Acting
Stint
Gradually,
Bawra
spent
more
time
off
his
railway
job,
writing
new
lyrics
and
doing
the
rounds
of
production
houses.
"In
'61,
the
Railways
sent
me
a
cheque
of
Rs
450
as
my
Provident
Fund.
I
was
attending
office
only
five
days
in
a
month.
After
that
I
never
went
back
there," he
informs.
But
those
were
the
days
when
the
industry
was
choc-a-bloc
with
celebrity
lyricists
like
Rajendra
Kishen,
Majrooh
Sultanpuri,
Indeevar
and
Shailendra,
and
in
such
a
scenario
a
greenhorn
like
Bawra
was
literally
feeling
lost.
"I
had
no
writing
work
for
the
next
three
years,
I
made
ends
meet
playing
bit
roles
in
films.
Right
from
my
first
film
as
a
lyricist,
I
was
fated
to
face
the
camera.
Ravindra
Dave,
the
maker
of
Satta
Bazar
told
me
that
he
would
use
my
songs
only
on
the
condition
that
I
played
the
comedian
in
the
film.
I
did
so
reluctantly,"
says
Bawra.
Soon
he
was
playing
several
small
roles.
He
also
played
the
pivotal
part
of
the
villain
in
the
first
Punjabi
film
in
colour
Shashi
Punnu,
a
film
that
won
Punjab
it's
very
first
National
Award.
"Shot
in
the
golden
sand
dunes
of
Jaisalmer,
the
film
was
a
roaring
hit,"
he
says
emphatically.
Acting
always
helped
him
survive
rough
weather
even
after
his
marriage
to
his
Sindhi
neighbour
Anju
-
his
acting
fees
kept
the
home
fires
burning.
Cheers,
Pancham!
But
the
lyricist
in
him
was
not
to
be
undermined,
and
he
kept
rearing
his
poetic
head
time
and
again.
In
'67
old
buddy
Manoj
Kumar
used
his
fabled
patriotic
song,
'Mere
desh
ki
dharti...',
which
became
an
instant
hit
and
also
lifted
several
awards
much
to
the
distress
of
arch-
rival
Anand
Bakshi.
Film
lore
has
it
that
Bakshi
placed
an
embargo
on
Bawra
preventing
R
D
Burman
from
working
with
Bawra.
But
as
Bawra's
luck
would
have
it
Randhir
Kapoor
had
taken
a
great
liking
for
Bawra's
meaningful
verses
from
his
film
Haath
Ki
Safai.
"Dabboo
recommended
me
to
Pancham
(R.D.)
for
his
film
Khalifa.
But
Pancham
was
reluctant
to
take
me
on.
He
worked
in
a
manner
that
you
had
to
write
lyrics
as
per
his
tune,
to
the
metre
of
his
notations.
Pancham
gave
me
such
a
mismatched
mukhda
and
antara
metre
that
I
should
have
thrown
my
hands
up
in
despair,
but
with
God's
grace
I
was
able
to
accomplish
this
impossible
task
set
before
me.
Next
day
when
Ashaji
was
rehearsing,
she
called
Pancham
and
fired
him
for
the
disarranged
mukhda-antara
and
then
he
admitted
to
her
that
he
was
trying
hard
to
shake
me
off
his
back.
Ashaji
admonished
him
for
compromising
on
good
music
and
made
him
rework
the
antara,"
he
remembers
the
not-so-great
beginning
of
their
hit
pairing.
Pancham
summoned
Bawra
that
night,
gave
him
the
right
metre
and
made
him
rewrite
the
verses.
"Had
he
called
me
10
minutes
later,
I
wouldn't
have
been
able
to
write
because
at
8.30
sharp
I
pick
up
my
whisky
peg
and
then
I
don't
touch
my
pen!
Pancham
said
cheers
to
that
and
brought
out
pegs
of
whisky,"
Bawra
recalls
fondly.
Commanding
his
price
with
pride
The
winning
twosome
scored
great
hits
together
and
in
the
days
to
come
they
became
inseparable.
Bawra
wrote
69
songs
for
Kalyanji-Anandji
as
compared
to
150
for
R
D
Burman.
"Ramesh
Behl
of
Rose
Movies,
Rakesh
Roshan,
Randhir
Kapoor
and
Pancham
were
my
friends
from
the
film
industry.
Irrespective
of
hits
and
flops,
we
ate,
drank,
sang
and
made
merry,"
he
discloses.
"What
made
our
pair
click
was
the
fact
that
we
had
a
great
tuning.
I
knew
that
flowery
language
wouldn't
work
with
Pancham,
I
had
to
write
simple,
direct,
free
flowing
verses
for
him.
Like
'Humne
tumko
dekha,
tumne
humko
dekha...' from
Khel
Khel
Mein,
which
was
such
a
big
hit,"
he
reasons.
With
several
hits
-
Rafoo
Chakkar,
Haath
Ki
Safai,
Yeh
Vaada
Raha,
Sanam
Teri
Kasam,
Agar
Tum
Na
Hote
and
Satte
Pe
Satta,
Bawra
commanded
the
highest
billing
in
his
day.
"I
never
compromised
on
my
price
because
God
was
kind
to
me.
I
had
the
luck
and
lesser
responsibilities
as
I
have
no
children
to
fend
for," he
concludes.
Morning
walk,
radio
and
south
Indian
TV
channels
Pancham
celebrated
each
and
every
birthday
of
his
in
the
lyrical
company
of
Bawra.
"From
'74
to
'93,
we
had
a
birthday
bash
for
him
on
June
27," sighs
Bawra.
He
continued
coining
verses
for
Rajesh
Roshan
in
Duniya
Meri
Jeb
Mein
and
Nishan
and
then
for
Anu
Malik,
but
somehow
the
"tuning"
was
never
quite
right.
These
days
Bawra
leads
a
disciplined
life
-
he
is
up
by
5.30
am,
an
hour-long
morning
walk
and
then
to
pooja,
tuning
into
Worldspace
Music's
Farishta
channel
that
plays
songs
from
the
'40s
till
'80s
and
no
further.
"Guess
what
I
like
to
watch
on
the
television?
I
only
watch
South
Indian
music
channels
in
the
mute
mode!
I
don't
want
to
listen
to
today's
lyrics
and
spoil
my
mood,"
he
says
with
a
shrug.
Yet,
please
don't
think
the
Lord
of
the
lyrics
has
taken
voluntary
retirement,
he's
just
written
a
mujra
for
Alisha
Chinnai's
latest
album
and
the
lyrics
of
Uttam
Singh's
'Suit
Boot
Mein
Aaya
Kanhayya...'.
"The
philosophy
of
my
life
has
been
to
be
happy
and
contented,
those
who
are
not
happy
making
Rs
5000
will
not
be
happy
making
Rs
5
crores
either.
I
have
a
neat
apartment
in
Mumbai's
best
location
and
I
can
afford
to
serve
Black
Label
today
-
truly
God
has
been
kind
to
me,"
he
surmises
poetically.
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