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‘Bihar Kokila’ Sharda Sinha’s top songs: From Chhathi Maiya Aayi Na Duaariya to Hum Aapke Hain Koun’s Babul

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‘Bihar Kokila’ Sharda Sinha’s top songs: From Chhathi Maiya Aayi Na Duaariya to Hum Aapke Hain Koun’s Babul

Sharda Sinha sang Barh Re Jatan Se, Dwar Chekai, Patna Se and Koyal Bin. She lent voice to Bollywood songs, including Taar Bijli from Gangs of Wasseypur- II.Sharda Sinha, also called ‘Begum Akhtar of Mithila’, was the melody behind Chhath Puja and many a celebration in the region – and outside it too.

Her songs echoed with the sounds of generations of folk singers who came before her, her voice earthy and imbued with the memory of home. The singer died on Tuesday night following a long battle with multiple myeloma. It was just four days after her 72nd birthday on November 1. Wednesday is the first day of Chhath celebrations, a festival she was always associated with. (Also Read | Sharda Sinha’s son Anshuman Sinha mourns his mom’s death, shares details about her last rites)

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About Sharda’s musical journey

Sharda always released a song during the festival and did so this year too not withstanding her ill health. A trained classical singer who effortlessly melded the folk in her many songs, Sinha was hailed as the voice of her people and often called ‘Bihar Kokila’. The Padma Bhushan recipient, whose career spanned more than five decades, lent her voice to songs in Maithili, Bhojpuri and Magahi languages.

Let’s take a look at some of her popular songs:

1) Chhathi Maiya Aayi Na Duaariya

Sharda sang the song in Bhojpuri and it released in 2003. It was part of the Sakal Jagtarini Hey Chhati Maiya album. She was also the composer of the song. The lyrics was written by Vinay Bihari. The song became widely popular since its release and has always been played during the festival of Chhath Puja.

2) Kartik Maas Ijoriya

The song sung by Sharda is from the album Aragh which released in 2005. It has been composed by Shailesh Thakkar and lyrics have been penned by Jyotindra Mishra.

3) Ho Deenanth

The song is from the album Chhathi Maiya released in 1986. Apart from singing the song, Sharda was also its music director as well as lyricist.

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4) Babul

The song sung by Sharda is from the 1994 film Hum Aapke Hain Koun, directed by Sooraj Barjatya. The film stars Madhuri Dixit, Salman Khan, Mohnish Bahl, Renuka Shahane, Alok Nath, Reema Lagoo and Anupam Kher. In the film, it was picturised on Mohnish and Renuka when their characters got married. The song was sung by Sharda with music by Raamlaxman and lyrics by Ravinder Rawal.

5) Kahe Toh Se Sajna

Sharda lent her voice to the song from the 1989 film Maine Pyar Kiya. It has been featured on Salman Khan and Bhagyashree. Directed by Sooraj Barjatya, the film also starred Alok Nath, Mohnish Bahl, and Reema Lagoo. In the song, Salman and Bhagyashree’s characters are seen working at an under-construction building and spending time with each other. The music was composed by Raamlaxman and the lyrics by Asad Bhopali.

About Sharda’s health, family

Sharda, who had been suffering from multiple myeloma since 2017, had been on oxygen support Institute Rotary Cancer Hospital (IRCH), the cancer institute of AIIMS, since October 27. She is survived by her children–Vandana and Anshuman. Just weeks ago, they lost their father, Braj Kishore Sinha, to a brain haemorrhage after a fall. It was a hard blow for the already ailing Sinha.

Over the years, she received various honours besides the Padma awards. These include the Rashtriya Devi Ahiliya Samman, Bihar Kala Puraskar, Bihar Ratna, Bhojpuri Ratna, and Mithila Vibhuti Samman.

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Entertainment News

Billie Eilish Tour Film Faces Heartbreaking Delay After CBFC Changes

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Billie Eilish: Shocking India Film Delay

For Indian admirers, the delicate whisper of a music has become a wordless scream. Billie Eilish, the global phenomenon whose voice defines a generation, was intended to grace our screens with a cinematic representation of her “Hit Me Hard and Soft” tour. It was intended to offer a visceral, raw, and personal glimpse at her most ambitious theatrical production ever. However, the euphoria has met a major hurdle.

Instead of purchasing tickets, fans are instead browsing news sites in disgust. The highly anticipated concert film has been officially postponed in India. This is not a technical issue or a schedule conflict. The culprit is a series of changes required by the Central Board of Film Certification (CBFC). This news comes as a shock to a fandom that takes pleasure in its genuineness.



The Vision Behind the Magic

The “Hit Me Hard and Soft” tour is more than just a musical showcase. It is a visual manifesto documenting Billie’s artistic development. Known for her loose clothes and hauntingly gorgeous graphics, this tour revealed a more mature yet equally sensitive side of her demeanour. The film was created to record every drop of sweat, tear, and soaring high note in high definition.

In the international market, the picture has been acclaimed as a masterpiece of concert cinematography. It uses unique lighting and immersive soundscapes to make viewers feel as if they are in the front row. This was the closest Indian fans would get to experiencing the enchantment of her live performances. This connection has been temporarily broken due to bureaucratic red tape.

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Understanding the CBFC Stance

The CBFC, often known as the “Censor Board,” has apparently marked many sections of the film. While the board’s principal function is to classify information for public viewing, its recent demands for cutbacks and “muffling” of specific topics have sparked controversy. According to sources, the disagreements span from specific lyrical choices to Billie’s usage of vivid visual metaphors onstage.

Billie Eilish has never shied away from the dark, gritty, or confrontational. Her art is founded on the concept of being “unfiltered.” When a regulatory agency requests “filters,” it profoundly alters the artist’s aim. The mismatch between creative freedom and local regulation is precisely what has resulted in the release’s prolonged delay.


Fans Are Feeling the Burn

Social media is now a digital battlefield of disappointment. Indian “Eilishers” had been counting down the days till they saw their idol on the big screen. To have the release withdrawn at the last minute feels like a violation of their trust. Many say that Billie’s admirers are already familiar with her ideas and so do not require “protection” from her art.

The emotional impact of this delay is enormous. For many young Indians, Billie’s music provides a safe haven for their fears and dreams. Seeing her tour film was meant to be a shared healing and celebratory experience. Instead, they are left with vacant cinema seats and a growing dissatisfaction of the censorship process.

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The Global vs. Local Tug of War

This event demonstrates an ongoing issue in the entertainment business. Global pop performers provide content for a global audience, frequently pushing the bounds of expression. However, when such content spreads to new places, it frequently encounters a wall of traditionalism. The “Hit Me Hard and Soft” picture is simply the latest casualty in this continuing tug of struggle.

Distributors are currently in a tight situation. They want to introduce the film to the vast Indian market, but they must also follow the CBFC’s tight standards. Every cut asked means that a piece of the tale is lost. The delay is the result of intense negotiations to establish a middle ground that meets the board’s requirements without utterly destroying Billie’s artistic vision.


What Happens Next?

As of now, the new release date remains unknown. The technical procedure of reediting a concert film for a specific location requires time. Every modification must be approved by both the board and Billie’s management staff, who are notoriously protective of her brand. They will not allow a substandard, unduly censored version to be widely distributed.

While we wait, our eagerness grows, but with a hint of bitterness. Fans hope that the final version, when it arrives, retains the soul of the original performance. For the time being, the “Hit Me Hard and Soft” experience in India remains a quiet echo, waiting for the censors to step aside and allow the music speak for itself.

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