Talat Mahmood -The voice of Silk & Honey!



Talat Mahmood – 1950

Why do people like, admire, and revere things in life?

Things meaning, it could be anything at all. For instance, it could be a product, a service, a song, a singer’s voice, a painting, a book, a movie, a speech, a leader’s personality, an actor, even an eatable recipe of a meal. Anything at all really…

Why do we like it? Have we ever tried to analyze it?

Well, if we were to ponder deeply, we would realize that people like and admire anything THAT RADIATES TRUTH & PURITY through its persona or through its being! That is a FACT for sure!

We, the PEOPLE, instinctively, on an elemental level, recoil away from an ADULTERATION and IMPURITY! We don’t like it! We sense something WRONG with it. Many a times we may even NOT BE ABLE TO ARTICULATE IT IN WORDS, but all our SENSES & our own very SOUL shall PUSH US AWAY from that latent UNPLEASANT ADULTERATION OR HYPOCRISY.

(Many folks, however, don’t listen to their instincts and inner voice only to repent later)…

Friends, Talat Mahmood’s silken voice had the same ring of TRUTH & PURITY to it and that attracted the MUSIC CONNOISSEURS to it like a POT of HONEY would attract a swarm of BEES to it.

The years between 50s to Mid 70’ were, without the slightest doubt, the golden era of HINDI CINEMA INDUSTRY. (Also called Mumbai Cine Industry or now Bollywood Industry) Virtually in every field, be it Movie Direction, Script Writing, Acting, Music Composition, Lyrics, Singing etc.. In every field it had a genuine quality, in general, that is somehow missing today despite vast improvement in Technology!

So when, after writing on some of my favorite Music Composers, I thought of writing about a Singer; the choice for me was NOT HARD TO MAKE…!

It had to be Talat-Sahib for me.

(There is another reason too. It is virtually impossible to write on Kishore-da, Rafi-Sahab, Lata-didi or Asha-tai in a few page brief articles. Only Talat, Mukesh & Manna-da had created lesser body of work by singing relatively less number of songs in comparisons to say, Kishore-da or Rafi-sahab.

This is not to forget that each one of them was a GENIUS in his or her own right. Writing on Goddesses like Lata & Asha is best left to the professionals of highest repute, only for the obvious reasons. ) 🙂 🙂

Friends, I am a die-hard fan of Talat-Sahab. Somewhere I feel myself deeply indebted to him. His voice has given me immense amount of soulful pleasure in my lonely, melancholy moments and in my happy days too. I am acutely aware of the limitations Talat’s voice has, the limitations of his singing range or even the sublime, pleasant vibrations of his vocal chords, that at times restricted the throw of his voiceI am well familiar with it all.

Yet despite all his so-perceived shortcomings or, perhaps, in-spite of those so-called limitations, he is dear to me like he is to millions of his fans across the world. There is something divine in his voice that brings him closer to us and makes him our soul-buddy.

Just try to recall Dilip Kumar singing “Ai Mere dil Kahin aur chal” (Daag 1952) and we suddenly feel a deep longing for Dilip’s sadness & feel some indescribable closeness with his inner melancholy that he is singing & articulating thru Talat’s silken voice.

I have said this before. Unless forced by my wife (or it used to be by my late mother), I would generally not show willingness to go and visit a TEMPLE. However, if I were to hear Talat’s voice coming over from yonder being played in corner shops radios or in those dingy surrounding of a typical paan-thelas in any nook or corner of INDIA’s bustling streets, I would drop everything I was doing and would stop in my tracks to listen to those divine vocal chords soothing millions of listeners and giving them that soulful pleasure that no amount of money can buy.

For I would always see TRUTH, PURITY & GOD in Talat Sahab’s voiceWhere is then need to visit the TEMPLE…?

Let’s, my friends, then take the holy dip in that reservoir of divinity, forget our sorrows & let’s experience that soulful pleasure of Talat’s voice…! Shall we??

The Young Man’s Dilemma:-


Talat sings for Dilip in Tarana 1950

Clearly the young and handsome singer was nervous. Cold sweat was discernible on his forehead. For the music director who was guiding him was none other than the very famous, very talented, very powerful Anil Biswas.

The year was 1951, the movie was “Aaram” and the young singer was Talat Mahmood, barely a movie old in the Mumbai Cinema and was desperate to make his mark in play-back singing field. Talat’s first movie “Arzoo (1950)” was a hit and his song“Aye Dil Mujhe Aisi Jagah Le chal” picturised on Dilip Kumar & composed by Anil-da was a super-hit song. (One of my all time Talat favorite).

And, yet, today Anil-da was very, very angry with Talat! He was the one who had found Talat and gave him the break in Arzoo. Yet something was missing in Talat’s voice today. After several retakes, too, Anil da was not satisfied. Talat was just not singing the way he sang in Arzoo.

“What is wrong Talat? This is not the way you sing usually”.  Exasperated Anil-da asked Talat.

“Nothing is the matter Anil da.” Talat said in low and dejected voice.

“Well, where are those sublime, subtle vibrations you usually have in your voice when you sing?” Anil-da questioned.

The penny dropped. There were tears in Talat’s eyes! The young man was quivering like jelly.

“Anil-da, others are saying I had to get rid of those vibrations or else it would hurt the RECORDING PROCESS. They are saying it is a DEFECT in my voice”.    A forlorn Talat confessed!

Anil-da understood, instantly, the ugly politics behind it. He had seen it all..!

“Let them go to the DOGS” furious Anil-da thundered!

“Remember Talat, Anil-da said to him, you are TALAT MAHMOOD because of that UNIQUE and INIMITABLE subtle tremor in your voice. PEOPLE know you as TALAT MEHMOOD because of only that uniqueness. They like you because of those silken vibrating modulations of your voice…

…Take that differentiating trait away from your voice and there would be DIME-A-DOZEN-TALAT MEHMOODS available in the FILM INDUSTRY.” Anil-da patiently yet firmly explained, to now visibly elated, Talat.

That moment, my friends, was immortal in the history of Hindi Cinema music.

For, then & there Talat Mahmood truly understood the unique gift the GOD ALMIGHTY had bestowed upon him. Never ever, later in his life, Talat tried to copy others or be like others. He was proud of those tiny natural vibrations of his voice now. He understood that it was a DIFFERENTIATOR, in that FILM INDUSTRY’s RAT RACE, that was going to give him his UNIQUENESS.


Talat with Madan & Anilda

For that guidance, support, and revelation, Talat remained always indebted to Anil-da for the rest of his life.

On that particular day, however, in the very next take, Talat recorded that gem of a song, now in his typical unique silken voice, “Shukriya aye pyar tera” (Aaram-1951) a lovely sweet melody indeed, which almost didn’t get recorded.

What a TEAM, and what FOLKS they were…!!

The Growing up in Lucknow:-

As youngest of 6 children of Sheikh Manzoor Mahmood, of Lucknow, Uttar Pradesh, Talat was always a darling of the entire household of Sheikh-Sahab. Since his birth on 24th February, 1924, Talat was doted upon by his parents.

In those days, Talat’ father worked as a body-guard of the Nawab of Lucknow. Later, as his family grew, he decided to start his own business to cope up with the growing financial pressures. It is said that Sheikh Mahmood had a gift of very sweet & natural voice and when in the mood he would sing to the delight of the listeners.

However, as very religious and devout Muslim Sheikh Mahmood deliberately stayed away from pursuing any singing career. He thought it was against his religion. He also tried to imbibe his religious beliefs on his children and tried to bring them up with a certain discipline.

Surprisingly, among all children, only Talat had inherited his father’s sweet vocal chords. Since childhood,Talat would listen to the likes of K L Saigal & would sing his songs in his own sweet voice. Talat’s father would always frown upon his singing habits and would try to dissuade him from pursuing it.

However in later years Talat’s father yielded to boy’s wishes and didn’t press him to give up his singing. Matter of fact, realizing boy’s ardent desire, Sheikh Mahmood, had Talat enrolled in the “Morris Collage of Music”, in Lucknow, famous for its talented and dedicated Music Teachers. Talat loved it and completed his classical music training in 3 years in the collage. He was never inclined towards academics anyways and had already decided to quit the school soon, to focus on his singing career.

Clearly, it was a wise & fateful decision for Talat, and his soon to be millions of music fans!

The Early Struggle:-


Talat-Lata-Madan & young Nawab of Pataudi

In the years of 1939-40, Talat was a young eager lad of 16 wanting to make career in the music. He definitely had a gift of sweet voice and now only he was waiting for an opportunity.

In those days jobs in the musical field were relatively easy and Talat got a job on Lucknow Radio as a singer. In those years he kept on travelling in North India singing at various forums.

Then, in the year of 1942 his stars smiled on him favorably.

In 1942, in Calcutta, he recorded a ghazal “Tasveer teri Dil Mera Behla Na Sakegi” for the recording company HMV. This record was an instant hit. (Even today one can get to hear it and marvel at the beautiful composition, lovely lyrics, and Talat’s youthful sweet voice).

This early success emboldened Talat. He was a fairly handsome chap. He had a good voice and a hit Record at his name. Based on this capital Talat decided to try his luck in the movies as a Lead Star.

It was a big mistake!

Next few years Talat tried acting in Bengali movies but despite his good looks and sweet voice there was one major problem. He simply couldn’t act naturally in front of the camera. He would go thru the motions, but his face would always remain wooden devoid of emotive expressions.

Naturally, the Bengali audience absolutely rejected him as an actor in movies..!

It was the year of 1948-49 and Talat’s career seemed to have met a DEAD END!

The Mumbai Cine Industry:-

By late 40’s Talat Mahmood had become desperate. In his frustration of failing to make any impact in Bengali movies, Talat decided to try his luck in the glam city of Mumbai. Using his Bengali connections he secured some references and came to Mumbai to meet Anil Biswas, another Bengali and now a famous and well established Music Director/ Composer in the Mumbai Cine Industry.

As the story goes, once he received formal invitation from Anil-da for audition, Talat developed cold feet and his nervousness heightened.

In his nervousness, he did unthinkable!

He simply skipped the meeting with Anil da. He was so nervous that at the last moment he simply stayed home and never turned up for the audition. This happened not once but, unbelievably, TWICE! Apparently, some of “Friends” told him stories about how hard it is to do Playback-Singing for movies and also told him how tough taskmaster Anil-da was.

But as the Destiny would have it, Anil-da had heard Talat’s “Tasveer Teri Dil Mera” ghazal and was keen to listen to this new singer from Bengal first hand. He, patiently, thru some of his friends again sent a 3rd message to Talat and invited him for an audition.


The Master Composer – Anil Biswas

This was too much for Talat. He was breaking down under pressure and his own guilty feelings. Somehow he mustered the courage and went for the audition.

“Who do you think you are? K L Saigal? How many times you need an invitation?” Anil-da shouted at Talat the moment he entered the recording room.

“I have a tune composed & ready for you to sing. Start singing now!” Anil-da said impatiently.

Talat, already nervous and under pressure, just wasn’t prepared for such outbursts from Anil-da. He lost his composure and was engulfed by nervousness.

He just couldn’t focus & sing..!

Finally, Anil-da realized Talat’s situation. In much kinder tone, he asked Talat to come back again at later date. But, at the same time warned him, that if he failed to turn up next time in the recording-studio, he might as well pack his bags and go back to Calcutta, for, his career would be finished in the Mumbai.

Talat got the message.

A week later again he went to the studio at the stipulated time and in the very first take recorded the super hit, my all time favorite, very melodious song “Aye Dil Mujhe aisi Jagah Le chal” from movie Arzoo (1950).

That was the start of, glory days to come for, Talat Mehmood in the Hindi-Cine musical world…!

The Glory Years:

After the success of movie Arzoo (1950), Talat–Dilip Kumar combination became a rage. Talat sang for the mega star Dilip Kumar for many films and what melodious songs they were. In movies like Arzoo, Tarana, Babul, Shikast, Sangdil, Footpath, Daag, Devdas etc. Talat-Dilip combination gave several hit and melodious songs.

“Sweetest are the songs that tell Saddest of our Thoughts” said famous poet Shelley.

And this description fitted aptly for Talat-Dilip combination for sure!

Somehow, Dilip’s tragic on-screen characters were just perfect and caught the very essence of the on-screen tragedy.

Such was Dilip’s powerful acting; expressing the melancholy, that  the sadness virtually dripped from Dilip’s onscreen-characters and Talat’s voice was very naturally suited for such sad-songs, that Dilip-Talat combination produced, as poet  Shelley called it,

“Sweetest of songs that tell Saddest of the feelings”, in Talat’s silken voice. 

All these songs are so lovely, so sweet, so soft, so emotional, so soul touching; that even after 60+ years they haven’t lost an iota of their sweetness.

Talat’s Songs:-

Let’s now take a looks of how every leading Music Composer of that era fell prey to the wiles of Talat’s sweet & honeyed voice. Practically every music composer of the era would turn to Talat’s voice, when he had composed a soulful, emotional, sweet, heart-aching composition.

Take a look at few of these great Music Composers of the era and the songs they composed for Talat:-

Talat – Anil Biswas:-


Talat as Leading Man & Suraiya in Waris

  1. Ai Dil Mujhe Aisi Jagah le chal (Arzoo) – Anil da had very cleverly composed this song based on raga Darbari-Kanada. Sheer brilliance & class. Talat’s first ever hit song. Love it even today.
  2. Ek main hoon ek meri bekasi shaam hai (Tarana) –Words fail to describe the beauty of this composition.Easily an all time favorite Talat composition for any connoisseur.
  3. Seene mein Sulagte hain Armaan (Tarana) – One of the Finest ever, Talat – Lata duet. Just sheer, utter class. Both are just divine. Just glorious.
  4. Nain mile nain hue Baanwre (Tarana) – Sheer sweet & magical composition. Talat-Lata
  5. Tera Khayal Dil se
  6. Mohabbat tark ki maine
  7. Dil main Basake” – (All from Do Raha) , These 3 Talat solo’s show the creative genius of Anil Biswas & why from C Ramchandra to Roshan to OP all considered Anil-da as their GURU. Simply out of this world.
  8. Rahi Matwale”
  9. Man Dheere Dheere gaye re (Both from Waris- ) – Incidentally Talat had acted as a Hero in this movie. These Talat-Suraiya duets are simply beautiful. Especially the “Rahi Matwale” is a magically sweet composition with clever background score based on Railway Engine’s whistle. Lovely.
  10. Shukriya ai Pyaar tera – (Aaram) – We have already written on this. Lovely sweet Talat song. 

Few words on Anil Biswas before we move forward:-

Anilda & Lata

Anilda & Lata, Which Melody in Making?

I am unable to recall the year. Must be 1985-86.  A Talat fan and a friend of mine, senior in the age, but an ardent music connoisseur, gave me a cassette of a rather poor quality, recorded with few Talat songs. 

Well, I dutifully, played it on the rickety Cassette-Player I had, and listened to it. As I recall it had only 3 to 4 Talat songs.

Let me tell you friends…The songs just killed me. I mean I had never, ever listened to anything so sweet, so melodious, so lovely before in my life till then. At that moment I became an absolutely crazy fan of Anil Biswas & Talat. That sweetness was intoxicating.

Do you know which those songs were?

They were from movies Arzoo & Tarana (See the list above) In addition of Talat songs, the Lata Songs from these movies..Ahaa! They just killed me totally and completely.

(By the way, Anil-da & Lata combination is another RESERVOIR of DIVINE POTION and I can talk about it endlessly…It is just PURE HONEYED SWEETNESS…)

From that moment onwards, as I recall, I started listening Anil da’s compositions wherever and however, I would find them. It became an addiction. The sweetness of Anil-da’s compositions was simply overwhelming. Melody was the very soul of Anil-da’s music. Then, later, as the natural course would have it, I started listening to C Ramchandra, Madan, Roshan and so on…

But, after so many years too, I consider; Anil-da’s compositions are the Best of the Best. A pure WORK of A GENIUS..!

It is NOT FOR NOTHING even C Ramchandra, Roshan, OP, Madan, Sajjad, SJ and several others renowned and very talented Music Composers of the time, all considered Anil-da as their GURU & INSPIRATION…

Anyway, let’s get back to our Talat Story and his divine list of songs! (I Have provided selective Talat hits of some music directors)


Talat & C Ramchandra – Honeyed Concoctions

Talat- C Ramchandra

  1. Mohabbat hi na jo samjhe woh zalim (Parchai)
  2. Apni kaho kuch meri suno (With Lata, Parcha Hai)
  3. Kisi ne mujhko mere ghar se aake loot liya” (Parchai)
  4. Bechain nazar betaab jigar (Yaasmin)
  5. Apni naakami se mujh ko kam hai (Subah ka Tara)
  6. Gaya andhera hua ujala (With Lata, Subah ka Taara)
  7. Main pee ke nahi aya (Kavi)
  8. Tere raste mein hum ne ek ghar bana liya hai (With Lata, Kavi)
  9. Mohabbat mein aise zamane bhi aaye (With Lata, Sagai)
  10. Tum Apni Yaad Bhi Dil Se Bhula Jaate (With Lata,Yasmin)

Talat – Madan Mohan:

  1.  Jise dil me basana chahta tha (Ada)
  2. Meri yaad mein tum na ansoo bahana (Madhosh)
  3. Mera qarar le ja (Ashiana)
  4. Main Pagal mera manwa pagal (Ashiana)
  5. Meri raaton ke andhere mein ujale (Khoobsurat)
  6. Mohabbat mein kashish hogi (Khoobsurat)
  7. Ye nai nai preet hai (Duet with Lata in Pocketmaar)
  8. Phir wohi shaam (Jahanara)
  9. Main teri nazar ka suroor hoon (Jahanara)
  10. Humse aaya na gaya (Dekh Kabira Roya)
  11. Beraham Aasman (Bahana)

Talat – Roshan

  1. Mere dil ki dhadkan kya bole (Anhonee – Talat, Lata)
  2. Main dil hoon ek armaan bhara (Anhonee – Talat)
  3. Aur hai dil ki lagi (Rag Rang – Talat, Lata)
  4. Dile Bekarar so ja (Rag Rang – Talat, Lata)

Talat – SD Burman

  1. Jaye To jaye Kahan (Taxi Driver)
  2. Jalte Hain Jiske Liye (Sujata)

Talat – Shankar Jaikishan

  1. Ai mere dil kahin aur chal (Daag)
  2. Koi nahin mera is duniya mein (Daag)
  3. Hum dard ke maron ka (Daag)
  4. Andhe jahan ke andhe raaste (Patita)
  5. Hai sabse madhur woh geet (Patita)
  6. Tum to dil ke taar chhed kar (Roop ki Rani, Choron ka Raja..)

Talat – Salil Chowdhary  

  1. Raat ne kya kya khwab dikhaye (Ek Gaon ki kahani)
  2. Jhoome re mera dil (Ek Gaon ki kahani)
  3. Ansoo samajh ke kyon mujhe (Chhaya)
  4. Itna na mujhse tu pyar badha (Chhaya)
  5. Aankhon mein masti sharab ki (Chhaya)
  6. Aha, Rimjhim ke ye pyare,  pyare (Usne Kaha thaa)

Talat-OP Nayyar

  1. Mujhe dekho hasraton ki tasveer (Baaz)
  2. Pyaar par bas to nahi (Sone Ki Chidiya)
  3. Sach bata tu mujhpe fida (Sone Ki Chidiya)

Talat – Sajjad

  1. Dil mein sama gaye sajan (Sangdil with Lata)
  2. Ye hawa ye raat ye chandni (Sangdil)

Talat – Ghulam Mohammed

  1. Chal diya Caravan (Laila-Majnu)
  2. Zindagi denewale sun (Dil E Nadan)
  3. Dil E Nadan tujhe hua kya hai (Mirza Ghalib)

Talat – Sardar Malik

  1. Ai Gham e dil kya karoon (Thokar)

Talat – Ravi

  1. Sab Kuch luta ke hosh mein (Ek Saal)

Talat – Khyyam

  1. Sham e Gham ki kasam (Foot Path) 

Talat – Naushad 

  1. Milte hi ankhen dil Hua (Babul)

And on and on and on and on…

The SOUL of Talat’s voice:-



The very famous Sanskrit poet & playwright from “Gupta Era (Circa 500 AD)”, ‘Bhavabhuti’, supposed to have considered the Melancholy & Sad emotions as the KING of all type of Emotions that created the best DRAMA. 

(It must be remembered that the noted Playwright Shakespeare, too, is more famous for his 4 TRAGEDIES among all his plays)

The soul of Talat’s voice was this emotion dripping Melancholy without a doubt. Somehow it just suited to his VOCAL CHORDS like WATER to a FISH. It is not that he didn’t sing happy songs. But somehow his voice was very naturally suited to more of Soft, Sentimental, Romantic, Sad type of songs. 

Can we even imagine anyone singing “Jaye to Jaye Kahan” (Taxi Driver) other than Talat? Impossible…

Another important thing to remember, in the context, is songs which are purely based on the FUSION of the Musical Instruments don’t leave their imprints long on the canvass of our mind. They may give you momentary HIGH like a roller costar, but the moment next new Musical Caravan comes along, the first one is ERASED faster than a time taken to beat an Eyelid.

Why does this Happen?

Simple! because it lacks the MELODY & the POETRY. The whole PHILOSOPHY of INDIAN MUSIC is based on the POETRY COMPOSED , directly or indirectly, in the VARIOUS RAGAS.

( A RAGA is a Creative Arrangements and Confluence of the Musical Notes to create a Melody, except, the ANCIENT INDIANS had taken it even deeper & to the unfathomable level, by studying the intricate relationships between HUMAN MIND, EMOTIONS, MOODS & further linking it to a PARTICULAR TIME OF THE DAY or NIGHT & by finding CORRECT MUSICAL NOTES to suit, soothe, & augment that EMOTIONAL EXPERIENCE.

(As an Example, we are told in WINTERS, in the state like NORTH DAKOTA of the USA, the rate of suicides go up due to heightened level of Depression. All know how WINTERS are bleak and depressive in the USA. From ancient times, INDIANS knew this relationship between the EMOTIONS, MOODS of humans and how they are linked to the environment. They used specific RAGAS to soothe those emotive feelings.)

The ancient INDIANS created INTRICATE MELODIES based on THOSE specific NOTES that heightened & augmented soulful pleasure of a listener.

This is pretty ASTONISHING & deeply CREATIVE. No, it is deeply SPIRITUAL in a WAY that SCIENCE can never describe it or create it.

As further clarification, Ancient INDIANS noted that at DUSK time, when Day turns into the evening & later in the Night, A RAGA CALLED “MARWA” is sung to EXPRESS the FEELING OF LONGING that usually accompanies the DUSK / EVENING time. 

Until recently INDIAN HINDI CINE MUSIC COMPOSERS would make use of the various RAGAS to create soulful melodies to capture the ESSENCE of THE SCREEN MOOD & SITUATION.

This whole art of MUSIC, linking it to SOUL & HUMAN SPIRIT is very ancient in INDIA. The whole SAMA-VEDA, the ancient HINDU SCRIPTURE dating back to 10000 years BC, deals with it in MINUTE DETAILS.

It is said the Lord Shri Krishna (Circa  3500 years BC) was an expert FLUTE PLAYER and as he would play his FLUTE & PLAY RAGA, even ANIMALS would gather around to listen to it, DRAWN by its MYSTICAL MUSICAL POWER, even forgetting their natural animosity.

Only since the last decade or so all is LOST in the SHRILL NOISE of BLARING LOUD INSTRUMENTS, CORRUPTED COPY of WESTERN STYLE  & the associated DIN they call music. )

Well, this little long explanation was somewhat necessary to EXPLAIN TALAT MAHMOOD’s songs & his style of singing.

Talat’s Musical Career:


Talat-Anil da, Naushad & very young Lata

In about 20 years of Talat’s musical career & the body of about 800+ playback songs, in MUMBAI CINE INDUSTRY, Talat has sung for almost all Leading Men / Screen Heroes of the era. He has sung for Dilip kumar, Dev Anand, Bharat Bhushan, Sunil Dutt, Raaj Kapur, Ashok Kumar, Karan Divan, Shammi Kapoor etc. Occasionally he sang for those leading men who usually used someone else for their playback voice. 

(For example Raj Kapoor’s on screen singing voice was that of Mukesh or Dev’s was Kishore)  Yet when Talat sang for Raj Kapoor in Anhonee or for Dev in Taxi Driver he created IMMORTAL MELODIES.

It must be said however that, in the initial period, Talt-Dilip combination had become somewhat synonymous.

Similarly, Anil-Da, C Ramchandra & Madan Mohan made use of Talat’s voice relatively more than compared to the other music directors.

The End of an Era:

As the decade of 60 dawned, slowly but surely, the music was changing. Times were changing. By mid 60’s Talat career was slowly inching towards its SUNSET. The WESTERN influence on INDIAN music was taking its toll. The Melody & Poetry was slowly taking a backseat and was routinely being replaced by the loud, blaring POP, JAZZ, HIP-HOP, Rock & Roll  type of music.

Talat was taking all this in his strides. Each passing day he was getting lesser requests to sing. He recognized that his time was over in the playback singing.

For sustenance Talat had now started doing stage-shows.

For his stage shows experience Talat considered himself very lucky & his heartfelt gratitude towards his loyal fans always showed; when he spoke of them. In an interview to a film-magazine in late 70’s Talat had to say as follows:-

“I consider myself blessed with almighty’s special love. I have always received tremendous love from my fans. Whichever city, in any country that I did my stage-shows, the house-would be FULL with my loyal FANS from different generations…

They would throng onstage-to meet with me & ask for my autograph. It would surprise me immensely when a young boy or a girl would ask me to sing songs like “Ai Mere Dil Kahin aur chal (Daag)”, “Jalte Hain Jiske liye (Sujata), “Raat ne kya kya khwab (Ek Gaon Ki Kahani)”, “Beraham Aasman (Bahana)” or “Ek main hoon meri (Tarana)” etc…

I was blessed to have worked with extremely talented music directors like Anil Biswas, C Ramchandra, Madan Mohan, Salil Chowdhury, SD, Roshan…

The Melodies, the Compositions they created for me had the TRUTH & SPIRITUAL PURITY..Perhaps that is why even generations after, the melodies they created & sung by me are immortal and liked by the music lovers of new generations too..”

Talat Mehmood died, at the age of 74 in his Mumbai residence, a Happy, Contented & yet very Proud man. A singer with the voice of Silk & Honey, acutely aware of his limitations and yet very successful & unique in his own way.



Talat Mahmood – The voice of Silk & Honey

Somewhere in late 80’s when Talat would do stage-show very reluctantly, as he felt tired with his VOICE also feeling devoid of that strength & charm, he did a solitary show in the city of Pune. I was told he did it very, very reluctantly on cajoling by an old friend of his.

Yet, as I distinctly recollect, the local play-house was full to the capacity. The crowd consisted of elderly gents to the young college going boys & girls too.

On a special request from someone, he sang Sardar Malik’s composed song from the movie Thokar (1953), among others. 

(Yes, the same Sardar Malik, was father of today’s music composer Anu Malik. Without a slightest of doubt, senior Malik would be squirming in his grave, listening to brazen plagiarism, of his son who sort of specialized in lifting tunes from others, and thoroughly destroy whatever even little sweetness the original one had to convert it into the complete mediocre composition of Noise & Din…)

Looking at Talat’s performance of the day I was strongly reminded of the poet Lucknavi-sahab’s Lyrics of the last stanza from the song which ran something like below:

Raaste me ruk ke dam lu, Ye meri aadat nahi           (It is not my Habit to stop Midway)
Laut kar wapas chala jaau meri fitrat nahi                 (I refuse to give-up & return)
Aur koi hamnava mil jaaye ye kismat nahi                 (I may not be lucky to get help too)
Ai gham-e-dil kya karu, ai vashishat-e-dil kya karu (Tell me oh my heart, what should I do?)

I wondered was Talat thinking of the same thoughts while he sang his heart out on that day….?

Alas, we shall never know! For, Talat died on 9th May 1998 leaving behind a son and countless mourning Music Lovers across the world, and a musical world of Noise, Din that was increasingly becoming devoid of soulful poetry and melody too..

A soulful sweetness was over.

Rahul Dev Burman- The Pancham Sur! (5th note of the musical scale)



Father & Son duo – SD & RD

The old man usually walked briskly & without pausing in the stride, as was his custom, for the morning stroll. The passers-by would notice a thin, rather gaunt figure with little oriental features wearing cotton DHOTI and generally lost in his own thoughts oblivious to the surroundings. Some would recognize him and give way with respect coupled with awe. Others from the younger lot would simply ignore him and go about their own business.

On that particular day however something different had happened!!

The old man, was out for his usual customary morning walk. Deep in thought, suddenly he heard his name being uttered distinctly and rather loudly to pull him out of his reverie. He noticed a group of young strollers was talking animatedly among themselves. One of the young men was telling his buddy excitedly while pointing at the old man. “Hey look, that old man walking is R D Burman’s (RD) father, sure..!!”

The old man stopped in the track to digest what was being heard by him. Sure, the lad’s tone was impertinent, as the tones of young men usually are, but there was no mistaking in what he heard..! Clearly he was being recognized as Rahul Dev Burman’s father.

The very famous Sachin Dev Burman (SD) abruptly abandoned his stroll & turned back hurriedly towards his home. No sooner his wife opened the door for him at his house, SD bristled at his wife

“Oh Now your son has become a big-shot it seems! What music has he been producing lately to deserve such adulation?” asked SD in tone little excited with anticipation.

The proud mother, with a knowing twinkle in her eye, handed over a new LONG PLAY record of her son’s music compositions. The movie was “Amar Prem” (1972). The songs in the record were “Chingari Koi Bhadke”, “Yeh Kya hua”, “Kuch to Log Kahenge”, “Raina beet Jaaye”..

Without a word SD, the master composer, switched on the record-player and silently listened to all the songs. As he listened to one composition after another, his 66 year old thin & gaunt face broke into PROUD & CONTENTED SMILE as his mock rancor vanished and tears welled up in his eyes..

The tears of HAPPINESS & PRIDE & FATHERLY LOVE they were..!

That, Ladies and Gentlemen, was the year of 1972 &, needless to repeat, the father was very famous Sachin Dev Burman (SD) & his son, none other the equally famous & genius was Rahul Dev Burman (RD)…!!!

Friends, I was really torn in deciding on whom should I write first..Should it be the Father first or should it be the Son?? My inclination was to write on the father first naturally..But, I suppose, bowing to the pressure from some of my young friends; I had to give in & with pleasure too.

Therefore, friends, this is a small tribute to that genius of Music, that obedient & yet musically rebellious son, a melodious composer as his illustrious father and yet, perhaps, more versatile than him, that same musical fellow who retained the earthly charm of the soil of his birth place of Bengal & yet produced new age music fusing the Rock & Roll with INDIAN touch..

This is the story of the Rahul Dev Burman (RD)..!!

The PANCHAM (5th) of Sur:


Aradhana (1969) team. Pancham, Lata, Kishore & Shakti

It is said that when Rahul was born (June 27, 1939, Kolkata, West Bengal) his first cry sounded to his love-struck father as the 5th note (sur), as in the fifth note (Pa) of the Indian musical scale. Therefore Sachin-da started calling his son with fond pet name of PANCHAM (5th note in INDIAN music scale/octet) along with his given name of RAHUL.

(We will refer to Rahul Dev Burman as Rahul, Pancham or RDin the article and his illustrious and melodious father as Sachin Dev Burman, Dada Burman or SD or Sachin-da…)

From the childhood, Pancham caught on to the music as a fish would catch on to the water. Without a doubt, music was in his genes..! Sachin-da on his part always encouraged his son in the pursuit of music. As is the case of most god-gifted-geniuses, Pancham was not serious about his academics and that didn’t bother his father a wee bit. Even when Rahul failed his annual exams Sachin-da would shower his son with gifts.

Sachin-da soon realized that it would be impossible to keep young Rahul away from the world of music. He was certainly not unhappy about it. For he too had done the same thing when he was young, that to chuck the academics in preference to the pursuit of music, had he not?? Once the decision was made, Sachin-da arranged with his favoriteTABLA player, Brajen Biswas, to train Rahul on TABLA taal. (Beats).

Later Rahul also learned drumming musical instruments from Shamta Prasad & string instruments like SAROD from none other than Master Ali-Akbar-Khan. But all along, interestingly, Rahul displayed genius to absorb WESTERN musical instruments & score too. This was slightly unlike his father; however, both Father-Son duo always immersed themselves in the enchantment of MUSIC WORLD for sure.

Strange & musical pair of Father and Son indeed..!!

Mumbai Calls:


Pancham & Lata didi

Such was Rahul’s single minded devotion to the world of music that Sachin-da soon realized that it would be more prudent to bring Rahul to Mumbai (Maharashtra) from Calcutta (Bengal) where, by now Sachin-da had made his second home & was already a MUSIC COMPOSER of high repute.

The year was 1955..!!

Upon reaching Mumbai, Rahul, true to his rebellious nature & genius, immediately started demanding of his father that he be given an opportunity to compose musical score for a movie. Amazing, really, to see the confidence shown by the boy to compose music at the tender age of 16! But what sort of music a 16 year old would create? Who would take him seriously even if he was the great SD’s son?? Just to allay fears of his father Rahul, it is said, composed a tune and played it on the MOUTH ORGAN for his father. SD was clearly impressed. His instincts told him the boy had something special in him. Yet he was worried as to who would take Rahul even as assistant MUSIC DIRECTOR??

Finally, SD had to give in. He took Rahul under his own wings while he was composing music for the movie PYASA..Not many people know but many insiders say that the very hit & famous song from the movie PYASA (1955), “Sar Jo Tera Chakraye ya Dil Dooba jaaye”, picturized on the comedian Johnny Walker & sung by none other than RAFI-SAAB, was composed by the young boy-wonder Rahul Dev Burman..!!!

The musical prodigy was slowly & surely making it’s MARK..!!

The Making of RD!


Asha tai & Pancham

The year 1956 saw release of Navketan FUNTOOSH (1956).  SD’s gave music to the movie and it was an instant hit…

But Rahul fought with his father. He, in the strangely comic episode, accused his father of lifting his own tune for the song “Ai Meri Topi Palat Ke Aa” in the movie without giving him any credit. The father SD was clearly amused. He jokingly supposed to have said to RD, that he (RD) should consider himself lucky that the great SD had lifted his tune.

On a more somber note, however, SD said he wanted to test what effect Rahul’s tune would have on the audience. If it failed, SD was already a big name & no harm would be done. On the other hand, if the tune became a success SD would always recommend Rahul to others with the tune’s success as a testimony. Rahul, understood that a stamp of failure in early career on any music composer would finish his career before it even took off..He was grateful to his father with the realization..

A friendly competition had already begun between great father & his genius son!

The Young Music Director:


Team Navketan – Pancham, Kishore-da & Dev Sahab

Since his growing up years in Calcutta & later even in Mumbai, Rahul was always fascinated by the WESTERN MUSIC & its various instruments. Clearly he wanted to compose a different sort of music. One, that would be melodious like his father’s tunes & yet peppy & jazzy to appeal to the youth of the day. Rahul was growing restless. Sure, he was contributing to his father’s music as an assistant to him. But he yearned to create an independent name himself.

Rahul’s contribution to movies like Pyaasa (1955), Funtoosh (1956), Chalti Ka Naam Gaadi (1957) was unmistakable thru some of movies compositions. I have already talked about Pyasa & Funtoosh, but surely, as one more example, who wouldn’t notice the clever usage of beats & western instruments in the song Hum The Woh Thi aur Sama Rangeen” in the movie “Chalti Ka Naam Gaadi (1957)?” Clearly Rahuls’ invisible hand showed in the tune for sure..

He later also played mouth organ for his father’s hit composition “Hai Apna Dil to Awara” which was featured in the movie Solva Saal (1958)

Rahul already was acquiring the reputation; he most sought after, for sure..!  

First Movie:


Sachin-da giving tips to Pancham?

One day in the year 1961, the famous comedian Mehmood, came to meet SD. Mehmood was starting a film as a producer & wanted a fresh talent to score music for his film.

The movies’ name was “Chhote Nawab” (1961).. After some reluctance SD gave permission & it turned out to be first ever movie for which RD was the full fledged music director..And what a musical score he composed..The movie didn’t do well on the box-office but let me tell you & urge all to listen to immortal, very melodious songs from the movie:

1- “Ghar Aaja Ghir aaye badara sanwariya” – a Lata solo, one my all time RD favorite.
2- “Matwali Ankhon wale” – a Lata-Rafi duet

These songs simply bowled the music connoisseurs away with their inherent sweetness. These two songs showed two sides of RD’s talents. Where Lata’s solo was out of this world with full focus on the melody, quite like his father, and the duet typically showed more rebellious, experimenting, WESTERN side of RD, that still retained the melodious aspect..

The musical rebellion & a new world of fusion had begun…!!

The Golden Period: 


Jewel Thief team? Dev’s trousers says it all.

After Chhote Nawab (1961), inexplicably, RD had to wait for the work to come to him. May be since the movie was appreciated for its fresh music but not for the box-office collection, producers hesitated.

Again same Mehmood came to the help. He offered another venture to RD.  A movie called Bhoot Bangala (1963) a horror comedy was being produced by him. RD took up the challenge. Again RD scored tremendously scintillating music in the movie. All songs are from the movie are my favorite & clear work of a genius.
Take a look:

  1. Aao Twist kare (Manna-da solo, a rage in those days & based on WESTERN ROCK & ROLL)
  2. Jaago sonewalo (Kishore-da solo..lovely song with liberal WESTERN beats)
  3. O Mere Pyar aaja (A Lata solo..simply brilliant & utter melody)

Clearly, Rahul’s music was offering best of the both worlds. He was creating INDIANISED WESTERN music while retaining the melody part. But once again the movie didn’t do well on the box-office. Rahul was disappointed.

In those days, WEST was rocking with the likes of JAZZ & Beatles music. Rahul was captivated with this new trend like rest of the world.  He desperately wanted to create new compositions that would fuse best of EAST & WEST..He refused to be stereo-type.

Little he was to know that fate was NOW ready to offer him the break that was to change the HINDI-MUSIC industry forever…!

The break came unexpectedly!

In the year of 1966, a young producer called Nasir Hussain was ready to produce a movie and was looking for a new musical talent. Some say poet/lyricist Majrooh Sultanpuri a friend and partner of his father SD, recommended him to Nasir Hussain. Dev Anand’s brother Vijay Anand (Goldie Anand) was directing the movie. Burmans always had family relations with Dev Anand, Goldie & their production house “NAVKETAN FILMS”. So, it was no surprise that Goldie too, recommended Rahul strongly to Nasir and also arranged a music session for Rahul before Nasir Hussain & the film’s lead and Superstar Shammi Kapoor. Teesri Manzil (1966), was to be the movie’s name,  had six songs, all of which were written by Majrooh Sultanpuri, and sung by Mohammed Rafi. Four of these were duets with Asha Bhosle.

“..As the story goes, when Rahul sang “Deewana Mujhsa Nahin” in front of Shammi & Nasir, Shammi Kapoor, who was initially reluctant, became so captivated by the tune that on the spot he rose & started dancing on the beats of the tune…”

The FATE SMILED BENEVOLENTLY at that very instant on Rahul and rest, as they say, was the HISTORY..!!

The songs & the movie Teesri Manzil (1966) was a huge, huge, huge hit. Goldie Anand’s sleek direction, RD’s scintillating, foot-tapping, hummable & yet utterly melodious music took the Cine-Music Industry by storm and..

….Never again RD had to look back till the end of his career after the release of Teesri Manzil!!

Such is the magic of those songs even after close to 50 years later…!!! Take a look and see if you can stop humming or even dancing on the tunes:-

  1. Deewana Mujhsa Nahin (Rafi solo)
  2. O mere Sona (Rafi-Asha)
  3. Tumne Mujhe dekha (Rafi)
  4. O Haseena Zulfonwali (Rafi-Asha)
  5. Aaja, Aaja Main hoon pyar tera (Rafi-Asha)
  6. Dekhiye sahibon who koi (Rafi-Asha)

One thing I have said time and again that if one had to listen to Kishore-da, one had to listen to him when he sang for SD, RD & Salil-da. Kishore sang for all leading composers in his long career since 1949. But he sang with some different zest, some different emotions, some unique passion when he sang for above three master composers. Call it a Bengali connection if you want, but fact remained..!!

After Teesri Manzil (1966) producers started coming in droves to Pancham..But his young father, the genius SD and ever young at the age of 69, was still composing. So it was only natural that the producers, out of respect for SD, first would ask him if he would undertake to compose..

In 1969, Shakti Samanta, another Bengali producer came to Dada Burman asking him to compose for his new movie called Aradhana (1969) with a young boyish looking star called Rajesh Khanna playing the lead. SD was ill at that time. But he still said yes to Shakti Samanta.

Here a curious thing happened..!!

While, the movie was in progress, SD’s illness increased and as the story goes, RD eager to try new things completed the music for the movie while slyly introducing Kishore-da for the songs of his choice.

Friends, need I say more..!! 

Aradhana (1969) songs were biggest ever hit of the 70’s decade & the songs were utter, complete & total rage especially those sung by the Kishore-da at the behest of Pacham..Check it out..

  1. Mere Sapno Ki Rani (Kishore)
  2. Roop tera Mastana (Kishore)
  3. Kora kagaz thaa yeh man (Kishore-Lata)
  4. Gunguna rahe hai bhanware (Rafi-Asha)
  5. Baago Mein bahar hai (Rafi-Asha)
  6. Safal hogi teri Aradhana (Sung by SD himself in his typical “Kharj” voice)

The industry knew that although the name was that of SD as a Music Composer the real magical spell was cast by his son, Pancham. Aradhana (1969), launched the stardom of Rajesh Khanna & Kishore-da (in his 2nd inning).

For the next 7 to 8 years Rajesh-Kishore-RD combination was to create such a rage in the minds & hearts of cine-music lovers that one can’t easily describe it in the words. In Rajesh Khanna the Mumbai Cine industry saw first TRUE-MEGA-STAR. In Rajesh Khanna’s success, without a doubt, Pancham’s tunes played a lion’s share!

Fame & more Fame:


Kishore-Asha-Pancham -The Magical Trio

In the 70s, RD became highly popular with the Kishore Kumar songs in Rajesh Khanna-starrer movies. Take look in the magic they created:

  1. Yeh Shaam Mastani : Kati Patang (1970), Kishore-da
  2. Yeh Jo Mohabbat Hai : Kati Patang (1970), Kishore-da
  3. Na Koi umang hai : Kati Patang (1970), Lata
  4. Aaj Na Chhodenge : Kati Patang (1970), Lata-Kishore
  5. Yeh Kya hua: Amar Prem (1971), Kishore-da
  6. Chingari koi bhadke : Amar Prem (1971), Kishore-da
  7. Kuch to log kahenge : Amar Prem (1971), Kishore-da
  8. Raina beeti jaye : Amar Prem (1971), Lata
  9. Bada Natkhat hai re : Amar Prem (1971), Lata
  10. Sun Champa, Sun Tara : Apna Desh (1972), Kishore-Lata
  11. Kajara Laga ke : Apna Desh (1972), Kishore-Lata
  12. Rona kabhi nahin rona : Apna Desh (1972), Kishore
  13. Diye jalte hai : Namak Haram (1973), Kishore
  14. Nadiya se dariya : Namak Haram (1973), Kishore
  15. Main shayar badnaam : Namak Haraam (1973), Kishore
  16. Ai mere dil ke chain : Mere Jeevan Saathi (1972), kishore
  17. Deewana leke aaya hai : Mere Jeevan Saathi (1972), kishore
  18. Chala jaata hoon kisi ki dhoon mein : Mere Jeevan Saathi (1972), kishore
  19. Gulabi aankhen jo teri dekhi : The Train (1970), Rafi 
  20. Ek ajnabee hasina se : Ajnabee (1974), Kishore
  21. Hum dono do premi :  Ajnabee (1974), Kishore-Lata
  22. Bheegi bheegi raaton mein : Ajnabee (1974), Kishore-Lata
  23. Zindagi ke safar mein : Aap ki Kasam (1974), Kishore
  24. Karvate badalte rahe : Aap ki Kasam (1974), Kishore-Lata
  25. Jai Jai shiv Shankar : Aap ki Kasam (1974), Kishore-Lata
  26. Suno, Kaho, Kaha, Suna : Aap ki Kasam (1974), Kishore-Lata
  27. Kya Janu Sajan Hoti : Baharon Ke Sapne (1967), Lata, a haunting melody
  28. Chunari sambhal gori :  Baharon Ke Sapne (1967), Lata – Manna-da 
  29. Aaja piya tohe pyar doon : Baharon Ke Sapne (1967), Lata

Is it Kati Patang (1970) melody in making? Rajesh-Pancham

And on and on..Remember these were only Rajesh Khanna starrers…Astonishing really..!!

Let’s also take a look at some of the movies from the same period, in which Pancham worked with stars OTHER THAN Rajesh Khanna & yet  RD-Kishore-Lata-Asha gave usual chart busting numbers:-

  1. Dil Tera hai : Bombay to Goa, (1970), Kishore-Lata
  2. Dekha Na Hai re Socha na : Bombay to Goa, (1970), Kishore
  3. Kehna hai : Padosan, (1968), Kishore
  4. Mere Samne wali  : Padosan, (1968), Kishore
  5. Ek Chatur naar : Padosan, (1968), Kishore-Manna Dey –  Melodious & path breaking duet
  6. Bhai batur, hum jayenge : Padosan, (1968), Lata
  7. Aaj main jawan ho gayi  : Padosan, (1968), Lata
  8. Sharm aati hai magar aaj : Padosan, (1968), Lata, extremely melodious in SD style
  9. Chanda O, Chanda : Lakhon ki Baat (1970), Kishore
  10. Kanchi Re Kanchi re :  Hare Rama Hare Krishna (1972), Kishore-Lata
  11. Dekho o deewano : Hare Rama Hare Krishna (1972), Kishore
  12. Dum Maaro Dum : Hare Rama Hare Krishna (1972), Asha
  13. Raat kali ek khwab : Buddha Mil Gaya (1972), Kishore
  14. Bhali bhali si ek surat : Buddha Mil Gaya (1972), Kishore
  15. Samne Yeh Kaun aaya : Jawani Diwani (1972), Kishore
  16. Yeh Jawani, Hai Diwani : Jawani Diwani (1972), Kishore
  17. Jaane Jaan, Dhoondhta : Jawani Diwani (1972), Kishore-Asha
  18. Musafir hoon yaaron : Parichay (1972) , Kishore, A soulfully melodious composition
  19. Saare ke saare : Parichay (1972) , Kishore-Asha
  20. Beeti Na Bitai Raina : Parichay (1972) , Bhupinder-Lata
  21. Hawa Ke saath saath : Seeta aur Geeta (1972), Kishore – Asha
  22. Gum hai kisi ke pyaar : Raampur ka Lakshman (1972), Kishore-Lata, Very melodious  duet
  23. Ai yeh main kahan aa phasi : Caravan (1972) , Asha , A very unusual , melodious solo
  24. Sultana re pyar ka mausam aaya : Caravan (1972), Rafi
  25. Aaj unse pehli mulaqat hogi : Paraya Dhan (1971), Kishore , A classic, melodious Kishore
  26. Tera Mera Juda Hona Mushkil Hai :  Paraya Dhan (1971), Kishore-Lata
  27. Haye mera dil, tera dil: Paraya Dhan (1971), Kishore
  28. Daiya Yeh Main Kahan Aa Phasi : Caravan (1971), Asha, one of the very best Asha solo
  29. Are Ho, Goriya Kahan Tera Des Re : Caravan (1971), Rafi Asha,
  30. Kitna Pyara Wada Hai, In Matwali Ankhon Ka : Carvan (1971), Rafi Asha,
  31. Dilbar Dil Se Pyare, Dil Ki Sunta Ja Re : Caravan (1971), Lata
  32. Piya Tu Ab To Aaja,: Caravan (1971), RD, Asha 
  33. Chadhti Jawani Meri Chaal Mastani : Caravan (1971), Rafi-Lata
  34. Tum bin Jaoon kahan : Pyar Ka Mausam (1969), Kishore
  35. Tum bin Jaaun kanha : Pyar Ka Mausam (1969), Rafi
  36. Na Ja O mere Hamdum : Pyar Ka Mausam (1969), Lata, lovely solo
  37. Tere Binaa Zindagi Se Koi : Aandhi (1975), Lata-Kishore
  38. Is Mod Se Jaate Hain : Aandhi (1975), Lata-Kishore
  39. Tum Aa Gaye Ho : Aandhi (1975), Lata-Kishore
  40. O Maajhi Re Apna Kinara : Khushboo (1975) Kishore
  41. Do Nainon Men Aansoo Bhare Hain : Khushboo (1975) Kishore
  42. Panna ki tamanna hai : Heera Panna (1973), Kishore-Lata
  43. All Yaadon ki Baaraat Songs : (1975)


    Lata & Kishore two of RD’s favorites

And on and on and on…Amazing creative & melodious RD was in 70’s for sure..The list can even go on for quite a while but the melodies won’t end..

RD was now routinely giving hits after hits..He was at his creative peak one would say. He was now working with all the leading Men & Ladies on screen & was one of the top 3 music composer of the 70’s.

His musical output included all variety of songs. For example in 1972, RD composed the music for Dev Anand’s Hare Rama Hare Krishna (1972)It became an instant rage..All the songs from the movie were super-hits. Especially the Asha Bhosle song “Dum Maro Dum” depicting the “Hippie” culture sweeping WEST in those days, from this film proved to be a seminal rock number in the Hindi film music.

Just see his musical output in the 70’s just to give few examples:

  1. Hare Rama Hare Krishna, Buddha Mil Gaya, Karvan , Parichay, Apna Desh, Bombay to Goa, Jawani Diwani, Raampur Ka Lakshman, Seeta Aur Geeta (All 1972)
  2. Anamika , Namak Haram, Yadon Ki Barat, Heera Panna, Jheel Ke Us Paar, Sharif Badmash (All 1973/74)
  3. Sholay, Aandhi, Deewar, Aap Ki Kasam, Khushboo, Dharam Karam etc. (All 1972/75) 

From Chhote Nawab (1961) to Gurudev (1994) in the career spanning almost of 30 active years Pancham gave music to about 290 odd movies. This was a tremendous output considering the music composers of previous generation would give close to 70 to 80 movies before retiring …And most of his Music was certainly had its share of the MELODY..

Before we move forward, I must speak a bit about Amit Kumar Ganguly (Kishore da & Ruma Devi’s son ). Panchamda worked with Amit too. Amit clearly, his father’s son, had a different yet enchantingly gifted voice. Unfortunately time was changing rapidly & before long Amit would find himself  alone in this big, ugly world while Pancham & his father (Kishore da) all passed away leaving him behind.

Yet few songs Pancham gave to Amit were very memorable for its inherent Melody and were Box-Office hits too….Check it out..

Pancham-Amit work:


Pancham & Amit

  1. Bade Achchhe Lagte Hai, : Balika Badhu (1976)
  2. Yeh zamin gaa rahi hai : Love Story (1981)
  3. Yaad Aa Rahi Hai, Teri Yaad Aa Rahi Hai : Love Story (1981)
  4. Kaisa Tera Pyar Kaisa Gussa Hai Tera : Love Story (1981)
  5. Dekho maine dekha hai ek sapna : Love Story (1981)]

..and on and on..

Just listen to these songs to appreciate the beauty of Amit’s voice & Pancham’s compositions..too bad that this collaboration was not to last much longer due to the changing times in the industry.

Personally, I loved Amit Kumar’s voice very much..but,  Alas..!!


Father & Son..A musical pair…Kishore da & Amit

After Rahul Dev Burman, many new music directors claimed to be inspired by him like, for example, A. R. Rahman and Jatin-Lalit duo.

(Frankly, I never treated A R Rehman’s music of any worth at all. He was too stereo-type, loud & devoid of Melody..Perhaps only in movie “BOMBAY” he was a bit creative & melodious..Clearly far, too overrated Music Director.)

But Jatin-Lalit gave some Melodious music well into the 90’s, with clever usage of Western instruments fusing the MELODY..TO that extent Jatin-Lalit could be said to be RD’s true inheritor. Just try to compare“Dilwale Dulhania Le Jayenge (1995)” score & “Teesri Manzil (1967)” music & one would find a lot of similarity in style & tenor of compositions for sure.

(I liked Jatin-Lalit’s work in the Salman-Manisha starrer “Khamoshi (1996)” too. Even in very latest Aamir starrer FANAA, they gave fairly good melodious music..With the exit of Jatin-Lalit, last semblance of Music in Hindi Cinema is dead for sure..I Just can’t bear to listen any other music directors. They are too terrible & horrifyingly loud & the kind of ugly music they give is just make me wish I was dead, rather than living in this world devoid of melody & soulful poetry..!!)

RD’s Musical Legacy:


Rafi Sahab & Pancham Da

First & foremost Rahul was son of his father & born with those musical genes for sure. Therefore RD was sweet, melodious & even soulful on several occasions. In 70’s he was bold, experimental, melodious and gave every indication that he would continue the great, illustrious legacy of his father & his native place of Bengal.

Then something happened...and I am saying this with full authority of person who has been listening to the music of Hindi Cinema for number of years, with the zeal of a connoisseur and the heart, soul & ears of a devotee of a good SUR (notes)..

It is said that, RD was always a fan of WESTERN music but with the success of “Hare Rama Hare Krishna (1971)” slowly he became addict of those WESTERN instruments. He made several visits to USA to study WESTERN music & instruments. In India, in those days, music directors used maximum 6 tracks while recording a song. When RD saw in US they used almost 27 tracks in a recording, it drove him little insane in my opinion. And since then, he started focusing & using more of those musical instruments, those electronic synthesizers with their several tracks in his recording.

Well, the unfortunate bad-effect of this crazy usage of Instruments was that somewhere along the line, RD, started losing his god-gift of crafting soulful MELODIES…and even more terrible legacy it left for new music directors that they just lost complete ability to create a MELODY on their own. 

For example, music directors like Anu Malik, A R Rahman etc. started thinking music is only arrangements of various electronics instruments designed to produce strange, loud, shrieking, ears piercing sounds of variety..So much so that they started copying their own tunes, when they had done copying others,  which had enjoyed any brief success at all..It all became too ugly really..!!

Just one example I could give of RD before I move forward. In late 70’s as slowly Pancham was losing his touch of creating MELODY, in a sudden burst of tremendous creativity, he composed the music for a movie called,Vinod Mehra-Rekha starrer, “Ghar (1979)”. I would urge all to listen to the songs from this movie. What a different, creative, melodious, soulful & yet modern music Pancham created with usage of ONLY MINIMAL INSTRUMENTS.

Even today songs from GHAR (1979) remain my favorite..Especially that Lata solo “Aaj Kal Paon Zamin par” drives me delirious with soulful pleasure..check out the GHAR songs..

  1. Aaj Kal PaonZamin par – Lata
  2. Aap ki ankhon mein kuch – Lata-Kishore
  3. Phir Wohi Raat Hai Khwab KiKishore
  4. Tere bina jiya jaye na– Lata – Kishore..Just lovely composition..

Here, it must be noted that all the songs from GHAR (1979) were penned by highly gifted poet-lyricist Gulzar-sahab. A large number of renowned film-makers like Shakti Samanta, Nasir Hussain, Ramesh Bhel, Dev Anandand Gulzar went back to Pancham repeatedly for musical sustenance. 

The Gulzar-Pancham team gave a large number of memorable melodies. The also shared a close friendship in real life. Perhaps their deep friendship was the reason that RD-Gulzar creations always had that special something…and people too felt it..


Pancham-Asha-Gulzar, RD’s Muse

Together, Pancham-Gulzar worked for the film Parichay (1972) for the first time. ‘Musafir Hoon Yaaron..’, ‘Naam Gum Jayega.’, ‘Aaj Kal Paon Zamin Par Nahi..’, ‘O Manjhi Re..’, ‘Phir Se Aaiyo Badra Bidesi..’..on and on..the team gave music lovers some of the most melodious songs Pancham had composed in his lifetime..

The Fall & Death:

To take a stock of complete 290 films of RD is just not possible in this brief article. Without a doubt he was one of the last & best geniuses Music Director that Hindi-Cinema movie industry experienced & admired. He was always looking out to do something different. Sure, RD used lot of WESTERN INSTRUMENTS &  INFLUENCE but despite all this, he retained his MELODIOUS GENES & when he felt so, used them to produced scintillatingly, soulful & melodious music.

HE chose to be different whenever he wanted to & in that he didn’t care what impact he would be leaving on his audience or even the fellow music composers.

As 80’s decade dawned, RD was becoming more and more unhappy. Something was missing from his music. During the 1980s, RD Burman was overshadowed by Bappi Lahiri and other disco music composers. Many filmmakers stopped patronizing him, as films featuring his compositions flopped at the box office one after the other. Nasir Hussain, who had signed him up for every single of his productions since Teesri Manzil (1966), did not sign him up for Qayamat Se Qayamat Tak (1988).

To top it all, in 1988-89 something unthinkable happened that completely shattered RD!

Subhash Ghai was a big & successful produces in 80’s. He was producing a movie called “Ram Lakhan (1989)” & had decided to give the job of Music Composition to Pancham da. At the last moment, call it due to Film Industry’s dirty politics or RD’s waning Midas touch, Ghai dropped RD & gave the job to Laxmikant-Pyarelal duo.

This was a terrible loss of face for RD. He was, after all, the great Pancham & the son of great Sachin-da. How could anyone even think of dropping him?? He couldn’t take the humiliation & the stress created a solid heartburn that led to Pancham receiving his first Heart-attack.

Panchamda underwent bypass surgery in London. The next 5 years were absolutely lonely & idle for Pancham-da. Sachin-karta’s darling son Rahul had very little work now. The Mumbai-Cine industry, which had once danced to his melodious tunes in the 70’s now, had forgotten him. There was no question of finding any comfort from his mother as she was old & very ill in those days. (SD, his father, had already passed away)

Pancham spent these lonely days remembering his late father Sachin-da, listening to his father’s songs. His heart ached and he dreamt of meeting his father. He would imagine him sitting with his father playing harmonium and listening to his father composing EARTHLY, MELODIOUS, SOULFUL TUNES of his Native BENGAL. He longed to hear his father voice teaching him and explaining the BHATIYALI folk-songs with rustle of RIVER WATER in the background.

When the end finally came, just few hours before as the story goes, Pancham saw a dream. In that he saw the gaunt figure of his father coming in a boat, that swayed gently on the crest of the waves of the RIVER, to take him away..His father sang to him those TUNES that carried the scent of his childhood in Calcutta..Oh how he so longed to be in the arms of his father…!!

Pancham died in his bed on 4th Jan. 1994, merely 54 years old. The musical legacy of Sachin-Da was over..!!

Epilogue : Sandesh or Rasgolla?


Two of my favorite Music composers – Rahul & Sachin-da

I love Bengal & everything Bengali,   ( Sans those crazy & fanatics Leftists of course. For after the Left’s emergence about 35 years ago, slowly but surely, Bengal lost its creative abilities. Again Leftist Ideology don’t understand that all humans have different strengths and are unlike of each other so far as non-physical properties are concerned.  Leftist don’t believe in soul & in human spirit. They tried to Robotize the Humans and designed their economic & other governance policies. Results?? After about 80 years world over the Left ideology is dead & buried.. 34 years of long reign of Leftists in Bengal has robbed it for its original creative abilities for sure. Therefore the present decay in Bengali creative circle. .)   without ever visiting it. Primarily I, & countless musical fans, saw Bengal from the music of likes of Anil-da, Sachin-da, Pancham-Da, Hemant-da, Salil-da & from the voices of Kishore-da, Manna-da, Hemant-da etc.

We loved the craft of film-direction of Hrishikesh Mukherjee, Basu Chatterjee, Bimal Roy and others..We saw acting from Suchitra Sen, Uttam Kumar, Joy Mukherjee etc..

But our true love always was music. And Sachin-Da & Pancham-da’s melodies, based on RABINDRA SANGEET, only heightened our desire to visit Bengal & relish the taste of those sweets like Sandesh or Rasgolla at the banks of Hugli river, like they showed in the movie AMAR PREM.

The great director Hrishikesh Mukherjee was most eloquent when he compared the father & son duo after having worked with both of them extensively:

“Why compare Rasgolla & Sandesh at all?? Hrishida would ask..

Sachin-da & Pancham both were geniuses. Pancham inherited all the qualities of his illustrious father & would again refine them through his own experimentation. Both had understood the MELODY of the native Bengal. Both would use BENGALI-FOLK-SONGS extensively. Only each would present it with their own individual stamp on it…but, by god, BOTH were utterly melodious..!”

Exactly my sentiments too..!

If I were to reflect & decide where I had liked Pancham most & saw an image of his father yet, somehow, strikingly, melodiously different..then it will have to be the MUSIC of AMAR PREM (1970)..All songs were just out of this world. 

However my personal favorite, of all time, will have to be “YEH KYA HUA, KAISE HUA” sung by Kishore-da.

In my personal opinion, Kishore-da sang his heart out in the song and was so sweet, so soul-touching, so much captured the essence of the lyrics, that his singing, along with the lyrics, the background musical score, the composition of the tune itself and above all Rajesh Khanna’s crinkling laugh lighting his boyish face, clad in Dhoti-Kurta, all creates such tremendous impact on the listener that the song never fails to make eyes foggy with soulful pleasure….

Hearing today’s music, those fateful lines penned by Anand Bakshi comes to mind again and again “Yeh Kya Hua, Kaise Hua, Kyon hua?”..But there is no longer any answer…!! That is the irony..!!

First Published at “Chintamani-Chankya.blogspot.in” on 06-Apr-2014

Wish to get a job at Google?

“Wish to get a job at Google? Here are their five hiring attributes…”, Read more at:-

http://economictimes.indiatimes.com/articleshow/30896416.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst …

GoogleAn excellent article we have read in long, long, long time. A must read for all the Educationists, all those who talk of collective “innovation”, all guys like Chidu, MMS, Montek & all rest of those phonies, all Indian Corporates like Infosys, Wipro etc who with all their bloating money-chests haven’t really moved beyond T&M type of contracts & haven’t yet produced a singly world class product or innovation. 

The complete article is produced below for ready reference.
By Thomas L Friedman 

MOUNTAIN VIEW: Last June, in an interview with Adam Bryant of The New York Times, Laszlo Bock, the senior vice president of people operations for Google – i.e., the guy in charge of hiring for one of the world’s most successful companies – noted that Google had determined that “GPAs are worthless as a criterion for hiring, and test scores are worthless. … We found that they don’t predict anything.” He also noted that the “proportion of people without any college education at Google has increased over time” – now as high as 14 percent on some teams. At a time when many people are asking, “How’s my kid gonna get a job?” I thought it would be useful to visit Google and hear how Bock would answer.

Don’t get him wrong, Bock begins, “Good grades certainly don’t hurt.” Many jobs at Google require math, computing and coding skills, so if the good grades truly reflect skills in those areas that you can apply, it would be an advantage. But Google has its eyes on much more.

“There are five hiring attributes we have across the company,” explained Bock. “If it’s a technical role, we assess your coding ability, and half the roles in the company are technical roles. For every job, though, the No. 1 thing we look for is general cognitive ability, and it’s not IQ. It’s learning ability. It’s the ability to process on the fly. It’s the ability to pull together disparate bits of information. We assess those using structured behavioral interviews that we validate to make sure they’re predictive.”

The second, he added, “is leadership – in particular emergent leadership as opposed to traditional leadership. Traditional leadership is, were you president of the chess club? Were you vice president of sales? How quickly did you get there? We don’t care. What we care about is, when faced with a problem and you’re a member of a team, do you, at the appropriate time, step in and lead. And just as critically, do you step back and stop leading, do you let someone else? Because what’s critical to be an effective leader in this environment is you have to be willing to relinquish power.” What else? Humility and ownership.

“It’s feeling the sense of responsibility, the sense of ownership, to step in,” he said, to try to solve any problem – and the humility to step back and embrace the better ideas of others. “Your end goal,” explained Bock, “is what we can do together to problem-solve. I’ve contributed my piece, and then I step back.”

And it is not just humility in creating space for others to contribute, says Bock, it’s “intellectual humility. Without humility, you are unable to learn.” It is why research shows that many graduates from hotshot business schools plateau. “Successful bright people rarely experience failure, and so they don’t learn how to learn from that failure,” Bock said.

“They, instead, commit the fundamental attribution error, which is if something good happens, it’s because I’m a genius. If something bad happens, it’s because someone’s an idiot or I didn’t get the resources or the market moved. … What we’ve seen is that the people who are the most successful here, who we want to hire, will have a fierce position. They’ll argue like hell. They’ll be zealots about their point of view. But then you say, ‘here’s a new fact,’ and they’ll go, ‘Oh, well, that changes things; you’re right.'” You need a big ego and small ego in the same person at the same time.

The least important attribute they look for is “expertise.” Said Bock: “If you take somebody who has high cognitive ability, is innately curious, willing to learn and has emergent leadership skills, and you hire them as an HR person or finance person, and they have no content knowledge, and you compare them with someone who’s been doing just one thing and is a world expert, the expert will go: ‘I’ve seen this 100 times before; here’s what you do.'” Most of the time the non-expert will come up with the same answer, added Bock, “because most of the time it’s not that hard.” Sure, once in a while they will mess it up, he said, but once in a while they’ll also come up with an answer that is totally new. And there is huge value in that.

To sum up Bock’s approach to hiring: Talent can come in so many different forms and be built in so many nontraditional ways today, hiring officers have to be alive to every one – besides brand-name colleges. Because “when you look at people who don’t go to school and make their way in the world, those are exceptional human beings. And we should do everything we can to find those people.” Too many colleges, he added, “don’t deliver on what they promise. You generate a ton of debt, you don’t learn the most useful things for your life. It’s [just] an extended adolescence.”

Google attracts so much talent it can afford to look beyond traditional metrics, like GPA. For most young people, though, going to college and doing well is still the best way to master the tools needed for many careers.

But Bock is saying something important to them, too: Beware. Your degree is not a proxy for your ability to do any job. The world only cares about – and pays off on – what you can do with what you know (and it doesn’t care how you learned it). And in an age when innovation is increasingly a group endeavor, it also cares about a lot of soft skills – leadership, humility, collaboration, adaptability and loving to learn and re-learn. This will be true no matter where you go to work. 

Well this article written by Thomas Friedman doesn’t answer all our questions nor it has intended to do the same..but for those who want to LEARN can start thinking after reading this article & do a bit of more soul-searching..

Its tough but SELF-IMPROVEMENT & LEADERSHIP has never been easy & as the Laszlo Bock, the senior Vice President of people operations for Google, says in the article:-

“Too many colleges, he added, “don’t deliver on what they promise. You generate a ton of debt, you don’t learn the most useful things for your life.” ..

Exactly our sentiments for sure.. & if you check our old Tweets we have been always cautioning against rotten education system, mindless copying of WEST & ill-effects we see on the today’s generation world-over.

Well, do read our article “In search of Dharma” written way back on 31st march 2013.


Clearly Chidu & MMS should know writing a good budget is just plain “COMMON SENSE”..A Harvard or LSE degree has NOT only left them indebted but rather dim of mind & high on self-defeating ego too..

As Einstein had said, 

“I never allowed my Education to to interfere in my Learning”..   

Tally ho…!!

First Published at “Chintamani-Chankya.blogspot.in” on 21-Mar-2014

The Atlas Shrugged, Finally!!

“Need to be pro-industry to service the poor, says Arun Jaitley”

Shri Arun Jaitley – The Finance Minister of India

Our take:-

The Wheel-of-Time has run a FULL CIRCLE and in its run it has exposed & destroyed much dreaded, much appalling, COMPLETELY BOGUS, UTTERLY FRAUDULENT; NEHRUVIAN SOCIALISM and ITS CORRUPT PRACTICES of last several decades. 

How so?
Well in his speech Hon. Arun ji, mentioned a famous quote that ran something like below. He said:-
“We have reached a stage where profit is not a bad word anymore”
How true!
Let me draw your attention in recalling a similar quote uttered by an equally distinguished industrialist several decades ago. The industrialist’s name was Shri Shantanu Rao Kirloskar, one of the Stalwarts of the INDIAN INDUSTRY, and founder of the now famous KIRLOSKAR GROUP. 

Shri Shantanu Kirloskar

Shri Shantanu Kirloskar had said:
“When PROFIT will be ceased to be a DIRTY WORD in this country, this COUNTRY (INDIA) will prosper”.
He was of course referring to CORRUPT & EVIL NEHRU & HIS BRAND OF SOCIALISM, that Ladies & Gents, in our studied opinion, ROBBED INDIA of ITS CREATIVE SPIRIT, MADE MEDIOCRE BEING A VIRTUE, INSTITUTIONALIZED CORRUPTION and worse MADE POOR OUT next several generation of INDIANS.


Late, very respected, JRD TATA, when recalls meeting NEHRU in his famous book “The Key Notes”, describe the conversation as follows:-
“Nehru once told me ‘I hate the mention of the very word word profit’. I replied: “Jawaharlal, I am talking about the need of the public sector making a profit.” Jawaharlal came back: ‘Never talk to me about the word profit; it is a dirty word’.” [Cited in ASSOCHAM’s JRD Tata Memorial Lectures (1998-2009), p.8)
What a sorry FORTUNE of INDIA that we had a completely IDIOT of a LEADER in NEHRU (and later his EVIL DAUGHTER; INDIRA) that actually MADE INDIA weak, starving & poor thru his EVIL socialism in the last 60 years

Pretty tragic & in a sad way; astonishing!
So when the Hon. Arun ji, said those very prophetic words about the “PROFIT being no LONGER DIRTY” it made us rather EMOTIONAL, for this COMMON SENSE was long ago articulated by the greats of INDIA like S L Kirloskar, JRD TATA etc and yet we, because of the MORONIC NEHRU & its CORRUPT CONGRESS PARTY of INDIa, COMPLETELY WASTED last 60 years.
Well, we had AMERICAN EXAMPLE to fall back upon. AMERICA was already RICH & SUCCESSFUL NATION in 1947, when INDIA became INDEPENDENT, yet Nehru had to go FOR CORRUPT BRITISH & their far more EVIL POLITICAL & ECONOMIC PRACTICEs.
Anyway, we CAN’t UNDO THE PAST. We can only LEARN FROM IT to shape our FUTURE.
We, have the FAITH, that An ERA of RECKONING is at HAND now for the NEW AGE INDIA. 
Atal ji had started BUILDING THE NEW INDIA and we have NO DOUBT that the NEW GOVT. under Modi ji shall take it to the next level.
We must never forget the TREMENDOUSLY ELOQUENT, FIERCELY INDEPENDENT, HUGELY CREATIVE & VERY FAMOUS Ms. Ayn Rand said in her book “Atlas Shrugged”:-
Vande Mataram! God Bless Maa Bharati!
First Published at “Chintamani-Chankya.blogspot.in” on 25-July-2014

Integral Humanism -The Ultimate Socio-Economic Theory for the Entire Humanity


Shri Gururji

Shri Madhav Golwalkar

One of the most persistent myth endured in the Western world & unfortunately copied for several decades by the Emerging Economies (EEs), in a sort of slavishly convenient manner, had originally emerged from Charles Darwin’s work “The Origin of species (1864)” and was later lapped up by some of the Western pseudo-intellectuals into coining the phrase “Survival of the Fittest”!

Herbert Spencer, a British “philosopher”,  first used the phrase — after reading Charles Darwin‘s “On the Origin of Species” — in his Principles of Biology (1864) in which he drew parallels between his economic theories and Darwin’s biological, evolutionary ones, writing thus:-

“This Survival of the Fittest, which I have sought to express in mechanical terms, is which Darwin has called ‘Natural Selection’ or the preservation of favored races in the struggle for life.” 

However when Darwin used the phrase “Natural Selection, he actually meant and wrote as below:-

“This preservation, during the battle for life, of various species, which possess any advantage in structure, constitution, or instinct, I have called Natural Selection.” 

In more simplified words, what Darwin really meant by “Natural Selection” was to imply the “Species “better created or better designed  by the Nature itself” to adapt for immediate, local environment”, & NOT the common, modern meaning of the “Fittest” as “In the best physical shape”.

Herbert Spencer is credited with starting the concept of Social Darwinism. The phrase “survival of the fittest”has become widely used in popular literature as a catchphrase for any topic related or analogous to Evolution, Coups, Rebellions, and Revolutions, even to Corporate Hostile Takeovers, Mergers etc. losing its original intended meaning created by Charles Darwin.

Unfortunately, the proponent of the phrase “Survival of the Fittest”, have always applied it to JUSTIFY the principles of unrestrained competition, unethical economic practices and ruthless destruction of the WEAK in the society. Its shortcomings & hollowness as a description of “Darwinian Evolution” have also become more apparent, NOW more than ever in the PAST!!

Well, Darwinian Evolution could be debated and has indeed been long debated. Our purpose here is not exactly to debate Darwinian Evolution theory (for which we have our own reservations), but to debate more on the way the present Western Capitalist Economies have embraced its distorted vision of “Survival of the Fittestcausing the general all-round Poverty, Inequality, Injustice, Decay in Morals and finally persistent All Encompassing Unhappiness.

Let’s examine all this interesting stuff in slightly more details! Shall we??


Pandit Deendayal Upadhyay

Before we start discussing the benefits & flaws of Western Capitalism, that latently subscribes, nay, propagates the perverted views on the “Survival of the Fittest”, it is interesting to study, albeit very briefly, the various Economic Models that have been tried by the Western World so far.

That done, only then we can talk about the Indian Economic System termed as“Integral Humanism” designed & propagated by respected late Shri Deendayal ji and articulated by him in breathtakingly beautiful lucidity, harnessing the Ancient Vedic Indian Wisdom in a seamless manner.

Capitalism, PROS & CONS:-

The Western Civilization really started to assert itself from the era of theRoman Empire. Along with its fall, the world witnessed the rise of theChristianity. Thereafter the Western Society witnessed series of internal upheavals that finally, after hundreds of years of Struggles, Rebellions & Wars culminated into eventual birth or renaissance of New Protestant Faith spearheaded by the likes of Martin Luther & Calvin in the mid 14 & 15th century.

With the rise of the free thoughts introduced & later solidified by the Protestant Movement (along with complementary past events like Magna Charta & later, Oliver Cromwell’s victory etc), eventually gave the world the Modern Democracies & introduced the concepts of RIGHTS OF FREE PEOPLES & FREEDOM of FAITH.

The English & French Revolutions, the Founding of America as a FREE Nation, all these Freedom Fights spread, the POWER OF FREE PEOPLE & the concept of their RIGHTS TO HAVE THEIR OWN ELECTED GOVERNMENTS,rapidly across the most of the Western World by the 18th century.

Indeed, without a doubt, the Western Democracies gave the world FREEDOM & LIBERTY. However, this new found FREEDOM, eventually, spawned the FIRST Industrial Revolution in Europe that, in its wake, brought-in, its own problems. Now with advent of Mechanical age of the Industrial Era, the production technology underwent a sea change. With the new technology like Mechanical Looms, Steam Engine etc the goods could be manufactured & transported with much less Manual Labor requirements. This brought down the cost of the labor drastically.

However with the percolation of the Electro-Mechanical age & its immense benefits, one very ugly side- effect also impacted the masses.

This effect basically, virtually destroyed the Small Artisans, Traders, Craftsmen etc and Small Business community as Big-Businesses, now armed with Mechanical Machinery, could produce & transport far more goods at lowest possible cost.

(This is how exactly BRITISH killed & destroyed self-sustained, self-fulfilling VILLAGE ECO-SYSTEM (comprising of local Artisans, Traders, Farmers etc fulfilling all the villager’s needs)  in INDIA, by dumping in INDIA, the LOW-COST FINISHED GOODS MANUFACTURED IN ENGLAND, like cloths etc.)

Now, the same democracy, that FREED HUMANS from the TYRANNY OF KINGS & the CATHOLIC CHURCH, now subjected them to the TYRANNY OF THE MODERN DAY INDUSTRIALISTS in the form of Labor Exploitation, as the source of the cheap labor.


By the late 19th century & early 20th century this CLASS SYSTEM WAS COMPLETE & further cemented by the MASS PRODUCTION TECHNOLOGY invented by the great HENRY FORD.

“However, not all was wrong with the Modern Capitalist System too. On the positive side, it created the WEALTH as NEVER BEFORE & BROUGHT THE BEST POSSIBLE TECHNOLOGICAL ADVANCEMENT A MAN WAS CAPABLE OF. James Watt, Henry Ford I, Edison, Tesla, Carnegie, Morgan etc were the HEROES of the NEW AGE where NOTHING WAS IMPOSSIBLE in FRONT OF MAN’s SPIRIT & INTELLECT. The new wealth also found its way in the hands of WORKING CLASS who now could earn decent WAGE FOR THE EFFORTS OF THEIR LABOR. Life Standards improved everywhere. Material GOODS that could provide COMFORTABLE LIFE STYLE became available to all at affordable costs visa-vie the wages earned.”

However, since the days of First Industrial Revolution SOME THINGS did NOT change at all! Those were:-

Vast Inequality of Income & in Distribution of Wealth, ever increasing Poverty due to rising Population and due to the massive inequality of Wealth , rising COSTS of HEALTH CARE & EDUCATION; and due to all this the rising Injustice & abuse of HUMAN RIGHTS. 


That is exactly how THINGS STAND TODAY with same old BENIFITS & FAILURES of the CAPITALISM even after approximately 250 years after the first INDUSTRIAL REVOLUTION was ushered in.

Only difference NOW is that SOCIETIES, after having had easy access to ALL SORTS OF MATERIAL COMFORTS that TECHNOLOGY & MONEY COULD BUY, are now WONDERING as below:-


Exactly here the ANCIENT INDIAN CULTURE SHINES GLORIOUSLY in answering these questions! Take a look:-

For, thousands of years ago, when King Yayati (The ancestor of the Great Pandavas of Mahabharata)  was bestowed with lasting Youth by  Maharishi Shukra’s benevolence, (and at the cost of Yayati’s son Puru’s sacrifice), so that the King Yayati could enjoy all the material comforts & carnal pleasures till all his desires were satiated.

King Yayati, however, after enjoying those MATERIAL PLEASURES, soon realized (NOT quite unlike the Modern Societies) the whole folly & emptiness of it in a stark realization that dawned on him.

Therefore, in a state of repentance King Yayati said to his son thus: – (In Sanskrit)

Na jatu kamha kamanamupbhogen shamyati,
Havisha krishnavtmeva bhuya evabhivardhate!!

Loosely translated, it means (Oh My Son, I have realized that):-

The ever consuming DESIRES don’t get satiated by the CONSUMPTION,
(It is like) the MORE FUEL added to fire, it only AGGRAVATES & FLARES UP the FIRE..!!

That, my friends, is the essential & the fatal drawback of the CAPITALIST system. In that, it considers the whole humanity only in two rigid classes. THOSE WHO OWN & THOSE WHO CONSUME. That is all!

There lies the ROOT of ALL UNHAPPINESS, EVIL, MISERY & the DECAY IN MORALS witnessed today…!

The Communism, RISE & FALL:-

The FREEDOM that was bestowed by the DEMOCRACY & ELECTED GOVERNMENTS coupled with the ADVENT OF THE MACHINE AGE created the SYSTEM of CAPITALISM. Along with it, the NEW CLASS SYSTEM was borne.

To respond to the Exploitation suffered by the WORKING CLASS in the HANDS OF RICH PROPERTY & FACTORY OWNERS, under the CAPITALISM, people like MARX & ENGELS brought forth the new ECONOMIC MODEL OF COMMUNISM in the late 19th & early 20th century.

What was it?? Let’s take a look:-

Marx’s main philosophy of COMMUNISM was based on the THEORY that:-





This IDEAL situation, Marx reasoned, will create an IDEAL SOCIETY where NO ONE WILL OWN ALL RESOURCES & EVERYONE WILL BE THE OWNER. He envisioned that, due to such an ideal state of the situation, it MUST CREATE A CLASS-LESS, STATE-LESS, OPPRESSION-LESS, EXPLOITATION-LESS, HAPPY UTOPIAN SOCIETY…

Russian Revolution, RISE & FALL of COMMUNISM:-

Under the leadership of Lenin, Trotsky etc., the WORLD witnessed RUSSIAN REVOLUTION in 1917 and the rise of the FIRST EVER COMMUNIST GOVT based on the Marx’s ideology. People had high hopes from it.


This new Communism nationalized every bit of wealth & resource of Russia. It became INTOLERANT of any dissenting voice that challenged its doctrine & authority in most RUTHLESS & EVIL WAY. Killings, Looting, Arson & Murdering of the opposition became the norm of the day. Since Communism didn’t believe in GOD & SOUL, every form of FAITH & WORSHIP other than COMMUNIST IDEOLOGY was suppressed & destroyed ruthlessly.


The result was INEVITABLE & TERRIBLE!!








..And all because, it tried to ACT against the LAWS of the NATURE!! There is a PROFOUND LESSON FOR ALL..!!

Fabian Socialism – Confusion Galore:-

Few “thinkers” in the mid 20th century were a worried lot in the UK. The all were members of a society called “Fabian Socialists” and drew their ideological inspiration from the FABIAN SOCIALISM. They were worried because they didn’t like the way COMMUNISTS in Russia & elsewhere were heading.

These SOCIALISTS were, in a way, siblings to their COMMUNIST COMRADES. The only difference was that these, Socialist were little “SOFT” in certain ideological views that MARXIST COMMUNISTS held dear.


The main difference was, Socialists, to some extent, believed in POLITICAL FREEDOM that democratic process guaranteed to the Societies. In that, they were different from the COMMUNISTS who believed in CONTROLLING political freedom too. However, they were more or less in AGREEMENT with COMMUNISTS TO CONTROL THE ECONOMIC FREEDOM of the CITIZEN.



This IDEOLOGY, needless to add, was ROMANTIC CONFUSION of the HIGHEST ORDER!!

The main fallacy in this whole Socialistic thought process was that, they LEGALLY & CONSTITUTIONALLY COULD NOT KEEP ECONOMIC FREEDOM SEPARATE FROM THE POLITICAL FREEDOM.  

For example, in UK, the LABOR party which came to the power in POST CHURCHILL ERA was an off-shoot of the FABIAN SOCIALISM. Once in POWER, the LABOR PARTY, quickly nationalized everything and started implementing Socialist Agenda.

In INDIA (where there is a WRITTEN CONSTITUTION guaranteeing FREEDOM, EQUALITY & LIBERTY TO ALL), post independence, the Congress Party, under the confused & vain Leadership of Nehru, embraced similar Socialists Policy & agenda.

The Result was very SIMILAR in UK & INDIA. Complete DISASTER!!



(..In UK Margaret Thatcher became the prime minister with a land-slide against the LABOR govt. in 80’ & she was Instrumental in reversing Socialistic policies of the LABOR. Similarly in INDIA under the pressure from WORLD-BANK, IMF etc, PVN RAO’s administration had to dismantle SOCIALIST policies to sustain the INDIAN ECONOMY..)

The MORAL from the SOCIALISM EXPERIMENT was clear. The POLITICAL FREEDOM & ECONOMIC FREEDOM couldn’t be separated. They were integral to each other as per the CONSTITUTION & as per the HUMAN NATURE too.


Winston Churchill had once famously said:-

Capitalism may NOT be the PERFECT SYSTEM, except all other SYSTEMS HAVE BEEN TRIED (and FAILED)…

Well, Churchill was right, except he wasn’t much aware of the ANCIENT INDIAN WISDOM.

Friends, precisely, at this juncture we WOULD LIKE TO INTRODUCE the ECONOMIC THEORY of ANCIENT INDIA harnessing ANCIENT INDIAN WISDOM, called “Integral Humanism”.

This Economic Theory, of Integral Humanism, we believe, seeks to address the inherent ills of Capitalism & Hollowness of Communism/Socialism in a comprehensive way guaranteeing Happiness & Prosperity all-round.

Let’s take a look then..!! 

Integral Humanism, Economic System for the HUMANITY:-

The Architect & Author of the Theory of Integral Humanism & much respected Shri Deendayal ji Upadhyay was one of the key-founder members of the erstwhile Bhartiya Jan Sangh (BJS-1952) along with Shri Shyma Prasad Mookerjee. ( The  same Bhartiya Jan Sangh later underwent the reformation & was renamed into the present Bharatiya Janata Party (BJP) in 1980 )

Shri Deendayal ji was a man of great intellect, of scholarly attitude, of philosophical outlook, and with simplicity, idealism, hard work & political acumen blended with pragmatism. By all yardsticks he was an exceptional man. He was the main architect, after Dr. S P Mookerjee, of the growth of the BJS as formidable opposing force to the main political party of the day, i.e. The Congress Party of India.

In his commentary on the Concept of Integral Humanism, (which became the fundamental building block & a guiding BEACON for the Core Political & Economic Ideology of the BJS & later that of the BJP) Shri Deendayal ji mentions thus:-

“Human life is not only restricted to fulfilling the material & carnal desires. Along with the physical needs a man also has meta-physical & spiritual needs. Clearly Human Life is much more beyond an ordinary organism that lives on Oxygen. And therefore it has lofty objectives to attain.

The holy UPANISHADS has mentioned those lofty OBJECTIVES as:- (In Sanskrit)

Atma Va Drashtavyaha, Shrotavyha, Mantavyaha, Nididhysitvyaha! 

(Loosely translated it means:-  (it is the Human LIFE’s ultimate objective to be one with) ..The SOUL that can’t be seen, can’t be heard, can’t be (easily) imagined & can only be FELT))…

…But what is a SOUL really?? There may be different views and they can be discussed….but in the end, if pondered deeply, it would be realized that it is an ENCOMPASSING ELEMENT, beyond the Physical World, that has OCCUPIED THE ENTIRE COSMOS and that same element creates the FEELING of ONENESS between the HUMANITY & EVEN WITH OTHER LIVING ORGANISMS…”

There, clearly, after reading those views it would NOT be hard to grasp that the entire Theory of Integral Humanism is based on the SPIRITUAL ONENESS between the LIVING ORGANISMS and by automatic implication Shri Deendayal ji designed it to be beneficial to the entire MANKIND rather than only to few individuals.

(On this background, Please note the glaring anomalies in the Capitalism which benefits only strong few, & Communism & Socialism to NONE IN THE END, because those theories do NOT ACCEPT the EXISTENCE OF THE CONCEPT OF SOUL & therefore that of SPIRITUAL ONENESS between the HUMANITY) 

The basic TENETS of Integral Humanism:-

In 1973, the Spiritual & Ideological Mentor of Shri Deendayal ji, respected Shri Golwalkar ji, in his discourse mentioned the following Key criteria to be included in the Economic Policies:-

  • The Guarantee to the basic requirements of Life to every Citizen.
  • The ways & means to acquire WEALTH must be made available to the Citizens. (So all can serve GOD in the best possible manner without any worries of livelihood.)
  • All must be urged & encouraged to consume only what is required.
  • The extra produce must be encouraged to be made available for the use of the society.
    • In Sanskrit:-
      • Yavat miyet jatharam, tawat swatwam hi dehinam!
        (One must consume only as much as can be digested by the self)
        Adhik yobhimnyet sa sneto dandamarhati!!!
        (To make a personal use of more, is (verily the theft against society and) punishable)
  • Consequently there must be some reasonable ceiling on the individual accumulation
  • None must be allowed to exploit someone else’s labor without reasonable compensation Vulgar & Wasteful expenditure is a sin when millions are living in abject poverty. (Therefore there must be a reasonable restriction and/or charge on consumption.“Excessive Consumption” by its very nature is NOT COMPATIBLE WITH the ANCIENT INDIAN CULTURE)
  • Maximum & Abundant Production, Equitable Distribution & Reasonable Consumption should be our core policy.
  • National Self-Reliance in Food, Defense and other basic requirements MUST be our GOAL.
  • All eligible CITIZENS must be given an opportunity to find WORK & EMPLOYMENT.
  • Unemployment or even Under-employment must be avoided & tackled immediately.

((This is an important point. Communists & Capitalists both say “Those who work & earn must eat the fruits of their labor”. However they differ on who will have more rights on the produced output. Communists say Workers & Capitalists say the Owner must have more rights. Integral Humanism say, both these thoughts are NOT FULLY correct. Those who Work & Those who invest Capital must have rights to their efforts, but, further, Rights also must be seen reserved for ALL THOSE WHO ARE BORNE & CAN EAT. In other words, the Society must keep some resources reserved to Feed & Care for those WHO ARE UNABLE / DISABLE / OLD / SICK / WEAK to work or invest  etc.

Integral Humanism lays stress on the Character of Society to be moulded in such way that it shall be mindful of its responsibility to Feed, Care & where possible to HELP those who are UNABLE TO HELP THEMSELVES DESPITE THEIR BEST POSSIBLE EFFORTS.

(Please note that this CONCEPT is different from the Communist/Socialists approach where ALL ABLE too are made DEPENDANT ON THE STATE as basic INHERENT IDEOLOGICAL PRINCIPLE))

  • While Industrialization & Technology advancement is MUST, it has to be introduced in the integrated context of preservation of the Natural Environment, Economic Policies & Ethical & Moral angles.
  • Considering the large population of India, the stress must always be laid on the Labor intensive Industry rather than mere Capital-Intensive industry.
  • Our Technologies must complement our Indigenous Workers, Artisans, Traders, and Farmers etc by helping them to adopt, learn & adapt the new Manufacturing Techniques. This must be done in such a gradual manner, as NOT to create unemployment or by discarding completely our prevailing Manufacturing-Eco-System (Skills, or Infrastructure) in one fell swoop rendering losses all round.
  • It is MUST to reconcile & train the new skills to our WORKERS before the employment & manufacturing expansion.
  • While Industry is expanded, The Employer & Employees must be encouraged to get themselves integrated towards National Interests & Commitments by introducing complementary govt. schemes.
  • There need NOT be any rigidity about the PROPERTY, LAND & INDUSTRY ownership. (Exe. Private, Public, Cooperative etc.).
  • We can be FREE & FLEXIBLE in evolving variety of socio-economic structure provided it is in keeping with ancient, basic tenets of DHARMA!!
  • Our EDUCATION SYSTEM must be based on the SKILLS & KNOWLEDGE based on the BASIC TENETS OF DHARMA.  Indeed if this is NOT DONE then those who graduate out of our Schools & Colleges May end-up in creation of social-economic order which is Contrary to aforesaid principles.

  ( This is very, very important. All, by now, must be aware the corrupt Education System introduced in India by the Evil & Inhuman British administration thru one of its very revolting envoy, Shri Macaulay, who proudly,said that the sole object of introducing the British education System to India is to create,
“A Class of Persons, Indian in Blood & Colour, but toeing the English in taste, in opinions, in deeds, in language, in words & in intellect.. (and by implication having revulsion to all that is Indian…”  It must be pointed out that Jawahar Nehru was exactly the shining product of rotten British education system..)

  • Our views of the relations between the Individuals & the societies have been that of Harmony & Co-operation. Our Socio-Economic-Education Systems must promote this FEELING OF THE COSMIC ONENESS and that of the Single BRAHMAN running through everything and all Individuals that laid STRESS of OUR ANCIENT PHILOSOPHY of :- “Vasudhaiva Kutumbakam” (The Whole COSMOS is BUT ONE FAMILY)
  • The Samskaras of ALL BEING PART OF THE ONE UNIVERSE & ENTIRE NATURE is FUNDAMENTAL TO the INDIAN SOCIO-ECONOMIC ORDER OF “INTEGRAL HUMANISM” must be imparted thru our re-designed education system.
  • In context of the point 20, the theory of Integral Humanism emphasizes upon showing Care, Restraint & Respect for all the “Natural Resources”. It says that the NATURE & MAN is part of the same COSMIC ONENESS. Therefore MAN must take extra care to design policies by being MINDFUL of the FACT THAT nature’s resources are NOT INFINITE and MUST NOT be EXPLOITED RUTHLESSLY.  For maintaining the Eco-logical balance between HUMAN, NATURE & OTHER SPECIES is fundamental to the theory of “Integral Humanism”

As Holy Upanishad Say: 

The ultimate objective of the Humanity is to realize & BE ONE WITH the COSMOS & our POLICIES MUST REFLECT SAME so that we are able to Co-Exist with the NATURE & other Non-Homo species too, with the SElf-Realization that :-

      “Aham Brahmasmi” (I AM Part of the ONE & INTEGRATED COSMOS)

As it is often said, unless we exactly understand the basic problems or maladies, we won’t be able to design its cure or antidotes.

Shri Deendayal ji in his Masterful articulation & incisive analysis  that expanded & complemented Shri Golwalkar ji’s basic teachings by breaking it into small UNITS of immediate Challenges that are Confronting our Nations even after the 65 years of Freedom, so that we could design an Antidote for the same…Let’s examine..!!

Shri Deendayal ji’s Thoughts on the Challenges facing the Modern Humanity, which he thought MUST be addressed by the new Socio-Economic system for the benefits & the Happiness of the HUMAN RACE :-

Shri Deen Dayal Ji says the new Socio-Economic policies must provide answers as to HOW TO RECONCILE FOLLOWING:-

  1. Individual liberty with Social Discipline
  2. Incentive for Individual Growth with the urge & encouragement for Equality
  3. Overall Economic Growth with social Justice
  4. Basic thrust on the COSMIC UNITY with respect for apparent DIVERSITIES
  5. State authority with Civic-Self Govt. autonomy
  6. System with self correcting spontaneity
  7. Social order with Classlessness or Statelessness
  8. Specialization in Education with Integrated views of Cosmic Unity
  9. Material prosperity with Spiritual Elevation
  10. National Self-Reliance with International Collaborations

And further, HOW TO ENSURE ….

  1. Liberty without Licentiousness or Wastefulness
  2. Discipline without group-ismor regimentation
  3. Status recognition without pompous privileges
  4. Unity without slavish Uniformity
  5. Stability without Stagnation
  6. Conformity without losing streak of Innovation
  7. Technology advancement & increased Employment Opportunities without loss of Humanness
  8. Material prosperity without crude materialism
  9. Humanism without Homo-Centrism (with Co-existence of other species & Nature)
  10. Nationalization of public resources with public accountability
  11. Urbanization without losing Cultural Heritage
  12. Decentralization of Micro-Planning
  13. Integration of variousgroups, tribes etc while preserving their distinct traditional characteristic
  14. Perpetuation of Ancient Bhartiya Values with modern scientific era
  15. Upholding the MANAV DHARMA while including all religious biases & materialism

We have done our share of reading & research on various Economic theories by Western Economists from Marx, Angles, Smith, Keynes etc..but WE confess the beauty, lucidity, imagination  & incisiveness of Shri Deendayal ji’s theory of “Integral Humanism” took our breath away and gave us such untold soulful pleasure that perhaps can only be equated with Archimedes’ Eureka moment..

Naturally, these excerpts are to be taken only as point of illustration of Shri Deendayal ji’s depth of thoughts and his sweep of imagination. Each of his aforesaid points must be studied by understanding his FULL DISCOURSE to design our NEW SOCIO-ECONOMIC POLICIES & PROGRAMS.


Shri Pandit Deendayal ji was a seer & visionary. He was perhaps a modern representative of age old INDIAN MAHARISHI SYSTEM.

As revered Shri Guruji (Shri M S Golwalkar ji) once famously articulated in his discourse thus:-

“…The most important thing about ancient Indian social-political system was that, the Political & Money power was controlled by a set of such completely unselfish & spiritually elevated class of MAHA-RISHIS; that NO GOVERNMENT of the DAY would dare to become TYRANT & SELF-CENTERED under their ever watchful management…”

Shri Pandit Deendayal ji was exactly in the same class of those ancient Maharishi. Despite being, first, the general Secretary & later President of, one of the most popular & increasingly seen as an alternative the Congress Party of India, the Bhartiya Jan Sangh (the BJS which later became the BJP in 1980) he was immune to the trappings of POWER & seduction of MONEY.

He lived frugally & spent his life to uphold the Ancient INDIAN MANAV (Humanity) DHARMA (This should NOT be MISTAKEN for the Narrow & Regressive WESTERN CATHOLIC / CANONICAL meaning of the word “Religion”. Matter of fact “ANCIENT INDIAN MANAV DHARMA” envisions all humanity as ONE & part of the SAME “PANCHA-MAHA-BHUTA”( Nature’s 5 basic elements) & expects GOOD FOR THEM regardless of narrow, National, Racial or Religious boundaries)  and like sandalwood, spread the fragrance of UNITY,DIVERSITY WISDOM, PROSPERITY & EQUITY of ancient INDIAN CULTURE wherever he went in devotion of his Ideals…

We firmly believe, after studying almost all social-economic models that have been tried so far elsewhere in the WORLD that, if any single social-economic theory can save the humanity from its sense of doom, gloom, persistent unhappiness & in-humanness then it would be Shri Deendayal ji’s theory of Integral Humanism based on the Ancient Indian Ethos & Wisdom for sure…

Special Note:-

Interested may read a previous article in the context of the subject “In Search of DHARMA” @

First Published at “Chintamani-Chankya.blogspot.in” on 14-Jan-2014


The Recent Assembly Elections and Its Fallout:-

It has happened! What we have been predicting for the months together has finally become a reality. Indian National Congress, (The-Left-Wing-Extreme-Socialist-Pseudo-Secular) Party of India, which has now become synonymous with three words as its very Initials suggest i.e.Incompetence, Nepotism & Corruption (the INC of INDIA) has been virtually annihilated in the 4 major States that went to polls recently. In the smaller 4th State of Chhattisgarh it is struggling to maintain the semblance of sanity against the resurgent BJP.

And….We are NOT surprised! Matter of fact we had been constantly commenting & in a way predicting this CONGI rout for past several months together thru our blogs, tweets & other comments on various social media platform.

Why has this happened and what is the reason BJP’s rise & for AAP’s (Aam Aadmi Party) strong performance in the State of Delhi?? Let’s examine..!!



Firstly let’s talk a bit about Congress PartyWell, we always held that the past 6 decades of Electoral Success of Congress party was more to do with the Luck or Destiny than any Leadership or Ideological road map offered by the Congress party.  The recent routing of Congress just re-confirms our long held views.

The times were such fateful that Nehru became first Prime Minister of India despite his complex personality, waffling and weak character he was anointed PM. It was primarily because of, a nascent and immature democracy of INDIA & and its trusting population more than Nehru’s ability. 

Unfortunately, Nehru was no Leader at allHe was a meek & weak follower to Mahatma Gandhi, who fearing, Shri Vallabh-bhai Patel’s strong and independent character had actually promoted Nehru to become the first PM.   (decision which the Mahatma said to have regretted later & also said to have advised Nehru to dissolve Congress Party which, in Mahatma’s views, had already become CORRUPT with POWER. Nehru, of course, completely ignored Mahatma Gandhi’s advice.) 

Needless to say, country paid and paid dearly for Nehru’s weak, indecisive, & hopelessly incompetent Leadership that created problems of Kashmir, Pakistan, China border issues, Tibet problem,  re-organization of Indian states & worse a solid & humiliating defeat in the hands of China in 1962 war with several deaths of our brave soldiers.  All Nehru’s faults without slightest doubt in our mind!

But alas, Destiny, once again, had intervened!

It had provided the Leadership of the Country in the hands of equally, weak & incompetent daughter of Nehru, i.e. Indira. All this happened on the backdrop of rather mysterious and sudden death of the then PM, Shri Lal Bahadur Shastri in Russia then.


Indira Gandhi’s period was worse than even her Father Nehru. She unleashed evil forces of Extreme Socialism & Terror by nationalizing every organization, subjugating every democratic institution & corrupting every constitutional body that she felt would provide her threat directly or indirectly. It was nothing to do with ideology in any way at all. Matter of fact, Indira had publicly questioned Morality in Public Life. It paved the way for EVIL LICENCE RAJ & the CANCER of CORRUPTION, all pervading INCOMPETENCE & BABU-RAAJ.  

As if all this was not sufficient she unleashed Emergency, suspended all civil liberties and became dictator of INDIA in blatant abuse of POWER. All this was  done only to THWART the Court’s decision declaring her election of 1972 null & void.

The period of Emergency created a culture of Sycophancy & Nepotism in Congress party, which became synonymous with the party, stayed with it & now has come to haunt it, nay, devour it. Latest election results are, we suspect, is a Beginning towards the disintegration of EVIL CONGRESS party for sure.


Think of the height of Sycophancy & complete SLAVISH NATURE OF CONGRESS PARTY, that they should appointnaive Rajiv Gandhi, her son, after the assassination of Indira Gandhi in 1984. But real surprise was still ahead!


Again, after the tragic assassination death of Rajiv Gandhi in 1990-91, they thru series of INTRA-PARTY coups, shaming even GESTAPO & STALIN, appointed Rajiv Gandhi’s ITALIAN ILLITERATE WIDOW, with shadowy background and conduct, as the Congress party President!!!

As if, to prove that in a country of 100+ million they couldn’t find a single competent person and therefore they had to import Sonia from Italy. It was testimony that the whole party has become utterly and completely SLAVISH in their THOUGHTS & DEEDS!!


However, CONGRESS PARTY in 21st century has made one FATAL MISTAKE!! That was to misjudge the MATURING OF INDIAN DEMOCRACY.  In all this turbulent last 6 decades, INDIAN DEMOCRACY WAS SLOWLY BUT SURELY COMING OF AN AGE. 

This was the age of Computers, Jets, Drones, Social Media, INFORMATION EXCHANGE at the SPEED OF THOUGHT, Internet & moreover of SURGING ASPIRATIONAL AND KNOWLEDGEABLE YOUTHS…!!!


LAUGHABLE FOR THE YOUTHS OF TODAY even to think they could..!! But CONGI’s don’t see it that way…!! And there lies their eventual demise..as we just witnessed happening in the State Assembly Polls !!


So now we have broadly analyzed CONGI MINDSET & their EVENTUAL, SURE disintegration in time to come, let’s now take a look at the BJP’s resurgence which we believe is here to stay in 21st century, if only BJP stays true to its ROOTS.



Even through the early years of Nehru’s administration, a GROUP of PEOPLE had realized Nehru’s Incompetence, his Waffling & Opportunistic nature, his inability to understand and own complex issues, his lack of ideological beliefs & his fetish for show & pomp & yet his immense personal charm!!

This group founded a party called Bharatiya Jana Sangh in 1951-52,under the leadership of Dr. Shyama Prasad Mookerji. This BJS was firmly rooted in Nationalism, loved ancient INDIAN ETHOS, prided itself in following of INDIAN HERITAGE and CULTURE & deeply patriotic nature.

The BJS was group of thinkers, philosophers, poets, intellectuals, forward looking pragmatic folks & despite and or because of their middle-class background, they were idealists and fighters to the core. Along with Dr. S P Mookerji, all the patriots started assembling under BJS flag. One such young man was Shri Deen Dayal Upadhyay! He was by far the most intelligent & visionary patriot person to have joined the BJS against the BOGUS NATURE & FRAUD of CONGRESS party..!!

Then S P Mookerjee died in 1953 under sudden mysterious circumstances the state of Kashmir!! Why?


Shri Deen Dayalji was now the head of new BJS, started touring India. He re-defined BJS on the firm Ideological foundation with Patriotism, Nationalism, Swadeshi (Indigenous goods), Focus on Internal Infra Improvements, eradication of Poverty thru Education, Entrepreneurship, Empowerment, Swadeshi, focus on Farming, focus on Individual Character building etc became the guiding BEACON for BJS.

Then Shri Deen Dayal ji died suddenly in late 60’s..Why? (Some say he was murdered by the political opponents)


But the movement had started by then..! The BJS by that time had become a force to reckon with. It briefly came to Power in coalition govt under Anti-Corruption & Tyranny of Indira Gandhi’s CONGRESS PARTY in 1977-80 years. But the fractured mandate and coalitions pulls destroyed the govt.

However, the BJS rechristened itself in 1980, now under the new and most able leadership of Shri Atal ji & Shri Lal Krishna ji naming the new party as present BJP (The Bharatiya Janata Party).

With tremendous hard work & unshakable ideological integrity & purity the new BJP formed the 6 years NDA govt. under Shri Atal Ji & Shri Lal ji’s  August leadership from 1998-2004. 

This was the first ever 6 years period of completely NON-CONGRESS GOVT…And it ushered the TRANSFORMATION & GLORIOUS CHANGE that we witness today…So much so that just within the matter of only 6 years the complete political Functioning, Style & Discourse of Governance got changed from Dark-age of CONGI to Sunny & Honest days of BJP..Then govt. fell in 2004, much to the surprise of all including CONGI..Why??


By now 21 century had come into effect..! 

The GOLDEN PERIOD of Atal ji’s GOVERNANCE had shown the country how lives could be transformed for better. How INDIA can attain prosperity, peace, brotherhood, security & Justice thru HONEST GOVERNANCE & COMPLETELY INDIGENOUS IDEOLOGY of the BJS/BJP.

Now, the last 10 years, every INDIAN was trying to compare the Manmohan’s UPA government with Atal Ji’s NDA & True to its Character, CONGI led UPA soon turned back to its old way of Corruption, Sycophancy, Nepotism, Incompetency & Greed.

But, by 2013-14 the country’s 65 % population had grown to young adulthood. The info-age had changed their appetite. Atal ji had shown them the taste of Sunny Glorious days…CONGI on the other hand was NOT READY TO GO BEYOND INTEREST OF ONLY ONE FAMILY…Terrible…!!

Even worse that, CONGI SLAVISH MINDSET had completely forsaken the Forward looking reforms and in their INSANE LUST FOR POWER they were trying to turn the CLOCK BACK TO THE DARK AGE OF NEHRU-INDIRA-GESTAPO-LICENCE-RAJ..


In the meanwhile of this dark UPA days of last 10 years, a new FIGHTER, THINKER, VISIONARY, WARRIOR was rising on the horizon in the BJP…

A man committed to highest IDEALS of the Shri Patel ji, Shri DEEN DAYAL Ji, Atal ji, Shri Advani ji & in the VISION of ALL THE PATRIOTS WHO FOUGHT AGAINST BRITISH & LATER CONGI TYRANNY.. A Man who could withstand the merciless pressure of CONGI THUGS for 10 hard, bleak years, A MAN WHO WOULD work tirelessly for the uplift of his fellow-country men and finally a MAN who rose from the humble beginning based on his Character & Courage to lead INDIA in the 21st century…Yes you guessed it..



Well, all this brief history has given a CONTEXT to understand WHY BJP WON against CONGI’s MIS-RULE, IT’S SELF SEEKING DYNASTIC CULT, ITS CORRUPTION AND LUST OF POWER and delivered magnificently under Atal ji/Lal ji led NDA govt..!


  3. SIMPLICITY & FRUGALITY in personal life
  6. INTERNAL IMPROVEMENTS,  (Strong focus on internal Infrastructure building including Roads, Air traffic & even Waterways. India is bestowed with abundant water sources with sacred Rivers flowing all across India 12 months a year. We must figure out ways and means to ferry goods & people using these internal  Waterways. If DUTCH, AMERICANS  etc. can do it why can’t we??       In NDA Govt. under respected Atal Ji, a big key initiative had started to study the Internal Waterways & to harness them together to improve Water Supply & even use it as medium of Transport. The Fraud & Rotten UPA GOVT, like everything else, just killed it..)
  8. RULE OF LAW & 

& if it stays AWAY from :-





In Sanskrit:-


(THIS DOES NOT BELONG TO ME!, in other words, I am but a temporary custodian of the POWER bestowed upon me by the PEOPLE, the TRUE MASTERS, in their own WISDOM)



Many seem to be surprised at the performance put in by the Aam Adami Party (AAP) led by Aravind Kejeriwal & others.. But we say we are NOT..Do check our previous writings on AAP on Twitter!!

Why AAP scored handsomely??

The reason is SIMPLE. AAP offered PURITY OF PURPOSE TO THE VOTERS OF DELHI. When we say this, we say on the backdrop of CONGI, which is thoroughly discredited in the eyes of INDIAN VOTERS, &unfortunately the BJP with tremendous potential, but seem to have been somewhat deviated from its IDEOLOGICAL MOORINGS & VISION laid down by the likes of Shri DEEN DAYAL JI…!

So much so, that we believe, had it not been for Dr. Harsh Vardhan’s clean image, AAP would have formed the GOVT in Delhi..!! 

For us the message is clear..The INDIA in 21st century simply WON’T STAND FOR THIS MONEY & POWER type of POLITICS..



As an example, In the 225 odd years of USA’s democracy ONLY 2 PRESIDENTS, out of 44, had their SONS also become PRESIDENTS. (The ADAMS & The BUSHES). Contrast that with the CORRUPTION, DYNASTIC RULE & NEPOTISM PRACTICED BY THE CONGI & OTHER REST OF THE FAMILY PARTIES in INDIA.

(For example out of 66 years of Independence, Nehru was PM for 17 years, his evil daughter Indira Gandhi for 16,Indira’s son Rajiv for 5, Rajiv Gandhi’s WIFE & SON Sonia & Rahul, have been VIRTUAL PRIME MINISTERS for last 10 years. )

Total 48 years of 66 years, INDIA has been ruled by only One Family of GANDHI-NEHRU-CLAN..That is almost 72% of the INDIA’s INDEPENDENCE PERIOD..Would any SANE SOCIETY CAN CALL THIS A DEMOCRACY??? Western countries have been LAUGHING AT INDIA FOR YEARS..Sickening really..!!!

(Please read my article TIPPING CULTURES to find out genesis of this ROT in INDIA)


Arvind Kejriwal with his band of REBELLION promised to change all that, if voted to POWER…PEOPLE BELIEVED IN HIM, while STUPID CONGI MOCKED HIM, and THERE IS A LESSON FOR ALL….AAP offers Change & Purity..


Shri Narendra Modi offers only hope in the Current situation is a fact as clear as a day..But that means BJP must NEVER BE LETHARGIC & MUST CONSTANTLY STAY ON GUARD TO STAY CLOSE TO ITS IDEALS. So that even the most cynics must be forced to say that indeed this is a “PARTY WITH DIFFERENCE”!! This respect needs to be earned once again by the BJP.

Mind you, AAP has been voted exactly because PEOPLE saw AAP as a PARTY WITH DIFFERENCE…!!!

Well, we rest our case!

First Published at “Chintamani-Chankya.blogspot.in” on 08-Dec-2013




Firstly these media channels have anchors who, on most occasions, born HINDUS, seem ashamed with the same.

Not only they seem ashamed with their HINDU birth, but they appear to be ashamed with any of INDIA’s ancient or contemporary languages. For instance they will avoid speaking in HINDI & SEEM downright ignorant of SANSKRIT. However they will SPEND THOUSANDS AND SEND THEIR CHILDREN TO LEARN OTHER FOREIGN LANGUAGES. 🙂

In order to SOUND SECULAR they WON’T mind BASHING their OWN HINDU CULTURE & WILL GO OVERBOARD, almost to the extent of sounding slavish, in PRAISING FOREIGN CULTURES. (We sometime wonder if, secretly, they are ashamed of their OWN PARENTS)


They will OFTEN TALK ABOUT removal of POVERTY, as they have been since 1917, but they really DO NOT WANT TO SEE A POOR COMING UP IN THE LIFE AND RUBBING SHOULDERS WITH THEM. 






They have a PARTICULAR DISLIKE for SELF-MADE PEOPLE or for those WHO HAVE COME UP ON THE STRENGTH of CHARACTER alone. (Remember how some of these channels hate Narendra ji)

They will find nothing wrong to INVITE FOLKS from those COUNTRIES with whom INDIA doesn’t share good relationship. They don’t find it ANTI-NATIONAL. (Remember how they invite folks from PAKISTAN on INDIAN TVs)

They will have PARTICULAR LOVE for CRICKET at the COST OF OTHER GAMES. They won’t have problems or don’t feel dejected even if INDIA don’t get any medal in OLYMPICS.



First Published at “Chintamani-Chankya.blogspot.in” on 05-Nov-2013

In the name of A FAMILY!


Modi slams Rahul over 1984 riots; asks, ‘Did your party in anger kill Sikhs?’ – TOI
BJP’s prime ministerial candidate Narendra Modi on Friday, while addressing a rally at Jhansi in Bundelkhand region of Uttar Pradesh, launched a direct attack on Congress vice-president Rahul Gandhi.
Modi slammed Rahul for the statement in which he accused the BJP of engineering riots by spreading hatred and that the Pakistani intelligence agency ISI is trying to “trap” some Muslim youth who are victim of riots in Muzaffarnagar…..
Read full article here:-

It is quite strange that Mr. Rahul Gandhi, while talking about the “Sacrifice” of NEHRU-GANDHI parivar seem to completely forget the sacrifices made by the thousands of other CHILDREN of MAA BHARTI. Granted that anyone would feel sad on the deaths of own relatives. In that PEOPLE of INDIA too share the grief of Rahul ji. 
However, when only ONE PARTICULAR Family’s “sacrifices” are highlighted constantly, we grieve for other LAKHS of CHILDREN of MAA BHARTI who laid their lives in 1962, 1965, 1971 wars. We grieve for all those FREEDOM FIGHTERS who fought valiantly against the BRITISH rule, GOA INDEPENDANCE WAR, KARGIL WAR etc and laid their lives so that we the PEOPLE of INDIA can live safely.
We grieve for those BRAVES of INDIA who constantly PATROL the sensitive INDIAN BORDERS and who get routinely KILLED, even beheaded, by the ENEMY forces, PAK TERRORISTS etc. and find it appalling that Rahul ji & his party is IGNORING THOSE SACRIFICES in a cavalier manner.
Our heart goes out those SIKHS & their struggling families fighting for justice, even today after agonizing 28 years later, who were butchered in 1984 in cold-blood. Our heart goes out those HINDU families of EAST-PAKISTAN who were slaughtered mercilessly ahead of BANGLADESH creation in 1971 (See the new research published by a PRINCETON professor on the subject) and we recoil in HORROR to the apathy shown at that HINDU GENOCIDE of EAST PAKISTAN by the then PRIME MINISTER, Mrs. Indira Gandhi. 
Well, in this LAND of GODS, right from Vasudev Phadke, V D Savarkar, Chaphekar brothers, Bhagat Singh, Madanlal Dhingra , Rajguru, Sukhdeo, Subhash Ji Bose, Lokmanya Tilak, Mahatma Gandhi, Sardar Patel, Phule, Agarkar, Dr. Ambedkar and hundreds of thousands of PATRIOTS have made their sacrifices & on several occasions have laid their lives for the MOTHERLAND.
It makes us profoundly sad that certain political party for their petty political gains and to further the DYNASTIC RULE of only ONE FAMILY completely belittle the sacrifices of other families and children of MAA BHARTI, we ABSOLUTELY REFUSE SIT STILL and LET THESE LIES GO UNANSWERED.
For us every SON & DAUGHTER of INDIA, regardless of their religions, castes or social statuses, are equally dear to us. Any sacrifice, small or big, made by them is revered by us. We are all CHILDREN of MAA BHARTI and we don’t have even slightest of DOUBT that ANY & ALL OF US WILL NOT HESITATE to make any SACRIFICE, even to LAY THEIR LIVES for the love of MAA BHARTI.
We, once again, request our CONGI friends & its SHAHZADA NOT to belittle the strength, sacrifice, resolve and patriotism of all the CHILDREN of INDIA in order to PROMOTE only ONE FAMILY.
First Published at “Chintamani-Chankya.blogspot.in” on 25-Oct-2013

Omkar Prasad (OP) Nayyar- A White Musical Yearning!!


OP Nayyar

Onkar Prasad (OP) Nayyar

The year must have been late 1953!

Noted film director & producer Guru Dutt was a worried man. His latest Movie BAAZ (1953) had failed on the Box-office to make enough money despite having a decent storyline and musical score. Guru Dutt was trying to figure out various ways to pay his creditors. He was not really expecting anyone to visit him while he was pouring over his accounts on that particular morning.

But as they say, the GOD works in mysterious ways!!

Much to the annoyance of Guru Dutt, the doorbell to his flat rang incessantly and suddenly. Cursing inwardly, he let the visitors in. One of the visitors was, K Kapoor, a powerful film-distributor for KARDAR FILM STUDIOS. In the early 50’s Kapoor was respected name in the Mumbai Movie Circle.

The second and rather morose looking tall visitor tagging along Kapoor was the Music Director of Gurru Dutt’s recent failure BAAZ, Omkar Prasad Nayyar!!

Nayyar had strong reasons to be unhappy, of course! He was a struggling Music Director and had given recently a third straight failure in BAAZ as a music director. His earlier two failed movies being ASMAN (1952) & CHAAM CHAAMA CHAM (1952). Matter of fact Nayyar had given up on Music direction and had all but decided to leave Mumbai Movie Industry for good. Recent failures had shattered Nayyar emotionally and financially. He had come to collect dues of Rs. 3000 from Guru Dutt, as a part of his remuneration for BAAZ.

Here the FATE intervened, much to the delight of all music lovers…!!

Guru Dutt simply refused to pay Nayyar sighting his own financial distress. Situation turned serious. To break the ice then, Kapoor intervened. He knew Guru Dutt was working on his next venture, a new movie. He asked Guru Dutt, as a middle path, to offer Music Director’s job to Nayyar for his new movie.  Then Kapoor added casually that Guru Dutt can pay the old dues to Nayyar later (for BAAZ compensation), but he should pay the retainer of Rs. 1000 to Nayyar now, towards the new project.

Guru Dutt, fidgeted a bit. He always had an eye for spotting TALENT and in the heart of his heart he respected Nayyar’s talents as a Music Director. Kapoor, too was an influential man in Mumbai. Weighing all options, he reached a swift decision. He quietly went inside his bedroom and brought along with him a wad of cash retainer of Rs 1000 and signed Nayyar for his next movie…!!

The new movie’s name was “AAR PAAR (1953)”!! Friends, need I say more now…!

The rest as they say was glorious TRAIL-BLAZING HISTORY. A White Musical Star was borne and was to enthrall music lovers of INDIA and of the WORLD for next 20 years with scintillating, foot-tapping, rhythmic & absolutely original, melodies.

He was not to know yet, but Omkar Prasad Nayyar (OP to his fans) was on his way to the dizzy Stardom along with the “AAR PAAR” project launch.

Ladies and Gentlemen, this little TRIBUTE is to that unusual yet an absolute GENIUS of a Music Director, who never really LEARNED MUSIC from any master at all. He just listened to others as a child and, as he grew up, learned music from GODS along the way.

Without learning even an iota of classical music he composed some amazing melodious classical tunes like Chhota Sa Balma (Raagini) or Dekho Bijli Dole Bin Badal (Phir wohi dil Laya hoon), making listeners delirious with pleasure. Astonishing really!!

I am a BIG, BIG, BIG devotee FAN of OP. The kind of happiness his music has given to me and millions like me is simply indescribable. In a way cast in a different mould, his music style was different from that of the“Magical School of Anil Biswas-C Ramchandra-Madan Mohan-Roshan”. 

In that sense, OP was completely original. No one before OP gave his type of Music or No one after him, till today…

However despite his UNIQUENESS he was melodious, he was enchanting, he was rhythmic, he was soul-touching, he was creative and he was, oh my gosh, sweet as Honey..I loved him. Millions loved him & they still do.

This little tribute is for all those crazy, loyal musical-fellows who would never ever abandon our Beloved OP even if the great passage of time today has. Let’s then explore those sweet, melodious musical escapades weaved for us by OP and…

let’s lose ourselves for a while in that WHITE MUSICAL YEARNING..!!!



On January 16 1926, the Nayyar household in Lahore (In today’s PAKISTAN) got a new member in family.Madan Gopal Nayyar and Laxmi Nayyar was blessed with a boy. They named him Omkar Prasad Nayyar. He was different from his siblings of four brothers and one sister. While others in the household were in awe of their father, a strict disciplinarian and reticent man, Omkar behaved more like a wild & free child of nature.

Like all GENIUSES and those borne to be GREAT, he was neither studious nor the one who would follow the commands and advice of others. He felt alienated from his folks at home, as nobody would identify with, or, acknowledge the artiste in him. He turned rebellious and he grew up to be indifferent to social norms.

Omkar was very fond of singing. As a gifted boy, by the age of 11 he began performing on the All India Radio children’s programs at Lahore. At the age of 12 he got a chance to sing in the chorus of a song composed by noted music director Pandit Govind Ram. Omkar also bit acted in the films in those days. At the age of 15 he began composing songs for All India Radio.

Then, in 1945, when Omkar was 19 a strange thing happened that was to set him firmly on the course to realize his DESTINY..!! He composed his first private song PREETAM AAN MILO, sung by C H ATMA a famous singer of those days. Later OP was to say of this fateful event thus:-

“The song “PREETAM AAN MILO” became a rage and made more than a 100,000 Rs by way of the Royalty to the Long-Play record manufacture company HMV. I was paid only princely sum of Rs 40 for composing the song. That was the way of fate. However, the producer D Pancholi, who loved that song very much, hunted me down & telegrammed me at my PUNJAB address. That was year of 1951. After 6 years of PREETAM AAN MILO’s release, I was officially invited by D Pancholi to Music-Direct his movie called AASMAN (1951) in Mumbai”

A musical CARAVAN had arrived…!!



OP and Rafi

The 1953 movie “Aar Paar” which came to OP as a gift from GODS, was a turning point in many ways for the Mumbai musical industry. Before AAR PAAR, no one had quite heard musical score, in OP style. The reigning music composers of those days were likes of Anil Biswas, C Ramchandra, Naushad, Shankar-Jaikishan, SD, Madan Mohan etc were all very talented and were giving melodious music without a doubt. To make a mark among these stalwarts was not a mean feat indeed!!

Yet OP, through his musical score from AAR PAAR did just that..!! and what a musical score that was…take a look..

  1. Ye Lo Main Haari Piyaa, Hui Teri Jit Re (Geeta)
  2. Kabhi Aar Kabhi Paar Laga Tire Najar (Shumshad)
  3. Baabuji Dhire Chalanaa, Pyaar Men Zaraa Sanbhalanaa (Geeta)
  4. Hu Abhi Main Jawan (Geeta)
  5. Mohabbat Kar lo jee bhar lo aji (Geeta & Rafi)
  6. Sun Sun Sun Sun Jalima (Geeta & Rafi)
  7. Ja Ja Ja Ja Bewafa (Geeta)
  8. Are Na Na Na Na Na Na Toba Toba ((Geeta & Rafi)

All sung by honeyed yet sensuous voiced Geeta Dutt & immortal RAFI-SAAB. A solo was sung byShamshad, in her characteristic clear voice that directly pierced a listener’s heart with pleasure.

It is futile to imagine, the kind of popularity & rage that was created by songs of AAR PAAR in those days. Even today, after close to 60 years later, try listening to these songs and tell me if you don’t feel like dancing with joy…!!

A jubilee hit, AAR PAAR’s box office success made OP. His ascent was now certain. His music & its intoxicating yet sweet rhythm made his fans delirious with pleasure. They just couldn’t seem to get more….

A new musical era had set in..!!


Nothing succeeds like success..!!

After AAR PAAR, producers came to OP in droves. The GODS were smiling benevolently on OP. His creativity flourished. Movies like Baap Re Baap, Mr. & Mrs 55, Chhoo Mantar, C.I.D., Johny Walker, Hum Sub Chor Hai, Naya Andaz, Naya Daur, 12 O’ Clock, Kashmir Ki Kali, Ek Musafir Ek Haseena, Kismet and so on….., all had people drooling on OP’s tune’s full of clever mixtures of Melody & Rhythm…

What was that magical essence of OP’s music really that made him different & successful in an era full of geniuses really??

Once very famous, respected & very talented classical Maestro Ustad Amir Khan Sahab was aked the same question by an interviewer. To which Ustad ji’s reply was thus:-

“Omkar Prasd Nayyar creates magical and melodious tunes simply with the primary usage of Rhythm & beats. That is what we classical singers believe. His creative genius is amazing. His knowledge of classical music is also par-excellence.”

What can be a better compliment to OP’s genius really?? None, I am certain. 

Take a look at rare video of Rafi-OP-Asha (2 Min):-


Well, AAR PAAR’s Musical and BOX-Office success made Naiyyar more confident. Guru Dutt, as expected, again called him for his next big project, Mr. & Mrs. 55 (1955). Nayyar worked very hard for the music of Mr. & Mrs. 55 and as a result of which the film became very successful. Songs like ‘Jaane Kahan Mera Jigar Gaya Ji..’, ‘Thandi Hawa Kaali Ghata Aa Hi Gai..’ and ‘Udhar Tum Haseen Ho Idhar Dil Jawan Hai..’ became a rage. Even today those songs haven’t lost an iota of that magic.

OP’s strange Oath:-

Before we further discuss about OP’s music, this musical caravan won’t rally gather momentum if we don’t explain Why Lata-didi never ever sung for OPYes. Incredible, unbelievable but sadly TRUE!! This is something all OP fans want to forget but can’t.

Apparently, to make the long story short, after ASMAN, OP as a new music composer went to Lata to ask her to sing for him in his next composing endeavor. By, some sources, Lata-didi was busy in recording and by knowingly (she was always a mega- star) or unknowingly made OP wait for her reply.

Now one thing we all must understand. All these geniuses have massive EGOS typically stemming from their GOD-GIFTS and SUPREME CONFIDANCE in their OWN TALENTS. What if OP was a struggler and Lata was a MEGA-STAR??

OP was still OP!! Struggler or no-struggler!! 

OP sensed insult. On the SPOT he took a VOW never to be slave to LATA’s voice. He would succeed using the voices of OTHER FEMALE SINGERS but NEVER EVER LATA!! And if he failed, he would leave Mumbai (Bombay of those days) and would return back to Punjab from where he came, as penniless young dreamer.

How far this story is true I know not. There exist many other accounts too. However, the bottom line was the fans WORLD OVER missed all those magical, musical creations had these two geniuses worked together… 

OP’s undoubted GREATNESS:-

It was a fact that, despite being supremely talented music composers, C Rmachandra & Madan Mohan had to take refuge in that addictive voice of Lata Mangeshakar. Except OP & too some extent, great Schin Deo (SD) Burman none could resist the fatal yet sweet addiction of Lata Mangeshkar’s voice and yet still be successful. (I understand. For like millions I too, simply as a connoisseur, can’t rid myself of that addiction of LATA-DIDI’s divine magical voice. Not possible.)

So despite never working with Lata Mangeshkar, OP for next 20 years ruled the hearts of his countless fans. Whom did he use then??

Let’s talk about that…!

OP’s Muses:-


OP-Rafi-Asha, The Musical Troika

In the initial period of his career OP worked with GEETA DUTT, SHAMSHAD & ASHA BHOSLE (Lata Mangeshkar’s younger sibling). The later years, by that time ASHA BHOSLE’s voice had matured and she along with her elder sister Lata Mangeshkar were reining singing queens of the Mumbai Movie Industry till they themselves sought the retirements, due to their own advanced age, by end of the 20th centuryTill such time both these sisters were reining SUPREME!!! Folks, that is almost for 50+ years. Incredible ain’t it..!!

I feel simply humbled and feel in presence of deities when I listen to them!!!

Yet, it would not be an understatement, if I said ASHA-TAI’s rise was primarily due to the fact that she had received a lion’s share of OP’s sexy, foot-tapping, melodious, evocative, mesmerizing quota of TUNES to sing.

On the male side, the choice was easy for OP. Mohammed Rafi was his muse without a doubt. And what musical scores they produced together. Simply indescribable!! OP’s intoxicating tunes, RAFI-SAAB’s heavenly voice all created such a fantastic musical effect that a fan would be drawn to it as a butterfly to a brightly lit wick.

OP also worked with KISHORE DA, MANNA DA, TALAT-SAAB but relatively sparingly. In his fag end of career OP used Kishore-da more and gave hits. (Example, Ek Baar Muskrado).

Another evidence of OP’s greatness was in his score of about 60+ movies OP had only 3 movies with big star caste. CID (Dev Anand), NAYA DAUR (Dilip Kumar), & DO USTAD (Raaj Kapoor). DEV-DILIP-RAAJ was the leading TRIO of that era. In rest of all of OP’s movies he always had to work with B grade heroes & heroines. (A fate he shared with another musical composer genius MADAN MOHAN).

Did that deter OP?? Not at all!! His craft was music and till his last breathing days he was honest with his music. He just didn’t care who was acting in the movie & kept on belting out melodies after melodies which his fans kept on lapping up.

Let’s delve into those wondrous compositions then… 

OP-ASHA, A sensuous combination:-

  1. Aao huzur tum ko (Kismat, & one of my own favorite)
  2. Kajara Mohabbatwala (Kismat, with shamshad)
  3. Woh haseen durd de do (Humsaya, a gem)
  4. Aa ja mere pyar ke sahar (Humsaya)
  5. Ek tu hai piya (Pran Jaye per vachan na jaye)
  6. Chain se humko kabhi (Pran Jaye per vachan na jaye)
  7. Piya, piya na lage mora jiya (Fagun)
  8. Chum chum ghungaroo bole (Fagun)
  9. Akeli hun main piya aa (Sambandh)
  10. Jaiye aap kanha jayenge (Mere Sanam)
  11. Ye hai reshmi zaulphon ka (Mere Sanam)
  12. Balama khuli hawa mein (Kashmir ki kali)
  13. Phir thes lagi dilko (Kashmir ki kali)
  14. Meri nazarein haseen (Ek Musaphir Ek Haseena)
  15. Udhar woh chal chaltein hai (Ek Musaphir Ek Haseena)
  16. Chhotasa balama (Raagini)
  17. Ankho se jo utari hai dil mein (Phir wohi dil laya hoon)
  18. Dekho bijli dole bin badal ke (Phir wohi dil laya hoon)
  19. Aiye mehrabaan (Howrah Bridge)
  20. Woh Haske Mile Hamse,  (Baharen phir bhi ayegi)
  21. Bequsi had se jab guzar (Kalpana)
  22. Puchho na hamehum unke liye (Mitti mein sona)
  23. Aaaj koi pyarse (Sawan ki Ghata)
  24. Haule haule chalo more sajana (Sawan ki Ghata)
  25. Meri jaan tumape sadke (Sawan ki Ghata)

And so on and on….

After Naya Daur (1957) I think, OP really stared favoring ASHA-TAI and her more flexible, versatile & sensuous voice over others.

At one point of time, in an interview, OP said to have cried like a child while remembering GEETA DUTTand the memory of how, in 1965 after a call from much ill GEETA asking OP to give her work and OP promising her in affirmative, only to find that GEETA had left for heavenly abode before OP could fulfill his promise.

But like I said in the initial period OP had worked with GEETA & RAFI to give absolutely memorable, achingly beautiful songs. Take a look:-

OP-GEETA-SHAMSHAD & RAFI, Sweet unforgettable melodies:-

  1. Tum jo huwe mere humsafar (12 O clock, my all time favorite, Rafi-Geeta)
  2. Ankho hi ankho me (CID)
  3. Ai dil hai mushkil (CID, another gem of Rafi-Geeta)
  4. Buz mera kay naam re (CID, Shamshad solo & my personal favorite)
  5. Mera naam chin chin chu (Howrah Bridge)
  6. Leke pehala pehala pyar (CID)
  7. All AAR PAAR songs (Listed in the beginning)
  8. Gharib jaan ke, humko na (Choo Mantar, deceptively simple yet very melodious)
  9. Raat nashili, rang rangili (Choo Mantar)
  10. Gham nahi kar muskura (Choo Mantar)
  11. Meri nindo mein tum (Naya Andaz, an unusual yet melodious, Kishore-Shamshad)
  12. Udhar tum hansi ho (Mr & Mrs 55)
  13. Jaane Kanha mera jigar gaya ji (Mr & Mrs 55)
  14. Thandi hawa, kaali ghata aahi  ( A Geeta solo from Mr & Mrs 55, foot-tapping) 

And on & on…. 

What can one say about OP-RAFI-ASHA combination? Words are proved to be inadequate to describe their impish, melodious beauty. OP Nayyar had very high respect for Rafi-saab. 

The music-fans are utterly confused when it comes to decide BEST between RAFI-OP, RAFI-MADAN or RAFI-NAUSHAD collaboration in much similar manner when it comes to decide BEST between KISHORe-RD, KISHORE-SD or KISHORE-SALIL collaboration.

However, it is generally accepted fact that RAFI probably sung at his Impish and Carefree BEST with OP & OP alone.  Let’s then take dip in that reservoir of joy..!

RAFI-OP-ASHA Collaboration, Rhythmic melody at its BEST:-

  1. Mang ke saath tumhara (Naya Daur)
  2. Ude jab jab zulphe teri (Naya Daur)
  3. Main bambai ka babu (Rafi solo, Naya Daur)
  4. Yu to hamane laankh hansi dekhe hai (Tumasa Nahi dekha, Rafi)
  5. Aye hain durase, milane huzur se (Rafi-Asha, simply brilliant, Tumsa nahi dekha)
  6. Bahot shukriya (Ek musphir ek hasina)
  7. Muze dekhkar aapka muskurana (Rafi solo, Ek musphir ek hasina)
  8. Yeh duniya usiski zamana usika (Kashmir ki Kali, unusually serious RAFI-OP)
  9. Diwana hua baadal (My favorite, Kashmir ki kali)
  10. Aaap ke hassen rukh pe (My favorite RAFI solo, a seductive best, Baharen phir..)
  11. Huwe hai tum pe ashik hum (Kismat, RAFI solo)
  12. Dekho kasam se (Tumsa nahi dekha, RAFI-ASHA)
  13. Chupane wale sammane aa (Rafi, Tumsa nahi dekha)
  14. Jawaniya ye mast mast bin piye (Tumsa nahi dekha, RAFI at best)
  15. Lakho hai nigah mein (Phir wohi dil laya hoon)
  16. Dil ki awaz bhi sun (RAFI,  Humsaya)
  17. Pukarta chala hun main (Mere Sanam)
  18. Lakho hai yanha dilwale (A Mahendra Kapoor solo, Kismat, utterly melodius)
  19. Muh se mat laga (A RAFI-MANNA duet from Johnnie Walker, Impish best by OP)
  20. Yeh desh hai veer jawano ka (RAFI, Naya Daur)
  21. Saathi haath badhana (Rafi-Asha, Naya daur)
  22. Piya piya piya mera jiya (A Kishore & Asha duet, absolutely lovely, Baap re Baap) 

And on and on and on.. 

I think of adding one last song to the list and then want to stop, but then another melodious OP composition comes to my mind and it tempts me to share. Well, believe me, it is an addiction which can grow on any of us once we start listening to the GENIUS like OP..

Funnily, after AAR PAAR’s success OP always wanted to give some more serious melodious music in the line of Anilda-CR-Madan etc. His ardent wish was, when asked, to compose a song like “Katate Hai Dukh mein yeh din” (A CR composition) or “Baras baras badari bikhar gayi” (Anilda’s sweet composition from Gajare) before dying…ain’t that amazing??

Although the incident highlights C Ramchandra & Anilda’s genius, it undoubtedly shows the child-like genius of Omkar Prasad Nayyar too, in that candid admission.

Who was O P Nayyar really, one wonders??

Well, he was a great MUSIC COMPOSER first & foremost, he was a CHILD-MAN, he was, by those who adore him and know about him, a man with conflicting traits. He could be very innocent at times and at others very arrogant. At times very angry yet very accommodative and emotional at drop-of-a-hat. He could be contemplative, yet outspoken. A simple man with fine tastes. He was a part philosopher, a part poet, a bit of HOMEOPATHY PRACTITIONER, and a bit of an astrologer too.

But in all this multi-faceted personality OMKAR PRASAD NAYYAR was an HONEST man to himself & to his craft of MUSIC COMPOSITION. There he would not lie, wouldn’t compromise at all. Music came to him from the ALMIGHTY and he would live by the CODE of that GOD-GIFTED PURENESS.

For 1957, Dilip-Vaijayanti mala starred Naya Daur, OP received “FILM-FARE” award for the BEST MUSIC DIRECTOR CATEGORY. Next 10-15 or so years OP literary ruled the Mumbai MOVIE industry and made his different style conspicuous among the rest of the equally gifted and talented music directors. He was famous and wealthy. Yet he remained a simpleton from within with peculiar traits of his own.

Some may wonder what the significance of the title of this article is where I have called OP as “A White Musical Yearning”?? Again this goes to underline OP’s peculiar whims & fancies.

The title is attributed to OP’s fetish to dress in COMPLETE WHITE. Shirts, Trousers even his shoes would of some or other imported shining WHITE leather. Omkar Prasad Nayyar was, at the height of his fame, the only music composer who would wear a WHITE FELT HAT while going to parties and would be clad literally HEAD-TO-FOOT in WHITE.

Some WHITE YEARNING!…Wouldn’t you too agree now?? 

Break with Asha & Retirement:-

After C Ramchandra’s break with Lata, CR slowly but surely faded is a sad fact. In a strange way of destiny, OP had quarrels with Asha-Tai and it finally resulted into her decision of NOT singing for OP ever.

This hit OP hard. Thereafter something was missing from his music. He slowly started to fade. By early 70’s he had decided to retire. A wise decision for a PROUD man like OP! He had his days in the SUN and as a staunch believer in Astrology perhaps his stars confided in him and asked him to shut his HARMONIUM

For some years before his death, O.P. had been estranged from his family members to the extent that he had requested that they be not allowed to attend his funeral. Following the estrangement, he had moved out of his house at Marine Drive in Mumbai (Bombay), leaving his family behind, and begun to stay at a friend’s place in the suburb of Virar. A month before his death, he had moved to yet another friend’s place in Thane.

O.P. died on 28 January 2007 through cardiac arrest. He is survived by his wife, three daughters, and a son. I distinctly remember the day as I came to know of OP’s death in a flat in the SUBURB of THANE thru the local newspapers. 

I could read only headline announcing OP’s death, for some reason, the remainder of the news-letters had become suddenly blurred to my usually good vision…….

I am NOT a religious man per se. I mean I don’t go to TEMPLES etc unless coaxed by my wife. But, really, when I can sense & feel the presence of divinity thru the COMPOSITIONS of likes of OMKAR PRASAD NAYYAR and from the Divine voices of RAFI-SAAB, ASHA-TAI, GEETA ji, LATA-DIDI, KISHORE-DA, TALAT-SAAB and rest of those blessed souls, why do I have to specially go to TEMPLE at all??

My Mother never understood me, my wife does, but insists on rituals. Nonetheless, I hope many of those keen music lovers who love those MUSICAL GENIUSES of that magical era like I do, would agree with me and understand me for sure….!!!



Somewhere in late 90’s, on a brightly lit evening in a 5 STAR HOTEL near JUHU BEACH in SOUTH MUMBAI, a commotion was being witnessed by those regulars patrons to the hotel.

To them, it appeared that some movie related function was being organized to felicitate veteran and famous Music Director, ANIL BISWAS. Suddenly, they noticed that a TALL MAN dressed in complete WHITE from HEAD-TO-FOOT was walking towards elderly and simple looking ANIL BISWAS. The MAN-IN-WHITE had caused that COMMOTION.

Those lucky patrons, witnessed further, the great OP dressed in his signature WHITE went straight to ANIL DA and without slightest of HESITATION and NOT CARING for his POSH WHITE ATTIRE, bent on his knees to TOUCH & HOLD the FEET of ANIL DA.

ANIL DA immediately hugged OP and Embraced him…!!

Those who KNEW the significance of the scene they were witnessing, cried freely forgetting their social status. For they knew it was a moment to CHERISH in the MEMORY. IT was recognition of ONE MAESTRO TO THE OTHER. No WORDS were spoken between them. No WORDS were necessary really…!! 

It was a last ever meeting between those TWO MUSICAL MASTERS..!!!


OP-The Melody Maker with Difference

POET Noor Lakhnavi said it right to the OP’s fans, (KISMAT-ASHA’s one of the Best):-

Aao Huzur Tumko Sitaron mein Le chaloon,
(Let me take you to meet the stars…)
Dil Zum Jaye Aisi Baharon mein Le chaloon.
(..To (enjoy) the heart-touching nature’s beauty)

That was the magical power of Omkar Prasad Nayyar composition!! 


Indeed, he remains forever to his countless fans, A MUSICAL YEARNING in WHITE…!!!



First Published at “Chintamani-Chankya.blogspot.in” on 31-Jul-2013

Mr. Narendra Modi- Destined to Lead !

An Interview of Mr. Narendra Modi, Conducted by the Reuters:- 12th July 2013

In an interview to Reuters news agency at his official residence in Gandhinagar, the first since he was appointed the chief of BJP’s election campaign committee in June. 

I found this interview to be candid, eloquent & honest. It shows Mr. Modi’s compassionate side which generally is hidden under his no-nonsense, tough exterior. Also it clears lot of confusing issues and sets the record straight. 

Please read the interview fully & carefully to understand the MAN, especially when certain incompetent political parties of India has gone out of their way to misrepresent Mr. Modi by presenting only few words out of the context with twist :-


Please find the text of the Interview in its entirety below:-

By Ross Colvin and Sruthi Gottipati

Gujarat's Chief Minister Narendra Modi gestures as he walks at the lawns at his residence after an interview with Reuters at Gandhinagar

Narendra Modi

Narendra Modi is a polarising figure, evoking visceral reactions across the political spectrum. Critics call him a dictator while supporters believe he could make India an Asian superpower. 

Reuters spoke to Modi at his official Gandhinagar residence in a rare interview, the first since he was appointed head of the BJP’s election campaign in June.

Here are edited excerpts from the interview. The questions are paraphrased and some of Modi’s replies have been translated from Hindi.

Is it frustrating that many people still define you by 2002?

People have a right to be critical. We are a democratic country. Everyone has their own view. I would feel guilty if I did something wrong. Frustration comes when you think “I got caught. I was stealing and I got caught.” That’s not my case.

Do you regret what happened?

I’ll tell you. India’s Supreme Court is considered a good court today in the world. The Supreme Court created a special investigative team (SIT) and top-most, very bright officers who overlook the SIT. That report came. In that report, I was given a thoroughly clean chit, a thoroughly clean chit. Another thing, any person if we are driving a car, we are a driver, and someone else is driving a car and we’re sitting behind and even if a puppy comes under the wheel, will it be painful or not? Of course it is. If I’m a chief minister or not, I’m a human being. If something bad happens anywhere, it is natural to be sad.

Should your government have responded differently?

Up till now, we feel that we used our full strength to set out to do the right thing.

But do you think you did the right thing in 2002?

Absolutely. However much brainpower the Supreme Being has given us, however much experience I’ve got, and whatever I had available in that situation and this is what the SIT had investigated.

Do you believe India should have a secular leader?

We do believe that … But what is the definition of secularism? For me, my secularism is, India first. I say, the philosophy of my party is ‘Justice to all. Appeasement to none.’ This is our secularism.

Critics say you are an authoritarian, supporters say you are a decisive leader. Who is the real Modi?

If you call yourself a leader, then you have to be decisive. If you’re decisive then you have the chance to be a leader. These are two sides to the same coin … People want him to make decisions. Only then they accept the person as a leader. That is a quality, it’s not a negative. The other thing is, if someone was an authoritarian then how would he be able to run a government for so many years? … Without a team effort how can you get success? And that’s why I say Gujarat’s success is not Modi’s success. This is the success of Team Gujarat.

What about the suggestion that you don’t take criticism?

I always say the strength of democracy lies in criticism. If there is no criticism that means there is no democracy. And if you want to grow, you must invite criticism. And I want to grow, I want to invite criticism. But I’m against allegations.There is a vast difference between criticism and allegations. For criticism, you have to research, you’ll have to compare things, you’ll have to come with data, factual information, then you can criticize. Now no one is ready to do the hard work. So the simple way is to make allegations. In a democracy, allegations will never improve situations. So, I’m against allegations but I always welcome criticism.

On his popularity in opinion polls

I can say that since 2003, in however many polls have been done, people have selected me as the best chief minister. And as best chief minister, it wasn’t just people from Gujarat who liked me, not like that. People outside of Gujarat have also voted like that for me. One time, I wrote a letter to the India Today Group’s Aroon PurieI requested him – “Every time I’m a winner, so next time please drop Gujarat, so someone else gets a chance. Or else I’m just winning. Please keep me out of the competition. And besides me, give someone else a shot at it.”

Allies and people within the BJP say you are too polarizing a figure

If in America, if there’s no polarization between Democrats and Republicans, then how would democracy work? It’s bound (to happen). In a democracy there will be a polarization between Democrats and Republicans.

This is democracy’s basic nature. It’s the basic quality of democracy. If everyone moved in one direction, would you call that a democracy?

But allies and partners still find you controversial

Up till now, no one from my party or the people who are allied with us, I’ve never read nor heard any official statement (about this from them). It might have been written about in the media. They write in a democracy … and if you have any name that this person is there in the BJP who said this, then I can respond.

How will you persuade minorities including Muslims to vote for you??

First thing, to Hindustan’s citizens, to voters, Hindus and Muslims, I’m not in favor of dividing. I’m not in favor of dividing Hindus and Sikhs. I’m not in favor of dividing Hindus and Christians. All the citizens, all the voters, are my countrymen. So my basic philosophy is, I don’t address this issue like this. And that is a danger to democracy also. Religion should not be an instrument in your democratic process.

If you become PM, which leader would you emulate?

The first thing is, my life’s philosophy is and what I follow is: I never dream of becoming anything. I dream of doing something. So to be inspired by my role models, I don’t need to become anything. If I want to learn something from Vajpayee, then I can just implement that in Gujarat. For that, I don’t have to have dreams of (higher office in) Delhi. If I like something about Sardar Patel, then I can implement that in my state. If I like something about Gandhiji, then I can implement that. Without talking about the Prime Minister’s seat, we can still discuss, that yes, from each one we have to learn the good things.

On the goals the next government should achieve

Look, whichever new government comes to power, that government’s first goal will be to fix the confidence that is broken in people.

The government tries to push a policy. Will it continue that policy or not? In two months, if they face pressure, will they change it? Will they do something like — an event happens now and they’ll change a decision from 2000? If you change decisions from the past, you will bring the policy back-effects. Who in the world will come here?

So whichever government comes to power, it would need to give people confidence, it should build the trust in people, “yes, in policies there will be consistency”, if they promise people something, they will honor that promise, they will fulfil. Then you can position yourself globally.

People say economic development in Gujarat is hyped up

In a democracy, who is the final judge? The final judge is the voter. If this was just hype, if this was all noise, then the public would see it every day. “Modi said he would deliver water.” But then he would say “Modi is lying. The water hasn’t reached.” Then why would he like Modi? In India’s vibrant democracy system, and in the presence of vibrant political parties, if someone chooses him for the third time, and he gets close to a two-third majority then people feel what is being said is true. Yes, the road is being paved, yes, work is being done, children are being educated. There are new things coming for health. 108 (emergency number) service is available. They see it all. So that’s why someone might say hype or talk, but the public won’t believe them. The public will reject it. And the public has a lot of strength, a lot.

Should you be doing more for inclusive economic growth?

Gujarat is a state that people have a lot of expectations from. We’re doing a good job, that’s why the expectations are high. As they should be. Nothing is wrong.

On indicators like malnutrition, infant mortality

Infant mortality has improved tremendously in Gujarat, tremendously. Compared to every other state in Hindustan, we are a better performing state. Second thing, malnutrition, in Hindustan today, real-time data is not available. When you don’t have real time data, how are you going to analyse?

We do believe in inclusive growth, we do believe that the benefits of this development must reach to the last person and they must be the beneficiary. So this is what we’re doing.

People want to know who is the real Modi – Hindu nationalist leader or pro-business chief minister?

I’m nationalist. I’m patriotic. Nothing is wrong. I’m a born Hindu. Nothing is wrong. So, I’m a Hindu nationalist so yes, you can say I’m a Hindu nationalist because I’m a born Hindu. I’m patriotic so nothing is wrong in it. As far as progressive, development-oriented, workaholic, whatever they say, this is what they are saying. So there’s no contradiction between the two. It’s one and the same image.

On Brand Modi and people behind the PR strategy

The western world and India – there’s a huge difference between them. Here, India is such a country that a PR agency will not be able to make a person into anything. Media can’t make anything of a person. If someone tries to project a false face in India, then my country reacts badly to it. Here, people’s thinking is different. People won’t tolerate hypocrisy for very long. If you project yourself the way you actually are, then people will accept even your shortcomings. Man’s weaknesses are accepted. And they’ll say, yes, okay, he’s genuine, he works hard. So our country’s thinking is different. As far as a PR agency is concerned, I have never looked at or listened to or met a PR agency. Modi does not have a PR agency. Never have I kept one.

First Published at “Chintamani-Chankya.blogspot.in” on 12-Jul-2013