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> Original And Good Articles On Rafi Sahab, for mohdrafi.com
sajid
post Dec 6 2004, 06:22 AM
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Would it be better if we could get some interviews with people who have worked with rafi saab before and other playback singers to how they viewed him what habits he had etc
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Akhtar
post Dec 6 2004, 12:32 PM
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whos this unni memon dude who wrote an article. we should only let members write. not any old riff raff tongue.gif
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unni
post Dec 6 2004, 06:35 PM
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QUOTE(rafi_rules @ Dec 6 2004, 03:02 AM)
whos this unni memon dude who wrote an article. we should only let members write. not any old riff raff tongue.gif
*



Members/non-members/riff-raffs......whatever, we need more folks to write. Come on guys and gals, let's hear it from you. Can we get at least one article per month. Surely that's a very small and reasonable expectation, what with hundreds of us here.

Apart from the ones who post regularly in the forum, there are numerous members out there who participate silently. This request goes out to them too.

If you admire, love, revere Rafi-sahab, SHOW IT!

Please send in your essays by PM directly to Pradeep.

A request to members located in Mumbai: Please use whatever connections you can establish to talk to people who had occasion to see, meet, work with Rafi-sahab. Big-name film personalities are frequently interviewed. But a wealth of info can be obtained from the humble folk who are not seen or heard. For example, it would be fascinating to interview some of the orchestra members who provided musical accompaniment at various recordings. Members of Rafi-sahab's regular troupe (at live concerts) would be around. They would be an invaluable source of information and anecdotes. There would also be music assistants and "arrangers" who regularly came in contact with Rafi-sahab.

Remember, once these sources are lost, the knowledge they bear would also be lost forever.

If you stop trying to make sense of it all, you'll be less confused. Reality is an illusion.
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Chitralekha
post Dec 6 2004, 11:33 PM
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Hey that was a good one from UKM wink2.gif
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shrikant21120
post Dec 8 2004, 01:09 AM
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Just an observation!

It is generally said that Indian English is "Verbose" and indeed you just have to read any article written by a showbiz indian journalist to confirm that. This applies to people who review films and music viz. Bharatan, Vijaykar, Khalid Mohd. It appears as if they sit to write with a dictionary by their side to dish out the choicest rare adjectives and mix them up with French or Latin phrases to bamboozle(!) the reader.

Having said that all the adjectives in the world cannot do justice to the emotions I ( many of us) go through whilst listening to janab Rafi sahib!


Shrikant
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Chitralekha
post Dec 8 2004, 08:01 AM
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QUOTE(shrikant21120 @ Dec 7 2004, 11:39 AM)
Just an observation!

It is generally said that Indian English is "Verbose" and indeed you just have to read any article written by a showbiz indian journalist to confirm that. This applies to people who review films and music viz. Bharatan, Vijaykar, Khalid Mohd. It appears as if they sit to write with a dictionary by their side to dish out the choicest rare adjectives and mix them up with French or Latin phrases to bamboozle(!) the reader.

Having said that all the adjectives in the world cannot do justice to the emotions I ( many of us) go through whilst listening to janab Rafi sahib!

Shrikant
*



I agree with Shrikant for both things - Rafi sahab's singing and the usage of dictionary words. I am all for using those hi-tech words. Even I do that many times if I am writing something serious because I tend to use very simple English otherwise. Not that it's bad but those words just add a little more to the language, the writing. And you are absolutely right about the fact that no adjectives can really describe Rafi sahab's singing. What he has given to us in his 50 some yrs, no one has, is or will give us.
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unni
post Dec 8 2004, 08:10 AM
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QUOTE(Chitralekha @ Dec 7 2004, 10:31 PM)
I agree with Shrikant for both things - Rafi sahab's singing and the usage of dictionary words. I am all for using those hi-tech words. Even I do that many times if I am writing something serious because I tend to use very simple English otherwise. Not that it's bad but those words just add a little more to the language, the writing. And you are absolutely right about the fact that no adjectives can really describe Rafi sahab's singing. What he has given to us in his 50 some yrs, no one has, is or will give us.
*



But what about those high-flown Urdu lyricists? "Falsafa Pyar Ka...." and 'O Mere Shah-e-Khuban" only topped off with "O Meri Jaan-e-Jhanaanaan". Another one, "Karo Ahtaram Uski". (Kya Atmaram ka bhai hai?). Gaana sunoon ya Urdu-English Dictionary padhoon? tongue.gif But for Rafi-sahab's voice and singing, many of us idli-dosa-wallahs would have given up long ago. AYYO! doh.gif

If you stop trying to make sense of it all, you'll be less confused. Reality is an illusion.
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Akhtar
post Dec 9 2004, 02:04 AM
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Seriously,

Top article by Unni. Very good article and well written.

Akhtar.
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dhiren
post Dec 9 2004, 03:49 PM
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QUOTE
The life of Mohd. Rafi must present a dilemma for would-be biographers! How much can one write about a man who “went to work” in the morning and returned home to his family in the evening? What colourful narrative can one pen about a man who spoke softly, eyes looking down. A man whose humble response to ardent adulation was to raise his head and gaze heavenwards, to say, “Yeh Sab Khuda Ka Den Hai ”.


Very True ! ! !

Very well written Unni ji, I do not have words.... clap1.gif Please keep it up....

IPB Image
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Harold
post Jan 25 2005, 03:04 AM
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Hi Friends,

I'm back after a 5 week holiday in Surinam.

I called the local radio station over there to ask them if they would air a program on Rafi-shab on 24th of december, and the donkeys asked me for what occasion angry2.gif ???

I told them the occasion and they didn't had any knowledge about it and had nothing programmed.

My mood became better when I saw SaReGaMaPa later on that evening (or perhaps one day after that), in which Suresh Wadkar and Vinod Rathod were praising Rafi-sahab.

Unni-ji's suggestion is very good. Indeed the people in Mumbai can obtain a lot of info on the legend. People who worked very closely with him are still alive. Think of Naushad, OP Nayyar, Lata etc etc.

During my visit to Mumbai in September, I obatined so much info in less than 2 hours, by talking to his daughter and son in law. There is still so much to discover about him.

Despite the fact the fact that he was a shy, soft spoken family man, there's still much we can get to know on him, in my opinion.

Harold
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extenok
post Jan 25 2005, 08:08 PM
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I only read the article today. Good work Unni.
Subhanallah kya iyaada kiya hae Rafi sahab kee HFM zindagi ka.



zindagi ne kar diya, jab bhi udaas
aa gaye ghabra ke hum, manzil ke paas
sar jhukaaya, sar jhuka kar ro diye
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uttamsingh
post Feb 11 2005, 05:14 PM
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QUOTE(Pradeep @ Nov 25 2004, 05:49 PM)
Hello Friends,

We have plenty of writing talents on this board. What more can one want than to write about his/her favourite?

I would like to request if any of you can write an original article on Mohd Rafi for mohdrafi.com. If you would like to be paid for this, you are welcome and free to discuss it with me using PM or email legend at mohdrafi.com

Regards,
*


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uttamsingh
post Feb 11 2005, 05:29 PM
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QUOTE(Pradeep @ Nov 25 2004, 05:49 PM)
Hello Friends,

We have plenty of writing talents on this board. What more can one want than to write about his/her favourite?

I would like to request if any of you can write an original article on Mohd Rafi for mohdrafi.com. If you would like to be paid for this, you are welcome and free to discuss it with me using PM or email legend at mohdrafi.com

Regards,
*



Dear Pradeep,

It is indeed true that you try to write about Rafi Saheb & you lost in thoughts. I would definately write only my thoughts,feelings about Rafi Saheb but at present I have stored one article about Rafi Saheb & would like every one to read it & like me, store it forever in mind as well as in their respective file folder. I would love to hear views of reader about this fantastic article written "Shri Raju Bharatan" (I don't know him but he is definately a great man & deserves respect from us,the Rafians).

Behold, here it comes......

Here is an article written by Raju Bharatan on Rafi's 13th an-
niversary, for the Illustrated Weekly of India. This article
talks about how Rafi, regardless of the money involved, helped
many a small time composer by agreeing to sing for them.


--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--

RAFIana

by
Raju Bharatan

for The Illustrated Weekly of India, Aug 93

--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--

"Not one anniversary article on Mohd. Rafi pointedly touched on
his contribution to the welfare of the small-time composer. Raju
Bharatan looks beyond big names to pick some gems from Rafi's
humble repertoire".


Raju Bharatan writes:

Could you believe that end-July signalled full 13 luckless years
without the charismatic voice of Mohd. Rafi? I, for one, couldn't
believe it, if only because I discerned that it was during these
very 13 tuneless years that Rafi had grown more dominant in our
vocal imaginations. Whether it be TV or radio, his vocals have
been even more vibrant in the years he has been away from us.
Shabbir KUmar, Anwar, Mohd. Aziz, their performing stature dimin-
ishes with every year that passes without Rafi.

So unique is Rafi's vocal mystique that he is always throwing up
new areas, for example, not one anniversary article on Rafi
touched on how this big-hearted tenor *made* small-time com-
posers. It is this lacuna we now seek to fill in a resonant reply
of some Rafi's all-time hits for the lesser-known music direc-
tors. The idea is to spotlight Rafi's role in keeping the
small-time composer professionally alive.

Remember an obscure 1953 C-grade film called "Khoj" for which
music was scored by Nissar Baazmi, the man who later went to Pak-
istan and became such a big composer there that even Noorjehan
and Mehdi Hassan considered it an honour to sing for him. Yet so
long as Nissar Baazmi was in India, he somehow remained a C-grade
composer. And at the time he did "Khoj", he was literally a no-
body.

This was when Baazmi approached Rafi to sing for the maximum Rs
50 that his producer could afford for the rendition of a composi-
tion on which he prided himself. And Rafi charged Baazmi just the
token Re 1 to produce for him, in Khoj, the memorable Radio
Ceylon hit, "Chanda ka dil toot gaya roney lage hain sitaare".
This Raja Mehdi Ali Khan lyric began with the cry: "Mohabbat aur
wafaa kis tarah tauheen ki tu ne". What a compelling sense of
expression Rafi brought to this tune of a struggling composer!

Nor was Pandit Shivram a big-time composer when Rafi (this time
for Rs 50) obliged him with an all-time hit that made its way
from Radio Ceylon to the Binaca Geetmala. It was written by
Bharat Vyas (for a shoestring-budget starrer of Nirupa Roy, Karan
Dewan and Bhagwan) and it became, in Rafi's orotund voice, the
surprise hit of the year 1955. My reference is to the "Oonchi
Haveli" Rafi chartbuster: "Daulat ke jhoote nashe main ho choor
garibon ki duniyan se rehte ho door". Who but Rafi could have
scaled such a vocal peak from the pit-class for which "Oonchi
Haveli" was made? To this day, "Daulat ke jhoote nashe main ho
choor" remains the biggest hit given by Pandit Shivram.

S. Mohinder may not exactly have been a C-grade composer, but the
fact remains that he rarely worked in A-grade set-ups. Ranjit's
"Papi", starring Nargis and Raj Kapoor, was one of those rare
films in which S. Mohinder had the support of a hit star-team.
But the problem was that, but the time "Papi" came in 1953,
Mukesh was 'settled' as the voice of Raj Kapoor. Even so Sardar
Mohinder made bold to opt for Rafi for Raj! And that too in the
climax of Papi!

Only, by the time the climax of "Papi" came to be reached, the
film had already been dismissed by the audience as a visual
disaster. Yet the same audience which, I remember, had virtually
gone to sleep in Delhi's Regal Cinema came to sudden life and be-
gan tapping its feet to the Rafi rhythm of "Tera kaam hai jalna
parwaane chahe shama jale ya na jale".

That audience clearly felt that Rafi was made for Raj Kapoor. Who
knows, Rafi, given the chance, might have been good on Raj Kapoor
too! Come Dilip Kumar, come Raj Kapoor, come Dev Anand, Rafi was
a vocal match for any hero, big or small.


The hero of "Mirza Ghalib" was Bharat Bhooshan, the hero in Dev-
das was Dilip Kumar. And both heroes in both films had plumped
for the soft vocals of Talat Mahmood. Rafi therefore had only one
'atmospheric' song each in these two films. Yet, even in these
two films in which Talat dominated so sentimentally, Rafi left
his own distinct individual impact - under Ghulam Mohammad with
"Hai has ki har ek unke ishare mein nishaan aur" (Mirza Ghalib),
under Dada Burman with "Manzil ki chaah mein" (Devdas). Neither
Talat, nor Mukesh, nor Kishore, nor Hemant, nor even Manna Dey,
could ever take Rafi for granted. "I might have been better
trained classically by my uncle K. C. Dey," Manna once told me,
"but if Rafi was singing in the same film as I was, I never could
be sure he wouldn't overtake me."

The same Manna Dey had given of his best to the hapless composer,
Babul, in "Reshmi Roomal", through "Zulfon ki ghata lekar saawan
ki pari aaye" (with Asha) and "Aankh mein shokhi lab pe tabassum"
(with Suman). In the same "Reshmi Roomal", Babul had made a tel-
ling impression with Talat, too, through "Jab chhaye kabhi saawan
ki ghata". Therefore, since Mukesh too had scored in the same
"Reshmi Roomal" through "Gardish mein ho taare", there was no
reason for Babul to switch to Rafi when he came to scoring "Naqli
Nawaab" on the same Manoj Kumar. Yet Babul did switch to Rafi.
And somewhere at the back of his mind, Rafi must have known that,
in Babul's recording room, the competition was with Talat, Mukesh
and Manna Dey alike. Therefore regardless of the fact that he
was now being paid only Rs 200 for each song in "Naqli Nawab",
Rafi came up, for Babul, with such heart-stealers as "Tum
poochhte ho ishq bala hai ke nahin hai" and "Allah jaane maula
jaane".

Nor was Rafi's best reserved for just Babul, who had broken away
from the team of Bipin-Babul. Rafi produced for Bipin (Datta)
too, in "Yeh Bambai Hai" the N53097 two sided hit: "Yeh bambai
shehar ka bada naam hai".

Likewise, G.S. Kohli never rose above the B-grade film. Yet,
given the aid of Rafi's vocals, Kohli was able to come up, in
"Lambe Haath", with an all-time hit, for our super-patriotic
Vividh Bharathi, in the form of "Pyaar ki raah dikha duniya ko".
The message in this "Lambe Haath" hit, "Tum mein hi koyi Gautam
honga tum mein hi koyi Gandhi", remains distinctly RAFIan.

G. S. Kohli was at least a name that appeared on the banner of
half a dozen films. But Dulal Sen, you saw his name on the banner
of only one film: "Black Prince". Yet even in that one film, what
depth of feeling Rafi brought to the rendition of Dulal Sen's
"Nigahen na phero chale haayenge hum", as put over by Rafi for
Dulal Sen in "Black Prince", that lingers in Radio Ceylon memory.

It was Shivkumar Saroj, the sensitive Radio Ceylon announcer, who
drew our attention first to the tuning artistry of another modest
composer: C Arjun. When I met C Arjun much later, he told me
that he felt very proud that he had at least created a ghazal
that could come somewhere near a Madan Mohan composition. "I
wanted special attention to this my coveted ghazal from my singer
but all good singers available were bigger than the film for
which I had composed it!" revealed Arjun. "It was with great
hesitation, therefore, that I approached Rafi Saab to render my
ghazal, so feelingly written by Indivar. And Rafi Saab, without
bothering about the small payment we were in a position to make,
said it was one of the best ghazals that had fallen to his lot
and he would give it everything that he had."

Rafi certainly gave that C Arjun ghazal everything he had, that
is how it came over to us "Paas baitho tabiyat behal jaayegi maut
bhi aa gayi to hal jaayegi" in "Punarmilan".

This ghazal proves, if proof is needed, that no composer was too
small for Rafi as long as the composition was great. After all,
who were Lala-Asad-Sattar but three instrumentalists who had
turned music directors. Yet for even such a stunt trio trying to
combine as a music director team, Rafi proved a salvation with
such a surpassingly lovely solo in Sangram as: "Main to tere ha-
seen khayalon mein kho gaya".


To help every little composer trying to gain a toe-hold in the
quicksands of filmdom was Rafi's singing philosophy. Sapan-
Jagmohan, as a duo, got their break in Sadashiv Row Kavi's "Be-
gaana", with Suprita Chowdhury. It was Sapan-Jagmohan's first
film and the two had to show spot results to make headway.

Jagmohan (of this team) had sung 10 years earlier, in Kishore
Sahu's "Hamlet", the hit duet with Rafi: "Ghir ghir aaye badarvaa
re kaare". On the strength of this connection, Jagmohan (Bakshi)
approached Rafi to render what Sapan-Jagmohan felt was their
prize composition in "Begaana". And Rafi made this prize compo-
sition unforgettable as one he could by articulating it as "Phir
woh bhooli si yaad aayee hai". Remember, "Phir woh bhooli si
yaad aayee hai" was just a good composition in the hands of
Sapan-Jagmohan. It was left to Rafi to immortalise it as Sapan-
Jagmohan's best ever composition by rendering it in a style no
singer could excel.

Annu's father Sardar Maalik, though highly talented, never made
it to the big league. "Bachpan" therefore was just another pulp
film for which Sardar Maalik was scoring the music. And it would
have been forgotten as just another potboiler churned out by our
industry, but for Rafi, under Sardar's baton, arrested our atten-
tion with "Mujhe tum se mohabbat hai magar main keh nahin sakta".

The tune came first, the money after, in the case of Rafi. But
for the instinctually generous way in which Rafi adjusted his
charges for the small composer, we would have not got, in his
voice, from Iqbal Quraishi "Subah na aaye shaam na aaye" (from
"Cha Cha Cha"), not from Sonik-Omi "Dono ne kiya tha pyaar magar
mujhe yaad raha tu bhool gayi meri" (from "Mahua").

In the rare film in which Prem Dhavan doubled as song writer and
song composer, like in "Pavitra Papi", Rafi came up with a memor-
able hit for him like: "Allah hi Allah kar pyare Allah hi Allah".

The Rafi touch it could turn any disc into gold!


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Pradeep
post Feb 11 2005, 06:03 PM
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Thanks Uttam. The article is also available at this location: http://www.mohdrafi.com/articles/newspaper...0&title=Rafiana

Voice of a million souls is my fav. article. Its available here: http://www.mohdrafi.com/articles/web/load....a+million+souls

kuch bhi nahin hai tera mol, boli na badi bol, khilona tu maati ka...
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usrafian
post Mar 4 2005, 05:35 PM
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Dear Pradeepji,

Followings are my thoughts only. Where are Proof Readers?

[I have no intension to heart anyone’s sentiments, if any such things happens, please forgive me. ]


Honestly, have a look in below mentioned three era’s & justify…
1-Pre Rafi Era
2-Rafi Era
3-Pro Rafi Era

1- Pre Rafi Era, very respectable personalities were there & were (& still) idol of all great , new/old singers (including Rafi) eg. K.L.Shegal, Jagmohan, GMDurani, ShyamKumar etc. They were institutes in themselves & they were capable enough to sung difficult song effortlessly. Doubtlessly, even today, their many songs are matchless.

CONCLUSION :
In that era arts, dedications & Scholars of sugam/classical/semi-classical sangeet were there but their impact on common people was minimum, in other words, it was on handful people only. Ghazals, Sher-O-Shayeri, Nazm etc were there but its influence & impact on common people was negiligble. Common people was least bothered about the subject.

2-Rafi Era…When Rafi came on dais…. he came, he saw,….
(one sentence is enough, but would love to say some more about this era). Common people who were not having any knowledge about music suddenly became disciples/master of the subject. They started searching about Raag, about Sher-O-Shairee, about Ghazals/Najm, about classical/semi classical/sugam sangeet. Suddenly B&W world changed to Eastman Colour, 35mm celluloid screen of life become cinemascope, Sell of Radios/Transistors reached to its peak height, worried, hollowed & faint light eyes become shining with welcome look, pale faces turned pinky with permanent smile on it. Life become cheerful. In real sense first time ‘Dil dhadka’. Whether it is a journey in train or in bus every one was busy singing, internally. Some people became so much involved that they forget the surrounding & internal situation turned external, due to strange looks of nearby people vice-versa and after some time vice-versa, it goes on & on.
Saying ’….khud ko Rafi samajh raha hai’ become famous & common and is true also because as long as voice do not comes out of throat it is 100% of Rafi’s Voice when it comes out it may sound different (who cares). I guarantee, just hear Rafi Songs for 20 to 30 days & you will become full of confidence for singing.

Such was the impact of his songs that there were lots of ‘Tootey Dil wale’, ‘Jude Dil Waale’, , Shayerana-Andaaz waale, Aashiq-Mizaz, Dil-Faink, Gumnaam, Badnaam, Neknaam, khyaali-Masuqa ke Aashik, Apni Heer ko dhundte Ranjhe, Fakirana Andaaz waale, Kisse Love-letters ke, etc etc etc . [These are different form of love] In one sentence, LOVE WAS IN AIR.

Blindly, pick-up any song of Rafi, it is pure like Ganga-jal & clear like crystal , no vurgality, no ill-feelings, non damaging. When he sings, dead words becomes alive, meaning-less words becomes full of meanings and travels straight to the bottom of heart, shacking it to break the tense rope & forcing it to generate fresh blood bubbles. That’s why during his era BP generated disease were minimum. Even now , Rafians are untouchable for such disease.

CONCLUSION :
Mere Dil ki Duniya mein abhi bhi Rafi Era chal raha hai that’s why NOT CONCLUDED. [and it will be go on till my last breath]



3- Pro Rafi Era
For this I would like to write conclusion only.

CONCLUSION :-
Na vo hushn mein rahi shokhiyan,
na vo ishq mein rahi garmiyaan
Na to aah mein vo tadap rahi ,
na vo khum hai julf-e-aayaz mein.


usrafian



Dil Shaad Tha Ke Phool Khilenge Bahaar Mein
Maaraa Gaya Garib Isee Aitbaar Mein
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