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Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
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Thintteen (343-344)
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Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
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Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Punjab, Punjabi, Punjabiyat
Bollywood Has Run Out Of Punjabis
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<blockquote data-quote="Admin" data-source="post: 161125" data-attributes="member: 1"><p><span style="font-family: 'Calibri'"><span style="color: #000000"><em>Performers, writers and directors from in and around Lahore were once dominant in Mumbai's film industry, but that is changing...</em></span></span></p><p><span style="font-family: 'Calibri'"><span style="color: #000000"><em></em></span></span></p><p><span style="font-family: 'Calibri'"><span style="color: #000000"><em></em></span></span>One of the odder facts about Bollywood is who runs it. India's Hindi film industry is located in Bombay (from whose 'B' we get Bollywood). But the two largest communities of this city have little to contribute to the movies.</p><p></p><p>Gujaratis and Marathis are together some two-thirds of the city's population. Gujaratis dominate most of Bombay's commerce, including the large capital market, while Marathis run the state and administration efficiently. In Bollywood, however, there's little sign of either community.</p><p></p><p>Yes, we can point to a great Gujarati actor (Sanjeev Kumar) here and a great Marathi singer (Lata Mangeshkar) there. But they are exceptions.</p><p></p><p>The dominant communities of Bollywood are two: the Urdu-speakers of North India and, above all, the Punjabis from in and around Lahore.</p><p></p><p>They rule Bollywood and always have. To see why this is unusual, imagine a Pakistan film industry set in Karachi but with no Pashtuns or Mohajirs or Sindhis. Instead the actors are all Tamilian and the directors all Bengalis. Imagine also that all Pakistan responds to their Tamil superstars as the nation's biggest heroes. That is how unusual the composition of Bollywood is. </p><p></p><p>A quick demonstration. Shah Rukh Khan, Aamir Khan and Salman Khan are the three current superstars. All three are Urdu-speakers. In the second rung we have Hrithik Roshan, Saif Ali Khan, Akshay Kumar, Shahid Kapoor and Ajay Devgan. Of these, Hrithik, Ajay and Akshay are Punjabi while Saif is Urdu-speaking. Shahid Kapoor, as his name suggests, is half-Punjabi and half-Urdu-speaking.</p><p></p><p>Behind the camera, the big names are Punjabi: Karan Johar, Vidhu Vinod Chopra and Yash Chopra of Lahore.</p><p></p><p>The Kapoor clan of Lyallpur is the greatest family in acting, not just in Bollywood but anywhere in the world. It has produced four generations of superstars: Prithviraj Kapoor, his sons Raj, Shammi and Shashi, their children Rishi and Randhir, and the current generation of Ranbir, Kareena and Karisma.</p><p></p><p>Bollywood is a Punjabi industry. We have Dev Anand of Lahore, Balraj Sahni of Rawalpindi, Rajendra Kumar of Sialkot, IS Johar of Chakwal, Jeetendra, Premnath, Prem Chopra, Anil Kapoor and Dharmendra who are all Punjabis. Sunil Dutt of Jhelum, Rajesh Khanna, Vinod Khanna, Vinod Mehra, Suresh Oberoi of Quetta, and all their star kids are Punjabis. Composer Roshan (father of Rakesh and grandfather of Hrithik) was from Gujranwala.</p><p></p><p>What explains this dominance of Punjabis in Bollywood? The answer is their culture. Much of India's television content showcases the culture of conservative Gujarati business families. Similarly, Bollywood is put together around the extroverted culture and rituals of Punjabis.</p><p></p><p>The sangeet and mehndi of Punjabi weddings are as alien to the Gujarati in Surat as they are to the Mohajir in Karachi. And yet Bollywood's Punjabi culture has successfully penetrated both. Bhangra has become the standard Indian wedding dance. Writer Santosh Desai explained the popularity of bhangra by observing that it was the only form of Indian dance where the armpit was exposed. Indians are naturally modest, and the Punjabi's culture best represents our expressions of fun and wantonness.</p><p></p><p>Even artsy Indian cinema is made by the people we call Punjus - Gurinder Chadha, Deepa Mehta and Mira Nair.</p><p></p><p>Another stream of Bollywood is also connected to Lahore, in this case intellectually, and that is the progressives. Sajjad Zaheer (father of Nadira Babbar), Jan Nisar Akhtar (father of lyricist Javed and grandfather of actor/director Farhan and director Zoya), Kaifi Azmi (father of Shabana), Majrooh Sultanpuri and so many others have a deep link to that city.</p><p></p><p>Now here's the problem, actually two problems. First: Bollywood's Punjabis are removed from the land that nourishes them. Punjab's cultural capital is Lahore, and most Bollywood Punjabis haven't ever seen it. Gulzar, whose real name is Sampooran Singh, told me that he didn't want to return to his native Jhelum. He said he had left an idyllic place and had held on to its memories, which he records in his lyrics. But he's exceptional and carries his world with him. People like Karan Johar, Aamir Khan and Hrithik Roshan are all Bombay yuppies, whose first language is English. The dialogues are all written in Roman because few read Urdu or Hindi.</p><p></p><p>Second: While Partition sent the Hindu Punjabis to Bollywood, Lahore's Muslims are lost to it. The Punjabis of Lahore possess something that all India loves, and that is a high culture in Urdu. This is why Bollywood will always be made in a language that both India and Pakistan recognise as their own.</p><p></p><p>Unfortunately, there is no young Gulzar in Bollywood today, and there has never been another Manto. Our supply of Lahoris has run out.</p><p></p><p>The Punjabi provided the firepower of Bollywood, but he needed the space to express himself. Manto discovered this after Partition. Sitting in his lovely house, Lakshmi Mansion off the Mall, I thought of how much of a Bombay writer Manto was. He may have been Lahori but he belonged to Bombay. Bombay has always been India's most liberal city because the dominance of mercantile Gujaratis and efficient Marathis has made it so. </p><p></p><p>But Bollywood dearly misses its Punjabis, and awaits the day it can get them again. </p><p> </p><p><em> Aakar Patel is a director with Hill Road Media, Mumbai </em></p><p><em></em></p><p><em><span style="font-size: 9px"></span></em></p><p><em><span style="font-size: 9px"><a href="http://www.thefridaytimes.com/beta2/tft/article.php?issue=20110722&page=9" target="_blank">http://www.thefridaytimes.com/beta2/tft/article.php?issue=20110722&page=9</a></span></em></p></blockquote><p></p>
[QUOTE="Admin, post: 161125, member: 1"] [FONT=Calibri][COLOR=#000000][I]Performers, writers and directors from in and around Lahore were once dominant in Mumbai's film industry, but that is changing... [/I][/COLOR][/FONT]One of the odder facts about Bollywood is who runs it. India's Hindi film industry is located in Bombay (from whose 'B' we get Bollywood). But the two largest communities of this city have little to contribute to the movies. Gujaratis and Marathis are together some two-thirds of the city's population. Gujaratis dominate most of Bombay's commerce, including the large capital market, while Marathis run the state and administration efficiently. In Bollywood, however, there's little sign of either community. Yes, we can point to a great Gujarati actor (Sanjeev Kumar) here and a great Marathi singer (Lata Mangeshkar) there. But they are exceptions. The dominant communities of Bollywood are two: the Urdu-speakers of North India and, above all, the Punjabis from in and around Lahore. They rule Bollywood and always have. To see why this is unusual, imagine a Pakistan film industry set in Karachi but with no Pashtuns or Mohajirs or Sindhis. Instead the actors are all Tamilian and the directors all Bengalis. Imagine also that all Pakistan responds to their Tamil superstars as the nation's biggest heroes. That is how unusual the composition of Bollywood is. A quick demonstration. Shah Rukh Khan, Aamir Khan and Salman Khan are the three current superstars. All three are Urdu-speakers. In the second rung we have Hrithik Roshan, Saif Ali Khan, Akshay Kumar, Shahid Kapoor and Ajay Devgan. Of these, Hrithik, Ajay and Akshay are Punjabi while Saif is Urdu-speaking. Shahid Kapoor, as his name suggests, is half-Punjabi and half-Urdu-speaking. Behind the camera, the big names are Punjabi: Karan Johar, Vidhu Vinod Chopra and Yash Chopra of Lahore. The Kapoor clan of Lyallpur is the greatest family in acting, not just in Bollywood but anywhere in the world. It has produced four generations of superstars: Prithviraj Kapoor, his sons Raj, Shammi and Shashi, their children Rishi and Randhir, and the current generation of Ranbir, Kareena and Karisma. Bollywood is a Punjabi industry. We have Dev Anand of Lahore, Balraj Sahni of Rawalpindi, Rajendra Kumar of Sialkot, IS Johar of Chakwal, Jeetendra, Premnath, Prem Chopra, Anil Kapoor and Dharmendra who are all Punjabis. Sunil Dutt of Jhelum, Rajesh Khanna, Vinod Khanna, Vinod Mehra, Suresh Oberoi of Quetta, and all their star kids are Punjabis. Composer Roshan (father of Rakesh and grandfather of Hrithik) was from Gujranwala. What explains this dominance of Punjabis in Bollywood? The answer is their culture. Much of India's television content showcases the culture of conservative Gujarati business families. Similarly, Bollywood is put together around the extroverted culture and rituals of Punjabis. The sangeet and mehndi of Punjabi weddings are as alien to the Gujarati in Surat as they are to the Mohajir in Karachi. And yet Bollywood's Punjabi culture has successfully penetrated both. Bhangra has become the standard Indian wedding dance. Writer Santosh Desai explained the popularity of bhangra by observing that it was the only form of Indian dance where the armpit was exposed. Indians are naturally modest, and the Punjabi's culture best represents our expressions of fun and wantonness. Even artsy Indian cinema is made by the people we call Punjus - Gurinder Chadha, Deepa Mehta and Mira Nair. Another stream of Bollywood is also connected to Lahore, in this case intellectually, and that is the progressives. Sajjad Zaheer (father of Nadira Babbar), Jan Nisar Akhtar (father of lyricist Javed and grandfather of actor/director Farhan and director Zoya), Kaifi Azmi (father of Shabana), Majrooh Sultanpuri and so many others have a deep link to that city. Now here's the problem, actually two problems. First: Bollywood's Punjabis are removed from the land that nourishes them. Punjab's cultural capital is Lahore, and most Bollywood Punjabis haven't ever seen it. Gulzar, whose real name is Sampooran Singh, told me that he didn't want to return to his native Jhelum. He said he had left an idyllic place and had held on to its memories, which he records in his lyrics. But he's exceptional and carries his world with him. People like Karan Johar, Aamir Khan and Hrithik Roshan are all Bombay yuppies, whose first language is English. The dialogues are all written in Roman because few read Urdu or Hindi. Second: While Partition sent the Hindu Punjabis to Bollywood, Lahore's Muslims are lost to it. The Punjabis of Lahore possess something that all India loves, and that is a high culture in Urdu. This is why Bollywood will always be made in a language that both India and Pakistan recognise as their own. Unfortunately, there is no young Gulzar in Bollywood today, and there has never been another Manto. Our supply of Lahoris has run out. The Punjabi provided the firepower of Bollywood, but he needed the space to express himself. Manto discovered this after Partition. Sitting in his lovely house, Lakshmi Mansion off the Mall, I thought of how much of a Bombay writer Manto was. He may have been Lahori but he belonged to Bombay. Bombay has always been India's most liberal city because the dominance of mercantile Gujaratis and efficient Marathis has made it so. But Bollywood dearly misses its Punjabis, and awaits the day it can get them again. [I] Aakar Patel is a director with Hill Road Media, Mumbai [SIZE=1] [url]http://www.thefridaytimes.com/beta2/tft/article.php?issue=20110722&page=9[/url][/SIZE][/I] [/QUOTE]
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Punjab, Punjabi, Punjabiyat
Bollywood Has Run Out Of Punjabis
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