A few words about Asad Bhopali – a lyricist who did amazing work but remained relatively unknown – My Tribute To Unsung Heroes of Indian Cinema - Part 2

A few words about Asad Bhopali – a lyricist who did amazing work but remained relatively unknown 

This is an English rendition of an Urdu article on the Urdu poet and film lyricist Asad Bhopali – by  Afzal A Khan on 22 May 2008

******************************

He was born on the 10th July 1921 at Bhopal. His father's name was Munshi Ahmed Khan and Asad was his eldest child. His original name was Asadullah Khan. He had formal education in Faarsi, Arabic, Urdu and English. In due course, the world recognized him as Asad Bhopali. At the age of 28, he went over to Bombay and became a film lyricist. But his whole life was a constant struggle. The release of every new film was like a dream come true --- except that it remained just a dream. Fortune never really smiled on him. After nearly half a century of this struggle, the man could have been forgiven for expecting some just rewards. But what actually awaited him was the funeral bier. He had a large family and everybody including his wife, sons, daughters, sons-in-law and grandchildren cared for him with the utmost devotion in his last days. But all this was to no avail. On the 9th June, 1990, Asad Bhopali passed on at the dead of night. In a way, he epitomised his own song from the film "Moti Mahal", released in 1952 :

Jaaega jab yahaan se, kuchh bhi na saath hoga

Do gaz kafan ka kapda, tera libaas hoga

In the stillness of that night, he was quietly buried in a corner of a local cemetery. Except for one or two, nobody from the city's social, political or even literary heirarchy came to offer prayers. Even today, hardly anyone knows where he was interred. Only his eldest son Taj Mohammed Khan goes there regularly to offer Faateha.

Asad Bhopali came to Bombay in 1949. He was the first poet from the city of Bhopal to enter the film industry. At the time Fazli Brothers of Bombay were planning their film "Duniya", to be made under the direction of S. F. Hasnain. One of the lyricists of the film was the noted Urdu poet Aarzoo Lakhnavi, who wrote just two songs and then migrated to Pakistan. So, Fazli Brothers were on the look-out for a new talent to write the remaining songs. At the time, one Sugam Chand Kapadia (who owned a couple of cinema theatres in Bhopal) was in Bombay. When he came to know about Fazli Brothers' problem, he gave them a suggestion : "Bhopal is home to many good Urdu poets. I can arrange a Mushaira there and you can come over there and attend the same. Whichever poet impresses you, you can ask him to come to Bombay for writing the remaining lyrics". Accordingly, a Mushaira was arranged at Bhopal Talkies (then owned by Kapadia) on the 5th May, '49. Fazli and Hasnain attended the same. When Asad Bhopali recited one of his well-known poem with revolutionary overtones, the attendees went wild with joy. When the Mushaira was over, some of his fans chaired him right up to his residence. Next day, around 10.00 am, someone came to his house with a message that Misbaah Saheb, the Manager of Bhopal Talkies wants him to go meet with him. When Asad met him, Misbaah invited him to Bombay for writing the lyrics of the film that was in the making. Such an invitation was like a dream come true for most poets and when Asad agreed to go to Bombay, he was immediately paid an advance of Rs. 500/-. On 18th May 1949, Asad travelled to Bombay and stayed there permanently, till Death called him back to Bhopal.

The main stars of this film "Duniya" were Karan Dewan, Suraiyya and Yaqub. C. Ramchandra was the Music Director. Apart from Aarzoo Lakhnawi, some songs had also been penned by Deepak, S.H. Bihari and Taalib Ilaahabadi. Asad wrote two songs for this film, one of which was sung by Mohammed Rafi : "Rona hai to chupke chupke ro, aansoo na baha, aawaaz na ho". The other song was recorded in Suraiyya's voice : "Armaan lute, dil toot gaya, dukh dard ka saathi chhoot gaya".

Next year, in 1950, he was asked to write two songs for the film "Aadhi Raat", which were recorded in Lata Mangeshkar's voice : "Idhar to aao sarkaar, kisi ki jeet, kisi ki haar" and "Dil hi to hai, tarap gaya, dard se bhar na aaye kyon". The Music Directors for this film were a popular duo of the time: Husnlal - Bhagat Ram.

The same year, he wrote some songs for "Nirdosh" where the music was provided by another popular Music Director of that period, Shyam Sundar. These songs were sung by Lata and Shamshaad Begum.

Around this time, B. R. Chopra was making his film "Afsaana" which starred Ashok Kumar, Veena and Jeevan etc. Husnlal - Bhagat Ram were the Music Directors. Out of a total of nine songs, as many as six were penned by Asad Bhopali, that were recorded in the voice of Shamshaad Begum, Lata and Mukesh. These became hugely popular with the public : (1) "Kahaan hai tu mere sapnon ke raja, jawaani aa gayee hai, ab to aa ja", (2) "Woh aaye, bahaaren laaye, baji shehnai rut piya milan ki aayee", (3) "Qismat bigri, dunya badli, phir kaun kisi ka hota hai, (4) Mohabbat ka donon ke dil par asar hai, na hum Ko khabar hai na un ko khabar hai, (5) "Aaj kuchh aisi chot lagi hai, toot gaya paimaana dil ka and (6) "Woh paas bhi reh kar paas naheen, hum door bhi reh kar door naheen.

Although the film's music and these songs became very popular all over the country, Asad Bhopali got just one other film this year (1951) "Rajput" which failed at the box office.

Life in Bombay was full of struggles. There were several well-known poets competing in a limited market, like Majrooh Sultanpuri, JaaN Nisaar Akhtar, Khumaar Barabankvi, Rajinder Krishan, D.N. Madhok, Prem Dhawan etc. At that time, Saahir Ludhianvi too used to stay in the same "hostel" where Asad Bhopali was staying. Often, the two would go for a walk on the streets of Bombay, trying to find that trace of refulgence heralding a brilliant future, but would return later, utterly defeated.

In 1954, Asad Bhopali got a chance to write one single song in a film being made by Nanubhai Vakil. The other lyricists for that film "Gul Bahaar" were Jaan Nisaar Akhtar, Kaifi Azmi and Shevan Rizvi. That single song by Asad Bhopali was set to music by Music Director Khaiyyam and rendered by Mubaarak Begum : "Kaliyon ko choomoon, main taaron se kheloon". Dhani Ram was the other Music Director for this film. Shevan Rizvi wrote two songs in the film, but (like Asad) both Kaifi and Jaan Nisaar Akhtar had just a single song each.

From 1949 to 1990, Asad Bhopali wrote about 400 songs for nearly 100 films. The Music Directors with whom he worked included names like C. Ramchandra, Husnlal - Bhagat Ram, Khaiyyaam, Hansraj Behl, Lachhi Ram, Dhani Ram, Dattaram, Shiv Ram, Shyam Sunder, Manas Mukherjee (father of today's singer Shaan), N. Dutta, Naushaad, A. R. Qureshi, Chitragupt, Ravi, C. Arjun, Sonik Omi, Raj Kamal, Lala-Sattar, Hemant Kumar and Kalyanji Anandji. But it was Ganesh and Usha Khanna with whom he had the maximum number of songs. Even Laxmikant Pyarelal chose him, along with Anand Bakhshi, to write songs for their films, like "Aaya Toofaan", "Parasmani", "Lutera", "Chhaila Babu" etc. His two songs in "Parasmani" {"Woh jab yaad aaye, bahut yaad aaye" rendered by Lata and Mohammed Rafi & "Hansta huwa nooraani chehra" sung by Lata and Kamal Barot} set new records in popularity. The poet had received an amount of Rs. 10,000/- as his compensation for the "Parasmani" songs. This sum was used by his younger brother Qamar Jamaali (also an Urdu poet in his own right) to build anew their ancestral house in Islampura, Bhopal; and he had the house registered in the name of Asad's wife, Ayesha. This house is still there in Bhopal and is now occupied by Asad's eldest son Taj Mohammed Khan. Asad had contracted another marriage in Bombay. He had two sons (Taj and Taabish) and six daughters from his first wife. From his second wife, he had just one son Ghalib Asad who too is now a part of the film industry. His mother lives with him, though Asad's first wife is no more. Asad's last film with Laxmikant Pyarelal was "Rang Bhoomi" which was released in 1992, two years after the poet's death. One of his songs from this film had become quite popular : "Pi ke Shankar ji ki booti, khul gayee ankhiyaan, nindiya tooti". K. Asif's last film "Love And God" (which remained incomplete but was then released 20 years after his death) had just one song assigned to Asad Bhopali by Naushad. It was a chorus where the leading voice was that of Talat Mahmood, filmed on Sanjeev Kumar. {Note : I believe the reference here is to the song "Rahe ga jahaan men tera naam", where, apart from Talat Mahmood, Rafi, Manna De, Lata and Balbir's voices can also be heard.

In 1989, when Suraj Barjatiya began his film "Main Ne Pyaar Kiya", he chose Raam Laxman to provide the music. And Asad Bhopali was its principal lyricist. His song "Kabootar ja ja ja, kaboota ja ja ja" became very popular. In fact, it was settled between Suraj and Asad that if this song became a hit, Suraj would buy Asad a flat and a Maruti car. The film was a hit and this song topped the charts in popularity and also in sales. But Fate had chosen a different course. A severe paralytic stroke confined Asad Bhopali to bed and he couldn't even attend the film's premier. When there was no improvement in his condition, his family members brought him to Bhopal. Medical treatment failed to alleviate his suffering. His sons visited Bombay a few times and met Suraj Barjatiya too. But he reneged on his promises and didn't even pay the royalty that was due to the poor lyricist. The 1990 Filmfare Award for the Best Song was won by this song. Asad Bhopali was invited for the Awards function but he was in no position to go to Bombay. It was Suraj Barjatiya who received the Trophy. But he didn't have one word of sympathy on Asad's painful illness.

As already stated earlier, Asad Bhopali passed away on the 9th June 1990.

Maybe Asad might have had a more fruitful life if he had taken up a normal career. His command over the nuances of genuine Urdu poetry was undisputed and he knew full well the intricacies of Urdu Prosody. He could easily base his lyrics on different ragas and infuse them with rare lyricism. That was why his songs had a direct appeal to the heart. He had the habit of noting in his personal diary any mukhRa that might have occurred to him. And when a suitable opportunity presented itself for a film song, he would delve into his diary, ferret out a mukhda and add the antara without any difficulty. And his command over the language and its Prosody always enabled him to write a suitable song for any musical bandish.

May his soul rest in peace!

Satyajit Rajurkar – May 17, 2013

SOME POPULAR SONGS PENNED BY ASAD BHOPALI

Dil Deewana Bin Sajana Ke Mane Na – Maine Pyar Kiya

Kabootar Ja Ja Ja – Maine Pyar Kiya

Hum Tum Se Juda Hoke – Ek Sapera Ek Lutera

Dil Ka Soona Saaz – Ek Naari Do Roop

Ae Mere Dil-E-Nadan Tu Gham Se Na Ghabrana – Tower House

Dil Ki Baatein Dil Hi Jaane – Roop Tera Mastana

Haseen Dilruba Kareeb Aa Zara – Roop Tera Mastana

Ajnabi Tum Jane Pehchane Se Lagte Ho – Hum Sab Ustaad Hain

Ina Mina Dika Dai Damo Nika – Asha

Wo Jab Yaad Aaye Bahut Yaad Aaye – Parasmani

Ham Kashm-A-Kashe Gham Se Guzar Kyon Nahi Jate – Free Love

Pyar Bantate Chalo – Hum Sab Ustad Hain

Suno Jaana Suno Jaana – Hum Sab Ustad Hain

Hasta Hua Nuraani Chehara – Parasmani

Maine Kaha Tha Aana Sunday Ko - Ustadon Ke Ustad

Pajama Tang Hai Kurta Dheela – Shimla Road

Aap Ki Inaayaten Aapke Karam – Vandana

The Legendary Raja Mehdi Ali Khan - My Tribute To Unsung Heroes of Indian Cinema - Part 1

The Legendary Raja Mehdi Ali Khan

The poet, writer and lyricist Raja Mehdi Ali Khan was born in Karmabad in undivided India. This township got its name from his zamindar grandfather. Raja Mehdi's early tutoring was under his mother Hebay Saheba soon after he had lost his father at the age of 4. Later on, their family friend, the famous poet Dr. Allama Iqbal became his mentor/tutor. Dr. Iqbal has acknowledged Hebay Saheba as a leading Urdu poet. Probably his association with Dr. Iqbal had initiated the poetic creativity in Raja Mehdi.

In the early forties while working at All India Radio, Delhi, Raja Mehdi got a call from his friend Sadat Hasan Monto, the noted Urdu writer, who had joined Hindi films. Raja started as a dialogue writer and did a role in Ashok Kumar's 8 Day's but writing dialogues and acting was not for him.

Raja Mehdi Ali Khan was a close friend of great Urdu writer Saadat Hassan Manto. He wrote a character sketch of him namely "Main, Manto, Kaali Shalwar Aur Dhuwan". He also wrote a poem in his memory "Jannat Se Manto Ka Ek Khat".

In the early forties while working at All India Radio, Delhi, Raja Mehdi got a call from Saadat Hasan Monto, who by then had joined Hindi films. Raja started as a dialogue writer and did a role in Ashok Kumar's “8 Days” but writing dialogues and acting was not for him.

S. Mukherji of Filmistan Studio gave Raja Mehdi the poet a chance to write lyrics in his film 'Do Bhai' (1946). Songs like 'Mera Sunder Sapna Beet Gaya' and 'Yaad Karoge Ek Din Humko Yaad Karoge' from this film, composed by S D Burman, became instant hits. In 1947, in spite of communal riots, Raja Mehdi and his wife Tahira took the decision of staying in India rather than migrating to the newly formed Pakistan.

In 1948, he wrote songs for 4 movies – “Actress”, “Shaheed”, “Vidya” and “Ziddi”. His patriotism manifested in his songs 'Watan Ki Raah Mein' and 'Todi Todi Bachay' from the Dilip Kumar and Kamini Kaushal starrer 'Shaheed'. Songs from “Ziddi” were also liked by the people.

Raja Mehdi’s association with Madan Mohan started with 'Aankhen' (1950). After this, he formed an immortal team with Madan Mohan. “Ada”, “Madhosh”, “Jagir”, 'Anpadh', “Aap Ki Parchayiyaan”, 'Mera Saaya', 'Who Kaun Thi', Neela Akash', “Dulhan Ek Raat Ki', “Jab Yaad Kisi Ki Aati Hai” and 'Nawab Siraj-ud-Daulah' were some outstanding films where this duo worked together. Raja Mehdi Ali Khan was probably the first lyricist to introduce 'Aap' in film songs. 'Aap Ki Nazron Ne' (Anpadh), 'Aap Kyon Roye' (Woh Kaun Thi?), 'Aap Ne Apna Banaya' (Dulhan Ek Raat Ki) are some examples. Incidentally, his song 'Lag Ja Gale' from the film 'Woh Kaun Thi?' is in the list of Lata Mangeshkar’s Top 10 favourite songs and was one amongst the top ten all time favorites in film history to be 'retired' from Antakshri on Zee TV.

Raja Mehdi had also been associated with music composers like Khemchand Prakash, Bulo C Rani (Baghdad), S N Tripathi (Hatimtai, Paristaan), Shyam Sunder, Gulam Hyder, S D Burman, Ravi, Roshan, etc to name some. He has given some wonderful songs with C. Ramchandra (Mere piya gaye Rangoon), O.P. Nayyar (Main Pyar Ka Rahi Hoon) and Laxmikant Pyarelal (for Anita and Jaal).

Raja Mehdi also worked with some lesser known composers like Basant Prakash (Nishan Danka), Iqbal Qureshi, Babul, S. Mohinder (Bekhabar, Paapi), Chic Chocolate (Rangoli), Rono Deb Mukerjhi  (Tu Hi Meri Zindagi), Jimmy (Shrimatiji), N Datta (Bhai Bahen), Nissar Bazmi (Khoj), Dhoomi Khan (Naqabposh), S Haridarshan (Shahi Bazaar), Robin Bannerjee (Masoom), etc.

Raja Mehdi Ali Khan had a great sense of humour, which is clearly reflected in his comic songs like, ‘Hum Se Nain Milana BA Pass Kar Ke, Hum Se Preet Lagana BA Pass Kar Ke, BA Nahin Hoon Lekin Mein Hun Ishk Mein MA Pass” From ‘Aankhen’ (1950)  was a hilarious duet sung by Mukesh and Shamshad Begum. Another comic song that he wrote for ‘Anpadh’ (1962), ‘Sikandar Ne Porus Se Ki Thi Ladayee, Jo Ki Thi Ladayee, To Mein Kya Karoon’ was rib-tickling. Of course, that naughtily romantic and comically teasing song ‘Jhumka Gira Re Bareli Ke Bazaar Mein’ in ‘Mera Saaya’ is an all time favourite of film music buffs.

This was as far as Raja Mehdi's career was destined. He breathed his last on July 29 1996 leaving behind a treasure of songs that are still cherished by all lovers of poetry in film songs.

His surviving peers remember him for his great poetry, his criticism and love for food. In a TV interview, the late actor Mehmood recalled how he worked as Raja Mehdi's chauffeur during his youth. Raja Mehdi's poems and short stories regularly appear in Urdu magazines like 'Beesween Sadi', 'Shama Bano' and 'Khilona'. He is survived by a wealth of songs and Urdu 'Diwans' like 'Andaaz-E-Bayaan Aur' and 'Mizraab'.

He lived like the Raja of good poetry till the end. He brought good poetry to Hindi songs when they were facing times when they were just considered as a pastime. He refused to compromise when it came to poetry. He could have been known as one of the greatest lyricist of Hindi films but preferred to live as a Raja of his own world, his own kingdom which no 'enemy' could even try to plunder or take away from him. A Raja like this Raja rules once in many decades and his rule is remembered for all time.

Some of the Gems penned by Raja Mehdi Ali Khan

Tum Bin Jeevan Kaise Beeta Poochho Mere Dil Se – Anita – 1967

Tu Jahan Jahan Chalega Mera Saaya Saath Ho – Mera Saaya – 1966

Jhumka Gira Re, Bareli Ke Bazaar Mein – Mera Saaya – 1966

Nainon Mein Badra Chhaye – Mera Saaya – 1966

Aap Ke Pehloo Mein Aakar Ro Diye – Mera Saaya – 1966

Nainonwali Ne Haye Mera Dil Loota – Mera Saaya – 1966

Ek Haseen Shaam Ko Dil Mera Kho Gaya – Dulhan Ek Raat Ki – 1966

Yehi Hai Tamanna, Tere Dar Ke Samne – Aap Ki Parchhaiyan – 1964

Naina Barse Rim Jhim Rim Jhim – Woh Kaun Thi? – 1964

Lag Ja Gale Ke Phir Yeh Haseen Raat Ho Na Ho – Woh Kaun Thi? – 1964

Jo Humne Dastaan Apni Sunayi – Woh Kaun Thi? – 1964

Shokh Nazar Ki Bijliyan – Woh Kaun Thi? – 1964

Hai Isi Mein Pyar Ki Abroo, Woh Jafa Kare Main Wafa Karoon – Anpadh – 1962

Aap Ki Nazaron Ne Samjha, Pyar Ke Kabil Mujhe – Anpadh – 1962

Jiya Le Gayo Ji Mora Saawariya – Anpadh – 1962

Aap Yoonhi Agar Hamse Milte Rahen – Ek Musafir Ek Hasina – 1962

Main Pyar Ka Raahi Hoon Teri Zulf Ke Saaye Mein – Ek Musafir Ek Hasina – 1962

Gardish Mein Ho Tare Na Ghabrana Pyaare – Reshmi Roomal – 1961

Meri Yaad Mein Tum Na Aansu Bahana – Madhosh – 1951

Watan Ki Raah Mein Watan Ke Naujawaan Shaheed Ho – Shaheed – 1948

Badnaam Na Ho Jaye Mohobbat Ka – Shaheed – 1948

Mera Sundar Sapna Beet Gaya – Do Bhai - 1947

Some often overlooked Gems penned by Raja Mehdi Ali Khan

Desh Ka Pyaara - Asha Bhosle - Masoom (1960) - Robin Banerjee

Jaane Waale O Jaane Waale - Mohammed Rafi - Hatimtai (1956) - S. N. Tripathi

Mere Dil Se Aati Hai - Asha Bhosle - Paristaan (1957) - S. N. Tripathi

Raat Abhi Baaki Hai - Geeta Dutt - Baghdad (1952) - Bulo C. Rani

Phir Teri Yaad Naye Geet - Mohammed Rafi - Bekhabar (1965) - S. Mohinder

Abhi Abhi Bahar Thi - Asha Bhosle - Paapi (1953) - S. Mohinder

Aye Sabah Unse Keh Zara (Film version) - Mohd Rafi & Asha Bhosle - Alibaba and 40 Thieves (1954) - S. N. Tripathi

Sare Jahan Se Achha - Asha Bhosle - Bhai Bahen (1959) - N. Dutta
Mere Watan Ka Hai Tu Woh Ratan - Asha Bhosle - Tu Hi Meri Zindagi (1965) - Rono Deb Mukherji
Watan Se Pardes Jaane Waale - Mohammed Rafi - Paristaan (1957) - S. N. Tripathi
Tumhari Yaad Mein .. Dil Mera Beqaraar Hai - Lata Mangeshkar - Bandish (1955) - Hemant Kumar
Hai Badhke Farishton Se - Mohammed Rafi - Maa Ke Ansoo (1959) - Sardar Malik
Bhagwan Tujhe Main Khat Likhata - Chitragupt - Manchala (1953) - Chitragupt
Chanda Ka Dil Toot Gaya Roney Lage Hain Sitaare - Mohammed Rafi - Khoj (1953) - Nissar Baazmi
Wafaon Ke Badley - Asha Bhosle - Jagir (1959) - Madan Mohan
Barkha Ki Raaton Mein - Asha Bhosle - Shrimatiji (1952) – Jimmy

By Satyajit Rajurkar

12^th May 2013

Recognizing The Unsung Heroes Of Hindi Film Music

Recognizing The Unsung Heroes Of Hindi Film Music

It's important to recognize unsung heroes of film making, as no film can be successful without the support of technicians, working behind the camera. One has to acknowledge the unseen effort and hard work that goes behind the screens. None of the films made would be half as successful without the technical teams burning the midnight oil. The team, which includes writers, editors, sound/light engineers, lyricists, musicians and a host of others are behind making a movie, and are/were the backbone of the Indian Film Industry.

“Songs” have always been the mainstay of Hindi cinema or what is popularly known as Bollywood. Even today, when technology and its attendant vice, cacophony, have virtually taken over, music albums of commercial Hindi films continue to sell very well not only at home but abroad where there are large emigre populations from the Indian subcontinent. Singers, lyricists and composers – they are actually known as music directors – continue to be loved and acknowledged by an adoring public, but the people behind the scenes who have made a particular song a huge hit remain unknown. They include various musicians who form the orchestra and arrangers who write down the notations both in the Western and Indian styles, direct the musicians and conduct the orchestra during the recording of the songs.

My friend, an anthropologist by qualification and profession, Dr. Gregory D. Booth from Auckland, New Zealand, who is also an author, has made a splendid effort to bring to the forefront the real, unsung heroes behind the creation of Hindi film songs. He has, through painstaking research, located and talked to old and new musicians, arrangers, sound recordists and other personnel connected with the making and recording of songs. Behind the Curtain: Making Music in Mumbai’s Film Studios is Booth’s heartfelt and deeply perceptive tribute to the people without whom the recording of film songs in Mumbai would not have been possible. His book records a large chunk of oral history of an art form that the Hindi film song was, and occasionally is even today despite the trying circumstances in which it is made.

I will talk about some of these unsung heroes in a series, in the days to come on my blog.

If you are interested in Hindi Film Music, my suggestion is that you buy and read this thoroughly enjoyable book Behind the Curtain: Making Music in Mumbai’s Film Studios by Dr. Gregory D. Booth. This book is available at http://www.amazon.com/Behind-Curtain-Making-Mumbais-Studios/dp/0195327640, http://www.flipkart.com/behind-curtain-making-music-mumbai-s-film-studios/p/itmczyt3pz9qgzu6, etc.

Me as a Crazy Blogger

The Bard was on the “spot” when he wrote "To Be Or not To Be", the famous opening phrase of a soliloquy in Hamlet. This has always put questions in the minds of many individuals like me, in this case, “To Or Not To Be” a Blogger.

I do not know how to write articulately, but have immense love for all the things that the caption of my blog says. Being away from my the place and country of my birth, Hyderabad & India, has always caused melancholy and the “All things Bright & Beautiful” that Hyderabad/India has to offer, which I have not been able to let go off, has always been a force of attraction.

Those famous Irani Chai/Khara Biscuits/Samosas, the quintessential Hyderabadi Biryani/Bagara Baingan/Khatte Aalo/Double Ka Mittha/etc, “Manthakan Maarna – chit chatting” with friends, some evenings spent eating “Gup Chup – Gachuup – Pani Puri”/Ragda Pattis, etc, going to “Pittchr – Picture or Movie” are things which will never be the same again.

Although these things are still a part and parcel of Hyderabad, I believe that they do not matter much for those who were born in t he 80s or later.

Although having started using the computers since mid 90s, I have been actively involved in the social media for the last 3 – 4 years, having created 4 very popular groups on Facebook – “Rare Hindi Film Songs (RHFS)”, which currently boasts of over 1,900 members, the “Sensational Seventies” dedicated to Hindi Film Songs from the 1970s, “Mohd Rafi – The Virtuoso” dedicated to the divine voice and soul of Hindi films, which will never fade from this earth,and last but not the least “Saaz Aur Saazinde” which pays tribute to those unsung master music technicians, who for most part, have always been behind the curtain.

So, here I come, “Oh beautiful world of Blogging”, musing and writing about the things I love and miss. I will write mostly on these topics, and hope you will enjoy some of my blogging. Be careful, as mentioned above, I am not articulate nor do I have a gift of  writing, but one thing I can assure you is that you will never be bored of reading.

With love……..

Satyajit Rajurkar

11^th May 11, 2013