musicians-from-india

"Conquest of Chitor On Monday, the 8th Jumada-s sani, A.H. 702, the loud drums proclaimed the royal march from Delhi, undertaken with a view to the capture of Chitor. The author accompanied the expedition. The fort was taken on Monday, the 11lth of Muharram, A.H. 703 (August, 1303 A.D.). The Rai fled, but afterwards surrendered himself, and was secured against lightning of the scimitar. The Hindus say that lightning falls wherever there is a brazen vessel, and the face of the Rai had become as yellow as one, through the effect of fear... After ordering a massacre of thirty thousand Hindus, he bestowed the Government of Chitor upon his son, Khizr Khan, and named the place Khizrabad. He bestowed on him a red canopy, a robe embroidered with gold, and two standards – one green, and the other black – and threw upon him rubies and emeralds. He then returned towards Delhi. “Praise be to God that he so ordered the massacre of all the chiefs of Hind out of the pale of Islam, by his infidel-smiling sword, that if in this time it should by chance happen that a schismatic should claim his right, the pure Sunnis would swear in the name of this Khalifa of God, that heterodoxy has no rights.”"

"People shed so many tears in all directions that five other rivers have appeared in Multan. I wanted to speak of the fire in my heart but a hundred fiery tongues flared up in my mouth."

"Hindavi was the language from old times; when the Ghurids and Turks arrived [in India], Persian began to be used and every high and low person learned it … As I belong to India, it is only fitting that I talk about it. There is a different, original language in every region of this land. Sindhi, Lahori, Kashmiri, Kibar, Dhaur Samundari, Tilangi, Gujar, Ma'bari, Gauri, the languages of Bangalah, Avadh, Delhi and its environs, all these are Hindavi, i.e., Indian languages, current since the olden days and commonly used for all kinds of speech. There is yet another language that is favoured by all the Brahmins. It is known as Sanskrit since ancient times; common people do not know it, only the Brahmins do, but one single Brahmin cannot comprehend its limits. Like Arabic, Sanskrit has a grammar, rules of syntax, and a literature … Sanskrit is a pearl; it may be inferior to Arabic but is superior to Dari … If I knew it well I would praise my sultan in it also."

"“The Sultan reached Jhain in the afternoon of the third day and stayed in the palace of the Raya… He greatly enjoyed his stay for some time. Coming out, he took a round of the gardens and temples. The idols he saw amazed him… Next day he got those idols of gold smashed with stones. The pillars of wood were burnt down by his order… A cry rose from the temples as if a second Mahmud had taken birth. Two idols were made of brass, one of which weighed nearly a thousand mans. He got both of them broken, and the pieces were distributed among his people so that they may throw them at the door of the Masjid on their return [to Delhi]…”"

"Everyone threw himself, with his wife and children, upon the flames and departed to hell."

"Conquest of Malwa On the southern border of Hindustan, Rai Mahlak Deo, of Malwa, and Koka, his Pardhan, who had under their command a select body of thirty thousand cavalry, and infantry without number, boasting of their large force, had rubbed their eyes with the antimony of pride, and, according to the verse, ‘When fate decrees the sight is blinded,’ had forsaken the path of obedience. A select army of royal troops was appointed, and suddenly fell on those blind and bewildered men. Victory itself preceded them, and had her eyes fixed upon the road to see when the triumphant army would arrive. Until the dust of the army of Islam arose, the vision of their eyes was closed. The blows of the sword they descended upon them, their heads were cut off and the earth was moistened with Hindu blood.... The accursed Koka, also, was slain, and his head was sent to the Sultan. His confidential chamberlain, ‘Ainu-l Mulk, was appointed to the Government of Malwa, and directed to expel Mahlak Deo from Mandu, “and to cleanse that old Gabristan from the odour of [p. 81] infidelity.” A spy showed him a way secretly into the fort, and he advanced upon Mahlak Deo “before even his household gods were aware of it.” The Rai was slain while attempting to fly. This event occurred on Thursday, the 5th of Jumada-l awwal, A.H. 7052 (Nov. 1305 A.D.). ‘Ainu-l Mulk sent a chamberlain to the sultan with a despatch announcing this event. The sultan returned thanks to God for the victory, and added Mandu to the Government of ‘Ainu-l Mulk...."

"Amir Khusrau writes that under Jalauddin Khalji (1290-96), after a battle, “whatever live Hindu fell into the hands of the victorious king was pounded to bits under the feet of the elephants. The Musalman captives had their lives spared”."

"“He started his building programme with the Jami‘ Hazrat mosque… Thereafter he decided to build a second minar opposite to the lofty minar of the Jami‘ Masjid, which minar is unparalleled in the world…68 He ordered the circumference of the new minar to be double that of the old one. People were sent out in all directions in search of stones. Some of them broke the hills into pieces. Some others proved sharper than steel in breaking the temples of the infidels. Wherever these temples were bent in prayers, they were made to do prostration.”"

"Allusions to various colours.” On the day that the yellow faced rais, from fear of the green swords, sought refuge in the red court which is marked by victory, the Sanjar of the kingdom—may he always be on the cushion of success and his fame as a warrior remain evergreen—was still crimson with rage. When he saw the green, herbage-eating rais trembling with fear like the trampled and withered grass under the royal tent, although the rai was a rebel, yet the silver of his royal manners did not allow any hot wind to blow upon him. All the sultry wind of his wrath was vented against the other rebels and he ordered that wherever a black Hindu was found he should be cut down like dry grass.’"

"After crossing those rivers, hills, and many depths, the Rai of Tilang sent twenty-three powerful elephants, for the royal service. For the space of twenty days the victorious army remained at that place, for the purpose of sending on the elephants, and they took a muster of the men present and absent, until the whole number was counted. And, according to the command of the king, they suspended swords from the standard poles, in order that the inhabitants of Ma’bar might be aware that the day of resurrection had arrived amongst them; and that [p. 92] all the burnt Hindus would be despatched by .the sword to their brothers in hell, so that fire, the improper object of their worship, might mete out proper punishment to them....The sea-resembling army moved swiftly, like a hurricane, to Ghurganw. Everywhere the accursed tree, that produced no religion, was found and torn up by the roots, and the people who were destroyed were like trunks, carried along in the torrent of the Jihun, or like straw tossed up and down in a whirlwind, and carried forward. When they reached the Tawi (Tapti), they saw a river like the sea. The army crossed it by a ford quicker than the hurricane they resembled, and afterwards employed itself in cutting down jungles and destroying gardens...."

"“When the blessed canopy had been fixed about a mile from the gate of Arangal, the tents around the fort were pitched together so closely that the head of a needle could not go between them… Orders were issued that every man should erect behind his own tent a kathgar, that is wooden defence. The trees were cut with axes and felled, notwithstanding their groans; and the Hindus, who worship trees, could not at that time come to the rescue of their idols, so that every cursed tree which was in that capital of idolatry was cut down to the roots…"

"“During the attack, the catapults were busily plied on both sides… ‘Praise be to God for his exaltation of the religion of Muhammad. It is not to be doubted that stones are worshipped by Gabrs,74 but as the stones did no service to them, they only bore to heaven the futility of that worship, and at the same time prostrated their devotees upon earth’…”"

"Because of the shortage of stone, people scurried hither and thither throughout the kingdom in search of it. Some struck the base of mountains, so much were they enamoured of their search for stone that they tore at the mountain like lovers. Some were keener than steel in up- rooting the foundations of unbelief. Having sharpened their steels they applied them in holy war to the idol temples of the rais and with blows of iron they devoted their strength with as much vigour as possible to the breaking of the stones. Wherever an idol temple had engaged in an act of devotion the strong tongue of the spade in well founded argument removed the foundations of infidelity from the heart so that, at once, that idol temple in gratitude performed the Muslim rite of bowing in prayer."

"The intellectual decline of the Muslims was hastened by the peculiar position of the faithful in India: They had made India their permanent home; many of them were Indians by race; and all had become so in their personal appearance, thoughts, manners and customs. And yet their religious teachers urged them to look back to ancient Arabia and draw their mental sustenance from the far-off age of the Prophet. The language of their religion must be Arabic, which not one in a hundred fully understood ; their cultural language was Persian, which a few more learnt with difficulty and used with an impurity that excited the laughter and acorn of the Persian born. The greatest Indo-Persian poet was Amir Khusrau, but even he was ranked with third-class poets among the natives of Persia. Faizi, our second best, was held to be still inferior. Witness the scorn poured by Babur and Shaikh Ali Hazin alike on the Persian style of the Indian Muslims."

"[Then in a single campaign Ranthambhor was conquered and] ‘ by the decree of God the land of infidelity became the land of Islam’. [In Amir Khusrau’s words,] ‘ When the sky-rubbing canopy of the Shadow of God cast its shade over the hill of Ranthambhor, the conqueror of the world, like the sun, stood over the unfortunate in his heat, and cast the days of their lives into decline.’"

"But sometimes neither the passage of time nor indeed death could remove the [racial] barriers. The remains of the Iranian Mir Murtaza Shirazi, who was earlier buried near the Indian Amir Khusrau, were ordered by Emperor Akbar “to be removed and buried elsewhere”, on the representation of Shaikh-ul-Islam, who pleaded that the two deceased would find each other’s company a torture."

"The fire-worshipping Rai, when he learnt that his idol temple was likely to be converted into a mosque, despatched Kisu Mal to ascertain the strength and circumstances of the Musulmans, and he returned with such alarming accounts that the Rai next morning despached Balak Deo Naik to the royal canopy to represent that “your slave Billal Deo is ready to swear allegiance to the mighty emperor, like Laddar Deo and Ram Deo, and whatever the Sulaiman of the time may order, I am ready to obey. If you desire horses like demons, and elephants like afrits, and valuables like those of Deogir, they are all present. If you wish to destroy the four walls of this fort, they are, as they stand, no obstacle to your advance. The fort is the fort of the king; take it.” The commander replied that he was sent with the object of converting him to Muhammadanism, or of making him a Zimmi.. and subject to pay tax, or of slaying him, if neither of these terms were assented to. When the Rai received this reply, he said he was ready to give up all he possessed, except his sacred thread."

"We find the Muslim historians going into raptures as they describe scenes of desecration and destruction. For Amîr Khusrû it was always an occasion to show off the power of his poetic imagination. When Jalãlu’d-Dîn Khaljî wrought havoc at Jhain, “A cry rose from the temples as if a second Mahmûd had taken birth”. The temples in the environs of Delhi were “bent in prayers” and “made to do prostration”, by Alãu’d-Dîn Khaljî. When the temple of Somnath was destroyed and its debris thrown into the sea towards the west, the poet rose to his full height. “So the temple of Somnãth,” he wrote, “was made to bow towards the Holy Mecca, and the temple lowered its head and jumped into the sea, so you may say that the building first said its prayers and then had a bath.” ... One wonders whether the poet of Islam is being honoured or slandered when he is presented in our own times as the pioneer of Secularism."

"There is little doubt about Amir Khasrau’s achievements in music and poetry. But when it came to the fallen infidels and their religion, his bigoted Islamic zeal was very much evident. In describing Muslim victories against the Hindu kings, he mocks their religious traditions, such as "tree" and "stone-idol" worship. Mocking the stone-idols, destroyed by Muslim warriors, he wrote: ‘Praise be to God for his exaltation of the religion of Muhammad. It is not to be doubted that stones are worshipped by the Gabrs (derogatory slang for idolaters), but as stones did no service to them, they only bore to heaven the futility of that worship.’ Amir Khasrau showed delight in describing the barbaric slaughter of Hindu captives by Muslim warriors. Describing Khizr Khan’s order to massacre 30,000 Hindus in the conquest of Chittor in 1303, he gloated: ‘Praise be to God! That he so ordered the massacre of all chiefs of Hind out of the pale of Islam, by his infidel-smiting swords... in the name of this Khalifa of God, that heterodoxy has no rights (in India).’ He took poetic delight in describing Malik Kafur’s destruction of a famous Hindu temple in South India and the grisly slaughter of the Hindus and their priests therein. In describing the slaughter, he wrote, ‘...the heads of brahmans and idolaters danced from their necks and fell to the ground at their feet, and blood flowed in torrents.’"

"[After that, ‘Ala’ al-din’s army turned its attention to the citadel of Mandi and to the conquest of Malwa.] When the spearmen of the victorious army had with their spears put antimony into the eyes of the rais many great zamindars who were more sharp sighted threw aside their boldness and impudence from fear of the stone-splitting arrows of the Turks and came with open eyes to the sublime threshold and turned that threshold into antimony by rubbing their black pupils upon it. They thus saved their bones from becoming antimony boxes for the dust.”"

"«« Allusions to water animals.” ‘The crocodiles of the water in their armies were waiting in ambush for the armour-backed fish. When they came upon them, with blows of their sharp arrows they caught them in fish trap. With the blows from the enemies’ maces and clubs on their tortoise-like armoured horses, they drew in their heads; the heads of the Hindus rolled like crocodiles’ eggs on the fish-backed earth. In an instant all those mermen had been drowned in blood and had fallen in the manner of fish already ritually pure. Those half killed by the spears or the arrows cried out like frogs when bitten by snakes.”"

"Pakistan, its namaaz-raising hands dipped in the blood of Hindus and Sikhs, began as an Islamic terrorist State and continues to live up to its foundational values. Take it from Balasaheb and me: nothing will emerge from the latest "hand of friendship." Unless, of course, it is Kargil II."

"Which American values can, even remotely, be called Islamic? Democracy? Freedom? Equality? Secularism? Gender equity? Freedom of thought? The right to free expression? The right to critique any holy cow? Does even one of these values exist in a single Islamic state…? Is even one of these values extended to all Muslim citizens of an Islamic state?…What would be the fate of Hindus working in Saudi Arabia if they should advocate the replacement of the word "Islamic" with "Islamic-Hindu" in all references to the kingdom’s heritage?"

"Vajpayee's additional generosity to Muslim pilgrims earned him, in Varsha Bhosle's unsparing satirical columns, the alias Hajpayee."

"This, my friends, is the Jaziya that non-Muslims pay in "free" India, one governed by Prime Minister Atal Bihari Hajpayee."

"You’ll be pleased to know that you ‘secularists’ have a successful and time-tested way of tackling free speech: I am no longer writing for Rediff since its top honcho, Ajit Balakrishnan (also involved with discredited SABRANG communications Communalism Combat, ), finds me ‘very inflammatory.’ That’s surely something to rejoice over."

"Working with Gulzar uncle is a dream for anyone who is sensitive towards music and literature, and I am one of them. Although I've had his affection in the professional relationship that we shared, being part of an album that is so close to his heart is a privilege."

"An award means a lot to me. It brings happiness along with a kind of fear. It brings fear because the award is the responsibility which audiences have put on us. So a singer winning an award should always try to give best of him to the audiences."

"Dipa Karmakar You are an inspiration. Keep working hard, keep making us proud. It's hard being an athlete in India, yet you did it all."

"To me, music is oxygen and I know that someday even if I can't sing, I can always continue listening to it."

"He is an encyclopedia of good music. He creates magic. He is humble and genius. He is a dedicated, passionate person and believes in perfection. So all those who work with him, including the actors, believe in giving their best. He gets the best out of everyone."

"I love the idea of waking up to a song. It could be any song."

"Sorry sad to hear abt Bhupen Hazarika Ji. Another legend lost. His voice and songs will be alive in our hearts forever. Rest in peace."

"I am not a competitive person. I am a kind who will cheer for every one who is stepping up the stage for the award and I congratulate all the nominees and the winners along with me. Because according to me all the singers who were nominated are best as they sang different kinds of songs."

"I am fortunate to have worked with him and to have known him for so many years, and with no hesitation, I can say that there is absolutely no one with that passion for music and of course, films. He is an encyclopaedia of Indian music. So when we are in the studio, I just follow him like a student. He is as brilliant a composer as he is a director-producer."

"A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both."

"I think today there is space and work available for everyone out here. Earlier the scenario was different. Like there was a time when there was monopoly, only two or three singers would get to sing...It was difficult that time. But today the emphasis is on newness, novelty, so there is room for everyone."

"As someone who worships music, I believe it can never be ugly!"

"Hahaha... I can't understand why people constantly speak about the romantic quality in my voice. I have never made a conscious effort to sing with an extra romantic effect. But, I do enjoy love songs, as I am a romantic person."

"The best quality about her is that the expressions come perfectly along with mannerisms. If there'll be best all-time singers, Shreya will surely be included in that. She is very special to me"."

"The focus is only on singing. But a National Award is like a pat on the back as it's given to the best. Being awarded is also nerve-racking as the expectations and pressure rise. But it just motivates me to work harder."

"I am an easy going person. I don't sing for money or fame. I was brought up in an environment where I was taught to love and respect music, not consider it a business."

"She doesn’t like corrections. She would rather do it again than leave it to the machine."

"I always feel that I must do something new, at least for my fans."

"She is one of the most versatile and accomplished singers of the past decade and the current Bollywood scene."

"She is lovely as always."

"Shreya Ghoshal is an asset to the music industry."

"Zindagi kaisi hai paheli, Puchho na kaise, ek chatur naar, aao twist karein, aaja sanam madhur.. Such versatility and command over all genres. Rest in peace Manna Dey saab.. You and your voice are immortal.. Your songs will continue to inspire millions forever."

"Bollywood film music composers are under a lot of pressure to add elements of disco or bhangra or any other flavour currently popular with the youth. But when it comes to regional films, composers are given a free hand and they compose music they believe in. I think it's a matter of great pride to be singing such soulful tunes."

"Shreya Ghoshal has such a stunning voice."