Bahen ki saheli

11th-PCM Basically, I got 97% in my 10th board examinations (ik that doesn't matter) but mere starting se yahi plan tha ki 11th thoda litely karunga, but abb jabb coaching join ki mereko samj aara h ki 11th ka weightage h JEE mei, so yeah I have to work hard for it.
Mei dummy type school mei hu (they don't call us often, jabb tak marks aare ho khush raho). Toh subah mei free rehta hu mostly and mei akele rehta hu Ghar pe, and y'all know that akele rehne se bahut distraction hote h, mei pehle insta pe bahut time spend kardeta tha although abb delete kardiya, but now I have become a p*rn addict, like I masterbate daily and it is affecting me (no energy, no motivation and I feel sleepy everytime). Idk abhi just 1moth hua h 11th ka aur mei kuch hi ni karta hu, bass phone chalata hu ya dhoondta hu bahene jisse padhai se bhaag paao, already I am scoring quite low in my coaching tests and mei rozz soochta hu ki aaj jaake yeh yeh karlenge, meine diary banna rakhi h saari cheeze likhta hu class mei bhi sabb dhyaan se sunta hu but boards ke baad pata ni kyu hora h ki merese self study ni hori
I have to gear up, but mere andar koi feeling hi ni h, mei sabb aise Masti se karta aaya hu and mereko Aisa pagalpan ni h ki bass IIT mei hi jaana h.
Please help me out, mereko apna phone addiction Kam karna h P*rn chodna h Aur self study hours bhadane h

mai apni mummy se abb utna share nahi kar pati jitna pahle karti thi kyunki meri life meai mujhe sabse jyada judge wohi karti hain plus wo apne aap ko hamesha right samajhti hai aur kabhi kabhi indirectly yea bhi kah deti hai ki meri wajah se hi wo doctor nahi ban paayi kaash wo yea samahjti ki mai bhi insaan hu aur ki insaan perfect nahi hota wo meri best friend ke khilaf bhi mujhe bhadkati hai kyunki mai usko sab batati hoon onki jagah wo baat baat pai tantrum deti hai wo mujhe chemistry padhane ke liye firce karti hai but mai isliye nahi maanti kyunki wo eak compound na yaad aane par bhayankar prakar ke taane deti hai aur aaj tak mene aisa kuch lafde wala kiya bhi nahi hai fir bhi unko shak hota rahta hai meri choti bahen bhi unhi ke side pai rahti hai kyunki mummy usko obviously jyada favour karti hain mai abhi 12th mai hoon waise hi bohot stress hai 2 min ka break leti hoon toh taane dene lag jati hai fir padhne ka man hi nahi karta kyunki kitna bhi padhlu mai unke liye kabhi enough nahi hoga subah se padh rahi thi mai duphar mai khana banake khate samay thoda laptop dekh rahi thi kyunki mumma so rahi thi par pata nahi achanak uth gayi fir taana maarne lagi ki aag laga dungi mere man mai aya ki boldu ki mujhe aag laga do but mene kuch nahi bola abhi bohot jor se ronna aa raha hai but nahi ro sakti kyunki wo dekhengi toh bolengi ki bohot drama kar rahi hai iska toh roj ka hai (to my sister aur pahle bhi bol chuki hai ) but koi nahi bas eak saal ki baat hai bas kisi tarah jee nikal lu fir yahan se toh bahar hi lungi college aur jee ke liye kuch tips ho toh bhi bata dena guys abb padhne ja rahi hoon iss se pahle mumma wapis ana maare

so meine 11th 2021-22 mein jeee prepration start pw ko join kiya but study load bhadne and ratne wale problem ke karan meri study mein concentrate nhi kar paa rha tha. but kisi tarah stick tha
in 2022-23 suru hoti hai 12th. Syllabus ki pressure and 10th mein high percentage ke EGO mein yeh saal bhi fucked up kar diya board diya but kisi problem se meri practical jama nhi hui( RESULT DECLARATION KRE BAAD PATA CHALA) AND merii result nhi ayi( OBVIOUSLY). PHIR KUCH DIN ROYA but socha ab board toh next year hi dena hoi toh JEE mein time mill jayega.
in 2023-24 kuch din study phir ussi platform par ki but result (same problem as 11th) nhi aa rha tha. before august i decided to not appear in JEE BUT kuch logo se consult karne ke baad mere bhai ne bola tum JEE dedo jo hoga dekha jayega (meine keh diya tha ki achi nhi jayegi meri preperation nhi hai.) at that time i had completed 10% of syllabus. (litreally)
mein apne 5th class mein JNV SCHOOL ki prepration karta tha (toh uss time meri study rutine bhut achi thi highly exhaustive like every time i would be studying , yaha tak ki mein nind mein cahlne laga tha. ( JNV mein toh nhi hua mera comptetion high hoti hai. kisi disctict se only 80 student intake hoti hai in applicant. waha bhi caste criteria lagg jata hai.) YEH TOH HUI MERI PAST ke bAARRE MEIN. ABB CHALTE HAI 2023-24 MEIN.............
IN SEPTEMBER mere mahulla ke ek teacher ne keh diya ki tum gov. exam kyu nhi dete ho tumne toh jnv ke time syllabus padha hai na (GENERAL TEST ka SYLLABUS HOTA JINHE NHI PTA HO)
MEIN THA NADAN ballak but bolla ki mein abhi JEE dunga. WO UNKA ;( bhi padhate the toh mein waaha padhne laga (far worse than my whole 11th 1month spend karke bhi kuch nhi hua aur jo padha wo syllabus se hui NTA NE URRA diya.)
in the END MUJHE DECEMBER mein APNI KAHKSHA ( Sunna pahle bhi tha but ingore kar diya pta nhi kyu) ke barre mein pata chala aur unhe try karra kyuki GB SIR KA 11TH MEIN HI NAAM SUNNA THA BUT KHI new lecture available nhi thi unki uss time toh PW ko join kara tha tabhi. mein 1 month tak AK PAR PADHA laga kuch ho sakta hai abb phir chalu hue BOARD ( JISME MEINE PAHLE se hi marwa li thi practicle mein IS BAAR NHI.....) mein state board se hu toh meri board feb month mein hi chalu ho gyi. 15feb ko hui khatm board aur meine chalu kar diya april attempt ki padhayi( jan nhi de paya mein BOARD EXAM CLASH kar rha tha.) AS aspected meri april bekar gyi
JEE MEINS 40%ILE
RL 900842 OBC 350457
itna toh mujhe bhi nhi laga tha ghire ga TUT GYA bhai mein toh. itna sahe hai (10th old me already faced a failure in JNV toh kuch naya nhi laga afsos hua tha iss baar ki aur mehnat karta toh ho jata .
ABB COLLEGE DHUDH rha hu toh koi achi college nhi mill rhi hai affordable 5-6 lakh increase bhi kar skate hai but college decent honi chahiye price par (socha college mein abb mehnath karunga, but kopi mill hi nhi rhi hai.)
toh app logo se puchna tha DROP LELU kya (meine 3 saal mein 12th complete kiya hai. kyu?, wo upar batya tha.) drop lu toh next year ADV KE LIYE elegible hu mein???
agar drop nhi lu toh mein konse college mein join hu BIHAR KA HU MEIN. (suggest kar do bhaiya middle class family se hu mein.)

so meine 11th 2021-22 mein jeee prepration start pw ko join kiya but study load bhadne and ratne wale problem ke karan meri study mein concentrate nhi kar paa rha tha. but kisi tarah stick tha
in 2022-23 suru hoti hai 12th. Syllabus ki pressure and 10th mein high percentage ke EGO mein yeh saal bhi fucked up kar diya board diya but kisi problem se meri practical jama nhi hui( RESULT DECLARATION KRE BAAD PATA CHALA) AND merii result nhi ayi( OBVIOUSLY). PHIR KUCH DIN ROYA but socha ab board toh next year hi dena hoi toh JEE mein time mill jayega.
in 2023-24 kuch din study phir ussi platform par ki but result (same problem as 11th) nhi aa rha tha. before august i decided to not appear in JEE BUT kuch logo se consult karne ke baad mere bhai ne bola tum JEE dedo jo hoga dekha jayega (meine keh diya tha ki achi nhi jayegi meri preperation nhi hai.) at that time i had completed 10% of syllabus. (litreally)
mein apne 5th class mein JNV SCHOOL ki prepration karta tha (toh uss time meri study rutine bhut achi thi highly exhaustive like every time i would be studying , yaha tak ki mein nind mein cahlne laga tha. ( JNV mein toh nhi hua mera comptetion high hoti hai. kisi disctict se only 80 student intake hoti hai in applicant. waha bhi caste criteria lagg jata hai.) YEH TOH HUI MERI PAST ke bAARRE MEIN. ABB CHALTE HAI 2023-24 MEIN.............
IN SEPTEMBER mere mahulla ke ek teacher ne keh diya ki tum gov. exam kyu nhi dete ho tumne toh jnv ke time syllabus padha hai na (GENERAL TEST ka SYLLABUS HOTA JINHE NHI PTA HO)
MEIN THA NADAN ballak but bolla ki mein abhi JEE dunga. WO UNKA ;( bhi padhate the toh mein waaha padhne laga (far worse than my whole 11th 1month spend karke bhi kuch nhi hua aur jo padha wo syllabus se hui NTA NE URRA diya.)
in the END MUJHE DECEMBER mein APNI KAHKSHA ( Sunna pahle bhi tha but ingore kar diya pta nhi kyu) ke barre mein pata chala aur unhe try karra kyuki GB SIR KA 11TH MEIN HI NAAM SUNNA THA BUT KHI new lecture available nhi thi unki uss time toh PW ko join kara tha tabhi. mein 1 month tak AK PAR PADHA laga kuch ho sakta hai abb phir chalu hue BOARD ( JISME MEINE PAHLE se hi marwa li thi practicle mein IS BAAR NHI.....) mein state board se hu toh meri board feb month mein hi chalu ho gyi. 15feb ko hui khatm board aur meine chalu kar diya april attempt ki padhayi( jan nhi de paya mein BOARD EXAM CLASH kar rha tha.) AS aspected meri april bekar gyi
JEE MEINS 40%ILE
RL 900842 OBC 350457
itna toh mujhe bhi nhi laga tha ghire ga TUT GYA bhai mein toh. itna sahe hai (10th old me already faced a failure in JNV toh kuch naya nhi laga afsos hua tha iss baar ki aur mehnat karta toh ho jata .
ABB COLLEGE DHUDH rha hu toh koi achi college nhi mill rhi hai affordable 5-6 lakh increase bhi kar skate hai but college decent honi chahiye price par (socha college mein abb mehnath karunga, but kopi mill hi nhi rhi hai.)
toh app logo se puchna tha DROP LELU kya (meine 3 saal mein 12th complete kiya hai. kyu?, wo upar batya tha.) drop lu toh next year ADV KE LIYE elegible hu mein???
agar drop nhi lu toh mein konse college mein join hu BIHAR KA HU MEIN. (suggest kar do bhaiya middle class family se hu mein.)

I’ve recently been adding Hindi raga names to my Megalist of 365+ Ragas (an open-access, ad-free guide to Hindustani raga). Plenty of these transliterations (see list below) come from respected sources which list ragas in both languages, and others were straightforward enough to deduce. But my Hindi skills are...lacking: so I’d absolutely love to have more knowledgeable eyes look over it and point out any errors or improvements.
I’d also love to track down translations in other languages too (haven’t started this yet): particularly Bengali, Urdu, Marathi, Punjabi, Gujarati, plus Dravidian languages especially for the Carnatic-derived ragas. All contributions fully credited in the Raga Index project!
Abhogi (अभोगी); Adana (अडाना); Adbhut Kalyan (अद्भुत कल्याण); Adi Basant: (आदि बसंत); Ahir Bhairav (अहीर भैरव); Ahir Lalit (अहीर ललित); Ahiri (आहीरी); Ahiri Todi (आहीरी तोडी); Alhaiya Bilawal (अल्हैया बिलावल); Ambika Sarang (अंबिका सारंग) Amrut Ranjani (अमृत रंजनी); Anand Bhairav (आनंद भैरव); Anjani Kalyan (अंजनी कल्याण); Annapurna (अन्नपूर्णा); Antardhwani (अंतर्ध्वनि); Arun Malhar (अरुण मल्हार); Asa Bhairav (आसा भैरव); Asavari (आसावरी); Abheri Todi (अभेरी तोडी); Adarangi Todi (अदरंगी तोडी); Amiri Todi (आमिर तोडी); Amirkhani Kauns (अमीरखानी कौंस); Bageshri (बागेश्री); Bageshri Bahar (बागेश्री बहार); Bahaduri Todi (बहादुरी तोड़ी); Bahar (बहार); Bairagi (बैरागी); Bairagi Todi (बैरागी तोडी); Bangal Bhairav (बंगाल भैरव); Baradi (वराटी); Barwa (बरवा); Basant (बसन्त); Basant Mukhari (बसन्त मुखारी); Basanti Kanada (बसंती कान्ह्डा); Bhairav (भैरव); Bhairav Bahar (भैरव बहार); Bhairavi (भैरवी); Bhankari (भांकरी); Bhatiyar (भटियार); Bhatiyari Bhairav (भटियार भैरव); Bhavani (भवानी); Bhavmat Bhairav (भावमत भैरव); Bheem (भीम); Bhimpalasi (भीमपलासी); Bhinna Shadja (भिन्न-षड्ज); Bhupali (भूपाली); Bhupali Todi (भूपाल तोडी); Bibhas (विभास); Bihad Bhairav (बीहद भैरव); Bihag (बिहाग); Bihagara (बिहगरा); Bihagda (बिहागड़ा); Bihari (बिहारी); Bilaskh. T. (बिलासखानी तोडी); Bilawal (बिलावल); Champak (चंपक); Chandni Kedar (चाँदनी केदार); Chandni Bihag (चाँदनी बिहाग); Chandrakauns (चन्द्रकौन्स); Chandrakaushiki (चन्द्रभिन्न); Chandramadhu (चन्द्रमधु); Chandranandan (चन्द्रनन्दन); Charukeshi (चारुकेशी); Chaya (छाया); Chaya Malhar (छाया मल्हार); Chayanat (छायानट); Dagori (दगोरी); Dakshinatya Basant (दक्षिणात्य बसंत); Darbari (दरबारी); Darjeeling (दार्जिलिंग); Deen Todi (दीन तोड़ी); Deepak (दीपक); Des Malhar (देस मल्हार); Desh (देस); Deshkar (देशकार); Desi (देसी); Dev Gandhar (देव गन्धार); Devata Bhairav (देवता भैरव); Devgandhari Todi (देवगंधारी तोडी); Devgiri Bilawal (देवगिरि बिलावल); Devranjani (देवरंजनी); Devshri (देवश्री); Dhanashree (धनाश्री); Dhani (धानी); Dhavalshree (धवलश्री); Din ki Puriya (दिन की पुरिया); Durga (दुर्गा); Durgawati (दुर्गावती); Ek Prakar ki Kauns (एक प्रकार की कौन्स); Enayetkhani Kanada (इनायत खान कानडा); Gagan Vihang (गगन विहन्ग); Gandhari (गंधारी); Gangeshwari (गंगेश्वरी); Gaoti (गावती); Gara (गारा); Gaud Malhar (गौड मल्हार); Gaud Sarang (गौड सारंग); Gaudgiri Malhar (गौडगिरि मल्हार); Gauri (गौरी); Gauri Basant (गौरी बसन्त); Gaurimanjari (गौरी मंजरी); Gopika Basant (गोपिका बसन्त); Gorakh Kalyan (गोरख कल्याण); Gunakri (गुणक्री); Gunji Kanada (गूंजी कनाड़ा); Gunkali (गुणकली); Gujiri Todi (गुर्जरी तोडी); Hameer (हमीर); Hansa Narayani (हंसा नारायणी); Hansadhwani (हंसध्वनी); Hanskinkini (हंसकिंकिणी); Harikauns (हरिकौन्स); Hem Bihag (हेम बिहाग); Hemant (हेमंत); Hemavati (हेमावती); Hemshri (हेमश्री); Hindol (हिन्डोल); Hindolita (हिन्दोलिता); Hussaini Kanada (हुसैनी कनाड़ा); Hussaini Todi (हुसैनी तोडी); Imratkauns (इमरतकौन्स); Jaijaiwanti (जयजयवन्ती); Jaijaiwanti Nat (जयजयवन्ती नट); Jait (जयत); Jait Kalyan (जयत कल्याण); Jaitashree (जैतश्री); Jaiwanti Todi (जयवन्ति तोड़ी); Jaldhar Kedar (जलधर केदार); Jansammohini: (जनसम्मोहिनी); Jaun Bhairav: (जौन भैरव) Jaunpuri (जौनपुरी); Jayant Malhar: (जयन्त मल्हार); Jhinjhoti (झिंझोटी); Jog (जोग); Jogeshwari (जोगेश्वरी); Jogeshwari Pancham (पंचम जोगेश्वरी); Jogiya (जोगिया); Jogkauns (जोगकौंस); Jungala (जंगला); Kabiri Bhairav (कबीर भैरव); Kafi (काफी); Kalashri (कलाश्री); Kalavati (कलावती); Kalingada (कालिंगडा); Kambhoji (कंभोजी); Kameshwari (कामेश्वरी); Kamod (कामोद); Kaushik Dhwani (भिन्न षड्ज); Kaunsi Kanada (कौसी कान्ह्डा); Kedar (केदार); Kesari Kalyan (केसरी कल्याण); Khamaj (खमाज); Kirwani (कीरवाणी); Khambavati (खम्बावती); Khat (खट); Khat Todi (खट तोडी); Khem Kalyan (खेम कल्याण); Khokar (खोखर); Kukubh Bilawal (कुकुभ बिलावल); Lachari Kanada (लाचारी कान्ह्डा); Lachari Todi (लाचारी तोड़ी); Lagan Gandhar (लगन गान्धार); Lakshmi Kalyan (लक्ष्मी कल्याण); Lakshmi Todi (लक्ष्मी तोडी); Lalit (ललित); Lalit Pancham (ललित जोगेश्वरी); Lalita Gauri (ललित गौरी); Lalita Sohini (ललित सोहनी); Lanka Dahan Sarang (लंका-दहन सारंग); Lankeshwari (लंकेश्वरी); Lilavati (लीलावती); Madhukauns (मधुकौंस); Madhumad Sarang (मधुमाद सारंग); Madhuvanti (मधुवन्ती); Malashree (मालश्री); Malgunji (मालगुंजी); Malkauns (मालकौन्स); Mand (मांड); Mangal Bhairav (मंगल भैरव); Mangal Gujari (मंगल गुर्जरी); Mangal Todi (मंगल तोडी); Manj Khamaj (मंज खमाज); Maru Bihag (मारू बिहाग); Marwa (मारवा); Megh (मेघ); Meghranjani (मेघरंजनी); Miyan ki Malhar (मियाँ मल्हार); Miyan ki Sarang (मियाँ सारंग); Mohankauns (मोहनकौन्स); Multani (मुलतानी); Madhukant (मधूकांत); Madhuradhwani (मधुरध्वनि); Madhuranjani (मधुरंजनी); Madhurkauns (मधुरकौंस); Madhusurja (मधुसूरजा); Malavi (मालवी); Malay Marutam (मलयामरुथम); Malayalam (मलयालम); Maligoura (माली गौरा); Malti Basant (मालती बसंत); Maluha (मलुहा कल्याण); Manavi (मानवी); Manjari Bihag (मंजरी बिहाग); Medhavi (मेधावी); Meladalan (मेलादालान); Milan Gandhar (मिलान गान्धार); Monomanjari (मोनोमंजरी); Mudriki Kanada (मुद्रिकी कनाड़ा); Nand (नंद); Narayani (नारायणी); Nayaki Kanada (नायकी कान्ह्डा); Nat (नट); Nat Bhairav (नट भैरव); Nat Bihag (नट बिहाग); Nat Kamod (नट कामोद); Nagadhwani Kanada (नागा ध्वनि कनाड़ा); Nandkauns (नंदकौंस); Neelambari (नीलांबरी); Niranjani Todi (निरंजनी तोडी); Noor Sarang (नूर सारंग); Pahadi (पहाड़ी); Pancham (जोगेश्वरी); Pancham Malkauns (जोगेश्वरी मालकौन्स); Pancham se Gara (गारा पंचम से); Pancham se Pilu (पीलू पंचम से); Paraj (परज); Paraj Kalingada (परज कालिंगडा); Parameshwari (परमेश्वरी); Patdeep (पटदीप); Pilu (पीलू); Puriya (पूरिया); Puriya Dhanashree (पूरिया धनाश्री); Puriya Kalyan (पूरिया कल्याण); Poorvi (पूर्वी); Pat Bihag (पट बिहाग); Patdeepaki (पटदीपाकि); Patmanjari (पटमंजरी); Prabhakali (प्रभाकली); Prabhat Bhairav (प्रभात भैरव); Prabhateshwari (प्रभातेश्वरी); Purba (पूर्बा); Purva (पूर्व); Rageshri (रागेश्री); Rageshri Bahar (रागेश्री बहार); Rageshri Kanada (रागेश्री कान्ह्डा); Ramdasi Malhar (रामदासी मल्हार); Ramkali (रामकली); Rati Bhairav (रति भैरव); Raisa Kanada (रायसा कानडा); Raj Kalyan (राज कल्याण); Rajeshwari (राजेश्वरी); Rampriya (रामप्रिया); Rang Malhar (रंग मल्हार); Rangeshwari (रंगेश्वरी); Rasaranjani (रसरंजनी); Rasikpriya (रसिकप्रिया); Reva (रेवा); Roopkali (रूपकली); Salagavarali (सालग वराली); Saheli Todi (सहेली तोडी); Sakh (साख); Samant Sarang (सामंत सारंग); Sanjh Saravali (सांझ सारावली); Saurashtra Bhairav (सौराष्ट्र भैरव); Savani (सावनी); Sazgiri (साजगिरी); Sehera (सेहरा); Shankara Karan (शंकरा कारन); Shivawanti (शिवावन्ती); Shree Kalyan (श्री कल्याण); Shukla Bilawal (शुक्ल बिलावल); Simhendra Mad. (सिंहेन्द्र मध्यमम्); Sonakshi (सोनाक्षी); Swanandi (स्वानंदी); Sampurna Malkauns (संपूर्ण मालकौन्स); Sarang (Brindavani) (सारंग (बृंदावनी)); Saraswati (सरस्वती); Saraswati Kedar (सरस्वती केदार); Saraswati Sarang (सरस्वती सारंग); Shahana (शहाना); Shankara (शंकरा); Shivmat Bhairav (शिवमत भैरव); Shivranjani (शिवरंजनी); Shobhawari (शोभावरी); Shree (श्री); Shuddha Basant (शुद्ध बसन्त); Shuddha Kalyan (शुद्ध कल्याण); Shuddha Malhar (शुद्ध मल्हार); Shuddha Sarang (शुद्ध सारंग); Shyam Kalyan (श्याम कल्याण); Sindhura (सिन्धुरा); Sohini (सोहनी); Sohini Pancham (सोहनी जोगेश्वरी); Sorath (सोरठ); Sughrai (सुघराई); Suha (सुहा); Suha Todi (सुहा तोडी); Sundarkali (सुन्दरकली); Sundarkauns (सुन्दरकौन्स); Surdasi Malhar (सूरदासी मल्हार); Tankeshree (तनकेश्री); Tanseni Madhuvanti (तानसेन मधुवंती); Tilak Bhairav (तिलक भैरव); Tilak Kamod (तिलक कामोद); Tilak Malhar (तिलक मल्हार); Tilang (तिलंग); Tilang Bahar (तिलंग बहार); Tivrakauns (तीव्र कौन्स); Todi (तोडी); Triveni (त्रिवेणी); Tulsikauns (तुलसी कौन्स); Vachaspati (वाचस्पती); Vardhini (वर्धिनी); Vijayanagari (विजयनगरी); Virat Bhairav (विराट भैरव); Vihang (विहन्ग); Viyogavarali (वियोग वराली तोड़ी); Yaman (यमन); Zeelaf (झिलफ); Zila Kafi (जिला काफी); And also for other project pages (definitely less confident about these!): Search: ‘raga search’: (राग सर्च) Megalist: ‘list of ragas’: (रागों की सूची) Glossary: ‘raga glossary’: (राग परिभाषाएं) Murchanas: ‘murchanas’: (राग मूर्च्छना) Tanpuras: ‘tanpura sounds’: (तानपुरा ध्वनि) Quotes: ‘raga quotes’: (राग उद्धरण) Talas: ‘list of talas’: (की सूची ताल) Thaat: ‘32 thaat scales’: (३२ थाट तराजू) Ragatable: ‘raga spreadsheet’: (राग स्प्रेडशीट) Home: ‘Hindustani raga index’: (हिंदुस्तानी राग सूचकांक) About: ‘raga index: about’: (राग सूचकांक: के बारे में) Tags: ‘raga categories’: (राग श्रेणियाँ) Instruments: ‘Indian instruments’: (राग के वाद्य)
Any input much appreciated! I want these resources to be open to all who search, regardless of native language...
​

I’ve recently been adding Hindi raga names to my Megalist of 365+ Ragas. Plenty of these transliterations (see list below) come from respected sources which list ragas in both languages, and others were straightforward enough to deduce. But my Hindi skills are...lacking: so I’d absolutely love to have more knowledgeable eyes look over it and point out any errors or improvements.
I’d also love to track down translations in other languages too (haven’t started this yet): particularly Bengali, Urdu, Marathi, Punjabi, Gujarati, plus Dravidian languages especially for the Carnatic-derived ragas. All contributions fully credited in the Raga Index project!
Abhogi (अभोगी); Adana (अडाना); Adbhut Kalyan (अद्भुत कल्याण); Adi Basant: (आदि बसंत); Ahir Bhairav (अहीर भैरव); Ahir Lalit (अहीर ललित); Ahiri (आहीरी); Ahiri Todi (आहीरी तोडी); Alhaiya Bilawal (अल्हैया बिलावल); Ambika Sarang (अंबिका सारंग) Amrut Ranjani (अमृत रंजनी); Anand Bhairav (आनंद भैरव); Anjani Kalyan (अंजनी कल्याण); Annapurna (अन्नपूर्णा); Antardhwani (अंतर्ध्वनि); Arun Malhar (अरुण मल्हार); Asa Bhairav (आसा भैरव); Asavari (आसावरी); Abheri Todi (अभेरी तोडी); Adarangi Todi (अदरंगी तोडी); Amiri Todi (आमिर तोडी); Amirkhani Kauns (अमीरखानी कौंस); Bageshri (बागेश्री); Bageshri Bahar (बागेश्री बहार); Bahaduri Todi (बहादुरी तोड़ी); Bahar (बहार); Bairagi (बैरागी); Bairagi Todi (बैरागी तोडी); Bangal Bhairav (बंगाल भैरव); Baradi (वराटी); Barwa (बरवा); Basant (बसन्त); Basant Mukhari (बसन्त मुखारी); Basanti Kanada (बसंती कान्ह्डा); Bhairav (भैरव); Bhairav Bahar (भैरव बहार); Bhairavi (भैरवी); Bhankari (भांकरी); Bhatiyar (भटियार); Bhatiyari Bhairav (भटियार भैरव); Bhavani (भवानी); Bhavmat Bhairav (भावमत भैरव); Bheem (भीम); Bhimpalasi (भीमपलासी); Bhinna Shadja (भिन्न-षड्ज); Bhupali (भूपाली); Bhupali Todi (भूपाल तोडी); Bibhas (विभास); Bihad Bhairav (बीहद भैरव); Bihag (बिहाग); Bihagara (बिहगरा); Bihagda (बिहागड़ा); Bihari (बिहारी); Bilaskh. T. (बिलासखानी तोडी); Bilawal (बिलावल); Champak (चंपक); Chandni Kedar (चाँदनी केदार); Chandni Bihag (चाँदनी बिहाग); Chandrakauns (चन्द्रकौन्स); Chandrakaushiki (चन्द्रभिन्न); Chandramadhu (चन्द्रमधु); Chandranandan (चन्द्रनन्दन); Charukeshi (चारुकेशी); Chaya (छाया); Chaya Malhar (छाया मल्हार); Chayanat (छायानट); Dagori (दगोरी); Dakshinatya Basant (दक्षिणात्य बसंत); Darbari (दरबारी); Darjeeling (दार्जिलिंग); Deen Todi (दीन तोड़ी); Deepak (दीपक); Des Malhar (देस मल्हार); Desh (देस); Deshkar (देशकार); Desi (देसी); Dev Gandhar (देव गन्धार); Devata Bhairav (देवता भैरव); Devgandhari Todi (देवगंधारी तोडी); Devgiri Bilawal (देवगिरि बिलावल); Devranjani (देवरंजनी); Devshri (देवश्री); Dhanashree (धनाश्री); Dhani (धानी); Dhavalshree (धवलश्री); Din ki Puriya (दिन की पुरिया); Durga (दुर्गा); Durgawati (दुर्गावती); Ek Prakar ki Kauns (एक प्रकार की कौन्स); Enayetkhani Kanada (इनायत खान कानडा); Gagan Vihang (गगन विहन्ग); Gandhari (गंधारी); Gangeshwari (गंगेश्वरी); Gaoti (गावती); Gara (गारा); Gaud Malhar (गौड मल्हार); Gaud Sarang (गौड सारंग); Gaudgiri Malhar (गौडगिरि मल्हार); Gauri (गौरी); Gauri Basant (गौरी बसन्त); Gaurimanjari (गौरी मंजरी); Gopika Basant (गोपिका बसन्त); Gorakh Kalyan (गोरख कल्याण); Gunakri (गुणक्री); Gunji Kanada (गूंजी कनाड़ा); Gunkali (गुणकली); Gujiri Todi (गुर्जरी तोडी); Hameer (हमीर); Hansa Narayani (हंसा नारायणी); Hansadhwani (हंसध्वनी); Hanskinkini (हंसकिंकिणी); Harikauns (हरिकौन्स); Hem Bihag (हेम बिहाग); Hemant (हेमंत); Hemavati (हेमावती); Hemshri (हेमश्री); Hindol (हिन्डोल); Hindolita (हिन्दोलिता); Hussaini Kanada (हुसैनी कनाड़ा); Hussaini Todi (हुसैनी तोडी); Imratkauns (इमरतकौन्स); Jaijaiwanti (जयजयवन्ती); Jaijaiwanti Nat (जयजयवन्ती नट); Jait (जयत); Jait Kalyan (जयत कल्याण); Jaitashree (जैतश्री); Jaiwanti Todi (जयवन्ति तोड़ी); Jaldhar Kedar (जलधर केदार); Jansammohini: (जनसम्मोहिनी); Jaun Bhairav: (जौन भैरव) Jaunpuri (जौनपुरी); Jayant Malhar: (जयन्त मल्हार); Jhinjhoti (झिंझोटी); Jog (जोग); Jogeshwari (जोगेश्वरी); Jogeshwari Pancham (पंचम जोगेश्वरी); Jogiya (जोगिया); Jogkauns (जोगकौंस); Jungala (जंगला); Kabiri Bhairav (कबीर भैरव); Kafi (काफी); Kalashri (कलाश्री); Kalavati (कलावती); Kalingada (कालिंगडा); Kambhoji (कंभोजी); Kameshwari (कामेश्वरी); Kamod (कामोद); Kaushik Dhwani (भिन्न षड्ज); Kaunsi Kanada (कौसी कान्ह्डा); Kedar (केदार); Kesari Kalyan (केसरी कल्याण); Khamaj (खमाज); Kirwani (कीरवाणी); Khambavati (खम्बावती); Khat (खट); Khat Todi (खट तोडी); Khem Kalyan (खेम कल्याण); Khokar (खोखर); Kukubh Bilawal (कुकुभ बिलावल); Lachari Kanada (लाचारी कान्ह्डा); Lachari Todi (लाचारी तोड़ी); Lagan Gandhar (लगन गान्धार); Lakshmi Kalyan (लक्ष्मी कल्याण); Lakshmi Todi (लक्ष्मी तोडी); Lalit (ललित); Lalit Pancham (ललित जोगेश्वरी); Lalita Gauri (ललित गौरी); Lalita Sohini (ललित सोहनी); Lanka Dahan Sarang (लंका-दहन सारंग); Lankeshwari (लंकेश्वरी); Lilavati (लीलावती); Madhukauns (मधुकौंस); Madhumad Sarang (मधुमाद सारंग); Madhuvanti (मधुवन्ती); Malashree (मालश्री); Malgunji (मालगुंजी); Malkauns (मालकौन्स); Mand (मांड); Mangal Bhairav (मंगल भैरव); Mangal Gujari (मंगल गुर्जरी); Mangal Todi (मंगल तोडी); Manj Khamaj (मंज खमाज); Maru Bihag (मारू बिहाग); Marwa (मारवा); Megh (मेघ); Meghranjani (मेघरंजनी); Miyan ki Malhar (मियाँ मल्हार); Miyan ki Sarang (मियाँ सारंग); Mohankauns (मोहनकौन्स); Multani (मुलतानी); Madhukant (मधूकांत); Madhuradhwani (मधुरध्वनि); Madhuranjani (मधुरंजनी); Madhurkauns (मधुरकौंस); Madhusurja (मधुसूरजा); Malavi (मालवी); Malay Marutam (मलयामरुथम); Malayalam (मलयालम); Maligoura (माली गौरा); Malti Basant (मालती बसंत); Maluha (मलुहा कल्याण); Manavi (मानवी); Manjari Bihag (मंजरी बिहाग); Medhavi (मेधावी); Meladalan (मेलादालान); Milan Gandhar (मिलान गान्धार); Monomanjari (मोनोमंजरी); Mudriki Kanada (मुद्रिकी कनाड़ा); Nand (नंद); Narayani (नारायणी); Nayaki Kanada (नायकी कान्ह्डा); Nat (नट); Nat Bhairav (नट भैरव); Nat Bihag (नट बिहाग); Nat Kamod (नट कामोद); Nagadhwani Kanada (नागा ध्वनि कनाड़ा); Nandkauns (नंदकौंस); Neelambari (नीलांबरी); Niranjani Todi (निरंजनी तोडी); Noor Sarang (नूर सारंग); Pahadi (पहाड़ी); Pancham (जोगेश्वरी); Pancham Malkauns (जोगेश्वरी मालकौन्स); Pancham se Gara (गारा पंचम से); Pancham se Pilu (पीलू पंचम से); Paraj (परज); Paraj Kalingada (परज कालिंगडा); Parameshwari (परमेश्वरी); Patdeep (पटदीप); Pilu (पीलू); Puriya (पूरिया); Puriya Dhanashree (पूरिया धनाश्री); Puriya Kalyan (पूरिया कल्याण); Poorvi (पूर्वी); Pat Bihag (पट बिहाग); Patdeepaki (पटदीपाकि); Patmanjari (पटमंजरी); Prabhakali (प्रभाकली); Prabhat Bhairav (प्रभात भैरव); Prabhateshwari (प्रभातेश्वरी); Purba (पूर्बा); Purva (पूर्व); Rageshri (रागेश्री); Rageshri Bahar (रागेश्री बहार); Rageshri Kanada (रागेश्री कान्ह्डा); Ramdasi Malhar (रामदासी मल्हार); Ramkali (रामकली); Rati Bhairav (रति भैरव); Raisa Kanada (रायसा कानडा); Raj Kalyan (राज कल्याण); Rajeshwari (राजेश्वरी); Rampriya (रामप्रिया); Rang Malhar (रंग मल्हार); Rangeshwari (रंगेश्वरी); Rasaranjani (रसरंजनी); Rasikpriya (रसिकप्रिया); Reva (रेवा); Roopkali (रूपकली); Salagavarali (सालग वराली); Saheli Todi (सहेली तोडी); Sakh (साख); Samant Sarang (सामंत सारंग); Sanjh Saravali (सांझ सारावली); Saurashtra Bhairav (सौराष्ट्र भैरव); Savani (सावनी); Sazgiri (साजगिरी); Sehera (सेहरा); Shankara Karan (शंकरा कारन); Shivawanti (शिवावन्ती); Shree Kalyan (श्री कल्याण); Shukla Bilawal (शुक्ल बिलावल); Simhendra Mad. (सिंहेन्द्र मध्यमम्); Sonakshi (सोनाक्षी); Swanandi (स्वानंदी); Sampurna Malkauns (संपूर्ण मालकौन्स); Sarang (Brindavani) (सारंग (बृंदावनी)); Saraswati (सरस्वती); Saraswati Kedar (सरस्वती केदार); Saraswati Sarang (सरस्वती सारंग); Shahana (शहाना); Shankara (शंकरा); Shivmat Bhairav (शिवमत भैरव); Shivranjani (शिवरंजनी); Shobhawari (शोभावरी); Shree (श्री); Shuddha Basant (शुद्ध बसन्त); Shuddha Kalyan (शुद्ध कल्याण); Shuddha Malhar (शुद्ध मल्हार); Shuddha Sarang (शुद्ध सारंग); Shyam Kalyan (श्याम कल्याण); Sindhura (सिन्धुरा); Sohini (सोहनी); Sohini Pancham (सोहनी जोगेश्वरी); Sorath (सोरठ); Sughrai (सुघराई); Suha (सुहा); Suha Todi (सुहा तोडी); Sundarkali (सुन्दरकली); Sundarkauns (सुन्दरकौन्स); Surdasi Malhar (सूरदासी मल्हार); Tankeshree (तनकेश्री); Tanseni Madhuvanti (तानसेन मधुवंती); Tilak Bhairav (तिलक भैरव); Tilak Kamod (तिलक कामोद); Tilak Malhar (तिलक मल्हार); Tilang (तिलंग); Tilang Bahar (तिलंग बहार); Tivrakauns (तीव्र कौन्स); Todi (तोडी); Triveni (त्रिवेणी); Tulsikauns (तुलसी कौन्स); Vachaspati (वाचस्पती); Vardhini (वर्धिनी); Vijayanagari (विजयनगरी); Virat Bhairav (विराट भैरव); Vihang (विहन्ग); Viyogavarali (वियोग वराली तोड़ी); Yaman (यमन); Zeelaf (झिलफ); Zila Kafi (जिला काफी); And also for other project pages (definitely less confident about these!): Search: ‘raga search’: (राग सर्च) Megalist: ‘list of ragas’: (रागों की सूची) Glossary: ‘raga glossary’: (राग परिभाषाएं) Murchanas: ‘murchanas’: (राग मूर्च्छना) Tanpuras: ‘tanpura sounds’: (तानपुरा ध्वनि) Quotes: ‘raga quotes’: (राग उद्धरण) Talas: ‘list of talas’: (की सूची ताल) Thaat: ‘32 thaat scales’: (३२ थाट तराजू) Ragatable: ‘raga spreadsheet’: (राग स्प्रेडशीट) Home: ‘Hindustani raga index’: (हिंदुस्तानी राग सूचकांक) About: ‘raga index: about’: (राग सूचकांक: के बारे में) Tags: ‘raga categories’: (राग श्रेणियाँ) Instruments: ‘Indian instruments’: (राग के वाद्य)
Any input much appreciated! I want these resources to be open to all who search, regardless of native language... (Also if anyone has anything they’d like to ask a top sitarist...I’m interviewing Anupama Bhagwat tomorrow morning, so let me know.)
​

First year ma bbs ko back theyo, ani maile deko Aaily 1 barsa bhayecha.
90 din ma result nikalcham bhanera notice nai nikaleko theyo keyare, tara sahed busy bhayo hola, karmachari lai kaam ko load paryo ki kunni.
Student ta k bhayo ra chill ma basi halcha ni.
Dhanyabad

1. A Happy Salrukh - Clearly Janab zyada bolne lage hain ajkal - firstly abhi ghar beitha hain so there is no tiredness.. 2ndly JDJ ke paisa abhi bhi garam hain so no worries for money + vlogging.. 3rdly he has bagged a project already for which he looks happy.
   
2. Different energy of Janab-Madam - these days they look happy, specially Janab's attitude towards Pipi has been changed completely, bade pyaar se pesh aa raha hain, khane ka tareef bhaad bhaad ke ho raha hain, they r presenting themselves as a team. Seems a changed strategy.
   
3. Making fun of the trollings - Recently they have started making fun of the comments they get, specially what Pipi gets against her - even today she mentioned about people pointing out her uncombed hair ! Pata nehi kya nasha karke dono bahut zyada hasste rahete hain ajkal, looks like they keep discussing the comments and later they laugh recalling those comments. While people here waiting for their rant video, there they have started mocking the trolls just to show they r not getting affected by those comments at all.
   
4. Again Pipi ki praising - Apart from Janab, I noticed recently even Dabba has started doing bhabhi ka praising for example that day both Bhai Bahen mentioned Bhabhi is a better cook. They could mention about Ammi as well, but they only did when Farah asked if Ammi doesn't cook well. In today's vlog Dabba mentioned Ammi was praising Bhabhi's eid ka biryani also if I m not wrong, Pipi got more eidi that anybody else ( correct me if I m wrong here).
   
5. Madam's new venture, Janab shows extra excitement - Pipi doesn't mention about the new venture much, but beech beech me Janab bol uthta hain ki wo kitna excited hain about her "new journey"!! I think before he starts his new project and leaves Pipi alone in the home again, he just wants to show himself as a supportive husband who gets happy to see his wife grow !
   

What do you guys think about the latest pattern?

Guys please meri grammatical mistakes aur typing style ko ignore krrke mujhe ek sahi practical suggestion Dena please main ek duvidha mein fss gya hoon
Baat ye hai ki mujhe clg ke ist sem mein ek ladki psand aa gyi main use dekhta tha wo bhi mujhe dekhti thi but meri shy aur introvert personality ki wajah se jbb bhi wo meri taraf eye contact krti thi to meri fat jaati thi mere dil ko jaise heart attack aa gya ho kyunki pehle Naa offline na online maine kisi ladki ko msg tak nhi kiya na kbhi kisi ladki se baat ki school mein iss wajah se main usse dekh hi nhi pata tha jiska mujhe ghr aake bahut afsos hota tha abb bhi hota hai
But abb wo mujhe bahut kam dekhti hai but main usse bhula hi nhi paa rha hoon Roz main jbb ghr se clg ke liye nikalta hoon to sochta hoon ki aaj pkka usse pooch hi loonga but jaise clg pahunchta hoon aur usse dekhta hoon meri literally fat jaati hai main eye contact bahut kmm krr pata hoon guys ek cheez hoti hai uski saheli mujhe kaafi goorti picche dekh dekh ke hai aur mujhe samajh nhi aata hai ki main kya karun kyunki main uski saheli mein intersted nhi hoon
Guys mujhe inn mamlon ka pta nhi Naa main insta chlata hoon na fb na Snapchat sirf WhatsApp wo bhi clg ke groups aur reddit just for memes fun jiss se mujhe clg mein doston mein bhi acceptance nhi mil rhi hai students mein dost sirf paper ke liye mujhe bulate hain kyunki I am academically good and I topped the university in ist sem
Bss Aisa lgta hai ki yaan main kaafi picche reh gya yaa dunia kaafi aage nikal gyi
Guys thanks for reading this and again ignore the gramatical mistake and writing style and and please mujhe batao ki mujhe kya krna chahiye ladki Wale case mein aur socially in college walle case mein main bahut preshan ho gya hoon

Daag nishaani hai har jakhm ki jo chand ne sahe,
Vo asmaan me akela hai vo kisse kahe.

I (21m) have used reddit it to so much extent that it has changed my behaviour pattern, thinking, communication with opposite gender, hatred etc etc.
Recently all of you have might seem the post of Ishitaaz where she writes that girls like bad boys.
RelationshipIndia, arranged marriage ye subs dekhne ke mere dimaag ki maa bahen ho chuki hai. Har ladki ko judge karta hu, shaadi ke baad wife ne Aisa Kiya to waisa kar dunga etc etc.
Jabh ki IRL me bahot alag hai. Class ki ladkiya to some extent achhi hai, baat karti,help karti even unknown ladki bhi madad karti hai ye reddit ne mere dimaag ko brainwash kar Diya hai
Edit: Bina wajah (reason) ke bhi ladki per gussa aane lagta hai but kabhi show nahi kiya. Andaro andar hatred ho Raha plz help

Just saw a reel of neetu bisht. America ke sabse saste lahenge. Bhai maar daloge kya hume content ke naam pe. Ye kya samjhti hai public ko. Bhai maut aa jaati h iski reel dekh ke. America ki Tesla. America ka sabse mahenga ghar. Bahen kya cchiye tumhe.

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

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

I (F20s) live in Delhi’s Chandni Chowk area. I’ve been friends with Anjali (F20s) since we were babies. We live next door to one another and are basically family even though she’s a Hindu and I’m a Muslim. She has basically been my sister my whole life. Anyway, it was my wedding yesterday and needless to say, Anjali was my MOH(such as they are in weddings in our culture). Both Anjali and I love Bollywood movies so when she offered to do a performance at my wedding, I was more than happy to agree. This was a big mistake. “Coincidentally”, this guy she’s been flirting with randomly showed up at my wedding, uninvited of course! He begins with a woke feminist couplet and then launches into a song ABOUT HER! To rub salt in my wounds, he referred to her as “banno ki saheli”. That was the beginning and end of even a reference to me at my own wedding! Instead of shifting the attention back on me, she decided my wedding was a good time to show off not just her dancing but also her singing and musical composition capabilities and managed to make the guy’s song a duet, with both of them flirting with each other through song. Now, you will think I’m an overreacting attention wh0r€, but how am I supposed to feel when I watched my own wedding video only to see barely even a glimpse of myself or my now husband or family. The entire thing is just about Anjali and her poverty digger now boyfriend. I thought the videographer would at least record our vow exchange, but even there, the camera is primarily on those two. I’m so hopping mad! AITA for cutting her off (she’s going to move to London in a few days so it won’t be tough anyway). You can watch the video for yourself to see what I mean.
ETA: I just found out, she plans to kill her bauji to manipulate poverty digger to marry her and take care of her brat of a sister as well. I can’t believe I ever considered her a friend!