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Vande Mataram - a beautiful version composed by Pannalal Ghosh from Phani Mazumdar's Aandolan (1951) - One of the earlier Kishore Kumar starrer - sung by Manna Dey, Sudha Malhotra, Parul Ghosh This significant film was kind of a "Discovery of India aka Bharat Ek Khoj" of its time...

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Pavan Jha

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#WATCH | Union Home Minister Amit Shah says, "Some members raised questions in the Lok Sabha on the need for these discussions on Vande Mataram. The need for discussion on Vande Mataram, the need for dedication towards Vande Mataram, was important back then; it is needed now, and it will always be significant for a bright future which we have envisioned for 2047... Some think these discussions are being held because of the upcoming elections in Bengal. They want to demean the glorification of our national song by relating these discussions to the Bengal elections. It is true that the composer of Vande Mataram, Bankim Babu, was from Bengal, the Anand Matth had its origin in Bengal, but Vande Mataram was not limited to Bengal or the country... When a soldier at the border of the country, or a policeman guarding the country from inside, sacrifices his life for the country, Vande Mataram is the only slogan he raises." Source: Sansad TV
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#WATCH | Union Home Minister Amit Shah says, "Some members raised questions in the Lok Sabha on the need for these discussions on Vande Mataram. The need for discussion on Vande Mataram, the need for dedication towards Vande Mataram, was important back then; it is needed now, and it will always be significant for a bright future which we have envisioned for 2047... Some think these discussions are being held because of the upcoming elections in Bengal. They want to demean the glorification of our national song by relating these discussions to the Bengal elections. It is true that the composer of Vande Mataram, Bankim Babu, was from Bengal, the Anand Matth had its origin in Bengal, but Vande Mataram was not limited to Bengal or the country... When a soldier at the border of the country, or a policeman guarding the country from inside, sacrifices his life for the country, Vande Mataram is the only slogan he raises." Source: Sansad TV

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जूठे या झूठॆ ? Asha ji was not in India, so Pt. Hriaynath Mangeshkar got it recorded in the voice of Padmaja Jogalekar and her version was used for the shooting of the song. Asha ji later rerecorded the song during dubbing in a reverse process by matching the lip syncing with on screen Hema The explanation from Horse's mouth on the beautiful Bilaskhani Todi & composed by Pt. Hridaynath Mangeshkar & a lyrical beauty from Gulzar for Lekin. #Gulzar #AshaBhosle #Pancham YT :
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When Kishore Kumar sings for Rajesh khanna it's a different ball game altogether. That song becomes extra special. Like this song from Anurodh directed by Shakti Samanta. A very different kind of music by LP. Almost RD Burmanish. This was the only film directed by Shakti Samanta and starring Rajesh Khanna that did not have music by a Burman. Lyrics has to be AB. The movie had some excellent songs. But unfortunately did not do well. Simple was a misfit from the word Go. The tune of this song's mukhda may have been inspired by the song "Do Naina Matware Tihaare" ("Meri Bahen", 1944), composed by Pankaj Mullick and sung by K.L. Saigal. Song courtsey Upjeet 🇮🇳
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Do you know there exists a song on gramophone records which has Lyrics credited to Gandhi ji. The only song of its kind was recorded by Manna Dey for commissioned composer Vasant Desai by Govt of Mah to mark Birth Centenary celebrations of Mahatma Gandhi. The lyrics was a poetic response by Gandhi ji to a little girl's letter and the letter was composed as the song-prayer for the special commemorative record with lyrics credits to Gandhi ji. Unfortunately the published records were not distributed and did not reach public. Decades later Suresh ji found the set of records in a Govt Godown kept as a trash and without care or anyone noticing it. Suresh ji brought the record from the office, cleaned it up and shared the recording so that people know of Gandhi ji's contribution as a recorded lyricist. Without Suresh ji, we wouldn't have known of this. Alive in Music & Memories. Swanand Kirkire Raj Shekhar SWA India Org Puneet Sharma वरुण 🇮🇳
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Do you know there exists a song on gramophone records which has Lyrics credited to Gandhi ji. The only song of its kind was recorded by Manna Dey for commissioned composer Vasant Desai by Govt of Mah to mark Birth Centenary celebrations of Mahatma Gandhi. The lyrics was a poetic response by Gandhi ji to a little girl's letter and the letter was composed as the song-prayer for the special commemorative record with lyrics credits to Gandhi ji. Unfortunately the published records were not distributed and did not reach public. Decades later Suresh ji found the set of records in a Govt Godown kept as a trash and without care or anyone noticing it. Suresh ji brought the record from the office, cleaned it up and shared the recording so that people know of Gandhi ji's contribution as a recorded lyricist. Without Suresh ji, we wouldn't have known of this. Alive in Music & Memories. Swanand Kirkire Raj Shekhar SWA India Org Puneet Sharma वरुण 🇮🇳

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My most favourite song of Kishore Kumar. It was for the first time I was exposed to a Kishore Kumar song and from then on it was only and only Kishore Kumar for me. The God of singing. His singing goes straight to the soul. Door ka Raahi 1971 Kishore besides acting also directed the movie and composed music for the movie. This track serves as a massive milestone for Sulakshana Pandit. Before becoming a famous actress-singer, she used to sing in Kishore Kumar's live stage shows. He gave her a major break by choosing her to sing this duet alongside him. Kishore playbacks for his elder brother Dadamoni. The icing on the cake is my one and only favourite Tanuja. Kishore Kumar, Tanuja .. what else do I need ... the picture is complete. ❤️
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A welcome and overdue course correction by Prime Minister Narendra Modi in restoring the full six-stanza rendition of Vande Mataram to its rightful place at official ceremonies. For decades, political compromise diluted what was meant to be a civilisational invocation of the motherland. A nation that reclaimed its sovereignty in 1947 need not continue to inherit the anxieties of that era. Cultural confidence cannot be permanently hostage to historical concessions. Mandating the complete version at constitutional occasions - from the unfurling of the Tricolour to the arrival of the President and Governors - reinforces that national identity is not negotiable. It is lived, sung, and honoured in full. A confident republic does not trim its heritage to fit the sensitivities of the past. It stands by it unapologetically.
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A welcome and overdue course correction by Prime Minister Narendra Modi in restoring the full six-stanza rendition of Vande Mataram to its rightful place at official ceremonies. For decades, political compromise diluted what was meant to be a civilisational invocation of the motherland. A nation that reclaimed its sovereignty in 1947 need not continue to inherit the anxieties of that era. Cultural confidence cannot be permanently hostage to historical concessions. Mandating the complete version at constitutional occasions - from the unfurling of the Tricolour to the arrival of the President and Governors - reinforces that national identity is not negotiable. It is lived, sung, and honoured in full. A confident republic does not trim its heritage to fit the sensitivities of the past. It stands by it unapologetically.

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The attempt to portray Vande Mataram as exclusionary or unconstitutional is intellectually dishonest and historically selective. First, legally and constitutionally, Vande Mataram enjoys an honoured place in India’s national life. The Constituent Assembly did not reject it. On 24 January 1950, the Assembly adopted Jana Gana Mana as the National Anthem while explicitly according Vande Mataram equal respect and status as the National Song because of its historic role in India’s freedom struggle. To suggest that India’s constitutional founders “rejected” Vande Mataram is factually incorrect. Second, the argument that Vande Mataram is merely an ode to a goddess deliberately ignores the civilisational context of Bharat. Across Indian traditions, the motherland has long been personified as “Bharat Mata”, not as a sectarian deity, but as a cultural and emotional expression of devotion to the nation. Nations across the world employ symbolism, allegory, and personification. Britannia represents Britain, Marianne represents France, Mother Russia represents Russia. India’s cultural symbolism cannot be selectively delegitimised simply because it emerges from Indic civilisation. Third, reducing Rishi Bankim Chandra Chattopadhyay to caricatures about his alleged views while ignoring the historical role of Vande Mataram is an exercise in ideological revisionism. The song became the rallying cry of India’s anti-colonial movement. Countless freedom fighters marched to the gallows chanting Vande Mataram. Revolutionaries, reformers, and patriots across regions embraced it as a symbol of resistance against British rule. Its emotional power in the national movement cannot be erased by retrospective ideological filters. Fourth, invoking the Preamble and Article 1 to deny the legitimacy of civilisational nationalism misunderstands India itself. The Constitution begins with “We, the People” because sovereignty resides in the people, not because India must become culturally rootless or severed from its ancient civilisational identity. The phrase “India, that is Bharat” itself acknowledges continuity between the modern republic and an older civilisational consciousness. Constitutional nationalism and civilisational identity are complementary, not contradictory. Fifth, the rejection of amendments invoking God or goddess in the Constituent Assembly affirmed that the Indian State would not establish an official religion. It did not require India to abandon its civilisational ethos, cultural memory, or spiritual vocabulary. Secularism in India was never meant to mean hostility toward indigenous traditions or the erasure of majority cultural symbols from public life. Finally, the claim that “religion ≠ nation” is a false binary in the Indian context. India is not a theocratic state, nor does nationalism here depend on adherence to any one faith. But India is undeniably a civilisation shaped by millennia of Indic thought, traditions, symbols, and philosophies. Respecting Vande Mataram does not make India less constitutional, less democratic, or less inclusive. It simply acknowledges the cultural soul that animated the freedom struggle and continues to inspire millions. India belongs equally to all its citizens. But India’s civilisational heritage also belongs equally to all its citizens and Vande Mataram is an inseparable part of that heritage.
3:10

The attempt to portray Vande Mataram as exclusionary or unconstitutional is intellectually dishonest and historically selective. First, legally and constitutionally, Vande Mataram enjoys an honoured place in India’s national life. The Constituent Assembly did not reject it. On 24 January 1950, the Assembly adopted Jana Gana Mana as the National Anthem while explicitly according Vande Mataram equal respect and status as the National Song because of its historic role in India’s freedom struggle. To suggest that India’s constitutional founders “rejected” Vande Mataram is factually incorrect. Second, the argument that Vande Mataram is merely an ode to a goddess deliberately ignores the civilisational context of Bharat. Across Indian traditions, the motherland has long been personified as “Bharat Mata”, not as a sectarian deity, but as a cultural and emotional expression of devotion to the nation. Nations across the world employ symbolism, allegory, and personification. Britannia represents Britain, Marianne represents France, Mother Russia represents Russia. India’s cultural symbolism cannot be selectively delegitimised simply because it emerges from Indic civilisation. Third, reducing Rishi Bankim Chandra Chattopadhyay to caricatures about his alleged views while ignoring the historical role of Vande Mataram is an exercise in ideological revisionism. The song became the rallying cry of India’s anti-colonial movement. Countless freedom fighters marched to the gallows chanting Vande Mataram. Revolutionaries, reformers, and patriots across regions embraced it as a symbol of resistance against British rule. Its emotional power in the national movement cannot be erased by retrospective ideological filters. Fourth, invoking the Preamble and Article 1 to deny the legitimacy of civilisational nationalism misunderstands India itself. The Constitution begins with “We, the People” because sovereignty resides in the people, not because India must become culturally rootless or severed from its ancient civilisational identity. The phrase “India, that is Bharat” itself acknowledges continuity between the modern republic and an older civilisational consciousness. Constitutional nationalism and civilisational identity are complementary, not contradictory. Fifth, the rejection of amendments invoking God or goddess in the Constituent Assembly affirmed that the Indian State would not establish an official religion. It did not require India to abandon its civilisational ethos, cultural memory, or spiritual vocabulary. Secularism in India was never meant to mean hostility toward indigenous traditions or the erasure of majority cultural symbols from public life. Finally, the claim that “religion ≠ nation” is a false binary in the Indian context. India is not a theocratic state, nor does nationalism here depend on adherence to any one faith. But India is undeniably a civilisation shaped by millennia of Indic thought, traditions, symbols, and philosophies. Respecting Vande Mataram does not make India less constitutional, less democratic, or less inclusive. It simply acknowledges the cultural soul that animated the freedom struggle and continues to inspire millions. India belongs equally to all its citizens. But India’s civilisational heritage also belongs equally to all its citizens and Vande Mataram is an inseparable part of that heritage.

Amit Malviya

55,595 Aufrufe • vor 3 Monaten

Examples Of African Unity In Times Of Crisis From offering each other safe haven in times of persecution to jointly advancing the ideals of freedom and independence, African leaders were once united in a continental quest for advancement. The early post-independence era was a time when the pain of one nation echoed across the continent, when borders didn’t stop empathy, and when injustice to one African was seen as injustice to all. In 1961, after the brutal assassination of Patrice Lumumba, Africans from Cairo to Cape rose in collective outrage. Egypt’s Gamal Abdel Nasser gave refuge to Lumumba’s family and declared three days of national mourning. The same hand was extended to Ghana’s Kwame Nkrumah when he was ousted in a CIA-orchestrated coup in 1966, as recollected in this video by his grandson. This is the kind of unity many believe no longer exists in today’s Africa. At a time when genocidal foreign-backed militias in Sudan, DR Congo and the Sahel region threaten Africa’s long-term stability, the courage to raise a collective voice among African leaders seems to have faded. This should worry every citizen of the continent because in moments like these, silence on the part of Africa’s leadership is not neutrality - it is complicity.
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The Spearhead

32,633 Aufrufe • vor 8 Monaten

वो बीते दिन याद हैं, वो पलछिन याद हैं बस यादें बाकी.... #AmitKhanna #AjitSingh #PuranaMandir But the film got a boost for this beautiful song composed and sung by Ajit Singh. The arrangement was modern and his (better than Bappi Lahiri) voice & singing was good enough to evoke a good dose of nostalgia. This remained a regular for cassette recrding till college - early 90s. We had rumors in those days of school that the song is imported from Pakistan from a Sajjad Ali Song but later got to know it was an English song. Ajit Singh's daughter Tanya Singh later reprised this song in 90s in Indi Pop and the number was quite popular
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वो बीते दिन याद हैं, वो पलछिन याद हैं बस यादें बाकी.... #AmitKhanna #AjitSingh #PuranaMandir But the film got a boost for this beautiful song composed and sung by Ajit Singh. The arrangement was modern and his (better than Bappi Lahiri) voice & singing was good enough to evoke a good dose of nostalgia. This remained a regular for cassette recrding till college - early 90s. We had rumors in those days of school that the song is imported from Pakistan from a Sajjad Ali Song but later got to know it was an English song. Ajit Singh's daughter Tanya Singh later reprised this song in 90s in Indi Pop and the number was quite popular

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