Teknik ramas buah dada
Noctámbulo reglas para sobrevivir como chófer parte #2
2024.05.08 08:46 ImLSFSF Noctámbulo reglas para sobrevivir como chófer parte #2
Pese a las recientes alucinaciones, no me quedaba de otra más que presentarme a trabajar al día siguiente. A partir del segundo día de trabajo, todo comenzó a volverse completamente extraño. Desperté de mi sueño alrededor de las 3 pm, completamente empapado en sudor, como en las ocasiones en las que regresaba de la escuela y tomaba una siesta. Me dispuse a bañarme.
Al querer salir de la regadera, me pareció ver la sombra de alguien al otro lado de la cortina. Lancé un golpe como única forma de defensa, pero la sombra había desaparecido. Después de esa situación, me alisté, fui a desayunar (si podíamos llamarle desayuno) y me dirigí a ver la pequeña televisión de cajón que tenía, antes de disponerme a sentarme en el sofá aterciopelado de mi departamento. Recibí una llamada de un número desconocido.
No suelo contestar ninguna llamada que no esté registrada, pero nunca está de más contestar.
No le tomé mucha importancia. Me puse mi uniforme, tomé las llaves y pedí un Uber. Irónico, ¿no?
//Si te lo preguntas, separarme de las llaves en mi hogar no tiene consecuencias. Esta regla solo aplica una vez llegue a la central.
Llegué a la central directamente a mi vehículo asignado. Preparé todo, me senté en el asiento del conductor, cuando me disponía a arrancar el camión, me tocan el hombro… Era mi extraño jefe.
Le eché un vistazo al sobre y había más de 60 mil pesos MX. Si llegan a leer este post, eso equivaldría a poco más de 3,500 USD, una cantidad exorbitante para el país.
Intrigado por la situación, me quedé un momento más en el camión, observando cómo mi jefe se alejaba en la distancia. ¿Por qué me había entregado tanto dinero sin explicación alguna? ¿Y por qué se comportaba de manera tan misteriosa? Sentí un escalofrío recorrer mi espalda, pero la curiosidad era más fuerte que el miedo.
Decidí comenzar mi ruta como estaba planeado, pero mi mente no podía dejar de dar vueltas a lo sucedido. Todo fue normal por la tarde... Sin embargo, al caer las 8 de la noche, una sensación inquietante comenzó a tejerse en el aire. Las luces de la ciudad parpadeaban de manera irregular, lanzando destellos intermitentes que proyectaban sombras fantasmagóricas sobre los edificios y las calles desiertas.
A medida que avanzaba por las oscuras calles, el ambiente se volvía cada vez más opresivo. El silencio era interrumpido solo por el zumbido distante de los faroles y el eco de mis propios pasos resonando en el vacío. Ignoraba los sonidos extraños que parecían surgir de la nada: susurros que se desvanecen en el viento y el crujir de ramas invisibles en la oscuridad.
Las sombras se retorcían y se alargaban, tomando formas que desafiaban toda lógica y razón. Me esforcé por mantener la calma, recordando las reglas que me habían sido impuestas. Cuando alguien aparecía en la terminal durante la noche, desviaba la mirada, temeroso de lo que podría ver si cruzaba sus ojos con los míos.
Al acercarse la medianoche, el mundo parecía inclinarse hacia lo desconocido. Las estrellas brillaban débilmente en el cielo oscuro, como si estuvieran siendo sofocadas por una fuerza invisible. Evité mirar por el retrovisor durante largos períodos de tiempo, temiendo lo que podría acechar en la oscuridad detrás de mí.
A la 1 de la madrugada, mi teléfono sonó, interrumpiendo el silencio sepulcral de la noche. La voz al otro lado susurraba palabras indescifrables, cargadas de un poder oscuro y ominoso. Un escalofrío recorrió mi columna vertebral mientras escuchaba las instrucciones que se deslizaban de la boca del interlocutor. "Conduce hacia el viejo puente abandonado en las afueras de la ciudad", susurraba la voz, su tono lúgubre resonando en mis oídos como un eco de ultratumba. "Allí encontrarás lo que buscas y tu destino se revelará".
A pesar del temor que me embargaba, no podía ignorar las palabras susurradas por el misterioso interlocutor. Siguiendo las instrucciones al pie de la letra, me adentré en las sombrías calles de la ciudad, cada sombra parecía agitarse con vida propia mientras me acercaba al lugar designado. La anticipación y el miedo se mezclaban en mi pecho, creando una tormenta de emociones que amenazaba con desbordarse.
Al llegar al viejo puente abandonado, el paisaje lunar se extendía ante mí, iluminado solo por la pálida luz de la luna. Un silencio ominoso envolvía el lugar, roto solo por el susurro del viento entre las vigas oxidadas del puente. Allí, en el centro de la carretera desierta, yacía el objeto abandonado, una presencia oscura que parecía emanar un aura de malevolencia.
Un escalofrío recorrió mi espalda mientras luchaba contra el impulso de tocarlo, recordando las advertencias que me habían sido dadas. Las órdenes de la llamada resonaban en mi mente, advirtiéndole de los peligros que acechaban en la oscuridad. Pero aún así, la curiosidad y el miedo se entrelazaron en mi interior, impulsando hacia adelante en busca de respuestas.
Por las dos de la mañana, mientras continuaba por la calle, el camión dejó de funcionar repentinamente. Un escalofrío recorrió mi espalda al darme cuenta de que estaba completamente solo en medio de la oscuridad de la noche. Intenté encender el motor varias veces, pero solo recibí el eco hueco de un silencio mortal como respuesta.
El aire gélido se colaba por las ventanas entreabiertas, llevando consigo un aroma a humedad y misterio. El eco de mis propios latidos resonaba en mis oídos mientras mi corazón comenzaba a acelerarse, llenándome de una sensación de pánico creciente.
Recordé las reglas que me habían sido impuestas: "No explores áreas no iluminadas o cerradas al público, podrías descubrir secretos que pondrían en peligro tu vida." A pesar del temor que me embargaba, sabía que debía permanecer en el interior del camión, resistiendo la tentación de aventurarse hacia lo desconocido.
El tiempo parecía detenerse mientras permanecía inmóvil en mi asiento, esperando en silencio que algo, cualquier cosa, rompiera el vacío opresivo que me rodeaba. Cada sombra parecía cobrar vida propia, danzando en el borde de mi visión y desapareciendo antes de que pudiera enfocar mi mirada en ella.
Finalmente, después de lo que parecieron horas de agonizante espera, el motor del camión se encendió con un estallido repentino, rompiendo el silencio con su rugido atronador. Un suspiro de alivio escapó de mis labios mientras el vehículo cobraba vida una vez más, como si hubiera estado esperando pacientemente su momento para volver a la acción.
Sin embargo, el miedo persistía en lo más profundo de mi ser, recordando que esta noche no era como las demás. Mientras continuaba mi ruta, una sensación de inquietud se aferraba a mí como una sombra, recordando que el peligro aún acechaba en cada esquina y que el mundo de la noche guardaba secretos que ningún mortal debería atreverse a desentrañar.
Todo continuó normal hasta las 4 am, casi al final del fin de mi doble horario. El tiempo parecía estirarse, cada minuto se alargaba como si estuviera atrapado en un interminable túnel de oscuridad. Mis párpados pesaban con el cansancio, pero luchaba contra la somnolencia, sabiendo que debía permanecer alerta en medio de la noche.
Fue entonces cuando comencé a escuchar golpes fuertes provenientes de uno de los costados del camión. Un escalofrío recorrió mi columna vertebral mientras el sonido resonaba en el silencio de la noche, cada golpe parecía un eco de advertencia en la oscuridad. Estuve completamente tentado a revisar por el retrovisor, pero recordé la regla: "Evita mirar por el retrovisor durante largos períodos de tiempo, podrías encontrarte con algo que preferirías no ver".
Respiré profundamente, luchando contra el impulso de ceder a la curiosidad. El camión temblaba ligeramente con cada golpe, como si algo estuviera tratando de abrirse paso desde el exterior. El sonido era inquietante, un chirrido lento y rítmico, similar al de un grillo pero distorsionado, como si fuera el lamento de una criatura atrapada en la noche.
Decidí grabar el sonido con mi teléfono, una evidencia de lo que estaba experimentando en caso de que necesitara demostrar mi cordura más tarde. Con manos temblorosas, encendí la grabadora y sostuve el dispositivo cerca de la ventana abierta, capturando el sonido perturbador que llenaba el aire de la noche.
El chirrido continuó durante varios minutos, llenando el interior del camión con una sensación de malestar palpable. Finalmente, cesó abruptamente, dejando un silencio ensordecedor en su lugar. Me quedé inmóvil en mi asiento, el corazón latiendo con fuerza en mi pecho mientras esperaba cualquier indicio de lo que vendría a continuación.
El sol comenzó a salir, trayendo consigo un alivio bienvenido después de una noche de terror y tensión. Mientras los primeros rayos dorados iluminaban el horizonte, exhalé profundamente, sintiendo cómo la pesada atmósfera de la noche comenzaba a disiparse. Aproximadamente a las 7 am, llegué a la central y estacioné el camión, listo para poner fin a mi turno doble.
Justo cuando pensaba que la pesadilla había llegado a su fin, mi teléfono sonó una vez más. Era mi jefe, quien me informó que, dado que ahora era el nuevo chofer de la tarde, debía reunirme con él en su oficina para discutir algunas cuestiones. Con un gran cansancio que pesaba en cada fibra de mi ser, me dirigí hacia su oficina, preguntándome qué nuevas sorpresas me aguardaban.
Me recibió con una expresión impasible, pero pude notar un destello de curiosidad en sus ojos mientras me indicaba que tomara asiento. Sobre su escritorio descansaba una nueva hoja de papel, y no pude evitar sentir un escalofrío de anticipación al darme cuenta de lo que era. Adivinarás... Más reglas. Esta vez, solamente eran 5, pero su contenido era igual de inquietante que las anteriores:
"La segunda regla tiene que ver con la privacidad", continuó mi jefe. "Si un pasajero insiste en hablar contigo sobre temas personales, redirige la conversación hacia temas más generales y evita revelar detalles sobre tu vida privada. No sabemos quiénes son estos pasajeros ni qué intenciones puedan tener, así que es mejor mantener un límite claro entre lo personal y lo profesional".
"La tercera regla es sobre la seguridad del vehículo", explicó mi jefe. "Si ves algún objeto extraño en el interior del camión al comienzo de tu turno, no lo toques y reporta su presencia de inmediato a tu supervisor. Nunca sabes qué podría ser ese objeto o por qué está ahí, así que es mejor dejarlo en manos de los profesionales para su investigación".
"Luego tenemos la cuarta regla", continuó, "que se centra en evitar áreas peligrosas durante tu ruta. Evita hacer paradas innecesarias en áreas poco iluminadas durante tu ruta, especialmente si percibes una sensación de incomodidad o peligro. La seguridad es nuestra prioridad número uno, y no queremos que te expongas a situaciones potencialmente riesgosas".
"Finalmente, la quinta regla", concluyó mi jefe, "es sobre mantener la calma en situaciones potencialmente peligrosas. Si sientes la presencia de alguien o algo observándote desde fuera del camión mientras estás estacionado, permanece dentro del vehículo y espera a que la sensación desaparezca antes de continuar con tu ruta. Es importante no entrar en pánico y seguir el protocolo para garantizar tu seguridad".
Asentí, asimilando la información. Aunque las nuevas reglas parecían aún más restrictivas, comprendí que eran necesarias para mantener la seguridad en un entorno tan peculiar como el mío.
Al estar a punto de salir de la oficina, mi jefe me detuvo con una expresión de comprensión en su rostro. "Espera un momento, Joel", dijo con tono sereno. "Se me olvidaba mencionarte un detalle importante. Por si tenías alguna duda, estas nuevas reglas aplican únicamente durante el horario de 4 a 8 pm. Así que durante el turno de la 1 a las 4 de la tarde, no tienes nada de qué preocuparte, ¿entendido?"
Asentí con alivio, agradecido por la aclaración. Saber que las nuevas reglas solo se aplicaban durante un período específico del turno de la tarde me brindaba un poco de tranquilidad. "Entendido, jefe", respondí con gratitud. "Gracias por aclararlo". Con esa información en mente, salí de la oficina, listo para enfrentar el resto de mi jornada laboral con un poco más de confianza.
Decidí que no valía la pena regresar a casa, así que opté por quedarme a dormir en el camión. Con un suspiro de resignación, me acomodé en el asiento del conductor y me preparé para pasar la mañana en el vehículo. Miré el reloj en el tablero, marcando las horas que faltaban para que dieran las 12:30, el momento en que debía comenzar a prepararme para el siguiente día de trabajo. La cabina del camión se sintió extrañamente acogedora mientras me envolvía en las mantas que había traído para mantenerme abrigado . El suave murmullo del motor apagado se convirtió en una especie de música de fondo, acompañándome en mi intento de conciliar el sueño. Finalmente, el reloj marcó las 12:30, y supe que era hora de comenzar a prepararme para el próximo día de trabajo. Con un suspiro resignado, me estiré y me levanté del asiento, listo para enfrentar lo que el destino tenía reservado para mí en las horas que vendrían.
submitted by ImLSFSF to HistoriasdeTerror [link] [comments]
Al querer salir de la regadera, me pareció ver la sombra de alguien al otro lado de la cortina. Lancé un golpe como única forma de defensa, pero la sombra había desaparecido. Después de esa situación, me alisté, fui a desayunar (si podíamos llamarle desayuno) y me dirigí a ver la pequeña televisión de cajón que tenía, antes de disponerme a sentarme en el sofá aterciopelado de mi departamento. Recibí una llamada de un número desconocido.
No suelo contestar ninguna llamada que no esté registrada, pero nunca está de más contestar.
- ¿Hola?
- ¿Qué tal, Joel? Ya que justo acabas de salir de la ducha, ¿podrías venir al trabajo más temprano? El conductor de la tarde... Por favor, preséntate en 35 minutos a más tardar.
- Pero, ¿q...?
No le tomé mucha importancia. Me puse mi uniforme, tomé las llaves y pedí un Uber. Irónico, ¿no?
//Si te lo preguntas, separarme de las llaves en mi hogar no tiene consecuencias. Esta regla solo aplica una vez llegue a la central.
Llegué a la central directamente a mi vehículo asignado. Preparé todo, me senté en el asiento del conductor, cuando me disponía a arrancar el camión, me tocan el hombro… Era mi extraño jefe.
- Muchas gracias por presentarte a esta hora… Aquí tienes tu paga del día de ayer…
Le eché un vistazo al sobre y había más de 60 mil pesos MX. Si llegan a leer este post, eso equivaldría a poco más de 3,500 USD, una cantidad exorbitante para el país.
Intrigado por la situación, me quedé un momento más en el camión, observando cómo mi jefe se alejaba en la distancia. ¿Por qué me había entregado tanto dinero sin explicación alguna? ¿Y por qué se comportaba de manera tan misteriosa? Sentí un escalofrío recorrer mi espalda, pero la curiosidad era más fuerte que el miedo.
Decidí comenzar mi ruta como estaba planeado, pero mi mente no podía dejar de dar vueltas a lo sucedido. Todo fue normal por la tarde... Sin embargo, al caer las 8 de la noche, una sensación inquietante comenzó a tejerse en el aire. Las luces de la ciudad parpadeaban de manera irregular, lanzando destellos intermitentes que proyectaban sombras fantasmagóricas sobre los edificios y las calles desiertas.
A medida que avanzaba por las oscuras calles, el ambiente se volvía cada vez más opresivo. El silencio era interrumpido solo por el zumbido distante de los faroles y el eco de mis propios pasos resonando en el vacío. Ignoraba los sonidos extraños que parecían surgir de la nada: susurros que se desvanecen en el viento y el crujir de ramas invisibles en la oscuridad.
Las sombras se retorcían y se alargaban, tomando formas que desafiaban toda lógica y razón. Me esforcé por mantener la calma, recordando las reglas que me habían sido impuestas. Cuando alguien aparecía en la terminal durante la noche, desviaba la mirada, temeroso de lo que podría ver si cruzaba sus ojos con los míos.
Al acercarse la medianoche, el mundo parecía inclinarse hacia lo desconocido. Las estrellas brillaban débilmente en el cielo oscuro, como si estuvieran siendo sofocadas por una fuerza invisible. Evité mirar por el retrovisor durante largos períodos de tiempo, temiendo lo que podría acechar en la oscuridad detrás de mí.
A la 1 de la madrugada, mi teléfono sonó, interrumpiendo el silencio sepulcral de la noche. La voz al otro lado susurraba palabras indescifrables, cargadas de un poder oscuro y ominoso. Un escalofrío recorrió mi columna vertebral mientras escuchaba las instrucciones que se deslizaban de la boca del interlocutor. "Conduce hacia el viejo puente abandonado en las afueras de la ciudad", susurraba la voz, su tono lúgubre resonando en mis oídos como un eco de ultratumba. "Allí encontrarás lo que buscas y tu destino se revelará".
A pesar del temor que me embargaba, no podía ignorar las palabras susurradas por el misterioso interlocutor. Siguiendo las instrucciones al pie de la letra, me adentré en las sombrías calles de la ciudad, cada sombra parecía agitarse con vida propia mientras me acercaba al lugar designado. La anticipación y el miedo se mezclaban en mi pecho, creando una tormenta de emociones que amenazaba con desbordarse.
Al llegar al viejo puente abandonado, el paisaje lunar se extendía ante mí, iluminado solo por la pálida luz de la luna. Un silencio ominoso envolvía el lugar, roto solo por el susurro del viento entre las vigas oxidadas del puente. Allí, en el centro de la carretera desierta, yacía el objeto abandonado, una presencia oscura que parecía emanar un aura de malevolencia.
Un escalofrío recorrió mi espalda mientras luchaba contra el impulso de tocarlo, recordando las advertencias que me habían sido dadas. Las órdenes de la llamada resonaban en mi mente, advirtiéndole de los peligros que acechaban en la oscuridad. Pero aún así, la curiosidad y el miedo se entrelazaron en mi interior, impulsando hacia adelante en busca de respuestas.
Por las dos de la mañana, mientras continuaba por la calle, el camión dejó de funcionar repentinamente. Un escalofrío recorrió mi espalda al darme cuenta de que estaba completamente solo en medio de la oscuridad de la noche. Intenté encender el motor varias veces, pero solo recibí el eco hueco de un silencio mortal como respuesta.
El aire gélido se colaba por las ventanas entreabiertas, llevando consigo un aroma a humedad y misterio. El eco de mis propios latidos resonaba en mis oídos mientras mi corazón comenzaba a acelerarse, llenándome de una sensación de pánico creciente.
Recordé las reglas que me habían sido impuestas: "No explores áreas no iluminadas o cerradas al público, podrías descubrir secretos que pondrían en peligro tu vida." A pesar del temor que me embargaba, sabía que debía permanecer en el interior del camión, resistiendo la tentación de aventurarse hacia lo desconocido.
El tiempo parecía detenerse mientras permanecía inmóvil en mi asiento, esperando en silencio que algo, cualquier cosa, rompiera el vacío opresivo que me rodeaba. Cada sombra parecía cobrar vida propia, danzando en el borde de mi visión y desapareciendo antes de que pudiera enfocar mi mirada en ella.
Finalmente, después de lo que parecieron horas de agonizante espera, el motor del camión se encendió con un estallido repentino, rompiendo el silencio con su rugido atronador. Un suspiro de alivio escapó de mis labios mientras el vehículo cobraba vida una vez más, como si hubiera estado esperando pacientemente su momento para volver a la acción.
Sin embargo, el miedo persistía en lo más profundo de mi ser, recordando que esta noche no era como las demás. Mientras continuaba mi ruta, una sensación de inquietud se aferraba a mí como una sombra, recordando que el peligro aún acechaba en cada esquina y que el mundo de la noche guardaba secretos que ningún mortal debería atreverse a desentrañar.
Todo continuó normal hasta las 4 am, casi al final del fin de mi doble horario. El tiempo parecía estirarse, cada minuto se alargaba como si estuviera atrapado en un interminable túnel de oscuridad. Mis párpados pesaban con el cansancio, pero luchaba contra la somnolencia, sabiendo que debía permanecer alerta en medio de la noche.
Fue entonces cuando comencé a escuchar golpes fuertes provenientes de uno de los costados del camión. Un escalofrío recorrió mi columna vertebral mientras el sonido resonaba en el silencio de la noche, cada golpe parecía un eco de advertencia en la oscuridad. Estuve completamente tentado a revisar por el retrovisor, pero recordé la regla: "Evita mirar por el retrovisor durante largos períodos de tiempo, podrías encontrarte con algo que preferirías no ver".
Respiré profundamente, luchando contra el impulso de ceder a la curiosidad. El camión temblaba ligeramente con cada golpe, como si algo estuviera tratando de abrirse paso desde el exterior. El sonido era inquietante, un chirrido lento y rítmico, similar al de un grillo pero distorsionado, como si fuera el lamento de una criatura atrapada en la noche.
Decidí grabar el sonido con mi teléfono, una evidencia de lo que estaba experimentando en caso de que necesitara demostrar mi cordura más tarde. Con manos temblorosas, encendí la grabadora y sostuve el dispositivo cerca de la ventana abierta, capturando el sonido perturbador que llenaba el aire de la noche.
El chirrido continuó durante varios minutos, llenando el interior del camión con una sensación de malestar palpable. Finalmente, cesó abruptamente, dejando un silencio ensordecedor en su lugar. Me quedé inmóvil en mi asiento, el corazón latiendo con fuerza en mi pecho mientras esperaba cualquier indicio de lo que vendría a continuación.
El sol comenzó a salir, trayendo consigo un alivio bienvenido después de una noche de terror y tensión. Mientras los primeros rayos dorados iluminaban el horizonte, exhalé profundamente, sintiendo cómo la pesada atmósfera de la noche comenzaba a disiparse. Aproximadamente a las 7 am, llegué a la central y estacioné el camión, listo para poner fin a mi turno doble.
Justo cuando pensaba que la pesadilla había llegado a su fin, mi teléfono sonó una vez más. Era mi jefe, quien me informó que, dado que ahora era el nuevo chofer de la tarde, debía reunirme con él en su oficina para discutir algunas cuestiones. Con un gran cansancio que pesaba en cada fibra de mi ser, me dirigí hacia su oficina, preguntándome qué nuevas sorpresas me aguardaban.
Me recibió con una expresión impasible, pero pude notar un destello de curiosidad en sus ojos mientras me indicaba que tomara asiento. Sobre su escritorio descansaba una nueva hoja de papel, y no pude evitar sentir un escalofrío de anticipación al darme cuenta de lo que era. Adivinarás... Más reglas. Esta vez, solamente eran 5, pero su contenido era igual de inquietante que las anteriores:
reglas para sobrevivir al turno de la tarde
- No permitas que ningún pasajero aborde el camión después de la puesta del sol sin una autorización previa.
- Si un pasajero insiste en hablar contigo sobre temas personales, redirige la conversación hacia temas más generales y evita revelar detalles sobre tu vida privada.
- Si ves algún objeto extraño en el interior del camión al comienzo de tu turno, no lo toques y reporta su presencia de inmediato a tu supervisor.
- Evita hacer paradas innecesarias en áreas poco iluminadas durante tu ruta, especialmente si percibes una sensación de incomodidad o peligro.
- Si sientes la presencia de alguien o algo observándote desde fuera del camión mientras estás estacionado, permanece dentro del vehículo y espera a que la sensación desaparezca antes de continuar con tu ruta.
"La segunda regla tiene que ver con la privacidad", continuó mi jefe. "Si un pasajero insiste en hablar contigo sobre temas personales, redirige la conversación hacia temas más generales y evita revelar detalles sobre tu vida privada. No sabemos quiénes son estos pasajeros ni qué intenciones puedan tener, así que es mejor mantener un límite claro entre lo personal y lo profesional".
"La tercera regla es sobre la seguridad del vehículo", explicó mi jefe. "Si ves algún objeto extraño en el interior del camión al comienzo de tu turno, no lo toques y reporta su presencia de inmediato a tu supervisor. Nunca sabes qué podría ser ese objeto o por qué está ahí, así que es mejor dejarlo en manos de los profesionales para su investigación".
"Luego tenemos la cuarta regla", continuó, "que se centra en evitar áreas peligrosas durante tu ruta. Evita hacer paradas innecesarias en áreas poco iluminadas durante tu ruta, especialmente si percibes una sensación de incomodidad o peligro. La seguridad es nuestra prioridad número uno, y no queremos que te expongas a situaciones potencialmente riesgosas".
"Finalmente, la quinta regla", concluyó mi jefe, "es sobre mantener la calma en situaciones potencialmente peligrosas. Si sientes la presencia de alguien o algo observándote desde fuera del camión mientras estás estacionado, permanece dentro del vehículo y espera a que la sensación desaparezca antes de continuar con tu ruta. Es importante no entrar en pánico y seguir el protocolo para garantizar tu seguridad".
Asentí, asimilando la información. Aunque las nuevas reglas parecían aún más restrictivas, comprendí que eran necesarias para mantener la seguridad en un entorno tan peculiar como el mío.
Al estar a punto de salir de la oficina, mi jefe me detuvo con una expresión de comprensión en su rostro. "Espera un momento, Joel", dijo con tono sereno. "Se me olvidaba mencionarte un detalle importante. Por si tenías alguna duda, estas nuevas reglas aplican únicamente durante el horario de 4 a 8 pm. Así que durante el turno de la 1 a las 4 de la tarde, no tienes nada de qué preocuparte, ¿entendido?"
Asentí con alivio, agradecido por la aclaración. Saber que las nuevas reglas solo se aplicaban durante un período específico del turno de la tarde me brindaba un poco de tranquilidad. "Entendido, jefe", respondí con gratitud. "Gracias por aclararlo". Con esa información en mente, salí de la oficina, listo para enfrentar el resto de mi jornada laboral con un poco más de confianza.
Decidí que no valía la pena regresar a casa, así que opté por quedarme a dormir en el camión. Con un suspiro de resignación, me acomodé en el asiento del conductor y me preparé para pasar la mañana en el vehículo. Miré el reloj en el tablero, marcando las horas que faltaban para que dieran las 12:30, el momento en que debía comenzar a prepararme para el siguiente día de trabajo. La cabina del camión se sintió extrañamente acogedora mientras me envolvía en las mantas que había traído para mantenerme abrigado . El suave murmullo del motor apagado se convirtió en una especie de música de fondo, acompañándome en mi intento de conciliar el sueño. Finalmente, el reloj marcó las 12:30, y supe que era hora de comenzar a prepararme para el próximo día de trabajo. Con un suspiro resignado, me estiré y me levanté del asiento, listo para enfrentar lo que el destino tenía reservado para mí en las horas que vendrían.
2024.04.09 03:44 MelodicConfusion500 JENIS SISIK DAN MITOS KATURANGGANNYA
pukulannya lawan tarung akan merasakan sakit luar dalam Memiliki Mental yang cukup bagus dan banyak dicari oleh para bobotoh Memiliki pergerakan dan keseimbangan kaki yang cukup Lihai
submitted by MelodicConfusion500 to AYAMBANGKOK [link] [comments]
- ROTAN (Bulat) Sisik kaki rotan adalah salah satu yang paling banyak dikenal dan sering kita jumpai akan tetapi sisik kaki rotan super yang dipercaya memiliki pukulan menyakitkan bahkan dibilang mematikan. Ayam aduan sisik rotan punya ciri khas kaki berbentuk bulat ramping debgan barisan sisik yang begitu rapih/kerep maka dari itu para penghobi lama lebih menyukai ayam aduan dengan model kaki berbentuk bulat. Memiliki kekuatan pukulan yang begitu keras disertai taji super Memiliki kemampuan pukulan yang dapat Mematahkan tulang leher sehingga lawan tarung tak sanggup menahan rasa sakit Memiliki Mental bagus dan kuat Memiliki Keseimbangan dan pergerakan yang cukup ideal
- NAGA BANDA Sisik kaki Naga Banda merupakan jenis kaki ayam bangkok yang paling populer dan dikenal berbahaya tentunya' penghobi sering menyebutkan bahwa ini adalah contoh bentuk kaki ayam bangkokan asli (Original) sejak dulunya. ciri khas Naga banda memiliki sisik yang serupa dengan kulit buah salak melihat dari bentuk kaki dan karakter sisik naga banda memiliki aura yang dapat menakuti lawan. Memiliki Pukulan pedas, panas dan keras sehingga jarang sekali lawan tarung yang tahan jika terkena pukulannya. Memiliki Pukulan Depan yang mampu membuat lawan tersungkur dalam beberapa menit. Memiliki Mental luar Biasa seperti baja. Memiliki Pergerakan kaki yang begitu cepat.
- PUTRI KINIRUNG (Selap) Sisik kaki putri kinirung merupakan salah satu katuranggan yang masuk dalam naskah kuno seperti diprimbon jawa misalnya banyak kalangan penghobi mempercayai hal ini. jenis sisik ini diyakini memiliki pukulan yang dapat membuat lawan tarung sempoyongan bahkan lemas. khas putri kinirung sendiri memiliki ciri yaitu sebuah sisik janggal menyelip/melik keluar (dalam bahasa sunda sisik selap) Memiliki pukulan Menyakitkan yang terkenal panas Memiliki kemampuan pukulan yang membuat lawan kebingungan sehingga menjadi lemas bahkan lumpuh Memiliki mental yang bagus dan kuat Memiliki kecepatan dalam pergerakan
- SURO WETU Sisik kaki suro wetu merupakan salah satu ayam aduan paling berbahaya dan mematikan Katuranggan yang tersimpan dipercaya memiliki banyak kelebihan dan keampuhan jenis ini masuk kedalam daftar nama - nama ayam suro yang kita ketahui. Selain banyak dicari sisik suro wetu punya nilai harga yang cukup tinggi. Ciri khas Suro wetu yaitu memiliki benjolan pada bagian belakang kaki tepat dibawah taji. Memiliki pukulan yang begitu keras hingga kedalam tulang Memiliki kehebatan yang membuat lawan tumbang dalam beberapa menit. Memiliki Kelebihan dari cara dia melangkan, kuda kuda, dan juga pergerakan Memiliki mental yang cukup dan sulit dikalahkan
- BATU LAPAK Sisik batu lapak merupakan salah satu yang paling sulit ditemukan bahkan jarang dimiliki oleh jenis ayam mana pun hanya orang - orang tertentu saja yang beruntung memilikinya. Berbicara katuranggan batu lapak dipercaya memiliki kekuatan pukulan yang dapat mengalahkan lawan dalam sekejap khas batu lapak sendiri punya ciri yaitu terdapat sisik tepat pada bagian telapak kaki. Memiliki pukulan yang dikenal mematikan cukup keras sehingga lawan tarung merasa linu pada bagian - bagian tulang. Memiliki Kehebatan pukulan yang mampu melumpuhkkan lawan dalam sekejap. Memiliki Mental jiwa petarung perkasa. Memiliki pergerakan dan kuda kuda cukup baik.
- SATRIYA SINEKTI Sisik kaki satria sinekti adalah salah satu model jenis terlangka sangat sulit ditemukan jenis ini sejak pada jaman dahulu dikenal dengan digdaya yang mempunyai kelebihan sebagai ayam aduan terhebat dan sulit dikalahkan. Menurut primbon yang dituliskan bahwa ayam aduan dengan bentuk kaki seperti ini memiliki katuranggan pada urutan ke 10 dan dijelaskan bahwa satriya sinekti adalah yang tanpa sisik melik dalam artian sisik yang hampir tak terlihat seakan menyatu dengan tulang kaki Memiliki pukulan begitu keras dan mematikan mampu membunuh lawan dengan sangat cepat Memiliki kekuatan pukulan sakti yang bisa membuat lawannya cacat mental Memiliki mental petarung pantang mundur Memiliki pergerakan cepat dalam menyerang
- NAGA TEMURUN Sisik kaki Naga temurun merupakan jenis sisik kaki terhebat dan banyak dibicarakan oleh setiap master ayam soal kemampuannya menghabisi lawan. Istilah naga temurun yaitu sisik yang mirip dengan sisik ular naga para penghobi pun mempercayai katuranggan jenis ini punya banyak keistimewaan dari cara teknik bertarung juga pukulan maka dari itu naga temurun dinobatkan salah satu jenis sisik paling berbahaya oleh para lawannya. Ciri khas naga temurun tersebut bisa dibedakan yaitu dilihat dari bentuk barisan sisik belakang yang menurun kesuluruhan memang banyak kalangan penghobi yang keliru tentang hal ini, kami akan menjelaskan secara detail sebetulnya dari kata menurun pada bagian bentuk lengkungan atas berada diposisi bawah tidak berada diatas kalau kita simpulkan secara langsung bentuk sisik berubah menjadi berbalik menghadap ke atas lihat berikut gambar ini.
- TUNGGAK WINARAYAN Sisik Tunggak Winaraya dikenal salah satu sisik mematikan dan banyak dicari para jagoHolic. Dari setiap ciri pecahan pada bagian kedua jari kanan dan kiri (kelingking) dipercaya memiliki katuranggan dari hasil turun temurun. Sisik tunggak winaran sering dikatakan jenis special penghancur lawan bertarung oleh karena itu memiliki ayam aduan dengan khas sisik seperti ini menjadi kebanggaan tersendiri. Memiliki pukulan cukup besar dan mematikan, efek terkena pukulan sisik ini lawan mudah down bahkan stres Memiliki kemampuan pukulan yang dapat membuat bagian tulangan dalam menjadi rusak Memiliki Mental bagus seperti baja Memiliki kecepatan pergerakan dalam menyerang
- KAKI BLINGBING SOKA Sisik kaki belingbing soka merupakan salah satu kaki ayam aduan khas ayam bangkok Asli thailan diera ke'emasannya jenis ini dikenal sadis mampu membuat ayam lain cacat seperti kehilangan mental keberanian tentu para pemain lama mengetahui hal tersebut. Ciri sisik blingbing sendiri memiliki khas yaitu bentuk dua barisan sisik yang tersesun rapih dan bagian tengah sedikit menekuk kedalam. Maraknya fovulasi persilangan yang dilakukan setiap penghobi menjadikan sisik jenis ini se'akan menghilang dan jarang terlihat khususnya diwilayah indonesia. Memiliki Pukulan sangat keras dan pedas, satu kali lontaran pukulan yang diluncurkan mampu membuat gangguan pengelihatan pada mata lawan Memiliki kehebatan pukulan tepat pada bagian batangan Memiliki jiwa mental tempur yang bagus Memiliki daya cengkraman dan gerakan baik
- NAGA EMAS Sisik kaki Naga Emas salah satu paling berbahaya bahkan dikenal dengan keganasan yang dimiliki dari karakter pukulan atau pun teknik bertarung. Katuranggan naga emas sangat dipercaya akan keampuhan yang tersimpan dari kekuatannya. dilihat dari bentuk fostur dan warna sisik ini punya kemiripan dengan jenis pancuran Emas hanya saja Sisik naga Emas Memiliki tampilan berbeda yaitu bentuk sisik yang tajam dan warna kaki kuning polos. Kini sisik naga emas Terbilang sulit dicari bahkan ditemukan. Memiliki bobot tenaga pukulan tidak terlalu keras namun menyakitkan seperti ditusuk jarum yang mengakibatkan lawan tarung mudur dalam pertempuran Memiliki kehebatan super taji yang dapat merusak bahkan melumpukan Memiliki Mental jiwa seorang petarung sejati Memiliki kecapatan, keseimbang dan pergerakan terbilang agresif/lincah
- KADAL METENG Sisik kaki kadal meteng merupakan salah satu sisik ayam aduan yang ditakuti oleh para lawannya dan Katuranggan yang dimiliki masih dipercaya sampai saat ini. Ciri khas jenis ini punya model sisik tajam pada setiap jari kaki. Kadal meteng sering disebutkan salah satu sisik beracun ( dalam bahasa sunda sisik Peurah) biasanya jika terkena pukulan sisik ini akan meninggalkan bekas seperti biru memar. Kadal meteng sebetulnya suatu ciri bentuk sisik yang hanya dimiliki ayam betina/babon maka dari itu jarang sekali terlihat pada ayam jantan berbanggalah anda jika memiliki ayam aduan dengan tampilan sisik seperti berikut ini. Memiliki pukulan pedas dan menyakitkan meski kecil mampu memutuskan saraf Memiliki pukulan tenaga dalam yang banyak disebut pukulan beracun/peurah Memiliki Mental yang terbilang sedikit lambat Memiliki Keseimbangan bagus dan pergerakan lebih lincah
- KING SAPU JAGAT Sisik kaki sapu jagat salah satu jenis paling terlangka sulit ditemukan pertama kali ditemukan yaitu dinegara thailan dan Myanmmar hanya orang - orang tertentu saja pernah memilikinya. Berbicara tentang Katuranggan sisik ini sering dikatakan punya banyak keistimewaan seperti aura wibawa dan kesan melihat dari bentuk tampilan king sapu jagat punya pamor sisik menakutkan bahkan para penghobi lama menyebutnya salah satu mesin pembunuh dalam artian mampu mengalahkan lawan hanya dengan 3/4 kali pukulan. ciri khas king sapu jagat sendiri punya ciri sisik aneh dan unik yang menyerupai tulang kalau diperhatikan hampir mirip dengan bentuk taji/jalu Memiliki pukulan sangat keras disertai taji/jalu yang mampu membuat lawannya ambruk dengan hanya berapa pukulan saja Memiliki kehebatan pukulan special depan dan badan sangat ahli dibidang brangkot Memiliki mental cukup ganas saat bertarung Memiliki pergerakan kaki sedikit lamban
- ULAR PANDAN (Pandanus Snake) Siapa yang tak mengenal salah satu sisik paling dicari dan populer dengan famor khas sisik kaki berwarna hijau ini menjadi jenis yang terhebat dan berbahaya didunia sabung ayam. Menurut cerita sisik ular pandan dikenal paling ditakuti para bobotoh papan atas pada masa itu jenis ini memiliki pecahan komplit atau istilah tembus pada setiap jari dan sisik utama. Para hobi mempercayai Katuranggan ayam aduan model sisik ular pandan begitu kuat dan sakti Berikut ciri asli sisik ular pandan. Memiliki pukulan super tandes/jero terasa pada setiap tulang dalam, Sangat cepat dibidang menuntaskan pertarungan Memiliki kelebihan balasan pukulan lebih menyakitkan, efek terkena pukulannya mampu memberikan reaksi cepat yang berpengaruh pada setiap otot - otot sehingga lawan tidak bisa berjalan bahkan memukul Memiliki Mental yang dikenal keganasannya Memiliki keseimbangan dan pergerakan super cepat juga baik
- GAMBIR Sisik kaki Gambir memiliki khas warna corak merah kecoklatan pada bagian sisik utama' ayam aduan dengan sisik seperti ini merupakan salah satu yang boleh dikatakan paling berbahaya jika terkena pukulanya mampu membuat lawan terguling bahkan K.O dalam beberapa ronde. Sisik gambir menjadikan terfavorit dihati dan dimata pecinta sabung ayam, menurut mitos sisik yang terdapat corak merah adalah ayam terkuat dan sulit untuk dikalahkan. Memiliki pukulan pedas, panas dan keras mampu merusak pada bagian kelemahan lawan Memiliki kekuatan tenaga pukul 2x lipat lebih menyakitkan, Jika terkena pukulan pada bagian sambungan leher bisa berakibat fatal Memiliki mental super dan pemberani Memiliki pergerakan dan kecepatan kaki cukup seimbang saat melakukan penyerangan atau pun kuda - kuda
2024.04.06 00:01 nft_reynaldi Tanah Sunda - Ajip Rosidi
. Tanah Sunda - Ajip Rosidi Héjo pagunungan Paul lautan Héjo Paul Langit na haté kuring Masing di mana kuring nangtung Masing ka mana kuring leumpang Tanah lémbok tempat bumetah Angin nyéot nyiuman tarang Masing di mana anjeun nunjuk Masing iraha anjeun cumeluk Kuring mo mungpang kuring rék datang Neueulkeun tarang neueulkeun jantung Kuring tungtung teuteupan Kuring tungtung Teuteupan Tungtung bedil Ngincer dada Kuring geus nyaksian getih ngabayabah Getih maranéhanana nu mikacinta anjeun Kuring geus nyaksian panon carelong tanggah Jasad nu ruksak ngalungsar na dada anjeun Héjo pagunungan paul lautan Taya kamarasan ngan katugenahan Héjo pagunungan paul lautan Taya katengtreman ngan ancaman Ngan lantaran kuring cinta Ngan lantaran kuring tresna Langit hibar lembur musnah Jalan lecek ngabalungbung ka kota Kembang beureum buah biru Kembang wéra kembang jayanti Tanah tempat kuring sideku Ngurugan mun kuring tepi ka pati Jatiwangi, 1956
submitted by nft_reynaldi to u/nft_reynaldi [link] [comments]
2024.04.02 03:38 istarttowonder Activities in DFW & Beyond
ARCADES
Cidercade, Dave & Buster's, Electric Starship, Free Play Arcade, Great Big Game Show, Junk Punch, Main Event, Nickel Mania, NickelRama, Round1, Select Start, Tornado Terry's, & Two Bit Circus.
AQUARIUMS
Dallas World, SEA LIFE, & SeaQuest
BOARD GAME STORES
Common Ground Games, Evolution Games, Game Theory, & Madness Comics & Games
BOWLING
Bowl & Barrel, Bowl Games, Bowlero, Bowlounge, PinStack, & Pinstripes
CINEMAS
Alamo Drafthouse, Angelika Film, B&B Theatres, Cinepolis, Coyote Drive In, EVO, LOOK Cinemas, & Rooftop Cinema Club
CLUBS
Bottled Blonde, Green Light Social, It'll Do, Stereo Live, The Nines, & Theory
COMEDY
Addison Improv, Arlington Improv, Dallas Comedy Club, Four Day Weekend, Hyenas Comedy Night Club, TK's, & Pocket Sandwhich
DIY
Board & Brush, Dallas Silk Art, Ephemera Plant Shop, Malibu Apothecary, Painting With a Twist, Pipe & Palette, SiNaCa Studios, The Cookery Dallas, & Trade Oak Cliff
EXHIBITS
Meow Wolf, Rainbow Vomit & The Nazarene
EXPERIENCES
Dallas Reunion Tower, Delta Charlie, Fort Worth Stockyards, Gondola Adventures Inc., Grandscape Wheel, Grapevine Vintage Railroad, Medieval Times, Shangrillama, The Dinner Detective, & The Spirit of Dallas
GARDENS
Dallas Botanical Gardens, Fort Worth Botanical Gardens, Grapevine Botanical Garden at Heritage Park, & Texas Discovery Gardens
HIKES Arbor Hills Nature Preserve, Cedar Hill State Park, Crystal Canyon Natural Area, Eagle Mountain Park, Fort Worth Nature Center & Refuge, Marison Samsom Park, North Shore Trail, Oak Cliff Nature Preserve, River Legacy Park, & Trinity River Audubon Center
MUSEUMS
African American Museum, Amon Carter Museum, Arlington Museum of Art, Cavanaugh Flight Museum, Cowgirl Hall of Fame & Museum, Crow Museum of Asian Art, Dallas Art Museum, Dallas Contemporary, Dallas Holocaust and Human Rights Museum, Fort Worth Aviation Museum, Fort Worth Museum of Science & History, Frontiers of Flight, George W. Bush Presidential Center, Haas Moto Museum, HEARD Natural Science Museum & Wildlife Sanctuary, Jesuit Dallas, Kimbell Art Museum, Meadows Museum, Modern Art Museum of Fort Worth, Museum of Illusions, Nasher Sculpture Center, National Soccer Hall of Fame National Video Game Museum, Perot Museum of Nature & Science, Talley Dunn Gallery, The Sixth Floor Museum & Valley House Gallery and Sculpture Garden
MUSIC VENUES
Adairs Saloon, Billy Bobs Texas, Chocolate Secrets, Cowboys Red River, DADA Dallas, Dallas Arboretum, Deep Ellum Art Co, Dos Equis Pavilion, Echo Lounge & Music Hall, Harvest Hall, House of Blues, Legacy Food Hall, Longhorn Ballroom, Pete's Dueling Piano Bar, Revelers Hall, Rubber Gloves Denton, Sambuca 360, Sandaga 813, Scatt Jazz Club, South Side Music Hall, Sundown at Granada, The Bomb Factory, The Factory in Deep Ellum, The Goat, The Rustic, Trees & Truck Yard.
SPORTS TEAMS
Allen Americans (ECHL: Hockey), Dallas Cowboys (NFL: Football),Dallas Jackals (MLR: Rugby), Dallas Mavericks (NBA: Basketball), Dallas Stars (NHL: Hockey), Dallas Wings (WNBA: Basketball), FC Dallas (MLS: Soccer), Frisco Rough Riders (MiLB: Baseball), Lone Star Brahmas (NAHL: Hockey), Panther City (NLL: Lacrosse), & Texas Rangers (MLB: Baseball)
THEME PARKS
Bahama Beach Water Park, Bolder Adventure Park, Burgers Lake, Celebration Station, Crayola Experience, Epic Waters, GoApe Zipline & Adventure Park, Hawaiian Waters, LegoLand, Pirates Cove, Six Flags, Trinity Forest Adventure Park, & Urban Air Trampoline Park
Performing Arts Bass Performance Hall, Dallas Symphony Orchestra, Dallas Theater Center, Irving Arts Center, Majestic Theatre, Moody Performance Hall, Music Hall at Fair Park, Palace Arts Center, Repertory Company Theatre, Shakespeare Dallas, The Balcony Club, & Winspear Opera House
PHYSICAL ACTIVITIES
Andretti Karting, Another Round, Arlington Skatium, BadAxe, Chicken N Pickle, Courtside Kitchen, Crossbar, Crush It! Sports Lounge, Dallas Karting Complex, DFW Adventure Park, DFW Surf, Electric Shuffle, Forum Roller World, Fowling Warehouse DFW, Galleria Ice Skating Center, Get Up & Go Grapevine, iCompete, iFLY, Interskate Roller Rink, Movement, Ninja Nation, OSO, PopStroke, Puttery, Puttshack, Sandy Pickle, Sixes Cricket, Studio 22, The Porch Venue, The Secret Chambers, & TopGolf
VR
Activate Games, ESports Virtual Arena (EVA), Immersive Gamebox, Sandbox VR & Zero Latency VR
WORKSHOPS
Center for Brain Health, UTDCreative Arts Center of Dallas, & The Craft Guild
submitted by istarttowonder to u/istarttowonder [link] [comments]
Cidercade, Dave & Buster's, Electric Starship, Free Play Arcade, Great Big Game Show, Junk Punch, Main Event, Nickel Mania, NickelRama, Round1, Select Start, Tornado Terry's, & Two Bit Circus.
AQUARIUMS
Dallas World, SEA LIFE, & SeaQuest
BOARD GAME STORES
Common Ground Games, Evolution Games, Game Theory, & Madness Comics & Games
BOWLING
Bowl & Barrel, Bowl Games, Bowlero, Bowlounge, PinStack, & Pinstripes
CINEMAS
Alamo Drafthouse, Angelika Film, B&B Theatres, Cinepolis, Coyote Drive In, EVO, LOOK Cinemas, & Rooftop Cinema Club
CLUBS
Bottled Blonde, Green Light Social, It'll Do, Stereo Live, The Nines, & Theory
COMEDY
Addison Improv, Arlington Improv, Dallas Comedy Club, Four Day Weekend, Hyenas Comedy Night Club, TK's, & Pocket Sandwhich
DIY
Board & Brush, Dallas Silk Art, Ephemera Plant Shop, Malibu Apothecary, Painting With a Twist, Pipe & Palette, SiNaCa Studios, The Cookery Dallas, & Trade Oak Cliff
EXHIBITS
Meow Wolf, Rainbow Vomit & The Nazarene
EXPERIENCES
Dallas Reunion Tower, Delta Charlie, Fort Worth Stockyards, Gondola Adventures Inc., Grandscape Wheel, Grapevine Vintage Railroad, Medieval Times, Shangrillama, The Dinner Detective, & The Spirit of Dallas
GARDENS
Dallas Botanical Gardens, Fort Worth Botanical Gardens, Grapevine Botanical Garden at Heritage Park, & Texas Discovery Gardens
HIKES Arbor Hills Nature Preserve, Cedar Hill State Park, Crystal Canyon Natural Area, Eagle Mountain Park, Fort Worth Nature Center & Refuge, Marison Samsom Park, North Shore Trail, Oak Cliff Nature Preserve, River Legacy Park, & Trinity River Audubon Center
MUSEUMS
African American Museum, Amon Carter Museum, Arlington Museum of Art, Cavanaugh Flight Museum, Cowgirl Hall of Fame & Museum, Crow Museum of Asian Art, Dallas Art Museum, Dallas Contemporary, Dallas Holocaust and Human Rights Museum, Fort Worth Aviation Museum, Fort Worth Museum of Science & History, Frontiers of Flight, George W. Bush Presidential Center, Haas Moto Museum, HEARD Natural Science Museum & Wildlife Sanctuary, Jesuit Dallas, Kimbell Art Museum, Meadows Museum, Modern Art Museum of Fort Worth, Museum of Illusions, Nasher Sculpture Center, National Soccer Hall of Fame National Video Game Museum, Perot Museum of Nature & Science, Talley Dunn Gallery, The Sixth Floor Museum & Valley House Gallery and Sculpture Garden
MUSIC VENUES
Adairs Saloon, Billy Bobs Texas, Chocolate Secrets, Cowboys Red River, DADA Dallas, Dallas Arboretum, Deep Ellum Art Co, Dos Equis Pavilion, Echo Lounge & Music Hall, Harvest Hall, House of Blues, Legacy Food Hall, Longhorn Ballroom, Pete's Dueling Piano Bar, Revelers Hall, Rubber Gloves Denton, Sambuca 360, Sandaga 813, Scatt Jazz Club, South Side Music Hall, Sundown at Granada, The Bomb Factory, The Factory in Deep Ellum, The Goat, The Rustic, Trees & Truck Yard.
SPORTS TEAMS
Allen Americans (ECHL: Hockey), Dallas Cowboys (NFL: Football),Dallas Jackals (MLR: Rugby), Dallas Mavericks (NBA: Basketball), Dallas Stars (NHL: Hockey), Dallas Wings (WNBA: Basketball), FC Dallas (MLS: Soccer), Frisco Rough Riders (MiLB: Baseball), Lone Star Brahmas (NAHL: Hockey), Panther City (NLL: Lacrosse), & Texas Rangers (MLB: Baseball)
THEME PARKS
Bahama Beach Water Park, Bolder Adventure Park, Burgers Lake, Celebration Station, Crayola Experience, Epic Waters, GoApe Zipline & Adventure Park, Hawaiian Waters, LegoLand, Pirates Cove, Six Flags, Trinity Forest Adventure Park, & Urban Air Trampoline Park
Performing Arts Bass Performance Hall, Dallas Symphony Orchestra, Dallas Theater Center, Irving Arts Center, Majestic Theatre, Moody Performance Hall, Music Hall at Fair Park, Palace Arts Center, Repertory Company Theatre, Shakespeare Dallas, The Balcony Club, & Winspear Opera House
PHYSICAL ACTIVITIES
Andretti Karting, Another Round, Arlington Skatium, BadAxe, Chicken N Pickle, Courtside Kitchen, Crossbar, Crush It! Sports Lounge, Dallas Karting Complex, DFW Adventure Park, DFW Surf, Electric Shuffle, Forum Roller World, Fowling Warehouse DFW, Galleria Ice Skating Center, Get Up & Go Grapevine, iCompete, iFLY, Interskate Roller Rink, Movement, Ninja Nation, OSO, PopStroke, Puttery, Puttshack, Sandy Pickle, Sixes Cricket, Studio 22, The Porch Venue, The Secret Chambers, & TopGolf
VR
Activate Games, ESports Virtual Arena (EVA), Immersive Gamebox, Sandbox VR & Zero Latency VR
WORKSHOPS
Center for Brain Health, UTDCreative Arts Center of Dallas, & The Craft Guild
2024.03.18 10:28 MekhaDuk Battle of galipoli map (one of the largest amphibious operations in history)
 | submitted by MekhaDuk to MapPorn [link] [comments] |
2024.03.10 14:34 sahilbks Can someone tell me if this is book mold?
 | How can I protect it and can it damage my other books in shelf? submitted by sahilbks to OldBooks [link] [comments] |
2024.03.10 14:16 sahilbks Book mold?
 | I love this book from 80s but it has these black dots near open corners, Can someone guide me if this thing can affect other books, and what are measures to protect this book and others in the collection. submitted by sahilbks to AntiqueBooks [link] [comments] |
2024.02.02 10:58 larcorba Volt Shqipëri: Lëvizje politike 🇦🇱💜🇪🇺
Përshëndetje Reddit Albania!
Kujdes, në vijim do të keni një promovim politik.
TL;DR Kërkoj njerëz që do të dëshironin të bashkohen me lëvizjen politike Volt në Shqipëri (voltalbania.org). Më kontaktoni në Reddit ose regjistrohuni këtu: https://volt.team/simple-join.
Jm këtu për të folur përsëri për politik :D Shumë ngjarje kanë ndodhur në skenën politike të Shqipërisë. Rama dhe banda e tij, Berisha dhe banda e tij, Beleri, Inceneratorët, Ndotja, Nxënësit e mjekësis të detyruar të qëndrojnë dhe trajtimi i keq i qytetarëve shqiptarë nga qeveria shqiptare. Ndihet si një rreth që shkon para dhe mbrapa, mes zgjedhjeve të keqija numër 1 dhe zgjedhjevetsë keqija numër 2. Pa ndonjë pluralizëm të vërtetë...
Mjaft është mjaft, do të thoja, por të qëndruarit aktiv në politik në Shqipëri është e vështirë. Ndryshimi nuk vjen brenda një dite, por asgjë nuk do të ndryshojë pa pjesëmarrjen e njerëzve të mirë. Njerëzve të duhur.
Tani, ndoshta për ju jam një i huaj holandez, por në të njëjtën kohë ndihem sikur ne jemi të gjithë europianë, pavarësisht kombësisë. Prandaj, kam vendosur ti dedikoj kohën time politikës shqiptare sepse Shqipëria është një vend i dashur për mua ku udhëtoj 3 herë në vit.
Mendoj se pjesëmarrja është gjysma e punës në politikë, kështu që këtë vit i jam bashkuar një partie politike pan-europiane quajtur "Volt" në Holandë. Ne kemi një program për shqiptarinë dhe kësaj i kam kushtuar shumicën e kohës sime në mënyrë vullnetare. Tek "Volt Shqipëri". Mund të shihni se çfarë përfaqësojmë këtu: https://voltalbania.org
dhe këtu: https://volteurope.org
Si një lëvizje mjaft e re, ne do ta vlerespnim vërtet pjesëmarrjen tuaj. Kërkojmë njerëz që do të donin të ndihmonin (pas skenave ose në qendër të vëmendjes) me dokumente zyrtare (ligjore), çështje teknike IT, media sociale, politika dhe madje drejtimin rajonal për të rritur praninë tonë në të gjitha pjesët e Shqipërisë. Ne jemi tashmë një lëvizje politike dhe për të bërë një parti politike zyrtare ne kemi nevojë të paktën 3000 anëtarë.
Nëse do të donit të ndihmonit, thjesht dërgoni një mesazh në Reddit ose plotësoni formularin më poshtë: https://volt.team/simple-join
Sigurohuni të zgjidhni "Volt Shqipëri - Albania" nën "Political Party" kur përdorni formularin.
Shpresoj se bashkë mund të sjellim ndryshime në politikën shqiptare dhe të bëjmë Shqipërinë jo vetëm të mahnitshme për bukurinë dhe njerëzit e mrekullueshëm që ka, por edhe përmes një sistemi politik të drejtë. Është një ëndërr për të cilën po punoj për ta bërë realitet.
Pyetje? Mos ngurroni t'i bëni ato nën këtë postim ose në mesazhet e drejtpërdrejta. Faleminderit!
- Nathan
submitted by larcorba to albania [link] [comments]
Kujdes, në vijim do të keni një promovim politik.
TL;DR Kërkoj njerëz që do të dëshironin të bashkohen me lëvizjen politike Volt në Shqipëri (voltalbania.org). Më kontaktoni në Reddit ose regjistrohuni këtu: https://volt.team/simple-join.
Jm këtu për të folur përsëri për politik :D Shumë ngjarje kanë ndodhur në skenën politike të Shqipërisë. Rama dhe banda e tij, Berisha dhe banda e tij, Beleri, Inceneratorët, Ndotja, Nxënësit e mjekësis të detyruar të qëndrojnë dhe trajtimi i keq i qytetarëve shqiptarë nga qeveria shqiptare. Ndihet si një rreth që shkon para dhe mbrapa, mes zgjedhjeve të keqija numër 1 dhe zgjedhjevetsë keqija numër 2. Pa ndonjë pluralizëm të vërtetë...
Mjaft është mjaft, do të thoja, por të qëndruarit aktiv në politik në Shqipëri është e vështirë. Ndryshimi nuk vjen brenda një dite, por asgjë nuk do të ndryshojë pa pjesëmarrjen e njerëzve të mirë. Njerëzve të duhur.
Tani, ndoshta për ju jam një i huaj holandez, por në të njëjtën kohë ndihem sikur ne jemi të gjithë europianë, pavarësisht kombësisë. Prandaj, kam vendosur ti dedikoj kohën time politikës shqiptare sepse Shqipëria është një vend i dashur për mua ku udhëtoj 3 herë në vit.
Mendoj se pjesëmarrja është gjysma e punës në politikë, kështu që këtë vit i jam bashkuar një partie politike pan-europiane quajtur "Volt" në Holandë. Ne kemi një program për shqiptarinë dhe kësaj i kam kushtuar shumicën e kohës sime në mënyrë vullnetare. Tek "Volt Shqipëri". Mund të shihni se çfarë përfaqësojmë këtu: https://voltalbania.org
dhe këtu: https://volteurope.org
Si një lëvizje mjaft e re, ne do ta vlerespnim vërtet pjesëmarrjen tuaj. Kërkojmë njerëz që do të donin të ndihmonin (pas skenave ose në qendër të vëmendjes) me dokumente zyrtare (ligjore), çështje teknike IT, media sociale, politika dhe madje drejtimin rajonal për të rritur praninë tonë në të gjitha pjesët e Shqipërisë. Ne jemi tashmë një lëvizje politike dhe për të bërë një parti politike zyrtare ne kemi nevojë të paktën 3000 anëtarë.
Nëse do të donit të ndihmonit, thjesht dërgoni një mesazh në Reddit ose plotësoni formularin më poshtë: https://volt.team/simple-join
Sigurohuni të zgjidhni "Volt Shqipëri - Albania" nën "Political Party" kur përdorni formularin.
Shpresoj se bashkë mund të sjellim ndryshime në politikën shqiptare dhe të bëjmë Shqipërinë jo vetëm të mahnitshme për bukurinë dhe njerëzit e mrekullueshëm që ka, por edhe përmes një sistemi politik të drejtë. Është një ëndërr për të cilën po punoj për ta bërë realitet.
Pyetje? Mos ngurroni t'i bëni ato nën këtë postim ose në mesazhet e drejtpërdrejta. Faleminderit!
- Nathan
2024.01.20 03:21 TheSpace81 De naturaleza alienígena (a Spanish Translation) 31
Primero
Anterior / Siguiente
Original: An Alien Nature por u/ImaginationSea3679 y u/Objective-Farm-2560
Bueno, nuevo capítulo y nueva traducción. Aquí la tienen.
------------------------
[Transcripción de memoria parcialmente traducida a terminología estandarizada]
Transcripción de Memoria de Sujeto: Slanek, Fuerza Espacial Venlil
Fecha [calendario humano estandarizado]: 27 de julio de 2136
Desperté de mi sueño sintiéndome bien descansado. Debe haber sido una buena garra [unas cinco horas] de descanso, lo cual fue bastante refrescante, aunque para la mayoría eso habría sido muy poco. Los Venlil dormían menos que la especie promedio, lo cual era parte de por qué jugábamos un papel principal en la defensa del espacio de la RA. Los soldados que necesitaban menos sueño eran invaluables.
Mis pensamientos sobre el ciclo de sueño de mi propia especie me hicieron preguntarme acerca del ciclo de sueño de los humanos. ¿Necesitaban más sueño que nosotros? ¿O tal vez menos? Si necesitaban aún menos, automáticamente los convertiría en uno de los mejores soldados de la galaxia. Si necesitaban más, tendrían que compensarlo con ferocidad en la lucha.
Decidí apartarme de mis pensamientos y seguir con mi rutina matutina. Caminé alrededor de mis alojamientos, deteniéndome de vez en cuando para hacer algunos estiramientos. Los músculos fuertes no sirven de mucho cuando luchas por moverlos, así que los estiramientos eran muy importantes. Después de eso, fui a la puerta y comencé a dirigirme a la sala de duchas.
A medida que me acercaba a la puerta después de la corta caminata hasta las duchas, ya podía escuchar a algunos de mis camaradas adentro. Los Venlil eran bañistas comunales, a los que no les importaba mucho la privacidad, al menos no en ese tipo de escenario.
Recordé que los humanos alrededor de la ciudad a menudo llevaban muchas prendas. Por supuesto, eso probablemente era para ayudar a protegerlos de los elementos, pero no había duda de que había más en ello que eso. Su falta de pelaje los dejaba mucho más expuestos. De alguna manera, la ropa era una forma de privacidad. También imaginé que tenían baños más privados, debido a esa mayor privacidad.
Los humanos no eran los únicos con ropa por razones de privacidad, o con un alto énfasis en la privacidad en general. Algunas de las tribus Duerten que formaban parte de la RA tenían actitudes bastante pudorosas, los Takkan de la RA tenían un tabú sobre limpiarse frente a los demás, y los Gojid a menudo llevaban cubiertas para la parte delantera de sus cuerpos, lo que ayudaba a las hembras a cubrir sus siempre prominentes pechos.
Huh. Logré olvidar ese hecho cuando se mencionó que los humanos siempre tenían pechos. ¿Son sus pechos constantes por la misma razón, sin embargo? Lo dudaba, pero no era imposible.
Me alejé de ese pensamiento cuando entré en la sala de duchas. Era un espacio amplio y abierto con una red de tuberías con rociadores en el techo y desagües en el suelo. Había una puerta hacia la sala de secado, y ya podía escuchar que estaba en uso. Y para terminar, la entrada tenía un gran stock de champús y otros productos de limpieza para usar.
Noté a Freega empapada y cubierta de espuma de jabón bajo una ducha de agua. Al darme cuenta de que había entrado en la habitación, me saludó alegremente.
—Es bueno verte al fin despierto—, dijo feliz. —Temía que no te viéramos hasta que ya estuviéramos teniendo la primera comida.
—Bueno, estuve un poco [cansado] anoche, pero el reloj biológico Venlil siempre suena a tiempo.
—¿Qué te agotó tanto? ¿Un impulso de último minuto?— preguntó pícaramente.
Resoplé un pequeño silbido.
—¡No! Solo decidí llamar a mis padres.
—Ah, eso es comprensible. También decidí enviar un mensaje a casa. Mi fem-mate [novia] aparentemente tuvo una fiesta para celebrar en mi honor.
—Eso es bastante dulce—, respondí. —No tengo dudas de que organizará una aún más grande cuando vuelvas a casa.
Freega rió y suspiró feliz.
—Sí, probablemente celebrará como si acabara de regresar de la guerra. Es una [traducción más cercana: dulzura].
—¡Oigan [habladores]!— gritó Dyro. —¡Menos charla, más lavado!
Su comentario me hizo darme cuenta de cuánto tiempo había estado en la cámara de la ducha sin lavarme realmente, lo que me impulsó a agarrar algunas botellas y colocarlas en un estante. Como nuestras salas de ducha eran bastante abiertas, teníamos estantes libres para almacenar nuestras botellas mientras nos limpiábamos. Era un uso eficiente del espacio, ya que podíamos moverlos si era necesario, asegurándonos de que nunca estuviéramos apretados mientras nos limpiábamos.
<<>>
Después de habernos limpiado y de comer la primera comida, los tres queríamos observar un poco la ciudad antes de que comenzaran las reuniones diplomáticas. Por supuesto, eso requería permiso del General, al que nos dirigíamos. Si todo iba bien y estaba de buen humor, no tendría problema en permitirnos disfrutar de la vista de las calles desde lejos.
A medida que nos acercábamos a su oficina, podía escuchar voces en el interior. Una pertenecía al General Kam, mientras que la otra probablemente era de uno de los soldados cuyo nombre aún no sabía.
—Eso suena como Vassek ahí adentro—, comentó Dyro mientras aguzaba el oído, aparentemente conociendo mejor al Venlil que yo. —Sea lo que sea que esté haciendo allí, definitivamente no levantará el ánimo del General.
—Qué prometedor...— murmuré.
Después de un breve momento de espera, un Venlil con las orejas apuntando rígidamente hacia atrás salió de la habitación. Estaba bastante seguro de que sus pupilas también estaban dilatadas en óvalos delgados, lo que significaba que estaba avergonzado. Parecía que Dyro tenía razón acerca de que lo que lo convocó a la oficina de Kam no habría complacido al General.
Dyro y yo dudamos en entrar, sin querer arriesgarnos a molestar aún más al General. Sin embargo, Freega no compartía este miedo y entró con audacia solo momentos después de que Vassek saliera. Pude escuchar al General Kam comenzar a gritarle una vez que ella pasó por la puerta.
—¡Joder, acabo de decirte que no! ¡No puedes salir y!-
—Oh, Freega, hola—, dijo con solemnidad. —Mis más sinceras disculpas, acabo de tener una conversación bastante estúpida y pensé que el idiota volvía para probar suerte de nuevo.
—No hay ofensa, señor—, respondió Freega con un tono educado mientras Dyro y yo entrábamos detrás de ella. —¿De qué habló él contigo?
—Créeme, no quieres saberlo—, dijo Kam con un tono frío. —No estoy seguro de si debería estar decepcionado o extrañado, así que he optado por enojarme.
Dyro no pudo evitar resoplar.
—Suena como todos los que alguna vez lo conocieron, señor.
—No me sorprende en absoluto...— murmuró el General. —Bueno, dudo que estén aquí solo para reírse a expensas de sus compañeros, digan lo que quieran decir.
Miré a los demás, quienes me indicaron que hablara.
—Bueno, señor, dado que todavía está oscuro afuera y todos estamos despiertos mucho antes que los humanos, queríamos disfrutar de la vista de la ciudad en las primeras horas de la mañana.
—¿Por qué me piden permiso para hacer eso?— cuestionó el General, desconcertado. —Por supuesto que pueden ir y disfrutar de la vista si así lo desean.
Bueno, eso fue fácil.
—Gracias, señor—, dije con gratitud mientras salía apresuradamente de la oficina.
Dyro y Freega balancearon felices sus colas, contentos de que se nos permitiera ver la primera luz de la ciudad.
—Así que, ¿qué crees que Vassek le preguntó al General?— preguntó Freega a Dyro y a mí. —Personalmente, creo que quería invitar a una humana y ser el primer alienigena en dormir con una.
—Sonaba más como si lo estuviera invitando a él—, bromeé, haciendo que los demás se rieran.
—No, Kam no es su tipo—, dijo Dyro, riendo todavía. —No, creo que quería retar a un humano a una competencia de bebida y poner al pobre tonto en coma.
—Esa es una suposición... extrañamente específica—, declaró Freega sospechosamente.
—Estuvimos en Yalis en las afueras del espacio Sivkit hace dos años y lo hizo—, recordó Dyro. —Me sorprendió que la maldita Sivkit no muriera por lo duro que se esforzó para tratar de vencerlo. Casi lo logró, de alguna manera.
Podía decir con certeza por qué la idea no le agradaba a Kam. Algo así habría causado un incidente diplomático a gran escala.
Apartando la idea de que nuestras relaciones con los humanos ardieran, esperaba con ansias ver la hermosa vista de la ciudad en sus horas matutinas.
Caminamos hacia la salida de mantenimiento que conducía a la parte superior de la nave. Era práctica si la nave sufría algún daño mientras estábamos estacionados en cualquier lugar que no fuera una estación espacial, dada la gravedad obvia que tienen todos los planetas y lunas.
Puse mis patas en las barandillas de soporte para estabilizarme mientras subía los escalones empinados y ligeramente inclinados. Mientras avanzábamos hacia el techo plano, miramos hacia la ciudad humana. Los numerosos rascacielos reflejaban pequeños fragmentos de luz mientras sombreaban el resto de la ciudad. Cuando llegamos y el sol se había puesto, la ciudad tenía todo tipo de luces encendidas, e incluso desde aquí se podía escuchar actividad. Ahora, todavía era una vista hermosa, pero parecía apagada y tranquila.
—La ciudad parece bastante apagada esta garra [parte del día]—, observó Freega, con pensamientos similares.
—¿Cuánto quieres apostar a que en realidad duermen más que nosotros?— preguntó Dyro.
—Creo que es muy probable. Dormimos menos que la mayoría de las especies, después de todo—, dije.
—Pregunté una apuesta, tonto—, se rió Dyro. —¿Cuánta diferencia?
Pensé por un momento.
—Veinte garras, pero creo que todos estamos de acuerdo, así que no nos ganaríamos dinero entre nosotros.
—Sí—, agregó Freega. —¿Quieres volver a la nave para encontrar a alguien que no esté de acuerdo?
—Nah. Quiero disfrutar de la vista—, dije mientras me dejaba caer.
—---------------------
Transcripción de Memoria de Sujeto: Marcel Fraser, Militar de la ONU, Rama Estadounidense
Fecha [calendario humano estandarizado]: 27 de julio de 2136
Me despertó de golpe mi despertador, su pitido irritando mi cerebro cansado y apenas despierto. El molesto ruido nunca dejó de molestarme, sin importar cuánto lo escuchara o lo importante que supiera que era que me levantara. Con un golpe rápido y preciso en el botón de la alarma, se apagó.
Afortunadamente, ver a mi hermosa prometida al girar la cabeza fue suficiente para hacer que mis pensamientos molestos sobre la alarma desaparecieran. Todavía estaba durmiendo, de alguna manera capaz de resistir el ruido maldito de esa máquina. Cómo lo hacía probablemente me desconcertaría hasta el fin de los tiempos.
—Buenos días, dormilona—, le dije a Lucy mientras ponía un brazo en su hombro con una alegría tranquila. A pesar de estar juntos durante más de tres años, nunca me cansaba de verla despertar después de una larga noche de descanso.
—Hola cariño—, bostezó con una sonrisa. —Es curioso encontrarte aquí.
—Vaya coincidencia ,¿no?—. Respondí, jugando con su juego. —Oí decir que la probabilidad de despertarse en la cama de un amante es sorprendentemente alto entre las parejas.
—¿En serio? Nunca hubiera imaginado que podría pasarnos a nosotros también—, se rió.
Después de soltar otro bostezo y estirar sus brazos, plantó un beso en mi mejilla, diciendo:
—Eso es por la cena de ayer— con un tono dulce, después de lo cual me dio un beso mucho más apasionado en los labios. —Y eso es por lo que vino después.
—Oh, ya para, me estás haciendo sonrojar—, bromeé antes de corresponder al beso.
Mientras mi prometida empezaba a levantarse de la cama, se volvió hacia mí por completo.
—Entonces, saliste al saludo después de nuestra pequeña noche y volviste a mí mientras dormía. ¿Cómo fue?
Recordé todas las cosas que hicimos con los guardias Venlil, las discusiones sin palabras y los trucos geniales. Honestamente, fue muy divertido pasar el rato con ellos.
—Hablamos un poco con los alienígenas, lo cual fue bastante difícil sin palabras—, expliqué emocionado. —Preguntaron sobre los insectos. Aparentemente, pensaban que teníamos mosquitos del tamaño de tigres o algo así.
—¿En serio?— Se rió Lucy. —¡Eso es hilarante!
—Lo es, ¿no?— Respondí. —Y luego, comenzaron a hacer esta... cosa extraña con sus ojos. ¡Podían controlar la forma de sus pupilas!
Lucy me miró incrédula.
—Ahora estás inventando cosas—, me acusó.
—Te juro que no lo estoy—, respondí. —¡Uno hizo que su pupila pareciera un humano!
—Eso es sinceramente increíble—, murmuró. —Estos alienígenas son tan geniales.
—¡Lo sé! ¡Fue increíble!— Grité jubiloso. —Hicimos algo de show de sombras en respuesta, y parecían tan asombrados como nosotros por sus movimientos oculares.
Lucy arrulló ante la imagen mental que le vino a la mente.
—Awww, ¡eso debió haber sido adorable de ver!
—¡Lo fue!— Confirmé. —Espero tener la oportunidad de presentarte a Slanek. Es mi mejor amigo de todos ellos.
Distraído, tome nota de la hora. 8 AM.
Me pregunto si ya estará despierto... ¿o todavía estará durmiendo?
Una mano en mi mejilla me sacó de mis pensamientos.
—Eres tan lindo, ¿sabes?— Lucy dijo afectuosamente. —Conoces a extraterrestres solo dos veces y ya tienes a uno como tu mejor amigo.
Me sonrojé un poco.
—Me lo dices todos los días. ¿Y qué puedo decir? Tengo ese tipo de encanto—. Dije con una sonrisa astuta.
Lucy se rió con esa hermosa voz suya.
—Sí que lo tienes, eres un hombre increíble—. Se levantó un poco más. —De todos modos, hemos estado pudriéndonos en la cama el tiempo suficiente. ¿Quieres ir a hacer el desayuno?
Sonreí brillantemente.
—Absolutamente.
<<>>
Como una mini-celebración de que la humanidad se encontrara y se hiciera amiga de extraterrestres, decidimos hacer algunos panqueques clásicos estadounidenses para comer. Hermosos, perfectamente cocidos y con una cantidad "saludable" de jarabe de arce vertido sobre ellos.
Lucy tarareó con deleite al dar un bocado.
—Delicioso como siempre—, elogió.
—Gracias—, respondí con una sonrisa. —Siempre los hago con amor.
—Me pregunto cómo disfrutarían estos amigos Venlil que has hecho—, reflexionó. —Dijiste que pueden comer nuestra comida, ¿verdad?
—Sí, pueden—, confirmé. —No estoy seguro si tienen un equivalente de panqueques, sin embargo. Sé que tienen algún tipo de pan, pero estos—, señalé la pequeña pila de panqueques en el centro de la mesa, —podrían ser una nueva experiencia para ellos.
—Me encantaría ver las caras que pondrían cuando den un bocado—, dijo con una risita.
—Anotado, trae uno aquí cuando pueda y luego haz algunos para ellos—, bromeé.
—De todos modos, cuéntame más sobre ese Slanek que conociste. Ya has dicho más que suficiente sobre la hija de la Gobernadora para alimentar mi requerimiento de dopamina durante un siglo, así que cuéntame sobre el aparente mejor candidato hombre que tenemos entre manos.
Pensé por un momento.
—Bueno, primero, tiene que vencer a Tyler en la sección de "mejor hombre". En segundo lugar, bueno, es un pequeño tontito adorable. Pelaje gris claro con un penacho negro en la cabeza, cuernos rizados adorables. Es como si cruzaras un cabrito bebé con un velocirráptor. Aunque, todos los Venlil son así. También le gusta que lo acaricien... lo cual también parece ser algo común en todos los Venlil.
—¡Eso es adorable!— chilló.
—Tiene un hermano igualmente adorable. Realmente no sé nada acerca de él aparte de cómo se ve y el hecho de que existe—, añadí.
—¡Ooooh! Me pregunto si puede mostrarme alguna foto.
—Intentaré traerlo si puedo, cariño—. Dije con una sonrisa y una palmada en su hombro.
—Aww, gracias—. Se puso de pie y se acercó para abrazarme. —Eres el mejor.
Le di un beso en la mejilla mientras devolvía el abrazo.
—Lo intento, Lucy—. Dije dulcemente. —Lo intento.
Ella me atrajo en un beso apasionado, sin ceder durante casi un minuto.
—Sé que lo harás, cariño. Sé que lo harás.
Como amo a esta mujer.
------------------------
Primero
Anterior / Siguiente
Original: An Alien Nature por u/ImaginationSea3679 y u/Objective-Farm-2560
submitted by TheSpace81 to NatureofPredators [link] [comments]
Anterior / Siguiente
Original: An Alien Nature por u/ImaginationSea3679 y u/Objective-Farm-2560
Bueno, nuevo capítulo y nueva traducción. Aquí la tienen.
------------------------
[Transcripción de memoria parcialmente traducida a terminología estandarizada]
Transcripción de Memoria de Sujeto: Slanek, Fuerza Espacial Venlil
Fecha [calendario humano estandarizado]: 27 de julio de 2136
Desperté de mi sueño sintiéndome bien descansado. Debe haber sido una buena garra [unas cinco horas] de descanso, lo cual fue bastante refrescante, aunque para la mayoría eso habría sido muy poco. Los Venlil dormían menos que la especie promedio, lo cual era parte de por qué jugábamos un papel principal en la defensa del espacio de la RA. Los soldados que necesitaban menos sueño eran invaluables.
Mis pensamientos sobre el ciclo de sueño de mi propia especie me hicieron preguntarme acerca del ciclo de sueño de los humanos. ¿Necesitaban más sueño que nosotros? ¿O tal vez menos? Si necesitaban aún menos, automáticamente los convertiría en uno de los mejores soldados de la galaxia. Si necesitaban más, tendrían que compensarlo con ferocidad en la lucha.
Decidí apartarme de mis pensamientos y seguir con mi rutina matutina. Caminé alrededor de mis alojamientos, deteniéndome de vez en cuando para hacer algunos estiramientos. Los músculos fuertes no sirven de mucho cuando luchas por moverlos, así que los estiramientos eran muy importantes. Después de eso, fui a la puerta y comencé a dirigirme a la sala de duchas.
A medida que me acercaba a la puerta después de la corta caminata hasta las duchas, ya podía escuchar a algunos de mis camaradas adentro. Los Venlil eran bañistas comunales, a los que no les importaba mucho la privacidad, al menos no en ese tipo de escenario.
Recordé que los humanos alrededor de la ciudad a menudo llevaban muchas prendas. Por supuesto, eso probablemente era para ayudar a protegerlos de los elementos, pero no había duda de que había más en ello que eso. Su falta de pelaje los dejaba mucho más expuestos. De alguna manera, la ropa era una forma de privacidad. También imaginé que tenían baños más privados, debido a esa mayor privacidad.
Los humanos no eran los únicos con ropa por razones de privacidad, o con un alto énfasis en la privacidad en general. Algunas de las tribus Duerten que formaban parte de la RA tenían actitudes bastante pudorosas, los Takkan de la RA tenían un tabú sobre limpiarse frente a los demás, y los Gojid a menudo llevaban cubiertas para la parte delantera de sus cuerpos, lo que ayudaba a las hembras a cubrir sus siempre prominentes pechos.
Huh. Logré olvidar ese hecho cuando se mencionó que los humanos siempre tenían pechos. ¿Son sus pechos constantes por la misma razón, sin embargo? Lo dudaba, pero no era imposible.
Me alejé de ese pensamiento cuando entré en la sala de duchas. Era un espacio amplio y abierto con una red de tuberías con rociadores en el techo y desagües en el suelo. Había una puerta hacia la sala de secado, y ya podía escuchar que estaba en uso. Y para terminar, la entrada tenía un gran stock de champús y otros productos de limpieza para usar.
Noté a Freega empapada y cubierta de espuma de jabón bajo una ducha de agua. Al darme cuenta de que había entrado en la habitación, me saludó alegremente.
—Es bueno verte al fin despierto—, dijo feliz. —Temía que no te viéramos hasta que ya estuviéramos teniendo la primera comida.
—Bueno, estuve un poco [cansado] anoche, pero el reloj biológico Venlil siempre suena a tiempo.
—¿Qué te agotó tanto? ¿Un impulso de último minuto?— preguntó pícaramente.
Resoplé un pequeño silbido.
—¡No! Solo decidí llamar a mis padres.
—Ah, eso es comprensible. También decidí enviar un mensaje a casa. Mi fem-mate [novia] aparentemente tuvo una fiesta para celebrar en mi honor.
—Eso es bastante dulce—, respondí. —No tengo dudas de que organizará una aún más grande cuando vuelvas a casa.
Freega rió y suspiró feliz.
—Sí, probablemente celebrará como si acabara de regresar de la guerra. Es una [traducción más cercana: dulzura].
—¡Oigan [habladores]!— gritó Dyro. —¡Menos charla, más lavado!
Su comentario me hizo darme cuenta de cuánto tiempo había estado en la cámara de la ducha sin lavarme realmente, lo que me impulsó a agarrar algunas botellas y colocarlas en un estante. Como nuestras salas de ducha eran bastante abiertas, teníamos estantes libres para almacenar nuestras botellas mientras nos limpiábamos. Era un uso eficiente del espacio, ya que podíamos moverlos si era necesario, asegurándonos de que nunca estuviéramos apretados mientras nos limpiábamos.
<<>>
Después de habernos limpiado y de comer la primera comida, los tres queríamos observar un poco la ciudad antes de que comenzaran las reuniones diplomáticas. Por supuesto, eso requería permiso del General, al que nos dirigíamos. Si todo iba bien y estaba de buen humor, no tendría problema en permitirnos disfrutar de la vista de las calles desde lejos.
A medida que nos acercábamos a su oficina, podía escuchar voces en el interior. Una pertenecía al General Kam, mientras que la otra probablemente era de uno de los soldados cuyo nombre aún no sabía.
—Eso suena como Vassek ahí adentro—, comentó Dyro mientras aguzaba el oído, aparentemente conociendo mejor al Venlil que yo. —Sea lo que sea que esté haciendo allí, definitivamente no levantará el ánimo del General.
—Qué prometedor...— murmuré.
Después de un breve momento de espera, un Venlil con las orejas apuntando rígidamente hacia atrás salió de la habitación. Estaba bastante seguro de que sus pupilas también estaban dilatadas en óvalos delgados, lo que significaba que estaba avergonzado. Parecía que Dyro tenía razón acerca de que lo que lo convocó a la oficina de Kam no habría complacido al General.
Dyro y yo dudamos en entrar, sin querer arriesgarnos a molestar aún más al General. Sin embargo, Freega no compartía este miedo y entró con audacia solo momentos después de que Vassek saliera. Pude escuchar al General Kam comenzar a gritarle una vez que ella pasó por la puerta.
—¡Joder, acabo de decirte que no! ¡No puedes salir y!-
—Oh, Freega, hola—, dijo con solemnidad. —Mis más sinceras disculpas, acabo de tener una conversación bastante estúpida y pensé que el idiota volvía para probar suerte de nuevo.
—No hay ofensa, señor—, respondió Freega con un tono educado mientras Dyro y yo entrábamos detrás de ella. —¿De qué habló él contigo?
—Créeme, no quieres saberlo—, dijo Kam con un tono frío. —No estoy seguro de si debería estar decepcionado o extrañado, así que he optado por enojarme.
Dyro no pudo evitar resoplar.
—Suena como todos los que alguna vez lo conocieron, señor.
—No me sorprende en absoluto...— murmuró el General. —Bueno, dudo que estén aquí solo para reírse a expensas de sus compañeros, digan lo que quieran decir.
Miré a los demás, quienes me indicaron que hablara.
—Bueno, señor, dado que todavía está oscuro afuera y todos estamos despiertos mucho antes que los humanos, queríamos disfrutar de la vista de la ciudad en las primeras horas de la mañana.
—¿Por qué me piden permiso para hacer eso?— cuestionó el General, desconcertado. —Por supuesto que pueden ir y disfrutar de la vista si así lo desean.
Bueno, eso fue fácil.
—Gracias, señor—, dije con gratitud mientras salía apresuradamente de la oficina.
Dyro y Freega balancearon felices sus colas, contentos de que se nos permitiera ver la primera luz de la ciudad.
—Así que, ¿qué crees que Vassek le preguntó al General?— preguntó Freega a Dyro y a mí. —Personalmente, creo que quería invitar a una humana y ser el primer alienigena en dormir con una.
—Sonaba más como si lo estuviera invitando a él—, bromeé, haciendo que los demás se rieran.
—No, Kam no es su tipo—, dijo Dyro, riendo todavía. —No, creo que quería retar a un humano a una competencia de bebida y poner al pobre tonto en coma.
—Esa es una suposición... extrañamente específica—, declaró Freega sospechosamente.
—Estuvimos en Yalis en las afueras del espacio Sivkit hace dos años y lo hizo—, recordó Dyro. —Me sorprendió que la maldita Sivkit no muriera por lo duro que se esforzó para tratar de vencerlo. Casi lo logró, de alguna manera.
Podía decir con certeza por qué la idea no le agradaba a Kam. Algo así habría causado un incidente diplomático a gran escala.
Apartando la idea de que nuestras relaciones con los humanos ardieran, esperaba con ansias ver la hermosa vista de la ciudad en sus horas matutinas.
Caminamos hacia la salida de mantenimiento que conducía a la parte superior de la nave. Era práctica si la nave sufría algún daño mientras estábamos estacionados en cualquier lugar que no fuera una estación espacial, dada la gravedad obvia que tienen todos los planetas y lunas.
Puse mis patas en las barandillas de soporte para estabilizarme mientras subía los escalones empinados y ligeramente inclinados. Mientras avanzábamos hacia el techo plano, miramos hacia la ciudad humana. Los numerosos rascacielos reflejaban pequeños fragmentos de luz mientras sombreaban el resto de la ciudad. Cuando llegamos y el sol se había puesto, la ciudad tenía todo tipo de luces encendidas, e incluso desde aquí se podía escuchar actividad. Ahora, todavía era una vista hermosa, pero parecía apagada y tranquila.
—La ciudad parece bastante apagada esta garra [parte del día]—, observó Freega, con pensamientos similares.
—¿Cuánto quieres apostar a que en realidad duermen más que nosotros?— preguntó Dyro.
—Creo que es muy probable. Dormimos menos que la mayoría de las especies, después de todo—, dije.
—Pregunté una apuesta, tonto—, se rió Dyro. —¿Cuánta diferencia?
Pensé por un momento.
—Veinte garras, pero creo que todos estamos de acuerdo, así que no nos ganaríamos dinero entre nosotros.
—Sí—, agregó Freega. —¿Quieres volver a la nave para encontrar a alguien que no esté de acuerdo?
—Nah. Quiero disfrutar de la vista—, dije mientras me dejaba caer.
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Transcripción de Memoria de Sujeto: Marcel Fraser, Militar de la ONU, Rama Estadounidense
Fecha [calendario humano estandarizado]: 27 de julio de 2136
Me despertó de golpe mi despertador, su pitido irritando mi cerebro cansado y apenas despierto. El molesto ruido nunca dejó de molestarme, sin importar cuánto lo escuchara o lo importante que supiera que era que me levantara. Con un golpe rápido y preciso en el botón de la alarma, se apagó.
Afortunadamente, ver a mi hermosa prometida al girar la cabeza fue suficiente para hacer que mis pensamientos molestos sobre la alarma desaparecieran. Todavía estaba durmiendo, de alguna manera capaz de resistir el ruido maldito de esa máquina. Cómo lo hacía probablemente me desconcertaría hasta el fin de los tiempos.
—Buenos días, dormilona—, le dije a Lucy mientras ponía un brazo en su hombro con una alegría tranquila. A pesar de estar juntos durante más de tres años, nunca me cansaba de verla despertar después de una larga noche de descanso.
—Hola cariño—, bostezó con una sonrisa. —Es curioso encontrarte aquí.
—Vaya coincidencia ,¿no?—. Respondí, jugando con su juego. —Oí decir que la probabilidad de despertarse en la cama de un amante es sorprendentemente alto entre las parejas.
—¿En serio? Nunca hubiera imaginado que podría pasarnos a nosotros también—, se rió.
Después de soltar otro bostezo y estirar sus brazos, plantó un beso en mi mejilla, diciendo:
—Eso es por la cena de ayer— con un tono dulce, después de lo cual me dio un beso mucho más apasionado en los labios. —Y eso es por lo que vino después.
—Oh, ya para, me estás haciendo sonrojar—, bromeé antes de corresponder al beso.
Mientras mi prometida empezaba a levantarse de la cama, se volvió hacia mí por completo.
—Entonces, saliste al saludo después de nuestra pequeña noche y volviste a mí mientras dormía. ¿Cómo fue?
Recordé todas las cosas que hicimos con los guardias Venlil, las discusiones sin palabras y los trucos geniales. Honestamente, fue muy divertido pasar el rato con ellos.
—Hablamos un poco con los alienígenas, lo cual fue bastante difícil sin palabras—, expliqué emocionado. —Preguntaron sobre los insectos. Aparentemente, pensaban que teníamos mosquitos del tamaño de tigres o algo así.
—¿En serio?— Se rió Lucy. —¡Eso es hilarante!
—Lo es, ¿no?— Respondí. —Y luego, comenzaron a hacer esta... cosa extraña con sus ojos. ¡Podían controlar la forma de sus pupilas!
Lucy me miró incrédula.
—Ahora estás inventando cosas—, me acusó.
—Te juro que no lo estoy—, respondí. —¡Uno hizo que su pupila pareciera un humano!
—Eso es sinceramente increíble—, murmuró. —Estos alienígenas son tan geniales.
—¡Lo sé! ¡Fue increíble!— Grité jubiloso. —Hicimos algo de show de sombras en respuesta, y parecían tan asombrados como nosotros por sus movimientos oculares.
Lucy arrulló ante la imagen mental que le vino a la mente.
—Awww, ¡eso debió haber sido adorable de ver!
—¡Lo fue!— Confirmé. —Espero tener la oportunidad de presentarte a Slanek. Es mi mejor amigo de todos ellos.
Distraído, tome nota de la hora. 8 AM.
Me pregunto si ya estará despierto... ¿o todavía estará durmiendo?
Una mano en mi mejilla me sacó de mis pensamientos.
—Eres tan lindo, ¿sabes?— Lucy dijo afectuosamente. —Conoces a extraterrestres solo dos veces y ya tienes a uno como tu mejor amigo.
Me sonrojé un poco.
—Me lo dices todos los días. ¿Y qué puedo decir? Tengo ese tipo de encanto—. Dije con una sonrisa astuta.
Lucy se rió con esa hermosa voz suya.
—Sí que lo tienes, eres un hombre increíble—. Se levantó un poco más. —De todos modos, hemos estado pudriéndonos en la cama el tiempo suficiente. ¿Quieres ir a hacer el desayuno?
Sonreí brillantemente.
—Absolutamente.
<<>>
Como una mini-celebración de que la humanidad se encontrara y se hiciera amiga de extraterrestres, decidimos hacer algunos panqueques clásicos estadounidenses para comer. Hermosos, perfectamente cocidos y con una cantidad "saludable" de jarabe de arce vertido sobre ellos.
Lucy tarareó con deleite al dar un bocado.
—Delicioso como siempre—, elogió.
—Gracias—, respondí con una sonrisa. —Siempre los hago con amor.
—Me pregunto cómo disfrutarían estos amigos Venlil que has hecho—, reflexionó. —Dijiste que pueden comer nuestra comida, ¿verdad?
—Sí, pueden—, confirmé. —No estoy seguro si tienen un equivalente de panqueques, sin embargo. Sé que tienen algún tipo de pan, pero estos—, señalé la pequeña pila de panqueques en el centro de la mesa, —podrían ser una nueva experiencia para ellos.
—Me encantaría ver las caras que pondrían cuando den un bocado—, dijo con una risita.
—Anotado, trae uno aquí cuando pueda y luego haz algunos para ellos—, bromeé.
—De todos modos, cuéntame más sobre ese Slanek que conociste. Ya has dicho más que suficiente sobre la hija de la Gobernadora para alimentar mi requerimiento de dopamina durante un siglo, así que cuéntame sobre el aparente mejor candidato hombre que tenemos entre manos.
Pensé por un momento.
—Bueno, primero, tiene que vencer a Tyler en la sección de "mejor hombre". En segundo lugar, bueno, es un pequeño tontito adorable. Pelaje gris claro con un penacho negro en la cabeza, cuernos rizados adorables. Es como si cruzaras un cabrito bebé con un velocirráptor. Aunque, todos los Venlil son así. También le gusta que lo acaricien... lo cual también parece ser algo común en todos los Venlil.
—¡Eso es adorable!— chilló.
—Tiene un hermano igualmente adorable. Realmente no sé nada acerca de él aparte de cómo se ve y el hecho de que existe—, añadí.
—¡Ooooh! Me pregunto si puede mostrarme alguna foto.
—Intentaré traerlo si puedo, cariño—. Dije con una sonrisa y una palmada en su hombro.
—Aww, gracias—. Se puso de pie y se acercó para abrazarme. —Eres el mejor.
Le di un beso en la mejilla mientras devolvía el abrazo.
—Lo intento, Lucy—. Dije dulcemente. —Lo intento.
Ella me atrajo en un beso apasionado, sin ceder durante casi un minuto.
—Sé que lo harás, cariño. Sé que lo harás.
Como amo a esta mujer.
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Original: An Alien Nature por u/ImaginationSea3679 y u/Objective-Farm-2560
2024.01.15 02:31 Street_Historian_371 90s Music (Grunge and "Alternative") is Not that "Deep" or "Unique"
I think there's a strange conceit among people - especially people who were teens or young adults in the 1990s - that grunge was somehow more meaningful than popular music. I am not hating on this style of music at all, I just do not agree that it's all so much more mature or intelligent than popular music of the time. I will explain why.
MANY songs of the early 1990s - ranging from Nirvana hits like Sliver or Smells Like Teen Spirit to Belly's Slow Dog or The Breeders Cannonball - have utter nonsense for lyrics. While I agree that some Nirvana songs are more meaningful, it's completely false to claim that "smarter" people listen to lyrics like "grandma take me home."
Teenagers LIKE nonsense lyrics. In many ways, teenagers are still children, and they love catchy songs with silly words. That's why a lot of the Doo Wop and Bubblegum Pop of the 1950s and 60s was such a big hit with teens (who put the bomp in the bomp da bomp? Who put the ram in the rama lama ding dong?) and it's also why tacky girl and boy bands persisted throughout the 1970s and/or 80s.
Even when the lyrics are "deeper" most kids don't understand or give a thought to what they mean. For example Belly's Slow Dog was inspired by a Chinese myth about an adulterous woman forced to carry a dead dog on her back, and Tonya Donnelly made the story American Southern Gothic instead of Chinese so she wasn't straight up stealing a myth. HOWEVER, MOST PEOPLE DO NOT KNOW THAT. The average person who listened to Belly in 1993 have no idea what "Marie carry a rifle/Marie carry a dog on your back/That dog is here again/That Slow Dog is here again/With his see through skin/The kinda skin you can see through/He shot again" means. It's really a nonsense Dada-esque stream of consciousness images. And "The kinda skin you can see through" is a dumb lyric. I'm not saying it's a bad song, I just don't think people who like alternative or grunge are necessarily smarter or deeper than the average pop fan.
submitted by Street_Historian_371 to unpopularopinion [link] [comments]
MANY songs of the early 1990s - ranging from Nirvana hits like Sliver or Smells Like Teen Spirit to Belly's Slow Dog or The Breeders Cannonball - have utter nonsense for lyrics. While I agree that some Nirvana songs are more meaningful, it's completely false to claim that "smarter" people listen to lyrics like "grandma take me home."
Teenagers LIKE nonsense lyrics. In many ways, teenagers are still children, and they love catchy songs with silly words. That's why a lot of the Doo Wop and Bubblegum Pop of the 1950s and 60s was such a big hit with teens (who put the bomp in the bomp da bomp? Who put the ram in the rama lama ding dong?) and it's also why tacky girl and boy bands persisted throughout the 1970s and/or 80s.
Even when the lyrics are "deeper" most kids don't understand or give a thought to what they mean. For example Belly's Slow Dog was inspired by a Chinese myth about an adulterous woman forced to carry a dead dog on her back, and Tonya Donnelly made the story American Southern Gothic instead of Chinese so she wasn't straight up stealing a myth. HOWEVER, MOST PEOPLE DO NOT KNOW THAT. The average person who listened to Belly in 1993 have no idea what "Marie carry a rifle/Marie carry a dog on your back/That dog is here again/That Slow Dog is here again/With his see through skin/The kinda skin you can see through/He shot again" means. It's really a nonsense Dada-esque stream of consciousness images. And "The kinda skin you can see through" is a dumb lyric. I'm not saying it's a bad song, I just don't think people who like alternative or grunge are necessarily smarter or deeper than the average pop fan.
2024.01.08 18:36 kucingmbelink How do you call this "parent"?
A rant, i dunno where to put this but here we go...
Gw (M20), for the rest of my life gapernah tau bokap kandung gw kaya gmn. "Ur dad is buying milk" joke became true but anyway...
Nyokap nikah lagi, ama duda 3 anak pas gw umur 5th. Setelah nikah, terutama masa SD gw suicidal, parah. Udh suicidal, gak jarang diancem mo dibunuh ama bokap tiri gw. Dari diancem parang sampe mau diceburin sungai gede lagi banjir pas kelas 2SD. Kena bully jg waktu SD itu. Was a rough experience for 6 years or more. But i thought my mom was "lebih galak" at that time, dumb, ik. Anyway, aneh rasanya buat anak SD sampe suicidal. Good thing i survived.
Makin gede makin nyadar, andil dia secara langsung ke gw itu dikit, cenderung negatif malah. SD gw hobby gambar, ya walau jelek sih tp selalu didukung ama keluarga nyokap (TK gw tinggal ama keluarga nyokap). Abis nikah, dia dan anak - anaknya ini gak nanggung ngehujat gambar gw, sampe endingnya gw bener bener stop 100% setelah lulus SMP.
Gw suka ngebuat barang, yaa kaya DIY maker "drpd beli mending gw buat sendiri" sort of thing. Nyokap minta gw buat bikinin lampu meja. Gw bikinin deh, jadi, nyokap oke oke aja. Dia dateng, ngatain bikinan gw ampas banget, dan dia ngomong kalo bikinan dia lebih bagus (even tho nyokap sempet ngeluhin perkara bikinan dia yang gak rapi, kaku, dsb).
Alat alat yang gw beli, gw taro toolbox di garasi tiap abis bikin sesuatu. Tp entah kenapa ni orang tiba tiba ngamuk gede nyuruh gw beresin alat gw. I was like, kan udh beres, udh gw taro tempat alat - alat. Turns out dia gak sudi alat "murah" gw campur ama punya dia dan bakalan dia buangin semua klo masih gw taro situ.
Nyokap gw kena asma, ditambah nyokap (mbah kalo dri gw) dri bokap tiri itu takut ama kucing. Makin menjadi jadi klo bokap tiri ketemu kucing. Tapi, nyatanya gw ama nyokap sering ngasi makan kucing liar yang kebetulan dateng di rumah. Gak lama tu kucing ilang. Terus mak gw pengen kucing anggora, pagi ilang. Taunya dijual ama dia. Terus, nyokap jg cerita ada alasan kenapa adek gw (anak dri nyokap gw + bokap tiri) ada tanda lahir di dada sebelah kiri. Katanya sih bokap ngebunuh kucing waktu nyokap ngandung adek, mitos orang jawa... Yaa walau mitos tp kejadiannya beneran kejadian.
Oh also, gak jarang dia ngaku ke gw klo kucing - kucing yg ilang td emg dia bunuh. Niatnya ngejek gw tp candaan bunuh hewan? Really?
Ada lagi. Anak dia waktu SMA dibeliin mobil pake duit nyokap gw. Sedangkan gw SMA cuma naik sepeda pancal biasa, motor aja ga punya. Harusnya gw bisa ngamuk ke nyokap kenapa gak adil, tp nyokap posisinya tertekan, yaudah akhirnya gw mending diem aja drpd nambahin susah. Anaknya tadi kuliah di jurusan dngn taraf yang katanya guru guru SMA gw "bawah sendiri", dan bokapnya nyuruh dia masuk teknik sipil di univ swasta, double gelar gitu. 3th, cuma tuntas 1 semester dan ngeluh susah. Gw masuk teknik jalur undangan, negeri. UKT bisa dibilang lumayan murah, jelas lebih dikit dari dia. Oh ya, both me and his son got the funding from MY mom.
Also hp anaknya rusak, dia minta gw buat ngasih hp secondary gw, YANG GW BELI PAKE UANG TABUNGAN GW SENDIRI, ke anaknya krn hpnya rusak. Sebenernya bokap tiri waktu itu minta ke gw baik baik, dan bukan minta, tp pinjem. Yaudah deh gw oke. Tp kelakuan anaknya, gw enak enak tidur siang digedor sambil dipalak tu hp. Terus dia ngomong "lu kalo ga ikhlas ngasi ni hp gw pukulin lu". LAH SIAPA YANG IKHLAS KALO GINI CARANYA JINK??
Nah, waktu itu gw pulkam lagi makan di dapur, dia dateng ngebacot kalo kuliah gw kejauhan, harusnya gw milih ke univ yang deketan soalnya gw jg keterima disitu. Dalem ati ya iyalah keterima, mandiri, jurusan yg gw pilih jg peminatnya minim. UKTnya jelas bakalan gak karuan, kasian nyokap gw.
Baru 1th ini gw jadian ama cewe. Ngebacot lagi tuh dia kalo gw masih punya darah bajingan dri bokap kandung gw (meskipun gw gapernah ketemu???) Dan ngomong bakal menjarain gw sampe aneh - aneh.
Gak berhenti disitu soal menjarain gw. Alkisah gw lagi enak enak dengerin lagu pake laptop. Dateng tuh dia ke kamar gw. Dengan nada ngancem "lu harusnya udh tau UU baru buat pacaran, lu bisa dipenjara karena pacaran loh, awas ae". BRO I AM A 20 YEAR OLD MALE, WHAT DO YOU WANT ME TO DO? JACKING OFF TO ANIME PILLOWS????
Gw jelas berontak, nurut gak nurut, nurut pun gegara mental survival karena dia brutal gitu. Takut dibunuh gw. Nyokap jg ngomong hal yang sama, just want me to survive. Gak jarang gw berontak sampai nyokap nangis, takut gw dibunuh. Akhirnya ngalah aja gw. Pergi tuh dia, nyokap ngomong ke gw "ibuk gamau kalo kamu ngebales dia. Ibuk tau kok uang ibuk kemana, yang penting sekolah kamu masih lancar. Gausah dibales, ibuk takut banget kalo malah kamu yang kena. Ibuk tau dia sebrutal apa". Man i'm shakin' a lot after that. Banyak hal lain yang gw udh lupain. I feel really unmotivated to create something. Even i often feel my creations are just straight up cringe, bad, wasting people's time to see. Every steps i made seems like a bad decision because of him. I'm just... Idk, sad? Fearful? I don't know what to do, i'm really afraid to actually take a step in my life. Gatau gw harus gimana.
Oh, lapor pihak berwenang would be a no since he's one of em.
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Gw (M20), for the rest of my life gapernah tau bokap kandung gw kaya gmn. "Ur dad is buying milk" joke became true but anyway...
Nyokap nikah lagi, ama duda 3 anak pas gw umur 5th. Setelah nikah, terutama masa SD gw suicidal, parah. Udh suicidal, gak jarang diancem mo dibunuh ama bokap tiri gw. Dari diancem parang sampe mau diceburin sungai gede lagi banjir pas kelas 2SD. Kena bully jg waktu SD itu. Was a rough experience for 6 years or more. But i thought my mom was "lebih galak" at that time, dumb, ik. Anyway, aneh rasanya buat anak SD sampe suicidal. Good thing i survived.
Makin gede makin nyadar, andil dia secara langsung ke gw itu dikit, cenderung negatif malah. SD gw hobby gambar, ya walau jelek sih tp selalu didukung ama keluarga nyokap (TK gw tinggal ama keluarga nyokap). Abis nikah, dia dan anak - anaknya ini gak nanggung ngehujat gambar gw, sampe endingnya gw bener bener stop 100% setelah lulus SMP.
Gw suka ngebuat barang, yaa kaya DIY maker "drpd beli mending gw buat sendiri" sort of thing. Nyokap minta gw buat bikinin lampu meja. Gw bikinin deh, jadi, nyokap oke oke aja. Dia dateng, ngatain bikinan gw ampas banget, dan dia ngomong kalo bikinan dia lebih bagus (even tho nyokap sempet ngeluhin perkara bikinan dia yang gak rapi, kaku, dsb).
Alat alat yang gw beli, gw taro toolbox di garasi tiap abis bikin sesuatu. Tp entah kenapa ni orang tiba tiba ngamuk gede nyuruh gw beresin alat gw. I was like, kan udh beres, udh gw taro tempat alat - alat. Turns out dia gak sudi alat "murah" gw campur ama punya dia dan bakalan dia buangin semua klo masih gw taro situ.
Nyokap gw kena asma, ditambah nyokap (mbah kalo dri gw) dri bokap tiri itu takut ama kucing. Makin menjadi jadi klo bokap tiri ketemu kucing. Tapi, nyatanya gw ama nyokap sering ngasi makan kucing liar yang kebetulan dateng di rumah. Gak lama tu kucing ilang. Terus mak gw pengen kucing anggora, pagi ilang. Taunya dijual ama dia. Terus, nyokap jg cerita ada alasan kenapa adek gw (anak dri nyokap gw + bokap tiri) ada tanda lahir di dada sebelah kiri. Katanya sih bokap ngebunuh kucing waktu nyokap ngandung adek, mitos orang jawa... Yaa walau mitos tp kejadiannya beneran kejadian.
Oh also, gak jarang dia ngaku ke gw klo kucing - kucing yg ilang td emg dia bunuh. Niatnya ngejek gw tp candaan bunuh hewan? Really?
Ada lagi. Anak dia waktu SMA dibeliin mobil pake duit nyokap gw. Sedangkan gw SMA cuma naik sepeda pancal biasa, motor aja ga punya. Harusnya gw bisa ngamuk ke nyokap kenapa gak adil, tp nyokap posisinya tertekan, yaudah akhirnya gw mending diem aja drpd nambahin susah. Anaknya tadi kuliah di jurusan dngn taraf yang katanya guru guru SMA gw "bawah sendiri", dan bokapnya nyuruh dia masuk teknik sipil di univ swasta, double gelar gitu. 3th, cuma tuntas 1 semester dan ngeluh susah. Gw masuk teknik jalur undangan, negeri. UKT bisa dibilang lumayan murah, jelas lebih dikit dari dia. Oh ya, both me and his son got the funding from MY mom.
Also hp anaknya rusak, dia minta gw buat ngasih hp secondary gw, YANG GW BELI PAKE UANG TABUNGAN GW SENDIRI, ke anaknya krn hpnya rusak. Sebenernya bokap tiri waktu itu minta ke gw baik baik, dan bukan minta, tp pinjem. Yaudah deh gw oke. Tp kelakuan anaknya, gw enak enak tidur siang digedor sambil dipalak tu hp. Terus dia ngomong "lu kalo ga ikhlas ngasi ni hp gw pukulin lu". LAH SIAPA YANG IKHLAS KALO GINI CARANYA JINK??
Nah, waktu itu gw pulkam lagi makan di dapur, dia dateng ngebacot kalo kuliah gw kejauhan, harusnya gw milih ke univ yang deketan soalnya gw jg keterima disitu. Dalem ati ya iyalah keterima, mandiri, jurusan yg gw pilih jg peminatnya minim. UKTnya jelas bakalan gak karuan, kasian nyokap gw.
Baru 1th ini gw jadian ama cewe. Ngebacot lagi tuh dia kalo gw masih punya darah bajingan dri bokap kandung gw (meskipun gw gapernah ketemu???) Dan ngomong bakal menjarain gw sampe aneh - aneh.
Gak berhenti disitu soal menjarain gw. Alkisah gw lagi enak enak dengerin lagu pake laptop. Dateng tuh dia ke kamar gw. Dengan nada ngancem "lu harusnya udh tau UU baru buat pacaran, lu bisa dipenjara karena pacaran loh, awas ae". BRO I AM A 20 YEAR OLD MALE, WHAT DO YOU WANT ME TO DO? JACKING OFF TO ANIME PILLOWS????
Gw jelas berontak, nurut gak nurut, nurut pun gegara mental survival karena dia brutal gitu. Takut dibunuh gw. Nyokap jg ngomong hal yang sama, just want me to survive. Gak jarang gw berontak sampai nyokap nangis, takut gw dibunuh. Akhirnya ngalah aja gw. Pergi tuh dia, nyokap ngomong ke gw "ibuk gamau kalo kamu ngebales dia. Ibuk tau kok uang ibuk kemana, yang penting sekolah kamu masih lancar. Gausah dibales, ibuk takut banget kalo malah kamu yang kena. Ibuk tau dia sebrutal apa". Man i'm shakin' a lot after that. Banyak hal lain yang gw udh lupain. I feel really unmotivated to create something. Even i often feel my creations are just straight up cringe, bad, wasting people's time to see. Every steps i made seems like a bad decision because of him. I'm just... Idk, sad? Fearful? I don't know what to do, i'm really afraid to actually take a step in my life. Gatau gw harus gimana.
Oh, lapor pihak berwenang would be a no since he's one of em.
2024.01.08 17:30 DrShail The Entire History of Binaca Geetmala's Top Song of the Year from the Evergreen 50s through the Golden 60s, Masala 70s, Dazzling 80s to the end in the 90s
"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
submitted by DrShail to BollywoodMusic [link] [comments]
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
2024.01.08 17:27 DrShail The Entire History of Binaca Geetmala's Top Song of the Year from the Evergreen 50s through the Golden 60s, Masala 70s, Dazzling 80s to the end in the 90s
"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.
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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.
2024.01.03 10:26 chris-636 Como es posible que seamos 6 personas si en el carro solo entramos 4. Caso Lumínida Engañosa
Hola, en vista de que este será mi segundo post, trataré de buscarme un nombre que me represente. por ahora usare espectro 562, y hoy les narraré un caso que actualmente estoy investigando a mucha profundidad, ya que no solo me intriga demasiado, sino que también es mi próxima misión.
El suceso más reciente ocurrió unas semanas atrás, aunque tenemos registros de casos que datan del siglo XV después de Cristo, lo cual nos brinda muchas cosas que considerar. Anteriormente, ya teníamos esto en lista de espera, por tanto, necesitamos reunir más información. No es solo cuestión de enviar más personas a morir; por eso, siempre nuestras investigaciones tienen que ser tan meticulosas, con el fin de estar seguros de que vamos a sobrevivir si seguimos todos los procedimientos correspondientes en dicha misión.
Hoy, trataré de narrarles uno de los pocos eventos de dichas anomalías con mejor documentación y mejores datos recabados hasta el momento, pero cambiando datos que deben y serán guardados en secreto debido al peligro que conllevaría que se vuelva un sitio popular entre las personas escépticas o con ganas de ser famosas. El peligro de estos casos es ciertamente real, y lo que menos desea la CCA (acrónimos inventados por su servidor para darles una referencia de la organización en la que trabajo) es interferencias de personas inexpertas y no preparadas entorpeciendo el caso o, a su vez, haciendo más fuerte al ente o entes, conllevando un mayor grado de dificultad a la hora de llevar a cabo las misiones.
El siguiente relato es la version que nos contaron el cual ya fue previamente verificado por la camara del vehiculo.
En una noche lúgubre, Marta, Javier, Elena y Carlos decidieron adentrarse en lo desconocido al emprender un viaje por una carretera serpenteante que atravesaba un bosque densamente oscuro. en ella la oscuridad era tal que incluso las luces del coche apenas lograban disipar las sombras que se cernían sobre el solitario camino. El murmullo del motor del vehículo resonaba en el aire inquietante, como si la máquina misma sintiera la presión del ambiente tenebroso que la rodeaba.
A medida que avanzaban, el bosque se cerraba sobre ellos, envolviéndolos en una oscuridad aún más impenetrable. La neblina, en vez de disiparse, se intensificaba, creando un velo fantasmagórico que rodeaba el vehículo. Las luces del coche se reflejaban débilmente en las partículas acuosas suspendidas en el aire, dando una sensación de irrealidad al entorno.
El susurro del viento entre las ramas de los árboles tomaba un tono siniestro, como si la naturaleza misma estuviera susurrando secretos oscuros a los viajeros intrépidos. Las sombras proyectadas por los árboles adquirían formas caprichosas, insinuando presencias indescriptibles que parecían acechar en la penumbra.
Cada curva del camino se volvía una entrada a un mundo desconocido y peligroso. Los troncos de los árboles se inclinaban hacia la carretera como espectros encorvados, y las ramas crujían y gemían como si fueran lamentos de almas atrapadas en el bosque. El suspenso en el aire era palpable, alimentado por la oscuridad profunda que se filtraba entre los árboles retorcidos. Los faros del coche iluminaban solo una porción del camino, dejando el resto envuelto en un negro absoluto. Los sonidos de la noche, lejos de ser reconfortantes, se volvían inquietantes, mezclándose con el susurro de hojas secas arrastradas por una brisa invisible.
Mientras avanzaban, la carretera parecía no tener fin, como si hubieran ingresado a un laberinto interminable y retorcido. La sensación de estar perdidos en un lugar fuera del tiempo y la realidad se apoderaba de los viajeros, haciendo que el viaje se transformara en una pesadilla.
En esta atmósfera lúgubre, el grupo continuaba su travesía, con cada kilómetro que avanzaban sumiéndolos más profundamente en la oscuridad del bosque. La incertidumbre y el miedo se instalaban en sus corazones, sin anticipar que lo peor aún estaba por revelarse en la penumbra acechante. De repente, el automóvil se detuvo en seco, como si hubiera chocado contra una barrera invisible. La imposibilidad de reiniciar el vehículo llevó al grupo a decidir buscar ayuda andando por el solitario camino. La niebla, cada vez más espesa, comenzó a rodearlos, y dos figuras espectrales emergieron de las sombras, confundidos y aterrorizados los chicos se aseguraron de ponerse en frente de las dos mujeres, mientras que las dos chicas buscaban las linternas que habian guardado en sus maletas para tratar de divisar si las dos sombras eran personas peligrosas o a su vez si eran personas de los alrededores que tambien se encontraban en apuros.
Elena fue la primera en encontrar dicha fuente de luz que podria ser su salvacion en dicha situacion tan peculiar y atroz en la que se encontraban. Los entes, con aspecto humano pero ojos que destilaban una presencia paranormal, se acercaron al grupo velozmente tratando de esquivar dichos rayos de luz que al parecer tanta incomodidad le causaba. Mediante una conexión sobrenatural, comenzaron a tejer recuerdos falsos en las mentes de Marta, Javier, Elena y Carlos, convenciéndolos de que eran amigos de toda la vida con experiencias compartidas.
A medida que los recuerdos falsos se entrelazaban con la realidad, Carlos, empezó a sentir una creciente incomodidad, tal vez por una afinidad natural a lo paranormal, alguna raiz con una profunda conexion con el mas alla dada por algun antepasado o simplemente el destino diciendole que hoy no es su dia de partir. El estaba determinado a descubrir la verdad puesto que sabia muy profundamente dentro de el que algo andaba muy mal en el viaje dado a que el carro que conducian tenia una capacidad maxima de 5 personas en un viaje corto pero como era uno largo era mas que imposible que 6 personas entraran en dicho carro debido a que llevaban varias maletas y bolsos con ellos.
Entonces esta delirante e intrigante situacion se le hacia mas que extraña. Sometió a sus amigos a pruebas y preguntas específicas llegando todos a una sola conclusion...HABIAN DOS IMPOSTORES dicha conversacion fue revelando inconsistencias y contradicciones en las historias que les habían implantado y dandole la razon a el, al principio todos creian que el estaba loco o tal vez consumio algo en el camino que lo puso mal, a pesar de dichas conclusiones todo fue a su favor .
A medida que Carlos profundizaba, descubría que la niebla paranormal que los rodeaba no solo alteraba recuerdos, sino que también ocultaba un oscuro secreto: los entes no podían quitar vidas directamente porque si lo pudieran hacer no les habrian implantado los recuerdos y simplemente los hunieran acabado en el instante que estuvieron en transe, lo que ellos no sabian lo cual les llevaria consecuencias a futuro era que su influencia en las mentes humanas los podían llevar a actos mortales.
La tensión aumentó cuando, tras revelar la verdad a sus amigos, una fuerza siniestra se apoderó de algunos de ellos Javer y Marta. Bajo la influencia de los entes, a lo largo de la noche fueron impulsadas a cometer actos mortales, guiadas por recuerdos falsos y emociones distorsionadas terminaron hiriendo a Elena y terminando con sus vidas en una macabra escena(dado que mi proposito no es traumarlos me saltare los detalles sangrientos).
Carlos, en su intento desesperado por salvar a sus amigos y desentrañar el misterio paranormal, se vio enfrentado a la difícil tarea de detener la espiral de violencia que amenazaba con consumirlos a todos. La neblina paranormal se volvía más densa con cada acto fatal, ocultando la realidad detrás de una cortina de oscuridad y caos.
A medida que la noche llegaba a su punto culminante, Carlos logró desafiar la influencia de los entes debido a que accidentalmente logro enontrar una forma de identificarlos la linterna dicha luz que lograba emitir fue el farol que logro llevarlos a una salvacion que ellos ya creian perdidas puesto que ellos tambien comenzaban a tener pensamientos violentos, liberando a la unica amiga que le quedaba del control mental ya que anteriormente logro enfocar a los impostors con la linterna su influencia fue frenada por el momento.
Carlos Junto a su amiga Elena confrontaron a los entes en una lucha contra las sombras que amenazaban a consumirlos en la oscuridad eterna. Ellos comenzaron a correr pero siempre alumbrando su camino con su fiel arma contra tan terrible oscuridad. Lograron llegar al vehiculo y asi encendiendo las luces del auto incluso las que se encontraban en el interior, Con la niebla paranormal disipándose finalmente debido a la llegada del sol, el grupo de ahora solo dos personas quedó exhausto pero unido por la experiencia aterradora que habían enfrentado. Mientras continuaban su viaje, llevaban consigo las cicatrices de esa noche sobrenatural, con la memoria de los sucesos oscuros y la pérdida de seres queridos grabada en sus almas para siempre.
Finalmente, llegaron exhaustos a una solitaria gasolinera en la oscura noche. Desesperados, llamaron a la policía para reportar los eventos sobrenaturales que habían vivido. La atmósfera en la gasolinera estaba cargada de tensión mientras esperaban la llegada de las autoridades, cuyas luces parpadeantes rompían la negrura de la noche.
Una vez que la policía llegó, fueron interrogados detalladamente. La versión de los hechos que presentaron Marta, Javier, Elena y Carlos sonaba tan inverosímil que los oficiales no pudieron evitar mostrar escepticismo en sus rostros. Sin embargo, conscientes de que algo extraño había sucedido, procedieron a realizar pruebas de sangre para descartar cualquier tipo de intoxicación.
El frío viento de la madrugada agitaba las copas de los árboles cercanos, creando un ambiente aún más inquietante mientras las autoridades intentaban dilucidar la verdad detrás de aquellos relatos perturbadores. La gasolinera, iluminada por tenues farolas, proyectaba sombras danzantes que parecían tener vida propia.
Después de un minucioso análisis de las versiones de los viajeros y de las pruebas realizadas, que incluían la ausencia de sustancias narcóticas en sus organismos, la policía se encontró en un dilema. No había cuerpos, no había evidencia tangible de la existencia de los entes que los protagonistas afirmaban haber enfrentado. La búsqueda infructuosa de varios días solo había dejado un rastro de incertidumbre en la mente de los investigadores.
El caso, en un giro inesperado, se volvió en nuestra dirección. Como parte del equipo especializado en fenómenos paranormales, nos vimos envueltos en la investigación de un suceso que desafiaba las leyes naturales. Revisamos minuciosamente los antecedentes de Carlos y Elena, explorando sus computadoras y rastreando sus direcciones IP en busca de algún indicio de conocimiento previo sobre los entes que afirmaron haber encontrado.
La búsqueda de pruebas se convirtió en un proceso delicado y meticuloso. Exploramos cada rincón virtual de sus vidas, pero no encontramos nada que respaldara sus experiencias. La incertidumbre y la falta de evidencia concreta convirtieron el caso en un enigma, desafiando la lógica y sumergiéndonos en un territorio desconocido.
Mientras Carlos y Elena fueron liberados, el estigma de ser los principales sospechosos persistía. La sombra de la incredulidad se cernía sobre ellos, y la historia que compartieron esa noche continuaba siendo un misterio sin resolver. En la penumbra de aquel suceso, quedaba la pregunta: ¿habían enfrentado verdaderamente entes paranormales, o había sido una creación de sus propias mentes atormentadas por la oscuridad de la noche? La verdad, tan esquiva como los entes que afirmaban haber encontrado, permanecía oculta en las sombras de la incertidumbre.
La criatura con la cual creemos que se encontraron es:
"Lumínida Engañosa", o vulgarmente es llamada de sirena terrestre que, en lugar de habitar en las profundidades acuáticas, se desliza entre las sombras terrestres . Este ser, a primera vista, se asemeja a una figura etérea,
La Lumínida Engañosa tiene la capacidad única de influir en las mentes de aquellos que se cruzan en su camino. A través de su niebla,que se exparse en la oscuridad, crea recuerdos ilusorios en las mentes de sus víctimas. Estos recuerdos falsos son tan convincentes que los afectados creen fervientemente en su veracidad, llevándolos a realizar acciones atroces en lo cual los induce de paranoia.
Sin embargo, la Lumínida Engañosa no tiene la capacidad de causar daño físico directo. Su poder radica en la manipulación de la psique humana, llevándolos por caminos oscuros y confusos que solo sirven para alimentar su propia existencia. Aquellos que han sucumbido a sus engaños pueden encontrarse realizando actos de traición, violencia o incluso autodestrucción, todo bajo la influencia de los recuerdos ilusorios tejidos por este ente engañoso.
Lo más intrigante de la Lumínida Engañosa es su temor inusitado a la luz. lo cual es contradictoria a su propio nombre. La Lumínida Engañosa huye de la luz, como las criaturas de la oscuridad evitan la revelación de la luz del día.
Esta peculiaridad permite a aquellos que conocen su existencia y temen su influencia protegerse mediante la iluminación intensa. Sin embargo, el miedo que esta entidad puede sembrar sigue siendo una amenaza, ya que susurrar susurros engañosos desde las sombras, buscando continuamente nuevas mentes para tejer sus telarañas de recuerdos falsos.
Palabras personales:
La verdad termine de escribir esto a las 4 de la mañana y no he dormido nada en 2 dias dada a mi profunda investigacion y ya no doy mas, disculpen fallas en la escritura la mision se aproxima y aun no me puedo relajar... Pronto les contare mi perspectiva enfrentandome a este ente y les dare tips para acabar con ellos, mientras no anden solos en la oscuridad y recuerden siempre llevar una linterna ya que nunca saben que los pueden estar asechando
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El suceso más reciente ocurrió unas semanas atrás, aunque tenemos registros de casos que datan del siglo XV después de Cristo, lo cual nos brinda muchas cosas que considerar. Anteriormente, ya teníamos esto en lista de espera, por tanto, necesitamos reunir más información. No es solo cuestión de enviar más personas a morir; por eso, siempre nuestras investigaciones tienen que ser tan meticulosas, con el fin de estar seguros de que vamos a sobrevivir si seguimos todos los procedimientos correspondientes en dicha misión.
Hoy, trataré de narrarles uno de los pocos eventos de dichas anomalías con mejor documentación y mejores datos recabados hasta el momento, pero cambiando datos que deben y serán guardados en secreto debido al peligro que conllevaría que se vuelva un sitio popular entre las personas escépticas o con ganas de ser famosas. El peligro de estos casos es ciertamente real, y lo que menos desea la CCA (acrónimos inventados por su servidor para darles una referencia de la organización en la que trabajo) es interferencias de personas inexpertas y no preparadas entorpeciendo el caso o, a su vez, haciendo más fuerte al ente o entes, conllevando un mayor grado de dificultad a la hora de llevar a cabo las misiones.
El siguiente relato es la version que nos contaron el cual ya fue previamente verificado por la camara del vehiculo.
En una noche lúgubre, Marta, Javier, Elena y Carlos decidieron adentrarse en lo desconocido al emprender un viaje por una carretera serpenteante que atravesaba un bosque densamente oscuro. en ella la oscuridad era tal que incluso las luces del coche apenas lograban disipar las sombras que se cernían sobre el solitario camino. El murmullo del motor del vehículo resonaba en el aire inquietante, como si la máquina misma sintiera la presión del ambiente tenebroso que la rodeaba.
A medida que avanzaban, el bosque se cerraba sobre ellos, envolviéndolos en una oscuridad aún más impenetrable. La neblina, en vez de disiparse, se intensificaba, creando un velo fantasmagórico que rodeaba el vehículo. Las luces del coche se reflejaban débilmente en las partículas acuosas suspendidas en el aire, dando una sensación de irrealidad al entorno.
El susurro del viento entre las ramas de los árboles tomaba un tono siniestro, como si la naturaleza misma estuviera susurrando secretos oscuros a los viajeros intrépidos. Las sombras proyectadas por los árboles adquirían formas caprichosas, insinuando presencias indescriptibles que parecían acechar en la penumbra.
Cada curva del camino se volvía una entrada a un mundo desconocido y peligroso. Los troncos de los árboles se inclinaban hacia la carretera como espectros encorvados, y las ramas crujían y gemían como si fueran lamentos de almas atrapadas en el bosque. El suspenso en el aire era palpable, alimentado por la oscuridad profunda que se filtraba entre los árboles retorcidos. Los faros del coche iluminaban solo una porción del camino, dejando el resto envuelto en un negro absoluto. Los sonidos de la noche, lejos de ser reconfortantes, se volvían inquietantes, mezclándose con el susurro de hojas secas arrastradas por una brisa invisible.
Mientras avanzaban, la carretera parecía no tener fin, como si hubieran ingresado a un laberinto interminable y retorcido. La sensación de estar perdidos en un lugar fuera del tiempo y la realidad se apoderaba de los viajeros, haciendo que el viaje se transformara en una pesadilla.
En esta atmósfera lúgubre, el grupo continuaba su travesía, con cada kilómetro que avanzaban sumiéndolos más profundamente en la oscuridad del bosque. La incertidumbre y el miedo se instalaban en sus corazones, sin anticipar que lo peor aún estaba por revelarse en la penumbra acechante. De repente, el automóvil se detuvo en seco, como si hubiera chocado contra una barrera invisible. La imposibilidad de reiniciar el vehículo llevó al grupo a decidir buscar ayuda andando por el solitario camino. La niebla, cada vez más espesa, comenzó a rodearlos, y dos figuras espectrales emergieron de las sombras, confundidos y aterrorizados los chicos se aseguraron de ponerse en frente de las dos mujeres, mientras que las dos chicas buscaban las linternas que habian guardado en sus maletas para tratar de divisar si las dos sombras eran personas peligrosas o a su vez si eran personas de los alrededores que tambien se encontraban en apuros.
Elena fue la primera en encontrar dicha fuente de luz que podria ser su salvacion en dicha situacion tan peculiar y atroz en la que se encontraban. Los entes, con aspecto humano pero ojos que destilaban una presencia paranormal, se acercaron al grupo velozmente tratando de esquivar dichos rayos de luz que al parecer tanta incomodidad le causaba. Mediante una conexión sobrenatural, comenzaron a tejer recuerdos falsos en las mentes de Marta, Javier, Elena y Carlos, convenciéndolos de que eran amigos de toda la vida con experiencias compartidas.
A medida que los recuerdos falsos se entrelazaban con la realidad, Carlos, empezó a sentir una creciente incomodidad, tal vez por una afinidad natural a lo paranormal, alguna raiz con una profunda conexion con el mas alla dada por algun antepasado o simplemente el destino diciendole que hoy no es su dia de partir. El estaba determinado a descubrir la verdad puesto que sabia muy profundamente dentro de el que algo andaba muy mal en el viaje dado a que el carro que conducian tenia una capacidad maxima de 5 personas en un viaje corto pero como era uno largo era mas que imposible que 6 personas entraran en dicho carro debido a que llevaban varias maletas y bolsos con ellos.
Entonces esta delirante e intrigante situacion se le hacia mas que extraña. Sometió a sus amigos a pruebas y preguntas específicas llegando todos a una sola conclusion...HABIAN DOS IMPOSTORES dicha conversacion fue revelando inconsistencias y contradicciones en las historias que les habían implantado y dandole la razon a el, al principio todos creian que el estaba loco o tal vez consumio algo en el camino que lo puso mal, a pesar de dichas conclusiones todo fue a su favor .
A medida que Carlos profundizaba, descubría que la niebla paranormal que los rodeaba no solo alteraba recuerdos, sino que también ocultaba un oscuro secreto: los entes no podían quitar vidas directamente porque si lo pudieran hacer no les habrian implantado los recuerdos y simplemente los hunieran acabado en el instante que estuvieron en transe, lo que ellos no sabian lo cual les llevaria consecuencias a futuro era que su influencia en las mentes humanas los podían llevar a actos mortales.
La tensión aumentó cuando, tras revelar la verdad a sus amigos, una fuerza siniestra se apoderó de algunos de ellos Javer y Marta. Bajo la influencia de los entes, a lo largo de la noche fueron impulsadas a cometer actos mortales, guiadas por recuerdos falsos y emociones distorsionadas terminaron hiriendo a Elena y terminando con sus vidas en una macabra escena(dado que mi proposito no es traumarlos me saltare los detalles sangrientos).
Carlos, en su intento desesperado por salvar a sus amigos y desentrañar el misterio paranormal, se vio enfrentado a la difícil tarea de detener la espiral de violencia que amenazaba con consumirlos a todos. La neblina paranormal se volvía más densa con cada acto fatal, ocultando la realidad detrás de una cortina de oscuridad y caos.
A medida que la noche llegaba a su punto culminante, Carlos logró desafiar la influencia de los entes debido a que accidentalmente logro enontrar una forma de identificarlos la linterna dicha luz que lograba emitir fue el farol que logro llevarlos a una salvacion que ellos ya creian perdidas puesto que ellos tambien comenzaban a tener pensamientos violentos, liberando a la unica amiga que le quedaba del control mental ya que anteriormente logro enfocar a los impostors con la linterna su influencia fue frenada por el momento.
Carlos Junto a su amiga Elena confrontaron a los entes en una lucha contra las sombras que amenazaban a consumirlos en la oscuridad eterna. Ellos comenzaron a correr pero siempre alumbrando su camino con su fiel arma contra tan terrible oscuridad. Lograron llegar al vehiculo y asi encendiendo las luces del auto incluso las que se encontraban en el interior, Con la niebla paranormal disipándose finalmente debido a la llegada del sol, el grupo de ahora solo dos personas quedó exhausto pero unido por la experiencia aterradora que habían enfrentado. Mientras continuaban su viaje, llevaban consigo las cicatrices de esa noche sobrenatural, con la memoria de los sucesos oscuros y la pérdida de seres queridos grabada en sus almas para siempre.
Finalmente, llegaron exhaustos a una solitaria gasolinera en la oscura noche. Desesperados, llamaron a la policía para reportar los eventos sobrenaturales que habían vivido. La atmósfera en la gasolinera estaba cargada de tensión mientras esperaban la llegada de las autoridades, cuyas luces parpadeantes rompían la negrura de la noche.
Una vez que la policía llegó, fueron interrogados detalladamente. La versión de los hechos que presentaron Marta, Javier, Elena y Carlos sonaba tan inverosímil que los oficiales no pudieron evitar mostrar escepticismo en sus rostros. Sin embargo, conscientes de que algo extraño había sucedido, procedieron a realizar pruebas de sangre para descartar cualquier tipo de intoxicación.
El frío viento de la madrugada agitaba las copas de los árboles cercanos, creando un ambiente aún más inquietante mientras las autoridades intentaban dilucidar la verdad detrás de aquellos relatos perturbadores. La gasolinera, iluminada por tenues farolas, proyectaba sombras danzantes que parecían tener vida propia.
Después de un minucioso análisis de las versiones de los viajeros y de las pruebas realizadas, que incluían la ausencia de sustancias narcóticas en sus organismos, la policía se encontró en un dilema. No había cuerpos, no había evidencia tangible de la existencia de los entes que los protagonistas afirmaban haber enfrentado. La búsqueda infructuosa de varios días solo había dejado un rastro de incertidumbre en la mente de los investigadores.
El caso, en un giro inesperado, se volvió en nuestra dirección. Como parte del equipo especializado en fenómenos paranormales, nos vimos envueltos en la investigación de un suceso que desafiaba las leyes naturales. Revisamos minuciosamente los antecedentes de Carlos y Elena, explorando sus computadoras y rastreando sus direcciones IP en busca de algún indicio de conocimiento previo sobre los entes que afirmaron haber encontrado.
La búsqueda de pruebas se convirtió en un proceso delicado y meticuloso. Exploramos cada rincón virtual de sus vidas, pero no encontramos nada que respaldara sus experiencias. La incertidumbre y la falta de evidencia concreta convirtieron el caso en un enigma, desafiando la lógica y sumergiéndonos en un territorio desconocido.
Mientras Carlos y Elena fueron liberados, el estigma de ser los principales sospechosos persistía. La sombra de la incredulidad se cernía sobre ellos, y la historia que compartieron esa noche continuaba siendo un misterio sin resolver. En la penumbra de aquel suceso, quedaba la pregunta: ¿habían enfrentado verdaderamente entes paranormales, o había sido una creación de sus propias mentes atormentadas por la oscuridad de la noche? La verdad, tan esquiva como los entes que afirmaban haber encontrado, permanecía oculta en las sombras de la incertidumbre.
La criatura con la cual creemos que se encontraron es:
"Lumínida Engañosa", o vulgarmente es llamada de sirena terrestre que, en lugar de habitar en las profundidades acuáticas, se desliza entre las sombras terrestres . Este ser, a primera vista, se asemeja a una figura etérea,
La Lumínida Engañosa tiene la capacidad única de influir en las mentes de aquellos que se cruzan en su camino. A través de su niebla,que se exparse en la oscuridad, crea recuerdos ilusorios en las mentes de sus víctimas. Estos recuerdos falsos son tan convincentes que los afectados creen fervientemente en su veracidad, llevándolos a realizar acciones atroces en lo cual los induce de paranoia.
Sin embargo, la Lumínida Engañosa no tiene la capacidad de causar daño físico directo. Su poder radica en la manipulación de la psique humana, llevándolos por caminos oscuros y confusos que solo sirven para alimentar su propia existencia. Aquellos que han sucumbido a sus engaños pueden encontrarse realizando actos de traición, violencia o incluso autodestrucción, todo bajo la influencia de los recuerdos ilusorios tejidos por este ente engañoso.
Lo más intrigante de la Lumínida Engañosa es su temor inusitado a la luz. lo cual es contradictoria a su propio nombre. La Lumínida Engañosa huye de la luz, como las criaturas de la oscuridad evitan la revelación de la luz del día.
Esta peculiaridad permite a aquellos que conocen su existencia y temen su influencia protegerse mediante la iluminación intensa. Sin embargo, el miedo que esta entidad puede sembrar sigue siendo una amenaza, ya que susurrar susurros engañosos desde las sombras, buscando continuamente nuevas mentes para tejer sus telarañas de recuerdos falsos.
Palabras personales:
La verdad termine de escribir esto a las 4 de la mañana y no he dormido nada en 2 dias dada a mi profunda investigacion y ya no doy mas, disculpen fallas en la escritura la mision se aproxima y aun no me puedo relajar... Pronto les contare mi perspectiva enfrentandome a este ente y les dare tips para acabar con ellos, mientras no anden solos en la oscuridad y recuerden siempre llevar una linterna ya que nunca saben que los pueden estar asechando
2023.12.20 16:28 Kersenify Indonesia PT Pindad new Designated Marksman Rifle SPM-2.
 | submitted by Kersenify to ForgottenWeapons [link] [comments] |
2023.11.20 18:27 parthenondanceparty El Futuro del Peronismo
Tras lo visto en las elecciones de ayer quedó finalmente más que claro que el peronismo tiene y siempre ha tenido BASTANTES cosas que arreglar. Dada la situación de que sus gobiernos no han dado muy buen resultado y que cada rama de sus vertientes ideológicas se han visto en decadencia. ¿Qué puede ser que le depare al peronismo después de este diciembre? Conozco numerosos peronistas de distintas corrientes de la ideología que ahora mismo se están arrancando los pelos entre sí para echarse la culpa de la derrota del domingo, y la pregunta se hace bastante más importante con el pasar de las horas.
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2023.10.07 22:21 Kap272 Double Match Thread: Forge FC - Atletico Ottawa & Cavalry FC - Pacific FC
Date: October 7, 2023
Time: 2PM Pacific/3PM Mountain/5PM Eastern
Venues: Tim Hortons Field - Hamilton, Ontario & ATCO Field - Foothills County, Alberta
Broadcast: FuboTV (Cavalry-Pacific), OneSoccer YouTube Channel (Forge-Atletico Ottawa), OneSoccer (both matches)
Lineups (from FotMob):
Forge FC (3-4-1-2):
Henry; James, Achinioti-Jonsson, Rama; Poku, Bekker, Hojabrpour, Metusala; Badibanga; Campbell, Pacius
Atletico Ottawa (3-4-1-2):
Ingham; Singh, Espejo, Ouimette; Tissot, Iliadis, Zapater, Acosta; Verhoeven; Bassett, Campo
Cavalry FC (3-4-2-1):
Carducci; Kamdem, Klomp, Kobza; Akio, Trafford, Daley, Shome; Musse, Camargo; Bevan
Pacific FC (4-3-3):
Gazdov; Vliet, Meilleur-Giguere, Didic, Dada-Luke; Young, Bahous, Yeates; Sellouf, Ongaro, Aparicio
submitted by Kap272 to CanadianPL [link] [comments]
Time: 2PM Pacific/3PM Mountain/5PM Eastern
Venues: Tim Hortons Field - Hamilton, Ontario & ATCO Field - Foothills County, Alberta
Broadcast: FuboTV (Cavalry-Pacific), OneSoccer YouTube Channel (Forge-Atletico Ottawa), OneSoccer (both matches)
Lineups (from FotMob):
Forge FC (3-4-1-2):
Henry; James, Achinioti-Jonsson, Rama; Poku, Bekker, Hojabrpour, Metusala; Badibanga; Campbell, Pacius
Atletico Ottawa (3-4-1-2):
Ingham; Singh, Espejo, Ouimette; Tissot, Iliadis, Zapater, Acosta; Verhoeven; Bassett, Campo
Cavalry FC (3-4-2-1):
Carducci; Kamdem, Klomp, Kobza; Akio, Trafford, Daley, Shome; Musse, Camargo; Bevan
Pacific FC (4-3-3):
Gazdov; Vliet, Meilleur-Giguere, Didic, Dada-Luke; Young, Bahous, Yeates; Sellouf, Ongaro, Aparicio
2023.10.01 13:05 Latter_Habit408 Angelo caduto della penitenza.
La vida se mueve y fluye como el agua en los riachuelos; se alza en contra de aquello que la apaga y se aleja de tu ser cuando tu tiempo ha llegado. Una cosa es ser un humano... ¿pero un ángel? Esas son palabras mayores. Tiempo atrás, en una isla cercana a las tierras hispanas, un hombre residía en ella junto al resto de su pueblo quienes disfrutaban de un amplio abanico musical que abarcaba todos los géneros y épocas de la tierra misma. Aunque todos los que se encontraban dentro de tal terreno en medio del agua eran bastante buenos en el mundo del quinto arte, en la rama del cante, este señor era un “dios”, banalmente hablando, entre los hombres.
Era capaz de cambiar su timbre de voz de tenor a falsete cuando le apetecía y tenía unos pulmones de hierro que le permitían cantar fuerte y durante largos periodos de tiempo sin tomar una bocanada de aire. Estas características dadas por la madre naturaleza, además del repertorio de canciones que escogía, que se movían entre el flamenco, un poco de pop con mensajes críticos entre sus líneas y las fiestas típicas gaditanas, hicieron que él se volviera popular no solo en su pueblo sino más allá de sus fronteras, como alguien que cantaba con fuerza en contra de aquellos con poder que no lo utilizaban para un objetivo sin buenos fines. También era bueno tocando la guitarra y la percusión, pero en ese apartado era igual de bueno que muchos otros, a diferencia de su voz. Había ocasiones en las que usaba todos los dedos de su mano izquierda para tocar las cuerdas con sus uñas largas en canciones flamencas y otros apartados musicales, y usaba solo la uña del dedo corazón para el punteado o canciones del género rock and roll y heavy metal, que lo elevaban a una nube de adrenalina que lo hacía mover su cabeza de un lado a otro, permitiendo que su larga melena se meciera en el aire.
Una de las bajadas y desventajas de la mortalidad humana es la capacidad de vivir de forma limitada por una cuestión biológica. Esto hizo que, por desgracia, aquellos que eran cercanos a él, este muriera por causas naturales, aunque gracias al señor, fue a una edad bastante avanzada. Cuando este murió y su cuerpo fue enterrado en la arena de la playa delante de su casa, su alma ascendió al juicio del dios padre que lo sentenció a la condena temporal del purgatorio al estar manchada de manera parcial por el pecado.
El isleño aceptó con agrado la condena impuesta debido a que sería purificado del todo y porque le agradaba pensar que no fue tan malo como él pensaba en su día al estar vivo. Así que de un momento a otro, fue subido a un carro de oro y plata conducido por un ángel que le iba explicando con paciencia y delicadeza cómo funcionaba el lugar a donde se dirigían y cómo debía proceder en él.
Al cabo de unos pocos minutos, se encontró ante una montaña en forma de cono cuya falda estaba clavada a un suelo de piedra ennegrecida y su punta mostraba un pequeño bosque del que por intervalos inexactos de tiempo ascendían personas agarradas por otros ángeles. El ángel lo bajó hacia el “portal” del purgatorio y con sus dedos marcó la frente, el dorso de sus manos y su pecho con unas cruces tan negras como una noche sin estrellas y le explicó que estas representaban los pecados que cometió en vida: “Soberbia, Ira, Pereza y la Rebeldía, aunque esta última no se consideraba como tal”.
Fue ahí que, cuando su cuerpo fue marcado por el fuego de los dedos del siervo de Dios, atravesó la casapuerta de la montaña y procedió a sufrir los castigos que le correspondían, aunque para la sorpresa de todos los que estaban presentes, quienes delgados y sin muchas fuerzas se mantenían callados y pronunciando pequeños murmullos por el dolor. «El cantador de la penitencia», como lo llamaron con el paso del tiempo, se ponía a cantar todo lo que él sabía de canciones y melodías para distraerse de sus dolores y para, así, como daño colateral, entretener a las almas que le acompañaban en el dolor. Hasta que, con el paso del tiempo, sus marcas se fueron volviendo cicatrices y su ser fue llamado para poder ascender con otros muchos a las puertas del cielo.
San Pedro, el hombre y apóstol que se ocupaba de atar lo que sea a la tierra y al cielo a la vez que de cuidar las puertas de oro, se sintió curioso al ver en la lista un tipo que no tenía un nombre “propio” y que era nombrado como «el cantador de la penitencia». Cuando lo tuvo al frente, le permitió la entrada con amabilidad, pero se lo quedó mirando mientras este pasaba delante de él por la curiosidad.
El círculo en el que se encontraba era una gran plaza con un suelo de mármol blanco y unas columnas como las de los templos griegos, que se alzaban hasta unos cuantos metros y sus puntas estaban despejadas ante una falta de tejado. Las nubes plateadas como el hierro se movían como esponjas en el fuego lento, meciéndose con el viento de las alturas, y el cielo estaba oscurecido por la noche con una gran luna llena encima de todos los ahí presentes, mientras las estrellas brillaban con potencia en sus respectivos puestos de trabajo. Los puros de alma que estaban presentes en aquel lugar estaban vestidos con una vestidura blanca como la suya y dependían mucho de su forma debido a la época en la que ellos vivían en su día, siendo las del cantador en su caso una camisa de mangas cortas con unos pantalones largos y unos calcetines, yendo descalzo por ahí por donde iba.
Un dato del que se dio cuenta es que algunos ángeles que estaban por ahí revoloteando se les quedaba mirando y cuchicheaban entre ellos o con otros espíritus. En un momento dado, un joven se le acercó a él para preguntarle si era cierto eso que se decía de que en respuesta a los castigos que recibía en el purgatorio, él cantaba canciones para apaciguar un poco los dolores que experimentaba. La idea de que en el cielo la música tuviera un peso bastante importante como el quinto arte que es, lo motivó a explorar las cosas que el cielo podría proveer y observar cómo podía incluirse en las canciones que el cielo tocaba, y en cierto modo tocó todo lo alto y lo bajo.
Al tercer día de encontrarse en ese círculo y en otros en los que podía viajar a través de las nubes de plata, empezó a hacerse notar por sus cánticos y las canciones que escogía a la hora de cantar, junto a algunos músicos frente a las almas de los fieles creyentes. Tocó lo alto al hacerse un nombre y no dejar caer ese apodo que se le brindó por su fuerza de voluntad y su pasión por el sonido. Pero a la vez, tocó lo más bajo cuando se negó a dejar de cantar, cuando algunos ángeles superiores se presentaron ante él para que se detuviera, debido a que algunas canciones que cantaba contenían un mensaje muy fuerte de rebeldía e individualidad.
Debido a la negativa suya de dejar de cantar al alegar que si bien era cierto que su cántico era fuerte en esos temas, él solo quería cantar ante la gente para que disfrutara y a la vez deseaba “enseñar” a la gente que se debían de rebelar cuando los superiores a ellos se comportaban como capullos y abusaban de su poder. Debido a esta acción tomada por el cantador de la penitencia, algunos de los que estaban presentes se fueron directamente hacia el dios padre de todos los humanos y les contaron que ese tal «cantador de la penitencia» no desistía en su, algo rebelde, movimiento.
Jehová, al observar y notar las acciones de este, a la vez que entendía lo que quería hacer, aunque era inconsciente de lo que podía pasar si su mensaje se fuese de las manos, llamó a este cantador ante su presencia para “regañarle” por las cosas que hacía, pero a la vez encontró en él un hombre cuyo instinto era bueno e intenciones puras, un ahora ser celestial que podía cumplir un rol beneficioso para el humano y para el padre.
Fue así que lo bendijo con la divinidad de un ángel, pero se le brindó la apariencia de un ángel traidor de su voluntad que fue arrojado al infierno, haciendo que este tuviera una vestimenta oscura como la piedra de los volcanes y sus cuatro marcas se dibujaran de nuevo en su piel haciendo que estas fueran tan visibles como la pintura negra en sus ojos y boca, que resaltaban con la tez pálida de su ahora nuevo ser. Su pelo largo que antes era negro, ahora era en su totalidad oro puro y su barba igualmente obtuvo tal apariencia.
Obteniendo ya las características necesarias de lo que sería su nueva dedicación en lo que resta de eternidad, fue informado por el mismísimo Dios ante algunos ángeles y otros seres celestiales sobre lo que tenía que hacer ahora. Sin más preámbulos ni distracciones, fue lanzado del cielo con la bendición del padre supremo.
Aquel que antes no era más que un ser vivo corriente, ahora era un nuevo ser angelical sin nombre que fue temido debido a la poca comprensión de estos ante el objetivo que este tenía. Algunos decían que cuando cantaba, la gente se infectaba con una locura que los obsesionaba a muerte con algo que variaba dependiendo de la persona a la que se le cantara. Otros decían que incluso la muerte les arrebataba el alma debido a él.
Al final, por la estupidez humana, se le empezó a hacer cultos y oraciones a un supuesto ángel caído que les cantaba y los arrancaba del plano físico para mandarlos hacia el lugar que nadie observó para después regresar y hablar. Y aquellos que dicen haberlo hecho, muy poco se les podía creer debido a la decadencia de sus mentes.
Es así que mi relato terminará con un aviso para el oyente o lector que encontró estas hojas escritas con un ángel mirando con su gracia todas las palabras que son dichas por un servidor: si escuchas alguna vez que en medio de la noche, alguien te canta con su poder sobrenatural y notas que tu cuerpo empieza a encenderse por las llamas de la divinidad y el calor de la pasión, es probable que estés ante la presencia de aquel que llaman "Ángel caído de la penitencia" o… tal vez...no.
-Infamouskron.
submitted by Latter_Habit408 to creepypasta [link] [comments]
Era capaz de cambiar su timbre de voz de tenor a falsete cuando le apetecía y tenía unos pulmones de hierro que le permitían cantar fuerte y durante largos periodos de tiempo sin tomar una bocanada de aire. Estas características dadas por la madre naturaleza, además del repertorio de canciones que escogía, que se movían entre el flamenco, un poco de pop con mensajes críticos entre sus líneas y las fiestas típicas gaditanas, hicieron que él se volviera popular no solo en su pueblo sino más allá de sus fronteras, como alguien que cantaba con fuerza en contra de aquellos con poder que no lo utilizaban para un objetivo sin buenos fines. También era bueno tocando la guitarra y la percusión, pero en ese apartado era igual de bueno que muchos otros, a diferencia de su voz. Había ocasiones en las que usaba todos los dedos de su mano izquierda para tocar las cuerdas con sus uñas largas en canciones flamencas y otros apartados musicales, y usaba solo la uña del dedo corazón para el punteado o canciones del género rock and roll y heavy metal, que lo elevaban a una nube de adrenalina que lo hacía mover su cabeza de un lado a otro, permitiendo que su larga melena se meciera en el aire.
Una de las bajadas y desventajas de la mortalidad humana es la capacidad de vivir de forma limitada por una cuestión biológica. Esto hizo que, por desgracia, aquellos que eran cercanos a él, este muriera por causas naturales, aunque gracias al señor, fue a una edad bastante avanzada. Cuando este murió y su cuerpo fue enterrado en la arena de la playa delante de su casa, su alma ascendió al juicio del dios padre que lo sentenció a la condena temporal del purgatorio al estar manchada de manera parcial por el pecado.
El isleño aceptó con agrado la condena impuesta debido a que sería purificado del todo y porque le agradaba pensar que no fue tan malo como él pensaba en su día al estar vivo. Así que de un momento a otro, fue subido a un carro de oro y plata conducido por un ángel que le iba explicando con paciencia y delicadeza cómo funcionaba el lugar a donde se dirigían y cómo debía proceder en él.
Al cabo de unos pocos minutos, se encontró ante una montaña en forma de cono cuya falda estaba clavada a un suelo de piedra ennegrecida y su punta mostraba un pequeño bosque del que por intervalos inexactos de tiempo ascendían personas agarradas por otros ángeles. El ángel lo bajó hacia el “portal” del purgatorio y con sus dedos marcó la frente, el dorso de sus manos y su pecho con unas cruces tan negras como una noche sin estrellas y le explicó que estas representaban los pecados que cometió en vida: “Soberbia, Ira, Pereza y la Rebeldía, aunque esta última no se consideraba como tal”.
Fue ahí que, cuando su cuerpo fue marcado por el fuego de los dedos del siervo de Dios, atravesó la casapuerta de la montaña y procedió a sufrir los castigos que le correspondían, aunque para la sorpresa de todos los que estaban presentes, quienes delgados y sin muchas fuerzas se mantenían callados y pronunciando pequeños murmullos por el dolor. «El cantador de la penitencia», como lo llamaron con el paso del tiempo, se ponía a cantar todo lo que él sabía de canciones y melodías para distraerse de sus dolores y para, así, como daño colateral, entretener a las almas que le acompañaban en el dolor. Hasta que, con el paso del tiempo, sus marcas se fueron volviendo cicatrices y su ser fue llamado para poder ascender con otros muchos a las puertas del cielo.
San Pedro, el hombre y apóstol que se ocupaba de atar lo que sea a la tierra y al cielo a la vez que de cuidar las puertas de oro, se sintió curioso al ver en la lista un tipo que no tenía un nombre “propio” y que era nombrado como «el cantador de la penitencia». Cuando lo tuvo al frente, le permitió la entrada con amabilidad, pero se lo quedó mirando mientras este pasaba delante de él por la curiosidad.
El círculo en el que se encontraba era una gran plaza con un suelo de mármol blanco y unas columnas como las de los templos griegos, que se alzaban hasta unos cuantos metros y sus puntas estaban despejadas ante una falta de tejado. Las nubes plateadas como el hierro se movían como esponjas en el fuego lento, meciéndose con el viento de las alturas, y el cielo estaba oscurecido por la noche con una gran luna llena encima de todos los ahí presentes, mientras las estrellas brillaban con potencia en sus respectivos puestos de trabajo. Los puros de alma que estaban presentes en aquel lugar estaban vestidos con una vestidura blanca como la suya y dependían mucho de su forma debido a la época en la que ellos vivían en su día, siendo las del cantador en su caso una camisa de mangas cortas con unos pantalones largos y unos calcetines, yendo descalzo por ahí por donde iba.
Un dato del que se dio cuenta es que algunos ángeles que estaban por ahí revoloteando se les quedaba mirando y cuchicheaban entre ellos o con otros espíritus. En un momento dado, un joven se le acercó a él para preguntarle si era cierto eso que se decía de que en respuesta a los castigos que recibía en el purgatorio, él cantaba canciones para apaciguar un poco los dolores que experimentaba. La idea de que en el cielo la música tuviera un peso bastante importante como el quinto arte que es, lo motivó a explorar las cosas que el cielo podría proveer y observar cómo podía incluirse en las canciones que el cielo tocaba, y en cierto modo tocó todo lo alto y lo bajo.
Al tercer día de encontrarse en ese círculo y en otros en los que podía viajar a través de las nubes de plata, empezó a hacerse notar por sus cánticos y las canciones que escogía a la hora de cantar, junto a algunos músicos frente a las almas de los fieles creyentes. Tocó lo alto al hacerse un nombre y no dejar caer ese apodo que se le brindó por su fuerza de voluntad y su pasión por el sonido. Pero a la vez, tocó lo más bajo cuando se negó a dejar de cantar, cuando algunos ángeles superiores se presentaron ante él para que se detuviera, debido a que algunas canciones que cantaba contenían un mensaje muy fuerte de rebeldía e individualidad.
Debido a la negativa suya de dejar de cantar al alegar que si bien era cierto que su cántico era fuerte en esos temas, él solo quería cantar ante la gente para que disfrutara y a la vez deseaba “enseñar” a la gente que se debían de rebelar cuando los superiores a ellos se comportaban como capullos y abusaban de su poder. Debido a esta acción tomada por el cantador de la penitencia, algunos de los que estaban presentes se fueron directamente hacia el dios padre de todos los humanos y les contaron que ese tal «cantador de la penitencia» no desistía en su, algo rebelde, movimiento.
Jehová, al observar y notar las acciones de este, a la vez que entendía lo que quería hacer, aunque era inconsciente de lo que podía pasar si su mensaje se fuese de las manos, llamó a este cantador ante su presencia para “regañarle” por las cosas que hacía, pero a la vez encontró en él un hombre cuyo instinto era bueno e intenciones puras, un ahora ser celestial que podía cumplir un rol beneficioso para el humano y para el padre.
Fue así que lo bendijo con la divinidad de un ángel, pero se le brindó la apariencia de un ángel traidor de su voluntad que fue arrojado al infierno, haciendo que este tuviera una vestimenta oscura como la piedra de los volcanes y sus cuatro marcas se dibujaran de nuevo en su piel haciendo que estas fueran tan visibles como la pintura negra en sus ojos y boca, que resaltaban con la tez pálida de su ahora nuevo ser. Su pelo largo que antes era negro, ahora era en su totalidad oro puro y su barba igualmente obtuvo tal apariencia.
Obteniendo ya las características necesarias de lo que sería su nueva dedicación en lo que resta de eternidad, fue informado por el mismísimo Dios ante algunos ángeles y otros seres celestiales sobre lo que tenía que hacer ahora. Sin más preámbulos ni distracciones, fue lanzado del cielo con la bendición del padre supremo.
Aquel que antes no era más que un ser vivo corriente, ahora era un nuevo ser angelical sin nombre que fue temido debido a la poca comprensión de estos ante el objetivo que este tenía. Algunos decían que cuando cantaba, la gente se infectaba con una locura que los obsesionaba a muerte con algo que variaba dependiendo de la persona a la que se le cantara. Otros decían que incluso la muerte les arrebataba el alma debido a él.
Al final, por la estupidez humana, se le empezó a hacer cultos y oraciones a un supuesto ángel caído que les cantaba y los arrancaba del plano físico para mandarlos hacia el lugar que nadie observó para después regresar y hablar. Y aquellos que dicen haberlo hecho, muy poco se les podía creer debido a la decadencia de sus mentes.
Es así que mi relato terminará con un aviso para el oyente o lector que encontró estas hojas escritas con un ángel mirando con su gracia todas las palabras que son dichas por un servidor: si escuchas alguna vez que en medio de la noche, alguien te canta con su poder sobrenatural y notas que tu cuerpo empieza a encenderse por las llamas de la divinidad y el calor de la pasión, es probable que estés ante la presencia de aquel que llaman "Ángel caído de la penitencia" o… tal vez...no.
-Infamouskron.
2023.09.25 06:52 East-Secretary Dev Anand at 100
 | submitted by East-Secretary to u/East-Secretary [link] [comments] |
2023.09.20 22:25 6depastor ME DIERON DE BAJA INJUSTIFICADAMENTE
Un poco de contexto. estuve trabajando en una empresa durante solo 10 meses en los cuales me desempeñe como ingeniero de calidad. Es una empresa de la rama metal mecánica que fabrican componentes de interpretadores de calor.
Durante estos meses estuve desempeñando mi puesto de buena forma y la empresa tuvo re certificaciones de la ISO y otras normativas de la rama. De las cuales participe en las auditorias y todo salio bien. Como empleado tuve que preparar todo para las auditorias de las cuales fue un rollo ya que tenían todo desactualizado y desordenado me dedique a preparar todo y quedo bien, hace como dos semanas pedí un aumento de salario ya que la empresa tuvo sus certificaciones. Creo que fue buena manera de pedir un aumento ya que las certificaiones fueron dadas bien y sin problemas. Arregle muchas cosas desactualizadas en la empresa y trate de poner todo en orden.
El día de hoy el que era mi jefe me dio de baja con la justificación que no estaba contento en la empresa y demás, y me dio mucho coraje e impotencia al verlo decir eso. Pero no dije nada tengo la mentalidad de no estar donde no me quieren. Pero si me desanimo mucho al ver la situación, por que realmente me esforcé y sacrifique mucho por desempeñar mi puesto de buena manera y dar resultados y los di, pero al parecer la empresa ni mi ex jefe lo tomaron en cuanta.
Moraleja no todas le empresas merecen que des todo de ti, y eso lo e aprendido con el tiempo, al menos que sea una empresa que lo valga pero ay pocas empresas que si lo valen. Me siento mal y hasta un punto pensé que era culpa mía. Aveces las instituciones no merecen que des lo máximo de ti ni como empleado ni como persona.
Solo escribo para desahogarme :/
submitted by 6depastor to lacamiseta [link] [comments]
Durante estos meses estuve desempeñando mi puesto de buena forma y la empresa tuvo re certificaciones de la ISO y otras normativas de la rama. De las cuales participe en las auditorias y todo salio bien. Como empleado tuve que preparar todo para las auditorias de las cuales fue un rollo ya que tenían todo desactualizado y desordenado me dedique a preparar todo y quedo bien, hace como dos semanas pedí un aumento de salario ya que la empresa tuvo sus certificaciones. Creo que fue buena manera de pedir un aumento ya que las certificaiones fueron dadas bien y sin problemas. Arregle muchas cosas desactualizadas en la empresa y trate de poner todo en orden.
El día de hoy el que era mi jefe me dio de baja con la justificación que no estaba contento en la empresa y demás, y me dio mucho coraje e impotencia al verlo decir eso. Pero no dije nada tengo la mentalidad de no estar donde no me quieren. Pero si me desanimo mucho al ver la situación, por que realmente me esforcé y sacrifique mucho por desempeñar mi puesto de buena manera y dar resultados y los di, pero al parecer la empresa ni mi ex jefe lo tomaron en cuanta.
Moraleja no todas le empresas merecen que des todo de ti, y eso lo e aprendido con el tiempo, al menos que sea una empresa que lo valga pero ay pocas empresas que si lo valen. Me siento mal y hasta un punto pensé que era culpa mía. Aveces las instituciones no merecen que des lo máximo de ti ni como empleado ni como persona.
Solo escribo para desahogarme :/
2023.09.20 01:41 Classic-Channel7720 Quedarme con front o apuntar a back?
Buenas comunidad, busco algo de consejo de la comunidad. La cosa es bastante simple, llevo estudiando un tiempo frontend con react y tengo algunos proyectos chotos(también tantee un toque con react native) y si bien me.gusta, siento que no tengo la skill estetica(distinto seria tener algo que copiar, no me cuesta manejarme con css, es falta de buen gusto) para poder demostradesarrollarme mas en esta rama, decidí probar un poco mas en back, con nodeJs mas precisamente, me resulta un pocoas entretenido quizas xq no tengo que estar pensando en de que manera puede quedar tal o cual cosas. El tema esta en no saber como encarar algun proyecto, mas alla de un registro y login a una ddbb en mongo con algunos steps de seguridad o tirar una request a alguna api.
Ty por leer, estoy medio bajoneado con el tema de no saber si estoy metiendo energia en esto al pedo
submitted by Classic-Channel7720 to devsarg [link] [comments]
La consulta es, garpa quedarse en node? Mejor si migro a otro lenguaje?Para aclarar, no tengo formación académica per se (tampoco sali de un bootcamp, solo autodidacta)edtoy buscando entrar a IT, no dispongo de tiempo para agarrar una carrera de grado cuz ya estoy grande (33 yo) soy del interior y tengo familia. Estoy considerando alguna de pregrado a distancia puesto que dada la saturación del mercado estoy pensando en que necesito tener ese respaldo para poder pasar los filtros.
Ty por leer, estoy medio bajoneado con el tema de no saber si estoy metiendo energia en esto al pedo
2023.09.11 05:33 rajacuanselalu Bahaya Kolesterol Tinggi di Usia Muda: Jangan Dianggap Remeh!
Di momen Idul Adha kayak gini, emang gak sedikit yang kalap makin daging. Alih-alih makan enak, kebanyakanmakan daging justru bikin kolesterol naik. Kolesterol tinggi bukan cuma bisa menyerang yang tua-tua aja, tapi anak muda ignorant yang gak peduli sama apa yang dia makan juga bisa kena kolesterol. Buat lo yang punya usia muda kolesterol tinggi, mending lo baca nih bahaya kolesterol tinggi di usia muda.
Selain itu, pada dasarnya gejala kolesterol tinggi gak selalu keliatan dan gak semua orang mengalami gejala-gejala yang udah gue sebutin di atas. Jadi, ada baiknya lo selalu konsultasi ke dokter kalau lo udah merasa gak enak badan, karena bisa jadi ada kemungkinan kolesterol lo tinggi.
submitted by rajacuanselalu to u/rajacuanselalu [link] [comments]
Gejala Kolesterol
Ciri-ciri kolesterol rendah dan tinggi jelas sangat berbeda. Cara mudah untuk mengetahui rendah tingginya kadar kolesterol di tubuh adalah dengan cek ke dokter. Tapi, kalau lo gak sempet atau lagi bokek dan gak bisa ke medical check up, gue ada beberapa gambaran gejala kolesterol di usia muda yang wajib lo waspadai. Simak di sini, ya.- Dada terasa nyeri atau angina.
- Munculnya xanthomas alias penumpukan lemak di bawah kulit.
- Adanya benjolan di kelopak mata. Nah, ini juga tanda kolesterol tinggi di mata. Namanya xanthelasmas.
Cara Mencegah Kolesterol Tinggi
Sering liat ciri-ciri kolesterol tinggi di kaki dan bikin lo ketakutan? Sering juga Googling “apakah kolesterol 300 bahaya?” karena udah ngerasain gejala yang gue sebutin di atas? Daripada lo makin stress dihantui rasa takut akan kolesterol, mending lo cegah supaya kadar kolesterol lo stabil. Gimana cara mencegah kolesterol tinggi? Nih ulasannya.- Banyak melakukan aktivitas fisik seperti olahraga.
- Berhenti merokok.
- Jangan mengkonsumsi alkohol berlebih.
- Jangan makan makanan yang mengandung lemak jahat.
- Makan makanan sehat yang bergizi tinggi.
- Hindari mengkonsumsi buah yang mengandung kolesterol tinggi.
Selain itu, pada dasarnya gejala kolesterol tinggi gak selalu keliatan dan gak semua orang mengalami gejala-gejala yang udah gue sebutin di atas. Jadi, ada baiknya lo selalu konsultasi ke dokter kalau lo udah merasa gak enak badan, karena bisa jadi ada kemungkinan kolesterol lo tinggi.