Academic Qualifications of India’s Famous Writers & Authors along with little introduction in hindi

In recent years we have seen an increase in the number of Indian Authors and their award winning Novels and books. But, ever wondered if writing was their first career? Many of these established Authors started their career in different fields and later realized their passion for writing. Following is a list of some popular authors with their academic qualification and their first career.

हाल के वर्षों में, हमने भारतीय लेखकों और उनके पुरस्कार विजेता उपन्यासों और पुस्तकों की संख्या में वृद्धि देखी है। लेकिन, क्या आपने कभी सोचा है कि क्या लेखन उनका पहला करियर था? इनमें से कई स्थापित लेखकों ने विभिन्न क्षेत्रों में अपने करियर की शुरुआत की और बाद में लेखन के प्रति अपने जुनून को महसूस किया। नीचे कुछ लोकप्रिय लेखकों की सूची दी गई है, जिनमें उनकी शैक्षणिक योग्यता और उनका पहला करियर शामिल है।

Anurag Mathur – Educated at the Scindia School (Gwalior, India).

He earned his bachelors degree from St. Stephen’s College, Delhi, and his masters from the University of Tulsa. Anurag Mathur’s first career was in career in journalism and publishing.

अनुराग माथुर

• शिक्षा: सेंट स्टीफन कॉलेज, दिल्ली से स्नातक और तुलसा विश्वविद्यालय से मास्टर्स की डिग्री प्राप्त की।

• पहला करियर: पत्रकारिता और प्रकाशन।

• -------------

Khushwant Singh – Educated at Modern School, New Delhi, Government College, Lahore, St. Stephen’s College in Delhi and 

studied law at King’s College and qualified as a barrister from the Inner Temple. He started his career as a Reader for the Bar at the Inner Temple.

खुशवंत सिंह

• शिक्षा: किंग्स कॉलेज में कानून की पढ़ाई की और इनर टेम्पल से बैरिस्टर के रूप में योग्य हुए।

• पहला करियर: इनर टेम्पल में बार के लिए रीडर के रूप में अपने करियर की शुरुआत की।

• ---------------

Chetan Bhagat - Educated at Army Public School, Dhaula Kuan, 

New Delhi. Mechanical Engineering at the Indian Institute Of

Top 5 Strangest and Most Unusual Temples in India (along with Hindi translation)

India has strong roots of spirituality and religion. There are various religious and spiritual places to visit in India. The spiritual land of India is home to 64 crore deities. There are seven sacred cities in India namely Mathura, Kashi, Haridwar, Ujjain, Kanchipuram, Ayodhya and Dwarka. The other Holy cities are Rishikesh, Amritsar and Bodhgaya. That makes a total of 10 must see Spiritual destinations in India. Apart from the above mentioned spiritual destnations, there are few strange and most unusual temples in India. Following is a list of Top 5 such strange temples.

Chinese Kali Temple, Tangra, Kolkata

There is nothing different about the Kali idol. But, at the time of Kali puja one must have a look at the bhog (prasad); it comprises of noodles, chop suey, rice-and-vegetables dishes. Tangra is a small Chinatown in the heart of Kolkata. A large number of Chinese population lives here since generations. Though they are predominantly Buddhist and Christians but here stands an unique symbol of cultural syntheses- a Chinese Kali Temple.

Trishund Ganapati Temple, Pune

As the name suggests “Trishund” actually means three trunks. Amidst of narrow lanes of Somvar Peth area of Pune lies a temple dedicated to Lord Ganesh. This Ganpati temple was built in between 1754 – 1770 AD. It was constructed by Bhimjigiri Gosavi. This is also supposed to be the only temple in Pune that is built in
stone masonry.

Ravana Temple, Ravangram, Vidisha

The Ravana Temple is unusual to many Indians as In hindu mythology Ravan was depicted as a demon who kidnapped Sita mata at the time of Ramayana. This might be true to others but not for people of Ravangram village in Vidisha district. The people of Ravangram village worship Ravana and here lies an ancient 10 feet idol of Ravana in a reclining position which is worshiped by all the devotees.

Kali Singh Temple, Muzaffarnagar district, UP

The Kali Singh temple is dedicated to cattle. This unique temple is located in Muzaffarnagar district of Uttar Pradesh. Here devotees coming from far off places offer prayers as well as milk for the animals. Women prepare Kheer from their milking cattle inside the temple premises and offer it to the deity.

Hadimba temple, Manali

Located in Manali another unusual temple is Hadimba Temple or Hidimba temple. Hidimba was Bhima’s (Bhima the second of the 5 Pandava brothers) wife and Ghatotkachh’s mother. It is a three storey wooden temple built in pagoda style and is located in the middle of Dhungiri Van Vihar. It is believed that it was here that Hadimba had meditated and she became Devi Hadimba. The temple was erected in 1553 AD.

भारत में आध्यात्मिकता और धर्म की गहरी जड़ें हैं। भारत में घूमने के लिए विभिन्न धार्मिक और आध्यात्मिक स्थान हैं। भारत की यह आध्यात्मिक भूमि 64 करोड़ देवी-देवताओं का घर है। भारत में सात पवित्र शहर हैं, जिनके नाम मथुरा, काशी, हरिद्वार, उज्जैन, कांचीपुरम, अयोध्या और द्वारका हैं। अन्य पवित्र शहर ऋषिकेश, अमृतसर और बोधगया हैं। यह भारत में कुल 10 अवश्य देखने योग्य आध्यात्मिक स्थल बनाते हैं। उपरोक्त आध्यात्मिक स्थलों के अलावा, भारत में कुछ अजीब और सबसे असामान्य मंदिर भी हैं। ऐसे शीर्ष 5 अजीब मंदिरों की सूची निम्नलिखित है।

चाइनीस काली मंदिर, टंगरा, कोलकाता काली की मूर्ति में कुछ भी अलग नहीं है। लेकिन, काली पूजा के समय आपको भोग (प्रसाद) पर एक नज़र डालनी चाहिए; इसमें नूडल्स, चॉप सूई, चावल-और-सब्जी के व्यंजन शामिल होते हैं। टंगरा कोलकाता के दिल में एक छोटा सा चाइनाटाउन है। यहाँ पीढ़ियों से बड़ी संख्या में चीनी आबादी रहती है। हालाँकि वे मुख्य रूप से बौद्ध और ईसाई हैं, लेकिन यहाँ सांस्कृतिक संश्लेषण का एक अनूठा प्रतीक खड़ा है - एक चाइनीस काली मंदिर।

त्रिशुंड गणपति मंदिर, पुणे जैसा कि नाम से पता चलता है "त्रिशुंड" का वास्तव में अर्थ है तीन सूंड। पुणे के सोमवार पेठ क्षेत्र की संकरी गलियों के बीच भगवान गणेश को समर्पित एक मंदिर स्थित है। यह गणपति मंदिर 1754 - 1770 ईस्वी के बीच बनाया गया था। इसका निर्माण भीमजीगिरी गोसावी ने करवाया था। यह पुणे का एकमात्र मंदिर भी माना जाता है जो पत्थर की चिनाई से बना है।

रावण मंदिर, रावणग्राम, विदिशा रावण मंदिर कई भारतीयों के लिए असामान्य है क्योंकि हिंदू पौराणिक कथाओं में रावण को एक राक्षस के रूप में चित्रित किया गया था जिसने रामायण के समय सीता माता का अपहरण कर लिया था। यह दूसरों के लिए सच हो सकता है लेकिन विदिशा जिले के रावणग्राम गाँव के लोगों के लिए नहीं। रावणग्राम गाँव के लोग रावण की पूजा करते हैं और यहाँ रावण की 10 फुट की एक प्राचीन मूर्ति लेटी हुई अवस्था में है जिसकी सभी भक्त पूजा करते हैं।

काली सिंह मंदिर, मुजफ्फरनगर जिला, उत्तर प्रदेश काली सिंह मंदिर मवेशियों को समर्पित है। यह अनोखा मंदिर उत्तर प्रदेश के मुजफ्फरनगर जिले में स्थित है। यहाँ दूर-दराज से आने वाले भक्त जानवरों के लिए प्रार्थना और दूध चढ़ाते हैं। महिलाएँ मंदिर परिसर के अंदर अपने दुधारू पशुओं से खीर बनाती हैं और उसे देवता को अर्पित करती हैं।

हडिम्बा मंदिर, मनाली मनाली में स्थित एक और असामान्य मंदिर हडिम्बा मंदिर या हिडिम्बा मंदिर है। हिडिम्बा भीम की (भीम 5 पांडव भाइयों में से दूसरे) पत्नी और घटोत्कच की माँ थीं। यह पगोडा शैली में बना एक तीन मंजिला लकड़ी का मंदिर है और यह धुंगरी वन विहार के बीच में स्थित है। ऐसा माना जाता है कि यहीं हडिम्बा ने ध्यान किया था और वह देवी हडिम्बा बन गई थीं। यह मंदिर 1553 ईस्वी में बनवाया गया था।

Charkha Mera Rangla-Chitra Singh video posted by by Suhanee Lall

The song "Charkha Mera Rangla" is a beautiful Punjabi folk song, and it has indeed been popularized by the melodious voice of Chitra Singh.

It's a classic example of a "charkha song," which traditionally express a woman's feelings – often longing, love, or even philosophical reflections – while she is spinning yarn on a charkha (spinning wheel). The charkha itself becomes a metaphor for life, time, or the beloved.

Chitra Singh's rendition is known for its soulful and heartfelt delivery, perfectly capturing the essence of the lyrics. It's often associated with Ghazal and folk music genres.

(This video is posted by channel – Suhanee Lall on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Kothey Te Khalo Mahiya - Asa Singh Mastana & Surinder Kaur ( ਕੋਠੇ ਤੇ ਖਲੋ ਮਾਹੀਆ)

Video posted by Asa Singh Mastana (original Singer of this Song ) on You Tube 

"Kothe Te Khalo Mahiya" is a classic Punjabi folk song, often performed as a duet. It's a "tappa," a short and lively form of Punjabi folk poetry, known for its playful and flirtatious back-and-forth between a man and a woman.

The song has been performed by several legendary Punjabi artists over the years, most notably as a duet by:

• Asa Singh Mastana and Surinder Kaur: This is one of the most famous and iconic versions. Their voices beautifully complement each other, capturing the essence of the song's playful dialogue.

• Jagjit Singh and Chitra Singh: The Ghazal legends also gave their own unique rendition to this folk classic, which is widely popular and celebrated for its soulful delivery.

The song's lyrics often depict a lover calling out to their beloved to come to the rooftop ("kothe te") to meet, and the beloved responding with witty and sometimes teasing replies. It's a staple of Punjabi folk music and has been remixed and reinterpreted by many modern artists as well.

"ਕੋਠੇ ਤੇ ਖਲੋ ਮਾਹੀਆ" ਇੱਕ ਕਲਾਸਿਕ ਪੰਜਾਬੀ ਲੋਕ ਗੀਤ ਹੈ, ਜੋ ਅਕਸਰ ਇੱਕ ਦੋਗਾਣੇ ਵਜੋਂ ਪੇਸ਼ ਕੀਤਾ ਜਾਂਦਾ ਹੈ। ਇਹ ਇੱਕ "ਟੱਪਾ" ਹੈ, ਪੰਜਾਬੀ ਲੋਕ ਕਵਿਤਾ ਦਾ ਇੱਕ ਛੋਟਾ ਅਤੇ ਜੀਵੰਤ ਰੂਪ, ਜੋ ਇੱਕ ਆਦਮੀ ਅਤੇ ਇੱਕ ਔਰਤ ਦੇ ਵਿਚਕਾਰ ਮਜ਼ਾਕੀਆ ਅਤੇ ਫਲਰਟੀ ਗੱਲਬਾਤ ਲਈ ਜਾਣਿਆ ਜਾਂਦਾ ਹੈ।

ਇਹ ਗੀਤ ਕਈ ਮਹਾਨ ਪੰਜਾਬੀ ਕਲਾਕਾਰਾਂ ਦੁਆਰਾ ਸਾਲਾਂ ਦੌਰਾਨ ਪੇਸ਼ ਕੀਤਾ ਗਿਆ ਹੈ, ਖਾਸ ਤੌਰ 'ਤੇ ਇੱਕ ਦੋਗਾਣੇ ਵਜੋਂ:

• ਆਸਾ ਸਿੰਘ ਮਸਤਾਨਾ ਅਤੇ ਸੁਰਿੰਦਰ ਕੌਰ: ਇਹ ਸਭ ਤੋਂ ਮਸ਼ਹੂਰ ਅਤੇ ਪ੍ਰਤੀਕ ਸੰਸਕਰਣਾਂ ਵਿੱਚੋਂ ਇੱਕ ਹੈ। ਉਹਨਾਂ ਦੀਆਂ ਆਵਾਜ਼ਾਂ ਇੱਕ ਦੂਜੇ ਦੀ ਖੂਬਸੂਰਤੀ ਨਾਲ ਪੂਰਕ ਹਨ, ਜੋ ਗੀਤ ਦੇ ਮਜ਼ਾਕੀਆ ਸੰਵਾਦ ਦੇ ਤੱਤ ਨੂੰ ਕੈਪਚਰ ਕਰਦੀਆਂ ਹਨ।

• ਜਗਜੀਤ ਸਿੰਘ ਅਤੇ ਚਿੱਤਰਾ ਸਿੰਘ: ਗ਼ਜ਼ਲ ਦੇ ਮਹਾਨ ਕਲਾਕਾਰਾਂ ਨੇ ਵੀ ਇਸ ਲੋਕ ਕਲਾਸਿਕ ਨੂੰ ਆਪਣੀ ਵਿਲੱਖਣ ਪੇਸ਼ਕਾਰੀ ਦਿੱਤੀ, ਜੋ ਕਿ ਬਹੁਤ ਮਸ਼ਹੂਰ ਹੈ ਅਤੇ ਇਸਦੀ ਭਾਵਪੂਰਤ ਪੇਸ਼ਕਾਰੀ ਲਈ ਮਨਾਈ ਜਾਂਦੀ ਹੈ।

ਗੀਤ ਦੇ ਬੋਲ ਅਕਸਰ ਇੱਕ ਪ੍ਰੇਮੀ ਨੂੰ ਆਪਣੇ ਪਿਆਰੇ ਨੂੰ ਛੱਤ ("ਕੋਠੇ ਤੇ") 'ਤੇ ਮਿਲਣ ਲਈ ਬੁਲਾਉਂਦੇ ਹੋਏ ਦਰਸਾਉਂਦੇ ਹਨ, ਅਤੇ ਪਿਆਰਾ ਚੁਸਤ ਅਤੇ ਕਈ ਵਾਰ ਛੇੜਛਾੜ ਵਾਲੇ ਜਵਾਬ ਦਿੰਦਾ ਹੈ। ਇਹ ਪੰਜਾਬੀ ਲੋਕ ਸੰਗੀਤ ਦਾ ਇੱਕ ਮੁੱਖ ਆਧਾਰ ਹੈ ਅਤੇ ਕਈ ਆਧੁਨਿਕ ਕਲਾਕਾਰਾਂ ਦੁਆਰਾ ਵੀ ਇਸਨੂੰ ਰੀਮਿਕਸ ਅਤੇ ਮੁੜ ਵਿਆਖਿਆ ਕੀਤਾ ਗਿਆ ਹੈ।

(This video is posted by channel – Asa Singh Mastana on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Teriyan Mohabbatan Ne Maar Suttiya (video posted on you tube by SAREGAMA punjabi) ਤੇਰੀਆਂ ਮੁਹੱਬਤਾਂ ਨੇ ਮਾਰ ਸੱਟਿਆ

Terian Mohabtan Nemaa Sutea | Narinder Biba | Old Punjabi Songs | Punjabi Songs 2022

"Terian Mohabtan Ne maar  Suttea" is a beautiful and classic Punjabi song, and it's most famously sung by the legendary Narinder Biba.

Narinder Biba was a prominent figure in Punjabi folk music, known for her powerful and expressive voice. Her rendition of this song, like many others, is cherished for its emotional depth and traditional Punjabi folk style.

While the song itself is an "Old Punjabi Song," it continues to be loved and heard, which is why it might be listed with tags like "Punjabi Songs 2022" to reflect its enduring popularity even today. It's a testament to the timeless appeal of Narinder Biba's music and the rich tradition of Punjabi folk.

"ਤੇਰੀਆਂ ਮੁਹੱਬਤਾਂ ਨੇ ਮਾਰ ਸੱਟਿਆ" ਇੱਕ ਖੂਬਸੂਰਤ ਅਤੇ ਕਲਾਸਿਕ ਪੰਜਾਬੀ ਗੀਤ ਹੈ, ਅਤੇ ਇਹ ਸਭ ਤੋਂ ਮਸ਼ਹੂਰ ਤੌਰ 'ਤੇ ਮਹਾਨ ਨਰਿੰਦਰ ਬੀਬਾ ਦੁਆਰਾ ਗਾਇਆ ਗਿਆ ਹੈ।

ਨਰਿੰਦਰ ਬੀਬਾ ਪੰਜਾਬੀ ਲੋਕ ਸੰਗੀਤ ਵਿੱਚ ਇੱਕ ਪ੍ਰਮੁੱਖ ਸ਼ਖਸੀਅਤ ਸਨ, ਜੋ ਆਪਣੀ ਸ਼ਕਤੀਸ਼ਾਲੀ ਅਤੇ ਭਾਵਪੂਰਤ ਆਵਾਜ਼ ਲਈ ਜਾਣੇ ਜਾਂਦੇ ਸਨ। ਇਸ ਗੀਤ ਦੀ ਉਹਨਾਂ ਦੀ ਪੇਸ਼ਕਾਰੀ, ਕਈ ਹੋਰਾਂ ਵਾਂਗ, ਇਸਦੀ ਭਾਵਨਾਤਮਕ ਡੂੰਘਾਈ ਅਤੇ ਰਵਾਇਤੀ ਪੰਜਾਬੀ ਲੋਕ ਸ਼ੈਲੀ ਲਈ ਪਿਆਰੀ ਹੈ।

ਜਦੋਂ ਕਿ ਗੀਤ ਖੁਦ ਇੱਕ "ਪੁਰਾਣਾ ਪੰਜਾਬੀ ਗੀਤ" ਹੈ, ਇਹ ਅਜੇ ਵੀ ਪਸੰਦ ਕੀਤਾ ਜਾਂਦਾ ਹੈ ਅਤੇ ਸੁਣਿਆ ਜਾਂਦਾ ਹੈ, ਇਸੇ ਕਰਕੇ ਇਸਨੂੰ "ਪੰਜਾਬੀ ਗੀਤ 2022" ਵਰਗੇ ਟੈਗਸ ਨਾਲ ਸੂਚੀਬੱਧ ਕੀਤਾ ਜਾ ਸਕਦਾ ਹੈ ਤਾਂ ਜੋ ਅੱਜ ਵੀ ਇਸਦੀ ਸਥਾਈ ਪ੍ਰਸਿੱਧੀ ਨੂੰ ਦਰਸਾਇਆ ਜਾ ਸਕੇ। ਇਹ ਨਰਿੰਦਰ ਬੀਬਾ ਦੇ ਸੰਗੀਤ ਅਤੇ ਪੰਜਾਬੀ ਲੋਕਾਂ ਦੀ ਅਮੀਰ ਪਰੰਪਰਾ ਦੀ ਸਦੀਵੀ ਅਪੀਲ ਦਾ ਇੱਕ ਪ੍ਰਮਾਣ ਹੈ।ਮਾਰ ਸੱਟਿਆ 

(This video is posted by channel – Saregama Punjabi on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Gori Diyan Jhanjhra by Prakash Kaur on Saregama punjabi on youtube ( ਗੋਰੀ ਦੀਆਂ ਝਾਂਜਰਾਂ )

Gori Diyan Jhanjhran | Prakash Kaur | Old Punjabi Songs | Punjabi Songs 2022

"ਗੋਰੀ ਦੀਆਂ ਝਾਂਜਰਾਂ" ਪੁਰਾਣੇ ਪੰਜਾਬੀ ਗੀਤਾਂ ਦੇ ਅਮੀਰ ਖਜ਼ਾਨੇ ਵਿੱਚੋਂ ਇੱਕ ਹੋਰ ਹੀਰਾ ਹੈ, ਅਤੇ ਇਹ ਮਸ਼ਹੂਰ ਤੌਰ 'ਤੇ ਮਹਾਨ ਪ੍ਰਕਾਸ਼ ਕੌਰ ਦੀ ਆਵਾਜ਼ ਨਾਲ ਜੁੜਿਆ ਹੋਇਆ ਹੈ।

ਪ੍ਰਕਾਸ਼ ਕੌਰ ਪੰਜਾਬੀ ਲੋਕ ਸੰਗੀਤ ਵਿੱਚ ਇੱਕ ਪ੍ਰਮੁੱਖ ਸ਼ਖਸੀਅਤ ਸਨ, ਜਿਨ੍ਹਾਂ ਨੂੰ ਅਕਸਰ ਇਸ ਸ਼ੈਲੀ ਵਿੱਚ ਮਹਿਲਾ ਗਾਇਕਾਵਾਂ ਲਈ ਨੀਂਹ ਪੱਥਰ ਰੱਖਣ ਵਾਲੀਆਂ ਪਾਇਨੀਅਰਾਂ ਵਿੱਚੋਂ ਇੱਕ ਮੰਨਿਆ ਜਾਂਦਾ ਹੈ। ਉਹਨਾਂ ਦੀ ਆਵਾਜ਼ ਵਿੱਚ ਇੱਕ ਖਾਸ ਕੱਚੀ ਤਾਕਤ ਅਤੇ ਭਾਵਨਾਤਮਕ ਡੂੰਘਾਈ ਸੀ ਜਿਸ ਨੇ ਲੋਕ ਗੀਤਾਂ ਦੀ ਉਹਨਾਂ ਦੀ ਪੇਸ਼ਕਾਰੀ ਨੂੰ ਅਭੁੱਲ ਬਣਾ ਦਿੱਤਾ।

"ਗੋਰੀ ਦੀਆਂ ਝਾਂਜਰਾਂ" (ਜਿਸਦਾ ਅਰਥ ਹੈ "ਗੋਰੀ ਮੁਟਿਆਰ ਦੀਆਂ ਝਾਂਜਰਾਂ") ਆਮ ਤੌਰ 'ਤੇ ਇੱਕ ਅਜਿਹਾ ਗੀਤ ਹੋਵੇਗਾ ਜੋ ਇੱਕ ਨੌਜਵਾਨ ਔਰਤ ਦੀ ਸੁੰਦਰਤਾ ਅਤੇ ਸੁਹਜ ਦਾ ਵਰਣਨ ਕਰਦਾ ਹੈ, ਅਕਸਰ ਉਸਦੇ ਚੱਲਣ ਵੇਲੇ ਉਸਦੀਆਂ ਝਾਂਜਰਾਂ ਦੀ ਮਨਮੋਹਕ ਆਵਾਜ਼ 'ਤੇ ਕੇਂਦ੍ਰਤ ਕਰਦਾ ਹੈ। ਪ੍ਰਕਾਸ਼ ਕੌਰ ਦੀ ਪੇਸ਼ਕਾਰੀ ਆਪਣੀ ਸ਼ਕਤੀਸ਼ਾਲੀ ਅਤੇ ਭਾਵਪੂਰਤ ਗਾਇਕੀ ਨਾਲ ਇਸ ਚਿੱਤਰ ਨੂੰ ਜੀਵੰਤ ਕਰੇਗੀ।

ਕਈ ਕਲਾਸਿਕ ਗੀਤਾਂ ਵਾਂਗ, ਭਾਵੇਂ ਇਹ ਇੱਕ "ਪੁਰਾਣਾ ਪੰਜਾਬੀ ਗੀਤ" ਹੈ, ਇਸਦੀ ਸਥਾਈ ਅਪੀਲ ਦਾ ਮਤਲਬ ਹੈ ਕਿ ਇਹ ਅਜੇ ਵੀ ਖੋਜਿਆ ਜਾਂਦਾ ਹੈ ਅਤੇ ਪ੍ਰਸ਼ੰਸਾ ਕੀਤੀ ਜਾਂਦੀ ਹੈ, ਇਸਲਈ ਇਸਦਾ "ਪੰਜਾਬੀ ਗੀਤ 2022" ਵਰਗੇ ਸ਼ਬਦਾਂ ਨਾਲ ਸਬੰਧ ਇਸਦੀ ਨਿਰੰਤਰ ਪ੍ਰਸੰਗਤਾ ਨੂੰ ਦਰਸਾਉਂਦਾ ਹੈ।

"Gori Diyan Jhanjhran" is another gem from the rich treasure trove of Old Punjabi Songs, and it's famously associated with the legendary voice of Prakash Kaur.

Prakash Kaur was a monumental figure in Punjabi folk music, often regarded as one of the pioneers who laid the foundation for female vocalists in the genre. Her voice had a distinct raw power and emotional depth that made her renditions of folk songs unforgettable.

"Gori Diyan Jhanjhran" (meaning "The Anklets of the Fair Maiden") would typically be a song that describes the beauty and charm of a young woman, often focusing on the captivating sound of her anklets as she walks. Prakash Kaur's rendition would bring this imagery to life with her powerful and evocative singing.

Like many classic songs, even though it's an "Old Punjabi Song," its enduring appeal means it's still searched for and appreciated, hence its association with terms like "Punjabi Songs 2022" to denote its continued relevance.

(This video is posted by channel – Saregama Punjabi on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

punjabi sangeet (playlist)

Ajj di diharhi - Surinder Kaur & Parkash Kaur ਅੱਜ ਦੀ ਦਿਹਾੜੀ Youtube posted by SAREGAMA Punjabi

"ਅੱਜ ਦੀ ਦਿਹਾੜੀ" ਇੱਕ ਸੱਚਮੁੱਚ ਪ੍ਰਤੀਕ ਅਤੇ ਬਹੁਤ ਪਿਆਰਾ ਪੰਜਾਬੀ ਲੋਕ ਗੀਤ ਹੈ, ਜੋ ਪੰਜਾਬੀ ਸੰਗੀਤ ਦੀਆਂ ਦੋ ਮਹਾਨ ਸ਼ਖਸੀਅਤਾਂ: ਸੁਰਿੰਦਰ ਕੌਰ ਅਤੇ ਪ੍ਰਕਾਸ਼ ਕੌਰ ਦੁਆਰਾ ਇੱਕ ਦੋਗਾਣੇ ਵਜੋਂ ਮਸ਼ਹੂਰ ਤੌਰ 'ਤੇ ਗਾਇਆ ਗਿਆ ਹੈ।

ਇਹ ਖਾਸ ਗੀਤ "ਸਿਹਰਫੀਆਂ" (ਜਾਂ ਸਿੱਠਣੀਆਂ) ਜਾਂ "ਬੋਲੀ" ਸ਼ੈਲੀ ਦੇ ਲੋਕ ਗੀਤ ਦੀ ਇੱਕ ਖਾਸ ਉਦਾਹਰਨ ਹੈ, ਜੋ ਅਕਸਰ ਵਿਆਹਾਂ ਜਾਂ ਹੋਰ ਤਿਉਹਾਰਾਂ ਦੇ ਮੌਕਿਆਂ 'ਤੇ ਪੇਸ਼ ਕੀਤਾ ਜਾਂਦਾ ਹੈ। ਇਸ ਵਿੱਚ ਆਮ ਤੌਰ 'ਤੇ ਦੋ ਮਹਿਲਾ ਗਾਇਕਾਵਾਂ, ਜਾਂ ਔਰਤਾਂ ਦੇ ਸਮੂਹਾਂ ਵਿਚਕਾਰ ਇੱਕ ਮਜ਼ਾਕੀਆ, ਛੇੜਛਾੜ ਵਾਲਾ, ਜਾਂ ਕਈ ਵਾਰ ਥੋੜ੍ਹਾ ਪ੍ਰਤੀਯੋਗੀ ਆਦਾਨ-ਪ੍ਰਦਾਨ ਸ਼ਾਮਲ ਹੁੰਦਾ ਹੈ।

"ਅੱਜ ਦੀ ਦਿਹਾੜੀ" ਦੇ ਬੋਲ ਅਕਸਰ ਰੋਜ਼ਾਨਾ ਜੀਵਨ ਦੇ ਵਿਸ਼ਿਆਂ, ਔਰਤਾਂ ਦੀਆਂ ਭਾਵਨਾਵਾਂ, ਵਿਆਹ ਦੀ ਉਮੀਦ, ਜਾਂ ਪਰਿਵਾਰਕ ਮੈਂਬਰਾਂ ਬਾਰੇ ਮਜ਼ਾਕੀਆ ਟਿੱਪਣੀਆਂ ਦੇ ਆਲੇ-ਦੁਆਲੇ ਘੁੰਮਦੇ ਹਨ। ਸੁਰਿੰਦਰ ਕੌਰ ਅਤੇ ਪ੍ਰਕਾਸ਼ ਕੌਰ ਦੀ ਪੇਸ਼ਕਾਰੀ ਦੀ ਖੂਬਸੂਰਤੀ ਉਹਨਾਂ ਦੀਆਂ ਪੂਰੀ ਤਰ੍ਹਾਂ ਸਮਕਾਲੀ ਆਵਾਜ਼ਾਂ, ਬੋਲਾਂ ਦੇ ਸੂਖਮ ਭੇਦਾਂ ਨੂੰ ਪ੍ਰਗਟ ਕਰਨ ਦੀ ਉਹਨਾਂ ਦੀ ਯੋਗਤਾ, ਅਤੇ ਉਹਨਾਂ ਦੁਆਰਾ ਪੰਜਾਬੀ ਲੋਕ ਸੰਗੀਤ ਵਿੱਚ ਲਿਆਂਦੀ ਗਈ ਸ਼ੁੱਧ ਖੁਸ਼ੀ ਅਤੇ ਜੀਵੰਤਤਾ ਵਿੱਚ ਨਿਹਤ ਹੈ।

ਅਜਿਹੇ ਗੀਤਾਂ 'ਤੇ ਉਹਨਾਂ ਦੇ ਸਹਿਯੋਗ ਨੇ ਅਜਿਹੇ ਸਦੀਵੀ ਟੁਕੜੇ ਬਣਾਏ ਜੋ ਪੀੜ੍ਹੀਆਂ ਤੋਂ ਮਨਾਏ ਅਤੇ ਆਨੰਦ ਮਾਣੇ ਜਾਂਦੇ ਹਨ, ਜੋ ਸੱਚਮੁੱਚ ਰਵਾਇਤੀ ਪੰਜਾਬੀ ਸੱਭਿਆਚਾਰ ਦੀ ਭਾਵਨਾ ਨੂੰ ਦਰਸਾਉਂਦੇ ਹਨ।

"Ajj Di Dihari" is a truly iconic and deeply cherished Punjabi folk song, famously sung as a duet by the two titans of Punjabi music: Surinder Kaur and Prakash Kaur.

This particular song is a quintessential example of a "siharfian" (or sithnian) or "boli" style folk song, often performed at weddings or other festive occasions. It typically involves a playful, teasing, or sometimes slightly competitive exchange between two female singers, or groups of women.

The lyrics of "Ajj Di Dihari" often revolve around themes of everyday life, women's feelings, the anticipation of a wedding, or humorous observations about family members. The beauty of Surinder Kaur and Prakash Kaur's rendition lies in their perfectly synchronized voices, their ability to convey the subtle nuances of the lyrics, and the sheer joy and vibrancy they brought to Punjabi folk music.

Their collaboration on such songs created timeless pieces that continue to be celebrated and enjoyed across generations, truly embodying the spirit of traditional Punjabi culture.

(This video is posted by channel –Saregama Punjabi on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Surinder Kaur and Parkash Kaur Ni Mainu Deor De Viah Wich Nach Lain De N...

"Ni Mainu Deor De Viah Wich Nach Lain De" (or often titled "Mainu Deor De Vyah Wich Nach Len De"), performed by the legendary duo, the sisters Surinder Kaur and Parkash Kaur.

Here is a description of the song:

Song Overview

• Artists: Surinder Kaur and Parkash Kaur (often referred to as the "Nightingales of Punjab").

• Language: Punjabi.

• Genre: Punjabi Folk / Wedding Song (Viyah Da Geet).

• Theme: Celebration, excitement, and a plea to dance at a family wedding.

Description of the Song

1. The Vibe and Energy (The Dance Request):

   • The title translates to "Oh, just let me dance at my brother-in-law's wedding!" (Deor means husband's younger brother, and Viah is wedding).

   • The song is a quintessential, joyous Punjabi wedding dance number. It perfectly captures the excitement and enthusiasm of a young woman who is desperate to join the Gidha (traditional Punjabi folk dance) at her Deor's wedding, urging her companions or family to let her go and participate.

   • It is a high-energy, celebratory track with an unmistakable festive rhythm that is made for group dancing.

2. The Music and Style (Traditional Folk):

   • The music is deeply rooted in traditional Punjabi folk music. It features rustic and traditional instruments, creating an authentic, rustic sound.

   • The arrangement is simple, focusing on the powerful and playful vocals and the infectious beat, often backed by the dhol (drum) and other folk percussion.

3. The Vocal Performance (The Legends):

   • The rendition by Surinder Kaur and Parkash Kaur is considered the definitive version. Their voices are a perfect match—warm, robust, and full of the raw emotion and charm characteristic of classic Punjabi folk.

   • The performance is a duet, featuring call-and-response and harmonic elements, which is typical of wedding folk songs and Boliyan (short verses).

Cultural Significance

• A Staple for Celebrations: Along with songs like "Kala Doria" and "Lathe Di Chadar," this track is a fundamental part of the classic Punjabi wedding soundtrack and remains a beloved folk song decades after its release.

• Timelessness: Despite being an old recording (often cited as being released around 1970/2003 on various compilations), the song continues to be played at weddings and cultural events, making it an evergreen classic of Punjabi music.

(This video is posted by channel – Saregama Punjabi on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Mera Loung Gawacha bally sagoo

The song "Mera Laung Gawacha" by Bally Sagoo is one of the most iconic and groundbreaking tracks in the history of British-Asian and Punjabi dance music. It's a classic example of fusing traditional folk with modern electronic sounds.

Here is a detailed description of the song:

Song Overview

• Original Release: 1991 (from the album Star Crazy)

• Music/Producer: Bally Sagoo (who is credited with the composition and arrangement of the modern version)

• Vocals: Rama (female vocalist)

• Additional Vocals: Cheshire Cat (Ragga/Reggae rap)

• Genre: Bhangra, Hip Hop, Ragga/Reggae, Downtempo, Fusion (often categorized as early Desi/Asian Underground).

Description of the Song

1. Fusion Pioneer: This track is a landmark song that helped popularize the Asian Underground sound. Bally Sagoo took an old, established Punjabi folk tune and completely revolutionized it with Western club music influences, making it globally appealing.

2. The Musical Arrangement:

   • The Beat: The song is driven by a slow, infectious hip-hop/downtempo beat (often incorporating a reggae or ragga rhythm). This was a radical departure from the fast, traditional dhol-driven Bhangra of the time.

   • The Blend: It cleverly layers a traditional, almost mournful, Punjabi folk melody over a heavy, synthesized, and bass-driven beat. This contrast is what gives the song its unique, hypnotic quality.

   • The Rap: A crucial element is the inclusion of the English-language Ragga/Hip Hop rap by Cheshire Cat, which seamlessly blends with the Punjabi vocals, symbolizing the bridge between British-Asian and Western cultures.

3. The Lyrics and Theme:

   • The song is based on a traditional Punjabi Tappa (short folk verse).

   • Meaning of the Chorus: The title, "Mera Laung Gawacha," means "I have lost my nose pin (laung)."

   • Core Lyric: The female narrator sings the line, "Piche piche aunda, meri chaal vehnda aayin," which means, "You follow me, tracing my steps/gait."

   • The Story: The woman tells her admirer that she has lost her nose pin (a valuable and symbolic piece of jewelry) while he was following her. She is essentially teasing him, asking him to retrace her steps to find the lost laung (and playfully suggesting he is the cause of her distraction).

4. Cultural Impact:

   • Massive Crossover Hit: The song became a massive hit in the UK and worldwide, introducing a new generation to Punjabi music.

   • Iconic Video: The accompanying music video, featuring actors Deepti Bhatnagar and Jas Arora, was extremely popular, cementing the song's status as a quintessential 90s classic.

   • A Wedding Staple: Despite its downtempo nature, it became an essential track at South Asian weddings and parties, beloved for its nostalgia and unmistakable rhythm.

(This video is posted by channel – Universal Music India on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Raavi by Himani Kapoor Bazm e Khas

The Core Meaning of "Raavi"

The song is a poetic meditation on the themes of separation, unfulfilled life, and the deep connection to the Punjabi homeland, symbolized by the River Raavi (Ravi).

The Raavi is one of the five major rivers of Punjab and holds immense historical and cultural significance, especially as it now flows between India and Pakistan.

Key Lines and Their Interpretation:

• "Je Raavi vich paani koi nai, te apni kahani koi nai."

  • Translation: "If there is no water in the River Raavi, then there is no story (or existence) of my own."

  • Interpretation: This is a powerful metaphor. The singer suggests that the soul and identity of the Punjabi people (and specifically their own life story) are inextricably linked to the vitality of the river. A life without purpose or love is like a dry river—meaningless and incomplete.

• "Je sang beliya koi nai, te kise nu sunani koi nai."

  • Translation: "If there is no beloved companion, then there is no one to tell (my story) to."

  • Interpretation: This highlights the solitude and deep personal connection needed to make life meaningful. The suffering or story of the heart is only worth having and telling if there is a loved one to share it with.

• "Je aithon kadi Raavi langh jaave, hayati Punjabi ban jaave."

  • Translation: "If the Raavi ever flows through here, my life would become (truly) Punjabi."

  • Interpretation: This is the song's emotional climax. The singer yearns for the river (symbolizing connection, wholeness, or their lost love/homeland) to flow through their current existence. Its return would transform their fractured, distant life into a complete, authentic, and joyful Punjabi identity.

(This video is posted by channel – Bazm_E_Khas on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Sanu bukk nal paani hi pilade ghutt ni ni tera juttha kahnu kariye glaas goriye

Sanu bukk naal pani hi pilade ghutt ni , ni tera juttha kaahnu kariye glass goriye, bade joraan naal laggi e pyaas goriye. 

This beautiful punjabi film song sung by legendary Singer Mohammad Rafi , this  song posted on youtube by SAGMA music digital 

Here's a breakdown of the lines:

• "Sanu bukk naal pani hi pilade ghutt ni": "Just give us a sip of water with your cupped hands (bukk)!" This implies intimacy and a simple, unadorned way of sharing.

• "Ni tera juttha kaahnu kariye glass goriye": "Why should we make your glass 'juttha' (ritually impure/used) by drinking from it, fair maiden?" This is a witty line, implying that if he drinks from her glass, it would become 'used' by him, but drinking from her hands is somehow more pure or directly from her. It could also be a subtle way of saying he prefers her direct touch.

• "Bade joraan naal laggi e pyaas goriye": "We are very, very thirsty, fair maiden!" This emphasizes the urgency and the reason for his playful request.

Essentially, he's expressing a strong thirst and, in a flirtatious manner, asking her to offer water directly from her cupped hands, perhaps implying a desire for a more personal connection than just drinking from a shared glass. It's a charming example of the double entendres and playful banter common in Punjabi folk songs.

(This video is posted by channel – SAGMA Music Digital on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Ve Le De Mainu Makhmal Dee Parkash Kaur A Punjabi Song..( ਵੇ ਲੈਦੇ ਮੈਨੂੰ ਮਖਮਲ ਦੀ ਪੱਖੀ ਘੁਘਰੂਆਂ ਵਾਲੀ )

Parkash Kaur | Ve Laide Mainu Makhmal Di | Audio | Old Punjabi Tunes

ਪੂਰੀ ਸਤਰ, "ਵੇ ਲੈਦੇ ਮੈਨੂੰ ਮਖਮਲ ਦੀ ਪੱਖੀ ਘੁਘਰੂਆਂ ਵਾਲੀ" ਜੋ ਪ੍ਰਕਾਸ਼ ਕੌਰ ਦੁਆਰਾ ਗਾਈ ਗਈ ਹੈ, ਦਾ ਮਤਲਬ ਹੈ:

• "ਵੇ ਲੈਦੇ ਮੈਨੂੰ": "ਓਏ, ਮੈਨੂੰ ਖਰੀਦ ਦੇ..." (ਇੱਕ ਔਰਤ ਦੁਆਰਾ ਇੱਕ ਆਦਮੀ ਨੂੰ ਪਿਆਰ ਅਤੇ ਬੇਨਤੀ ਦਾ ਸ਼ਬਦ)

• "ਮਖਮਲ ਦੀ ਪੱਖੀ": "ਇੱਕ ਮਖਮਲ ਦਾ ਪੱਖਾ" (ਪੱਖੀ ਇੱਕ ਹੱਥ ਦਾ ਪੱਖਾ ਹੁੰਦਾ ਹੈ)

• "ਘੁਘਰੂਆਂ ਵਾਲੀ": "ਘੁੰਗਰੂਆਂ ਵਾਲੀ"

ਇਸ ਲਈ, ਔਰਤ ਖਾਸ ਤੌਰ 'ਤੇ ਆਪਣੇ ਪਿਆਰੇ ਨੂੰ ਘੁੰਗਰੂਆਂ ਨਾਲ ਸਜਿਆ ਹੋਇਆ ਇੱਕ ਮਖਮਲ ਦਾ ਹੱਥ ਦਾ ਪੱਖਾ ਖਰੀਦਣ ਲਈ ਕਹਿ ਰਹੀ ਹੈ। ਇਹ ਉਸਦੀ ਬੇਨਤੀ ਵਿੱਚ ਵਿਸਤਾਰ ਦੀ ਇੱਕ ਹੋਰ ਪਰਤ ਅਤੇ ਨਾਜ਼ੁਕ ਸੁੰਦਰਤਾ ਅਤੇ ਆਵਾਜ਼ ਦੀ ਭਾਵਨਾ ਜੋੜਦਾ ਹੈ।

ਪ੍ਰਕਾਸ਼ ਕੌਰ ਦੀ ਇਸ ਗੀਤ ਦੀ ਪੇਸ਼ਕਾਰੀ ਮਜ਼ਾਕੀਆ ਮੰਗ, ਅਜਿਹੀ ਸ਼ਾਨਦਾਰ ਚੀਜ਼ ਲਈ ਤਰਸ, ਅਤੇ ਪੱਖੇ 'ਤੇ ਘੁੰਗਰੂਆਂ ਦੀ ਕਲਪਿਤ ਝਣਕਾਰ ਨੂੰ ਖੂਬਸੂਰਤੀ ਨਾਲ ਦਰਸਾਏਗੀ। ਇਹ ਸਿਰਫ ਇੱਕ ਭੌਤਿਕ ਵਸਤੂ ਦੀ ਇੱਛਾ ਨੂੰ ਹੀ ਨਹੀਂ, ਬਲਕਿ ਸ਼ਾਇਦ ਪਿਆਰੇ ਦੁਆਰਾ ਉਸਦੀ ਇੱਛਾ ਪੂਰੀ ਕਰਨ ਵਿੱਚ ਸ਼ਾਮਲ ਧਿਆਨ ਅਤੇ ਪਿਆਰ ਨੂੰ ਵੀ ਉਜਾਗਰ ਕਰਦਾ ਹੈ। ਇਹ ਇੱਕ ਮਨਮੋਹਕ ਅਤੇ ਬਹੁਤ ਹੀ ਖਾਸ ਪੰਜਾਬੀ ਲੋਕ ਗੀਤ ਹੈ, ਜੋ ਪ੍ਰਕਾਸ਼ ਕੌਰ ਦੀ ਸ਼ਕਤੀਸ਼ਾਲੀ ਅਤੇ ਭਾਵਪੂਰਤ ਆਵਾਜ਼ ਲਈ ਪੂਰੀ ਤਰ੍ਹਾਂ ਢੁਕਵਾਂ ਹੈ।

• "Ve Laide Mainu": "Oh, buy me..." (a term of endearment and request from a woman to a man)

• "Makhmal Di Pakkhi": "A velvet fan" (Pakkhi is a hand fan)

• "Ghuguruaan Wali": "With bells/ghungroos"

So, the woman is specifically asking her beloved to buy her a velvet hand fan adorned with little bells (ghungroos). This adds another layer of detail and a sense of delicate beauty and sound to her request.

Prakash Kaur's rendition of this song would beautifully capture the playful demand, the yearning for such an elegant item, and the imagined tinkling sound of the bells on the fan. It highlights not just the desire for a material possession but also perhaps the attention and affection implied in the beloved fulfilling her wish. It's a delightful and very characteristic Punjabi folk song, perfectly suited to Prakash Kaur's powerful and expressive voice.

(This video is posted by channel – {add channel name} on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Chan Ve Ke Shokan Mele Di, Surinder Kaur And Narinder Kaur.(video posted by Amrik Singh on youtube)

This beautiful Punjabi folk song was posted on YouTube by Mr.  Amrik Singh and singers are Prakash kaur and Narinder kaur in this song. 

Meaning of the Song in Detail

The song's title, "Chan Ve Ke Shokan Mele Di," translates to:

"O Moon (Beloved), I am the devotee/admirer of the fair."

It is a playful exchange between a young woman (the Shokan, or enthusiast) and her beloved, using the imagery of the lively Punjabi fair.

Thematic Breakdown:

1. The Woman's Enthusiasm (Shaukan Mele Di):

   • The female singer expresses her great desire and enthusiasm to visit the village fair. Fairs in Punjab are major cultural and social events, a place for young people to meet, flirt, and buy traditional items.

   • She describes her preparations: dressing up beautifully, wearing new clothes, and being eager to join the festivities. Her eagerness is a declaration of her youth and vitality.

2. The Plea to the Beloved (Chan Ve):

   • She addresses her lover as ChanVe (O Moon/Beloved), asking him to accompany her, or at least acknowledge her dazzling presence.

   • The song often contains a playful challenge or request: she might ask him to buy her specific traditional items from the fair (like a colorful shawl, or bangles), using these demands to prove his love and commitment.

3. The Poetic Imagery (Traditional Folk Elements):

   • The lyrics are filled with traditional Punjabi imagery like Chunni (shawl/scarf), Paranda (hair accessory), Mele (fairs), and other items that signify Punjabi culture and feminine beauty.

   • It is often sung in a call-and-response format, where one singer (the woman) throws out a line about her beauty or her intention to go to the fair, and the other singer (the man or another woman) responds with a compliment or a teasing comment.

4. Flirtation and Social Interaction:

   • At its heart, the song is a dialogue of flirtation. The woman is showing off her beauty and independence by saying she is going to the fair, knowing it will attract attention. The man's reaction (often implied or sung in the duet) is one of pride, admiration, and a slightly possessive desire to be the only one she seeks at the bustling event.

In summary, "Chan Ve Ke Shokan Mele Di" is a delightful and energetic folk song that celebrates the joy, color, and youthful romance found in the traditional Punjabi village fair, with the woman's vibrant personality being the central focus.

(This video is posted by channel – Amrik Singh on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Mery lagdi kisse na wekhi shamshad begum film lachhi music by hansraj be...

The song "Meri Laggdi Kisey Na Vekhi, Te Tuttdi Nu Jagg Jaanda" is a timeless and highly popular classic of Punjabi cinema.

Here is a description of the song:

Feature	Detail
Song Title	Meri Laggdi Kisey Na Vekhi, Te Tuttdi Nu Jagg Jaanda
Translation/Meaning of Title	"No one saw me falling in love, but the whole world sees my heartbreak." (The core theme is one of silent, hidden love and publicly visible heartbreak.)
Film	Lachhi (A 1949 Punjabi film, which was a big commercial success)
Singer	Shamshad Begum (Known for her powerful, nasal, and distinctive voice)
Music Director	Hansraj Behl
Lyricist	Mulk Raj Bhakhri
Significance	It is one of the most famous songs from the film and a highly cherished melody in the history of Punjabi film music, contributing significantly to the film's success.
Musical Style	The song is a classic example of Punjabi folk-based film music from the Golden Era (1940s-1950s), characterized by its rich traditional melody, emotional depth, and often featuring a simple, rustic instrumentation.
Overall Mood	The song conveys a deep sense of melancholy, heartbreak, and despair over a love that was private but a broken heart that is now public.

AMBIYAN DE BUTIYAN TAY SHAMSHAD BEGUM FILM BHANGRA MUSIC HANSRAJ BHEL..

The song "Ambiyan De Butiyan Te" (or Ambian Butiyan Te) is a cheerful and romantic Punjabi classic from the Golden Age of cinema.

Here is a breakdown of the song:

Feature	Detail
Song Title	Ambiyan De Butiyan Te Lag Gaya Boor Ni
Film	Bhangra (A hit 1959 Punjabi film)
Singer	Shamshad Begum (Known for her vibrant and energetic vocal style)
Music Director	Hansraj Behl
Lyricist	Verma Malik
Theme & Mood	Romantic, Playful, and Celebration of Spring/Love. It is a lighthearted, upbeat song typically picturized on the film's heroine and/or a group of girls.

Explanation of the Lyrics and Meaning:

The song is deeply rooted in Punjabi folk tradition and uses imagery from nature to express a young woman's excitement about love and the arrival of spring.

The main line, "Ambiyan De Butiyan Te Lag Gaya Boor Ni," literally translates to:

• Ambiyan De Butiyan Te: On the small mango trees (or mango saplings)

• Lag Gaya Boor Ni: The blossom has appeared (The boor refers to the small white flowers that appear before the mango fruit forms).

In essence, the song uses the blossoming of the mango trees as a metaphor:

1. The Arrival of Spring/The Season of Love: The blossoming of the mango is one of the key markers of spring in the region, symbolizing new beginnings, freshness, and romance.

2. The Blooming of Love: The growth of the mango blossom mirrors the young woman's own heart blooming with feelings of love or her excitement about meeting her beloved.

3. (This video is posted by channel –Saregama Punjabi on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Lang aaja patan channan da yar lang aaja Surinder Kaur Punjabi folk geet...

The song "Lang Aaja Pattan Channan Da Yar" (also written as "Langh Aaja Pattan Jhana Da") is one of the most beloved and iconic Punjabi folk songs, immortalized by the voice of the legendary Surinder Kaur.

It is a timeless expression of longing and impatience, using a river crossing as a central metaphor for separation.

Explanation of the Song

Feature	Detail
Song Title	Lang Aaja Pattan Channan Da Yar
Genre	Traditional Punjabi Folk Geet (geet is a song)
Main Artist	Surinder Kaur (The Nightingale of Punjab)
Theme	Longing, Separation, and Urgency of Love

Meaning of the Central Line:

The core of the song lies in its recurring plea, which translates as follows:

• Lang Aaja: Come across / Cross over / Pass through

• Pattan: The river bank / The ferry crossing

• Channan Da (or Jhana Da): Of the Chenab River (The Chenab is a highly significant river in Punjabi folklore, famously associated with the legend of Heer-Ranjha).

• Yar: O Beloved / O Lover

Full Translation: "O Beloved, come and cross the bank of the Chenab for me."

The Emotional Context:

The song paints a vivid, heartbreaking scene where the lover (the singer) is waiting eagerly, but a major barrier—the river—separates her from her beloved.

1. The River as a Barrier: The Chenab River symbolizes the vast distance, separation, or the societal and emotional obstacles that are keeping the lovers apart.

2. The Impatience: The singer is beyond patience. She is not just requesting, but imploring her beloved to overcome the difficulty of the crossing, whether the water is rough, the path is dangerous, or the journey is difficult. She is urging him to hurry and come to her.

3. The Folk Melancholy: Like many classic Punjabi folk songs, it has a melancholic undertone, focusing on the pain of separation (virah) and the intense, singular focus of the lover's desire to reunite with her companion. Surinder Kaur's voice captures this emotion perfectly, blending traditional folk sounds with deep, heartfelt longing.

4. (This video is posted by channel – Surinder Kaur-Topic on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

Sui Ve Sui - Surinder Kaur & Parkash Kaur

Sui Ve Sui" is a traditional Punjabi folk song sung by Surinder Kaur and Prakash Kaur, with music composed by K.S. Narula. While a direct.  The song is understood to depict a scene from rural Punjabi life, focusing on themes of:

• Sisterhood and Female Relationships: The song is often interpreted as a conversation or a depiction of the bond between women, possibly sisters or close friends, in a village setting.

• Everyday Life and Village Charm: It evokes the simple, traditional lifestyle of Punjab, highlighting the cultural nuances and daily activities.

• Nostalgia and Heritage: As an old folk song, it carries a sense of nostalgia and serves as a cultural touchstone, reminding listeners of Punjabi heritage.

The song is cherished for its melodic quality and its ability to transport listeners to the heart of Punjabi culture and its pastoral essence. It's a piece that resonates with the emotional and cultural fabric of Punjab.

(This video is posted by channel – {Prakash Kaur} on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

NEE TUT JAYE RAIL GADIYE SHAMSHAD BEGUM FILM GUDDI HANSRAJ BEHL...

 The song "Ni Tut Jaye Rail Gadiye" (or "Tut Jave Rail Gadiye") is a Punjabi song sung by Shamshad Begum, with music by Hansraj Behl and lyrics by Verma Malik. It is from the film "Guddi" (1961).

Here's what the song is about, based on the lyrics and context:

The song expresses a woman's plea to her beloved, asking him to stop the "rail gadiye" (train carriage) and come to her. She emphasizes that she hasn't wronged him in any way ("main ki bigad-iya tera"). She speaks of her distress and inability to sleep or rest while waiting for him.

(This video is posted by channel – Melody's Always Queen_Raja on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)