Love Rain :)

Love Rain :)

Sunday, November 27, 2011

Tribute To Tibet

                                                                                    
A Brief History of Tibet
                                                                               
Ancient Myth

According to myth, the Tibetan people attribute their existence to the union of an ogress and a monkey. One day a monkey came into a cave in Yarlung River valley and began to cultivate himself to attain immortality. Later, an ogress came to him and tried to tempt him with tricks. She said to the monkey: “Will you marry me?” “No, I am a disciple of Mother Buddha. I am instructed to come here to cultivate myself. If I marry with you, it will violate the religious discipline,” replied the monkey. The ogress proceeded: “If you don’t marry me, I will have to commit suicide because I am destined in my previous incarnation to be degraded into a devil. Then you and I cannot become affectionate couple. Days later, I will become the wife of a devil and give birth to countless sons and grandsons. At that time, the plateau will be plunged into a world filled with devils and thousands of people will be killed. So please do as I told you.” Stuck in the dilemma and puzzled, the monkey had to return to Putuo Hill to seek instruction from Mother Buddha. She said: “This is destiny and this is an auspicious sign. It is a deed of great kindness to marry her and reproduce offspring for the plateau. As a Buddha, you should not hesitate to conduct kind deeds. Hurry back to marry the ogress.”


They got married and brought six baby monkeys into the world. They had different hobbies and different dispositions. They looked for food in the forest by themselves. Three years later, their father went to the forest and found out that the number of monkey had expanded to 500 by the way of reproduction. And they had eaten up the fruits in the forest and suffered from food shortage. Again the old monkey went to Mother Buddha for help. Mother Buddha took the seeds of five types of grains from Xumi Mountain and distributed them across the land. Crops sprung up in the vast land without being cultivated. Hence monkeys got sufficient food. After some time, their tails became shortened and they could speak language. Gradually they became humans, the ancestors of the Tibetan people.

The story that monkey became human was popular with the Tibetan people and was recorded in the ancient scriptures. You can also find the clues of the story in many wall paintings. Tsetang Town in Tibet was named after the story (Tsetang means in Tibetan language the play place for monkeys). The people in Tsetang will tell you that the cave where the monkey lived is still in the nearby Mt Gangpo Ri. The legendary first piece of farming land planting highland barley is in Sala Village, three kilometers away from the town. Up to today, every year when the sowing season comes, it is customary for people to take some “sacred soil” from the first farming field to pray for harvest and blessings from the ancestors.

Tupo Regime

Tibet’s first palace Yumbulagang is located in the Yarlung River Valley near Tsetang Town. It was built by the first Tibet King Nyentri Tsenpo. Tibet has a recorded history of about 1300 years. What happened before that had been passed down in the form of legends and these legends were written down by later generations.
In the 7th century AD, the 32nd Tibetan king Songtsen Gampo established the first kingdom in Tibetan history, the Tupo Regime, through conquest and alliances. The kingdom had the largest territory ever.
The Tupo Regime lasted 200 years to the year of 877. Slave and common people’s uprisings spread through various parts of the kingdom. And the insurrectionary army seized Qiongjie, dig up the tombs of Tibetan kings. Since then, the Tupo Regime fell apart.

Sakya Rule


After the fall the Tupo Regime, Tibet had seen 400 years of division, local powers and wars. In the beginning of 13th century, Genghis Khan unified China and his grandson, Godan Khan unified Tibet by making use of the local religious power. When he learned that Sakya sect was the most powerful and summoned Gonggejianzan, the head of Sakya Monastery, to his court. They discussed and agreed on the conditions for Tibet’s submissions to Mongol Empire. So the head Sakya lama gained the authority over Tibet.

In 1260 Khubli Khan came into power as the emperor of Yuan Dynasty. He granted Basiba, the head lama of Sakya monastery, the position of spiritual leader and presented him a jade seal. The emperor also authorized him to take charge of national Buddhism affairs and administrative affairs of Tibet. In the year of 1265, Basiba was ordered to return to Tibet. He enlarged Sakya Monastery and set up Sakya kingdom to administer the local affairs in Tibet. Now Sakya Monastery is still there 60 kilometers away from Shigates City.


Pazhu Regime


In 1322, a very eminent person in Tibetan history, Qiangqujianzan assumed office as the 10th head of the Wanhu (ten-thousand households). In 1348, Qiangqujianzan defeated Caiba. And in 1354 he occupied Sakya Monastery and replaced the Sakya authorities. Thus he instituted a government called Pazhu Regime controlling the most part of Tibet. Emperor Shun of Yuan Dynasty bestowed a title “Dasitu” on Qiangqujianzan and an official seal, authorized him to govern Tibet. At that time, the different sects of Buddhism had gradually lost its appeal to the public and the support from people due to the lack of the religious disciplines and monks’ corruption. Tsongkhapa then appeared on the historic stage who advocated the strict observation of the disciplines and religious reform. He gained great support from the Pazhu Government. In 1409, funded by the Pazhu Government, Tsongkhapa gathered 10,000 monks from the various part of Tibet and held a meeting on religious affairs. Later, he established Ganden Monastery near Lhasa. The establishment of Ganden Monastery marked the founding of the strictly disciplined Gelupa sect (also called Yellow Sect). There were 12 generations of kings in Pazhu Regime and they ruled Tibet for 264 years from 1354 to 1618.


Gedanpozhang Regime

Dalai Lama and Panchen were the two great disciples of Gelupa sect founded by Tsongkhapa. They bore the responsibilities of expanding the sect. The 5th Dalai is a dominant person in Tibet history. He lived in the years of both Ming and Qing Dynasty. In 1618 Pazhu Regime was overthrown and replace by the short-lived Gema Regime which lasted only 24 year. The Tibetan king Zangbahan hated Gelupa and adopted a policy to oppress and persecute it. In 1641, after discussion, the 5th Dalai and the 4th Panchen sent someone secretly to Qinghai asking Gushihan, a Gelupa follower, to lead troops to Tibet. The next year, Gushihan led large troops to Tibet and overturned Gema Regime. Supported by Gushihan, the 5th Dalai established the Gedanpozhang Regime. Consequently the Gelupa Sect was put in a dominant position in the Tibetan society. In 1652, the 5th Dalai escorted by 3000 people went to Beijing and Emperor Shunzhi of Qing Dynasty awarded him a golden seal and bestowed him as the spiritual and temporal leader of Tibet. And the title “Dalai Lama” and the position of Dalai were confirmed by the central government. Ever since, it has become a practice for the central government to approve and confirm a new Dalai Lama.


Collapse of Serfdom


In 1895, 13th Dalai assumed the power to manage the political and religious affairs. In 1904, British army invaded Tibet and occupied Lhasa for 50 days. The 13th Dalai retreated to Qinghai. In 1908, he went to Beijing where Emperor Guangxu and Empress Cide had an audience with him and his title as Dalai Lama was officially approved.

After the Revolution of 1911, Republic of China was founded. In the 5-color national flag, the color of red, yellow, blue, white and black symbolized Han, Manchu, Mongol, Hui and Tibetan ethnic group respectively. In the following year, the government of Republic of China restored the title to Dalai Lama and he returned to Tibet.
The 13th Dalai Lama was the teacher of the 9th Panchen Lama. They shared equal political rights in Tibet. However, due to taxation problem, the two leaders had a conflict and confrontation, resulting in Panchen fleeing to Qinghai, where he died of disease in1937.

In 1940, the government of Republic of China hosted the bed-sitting ceremony for the14th Dalai, Danzengjiacuo. In 1949, the government hosted the bed-sitting ceremony for the 10th Panchen, Erdeni.


Establishment of Tibet Autonomous Region

In 1949, People’s Republic of China was founded. The government stuck to the policy of peaceful liberation of Tibet. As a result, Tibet was liberated peacefully in 1951. The policy of regional national autonomy was exercised in Tibet. The democratic reform wad carried out and the feudal serfdom was abolished. In September 1965, Tibet Autonomous Region was established.

A COURTESY OF TIBETTRAVEL.INFO
  
                                                                            

Friday, November 25, 2011

Sun Of Earth

 Rabindranath Tagore (May 7, 1861 - August 7, 1941) the bard of Bengal immaculately brought out the essence of Eastern spirituality in his poetry like no other poet. His spiritual vision, as he himself said, is imbued "with the ancient spirit of India as revealed in our sacred texts and manifested in the life of today." 
 
Tagore's Mystical Quest
 
Swami Adiswarananda of the Ramakrishna-Vivekananda Center of New York, in his preface to 'Tagore: The Mystic Poets' writes, "The inner-seeking spirituality of India infused all of Tagore's writing. He wrote in many genres of the deep religious milieu of Hinduism. The values and core beliefs of the Hindu scriptures permeated his work." Says the Swami: "Rabindranath Tagore's philosophical and spiritual thoughts transcend all limits of language, culture, and nationality. In his writings, the poet and mystic takes us on a spiritual quest and gives us a glimpse of the infinite in the midst of the finite, unity at the heart of all diversity, and the Divine in all beings and things  of the universe."

Tagore's Spiritual Beliefs 
 
Tagore believed that "True knowledge is that which perceives the unity of all things in God." Tagore through his vast body of immortal literary works taught us that the universe is a manifestation of God, and that there is no unbridgeable gulf between our world and God's, and that God is the one who can provide the greatest love and joy.
Tagore's Poetry Teaches Us How to Love God
Tagore's 'Gitanjali' or 'Song Offerings' that contains his own English prose translations of Bengali poetry was published in 1913 with an introduction by the Irish poet W. B. Yeats. This book won Tagore the Nobel Prize for Literature that year. Here's an excerpt from his introduction that helps us realize that "We had not known that we loved God, hardly it may be that we believed in Him…"
The Ubiquity of God in Tagore's Works
 Yeats writes: "These verses … as the generations pass, travellers will hum them on the highway and men rowing upon the rivers. Lovers, while they await one another, shall find, in murmuring them, this love of God a magic gulf wherein their own more bitter passion may bathe and renew its youth… The traveller in the read-brown clothes that he wears that dust may not show upon him, the girl searching in her bed for the petals fallen from the wreath of her royal lover, the servant or the bride awaiting the master's home-coming in the empty house, are images of the heart turning to God. Flowers and rivers, the blowing of conch shells, the heavy rain of the Indian July, or the moods of that heart in union or in separation; and a man sitting in a boat upon a river playing lute, like one of those figures full of mysterious meaning in a Chinese picture, is God Himself…"
Select Poems from Tagore's Song Offerings
The following pages contain a selection of his best poems that are steeped in Indian mysticism and the omnipresence of the Almighty as someone so close to our heart.

                       A TRIBUTE TO MY EARTHLY GOD, MY ESSENCE OF LIVING ! :-)

I had gone a-begging from door to door in the village path, when thy golden chariot appeared in the distance like a gorgeous dream and I wondered who was this King of all kings!

My hopes rose high and methought my evil days were at an end, and I stood waiting for alms to be given unasked and for wealth scattered on all sides in the dust.

The chariot stopped where I stood. Thy glance fell on me and thou camest down with a smile. I felt that the luck of my life had come at last. Then of a sudden thou didst hold out thy right hand and say `What hast thou to give to me?'

Ah, what a kingly jest was it to open thy palm to a beggar to beg! I was confused and stood undecided, and then from my wallet I slowly took out the least little grain of corn and gave it to thee.

But how great my surprise when at the day's end I emptied my bag on the floor to find a least little gram of gold among the poor heap. I bitterly wept and wished that I had had the heart to give thee my all.

LOVE YOU <3 

Wednesday, November 23, 2011

Peyala



Mujhe Zindegi Se Koi Shiqwa Nehi
Koi Sawal Bhi Nehi Hain Karna
Zindegi Shayed Koi Madhushala Hain
Jab Jahan Se Jaise Bhi Aaye Sharab
Hum Ko Toh hain Bass Peyala Bharna

Jiban Ke Do Peyale Hain Meri
Ek Bhara Raheta  Hain Hamesha
Aur Ek Raheta Hain Hamesha Khali
Ek Peyala Hain Bahot Hoshiyaar Aur Ek Hain Matwali

Bhara Hua Peyala Mein Sharab Hain
Har Tarha Ke Rangon Mein Dhala
Ek Rang Hain Khushi Ke
Ek Rang Hain Ghum Ke
Ek Rang Hain Sinazori Ke
Aur Ek Rang Hain Sitam Ke

Mujhe Lalach Ki Rang Lubhati Hain Kavi
Main Kavi Khudgarzi Ke Sharab Hu Pitah
Kavi Nakami Ke Aheshaash Mein Dube
Dhut Raheti Hoon Apni Ghum-e-Behoshi Mein 
Aur Jab Hoti Hoon Kamyaab Tab 
Sab Kuch Bhul Jati Hoon Jitne Ki Madh Hoshi Mein


Lekin Woh Jo Khali Hain Peyala
Woh Meri Haar Harqat Se Hain Be Khabar
Sirf Meri Pine Ki Hadh Par Iss Peyale Ki Hain Nazar

Kavi Kavi Khali Peyala Se Puchti Hoon
Tum Kyun Rahete Ho Yun Khali
Kaho Koun Si Sarab Se Tumhari
Bhar Du Iss Badan-e-Shishe Ki Dali

Woh Mujhe Hass Ke Kaheta Hain
 Mujhe Bhar Paoge Tum Yun Hi Nehi
Main Hoon Nehi Tumhari Marzi Ke Sharab
Yahan Nehi Chalegi Tumhari Duniyadari

Mujhe Bharta Hain Waqt Ka  Paher
Meri Yahaan Na Raat Hain Na Hain Saher
Na Yahan Mauj Hain Aur Na Hain Kaher
Na Hain Bekhudi Yahaan Aur Na Hain Qadar


Yahan Sab Kuch Khamosh Hain
Aur Yahan Ruh Hain KhanaBadosh
Na Husn Ki Yahaan Hoti Hain Charche
Na Badsurat Ki Koi Hoti Hain Dosh

Yahan Kuch Bhi Door Nehi Aur Nehi Hain Koi Karib
Na Yahaan Koi Habib Hain Kisike Na Hain Koi Raqeeb
Yahaan Kuch Bhi Bhaagti Nehi Aur Kuch Nehi Rukti Janab
Yahaan Na Koi Karta Hukum Aur Na Hi Koi Karta Adab

Khali Peyale Ne Itna Hi Kaha
Tum Pite Rahon Apni Sharab
Tum Jitna Marzi Bhala Bano
Aur Kharab Bano BeHisaab

Sirf Yaad Rakhna Itna Ki 
Yahan Nehi Hoti Hain Koi Hisaab-e-Kitaab
Yahan Har Ek Kaam Ki Aur Uske Anjaam Ki
Dena Parta Hain Saaf Saaf Jabab

Jab Duniya Dalegi Tumhari Muh Par
Safed Ek Tukre Kapre Ki Hizaab
Tab Tum Dekh Paoge Yeh Peyala
Puri Tarha Se Bhara Hain Aab

Iss Peyale Mein Bhara Hain 
Berang Tumhari Taqdeer Ke Pani
Aur Uss Mein Mila Hain Bare Hi Naap Kar 
Tumhari Duniya-e-Sharab Ki Kahani

Ab Jab Pioge Isse Toh Woh Nasha 
Charhegi Dil Mein Tumhare Dimag Mein Nehi
Tab Hoga Faisla Ki Kiska Assar Hain Zada
Yeh Khali  Peyale Ki Sarab-e-Sukun Yah
Woh Bhare Hue Peyale Ki Pyass Jo Kavi Mit Ti Hi Nehi 



                                                                 Drink Sink & Think !! :-)

                                                                           M-e-Z

 

                                                                               







Tuesday, November 22, 2011

Love You Smita ! :)

                                                                                   
Smita Patil (Marathi: स्मिता पाटील) (17 October 1955 – 13 December 1986) was an Indian actress of film, television and theatre. Regarded among the finest stage and film actresses of her times, Patil appeared in over 75 Hindi and Marathi films in a career that spanned just over a decade. During her career, she received two National Film Awards and a Filmfare Award. She was the recipient of the Padma Shri, India's fourth-highest civilian honour in 1985.

Patil graduated from the Film and Television Institute of India in Pune and made her film debut with Shyam Benegal's Charandas Chor (1975). She became one of the leading actresses of parallel cinema, a New Wave movement in India cinema, though she also appeared in several mainstream movies throughout her career. Her performances were often acclaimed, and her most notable roles include Manthan (1977), Bhumika (1977), Aakrosh (1980), Chakra (1981), Chidambaram (1985) and Mirch Masala (1985).

Apart from acting, Patil was an active feminist (in a distinctly Indian context) and a member of the Women's Centre in Mumbai. She was deeply committed to the advancement of women's issues, and gave her endorsement to films which sought to explore the role of women in traditional Indian society, their sexuality, and the changes facing the middle-class woman in an urban milieu.

Patil was married to actor Raj Babbar. She died on 13 December 1986 at the age of 31 due to childbirth complications. Over ten of her films were released after her death. Her son Prateik Babbar is a film actor who made his debut in 2008.


Smita Patil belongs to a generation of actresses, including Shabana Azmi and, like her, who are strongly associated with the radically political cinema of the 1970s. Her work includes films with parallel cinema directors like Shyam Benegal, Govind Nihalani and Mrinal Sen as well as forays into the more commercial Hindi film industry cinema of Mumbai. Patil was working as a TV news reader and was also an accomplished photographer when Shyam Benegal discovered her.

She was an alumna of the Film and Television Institute of India, Pune. In 1977, she won the National Award for 'Best Actress' for her performance in the Hindi film Bhumika. In her films, Patil's character often represents an intelligent femininity that stands in relief against the conventional background of male-dominated cinema (films like Bhumika, Umbartha, and Bazaar). Smita Patil was a women's rights activist and became famous for her roles in films that portrayed women as capable and empowered.



"I remained committed to small cinema for about five years ... I refused all commercial offers. Around 1977-78, the small cinema movement started picking up and they needed names. I was unceremoniously dropped from a couple of projects. This was a very subtle thing but it affected me a lot. I told myself that here I am and I have not bothered to make money. I have turned down big, commercial offers because of my commitment to small cinema and what have I got in return? If they want names I'll make a name for myself. So I started and took whatever came my way."

In time she was accepted by commercial filmmakers and from Raj Khosla and Ramesh Sippy to B.R. Chopra, they all agreed that she was "excellent." Her fans, too, grew with her new-found stardom. Patil's glamorous roles in her more commercial films — such as Shakti and Namak Halaal — revealed the permeable boundaries between "serious" cinema and "Hindi cinema" masala in the Hindi film industry.

Her association with artistic cinema remained strong, however. Her arguably greatest (and unfortunately final) role came when Smita re-teamed with Ketan Mehta to play the feisty and fiery Sonbai in Mirch Masala (1987). Smita won raves for playing a spirited spice-factory worker who stands up against a lecherous petty official.

 A COURTESY OF WIKIPEDIA.COM 
                                                                         A TRIBUTE TO SMITA JI
                                                                   IN THIS SONG SHE IS AT HER BEST  !!
                                                                          LOVE YOU FOREVER <3  :-) 
                                         
                                                                                              

Monday, November 21, 2011

Kalkut / Poison

                                                                                
Samaresh Basu was born on December 11, 1924 (1331 in the Bengali calendar) and spent his early childhood in Dhaka, Bikrampur in what is today Bangladesh. He would in later days recall the deep impressions that the Brata-kathas (fantastic folk-tales recited by women while performing certain religious rites) narrated by his mother left on him as a child. His adolescent years were spent in Naihati, a suburb of Kolkata, in West Bengal. His life was rich with varied experiences. At one point, he used to hawk eggs from a basket carried on his head; later, he worked for meager daily wages. From 1943 through 1949 he worked in an ordnance factory in Ichhapore. He was an active member of the trade union and the Communist party for a period, and was jailed for during 1949-50 when the party was declared illegal. While in jail, he wrote his first novel, Uttaranga, that was published in book form. Soon after his release from the jail, he began to write professionally, refusing to join the factory even when offered his old job.


A prolific writer with more than 200 short stories and 100 novels, including those written under the aliases "Kalkut" and "Bhramar", Samaresh Basu is a major figure in Bengali fiction. His life experiences populated his writings with themes ranging from political activism to,, working class life to, sexuality. Two of his novels had been briefly banned on charges of obscenity. The case against one of these, Prajapati, was settled in the Supreme Court of India which overturned, in 1985, the rulings of the two lower courts.

Among other intellectuals, Buddhadeva Bose, himself once accused of similar charges for his Rat Bhor-e Brishti, came out strongly in support of Samaresh. To quote from Sumanta Banerjee's recent translation Selected Stories (Vol.1), Samaresh Basu "remains the most representative storyteller of Bengal's suburban life, as distinct from other well-known Bengali authors who had faithfully painted the life and problems of either Bengal's rural society or the urban middle class. Basu draws on his lived experience of Calcutta's `half-rural, half-urban,' industrial suburbs."


While the nom de plume "Kalkut" was adopted in 1952 for the immediate need to publish an overtly political piece, the real "Kalkut" can be said to have been born with the publication of Amritakumbher Sandhane, a hugely popular, semi-autobiographical narrative centered around the Kumbha-mela. The many subsequent books by Kalkut had depicted the lives of the common people from all over India and all walks of life (including those who live on the periphery of the "mainstream") with their varied cultures and religious practices in a unique style that was Kalkut's own. He also drew upon the recollections of the Puranas and Itihas; Shamba, an interesting modern interpretation of the Puranic tales, won the Sahitya Akademi Award in 1980.

Samaresh Basu breathed his last on March 12, 1988.

A COURTESY OF PARABAS.COM
                                                 
                                              A TRIBUTE TO MY ALL TIME FAVORITE AUTHOR 
                                                        HIS WRITING IS THE RARE COMBINATION 
                                                                   OF PASSION & DEVOTION 
                                                      A GEM OF BENGALI  LITERATURE.
                                                          I LOVE YOU "POISON" <3 <3 <3 :D   
                                                                                 

Saturday, November 19, 2011

Main Yehi Hoon


Tum Janti Ho Main Yahaan Hu
Main Yehi Hoon Tumhare Saath
Jab Bhi Tumne Asman Ki Taraf Dekha
Tab Maine Tumhari Taraf Barha Diya Apna Haath

Tum Janti Ho Woh Har Ek Pal
Khushi Mein Aur KhaliPaan Mein
Jab Bhi Tum Ne Socha Mere Bare Mein
Woh Har Ek Lamha Maine Nivaya Tumhara Saath

Tum Karte Ho Yehi Gila Ke 
Main Tum Se Ho Gaya Judah
Lekin Tarapta Hoon Kis Kadar Tumhari Intezaar Mein
Yeh To Sirf Janta Hain Mere Khudah

Tumhare Ansu Mujhe Rulata Hain
Tumhare Dard Mujhe Satata Hain
Tum Rahete Ho Meri Hi Firaaq Mein
Jab Bhi Yaad Tumhe Mere Karib Lata Hain

Woh Rahen Woh Manzile Woh Nadaniya Woh Mushkile
Woh Hasi Woh Larai Tumhari Chahat 
Bhari Woh Har Ek The Jo Gul Khile
Uski Mahek Aaj Bhi Mere Dil Main Hain Samaye 

Main Roz Aata Hu Tumse Milne
Meri Aahat ko Tum Pahechan Karti Toh Hogi Na
Kal Raat Tumhe Khowabon Mein Chhua Tha Hothon Se
Aaj Uski Mehsus Tum Apni Badan Chuke Karogi Na ?

Main Nehi Aa Sakta Haqikat Mein 
Main Saya Hu Mazi Ka Tumhare Samne
Lekin Jab Jab Bhi Tum Pukarogi Mujhe Tarap Ke
Main Aa Jaunga Tumhari Bahen Thamne

Na Main Logon Ki Bhir Mein Hoon
Na Main Hoon Gairon Ke Mehfil Mein
Main Hoon Tumhari Haar Shaash Mein Chhupa
Main Yehi Hoon Raheta Hu Tumhare Dil Mein 

A WORD OF SILENCE OF HEAVEN 
          FOR MY LIONESS
      FROM HIM & ME <3 <3 <3 :-)
M-e-Z 

Yaadein


Jaise Dharkan Ke Bina Shassh Liya Nehi Jata
Waise Hi Yaadon Ke Bina Kavi Jiya Nehi Jata

Meri Pairon Mein Duniya Lakhon Beriyan Pahenade 
Aur Rok De Urr Ne Ki Irade
Lekin Meri Maan Ke Jharokhe Mein Roz 
Jhak Te Hain Kuch Yaadein

Kuch Tute Hue Sapney Hain Kuch Waadein Hain Adhurein
Kuch Lute Hue Khowab Hain Jo Na Ho Sakte Hain Pure

Log Kahete Hain Bhul Jao Mazi Ko
Kya Rakkha Hain Yaadon Ke Wadi Mein

Lekin Sach To Yeh Hain Ke 
Yaad Hi Maan Ki Jaama Punji Hain
Kya Rakkha Hain Behisaab 
Aur BeLagam Khokhle Azadi Mein 

Main Khamosh Hu Ya Main Madhosh Hu
Main Kamyaab Hu Ya Shiquast Ke Maara Hu
 Main Jeeta Hu Ya Main Haara Hu
Jo Bhi Hu Khud Ko Har Lamhe Se Guzara Hu

Meri Aaj Ek Ajnabi Hain 
Meri Kaal Se Main Hu Anjaana
Meri Mazi Hi Meri Buniyaad Hain 
Jisko Duniya Ne Pahechana

Main Tayiar Hu Haar Haal Se Nipat Ne Ke Liyeh
Jo Kuch Mere Saath Hona  Hain Baki
 Tere Nashe Mein Tere Tazurbaon Se Bahe Chalungi Main
Tu Pila Te Chal Mujhe Aye Mazi  Tere Rangin Saqi 

                                                                     A TRIBUTE TO PAST :-). <3
                                                                                M-e-Z