{"id":3259,"date":"2016-10-31T00:00:30","date_gmt":"2016-10-30T18:30:30","guid":{"rendered":"http:\/\/learningandcreativity.com\/silhouette\/?p=3259"},"modified":"2017-10-31T20:21:38","modified_gmt":"2017-10-31T14:51:38","slug":"s-d-burman-music-experiments-ii","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/s-d-burman-music-experiments-ii\/","title":{"rendered":"Pioneering Experiments Which Became Trends: S D Burman and His Music (Part-II)"},"content":{"rendered":"<p><strong>In continuation of <span style=\"text-decoration: underline;\"><a href=\"https:\/\/learningandcreativity.com\/silhouette\/s-d-burman-experiments-part-i\/\">Pioneering Experiments Which Became Trends: S D Burman and His Music (Part-I)<\/a><\/span><\/strong><\/p>\n<h4>1959 \u2013<em> Insan Jaag Utha<\/em> \u2013 <em>Janu janu re<\/em>\u00a0\u2013 Shailendra \u2013 Geeta Dutt and Asha Bhosle<\/h4>\n<p><strong>Asha Bhosle:<\/strong> \u201cBurman Dada used to always think of something new.\u201d<\/p>\n<div id=\"attachment_3236\" style=\"width: 237px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3236\" class=\"size-full wp-image-3236\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2013\/10\/Majestic-Sachin-Dev-Burman.jpg\" alt=\"SD Burman\" width=\"227\" height=\"222\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2013\/10\/Majestic-Sachin-Dev-Burman.jpg 227w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2013\/10\/Majestic-Sachin-Dev-Burman-150x147.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2013\/10\/Majestic-Sachin-Dev-Burman-32x32.jpg 32w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2013\/10\/Majestic-Sachin-Dev-Burman-64x64.jpg 64w\" sizes=\"(max-width: 227px) 100vw, 227px\" \/><p id=\"caption-attachment-3236\" class=\"wp-caption-text\">SD Burman looking majestic in his shawl and dhoti-kurta<\/p><\/div>\n<p><span style=\"color: #c2150a;\"><em>\u201cAchcha, hasna bhi unhonein (Dada Burman ne) gaane mein (sikhaya). Pehli baar maine unke paas (hanske) gaaya. Shayad film mein hasne ka aisa aaya nahin tha. Aapko yaad hoga, \u2018Janu janu re, kaahe khanke hai tora kangana\u2019. Hai na usmein?<\/em><\/span><\/p>\n<p><em>(Laughs and takes a deep breath in)<\/em><\/p>\n<p><em>(Sings)<\/em><span style=\"color: #c2150a;\"> <em>&#8216;<\/em><em>Main bhi jaanu re, kaahe khanke hai tora kangana&#8230;&#8217;<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>To, yeh hansne ka tha\u2026, hanske saans lena. Hamesha hanske (baad mein) aadmi saans lete hai, kyonki hawa bahar nikal rahi hai na. Yeh sab unhonein tab yeh kiya tha\u2026, bataaya tha. Uske baad sab gaanon mein aane laga woh hansne ka. Lekin, Dada kuch nayi-nayi cheez sochte the.\u201d<\/em><\/span><\/p>\n<p><em>(Courtesy Ameen Sayani)<\/em><\/p>\n<p>(Burman Dada taught me the skill of laughing while singing. That was the first time I used this technique of laughing in a song, which probably had not been attempted before. You might remember the song, <em>Janu janu re, kahe khanke hai tora kangana\u2019 <\/em>(<em>Insan Jag Utha<\/em> \u2013 (1959). Isn\u2019t it there!)<\/p>\n<p>(A person always inhales after laughing, as he had exhaled earlier. The art of breathing while laughing in a song was taught to me by Dada. Subsequently, this was followed by others. But, Dada would always think of something new.)<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/YvAi24qwVOI\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4><strong>1960 \u2013 <em>Kala Bazar &#8211; \u2018Apni to har aah ek toofan hai\u2019<\/em> \u2013 Shailendra \u2013 Mohd Rafi<\/strong><\/h4>\n<p>Waheeda is travelling in a\u00a0train along with her parents. Dev Anand, trying to woo her, gets into the same compartment.<\/p>\n<p>Given the situation, Burman Dada had to compose a song for Dev. A purist that he was, Dada thought of introducing the sound of the engine-whistle in the song. Using his ingenuity, he used a flute to create that sound effect. The result was so good, that the viewers did not realize that a flute had been used. That was Dada, who would always think of something new.<\/p>\n<p><iframe loading=\"lazy\" width=\"100%\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/1SKdg08-yGk\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<h4><strong>1963 \u2013 <em>Meri Surat Teri Ankhen \u2013 Nache man mora<\/em> \u2013 Shailendra \u2013 Rafi \u00a0<\/strong><\/h4>\n<p><strong>S D Burman: <\/strong>\u201cI carried out a similar experiment in \u2018<em>Meri Surat Teri Aankhen\u2019<\/em>. Shailendra wrote a song starting with \u2018<em>Naache man mora, magan tigda dhigi dhigi\u2019<\/em>. The idea for the song occurred to me this way. Famous artist of \u2018Kathhak\u2019, Sri Brindadin Maharaj, while teaching dance to his nephews always chanted the phrase \u2018<em>tigda dhigi dhigi\u2019<\/em> and according to this instructed the foot stances. I shared a very cordial relation with Achhan Maharaj and this phrase was imprinted in my mind.<\/p>\n<p>Using my tune, I helped Shailendra to write this song. I proposed the first line as, \u201cThe mind is dancing, or the mind is dancing like a peacock, or such a similar lyric. He wrote, \u2018<em>Naache man mora magan<\/em>\u2019; after which I used the phrase \u2018<em>tigda dhigi dhigi\u2019<\/em>. For the expression, proper rhythm was used in the tune. Pandit Samta Prasad from Benaras played Tabla for this number. He was invited specially for playing the Tabla according to the Kathak dance phrases. Everybody liked this composition. I can recall many of the music compositions associated with similar incidents. (<em>Sargamer Nikhad<\/em>)<\/p>\n<p><iframe loading=\"lazy\" width=\"100%\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/5as7b0Zz8GI\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<h4><strong>1965 \u2013 <em>Guide \u2013 \u2018Kanton se kheench key ye aanchal\u2019<\/em> \u2013 Shailendra \u2013 \u00a0Lata Mangeshkar<\/strong><\/h4>\n<p><strong>Shekhar Sen in an interview with the author:<\/strong><\/p>\n<div id=\"attachment_3267\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3267\" class=\"wp-image-3267\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shekhar-Sen-and-Moti-Lalwani.jpg\" alt=\"Shekhar Sen and Moti Lalwani\" width=\"400\" height=\"292\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shekhar-Sen-and-Moti-Lalwani.jpg 690w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shekhar-Sen-and-Moti-Lalwani-400x292.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shekhar-Sen-and-Moti-Lalwani-150x109.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shekhar-Sen-and-Moti-Lalwani-300x219.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3267\" class=\"wp-caption-text\">Shekhar Sen and Moti Lalwani<\/p><\/div>\n<p>&#8220;Sachin Babu\u2019s music holds an important position in my life; for, it has been a part of my formative years. Though, I never had the opportunity to meet Sachin Babu personally, I have met him through the medium of his melodies and through his tunes.<\/p>\n<p>The more I heard his compositions; the more I realized that this person is able to speak through his music, in his own special way! And, very few people are so gifted with this art, this intelligence and this talent, that they are able to create a dialogue with their listeners.<\/p>\n<p>Not only did he create beautiful songs, but they were also suited to the situation. For example if I was take a <em>Guide<\/em> (1965) song <em>Kaanton se kheench ke yeh aanchal, tod ke bandhan baandhi payal <\/em>starts with an <em>antara<\/em>! Very rarely would a composer dare, \u201cI\u2019ll start the song from <em>\u2018antara<\/em>\u201d!<\/p>\n<p>And if I was to speak only about songs of <em>Guide<\/em>, I\u2019ll be able to tell you so many things about <em>Guide<\/em> and its music. Because, that was one of the finest creations of Indian film history, one of the finest melodious films of Hindi cinema.&#8221;<\/p>\n<p><span style=\"color: #c2150a;\"><strong>Shekhar Sen on Dada Sachin Dev Burman<\/strong> (Part One) \u2013 00.00 to 2.15 minutes<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/nUT3Df66N0Y\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4><strong>1967 \u2013 <em>Jewel Thief \u2013 \u2018Raat akeli hai\u2019<\/em> \u2013 Majrooh Sultanpuri \u2013 Asha Bhosle<\/strong><\/h4>\n<p>Tanuja tries to seduce Dev Anand as she has a crush on him.<\/p>\n<p>One of the most seductive songs ever composed, it is extremely popular even today. Rendered by Asha Bhosle in her inmitable voice, lip synced by Tanuja who has done full justice to it by her on-screen provocative acting, it remains one of the most iconic songs even after 40 years.<\/p>\n<p>Let\u2019s read what Sachinda, Asha Bhosle and Vidya Balan have to say:<\/p>\n<div id=\"attachment_3271\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3271\" class=\"wp-image-3271\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Memorial-Govt-Music-College.jpg\" alt=\"Sachin Debbarman Govt Music College in Tripura\" width=\"400\" height=\"287\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Memorial-Govt-Music-College.jpg 600w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Memorial-Govt-Music-College-400x287.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Memorial-Govt-Music-College-150x108.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Memorial-Govt-Music-College-300x215.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3271\" class=\"wp-caption-text\">Sachin Debbarman Memorial Govt Music College in Tripura<\/p><\/div>\n<p><strong>Sachinda: <\/strong>\u201cFor <em>Jewel Thief<\/em> produced by Navketan (1967), a new type of tune was required. There were two heroines in the film. Tanuja was in one of the major roles and her character was unrestrained. Her movements and dialogues were full of reckless fickleness. For the character, I was requested by the director Vijay Anand to compose a unique song. Generally, the Hindi film songs start with <em>asthayee<\/em>, then <em>antara<\/em> comes and the song ends moving back to asthayee again.<\/p>\n<p>For Tanuja in that film, I did not follow the conventional way, instead composed a tune for a narrative poem. I wanted the tune to be particularly suitable to the character. The situation was that the naughty heroine sings to the hero, starting with, \u2018<em>Raat akeli hai, bujh gaye diye, aake mere paas, kaano mein mere, jo bhi chaahe kahiye\u2026\u2019<\/em><\/p>\n<p>I composed the tune so that the heroine would croon the first few words, then at the end she would sing <em>\u2018jo bhi chahe kahiye\u2019<\/em> dramatically in a higher scale. After the first line there would be an interlude, followed by the <em>antara<\/em> in narrative form. Asha Bhosle sang the song. My effort was very successful. Sultanpuri wrote the lyrics and Tanuja, through her performance, made the idea lively.\u201d (<em>Sargmer Nikhad<\/em>)<\/p>\n<p><strong>Asha Bhosle<\/strong> narrated an amusing incident, how she was not getting the expression right for the iconic song \u2013 <em>Raat akeli hai<\/em>, from <em>Jewel Thief<\/em>. Dada had explained to her the sudden scale change in the song, to think that a child is mischievously, doing a `kook\u2019, in his mother\u2019s ear and running away. (<em>Source:\u00a0<a href=\"http:\/\/panchammagic.org\/2013\/10\/the-first-note-sachin-dev-burman-eternal-immortal\/\">The First Note\u2026SACHIN DEV BURMAN\u2026Eternal\u2026Immortal<\/a>)<\/em><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/t7s6eepvodw\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4><strong>1969 \u2013 \u2018<em>Borne gondhe chhonde geetite\u2019<\/em> \u2013 Meera Dev Burman \u2013 Sachin Dev Burman <\/strong><\/h4>\n<h4><strong>1970 \u2013 <em>Prem Pujari \u2013 \u2018Phoolon ke rang se\u2019<\/em> \u2013 Neeraj \u2013 Kishore Kumar <\/strong><\/h4>\n<p><strong>Music Director Shantanu Moitra in his voice recorded interview with us:<\/strong><\/p>\n<p>&#8220;S D Burman for me is a God whom I can\u2019t see, but I know is prevalent. As a composer, every day I am fighting a situation where, \u201cWill this melody work? Will people like it or not? Is it getting too Bengali?\u201d These are the things I keep on hearing.<\/p>\n<div id=\"attachment_3273\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3273\" class=\"wp-image-3273 size-full\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shantanu-Moitra.jpg\" alt=\"Shantanu Moitra\" width=\"400\" height=\"400\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shantanu-Moitra.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shantanu-Moitra-150x150.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shantanu-Moitra-300x300.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shantanu-Moitra-32x32.jpg 32w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shantanu-Moitra-64x64.jpg 64w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shantanu-Moitra-96x96.jpg 96w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Shantanu-Moitra-128x128.jpg 128w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3273\" class=\"wp-caption-text\">Shantanu Moitra <br \/>(Pic: @ShantanuMoitra on Twitter)<\/p><\/div>\n<p>The simplicity and the authority of the composition, which is not marred by arrangement, which is not marred by sound; he had the confidence of pulling off a song \u2013 with just with one <em>ektara,<\/em> one <em>khol<\/em>, one <em>tabla<\/em>. That\u2019s the command of the composer! I mean, that is what inspires me the most.<\/p>\n<p>But the boldness of the composer was that he was never, never afraid to have three melodies with the main melody. He felt its flowing, it\u2019s flowing. That is what I learned from S D Burman.<\/p>\n<p>You know the structuring of his tunes from Bengali to Hindi was remarkably different. That\u2019s called weightage, down to structuring. Let\u2019s say:<\/p>\n<p><em>(While strumming his guitar, hums tune of Burman Dada\u2019s Bangla song)<\/em><\/p>\n<p>&#8216;<em>Borne gondhe chhonde geetite, hridoye diyecho dola&#8217;<\/em>. Now look at the weightage of this, 1, 2, 3, \u00a0\u00a01, 2, 3.\u00a0<em>(Hums Bangla song again) &#8216;Borne gondhe chhonde geetite, hridoye diyecho dola&#8217;<\/em>. Same tune when it is in Hindi, he (SDB) is changing the weightage of the line. (<em>Sings<\/em>) <em>&#8216;Phoolon ke rang se&#8217;<\/em> &#8211; its not like, <em>\u2018Ph oo lon \u00a0ke\u00a0 rang \u00a0se\u2019<\/em>&#8220;. <em>(Repeats it in a slower tempo, like original Bangla song Borne gondhe\u2026.)<\/em>. He\u2019s not doing that. He is doing &#8211; <em>\u2018Phoolon ke rang se, dil ki kalam se\u2019 <\/em><em>(Sings at the normal tempo)<\/em>.<\/p>\n<p><strong>Shantanu Moitra continues:<\/strong>\u00a0You can never make out, looking at that song, that it\u2019s taken from some Bengali tune or Uday Shankar speciality tune. It\u2019s an original Hindi song. That is because he was a master at adapting a tune from one to another, and his own tune. But he was so sensible he knew that in Hindi I need that kind of a<em> \u2018jhalak\u2019.<\/em><\/p>\n<p><em>(Sings in the \u2018Borne gondhe\u2019 tempo)<\/em> <em>\u2018Ph oo lon\u00a0\u00a0\u00a0 ke\u00a0\u00a0\u00a0 rang\u00a0\u00a0\u00a0 se\u2019<\/em>. This is not the Hindi <em>chaal<\/em>. Hindi <em>chaal<\/em> is &#8211; <em>(Sings in the original tempo of Hindi song<\/em>)\u00a0&#8211;\u00a0<em>Phoolon ke rang se.<\/em> The whole sensibility is completely different! It comes from a man, who is an astute observer of people, an astute observer of music, and has an astute understanding of what each language demands. SD Burman is so important, so important for the youth of today, because the techniques that he used are very, very important for composers like us to use, to make it popular and to make it relevant.&#8221;<\/p>\n<p><strong><span style=\"color: #c2150a;\"><em>Borne Gandhe gondhe geetite<\/em><\/span><\/strong><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/jum7Qf5mLIo\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong><span style=\"color: #c2150a;\"><em>Phoolon ke rang se<\/em><\/span><\/strong><\/p>\n<p><iframe loading=\"lazy\" width=\"100%\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Z7uezmrhdwg\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<h4><strong>1970 \u2013 <em>Prem Pujari \u2013 \u2018Phoolon ke rang se\u2019<\/em> \u2013 Neeraj \u2013 Kishore Kumar <\/strong><\/h4>\n<p><strong>Neeraj in his \u00a0voice recorded interview with us:<\/strong><\/p>\n<p><span style=\"color: #c2150a;\"><em>Phir Dada experiment karte the. Wahi cheez jo doosre log himmat nahin karte the. Ab, \u2018Phoolon ke rang se, dil ki kalam se\u2019, jo geet hai, iska antara pehle hai, mukhda baad main hai. Pehle antara hai, (he replies smilingly). Antara to hai hi hai!<\/em><\/span><\/p>\n<div id=\"attachment_3269\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3269\" class=\"wp-image-3269\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-and-Moti-Lalwani.jpg\" alt=\"Kavi Neeraj\" width=\"400\" height=\"250\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-and-Moti-Lalwani.jpg 690w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-and-Moti-Lalwani-400x250.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-and-Moti-Lalwani-150x94.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-and-Moti-Lalwani-300x188.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3269\" class=\"wp-caption-text\">Kavi Neeraj (middle) with Richa Lakhanpal (L) and Moti Lalwani (R)<\/p><\/div>\n<p>(Dada would carry out experiments, which others would not dare. For instance, <em>Phoolon ke rang se, dil ki kalam se<\/em>\u00a0starts with an <em>antara<\/em>, followed by <em>mukhda<\/em>. The songs starts with the antara. Yes, it starts with the antara.)<\/p>\n<p><em>(Recites from his memory as if in a trance)<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8220;Phoolon ke rang se, dil ki kalam se, tujhko likhi roz paati,<\/em><br \/>\n<em>Kaise bataaon, kis-kis tarah se, pal-pal tu mujhe sataati,<\/em><br \/>\n<em>Tere hi sapne lekar ke soya, teri hi yaadon mein jaaga,<\/em><br \/>\n<em>Tere khayalon men uljha raha yun, jaise ki mala mein dhaga,<\/em><br \/>\n<em>Badal bijli, chandan paani, jaisa apna pyaar,<\/em><br \/>\n<em>Lena hoga, janam hamein, kayee-kayee baar,<\/em><br \/>\n<em>Itna madhir&#8230;<\/em><\/span><\/p>\n<p>(Neeraj stops and says excitedly) <span style=\"color: #c2150a;\"><em>Ab aaya yahaan mukhda! <\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8216;Itna madhir, Itna madhur&#8230;&#8217;<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Yahaan se mukhda hai woh. Ab chhe line ke baad mukhda aaya hai woh&#8230;Haan, chhe line ke baad mukhda aaya hai&#8221;<\/em><\/span><\/p>\n<p>(And now begins the mukhda. From here the mukhda starts. The mukhda starts after six lines. Yes, it does start after six lines.)<\/p>\n<div id=\"attachment_3268\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3268\" class=\"size-full wp-image-3268\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Birth-Anniversary-1.jpg\" alt=\"SD Burman birth anniversary\" width=\"690\" height=\"354\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Birth-Anniversary-1.jpg 690w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Birth-Anniversary-1-400x205.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Birth-Anniversary-1-150x77.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Birth-Anniversary-1-300x154.jpg 300w\" sizes=\"(max-width: 690px) 100vw, 690px\" \/><p id=\"caption-attachment-3268\" class=\"wp-caption-text\">The SDB show in Agartala held on Dada&#8217;s birth anniversary (Oct 1, 2011)<\/p><\/div>\n<h4><strong>1970 \u2013 <em>Prem Pujari \u2013 \u2018Gum pe dhool daalo\u2019<\/em> \u2013 Neeraj \u2013 Kishore and Bhupinder <\/strong><\/h4>\n<p><strong>Kavi Neeraj continues:<\/strong><\/p>\n<p><span style=\"color: #c2150a;\"><em>Unhonein aur experiment kiya. Bole, \u201cDekho Neeraj, ek mukhda hai, usmein chaar experiment honge. Pehle do line folk, teesri line classical, chauthi line pop, aur paanchvi line qawwali\u201d.<\/em><\/span><\/p>\n<div id=\"attachment_3270\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3270\" class=\"wp-image-3270\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Bridge.jpg\" alt=\"Bridge in honour of SD Burman in Agartala\" width=\"400\" height=\"258\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Bridge.jpg 690w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Bridge-400x258.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Bridge-150x97.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Sachin-Dev-Burman-Bridge-300x193.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3270\" class=\"wp-caption-text\">Sachin Devburman Setu (Bridge) in honour of SD Burman in Agartala<\/p><\/div>\n<p>(Dada experimented further: \u201cNeeraj, We will have four different genres in the mukhda. The first two lines will be based on folk. The third on classical. The fourth on pop. And the last line will be based on qawwali\u201d.)<\/p>\n<p><em>(Sings)<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8220;Gum pe dhul dalooooooo, kahkaha lagaloooooooo,<\/em><br \/>\n<em>Arre kaantoki dagariya zindagaani hai, tum jo muskarado rajdhani hai<\/em><br \/>\n<em>Yeh honth sookhe sookhe, yeh baal rookhe rookhe,<\/em><br \/>\n<em>Chaayi udaasi kyon yaaron, arre yaaron neelaam karo susti, <\/em><br \/>\n<em>Hum se udhaar lelo masti, arre hasti ka naam tandurusti&#8221;<\/em><\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/k6fyi89Rjhc\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4><strong>1970 \u2013 <em>Prem Pujari \u2013 \u2018Shokhiyon mein ghola jaaye phoolon ka shabab\u2019<\/em> \u2013 Neeraj \u2013 Kishore\u00a0 <\/strong><\/h4>\n<p><strong>Kavi Neeraj:<\/strong><\/p>\n<p><span style=\"color: #c2150a;\"><em>Aur unki visheshta kya thi, woh antre-mukhde ki ek nahin rakhte the.<\/em><br \/>\n<em>Mukhde ke baad antre ke tune ki break dete the. Jo Shankar-Jaikishen ke style mein beat to beat hai.<\/em><\/span><\/p>\n<div id=\"attachment_3274\" style=\"width: 360px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3274\" class=\"wp-image-3274\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-Nevan.jpg\" alt=\"Kavi Neeraj \" width=\"350\" height=\"373\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-Nevan.jpg 690w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-Nevan-376x400.jpg 376w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-Nevan-141x150.jpg 141w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-Nevan-300x320.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-Nevan-150x160.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/Kavi-Neeraj-Nevan-282x300.jpg 282w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><p id=\"caption-attachment-3274\" class=\"wp-caption-text\">Kavi Neeraj with his great, great grand son Nevan (Source: Milan Prabhat &#8211; Neeraj&#8217;s son)<\/p><\/div>\n<p>(And his forte was \u2013 he never followed any particular pattern in the <em>mukhda<\/em> and <em>antara<\/em>. He will introduce a break in the tunes of <em>mukhda<\/em> and <em>antara<\/em>. But in Shanker-Jaikishen\u2019s style, the same beat was maintained throughout the song.)<\/p>\n<p><em>(Sings)<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8216;Kehta hai joker, sara zamaana,<\/em><br \/>\n<em>Aadhi haqiqat, aadha fasaana,<\/em><br \/>\n<em>Chashma utaaro, phir dekho yaaro,<\/em><br \/>\n<em>Duniya nayee hai, chehra puraana,<\/em><br \/>\n<em>Apne pe hanskar, jag ko hansaya.&#8217;<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Ek hi tune chal rahi hai. Woh (Burman Dada) break karte hain!<\/em><\/span><br \/>\n<span style=\"color: #c2150a;\"><em>Humne poochha: Dada, Kyon break karte hain? <\/em><br \/>\n<em>Ki bole, &#8216;Monotony ho jaati hai is- se. Agar ek hi tune rakhoge, mukde ki, antare ki, sab ki ek hi tune, to monotony ho jaati hai&#8217;.\u201d<\/em><\/span><\/p>\n<p>(The same tune continues. He (Burman Dada), used to give a break in the tune. I asked, \u2018Dada, why do you give a break?\u2019 Dada replied, otherwise it becomes monotonous. If you continue the same tune of mukhda and antara, it becomes monotonous.)<\/p>\n<p><span style=\"color: #c2150a;\"><em>\u00a0&#8220;Toh kya karte hain&#8230;&#8221;<\/em><\/span>\u00a0(So, what he does is)<\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8220;Shokhiyon mein ghola jaaye, phoolon ka shabab,<\/em><br \/>\n<em>Us mein phir milaayee jaye, thodi si sharaab<\/em><br \/>\n<em>Arre, hoga yun nasha jo taiyaar,<\/em><br \/>\n<em>Haan hoga yun nasha jo taiyaar,<\/em><br \/>\n<em>Woh pyaar hai<\/em><br \/>\n<em>Shokhiyon mein ghola jaaye phoolon ka shabab<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Ab change&#8221;\u00a0<\/em><\/span>(Now the change):<\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8220;Hansta hua bachchpan woh, behkaa hua mausam hai,<\/em><br \/>\n<em>Chhedo to ek shola hai, choo lo to bas shabnam, <\/em><br \/>\n<em>Raah mein, mele mein, Gaon mein, akele mein,<\/em><br \/>\n<em>Aata jo yaad baar, baar, woh pyaar hai.<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Kitne tune break hain ye! Woh yehi zaroori hai<\/em><br \/>\n<em>Yeh style, yeh S. D. Burman ka tha tune<\/em><br \/>\n<em>Mukhde aur antare ke tune mein antar hua! <\/em><br \/>\n<em>Nahin toh monotonous ho jaate hai!<\/em><\/span><\/p>\n<p>(How often the tune changes. So, this is necessary, a distinct of S. D. Burman. There is a difference in the tune of the mukhda and the antara.)<\/p>\n<p><strong>Note:<\/strong> Wherever Neeraj ji says that Dada gave a break in the tune, he means that Dada\/he changes the meter, giving different pace and creating variety in the song. It is a delight to listen to such songs.\u00a0(Clarified by Subramani Natraj, a fan of SD Burman and confirmed by Music Director Anand Shrivastav.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/rOQjyLH4O50\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4><strong>1971 \u2013 <em>Sharmeelee \u2013 \u2018Reshmi ujala hai\u2019<\/em> \u2013 Neeraj \u2013 Asha Bhosle <\/strong><\/h4>\n<p><strong>Kavi Neeraj: <\/strong><\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8220;Ab yeh suniye:&#8221;<\/em><\/span> (Now listen to this)<\/p>\n<p><em>(Sings the cabaret song from 1971 film Sharmilee)<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8220;Reshmi ujaala hai, makhmali andhera,<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Aaj ki raat, aisa kuch karo, aisa kuch karo, aisa kuch karo<\/em><br \/>\n<em>Ho nahin, ho nahin, ho nahin saveraaaaaaaa <\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Ab badal gaya&#8221;\u00a0<\/em><\/span>(Now it changes)<\/p>\n<p><em>(sings again)<\/em>:<\/p>\n<p><span style=\"color: #c2150a;\"><em>Aisi toh raat, roz nahin aaye,<\/em><br \/>\n<em>Aankhon se koi, roz na pilaye<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Bahut hi badiya, music director the! Woh pardhe likhe logon ke music director the! Isi liye aaj bhi unki tune sada bahaar hai.&#8221;<\/em><\/span><\/p>\n<p>(He was a very fine music director. He was a music director of enlightened people. That\u2019s why even now his tunes are evergreen.)<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/8D9df53kGYQ\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4><strong>1971 \u2013 <em>Gambler \u2013 \u2018Dil aaj shair hai\u2019<\/em> \u2013 Neeraj \u2013 Kishore Kumar<\/strong><\/h4>\n<p><strong>Kavi Neeraj:<\/strong><\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8220;Phir unhonein experiment kiya, \u2018Mukhda nahin chaahiye. Mukhda hi nahin hoga\u2019. <\/em><br \/>\n<em>Toh \u2018Gambler\u2019 mein experiment kiya:<\/em><\/span><\/p>\n<div id=\"attachment_3275\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3275\" class=\"wp-image-3275\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/S.D.-Burman-Conducting-Orchestra.jpg\" alt=\"SD Burman conducting the orchestra (Pic: Google Image Search)\" width=\"400\" height=\"244\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/S.D.-Burman-Conducting-Orchestra.jpg 604w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/S.D.-Burman-Conducting-Orchestra-150x92.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/S.D.-Burman-Conducting-Orchestra-400x244.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/S.D.-Burman-Conducting-Orchestra-300x183.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3275\" class=\"wp-caption-text\">SD Burman conducting the orchestra <br \/> (Pic: Google Image Search)<\/p><\/div>\n<p>(He carried out another experiment. There will be no mukhda, no mukhda at all. He experimented in <em>Gambler<\/em>)<\/p>\n<p><span style=\"color: #c2150a;\"><em>\u2018Dil aaj shair hai,<\/em><br \/>\n<em>Gham aaj naghma hai,<\/em><br \/>\n<em>Shab yeh ghazal sanam,<\/em><br \/>\n<em>Gairon ke sheron ko sunne wale,<\/em><br \/>\n<em>Duniya se jeete par tumse hare,<\/em><br \/>\n<em>Par khud se hare.&#8221;<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>&#8220;Is mein mukhda hi nahin hai. <\/em><\/span><em>(giggles)<\/em> <span style=\"color: #c2150a;\"><em>Yeh nazm hai, nazm hai<\/em><\/span>\u00a0.&#8221;<em>(Says with the excitement of a child).<\/em><\/p>\n<p>(There is no mukhda in this song. This is poetry.)<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/vTQ_qbsz7Dw\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4><strong>1965 \u2013 <em>Guide \u2013 Piya tose naina laage re<\/em> \u2013 Shailendra \u2013 Lata Mangeshkar<\/strong><\/h4>\n<p><strong>Music Director Uttam Singh in his interview with us:<\/strong><\/p>\n<p>In the last 50 years <em>Piya tose naina lage re<\/em> (<em>Guide<\/em> &#8211; 1965) in &#8216;Roopak&#8217; taal is the only dance song composed in seven matras (beats). It is difficult, very difficult, to compose a dance song in seven matras, but not for one who is an expert in the field. No one else has attempted it so far.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/3AK8dQHY9Ps\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h4><a href=\"https:\/\/learningandcreativity.com\/silhouette\/roshan-and-chitragupt-music-director\/\">Chitragupt<\/a> had asked his sons to observe Dada&#8217;s compositions<\/h4>\n<p><strong>Music director Anand<\/strong>, the elder brother of the Anand-Milind duo, in an interview with us spoke about the experiments of Dada Burman.<\/p>\n<p>The brothers Anand-Milind, besides being experts in the field, are also admirers of Burman Dada and his music. Their father, late Chitragupta, a well-known music director of yesteryears, had specifically told his sons to observe how Dada composed his songs, and how he changed meter from mukhda to antara, from one antara to another, and back to mukhda so smoothly. This doesn&#8217;t create monotony, and Dada was an expert in this art.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/RjjOSWweB2o\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><em>Richa Lakhanpal assisted Moti Lalwani in developing this article. Richa has assisted Moti Lalwani in\u00a0conducting 50+ interviews, both in audio and video, on SD Burman.<\/em><\/p>\n<p style=\"text-align: center;\">&#8212;&#8212;&#8212;&#8212;&#8212;<\/p>\n<p><em>The opinions shared by the writer\u00a0is his personal opinion and does not reflect the opinion of Silhouette\u00a0Magazine. The writer is solely responsible for any claims arising out of the contents of this article.<\/em><br \/>\n<img decoding=\"async\" class=\"aligncenter size-large wp-image-3216\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Oct-Special-Silhouette-1024x407.jpg\" alt=\"SD Burman october special\" width=\"625\" height=\"248\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Oct-Special-Silhouette-1024x407.jpg 1024w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Oct-Special-Silhouette-400x159.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Oct-Special-Silhouette-150x60.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Oct-Special-Silhouette-768x305.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Oct-Special-Silhouette-300x119.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/10\/SD-Burman-Oct-Special-Silhouette.jpg 1600w\" sizes=\"(max-width: 625px) 100vw, 625px\" \/><\/p>\n<h3>The Genius of SD Burman: Silhouette Exclusive October Special Features<\/h3>\n<p><strong><a href=\"http:\/\/learningandcreativity.com\/silhouette\/sd-burman-experiments-part-i\/\" rel=\"bookmark\">Pioneering Experiments that Became Trends: SD Burman and His Experiments (Part-I)<\/a>\u00a0<\/strong>&#8211; By Moti Lalwani<\/p>\n<p><strong><a href=\"http:\/\/learningandcreativity.com\/silhouette\/dev-anand-hemant-kumar\/\">Evergreen Hits of Dev Anand-Hemant Kumar<\/a>\u00a0<\/strong>&#8211; By Peeyush Sharma and Antara<\/p>\n<p><strong><a href=\"http:\/\/learningandcreativity.com\/silhouette\/sd-burman-majrooh-sultanpuri\/\">\u2018Deewana Mastana Hua Dil\u2019 \u2013 Mesmerizing Music of SD Burman-Majrooh (Oct 1 Anniversary Special)<\/a>\u00a0<\/strong>&#8211; By Peeyush Sharma<\/p>\n<p><strong><a class=\"cmnt-post\" href=\"http:\/\/learningandcreativity.com\/silhouette\/sd-burman-manzil-song\/#comment-723\">The Tender Musical T\u00eate-\u00e0-t\u00eate in Chupke Se Mile (Genius of SD Burman)<\/a>\u00a0<\/strong>&#8211; By Anand Desai\u00a0and Antara<\/p>\n<p><strong><a class=\"cmnt-post\" href=\"http:\/\/learningandcreativity.com\/silhouette\/kishore-kumar-sd-burman\/#comment-730\">When Kishore Protested and SD Burman Persisted: The Making of <em>Dukhi Man Mere<\/em><\/a><\/strong>\u00a0&#8211; By Peeyush Sharma <\/p>\n<!-- AddThis Advanced Settings generic via filter on the_content --><!-- AddThis Share Buttons generic via filter on the_content -->","protected":false},"excerpt":{"rendered":"<p>The zeal to experiment to create something new drove SD Burman to introduce innovations that went on to become milestones in the journey of the Hindi film song. Today many of these experiments are standard practices. SD Burman understood the needs of the scene or the situation and composed music and background music that heightened the mood and accentuated the impact.<br \/>\nIn a two-part series, exclusive to <em>Silhouette Magazine<\/em>, Moti Lalwani chronicles some of the outstanding experiments SD Burman had tried out with remarkable success, drawing out references from his extensive research and indepth interviews.<!-- AddThis Advanced Settings generic via filter on get_the_excerpt --><!-- AddThis Share Buttons generic via filter on get_the_excerpt --><\/p>\n","protected":false},"author":836,"featured_media":3275,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[821,1759],"tags":[1762,1754,513,527,1268,1242,515],"class_list":["post-3259","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-makers","category-the-song-story","tag-asha-bhosle","tag-chitragupt","tag-guide-dev-anand","tag-geeta-dutt","tag-kishore-kumar","tag-mohd-rafi","tag-sd-burman"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/3259","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/users\/836"}],"replies":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/comments?post=3259"}],"version-history":[{"count":0,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/3259\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/3275"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=3259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=3259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=3259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}