Homes and Houses: Ten songs

Some context, first, for this post.

I had recently been on a hiatus for a while because I shifted home. I’ve lived in Delhi for 32 years now, and for various reasons, my husband and I realized it would make more sense to move to Noida.

Shifting house is something I simply hate doing. I should’ve gotten used to it over the years: my father, after all, was in the IPS, and frequent transfers (once every year, when times were good) meant that we moved around a lot. Even after I grew up and got married, we’ve had to shift several times: because a relative offered us their flat at a nominal rent; because—one year down the line—they decided they wanted to sell it; because a landlady wanted to renovate a house; and so on. I have some idea of what to expect now when we hire packers and movers.

But there are always glitches, always another bunch of thoroughly unprofessional professionals. This time was no different. On top of that, I fell ill—first with a viral infection, and then with an infection of the eyes. Till a few days back, I was going around with two red eyes, a hacking cough, and a runny nose (I looked like something out of a Ramsay Brothers flick).

The silver lining, though, is that this made me think of just how important homes are to us. Not mere buildings, but places that we call our own. Places that shelter not just ourselves and our families, but which represent, too, our aspirations, our emotions, ourselves. Hindi cinema has done ample justice to the concept of ‘home’ and ‘house’, from songs like Ek bangla bane nyaara to films like Dastak, Biwi aur MakaanHamaara Ghar, Gharaunda and Tere Ghar ke Saamne.

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Ten of my favourite Songs addressed to Krishna

Happy Krishna Janmashtami!

I am not a Krishnabhakt (I’m not even a Hindu), but when you’re a diehard fan of old Hindi cinema, you can’t really avoid noting the many, many references to Krishna, can you? The fact is, Krishna is one Hindu deity who seems to appear in just about every other old Hindi film featuring a Hindu household. Mostly, he’s in the form that little painted/gilded idol, draped dhoti, peacock feather, and flute in his hands, that stands in the little household shrine, seen in passing. Often, when some tragedy hits (or threatens) someone (invariably female) comes and weeps before the idol. Or sings, pleading for mercy, for succor.

But Krishna as the protector, the giver of divine help, is just one of the ways in which Krishna is viewed. He is, as is obvious in songs like Mohe panghat pe Nandlal chhed gayo re or Madhuban mein Radhika naache re Giridhar ki muraliya baaje re, also an embodiment of romance: teasing the milkmaids, wooing Radha, charming them all. And there’s the Krishna who exemplifies mischievous childhood: the matka-breaking, butter-stealing infant that is alluded to in songs like Bada natkhat hai Krishna-Kanhaiyya.

He’s everywhere in old Hindi film songs.

Krishna

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