Category Archives: Entertainment

Kundal Lal Saigal: A Singer Who Sang Like A Divine Being


K.L. Saigal:  Invoking Sound Of Heaven

K.L. Saigal: Invoking Sound Of Heaven

Some souls are reflection of divinity. The great singer Kundal Lal Saigal was one such soul, who manifested divinity in a great way. In fact, true artists are never devoid of divine touch. Creativity cannot emerge from mental landscape not submerged in ocean of divinity. I belong to a generation, which believes in worshiping new icons of modernity. For them these legendary creative artists of yesteryear might not seem that appealing but anyone who have had glimpse of their creativity would certainly stand amazed. 

The noticeable thing about K. L. Saigal  was that he managed to sing straight from the heart. This phrase seems so commonplace but not many realize that how difficult it is to demonstrate it in practical terms. That’s because shades of ego block our ability to exhibit true colour of simplicity. The complex persona creates blockade. One reason why K. L. Saigal could stir the emotions was that deeper emotions were so naturally rendered by him without compromising with the raga and raginis.

It’s really surprising that at a time when Indian film music was still in its nascent stage of growth, it traced such a sensational singer, which set high standards in world of popular music, hard to emulate by future singers. The influence of his voice can be understood by the fact that even likes of Amitabh Bachchan came to praise him. The singers like Lata,  Rafi and Kishore, all treated him like demigod. Mukesh, was, in fact,  very sincere follower of his style of singing, who found it difficult to develop his own style. After mesmerizing everybody with his “Dil jalta hai to jalne de”, sung in Saigal style, Mukesh went on to develop his own style of singing.

His impact can also be felt in crude way in modern times when someone made caricature of his voice to sell a particular brand of toothpaste! Of late, I found one singer paying tribute to him in infamous movie Delhi Belly! Not many remember that Kishore Kumar treated K L Saigal as his Guru (The Master). He always practiced singing his songs and when he first met Saigal, he was asked by the legendary Saigal to sing a song. He sang one of his songs ” Man moorakh kyo deewana hai, aaj rahe kal jaana hai”. Saigal was very impressed by his singing but he suggested him that he should remove “Anga Dosha” (defects associated with body). Kishore used to sing with vigorous body movements also in action! Though Kishore Kumar did not strictly followed his advise but he managed to keep his body still while singing songs of Saigal in later days! 

Coming to myself, I have nearly heard all his popular numbers. His songs instill deep peace within me. His amazing range and soulful rendering enabled me to get above the harsh episodes of life in effortless manner. His song sung during the fag end of his career, “Gham Diye Mustaqil” (Shahjahaan, 1946), always brings tears in the eyes. The superb rendering, which also reflected his own personal sufferings, makes one attain trance like state. Another song, which left an everlasting influence on me is from movie Tansen (1943): Kahe Guman Kare. Every time I hear it, the simplistic approach adopted by Saigal in this song makes me smile. After all, the singer is trying hard to convince a beautiful woman not to take pride in her  beauty!

I still remember the day when I found a very rare album of Saigal in one lesser heard music shop of my city. That shop was not frequently visited by the buyers since the shopkeeper was not customer-friendly, who always had heated argument over the price of cassettes. The fight also started with me when he priced this cassette three times the original price on a pretext that it was a rare album. Though I had not sufficient money, I still managed to buy this album! After all, it had a soothing devotional song associated with Lord Krishna: Suno Suno Hey Krishan Kala ( Chandidas, 1934). One can notice in this song that Saigal has sung high notes in effortless manner, without compromising with the depth of the emotions.

It’s a peculiar phenomenon that souls, governed by divine instincts, often leave the earthly plane of existence in an young age. K L Saigal also proved to be no exception when he died at the age of 42. The lesser souls speak about his habit of  heavy drinking but that’s the way how worldly people treat exceptional souls. For me and others, he shall always be remembered for making songs a mean to invoke divinity.


K. L. Saigal

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Pic One


Yash Chopra: A Filmmaker In Love With Illicit Relationships And Flawed Romance

Yash Chopra: The Filmmaker Interested In Flawed Romance

Yash Chopra: The Filmmaker Interested In Flawed Romance

I have never been die hard fan of Yash Chopra’s movies. His romantic angles mired in illicit relationship always left me appalled. He was a noted filmmaker having Midas touch for conceiving interesting themes, hinging around three people in one single relationship, either due to providence or chance. His penchant for such complex relationships, on par with illicit love affairs, could be gauged from the fact that barring his early years of film making when he made gems like Waqt, Dharamputra, Ittefaq, Mashaal, Trishul, Deewar and Kala Patthar, nearly all his movies in later years depicted adultery in one or other form. It can be safely opined that his movies, both explicitly and implicitly, promoted illegal relationships. That’s pretty unfortunate as filmmaker of his caliber should have been more sensible in application of his mind.

He had the brilliant ability to present romance with all its elements in grand style. The grandeur and colourful imagery noticeable in his movies takes away our breath. It’s true that average cine-goer likes to flirt with unfulfilled dreams and wishes as he/she enters inside the theater, and tries to dissolve the harsh realities in the silken world appearing and disappearing on the silver screen. Any average filmmaker is not very much interested in exposing his viewers to shades of realism. Yash Chopra understood this well and so in his movies we have characters, borrowed straight from Mills and Boon novels, flirting with  their ladies against scenic backdrop. No wonder Swiss government honoured Yash Chopra for promoting tourism in Switzerland!

To make his romance stories gain some substance, he was but compelled to fall in the arms of “illicit relationship” so as to provide some shock value to his films. However, he lacked the ability to seriously contemplate over any issue, which demanded deep attention, but in the same genre  his brother B R Chopra exhibited the art of serious presentation in an effortless manner. That’s why B R Chopra’s “Gumrah”, having adultery as central theme, depicted the conflict emanating out of such relationship quite well. Yash Chopra’s movies based on the same plot stand nowhere to pathos exhibited in Gumrah. Yash was more governed by the desire to emerge as a successful director in the genre of popular cinema despite being person of immense capabilities. He was a pure entertainer, who used “arrival of third person” as perfect masala element to make his movies mint money. That’s why we cannot contrast him with likes of Raj Kapoor. He failed to attain the stature of Raj Kapoor, who was also governed by the desire to emerge as great entertainer but with a difference: Raj’s sensitivity always managed to find a suitable cause, which under his brilliant directorial treatment ripped apart our emotions. In fact, lot is said about depiction of grandeur/ style in his movies but Gulshan Rai and Feroz Khan stand miles ahead of him even in this department.

Now  That's  Called   Candyfloss Romance!

Now That’s Called Candyfloss Romance!

Let’s take into cognizance “illicit relationship” – a dominant feature of his movies. He should not have roped in this angle unless he  had enough reasons to substantiate his viewpoint. For instance, let’s take “Darr” promoted as a violent love story. What was Yash Chopra trying to demonstrate? That Sunny Deol (husband) has to be equally cunning, powerful and mad like Shah Rukh Khan (lover) to save his wife from the shrewd moves. The greatest irony is that evil gets checkmated by good doesn’t sound convincing in the end when evil enjoys the upper hand, dancing with some else’s beloved for most of the time. One of the salient features of movies made by Yash Raj Films has been that one has to be shrewd and street smart to emerge as a winner. Idealism is of little use in world dominated by market-oriented world, wherein end justifies the means. That’s the guiding principle of protagonists appearing in “Trishul” and “Deewar”. Aditya Chopra’s “Dilwale Dulhania Le Jayenge”  highlights the same trait. The protagonist even as he is reluctant to run away with his beloved, enters into ridiculousness and pathetic gestures to woo his would be wife. The success of this movie is remark on the declining standards of a viewer’s approach towards cinema.

That’s the aberration which marred the movies churned out by Yash Raj Films. The movies having candyfloss flavour, embedded in synthetic sentiments, depicted a section of society, which barely depicted the real face of India. For instance, Salaam Namaste was entirely shot in Australia, talked about reunion of two lovers, caught in problems born out of “laid-back lifestyle”. Hum Tum, Mohabbatein, Dil To Pagal Hai and etc. turned out be old wine in new bottle. Even patriotic perceptions were effectively used in  “Chak De India” to keep the cash box ringing. The point is that Yash Chopra and his successors have realized this pretty well that market forces and not the theme of the movie, which ensures success or failure. The global world, which made the boundaries meaningless, opened new markets, and, therefore, themes also got focused on people who sustained these markets. Both Bollywood and Hollywood rely on stereotyped emotions to make their movies emerge as blockbuster. So scenic landscape, stunning faces, big cars and pulsating music became the essential ingredients of romantic movies be its made by Yash Chopra or anyone else from Hollywood.

Some might find it unpalatable, and unbearable as well, to treat his movies as promoter of illegal relationships. However, it’s not a misplaced belief when one becomes aware of the fact that  cinema, life and society are intimately linked to each other. Chandni, Dhool Ka Phool,  Kabhi Kabhi, Silsila, Doosra Aadmi, Darr, Faasle, Lamhe, Daag, Aaina, Yeh Dillagi and Mere Brother Ki Dulhan to name a few, more or less, had controversial themes, wherein secret lover or illicit relationship added a complex twist to the story line. It’s a cliche to state that cinema borrows its concept from society. The ultimate truth is that it borrows the clues from society, exaggerates them, turning them into saleable scripts and, in the process, creates scope for more distorted themes. In a combined  research conducted by the ” American Medical Association, the American Psychological Association, the American Academy of Pediatrics, the American Academy of Child and Adolescent Psychiatry and the National Institute of Mental Health” to establish the negative impact of movies on youths in USA, it was clearly established that “just as every cigarette increases the chance that someday you will get lung cancer, every exposure to violence increases the chances that some day a child will behave more violently than they otherwise would.”

 The point is when you are genuinely depicting the harsh realities of life, be it centered on illegal relationship, it adds a new dimension in your understanding but when you use such themes to carve unrealistic presentation, merely to ensure commercial success, it’s altogether a different story. Yash Chopra was more conscious of commercial success then ensuring a perfect  treatment to a substantial story line. Ironically, Mahesh Bhatt  also used illicit relationship as effective plot but he ensured that he remained close to the real life. Anyway, Yash Chopra makes me realize that  attaining success is different thing than doing good work which makes difference in lives of people. He got success by promoting flawed romance, which served no greater cause other than ensuring flow of money.

Illicit Relationship Looked More Charming In His Movies

Illicit Relationship Looked More Charming In His Movies


New York Times

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Pic Two 

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शैलेन्द्र: मायावी जगत को अर्थ देने वाला एक बेहतरीन गीतकार

सिगरेट का कश लेते शैलेन्द्र अपने मीत राजकपूर के साथ!

सिगरेट का कश लेते शैलेन्द्र अपने मीत राजकपूर के साथ!

फ़िल्म का चलना या ना चलना एक अलग मसला होता है. मूल बात ये थी कि फ़िल्म वास्तव में कैसी बनी थी. तो तीसरी कसम वाकई अच्छी बनी थी. लेकिन ये बात जरूर है कि इस फ़िल्म ने शैलेन्द्र को ये बता दिया कि फ़िल्म जगत उन जैसे सीधे अच्छे लोगो के लिए कभी नहीं बना था. इस फ़िल्म ने उनके  करीब के लोगो के चेहरे से मुखौटे को हटा दिया. शैलेन्द्र के नजदीकी लोगो की बात पढ़िए आपको पता चलेगा कि किसी ने शैलेन्द्र के लिए मुफ्त काम नहीं किया. सब ने पैसे लिए. दूसरी बात मै इस बात से इत्तेफाक नहीं रखता कि राजकपूर ने हीरामन के किरदार के साथ न्याय किया. वो इस वजह से कि राजकपूर जिस परिवेश में ढले थें, उनकी अरबन इंस्टिंकट्स (urban instincts)  बहुत बड़ी बाधक थी  इस किरदार की जरूरतों के साथ. ये शैलेन्द्र की सबसे  बड़ी गलती थी राजकपूर को इस रोल के लिए चुनना.

ये अलग बात थी  राजकपूर एक अच्छे अभिनेता थे. सो उन्होंने भरसक कोशिश कि अपना सर्वोत्तम देने कि लेकिन आप इतने बड़े मिसमैच को कैसे पाट सकते थे. सो आप ध्यान से देखे राजकपूर को इस फ़िल्म में आपको उनके अभिनय में नाटकीयता जरूर दिखेगी. तो मेरी नजरो में ये एक बड़ी गलती थी शैलेन्द्र कि जो राजकपूर को उन्होंने लिया. इस बात पे गौर करना आवश्यक है कि मुम्बईया सिने जगत में ग्रामीण जगत को या भारत के गाँवों को कभी भी यथार्थ स्वरूप में परदे पे लाने की कोशिश नहीं की गयी. सब में गाँव के नाम पर मसाला तत्त्व डाला गया. जैसा मिसमैच राजकपूर का तीसरी कसम में था वैसे ही नर्गिस का मदर इंडिया में था. ये अलग बात है दोनों अच्छे कलाकारों  ने जान डाला अपने अभिनय से पर वास्तविकता से तो दूर ही था ना.

तीसरी कसम: भारतीय फ़िल्म इतिहास में मील का पत्थर

तीसरी कसम: भारतीय फ़िल्म इतिहास में मील का पत्थर

खैर बात तीसरी कसम की हो रही है. तीसरी कसम और साहब बीवी और गुलाम दोनों फिल्मे साहित्यिक कृतियों पर बनी है. तीसरी कसम   फणीश्वरनाथ रेणु  की कहानी “मारे गए गुलफाम” और साहब बीवी और ग़ुलाम बिमल मित्र के  इसी नाम के उपन्यास पर बनी थी. एक तो हमारे हिंदी फ़िल्म जगत में   साहित्यिक कृतियों पर फिल्मे बनाने का चलन नहीं और बनती भी है तो मूल कृति के साथ न्याय नहीं करती. सो दोनों फिल्मो का कृति के साथ लगभग पूरा सा न्याय करना बहुत संतोष प्रदान करते है. हा मेरे जैसे जाहिल जो मूल कृति को पढ़ कर फ़िल्म देखने की भूल कर बैठते है वो ये हमेशा जानते रहते है कि पढने में  कृति के बहुत से पक्ष उभर कर आते है. परदे पर मामला बहुत सीमित हो जाता है. पर तीसरी कसम, गाइड, साहब बीवी और ग़ुलाम, परिणीता, काबुलीवाला कुछ एक ऐसी फिल्मे रही जिन्होंने मूल कृति के साथ बहुत अत्याचार नहीं किया.

चलते चलते शैलेन्द्र के बारे में कुछ कहना बहुत जरूरी है. शैलेन्द्र जैसा बेहतरीन इंसान फिल्मो की दुनिया में आने की गलती कर बैठा पर इनकी इसी गलती की वजह से हमे इतने अच्छे गीत सुनने को मिले. मेरे ये सबसे पसंदीदा गीतकार है और इनका कोई भी गीत चाहे वो “टूटे हुए ख्वाबो  नें” या “दुनिया बनाने वाले क्या तेरे मन में समा” या “तेरे मेरे सपने अब एक रंग है” आपको एक दूसरी दुनिया में ले जाता है.  पर रूहानी ख़ूबसूरती से लैस इस बेहद नाजुक मिजाज इंसान को तीसरी कसम के बनने के दौरान पैदा हुई कडुवी सच्चाइयो ने आखिरकार इनको विशाल  अजगर की तरह नील लिया. पैसा ही खुदा है या पैसा ही ईश्वर है इस दुनिया का इनके नाजुक ह्रदय पर गहरा आघात कर गया. फिर भी दुनिया शैलेन्द्र जैसे सुंदर आत्माओ की वजह से अस्तित्व में रहती है, दुनिया रहने के काबिल बनी रह पाती है. श्वेत श्याम सी जिंदगी में रंग भरने वाले   शैलेन्द्र  ( August 30, 1923 – December 14, 1966 ) को मेरी तरफ से विनम्र श्रद्धांजलि.


फणीश्वरनाथ रेणु 


बिमल मित्र  


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वर्तमान हिंदी फिल्मी गीत यूँ कि जैसे ढेला खाए कुत्ते की चीख पुकार

मुकेश: आत्मा से उठती आवाज

मुकेश: आत्मा से उठती आवाज

कल सत्ताईस अगस्त को महान गायक मुकेश और ऋषिकेश मुखर्जी  दोनों की पुण्यतिथि थी. दोनों ही उस सादगी का प्रतिनिधित्व करते है जो आजकल के दौर में लुप्तप्राय सी हो चली है. मुकेश आत्मा में डूबकर गीत गाते थे तो ऋषिकेश दा आत्मा में डूबकर फिल्मे बनाते थे. जाहिर है इन दोनों के संगम के बाद आनंद की उत्पत्ति होनी ही थी. इस गहरी सोच को जन्म लेना ही था कि जिंदगी कैसी है पहेली. जब ऐसे लोगो कि याद रखकर हम आज के दौर में नज़र डालते है तो आनंद दुःख के सागर में विलीन हो जाता है. आज के गीतों को आप सुनिए तो लगता है जैसे किसी ने कुत्ते को ईंट का ढेला खीच कर मार दिया हो. या कोई कुत्ते का गला दबा रहा हो. या सूअर के बच्चे को बोरी में बंद कर के कही ले जा रहे हो! अजीब सी ध्वनियाँ की बोर्ड और ड्रम बीट्स के मिलन से पैदा की जा रही है जिनका कोई मतलब नहीं  सिवाय इसके कि युवा कदमो को नाईट क्लब में झूमने में आसानी हो. 

आश्चर्य इस बात पर है कि ये सब तमाशा प्रयोगवाद  के नाम पर स्पांसर हो रहा है. इस में बहुत से मूढ़ लोगो को आधुनिकता का सम्मान सा होता दिख रहा है. आप इन गीतों की आलोचना कर के देखिये तो आपको समझाया जाएगा, आप के अन्दर इस बात को जबरदस्ती ठूंसा जायगा कि वक्त बदलता है और बदलते वक्त के साथ कदम मिला के चलना ही अक्लमंदी है. तो बदलते वक्त कि मेहरबानी क्या है देखे तो? ऐसी वाहियात बोल और धुन कि आप लाख सर पटक ले आप  बहुत बार सुनने के बाद भी सही सही ना समझ पायेंगे कि गीत में आखिर है क्या. पहले जहां गीत सर दर्द की दवा की आवश्यकता को कम करते थे आज इन दवाओं की बिक्री में सहायक है. एक बात तो तय है कि आज के गीत मार्केट के हिसाब से बन रहे है और मार्केट पे युवा हावी है तो गीत भी इनके टेस्ट के हिसाब से भड़भड़िया हथौड़ाछाप  हो गए है. फिर गीत मार्केट में आये नए म्यूजिक सिस्टम के हिसाब से बन रहे है. 

ऋषिकेश मुखर्जी: सादगी की अनमोल विरासत

ऋषिकेश मुखर्जी: सादगी की अनमोल विरासत

अब ये बताये जब गीत इस प्रकार से जन्म लेंगे तो इनमे आत्मा को छूने की ताकत क्या ख़ाक पैदा होगी?  इक्का दुक्का अपवाद  गिना देने से कि साहब ये देखिये फला ने कितना बढ़िया काम किया है से काम नहीं चलने वाला. ये बात सही है कि हर युग का अपना  अलग रंग ढंग होता है, एक अलग मिजाज़ होता है, अपने प्रतीक होते है इसके बावजूद भी ये साबित नहीं किया जा सकता या ये महसूस करने के बहुत कारण नहीं है कि  आज के हिंदी फिल्मी गीत उत्कृष्ट कोटि के है. भाई जस्टिफाय करने वाले तो गालीनुमा शब्दों के समूह को भी गीत साबित कर देंगे तो क्या साबित कर देने से गीत एक अच्छे गीत या सिर्फ गीत की श्रेणि में आ जाएगा? आज के गीतों को सुन के ही समझ में आ जाएगा कि गीत पूंजीवादी संस्कृति के संरक्षक है और मुंबई के मंडी में बैठे दलालनुमा दिमागों की उपज है. तो ऐसे गीतों से तौबा जिनसे दिमाग का दही बनने में जरा भी देर ना लगे.

शाम के धुंधलके में बैठे हुए  मुझे तो आनंद का ये  गीत “कहीं दूर जब दिन ढल जाए”  याद आ रहा है जो मै मुकेश और ऋषिकेश मुखर्जी को श्रद्धांजलि स्वरूप भेंट कर रहा हूँ और ये महसूस कर रहा हूँ कि हम ये कहा आ गए है.

Pics Credit: 

Pic One 

 Pic Two

Not failing to remember a mad singer Kishore Kumar


Miss You Always

Miss You Always

The lovers of this singer, like always, would pay customary tribute to this multifaceted singer Kishore Kumar on his birth anniversary, which falls on August 4. It’s really strange that people ignored in their own life times or, for that matter, people who get subjected to humiliation of all sorts while they are alive, attain exalted position after death. It’s pretty hard to analyze the behaviour of worldly souls. Kishore Kumar, attained legendary status during his life time. Nothing strange, after all, he was actor, singer, producer and director par excellence. He did full justice to the various roles he came to play. Let me state that I am not much impressed by folks working in world of cinema but then how can I ignore some real good souls, who provided this fascinating medium a great height? Above all, I feel it’s need of the hour to resurrect the images of people grossly misunderstood in their own life times. That’s the most ideal way to pay tribute to these great souls.

Kishore Kumar was fully aware of nuisance created in his name. That’s why he openly confessed that “world hails me as mad but I feel that world has gone mad. I wish to make it clear that I am not that mad as assumed by some sections of the society.” He was really hurt by the gossip stories, shared by the pervert minds behind his back. He always wondered what made people enter in falsehood and cheap stories about a person whom they knew nothing much other than that he was a good singer? Anyway, I must say that such gossips and stories tell less about him but revealed lot about the mindset of persons involved in them. “When you judge another, you do not define them, you define yourself.” (Wayne Dyer)

This theory that he was mad was circulated by one lady journalist, who had come to take his interview, living alone at that time. To prove his point that he was not all alone, Kishore introduced this lady journalist to trees and flowers, whom he treated as best friends. This lady presented this gesture in all wrong way suggesting that he spent long evenings with his arms entwined around them! One can imagine how simple facts get twisted to create bizarre stories about this very simple and honest person, trapped in the deceptive world of cinema. He always cursed himself that he became part of this medium, which survived on cosmetic gestures. It’s amazing that many know him as money crazy soul, forgetting the cruel gestures of producers who made him sing the song but never bothered to pay in time. When he introduced tough measures to ensure timely payment he was declared money crazy. That’s so nasty, isn’t it?

He was in many circles accused of not taking enough care of Madhubala. Well, very few knew that he was not only fully aware of her fatal disease when he came to marry Madhubala but also spent 9 long years with a bed ridden wife, taking her care in all the ways possible. All this he did amid many professional obligations, which in crazy world of movies, had to be fulfilled in time. Talking about cause of his separation with one of his wives, actor Shammi Kapoor, revealed that Kishore was not entirely wrong in divorcing his wife. After all, if the wife remained away all the time, on one pretext or another, is there any point in staying with that wife?

Let’s acknowledge his singing abilities. He was so humble could be gauged from the fact that he had no shame in accepting that he knew nothing about singing and thing like classical singing was beyond his singing ability! Contrast this remark with remark of R D Burman who said that “Kishore’s voice was the best voice for songs having classical touch”. When he was asked to sing “Mere Naina Sawan Bhado” he had refused to sing it, stating that it was a very tough song not on par with his vocal chords. Anyway, he made Lata to sing it first and then came to sing it just the way sung by Lata after rehearsing her version for many days. The famous Ghazal Singer Pankaj Udhas, throwing light on Kishore’s sense and sensibility, said,” We know Kishore as man capable of singing fun-filled songs in great style. However, Kishore also sang some very serious numbers. That’s ample proof of the fact that inside his child like heart, there were traces of deep seated sadness.” The celebrated Bhajan singer Anoop Jalota feels that such a great singer appear once every 500 years. According to him, a singer should be a good actor to do full justice to any movie song. That’s the reason why Kishore not only sang well songs picturized on him but also sang to such perfection songs picturized on other actors that it appeared as if actor himself was singing the song. The unusual range of his vocal chords could be known from the very fact that on one hand, he sang “Ek Chatur Naar“; on the other hand, we find him singing “Koi humdum na raha” with such sadness that it fills our heart with deep pain.

In the end, it would not be out of tune to say that let’s stop judging the worth of creative souls via our limited perceptions. These creative souls are often very sensitive souls, who reside on higher plane of thoughts. Our limited understanding of them and their works often leaves such soul in great pain. Instead of highlighting our ignorance, it’s better we truly honour them by taking care of their great works in a genuine way. I can hear Kishor Da singing “Hum Laut Aaayenge Tum Yun Hi Bulate Rahana” (I would surely return..Just keep on calling me back). So do you hear my calls, Kishore Da?


Kishore Kumar

Illustrated Weekly 

Pics Credit:

Pic One


Rajesh Khanna: The Earthly Superstar Who Now Became A Star In The Sky

Anand Never Dies!

Anand Never Dies!

The passing away of Rajesh Khanna makes all sensitive souls very sad. He should have lived for some more years on this planet. In India, they say people used  to live for more than 100 years in ancient  times. The  people are dying at a very young age nowadays. We have been witnessing the passing away of creative souls at frequent intervals since last year- Jagjit Singh, Shahryar, Ravi, Shri Lal Shukla, Shammi Kapoor, Hanuman of modern times Dara Singh and now Rajesh Khanna. It appears that heaven badly needs creative artists to entertain its own residents, and thus, be it a singer, writer or actor, all are slowly getting  placed in heaven one by one. Anyway, the death of Rajesh Khanna makes me realize that death is really the great leveler. It leaves none. It cares a damn for stature.

Rajesh Khanna provided death a new meaning in his timeless classic movie “Anand”. The movie highlighted the theme that death is an insignificant drama. However, today when he has passed away, it’s pretty hard to keep emotions in check. The Hindi movie landscape’s first superstar has now become a sweet memory as the presence now gets limited to magazines, books and movies. I really don’t know what are the elements involved in the making of a superstar but I am aware of the fact that his charishma in 70s left both young and old spellbound. Male newborns got named Rajesh, a new hair style came into existence and the frenziness found in every woman’s heart attained new height. The arrival of angry young man Amitabh Bachchan  soon eclipsed the magic of Rajesh Khanna, but by then Rajesh Khanna image has attained some sort of immortality.

The early phase of all great actors had been a roller coaster ride. Rajesh Khanna proved to be no exception. The leading actresses of those days refused to work with him and well known directors failed to take note of him. His early movies did not create a desired effect. When Shakti Samanta narrated him the story of Aradhana, he noticed that Rajesh Khanna did not seem to be much impressed. After all, it was a female oriented movie, in which the hero died during the middle of the movie. It was no less a herculean task for Shakit Da to make Rajesh Khanna see light at the end of the tunnel. However, very few can predict the course  of destiny. The movie, which in eyes of Rajesh Khanna, offered no better prospects not only proved to be a milestone in history of Indian movies but also gave Hindi movie world its first superstar. That’s the only logic which governs Bollywood- success appears like appearance of cascade in barren land. It defies all established rules. A female oriented movie gave Indian movie landscape its first male superstar!
Interestingly, the other dominant trend which defines Bollywood is that superstars rarely know real acting or, for that  matter, are  rarely offered roles that involve some real shades of acting.  That’s so evident if one has witnessed acting skills of present “Khan Brigade”. They develop some lovable styles but they  rarely come to act. The only superstar that can act a bit, Amitabh Bachchan, too feels that he never got an opportunity to reveal interesting shades of acting. All the time he remained engaged in “dhishum dhishum” (fight scenes)! Anyway, destiny smiled on Rajesh Khanna once again when he got opportunity to show his acting skills in some movies having substantial plots. It’s really curious coincidence that it was Hrishikesh Mukherjee, known for his simplistic take on serious issues, who came to provide both Rajesh Khanna and Amitabh Bachchan some good opportunities to strike a bonhomie with various shades of acting. In fact, they both came to work together under his direction in Anand and Namak Haraam. Anand turned out to be a huge success. In fact, the character played by Amitabh, Babu Moshay, became a household name. The plot of Anand revolved around the philosophy found in the Upanishads that there is no such thing as death. Death is not an end but a new  beginning. In other words, it taught the art of living, reminding us that laughter is the best medicine. After all, we rarely come to live life in a proper way.  The movie made it clear that death is final drama, which paves the way for soul’s fresh journey with new set of cloth in form of a new body! Rajesh Khanna depicted this art of living in an unforgettable way.

Anand: Now Offering Solace To People In Heaven

Anand: Now Offering Solace To People In Heaven

Rajesh Khanna’s method of acting was not full of complex elements. Like any star actor, his appeal was confined to few stylish gestures, which suited him so well. His acting mannerism was heavily dramatic, which went so well with romantic plots. But he was a good actor, who can do justice with complex themes became known to all  cinema-goers with release of “Ittefaq” which came right in the beginning of his career. The movie directed by Yash Chopra and produced by B R Chopra revolved around a painter trapped in a tragic situation, wherein people perceived him to be a murderer with an unstable mind. He  depicted the agony of such an innocent man in an impressive way. Anyway, the movies like Amar Prem, Kati Patang, Kudrat, Khamoshi, Souten, Avatar, Doli, Roti, Aan Milo Sajna, Thodi Se Bewafai, Sachha Jhootha and Dushman, to name a few, are some of his super-hit movies, which made him darling of the masses.

However, let’s not forget the role which Kishore Kumar, Mukesh, R D Burman, Salil Choudhary, Majrooh Sultanpuri, Anand Bakshi, Laxmikant Pyarelaal, Hemant Kumar, Sahir and Khaiyyam played in shaping the course of success for Rajesh Khanna. It’s an undisputed fact that Kishore Kumar played the most significant role in making Rajesh Khanna and Amitabh Bachchan careers attain starry heights. It’s also a proven fact that both of them lost their star appeal, when Kishore Kumar stopped singing for them in last stage of his singing career, due to health reasons. The romanticism demonstrated by Rajesh Khanna and machoism exhibited by Amitabh were heavily dependent on voice of Kishore Kumar! His voice acted as most suitable medium for them, which earlier provided new heights to Dev Anand. I am sure had Kishore been missing, Rajesh Khann would have failed to locate “Mere sapno ki Rani“. Tanuja would have maintained safe distance from Rajesh Khanna had Kishore not turned out to be “Dil ke Chain“. This song “Ye Jo Public Hai Ye Sab Jaanti Hai” became the most popular idiom to make a remark on the shady affairs in the world of politics and business. Another song from the same movie Roti “Gore Range Pe Na Itna Gumaan Kar” transcended generations to influence the fate of every fair skinned Indian girl.


May his soul rest in peace. The people who have moved ahead in this eternal  journey, never travel backwards. They simply live inside our heart and minds as sweet memories. This line which forms the part of song picturized on him expresses this sentiment so well: “Kuch Log Jo Ek Roj Bichud Jaate Hai  Wo Hazaro Ke Aane Se Milte Nahi“. Anand never dies. He always manages to be back on earth’s playground to play the game of life with a new face.That realization is bound to make one smile even as the eyes remained moist with tears. It makes reunion with Rajesh Khanna-a good soul-a great possibility. By the way, let’s not forget  Rajesh Khanna’s  words said to Pushpa In Amar Prem: ” Pushpa, I hate tears”.  

These songs picturized on Rajesh Khanna are very close to my heart:

1. Mere Naina Saawan Bhado ( Mehbooba )

2. Kuch To Log Kahenge  (Amar Prem)

3. Zindagi Pyar Ka Geet Hai (Souten)

4. Hazaar Rahe Mud Ke Dekhi (Thodi Se Bewafai)

5. Vada Tera Vada (Dushman)

6.Sajna Saath Nibhana (Doli)

7. Pyaar Deewana Hota Hai (Kati Patang)

8. Ye Reshmi Zulfein  (Do Raastein)

9. Jeevan Se Bhari Teri Aankhein (Safar)

10. Zubaan Pe Dard Bhari Daastan( Maryaada)

11. Wo Shaam Kuch Ajeeb Thi  (Khamoshi)

12. Yun Hi Tum Mujhse Baat Karti Ho  (Sachha Jhootha)

13. Mere Dil Me Aaaj Kya Hai (Daag)

14. Kahin Door Jab Din Dhal Jaayein (Anand)

15. Zindagi Ek Safar Hai Suhana   (Andaaz)

A lot depends on how the song is picturized. I love this song not only for beautiful verses by Majrooh Sultanpuri, excellent composition by R D Burman, terrific singing by Kishore Kumar, but also for its mesmeric picturization. Absolutely stunning romantic song picturized in a perfect setting. A meaningful one as well. The verses are not only talking about romance in some absurd way like “Tum mujhko chand laake do” (get the moon for me) but they are having a take on it in a balanced way. The movie was full of typical Bollywood elements ( and that’s why I don’t like this movie) but the songs stand apart. 

Pics Credit:

Pic One

Pic  Two

राजेश खन्ना: सबके नैनो को सावन भादो करके चले गए तुम


राजेश खन्ना : अब क्षितिज के उस पार

राजेश खन्ना : अब क्षितिज के उस पार

राजेश खन्ना का यूँ  ही अचानक क्षितिज के उस पार चले जाना दुखी करता है. अभी उनकी उम्र ही क्या हुई थी लेकिन कलाकारों की मौत का जो सिलसिला पिछले साल से शुरू हुआ है वो अब तक बना हुआ है. जगजीत सिंह, शहरयार,  मशहूर संगीतकार रविजी, हिंदी के लेखक श्रीलाल शुक्ल, शम्मी कपूर, फिर हमारे चहेते हनुमान दारा सिंह और अब राजेश खन्ना. ऐसा लगता है कि देवलोक का माहौल बहुत ग़मगीन हो गया है तभी पृथ्वी के सभी बड़े कलाकार एक के बाद  ऊपर के लोको में चले जा रहे है. खैर राजेश खन्ना की मौत के बाद  ये एहसास मुझे हो चला है कि मौत भी कोई चीज़ होती है जो “आनंद” को भी शोक में   परिवर्तित कर सकता है. हिंदी फ़िल्म जगत को पहला सुपरस्टार देने वाला अब यादो का हिस्सा बन गया है. ये सुपरस्टार क्या चीज़ होती है मुझे ज्यादा नहीं पता पर राजेश खन्ना का जादू  सत्तर के दशक में यूँ चढ़ा कि माएं अपने बच्चो का नाम राजेश रखने लगी, युवतियों के अन्दर का पागलपन थोडा और बढ़  चला और नाई के दुकान पे एक और हेयर स्टाइल का उदय हो गया. बुरा हो एंग्री यंगमैन अमिताभ के अवतार का जिसने राजेश की आभा को ग्रहण लगा दिया बहुत जल्द ही पर तब तक राजेश का जादू एक अमरता को प्राप्त कर चला था.

जैसा सब अच्छे  कलाकारों के साथ होता है राजेश को भी आरंभिक दिनों में सब ने नकार दिया. चोटी की अभिनेत्रियों ने काम करने से मना कर दिया. शुरुआती फिल्मे पिट गयी बाक्स ऑफिस पे. फिर जाके आराधना मिली जिसको लेके राजेश खन्ना खुद ही सशंकित थे क्योकि नायिका प्रधान फ़िल्म में इनके लिए कुछ ख़ास नहीं था. पर जब सफलता मिलनी  होती है तो मिल के रहती है यूँ ही जैसे रेगिस्तान में झरने का फूट  पड़ना. कम से कम बालीवुड में सफलता का सिलसिला ऐसे ही शुरू हो जाता है सब  तर्कों  को धता बता के.  तो एक नायिका प्रधान फ़िल्म ने भारतीय रजत पटल को उसका पहला सुपरस्टार दिया.

बालीवुड में वैसे सुपरस्टार को कुछ ख़ास एक्टिंग नहीं करनी पड़ती. कम से कम आज कल के तथाकथित “खान” सुपरस्टारों को देख तो यही समझ में आता है. अमिताभ का भी यही दुखड़ा रहा है कि उनसे किसी ने ढंग की एक्टिंग नहीं करवाई  सिवाय ढिशुम ढिशुम के. खैर राजेश खन्ना के हाथ कुछ अच्छी फिल्मे आई जिनमे उन्हें एक्टिंग के अपने कुछ ख़ास शेड्स दिखाने का मौका मिला. ये एक महज सयोंग ही है कि ऋषिकेश मुखर्जी ने ही राजेश खन्ना और अमिताभ दोनों को कुछ फिल्मे प्रदान कि जिनमे उन्हें वास्तविक अभिनय से दो चार होना पड़ा. ये भी क्या अद्भुत  संयोग है कि इन दो फिल्मो “आनंद” और “नमक हराम” में दोनों ने साथ काम किया. आनंद एक कालजयी फ़िल्म बन के उभरी. आनंद तो अमर हुआ ही पर बाबु मोशाय भी कभी ना मरने वाली लोकप्रियता को प्राप्त हो चला. आनंद उपनिषद् के इस सत्य को प्रतिपादित करता था कि इंसान कभी नहीं मरता है. मौत एक तमाशा है जिसमे आत्मा को नए कपडे लत्ते मिल जाते है. इस भाव को राजेश खन्ना ने अद्भुत तरीके से परदे पे प्रस्तुत किया.

राजेश खन्ना के एक्टिंग में एक ख़ास तरीकें की नाटकीयता थी मगर जब कभी सधा हुआ अभिनय करने का मौका मिला उन्होंने कर दिखाया.  शुरुआती दौर में नंदा के साथ आई  यश चोपड़ा की “इत्तेफाक” इस बात की पुष्टि करती है. खैर अमर प्रेम, कटी पतंग, कुदरत, सौतन, थोड़ी सी बेवफाई, अवतार, डोली, रोटी और आन मिलो सजना इनकी कुछ उल्लेखनीय फिल्मे है. इनकी सफलता के बारे में बात करना और किशोर कुमार, आर डी बर्मन, मजरूह, आनंद बक्षी, एस डी बर्मन,  लक्ष्मीकांत प्यारेलाल, कल्यानजी आनंदजी, हेमंत कुमार और खैय्याम इत्यादि का जिक्र ना करना मतलब दाल में से नमक का गायब कर देना है. किशोर कुमार ने ही रूमानियत के सुपरस्टार राजेश खन्ना और यंग्री यंग मैन अमिताभ को वो दर्जा दिलवाया जो किसी के लिए दुर्लभ  होता है. किशोर कुमार के चले जाने के बाद ये दोनों  धडाम से नीचे आ गिरे.  सोचिये अगर किशोर ना होते तो “मेरे सपनो की रानी” कहा से आती इस शानदार तरीके सें ? सोचिये अगर  “ओ मेरे दिल के चैन” के चैन किशोर ना होते तो क्या राजेश तनूजा को इम्प्रेस कभी कर पाते!  और रोटी में गाया ये गीत “ये जो पब्लिक है ये सब जानती है”  तो एक कालजयी मुहावरा ही बन गया. और इस फ़िल्म में किशोर कुमार का गोरे रंग पे कटाक्ष ” गोरे रंग पे ना इतना गुमान कर” सिर्फ मुमताज़ पर ही नहीं सिमट के रह गया वरन  इस गीत के बाद भारत में पैदा हुई हर गोरी लड़की के व्यक्तित्व को बेधता चला गया.

खैर ईश्वर इनकी आत्मा को शांति प्रदान करे. कहते है जाने वाले कभी लौट के नहीं आते. सिर्फ इनकी याद रह जाती है. सही बात है ” कुछ लोग जो बिछुड़ जाते है वो हजारो के आने से मिलते नहीं“. पर “आनंद” कभी मरते नहीं बस इसी रंगमंच पर  रूप बदल के आ जाते है और ये बोध  इस दुःख में एक मुस्कान की लहर तो पैदा ही कर देता है. पुनर्मिलन की उम्मीद तो बंधा ही देता है.

मेरे कुछ पसंदीदा गीत राजेश खन्ना पे फिल्माए हुए:

१. मेरे नैना सावन भादो ( मेहबूबा)

२. कुछ तो लोग कहेंगे  (अमर प्रेम)

३. जिंदगी प्यार का गीत है  (सौतन)

४. हज़ार राहे मुड़ के देखी (थोड़ी से बेवफाई)

५. वादा तेरा वादा (दुश्मन)

६. सजना  साथ निभाना (डोली)

७. प्यार दीवाना होता है ( कटी  पतंग)

८. ये रेशमी जुल्फे  ( दो रास्ते)

९. जीवन से भरी तेरी आँखें (सफ़र)

१०. जुबान  पे दर्द भरी दास्ताँ( मर्यादा)

११.  वो शाम कुछ अजीब थी  (खामोशी)

१२. यूँ ही तुम मुझसे बात करती  हो  (सच्चा झूठा)

१३. मेरे दिल में आज क्या है (दाग)

१४. कही दूर जब दिन ढल जाए (आनंद)

१५. जिंदगी एक सफ़र है सुहाना   (अंदाज़)

आनंद मरा नहीं करते!!!

आनंद मरा नहीं करते!!!

Pics credit:

Pic One 

Pic Two


In The Company Of Old Friends: The Get Together At Bikanervala


The Get Together

Friends From Left: Pinto Jaiswal, Sangharsha, Arun Prakashji, Vinay Pandey( My brother) And Her Cute Daughters/ On Right Side: Myself, Sudhansh Pandey, Ram Babu, Avinash And My Parents.

 I am no party animal. On top of it, the streak of introversion often keeps me at a safe distance from mass gatherings of any type. So when my friends learned about a party from my side, the news generated a sense of disbelief among them. Anyway, the party did turn out to be a reality instead of becoming a figment of imagination. Well, let me tell my friends that I love their company a lot. Few moments spent  in their company are some of the most cherished moments in life. After all, life is never kind enough to provide such blissful episodes at a regular interval.

I realize that nature takes just  few seconds to shatter all your dreams, shatter the order of things, leading to revelation of shades which one could have hardly conceptualized in the chambers of mind. That’s why I feel one should not miss to be part of some happy moments with near and dear ones if there arises some occasion. That was one of the prime reasons as to why I came to organize this event. My friends treated the event as some sort of occasion organized to celebrate the professional success but the only reason, if they could believe, was to see them together at one place after a long time.  

Seeing Old Friends After A Long Time

On Left Side You Can Find Rajesh Pandey Giving A Broad Smile: A Rare Phenomenon In Our Tense Times; On Right Side You Can Notice Arvind Kushwaha, Computer Programmer, acting as Lensman At The Party, and Satyadhar Dubey Lost In Some Thoughts ( Must Be Wondering Wow That’s Such A Good Arrangement!)

So instead of getting trapped in “to be, or to not to be” dilemma, I decided to make  it a reality. One of the participants, who lives in my neighbourhood, Arun Prakash Srivastavaji, District Librarian at Deoria, suggested that restaurant named Bikanervala, situated in the heart of city, Civil Lines, would prove to be an ideal location for such an event. His advice turned out to be perfectly true. I must appreciate him that he not only offered meaningful suggestions but also ensured that party remained above any unpleasant incident. He remained fully involved in happenings at the party besides enjoying the good meal. He deserves special thanks on my part.

The Company Of Friends Is  Quite Delicious

The Company Of Friends Is Quite Delicious..he…he..he

Anyway, some of my friends arrived right on appointed time instead of obeying the Indian rule of never arriving on time, especially at parties. I am a disciplinarian when it comes to event management. So I was too happy to see Sudhanshu Pandey, Advocate at Allahabad High Court, and Ashish Nigam, Advocate at Allahabad High Court, right on time. In fact, Sudhanshu covered a long distance to be on time, and that too, when I had informed him barely few hours back. So to see busy professionals making the presence felt on time really made me happy.

In Company Of OId Friends

Sudhanshu Pandey, Satyadhar Dubey and Arvind Kushwaha: The Legal Hawks from Allahabad University

Since Asish was on time he found time enough to look at my recently published articles. I respect him for the fact that he really works hard to emerge as a good lawyer at a time when legal profession has been hijacked by blockheads. I remember he was one of the most serious students in our batch. It’s a matter of great satisfaction that he has retained that seriousness until now.

Meeting as Friends, Not As Lawyers

Ashish Nigam: Remained on the right track in legal world


My namesake Arvind Kushwaha, who also happens to be qualified computer professional besides being a lawyer, happily decided to play the role of lensman at the party. The images which grace this post have been clicked by him and Ashish Nigam, who suggested some new angles to have better pictures. Arvind who never misses an opportunity to act as “Hanuman” for me in times of crisis is always seen in the company of Satyadhar Dubeyji, who besides being a lawyer plays several other roles with quite perfection. He is one of the few persons to offer most pragmatic advises in critical times- a reason why I am a frequent visitor to his home.

Enjoying The Evening

Priceless Moments


Few words about Sampanna Kumar “Sangharsha” and Pinto Jaiswal as well. They are the ones who became part of my life the moment I entered in Allahabad after a long stay in Lucknow. In fact, Pinto has been with me since Nursery days. I have shared with them some sweet and sour moments. It’s also a bare truth that both of them bear no resemblance at all to my approach towards life, the principles which form my life, the mannerism I advocate, and still, they happen to be part of my events. It’s mainly because I hate to avoid people who once shared the road with me and partially because nature sometimes dictate the course of events making you move with people diametrically opposite to your views. They also happen to be lawyers but Sangharsha, I must say, is a political lawyer, being more engaged in political activities, and Pintu, the shortcut lawyer at District Court, is always engaged in ensuring that laws do bring money whether or not they ensure justice. Avinash Srivastava, the lawyer flirting with spiritualism, and Rambabu, Advocate, remained silent for most of the time as their common friend Sangharsha’s nonstop chattering left little scope for others!  

The sight of Rajesh Pandey, Advocate and Legal Correspondent for The Hindustan Times, at the party provided me great happiness. The get together was organized on working day but Rajeshji ensured that he arrives on time after day long tiring schedule at High Court’s Mediation Center, and later, finishing reporting task at The Hindustan Times office. He was my colleague for a brief period at The Hindustan Times office in Allahabad during my early days of journalism. I left the office soon but our friendship remained intact. He is extremely hard working and always running short of time. So he avoided the dinner and instead enjoyed the big glass of Lassi, which we enjoyed after the dinner but just the half glass since our tummies were already too full.

One of the few close friends in world of journalism

Shared a long distance with Rajesh Pandey, Legal Correspondent For The Hindustan Times, in the world of journalism…Yet Miles To Go Before I Sleep…


My parents had a good time with their granddaughters, who luckily did not throw any tantrums that day. Or else, they are genuine versions of naughtiness. They happily watched the sequence of events at Bikanervala in the company of his father and my parents. My brother and parents enjoyed the evening in an alien company which happy expressions on faces their clearly revealed.


In The Company Of Parents

When I was a child the parents use to take us to such places..It’s now my time :-)..Happy Expressions On Their Faces Say All..Take Note Of My Niece Khsuhbu’s Expression..So Naturally Conscious..And My Younger Brother: Same Meditative Mood Even At Restaurant ..ha.ha..ha


The happy expressions on face of parents are the most  beautiful moments

The happy expressions on face of parents are the most beautiful moments

The dinner was comprised of typical Indian food served at Indian parties like Dal Makhani, Paneer Curry, Pulaav, Raita, Paranthas, Sweet Dish and etc. Later we all enjoyed Lassi, which was very delicious but quite heavy weight one. I mean there was little space left inside the tummy to enjoy the big glass of Lassi prepared in special way with help of dry fruits.

The Typical Indian Food Served At Indian Parties

The Typical Indian Food Served At Indian Parties:Dal Makhani, Paneer Curry, Pulaav, Raita, Paranthas, Sweet Dish and etc.


Friend Enjoying  Lassi After The Dinner

Friend Enjoying Lassi After The Dinner


The party ended on a happy note. It was a matter of great satisfaction for me since I came to share some good moments with my friends. Even in small city like Allahabad, the busy life of ours is not that kind enough to make friends see each other often. Obviously, a get together with close friends proves to be oxygen for relationships. This meeting with my friends shall stay in mind for a long time. As the time passes by, these are the moments which bring smile on our faces when we ever have a look in the olden days.

Thanks To Lord Who Made This Event A Huge Success..Hope To Find Such Moments Often In My Life

Many Thanks To Lord Who Made This Event A Huge Success..Hope To Find Such Moments Often In My Life And In Lives Of Others …And Yes, Pari , The Older Niece Can Be Seen Enjoying The Lassi..She Loves Attending The Parties Even At This Age..ha..ha..ha


Suresh Wadekar: A Perfect Singer

Suresh Wadekar is one my favourite singers.  He is very talented and he is really someone who can sing a classical song with great perfection.  I can quote many songs, which bear testimony to his exceptional singing talent. Aur Is Dil Me Kya Rakha Hai (Imandar),  Meri Kismat Me Tu Nahi Shayad( Prem Rog) and Khamosh Sa Afsana (Libaas) are some of the great numbers rendered by him.

At present, I am presenting a song from movie Utsav based on two Sanskrit plays: Charudatta by Bhāsa and Mrichakatika by Śhudraka. The best thing about this song is that it produces great soothing effect, creates a perfect scenario that prevails when the sun goes down. 

Another sterling feature is that it uses pure tatsam words, which is a rarity. Hats off to Laxmikant Pyarelal and Vasant Dev for producing such gems.  Some music lovers are of the opinion that this song “ “Saanjh Dhale Gagan Tale” is based on Raga “Bibhas”.

सांझ ढले गगन तले हम कितने एकाकी 
छोड़ चले नयनों को किरणों के पाखी 
पाती की जाली से झांक रही थीं कलियां 
गंध भरी गुनगुन में मगन हुई थीं कलियां 
इतने में तिमिर धंसा सपनीले नयनों में 
कलियों के आंसू का कोई नहीं साथी 
छोड़ चले नयनों को किरणों के पाखी 
सांझ ढले।। 

जुगनू का पट ओढ़े आयेगी रात अभी 
निशिगंधा के सुर में कह देगी बात सभी 
कांपता है मन जैसे डाली अंबुआ की 
छोड़ चले नयनों को किरणों के पाखी 
सांझ ढले। 

Audio Link:  Saanjh Dhale Gagan Tale

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Pic Credit

Pic One

नेता नहीं जानते: गरीब और गरीब बनते है जब अय्याशी और बदतमीज़ी बने सरकारी

सरकारी पैसे का दुरुपयोग गरीब सरकार के द्वारा

सरकारी पैसे का दुरुपयोग गरीब सरकार के द्वारा

मुझे ये समझने में खासी दिक्कत होती है कि हमारे जो थोड़े सुलझे हुए नेता बचे है वो क्यों ओछी और बचकानी हरकतों पे उतर आते है? ये श्रेय और प्रेय का भेद उन्हें क्यों नहीं समझ में आता जब वे गद्दी पे बैठते है? क्रिकेट के सबसे लुच्चे देशी संस्करण आईपीएल में कोलकाता नाइटराइडर्स की जीत को सरकारी जश्न समारोह में तब्दील करना कितना जरूरी था? क्या आईपीएल की हकीकत लोगो को मालूम नहीं? ललित मोदी और लेखक से राजनेता बने शशि थरूर ने अपना सब कुछ खोया इसी आईपीएल में मौजूद खतरनाक तत्त्वों के चलते जिसमे मुनाफे के गणित के खातिर हर घिनौनी हरकत हो सकती है. सही बात है आज पैसा सब कुछ है. यही खिलाडी जब राष्ट्रीय टीम में खेलते है तो हज़ार बहाने बनाते है ख़राब परफार्मेंस के लिए मगर जब कार्पोरेट जगत के मठाधीशो के लिए बोली में बिक कर इनके टीमो के लिए खेलते है तो “कोरबो लोड़बो जीतबो रे” के आलावा कुछ नहीं सूझता क्योकि कुछ तो मालिको का क्रूर दबाव रहता है और फिर पैसो का नशा तो है ही.

इसके पहले मै इस सरकारी पैसे के दुरुपयोग के बारे में कुछ कहू ये जान लेना बेहतर रहेगा कि कैसे कैसे हादसे, किन तत्त्वों से इस संस्करण का देशी संस्करण तैयार हुआ है. अभी अभी प्राप्त एक खबर के अनुसार कोलकाता नाइटराइडर्स के लिए किसी वक़्त खेले पाकिस्तानी क्रिकेटर उमर गुल के भाई के खतरनाक आतंकवादियों के संपर्क में रहने के सबूत मिले है. ये सब को पता है कि जब पूरा देश पाकिस्तानी क्रिकेटरों को आईपीएल में ना शामिल करने का पक्षधर था खंडित व्यक्तित्व के मालिक शाहरुख़ खान ने सबसे ज्यादा पाकिस्तानी रूख का पक्ष लिया था. इतना ही नहीं इनके लिए बाढ़ पीडितो के पक्ष में पाकिस्तानी चैनल के द्वारा प्रायोजित एक कार्यक्रम भी करके चले आये जबकि पूरा देश २६/११ को हुए हमलो पर अपना शोक प्रकट कर रहा था. इतना अत्यधिक प्रेम उमड़ा पाकिस्तान के लिए कि देश में व्याप्त शोक की लहर की उपेक्षा करना इन्होने जरूरी समझा. इस समारोह से सरकारी खजाने को हुए नुकसान की भरपाई कैसे होगी ये तो राम जाने पर खबर ये आई है कि शाहरुख़ करीब तीस करोड़ रुपये एक फुटबाल क्लब में लगाने वाले है. तो ये है स्पोर्ट्स का धंधे में तेज़ी से रूपांतरण और साथ में विकृत होती हमारी मानसिकता.

एक टीवी चैनल के स्टिंग ऑपरेशन के बाद आईपीएल के पांच खिलाड़ियों टी.पी सुधीन्द्र (डेक्कन चार्जर्स), मोहनिश मिश्रा (पुणे वॉरियर्स), अमित यादव (किंग्स इलेवन पंजाब), शलभ श्रीवास्तव (किंग्स इलेवन पंजाब) और प्रथमश्रेणी क्रिकेटर अभिनव बाली को स्पॉट फिक्सिंग में लिप्त पाए जाने के सबूत मिलने के बाद इन पांचो खिलाड़ियों को निलम्बित कर दिया गया है. इस मामले में अब उच्च स्तर की जांच चल रही है। अब आते है कोलकाता में हुए जश्न पर. इस भव्य जश्न में लगभग ४५ लाख रुपये के करीब खर्च हुए जिसमे करीब २५ सोने की चैन, मेडल्स इत्यादि बटे. बहुत संभव था इससें ज्यादा भी खर्च हो सकता था अगर ममता दीदी ने पश्चिम बंगाल की गरीबी का रोना ना रोया होता कि हम तो बहुत गरीब प्रदेश है सिर्फ आशीर्वाद के आलावा हम क्या दे सकते है! ये समारोह कार्य दिवस के दिन हुआ महीने के अंत में जब सभी कार्यालयों में जरूरी काम काज निबटाएं जाते है लेकिन इडेन गार्डेन पहुचने की अफरा तफरी में एक तरह का अघोषित अवकाश सा हो गया और इस तरह गरीब प्रदेश थोडा और गरीब हो चला करोडो के नुकसान के साथ. वैसे भी बंद प्रिय ये प्रदेश दो लाख करोड़ के लगभग के कर्ज अदायगी के भंवर में फंसा हुआ है. वैसे कितनी जागरूक जनता है बंगाल कि एक फालतू टूर्नामेंट के जश्न समारोह में भारी संख्या में उमड़ पड़ी. ममता बनर्जी जिनके पास एक अच्छी सोच है का बयान तो और हास्यास्पद है कि केकेआर की जीत दुनिया की जीत के बराबर है.

ममता दीदी ने ये समझने की कोशिश जरा भी नहीं कि ऐसी दोयम दर्जे की जीत कोई मायने नहीं रखती. क्या महत्व है इस तरह के आयोजन का? इसको बंगाल के लोगो की जीत के रूप में किस तरह देखा जा रहा है जबकि कैप्टन से लेकर जैक कालिस या अन्य खिलाडी जैसे मनोज तिवारी वगैरह का बंगाल से कुछ लेना देना नहीं है. ये बहुत तकलीफदेह है कि बंगाल की विजय हजारे ट्राफी में जीत जो कि वाकई बंगाल की जीत कही जा सकती थी को बिल्कुल भी सम्मान के लायक नहीं समझा गया. इसी से समझ में आ जाता है कि ये देश विकास के नाम पे किस दिशा में चला जा रहा है. इस तरह के टूर्नामेंट जो क्रिकेट के गौरवमयी इतिहास में एक भद्दा दाग है जिसमे अय्याशी, बदतमीज़ी (शाहरुख़ खान का वानखेड़े मैदान में तमाशा याद करे) आदि तत्वों का समावेश है को हम किस तरह से सरकारी आयोजन का हिस्सा बना सकते है जिसमे गरीब जनता का पैसा पानी की तरह बहाया गया?

क्रिकेट से मुझे आपत्ति नहीं. ये भी एक खेल है मगर जब खेल एक खेल ना होकर महज तमाशा बन जाए तो हर खेल प्रेमी को तकलीफ होगी. ये समझने की कोशिश करे कि अगर एक गरीब आदमी को पैसो की जरुरत पड़े तो सरकारी मशीनरी तमाम तरह के पेंच लगा देंगी और यदि दे भी दिया भूल से तो इस तरह वसूलेंगी कि ना दे पाने की स्थिति में कर्जदार बेचारा आत्महत्या कर ले. इधर देखिये बॉलीवुड के सितारे जिनमे से ज्यादातर टैक्स चोर है और माफिया से सम्बन्ध रखने वाले है उन पर पैसा बहाने के लिए सरकार के पास कितना धन है गरीबी का रोना रोने के बावजूद.

हम वाकई महान देश में रहते है. मुझे अपने मित्र रवि हूडा जी की बात बहुत सटीक जान पड़ती है:” आईपीएल बस कुछ कंपनियों के उत्पाद बेचने के लिए नंग्नता और व्याभिचार का प्रदर्शन मात्र है. आज हर सुख सुविधा का साधन होने के बावजूद भी हम मानसिक रूप से अपंग हैं. वह ही देखते हैं और करते हैं जो लालची व्यवसायी चाहते हैं. किसी गरीब कन्या के विवाह के लिए या किसी अनाथ बालक के भरण पोषण के लिए हमारी जेब से १०० रूपये नहीं निकलते परन्तु आईपीएल या फार्मूला वन की प्रथम पंक्ति में बैठने के लिए हज़ारों रूपये व्यर्थ व्यय करते हैं ! अवश्य ही हमारी युवा पीढ़ी को भटकाने और भ्रमित करने का कोई गहरा षड्यंत्र है.”

ये है युवाओ के आदर्श बदतमीजी में लिप्त!

ये है युवाओ के आदर्श बदतमीजी में लिप्त!


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