Marathi Songs By Non-Marathi Singers

 

 Marathi Songs By Non-Marathi Singers

Shrikant G. Talageri

 

It was a combination of circumstances which made me write this article. So this article has three parts:

1. Sanjeev Ramabhadran.

2. Music Crossing the Religious Divide.

3, Marathi Songs By Non-Marathi Singers

Basically, after writing an article recently about Marathi speakers being targeted as chauvinistic, somehow this may seem a corollary to that article. But it was actually triggered off by a totally different and unrelated circumstance, a whatsapp video shown to me by my brother.

 

I. Sanjeev Ramabhadran

The real indirect inspiration for this article was a video about a Tamilian NRI, born and brought up in the USA, but who apparently also studied in Delhi and Mumbai who basically sings Hindi songs rather than Marathi.

The video sent by someone (on whatsapp) of a singer named Sanjeev Ramabhadran singing a Hindi song Jaane Kya Dhoondhti Rahti Hai Ye Ankhen Mujh Mein in the TV competition Sa Re Ga Ma Pa (then being compered by singer Sonu Nigam) in 1997. The video:

https://www.youtube.com/watch?v=kSN2Cjt268E 

I found his singing so fascinating that I searched through youtube and found and downloaded a huge number of songs sung by him (while I sometimes download stray songs sung by other than the original singers, I rarely do so on a whole-scale level. Before this, I had likewise downloaded some Asha-Nayyar songs by Madhura Datar): I recommend that lovers of old Hindi songs should also see and hear them. Some of the videos are from 2023 and 2024, which means this wonderful singer has maintained his superb singing through the decades (I must add: he is still young), and I really felt sad that such wonderful singers are not grabbed by Indian music directors. But then, I realized that it was really all for the best that they are not, since then they would be singing the kind of later and newer Hindi songs which belong to a much less (if at all) divine world of Hindi music rather than the golden world of songs that his videos represent; and his singing as well as choice of songs show that if he had been so grabbed, he personally would probably have been a richer and more famous person, but Hindi music (and lovers of old songs) would have lost something. After all, the old world of music was divine not only because of the singers but also because of the music directors and song writers. Perhaps it may seem to many that this sounds opinionated and selfish, but well, it is my opinion.

As I was going through his songs on youtube, I found an unknown song, which was apparently set to tune by a singer named Shaila Hattangadi. My own usual (mild) chauvinism was kindled to see the Chitrapur Saraswat connection. Going on, I saw that he has also sung (among others) two of my favorite Marathi songs (Shukra Tara Manda Vara, and Swar Ale Duruni):

https://www.youtube.com/watch?v=4eDQZNgglEg 

https://www.youtube.com/watch?v=XAAdS6bm3BY

This brought me to my topic for this article: Non-Marathi Singers Singing Marathi Songs. And again emphasized in my mind that Music is the one area where beautiful music crosses all boundaries of language and religion. 

 

II. Music Crossing the Religious Divide

Music certainly crosses all boundaries of religion: Hindu singers sing songs about Allah and Muslim topics with as much freedom and zest as Muslim singers sing songs about Hindu Gods and Goddesses. The former should not surprise in any field, but at least in matters of music, even the latter does not surprise one at all: it is no coincidence that the topmost and most iconic instrumentalists associated with the shehnai in the north and the nadhaswaram in the South are Ustad Bismillah Khan and Sheik Chinna Moulana respectively, and they very regularly perform in temples:

Bismillah Khan With N Rajam (Raag Yaman)

https://www.youtube.com/watch?v=O8803uMBLBE

Bismillah Khan Concert in Datta Peetham

https://www.youtube.com/watch?v=nRoWZ7q_dbQ

Sheik Chinnamoulana at 147^th Thyagaraja Aradhana Thiruvaiyaru 1994

https://www.youtube.com/watch?v=IDAuoh0-cRg

Endharo Mahanaubhavulu a Pancharatna Krithi of Thyagaraja

https://www.youtube.com/watch?v=-zVO_8r89wo

 

Ustad Bismillah Khan, in an interview, had once said that the music he played was Hindu music, and that it would not be appreciated so much in Pakistan where many people frowned on music itself. I asked the question on google: “Ustad Bismillah Khan on why he did not migrate to Pakistan”, and the “Google AI overview answer” was:

“Ustad Bismillah Khan did not migrate to Pakistan because of his deep love for his home city, Varanasi, and his attachment to the cultural and religious sites there, such as the temples and the Ganga River. He felt his life and music were inseparable from India and the spiritual environment of Varanasi, and he famously stated that he went to Pakistan only briefly to be able to say he had visited it. 

·         Attachment to Varanasi: Khan considered Varanasi his home and felt a strong spiritual connection to the city, the temples like Balaji and Mangala Gauri, and the Ganga River, which he said inspired his music. He is quoted as saying, "Arre, will I ever leave my Benares?".

·         Cultural and musical roots: His career and musical journey were deeply rooted in India, and he did not want to leave the environment where he learned and developed his art.

·         Love for India: He had a strong sense of duty to his country and felt that his contribution to Indian culture was more important than any personal gain he might have found elsewhere. He saw his music as an integral part of India's heritage.

·         Brief visit to Pakistan: He did cross the border into Pakistan once for a short time, but he returned quickly. He explained that he only did so to be able to say he had been to Pakistan, but he knew he "would never last there".”

 

But this truly secular attitude, and respect for Hindu culture and spiritualism (largely missing among Indian Muslims in general, and definitely among fundamentalist Muslims) is found among countless Muslim musicians (especially Classical musicians) even as they have in no way abandoned their Muslim identity and religious practices: whether it is the famous Dagar Brothers or Ustad Vilayat Khan. Again, as per the “Google AI overview”, Ustad Vilayat Khan “saw music, particularly the ragas of Hindustani music, as a spiritual journey that reflected a universal divinity, blending his deep Islamic faith with an understanding of the spiritual significance of Hindu deities and concepts inherent in the music. He viewed his art as a way to express the profound, multi-faceted nature of the divine, transcending the limits of any single name or form….He explained his understanding of ragas like Bhairav and Bhairavi by connecting them to their Hindu deity counterparts (Shiva and Parvati), seeing the music as a reflection of the divine's infinite power and various manifestations.”

Likewise, see the following classical pieces by the famous Hindustani maestro, Ustad Amir Khan:

Jinke Man Ram Biraje (Malkauns)

https://www.youtube.com/watch?v=2ZkrJSeX3bk

Daya Kar he Giridhar Gopal (film: Shabab)

https://www.youtube.com/watch?v=CDuaj1X0tb0

 

Or by Ustad Bade Ghulam Ali Khan:

Hari Om Tatsat (Pahadi)

https://www.youtube.com/watch?v=huBUekkKDZs

Bhaj Re Hari Naam (Darbari)

https://www.youtube.com/watch?v=f7Mg5rPaUeA

 

Music has this power. Naushad (as per so many videos available on youtube) was apparently a Muslim chauvinist, and apparently he even took an active personal interest in preventing Muslim actresses from marrying Hindus − incidentally, he is my absolutely most favorite Hindi  film Music Director – but some of the most beautiful bhajans in Hindi films are by the combination of Naushad, Shakeel Badayuni and Mohd. Rafi. In fact the above bhajan by Ustad Amir Khan from Shabab also was by Naushad.

We have the glowing example of Christian singer Yesudas who has not only sung countless Hindu bhajans with true devotion, but openly rejected objections from Church authorities, while dealing respectfully with ultra-orthodox Hindu elements as well:

https://www.business-standard.com/article/current-affairs/singer-yesudas-applies-for-permission-to-pray-at-padmanabhaswamy-temple-117091700466_1.html

 

Note how even this Muslim sufi song by Pakistani singer Abida Parveen incidentally (at 5.03 to 5.15, and again later) talks about “mere shyam salona man mohan vi tu” and later “mera dharma vi tu”:

Mera Yaar Vi Tu Mera Ishq Vi Tu

https://www.youtube.com/watch?v=EfjXBIYa9bU

Incidentally, since the first part of this article was about songs by Sanjeev Ramabhadran, see his video of the Mohd. Rafi song “Allah Teri Khair Kare” from the film Heer. He started out by showing the Muslim Punjabi song on which it was based, which talks about not just “Allah” but also “Nabi Rasool Paigambar”:

https://www.youtube.com/watch?v=9hIFofxMAo8

 

However, let us be clear about this: singing and becoming moved by musical beauty in religious songs pertaining to different (from the singer’s own) religion is absolutely a part of that great universal philosophy called Music. But let this not be confused with dirty political attitudes towards music and hate-ideologies which use music to express or further their hatred. Three such categories come to mind:

1. “Hindu” singers who sing at Evangelist programs aimed at converting Hindus to Christianity.

2. Some Pakistani singers who are known to have expressed hatred towards Hinduism and contempt for “kafir” music.

3. Some particularly viciously provocative leftist “Hindu” musicians who use music in various ways expressing their contempt and hatred for Hinduism: e.g. by singing Thyagaraja krithis at Evangelist programs substituting “Yesu” for “Rama” and composing caricatures of Thyagaraja krithis (or other Hindu bhajans) with such substitutions of “Yesu” or “Allah” or “Nabi/Rasool” for the names of Hindu deities.

This particular kind of cannibalism is going from bad to worse, especially among the flourishing Proselytizing Evangelists in the South, where Hindu rituals and customs are regularly and blatantly taken over, replacing only the Hindu deities with Jesus, Mary or the cross:

https://x.com/ssaratht/status/1965730981752799336

All these activities have nothing to do with Music, only with Hate-ideologies.

 

III. Marathi Songs By Non-Marathi Singers

There have been many non-Marathi singers singing Marathi songs. [I am naturally not including the flood of Marathi singers of Konkani-speaking or Goan origin].I

Let us start with the famous singer, Sudha Malhotra (a Punjabi, and a popular singer in Hindi films). Particularly noteworthy is this song, Visarshil Khas Mala, popular on Akashwani (later recorded in the voice of Asha Bhosle). See both the versions:

Visarshil Khaas Mala

https://www.youtube.com/watch?v=DE3mcHqMItQ

There were other songs by her, which I have not been able to get (and in fact are not available), like Maagu Nako Sakha Ze Mazhe Na Rahile.

She has also sung the following popular duets with Arun Date:

Shukra Tara Manda Wara

https://www.youtube.com/watch?v=8xx-cFTF4XA

Haat Tuzha Haataat

https://www.youtube.com/watch?v=_i1hRUCors0

 

Geeta Dutt, a Bengali, and extremely popular in Hindi, has also sung a few Marathi songs. Some examples:

Zaaa Sang Lakshmana Sang Ram Rajala

https://www.youtube.com/watch?v=bUWAKoz6Ly0&list=PLuujFNBm4OgaUKVHV8-doy6jyv8h9iBVy&index=2

Jai Martand Jai Malhar

https://www.youtube.com/watch?v=kCxVrife8i0&list=PLuujFNBm4OgaUKVHV8-doy6jyv8h9iBVy&index=4

Ganpati Bappa Moraya- Swapna Tech Lochani

https://www.youtube.com/watch?v=lkM8_1hQDxo&list=PLuujFNBm4OgaUKVHV8-doy6jyv8h9iBVy&index=5

Mukya Manache Bol Sazana Bol Zhale Phol

https://www.youtube.com/watch?v=1n5Kesno_ys

Udho Udho Udho Maagte Ambabaicha Zogwa

https://www.youtube.com/watch?v=wCnN4eTzRP4

 

A Gujarati singer Madhubala Zaveri/Chawla was very popular in Hindi songs and equally popular in Marathi ones. Some examples:

Aaz Mi Aalavite Kedar- Avghachi Saunsar

https://www.youtube.com/watch?v=6f_Eaj8DUUQ

Dhaumya Rushi Sangat Ase- Sangte Aika

https://www.youtube.com/watch?v=BM9A5R_m97o

Gade Pahu Naka Haat Laau Naka

https://www.youtube.com/watch?v=vUm9UV0fk1M

Ambarat Nazukashi Chandrakor Aahe

https://www.youtube.com/watch?v=jpxx5rbQK64

Soduniya Brij Dhaam Savalya Zashi Kuthe

https://www.youtube.com/watch?v=3hCMRIBE-tg

Majhya Galala Padte Khali

https://www.youtube.com/watch?v=lggGtHp5rlM

Jivachya Jivalaga Nandlala Re

https://www.youtube.com/watch?v=hCtBnoZ_wuM

Kaal Ratra Sari Mazasi Zhop Nahin Aali- Sangte Aika

https://www.youtube.com/watch?v=K-fBesn-Kos

 

Among male singers from the north, the first name that comes to mind is Mahendra Kapoor. He lived in Mumbai, and in fact studied in the same school that I did (St. Xavier’s High School, Dhobi Talao) and was chief guest during the centenary programs in 1969. He has sung prolifically in Marathi. Some examples:

Abol  Zhalis Ka- Vaibhav

https://www.youtube.com/watch?v=BT1sB0XXow4

Anjanichya Suta Tula

https://www.youtube.com/watch?v=L30dv6GgJdY

He Chincheche Zhad- Madhuchandra

https://www.youtube.com/watch?v=CMKMh4dssM4

Hi Tumchi Bharatmata- Shevatcha Malusara

https://www.youtube.com/watch?v=Tnko6gcmsFc

Jinku Kinvva Maru- Chhota Jawan

https://www.youtube.com/watch?v=8sD6dG7CsIo

Kay Karu Mi Te Sanga- Sant Nivrutti Namdev

https://www.youtube.com/watch?v=ZspbgnBcsnA

Raatris Khel Chale- Ha Khel Savalyancha

https://www.youtube.com/watch?v=c_8XWaPpQHg

Saundaryachi Khan Pahili

https://www.youtube.com/watch?v=B9dz3i-7OSs

Sur Tech Chhedita- Apradh

https://www.youtube.com/watch?v=0pYcGS6Qd0M

Swapnat Pahile Ze- Apradh

https://www.youtube.com/watch?v=ApkFNR7ZvY8

Ti Yete Anik Zate

https://www.youtube.com/watch?v=ApkFNR7ZvY8

Tuzhe Roop Rani- Shevatcha Malusara

https://www.youtube.com/watch?v=B0sywDWItLw

Zhatkun Tak Jiva- Madhuchandra

https://www.youtube.com/watch?v=FdGJ3CQbFlQ

(With Asha) Asata Samip Doghe- Ek Do Teen

https://www.youtube.com/watch?v=zssSAOVhHH0

(With Asha) Madhu Ithe An Chandra Tithe- Madhuchandra

https://www.youtube.com/watch?v=F9f4MZmmJHY

(With Asha) Tula Samazale Mala Samazale- Madhuchandra

https://www.youtube.com/watch?v=KenVj-_q9Qo

(With Lata) Az Guz Sangte Tula

https://www.youtube.com/watch?v=JG_ylw3pS24

(With Usha)  Jeevan Gaane Gaatach Rahave

https://www.youtube.com/watch?v=DFW3wUcvOHI

(With Usha)  Jivachya Sakhila Kitida- Dhananjay

https://www.youtube.com/watch?v=d0VYOvg6RGo

(With Suman)  Sang Kadhi Kalanar Tula -Apradh

https://www.youtube.com/watch?v=_hY92txiMeY

 

Here are some Marathi songs by some of the other famous non-Marathi male singers from Hindi films:

Manna Dey:

Ghana Ghana Mala- Varadakshina

https://www.youtube.com/watch?v=WXrOR7bCyzE

A Aa Aai Ma Ma Maka- Ek Dhaga Sukhacha

https://www.youtube.com/watch?v=ZrjH1JuyrpM

Gopala Gopala- Devaki Nandan Gopala

https://www.youtube.com/watch?v=BQphVDsOpdI

Vitevari Ubha Deenancha Kaivari

https://www.youtube.com/watch?v=m39TPXvfgd0

Aadhi Rachili Pandhari

https://www.youtube.com/watch?v=hzezHiGdPR0

(With Lata) Preet Rangali Ga- Shrimaan Balasaheb

https://www.youtube.com/watch?v=EZwjGo7vxy8

(With Asha) Priti Mhanje Kaay- Zuna Te Sona

https://www.youtube.com/watch?v=5ZpczOSfaNc

(With Asha) Chand Gagani Ala- Nandadeep

https://www.youtube.com/watch?v=oFRhvxrOisQ

 

Mohd Rafi:   

Prabhu Ji Khel Tuzha Nyara

https://www.youtube.com/watch?v=cd5W97A17jA

Ha Rusawa Sod Sakhe

https://www.youtube.com/watch?v=91C4RI40Vyw

Are He Dukkhi Jiva Bekarar Hou Nako

https://www.youtube.com/watch?v=immMMTLTBBw

He Mana Aaz Koni Bagh Tula Saaz Ghali

https://www.youtube.com/watch?v=05tFWYGODJw

Prabhu Re Khel Tuzha Nyara

https://www.youtube.com/watch?v=cd5W97A17jA

Shodhisi Manava Rauli Mandiri

https://www.youtube.com/watch?v=9-TFKt-jy8c

Ha Chhanda Jivala Laavi Pise

https://www.youtube.com/watch?v=jF3YwRxwxKo

Prabhu Tu Dayalu krupasvanta Data

https://www.youtube.com/watch?v=U1QosuTXBQc

Virale Geet Kase Zhali Manachi Shakle

https://www.youtube.com/watch?v=SEnFVZDeXwo

 

Hemant Kumar:

Preetichya Chand Raatri

https://www.youtube.com/watch?v=o9mOFIg-JSM

Tuzhe Asun Tuzapashi- Pahile Prem

https://www.youtube.com/watch?v=sbejKuFeFUk&list=PLrIBTtjgaclfAL2KMDTsrgoCYWg3gUWeg&index=5

(With Lata) Mi Dolkar Dariyacha Raja

https://www.youtube.com/watch?v=bAeAgVAjHck

 (With Asha) Gomu Sanatina Majhya Tu Yeshil Ka

https://www.youtube.com/watch?v=nvvPf7yT2kE&list=PLrIBTtjgaclfAL2KMDTsrgoCYWg3gUWeg&index=6

His voice also begins this multi-singer song:

Swarajya Toran Chadhe- Maratha Tituka Milwawa

https://www.youtube.com/watch?v=ce4TKodXUFc

 

Talat Mehmood:

Jenvha Tula Mi Pahile

https://www.youtube.com/watch?v=D75whJsD1vI

Yash He Amrut Zhale- Putra Vhawa Aisa

https://www.youtube.com/watch?v=6vqv-UEgtGs

(With Asha) Hasale Aadhi Kuni- Molkarin

https://www.youtube.com/watch?v=D7mewXcIzIA

(With Suman) Swapne Manatali Ka- Putra Vhawa Aisa

https://www.youtube.com/watch?v=25VHj5wjyVM

 

Mukesh:

Ekda Yeun Za Tu- Saptapadi

https://www.youtube.com/watch?v=pqvWLE1g6ys

 

Kishore Kumar:

Ashwini Ye Na- Gammat Jammat

https://www.youtube.com/watch?v=M2h0PTS2WCg

 

Bhupendra:

Aalis Saanz Veli Gheun Swapna Mazhe

https://www.youtube.com/watch?v=1ijpyKaoZqY

 

Moving towards the South:

The first name that springs to the eye is Janaki Iyer (not to be confused with a modern singer of the same name) who was a very popular singer in Marathi. Some examples:

Pardeshi Sazan Ghari Aale

https://www.youtube.com/watch?v=aRBYoqfM914

Majhya Manaat Vinite Naav Ga

https://www.youtube.com/watch?v=b5ULUmi7iJs

Umatali Ramachi Paaule

https://www.youtube.com/watch?v=0MYM5zQIfIE

Dharila Pandharicha Chor Tene Bandhuniya Dor

https://www.youtube.com/watch?v=VrJH-_5hM2U

Chandrabhagechya Terrala

https://www.youtube.com/watch?v=xij6w0o-xK0

Zara Thambava Raghurayala

https://www.youtube.com/watch?v=hHy55tb9onc

 

Later of course, we have the popular Vani Jairam. Some examples:

Sukhache Sukha Shrihari Mukha

https://www.youtube.com/watch?v=OeN5y-QD0C4

Prem Pise Bharale Angi

https://www.youtube.com/watch?v=vjSzTiLiGR4

Kaay Mazha Aata Pahatosi Anta

https://www.youtube.com/watch?v=khdZDiuo0BU

Khanderaya Tujhi dharite Navasa

https://www.youtube.com/watch?v=wi3WUm_TNO8

Nesali Pitambara Zari

https://www.youtube.com/watch?v=ByHz9w0AI40

Zunzu Munzu Zhala Bai

https://www.youtube.com/watch?v=O3wHF7se5ow

(With Kumar Gandharva) Runanubandhachya Jithun Padalya Gaathi

https://www.youtube.com/watch?v=K0CXNZyGVeU

 

There was even a Marathi chorus song sung by singer Sharda (a Tamilian) who featured in many Hindi songs of Shankar Jaikishan:

Hirvya Hirvya Ranganchi Zhadi Halataat- Ti Mi Navhech

https://www.youtube.com/watch?v=gzxr6eizCis

 

The only song by a male singer I could find is by Yesudas:

Mayechi Sauli

https://www.youtube.com/watch?v=UoOgcI0-8Z4

 

But, on  male singers from the South, how many people know that Bhimsen Joshi and Kumar Gandharva, the very popular Classical maestros, and also popular for their Marathi songs, were originally Kannadigas from Karnataka? [So were so many other doyens of Hindustani Classical music like Sawai Gandharva, Mallikarjun Mansur and Gangubai Hangal].

There are so many Marathi (and Hindi, Kannada, and other language) classical pieces, bhajans, film songs and natyageet sung by Bhimsen Joshi and Kumar Gandharva that I will give only a few prominent beautiful examples:

Bhimsen Joshi:

Indrayani Kathi Devachi Alandi- Gulacha Ganpati

https://www.youtube.com/watch?v=tbXsqtxsea4

Ramya Hi Swargahuni Lanka- Swayamvar Zhale Siteche

https://www.youtube.com/watch?v=juq16lSm6KA

Sampale Jeevan- Pativrata

https://www.youtube.com/watch?v=bYw5llBrOWg

Rasika Gaau Konate Geet- Pativrata

https://www.youtube.com/watch?v=UEMJnw2bxyU

Shodhito Radhela Gopal- Sheraas Savva Sher

https://www.youtube.com/watch?v=SH8QjT7OzkQ

Man Ho Ram Rangi Rangale

https://www.youtube.com/watch?v=o-_qx6VXMA4

Teertha Vitthala Kshetra Vitthala

https://www.youtube.com/watch?v=MhuiK97g20E

 

Kumar Gandharva:

Aaz Achanak Gaath Pade

https://www.youtube.com/watch?v=0dSTTUBbo0Q

Prem Kele Kaay Ha Zhala Gunha

https://www.youtube.com/watch?v=ucUgl3Xa1jg

Uthi Uthi Gopala- Dev Deena Ghari Dhavala

https://www.youtube.com/watch?v=d-z9ouGixLE

 

Actually, Maharashtra with its rich musical culture (folk songs, natyageet, classical, film songs, bhavgeets, abhangs and bhaktigeets, etc.), being also the place where the Indian Film Industry took birth, and the home of  cosmopolitan Bombay/Mumbai, and of the “Bollywood” Hindi film industry, is a kind of center of attention for true music lovers from all over India, and hence nowadays we find singers from all over India noting Marathi songs and taking part in Marathi music competitions on TV (and even winning them), and uploading videos of themselves singing Marathi songs, it will not be possible to show all these aspects in this article: a search of youtube will provide a panorama of non-Marathi people singing Marathi songs (and indeed, all kinds of people singing songs in languages which are not their mother-tongue). I will give just one beautiful example:

Sniti Mishra singing natyageet “He Suranno Chandra Vha”:

https://www.youtube.com/watch?v=_9p5XSfv410

 

One name I must mention before ending this article is the actor Sumeet Raghavan. I do not think he has recorded any song, but long ago he had appeared as a participant in the Marathi Sa Re Ga Ma Pa contest. I thought him the best singer, although he did not win. I actually wondered at the time whether it was a genuine case of Marathi chauvinism on the part of the Marathi people who “vote” in such contests (and anyway I rarely watch such contests), but it may have been that though he was (in my opinion) the best singer (and really had a unique and beautiful voice) his choice of songs (again in my opinion) was not so good.

But I mention his name because he is a living example of the very opposite of the phenomenon that I have often referred to (of non-Marathi people living in Mumbai having disdain for Marathi). He is a Tamilian and his wife is Marathi. But what makes him really worthy of respect is the fact that he so closely identifies himself with the language of the city he lives in that he put his children in Marathi-medium schools (something few of the “Marathi”-politics indulging politicians in Mumbai would do, and in fact I do not know whether even I would have been bold enough to do so if I had children and had to choose their medium of instruction) and has absolutely no regrets about having done so!

 

Is This How “Casteism” is Measured? Yogendra Yadav’s Casteist Salvo

 

Is This How “Casteism” is Measured?

Yogendra Yadav’s Casteist Salvo

Shrikant G. Talageri 

 

Recently, a clip about “upper-caste casteism” being “exposed” by the suave Hindu-hater, psephologist and political activist Yogendra Yadav is apparently being publicized everywhere. It is claimed to expose in a nutshell the stranglehold of “upper caste” students, or the bias against “lower caste” students, in activities even among the modernized “Gen Z” (i.e. those born after the year 2000) in universities and related circles. What brought to this to my notice was a tweet sent to me from the following twitter handle:

https://x.com/haraappan

This tweeter writes in Tamil, and clearly his main agenda (as per the name of his twitter account) is to claim that Tamil people are “Harappans” and that “Aryans” invaded India and displaced a “Dravidian India”: i.e. a pure “Hate-North, Hate-Hindi-Sanskrit, Hate-Hindu” Dravidianist ideologue. But that would be beside the point if he had a valid point to make. But does he? The following is the tweet:  

https://x.com/haraappan/status/1992436050556571960

“Blast to the core 10 upper caste gives opinion for all the people in India”

 

Twitter (X) itself highlights this issue as follows under the heading “Yogendra Yadav Questions Lack of Caste Diversity in Student Panel”:

“On the Indian debate show 'Take That' in early October, activist Yogendra Yadav challenged a group of about 10 Gen Z students on their lack of representation from Scheduled Castes, Scheduled Tribes, and Other Backward Classes. He compared it to an all-male group discussing women's issues and urged them to gain perspective by spending time in villages. The moment fueled conversations about elite disconnect, merit versus inclusivity, and whether such panels truly reflect India's diversity, with some praising the critique and others calling it divisive or hypocritical given Yadav's own OBC background.

This story is a summary of posts on X and may evolve over time. Grok can make mistakes, verify its outputs.”

 

The Google AI Overview on this:

“Yogendra Yadav Questions Lack of Caste Diversity in Student Panel”

“Yogendra Yadav recently questioned the lack of caste diversity in a student panel during a discussion, pointing out that all ten students present identified as upper-caste, despite Scheduled Castes, Scheduled Tribes, and Other Backward Classes (SC/ST/OBC) making up an estimated 70-80% of the Indian population. 

Yadav highlighted the panel's composition while participating in an event, likely organized by a group called "Mo.Of.Everything" which has posted clips of the exchange online. 

Key points from the interaction:

·         Lack of Representation: When Yadav asked how many students on the panel belonged to the SC/ST or OBC categories, the answer was zero.

·         Questioning Legitimacy: He explicitly questioned whether a panel of ten upper-caste individuals could authentically represent the views and realities of "Gen Z India".

·         Analogy: He drew an analogy to a hypothetical all-male panel discussing the world or an all-white panel in South Africa discussing the state of the country, asking why the lack of caste diversity was not seen as equally "odd". 

The incident sparked a debate on the representation of caste and privilege in modern Indian student and media spaces”.

And all those who delight in venting their spite and casteist biases have made this a basis for spreading caste animosities throughout the media and social media.

 

In actual point of logic, the onus (if there is any onus here) of explaining why the student panel did not include a single member from among OBC and SC/ST students (the reports do not mention whether it included non-Hindu students) falls entirely on the students in the panel, or the persons who appointed them, or the particular group which organized the discussion in the first place (even the actual topic of the discussion is not mentioned): the above Google AI overview ambiguously tells us it was “likely organized by a group called "Mo.Of.Everything"”. The specific persons or group responsible (if anyone) should be questioned or held responsible or answerable, not Hindu society or “upper caste” society/students, as sweepingly being done here.

If it was indeed that group itself “which has posted clips of the exchange online”, to indict Hindu society or “upper caste” society/students, instead of answering or accepting the charge themselves, that makes the whole thing all the more fishy and suspicious: was the whole issue planned with exactly this in mind?

But, in the absence of actual information about the subject of the discussion, the exact entity “responsible” for the “caste” composition of the panel, the ideology (if any) of the panelists and their organization (whether “Mo.Of.Everything” or whatever), etc., it would be better to look at the issue with unbiased honesty.

Firstly, it cannot be that the specific (if any) university, college or institution, which organized the panel, did not itself have any members of the OBC or SC/ST categories in their midst. If we have “Scheduled Castes, Scheduled Tribes, and Other Backward Classes (SC/ST/OBC) making up an estimated 70-80% of the Indian population”, surely we also have reservation systems which ensure that “Scheduled Castes, Scheduled Tribes, and Other Backward Classes do not  make up 0 %” of that specific (if any) university, college or institution, which organized the panel.

Is it then anyone’s contention that students (or ”Gen Z” youth) from that specific university, college or institution belonging to the “Scheduled Castes, Scheduled Tribes, and Other Backward Classes” were expressly prevented from becoming members of the panel even when they wanted to be in it? If so, then definitely the onus, responsibility and answerability for this lies on the organizers of the panel, or on the group (“Take That” or “Mo.Of.Everything” or whatever) and not on Hindu or “upper caste” society on the whole, on whom the group seems to be trying to foist the onus, responsibility and answerability.

But, if there was no deliberate and calculated exclusion based on caste, should there indeed be any onus, responsibility or answerability on anyone? Maybe those people interested in the particular activity in question (the discussion panel) just simply happened to not include persons from the “Scheduled Castes, Scheduled Tribes, and Other Backward Classes”. This happens in situations all over the world: people do not generally indulge in different activities in proportion to the percentage of their caste, language, regional or religious identities in the total population.

It is woke ideology (I have already written a lot on this) and hate-ideology-obsessed-politicians like Yogendra Yadav who make identities of all kinds into weapons or instruments of discord and division, even more than the people who actually represent the identity-politics themselves. Of course, today, and in the future, it is these very people who call and will call the tune in India and the world. Sad, but true.

For Mumbaikars Only: Three Best Places To Lunch Out

 

For Mumbaikars Only: Three Best Places To Lunch Out

Shrikant G. Talageri 

 

Eating is one of my passions after listening to music, reading story-books/novels, and watching serials: this third is now very much reduced, but I still often watch Crime Patrol, Netflix and Zee Marathi (though, I spend most of the time in this last one cursing the storylines, dialogues, situations and character-portrayals); and, of course, writing articles and airing my views and opinions on anything and everything, whenever I feel doing so. It is in pursuit of the last of them that I am writing this article, which I admit would have been more suitable for a column in a Mumbai-based newspaper or magazine (but who will give me an opportunity to write in those places, and why should I when I have my own personal “magazine: my blog?).

Of course, with the passage of time (I have now completed 67 years of age) one’s gluttony and capacity to eat diminishes. But I have been thinking of writing this article since the last few months, and only hesitated because I felt a bit foolish to do so. But, since I am on an article-writing spree at the moment: here goes…

But a warning: I am a vegetarian (though I eat eggs since they do not involve killing living-and-feeling creatures: I will not enter into debate about this, since I have already written an article on Vegetarianism). So this will strictly be a mainly vegetarian list.

I will deal here only with the three best hotels to lunch in (non-residential ones, which I am told should strictly be called “restaurants” and not “hotels”, but in India the word “hotel” is regularly used for a “restaurant”. and I use it in that sense here) and say a few short words on other breakfast and snack hotels, etc. while concluding.

I will start with the first and least costly one of the three (the prices are all as per today: 24 November 2025):

 

1. Gujarati thālī hotel just outside Borivli station (west), “Laxmi Dining Hall”. I will make clear that there are Gujarati thālī (or Gujarati/Rajasthani) hotels all over Mumbai, with prices ranging from 900 rupees downwards (and maybe upwards as well) offering a very wide range of items in the thālī, and each and every one of them will have its loyal fans. This particular hotel that I am naming does not have as large a range of dishes as the costlier ones, and there may be others with prices, taste and quality comparable to “Laxmi Dining Hall”, so this is not an absolute recommendation: it just happens to be my favorite at the price, and is as fully satisfying (in my opinion) as the costlier ones with the very much wider range of items. The location also makes it easily accessible.

[Earlier, “Adarsh” hotel near Gol Deval was our favorite Gujarati thālī hotel. It had a wider range of equally delectable items in the thālī. Unfortunately, for some reason, this has closed down since some years].

The price (24 November 2025) without the extra limited “sweet” is Rs. 170. And with the “sweet” is Rs. 200.

 

2. My second recommendation is a strong one: “Sri Krishna Veg Restaurant” in the Nana Chowk circle (four minutes walk from Grant Road west). It serves a thālī which it advertises (on the board outside) as “Brahmin Uta” (Brahmin Lunch, in Kannada). It is an unlimited thālī served on a banana leaf, (unlimited including the buttermilk and the sweet payasam, which, in Gujarati thālīs, including the above, are not unlimited), and though the number of items is not unlimited, the taste, quality and richness are beyond words. In fact, I am surprised that it is not as crowded everyday as it fully deserves to be (though that is to my advantage): it may be lack of publicity and advertisement.

Actually, the restaurant is otherwise a costly one: once I took a visitor to it for tea, and to my amazement it was Rs. 85 for one cup of tea (more on this presently)! But no-one can deny that the quality of the food in this hotel is superb. And that makes the price of the unlimited thālī even more surprising:

The price (24 November 2025) is Rs. 299 plus GST.

[p.s. any friendly visitor to my house can expect me to treat him to this thālī if he wants: I like treating people to food and snacks].

 

3. Finally, the absolutely best lunch in Mumbai is the unlimited buffet at “Govinda’s Restaurant” attached to the ISKCON temple at Juhu-Vile Parle (actually Andheri west). It is unbelievable. Needless to say, the quality and purity of the ingredients, and the taste, are beyond comparison, and every item is unlimited. The number of items is staggering: starting with four kinds of drinks (two juices, buttermilk and jal-jeera) and ending with four rich sweets, a kulfi and one (sometimes two types of) icecream; and with an amazing range in between of all kinds of (Indian and non-Indian) starters, chaats, vegetable dishes, breads (i.e. puris, rotis, chapattis, parathas, etc.) rice and pasta dishes, raita, etc. More than half of the dishes have to be left untaken: they are too much for one stomach.

The price (24 November 2025) is Rs. 650 on weekdays and Rs. 750 on Saturdays, Sundays and public holidays.

 

Before ending the article, I must touch upon other kinds of hotels and my views on them:

1. Other kinds of hotels and eateries in Mumbai include Maharashtrian hotels. I am not talking about the ownership but the food: those which serve Marathi dishes, especially of the “upavās” type (sabudana items, upavās misals, and many other items of similar nature, often made of potatoes and sweet potatoes) and other Marathi dishes (like kothimbir wadis, masale bhaat, zhunka bhakar, pitla bhakar, etc. and even Maharashtrian thālīs and in the month of Shravan, upavās thālīs).

There are many such hotels, especially in and around Girgaum and Dadar, and perhaps in Thane, and doubtless in many other areas. The most well-known are the various “Panshikar” hotels (not all apparently part of a chain or having common owners). My favorites are “Prakash” and “Saandu” in and around the Girgaum area.

[One idiosyncrasy of many of these hotels is their rigid adherence to particular week days for particular items].

On another note, there is a famous Maharashtrian hotel at Lamington Road (Grant Road east) called “Chaphekar”. It is old and popular, established in 1928 (and apparently frequented by many of India’s prominent freedom fighters), and still one of the very good hotels for all the typical Maharashtrian food. But what I particularly remember about this hotel is its unique missal, which was different from other Maharashtrian hotels which serve a particular kind of Maharashtrian missal. Now, the old missal seems to have gone extinct, and what you get now at “Chaphekar” is not even the typical Maharashtrian missal, it seems to be the kind of missal you get in South Indian hotels in Mumbai!      

 

2. I cannot talk about hotels without special reference to one of the most iconic hotels in Mumbai, which was situated at Nana Chowk, Grant Road west:  “Jai Hind Cold Drinks”.

I can only quote what I wrote about it in an article in 2015:

“the shop which I consider probably the classiest and most memorable non-starred eatery in the whole of Mumbai: Jai Hind Cold Drinks beside Belgaum Ghee Depot in Nana Chowk (with Café Mazda, another memory, on the other side of Jai Hind). This shop was famous mainly for its wide range of ice-creams, jellies, kulfis, faloodas and sweet set curds (in flavours like chocolate, mango, pineapple, strawberry, kesar, etc.! Can we get fresh curds of this kind anywhere in Mumbai today?). Even more striking was its classy antique ambience: glass tables, glass statues and glass fountains, and rows of glass cupboards all around with thousands of glass ice-cream bowls arranged inside them in rows of different colours! The closure of Jai Hind (now a plywood shop stands in its place) was, in my opinion, nothing short of a crime.”

 

3. I spoke about the “Brahmin Uta” at the “Sri Krishna Veg Restaurant” in the Nana Chowk circle. This same hotel also has a superb unlimited breakfast in the morning, only up till 10.30 AM. This is the most superb unlimited breakfast I have ever seen, given the taste and quality of food in this hotel: it includes (besides the idli-wada-dosa-upma-shira items, the shira made in pure ghee with jaggery instead of white sugar) items like Mangalore buns and ragi-sevai-upma. Surprisingly, tea and coffee (more than one if you want) are included in the price: surprising, given the price of one cup of tea if you visit the hotel at normal hours.

The price (24 November 2025) is Rs. 175 plus GST on weekdays and Rs. 250 plus GST on Saturdays, Sundays and public holidays.

 

4. There was another unlimited buffer I had quite grown to like. It was at “Global Fusion” (the particular branch at Atria Mall, Worli). Others in my family had been to it many times, but they eat non-veg food (which can probably be made “vasool” to some extent at the rate charged). I was repeatedly told that there were equally delectable veg. dishes, but I did not think it was worth it (at Rs. 900 for the veg. buffet six years or so ago). But I went once, and found that unlike most other such veg. buffets, there was quite a variety of different East Asian veg. starters and dishes which would be hard to find elsewhere, and I particularly liked the Continental soups (I detest Chinese soups). So, sometimes I also accompanied them. However, the prices kept shooting up, until it is now around Rs. 1500 or so (which I personally don’t think worth it). So it has been a long time since I have been there.

[I will not talk here about any of the countless other new hotels springing up all over Mumbai, all posh, expensive, and catering to the rich, modern and internationalized sections of  Indians].

 

5. While praising so many hotels, it may be bad form specifically mentioning a hotel in the opposite way, especially because the hotel in question is “Govinda’s International” attached to the ISKCON temple at Chowpatty (Grant-Road, west). But, to be true to the purpose of the article, I must mention it, not just because the lunch thālī here contrasts sharply with the unlimited buffet at “Govinda’s Restaurant” attached to the ISKCON temple at Juhu-Vile Parle, since nothing compares to that buffet. But because it contrasts sharply with the above-mentioned lunch at the “Sri Krishna Veg Restaurant” in the Nana Chowk circle which is at a distance of just 10-minutes walk from this one:

This thālī is fixed and limited at Rs. 450, the “Sri Krishna” one is fully unlimited at Rs. 299 plus GST.

This thālī gives white rice and maida rotis and a roasted papad, the “Sri Krishna” one gives a choice of white rice and brown rice, four types of breads (whole-wheat parathas, bajra chapatis, jowar chapatis and ragi chapatis) and fried papads as well as one other variety of fried items (palak-bhajias/cutlets/dalwadas).

This thālī gives two types of vegetable dishes which can be got in any hotel anywhere (it was paneer masala and mixed-veg masala when I went there), the “Sri Krishna” one gives two types of unique coconut-rich traditional vegetable dishes from Karnataka not found at many places.

And, for what it is worth (I mention this for those who would like the ambience), the “Sri Krishna” thālī is served on a banana leaf with all the traditional condiments:  salt, pickle, liquid chutney, chutney powder, curd chillies, and also a velchi banana.

[I often visit the beautiful ISKCON temple at Chowpatty (my brother more often), and have the greatest respect and veneration for the temple authorities, rituals and social service activities of the temple. It pains me to have to write the above about the lunch at a hotel attached to this temple, but I respectfully believe the hotel functions separately from the temple in this matter].  

 

5. Talking about South Indian restaurants, sometimes sweepingly referred to as “Udipi” restaurants, there are countless other very good ones in every nook and corner of Mumbai, too many to be named here, many of them very old, famous and popular. I think anyone will be able to get information about them from many other diverse sources, or from friends and acquaintances among Mumbaikars with a fondness for some particular one of them.

But I will mention one restaurant which I had got into the habit of frequenting in the last ten years or so (although it has been quite some time since I have been there): a hotel called “Shardha Hotel” in the Matunga Labour Camp area (included in the greater Dharavi area) in the heart of Matunga East. Apart from purely Tamil variants of South Indian dishes, it has a unique dish called “egg dosa”. Yes, I am now stepping into the “egg” zone. Someone told me about it, and I went all the way to try this dish. What attracted me most was the purely ethnic, antique Tamil atmosphere of the shop: the highlight was the huge antique menu board on the wall which gave the name of every dish in three alphabets: English, Hindi and Tamil: the only such hotel that I at least have seen in Mumbai. But suddenly, one day. a few years ago, the owners changed the board and put up a new board which gave the names only in Hindi and English. I was so put out that I asked the owner (I assume the person sitting on the counter was the owner) why they did that. He seemed surprised at the question and told me the board was an old one and so they put a new one! He did not seem to think it necessary to explain why the Tamil names were removed. I was as infuriated as any Tamil activist could have been, and even toyed for some time with the thought of taking up the matter with the DMK party office in Dharavi (I believe there was or is one there)! The hotel is still as iconic as ever, but in my opinion it has lost its unique ambience.

 

6. Having gone on to eggs, I must mention my favorite restaurant in the Muslim Bhendi Bazar area of South Mumbai, “Café Shaheen” at Nizam Street, Bhendi Bazar., where I have often been having shahi dal fry, mixed tarkari fry, chana masala fry, and bina-mirchi omelettes with chapatis and biriyani rice.

 

As I am ending this article, I must point out that Mumbai is a multicultural metropolis, and there are probably many iconic areas and hotels/shops where the cultural culinary delicacies of different parts of India can be had:

There are Sindhi hotels in Mumbai (though my favorite “Geeta Bhavan” at Navjivan Society, Lamington Road has closed down decades ago), but, apart from Guru Kripa at Sion,  the main traditional Sindhi food hubs are in Ulhasnagar to the north of Kalyan.

Punjabi food is, of course, everywhere, and in every kind of hotel. Perhaps, authentic Punjabi food may be found in little-known dhabas in different places: I cannot specify any particular one.

For U.P-Bihar items like litti-chokha, I have just discovered a shop in Andheri east and one in Bhandup west. Of course, most street-food sellers of chaat items in Mumbai, like pani-puri, bhelpuri, etc., are usually people from U.P-Bihar.

There are many shops/hotels selling Parsee and Goan food particularly in different parts of South Mumbai and Bandra. Again, I cannot specify any particular one. And of course, there are typical Mumbai dishes like pav bhaji available everywhere.

There are probably centers of Bengali food in particular parts of Mumbai (and I am not referring to the ubiquitous Bengali sweets available everywhere). We in our area get a taste of authentic Bengali food (and Bengali music and rituals) during the annual Durga Puja celebrations of the Bombay Durga Bari Samiti at Tejpal Hall behind August Kranti Maidan. My favorite items are the amer chatni and the unique Bengali bhajias (I wonder if they are coated in rice flour rather than gram flour). A few years ago, I bought a gopichand (a Bengali stringed instrument) at one of the stalls, which still adorns my book-cupboard.

Having said all I wanted to say, I am ending this article at this point, with a paragraph from an earlier article: “What can make a true Chitrapur Saraswat’s mouth water more than the thought, smell or sight of special bhajyo, randayo and godshe items so dear to our community (refer Rasachandrika, that iconic cook-book of the community) like ambya sasama, amble ghashshi, alsandya ghashshi, karatya sukke, batatya sukke, gadzra godzzu, kakde kosambari, patrodya panna alvati, kairasu, chauchavu, kulta saara, avrya bendi, bhoplya bajji, ghosalya ambata, vali ambata, madgane, cheppi khiri, surnoli, shevai rassu, phansa pattolyo, sukrunde, bogdela, undio, appe, khotte, doddaka,  etc., right down to the down-to-earth basic bhanap dishes like hot batatya songa or talasani and hot dali toya or kholmbo?”