A Doctor's Ruminations

What is pseudo-history, pseudo-archeology, or pseudo-science?

2010-11-14T23:40:00.001Z

‘No history can be bad so long as it is true’

Miguel de Cervantes – Don Quixote

What is pseudo-history, pseudo-archeology, or pseudo-science?

This is a simple question with a tricky answer. The answer lies hidden in the tricky shifting sands of scholarship.

An easy answer – and an elusive answer at the same time would be to follow the lead of Justice Potter Stewart, who confessed the difficulty of defining obscenity, but said, ‘I know it when I see it.’

In my humble opinion, the real place to start defining pseudo-history is to answer the question, what is history.

The answer to this question too, is not simple. In my childhood, I learn a simple and elegant definition of history from my granddad, ‘it is a true story about the human past.’ The problem is that pseudo-historians too insist that their ideas and writing are true stories about the human past. They seem to obfuscate the fact that theirs is more story than truth.

So how can a person know what is truth and fact, what is lie and what is error (yes – honest errors are made by many conscientious and truthful individuals) in history or archeology or science for that matter.

The first answer is, as I have always say, is in the evidence including its quality and quantity. Evidence can take various forms – authentic documents from the past, old maps, artifacts, archeological remains, scientific findings with implications for history – the list is endless.

Another answer is the use of objective, empirical and logical method to analyze and evaluate the evidence. Objective scholars with an honest agenda view evidence without bias or preconceptions – or at least they try hard to guard against them as far as it is humanly possible.

Pseudo-historians usually approach their subjects with preconceptions or a hidden agenda. As a result, often one would find a pseudo-historian picking and choosing their evidence – to bolster their case.

It is also important to make the distinction between pseudo-history on one hand and old, obsolete, bad, inaccurate history that has been improved upon, discarded, criticized and discredited by the scholars on the other hand. As I have once mentioned before – we still see posters ‘Sun moves around the earth’ – this used to be scientific view at one time, but it was inaccurate. This has been corrected and that view has been discredited. There is no reason to start a discussion or debate about such ‘Sun moves . . .’ posters any more.

The reason I have brought this matter into discussion is this – often pseudo-historians (and pseudo-scientists) base their theories on disproved, discredited and discarded scholarship. The trick is, many of the criticisms of such scholarships usually have happen before our lifetime. Therefore, when obsolete and antiquated scholarship is reshuffled & recombined and presented to gullible common people, it carries the pseudo-stamp of real scholarship.

Long ago, the sociologist Colin Campbell pointed out the existence of a ‘cultic milieu’ based on the fact that cults are ephemeral, loosely structured and rather individualistic organizations that follow a belief system. The adherents or the fans of certain pseudo-historical ideas or hypotheses match that definition of cult as well. Just as cults are in a constant process of the beginning, thriving and dying out – so do pseudo-historical ideas arise, reach a level of popular acceptance and fade away – only to return later.

Pseudo-historical ideas are always present even though individual ideas rise and decline in popularity. As fast as historians, archeologists and scientists debunk a pseudo-historical hypothesis, new ones emerge out of this ‘cultic milieu’.

Is pseudo-history a modern phenomenon?

In my humble opinion the answer is ‘No’ and ‘Yes’, ‘Yes’, ‘Yes’.

‘No’ in the sense, (that I believe) that human beings have always tried to manufacture their past – trying to impress others by their ‘glorious past’ is the commonest motive.

‘Yes’ in the sense – we now have a systematic scholarship which based on evidence can easily differentiate between history and pseudo-history.

‘Yes’ – because it is the condition of modern society that have made their (existence and) detection possible by even a common people.

‘Yes’ – because rapid development of history and allied sciences has made it possible to examine and often disprove its own existing theories, replacing them with better ones. This has produced a ‘stockpile’ of discarded and discredited theories and historical ideas that feed the ‘cultic milieu’ of pseudo-history.

Pseudo-history and pseudo-historians differ from historians in many ways.

One important part of their flawed methodology is to use the terms ‘legend’ and ‘myth’ interchangeably. Scholars however see myth and legend as different and distinct concepts. A myth is an invented story, used allegorically to explain something. A legend is story about the past that has some basis in real historical event/s, although it is often distorted with passage of time. The practice of treating myths as legends is old and is called ‘euhemerism’ based on Greek scholar Euhemerus (c 300 BCE).

Another tendency of pseudo-historians is to confuse the distinction between possibility and probability. Something is possible when it could happen or could have occurred, however unlikely that event actually be. For something to be probable, it must be likely that it occurred or could happen. So it is possible (but not probable) that someone will buy me a lottery ticket tomorrow. However, it is probable that I shall see a sick patient tomorrow.

Another difference between history or pseudo-history is often the nature of the debate or disagreement. Most historical debates or disagreements are significances / consequences / effects of major historical events / facts. The basic events / facts are rarely in dispute. In pseudo-historical debate the focus is often on the basic fact – did some place exist or not exist – did particular individual did this or not – was there Atlantis – was there Lemuria – was there Mu – did Dadaji Kondev do this or that etc . . .

Garrett Fagan (editor) has done a good compilation of pseudo-historian traits (Archaeological Fantasies: How Pseudo-archaeology Misrepresents the Past and Misleads the Public.). If one would like to know, how to identify one when one sees it . . . it may be good idea to find the book and read (No – I do not have a link; Rama’s realm by Witzel is in this book)

Many pseudo-historians are sincere. Just like you and me, they are just flawed individuals. However, some of them are in this for business and are not sincere in their beliefs.

I would disagree if people try to refer to pseudo-history as ‘fringe’ or ‘alternative’ history. The pseudo-historians often prefer these terms and another – ‘forbidden’ history, which is wrong as well. Most pseudo-history is manifestly not true. It is fallacious and dangerous. It is wrong factually and uses incorrect methodology. The only alternative that I shall accept is ‘false’ history.

I shall end by attempting to define a historian – In my humble opinion, a historian is someone who attempts to discover the truth about the past, and gives us as accurate a representation of the past as possible.

We have very few of them around.

Bibliography –

1. Garrett Fagan (editor) - Archaeological Fantasies: How Pseudo-archaeology Misrepresents the Past and Misleads the Public.

2. Ronald H Fritze - Invented Knowledge: False History, Fake Science and Pseudo-religions

Copy cat ? Adhoore (Break Ke Baad) and Jive talkin' (Bee Gees)

2010-11-12T18:36:00.000Z

I have not seen the DVD - so, I am not at all sure if this is credited - or if this is a tribute to the talented musicians that Bee Gees are . . .

When I hear "Adhoore" - I hear a lot of "Jive talkin'" . . . esp in the beginning.

Do you ?

Adhoore -

http://www.youtube.com/watch?v=ENT1yKk_cok
.
.
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Jive talkin' -

http://www.youtube.com/watch?v=XBw25CrUS-o .

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Copy cat - Anu Malik's plagiarism (this one is not in itwofs.com)

2010-09-29T22:57:00.000+01:00

I am sure that this incidence of plagiarism is not documented in itwofs.com - at least not in Anu Malik's page.

Jaanam Samjha Karo was a movie from 1999 - the songs were not very impressive. In early 1998 I left India for UK and I were not in touch with bollywood music as I have been before.

Recently, I was watching Chhote Ustaad- Do Deshon Ki Ek Awaaz- I heard Akanksha (she is very talented, I must say) singing this song, Sabki Baaraten Aayeen by Alka Yagnik (well, Jaspinder Narula sang one version too). She sang very well - excellent rendition. When I heard the song, first time in my life, it reminded me of another song - an old one but (arguably) a better one.

So, this one is the Jaspinder Narula's version of the song, Sabki Baaraten Aayeen from the movie Jaanam Samjha Karo.

Music direction - Anu Malik

Lyrics - Majrooh Sultanpuri

http://www.youtube.com/watch?v=k76iZzd7NOU

Now, compare this with this song :

http://www.youtube.com/watch?v=5dy0GS4JquQ

Shankar-Jaikishan was the music director of this song - Duniya Bananewale Kya Tere Man Me . . . .Teesri Kasam was released in 1966. It was directed by my father's childhood friend, late Basu Bhattacharya. Producer was Shailendra. Raj Kapoor acted for one rupee only. Though Wiki says, it was not made in colour deliberately - in my opinion, they did not have the money necessary to make the film in colour.

The lyrics are as follows -

Duniya Bananewale Kya Tere Man Mein Samaayi
Kaaheko Duniya Banayi
Toone Kaaheko Duniya Banayi

Kahe Banaye Toone Maati Ke Putle
Dharti Yeh Pyari Pyari
Mukhde Yeh Ujle
Kahe Banaya Toone Duniya Ka Khela
Usme Lagaya Jawaani Ka Mela
Gup-Chup Tamasha Dekhe, Wah Re Teri Khudaai
Kahe Ko Duniya...

Preet Banaake Toone Jeena Sikhaaya
Hansna Sikhaaya, Rona Sikhaaya
Jeevan Ke Path Par Meet Milaye
Meet Milake Toone Sapne Sajaaye
Sapne Sajaake Toone Kahe Ko De Di Judaai
Kahe Ko Duniya...

I hope Mr Karthik of itwofs.com would take notice of this and put this in his extensive list.

Cheers.

2010-09-18T22:54:00.000+01:00

2010-09-17T17:27:00.000+01:00

Flickr

2010-06-11T18:17:00.001+01:00

This is a test post from , a fancy photo sharing thing.

The story of Yajnavalkya and Gargi

2010-04-28T22:17:00.001+01:00

I'll tell you a story - a story that is in Hindu scriptures and goes back to at least 2800 years - if not more. This is the story of Yajnavalkya and Gargi.

Yajnavalkya of Mithila was a legendary sage of Vedic India. He is the creator of some of the most important religious literature of post-Vedic era.

Gargi Vachaknavi was an ancient Indian female philosopher. She is mentioned in the Brihadaranyaka Upanishad - which is likely to be written by Yajnavalkya.

A brahmayajna, a philosophic congress was organized by King Janaka of Videha. The king himself was a great philosopher . . . and he was naughty. Towards the end of the congress, he said - I have a special prize of a thousand cows in a pen and fastened on the horns of each ten measures of gold - for - the most erudite Vedic scholar, the person who knows the Brahman - Brahmavadi.

But none among the learned Brahmins had the courage to declare himself the best; they all sat in silence. Then Yajnavalkya stood up, and called upon his band of disciples to take the herd to his home. This created a sensation among the Brahmin crowd. What was this Yajnavalkya doing ? How very insolent of him ! One of them came up -he was a priest of King Janaka's, Asvala by name. He called out to Yajnavalkya, "Yajnavalkya, do you then happen to be the best among us Brahmins?"

Yajnavalkya replied with folded hands, "Salutations to the best of Brahmins! We have taken the cows because I need them. I am a seeker of the animals, not that I have the most Knowledge."

But Asvala was insistent. He said, "You have taken the cows, now you have to prove that you are the best. I am putting you some questions, let us see what answers you can give"

The dialogue that followed was highly philosophical - many of the Brahmins asked questions and so did Gargi.

And Gargi almost defeated Yajnavalkya.

How ?

Gargi began with the question, "Yajnavalkya, all this here is permeated by the waters. What then permeates the waters?"

"The waters are permeated by air," said Yajnavalkya.
"And what contains the air ?"
"The heavens."
"And where are the heavens contained ?"
"In the world of the Gandharvas."
"And the world of the Gandharvas?"
"In the regions of the Sun."
"And the solar regions?"
"In the worlds of the Moon."
"And the lunar worlds?"
"In the regions of the stars."

Gargi went on thus with her seemingly endless questions . . . but she had a plan . . .

"In what then, are the worlds of stars woven?"
"In the worlds of gods, O Gargi,"
"In what then, are the worlds of gods woven?"
"In the worlds of Indra"
"In what then, are the worlds of Indra woven?"
"In the worlds of Prajapati"
"In what then, are the worlds of Prajapati woven?"
"In the worlds of Brahma"

"In what then, are the worlds of Brahma woven?"

Yajnavalkya became very angry and said: "O Gargi, do not ask too much and if you ask more, your head will fall off. You are asking about the Deity about which we are not to ask too much. Do not ask too much, O Gargi."

After that Gargi, chastised so publicly and afraid became silent.

But she did not give up completely . . .

She took time to regain her composure and thoughts and asked two more questions.

Gargi said: "I shall ask thee two questions. Will you answer me, O venerable sage?"

Yajnavalkya said: "Ask, O Gargi."

"O Yajnavalkya, that of which they say that is above the heavens, beneath the earth, embracing heaven and earth, past, present and future, tell me in what is it woven, like the warp and the woof."

"That, O Gargi, which is above heaven and below the earth, which is heaven and earth as well as what is between them and which — they say — was, is and will be, is pervaded by the unmanifested Akasa(=sky)."

"I bow to thee, O Yajnavalkya. Be prepared for the second question,"

"Ask, O Gargi."

"In what is the ether woven and rewoven?"

Yajnavalkya replied: "O Gargi, in Brahman is the ether woven and rewoven like the warp and the woof. Sages call this the Akshara (the imperishable). It is neither coarse, nor subtle, neither short nor long, neither red nor white. It is neither shadow nor darkness. It is without ears, eyes, or mind, or breath, without speech, without smell, without mouth. It has no within and no without."

"By the command of this Indestructible Being, O Gargi, sun and moon, heaven and earth, stand upheld in their places. By the command of this Akshara, O Gargi, minutes, hours, days, nights, weeks, months, seasons and years stand apart."

"Whosoever, O Gargi, without knowing the Akshara, departs from this world, becomes a miser. But he, O Gargi, who departs from this world, knowing this Indestructible Being, is a true Brahman or liberated sage."

"That Brahman, O Gargi, although unseen, but He sees; although unheard, but He hears; although unthought, but He thinks; although unknown, but He knows. There is none that sees but He, there is none that hears but He, there is none that thinks but He, there is none that knows but He. In that Akshara, then, O Gargi, the ether is woven and rewoven like the warp and the woof."

On hearing these words of wisdom from the mouth of Yajnavalkya, Gargi became silent. Then she turned to the learned men and addressed them thus, "You had better bow down to Yajnavalkya and take your leave. No one among you has the power to get the better of him in the matter of learning or wisdom."

I personally do not agree with Yajnavalkya I would have risked my head and asked - who created the Brahman ?

Gabriel's Vision

2010-02-17T22:33:00.000Z

Since we are stripping Christianity to basics - let us touch this matter too . .

Now, all sort of stories are there - Christ was not a living person - the religion was contructed from Mithraism - it is just a modified version of Isis/Osiris myth - it is just the story of Apollonius of Tyana - it is borrowed from Hinduism (Stephen Knapp's website must have something - and Manish Pandit has of course touched on this) - We all have heard these theories - have we not ?
None of these are supported by any acceptable form of evidence - the only evidences are the similarities and some conjectures based on these similarities.

Well, now, if I say, actually there is evidence that Jesus and/or his disciples did not create the story of his resurrection after three days, but rather they borrowed it from existing ideas, ideas that were in existence in that very region - would you be surprised ?You should not be if you have heard and read about 'Gabriel's Vision'

About 10 years ago a three foot, fragmented tablet was purchased by a Swiss-Israeli collector from Jordanian dealer. It was recovered in an illegal and unknown dig, somewhere near the area, where dead sea scrolls were found. The tablet had 87 lines of hebrew text written, rather surprisingly in ink, divided into two columns. The tablet seems to be authentic. It dates to first century BCE. The text is written in the first person (words by one Gabriel), apparently by someone named Gabriel, and contains numerous Biblical phrases. It is an apocalyptic text.

It was happily forgotten until, a person named Israel Knohl (Hebrew University textual scholar) started to translate this and subsequently, an article appeared in New York Times.

The reason for the stir is - it seems that the text commands someone to rise from the dead in three days. It is very controversial since the exact words cannot be read even with the best technological help - but, if the reading is correct - then 100 years before Jesus, there was a tradition of resurrection in the very region, where Jesus (if historical) existed.

Several assumptions are required for this stone to be so significant:
1) Knohl's disputed reading must be correct;
2) Knohl's interpretation of the text overall must be correct;
3) Jesus and/or his disciples must have known about this text (or a similar one)

So, this raises the question - Was Jesus' Resurrection a Sequel ?

It is my personal opinion, that it is a fraud - unless proved otherwise. But until it is proved convincingly as a fraud, let us enjoy the debate.

I cannot "understand" why Jesus had to die on the cross for the sins of mankind.

2010-02-17T22:13:00.003Z

Yes - that's what one of my friends said. His words were these :

Putting Christianity aside, is this belief that you are not a sinner a common belief? I'm interested in knowing it because all of us sin by default. I also find it amusing that Christianity can claim to have access to the only path towards heaven. Even to this day, I cannot "understand" why Jesus had to die on the cross for the sins of manking. I understand the circumstances behind it, but was this the only way the world could be saved? I'm increasingly finding it difficult to relate to certain Christians who seem to think it's their way or no way.

This was my response :

I'll respond to that basic point you querried.

Knowing your background, you probably already know the answer

It is the basic tenet of Christianity that (John 3:16) For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

It is dogma - it cannot be explained any further

Why he had to die ?

Well, this again is a dogma - When Jesus died as planned by god the father, he paid the penalty for all the sins of the world. Jesus led a life without sin. (more on this later) He was innocent, he took the place of a sinner on the cross. “God demonstrates His own love toward us, in that while we were yet sinners, Christ died for us.” (Romans 5:8.)

This is origin of Christianity - this is the dogma of the Church of Jerusalem, led by James, brother of Jesus. This is the same doctrine Paul took to the Gentiles.

If you still ask, why God couldn’t find another way? . . . I think you would be committing blasphemy by questioning god - he may not like it - certainly his priests will not like it
To imply that the way god has chosen is not the best course of action is scandalous

Isaiah 55:8-9 : "For my thoughts are not your thoughts, neither are your ways my ways, saith the LORD. For as the heavens are higher than the earth, so are my ways higher than your ways, and my thoughts than your thoughts."

It is simply god's way

Isaiah 53 actually 'prophesize' the arrival of Jesus. Also do not forget John 1:29 "John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world."

So, my friend, there is nothing to 'understand' . . . like in geometry, we accept the concept of a point (i.e. A point has no length or width) or the axioms (i.e. a proposition that is not proved or demonstrated but considered to be self-evident - its truth is taken for granted, and serves as a starting point) without question, you have to accept this without question.

Now it is for you, my reader to decide if I made any valid points - if there is something more to add . . .

Cheers

2010-02-17T19:26:00.000Z

Been away for a while . . . .

Should aim to be regular from now on :)

Songs-themes-musics . . . . somsuj's favourites : Pather Panchali (1955)

2009-02-21T11:53:00.004Z

Pather Panchali theme is one of the most memorable and beautiful themes I have ever heard in my entire life.

Somewhere between the Oriental placidity of a great Yasujiro Ozu film and the harsh reality of a great Vittorio De Sica drama lies the world of Satyajit Ray’s Pather Panchali. Based on the original novel of the same name by Bibhutibhushan Bandopadhyay (1929) this film mostly centred around the first part of the Novel - which is often published as a separate novella - Aam AaNtir VeNpu - there is an edition illustrated by Satyajit Ray himself -it is not an uncommon work, I have a copy. . .

If you are interested in Ray as a jacket designer - see this link : http://www.satyajitrayworld.com/rays...tdesigner.aspx

It is a beautiful movie - esp those of you who have come from a relatively rustic background (I was born and upto five years stayed at Berhampore - a Muffasil town in Bengal) will enjoy it every time you see it. The actors were not professionals to the truest sense - and actors/actresses of each of the principal characters should have received an Oscar - if my opinion counts. It is one of the best movies I have ever seen.

The other part of the movie that I enjoyed was its music.

This was the work of a genius - Pt Ravi Shankar did this in eight hours - and what he did has remained etched in millions of minds. His prowess with Sitar is remarkable and he is (arguably) the best exponent of this instrument that I have heard - I don't know much of Indian classical music, but I can recognise a genius, when I hear one.

I have chosen three samples from Pather Panchali :

1. Theme Music : this isn't original this is an improvisation piece is taken from Ravi Shankar compilation by the uploader. But this will definitely do.

http://uk.youtube.com/watch?v=TczDpZNU4iA

2. The Candy Bearer Music : Listen to this clip from 3:35 min to 6.00 min : While sharing tamarind pickle, Durga and Apu heard the music of Candy bearer - they could not buy - but they followed him to another house . . . . the music starts around 4:45 mins . . . then just listen and watch.

http://uk.youtube.com/watch?v=IlVI6ZPVGWA

3. After Durga's death : Listen to this from 3:10 mins . . . there is no sound apart from music - until after hearing all about Durga's death Harihar cries out in agony . . . I have seen many similar scenes in films of many languages - but this remains the best.

http://uk.youtube.com/watch?v=lhVo3nIhwcQ

Ah - yes - this film too is notorious for making me cry - my eyes are full now actually - I need a tissue.

Songs-themes-musics . . . . somsuj's favourites : Forrest Gump

2009-01-24T08:36:00.002Z

Forrest gump is another film that brings tears to my eyes. This story of a slightly mentally challenged man's epic journey through American life, meeting historical figures, influencing popular culture and experiencing first-hand historic events of the 20th century while being largely unaware of their significance is a wonderful story. It had visual effects rather unknown at such times.

This does not bring tears to my eyes.

What does bring tears is his love for 'Jenny'. Jenny was Forrest's childhood sweetheart - but they never really got on until very late - even then after a few night's stay with Forrest she runs away again. The film starts with Forrest waiting in a bus stop waiting to be reunited with Jenny. Forrest discovers that she has a young son, of whom Forrest is the father. They move together, marry - Jenny dies soon afterwards (from AIDS ?).

And I must mention Lieutenant Dan . . . a great performance from Gary Sinise . . . but to know more of him see the movie. I won't forget Bubba . . . and his shrimps.

The score for the film was composed and conducted by Alan Silvestri.

I'll give you two versions - one with the feather . . . . since the sound is not too good in this - another better one.

Forrest Gump (1994) : composed by Alan Silvestri :

http://uk.youtube.com/watch?v=f279nXazc-k

http://uk.youtube.com/watch?v=PEN1_ggo_GQ

enjoy

Songs-themes-musics . . . . somsuj's favourites.

2009-01-24T08:02:00.003Z

I saw Schindler's List lastnight . . . yes, again - and cried - yes, again.

This is the fifth or sixth time I have seen this film, since my first at Globe, Kolkata . . . and everytime I have been unsuccessful in witholding my tears - it invariably flows, around the last scene - when the survivors of Schindlerjuden (Schindler's jews) and their descendants visit Schindler's grave and put a piece of stone on the grave . .

Anyway, it reminded me once again, how I do like the theme music from this film - and I had the idea of starting this thread . .

Composer John Williams was amazed by the film, and felt it would be too challenging. He said to Spielberg, "You need a better composer than I am for this film." Spielberg replied, "I know. But they're all dead!" Williams played the main theme on piano, and following Spielberg's suggestion, he hired Itzhak Perlman to perform it on the violin.

I hope you'll enjoy.

Schindler's List (1993) composed by John Williams

link

Begley and Desai pages

2008-12-22T23:23:00.005Z

Pictures from Begley and Desai

Introduction to the relevant chapter :

The Qazwini Account :

The Lahori Account :

Cheers

A little knowledge is a dangerous thing 2

2008-12-22T22:56:00.004Z

All of you who read the previous log . . .

This is a detail from the particular Shah-jahan picture - I bought a new book - Taj Mahal the Illumined Tomb: an Anthology of Seventeenth-Century Mughal and European Documentary Sources by W.E. Begley and Z.A. Desai.
While reading this book, I came across this picture :

A read of the written words at the bottom agains supports my idea that it is Lahore where Shah-jahan received Ali Mardan Khan . . . you have to click the bottom picture to see the whole of it.

Cheers.

A little knowledge is a dangerous thing

2008-12-16T01:07:00.004Z

Well, Stephen Knapp runs a website - a part of which is devoted to the Taj-Tejo controversy. A friend of mine drew my attention to this picture :

The associated caption is long and reads - The 5^th generation Mogul emperor Shahjahan is credited with having built the Red Fort in Delhi. Shahjahan ascended the throne in 1628 A.D. This contemporary painting shows him receiving the Persian ambassador in 1628 itself, in the Diwan-i-Aam (Common Room) of the Red Fort itself. This painting preserved in the Bodleian Library, Oxford, was reproduced in the Illustrated Weekly of India (page 32) of March 14, 1971. Since Shahjahan was in the fort in the year of his accession, this documentary evidence disproves the notion that he built the fort. Compare with this the photo of the tablet in English raised inside the fort by the Govt. of India's archaeology department asserting that Shahjahan built the fort during 1639-48. This is emphatic proof of Indian history having been thoroughly falsified during Muslim rule in India.

:)

A little look into Wiki article on Red Fort Delhi says this : Though this fort was thought to be built in 1639, there are documents and a painting available of Shah Jahan receiving the Persian ambassador in 1638 at the jharokha in the Diwan-i-Aam in the Red fort. This painting preserved in the Bodleian Library, Oxford, was reproduced in the Illustrated Weekly of India (page 32) of 14 March 1971. However the painiting shows the jharokha at Lahore, and not Delhi. See History of Mughal Architecture, R. Nath, Abhinav Publications, 2006

Fair enough - but they did not explain why they said this. I do not have Nath's book (I should have bought it when I went home this October) and the Google book pages are restricted. I did not have the patience to look through all the available pages.

So, what to do ?

Search more . . . and surprisingly, I did not have to search too much. I first found this article - by who else, Ebba Koch. This article, named DIWAN-I AMM AND CHIHIL SUTUN: THE AUDIENCE HALLS OF SHAH JAHAN gives the same picture. I took a picture of that with the caption :

This proves the Wiki assertion that it was Lahore fort . . . and not Red Fort (Delhi).

Don't you think it is time for Knapp to remove this picture from his site - or at least correct the caption and apologise for misleading people ?

Now, can please someone tell me in which page of Nath's book the same picture is reproduced - as this particular friend told me.

It would be nice to see a coloured picture of this manuscript . . . and I got that too :

Shelfmark and folio: MS. Ous. Add. 173, fol. 13v

Description: Shahjahan receiving the Persian embassy of 1628. [caption title]

No. 13. Jehangir Padshah [caption on page]

Cheers.

Tahkhana of Taj Mahal

2008-12-13T16:55:00.006Z

While reading Ebba Koch's book, The Complete Taj Mahal: and the Riverfront Gardens of Agra: And the Riverfront Gardens of Agra - I came across something that has changed my views - partially.

Literally Tahkhana (Persian) means a cold building or palace.

Tahkhana has been used by Mughals. Ram Bagh one of the oldest Mughal Charbaghs built by the Mughal Emperor Babur in 1528 A.D. It had (and still has) two viewing pavilions, that face the Jumna river and incorporates a subterranean 'tahkhana' which was used during the hot summers to provide relief for visitors.

Here is an example of Tahkhana - picture taken from Ebba Koch's book.

The first picture is self explanatory.

The second one is the Tahkhana of It-Mad-Daula

Next is a photograph of Koch's description of Tahkhana of Taj-Mahal

And I am adding from another site :

Its north (river-facing) elevation is clad in red sandstone and framed with marble inlay and displays a series of now-infilled arches. The vegetal motifs carved on the wall are enlarged versions of those that appear on the mausoleum, the mihmankhana and the mosque. These arches were originally open to the Yamuna river, allowing light and ventilation to reach the inner tahkhana rooms within. The tahkhana, a gallery of rooms arranged in a row and connected by a narrow corridor, is reached by two staircases that descend from openings in the surface of the plinth to the east and west of the mausoleum. The tahkhana rooms are also connected internally by small passages and are said to have served the visiting emperor and his entourage.

This is Koch's pictures of Tahkhana :

And after all these years, I have to acknowledge the possibility that Stephen Knapp's pictures could be original pictures from the Tahkhana of Taj Mahal - though I do not agree with his conclusions.

Entrance to Tahkhana of Taj Mahal :

The Tahkhana - now blocked - from outside :

But this is not all - there are other ehidden rooms in the Taj Comples - but not in 'hundreds' as often claimed by the 'Tejo' group :)

I'll post about those rooms later - not much, only a little.

The Buddha 's Skull Relic

2008-11-25T00:33:00.000Z

The Buddha 's Skull Relic

These were excavated at Piprahwa in District Basti of Uttar Pradesh, North-West of India near Nepal border, in 1972 by the Archaeological Survey of India. The site has been identified with Kapilvastu, the home town of the Buddha Sakyamuni. It is the same site where the Buddha relic was first excavated by Mr. Pepe, an English engineer in AD 1897, more than 100 years ago .

The second discovery in 1972 found about 20 pieces of bones, appeared to be parts of the skull. The largest piece is about 3 X 5 centimeters.The relic used to be displayed in a plain plastic case.

The urns at the bottom of the photo are the urns which the Relic was originally found.

__________________

The finger-bone of the Buddha

2008-11-24T23:57:00.002Z

The Dharma Gate Temple

Fa-men Temple figured prominently in Tang times because emperors of the Tang Dynasty paid homage to the legendary "relic of the Buddha," or more specifically, "the finger-bone of the Buddha," that had been enshrined in the pagoda attached to this temple. Although the worship of this finger-bone relic predated Tang, it was practiced with much more fervor during the Tang. However, in the later part of the Tang Dynasty, the finger-bone relic disappeared as a result of the Huichang Suppression of Buddhism. Since its disappearance, Chinese Buddhists have tried to find it for many centuries but their efforts were of no avail. Surprisingly, it was rediscovered by Chinese archaeologists in 1984 in an unearthed crypt near the old pagoda site.

There was a series of caskets - like this :

In the smallest, there was the relic. So, how does this finger bone look like ?

Here is a picture :

http://en.wikipedia.org/wiki/Famen_Temple

Apparently four Buddha's relics were found after the opening of underground palace. Two of them were made of white jade. The third one was from a famed monk. These three are called "ghost relics"(影骨). They were placed together with "true relic"(灵骨) in order to protect the latter. The true relic appeared to be yellow-colored, with bone-like secretory granules.
I have no idea, what is a secretory granule in a bone . . .

Anyway - I found the picture of all four of them : I give a link and I have uploaded the picture from my machine. The second from right is the said true relic.

http://blog.shunya.net/.shared/image.html?/photos/uncategorized/2007/09/15/famentemple12_2.jpg

And here ia another picture : carefully note - it is a hollow cylinder !!

Now I know human bones only too well . . . . you may not. So, we have a picture here :

You may not know which ones are 'phalanx . . . we have three in each of our fingers, except thumb - we have two there . . . so, 14 in total.

OK ?

So, now tell me - which bone really looks like the said "finger-bone" of the Buddha ?

This is what a Distal thumb phalanx of adult human left hand looks like :

I have very much doubt if any of those 2 bones are human . . . let alone phalanx . . .

I am sure now you can understand the look in my signature's face . . .

S Banerjee

Piprahwa relic of Buddha

2008-11-24T23:52:00.002Z

This is an example of how we have identified and established relics of Buddha :

The relic was originally excavated by Mr. Pepe, an English man in AD 1897 at Piprahwa village,Basti District, Uttra Padesh, North-West of India near Nepal border.

"C" ABOVE IS THE CASKET CONTAINING RELIC

THE CASKET AE IT LOOKS

INSIDE THE CASKET THRE WERE TWO CASKETS - WITH INSCRIPTIONS

THE INSCRIPTION COPIED TO A PIECE OF PAPER

Translated by T.W. Rhys Davids as: " This shrine for Relics of the Buudha, the August one, is that of the Sakayas, the brethen of the Distiguished one, is association with their sister and with their children and their wives."
Marquis Curzon, a British viceroy of India then present a portion of the Relic to Thailand during the reign of King Rama V (Chulalongkorn) who interred the relic at the stupa of Phu-Khao-Thong, Wat Srakessa (Sa-Gest temple) Bangkok in 1899.

Now - you might say that is a good proof - BUT - you are assuming that the people who put the relic in the first place were 100% honest about it and were absolutely sure that the relic truly was that of Buddha . . .

Considering the fact that these are stupas constructed by Ashoka, who is 168 to 218 yrs (at least) after Buddha - I really doubt the authenticity of hte relics . . .

But, I am not a historian by profession.

A Musical Journey Through Last 10 Years (Part 2)

2008-09-22T08:38:00.011+01:00

21. Paap - 2004

Man Ki Lagan
Singer : Rahat Fateh Ali Khan
Lyrics : Amjad Islam Amjad
Music : Shahi

The film is about a young girl, Kaya, living in the beautifully serene valley of Spiti, waiting to join a Buddhist monastery, an idea which has been fed to her all her life by her father and one which she has never questioned. Kaya had to go to Delhi on a mission to bring a reborn Buddhist teacher back to the monastery. The child witnesses the murder of a Police Officer before their return and the control of the situation was taken over by a police officer Shiven. Shiven himself is framed and mortally wounded. He escapes from death to the very monasery where Kaya lives. While nursing him back to health, Kaya begins to find herself attracted to Shiven - a feeling reciprocated by Shiven too. This song captures that moment.

Loosely based on 'Witness' (1985) starring Harrison Ford - this film is Pooja Bhatt's directional debut.

Man Ki Lagan by Rahat Fateh Ali Khan is in my opinion, one of the top five songs of last decade. Here is an interview of him : http://www.hindu.com/mp/2008/04/21/stories/2008042150540100.htm

http://www.youtube.com/watch?v=wDPVbwEz_fk

22. Hum Tum - 2004

Hum Tum
Singer : Alka Yagnik, Babul Supriyo
Lyrics : Prasoon Joshi
Music : Jatin-Lalit

The story of the movie was loosely based on one of my favourites "When Harry Met Sally" (1989). However, in my opinion, it has been taken to the next level and fits very well with the 'Deshi' scenario. Saif Ali Khan's performance was excellent. A delight to watch, this movie had this lovely song. It also has another song, picturised on Rishi Kapoor, where his character sings "Main Shair To Nahin" (Bobby 1973) - this is one of the rare instances when the same song has been sung by the same singer and lip-synchronised by the same actor in two different movies.

1973 :

http://www.youtube.com/watch?v=RBaFrEYJeMM

and 2004 :

http://www.youtube.com/watch?v=QRNnjGSTe24

Thirty years changes many things in life . . .

Hum and Tum are, incidentally, each of the cartoon characters' names. Hum is the boy, and Tum is the girl. At first, they aren't friends, and as Karan's story goes on, theirs goes on in a similar way. Will Hum and Tum ever get together and form the celebrated Hum Tum? Or will they also never ever fall in love?

You may find it a bit slow, but deeply emotional, funny movie! The ending was slightly obvious, though it seems impossible when you see the climax. This is a movie, I wouldn't mind seeing again.

http://www.youtube.com/watch?v=LQGvGI6LxSs

23. Swades - 2004

Yun Hi Chala Chala
Singer : Hariharan, Kailash Kher, Udit Narayan
Lyrics : ?
Music : Rahman

Mohan Bhargava, an NRI working at NASA, returns to India to bring Kaveri Amma, his ayah (nanny), to the US so she can spend her remaining life in comfort and luxury. In India, he finds her and finds more. Some might say Swades is not just a movie,it is a realization. I would neither agree nor disagree with that statement. However I would never consider this movie as one of the best I have ever seen - it is not of such quality.

This is one of the typical road songs with beautiful rhythm. Makrand Deshpande is superb as the maverick ascetic. Just enjoy.

http://www.youtube.com/watch?v=NXC-VaRMkK0

24. Kalyug - 2005

Jiya darakh darakh jaye
Singer : Rahat Fateh Ali Khan
Lyrics : Sayeed Quadri
Music : Anu Malik

Based on a real life story, this film tells the story of a newly married couple , who were caught on camera at a hotel during their honeymoon. The video is released on the Internet and the bride ultimately commits suicide. The husband then starts a journey in pursuit of revenge . . . . .

I have not seen the film but it had mixed reviews. The original name of the film was "Blue Film" but it was changed due to some objections. The film names Anu Malik as music director. "Jiya Dhadak Dhadak.." was sung by the maestro Rahat Fateh Ali Khan, while "Aadat" was composed by Atif Aslam.

I do have some doubt if the music of "Jiya Dhadak Dhadak.."was composed by Anu Malik . . . or is it by Rahat Fateh Ali Khan.

http://www.youtube.com/watch?v=voHaafuzOUw

25. Bas Ek Pal - 2006

Tere Bin
Singer : Atif Aslam
Lyrics : Amitabh Verma
Music : Vivek Phillip And Amitabh Verma

Nikhil Kapoor (Sanjay Suri) comes back from the USA to Mumbai and meets Anamika Joshi (Urmila Matondkar) in a night club and instantly falls for her; she, however, doesn't even introduce herself. The next time they meet, he is in the company of his friends Rahul (Jimmy Shergill) and Steve (Rehaan Engineer), while Anamika shows up with Farhad. An discussion takes place, Farhad draws out a gun, resulting in a fight, the gun ends up in Nikhil's hand, and Rahul gets shot. Farhad, who's dad is a senior police officer quietly leaves for Australia, Rahul gets paralysed and loses the use of his legs, and Nikhil is arrested and held in a cell. Rahul refuses to speak with him, and he has no way of contacting Anamika to try and prove his innocence.

Three years after having been imprisoned, Ira Malhotra (Juhi Chawla) comes to hear his side of the story, and helps bail him out. Now Nikhil gets to meet Rahul and Anamika and eventually finds out that he was lured into a trap by a killer, who is still at large.

The film is said to have been inspired by a 1997 Spanish film, written and directed by Pedro Almodóvar called Live Flesh (Spanish: Carne Trémula).

Atif, at 25 is already established as a singer and already has three albums with good tracks in his belt. I am sure you are going to enjoy this song.

http://www.youtube.com/watch?v=XLeb5EvAMOs

26. Sarfarosh - 1999

Hosh Walon Ko
Singer : Jagjit Singh
Lyrics : Nida Fazli
Music : Jatin-Lalit

Ajay Singh Rathore's (Amir Khan) brother is killed and his father brain damaged by terrorists when Ajay is a small boy, because his father was going to stand up against them in court. Ajay takes this to heart, and as a young adult he devotes himself to becoming a police inspector and fighting against crime, and terrorists in particular. The movie is essentially about one case, where Ajay has to get to the roots of an operation smuggling guns into the country. The operation is backed by a Pakistani general, with the rationale that arming criminals in India is a cheap but effective way of waging war. Though somewhat simplistic, this is a superb film.

Naseeruddin shah is amazing as usual.

I am not going to bore anyone by praising Jagjit Singh - as no praise would be enough . . . I however remeber hearing this song in early 1990s, when one of my friends gave me a lot of Jagjit Singh's cassettes to make copies. I might be wrong though.

I also do not think Jatin-Lalit were the original composer of this song . . . may be Jagjit himself is the composer.

http://www.youtube.com/watch?v=RDFJgs7wric

27. Bhagam Bhag - 2006

Tere Bin
Singer : Kunal Ganjawala, Sunidhi Chauhan
Lyrics : Sameer
Music : Pritam

One of the comedies from Priyadarshan. I wouldn't bore with the details - as the comedy is mostly situational - see it if it comes on your TV. I specially enjoyed the drug mafia of MK Gandhi and associates ;) . The opening sequence has a song "Signal" by Remo Fernandes - which is a copy of Trinidadian Soca hit, 'Signal for Lara' by Superblue. 'Signal for Lara' was composed as a tribute to Brian Lara when he broke the world batting record for the highest individual score in first-class cricket (501 not out for Warwickshire, against Durham) in 1994.

'Tere Bin' is a sweet love song, I enjoyed.

http://www.youtube.com/watch?v=b4X0je0W6TE

28. Lage Raho Munna Bhai - 2006

Pal Pal Har Pal
Singer : Shreya Ghoshal, Sonu Nigam
Lyrics : Swanand Kirkire
Music : Shantanu Moitra

Through his interactions with the image of Gandhi, Munna Bhai begins to practice what he calls Gandhigiri (Satyagraha, non-violence, and truth) to help ordinary people solve their problems. The film was not impressive - at least I was not. But it stirred the imagination of the public, and there were several episodes of Gandhigiri protests in India and in other areas.

This is a very sweet song and Vidya Balan is a joy to watch.

http://www.youtube.com/watch?v=kH_Duecleds

29. Pyar Ke Side Effects - 2006

Jaane Kya Chahe Man
Singer : Zubin
Lyrics : Mayur Puri
Music : Pritam

This is like a modern version of good old Basu Chatterjee fun movie. Sid (Rahul Bose), is a DJ who meets Trisha (Mallika Sherawat) when he is playing songs at her wedding in Delhi and she is contemplating running away. Did she run away ? Six months later they meet again, now in Mumbai. They meet few more times … they fall in love ! When Trisha proposes marriage after three years, Sid is not quite ready – they then break up, patch up, break up again etc ... ... ... got the idea ?
Just add an over-protective father, an over-protective best friend . . . . throw in some jokes . . . and few more things - and you have a good picture.

This is a movie to watch with good quality songs. This one by Zubin is best in my humble opinion.

http://www.youtube.com/watch?v=v4FjQqy3YtY

30. Guru - 2006

Dum Dara Mast Mast (Tere Bina)
Singer : Chinmayee, A R Rahman
Lyrics : Gulzar
Music : A R Rahman

Was it really based on Dhiru Bhai Ambani's life ? I don't know. But, I can say that this is an impressive movie with impressive performances from everyone, especially from Abhishek Bachchan.

Gulzar, combined with A R Rahman to produce a memorable sound track that was released in 2006. The songs vary in their musical style, from the Turkish inspired Mayya Mayya to the folk-ish Ek Lo Ek Muft and the love ballad, Tere Bina. And I have chosen Tere Bina for you.

http://www.youtube.com/watch?v=fTF3LnCkQ04

31. Kabhi Alvida Na Kehna - 2006

Mitwa
Singer : Caralisa, Shafqat Amanat Ali, Shankar Mahadevan
Lyrics : Javed Akhtar
Music : Shankar Ehsaan Loy

I didn't like the story or the film. Why . . . well, let me say, "The characters are cardboard, the setting is glitzy, the songs are tiresome, and the story oscillates between high melodrama and slapstick hilarity, going nowhere. Rarely has a weak script relied so completely on pretty people with big names to carry every line through" http://www.rediff.com/movies/2006/aug/11kank.htm

Music too disappointed me except Mitwa. I knew of Shafqat Amanat Ali from his works with Pakistani pop band known as "Fuzon." He is the son of Ustad Amanat Ali Khan, making him part of the 9th generation old Patiala Gharana.

http://www.youtube.com/watch?v=ETff9g0U63A

32. Fanaa - 2006

Chand Sifarish
Singer : Shaan
Lyrics :
Music : Jatin-Lalit

"Fanaa" is not a word in common parlance. I found out that in Persian, Urdu, and chaste Hindi, it means "annihilated", "destroyed", or in the context of this offering from Yash-Raj Films, it signifies "devastated, ravaged, or consumed by love". Rather grandiose and bothe the film and the music failed, in my opinion to live upto the mark - except Chand Sifarish.

What I find strange is the absence of piano from the arrangement - piano has always been strong point of Jatin-Lalit's arrangements - but, I am not complaining.

No - actually I am complaining - I just wish Amir Khan did not dance that ridiculous dance again . . . :)

http://www.youtube.com/watch?v=v-3YbkVc0lE

33. Ankahee - 2006

Tumse Yun Milenge
Singer : Kunal Ganjawala
Lyrics : ?
Music : Pritam

Painfully slow - Long dialogue sequences - Overacting - Predictable. The only saving grace was the music . . . and Kunal Ganjawala delivered a superb song for Pritam - and yes, we have not been able to trace the 'inspiration' . . . . yet.

http://www.youtube.com/watch?v=cEA6S8f9ri4

34. The Killer - 2006

Teri Yaadon Mein
Singer : Kay Kay, Shreya Ghoshal
Lyrics : Jalees Sherwani
Music : Sajid Wajid

"Translated" from the Michael Mann thriller Collateral (2004) this movie stars Emraan Hashmi and Irrfan Khan. Nisha Kothari is playing the role of heroine opposite Emraan. Emraan stars as a taxi driver in this movie while Irrfan Khan stars as a hitman who uses him to drive around places where he has to kill off his targets. As Nikhil helplessly becomes witness to one killing after another, he finds his life and dreams crumbling around him. Faced with the prospect of losing everything he has been working towards, he finally takes control . . .

Sajid Wajid usually gives rather impressive music and this particular one, in which Nikhil is still in the dreamlands is very sweet to hear.

http://www.youtube.com/watch?v=7CfQF_JbUcw

35. Naqaab - 2007

Ek Din Teri Bahon Mein
Singer : Javed Ali
Lyrics : Sameer
Music : Pritam

The first half seems a half-baked plot where all the three leading protagonists (Akshaye Khanna, Bobby Deol and the new Urvashi Sharma) are trying to create a love-triangle/drama of sorts. Just as you are bored and think of leaving the theatre - the movie is turned upside down. I still wouldn't recommend that you go to theatre to watch this - see it if it is on your TV.

This movie is a remake of a 2003 movie called "Dot The I". This song is enjoyable . . . Javed Ali's voice is new, refreshing.

http://www.youtube.com/watch?v=3Iu1L1icOrw

36. Jab We Meet - 2007

Aao Milo Chalo
Singer : Shaan
Lyrics : Irshad Kamil
Music : Pritam

I liked this film. Shahid Kapoor, in my opinion has a great prospect. Kareena is rather good in this movie - and I was in a dilemma whether to put her (lip-sync'ed) song or this one - and I have gone for this one - as the other one is a copy.

http://www.youtube.com/watch?v=a8_baL6PkDw

37. Gangster - 2005

Lamha Lamha Doori
Singer : Abhijeet
Lyrics : Neeslesh Misra
Music : Pritam

I have not seen this film - but I have listened to the songs. Copied or not - they are brilliant. One of them is specially kept for part 3 of this Geetmala - but I wanted this one for my part 2 . . . the visuals might be a bit strong - but wonderful song. Abhijeet is just superb.

http://www.youtube.com/watch?v=5kxSU2KhEdo

38. Rang De Basanti - 2006

Roobaroo
Singer : Naresh Iyer, AR Rahman
Lyrics : Prasoon Joshi
Music : A R Rahman

A wonderful picture about the youth of India - mixed with history - and once again, with some wonderful music by A R Rahman.

http://www.youtube.com/watch?v=2H7q3FbKmu8

39. Life in a Metro - 2007

Baatein Kuchh Ankahi Si
Singer : Suhail
Lyrics : ?
Music : Pritam

It's a movie someone may like due the presence of a particular actress. I however liked this film due to wonderful chemistry between the characters of Irfan Khan and Kankana Sen. The reason for choosing this song is that chemistry . . .

Other songs will enter part 3 of the Geetmala.

http://www.youtube.com/watch?v=ZpyLgkU-3oo

40. Om Shanti Om - 2007

Jag Soona Soona Laage
Singer : Rahat Fateh Ali Khan, Richa Sharma
Lyrics : Javed Akhtar
Music : Vishal-Sekhar

Simply superb. One of Vishal-Sekhar's best creation - this movie has many good scores - but this one tops all of them.

http://www.youtube.com/watch?v=f0ZKTxh-r6o

Enjoy . . . .

A Musical Journey Through Last 10 Years (Part 1)

2008-09-17T19:59:00.010+01:00

Often I have been asked to produce a Geetmala of contemporary songs, esp from younger members of the community. It often makes me feel old :(. It is not that I don't listen to new songs. It is not that I like the new songs. The new songs often do not transcend to the quality of the old songs. They somehow do not touch my mind like the old ones. They contemporary songs more like T-20 cricket and often do not have the class of the test match cricket . . .

So, I looked into my collection of flv files - from 1998 onwards (last 10 years) . . . and here are twenty of the songs I like - in no particular order.

1. Fiza 2000
Piya Haji Ali
Singer : Kadar Ghulam Mustafa, Murtaza Ghulam Mustafa, Rahman A R, Srinivas
Lyrics : Shaukat Ali
Music : A R Rahman

I am beginning the Geetmala with A R Rahman - who certainly is one of the best music directors of our time - no arguments about it. A child prodigy, he made his mark with songs clearly influenced by western classical music - but he is equally good with Indian classical and semiclassical music - and here is one that I like very much :

http://www.youtube.com/watch?v=3uSrVjZ24wI

2. Vaastav 1999
Meri Duniya Hai
Singer : Kavita Krishnamurti, Sonu Nigam
Lyrics : Sameer
Music : Jatin-Lalit

Jatin-Lalit is one of my favourite music director duo. I don't know about you - but I rate them highly - in fact, some day I should produce a geetmala of their songs. They have an ability to churn out songs which touch my heart. Their songs tend to remind me of R D Burman . . and indeed it was delight when they mentioned in one interview that they idolise R D Burman.
This film, is arguably one of the best by Sanjay Dutt. Mahesh Manjrekar's directional debut was a fine movie - though people may argue that it lacks originality.

http://www.youtube.com/watch?v=D32fk6tHXT8

3. Nayak 2001
Shakalaka Baby
Singer : Praveen, Shiraz Uppa
Music : A R Rahman

In 2002, A R Rahman collaborated with Meera Syal and Andrew Lloyd Weber to create Bombay Dreams - a Bollywood themed musical for London west end. The musical contained many of Rahman's Bollywood songs. This one from Mudhalvan was worked upon - though the opening words remained the same. This is an example of how good A R Rahman is in producing chart busting music.
The version I am including in my geetmala is from "Nayak" which is the Hindi version of Mudhalvan. I am not sure who the lyricist is.

Nayak--Shaka Laka Baby @ Yahoo! Video

http://video.yahoo.com/watch/223671/1249697

4. Hum Dil De Chuke Sanam 1999
Hum Dil De Chuke Sanam
Singer : Kavita Krishnamurthy, Mohammed Salamat
Lyrics : Mehboob
Music : Ismail Darbar

This was the second offering from Director Sanjay Leela Bhansali and luckily was not a bad one - or else, it might have ruined all the good work done by Ismail Darbar. Though his Nimbooda was possibly more famous . . I was hooked on to this slow one for its sweetness and sadness - it was a perfect mix, conveying the tragic love. It still remains one of my favourite. It was beautifully sung by Kavita-ji.

http://www.youtube.com/watch?v=Ucgr3XzXfTQ

5. 1942 Love Story 1998
Ek Ladki Ko Dekha
Singer : Kumar Shanu
Lyrics : Javed Akhtar
Music : R D Burman

I don't know if anyone debates whether the success of 1942 Love Story was due to untimely and sad demise of R D Burman or due to quality of the movie or due to the beautiful music direction by Pancham-Dada . . . well, in my humble opinion, except this song, Ek Ladki Ko Dekha, the album did not have any great music. And even this one gets a bit repeatitive after about two minutes. There is no doubt that the beginning is great - and the mainstay of the song is the "STHAYEE" . .
I hope, I am not opening a pandora's box here . . . ;)

http://www.youtube.com/watch?v=y88juKO48ZU

6. Phir Bhi Dil Hai Hindustani 2000
Aur Kya
Singer : Abhijeet, Alka Yagnik
Lyrics : Javed Akhtar
Music : Jatin-Lalit

Here is another one from Jatin-Lalit. Aur Kya is from a film which did not do very well in the box-office. Being away from India since 1998, I have no idea, how the songs did in the market. But - the fact remains that this remains another of my all time favourites . . though, I must add, the list of my all time favourites goes beyond 100 . . perhaps 200 . . .

I say, just enjoy . .

http://www.youtube.com/watch?v=8Ma4eS6qNSs

7. Dil Chahta Hai 2001
Tanhayee
Singer : Sonu Nigam
Lyrics : Javed Akhtar
Music : Ehsaan, Loy, Shankar

8. Dil Chahta Hai 2001
Woh Ladki Hai Kahan
Singer : Shaan, Kavita Krishnamurthy
Lyrics : Javed Akhtar
Music : Ehsaan, Loy, Shankar

Possibly one of the rare occasions, when I have included two songs from the same movie in the Geetmala. All songs of this movie - which itself is one of my favourites - are wonderful to listen too. However these two are in my list for different reasons.

Tanhayee beautifully captures the soul of a man who has denied the existence of love all through his life, suddenly captured by someone's love. He is surprised, desperate, cofused - trying to find out a way of this conundrum . . . .

http://www.youtube.com/watch?v=1BDUlZhDujU

Woh Ladki Hai Kahan on the other hand is a sweet song with wonderful video. It's a spoof - you move from Black & White era to colur . . . and Saif Ali Khan and Sonali Kulkarni in costumes and wigs of the bygone era. They are dressed as Raj-Kapoor-Nargis & Rishi Kapoor-Sridevi & Rajesh Khanna-Sharmilla Tagore.

BTW, if you have not seen this movie, it is a must see . . . I certainly recommend.

http://www.youtube.com/watch?v=hjzlPtsS0R8

9. Rehna Hai Tere Dil Mein 2001
Dil Ko Tumse
Singer : Roop Kumar Rathod
Lyrics : Sameer
Music : Harris Jayraj

This film is a remake of super hit Tamil movie ‘Minnale’ starring Madhavan, Saif Ali Khan and Dia Mirza. I never heard this song before this year. It was one of the reality music competetions, where I heard this song first. No disrespect, but I think the choice of singer is possibly is not correct - but even then, it enters my Geetmala.

http://www.youtube.com/watch?v=8FNL5e3qtss

10. Baghban 2003
Main Yahan Tu Wahan
Singer : Alka Yagnik, Amitabh Bachchan
Lyrics : Sameer
Music : Aadesh Shrivastava

http://www.youtube.com/watch?v=DwxTI0kahpY

We all knew Amitabh Bachchan can sing. We heard him in Silsila and in various movies, here and there. Even then, when I listend to this song, I was stunned. He has really done very well - and he has since followed it up with another stunning rendition in Babul.
I cannot thank Aadesh Shrivastava enough for asking Amitabh Bachchan to sing these songs.

11. Baabul 2006
Kehta Hai Baabul
Singer : Amitabh Bachchan
Lyrics : Sameer
Music : Aadesh Shrivastava

http://www.youtube.com/watch?v=RFRxqJz2XKI

12. Haasil 2003
Aankhen Bhi Hoti Hai Dil Ki Zuban
Singer : Abhijeet
Lyrics : Israr Ansari
Music : Jatin-Lalit

Another composition by Jatin-Lalit that touches my heart. I never heard of the movie - but when I heard this song - again in a realty music competetion, I searched in Youtube and downloaded to my collection. This composition is possibly not as fluid as Jatin-Lalit produces . . . somewhere in the middle, you may find the composition to be a little jagged . . . but - it always ends with my heart desiring to hear it once again. I hope you would agree.

http://www.youtube.com/watch?v=sBJ346i0X0M

13. Hungama 2003
Pari Pari
Singer : Babul Supriyo
Lyrics : Sameer
Music : Nadeem-Shravan

Hungama, along with Hera-pheri, Chup chup ke, Hulchal and few others are few of the most enjoyable Bollywood movies in the last 10 years. These are comedies without the nonsense Bollywood has produced so long in the name of comedy. Hungama in addition has this song, which can enter my Geetmala.

http://www.youtube.com/watch?v=c-saNxa7SV0

14. Jism 2003
Chalo Tum Ko Le Kar
Singer : Shreya Ghoshal
Lyrics : Neelesh Misra, Sayeed Quadri
Music : M M Kareem

Well, the name of the film is . . . kind of revolting. But few of the songs are superb. I knew of Shreya Ghoshal a few years ago as one of the rising singers in Bengal - though she (possibly) spent most of her life outside Bengal. In this song - she is Bipasha Basu's voice, and it is difficult to say which is more inviting - Shreya's voice or Bipasha . . . I'll let you decide.

http://www.youtube.com/watch?v=pIzrHHuAtIc

15. Kal Ho Naa Ho 2003
Kuch To Hua Hai
Singer : Alka Yagnik, Shaan
Lyrics : Javed Akhtar
Music : Shankar-Ehsaan-Loy

Well, the temptation was to include two songs from this film too - but I decided not too. The title song of this film, along with Maahi Ve are more famous - but this is the one, I like to listen to, again and again . . . there is something, "Kuch" in this song, that I like - do you like it ?

http://www.youtube.com/watch?v=tbTHRSihjEg

16. Khakee 2004
Wada Raha
Singer : Arnab Chakravorty, Shreya Ghoshal
Lyrics : Sameer
Music : Ram Sampat

Not only for the striking visual effect - this song is also likable for the smooth rendering of Arnab, who later went on to win K for Kishore. Enjoy :

http://www.youtube.com/watch?v=3YtNWFsTe0c

17. Kyun? Ho Gaya Na 2004
Aao Naa
Singer : Sadhana Sargam, Udit Narayan
Lyrics : Javed Akhtar
Music : Shankar-Ehsaan-Loy

It was a contestant in Star Voice of India sang this song - and that's how I came to hear this for the first time - again, this year. This very romantic song has been beautifully rendered by Sadhana Sargam and Udit Narayan and definitely deserves its place in my Geetmala.

http://www.youtube.com/watch?v=ZKQXEnl3zEM

18. Main Hoon Na 2004
Tumhe Jo Maine Dekha
Singer : Abhijeet, Shreya Ghoshal
Lyrics : Javed Akhtar
Music : Anu Malik

OK - I agree that I am not very fond of Anu Malik - but I have to agree that he does produce quality music when he wants, though the inspirations will always remain suspect. This one is the best of many songs in this film.

http://www.youtube.com/watch?v=IFzfx1M4G24

19. Murder 2004
Bheegey Hont
Singer : Kunal Ganjawala
Music : Anu Malik

Kunal Ganjawala's rendition of this song is too good to be ignored and his song is definitely is in my list - and so is Anu Malik . . .

http://www.youtube.com/watch?v=uwPNUuFozIY

20. Masti 2004
Dil De Diya Hai
Singer : Anand Raj Anand
Lyrics : Sameer
Music : Anand Raj Anand

He does not sing often, but few songs, where he has given his voice, Anand Raj Anand has excelled. This is one of those songs, which no one else could possibly have been able to sing any better.

http://www.youtube.com/watch?v=ZeSBBDskzkk

Well, I had no idea, when I started this Geetmala, that I shall reach the number twenty and I would find that possibly there are twenty more songs that are waiting to go into my list.

Hence, a part 2 beckons - and there, I shall explain, why I selected songs from last 10 years.

Cheers.

Geetmala : Madan Mohan (Part 1)

2008-08-25T09:22:00.015+01:00

Those of you who have read my other Geetmalas, may have noticed my soft corner for Madan Mohan. Here, I am presenting a short Geetmala on Madan Mohan.

Born in Baghdad, Iraq (1924), this son of film mogul, Rai Bahadur Chunnilal joined army in the year 1943 - but quit soon, and joined All India Radio, Lucknow. He picked up influences from such ghazal and classical luminaries as Ustad Faiyyaz Khan, Ustad Ali Akbar Khan, Begum Akhtar, and Talat Mahmood. He picked up their influences and carried them with him to Bombay when he entered Bollywood. Not many know that he aspired to becoming an actor but ended up directing music. After assisting S.D. Burman and Shyam Sunder for a short time, Madan scored his first big break with the film Aankhen in 1950.

More about his career will follow in my later Geetmalas.

In this Geetmala, I want to present some songs that has a story behind them. All these stories are collected from various internet sources, and it is not possible to acknowledge all the sources.

1. Song : Aaj Socha To Aansoo Bhar Aaye - Hanst-e-Zakhm - 1973

sung by Lata Mangeshkar /Lyrics : Kaifi Azmi

http://www.youtube.com/watch?v=g6--IlY-UJA

Story : Madan-ji's compositions used to be very intense and soulful and he used to demand that the singers should put in all the feelings/emotions in the song. While recording this song Lata-ji became so emotional (such was Madan-ji's composition) that she could not control herself and started crying. Madan-ji then requested her to go home and come next day for recording. Next day, after regaining her composure, Lata-ji rendered the song very effectively.

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2 Song : Tu Jahan Jahan Chalega - Mera Saya - 1966

Sung by Lata Mangeshkar / Lyrics : Raja Mehendi Ali Khan

http://www.youtube.com/watch?v=FFvqegse04E

Story : Raj Khosla was originally planning to release this movie under the name Saaya. When Madan-ji recorded the above title song, Raj Khosla and he and some of his close friends sat down to listen to this song over drinks. After hearing the song, all agreed that the name of the film should be changed from Sayaa to Mera Saaya.

You might get a better story about this in this link : Madan Mohan : In The Name Of The Father : http://www.indianmelody.com/mmohanarticle1.htm

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3 Song : Naina Barse Rimjhim Rimjhim - Woh Kaun Thi - 1964

Sung by Lata Mangeshkar / Lyrics : Raja Mehendi Ali Khan

http://www.youtube.com/watch?v=pq6mFREmjQU

Story : Madan-ji had composed this song in early 50s but did not find it suitable for any film until Woh Kaun Thi. Raj Khosla and Madan-ji both agreed that it is suitable for the ghost story like Woh Kaun Thi. When the song was to be picturised on Sadhana, Lata-ji was not well so it was recorded in Madan-ji voice and picturized on Sadhana and later dubbed over in Lata-ji voice.
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4 Song : Naino Mein Badra Chaye - Mera Sayaa - 1966

Sung by Lata Mangeshkar / Lyrics : Raja Mehendi Ali Khan

http://www.youtube.com/watch?v=QZlVH51Wmts

Story : Madan-ji always strove for perfection and never settled for less. His obsession for perfection sometime made him violent. According to Lata-ji, while recording this song, a musician went off key to which Madan-ji reacted very angrily, hitting a glass with his hand. Bleeding profusely, he shouted, "Besura bajate ho, sharam nahin aati tum ko. Sur ke saath be-imanni karte ho."
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5, 6 Songs : Phir Wohi Sham & Tere Aakh Ke Aasu - Jahan Aara - 1964

Sung by Talat Mahmood / Lyrics : Rajinder Kishan

http://www.youtube.com/watch?v=xfg5nHbH0j4

http://www.youtube.com/watch?v=xZFThg0N3kU

Story: While recording for Jahan Ara, the producer wanted Mohammad Rafi to sing for hero Bharat Bhushan. But Madan Mohan felt that Talat Mahmood would be more appropriate for these ghazals. There was a deadlock. Madan-ji spent a hefty amount from his own pocket for recording Talat Mahmood. The film bombed at the box office, but the producer admitted publicly that he made more money out of the music of the film than from the film itself.
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7. Song : Rasm E Ulfat - Dil-Ki-Rahen - 1973

Sung by Lata Mangeshkar / Lyrics : Naqsh Layalpuri

*

*

There is no link in youtube - the link I have in my computer is WMA file, not allowed in this setup. I shall see what I can do to provide a link.

Story : I have reproduced this story verbatim from my collection : "I heard this history by Naqsh Lyallpuri the lyricist of this song on vividh Bharti during a series of 1 hour program dedicated to a stalwart (who is alive) with interviews.This series runs for 4-6 weeks each sunday.Naqsh told that B.R.Ishara who made this movie with Rehana Sultana (who went on to become his wife later) (another priya rajvansh-Chetan Anand type situation) did not have this ghazal in movie at all.When the producer (Salim H. Durani & S.Kausar) heard that MM is the composer and no ghazal in movie, he asked movie director to include one anyways.Madanmohan used to book recording studios for availability a month or more ahead of time to get the best recording quality from his list of studios.He was recording other songs of movie and rec studio was available at that point for just another day.So he told Naqsh in morning to write a ghazal somehow.Naqsh left for a peaceful place to pen down the ghazal and reached chaupati by afternoon since no other place was available to sit peacefully and got the ghazal back.Madanmohan composed it immediately and next morning Lata ji recorded the ghazal.This is the genius of Madanmohan and his team...... "
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8. Song : Hai Isi Mein Pyar Ki Aabroo- Anpadh - 1962

Sung by - Lata Mangeshkar / Lyrics : Raja Mehendi Ali Khan

http://www.youtube.com/watch?v=ZrWtgfuPd9g

Story : Once Great Music Director Naushad was presenting a special JAY MALA on Bibidha Bharati on a Saturday. He himself has said about this song, "When I heard this song on radio flirst time, tears rolled out. I immedately went to Madan Mohan's residence. When I saw him. I bowed and want to put head on his feet. He caught me and said " Aap Yeh Kya kar rahen hai?"

"I should this for you" I told him, "by birth I may be muslim, so had good knowledge of URDU. But you had given justice (alphaz) to these words. I don't think I could done anything of this standred"
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9. Song : Hoke Majboor Mujhe - Haqeeqat - 1964

Sung by - Bhupinder, Manna Dey, Mohd Rafi, Talat Mahmud / Lyrics : Kaifi Azmi

http://www.youtube.com/watch?v=c4uicQbYvgU

Madan Mohan is famous for many things. But one of most prominet thing is single violine in many songs. Above mentioned song is from Haqeeqat. At that time many Music Directors specially SJ & LP were using big group of Violinist. But how many people knows about who had played voiline in above mentioned song?

Vividh Bharati was celebrating it's 50 Years and were organising very nice programms. One of the famous anouncers told a story that when Madan Mohan was in (radio) studio for Presenting "JAY MALA", he asked him, "Who has played violeen in this song?" He said "Pyarene" and walked out. Then he asked to his assistants "Sonic-Omee". They also replied in same way. He did not understand who was "Pyarene" and asked "Pyarene" means what? He calmly said "Pyare" means " Pyarelal of famous due "Laxmikant- Pyarelal".
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10 Song : Ek Haseen Sham Ko - Dulhan Ek Raat Ki - 1966

Sung by Mohammed Rafi / Lyrics : Raja Mehendi Ali Khan

http://www.youtube.com/watch?v=ZkvNKXEcrKc

No story - I just wanted to sign off with this beautiful song - just . . . . . . . enjoy.
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COPYCATS or INSPIRED ? (Part C)

2008-08-24T23:03:00.006+01:00

Today is my turn to post the concluding part of my presentation of Geetmala. I hope you like it like the previous parts. . . . there is a Quiz in the end too

5. Shantanu Moitra

What’s wrong with young composers? Do they want to impress people by stealing? When Shantanu Moitra came up with stunning songs in Parineeta, it impressed us all – but back in my mind, I could recognize the song‘Kaise paheli . . .’ from something I heard before. I was sure it was not original – and I found the original by Louis Armstrong before itwofs . . . and found a little more!
Coincidence or not, when Sunidhi sings ‘La la la . . zu zu zu zu . . . .’ that reminds me of ‘La la la la . . .’ of Conie Francis (1938 - ) in Never On Sunday – you decide when you listen – inspiration ? coincidence ? lift ?

Kaisi Paheli Hai Yeh from Parineeta (2005)

http://www.youtube.com/watch?v=Pj5-ivtGK4I

A Kiss To Build A Dream On by Louis Armstrong (1951 in the film Strip)

http://www.youtube.com/watch?v=0Y6EMMhDCGo

Connie Francis – Never On Sunday (1960)

http://www.youtube.com/watch?v=9SjI6Wl175I

Connie Francis’ song was originally written by the Greek musician Manos Hatzidakis for the movie "never on Sunday" and it was originally performed by the Greek actress Melina Merkouri, who played the main character of the movie. The song won an Oscar award in 1960. No compromise on quality from Mr Moitra, it seems.
Currently, I am intrigued by Yeh Nigahein from Shantanu Moitra – I like the tune very much - an absolute delight, but, I am sure it is a clever lift – I am going to nail it some day.

Yeh Nigahein - Khoya Khoya Chand (2007)

http://www.youtube.com/watch?v=KIrdJUhzJ1c

(this is not the original, someone else have sung it - I cannot find the original in Youtube now)

addendum - yes, I have found it : Jingle Bell Rocks

http://www.youtube.com/watch?v=7QhiqJrCWcs

4. Kalyanji - Anandji

Kalyanji - Anandji is undoubtedly one of the best composer duos we had in Bollywood industry. Safar (1970) is a ‘lift’ from Bengali original (Charachar starring Arundhati, Asitbaran and NirmalKumar) but was much better than the original. It had wonderful dialogues [like, Sharmila Tagore{the heroine} (remarking on Feroz Khan{her husband in the film}'s unremitting jealousy) : Suyee jab record par atak jaati hai, sangeet nahee, shor nikalta hai (When the needle gets stuck on the record, you hear noise instead of music)] a good though predictable storyline and most importantly great songs, all composed by Kalyanji – Anandji. All the songs were wonderful but I like this one most:

Hum The Jinke Sahare

http://www.youtube.com/watch?v=TaYqK6Vv7WE

Rumour has it that Kalyanji – Anandji told some journalist that there was one song, where they drew inspiration from Bésame Mucho which is a Mexican song written in 1940 by Consuelo Velázquez before her sixteenth birthday apparently inspired by a Spanish opera. The phrase "bésame mucho" can be translated into English as "kiss me a lot".

Bésame Mucho has been sung by many – and here I have found Bésame Mucho by Beatles (Decca Audition – 1962)

http://www.youtube.com/watch?v=EPqO47zlvao

For the purists, I have Placido Domingo singing Bésame Mucho (yeah, I do not like the Andrea Bocelli version, and I could not find the ‘Naked Gun 2 ½’ version )

http://www.youtube.com/watch?v=MGaO1oJON88

And lastly, the Kalyanji - Anandji version and I leave it for you to decide if it is inspired or not. Yeh Sama : Jab Jab Phool Khile (1965)

http://www.youtube.com/watch?v=tAgCIE3z7DQ

3. RD Burman

RD Burman is my one of my favourite Bollywood composer – may be because I grew up when he was at the top . . . may be because he really is a genius. "RD was by far the stand-out talent among the younger line of composers, at all times innovative like me, at all times experimenting like me,'' says Salil Chowdhury. "In fact, I would go step further and rank him alongside all the top composers of my generation, such was his range and variety.'' RD is also an enigma. So often, I have found in his compositions, the beginning is almost a direct lift from another composition, the rest is completely his own. This strange finding is frustrating as it completely obliterates his originality which is there in rest of the composition. I honestly do not know how to interpret this. After arrival of Bappi-Da, RD started to lift even more – sometimes completely and went into a terminal decline.

One of best RD composition is from the movie ‘Mere Jeevan Sathi’ (1972). The song Chala Jata Hoon was definitely meant for Kishore Kumar since no one else could yodle like Kishore did in this song:

Die Flippers – a German band, created a song ‘Good Bye Eloise’ in 1991 (I am almost 100% certain that this is not a ‘cover’ of an old song) which sounds almost like Chala Jata Hoon. Reverse plagiarism? I managed to find it on he youtube:

http://www.youtube.com/watch?v=kpxFOupYn0Q

Sholay in 1975 was one of the longest running Indian Cinemas. It had few successful songs and Mehbooba Mehbooba, sung by RD himself stands out as arguably, the best.

It came as a shock when I realized it is a lift from Demis Roussos’ “Say You Love Me” (1974). But are we sure it is a lift? The likeness is almost note for note in most part of RD’s composition, but there is a point, I want to make. We all know that in Bollywood films, songs are composed first – sometimes even 2 yrs in advance . . . and Roussos composition came out in 1974, Sholay in 1975 and arguably, the music could have been composed before 1974 . . . . Roussos drew inspiration heavily from Arabic music – he was born in Egypt to Greek parents and raised in Alexandria. Is it possible that both compositions are based on some unknown Arabic tune? Well, I have to find when exactly Sholay’s music was composed and the supposed original to establish this little theory of mine.

2. SD Burman

SD or ‘Dada’ Burman is arguably one of the best composers in Bollywood. He was a grandson through his father of Ishanachandra Dev Burman, Raja of Tripura. He was classically trained by his father Nabadwipchandra, who was an accomplished Dhrupad Singer. KC Dey, Bhismadev Chatterjee and famous Badal Khan were his other gurus. In the early 1930s he made a reputation for himself as a singer of folk and light classical music. Consequently his film compositions were often influenced by his huge repertory of folk-tunes from Bengal and Tripura. There are endless stories about him and his music. I would not even start – but I feel you may like to know what he said about himself in 1955 : “(My music is) nothing but trying to weave patterns of universal appeal in my own style, and in this, I think, I am doing my duty to the film industry and no disservice to the country. For me no reward is bigger than the pleasure of hearing my tune from the lips of a stranger.”

There are many compositions by him that I like – I have given link to the following one for no specific reason, but just because, it is in his own voice, and it is linked to his roots :
Mere Sajan Hein Uspar – Bandini (1963)

Even Burman Dada drew inspiration from foreign tunes. Yeh Dil Na Hota from Jewel Thief (1967) has always been my favourite. I enjoyed it most when my dear friend Dr Rajeev Samanta with his band played this tune in his guitar in one of the evening functions of Calcutta Medical College (amongst many other tunes that followed). I however have no record of that function. Here is the original from the film.

I never suspected it to be an inspired one, until I became familiar with itwofs. It is more surprising as ever since I have seen Bridge on the river Kwai, Colonel Bogey March, better known as the River Kwai March is etched in my memory. I never made the connection – it is either my brain’s fault or it was a clever work on an inspiration.
Colonel Bogey March : Bridge on the River Kwai (1957)

There was thus something of Burman Dada, something recognizably his own, in the music so trendily rendered by Kishore Kumar that fooled me. There has been only one SD, to be sure. But there has also been only one RD. Now both are no more. And popular music, in the words of Gulzar, is reduced to a plastic art.

1. Salil Chowdhury

And yes, lastly, Salil-Da. Salil-Da is undoubtedly on of the most versatile musicians of his time. He excelled as composer, song writer, back ground music scorer and what not! After spending child hood in the tea estates and living through the Second World War, the Bengal famine and the hopeless political situation of the '40s, he became acutely aware of his social responsibilities. This is when he joined IPTA (Indian Peoples Theater Association) and became a member of the communist party. IPTA took his songs to the masses. He later referred to these songs as 'Songs of consciousness and awakening'. Surprisingly, he became a brilliant professional musician and joined Bollywood and was very successful. Why? I don’t know. I do not think it was an ideological crisis – but there certainly was disillusionment with the way IPTA was working.

Tasveer Teri Dil Mein for the film Maya (1961) is one of his creation I enjoy for the rhythm and the melody. It also has Lata Mangeshkar and Md Rafi, two of my favourite singers.

Salil-Da drew inspiration from various areas of the world esp. when he travelled. Polish folk song and Charlie Chaplin’s theme of limelight are notable ones. The example I am going to post is one that I came to know as a teenager. There was a programme in Vividha Bharati on ‘inspiration’ behind Bollywood music and they referred to this example:

Itna Na Mujhse Tu – Chhaya (1961)

The opening draws inspiration from Mozart’s 40th symphony – the rest is different.

In both the examples of Salil-da's composition, that I have given, I would recommend that the listener to pay attention to the orchestration. Salil-Da was obsessed with orchestration – and in today’s technology, he would have the chance to perfect his orchestration and then would have tried to get the best vocal response from his singer . . . . He would have loved it – he was much ahead of his time and was never fully appreciated or rewarded.

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Conclusion:

And that is my humble presentation – I am really sorry that it has run into such a great length . . . . I shall keep it simple and short next time.

Before we go, here is a Quiz: Can any of you name the composer who was inspired by the following composition to create a variation on the chorus for an advertisement campaign?

I pulled out this clip while at work - and did not know about the conductor's performance Initially my intention was to change this to a proper orchestra . . . . . but decided to keep it.

Cheerio!

This Geetmala first appeared here : http://www.cricforum.com/viewtopic.php?t=8817

COPYCATS or INSPIRED ? (Part B)

2008-08-24T21:41:00.012+01:00

9. Anu Malik

Anu Malik frustrates me. He even changed his name a few times to confuse me (Annu Malek and Aanuu Mallik amongst others). He is eager to give interviews saying that there is no need to copy, . . . Why we cannot be originals . . . coming from Anu Malik, it just emphasizes the need for me to go into an anger management course. Son of Sardar Malik started young in 1978 and started well. But many of compositions are direct or partial lifts. Here I preferred to go for a composition where the similarity with original is clearly evident.

“El condor pasa” is a song from the zarzuela El Cóndor Pasa by the Peruvian composer Daniel Alomias Robles written in 1913 and based on traditional Andean folk tunes. It’s origin could be traced back to 18th century Peruvian folk melody. Then Simon and Gurfunkel used their genius to produce a cover version – keeping the original tune and adding new lyrics by Simon.

Simon and Garfunkel's 'El condor pasa'!

http://youtube.com/watch?v=T6i8HHrz2BI

Anu Malik has lifted it twice – There was a reference to the film ‘Janam’ in this forum few days ago, and I confess that it has inspired me to post this ‘inspiration’:

Teri Chahat Ke siva : Jaanam (1993)

http://www.youtube.com/watch?v=OjpEs3IOQbg

The other lift is Taaren Hain Baraati (Virasaat 1997)

http://youtube.com/watch?v=qiqf_hVyBUs

And honestly - when I first heard this, I was very happy - such beautiful composition from Anu Malik . . . it was too good to be true. (I agree that this inspiration is slightly difficult to identify as it Anu Malik has laboured more on this adaptation) I have not posted any composition from Anu Malik that I like in this segment (I like many of his compositions actually) simply because, I can never know if it is a lift or not.

8. O P Nayyar

Opee was a class act. Rhythm was Opee's specialty, and no one sung his songs better than Asha Bhonsle. Some people even say that Opee composed ‘Anti-Lata’ tunes. Before RD Burman became famous, he was the most trendy music director. And, yes, he wasted his talent by backing wrong horses (I mean films)

I always hum this tune “Chainase Humko Kabhi”. It was meant to be included in the movie, Pran Jaye Par Vachan Na Jaye (1974) but it was left out – but it won Asha Bhonsle a Filmfare award. Unfortunately it was also the last Opee composition which Asha sang. Opee became very lonely (and bitter ?) in his later life and passed away in 2007. He was a great loss.

http://youtube.com/watch?v=Yc1MfFxpYEI

Opee did borrow liberally from foreign tunes – in this example Biswajit’s dancing completely spoils the song Lakhon hai yahan dilwale from Kismat (1968)

http://youtube.com/watch?v=lzqA4kjBHK8

This song borrows heavily form Red River Valley. It is still widely believed to be a Texas re-working of a popular American song of 1896, "In the Bright Mohawk Valley"; however, research has found that it was known in at least five Canadian provinces before then. This finding led to speculation that it was composed at the time of an expedition to the northern Red River Valley in Manitoba, and depicts the sorrow of a local girl or woman as her soldier/lover prepares to return to Ontario. I have included an instrumental version.

http://youtube.com/watch?v=be-QiqPhGak

7. Madan Mohan

Ah yes – Madan Mohan – I did not know much about him, though I hummed his compositions all along, until Gulshan Kumar brought out a cover version of Madan Mohan songs by Lata. The singer in the cover version was Anuradha Paudwal. Then I first realise what I was missing all along. Madan Mohan Kohli being son of Rai Bahadur Chunnilal did not need to earn money by composing – he wanted to be an actor, but music was his love of life. Madan Mohan was not formally trained in music yet his music was richer than the work of better-qualified composers. Madan's talent for ghazals was unmatched in the Indian film world; Lata Mangeshkar christened him "Ghazal ka Shehzadaa". This song Tu Jahan Jahan Chalega by Lata from Mera Sayaa(1966) is one of my favourites :

http://www.youtube.com/watch?v=4Z7sfcOHfrc

Like many of Madan Mohan’s songs, this one is firmly based on Indian Classical music. Raag Nand (or Kalyan Anandi) as rendered by Pundit Budhaditya will show how similar the compositions are:

http://youtube.com/watch?v=8Hx_-UUVI1g

Dil Dil Se Milakar Dekho from MemSaahib (1956) is one of the rare occasions where Kishore Kumar sings for Madan Mohan. I could not get it on the net - may be I should have tried more. I have this one by Asha Bhosle from the same movie:

http://www.esnips.com/doc/b7c1b471-9...-ASHA-MEMSAHAB

This song clearly is inspired by "The Isle of Capri" by Greta Keller as rendered in 1934

http://youtube.com/watch?v=44ALYPDiWpA

With the dominance of violence and vulgarity in films, tastes changed. The fusion of Hindustani music and western tunes resulted in producing ear-splitting rather than soul-strirring music. This embittered Madan Mohan who could do nothing to prevent the onslaught. He took to heavy drinking and died of cirhosis of liver on July 14, 1975, composing for Chetan Anand’s Salim-Anarkali. Another sad loss.

6. Pritam Chakravarty

Yes – Pritam is today’s equivalent of Bappi-da or Anu Malik – many of his compositions are direct lifts and in some circles he is referred to as ‘Music Arranger’ and not as composer. I some how missed his beginning – but my dad often referred to Pritam as a good and upcoming music director. Though not musically trained, my dad can sing and understand Indian classical music better than many. If he says someone is good – then he is really good. So, I tried to listen to Pritam – and really liked his compositions. Though Pritam may have lifted one line from Waqar Ali's 'Mera naam hai mohobbat' in this composition, I think there is plenty of originality in this:

'In dino' from Life in a Metro (2007)

http://youtube.com/watch?v=aQ52IJjbNg4

Another composition by Pritam that I really liked was ‘Ya Ali’ of Gangster (2006)

http://youtube.com/watch?v=dpl9o_0Dtb4

It unfortunately was found to be almost a direct lift from Ya ghaly by an Arabic band Guitara

http://youtube.com/watch?v=5dT5-y1f3W0

Pritam’s reach is extensive – soundtracks of Korean tele series are where he draws his “inspirations” from at this moment. Good for you Pritam. Certainly Pritam is a genius for arranging music – to Pritam’s credit, most of his lifts sound significantly better than the original. I also agree that Bollywood music is not a place to create masterpieces – but we can expect some originality, can’t we? Though I did not want to, but I had to tell my dad that many of Pritam's compositions are direct lifts . . . . . he obviously was disappointed.

Cheers.

This Geetmala originally appeared here : http://www.cricforum.com/viewtopic.php?t=8766

_________________________________________________________

[Part C to follow]

This Geetmala originally appeared here : http://www.cricforum.com/viewtopic.php?t=8766

CHEERIO

COPYCATS or INSPIRED ?

2008-08-17T10:24:00.009+01:00

Bollywood and Music are inseparable. From the very first ‘talkie’ Alam Ara (1931), Bollywood has excelled with film music, providing entertainment for every occasion. De De Khuda Ke Naam Pe was the first amongst the seven songs composed by Ferozeshah and B. Irani for this film. Wazir Mohammed Khan and Zubeidaa were the first male and female playback singers.

[Trivia – it is the same Zubeidaa, actress, 2nd wife of Maharaja of Jodhpur Hanwant Singh, mother of Khalid Mohamed (film critic, journalist, screenwriter, film director). Based on Zubeidaa’s life written by Khalid Mohammed, Shyam Benegal made a fascinating film of same name. IMDb link]

Songs usually make Bollywood films rather long. Mehboob Khan's "Aan" was one of the few Indian films of the 50s to get a released in English theatres. This Eastman Colour swashbuckler, with Dilip Kumar (in his smiling, not soulful mode) as a Hindi Douglas Fairbanks, is a relatively brisk, buoyant affair. Yet a London reviewer couldn't resist sniding, "It goes aan and aan and aan". Well, we Indians prefer to have a full evening's masala and in case of Bollywood songs, most of the times, the more the better.

Bollywood music and I are inseparable almost from my birth. My fascination with Bollywood music started even before I was 1 yr of age. When babies of similar age used to fall asleep, listening to lullaby, I preferred the gramophone of my uncle (my dad’s younger brother, who was occupying the spare bedroom of my dad’s house and was working). My favourite lullaby, I am told, was Kishore Kumar’s Bengali song ‘Ogo Nirupama’. The fascination only increased with time – due to my parent’s fascination of Hindi movies. At that time, we used to stay in an area of Kolkata, known as ‘Laketown’ and there was a big cinema hall nearby, ‘Jaya’. My parents used to catch up with almost all major releases, and I used to watch the movies with all attention, without crying or throwing up tantrums, as other 2 or 3 yr olds used to do. On the way back, in the rickshaw, often I used to sing the songs I heard in the film, to the amazement of everyone. I still remember some of the songs vividly – like this one from Naya Zamana (1971)

http://www.youtube.com/watch?v=QvLDjxJa084

and this from Apna Desh (1972)

After watching Geet (released 1970, it is likely I saw it in 1971/2), one day, I sung ‘O More Mitwa’

to my nanny (maternal grand mother), as if she is my ‘mitwa’ (girlfriend ?). My grand-father became very angry, and told my mother off, ‘Your boy is never going to learn anything but film songs – you are spoiling him by allowing him to listen to this kind of music’. I wasn’t 3yrs yet and fortunately, my mother did not panic and rest, as they say, is history. The loss my singing voice, as I grew older remains the only regret.

During 80s, I was hugely disappointed after realising that the music scores of many songs that I doted were plain lifts from various originals. In my young impressionable mind, it was like a criminal offence. Not unlike many others, I thought that it amounted to bank robbery and not a petty theft. Over the years I have mellowed a little – I do not think it as a bank robbery any more. I still cannot stand a direct lift. I have tried to find out the originals of many ‘lifts’ and a great revelation has been Karthik Srinivasan‘s website, http://itwofs.com./ I have however, managed to find a few more myself. Nowadays, I try to distinguish between an ‘inspiration’ and a direct ‘lift’. While there can be no excuse for a direct lift, some of the tunes seem genuinely ‘inspired’ by a beautiful tune. I do not buy Anu Malik’s argument "Eventually all music is permutations and combinations of those same seven notes. No music director is original”. Come on man, there are actually few more notes, 5 more to be exact – and anyone good in maths can work out the probability (I can't anymore - I have not done this kind of maths for ages now!!) but I am certain that the possibility of two tunes created by two composers being exactly same is likely to be in one in millions or may be billions. I simply do not buy that argument.

In this presentation of Geetmala, I have tried to avoid giving examples of direct lifts for two reasons:

1. Usually lifts are very well known and just posting them here does not match the high standard set by other contributors to the Geetmala. However, in some places, I had to post the direct lifts, simply because the music directors were incapable of ‘working on’ the original tunes adequately.

2. At no point my intention is to show disrespect to any of these composers. Each one of them has created at least one composition that I have enjoyed and hummed . . . they gave me pure joy, many a times. Though I often felt betrayed when I found a tune is nothing but a direct lift, I have been critical, sarcastic but I do not intend to denigrate any of them. In fact, often, I have referred to one of those tunes, likely to be original, which I continue to enjoy.

There is another point, I need to stress before I go any further – I have not attempted to rank the composers – the numbers 10 to 1 are used to present my Geetmala in the best possible way and is not intended to serve as a 'ranking'. In my humble opinion, to rank these composers is another way of insulting them. You may noticed that I have not included many of the music directors well known for this trend. The reason is, I tried to look at the quality, not the quantity.

10. Bappi Lahiri :

Bollywood music, if we show from the angle of ‘inspiration’ can be divided into two periods – ‘Pre Bappi Lahiri’ and ‘Post Bappi Lahiri’. From the very beginning, Bollywood has drawn inspiration from the rich traditional music India possesses. Either from the classical ‘Ragas’ or from the folk music our composers freely borrowed. No one accused them of plagiarism since their inspiration was rooted deep within India. From 1970s, the situation started to change, first with RD Burman and then came Bappi Lahiri.
Bappi-Da(as he is fondly called)’s first song that I can remember vividly was “Bambai Se Aaya Mera Dost” from the film Aap Ki Khatir (1977). I remember being on a holiday with our extended family during Puja holidays at Chhoto-Nagpur areas of what was then Bihar and now Jharkhand state – we were staying at Mython . . . it was a moonlit night and we were all singing ‘Bambai Se Aaya . . .’. . . this clip is from 'Disco Dancer' . . .

I did not realise then, but clearly this composition is heavily influenced by tunes popular in Goa (if I am not wrong). I later realized that Chalte Chalte from Chalte Chalte (1976) was in fact the first Bappi Lahiri song that impressed me.

In the beginning of his career, Bappi-Da tried his best to draw inspiration from rich musical tradition that India has and surely produced some original compositions. Unfortunately very soon, he moved to ‘Disco’ and started to lift directly from various foreign tunes. In his time, he has lifted from Neil Sedaka (One way ticket), Andy Williams (Raindrops keep falling on my head), Dr Hook's (When you are in love), Culture Club (Karma chameleon) Buggles (Video killed the radio star), Lambada and Ottawan (T'es OK, T'es Bath) – just to name a few. From 1980s, there has been an exponential rise in both ‘direct lifts’ and ‘inspirations’ in Bollywood music . . . . And the credit goes to Bappi-Da.

In 1984, Bappi-Da composed music for a prestigious film that had Amitabh Bachchan as the main actor, called Sharabi. Amongst other soulful compositions, one stood out to me. It was sung by both Kishore Kumar (for Bachchan) and Asha Bhonsle. The composition is “De De Pyar De” in Sharabi (1984)

It draws inspiration from Bengali folk song and he was not the first one to do so. About 20 yrs before Bappi Da, the great SD Burman composed “Allah Megh De” for the musical, Guide (1965)

What’s the origin of the song?

Abbasuddin Ahmed (1901-1959) folk singer was born at Balarampur in Tufanganj subdivision in the district of Cooch Bihar on 27 October 1901. His father, Zafar Ali Ahmed, was a lawyer. The song attributed to Abbasuddin. This song is rooted in traditions of the Muslim peasantry of Bengal. Gramophone Company of India first recorded the song in Calcutta in the 1940s and it was a big hit. In the 1940s, Abbasuddin's songs played a significant role in raising the Muslim public opinion in favour of Pakistan. Abbasuddin wrote an account of his life as a singer in Amar Shilpi Jibaner Katha (1960). His contribution towards Bengali folk song is invaluable. Here is a link to the original song (Audio)

http://www.esnips.com/doc/e2935179-fb59-4074-a5e3-3e65db9f3455/002.-aallaa-megh-de-paani-de_Aabbasuddin

When I was a kid, I could not tell whether that song was a sad or a happy song. It’s meant to be sad but it almost sounds like magical chanting, almost hypnotic begging for rain through prayer. In the end I found out that it is a Jarigan (Persian zari, lamentation + Bangla gan, song) . . . so, it is sad.

Certainly not a 100% lift, but it is clear, that both composers have drawn inspiration from the same source - but SD kept it as a sad tune like the original, Bappi-Da tried to make it humorous and . . . succeeds very well in my opinion.

It's a long presentation. Part B and Part C will come later.

The original presentation appeared here : http://www.cricforum.com/viewtopic.php?t=8766

Historicity of Biblical Characters : Part 1 : Moses

2008-04-12T19:45:00.012+01:00

Apart from Old Testament and other similar texts, there is mention of Moses by

1. Hellenistic Jewish historian Artapanus of Alexandria (2nd century BC) - but this has come to us by Eusebius of Caesarea i.e. 3rd century AD. Original text not found.

2. Strabo (c. 24 AD) refers to Moses as an 'Egyptian Priest'

3. Tacitus (ca. 100 AD) refers to a character called Moyses while discussing several alternative origins of Jews

4. Flavius Josephus (after 76 AD) gives a little more than the biblical account of Moses in his The Antiquities of the Jews.

None of these references are contemporary (meaning - not from the time of Moses or a generation or two after him) and hence could have originated from the books of Genesis and the Pentateuch (The 19th century dating of the final form of Genesis and the Pentateuch to c. 500-450 BC continues to be widely accepted)

Yes - in Tel Amarna letters a tribe called Habiru is mentioned and they do attack Cannan. Vide : The Encyclopedia of El Amarna Research Tool http://www.specialtyinterests.net/eae.html
Letters 286-290 (except 289) refers to Habiru. I quote the synopsis of the 285th letter :

Abdi-Hiba of Jerusalem to the king, No. 1

EA#285 vd(31): this letter and perhaps also #291 were written by Abdi-Hiba residing in Jerusalem to the king of Egypt.

Who was Abdi Hiba?

Clues: refers to himself in a submissive manner as servant to the king, `I am not a [regent?], I am an officer of [the king my lord] .. could also be `I am not [only] a [regent?]

Complains that he has no archery protection from his enemies (Eenhamu of the habiru), also states he was put in his office in Jerusalem not because of his parents but by the king, states he can't leave to visit the king because of the enemies; mentions an official person of Eenhamu, [Addai]a; mentions archers, deputy;

Comments: See Tunip-Tessup of Tikunani in BAR, Nov. 1996, p. 22. [If you can find it ] States the Habiru were not an ethnic group but there were apparently two kinds of Habiru-people:

1) soldiers or servants and

2) independent bands of people.

First of all it does not say that Habirus came out of Egypt.
Secondly, their leader is not Moses, neither Joshua . . . the name Eenhamu reminds me of Assyrian origin.

It is unexplained why there is no Egyptian mention of either Exodus of Hebrews or catastrophic destruction of Pharoh's army. There isn't even a mention of the ten plagues either.
We do not even know for sure which pharaoh it was either !!

On the other hand, people have argued that it is unlikely that Egyptians will record their humiliation - esp after we compare the Egyptian and the Hittite accounts of the battle of Kadesh. Well, I can only say that they did record their humiliation though with a lot of spin, so that it seems that they actually won it.

I am aware that - it is not necessary that all Egyptian documents have reached us and nothing is lost. So these accounts related to the Hebrews may have been lost - or expunged by someone . . . It is too much of a coincidence that all references are lost . . . Again, if some one removes all the references or the documents, question is why ? what's the motive ?

Also, Velikovsky and his followers thinks Abdi-hiba is either the pious Jehoshaphat or his ne'er do well son, Jehoram - indicating that Jews were already established in those areas.

It is still an area of much controversey and debate, and I have to say, mostly guess-work.

However, considering everything - based on the currently available historical and archeological evidence, I have to conclude that Moses is non-historical.