Arise, awake, and stop not till the goal is reached. God Himself does not propose to judge a person until his or her life is over. Why should you and I ?
Bharat
Joined August 2009
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Rallying for Change: Reimagining Leadership Outreach in India
Leadership styles and priorities vary across countries. In Western nations like the US and Australia, leaders often focus on policy announcements and targeted outreach. In contrast, India's political landscape frequently features large public rallies and project inaugurations, drawing criticism for potentially diverting resources from pressing needs like healthcare and infrastructure.
India faces significant challenges, with millions lacking access to quality healthcare, sanitation, and infrastructure. Funds spent on public events could address these gaps, highlighting the need for efficient resource allocation and accountability. Transparency in spending and prioritizing citizen needs are crucial, as is balancing leadership outreach with development priorities.
Leaders could optimize their outreach by leveraging electronic media, print, radio, and television, reducing the need for costly rallies. The current model, where people are often mobilized and paid to attend events, raises concerns about transparency and resource allocation. Additionally, leaders shying away from open press conferences and accountability exacerbates the issue.
To address these concerns, leaders can adopt more efficient communication channels, such as regular press conferences, town hall meetings, and social media engagement. This would not only reduce costs but also increase transparency and accountability. Furthermore, prioritizing digital outreach and community-level interactions can help reach a broader audience without the need for large-scale events.
By focusing on essentials like healthcare, education, and infrastructure, and optimizing spending on events, India can better address the plight of its poor. Efficient resource use and accountability will help ensure that leadership engagement serves the nation's development goals.
Rakesh Vaid
@legalloops @bhupendrachaube @VinodSharmaView @yashoazad @DrSYQuraishi @slakhina
#India
#Transparency
Picture credit Lokmat pune
Main to bhool chali babul ka desh, piya ka ghar pyara lage... ✨
Posting one of the most graceful bridal songs ever written. Not loud, not dramatic - just pure, happy, new-bride emotion.
Some trivia that makes this song even more special:
1. First National Award for Music: This was the film that made history. Kalyanji-Anandji won the National Award for Best Music Director for Saraswatichandra in 1969. It was the FIRST EVER National Award given for Best Music in Hindi cinema.
2. A Kutchi Garba from a Kutchi duo: Kalyanji-Anandji were both born in Kutch, Gujarat. So when they had to compose a Garba, they didn't copy it - they lived it. That's why this doesn't sound like a filmi Garba, it sounds like a real village Garba. You can almost smell the dandiya and the earth.
3. Lata ji's magic: Lyricist Indeewar wrote it so simply, and Lata Mangeshkar sang it with that slight folk touch. Critics at that time wrote - "You can almost smell the provincial aroma" in her voice.
4. The Film Story: Saraswatichandra (1968) starred Nutan and Manish. Directed by Govind Saraiya, based on Govardhanram Tripathi's famous Gujarati novel. It was a black & white film in the colour era, and it was Nutan's last big hit as a romantic heroine. The film itself was not a big commercial hit, but every single song became immortal - Chandan Sa Badan, Phool Tumhe Bheja Hai Khat Mein, and this one.
In short - a Garba that became a pan-India bidaai anthem.
#Saraswatichandra #LataMangeshkar #KalyanjiAnandji #Indeewar #Nutan #OldIsGold #Garba #NavratriVibes #BollywoodClassics
Presenting a medley of beautiful songs based on Raag Darbari Kanada
राग दरबारी कान्हड़ा
Hindustani Sangeet ka sabse gambhir aur prasiddh raag hai. Miyan Tansen ne ise Akbar ke darbar mein gaya tha, isliye naam Darbari pada
#Classicsangeet
#Raga
Little known stories of Big B @SrBachchan an amazing person : God bless him
Enjoy this peppy number of Amitabh ji with Samita Patil from Movie Namak Halal
1. The Chehre Story - No Fees, Own Hotel & Flight in -70°C
Director Rumy Jafry ne bataya - 2021 mein Chehre ki shooting Poland mein -70 degree mein hui. Rumy aur producer Anand Pandit darr rahe the ki Big B kitni fees maangega. Amitabh ne unhe ghar bulaya, desi breakfast - dal moth, samosa, kachori khilayi aur bola: "Main is film ke liye ek rupya nahi loonga. Meri fees ka bojh film par nahi hona chahiye."
Aur itna hi nahi, usne Poland ka apna chartered flight aur hotel ka kharcha khud pay kiya.
2. Smita Patil's Nightmare Before Coolie Accident
Coolie ka wo near-fatal accident 26 July 1982 ko hua. Usse ek raat pehle raat ke 2 baje Smita Patil ne Bangalore ke hotel mein call kiya. Amitabh ne khud bataya - "Maine kabhi usse itni raat baat nahi ki thi. Usne kaha, maine aapke baare mein bura sapna dekha hai, aap theek ho na?"
Agle din accident ho gaya. Aur Puneet Issar ka mukka lagne ke baad bhi usne pehle crew ko bow karke bola "Perfect shot", phir bahar jaake gir pada.
3. French Beard ka Asli Maalik - Aks
Aapko lagta hai ye French beard humesha se thi? Rakeysh Omprakash Mehra ne apni book mein bataya - Aks (2001) ke liye debut director ne himmat karke bola "Sir, French beard rakhenge". Amitabh maan gaye. Film ke baad se aaj tak wahi look hai. Unki pehchan ban gayi.
#AmitabhBachchan
#SamitaPatil
Intentions are meaningful, but a small act of kindness is what truly creates value.
#KindnessMatters #ActOfKindness #Leadership #Empathy #HumanityFirst #MakeADifference #BeKind #ValuesInAction #WorkplaceCulture #Inspiration
CHOTI SI UMAR MEIN BADI SI AWAAZ - SUNIDHI CHAUHAN
Aaj Sunidhi Chauhan jise hum "Desi Girl", "Sheila Ki Jawani", "Kamli" jaise toofani geeton ki malika ke roop mein jaante hain, kya aapko yaad hai uski shuruat kahan se hui thi?
Ye video usi shuruat ki jhalak hai.
School ki uniform mein, choti si choti, stage par khadi ye bachchi jo Tabassum ji ke saath stage share kar rahi hai, ye koi aam bachchi nahi thi. Ye 4 saal ki umar se mandiron aur mohalle ke functions mein gaa rahi thi.
Kahani us anmol video ke peeche:
Tabassum ji - jinhone Doordarshan par "Phool Khile Hain Gulshan Gulshan" se sabke dil jeete - ek baar Delhi ke ek chote se function mein gayin. Wahan ek choti si ladki unke peeche peeche washroom tak chali gayi aur zidd karne lagi, "Aunty, mera gaana suno!"
Tabassum ji ne suna. Aur sunte hi dang reh gayin.
Wohi ziddi bachchi thi Nidhi Chauhan, jise baad mein Kalyanji bhai ne naam diya Sunidhi - "Sunidhi" matlab khoob saari dhan-daulat laane wali, lucky naam.
Tabassum ji ne turant uske parivaar se kaha - "Aap is bachchi ko Delhi mein mat rakho, Mumbai le aao." Aur uske pita Dushyant Chauhan ne apni naukri chhod kar, apna ghar baar chhod kar, sirf beti ke sapne ke liye Mumbai ka rukh kiya.
Phir kya tha? Kalyanji-Anandji ka "Little Wonders" troupe, jahan 8-9 saal ki Sunidhi Lata ji, Asha ji ke gaane itni sahajta se gaa deti thi ki bade-bade music director hairan reh jate.
Kalyanji ne ek baar use 45 minute tak lagatar sunte rahe, ek gaana nahi, 10-12 gaane. Aur phir kaha - "Ab ye Delhi wapas nahi jayegi."
1996 mein "Meri Awaaz Suno" - jismein judge khud Lata Mangeshkar thi - jeetna, aur 1999 mein 16 saal ki umar mein "Ruki Ruki Si Zindagi" se raaton-raat star ban jaana, ye sab baad ki kahani hai.
Par beej toh yahin tha, is choti si school girl mein.
Aaj jab ye video dekhta hoon toh lagta hai - Pratibha kabhi chhupi nahi rehti. Uske liye ek Tabassum ji jaisi parkhi nazar chahiye, aur ek pita jaisa tyag chahiye.
Salute to Sunidhi - From a Child Prodigy to the Queen of Playback.
#SunidhiChauhan #ChildProdigy #Tabassum #GoldenMemories #PhoolKhileHainGulshanGulshan #KalyanjiAnandji #MeriAwaazSuno #PlaybackQueen #RareVideo
KARTE HAIN HUM PYAR MR. INDIA SE - A BUBBLY DELIGHT THAT STILL MAKES US DANCE
Some songs are not just songs, they are memories.
"Karte Hain Hum Pyar Mr. India Se" from the 1987 blockbuster Mr. India is one such bubbly, evergreen gem.
Shot beautifully on the beaches with the lovely children of the film and in the lush green meadows of Ooty, this song captures the true spirit of the movie - Love, Family and Innocence.
Anil Kapoor as the lovable Arun, Sridevi at her cutest best as Seema, and the gang of kids - together they created pure magic on screen.
What makes it so special even after 38 years?
Voices: The playful energy of Kishore Kumar perfectly matched with the sweet freshness of Kavita Krishnamurthy.
Music: The legendary duo Laxmikant-Pyarelal gave a tune that is as light and bouncy as sea waves.
Lyrics: Javed Akhtar sahab kept it simple, honest and straight from the heart.
Visuals: No heavy sets, no rain drama - just sunshine, beach, green meadows and innocent smiles.
It’s not a typical romantic duet. It’s a celebration. A celebration of a family that found love in the most unusual hero - Mr. India.
Play it today and you will still smile. That is the power of a true bubbly song.
#MrIndia #KarteHainHumPyaarMrIndiaSe #AnilKapoor #Sridevi #LaxmikantPyarelal #KishoreKumar #KavitaKrishnamurthy #JavedAkhtar #Ooty #EvergreenSong #BollywoodGold
This is NOT CGI (Computer Generated Image) . This is China building in the sky.
What you are seeing is the Huajiang Canyon Bridge (花江峡谷大桥) in Guizhou, China - As of today, the WORLD'S HIGHEST BRIDGE.
625 meters / 2,051 feet above the Beipan River.
That's not a typo.
To understand - it is almost 2 Eiffel Towers stacked one on top of another. 9 times taller than Golden Gate Bridge. Almost as tall as Shanghai Tower.
And that waterfall? The story is amazing.
It's not a natural waterfall. When engineers were drilling the tunnel at the bridge head, they hit a massive karst aquifer - an underground water lake inside the limestone mountain.
In Guizhou, the whole land is hollow limestone. Water started gushing out at huge pressure. Normal project would have pumped it out.
Chinese engineers said - Let's not waste it.
They built a 4,000 cubic meter reservoir inside the mountain to store that water. Now that stored water does three jobs:
1. Creates this artificial 100-meter water curtain right under the bridge deck for tourists - on sunny days you get a perfect rainbow over the canyon.
2. Supplies drinking water to the rest area and viewpoint
3. Waters the farms and orchards on the Guanling side
Engineering + Tourism + Farming - in one stroke.
Why was it built?
Guizhou is China's poorest, most rugged province - no plains at all. Locals call this place "Earth Crack". To cross this canyon, villagers used to take 2 HOURS through dangerous mountain roads and ferries.
Bridge opened on 28th September 2025 after just 3.5 years of construction. Cost: $290 million.
Length: 2.89 KM, Main Span: 1.42 KM - also the world's longest bridge span built in mountains.
But they didn't just build a bridge. They built a full adventure park around it:
- Glass elevator to a cafe on top of the 262m tower
- Glass skywalk
- World's highest bungee jump - 625m!
- Extreme sports center at the bottom
Guizhou already has 32,000 bridges. Almost half of world's 100 tallest bridges are in this one province. They call it "The Bridge Museum of the World".
This is what happens when engineering respects nature instead of fighting it. Hit water? Make a waterfall.
Would you dare to bungee from here?
#HuajiangCanyonBridge #WorldsHighestBridge #ChinaEngineering #Guizhou
DO NOT IGNORE THIS POST PLEASE
THE APP IS FREE, BUT YOUR CHILD IS THE PRODUCT.
I just watched a brilliant video that breaks down the 10 tricks every App developer uses to keep you hooked. Hats off to the creator - he has dissected the monster top to toe.
We think our children are using the App. The truth is, the App is using our children.
Those 10 traps are not accidents, they are design:
1. *Infinite Scroll:* There is no end. No "page over". So the child never stops.
2. *Auto-Play:* Next video starts before the brain can say "enough".
3. *Pull to Refresh:* Just like a slot machine in a casino. You pull, you hope for a reward.
4. *Red Notification Dots:* That red dot creates anxiety. It says "You are missing out".
5. *Streaks & Rewards:* Don't break the chain, or you will lose your friends. Pure emotional blackmail.
6. *Likes & Validation:* A child's self-worth is now decided by how many strangers liked his photo.
7. *Algorithmic Feed:* It shows only what makes the child angry, jealous or insecure - because that keeps him longer.
8. *Variable Rewards:* Sometimes 100 likes, sometimes 2. This uncertainty is what creates addiction.
9. *FOMO Creation:* "Your friend posted a story" - creating a fear of being left out.
10. *Never-ending Suggestions:* "You may also like..." - A maze with no exit.
This is not technology. This is behavioural engineering.
We taught our children to not talk to strangers on the road. Today, they spend 6 hours a day talking to and seeking approval from strangers on a screen.
Old norms are dying not because children are bad. Old norms are dying because the smartest engineers in the world are working 24x7 to make our children addicted.
*What can we do? We don't need to ban technology, we need to bring balance:*
For parents of children under 15 -
- No phone in the bedroom after 8 PM. Let the bedroom be for sleep and books.
- One hour of outdoor play is non-negotiable, before one hour of screen.
- Don't gift a smartphone as a reward. Gift an experience - a cycle, a book, a trek.
- Be the example. If we are on Insta at the dinner table, we have no right to preach.
Let's not let a multi-billion dollar algorithm raise our children.
Please watch that 10-point video and share it with at least 2 parents. This is one chain that needs to go viral.
#DigitalParenting #SocialMediaAddiction #SaveChildhood #ParentingInDigitalAge #ScreenTime #MentalHealth #ConsciousParenting
A herding dog, also known as a stock dog or working dog, is a type of dog that either has been trained in herding livestock or belongs to one of the breeds that were developed for herding. A dog specifically trained to herd sheep is known as a sheep dogor shepherd dog, and one trained to herd cattle is known as a cattle dog or cow dog ..
We think dogs chase sheep. Actually, herding dogs don't chase - they control movement. It's one of the most complex jobs any animal does for humans.
What makes them different?
A normal dog sees a sheep and thinks: Prey. Chase, catch, kill.
A herding dog sees a sheep and thinks: My responsibility. Keep together, keep moving, keep safe.
Scientists call this "modified predatory instinct". Wolves hunt in sequence: Eye > Stalk > Chase > Grab > Kill. Herding dogs have been bred for 1000s of years to stop at EYE and STALK. They have the urge to hunt, but never finish it. That's why a Border Collie stares and crouches - that intense "Eye" is pure wolf, but controlled.
The 3 Great Styles of Herding:
1. The Headers - The Geniuses (Border Collie, Australian Shepherd)
They go to the front of the flock and bring them to you. They work with eyes, position and brain. A Border Collie can take commands from 1 km away with just a whistle. Considered the most intelligent dog breed in the world.
2. The Heelers - The Tough Guys (Australian Cattle Dog, Corgi)
They bite heels. Literally. For stubborn cattle that won't move, a Corgi - yes, that small dog - was bred to nip the heel of a 700kg cow and then duck flat to avoid the kick. That's why Corgis are long and low.
3. The Livestock Guardians Who Also Herd (German Shepherd, Briard)
They work in a boundary style - running a circle around the flock, keeping it contained. They have both herding and guarding instinct.
Why they are so obsessed?
Herding is not trained, it's instinct. You don't teach a Border Collie to herd, you just show it sheep and its brain lights up. Puppies as young as 6 weeks old will try to herd ducks, balls, even children. They will herd your kids into one room and then sit at the door, satisfied.
That's why pet herding dogs without a job become anxious - their brain is wired to work 8 hours a day. If you don't give them sheep, they will give themselves a job: herding your family, your car tyres, your other dog.
A Final Beautiful Fact:
In the high Himalayas, the Bhotia and Bangara dogs of India are still used as herding + guarding dogs by Gaddi shepherds. While the West celebrates Border Collies, our own Himalayan herding dogs work at 14,000 ft, in snow, protecting sheep from leopards - without any whistle commands, just understanding the shepherd's voice.
interesting
#HerdingDogs #BorderCollie #AustralianShepherd #GermanShepherd #WorkingDogs #DogLovers #SheepDog #CattleDog #Corgi #DogIntelligence #FarmDogs #LivestockGuardians #BhotiaDog #IndianDogBreeds #DogFacts #CanineWorld
Once again another masterpiece for fans of Hemant Da
SHIVJI BIHANE CHALE... - Woh Stuti Jo Subah Ke Saath Aati Hai
"Shivji Bihane Chale Palki Sajake"
Munimji (1955) ka ye gaana koi aam filmi bhajan nahi hai. Ye Bharat ki lok-sanskriti mein basi Shiv-Parvati Vivaah ki sabse madhur aur pavitra katha hai.
Kyun ye sabse alag Shiv Stuti hai?
Is gaane mein dhol-manjira ka shor nahi hai. Isme hai subah ki shanti.
Kavi Shailendra ne likha, "Himachal ke ghar se Parvati ko lene, Shivji bihane chale palki sajake"
Aur us shabd 'Bihane' mein hi saara jaadu hai. Bihane matlab - Brahm-Muhurat, subah-subah.
Sachin Da (S.D. Burman) ne iske liye na orchestra ka shor liya, na bhari bharkam sangeet. Bas Dholak, Manjira aur Harmonium ki lay par Hemant Kumar ki woh gehri, tapasvi awaaz ko chhod diya - jaise koi rishi pahaad par baith kar katha suna raha ho.
Is gaane ke peeche ki baat jo bahut kam log jaante hain:
1. Hemant Da ka Chamatkar: Hemant Kumar us samay Bombay ke sabse vyast singer-composer the. S.D. Burman ne jaan-bujhkar ye bhajan Kishore ya Rafi se nahi, Hemant Da se gawaya. Kyunki isme shringaar nahi, vairagya aur gambhirta chahiye thi, jo sirf Hemant Da ki awaaz mein thi.
2. Parde par nritya nahi, leela hai: Film mein ye gaana Dev Anand par nahi, balki choreographer Sachin Shankar aur Ameeta par filmaya gaya hai, ek lok-nritya natika ke roop mein. Dev Anand aur Nalini Jaywant bas us leela ko dekh kar anandit ho rahe hain - jaise hum aap Shivratri par Jhanki dekhte hain.
3. Ek hi gaane mein poora Shiv Puran: "Bhoot-pret sang mein, Bhairav-Baital ang mein" - Shailendra ne 3 minute mein poori Shiv Baraat ka varnan kar diya. Maa Parvati ka shringaar, Himalaya ka ghar, Shiv ka aagman - sab kuch.
Film: Munimji (1955)
Singer: Hemant Kumar - The Unmatchable
Music: S.D. Burman
Lyrics: Shailendra (Sahir nahi)
Starcast: Dev Anand, Nalini Jaywant, Nirupa Roy, Pran
Director: Subodh Mukherjee
Agar subah 4 baje aankh khule aur ye gaana sun liya jaye, to samjhiye din ban gaya. Isme nasha nahi, nashamukti hai.
Aaj Mahashivratri nahi hai, phir bhi ek baar aankh band karke suniye - "Shivji Bihane Chale..."
Aapko subah ka ehsaas hoga.
#ShivjiBihaneChale #Munimji1955 #HemantKumar #SDBurman #Shailendra #ShivStuti #ShivVivah #DevAnand
For Hemant Da fans
The song "Raah bani khud manzil" from the film "Kohraa" (1964).
This song is just as immortal ! One wonders how the musical geniuses of those days could create such masterpieces in such abundance. The song is written by Kaifi Azmi. Hemant Kumar is the singer as well as the music director.
This song is a “car” song, where Biswajeet and Waheeda Rehman are seated in a car, and sings this song while driving. And since this is a movie and not real life, Waheeda Rehman does not nag him to concentrate on his driving instead of singing. Or may be, she does not nag him because she may not have become his wife till then in the movie. 🙂
Kohraa is a gothic-style suspense thriller (an adaptation of Daphne du Maurier's Rebecca). In a narrative thick with shadows, suspense, and mist (kohraa means fog), "Raah Bani Khud Manzil" acts as a radiant counter-balance. Its playful, airy disposition provides a transient island of warmth before the psychological tension of the thriller reasserts itself.
The lyrics express that when a loved one enters the journey, the hardships and struggles fade into the background. The act of walking together becomes more fulfilling than reaching any final point.
The core motif of the song rests on its titular paradox—“Raah bani khud manzil” (the path itself became the destination). In classic Urdu and Hindustani poetic traditions, life or love is a journey (safar) directed toward a final goal (manzil). Here, Kaifi Azmi inverts this concept: the presence of the beloved is so all-consuming that the struggle of the journey dissolves, and walking the path with them renders any further destination redundant.
Lines like "Dekho phool ban ke saari dharti khil padi" (see how the whole earth bloomed like a flower) use natural imagery not merely as passive scenery, but as an emotional projection of the protagonist's internal euphoria upon meeting the beloved.
Hemant Kumar’s signature deep, mellow, and unhurried baritone voice imparts a calm, hypnotic quality to a joyful song. Instead of an aggressive or fast-paced romantic burst, the tempo remains breezy and reflective.
So, here is this melodious, romantic track from the 1964 suspense thriller film Kohraa for your listening pleasure.
#Hemantkumar
AAP KE HASEEN RUKH PE... When One Song Was Meant For Two Sisters
If there is one song that defines the purest form of Bollywood romance, it is this. But what you see on screen is not what you think.
The Greatest Irony Ever Filmed:
Dharmendra (Jiten) is sitting at the piano, singing to the two most beautiful women - Mala Sinha (Amita) and Tanuja (Sunita).
Mala Sinha, the elder, pragmatic, widowed-owner of the newspaper who has sacrificed her youth - thinks he is singing for ME. Finally, my love is reciprocated.
Tanuja, the younger, bubbly, college-going sister - thinks he is singing for ME. My Chunnilal is finally expressing his love.
Both are blushing. Both are right. Both are wrong.
Neither knows the other is in love with the same man.
That is the masterstroke of Director Shahid Lateef. No dialogue, just two shy smiles and Rafi Sahab's voice doing all the work.
The Story Behind The Song That You Will Not Find On Wikipedia:
1. It was Guru Dutt's last film. Guru Dutt started this film in 1964 as hero, director, producer. On 10th Oct 1964, he passed away. The film was 40% complete. His team was shattered. Dharmendra not only stepped in to replace the legend - he put his own money to complete Guru Dutt Films' last offering. Some shots of Guru Dutt are still there in the song "Woh Hanske Mile Humse".
The Song That Almost Didn't Happen: On recording day, many musicians came late. O.P. Nayyar Sahab, a known disciplinarian, was furious. He sent the latecomers back home. With only a few musicians left - mainly Piano, Sarangi, and Dholak he re-composed the entire song on the spot. That minimal piano-based, Raag Yaman Kalyan melody you hear today is actually a result of that anger. And it became immortal.
Anjaan Becomes ANJAAN: Till then lyricist Anjaan was a struggling small-timer. This one song - "Khuli laton ki chhaon mein... ghata se jaise chhan rahi subah-subah ki dhoop hai" - with its beautiful repetition of words, made him a star overnight. Later he wrote for Amitabh Bachchan's biggest blockbusters.
Rafi Sahab's Magic:
Mohammed Rafi was not just singing. He was smiling through his voice. Listen to "Mera dil machal gaya to mera kya kasoor hai" - you can hear the mischief, the innocence.
Music: O.P. Nayyar | Lyrics: Anjaan | Singer: Mohammed Rafi | On Screen: Dharmendra, Mala Sinha, Tanuja | Film: Baharen Phir Bhi Aayengi (1966)
A song where every word is clear, every note is in place, and every heart that has ever been in love thinks - yeh gaana mere liye hi gaya hai.
Which sister did you think he was singing for when you first saw it?
#AapKeHaseenRukhPe #BaharenPhirBhiAayengi #MohammedRafi #OPNayyar #Dharmendra #MalaSinha #Tanuja #GuruDutt #GoldenEra
On his 84th Birthday Amitabh Bachchan is meeting all his characters that he has portrayed
during his journey...watch... it's Superb...!!
#AmitabhBachchan
In Woh Kaun Thi?, Sadhana has TWO iconic sarees.
Naina Barse Rimjhim - The WHITE saree - The ghost on the road, in the cemetery, in the rain.
Lag Jaa Gale - The BLACK saree - The wife, the lover, in the bedroom.
Lag Jaa Gale is in a black saree. In a black-and-white film, that black saree looks even more intense. That was Raj Khosla's genius.
*"Lag Jaa Gale Ki Phir Ye Haseen Raat Ho Na Ho..."
In a black saree, in a black and white film - Sadhana created colour.
Woh Kaun Thi? (1964)
Singer: Lata Mangeshkar
Music: The Ghazal King Madan Mohan
Lyrics: Raja Mehdi Ali Khan
Starring: Manoj Kumar & Sadhana
Why this song still makes us stop everything and listen?
The Anecdote of the Black Saree :
Director Raj Khosla told his cameraman K.H. Kapadia - "For Naina Barse, I want her in white. She is a spirit. But for Lag Jaa Gale, I want her in black. She is a woman who knows she may lose her love forever."
In the scene, Sadhana is wearing a plain black saree with a thin border. No jewellery. Just the famous Sadhana Cut - the fringe. Manoj Kumar is leaving. She knows this night may be the last. So she says the most vulnerable line ever written in Hindi cinema:
Paas aaiye ki hum nahin aayenge baar baar,
Baahen gale mein daal ke hum ro le zaar-zaar...
Come close to me, I will not come again and again. Let me cry in your arms.
The Lata-Madan Mohan Magic:
Madan Mohan composed it on a harmonium in one night. He called Raja Mehdi Ali Khan at 2 am and said "I have a tune that is crying."
Raja Saab, who himself was lonely and unwell, wrote in 20 minutes - Shaayad phir is janam mein mulaqaat ho na ho.
When Lata Didi recorded it, she asked for lights to be dimmed. Musicians say she sang it with closed eyes, as if she was Sadhana herself in that black saree, stopping her husband at the door.
Madan Mohan was so moved, he told Lata - "Aapne is geet ko amar kar diya."
Why it never dies:
Because it's not a love song. It's a goodbye song sung like a love song. We all have that one night when we wanted to hold someone and say - hug me, who knows if tomorrow we will meet.
1964 to today - 62 years later - when a girl in a black saree stands at a party, someone still whispers, "Lag Jaa Gale."
#LagJaaGale #LataMangeshkar #MadanMohan #WohKaunThi
"Phir Chhidi Raat Baat Phoolon Ki" from the 1982 film Bazaar stands as one of the most exquisite ghazals in Hindi cinema history. Directed by Sagar Sarhadi, the film explores the grim reality of the bride-buying market in Hyderabad, yet this song serves as a breathtaking island of pure romance and aesthetics
• Singers: Lata Mangeshkar and Talat Aziz
• Music Director: Khayyam
• Lyricist: Makhdoom Mohiuddin
• On-Screen Actors: Farooq Shaikh and Supriya Pathak
A Marxist Revolutionary’s Romantic Verse
The lyrics of this ghazal were written by Makhdoom Mohiuddin, a legendary Urdu poet who was also a fiery Marxist political activist and a leader in the Telangana Rebellion. Despite his fierce revolutionary politics, Makhdoom possessed a deeply sensitive romantic soul. The final line of the song explicitly pays homage to him: “Yeh mehakti hui ghazal Makhdoom, Jaise sehra mein raat phoolon ki” (This fragrant ghazal, Makhdoom, is like a night of flowers in a desert)
The Late-Night Waiting Melody (Raag Bageshri)
Khayyam masterfully set the tune in Raag Bageshri, a Hindustani classical raga traditionally performed late at night. Raag Bageshri is fundamentally rooted in the emotion of Viraha (a woman intensely longing and waiting to be reunited with her lover). Khayyam chose this specific raga to capture the delicate, anticipatory romantic tension between the two young characters.
Traditionally, cinematic ghazals are associated with Karuna Rasa (sadness, heartbreak, or melancholy). However, "Phir Chhidi Raat" breaks this mold entirely by leaning heavily into Shringaar Rasa—the aesthetic rasa of love, beauty, and decorative romance. The heavy usage of floral metaphors ("Phool ke haar, phool ke gajre" ,Garlands of flowers, anklets of flowers) makes it a celebratory anthem of courtship rather than separation
Though Talat Aziz had made his playback debut a few years earlier, "Phir Chhidi Raat" skyrocketed his fame. Getting to sing a duet alongside the legendary Lata Mangeshkar under Khayyam's direction was a monumental milestone for a young ghazal singer. Talat Aziz has often mentioned in interviews that even decades later, this specific track is an absolute mandatory request from audiences at every live concert he performs around the world
Music director Khayyam was renowned for giving his historical and artistic tracks a very distinct rhythmic structure. Listeners often point out that the delicate sitar pieces and the subtle Arabian/Middle Eastern flavor mixed into the string arrangements match the stylistic signature Khayyam used for other timeless soundscapes like Umrao Jaan and Razia Sultan.
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“Kahin Bekhayal Hokar” — A 1965 gem that still feels carefree
From Teen Deviyan, this soulful classic is pure Mohammed Rafi magic. Composed by S.D. Burman and written by Majrooh Sultanpuri, it’s picturised on Dev Anand serenading Simi Garewal (with Nanda and Kalpana listening on the radio) on a beautifully recreated Kashmir mushaira set at Mehboob Studio in Mumbai. The song perfectly captures Dev’s breezy, urban 1960s persona — the poet who can’t quite make up his mind.
Teen Deviyan itself was an interesting film. Officially directed by Amarjeet (Dev Anand’s publicist), it was actually ghost-directed by Dev himself — his first real attempt at direction before Prem Pujari. Inspired by the works of D.H. Lawrence, the story follows a young poet (played by Dev, using his real name Devdutt Anand) who falls for three very different women: the simple Nanda, the actress Kalpana, and the sophisticated socialite Simi Garewal. For its time, the film felt quite modern — the hero is torn, the women are independent, and the tone is light but adult.
The song sequence is set at a literary gathering in Kashmir being broadcast on All India Radio. Dev is invited to recite his poetry and, on the audience’s insistence, breaks into this ghazal. He was only 41 during the shoot and wears a stylish fur cap that gives the mushaira a suitably authentic feel. While most of the film is in black-and-white, a few key sequences (including the climax) were shot in colour — quite a novelty then.
S.D. Burman–Majrooh–Rafi together on a Dev Anand film was always special. Interestingly, an English version of the film (titled Oh Boy and Three Girls) was also planned, with music by a young R.D. Burman, but it was never released.
Sixty years later, “Kahin Bekhayal Hokar” still has that effortless charm — Rafi’s gentle harkats, Burman’s understated melody, and Majrooh’s beautiful imagery of someone being touched, almost casually, by a feeling they can’t quite name.
Just the kind of song that makes you pause and smile.
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