#Best Love Songs of Mohammed Rafi

[humanitysstrongestsoldier1]

𝐃𝐎𝐍'𝐓 𝐋𝐄𝐀𝐕𝐄 𝐌𝐄 𝐋𝐈𝐊𝐄 𝐓𝐇𝐈𝐒. | 𝐺. 𝑆𝑈𝐺𝑈𝑅𝑈 x Reader

TW: cursing, explicit sexual content, death

AO3 LINK!!!

Summary:

अभी ना जाओ छोड़कर कर दिल अभी भरा नहीं (Abhee na jao chhodakar kar dil abhee bhara nahin): "Don't leave now, your heart is not full yet." - Asha Bhosle and Mohammed Rafi, Abhi Na Jao Chhod Kar, RRKPK Ver.

Regret.

It's a powerful thing that can tear a human down.

My regret? I was not able to save my best friend, my love, from the darkness that threatened to consume him.

He came to me in the night, claiming the very thing he had a grasp on since the moment I met him.

I just wish I could have stopped him then and there before he left me for good.

I wish I could have told him that there was no need to build a new world when he himself was my world, my home.

~~~~~

Notes:

Yokoso, watashi no Tumblr society...

i literally forgot this existed until i opened my google drive lmfaoo

yeh i had to use that song lol

translations will be in parentheses

~~~~~

“(Name)! You have to eat this cake; it's literally so good!” Gojo shouts from across the room, a beaming smile on his face.

“I will! Later, I promise.” I yelled back, and I got a happier smile from him again.

Satoru and Shoko had planned a little farewell party for me because of the fact that I was going to continue my studies in England. Nanami was also here, but like me, he chose to sit in silence, lightly sipping from the champagne in his glass. Other people that I knew from college and Jujutsu High were present as well. Even though my home was bright and lively, something was missing. Or, in this case, someone.

Suguru Geto. The calm to my storm.

I had the fattest crush on him in high school, and I'm sure he knew. That's why he flirted and teased me a lot. But beyond that, he was always there to listen to my little nerdy talks. Or even my rage talks. He would just sit there with a gentle smile on his face, ready to digest some random information about astrophysics. Hell, he would even ask questions afterwards. He was the peace in my chaos. Until he became chaos itself. The news of his massacre and defection did not shock me as much as I hoped it would. After Riko and Yu's deaths, he was slowly falling into a pit of darkness. With Satoru out on solo missions and me being busy with college applications and entrance studying, we weren't there to give him a hand to pull him out of that abyss. To this day, that is still Satoru and my greatest regret.

I thought our bond was unbreakable; he himself told me so.

One night, I was woken up from a nightmare at Satoru’s house during a sleepover. In that god-horrid vision, Satoru and Suguru had left me dead. I still remember the words Suguru said in the dream: “Leave her; she's no good for us.”

It was really hard for me to sleep after that, so I headed to the kitchen and found Suguru drinking a glass of water. I explained to him what happened, and he held me, his arms around my body and legs tangled for the entire night. He helped me sleep and promised that he would never leave me. Now that “promise” turned out to be futile. That unbreakable bond that tethered our souls was split, yearning to be joined again.

“You're thinking about him, aren't you?” Nanami said, lightly tapping my knee with his, gaining my attention.

I looked at him with blank eyes and said, “I don’t know what you're talking about, Kento.”

“It's okay to miss him; we all know how close you two were.”

“Leave it. Don't speak of him.”

He hums, acknowledging my privacy on the matter, before whispering with a gentle voice, “Even though you are miles away after today, know that I'm here for you. Because I know how much of a hassle it is to talk to Gojo, please never hesitate to speak to me if it's a serious matter.”

A small smile came upon my face, and I gently bumped into his shoulder with mine, an act of gratitude. “Thank you, Kento.”

“(Name)! Nanamin! Get the hell over here! We're starting cards against humanity!”

The two of us headed over to Satoru’s excited ass, who was reading the manual. That night was going to be my last night with them. 5 years is a long time without my closest friends, so I would cherish this night without any regrets.

—

“But (Name), I don't want to leave you. Even though I'm going to see you in the morninggg!” A drunk Satoru whines, hugging me so tight that it felt as if my lungs were going to pop.

“Sa-To-Ru.” I said, struggling to put his name together with the lack of air. I slowly pushed him to the threshold of the front door, trying to get him out. Unfortunately, his 6’3 ass would not budge.

“I got him (Name), don't stress.” Shoko says this from outside. She grabs the back of his shirt, pulls him the fuck out of my house, and waves good-bye.

Laughing lightly, I close the front door and head to my room for a quick shower. As I entered my room, the aura of it felt off. It was as if something that wasn't supposed to be there was present. Ignoring the feeling, I headed over to the closet to pick out some clothes, but before I could, a large hand grabbed me by my waist and pulled me flush against their chest. I realised it was a very tall man, around the same height as Gojo; it would be hard to escape. I thought of screaming, but it was as if he read my mind and put his other hand over my mouth. The arm around my waist forced me to turn around, and I was met with the very eyes I fell in love with.

Suguru Geto.

His hand fell from my face, and he took two steps back, allowing me to truly see him after so long.

“What are you doing here, Suguru?”

“Can’t I see my girl before she leaves?” He says this, smirking and tilting his head.

“I’m not your girl. I could have been, but you lost that right after you committed mass murder and betrayed your friends.”

“It was necessary. For the world I'm trying to make for you and for us, it damn well must be necessary.”

“Tsk, get yourself and your twisted philosophies out of my house.” I gritted my teeth at his response.

“Please, you are going to be gone for a long time. Let me hold you as I once did.”

“Out of kindness and the love I held for you, I won't tell Satoru or Yaga about this little visit. It's best if you leave; I would like my last night here to be in peace.”

“Held? The love you ‘held’ for me? Darling, I think you mean ‘hold’ for me,” he grins.

“I don't love you, Suguru, not when you left me, craving your touch.”

“Is that so? Then surely your heart's rapid pace and the blush on your cheeks are just my imagination, right?”

I take a step forward, raising a finger at him. “Listen here, you bastar-”

I was interrupted by his arm pulling me from my waist into his chest. I gazed into his dark eyes, and somewhere in there I found desperation.

“You're mine, (Name). You always have been. No matter where you are—two miles or even countries away—you are mine. I’m here to claim what is left of you, the part that I always held a right to.”

I shuddered against him, my fist curling around his white button-up shirt. “And what's that?”

“Your heart.”

In a flash, his lips were upon mine. Cold but dominating enough to envelop my warmth with his. He took the entirety of me in, his tongue clashing with mine. Small moans drifted from my voice, disobeying my heart's call. As much as I tried to push myself away, subconsciously, this was where I was meant to be.

My swollen lips finally pulled away. “Sugu, please.”

“Let me have you tonight, please. Let me revel in your touch; our bodies as one.”

“I can't, Sugu. I would be betraying my righteousness.”

“Virtuousness is fleeting. Love is eternal. We are eternal. Please (Name), let me show you the pleasures of this world. Let me make you mine, so no one in this world can ever lay a hand on you.”

If my friends could read my mind at this time, they would label me a selfish sociopath. But tonight was my last night, and if I come back five years later and he's not here, then saying no would be a mistake. Plus, high school me would be begging to say yes.

“Fuck it.” I whisper, quickly pulling him by the collars of his shirt and smashing my lips on his.

His hand made it to my ponytail and took off the band, making my hair cascade down my backless dress. His hands tangled in my tresses, pulling my hair back and breaking the kiss. His wet lips sucked on my neck, leaving dark bruises that would take weeks to disappear. As he continued his ministrations I made my way to his button-up, opening and taking off his shirt. Gliding my hands over his pecs, I could feel his intense heartbeat, saying one thing: my name.

“Hold on to me.” He whispers against my skin, grabbing my hips and wrapping my legs around his waist. He made his way over to my bed and gently placed me on it, hovering over me. He gazed into my watery eyes.

“If I had just told you that I loved you earlier, maybe, just maybe I-”

“Sugu, right now, it's just us. Don't focus on what could have been; focus on what can be.”

He blinked his thoughts away and dragged the chain of my dress down, my bare form meeting his eyes. The dress was thrown to the side of the room by him, while his eyes never left my body. His lips went towards the middle of my breasts, to where my heart was.

“Mine.” He whispered against my skin, feeling my heart. He continued kissing down my stomach, leaving hickeys behind. His hands curled around the band of my underwear and pulled them down.

"Suguru, please be gen- oh my god." I was cut off by the feeling of his wet lips sucking on my clit.

I took off the rubber band holding half his hair up and ran my hands through his black locks. His lips unlatched, and his tongue replaced the actions. Small whimpers released from my throat, and I yanked his hair by mistake, causing him to groan and sending the vibrations through my lower body.

“Fuck Sugu, just like that baby.”

He didn’t stop; he didn't even go faster; he was making me writhe under him because he knew that he couldn't stay for long, so his first priority was to embed memories of this night in the best way possible. Slowly and agonisingly, he licked a stripe up my slit and came up to look me in the eyes.

Tears fell from my face, and I was blushing profusely. “You look so pretty, like this baby. You wanna tell me what you want?

I bashfully turned my head to the side, and he chuckled at my antics. Suguru hooked a finger under my chin and ushered me to gaze into his eyes. 

“Don’t be shy now; I want to hear you say it.” He whispers. His beautiful lips curled into a smirk.

I blink away my tears, and with a shaky voice, I say, “I need you in me, Sugu.”

“That's it, my love.” His lips meet their way back to mine, and I moan into his mouth, feeling his tongue toying with mine. His hands make quick work of removing his pants and underwear, leaving us both bare in the dark room.

Breaking the kiss, I move my hand down to his seeping cock and smirk while looking into his wide eyes. “My turn."

I slowly move my hand down his shaft, feeling his slick moisten my hand. My thumb grazes his tip, which is leaking precum and he whines into my neck.

“ Fuck , (Name) please, I need-”

“Go on,” I interrupt, smiling at him.

Suguru gives me a quick peck on my lips and aligns his cock to my sopping cunt. His tip moved up and down my slit, gathering the spit and cum to make his way into me. He slowly thrust into me, letting me adjust to his girth. My nails clawed at his toned back, and I moaned at the filling feeling. He hooked his hands behind my knees and pushed them flush against my chest. His cock went even deeper, reaching places that made me see stars. He started moving faster, his balls slapping against my ass, and the squelch of my cunt echoed throughout the silent room. Suguru’s quiet whines and my moans created a harmonic melody that was pushing me to bliss.

“Y-you hear that, baby? F-f-fuuckkk! You take me so well, gods .” He says this as his lips kiss all over my neck.

“Sugs, I can’t- hold- oooh fuck baby pleaseee. ” I couldn't form words as he went even deeper, stretching me out completely. My back arched off the mattress, and he growled at my cunt clenching around his cock. His thrusts became more erratic, and he was reaching his end, as was I.

“Fuckk (Name), cum with me, please; I need to fill you up.” He groans into the crook of my neck.

My pussy clenched at his words, and he took note of that: "Oh, you like that? Wanna be stuffed full of my cum?”

I meekly nodded, unaware of the consequences that may show up later.

"Oh, sweetheart, imma pump you so full of my kids, gonna see you get all swollen and cute, yeah?”

"Ahh, Suguru, fuck, I cant-” I moan, unable to construct sentences.

His body curved and pushed further, and his hips pressed hard against me, shooting his load inside my gummy walls. The sensation of his cock and the warmth of his cum just added to my orgasm, and I came hard around his cock.

Suguru slowly pulled out, and I whined at the empty feeling: “I’m not going anywhere, sweets; I just gotta get you cleaned up.” He whispers against the skin of my forehead, placing a kiss on it.

I hum lightly and smile into his warmth. Fatigue was slowly crawling over me, and I wanted to fall asleep in his arms.

In a minute, he quickly went to the bathroom and grabbed a fresh towel, wiping my thigh and sensitive folds. He walked over to the hamper and discarded the towel into the laundry.

“Suguru?” I said, reaching out to him. “Don’t leave me like this.”

He gently smiles, walking over to my bed and crawling under the covers. His arms pulled me closer to his warm body, and he wrapped the huge blanket over our bodies.

I tucked myself under his chin, and he kissed my head before whispering, “I would never.”

“I love you, Suguru.”

“I love you too, (Name).”

That night was the most peaceful rest I had in a long while. The gentle beating of Suguru’s heart and the warmth from his body lulled me into tender sleep, where the stars watched over our resting forms.

(In the Morning, at Airport)

“(Name) don’t go, pleasee.” Satoru says, tightly hugging my body, which was very sore from last night.

Suguru had stayed for breakfast and headed out when he saw Gojo and Shoko’s cars. He left with a kiss that I would remember for lifetimes.

Gojo and Shoko helped me pack all of my clothes and drove me to the airport. Throughout the entire car ride, Satoru was whining about me leaving. It was cute, to be honest. Satoru is my best friend, and I would miss him so much, so I just held his hand, calming him down.

“Satoru, we talked about this in the car. I'm coming back! And I promise to call you when I’m free!” I say this while pushing him off of me.

“It’s not enough! Who is gonna make me rasmalai when you are gone?" He proclaims, grabbing hold of my shoulders. Satoru loved my native cooking; Indian food was his new obsession, and the sweets? God. He was obsessed with Rasmalai and Gajar ka Halwa. And he only used to like it when they were made by my hands.

“Bro, the ones from the store are not as good as yours.”

“I’ll facetime you and teach you to make it, okay?” I sigh, caressing his face and smiling.

I move over to Shoko, who grins brightly when I hug her.

“I’m gonna miss you girly.” She says, pushing my glasses (Gojo’s gifted sunglasses) up my nose playfully.

“Me too, Shoko.” I whisper, kissing her cheek and pulling her in for one last hug.

The overhead speaker buzzed, and the announcer declared, “Flight GS831 is boarding; passengers, please head to the gate.”

I sigh and look at both of my friends for one last time. “I love you guys.”

At the same time, Satoru and Shoko both said, “We love you too.”

I smiled as tears welled up in my eyes and turned around, dragging my suitcase behind me and carrying my backpack.

In these 5 years, I will make a name for myself in England and when I come back, I will convince Suguru to start anew with me. To a new future.

And when I set my mind to something, I was hellbent on getting it fulfilled.

(Year 4 of Study, Oxford, England)

I was heading home after a long day of researching Kerr black holes at the astronomy observatory, and my neck was absolutely killing me. These past three days have been hell on earth. With finals coming and my thesis paper coming to a conclusion, life hasn’t been exactly easy.

I have been getting calls from Satoru, which really helps bring a laugh to my serious lifestyle. Shoko calls every now and then; she has been interested in the process of getting a biology degree to help with her role at Jujutsu Tech. Kento also calls every now and then. He goes on about Gojo’s annoying ass and how he misses my scolding towards him. He kept his promise of being there for me when I needed it and truly helped me ground myself on the most stressful days. and, of course, Suguru. He doesn't call as often as Satoru, but when he does, we go on for hours. He loves listening to my research and the things I find. It reminds both of us of our high school days, when we used to stargaze.

He had called me a couple of days ago, sounding more serious about his “new world.” I didn't say much about it because I knew that he wouldn't listen. But for some reason, the days after that call, were full of unspoken caution–or fear…

I opened the door to my apartment and headed to my study, dropping my backpack off before heading to my room for a hot shower. The winters in Oxford had their bite, and today was no exception. The feeling of the hot water on my body calmed my stressed muscles, and the tension in my head dimmed down. Stepping out, I did my skincare and moisturised my body thoroughly, especially in this winter. I headed to my bed and plopped down on it before opening my drawer and getting my iPad out to read The God Delusion by Richard Dawkins. I was deep into the book until I felt the buzzing of my phone underneath the blanket. Checking the caller, it was Satoru. He always face-timed, so I was confused as to why it was a normal call.

A feeling of foreign dread washed over me for no reason at all. I didn't even know why he was calling, but I knew it had to be something bad.

Hesitantly, I swiped over the button and picked up the call.

“Hello? Satoru?” I asked quietly.

I heard a sharp breath being taken by him. “Hey sweetcakes. Are you doing alright today?”

Satoru’s voice sounded so tired. It lacked his charm, and he was unusually calm.

"Yeah, I'm doing fine, you?” I ask.

“I want to say that I'm doing okay, but I'm really not.” He says, his voice breaking.

“Hey, hey. What's wrong?”

“It’s Suguru.”

There it was—that dreaded news.

“Wh-what about him, love?”

“H-he.” Satoru took a deep breath before continuing. “He tried taking one of my new students. It ended badly (Name).”

“How bad?” I ask.

“He’s gone (Name). I had to kill him…”

A chill passed over my body, and I froze in shock. My brain shut down, and I couldn't hear Satoru’s voice. His words floated around me, and I couldn't move. Not even a limb. My jaw clenched, and my tears blurred my eyes. A sob left my trembling lips, and Satoru stopped talking. Fat, warm tears dropped down my cheek and onto the screen of my iPad.

“(Name)? Hey.” Satoru said, sounding more concerned. “I'm here, okay, I'm here. I’m not going anywhere.”

I shook off my tears, and I focused on telling Satoru the truth.

“I-I’m okay, ‘Toru. I need to tell you something.”

“Take all the time you need.” He says, assuringly.

I sighed, wiping my tears, and sat up straight to tell him about the night before my flight.

“That night. After the party, he was there.”

"What?" He was taken aback.

“I tried to tell him to go away, but he wouldn't listen. I ended up having sex with him that night. He left the next morning before you two came. He has been calling me for some years, but rarely. I’m so sorry I didn't tell you sooner. ‘Toru, I really am."

There was some silence on the other side.

“Satoru, please. I’m so sorry, I can't explain-" My voice cracked as tears started building up again.

"(Name), I'm not mad. How could I be with my favourite girl? I trust you. I always will. No matter what, okay?” He declares, calming my racing heart down.

I sigh, the pressure dissipating from my body.

“Toru?” I ask.

“Yeah?”

“I love you, you big man child,” I laugh, trying to distract myself from the pain of his death.

Satoru chuckles, understanding my way of distracting myself. “I love you too, sweetcakes.”

I giggle lightly and look towards the window, where a full moon looks at me.

“Hey, tell me about that time travel thing you texted me about.” He questioned.

I get up off the bed and walk over to my window, opening it to let the cold breeze in to cool off my body. I sat down on the long chair in front of it and put the phone on speaker, setting it down on the sill.

“What do you want to know about it?"

“Everything. Tell me everything," Satoru remarks.

“Tu pagal hai.” (You’re crazy) . I laugh, knowing he won't understand what I say. “How are you going to possibly..."

“Hey! Main pagal nahi hoon!” He says, shocking me with his Hindi. (I’m not crazy!)

“...Gojo Satoru… How the hell do you speak Hindi…?” 

“I've been learning since you left; I even have a tutor online.”

“Holy shit…what's your CEFR level?"

“A2!” He bragged. “I’m trying to become fluent so we can gossip. I even learned some curse words hehe~.”

“Gojo Satoru. You never fail to surprise me. Although you do have an accent, I’m honestly really proud. But you still have 3 more Indian languages to learn and 5 more other ones before you can brag about how many you speak. And darling, Hindi ain't even my mother tongue.”

He gasps, “I know, but Guju is so hard, I would have started with your mother tongue but shit, it's deadly! I can’t read or write Hindi that well either. I still can’t believe how you speak nine languages! At least I'm trying you chudail (witch) !”

“CHUDAIL? ABE KAMINE, TERI AUKAD ME REH!” I yell, stunned by his words. (Witch? Hey you bastard, stay within your limits!)

Satoru makes his little devil laugh and continues teasing me. That night was calmer with him.

If he hadn't stayed and talked, I would have been destroyed by the news of my beloved’s death.

But I knew that when I returned home, I would have to come to his resting place. I knew that I would have to say goodbye. But it didn't mean that I would have to do it alone.

(Post PhD. Back Home, at Suguru Geto’s grave)

Satoru and I stood in front of Suguru’s grave, holding each other close. I had made it home and ended up staying at his condo because I dropped the lease on my apartment. We both needed each other, so we thought it was a smart decision to stay close.

I looked at the name on his stone and the epitaph below it. It read, “Astra inclinant, sed non obligant.” Latin for: “The stars incline us; they do not bind us.” I remember when I told him that. It was the first time we went meteor gazing for the Perseids shower. He liked that quote so much that he had it tattooed on his collarbone.

The warmth in my ears increased, and tears fell from my eyes. Satoru took note of this and pulled me closer to him by my waist.

Satoru kissed my temple and murmured into my ear, “I’ll be in the car. Take as much time as you need.”

I nodded stiffly, and he walked away, leaving me alone with Suguru.

All the memories of him and me came flashing before my eyes, and I fell to my knees, clutching my heart that belonged to him. The heart that he claimed.

“Suguru." I whispered to him, the wind carrying his name.

“How could you leave me like this?”

End Notes:

ehehe ehehehe~

i just love the idea of gojo's dumbass speaking hindi, i bet he learned all the curse words and says them to random ppl 💀

okay bye madarchods, love you guys 🤍🩵

[musicverse11]

Udit Narayan vs. The Modern Playback Singers

Udit Narayan, one of the most celebrated playback singers in Indian cinema, has gifted the music industry with his melodious voice for decades. Known for his versatility and ability to adapt to different styles, he has become synonymous with Bollywood’s golden era of music. From soulful ballads to foot-tapping dance numbers, Udit Narayan’s voice has touched hearts and become a key ingredient in countless cinematic successes. This article takes a closer look at his journey, achievements, and the lasting impact of his work on Bollywood.

The Early Days: From Humble Beginnings to Stardom

Udit Narayan’s story began in the small village of Baisi in the Supaul district of Bihar, India. Born on December 1, 1955, into a family of modest means, Udit’s early exposure to music came from his mother, Bhuwaneshwari Devi, who was a folk singer. Despite financial struggles, his passion for music never wavered. After completing his schooling in Nepal, where his family moved during his childhood, Udit pursued his love for music by joining Radio Nepal as a folk singer.

In the late 1970s, Udit Narayan’s life took a significant turn when he received a scholarship to study classical music at the prestigious Bharatiya Vidya Bhavan in Mumbai. Under the mentorship of renowned classical musicians, he honed his craft and prepared for the challenges ahead.

His Bollywood debut came in 1980 when he sang a duet with the legendary Mohammed Rafi for the film Unees Bees. While the song did not bring him immediate fame, it marked the beginning of his journey in the Hindi film industry.

The Big Break: Qayamat Se Qayamat Tak

Udit Narayan’s breakthrough came in 1988 with the film Qayamat Se Qayamat Tak (QSQT). Paired with Alka Yagnik, his rendition of “Papa Kehte Hain” became an anthem for young dreamers and established Udit as a household name. The film’s music, composed by Anand-Milind, was a massive success, and Udit’s soulful voice struck a chord with audiences across the nation.

The song earned him his first Filmfare Award for Best Male Playback Singer, opening the doors to more opportunities in the industry. QSQT was a defining moment in Udit’s career, and the partnership with Alka Yagnik became one of the most iconic duos in Bollywood playback singing.

The 1990s: A Decade of Unstoppable Success

The 1990s were a golden period for Udit Narayan. With his fresh, youthful voice, he became the go-to singer for Bollywood’s biggest stars, including Shah Rukh Khan, Aamir Khan, and Salman Khan. His songs often became chartbusters, helping films achieve commercial success.

Some of his most notable tracks from this era include:

“Pehla Nasha” (Jo Jeeta Wohi Sikandar), a romantic number that continues to evoke nostalgia.

“Mehndi Laga Ke Rakhna” (Dilwale Dulhania Le Jayenge), a wedding classic.

“Jaadu Teri Nazar” (Darr), a hauntingly romantic melody.

His ability to bring emotions to life through his singing made him a favorite among music directors like A.R. Rahman, Jatin-Lalit, and Nadeem-Shravan. Udit’s voice became an inseparable part of Bollywood’s biggest blockbusters.

The 2000s: Reinvention and Longevity

As Bollywood’s music scene evolved in the 2000s, Udit Narayan adapted seamlessly. He continued to deliver hits, collaborating with younger composers like Shankar-Ehsaan-Loy and Pritam. Songs like “Mitwa” (Lagaan) and “Radha Kaise Na Jale” (Lagaan) showcased his versatility and reinforced his relevance in a competitive industry.

During this period, Udit’s son, Aditya Narayan, also stepped into the world of music, creating opportunities for the father-son duo to collaborate. Their duet “Papa Kehte Hain Bada Naam Karega” (QSQT) was revisited during stage shows, symbolizing the generational continuity of musical talent.

Awards and Recognitions

Udit Narayan’s contributions have been recognized with numerous accolades. He is the recipient of four National Film Awards and five Filmfare Awards. His unique achievement of winning Filmfare Awards in three different decades (1980s, 1990s, and 2000s) is a testament to his enduring appeal.

In 2009, he was awarded the Padma Shri, followed by the Padma Bhushan in 2016, two of India’s highest civilian honors. These awards not only celebrate his contribution to Indian cinema but also his influence on generations of musicians.

Conclusion: A Voice That Defines an Era

Udit Narayan career is a testament to the power of passion, perseverance, and raw talent. His melodious voice has defined an era of Bollywood music, creating memories for millions of listeners. As the music industry continues to evolve, Udit’s songs remain timeless, a reminder of the magic that music brings to cinema.

[bollywoodproduct]

Lyrics Baahon Me Teri Masti Ke Ghere

Lyrics Baahon Me Teri Masti Ke Ghere

Lyrics in English | Baahon Me Teri Masti Ke Ghere | Kaala Patthar-1979 | Mohammed Rafi, Lata Mangeshkar Baahon MeTeriMasti Ke GhereSaanson Me TeriKhushbu Ke DereBaahon Me TeriMasti Ke Ghere (2)Saanson Me TeriKhushbu Ke Dere (2)Masti Ke Gheron MeKhushbu Ke Deron MeHum Khoye Jaate HainBaahon Me TeriMasti Ke Ghere (2)Saanson Me TeriKhushbu Ke Dere (2)Masti Ke Gheron MeKhushbu Ke Deron MeHum Khoye…

[postoastblog]

21 Bollywood Old Songs That Will Remain Evergreen Till Eternity

Our Bollywood film industry is known for its amazing songs and dance moves. Indian cinema has a long history of music in films. The legendary singers like Kishore Kumar, Lata Mangeshkar, etc have sung some of the evergreen old songs whose lyrics are so beautiful they’ll instantly make you love the song. Maybe that’s the reason your grandfather or dad keeps playing the old classic songs and gets lost in their melody.

Here we have a list of some best old Bollywood songs that tend to stay close to you forever.

Zindagi Ek Safar Hai Suhana: This song was sung by the legendary Kishore Kumar for the movie Andaz in 1971. The song also received the Filmfare for the Best Lyricist. It was written by Hasrat Jaipuri.

Tere Bina Jiya Jaye Na Jaye Na: This iconic old song was sung by Lata Mangeshkar, written by Gulzar for the 1978 film Ghar featuring and stars Rekha and Vinod Mehra. The music direction of Tere Bina Jiya Jaye Na was done by R.D. Burman.

Hamen Tumse Pyar Kitna: This song was sung by Kishore Kumar for the 1981 film Kudrat. Written by Majrooh Sultanpuri, and the Music Director of Kudrat was R.D. Burman. The song was also nominated for the Filmfare.

Abhi Na Jao Chod Kar: This iconic song was sung by Mohammed Rafi and Asha Bhosle for the 1961 film Hum Dono starring Dev Anand and Sadhna. Jaidev was the Music Director and the lyricist was Sahir Ludhianvi.

Roop Tera Mastana: The song was sung by legend Kishore Kumar and he won the Filmfare for the Best Male Playback Singer for this song. The song was sung for the 1969 film Aradhana that featured Sharmila Tagore and Rajesh Khanna. The lyrics were written by Anand Bakshi and the music was composed by S.D. Burman.

Pyar Hua Ikrar Hua: This amazing song was sung by Lata Mangeshkar, Manna Dey. This song was featured in the movie Shree 420 starring Raj Kapoor and Nargis.

Ek Ajnabee Haseena Se: The song was sung by Kishore Da and was featured in the 1974 film Ajanabee starring Rajesh Khanna and Zeenat Aman. The on-screen chemistry of the actors together made this song magical. R.D. Burman was The Music Director of this song.

Kuch Toh Log Kahenge Logon Ka Kaam Hai Kahana: This superhit classic old Hindi song was sung by Kishore Kumar from the blockbuster Hindi movie of Amar Prem (1972) starring Rajesh Khanna and Sharmila Tagore. The music was composed by R.D.Burman and lyrics were penned by Anand Bakshi.

Mere Sapno ki Rani Kab Ayegi Tu: This iconic Hindi classic romantic song was sung by Kishore Kumar and was featured in the 1969 film Aradhana that featuring Rajesh Khanna and Sharmila Tagore. The lyricist of the song is Anand Bakshi.

Lag Ja Gale: Sung by Lata Mangeshkar, this evergreen song features in Who Kaun Thi?. Written by Raja Mehdi Ali Khan, the iconic song was released in the year 1964. It stars Manoj Kumar alongside Sadhna. Madan Mohan Kohli is the music director.

Likhe Jo Khat Tujhe: Sung by Mohammed Rafi, this old Bollywood song was one of the most heartwarming songs of the movie Kanyadan. The film featured legends like Shashi Kapoor and Asha Parekh. The lyrics were written by Neeraj.

Kya Hua Tera Wada: The song was composed by R. D. Burman. Sung by Mohammed Rafi and Sushma Shrestha, the song won both Filmfare best male playback singer and National film award.

Humein Tumse Pyar Kitna: This beautiful Hindi song was sung by the legend Kishore Kumar and was composed by R. D. Burman. The song was featured in the 1981 Indian Hindi drama film, Kudrat. The movie starred Rajesh Khanna and Hema Malini. The song is heard twice in the movie, the first time by Parveen Sultana and the second time by Kishore Kumar.

Kabhi Kabhie Mere Dil Mein: It is an old Hindi song from the movie Kabhi Kabhie released in the year 1976 featuring Amitabh Bachchan and Raakhee. The lyricist of this amazing song is Sahir Ludhianvi. The original song is in literary Urdu and was in fact a poem from his collection Talkhiyan.

Yeh Dosti Hum Nahi Todenge: This is one of the most epic Bollywood songs on friendship. The song was sung by Kishore Kumar and Manna Dey for the popular movie Sholay featuring Amitabh Bachchan and Dharmendra. R. D. Burman composed the music, and the lyrics were written by Anand Bakshi.

Mera Joota Hai Japani: This song is one of the most popular old songs from Raj Kapoor’s film Shree 420 that was released in 1955. The song was sung by Mukesh and Shailendra was the lyricist.

Tera Mujhse Hai Pehle Ka Naata Koi: This song is from Shashi Kapoor and Sharmila Tagore starrer movie Aa Gale Lag Jaa. Kishore Kumar sang the song and the music was given by R. D. Burman. The lyrics are penned by Sahir Ludhianvi.

Ek Radha Ek Meera: Sung by Lata Mangeshkar, this song featured in the 1985 romantic drama movie Ram Teri Ganga Maili that starred stars Mandakini and Rajiv Kapoor. Ravindra Jain was the music director of the film and he received a Filmfare Award for this movie.

Yeh Raaten Yeh Mausam: Sung by legends like Kishore Kumar and Asha Bhosle, this song featured in the film Dilli Ka Thug. The music was by Ravi and the lyrics were penned by Shailendra.

Tum Ko Dekha Toh Ye Khayal: This evergreen ghazal was sung by Jagjit Singh and Chitra Singh for the 1982 film Saath Saath featuring Farooque Shaikh and Deepti Naval in the lead roles.

Tujhse Naraz Nahin Zindagi: The song has a female and a male version that was sung by Lata Mangeshkar and Anup Ghoshal respectively for the 1983 film, Masoom. The song was composed by R. D. Burman and the lyrics of the song were written by Gulzar. He also won a Filmfare Award for Best Lyricist for this song.

[dweemeister]

Kaagaz Ke Phool (1959, India)

Almost a quarter of the way through the twenty-first century, globalization has pierced the remotest corners of the planet. The examples academics and politicians cite demonstrating this globalization are almost always economic, but the most profound examples are cultural. Once known only in South Asia, Indian cinema has burst onto a global stage. Its stars and its most popular directors seem larger than life. Reading on some of modern Bollywood’s (Hindi-language cinema) personalities, I find few of their biographies compelling beyond their unquestionable status as South Asian and international celebrities – I won’t name names here because that is for another time. That is partly a result of not watching enough Bollywood films. It is also because I am making unconscious comparisons between those modern actors to actor-director Guru Dutt. Dutt was a tragic romantic – off- and on-screen – to the point where those personas can become indistinguishable.

As an actor, Dutt can be as charming a romantic male lead as anyone, as well as lend a film the dramatic gravitas it needs. As a director, he refined his sweeping visuals and theatrical flairs over time. That artistic development culminated with Pyaasa (1957) and his final directorial effort, Kaagaz Ke Phool (“Paper Flowers” in English). The latter film is the subject of this piece. Both films elevate themselves to a cinematic altitude few movies anywhere, anytime ever accomplish. They are, for lack of a better word, operatic* – in aesthetic, emotion, storytelling, tone. In Kaagaz Ke Phool, Dutt once again lays bare his artistic soul in what will be his final directed work.

An old man enters a film studio’s empty soundstage, climbs onto the rafters, and gazes wistfully at the darkened workspace below. We learn that this is Suresh Sinha (Dutt), a film director whose illustrious past exists only in old film stock. The film is told in flashback, transporting to a time when his marriage to Bina (Veena) is endangered – the parents-in-law disdain his film work as disreputable to their social class – and he is embarking upon an ambitious production of Devdas (a Bengali romance novel that is among the most adapted pieces of Indian literature to film, the stage, and television). He is having difficulty finding someone to play Paro, the female lead. Due to this conflict, Bima has also forbidden their teenage daughter, Pammi (Kumari Naaz), from seeing Suresh. Pammi is sent to a boarding school far from Delhi (where Bima and her parents reside) and further from Mumbai (where Suresh works), without any sufficient explanations of the spousal strife.

One rainy evening, Suresh generously provides his coat to a woman, Shanti (an excellent Waheeda Rehman). The next day, Shanti arrives at the film studio looking to return the coat. Not knowing anything about film production, she accidentally steps in front of the camera while it is rolling – angering the crew who are tiring of yet another production mishap. Later, while viewing the day’s rushes, Suresh casts Shanti as Paro after witnessing her accidental, but remarkable, screen presence. She achieves cinematic stardom; Suresh and Shanti become intimate. When the tabloid gossip eventually reaches Mumbai and Pammi’s boarding school, it leads to the ruin of all.

What did you expect from an operatic film – a happy ending?

Also starring in the film are Johnny Walker (as Suresh’s brother-in-law, “Rocky”) and Minoo Mumtaz (as a veterinarian). Walker and Mumtaz’s roles are vestigial to Kaagaz Ke Phool. Their romantic subplot is rife with the potential for suggestive humor (she is a horse doctor), but the screenplay never justifies their inclusion in the film.

Shot on CinemaScope lens licensed by 20th Century Fox to Dutt’s production company, Kaagaz Ke Phool is Dutt’s only film shot in letterboxed widescreen. From the onset of his directorial career and his close collaboration with cinematographer V.K. Murthy, Dutt exemplifies an awesome command of tonal transition and control. Murthy’s dollying cameras intensify emotion upon approach: anguish, contempt, sober realization. These techniques render these emotions painfully personal, eliminating the necessity of a few lines of dialogue or supplemental motion from the actor. The effect can be uncomfortable to those who have not fully suspended their disbelief in the plot or the songs that are sung at the time. But to the viewers that have accepted that Dutt’s films exist in a reality where songs about infatuation, love, loss, and regret are sung spontaneously (and where revelations are heard in stillness), this is part of the appeal. Dutt and Murthy’s lighting also assists in directing the narrative and setting mood: a lashing rainstorm signaling a chance meeting that seals the protagonists’ fates, the uncharacteristically film noir atmosphere of the soundstage paints moviemaking as unglamorous, and a beam of light during a love melody evokes unspoken attraction. That final example represents the pinnacle of Dutt and Murthy’s teamwork (more on this later).

As brilliant as his films (including this) may be, Dutt suffered during mightily during Kaagaz Ke Phool’s production. In writings about Dutt, one invariably encounters individuals who believe Dutt’s life confirms that suffering leads to great art. Though I think it best to retire that aphorism so as not to romanticize pain, I believe that the reverse is true with Guru Dutt – his later directing career contributed to his personal tribulations. In some ways, that suffering informed his approach to what I consider an informal semiautobiographical trilogy of his films: Mr. & Mrs. ’55 (1955), Pyaasa, and Kaagaz Ke Phool. Dutt directed and starred in each of these films. In each film he plays an artist (a cartoonist, poet, and film director, respectively); with each successive film his character begins with a greater reputation, only to fall further than the last. The three Dutt protagonists encounter hardship that do not discriminate by caste, professional success, or wealth.

For Dutt’s Suresh, he is unable to consummate his love for Shanti because the specters of his failed marriage haunt him still. He never speaks to his de facto ex, but marital disappointment lingers. Why does he bother visiting his stuffy in-laws when he knows they will never change their opinions about him? Abrar Alvi’s (the other films in the aforementioned informal Dutt-directed trilogy, 1962’s Sahib Bibi Aur Ghulam) screenplay is silent on the matter. Also factoring into Suresh’s hesitation is his daughter, Pammi. Pammi is young, looks up to both her parents, and cannot fathom a parent being torn from her life. Her reaction to learning about Shanti implies that neither of her parents have ever truly talked to her about their separation. Pammi does not appear to blame herself, but it seems that her parents – intent on protecting their child, perhaps speaking to her not as a soon-to-be young adult – are loath to maturely talk about the other. In a sense, Pammi has never mourned her parents’ marriage as we see her deny the tabloid reports about Suresh’s affair and express anger towards her father when she learns the truth.

When Suresh’s film after Devdas flops, his film career is in tatters. But Shanti’s popularity is ascendant, creating a dynamic reminiscent of A Star is Born. In a faint reference to Devdas, Kaagaz Ke Phool’s final act contains anxieties about falling into lower classes. If Kaagaz Ke Phool is contemporaneous to its release date, one could also interpret this as concerns about falling within India’s caste system (reformist India in the late 1950s was dipping its toes into criminalizing caste discrimination, which remains prevalent). Suresh’s fall is stratospheric and, in his caste-conscious, masculine pride, he rejects Shanti’s overtures to help him rebuild his life and film career. This tragedy deepens because Shanti’s offer is in response to the contractual exploitation she is enduring. We do not see what becomes of Shanti after her last encounter with Suresh, but his final scenes remind me, again, of opera: the male lead summoning the strength to sing (non-diegetically in Suresh’s case) his parting, epitaphic thoughts moments before the curtain lowers.

Suresh’s and Shanti’s respective suffering was preventable. Whether love may have assuaged his self-pity and alcoholism and her professional disputes is debatable, but one suspects it only could have helped.

Composer S.D. Burman (Pyaasa, 1965’s Guide) and lyricist Kaifi Azmi (1970’s Herr Raanjha, 1974’s Garm Hava) compose seven songs for Kaagaz Ke Phool – all of which elevate the dramatics, but none are as poetic as numbers in previous Dutt films. Comments on two of the most effective songs follow; I did not find myself nearly as moved by the others.

“Dekhi Zamane Ki Yaari” (roughly, “I Have Seen How Deeply Friendship Lies”) appears just after the opening credits, as an older Suresh ascends the soundstage’s stairs to look down on his former domain. The song starts with and is later backed by organ (this is an educated guess, as many classic Indian films could benefit with extensive audio restorations as trying to figure out their orchestrations can be difficult) and is sung non-diegetically by Mohammed Rafi (dubbing for Dutt). A beautiful dissolve during this number smooths the transition into the flashback that will frame the entire film. That technique, combined with “Dekhi Zamane Ki Yaari”, prepares the audience for what could be a somber recollection. However, this is only the first half of a bifurcated song. The melodic and thematic ideas of “Dekhi Zamane Ki Yaari” are completed in the film’s final minutes, “Bichhde Sabhi Baari Baari” (“They All Fall Apart, One by One”; considered by some as a separate song). Together, the musical and narrative arc of this song/these songs form the film’s soul. For such an important musical number, it may have been ideal to incorporate it more into the film’s score, but now I am being picky.

Just over the one-hour mark, “Waqt Ne Kiya Haseen Sitam” (“Time Has Inflicted Such Sweet Cruelty On Us”; non-diegetically sung by Shanti, dubbed by Geeta Dutt, Guru’s wife) heralds the film’s second act – Suresh and Shanti’s simultaneous realization of their unspoken love, and how they are changed irrevocably for having met each other. Murthy’s floating cameras and that piercing beam of light are revelatory. A double exposure during this sequence shows the two characters walking toward each other as their inhibitions stay in place, a breathtaking mise en scène (the arrangement of a set and placement of actors to empower a narrative/visual idea) foreshadowing the rest of the film.

Dutt’s perfectionist approach to Kaagaz Ke Phool fueled a public perception that the film was an indulgent vanity exercise with a tragic ending no one could stomach viewing. Paralleling Suresh and Shanti’s romantic interest in each other in this film, the Indian tabloids were printing stories claiming that Dutt was intimate with co-star Waheeda Rehman and cheating on Geeta Dutt. These factors – perhaps some more than others (I’m not versed on what Bollywood celebrity culture was like in the 1950s, and Pyaasa’s tragic ending didn’t stop audiences from flocking to that film) – led to Kaagaz Ke Phool’s bombing at the box office. Blowing an unfixable financial hole into his production company, Guru Dutt, a man who, “couldn’t digest failure,” never directed another film. Like the character he portrays here, Dutt became an alcoholic and succumbed to depression in the wake of this film’s release. Having dedicated himself entirely to his films, he interpreted any professional failure as a personal failure.

Kaagaz Ke Phool haunts from its opening seconds. Beyond his home country, Dutt would not live to see his final directorial effort become a landmark Bollywood film and his international reputation growing still as cinematic globalization marches forth. Dutt’s most visually refined films, including Kaagaz Ke Phool, are films of subtraction. The cinematography and music make less movement and dialogue preferable. Kaagaz Ke Phool is a film defined about actions that are not taken and scenes that are never shown. The result is not narrative emptiness, but a receptacle of Dutt’s empathy and regrets. Exploring these once-discarded, partially biographic ideas is not for faint hearts.

My rating: 9/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* I use this adjective not to reference operatic music, but as an intangible feeling that courses over me when watching a film. Examples of what I would consider to be operatic cinema include: Crouching Tiger, Hidden Dragon (2000, Taiwan); Greed (1924); The Red Shoes (1948); and The Wind (1928). Some level of melodrama and emotional unpackaging is necessary, but the film need not be large in scope or have musical elements for me to consider it “operatic”.

[the-voltage-diaries]

Music Shuffle Tag~ 🎶

TASK: It’s easy, all you have to do is put your music library on shuffle and list the first ten songs. Feel free to add in some personal liner notes if you’re inclined!

First off, thanks a lot for the tag, @lin-ful ! <3

Secondly, I’m kind of stuck because I listen to two playlists on repeat, both have a large number of songs and I cannot for the life of me figure out how to compile them... or maybe I’m just too lazy to google it. So what we’re gonna do is make two versions of it, and lmao that’ll just give you more fun stuff to binge listen to if you wish~

List 1: K-pop

This playlist is basically my K-pop music. Some honorable mentions that couldn’t make the list: Oh My God (G-IDLE), Monster (Irene x Seulgi), Way Back Home (SHAUN), Chica (Chung Ha).

1. Heel - NO:EL, Loco

I recently added this to my playlist bc @some-ikemen-snob recommended it and her recommendations are the shit 😎 . And this song IS the shit. So, yeah. 

2. Say My Name - ATEEZ

I remember hearing this song while randomly scrolling through youtube, and I recall when I saw it pop up for the nth time in my recommendations I was baffled at the hype it had, and then I finally heard it and bam now it’s in my playlist.😅

3. Touch - NCT 127

This song is so cute, and the choreography too! I’m absolutely obsessed with the choreography at the “Na na nananana” part, it’s addicting to watch. 

4. Beautiful Goodbye - Chen

Chen’s voice, I mean do I even need to say anything more?

5. Playboy - EXO

This song does things to me. I mean, the way Kai whispers “Play... boy” or rather half moans half groans should be declared illegal. 😉

6. Dinner - Suho, Jane Jang

I love the music and how well both their voices blend in with it. It’s one of my favourites, for sure. ❤️

7. HIP - MAMAMOO

This was the first ever song of MAMAMOO’s I ever heard, and dare I say I fell for Hwa sa after that. I mean have you seen that woman? And the rest too, of course. Such badasses.

8. My Love - Baekhyun

I love his voice so, so much ❤️ ! This song is so calming, so peaceful. It’s the kind of music I would play when I’m stressed, when I’m out, when it’s raining and basically the point is why would you stop playing this?

9. Stay With Me - Chanyeol, Punch

I needn’t explain my obsession love for this song, need I? This song is loved by almost everyone I know who watches K-dramas (even if they don’t listen to Kpop), and that’s because it is indeed such a great song! If you haven’t heard it yet, do give it a try~ 💕

10. 무제(無題) (Untitled, 2014) - G-DRAGON

If you dislike this song, we’re gonna have problems. It’s a masterpiece, one of G-dragon’s most amazing works 💙 . It’s... yeah, I have no words to describe how beautiful this song is.

List 2: Bollywood Classics

Grab a cup of tea, sit down and plug in your earphones. Close your eyes and just let the music take over you, because this is gonna be good.🤭

Honorable Mentions [DO CHECK THEM OUT IF YOU LIKE THE SONGS IN THE PLAYLIST]: Aa Chal Ke Tujhe (Kishore Kumar), Mein Shayar Toh Nahi (Shailendra Singh), Babuji Dheere Chalna (Geeta Dutt), Abhi Na Jao Chod Kar (Asha Bhosle, Mohammed Rafi), Bade Achhe Lagte Hain (Amit Kumar), Kabhi Kabhi Mere Dil Mein (Lata Mangeshkar, Mukesh).

1. Lag Ja Gale Se Phir - Lata Mangeshkar

This song is one of the most popular ones when it comes to classics, and I don’t doubt it because Lata Mangeshkar’s voice is so, so, so sweet and so perfect damn 💜 . Also it’s from a black and white movie and it’s still pretty popular so I hope that speaks for itself? lmao

2. Aaja Sanam Madhur Chandni Men - Lata Mangeshkar, Manna Day

Can you tell Lata Mangeshkar was a popular singer of those times? Her voice is so amazing I swear. And this song’s lyrics and tune is so catchy. Again, it’s from a black and white movie.  🤭

3. Aap Ki Ankhon Mein Kuch - Lata Mangeshkar, Kishore Kumar

Kishore Kumar is SUCH A CLASSIC. He’s a legend, and if my playlist hadn’t brought up one of his songs I’d have sued Spotify. That said, Kishore Kumar was and Indian playback singer, actor, music director, lyricist, writer, director, producer and screenwriter. Need I say more about this man? Also, this song’s lyrics are so respectful and deep, I love those times. 

4. Chala Jata Hoon - Kishore Kumar

Kishore Kumar with his voice, and Rakesh Khanna with his acting for such a powerful duo. You’ll find many more of his songs in this list, most probably. My mom introduced me to Kishore Kumar’s music (She’s a hardcore fan btw) and I haven’t looked back since. Proudly so. <3

5. Tera Mujhse Hai Pehle Ka Naata Koi - Kishore Kumar, Sushma Shrestha

Sharmila Tagore was a beauty, no doubt. And this song has two versions. I’ll link the other one here. Can you tell I’m basically speechless and have no idea how to form sentences with have a flow?

6. Tum Itna Jo Muskura Rahe Ho - Jagjit Singh

The main lyric basically translates to “Why are you smiling so much? What’s is this pain that you’re hiding? You’re smiling so much.” and if that isn’t meaningful, I don’t know what is. Moreover, Jagjit Singh’s voice is so soothing to the ears, I could listen to this song every day and never get tired of it.  🥰

7. Yeh Sham Mastani - Kishore Kumar

Can you guess who the actor is? Damn straight, it’s Rajesh Khanna. I need help 😅 I love Kishore Kumar’s voice so much hELp.

8. Ek Ajnabee Haseena Se - Kishore Kumar

Yes, it’s Rajesh Khanna who’s the actor, yet again. Moreover, this song is so beautiful, so awesome, so pretty, so everything I LOVE IT SO MUCH GAH.

9. Pyar Hame Kis Mod Pe - Kishore Kumar, R. D. Burman, Bhupinder Singh, Sapan Chakraborty, Gulshan Bawra

I kid you not my heart did a little flip when I checked out the youtube video to add the link and saw Amitabh Bachhan 🤭 😂 . Amitabh Bachhan now looks sophisticated and classy, but the Amitabh in his younger days looked so freaking handsome I’m deceased, and I need help. Oh sweet lords, and this song. This song is everything, such deep voices, the lyrics, the beats, this song is EVERYTHING and if you hate this we’re gonna have problems. Also Amitabh Bachhan OH MY GOD HE LOOKS SO NICE

10. Zindagi Kaisi Hai Paheli - Manna Day

Spotify did me good, not gonna lie. It literally saved the best for the last. ❤️ This song is one of my absolute, ultimate, top favourites and that’s because Manna Day’s voice does justice to everything, Rajesh Khanna, the lyrics, the song, us, everything. It’s so pleasing and a complete joy to listen to.

Bonus: Na Tum Hame Jaano - Hemant Kumar

It’s beautiful. I had to. That’s it. ❤️

Ahhh this was so much fun! I had such a good time starting my day off with some of my favourites, so thanks a lot for the tag again, Lin!

I’m gonna tag: @joaxotome , @bakutae , @bibbletae , @voltage-vixen , @awesomeallseeingeye , @otome-writer51 , @redninjakitty14rp , @rougepetale , @rhionhatter , and @anyone else I forgot or anyone who wants to do this!

You don’t have to do this if you don’t feel like it <3

[yeselectronicstarfishstudentfan]

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[all-datmatterz]

Best Bollywood Old Songs list 1970 | Evergreen Old Songs You Must Listen

love and the lyrics of old Indian songs turn the music into a beautiful melody. our bollywood industry is famous for its dance sequences and songs. India has many legendary singers like kishore kumar, lata mangeshkar, ar rahman etc. India has a tremendous history in music.

Are you one of those people who like to listen to old songs?

The love and lyrics of the old songs turn the music into a beautiful melody. Our Bollywood industry is known for its dance sequences and songs. India has many legendary singers like Kishore Kumar, Lata Mangeshkar, AR Rahman, etc. India has a remarkable history in music.

In this article, we will discuss the best enduring Bollywood songs of all time. We have tried to create a list of 21 Oldest Hindi Bollywood Songs. I assure you that you will fall in love with these timeless Bollywood songs.

List of old Hindi Superhit songs of all time that you must listen to

Kabhi Kabhi Mere Dill Mein (1976)

This song is one of the most romantic old songs in Bollywood. This song features two big superstars, Amitabh Bachchan and Rakha Ji. This song won 3 Filmfare Awards for Best Male Singer, Best Lyricist and Best Music.

If you love someone, you should sing this song.

Lag Jaa Gale (1964)

These old classic Hindi songs were written by Raja Mehdi Ali Khan and sung by the great Lata Mangeshkar. This song has almost 172 million views on YouTube. Lata Mangeshkar said that this song is always etched in her heart.

 Pal Pal Dil Ke Pass

Pal Pal Dil Ke is a super hit song which is passed down from legend Kishore Kumar. This song is from the 1973 film Blackmail.

The moral of this song is that a man never leaves the woman he loves, no matter how far he is from her. This is one of the best old bollywood songs.

Yeh Dosti (1975)

It is an old Indian friendship song sung by legend Kishore Kumar. It's a perfect song for best friends. This song is from Bollywood superhero movie Sholey.

"Yeh Dosti Hum Nahi Todengay, Todengay Magar Tera Sath Na Chordenge" This line is awesome if you hear it with your best friends.

In Aankho Ki Masti Ke (1981).

This song is sung by the amazing Asha Bosley and directed by the beautiful actress Rekha Ji. This song is from the 1981 movie Umrao Jaan.

Asha Bhosle won the National Film Award for this song. This is one of the best lazy romantic songs.

Ek Do Tin Char (1988)

This enduring old Indian song is breaking records thanks to the performance of beautiful actress Madhuri Dixit. This song is sung by Alka Yagni and Amit Kumar.

This song is from the movie Tezaab and has recently been recreated in the movie Baghi 2.

Mere Samne Wali Khidki Mein

Another old superhit Bollywood song. This song is from the movie Padosan, which means neighbor. Well, this is another famous song sung by legend Kishore Kumar. This old romantic Hindi song features Sunil Dutt and Saira Banu.

Lyrics of this song are penned by Rajendra Krishan.

Gulabi Ankhein (1970)

This wonderful old Hindi song is a pure love song sung by the legend Muhammad Rafi. This song is a completely different way of feeling. It is still the most popular song among young people.

This song is from thriller Train.

Badan Pe Sitare Lapate Hue (1969)

Another great performance by the legend Mohammad Rafi from Prince. This is a great Bollywood song from the 60s.

Inteha Hogyi Intezaar Ki (1984)

This song was sung by the wonderful singer Asha Bosley and star Kishore Kumar with Amitabh Bachchan and Jaya Prada. Kishore Kumar won the 7th Filmfare Award for this song.

This song is from Bollywood movie Sharabi.

Khaike Pan Banaras wala (1973)

The best song of the seventies. This song is popular not only in India but all over the world. Once again this song is sung by the legend Kishore Kumar from the movie Don. The same was recreated in 2006.

Mere Sapno Ki Rani Kab Aogi Tum (1969)

Kishore Kumar sang the classic Bollywood superstar song Aradhana from the Bollywood superhero movie starring Sharmila Tagore and Rajesh Khanna.

Sar Jo Tera Chakarai (1951)

This song brings Mohamed Rafi national fame. Sar Jo Tera Chakkaray has the attention of millions. Even today people want to hear this song.

Mere Hathoon Mein (1989)

This song is sung by Legend Lata Mangeshkar and penned by Anand Bakshi. This song is from the movie Chandni and Sridevi G.

Pyaar Kia Toh Darna Kya (1960)

This song is from one of the most powerful movies in Indian history, Mughal-E-Azam. This song is sung by the great Lata Mangeshkar. This song represents the love between a prince and his love Anarkali.

This song was shot at Sheesh Mahal, Lahore Fort.

Rang Barse (1981)

Bollywood's most famous old song was played during Holi festival. This song was sung by Amitabh Bachchan and penned by father Hrivansh Rai Bachchan. This song is from the movie series. This is one of the best Hindi folk songs.

Jumma Chumma Dee Dee (1991)

This song was sung by Sudesh Bhonsle and Kavitha Krishnamurthy. This song is from the movie Hum starring Amitabh Bachchan and Kimi Katkar. This song has over 21 million views on YouTube.

It's still the most popular song of 2021.

Mera Joota Hai Japani (1955)

This song was sung by Mukesh and rendered by Bollywood legend Raj Kapoor. This super song is from the movie Shree 420. This song has reached the whole country because of its national song lyrics.

This song was released at the time when India got its independence.

Pyaar Hua Ikraar hua

It is a song from the movie Shree 420 sung by Lata Mangeskar and Manna Dey. This timeless old bollywood song expresses the love between Raj Kapoor and Nargis.

Yeh Reshmi Zulfien (1961)

This is a song from Bollywood romantic movie Do Raste. This song represents the love between Rajesh Khanna and Mumtaz. This song is sung by Mohamed Rafi.

List of the best old Hindi songs from the 1950s

Joota Hai Japan – Shree 420 Movie

Bhooli Surat Dil Ke Koothay – Albela Movie

Sab Kuch Seekha Humne - Anari movie

Jalte Hai Jiske Liye – Sujata Movie

Yeh Raat Yeh Chaandni – Jaal Movie

Duniya Mein Hum Ayye Hai – Mother India movie

Maan Dolle Mera Taan Dolle – Nagin movie

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desi tag :)

I was tagged by:  @goldenrani thank you thank you! 

1.What’s your name and what does it mean?

my name is tabeen and it has two meanings: hope and follower of the Prophet (peace be upon him) 

2.Where from the motherland is you/your family from?

my family is from lahore, pakistan

3.Would you move back to where your family is from, why or why not?

i think i would, simply because i want to be more in touch with my family, our culture and language--although i try my best to learn myself, being raised in the west creates barriers that can be very difficult to overcome. i’m also very close with my family there so i think i could adjust well, although i may just be very naive. i also think life can be (although not always) less fast paced there, leaving more time for introspection and self care than we get in the west

4.What language(s) can you speak?

english, urdu, and i have a very basic understanding of punjabi 

5.Favorite Bollywood movie

super stereotypical on this one--im still a sucker for kabhi khushi kabhi gham! but veer zaara and jodhaa akbar are close seconds

6. Favorite desi meal?

i really cannot choose between kofte and nihari haha

7.Where in the motherland do you want to visit?

each region and people have their own beauty, so i’d really love to visit all of south asia--but i’m particularly drawn to the mountains, so kpk and kashmir would be the top of my list

8.Favorite desi singer?

far too many! a few favorites are nusrat fateh ali khan, abida parveen, sanam marvi, fareed ayaz & abu muhammad qawwal, mohammed rafi, saieen zahoor, quratulain balouch

9.Describe your favorite desi outfit.

it’s difficult to describe a single favorite outfit but i adore classic bridal clothing that is simple yet elegant

10.Can you make a round roti?

nope!

11.Favorite Bollywood actor?

aamir khan

12.Favorite Bollywood actress?

madhubala, kajol, & madhuri dixit

13.Favorite desi in the western media?

they have all disappointed me in some way or another unfortunately

14.Strange superstitions you’ve heard from relatives.

if you touch metal during an eclipse something bad will happen

15.Describe your spice tolerance.

i think it’s pretty high, i always joke that i’m not truly enjoying a meal if my eyes aren’t watering while eating it

16.Best street food.

makai 

17.The weirdest question you got from a non desi person.

i honestly cannot think of one atm

18.How do you like your chai?

warm, not hot (im weak i know)

19.When was the last time you have visited the motherland (if you dont live there)?

june 2018 for literally four days

20.Your favorite and least favorite part of your culture?

favorite:

our languages, poetry, songs, love for our own, (some of) our values, clothing, food, and the art we create

least favorite:

misogyny, colorism (& other remnants of colonization), the endless cycle of internalizing trauma and perpetuating harmful tendencies across generations, an overall limited understanding of mental health, THE STARING

i tag anyone who is desi and would like to do this tag! would love to see your responses :) 

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The thumping bass drum and handclaps of Oh My God hark back to the era of Rolling in the Deep, when she was caught up in the post-Amy Winehouse frenzy of jazz-inspired chart singers. Sonically, at least, it’s not all doom and gloom. It’s a welcome injection of Adele the likable celebrity-who’s-just-like-us, before she batters us with woe again. “All right, then, I’m ready,” she says at the close of the song. Sweeping strings, mournful organ and Adele’s signature vocal range comfortably move through the paces. “I’ll be taking flowers to the cemetery of my heart,” she begins on Strangers by Nature, played with all the warm timbre of an old gramophone. What is on Adele Adkins’s mind at 33? The same heartbreak that fuelled her breakthrough, with 21, and shot her to global stardom, with 25, persists on 30, a record of melodrama, ballads and a hint of 1960s soul.

Or you might be waiting for the delivery of some other artist’s LP, cursing pop music and everything it stands for because Adele decided to press 500,000 copies of her latest album during a vinyl shortage. What is your relationship with Adele? Maybe you’re one of the 277-odd million people who have streamed Easy on Me on Spotify, awaiting a return to permissible (even encouraged) long-form heartbreak.

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Music is an essential part of our lives. It can help us express our feelings and emotions such as anger, happiness, love, fear, etc. We are surrounded by Music throughout our daily life, such as when we are in the shower, getting ready, or even going to a restaurant. Music is a fantastic way to convey our feelings and help us get through difficult times.

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When one considers the lyrics of Hindi cinema in the 1950s, the words evocative, thought-provoking, and musical come to mind. The intellectual yet straightforward take on life and philosophy of that era permeates every song lyrics of that time. It was soothing and marvelous to the listening ears.

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It is worthy of observing that songs became super hits during this generation. People loved movies, and at the same time, good songs mattered so much for the audience. The commercial part of movies now succeeded even with songs alone.

India is home to different religions, with each religion having its own devotional hymns. Whether an adult or a person in old age, everyone at some point of day wants to listen to devotional songs. Devotional songs lyrics are played in the festive season and devotional songs are played all year around. Listening to morning bhajan doesn't only bloom in the morning but also provides us with positive energy for the rest of the day. Listening to Bhakti Gana helps us to calm the mind so that the soul can open to the divine and allows the mind to taste the blissful reality of our true nature. Devotion is the most crucial aspect of Bhakti. Someone has rightly said that God stays in religious places, but he is everywhere. So, we can listen to God's songs anywhere. Many people feel relaxed after listening to Bhakti songs like Laxmi Aarti Lyrics. Every religion has different devotional songs like Hindus have bhajans, Muslims have Islamic Music, and Christians have Jesus songs. Many bhakti sangeets like Hanuman Chalisa Lyrics are also available on the internet today. 

You may not understand the purpose of a devotional song without knowing the meaning of the words. It is easy to dance and nod to a song. But the words can bring a whole new positive vibe, energy, and spirituality. Thus, to enjoy a bhakti song, it’s best to take your time to know the Aigiri Nandini Lyrics, understand the words, and embrace the Music in its entirety.

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1969

An Indian Bollywood movie that follows the life and love story of Somna and Amar, who fall in love and are planning to get married. Sadly, before they can get married, Amar is killed in an avalanche. Somna is assaulted by a man, Shamsher Singh and becomes pregnant. To preserve her honor, her boss, Kailash Nath Kaushal, marries her. Years later, Amar returns. It turns out he did not die in the avalanche as previously thought. Although Somna is pleased to see her former fiance, she is loyal to her husband, Kaushal. When someone threatens Somna's son, Kaushal and Amar overcome their differences and come together to fight for her son.

Ek Phool Do MaliDirected byDevendra GoelProduced byDevendra GoelWritten byMushtaq JaliliStarringSanjay Khan Balraj Sahni Sadhana Bobby (Child)Music byRaviCinematographyKeki MistryEdited byR. V. Shrikhande

Release date

May 7, 1969 (India)CountryIndiaLanguageHindi

Ek Phool Do Mali is a 1969Indian Hindi film directed by Devendra Goel. The film is based on the book Do Kadam Aage by Sampat Lal Purohit.(1) The film was a Blockbuster and second highest grossing movie of 1969 along with Aradhana & Do Raste.(2)Balraj Sahni earned a Filmfare nomination as Best Supporting Actor.(3) The story was miscredited to Mushtaq Jalili, and is said to have been an inspired adaptation of the 1961 Hollywood classic Fanny, which is debated.

Plot(edit)

Somna is a poor woman living with her widowed mom, Leela, in the mountainous region of India and Nepal. She makes a living working on the apple farm of the wealthy widower, Kailash Nath Kaushal. Kaushal also runs a mountaineering school where Amar Kumar is one of his students. Somna and Amar meet, fall in love and decide to get married shortly after Amar returns from a climbing expedition. A few days later, following an avalanche, they get the news that Amar and the other climbers have been killed.

A devastated Somna is molested by Shamsher Singh. Kailash comes to her rescue and offers to marry her when he finds out that she is pregnant. They get married and Somna gives birth to a boy, Bobby. Shamsher is arrested and sent to jail for 6 years. Kailash, who is unable to have children after an accident, is thrilled to be a father. He adores and is inseparable from Bobby. Five years later, Somna and Kailash, while celebrating Bobby's 6th birthday, get a shock when Amar shows up at the party.

Bobby loves his father (Kailash) but can't help but become close with Amar, his biological father, much to Somna and Kailash's dismay. Somna forbids Bobby from meeting Amar, but Kailash supports him and tells Somna all he wants is to see Bobby happy. Somna confronts Amar and confesses that she does not want him to visit anymore. Amar is distressed by this and vows to stop seeing Bobby.

During a walk with Kailash, Bobby sees Amar and tries to catch up to him, but ends up in a dynamite zone, injuring himself in the process. At the hospital, the doctor states that his condition is bad as he has lost a lot of blood. Kailash offers to give blood, but his type does not match. Amar then offers his blood, which saves Bobby's life. Kailash is glad that Bobby is alive, but cannot get over the fear of Amar taking him away.

Amar pieces together the facts and realises that Bobby is indeed his son. Just as Kailash feared, he comes to take him away while Bobby is unconscious. Somna stops him and explains to him that Bobby is not his son nor her son but Kailash's son. She explains to him that he saved her dignity by marrying her in spite of knowing the truth and how he loved Bobby more than anyone else and raised him like his own son. Kailash overhears the whole conversation secretly. Amar, saddened by this, regrets his actions and decides to let Kailash keep Bobby and leaves them forever.

Ek Phool Do Mali Film

Kailash asks Somna to get back together with Amar and take Bobby with them, but she refuses. Just as Amar leaves the next day, much to Bobby's dismay, Shamsher returns to the house and kidnaps Bobby in demand for a ransom as well as Somna. However, Bobby escapes Shamsher's clutches and spots Amar in the distance. He runs after Amar, but Shamsher gets hold of him once more and Kailash and Somna step in to rescue him. Kailash fights Shamsher, but is eventually beaten. Shamsher throws Bobby of a cliff and chases after Somna.

When all seems lost, Amar steps in having seen the happenings from the mountain and fights Shamsher. Bobby is shown to be alive clinging on to a branch of the cliff side. Amar knocks Shamsher to the ground and descends using a rope, to rescue Bobby as the branch begins to snap. Shamsher returns and tries to cut the rope. He easily overpowers Somna until Kailash intervenes. Despite all the thrashing Shamsher gives to Kailash, he refuses to let go of the rope. In a fit of rage, Shamsher runs towards him hoping to tackle him to the ground, but Kailash uses the last of his strength to kick him off the cliff side where Shamsher plummets to his death; the rope then cuts his hands further and becomes too slippery for him to hold any longer, and slips out of his grasp—but Amar has already reached the top of the cliff and climbs back over.

Amar climbs to safety with Bobby. Along with Somna, he tries to help Kailash, but it is too late for him. Delta software for nmr chart. Kailash, in his last few moments, states that he is happy that Bobby is alive and tells Amar to take good care of him. All three mourn of the loss of Kailash.

A few years later, Amar and Somna are shown to be together and are admitting Bobby to the school in Uhuru. The headmaster asks for Bobby's last name and assumes it to be Amar. Amar states that is not true and declares him to be Bobby Kailash, the son of Kailash Nath Kaushal. The film ends with all three looking into the horizon.

Cast(edit)

Sanjay Khan as Amar

Sadhana Shivdasani as Somna

Balraj Sahni as Kailashnath

Durga Khote as Leela

David Abraham Cheulkar as Doctor

Brahmachari as Bahadur Singh

Shabnam as Shobha B. Singh

Bobby as Bobby

Manorama as Champa

Shyam Kumar as Shamsher Singh

Praveen Paul as Mrs. Kumar

Brahm Bhardwaj as Mr. Kumar

Innovative Music by Ravi(edit)

All of the songs were composed by Ravi & Lyrics are penned by Prem Dhawan, Indrajeet Singh Tulsi and Ravi himself. The music of Ek Phool Do Mali became very famous.

SongSinger'Kismat Ke Khel Nirale'Ravi'Tujhe Suraj Kahun Ya Chanda'Manna Dey'O Nanhe Se Farishte'Mohammed Rafi'Yeh Parda Hata Do, Zara Mukhda Dikha Do'Mohammed Rafi, Asha Bhosle'Auladwalon Phoolo Phalo' (Part 1)Mohammed Rafi, Asha Bhosle'Auladwalon Phoolo Phalo' (Part 2)Mohammed Rafi, Asha Bhosle'Auladwalon Phoolo Phalo' (Part 3)Mohammed Rafi, Asha Bhosle'Chal Chal Re Naujawaan'Mohammed Rafi, Asha Bhosle'Saiyan Le Gayi Jiya'Asha Bhosle'Sajna Sajna O Sajna'Asha Bhosle

References(edit)

^'EK PHOOL DO MALI (1969)'. BFI. Retrieved 14 January 2020.

^'Archived copy'. Archived from the original on 15 September 2017. Retrieved 17 November 2015.CS1 maint: archived copy as title (link)

^1st Filmfare Awards 1953

Ek Phool Do Mali Hd Movie Download

External links(edit)

Ek Phool Do Mali at IMDb

Ek Phool Do Mali 1969

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