Pradeep
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Kavi Pradeep (1915-1998) was a popular Indian poet and lyricist. He was recently made popular by Iain Lee on The 3 and a Half Hour 3 Till 6.30 Iain Lee Afternoon Wireless Show on London's LBC 97.3FM.

Early life

Born Ramchandra Barayanji Dwivedi in 1915 into a middle-class Brahmin family in the small central Indian town of Badnagar, in Madhya Pradesh state. Since his early student days in Madhya Pradesh and later in Uttar Pradesh, he had a passion for writing and rendering Hindi poetry. He hypnotized the audience at kavi sammelans (poet's gatherings) with his inimitable style. It was during this time he changed his name to Pradeep. After graduating from Lucknow University in 1939, he decided to join a teacher's course and teaching.

Pradeep was invited to a Kavi Sammelan in Bombay (now Mumbai) where he was offered his first film Kangan by the late Himanshu Roy of Bombay Talkies. The film starred Devika Rani and Ashok Kumar. Pradeep Shifted to Bombay and wrote four songs for the film, all of which became very popular and sung three of the songs himself.

He next film was "Bandhan" produced by S Mukherjee and directed by Gyan Mukherjee. This time he wrote all the songs which became huge hits. The Most notable is "Chal chal re naujawan" (translation: Come on oh youth) which made waves since the Indian freedom movement was at a crucial juncture.


Golden Era

He worked on five more movies for Bombay Talkies which included Punarmilan, Jhoola, Naya Sansar, Anjan and Kismet. Kismet is known for its patriotic song "Aj Himalay ki choti se phir hamne lalkara hai...door hato ae duniyawalon Hindustan hamara hai" ("Go away outsiders, India is ours"). Mashaal was his next film and it features the extremely popular song ‘Upar gagan vishal niche gahara pataal, bich mein dharati, wah mere malik tune kiya kamal...’ sung by Manna Dey. Kavi Pradeep was at his creative zenith when he wrote for the films Nastik and Jagruti. He even lent his voice for the evergreen song ‘Dekh tere sansar ki halat kya ho gayi bhagwaan kitna badal gaya insaan...’ (translation: Look at what has happened to your world, O god. Man has changed so much). Jagruti is considered to be among his best work for one movie since it includes hit songs such as ‘Aao bachchon tumhe dikhayen jhanki Hindustan ki, iss mitti se tilak karo, yeh dharti hai balidan ki...’ (translation: Come children. Let me briefly show you Hindustan. Smear its sand on your forehead for its earth is full of sacrifices) , ‘Hum laye hain toofan se kishti nikal ke iss desh ko rakhna mere bachon sambhal ke...’ and ‘Dedi humein azadi bina khadak bina dhal, Sabarmati ke sant tune kar diya kamal...’ (translation: You gave us freedom without shield and sword. O saint of Sabarmati you have worked wonders)

His songs were so popular that movies would get repeat audiences just to listen to his soulful songs. Kavi Pradeep always believed in writing songs with a meaning and made sure the songs he wrote fit into the situation of the movie. The popularity of his songs were also due to his down to earth lyrics and simple language that was well understood by everyone. He stayed in the Irla area of the Mumbai suburb of Vile Parle until he died.


Later life

By the 1960's, the popularity of his songs was on the wane and film producers who were looking for western music and fast numbers avoided him. However he managed to prove his detractors wrong with films Talaaq, a Rajendra Kumar starrer and Paigam starring Dilip Kumar, Raaj Kumar and Vyjayantimala. With ‘Insan ka insan se ho bhaichara, yahi paigam hamara..' being a highlight. S. Mukerji’s Sambandh starring Pradeep Kumar was a movie that ran on the popularity of songs such as ‘Chal akela chal akela, tera mela pichche chchuta rahi chal akela...’, ‘Jo diya tha tumne ek din mujhe phir wohi pyar de do...’ and ‘Ek karaj mangta hum bachpan udhar de do' written by Kavi Pradeep. He continued to show his brilliance in 1975, when the movie "Jai Santoshi Maa" was released. For a low budget movie, it matched the collections of another Block Buster "Sholay". For months theatre's screening the movie, held the housefull boards high. Ladies would perform poojas when the immortal song "Mein to aarti utaroon re Santoshi mata ki...." was played in the theatres. Almost synonymous to his Kismet song "Aj Himalay ki choti se phir hamne lalkara hai..", the reel would be rewound and played many times to satisfy public demand.


The Patriot

Kismet was his groundbreaking effort since it came at the time of the "Quit India" movement. The country was in strife with all national leaders in Jail. He cleverly wrote "Aj Himalay ki choti se phir hamne lalkara hai...door hato ae duniyawalon Hindustan hamara hai" ("Go away outsiders, India is ours"). The song was supposed to warn the Axis powers, but the Indian public understood the real meaning of the song. Theatres around the country were resounded with "once more" calls once the song ended. The reel had to be rewound and the song was screened again and again. Kismet made Box Office history for its time by running for 3-1/2 years in one theatre. The British realized the true meaning of his songs and issued a warrant for his arrest. This forced Kavi Pradeep underground to avoid arrest.

He continued his patriotic zeal with renewed vigor after Independence in movies such as Jagruti, ‘Dedi humein azadi bina khadak bina dhal, Sabarmati ke sant tune kar diya kamal...’ is considered to be his tribute to Mahatma Gandhi.

During 1962(Indo-China) war days, he heard about Param Vir Major Shaitan Singh Bhaati.He was so touched by his sacrifice and bravery that he penned down the lines `Ae Mere Watan Ke Logon` (translation: O people of my country). This song was originally supposed to be sung by Asha Bhosle, due to a misunderstanding between composer C. Ramchandra and Lata Mangeshkar. Kavi Pradeep though, was adamant about having Lata Mangeshkar sing the song, as he felt that hers was the only voice that could do justice to the number. C. Ramchandra was unsure whether Mangeshkar would agree to sing, so Kavi Pradeep began the task of convincing her to hear the song. On hearing the song she was moved so much that she instantly agreed to sing the song, on condition that Kavi Pradeep be present at the rehearsals.

'Ae Mere Watan Ke Logon' went on to become one of the greatest patriotic songs of the country. It was while listening to Lata Mangeshkar’s rendition of ‘Ae Mere Watan Ke Logo’ that the then Prime Minister of India - Jawaharlal Nehru was moved to tears. For writing the song he was conferred the honour of "Rashtriya Kavi" (National Poet) by the Government Of India.


Popular Songs

“Main to arti utaron radheshyam ki re” (Kangan)
“Hawa tum dheere bahao” (Kangan)
“Sooni padi re sitar” (Kangan)
“Nacho nacho pyare man ke mor” (Punar Milan)
“Chal chal re nau javan” (Bandhan)
“Chane jor garam babu” (Bandhan)
“Piyoo piyoo bol pran papihe” (Bandhan)
“Ruk na sako to jao” (Bandhan)
“Kheencho kaman kheencho” (Anjan)
“Jhoole ke sang jhoolo” (Jhoola)
“Na jane kidhar aaj meri nao chali re” (Jhoola)
“Main to dilli se dulhan laya re” (Jhoola)
“Aaj mausam salona salona re” (Jhoola)
“Mere bichhade hue saathi” (Jhoola)
“Door hato ae duniya walo Hindustan hamara hai (Kismet)
“Dheere dheere aa re badal” (Kismet)
“Papiha re, mere piyase” (Kismet)
“Ghar ghar mein diwalee hai mere ghar me andhera” (Kismet)
“Ab tere siva kaun mera” (Kismet)
“Har har mahadeo allah o akbar” (Chal Chal Re Naujawan)
“Ram bharose meri gadi” (Girl”s School)
“Oopar gagan vishal” (Mashal)
“Kiski kismet mein kya likha” (Mashal)
“Aaj ashia ke logon ka kafila chala” (Kafila)
“Koyal bole ku” (Baap Beti)
“Kahna bahjaye bansari” (Nastik)
“Jai jai ram raghurai” (Nastik)
“Kitna badal gaya insan” (Nastik)
“Gagan jhan jhana raja” (Nastik)
“Tere phoolon se bhi pyar” (Nastik)
“Sabarmati ke sant” (Jagriti)
“Hum laye hain toofan se” (Jagriti)
“Chalo chalen maa” (Jagriti)
“Aao bachacho tumhen dikhayen” (Jagriti)
“Tere dwar khada bhagwan” (Waman Avtar)
“Kahe ko bisara hari naam, maati ke putle” (Chakradhari)
“Doosara o ka dukhada door karne wale” (Dashera)
“Tunnaak tunnak bole re mera ektara” (Ram Navmi)
“Pinjare ke panchhi re” (Naag Mani)
“Koi akh kare chaturai” (Chandi Pooja)
“Nai umar ki kaliyo tumko dekh rehiduniya sari” (Talaq)
“Bigul baj raha azadi ka” (Talaq)
“Mere jeevan mein kiran ban ke” (Talaq)
“Mukhada dekhle praani” (Do Bahen)
“Insan ka insan se ho bhaichara” (Paigham)
“O ameeron ke parameshwar” (Paigham)
“Jawani mein akelapan” (Paigham)
“O dildaar bolo ek baar” (School Master)
`Aaj suno hum get vida ka garaha” (School Master)
`Sanvariya re apni meera ko bhool na jana” (Aanchal)
`Na jane kahan tum the” (Zindgi aur khwab)
`Aaj ke is insaan ko ye kya hogaya” (Amar Rahe Ye Pyar)
`Sooraj re jalte rahena” (Harishchandra Taramati)
`Toot haiee hai mala” (Harishchandra Taramati)
`Janma bhoomi maa” (Netaji Subhash Chandra Bose)
`Suno suno desh ke hindu - musalman” (Netaji Subhash Chandra Bose)
`Bharat ke liye bhagwan ka ek vardaan hai ganga” (Har har gange)
`Chal akela chal akela” (Har har gange)
`Tum ko to karodon saal hue” (Har har gange)
`Jo diya tha tumne ek din” (Har har gange)
`Ye khushi leke main kya karoon” (Har har gange)
`Sukh dukh dono rehte” (Kabhi dhoop kabhi chhaon)
`Hay re sanjog kya ghadi dikhlai” (Kabhi dhoop kabhi chhaon)
`Chal musafir chal” (Kabhi dhoop kabhi chhaon)
`Jai Jai narayan narayan hari hari” (Haridarshan)
`Pabhu ke bharose han ko gaadi” (Haridarshan)
`Maarnewala hai bhagwan bachanewala hai bhagwan” (Haridarshan)
`Main is paar” (Agni rekha)
`Main to aarti utaron” (Jai Santoshi Maa)
`Yahan wahan jahan tahan” (Jai Santoshi Maa)
`Mat ro mat ro aj” (Jai Santoshi Maa)
`Karati hoon tumhara vrat main” (Jai Santoshi Maa)
`Madad karo santoshi mata” (Jai Santoshi Maa)
`He maruti saari ram katha ka” (Bajrangbali)
`Banjaa hoon main” (Aankha ka tara)
`Ae Mere Watan Ke Logon”
His songs directly address and have inspired and continue to inspire millions of Indians spanning several generations


Awards

Kavi Pradeep received numerous awards throughout his life. Some of which are:

"Best film lyricist" in 1961
Sangeet Natak Akademi Award in 1961
The Film Journalist Association award
The national integration award in 1993
and the Dada Saheb Phalke Award for the year 1997-1998)

Quotes

About the kind of songs he wrote, Pradeep once said [1] "Love is just a part of life and the love written about today talks about love between the sexes only. But do young men and women have a monopoly where love is concerned. Aren't there different kinds of love that between a mother and her children, between a father and his children, between a bhakt (devotee) and his deity, between a man and his motherland? I chose to write about all these different kinds of love."


Plagiarized works of Kavi Pradeep

Many of Kavi Pradeep’s works have been plagiarized in neighboring Pakistan. Songs like “Hum Laye Hain Toofan se Kashti Nikal Ke, Is Desh ko rakhnaa mere bachchon sambhal ke” , "Aao Bachon Tumhe Dikhayen Jhanki Hindustan Ki"' have been plagiarized almost word to word with minor changes like 'desh' to 'mulk' and avoiding references like 'Bharat', 'Hind', 'Bapu' etc.


Legacy

Kavi Pradeep died at the age of 83 in Mumbai on December 11, 1998. His wife, and his daughters, Ms Sargam and Ms Mitul, have set up the Kavi Pradeep Foundation. They are assisted in their task by former MLA, Mr Avinash Pande. He is also a distant relative of the poet. An award has also been constituted in his memory.

The word Pradeep is oftern heard being held for a long period of time on the UK radio broadcast Iain Lee Three and a half hour three to six thirty wireless show, on London radio station LBC.





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The tongue weighs practically nothing,
But so few people can hold it.

Kavi Pradeep (1915-1998): A born poet, Pradeep had a passion for writing and rendering Hindi poetry since his early student days. He hypnotized the audiences at ‘Kavi Sammelans’ with his inimitable style. After graduating from Lucknow University in 1939, Pradeep went to Bombay (now Mumbai) to participate in a kavi sammelan where Himanshu Roy of Bombay Talkies offered him his first film Kangan. Pradeep shifted to Mumbai and wrote four songs for the film, all of which became very popular. His next film was Bandhan for which he wrote all the songs that became huge hits. The most notable was ‘Chal Chal Re Naujawan which made waves since the freedom movement was at a crucial juncture. He worked on five more movies of Bombay Talkies, which included Puranmilan, Jhoola, Naya Sansar, Anjan and Kismet. Kismet is famous for the patriotic song ‘Aaj Himalay Ki Choti Se Phir Humne Lalkara Hai’. Mashal was his next film and it features the extremely popular song ‘Upar Gagan Vishal, Neeche Gehra Patal’, sung by Manna Dey. Pradeep was at his creative zenith when he wrote the songs of Nastik and Jagruti. He even lent his voice for the evergreen hit ‘Dekh Tere Sansar Ki Halat Kya Ho Gayee Bhagwan’. Jagruti is considered to be among his best work because of the hit songs, ‘Aao Bachchon Tumhe Dikhayen Jhanki Hindustan Ki, ‘Hum Layen Hain Toofano Se Kishti Nikal Kar’ and De Di Hamein Azaadi Bina Khadag Bina Dhal’. Even in 1960s when producers preferred Western music and fast numbers, Pradeep stood his ground with ‘Insaan Ka Insaan Se Ho Bhaichara, Yahi Paigam Hamara’, ‘Chal Akela Chal Akela Tera Mela Peeche Choota Rahi’, ‘Jo Diya Tha Tumne Ekdin Mujhe Wahi Pyar Do’ and Ek Karz Mangta Hoon Bachpan Udhar Dedo’. He continued to show his brilliance in the 70s in the super hit movie Jai Santoshi Maa. Pradeep is famous for his masterpiece song he penned during the 1962 Indo-China war, sung by Lata Mungeshkar in the presence of Prime Minister Jawaharlal Nehru, who was moved to tears. Kavi Pradeep received numerous awards throughout his life culminating with Dada Saheb Phalke Award for the year 1997-98, months before his death.





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The tongue weighs practically nothing,
But so few people can hold it.

Song: Kuchh Sharmaate Hue, Aur Kuchh Seham Seham
                Naye Raste Maine, Aaj Rakhaa Pehalaa Qadam ...

        Film:   Girls School (1949)
        Music:  Anil Biswas
        Lyrics: Kavi Pradeep
        Singer: Lata Mangeshkar
        *ing:   Geeta Bali, ?

        Lata does a fine job in expressing teenage love feelings in  this
        song. Anilda has compoesed to a simple but lively tune.





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"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Song: Janmabhoomi maa
Singer: Hemant Kumar, Sabita Chowdhury and chorus
Music: Salil Chowdhury
Lyric: Pradeep
Movie: Netaji Subhash Chandra Bose

Salil Chowdhary's composition from NETAJI SUBHASHCHANDRA BOSE (1966), sung by Hemanta Mukherjee. There is background vocal by Sabita Chowdhary(the composers's biwi, which gives the song a good effect). The lyrics are by the 'rashtrakavi' Pradeep and to his credit, just like his other songs, this song will make you nostalgic about home. Nice song.


janmabhoomi maa...main yahan tu wahan...
tujhse door ja raha main jaane kahan..
janmabhoomi maa...

ye jo apne beech hai doori
ye hai maa kismat ki majboori..
ye jo apne beech hai doori
ye hai maa kismat ki majboori..
tu to hai janani...meri aatma..
janmabhoomi maa..(background a~~aa~~~ by Sabita Chowdhary)
main yahan tu wahan...
tujhse door ja raha main jaane kahan..
janmabhoomi maa...

tujhase shaayad ab naa mil paaon..
rona mat maa..jo na ghar aaon...
tujhase shaayad ab naa mil paaon..
rona mat maa..jo na ghar aaon...
hai abhi baaki mera imtehaan..
janmabhoomi maa..(background a~~aa~~~ by Sabita Chowdhary)
main yahan tu wahan...
tujhse door ja raha main jaane kahan..
janmabhoomi maa...





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The tongue weighs practically nothing,
But so few people can hold it.

Obituary: Kavi Pradeep
Independent, The (London),  Dec 15, 1998  by Kuldip Singh

KAVI PRADEEP was the writer of hugely popular patriotic songs which drove the British colonial government to distraction, forcing him to go underground during the freedom movement in the Forties.

More than a decade after independence, in 1962, Pradeep wrote the song "Aaye mere watan ke logo" ("Come my countrymen"), which helped to instil a sense of national pride after India's humiliating defeat by the Chinese army over a territorial dispute, when the entire country was overwhelmed by a sense of ennui and loss of prestige. It moved millions, including the prime minister Jawaharlal Nehru, to tears. Pradeep donated the royalties from this song - which is frequently heard even today at private and official gatherings - to the ministry of defence.

In a career spanning over five decades Pradeep wrote nearly 1,700 songs, hymns and fiery, nationalistic poems including the lyrics for some 85 films, many of them box- office hits because of his contribution. But it was for his patriotic songs like "Door hat duniya walon . . . Hindustan hamara hai" ("Go away outsiders, India is ours"), influenced by militant freedom fighters such as Bhagat Singh and Chandrashekhar Azad who were responsible for assassinating British officials, that Pradeep was best known, During the Quit India movement launched by Mahatma Gandhi against the colonial government in 1942, Pradeep, by then an established film songwriter in Bollywood, India's film capital city of Bombay, wrote a string of nationalistic songs in films like Kismet ("Fate") that became instant hits and infuriated the British who considered them seditious. Although warrants were issued for his arrest, Pradeep managed to evade detention. Born Ramchandra Barayanji Dwivedi in 1915 into a middle-class Brahmin family in the small central Indian town of Badnagar, in Madhya Pradesh state, he changed his name to Pradeep (meaning light) and moved to Bombay in 1939 after graduating from Lucknow University in the north. Pradeep made his debut as a lyricist in the film Kangan ("Gold Bangle"), which established his credentials as a popular songwriter. After a string of successful hits, in 1958 he was honoured by the record company His Master's Voice who produced an album containing 13 of his songs; three years later he won several awards including Best Film Song Lyricist. Soon after he was made Rashtrakavi, or Poet Laureate, after which he became known as Kavi ("poet") Pradeep. He was prolific till the mid-1980s, when old age and a newer crop of songwriters more interested in gimmickry than substance forced him into retirement, virtually forgotten by a once adoring public. Last year Kavi Pradeep was remembered again when Lata Mangaeshkar, India's best known singer, announced that he had won a 100,000 rupee award (around pounds 1,430) for his contribution to Indian cinema and went personally to his house to hand over the money. Thereafter, the government conferred Pradeep with the prestigious Dadasaheb Phalke Award for a lifetime of achievement in films, which coincided fittingly with India's 50th anniversary of independence. Kuldip Singh Ramchandra Baryanji Dwivedi (Kavi Pradeep), songwriter and poet: born Badnagar, Madhya Pradesh 6 February 1915; married (two daughters); died Bombay 11 December 1998.





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The tongue weighs practically nothing,
But so few people can hold it.

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I am delighted to participate in this glittering star-studded event of the year organized by the Ministry of Information and Broadcasting -- the presentation of the 45th National Film Awards.

The National Awards offer an opportunity to assess annually the achievements of the Indian cinema. These awards recognize and honour the producers, the directors, the actors, actresses, the script-writers cinematographers and other artistes who have made outstanding contributions to the making of films. They also help in discovering and encouraging the emerging talents and the new directions and trends in the Indian cinema.

May I extend my heartiest congratulations to all the recipients of this year`s awards, and in particular to the winner of the prestigious Dada Sahib Phalke Award -- the great lyricist popularly known and acclaimed as Pradeep.

We are proud of having the biggest film industry in the world in terms of sheer output and its exciting variety. It is appropriate that in the golden year of our independence the Indian cinema has been given the status of an industry. I congratulate the Minister of Information and Broadcasting on this step. I am sure that it will provide a new stimulus to the growth and development of the cinema in our country and go a long way in improving the working conditions and amenities for the lakhs of workers who are directly or indirectly dependent on this industry.

The cinema is a powerful and colourful medium of entertainment, information, education, and artistic expression. It has become part of the texture of the cultural life of the Indian people, disseminating widely and thinly the elements of that culture, introducing new and, often disturbing elements into it, and changing it almost unknowingly for good or evil. The influence of the cinema is pervasive and far-reaching in moulding the tastes and values of people and in bringing about changes in society. Like any good art form it holds up the mirror to life, though very often it might be an exaggerating and distoring mirror.

In 1955, inaugurating a Seminar on films in India, Pandit Jawaharlal Nehru said the oft quoted sentence:- `I think it is perfectly correct to say that the influence of films in India is greater than the influence of newspapers and books combined`. The audience cheered him for the remark, but not for long, because he added the not so often quoted words:- `I am not at the moment talking about the quality of influence`.

The quality of Indian films, the wide gap between the art films and the commercial films, has been debated endlessly in India. Whatever be the criticisms that may be voiced, one overwhelmingly constructive contribution of the Indian cinema has to be recognized and loudly acclaimed; it has been one of the consistently unifying forces in the Indian nation and in the Indian society. While religious, communal, regional and linguistic differences have been unleashing all the fissiparous forces in our society, Indian films cut across all these barriers and distinctions and help in forging the emotional unity of India and the cultural integration of this nation. Indeed its influence in this respect overflows the boundaries of India and reaches out to the minds and hearts of our people scattered the world over.

One cannot forget that during the freedom movement, despite official obstructivism, Indian cinema had served the national cause. Several producers and directors suffered in the process. Likewise several social causes and movements found their exponents in the Indian cinema. To-day I am glad to say that there are producers and directors of films, and reputed actors and actresses who are activists in espousing national, social and environmental causes, quite apart from their indulgence in the froth and bubble of politics. Indeed film artistes with their immense popularity and glamour could be the most effective exponents of good causes in society, and the medium of the cinema the most powerful vehicle for the transformation of our society riddled as it is with outmoded customs and practices that stand in the way of change and progress.

I am afraid the Indian cinema, as a medium, has not been able to serve this larger purpose to-day under the pretext of the compulsions of mass appeal. At the seminar of 1955 to which I referred earlier, Jawaharlal Nehru had dealt with this problem, and said: `Public taste to some extent moulds what is presented to it; at the same time, what is presented mould public taste`. But it seems little effort is being made to mould public taste. On the contrary every attempt is made to debase public taste so that vulgar entertainment could be sold to them for the sake of making profits. I have heard the argument that the masses, the poor, want and deserve an escape from their life of drudgery and the frustrated youth seek vicarious liberation, and they should be given this escape through flights of fancy or descent into depths of degeneration. Let us not commit the error of assuming that the masses have poor taste, and that the youth is looking for depravity. Lack of resources do not mean lack of refinement. In fact it is the excess of money that is often accompanied by lack of refinement.

The media in India to-day is depicting violence, rape and molestation of women almost recklessly. In the old days it used to be said that there was a recipe for the average Indian film which included two or three dance sequences and songs. To-day it seems one or two scenes of bloody violence, attempted or accomplished rape scenes, and scenes of molestation of women, are the indispensable ingredients of the average recipe for a film. It is time the media, especially the film media, realizes that it has a responsibility to society in upholding certain values and standards. The violence and rape depicted in a glamourised and dramatically appealing form in our films have a debasing and provocative impact on the minds of the people, especially the young people. The depiction of women in our media continue to be violative of all canons of minimum decency. I am not advocating censorship in the name of morality, but self restraint by film makers in the name of decency, leaving things to imagi nation rather than the gyrating exposure of pulchritude. We have come a long way from the 1920`s when the Censor Boards were presided over by the Commissioner of Police who, in turn, left the work of the Board to be largely done by two Inspectors.

Our films should reflect those aspects of Indian life that are truly Indian so that public in India as well as international audiences could understand and appreciate our culture. Of course not only the good and pretty aspects but the bad and ugly aspects of life should also be shown. Good art, good cinema, is always rooted in the social realities of the nation. In the actual life of an Indian and in the grass roots of our society there is so much that is full of drama and excitement, so much that could make people laugh and cry, so much that could be converted into great films by the touch of creative artistes. The greatest Indian films are based on the life of the people transmuted into great art by the creative hands of great directors and producers like Bimol Roy, Satyajit Ray, Shanta Ram, Prithviraj Kapur, Aravindan and others.

Music has an all pervasive, overinforming role in Indian Cinema. Music, especially in the lyrical form, is like a magic flame that melts all in beauty in an Indian film. It has been said that `the cinema is the poet`s weapon`. If that is so Indian poets, especially the Indian lyricists, have made the cinema an instrument for conveying elevating patriotic and socially inspiring thoughts through their lyrics. I am, therefore, exceedingly happy that the Dada Sahib Phalke Award this year has been bestowed upon the great poet Pradeep who has moved the minds of millions of our people by his lyrical lines. He richly deserves, may be it should have come to him earlier, the Award instituted in the name of the father of Indian cinema. I congratulate Pradeep and wish him good health and long life. And once again I offer my felicitations to the winners of 45th National Film Awards. And may I conclude by thanking the distinguished members of Jury, and, above all, the millions of cinema viewers whose aesthetic sense sustains the Indian cinema.





____________
The tongue weighs practically nothing,
But so few people can hold it.

sangeet Thanks for sharing with us.





____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

Here is the song 'Dekh Tere Sansar Ki Haalat' from movie 'Nastik'.

Movie : Nastik - 1954
Music Director : C.Ramchandra
Mood/Type : Un-Categorized

-----------------------------------------------------------
[singer: Pradeep Jee]


dekh tere sansaar ki haalat kya ho gai bhagavaan
kitana badal gaya inasaan, kitana badal gaya inasaan
sooraj na badala, chaand na badala, na badala re aasamaan
kitana badal gaya inasaan, kitana badal gaya inasaan

aaya samay bada bedhanga
aaj aadami bana lafanga
kahin pe jhagada kahin pe danga
naach raha nar, ho kar nanga
chhal aur kapat ke haathon apana
bech raha imaan,
kitana badal gaya insaan.....

raam ke bhakt, rahim ke bande
rachate aaj, fareb ke phande
kitane ye makkar ye andhe
dekh liye in ke bhi dhandhe
inhin ki kaali karatooton se
huwa ye mulk mashaan,
kitana badal gaya insaan....

jo ham aapas men na jhagadate
bane hue kyon khel bigadate
kaahe laakhon ghar ye ujadate
kyon ye bachche maan se bichhadate
phoot-phoot kar kyon rote
pyaare baapu ke praan,
kitana badal gaya insaan...........

===========================

Now with translation:

Song : DEKH TERE SANSAR KI HALAT KYA HO GAI BHAGWAN

Dekh Tere sansãr ki hãlat kyã ho gei Bhagwãn
Look what the situation of your world is o Lord

Kitnã badal gyã insãn, Kitnã badal gyã insãn
the humans have changed so much

Sooraj na badalã chãnd na badalã, Na badalã re asamãn
the sun hasn't changed, nor the moon, nor has the sky

Kitnã badal gyã insãn, Kitnã badal gyã insãn
but the humans have changed so much


Ãyã samya baðã beðhangã, Ãj ãdami banã laphangã
The era that is here is so unsuitable, today the men have become so unsettled

Kahin pe jhagaðã kahin pe dangã, Nãch rahã nar hokar nangã
some where there are fights, some where riots, men dance away half naked

Chhal aur kapat ke hãthon apnã bech rahã imãn
with fraud and pretexts men are selling their faith

Kitnã badal gyã insãn.....
so much have the humans changed


Rãm ke bhakt raheem ke bande, rachte ãj fareb ke fande
the devotees of God, are creating ways to cheat

Kitne hain makkãr yeh andhe, dekh liye inke bhi dhandhe
the blind are also cheaters, have seen even their deeds

Inki kãli kartuton se hua yeh mulk masãn
from the evils done by them the world is turning masan
Kitnã badal gyã insãn.....

Jo ham ãpas men na jhagaðate, Bane huye kyon khel bigaðate
if we hadn't faught each other, why would the winners become losers

Kãhe lãkhon ghar yeh ujaðate, Kyon yeh bache mãn se bichhaðate
why would so many houses be destroyed, why would the children be separated from their mothers

Phoot phoot kar kyon rote pyãre bãpu ke prãñ
why would have Bapu ji died so desperately

Kitnã badal gyã insãn.....
men have changed soo much





____________
The tongue weighs practically nothing,
But so few people can hold it.

Hindi Song Title: Pinjre Ke Panchhi Re
Hindi Movie/Album Name: NAAG MANI
Singer(s): PRADEEP  

pinjare ke panchhi re, tera dadr na jaane koe (2)

kaha na sake tu, apani kahani
teri bhi panchhee, kya zindagaani re
vidhi ne teri katha likhi aansu mein kalam duboe
tera dard ...

chupake chupake, rone vaale
rakhana chhupaake, dil ke chhale re
ye patthar ka desh hain pagale, yahaan koi na tera hoy
tera dard ...





____________
The tongue weighs practically nothing,
But so few people can hold it.

The bard of India
Lata Khubchandani

It was a generation that invested in values, one which believed in India and a future filled with hope. And if all those ideals have gone now, following in their wake are those who held them in high esteem, the latest being Kavi Pradeep, immortalised by his Ai mere watan ke logon.

But maybe it doesn't make sense grieving at his passing for Kavi Pradeep's was a life well-lived and complete; longevity would have meant little to him anyway.

The Dadasaheb Phalke conferred on him earlier this year was a fitting finale, though perhaps half a century overdue.

When you brace yourself to meet someone who wrote songs fired by the spirit of patriotism, and suffused with altruism, you would expect an intense, serious person. In that sense, Kavi Pradeep is a disappointment. For he was a jovial, loveable man who tended to be just a little impatient.

Like many of those of his time, there was a gentility about him that often showed up in the self-deprecating way he played down his achievements whenever possible. But still, in a rare mood of gravity, he spoke of the time he wrote the song that made him so famous.

He was walking on the Matunga sidewalk one day and was filled by a sense of oneness with the pavement dwellers there. The words, Ai mere watan ke logon, on the flap of a box he was carrying then.

Of course, the words changed context when the song was finally written down, it allegedly had the two Mangeshkar sisters wrangling over it, and which brought tears to the eyes of then prime minister Jawaharlal Nehru.

But while he himself wrote about meaning and the benefit of mankind, he was never one to criticise the writers of today though he didn't mind mildly chastising them.

"I didn't waste my life writing only about S**, lust, love, romance and all that. Love is but a part of life, and the love written about today talks about love between the sexes only. But do young men and women have a monopoly where love is concerned? Aren't there different kinds of love -- that between a mother and her children a father and his children, between a brother and sister between a bhakt and his deity, between a man and his motherland?

"I chose to write about all these different kinds of love. The saint-poetess Mirabai wasn't married to Krishna but she loved him and spent her life singing about him... Perhaps it was the atmosphere in which we lived that evoked patriotic feelings in us, but then, in those days, we had good upbringing, good grooming and good command over the language. That is why our work was also good."

There is some truth in this. Not one of the songs written by Kavi Pradeep since he first wrote for the film Kangan in 1939 has lost its beauty with the passage of time.

Kavi Pradeep was born Ramchandra Narayanji Dwivedi in Badnagar in MP on February 6, 1915. That was during the first world war. Pradeep grew up in Uttar Pradesh, writing and reciting poetry.

"A lot of people wrote in those days and I was encouraged because I was saying something that listeners then appreciated.

"I finished my graduation and decided to join a teacher's course and teach, but destiny had other plans for me. I was invited to a Kavi Sammelan in Bombay..." And he never left. For Himanshu Rai of Bombay Talkies signed him on for Rs 200 and made him sign a contract for Kangan.

Despite being a part of the film industry, Pradeep had a clean lifestyle, trying to live up to the values he'd inherited. And the honesty that was part of those values was perhaps what imbued his music with the special touch.

Despite his patriotism, Pradeep was an avid listener to the BBC news and kept abreast of all that was happening in the country.

He received every major award India had to offer, among them the best film lyricist award in 1961, the Sangeet Natak Academy Award, the Film Journalist Association award, the IMPPA award, the Mahan Kalakaar award, the Rajiv Gandhi award, the Sursingar and the national integration award and the Sant Gyaneshwar award.

He was the first to admit, "I've achieved success through films, something I'd looked down upon earlier. It gave me everything one could desire."

And that contentment with life remained with him to a peaceful death.

As the priest said at the pooja performed for him, "How many of us claim to have done the karma we've been sent to do in this world?"

Kavi Pradeep wouldn't have bothered; he'd done better than most others have.





____________
The tongue weighs practically nothing,
But so few people can hold it.

____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.

____________
"I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.