#Philosophical Songs in Hindi

[lokeshbhandarimovies233]

Bollywood has a long-standing tradition of adapting novels into films, bringing stories from the pages to the silver screen. While books offer depth, introspection, and a more personal experience, there have been instances where Bollywood movies outshined their literary counterparts. One such remarkable example is *3 Idiots*. This blog delves into such movies, exploring how Bollywood occasionally enhances or reimagines a story in ways that captivate audiences more effectively than the original books.

                                                 When Bollywood Outshines the Book

 1. 3 Idiots (2009) - Adapted from Five Point Someone 

The Book: Chetan Bhagat's *Five Point Someone: What Not to Do at IIT* delves into the lives of three friends struggling to cope with the pressures of the Indian education system. The book, while insightful, focuses on the day-to-day challenges faced by the characters. 

 Rajkumar Hirani’s *3 Idiots* takes the core narrative of the book but elevates it with humor, drama, and a powerful message about following one's passion. The film expands the characters, particularly turning Rancho (Aamir Khan) into a philosophical and inspiring figure. The movie's emotional depth and its critique of the rote-learning education system struck a chord with millions, making it a cultural phenomenon. 

 Reasons To Watch

·       A more engaging and inspiring narrative. 

·       Universally relatable themes and emotional connect. 

·       Iconic dialogues and memorable performances.

                                                           When Bollywood Outshines the Book

 2. Devdas (2002) - Adapted from Devdas 

  Saratchandra Chattopadhyay’s classic Bengali novel *Devdas* tells a tragic tale of love and loss. The story, while iconic, has a restrained narrative style. 

The Movie 

Sanjay Leela Bhansali’s *Devdas* is a larger-than-life cinematic spectacle. Featuring opulent sets, stunning costumes, and powerful performances by Shah Rukh Khan, Aishwarya Rai, and Madhuri Dixit, the film redefined the story for modern audiences. 

Reasons To Watch   

·       A visually grand interpretation of a classic tale.

·       Bhansali’s artistic direction and emotional gravitas.

·       Music and choreography that amplified the story’s emotional core. 

When Bollywood Outshines the Book

 3. Guide (1965) - Adapted from The Guide   

R.K. Narayan’s *The Guide* is a nuanced tale about a tour guide’s journey from a conman to a spiritual leader. The novel is introspective and subtle in its storytelling. 

 The Movie

Vijay Anand’s cinematic adaptation starring Dev Anand and Waheeda Rehman gave the story a more dramatic and romantic twist. The film added a layer of complexity by exploring themes of love, redemption, and spirituality, along with unforgettable songs like *"Aaj Phir Jeene Ki Tamanna Hai."* 

Reasons To Watch

      A compelling transformation of the protagonist. 

       Memorable music and emotionally charged sequences. 

       The dual-language (Hindi and English) release broadened its appeal. 

                                           When Bollywood Outshines the Book

 4. Omkara (2006)  Adapted from Othello 

William Shakespeare’s *Othello* is a timeless tragedy of love, jealousy, and betrayal. While it’s a masterpiece of English literature, its Elizabethan setting may feel distant to contemporary audiences. 

The Movie 

Vishal Bhardwaj’s *Omkara* reimagines the story in a rural Indian setting, infusing it with raw intensity. The stellar performances by Ajay Devgn, Saif Ali Khan, and Kareena Kapoor brought Shakespeare's characters to life in a way that resonated deeply with Indian viewers. 

Reasons To Watch 

      Localization of Shakespeare’s themes for Indian audiences. 

       Powerful dialogues and a rustic aesthetic. 

       Saif Ali Khan’s portrayal of Langda Tyagi redefined the role of an antagonist.  Read More

[sifil-blog]

Sanskrit's Influence on the Hindi Language

Sanskrit is often considered the oldest language in the world. Sanskrit has survived for 5000 years in both oral and written form. It comes under the Indo-European family of languages. Interestingly, Sanskrit has given rise to many modern Indian languages. Hindi and other regional languages find their origins in this ancient tongue. It is interesting to explore the relationship between modern Hindi and ancient Sanskrit. 

Historical Context

Sanskrit’s first written record dates back to 1500 BC. According to oral traditions, the language can be as old as 5000 years. On the other hand, Hindi is only 200 years old. Hindi was developed as an official common language by Bharatendu Harishchandra during the British Raj. Indians wanted an official language of correspondence without the Persian influence of Urdu. Thus, Hindi was created from the classical Hindustani after subtracting major Persian words. 

Linguistic Influence

Any Sanskrit language course will tell you about its linguistic influence on languages like Marathi, Kannada, Gujarati, and Awadhi. Such languages have many words whose roots are Sanskrit words. The same is the case for Hindi. For example, the Sanskrit word ‘nidra’ is the root of the Hindi word ‘nind’. Similarly, we have root words for brother, mother, tree, fig, lion, etc. in Sanskrit. You will find thousands of such words in a Sanskrit dictionary. 

Cultural Impact

Sanskrit has also influenced Indian culture a lot. Many Bollywood songs and theatre plays have their origin in Sanskrit literature. Bollywood movies also have references to Sanskrit epics like Ramayana and Mahabharata. Hindi philosophers also use these references in their debates. You will come across many Hindi poems and prose that refer to these characters to add context in the situation. 

Modern Relevance

Sanskrit still commands great respect in literary circles. Although an extinct language, there have been attempts to revive it. The language continues to influence Hindi literature and vocabulary even today. Hindi language courses will teach you to coin new words to keep up with scientific inventions. Such words always use Sanskrit roots. ‘Antariksh yatri’ is Hindi for astronaut. It has Sanskrit roots. 

Sanskrit's enduring influence on Hindi is undeniable. It enriches its vocabulary, grammar, and cultural context. Sanskrit continues to shape modern Hindi despite being an ancient language. It is demonstrating the timelessness and adaptability of its linguistic legacy. The relationship between the two languages remains a fascinating area of study and appreciation.

[bhajanmandalilucknow]

Radha Krishna Jhanki Group in Bajaha Gorakhpur

"Sargam Jagran Party" is the best in Jagran, Chowki, Bhajan & Sai Sandhya, Khatu Shyam Bhajan, Ladies Sangeet & all Devotee type program in Lucknow, UP, India. ☎+91-9919805315. "Sargam Jagran Party" has been conducting Mata ki Chowki, Mata ka Jagran and Bhajan Sandya from last 10 years with lots of memories and with great success.Blessing of God and Goddess is needed to overcome every rough course of life. Everyone should conduct Mata Ki Chowki and Mata Ka Jagran to get blessing and her devine power and all the needs to be fulfilled.

Mata ki chowki represent the ancient culture of Hinduism society. Mata ki chowki means praising the stories of Gods life time experiences in the form of singing. It is generally sung in Sanskrit and Hindi. It is a devotional programme conducted specially for occasions like Weeding, Engagement, Birthdays, Anniversaries or during Ganpati Pooja and Navratri festivals. In Mata ki Chowki Short time kirtan is conducted in Mata Ki Chowki and it is mostly for 4 to 5 hours. Prayee devote their respect through their prayers in the form of singing. Garlands and Matajis bhet (red color chunni) coconut and shingar with bheta. After that Aarti is done by the devotee who has kept Mata Ki Chowki. Bhog Prasad to Mataji of Kher has been offered followed by Amrit Varsha and Phoolon Ki Varsha of flowers and petals. At last prasand is shared to all people who have been there as the samapti of Mata Ki CHowki.

Any religious theme song or song related to God is refers to Bhajan which literaly means "sharing". No specific set or rules are describing for Bhajan, it is a free form of singing based on the devotee how they conduct it. According to Hinduism Bhakti, Kirtan and Bhajan all these three are connected with the vedic era specially Samaveda. Semaveda is meant to sing like a musical score which should be heard. The main motive behind conducting this Bhajan Shandya is to receive blessing of God's. Bhajan also helps to maintain possitive environment around one's selves and wish to get all their dreams fulfilled. In this singer sungs the religious song which gives the feeling to connect everyone with the God. Bhajan has been done generally at the evening time which takes max to max 3 to 4 hours. Pooja has been done by the devotee and the first stage and after that Aarti takes place and at last prasad has been distributed at last, with all this we came to the end of the Bhajan

Akhand Ramayana Path is a continuous 24-Hour recital of the entire ‘Shri Ram Charit Manas’ without any break. The entire Shri Ram Charit Manas includes seven chapters i.e., Baalkand, Ayodhyakand, Aranyakand, Kishkindha, Sundarkand, Lankakand and Uttarkand. Each of the chapters depicts different stages in Lord Shri Ram’s life. Performing this Path brings auspiciousness and removes obstacles in one’s life. It is performed with bhajans and kirtan in Lord Shri Ram’s praise and his life teachings for his blessings and peaceful life. ‘Shri Ram Charit Manas’ is an epic historical text that represents Lord Shri Rama’s achievements during his lifetime. Lord Shri Rama is the seventh reincarnation of Lord Vishnu. Shri Ram is additionally referred to as ‘Maryada Purushottam’ (“Maryada” translates to “honour and righteousness,” and “Purushottam” translates to “the supreme man”) as he stands for truth, justice, morality and is an ideal example of a perfect son, husband, brother, friend and king. Akhand Ramayan Path praises Lord Shri Rama and his Bhakt Hanuman Ji for his devotion, bravery, and strength. Akhand Ramayan Path is frequently done to find out about Lord Rama’s life and learn and assimilate the characteristics of the supreme person inside ourselves.

Shri Ram Charit Manas, also well-known as Shri Ramayana, is an epic written by great poet Tulsidas, also known as Goswami Tulsidas. Famed for his devotion towards Lord Rama, he was a Hindu poet-cum-saint, reformer, and philosopher of the 16th Century. Formerly, Maharishi Valmiki wrote the Ramayana in the Sanskrit language. Sant Tulsidas was acclaimed during his lifetime to be a reincarnation of Maharishi Valmiki, the original composer of Ramayana in Sanskrit. Lord Rama is prayed upon as he eradicates all types of adversity and agony of living beings. Lord Rama bestows all kinds of favour, honour, and wealth on his devotees. a mere recital of this great Epic Ramayana is believed auspicious and is effective enough to remove various obstacles. It is believed that the benefits of reciting this Epic are increased manifold if it is recited nonstop from starting to end without any break. This recitation is known as “Akhand Ramayana Paath.”

[roomyworldin]

Bridging Past and Present: The Relevance of Ram Charit Manas in Modern Life | Roomyworld

Ram Charit Manas, a revered epic poem composed by the saint-poet Tulsidas, holds a significant place in Hindu literature and spirituality. With its roots deeply embedded in the Ramayana tradition, this masterpiece weaves a tapestry of spiritual narratives that continue to resonate across cultures and time.

Historical Background

Authored in the 16th century, Tulsidas penned the book in Awadhi, a dialect of Hindi. The poetic rendition of the life and teachings of Lord Rama elevates it to a revered status in the realm of religious literature. Its composition marks a crucial period in Indian history, reflecting a synthesis of devotional and literary pursuits.

Structure of Ram Charit Manas

Divided into seven books, each called “Kanda,” the epic traces the journey of Lord Rama, his wife Sita, and his devoted companion Hanuman. The characters play vital roles, symbolizing virtues, and the narrative unfolds with poetic finesse, engaging readers in a profound exploration of divine morality.

Philosophical Themes

Ram Charit Manas delves deep into philosophical themes, prominently exploring the concept of dharma, or righteous duty. The narrative intricately interlaces morality, devotion, and the cosmic order, offering readers profound insights into leading a life aligned with spiritual principles.

Narrative Overview

From Rama’s birth to his exile, Sita’s abduction, and the epic war with the demon king Ravana, Ram Charit Manas encapsulates the entire Ramayana. The poetic flair of Tulsidas adds a layer of emotional resonance, making it accessible to readers of diverse backgrounds.

Cultural Impact

The influence of the book extends beyond literature, seeping into various artistic expressions such as music, dance, and visual arts. Festivals like Ram Navami celebrate the life of Lord Rama, reflecting the cultural integration of this epic into the fabric of Hindu traditions.

Comparison with Other Ramayanas

While drawing inspiration from Valmiki’s Ramayana, Ram Charit Manas brings a distinctive perspective. Regional variations and interpretations further enrich the narrative tapestry, showcasing the dynamism of this ancient tale across different cultures.

Controversies Surrounding Ram Charit Manas

Despite its revered status, Ram Charit Manas has faced criticism and debate. Detractors question certain aspects, sparking intellectual discourse. However, defenders argue that the true essence lies in the moral teachings and not the literal interpretation of events.

Adaptations and Translations

The universal appeal of Ram Charit Manas transcends geographical boundaries. Translated into numerous languages, its teachings have reached a global audience, fostering a cross-cultural understanding of the timeless principles embedded in its verses.

Ram Charit Manas in Modern Context

In today’s fast-paced world, the relevance of Ram Charit Manas persists. Its teachings offer solace and guidance, resonating with individuals navigating the complexities of contemporary life. Communities find inspiration in its timeless wisdom, fostering a sense of unity and purpose.

The Language of Ram Charit Manas

Tulsidas’s unique use of Awadhi in Ram Charit Manas has left an indelible mark on Hindi literature. Scholars appreciate the linguistic nuances, and the epic’s language continues to inspire poets and writers, contributing to the evolution of the Hindi language.

Spiritual Impact

Devotees engage in various spiritual practices inspired by the book. The recitation of verses, bhajans (devotional songs), and pilgrimages to places associated with Lord Rama form an integral part of the spiritual journey for many. To know more visit us at https://roomyworld.in/ram-charit-manas/

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Rabindranath Tagore Biography In English Project

Rabindranath Tagore Biography In English Project: Rabindranath Tagore, born on May 7, 1861, in Calcutta (now Kolkata), India, was a prolific poet, writer, musician, artist, and philosopher. He became the first non-European Nobel laureate in Literature in 1913. Tagore's work encompassed various genres, including poetry, songs, plays, essays, and novels. He was a key figure in the Bengal Renaissance and played a significant role in shaping modern Indian literature and art. Tagore's most famous work is the poem "Gitanjali" (Song Offerings), which brought him international acclaim. His writings reflect themes of love, nature, spirituality, and humanism. Tagore's legacy continues to inspire and resonate with people around the world.

[infantisimo]

All speak in creation. All living and non-living beings have access to gestures, sounds and music that constitute any language. But linguists often credit only humans with the capacity for language, despite knowing it’s not solely their creation. Language, in fact, is the music of creation (the cosmos) created in equity altogether. Not only Adivasi ones, but languages created by every human society on the planet have been sourced from natural environments, experiences, relationships with the biosphere, everyday activities, art skills and techniques. We Adivasis make use of this musical language in many forms and ways, which then constitute the making of our oral tradition. Our oral literature. This is why we Adivasis address this collective tradition, which includes the oral literature of our ancestors, and today’s written modern literature, as orature and orature cannot be considered to be ‘folk literature’.

As non-Adivasi literature constantly looks upon ‘folk literature’ in isolation from ‘people/folks’, folk literature often ends up denoting an illiterate, rural society, unfamiliar with script and grammar, whose culture lags compared to city folk. Cultures considered simple because their language knows no twists.

From a philosophical standpoint, it is far more complex to define ‘folk’. In philosophy, there is both ‘worldly’ and ‘otherworldly’, both reality and imagination. The ‘folk’ in non-Adivasi societies and civilisations belongs to either humans or gods. ‘Folk’ is a mishmash of earth, sky, underworld and heaven. Indian philosophy and literature have such a conceptualisation of ‘folk’.

Among Adivasis, ‘folk’ doesn’t hold a similar conception. Here ‘folk’ is reality. There is no space for fantasy and the unreal in their world. This is why Adivasis do not categorise or keep their literature in the ambit of ‘folk literature’. They call it purkha sahitya (literature of the ancestors). In Hindi, their literary tradition, (which includes both ancestral and modern-day literature), is called ‘Vachikta’. In English, orature.  Because orature isn’t just language, but rather sounds, letters, music, movements and songs. It comprises the languages of animals-birds, rivers-mountains, forests-settlements, planets, sun, moon and the wind. And all this is real, absolutely true. No element is supernatural or even divine. Not miraculous. Each of our moments is connected to all these elements of the cosmos, and we touch and feel them in our day-to-day life. This is why the cultural world of Adivasis is artistic, multicoloured, and multilingual.

Without knowing the nature of language, its mutual associations, the nature of its duets, and its innate contradictions, it is not easy to understand the oratorial tradition, Adivasi ancestral literature and its modern-day works. Speculating from the criteria of so-called mannerly, modern literature, from the aesthetic norms of Hindi literature and culture of India is fruitless.

The conceptions of Adivasi philosophy are different from dominant Western, Indian or Marxist ideas. It neither accepts ‘Satyam Shivam Sundaram’ like the East nor truth and beauty as in the West. Nor does it consider human beings as the eternal truth like Marxists and Dalits. Adivasi philosophy is creationist and naturalist. Adivasi society holds the highest value for known-unknown directions, disciplines, and provisions of the planet, nature and cosmos. There are no concepts around truth-falsity, beauty-ugliness or human-inhuman in their philosophy. It doesn’t consider humans to be great because of their intelligence or ‘humanity’. It firmly believes that everything living and non-living in the universe is equal. Neither is anyone big nor small. All things present in the universe are meaningful and have equity in existence, whether an insect, a plant, a stone or a human being.  It accepts knowledge, reason, experience and materiality within the discipline of nature, not against it.  Adivasi philosophy does not look at exploration, testing and knowledge in terms of convenience and usefulness, but as symbiotic harmony and existential association with the earth, nature and the entire living world. It looks at the activities and behaviours of the human world, the entire evolutionary process, not against nature and existence but complementing it. It brings things to utility as long as there is no sense of serious damage to any object or creation, to nature and the earth. It follows that there is no degradation or decay of nature and life.

Adivasis don’t fall into the lingual traps of modernity. In their philosophical tradition, they are more realistic and scientific than any society. They never search for truth, experiment with truth and look for humanity. For them, the sun is the sun, the moon is the moon. Water is water. Blood is blood. Human is human.

This is why Adivasi literature cannot be divided into ‘folk literature’ and ‘Nobel literature’. It stays in unanimity. Adivasi thinkers and writers around the world consider their oral and written literature to be inseparable. The difference in thoughts between tradition and modernity in non-Adivasi literature finds no ground in Adivasi society. The coming of new material resources does not completely change a tradition. It doesn’t bring forth any substantial change in one’s philosophy of life. The making of vision, aesthetics and philosophy does not occur overnight. This process is extremely slow and long. From this point of view, the concept of modernity seems like an illusion. If the coming of technical inventions and luxuries like fridges, TVs, mobile phones and the internet guaranteed ‘modernity’ then there’d be no killings in the name of race, religion, caste or gender in Indian society. There wouldn’t have been such continuity in atrocities and discrimination against women, Adivasis, Dalits and backward communities. Our daily behaviour is governed by our philosophy, not by motorcycles, scooters and cars. Air conditionerss can only regulate temperatures outside oneself, not value systems, thoughts and ideas. Those result from one’s philosophical tradition and religious philosophy.

Adivasi literature is the bearer of its philosophical tradition. There is no place for false modernity with the glitter of materialism there. Marathi Adivasi author, Vahru Sonvane, says, “It is incongruous from the point of view of Adivasis for literature to only be written.  Thousand-year-long traditions have never stopped. Those traditions are still an integral part of Adivasi life in an inseparable way.”

Mamang Dai, Arunachali adivasi writer, writes, “I am Adivasi, and geography and landscape, the myths and stories of our ancestors… all of these shape my thought process.”

Canadian Aboriginal thinker and author, Akiwanji Dame, says, “Literature is a creative activity. Literature as a unit of creativity is a part of our culture, and we always express it through many ways and mediums. By singing, speaking or writing, all are ultimately part of a unique creativity’.

The oratorial art and literary practices of Adivasis are a set of diverse art forms in which nature plays a major and assured role alongside all other art forms. In the art traditions of the Adivasi world, dancing is necessary for playing, playing music is necessary for dancing, singing is necessary for playing music, and singing, dancing and playing are not possible without the natural habitat. Water, forest and land are the main elements of Adivasi philosophy and art. To look at Adivasi orature in isolation from all these is to deny its philosophical discourse.

[srbachchan]

DAY 4531

Covid ward,  Hospi               July 31,  2020               Fri 10:41 PM

So the site that had been mentioned somewhat briskly but with reserve has been through some tests at the ‘back end’ .. which to ignorant me means the tech team that does all the work in designing the property to make it a viable attractive and have the ease of practicality , has done its job and continues to work each hour to make sure all that shall be up for viewing, works efficiently ..

I do not know how this can be initiated, but those that have been given the work will of course eventually bring it up at the time of the launch and explain all the workings to the Ef of course, but in general also, to all that shall wish to use it.

So just as a vague example what the team informs me is that most of what the visitor needs to know shall be in an easy access mode. The visitor shall not have to go separately to say, the social media platforms - all of them shall be on site once you tune in. Information regarding activities past and present shall be available at the press of a single button. I do not wish to take names just yet , that would not be prudent or ethical, but maybe some of the platforms that are being used to convey, may have to take a back seat or no seat at all.

The whole idea of the concept has been in discussion for long, and the central thought that comes through in each of these discussions is how can we make accessibility to the Ef, to the fan , a lot easier a lot more rapid and a lot more gregarious. Most of this of course cannot be spoken or revealed just yet but I do feel that there shall, hopefully, be a dedicated and lasting connect with all that connects with me - not just the present, but also the past - not just me but also of the family ; in particular Babuji.

For a man of his eminence, as has been said so often, he never did  receive his due. It was his modesty and reserve that kept him away from immodestly blowing the horn of his achievements. His autobiography though has kept the feel of his self in great detail .. in great honesty .. 

Those that have read his prose speak volumes on its literary value and how some feel it has the superiority over his poetic works. This needs to be brought about. This needs to be put across in voice, in audio books, in the compositions of his works in music and recitation - by me ! Not just his poetry, but to be able to bring chapters of his prose that he has most creatively linked to his verse. 

Poets often write from a vision of the world .. a vision that they could have experienced themselves .. a vision that the world could be dictating and whether he agrees with it or not .. a vision that has deep philosophic value .. a vision that makes you sit up and think ‘ why did I not ever think so’ .. a vision that opens the value of the usage of words .. a vision that could become uncomfortable because of its reality and truth .. a vision that decades later still find meaning in whenever you encounter it .. 

How did a man of his background his lower middle class life, have the capacity to think so deep .. how did a man who excelled in his rendition of the Hindi work, encompass in the simplest usage the elements of the emotion he conveyed which touched all .. how did a man of his Hindi eminence, become a Professor in the English Department of the Allahabad University, an institution that was and still is renowned for its educational  and academic merit  .. how did a man of such exemplary qualification translate important Russian works .. how did a man of his eminence write the Bhagwat Gita, in the language and graph and tone of the Ramayan - the Jan Geeta .. how did a man of his eminence join the UOTC - the University Officers Training Core - a subsidiary of the armed forces, initiated by the British during the Raj ..

‘मैं क़लम और बंदूक़ चलता हूँ दोनो ; दुनिया में ऐसे बंदे कम पाए जाते हैं  !’

How did a man of his eminence design the music of most of his recitations , so closely identifiable even now. The tune of his famous ‘Madushala’ his own creation , as also many other prominent works of his , still bring so much nostalgia and awe when we sit down with my music partners to put his words to instrumentation melody. They are all being done. Many have already been recorded by me and wait for the right platform for them to be made public. To put them not just in audio form but to give it a visual ; hopefully with my personal participation. 

On the more personal front , activities of a ‘day in the life of’ shall have tons of footage of activities on set on recording on dubbing on KBC or events where stage shows were conducted .. on events where I was asked to speak .. the recordings of those speeches .. 

.. and remember there are other family personalities that shall be in their presence on the site .. 

.. already remixes of my own songs have been done, where the orchestration has been souped up and so has the singing - hopefully.

The moments I spend on a piano keyboard .. I do not know how to play, but the music partners have connected the piano via some computer technology to a lap top where every time I just randomly spend time on the key board it records automatically and transmits to the music partners who could pick up a note or two and make something of it .. not necessarily of great music value but at times a mood title is created and makes for gentle listening pleasure. 

AND .. here is where I shall ask and request my devoted dedicated Ef to make contributions. Many do even now every day. In paintings and photo shopped designs. In their opinion in verse. In their thoughts. I shall welcome all .. and if found creatively expedient, shall not hesitate to render them in my voice and to expose it to the entire world - much like what we did during the promotions of ‘Badla’ ..

There is so much to say and disclose, but at the right time. The time now is to repair. If God willing I do survive this Covid, a lot will be asked of you, and I know that the contribution shall be so forthcoming that I shall never have to fear the lack of content.

I am blessed to have my Ef ..  of who they are ..  and what they have meant to me all these years ..

My gratitude and my love ❤️

Amitabh Bachchan   

[mailmelachords]

Top 12 Hindi Road Trip Playlists

What is a journey without a soundtrack and playlist? While voyaging, the music assumes a crucial job. We should all include music in our everyday life as well as while voyaging. 

There are numerous decisions for playing music. Some want for Hindi retro, some for English tracks, and in numerous other picked dialects. I have gathered a rundown of blended Hindi old and new tunes. 

Here is a rundown of playlists that will make your short excursion unsurpassed paramount. Have a nitty-gritty look. How about we begin. 

1. Yun Hi Chala From Swades - If you are going by an open vehicle like a means of transport or truck, at that point you ought not to miss this melody. In this melody, Shahrukh khan sings with a Baba or an elderly person. Your excursion will be carefree in the event that you figure out how to discover a Baba. Sing this tune with him so your significant distance excursion will end soon. Furthermore, alongside you, different travelers will likewise not get exhausted. 

2. Dil Chahta Hai (title track) from Dil Chahta Hai - You love to go with companions, associates, Best companions, or with your friends and family? At that point, this melody will welcome good to beat all. In the shooting of this tune, the three companions Aamir Khan, Saif Ali Khan, and Akshay Khanna were seen getting a charge out of this melody when they were good to go from Mumbai to Goa through Konkan coast. 

3. Hum jo chalne lage from Jab We Met - while voyaging alone, you unexpectedly locate a more unusual who is much the same as you, and following several minutes you never know, you become old buddies. At that point, this tune unquestionably suits you in all manners. This melody shooting was finished by Shahid Kapoor and Kareena Kapoor khan when he chooses to drop her securely home to Bhatinda. Trees passing by and sentimental climate will need you more with your friends and family. 

4. Aaj Kal Zindagi from Wake up Sid - Although this tune is for the most part dependent on life's excursion and not on the excursion venture. You can at present tune in to this. What do you anticipate from life and how life brings lovely hues is obviously referenced in the verses of this tune. This tune was formed by Shankar Ehsan Loy. 

5. Hairat from Anjaana Anjaani- Regardless of whether you're not going on an excursion to Las Vegas at any point in the near future (as appeared in the film), this fiery number can energize you for any excursion! 

6. Safarnama from Tamasha -  Safarnama actually signifies "travelog". At the point when you want to get all philosophical and passionate in your excursion, do tune in to this tune.

7. Phir Se Ud Chala from Rockstar - Ranbir Kapoor ostensibly gave probably the best execution in Rockstar. This tune by Mohit Chauhan will flabbergast you with its musical riffs. It just demonstrates that it doesn't take significantly more than a calming voice and all-around considered verses to make an incredible tune.

8. Journey Song from Piku - At the point when a melody's name itself discloses to you it is intended for the streets there is little to do yet to add it to your playlist. Taken from the remarkable film 'Piku', Anupam Roy's hearty voice nearby the best of voices of Shreya Ghosal loans this melody an ethereal vibe.

9. Sooraj Dooba hai from Roy - While the film might not have gone down well with the crowd, a portion of its melodies most likely did. This perky banger sung by Arijit Singh marks all the privilege boxes about self-esteem, overlooking your concerns and living your best.

10. Kabira from Yeh Jawani Hai Deewani - Bunny was quite roaming, and boy wasn't his life great! Kabira is ideal for when you're leaving a small piece of your heart in another spot and are managing all the blues of partition.

11. Hai apna dil toh awara from Solva Saal - Perhaps the best melody to bob to, this number so appropriately resonates with the ethos of our age, that it is difficult to not be enamored with. Even more so when we have our voyaging boots on! It is most likely extraordinary compared to other Hindi travel melodies from the former period.

12. Ilahi from Yeh Jawani Hai Deewani - Let it be known, you wanted for Bunny otherwise known as Kabir otherwise known as Ranbir's life in Yeh Jawaani Hai Deewani. You rehashed this discourse, "Principle udna chahta hoon, daudna chahta hoon, girna bhi chahta hoon bas rukhna nahi chahta", to any individual who asked you for what valid reason you need to travel!

[bollywoodirect]

Tributes to Pandit Narendra Sharma, the legendary poet, Hindi film lyricist and the founder of Vividh Bharati on his death anniversary today.

Pandit Narendra Sharma was a poet and lyricist, writer and intellectual as well as a journalist who has penned unforgettable poems, literature and lyrics in films. A Hindi Urdu scholar, he combined the tradition of Kabir and Meera with the lyricism of ghazals and Urdu poetry to provide Indian cinema with the Hindi language that was rich in the literature of Allahabad and Ganga. He was the man who evolved the face of All India Radio during its drowning stage by establishing popular Radio channel Vividh Bharati and generated listeners that went upto an amount of almost 35 crores.

He wrote some memorable songs for hindi films like "Jyoti Kalash Chhalke" (Bhabhi Ki Chudiyan - 1961) ,“Yashomati maiya se bole nandlala” (Satyam Shivam Sundaram – 1979) and the title song “Satyam Shivam Sundaram” (Satyam Shivam Sundaram – 1979).

Pandit Narendra Sharma was born on 28th of February 1913 in the Jahangirpur district of Uttar Pradesh. He completed his MA in English literature from Allahabad University before participating in the struggle for Indian independence. His travails during those times helped shape his morality and thirst for literature. Belonging to the same batch as another illustrious peer, Harivanshrai Bachchan, Sharma immersed himself in Hindi poetry. His works were viewed with great respect and love among his peers as well as his readers. It was in 1942 that Bhagwati Charan Varma, author of 'Chitralekha', brought him to the city of Bombay to work as a lyricist with the famed Bombay Talkies.

During this time, Devika Rani's best team had disbanded. Kavi Pradeep, the foremost lyricist of Bombay Talkies had already had his differences and left the studio. Bhagwati Charan Varma, who wrote 'Pratima' for Bombay Talkies, suggested Narendra Sharma's name to Devika Rani. Pandit Narendra Sharma's first film as a lyricist was for Raj Kapoor and Devika Rani starrer 'Hamaari Baat' (1943). Under the maestro, Anil Biswas, he found a composer who understood the tone and the temperament of his classical lyrics. Sharma's next film was the debut of a young, handsome man named Yusuf Khan. The only problem was that the young man did not wish to be featured under his own name. So, the writers of Bombay Talkies were tasked with the job of coming up with a name for their hero. It was Pandit Narendra Sharma who suggested the name 'Dilip Kumar'. It would go on to become one of Indian cinema's most recognized and influential names for the next century. The classical lyrics of his songs found the ideal singer in Lata Mangeshkar. Her rendition of 'Jyoti kalash challke' and 'Satyam shivam sundaram' remain the most memorable. Another very popular number is 'Naach mayura' in the melodious voice of Manna Dey.

Films were not the only benchmark by which Pandit Narendra Sharma's contribution to Indian cinema can be measured. In 1952, he was invited by Prime minister Jawaharlal Nehru to manage the new branch of All India Radio. They named it 'Vividh Bharati'. Under Pandit Narendra Sharma, Vividh Bharati grew to become one of the main public media in India. Its listenership grew to a record 97% by the year 1970. Some of the most important radio programmes like Binaca Geetmala took the country by a storm. This programme was vital to regenerating interest in Hindi film songs and its lyrics. He remained with ‘Vividh Bharati’ until his retirement. After attending the age of retirement he went back to his lyrical world.

Pandit Narendra Sharma also did write many non-filmy bhajans and devotional songs. ‘Satrang Chunar Navrang Paag’, ‘Naach Re Mayura Bolkar Sahasra Nayan’ ‘Aiye Prabhui Aaiye’ are some of his famous non-film poems.

One of his most famous works is the title track of Raj Kapoor's Satyam Shivam Sundaram. The philosophical lyrics of the song weave an intricate thread about beauty and truth and their divinity. The popularity of this song and its complexity earned the lyricist his first Filmfare nomination.

On 11th February 1989, the great lyricist breathed his last. A poet who spoke about the presence of divinity in everything, Pandit Narendra Sharma's lyrics evoke the greatest truth of art - Art is truth and truth is the beauty.

[ancienthinduism]

संस्कृत - Sanskrit

The relationship between culture and language is an intimate one, for language is the vehicle of human thought. Language determines a culture’s worldview. 

As language changes, so religion changes. In the case of Hinduism, Sanskrit stood for millennia as the carrier of Vedic thought before its dominance gradually gave way to the vernacular languages that eventually became the modern day languages of India: Hindi, Gujarati, Bengali, Telugu, Kannada, and so on. Although the foundations of Hinduism are largely built on the vocabulary of Sanskrit, these modern languages are now the primary carriers of Hindu thought within India. 

Sanskrit is regarded as the ancient language in Hinduism, where it was used as a means of communication and dialogue by the HinduCelestial Gods, and then by the Indo-Aryans. Sanskrit is also widely used in Jainism, Buddhism, and Sikhism. The term ‘Sanskrit’ is derived from the conjoining of the prefix ‘Sam’ meaning ‘samyak’ which indicates ‘entirely’, and ‘krit’ that indicates ‘done’. Thus, the name indicates perfectly or entirely done in terms of communication, reading, hearing, and the use of vocabulary to transcend and express an emotion. An extraordinarily complex language with a vast vocabulary, it is still widely used today in the reading of sacred texts and hymns. 

BIRTH OF SANSKRIT - 

The Sanskrit language was termed as Deva-Vani (‘Deva’ Gods - ‘Vani' language) as it was believed to have been generated by the god Brahma who passed it to the Rishis (sages) living in celestial abodes, who then communicated the same to their earthly disciples from where it spread on earth. The origin of the language in written form is traced back to the 2nd millennium BCE when the Rig Veda, a collection of sacred hymns, is assumed to have been written after being continued for centuries through oral tradition and preservation of verbal knowledge in the Guru-Disciple relationship. The purity of this version (Vedic period, 1500 – 500 BCE) of Sanskrit is doubtlessly reflected in the flamboyance of the perfect description of the forces of nature in the Rig Veda.

( ~ a sanskrit quote on life.)

VEDIC SANSKRIT

Sanskrit in terms of its literary association is classified into two different periods, the Vedic and Classical. Vedic Sanskrit is found in the Vedas sacred texts, especially the Rig Veda, the Puranas, and the Upanishads, where the most original form of the language was used. The composition of the Vedas is traced to the period of 1000 to 500 BCE, until when Sanskrit had a vigorous tradition of being used consistently through oral communication. This early Sanskrit is rich in vocabulary, phonology, grammar, and syntax, which remains undiluted in its purity to this day. In all, the language is like an endless ocean without a base due to its reach,  complexity, and hundreds of words to express a single meaning or object.

CLASSICAL SANSKRIT - ASHTADHYAYI

Classical Sanskrit has its origin in the end of the Vedic period when the Upanishads were the last sacred texts to be written down, after which PANINI, a descendant of Pani and a grammar and linguistic researcher, introduced the refined version of the language. Panini’s timeline is assumed to be around the 4th century BCE, when he introduced his work ‘Ashtadhyayi’, which means eight chapters, forming the only available foundational and analytical text of Sanskrit grammar. It is considered to be the only source of Sanskrit grammar and vocabulary today, because everything that existed before had never been recorded except via their mention in Panini’s Ashtadhyayi.

(~ A newspaper article on the great Sanskrit Linguistic - PANINI .)

The language is so vast that it has more than 250 words to describe rainfall, 67 words to describe water, and 65 words to describe earth, among other descriptions. This proves the magnanimity of Sanskrit when compared with current modern languages. However, different the sub-castes of Hinduism may be in their dialect, race, creed and rank - Sanskrit is considered and accepted as the only sacred language giving rise to the only available sacred literature by all, even though India has a repository of 5000 spoken languages. Panini was responsible for the standardisation of the language, which to this day remains in use in multiple forms. Sanskrit as a spoken language is rare and is spoken in some regions in India, some even claiming it as their first language, but it is proudly mentioned as one of the 14 original languages of India in its Constitution. It is largely used in Carnatic music in the form of bhajans, shlokas, stotras, and kirtanas, all indicating various hymns to the Gods, and songs and mantras of God worship.

INFLUENCE ON OTHER WORLD LANGUAGES

Sanskrit has had a major impact on other Indian languages, such as Hindi, which is presently one of the official languages of India, and Indo-Aryan languages such as Kannada and Malayalam.  Thailand and Sri Lanka has been enormously influenced by Sanskrit and have many similarly sounding words. The Javanese language is another which has been influenced by Sanskrit, along with the modern language of Indonesia and traditional language of malay spoken in Malaysia. Filipino has a minor influence from Sanskrit, but less than that from Spanish, for example. 

In the last century a new phenomenon has been occurring. Hinduism has begun to emerge in the West, and as Hinduism expands into the West, the emerging forms of this ancient tradition are naturally being reflected through the medium of Western languages, the most prominent of which is English.The differences between the Indian regional languages and Sanskrit are minuscule when compared to the differences between a Western language such as English and Sanskrit. English, the current modern international language has also been influenced by Sanskrit and has picked up many loanwords from the ancient language (for example 'primitive' from 'prachin', meaning historical, 'ambrosia' from 'amaruta' meaning food of the Gods, 'attack' from 'akramana' meaning taking aggressive action, 'path' from 'patha' meaning road or way,  'man' from 'manu' meaning a male human, 'nirvana' from 'nirvan' meaning divine liberation or transcendence, 'door' from 'dwar' meaning a doorway connecting two spaces, ''serpent' from 'sarpa' meaning snake, etc.) since both are considered as Indo-European languages.

The Sanskrit language has been the traditional means of communication in Hinduism, Jainism, Buddhism, and Sikhism. Sanskrit literature holds the privilege of being used in ancient poetry, drama, and sciences, as well as religious and philosophical texts. The language is believed to have been generated by observing the natural progression of sounds created in the human mouth, thus considering sound as an important element of language formation. This is one of the prime reasons why Sanskrit has been rich in poetry and its expressive quality of bringing out the best meaning through perfect sounds that are soothing to the human ear.

BUT WHY IS SANSKRIT KNOWN AS THE LANGUAGE OF GODS ? Come to know about the same by following our upcoming posts on the same subject.stay tuned !

[tornreality]

REPOST DONT REBLOG

FULL NAME.   Kiran Singh NICKNAME.  Kiri, Solstice, Sunshine GENDER. Female HEIGHT. 5′3″ AGE.  Verse dependent, primarily young adult. SPOKEN LANGUAGES. Hindi, Punjabi, English

𝐩𝐡𝐲𝐬𝐢𝐜𝐚𝐥 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐢𝐬𝐭𝐢𝐜𝐬 !

HAIR COLOR.   Black/dark brown EYE COLOR. Brown/hazel SKIN TONE.   Brown BODY TYPE.   Curvy VOICE.   Nazriya Nazim’s. DOMINANT HAND.   Left POSTURE.   Kiran has pretty good posture, due to coming from a family that cares a lot about it. However, she does struggle with her back due to having helped out with her parents’ archeological experiences and boobs on the bigger side. SCARS.  Only a couple of faded ones, primarily earned from her parents’ excursions. TATTOOS.  She has a henna tattoo on her wrist that she regularly gets drawn up. BIRTHMARKS.   A few scattered allo ver her body. MOST NOTICEABLE FEATURE(S).  She glows when she’s happy.

𝐜𝐡𝐢𝐥𝐝𝐡𝐨𝐨𝐝 !

PLACE OF BIRTH.   New Delhi. HOMETOWN.   New Delhi. SIBLINGS.  A bunch of brothers and sisters.

𝐚𝐝𝐮𝐥𝐭 𝐥𝐢𝐟𝐞 !

OCCUPATION.   Archeology student by day, superhero by night. CURRENT RESIDENCE.   Titans Tower CLOSE FRIENDS.  Cassie, Tim, Bart, Garfield, and Raven. Generally the Titans. RELATIONSHIP STATUS. Single FINANCIAL STATUS.   Rich with the help of her parents, they’re pretty popular. DRIVER’S LICENSE.   She doesn’t have one. CRIMINAL RECORD. None. VICES. Tetchiness, 

𝐬𝐞𝐱 & 𝐫𝐨𝐦𝐚𝐧𝐜𝐞 !

SEXUAL ORIENTATION.   Pansexual, female leaning. PREFERRED EMOTIONAL ROLE.   submissive | dominant | switch PREFERRED SEXUAL ROLE. submissive | dominant | switch   LIBIDO. Low. But generally depends on the moment. TURN ON’S. Romance. She likes to be wooed. TURN OFF’S.  Self-confidence to the point where it is bragging and quite annoying. LOVE LANGUAGE.   She likes to praise people she loves and especially cook for them. She gives a lot of gifts too. RELATIONSHIP TENDENCIES.  People she has things in common with. She likes to get philosophical at night and talk about the meaning of life.

𝐦𝐢𝐬𝐜𝐞𝐥𝐥𝐚𝐧𝐞𝐨𝐮𝐬 !

CHARACTER’S THEME SONG. Here Comes the Sun! HOBBIES TO PASS TIME. Watching Bollywood movies, cooking, sewing, singing, dancing, yoga, meditation, playing the harp, anything really and she’ll probably love it. LEFT OR RIGHT BRAINED. Right. PHOBIAS.  Not being good enough. SELF CONFIDENCE LEVEL. Has a high sense of self-confidence. VULNERABILITIES.   Darkness.

tagged by : @deborahmorgna ( thank you, hon! <3 )

tagging : @arsenalredarrow, @memorystxrs ( stella! ), @handpickedriot ( abby! ) and @wykkydness !

[newsraag]

Rabindranath Tagore Biography In English

Rabindranath Tagore (1861-1941) was a renowned Indian poet, philosopher, musician, and artist. He became the first non-European to win the Nobel Prize in Literature in 1913. Tagore's work transcended borders, blending traditional Indian aesthetics with modern ideas. He wrote extensively in Bengali and composed numerous songs, which became deeply ingrained in Indian culture. Tagore was a visionary who emphasized the importance of universal humanism and sought to bridge the gap between East and West. His contributions to literature and art continue to inspire generations, leaving a lasting impact on the world of poetry and beyond.

[globalworship]

Pawana Atma Antaryami (Pure Holy Spirit of God), Hindi song

This short film for Pawana Atma Antaryami is a meditation on the ways that we hide ourselves from each other and the One who knows our inner self. The film is directed by Miranda Stone, who also sings and plays tabla on the song recording.

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Pawana Atma Antaryami: A devotional bhajan performed by Yeshu Satsang Toronto, https://www.facebook.com/YeshuSatsangToronto/ originally found in the NBCLC Hindi booklet.

For a free download of this song, and other bhajans from the Kshama Sagar Bhakti Mala songbook, visit: www.YeshuSatsangToronto.Bandcamp.com www.YeshuSatsangToronto.com

+++

Paawana Aatma Antarayaami Pure, holy Spirit of God, the “One who knows my inner self” 

Barsaado apani kripa… Pour down your grace/favour/compassion/forgiveness

Barsaado apani shakti… Pour down your power/strength   

Barsaado nija varadaan… Pour down your gifts of blessing 

+++

Commentary by Miranda Stone, film director:

The landscape hides under the cover of snow; the fish sulk quietly under the ice of the lake. There is a feeling of purity unique to the other seasons. Even a junkyard has a chance to look beautiful and pristine under this frozen garment. Trash mercifully disappears under its graceful shroud. 

 You walk alone, attempting to find a way across a frozen land, without falling through the crust.  Even in your closest relationships, you struggle to be accepted and known for who you truly are; to reveal what’s underneath the protective bandages around your heart.  You hide your face, yet still hope with your eyes… to be seen, and loved.   

 It is a miracle, but you are walking over (frozen) water, in a step of faith, to reach the island. Your childlike efforts to connect to God, who is beyond understanding, drives you to build a mandir (temple) of snow.  It’s an effort, but it’s what you have to work with. You hope to catch a vision of what Divine Love looks like. You remember the story of the forgiving father who welcomes the prodigal back home.  It is a holy celebration of the soul who surrenders their pride, and hungers for restoration. It's a celebration of the Divine Mother/Father who opens the arms of grace with unconditional love.  It is the lover and the beloved, united as one. 

 *** 

 There are a few props in this short film that hint at the cross cultural experiences of life and faith that have nurtured us along the way.  Instead of living in small villages, with closed and singular cultures, many can now learn new languages, eat new foods, celebrate new rituals, and learn from each other, sometimes without even leaving their respective “villages.” 

 It is a delight to be able to share some of these little clues as to our own personal stories, and you will see them scattered throughout this film.   

 A wooden plaque in the background of an early scene reads “Der HERR ist mein Herte, mir wird nichts mangeln,” a nod to my German roots and a love of the Psalms of David.  Chris’ Adirondack pack basket speaks about his family history there.  Every few years as a child, Chris would leave his mountain village in Nepal to reconnect to his family in the mountains of America.  The walking stick he is using was made by an artist named Robert who was a fixture at Dorland Mountain Arts Colony.  On the walking stick which he made, he carved the words “The journey of a thousand miles begins with a single step.” This quote is attributed to the Chinese philosopher Laozi, the reputed author of the Tao Te Ching.  

The snow shoes that we are using are the traditional Huron/Algonquin type.  In the outdoor footage, I’m wearing a replica of a wool coat traditionally worn in the Kashmir valley called a Phiran.  I’m grateful to my friend Scott for lending me his coat many years ago so that I could make a pattern.  Along with the coat, I’m using a Bandhani Odhni (woman’s dupatta/veil) from Rajasthan which Chris and I found on our honeymoon there.   It’s traditionally worn over the head and across the chest.  Colours and designs are important to status and region; red is the colour of marriage and green the colour of fertility. In Rajasthan, the red and yellow odhni called Piliya (referring to the colour yellow) is only given to a woman who has given birth to her first child.  

I’m deeply grateful to Naomi Wray who sent us a copy many years ago of the Frank Wesley painting “Forgiving Father” which we featured in the mandir scenes. The clay deeps (oil lamps) we lit are the traditional ones used across India, with mustard oil and cotton wicks. The integration of the east (clay lamps) with the west (beeswax candles) being added into the altar are a symbol of our everyday life that has been wedded to India through childhood and marriage.  The light we get from both is hard to define; it is our life.  We hope it will be a blessing.  -- Miranda Stone

+++

Miranda Stone, photo by Luke Parker

[roonil-wazlib-in-the-tardis]

So I just came back from watching the Crimes of Grindelwald

And it was great. I don’t care about people complaining. They’re entitled to their opinion, but I really loved it. 

(SPOILERS AHEAD)

- THAT CREDENCE TWIST, HOLY SHIT. It’s perfectly believable that Kendra could have had another child after Ariana. She could have been pregnant when Percival got imprisoned, and she couldn’t care for a sickly Ariana and a baby at the same time, especially with the reputation her family already had. She could have concealed the pregnancy from her sons and the wider world using magic, and given birth in secret. She could have sent someone with the baby to America. Then, obviously, Leta would have taken him, exchanging him with Corvus. And then there’s the Phoenix thing, which we know to be true.

- Also that thing with Dumbledore mentioning his family lineage and the Phoenixes. That made me so happy, and it broke my heart when I remembered Fawkes’ song, and him flying away. It broke my heart in the book, and it’s still breaking my heart now. 

- Queenie joining Grindelwald was also heartbreaking. However, from History, and seeing a lot of documentaries and interviews and reading records, that’s an actual thing that happened. People being enchanted by so called ‘leaders’. Jim Jones especially comes to mind. Innocent people being taught that joining him was the best way of life, leading to terrible consequences. I was really disappointed in her using the spell on him- that was terrible. The only consolation is that he really does love her. It’s just MACUSA being SOB’s about Wizard/Muggle relations, which is really shitty. I agree with Jacob. They could have moved to London and got married legally.

- Grindelwald was a great villain, and very conniving. Whether you like him or not, Johnny Depp is a fabulous actor. 

- Nagini was a controversial topic, but it’s understandable. I always suspected that she was once a human, from all of Voldemort’s interactions with her, and the way she interacted with him. It’s controversial that she’s an Asian woman. But come on. I’m Indian, and there’s really nothing to be offended about. “Naagin” means snake in Hindi. Child me understood this perfectly when I was reading the Goblet of Fire. Obviously someone with a Hindi name would be from somewhere in Asia. There are 32992740587027591832 Indian Soap operas and movies with women turning into snakes, and no one is offended about it. My mother watches them all. All of them. I don’t know why she’s not fedup by now. They have shitty graphics. They all have the same plot. They are all named Naagin with a random number after them. I try to watch something else but my mother, my Nani, my Ajie and all of my maternal aunts all watch them, so whether I’m at home or at any of my grandmothers’ houses, it’s on, and if not, there’s another Indian soap opera on. Send help. Most young Indian people will understand my pain. We need a support group or something.

- I love Jacob Kowalski and Newt Scamander and want to protect them with my life. 

- I really like Theseus as well. He’s a really sweet guy, and he’s very un- Percy Weasly like, which is great.

- Leta’s story was fascinating. Everyone in the cinema was crying when they realised what her boggart was. I know I’m using the word “heartbreaking” a lot but it’s relevant. Their father was a piece of shit and the entire situation on the boat was just a really tragic situation. Leta was a child, and she didn’t know what would happen when she switched her brother with Credence. She just wanted the crying to stop, and she obviously didn’t know that the boat would go under. When she died, I cried even more. She’s a really lovely character, and her and Theseus, in the brief time we saw them together, were adorable. Newt comforting him after she died broke me. I really hope she’s not dead. That she disapparated or something, because she’s such a sweetheart. I hoped that they wouldn’t go the way of her being vindictive and jealous of Tina, and I’m glad they didn’t. Too many movies have that trope.

- And I could understand Tina being upset about Newt not telling her that they were “engaged”. And it was resolved when he told her that they weren’t. Some movies just drag it out for too long, and it gets boring.

- I LOVED Nicholas Flamel. Him puttering around his house was adorable, and Jacob squeezing his hand too hard was hilarious. Also that Philosopher’s Stone cameo tho.

- I feel extremely betrayed by Mr. Abernathy.

- Baby. Nifflers. Baby Nifflers. Oh my Goddddd

- The Niffler coming through at the end.

- Pickett being helpful and wonderful.

- When Hogwarts came onto the screen, and Hedwig’s theme started to play- that’s when I started to cry. My home. My school. The place I’d been sucked into for most of my life. That my mind could escape to when the bullying got too bad, when I wanted to not hear the people laughing behind me. I didn’t think I would see it on screen after Deathly Hallows part 2. I was extremely happy about this development.

- I was kinda irked by McGonagall being there too early, but her birth date wasn’t cemented in canon in the books, so I guess J.K. Rowling could change it to suit the plot. When she shut the complaining girl up, there was no doubt in my mind that that was Minerva McGonagall My form mistress when I was in forms 4 and 5 didn’t take shit like that either, and took action when there was someone talking shit about my friend and I, shutting her up for the most part. I love her so much.

There’s so much more that I loved, so many other thoughts about this movie, but I can’t even express how much I loved it. It’s great to be back in the Wizarding World.

[bollywoodirect]

Tributes to Pandit Narendra Sharma, the legendary poet, Hindi film lyricist and the founder of Vividh Bharati on his 30th death anniversary today.

Pandit Narendra Sharma was a poet and lyricist, writer and intellectual as well as a journalist who has penned unforgettable poems, literature, and lyrics in films. A Hindi Urdu scholar, he combined the tradition of Kabir and Meera with the lyricism of ghazals and Urdu poetry to provide Indian cinema with the Hindi language that was rich in the literature of Allahabad and Ganga. He was the man who evolved the face of All India Radio during its drowning stage by establishing popular Radio channel Vividh Bharati and generated listeners that went up to an amount of almost 35 crores.

He wrote some memorable songs for hindi films like "Jyoti Kalash Chhalke" (Bhabhi Ki Chudiyan - 1961) ,“Yashomati maiya se bole nandlala” (Satyam Shivam Sundaram – 1979) and the title song “Satyam Shivam Sundaram” (Satyam Shivam Sundaram – 1979).

Pandit Narendra Sharma was born on 28th of February 1913 in the Jahangirpur district of Uttar Pradesh. He completed his MA in English literature from Allahabad University before participating in the struggle for Indian independence. His travails during those times helped shape his morality and thirst for literature. Belonging to the same batch as another illustrious peer, Harivanshrai Bachchan, Sharma immersed himself in Hindi poetry. His works were viewed with great respect and love among his peers as well as his readers. It was in 1942 that Bhagwati Charan Varma, author of 'Chitralekha', brought him to the city of Bombay to work as a lyricist with the famed Bombay Talkies.

During this time, Devika Rani's best team had disbanded. Kavi Pradeep, the foremost lyricist of Bombay Talkies had already had his differences and left the studio. Bhagwati Charan Varma, who wrote 'Pratima' for Bombay Talkies, suggested Narendra Sharma's name to Devika Rani. Pandit Narendra Sharma's first film as a lyricist was for Raj Kapoor and Devika Rani starrer 'Hamaari Baat' (1943). Under the maestro, Anil Biswas, he found a composer who understood the tone and the temperament of his classical lyrics. Sharma's next film was the debut of a young, handsome man named Yusuf Khan. The only problem was that the young man did not wish to be featured under his own name. So, the writers of Bombay Talkies were tasked with the job of coming up with a name for their hero. It was Pandit Narendra Sharma who suggested the name 'Dilip Kumar'. It would go on to become one of Indian cinema's most recognised and influential names for the next century. The classical lyrics of his songs found the ideal singer in Lata Mangeshkar. Her rendition of 'Jyoti kalash challke' and 'Satyam shivam sundaram' remain the most memorable. Another very popular number is 'Naach mayura' in the melodious voice of Manna Dey.

Films were not the only benchmark by which Pandit Narendra Sharma's contribution to Indian cinema can be measured. In 1952, he was invited by Prime minister Jawaharlal Nehru to manage the new branch of All India Radio. They named it 'Vividh Bharati'. Under Pandit Narendra Sharma, Vividh Bharati grew to become one of the main public media in India. Its listenership grew to a record 97% by the year 1970. Some of the most important radio programmes like Binaca Geetmala took the country by a storm. This programme was vital to regenerating an interest in Hindi film songs and its lyrics. He remained with ‘Vividh Bharati’ until his retirement. After attending the age of retirement he went back to his lyrical world.

Pandit Narendra Sharma also did write many non-filmy bhajans and devotional songs. ‘Satrang Chunar Navrang Paag’, ‘Naach Re Mayura Bolkar Sahasra Nayan’ ‘Aiye Prabhui Aaiye’ are some of his famous non-film poems. One of his most famous works is the title track of Raj Kapoor's Satyam Shivam Sundaram. The philosophical lyrics of the song weave an intricate thread about beauty and truth and their divinity. The popularity of this song and its complexity earned the lyricist his first Filmfare nomination.

On 11th February 1989, the great lyricist breathed his last. A poet who spoke about the presence of divinity in everything, Pandit Narendra Sharma's lyrics evoke the greatest truth of art - Art is truth and truth is beauty.