kya relevance hai!

Today on a happy day, my phone was getting a reboot and I switched on the radio. I have a love hate relationship with the radio. The dumb RJs with dumb programming and irritating advertising that doesn’t connect with anything. Luckily for the new retro channels which play some good (my age) music and thanks to the lack of advertising, have some interesting programming. They are getting some good guys to come in and chat with on the radio channels who are talking about the music they created or the movies they were in with some real life insights and anecdotes. This makes the programming so rich. Like today some lady (I did not catch the name) was talking about RD Burman (always) and Asha Bhosle (again almost always) and the song Jaan – e – jaaa… oh meri jaane jaaa…. Nisha aaa aaa aa

It was a song that I was listened to as a kid. It was a fun song in which I think as kids we used to cream aloud and dance. It was released in 1982 – when I was about 7, which is an impressionable age. It was an awesome song then and is an awesome sing now, but what a singer who has worked with the music director RD Burman said, made me hear the song in a new light. She said that RD tried to get Asha to sing like a musical instrument in the song. She was talking of some musical instrument (she was also not sure) in which there is pedal or something and the noise oscillates in waves. I did not understand what she said till she sang the song on radio. I came to office and I played it and now that I understand it a little better, I have come to appreciate it a lot more. In the song Asha sings – Jaan e jaaaaaaaaaaaa, oh meri jaan e jaaaaaaaaa. As kids we would scream out this aaaaaaaaaaa in a single tone. Its only today I understood that this aaaaaaaaaa sounds awesome because it is here that RD made Asha sing the aaaaaaaaaa part in a wave like oscillation. That is the genius of this song which is so easy to miss the nuance while so easy to love the whole. Which is so impossible to bring out for an untrained singer. At least while I was singing to myself, I could clearly hear myself make a complete hash out of it.

Here listen to the song and pay attention. Of course, forgive the poor Kamal Hasan dancing like a twerp in the song and the stupid bike entry, largely forgiven purely by Reena Roy’s awesome smile and oh so lovely long hair with the stylish fringe. It’s like a complete reconciliation of the traditional beauty and a touch of modernity. And of course do not miss the scene in which she dreams about kissing him all over with him being left with lipstick marks all over his face, but no marks on the oh so sensitive lips! The confusion of 1982 India is to be seen to be believed in this movie song.

Over a period of time I have learnt to respect the Bollywood film industry as the best marketing brains in the country. It is not possible to deliver a hit without really identifying with the core audience and having a pulse on their attitudes and dreams and desires. Movies that become hits are the ones that connect with the audience, without which the audience is very clear – he is not going to part with his money and time.

In fact, while I teach marketing, my favorite lecture is in which I explain how movies and heroes have gotten their marketing right to become super stars. They connect with the screen personas with carefully nurtured off screen personas. This is the example I use to explain how super stars like brands have to mean one and only one thing to the people and the closer they are to one thing the closer they are to real meaning.

Another song that played on the radio was from Arjun. A movie released in 1985. This was when I was ten years old and I remember that era of India when there was NO hope. None what so ever. You could only get rich if you were corrupt or tyrannical or a goon or all of the above. You could get educated but there was nowhere to go once you got educated. There weren’t enough jobs and whatever jobs were there were gone to people with some influence or some friend to recommend them. It was a complete wasted generation in many ways. This movie reflected the anger of the youth. These young guys were obviously educated and were looking for jobs. The main hero leads a gang of young men, all in formal dressing, as they are all looking for jobs and want to be employed. What I remember of the movie is that they don’t get any employment and are just hanging around the neighborhood. It captures multiple emotions. The movie touches a raw nerve – that your youth is good and powerful. They study and they are unemployed because of society and not because they want to remain so. They have an energy that must be harnessed. The youth in the movie at first are seen as a nuisance as they roam around unemployed and then as the villains strike, the same youth use the only the only thing that god has given them (their youth) and fight back. Now the transformation from young, lost and unemployed to young, hailed and purposeful is complete.

At the end even the father comes and tells his child that he was right. It sent a signal to the young and unemployed that they were not wasted but were a being wasted thanks to the system. The feeling was universal and as I saw up on Wikipedia the movie was then translated into multiple languages showing how the issues were widespread across India.

Here is the song – mamaiyo kero kero kero mama

Mamaiya Kero Kero Kero Mama - Arjun (1985... by TalishaHatcher

The entire song is set in  public spaces with the gang bordering on lawlessness and at the end you also see the hero riding a Pitch roller which is being pulled by his team, in the middle of the Mumbai roads – How’s that for complete cock a  snook at the system.

Its funny why this clip is on daily motion and not on youtube. Must be some royalty quirk. A movie like this, no matter how well made would just have no relevance today. Kids find their love soon enough and get drafted into the system that is giving them some jobs, mobile phones and T shirts to order and wear. They don’t need to use violence to save the society. They probably just need a cell phone camera, or a tweet then and then some social shares.

Check this

dialogue ho toh aisa

Life mein dialogue nahi diya toh kya kiya.

They don’t call me the dramebaaz for nothing. I must have watched the most movies as a kid where videos made their big first impact. I still remember the first day when my dad got a video player home. We were in Dubai and I was near the door. Dad comes in carrying a big brown box. It was billed as mom’s birthday gift. I guess I must have been around 6 years old. And if I am not mistaken the first movie we watched was the Kamal Hassan starrer Ek duje ke liye. Though I am not completely sure. Though the release year fits well but not the month… I wonder.

I remember when we saw the movie we were first introduced to the concept of fast forward and we used it to good effect. It started the trend in our family of using the button to fast forward all the songs. We laughed our head off when it was first used. Kamal Hassan (or whoever) dancing at twice the speed. And then the invariable miss of the song ending to miss a few dialogues so then you press rewind to come back to the exact point when the song ends and the acting starts. Rewind… yes that reminds me of another ritual. When you rent the video from the library the first thing you do is put the tape in the player and press rewind as the last guy who saw the movie obviously returned it without rewinding it. I would rush to take the tape, put it in and then press rewind. Then I would call everybody and then we would gather around and watch the movie. Full on family time.

I was imprinted by the amitabh movies and the amazing over the top dialogues. It was the era of Sholay and Deewar and of course Manmohan Desai cult multi-starrer blockbusters. My mom tells me that once when I had to go to the dentist (or was it the doctor for stiches) I kept my top two buttons open and said “nothing will happen to me – I am Jeetendra” eeps. Jeetendra? Even Dharmendra would have been ok. my only retort is that my mom doesn’t remember the name too well and it was really Dharmendra which I called Jeetendra

But clearly most of the dialogues are the Amitabh variety. So the other day when suddenly when an old student called me up – I just told him – congrats. He was like how do you know. I have learnt over a period of time that you ant really be in touch with a professor. Its typically when you are in trouble and need advice or when you have something nice to share is when you will call. The trouble types or the advice types typically start with an sms, or mail or a whats app. The random – hi sir – is typically a occasion and in Sunny’s case – he was about the age to get married. So I congratulated him up front. He asked me – how did you guess. “sunny, suddenly aisa koi phone karta hai toh either olumpic ka race ho ya police ka case ho ya ladki ka face ho”.

I am sure you did not get this one unless of course you are a bollywood fanboy – especially Amitabh. Amitabh famously said in Amar Akbar Anthonny “Aisa toh aadmi life mein doich time bhaagta hai. Olympic ka race ho ya police ka case ho. Tum kisliye bhaagta hai, bhai”

See it here at  around 1 min and 16 seconds into the video.

“so sunny bhai – tu toh koi Olympic mein jaayega nahi, aur tu police mein phasega nahi… toh obviously – koi ladki ka face hai. Bol kub hai Shaadi”

A ha . I am so impressed with myself. To get a dialogue, connect it and then even rhyme it that too in conversation time. It’s pretty neat. What say?Aapun hai ich aisa.. style.