Apne Huye Paraaye
BHAGWANTSAGOO
recognition I feel it deserves. Shankar Jaikishan's touch is so typical of that
early 60s period. The female chorus, although not as refined as it could have
been, do well to support Lata in the stanzas.
I just love the second line: "Baade Sabhaa Kyun Naa Aaye To Kyaa, Kali Ghata
Tuu Na Chhaaye To Kyaa". A beautifully crafted lyric by Shailendra(?) and
composed probably by Shankar(?).
Mala Sinha dons a tight fitting Salwar Kameez...quite amazing how she ever got
into it as its so figure hugging. She does look somewhat silly, as she often
did with strangely overdone facial expressions and a picnic oriented college
dance. Still, the picturisation was as good as it got in that period. Great
tune though.
Bhagwant
Pradeep
> Lata's "Bahar Banke Woh Muskuraye Hamaare Gulshan Mein" hasn't recieved the
> recognition I feel it deserves. Shankar Jaikishan's touch is so typical of that
> early 60s period. The female chorus, although not as refined as it could have
> been, do well to support Lata in the stanzas.
> I just love the second line: "Baade Sabhaa Kyun Naa Aaye To Kyaa, Kali Ghata
> Tuu Na Chhaaye To Kyaa". A beautifully crafted lyric by Shailendra(?) and
> composed probably by Shankar(?).
(was it Abdul Karim?) Only in SJ songs, did the dholak stand out so
well. I have never heard the 'DhirDhirgat, DhirDhirgat' bols played on
dholak anywhere else, as they did in somne of SJ's songs; this being
one of them. And of course, there are those subtle variations with the
laggis, which is a hallmark of SJ's dholak/ dholki songs.
...Pradeep
Harish
yes sagoo, 'bahar banke' is a lovely, breezy, typical SJ song. But
then I thought you are here long enough to know that there are more SJ
bashers here. How can you expect it to be appreciated here.
Harish
BHAGWANTSAGOO
I take your point although no matter how much one would prefer to "bash" an MD,
a good tune remains a good tune. I personally had little time for Raj Kapoor's
antics, definitely not my cup of tea in the acting stakes BUT he made quality
films which also had quality music, particularly by SJ.
Bhagwant
>Harish
>
>
>
>
>
>
Satish Kalra
news:20040423153115...@mb-m27.aol.com...
> Lata's "Bahar Banke Woh Muskuraye Hamaare Gulshan Mein" hasn't recieved
the
> recognition I feel it deserves. Shankar Jaikishan's touch is so typical of
that
> early 60s period. The female chorus, although not as refined as it could
have
> been, do well to support Lata in the stanzas.
One thing common in chorus songs of the mid-50's to the early mid-60's of
S-J's music is almost the same voices. You can literally hear the "same"
voices for chorus in New Delhi's "zindagii bahaar hai muhabbat kii bahaar
se..."; Raajhuth's "naache ang ang ang tere aage..."; Chhoti Bahen's "baagon
mein bahaaron mein ithalaataa gaataa aayaa koyii...", to the above song in
Apane Huye Paraaye.
To the best of my recollection, reportedly, the chorus singers were members
of a union and only the union members could be used by any music director.
Every MD used to have their preference for certain singers out of the lot
(just like they had their choice for the lead singers). How well these
singers maintained their voice quality is, of course, open for discussion.
> I just love the second line: "Baade Sabhaa Kyun Naa Aaye To Kyaa, Kali
Ghata
> Tuu Na Chhaaye To Kyaa". A beautifully crafted lyric by Shailendra(?) and
> composed probably by Shankar(?).
Shailendra is the lyricist for the song, so you can remove the question
mark. However, whether it was a Shanker or Jaikishan composition, is not so
open and shut case. While it is true that most Shailendra compositions were
tuned by Shanker, there hav ebeen some by Jaikishan also, like Hasrat and
Shanker.
That reminds me of a recent post by Ritu Chandra of an old article on
Shanker Jaikishan by Raju Bharatan (RB) in which Shanker reportedly told the
journalist of how "ye meraa diiwaanaapan hai..." was created by him
(Shanker).
I can vividly recall reading the same Raju Bharatan's article in some film
magazine of the late 50's, in which RB implied that it was a Jaikishan
composition, writing on his conversation with Shanker soemwhat like:
**********
RB: Whose creation is "ye meraa diiwaanaapan hai..."? Yours or
Jaikishan's?
Shanker" "ye hamaarii creation hai".
And then on RB went on with his rationale of how it was a Jaikishan
creation.
***********
> Mala Sinha dons a tight fitting Salwar Kameez...quite amazing how she ever
got
> into it as its so figure hugging.
That (tight fitting salvar kameez) was the prevailing dress fashion for
girls those days. It had started in late 1957, and by the end of 1958 had
become a rage. Recall Waheeda Rehman in similar, tight fitting shirt with a
wide striped salvar in Ek Phool Chaar Kaante, four years before Apane Huye
Paraaye.
On a side note, one of the best Lata-chorus songs of S-J is the Raajhuth
song "aajaa aajaa aajaa nadiyaa kinaare taaron kii chaiyyaan tohe kabse
pukaare..", picturized on a young and so
sweet-looking-still-not-out-of-her-teens Helen.
Can't believe it was almost 50 years ago!
--
Happy Listenings.
Satish Kalra
BHAGWANTSAGOO
>Satish Kalra" Satish...@comcast.net
>Date: 24/04/2004 13:05 GMT Daylight Time
>Message-id: <nO2dnf9kwsP...@comcast.com>
>
>"BHAGWANTSAGOO" <bhagwa...@aol.com> wrote in message
>news:20040423153115...@mb-m27.aol.com...
>> Lata's "Bahar Banke Woh Muskuraye Hamaare Gulshan Mein" hasn't recieved
>the
>> recognition I feel it deserves. Shankar Jaikishan's touch is so typical of
>that
>> early 60s period. The female chorus, although not as refined as it could
>have
>> been, do well to support Lata in the stanzas.
>
>One thing common in chorus songs of the mid-50's to the early mid-60's of
>S-J's music is almost the same voices. You can literally hear the "same"
>voices for chorus in New Delhi's "zindagii bahaar hai muhabbat kii bahaar
>se..."; Raajhuth's "naache ang ang ang tere aage..."; Chhoti Bahen's "baagon
>mein bahaaron mein ithalaataa gaataa aayaa koyii...", to the above song in
>Apane Huye Paraaye.
>
>To the best of my recollection, reportedly, the chorus singers were members
>of a union and only the union members could be used by any music director.
>Every MD used to have their preference for certain singers out of the lot
>(just like they had their choice for the lead singers). How well these
>singers maintained their voice quality is, of course, open for discussion.
>
fact there may have been a union comes as no surprise, as after all the main
playback singers also had their association. I raised this query in a previous
thread but got no response. The quality of the chorus can vary immensely. No
doubt the MD would single out key singers as you suggest but I also feel that
at times the chorus sounds shrill. In general I prefer a male chorus to a
female one. They are more mellow and less of an offence on the ear(megods what
have I said!!).
I recall reading that Manhar was perplexed at being removed from the chorus by
Mohd.Rafi. He later found out that Manhar was singled out as a good singer by
Rafi and that he would have been wasted in the chorus. Maybe all the good
singers were excluded and we left with the also-rans.
I recall Rajshree in Ji Chahta Hai wearing a similarly tight outfit...which
reminds me of the wonderful "Hamne Dekha Hai Tumhe, Aisa Ghuman Hota Hai" by
Rafi, which in treatment is similar to Rafi's "Mehbooba Teri Tasveer" from Ishq
Par Zor Nahin.
Bhagwant
Ashok
>
>"BHAGWANTSAGOO" <bhagwa...@aol.com> wrote in message
>news:20040423153115...@mb-m27.aol.com...
>> Lata's "Bahar Banke Woh Muskuraye Hamaare Gulshan Mein" hasn't recieved
>the
>> recognition I feel it deserves. Shankar Jaikishan's touch is so typical of
>that
>> early 60s period. The female chorus, although not as refined as it could
>have
>> been, do well to support Lata in the stanzas.
The song has received some attention on RMIM, mainly for it use
of dholak, as Harish has remarked on this thread. But you are right
about the song, and more generally about the soundtrack also.
The songs were only moderately popular in the mid-60s and have
been nearly forgotten since. I don't think HMV has released the
cassette for the film. The reason for the obscurity is perhaps the
failure of the film at the box office. The contrast with 'Haryali
Aur Rasta', which came out a few years earlier, is striking. Both
films were Manoj-Mala Sinha-S/J affairs, with Mukesh-Lata dominated
soundtracks. Both were decent-calibre soundtracks, but 'Haryali Aur
Rasta' was a hit. One can almost map the songs of the two films
one-to-one.
In addition to the song Balwant has highlighted, 'Apne Huye Paraye'
had a very good Mukesh-Lata tandem song:
. mai.n ne bulaayaa aur tum aae (Lata)
. koii bulaae aur koii aae (Mukesh)
Incidentally, is it the tune that is supposed to be inspired by
Music For An Arabian Night? Striking songs, nevertheless. In
particular, I like the work of the lyricist (in this case,
Shailendra) in tandem songs like this, where there are subtle
changes in the wordings of the two versions.
Mukesh chips in with a solo, with fascinating wordings, this
time by Hasrat:
dupaTTe kii giraha me.n baa.Nd liijiye
meraa dil hai kabhii kaam aaegaa
(What is "giraha"? I thought it was a variant of "gRha" or
home, eg "dil kii giraha khol do".)
Interestingly, as far as I can remember, the most popular song of
the film was none of the above, but a duet by Lata and the S-J
discovery, Subir Sen:
. gagan ke cha.ndaa na puuchh ham se
kahaa.N huu.N mai.n dil meraa kahaa.N hai
Is the song picturized on the lead pair? It occurs to me that,
after Raj Kapoor, it was Manoj that S-J adopted as a suitable
hero for lip-synching Mukesh. They have used Mukesh occasionally
for Rajendra Kumar (e.g., 'Aas Ka Panchhi'), but Rafi dominates
that domain. Of course, mixing and matching different actors/singers
is quite the done thing in Indian film songs.
>One thing common in chorus songs of the mid-50's to the early mid-60's of
>S-J's music is almost the same voices. You can literally hear the "same"
>voices for chorus in New Delhi's "zindagii bahaar hai muhabbat kii bahaar
>se..."; Raajhuth's "naache ang ang ang tere aage..."; Chhoti Bahen's "baagon
>mein bahaaron mein ithalaataa gaataa aayaa koyii...", to the above song in
>Apane Huye Paraaye.
'Yahudi' also?
>> I just love the second line: "Baade Sabhaa Kyun Naa Aaye To Kyaa, Kali
>Ghata
>> Tuu Na Chhaaye To Kyaa". A beautifully crafted lyric by Shailendra(?) and
>> composed probably by Shankar(?).
>
>Shailendra is the lyricist for the song, so you can remove the question
>mark.
I'll put a question mark on the lyrics. I also have difficulty making out
what Lata mumbles, but isn't it "tuu/tum" rather than "kyuu.N"?
. baade sabaa tuu na aae to kyaa?
>That reminds me of a recent post by Ritu Chandra of an old article on
>Shanker Jaikishan by Raju Bharatan (RB) in which Shanker reportedly told the
>journalist of how "ye meraa diiwaanaapan hai..." was created by him
>(Shanker).
>
>I can vividly recall reading the same Raju Bharatan's article in some film
>magazine of the late 50's, in which RB implied that it was a Jaikishan
>composition, writing on his conversation with Shanker soemwhat like:
>**********
>RB: Whose creation is "ye meraa diiwaanaapan hai..."? Yours or
>Jaikishan's?
>Shanker" "ye hamaarii creation hai".
>
>And then on RB went on with his rationale of how it was a Jaikishan
>creation.
>***********
Isn't the tune really a C. Ramchandra creation for 'Amar Deep'? :)
>Satish Kalra
Ashok
Ashok
>In addition to the song Balwant has highlighted, 'Apne Huye Paraye'
>had a very good Mukesh-Lata tandem song:
It should be "Bhagwant". My apologies.
Ashok
Satish Kalra
news:sNvic.37126$G_....@nwrddc02.gnilink.net...
Yes, the "mainne bulaayaa/koyii bulaaye..." tune is a direct copy of a
number from Music For An Arabian Night. IIRC, at the 2001 Denver meet, I
had presented at least four numbers from that album which were "adapted"
into Hindi film songs, the other three being from Insaan Jaag Utha, Chhalia,
and Jab Pyaar Kisise Hota Hai.
>
> Mukesh chips in with a solo, with fascinating wordings, this
> time by Hasrat:
>
> dupaTTe kii giraha me.n baa.Nd liijiye
> meraa dil hai kabhii kaam aaegaa
>
> (What is "giraha"? I thought it was a variant of "gRha" or
> home, eg "dil kii giraha khol do".)
Literally, "girahaa" means "gaan.Th", or a knot. I remember this being said
about Mirza Ghalib (both in the 1954 film and the 1989 tele-serial) that the
poet used to recite his 'shers' extemporely in the evenings/nights and tie a
knot in his wife's dupatta, and the following day he would untie ech knot
and write down each sher in his journal!
>
> Interestingly, as far as I can remember, the most popular song of
> the film was none of the above, but a duet by Lata and the S-J
> discovery, Subir Sen:
>
> . gagan ke cha.ndaa na puuchh ham se
> kahaa.N huu.N mai.n dil meraa kahaa.N hai
This song did receive a fair amount of play on the radio (Ceylon), but was
not the most popular song. That credit remained with the tandem song.
>
> Is the song picturized on the lead pair?
It was filmed as a stage-play song. Can't recollect offhand who it was on.
Will have to dig out the VHS.
It occurs to me that,
> after Raj Kapoor, it was Manoj that S-J adopted as a suitable
> hero for lip-synching Mukesh. They have used Mukesh occasionally
> for Rajendra Kumar (e.g., 'Aas Ka Panchhi'), but Rafi dominates
> that domain. Of course, mixing and matching different actors/singers
> is quite the done thing in Indian film songs.
>
> >One thing common in chorus songs of the mid-50's to the early mid-60's of
> >S-J's music is almost the same voices. You can literally hear the "same"
> >voices for chorus in New Delhi's "zindagii bahaar hai muhabbat kii bahaar
> >se..."; Raajhuth's "naache ang ang ang tere aage..."; Chhoti Bahen's
"baagon
> >mein bahaaron mein ithalaataa gaataa aayaa koyii...", to the above song
in
> >Apane Huye Paraaye.
>
> 'Yahudi' also?
Yes, "merii jaan merii jaan...." certainly sounds like being with the same
chorus singers.
>
> >> I just love the second line: "Baade Sabhaa Kyun Naa Aaye To Kyaa, Kali
> >Ghata
> >> Tuu Na Chhaaye To Kyaa". A beautifully crafted lyric by Shailendra(?)
and
> >> composed probably by Shankar(?).
> >
> >Shailendra is the lyricist for the song, so you can remove the question
> >mark.
>
>
> I'll put a question mark on the lyrics. I also have difficulty making out
> what Lata mumbles, but isn't it "tuu/tum" rather than "kyuu.N"?
You are right, Ashok, it is "baad-e-sabaa tuu naa aaye to kyaa, kaalii
ghataa tuu na chhaye to kyaa...".
>
> . baade sabaa tuu na aae to kyaa?
>
> >That reminds me of a recent post by Ritu Chandra of an old article on
> >Shanker Jaikishan by Raju Bharatan (RB) in which Shanker reportedly told
the
> >journalist of how "ye meraa diiwaanaapan hai..." was created by him
> >(Shanker).
> >
> >I can vividly recall reading the same Raju Bharatan's article in some
film
> >magazine of the late 50's, in which RB implied that it was a Jaikishan
> >composition, writing on his conversation with Shanker soemwhat like:
> >**********
> >RB: Whose creation is "ye meraa diiwaanaapan hai..."? Yours or
> >Jaikishan's?
> >Shanker" "ye hamaarii creation hai".
> >
> >And then on RB went on with his rationale of how it was a Jaikishan
> >creation.
> >***********
>
>
> Isn't the tune really a C. Ramchandra creation for 'Amar Deep'? :)
Why even put the smiley! The tune is definitely a CR creation for Amar
Deep, as it is an S-J creation for Yahudi. :) :)
Afzal A. Khan
Satish Kalra wrote:
> > Mala Sinha dons a tight fitting Salwar Kameez...quite amazing how she ever
> got
> > into it as its so figure hugging.
>
> That (tight fitting salvar kameez) was the prevailing dress fashion for
> girls those days. It had started in late 1957, and by the end of 1958 had
> become a rage. Recall Waheeda Rehman in similar, tight fitting shirt with a
> wide striped salvar in Ek Phool Chaar Kaante, four years before Apane Huye
> Paraaye.
I beg to differ. Compared to Mala Sinha's outfit,
Waheeda Rehman looked almost dowdy in "Ek Phool Chaar
Kaante". Of course, part of the reason is that Mala
was, if anything, quite "buxom". She was at her
"weightiest" best in films like "Ujala" and "Dil Tera
Deewaana". By the early sixties, the fashion of
tight-fitting chuReedaars/shalwaars had become
commonplace. Saira Banu was one of those who specialised
in such outfits, as did Sadhana. But both looked far
more fetching with their trim build, unlike Mala Sinha.
This holds good till the mid-sixties. Remember MS in
the "yeh aaj kal ke laRke...kabootar kabootar" song ?
But to give her credit, she slimmed down a great deal
later and looked stunning in "Maryaada". Another actress
who could wax and wane was Vyjayanthimala. She looked
overweight in films like "Mahumati". Contrast this with
her appearance in "Zindagi" (?), a Rajendra Kumar and
Raj Kumar starrer. Rajshree was way too fat in "Janwar"
("Mere sang ga, muskuraa..."). She was much trimmer in
"GunaahoN ka Devta".
Afzal
Satish Kalra
news:408A9DEB...@privacy.net...
...snipped...
> ("Mere sang ga, muskuraa..."). She was much trimmer in
> "GunaahoN ka Devta".
>
>
> Afzal
Any one have the GunaahoN Ka Devata in VHS/DVD? Does it even exist?
Ashok
says...
>
>Any one have the GunaahoN Ka Devata in VHS/DVD? Does it even exist?
>
>--
>Happy Listenings.
>
>Satish Kalra
I have seen it on video tape. Can be considered another
somewhat forgotten soundtrack of Shankar-Jaikishan. I
looked it up mainly for two Mukesh solos. Have forgotten
the words; approximate wordings are:
. The title song
chaahaa thaa banuu.N pyaar ke raaho.n kaa devataa
mujhe banaa diyaa gunaaho.n kaa devataa
. tiir aa.Nkho.n kaa jigar ke paar kar do yaar ke
Ashok
shekhar
> (snipped)
> Yes, the "mainne bulaayaa/koyii bulaaye..." tune is a direct copy of a
> number from Music For An Arabian Night. IIRC, at the 2001 Denver meet, I
> had presented at least four numbers from that album which were "adapted"
> into Hindi film songs, the other three being from Insaan Jaag Utha, Chhalia,
> and Jab Pyaar Kisise Hota Hai.
Satishji-
There are two more: the title song of "Aashiq", and 'Ye bhi koi
roothne ka mausam hai deewane' from "Solva Saal".
Regards
Shekhar
Robin
I do believe that SJ were the best-of-breed in two categories - the
fast Lata solo/chorus and the dholak. And these two aspects meet
wonderfully in 'bahaar banke'..a song about which I've extolled in
much detail at SKS. I love this song!
So vibrant is the dholak here that it overshadows some other amazing
orchestration - for this one SJ were firing on all fronts, with
guitars, bongos, mandolins, and violins, to name the main ones..
Would not know who played the dholak for the song, but yes, it would
have been either Abdul Karim or the other illustrious names listed as
dholak players in their orchestra, (at some time or another) -
Dattaram, Pankaj Dube, Shanker himself, Sattar, Anna Joshi, Ghulam
Mohammed, Punyawan and a (Lala?) Sattar.
Taking a guess but going by the virtuoso dholak in his own
compositions, it could also have been Dattaram.
Trivia-wise, it may also interest you to know that this was yet
another of SJ's songs picturised at that park in Mumbai, which I am
99% certain is Borivali National Park. Given the number of songs
picturised at this location, they must have retained a mini-studio in
the park's shed :)
Two that come to mind right away are Janwar's 'laal chhadi', which for
some strange reason was shot partly here and partly in Kashmir and
Professor's 'khuli palak mein jhootha gussa' which was again
picturised partly at BNP and the remainder at Kamala Nehru Park.. (no,
no, I was not the 'maali' at these places to know so much about them
(!), just a big Shammi Kapoor fan..)
Regards...Robin
pras...@netvigator.com (Pradeep) wrote in message news:<e512a42b.0404...@posting.google.com>...
Sudhir
====================
> Mala Sinha dons a tight fitting Salwar Kameez...quite amazing how
>she ever got into it as its so figure hugging.
ANSWER BY SUDHIR
==================
This is how it was done. Two hours prior to the shooting schedule, Miss
Sinha would make herself confortable in a cold storage room for a period
of 60 to 75 minutes. This lowered her volumetric dimensions by
7 to 12% and made it easy to get herself in to the armor (kameez and
salwar). Another 20 minutes were required to thaw her and get her back to
the original shape. Ofcourse, the process had to be repeated at the
end of the day, to get out of the killer outfit.
----------------------------------------
bhagwa...@aol.com (BHAGWANTSAGOO) wrote in message
Ashok
>
>Would not know who played the dholak for the song, but yes, it would
>have been either Abdul Karim or the other illustrious names listed as
>dholak players in their orchestra, (at some time or another) -
>Dattaram, Pankaj Dube, Shanker himself, Sattar, Anna Joshi, Ghulam
>Mohammed, Punyawan and a (Lala?) Sattar.
>Taking a guess but going by the virtuoso dholak in his own
>compositions, it could also have been Dattaram.
>
Interestingly, many music directors in that list--certainly
by name. Dattaram certainly is one. Presumbably, Ghulam
Mohammad is also the legendary but unluck music director;
he was known to be a great percussionist. What about
Sattar and Lala? By any chance is he (or are they) part
of the entiry that went by Lata Asad Sattar? I say entity
because I haven't been able conclusively establish whether
it is one person, two persons, or three! A couple of films
for which they have given music are 'Sangram' and
'Jahan Sati Wahan Bhagwan'. You can perhaps tell if he or
they are the dholakchi (dholakia?) by checking out some
of their songs. A key song for this purpose would be the
high-energy Lata-Kamal Barot duet they composed for
'Sangram':
Dam Dam Dam Dam Damaruu baaje
???????
mai.n to naachuu.N sajanavaa, mai.n to naachuu.N balamavaa
a song reminiscent of "ha.Nsataa huaa nuuraanii cheharaa"
with which L-P launched their career.
Thanks for the park trivia.
Asho
Surjit Singh
> In article <bc018434.04042...@posting.google.com>, robinb...@yahoo.com says...
>
>>Would not know who played the dholak for the song, but yes, it would
>>have been either Abdul Karim or the other illustrious names listed as
>>dholak players in their orchestra, (at some time or another) -
>>Dattaram, Pankaj Dube, Shanker himself, Sattar, Anna Joshi, Ghulam
>>Mohammed, Punyawan and a (Lala?) Sattar.
>>Taking a guess but going by the virtuoso dholak in his own
>>compositions, it could also have been Dattaram.
>>
>>Regards...Robin
>
>
> Interestingly, many music directors in that list--certainly
> by name. Dattaram certainly is one. Presumbably, Ghulam
> Mohammad is also the legendary but unluck music director;
> he was known to be a great percussionist. What about
> Sattar and Lala? By any chance is he (or are they) part
> of the entiry that went by Lata Asad Sattar? I say entity
> because I haven't been able conclusively establish whether
> it is one person, two persons, or three! A couple of films
According to the Rafi book by pradhan and menghani, the three people are
lala = laalaa gangaavane (not lata)
asar = asar (not asad)
sattar = abdul sattaar
> for which they have given music are 'Sangram' and
> 'Jahan Sati Wahan Bhagwan'. You can perhaps tell if he or
> they are the dholakchi (dholakia?) by checking out some
> of their songs. A key song for this purpose would be the
> high-energy Lata-Kamal Barot duet they composed for
> 'Sangram':
>
> Dam Dam Dam Dam Damaruu baaje
> ???????
> mai.n to naachuu.N sajanavaa, mai.n to naachuu.N balamavaa
>
> a song reminiscent of "ha.Nsataa huaa nuuraanii cheharaa"
> with which L-P launched their career.
>
>
>
> Thanks for the park trivia.
>
> Asho
>
--
Surjit Singh, a diehard movie fan(atic), period.
http://hindi-movies-songs.com/index.html
Afzal A. Khan
Surjit Singh wrote:
>
> Ashok wrote:
> > What about
> > Sattar and Lala? By any chance is he (or are they) part
> > of the entiry that went by Lata Asad Sattar? I say entity
> > because I haven't been able conclusively establish whether
> > it is one person, two persons, or three! A couple of films
>
> According to the Rafi book by pradhan and menghani, the three people are
>
> lala = laalaa gangaavane (not lata)
> asar = asar (not asad)
> sattar = abdul sattaar
You are right. Some five years back, I had posted the
same info (about these being three separate individuals)
on RMIM. BTW, the correct name for the last named would
be "Abdus Sattaar".
Afzal
> > Asho
> >
>
> --
> Surjit Singh
Afzal A. Khan
Ashok wrote:
>
> You can perhaps tell if he or
> they are the dholakchi (dholakia?) by checking out some
> of their songs.
>
> Asho
I think the words are "tabalchi" and "Dholakiya".
Afzal
Afzal A. Khan
Sudhir wrote:
>
> QUERY BY MR> SAGOO
> ====================
>
> > Mala Sinha dons a tight fitting Salwar Kameez...quite amazing how
> >she ever got into it as its so figure hugging.
>
> ANSWER BY SUDHIR
> ==================
>
> This is how it was done. Two hours prior to the shooting schedule, Miss
> Sinha would make herself confortable in a cold storage room for a period
> of 60 to 75 minutes. This lowered her volumetric dimensions by
> 7 to 12% and made it easy to get herself in to the armor (kameez and
> salwar). Another 20 minutes were required to thaw her and get her back to
> the original shape. Ofcourse, the process had to be repeated at the
> end of the day, to get out of the killer outfit.
Alternatively, she could have been made to spend a couple
of hours (if such a thing is possible) in a sauna. That
might have made her lose some weight (just as in the case
of boxers). Come to think of it, she might have required
several such "treatments".
Afzal
naniwadekar
"Robin" <robinb...@yahoo.com> wrote -
>
> Would not know who played the dholak for the song, but yes, it would
> have been either Abdul Karim or the other illustrious names listed as
> dholak players in their orchestra, (at some time or another) -
> Dattaram, Pankaj Dube, Shanker himself, Sattar, Anna Joshi, Ghulam
> Mohammed, Punyawan and a (Lala?) Sattar.
>
The phrase "dholak player in their orchestra" suggests
fairly frequent association of the named artist as dholak
player in SJ's songs (during some period or another).
Ghulam Mohammed may well have played dholak only
once for SJ, and that too as a very generous guest when
the duo were an unknown entity doing their first film
and GH was clearly senior to them as MD in every
respect (besides being a superior composer than the
upstarts). Whoever has listed Ghulam Mohammed as
'dholak player in SJ's orchestra' should simply take
his name off; else, ere we know, Bhimsen Joshi will
be added by SJ cronies as 'singer of SJ's songs' based
on just one song.
By the way, I wonder whether S or J would have extended
the same courtesy to O P Nayyar if he had requested them
to play an instrument in a song in his first film.
- dn
V S Rawat
> QUERY BY MR> SAGOO
> ====================
>
>
>>Mala Sinha dons a tight fitting Salwar Kameez...quite amazing how
>>she ever got into it as its so figure hugging.
>
>
>
> ANSWER BY SUDHIR
> ==================
>
> This is how it was done. Two hours prior to the shooting schedule, Miss
> Sinha would make herself confortable in a cold storage room for a period
> of 60 to 75 minutes. This lowered her volumetric dimensions by
> 7 to 12% and made it easy to get herself in to the armor (kameez and
> salwar). Another 20 minutes were required to thaw her and get her back to
> the original shape. Ofcourse, the process had to be repeated at the
> end of the day, to get out of the killer outfit.
>
Seems you used to go to see films bunking your physics class
also.
if she goes to cold storage wearing the outfit, won't the
outfit also shrink?
And because the outfit is the outermost thing, it will
become the coldest and and will shrink more than the body.
join some prau.Dh shiksha classes.
-rawat
Sudhir
You are an idiot and will remain so for rest of your life.
Just for you, I am breaking-up the paragraph in to 4 sequences.
1 Two hours prior to the shooting schedule, Miss Sinha would
make herself confortable in a cold storage room for a period
of 60 to 75 minutes. This lowered her volumetric dimensions
by 7 to 12%
2 and made it easy to get herself in to the armor (kameez and
salwar).
3 Another 20 minutes were required to thaw her and get her
back to the original shape.
4 Ofcourse, the process had to be repeated at the end of the day,
to get out of the killer outfit.
Sudhir
--------------------------
V S Rawat <VSR...@datainfosys.net> wrote in message >
> Seems you used to go to see films bunking your physics class
> also.
>
> if she goes to cold storage wearing the outfit, won't the
> outfit also shrink?
by Sudhir: Mr. Idiot, if she is already wearing the outfit, why
she should be going to the cold storage room and
shrink to fit to the size
Afzal A. Khan
Just Miss Sinha in flesh and blood, and nothing else ?
She could end up in the morgue thereafter. No need for
any "thawing".
Some thirty-five years back, I had read a story about
Babita (Randhir K's wife) and how she had been locked up
in a large refrigerator for a film scene and then forgotten
for some time. She almost died.
Afzal
V S Rawat
> Mr. Rawat:
>
> You are an idiot and will remain so for rest of your
> life.
>
> Just for you, I am breaking-up the paragraph in to 4
> sequences.
>
>
> 1 Two hours prior to the shooting schedule, Miss
> Sinha would make herself confortable in a cold storage
> room for a period of 60 to 75 minutes. This lowered her
> volumetric dimensions by 7 to 12%
>
>
> 2 and made it easy to get herself in to the armor
> (kameez and salwar).
>
>
> 3 Another 20 minutes were required to thaw her and get
> her back to the original shape.
>
>
>
> 4 Ofcourse, the process had to be repeated at the end
> of the day, to get out of the killer outfit.
>
You didn't get it.
It is good that you went to see movies bunking your physics
classes because even you had remained in the class you would
not have understood what the professor was saying.
Some say that If sudhir's IQ had been one point less, he
would have been a plant.
Some others say that If sudhir's IQ had been one point more,
he would at least have been a plant.
I think even the second opinion is inflated.
-Rawat
Pradeep
> Ashok wrote:
> > In article <bc018434.04042...@posting.google.com>, robinb...@yahoo.com says...
> >
> >>Would not know who played the dholak for the song, but yes, it would
> >>have been either Abdul Karim or the other illustrious names listed as
> >>dholak players in their orchestra, (at some time or another) -
> >>Dattaram, Pankaj Dube, Shanker himself, Sattar, Anna Joshi, Ghulam
> >>Mohammed, Punyawan and a (Lala?) Sattar.
> >>Taking a guess but going by the virtuoso dholak in his own
> >>compositions, it could also have been Dattaram.
> >>
> >>Regards...Robin
> >
understanding is that Anna Joshi is primarily a tabalchi. He plays
various (Indian) percussion instruments as well, typically dholaki,
sambal etc. But I wouldn't associate him with dholak. Since you
mentioned him, listen to his marvelleous job on tabla for "Shrawanaat
Ghananila Barasalaa" (Marathi : Lata, Shrinivas Khale).
> >
> > Interestingly, many music directors in that list--certainly
> > by name. Dattaram certainly is one. Presumbably, Ghulam
> > Mohammad is also the legendary but unluck music director;
> > he was known to be a great percussionist. What about
> > Sattar and Lala? By any chance is he (or are they) part
> > of the entiry that went by Lata Asad Sattar? I say entity
> > because I haven't been able conclusively establish whether
> > it is one person, two persons, or three! A couple of films
>
> According to the Rafi book by pradhan and menghani, the three people are
>
> lala = laalaa gangaavane (not lata)
> asar = asar (not asad)
> sattar = abdul sattaar
Laalaa Gangavane played the dholki for "manabhavan ke ghar jaye gori"
What a brilliant break off into x 2 pace, towards the end of each
antaraa!
>
> > for which they have given music are 'Sangram' and
> > 'Jahan Sati Wahan Bhagwan'. You can perhaps tell if he or
> > they are the dholakchi (dholakia?) by checking out some
> > of their songs. A key song for this purpose would be the
> > high-energy Lata-Kamal Barot duet they composed for
> > 'Sangram':
> >
> > Dam Dam Dam Dam Damaruu baaje
> > ???????
> > mai.n to naachuu.N sajanavaa, mai.n to naachuu.N balamavaa
> >
> > a song reminiscent of "ha.Nsataa huaa nuuraanii cheharaa"
> > with which L-P launched their career.
> >
> >
> >
> > Thanks for the park trivia.
> >
> > Asho
> >
It's time we compile a list of outstanding dholak accompanyments.
.....Pradeep
Sudhir
===============
In my post, I did not list the temperature, at which the operation was
conducted. Miss Sinha survived, so it is quite obvious that some
adjustments were made at the factory floor. It it not just to compare
heavy-weight champion, Miss Mala with feather-weight newbee,
Miss Babita.
Msg is Indore-Niwasi
================
I over-looked one major point in my prior msg to you. You quoted Physics,
but it seems you are unaware of coefficient of expansion.
Cotton / Silk / man-made fabrics certainly don't have a higher factor
than human beings.
And here is an open challenge. You want to win points with me, then
quote facts and figures. Comparing me with Plant and so one is a
yakty-yak gibberish.
Sudhir
--------------------------------
Afzal A. Khan" <me_a...@privacy.net> wrote in message > > --------------------------
> >
>
>
> Just Miss Sinha in flesh and blood, and nothing else ?
by Sudhir: Afzal Saheb, you are making assumptions
Afzal A. Khan
Sudhir wrote:
>
> Msg for Afzal Saheb
> ===============
>
> In my post, I did not list the temperature, at which the operation was
> conducted. Miss Sinha survived, so it is quite obvious that some
> adjustments were made at the factory floor. It it not just to compare
> heavy-weight champion, Miss Mala with feather-weight newbee,
> Miss Babita.
I agree. It is "grossly" unfair.
>
> Msg is Indore-Niwasi
> And here is an open challenge. You want to win points with me, then
> quote facts and figures. Comparing me with Plant and so one is a
> yakty-yak gibberish.
>
> Sudhir
Perhaps your friend mis-spelt the word. He must have
meant Planck !
Afzal
Sudhir
> of hours (if such a thing is possible) in a sauna. That
> might have made her lose some weight (just as in the case
> of boxers). Come to think of it, she might have required
> several such "treatments".
by Sudhir: That could have been a choice, if Miss Sinha was
skeeing an intermediate-term solution.
>
>
> Afzal