly be taken at face value, and enjoyed at that level. In fact, in Pakistan and India, ghazal is also a separate, distinct musical genre in which many of the same songs are performed in a different musical style, and in a secular context. In the context of that genre, the songs are usually taken at face value, and no deeper meaning is necessarily implied. But in the context of qawwali, these songs of intoxication and yearning use secular metaphors to poignantly express the soul’s longing for union with the Divine, and its joy in loving the Divine. In the songs of intoxication, “wine” represents “knowledge of the Divine”, the “cupbearer” (saaqi) is God or a spiritual guide, the “tavern” is the metaphorical place where the soul may (or may not) be fortunate enough to attain spiritual enlightenment. (The “tavern” is emphatically not a conventional house of worship. Rather, it is taken to be the spiritual context within which the soul exists.) Intoxication is attaining spiritual knowledge, or being filled with the joy of loving the Divine. In the songs of yearning, the soul, having been abandoned in this world by that cruel and cavalier lover, God, sings of the agony of separation, and the depth of its yearning for reunion. A kafi is a poem in Punjabi, Seraiki or Sindhi, which is in the unique style of poets such as Shah Hussain, Bulleh Shah and Sachal Sarmast. Two of the more well-known Kafis include Ni Main Jana Jogi De Naal and Mera Piya Ghar Aaya. A munadjaat (arabic for a conversation in the night) is a song where the singer displays his thanks to Allah through a variety of linguistic techniques. It is often sung in Persian, with Mawlana Jalāl-ad-Dīn Rumi credited as its inventor.
A group of qawwali musicians, called a party (or Humnawa in Urdu), typically consists of eight or nine men including a lead singer, one or two side singers, one or two harmoniums (which may be played by the lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the dominant hand and the dholak with the other one (i.e. a left-handed percussionist would play the table with his left hand). Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid and abet percussion by hand-clapping.
The performers sit cross-legged on the ground in two rows — the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row.Before the fairly recent introduction of the harmonium, qawwalis were usually accompanied by the sarangi. The sarangi had to be retuned between songs; the harmonium didn’t, and was soon preferred.Women used to be excluded from traditional Muslim music, since they are traditionally prohibited from singing in the presence of men. These traditions have changed, however, as is evident by the popularity (and acceptance) of female singers such as Abida Parveen. However, qawwali has remained an exclusively male business. There are still no mainstream female qawwals. Although Abida Parveen performs many songs that are in the traditional qawwali repertoire, she does not perform them in the traditional qawwali style. Typically missing is the chorus which repeats key verses, as well as the handclapping.Songs are usually between 15 to 30 minutes long. However, the longest commercially released qawwali runs slightly over 115 minutes (Hashr Ke Roz Yeh Poochhunga by Aziz Mian Qawwal). The qawwali maestro Nusrat Fateh Ali Khan has at least two songs that are more than 60 minutes long.Qawwalis tend to begin gently and build steadily to a very high energy level in order to induce hypnotic states both among the musicians and within the audience. Songs are usually arranged as follows:
They start with an instrumental prelude where the main melody is played on the harmonium, accompanied by the tabla, and which may include improvised variations of the melody.Then comes the alap, a long tonal improvised melody during which the singers intone different long notes, in the raag of the song to be played. The lead singer begins to sing some preamble verses which are typically not part of the main song, although thematically related to it. These are sung unrhythmically, improvised following the raag, and accompanied only by the harmonium. After the lead singer sings a verse, one of the side singers will repeat the verse, perhaps with his own improvisation. A few or many verses will be sung in this way, leading into the main song.As the main song begins, the tabla, dholak and clapping begin. All members join in the singing of the verses that constitute the refrain. Normally neither the lyrics of the main verses nor the melodies that go with them are improvised; in fact, these are often traditional songs sung by many groups, especially within the same lineage. As the song proceeds, the lead singer or one of the side singers may break out into an alap. Nusrat Fateh Ali Khan also popularized the interjection of sargam singing at this point. The song usually builds in tempo and passion, with each singer trying to outdo the other in terms of vocal acrobatics. Some singers may do long periods of sargam improvisation, especially alternating improvisations with a student singer. The songs usually end suddenly. The singing style of qawwali is different from Western singing styles in many ways. For example, in words beginning with an “m”, Western singers are apt to stress the vowel following the “m” rather than the “m” itself, whereas in qawwali, the “m” will usually be held, producing a muted tone. Also in qawwali, there is no distinction between what is known as the chest voice and the neck voice (the different areas that sound will resonate in depending on the frequency sung). Rather, qawwals sing very loudly and forcefully, which allows them to extend their chest voice to much higher frequencies than those used in Western singing, even though this usually causes a more noisy or strained sound than would be acceptable in the West.
Traditional sequence of a Chishtiya Sufi order qawwali performance:
Instrumental: This is supposed to be the announcement of the arrival of Khawaja Moinuddin Chishti, as Sufi believes their saints are free of time-space. Also that Nabi, Siddiq, Shaheed, and Saleh category of faithfuls are never dead, just gone into some other state from where they visit whenever they are mentioned, especially if there is a function in their honor. Hamd.Naat.Manqabat Ali.
Manqabat Ghous: Praise of Shaikh Abdul-Qadir Gilani
Manqabat Khwaja: Praise of Khwaja Moinuddin Chishti
Manqabat Shaikh: Praise of the Shaikh/Pir if it is his anniversary
Rang or Badhawa: If it is the death anniversary of the Pir, then it is usually Rang, a poem by Amir Khusro. If it is the Shaikh’s birthday, it is usually the Badhawa.
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With this information as a backround, I now give the wordings and other details of one of my favourite Qawwali numbers :
Here is the full song,one of my favourite oldies.When I was studying in Bulsar ( 1960s), there used to be all night qawwalies sung at a saint’s dargah near the main bus stand. I used to go to see the qawwals and listen to them all night with friends.Once I could not enter the venue,so I sat perched on a nearby tree top and heard one then famous lady qawwal named Haseena Banu or some such name(don’t exactly recall now) I have also heard Aziz Naza (“Jhoom brabar jhoom sharaabi” fame) once in an all night programme long ago !!
One another famous qawwali which I just love,is from the movie Mughal-E-Azam: “Teri mehfil mein kismat aazma kar hum bhi dekhengey.”(see and try the link given below)
Here are the lyrics of one of the famous and one of my favourite qawwali number :
Singer: Ismail Azad Qawwal and chorus, Music Director: Bulo C Rani, Lyricist: Shevan Rizvi.
kale kale baalon ne, gore gore gaalon ne”
Lyrics:
Hamein to luut liya mil ke husna vaalon ne
kaale-kaale baalon ne, gore-gore gaalon ne – 2
nazar mein shokiyaan aur bachapana sharaarat mein
adaaein dekhake ham phans gaye mohabbat mein
ham apani jaan se jaayenge jinaki ulfat mein
yakin hai ki na aayenge vo hi maiyyat mein
to ham bhi kah denge, ham lut gaye, sharaafat mein
hamein to luut liya mil ke husna vaalon ne
kaale-kaale baalon ne, gore-gore gaalon ne – 2
vahin-vahin pe qayaamat ho vo jidhar jaayein
jhuki-jhuki hui nazaron se kaam kar jaayein
tadapata chhod dein raste mein aur guzar jaayein
sitam to ye hai ki dil le lein aur mukar jaayein
samajh mein kuchh nahin aata ki ham kidhar jaayein
yahi iraada hai ye kahake ham to mar jaayein
hamein to luut liya mil ke husna vaalon ne
kaale-kaale baalon ne, gore-gore gaalon ne – 2
vafa ke naam pe maara hai bevafaaon ne
ki dam bhi ham ko na lene diya jafaaon ne
khuda bhula diya in husn ke kudaaon ne
mita ke chhod diya ishq ki kataaon ne
udaaye hosh kabhi zulf ki havaan ne
hayaa-e-naaz ne luuta kabhi adaawon ne
hamein to luut liya mil ke husna vaalon ne
kaale-kaale baalon ne, gore-gore gaalon ne – 2
hazaar lut gaye nazaron ke ik ishaare par
hazaaron bah gaye tufaan banake dhaare par
na inake vaadon ka kuchh thik hai na baaton ka
fasaana hota hai inaka hazaar raaton ka
bahut hasin hai vaise to bholapan inaka
bhara hua hai magar zahar se badan inaka
ye jisako kaat lein paani vo pi nahin sakata
dava to kya hai dua se bhi ji nahin sakata
inhin ke maare huye ham bhi hain zamaane mein
hai chaar lafz mohabbat ke is fasaane mein
hamein to luut liya mil ke husna vaalon ne
kaale-kaale baalon ne, gore-gore gaalon ne – 2
zamaana inako samajhata hai nekhyvaar maasum
magar ye kahate hain kya hai kisiko kya maalum
inhe na tir na talvaar ki zarurat hai
shikaar karane ko kaafi nigaahein ulfat hain
hasin chaal se dil payamal karate hain
nazar se karate hain baatein kamaal karate hain
har ek baat mein matalab hazaar hote hain
ye sidhe-saade bade hoshiyaar hote hain
khuda bachaae hasinon ki tez chaalon se
pade kisi ka bhi palla na husna vaalon se
hamein to luut liya mil ke husna vaalon ne
kaale-kaale baalon ne, gore-gore gaalon ne – 2
husna vaalon mein mohabbat ki kami hoti hai
chaahane vaalon ki taqadir buri hoti hai
inaki baaton mein banaavat hi banaavat dekhi
sharm aankhon mein nigaahon mein lagaavat dekhi
aag pahale to mohabbat ki laga dete hain
apani rukasaar ka deewaana bana dete hain
dosti kar ke phir anjaan nazar aate hain
sach to ye hai ki beyimaan nazar aate hain
mautein kam nahin duniya mein muhabbat inki
zindagi hoti barabaad badaulat inki
din bahaaron ke guzarate hain magar mar-mar ke
lut gaye ham to hasinon pe bharosa kar ke
hamein to luut liya mil ke husna vaalon ne
kaale-kaale baalon ne, gore-gore gaalon ne – 2
Hope you have enjoyed it !
I tried to find a Youtube link to this song,but I was not successful.
However,I could locate a link to the song from Mughal-E-Azam.Try it and see.
BHANGRA SCENE FROM THE HINDI MOVIE :” JAAGTE RAHO”
Since it is Baisakhi time once again, I become nostalgic and go back to one of my most favourite Bhangra Songs titled ” Main Koyi Jhoot Boliya? ” (” Did I tell a Lie ?”) .
It is from Raj Kapoor’s famous movie titled “Jaagte Raho” of 1956. The song is in Punjabi.The wordings,followed by my own literal translation, go thus :
Oye ainvein duniyaan devey duhai,
Jhoota paaondi shore,
Aapne dill nu puchh key vekho,
Kon nahin hai chor
Tey ki main jhoot boliya ? Koi naan !
Tey ki main kufar toliya ? Koi naan !
Tey ki main zehr gholiya ? Koi naan !
Oh Balley,balley,balley,balley,balley.
(an expression for expressing great joy and happiness) (chorus)
Oohoon aahoon oohoon aahoon …………. (chorus)
Translation :
The world unjustifiedly / falsely shouts (makes a noise)
About wrong-doings all over the world.
Just ask your own self.
Who is not a thief ?
( We are all thieves– involved in many wrong-doings)
Did I tell a lie ? No not at all !
Did I make a blasphemous statement ? No not at all !
Did I mix a poisonous potion ? No not at all !
Verse 1 :
Hakk doojey daa maar maar key,
Bann gaye log ameer,
Main ehnoo kehnda chori,
Log kehn taqdeer !
Tey ki main jhoot boliya ? Koi naan !
Tey ki main kufar toliya ? Koi naan !
Tey ki main zehr gholiya ? Koi naan !
Bhraajee hattkey,bhraajee bachhkey…..
Oohoon aahoon oohoon aahoon ………….
Translation :
People have become rich
By depriving others of their rights.
I call it downright thievery,
But people call it merely luck !
Did I tell a lie ? No not at all !
Did I make a blasphemous statement ? No not at all !
Did I mix a poisonous potion ? No not at all !
Brother dear take care,brother dear beware !
Oohoon aahoon oohoon aahoon ………….
Verse 2 :
Vekhey pandit gyaani dhyaani,
Daya dharam dey bandey,
Raam naam jappdey tey khaandey
Gau shaala dey chandey !
Tey ki main jhoot boliya ? Koi naan !
Tey ki main kufar toliya ? Koi naan !
Tey ki main zehr gholiya ? Koi naan !
Bhraajee hattkey,bhraajee bachhkey…..
Oohoon aahoon oohoon aahoon ………….
Translation :
I have seen big Pandits,
Who are very learned and do a lot of meditation
But (curiously enough,they are mired in contoversies)
They are known to misuse donation funds
Received in the name of Gau shaalas
(cow-sheds set up for charitable purposes
for looking after welfare of stray cattle)
Did I tell a lie ? No not at all !
Did I make a blasphemous statement ? No not at all !
Did I mix a poisonous potion ? No not at all !
Brother dear take care,brother dear beware !
Oohoon aahoon oohoon aahoon ………….
Verse 3:
Sachhey faansee chadhdey wekhey,
Jhootha mauj uddaye,
Loki kehndey Rabb di Maaya,
Main kehnda annayaye !
Tey ki main jhoot boliya ? Koi naan !
Tey ki main kufar toliya ? Koi naan !
Tey ki main zehr gholiya ? Koi naan !
Oh Balley,balley,balley,balley,balley.
Oohoon aahoon oohoon aahoon ………….
Translation:
We have seen people who are truthful
Being hanged to death !
And the cheaters / liers enjoying their lives.
People call it God’s ” maaya “,
I call it gross injustice !!
Did I tell a lie ? No not at all !
Did I make a blasphemous statement ? No not at all !
Did I mix a poisonous potion ? No not at all !
Oh Balley,balley,balley,balley,balley.
Oohoon aahoon oohoon aahoon ………….
——————-
The song depicts some of the earliest scenes of the new (post-Partition) “bhangra,” with the original Patiala/Sunam group. The film by Raj Kapoor is actually set in Bengal.
The wordings of the song are harsh truths and grim realities even in the present times !!
I just love this song and on popular requests have sung it umpteen times in school,in college and in social functions and in sangeet mehfils in marriages, much to the delight and appreciation of all.The song is so peppy that all listeners are spell bound and voluntarily participate in it by clapping their hands to the beat and joining the chorus !!
Those who would like to watch it and hear it on Youtube,please click on or go to the following link:
NOTE: Downloding the song takes time and gets downloaded in stages.Once downloading is completed,press the replay button and then listen to the full song without a break.HAPPY BAISAKHI !!
Some rare and very useful information about the movie, “Jaagtey Raho”,
is available by going to the following link :
http://en.wikipedia.org/wiki/Jagte_Raho
There is also a rare poster of this movie displayed on the site :
Story / background in brief :
Jagte Raho (meaning Stay Awake or Stay Alert) is a 1956 film directed by Amit Mitra and Sombhu Mitra, produced by and starring Raj Kapoor.
The film centers on the trials of a poor villager (Kapoor) who comes to a city in search of a better life. However, the naive man soon becomes trapped in a web of middle-class greed and corruption. The film also features a cameo by Nargis in the final scene.
A poor peasant (Kapoor) from the village, who comes to the city in search of work, is looking for some water to quench his thirst. He unwittingly enters an apartment building, whose residents take him for a thief and chase him. He runs from one flat to the other trying to escape his predicament. Along the way, he witnesses many shady undertakings in the flats where he hides. Ironically, these crimes are being committed by the so called “respectable” citizens of the city, who by day, lead a life totally in contrast to their nighttime deeds behind closed doors.He is shocked by these events, and tries to escape by evading the search parties, that are patrolling the apartment building in search of the elusive thief. He is unfortunately seen, and people chase him to the roof of the building. He puts up a brave resistance, and then descends by the water pipes onto the porch of a flat. He goes in to find a young girl (Daisy Irani). She talks to him and kindles a self belief in the peasant, who determinedly tries to face the adversity waiting outside. But when he ventures out of the flat, he is surprised to find that nobody takes notice of him. He eventually leaves the apartment building, his thirst still unquenched. He hears a beautiful song and searching for its source arrives at the doorstep of a woman (Nargis) drawing water from a well. His thirst is finally assuaged.
Other than the acting, the music is the highlight of the film. Lyrics are by Shailendra and Prem Dhawan and music is by Salil Choudhary. The songs Zindagi Khwaab Hai, Main Koi Jhoot Boleya and Jaago Mohan Pyaare are still remembered by people as classics.
Cast :Raj Kapoor
Nargis (guest appearance)
Motilal
Pradip Kumar
Sumitra Devi
Sulochana Chatterjee
Smriti Biswas
Daisy Irani
Awards :A shortened version of the film won the Grand Prix at the Karlovy Vary International Film Festival in Czechoslovakia in 1957.
There is also another famous and rare poster of the film depicting the final scene where Nargis helps Raj in quenching his thirst at last !
E…N…J…O…Y …!!
————-
For those interested in some more details, please read the following paras gleaned from some other sources from the internet :
JAGTE RAHO is a poetic film from India that features the city as an allegory for the good and evil that is present in the world. Mohan is a humble villager who arrives in the big city and through his travels during his first night he is witness to the dark side of humanity, as well as being pursued as a suspected thief. When the dark night ends, he finds that when day comes, all is beautiful again, and the cycle continues.Jagte Raho, set over a single night’s events is a brilliant comic yet critical survey of Bengali middle class life. The film is written and directed by legendary Bengali actor-director Sombhu Mitra (specially invited by Raj Kapoor) to direct the film and Amit Moitra. Jagte Raho is one of two films directed by Mitra, the other being Subha Bibaha (1959). He is regarded one of most significant figures of 20th century Indian Theatre and is considered the greatest Bengali actor after Sisir Bhaduri, along with Ajitesh Bandhopadhyay and Utpal Dutt. The film shows Mitra’s pre-occupation with social justice and is a Chaplinesque denunciation of the petit-bourgeois who will not even offer a glass of water to a poor peasant lost by night in Calcutta. Like other films of the period – Do Bhiga Zameen (1953), Naukri (1954) and Shree 420 (1955) the film looks at the city as a nightmare. In fact the opening images are similar to those of first impresssions of Bombay in Shree 420 – the ‘closed’ nature of city life is placed in opposition to the ‘openness’ and simplicity of village life where everyone knows everyone else: an allegory to the inhuman nature of the city where undesirable villagers are hunted down mercilessly.Jagte Raho is an allegoric film about darkness and light, where darkness is the cloak of respectability under which a city supposedly sleeps but in effect thrashes around in the throes of crime and evil – a civilization gone to seed. It seems a night without end, but there is an end, the coming of a dawn at which the peasant discovers that the terrible darkness of the night is only half the truth but out of the suffocating darkness itself shall be born the dawn of a new day of truth and justice.The device of having the peasant run into an apartment block and then having to move from flat to flat to avoid being discovered is an ingenious device as we move from one milieu to another while giving the film a sense of movement. The irony of the film is that while he is thought to be a thief and is chased by the so called righteous petit-bourgeois, what he sees in the flats are far bigger crimes – moral, hypocritical and physical, committed by these ‘repectable’ people behind the four walls of their homes. The film sees one of Raj Kapoor’s most remembered performances as perhaps the best of his Chaplin inspired roles. Quoting British critic Geoff Brown:”Kapoor’s character is cut from Chaplin’s cloth. He starts out sharing food with a dog, squatting on the pavement, and spends most of the filma cting in pantomime, darting in and out of rooms, hiding in a drum, shinnying down a drainpipe, periodically pursued by a lively crowd of residents wielding anything from sticks to stringless tennis rackets. The result is one of Kapoor’s most diverting films.” However the scene stealer has to be Motilal playing the role of a drunk debauch with relish. Fine support comes from the rest of the ensemble cast.The other highlight of the film is undoubtedly Salil Choudhury’s musical score. Zindagi Khwaab Hai, the haunting Jaago Mohan Pyaare and the robust Punjabi Bhangra song Main Koi Jhoot Bholeya are the standout numbers of the film. An interesting aside: Shailendra convinced Salil Choudhury to compose Aaja re Pardesi from Madhumati (1958) from a piece of music used at the climax of Jagte Raho even though iniitially Bimal Roy opposed the move.Jagte Raho also sees the last appearance of Raj Kapoor and Nargis together on screen. Though Chori Chori (1955) was their last film as a hero-heroine, she makes a cameo at the end of Jagte Raho and it is fitting that she is finally the woman who quenches Raj Kapoor’s thirst and ending the film with an element of romantic humanism.A shortened version for the International market of Jagte Raho (115 minutes instead of 149)went on to win the Grand Prix at the prestigious Karlovy Vary Film Festival in 1957.Jagte Raho is one of those rare films which have stood the test of time and is in fact even more relevant in today’s times.
A HAPPY BAISAKHI TO YOU ALL !! BALLEY BALLEY !!
Ajeeb daastaan hain yeh,
Kahaan shuru kahaan khatam.
Yeh manzilein hain kaun see,
Naa woh samajh sake naa hum.
Yeh roshnee key saath kyon,
Dhuwaan uthhaa chiraag sey
Yeh khwaab dekhatee hoon main,
Key jagg padee hoon khwaab sey
Mubaarakein tumhein ke tum
Kisee key noor ho gaye.
Kisee key itane paas ho,
Ke sab se door ho gaye.
Kisee kaa pyaar le ke tum
Nayaa jahaan basaaoge
Yeh shaam jab bhee aayegee,
Tum hum ko yaad aaoge
Here’s my effort at translation:
WHAT A CURIOUS STORY IS THIS,
I DON’T KNOW WHERE IT BEGINS
AND WHERE IT ENDS !!
WHAT ARE THE PINNACLES OF THIS STORY ?
NEITHER HE COULD UNDERSTAND…..
NOR ME…..
WHEN A LAMP LIGHTS UP
WHY DOES IT EMIT SMOKE TOO
ALONG WITH THE BRIGHTNESS IT CREATES ?
WHENEVER I SEE THIS HORRIBLE NIGHTMARE,
I WAKE UP SUDDENLY FROM THE EXPERIENCE !!
WHAT A CURIOUS STORY IS THIS…..!
CONGRATULATIONS TO YOU FOR
BECOMING THE LIGHT OF SOMEONE ELSE’S LIFE !
YOU WERE SO NEAR TO SOMEONE ( ME ? )
THAT NOW SUDDENLY YOU HAVE GONE FAR
FAR AWAY FROM EVERYBODY !!
WHAT A CURIOUS STORY IS THIS……!
YOU WILL CARRY SOMEONE’S LOVE NOW
AND CREATE A NEW WORLD OF YOUR OWN !!
BUT WHENEVER I SHALL THINK OF THIS EVENING,
I SHALL BE REMEMBERING YOU ALWAYS !!
WHAT A CURIOUS STORY IS THIS….?
Hope you will enjoy this song on Youtube ! Have a nice day. Try the following link ( Click on it and see,or copy and paste it in the address bar and see.)
Link: http://in.youtube.com/watch?v=eJLdL5_QkVo
- J S BROCA
H A P P Y M A K A R S A N K R A N T I !!
The song is from an old movie (year 1968 ) titled “ANOKHI RAAT”
Singer is : MUKESH Lyrics by: Indeevar Music by : Roshan
The song goes thus…
“Oh Re Taal Miley Nadi Ke Jal Mein
Nadi Mile Saagar Mein
Saagar Mile Kaunse Jal Mein
Koi Jaane Na……
Verse 1.
Suraj Ko Dharti Tarse
Dharti Ko Chandrama….(2)
Koi Jaane Na…..
Oh Re Taal…
Verse 2.
Anjaane Hothon Par Kyon
Koi Jane Na…..
Oh Re Taal…”
The song is very cutely photographed and picturised on the lead pair Sanjeev Kumar and Zaheeda .They are travelling along in a bullock cart along a pond or a river if I recollect correctly.The humming hmmmm. hmmmmmm , in between the song is also very catchy.
The Sun thirsts for the Earth
Verse 2.
Why are there known songs
Dear Readers,
The New Year 2009 has just dawned.
I joined MUSEINDIA forum on Teachers Day ie on 5th September 2008. It has been almost 3 months since I joined. The response to my postings has been quite good so far. I can say with confidence that some of the regular readers by now, know me, and similarly I have come to know quite a few readers closely, through interaction with them and through their postings, as well as their feedback, through separate e-mails. THANK YOU ALL!!
Today, I intend to take you to a journey of another beautiful golden oldie from the Hindi movie world of 1962 (I was in class VII then). The song is about knowing or not knowing someone. The song remains alive till today in my heart, somewhere. One of our school teachers- in fact, he was our Drawing Teacher, Shri Kanu Topiwala, of St Joseph’s E T High School Bulsar (Gujarat). He was a gifted singer. He was also a renowned photographer. His studio still exists and is being run by his family members I presume. He had once sung this song and made me practise singing it for some school function. He would make me repeat the words till the pronunciation was perfect and the singing tone was exact. We had kept regularly practising the song in our Drawing Room Hall for about 3-4 days until I got it right.
The song is:
“NA TUM HUMEIN JAANO, NA HUM TUMHEIN JAANE…”
from the movie: Baat Ek Raat Ki.
Lyrics by Majrooh Sultanpuri,
Music by Hemant Kumar,
Sung by Hemant Kumar and Suman Kalyanpur
(she sang just a few snatches of AA, AAA, AAAA, AA… at the end of first verse in this song)
The song, which I like to hear at late night, when all others are asleep in the house, transports me to another lyrical world of beautiful poetry. I hope some of the readers will agree with me. The wordings of this lovely song followed by my translation are given herebelow:
Na tum humein jaano,
Na hum tumhein jaane,
Magar lagta, hai kuchch aaisa,
Mera humdum, mil gaya.
Na tum humein…
Yeh mausam, yeh raat chup hai
Yeh hothon ki baat chup hai
Khamoshi sunaane lagi, hai dastaan… (2)
Nazar ban gayi hai, dil ki zabaan…
Na tum humein…
Mohabbat ke mod pe hum
Mile sab ko chhod ke hum
Dhadakte dilon ka leke, yeh karawan… (2)
Chale aaj dono, jaane kahan…
Na tum humein…
The song has been picturised on the lead actors Dev Anand and Waheeda Rehman.
A rough translation of this beautiful composition is attempted by me:
NEITHER DO YOU KNOW ME,
NEITHER DO I KNOW YOU,
BUT YET TO ME, IT REALY SEEMS,
AS IF I’VE FOUND A REAL FRIEND!!
THIS WEATHER, THIS NIGHT, ARE SILENT.
BOTH OUR LIPS ARE ALSO SILENT,
THIS SILENCE ITSELF, IS ABOUT TO,
REVEAL OUR STORY…
OUR EYES HAVE BECOME, OUR HEARTS’ TONGUES!!
NEITHER DO YOU KNOW ME…ON THIS PATH OF OUR LOVE,
WE MET LEAVING ALL AROUND US.
CARRYING WITH US THE CARAVAN OF OUR THROBBING HEARTS!!
TODAY WE BOTH ARE, GOING ON AN UNKNOWN JOURNEY!!
NEITHER DO YOU KNOW ME…
I pray for all those lonely hearts out there (if any) and sincerely hope that they soon meet the love of their hearts…
Have a lovely journey of discovery of your true love.
Listen to the song on Youtube and mail me your feedback.
E.. N… J… O… Y….!!
A HAPPY NEW YEAR 2009 TO YOU ALL!
SINGER SHARDA OF “TITLI UDI” FAME !!
In today’s posting on Golden Oldies, I have decided to discuss one of my favourite songs : “TITLI UDI, UD JO CHALI….” from the film “SURAJ” (1966).Here’s some background information on Sharda from Wikipedia and other sources :
Sharda was a playback singer in Hindi films in the 1960s and 70s. She won the Filmfare best Female Playback Singer award for the cabaret “Baat zara hai aapas ki” in ” Jahan pyar Miley” (1970).She got her first big break in Bollywood with the song “Titli udi…” in “Suraj” (1966). She was promoted by Shanker of the Shanker-Jaikishen duo.”Titli udi…” turned out to be a top chartbuster in 1966. Thereafter she continued singing for Shanker in nearly all his films while he was alive. She sang with most of the top singers like Mohd Rafi, Asha Bhosle, Kishore Kumar, Yesudas, Mukesh and Suman Kalyanpur. She lent her voice to top leading ladies of the time like Vyjayanthimala, Saira Banu, Hema Malini, Sharmila Tagore, Mumtaz, Rajashree and even Helen. She was the first Indian female singer to cut out her own pop album in India sometime in 1968. She also performed on stage on several occasions like Filmfare Awards Functions, charity shows, naval functions, and many others.Sharda was somehow never able to reach the top bracket of singers and she blames some of the highly successful singers of the time to have deprived her of her chances by indulging in dirty politics. She also has the distinction of being a BA graduate, a qualification that Shanker tried his level best to highlight claiming that if the heroine is a college going girl, then only Sharda can sing for her as the other female singers of the time had not been to college. This remark was not well received by others and worked against Sharda. The critics also took digs at her highly South Indian accented pronunciations and nasal intonations which were very obvious. But in spite of all that she did manage to create a certain section of the music listeners as her fans and well wishers.Shankar tried his level best to promote Sharda as the new generation Lata in the late 60s but somehow things did not really work out. Besides Shankar she also recorded songs with Usha khanna, Dattaram, Iqbal Qureshi and a few others. Besides “Titli udi” , Sharda’s other popular tracks are:
Jaan e Chaman (Gumnaam) -with Mohd Rafi
Leja Leja mera dil (An Evening In Paris)
Chale jana zara (Around The World) – with Mukesh
Tum Pyar se dekho (Sapno Ka Saudagar) – with Mukesh
Woh Pari kahan se (Pehchan) – with Mukesh & Suman Kalyanpur
Kisike dil ko (Kal Aaj Aur Kal)
Jab bhi yeh dil udaas (Seema) – with Mohd Rafi
She was nominated four times for the Filmfare Best Female Singer award and won it once. In the 1970s, she turned music director with films like “Mandir Masjid”, “Maila Aanchal” and also penned lyrics for some songs specially for Shanker.Sharda conducts music lessons for children and aspiring singers. On 21 July 2007 Sharda released her Ghazal Album “Andaaz-e-Bayan Aur” compiling Mirza Ghalib’s Ghazals. The Album was released at Juhu Jagriti Mumbai at the hands of veteran Actress Shabana Azmi. Music Director Khayyam was also present at the event where Sharda thrilled the audiences by singing a few songs from the album in her well preserved voice.Sharda has her own website titled : titliudi.com
Filmfare Nominations and Awards:
1968 – Tumhari bhi jai jai-(Diwana) – nominated
1969 – Mere ang ka rang -(Chanda Aur Bijli) – nominated
1970 – Baat zara hai-(Jahan pyar miley) – won
1971 – Aapke pichche pad gayi-(Ek nari ek brahmchari) – nominated
Partial filmography:
1966- Suraj,Gumnaam,Pyar Mohabbat,Street Singer
1967- Around the world,An evening in Paris,Hare kanch ki chooriyan,Gunahon Ka Devata
1968- Diwana,Sapnon ka Saudagar
1969- Shatranj,Tumse Achcha kaun Hai,Chanda aur Bijli,Bhai behen
1970- Jahan Pyar Miley,Pehchan,Dil daulat duniya
1971- Mera Naam Joker,Jane Anjane,Seema,Elaan,EK nari ek brahmchari,Kal aaj aur kal
1972- Beimaan
1973- Naina,Pyar ka rishta,Maa behen aur biwi,Tu meri main tera,Rivaaj
1974- International crook
1975- Saazish 1976- Gold Medal
1977- Mandir Masjid , 1978- Kshitij
Whatever critics might have said or say, SHARDA has been one of my favourite singers during the swinging sixties.I was in class XI ( SSC) in 1966 when the movie Suraj was released.I just loved the song for its simplicity and the style of Sharda.I had even translated it and used to sing it in school and college functions in the same tune as the original Hindi song.Even today after 42 years since the song was first sung (1966)it continues to regale me.I am sure there will be many admirers of Sharda like me out there. Here are the wordings of the song, followed by my own translation:
“Titli Udi, Ud Jo Chali
Phool Ne Kaha Aaja Mere Paas
Titli Kahe Main Chali Aakash ” – 2
“Phool Ne Kahaa Tera Jaana Hai Bekaar
Kaun Hai Vahan Jo Kare Tera Intezaar”
“Boli Titli Donon Pankh Pasaar
Wahan Pe Milega Mera Rajkumar”
Titli Udi, Ud Jo Chali…..
“Titli Ne Poori Jab Kar Lee Udaan
Nayi Duniya Main Hui Nayi Pehchaan
Mila Use Sapanon Ka Rajkumar
Titli Ko Mil Gaya Mann Chaha Pyaar”
Titli Udi, Ud Jo Chali……..
My translation :
THE BUTTERFLY FLEW
AND AS IT FLEW
THE FLOWER ASKED HER TO COME BACK TO HIM
SAID THE BUTTERFLY I AM GOING TO THE SKY !!—–(2)
THE BUTTERFLY FLEW…………
THE FLOWER SAID YOU ARE GOING THERE IN VAIN
WHO IS THERE WHO IS WAITING FOR YOU
SAID THE BUTTERFLY SPREADING HER WINGS
THERE I SHALL MEET MY CHARMING PRINCE !!
THE BUTTERFLY FLEW……….
WHEN THE BUTTERFLY COMPLETED HER JOURNEY
SHE MET NEW PEOPLE OF THE NEW COUNTRY
AND THERE SHE MET THE PRINCE OF HER DREAMS
AND GOT LOTS OF LOVE THAT HER HEART HAD WISHED !!
THE BUTTERFLY FLEW………..
Hope the readers will enjoy this posting and send their views and opinions on this singer and this simply unforgettable song.
H A P P Y C H R I S T M A S !!
- J S BROCA
Kind words