My Bihari cousin is getting married to a lovely Tamilian girl.
I am sure the dainty Miss Sridhar must be doing her homework already to know more about what she is getting into. We may not have life sized cut-outs of Ms. Cloaked Rotundity and Mr. Goggled Baldness, but we have enough loud fodder loud enough to make her feel at home. What we lack in flashy flamboyance, we make up with our brassy brashness. We are a raucous country, yes ma’am. When the alphabets were getting distributed, the Biharis decided to take everything with all the hard consonants. Marathis come a close second. Pethe, Kekade and Madke would agree.
But let’s stay on Bihar. Or in Bihar, if I were to take Raj T’s advice.
So we have Litti, Laktho, Thekua, Ghughni, Bhabhri, Makuni, Khaja, Pedakiya, Gaja, Dalpittha as a smattering of names randomly taken from the Bihari fridge. NONE of them sound appetizing. Not one. They taste phenomenal, but they don’t sound like something you may want to consume. And some of them look like what they sound like.
Blame it on the pastoral background of the Biharis, if we were to get all historical and sleuthy. While the neighbourhood Bengal was busy carving intricate creases on their Nolen Gurer Sandesh, singing their Baul and doing their Dhunuchi Naach, Biharis were too busy either tilling their lands or rearing Chanakyas, Buddhas and Mahaveers. So they did not really have the time to create artworks in the kitchen or outside of it. We developed as an ungainly and unsophisticated nation, without any apology and with a definite hint of pride. Take it, world!
And this gets reflected in everything we do. Or say. Or make. Or celebrate.
Which brings me to Chhatth, a festival that some theorists claim even predates the Vedas. At the concept level, it has perhaps the most modern outlook for a festival so ancient. There is no idol worship at all in Chhatth, unlike most Hindu festivals. It is not gender or caste specific. And there is no involvement of a presiding pandit. No random mumbo jumbo being babbled by some patronizing priest working on an hourly remuneration in front of a gaudy concoction of gods. It is a festival with rituals led by the devotee, dedicated to the deity. A hardcore one-on-one with the all-encompassing to acknowledge and achieve the common, combined greater good.
Spread over four days, the worship is dedicated to the Sun god and his wife Usha, greeting and thanking them for creating and controlling all the life forms on the planet earth. While Chhatth follows Diwali, it is no selfish agrarian festival stemming from the contribution of sun to the agricultural produce, coinciding with the cultivation. It is a very noble recognition of the influence of sun in our combined lives, way beyond its material beneficence, with pronounced philosophical undertones. Which explains why the worship of the rising sun is preceded by the veneration of the setting sun.
So far, so good.
Only, I don’t remember getting influenced or enamoured by any of this while celebrating Chhatth in the Patna of the late 1980s. Neither by the philosophy behind the festival, nor by its rather liberal stance. Outside of the exhilarating thrill of traveling at 4 in the AM for the morning arghya, moving past the colourfully lit-up roads to a crowded Pehelwaan Ghaat or Collectorate Ghaat, and then letting the feet play with the cold, moist sand, what actually has stayed with me is the harsh aesthetics of it all.
I am not referring to the festival, of course.
I remember the crowd. A sea of humanity amidst all the muck of the riverfronts. People rushing at the ghaats with their chaadars, fighting for and marking their territories to be as near the slushy expanse of the Holi Ganga. The rich and the powerful moving around with their gun-toting musclemen. The blaring loudspeakers, the long traffic jams, the arguments on the roads, the hawkers selling posters of Hindu gods, including Arnold Schwarzenegger, and the general wide-ranging cacophony of the people forming a buzzing backdrop. It all came together into something memorably lurid and raw.
This rasping rhapsody was amplified by the sindoors on the noses of the parbaitins, or the fasting worshipping ladies. Indeed. A shining, flaming, thick and radiant saffron vermillion marking starting from the tip of the nose meandering into the parting of the hair. Imagine multitudes of ladies with their brightly painted noses half immersed in the muddy waters, offering their obeisance to the rising sun. The effect was mesmerizing. The effect was daunting.
To be fair, though, it was not just these nose antennas that were browbeating me into meek submission to all things colourful and coarse. The GulshanKumarization of India had just about started to happen. The combined might of jhankaar beats recorded in cheap Darya Ganj studios on Super Cassettes was beginning to juice the entire pantheon of Hindu gods and goddesses. Johnny ka Dil Tujhpe Aaya Julie was being appropriated as Bhakton Ka Dil Tujhpe Aaya Devi, and then some. People not only seemed okay with these, they were, in fact, revelling in them. It was a crude, uncouth phase in the life of India, both culturally and otherwise. Patal Bhairavi and Bhavani Junction were legit Hindi cinema releases, Rajeev Kapoor was playing the Lover Boy, Rajesh Khanna was romancing Reena Roy, and people were really paying to see Raj Babbar on the large screen.
It was the attack of the lowbrow. And Chhatth was as impacted as any other festival.
So in the middle of the folk songs evoking the Sun god, the shrieking loudspeakers would play one of them Karolbagh ditties sung by Babla and Kanchan. Hum Na Jaibe Sasur Ghar Re Baba. Yeah. Soon enough, these tardy renditions were accepted as a part of the mainstream. The eighties never left the festival. The festival never left the eighties. Every subsequent Chhatth was more of the same. Exciting. Rousing. Breath-taking. And very bloody loud.
I moved on. Bombay became home. Then I shifted to Mumbai.
Patna, Bihar and Chhatth continued to be a part of my subconscious persona, but not being there meant not being there. My new native city gave me newer references to ponder over. I had graduated from Gai Ghaat to Lal Bagh. I had moved on. Or so did I think. Untill I suddenly discovered the luminous vermillion-nose brigade in a traffic jam at Juhu one fine evening. The parbaitins were back in my life, and how! And I was amazed to see that twenty-five years later, the unhinged aesthetics and revelry were unaffected, give or take a few Sanjay Nirupams trying to make Chhatth the North India Pride Parade. It was beautiful. To be in that jam. To be back there. To relive the scale and the noise. And to revisit the fantastic reasons behind the celebration of this wonderful festival.
Here’s to many such discoveries, Sanjana! And welcome to the family. Some of your new relatives may look like aliens once every year, and their vocabulary may be predominated by words with ट, ठ, ड and ढ in them, but we are good, warm god-fearing people, I promise you. Despite that fluorescent patch on our noses. Or because of it. :)
I am a big fan of Justin Trudoeu Tredaeu Treduae Trudeau. I like Canada. I like Canadians. I also like Punjabi, the language most of the Canadians speak. So, naturally, I was intrigued when I got a mail with the subject “Canada Immigration” from one Suman Jha from Prime Track, an ISO 9001:2008 certified firm specialising in sending people to far out countries. Fairly articulate and persuasive, our man informed me that there was a shortage of skilled manpower in Canada, and the time was right for me to start the process of migrating to Canada without any delay. He also told me that he had profoundly reviewed my profile and that he was very pleased to inform me that my CV had successfully passed through what I am assuming must be their rather stringent first phase of screening process.
This was all fantastic. Only, there was one very minor technical issue. I had not sent him my CV.
So I did what any self respecting man secure with the belief that the best career opportunities were available in Canada with high earning job profiles for foreign skilled workers would do. I ignored his mail.
However, the eloquent Mr. Jha, with his dogged determination and stubborn seduction, would not have taken no for an answer. He sent a few more mails over the next four weeks, reminding me of the interest I had shown, asking me for the details of my documents, and promising me the completion of my documentation under the fast-track services. This was all too good to be true, this outpouring of concern and affection. Unfortunately, random unnecessary work took over my life, and I could not write back to him. Let’s just say the beloved was very much aware of the admirer’s strong overtures, but I had to consciously reject it.
Suman continued to have my best interests in his mind. The natural extension of his love was yet another mail from him.
“It;s a golden opportunity”, he said.
That one sentence did the trick. Guess I was hit somewhere deep inside – the semicolon hitting the colon, as they say – and that was enough to shake me out of my complacence. I was charmed and charged by the radiance of the golden opportunity, ready to immediately take on his offer. I was raring to go. And Canada was waiting.
I wrote a polite response explaining my silence and my readiness, in order. The mail also outlined some very regular practical issues I was facing. But I was sure it was nothing Mr. Jha or Prime Track, an ISO 9001:2008 certified firm, would not have been able to sort.
Surprisingly, my positivity was reciprocated by a very stoic silence. It was as if the fizz had gone from our relationship. It was my turn to follow up.
The professional Mr. Jha had a single-lined response for me. Apt. I deserved it.
He had not asked to me for write my biography. Obviously. I was blinded by the warmth that I had seen, and it had led to some weak moments. He was totally right in chiding me. This is exactly how businesses are conducted. I realised my mistake and apologised profusely to the man who stood between the Rocky Mountains and me.
Sassy Suman was back in the game. He sent me a quick reply asking me for my CV and other documents.
By now I had figured the curt Mr. Jha meant business. I sent my biodata to him almost immediately. I also had some basic queries for him to address. Felt stupid and sorry about sending those inane questions to him, thinking how smart guys like him have to go through such dumb Qs in their line of work. But then I thought Mr. Jha and Prime Track, an ISO 9001:2008 certified firm, must be used to such harmless naiveté of their clients.
He rejected my CV.
Crestfallen, I wrote a rather poignant mail to him. I was hurting. And it didn’t feel good. But despite the grief and the hurt, I maintained my poise and my positivity. I felt like a Himesh Reshammiya heroine. With a smile on my face and a song on my lips, I asked him to reconsider my application.
His response was the complete anti-thesis of the turmoil going in the atriums of my heart. He started using his silence to numb me, and comfortably so. I waited. Twenty-four hours later, I decided to graciously confront him while respecting his point of view.
I knew he would come around. I have lots of money. And come around he did.
THIS was the point where I figured a thing or two about the psychological make of Mr. Jha. He was a man of few words. That’s what he wanted in a man. He didn’t want long treatises. He wanted short jabs. I had to change my strategy to stay ahead in the game. I had to become as succinct as him.
The whole world stood in silence as the mano-a-mano struggle ensued between the two protagonists. And then he spoke. I had nothing but gratitude towards the big man.
Soon enough, I sent him all the documents that were needed. He had given me this extreme resolve to fight, live and survive. The underlying tension had led to this overarching tenacity. I was ready to take on the world!
I knew what I was talking.
It worked. We were now willing to go to the next level. We were exchanging numbers. And I am not just talking account numbers here.
This was not just a mail exchange I was having with the man. This was a life lesson I was learning. We were talking the talk. Kind of.
Just after I hit “send”, I realised that I had ended up sharing some very critical information about myself. And I knew it instantly that it would come back to harm and haunt me.
I had inadvertently revealed that there was somebody else in my life.
Mr. Jha decided we were done. He knew he had to severe all ties with me at one go. Just like that. Or not.
He closed my file, but he opened my life. I am upset, yes, but at the same time, I am content that this experience made me find answers to that one question that has always bothered the mankind.
“Had i asked to you for write your biography?”
(If Close Encounters with Suman Jha is your kind of a thing, you may want to know more about my original heartbreaker, Probaldwip Bakshi.)
The summer months are always kind of muggy in Patna. In the early 1990s, they appeared sultrier than normal. The days would be hot and the nights would be dry. There was only so much one could do. And that ‘so much’ was never much, with those prolonged hours of nothingness blankly staring at us. Don’t know if the irregular load-shedding and the dark absence of electricity were the reason behind the dreariness. Or if one could point towards the abrupt kal shaam chhe baje phir mulakaat hogi endings of Doordarshan as the cause. Or whether the limited stock of antaakshari songs (despite the unending stock of holidaying cousins to play them with) was the prime suspect. OR perhaps it was just the mid-teen angst.
But the insipid monotony was real. And there was only so much one could do.
Those were also the days when Aamir Khan was doing snake movies, Rishi Kapoor was wearing his last set of sweaters around trees, Jackie Shroff was giving solo box office hits, and Vinod Khanna was cracking dudhu jokes looking at women in Farishtay.
Yes. There really was only so much one could do.
Or actually, there was. Buzz words like liberalisation and globalisation were just beginning to hover around, and private TV channels were soon to be an everyday fix as a positive fallout of the policy changes. Cable TV was slowly becoming the fashionable thing to do in small town India, a perfect middle class counter point to the safari-suit-and-pomeranian superiority practiced by the elite. My professor parents, of course, thanks to their world view and wisdom nurtured by Brahmanical leanings, had a strong point of view on cable TV or any other form of unsupervised entertainment. EXACTLY the reason why I readily agreed when Ramkailas ji, my trusted aide, and the family Man Friday, recommended that we steal the cable connection since the wires went through our garden.
Till then, our experience in thieving was restricted to pocketing raw mangoes of the awesomely juicy Maldah variety from the neighbours’ yard. So I was not too sure. Having said that, the lure of breaking the boredom and seeing content outside of the staid DD programming was too much of a temptation. The programming options were way too many, beyond the Krishi Darshans and Chitrahaars of the world. There was finesse and flair one wasn’t used to seeing on television. Plus, there was MTV. That thing that was meant to morally corrupt the youth of the nation.
I was ready to be corrupted.
All it took was a pair of garden cutters and some ingenuity, and we were a cable TV household between 10pm and 5am, every day. Opening gates to a world unseen. The firang accent, the cool graphics, the smart promos, the interesting shows… they were all from a distant land. There was Star Plus with its Crystal Maze, Donahue, Oprah and, oh, those kissing cousins in The Bold and The Beautiful. Or the cigarette smoking Tara in the eponymous series on Zee TV, and even the obnoxious Mohan Kapoor on the channel’s Saanp Seedhi, and also Rajat Sharma, giving birth to a different breed of journalism in Aap Ki Adalat. This was all different. New. And real.
And then there was, of course, MTV. All different. New. And surreal.
With its funky graphics, bizarre spots and fast pace. Smelling like teen spirit. With Michael Jackson and Madonna. With Guns N’ Roses, a paradoxical co-existence that could well define MTV. With Right Said Fred declaring his sexiness and Phil Collins his inability to dance. With Pearl Jam, Megadeth, Metallica and innumerous such bands that us small-towners had no knowledge or clue about. I saw images I never thought existed. I saw people I never could be. I saw love. I saw debauchery. I saw a display of colours, commotion and camaraderie. It was culturally alien, unfathomable at times. But it was all eerily eye opening. I could never be them, I knew. And yet, I wanted to know more about them. Every day.
I saw possibilities. And I am not just talking television. I am talking life.
For that Hindi medium boy from Bihar struggling with Itihaas, Bhugol and Nagrik Shastra in school, it was almost like him creating his own itihaas every night. By unshackling himself from all that was around him. By thinking beyond the books and the course material. By taking those fantastic flights to nowhere. I never did stop thinking in Hindi. I did not develop an accent. I never could appreciate Pearl Jam, Megadeth or Metallica. I did not try becoming a different person with brand new reference points. Only, my perspectives changed. I started seeing things differently. I did not know where did I want to go, but I knew what it would be like.
We were caught soon enough by Papa. He said all that we had to do was ask. He was, obviously, very upset. Major mud on our face. But I wasn’t complaining. It was worth the trip. It was not as if it suddenly changed my persona or that I could see doors opening for me. But this entire visual experience, day on day, made me realise that there were so many doors that existed.
It was not just economic liberalisation at work. Or just liberalisation. It was liberation!
It changed my outlook. It made me more confident. It made me more audacious. It allowed me to dream differently. That gawky teenager, son of academicians, started looking beyond Engineering and Medicine as a career. As did many of us from similar backgrounds. Everything in the world, hitherto unseen, was now around us. And everything was achievable. We did not have to travel to foreign lands to broaden our horizons. The world had come to us. Very soon, the world literally was around us in the supermarkets. In form of Camay soaps and Hershey’s chocolates. As brand new malls and multiplexes. In the queues at McDonald’s. Buzzing in pagers and mobile phones. Surprisingly, none of it made me feel poor and deprived at any point of time. It kept egging me to have a deeper resolve to become better off. Read rich.
In retrospect, that was the bawdiest, and yet the most important, contribution of liberalisation to the small town India, and not just me. We stopped feeling guilty about earning and spending monies, something that Papa would have so not approved. We were okay to let go of our middleclassery. Of course, that came with its own set of struggles. Mumbai, the city I had chosen to move to, gave me its perfumed indifference, showing me my place in the 8:11 local. I gave it my unadulterated confidence. Very soon, we reached a compromise, and the city was home.
Fate brought me to MTV in 2000. And MTV gave me the confidence to change MTV. It had made me embrace its globalness, I made it embrace my Indianness, being a part of the team that made it desicool. I worked with them for ten long years. Fancy designation, et al. Little did MTV know about the role it had played in my life. Even when it was on mute. :)
Meanwhile, we got Ramkailas ji a job as a peon in Delhi. His family continued to be in a remote village in Bihar. We sponsored the education of his son who is now sixteen. The boy uses a smart phone and knows how to Whatsapp. I suspect he also knows how to order mangoes online. Only, he aspires to follow the career path of his father. Become a peon.
Twenty-five years later, I wait for another round of liberalisation.
– first published in Indian Express Sunday edition Eye as a part of their special issue on 25 years of economic reforms –
When I took up the case of the 9 year old Jiya Dhulgaj and her struggle to get admission in an English medium school in Kalina/ Vakola with Mr. Vinod Tawde, our honourable Minister for Schools, the last thing I was expecting was this to become a mini-movement of sorts, eventually helping me discover a wee bit more about the world and her people. :)
I met up with Jiya last September at my old workplace, where her mother Hina was responsible for cleaning the women’s rooms. Saw this puny little thing hiding behind her mom, and what a charming, endearing and bright number she turned out to be! I spoke with her parents about her studies, and was overwhelmed seeing their resolve and focus to get the child a good education. Karamjit and Hina, janitors with a monthly income of 15k between the two of them, informed me that the girl was staying at her granny’s place in Nalasopara, and not with them at Vakola, only because she had got admission at an English medium school there. The medium of education defined evolution/ development to them, and I could kind of figure why. They wanted her to become a doctor. While they were happy with the arrangement, they sincerely wished if the girl could get admitted somewhere in Vakola or Kalina itself. I was told that no English medium school in the said areas was willing to consider her case for reasons best known to them.
Armed with the rhetoric of Right to Education, Beti Bachao Beti Padhao, and the government’s spotlight on the girl child, I thought it would be easy for me to get Jiya the admission. Especially if I was leading this, going to schools and meeting up with the principals/ administrators, flaunting my visiting card and education. I could not have been farther from the truth! Between her parents and me, we went to almost ALL the English medium schools of Vakola, Kalina and the nearby areas. Some of them were established schools, and some aided government schools. This was December, 2015.
Cut to July 2016, and I had a slate of continued failures staring at me. I’m sure the schools had their own reasons and compulsions, but it was frustrating to see the way things were. I even wrote to a former MP and a few other people in the public domain, but that didn’t really work. So I tweeted to Mr. Tawde.
While the honourable Minister never did revert to me, despite the reminders, my tweets to him went viral, courtesy the behemoth that social media can be. Very soon, my friend and storyteller extraordinaire, Varun Grover took it upon himself to take this forward. His post on Facebook on the plight of Jiya was circulated widely across social media, and in no time, I had people from all over the world writing to me to help.
My inbox was full of kind men and women giving details of the contacts they knew. Some people like Sneha Ullal Goel, the Managing Editor of Elle Decor India, physically went to one of the schools we were pursuing to get the admission done. Anvi Mehta, Puja Pednekar and Richa Khare, journalists from DNA, HT and Hindu, went beyond their journalistic duties to actually become a part of the process, helping us with leads. Of course, their respective publications also gave the issue the space it deserved in their papers.
And then I got a tweet from Ms. Poonam Mahajan. Member of Parliament from Mumbai North Central. She wanted to see us.
We were at Ms. Mahajan’s office at the appointed hour the next day. Seven months of continued rejection despite our best efforts had already frustrated me, so if I were to be honest, I was not really looking at anything beyond sympathy coming from her office. I was soon made to eat my words!
Poonam Mahajan is a rockstar! End of story.
She sat us down and spent almost an hour talking to us and the child. Not just about the admission, but about things around and about us. I later figured that she was not really well, and that she had come to her office only to see us. She was humble, she was humane and she was human. No airs about anything, and with a discussion-range moving from schools to books to Pokémon Go, and everything in between! She was all that a leader must be. She told us in clear terms that she would not do any sifarish to get the girl admitted. That her office would only talk to the schools and see if an interview could be possible. And if they don’t have space, she would not be able to do anything about it this year. No false assurances, no random pledges, no nothing. But a whole lot of positivity. Hell, that’s how I want my MP! Her able team reflected the boss’ enthusiasm, and was extremely proactive in taking things forward.
Very soon, the interviews were fixed with a few schools. The child was refused admission in the first school that we went to. Fair enough. But the second school accepted her after a one-on-one. Today was Jiya’s first day at Mary Immaculate Girls’ High School, Kalina. :)
And THIS is how a little underprivileged girl brought people from varied walks of life together and created a vibe so strong and positive that this happy ending became a foregone conclusion. Thank you, all you lovely people on Twitter, Facebook and in life. Beyond all the outrage and fights and debates and discussions, beyond all the jhagdas and ladaais, there is so much love around us. I hope and pray all of us get lots of that. It is beautiful.
Also, Mr. Tawde, a reply would not have been a bad idea. Lekin koi nahin. You must have had your own rationale. Here’s lots of love for you, sir. From all of us. If at any point of time you want to discuss educational reforms so that there are no more such cases, talk to social media. You will be surprised to see how constructive the space can be.
I know, right :)
Sajid Khan is an intelligent man.
Not everybody will agree with the statement, I know, and you will throw Himmatwala and Hamshakals at me. And you will not miss. Having said that, while I am still not sermonising that he is more sinned against than sinning, I don’t think half the world has seen either of the two movies. I have, and I have suffered them. BUT I also have picked up gems from both that are quintessentially Sajid Khan. Quirky, funny and fun. Wonder how many of us are aware of the random tribute – in black & white, no less – he has given to Alfred Hitchcock in Himmatwala, with Mahesh Manjrekar duplicating Marion Crane from the famous shower scene of Psycho! Of course, I yearned for more, and, of course, I felt disappointed. However, my faith in the man stays. He is not an auteur, and I don’t think he aspires to become one either. But he certainly gets humor better than most of his contemporaries. (I’m looking at you, Rohit Shetty.) The problem, and I say it only from a regular viewer’s perspective, is that he doesn’t know where and when to stop.
The nostalgic eighties/ nineties cheese make the cinema of Sajid Khan, coupled with a micro-focus on the audiences who get his references. Getting Shabbir Kumar to sing I Don’t Know What To Do in Houseful 2 was a masterstroke. It may not have been even registered by half the world, but for legions of Shabbir Kumar fans, it was an emotional reunion with the hamming hummer. Way different from, say, an Altaf Raja being experimented with, and made a mess of, in Ghanchakkar or Hunterrr. This was unadulterated Shabbir Kumar for the unadulterated Shabbir Kumar fans. And getting Ranjeet to play Papa Ranjeet, again, in Housefull 2, was, well, a very Papa Ranjeet thing to do. Only Sajid could get Ranjeet to give a homage to Ranjeet! And I am still not talking about the random Jeevan, Shatrughan Sinha, Sanjeev Kumar, Rajesh Khanna moments that he inserts (I wouldn’t be surprised if some of it is done unknowingly!) in scenes and scenarios which also double up as his narratives.
But Sajid is not just about nostalgia or talking only to the hardcore fans of nostalgia. He also gives the identifiable Tom & Jerry cartoonish coloration to his characters and situations to appeal to the sensibilities of the newer, younger viewers. (Who, I suspect, are sometimes as young as five. Days, that is.) Crocodiles and pythons attack the crotches of his heroes, diapers fly, and cute slap-fests, including one with a monkey, are integral parts of his movie-making. Some people find these funny, others find these unfunny. But the theatres get the laughs, sometimes louder than normal. Purpose served. Then there are the cringeworthy prejudices, some subtle and some not-so-subtle. The bimbetteness of the womenfolk is glorified, the lecherousness of the mankind is glamorised. Oh, and an occasional repulsive appearance of a dwarf maid cavorting with Mithun Chakraborty also makes inroads. But I would still refrain from donning the judicial robes here. History will evaluate and appraise Sajid Khan – and David Dhawan plus a few more directors for that matter – for the kind of films that they have made and the kind of laughter their humor has elicited. But they sure will make it to History, even if as post-scripts. Purpose served.
Last, Sajid Khan knows how to get his audiences to have some random, mindless fun with confusions and conundrums galore in all his outings. Yes, these are random, and yes, they are mindless. But, hell, some of us enter that big dark room to let go! The climax of Housefull had Queen Elizabeth talking in Marathi and yelling the “Jai Maharashtra” war cry, arbit Russian folk dancers forming the backdrop in a strictly British set up, Boman Irani LOLing and saying “Tu toh homos hai” to Arjun Rampal and a roomfull of Brits laughing uproariously and behaving demented because of a Nitrous oxide leak. Do the math already.
The Sajid Khan formula – if there is one – doesn’t always work, of course. It did not, for sure, in the Saif Ali Khan-Riteish Deshmukh starrer Hamshakals. It was a universally panned film, and for all the right reasons. As his loyalist, I felt cheated when I saw the film. While I had not gone expecting any high art, my biggest grouse was that Sajid Khan failed his audiences as Sajid Khan, the director. The film was loud, alright, but not ludicrous. And THAT was its failing. It isn’t easy making his kind of movies, and I am sure Sajid figured it himself while making Hamshakals. I hope his next one, whenever it happens, gives him back to us. Meanwhile, Sajid-Farhad tried being him in Housefull 3, and, well, didn’t really succeed. “Sirf bhaunkne se koi kutta kameena nahin ho jaata“, Papa Ranjeet had predicted in Housefull 2. And rightly so, despite my disagreement with the kutta-kameena analogy.
Hamshakals had one redeeming thing, though. The Cocaine Ke Paraathe song. It is as moronic as it can get and it is not funny when seen in isolation. But it was the high point of the film. Vintage Sajid Khan. Ridiculous to the core, and giving you those laughter trips you know you would eventually feel extremely guilty about. You can switch directly to 2:08 if you do not want to see the set up.
And why am I remembering the man now? The entire #BREXIT noise took me to the climax scene of Housefull 2, obviously! (Stupid Brits, no, really.) And I actually came across an article on drug laced parathas being sold in Chandigarh. Like, for real.
Guess I am not the only one who gets enamored by the genius of Sajid Khan!
These are bad times.
The economy does not look all that great. The drought situation is getting worse. Politicians continue to stay aloof and unaffected. Cricketers are getting fixed. Fixers are running cricket. Business leaders are getting their CFOs pregnant. Jackie Bhagnani is still acting.
These are really bad times.
Now, I know there is this terrible terrible urge to hang our heads in despair and feel hopelessly bad about our existences. It does come naturally to most of us, especially after seeing those Rangrezz posters. But you know what, life is not that black, despite how bleak things appear. One can either feel utterly depressed. Or, one can invoke the name of Altaf Raja to make it all disappear. Seriously.
Altaf Raja who, do I hear? For those not in the know, Altaf Raja was the singular reason why the cassette players of the 1990s were mobbed, mauled and molested, day in and day out. Altaf Raja was the demi-god of the autodrivers, their secret man-crush, their muse. Altaf Raja was the snazzy sultan, the ritzy rajah that the entire B-grade population of India wanted to be. But to top it all, Altaf Raja was what kept the people across the country going, giving them hope and optimism, as they sung his songs in the trains, collecting monies for charity, in most cases their own charity.
The first half of the 90s was an exciting period in the life of India. The skies were opening up. The reforms were taking off. We were a bemused and overwhelmed nation, getting exposed to an MTV which played music and a Manmohan Singh who had a voice, amongst other things. The divide between the rich and the poor was beginning to get drastically wider. Rishi Kapoor was still wearing Woolmark-approved pure wool turtlenecks, dancing around trees, and Mithun Chakraborty was singing Gutar Gutar in Dalaal. Not that the last two statements had anything to do with each other.
It was during these times that Altaf Raja made an appearance in the Indian stratosphere. Tum toh thehre pardesi, saath kya nibhaoge, he said it on behalf of the country in his first album in 1996, mouthing the concern that the economic reforms were not to stay forever. Subah pehli gaadi se ghar ko laut jaaoge, that is.
But then again, lest you misunderstand him, it was just a healthy expression of anxiety, and not pessimism. Considering in that very album, Altaf presented the enthusiasm and exuberance of the nation, willing to take on the world: Woh bhi anjaan thi, main bhi anjaan tha. Uss se vaada na tha, kuch iraada na tha. Bas yun hi darr-ling keh diya. Yaaron maine panga le liya. Panga Le Liya summed it up brilliantly. Pokharan-II, the Indian nuclear tests happened soon thereafter.
And THIS – the eternal understanding of his environment and its impact – is what makes Altaf Raja relevant all over again in our lives. Yes, the times are tough. From pathetic rapes to pitiable rappers, from a silent PM to an over-zealous wannabe, from Kalmadi’s fistulas to Kejriwal’s frictions, we have issues and diversions. But we need to embrace our surroundings. And wait. Patiently. Because that is the right thing to do. Thoda intezaar ka mazaa leejiye, sang our man in Shapath. That’s the mantra to live by. Wait and watch, and enjoy the downtime. All material conditions, positive or negative, are temporary. This, too, shall pass. Btw, for the fans of geriatric gyrations, the song has Jackie Shroff and Mithun Chakraborty shaking it with the ladies at the bar. That, too, did pass.
His teachings, though, are not restricted to just helping people cope with the larger issues. Altaf Raja has created many a sparkling gem that are relevant to us in our everyday lives across audiences. Even more so in this day and age, when everything around us is getting redefined and restructured. Refer to the lucidity with which he discusses the complexities of the gender roles and the set of social and behavioral norms that are considered appropriate in the context of the modern times. Biwi hai cheez sajawat ki. Biwi se ghar ko sajaate hain. Sautan ka shauq purana hai. Sautan ko sar pe bithate hain. Bharti nahin niyat sautan se. Sautan ki sautan late hain. Balle balle, oh yaara balle balle. Wow Yeah. Wow Yeah. Brilliantly put. Sajawat. Aesthetics. This is why the purists love him.
The most pertinent message of Altaf Raja for his audiences, however, is in this timeless creation called Kar Lo Pyaar. There are discords and disputes all over. Conflicts have divided the globe. The world is fighting a furious war with itself. And I just used three sentences with exactly the same meaning. Precisely the reason why the world needs to hear these immortal lines in his mellifluous voice. Kar lo pyaar, kar lo pyaar, kar lo pyaar, kar lo pyaar. Pyaar gazab ki cheez hai padh lo aaj subah ka parcha. Pyaar karoge muft mein ho jaayega yaaron charcha. This is poetry at exceptionally sublime levels. No other song in the world has EVER tried rhyming charcha with parcha.
Wikipedia says Altaf Raja has had a mix of twenty-three film and non-film albums so far. But none of this matters eventually. Because it is not about his songs or the albums. It is about the man. Who goes far beyond the songs or the albums or the hits or the platinum discs. Altaf Raja is a concept. He is the victory of the mundane over the elite, of penury over pomp, of the coarse over cultivated, and of hopes over realities.
Thank you for taking the panga, sir!
(Originally published on firstpost.com)
When I moved to Mumbai in the 90s, I had a singular agenda. I wanted to kill Aditya Narayan. He was fast turning into the resident kiddy voice of Bollywood, mouthing inanities like Atli Batli Chakhlo Chakhli Chakhlo Vadapao, Khao Jalebi Oh Baby, Babu Ko Bhi Lao and Sim Sim Pola Pola Sim Sim Pola, Fine Flat Flute Pipe Petula Petula, Drum Drum Tubelet Symbola Symbola on us unsuspecting victims, and his entire vocal fold oscillation system needed to be amputated for the greater good of the mankind. The idea was also to use the opportunity to steal all the pansy purple and ruby red bandmaster blazers owned by his dad Udit Narayan and then burn them with acid. After shredding them into a thousand little pieces, that is. Unfortunately, I could not quite succeed in my mission. I had to let the father-son duo live because one needed the Biharis in the city for Raj Thackeray to get angry at, later in our lives.
I live to regret my decision.
Because just when I thought Aditya’s larynx, pharynx and trachea had been tamed and converted into Udit Narayan without his moustache, being aptly utilized in Zee TV’s singing monstrosities, Narayan Jr. made a fresh comeback to Hindi Cinema with Vikram Bhatt’s Shaapit The Cursed, as the leading man, no less, which I caught on cable TV the other day. The film also had Rahul Dev playing Professor Pashupati, a professor of Paranormal Studies. So, yes, it was an intellectually stimulating work of art, indeed, as all the films made by all the Bhatts are. But we are digressing already. Twenty minutes into the movie, Aditya does this morbidly ecstatic dance of extreme elation with an umbrella, swaying his limbs like some spastic sex-toy on stimulating substances. I swear by my middle class gods I am not exaggerating this. He jumps with joy, he goes back and forth, he makes random circular motions. AND he kisses the umbrella like some hungry African kid just hitting puberty. All to express his love for some girl in leotards.
Exactly the point at which the nauseatingly exasperating memories of the past began to haunt me, frame by frame, shot by shot, sound by sound. Doobi Doobi Dub Dub.
And what an onslaught it was. Of actors who were not meant to be heroes. Of heroes who were not meant to be in the movies. Of movies which were not meant to be in existence. Of existences that were… okay, I need to stop this. It was as if Bollywood’s bad chromosomes had suddenly decided to descend into my brains all at one go, punishing me for getting myself reintroduced to Mr. Narayan. Of course, I do realize that all film industries have good actors and bad actors, and Hindi film industry cannot be an exception. We have the histrionics and hysterics of Dilip Kumar, Amitabh Bachchan, Shah Rukh Khan and the likes. And then there are the better actors. But I don’t think any industry can flaunt as many also-rans and almost-rans as we do.
Back to the attack, though. The first set constituted of people who believed they had the right to plunder our posteriors with their plasticity because of their family connections. The list was extensive, endless and on-going. From Sunil Dutt’s brother Som Dutt (He debuted in Man Ka Meet along with a small time actor called Vinod Khanna who played the villain.) to Mahendra Kapoor’s son Rohan Kapoor (His father sang Mere Desh Ki Dharti, he danced to Oh Miss De De Kiss. Fair enough.) to Suneil Anand (Dev Anand’s numerically-adjusted son, trained extensively in Hong Kong under Grandmaster Sifu Leung Ting in Wing Tsun Kung Fu. Don’t blame me. Wikipedia says so.) to Uday Chopra and Kishan Kumar, the legendary brothers of Aditya Chopra and Gulshan Kumar respectively, to Faizal Khan (He acted with his brother Aamir Khan in Mela. Then they got separated. Mela.) and Sohail Khan (Salman Khan with a flatter face, flatter nostrils and flatter acting skills.) in recent times.
Then there were the independent invaders, the strugglers who got lucky enough to assault the viewers with their talent, or the lack of it. Legend has it that the theatres would erupt in wild applause when the 70s hero Anil Dhawan would get whacked by the villain Shatrughan Sinha. The decades that followed saw actors like Arun Govil (Of tobacco teeth and Maganlal Dresswala dhotis fame. Also Advani’s best friend.), Dheeraj Kumar (Debut film: Raaton Ka Raja. I rest my case.), Vijay Arora (Romanced with Zeenat Aman in Chura Liya and played Meghnad in Ramayan. Botched them up with equal earnestness.) and later Deepak Parashar, Deepak Malhotra (Famous last word: Pallo.), Inder Kumar, Avinash Wadhawan, Ronit Roy, Sudesh Berry, Vikas Bhalla, Hemant Birje and Chandrachur Singh at various points of times of our lives. A lot of these guys were resurrected later in their careers by Ekta Kapoor. That must be exciting.
The last category was that of the rich boys. Have money, will make movies. Cases in point: Harman Baweja (The robot dance moves of Love Story 2020 got rejected by the audiences. Which is why an Oscar nominated director made What’s Your Raashee with him.) and Jackie Bhagnani (F.A.L.T.U. and now Rangrezz). If you don’t have a rich father from the industry, get one from outside of it. Or so did convey Anuj Saxena (Heir to a mega pharma company. Heard of this film called Chase? Neither has he. He produced and acted in it.) and Sachin Joshi (Aazaan, Mumbai Mirror. Son of Gutkha King Jagdish Joshi. It shows.). The Naseer Khans and Kamaal R Khans of the world were next in line. Naseer, a supposedly partially-blind actor, made this film called Shadows. He was later put behind bars for some chit fund fraud, though I wish they had arrested him for this film. Kamaal R Khan made Deshdrohi, the sole reason why the North Indians believe the North Indians should be out of Mumbai.
Now imagine all these guys entering your mindspace one after the other in a never-ending space time continuum, displaying their mojos. From Kiran Kumar to Kush Sinha. From Mahendra Sandhu to Mimoh Chakraborty. As you simultaneously shed tears and witness the Aditya Narayan thingamajig on screen. Bad acting, awkward screen presence and a personality painful enough to give you haemorrhoids.
Yes. I wish I had taken care of the boy when he was younger. I am sure YOU do now. :)
(Had written this piece for Outlook magazine. That explains the length of the article. Or the lack of it.)
While the world and its cousins were all talking about the sad news of Rajesh Khanna’s demise, Yahoo also ran this rather random, and well, poignant news report on actor Satish Kaul that I am sure most of us would have missed.
For those who don’t know, Mr. Kaul was the A-grade actor in B-grade films like Kabrastan and Khooni Mahal and the B-grade actor in A-grade films like Karma and Ram Lakhan. His duet with Rama Vij in Bahu Beta aur Maa is a great lesson for the film actors of generations-to-come on how to emote through an entire love song while suffering from acute constipation, mouthing lines like Dhaga ragon ka sui mein piro ke button laga doon oh meri sajni oh soniyoe.
Amongst his more popular roles, he played one of the dead sons of Dilip Kumar in Karma. Apt. Also, his dead brother in the film was Shashi Puri, another actor born to fill the pages of a respected forum like ‘I love trashy hindi movies’, but we shall reserve that for some other time.
Mr. Kaul was found rather dashing in gaudy costumes, and he played Madhusudan, Yuvraj Anandsen, Yuvraj Ajay, Yuvraj Vajramukti, Suryamal and many more such characters that would continuously wet Ramanand Sagar’s ornamented underpants in serials like Vikram aur Betaal and Dada Dadi Ki Kahaniyan on Doordarshan. From what I remember, he also played the bit role of the over-the-top filmstar in Aziz Mirza’s TV serial Manoranjan, again, on DD.
Apparently, Mr. Kaul, after working in 60-odd Hindi and Punjabi films (Amongst other movies, he was also the hero of Munda Naram Te Kudi Garam. Respect.) and running a film school (the ad on OLX mentions he has done close to 300 films, btw), is now going through some very rough times. And since he has no place or family to go back home to, he just got himself and all his trophies collected over the years from organizations like City Club, Jalandhar and Agarwaal Mahasabha, Bulandshahar, checked into some Red Cross Senior Citizens’ Home in Ludhiana. Quite a moving story, this, because it really is painful to see old actors, dyed hair, wrinkled skin, rusted trophies, et al, trying to live what was but no longer is. No matter howmuchever bad they were as actors.
BUT this is where the Yahoo report turns rather arbitrary and funny and actually starts begging for a place of its own in any forum dedicated to all things trashy.
I quote from the report: “But the question is what’s the reason behind this situation? Copyright! Our country is quite very lenient on copyright laws, and hence, it leads to this. Injustice, right? So what’s the solution? A strong copyright law that gives due admiration to all”.
Okay. That helped.
PS: Whoever has given the VO in this report, you are my dream girl. I would love to give you due admiration some time. Quite very lenient I am. Promise.
If you are here hoping to start a discussion on the 10 Best Hindi Film Songs of All Time, you may want to stop reading, like, now.
Hindi cinema has had so many gems that the biggest and the brightest experts on movies and music would find it tough to create a list of even the 100 best, leave alone the 10 Best Hindi Songs of all time. The expanse is awfully wide, ranging from K L Saigal to Amit Trivedi and everybody else in between. And I sure am not the right person to generate the list. Not because I am not capable, but because it may just be sacrilegious to take one song and leave another considering the number of great songs that we have had. And, also because I am not capable.
But here I am. Still hitting the imaginary keys of the imaginary typewriter, and feeling adequately writerish, if there ever was such a word. Here’s why. I may not be good enough to pick up the 10 Best Songs, but hey, I sure am bad enough to pick up the 10 Worst Hindi Film Songs of All Time. True story.
When I say bad songs, I don’t quite have songs like Choli ke peechhe kya hai, Sarkaye liyo khatiya jaada lage or Chadh gaya oopar re in my mind. Choli ke peechhe is not exactly high art, but it did serve the purpose of being this raunchy raw number in a situation that required a raunchy raw number, and being judgmental about that would mean being silly. But more importantly, I do not want to take the moral high ground here and castigate racy songs just because they are, well, racy. Also, fyi, the answer is boobs.
I have also let go of the South Indian entries rehashed in Hindi. So Telephone dhun mein hansne waali, Melbourne machhli machalne waali would not find a place in my list despite the lyricist PK Mishra’s greatness staring at us. In fact, my entire list can be made out of the contribution from Robot and Indian, but that would be kind of playing favorites.
Have consciously avoided Hindi film songs in English, because it is grossly unfair to their Hindi counterparts, and these songs really don’t need my certification, in any case. Here’s why. My heart is beating. Keeps on repeating. I am waiting for you. My love encloses. A plot of roses. And when shall be then. Our next meeting. Cause love you know. That time is fleeting. Time is fleeting. Time is fleeting. Now picture somebody called Lakshmi singing those lines while being directed by one K S Sethumadhavan. If you still don’t understand where I am coming from, I wanna chiggie wiggie witcha boy.
You would also not find any of those hybrid songs like ILU ILU, Lazy lamhen and Zara zara touch me. They are neither here, nor there. Certainly not here.
Last, I have not taken songs that were meant to be funny intentionally. This would mean no C.A.T cat, cat mane billi or Shaam dhale khidki tale tum seeti bajana chhod do or Main Laila Laila chillaunga kurta phaad ke.
The lyrics and the songs of each era reflect the socio-cultural scenario they have emerged from, deserving their place of honour or dishonour under the sun. I am no expert at judging the creations of others but I certainly am an expert at making these cover-your-ass statements like I just did. So. Here I go. In no particular order.
1. Hato Hato Doctoron Ki Toli Aayi. If you ever thought Who let the dogs out was the first song to get inspired by the barking dog/s, don’t ever say this to Rajesh Roshan. Everybody from the Roshan clan would laugh uproariously, mock at you and then do wild high fives (Insert Hrithik Roshan high-six joke here) after hearing you. This song talks about a doctoron ki toli, and the incredible acts of this she-dog Tommy. Tommy is the name of a bitch. Yes. Now let me not spoil your fun. Here are the lyrics penned by Indeevar: Hato hato doctoron ki toli aayi, toli aayi. Compounder saath mein Tommy laayi, Tommy laayi. Bow. Bow Wow. Bow. Bow Wow. Baat jo bigdi hai ban jaayegi. Saath mein beautiful nurse laayi. I have not had the chance to see this dog or the song, but it is from the 1991 film Karz Chukana Hai, starring Govinda. Okay. Case closed. Also, the inspiration for this song, if at all, is the Patti Page number How much is that doggie in the window.
2. Ek Rasgulla Kahin Phat Gaya Re. To be fair, there are too many Govinda songs that can make it to the list and it is very strenuous to decide on the best worst Govinda song/s. He is the one who has mouthed immortal lines like Tujhko mirchi lagi toh main kya karun, Meri pant bhi sexy and Main tujhko bhaga laya hoon tere ghar se, tere baap ke dar se. But this song from the 1990 film Izzatdaar is special because it has been picturized on Madhuri Dixit along with Govinda. The actors are in a state of inebriation a la Jai Jai Shiv Shankar, and this is the high point of their musical conversation: Sun oh mister. Oh mister. Sun oh mister. Oh mister. Mister. Oh mister. Ek taaza khabar. Mmmmmmm. Ek rasgulla kahin phat gaya re. Re baba re. Phat ke jalebi se lipat gaya re. I could not figure who has written these lyrics but whoever could imagine an exploding rasgulla tightly hugging a jalebi after getting torn off, I would want to get pregnant with your child.
3. Angoor Ka Dana Hoon. Sui Na Chubha Dena. That’s a fair ask. Because no self respecting angoor ka daana would want to be pin-pricked by a needle. This is why: Angoor ka daana hoon. Sui na chubha dena. Sui jo chubhayi toh ras tapkega. Jo ras tapkega toh… Kiss. Miss. Kissmiss. Kissmiss ban jaaungi. Roughly translated, this is how the song goes: “I am a grape, a fruiting berry of the deciduous woody vines of the botanical genus described as Vitis”. Ha, fooled you, that’s Wikipedia talking! But seriously, I don’t think the song can be explained. It has to be absorbed somewhere deep down inside. If you cannot understand the lyrics, you don’t understand literature. Go drown. Thank you, Kavita Krishnamurthy. Thank you Sawan Kumar Tak. Kiss. Miss. Kissmiss.
4. Main Toh Preetam Ko Kar Rahi Thi Ta Ta Re. The year was 1997. The film was Gudgudee. The actor was Pratibha Sinha. Check out the first two lines of the song: Main toh Preetam ko kar rahi thi ta ta re. Ki kaale kutte ne mujhe kaata re. What an agonizing situation to be in, poor girl. Bidding adieu to your loved one and being bitten by a black dog. Naturally, you expect her poignant tale of woes to continue in the next two lines of the song. And continue it does: Kaale kutte ne mujhe kaata re. Jab Preetam ko kar rahi thi ta ta re. So if you missed her heart-rending state of affairs in the earlier take, you certainly would get it now with that tear-jerking play of words. Oh, that bloody dog, the slayer of love. Btw, we had saved the best for the last. The director of this film was Basu Chatterjee. The Basu Chatterjee.
PS: Pratibha Sinha’s other claim to fame is this exceptional song exploring temporal spaces from the movie Military Raaj titled Kabhi hafte mein do hafte mein tu mil ja mujhko raste mein. Also, some people remember her for her tits.
5. I One Love Four You Three. This song has Mithun Chakraborty teaming up with Harish, telling us how professing one’s affection with an ‘I love you’ is passé. Harish, for those not in the know, is the only actor in the country who can pass off both as a South Indian bhelwala and a North Indian bhelwala with equal effortlessness. He also had played the heroine in Karishma Kapoor’s debut film Prem Qaidi. The song is reflective of the societal milieu of the post-liberalization 1990s. And this when I don’t even know what that last sentence meant. I One. Love Four. You Three. Bolo one four three. Yaani I love you. Bolo one four three. I love you hua purana. Yeh naya hai zamana. Nayi nayi baat karo. Jab bhi mulaqaat karo. Hoor ho ya pari. I One. Love Four. You Three. Bolo one four three. Yaani I love you. Bolo one four three. Yes. Indeed. Mithun Chakraborty, Harish, Mohammed Aziz, Udit Narayan, Jatin, Lalit, Arshad Khan, Salim Akhtar… they don’t make them like you anymore, comrades. One Four Three all.
6. Kya Gaadi Hai. Kya Number Hai. Or this is how Jackie Shroff describes his ladylove Sangeeta Bijlani in the 1991 film Lakshmanrekha. The cringing candescence of this Amit Kumar song lights up my dull and dark days even now. Kya gaadi hai. Kya number hai. Kya body hai. Kya bumper hai. Oopar se dekho. Neeche se dekho. Aage se dekho. Peechhe se dekho. Kahin se dekho ji. Haai kya baat hai. Haai kya baat hai. If this isn’t subtle, what is? But please don’t try this at home.
Special mention to this other Jackie Shroff number Back Maarti Hai Front Maarti Hai. Jackie plays a Police Officer in this 1992 film of the same name. And he sings this song for Karishma Kapoor: Back maarti hai. Fur-runt maarti hai. Dekho yeh ladki current maarti hai. Ladki samajh ke issko na chhoona. Yeh kaali nagin ka hai namoona. Dant maarti hai yeh dunk maarti hai. Dekho yeh ladki current maarti hai. Everytime this song gets played on radio or TV, a girl gets molested and goes to a Police Officer. Or sometimes the girl goes to the Police Officer and gets molested. Which other film would have an impact like this!
7. You Are My Chicken Fry. You Are My Fish Fry. While it is an unhappy sight, I can so visualize Bappi Lahiri moving around with spring in his steps and in his gold crusted Spongebob boxers after conjuring this song up. Chicken Fry was Bappi da’s eureka moment. (Okay, the sight just became unhappier, bathtub et al.) Not every day does such brilliance strike the human race: You are my chicken fry. You are my fish fry. Kabhi na kehna kudiye bye bye bye. Wow. Only the cruellest and the most heartless kudiye can reject such a passionate and warm plea. Therefore, the good girl replies, in affirmation: You are my samosa. You are my masala dosa. Main na kahungi mundya bye bye bye. Moral of the story: Angoor ka dana hoon deserves the Nobel prize for Literature.
8. It’s 6 AM. I Love You Mom. Annu Malik hit the creative goldmine with this song from the 2003 film Khushi. Sung by Sonu Nigam and picturized on Fardeen Khan in his shorts, the song can inspire you for life. It’s 6 am. I love you, mom. I’ll have some cornflakes. Mujhe milega dum. I’ll have good shower. And a shave. Listen to music. It’s gotta be late. Put on my jeans. And Provogue shirt. Ladki dhoondoonga. With short short skirts. Mere dil mein phool khil rahe hain. Chaand tare din mein khil rahe hain. Pyaar hone ko hai. Dil khone ko hai. O ho O ho O. Good morning, India. This is it. I love you mom. Mujhe milega dum. I’m this cokehead. Must go to bed. What khushi!
9. Din Mein Leti Hai. I had consciously decided to avoid the double entendre songs or songs that were conceived with the premise that they had to be crass and vulgar to titillate and shock. Plenty examples. Saat saheliyan khadi khadi, Main maalgaadi tu dhakka laga, Kal saiyyan ne aisi bowling kari, Khada hai khada hai khada hai dar pe tera ashique khada hai or Bhaag DK Bose and Oonche se ooncha banda potty par baithe nanga from recent times. But I have still kept this one song from the 1994 film Amanat in my list for the sheer audacity of its creators – Bappi Lahiri, Kumar Sanu, Anwar Sagar, Illa Arun, Alka Yagnik – to believe that they could get away with something like this. They did. Din mein leti hai. Raat mein leti hai. Subah ko leti hai. Shaam ko leti hai. Kya bura hai. Usska naam leti hai. Arre bol bol kiska? Apne saajan ka. Apne baalam ka. Apne preetam ka. Apne jaanam ka.
PS: Ila Arun, how do you sing with that machine running?
10. Mister Prime Minister. Hey you. And you and you. Oll of you. Come here. Come hither. Brother and sister. And there. There miss. And this mister. Come whun come all. To know the how and see the who. Of this. Mister Prime Minister. Event of the times. Cold and sinister. Angel of a man. Not a fixter. Not a smooth operator. Then in down like a gutter. This Misther Prime Minister. Bappi Lahiri and Dev Anand joined forces to create this geriatric gobbledygook in the 2005 release called, uhm, Mr. Prime Minister. I give up.
And here’s the list of the also-rans.
1. Ladki Nahin Hai Tu Lakdi Ka Khamba Hai. The entire decade of 1980s belonged to Jeetendra with films like Maqsad, Tohfa, Sarfarosh, Mawaali, Haisiyat, Hoshiyar, Haqeeqat, Sanjog, Majaal and many more, touching the deepest depths of daftness, showcasing some of the most absurd songs of Hindi cinema ever produced, complete with flying colors, dancing matkas and Jayaprada in a petticoat. (One sec. Haan, hello. Kaun? Oh, Amar Singh ji? Haan sir, would send you the link asap.) Amongst all those charming numbers, our vote goes to this song from Himmatwala: Aiiiiiii. Ladki nahin hai tu lakdi ka khamba hai. Bakbak mat kar naak tera lamba hai. Aa aa. Idhar tu aa aa. Aiiiiiii. Ja. Aa gaya kehan se tu bada hi nikamma hai. Ja ke chhup ja tu wahan jahan teri amma hai. Ja ja. Arre tu ja ja. It takes the creative skills of somebody as intense as Indeevar to manufacture lyrical banter of this stature. Also, lamba naak instead of lambi naak? That was sheer genius, sir.
2. Bingo Bingo Bingo Main Hoon Bingo. Indian Cinema has showcased some great friends and friendship over the last 100 years. Jai Veeru. Ram Balram. Bharat Bhushan. (Okay, I made the last one up.) But nobody can beat the friendship between Bingo and Ringo in the 1985 release Ma Kasam. Amjad Khan and Mithun Chakraborty light up the screen in this Bappi Lahiri-Farooq Qaiser song of friendship, courage and valour. And they have Kalpana Iyer aka Pappi Sundaram for company. Bingo Bingo Bingo, main hoon Bingo. Ringo Ringo Ringo, main hoon Ringo. Haan haan main Pappi Sundaram. Sambhal ke rakhna har kadam. Karenge chhutti, Ma kasam. Ma kasam. Ma kasam. Enough said.
3. Main Ladki Po Po Po. As if romancing with Suneil Shetty in Hera Pheri wasn’t bad enough for Tabbu, she was also made to sing these awesome lines: Main ladki PO PO PO. Tu ladka PO PO PO. Hum dono mile PO PO PO. Ab aage hoga kya? Only a lyricist of Sameer’s calibre could ask such an existential question with such simplicity and also provide the answer through Suneil Shetty: Kuch nahin hoga kuch nahin hoga. Hum dono mein bas yeh hoga. PO PO PO. PO PO PO. PO PO PO. PO PO PO. PO PO PO. PO PO PO. PO PO… I swear I am not making up the number of POPOPOs in this song. Honest. And to add insult to injury, Shetty actually slaps Tabbu and then kicks her ass, literally, while rejecting her overtures in the middle of the song. What the PO.
4. Mere Baap Ki Beti Meko Bhai Bolti, Mere Baap Ki Biwi Meko Beta Bolti. Like Govinda, there are too many Salman Khan songs that can make it to the list. But I have chosen this one because of the ease with which it exposes the underbelly and the complexities of the great Indian family, and at the same time, highlights the hopes and aspirations of the common man. If that common man is Salman Khan, that is. Mere baap ki beti meko bhai bolti. Mere baap ki biwi meko beta bolti. Meri maa ka bhai meko bhaanja bolta. Mere bhai ki beti meko chacha bolti. Ooparwaale, tune, mujhko sab kuchh diya. Ab dede husband kehne waali sundar biwi. Never again has the great Indian joint family been represented in Hindi cinema like this. Must be a really good joint.
If you are not convinced with this selection, try this other Salman Khan song called Main Toh Mere Papa Ki Carbon Copy from the 2002 film Yeh Hai Jalwa: Nahin fax, nahin xerox, nahin telex ya computer ki floppy. Main to mere Papa ki carbon copy. And if you are still not convinced, well, let me not tell you mere baap ka beta tujhe kya bolta.
5. Do Me A Favor, Let’s Play Holi. To give Anu Malik the credit, he has had the distinction of making songs with lyrics as bizarre as Ek garam chai ki pyaali ho, Oonchi hai building lift teri band ha or Aaila re ladki badi mast mast fairly hummable. But that is still no defence for a song as moronic as this: Do me a favor let’s play holi. Rangon mein hai pyaar ki boli. Mere peechhe peechhe peechhe kyon aaye. Mera jiya jiya kyon dhadkaaye. Ja re ja don’t touch my choli. Uff yeh Holi. Haai yeh Holi. While Sameer has been credited with writing the lyrics of this song, one is more than sure this mukhda was penned by Mr. Malik considering the enthusiasm and passion with which he has sung the song, feeling the extent, intensity and power of pure love. Yes, Indian Aesthetics aficionados, THIS is shringar rasa for you, thank you.
Talking of purity and passion, Himesh Reshammiya’s Tandoori Nights deserves a place in here. If these nights of the roasted variety do not move you, you were born to Androids. Tak tana na na tandoori nights. Tandoori nights. Tandoori nights. Tak tana na na tandoori nights. Tandoori nights. Tandoori nights. Sama sharabi. Dono jahan sharabi. Rut rawan sharabi, dildar ve. Hawa sharabi. Teri ada sharabi. Yeh fiza sharabi, dildar ve. Tanha tanha hai dil. Tanha tandoori nights. If loving you is wrong, I don’t wanna be right. Rabba. Rabba. Meri jaan jale. Jale. Jale. Jale…
Compare these to the Qamar Jalalabadi song from the 1959 film Do Ustad, Ric Ric Tic Tic.The song goes Ric Ric Tic Tic Boom Boom Tic. Tere mere do dil ho gaye ik. Dil mein mere kar reha hai kaun aaj picnic. Funny, yes. Mildly inane, yes. But not Kiss Miss by a long shot. Or Po Po Po.
The reason why I mention Qamar Jalalabadi is that while Qamar Saab has given us songs like Aaiye meherbaan, baithiye jaanejaan and Ek pardesi mera dil le gaya, he can also take the credit for writing quite a few ‘non-regular’ songs in Hindi films, from Mera naam Chin Chin Chu to Worli ka naka aaka ka baaka on a regular basis. But he still never did compromise on the poetry despite the difference in tonality. Dum Dum Diga Diga. Mausam bhiga bhiga. Bin piye main toh gira. Main toh gira. Main toh gira. Haai allah. Surat aapki subhan allah. Cheesy. But still classy.
God bless this man. Pappi Sundaram to him. : )
(Originally posted on missmalini.com) | If you liked this note, you may also like The Gods Must Be trashy, Getting educated at Bollywood: Woh toh theek hai magar woh kab karenge! and Dear English in Bollywood… Zindagi bhar rahunga, yours faithfully!.