A singing T-Rex.

A singing AND dancing T-Rex.

And oh.. the song is great too.

The song and its lyrics follows :

Lyrics :

Parh parh ilm te faazil hoya
Te kaday apnay aap nu parhya ee na

(You read to become
all knowledgeable
But you never read yourself)

You read so many books
to know it all,
yet fail to ever read your
heart at all.

Bhaj bhaj warna ay mandir maseeti
Te kaday mann apnay wich warya ee na

(You run to enter temples and mosques
But you never entered your own heart)

You rush to holy shrines to play a part,
Would you dare enter the shrine of your heart

Larna ay roz shaitaan de naal
Te kadi nafs apnay naal larya ee na

(Everyday you fight Satan
But you never fight your own Ego)

You are quick to attack the evil one,
yet pride is a battle you have not won.

Bulleh Shah asmaani ud-deya pharonda ay
Te jera ghar betha unoon pharya ee na

(Bulleh Shah you try grabbing that which is in the sky
But you never get hold of What sits inside you)

You grab for a star you can control,
yet fail to grasp the light in your soul.

Bas kareen o yaar
(Stop it all my friend)

Let the race end, my friend

Ilm-oun bas kareen o yaar
Ik Alif teray darkaar

(Stop seeking all this knowledge my friend
Only an Alif is what you need)

Stop trying to be the one who knows,
for ‘God is One’ you need to know.

Bas kareen o yaar
(Stop it all my friend)

End the race, my friend

Allah Sayyaan Allah Sayyaan
(God is the Master, God is All)

God is All we need! God is All!

Nee main jaanaa Jogi de naal

(I shall follow the Yogi {ascetic/sufi})

Follow the wandering dervish!

Jo naa jaane, Haqq ki taaqat
Rabb naa devey us ko Himmat

(Those who deny the Strength of Truth
Lord does not give them courage)

If you deny the power of all that’s true,
God will not grant strength to you.

Hum Mann ke darya mein doobey
Kaisi nayya? Kya manjhdhaar?

(We have drowned in the river of Self
the boat and the flowing waters do not matter)

We are lost in this river of self,
no boat or streams are of any help.

Bas kareen o yaar
(Stop it all my friend)

End the race, my friend

Ilm-oun bas kareen o yaar
(Stop seeking all this knowledge my friend)

Stop trying to know it all, my friend.

Allah Sayyaan Allah Sayyaan
(God is the Master, God is All)

God is All we need! God is All!

- English Translation and Lyrics originally in Punjabi | English in bracket is approximate literal translation. A more poetic rendering inbold by Naomi. Credit : http://www.mysticsaint.info/2009/06/aik-alif-bulleh-shah.html

Enjoy.

I’d heard one song of the singer earlier: Crazy by Gnarls Barkley which I didn’t know was the name of a group and not a person. Ignorant me. Cee-lo green was a part of that group and the singer of that song. That song was also used in the movie Kick-Ass (which I loved).

Warning : Contains Profanity (S0 using headphones is a good idea). And is sooo addictive. Infact its too cheerful for a song about a guy whose girl-friend left him for some Richie-rich.

Liberal use of the F-word should not take anything away from the fact that this is a super cool song.

Enjoy :

Holy shit space is big.

Everytime I see anything related to vastness of the space I feel like quitting my job, donating the little money I have and proceed towards the Himalayas.  :D

I JUST DONT MATTER

Seriously.. the vastness of space is unimaginable. Who knows whats in the deep dark corners of universe? What are the chances that only we are the ONLY intelligent, and may I add, know-it-all species?

Clearly, We are no big deal.

But I know this is not the right way to look at the things. If you will always look at the bigger scheme of things, you’ll lose the sight and the joy of small lil things in your life.

So. I’m going to sleep. Coz I got work to do tomorrow.

Oh and btw.. somebody has the answer to whether intelligent life exists in the outer world or not :

“Sometimes I think the surest sign that intelligent life exists elsewhere in the universe is that none of it has tried to contact us.” – Calvin

Somebody is cutting onions nearby…

Like this one.

Since the time goes slooowwwer in the dream… the background score we heard was also ‘slow-mo’ of that ‘kick-tune’. Great stuff.

And yeah credit to the Youtube uploader as well who noticed it.

Niceeeeeeeeeeeeeeeeeeeee!

Murali Gopy : Entertainment Editor for MSN India

LINK

New Year eve, 2000. A nervous looking Shah Rukh Khan is hugged and received by Amitabh Bachchan into a  ‘Kaun Banega Crorepati’ episode. Shah Rukh tries hard to break the patriarchal Bachchan rhythm. In vain.

He tries a few jokes that get lost in icy silence. The audience claps when Bachchan claps. Bachchan laughs and the audience giggles. Shah Rukh finds it hard to untie the Gordian Knot. He bids his minutes. Big B proceeds to welcome SRK’s companion for the show, Karan Johar.

“Karan aur main go back a long time…” Bachchan says; the voice modulation is Shakespearian. “Karan ko main ne tab se dekha hai jab se woh itne chchote se the…” he lowers his lambe haath to the bottom buckle of the hot seat to convey the height… Shah Rukh pounces at the opportunity and fires a salvo: “Sir, aap ke height se sab itne hi dikhte hain”. The hall erupts. Bachchan laughs… And the famous Khan dimples emerge from hiding.

Feat One: He vetoes Bachchan’s authority with his cheekiness.
Feat Two:  He gets over the height factor, by addressing it openly.
Feat Three: He makes Bachchan laugh naturally, for once!

Shah Rukh Khan has always survived by following the golden managerial commandment: “Loha garam hai…! Mar do hathoda!” There is not even a single moment in his career where the dude has failed in choosing the right words for the right occasion. He even seems to have the right words for the wrong occasion. Astonishing is the talent to make us feel that even his wrong words “were actually right”.

Here is a star, who is not reluctant to call himself a brand, and to be his own ambassador. If anger was the hallmark of the Bachchan persona, irreverence has been Shah Rukh Khan’s signature attitude. A typical Shah Rukh Khan fan loves his idol because, “SRK is irreverent, arrogant and narcissistic”. Irreverence was once held against Shatrughan Sinha. Arrogance and narcissism had led to Rajesh Khanna’s downfall. Yet, when these three supposedly negative traits unify in one man, it becomes gold. Why or how does Shah Rukh make this happen?

“Whenever I fail as a father or husband, a toy and a diamond always work,” is one of Shah Rukh Khan’s most quoted quotes. This sentence, on first look, is directly humorous. On second glance, it seems to mourn a glaring truth. A cynical eye would see nothing more than the glossiness of a Double-O-Seven one-liner. From another vantage, it reflects the man’s outlook. It is such multi-edged verbal blades that make Shah Rukh Khan Devil’s own charmer.

The greatest achievement of Shah Rukh is that he has successfully posted himself CEO of Brand SRK, which is now a synonym for success and taken with certain religiosity in management schools all over the country and beyond. Marketing Himself has been his core activity, over the years. With this Khan, you never discuss art. You discuss the buck.

Unlike Amitabh Bachchan, his predecessor in superstardom, Shah Rukh Khan has carefully planned his career. Most of his popular manoeuvres were off screen rather than on screen. Amitabh’s career has always been a roller coaster ride; one that took him to the pinnacle of mortal fame, to the abyss of despair, and back. Shah Rukh’s heights pale in comparison, but his consistency with fame is phenomenal. His ability to project his ideas and impart a halo to each one of them is greater still.

Even when Amitabh consciously decides to break ice with his viewer, there is a certain aloofness that hangs around the man, like clouds. Shah Rukh, on the contrary, has surprises flitting around him like butterflies. Amitabh’s enigma was the result of his measured behaviour. Shah Rukh’s charisma results from aggressive auto-suggestion. A right parallel, here, would be the boxing great, Mohammed Ali.

Before almost every bout, Ali would thump his chest and scream aloud: “I am the best! I am the champion!” And he kept the world guessing as to what prompted him to say it. Was it fear? Was it insecurity? Was it confidence? Was it arrogance?

While the world pondered over his brag, Ali drugged his opponents with some terrific sucker punches. His admirers never got to know the real man. They never quite understood his ploy. But they didn’t care. They knew only one thing—they could never take their eyes and ears off him. The stardom, the legend and the myth of Mohammed Ali was born in one litter.

Shah Rukh Khan is not an easy target for the psychoanalyst. He is one of the cleverest public figures of our time. In a way, he reflects the aspirations of post-liberalisation India better than any other icon. He promotes selfishness as a virtue. Ambition, to him, is a talent in itself. Irreverence is projected as a need. Humour, to him, is the right to jab his opponents after the bell. His gab is Generation X’s equivalent to Sermon on the Mount. He is the role model of the lower middle class youngster, who has two bikes and yearns for a car. Last but not the least, Shah Rukh Khan loves to joke on himself, but then, that is it! No one else is allowed the privilege.

Nothing in this world is holy for Shah Rukh Khan.

He will chase even Amitabh Bachchan. He will redo even KBC. He will remake even Don. He would smoke in banned areas. He will censure the health minister for criticising him. He will take bhare-bazaar digs at the Amar Singhs of the world. He will buy cricket teams. He will sell tickets to promote his team. He will make the media eat from his hands, and give them the opposite impression. He will host award nights and venture into “forbidden humour”. He loves to instill fear on the audience. They MUST laugh or else he would assassinate them, with his verbal volleys.

Shah Rukh Khan is the trickiest phenom to have ever happened to Indian cinema.

To see the Khan and his media Reich for what they are, one has to look through 3D goggles. It demands more dimaag than a Paanchvi Pass! The question is: Kya Aap Paanchvi Pass se tez hain?!

And see what I have just done. I have ended up promoting his latest TV show. This is what they call “SRK Magic!”

Over the years India has been colonised, scorned and patronised. Inevitably, the hackles of its more abrasive citizens have periodically been raised. Always the struggle is between earnest reformers and rankled revolutionaries. It can happen on battlefields, in newspapers, on sports grounds, in the spirit and in the mind: the rallying of human attachment. Only the greatest of men, amongst them Mahatma Gandhi and Nelson Mandela, have been able to keep the past in its place the better to stride unencumbered towards the future. Even these mighty leaders have not always been able to take their people with them.

And then comes the settling of scores. In some respects the recent series down under was such a settling, but to a much higher degree it was an assertion of fearlessness. India looked Australia in the eye and did not blink. And the look told not of temporary passion but serious intent.

By and large India has done extraordinarily well over the last 60 years. From the chaos of Partition, from the demonstrations and the slaughter, has come an enduring nation that commands respect, a country that has retained its independence in Independence. Although outbreaks occur here and there, for fools and hotheads cannot be abolished by decree, India is intact. Still it plays the game of the coloniser, a game once described as an Indian game accidentally invented by the English, an amusing conceit that shows cricket’s adaptability.

To the chagrin of some, but through economic inevitability, India has become the dominant force in the game, a circumstance that has released its entire character, warts and all. Nothing builds confidence half as well as power. Suddenly India has no need to sue for grace for it carries a big stick. It must only realise that the time has come to talk quietly. India does not need to protest about anything. Its task now is to apply the rule of law and to advance the principles of justice, especially those espoused by the American philosopher John Rawls, for none takes such care of the underdog. Above all, Indian officials must read Animal Farm, with all its attendant warnings.

Nowhere was the changing of the guard more apparent than in the recent campaign down under. Always the true test comes when the champion steps into the ring, for then bluff is called and shallowness exposed. India arrived expecting to win. It was not a question of mere fragile hope. Nor did the various turbulences distract them from their purpose. To the contrary the Indians answered every slight with one of their own, joined every argument and added a few of their own making.

Australia is a land of fires, droughts, floods, flies, kangaroos and koalas. Even the birds have bright plumage and make a lot of noise. It is not sensible to expect its cricketers or newspapers to tiptoe around like characters in an Edwardian play. It is a place that crushes the spirit or enhances it.

That India ended the campaign in better shape than it began confirms the impression of a nation whose time has come. It is idle to pretend that cricket does not tell us something about the state of a nation. To the contrary it offers a window into the minds of a people.

Of course sport serves other purpose as well. Nowadays it provides entertainment to all sections of society. Formerly it was regarded more as a craft than an adventure. Opening batsmen were not expected to hit boundaries in the first hour. These days they are supposed to strike three in the opening over. Twenty-over cricket has risen from the need to entertain. History suggests that popular culture does not threaten so much as sustain the high-brow. In any case, even Test cricket has awoken from its slumber. Standing warily behind a blocking bat or sending down dibblers with a ring field no longer serves the purpose. Cricket survives not because it has merit but because it has a market.

Competition is another part of sport’s attraction. Men and women relish the chance to push themselves to the limit, enjoy pitting themselves against each other. Satisfaction of the sort obtained from a superb round of golf, or a last-gasp winner is hard to find. Sportsmen also relish sitting in the rooms afterwards, all energy spent, skill released, divisions erased (unless Harbhajan Singh and Matthew Hayden have been playing), and only the reckoning remaining.

Yet the most significant role of sport is as an expression of the energies, talents and culture of a school, group, village, city, province and country. Cricket is an expression of culture and the clashes at the SCG reached into the depths of Indian and Australian self-knowledge. It turned out to be a battle between equals. The players looked each other in the eye. India did not blink. Indeed, the visitors looked fresher by the end. Meanwhile the Australians suffered more mysterious withdrawals as Brad Hogg and Shaun Tait followed Damien Martyn into the paddock.

Australia has always played cricket by its own lights. Turning its back on English customs, it developed its own approach founded upon an egalitarian outlook that endures (the captain is a hard nut from the backwaters of a forgotten island). Yearning for action, resisting melancholia, Australian sportsmen must attack. Latent insecurity and loathing of cant is demonstrated in a suspicion of walkers, and walking, and a willingness to abide by the umpire’s decision. And so Australian cricket forged its own path forwards, formed its own ideology. India has never been as clear-minded about itself. Whereas the Australian settlers had an almost empty continent on which to create a nation, India had proud memories of itself, traditions recorded in books or burned into minds – attitudes and customs strong enough to survive any empire. But hundreds of years of foreign influence were bound to leave their mark besides which no nation can stand still. Since 1947 India has been rediscovering itself. Of course the same applies on the cricket field and the triumph of 2007-08 lay not so much in the results as in the sense that an identity had been found.

‘Indeed, the visitors looked fresher by the end’ © Getty Images

Under the admirable captaincies of Anil Kumble and Mahendra Dhoni, India discovered a new, contemporary voice. Too much has been made of the various episodes involving Harbhajan. More significant has been the way the Test team fought back in Perth, and the manner in which Dhoni’s men took the ODI finals. India was not broken on the wheel, was not affected by the local noise, did not take a step backwards. In short, it met the Australians on equal terms, as an united force.

The Indian team expressed the confidence of a nation. Forget about the raptures and furies. Consider the last over of the campaign. Australia needed 13 runs to win. Already Sachin Tendulkar had played another beautiful innings. Already Dhoni had played boldly and thought fearlessly, summoning an unsung swing bowler from a family of wrestlers, and a teenage legspinner, and throwing them the ball at critical times. Now he tossed the ball to Irfan Pathan, put his arm around him and muttered not the usual platitudes but a cheerful, “Irfan, you cannot be so bad that you give away 13 runs in the last over.” Afterwards Pathan told TV reporter Vimal Kumar that he had not felt the pressure as he had grown up seeing his father trying to put food on the table. That was pressure. Dhoni had grown up the same way, fighting for his place. It is also the Australian way. And who was Kumar except a boy from the rural areas who has risen through the ranks? Ishant Sharma’s dad repairs air conditioners.

Indian cricket has found its voice. Not that the inheritance has been abandoned, for that is childish. Rather it has been interpreted and renewed. Australian cricket had always belonged to the people. Now the same applies to India. Australia had been crying for an opponent that plays cricket with sustained intent. The rivalry between the nations, Australia with its 108 years and India with its 60, both with booming economies, has just begun.

Peter Roebuck is a former captain of Somerset and the author, most recently, of In It to Win It

http://content-www.cricinfo.com/magazine/content/current/story/341987.html

Here are the lyrix… (powered by ctrl + c and brought 2 u by ctrl + v )

Dekho Inhein Yeh Hain Os Ki Boondein
Patton Ki God Mein Aasmaan Se Koodein
Angdayee Lein Phir Karwat Badal Kar
Nazuk Se Moti Hans De Phisal Kar

Kho Na Jaaye Ye Taare Zameen Par

Yeh To Hain Sardi Mein Dhoop Ki Kirane
Utarein Jo Aangan Ko Sunhera Sa Karne
Mann Ke Aandheron Ko Roshan Sa Kar Dein
Thithurti Hatheli Ki Rangat Badal Dein

Kho Na Jaaye Ye Taare Zameen Par

Jaise Aankhon Ki Dibiya Mein Nindiya
Aur Nindiya Mein Meetha Sa Sapna
Aur Sapne Mein Mil Jaaye Farishta Sa Koi
Jaise Rangon Bhari Pichkari
Jaise Titliyan Phoolon Ki Kyari
Jaise Bina Matlab Ka Pyara Rishta Ho Koi

Yeh To Aasha Ki Lehar Hain
Yeh To Ummeed Ki Sehar Hain
Khusiyon Ki Nehar Hain

Kho Na Jaaye Ye Taare Zameen Par

Dekho Raaton Ke Seeney Pe Yeh Toh
Jhilmil Kisi Lau Se Ugey Hain
Yeh To Ambiyaa Ki Khusboo Hain
Baagon Se Beh Chale
Jaise Kaanch Mein Choodi Ke Tukde
Jaise Khiley Khiley Phoolon Ke Mukhdey
Jaise Bansi Koi Bajaye Pedon Ke Taley

Yeh To Jhonke Hain Pawan Ke
Hain Yeh Ghungharoo Jeewan Ke
Yeh To Sur Hain Chaman Ke

Kho Na Jaaye Ye Taare Zameen Par

Muhaley Ki Raunak
Galiyan Hain Jaise
Khilney Ki Zid Par
Khaliyan Hain Jaise
Mutthi Mein Mausam Ki
Jaise Hawayein
Yeh Hain Buzurgon Ke
Dil Ki Duwayein

Kho Na Jaaye Ye Taare Zameen Par

Kabhi Baatein Jaise Dadi Nani
Kabhi Chalkein Jaise Mum Mum Paani
Kabhi Ban Jaaye Bhole
Sawaalon Ki Jhadi
Sannatey Mein Hansee Ke Jaise
Sooney Hothon Pe Khushi Ke Jaise
Yeh To Noor Hain Barse Gar
Teri Kismat Ho Badi

Jaise Jheel Mein Lehraye Chanda
Jaise Bheed Mein Apne Ka Kandha
Jaise Manmauji Nadiya
Jhaag Udaye Kuch Kahe
Jaise Baithe Baithe Meethi Si Jhapki
Jaise Pyar Ki Dheemi Si Thapki
Jaise Kaanon Mein Sargam
Hardam Bajti Hi Rahe
Jaise Barkha Udati Hai Bundiya...

The part in bold are the lines which I like the most..