Two Songs – 02

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I am a “devout” atheist, and a firm “non-believer”. I, naturally, then do not take to the ‘sadhus’ or the ‘babas’ or the monks or the priests or the imams or the rabbis. I have a special place of ‘this is such a load of garbage’ reserved for their preaching on morality. So when I first listened (and I mean, really LISTENED) to this song from Chitralekha, I instantly identified with every word that comes out of Lata’s mouth woven to Roshan’s composition. (trivia alert – he is super star Hrithik Roshan’s grandfather!)

Sahir Ludhianvi’s words are scathing and relentlessly expose the duplicitousness of religion and religiosity. Let the poetry sit with you for a while, and the words will reveal themselves to the unabashed and unapologetic merits of living a life of pleasure and desire. The song situation is about a courtesan (Meena Kumari) singing about her way of life to a religious monk (Ashok Kumar) in her own harem. The way Meena Kumari shoots bullets with her eyes at the monk, the way her physicality channels the poetry with such economy of movement – a raised finger, a lean in her posture, a turn of her neck – further impresses the essence of the words. Honestly, the word “Epic!” is used quite flippantly for ordinary things/people/artworks/experiences, but for this song – “Epic” is an apt adjective. Mind you, this song and the movie came out in 1964 – over 60 years ago! The symbiosis of the poetry, the singing, the composition, the on screen performance gives me literal goosebumps during the last line of all three ‘antaras’.

In the first antara, Sahir rejects the concepts of sin and virtue :

ये पाप है क्या ये पूण्य है क्या
रितो पर धर्म की मोहरे है
हर युग में बदलते धर्मो को
कैसे आदर्श बनाओगे …..संसार से भागे फिरते हो

Without fussing about, he directly challenges how adapting religious scriptures to suit ones ideas of morality, about sins and virtues – how can these be the guiding principles to lead a “just” life?

In the second, he takes a direct jab at the edict of leading a life bereft of worldly desires (love, lust, desire) as some sort of a higher state of being.

ये भोग भी एक तपस्या है
तुम त्याग के मारे क्या जानो
अपमान रचेता का होगा
रचना को अगर ठुकराओगे……संसार से भागे फिरते हो

He literally challenges the believers that if you are rejecting the creations of the creator, aren’t you insulting the creator you so believe in? This is how you slap someone with mere poetry. Bravo!

And in the last antara, he takes it to a resounding climax by making a statement that your philosophy that this world is a “maya” (an illusion/a false dream), you would have literally wasted your life while me, who has accepted the worldly creations and the feelings that come with it, I would have “lived” my life!

हम कहते है ये जग अपना है
तुम कहते हो झूठा सपना है
हम जनम बिता कर जायेगे
तुम जनम गँवा कर जाओगे
संसार से भागे फिरते हो

I was hardpressed to find another song in mainstream Hindi cinema that challenges religion and religious thinking head-on. But then, I found another song with very similar sentiments in a movie called “Amrapali”, that came out just two years after Chitralekha, in 1966. Here too, a courtesan (played by Vyjayantimala) singing about a life of love and desire as against that of sacrifice and chastity. Sung by Lata Mangeshkar (who else?), composed by Shankar-Jaikishen and written by another progressive poet – Shailendra. I couldn’t find the video of the song on the internet, but you can listen to it here:

Here too, the words are directly celebrating a life of indulging with the matters of heart and body and denouncing the philosophy of tyaag and virtuosity. I especially love these lines:

प्रेम की पीडा सच्चा सुख है
प्रेम बिना ये जीवन दुःख है

He says, the pain that comes with love and loving is the real pleasure and a life devoid of love is miserable. What a bloody beautiful thought this is? Love gives pleasure, sure, but it also comes with the pain of heartbreak/separation/death. Unrequited love has its own long journey of intense pain. And yet, just to love and be loved despite all the agony that it brings, is true bliss.

जाओ रे जोगी तुम जाओ रे
जाओ रे जोगी तुम जाओ रे
ये है प्रेमिओं की नगरी, यहाँ प्रेम ही है पूजा
जाओ रे जोगी तुम जाओ रे

प्रेम की पीडा सच्चा सुख है
प्रेम बिना ये जीवन दुःख है
प्रेम की पीडा सच्चा सुख है
प्रेम बिना ये जीवन दुःख है
जाओ रे जोगी तुम जाओ रे
ये है प्रेमिओं की नगरी, यहाँ प्रेम ही है पूजा
जाओ रे जोगी तुम जाओ रे

जीवन से कैसा छुटकारा
है नदिया के साथ किनारा
जीवन से कैसा छुटकारा
है नदिया के साथ किनारा
जाओ रे जोगी तुम जाओ रे
ये है प्रेमिओं की नगरी, यहाँ प्रेम ही है पूजा
जाओ रे जोगी तुम जाओ रे

ज्ञान की कैसी सीमा ज्ञानी
गागर में सागर का पानी
ज्ञान की कैसी सीमा ज्ञानी
गागर में सागर का पानी
जाओ रे जोगी तुम जाओ रे
ये है प्रेमिओं की नगरी, यहाँ प्रेम ही है पूजा
जाओ रे जोगी तुम जाओ रे
जाओ रे जोगी तुम जाओ रे

The composition is overtly confrontational in its pitch as compared to the dulcet (yet punchy) composition of the song from Chitralekha. Lata sings the high notes with élan (this is like saying the Sun is hot), and does many gymnastic maneuvers with her voice. She manages the different tonalities of the two songs with nuance and yet delivers a punch, which only a singer of her caliber could. Shailendra was one of the only known dalit poets in mainstream Hindi cinema. Him and Sahir were contemporaries and have written incredible songs covering a gamut of emotions, situations and philosophies. Both were known for their progressive views and these two songs exhibit their views on organized religion and its controlling nature through the hypocritical preaching of how to lead a virtuous life. Hindi film songs are more or less regarded as easy listening and not to be taken too seriously, especially when it comes to poetry. That respect for poetry is reserved usually for classical poets and their works. But I urge you to go ahead and look up Sahir and Shailendra’s works and I guarantee you, the treasure that you will stumble upon will enrich your life. For comparison, Sahir wrote the immensely popular “Abhi na jao chodkar” and Shailendra wrote the iconic “Mera joota hai japani”. Compare these two outwardly frothy songs to the ones above. You get my drift!

If you know of any other songs that are on the theme of challenging religion and morality, do send them my way!

Gulzar Kuch Khoye Huye Nagme – 26

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Song: O Re Kanchi

Movie: Asoka (2001)

Singers: Alka Yagnik, Shaan

Composer: Anu Malik

Not many people know that all the songs of this 2001 period epic were penned by Gulzar. While Gulzar’s work from the 90s and 2000s is mostly associated with Vishal Bharadwaj, Shankar-Ehsaan-Loy and A R Rahman, he did some excellent work with Anu Malik too. The Asoka soundtrack is one such Anu/Gulzar collaborations. (Others being Aks, Filhaal, Fiza, & Jaan-e-mann).

This duet belongs to the genre of songs of two people newly in love, who are lovingly teasing each other. One of them (usually the guy) is trying to coax the other one’s confession of love. These songs weren’t about wooing or stalking, but were instead about the fact that both are quite sure about their feelings for each other, but are taking a deliberate stance of not expressing them out rightly. They are savoring the restraint, while relishing a delicate dance of courtship with a harmless banter. Such songs were quite common in the cinema of the past, but have fallen out of fashion now. I guess there isn’t any time for such frivolity; you swipe right and fall in love (i.e. in bed). I guess, I am sounding like an old curmudgeon. If you know of any such songs from the recent past, I am happy to be proven wrong.

A few examples of some classic songs from this genre:

Hum aapki aankhon mein from Pyaasa, Jaane kahaan mera jigar kiya ji from Mr. and Mrs. 55, Baaghon mein bahaar hai from Aradhana, Achha ji main haari from Kala Paani, Jhooth bole kauwa kaante from Bobby; Ek sharaarat hone ko hai from Duplicate and many more.

For such songs to work, there needs to be a crackling chemistry between the lead singers. Shaan and Alka Yagnik deliver dollops of this chemistry and also bring the required tease and naughtiness in their voices. You can feel them flinging the words at each other. And, speaking of words – Gulzar’s liberal use of alliteration (in bold in the lyrics below) and repetition (in italics) makes for a delightful wordplay. The song is set in a tribal village, so Gulzar uses folksy Hindi words to further root the song in this milieu (sundari, mundari, mahua).

There is some pleasure in these deliberate hide and seek rituals of early companionship. Gulzar and Javed Akhtar are the last of lyricists who remember these pleasures and let them sometimes seep into their work. Alas, the situations in today’s cinema have no place for such songs.

O re kanchi…
O re kanchi kaanch ki gudiyaan
Hoton mein baandhe.. prem ki pudiyaan
Naa unhe khole na mooh se bole
Palkon pe rakh ke aankhon se tole
..
Suniyon suniyon misri se meethi
Aankhon mein band hai baatein rasili haan
Naa unhe khole na mooh se bole
Palkon pe rakh ke aankhon se tole

Pahadi paar chalna hai to parbat hataa doon
Ghataon mein kahin chupna hai to saawan bulaa doon
Mahuwa mahuwa mehka mehka
Mehka mehka mahuwa mahuwa
Koyi udta huva panchhi bata dega thikana
Jahan se din nikalta hain usi teele pe aana
Mahuwa mahuwa mehka mehka
Mehka mehka mahuwa mahuwa

O re kanchi….

Tera koyi parichay ho to ay sundri bata de
Badi meethi teri muskaan hai mundri bana de
Mahuwa mahuwa mehka mehka
Mehka mehka mahuwa mahuwa
Hain pardesi mujhe bhool jaayega kahin pe
De vachan main pehen loon use gehna samajh ke
Mahuwa mahuwa mehka mehka
Mehka mehka mahuwa mahuwa

O re kanchi….

Gulzar Kuch Khoye Huye Nagme – 25

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Song: Palkon pe chalte chalte

Movie: Daayra (1997)

Singer: K J Yesudas

Composers: Anand-Milind

This song is like a forgotten sibling of the more famous “Surmayee ankhiyon mein” lullaby from Sadma. Both are sung by Yesudas and both carry a similar elements – sleep, eyes, night, and dreams. While the Sadma track was composed by the great Ilaiya Raja, this one is composed by Anand-Milind. I do not know of another album where Gulzar and Anand Milind have worked together, but then it was the 90s, and how can Gulzar escape working with one of the most prolific composer duo of the 90s.

Although, it is still quite unusual that for a film directed by Amol Palekar, on a very unusual subject (a story of a trans person and a rape victim), would have Anand-Milind as composers. They were among the top composers of the mid 80s through the 90s. They are sons of the composer Chitragupt who made his name in the 1940s and 50s. Anand-Milind churned out a number of chartbusting albums (Qayamat se Qayamat Tak, Dil, Love, Bol Radha Bol, Prem Qaidi, etc.) in the earlier half of the decade. While they were quite prolific, they weren’t known to compose songs for serious movies. Most of their compositions are forgettable, and even plagiarized from the composers of South Indian cinema. But, I do cherish some of their albums even today – such as QSQT, Jagriti, Mrityudand, Vansh, Baaghi, etc. These albums do have some melodious tracks that have stood the test of time. Their output dwindled in the second half of the 90s and they eventually faded away with the turn of the century.

So, it did come as a surprise when I listened to the album of Daayra for the first time in 1997 and saw Anand-Milind’s name alongside Amol Palekar and Gulzar. The album did not get much recognition like other Gulzar albums that came around the same time – Maachis, Hu tu tu, Dil Se, etc. Regardless, it remains as the only collaboration of Anand-Milind and Gulzar (that I know of).

This particular song has a version sung by Asha Bhosale, but I prefer the Yesudas version. Is there another voice that is best suited for a lullaby? – buttery soft, yet deep, mellifluous, and seductive at the same time. His voice weaves a tranquil atmosphere which Asha’s voice fails to.

Gulzar’s lyrics bring the imagery of sleeping eyes as birds who have taken flight to pick dreams (paakhi jaisee aankhein sapne chugane lagti hai) that are scattered in a perfumed sky (sondhe se aakash pe) full of blue barges (neele bajre). Dreamy flights of fancy!

Learnings from 2020

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  • Dates are artificial, viruses are natural….so there’s that!
  • Dates are artificial, climate change is real….yes, this thing is still going to fuck with us severely every passing year 2021..22..23…………97
  • Don’t blame the year/date…its a silly number assigned by us humans
  • Our prescience is a mask for our delusions
  • We say we care but when the choice is between helping and real discomfort, we somehow find ourselves “busy”
  • Science and Scientists need better PR
  • Religions need to perish
  • Real friends and art saved (and continue to save) me from utter gloom
  • Democracy needs constant upgrading
  • A sense of ‘wonder’ is the most valuable asset of human conscience
  • You can’t live someone else’s misery, but you can acknowledge it exists
  • The acknowledgement of someone’s misery isn’t enough to alleviate it
  • Equality can feel like oppression to those who already have privilege
  • Politeness is not equal to kindness
  • Violence is an utter failure of imagination
  • A body at rest is not equal to a rested body
  • If the point you are making in an argument is only to condemn and not to convert, then its just unnecessary noise
  • Knowing and accepting that you can’t take anyone along in your growth, is the ultimate recognition of solitude
  • Count upon no understanding from others of your need for growth and solitude, but let this not diminish your love for them
  • Doing the same thing repeatedly and expecting a different result is opposite of growth…be it at a personal level or in social activism
  • Every time we look at any behavior or culture through the default Euro-centric point of view, we are indulging in a racist thought
  • We are trained to see deficiencies in people and not policies
  • Thereby, we strive to ‘improve’ deficient people but largely ignore deficient policies which caused the deficiencies in the people in the first place
  • Just because there are no published materials in a certain language, doesn’t make that language inferior
  • We want to heal without pain, but without pain there is no healing

Baba – Part 2

It was September 1993. I was in Nagpur for a short break from college. My grandfather, who we all called Dada, was critically ill and was admitted in a local hospital. Everyone in the immediate family was taking turns in staying with him at the hospital. Since, I was on a break and the rest of the family had their respective jobs, I spent a lot of time at the hospital with him. There wasn’t much to do since he was mostly unconscious. Baba and his brothers would come to the hospital right after work in the evening and I would go home on my bicycle (which was actually a hand me down of Dada’s). Dada was known for his tenacity, his physical and mental toughness, and a very short temper. As a result his word used to be the last word in our family. Baba was his (and my grandmother’s) caretaker and provider, as far as my memory goes back. I know, Baba revered his father, almost worshiped him. I wonder now, how was their personal relationship? Were they close? Did Baba seek advice from his father? Did he share a joke with him? Their’s was a different generation, and in those days, rarely did a father and his son share a “buddy” rapport. Why, even I didn’t have such a rapport with Baba.

Dada’s condition didn’t improve and he passed away on the last day of the Ganesh festival. This was the first time, I witnessed death – this was the first time I saw a dead body. Baba performed the last rites as was customary, for the eldest son to do. He, along with his two brothers, had shaved their heads. Religion and its customs were followed. A mourning of 14 days commenced. Baba was 50 years old when his father passed away. 27 years later, I would perform the last rites of my father, but I refused to shave my head or follow the rest of the customary traditions. I also refused to comply with the other religious rites after the funeral. But more on that later.

The rest of my college years, were punctuated by intermittent visits home during the breaks after each semester. I would be home with not much to do, while the rest of the family went about their daily chores. It was mostly, me, aai, and my aaji (grandmother) during the day. Baba, as usual was engrossed with his work. My brother was finishing high school and was busy with his studies. There aren’t many memories with him in these years. One thing that happened during my college years is, I was changing as a person. My thinking was expanding, I was exposed to more people who were unlike me – in language, in thinking, in cultural habits, in artistic tastes. I was subconsciously soaking it all in. After having spent years being surrounded by the cocoon of the middle class Marathi world, this was an awakening for my mind and body. This would have a lasting impact on me for the rest of my life. And when I say, I was exposed to “other” people, it wasn’t a superficial exposure. I was living with people who were unlike me, I was with them 24X7, we were having shared experiences that would create lasting bonds. I was changing rapidly.

After I graduated, I moved back home for a job I found in Nagpur. Baba was pleased that I was employed. I wasn’t. I did not want to live in Nagpur, I did not want to live at home. This was a direct result of having been away for four years, of having tasted the “other”, of the vast diversity of experiences that lay in the rest of the world. I could not wait to explore all that is out there on my own. I could not express this to anyone. It was all quite constraining. I was planning an escape. And so I did. I went to Pune under the pretext of applying to management schools, which was partially true, but I had ulterior motives. After securing a job in Pune, I informed my parents that I won’t be coming back. I don’t think Baba was prepared to handle that news. I didn’t care. I was away. Those were hard days for me, very little money, and no direction of where my life was going. But I was determined, to not come back. In the midst of this, I learned how Baba had officiated a wedding of the daughter of one of his close friends, against the will of his friend. I learned that the daughter had fallen in love with her professor at the engineering college she was studying and her family was opposed to the match. I was surprised that Baba, who I thought was a conservative person, would stand up to her and would help her. He would do that again a few years later, for another of his friends’ daughters. This friend lived across from us. His daughter is a childhood friend. She had fallen in love with a neighborhood boy who is also a good friend of mine. They are of different caste and it hence the match was quite a controversy. Her father, who was a very good family friend to us denounced his own daughter. But my father came to their rescue and helped the couple out. The couple remained indebted to my father. Every time when they would visit Nagpur from the Middle East, where they now live, they would first come to him to see him and seek his blessings. It was quite a revelation that this seemingly religious person, didn’t have any hang ups when it came to love. We are all puzzles after all, and he was no different. It makes me think, what his youth was like. Did he love anyone other than my mother? I don’t know, I never cared to ask. But this I know for sure, he was intensely loyal to my mother. They had been through trying times together, and would continue to until he passed away. She would become his sole source of strength when he contracted a chronic heart disease.

In 1999, on a whim, me and a friend of mine appeared for an interview for a US based firm. This was not a planned move, but more of a lark. We were out for lunch and saw this sign board outside a 5 star hotel in Pune for the interview. We tried and with no expectations were offered a position. We decided to take it. After I announced this at home, everyone was a bit amused. I don’t think they actually thought that I would go through with it. But go through with it, I did. Baba was proud but also nervous. I didn’t have much money, so I borrowed money from him to convert them into two hundred and fifty dollars. Everyone came to see me off at the Bombay airport. Baba and Aai were a nervous wreck. As the wheels of the flight took off, the gravity of the situation brought me down. I will truly be alone now, in a distant land with little money to start a life of my own. That was February 2000. I have been fortunate to have made a decent life in a foreign country with the $250 borrowed from Baba. You can say that is my inheritance from Baba. He had made a life for himself and his brothers, taken care of his parents, raised two sons, all with no capital from anyone. I can say, this is my homage to a self made man. All I am today, is because he gave me wings. I also inherit the trait of not expecting any help from anyone in going through ones life. I am not the first, neither the last one to do so. So I won’t claim any pride in it. But I do believe, this is what Baba unconsciously inculcated in me (and my brother) – to make it on your own. He did it at a much younger age, with more responsibilities than I had when I embarked on my journey of adulthood. He did with far more adversities than I had to ever face. But nonetheless, I am his son in this regard. And, I am damn sure he was proud of both of his sons for this.

Sridevi – A Pure Actor

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It was February, 2020. On a whim I signed up for an acting workshop at a local acting institute. In the first few minutes of the first day of the workshop, the instructor laid out the craft of acting as comprising of merely two things:

1) Acting is about making the audience believe in your character, regardless of whether you believe in the character or not.

2) Acting is about using the one tool you have at your disposition to achieve point 1 above – your body (your voice is part of the body)

That’s all, that’s acting, she said. One can intellectualize it all one wants, but it came down to these two things. This made me think of one of my favorite actors, and if she applied these two tenets to her craft. The answer was a resounding “yes”. Of what I have seen of her, she has followed these two tenets like an obedient child. It could be because she started acting at the age of 4, and learned her craft on the sets. She didn’t learn it in acting schools, or didn’t talk about acting. She acted. As a result, even in her grown up performances, she didn’t care if the character was poorly written, or the movie it belonged in was garbage –  she showed up and did what was needed with full honesty. When the camera was on, she was ON. There was no two ways about it, the camera demanded her to be committed and commit she did. 

I am of course talking about the “Sridevi”. It will be over two years since Indian cinema lost one of its brightest star. A star who was also an actor in the purest form – a rare combination in the Indian cinematic universe, where too often, stars and actors are two different breeds. Sridevi faced the camera at the tender age of four and since then, she grew up in front of the camera. Her life, until she got married was about going from one set to another. As a child actor, she must have just followed the cues from her directors – play happy now, you are sad here, you are afraid there, and so on. So she rote those emotions and tried to project them the best she could. Imagine a child learning the multiplication tables or poems for school. She never intellectualized what the scene demanded, she reached for the core emotion of the scene, brought it out and projected it. This isn’t just my speculation, Sridevi has said it a number of times. She insisted that was no method, no preparation. If you think of this approach, its pretty primal. Its like life, we don’t usually go about our regular day intellectualizing our actions or reactions. She did just that – be in that moment of that character and project the emotions with sincerity and purity.

Sridevi’s major (adult) work is from mid 1970s through the mid 1990s. In these twenty years, Sridevi ruled the box office in Tamil, Telugu, Kannada, Malayalam, and Hindi cinema. And I don’t use the term ruled lightly. She made the box office ring when she headlined a movie in three of the largest film industries of India, a feat no other actor has achieved. She filled the seats in the cinemas. A Sridevi movie meant guaranteed return on the investment. Why did people like her? Of course she was stunningly beautiful, but beyond her beauty, it was her sincerity in doing whatever she did on the screen that made her spin her web on the audience.

She also revived the sagging careers of many a middle aged male actors in Hindi cinema (Rishi Kapoor, Jeetendra, Rajesh Khanna, Vinod Khanna). She came at a time when the creativity in commercial Hindi cinema was at its nadir and women in Hindi cinema were mere props for titillation. In this climate, this girl who had no knowledge of Hindi, blazed a trail of her own and emerged as the most successful actor of her times.

A lot has been written about her iconic performances in Tamil, Telugu and Hindi films. Where I want to draw attention are the many mediocre movies she was a part of. Since her passing, I have been trying to go through some of these movies. The movies are a pain to sit through, mostly because of their hair brained plots, loud music, and horrendous regressive treatment of women. However, what I notice is, even in these movies, Sridevi shines bright. Her approach to her acting remains true to the two principles above.

Take Roop Ki Rani Choron Ka Raja – You just have to take a look at the campy song “Dushman dil ka jo hai mere”. She has been wronged by the villain (played by Anupam Kher) and is engulfed with fiery vengeance. Watch her climb down the stairs to the beat of the song, watch her physicality in these few seconds and then the anguish she channels through the combative choreography. She makes you buy into the campiness with just the right dose of ferocity.

It’s this basic quality that makes her performances feel sincere than high art.This kind of acting often does not get the credit that the performances of “thinking actors” in high-art movies get. However, it is this simplistic and honest approach to any role, that makes Sridevi a more complete actor in my regard. This made her to not look at one character as special over another. All the roles she played came from the same place of honesty to her craft. She didn’t see the complex character of Reshmi from Sadma as any greater than say her over-the-top Radha in Himmatwala – both movies came out in the same year. Or say her immaculate balancing act of Pooja and Pallavi in Lamhe versus her double role in the atrocious Banjaran – again from the same year. There was much speculation if she would be able to adapt to the acting styles of the 21st century when she decided to make a comeback after a 15 year hiatus in 2012 with “English Vinglish“. She laid all those speculations to rest, by once again just doing what she does best – show up on the set and act with the utmost sincerity using the tool she has.

Sridevi stayed true to this until her last film “Mom” (allegedly her 300th film) – she was still that 4 year old child applying the two principles of acting, every single time she heard “Lights! Camera! Action!”

Below is a sampling of some of her lesser known songs through which you can get a glimpse of her commitment to her craft.

Nako Baba Nako Baba

Govinda and Sridevi are truly two of the best dance-acting actors of Hindi cinema. Their spontaneity is on full display in this song. They seamlessly move from one folk dance form to another while maintaining the frothiness quotient.

Bhoot Raja

This one should be a lesson in dance-acting. Sridevi uses her entire body in an unabashed wild manner. She uses the space in the frame, the extras around her, the props that she grabs occasionally, while emoting to what the lyrics are conveying. Watch her when she comes across a snake and then falls flat on the ground only to convulse and then get back into the song. Now think of when this was shot, she knew what to do, when to look at the snake and act terrified. All of this is rehearsed and yet what shows on the camera is as if she is doing this for the very first time. She is un-inhibited in her movements, and yet there is a grace in her movements (not to mention doing all this while wearing a saree). I don’t exaggerate when I say, you won’t find another actor who can pull this song with such rawness.

Tarpat Beete Tum Bin Yeh Raina

Sridevi never got training in any dance form. She learned from observation and practice. You won’t believe a word of this when you watch this number. She combines the classical dance forms of Kathak, Bharatnatyam, Kuchipudi with standard issue semi-classical Hindi film dancing. Her form is like those you see in the temple carvings of ancient India – seductive and traditional at the same time.

Deewana mujhe kar gaya

This is the other version of the more popular “Tu na ja mere badshaah” from Khuda Gawaah. Here Benazir is being reunited with her husband Badshah Khan, after decades of being apart. Watch how she conveys her desperation in the first segment when she is trying to revive an injured Badshah Khan. And then in the second segment watch her walk towards Badshah Khan with arms wide open, these last few steps seem like a tortuous journey after waiting for decades to meet the love of her life. There is anticipation, joy, pain all bundled in her entire body, in her gait and in her eyes.

Kya hoon main

A standard 1980s trope of the heroine dancing in the villain’s lair. Watch how she projects her bad-ass attitude through the awkward choreography. Give this to an average performer and this becomes an unintentionally funny sequence. Sridevi elevates this with her complete commitment and a knack to make her body and face project the emotions expressed in the lyrics – no matter how campy they are.

Jaamu Rathiri

This is a very popular song from one of her huge hits in Telugu. The Hindi audience may not be very familiar with the song. There isn’t much happening in this song – physically. She is mostly seated in one place. Watching her face is as if you are watching a piece of art taking shape – its like a canvas that keeps painting itself with a gamut of emotions – trepidation, fear, relief, peace, shyness, drowsiness. Its minimalism done to perfection.

Jai Laxmi

Sridevi is pure comedic gold in this forgotten song. Had this song been in a more deserving movie, it would have been more popular. In an era when over the top acting was the norm, Sridevi manages to bring unadulterated comedy without resorting the ham-handed approach of her male colleagues of the 80s. She uses slapstick and commits to the farcical nature of the premise of the song where she is enacting to be the idol of the goddess Laxmi to rob the devotees of their offerings. It is quite unfortunate that Sridevi’s talents for comedy were reduced to set pieces or songs in many such pedestrian movies. Even with such mediocre material, she kept hitting it out of the park. Imagine if other departments of her movies were of a higher caliber! Just Imagine. Well, we will have to settle for this.

Baba – Part 1

Baba died on March 3, 2020 at around 11:50 PM. He was the husband to my mother for 51 years, a father to me for 44 years, a father to my brother for 42 years, and Suresh for 77 years. He was born on May 11, 1943, in a small town of Brahmapuri in what was then part of Central Provinces and Berar of British India. I do not know much of his childhood, all I know is that he became the breadwinner and provider for his parents and his two brothers in his late teens. His father failed at many a business ventures, could not hold a job and thus the responsibility of the entire family rested on him. Baba delivered newspapers on the side, did other odd jobs to support the family. He then moved to the city of Nagpur. He stayed in the homes of relatives while pursuing his under graduation at City College in Nagpur. He used to tell us of the hardships endured in staying at other people’s homes. How he was shy to ask for food when he was hungry. How he would make do with what was served and go to bed hungry on many nights. Once he found a steady job, he moved his family to Nagpur. With his parents and two younger brothers, they lived in a small tenement style home. One room for sleeping , the other for cooking. While he was toiling at his job he was also pursuing a degree in law. In all this, his marriage was arranged to Ratnamala Bawane. They got married in June 1969. He was 26, she was 19. She moved into the already crowded house. She came from an affluent farming family from a small town. She was used to a large home with help for household chores like cooking, cleaning, etc. Here, she was by herself. She made peace with the situation, and this 19 year old girl became a lifelong companion of Baba – through poverty, disease, happiness, and raising two kids, to his death. She rolled up her sleeves and got to work. While Baba finished law school, she cooked and cleaned and fed and tended to his parents and two younger brothers. This was our mother, Aai. Things improved a bit after Baba finished law school, they moved into a slightly larger house in a chawl.

I was born in 1975, and shortly after, in 1977 my younger brother arrived. At some point around 1979, Baba had to leave Nagpur. We moved to Aurangabad for his job. Aai, along with a 4 year old me and my 2 year old brother joined him. I have vague memories of those days, I remember the small rented in-law apartment we lived at, I remember walking to school with Aai, I remember being annoyed by my little brother wanting to sit with me in my classroom, I remember watching matinees with Aai. But what I don’t have, is a single vivid memory of Baba in Aurangabad. He must have been working a lot. Our lives mostly revolved around Aai.

The first memory of Aurangabad and Baba I have, does not have him physically in it. Aai, my brother, and I were in Nagpur with our grandparents. I remember, someone got us the news that Baba was in a terrible car accident. I remember everyone being distraught. It was 1982, information didn’t flow as easily it does today. So it must have been disconcerting for everyone to not know what was going on. We rushed to Aurangabad. Turns out, the car he was travelling in met head on with a large truck, three people from the car had died. Along with Baba, one of his colleagues and the colleague’s parents were in the car. They had hired a driver. The driver, and the parents of the colleague did not survive the crash. Baba and his friend were in critical condition. I do not remember seeing Baba in the hospital. I remember our Mama (Aai’s younger brother) staying with us to help out Aai with managing the home. His was a long recovery, over 6 months. Those were clearly trying times for Aai – managing a home, two boys and tending to Baba.  When I was going through Baba’s papers after his death, I found a file with a newspaper cutting of the news of that accident. Life for him (and eventually us) changed after that event. That event stayed with him for the rest of his life, even though he didn’t vocalize it much. He had multiple fractures, his arm had to be rejoined with a steel rod. That was the first of other foreign objects to be inserted inside his body – some temporary and some until he died. The last of these foreign objects, an Automated Implantable Cardiovascular Defibrillator (AICD) was surgically removed from his dead body minutes after he was pronounced dead.

After the recovery from the accident, we lived for another year in Aurangabad. Baba was transferred back to Nagpur and we moved back. This move is my first fond memory of Baba. We had hired a truck to move our belongings. So, instead of taking a train or a bus to Nagpur, he decided we will travel to Nagpur in the truck. So there we were, riding in the truck from Aurangabad to Nagpur. On our way, we stopped at the ancient majestic caves of Ajanta and Ellora. We gaped in awe at the size of the mighty dam on the Godavari river at Paithan. We marveled at the ingenuity of the Daulatabad fort. Not to mention, the thrill of riding an actual transportation truck. All in all, it was my first travel adventures, It was here that the seed for my wanderlust was sown, thanks to Baba.

Baba, I would find out much later, loved to travel and see distant places too. He traveled a lot after my brother and I had left home for our jobs. He traveled extensively in India from Kashmir to Kanyakumari. He traveled to the United States and stayed with me and my wife for about 4 months in 2004. He showed great enthusiasm to walk everywhere, and see everything. He never said no to a museum or a hike or a long drive. I think, he was living his youth, after his retirement. He never got a chance to enjoy his youth, as he was saddled with responsibilities at a young age. He lived a life that was all work and no play. Not to mention the lack of resources, his pay was a meager Rs. 300 and he had 5 mouths to feed. So in his later years, his face would light up at the mention of a trip to anywhere. While going through his files after his death, I stumbled upon a notepad where he had meticulously listed out ticket prices for museums and parks in Europe so that he can carry enough Euros with him on a much desired trip. That trip never materialized. Aai and him had booked a 4 weeks trip to Europe in 2008, but a month before the trip he had a massive cardiac arrest and the trip had to be cancelled. Seeing his meticulous notes of what to see on the trip, how much it would cost, said everything about him. His curiosity for far away places, combined with his practical sense of the economics required to cater to this curiosity.

He was meticulous and extremely particular when it came to money. Dare I say, he was frugal. This frugality was a learned habit out of the circumstances of his early years. He grew up in poverty with meager means. If a rupee could be stretched, it would be stretched. Even when he had enough to indulge in a bit of luxury, he flinched, he tread with caution. The first instinct was to be frugal. A habit, that didn’t leave him even when he was fighting for his life in his final days. Two days before he died, he asked for his phone while laying in his hospital bed. It was March 1, he wanted to check if his pension was deposited in his account. He wanted to check if there is enough to cut checks for the household help, for the gardener, for the utility bills, etc. That was Baba, always careful and aware of his money. This habit of him, irritated both me and my brother. We would constantly berate him for not spending on himself, especially when he had the means to. But, it was his natural state to be this way, lest another tragedy robbed him of everything he had. Until he died, Baba was stuck in that tenement home, where he was stretching every rupee to make ends meet.

This is not to say that he was a miser when it came to money. He lent money to people in need with free abandon. I learned of one such event after his death. A family friend’s son was struggling for his life at a hospital in Nagpur. He had been through a horrific motorbike crash a year ago. He had already undergone multiple surgeries and had been in the hospital since then. His family’s finances had dried up from a year of expensive healthcare costs. Baba had just retired from his job as a Government Labor Officer. He was on his way home after collecting his retirement funds, and decided to stop by at the hospital to pay a visit to this family. The mother expressed to him the difficulties they are facing. Baba went to the bank and withdrew a large chunk from his retirement fund and gave it to her. She was narrating me this story a few days after his death and said she owed the life of his son to Baba. Turns out this was one of many such incidents. He helped people, even when he had little. He was the “yes, I am here and will do what I can for you” man. This trait of Baba, may also be from the trauma that he personally experienced in his youth. The trauma of never having enough, the insecurity of not knowing if he would have enough for running his house. I suspect, he received help from others during these days, and he was just emulating what he got from others in his times of need.

Back to 1982, and our move to Nagpur. He had moved his parents and brothers from the chawl to a slightly larger rental apartment which was right opposite my school. While we lived in this house, Baba bought a piece of land in the far outskirts of the city. I believe, it cost him a little more than a few hundred rupees, but even this sum was out of reach for him. He later said, he borrowed from friends and relatives. This was one of his many wise financial decisions. He decided to build a house on that piece of land. It must have taken a lot of financial gymnastics to cater to a family and build a house in his economic condition. We hardly ate out, or took vacations. We got new clothes on our birthdays and in Diwali. The construction of the house took about two years. A date for the Vastu Pooja was decided – November 1, 1984. Invitations went out, arrangements for catering, the priest, and the decorations were made. Baba was busy but also excited. After all, this was a house he had built with his own might. He had inherited nothing, he had educated his two brothers, who now had jobs, he had survived a near death accident, he had two children and a set of old parents to provide for. He had flitted from one rental house to another, never having a place to call his own. This new house was HIS. He will lay down his roots here, and he did. He lived in this house for the rest of his life.

All arrangements for the Vastu were made. October 31, 1984 : India’s Prime Minister, Mrs. Indira Gandhi was assassinated by her own bodyguards. There was chaos and uncertainty in the country. The security situation was precarious and the Government announced a ban on gatherings of people. The day of Baba’s triumph was not to be. He still had the house, but he would not be able to celebrate it like he wanted to. I could see, he was disappointed. He did what he could, and we moved into the house. There was no fanfare.  I can imagine, how he must have felt after sleeping in his own house for the first time. For a man who had nothing, to having a roof to call his own for his children, for his wife, for his old parents, for his brothers. He named this house “Om”. “Om” became the center of everything after November 1, 1984. Good times and bad, and ultimately where we brought his lifeless body on the night of March 3, 2020. He was laid on the same cold terrazzo floor of the living room that he had built with his blood, sweat and tears 35 years ago . He would have wanted to lay in no other place, I think.

Life after moving to “Om” was steady. His brothers got married, moved out to their own homes, which were also possible because of his guidance and prudence in financial planning. In all this, we rarely saw Baba. He was there, but he was mostly absent from our day to day quibbles. Our grandparents and Aai were our go-to people for everything. Baba’s work kept him occupied. His job caused him a lot of stress, that we children couldn’t understand then. Working as a cog in the large Government machine, can be exhausting and frustrating even today. He was the kind, who did his work with utmost sincerity and integrity. In a job like his, there were countless opportunities to take the easy way. His job was to be the guardian of the labor unions against the corporations and enforce the labor laws of the state of Maharashtra. A job that pits you against the moneyed. His reputation was incorruptible. We knew this much later, and then it made sense: why we lived, the way we lived. We were no longer poor, we had most everything but it came to us much slower than others. We didn’t have a television for many years, we didn’t get a telephone line until 2000, a refrigerator arrived somewhere in the late 90s. All of these things came from the salary that he rightfully earned. I remember visiting his office in the Civil Lines neighborhood of Nagpur in the late 80s and early 90s. There was an atmosphere of reverence for him by his colleagues – his peers, his subordinates and even his supervisors. I remember sitting in his chamber one day, and seeing people float in and out. He was a different person at his work place. His work life remained a huge part of him. He built a network of friends, many of them became close family friends to us. He mentored many a junior colleagues, some of whom overtook him in the hierarchies of the system. He most certainly gave more than his work deserved. But that’s not how he thought or functioned. He functioned on 100% commitment to the task at hand. This was evident from the most serious case he was fighting at work to the most menial task he was doing at home. One should have seen him pack a suitcase – he could make an art form out of it. He could have taught courses on it. Whether it was stowing away old newspapers in the attic, or putting up decorations for Diwali or raising the Gudhi on Gudhi Padwa, or packing bottles of pickles so that the oil doesn’t leak out in our suitcases, assembling the cooler before the advent of summer, or disassembling it right before the monsoons arrived. Every single thing he did, he did with a deliberate and particular sincerity. This can also be quite irritating, and believe me it was. As teenagers we had little to no interest in setting up the elaborate Mahalaxmi pooja setup. This annual pooja was a big deal in our home. It was a four day festival smack in the middle of the more fun Ganesh festival. All extended family from Nagpur would be invited for a grand luncheon on the third day of the festival. The preparations for this grand day would be back breaking work. None of which was “fun”. Ok, having all the cousins over and spending time with them was fun, but the rest of the paraphernalia we could have done without. Anyway, this festival was the single most important religious festival for Baba. He had custom-made a miniature wooden house for the idols that would have to be assembled and then disassembled each year. Think of it as a complicated Ikea furniture assembly, but without the instruction manual.

So every year we unpacked all its pieces from carefully wrapped packaging. We would lay them all out on the floor – about 40 pieces of solid teak wood, over 100 screws and nuts. And then the great Mahalaxmi house building project would commence. Baba, his two brothers, and my grandfather – each giving instructions to me and my brother. It was a scene to behold, Baba festering –  this piece goes with that one, don’t tighten the screws just yet, stop moving ! Me and my brother would be somewhere in the midst of these grown men, trying to help them out where needed. Like holding a piece of wood for what seemed like hours, until someone attaches another to it. It was exasperating, every single year. But Baba derived much joy from this, we could tell.

His faith was strong and deep. I could never understand it, and I recognize that it wasn’t something for me to understand. I could just let it be, but I didn’t. On many occasions I made my dislike for all things religious quite known. This must have hurt him quite a lot, but I would care less. Although, there were many occasions where I went along with his plans. A calendar year in our home was punctuated by religious festivals, poojas and havans. In retrospect, his faith was what kept him going. He had a hard life…right until well into his forties or even fifties, he toiled to build a safe and comfortable world for all of us. He had no financial support from his parents, nothing that he inherited. So whatever he created it was entirely his doing. His faith must have been a pillar for him in times of strife. Even in his last days when nothing was comforting him, he would scream out the name of the goddess he revered. I have spent many a nights, massaging his feet while he writhed in pain and kept chanting her name. His faith did not quit him, until his last breath. And that I must recognize and respect.

The 90s came, I left home for college. I remember, he really wanted me to be an engineer. I was a lost youth, I had no idea what I wanted to be, and so I went along with the flow. He aspired for me to get into the prestigious regional engineering college in Nagpur. I didn’t score enough, and secured a spot in a Government college in Karad. I am not sure what must have perspired between him and my mother before they made the decision to pack me up and leave Nagpur. I could have stayed in Nagpur by enrolling in a private Engineering college in Nagpur. Of course,  a private education would have been expensive, but we chose Karad. So off I went in the monsoons of 1992. He accompanied me to Karad which was a day long’s train journey away from Nagpur. Aai, could not come since she was undergoing treatment for a chronic back issue. After settling me up in the college hostel, Baba went back to Nagpur. I remember, he was quite emotional leaving me there all by myself. It was the first time I lived away from home. It was the beginning of my life where Aai, Baba, my brother and the rest of my immediate family would become periodic appearances, until the present day. From this point on, their lives were lived without my physical presence in it, or theirs in mine. I don’t know what it did to Baba, leaving his 17 year old son in a far away place. Just like, I don’t know what it did to him, when he was in his teens and had to voluntarily leave his home to a distant place to provide for his parents. But one thing was common, Baba in his teens or Baba in his late 40s – he was still the provider.

Mann ki Seemarekha

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Yogesh Gaur, known to Hindi film music lovers by the mononym “Yogesh”, passed away on May 29, 2020. Yogesh wrote lyrics for a number of movies in the 1960s and 70s. He had a successful teaming with Hrishikesh Mukherjee in Mili and Anand. Kahin door jab Din dhal Jaaye, from Anand remains his most popular song. He also teamed with Basu Chatterjee for Chotisi Baat and Rajnigandha. Yogesh was known for using simple Hindi for his lyrics (as against the use of Urdu by his contemporaries). His oeuvre wasn’t as voluminous as other more prolific lyricists of his time, but he left a unique mark on Hindi film music. His teaming with Salil Chowdhury gave the dulcet “Rajnigandha phool tumhare”, the energetic frothiness of “Jaaneman Jaaneman tere do nayan”, or the sombre “Kahin door jab din dhal jaaye”. Songs, that we listen to even today.

The write up below is on one of his songs from Rajnigandha, directed by Basu Chatterjee who passed away as I was composing this post on June 4th, 2020. Five key contributors of this song are no more: Basu Chatterji, Yogesh, Salil Chowdhury, Mukesh, and Vidya Sinha.

Song: Kayee baar yun bhi dekha hai
Composer: Salil Chowdhary
Singer: Mukesh
Lyricist: Yogesh
Film: Rajnigandha

Kayi baar yun bhi dekhaa hai
Ye jo man kee seemaa rekhaa hai,
Man todane lagataa hai
Anjaanee pyaas ke peechhe,
Anjaanee aas ke peechhe,
Man daudane lagataa hai
Raahon mein, raahon mein,
Jeewan kee raahon me
Jo khile hain phool phool muskuraa ke
Kaun saa phool churaa ke,
Rakhoo mein man sajaa ke
Kayi baar yun bhi dekhaa hai
Ye jo man kee seemaa rekhaa hai,
Man todane lagataa hai
Anjaanee pyaas ke peechhe,
Anjaanee aas ke peechhe,
Man daudane lagataa hai
Janoo naa, janoo naa,
Uljhan ye janoo naa
Sulajhaoon kaise kuchh samajh naa paaoon
Kis ko meet banaaoon,
Kis kee preet bhoolaaoon
Kayi baar yun bhi dekhaa hai
Ye jo man kee seemaa rekhaa hai,
Man todane lagataa hai
Anjaanee pyaas ke peechhe,
Anjaanee aas ke peechhe,
Man daudane lagataa hai

कई बार यूं भी देखा है 
ये जो मन की सीमा रेखा है 
मन तोड़ने लगता है 
अन्जानी प्यास के पीछे 
अन्जानी आस के पीछे 
मन दौड़ने लगता है 

राहों में, राहों में, जीवन की राहों में 
जो खिले हैं फूल फूल मुस्कुराके 
कौन सा फूल चुराके, रख लूं मन में सजाके 
कई बार यूं भी देखा है ...

जानूँ न, जानूँ न, उलझन ये जानूँ न
सुलझाऊं कैसे कुछ समझ न पऊँ 
किसको मीत बनाऊँ, किसकी प्रीत भुलाऊँ
कई बार यूं भी देखा है ...

More than anything, words in Hindi film songs get me first before the singing or the composition does. So when I heard this song for the first time, I don’t recollect when, but in the 80s I think, the thing that stayed with me was the word “Seemarekha”. This one word had me pay rapt attention to the song. I was amazed at how such a word can even be used in a song! It felt odd, but yet it was just perfect for the sentiment that was being conveyed in the song. Mind you, I was listening to the song while watching the movie and the song is about the confused state of mind that the heroine (Vidya Sinha) finds herself in. She is unsure, she is conflicted and it seems like she is going through a whirlwind of feelings that aren’t making her think straight.

 

Kayee baar yun bhi dekha hai, yeh jo mann ki SEEMAREKHA hai;

Mann todne lagata hai

Anjaani aas ke peeche, anjaani pyaas ke peeche

Mann daudne lagata hai

 

Writing words for Hindi films is no mean task. Usually the composition is ready, and the lyricist has to work within that “dhun”, while keeping the situation in the movie in mind and then bring out the feelings of the characters on whom the song will be shot. This is not free verse poetry, the constraints are enormous and when the lyrics do justice to the spirit of the narrative and the character and the composition, it is no mean feat. Ironically, the poet has to stay within the boundaries of these constraints : the poet can’t cross these seemarekhas. His/her loyalty has to stay with the situation and the character in the film.

 

Yogesh, who is the lyricist of this song, works within these boundaries and creates simple poetry that fits squarely in the situation of the movie. The composer, Salil Chowdhury brings out the feel of an unsure mind which I think comes from the mild staccato’ish sound that he uses throughout the song. The song begins with Mukesh singing the first two lines in a low voice, followed by the wailing of a saxophone which transforms into short bursts and then Mukesh sings the mukhada again in normal pitch to the staccato beats. Using male singers to convey emotions of a female character, is not a new thing for Hindi films. Right from the 50s to even today, songs shot on women, about their feelings, have been sung by men (very recently : Kinaare from Queen or Dhak Dhuk from English Vinglish). More than a male singing for a song shot on a female, what concerns me is a male writer writing the words for songs that are from a female POV. I somehow feel that the authenticity of the poetry is an assumed experience, and not an authentic one. This is not take away the efforts of the writer in bringing out the right emotions for the situation the female character finds herself in the narrative, but merely a small discomfort that had it been penned by a woman, would it carry a little more authenticity?

 

Shut Up and Listen!

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The current protests in the USA are due to the decades old and still ongoing police brutality subjected on the African-American population. Its not a new phenomenon. The brutal murder of George Floyd at the hands of a white cop in Minneapolis lit the fuse for the current bout of protests. This is the clear stimulus to what we are seeing right now. We have seen an outpouring by non-blacks who are joining these protests. This is progress, this is a welcome change from the past. However, it also has its drawbacks. Too often the non-blacks hijack the narrative and project it using their view of the world. Too often non-blacks dole out wisdom on how to fight the fight. Let it be clear, this is not their fight, they are (much needed) allies in these fight but have no dog in this particular fight. So it behooves us (the non-blacks) to stand by the black population and listen to them – really LISTEN to them. We do not have their lived experiences, and we will never have their lived experiences. So next time we decide to join this fight, lets just shut up and listen to them, and follow their lead. Their voice is what matters, we cannot appropriate it, and least of all make it into a performative outrage. We must spread their voice without making it our own, we must reach out and support those who are falling down in this fight, we must give a hand to those who are already fallen, but we must never ever tell them how they should fall or rise, or how they should go about this fight.

One classic example of performative outrage is the absolutely asinine #blackouttuesday movement on social media. This is actually counter productive to the actual posts that show and spread the information of what is happening on the ground. Just go to Instagram or Twitter and search for the #blacklivesmatter tag and the feed is flooded with just pictures of black squares, burying the feeds of the actual black activists who are posting using the same hashtag. What good does this do? What is the point? Did any non black person think once before jumping on this bandwagon of posting black squares? The collective stupidity of this is mind-numbing. So the next time we think we are doing something for the cause by using our own voice, stop and think, shut up and listen to the ones who are the victims here.

Another stream of performative outrage, we see is in the non-white, but also non-black populations (south asians, asians, etc.) who are bringing the stories of their own discrimination into this narrative. While their stories maybe valid, but this is not the moment. Do not borrow their hurt or pain and channel it with our pain and hurt. Our pain has its rightful place, but standing on the shoulders of their pain and shooting from it is selfish, narcissistic, and disingenuous. Let’s be allies, without trying to dilute their voice.

The Invisible Wall

30 years ago in 1989, the Berlin Wall fell. East and West Germany were united. The fall of the Berlin wall was a symbolic end of Communism, eventually leading to the dismantling of the USSR. Western European and American models emerged triumphant. The trickle down economic model, that had lifted so many to a stable and productive middle class in the post-war societies of Western Europe and the United States, promised to do the same for the people who lived behind the iron curtain.

The Western European model in the last three decades has accelerated overall global growth, has lifted millions out of abject poverty, has made trade easier, and has provided easier access to goods to populations around the world.

And yet, in the last 5 years, the world has, and continues to see a sweeping wave of disenchantment in the way societies have evolved since the fall of the Berlin wall. At ground zero of the Berlin wall, in a unified Germany, the right wing Alternative for Germany (AfD) is the largest opposition party. AfD was officially formed just 6 years ago in 2013. Its ultra nationalist, xenophobic agenda has resonated with a large swath of Germans, particularly those who live in the East Germany before the Wall.

Along with Germany, the United Kingdom has been grappling with the mess of Brexit created after the historic referendum to leave the EU in the summer of 2016. Since then, the divisions among the Conservative and Labor parties and their electoral populations have become increasingly incisive and deep. Neighboring France, has also seen a resurgence of right wing parties and leaders such as Marine Le Pen of the National Front. The three economic giants of the EU – Germany, the UK and France are all in the throes of a strong anti immigrant sentiment. The smaller EU economies such as Hungary, Austria and other Eastern European countries are faring much worse. They have seen extreme right wing parties come to power, on the platform of fervent nationalism and protectionist economic policies.

Crossing the Atlantic, the United States also saw a victory of the nationalist and protectionist policies over open trade and welcoming borders, in electing Donald Trump in the fall of 2016. Anti immigrant and ‘America First’ trade policies have since been on the rise and continue to remain popular.

In South America, Brazil elected an extreme right wing leader, Jair Bolsonaro as its President in January 2019. He also won on a nationalist and populist platform. The emerging economies of Peru, Chile, Ecuador in South America are witnessing their populations rising up against the real or perceived failures of their respective governments.

Asia has not been spared from this populist and nationalist wave. India – the world’s largest democracy elected a right wing populist leader Narendra Modi twice – in 2014 and then with a landslide victory in 2019. In a way, India has been riding the wave of nationalism prior to any of the other nations above.

If one evaluates the causes of this rise of nationalism in various countries, the micro causes may seem distinct but yet there is a common unifying cause – it can be linked to a real (or perceived) feeling of Income Inequality. The same promise of trickle down economics which was supposed to create equity of opportunities has left huge populations grappling to make even basic ends meet. The unrest that is seen in the working class sector of both the developed and emerging economies have been disillusioned by the economic models that came after the fall of the Berlin Wall. While global growth soared, the gap between the haves and have-nots has been widening at an alarming rate. However, this is in stark opposition to the data that shows that income inequality has been on a steady decline since the Industrial Revolution. So it begs to ask the question – is the sentiment of income inequality real or a mere perception? The answer is much more complicated. Indeed, more people at the bottom of the income pyramid have seen steady upward economic mobility in the last three decades. At the same time, the wealth accumulation of those at the top of this pyramid has risen at an exponentially higher rate. As a result, the perception of the gap in economic power has grown exponentially. To lay it in a crude and simplistic term – I made 10 cents three decades ago, and now I make 10 dollars,  those at the top were making 100 dollars to my 10 cents (a 1000% gap) and now they make a million dollars to my 10 dollars (a gap of 100,000 %). Everyone has more, but the accumulation gap has widened to a level that seems unreachable. This feeling is at the root of the growing discontent among the working class. The way the working class has retaliated to this discontent has been different in different economies – the Occupy Wall Street movement in the US, the yellow vests protests in France, the recent protests for a minimal increase in the subway fares in Chile, the riots in Ecuador over abolishing energy subsidies, the paralyzing of Hong Kong, the rise of right wing leaders in Eastern Europe, Brexit, and many others. Adding fuel to this fire is the manufactured fear of religious and racial majorities being persecuted by either religious minorities, or immigrants. These conditions have created a potent mix for the rise of nationalism and populism.

How does one combat this? Where do we even begin? Unfortunately, there isn’t any one answer to this. But, one thing is certain – a combative approach is not going to work. Macroeconomic policies take years to show their effects, as is evident by where we are today after the fall of the Berlin wall. The optimism it brought has eroded. It doesn’t matter that the data compiled by the macroeconomic think tanks show that global inequality has been steadily declining. It matters, how people feel about it in their day to day lives. The signs are clear – perception matters more than reality. So how does one bridge the gap between perception and reality?

That I think goes back to how the macroeconomic policies are further refined. Focusing on mere growth won’t do, financial inclusion will need to be the focus. The general idea that growth and market forces will somehow uplift everyone has failed. Mere, financial growth is a false indicator of economic well-being of any society – how the fruit of that growth is shared by every member in that society has to be re-envisioned. This does not mean stonewalling economic growth. The engines of growth have been largely functioning quite well since the end of the second world war. It’s the access to the outcomes of this growth that have fallen by the wayside since the fall of the Berlin Wall. As a result, a new invisible wall has been rising steadily. Breaking down a physical wall was a step forward for humanity 30 years ago, breaking down this new invisible wall will require a very different collective will. How we go about razing this invisible wall will define the state of our existence three decades from now.