Pyaar Ka Mausam (1969) was an average film; it had some of the best songs like tum bin jaun kahan sung by Kishr and Mohammed Rafi, Na ja mere humdum, che khush Nazare, ni sultana re.. etc. Tum bin jaoon kahan was sung by both Rafi and Kishore. Rafi sang the same song twice for the protagonist of the movie played by Shashi Kapoor, once with mandolin and once on piano. And Kishore sang for Bharat Bhushan, the protagonist’s father played by  Bharat Bhushan. Composer, R. D. Burman got the best from both Rafi and Kishore. As I recall, Kishore Kumar version picturised on Bharat Bhushan in open area  had become more popular with the public. Yodelling rendered by Kishore as the interlude captivated the audience. Actor Bharat Bhushan proved lucky in bagging a hit song. The initial yodelling of Kishor in high pitch for this song is called falsetto. 

Falsetto is a vocal reach, or a way of singing, that allows singers to reach notes higher than their normal voice, characterized by a light, airy, and often breathy sound. Falsetto comes from the Italian word “falso” meaning “false,” refers to a vocal technique that produces a high-pitched voice, often associated with male singers, but can be used by both genders. Falsetto has a long history in music, particularly in operas, and has been used widely in popular music by various singers. 

Falsetto is often associated with its flexibility and unique tonal qualities, yet its place in Indian classical music remains disputed. Exploring its historical applications, modern adaptations, and the cultural conversations surrounding it can offer valuable insights into this intriguing vocal technique.

Tum bin jaun kahan song became famous for its all four versions sung by Rafi and Kishore – once happy and once sad. Though R.D’s composition was brilliant, the song was recorded at a bit too faster a tempo disallowing much allowance to Rafi to give expressions with his signature glissando which means a continuous slide upwards or downwards between two notes. Initially, when the film was released, Rafi’s versions were more popular than Kishore’s version. Later, Kishor’s version drew more attention from public.

In my opinion, two songs by Lata Mangeshkar in falsetto are very popular: palbhar me ye kya ho gaya from film Swami, aa jane jaan from film Intaquam. Similarly, Asha has sung many songs in falsetto style. Dum maro dum from Hare Krishna Hare Ram and Aayiye meherban from film Howra Bridge. 

Falsetto is good for building excitement that builds up in the audience when singers hit those high notes. Falsetto shows a singer’s ability to hit those tricky high notes with accuracy and control. It’s a display of their skill and mastery over their voice. Falsetto adds a unique emotional quality to a performance. It can convey vulnerability, intensity, or a heightened sense of emotion that’s not easily achieved in other vocal styles.

Every time Kishore Kumar and Asha Bhonsle were teamed together for duets, they created magic. Kishore’s irresistible magical vocals and Asha’s silky and passionate vocals together lent a special X-factor to their duets. This duo has lent their voices to dozens of actors who didn’t make it big in the industry. Frankly, listeners never bothered to know who the actors were, on the screen on whom these duets were picturized; it’s because people enjoyed the emotions and feelings conveyed by these blessed magical singers. Some of the songs are so lively that you get goose bumps even today just listening to those duets. I am of the opinion that these two great singers added life and character to the songs in their own inimitable way.

They both sang Romantic, Slow, Fast, Devotional, Comedy, Sad, happy, Rock, Classical Blues, Qawalli, Rap, Hip-Hop, Semi Classical, Folk songs.  Together they could express any shade of emotion naturally. Kishore initially became famous for yodeling, and he sang any mood effortlessly. So did Asha. She too sang all genres. It’s difficult to select the ‘best’ songs sung by this duo.

I consider 1950s till the seventies was a part of the Golden era where melody reigned supreme. Even if a film did not fare well at box office, the songs conquered hearts and attained popularity. Those were the days when radio was the most important source of keeping in touch with film songs. Film buffs either looked forward to the radio programs or waited for the weekly ‘Chaya Geet/Chitrahaar’ programs on Doordarshan channel to catch a glimpse of the songs. There were no mobiles, no Youtube for watching a song again and again. But, songs which topped the charts did so, on pure merits. Frankly speaking, great singers of that era  were not at all dependent on the charisma of the actors who lip-synced the songs. Many lesser known actors got some of the best songs to lip-sync on the screen.

Here are some of the magical songs by Kishor-Asha Jodi:

Song: Ye raten, yeh mausam, nadi ka kinara
Film: Dilli ka thug (1958)
Lyricist: Shailendra, Music Director: Ravi  

Song:Chod do anachal, zamana kya kahega
Film: Paying Guest (1957)
Lyricist: Majrooh Sultanpuri, Music Director: S.D.Burman 

Song: Arre yar mere tum bhi ho gazab
Film: Teen Deviyan (1965)
Lyricist:  Majrooh Sultanpuri, Music Director: S. D. Burman

Song: Dooriyan Nazadikiyan Ban Gayi
Film: Duniya (1968)
Lyricist: Hasrat Jaipuri, Music Director: Shankar- Jaikishan

Song: Jane kaisa hai mera diwana
Film: Aansoo Ban Gaye Phool (1969)
Lyricist:  Bhopali, Govind Moonis, Music Director: Laxmikant-Pyarelal

Song: Bhali Bhali si ek soorat
Film Buddha Mil Gaya (1971)
Lyricist: Majrooh Sultanpuri ,  Music Director: R.D.Burman

Song: Waqt Thoda sa abhi kuch aur gujar jane de
Film: Seema (1971)
Lyricist: Indeevar, Music Director: Shnkar – Jaikishan

Song: Mere Pyase Man ki bhar
Film: Honeymoon (1971)
Lyricist: Yogesh Gaud, Music Director: Usha Khanna

The most versatile singer Kishore Kumar has sung for all the actors from 1950s to 1987 (till he died) all genres of songs, ghazals, fast, romantic, slow, bhajans, comedy, sad, happy, semi classical, folk etc. in his deep yet, sparkling, bubbly, modulating voice. He could express any shade of emotion naturally. He initially became famous for yodeling. Kishore Kumar never had any formal musical training. I think, that could be a reason that he could experiment and modulate his voice effortlessly. In his career span, he showed proficiency in a variety of musical styles.  Moreover he was able to pick up the piano and played it well; it seems he learnt playing piano also on his own.

Kishore had an ear for music; he understood music instinctively. He could adapt the voices of the actors easily. For example when he sang for Sanjeev Kumar ‘tere bina zindagi se koi,’while hearing you almost feel Sanjeev Kumar singing the song; when he sang for Amitabh Bachchan, more or less you felt it was AB himself singing the songs; similarly when he sang for Dev Anand or Rajesh Khanna you feel Dev or Rajesh Khanna singing. He contributed to the success of three actors – Dev Anand, Rajesh Khanna and Amitabh Bachchan.

It is said that he never smoked or drank, he dint like to socialize much and had very few but friends, such as Gulzar, R.D. Burman and Asha Bhonsale. He was sort of a recluse preferring his solitude. He hardly ever attended the film parties.

Kishore Kumar was a true genius; he was an actor, director, composer, and he has even penned few songs. Perhaps, because of his multi-faceted personality, he could sing songs befitting the screen actors suitably fitting the song situations. I think once in a while the Almighty gives gems like Kishore Kumar; sadly, he lived a short life of 58 years only. It was S.D. Burman who first tapped Kishore’s inner talents as a playback singer.

I am listing 10 evergreen light, romantic solos of Kishore Kumar which in my opinion will never die….. Please listen to those 10 awe-inspiring songs.

Kehana hai, kehana hai:

Film: Padosan (1968).

Lyricist: Rajendra Krishnan.

Music Director: R.D.Burman

Sama Hai suhana, suhana:

Film: Kahani Ghar Ghar ki (1970).

Lyricist: Hasrat Jaipuri.

Music Director: Kalyanji Anandji.

Aaj unse pahli mulaqaut hogi.

Film: Paraya Dhan (1971).

Lyricist: Anand Bakshi.

Music Director: R.D.Burman

Simti si, sharmai si.

Film: Parwana (1971).

Lyricist: Kaifi Azami.

Music Director: Madan Mohan.

Bhanware ki gunjan hai mera dil.

Film: Kal, aaj aur kal (1971).

Lyricist: Hasrat Jaipuri.

Music Director: Shankar – Jaikishan.   

Guzar jaye din, din, din.

Film:  Annadata (1972).

Lyricist: Yogesh.

Music Director: Salil Chowdhury   

This is an amazing composition by Salil Chowdhury; it’s one of KIshore’s best renditions. Ironically, Kishore dint want to sing this song as he thought he could not sing it the way Salil Da wanted. He completed this one after multiple takes and in the end we have a gem of a creation.

Chaala jata hoon kisi ke dhun me.

Film: Mere Jivan Sathi (1972).

Lyricist: Majrooh Sulatnpuri.

Music Director: R. D. Burman

Ek Ajnabi hasina se yun mulakat ho gayi.

Film: Ajanabi (1974).

Lyricist: Anand Baxi.

Music Director: R.D. Burman.

Oh hansini, meri hansini

Film – Zehareela Insaan (1974).

Lyricist: Majrooh Sultanpuri.

Music Director: R. D. Burman.

Rimzim gire sawan.

Film – Manzil (1979).

Lyricist: Yogesh.

Music Director: R.D.Burman

 This romantic all time hit song from film Prem Pujari (1970) is written by poet Neeraj. It is a very well composed song and soulfully sung by Kishore Kumar. The song is themed on evergreen Dev Anand, like him the song is also evergreen. Though the film dint do great business at box office, the songs became super duper hits.

Prem Pujari is a 1970 Bollywood film produced, directed and written by Dev Anand under the banner of Navketan films. The movie stars Anand, Waheeda Rehman, Shatrughan Sinha, Prem Chopra, Madan Puri and Amrish Puri.  The music director is S. D. Burman. The songs are known for the purity of their lyrics, therefore regarded as “evergreen” classics.

This song is sung by Kishore Kumar with superb versatility. The song is romantic yet pensive in mood. Kishore Kumar had the knack of modulating his voice suitably for the actors. He was the voice of Dev Anand, Rajesh Khanna and Amitabh Bacchan. I think because Kishore Kumar was not only a singer but also an actor, music director, movie director too, his versatility was found into various dimensions therefore he could adapt to the song’s different dimensions.

The song’s lyrics are really splendid and touch the heart. It’s yet another brilliant score of Sachin Dev Burman and Dev Anand. The song is composed mainly in Raga Pahadi and mixed with some other ragas. Pahadi is a popular raga based on folk music. As its name suggests, it originates from the mountainous region of Himalayas. It resembles two other ragas which exude the rich cultural heritage of folk music; one is Mand from the Rajasthan region and Pilu from the Hindi heartland. It is a light raga and resembles more like a ‘dhun’. It is popularly used in Hindi film songs. This raga can simulate multiple echoes; for example kora kagaz tha yeh man mera….mera….mera. Few other famous songs are from Humrz (1967) “nile gagan ke tale, dharati ka pyar pale’ and ‘parbatonke pedon par sham ka basera hai’ from Shagun (1964).

Pahadi is usually sung in the lower and middle octaves. The songs composed in Pahadi are usually having shades of tranquility and serenity. The songs composed in this raga have the power to unite separated lovers to achieve eternal union.

The lyrics of the song are penned by the genius Gopaldas Saxena ‘Neeraj’ (popularly known as Niraj or Neeraj). He is among the best-known poets and authors in Hindi literature. His style is considered unique; he used to write very poignant and yet, easy to understand poems. He was awarded Padma Bhushan in 2007. This song is subtle and romantic; imagine writing letter to your loved one with ink of flower colors and pen of heart….

It’s worth noting from Satya Saran’s book on S.D.Burman titled ‘Sun Mere Bandhu Re’ that S.D. Burman was miffed with actor Dev Anand for spoiling a beautiful melody “Phoolon Ke Rang Se” from “Prem Pujari” by directing the song in an unappetizing manner. It seems S.D.Burman used to get terribly attached to his songs; he used to be concerned on how the songs were shot, their picturization etc. In short, he understood the meaning of scenes, so he was very angry with Dev Anand for spoiling this beautiful song with an unappealing picturisation.

Listen to this classy number.

Humor is one of the great mysteries of the human order. If you ask a hundred experts on why we laugh, there would likely be a hundred different answers. In the same vein, intelligence is also a mystery as it can project a whole host of definitions. So the question comes – is sense of humor related to intelligence? The answer to the question is ‘Yes.’ If you look at the newborn babies, they express laughter in the presence of positive external stimuli, but can be related to humor? Probably not in quite the same sense as we are likely to think of it. I think a true sense of humor comes with development of intellectual capacity. So in that context, humor is obviously a sign of intelligence.

I have observed that people who have good sense of humor are intelligent in their mental makeup. If you see the live comedy shows on television, most of the comedians are very good with their dialogue timings, they are attentive and well prepared. They know when and how to fill the gaps and the exact moments where to make people laugh. They are clever and good observers. They draw very intelligent inferences of incidents happening around the world, they can detect nuances in delivering serious matters in an amusing way. Basically comedians are observant and are gifted people; they fill the gaps. They are good actors. I suppose intelligence, helps in understanding other people. It also helps in upgrading abilities both mental and physical. Humorists are usually quite introspective; with a passionate curiosity for “why people do what they do” and this curiosity about people is strongly correlated with intelligence.

The great, talented and endowed people such as P.K.Atre, P.L.Deshpande in Marathi were so intelligent in their speeches that people would throng and the venues of their speeches would be jam-packed. Their speeches were well worded, humorous and very well timed. They had the abilities to crack vulgar jokes without vulgar words or vulgar gestures. In Hindi cinema Mehmood, Jhony Walker, Mukri, Agha, Om Prakash and of course Kishore Kumar were the great lot of intelligent actors who could combine subtleness with a splash of vulgarity in their intelligent dialogue delivery and superb timing.  But, sadly today’s standup comedians don’t know where to draw a line; the more vulgar they speak, the less funny they sound.

It’s worth a recall that in 1960s comedians like Richard Pryor, Eddie Murphy and Lenny Bruce literally started a sexual revolution; their dialogues thrived on ‘F’ words. They liberated sexuality which was until then a forbidden topic.  They could think outside the box. It’s worth recognizing the fact that since the audience usually thinks inside the box, there is surprise that you didn’t really understand where the joke was going – this surprise is what makes humor work. And this is why timing is so crucial to humor. It’s too fast, too subtle, and no one in the audience understands.

Friends if you can laugh and if you enjoy comedy thank your stars, because there are so many people, those who appear to have no sense of humor at all; there is an evidence that people who have suffered brain damage, particularly to the right hemisphere of the brain, are less able to understand jokes. Other people who have all their mental faculties intact still seem to have a problem with humor. They make what they think are jokes, while remaining unmindful to the fact that no-one is laughing. Trust me; being able to hang on to a sense of humor is an incredibly positive trait. Humor has fantastic coping mechanism and has a escalation cycle, because the more you are able to see the funny side and laugh off the difficulties in life the more stronger you become emotionally and mentally.

Humor allows us to see things from a different perspective; it is something that all the best cartoonists and comedians in the world do. If you look the happiest and most successful people around you, one thing worth knowing about them is that they don’t just stop at one way of looking at a situation; they explore other ways. That’s also the basis of cognitive behavioral therapy, which is very successful in treating all kinds of depression.

We always find humor only within our fellow human beings. We see laughter in some animal species, but that appears to be a different expression from humor. So if we were to presume this anthropocentric viewpoint, then we see at least a correlation between the two.

Humor helps us to accept our own flaws; self-acceptance doesn’t have to be hard work. We can develop some of our most enjoyable flaws. Humor helps us to find out when not to have the last word. Humor also helps us to get rid of being afraid to ask silly questions. Please don’t forget that the most perfect moments usually happen at the most imperfect time. Having a sense of humor works, it tells us that we are imperfect beings and I feel that intelligence is needed to recognize this imperfection in ourselves.

Life is so short and we want to do so much – our list of doing things is big. As such, we should learn how to make it through life with a minimum of negative emotions that tend to drag us down. By simmering in our emotions, particularly the more powerful and self-destructive ones, we are not only shortening our lifespan, we are also making what time we do have here on earth less than fulfilling. So friends, make efforts of laughing as much as possible. Watch more comedy movies and comedy dramas. Read a lot of funny novels. Share something silly about yourself with friends, laugh at yourself, and help your friends to get a laugh out of them.

The feel of this song is unmatched. It seems when this song was being recorded, R. D. Burman was crying profusely and beating his hand on the wall praising Kishore Kumar’s versatility for singing this song so soulfully. On screen, you see Jitendra simply dressed, with spectacles standing on the boat and rendering this great number; there is no romancing, no glamour, no heroine in the scene (except twice Sari-clad simply dressed Hema Malini is shown separately in different shots) the song is just shot on a boat, rowed by a boatman(mazi).

River has a magical beauty, and it lends itself to a variety of metaphors. Its timeless flow denotes jeevan ki dhara. The river plays an important role in the country side. The rivers mark boundaries of villages; and are usually meeting place of lovers. Rivers play a significant role in our life. We therefore see many songs with river themes. Also, river water can inspire, soothe, cuddle and calm a person. I think river water has a musical feel which great composers like S.D.Burman, Salil Chowdhary, Hemant Kumar, R.D.Burman, Kalyanji Anandaji and Bhupen Hazarika have captured in their songs.

This song is from film Kushboo, based on the Bengali novel “Panditmashai” by Sharat Chadra Chattopadhyay. The film was released in 1975, produced by Prasan Kapoor and directed by Gulzarsab. The film’s music was composed by the great R.D.Burman.

The genre of the song is “Bhatiyali folk song.” Bengal has a vast coastal land with long rivers and sea. Hence you will see many Bhatiyali songs sung by boatmen. S.D Burman used to say that Bhatiyali has its roots in earth, flowers, sky, and river. The notations of Bhatiyali songs, its words, and its pathos have an enchanting interpretation reminding the listeners of the river, and the journey by river. Bhatiyali’s mood and its passion are immersed in philosophies of life.

‘O mazi re’ song is written by Gulzar Sab. The song is about life’s unstoppable journey without a shore and an anchor. The river has eroded many shores which are now flowing with the river. Life is like a paper boat which flows directionless and it can’t reach any shore. The lyrics are awesome describing the solitude and yearning of the protagonist of the film Jitendra (Dr. Brindavan) who is separated from his childhood love Hema Malini (Kusum). He is married but loses his wife and is lonely.

The song is sung by Kishore Kumar and is has a magical hollow effect on the listeners.  It seems when this song was being recorded the people present for recording were so much moved by Kishore Kumar’s singing that most of them burst into tears like R.D.Burman did. Kishore Kumar’s voice full of twinge and pathos had that magic effect on them. R.D always said that though Kishore was an untrained singer, he was like a volcano of talent, who could improvise any song incredibly and he would provide vocal insights and expression beyond the composer’s imagination.

Watch this soulfully magical song and enjoy few stirring moments.

It is raining since last few days, and I enjoy rains.  The only way to enjoy rains in to step outside and get drenched in rains! Don’t wear a raincoat or don’t take an umbrella, just go out there and enjoy the rains. Splash around the water as you walk; feel the rain drops, try to hold them in your hands. Rains indeed have the magic of transforming our moods. Look around yourself; see the colors of new flowers, fresh green leaves. So many hues of greens, reds, yellows observe them; they are simply amazing. The rains clean the world around us; specially the roads and lampposts.  I love the fragrance of earth and the rainy flowers. The markets are full of lush green vegetables. And, the aroma of tea and coffee at various tea stalls on the roads – oh if you want to appreciate all this you have to venture out!!  It’s not a great idea of sitting indoor and watching the falling rain.

Take a long walk to nearby park or go to a market. Being outside for a while and moving helps makes you feel like you did something useful with your day. Catch up with a friend – take your friend also along. Enjoy some good rainy songs.

With the arrival of the rains, the scorching heat starts vanishing. The dry, arid look of the cities turns into shades of green. The Mumbai monsoon rains are like a much-anticipated guest – the first few days are magical. But, the charm soon fades when local trains run slow due to clogged water on tracks, roads clogged with slush and brown muddy water and clothes that never dry. From ages, Bollywood has used the magic of monsoon to the fullest. Countless movies have used the rain in a variety of shades. Rains depict romance, thrill, ecstasy and joy. It has the magic to kindle the flame of intense feelings.

I love this song from Manzil (1979) Lata’s version of “Rimzim gire sawan” more than the Kishore’s. Music is composed by the genius R.D.Burman. This song has great magic in it. Both lyrics and music are superb! The song is filmed on Moushami Chatterjee and Amitabh Bachchan in Marine Drive, Churchgate and Colaba in Mumbai. Mumbai then was much pleasant than today.

Besides being melodious this version is more expressive; a woman’s idea of romance is very well portrayed in the song. Women are more prone to talk about what they are thinking and feeling, and they reveal how they are feeling with their smile, facial expressions, hand gestures, and body language. Moushami has done it all in this song. It’s happier and peppier.  It’s a delight to both eyes and ears. The song says it all. Both Moushami and Amitabh seem to enjoy walking in rains, they look cheerful and comfy and sung in each other’s company.

Though Amitabh and Maushami don’t make a great couple; but, because of the captivating song they both look good on the screen. Amitabh walks at faster pace and Maushami literally runs to keep pace with him in some shots. However, it seems, both enjoyed getting soaked in rains. I can hear and watch this song any number of times.  It’s a hummable and lingering song.

Lata’s version is soothing and gentler with the sporadic alaaps and mild variations than Kishore’s version. She sings the first line of the antara, “pehle bhi yun to” a bit differently than Kishore’s “mehfil mein kaise.” The song is written by lyricist Yogesh. 

Hear it to enjoy it!

Don’t all of us experience occurrence of lull in our lives; for some or the other reasons, our life seems to come to a standstill for a span of time. We put off things that need to be done: may be a car registration, want to see a doctor for checking eye sight, have to return a friend’s books, and need to visit dentist, having to apply for a job which is attractive, something or the else. Suddenly, we lose things, we lose track of things and can’t always remember what day it is. We get stuck in sort of desolation. The question is how to beat the blues?

I am sure it has happened to you some time – when you feel blank, drained – nothing seems to be happening. Yes, such times come to all of us. Why does it bother us? Going through a break in life does not necessarily mean life is come to an end. Even though it’s a bit scary when there is a pause in your otherwise hectic schedule of life. In this quiet period, you lose interest in things which otherwise you enjoy doing, you don’t want to meet up with your friends; you just want to be left alone.

 We feel dull and empty for various reasons; for some, because they feel that more could be done in job, profession, marriage, upbringing of children, in a relationship, have more money in bank, could buy a house/farm etc, etc, the list is unending. The fact is feeling full never happens to those who enjoy striving to get the best in life. Let me tell you, sometimes this lull period is good, because you know you can accomplish more or try harder. That’s what I feel anyways. I can’t always pinpoint exactly what’s missing, but I figure if I fight and try harder or put more effort into something I’ll figure it out, and every time I have bounced back.

Feeling a lull in life at some junctures is a good sign. It means change is on its way. When we see the trees are still, it’s the calm before the storm. This syndrome happens to all. I am not alone, you are not alone, he or she is not alone – it’s common. It has happened to Amitabh Bachchan, “Struggles and uncertainties, successes and disappointments, accusations and controversies, ill health and months in hospital, all such a vivid kaleidoscope of moments, events, images simply unbelievable and unimaginable” he writes on his blog. It happened to Rajesh Khanna, Kishore Kumar, Mohammed Rafi, Raja Vkramditya, every one. So no matter how humiliated or pitiable you feel about your own situation, know that there are others out there experiencing the same emotion not necessarily at the same time, but some time before or after you. When your situation changes and you talk about it to someone, you will find everybody can relate to you. Perhaps you can’t immediately talk to them, but they are out there, and that’s all you need to know.

Another view point is – sometimes you need to be alone, not to be lonely, but to enjoy a little free time just being yourself and being just with yourself. In other words, the moments you feel lonely are the moments you may most need to be by yourself.  Yes, it’s beautiful, just being all by yourself. We need to respect this solitude, because when we’re alone we’re disconnected from commitments, we don’t need to put on a show, and we can hear our own thoughts and feel what our intuition is telling us.  And the truth is, throughout our life there will be times when the world gets real quiet and the only thing left is the beat of our own heart.

I think, such feelings and situations in life which put us down break our illusions, and hurt us allow us to begin to find the best path.  The realization of being lost is the first step to living the life you want.  The next step is, making the necessary changes, making strategies and implementing them which are not easy, which not so simple, which scared us sometimes, but these breaks help us make those (unimaginable) changes.  Stop regretting. Look at so many illustrious people’s lives – some of them have lost their positions, their money, their organizations, their loved ones, they have been cheated, so on and so forth. But, the best part of all is they have struggled and found all that they had lost. So remember that everyone suffers in life at some point.  Everyone feels lost sometimes.  And, the best part is we realize this in our lean period. Later, at some point in time, when you come out of the situation, grown after this bad experience; you realize that you have moved forward not backward.  You become stronger and wiser.  It’s not easy, but it’s worth it.

Can we run away from life? We will never find peace by avoiding realities in life; so instead of avoiding it, take every change and experience as a challenge for growth. It will give you what you want or it will teach you what the next step is.  The result of your struggle might be in different shape, size, or design. In sense you will not always receive what you imagined. Don’t run away from the situation, take it head on, and fight it out. You are the master, choose the attitude. Smile at those people who are spreading rumors about you, who are ridiculing your name. Trust me, when you are back in the form, the same people will want to associate with you – then you can make the choice.

Life is too short; it brings the good, the bad and the ugly in course of time. The biggest disillusionments in our lives are often the result of our misplaced expectations.  Letting go of needless expectations is your first step to happiness.  Be at peace with yourself, and you can deal with almost anything and grow beautifully!!!

I want to share this song with you all – it’s sung by Kishore Kumar, lyrics by Anand Bakshi, the words go like this: ‘Kal tak main akela tha, aaj zamaana saath hai, waqt waqt ki baat hai, waqt waqt ki baat hai’.

http://www.youtube.com/watch?v=kbJB4ERHE6M