#satrangi

[swavo]

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[maester-of-spreadsheets]

The only soundtrack

[eileenguy]

[virhotkanthita]

लाल है!

[nicolos]

sonu nigam may have been THE singer of the late mid-late 90s but his voice just does not suit shahrukh khan

[arshifiesta]

Welcome to Arshi Fiesta!

Phati-sari's aur Sanka Devis, hum tumka forgetyay naahi gaye hain! Hum toh ee lobhbirds ko surprisewa deve ke khatir tumka bulawat hai! Samjheev? Ab ee ka baat padho, e khoon bhari taang kaa introductionwa likh ke gayi hai dekho to jara👀

Theme Introduction: Colours of Love!

If you didn't know already, "Satrangi Re" is a song from the movie Dil Se which is based on the concept of seven stages of love depicted in Arabic Literature. Each stage is denoted by a color so let's look at Arshi's story through these colours!

1. Black for Attraction (hub)

The song starts with a hauntingly energetic tune (spooky!) and we weave through a maze of passages till we finally meet our protagonists. Quite like how Arshi started out as strangers who didn't look like a compatible match initially until all the pieces of puzzles fell into its place.

The beautiful lyrics captures the essence of their dhak-dhaks, their initial attraction that exists from their very first meet. They've hated each other, loved each other but have never ever stopped being attracted to one another. As if a magical magnetic force has kept bringing them together over and over again (guess who? Devi Maiyya of course!) 🖤

2. Violet for Infatuation (uns)

Uff, Infatuation inke jaisa toh aur kisi couple me nahi hai, right? The subtle yet lingering touches, intense gaze, impulsive kiss games and everything about their chemistry is absolutely electrifying! No one does infatuation like them 💜

3. Blue for Love (ishq)

Love love love. Love took so long to blossom between them, like a long drawn out fire. Was it blazing or were there only a few embers alight? One could barely tell. Love started from care first. But they could only care once they hurt each other, right? Oh and hurt they did, they hurt each other really bad. But, isn't it only the people you care about who could hurt you? 💙

4. Green for Trust (akidat)

Trust is tricky. Trust takes longer than love. Because you can only trust someone blindly when you love them. From the chain of broken pearls to the soft and patient unwinding of fairy lights... somewhere between that Arshi started trusting each other. And it strengthened when Arnav stepped up to dance with Khushi, strengthened again when despite all evidence against Khushi and Shyam, Arnav decided to confess his love to her... as if it was the last thing he had left to do. And later when he came to know about Garima's past, he trusted Khushi again. Because things aren't always as black and white as they look. Sometimes they're green 😉💚

5. Yellow for Worship (ibaadat)

What is love or partnership without worship? From strangers to enemies to lovers, at each stage Arnav has worshipped Khushi. Taken care of her in ways that she needed, in ways that people around her couldn't. Tangled feelings and arms entwined in one another's. A shower of gifts, a series of intoxicated confessions. Arnav may be an atheist but if he has worshipped someone apart from his family, that's Khushi. Khushi is as good as any religion to him.

6. Red for Madness (junoon)

The first thing when you think of Red is probably danger or hell-fire. And that's right too because the fierce fire they have isn't like any other. It burns and scathes. It leaves scars. It is a mad love. They hurt and insult each other, they shout at each other. Their egos are too big for one another. And when they're done hurting, they love each other just as fiercely too. ❤️

As Aakash ji has nicely put it, "Khushi ji thodi pagal hai na?". Arey Aakash ji, aapke bhai bhi thodi kam pagal hai? (Don't tell him I said that 🫢)

7. White for Death (maut)

Death is not always about dying. Well sometimes it is... like the time when Khushi nearly dies at the cliff and Arnav fin-fucking-ally kisses her but only for CPR 😒. Or when they both pretend to die on stage as star crossed lovers Heer & Ranjha.

But death is also about other things like the death of hierarchy between them when Khushi was no longer Arnav's employee. The end of anger between them during holi after days of fooling each other with farq nahi padta post contract marriage. The end of difficulties in their path (almost) when they were about to get married again, for reals. The death of distance between them, not just physically but emotionally too, when they spend the night at the hut after running away from the goons. Like they literally met at a grave (dargah) for their second encounter, no? 😌🤍

Accha toh tum padh li ho kaa? Haan, toh e par se tumka kachu toh banave ka pade, aage tumko khoon bhari taang hi samjhayegi okayyy?

Ab jao, thoda paani piyo aur humka bhi pila diyo haiin... Bahutay garmi hai aaj🔥 Hello hi bye bye!

Never mind sasuma, you guys! We're here to celebrate toh let's wish the couple first! A very very Happy 13th Anniversary to these two AND every single one of you who has loved them, adored and cherished them at some point!

Tagging the people who liked the introductory post in comments below because it wasn't clear if y'all wanted to be tagged or not oof! :((

Index to prompts here

In case you missed the first post!

P.S. Search #moodboard or #word prompt on this blog to easily find all the prompts :)

[fromprovidence]

Satrangi Lake (Seven-Colored Lake) source

[youremyheaven]

Sufi Love Through the Lens of Bollywood Music

Bollywood music is heavily influenced by Sufism and Sufi notions of love permeate the lyrics of most romantic songs. I want to explore some important Sufi concepts and how they manifest themselves in these songs and within the context of these movies.

Chand Sifarish from the movie Fanaa

"Zid hain ab toh hain khud ko mitaana, hona hain tujh mein fanaa"

trans: "I insist on ridding myself of me, I want to annihilate myself in you"

Bollywood romantic songs often emphasize on yearning, seeking and longing for the lover and Sufi poetry which speaks of a soul's yearning to unite with God serves as a useful metaphor to speak of the same. The intense, maddening, spiritual kind of love, although seldom portrayed accurately on screen is ever present in song lyrics. The concept of "twin flames" has been popular in the West for the last couple of years and is by and large, very misunderstood. From a purely spiritual perspective, The Lover and The Beloved are in each other all along (similar to the Jungian concept of anima & animus but slightly different) and yearn to unite with each other. In order for union to be possible however, one must first destroy their "ego" which they call "self".

2. Raabta from Agent Vinod

"Tera milna hai us rab ka ishaara maanu, Mujhko banaya tere jaise hi kisi ke liye"

trans: Meeting you was a signal from God, that he had made me for someone like you

There is a lot of emphasis on the soul's innate knowing and its longing for love which is its longing for God and how seeking union with the Beloved is the inner knowing to realise one's God nature and unite with God in Sufism. This song captures that feeling of things being "destined" and how God has always guided your union.

3. Katra Katra from Alone

"Khud se khaali ho jaoon, aaja tujhse bhar jaoon. Tinka, tinka jal jaoon. Aise jala do"

trans: "let me empty myself, let me fill myself with you. i want to burn up, twig by twig and you burn me."

This is a very erotic song and speaks of love in a very carnal way. However, this idea of dissolving yourself in your lover is a very Sufi one. What is love, if not absolute submersion in the object of your desire?

4. Satrangi Re from Dil Se

This movie itself is very deeply spiritual and I suggest watching it. However this song beautifully captures the 7 stages of love and two people going through it, in a very poetic and profound way. Go watch it!!

Some poignant lyrics include:

Dil ka saaya humsaaya

trans: The shadow of my heart is your shadow

(In my post about twin flames, I had touched upon this but I'll make another post about how the Jungian concept of shadow work and integrating your shadow is to understand your twin and merge them within your consciousness)

Koi noor hai tu (Are you a light?)

Kyun door hai tu (Why are you so far away)

Jab paas hai tu (When you're near me)

Ehsaas hai tu (Then you're a feeling itself)

Koi khwaab hai ya parchai hai (Are you a dream or a shadow?)

These lines alone capture the bittersweet, all consuming, indescribable and maddening feelings that a twin triggers in us.

I also highly suggest reading the lyric translation of this song as a whole because it captures the twin flame experience so exquisitely.

5. Tujh mein rab dikhta hai from Rab Ne Bana Di Jodi

"Tujh mein rab dikhta hai

Yaara main kya karoon

Sajde sar jhukta hai

Yaara main kya karoon"

trans: I see God in you my beloved, what do I do? My head bows down in worship to you my beloved, what do I do?

in my post I had mentioned the 7 stages of love, one of which is worship for the beloved. this song beautifully captures that feeling, of being absolutely devoted and enraptured by the beloved, that nothing less than worship could equate to how you feel for them. its beyond love, beyond admiration, its a holy kind of emotion, its devotion.

🧜🏼‍♀️🦢🦋👼🏼🧚🏼‍♀️🕊🐳👸🏼🧚🏼‍♂️🦋🦢🧜🏼‍♀️🕊🧚🏼‍♀️🦋👼🏼🐳🕊🕊🧚🏼‍♀️👸🏼🧚🏼‍♂️🧜🏼‍♀️🦢🦋

i wanted to keep this post brief so that it can be an accessible entry point but lmk if you want more posts of this kind!! i hope this was interesting💛💛

[sleepdeprivedsunflowerr]

Ibadat

Kya karunga taaron ka jab mere aasman me tera chand nahi

Kya karunga main satrangi siyahi ka jab mere lafzo me kahin tere izhaar nahi

Kya karu me iss aish o aaram ka jab tere saath ka sukoon nahi

Kya karunga fir inn mahalo ka jab mera heera mere khazane me nahi

Tujhe khona mujhe khud ko khone se zyada darata hai

Tere ailava kisi ko apne ghav dikhaane me dil itna jo itna itrata hai

tere baad ab kisko hi pasand kar paunga

Hawa me udti teri zulfo ke jaal se kya me kabhi ubhar paunga

Tere baad ek darbadar bhatakta sa musafir ban reh jau main

teri bas ek aur deedar ki dua rabb ko har shaam kar aaun main

tu agar na mili toh tujhe apni yaado me sambhal kar rakhunga

Teri maujoodgi na sahi, teri har nishaani seene se laga rakhunga

nahi sunn paunga baatein taare tod laane ki

Bas mujhe mera chaand lauta dena, usse bada mera koi ehsaan nahi rahega

~ 🌙

[theinfinitedivides]

listening to the PS:2 soundtrack again in an attempt to bite the bullet and psyche myself up to watch both films back to back in August(? that's the goal at least, if i get to watch it earlier even better) and i have been stuck on Veera Raja Veera for an hour and a half. i have also figured out my personal ranking for all versions of the song at last and it went about as well as i would have expected. it started to get too long for the f*cking tags tho so i decided to put in this post, we'll see how it goes from here—list is in order from least liked to most liked btw

5. going to start this off by saying i'm so so sorry to Gulzar but it's something about the rhythm for me. the lyrics are lovely but the way they are lining up with the music in the Hindi version,,,,,,, or failing to in certain parts,,,,,, it's not it. it's not it. it does well in the first minute or so and then heads downhill from there, and tbh it's not his fault i think it's just the sheer amount of syllables that they have to fit in compared to the original? and with that in mind it's not going to sound the same, obviously, but what salvages it from being a complete disappointment is the way we got both Shreya Ghoshal and Kavita Krishnamurthy as a duet in this year of our Lord 2023. Kavita, who still sounds the same as she did on the Dil Se soundtrack singing Satrangi Re and the Hum Dil De Chuke Sanam soundtrack and the Devdas soundtrack and the Yaara Dildaara soundtrack and the K3G soundtrack with Bole Chudiyan and Shreya Ghoshal who is a pleasure to listen to on practically everything she touches (Bajirao Mastani and Rab Ne Bana Di Jodi and that aalap just before her verse with Kavita here i'm looking at you) and— *inhales* *exhales* ok. do appreciate them letting Kavita take the 'चुन चुन चुन चुन / जाली रे जाली चिंगारी' portion in the Hindi translation bc she sounded beautiful there. (she always reminded me of Lata in that regard i think, and for some inexplicable reason i've by extension connected the two of them to Zohra Sehgal in some of her roles)

favorite line — 'दुश्मन पे टूटे जब | बिजलियों का वीर' / 'dushman pe toote jab | bijilyon ka vaar'. this is one of those times where the rhythm works in their favor and works well, and it leads perfectly into the rest of the verse imo. also @ that one guy going 'योद्धा~~' / 'yodhaa~~' at the very end of the song ty for your service

3. in contrast to the rhythm problems of the Hindi the Kannada recording is very smooth? i don't know if that makes sense as someone who doesn't speak the language but it's like water. like water in a stream just one after another going over the stones in the riverbed as it passes or the waves lapping against the side of the ship or the gentle sound wind chimes make when they hit against each other in the lightest breeze—the phrasing doesn't feel forced (ty Jayant Kaikini sir) and the syllables match the music as well as the original. ofc Rakshita Suresh and Sivasri Skandaprasad have a part to play with their solos in this sounding as good as it does, despite its ranking on my list (which will be explained in the next entry), and while i expected nothing less from Rakshita after Kirunage, this is the first i'm hearing from Sivasri and she blew me away. i had to listen to it several times to be able to tell them apart, and i might still be wrong bc their voice color is very, very similar, but they took what Rahman gave them and made it their own. (is it Rakshita that starts and Sivasri that continues? i'm thinking that it alternates between them with Sivasri ending that portion)

favorite line — 'ಮಳೆಗರೆವಾಗ ಬಾಣ | ಅಡಗಳು ಎಲ್ಲಿ ತಾಣಾ' / 'malegarevaaga baana | adagalu elli thaana'. this is where the river analysis stands out to me bc this feels like putting pebbles said river into a tumbler and rolling them over and over until they come out smooth and polished and just. right. (i am using the word smooth a lot to talk about the Kannada version sksksksk but can you blame me)

3. technically Malayalam and Kannada tie for third place on here (there is no fourth place. there is 4.75th place rounded up to fifth place and that belongs to the Hindi entry as previously stated) but Malayalam has the slightest edge for me. in terms of sound/pronunciation it's the closest to the original—i know most scholars believe that Malayalam descended from Tamil and split early on, so that might have something to do with it, but it sounds like a perfect cross between the flow of Kannada and the strength of the Tamil and ugh. pair that with Srinivas featuring and Shweta Mohan taking on that solo (by herself!!! and eating that sh*t like it was a duet!!!) and Rafeeq Ahamed as the lyricist and i play it almost as often as i play the original. (i was almost half expecting to hear the extension at the end in this version, that's how good it was)

favorite line — 'കടലിൽ ചുഴലി പോലെ | തവ നൗക കളിരമ്പി' / 'kadalil chuzhali pole | thava noukakalirambi'. i am in love with what Shweta does here, especially with the latter half of the line ('... നൗക കളിരമ്പി' / 'noukakalirambi') since she just heads straight into the 'വൻകടൽ...' and for some reason that is so auditorily pleasing to me. i don't have any rational thoughts behind that that's just how it is. her aalap before her verse is also breathier/softer than Shreya's if that makes sense but it fits her perfectly

2. Telugu. holy f*ck, Telugu. you put Shankar Mahadevan (i don't think i've ever heard him sing a bad song. ever. at least not what i've heard) and Chinmayi (Tere Bina???? Mayya Mayya???? Titli???? i'm still not over any of them from her????) in the same song you make every f*cking verse rhyme almost exactly courtesy of Chandrabose if Kannada is the sound of water then Telugu is pure silk and honey and the feel of something melting in your mouth and you expect me to stay alive? the actual f*ck? admittedly i may be biased bc one of my OCs is Telugu and i have been putting Telugu covers from my Bollywood playlist on loop for inspo but uh Rahman what the f*ck. what the f*ck am i supposed to do with that kind of genius

favorite line(s) — 'సమరం శ్రుతించైరా శిఖరం స్పృశించైర' / 'samaram shruthinchaira shikharam spushinchaira' & 'విధిగా తెగించైర | విధినే వదించైర | విలయం దరించైర | విజయం వరించైర' / 'vidhigaa thegincheyraa | vidhine vadhincheyraa | vilayam dharincheyraa | vijayam varincheyraa'. the f*cking alliteration? hello? also the 'veera raja veera' at the end of this version in particular gives me full body chills bc there is someone going up with the harmonization every time there's a new line. i don't know who it is but he's (they're? could be multiple vocals) going up and i am crying shaking throwing up on the floor having a spiritual experience etc etc

and finally 1. the top spot. the place where everything has been leading through this long ass piece that i have put you to suffer through

and ykw Tamil is pretty much self-explanatory i think: we bring Shankar back as we should but this time K.S Chithra (Asoka!!! Main Prem Ki Diwani Hoon!!! Bombay and Thoda Thoda from Indira/Priyanka and the live version of Jiya Jale that Rahman did in Dubai!!!) and Harini (also sang for Indira/Priyanka and featured on Varayo Thozhi from Jeans) are with him and Ilango Krishnan's lyrics take over and flatline me on the f*cking operating table. before it flatlines me however i break into goosebumps every time i hear it start, bc lbh it is impossible not to when you have the f*cking vocals coming in like 'காணீரோ? நீர் காண் | சோழ வெற்றி வாள் ஒன்றை காணீரோ? | ஓ அழகிய பூவே! செல்லுதியோ | மலரிடு போ சகி!' if you stay sane during that opening you are a liar get off my feed unfollow and block i don't want you anywhere near me for the next six years or however long it takes Mani Ratnam to make his next masterpiece. no coherent thoughts head empty MV playing on loop he and Rahman own me now they have the copyrights

favorite line (had to split everything into two blocks bc Tumblr was tryin to f*ck up my sh*t) — 'எம் தமிழ் வாழ்க வாழ்க! | வீர சோழம் வாழ்க! | நற்றமிழ் வாழ்க வாழ்க! | நல்லோர் தேசம் வாழ்க!' / 'em thamizh vaazhga vaazhga! | veera sozham vaazhga! | natramizh vaazhga vaazhga! | nallor thesam vaazhga!'. technically this isn't my favorite favorite line bc i have to do a seperate ranking for that below + it's exclusive to the Tamil version and i am trying to make this a wholistic review but. it's f*cking up there let's just say that. i think i mentioned in the tags of a different post of how i've been doing genealogy research and (in the process) tentatively confirmed the possibility of there being some South Asian descent from my dad's side, specifically Tamil or Telugu based on the stories/timeline of French occupation in the Caribbean and portions of the Indian subcontinent, and there's something in me that shifts every time we get down to the last twenty or so seconds and this hits. i don't know what it is, truly—maybe the remnants of the genes of my ancestors and their pride for their land, their language—but it's there and it's loud and if it's the right day at the right time i will start crying btw. full on sobbing like a little bitch. you didn't ask but i told you anyway

after all of *motions* that, i am also offering a bonus ranking of the section of VRV that makes me rewind every f*cking time it comes on in every language, bc it featured heavily in creating my eventual rankings and i would be remiss to not mention it. so here have this additional dive into my thought process during these trying times of hyperfixation rip

'आंधी से तेज़ | तूफ़ान से तेज़ | चुन चुन चुन चुन | जाली रे जाली चिंगारी | अंग अंग अंग अंग | लागे रे लागे अंगारे' / 'aandhi se tez | toofaan se tez | chun chun chun chun | jaali re jaali chingaari | ang ang ang ang | laagey re laagey angaare', Hindi — still at the bottom of the list here, but the inflection during the repetition ('chun chun chun chun' and 'ang ang ang ang') salvages it somewhat. nothing else to say it about it otherwise, since i already addressed Kavita's voice here earlier

'വാക്കാകെ നീ കാറ്റാക നീ | ശര ശര ശര ശരമേയ്ക | വേൽമഴ നെയ്തിട് | റ പറ പറ പറ വിറകൊൾക | പായട്ടെ പായ്വഞ്ചികൾ' / 'vaakkaaka nee kaattaaka nee | shara shara shara sharameyka | velmazha neythidu | para para para para virakolka | paayatte paayvanchikal', Malayalam — taking that third place as always, but its tied partner in the general rankings is higher up in this list for a change. i think the very last part ('പായട്ടെ പായ്വഞ്ചികൾ' / 'paayatte paayvanchikal') is what throws me off tho bc of the way they distributed the line, since on the first listen i was expecting them to go 'paayatte paayvan-chi-kal' and they chose 'paayatte pa-ay-van-chikal' instead. it's not like it decreases the overall quality of the song or anything it's just a very specific hang up i have. who knows maybe my preferred pronunciation would have f*cked with the meaning and we do not want that

'సుడిగాడ్పులా అడుగేయరా | సర సర సర సర | శరమే తనువే తాకగా | చర చర చర చర | చెలరేగాలి వేగంగా' / 'sudi gaadpulaa adugeyyaraa | sara sara sara sara | sharame thanuve thaakagaa | chara chara chara chara | chelaraegaali vegangaa', Telugu — this ties with Malayalam for third place and, much like it, my quirk is specfically with the last part ('చెలరేగాలి వేగంగా' / 'chelaregaali vegangaa'). my preferred is 'chelare-gaali ve-gan-gaa', they gave me 'chelare-gaa-li ve-gan-gaa'. again, not an issue, this is just me, i'm sure they knew what they were doing otherwise they wouldn't have recorded it like that in the first place

'ನೀ ಜ್ವಾಲೆಯು ನೀ ಗಾಳಿಯೂ | ಸರ ಸರ ಸುರಿವ | ಮಳೆಯಂತೆ ಶೂಲಗಳು | ಭರ ಭರ ಭರ ಭರನೆ | ಭೋರ್ಗರೆವ ಪಂಜುಗಳು' / 'nee jwaaleyu nee gaaliyuu | sara sara suriva | maleyanthe shoolagalu | bhara bhara bhara bharane | bhorgareva panjugalu', Kannada — there are at least two portions here that sound eerily similar to the original and that is why this version has moved up to spot two. it takes that water comparison i made and uses it to its advantage so much and it rotates in my mind like a rotisserie chicken at just at the right angle and it's just!!!! it's just!!!! God pls keep me from putting this in my mouth and biting it's too good

'கூற்றாகிச் செல்... | காற்றாகிச் செல்... | சர சர சர சரவெனவே | மழை தான் பெய்திட | பர பர பர பரவென | பாயட்டும் பாய்மரம்' / 'kootraagi sel... | kaatraagi sel... | sara sara sara saravena | velmazhai thaan peidhida | para para para paravena | paayattum paaimaram', Tamil — when this hits i blank out and come to at random intervals. cannot pinpoint the time the place etc but it happens and when it does i go f*cking feral. this one i am indeed putting in my mouth and biting bc the entire thing from 'para para...' onwards??? more alliteration more alliteration more f*cking alliteration. i remember someone making a post on here that said that certain parts of VRV sound like pearls bouncing off of the floor (was it @mizutaama? i apologize for the tag but i think that was you) and i think this is what they were referring to but my ears are that f*cking floor. i thank God every day for that

anyway mutuals (and non-mutuals who are just as obsessed about PS as i am) i'm sorry for clogging your feed with my opinions on a film i haven't even watched properly, pls feel free to roast me about my ranking choices. or agree but it doesn't really matter at this point bc even tho i could be talking out of my ass in terms of actually speaking said languages (i,,,,, do not unfortunately) i've said what i needed to say sksksksk

[raindropofloev]

O Ri Chiraiya

Nanhi si chidiya

Angnaa mein phir aaja re

Andhiyara hai ghana aur lahu se sana

Kirno ke tinke ambar se chunn ke

Angna mein phir aaja re

Humne tujhpe hazaro sitam hain kiye

Humne tujhpe jahaan bhar ke zulm kiye

Humne socha nahi

Tu jo ud jaayegi

Ye zameen tere bin sooni reh jaayegi

Kiske dum pe sajega angna mera

- 🎤

O ri chiraiya

Neeli chiraiya, angana mein phir aaja re

O ri chiraiya

Nanhi si chidiya, angana mein phir aaja re

Tere pankho mein saare sitare jadu, teri chunar dhanak satrangi bhunu

Tere kajal mein main kaali raina bharu, teri mehndi mein main kachi dhoop banu

Tere naino sajalu naya sapna

O ri chiraiya

Neeli chiraiya, angana mein phir aaja re

O ri chiraiya

Nanhi si chidiya, angana mein phir aaja re

Andhiyara hai ghana aur lahu se sana

Kirno ke tinke ambar se chunke, angna mein phir aaja re...

[wagairah-wagairah]

Hui satrangi thi jo yeh raat kali

[ma-douce-souffrance]

listening to satrangi re and the music is so sick makes me wants to crawl out of my bed and make out with the brown wall

I know exactly how that feels time to go listen to satrangi re

[sarcastic-sue]

Need Louis to make a song like Satrangi Re. Not in the music sense but like the concept of the stages of love. Like I'd absolutely eat that shit up.

In Arabic literature, love is supposed to have seven stages. The seven stages are namely hub (attraction), uns (infatuation), ishq (love), akidat (trust/reverence), ibadat (worship), junoon (madness) followed by maut (death).

I have always been obsessed with this song but like IMAGINE WHAT LOUIS COULD DO WITH THIS CONCEPT 🤯

[urvishmehta]

Song Story: Satrangi Re

"Satrangi Re"

Our lives are a combination of moments, movements and monuments, perhaps in unequal proportions. It is only in hindsight that we realise which of these constitute the highlights of our being.

Why do we always believe that chasing mirages will be of no productive help? Mirages may be the mirrors to our subconscious. Anything which helps us reach us our own inner core has the ability of leading us to our true calling.

Illusions perhaps are illustrations of the reality we envision.

Maybe, the best thoughts are not necessarily assertive statements of surety. They can manifest in the form of questions of intrigue.

urvishmehta.tumblr.com #SongStory

[tumkaafiho]

7, 12, 21, 28 for the music box asks

thanks for being my first ask on this account 😊

7. a song that reminds me of my friend(s): tumse hi tumse (shekhar, caralisa)

12. a song that grew on me: la ilaaj (arijit singh). im not the biggest arijit fan (GO AHEAD CANCEL ME) but when vishal bhardwaj composes the music ofc it will grow on you.

21. a song for the rain: bheegi bheegi raaton mein (lata mangeshkar, kishore kumar) of course 🙄

28. a song i want to see live: satrangi re (sonu nigam). i might be seeing him live soon so hopefully this wish comes too