Tag Archives: music

Jack Johnson – Go on

Came across this beautiful song on SWB‘s latest blog post. Loved the post and loved the song even more, for a lot of reasons.

In my rear view
I watch you watching the twilight
Behind the telephone lines
Nothing to prove, or to assume
Just thinking if your thoughts are different than mine
In my rear view
I watch you
I gave you your life, would you give me mine?

I see you slowly swim away
Cause the light is leaving town
To a place that I can’t be
There’s no apologies

Just go on
Just go on
There’s still so many things
I wanna to say to you
But go on
Just go on
We’re bound by blood that’s moving
From the moment that we started
From the moment that we started

I see perfect little lives
Watch the shadows of the clouds
And the surface of the ocean out the window of a plane
I get nervous when I fly
I’m used to walking with my feet
Turbulence is like a sigh that I can’t help but over think

What is the purpose of my life
If it doesn’t ever do
With learning to let it go
Live vicariously through you
You could do the same
It’s the least you can do
Cause it’s a lonely little chain
If you don’t add to it

So go on
Just go on
There’s so many things
I wanna say to you
Go on
Just go on
We’re bound by blood and love
From the moment that we started
Just go on
Just go on
There’s still so many things
I wanna say to you
Just go on
Just go on
We’re bound by blood that’s moving
From the moment that we started
From the moment that we started

Listen to it here

Lyrics from: http://www.sing365.com/index.html

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Endless Wait

I finally managed to get myself into a movie watching mode and watched this bengali film called ‘Antaheen‘ – which literally means ‘Endless’, although the english title is probably ‘Endless Wait’ which is more in tune with the storyline. Well, I quite liked it and imho its probably a big deal, worth a blog post….really. I grew up when the only good enough watchable fare from Bengali cinema were the classics from the black & white period of the 60s-70s. Anything after that and in colour was utterly disgusting, crass and totally out of sync with any kind of sensible or relateable bengali social structure. There were little pieces of jewels like 36 Chowringhee Lane, Paroma, Atanka, Kharij etc, but considering the mature content nature I never got to venture that side until much later.

Well, from the 90s onwards, the alternative stuff started pouring in, primarily led by Rituparno Ghosh’s ‘Unishe April‘. Most of these films were based upon stories surrounding upper-middle class households and explored the dynamics in the relationships between the main characters – women occupied in some kind of art related field and involved with wimpy men seeking emancipation and men who smoked like chimneys & worked in media houses. They could be in various stages of relationship maturity – dating furiously, about to be married, married, married but living apart, about to be divorced, divorced yet dating each other furiously, divorced and married to other people and still wanting to get back… whatever gets them to put their relationship status as ‘complicated’. The dialogues were stretchy and laced with abusive language to bring in some kind of contemporary flavour, the scenarios pretentious, and the characters contrived to carve in complications. And they all looked the same. Compounded by the fact that there were a handful of actors who kept rolling by in all these films.

Whether it was the street-fare commercial stuff or the alternative films, both lacked money and it showed. The finances started pouring in, when rich production houses from Southern India started investing in the Bengali film industry. However, it also started an era when commercial Bengali cinema garbed itself into a mode which was always associated with the over-the-top action movies from the Southern shores – elaborate sets, cavalcade of vehicles, baddies, violent fights, dances (the horror!), facial gymnastics, everything that could alienate them even further.

Perhaps, this also led to a second round of alternative set of cinema being churned out. These had a much richer look than their earlier cousins, but somehow the pretentious facets still haunted them. I mostly shied away from them as well. Anuranan being one. The last film that I really liked was ‘Dosar‘, a black & white film by Rituparno Ghosh. It was stark, with effortless performances from most of the cast members. Antaheen (from the same director as Anuranan) just got added to my list of liked movies. It is the story of a television journalist & police officer, who strike up a friendship over the internet as strangers and seperately in real life as well. Parellely, goes the track of an estranged middle aged couple who still rely on each other as old habits, yet prefer the distance between them that allows them to be close without stepping on each others toes. There are a few other tracks as well, which bring in their share of resonance to the story. There was a small one with Mita Vashist. This lady is a bombshell and made the minor character of Mrs.Mehra the most profound of them all. The sets and costumes were contemporary, dialogues mostly pert and very very normal, actors looked their part and the music… oh beautiful! (And apparently Shantanu Moitra did it for free.) Some of the trimmings looked a bit forced though, as if to bring in a touch of the exotic. But then these can be comfortably overlooked for an evening well spent.

The following are the lyrics of the song Pherari Mon (Wandering Mind) that got Shreya Ghosal a National Award this year. Even if you can’t read bengali, you can go ahead and listen to the song here

আলো আলো রং, জমকালো চাঁদ ধুয়ে যায়
চেনাশোনা মুখ, জানাশোনা হাত ছুঁয়ে যায়
ফিরে ফিরে ঘুম ঘিরে ঘিরে গান রেখে যায়
কিছু মিছু রাত, পিছু পিছু টান ডেকে যায়
আজও আছে গোপন ফেরারী মন
বেজে গেছে কখন, সে টেলিফোন
চেনাশোনা মুখ, জানাশোনা হাত রেখে যায়
ফিরে ফিরে ঘুম ঘিরে ঘিরে গান ডেকে যায়
আজও আছে গোপন ফেরারী মন
বেজে গেছে কখন, সে টেলিফোন॥

ছোট ছোট দিন আলাপে রঙিন, নুড়ির মতন
ছোট ছোট রাত চেনা মৌতাত, পলাশের বন
আহা, অগোছালো ঘর, খড়কুটো মন চিলেকোঠা কোণ
কথা ছিল, হেটে যাবো ছায়াপথ
আজও আছে গোপন ফেরারী মন
বেজে গেছে কখন, সে টেলিফোন॥

কিছু মিছু রাত, পিছু পিছু টান অবিকল
আলো আলো রং জমকালো চাঁদ ঝলমল
আজও আছে গোপন ফেরারী মন
বেজে গেছে কখন, সে টেলিফোন॥

গুড়ো গুড়ো নীল, রং পেনসিল জোছনার জল
ঝুরো ঝুরো কাঁচ, আগুণ ছোঁয়াচ দেখেছে আঁচল
ফুটপাথে ভিড়, জাহাজের ডাক ফিরে চলে যায়
কথা ছিল, হেটে যাবো ছায়াপথ
আজও আছে গোপন ফেরারী মন
বেজে গেছে কখন, সে টেলিফোন॥

আলো আলো রং, জমকালো চাঁদ ধুয়ে যায়
চেনাশোনা মুখ, জানাশোনা হাত ছুঁয়ে যায়
আজও আছে গোপন ফেরারী মন
বেজে গেছে কখন, সে টেলিফোন॥

Dance with all your heart

The other day while waiting to collect my order of idli-sambar at the neighbourhood food court, I noticed on the television above the counter the news of Sania Mirza calling off her engagement. Thankfully, the telly was on mute and except for the cheesy graphics I was spared the horror of the reporter’s agony and angst ridden repertoire. Later I came across the news again in the paper and liked what the lady had to say about the break up. Something to the tune of – “We were friends for years, but found ourselves incompatible as fiances”.

Every relationship has its own tale. Like the opening lines of Anna Karenina:

Happy families are all alike; every unhappy family is unhappy in its own way

It often takes a lifetime to realise that relationships do not always work out the way they were expected to. There are the ones which take off like firworks and then fizz out. Or the ones that start burning like a slow fire with wet wood and then glow bright, spreading a comfortable warmth. Often relationships come a full circle and don’t know where to go next. Especially when people have known each other for a considerably long time, that by the time they come together there is nothing new to discover about each other (#notmyquote). They become partnerships or just households. Secure and staid, but without any heartaching emotion. Often leading into territories where dilemmas, questions and justifications of faith raise their heads.

People come together with myriad yearnings – love, compassion, physical bonds, security, freedom, and sometimes even impassioned calculations. Some things work out, some others don’t. The ones that don’t, need attention. And without resolution they stay on, like the throbbing of an age old migraine. Painful, yet ignored by a practised habit. Most often than not (especially here in our country), people carry on with their long-dead relationships for the sake of societal norms, ranging from family pride to the stigma of being homewreckers or just as their own personal choice (a nice post related to this here).

I was drawn into a discussion the other day about two films – When Harry Met Sally and The Notebook. Both were extremely enjoyable, but I had my own reservations about them. The first assumes that men and women can never be friends and eventually ends with the protagonists getting together. While the latter has the female lead returning to her first love, leaving behind a fiance at the last minute. Both were ideal solutions to seemingly complicated situations, which would make most of the audience happy. While Harry & Sally effectively seal the ‘fact’ that other than lovers there is no possibility of men and women to have any kind of non-romantic-but-emotionally-caring-buddies relationship (*), ‘the notebook’ on the other hand dilutes the complications of the quagmire that the lady finds herself in. On one side is her memory of a whirlwind teen romance which was nipped without a closure, and on the other end was a mature romance between two people who have seen more of the world and had connected at a stage of their lives when moving towards a stable and mellow bond would come with the least of regrets. In anycase, the fall guy had hardly spent enough screen time for the audience to feel much sympathy for him and he made way for the first love. I would have liked to know how this couple overcome the awkwardness that generally creeps in due to the time spent apart, or how the lady gets over the guilt of cutting short her second relationship that must have been at an extremely intimate state (perhaps the book deals with it better). Or how Harry & Sally settled household matters and other mundane stuff. Well, these are perhaps the least of the worries that cinegoers would like to indulge in.

People shape their perpectives from what they see around them and then nurture them with their own experiences. Cinema is a primary source for a lot of young people to form their opinions of ideal relationships. And these mostly end up in monochrome. Binaries of extremes, that churn out moony eyed expectations. Imho, relationships have so many vivid and nested shades. Even when things seem to have come to a stop, there are the hidden undercurrents that makes it easier to share and care for each other. Some call it habit. Probably, it is also a mix of guilt-ridden sense of responsibilty that one is unlikely to desecrate. However, these shades are generally not visible, unless a person shares a relationship into a considerable depth. It is unfortunate that the monochrome visions often miss these lines in between and by the time they figure it out, the depth sucks them in. A possible solution here would perhaps include widening the horizons from personal experience, but then that brings with it, its own set of complications. And honestly, I don’t think our society is liberal enough (not just in patches, but entirely) yet to handle such lifestyle changes.

Moving on, these two lines from the song ‘Uff- yeh ada’ (Karthik Calling Karthik) have stuck into my head.

pyar agar hai mujhse pyar jataa ke naach
jaan-o-dil jo hai teri mujhpe luta ke naach

Roughly translated they read – if you have love for me in then show it while you dance, give all you have to it while you dance. I believe this is true for every kind of relationship – not just romantic ones. Whatever you feel in your heart for a person (friend, lover, sibling) don’t hold any of it back and give all it takes to make it honest and worthwhile.

* apparently if it hurts to share a friend then its definitely not friendship any more… #notmyquote, but that was a convincing argument during the discussion that can perhaps measure when people can no longer be ‘just friends’ and have moved onto the next stage.

Red Hot Chili Peppers – Under the bridge

This was playing in my head since morning….

Sometimes I feel
Like I don’t have a partner
Sometimes I feel
Like my only friend
Is the city I live in
The city of angels
Lonely as I am
Together we cry

I drive on her streets
‘Cause she’s my companion
I walk through her hills
‘Cause she knows who I am
She sees my good deeds
And she kisses me windy
I never worry
Now that is a lie

I don’t ever want to feel
Like I did that day
Take me to the place I love
Take me all the way

It’s hard to believe
That there’s nobody out there
It’s hard to believe
That I’m all alone
At least I have her love
The city she loves me
Lonely as I am
Together we cry

I don’t ever want to feel
Like I did that day
Take me to the place I love
Take me all that way

Under the bridge downtown
Is where I drew some blood
Under the bridge downtown
I could not get enough
Under the bridge downtown
Forgot about my love
Under the bridge downtown
I gave my life away

Video Link

Saware

Sometimes the cupboards need a little shake and treasures stumble out. Found one such last evening. Have been listening to this beautiful song since morning.


Teri Justajoo, Sawaare – Roop Kumar Rathod.

Teri Justajoo… Teri Justajoo…
Saaware Saaware Saaware… [2]
Tere Bin Suni Suni Hai Akhiya
Tere Bin Lamha Lamha Hai Sadiya
Soona Soona Jahaan Laage Re
Saaware Saaware Saaware… [2]
Teri Justjoo…Teri Justjoo…

Tu Mere Dil ki Duwaa
Tu Hi Meri Har Kushi
Shamil Hai Tu Rooh Mein
Tu Hi Meri Zindagi
Teri Yadoon Ka Sawaan Hai
Pyasi Pyasi Yeh Dadkhan Hai
Bas Tu Nazar Aayere..
Saaware Saaware Saaware…[2]

Saiyyaro Sey.. Raat Bhar,
Karte Hai Hum Guftagu
Teri Justajoo..
Armaano Ki Bheed Mein,
Teri Hi Hain Justajoo..
Sooni Sooni Se Hasrath Hain,
Kaise Teri Mohabath Hai
Kuch Na Muje Bhayere
Saaware Saaware Saaware…[2]
Tere Bin Sooni Sooni Hai Akhiya
Tere Bin Lamha Lamha Hai Sadiya
Soona Soona Jahaan Laage Re
Saaware Saaware Saaware…[2]

Video Link