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AIR Vividh Bharati Golden Jubilee Special Program
All India Radio Vividh Bharati service will be celebrating its golden jubilee
on 3rd Oct with special programming comprising of interesting audio from
its archives.
Times/Frequencies as foll :
0025-0435 UTC on 9870 kHz
0900-1200 UTC on 9870 kHz
1245-1740 UTC on 9870 kHz
Regards,
Alokesh Gupta
New Delhi, India.
(via dx_india)
Media Vimarsh
मीडिया विमर्श जनसंचार के सरोकारों पर केंद्रित त्रैमासिक पत्रिका
(वर्ष 2, अंक - 5, सित. - नवंबर, 2007)
संपादकीयआवरण कथादस्तावेजप्रसंगवशबातचीतमेरा समयसक्सेस स्टोरीविमर्शस्मृति-शेषपरदेशअंतरजालसाहित्यइत्यलम् पत्रिका-जगत्अन्यान्यपाठ्यक्रमगतिविधिसमाचारसंदर्भ-कोशआलेख भेजिएआपके पत्रपुरातन अंकहमारा मिशनप्रकाशनमुख्य-पृष्ठ
Cover Story
YEH HAI VIVIDH BHARTI…
(Sachin Bhagwat & Kapil Shikhare)
Radio is considered to be the most powerful medium of mass communication in India and the chief and cheap source of information, education and entertainment for the audience. Radio broadcasting began in India in 1927, with two privately owned transmitters at Mumbai and Calcutta. These were nationalised by the British Raj in 1930 and operated under the name Indian Broadcasting Service until 1936, when it was renamed All India Radio (AIR). AIR was officially renamed to Akashwani in 1957, however all English usage refers to it as All India Radio. Despite the growth of private radio channels since the 1990s, All India Radio (AIR) remains a popular media resource, being accessible even in the remotest parts of the country. AIR covers 99.37% of India's populace of over one billion. AIR maintains approximately 225 broadcasting centers around the country including one in the capital of every state, a total of 384 channels and transmits in 24 different languages and dialects. In spite of recent penetration by other media such as Cable TV, AIR remains the most common means of gaining access to information and entertainment, as the radio receivers are relatively cheap and affordable. AIR has many different services each catering to different regions/languages across India. One of the most famous services of the AIR is the Vividh Bharati Seva .This year Vividh Bharti Seva is celebrating its Golden Jubilee which will start from 3rd Oct.2007 and will run till 2nd Oct.2008.
Vividh Bharati and Commercial Service : The popular Vividh Bharati Service of All India Radio was conceptualized to combat 'Radio Ceylon' in 1957. Within no time it proved to be a popular channel of every household. The service provides entertainment for nearly 15 to 17 hours a day. It presents a mix of film music, skits, short plays and interactive programmes. Some of the old popular programmes of Vividh Bharati are 'SANGEET SARITA', 'BHULE BISRE GEET', 'HAWA MAHAL', 'JAIMALA', 'INSE MILIYE', 'CHHAYA GEET' ETC., are still distinctly recongnised by the listeners. From time to time new programmes were introduced like 'BISCOPE KE BATEIN', 'SARGAM KE SITARE', 'CELLULOID KE SITARE', 'SEHATNAMA', &' HELLO FARMAISH',.
All these programmes are produced centrally at Vividh Bharati Service,Borivili, Mumbai and up-linked to the satellite. 40 Vividh Bharati stations across the country down-linked these programmes through captive earth stations provided at each of these AIR stations. Some local programme windows are also provided at these stations to give regional flavour to the listeners. These 40 Vividh Bharati stations are known as Vigyapan Prasaran Seva ,the Commercial Broadcasting Service Stations and are located at all major and commercially vibrant cities covering 97% of the Indian population. In 1999 Vividh Bharati Service proved its success connecting Indian Soliders posted on remote border areas to their family members through a special programme entitled "Hello Kargil", through which not only the family members of the soliders , but even a layman including young and old conveyed their best wishes to the soliders to keep up their morale. Eminent actors, play back singers, renowned writers, lyricists, directors and music directors have found way to express their experience and opinion through the Vividh Bharati Platform . A special programme entitled "Ujaale Unki Yaadon Ke" takes the listeners into the world of nostalgia dipping into the memories of the artists of the yester years. With the advent of new technology the transmission of programmes gradually migrated from earlier medium wave transmission to high quality digital stereo FM. Commercials were introduced initially in the Vividh Bharati Service in the year 1967 on an experimental basis. Realising the role of advertising in accelerating the social and material progress of the country, commercials were extended to Primary channels including FM & Local Radio Stations in a phased manner. Advertsing on Radio is not only cost effective to the advertisers but also has the potential to reach far flung areas where no other mass media has succeeded in making any tangible dent.
Some of the popular programmes of Vividh Bharati can also be heard on our National Channel from 2300 hrs. to 0600 hrs. This service now enjoys global listenership through Direct to Home Service (DTH) besides other 11 channels of All India Radio. This service is the most commercial of all and is popular in Mumbai and other cities of India. This service offers a wide range of programmes including news, film music, comedy shows, etc. The Vividh Bharti service operates on different FM/MW/ SW band frequencies for each city.
Even after the emergence of private FM radio channels in India, Vividh Bharti seva is still popular in all over India and is the most listened single Radio channel of the country. With several private FM radios , India is become one of the largest radio markets in the world. Radio’s reach is phenomenal; especially India has triggered new interest in radio as a very personalized medium. Promising an unprecedented choice of programme genres. There is no doubt that Vividh Bharti Seva will continue to play significant role in exploiting the rapid technological developments, in this age of coverage of technology.
In last 50 years Vividh Bharti’s Broadcasting has had a chequved history in India. For a long time this has served as an entertainer, educator and information provider for the society that emerged from long subjugation into an era of new hopes and aspiration occupying the center stage of mass communication.
Vividh Bharti has also ushered in crucial motivational changes in a traditional society for adoption of innovation and break through in almost all areas of development. And for a Radio listener , Vividh Bharti Seva has never gone out of ears & it will always remain a part of daily life forever.
lll
मानद सलाहकार संपादक-विश्वनाथ सचदेवसंपादक-श्रीकांत सिंह संपादक मंडल- गोपा बागची, पवित्र श्रीवास्तव
प्रकाशक-भूमिका द्विवेदीउपसंपादक-हेमंत पाणिग्राहीवेब नियोजन-संजय द्विवेदी, जयप्रकाश मानस
संपर्क-ए-2, अनमोल फ्लैट्स, अवंति विहार कॉलोनी. रायपुर, छत्तीसगढ़, दूरभाष-0771-2444107, ई-मेल- mediavimarshindia@yahoo.com
WWW www.mediavimarsh.com
\
Jhumri Tilaiya
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?Jhumri Telaiya/Jhumri Talaiya
Jhumri Tilaiya
Jharkhand • India
Coordinates:
Time zone
IST (UTC+5:30)
Area
• Elevation
• 383 m (1,257 ft)
District(s)
Kodarma
Population
69,444 (2001)
Codes
• Pincode
• Telephone
• 825409
• +6534
Jumri Tilaiya. Falling Rain Genomics, Inc.
Coordinates: Jhumri Tilaiya (also spelled as Jhumri Telaiya or Jhumri Talaiya) is a town situated in the north-western region of Koderma District in Jharkhand, India. It is one of the only two towns in the Koderma district, the other being Koderma.[1] It is situated in the Damodar Valley.
Contents[hide]
1 History
1.1 Vividh Bharati
2 Implications of the name
3 Geography
3.1 Telaiya dam and reservoir
4 Administration
5 Transport
6 Demographics
7 Education
8 Events
9 Culture
10 References
11 External links
//
[edit] History
Jhumri Tilaiya was once a major mica mining centre. While laying a railroad through Koderma in 1890s, the British first discovered vast mica deposits in this region.[2] Mining activities started soon after and many mining houses Chatu Ram Bhadani and Horil Ram Bhadani. CH Private Ltd. was the predecessor of Mica Kings, which controlled the largest share of mica mining and export activity in the world at a time.
Prosperous businessmen built huge mansions in Jhumri Tilaiya. Mercedes and Porsche cars, and thoroughbreds from Arabia used to be common in Jhumri Tilaiya. The town once boasted of most number of phone connections and phone calls made in India.[2]
Most of the mica used to be exported to USSR, for space and military equipment. With the dissolution of the USSR and the discovery of a synthetic substitute for mica, the mining activity declined in 1990s[1]. The huge mansions belonging to the mine owners, sprawling over acres of land, can still be found in the town. Mica Kings was still active in Jhumri Tilaiya as of 2007.
See also: Mica Kings
[edit] Vividh Bharati
Jhumri Tilaiya was originally a sleepy mining town, which became famous in India due to its connection with Vividh Bharati programmes. When television channels and FM radio stations were not common in India, the Vividh Bharati radio programmes were very popular. A large number of song requests for the Vividh Bharati programmes would come from Jhumri Tilaiya[1]. Youngsters in the town would compete on who sent out the most song requests in a day or month. Almost all Vividh Bharati Radio listeners were aware of the name of this town.
[edit] Implications of the name
Some people used to doubt the existence of Jhumri Tilaiya, thinking of it as an imaginary place[1]. The name also carried overtones of derision and insignificance. For instance the phrase "Medical Journal of Jhumri Tilaiya", would often refer to a shoddily produced, insignificant medical journal.
In many ways, Jhumri Tilaiya was an Indian equivalent of Timbuktoo, which also is widely considered to be an imaginary place.
This reference is made in several Hindi movies.
[edit] Geography
Jhumri Tilaiya is situated about six kilometers from Koderma, close to Bodh Gaya. The entire town is divided by the grand cord line of Eastern Railway, which passes through the middle of the town.
[edit] Telaiya dam and reservoir
Telaiya dam is the first dam and hydro-electric power station constructed by the Damodar Valley Corporation across Damodar River. The dam is 1200 ft long and 99 ft high. The Telaiya reservoir is spread over 36 km² area. There are many educational institutes within the vicinity of Telaiya dam. The most famous of them is Sainik School ( Army School ) Telaiya. The entire area is surrounded by lush green vegetataion. This is an ideal place for a picnic. [3]. The main objective of the dam was controlling floods. There is a hydroelectric power station, which a capacity of 4MW. The dam and its surroundings are also a tourist attraction.
The reservoir was stocked with 181449 fingerlings of mrigal, 103480 fingerlings of rohu and 27211 fingerlings of catla fish in the year [1968]. This heavy stocking did not affect the fishery until 1970-71, largely due to the presence of the predatory catfish. Other predatory fish species such as Notopterus chitala and Barilius bola were also common[1].
Places of interest near Jhumri Tilaiya include Rajgir, Nalanda, Hazaribagh National Park, Sonbhandar Caves (rumored to have hidden Mauryan treasures), Sammed Shikhar (Jain pilgrimage), Dhwajadhari Hill, Satagawan Petro falls, the tomb of Sant Paramhans Baba at Domchanch, Makamaro Hills, and Shaktipeeth Maa Chanchala Devi.
[edit] Administration
Jhumri Tilaiya is situated in the Kodarma district of the newly built Jharkhand state which is separated from Bihar. The PIN code of Jhumri Tilaiya is 825409.
[edit] Transport
The nearest railway station is at Koderma, which is connected to Delhi, Kolkata, and Bhubaneswar. Buses, jeeps, and three wheelers connect Jhumri Tilaiya to Koderma. Bokaro (87 km) is another nearby major railway station.The other known nearby places are hazaribagh, Ramgarh,Giridih,etc
The nearest airport is Ranchi (162 km). Patna, the capital of Bihar state, is situated 175 km away from the town.
The highway that crosses Jhumri Telaiya is popularly known as Ranchi-Patna Road. The Koderma valley is famous for its U-turns.
[edit] Demographics
The most popular language is Magahi, spoken by the Mahuri Vaishya community of this town. Apart from this, Punjabi, Bengali, Marwari, Hindi and English are also spoken by people in this town. As of 2001 India census[4], Jhumri Tilaiya had a population of 69,444. Males constitute 53% of the population and females 47%. Jhumri Tilaiya has an average literacy rate of 62%, higher than the national average of 59.5%: male literacy is 72%, and female literacy is 52%. In Jhumri Tilaiya, 16% of the population is under 6 years of age.
[edit] Education
There are 12 primary schools, 8 upper schools,4 secondary schools, 2 higher secondary schools and 4 degree colleges in Jhumri Telaiya[5].
Schools
Grizzly Vidyalaya : An ISO 2000:9001 Certifield, CBSE Affliated Resdential School.Located in the lap of Damoder Valley.
Sainik School Tilaiya: It is the 12th in the chain of Sainik Schools established in different Indian states[5]. It is a boys-only residential school and was established on September 16, 1963. It provides education from Class VI to XII.
Gandhi High School
Modern Public School
Adarsh Vidyalaya(Mahatma Gandhi Marg)was established on 1974 by Sri Dhaneshwar Sharma.It provides education from Class Nursery to 10th.
ST.Joseph School
PVSS DAV Public School
CD Girls High School (Founded by Mica Kings)
CH High School ( Founded by Mica Kings)
Purnima Vidya Mandir Telaiya (Founded by Mica Kings)
MMLWO High School Karma
Shri Digambar Jain Vidyalaya
Colleges
Chatthuram Horilram Intermediate College (CHIC)
Jagannath Jain College (JJ College)
Sharma school, Near Barkee Dhamrai, started on 1988.
Nowadays Jhumri Telaiya has gained much prominence in terms of success in different competitive examinations like IIT, AFMC and other engg. and med. entrance examinations.
[edit] Events
The Nirankari Regional-level Samagam for Bihar-Jharkhand was held at Jhumri Taliya on March 9, 2005[6]
The 13th Bihar-Jharkhand State level Character Building Training Camp of All India Vivekananda Yuva Mahamandal was held at Jhumri Tilaiya on November 3 - 5, 2006.
[edit] Culture
Dussehra, Holi, Diwali and Durga Puja are the major festivals in Jhumari Tilaiya. Diwali was celeberated with large illuminations in Bhadani road where the houses of Mica Kings owners used to be illuminated and many people used to come from different places to see it. Even during the weddings in Mica king's family entire town used to be illuminated and many Bands from Kolkata to used to play. In one of the weddings in late 40's and early 50's at least 4 top bands had come from Kolkata. There use to be Gowsala mela. During the mela many cows used to be decorated and many shops used to come up there. There was also a Jinz that there was ghost tree on the way to gowsala mela. Saraswati Puja is celebrated during Vasant Panchami in big fanfare by students and there used to be lot of cultural activities associated with it.It used to be a great day on Visarjan day(Last day before the deity is immersed in water) Holi used to celebrated with big fanfare with color water in the morning and applying of abeer in the evening.The little one's will apply abeer at the feet of elders.
The most popular sweet in the town is kalakand . It is a refined form of mawa, tofu and sugar. The most popular restaurant is Kanaihya Mishtan. Earlier, there used to be Bhatia Mistan Bhandar, which was famous for sweets; people passing by Patna-Ranchi]] road would halt here for kalakand. Litte is also a delicious dish in this part as people eat it during the winter sitting in front of bonfire.
During the roaring mica business days, some prominent businessmen made futile attempts to produce movies. The town was cinema-crazy and people used to far-off places such as Dhanbad to be first to watch the movies. Now, there are two movie halls named Jawahar Talkies and Purnima Talkies. Movies of Mithun Chakraborty and Mandakini are very popular.
The main commercial area of the town is known as Jhanda Chowk. During the Sino-Indian War of 1962 and the Indo-Pakistani War of 1965, when the battalion of army used to pass by Jhanda Chowk, on the Patna Ranchi Road.
Cricket was introduced by families of South Indians employed by Mica Kings, in early 1960s. There used to be cricket tournament conducted by Sanik school where many schools from different parts of state along with CH high school would participate in sanik school grounds and it used to organized like a great match as the students used to come and cheer the team. It became a so popular game in the town,that after every test matches there used to street meetings to annalyise the match and many youngsters later played cricket at the University-leve. Cricket came to a standstill in the town after the mica business declined and people migrated to other places. Football matches were played in a grand way and many tournaments used to be held on CH school grounds.
The main residential areas of Jhumri Telaiya include Mahatma Gandhi Marg,Devi Mandop Road, Addi Bunglow Road and Ashram Road. The main commercial areas are Jhanda Chowk, Jawahar Talkies and Gauri Shankar Mohalla.
The tourist attractions include Dhawajadhari Pahar, Jharna Kund, and Telaiya Dam,Ithkhori.
[edit] References
^ a b c d e "Official website of Koderma District: Overview". Retrieved on 2006-10-06.
^ a b "A rags to riches to rags story". Deccan Herald. Retrieved on 2006-10-06.
^ "Official website of Koderma District: Tourism". Retrieved on 2006-10-06.
^ "Census of India 2001: Data from the 2001 Census, including cities, villages and towns. (Provisional)". Census Commission of India. Retrieved on 2007-09-03.
^ a b "Official website of Koderma District: Education". Retrieved on 2006-10-06.
^ "Nirankari Regional-level Samagam". Retrieved on 2006-10-06.
[edit] External links
Thumbnail pictures of the Jhumri Tilaiya town and Telaiya dam
Retrieved from "http://en.wikipedia.org/wiki/Jhumri_Tilaiya"
Categories: Cities and towns in Jharkhand
Hidden categories: Articles containing potentially dated statements from 2001 | All articles containing potentially dated statements
Thursday, July 10, 2008 फिर भी विविध भारती मनोरंजन सेवा ही है ?
जब विविध भारती की शुरूवात हुई तब यह पंचरंगी कार्यक्रम थी - ये विविध भारती है आकाशवाणी का पंचरंगी कार्यक्रम
जहाँ तक मैनें सुना है पंचरंगी कार्यक्रम के पाँच रंगों में एक रंग शास्त्रीय संगीत का, एक रंग लोक संगीत का, एक रंग फ़िल्मी संगीत का, एक रंग सुगम संगीत का और एक रंग मनोरंजक कार्यक्रम जैसे हवामहल का था। यह जानकारी कहाँ तक सच है मैं नहीं जानती।
इसके बाद यह केन्द्र व्यावसायिक हो गया जिससे विविध भारती हो गई विज्ञापन प्रसारण सेवा और बन गई मनोरंजन सेवा। कार्यक्रमों का समय बढा, स्थानीय केन्द्रों से भी प्रसारण शुरू हुए साथ ही कार्यक्रमों में भी परिवर्तन आए।
कहना न होगा कि कार्यक्रमों के स्वरूप में हमेशा से ही परिवर्तन होते गए और बदलते-बदलते आज विविध भारती का एक नया ही रूप हमारी नज़र में है।
पहले अक्सर समाज में जब कार्यक्रमों की बात चलती थी तब विविध भारती के बारे में कहा जाता था - विविध भारती से तो बस चौबीस घण्टे प्यार मोहब्बत के गाने ही बजते रहते है।
विविध भारती का दूसरा नाम ही मनोरंजन था इसीलिए इसे मनोरंजन सेवा कहने में कोई आपत्ति नहीं थी। पर आज हम कार्यक्रमों पर नज़र डालते है तो मनोरंजन सेवा कहने में हिचकिचाहट होती है। हालांकि पहले भी कुछ कार्यक्रम ऐसे थे जिन्हें मनोरंजन की श्रेणी में नहीं रखा जा सकता था जैसे वन्दनवार - भक्ति संगीत मनोरंजन नहीं है। संगीत सरिता जैसे कार्यक्रम मनोरंजन के लिए नहीं सुने जाते। लेकिन ऐसे कार्यक्रमों की संख्या कम थी और फ़िल्मी गीतों के कार्यक्रमों की संख्या अधिक थी इसीलिए मनोरंजन सेवा मान लिया गया।
पर आज तो कार्यक्रमों का एक अलग ही दौर है। सुबह से शुरूवात करते है। वन्दनवार मनोरंजन की श्रेणी में नहीं आता है। संगीत सरिता शिक्षाप्रद कार्यक्रम है। सेहतनामा कार्यक्रम से हमें जानकारी मिलती है और हैलो डाक्टर से तो सलाह मिलती है। आज के मेहमान और इनसे मिलिए जैसे कार्यक्रमों से हमें विशिष्ट व्यक्तियों और उनके काम का परिचय मिलता है।
इसी तरह यूथ एक्सप्रेस और सखि-सहेली युवाओं और महिलाओं के लिए सूचना परक कार्यक्रम है। लोक संगीत हमारी संस्कृति है। यह सभी कार्यक्रम मनोरंजन की श्रेणी में नहीं आते।
मनोरंजन के कार्यक्रम है - भूले-बिसरे गीत, त्रिवेणी, सुहाना सफ़र, हैलो फ़रमाइश, जयमाला, हवामहल, एक ही फ़िल्म से, छाया गीत, आपकी फ़रमाइश। क्या इन्हीं मुट्ठी भर कार्यक्रमों से विविध भारती का परिचय है ? नहीं ! नहीं !! नहीं !!!
फिर आज भी विविध भारती सेवा को सिर्फ़ मनोरंजन सेवा ही क्यों कहा जाता है ? क्या फिर से इसे पंचरंगी कार्यक्रम या किसी और नाम से सुशोभित नहीं किया जा सकता।
Posted By annapurna
श्रेणी annapurna
Saturday, July 5, 2008 सुहाना सफ़र
सुहाना सफ़र - फ़िल्मी संगीत का एक बेहतरीन कार्यक्रम जो विविध भारती से रोज़ दोपहर में बारह से एक बजे तक प्रसारित होता है।
हर दिन एक संगीतकार के गीत सुनवाए जाते है पर हर सोमवार को ऐसे संगीतकारों के गीत सुनवाए जाते है जिनके गीत बहुत कम है। यह कहा जाता है कि यह कम प्रचलित संगीतकारों के गीत है।
हम तो क्वानटिटी में नहीं क्वालिटी में विश्वास रखते है इसीलिए हमें सोमवार का कार्यक्रम कुछ ज्यादा ही अच्छा लगता है। कई ऐसे संगीतकार है जिनका नाम संगीतकार के रूप में कम प्रचलित है पर गीत ज़ोरदार है इसीलिए इस दिन कई अच्छे गीत सुनने को मिलते है जैसे -
चांद जैसे मुखड़े पे बिंदिया सितारा (संगीतकार राजकमल)
पंख होते तो उड़ आती रे (संगीतकार रामलाल)
इस तरह इस दिन ख़ास बात यह भी होती है नए पुराने सभी गीत एक ही घण्टे में सुनने को मिलते है जैसे किशोर कुमार का स्वरबद्ध किया फ़िल्म झुमरू का गीत जिसके साथ इक़बाक ख़ुरैशी और हुस्नलाल भगतराम के संगीत से संजोए गीत तो साथ में नए गीत भी। कुछ बहुत लोकप्रिय गीत सुनने को नहीं मिले या बहुत ही कम सुनवाए गए जैसे संगीतकार शारदा का खुद का गाया फ़िल्म सूरज का गीत -
तितली उड़ी उड़ जा चली
फूल ने कहा आजा मेरे पास
तितली कही मैं चली आकाश
आगे तीन दिन माहौल लगभग एक जैसा रहता है क्योंकि इन संगीतकारों के गीत एक निश्चित अवधि की फ़िल्मों में होने से लगभग समान ही है।
मंगलवार को अनु मलिक के नए गाने सुनने को मिलते है। इसके बाद बुधवार को आनन्द मिलिन्द के गाने जो अनु मलिक से थोड़ा पीछे का समय है जिनके पीछे के समय में है नदीम श्रवण जिनके गीत शुक्रवार को बजते है।
बीच में गुरूवार को लक्ष्मीकान्त प्यारेलाल जिनके गीत पारसमणि से बाँबी तक है और उसके बाद भी।
ऐसे ही गीत है कल्याण जी आनन्द जी के जो शनिवार को सुनवाए जाते है जिसमें क़ुर्बानी का लैला मैं लैला गीत भी बजता है और दिलीप कुमार-सायरा बानो का गोपी फ़िल्म का गीत भी - जैंटिलमैन जैंटिलमैन जैंटिलमैन फिर रविवार को आर डी बर्मन के गीत जो नए गानों का आधार है।
यह क्रम बहुत अच्छा है और इस क्रम में गाने सुनना अच्छा लगता है। क्रम वैसे शुरू से ही अच्छा रहा। पहले पुराने संगीतकारों के गीत बजते थे जैसे सी रामचन्द्र शुक्रवार को ओ पी नय्यर। कुछ नाम छूट गए है जैसे शंकर जयकिशन जिसे शायद आगे शामिल किया जाए।
एक बात यहाँ भी खटकती है। इस कार्यक्रम के दौरान कहा जाता है कि यह स्वर्ण जयन्ती की सुरीली सौगात है। क्या इसका मतलब यह है कि स्वर्ण जयन्ती की समय सीमा की समाप्ति के बाद यह कार्यक्रम बन्द हो जाएगा ? अगर ऐसा है तो ठीक नहीं है और इसे जारी रखने का अनुरोध है।
Posted By annapurna
श्रेणी annapurna
Wednesday, December 19, 2007
यह विविध भारती सेवा भी कमाल की चीज़ है.......
मैं कल सुबह रेडियो सुन रहा था। उस पर एक प्रोग्राम चल रहा था जिस में एक डाक्टर साहब नवजात शिशुओं की सेहत के बारे में बातें कर रहे थे। बीच बीच में उन की पसंद के फिल्मी गीत बज रहे थे। वे इतनी अच्छी तरह से सब कुछ समझा रहे थे कि उन की कही काम की बातें एक निरक्षर बंदे के भी दिल में उतर गई होंगी। वैसे विविध भारती ऐसे प्रोग्राम देश के करोड़ो श्रोताओं पर पहुंचाने के लिए बधाई की पात्र है।वे देश के प्रख्यात विशेषज्ञों को हमारे घर में जैसे ले आती है। और ये डाक्टर भी इतने सुलझे हुए होते हैं कि ऐसा लगता है कि वे आम बंदे से बात ही कर रहे हैं। आम जनता क्या, कईं बार तो हम डाक्टर लोग भी एक दूसरे से कई नई बातें सुन लेते हैं, सीख लेते हैं। मैं अकसर कहता हूं जब कोई अनुभवी व्यक्ति ऐसे कार्यक्रमों में बात करता है तो अपने सारे अनुभव उस एक घंटे में ही भर देता है। बस उस का फायदा लेने वाला बंदा चाहिए। ऐसे किसी कार्यक्रम की एक बात भी दिल में उतर गई तो समझो कल्याण हो गया।
उस कार्यक्रम के बाद एक प्रोग्राम था हैलो, एफ एम लाईफ लाइन----वह भी कमाल की पेशकश थी. इतने अपनेपन से वह महिला डाक्टर श्रोताओं के प्रश्नों का जवाब दे रही थीं.
दोस्तो, एफ एम ने निःसंदेह देश में मनोरंजन एवं ज्ञान अर्जन के क्षेत्र में एक क्रांति सी ला दी है। तो क्यों न हम रेडियों से भी अपना नाता एक बार फिर से कायम ही कर लें.... Posted by Dr.Parveen Chopra
squarecut's blog-binaca geetmala,cricket etc
discussion on bollywood movies,music,binaca geetmala, cricket etc
Wednesday, July 9, 2008
Vividh Bharati-an outstanding Radio channel
Ironically, just when Radio Ceylon was starting to broadcast Binaca geetmala in 1953,Govt of India took a diametrically and drastically opposite decision for the Govt owned radio.B V Keskar, the first I&B minister of independant India banned Filmy music from Akashwani in 1953. Binaca geetmala, as well as this Akashwani ban gave radio Ceylon a big shot in the arm.
Akashwani insisted on "educating" people through dull programmes, and radio Ceylon had no qualms playing latest filmy songs and also broadcasting ads. So the choice before the lay public was easy. The Indian audience took to radio Ceylon in a big way, and Indian businessmen followed by advertising their products in Radio Ceylon. In any case, Indian I & B ministry had yet to wake up to the potential of earning revenues through ads, they still insisted on earning their revenue through annual license fee on the radio sets. The annual license fee was Rs 10 in the beginning,( which was a huge sum in those days), and later it became Rs 15.
This ban on filmy music lasted for about one and a half years and the repurcussions were for all to see. The I & B ministry was forced to relax the ban on filmy music in 1955, and filmy music limped its way back into akashwani. But these half hearted measures were not sufficient for Akashwani to regain the lost ground.
Akashwani started an entertainment channel called Vividh Bharati, when Akashwani Bombay( alongwith Madras) became the first Vividh Bharati station on October 3, 1957.Govt of India had asked Pt Narendra Sharma to conceive this radio channel. He was designated as Chief producer, and it was he who drew up plans for the channel and even thought up the name "Vividh Bharati".
Announcers described it as-"'This is Vividh Bharati, panchrangi programme of akashwani". This was a tacit admission that the main channel of Akashwani was too dull and boring for lay public, and that was indeed the case.
Vividh Bharati was mainly a music based channel, but being a government organisation, it was nowhere as nimble footed as Radio Ceylon, its direct competitor. Radio Ceylon would play latest songs,whereas Vividh Bharati ( and more so the main akashwani stations) were always late in buying the latest records, thanks to the cumbersome procurement process that all government organisations had to follow.
By the time Vividh Bharati would get the hit records of 1958, it was already 1960. So there was no way Vividh Bharati could compete with radio Ceylon's Aap hi ke geet or Binaca geetmala, which always played the latest and most popular songs.There was another radio station that played latest Bollywood filmy songs. It was radio Goa. Yes, Goa did not become an Indian territory till 1962. But Goa radio did not have the same reach as Radio Ceylon so that quickly faded away. And of course, India took over Goa in 1962.
But being a government organisation hell bent on educating people, Vividh Bharati did take some unpopular but correct decisions that turned out to be masterstrokes in the long run.
For instance, despite knowing fully well that classical music programmes had few takers, they still began a programme that a populist broadcaster like Radio Ceylon never would. It was called Sangeet sarita, where a particular raag was discussed. A filmy song based on this raag was played followed by a pure classical song by a classical guru.It was broadcast in the morning.
Just before this programme, or somewhere in between, Vividh Bharati had a five minutes programme called Jharokha, where we would be informed about the programmes to be broadcast in the day.
Sangeet sarita ended at 8 A M and was followed by News. After news, it was the turn of Bhoole bisre geet at the time when Radio ceylon would be playing the latest songs in their aap hi ke geet programme.Incidentally, the bhoole bisre geet programe would actually play rare forgotten songs. In contrast, it was not uncommon for Radio Ceylon to play just 10 years old songs in their "purani filmon ke geet" programme.
Vividh Bharati would have newer ( though never the latest) songs played in their next programmes starting from 8:30 and going upto 9:30.
Afternoon session had that one hour long farmaishi programme called "manchahe geet".
Evening programmes included a classical songs based programme at 6:30, and it ended at 7, followed by a five minute Khel samachar.This khel samachar was started in 1975, and its English version, sports news was broadcast at 8 PM( though not on Vividh Bharati).
The time after the khel samachar was eagerly looked after by many.This was the time when the most brilliant master stroke of Vividh Bharati called Jaimala was broadcast.
The daily programme was a farmaishi programme open only to fauzi jawans who sent their farmaish by special mail available only to fauzis. You could not send an ordinary postcard claiming to be lance Naik Amar Singh or Subedar Ramesh Kumar and hope to have your farmaish entertained. The farmaishi posts had to come through APO ( army post office).Of course,everyone could listen to the programme, not just fauzi bhais.
And saturday's jaimala was actually special ( vishesh) and it was actually called Vishesh jaimala. This was a programme where a celebrity ( mostly from the film world, but sometimes cricketers too) would talk to fauzi bhais and play songs of their own choice. The same programme was also repeated on Sunday afternoon. However critical one could be of a government organisation,this special jaimala was pure gold. And now with passage of time, it has become more so.
7:50 PM( when Jaimala ended) to 8:10 PM was the time that various Vividh Bharati kendras filled with their own programmes. Then at 8:10 PM, there would be an half hour programme that depended on the day of week. I remember looking forward to the day of qawwali. I think one day was booked for ghazals too, though I am not so sure because I was not into ghazals in any case in those days. Indeed, 8 PM on wednesday were a walkover to Radio ceylon, when they would be broadcasting their Binaca geetmala while Vividh Bharati will be playing some old songs ( ghazals, if I remember correctly) at the same time.
8:45 PM was the time for the 15 minutes long Hindi news. After the news, "late night" programmes began. Hawamahal, with its signature tune had the effect of causing my eyelids to get heavy and I would immediately feel sleepy.This programme was at 9:30, which was regarded as too late in those days.
Incidentally, the theme tunes of all these programmes were created by eminent music directors viz Anil Biswas etc, when Vividh Bharati was set up in 1957. In fact, the first episode of Hawa Mahal was written by Pt Narendra Sharma, the boss of Vividh Bharati in those days. Old timers will remember him as the person who was a leading poet and lyricist in 1940s and he was the one who encouraged Lata Mangeskar during her struggling days. The government of India had made a sensible decision in inviting a highly respected film personality to shape the destiny of Vividh Bharati. This, plus the fact that many filmy dignitaries had started their career in Akashwani, and also the fact that most Vividh Bharati programmes were recorded at Bombay, meant that Vividh Bharati could count upon unstinted support from the film industry.
The programme that came next at 10 PM was Chayageet, that was a theme based programme, where songs were played on a particular theme. And the announcers did lot of hardwork in preparing and presenting the programme.
In fact, that could be said about all Vividh Bharati programmes. The presenters had passion for their jobs and that reflected in the quality of their presentation,which was of a high standard, and always very informative. In Radio Ceylon, it was not uncommon for the announcer to just name the singer before playing a song, but in Vividh Bharati, the announcers would take great pains to name the singer, lyricist and music director. and in programmes like Chayageet, Sangeet Sarita etc, they went into much more detail.
I recall the name of another programme called Rang tarang. It was a programme where poetry were read. I found it boring. I never seriously listened to it.
Vividh Bharati was stated in Mumbai and Madras and gradually it was started in other major radio stations in the country too. In Ranchi, it was started sometime in 1960s, and it was only in the evening from 6:30 PM to 10:30 PM, unlike what it was in Mumbai etc, which not only broadcasted in three shifts, but had begun to accept advertisements as well, in line with the changed government policy which allowed advertisements in Vividh Bharati.It was caled "Vividh Bharati ki vigyapan seva" viz Commercial service of Vividh Bharati. It was only in 1975 that Vividh Bharati Ranchi too joined the ranks of "Vividh Bharati ki vigyapan seva", from merely being Vividh Bharati- Akashwani ka panchrangi karyakram, and the station started to broadcast in three shifts too.
On weekdays, there was just one or two sponsored programs, one of them at 8:10, and another at 9:00, I think. It varied from station to station. Sunday was the day when there were many sponsored programmes, right from the morning beginning from about 9 A M to 1 PM. Programmes had fancy names like "Modi ke Matwale Rahi" and "Saridon ke saathi".
One programme, that was broadcast on saturday night and repeated on sunday was "Patravali", where letters of listeners were discussed.The fact that most programmes were recorded in Bombay and a few sponsored programmes differed from station to station and were recorded by sponsors was a fact not known to many,so many listeners would write letters that pertained to a specific vividh Bharati station and to sponsored programmes,and would not pertain to programmes recorded at Bombay.
Some superb programmes were started after 1980s when people had switched over to TV, and these programmes have not received as much accolades as they deserve. In these programmes, a particular film personality was discussed. Many unknown facts about them were brought out, making use of interviews with the person recorded from time to time, as well as discussions with people associated with the person.
For instance,programmes like:
Ujale unki yaad ke, Aaj ke fankaar,Sargam ke sitare ,and (last but not the least),Sangeet ke sitaron ki mehfil- This last programme was presented by Ameen Sayani, It was definitely a much higher standard programme than his much acclaimed Binaca geetmala. It had rare recordings( from Ameen Sayani's past programmes on Radio Ceylon), and interesting anecdotes. It is a hidden gem of Vividh Bharati which has not received as much acclaim as Vishesh Jaimala, mainly because this programme has come up in the TV era.
But it shows one fact clearly, that the programmes of Vividh Bharati are of high standard and very well researched. TV programmes of comparable kind ( viz Chitrahar etc) stand no where. In fact the private FM channels too can only dream of such standards.
Akashwani ( including Vividh bharati) have an enviable archive of recordings not found elsewhere. Now a days they have offered CDs of some of these recordings for sale also, but they are making the same mistake as was made by the first I & B minister of the nation. They are only selling recordings of classical music. Great that these recordings are, you can never expect these CDs to sell much. On the other hand, if they decide to sell the recordings of vishesh jaimala, chayageet, sangeet ke sitaron ki mehfil, etc, then I can guarantee that Akashwani will earn nearly as much from these sales than what they earn from their ads. Is anyone listening ( or rather reading this) ? Please act fast before these invaluable recordings are consumed by dust and moth. Posted by squarecut.atul
. CONVERGENCE
Vividh Bharati Second Only To Radio Mirchi: Survey
CHANDAN BANERJEE Posted online: Monday, October 07, 2002 at 0000 hours IST '); //-->
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After college, he did not become a lawyer because he felt he could not be totally honest with himself and others as a lawyer. He was offered many political posts as he was close to the Gandhis. But he did not accept any help. All his other friends became ministers and MLAs. But my father used to travel in a bus with his briefcase, though we were well-to-do. He was a very simple man and lived a simple life.
My dad dabbled in different businesses. He had a thriving furniture business. Then he was into transportation and had tempos and trucks in Gurgaon. That closed down too as most of his partners cheated him. He was too trusting and honest. This was before I was born so I don’t know much about it. When I was born, he was going through a very low phase. Later, he went into restaurants and hotels. He did everything on his own instead of taking advantage of being a freedom fighter or utilising his political connections.
He died when I was 15. We went on a holiday. And going for a holiday with my father was not to enjoy your stay in luxurious hotels, sight-seeing and eating various delicacies. It means roughing it out. We went to Itanagar and drove in a jonga (a four-wheeler driven in Pakistan then) to Lahore. From Lahore we sat in really crowded tempo and travelled for hours to Peshawar. We stayed in a uncomfortable hotel as we had not made reservations beforehand. My father wanted to keep us in touch with reality. Even though I was educated in a sophisticated Irish School, I am down-to-earth. I have read varied books, done my Masters and am a star, but I feel in touch with reality. I don’t think like a star and feel that I should not meet XYZ people. That has been imbibed from my dad.
My Mother, on the other hand, wanted me to have all comforts. She bought me a car but my dad said, “If you have the money, get it.” He always taught me that one should do things on his own. Once I asked him whether I could travel 20 kms on cycle. He said, “Why ask me? If you think you can do it, go ahead. When I was your age I climbed Mt K2 without asking my parents.” He made me realise that material gains are more or less superficial. If you have them, very good, but if you don’t have them, then it is not the end of your life. He had seen both sides of the coin. He had been well off and then the business was not good. He could survive, in either a bus or in a Mercedes. He was that kind of a person.
My parents never forced anything on to me. They told me, “Read the Quran if you feel like. Read the Gita and the Bible also.” I have read everything. All the religious festivals were to be attended only if I felt like. Like the Id namaz. It was never a compulsion that, “Oh God! I have to go and read the namaz on Friday.” I was very keen to do it. I find a lot of people saying, “Oh God! It’s rakhi today. I’ve to go home.” It was never like that with me. If it was Id, it was meant to be an enjoyable day off.
I find it very strange when I hear a parent saying, “Let’s have a discussion son on what you are going to be.” I think that very British, pompous and uncalled-for. It should happen naturally. I was never asked, “Which line do you want to get into?” I would never do that with my kid. If I said, “I want to be an engineer,” the reply would be, “Ok get into it.” I was never forced to handle my father business. My mother was running it after my father died. Eventually, I never ran the business. I would occasionally run an errand like going to the bank or whatever. We had a big business at that time. It was an oil company.
In the film line, he knew Dilip saab, Motilal and many others. In fact, he knew Anil Kapoor’s father very well. He used to tell me, “If you want to join films, I will tell SK Kapoor to make you an actor.” I remember they were launching Woh Saat Din at that time and my dad said, “If you ever go to Bombay, meet him.” I came and met the wrong SK Kapoor. Just recently, SK Kapoor saab gave me a few photographs of my father.
He told us, “Whatever you do, do it to the best of your capability.” That kind of concentration was taught to me. Also, due to the freedom I had as a child, I did not get into any bad habits. Even today, I don’t like to be told what to do, what not to do. I think you have to understand your responsibilities. Responsibility cannot be taught. I think taught responsibilities are too formal, too mannered. One should know he will be responsible for himself.
Very few people know I used to write what I thought were Urdu couplets. Coming from an Islamic family everyone around spoke in Urdu. My father would read out bedtime stories in Urdu and sometimes also recite the poems of Ghalib and Iqbal to us. I guess my interest arose in writing such couplets because of this. My father encouraged me to think of couplets and write these poems. He even made a book in which he would pen down all that I recited, in his own hand in Urdu. I still have it with me. It is one of my fondest possessions. When he died there was no one to pen down my poems in that book. I didn't really ever learn to write Urdu. I sometimes have friends who can read Urdu read it out to me. I find the couplets and poems very amateurish and childish. But all the same the book, which is known as a diwan in Urdu, is my fondest link with my father.
When my father died, I didn't cry. I thought it was heroic. I was one of the pall-bearers and thought I had become a little big man. But I felt cheated despite the fact that he had prepared me for his death.
Learning all along…
Hans Raj College
New Delhi.
Graduation in Economic Honours
After getting so many awards in school I believed that I would get admission in the best college of Delhi. I did not want to continue with science and instead wanted to switch over to economics. That entailed a cut in my percentage and strangely, I hadn’t scored well in my favourite subject, English. This is one of my life’s greatest mysteries because I thought my English paper had been the best. In fact, boys who borrowed my notes on Shakespeare and studied Thomas Hardy from me got higher marks than I did. It was also the first lesson in life I learnt that one cannot be sure or confident about one’s best efforts either. As sometimes your best is just not good enough. And that is one truth I live by even today. One should not get disappointed but try harder next time.
Anyway, I did not get admitted to the so-called best institute and the principal was rather rude to me when I showed him my awards and certificates. It was my first brush with the realities of the world. You are nobody in the larger scheme of things. The best student of the top school in Delhi was not good enough to be a part of the best college in Delhi.
I decided that if I was not going to get the best I would try and make best of what was being offered. I took admission in the first college that accepted me, and it happened to be Hans Raj College, Delhi University. I also shifted from science to economics. The logic being I wanted my education to be such that I could understand every page of the newspaper. I really enjoyed the supply and demand theory… and national income accounting. Also I made sure that the marks I got in my exams were comparable to the highest marks in the so-called best college of Delhi.
I continued playing football hockey and cricket in college. Though I wanted to pursue my interest in sports my back injury and an arthritis-ruptured right knee would not allow me to. This was the time when I also did my first T.V. series Fauji and Dil Dariya.
Teaching grounds…
I went on to do my Masters from the mass communication research center, Jamia Milia Islamia. This course claims to train you in filmmaking and journalism. I did my first year and was doing very well because I always wanted to make advertising films. Short films till date hold a strange fascination for me. So much to be said and such little time. Somewhat like life itself. Again the vice principal did not like the fact that I was dabbling with theater, television and production work for short films outside the college in my free time. He told me one day that since my attendance was not upto the mark he would prefer me not taking the final exams. Attendance was not the issue as I had done an extra project so I felt very disturbed. His logic was inexplicable. He felt everything was going rather smooth for me and I should get to face a few hardships. Being requested off the college was his way of preparing me for the real world. I packed my bags and decided I would learn how to make films and only go back to that institute when they called me to give a guest lecture on filmmaking. I am still working towards that.
So much for my education. All in all I did learn to read the newspaper from cover to cover. I also learned that if you want to learn about anything, find books on the subject and try and understand them yourself. Do not ask others to teach you. If after trying sincerely, you still don’t, then ask for help. Also read books on all subjects, even the ones you are not interested in. Education to me means being aware of everything that happens around us. That’s all.
The Beginning
‘Vivid’ Bharti…
I started showing my inclination towards anything remotely connected with acting at a very early age. I remember we had an old radio, I think it was called a radiogram in those days. It weighed kilos and I still wonder why the modest ‘gram’ is attached to its name. Television wasn't a way of life then. I am talking about the early seventies, when the refrigerator was not kept in the kitchen but instead held center stage in the living room. Our main source of entertainment used to be this boxy and knobby radio. My parents would put on Vividh Bharti and sit around it in the evenings to listen to songs and the news. Once the news was over I usually took over. I loved to dance to the music. My parents would turn up the volume and I would do some really frantic dances. My dance was a cross between the twist, the tango and an acute epileptic fit. Lately I have seen this kind of dance in discos and Ricky Martin videos. Sometimes, when I am alone I take pride in the fact that I was the inventor of this completely inexplicable set of movements. I used to dance best to any song that I was told was picturised on Mumtaz.
Circus
Circus was a great experience. I had never travelled so much in my life. We went all over Maharashtra and areas in Goa over a three-month period. I got to see life in the circus at close quarters. Here was an art form quite akin to mine and the performers showed the kind of dedication and hard work which one seldom sees in any other workplace. It involved an element of sports, which made me really identify with the whole set up. We would shoot at all odd hours in between the show timings. We would start when the circus packed up at about ten at night. We would continue shooting throughout the night till nine in the morning, when the shows would start again.
Life is a circus was gruelling. It was a common sight to see an eight-year-old kid holding his broken arm and being taken away from practice. Girls would stay separately and boys would be in a different corner of the dera, as the quarters were called. Girls were allowed to leave the premises only once a week and three girls went at a time with a headmistress to buy vegetables. Love stories or love between the performers was a strict no-no but they still found very interesting ways of having affairs and romances. An item where a girl would balance a little boy and girl in a barrel, on her feet, was their love letters postal service. The little boy and girl would exchange love notes while inside the drum and carry it back to their quarters at the end of the show.
Also, the bathrooms had a common wall. So a method was devised vis-a-vis the matching couples would end up at the same time on the either side of the wall and whisper sweet nothings to each other. All these wonderful moments under the same roof where the same people enacted death defying stunts every day. Their main aim in life was to become trapeze artists, that's all. Many died or got maimed in this quest. It was a common sight to see armless janitors working around. They were one-time lion tamers who got their arms bitten off. Now they knew nothing else apart from performing so they stuck on, doing odd jobs here. Their training started early in life, and by time they grew up the only thing they knew were scary stunts. It is a lot like an actor, once an actor always an actor. I think this is where it set in my heart that I would also pursue my career in the same vein. Not to think of an alternative, just work towards being an actor. I wanted to fly, free as a bird, not bound by any consideration, but the independence of expression - I wanted to be a trapeze artist also. I learnt the maxim of acting from my time spent in the circus: "Ho gaya to kartab, gir gaye, mar gaye toh haadsa" - If you can pull it off, it's a performance, if not it was just an accident, try and do it again and again till one day you die.
It was with this training from greats, these lessons in acting and performing from some wonderful co-actors and friends and a lot of energy and hope that I armed my self with, that I decided to work in films.
Dil Darya
This serial was based in Punjab. It was a story of a Sikh and Hindu family who are neighbours and best of friends. The strife in relationships occur within this loving atmosphere because of the prevailing tensions in Punjab. The serial was directed by perhaps one of the best directors in our film industry, Mr. Lekh Tandon.
It was a major learning experience for me. The serial was highly emotional and required a lot of crying and heartfelt emotional acting. It became quite an exercise for me to relate to absolutely basic Indian emotions coming from a rather westernized school of acting. Mr. Tandon, or Lekhji, as I call him, really helped me a lot to just get over the inhibitions and relate to a louder set of emotions and overall acting style which was required for the role.
Fauji
Fauji was based on a set of young jawans and their personal relationships and problems in the army. Its main thrust was youth. The Colonel himself was a very jovial and fun loving person. He did not believe that army should be shown as a serious outfit of angry soldiers fighting. He wanted everyone to identify with the characters and feel that anyone could be a part of the army. He wanted to portray a side which would inspire people to join the army and think of fighting for the country a matter of honour, without getting alienated from reality. He was quite a visionary, I think. He managed to create a young, upbeat atmosphere around the entire army backdrop. Nobody since then has been able capture that kind of mix between youth and the army. I think that in essence this was also the reason for my rise to popularity, I was amazed at the way people started recognizing me on the streets. At that time I had just joined college and honestly it was quite a thrill to have become a sort of a celebrity. I think lots of people in Bombay also noticed me on this serial and I started to get offers for movies. This was when I first saw the smiles that I could bring to the faces of people when they saw me on the roads.
An interesting aspect of working in Fauji was the physical training we got from the police and the army. The best part was when we were made to train for the parachute jumps. The training entailed practicing swinging, taking on positions while descending in the air, etc. The training culminated in a free fall of about 80 feet, with only a small wire attached to a pulley. This contraption, I think, is called the fan descender. When my turn came to jump the instructor told me to land with my body facing the crew standing below. He felt I would be so scared by the time I landed that I would pee in my pants. Well I did the jump... and ended facing the camera crew. No Problem. Later on, I went on to do jumps from fifteen-twenty storeys in my films with the same kind of contraption, the most recent one being for Phir Bhi Dil Hai Hindustani. This is a case in point that no experience that you have in life can ever be wasted.
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Thursday, August 7, 2008 Memories
I think this is right - he doesn't remember the two India trips we took at all, but they happened when he was 15 months old and 23 months old, both lasting over 2 months. And when I look back at all the trips we took when I was little, the only reality of those trips is from photographs. I have no memory at all of going on Safari, going to see the sphinx in Egypt, or any of the times we were in airports, planes, trains etc.
A lot of the things I remember are either mundane or one-off excitements. Also, the memories from 2/3/4 to 9/3/4 are all of Tanzania, Africa and that is not a familiar setting now. That is, I can't physically see those things regularly, so the visual cues are not there for me to remember things by.
I remember playing "five stones" with river pebbles in Masasani with the other kids;
I remember eating goody goody chocolate which Daddy used to bring from trips to Kenya - that was really a treat;
I remember the big bars of chocolate we bought before leaving "for good" to distribute to everyone;
I remember Rishi's birthday party - we couldn't go because we had to go somewhere else, and I think we must have cried because Rishi had told us everyone who went to the party was getting a digital wrist watch from Dubai as a gift;
I remember playing kabbadi in the compound of the building, and making mud-laddoos and drying them in the ground floor balcony;
I remember the askari - swahili for guard ... can't remember his name;
I remember our first servant, Alima; and getting milk from the guy across the road who had a cow;
I remember when the pick-up didn't come to take us to school and we all argued about whether we should walk or not - bearing in mind it was dangerous for children to be walking around by themselves, and also most of us were between the ages of about 7 and 10 or so. We ended up walking, and I think we went past Dr Raithatha's office, and then we finally made it to school.
I remember walking to the beach on Sunday (a day of driving ban for cars without special permit), and stopping at the tree which dropped acorns and playing spinning tops with them.
I remember the coke factory, where we would go to buy a crate of bottles. Then Daddy would decide how many of each variety we should get - coke, sprite, fanta. So fun, using the bottle opener to pop the top and guzzle down the cold coke right in front of the factory itself. I always associate those old bottles with that experience of going to the factory and having such great access to the stuff. We didn't really have access to any other junk. Not much chance of a pack of chips, or lollies. We used to go to the ice cream parlour, and that was about it. We didn't have TV, Mummy had a radio and used to get Vividh-Bharati and BBC, and All-India-Radio; Solanki uncle would record cassettes for her to listen to. The kids would go and play downstairs or play inside - we had dolls and games, a tricycle, books. And lots of kids to play with! I think I still remember them all - Ashu and Archana Verma (my chewing gum buddy), Ashutosh and Madhura Karandikar, Rajesh and Sanju Jayaraman, Navin (the fighter, aka BP Navin) and Srivatsa, Rishi and Baby, and Maya.
I remember going through the empty airport late at night as we left Dar-es-Salaam for good, and suddenly seeing Mother Teresa arrive. We took pictures with her. It was such a surprise, as we hadn't known she was coming. Also, my best friend in school, Neeru, left the same day as us, and I hadn't know they were leaving. We saw them in the airport too. Always remember the name, but can't place a face on it anymore. Neeru and her sister Preeti.
Ma, what do you remember from when you were little? Not just being in a place, but the actual living in it?
I suppose I remember a lot of things when I was little, but most of these memories would be from when I was 7 or 8, I would guess. Before that, can't really remember. I guess it then makes it more important to keep written records of what Paavani and Vignesh like, dislike, did, didn't, say, think, where they went, and how they were and are. I don't expect to remember all this in 20 years .. and I don't really want to carry around all the minuitae of detail of every event in their lives in my head.
Vignesh is currently having a wonderful time trying to talk - lots of sounds and noises, but nothing too earth shattering yet. Although, I must say, when he started counting, I was quite amused. "Vignesh, say one" ... "tooooooo"; "three, Vignesha?".... "foooooor". I think he can comfortably go to seven or eight. Or maybe Ten.
And he very comfortably remembers that the goodies are in the top shelf .. he can say chi for chips, laaali for lollipop, and annan for annam!
Oh, and we are about 90% done with the back end of town training .... "kaka - oh-oh - TaaTee (toilet) amma, kaka" and then he smirks and waits to see me spring up, and carry him off, racing to the loo and rushing to get him seated with the seat adjustment inserted so he can sit without me holding him. The other day we rushed off about 10 times - good god! The child was teasing me! Honestly, if I hadn't rushed I'm sure it would have been the one time he would have done it in his pants! Now of course, I'll be running around with two kids asking for the toilet as soon as we're out of the door. YOIKES!
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विविध भारती की प्रायोगिक वेबसाईट और एक खास इंटरव्यू केंद्र निदेशक महेंद्र मोदी का
विविध भारती की बाक़ायदा वेबसाईट बनने में तो ज़रा देर है लेकिन विविध भारती की कमान संभाल रहे श्री महेंद्रमोदी ने एक शानदार पहल करते हुए इसकी एक प्रायोगिक वेबसाईट तैयार की है । जिसमें बुनियादी जानकारियों केअलावा कुछ तस्वीरें भी हैं । हाल ही में महेंद्र मोदी जी इलाहाबाद का दौरा करके लौटे हैं । ये विविध भारती की स्वर्णजयंती के आयोजनों की एक श्रृंखला का हिस्सा है । दरअसल बहुत जल्दी विविध भारती की एक टीम इलाहाबाद पहुंचने वाली है वायुसेना के फौजियों की रिकॉर्डिंग के लिए । सभी इसे लेकर बहुत ही उत्साहित हैं । इलाहाबाद रेडियो की यात्रा का भी एक अहम पड़ाव रहा है । रेडियो की दुनिया में इलाहाबाद से कई इतिहास रचे गये हैं । जिनकी चर्चा मैं बाद में कभी करूंगा । तो मोदी जी इस आयोजन की तैयारियों में जब इलाहाबाद पहुंचे तो वहां के मशहूर अंग्रेज़ी अख़बार NIP ने उनका एक लंबा इंटरव्यू किया । इस बेबाक इंटरव्यू में कई बंपर सवाल दाग़े गये हैं और हो सकता है कि उनमें से कुछ सवाल वो हों जो आपके मन में आते रहे हैं । तो ज़रा नीचे दिये गये लिंक पर क्लिक कीजिये और पढि़ये विविध भारती के वर्तमान मुखिया महेंद्र मोदी जी का इंटरव्यू और चलते चलते इतना बता दूं कि रेडियोनामा पर जल्दी ही आप महेंद्र जी का लिखा हुआ भी पढ़ेंगे ।
जी हां मोदी जी अब रेडियोनामा का हिस्सा बनने जा रहे है
कौल साहब का रेडियो-पन्ना सागर नाहर की सूची बीबीसी हिंदी वॉइस ऑफ अमेरिका हिंदी हम एफ एम सऊदी अरब डॉयचे वेले--जर्मनी की हिंदी सेवा रेडियो जापान की हिंदी सेवा आकाशवाणी समाचार रेडियोवर्ल्ड रेडियो तराना
साथ में श्री अजितजी की आकाशवाणी पटना के विज्ञापन प्रसारण सेवा के सावन के 1931 से आज तक के गानो के कार्यक्रम के गानो की पोस्ट, श्रीमती अन्नपूर्णाजी की त्रिवेणी, भेटवार्ता, साप्ताहिकी, आराधना, नाट्यतरंग, पिटारेमें खीचडी, पटियाला घराने की संगीत सरीता, सेहतनामा, यूथ एक्स्प्रेश तथा संजय पटॆल जी की देवकीनंदन पांडेजी के बारेमें पोस्ट, युनूसजी की जरूरी एलान, आलम पनाह (फरमान पर अन्नपूर्णाजी की टिपणी के साथ ), तथा विविध भारती की प्रायोगीक वेबसाईट, वगैरह पोस्ट की सराहना करता हूँ । पर अभी भी विविध भारती पर जोधपूर और राजस्थान छाया हूआ है और अब शायद आजके बाद आने वाले दिनों में अलाहाबाद छाने वाला है । यह दोनों आकाशवाणी केन्द्र श्री महेन्द्र मोदी साहब के कार्यक्षेत्र रहे है । इस लिये उनके पास वहाँ के सही कलाकारों और वक्ता लोगों की ढेर सारी जानकारीयाँ होना स्वाभाविक है । और जिन लोगों को प्रस्तूत किया गया उनसे मेरे सहीत सभी को ख़ुशी तो हुई है ही, पर एक बात कहना चाहता हूँ, सितारों से आगे जहाँ और भी है । कि हमारे सुरत शहरमें भी कई गिरधारीलाल विश्वकर्माजी जैसे या थोडे से उपर या नीचे रहे कुछ: रेर सोंग्स कलेक्टर्स को मैं जानता हूँ तथा बड़ौदा के श्री जयंतिभाई पटेल, और राजकोट के मधूसूदन भट्ट भी इसी प्रकार के संग्राहक है । और डोम्बीवली के जयरामन साहब को तो मैं भूल नहीं सकता । पर अफ़सोस रहेगा, कि यह स्वर्ण जयंति मनाने का यह सिलसिला तो दि. 03-10-2008 पर समाप्त होने पर इनके लिये विविध भारती रूपी यह टेलीस्पोप हमें काम देना बंद कर देगा । “आमने सामने” भी सिर्फ़ जोधपूर के लिये ही रहा । क्या युनूसजी इस बात को श्री मोदी साहब तक़ पहोंचायेंगे ?
पियुष महेता
Posted By PIYUSH MEHTA-SURAT
श्रेणी पियुष महेता, विविध भारती
I wish to inform dear piyush ji that i am a regular reader of radionama and i can directly talk to the members of radionama, who are my esteened listners too.secod thing, jodhpur has never been my own place as i was at jodhpur just for six months, that too in the year 1976..... do you think i could really find any person of that era now in 2008?
i had chosen jodhpur because the people working at air jodhpur including the station director mr. b.c.pawar,pexs like m.s.lalas, p. thapliyal and vibha saxena were very helpful and did a lot for making our trip useful and on the top of everything... it was decided to visit a place which is on border....i am thankful to the officers of bsf jaisalmer like dig mr. saraswat, comm. mr.awdhesh tiwari, comm. mr. singh, deputy comm. mr. meena and mr. roy, who not only welcomed us with great warmth but also arranged recordings right on the border despite bad weather and other problems.
and finally... when we went to jaisalmer, what wrong we did if we utilized our time in bringing some very good recordings from jodhpur?
my team members would have enjoyed a spell of holidays in jodhpur while coming back from jaisalmer if they would not record anything there but they decided to work round the clock in place of enjoying holidays. do our all listners think it was a wrong attempt???????
i am sorry for writing the whole thing in english as i fell sick during my last visit to allahabad and have undergone a surgery a few days back and since i was shifted to my son's place from bombay hospital, i don't have my laptop with me. i am using my son's laptop which doesn't have hindi fonts.
anyways...thanks piyush ji.. thanks for everything.
mahendra modi
acting station director
vividh bharati
mumbai