Cerita basa bali |

A reader of my website Baligram.me recently got in touch with me.
He's a student with a growing interest in Balinese Hinduism and is currently learning the local language, Basa Bali. He's also learning Bahasa Indonesian.
He's is eager to delve deeper into Balinese Hinduism but needs resources available in English. He reached out hoping I could point him in the right direction.
I offered a few recommendations to help him on his journey and thought I would share this here in case it was of interest to others too.
A good starting point, particularly for tourists just wanting to get a light feel for Balinese religion (without going in too deep) is my set of articles here: https://baligram.me/blog/balinese-hinduism-introduction-for-visitors
Here's how I replied:
Thank you for reaching out and for your interest in Balinese Hinduism! It's always exciting to connect with fellow enthusiasts.
Firstly, it's great you are learning Bahasa Bali. I do suggest focussing on Bahasa Indonesia - it's easier to learn and all Balinese speak it. Bahasa Bali is harder and most of the time unless you are fluent you will get answers in Bahasa Indonesian.
However, having some Bahasa Bali will certainly impress and people will warm to you for your effort.
I am not sure how deeply you wish to go, so below are suggestions that range from those suitable to a casual tourist to someone who wants to go much deeper into the topic.
Here are a few recommendations where you can delve deeper into Balinese Hinduism, all with resources or programs in English:

Ubud: Often considered the cultural heart of Bali, Ubud is home to several learning centers that offer courses on Balinese culture and religion. You might want to check out the Ubud Yoga Centre or the Pondok Pekak Library, which occasionally host workshops and talks on Hindu philosophy and practice.
Point (1) is a more superficial experience. If you really want to learn deeply, go to a more remote village and stay with a family for the full 210 Pukawon cycle (the Balinese calendar works on a 210 day cycle) and if you time it right you can experience every daily ceremony and learn about the religion in a very comprehensive way. Combine this with reading "Bali: Sekala & Niskala" by Fred B. Eiseman, Jr. (see below) and you will come away with a better grounding than you could get any other way.
Online Resources: Websites like BaliSpirit.com and LearnReligions.com offer comprehensive articles and guides on Balinese Hinduism. These can be great starting points for understanding the core beliefs and practices before diving deeper on the ground.
University Programs: Look into the Universitas Hindu Indonesia in Denpasar. They offer various courses related to Hinduism and, while primarily in Indonesian, may offer some resources or classes in English or have instructors willing to accommodate English speakers. You could contact some of the academics and ask if they would meet with you and maybe introduce you to their senior students who might be willing to become a mentor to you.
Spiritual Retreats: Bali is known for its spiritual retreats that often incorporate teachings on Balinese Hinduism. These can be immersive ways to learn and experience the religion first-hand. Bali Silent Retreat and Blooming Lotus Yoga are popular spots that offer a blend of yoga, meditation, and spiritual teachings.
Local Temples and Festivals: Participating in local ceremonies and festivals can provide a unique insight into the practical aspects of Balinese Hinduism. Temples like Pura Taman Ayun and Pura Tirta Empul often have guides who speak English and can explain the significance of rituals and temple history.
Reading: You may already have some or all of these great books:
"Bali: Sekala & Niskala" by Fred B. Eiseman, Jr. - This book is split into two volumes, covering both the tangible (sekala) and intangible (niskala) aspects of Balinese culture and religion. It's highly praised for its depth and accessibility.
"Introduction to Balinese Architecture" by Julian Davison - While this book focuses on architecture, it offers valuable insights into the religious and philosophical beliefs that influence Balinese design and temple structures.
"The Bali Bible: The Ultimate Guide to the World's Most Spectacular Tropical Island" by Thibault Masson - This guide includes a section on Balinese culture and religion, providing a good overview for travelers who want to understand the spiritual context of the island.
"Hinduism in Bali: Families and their Faiths" by Angela Hobart - This book explores Hinduism as it is practiced daily in Balinese families, offering a personal look at the rituals and beliefs of the island's main religion.
"Balinese Dance, Drama & Music: A Guide to the Performing Arts of Bali" by I Wayan Dibia and Rucina Ballinger - Understanding local performing arts is another way to deepen one's understanding of Balinese Hinduism, as many dances and dramas are rooted in religious stories and teachings.

I hope these suggestions help you on your journey to deeper understanding of Balinese Hinduism.
Enjoy your learning adventure in Bali!
Simon St John
Editor, Baligram.me

Ang hirap lagyan ng title na hindi mahaba sorry. also hirap ako ipaliwanag in english kaya in Filipino na lang po.
So yung lupa na tinayuan ng bahay ng lolo ko ay sa kaibigan nya at may usapan sila na palit na lang sila ng lupa. Yung kapalit na lupa tinayuan ng bahay ng anak ng kaibigan ng lolo ko. Same size yung lupa at pareho na may title. Then namatay na pareho ang lolo ko at kaibigan nya kaya nag pagawa sila ng written agreement sa barangay tungkol sa pag swap ng lupa. Ang nag pagawa ng kasulatan ay yung tita ko kasama yung anak na may bahay sa lupa na kapalit. Bali naka pangalan sa kaibigan ng lolo ko yung title sa lupa kung saan naka tayo yung bahay ng tita ko. Naka pangalang naman sa lolo namin yung lupa kung saan naka tayo yung bahay ng anak ng kaibigan ng lolo ko. Kaya sila yung nag pagawa ng kasulatan tunkol sa pag swap nila ng lupa. pero hindi pa naasikaso yung pag palit ng title. Hawak namin yung title ng lupa kung saan naka tayo yung bahay ng anak ng kaibigan ng lolo namin.
Now the problem. Ginamit ng anak yung title na hawak nila pang prenda sa hospital bills. That was 13 years ago, until now hindi pa nababawi ang title. And mukang wala na sila balak tubusin yung title sa hospital. Ang problema kasi may 2 bahay na nakatayo ngayon sa lupa nun naka prenda na title, bahay ng tita ko and yung lumang bahay ng lolo ko.
May way kaya na sa hospital na namin bilin yung title and hindi na inform ang anak ng kaibigan ng lolo namin since ayaw naman nila makipag cooperate? problem kasi is we think interested yung asawa nun anak ng kaibigan ng lolo namin sa mga bahay na naka tayo sa lupa. parang finoforce kami na i-give up yung agreement para mapunta sa kanila yung lupa at bahay. yung bahay kasi nila hindi nman ganun kalaki at kaayos.
sorry po kung mejo magulo. hope may mag tyaga mag basa at maka pag bigay ng idea kung ano pwede namin gawin. hindi kasi namin mapa ayos yung bahay ng lolo ko kasi baka bigla nila bawiin yung lupa at hindi i-honor yung kasunduan ng swap.

Hi, may Performance task kasi kami sa Esp, bali gagawa kami ng essay kung mas pipiliin ba namin na pumunta sa mahalagang okasyon o pumasok sa trabaho. Itong kagroup ko naman wala nang inambag kaya hahabaan ko essay namin para matagalan sya sa pag basa. May mga law ba whether pwede mag leave yung isang employee sa trabaho para mag attend ng okasyon? At pwede ba magkaroon parin ng pay ang isang empleyado habang naka leave sya for example ng three days?

Dinalaw ako ng worker at officer ngayon, binigay ko open letter di binasa kasi di daw sila nagbabasa ng ganon hahhahaha. Edi ako na nagsabi sinagot ng worker nagbasa pa ng talata, ang pinoint lang naman sabi daw ni bes ang laban ke kdr ay laban sa kanya. Sinabi pa na bigay daw eka ng Dios ang sugo bali bigay ng Dios si kdr. Di ako makasagot dahil basa nang basa ng talata. Wag daw ekang labanan ang sinugo ng Dios. Tapos ung area 52 di masagot ng maayos, ang sagot lang pinarent daw sa iba. Ayon pinapadalo ako labas sa kabilang tenga lang. Oo at lang oo dahil expected ko na mga sasabihin nila. Di daw sila nagbbrainwash.

Hello po. Ask ko lang, If there’s a way na maacess ko ung TP link IP address (admin page) while connected sa router ng Converge?
Short story: Bali dumating na kami sa point na lahat kami andito sa bahay is naka work from home. Medyo ramdam na namin bumbagal connection namin. Cgro nga dahil sabay sabay kami nagamit. So na pag planuhan namin mag upgrade ng router. So ayun nga, search search sa net kung ano magnda, nag basa din ako dito sa reddit ng mga suggestion, like kung beneficial ba mag wifi 6 router kami. kasi nga lahat kami through wifi naka connect. So bumili na lang kami instead na mag pa upgrade, which is TP-link ax 53 nga ung nabili namin. Btw ung model ng converge router namin is F607L
Nanuod lang ako sa youtube kung pano mag set up ng router to router. Hnd ko na maxdo ginalaw ung converge router. Finollow ko namn ung guide ng maaigi kung paano iset up ung 2nd router(tp link) Hnd ko muna pina-plug ung tp link so converge, Nag change din ako ng ip address (although magkiba namn ng ip address ng mga router from start), dinisable ko din dhcp setting ng tplink. Then tska ko pinlug dun sa converge router(cat6 cable). LAN to LAN din ung pagkakakabit ko gaya ng sabi sa tutorial
But after plugging hnd ko na maccess ung ip address ng tplink. Hnd sya kagaya nung sa tutorial na na-aacess nya both router ip address. Anyway, connection wise nag improve namn connection namin at bumilis pa thru wifi. Although ung cable connection same lang.
PS: hnd po ako techy ah😅
Ito po ung guide na pinagbasehan ko https://youtu.be/j0kCmPOtNew?si=C4jnS0_j7R5RD_w4

"Behno aur Bhaiyo” was the greeting style of the golden voice of Radio legend “Ameen Sayani” as he introduced India to the most popular songs on India’s first Bollywood song countdown called Binaca Geetmala. The Bollywood music chart aired on Radio Ceylon from 1952 to 1988 and from 1989 to 1994 on Vividh Bharti and week after week all of India looked forward to hearing the familiar voice of the legend as he shared the best songs of Bollywood. At the end of each year Binaca Geetmala announced the number 1 most popular song of the year based on record sales and listener club feedback. I want to take this opportunity to share some trivia and mini reviews of the Binaca Geetmala top songs of the year from 1953 to 1993. Let's start with the songs crowned "the top of the pop" by Binaca Geetmala in the evergreen 50s and how they fared against their competition in that year's Filmfare awards.
1953 - "Yeh Zindagi Usi Ki Hai" from the movie “Anarkali" beautifully sung by Lata Mangeshkar with music by C Ramchandra and lyrics by Rajinder Krishan was the first annual top song of the Binaca Geetmala. Basant Prakash was the original composer for the movie and recorded one song with Geeta Bali. However due to a disagreement with the producer, he was replaced by C Ramchandra who brought in Lata to sing all the remaining songs for the movie. “Yeh Zindagi Usi Ki Hai” was the ultimate heartbreak song of that era which Anarkali (played by Bina Rai) sings as she is buried alive behind a wall as a helpless Salim (played by Pradeep Kumar) struggles to reach in time to save his love. C Ramchandra used the help of another music icon Roshan (Grandfather of Hrithik and father of Rajesh and Rakesh Roshan) to collaborate on the composition of the melody of this song. This movie introduced the talented Nasir Hussain to Bollywood who started his career as a writer for this movie and would go on to create the masala film genre with musical extravaganzas like Yaadon Ki Baraat, Hum Kissi Se Kum Nahin and many many more. Even though the song ruled the charts but it lost the first ever Filmfare Award for music direction to Naushad’s iconic “Tu Ganga Ki Mauj” from Baiju Bawra.
1954 - “Jayen To Jayen Kahan” from “Taxi Driver’ sung by Talat Mahmood with music by S.D. Burman and Sahir Ludhianvi’s poetry ruled the charts the following year. This was one of the best songs by the forgotten music Icon Talat Mehmood. His good looks made him an actor in several movies with Nutan and Suraiya but would give up acting to focus on singing. His smooth and velvety vocals were the voice of Dilip Kumar and early Dev Anand. The arrival of Mohammed Rafi and the infusion of rock n roll into Bollywood music in the 60s would sideline Talat Mahmood, who unfortunately literally disappeared from the landscape of modern Bollywood. This brilliant song is drenched with melancholy as Talat’s vocals emotes the pathos of Sahir’s poetry. S.D. Burman won his first Filmfare Award for best music director for this song for “Taxi Driver”. The song was picturized on Dev Anand and a second version sung by Lata Mangeshkar was shot on Kalpana Karthik who Dev Sahib fell in love with and married secretly on the set during a break while shooting “Taxi Driver”.
1955 - “Mera Joota Hai Japani” from the movie "Shree 420” sweetly sung by Mukesh with music by Shankar Jaikishan and Shailendra’s lyrics made Raj Kapoor an Indian Icon and a global star. It’s patriotic theme made it the biggest song of the year in India and the Russians went absolute gaga over this song when RK gave them the highest possible honor of his crown “Sar Par Laal Topi Roosi”. The song has been used in multiple Hollywood movies like Mississippi masala, Gravity and Deadpool. Hemant Kumar’s “Nagin" with it's haunting "Been" melody would win the Filmfare Award for music direction even though Shankar Jaikishan’s soundtrack topped record sales.
1956 - "Ae Dil Hai Mushkil Jeena Yahan” from “C.I.D.” was playfully sung by Mohammed Rafi and Geeta Dutt with the music of O.P. Nayyar and Majrooh Sultanpuri’s lyrics. Johnny Walker and Kumkum’s street hustling characters warn their fellow citizens about the fast life of their favorite city in this iconic anthem "Ae Dil Hai Mushkil Jeena Yahan, Zara Hatke Zara Bachke, Yeh Hai Bombay Meri Jaan”. Mohammed Rafi was the closest we can get to a true “Method” singer who brilliantly adapted his vocal style to the actors he sang for. He sat with Johnny Walker for a few days before recording the song to observe his mannerisms and modulate his voice to best fit him on screen. He took singing to the next level of the art form. “Ae Dil Hai Mushkil” would rule the chart and hearts of India but unfortunately lose at the Filmfare awards to the RK classic “Chori Chori” which was an album full of iconic songs like “Aaja Sanam Madhur Chandni Mein Hum” and “Yeh Raat Bheegi Bheegi”.
1957 - "Zara Saamne Toh Aao Chhaliye” from "Janam Janam Ke Phere” was one of the earliest hit duets by Lata and Rafi with the music of S.N. Tripathi and lyrics by Bharat Vyas. S.N. Tripathi was a forgotten multitalented genius of early Bollywood who composed, sang, dubbed, wrote, acted, produced and directed movies. He exclusively composed music for mythological movies and was best known for being the first to use the “Jai Hind” slogan in a song during the British Raj. This song was picturized on its leads Nirupa Roy and Manhar Desai for the movie “Janam Janam Ke Phere” which was also known as "Sati Anapurna”. This was the first movie directed by Manoo Desai who would revert to his full name of "Manmohan Desai” as he began his long commercially successful career of super hits with his next movie “Chhalia” with Raj Kapoor. His first movie was average and quickly forgotten but he would have a stellar 60s with Shammi Kapoor, an even brighter 70s with Rajesh Khanna before he would direct a string of 7 super hit movies with Big B in the 70s and 80s. O.P. Nayyar’s “Naya Daur” would be the big winner at Filmfare awards that year.
1958 - "Hai Apna Dil Toh Awara” from “Solva Saal” was an amazing haunting song sung by Hemant Kumar with S.D. Burman’s music and Majrooh Sultanpuri’s beautiful lyrics. The song was picturized on Dev Anand and Waheeda Rehman and the mouth organ on this song was played by the maestro Dada Burman’s son and future maestro Pancham AKA R.D. Burman. Filmfare awards were dominated that year by the Bimal Roy classic “Madhumati” for which Salil Chowdhury won best music director and the first playback singer award was actually won by Lata Mangeshkar (There was no female singer category) for "Aaja Re Pardesi” and Shailendra won the first award for best lyricist for Yahudi’s “Yeh Mera Deewanapan Hai"
1959 - "Haal Kaisa Hai Janaab Ka” from “Chalti Ka Naam Gaadi” passionately sung by Kishore Kumar with Asha Bhosle to the music of his guru S.D. Burman and Majrooh Sultanpuri’s lyrics. This is the song during which Kishore and Madhubala fell in love. Madhubala never looked happier and more beautiful than she did in this song and Kishore’s pitch and yodels never sounded better. This playful song ruled the charts but Filmfare awards were taken over by Raj Kapoor’s “Anari” as Shankar Jaikishan won best music director, Mukesh became the first male singer to win for singing and Shailendra would win his second back to back best lyricist award for “Sab Kuch Seekha Humne”.
1960 - "Zindagi Bhar Nai Bhoolegi Wo Barsaat Ki Raat" from the movie “Barsaat Ki Raat" beautifully sung by Mohammed Rafi with music by Roshan and lyrics by Sahir Ludhianvi was the decade’s first annual top song of the Binaca Geetmala. The image of Madhubala admiring Bharat Bhushan’s voice as she eagerly listens to this song on radio masterfully depicts the importance of radio and the Geetmala in those days. The film popularized qawwalis, however Rafi’s ultra-romantic version of Sahir’s poetry was a masterpiece. The song was about Madhubala and Bharat Bhushan’s characters chance meeting on a stormy night as Roshan’s brilliant background score channels their internal storm without a single word spoken between the two characters throughout the scene. Bharat Bhushan’s poet translates his experience from that brief encounter into this amazing song. Rafi would win the Filmfare Award that year for another iconic song “Chaudhvin Ka Chand” for which Shakeel Badayuni would get the best lyricist award as Shankar Jaikishan won for best music director for “Dil Apna Preet Parai” which featured Lata’s iconic “Ajeeb Dastaan Hai Yeh”.
1961 - "Teri Pyaari Pyaari Surat Ko” from “Sasural” became Mohammed Rafi's second top chartbuster of the decade with Shankar Jaikishan’s music and Hasrat Jaipuri’s lyrics. Rajendra Kumar had already a few hits under his belt including playing Nargis’s son in Mother India in the 50s, however the 60s saw his actual rise to stardom and “Sasural” was one of the initial blockbusters which earned him the crown of Jubilee Kumar. Kumar’s lead actress in the movie was B Saroja Devi who was called the "Saraswathi of acting” in the Kannada film industry. This would be one of her biggest Hindi movies as Kumar tries to woo her with the flirtatious "Teri Pyaari Pyaari Surat Ko, Kisi Ki Nazar Na Lage, Chashme Budoor”. The song topped the charts and also won Rafi his 2nd consecutive Filmfare Award for singing.
1962 - "Ehsaan Tera Hoga Mujh Par” from “Junglee” became Mohammed Rafi’s 3rd consecutive top of the chart song with another delightful collaboration with Shankar Jaikishan and Hasrat Jaipuri. This song was originally planned as a Mohammed Rafi only song, but the director felts its power and got Lata to sing her version of this classic tune. This was Junglee's romantic anthem and played a big role in shaping Shammi Kapoor’s romantic image as it skyrocketed him to mega-stardom with back to back hits in the 60s. Shankar Jaikishan won best music director for another Shammi Kapoor masterpiece “Professor” while Lata won the best singer award for the haunting “Kahin Deep Jale” from the surprise superhit "Bees Saal Baad” which also earned Shakeel Badayuni his 3rd consecutive Filmfare Award for best lyrics.
1963 - "Jo Wada Kiya Woh Nibhana Padega” from “Taj Mahal” was the amazing Lata - Rafi duet which became one of the most memorable songs of the golden era with the music of Roshan and Sahir Ludhianvi’s masterful lyrics. This song conquered everything, the hearts of Indians, the Geetmala with astronomical sales and Roshan winning his only award for music director along with Sahir Ludhianvi’s first win for Lyrics. Sahir was one of the greatest Urdu poets to write Bollywood songs and he was among the first to tell composers to compose music around his lyrics and demanded that All India Radio also give credit to the songs lyricist when playing the songs. The song featured Pradeep Kumar and Beena Rai who both achieved tremendous success with Taj Mahal but it also became among their last hit movies in lead role. Beena Rai who was married to Prem Nath retired from movies and Pradeep Kumar couldn’t compete with the fresh blood of Shammi Kapoor, Rajendra Kumar and even smaller actors like Biswajeet and Joy Mukherjee. He very quickly got sidelined into character actors roles but got immortalized forever as a result of this evergreen romantic gem.
1964 - “Bol Radha Bol” from “Sangam” once again brought the Raj Kapoor - Shankar Jaikishan - Shailendra - Mukesh collaboration to the top of the charts. This was a fun and naughty song as Raj Kapoor with a Gopi-esque feather in his hair teases a sensual Vyjayanthimala in a red swimsuit while swimming in the river. There is an interesting story behind the origin of the song. RK tried multiple times to sign Vyjayanthimala for the movie. After several follow ups, he sent her a telegram asking her “Bol Radha Bol, Sangam Hoga Ke Nahi” to which she replied “Hoga Hoga, Zaroor Hoga”. When RK happily showed her confirmation telegram to Shailendra, the poet immediately sang “Tere Mann Ki Ganga aur Mere Mann Ki Jamuna Ka Bol Radha Bol Sangam Hoga Ke Nahi”. The rest is history. Sangam was one of the biggest blockbusters of Raj Kapoor’s career grossing more than 700 crore rupees (Adjusted for inflation), however on Filmfare night, a small movie named “Dosti” would bring down the Goliath “Sangam” by winning all the best music director, singer and lyricist awards.
1965 - "Jis Dil Mein Basa Tha Pyaar Tera” from the movie “Saheli” sung by Mukesh with the music by Kalyanji Anandji and lyrics by Indeevar topped the charts. The movie featured Pradeep Kumar and Kalpana right before they both disappeared into the oblivion of Bollywood character acting. The movie was directed by Arjun Hingorani before he got super-obsessed with Dharmendra and the letter “K” and made “Kab, Kyon Aur Kahaan”, “Kahani Kismat Ki”, “Khel Khiladi Ka”, "Katilon Ke Katil”, “Karishma Kudrat Ka” and “Kaun Kare Kurbani” with Garam Dharam. Kalyanji Anandji and their assistants Laxmikant Pyarelal collaborated to create this melancholic masterpiece. Ravi’s “Khandaan" would be the big winner sweeping best music director, singer and lyricist awards.
1966 - "Baharon Phool Barsao Mera Mehboob Aaya Hai” from “Suraj” sung by Rafi with Shankar Jaikishan’s music and Hasrat Jaipuri’s romantic lyrics topped the charts in the year when one of India’s brightest Gems “Guide” received tremendous critical acclaim for its songs and music. The movie featured a child artist named Baby Sonia who would grow up to become Neetu Singh AKA Mrs Rishi Kapoor and Ranbir Kapoor’s mother. The fans adored the love with which Rajendra Kumar showered his leading actress Vyjayanthimala as he sang this romantic song for his beloved. The song topped the charts and sweeped the Filmfare Award by winning best music director, lyricist and singer. 1967 - "Saawan Ka Mahina Pawan Kare Sor” by Mukesh and Lata was another beloved chartbuster and Filmfare Award winning masterpiece composed by Laxmikant Pyarelal on Anand Bakshi’s lyrics. Dosti was LP’s breakthrough album and earned them their first award after which they returned to assisting Kalyanji Anandji. Milan was the movie which truly established them as a standalone dynamic musical duo and future stars of Indian music. The song also established Anand Bakshi as a lyricist earning him his first of 41 Filmfare nominations and began his 300+ movie collaboration with Laxmikant Pyarelal. The song has a funny and brilliant wordplay between Mukesh and Lata as Sunil’s villager character sings the word “Sor” which Nutan’s educated pupil sings “Shor” and he responds “Shor Nahi Sor, Sor”. This melodious masterpiece is the heart and soul of the movie which would earn LP their 2nd Filmfare award after Dosti while the lyrics award would go to the patriotic masterpiece “Mere Desh Ki Dharti” sung beautifully by Mahendra Kapoor. Mahendra would also win best male singer for Hamraaz’s “Neele Gagan Ke Tale”. Lata’s sister Asha Bhosle would win her first Filmfare Award for Dus Lakh’s “Garibon Ki Suno” in the first award best female singer award.
1968 - "Dil Vil Pyar Vyar Main Kya Jaanu Re” from “Shagird” sung by Lata Mangeshkar with Laxmikant Pyarelal’s music and Majrooh Sultanpuri’s lyrics would become the biggest hit of the year. The song was picturized on Saira Bano along with Joy Mukherjee and played a critical role in making the movie a superhit. The song and movie were nowhere to be seen on award night as Shankar Jaikishan’s Shammi Kapoor blockbuster “Brahmachari” would win best director, male singer and a posthumous lyricist award for Shailendra. Asha Bhosle would win her consecutive second Best female singer Filmfare award for Shikhar’s "Parde Men Rahne Do”.
1969 - "Kaise Rahoon Chup Ki Maine Pi Hi Kya Hai” from “Intaqam” was sung by Lata with LP’s music and Rajendra Krishan’s lyrics. So Laxmikant Pyarelal ended the 60s at the top of the charts for 3 consecutive years and signaled a change of guards from the maestros of the golden era to the masters of the 70s masala. Lata sang the song with such perfection that her slurring delivery convinced fans that the nightingale must have been under the influence while recording the song. Lata sounded more drunk than Sadhana appeared on screen and earned her a 17th Filmfare nomination for singing. She would lose to herself for Jeene Ki Raah’s "Aap Mujhe Achhe Lagne Lage”.
1970 - "Bindiya Chamkegi Choodi Khankegi" from the movie “Do Raaste” was full of spunk and energy for the new decade with Lata singing Anand Bakshi’s playful lyrics to Laxmikant Pyarelal’s music. The 70s began with the first superhit collaboration of iconic Kaka - Mumu Jodi as Mumtaz rose from a B Grade movie actress to the first superstar’s leading lady. This was Mumtaz’s 60th movie in the industry and the one that finally made the once child artist turned “stunt film heroine" into a bonafide star and inspiration for millions of struggling artists starting at the bottom of the Bollywood food chain. This was Rajesh Khanna’s 270 Crore (Adjusted for inflation) grossing blockbuster and number 5 in his 17 movie consecutive hit spree. With this movie he would solidify his superstardom and continue delivering hit after hit. The success of this movie would start his hit pairing with Mumtaz in 10 iconic movies. ”Bindiya Chamkegi” ruled the pop charts, while Shankar Jaikishan’s “Pehchan” and “Jahan Pyar Mile” would give the legends the edge at Filmfare Awards over LP in the early days of the decade.
1971 - "Zindagi Ek Safar Hai Suhana” from Andaz was sung with such passion and energy by Kishore and Asha that this Shankar Jaikishan and Hasrat Jaipuri classic was enough to make the movie a box office success. The movie was released at the height of Rajesh Khanna’s superstardom with his face right in the center of the poster, his name in bold above all other actors and this song picturized on him was in every trailer and promo, despite the fact that Kaka only had a 10 minute cameo including the song in the movie. The lead actor of the movie was Shammi Kapoor whose 60s box office charm and magic had vanished. A first time director named “Ramesh Sippy” always wanted to make his debut with Shammi, so when the dancing star of the 60s agreed to take on a more mature role in “Andaz” a new star director was born. Sippy would go on to make the biggest movie of all time, "Sholay” and follow it with masterpieces like “Shaan”, “Shakti” and Saagar”. Shammi got one of his last superhits as a lead actor but everyone knew that the reason for the movie’s success was fans flocking to the cinema to watch Kaka ride a bike as he sang “Zindagi Ek Safar Hai Suhana”. Hasrat Jaipuri would win the best lyrics Filmfare Award for the song. Shankar Jaikishan would also dominate at the awards again but it would be Raj Kapoor’s “Mera Naam Joker” which would earn them yet another best music director and Manna Dey his only filmfare award.
1972 - “Dum Maro Dum” from “Hare Rama Hare Krishna” sung by Asha Bhosle would establish R.D. Burman’s music as the new wave sound of the decade and etch Anand Bakshi’s lyrics into the annals of Bollywood’s pop music history. Asha Bhosle would win the Filmfare award for this brilliant psychedelic number which Dev Anand wasn’t too interested to include in his movie. Pancham and Anand Bakshi were so sure about its potential that they would not hear “No” from the movie’s legendary writer - actor - producer - director. They stood their ground and India swayed to the hypnotic melody, sounds and vocals of the song. Dev Sahib would get his first directorial super hit, Pancham would become the go to composer for the fresh pop sound and India would get their first glimpse of the sensual Zeenat Aman.
1973 - "Yaari Hai Imaan Mera, Yaar Meri Zindagi” and “Zanzeer” would change Bollywood forever as it would announce the beginning of the era of a angry young man. Manna Dey’s exceptional vocals would immortalize Gulshan Bawra’s ode to friendship and earn Bawra the best lyricist award. Zanzeer was a Dharmendra vehicle which he couldn’t make because of a really busy schedule. So the director Prakash Mehra offered it to Dev Anand, who didnt like the "no smile, no song and all business" cop character and declined the movie. Raj Kumar who was a cop before joining films liked the script but his dislike for Prakash Mehra's looks made it impossible to cast him. Raj Kumar is known to have made the following statements to Mehra, “Hum Yeh Film Karenge, Aur Zaroor Karenge, Lekin Humhe Set Par Tumhara Yeh Manhoos Chehra Nahin Dikhna Chahiye” and its amazing follow up “Humhe Yeh Kahani Pasand Hai, Bahut Pasand Hai, Lekin Tumhare Baalo Se Aati Hui Yeh Ghatiya Tel Ki Badboo Ki Wajah Se ,Hum Yeh Film Nahin Banayenge”. Truly hilarious. Mehra would also get rejected by Dilip Kumar, after which Pran would tell him to watch a movie called “Bombay to Goa” with a lanky young actor called Amitabh Bachchan. Rest is history. Big B would get crowned the next superstar with Zanjeer and it would become his first hit movie with future wife Jaya, Prakash Mehra found his muse and leading man of 7 blockbusters, Salim Javed would become the genius writing duo for the ages, Pran would solidify himself as the highest paid “character” actor and Ajit’s iconic character “Teja” would say “ Lilly don't be silly”. Now this is how icons are born.
1974 - "Mera Jeevan Kora Kagaz Kora Hi Reh Gaya” from “Kora Kagaz” sung magnificently by Kishore Kumar with Kalyanji Anandji’s music and M.G. Hashmat’s lyrics. The movie was centered around Jaya’s character and it required a middle aged actor to play the role of her estranged husband. None of the middle aged actors wanted to change their image and play the role against Jaya, Sanjeev Kumar was unavailable and all the newer actors were too young for the role. That is how the legendary director of Guide, Jewel Thief, Johny Mera Naam and several other masterpieces and Dev Anand’s brother, Goldie Anand got roped into the play the role. The movie would become his first super hit as a lead actor. Kishore's epic song “Kora Kagaz” was beautifully picturized on Jaya. Kalyanji Anandji would win best music director award for the short 3 song soundtrack of “Kora Kagaz”, but Mahendra Kapoor and Santosh Anand would win best singer and lyrics for Roti Kapda Aur Makaan.
1975 - "Baaki Kuchh Bacha To Mahangai Maar Gayee” from “Roti Kapda Aur Makaan” would top the charts the following year after RKAP had already won Filmfare year awards for the previous year. Laxmikant Pyarelal’s composition of Varma Malik’s lyrics about India’s socio-economic condition, sung by Lata, Mukesh, Jaani Babu Qawwal and Narendra Chanchal rang true and connected with the public especially the youth during an unemployment crisis. The movie had already completed its Filmfare award cycle even though the song stayed top of mind and charts, other movies like Rajesh Roshan’s debut “Julie”, Kishore Kumar’s “Amanush” and Sulakshana Pandit’s “Sankalp” would win the awards.
1976 - "Kabhi Kabhie Mere Dil Mein Khayaal Aata Hai” from the iconic “Kabhi Kabhie” was an exceptional composition by Khayyam of Sahir Ludhianvi’s iconic poetry given voice by Mukesh and Lata. The movie and the song had such heart and soul that it conquered the box office, the charts and the awards as it won for best music director, lyricist and male singer. Mukesh had unfortunately passed away on his US tour and his award was accepted posthumously. Mukesh was another maestro whose sweet voice was taken away too soon at the age of 53. He left for his heavenly abode when he was still at the top of his game in a year when he received 3 Filmfare nominations and songs. Mukesh had recorded songs for other movies yet to be released for which he would receive 2 more nominations in the next two years. Such was the immortality of his voice and music. A true icon and legend.
1977 - "Husn Haazir Hai Mohabbat Ki Sazaa Paane Ko” from “Laila Majnu” was yet another Sahir Ludhianvi masterpiece in Urdu poetry which was brought to life by Madan Mohan through the voice of Lata Mangeshkar. The maestro Madan Mohan had already passed away in 1975, so he never saw the success of his music for Laila Majnu. After his passing away, the producer H.S. Rawail reached out to the young and upcoming Rajesh Roshan to compose the remaining songs for the movie, however Rajesh refused to step into the shoes of the maestro as he didnt consider himself worthy enough of the honor. S.D. Burman’s erstwhile assistant and music composer Jaidev would step in to complete the work of the maestro. Rishi played Majnu to the debutant Ranjeeta’s Laila in this hit love story, however there was no love lost on the set as Rishi would refuse to promote her. Ranjeeta had already signed a few movies which would also become box office hits, however mainstream actors would start stepping away from working with her in movies forcing her to get confined to smaller roles and B grade movies. Surprisingly the movie would also be completely absent from the Filmfare awards which would be dominated by "Amar Akbar Anthony", "Hum Kissi Se Kum Nahin” and the invasion of middle cinema movies like “Manthan”, “Gharonda”, “Bhumica” and “Swami”.
1978 - "Ankhiyon Ke Jharokhon Se, Maine Dekha Jo” from "Ankhiyon Ke Jharokhon Se” sung by Hemlata with lyrics and music by Ravindra Jain became the next year's biggest hit. This was a heartbreaking movie from Rajshri starring Ranjeeta and Sachin which did well at the box office but would get crushed by Big B's “Don” and Raj Kapoor’s “Satyam Shivam Sundaram” on Filmfare Awards night.
1979 - "O Saathi Re” from “Muqaddar Ka Sikandar” sung by Kishore Kumar with Kalyanji Anandji’s music and Anjaan’s lyrics was the big song of the last year of the decade. Kader Khan had written a mammoth 16 pages of dialogues based on his own life’s challenges for Big B to deliver in the movie before he performs this song on stage. Amitabh refused to deliver such a long monologue but Kader also refused to shorten the dialogues. Amitabh then sat down with Kader to reason with him but he was brought to tears on hearing Kader’s life journey and pains which inspired the dialogues. He agreed to do the scene with the 16 pages of dialogues before Kishore Kumar sings the drenched in melancholy “O Saathi Re”. The movie and all its songs became superhit but middle cinema continued to rule at the awards as smaller movies “Gol Maal”, “Dada” and “Sargam” would win the Filmfare awards.
1980 - "Dafli Wale Dafli Baja” from “Sargam” sung by Lata and Rafi with Laxmikant Pyarelal’s music and Anand Bakshi’s lyrics became the only song ever to debut and stay at the top of the charts for 25 consecutive weeks till it was officially retired. The movie would be Jaya Pradha's triumphant entry into Bollywood during the days when she couldn’t even speak a single word of Hindi which made her role of a mute in Sargam a perfect Bollywood debut for her. This movie helped Chintu get more single hero movies. Laxmikant Pyarelal won their 6th Filmfare award for “Sargam” and Rafi would return to form as he sang all the songs of this superhit album like he used to sing in the 50s and 60s.
1981 - “Mere Angne Mein” from Laawaris sung by the superstar Amitabh Bachchan and a 14 year old Alka Yagnik with the music of Kalyanji Anandji and Anjaan’s lyrics topped the charts for most of the year. This was one of the most commercial Amitabh voiced tracks of his career. Amitabh himself sang the most popular version of this folk song in which he croons about the benefits of having a Tall, Fat, Dark, Light Skinned or Short wife. The video of the song was so popular as Amitabh appears as the multiple kind of wives he is singing about that the movie got repeated viewings so that the fans could dance again and again to this number with Big B. Umrao Jaan, Ek Dujhe Ke Liye, Love Story and Kudrat would split the Filmfare music awards.
1982 - "Angrezi Mein Kehte Hain” from “Khud-Daar” was a fun duet by Lata and Kishore with Rajesh Roshan’s music and Majrooh Sultanpuri’s lyrics. Amitabh began his career with the movie Saat Hindustani where he and another struggling actor Anwar Ali became close friends. Anwar Ali was Mehmood’s younger brother and Amitabh lived with Anwar in Mehmood’s guest house for the initial few years of his career. Mehmood gave Anwar and Amitabh a break in his movie Bombay and Goa. Rest is history. Anwar Ali’s career didnt kick off like his friend and he was in deep financial troubles in the 80s when he decided to produce a movie with his friend Big B. Since Anwar couldn’t afford the superstar and his usual entourage of Salim-Javed, Prakash Mehra and Manmohan Desai, Amitabh decided to help out his friend by not taking any signing amount and working for a very small payday and brought in his friends Kader Khan and Ravi Tandon to write and direct the movie. The movie was released the month Amitabh got a near fatal injury while shooting for Coolie. Hordes of fans rushed to the hospital to pray for the superstar and also to the cinema hall to make Khud-Daar one of the biggest hits of the year. India sang and danced to the movie’s songs and learned how to say “I love you” in English, Gujrati, Bengali and Punjabi like Kishore does in this song. Filmfare Awards focused on movies like "Namak Halal", “Nikaah" and "Prem Rog" and also finally rewarded R.D. Burman for his illustrious career by finally naming him Best music director for “Sanam Teri Kasam”.
1983 - "Shayad Meri Shaadi” from “Souten” brought a Rajesh Khanna song to the top for the first time in more than 10 years as Kishore and Lata sang to Usha Khanna’s music and Sawan Kumar’s lyrics. The movie lived upto its name as Rajesh Khanna and his leading lady Tina Munim had an affair during the shooting of the movie in Mauritius. This love affair would lead to Dimple’s divorce with Kaka and Tina’s split with Sanjay Dutt. Sawan Kumar made the most of the news of their affair to promote the movie as he leaked pics of the two leads at a wedding function, leading to further rumors of their marriage. Everyone went to the cinema to watch the movie which was creating such giant waves in the lives of its stars making it a good box office year for Kaka, who was rediscovering love, fame and movie success again with movies like "Avtaar" and "Agar Tum Na Hote”. Usha Khanna’s music was very well received by the public making her the first female composer to get a Filmfare nomination. However R.D. Burman’s soulful songs of “Masoom” would rule at Filmfare Awards winning best music director, lyricist and singer awards.
1984 - "Tu Mera Hero Hai” from “Hero” sung by Anuradha Paudwal and Manhar Udhas with Laxmikant Pyarelal’s music and Anand Bakshi’s lyrics ruled at the box office and Geetmala in 83 and 84. Subhash Ghai introduced Jackie Dada and Meenakshi Seshadri to their fans with this romantic love story. This song played a big role in making Jackie an instant star. Meenakshi’s character and most of India fell in love with Jackie Dada during this memorable romantic song. However Filmfare Awards were completely dominated by Bappi Lahiri’s "Sharaabi" especially with Kishore Kumar earning all best singer nominations for the same movie.
1985 - “Sun Sahiba Sun” from Raj Kapoor’s final and boldest movie “Ram Teri Ganga Maili” sung by Lata with Ravindra Jain’s music and Hasrat Jaipuri’s lyrics ruled the charts and awards. Raj Kapoor was initially planning to make RTGM to launch Rishi and Neetu Singh after "Mera Naam Joker”, but the failure of Joker made him change his plan to make a safer movie “Bobby”. The song “Sun Sahiba Sun” was written by Hasrat Jaipuri in the 50s for a RK Film called “Ajanta” which got shelved. Shankar Jaikishan used the melody for the song “I Love you" in “Sangam”. 30 years later RK would bring the melody and the lyrics together to compose the year's most successful song. Ravindra Jain would win the best music director Filmfare Award for the movie but Hasrat Jaipuri would lose the best lyrics award to “Mann Kyo Bahka” from another bold movie named “Utsav”.
1986 - "Yashoda Ka Nandlala” from “Sanjog” sung by Lata with Laxmikant Pyarelal’s music and Anjaan’s lyrics was a surprise track to top the charts. The movie was also a surprise mainstream drama from Jeetendra, right in the middle of his South Indian movie remake spree as he released more than 140 movies in the 80s. This movie featured Jaya Pradha who partnered with Jeetendra in 24 movies. The melancholic track about loss sung by Lata struck a chord with the fans and reached the top of the charts. There was no Filmfare Awards held for 2 years due to the Indo-Pak conflict on the border.
1987 - "Chitthi Aayi Hai” from “Naam” made a star of Manhar’s younger brother Pankaj Udhas who sang this haunting song with music from Laxmikant Pyarelal and Anand Bakshi’s soulful lyrics. BBC Radio worldwide selected “Chitthi Aayi Hai" in the top 100 songs of the millennium. The song evoked such emotions that it revived the careers of Mahesh Bhatt, Sanjay Dutt and kicked off Pankaj Udhas and Paresh Rawal’s careers. Rajendra Kumar made the movie with the intent to revive the failing career of his son Kumar Gaurav, but despite his good performance and critical acclaim, it wouldn’t change the downward trajectory of his career. There was no Filmfare Awards held for 2 years due to the Indo-Pak conflict on the border.
1988 - "Papa Kehte Hain” from “QSQT” announced the arrival of Aamir Khan and Udit Narayan whose infectious vocals raised this song to the top with newbie composers Anand-Milind and the lyrics of the legend Majrooh Sultanpuri. The Masala King of the 70s “Nasir Hussain” handed over the reigns of his kingdom to his son “Mansoor Khan” who wanted to share his fresh take on the age old tragic romantic stories of Romeo and Juliet, Laila Majnu and Heer Ranjha. The movie which gave birth to Aamir Khan, Juhi Chawla, Mansoor Khan, Raj Zutshi, Anand Milind, Udit Narayan, Alka Yagnik, launched T-Series into the stratosphere and kicked off the fad of calling movies with long titles by their spunky acronyms “QSQT”, DDLJ, HAHK, K3G and so on. In this song Aamir is playing the same guitar on stage that his cousin Tariq played in Yaadon Ki Baarat, the 70s blockbuster in which Master Aamir played the role of a young Tariq. The song also had a cameo appearance of his newly wed wife Reena Dutta dancing to her hubby’s debut song. Aamir Khan, Juhi Chawla, Anand-Milind and Udit Narayan all started their careers with Filmfare Awards for QSQT.
1989 - "My Name is Lakhan" from “Ram Lakhan” sung by "Mohammed Aziz” would become Laxmikant Pyarelal’s 5th and Anand Bakshi’s 4th top Geetmala song of the decade. The opening drum beats and the fun “Dhina Dhinaa Dhi Daa, Rum Pum Pum Pum, One Two Ka Four and Four Two Ka One” has become part of Anil Kapoor’s Jhakaas DNA. This is his go to song, his go to dance steps, his go to style and attitude. All of India danced to the beats of this song but the storm known as "Maine Pyar Kiya” swept the filmfare awards.
1990 - "Gori Hai Kalaiyaan” from “Aaj Ka Arjun” was a mega hit from Bappi Lahiri as Shabbir Kumar and Lata sang Anjaan’s lyrics in the surprise Big B hit movie marking a brief return to form after several of his big movies failed to impress at the box office. The years big musical “Aashiqui” would win all Filmfare awards for its music and songs.
1991 - "Dekha Hai Pehli Baar” from the musical romantic film “Saajan” would reign at box office and Filmfare Awards giving Nadeem Shravan and Sameer their first Geetmala top of the pop song voiced by the iconic S.P Balasubrahmanyam and Alka Yagnik. Nadeem Shravan would win their second consecutive Filmfare award for the movie.
1992 - “Maine Pyar Tumhi Se Kiya Hai” from “Phool Aur Kaante” sung by Kumar Sanu and Anuradha Paudwal would reunite the “Aashiqui” singers with their composer Nadeem Shravan and lyricist “Sameer” again for another top of the pop chartbuster. Kumar Sanu, Nadeem Shravan and Sameer would also win at the Filmfare Award but for another movie “Deewana”.
1993 - Binaca Geetmala would announce their last annual chartbuster “Choli Ke Peeche Kya Hai” voiced by Alka Yagnik and Ila Arun with Laxmikant Pyarelal’s music and Anand Bakshi’s lyrics from the movie “Khalnayak”. Alka Yagnik would win the Filmfare Award for singing for this song. The movie and song were both engulfed by controversy due to Sanjay Dutt’s arrest and the song’s racy lyrics. Despite facing ban for a short period of time, the song especially Madhuri’s dance performance would return to top the charts and earn its Filmfare Award. The song would also end Binaca Geetmala’s 40 year run of counting down the most famous songs of the week and year for its fans. One of the last gems from the ages of the maestros was finally put to bed as Ameen Sayani bid farewell to his hordes of radio fans.
Binaca Geetmala Top Song of the Year Playlist

"Behno aur Bhaiyo” was the greeting style of the golden voice of Radio legend “Ameen Sayani” as he introduced India to the most popular songs on India’s first Bollywood song countdown called Binaca Geetmala. The Bollywood music chart aired on Radio Ceylon from 1952 to 1988 and from 1989 to 1994 on Vividh Bharti and week after week all of India looked forward to hearing the familiar voice of the legend as he shared the best songs of Bollywood. At the end of each year Binaca Geetmala announced the number 1 most popular song of the year based on record sales and listener club feedback. I want to take this opportunity to share some trivia and mini reviews of the Binaca Geetmala top songs of the year from 1953 to 1993. Let's start with the songs crowned "the top of the pop" by Binaca Geetmala in the evergreen 50s and how they fared against their competition in that year's Filmfare awards.
1953 - "Yeh Zindagi Usi Ki Hai" from the movie “Anarkali" beautifully sung by Lata Mangeshkar with music by C Ramchandra and lyrics by Rajinder Krishan was the first annual top song of the Binaca Geetmala. Basant Prakash was the original composer for the movie and recorded one song with Geeta Bali. However due to a disagreement with the producer, he was replaced by C Ramchandra who brought in Lata to sing all the remaining songs for the movie. “Yeh Zindagi Usi Ki Hai” was the ultimate heartbreak song of that era which Anarkali (played by Bina Rai) sings as she is buried alive behind a wall as a helpless Salim (played by Pradeep Kumar) struggles to reach in time to save his love. C Ramchandra used the help of another music icon Roshan (Grandfather of Hrithik and father of Rajesh and Rakesh Roshan) to collaborate on the composition of the melody of this song. This movie introduced the talented Nasir Hussain to Bollywood who started his career as a writer for this movie and would go on to create the masala film genre with musical extravaganzas like Yaadon Ki Baraat, Hum Kissi Se Kum Nahin and many many more. Even though the song ruled the charts but it lost the first ever Filmfare Award for music direction to Naushad’s iconic “Tu Ganga Ki Mauj” from Baiju Bawra.
1954 - “Jayen To Jayen Kahan” from “Taxi Driver’ sung by Talat Mahmood with music by S.D. Burman and Sahir Ludhianvi’s poetry ruled the charts the following year. This was one of the best songs by the forgotten music Icon Talat Mehmood. His good looks made him an actor in several movies with Nutan and Suraiya but would give up acting to focus on singing. His smooth and velvety vocals were the voice of Dilip Kumar and early Dev Anand. The arrival of Mohammed Rafi and the infusion of rock n roll into Bollywood music in the 60s would sideline Talat Mahmood, who unfortunately literally disappeared from the landscape of modern Bollywood. This brilliant song is drenched with melancholy as Talat’s vocals emotes the pathos of Sahir’s poetry. S.D. Burman won his first Filmfare Award for best music director for this song for “Taxi Driver”. The song was picturized on Dev Anand and a second version sung by Lata Mangeshkar was shot on Kalpana Karthik who Dev Sahib fell in love with and married secretly on the set during a break while shooting “Taxi Driver”.
1955 - “Mera Joota Hai Japani” from the movie "Shree 420” sweetly sung by Mukesh with music by Shankar Jaikishan and Shailendra’s lyrics made Raj Kapoor an Indian Icon and a global star. It’s patriotic theme made it the biggest song of the year in India and the Russians went absolute gaga over this song when RK gave them the highest possible honor of his crown “Sar Par Laal Topi Roosi”. The song has been used in multiple Hollywood movies like Mississippi masala, Gravity and Deadpool. Hemant Kumar’s “Nagin" with it's haunting "Been" melody would win the Filmfare Award for music direction even though Shankar Jaikishan’s soundtrack topped record sales.
1956 - "Ae Dil Hai Mushkil Jeena Yahan” from “C.I.D.” was playfully sung by Mohammed Rafi and Geeta Dutt with the music of O.P. Nayyar and Majrooh Sultanpuri’s lyrics. Johnny Walker and Kumkum’s street hustling characters warn their fellow citizens about the fast life of their favorite city in this iconic anthem "Ae Dil Hai Mushkil Jeena Yahan, Zara Hatke Zara Bachke, Yeh Hai Bombay Meri Jaan”. Mohammed Rafi was the closest we can get to a true “Method” singer who brilliantly adapted his vocal style to the actors he sang for. He sat with Johnny Walker for a few days before recording the song to observe his mannerisms and modulate his voice to best fit him on screen. He took singing to the next level of the art form. “Ae Dil Hai Mushkil” would rule the chart and hearts of India but unfortunately lose at the Filmfare awards to the RK classic “Chori Chori” which was an album full of iconic songs like “Aaja Sanam Madhur Chandni Mein Hum” and “Yeh Raat Bheegi Bheegi”.
1957 - "Zara Saamne Toh Aao Chhaliye” from "Janam Janam Ke Phere” was one of the earliest hit duets by Lata and Rafi with the music of S.N. Tripathi and lyrics by Bharat Vyas. S.N. Tripathi was a forgotten multitalented genius of early Bollywood who composed, sang, dubbed, wrote, acted, produced and directed movies. He exclusively composed music for mythological movies and was best known for being the first to use the “Jai Hind” slogan in a song during the British Raj. This song was picturized on its leads Nirupa Roy and Manhar Desai for the movie “Janam Janam Ke Phere” which was also known as "Sati Anapurna”. This was the first movie directed by Manoo Desai who would revert to his full name of "Manmohan Desai” as he began his long commercially successful career of super hits with his next movie “Chhalia” with Raj Kapoor. His first movie was average and quickly forgotten but he would have a stellar 60s with Shammi Kapoor, an even brighter 70s with Rajesh Khanna before he would direct a string of 7 super hit movies with Big B in the 70s and 80s. O.P. Nayyar’s “Naya Daur” would be the big winner at Filmfare awards that year.
1958 - "Hai Apna Dil Toh Awara” from “Solva Saal” was an amazing haunting song sung by Hemant Kumar with S.D. Burman’s music and Majrooh Sultanpuri’s beautiful lyrics. The song was picturized on Dev Anand and Waheeda Rehman and the mouth organ on this song was played by the maestro Dada Burman’s son and future maestro Pancham AKA R.D. Burman. Filmfare awards were dominated that year by the Bimal Roy classic “Madhumati” for which Salil Chowdhury won best music director and the first playback singer award was actually won by Lata Mangeshkar (There was no female singer category) for "Aaja Re Pardesi” and Shailendra won the first award for best lyricist for Yahudi’s “Yeh Mera Deewanapan Hai"
1959 - "Haal Kaisa Hai Janaab Ka” from “Chalti Ka Naam Gaadi” passionately sung by Kishore Kumar with Asha Bhosle to the music of his guru S.D. Burman and Majrooh Sultanpuri’s lyrics. This is the song during which Kishore and Madhubala fell in love. Madhubala never looked happier and more beautiful than she did in this song and Kishore’s pitch and yodels never sounded better. This playful song ruled the charts but Filmfare awards were taken over by Raj Kapoor’s “Anari” as Shankar Jaikishan won best music director, Mukesh became the first male singer to win for singing and Shailendra would win his second back to back best lyricist award for “Sab Kuch Seekha Humne”.
1960 - "Zindagi Bhar Nai Bhoolegi Wo Barsaat Ki Raat" from the movie “Barsaat Ki Raat" beautifully sung by Mohammed Rafi with music by Roshan and lyrics by Sahir Ludhianvi was the decade’s first annual top song of the Binaca Geetmala. The image of Madhubala admiring Bharat Bhushan’s voice as she eagerly listens to this song on radio masterfully depicts the importance of radio and the Geetmala in those days. The film popularized qawwalis, however Rafi’s ultra-romantic version of Sahir’s poetry was a masterpiece. The song was about Madhubala and Bharat Bhushan’s characters chance meeting on a stormy night as Roshan’s brilliant background score channels their internal storm without a single word spoken between the two characters throughout the scene. Bharat Bhushan’s poet translates his experience from that brief encounter into this amazing song. Rafi would win the Filmfare Award that year for another iconic song “Chaudhvin Ka Chand” for which Shakeel Badayuni would get the best lyricist award as Shankar Jaikishan won for best music director for “Dil Apna Preet Parai” which featured Lata’s iconic “Ajeeb Dastaan Hai Yeh”.
1961 - "Teri Pyaari Pyaari Surat Ko” from “Sasural” became Mohammed Rafi's second top chartbuster of the decade with Shankar Jaikishan’s music and Hasrat Jaipuri’s lyrics. Rajendra Kumar had already a few hits under his belt including playing Nargis’s son in Mother India in the 50s, however the 60s saw his actual rise to stardom and “Sasural” was one of the initial blockbusters which earned him the crown of Jubilee Kumar. Kumar’s lead actress in the movie was B Saroja Devi who was called the "Saraswathi of acting” in the Kannada film industry. This would be one of her biggest Hindi movies as Kumar tries to woo her with the flirtatious "Teri Pyaari Pyaari Surat Ko, Kisi Ki Nazar Na Lage, Chashme Budoor”. The song topped the charts and also won Rafi his 2nd consecutive Filmfare Award for singing.
1962 - "Ehsaan Tera Hoga Mujh Par” from “Junglee” became Mohammed Rafi’s 3rd consecutive top of the chart song with another delightful collaboration with Shankar Jaikishan and Hasrat Jaipuri. This song was originally planned as a Mohammed Rafi only song, but the director felts its power and got Lata to sing her version of this classic tune. This was Junglee's romantic anthem and played a big role in shaping Shammi Kapoor’s romantic image as it skyrocketed him to mega-stardom with back to back hits in the 60s. Shankar Jaikishan won best music director for another Shammi Kapoor masterpiece “Professor” while Lata won the best singer award for the haunting “Kahin Deep Jale” from the surprise superhit "Bees Saal Baad” which also earned Shakeel Badayuni his 3rd consecutive Filmfare Award for best lyrics.
1963 - "Jo Wada Kiya Woh Nibhana Padega” from “Taj Mahal” was the amazing Lata - Rafi duet which became one of the most memorable songs of the golden era with the music of Roshan and Sahir Ludhianvi’s masterful lyrics. This song conquered everything, the hearts of Indians, the Geetmala with astronomical sales and Roshan winning his only award for music director along with Sahir Ludhianvi’s first win for Lyrics. Sahir was one of the greatest Urdu poets to write Bollywood songs and he was among the first to tell composers to compose music around his lyrics and demanded that All India Radio also give credit to the songs lyricist when playing the songs. The song featured Pradeep Kumar and Beena Rai who both achieved tremendous success with Taj Mahal but it also became among their last hit movies in lead role. Beena Rai who was married to Prem Nath retired from movies and Pradeep Kumar couldn’t compete with the fresh blood of Shammi Kapoor, Rajendra Kumar and even smaller actors like Biswajeet and Joy Mukherjee. He very quickly got sidelined into character actors roles but got immortalized forever as a result of this evergreen romantic gem.
1964 - “Bol Radha Bol” from “Sangam” once again brought the Raj Kapoor - Shankar Jaikishan - Shailendra - Mukesh collaboration to the top of the charts. This was a fun and naughty song as Raj Kapoor with a Gopi-esque feather in his hair teases a sensual Vyjayanthimala in a red swimsuit while swimming in the river. There is an interesting story behind the origin of the song. RK tried multiple times to sign Vyjayanthimala for the movie. After several follow ups, he sent her a telegram asking her “Bol Radha Bol, Sangam Hoga Ke Nahi” to which she replied “Hoga Hoga, Zaroor Hoga”. When RK happily showed her confirmation telegram to Shailendra, the poet immediately sang “Tere Mann Ki Ganga aur Mere Mann Ki Jamuna Ka Bol Radha Bol Sangam Hoga Ke Nahi”. The rest is history. Sangam was one of the biggest blockbusters of Raj Kapoor’s career grossing more than 700 crore rupees (Adjusted for inflation), however on Filmfare night, a small movie named “Dosti” would bring down the Goliath “Sangam” by winning all the best music director, singer and lyricist awards.
1965 - "Jis Dil Mein Basa Tha Pyaar Tera” from the movie “Saheli” sung by Mukesh with the music by Kalyanji Anandji and lyrics by Indeevar topped the charts. The movie featured Pradeep Kumar and Kalpana right before they both disappeared into the oblivion of Bollywood character acting. The movie was directed by Arjun Hingorani before he got super-obsessed with Dharmendra and the letter “K” and made “Kab, Kyon Aur Kahaan”, “Kahani Kismat Ki”, “Khel Khiladi Ka”, "Katilon Ke Katil”, “Karishma Kudrat Ka” and “Kaun Kare Kurbani” with Garam Dharam. Kalyanji Anandji and their assistants Laxmikant Pyarelal collaborated to create this melancholic masterpiece. Ravi’s “Khandaan" would be the big winner sweeping best music director, singer and lyricist awards.
1966 - "Baharon Phool Barsao Mera Mehboob Aaya Hai” from “Suraj” sung by Rafi with Shankar Jaikishan’s music and Hasrat Jaipuri’s romantic lyrics topped the charts in the year when one of India’s brightest Gems “Guide” received tremendous critical acclaim for its songs and music. The movie featured a child artist named Baby Sonia who would grow up to become Neetu Singh AKA Mrs Rishi Kapoor and Ranbir Kapoor’s mother. The fans adored the love with which Rajendra Kumar showered his leading actress Vyjayanthimala as he sang this romantic song for his beloved. The song topped the charts and sweeped the Filmfare Award by winning best music director, lyricist and singer. 1967 - "Saawan Ka Mahina Pawan Kare Sor” by Mukesh and Lata was another beloved chartbuster and Filmfare Award winning masterpiece composed by Laxmikant Pyarelal on Anand Bakshi’s lyrics. Dosti was LP’s breakthrough album and earned them their first award after which they returned to assisting Kalyanji Anandji. Milan was the movie which truly established them as a standalone dynamic musical duo and future stars of Indian music. The song also established Anand Bakshi as a lyricist earning him his first of 41 Filmfare nominations and began his 300+ movie collaboration with Laxmikant Pyarelal. The song has a funny and brilliant wordplay between Mukesh and Lata as Sunil’s villager character sings the word “Sor” which Nutan’s educated pupil sings “Shor” and he responds “Shor Nahi Sor, Sor”. This melodious masterpiece is the heart and soul of the movie which would earn LP their 2nd Filmfare award after Dosti while the lyrics award would go to the patriotic masterpiece “Mere Desh Ki Dharti” sung beautifully by Mahendra Kapoor. Mahendra would also win best male singer for Hamraaz’s “Neele Gagan Ke Tale”. Lata’s sister Asha Bhosle would win her first Filmfare Award for Dus Lakh’s “Garibon Ki Suno” in the first award best female singer award.
1968 - "Dil Vil Pyar Vyar Main Kya Jaanu Re” from “Shagird” sung by Lata Mangeshkar with Laxmikant Pyarelal’s music and Majrooh Sultanpuri’s lyrics would become the biggest hit of the year. The song was picturized on Saira Bano along with Joy Mukherjee and played a critical role in making the movie a superhit. The song and movie were nowhere to be seen on award night as Shankar Jaikishan’s Shammi Kapoor blockbuster “Brahmachari” would win best director, male singer and a posthumous lyricist award for Shailendra. Asha Bhosle would win her consecutive second Best female singer Filmfare award for Shikhar’s "Parde Men Rahne Do”.
1969 - "Kaise Rahoon Chup Ki Maine Pi Hi Kya Hai” from “Intaqam” was sung by Lata with LP’s music and Rajendra Krishan’s lyrics. So Laxmikant Pyarelal ended the 60s at the top of the charts for 3 consecutive years and signaled a change of guards from the maestros of the golden era to the masters of the 70s masala. Lata sang the song with such perfection that her slurring delivery convinced fans that the nightingale must have been under the influence while recording the song. Lata sounded more drunk than Sadhana appeared on screen and earned her a 17th Filmfare nomination for singing. She would lose to herself for Jeene Ki Raah’s "Aap Mujhe Achhe Lagne Lage”.
1970 - "Bindiya Chamkegi Choodi Khankegi" from the movie “Do Raaste” was full of spunk and energy for the new decade with Lata singing Anand Bakshi’s playful lyrics to Laxmikant Pyarelal’s music. The 70s began with the first superhit collaboration of iconic Kaka - Mumu Jodi as Mumtaz rose from a B Grade movie actress to the first superstar’s leading lady. This was Mumtaz’s 60th movie in the industry and the one that finally made the once child artist turned “stunt film heroine" into a bonafide star and inspiration for millions of struggling artists starting at the bottom of the Bollywood food chain. This was Rajesh Khanna’s 270 Crore (Adjusted for inflation) grossing blockbuster and number 5 in his 17 movie consecutive hit spree. With this movie he would solidify his superstardom and continue delivering hit after hit. The success of this movie would start his hit pairing with Mumtaz in 10 iconic movies. ”Bindiya Chamkegi” ruled the pop charts, while Shankar Jaikishan’s “Pehchan” and “Jahan Pyar Mile” would give the legends the edge at Filmfare Awards over LP in the early days of the decade.
1971 - "Zindagi Ek Safar Hai Suhana” from Andaz was sung with such passion and energy by Kishore and Asha that this Shankar Jaikishan and Hasrat Jaipuri classic was enough to make the movie a box office success. The movie was released at the height of Rajesh Khanna’s superstardom with his face right in the center of the poster, his name in bold above all other actors and this song picturized on him was in every trailer and promo, despite the fact that Kaka only had a 10 minute cameo including the song in the movie. The lead actor of the movie was Shammi Kapoor whose 60s box office charm and magic had vanished. A first time director named “Ramesh Sippy” always wanted to make his debut with Shammi, so when the dancing star of the 60s agreed to take on a more mature role in “Andaz” a new star director was born. Sippy would go on to make the biggest movie of all time, "Sholay” and follow it with masterpieces like “Shaan”, “Shakti” and Saagar”. Shammi got one of his last superhits as a lead actor but everyone knew that the reason for the movie’s success was fans flocking to the cinema to watch Kaka ride a bike as he sang “Zindagi Ek Safar Hai Suhana”. Hasrat Jaipuri would win the best lyrics Filmfare Award for the song. Shankar Jaikishan would also dominate at the awards again but it would be Raj Kapoor’s “Mera Naam Joker” which would earn them yet another best music director and Manna Dey his only filmfare award.
1972 - “Dum Maro Dum” from “Hare Rama Hare Krishna” sung by Asha Bhosle would establish R.D. Burman’s music as the new wave sound of the decade and etch Anand Bakshi’s lyrics into the annals of Bollywood’s pop music history. Asha Bhosle would win the Filmfare award for this brilliant psychedelic number which Dev Anand wasn’t too interested to include in his movie. Pancham and Anand Bakshi were so sure about its potential that they would not hear “No” from the movie’s legendary writer - actor - producer - director. They stood their ground and India swayed to the hypnotic melody, sounds and vocals of the song. Dev Sahib would get his first directorial super hit, Pancham would become the go to composer for the fresh pop sound and India would get their first glimpse of the sensual Zeenat Aman.
1973 - "Yaari Hai Imaan Mera, Yaar Meri Zindagi” and “Zanzeer” would change Bollywood forever as it would announce the beginning of the era of a angry young man. Manna Dey’s exceptional vocals would immortalize Gulshan Bawra’s ode to friendship and earn Bawra the best lyricist award. Zanzeer was a Dharmendra vehicle which he couldn’t make because of a really busy schedule. So the director Prakash Mehra offered it to Dev Anand, who didnt like the "no smile, no song and all business" cop character and declined the movie. Raj Kumar who was a cop before joining films liked the script but his dislike for Prakash Mehra's looks made it impossible to cast him. Raj Kumar is known to have made the following statements to Mehra, “Hum Yeh Film Karenge, Aur Zaroor Karenge, Lekin Humhe Set Par Tumhara Yeh Manhoos Chehra Nahin Dikhna Chahiye” and its amazing follow up “Humhe Yeh Kahani Pasand Hai, Bahut Pasand Hai, Lekin Tumhare Baalo Se Aati Hui Yeh Ghatiya Tel Ki Badboo Ki Wajah Se ,Hum Yeh Film Nahin Banayenge”. Truly hilarious. Mehra would also get rejected by Dilip Kumar, after which Pran would tell him to watch a movie called “Bombay to Goa” with a lanky young actor called Amitabh Bachchan. Rest is history. Big B would get crowned the next superstar with Zanjeer and it would become his first hit movie with future wife Jaya, Prakash Mehra found his muse and leading man of 7 blockbusters, Salim Javed would become the genius writing duo for the ages, Pran would solidify himself as the highest paid “character” actor and Ajit’s iconic character “Teja” would say “ Lilly don't be silly”. Now this is how icons are born.
1974 - "Mera Jeevan Kora Kagaz Kora Hi Reh Gaya” from “Kora Kagaz” sung magnificently by Kishore Kumar with Kalyanji Anandji’s music and M.G. Hashmat’s lyrics. The movie was centered around Jaya’s character and it required a middle aged actor to play the role of her estranged husband. None of the middle aged actors wanted to change their image and play the role against Jaya, Sanjeev Kumar was unavailable and all the newer actors were too young for the role. That is how the legendary director of Guide, Jewel Thief, Johny Mera Naam and several other masterpieces and Dev Anand’s brother, Goldie Anand got roped into the play the role. The movie would become his first super hit as a lead actor. Kishore's epic song “Kora Kagaz” was beautifully picturized on Jaya. Kalyanji Anandji would win best music director award for the short 3 song soundtrack of “Kora Kagaz”, but Mahendra Kapoor and Santosh Anand would win best singer and lyrics for Roti Kapda Aur Makaan.
1975 - "Baaki Kuchh Bacha To Mahangai Maar Gayee” from “Roti Kapda Aur Makaan” would top the charts the following year after RKAP had already won Filmfare year awards for the previous year. Laxmikant Pyarelal’s composition of Varma Malik’s lyrics about India’s socio-economic condition, sung by Lata, Mukesh, Jaani Babu Qawwal and Narendra Chanchal rang true and connected with the public especially the youth during an unemployment crisis. The movie had already completed its Filmfare award cycle even though the song stayed top of mind and charts, other movies like Rajesh Roshan’s debut “Julie”, Kishore Kumar’s “Amanush” and Sulakshana Pandit’s “Sankalp” would win the awards.
1976 - "Kabhi Kabhie Mere Dil Mein Khayaal Aata Hai” from the iconic “Kabhi Kabhie” was an exceptional composition by Khayyam of Sahir Ludhianvi’s iconic poetry given voice by Mukesh and Lata. The movie and the song had such heart and soul that it conquered the box office, the charts and the awards as it won for best music director, lyricist and male singer. Mukesh had unfortunately passed away on his US tour and his award was accepted posthumously. Mukesh was another maestro whose sweet voice was taken away too soon at the age of 53. He left for his heavenly abode when he was still at the top of his game in a year when he received 3 Filmfare nominations and songs. Mukesh had recorded songs for other movies yet to be released for which he would receive 2 more nominations in the next two years. Such was the immortality of his voice and music. A true icon and legend.
1977 - "Husn Haazir Hai Mohabbat Ki Sazaa Paane Ko” from “Laila Majnu” was yet another Sahir Ludhianvi masterpiece in Urdu poetry which was brought to life by Madan Mohan through the voice of Lata Mangeshkar. The maestro Madan Mohan had already passed away in 1975, so he never saw the success of his music for Laila Majnu. After his passing away, the producer H.S. Rawail reached out to the young and upcoming Rajesh Roshan to compose the remaining songs for the movie, however Rajesh refused to step into the shoes of the maestro as he didnt consider himself worthy enough of the honor. S.D. Burman’s erstwhile assistant and music composer Jaidev would step in to complete the work of the maestro. Rishi played Majnu to the debutant Ranjeeta’s Laila in this hit love story, however there was no love lost on the set as Rishi would refuse to promote her. Ranjeeta had already signed a few movies which would also become box office hits, however mainstream actors would start stepping away from working with her in movies forcing her to get confined to smaller roles and B grade movies. Surprisingly the movie would also be completely absent from the Filmfare awards which would be dominated by "Amar Akbar Anthony", "Hum Kissi Se Kum Nahin” and the invasion of middle cinema movies like “Manthan”, “Gharonda”, “Bhumica” and “Swami”.
1978 - "Ankhiyon Ke Jharokhon Se, Maine Dekha Jo” from "Ankhiyon Ke Jharokhon Se” sung by Hemlata with lyrics and music by Ravindra Jain became the next year's biggest hit. This was a heartbreaking movie from Rajshri starring Ranjeeta and Sachin which did well at the box office but would get crushed by Big B's “Don” and Raj Kapoor’s “Satyam Shivam Sundaram” on Filmfare Awards night.
1979 - "O Saathi Re” from “Muqaddar Ka Sikandar” sung by Kishore Kumar with Kalyanji Anandji’s music and Anjaan’s lyrics was the big song of the last year of the decade. Kader Khan had written a mammoth 16 pages of dialogues based on his own life’s challenges for Big B to deliver in the movie before he performs this song on stage. Amitabh refused to deliver such a long monologue but Kader also refused to shorten the dialogues. Amitabh then sat down with Kader to reason with him but he was brought to tears on hearing Kader’s life journey and pains which inspired the dialogues. He agreed to do the scene with the 16 pages of dialogues before Kishore Kumar sings the drenched in melancholy “O Saathi Re”. The movie and all its songs became superhit but middle cinema continued to rule at the awards as smaller movies “Gol Maal”, “Dada” and “Sargam” would win the Filmfare awards.
1980 - "Dafli Wale Dafli Baja” from “Sargam” sung by Lata and Rafi with Laxmikant Pyarelal’s music and Anand Bakshi’s lyrics became the only song ever to debut and stay at the top of the charts for 25 consecutive weeks till it was officially retired. The movie would be Jaya Pradha's triumphant entry into Bollywood during the days when she couldn’t even speak a single word of Hindi which made her role of a mute in Sargam a perfect Bollywood debut for her. This movie helped Chintu get more single hero movies. Laxmikant Pyarelal won their 6th Filmfare award for “Sargam” and Rafi would return to form as he sang all the songs of this superhit album like he used to sing in the 50s and 60s.
1981 - “Mere Angne Mein” from Laawaris sung by the superstar Amitabh Bachchan and a 14 year old Alka Yagnik with the music of Kalyanji Anandji and Anjaan’s lyrics topped the charts for most of the year. This was one of the most commercial Amitabh voiced tracks of his career. Amitabh himself sang the most popular version of this folk song in which he croons about the benefits of having a Tall, Fat, Dark, Light Skinned or Short wife. The video of the song was so popular as Amitabh appears as the multiple kind of wives he is singing about that the movie got repeated viewings so that the fans could dance again and again to this number with Big B. Umrao Jaan, Ek Dujhe Ke Liye, Love Story and Kudrat would split the Filmfare music awards.
1982 - "Angrezi Mein Kehte Hain” from “Khud-Daar” was a fun duet by Lata and Kishore with Rajesh Roshan’s music and Majrooh Sultanpuri’s lyrics. Amitabh began his career with the movie Saat Hindustani where he and another struggling actor Anwar Ali became close friends. Anwar Ali was Mehmood’s younger brother and Amitabh lived with Anwar in Mehmood’s guest house for the initial few years of his career. Mehmood gave Anwar and Amitabh a break in his movie Bombay and Goa. Rest is history. Anwar Ali’s career didnt kick off like his friend and he was in deep financial troubles in the 80s when he decided to produce a movie with his friend Big B. Since Anwar couldn’t afford the superstar and his usual entourage of Salim-Javed, Prakash Mehra and Manmohan Desai, Amitabh decided to help out his friend by not taking any signing amount and working for a very small payday and brought in his friends Kader Khan and Ravi Tandon to write and direct the movie. The movie was released the month Amitabh got a near fatal injury while shooting for Coolie. Hordes of fans rushed to the hospital to pray for the superstar and also to the cinema hall to make Khud-Daar one of the biggest hits of the year. India sang and danced to the movie’s songs and learned how to say “I love you” in English, Gujrati, Bengali and Punjabi like Kishore does in this song. Filmfare Awards focused on movies like "Namak Halal", “Nikaah" and "Prem Rog" and also finally rewarded R.D. Burman for his illustrious career by finally naming him Best music director for “Sanam Teri Kasam”.
1983 - "Shayad Meri Shaadi” from “Souten” brought a Rajesh Khanna song to the top for the first time in more than 10 years as Kishore and Lata sang to Usha Khanna’s music and Sawan Kumar’s lyrics. The movie lived upto its name as Rajesh Khanna and his leading lady Tina Munim had an affair during the shooting of the movie in Mauritius. This love affair would lead to Dimple’s divorce with Kaka and Tina’s split with Sanjay Dutt. Sawan Kumar made the most of the news of their affair to promote the movie as he leaked pics of the two leads at a wedding function, leading to further rumors of their marriage. Everyone went to the cinema to watch the movie which was creating such giant waves in the lives of its stars making it a good box office year for Kaka, who was rediscovering love, fame and movie success again with movies like "Avtaar" and "Agar Tum Na Hote”. Usha Khanna’s music was very well received by the public making her the first female composer to get a Filmfare nomination. However R.D. Burman’s soulful songs of “Masoom” would rule at Filmfare Awards winning best music director, lyricist and singer awards.
1984 - "Tu Mera Hero Hai” from “Hero” sung by Anuradha Paudwal and Manhar Udhas with Laxmikant Pyarelal’s music and Anand Bakshi’s lyrics ruled at the box office and Geetmala in 83 and 84. Subhash Ghai introduced Jackie Dada and Meenakshi Seshadri to their fans with this romantic love story. This song played a big role in making Jackie an instant star. Meenakshi’s character and most of India fell in love with Jackie Dada during this memorable romantic song. However Filmfare Awards were completely dominated by Bappi Lahiri’s "Sharaabi" especially with Kishore Kumar earning all best singer nominations for the same movie.
1985 - “Sun Sahiba Sun” from Raj Kapoor’s final and boldest movie “Ram Teri Ganga Maili” sung by Lata with Ravindra Jain’s music and Hasrat Jaipuri’s lyrics ruled the charts and awards. Raj Kapoor was initially planning to make RTGM to launch Rishi and Neetu Singh after "Mera Naam Joker”, but the failure of Joker made him change his plan to make a safer movie “Bobby”. The song “Sun Sahiba Sun” was written by Hasrat Jaipuri in the 50s for a RK Film called “Ajanta” which got shelved. Shankar Jaikishan used the melody for the song “I Love you" in “Sangam”. 30 years later RK would bring the melody and the lyrics together to compose the year's most successful song. Ravindra Jain would win the best music director Filmfare Award for the movie but Hasrat Jaipuri would lose the best lyrics award to “Mann Kyo Bahka” from another bold movie named “Utsav”.
1986 - "Yashoda Ka Nandlala” from “Sanjog” sung by Lata with Laxmikant Pyarelal’s music and Anjaan’s lyrics was a surprise track to top the charts. The movie was also a surprise mainstream drama from Jeetendra, right in the middle of his South Indian movie remake spree as he released more than 140 movies in the 80s. This movie featured Jaya Pradha who partnered with Jeetendra in 24 movies. The melancholic track about loss sung by Lata struck a chord with the fans and reached the top of the charts. There was no Filmfare Awards held for 2 years due to the Indo-Pak conflict on the border.
1987 - "Chitthi Aayi Hai” from “Naam” made a star of Manhar’s younger brother Pankaj Udhas who sang this haunting song with music from Laxmikant Pyarelal and Anand Bakshi’s soulful lyrics. BBC Radio worldwide selected “Chitthi Aayi Hai" in the top 100 songs of the millennium. The song evoked such emotions that it revived the careers of Mahesh Bhatt, Sanjay Dutt and kicked off Pankaj Udhas and Paresh Rawal’s careers. Rajendra Kumar made the movie with the intent to revive the failing career of his son Kumar Gaurav, but despite his good performance and critical acclaim, it wouldn’t change the downward trajectory of his career. There was no Filmfare Awards held for 2 years due to the Indo-Pak conflict on the border.
1988 - "Papa Kehte Hain” from “QSQT” announced the arrival of Aamir Khan and Udit Narayan whose infectious vocals raised this song to the top with newbie composers Anand-Milind and the lyrics of the legend Majrooh Sultanpuri. The Masala King of the 70s “Nasir Hussain” handed over the reigns of his kingdom to his son “Mansoor Khan” who wanted to share his fresh take on the age old tragic romantic stories of Romeo and Juliet, Laila Majnu and Heer Ranjha. The movie which gave birth to Aamir Khan, Juhi Chawla, Mansoor Khan, Raj Zutshi, Anand Milind, Udit Narayan, Alka Yagnik, launched T-Series into the stratosphere and kicked off the fad of calling movies with long titles by their spunky acronyms “QSQT”, DDLJ, HAHK, K3G and so on. In this song Aamir is playing the same guitar on stage that his cousin Tariq played in Yaadon Ki Baarat, the 70s blockbuster in which Master Aamir played the role of a young Tariq. The song also had a cameo appearance of his newly wed wife Reena Dutta dancing to her hubby’s debut song. Aamir Khan, Juhi Chawla, Anand-Milind and Udit Narayan all started their careers with Filmfare Awards for QSQT.
1989 - "My Name is Lakhan" from “Ram Lakhan” sung by "Mohammed Aziz” would become Laxmikant Pyarelal’s 5th and Anand Bakshi’s 4th top Geetmala song of the decade. The opening drum beats and the fun “Dhina Dhinaa Dhi Daa, Rum Pum Pum Pum, One Two Ka Four and Four Two Ka One” has become part of Anil Kapoor’s Jhakaas DNA. This is his go to song, his go to dance steps, his go to style and attitude. All of India danced to the beats of this song but the storm known as "Maine Pyar Kiya” swept the filmfare awards.
1990 - "Gori Hai Kalaiyaan” from “Aaj Ka Arjun” was a mega hit from Bappi Lahiri as Shabbir Kumar and Lata sang Anjaan’s lyrics in the surprise Big B hit movie marking a brief return to form after several of his big movies failed to impress at the box office. The years big musical “Aashiqui” would win all Filmfare awards for its music and songs.
1991 - "Dekha Hai Pehli Baar” from the musical romantic film “Saajan” would reign at box office and Filmfare Awards giving Nadeem Shravan and Sameer their first Geetmala top of the pop song voiced by the iconic S.P Balasubrahmanyam and Alka Yagnik. Nadeem Shravan would win their second consecutive Filmfare award for the movie.
1992 - “Maine Pyar Tumhi Se Kiya Hai” from “Phool Aur Kaante” sung by Kumar Sanu and Anuradha Paudwal would reunite the “Aashiqui” singers with their composer Nadeem Shravan and lyricist “Sameer” again for another top of the pop chartbuster. Kumar Sanu, Nadeem Shravan and Sameer would also win at the Filmfare Award but for another movie “Deewana”.
1993 - Binaca Geetmala would announce their last annual chartbuster “Choli Ke Peeche Kya Hai” voiced by Alka Yagnik and Ila Arun with Laxmikant Pyarelal’s music and Anand Bakshi’s lyrics from the movie “Khalnayak”. Alka Yagnik would win the Filmfare Award for singing for this song. The movie and song were both engulfed by controversy due to Sanjay Dutt’s arrest and the song’s racy lyrics. Despite facing ban for a short period of time, the song especially Madhuri’s dance performance would return to top the charts and earn its Filmfare Award. The song would also end Binaca Geetmala’s 40 year run of counting down the most famous songs of the week and year for its fans. One of the last gems from the ages of the maestros was finally put to bed as Ameen Sayani bid farewell to his hordes of radio fans.

My campus department just announced its IISMA training program, I'm quite interested in joining that program and currently doing extensive research seputar IISMA dari para awardee. While doing research on universities, great essays, etc., Gua malah kepikiran apakah keputusan utk daftar di tahun kedua itu tepat?. When I ask other awardees, banyak dari mereka ngeluh karena harus ngejar SKS yang ketinggalan bareng adek kelas. Tanggapan komodos gimana? (barangkali ada yang punya pengalaman atau cerita?)
*sori gado-gado, sekalian latian basa enggres hehe

This is a rant. My wife, my kid and I just finished vacationing in Bali as part of our 2 months pulang kampung setelah lama ga pulang ke Indo. Plus, this is the first time my son comes to Indonesia as he was born abroad, We stayed in Bali for about 10 days and not even 1 outta that 10 days did we not experience racism/favoritism or whatever you want to call it. Some cases though just blew my mind.
Case 1: We flew directly from Germany to Bali. Mendarat, imigrasi, ambil bagasi lancar. Keluar bandara nyari taksi udah macam ngemis tumpangan karena in para supir taksi pada ngincer bule. Akhirnya dapet satu. Dijalan dia cerita kalo taksi lebih suka nyari bule, karena ngarep tips. OK… like I wouldn’t give them any??
Case 2: Finally settled in the hotel in Seminyak area after late check in on day 1. Wanted to start the day with some pool. We put our stuff on three free sun-bathing pool chairs and out came a smug faced hotel staff, telling we should only occupy one chair to make rooms for others. Like it was 7am but fine, we are spending most of our time in the pool anyway. Then came a group of three girls and they fucking occupied four chairs! Three for them to lay on, and 1 for their belongings. The same hotel staff saw all that and did nothing. While walking back to our room, I asked him why he is ok with bule occupying more chairs than us. He said “ya kalau bule kan butuh pak untuk sunbathing”. Lah emang sunbathing chair ga bisa gue pake buat duduk biasa gitu? Like I had to share one chair with my wife and my kid if we want to rest at the same time?! Fuck is wrong with his logic?
Case 3: Went to a beach resto. We made reservations beforehand in english because we’ve heard locals often get rejected if they just show up, or get placed on not so nice seats. We thought if we reserved the seats, they wouldn’t be able to turn us down. Boy oh boy were we so wrong. We came, told the waitress that we have a reservation under my wife’s very western generic name. They gave us this strange look. Then they had the audacity to ask us if we are okay with being seated near the back of the restaurant while saying : kasian nanti anaknya keganggu sama yang agak ribut. Like no he wouldn’t be. He likes the vibe and the restaurant damn well knew that there is going to be a kid, it is even mentioned in the reservation. We insisted and they finally let us have the table as reserved. Tapi selama makan disitu kita kayak makan di restoran Karen’s, padahal kita makan 6 course dinner while bule bule cuma beli bir anjg.
Case 4: Made friends with some German families from the hotel we stayed at. Agreed to go to a temple together. We were trying to arrange a transport dan kayaknya semua full booked. This german guy then tried to contact the same service providers in our list with broken english… lo and behold, they are now available.
Apa perlu ganti kulit sama ganti lidah gitu biar diperlakukan layaknya turis pada umumnya di Bali? Rasanya gue malah lebih diperlakukan dengan sopan di Malaysia atau Singapore, dua negara yang katanya mandang orang Indonesia itu lebih rendah. Gue malah ngerasa benera rendah di Bali, negara gue sendiri.

Goods pa rin ba pumasok as Salesforce Dev ngayon? Nagbasa basa ako ng mga naunang post dito at karamihan don nasa 1yr old post na pataas kaya check ko lang sana inputs ng mga Salesforce dev pa rin hanggang sa ngayon simula dati or kahit yung may mga experience na same as Salesforce dev? May interview kasi ako as Salesforce dev then currently working ako as fullstack dev bali di ko alam kung ipupush ko ba talaga tong salesforce dahil sa mga nabasa kong chill at high pay pero ang cons is hindi basta basta makakapag jobhop. Any inputs from you guys is a big help for me para makapagdesisyon, thaaanks!

Hi komodos gw(20m) tinggal di bali. Kebetulan masih di jenjang kuliah S1 teknik sipil yg lagi magang jadii drafter di suatu CV sekarang. Singkat cerita. Gw butuh saran. Dulu waktu gw magang di tempat ini gw bilangnya "saya masih belum punya pengalaman pak, saya kesini mau nyari ilmu sama pengalaman dulu, ga cari materi" dan bossnya bilang "tetep saya bakal gaji kamu walaupun hanya uang bensin, kan perlu effort juga kamu kekantor". Udah selang 3 bulan, dan bulan ini gaji gw belum masuk, gw dah bilang ke ortu kalo gw dah dapet gaji jadi uang bulanannya gaperlu dikasi lagi. And now i'm broke. How do i say to him?
TL:DR gaji telat masuk, gimana cara bilang ke bossnya?
Edit: berkat saran kalian udah gw bicarain sama bossnya. Ternyata bener, adminnya juga belum nerima gaji wkwkwk. Banyak proyek baru ternyata makanya dia lupa dan dia udah minta maaf juga ke kita. Thanks for the help komodos!

Gua abis bolak-balik OtomeIsekai dan banyak orang sono yang komplain tentang portrayal orang asia yang kulitnya coklat (macam India, Mesir dan Arab) di OI manhwa. Suffice to say, sama pengarang korsel sono (gua gatau kalau dinegara lain terutama negara barat kayak mana ya) suka di portray sebagai orang2 yang "liar". Kalau gua perhatikan secara konteks, kebanyakan cerita2 kayak gitu menganggap mereka secara stereotipikal sebagai "liar" (biasanya awal2 doang or minimal kekikis sedikit demi sedikit lah pemikiran stereotipe itu) ya karena banyak aspek, seperti pada jaman dulu perputaran informasi itu tidak secepat sekarang, manusia juga memiliki kecenderungan untuk dehumanisasi kelompok yang mereka anggap sebagai lawan mereka, ignorance dsb. Berangkat dari penjelasan gua diatas, gua ada beberapa pertanyaan mengenai topik ini dengan Indonesia sebagai centernya:

Indonesia itu dari dunia manhwa aja misalnya, gua ga pernah liat Indonesia atau kulturnya di mention. Pertanyaan gua adalah, apakah dengan hanya menyebutkan hal2 kecil seperti karakter A berasal dari Indonesia, kalian sudah merasa senang dengan hal itu?
Seringkali orang suka menciptakan stereotipe karena alasan2 yang gua jelaskan diatas. Seandainya Indonesia sudah mulai terkenal, lalu di dunia literasi banyak portrayal orang atau budaya Indonesia secara eksotis (ya bisa aja kayak orang arab tadi itu entah lakinya dibikin "liar" dsb), bagaimana perasaan kalian sebagai orang Indonesia? Apakah kalian akan mengcondemn stereotipikal tersebut atau kalian akan melihat konteks ceritanya dulu sebelum bersuara atau bagaimana?
Indonesia itu kan buanyak buanget budaya nya, nah menurut kalian budaya manakah yang dapat digunakan sebagai gerbang masuk di mancanegara? Kalo bisa selain Jawa dan Bali plis
Indonesia juga memiliki banyak cerita yang macam2 mulai dari nyata hingga fiksi. Namun, gua perhatikan tidak banyak pengarang komik yang menggunakan aspek ini (minimal ngandelin cerita fiksi lah dan apa yang mereka buat chapter nya sepanjang 100an lebih gitu) misalnya penggunaan Begu Ganjang dan Palasik dalam cerita fiksi itu gua blm nemu. Menurut kalian, apakah sentimen gua benar atau tidak lalu apa penjelasan kalian?
Kalau Indonesia digambarkan sebagai land of unknown di suatu cerita fiksi fantasy, kalian lebih suka ceritanya mereveal Indonesia seperti apa? Misalnya apakah kalian mau nya ceritanya itu berputar dalam usaha untuk mematahkan misinformasi soal Indonesia? Atau kalian ingin nya model seperti slice of life dimana ya orang2 Indonesia nya ditampilkan seperti orang biasa pada umumnya? or langsung gaspol full fantasy dengan penuh monster2 yang bernuansa Indonesia banget (misal di suatu cerita MC datang ke suatu daerah yang penuh dengan Kuntilanak yang bisa dikalahkan dengan berbagai cara)? Bagaimana kalau lebih ke mengenalkan orang2 dan budaya nya (maybe kayak Jejak Petualang gitu)? Atau ada usulan lain?
Edit: Lastly, bad Indonesia representation or no representation at all in literature?

Moga2 ada Isekai nuansa Indonesia entah kapan. 7Wonders (bukan isekai sih tapi pengarangnya pinter banget memasukkan unsur Indonesia ke komik dia) dah tamat, rasanya hampa banget :(

dengan kata lain, apa Hipotesa sejarah yang kamu percayai?
its sunday, im re-reading De Graaf "Peralihan" untuk riset sejarah Surabaya, and had a lot of time, so i'll start:
Sejarah Surabaya yang masih tersingkap adalah bagaimana kekuasaanya sebelum dikuasai Demak sampai akhirnya memimpin aliansi Jawa Timur saat melawan Mataram di masa Senopati, antara dua event itu, masih kosong. gue rasa (hipotesa gue) jalan ceritanya gini:
Surabaya udah pasti berkembang jadi kota besar sebagai kota pantura yang full militeristik, dengan Gresik sebagai pelabuhan utamanya di akhir abad 16, ini karena Tome Pires (awal abad 16) mengabarkan kalau Kerajaan Surabaya gencar melancarkan perang memperebutkan pasuruan, panarukan dan probolinggo dengan Kerajaan Blambangan dengan backingan Bali, ini bukan usaha yang bisa dilakuin kerajaan kecil i think, dan pemberitaan orang yang sama itu mengabarkan kalau surabaya adalah "Sarang Bajak Laut" dengan rajanya yang sangat "ksatriais" dan "agraris" alias meskipun kota Pantura, dia lebih banyak berpenghasilan dari Sawah
fast forward ke 1530 M Surabaya Jatuh ke tangan Sultan Trenggana yang ekspansionis, perlu diketahui internal politik Demak, terutama penghulu/imam masjid Demak, pada mula mulanya adalah keturunan Sunan Ampel of Surabaya, seperti Sunan Bonang misalkan. tpi somewhere down the line imam masjid ke 4 ini diisi oleh Pangeran/Sunan Ngudung yang kebijakanya sangat super ekspansionis. jdi penaklukan Surabaya ini pasti sangat menyakitkan hati bagi Surabaya, yang mana Imam Ampel adalah Guru Besar bagi Raden Patah, mungkin untuk mendamaikan hal itulah, anak Adipati Surabaya dijadikan "Squire"/Pelayan Raja Sultan Trenggana mungkin untuk dijadikan semacam orang kepercayaan dikemudian hari.
tapi takdir berkata lain, Squire yang diharapkan itu malah membunuh Sultan Trenggana sendiri, oleh karena ini, seluruh dinasti Surabaya dibantai habis oleh Demak.
nah, menariknya, diceritakan oleh Mendes Pinto bahwa setelah kematian Sultan Trenggana, Demak dilanda kekacauan besar, gue rasa gk lebay kalo ini merupakan perang saudara pertama demak sebelum perang saudara kedua antara Jipang-Pajang. big chance di perang saudara ini lah Seda Ing Lepen dibunuh oleh Sunan Prawoto, maka dari itu pembunuhan itu seakan akan "diwajari" semua orang, karena semua penggede rezim Prawoto memang sudah seiya dalam pembunuhan itu.
hubunganya dengan Surabaya?, ketika itu Pinto memberitakan bahwa ada Dipati Surabaya yang diangkat sebagai Interregnum sebagai raja Demak, Dipati Sunjaya dari Sidayu (Gresik) namanya. sudah sangat jelas bahwa Dinasti ini adalah cabang lain dari Kadipaten Surabaya, cabang utamanya sudah lenyap oleh penghukuman sebelumnya, tpi mungkin Demak masih merasa "membutuhkan" bimbingan guru besarnya itu.
menariknya lagi, tercatat di cerita Rakyat Palembang dan Serat Jawa Tengah, seseorang bernama Ki Gedeng Surabaya sebagai pendiri kesultanan Palembang pertama, diberitakan bahwa "ia berasal dari Jipang" hal ini membuat gue berandai andai, kalau Ki Gedeng Surabaya dan Dipati Sunjaya ini adalah orang yang sama, sebagai Dipati Interregnum ia berpihak pada pihak Jipang alias berpihak pada Pangeran Seda Ing Lepen, namun karena faksi nya kalah oleh faksi Sunan Prawoto, dia terpaksa kabur ke Palembang, tempat yang di Zaman Tome Pires pun dipercayai bahwa disitulah Raden Patah menjadi Ki Gede, ini dapat dipahami dalam konteks bahwa dia gk bisa kabur ke Surabaya karena pada saat itu masih dalam cengkraman Demak, jdi lebih memilih untuk pergi ke tempat yang masih memiliki hubungan kekeluargaan dengan pendiri Demak itu.
dialah yang disebut Ki Gedeng Sura I/ Ki Gedeng Sura Tua. another poin menarik adalah diceritakan bahwa Ki Gedeng Sura setelah sekian lama ternyata dia *balik ke Jawa*, ini berarti dia sudah merasa kekacauan di Jawa sudah aman, aman karena apakah kira2? hemat gue, ini dia pulang saat dinasti Prawoto (musuh buyut Jipang) udah dikalahkan/usurpasi oleh Pajang (edit: kalau dipikir2, kali Ki Gedeng Sura ini pulang saat Penangsang berkuasa juga make sense), dan dari situ, Surabaya balik lagi crash dikit sama Pajang, dan kemudian jadi opositor utama kuasa Mataram, and the rest is history.

Sebenarnya banyak, berhubung alasan rahasia perorangan maka sebaiknya tidak kita sebutkan.
Tapi, konon ceritanya… tidak lama yang lalu…
Bag.1: "Pertarungan Permainan Slot"
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bersambung...

oleh: Anis Arrow BusEdan (keponakan Enny Arrow), terinspirasi novel legendaris "Prahara Cinta Kandang Kambing"

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bersambung...

oleh: Anis Arrow BusEdan (keponakan Enny Arrow), terinspirasi novel legendaris "Prahara Cinta Kandang Kambing"

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⁣CERITA INI HANYA FIKTIF BELAKA. JIKA ADA KESAMAAN NAMA TOKOH, TEMPAT KEJADIAN ATAUPUN CERITA, ITU ADALAH KEBETULAN SEMATA

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Nag punta po ako ng Hospital sa Cavite. I did physical exam, may sarili akong form hindi po ito pre employment , family based lang yung "Red Cross Physical Female form" Since wala pong family docto GP pumayag na ko sa internal medicine doctor na available (male). Waited an hour, then turn na ko, ininquire ko receptionist muna, okay naman daw kay Doc yung form na dala ko. Pag pasok busy sya ang suplado walang bati sa pasyente. Tapos di nya daw alam yung ibang portion na may USPSTF Risk Screener etc, sa Saint Lukes nalang daw ako , ang sabi ko naman kaya nga inquire namin at ang advise naman sa department namin any clinic. So kung pwede nga, ang sabi nia sige fill out nia daw pero additional na daw, imbes na 700 consultation + 250 medcert, 2,000 pesos daw pag sinagutan nia. Hindi naman ako umoo inantay ko muna basahin nia, tapos walang approval deretso basa na sya at start na nia fillout yung paper. basic info etc . Tapos pag dating sa portion ng "Femoral pulses Extremities lymp nodes , back ,skin " pina higa sa clinic bed walang sabi sabi anung iccheck nia. ako naman si tanga sunod naman. kinapa nya ang inner thigh ko na parang kung may pulso ganun hindi buong hand. tapos feel ko nasagi nya pa ng bahagya ang gitna ko pero makapal kasi may inner shorts ako at pantyliner at good thing naka pants ako. tapos nung pababa na pag pulso nia sa inner thigh ko yung isang kamay nia nasa thigh ko nakalapat na nakahawak na tapos pa pulso pulso sa pababa sa tuhod ko yung isang kamay. Tapos umalis sya wala manlang pasabi na mam okay na . Ako bangon balik sa upuan parang tanga. Wala talaga para syang boss na ewan. Around 330 pm na. Yang lang chineck nia, yung lymp nodes walang kapa sa leeg di chineck , pati yung arms ko di tinignan, talagang sa thighs nag focus ganun ? physical exam sa extremities hanggang thighs ba talaga? meron din part na "Vaginal exam - OB/GYNE name: " matik naman di sya yun diba , tapos sabi nya " yung vaginal exam di ko na titignan" siguro kung ako lang mag isa sa clinic baka gawin niya. Kasama ko mom ko nasa gilid sya. Tapos na yung 2 paper form hindi naman nia tinapos di nia daw alam yun , nag order pa ng full lab test ' chest xray, cbc + pc , NA, K ,creatinine, lipid etc " Wala naman ako symptoms o anu need ko lang yang assessment . Tapos babalik pa sa kanya. Sinulat nia pa ang cp number (bakit walang secretary ang mga doctor) Sa kanya daw derekta ang bayad 2k , no receipt pa may libreng pambabastos pa sa pasyente. Kanina lang ito Oct13. Bali galing nadin kasi ako sa ibang clinic ng umaga at walang doctor so sa hospital na yan ako umasa na maging okay assessment ko tapos ganyan pa nangyari. Pwede ba mag file ng complaint sa ganito? o late na?

Hello eto nanaman po tayo ang inyong dakilang tagahatid pa Makati. Baka may gusto makarating sa office na fresh pa at di amoy usok at piso galing palengke. Mukhang maulan din bukas so pangit pumasok ng basa yung medyas, sumabay ka na papuntang Salcedo, Makati bukas, October 3.
Route ko is Commonwealth > Circle > Quezon Ave > Skyway > Buendia > Tordesillas. Planning to leave QC around 7:45AM latest so if madadaanan kita along the way that would be ok.
Boring lang mag drive mag isa kwentuhan mo ako ng tunkol sa boss mo na daig pa pastol mag micromanage, or sa kaibigan mo na di pa nagbabayad ng utang pero nag bbeach sa Bali ngayon.
A little bit about me:

safe driver 0 vehicular accidents since 2008
one hand lang mag manibela para maangas
weighing in at 180 pounds, 5'10", 70cm reach, shoe size US10, large sa Uniqlo
Current playlist rotation ay 2008-2012 pop-punk, 90s rnb, 2015-present OPM, classic jazz pili ka nalang
1 ang paboritong number sa electric fan, Blue ang favorite color
empathic listener pero will be blunt pag tanga ka

Send a DM if you're interested we can iron out the details over chat. Lagi't-lagi, bawal sumabay yung mahilig sa confidential funds at bumoto sa pamilya ng magnanakaw. See you!

Halo komodos, langsung to the point aja yaa.
(edit, typo rajam dengan rajah, mimpi menemukan Rajah)

Di mimpi tersebut OP sedang liburan ke Bali dan menetap di vila (?) apung modern yang targetnya orang orang bule dan harganya mahal, letaknya di tengah laut cuman ga tengah-tengah banget, masih dekat dengan pinggir pantai. Ya, saya bersama 1 bule perempuan, adek kandung, dan 1 anak laki-laki keluarga (yang sekarang sudah lupa dia siapa) tinggal di rumah tersebut.
Kami duduk di pinggir rumah, sambil melihat sampah yang lalu lalang di perairan tersebut, singkat cerita menemukan "message in a bottle", di dalam botolnya ada gulungan kertas dan cairan di dalam botolnya berwarna coklat pekat seperti warna cairan coca-cola.
Pas saya ambil, jelas kita bertiga senang banget karena ini pertama kalinya melihat hal seperti ini dan berharap ada yang meninggalkan pesan. Saya buka botolnya, dan cairannya saya buang ke air laut dan saya notice kalau warnanya pekat sekali sampai tidak larut dalam air laut. Kemudian saya keluarkan gulungan kertas tersebut sambil senyum bahagia dan menerka-nerka apa isi tulisan tersebut.
Baru saya buka sedikit, saya sudah melihat tulisan arab gundul, kalau tidak salah huruf syin mati. Kebetulan isi gulungannya ada banyak, dan adek saya dan anak kali-laki tersebut juga membuka gulungannya. Di dalam gulungan tersebut ada beberapa benda yang tidak semuanya bisa saya identifikasi karena tidak membuka secara utuh gulungannya (karena langsung sadar bahwa ini rajah).
Saya spontan langsung meneriaki adek dan anak laki-laki tersebut untuk masuk kedalam rumah dan mencuci tangan. Saya pribadi memang tidak religius, tetapi sepanjang perjalanan dari balkoni rumah, menuju ke dalam rumah, dan ke toilet, saya mengucap istigfar dan menyanyikan lagu "alif ba ta tsa jim ha, allah tuhan kita semua" (maaf tidak tau judul lagunya). SI Bule ingin mencari pastoiustad untuk membantu.
Kemudian saya bangun, dengan lagunya dan rasa takutnya sampai sekarang masih terngiang-ngiang. Jujur ntah apa yang terjadi tetapi ada kata yang saya ingat sampai sekarang. Yaitu "Rajam Marela". Tidak tau marela siapa atau mungkin itu kata yang saya dapat dari "relakan rajahnnya" cuman berubah jadi Marela hahaha.
Ok itu saja, mungkin ini memang hanya sekedar mimpi dan bukan berarti apa-apa. Jujur, di keluarga kami, kami masih agak superstitious dan sering mengartikan bahwa mimpi itu ada artinya. Saya belum bertanya kepada keluarga karena baru saja kemarin berantem dan sedang gengsi saja untuk bicara dengan mereka hahaha. Kira-kira komodos pernah mengalami pengalaman yang sama? Atau ingin berinterpretasi? Menurut komodos disini, karena dalam pembuatan post ini saya kebelet, haruskan saya ke toilet sekarang? (jujur masih takut).

Gue ga deket sama keluarga papa gue. Papa gue sendiri juga memang ga deket sama saudara-saudara dia. Gue ga tau ada masalah apa dulu mereka smp yg bikin papa gue jadi menjauh sama keluarganya. Apalagi setelah pindah ke kota lain, hubungan mereka makin renggang. In the end, gue juga, jadi ikutan ga akrab sama mereka.
Fast forward to a few months ago, gue baru tahu ternyata dua adik sepupu gue (anak kakak dan anak adik papa) ada yg kuliah di kota yg sama dgn gue tinggal dan kerja sekarang. Anggap aja nama mereka Diddy sm Doddy. Gue pengen kenal mereka lebih deket, gimanapun kita saudara dan gue pikir rasanya ga adil gitu kalo masalah ortu kita jadi turun ke kita anak-anak yg sama sekali ga tahu apa-apa dan ga ada urusan. Gue hubunginlah mereka lewat Instagram, dgn harapan bisa minta no telpon dan ketemu.
Dari awal gue perhatiin mmg nih anak dua responnya rada-rada datar gitu. Kyk ga antusias dan terkesan dingin. Tapi waktu itu gue berusaha positive thinking, mungkin krn belum saling kenal aja. Hampir tiap hari gue chat nanya kabar dan sekedar nanya lagi ngapain, dan mereka selalu jawabnya singkat dan terkesan kyk ga tertarik. Tiap kali gue ajak ketemu, ada aja alasannya. Kyk lg sibuk kuliah lah. Inilah itulah. Dan akhirnya g pernah ketemuan. Cuma bisa say hi lewat Whatsapp doang. Gue ga putus asa. Gue udah bertekad mau kenal akrab sama adik-adik sepupu gue ini.
Waktu gue ngomong ke papa gue ttg hal ini, respon dia sih positif. Tapi dia sempat ngomong gini "Ya semoga aja ya mereka punya niat baik-baik aja ke kamu." Gue heran dengernya jadi gue tanya maksud papa apa. Papa gue cuma senyum2 misterius terus bilang "Nanti kita lihat aja deh. Semoga dugaan papa salah."
Bulan kemarin gue ultah, gue pengen ajak mereka makan. Jadi gue hubungin satu-satu, n mereka untungnya mau. Kebetulan pas gue hbs dapat bonus lumayan gede dari kantor jadi gue ajak mereka dinner di tempat yg lumayan wah. Bulan-bulan ini mmg lagi banyak proyek kerjaan. Pas ketemu di tempat makan, gue kayak mo nangis gitu lihat mereka. Muka mereka satu-satu tuh mirip banget sama gue n abang gue. Sampai2 mbak di restonya mikir kita sodaraaan, bukan sepupuan. Gue berasa kyk ketemu saudara kandung yg udah lama hilang. Terutama si Doddy, mukanya mirip bgt sama gue.
Lanjut makan malam ngobrol-ngobrol dan gue blg sm mereka klo besok2 kita mesti sering2 ngumpul dan jgn smp hilang kontak. Gue ga mau bahas masalah ortu kita, krn gue rasa bukan momentnya dan bukan urusan kita. Gue juga ajak mereka nginap kontrakan gue kalo lagi libur. Habis foto-foto bareng trus kita pulang ke tempat masing2. Malam itu gue seneng banget rasanya.
Tapi besok2nya, tiap kali gue chat lagi, reaksi mereka kembali datar2 aja. Gue pikir apa krn mmg masih baru juga kenal jd masih agak canggung ya. Padahal wkt ktmu kmren, kita udah asyik2 aja ketawa2 ngobrol2. Smp becandaan segala. Gue mikir apa mungkin gue terlalu pushy ya jd bkin mereka ga nyaman. Jadi gue stop ngechat selama bbrp hari.
Bbrp hari kemudian, Diddy tiba-tiba ngechat gue, bilang klo minggu depan dia ultah. Dan tanpa basa basi langsung ngmong ke gue klo dy minta dibeliin laptop baru utk hadiah ultah dia. Kan kakak udah kerja. Wajarlah ngasih hadiah ke adiknya, gitu katanya. Gue agak kaget jujur. Berani amat nih bocil tiba-tiba langsung minta-minta gitu. Barang mahal lagi. Waktu itu gue cuma jawab nanti gue lihat ya klo bonus kerjaan udah cair. Soalnya gue juga banyak kebutuhan lain-lain. Dia desak gue trus bilang tapi janji kan mau beliin? Gue jawab gue ga janji. Nanti gue usahain. Eeh gue diblok sama dia.
Besoknya, Oom gue, kakaknya papa, alias papanya si Doddy tiba-tiba nelepon gue. Awalnya dia nanya kabar, terus smp bilang seneng klo gue tinggal di kota yg sama dgn adik2 gue jadi mereka ada yg jagain. Oom juga bilang seneng bisa menjalin hubungan sama gue, ponakannya. Ya gue seneng dengernya. Eh tapi ujung2nya, si Oom bilang ke gue klo dia berharap gue mau bantu biaya kuliah Doddy. Soalnya si Oom udah pensiun dan agak kesulitan ngebiayainnya. Waktu itu gue jawab klo gue juga baru aja kerja selama bbrp tahun belum ada tabungan banyak sama sekali. Blm bayar kebutuhan lain-lain gue. Belum ngirim ke ortu. Si Oom nyaranin kalo gue gajian, disisihin mmg brp gitu utk dikasih ke Doddy. Krn waktu itu gue takut salah ngmong n bkin oom jadi marah, gue cm jawab klo nanti gue usahain.
Malamnya gue cerita ke papa gue semua perihal chatnya si Diddy minta laptop, dan papa si Doddy nelpon ngarap gue bantu biaya kuliah anaknya. Papa gue langsung naik pitam. Akhirnya papa buka-bukaan cerita lama deh. Jadi dlunya dia mutusin low contact sm keluarganya juga krn masalah duit. Mereka itu matre dan cuma mikirin keuntungan diri dan maunya seenaknya sendiri. Selama bertahun-tahun dulu papa gue dimanfaatin sama mereka. Krn waktu itu di antara saudara-saudaranya, hanya papa yg serius sekolah, kuliah smp kerja bener. Pas nikah sama mama, papa stop bantuin mereka lagi dgn alasan skrg dia mau fokus sm keluarga sndri. Mereka marah dan akhirnya papa ribut besar sama mereka.
Papa akhirnya bilang gue stop kontak2an sama sepupu2 gue itu drpada gue nanti ikut dimanfaatin. Buah jatuh ga jauh dari pohonnya katanya. Tuh anak berdua udah salah didik juga. Watak mereka udah sama dgn ortunya. Papa gue malam itu juga nelpon saudara-saudaranya dan mereka bertengkar hebat di telepon kata mama gue. Mama gue sih nyaranin jgn langsung putus kontak. Besok2 klo mrk butuh bantuan dan gue bisa, ga ada salahnya gue bantu. Tapi gue ttep harus bisa tegas dan jaga boundary dan berani bilang ga sm mereka.
Skrg gue jadi kepikiran deh. Niat gue mau bangun hubungan baik sama sepupu2 gue, ujung2nya jadi kayak gini. Kemarin setelah bonus gue cair, gue langsung datengin si Diddy ke kostan dia dan gue ajak utk cari laptop. Gue bilang klo gue cuma ada duit sekitar 5 jutaan klo dia mau beli laptop. Ditambah tabungan gue, masih bisalah gue klo cuma segitu. Dia cuma jawab ga usah kak makasih. Ga jadi aja. Drpd kakak ga ikhlas ngasihnya. Terus nutup pintu.
Gue pulang tuh sakit hati banget rasanya. Marah engga sih. Tp lebih ke sedih aja sebenarnya. Smp ke kontrakan cewe gue, langsung deh mewek gue. Dan cewek gue juga bilang mending gue dengerin nasihat papa gue. Udah jelas klo mereka itu ada udang dibalik batu.
Btw thanks yg udah baca ini smp kelar. Gue cuma mo ngeluarin uneg-uneg aja. Mungkin gue udah terlalu berharap berlebihan dan ekspektasi gue terlalu tinggi. Udah seneng berasa kyk punya adik, dan ujung2nya malah jadi ribut. Harapan gue sih, gue bisa ngomong sama adik2 gue ini lagi dan bisa jalin hubungan tanpa embel-embel masalah ortu kita di masa lalu.

Hi!
Gue (M26) kemarin baru dapet pekerjaan baru, working as a Creative Producer, Video Editor, Videographer and Graphic Designer untuk salah satu Creative Agency based in Melbourne. Btw gue domisili di Bali, jadi gue kerja sama dia from Bali and she lives in Bali as well.
Untuk pertama, gue seneng sih punya pengalaman kerja bareng orang luar, banyak ilmu dan insight yang dikasih dan juga belajar banyak soal strategi kerja dan juga kita banyak sharing cerita. Long story short.
Di hari pertama gue diterima kerja, dia udah nanya ekspektasi salary gue berapa. Dan jujur gue disitu bingung banget mau pake patokan apa, secara gue blm tahu workload gue bakal kaya apa. I just said to her "I'ts better if i'm working for some time and you will decide how much you valued me" yang menurut gue fair fair aja untuk kedua belah pihak. Ada hal optimis sih ketika dia bilang "Don't worry, i'll pay you premium, not going to use local currency since our clients mostly from US, Europe etc".
For the first time in my life i was so fuckin happy, like dude, lu 3 tahun kerja terima gaji UMR, and then suddenly someone paying you top dollar? All i had in my mind was that double digits all the time. Gue juga sempat research tentang rata rata gaji yang role nya sama kaya gue di Melb or US itu sekitar 40-70k dollars per year, that is crazy money for people like me. Jadi ya ekspektasi gue sih paling nggak gue dibayar sekitar $4000 - $5000. Oiya gue juga akhirnya bentuk tim gue sendiri sama temen temen gue, jadinya beban workload gue agak mendingan since i hired a designer and additonal video editor for me. Jadi menurut gue, gue berhak dengan gaji segitu.
Bulan pertama going smoothly, and nothing too serious about my job, i enjoyed it so much. Terus setelah sebulan full, gue coba reach out ke dia dan bilang "Hey can we talk about my salary?" She said, "The project isn't done yet. You should finish the rest and then we're talking about this later". Gue pikir, oh okay, fair enough. Walaupun sebenernya gue udah deliver hampir 6 projects sebelumnya and she love it so much, i thought there are no problem for that.
Selang dua bulan, gue coba reach out lagi about my salary and my certainty working for her.
She said,
"How much should I paid you?"
Gue bales "Whatever amount you valued my work!"
and then she says, "Okay today I'll look out for this. In the meantime, can you work on blablabla"
Duh gue makin bete nih bro wtf like secara 2 bulan NOT GETTING PAID, YET.
I know it wasn't a scam, dia ngasih gue iPad Pro M2, sama kamera sony cinema buat gue pegang dan dia percayain gue buat pegang gitu, total asset yang gue pegang kurleb around 10k ish. Cuma posisinya sekarang dia lagi ke LA buat project sama client nya yang lain, asset dia dibawa semua. Gue ga takut kenapa napa sih, dia punya rumah permanen dan beberapa asset di Bali yang gue tahu yang megang siapa aja, plus i know all of her close friends di Bali dan gue juga temenan akrab sama mereka.
Cuma yang gue bingung, gue tuh ga berani to the point nyebut angka yang gue mau which is around 4k to 5k per month, gue takutnya dia ngerasa gaji gue ketinggian, nanti gue langsung di drop, atau mungkin kerendahan dan dianya keenakan.
So guys, this is the question i've been dying to ask;

Gimana caranya gue bisa minta kejelasan soal gaji dan masa depan gue kerja bareng dia?
What should i do if she didn't reply to me yet about my long ass text about my salary and some other things?
Hal terbaik apa yang kira kira gue bisa lakukan?

UPDATE:
Dia masih belum bales soal pertanyaan tentang gaji gue sejak kemarin, tapi IG nya aktif dan gue liat emang dia sibuk sih. For now gue udah selesain sekitar 20an project dengan hampir ratusan video udah gue deliver, 3 kali shooting outdoor and indoor dan juga beberapa branding yang sudah selesai dan di approve client. Pray for me, whhy is it so hard to be rich ffs.

Gua sebentar lagi mau kerja dan pindah ke bali, excited banget tapi belum pernah ada pengalaman tinggal sendirian, apalagi di luar kota.
Bagi-bagi dong cerita kalian susah, senang, culture shock, dan cara menanggulangi nya kaya gimana hehe.

Cerita basa bali

indonesia