#Hindi Song Lyrics Starting from E

[sanzy4]

So I was listening to some Bollywood music and I started crying because I cannot get over how this song is LITERALLY SO ELUCIEN CODED. It’s as if it was written for Lucien like I’m not kidding.

Anyways the song is called “Jashn-E-Bahaaraa” by A.R Rahman

The lyrics are in Hindi so here is the English translation I found online:

“Jashn-E-Bahaaraa”

'Spring is a celebration,' they say,

and my love looks at you, hurt and confused.

The scent has fled from all the flowers in the

garden,

and nature's eyes, beneath her veil, are sad.

All around, my love can see only quietude, and even the restless waves of time's ocean

seem to be silently slumbering.

'How do I describe this ache?' wonders my love, 'This pain

of never knowing whether she is mine?'

You and I journey along the same path, our steps in tandem, and yet

there is a river of distance between us

As though we are opposite shores destined not ever to converge.

'You are near, and yet not close,' grieves my love, 'I cannot bear this yearning.'

My heart carefully chose a melody for its fate,

but time is playing a stranger's tune.

'I am forlorn, and she is wretched,' cries my love,

'When we meet, the air between us is bitter with loneliness, and even as we are with each other, we are not together.'

Outside, in the garden, all the flowers bloom, but not a single bud blossoms.

And even as my eyes see the celebration of spring,

All my love sees is the autumn

Yeah I’m going to go cry again now😭

[bollywoodirect]

Tribute to Saraswati Devi, the first woman music director in Hindi films, on her 44th death anniversary (09/08/1980).

Born in a Parsi family in 1912, Saraswati Devi was a trained classical singer and rose to become India’s first woman music director of Bollywood.

A musical rage in the 30s and early 40s, Saraswati Devi's musical career was mostly confined to films produced by Bombay Talkies. Starting with 'Jawani Ki Hawa' in 1935, she went on to compose highly popular music for hit films like Achhut Kanya, Kangan, Bandhan and jhoola.

She was born as Khursheed Manchersher Minocher – Homji.

She changed her name to escape the wrath of the conservative elements of her community as they could never stand that a lady from their clan would enter the film world.

Once when at a gathering the Bombay Talkies owner Himanshu Rai heard her, he instantly invited her to join his concern as a music director. She was reluctant at first, not knowing how she would adjust herself to the needs of the film industry. But finally she accepted the offer.

She was the first woman music director no doubt. But the biggest challenge she faced was to groom non-singers into singers. That was a very, very big challenge in view of the competition from New Theatres as she didn’t have a Saigal or a Kanan to sing her compositions. That is why one should say that she had a formidable task to perform unlike her counterparts like R.C.Boral, Tamir Baran and others in Calcutta.

The biggest contribution by Saraswati Devi, therefore, was to produce hit songs through the lips of non-singers like Ashok Kumar, Devika Rani and Leela Chitnis.. Right from Achchut Kanya till Jhoola, Saraswati Devi went on rampage, so to speak, producing one hit after another. Leela Chitnis could sing hit songs like, ‘Meera ke jeevan ki sooni parri re sitar’ (Kangan), ‘Man bhavan lo sawan aya re’(Bandhan) and ‘Jhoole ke sang jhoolo jhoolo mere man’.(Jhoola) Imagine Saraswati Devi producing a golden jubilee hit in the voices of Ashok Kumar and Devika Rani in film ‘Achhut Kanya’ (a film that Nehru saw and appreciated)-‘Main ban ki chirriya ban ke ban ban bolun re’. The biggest hit by her was the marching song of Bandhan, ‘Chal chal re nau jawan’ sung in solo by Ashok Kumar, sung in chorus by Ashok Kumar and sung as a duet by him with Leela Chitnis. She used a non-singer like Sneh Prabha to sing the Puner Milan song, ‘Nacho nacho pyare man ke mor’. The male singer she had was Arun Kumar, who sung for Kishore Sahu in Punermilan, for Mumtaz Ali in ‘Jhoola’ (Main to Dilli se dulhan laya re he babuji) and others. Incidentally, it was she who gave break to Kavi Pradeep as a singer though he was writing lyrics for the concern since 1939 from film ‘Kangan’. She first used him in that immortal song of ‘Bandhan’ which is played in the back ground: ‘Piyu piyu bol praan papeehe piyu piyu bol’ Pradeep did sing subsequently some big hits after leaving Bombay Talkies. But in ‘Jhoola’ he has left behind a memorable song too tuned by Saraswati Devi: ‘Mere bichade hue saathi teri yaad sataye, baar baar teri chavi aye birha agan jaraae’

After she left Bombay Talkies, she shot into limelight again in the early fifties when she tuned two non-film ghazals for Habib Wali Mohammad. These were: ‘Lagta nahin hai dil mera ujjarre dayar mein’ and ‘Yeh na thi hamari kismet ke visaal-e-yaar hota’. When you listen to her compositions, specially the indigenously-flavored background music, you are transported into the environment of the India of the early 20th century.

During the later years of her life, the bad and selfish film world turned apathetic towards the doyenne. Not even a single person visited her when she fractured her hip bone after falling from a private bus. The legendary singer and India’s first female music director left for a better world in 1980 with no one to mourn her death. Even the media did not find her worthy of an obituary. Image: Saraswati Devi, Lata Mangeshkar, Madan Mohan, Jaikishan, Anil Biswas and Naushad

[hindisoup]

Do you remember what the first Hindi song you listened to was? Do you still listen to it? Did it inspire you to study the language further, or did you ignore it at the time? Spill the musical beans.

Oh, this is an interesting one. The first Hindi film I watched purposefully - as in I made a conscious decision to watch an Indian film not necessarily thinking of its language (in the beginning I watched a mix of South Asian films - Hindi, Tamil, Telugu etc. not really understanding the difference until a bit later) was Daawat-e-Ishq (2014).

I was completely blown away by the aesthetics and whole concept of there being a film with songs in it without it being a musical in the Western sense (Moulin Rouge (2001) was the previous film that swept me away back in the day and that’s a whole another story).

Seeing the song Shayarana on the film had me baffled, how can there be so talented people that look so beautiful - to me it seemed that they can do it all, act, dance, and sing too.

That bubble was burst soon enough when I learned about playback singing but instead of taking anything away from my experience it increased my fascination when I started realising how big and complex productions South Asian films must be and how much talent is included especially when there are numerous song and dance numbers in a single film. I mean there are some Western actors and actresses I appreciate as talented in their craft but there are very few I can even imagine to do an Indian style dance number with a straight face let alone with anything close to the grace required in the more classical style numbers.

Anyway, the point is not to compare the art per se but to highlight my amazement of this whole new world of South Asian cinema I had had no idea existed (well I had seen Marigold (2007) ages ago but back then my reaction was more like ‘meh’ and to be honest it’s just not that good of a film so not the best introduction anyway).

My favourite song of Daawat-e-Ishq was and still is Mannat and I remember it being the first song I searched from YouTube as a lyrical video. To me the lines of the chorus:

मेरी मन्नत तू, तुझ को है तुझ से माँगा

मेरी मन्नत तू, तुझ को है मौला माना

Merī mannat tū, tujh ko hai tujh se māṅgā

Merī mannat tū, tujh ko hai maulā mānā

They sounded like an incomprehensible chant where I struggled to separate the words from one another. I listened to it on repeat until slowly I was able to untangle the sounds in a way that I could sing along - not understanding a single word - and it was such a brain rush.

I remember watching this film maybe three times quite soon right after I had seen it the first time and it’s soundtrack was the first I downloaded on my then iPod (may it rest in peace). I enjoyed it a lot and I was worried that the next Indian film I’d watch wouldn’t be as nice and it would sort of jinx it for me - I really really wanted there to be more similar films. I had little idea of the volume of Hindi cinema at that time. After I took the leap and watched Jab We Met (2007) next, there really was no going back for me.

My language studies started seriously only a couple of years later, but by that time I had gathered such a robust vocabulary of strands of hair blowing in the wind, rain, heart beats and infatuation from hundreds of film songs that I felt miles ahead of my course mates on the Hindi beginner’s course I attended.

Thanks for the ask, this really took me years back!

[pagsintang-palad]

Hoy, pinagdadasal kaya kita!

Hindi ka ata aware. Hindi mo ata alam kung paano kita pinagdasal kay Bathala sa tinagal na panahon. Lahat nalang ata ng mabubuting salita na alam mo at mayroon sa mundong ito, sa ganoon na paraan kita kwinento sa mga kaibigan ko. You don’t know how much I prayed for you—for this day to come, for you to finally catch feelings after months of liking you secretly. Kung pwede ko lang baguhin lyrics ng Burnout ng Sugarfree, ang masasabi ko lang ay: Kay tagal kitang hinintay. From the moment I found you attractive and funny sa newsfeed ko, until I had the chance to start a small conversation with you, I remember and cherish every single moment of it. Syempre naman, nakatatak na buong pagkatao mo sa puso’t isipan ko e.

Naalala ko nanaman kung paano ako nagsimula magpaload ng Giga50 bago pumasok sa school. Ilang buwan ko kaya tiniis na walang data habang nagsasayang ng oras sa loob ng silid-aralan! Pero simula nung nakausap kita sa Telegram, araw-araw nalang nababawasan ng singkuwenta ang baon ko, at hindi na ulit ako nagtangka makinig sa lecture ng MicroPara at TFN. Mas naintindihan at namemorize ko pa yung hobbies and likes mo. Kung ano ang mga paboritong libro, kanta, disney movie, at mga gawi bago mo simulan ang araw at matulog. Naalala ko tuloy kung paano mo nagawa akong talunin sa sarili kong playground na tongits. Edi ikaw na ang magaling sa Gin Rummy! At least talo kita lagi sa paborito mong Mancala. Finally, one-on-one na rin tayo (sana sa feelings din). Halos isang buwan din ang lumipas bago ko namalayan na ikaw na pala ang pinag-aaralan ko. Ikaw ang subject of my dreams with matching 143 units na gusto kita mapasakin habambuhay.

Contradicting ata na I never prayed for my own safety and health, parang ang kapal pa ng mukha ko na ipagdasal ka.

Dear God, please guide them safely (straight into my heart). Make them healthy and strong, remove them from any sort of pain, and let them experience the life and love that they deserve (with me).

Lumaki ba naman akong nag-aral sa catholic school! Memorize ko na nga ata lahat ng dasal at mga kanta sa misa, at favorite song ko pa nga ‘yung Anima Christi. I prayed for you every single time. Not in a way na gusto kitang gayumahin ha! Basta ang bottom line, sana alam mong pinagdadasal kita. Aware na kasi si Lord kung gaano kita kagusto.

[cutielycheepie]

Here's what I thought of IVE's 'I've IVE'

don't expect detailed explanations for each song lol

An 11 songs album! I almost thought Starship will go the Blackpink way with IVE, releasing barely any songs and keeping the public desperate (it would've been a fail if they did that anyway lol).

It's actually really good! It has a very IVE vibe, if that makes sense? Like the thing that makes IVE stand out, it's oozing from this, it's beautiful.

Starting with the title track —

I AM

It's BEAUTIFUL, it's everything I wanted and more! Also Liz finally got her lines!! I saw someone say that Starship gave her too little lines in Kitsch on purpose to start a scandal, to get people anticipating IVE's album, and I completely agree with that.

Liz's part in the second verse is my favorite, in the MV too it gives a very luxurious vibe and I LOVE that. Leeseo's parts are really good too, though, I never noticed just how good her vocals are.

THE ENDING CHORUS WAS LIT, THE LINE "I hope you'd be someone's dream come true" IT JUST I JUST LOVE IT

Overall song: 10/10

Blue Blood

Is it just me or does it sound like it could be in a Hindi movie?? Total vibes, I love it sm! It makes me want to dance, like slow and cool moves. It's not a song I will seek out, but not one I would skip. Overall a pretty strong intro!

Overall song: 9/10

Kitsch

I like the vibes, and beat drop as well! I've made a separate post on it so I won't say much except that it's good, I like it

Overall song: 9/10

Lips

I love this track so so so so much, like I've looped it so many times. Heard "my lips don't lie" and my immediate thought was "my hips don't lie" lol

It's a fun song and the "I'll be I'll be I'll be honest" part and the rap are my favorite!! this is the kind of rap I like!

Overall song: 10/10

Heroine

Yujin wrote this!?!? Of course it's amazing! The ooh na na na na part is the highlight, and it's incredible!

Overall song: 9/10

Mine

WONYOUNG WROTE THIS, AND ITS INCREDIBLE! 1:27—1:34 is the best part "ah, mine, mm" THERES JUST SOMETHING ABOUT IT, I LOVE IT SM

I like too many songs with the name mine ahaha

Overall song: 10/10 <3

섬찟 (Hypnosis)

The vibes are quite unique! I didn't like it at first, and the rap is still not my vibe, and it's a little forgettable, but it's not bad per say.

Overall song: 7/10

NOT YOUR GIRL

A fun summer song, we can never have too many of those! I love it, it's forgettable and doesn't stand out of course but it's happy so it's cool!

Overall song: 8/10

궁금해 (Next Page)

Took me a bit of a moment to remember which song it was ahaha I think looking at how incredible the other songs on this album are, this just fell short in the grand scheme of things. But otherwise it's really good honestly! I think if it was on a smaller album I would like it more

Overall song: 8/10

Cherish

yeah che-e-e-rish

I love it

Somehow was so low on the album but stands out so much, I love it

Overall song: 9/10

Shine With Me

And another song Wonyoung wrote! I like it! Probably not as much as Mine but still a lot! I think it started too abruptly? The important thing is that it's not forgettable and the lyrics are so sweet <3 it's beautiful

Overall song: 10/10

[bollywoodproduct]

Lyrics Yaane Yaane

Lyrics in English | Yaane Yaane | Mimi-2021 | A.R. Rahman Ek KhushkhabariKanon KaanFaili HaiHaan Meri JaanJis Ke BadolatJhoom UthaHai Dil KaSooona MakaanYaane (5)Aane Ko Hai Ek MehmaanYaane (5)Haan Aaj Aayi Hai Khusiyon Ki Dhaar……….. Bollywood Songs of 2021 Kar Ke Us Saan Ko RukhsatAngadaayaan Leti Hai KismetMaalik Ke Jeev Hai Has MatItni Jaldi Hui Hai Jo KaboolDuaMehka Mehka Hai…

[aryan-sachdeva]

THE GARDEN OF POETRY,EPISODE 12

Firstly Thankyou! you for your immense love and support towards the last blog it's always so fun! to read your comments and suggestions about the blog. So this adventure of mine took me to the most Poetic Place in Delhi which remains hidden from most admirers. So let's explore this place together! I started my journey toward the posh area of Vasant Kunj with these lines of poetry by Ahmad Faraz it goes Search for pearls of loyalty amongst those who are uprooted Maybe you will find these treasures in the ruins of the taverns". with these lines, I started my journey toward the infamous Poetry Garden. As was moving along the street of the prosperous Vasant Vihar I saw this astonishing Graffiti.

I stood there and gazed at the portrait for a minute thinking about the mysterious vibe of the painting. I somehow stopped myself from staring at the portrait and moved forward. With a left turn from Malai Mandir, I arrived at Priya Garden. As I entered the garden a felt a strange smell. A smell of love, beauty, and the past we all have forgotten. As I glanced around the place I saw these beautiful writings by the famous poet on a rock.

These verses were on stone surrounding a luscious tree whose trunk is so entangled in vines that it looks like a sage's knotted hair. I was lost in a world of happiness after reading these lines. They appeared as if these were some clues to an unknown enigma. As I blinked I saw a signboard providing directions to the other parts of the Park. I followed the path toward the historical garden.

The vibes of the place were so pleasant and awesome that it was hard for me to believe that I was really in Delhi. The green silage and the small wooden yoga areas gave the place a new and different outlook. As I moved forward I cannot comprehend what I was looking at....

The place looked so royal and out of the world. The gumbad was shining white with designs made of blue marble and the rest of the structure was made with identical red stone which was used in Lodi structures back in the time. The entrance had a big lock at the main door when I insisted the security guard unlock the place he only allowed me to enter on the condition that I would not click any pictures. The monument was tremendous from the inside it also had a small mosque attached to it.

(View of the Park from the monument)

As I was leaving the place I saw a place out of the normal. It looked a bit different from the surrounding area. When I went a bit forward I sensed a strange beauty coming from the place.

As I was trying to know about the area I saw a sign which said POETRY GARDEN. I got excited after reading that I was standing in the main Poetry Garden! I continued reading the board it further said that the four stones in the garden contain verses from two of the most renowned Tughlaq era Persian poets namely Amir Khusrau and Hafez, to create harmony and a symphony of songs. Lyrics that are dedicated to the glory of bountiful nature, and sing the praise of spectacular tres. As I read these lines I jumped from my cycle to read the poems.

For the admirers, the poems were written in 3 languages Hindi, English, and Urdu. And trust me each of the poems where so beautiful and unique that it made me wonder how the garden might have looked back then when these poems dedicated to the garden might have been written. The Poetry Garden was situated at the axis, which Inconspicuously connects the Baradari and the mosque. Just like Naubagh which was originally laid by the Mughals.

As I was admiring the place saw this open theatre in the middle of the grassland which resembled the amphitheater found in the gardens of the modern Western world.

The amphitheater perfect was a perfect place to sit and hear yourself contemplating in unison with time. It was named "Gulzar" to keep the cultural ethos of Bagh-e-Bahaar intact, which is filled with references to springtime, trees, flowers, and mellow fruitfulness. In Persian, flowers are called 'Gul', and hence a flower garden is termed as 'Gulshan' or 'Gulistan' 'Gulzar' in that sense, would stand for a place, which is rich with joyful excess.

I also noticed that many trees in the park were of the Amaltas. They lay a carpet of yellow flowers on the ground, when in full bloom, and create the magnificent ethos of springtime. I somehow managed to come back from this magical place and returned home here is a video about the place.

According to my research Bagh-e-Bahaar Situated in Vasant Vihar, in an area spreading over 18 hectares, this garden was laid out by Firuz Shah Tughlaq (1309-1388), in a 12-hectare area of the same lie remains of the garden originally laid. Most constructive of all Sultans. Firuz Shah is known for establishing cities and citadels like Firozabad, Kotla, and Hisar Firoza, as well as digging grand canals like Ulugh Khani and Razali. His biographer Afif notes in Tarikh-i-Firuzshahi that, Sultan had laid out or resurrected some 1500 gardens in Delhi and its close vicinity. Firuz had a liking for fruit gardens or orchards, and his gardens would also cultivate grapes among other fruits. This is the last surviving garden of those 1500 baghs that the Sultan had laid. Persian literature celebrates gardens earthly as representation of Paradise. The very first Mughal Garden of India, laid by Babur in Agra, is called Hasht-Bahisht and the word Bahisht itself stands for the Paradise.This was much before the Taj Mahal or the Humayun's Tomb which now stand splendid as examples of Tomb Gardens. The design schemecreates a Charbagh for the Tomb and the Baradari. A small water feature, reminiscent of water channels, is neatly tucked in the geometry. The axes of the Charbagh are complemented entirely by the entrances towards the Poorvi Marg and Basant Lok Complex. So with that, I end this blog of my marvelous adventure to the infamous Poetry Garden.

Until next time with love

Aryan Sachdeva

[x-infernhoes-x]

She’s My Collar- Basilio x Reader

Title: She’s My Collar

Genre: Romance, Smut, Porn with Plot

Warning(s): Mentions of Semi-Public Sex, Car Sex, Mentions of Alcohol, Implied Consent, Basilio nearly murdering someone because they spoke badly about you

Description: KAI IF YOU’RE READING THIS, THIS ONE’S FOR YOU AND ALL OF YOU BASILIO SIMPS 

NOTE SOMETIME AROUND 3:00 AM YESTERDAY NAWALA YUNG ORIGINAL PUTANG INA I WAS THIS CLOSE ON FINISHING IT SHDJGFHJBDKJBSEDVGSJHGBKHGSFKJBGBKJGBJGLJBGWL  AN HOUR’S WORTH OF WRITING G O N E AND I HAD TO REWRITE EVERYTHING I AM STRESSED AND DSBJKGBKJFSDGNB SO ENJOY.

4:31 AM NOTE UPDATE YESTERDAY: langya ayoko na. matutulog na nga ako, sakit na ng likod ko.

6:50 PM NOTE TODAY: I’M GOING TO FINISH THIS BEFORE MIDNIGHT COMES. ALSO, DON’T DRINK AND DRIVE KIDS!!

12:10 AM NOTE TODAY: The note above this one is a lie. I managed to continue this after family night lmao but enjoy still. Tried my best to make it gender-neutral as possible but yeah :’) I kinda failed successfully I think???

  You and Basilio have been dating for quite some time now. Although he was a messy guy you made sure that you had his back and helped him out to work on how to keep his sloppy tendencies at bay and in turn he would shower you with love and affection that you would usually get from the demi-god of war. Basilio was the perfect guy, he was a sweet lad who made your lonely days better, he made sure that you were cared for in any shape or form and he always had your back in everything and he would give you anything you would ask for in the world. The two of you barely even fought and if you were to fight, it would be more of a joke one than an all-out screaming match. He was the best thing that has ever happened to you and you constantly thank Bathala for it and Basilio thought the same. The two of you were a match made in heaven.

 Although despite your busy schedules keeping the two of you apart, you both made sure that you and your loving boyfriend would get the chance to hang out together. Often, you and Basilio would frequent the Diabolical together, just basking in each other's presence, tucked away in some booth Hank had reserved for the two of you, or sitting by the bar just chatting about each other’s day. You could recall Hank telling you that whenever you were around or that when someone ever mentions your name, Basilio seemed to calm down and would eagerly listen into whatever conversation had said your name. There was a time where Basilio nearly knocked someone’s teeth out because they were talking badly of you and it took Crispin, Maliksi, Hannah, Amie, Alex, and Hank himself to hold back the younger twin and prevent him from punching someone’s lights or teeth out or even prevent a murder from ever happening.

 “Alam mo, (Y/N) pag naririnig ni Basilio na dadaan ka rito, parang siyang aso na di mapakali. Kulang nalang na magkaroon siya ng buntot e.” Hank joked as he was cleaning the freshly washed glass, watching Basilio flush red, face buried into his forearm as he groaned in response while you let out a small chuckle.

 Now looking back, that memory seemed to be far away from you. Tonight happened to be your anniversary with Basilio and instead of a cozy night in, he wanted to do something different.  Basilio wanted to take you out dancing and bar hopping around Bonifacio Global City’s luxurious bars (sometimes you wondered to yourself how the hell can Basilio afford this.) and maybe take you sight seeing around the place when you got the time. Pacing around your living room in your apartment, you were about to shoot him a text message when a knock at your door had interrupted you from doing so, nearly dropping your phone in the process. “Sandali  lang!” you yelled to whoever was outside the door. If there was one thing you learned from dating Basilio, it was being vigilant. You had to make sure that the person on the other side of your door was your boyfriend and not some kind of Aswang or any malicious person who had a personal grudge against the twins and Alex. Taking a peek at the pee hole your door had, you were greeted by the sight of your boyfriend, Basilio grinning up at you as he waved. Instead of wearing his suit, Basilio was in his casual clothing for tonight, his long silken locks pulled back in a half-up, half-down man-bun.

 Opening the door, you then welcomed him with open arms before proceeding to smack him playfully on his arm, an amused smirk on your lips as you opened your mouth to speak, your tone light and teasing, “Took you long enough! Siguro na-traffic ka no?” Basilio could only roll his dark eyes at you as he placed a loving kiss upon your head. “Hindi a, si Kuya Crispin kasi e, sobrang tagal niya sa banyo kaya ayun.” Pulling himself away from you, he then offered his arm for you to take with a grin, his head tilting towards the direction of the door as he spoke, “So ano? Tara na?” “Siyempre naman.”  

 After making sure your apartment was locked, the two of you went down towards the direction of the parking lot and took a couple few selfies inside the elevator, you and Basilio were off. While in the car, the both of you would scream along to the lyrics of Ang Huling El Bimbo by Eraserheads while in traffic. On your way to BGC, both of you were surprised to see Maliksi and his significant by the stoplight, taking the advantage of the long-ass stop to chat with the Prince of the Tikbalangs and his fiancé. Your conversation was cut short when the stoplight had changed from red to green, saying your goodbyes to each other as Basilio drove away to your very first destination, which was none other than XYLO at The Palace.

  In all honesty, you’ve heard about this bar but it was the first time you got to enter the place itself. The both of you got lucky that the place wasn’t as packed and that you got there early before the actual party had started. Both you and Basilio then made your way over to the bar to grab your first drinks of the night. The two of you chatted for a while, occasionally nodding your heads to the beat of the song. After a while, the night seemed to kick in and both of you were already at what seemed to be your 3rd or 4th bar of the night, this time you and Basilio were jumping up and down to DJ Khalid’s song ‘All I Do Is Win’ before the both of you screamed along with the rest of the patrons, “Putang Ina, Alak Pa!”  and time seemed to flow faster than ever as you and your loving boyfriend went in and about around BGC’s classiest bars, downing every single drink you two could manage and take or even dance along to the songs the bars provided while occasionally sharing a kiss here and there, not minding the reek of alcohol and sweat clinging on each other’s bodies as the two of you laughed.

 Sometime around 10:30, you and Basilio were shitfaced to oblivion but both of you were used to it. You had lost count on how many drinks you’ve managed to down yet you and Basilio couldn’t care less, you were certain that you heard your phones ring but you two never got the chance to answer them because Basilio was busy doing body shots on you or you making out with your boyfriend in some hidden corner of the bar. You were starting to get the hint that after your little make-out session at Club Haze, he was focused on one thing and you knew what that meant, despite being inebriated out of your wits. So what do you do? Put on a show for him of course.

 You knew Basilio was sitting by the bar because you told him you were going to use the bathroom to freshen up a little bit since the club felt a little bit humid. What he didn’t expect was you sashaying over to where the dance floor, the last notes of Nelly Furtado’s Maneater fading away only to be replaced by Doja Cat’s Streets. To you, the sound seemed to have slowed down and you weren’t sure because it was the alcohol’s effects taking over, nobody else in the club mattered but your boyfriend alone.  The figures around you seemed to blur and Basilio was the only one you had your eyes on as your body moved to the beat, eyes half-lidded and lips slightly parted, and even from afar, you could see your demi-god of a boyfriend shuffle in his seat, his cheeks brightly flushed even under the lights of the dark club (yes, Basilio even tried to hide his raging boner from everyone but he was failing miserably). You knew that he was watching you closely like a predator ready to strike and even from afar you can tell that he was getting impatient with your games and that made you smirk. You knew that Basilio had a thing for Semi-Public sex and your several other experiences with him were proof of that, hell the two of you almost got caught one time and you were internally thankful that you weren’t. But tonight, Basilio’s going to abide by the rules of your own game and not his.

The opening bass beat from Beyonce’s Yonce/Partition was your cue to take things up a notch by making your way over to the bar where you had stood upon the counter (you had asked the bartender and the rest of the patrons who hung around the bar save for Basilio in advance and they seemed to agree with it just as long as you were careful) and made your way down the counter, hips sashaying and your body with every beat and drop before stopping to where he was, a smirk on your face, your hands running up from your thighs and right past your chest in a sensual manner, leaning in just so you could ghost your lips over Basilio’s eagerly waiting ones before pulling away with a wink. Once your little show was done and you had gone down from your counter with the help of the bartender you had just spoken to before making your way over to the dance floor once more to dance just as your song, She’s My Collar by Gorillaz began to play only to be caught short when you felt a hand grab you by the wrist.

Despite being drunk you were still smart and quick to retaliate towards whoever had grabbed you only to be surprised to be looking right directly at your boyfriend’s dark obsidian gaze, his breath slow and ragged and you knew you were in it for real this time the moment he said, “We’re leaving.” In a tone, you’ve never heard from him before and that seemed to send shivers and chills up your spine as he dragged you away from the bar to head right outside.

Honestly, the whole trip back to the car seemed to pass you by like a blur, you would occasionally stumble on your own feet, which prompted Basilio to sling you over his shoulder like you were nothing but a sack of potatoes (at least it gave you a perfect view of his ass). The moment you arrived at your car, however, you were thrown haphazardly into the backseat after Basilio had unlocked the door with ease and then entered the vehicle as well, quickly pulling you up on his lap where he locked his lips with you in a heated kiss, hands roaming around your body with such need and you could feel his erection straining against the fabric of his dark jeans. You were surprised at first but once the initial shock and surprise had worn off, you kissed him back as well with the same passion and need that he emulated from his kiss, your fingers and hands made a quick undo of his man-bun and top, hastily unbuttoning them, eager to touch the skin underneath it and leave marks on it. Basilio could only groan in response to your touches, his tongue exploring your mouth like uncharted territory, his hands groping your behind with such force that made you moan out his name, a quiet hiss of “Tangina.” Soon followed your surprise.

 In your mayhem of desire and lust, you didn’t notice Basilio play Chase Atlantic’s song Devilish on the radio.

 Clothes were thrown around and about in the space of the car and in that blur of clothing being discarded around, you were honestly surprised when Basilio had lifted up your lower half towards him, his lips trailing kisses down your stomach and thighs before his head disappeared in between your legs, bestowing you the best oral you’ve ever had received from him in your years of dating. You couldn’t thrash around with him holding you so tightly against his face as he went down on you but your hands were free to roam and tug at his long silken locks, his name spoken like a prayer  and just as you were about to reach your peak, he had pulled away from you, a sadistic yet innocent smirk placed upon his now glistening chin and lips coated in your slick as he spoke, “Not yet, babe.”  Winking at you, he gingerly set you down before he leaned over to where his now discarded jeans were as he pulled out his wallet, fishing out a condom and a small pack of lube for him to use. Once the foil was open and the rubber was on his already hard dick, he then proceeded to open the pack of lube, rubbing it on his length before instructing you to get on your hands and your ass up for him.

 And by Bathala you began to see stars the moment he had entered you. Your nails seemed to dig on the dark leather surface of the car’s upholstery, your back arched to the extreme and you were certain that you could feel Basilio trailing kisses along the expanse of your neck, shoulders, and back, his hands guiding you on his length while yours snaked around to reach for him, tilting your head sidewards to catch his lips in an open-mouthed kiss, his manhood still relentless at fucking you senseless and in between the thrusts and moans, you were thankful that the windows were tinted from the outside or else the two of you would’ve been caught. Throughout the whole night, you two spent it by doing it on every single surface inside the car, doing every single position the two of you could think of, taking each other to new heights with every pose the two of you did, and yes, let’s just say you were sore the morning after that.

 Once the morning came around, the two of you were still naked and you were sure that after your last round with your loving boyfriend, you felt the waves of your hang-over wash over you like a wave, making you groan out in pain. Everything was sore with you and your body was littered with hickies, bruises, and scratch marks while Basilio, who had his healing factor with him thanks to his demi-god status, was relatively unscathed but he did have some hickies of his own to present to the world. Shuffling, you gently nudged Basilio awake as you spoke, “Babe, anong oras na??”

 At your action, your boyfriend, still groggy from sleep, could only groan at this, his hand reaching out to search for his mobile phone to check the time. Squinting, he then saw the time on his phone but the color on his face seemed to drain the moment he saw several missed calls and messages from his twin brother and the Babaylan-Mandirigma herself. “SHIT!” Basilio managed to cry out of sheer panic, his head accidentally hitting against the roof of the car, making him hiss even more, hands holding the spot where he had hit his head. “Lagot tayo kay Bossing, (Y/N), kagabi pa niya tayo tinatwagan kasama ni Kuya Crispin.” At the mere mention of Alex and Crispin’s name, you seemed to understand the sense of urgency before the two of you began to clean up the car, dressing up as you did so, attempting to make yourselves look more presentable and cover the tracks from yesterday’s events. Once done, Basilio was driving like a speeding madman in a rush to head back where his brother and Alex were at.

 It took him at least an hour to arrive at their destination with Alex taking the role as today’s designated driver while Basilio sat in the back with his brother. “San ba kayo galing? Kagabi pa namin kayo tinatawagan ni Crispin, (Y/N), Basilio. Ano ba nangyare, ha?” Alex spoke, her eyes flickering over to where Basilio was, sheepishly scratching the back of his head as he spoke, “Sensya na ho, Bossing. Nag-sight seeing kasi kami ni (Y/N) kagabi tas nag-bar hoping kami tas pagkatapos nakatulog kami dito sa kotse.” A little doubtful of this, Alex could only glance at you from the corner of her eye, expecting for you to react but you held your emotions close to your heart as you spoke, “Totoo po yung sinasabi ni Basilio, bossing. Di po naming sadya na di kayo replyan ni Crispin. Di na po mauulit.” Nodding, Alex then excused the both of you and the car ride was silent, save for the fact that the radio was playing Last Friday Night by Katy Perry. You did feel a little bit cold however and you couldn’t help the fact that something was missing until Crispin screamed out in surprise, horror, and disgust, finally noticing the thing you were missing. Ah shit. “TANGINA BASILIO, ANO TO!?!?!” Crispin managed to yell out, holding up your lace underwear for everyone in the car to see with Basilio quickly snatching the piece of clothing away from his brother, tucking it in his pocket before he responded, “ANONG-ANO KA DIYAN KUYA!?! WALA KANG NAKITA!!”

You silently prayed to Bathala for him to forgive you but you were sure as hell Alex won’t. You made a mental note to not ever do it in the car you guys use for missions ever again.

[mmorgmetrics]

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[jangmi-latte]

Hey, its the anon who requested the singer scenario. I did not expect that you used musicals, especially I recognized "Defying Gravity" from Wicked and "Million Dreams" from The Greatest Showman. Because of it, I really wanted the same scenario but with Kamil, Vil, and Malleus with the fem reader who sings but this time, is singing with various languages from her world. Love your writing by the way.

❞ 𝐌𝐲 𝐒𝐰𝐞𝐞𝐭 𝐒𝐞𝐫𝐞𝐧𝐚𝐝𝐞 ❝

➻ content: a singing latte

➻ warnings: none

➻ comments: welcome back to my cafe, dear anonie!

࿐. . . KALIM AL ASIM (ft. Pippin the bird) ; French

You hummed to yourself as you softly swayed, sitting on the sides of the fountain that was located in the middle of Scarabia. You were waiting for Kalim, who was taking quite a while with whatever Jamil called him for. There was nothing entirely important to do today. Classes were over and you just wanted to spend some time with your boyfriend.

He brought you to his dorm so that he could hear you sing again. He loves your voice and would often tell other students about your talent. Most of Scarabia already knows about your gift at this point. Right now, Kalim just wanted to spend time with you. Maybe ride a magic carpet, away from studies and just lay on your lap while you sing.

"Where is he?" you whispered to yourself as you looked at the entrance of the dorm. You sighed as you played with the waters. Suddenly, claws gently gripped/landed on your shoulders along with a gush of wind that made your hair fly around, "There you are, Pippin," you greeted Kalim's rose-breasted cockatoo who rubbed against your cheek while chirping.

Pippin flew down to your lap, looking up at you with a small tilt of her head before she nudged your chest, "What? You want me to sing?" you giggled and gently rubbed her wings. As if she understood, Pippin bobbed her head and chirped, "If you say so."

"J’avais rêvé d’une autre vie... Quand ma vie passait comme un rêve... J’étais prête à toutes les folies...À toutes les passions qui se lèvent. [I dreamed of another life...When my life passed like a dream... I was ready for all madness... To all the passions that arise.]” you softly sang. A beautiful song from your homeland that you and your mother would always sing.

The words fluently fell from your lips, your hands continued to grace on Pippin's feathers. The bird closed her eyes and comfortably perched herself on your lap. 

“J’étais si jeune où est le mal? Je voulais rire, aimer et vivre....[I was so young where is the harm? I wanted to laugh, love and live...]”

Flying down, on his magic carpet, Kalim has just ‘finished’ his duties and more or less relieved Jamil from following him around. ‘I’m just going to go to y/n!’ He told the vice dorm leader. Ah, what a relief. No, he doesn’t trust Kalim, he trusts you and he’ll cherish the small taste of freedom he’ll receive from being away from the male. 

Anyways, Kalim flew around Scarabia and once he saw you, he was in the middle of flying down before he heard your melodic voice. Just a few feet above you, he laid on his stomach and leaned on his hands. He couldn’t understand the words coming out from your lips but your soft tune was enough to leave him in awe.

“Danser jusqu'à la fin du bal...Ivre du bonheur d'être libre...[Dance until the end of the ball,...Drunk with the happiness of being free...]” you continued to serenade. Pippin felt the wind softly sway around, opening her eyes, she looked up and squawked at the sight of Kalim. You hummed and followed Pippin’s direction of sight, “Oh! Kalim!” you gleamed. His magic carpet slowly and carefully moved down to you, “That was amazing, y/n!” he complimented.

“I didn’t understand anything but the way you sang it made me want to hear it again!” he laughed and jumped down from his carpet. Pippin flew up and landed on his shoulder as he sat beside you on the fountain, “I don’t mind singing it for you,” you smiled. He laid on your lap, your hands raking through his locks.

“Please do!”

࿐. . . VIL SCHOENHEIT (ft. Rook Hunt) ; Filipino

The dance studio in Pomefiore was emptied, one by one the students left, leaving you, Rook, and Vil in the room. It was training, as Vil said. It somehow went smoothly, and the dorm leader was obviously relieved it was finally over. After all, you can’t avoid having reckless first years. 

The model was fixing his make up as he sat on one of the chairs, Rook was leaning by the window— probably observing the others —and you, you were sat on the floor, scanning through songs on your phone. Your earphones were plugged into ears as your soft hums was the only thing heard in the studio.

“Psst.”

“Hm?”

Vil looked up from his compact mirror with an arched eyebrow, looking at Rook in confusion. The vice dorm head moved his head as if he was pointing to your direction, “Listen,” he smirked. The confused blond looked at your form that remained focused on scanning through your phone.

“Nung nakita kita sa tagpuan ni Bathala...May kinang sa mata na di maintindihan..[When I saw you in God’s place...There’s a glint in your eyes that I couldn’t understand..]” you softly sang along with the song that echoed in your ears. 

Both males did not understand the song you were singing. For sure, you have caught Vil’s attention once again. He knew about your beautiful voice, he said it was another asset that was fit for Pomefiore. He silently adored how smoothly the words left your lips, in a form of a beautiful melody.

Despite the language barrier, hearing you sing always relieves him for the stress he tries to avoid at all times. He was absentmindedly staring at you and Rook wouldn’t want to ruin the prefect’s good mood.

“Tumingin kung saan sinubukan kong lumisan...At tumigil ang mundo...Nung ako’y ituro mo..[Looking where I tried to leave...and the world stopped moving...when you pointed at me..]” The song had a sad tune to it. You didn’t look sad at all, but rather, you looked so calm and at peace as the words effortlessly yet gracefully moved along your tongue. That belt you did at the end surprised both males.

You were truly talented.

“At hindi ka lumayo... Nung ako yung sumusuko...At nagbago ang mundo.. Nung ako'y pinaglaban mo.....At tumigil ang mundo...Nung ako'y pinili mo...Siya ang panalangin ko...[And you did not go far...when I was the one to give up...and the world changed..when you fought for me...and the world stopped moving...when you chose me..He is my prayer...].”

“What a beautiful voix [voice], y/n!” Rook clapped which caught your attention immediately, looking at the reflection of both blonds with red cheeks, “D-Did I sing too loud?” you embarrassingly scratched your cheek, “I didn’t mind it at all,” Vil commented and closed his compact mirror and sending you a charming smile.

“I love it when you sing.”

࿐. . . MALLEUS DRACONIA (ft. Lilia Vanrouge) ; Japanese

“y/n.”

You looked over at your senior from over your shoulder. By senior, you meant the old fae that was looking at his phone with a peculiar glint in his eyes. He was probably too engrossed from whatever he was watching, “Yes, senior Lilia?” “I told thou to just address me as Lilia, dear,” he responded before laying back.

He took off the plug of his earphones from his phone, “Malleus told me about a song that he known from Ignihyde’s dorm leader,” Lilia gestured over to the fae that descended down the stairs, “That’s right. Somehow, I heard you singing it from your room,” the younger male admitted as he approached you.

You furrowed your eyebrows in confusion before turning your chair over to face them, “What song?” you asked and Lilia gave you his phone, “I guess 'twere this one. That's what Idia sent me.” You took the phone from him and listened to the song. That’s right, it was one of your favorite songs from your homeland. You smiled and read the lyrics, “I know this song. It was from my homeland indeed.” You hummed the tune.

“Can you sing it?”

You looked up at your boyfriend in surprise, “You want me to sing it?” you repeated, “Of course, child of man. I want to hear you sing again,” he said, giving you his own smile, “I would love to hark a native speaker like thou sing a song from thy homeland,” Lilia added.

With a shy closed lip smile, you nodded and glanced back at the phone, “Tsui ni toki wa kita...Kinou made wa...Joshou no joshou de..[Finally, the time has come... Everything up 'til yesterday was a preface of prologue..]” you easily followed along with the song. 

Malleus has took a seat next to Lilia, his eyes admiringly stared at you. Lilia was fascinated at how your lips gracefully moved along with the words. A language so foreign yet beautifully sung by a singer. Though, they may not understand, it was soothing enough to hear something new every once and a while.

“Tobashi yomi de ii kara...Koko kara ga boku da yo...Keiken to chishiki to...Kabi no haekakatta...Yuuki wo motte...Imada katsute nai SUPIIDO de..Kimi no moto e DAIBU wo..[It's fine if you just skimming it through...Because it's my turn from now on...My experience and my knowledge...And all the courage I had let start to mildew...At an unprecedented speed..I will dive right into you]”

Another thing Malleus adored was your smile. How your lips would curve up as you sung out the lyrics, you were enjoying yourself and Malleus couldn’t have asked for more. He was pleased, “Madoromi no naka de...Namanurui KOORA ni...Koko de nai dokoka wo.. Yume mita yo...Kyoushitsu no..Mado no soto ni...Densha ni yurare... Hakobareru asa ni...[ And when I dozed off into a lukewarm can of cola, I dreamed of a world that so far from here. Searching outside of the classroom window, or in a morning that's brought from the rocking train..]”

That was quite a fast structure of words and you gracefully pulled it off. Just as the song trailed off into a musical, your laughter was heard as you gave the song back to Lilia, “It’s a beautiful song, but I must admit I don’t memorize all of it.” You stood up. “And you sung it beautifully,” Malleus said and wrapped an arm around your waist, “You can sing us to sleep with how soothing your voice is.”

“Are thou calling me out and changing mine lullabies for her songs, Malleus?” Lilia pouted, “Worry not, dear, thy voice is amazing.” He smiled at you while you giggled in return.

“Thank you.”

“I still prefer her voice over yours Lilia..”

“Hey!”

[hypnopalaceduckfire]

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[bollywoodirect]

Tribute to Saraswati Devi, the first woman music director in Hindi films, on her 40th death anniversary. Born in a Parsi family in 1912, Saraswati Devi was a trained classical singer and rose to become India’s first woman music director of Bollywood. A musical rage in the 30s and early 40s, Saraswati Devi's musical career was mostly confined to films produced by Bombay Talkies. Starting with 'Jawani Ki Hawa' in 1935, she went on to compose highly popular music for hit films like Achhut Kanya, Kangan, Bandhan and jhoola. She was born as Khursheed Manchersher Minocher – Homji. She changed her name to escape the wrath of the conservative elements of her community as they could never stand that a lady from their clan would enter the film world. Once when at a gathering the Bombay Talkies owner Himanshu Rai heard her, he instantly invited her to join his concern as a music director. She was reluctant at first, not knowing how she would adjust herself to the needs of the film industry. But finally she accepted the offer. She was the first woman music director no doubt. But the biggest challenge she faced was to groom non-singers into singers. That was a very, very big challenge in view of the competition from New Theatres as she didn’t have a Saigal or a Kanan to sing her compositions. That is why one should say that she had a formidable task to perform unlike her counterparts like R.C.Boral, Tamir Baran and others in Calcutta. The biggest contribution by Saraswati Devi, therefore, was to produce hit songs through the lips of non-singers like Ashok Kumar, Devika Rani and Leela Chitnis.. Right from Achchut Kanya till Jhoola, Saraswati Devi went on rampage, so to speak, producing one hit after another. Leela Chitnis could sing hit songs like, ‘Meera ke jeevan ki sooni parri re sitar’ (Kangan), ‘Man bhavan lo sawan aya re’(Bandhan) and ‘Jhoole ke sang jhoolo jhoolo mere man’.(Jhoola) Imagine Saraswati Devi producing a golden jubilee hit in the voices of Ashok Kumar and Devika Rani in film ‘Achhut Kanya’ (a film that Nehru saw and appreciated)-‘Main ban ki chirriya ban ke ban ban bolun re’. The biggest hit by her was the marching song of Bandhan, ‘Chal chal re nau jawan’ sung in solo by Ashok Kumar, sung in chorus by Ashok Kumar and sung as a duet by him with Leela Chitnis. She used a non-singer like Sneh Prabha to sing the Puner Milan song, ‘Nacho nacho pyare man ke mor’. The male singer she had was Arun Kumar, who sung for Kishore Sahu in Punermilan, for Mumtaz Ali in ‘Jhoola’ (Main to Dilli se dulhan laya re he babuji) and others. Incidentally, it was she who gave break to Kavi Pradeep as a singer though he was writing lyrics for the concern since 1939 from film ‘Kangan’. She first used him in that immortal song of ‘Bandhan’ which is played in the back ground: ‘Piyu piyu bol praan papeehe piyu piyu bol’ Pradeep did sing subsequently some big hits after leaving Bombay Talkies. But in ‘Jhoola’ he has left behind a memorable song too tuned by Saraswati Devi: ‘Mere bichade hue saathi teri yaad sataye, baar baar teri chavi aye birha agan jaraae’ After she left Bombay Talkies, she shot into limelight again in the early fifties when she tuned two non-film ghazals for Habib Wali Mohammad. These were: ‘Lagta nahin hai dil mera ujjarre dayar mein’ and ‘Yeh na thi hamari kismet ke visaal-e-yaar hota’. When you listen to her compositions, specially the indigenously-flavored background music, you are transported into the environment of the India of the early 20th century. During the later years of her life, the bad and selfish film world turned apathetic towards the doyenne. Not even a single person visited her when she fractured her hip bone after falling from a private bus. The legendary singer and India’s first female music director left for a better world in 1980 with no one to mourn her death. Even the media did not find her worthy of an obituary.

[hindisoup]

I've heard in two different songs the expressions "शाम-ओ-सुबह" and "शाम-ओ-सहर"

Why does that ओ mean और? When can ओ used in the place of और? how's this phenomenon/feature called?

Oh, such a great question.

The thing is, that whenever we learn Hindi, we are simultaneously learning a lot about other languages too - in this case Urdu, Arabic and Persian.

So a small disclaimer: the following explanation is written by a Hindi learner whose exposure to Urdu has been solely through songs and films, and my Arabic knowledge is based on the Duolingo course I've barely half-completed. This post is based on mostly Googling and deduction. So native speakers are more than welcome to pitch in!

First of all शाम-ओ-सुबह and शाम-ओ-सहर both mean the same thing, literally 'evening and morning', used in the similar manner as 'night and day', ie. all the time, round the clock. सुबह and सहर are both masculine nouns and synonyms and borrowed from Arabic. शाम is a loan word from Persian.

The -ओ- here corresponds to the 'and'-word which in Urdu and Arabic is و. Hence, these sayings can be seen also written with the Hindi और by Hindi speakers, it means exactly the same thing.

Similar expressions using -ओ- that I've encountered are:

अजीब-ओ-ग़रीब, sometimes written with an ओ-mātrā as अजीबोग़रीब, meaning strange or wonderful. Hindi synonyms are words like अनोखा and विचित्र.

नाम-ओ-निशान, literally 'name and mark' used when described something that has 'disappeared without a trace'.

While we're at it, there's another small one-sound combining word that is very common in Hindi films and songs: -ए- which can be translated as 'of'.

It appears in film titles like मुग़ल-ए-आज़म (Mughal-e-Azam) meaning the emperor of Mughals, or दावत-ए-इश्क़ (Daawat-e-ishq), which can be translated as both a feast or party of love or an invitation of love.

A quite common phrase is दर्द-ए-दिल, a pain of heart, ie. heart ache. Comedy film makers have played with words and coined a song title दर्द-ए-दिस्को, Dard-e-Disco.

And sometimes in songs or poetry we can see phrases that combine the above structures, like सुब्ह-ओ-शाम-ए-दिल - 'the morning and night of the heart'.

I believe, that for a Hindi learner it is very helpful to understand and recognize these patterns and know where they originate from.

Since Hindi doesn't exist in a vacuum, the lyricist, writers and artists are free to choose, mix and match phrases from endless regional languages and poetic styles to their liking.

For us language learners this can sometimes feel frustrating or overwhelming as we cannot be completely sure if a word we have picked up from popular culture is actually used in everyday situations by Hindi speakers or not.

Here the only cure is to listen and read various sources - news, social media, podcasts, stories... More exposure to the language means more opportunities to notice which words and phrases are actually used most commonly.

My advice, for whatever it's worth, is that unless writing poetry, I wouldn't start creating my own combinations of words using -ओ- or -ए- joiners especially without thoroughly researching the origins of the words that are being used, as it probably wouldn't make much sense to combine Sanskrit originating words with Urdu joining words.

Thanks for this ask!

By the way, Rektha Dictionary and Sufinama Persian dictionary are great sources especially for translating song lyrics and sayings that may originate from Persian, Arabic and Urdu. Both dictionaries show words written in Latin, Urdu and Hindi script.

Sources: 1, 2, 3

[shankarjaikishanfansassnintl]

51 fascinating facts about Bollywood from the age of Classic Cinema

resented by Chandrakant Pednekar

Perhaps you’ve heard some of these before, perhaps not. We’ve found some really interesting facts about Bollywood since the very beginning, for your nostalgic pleasure.1. THE GOLDEN AGE OF INDIAN CINEMA DAWNED IN 1947 WITH INDIAN INDEPENDENCE. THE PERIOD BETWEEN 1947 AND 1961 IS CALLED ‘THE GOLDEN AGE’ BECAUSE IT USHERED IN NEW IDEAS AND VALUES WITHOUT IGNORING THE BASIC CHARACTERISTICS OF INDIAN CINEMA, A SPLENDID COMBINATION OF THE OLD AND NEW, WHICH ALSO PASSED INTO THE 21ST CENTURY AND HAS CONTINUES TO THIS DAY.2. More and more films began to be made with every passing year. In the process, landmark moments and films began to be created and linked with those years. 1949 was one such revolutionary year that gave rise to several landmark films. The topmost among them being Andaz (1949), the first big-budget love triangle starring Dilip Kumar, Raj Kapoor and Nargis.3. Mahal directed by Kamal Amrohi and released in 1949 was the first suspense thriller made in India. Originally planned with singer/actress Suraiya, the film finally went to Madhubala who became a star with the haunting song ‘Aayega aayega aayega anewala aayega…’, along with its playback singer Lata Mangeshkar. Lata reinforced her position in 1949 with R.K Films – ‘Barsaat’, which revolutionized the world of film music with the entry of the musical duo – Shankar Jaikishan.4. Mohd. Rafi emerged as a prominent male playback singer in 1949 with another Madhubala starrer Dulari with the hit number “Suhani raat dhal chuki…”. The last year of 1940s proved to be a watershed year for film music, as it prominently gave rise to the playback system wherein professional singers sang for the actors on screen who just had to move their lips without worrying about the ‘sur’ and ‘taal’ of the songs.5. Raj Kapoor’s Awara (1951) not only signaled a change in the grammar of film-making but also brought India prominently on the world map. He grabbed the script of Awara from under the nose of the legendary Mehboob Khan and launched it on a big scale. With “Ghar aaya mera pardesi…” shot on a massive set, Awara became the mother of all dream-sequences.6. Bimal Roy started his career in Calcutta and introduced Bengali Literature to Hindi Cinema and transformed the latter in many ways. Greatly influenced by the neo-realist Italian films and other post-war films he saw at India’s first international film festival in 1952, Bimal Roy’s Do Bigha Zameen (1953) remains a landmark film that has influenced several films including Lagaan (2001). One can find echoes of “Hariyala sawan shol bajata aaya…” from Do Bigha Zameen in “Ghanan ghanan ghir aayee…” from Lagaan.7. Debonair Dev Anand used to model himself on the lines of famous Hollywood star, Gregory Peck. During the making of Taxi Driver (1954), Dev Anand proposed marriage to his heroine, Kalpana Kartik. Both walked across to the registrar of marriages during a shooting break. Both signed the register and came back to resume work. Hardly anybody was aware that they were now husband and wife. Kalpana Kartik decided to quit films after marriage but not before doing 2 more films with her husband Dev – House No. 44 (1955) and Nau Do Gyarah (1957).8. Saratchandra’s Devdas has always been a favourite with film makers. The silent version was made in 1927 by Naresh Mitra with Phani Burma in the lead. P.C.Barua made it in 1935 with himself in the Bengali version and with K.L.Saigal in the Hindi version. Bimal Roy directed his version with Dilip Kumar in 1955 while Sanjay Leela Bhansali had his own interpretation of the novel in 2002 with Shahrukh Khan.9. Chandramukhi’s role in Bimal Roy’s Devdas (1955) was rejected by Nargis, Bina Rai and Suraiya. Vyjayanthimala, who finally did the role refused to accept Filmfare’s Best Supporting Actress Award for Devdas, stating that her role was as important as Paro’s. Years later, Reena Roy too, rejected Filmfare’s Best Supporting Actress trophy for Apnapan (1978), citing that her role was leading and not supporting.10. Truly Chaplin in form, content and treatment, Raj Kapoor’s Shree 420 (1955) remains his most socially significant comedy to date. It was a tremendous hit in India and overseas, especially in Russia, Egypt, Middle-East etc. “Ichak dana…” and “Mera joota hai japani…’ were rewritten in the languages of various countries and sung as local songs.11. V. Shantaram’s Do Aankhen Barah Haath (1957) was inspired by the story of an ‘Open Prison’ experiment in Satara. The film portrays a young jail warden, Adinath, who rehabilitates six deadly prisoners released on parole into persons of virtue. During the shooting of the film, V. Shantaram battled with a bull and hurt his eyes and affected his vision. During the period of temporary blindness, he visualized some unseen colours of life which resulted into the making of his colourful Navrang (1959).12. Dilip Kumar initially refused to be part of Naya Daur (1957) but then, his friend Ashok Kumar, who heard and loved the story, convinced him to accept it. Madhubala was the female lead in this movie but when B.R. Chopra decided to shoot the movie in Bhopal, Madhubala’s father, Ataullah Khan, refused to let her go citing personal reasons. Finally, Madhubala had to be replaced with Vyjayantimala who entered a new phase of her career with the super hit – Naya Daur.13. Guru Dutt wanted Dilip Kumar to play the leading role in Pyaasa (1957). The Tragedy King declined because he thought this role was similar to his Devdas (1955). So, Guru Dutt himself decided to play the role. Similarly, Madhubala and Nargis were his first choices for the leading ladies, which were eventually played by Mala Sinha and Waheeda Rehman. Pyaasa went on to become a cult film in the history of Indian cinema.14. Mehboob Khan’s Mother India (1957), was the colour remake of his own Aurat (1940) which featured his wife Sardar Akhtar. Aurat was inspired from Pearl S. Buck’s novel “The Mother”. Nargis got the role of her lifetime in Mother India which fetched her the Best Actress Award at the Karlovy Vary festival. Mother India was nominated for the Oscar as the best foreign film but it lost to Fellini’s Nights of Caberia (1957) by a single vote.15. Kishore Kumar apparently made Chalti Ka Nam Gaadi (1958), hoping it would fail commercially. He wanted to show losses in his income, to avoid paying a huge tax to the authorities. So he made two films – Lukochuri (Bengali) and Chalti Ka Nam Gaadi, and waited eagerly for them to collapse. However, both went on to become box-office successes. Kumar was so disgusted with this that he gifted Chalti Ka Nam Gaadi and all its rights to his secretary Anoop Sharma, who retained the copyright.16. Anari (1959), directed by Hrishikesh Mukherjee, brought together the sublimity of Raj Kapoor’s pairing with the timeless Nutan, celebrating the rich-poor divide through a story that saluted Raj Kapoor’s own Shree 420 (1955). Incidentally, Raj Kapoor’s brother Shashi Kapoor also starred in a film called Anari directed by Asit Sen in 1975. Later, Raj Kapoor’s grand-daughter Karisma Kapoor did another Anari in 1993 with the southern star Venkatesh.17. India’s first CinemaScope film Kaagaz Ke Phool (1959) was directed by Guru Dutt who also played the lead in the film. Apparently, Guru Dutt was so upset by the poor (box office) response to his film, that he thereafter never took credit as ‘Director’ for any of his later films such as Chaudhvin Ka Chand (1960), or Sahib, Bibi aur Ghulam (1962) even though they retain the unmistakable stamp of his direction. Though Kaagaz Ke Phool was a disaster in its time, it was later resurrected as a cult classic.18. Hrishikesh Mukherjee’s Anuradha (1960) was a movie much ahead of its time and featured debutante Leela Naidu in the title role with Balraj Sahani. A relative of the national leader Sarojini Naidu, Leela Naidu, was crowned Femina Miss India in 1954, and was featured in Vogue along with Maharani Gayatri Devi in the list of ‘World’s Ten Most Beautiful Women’. The film’s classical-based music was composed by Sitar maestro Pt. Ravi Shankar.19. K. Asif’s Mughal – E – Azam (1960) was actually planned in the 1940s. The political tensions surrounding India’s partition and independence in 1947 stalled the film’s production. Shortly after The Partition, financer Shiraz Ali migrated to Pakistan, leaving Asif without finance. Subsequently, the film’s lead Chandramohan suffered a heart attack and died in 1949. Ali had previously suggested the name of business tycoon Shapoorji Pallonji for financing the film. Pallonji did not know anything regarding the production of films, but he took a keen interest in the project and agreed to produce it due to his strong interest in Akbar’s history. Thus, began the saga of the magnum opus – Mughal–E–Azam!20. The Song “Pyar kiya to darna kiya…”, from Mughal – E – Azam (1960) has an unusual history to it. Naushad rejected 2 sets of lyrics made by Badayuni. Late in the night, Naushad remembered a folk song from Eastern Uttar Pradesh with the lyrics going as “Prem kiya, kya chori kari hai…”. The song was converted into a ghazal and subsequently recorded. As there was no technology to provide for the reverberation of sound heard in the song, Naushad had Lata Mangeshkar sing the song in a studio bathroom.21. A female-centric movie, based on a Bengali novel by Jarasandha, Bandini (1963) is the last directorial venture of Bimal Roy, a master of realism and regarded by many as his crowning achievement. Bimal Roy persuaded Nutan, who had given a magnificent performance in his Sujata (1959), to come out of her post-nuptial retirement and play the strictly raised, poetry-loving village girl, ‘Kalyani’. He convinced her to do Bandini, which went on to sweep all the top awards then, and is still considered a landmark movie of all time.22. Dosti (1964), a non star-cast film directed by Satyen Bose was made under the Rajshri banner and was biggest surprise hit of the year. The film focuses on the friendship between two boys, one blind and the other a cripple. Despite being released with Sangam, a blockbuster hit, Dosti was amongst the top ten grossers of 1964. It stands as a landmark in the career of Laxmikant-Pyarelal as this won them their first Filmfare Award and also made them popular in the film industry. Incidentally, R. D. Burman has played the harmonica throughout the film, which Ramu (one of the characters) plays throughout the film.23. Initially, Dilip Kumar was approached by Raj Kapoor to play the role of ‘Gopal Verma’ in Sangam (1964). Dilip Kumar agreed to play either one of the two male roles, with the condition that he was given the right to edit the final copy of the film. Since Raj Kapoor could not accept Dilip Kumar’s condition, he then approached Dev Anand for the role. The latter also declined the role citing date problems which ultimately went to Rajendra Kumar. Sangam ranked as the second highest grossing film of the decade.24. Brij Katyal’s script for Jab Jab Phool Khile (1965) was turned down by three top Producers. However, Director Suraj Prakash felt it was a beautiful story and accepted it, which went on to become his greatest hit. To prepare for his role as ‘Raja’, Shashi Kapoor would spend days with the boatmen in Kashmir to study their lifestyle. Sometimes, he would have meals with them. The original climax from the script had Raj beating up the bad guys. However, Suraj Prakash rejected it, and after watching Love in the Afternoon (1957), settled with Rita (Nanda) leaving everything behind to go back to Kashmir with Raja. Incidentally, Jab Jab Phool Khile (1965) got remade 3 decades later as Raja Hindustani (1996).25. B.R. CHOPRA HAD ORIGINALLY PLANNED WAQT (1965) WITH PRITHVIRAJ KAPOOR AND HIS THREE SONS, RAJ KAPOOR, SHAMMI KAPOOR AND SHASHI KAPOOR. EVENTUALLY, ONLY SHASHI KAPOOR WAS CAST, ALONG WITH RAJ KUMAR & SUNIL DUTT AS HIS ELDER BROTHERS, WHILE BALRAJ SAHANI PLAYED THE FATHER. WAQT PIONEERED THE IDEA OF A MULTI-STAR CAST IN INDIAN CINEMA AND RE-INTRODUCED THE LOST AND REUNITE FORMULA, ORIGINALLY MADE POPULAR IN KISMET (1943). WAQT ALSO SHOWCASES SOME OF THE TOP DIALOGUES SPOKEN BY RAAJ KUMAR LIKE “JINKE APNE GHAR SHEESHAY KE HON, WOH DOOSRON PAR PATTHAR NAHI PHENKA KARTE” AND “JAANI, YEH BACHCHON KE KHELNE KI CHEEZ NAHI, HAATH KAT JAYE TOH KHOON NIKAL AATA HAI”.26. Guide (1965) was made in two versions – an English version in collaboration with Pearl S. Buck and directed by Ted Danielewski and the Hindi version directed by Dev Anand’s younger brother Vijay Anand. It had never happened anywhere in the annals of cinema that the same story was filmed twice from two different perspectives with the same actor, one immediately after the other. Another striking feature about Guide is the Song ‘Kaaton se kheench ke ye aanchal…’ which begins from the ‘Antara’ instead of the ‘Mukhda’, a rare innovation unlike most Hindustani compositions.27. Teesri Manzil (1966) produced by Nasir Hussain & directed by Vijay Anand was originally planned with Dev Anand in the lead. Due to some reasons he could not do it & Shammi Kapoor replaced him in the film. However, Shammi Kapoor was not happy with Nasir Hussain’s choice of the music Director, R. D. Burman. He wanted Shankar Jaikishan to score the music but agreed to give Pancham a hearing. A nervous Pancham was ready with all the six tunes. The moment he heard Pancham sing “O Haseena Zulfonwali” and “Aaja Aaja Main Hoon Pyar Tera”, he jumped out of sheer joy & gave his approval for Teesri Manzil that soon revolutionised the world of Hindi Film Music.28. AROUND THE WORLD (1967) WAS INDIA’S FIRST FILM TO BE RELEASED IN 70 MM AND WAS EXTENSIVELY SHOT ALL AROUND THE WORLD. THE MAJOR OF THE FILM WAS SHOT ON A CRUISE SHIP. IT FEATURED RAJ KAPOOR AS AN INDIAN WHO TRAVELED AROUND THE WORLD IN 8 DOLLARS. V.SHANTARAM’S DAUGHTER RAJSHREE PLAYED THE ROMANTIC LEAD IN THE FILM. SHE MET HER FUTURE HUSBAND, AMERICAN STUDENT GREG CHAPMAN IN AMERICA DURING THE SHOOTING OF AROUND THE WORLD AND MARRIED HIM AS PER HINDU MARRIAGE RITUALS THAT LASTED 5 DAYS AND WAS ATTENDED BY 15,000 GUESTS.29. JEWEL THIEF (1967), WILL ALWAYS BE REMEMBERED AS ONE OF THE BEST CRIME THRILLERS OF INDIAN CINEMA. WHILE DEV ANAND AND ASHOK KUMAR VIED WITH EACH OTHER FOR THE TITLE OF JEWEL THIEF, THE GIRLS DID TOO. VYJAYANTHIMALA WAS ROPED IN TO PLAY THE MAIN HEROINE AS SAIRA BANU, THE ORIGINAL CHOICE COULD NOT DO THE FILM BECAUSE OF HER MARRIAGE WITH DILIP KUMAR. THE FILM ALSO FEATURED FOUR BOND GIRL-LIKE ACTRESSES PORTRAYED BY TANUJA, HELEN, FARYAL AND ANJU MAHENDRU. A SEQUEL OF JEWEL THIEF WAS RELEASED IN 1996, NAMED RETURN OF JEWEL THIEF WITH DEV ANAND AND ASHOK KUMAR PLAYING THEIR ORIGINAL ROLES.30. Prime Minister Lal Bahadur Shastri praised his earlier film Shaheed (1965) and enthused Manoj Kumar to make a film on the ‘Jai Jawaan Jai Kissan’ slogan. The slogan helped Manoj Kumar’s official debut as a Director for Upkar (1967), where he believably played both a Jawan and a Kisan. A huge hit, Upkar made Manoj Kumar an authority on screen patriotism. Manoj Kumar started his Mr. Bharat persona and his brand of patriotism & fearless courage with this film. The script for Upkar (1967) was written in less than 24 hours on the train journey between Delhi and Mumbai.31. THE TRAGEDY KING DILIP KUMAR HAD TO TAKE PSYCHIATRIC ADVICE AFTER PLAYING MELANCHOLIC ROLES LIKE DEVDAS (1955). IT WAS SUGGESTED THAT HE PLAY ROLES WITH LIGHTER SHADES AND THE RESULT WAS AZAAD (1955) & KOHINOOR (1960). AN OPPORTUNITY TO PLAY LIGHTER ROLES AGAIN AROSE FOR HIM WITH RAM AUR SHYAM (1967), WHEREIN DILIP KUMAR PLAYED A DOUBLE ROLE. INTERESTINGLY, VYJAYANTHIMALA, WHO WAS TO PLAY ONE OF THE HEROINES, WAS REPLACED WITH WAHEEDA REHMAN. MALA SINHA, WHO WAS APPROACHED FOR THE OTHER LEAD, REJECTED IT PAVING THE WAY FOR MUMTAZ, WHO ROSE TO THE TOP LEAGUE AFTER DOING RAM AUR SHYAM.32. WHILE REHEARSING FOR ‘BABUL KI DUAYEN…’ FROM NEEL KAMAL (1968), RAFI SAAB WAS CONTINUOUSLY CRYING. THE MUSIC DIRECTOR RAVI WAS PUZZLED AND WENT TO MR. HAMID, (MOHD. RAFI’S BROTHER IN LAW AND SECRETARY) & ASKED HIM THE REASON FOR HIS OUTBURST. HAMID SAAB REVEALED THAT JUST A DAY BEFORE, HIS DAUGHTER HAD GOT ENGAGED AND RAFI SAAB BECAME EMOTIONAL AS THE SONG ALSO SUITED THE REAL LIFE SITUATION. THIS INSPIRATIONAL SONG WENT ON TO WIN A NATIONAL AWARD FOR MOHD. RAFI.33. KISHORE KUMAR’S PERFORMANCE IN PADOSAN (1968) WHERE HE BECOMES SUNIL DUTT’S VOICE TO WOO SAIRA BANU WAS A PRECURSOR TO HIS BECOMING A FULL-TIME PLAYBACK SINGER. THE VERY NEXT YEAR, SHAKTI SAMANTA OFFERED HIM TO SING FOR NEWCOMER RAJESH KHANNA IN ARADHANA (1969) AND THE REST IS HISTORY. BEFORE, ARADHANA, KISHORE KUMAR HAD ONLY SUNG FOR HIMSELF AND OCCASIONALLY FOR DEV ANAND, WITH THE EXCEPTION OF PADOSAN, AS THE STORY DEMANDED IT. ARADHANA WAS A MUSICAL BLOCKBUSTER AND KISHORE KUMAR WAS HERE TO STAY, IN THE NEW ROLE OF A PLAYBACK SINGER, RIGHT UNTIL HIS DEATH IN OCTOBER 1987.34. While recording the soundtrack of the film Aradhana (1969), S.D.Burman took ill after composing the two Rafi duets. The responsibility of finishing the soundtrack fell on his son R.D. Burman, who took charge and decided to use Kishore Kumar to record the solos, as Rafi was away on a tour abroad. The sizzling song from Aradhana – “Roop tera mastana…” – made Bollywood history as the first song picturised in one shot without a single cut. Aradhana went on to win Filmfare’s best film award while Sharmila Tagore won her first Best Actress trophy.35. DO RAASTE (1969), A FILM DIRECTED BY RAJ KHOSLA, EMPHASIZES THE SANCTITY OF THE JOINT FAMILY AND THE SUPREMACY OF RELATIONS THAT ARE STRONGER THAN TIES OF BLOOD. RAJESH KHANNA APPEARED UNSHAVEN THROUGHOUT THIS MOVIE BECAUSE HE WAS SIMULTANEOUSLY SHOOTING FOR ITTEFAQ (1969) WHICH REQUIRED HIM TO BE UNSHAVEN. RAJESH KHANNA CREATED HAVOC AT THE BOX OFFICE WITH ARADHANA AND DO RAASTE. WHAT’S MORE IN BOMBAY, THE TWO FILMS HAD THEIR MAIN THEATRES RIGHT ACROSS THE ROAD FROM ONE ANOTHER, ARADHANA AT OPERA HOUSE AND DO RAASTE AT ROXY.36. THE CHARACTER OF ANAND (1970) WAS INSPIRED BY RAJ KAPOOR, WHO USED TO ADDRESS HRISHIKESH MUKHERJEE AS “BABU MOSHAY”. HRISHIDA INFORMED WRITER GULZAR TO OPEN THE MOVIE IN SUCH A WAY THAT THE AUDIENCE KNOWS IN THE FIRST SCENE ITSELF THAT ‘ANAND’ (RAJESH KHANNA) IS DEAD. HE DID NOT WANT THE AUDIENCE TO BE IN A STATE OF SUSPENSE TILL THE END AND KEEP GUESSING WHETHER ‘ANAND’ WILL SURVIVE OR NOT. BY DOING THAT HRISHIKESH MUKHERJEE WANTED TO CONCENTRATE ON HOW ‘ANAND’ WANTS TO LIVE LIFE TO THE FULLEST AND MAKE THE BEST OF THE TIME HE HAS. THE MOVIE WENT ON TO BECOME A ‘SUPER HIT’ AND MADE THE CHARACTER OF ‘ANAND’, IMMORTAL.37. JOHNY MERA NAAM (1970) DIRECTED BY VIJAY ANAND IS CONSIDERED A DEV ANAND CLASSIC. IT ALSO BECAME DREAM-GIRL HEMA MALINI’S FIRST SUPERHIT. THOUGH THE MOVIE DEALT WITH THE SIMPLE “LOST AND FOUND” THEME, WHAT STOOD APART WAS ITS BRILLIANT TREATMENT BY DIRECTOR VIJAY ANAND. VARIOUS TRACKS WERE INTELLIGENTLY INTEGRATED IN THE MOVIE INCLUDING THE TRIPLE ROLES OF COMEDIAN I.S. JOHAR. THE SONG “HUSN KE LAKHON RANG…” PICTURISED ON PADMA KHANNA WAS CONSIDERED SO BOLD THAT IT FACED A LOT OF CENSOR PROBLEMS. THE FILM WENT ON TO BECOME A CULT MOVIE, AND THE HIGHEST GROSSER OF 1970.38. MERA NAAM JOKER (1970) IS THE SECOND HINDI FILM TO HAVE TWO INTERVALS, THE FIRST ONE BEING SANGAM (1964). THE MAGNUM OPUS OF RAJ KAPOOR, MERA NAAM JOKER WAS DIVIDED INTO 3 CHAPTERS, EACH DEPICTING A DIFFERENT PHASE IN A JOKER’S LIFE, PLAYED BY RAJ KAPOOR. SIX YEARS IN THE MAKING, MERA NAAM JOKER TURNED OUT TO BE MUCH AHEAD OF ITS TIME WAS NOT A COMMERCIAL SUCCESS. HOWEVER, IT ACQUIRED CULT STATUS LATER AND IT IS NOW REGARDED AS A LANDMARK FILM OF INDIAN CINEMA.39. FROM ITS OPENING MONTAGE OF A YOUNG VILLAGE GIRL, WATCHING HER INDIFFERENT HUSBAND BRING HOME ANOTHER WIFE, TO THE FINAL MOMENTS, WHEN THE WOMAN IN HER TWILIGHT YEARS, IS TAKEN AWAY BY HER FOSTER-SON AMONGST THE FESTIVITIES OF DURGA PUJA, SHAKTI SAMANTA’S AMAR PREM (1971) IS A GLORIOUS HOMAGE TO WOMANHOOD. A MASTERPIECE DEALING WITH 2 PARALLEL TRACKS, ONE OF THE PLATONIC RELATIONSHIP THAT PUSHPA (SHARMILA TAGORE) SHARES WITH ANAND BABU (RAJESH KHANNA) AND THE OTHER OF PUSHPA’S RELATIONSHIP WITH A MOTHERLESS CHILD, AMAR AND PREM, TOUCHED THE EMOTIONAL CHORDS OF THE AUDIENCE TO THE FULLEST. IT IS STILL REMEMBERED FOR R.D.BURMAN’S MELODIOUS MUSIC AS MUCH AS IT IS REMEMBERED FOR RAJESH KHANNA’S FAMOUS DIALOGUE “PUSHPA, I HATE TEARS”.40. THE STORY FOR HARE RAMA HARE KRISHNA (1971) ACTUALLY CAME TO DEV ANAND’S MIND WHEN HE SAW HIPPIES AND THEIR FALLEN VALUES IN KATHMANDU, NEPAL. HE WANTED TO CAST MUMTAZ AS HIS NEPALI GIRLFRIEND AND ZAHEEDA, HIS CO-STAR OF PREM PUJARI, IN THE SISTER’S ROLE. ZAHEEDA DECLINED AND INSISTED ON PLAYING MUMTAZ’S PART. SHE ULTIMATELY LOST THE ROLE TO SENSUOUS ZEENAT AMAN WHO HIT BIG TIME WITH THIS FILM. THIS MUSICAL FAMILY DRAMA HAS AN ANTI-DRUG MESSAGE AND ALSO DEPICTS PROBLEMS ASSOCIATED WITH WESTERNIZATION SUCH AS DIVORCE AND ALIENATION.41. KAMAL AMROHI’S PAKEEZAH WAS LAUNCHED IN 1958 BUT TOOK 14 YEARS TO COMPLETE. IT WAS LAUNCHED IN BLACK-AND-WHITE, BUT WHEN COLOUR CAME IN VOGUE, AMROHI SCRAPPED THE PORTIONS ALREADY SHOT AND DECIDED TO START AGAIN. LATER, CINEMASCOPE CAME INTO VOGUE, AND AMROHI ACQUIRED A CINEMASCOPE LENS FROM MGM AND SCRAPPED THE PLAIN COLOUR PORTIONS TOO. FINALLY, IT WAS RELEASED IN 1972, JUST A FEW WEEKS BEFORE MEENA KUMARI’S DEATH. THE FILM HAD A SLOW START AT THE BOX-OFFICE BUT WENT ON TO BECOME A MAJOR HIT AS IT TURNED OUT TO BE THE SWAN SONG OF THE LEGENDARY MEENA KUMARI. LATE GHULAM MOHAMMED’S MUSIC IN PAKEEZAH CAUGHT THE FANCY OF THE ENTIRE NATION.42. SEETA AUR GEETA (1972) WAS THE FEMALE VERSION OF RAM AUR SHYAM (1967) BUT WITH A DIFFERENCE. DIRECTOR RAMESH SIPPY HAD HIS OWN UNIQUE INTERPRETATION OF IDENTICAL TWINS WHICH HE PRESENTED TO THE AUDIENCE INTERESTINGLY. INITIALLY, MUMTAZ WAS OFFERED THE DOUBLE ROLES OF ‘SEETA’ AND ‘GEETA’ BUT SHE COULD NOT DO THE FILM. SO IT WAS OFFERED TO HEMA MALINI WHO LAPPED UP THE OPPORTUNITY AND ZOOMED TO THE TOP SPOT WITH ITS GRAND SUCCESS. IT NOT ONLY EARNED HER THE FIRST FILMFARE AWARD BUT TILL DATE REMAINS THE BEST FILM OF HER CAREER.43. BOBBY (1973) A FILM DIRECTED BY RAJ KAPOOR WAS VERY POPULAR AND WIDELY IMITATED. IT ALSO REPRESENTED THE FILM DÉBUT FOR DIMPLE KAPADIA AND THE FIRST LEADING ROLE FOR RAJ KAPOOR’S SON, RISHI KAPOOR. THE MOVIE IS KNOWN TO BE A TREND-SETTER IN ITS OWN RIGHT WHICH INTRODUCED THE GENRE OF TEENAGE ROMANCE WITH A RICH-VS-POOR CLASH AS A BACKDROP. THE FILM BECAME A BLOCKBUSTER AND WAS THE TOP GROSSER OF 1973. INCIDENTALLY, DIMPLE KAPADIA MARRIED SUPERSTAR RAJESH KHANNA BEFORE THE RELEASE OF BOBBY AND WAVED GOOD-BYE TO FILMS FOR ALMOST A DECADE.44. YASH CHOPRA BRANCHED OUT FROM HIS BROTHER B.R. CHOPRA’S PRODUCTION HOUSE, B.R. FILMS TO START HIS OWN COMPANY YASH RAJ FILMS IN 1973 AND LAUNCHED DAAG: A POEM OF LOVE. HE SIGNED THE REIGNING SUPERSTAR RAJESH KHANNA ALONG WITH THE BENGAL TIGERESS- SHARMILA TAGORE AND RAKHEE. A LOVE TRIANGLE WITH A DIFFERENCE DAAG: A POEM OF LOVE SHOWCASED THE INTRICACIES OF HUMAN RELATIONSHIPS WHICH WERE TO BECOME YASH CHOPRA’S FORTE IN SUBSEQUENT FILMS. AN ADAPTATION OF THE NOVEL “THE MAYOR OF CASTERBRIDGE”, THE FILM ALSO HAD INTERESTING SITUATIONS FOR LAXMIKANT- PYARELAL’S SUPERHIT MUSIC.45. JUST AS THE ESTABLISHED FILM-MAKER RAJ KAPOOR ADOPTED A MODERN APPROACH FOR BOBBY (1973), SO ALSO NASIR HUSSAIN, THE MAKER OF MUSICAL LOVE STORIES DID AN ABOUT TURN WITH THE MULTI-STARRER LOST-AND-FOUND DRAMA, YAADON KI BAARAT (1973). DESPITE, ITS ACTION ORIENTED THEME, THIS MOVIE IS STILL REMEMBERED FOR ITS UNFORGETTABLE MUSIC BY R. D. BURMAN, ESPECIALLY THE EVERGREEN ROMANTIC “CHURA LIYA HAI…” WHICH IS STILL THE MOST FAVOURITE SONG OF THE REMIX ARTISTES. THIS MOVIE ALSO FEATURES AAMIR KHAN IN THE TITLE SONG AS THE YOUNGEST KID.46. AMITABH WAS THE FIFTH CHOICE AFTER DEV ANAND, RAJ KUMAR, DHARMENDRA AND RAJESH KHANNA FOR THE LEAD ROLE IN ZANJEER (1973). DEV WANTED THE ACTOR TO BE ALLOWED TO SING A COUPLE OF SONGS AND ASKED PRAKASH TO DIRECT UNDER HIS NAVKETAN BANNER. DHARMENDRA COULD NOT FIT INTO SCHEDULE. RAJESH FEARED THE ROLE MIGHT TELL UPON HIS ROMANTIC IMAGE. IT WAS PRAN WHO SUGGESTED MEHRA TO SEE BOMBAY TO GOA (1972). THE FILM HAD A FIGHT SCENE, AND THE MOMENT PRAKASH SAW THE FIGHT SCENE, HE SCREAMED “MIL GAYA!!”. THE MOVIE CHANGED THE TREND FROM ROMANTIC FILMS TO ACTION FILMS AND PIONEERED AMITABH’S NEW IMAGE OF A BROODING YET EXPLOSIVE PERSON WHO FIGHTS BACK WHEN CORNERED.47. AFTER ZANJEER (1973) WAS DECLARED A HIT, AMITABH AND JAYA GOT MARRIED. BY THE TIME, THE CRITICALLY ACCLAIMED ABHIMAAN (1973) RELEASED, THE REEL-LIFE COUPLE HAD BECOME HUSBAND AND WIFE IN REAL LIFE TOO. ABHIMAAN (1973), DIRECTED BY HRISHIKESH MUKHERJEE WAS ORIGINALLY NAMED AS RAAG RAGINI. ABHIMAAN WAS EVEN POPULAR IN SRI LANKA AND WAS SCREENED CONTINUOUSLY FOR TWO YEARS IN THE SAME MOVIE THEATER, NEW OLYMPIA, COLOMBO.48. THE FILM NAYA DIN NAYI RAAT (1974) WAS KNOWN FOR SANJEEV KUMAR’S NINE-ROLE EPIC PERFORMANCE, WHICH WAS EARLIER PLAYED BY SIVAJI GANESAN IN NAVARATHIRI (1964)(TAMIL) AND BY AKKINENI NAGESWARA RAO IN NAVARATHRI (1966)(TELUGU). THIS FILM HAD ENHANCED SANJEEV KUMAR’S STATUS AND REPUTATION AS AN ACTOR IN HINDI CINEMA. YEARS LATER, KAMAL HAASAN APPEARED IN TEN DISTINCT ROLES IN DASAVATHAARAM (2008), MAKING IT THE FIRST TIME THAT AN ACTOR HAS APPEARED IN SO MANY ROLES IN WORLD CINEMA. A YEAR LATER, THIS RECORD WAS BROKEN BY PRIYANKA CHOPRA, WHEN SHE ESSAYED TWELVE DIFFERENT CHARACTERS IN WHATS’S YOUR RAASHEE? (2009), EACH CHARACTER, REPRESENTATIVE OF A ZODIAC SIGN.49. SHYAM BENEGAL IS RIGHTLY CALLED THE FATHER OF NEW WAVE CINEMA IN THE SEVENTIES. WHILE MRINAL SEN KICK-STARTED THE MOVEMENT IN 1969 WITH BHUVAN SHOME, BENEGAL PUT IT FIRMLY ON TRACKS WITH HIS DIRECTORIAL DEBUT ANKUR (1974). HE TOOK FORWARD THE FEUDAL FABLE OF SATYAJIT RAY’S PATHER PANCHALI (1955) OR BIMAL ROY’S DO BIGHA ZAMEEN (1953) IN HIS OWN STYLE. TILL THIS DAY, SHYAM BENEGAL HAS’NT STOPPED MAKING SOCIALLY RELEVANT FILMS THAT TOUCH A CHORD IN THE HUMAN HEART. SHABANA AZMI MADE HER DEBUT IN ANKUR IN A ROLE ORIGINALLY OFFERED TO VETERAN WAHEEDA REHMAN. HER PERFORMANCE WAS SO MESMERIZING THAT EVEN SATYAJIT RAY COMMENTED, “IN TWO HIGH-PITCHED SCENES SHE PULLS OUT ALL STOPS AND FIRMLY ESTABLISHES HERSELF AS ONE OF OUR FINEST DRAMATIC ACTRESSES.”50. WHILE UPKAR (1967) WAS INSPIRED BY LAL BAHADUR SHASTRI’S SLOGAN “JAI JAWAN JAI KISAN”, MANOJ KUMAR’S ROTI KAPDA AUR MAKAN (1974) WAS INSPIRED BY INDIRA GANDHI’S “GARIBI HATAO” SLOGAN. THE BASIC IDEA FOR THE FILM ALSO STEMMED FROM A RECITAL MANOJ KUMAR HAD HEARD AT A SCHOOL FUNCTION WHILE THE SCENE WHERE HE THROWS HIS DEGREE IN HIS FATHER’S FUNERAL PYRE WAS INSPIRED FROM A NEWSPAPER REPORT IN 1972. MANOJ KUMAR DEFTLY HANDLED THE ENSEMBLE CAST BALANCING THE STRONG SOCIAL UNDERCURRENTS WITH THE NECESSARY COMMERCIAL ELEMENTS. IT CONTINUES TO BE TOPICAL EVEN AFTER 38 YEARS OF ITS RELEASE.51. THE CHARACTER OF GABBAR SINGH IN THIS ACTION ADVENTURE FILM – SHOLAY (1975) WAS MODELED ON A REAL-LIFE DACOIT OF THE SAME NAME WHO MENACED THE VILLAGES AROUND GWALIOR IN THE 1950S. ANY POLICEMAN CAPTURED BY THE REAL GABBAR SINGH, HAD HIS EARS AND NOSE CUT OFF, AND WAS THEN RELEASED AS AN OBJECT LESSON TO OTHER POLICEMEN. INITIALLY, THE PRODUCERS APPROACHED DANNY DENZONGPA FOR THE ROLE OF THE BANDIT CHIEF, BUT HE WAS COMMITTED TO FEROZ KHAN’S DHARMATMA (1975), HENCE CHARACTER ACTOR JAYANT’S SON AMJAD KHAN WAS ROPED IN. HE PREPARED HIMSELF FOR THE PART BY READING A BOOK TITLED ‘ABAR ABHISHAPTA CHAMBAL’, WHICH TOLD OF THE EXPLOITS OF CHAMBAL DACOITS. AMJAD KHAN PLAYED THE ROLE SO CONVINCINGLY THAT HE MADE THE CHARACTER OF GABBAR SINGH IMMORTAL.

[bollywoodproduct]

Lyrics Ek Manzil Raahi Do Fir Pyar Na Kaise

Lyrics Ek Manzil Raahi Do Fir Pyar Na Kaise

Lyrics in English | Ek Manzil Raahi Do | Sanjog (1961) | Lata Mangeshkar, Mukesh Ek ManzilRaahi DoFir Pyar Na Kaise Ho (2)Saath MileJab Dil ToFir Pyar Na Kaise Ho (2)…………. Hum Bhi Wohi HaiDil Bhi Wohi HaiDhadakan Magar Nayi HaiDekho To MeetAankhon Me PareetKya Rang Bhar Gayi HaiHaan Kya Rang Bhar Gayi HaiEk ManzilRaahi DoFir Pyar Na Kaise Ho (2)……….. Best Romantic Songs of Mukesh Nikale Hain…

[godlydolans]

Imagine Gray and E playing Holi I-

Oh I woke up to this amazing idea in my inbox 😍

They both will be so excited to play holi!! He's heard you talk about celebrating with your friends and family and about how fun it really is, so when he gets to join you and your family in the celebrations this year, he's over the moon.

The day starts with everyone being civil and applying little colour on each other's cheeks, wishing each other a happy holi. It's around 10 o'clock that the wildness starts!

Loud music is blaring from the speakers, colours flying everywhere and you are having so much fun! He kinda just stands to the side and watches you dancing away with your friends and younger cousins. He is smitten with the way your hips move to the beat of the song that he doesn't know the words to. He finds it even sexier when you sing along to every word, he finds it hot when you speak Hindi period.

Then you take him by the wrist and pull him to the middle of the garden that you're playing in. "C'mon! Play with me!" You sound so excited, face covered with powdered colour as you drag him to the middle. You take a blue powder in your hand and smear it all the way from his cheek to his chest, a cheeky smile lighting up your face. "There, you were looking a little too clean back there."

Grayson's cheeks lift up in a grin as he takes in your colourful form and then looks down to himself, yeah he was pretty clean in comparison to you. He's not even lifted his gaze when he feels you messing up his hair with your powder covered hands. You're laughing at the baffled look he has on his face when he suddenly grabs you by the waist, caging you in his strong arms and dunks the whole packet of yellow powder on your head.

"Gray!" You shreak in surprise and now he is the one who's laughing. You guys have so much fun painting each other all the shades of the rainbow, shooting each other with water guns and dancing the day away.

In the evening, when it's time to clean up, you help him wash the colour out of his hair after you've scrubbed yourself clean. Grayson just stands under the shower, his head bowed as you stand on a stool and rub shampoo in his hair. There is a lot of kissing involved in the shower itself, him dropping a kiss on your exposed shoulder, some on your lips and some on your cheeks.

It's not long before you guys start a whole make out session under the steaming hot water, Grayson's lips on your own as your fingers roam his wet hair that is now clean. He's been so turned on by you all day, watching you in your element, dancing and singing and just so carefree like a child.

He realises that he wants to spend every holi with you, and all the other festivals that you celebrate. He wants to get to know your culture and traditions that you follow, Why you do certain things that you do, what are the meaning of the lyrics of those songs you were singing so happily today.

The water stops running in the shower, he carries you to the bed and crawls over you with ease. Slow kisses all over your skin heat up your body. You two spend the rest of the day in bed, making sweet love to each other until both of you are spent and sleep is all you can think about.

Some gifs for you! Love you Perry 🤗