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Sahela Re – Abke mile to bichud na Jayen – Tribute to GaanaSaraswati Kishori Amonkar

Kishori

All this written here was just a report of what I saw and heard there. I did not want to miss out on a single detail so I kept taking my notes throughout. One reason for this was, I have been a late starter in the field of music. Luckily I had the technology that gave me lot of information for guiding me in this journey. I wanted to be able to preserve and pass on some of these memoirs of these stalwarts through my writings for others to get inspired and keep faith and keep going on in spreading the joy of music. Today Kishori Ji is definitely rejoicing with her “Sahela”. This time she is there to stay.

This evening was very special for me. It was an evening of many firsts. For the first time I was hearing my Idol Ashwini Bhide ji live. I had an opportunity of hearing Devki Pandit ji live too. And for the first time I got a first hand narration from people very close to Kishori ji on her life and Music and her contribution to a world of which I am also a part of. Though I am a late entrant but I am definitely here to stay. And while writing I was constantly listening to Sahela Re on a loop. It was my way of seeking permission from Kishori ji to write this tribute. My Shradhhanjali!!!

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The agenda of Chaupal, Bhavan’s Cultural Association’s monthly program,  is never known till Shekhar Sen ji takes over the podium to announce. I was wondering what would be the agenda this time but while leaving my home I was hoping to hear Ashwini Bhide ji live. As I entered from the rear side of the hall, Shekhar Sen ji finished his welcome speech and Devki Pandit ji took to the stage. So I missed the information on what was today’s theme.

Devki ji introduced her first composition in Yaman “Mo Man Lagan Lagi” a composition by Kishori Amonkar ji. She said that Kishori ji as a guru had given her a lot but whatever she could gain from her guru’s teachings were never enough and would always miss her.  And just then the side door to the hall opened and I saw Ashwini Bhide ji enter. She took the front row seat for few minutes and got up and left. It took me a while to believe that Ashwini ji was seated just few rows ahead of me and also left as quickly as she entered. Since I was over 1/2 hour late I thought may be she finished singing before I came. While the Yaman coated swars of Devki ji was falling on my ears but I was constantly thinking of missing out on Ashwini Jis performance. And then suddenly Devki ji caught my attention by her swift paltas. Niranjan Lele ji beautifully accompanied her on the harmonium. Almost a 2 minute taan on the harmonium was so encapsulating. Mandar Puranik was accompanying on tabla with equal dexterity.

She melodiously transitioned to Eri Ali Piya Bin. It was very different from the ones I have heard or sung. After the khyal she sang a yaman tarana. Just as she finished, Shekhar Sen ji came up to the Podium and said, “I am very jealous that you got an opportunity to train under Kishori Amonkar ji, and I did not. Since this is a “smriti samaroh” for Kishori ji, please share with us some memories of how she would teach you as a student, how she would hone you, especially how she would scold you all if you made mistakes.”

“OH!” I almost exclaimed aloud. This was a tribute program for Gaana Saraswati Kishori Tai Amonkar, the rare old gem of Indian Classical Music, who left to the heavenly abode on the 3rd of April. I must admit here that I had never heard Kishori Ji. For someone who has learnt Indian classical from very renowned gurus, has never heard any recordings of Kishori ji is a very surprising (read shocking with exclamation marks) thing.

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A very soft spoken Devki ji had a bout of cold bothering her and was constantly clearing her throat while singing too but  shared so many incidents of Kishori Ji’ being a hard taskmaster.  Things like once when Devki ji was down with cold and fever  and wanted to skip her class, Kishori Tai insisted that she should attend as she could still hear music even if she can’t sing. When Devki ji would want to go out for a movie with friends, Kishori ji would herself take her to the movies, whereas she would want to go with her friends and not a teacher. But these gestures, reminisced Devki ji, was also the love of the Guru towards her students. Kishori ji would want to have her students always around her and do everything so that they focussed on the art. Remembering one incident, Devki ji said that even in a crowd of 2000-3000 people, if Devki ji made a mistake as her Samvadini on stage, she would be checked immediately. Kishori Ji never minced words and was very forthright with her thoughts.” She said that as learners they would keep chasing her speed of creation. It was beyond their comprehension of what Kishori ji sang and would keep trying to imitate as young learner. But Kishori ji always broke down longer phrases into pieces and explained how it works. She would always know what she was singing and would emphasise on thorough preparation before singing. Kishori ji would explain to them various shades of each note in different Ragas. Like the Kainkini Nishad which was a shade of Nishad that would be so teevra (sharp) that it would almost touch Taar shadaj. Use of Madhyam in Nanad and Bhinna Shadaj, or use of Komal Nishad in Bhimpalasi and Malkauns, the treatments were practically explained with clear distinction to her students. once Devki ji said Kishori ji met her and said I heard you are doing lots of programs and asked her what she sang in the latest one. When Devki ji said Todi, Kishori ji asked her whether she used the Moorchana she had taught. Devki ji said she had forgotten. Kishori ji said “See I teach you all so many things but you don’t remember. You should plan in advance.” Such was her thought process.

On this Shekhar ji asked Devki ji what her thought on the divine connect Kishori ji had with her music. For this Devki ji said Kishori ji always said think beyond your raag. “Raag se upar socho. Pehle khel lo suron se uske baad tumhare program ki asli shuruwat hai. Uske baad kya kehna chahte ho uspar vichar karo.” Play with all the combinations first but your performance starts after all the demonstration of ‘ragdari’. That should be the real element of your performance.

What I remembered most out of her memories was an incident in which Devki ji said that as a teenager, she would always dress up with new, different clothes every class. Once Kishori ji looked at her and said ” nice, every time something new, why doesn’t that happen with your music” Such a deep thought. As a student you may take this as hurtful to your physical appearance or take it as the biggest learning for your artistic growth.

Just as Devki ji finished, Shekhar ji invited Shashi Vyas ji to share his experiences with Kishori ji, who always treated Shashi ji like his son. Shashi ji is the son of late Pt. C R Vyas. His older siblings Suhas Vyas and Satish Vyas took over classical vocals like their father, unlike Shashi ji who practised Chartered Accountancy for 24 years and now is at the service of Music through his Pancham Nishad Creatives. Shashi ji had so many stories. It just kept flowing. Starting from his being the ‘black sheep’ of his family who from childhood had no inclination to music as opposed to his other siblings, he was drawn to Kishori Ji and Bhimsen ji’s music. Once when someone wanted to locate him for some financial advisory and Shashi ji was unreachable, they picked up the morning paper and checked the Kishori ji’s concert details and found him at that venue.

Reminiscing his initial visits to Kishori Ji’s concert (which he would always go sans his family members as he would prefer watching shows his own way) he said he always found her very restless in the first 15-20 minutes of soundcheck. She would complain about everything being not OK. But once she started, her Shadaj would be so strong that the audience would be transported to a different plateau and witness divinity through her. When he asked her she said in her style “Shasya tumhala kay. Tumhi kya gaan hote” (Shashi, why is it your concern. are you going to sing?) But on insisting further she said “That Shadaj which you are talking of makes me restless. The anxiety that whether I will be able to sing that Shadaj properly makes me check everything thoroughly.”  Shashi ji said that Kishori ji took it as her responsibility to give the audience the experience of the divine connect hence ensured everything was in perfect order. In his words “Suron ke sath ekagr hokar apna astitva kho dete hai, ye karne ki baat Kishori Ji ke paa thi”. She had the power to become one with the vibrance of the notes.

When asked about her moody nature he said “Na milta Gam to barbadi ke afsane  kahan jate. Har kirdar me achayi burayi hoti hai”. Having said that he narrated the story of Dronacharya asking for Eklavyas thumb as Gurudakshina from Mahabharata and said Dronacharya’s logic was since the Eklavya acquired the knowledge by wrong means (secretly observing and learning against guru’s wishes) he would utilise it also for wrong purpose hence the penalty. Thereby justifying the straightforwardness of Kishori ji that there was a purpose behind her being so firm.

Another instance when he had organised Kishori ji’s program, she had clearly stated that she will finish by 12. But her turn came just about midnight, due to other’s starting late. From the stage she pointed the time to Shashi ji “Just 10 min to 12”. Shashi ji said, “you just start. What happens later is between you and the audience” She started with Shankara raag and  her Shadaj (Sa) was so powerful and she went on with it till 2.30am. Such is her strength to hold the audience. Post the show when Shashi ji went to drop her she asked him to come over for dinner and asked him about the performance. He just casually said it wasn’t her best. She started explaining that it was because she had too many shows back to back and travelling back and forth had an adverse impact on her performance. Shashi ji said she completely valued constructive criticism so there was not much truth in her rumoured moodiness.

Shashi ji said that when he did his first show, he wanted Kishori Tai’s program in the lineup but when he went to ask her she said “Why do you want my program?” to which Shashi ji said “How does that matter to you. You cant question why. If you are not interested you say no”. She was taken aback by his response and said “How can you talk to me like that”. Shashi ji explained to us in his own funny way “Does any child while speaking to his mom think about logic, NO. When you have to say something to your wife you will plan it, time it, word it appropriately and still if it is not ok at the moment, avoid it. ” Everyone burst out laughing. “That was the relationship I had with Kishori ji. I never answered straight to her and she would jokingly keep saying I allow you here because you are CRVyas jis son.” Said Shashi ji. He said that it was a ritual that everytime he approached her for a show, she would say no, but very next morning call up to ask if he seriously meant that she had to sing and would check the details.

But as he said Kishori Ji always said she would want to pass away quietly without any troubles for others, in the service of Music. And that’s the way it was. She quietly passed away in her sleep after her Riyaz.

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After a short break, Ashwini ji was invited to the stage. Ashwini ji’s mother Manik Bhide ji was trained with Kishori ji and Kishori ji always insisted Manik Bhide ji to accompany her in concerts. Ashwini ji mentioned that once Kishori ji went to just listen to a late night concert and Manik ji did not go along for some reason. In the middle of the concert Kishori ji wanted to sing and organisers were more than happy to oblige. But her only condition was that Manik will have to be sent for. So at 1.30 am , Manik ji was woken from her sleep and taken to the venue. Ashwini Bhide ji said one very important thing about Kishori Ji was that she never repeated her compositions in her concerts. “She sang Mharo Pranam and left it there for others to sing and improvise. No one came closer to what she created though. She created footprints and moved to create more for others to follow.” Said Ashwini ji.

Ashwini Bhide ji presented Raag Bhupali. The first one was a compositon by Kishori ji ‘Pratham Sur Sadhe’ which she said she will not elaborate but next one in Matta Taal (9 matras) was completely meditative.

‘Prabhu Tum Data Suran Ke

Tori Kripa Se Hum Gawat hai

Nit Tero Dhyan Dharat Hu

Deho Ashish Deho’

This was followed by the Tarana- Ni ta re dare dani . She said she deliberately did not sing “Sahela Re” because it just wasn’t her time and place and calibre to attempt it. I was wondering how humble are these stalwarts.

Siddhesh Bicholkar on harmonium was in complete sync with Ashwini ji’s style. His fingers were gently gliding over the keys and

A very interesting offering she made to Kishori Ji’s memorial concert was a medley of Kishori Ji’s compositions in Ektaal beginning with Nand “Aja Re balamwa” going to Miyan Malhar “Umad Ghumad Garjat Hai” and ending with Khambavati ” ”

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The concert concluded with a duet by Ashwini Ji and Devki Ji’s  Mharo Pranam. What a beautiful composition by Kishori ji and what a beautiful rendition by the duo.

MHARO PRANAM!!!

 

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Raees Movie Review

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#Review #Raees
 
26th morning 2017
What a way to start … Raees, Kaabil and xXx
 
Someone recently asked me what is the biggest sacrifice as parent I have made and my answer is missing a #Shahrukh movie #firstdayfirstshow‘ because it’s always a schoolday and the kids too want to watch it so we wait for the nearest holiday. So this time it was 26th January, our 68th Republic day this year.
 
In the days of inspiring biopics like #ChakDeIndia (Negi ), #BhagMilkhaBhag, #MaryKom, #Airlift (Mathunny Mathews), #MSDhoni, #Sully, here we have Raees, the biopic on an Inglorious Liquor Mafia Don (while the disclaimers say its fiction)
Raees is a very tightly packed storyline, with shahrukh’s sharp dialogues, quick witted calculating kohl eyes and crisp storytelling.
 
While #shahrukh does promotions with full shiddat for his movies but he never talks of his physical transformation so much as other actors be it his intro sequence in #HappyNewYear as Charlie, or his derriere in #OmShantiOm body, or the very plain Gaurav in Fan, or the Blood-Matam-Moharram-intro sequence in this movie. I won’t know how much of it is CGI but it’s very well done.
 
I was especially impressed by the casting (minus Mahira) where all other actors/artists too did a very good job. #Nawazuddin is very sleek as a police inspector but mostly his role was of a bechara police officer who kept planning but losing his war against the mafia don. Even at the end when he gets his kill the don is made to look bigger than him. But that’s Indian cinema. Reminded me of #ManojBajpai in #Special26. #AtulKulkarni is very convincing as the as Jairaj seth but may be the negative shades of his character could have been accentuated with some strong memorable background score. But the movie is about Shahrukh aka Raees so no one is superior to him. #NarendraJha as Musa is also very subtle and impressive actor. I am not sure if Mahira had very little to offer as an actor or was her role cut so short to being so insignificant. In fact Shahrukh’s mother played by #SheebaChaddha had very small but very impactful role.
 
Story is gripping in the first half, but suddenly loses plot towards the end and again picks up. Mumbai Blast involvement somewhere brings in horrific memories but they are not trying to gain any sympathy for the character. It’s just a movie. The dialogue that stays is with me is “Ammi Jaan kehti hai Koi Dhandha Chota nahi hota aur Dhande se bada koi Dharm Nahi Hota”
 
Songs like Zalima, Udi Udi Jaye and Laila main Laila are already chart toppers but my personal favorite is “Sanson Ke” by KK.
 
I never reveal stories in my reviews aur aap abhi tak review padh rahe ho. Jao movie dekho bhai.
Must Watch. Even for Shahrukh Haters, because he is not playing Shahrukh.
Technical Rating – 4.5*
Fan Rating:- LeLoJitneStarsChahiye
 
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Posted by on January 26, 2017 in Amchi Mumbai, Movie, Review, Songs, Uncategorized

 

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V Uprising

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Out comes the womanhood with a BANG and hits you harder than you can ever imagine. Shakes you, wakes you, jostles you, throws you up in the air and drops you, swirls you, twirls you, pushes you and pulls you, tickles you, slaps you, cuddles you, bruises you, heals you, disgusts you, soothes you, holds you, caresses you. Makes you love and respect the woman you are and the woman you know of.

V monologue is not about understanding the anatomy of woman or the injustice against women or about the male dominance in the society. V Monologue is to tell every woman to just be the woman you want to be. It is so important to know themselves before women talk of women’s liberation, sex education, gender equality and other such women oriented issues.

V Monologues is V Uprising, V conquering, V forging ahead for the forbidden pleasures. Mammas watch it and let your daughters be. Women watch it and explore what you have missed all this while. Men watch it and fall in love with woman in all her forms the mother, the sister, the daughter, the girl next door, the wife, the predator, the prey. Every woman is beautiful and respectable.

Just back after their 10th year stint at Prithvi Theatres, Juhu, Mumbai. Excellent performances by all but something that left lasting impression was Jayati Bhatias ‘Types of orgasmic sounds’, Mahabano Kotwals Parsi woman who has Kishore Kumar singing to her in her dreams and arousing her, Sonali Sachdeva’s Maharashtrian woman whose boyfriend loved to ‘look at her’ and Dolly Thakore’s women abused in war.

Celebrate womanhood with Vagina Monologue. (psst…Finally I did say the ‘V’ word with aplomb).

 
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Posted by on April 6, 2013 in Amchi Mumbai, City Watch, Review

 

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The Young and Restless- Aaditi Pohankar, Shriya Pilgaonkar, Shalmali Kholgade

Have been meeting so many of them in the 18-24 age group who are inventing, reinventing, changing, melting, recasting, transforming, multitasking at breakneck speeds. They are ready to experiment with everything that comes their way and have the Midas touch to make it successful. There is no doubt that nothing can stop them from what they are eyeing at and I can see that it’s not too far away. The trio I couldn’t stop noticing, I just thought I would share my bond with them.

Aaditi Pohankar

aaditi pohankarShe is so real, so genuine, a darling. On stage off stage no pretences, bold, brave, innocent, child like, ready to kill at one moment and at the same time might just crumble if she trusts you. She is judgmental, trying to know if the other person is genuine or fake because probably she is protecting herself. But still she wears no shell around her. She was the first one in my dance class who got talking to me and was annoyed when I just shushed her because I was recording something. But just as she boils, she cools down. We started talking back again. She is like one of those people who can either be loved or loved.

I first felt the connect when she was talking about her mom and how she was so full of life  and suddenly looked at me and said “You know you remind me so much of her and she is the one who has arranged for us to meet. We are sitting and talking here because we have our energies connected and were in some or the other way linked in our past life”. I was reading a lot about regression around that time and someone talking about it with so much belief intrigued me and I would be lying if I say I did not believe her. She invited me and my kids to one of her plays by Makrand Deshpande ‘Timeboy’. I just couldn’t believe how spontaneous, bubbly, funny could this girl be who was totally opposite in her Marathi Movie “kunasathi kunitarii”. And that pink frock of hers she wore in the play, was something I would never fit in, I thought.

She is dedicated and methodical and has a great perseverance. Everything she does she puts in a lot of research and passion. She is hardworking and very romantic at heart. Because she believes so much in love she is extremely affable and lovable. She is very, very, very attached to her mom and keeps telling me I am so much like her and I just feel very good today that we are connected.

Shriya Pilgaonkar

shriya pilgaonkar

With great power comes great responsibility. Heard Spiderman say this so many times but realized that only when I met this girl. My first thoughts when I saw her were “What does she eat? Does she eat at all? How can someone be so thin? It is so unfair that I am struggling to shed kilos and she just about as thin as one of my fingers.” In fact the first thing I said to her was how can someone stay so thin and prompt came her reply “let me too have 3 kids like you and still stay the way you are. You are so fit I must say. “Really?” I thought. She is always so alert and looking around again and again. She speaks fast, thinks fast, moves fast. You are bound to miss out a thing here or there about her but what you can’t miss about her is her smile. If you want to know how to talk, how to teach, how to blush, how to get angry and annoyed, how to and smile – all with a smile- you must watch her.

And now about the Spiderman thing. She wears this high brows look. Anyone would think it’s an attitude. She talks so fast and just to-the-point that one might again feel she is unreachable. She doesn’t stand around to gossip. Just comes and goes like a fresh breeze. But I saw her giggle and joke around with her friends and thought omg she is so naughty. Later when I learnt that she is the daughter of Sachin and Supriya Pilgaonkar, I realized why she was so much in control of what she talks. She is not at all frivolous like many of the girls of her age and already has so much in her hand. She is making movies, acting in a plays, dancing, working and independent. She wears so many hats at a time at this age, no wonder she is so measured about everything. She is a sweet, smart go-getter with just the right attitude to be a winner. I am waiting for the big news. It’s just around the corner I am sure Shriya.

Shalmali Kholgade

shalmali kholgade

I just love the spunk in her. I met her in my dance classes and when my teacher whom we fondly call tai introduced us to each others as singers in her class. We bonded almost instantly and talked about our interests in genres, singers and the works just to realize that I was so outdated about the current crop of songs and singers in the western world. An avid Amy Winehouse fan, she sings with many groups and performs at various places. While her mom is a classical singer she sings western and pop and is self trained in English and pop numbers. Singing is in her genes but it’s her hard work that gives her the control in high pitch notes. Remember her singing at our class once. Though I couldn’t make out which song but she has a micro phonic voice in control and with a lot of scope for emotions. Just this once she called me for her show at Blue Frog for a Grammys Tribute Night with a band. She even blocked entries for me but I was not sure if I would make it. Just then my brother called that he was back in town and bingo! We both were there just a little before her number. Her eyes were all of that of Amy Winehouse’s, and when I pointed that out she passionately started telling about the Amy Winehouse tribute show she did few months back at blue frog and how successful it was and how excited she was to see me there and that her dad was very happy with her work and was planning to buy her a car and for her next show she would pick me up so that we both could have some fun on the way. She talked and talked and talked till someone pointed that she would be next. Starting from adjusting the mike, to the end of the show, she was not the girl who was just talking to me. She was drama personified. There was so much happening beyond singing. She connected to everyone. Just as slowly she started singing and pulling every single soul there with those invisible strings, all were left asking for more.

She is a kid who has all the fun and also has her quiet pensive moments when she is focusing deeply on something but, stage is where she belongs to. The amazing quality about her is that she just transforms on the stage. She is a singer, a drama queen, a heartbreaker a total package someone would want to see up there. No stopping you Shalu. Way to go……

I am very glad to have known these girls so close and wish them all the big things in life that they want and are meant to have.

 
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Posted by on June 15, 2012 in Amchi Mumbai, Movie, Review

 

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Vande Mataram!!!

In childhood I used to look forward to this day for the apples and biscuits distributed in my school besides performing various patriotic song and dance items. As I grew up, we had flag hoisting in the nearby areas with some elderly person/s reminiscing their experiences during the freedom struggle. Now I am a mother and I take my kids around for various celebrations in the building and the surroundings. Today someone asked why do you gather this day, and I looked at my daughter for an answer and she promptly said ‘because we want to pay respect to our country’s martyrs as they freed us from the British Rule.’

Then suddenly I thought, 64yrs now (36yrs from my birth) and I am still enjoying the freedom from the British Raaj. but am I really free? Am I free from the roving eyes of the lecherous men, am I free of the thought of the safety of my little ones because their gender (look froward to voicing my opinion in the Mumbai slut walk), am I free from the thought that some corrupt neta is pocketing my hard earned money in one of his foreign accounts (plan to fast for at least a day with Anna Hazare to show my solidarity), am I free of the fear of another bomb planted somewhere in the vicinity of my near and dear ones (am soon enrolling myself for combat training), am I free of the thought that this S&P’s downgrading U.S. debt from AAA to AA+ would not affect India so much (will try to hold on the larger expenses planned and probably shift my plans of buying a home to next 10 yrs), am I free of the thought of some natural calamity hitting India besides the political and communal ones (god forbids!!!). It’s my needs in my life that defines my freedom. The more I need of the day to day life, the more I expect from my husband, my kids, my near and dear ones, my company, my community, the leaders, the countries and end up blaming all people around for my failure.

For my kids, do they even look at these things? Freedom for my little ones is to be able to play some hours more like the older kids in the building, my not telling them to follow their timetable after coming home from the school, to be able to remove anything from anywhere from the house and leave them where ever, to shout and jump on the bed and sofas in the house, to watch TV and play games for as long as they want, to order Domino’s Pizzas and Pastas everyday. For them freedom is freedom from their MOM. I am equivalent to the British Raaj who rations and regulates the whats, the wheres, the whens, the whos the whys, the whichs, the hows of their life. Till they are not exposed to the harsh realities of life I am happy being their mother (of all problems).

Vande Mataram!!! Vande Mataram !!!

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To Shammi Kapoor with love

My early memories of Shammi Kapoor dates back to ‘Badan Pe Sitare lapete hue’ or ‘Taaa…reef kaoon kya uski’ or ‘Tally ho’ or ‘Tum…sa nahi dekha’ or ‘O haseena zulfon wali’ and of course was the most famous ‘Yahoo’, in ‘Chitrahaar’ (a weekly TV show on bollywood songs). The song I saw was in black and white but the thing to remember was the way Shammi would crane his neck and arch his body and pout his lips and blow his locks falling on his forehead.  During my selection process in Zee TV’s Antakshari, I sang the song ‘Isharon Isharon me’. I didn’t win though but while preparing for the song I first time watched Shammi Kapoor’s antics so carefully and probably emoted my reactions to it, that made the show director select me for the opening round of that season way back in ’93. He truly was the lover boy of that era who made ‘club nights’ so raving with his jumping around.

It was just yesterday that I read in the papers of him being admitted to the hospital and also about his medical conditions. It is sad that this free spirited, effervescent actor, also known as the Bollwood’s ‘Elvis Presley’ lays still today. My heartfelt condolences to this star of yesteryear. Till date this line holds true – ‘Tumsa nahi Dekha‘.

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Posted by on August 14, 2011 in Amchi Mumbai, Mother India, Movie, Review

 

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Govinda Ala Re!!!

Little did I know that after penning down my first RAP number, I would also discover a ‘Digibrity’ (digital celebrity) — Govind Tiwari— so soon, (though I thought the number was an ode to myself). What really took me by surprise was the Bombay Times front page coverage of his future plans.

Since he has promised an updated page very soon, my suggestions are:

  1. Downloadable Govind Tiwari wallpapers — with those blinkers.
  2. Homepage background score changed to ‘Tere mast mast do nain
  3. Create a temple with your photoshopped idol, as Rajni temples are common down south and they need someone of your calibre to match up north.
  4. Pictures with Radhikas starring – Munnis, Shielas, Hollywood, Bollywood, whatever is photoshoppable by you.
  5. Google maps to ‘Govinda Dham‘.
  6. Next Blog ‘Dhinka Chika Dhinka Chika’–with some photoshopped hip movements.

He is blinking and trending (my favorite tweet @Joydas Baba Ramdev to Govind Tiwari: Bhala Tumhara Blink mere Wink Se Behtar Kaise?) and of course next ‘Allahabad icon‘ after the ‘Bachchans’. Hope his next plans are not to settle in amchi mumbai. Govinda Ala Re Ala, Zara Mumbai Sambhal Bala(saheb)(with due respects)

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Posted by on August 1, 2011 in Amchi Mumbai, Mother India

 

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