Wednesday, November 22, 2006

Different Times

Industry teaches discipline, which I think is a trick to get its work done :). I have been doing job for almost 11 months and the bottomline is that I have lost my freedom, the fun that I used to have when I was completely free !!! I am not kinda person who flock with lot of friends; my fun, my freedom means walking, travelling from one place to another, talking with unkown faces and spending time for almost no purpose. In fact I am more creative in those situations ... but alas where is vacation, where is leave ...
Whether I will ever get those days, whether I will get out of the Industrial black hole, keeps me worried ... I always played hard with those equations ... where I used to get solution for a system under different constraints ... I am finding that I have become one of those systems ... completely trapped in something I never wanted for myself ...

Sunday, November 5, 2006

Aasha Ji Ka Pyara Interview ...

As told by Mr Bhagwant of BBC on a different public discussion group
Asha was on a UK concert tour and had scheduled in 2 dates for Wembley
Conference Centre and Birmingham. The promoter had apparently booked a
"last minute" additional concert in London the following weekend. I
was a little sceptical about this last minute thing as Wembley is not
an easy venue to hire and you really have to book it well in advance. I
suspect it was called "'last minute" so as perhaps not to
disappoint Asha too much if few people turned up.


As it was, the last of the shows did not have as many people in the
audience as her first 2 shows, but it WAS the best show. I say this
because having seen her first show, which I reported on RMIM, in
comparison, she was far more relaxed, at ease, had more stamina, was
less irritable and frankly wanted to carry on singing. I think she
found her second breath and actually enjoyed the experience; whereas,
initially in her first show she was tired, losing track of which song
to sing and lacked warmth with the audience. To be honest I think she
can be excused these minor faults as many of us when we have had to
travel across continents are less than "together" owing to jet lag,
weather, travelling between venues etc; coupled with the fact that she
was inundated with interview requests from the likes of me.


Because of the clamour for her time, naturally it was proving quite
difficult to get a commitment from her son Anand Bhosle and/or her
promoter. I won't bore you all with the details of what happened and
who said what to whom etc. Suffice to say it was not easy getting the
interview.


At around 4pm on Tuesday 13th June I got a call of Asha's whearabouts
and that she was willing to go "live" that night. This was a bit of
a surprise as I had completely given up hope of getting her on the
show; indeed I was preparing to produce a news programme that featured
an interview with Rageh Omaar, the former BBC journalist whose
reporting of the Iraq war in his inimitable dispassionate manner won
him many plaudits. A colleague at the BBC who had done most of the
running around finally managed to get the job done and had got me her
daytime telephone number.


When I rang the number it was answered by Kamal Barot; a bit of a
surprise as I had not realised that she lived in London, but a pleasant
surprise nonetheless.
She passed me onto Asha and we spoke briefly and agreed that she would
be my guest via telephone at 8 o'clock that evening.


I rang Satish Kalraji and asked if he would be sporting enough to
assist me with the interview. Satishji immediately agreed and we were
all set for the show.
One of the things I normally do before interviewing a guest is to make
sure about an hour before they are due to come "on-air" that they
are actually present at the location they are supposed to be. This
prevents any last minute surprises. However because I was busy
producing the Asian News Hour and trying to set up Rageh Omaar, who was
about to jet off to Geneva, I was far too pre-occupied and did not have
the time to check Asha out.


At 8 o'clock my own show began and I played in "Aankhon Se Jo Utari
Hai Dil Mein" from Phir Wohi Dil Laya Huun. Whilst this was playing I
finally managed to ring the number she gave where she would be at. I
was told by this elderly sounding gentleman that Asha had left the
residence and had gone out to dinner!
I was flabbergasted. Do I just gamely carry on and not mention I had
her on the show after the song had finished or do I allude to the fact
that I had expected her but that she somehow forgot about the show. I
decided to do the latter and bought some time as I frantically off-air
tried to ring around trying to locate her wherabouts. I had cleared the
board with my other interviews and had left the hour for Asha alone and
now I was stuck.


Anyway, because I had several telephone numbers to hand, I eventually
rang her hotel, in the hope that she may have gone there before the
meal. Hallellujah. She was there. After a few quick niceties I lined
her up. Satishji by this time was patiently listening to the show on
his telephone at home and also must have been wondering if all this was
going to be a waste of time.


Well the show started properly with Asha on the line and after the
greetings, she mentioned that she was in London with her 2
grandchildren and that the day passed quickly with them in tow; indeed
they had gone sight-seeing to Windsor Castle and the changing of the
guard at Buckingham Palace. She said that she sat in the car whilst
they went out as she had done all of this before. She said that she was
also busy preparing for her shows.


She spoke about doing her riyaz and that she woke up at 7am to do
riyaz which she did in an adjoining room in the hotel so as not to
awaken other family members. The riyaz went on till around 8.45am.
I asked her about the importance of riyaz and could she manage to do
without it. She replied that it was possible to do without riyaz but
one always got the feeling that the songs were not true; it was as if
someone who exercised every morning abstained for one day and they
would also feel that something was not quite right.


BS: Would it be true to say that todays singers rather than doing
riyaz, are looking for a short-cut to success.
AB: No I wouldn't just say that about todays singers but that the
whole world is trying to find a short-cut to success.
BS: I attended your show last Saturday and thoroughly enjoyed it.
AB: Did you like it?
BS: Absolutely. It was a wonderful show. How does it feel for you
personally when so many people come to see you.
AB: It feels great. Its much better than receiving any award. To feel
the love of the audience is quite something.


At this point Asha expressed some concern about her "last minute"
show and whether anyone would turn up. I tried to re-assure her that it
would be fine (in fact as I already said, it was the best of the
shows).


BS: I noted within the audience many elder citizens who I am sure some
30 or so years ago had warned their children not to listen to Asha's
cabaret songs lest it corrupt their morals (I said this half in jest in
order to get a response) and yet here they were attending the same
Asha's show and looking forward to her singing cabaret songs.
AB: "Laughing" - Yeh To Waqt Ki Baat Hai. Taqdeer Ki Bhi Baat
Hai.
BS: Within the audience at the London show, there was Anandji of
Kalyanji Anandji fame, indeed you brought him on to the stage to guest
conduct the orchestra. What was your working relationship with them.
AB: Kalyanjibhai as a music director was very well known but
Anandjibahi was also a prolific composer, indeed of his most popular
songs for me were "Yeh Mera Dil" and "O Saathi Re, Tere Bina Bhi
Kya Jeena". We never knew when we rehearsed with them whose song it
was, we only found out a bit later. It would be Kalyanjibhai's song
one day and Anandjibhai's song the next. We didn't feel as if we
were working when we were with them, they were very friendly and
"hasmukh" people, always joking and never being too serious. But in
getting the maximum out of us, they were very particular. They managed
to get the best out of us working from morning till night.
BS: Anandji said that he was a few months older than you and he too
like you is very fit and energetic, he was conducting the orchestra
animatedly and was dancing. In fact your Cha Cha Cha was really
exhilarating. I must admit I was a little ashamed of myself because for
the life of me I couldn't do the Cha Cha Cha.
AB: Why not. If anyone sets their mind to it they can do anything.
BS: Will you teach me the Cha Cha Cha?
AB: Of course. If I can teach RD(Burman) I can teach you too.


At this point I mentioned that I had some questions from various people
that I wished to ask and that we also had Satish Kalra from USA on the
line, who I introduced. (For some reason I was getting tremendous
feedback on the line from USA and for the remainder of Satishji's
chat with Asha, I was busy trying to reduce the noise levels by fading
in and out of Satishji and Asha).


Satish Kalra: Ashaji first of all I would like to thank you on behalf
of all music lovers in the USA for giving us the time in your busy
schedule. There are many music lovers in America who feel that our
music is being adulterated too much by western influences. What are
your views?
AB: Ahhm...long pause. There's no real benefit in expressing my views
about this because people will do what they want to do. Actually
nowadays, people don't think too much about creativity and just use
what they can. "Issi Liye Yeh Sab Sangeet Ka Golmaal Ho Raha Hai".
If they thought about what they can accomplish from a pure musical
perspective it would be a lot better.


SK ( I lost Satishji momentarily because of the poor connection but I
think this was the gist of the question): We have gained something and
lost something from these influences. If we have gained anything, what
do you think it is?
AB: Paa Rahe Hain, Kuchh Kho Rahe Hain. Bahut Sa Kuchh Kho Diya Hai
Humne.
SK: Aap Kah Rahi Hain Ke Zyaada Khoya Hai, Paaya Kam Hai
AB: Laughs under her breath and says reluctantly "Haan"
SK: If I may be permitted to ask an Ajeeb sa question. Jaise aaj ka
sangeet chhichhora lagta hai - if I can use that word - by the same
token song lyrics have become very cheap. You may recall the 50s film
Dhool Ka Phool in which you sang a duet with Mahendra Kapoor - Jhugti
Gata Gaati Hawa Sapne Jagaaye in which there was a line Hothon Pe Hai
Chhaye Tere, Hothon Ke Saaye. The censor board instructed the producer
of the film to change the line to
Aankhon Pe Hain Chhaye Tere Jalwon Ke Saaye. Now after hearing the
lyrics of today, what can you say was objectionable to the censor board
in those days?
AB: Us waqt censor board badi kadak thi. Aaj kal censor board hai ki
naheen maluum hi nahin hai. Noawdays with songs beamed from HongKong
and Singapore and beyond, sab chal raha hai sab.


SK then posed the question asked by Anand on RMIM:
" when is her next album with Shridhar Phadke in Marathi
which she recorded 2 years back getting released /


AB: I haven't done the album yet but am about to do it.


SK asked her Kaustubh Pingle's question:
When would her autobiography come in the market....
AB: I am working on it and writing for it constantly but getting it
back "on line" is very difficult.
SK: Of your private songs, for example Ambuya Ki Daali Bole Kaali
Koyaliya and Geet Kitne Gaa Chuki Huun, do they have the same music
director and lyricist?
AB: The lyricist was someone respected but the music director was a
Ghosh... a Mr.Ghosh.
SK: Was the lyricist Bharat Vyas?
AB: The lyricist for Ambuya Ki Daali was Bharat Vyas but the lyricist
for Geet Kitne Gaa Chuki Huun koi baday writer thay... koi puraane
writer ka hai.
SK: There was a time when record companies would issue version records
of popular songs. In your career you have sung 4 such version songs. 2
from Shabab - Marna Teri Gali Mein and Mar Gaye Ham Jeete Jee and 2
from Amar - Udi Udi Chhayee Gata and Jaane Waale Se Mulaqat Na Hone
Paayi. Did you sing these songs originally for the film or as cover
versions or did Lata sing them afterwards and they were inserted in the
picture? What are your recollections?
AB: Mujhe Yaad Nahin Hai. Yeh To Bahut Purani Baatein Hain, Kuchh Yaad
Nahin Hai...Kaun Sa Gaana "Ujli Gata(sic)"...
SK: "clarifies the 2 songs from Amar
AB: sings Jaane Waale Se under her breath and says "Nahin Maine Nahin
Gaaya Yeh Gaana - Yeh To Didi Ne Gaaya Tha.
SK: Nahin - Aap Ka Gaaya Hua Hai, Colombia record se release hua tha
AB: Accha, mujhe yaad nahin hai. Bahut saal ho gaaye.


By now the interference/feedback was becoming too much and I had to
thank Satishji for his input and continue with the show.
BS: Ashaji, tell us what you feel when you listen to a song like
this...(I then proceed to play "chupke chupke mast niGaahen" from
EK TERI NISHAANI/1949).
She listens intently and after the first stanza asks "Yeh Kiska Hai
Yeh Gaana". I then tell her that the lyrics are by A.Shah and the
music director is Sardul Kwatra.
AB: Mujhe bilkul yaad nahin hai yeh gaana...(then she proceeds to hum
the song)...I then continue to play the song and she laughs approvingly
and says "Agar yeh gaana mujhe cassette banakar dein to bada mazaa
aaye ga. Main kabhi sunaayuun gi apne pothon ko ke main aisa gaati thi
ek zamane main".
I do not take credit for locating the song and proceed to talk about
the internet (which she says she has no interest in) and of the many
music lovers across the world who have diligently made a compilation of
her rare songs for their mutual listening pleasure...namely RMIM and
their 'meets' in the USA. The special Asha album contains many
rare songs and was compiled to celebrate her 70th birthday. I then also
play "hamaare dil pe tera ikhtyaar" from RAAT KI RANI/1949
AB: Arre yeh to mere life ka teesra gaana hai...teesra bhi
nahin...doosra hai
BS: Do you know who composed the song?
AB: Hansraj Behl...aur maine yeh gaaya tha koi Begum ke liye...naam
nahin yaad unka.
BS: There are many questions that have been sent to me by music lovers:
Arun asks if you sang Ae Mere Watan Ke Logo during the 65 conflict in
front of Lal Bahadur Shastri?
AB: Ae Mere Watan Ke Logo was composed for me and I had 6 rehearsals
for it. It was about to be recorded...we were initially going to go to
Delhi...then something happened...Dilip Kumar was there and some
important people turned up and Didi made an appearance. Didi rehearsed
for the song and I stepped aside and Didi sang the song.
BS: But what was the reason for you stepping aside especially after you
had rehearsed for it so intently?
AB: Maluum nahin abhi bahut saal ho gayen hai.
BS: Abhay Phadnis, Rakesh Sharma and Arun want a final clarification on
this matter; that you rehearsed so much for this song yet were unable
to ultimately sing it.
AB: Jo cheez apni taqdeer ki hoti hai who rah jaati hai, jo nahin hoti
hai who chali jaati hai. Yeh gaana bhi log bhuul jaayenge. Har cheez
kaal main nasht ho jaayegi...aap ko yaad rahega Asha Bhosle ki
acchhayee. Asha Bhosle kabhi kisi ke liye kuchh kahti nahin aur kisi ke
liye man mein bhi nahin rakhti. Jo mera hai woh mujhe mila, jo nahin
tha woh chala gaya.
BS: I think I understand what you are trying to say and you have said
it very well. Muzaffar saab asks if there is any song you have listened
to and wished you had sung it?
AB: I have never felt that about someone else's song but if I listen
to my old songs I feel that I could have done a better job. Let me tell
you about the song O Mere Sona Re Sona Re...uska recording hua ...chaar
baj gaaye the raat ke subha se, to main bahut thak gaayi thi. Mera zara
low pressure ki tendency hai, mera pressure low ho jaata hai jaldi. Us
din mujhko khaana nahin mila to pressure down ho gaya. To mujhe aisa
laga ke maine gaana bahut kharab gaya. Jab main ghar gayee maine khaana
bhi nahin khaaya, kuchh nahin kiya...tadpad tadpad kar rahi thi ekdum.
Raat ke 12 baje maine RD ko phone kiya..tab sirf RD hi the mere liye
music director...aur Pancham ne bola kya hua hai didi...maine bola
Pancham maine gaana aap ka kharab kar diya, tum phir isse retake karna,
paise main duun gi. RD ne kaha aap chinta mat karma, main isse subha
sunta huun aur aap ko sunwa deta huun aur aise waise kahke chhod diya.
Doosre din ek bada phoolon ka guldasta RD ne mujhe bheja aur us mein
likha ke aap ne ek naye music director ke liye itna socha, raat ke
baara baje aap ko neend nahin aayee. Mujhe iski appreciation ho rahi
aur is liye main yeh phool bhej raha huun.
BS: Sudhir asks if you were the artist who provided the humming
for the song from: ADL-E-JAHANGIR / Chand Sitare, Kirte Ishare,
Tum Ho Humare Hum Hain Tumhare (all the vocals are by: Talat)
The music was composed by: Pandit Husnlal & Bhagatram
AB: Tune kaisi thi?
BS: I haven't heard the song personally.
AB: Tell you the truth I have sung 13 thousand songs and I cannot
remember all of them.
BS: Not to worry, the next questioner asks if RDB ever helped her son
Hemant Bhosle on any film album? Hemant's album was Taxi Taxie.
AB: Album nahin tha, picture ka music tha. It was his first picture and
gave good music for it. Burman saab did not give him any support but he
sat in on the first recording so that he would be happy.
I then spoke about her first concert and the fact that she told the
joke about the lions and the mouse. I asked her to tell the joke again.
She said she wouldn't tell the joke now but that she would again at
the next concert on the 18th June and a few more besides.
She then spoke about her work at home, her recordings. She mentioned
that she was working with Ghulam Ali's son Aamir and that she had
recorded 3 songs with him and that another 5 still had to be done. I am
always looking out for a youngster who can come up with a good tune . I
don't watch television because I always feel that you could be doing
something more useful instead. I am also working on my autobiography
and that keeps me really busy.
BS: When will you publish your autobiography?
AB: It will take another 18 months and there's so much material to
collect, so many photographs, where I lived; I used to travel by train
from Borivili and my husband used to earn Rs100 a month on which I had
to manage. I remember the first time I went to learn singing and the
fee was Rs5/- and that was a huge amount in those days. So I have to
gather all the photos and get all of it written down. There's so much
to say and I wouldn't want people to think that Asha Bhosle was
always this way. I had to put up with a lot. After Pitaji died we went
through a lot and after I got married I went through even worse (
shaadi ke baad husband ko bahut kam bakhaar thi...bahut kashton se main
upar aayee huun)
BS: Did he like your songs?
AB: Who?
BS: Your husband.
AB: Maluum nahin...laughs...mujhko maluum nahin.
AB: Main aap ko apne husband ki baat bataati huun. Unhon ne kaha tha
ke..yeh jo anaaj hota hai na - woh khet mein phenk do, phenkte jaayo
- koi na koi ped to nikal hi aayega. Matlab ke, koi na koi gaana to
hit ho jaayega. Yeh na samjho ke main yeh gaauungi aur yeh nahi
gaauungi. Aise pahle hota hai ke main sad song hi gaauungi, qawwali
nahin gaauungi...nakhre hote hai na? Toh usne kaha tha ke nakhre na
karo...maluum nahin kismet kya nikaalne wali hai. Is liye maine har
style gaaya.
BS: Is ka matlab hai ki aap seekhte bhi hain.
AB: Barabar - Is ka matlab ki aap flexible ho jaate hain - har cheez
seekhne ke liye tayar ho jaate hain na.
BS: I would go further to say that you present a song in a totally
different light with your vocal acting. An actress may appear on screen
but it is you who provides the vocal emotions, nuances, nakhres.
AB: Yeh baat sahi hai. Mere Pitaji ek drama artist the aur unse hi
mujhe yeh kala mili hai acting ki.- - gaane mein acting karna, life
mein nahin.
BS: We spoke earlier of the "khush dil" nature of Anandji. You of
course worked very closely with another "khush dil insaan" and that
was my favourite singer Rafisaab. What are your memories of him?
AB: Rafisaab bade nek aadmi the. Kisi ki len den mein kuch nahin -
har waqt allah ka naam - kabhi kisi se jagda nahin. Mere se bahut
hota tha jagda - lekin kisi aur se nahin. Music director se kabhi
nahin kaha ke mujhe aap ne yeh kyuun kaha aur woh kaha - chup ho
jaate the - shaant rahte the.
BS: Aap ne kaha ke aap ke saath jagda hota tha unka?
AB: Haan - she laughs
BS: Bataayeeyeh - yeh to ham sunna chahte hain - hamare hi beech
mein baat rahe gi - koi sunne ga nahin
AB: Listeners hain to bhi kya - ek din kya hua ke Yeh Raaste Hain
Pyaar Ke picture chal raha tha aur hamara gaana tha. Hum rehearsal kar
rahe the and there were musicians present, Dutt saab was also present
and his friends. Rafisaab ne mujhko kaha ke Ashaji aap baar baar "Hay
Hay Hay" karke harkat leti hain - koi zaroorat nahin hai harkat
leni ki - aaram se dheek se gaayiye". Mere ko bahut bura laga.
Maine unse kaha ke aap zara machhi khaayiye aur achha hoga ke aap ko
harkaten suujhen gi mere ko jitney suuj rahin hain. Unko pahle samaj
nahin aaya aur bolen "achhi baat hai main khayuun ga machhi" -
baad mein bole "Kya Bola Tumne?".Maine kaha kuchh bhi nahin - ke
aap ko harkat suuje gi to aap harkat lenge - to aise bachpan ki jagde
jaise. Phir hamne 15 din ke liye baat nahin ki aur maine hi kaha unse
Rafisaab kaise hain aap. Woh bole ki aap mujhse baat nahin kar rahi
hain, main aap se baat kar raha huun - aur bole jaane do abhi jadga
- phir baat karte hain.
BS: Bahut pyaare insaan the
AB: Haan ji
BS: Aur aap ki jodi badi hit thi
AB: 900 gaane gaaye ham ne
BS: Kuchh log kahte hain ke Asha hi Rafisaab ka muqabla kar sakti thi
AB: Haan woh bhi chilaate the jaise koyal Kuhu Kuhu bolti hai na. Jitna
Koyal chilati hai woh unse se bhi zyaada chilate the - aur jab woh
sur lagate the ham bhi sur unse jod ke uncha sur laga dete the.
BS: Lets listen to a song composed by Nayyar saab - let me play you
this song (I play Aa Pardesi Baalma, More Angna from Chhamchhamacham)
- Yeh kaisa laga aap ko
AB: Mujhe lagta hai ke Chham Chham koi naam ki picture thi
BS: Ji haan - Chhamchhamacham
AB: Chhamchhamacham - a very old picture. It's the 2nd picture in
his life. The first picture was Aasmaan and the 2nd was
Chhamchhamacham. Geeta Dutt sang in Aasmaan and I sang in
Chhamchhamacham.
BS: There is so much Punjabiyaat in the song, you of course sung quite
a few Punjabi songs yourself. Being a Marathi your Punjabi diction is
excellent.
AB:Yes I sang for a Punjabi film titled Posti
BS: You sang a duet with Rafisaab "Tu Peeng Te Main Parchhawan"
AB: Haan - "Par Bhaidda Posti" - Laughs-- Aur mera aur Daljit
Kaur ke saath gaana tha " Sunn we Dhupatiya Satrangiya" Aur ek aur
bhi gaana tha " Doh Ghuttan Kar vi riya ni maayi meri nuun mera
chaa".


I then play Jaayiye Aaap Kahan from Mere Sanam and comment that for me
the song is sheer perfection. She says that in Nayyar saab's
orchestra the santoor was played by Shiv Kumar Sharma, the flute by
Churasia and saxophone by Manohari Singh.
We then spoke about her forthcoming concerts and she mentioned that
some English (speaking ) people also attend her concerts and that they
also turned up when she had performed at Boston and New York where
there was house full at Carnegie Hall. She feels more at ease in newer
theatres where there is less of a problem with sound and lighting. I
ask her about being careful about what she eats before a show. She says
that never mind before a show...she has to be careful at all times. She
avoids pickles, imbli, ice cream and prefers to eat apples and
"chikoo" and no other fruit. Dhaal Roti and Sabziyan are all fine.
I ask her if she still finds the time to cook herself. She says that
she does and that she also has 2 restaurants in Dubai and Kuwait and
that she is opening new restaurants in Birmingham and Manchester and
will go by the name "Asha's".
I then round off the interview by promising to give her a copy of the
rare songs I played at the beginning of the programme. She says
"Please...please...bahut bahut dhaniwaad dhuungi apko". I reply
that we should be ones who are thankful that she made this request from
us.
AB: Dekhiye ek gaana hai, mujhe kabhi nahin milta hai . It's a
Punjabi song and I have sung many Punjabi songs and it's a Sardul
Kwatra composed song. The words are (and she sings out loud): "Dhola
We Sharaabi, Chhad de Nawaabi, Uunchi Ghurgabi mainu la dewe je tuun
meri tor wekhni" Bahut sundar gaana hai lekin mujhe milta nahin hai.
I ask if she recalls the name of the film. She says she does not and
that she only knows the words. I tell her that I would pass on the
words to friends in RMIM and hope that they may be able to assist in
locating the details and/or actual recording of the song.
I then thank her for being my guest and wish her success with her
concerts and say that I have fulfilled one ambition of talking at
length with the great Asha Bhosle. She blesses me and replies in kind.
I then play out the programme with Ta Thai tat Thai from Tere Mere
Sapne.


Well that's the transcript of the show finished and apologies for its
length. Apologies also for switching between languages. I just typed it
out the best I could. Spelling errors are regretted.
I later contacted both Satishji and Vish Krishnan about seeking their
permission to pass on the RMIM commemorative CDs to Asha Bhosle. Their
response was as magnanimous as expected and they said that the artiste
making the request is itself an honour. I went to the Sunday concert,
met Asha in her dressing room and handed her the CDs. She thanked me
but I said the thanks I will pass on to the RMIM group who made it
possible. She again asked if I had managed to trace the Punjabi song
she sang for me. I said that our friends would try.
Bhagwant

Moving Again

Life is like a river flow. Some times some leaf gets stuck somewhere and could not flow for a long time. Even strong flow of river could not change the destiny of small leaf. Often stories end without any statement … I am not interested in the end, or in the story, or in the leaf, I am more interested in the metaphor of transition that led change of course. I am not interested in the sufferings or sufferer; rather I am interested in the noun “suffer”.
The world is mechanical. Many people say that we can’t buy everything with money, I also assert the same, but then a dichotomy lies within my mind. To get something which is outside domain of money, is it necessary to believe in destiny or you should play your cards tacitly (even you keep yourself ignorant about the fact that you are not playing your cards). Is it necessary to kill many germinating corpuscles for achievements or is it necessary to work honestly and hope for your chance? The words, destiny or hope are so illusionary that they keep giving resonance to the noun “suffer”. The delicate person, the one who thinks, often live for hope.
What if life changes its course … ?