… I am the Fakir of fakirs and the Emperor of emperors!
– Meher Baba
Guruprasad, May 4th, 1963.
[Meher Prabhu, p. 6149]
ऐ मोहब्बत तेरे अंजाम पे रोना आया
जाने क्यूँ आज तेरे नाम पे रोना आया
यूँ तो हर शाम उमीदों में गुज़र जाती थी
आज कुछ बात है जो शाम पे रोना आया
कभी तक़दीर का मातम कभी दुनिया का गिला
मंज़िल-ए-इश्क़ में हर गाम पे रोना आया
मुझ पे ही ख़त्म हुआ सिलसिला-ए-नौहागरी
इस क़दर गर्दिश-ए-अय्याम पे रोना आया
जो तूने दिया आज मेरे हाथों से गिरा
साक़िया मुझको उसी जाम पे रोना आया
जब हुआ ज़िक्र ज़माने में मोहब्बत का ‘शकील’
मुझ को अपने दिल-ए-नाकाम पे रोना आया
https://youtu.be/f8rk835fbGA
January 1963,
… Very few workers and devotees from Ahmednagar had been called for Mehera’s birthday. Sarosh complained about this to Baba. In response, Baba fixed the afternoon of Sunday, 13 January 1963 to see them.
In the morning that day, Begum Akhtar, 49, the celebrated singer from Uttar Pradesh, was brought to Meherazad by Adi and Meherjee, along with Golwalkar, the music director of the Poona All India Radio station. Baba had several of Akhtar’s records and she was one of his favorite artists. Previously, in 1937–38, Adi had invited Begum Akhtar to sing before Baba, and expressed his willingness to pay her roundtrip traveling expenses from Calcutta to Ahmednagar, and make all the arrangements for her journey. But she demanded an exorbitant fee, and at the time, Baba informed Adi: “Don’t call her now; one day she herself will come.” And here she was, coming on her own!
In response to a message from Golwalkar, Akhtar was to have sung before Baba in Guruprasad the previous summer, but she had been unable to do so because of a serious illness. Meeting Baba now, Begum Akhtar wept copiously. It seemed as if she had been in Baba’s inner contact for years. She told him, “From the day I heard of your call, I have been craving your darshan, and I sing a special ghazal before your photograph every day.”
She beseeched Baba to allow her to sing it before him, to which Baba replied, “I am in seclusion now and not in the mood to listen to ghazals.”
Begum Akhtar pleaded, and Baba replied, “I will give my permission only on the condition that you agree to come to Poona and give a performance of four to five hours at Guruprasad on any day in April or May. If you agree, I will hear one ghazal now.”
She was delighted and lovingly accepted the condition. The “Queen of Ghazals”, as she was known, (who used to charge Rs.1,000 per day) herself came to Baba begging with a prayer to allow her to sing for him. Such is Love’s wonder!
Seated before Baba and the mandali, Begum Akhtar sang her daily “prayer” to Baba. Its first line was: “Ai Mohabat, tere anjam pe rona aaya.” (“O Love, my tears are the result of surrendering to you!”)
Tears of love and joy coursed down her cheeks as she sang. Baba gave her one of his own handkerchiefs with which to wipe her tears. He was so pleased with her singing that she sang three more songs.
Mani related:
[Akhtar] started off singing a song that she had composed just for Baba, and then continued with ghazals. As she was singing, tears were falling down her cheeks, and Baba smiled lovingly, nodding in time to the music … I remember there was this one line in the song, “Who will listen to my prayer, who will answer my call, see to my needs,” as an aspect of love. “Who is there who will listen to me, who will take heed of me, of what I say?” As she was singing this traditional song, Baba was gesturing back to her, “I will do it.” Each time the song asked the question, Baba provided the answer. Baba was saying, “I am the one who listens to the language of the heart. The lover need not complain.”
Baba remarked to her, “I am the Fakir of fakirs and the Emperor of emperors!”
Begum Akhtar replied, “Beyshak [Without a doubt], beyshak!”
When Baba mentioned what fee she would accept for the program at Guruprasad, she said, “I want nothing except your love.”
Baba was pleased by her answer.
The tabla player, Kamat, also accompanied Begum Akhtar, as did her daughter. They had brought two large garlands, one each for the daughter and Akhtar to place around Baba’s neck. But Begum Akhtar was so overcome she put both garlands around Baba! Baba assured her, “You have no idea how happy you have made me with your singing.”
She exclaimed, “I am so happy and fortunate to have done so.”
While leaving she held on to Baba’s feet, and with her head on his knee wept quietly for a long time. Patting her bowed head, Baba gestured, “You are most blessed.”
https://www.lordmeher.org/rev/index.jsp?pageBase=page.jsp&nextPage=4906
May 1963,
… Begum Akhtar and Shantadevi came to Guruprasad and saw Baba at 9:30 A.M. on Friday, 3 May 1963, along with others from Bombay and Poona. Hundreds from various parts of India assembled there the following morning, including Dr. Moorty from Calcutta, who had arrived the day before.
Baba commented: “The pressure of my Universal work is so much that I have not rested for two nights. I am not in a mood for discourses, though a great number of my lovers have come to see me from distant parts of India. The next three days will be spent mostly in giving darshan in the mornings, and in the afternoon today and tomorrow, all will hear Begum Akhtar sing.”
Two large groups from Hamirpur came, one by train and one in a private bus. They were staying in a school and would walk to Guruprasad singing songs in praise of Baba. It was a remarkable sight to witness. These poor villagers from Hamirpur were proclaiming the advent of the Avatar to the urban public of Poona.
When they came to Guruprasad, Baba embraced each of them. Lata Limaye sang a few ghazals, and she sang so well that even Begum Akhtar, who was sitting next to her, applauded and patted her on the back. Baba asked Lata, “Would you be willing to stay with Begum Akhtar for six months and learn ghazals?” To such a privilege she eagerly agreed.
In the afternoon Begum Akhtar sang for nearly three hours. She was accompanied by Golwalkar on the sarangi, and Muhammad Ahmed on the tabla. All were formidable musicians, and it was a special event to hear them. Before they started, while they were tuning their instruments, Baba remarked, “The original naad [celestial music or sound] does not need such tuning of tal [rhythm] or soor [tune]. It is continuous. Saints and Sadgurus hear that. All worldly music is only the seventh shadow of that original naad. Once you hear that you forget all.”
The program was marvelous, and Baba was extremely happy. Guruprasad was overflowing for the recital. Baba allowed the women mandali to listen from behind the door, and often during the singing, he would turn to them and gesture with a radiant expression, “What a magnificent voice she has!”
Later, in her Family Letter (of 12 June 1963), Mani wrote about the renowned singer: “The charm and warmth of her personality added to the richness of her songs. Underneath the serene clarity of her voice lay a storm of feeling, and she skirted the musical precipices with intoxicating ease.”
Baba told Begum Akhtar, “A voice such as you have is very, very rare.”
She bowed and said, “It is all your grace.”
Upon completion of the musical program, everyone came forward to Baba, kissed his hand and left the hall.
http://www.lordmeher.org/rev/index.jsp?pageBase=page.jsp&nextPage=4977
Meher Songs 