Something about "Ghazal"

Ghazal is a collection of Sher's which follow the rules of 'Matla', 'Maqta', 'Beher', 'Kaafiyaa' and 'Radif'.

For example:

1. koi ummid bar nahi aati koi surat nazar nahi aati.

2. aage aati thi haale dil par hasi ab kisi baat par nahi aati

3. hum waha hai jaha se hum ko bhi kuch hamari khabar nahi aati

4. kaaba kis mu se jaoge Ghalib sharm tumko magar nahi aati

'Sher'

A 'Sher' is a poem of two lines and every Sher in itself is a poem. So the four stanzas in the above example are independent poems or Sher. Ghazal is a collection of two line poems called Sher.

'Beher'

'Beher' is the 'meter' of the Sher's. It can be considered as the length of the Sher. Both the lines in the Sher *MUST* be of same 'Beher'. And all the Sher's in one Ghazal *MUST* be of the same 'Beher'. There are 19 (!!) kinds of 'Beher'. But in simple terms, 'Beher' is categorized in 3 classes. Short, medium, long.

For example:

Small :  ahale dairo-haram reh gaye  tere deewane kam reh gaye  [ Also Talat song, "dil-e-nadan tuze hua kya hai" ]      Medium :  umr jalwo me basar ho, ye zaruri to nahin  har shab-e-gam ki seher ho, ye zaruri to nahin  [ And by Gulzar, "ruke ruke se kadam, ruk ke baar baar chale" ]      Long :        ai mere humnashin, chal kahin aur chal, is chaman me ab apanaa guzaaraa nahin        baat hoti gulon ki, to seh lete hum, ab to kaaton pe bhi haq hamaaraa nahin        [The filmfare winner, "Manzile apani jagah hai" !! Yes! It IS a Ghazal.        And the Shayar is Prakash Mehra !! surprise, surprise !! ]

'Radif'

In a Ghazal, second line of all the Sher's *MUST* end with the *SAME*     word/s. This repeating common word is the 'Radif' of the Ghazal.      In our example, the 'Radif' is "nahin aati".      [Sometimes, the Ghazal becomes known by its 'Radif'. eg. "jaraa     aahista chal" sung by Pankaj Udhas. On RMIM we all know one Ghazal by     the 'Radif' as "aahista aahista", don't we? Or is it 2 or 3?]

'Kaafiyaa'

'Kaafiyaa' is the rhyming pattern which all the words before 'Radif'     *MUST* have.      In our example the 'Kaafiyaa' is "bar", "nazar", "par", "magar" etc.     This is a necessary requirement. Something which is followed even in the exceptions to all these rules.

'Matla'

The first Sher in the Ghazal *MUST* have 'Radif' in its both lines.     This Sher is called 'Matla' of the Ghazal and the Ghazal is usually     known after its 'Matla'. There can be more than one 'Matla' in a     Ghazal. In such a case the second one is called 'Matla-e-saani' or     'Husn-e-matla'.     In our example, the first Sher is the 'Matla'.

'Maqta'

 A Shayar usually has an alias ie. 'takhallus' eg. Mirza Asadullakhan     used 'Ghalib' as his 'takhallus' and is known by that. Other examples     are 'Daag' Dehlvi, 'Mir' Taqi Mir, Said 'Rahi', Ahmed 'Faraz' etc.     There is a Sher in a Ghazal, the last one, which has the Shayar's     'takhallus' in it.     [ A Shayar, can use the 'Maqta' very intelligently. He can "talk to     himself" like one in our example. I have lots of favourite Sher's     which are 'Maqta' of some Ghazal. Some gems are  koi nam-o-nishan puchhe to ai kaasid bataa denaa,  takhallus 'Daag' hai, aur aahiqon ke dil me rehte hai     and  jab bhi milte hain, to kehte hain, "kaise ho 'Shakil'",  iske aage to koi baat nahin hoti hai     The first one uses the meaning of the 'takhallus' to create the     magic, and the second one is just simple, simply beautiful. ]   To summarize, Ghazal is a collection of Sher's (independent two-line poems), in which there is atleast one 'Matla', one 'Maqta' and all the Sher's are of same 'Beher' and have the same 'Kaafiyaa' and 'Radif'.

Exceptions and Important points:

1. Ghazal is just a form. It is independent of any language. eg. in Marathi also, there can be (and there are) good Ghazals. 

2. Some Ghazal's do NOT have any 'Radif'. Rarely. Such Ghazal's are called "gair-muraddaf" Ghazal.

 3. Although, every Sher, should be an independent poem in itself, it is possible, that all the Sher's are on the same theme. What famous example can be other than "chupke chupke raat din aasun bahaanaa yaad hai". 

4. In modern Urdu poetry, there are lots of Ghazal's which do NOT follow the restriction of same 'Beher' on both the lines of Sher. [ My example in 'Maqta', the Sher by Shakil, is one. ] But even in these Ghazal's, 'Kaafiyaa' and 'Radif' are present.

 5. The restriction of 'Maqta' is really very loose. Many many Ghazal's do NOT have any 'Maqta'. [I think 'Maqta' was used in the earlier times, as a way to keep the credit. But since this is traditional, many Ghazal's do have a 'Maqta' just for the sake of it. Sometimes the name of the Shayar comes unnaturally in the last Sher of the Ghazal. ]

Ghazal rudaad hai naakaamiyon ki, Ghazal mehrumiyon ki daastaan hai  |  Ghazal riste hue zakhmon ka marham,  Ghazal ek chaaraa-e-dard-e-nihan hai  |  Ghazal ka husn hi hai, husn-e-aalam,  Ghazal ka noor hi noor-e-jahan hai |      - Jagdish Bhatnagar 'Hayaat'

Music Review: Azaan

One can pretty much sense that of late Salim Merchant has been really enjoying his stint as a singer as well.  The song in question is 'Afreen' which is a winner all the way with a melody that is not just instantly catchy but also haunting to the core. A love song which could have been gladly accepted by the director/actor of any big romantic musical, 'Afreen' is an Amitabh Bhattacharya written track that has a touch of Sufi to it but presented in a Western avtar, hence making it special. 

Deservingly, the song is heard in three more versions - 'Desert Mix ', 'Remix' and 'Reprise' version. Expectedly the 'Desert Mix' version has a Middle East feel to it and takes one into Arabian Nights setting, though with a liberal Western dose to it. The 'remix' version is for a club outing and turns out to be good enough for a dance floor. However real bonus comes in the form of 'reprise' version by Rahat Fateh Ali Khan. From Nusrat Fateh Ali Khan's ever-so-popular number 'Aafreen Aafreen' to Rahat Fateh Ali Khan's rendition of 'Aafreen' for Aazaan, it is quite a journey that music lovers would be glad to traverse.

Fun doesn't stop at 'Aafreen' though, what with Salim Merchant continuing to make the lovers smile with his rendition of 'Khuda Ke Liye'. He has Shradha Pandit for company who actually opens the song and does quite well in setting up the mood for this immensely likeable number that makes it two-in-a-row for Aazaan. Yet another number that could just have been the right inclusion in a Yash Raj/Karan Johar film, courtesy the melody that it excels in, 'Khuda Ke Liye' written by Amitabh Bhattacharya is a soft number that is not just sung quite well by Salim and Shradha but also makes one look forward to Aazaan as a film which otherwise was known mainly for it's action all this while. 'Remix version' of the song only ends up bringing added variety for the album which has been flowing on a good note till now.

The mood of the album changes though with 'Bismillah', an out and out Sufi number which is on the lines of 'Khwaja Mere Khwaja' [Jodhaa Akbar]. This time around the singer at the helm of affairs is Kailesh Kher and though he sings as per the song's mood, overall the song turns out to be highly situational. Expected to make an impact only as a part of the film's narrative instead of grabbing one's attention in a stand alone manner, this Irfan Siddiqui written number may not really be accommodated for its entire four minutes run.

Taking forward the Middle East tone of the album, next to come is 'Habibi Habibi' which is an item number picturised on the film's leading lady Candice Boucher. A kind of song that reminds one of the 70s setting where Zeenat Aman was often seen (remember The Great Gambler, Abdullah, Alibaba Aur 40 Chor etc.?), 'Habibi Habibi' is a number that immediately makes one visualise a belly dance in the offering. Written by Shradha Pandit, 'Habibi Habibi' sees Mitika Kanwar doing a great job behind the mike as she comes up with a rendition that aptly suits the song's setting. Benny Dayal joins her in this song which, though not extraordinary by any means, should be a 'masala' addition to the film.

Last to arrive is the 'Aazaan - Theme' which promises a lot due to the action setting of the film. It starts off well too and gradually picks up pace to reach a crescendo which is grand and lavish enough to create good excitement for a big screen extravaganza. However what's disappointing it that it is too short and lasts a mere two minutes.

OVERALL

Aazaan is a good album and what makes it special is the fact that there are two melodies in the form of 'Afreen' and 'Khuda Ke Liye' that could have fitted into the biggest of romantic musicals. As for some instant gratification, there is 'Habibi Habibi' that should suffice. If these songs are promoted to the fullest for weeks at stretch, there is very good probability of the music of Aazaan seeing a shelf life beyond the film's run in theatres as well. 

Open letter to a DELHI boy

Dear Delhi boy,

Namaskaram from the South of India, or as you may like to believe, the countries south of the Vindhyas. I came to your city 2 years ago with a brand new job and a bucketload of expectations. My friends and family here thought I was completely insane to choose Delhi over more female conducive cities like Bangalore or even Bombay. I am very sad to report that your reputation of being an ignorant, chauvinistic oaf with the intelligence levels of an autistic 3 year old on crack precedes you and it hurts me even more to admit to this rather accurate description.
Your reputation has travelled far and wide, to countries outside South India as well. And believe me man, it is not a pretty situation. I understand that your stone faded, ripped jeans, your V-neck cleavage showing t-shirts that reveal to the world that you have infact inherited your mother’s voluptuous shaved Punjabi bosom, are what you think maketh a man, but it does not. It only maketh for a man who gets a pity license to share his girlfriend’s bra. I write to you as a woman who has been brought up in a society free of any discrimination towards women so thanks to you, my living in Delhi is as safe as Hugh Hefner’s playmate of the year living in Jeddah.
You meet me at a friend’s birthday, talk to me about nightclubs and your new SUV and when I look like I’m in desperate need of a barf bag, you think I have an attitude problem. I understand this completely. But let me remind you that I am from SOUTH INDIA and not SOUTH DELHI, so no ,I am not scrawny, I am not fair, I don’t have straight hair and my topics of conversation go beyond the Fendi I saw in last month’s Vogue. I am olive-skinned, have lower –back-length lustrous cascading tresses that sometimes make me look like I fell out Jim Morrison’s tour bus. Got a problem with that? Well just suck it up coz I was born into a society where a woman can whoop your Punjabi patoutie to pulp. While your mother pretends to be very progressive but still cows down to the whims of her husband every single time, mine on the other hand was born into a matriarchal home where every single possession is in the rightful name of the girl child. Could you ever, my hunky handsome, cash throwing pig, imagine this kind of power in your society? So stop telling me that women are not treated like trash where you come from. Just shut up and admit to it. It’s just easier that way. And lest we forget that we’ve managed to curtail the number of rape cases despite not having a female Chief Minister. Amma ‘s body composition generates way too much heat for her get out of her AC room anyway, so don’t even bring that up.
And your English. Good Lord, what in the world is up with that? I don’t want you to ‘explain me’ anything. It’s like you need to go to primary school all over again. And call them your parents, not your ‘peerents’ or what your cooler, more happening brethren call them—‘mere mom-dad’. Like what are they? Conjoined twins? Are they joined at the hip? Your South India counterparts may not have your looks, but are way more mentally stimulating, a quality that eludes you obviously, but has been the single most sexy factor for us Southie chicks since the age of five. I mean once again, who can blame you? You were brought up on Gurdas Mann and the heroic deeds of Devinder Singh Bhullar and the ever so fair concepts such as elections in Phugwada while we mere ‘black-colour waale’ mortals had to make do with Bharatnatyam classes, M.S Subhalakshmi and chess. Shame no? And yes, if by a slight chance, you do find my big dancer eyes attractive enough for you to prolong our conversations and meetings and if by an even slighter chance you fall in love with me and decide to marry me, you will have to wear a mundu and you will have to lie prostrate shirtless at the Guruvayurappan temple. A small price to pay for all the genuine independence I am giving up for you. And that’s the real thing, not what you see the Delhi girls at LSR and Stephen’s doing during their fake as hell protest marches coz ultimately they’re going home to a family who’re putting together money for Bobby beta’s bail coz he just ran over his girlfriend’s ex, by mistake of course.
I understand that I come from the land of ugly. I mean obviously Hema Malini, Sri Devi and Aishwarya Rai with their natural banal looks don’t even hold a candle to Priyanka Chopra after her two nose jobs and one lip reconstruction surgery. Not a chance in hell. But when you do come to ask for my hand, remember I am part Maharashtrian and part South Indian and NO, they are not the same thing. So please tell your family, not to drop racist bombs like “Arey woh sab toh ‘Sawth’ ke hi hote hai na?” And YOU—don’t walk up to mother in an attempt to make flattering conversation and say shit like “Aunty you don’t look like a South Indian You are so fair” In return she will verbally Texas chainsaw massacre your face so badly, your dead Dadi will haunt you the very same night, telling you how fleeing Pakistan was less traumatic. So don’t. Better still just don’t speak. Just glean and flex your muscles a little and keep smiling. Just whatever you do, don’t talk.
You may not like our food, but then we don’t like you, which is worse. We may not be even that into food, but then that’s coz we have other things to do with our lives, like crack IIT or become writers, journalists, activists and do things that we are very passionate about. The South Indian woman has a voice and boy can she yell. So if you want to Sambhar ‘Chawl’ your way into my life, then you got to toe the line. Be way more aware than what your are. Remember Delhi is not a country and we are not Black. If I ever hear you utter that name of that colour, I will Kalaripayattu your tongue out of your rear. Yes , that is the secret behind our awesome sex ratio. Just so you know.
For someone who is so confident of his physical abilities you really suck at luring an intelligent woman. Don’t send me text messages that say ‘happy guru purab’, you freakshow and if you want to be cute with your ever so charming (not) Punjabi advances, then don’t send texts that say “Dil laye gayee kudi Madrraaas di”! NO. It’s just not cool man. I may have have missed on a lot in this letter, but that’s ok because you’ll forget to read it and even if you do , you’ll get your cousin Jassi from Defence Callonny to translate it for you. And this letter can’t go on forever like the Punjabi male ego.
So long my love, and here’s two steps of gidda just for you, just to show that I can be traditional and will not accidently kick your sister while doing so.
Love, hugs, kisses aka ‘muah’ (only I shall ‘muah’, you please don’t do anything coz you tend to forget that these are my lips and not a piece of Tandoori Chicken from Kakke- Da- Dhabba)

Yours
Madrasan
(Only I can call myself that. If you EVER call me by this name, I will shove so many coconuts down your system that your little saver pack versions will begin to sprout coir.)


Original post by Shahana.
http://raagshahana.blogspot.com/2011/09/open-letter-to-delhi-boy.html

Jan Lokpal

Those who don't know anything about JanLokpal Bill. Read it.

The Jan Lokpal Bill is a draft anti-corruption bill drawn up by prominent civil society activists seeking the appointment of a Jan Lokpal, an independent body that would investigate corruption cases, complete the investigation within a year and envisages trial in the case getting over in the next one year.
Anna Hazare, anti-corruption crusader, began a fast-unto-death today, demanding that this bill, drafted by the civil society, be adopted.. 

Salient features of Jan Lokpal Bill:


1. An institution called LOKPAL at the centre and LOKAYUKTA in each state will be set up 


2. Like Supreme Court and Election Commission, they will be completely independent of the governments. No minister or bureaucrat will be able to influence their investigations.

3. Cases against corrupt people will not linger on for years anymore: Investigations in any case will have to be completed in one year. Trial should be completed in next one year so that the corrupt politician, officer or judge is sent to jail within two years.

4. The loss that a corrupt person caused to the government will be recovered at the time of conviction.

5. How will it help a common citizen: If any work of any citizen is not done in prescribed time in any government office, Lokpal will impose financial penalty on guilty officers, which will be given as compensation to the complainant.

6. So, you could approach Lokpal if your ration card or passport or voter card is not being made or if police is not registering your case or any other work is not being done in prescribed time. Lokpal will have to get it done in a month's time. You could also report any case of corruption to Lokpal like ration being siphoned off, poor quality roads been constructed or panchayat funds being siphoned off. Lokpal will have to complete its investigations in a year, trial will be over in next one year and the guilty will go to jail within two years.

7. But won't the government appoint corrupt and weak people as Lokpal members? That won't be possible because its members will be selected by judges, citizens and constitutional authorities and not by politicians, through a completely transparent and participatory process.

8. What if some officer in Lokpal becomes corrupt? The entire functioning of Lokpal/ Lokayukta will be completely transparent. Any complaint against any officer of Lokpal shall be investigated and the officer dismissed within two months.

9. What will happen to existing anti-corruption agencies? CVC, departmental vigilance and anti-corruption branch of CBI will be merged into Lokpal. Lokpal will have complete powers and machinery to independently investigate and prosecute any officer, judge or politician.

10. It will be the duty of the Lokpal to provide protection to those who are being victimized for raising their voice against corruption.

Source-NDTV

Jai Hind

Music Review: Delhi Belly

After a light, youthful album for Luv Ka The End, composer Ram Sampath goes all experimental with his next soundtrack for the film Delhi Belly and from the compositions he has created, the song D.K. Bose stands out, becoming quite a rage these days among youth.

The album offers 10 tracks of diverse kinds.

It opens with the song that is on everyone's lips nowadays - D.K. Bose. Crooned by Sampath himself, the track with quirky, interesting and double meaning lyrics has already become quite popular. With a rock-infested composition and an energetic, pacy feel, the song has become a favourite of youth and has become an instant chartbuster.

Next is Nakkaddwale disco, udhaarwaley khisko, a very different kind of track with unusual lyrics. It has been sung by Keerti Sagathia and is only an average number.

Saigal blues brings back the era and style of legendary singer K.L. Saigal. The track that has Chetan Shashital behind the mike is sung in Saigal's style but with a contemporary touch. The composition is under the genre of blues that bring about a certain poignancy in the song. On the whole, it's a mix of today and the eras gone by.

Bedardi raja by Sona Mohapatra is a rustic, masses song and seems to be an item number in the film. It's a simple composition and offers nothing great.

The track also has a grind mix, which has more beats than the original but the basic character and the pace of the song remain the same.

Another eccentric track Jaa chudail, sung by Suraj Jagan, is a rock track from the word go. It might be liked by hard rock lovers.

Tere siva, the only soft, love track of the album, has been voiced by Sampath and Tarannum Mallik and is a simple romantic number with a touch of rock. However, the orchestration is not very strong. A good hear.

Switty tera pyaar chahida is a Punjabi music lover's delight. Strong beats, Punjabi lyrics and lots of energy make this track a total dance number. Crooned by Keerthi Sagathia, this song gets the listener hooked and is quite likeable.

It also has another version called Switty punk that has the addition of Sampath and is higher in energy and fun.

Then there is I hate you (like I love you) that is a song by Keerthi Sagathia again with ample support from Sona Mohapatra. It is a mix of various genres of music and multiple influences. Starting as a slow-paced Indianised track, it goes on to become fully Western in its feel, music and lyrics, then takes the guise of a typical Bollywood song in the 1970s and finally ends like a qawwali. Very experimental and energetic at the same time.

On the whole, the music is unusual, breaks monotony and is far from being typical.


My Rating: 2.5/5

Good-bye Seniors; We will miss you!

I’d often heard of tears of a different kind, but never experienced it. But here I was, unable to hold them back, unable to stop them. It had to be one of the most painful moments of my life. And then, my ipod played “Yaaron Dosti..”

Well, here it is, April 2011. For most of us, these past few weeks couldn’t go by fast enough, and the day-by-day countdown to the end of engineering has taken its place in the back of at least one notebook. The final semester has just ended, midterms are already a thing of the distant past, and celebration of the big “Twenty-Eleven” is only a mere memory. While a lot of us have already started to fantasize and plan our summers, this culminating college year has another somewhat more profound meaning: graduation.

Each year, the seniors graduate.But this time its not the seniors who are graduating and going. This time my amazing friends are leaving. I would love to tell u all something seniors..ooppss friends.

Four Years Ago…

You were all timid freshman. You wondered what was ahead of you. You lobbied to go to Great Adventure. Freshman year you looked to fit in. You looked to find a best friend. It was your first year in the college, thus it was hard to find your way. But most of all, you certainly couldn’t wait to be older!

Three Years Ago…

You were no longer the lowly freshman; you were now the Sophomore Class. You began to create an identity. You began to work hard at your studies, you found some friends, and began to find yourself. You stopped by to say hi, helped fundraise for the class and again returned at years end to Great Adventure. You had fun, but you still couldn’t wait to be older!

Two Years Ago…

You became Upper-classmen. You began to realize that you were growing up; you found where you fit in, and who your real friends were. You started talking about college and even had to get ready for the most crucial 2 years of your life.You succeeded, but you still wanted to be older!

One Year Ago…

You were a senior! You ruled the college. Your senioritis set in early, hopefully not too severe. You made your post- engineering plans and talked about fun events. Even with all of this, you still couldn’t wait to be older!

I have learned so much with you all, I have learned that everybody wants to live on top of the mountain, without knowing that true happiness is obtained in the journey taken and the form used to reach the top of the hill. I have learned that when a newborn baby holds, with its little hand, his father's finger, it has trapped him for the rest of his life. I have learned that a man has the right and obligation to look down at another man, only when that man needs help to get up from the ground.

Thanks for making me a part of your seminary journey. I will cherish the memories we had together, your helping me with my work whenever yours is done; your effort to keep my spirit up when no one knew that I was filled with frustration ; your unassuming gesture that never failed to welcome me.

You all are beautiful people. Outside, you will encounter countless people who will dispute this. Don’t believe them. Believe in the positive feeling you have of yourself. Nothing, nobody should drag you down. Don’t allow them.

I think I was not able to thank you much, I hope that this blog can express what my heart was not able to tell you all how thankful I was.

Tomorrow is never guaranteed to anyone, young or old. Today could be the last time i'm seeing you all. That is why,not wasting the opportunity, i would like to say that you have been amazing seniors; The best anyone can get.

I might have shown how I care for you guys, but I will have to humbly admit that your love outweighs mine big time.

I will never fail to commend your intentions in my prayers.

Lots of love and best wishes,

ANTANI :)

All about the legend Late Shri Dilip Dholakia

Gujarat’s veteran singer/musician Shri Dilip Dholakia passed away in Mumbai on 2nd Jan 2011. He was 90. He is survived by his son Kandarpbhai and Rajatbhai.

Shri Dilip Dholakia was into music at the age of seven, when he used to accompany his grandfather Manishankar Dholakia to the Swaminarayan mandir in Junagadh to sing bhajans and play pakhawaj. Later he learnt classical singing from Pandurang Amberkar, a disciple of Khan Saheb Aman Ali Khan, who was also the guru of Lata Mangeshkar. After he was selected as an artist on All India Radio, in Mumbai, he got the offer to sing a song for the film Kismatwala produced by P.B. Zaveri. The composer was Ratanlal, younger brother of composer Khemchand Prakash, and he made Dholakia sing three songs.

Sometime later, Dholakia joined Chitragupta as an assistant and also sung a song for him in Bhakta Pundalik. He then started composing independently and among the Hindi films he composed for were Baghdad Ki Raatein, Teen ustad and Private Secretary. He did a lot of Gujarati films like Diwadandi, Satyawan Savitri (which had songs sung by Lata Mangeshkar and Mohd. Rafi), Mota Ghar Ni Dikri, Kanku, Sat Na Parkhe and Jalam Sang Jadeja.

Among his popular Hindi and Gujarati film songs are: ‘Ja ja re chanda ja re…’ (written by Prem Dhavan and sung by Lata Mangeshkar for Private Secretary); ‘Mile nain gaya chain…’ (written by Prem Dhavan and sung by Lata Mangeshkar for Private Secretary); ‘Milan na dipak sahu bujai gaya chhe…’ (ghazal written by Befam and sung by Mohd. Rafi for Snehbandhan; ‘Eklaj aavya manva…’ (written by Befam and sung by Bhupinder for Jalam Sang Jadeja).

Dholakia also worked on Sugam Sangeet and devotional songs. He co-ordinated with Hridaynath Mangeshkar to record his compositions viz. Meera Bhajan Part-I, Bhagwat Geeta (in Sanskrit), Gyaneshwari Geeta (in Marathi), an labum of Urdu ghazals by Ghalib, and compositions for HMV records sung by Lata Mangeshkar, Asha Bhosle, Kishori Amonkar and Hridaynath Mangeshkar. The singer-composer has organised music programmes for ‘Festival of India’ in United Kingdom with renowned artistes like Pt. Bhimsen Joshi, Pt. Shiv Kumar Sharma, Ustad Zakir Hussain, Nikhil Banarjee, Manna Dey and Anup Jalota. His private albums in Gujarati are all popular.

Music Department:

Dost Garibon Ka (1989) (assistant music)
Jaanoo (1985) (music assistant)
Teesri Aankh (1982) (music assistant) (as Dilip Bhai)
Chunaoti (1980) (music assistant) (as Dilip Dholkia)
Sargam (1979) (music assistant)
Naya Din Nai Raat (1974) (music assistant) (as D. Dilip)
Pyar Ka Sapna (1969) (assistant music)
Aulad (1968) (music assistant) (as D. Dilip)
Oonche Log (1965) (music assistant) (as D. Dileep)
Maain Bhi Ladki Hun (1964) (music assistant) (as D. Dileep)
Ganga Ki Lahren (1964) (music assistant) (as D. Dilip)
Burmah Road (1962) (assistant music) (as Dilip Dholaki)
Shaadi (1962) (music assistant) (as D. Dili
Tel Malish Boot Polish (1961) (music assistant) (as Dilip)
Maa Baap (1960) (music assistant)
Patang (1960) (music assistant) (as D. Dileep)
Barkha (1959) (music assistant) (as Dileep)
Guest House (1959) (music assistant) (as D. Dileep)
Kavi Kalidas (1959) (assistant music) (as Dilip)
Zimbo (1958) (music assistant) (as Dileep)

Actor:
Holiday in Bombay (1963) (as D. Dilip)

Composer:
Private Secretary (1962) (as D. Dilip)

A rare photo of all the singers together in the early years of their singing careers ! Can you spot
( front row) Zohra Jan, Rajkumari, Amirbai Karnatki, Hamida Banu, Geeta Roy (later Geeta Dutt), Lata Mangeshkar, Meena Kapoor, (and standing behind) Sailesh Mukherjee, Talat Mahmood, Dilip Dholakia, Mohd. Rafi, Shiv Dayal Batish, G.M. Durrani, Kishore Ganguli (later Kishore Kumar), and Mukesh.

High lite of his life and works

-Gujarati film Divaddandi was released in year 1950. Though the film was not superhit, its one song written by Venibhai Purohit, composed by Ajit Merchent and sung by Dilip Dholakia is superhit even today. The song is: Tari ankh no afini… Initially people misunderstood that this song was sung by Mukeshji.

-His father used to play flute while his grandfather Manishankar used to sing Kirtan and Bhajan in Swaminarayan Mandir.

-Shri Dholakia came to Mumbai in 1982 and passed B.A

-He worked in Bombay government’s Home department for two years as clarck and acountant general. While his office was located on first floor, the third floor in same building was occupied by All India Radio.

-Born in 15 October 1921 in Junagadh, Shri Dilipbhai received education in Bahadurkhanji high school and Bahauddin College.

-His father’s name was Bhogilal.

-He loved songs on classical base.

-In 1944, musician Khemchand Prakash’s brother Ratanlal gave him chance to sing in Kismatwala film. His songs were ‘Gori chalo na sina ubharke” and ‘Dekho hamse na ankhe ladaya karo’.

-In 1946 he sung a song ‘Dukh ki is nagri mein baba koi na puchhe baat’ in ‘Laj’ film under Ramchandra Pal’s music composition arrangement.

-He sung Saigal’s 1944 song of film Bhanvra’s song Thukra rahi hai duniya in chorus. He was introducted to musician Snehal Bhatkar in HMV studio with whose help a record of songs ‘Bhint fadi ne piplo ugyo’, and ‘Aadha tel aur aadhaa paani’ was made. In this record Dilipbhai was singer and Venibhai Purohit was writer.

-In 1948 Avinash Vyas gave chance to Dilipbhai for two duet songs in film ‘Sati son’. A name on record printed was Dilipkumar. When Dilip Dholakia started his career as musician, he choose D.Dilip as his identity. In 1960 he gave music in K.Shankar Directed Bhaktamahima film under this new name.

-From 1951 he became assistant of musician Chitragupt and worked with him till 1972. In this course the films that were worked out were Insaf, Kismat, Jindagi ke mele, Bhabhi(Chal ud ja re panchhi ki ab ye desh huva begana, and Chali chali re patang meri chali re), Kali topi lal rumal(Lagi chhute na ab to sanam, Daga daga vai vai, Divana admi ko banati hai rotiya) etc.

Moreover he worked as assistant of S.N.Tripathi. The tasks was assistant were very technical, such as writting notations, editing, providing creative inputs while composition of new creations.

-Dilipbhai composed 16 song that were sung by Lataji, Ushaji, Mannade, Suman Kalyanpur, S.Janki. In 1961 he gave music in Saugandh film which was acted by famous actress Rekhaji’s father Jemini Ganeshan and Anjalidevi. This film’s one song ‘Apne liye jiye to jamane me kya jiye’ was sung by Rafiji, and ‘Chali havaye matvari’ was sung by Lata and Talatji. He also composed six songs in Nanabhai Bhatt directed film ‘Tin Ustad’.

-In 1962 he gave music in film Bagdad ki rate. While two songs of this film were sung by Gita Dutt, one was by Shmshad Begam-Rafi. Dilipbhai’s favorite writer for songs in those days was Premdhavan.

-Dilipbhai made Mannade and Rafi singing his song of film Private Secretary. The song was ‘Pyar ka maara hu mein Juli’. After this He gave music in film Dagabaj in 1970 with name of Dilip Roy. In this film one song was sung by Mukeshji. One song sung by Mahendra Kapoor ‘Chand bhi sitare bhi hai bazama mein, jane kya raz hai kyun ujala nahi’ was written by Kaifi Azmi. Dilipbhai gave music of Vir Ghatotkach and Mata Vaishnavi Devi with name as ‘Dilip Roy’.

Thus Dilipbhai gave music in eight Hindi films.

-He started giving music in Gujarati films from 11963 in film ‘Satyavan Savitri’. He has given music in 11 Gujaati films. Some famous songs from these films are: Milan na dipak sau(Mota ghar ni dikri), ‘Mane andhara bolave’, and ‘Paglu paglama atvanu,’ ‘Sathiya puravo dvare’, ‘Dhanna dhatudi patudi’, ‘Bole milan no mor’ etc.

-He joined with Lakshmikant Pyarelal as assistant in 1972 and worked on this position for next 16 years.

-Dilipbhai’s last recording happened on 15 February 1988.

Shri Dilip Dholakia's last appearance at Munshi sanman!

Source: http://deshgujarat.com/2011/01/02/veteran-gujarati-singermusician-shri-dilip-dholakia-passes-away/