Lijit Ad Wijit

Tuesday, July 29, 2014

The Religion is Love

I was the chief guest at a CD release function some time back. Dr. Shashank Inamdar, a music loving doctor from Goregaon composed music for an album based on the Ganapati Atharvashirsha. The songs were sung by veteran music composer Shridhar Phadke and sung by the supremely talented Sadhana Sargam. The function was held in Keshav Gore hall in Goregaon.

As the chief guest, I was asked to speak on the CD that was to be inaugurated. A strange fact struck me as I stood up to speak. I said that there are certain peculiar things that happen only in India. This was one such incident. That a doctor of medicine should produce music based on the Atharvashirsha and then it should be released in a hall named after a socialist leader at the hands of an agnostic - this can happen only in India! 

After the inauguration Dr. Inamdar hosted a small dinner for us at his residence. It was a small gathering. Shreedharji, Sadhana Sargam and Dr. Inamdar's close friends were present. The conversation shifted to a lot of different topics from politics to religion to music and to spirituality and psychology. The conversation also hovered around Narendra Modi and the Zubin Mehta concert. Shreedharji like his father Sudhir Phadkeji is unabashedly an RSS man. As he talked about his art and also his political convictions, conversation moved to his father, Sudhir Phadke and his music. 

I could not help but observe how art catalyses and lubricates the handling of multiplicity of identities in this wonderful country of ours. 

We all know how Sudhir Phadke and G. D. Madgulkar were from diametrically opposite political backgrounds. Sudhir Phadke was a Jan Sangh person while Madgulkar was a hardcore Congressman. We are told of a lot of incidents when these two stalwarts would not see eye to eye on their political philosophy. One particular incident that I vaguely remember having heard was when the Madgulkar, Phadke and Raja Paranjape got together for a music sitting during the film Lakhachi Gosht. The conversation travelled to politics and soon turned into a heated debate. 
Raja Paranjape told the songwriters - "In your political quarrel it is my film that is suffering." 
Madgulkar picked up the pen and paper and said, "Is that all? Tell me the situation."
Raja Paranjape narrated the situation of the song. Within 10 minutes, Madgulkar had already penned the song. He put down the paper and said in a huff- "Okay. Here is the song. I am leaving."

As he turned and reached the door, Babuji (as Sudhir Phadke is popularly known), called after him - "Won't you like to hear the tune before you leave? It's ready!"

The song was Dolyat Vaach Maajhya Tu Geet Bhavananche!

I have an old DD recording with me on VHS of a concert of the Pakistani Ghazal maestro Ghulam Ali singing Chupke Chupke. And sitting in the audience - on the floor - next to each other are Kalyanji, Naushad and Sudhir Phadke. The excitement and bliss on Babuji's face is unmistakable when Ghulam Ali breaks into a taan and then arrives flawlessly on the sam. (The first beat of the rhythm cycle). Art fuses all identities and creates a bond that is beyond boundaries.

I have always been and continue to be a diehard fan of the Pakistani Ghazal maestro Ghulam Ali. Some years back, while I was still in college, Ghulam Ali came to India for a private concert in Belgaum. As I knew the hostess of the programme well, I persuaded her to let me pick up Khansaheb at the airport. 
So along with my father and our driver, Rafique, both of whom were, like me, hardcore Ghulam Ali fans proceeded to the airport. The flight was delayed by 15 minutes. When Khansaheb appeared I told him that I had come to pick him up. His manager said that one of the musicians had yet to get his baggage. The expression in Ghulam Ali's eyes was that of utter contempt when he said, "what else do you expect in a country like India!"
I was a little shocked to see this artiste displaying open contempt for a country that has always welcomed him with open arms and has been a major source of his income. To tell you the truth, I was pretty miffed at this. But whatever the case, Ghulam Ali was, at this moment, a guest in this country and my culture (even as a 20 year old) did not permit me to be rude to him.

Then, Ghulam Ali sat in the car and as he rolled down the window, a cool breeze was felt entering the car. Almost as a reflex action Ghulam Ali hummed under his breath - "Ik zara si hawa ke chalte hi!" (As a gentle breeze blows)
I immediately caught on to the phrase and said, "Khansaheb, will you sing this ghazal tonight?"
He looked at me, amused.
"You know the ghazal?"

"Yes." I said. "Aa gayi yaad Shaam Dhalte hi."

Ghulam Ali looked at me with interest and appreciation and could not hide even the amusement in his eyes. He had a slight smile when he said:

"Dekhenge, bete, Dekhenge!" (We'll see, son!)

The rest of the journey from the airport to Hotel Sanman in the heart of Belgaum was pleasant conversation mostly dominated by my father and Ghulam Ali's manager-cum-friend, Badal (I don't remember his second name). Finally, when we arrived at the hotel, I accompanied Ghulam Ali to his room along with his luggage. He smiled at me kindly and said:

"Rehearsal dekhna pasand karoge?" (Would you like to watch us rehearse?)

I don't have to tell you that I jumped at the opportunity. In the evening all the musicians gathered in Ghulam Ali's room for rehearsal of the concert. The tabla player was a resident of Mumbai and he seemed nervous as he was playing with Ghulam Ali for the first time. One by one the musicians had a quick look at the songs that they would be singing in the night. I was like a small child in a toy shop! At the end of the rehearsal, Ghulam Ali looked at me with a smile and asked if I enjoyed. I was so full of joy that I just nodded enthusiastically.

That night as the concert began, Ghulam Ali opened with a thumri. The gathering was private and intimate, and I found myself a seat in the third row, quite close to the stage. After the thumri he sang his first ghazal, "Aa Gayi Yaad Shaam Dhalte Hi". This was the same ghazal which he had hummed while sitting in my car this morning!

The concert progressed like a dream. I couldn't believe that I was watching my favourite composer - singer LIVE! Ghulam Ali had his ghazals written in a book that was kept in front of him. It was a windy December night and the pages ruffled as the wind blew hard. Ghulam Ali was singing the ghazal - Para Para Hua Pairahan-e-Jaan (The clothing of the soul is torn to pieces). As he began singing his first she'r (couplet of a ghazal), koi aahat, na ishaara, na saraab (there is no presentiment, nor an indication , nor any mirage), the pages of his notebook ruffled again and he lost the pertinent page. He sang the first line of the she'r again and by now it was evident that he had forgotten the next line of that she'r. Being a die-hard fan of the singer, I had almost all his ghazals by heart. I quickly got up to my feet and prompted the next line of the she'r which was -

Kaisa veeran hai yeh dasht-e-imkaan (what a lonely place this desert in the heaven is!)

The highly appreciative Ghulam Ali raised his hand in an aadaab towards me and gave his trademark charming smile. The concert then cruised along. He was at his best and so was the audience which contained a lot of luminaries. The late Shashank Lalchand (veteran sound engineer), Bharati Acharekar, Vandana Gupte and Rani Verma and a lot of other celebrities were in the audience.

Khansaheb sang till 2AM and then said: "I'll take one last farmaish (a suggestion to the liking of the audience) as I am quite tired and have a long journey ahead tomorrow. So one last song of your choice!"

I jumped to my feet and called out for my favourite ghazal - Dil mein ik leher si uthi hai abhi. At the same time from the first row, Bharati Acharekar, Vandana Gupte and Rani Verma also gave a farmaish of a Punjabi song - Pata laga hundi ki judaai. It was three voices against one and Ghulam Ali started to sing the Punjabi number.

When he was done with the song, he shut the bellows of his harmonium and thanked the audience for their wonderful participation. It was 2:15 in the morning. Then all of a sudden he looked at me and opened the bellows once again.

"Yeh baccha mujhse aur meri mausiki se bahut pyaar karata hai aur sangeet ke chahnewale ka dil dukhana munasib nahin!" he said smiling in my direction. (This boy loves me and my music a lot and it is not right to hurt a music lover).

For the next 45 minutes he enthralled the audience with his amazing rendition of Dil mein ik leher si uthi hai abhi! I think that was his best rendition that day. Time and again he kept looking at me. It was from a musician to a music lover - As Dnyaneshwar says, from one heart to the other! All the boundaries between us seemed to have evaporated. There was no India - Pakistan, No Marathi - Urdu, No Hindu - Muslim divide as only the singer and the listener remained. The most sublime of all feelings!

As I sign off, I would like you to know that Sudhir Phadke, the RSS man you saw sitting on the floor, alongside Naushadji, listening to Ghulam Ali - yes the same RSS man! Do you know who sang the mangalashtakas (auspicious hymns sung in some Hindu marriages) in his marriage in 1949? Yes - you wouldn't have guessed - It was Mohammed Rafi!

© Kaushal S. Inamdar, 2014

Tuesday, September 03, 2013


It is the birthday of Pyarelal Sharma today. I don't know how old he turns today. The music of Laxmikant-Pyarelal (LP) however refuses to turn old.

I can talk a lot about LP's music but I'll reserve that for some other time. One blogpost is not going to be enough for that. What I want to share today is my own memories of Pyarebhai. 

My childhood was spent in Dadar. Many people would reckon that Dadar is where Mumbai ends. Anything after that is a suburban affair. So I lived in Dadar for a long time of my life. My apartment was near Kirti College. The peculiar fact of my place of residence was that exactly opposite Kirti College is a building called UMA. Next to UMA is a tenement that is called the AHMED MANSION. It is ironical that tenements in Mumbai are called mansions! Ahmed Mansion is round the curve and next to Ahmed Mansion is AMEYANAND - the apartment block where I lived. Now comes the peculiar twist that destiny loves to give! Snehal Bhatkar, the composer of the famous song by Mubarak Begum, 'Kabhi Tanhaiyon Mein Yun Hamaari Yaad Aayegi' lived in UMA. Pyarelalji spent the initial part of his life in AHMED MANSION. And I spent my childhood in AMEYANAND! Three music directors of three different eras living on the same street! 

It is my good fortune that I met both the great music directors of the earlier eras. Snehal Bhatkarji I met soon after my college days when I interviewed him for a magazine. 

It was my good friend, Ajay Talgeri, who introduced me to Pyarebhai. Even today, on a Sunday, once in a month or two months, all the musicians who played for R. D. Burman get together in the Bhargava music shop and have lunch together. Ajay Talgeri who is a member of this lunch party was kind enough to invite me for this August gathering on one Sunday afternoon. It was one of the memorable afternoons of my life. I was among legends like Pt. Ulhas Bapat, the great keyboardist & accordion player, Kersi Lord, the multitalented Bhupinder Singh! It was a dream! 

After the lunch was over we went over to Kersiji's place in Bandra where Ajay Talgeri persuaded me to play the Marathi Abhimaangeet for Kersiji. I played the song. It was after he heard Maajhya Marathicha Bol that he put his hand in the pocket and drew out a 500 rupee note and handed it to me as a prize. I was overjoyed to receive a prize from a legendary musician who had played the accordion in Roop Tera Mastana or arranged the string section of Tum Jo Mil Gaye Ho! It was then decided to pay a visit to Pyarebhai's Mount Mary residence. I was asked to come along. 

You can imagine how my heart must have been beating. Pyarelal of the Laxmikant Pyarelal fame!! And to visit his house!!! I realised this was going to be one of the most memorable days of my life! 

When we went to Pyarebhai's house we were greeted warmly by him and his charming wife. Kersiji and Ajay introduced me to him and asked me to play the Marayhi Abhimaangeet for him. Pyarebhai, most graciously gave his consent and listened to the song with great concentration. After the song was over he patted my back and said - "गाना बड़ा करना तो ख़ैर अलग बात है, लेकिन कमाल की बात ये है कि आपने धुन बड़ी अच्छी बनाई!" "(It is one thing to make a big song, but what is amazing is that you have made a very good tune.")
Those who know him well shall know what a compliment that is! 
His wife very warmly spoke to me in Marathi and said that henceforth she would talk to me only in Marathi!

I told Pyarebhai about how I lived near Kirti College and he was very excited to learn that. 
"I still visit my old neighbours there and next time I go there I'll visit your parents too!" That was the simplicity of the man. 

Three to four months later Pyarebhai had come to the sets of the Marathi SAREGAMAPA as a judge. I got a call from a producer friend saying that Rahul Saxena was singing one of my compositions in the episode in the presence of Pyarebhai and would I like to come over and witness the episode. I went gladly. I am giving the relevant clip below.

As I said in the episode of SAREGAMAPA Laxmikant-Pyarelal's music changed with the times but times also changed with LP's music.  From Hasta Hua Noorani Chehra to Choli Ke Peechhe Kya Hai LP's music saw everything! 

On his birthday, I wish Pyarebhai good health and great happiness - happiness multiplied by the happiness his millions of songs has given to billions of his fans! 

© Kaushal S. Inamdar, 2013

Friday, August 23, 2013

Two Obituaries.

21st August 2013 was a bleak day for Maharashtra. Dr. Narendra Dabholkar, crusader against superstition was assassinated by unknown assailants near the Omkareshwar temple in Pune. And Jyotirbhaskar Jayantrao Salgaonkar breathed his last at the Hinduja Hospital in Mumbai. The quirk of destiny (for loss of a better word) and the irony of the events cannot be lost on anybody.

That Dr. Dabholkar and Shri Salgaonkar should die on the same day did not seem an irony enough so fate played a game even with locations of their deaths. Dr. Dabholkar, a man of medicine and an atheist was gunned down, reported the journalists, near the Omkareshwar temple; while Jyotirbhaskar left for heavenly abode in one of the most technologically up to date hospitals of Mumbai. The place of their deaths will forever be noted in history.

For all we know these may be random events and it is our compulsion that we envisage a brain or a doer behind every single event. But dimaagh hai ki maanta nahin! We rationalise every event, every single detail of the event. I say even attributing a series of events to destiny is rationalising.
Jyotirbhaskar Jayantrao Salgaonkar
Of the two people, I was acquainted with Jayantrao. My father and he served as trustees on the Siddhivinayak temple. My father is an eminent tax advocate and that was the reason why he was on board as a trustee. He was and continues to be a sort of an atheist. I met Jayantrao a number of times, mostly at cultural programmes. He was a good orator and well read man, in every way a scholar. I remember that I had invited him for the inaugural concert of Jhenduchi Phule, in which I had set to music Acharya Atre's parodies and satires.

I, like my father, being sort of an atheist have never indulged in rituals of my own accord. It so happened that the pitru-paksha had just started. Apparently, it is a belief that you ought not to buy new things or start new projects during this fortnight. It is considered to be a fortnight of mourning for ancestors. I was blissfully of unaware of all this and in his speech Jayantrao mentioned that he was surprised that I had inaugurated the programme in the pitru-paksha. He said that normally people don't embark on new ventures during this time. Then he congratulated me on not being superstitious about it and going ahead with the concert. He dismissed all apprehensions of any ill effects of starting new ventures in the pitru-paksha! And the reason he agreed to come, he said, was to quell this superstition!

Jayantrao was, more than anything else, a successful Marathi entrepreneur. I don't really know what to make of him as an astrologer as I never looked at him for any predictions. But Kalnirnay as a calmanac and as a magazine was Jayantrao's great contribution to the Indian ethos. He also sponsored a number of cultural events and encouraged the arts. 
Dr. Narendra Dabholkar
On the other hand I had no personal acquaintance with Dr. Narendra Dabholkar but I was and am in complete sympathy & support of the work he was doing. He was the voice of reason in a society desperate to stay unreasonable. I remember Dr. Dabholkar's appearance in Khupte Tithe Gupte. He invoked stories of Gadge Maharaj to prove his point. He was an articulate speaker and although passionate about his thought, his voice was never shrill. In fact, when he spoke, he reminded me a lot of Dr. Ashok Ranade. His speech was clear, studious, laced with wit and dipped in wisdom. Even in Khupte Tithe Gupte he expressed his displeasure with the Vilasrao Deshmukh government for stalling the Anti-Superstition & Black Magic Bill. He also expressed surprise that it was the members of the ruling party who actually stalled the bill. But not once did his voice betray a hint of anger or ill temper. After all his voice was the voice of reason in the cacaphony of unreasonable arguments. He told tales of Gadge Maharaj and quoted Tukaram verbatim without as much as a chit of paper in his hand. Dr. Dabholkar, I would say, came across as a very spiritual person. And this is not ironical. Spirituality has little to do with religion and absolutely nothing to do with superstition. 

What disturbs me however was that Dr. Narendra Dabholkar's death was not meant to be. His life was interrupted in the most gruesome and inhuman manner. As Hercule Poirot says in almost all his novels - "I don't approve of murder." And Dr. Dabholkar's murder was not just deeply disturbing, it was alarming. 

George Bernard Shaw said, "Assassination is an extreme form of censorship." I have a gnawing feeling that his murder was not the result of fanaticism; it was the result of a corrupt economic and political order. After all superstition, in any faith, is lucrative business. From the people who travel with naked feet to the Siddhivinayak temple to the Novena at the Mahim church to the public display of spiritual healing there is more money involved than spirituality or even religion. 

Aristotle said that democracy is the corrupt form of polity. The degeneration of a democracy is in a public dictatorship - dictatorship of the people, by the people, against the people. Dr. Dabholkar's assassination proves that. We live in times that has an excess of faith and a shortage of belief - not to mention an absolute dearth of tolerance. There is nobody more relevant than Voltaire today, who said - "I don't agree with what you say but I shall defend to death, your right of saying so."

And so while I feel saddened by Jayantrao Salgaonkar's death as I knew him as an acquaintance, it is Dr. Dabholkar's death that has moved me and changed something within me. It has been sort of a spiritual awakening. That their deaths came together reminded me that in their lifetimes they existed together and could grow together in opposite directions. Both, in their own ways, contributed to the society. Even today the Dabholkars and the Salgaonkars of our society continue to coexist. And a sane, tolerant society is one where they shall continue to coexist. 

© Kaushal S. Inamdar, 2013
Note: The photos have been sourced from the internet. There is no intention to infringe the copyright of the copyright holders. Jayant Salgaonkar's photo has been sourced from wikipedia. Dr. Dabholkar's photo has been sourced from

Monday, August 19, 2013

Dayaghana Re... A Prayer from PITRUROON

As I type this post I am sitting in Susmit's Limaye's music room in Goregaon. We are in the middle of the 3rd reel of composing the background score for PitruRoon, a movie being directed by Nitish Bharadwaj. Nitish is directing his first movie and his enthusiasm is infectious. We have taken a ten minute break for tea. Susmit and Nitish are collaborating on the tea making while I write this post.

The background score will soon be over and the film will go into the final stages of post production. Although composing and recording the background score is exciting, the part I enjoy most is doing is the songs.

And I absolutely cherished the experience of composing and recording the songs of PitruRoon, which is based on a story by Sudha Moorthy.

The first song that I composed for the film was DAYAGHANA RE... a prayer. Ranga Godbole, also the producer of the movie is a prolific lyric writer. He penned the song in a little above 10 minutes, so the ball was in my court. For this song, I did what I usually never do. I composed two tunes for the same lyrics. Nitish chose this one! I myself was in favour of this tune. The words Dayaghana Re were like a calling. The prayer was different from most other prayers because it was not a prayer that asked or demanded but thanked in gratitude.

There was a lot of discussion on who the singer should be and I came up with the name of Roopkumar Rathod, whose fan I have always been. I believed that his voice would suit Sachin Khedekar on whom the song was to be picturised. Also Roopji's voice had the magnanimity and contentment. I always find his rendition very spiritual even in a romantic song.

In the arrangement too there were a lot of discussions with Susmit Limaye who arranged the song. The interlude before the first verse uses a string & horn arrangement to denote the vast landscape of the countryside. We also used the bamboo flute, played by Varad Kathapurkar to underline the rustic Indianness of the song. The percussion is altogether acoustic (played by Vijay Shivalkar & Mandar Gogate) which accounts for the earthy sound. We have used as many acoustic instruments in the song as possible.

The song released on Radio Mirchi 98.3 FM, last week and has been getting good reviews. Next week I shall write about the other song... Man Moharale sung by Hamsika Iyer and Hrishikesh Ranade. Till then sing along with Dayaghana Re... A prayer of gratitude and contentment!

© Kaushal S. Inamdar, 2013

Tuesday, March 19, 2013

A Clean Sweep

From L to R: Kalyani Salunke, Aanandi Joshi, Jaydeep Bagwadkar, Madhura Kumbhar, Kaushal S. Inamdar, Kittu Myakal

Ajintha made a clean sweep at the first Radio Mirchi Music Awards - Marathi held in Mehboob Studios, Bandra, Mumbai winning 8 awards. The domination was unmistakable.

I am happy... very happy. But to know why I am so happy one has to recognise the significance of these awards. Radio Mirchi is a very popular radio station across India and they already have a property by the same name (Radio Mirchi Music Awards) in Hindi. And now they have held, for the first time, awards for music in Marathi. This increases the chances of Marathi music being played - especially NEW Marathi music being played across their stations in Maharashtra where Hindi music has held its sway. This is comforting news for music composers and musicians working in Marathi. If, in the third phase of the Prasar Bharati FM spectrum auction, Mumbai manages to get more stations, music lovers would like to hear some good Marathi music. And for the build up to the auction, I feel that these awards can go a long way. So from the bottom of my heart I thank the Radio Mirchi team - Tapas Sen, Ninad Sonawane, Indira Rangarajan, RJ Smita, RJ Aditi, RJ Rahul, RJ Prackriti and all the others who made it into a fantastic and memorable event.

For me Ajintha has always been very special. I believe that even individual awards are the result of chemistry between people. And so with great happiness I credit my entire team with these awards -

Music Director: Kaushal S. Inamdar
Associate Music Director: Aditya V. Oke.

Assistant: Mandar Gogate

Lyrics: Na Dho Mahanor,

Music Arrangements: Aditya V. Oke, Bhavesh Bhatt, Mithilesh Patankar, Vinayak Netke.

Associate Strings Arrangements: Neville Franco.

Background Score: Bhavesh Bhatt, Kaushal S Inamdar, Aditya V. Oke.

Rhythm: Deepak Borkar, Anil Karanjavkar, Vinayak Netke, Prabha Mosamkar, Krishna Musale,


Vibraphone / Spanish and 12 String Guitars: Dnynaesh Deo.
Bass / Spanish Guitar: Manish kulkarni / Sanjay Mahadik.
Santoor: Dhananjay Daithankar
Flute: Varad Kathapurkar.
Violin/ Swaralin: Mahesh Khanolkar, Shruti Bhave,
Ghungaroo Tarang: Deepak Borkar
With my favourite singer - Hamsika Iyer
Clarinet: Manchekar,
Shehanai: Yogesh More
Sarod: Sarang Kulkarni,
Strings Sections: Neville Franco, Puran Singh, Prakash Varma, Shyam Jawda, Rizwan Shaikh,
Viola: Abhijit Mazumdar, Sandeep Thakur,
Cello: Benny Gracious

Singers: Suresh Wadkar, Ravindra Sathe, Avdhoot Gupte, Swanand Kirkire, Milind Ingale, Kalyani Salunkhe, Urmila Dhangar, Kaushal Inamdar, Hamsika Iyer, Jaydeep Bagwadkar, Aanandi Joshi, Saee Tembhekar, Madhura Kumbhar, Priyanka Barve, Amruta Subhash, Yogita Godbole, Hrishikesh Ranade,
Tejaswini Kelkar, Nehha Rajpal, Savani Ravindra, Pt. Satyasheel deshpande.

Voice in Chimb Zali: Vinay Apte

Chorus: Umesh Joshi, Datta Mistry, Nilesh Mulye, Ketan Godbole, Vijay, Ganesh, Mangesh Chavan, Aditi Prabhudesai, Pragati Joshi, Rashmi Sule, Aarohi Mhatre, Aanandi Joshi, Kshiti Godse, Rasika Dhabadgaonkar, Madhura Kumbhar.

Recording Engineers: Kittu Myakal (ICPPL Studios), Aditya V. Oke (Audioarts), Satyajeet Ranade (Pancham Studios), Avadhoot Wadkar (Ajivasan Studios)
Mixing Engineer: Kittu Myakal (ICPPL Studios).
Assistants: Shailesh Sakpal (ICPPL Studios), Ganesh Pokle (Audioarts)

Mastered at: YRF Studios by Dipesh Sharma.

Special thanks to Vijay Dayal of Yashraj Studios.

The awards that Ajintha received were:

Best Recording & Mixing :  Kittu Myakal (Chaitacha Rang Sang)
Best Lyrics : N. D. Mahanor (Dolyanna Dasale)
Best Male Playback Singer : Suresh Wadkar (Shabdaat Gothale Dukkha)
Best Female Playback Singer : Hamsika Iyer (Mann Chimb Paavasaali)
Best Music Composer : Kaushal S. Inamdar (Mann Chimb Paavasaali)
Album of the Year Listeners' Choice : Ajintha
Album of the Year Jury Award : Ajintha
Song of the Year : Mann Chimb Paavasaali (Ajintha)

For those who have not yet listened to the Ajintha songs, here is the link. Feel free to share it with your friends.

© Kaushal S. Inamdar, 2012

Saturday, March 09, 2013

Nominations Galore!

18 nominations for Radio Mirchi Marathi Music Awards for AJINTHA! 6 music related nominations in Zee Gaurav! Phew! I really hadn't expected that. Prior to this I had received only one nomination and only one competitive award!

Frankly speaking, I haven't had much of a love affair with awards. Awards have always been elusive to me, competitive ones in particular. I had sincerely thought that BALGANDHARVA would change all that. But it didn't. I didn't receive a single nomination for BALGANDHARVA in Zee Gaurav, MaTa Sanman and the State Awards. I did receive the Dadasaheb Phalke Award for the music of BALGANDHARVA which balanced things in a manner of speaking. The interesting thing about Balgandharva was that the song that won all the awards for Anand Gandharva (Anand Bhate) was Chinmaya Sakal Hridaya. Now I had composed this song afresh for the film, but the challenge was to compose it as if it had been composed in Balgandharva's times! The result was that while the song won all awards for the singer, I didn't receive a single nomination because every time the jury would think that this was truly a Balgandharva song! Interestingly, it was for this very song that Anand Bhate went on to win the National Award! It was a touching moment for me when Anand, while receiving the award in Rashtrapati Bhavan sang out the lines from this song clearly mentioning that the song had been composed by me. This was to me, nothing less than an award.

Now with nominations raining for Ajintha, I am a little nervous once again. In the long run, awards do not really count, but at that moment of time, they mean a lot of things. An award for AJINTHA means that the songs will get airtime on radio, which is more precious than an award at this point of time, especially for a Marathi song, which still gets a step-motherly treatment from most of the private radio stations. There are people in these Radio stations who have been working hard for Marathi music to be played on their shows and it is to their credit that stations like BIG FM and Radio Mirchi have now started their own awards for Marathi music, which I sincerely believe is better music than what Bollywood is churning out. So till the awards are declared, I shall go through my mandatory nervousness while you enjoy a song from AJINTHA.

© Kaushal S. Inamdar, 2013

Wednesday, December 19, 2012

A Sick Society

There has been great angst against the molestation in Delhi Bus and rightly so. In a way, this incident is the tip of the iceberg. I am personally of the opinion that this is a crime not only against women but against humankind. And women and children are exploited on multiple levels in our society. This exploitation is sexual, physical, mental and even moral. The exploitation is not done only by men. The whole society is a part of it - men and women. As an artist and as a privileged human being, I feel responsible for these happenings in the very society which I am a part of. I make songs, not only for entertainment but for making this society a better place.

A few years ago I wrote and composed this song for a film called It's Breaking News. This song is dedicated to victims - victims of our society. Victims of rape, marital rape, child abuse, dowry deaths, one-sided love (if it can be called that), domestic violence, mental and sexual harassment at workplace - and finally us - we have been the victims of our own negligence.

The song has been sung by Hamsika Iyer.

हक़ीक़त ने ऐसा पकडा गिरेबाँ
और पड गईं सिलवटें ख़्वाब पर
ज़ुबाँ सिल गई है, बदन छिल गया है
और रूह रोती रही रातभर

दिन की रातें, रातों के दिन
जुग जुग लागे पल पल छिन छिन
मरते यहाँ हैं अरमाँ कमसिन
अंधेरों से गहरा नाता जुड़ा है
लेकिन उजालों से लगता है डर

एक ही छब और लाखों दरपण
ना कोई पर्दा, ना कोई चिलमन
दिल सेहरा और आँखें सावन
आँखों की बातें कोई न समझे
और हाथों की दुआ बेअसर

© Kaushal S. Inamdar, 2012