Image & Text contributed by Amla Shailendra Mazumdar, Dubai. U.A.E
This is a photograph of an incredible team who marked the beginning of a golden era in Hindi Cinema’s music.
Shailendra, (my father, whom we called Baba) Hasrat Jaipuri, Shankar and Jaikishen came together to create some of the most powerful and beautiful songs of the Hindi film industry, and it was none other than Raj Kapoor who discovered and brought this foursome together.
My father, Shailendra (extreme right with a cigarette in his hands) came from a very humble background. As a young boy in Rawalpindi (now in Pakistan) he used to sing Bhajans (Religious Songs) in temples but after my grandfather lost all his money, they relocated to Mathura (Uttar Pradesh). It seemed that the times were always hard on his family. By 1948 he was an apprentice at a Railway workshop in Bombay and was struggling to make ends meet. Poetry, however was his savior & first love, and he wrote about social issues of the time and would often be invited to recite his poems at small cultural events. He came from Bihar,had lived in Rawalpindi, Mathura which made him skilled in various hindi & urdu dialects and their expressions.
On one such evening at a Poetry Soiree organised by the Progressive Writers’ forum, my father’s recitation of his poem on Partition of India, titled “Jalta Hai Punjab” caught the attention of another attendee, actor and director Raj Kapoor. It was about the massacre of Hindus and Muslims alike during partition and how it left those who witnessed it scarred for life.
Raj Kapoor, who introduced himself to Baba as Prithviraj Kapoor’s son, insisted that he wanted the same poem for his then under production film Aag. Of course the firebrand poet that my father was, and barely 25 years old, he refused point blank with a terse comment “My poetry is not for sale!” Raj Kapoor then scribbled his name and address on a piece of paper and told him “If ever you change your mind, this is where you will find me”.
When my parents were expecting their first child, my brother Shailey, the hard times only got worse and Baba knew it was time for some tough decisions. He went back to Raj Kapoor who welcomed him and gave him the first break in ‘Barsaat’. The songs “Barsaat mein hum se mile tum sajan, tum se mile hum” and ” Patli kamar hai, tirchhi nazar hai” were to bear testimony to golden times ahead.
“Awara Hoon” and “Mera Joota Hai Japani” were two songs that won global acclaim and are popular even today. Both songs have been translated in several languages including Russian and Chinese. In fact the song ‘Aawara hoon’ even got a mention in Nobel laureate Aleksandr Solzhenitsyn‘s novel ‘The Cancer Ward.’
I think Baba’s genius was in his ability to express the deepest and most profound thoughts in plain and simple Hindi. His songs thus reached out to the masses but without compromising on their literary appeal.
His genius also lay in expressing a grievance without offense. In an industry where composers would recommend lyricists to producers, Shankar-Jaikishan promised Shailendra that they would recommend him around, but then forgot about it. Baba then sent them a note with the lines, “Chhoti Si Yeh Duniya, Pehchaane Raaste Hain. Kahin To Miloge, Phir Poochhenge Haal” (The world is small, the roads are known. We’ll meet sometime, and ask ‘How do you do?). Realizing the hidden meaning in the message, Shankar-Jaikishan then not only apologized but turned the lines into a popular song. The song was then featured in the film Rangoli (1962)
It was a meteoric rise for him since Barsaat, the movie that launched him. Amongst his memorable works are songs from Sangam, Sri 420, Jagte Raho, Madhumati, Guide, Kathputli, Bandini, Anarkali to name a few. He worked with each and every well known music director in the Industry, including the first ever Bhojpuri film “Ganga Maiya Tohe Piyari Chhadaibo“, with music director Chitragupta. Baba also won three Filmfare awards. “yeh mera diwana pan hai“, from Yahudi, “sub kuchh seekha humne“, from Anari and “Main gaoon tum so jao“, from Brahmachari. The last was earned posthumously.
He also produced the film Teesri Kasam based on a story by Phaneswar Nath Renu for which he was awarded the President’s Gold Medal. The film was initially considered a failure and took a toll on Baba, but ironically over time won huge critical acclaim and is now considered a huge success.
Interestingly, Barsaat was the first film for all four people in this photograph. And Baba wrote lyrics for each and every Raj Kapoor film thereafter with Mera Naam Joker as his last. He passed away on December 14, on the birthday of his mentor Raj Kapoor. I think what Hasrat Jaipuri once stated in a TV-interview was accurate “Shailendra was the best lyricist the Indian film industry ever had.” His songs would never let us and his future generations forget that.
Feb 07, 2013 | Categories: 1947 India Pakistan Partition, 1950s, Accolades & Awards, Achievements, Bengali, Bombay, Entertainment, Friendships, Future icons from the Past, India, Indian Film Industry, Music, Art, Dance & Culture, Poet/Writer, Previous, Rags to Riches, Railways, Relocation, Smoking, Theatre | Tags: Anarkali, Awara, Bandini, Bollywood, Bombay, Filmfare Awards, Guide, Hasrta Jaipuri, Jagte Raho, Kathputli, Madhumati, Mathura, Mera Naam Joker, Music Lyricist, Partition, Poet, Presidents Medal, Railways, Raj Kapoor, Rawalpindi, Sangam, Shailendra, Shankar-Jaikishan, Song Writer, Sri 420 | 7 Comments »
Image and Text contributed by Aurina Chatterji, Bombay/Toronto
Even though he died when I was 12, I never really knew my grandfather, the famous music Director Salil Chowdhury.
Bapi Dadu, as we called him, was an infrequent visitor at 16, Hillcrest, Perry Cross Road, Bandra. It was my grandmother, his wife’s house, the site of almost daily family congregations. I never wondered why he didn’t live in this house. Maybe it was because Bapi still occupied 16, Hill Crest like a benevolent ghost. The walls were plastered with his photographs, posters, awards. His songs drifted lazily from my grandmother’s trusty companion, the radio transistor, the sound often muffled by pillows.
I remember watching Bapi on Doordarshan, on one occasion talking to Asha Bhosle, on another – in the valorous yet invariably mangled Hindi of Bengalis – talking about Kishore Kumar. I remember numerous videos of him conducting a choir. I remember the twinkle in his eye, his proudly bald head and the way his hair always curled at his nape, begging for a hair cut.
One day, in our Bapi-bedecked hall, my older cousin told me in conspiratorial tones that Bapi had another wife and he had other children and that is why he lived in Calcutta and that is why we rarely saw him. I don’t remember being particularly affected. I do remember the puzzle pieces rapidly fitting into their places, but the complete picture, to me, was just a piece of delicious gossip. Like the happily stupid child I was, I didn’t think of our mothers’ devastation, nor the stigma of my grandmother being a single mother in 1960s India. I continued to feel a sly pride when people introduced me as Salil Chowdhury’s grand-daughter and I continued to look forward to Bapi’s rare but always joyful visits.
As I grew up, my personal memories of Bapi grew so blurry as to feel like some elaborate dream. The less I remembered, the more curious I became. This is what I learned: He was an avowed communist, a big fan of the USSR. He once accompanied Charlie Chaplin on the piano and he thought very highly of the Beatles. I discovered his early, pre-Indian Cinema work – raw, angry, shamelessly political songs that were anti-colonialism, anti-zamindari, anti-war. As a teenager being gently tugged to the left by her nascent political beliefs, these songs were a revelation. I didn’t understand a lot of the lyrics – I speak Bengali like Bapi spoke Hindi, with less valour and more mangled – but what I did understand, I related to it viscerally.
Bapi’s idealistic ideas for a newly independent India, his poetic cries for justice were framed in complicated, meandering melodies, supported by beautifully feisty harmonies. I found myself in the fairly unique position of becoming musically obsessed with my own grandfather, a state that was both cool and awkward, almost narcissistic.
But for all his generosity when it came to the outside world, like so many other luminaries before and after him, Bapi was less than exemplary in his personal life. He had abandoned a devoted wife, a wife he had fallen for while he tutored her in Philosophy, a wife he had secretly married much to the chagrin of her Brahmin father, a wife who selflessly clothed and fed and mothered many of the Film & Cinema aspirants who followed Bapi from small-town Bengal. He abandoned his three little ones, the musically named Aloka, Tulika, Lipika, who, to my shock and eternal admiration, harbour no resentment against their deeply loving but absent father.
He knew all of this. He probably didn’t know that he also unwittingly abandoned his grandchildren. He showered us generously with love and ghost stories, but he always disappeared, leaving behind only the fragrance of his tobacco pipe.
To me, he was barely a grandfather. He was simply the reason the Bangladeshi florists by our home never charged us, the reason strangers would fawn over my grandmother, the reason some of my teachers were partial to me. And yet, 18 years after his death, I find myself uncannily bonded to a man I never knew. I am fascinated by colonial history. I obsessively read about Russia. I sing in a choir.
I wish I could ask my grandfather the questions that pop into my mind with the certainty of sunrise when I think of him: What was it like to hide in toilet holes to escape the British? Did you really think Stalin was a good man? How about Brezhnev? Can you teach me how to create harmonies? What are your thoughts on Putin? What do you think of the CPI(M) now? Is this how you pictured independent India?
Our similarities, of course, are perfectly explainable but I prefer to believe that they are magical. I prefer to believe that the universe contrived to ensure, albeit posthumously, that I would feel the tenderness of being grandfathered. When I look at this picture – my young, beautiful grandparents with their young, beautiful daughters – I feel a forceful, almost unbearable love. And sometimes if I close my eyes, I can still smell the sweet, brown tobacco that unfailingly lingered on Bapi Dadu.
Jan 16, 2013 | Categories: 1950s, 1960s, Abandonment, Achievements, Anti Establishment, Architecture, Bandra, Beliefs & Causes, Bengali, Bengali, Bombay, Brahmin, Bungalow, Calcutta, Communist, First of a kind, Furniture, Future icons from the Past, Hair Styles, House Wife, India, Indian Film Industry, Inter Caste, Interiors, Movies, Music, Art, Dance & Culture, Musician, Mustache, Personal Collections, Philosopher, Photo Collection, Poet, Polygamy, Previous, Sarees, Single Parent, Soviet Union (USSR), West Bengal, Western Clothes, Women Empowerment | Tags: 1960s, Abandonment, Anti-establishment, Asha Bhonsle, Aurina Chatterji, Bandra, beatles, Bollywood, Celebrity, Charlie Chaplin, Communist, CPI(M), Doordarshan, Gossip, Kishore Kumar, Music Director, Poet, Radio transistor, Russia, Salil Chowdhury, Scandal, Stalin, The Beatles, USSR | 15 Comments »
Image and text contribution by Lt Col (Retd) Dr. G.Kameswararao, Secundarabad
This photograph is a wedding group photo of my father’s elder brother, Gadepally Suryaprakasam (also known as Surya Prakasarao). It was photographed at Kakinada, then known as Coconada, in the East Godavari District of Madras Presidency. He served the Nizam government in the Education Department. My grandmother, my father’s siblings, his paternal, maternal uncles and their children are a part of this group. The famous Telugu poet, Devulapalli Krishna Sastry is seated last on the right (on the chair). He was married to the daughter of my father’s paternal uncle. My paternal grandfather, Gadepally Venkata Sastry was in the service of Pithapuram Raja. He was a Sanskrit Scholar and a Trustee of the famous Sri Kukkuteswara Swami temple in Pithapuram, in which lies an incarnation of the lord Shiva, in form of a Kukkutam, a ‘Cock fowl’. He wrote in Sanskrit a Stotram , in praise of Kukkutam, which my mother got published in 1990. My grandfather passed away by the time this photo was taken and my grandmother is seen herein (middle, standing) as a widow, wearing the traditional white dress covering her hairless head.
– The Contributor is a financial patron of Indian Memory Project
May 19, 2010 | Categories: 1910s, Andhra Pradesh, Cock Fowl, Education, Gods, Government Jobs, Hair Styles, Head Gear, Hyderabad, Indian Clothes, Indian Clothes, Marital Status, Men, Men's Clothes, Nizam of Hyderabad, Poet, Pre-1947 Indian Regions & States, Pre-Independence, Publications, Sanskrit, Sarees, Scholar, Self Published, Shiva, Telugu, Temple, Weddings, Widow, Women, Women's Clothes | Tags: 1910s, Andhra Pradesh, Cock Fowl, Coconada, Devulapalli Krishna Sastry, Dewan, Education, Gadepally, Godavari District, Gods, Government Jobs, Group Photo, Hair Styles, Head Gear, Hyderabad, Incarnation, Indian Clothes, Kakinada, Lord Shiva, Madras Presidency, Marital Status, Men's Clothes, Nizam of Hyderabad, Pithapuram Raja, Poet, Pre Independence, Pre-1947 Indian Regions & States, Publications, Sanskrit, Sarees, Scholar, Self Publication. Self Published, Shiva, Sri Kukkuteswara Swami, Tahsildar, Telugu, Temple, Vizianagaram Sansthanam, Wedding, Weddings, Widow, Women's Clothes | 1 Comment »