{"id":3413,"date":"2017-02-03T00:47:02","date_gmt":"2017-02-02T19:17:02","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=3413"},"modified":"2024-12-24T22:57:49","modified_gmt":"2024-12-24T17:27:49","slug":"teri-zulfon-se-judaai-to-nahin-mangi-thi","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/teri-zulfon-se-judaai-to-nahin-mangi-thi\/","title":{"rendered":"Love is\u2026 Claiming Rights: Teri Zulfon Se Judaai to Nahin Mangi Thi"},"content":{"rendered":"<div id=\"attachment_3414\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3414\" class=\"wp-image-3414\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-anand.jpg\" alt=\"&#96;Dev Anand\" width=\"400\" height=\"288\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-anand.jpg 484w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-anand-400x288.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-anand-150x108.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-anand-300x216.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3414\" class=\"wp-caption-text\">Dev Anand wears his attitude in every angle.<\/p><\/div>\n<p>&#8220;Cock your hat &#8211; angles are attitudes,&#8221; said Frank Sinatra. Dev Anand wears his attitude in every angle. A slight tilt of the head and a blink of the eyes, the back-brushed hair with its characteristic tuft and that winning smile!<\/p>\n<p>Attitude speaks, sings and wins hearts as Dev Anand reminds Asha Parekh of his love, his right and his desire. In a club room packed with the social elite and the rich Sheikhs, all that Asha can do in return is flash her eyes in suppressed indignation.<\/p>\n<p><strong>Film:<\/strong> <em>Jab<\/em>\u00a0<em>Pyaar Kisi Se Hota Hai <\/em>(1961)<br \/>\n<strong>Music:<\/strong> Shankar-Jaikishan<br \/>\n<strong>Lyrics:<\/strong> Hasrat Jaipuri<br \/>\n<strong>Singers:<\/strong> Lata Mangeshkar and Mohd Rafi<\/p>\n<p><span style=\"color: #c2150a;\">The prelude to the song is actually a poetic provocation. Its Asha Parekh who sparks it off with her 35 seconds A capella (with Lata Mangeshkar giving her voice), throwing an open challenge to Dev. The A capella blends intimately as a part of the song.<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/xpaHIp3zjTw\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Now Dev Anand picks up the baton, gently to begin with and then with emphasis to drive home all that he wanted from his lady love \u2013 nothing more but to be bound to her forever. Too much to ask?<\/p>\n<p><em>Teri zulfon se judaai to nahin mangi thi<\/em><br \/>\n<em>Qaid mangi thi rihaaee to nahin mangi thi<\/em><\/p>\n<p>Love is\u2026 to find bliss in imprisonment, to never want to be free. Hasrat Jaipuri\u2019s opening lines are turned into a masterly introduction by Shanker Jaikishan\u2019s music that aptly captures the tension.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/56P6Gwp0IO4\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><span style=\"color: #c2150a;\">Mohd Rafi starts with a 3 seconds intro \u2013 where you have a Mandolin with an underlying Sarod, which then dissolves into\u00a04 Violin Legatos. Soft, leisurely.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">And then the Dholak pick up surprises you. It starts at the word <em>&#8216;qaid mangi <strong>THI<\/strong><\/em>&#8230;[0.20] rather than a normal start that could\u00a0be expected at <em><strong>RIHAAEE<\/strong> toh nahi mangi thi<\/em> [0.22] and that subtle 2 second earlier pickup makes it even more interesting.<\/span><\/p>\n<div id=\"attachment_3417\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3417\" class=\"wp-image-3417\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/shankar-jaikishan.jpg\" alt=\"Shankar Jaikishan (Pic: Google Image Search)\" width=\"400\" height=\"322\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/shankar-jaikishan.jpg 447w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/shankar-jaikishan-400x322.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/shankar-jaikishan-150x121.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/shankar-jaikishan-300x242.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3417\" class=\"wp-caption-text\">Shankar Jaikishan (Pic: Google Image Search)<\/p><\/div>\n<p><span style=\"color: #c2150a;\">The Triangle played with a \u201cClutch and Release method&#8221; and the monotonous Khanjari and Chimta slaves all through to create a lovely pattern. Notice the entry of the\u00a0Triangle only in the cross line.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">There is a small change in the Dholak pattern between 0.37 and 0.49 when the cross line is repeated [once more at 1.21]. Listen to the Toca&#8217;s from 1.08 onwards briefly.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">Shankar Jaikishen generously \u00a0used the Side Rhythm in this song and at times as dominant in parts \u2013 Sitar,\u00a0 Triangle, Dholak, Musical Sticks, Mandolin, Sarod , Khanjari, Chimta and Toca&#8217;s. Result? The trusted SJ team of musicians including\u00a0Jayanti Panchal and Suresh Pardesi and the Side Rhythm greats created this\u00a0wonderful \u00a0masterpiece in Raag Yaman Kalyan and Taal Keherwa.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">The first interlude has 5 Udu Bayan patterns with wave Violins &#8211; a fantastic creation. This is again repeated in the second interlude.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">Now Rafi climbs into a higher note:<br \/>\n<em>maine kya zulm-m-m-m kiya<br \/>\naap khafa ho-o-o baithe-e-e<\/em><br \/>\nstretching the ending notes.<\/span><\/p>\n<div id=\"attachment_3415\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3415\" class=\"size-full wp-image-3415\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/Teri-zulfon-se-dev-anand.jpg\" alt=\"Teri zulfon se dev anand\" width=\"1000\" height=\"333\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/Teri-zulfon-se-dev-anand.jpg 1000w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/Teri-zulfon-se-dev-anand-400x133.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/Teri-zulfon-se-dev-anand-150x50.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/Teri-zulfon-se-dev-anand-768x256.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/Teri-zulfon-se-dev-anand-300x100.jpg 300w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><p id=\"caption-attachment-3415\" class=\"wp-caption-text\">Dev Anand emphasizes his haque throwing an open claim and reminding his beloved of the love that is rightfully his.<\/p><\/div>\n<p>Well, Dev Anand\u2019s may be reminding his beloved about all that is rightfully his \u201chaque\u2019 but Asha Parekh not only tries hard to shrug all that wooing off with cold indifference but also showers extra attention on her unscrupulous suitor Pran to rub in the salt further. Does this remind you of a similar situation, another Mohd Rafi hit? If you love Hindi film songs, you can\u2019t miss the feeling of d\u00e9j\u00e0 vu \u2013 a club song, a dejected hero trying to remind his sweetheart of her childhood commitment to marry him, an infuriated heroine trying her best to cold shoulder the hero\u2019s claims and a smugly smiling suitor.<\/p>\n<p>Sixteen years later Nasir Hussain repeated the magic of <em>Teri zulfon se <\/em>in <em>Jab\u00a0Pyaar Kisi Se Hota Hai <\/em>(1961) in <em>Kya huya tera vaada<\/em> in <em>Hum Kisi Se Kam Nahin<\/em> (1977). Apart from the same situation, the sentiments expressed in the song found a mirror reflection in the Tariq-Kajal Kiran-Rishi Kapoor triangle (except that Rishi Kapoor had no evil designs as Pran had and ended up rather surprised at Tariq\u2019s musical tirade).<\/p>\n<p>Notice how <em>mera haq thha teri aankhon ki chhalakti maie par<\/em> finds an echo of pathos in<br \/>\n<em>yaad hai mujhko tumne kaha tha, humse nahin roothenge kabhi<\/em><\/p>\n<p><em>Cheez apni thi parayee toh nahi maangi thi\u00a0<\/em><br \/>\n<em>Qaid mangi thi rehaee toh nahi mangee thi<\/em><\/p>\n<div id=\"attachment_3418\" style=\"width: 730px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3418\" class=\"size-full wp-image-3418\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-asha-teri-zulfon-se.jpg\" alt=\"Dev Anand and Asha Parekh\" width=\"720\" height=\"360\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-asha-teri-zulfon-se.jpg 720w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-asha-teri-zulfon-se-150x75.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-asha-teri-zulfon-se-400x200.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/dev-asha-teri-zulfon-se-300x150.jpg 300w\" sizes=\"(max-width: 720px) 100vw, 720px\" \/><p id=\"caption-attachment-3418\" class=\"wp-caption-text\">Dev Anand and Asha Parekh delivered a superhit with Jab Pyar Kisi Se Hota Hai<\/p><\/div>\n<p><span style=\"color: #c2150a;\">Then Dattaram again surprises in the last antara where a different Dholak pattern emerges &#8211; a double chhati at 2.58 ONLY ONCE. This is the\u00a0beauty of SJ-Dattaramji combo.<\/span><\/p>\n<div id=\"attachment_3419\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3419\" class=\"wp-image-3419\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/rafi-lata-jaikishan.jpg\" alt=\"rafi lata jaikishan\" width=\"400\" height=\"390\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/rafi-lata-jaikishan.jpg 420w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/rafi-lata-jaikishan-400x390.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/rafi-lata-jaikishan-150x146.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/rafi-lata-jaikishan-300x293.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/02\/rafi-lata-jaikishan-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3419\" class=\"wp-caption-text\">Lata Mangeshkar, Jaikishan and Rafi &#8211; creating an everlasting ode to love (Pic: Google Image Search)<\/p><\/div>\n<p><span style=\"color: #c2150a;\">And then Dev sings&#8230;.<em>apne bimaar pe itna bhi sitam theek nahi<\/em>.. the use of the word <em>Bimaar<\/em> \u00a0by Hasrtaji amplifies the distress of a man \u00a0in\u00a0Love.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">and he goes on<br \/>\n<em>Teri ulfat mein buraai toh nahi maangi thi<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Ulfat<\/em> is a common Urdu word meaning love and affection. Observe how Rafi\u00a0escalates the pitch briefly at the words<em>.. Bimaar<\/em> and <em>Buraai<\/em><br \/>\nThe song pleasantly flows ahead till the end.<\/span><\/p>\n<p>Nasir Husain had migrated from Calcutta with one basic story idea. When he narrated it to Sashadhar Mukherji, it was signed up to be made as <em>Munimjee<\/em> (1955). With Dev Anand and Nalini Jaywant in the lead, the film was directed by Subodh Mukherji while story, screenplay and dialogues were by Nasir Husain.<\/p>\n<p>In 1957, Nasir Husain turned a director with <em>Tumsa Nahin Dekha<\/em>, but could not afford Dev Anand yet. Thus with his third directorial venture he signed on Dev to be his hero in <em>Jab Pyar Kisi Se Hota Hai<\/em> (1961). For the first and only time he signed top billed Shankar Jaikishen as his music directors. The film and each of its songs were super hit.<\/p>\n<p><span style=\"color: #c2150a;\">Apart from the same situation, the sentiments expressed in <em>Teri zulfon se judaai to nahin mangi thi<\/em> found a mirror reflection in <em>Kya hua tera wada<\/em> (<em>Hum Kisi Se Kum Nahin<\/em>, 1977) RD Burman \/ Majrooh Sultanpuri \/ Mohd Rafi. Nasir Hussain recreated his own earlier hit in a new style. This RDB number shock starts with a slap on the face of the guitar and then indulges in a roar of excellent string work, winning hearts and awards. But aah&#8230; that&#8217;s another story!<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/xDbK1eZYVzg\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><em>(With inputs and insights by <a href=\"https:\/\/learningandcreativity.com\/silhouette\/peeyushsharma\/\">Peeyush Sharma<\/a>)<\/em><\/p>\n<blockquote class=\"wp-embedded-content\" data-secret=\"LWdFHE1sNG\"><p><a href=\"https:\/\/learningandcreativity.com\/silhouette\/nadiya-kinare-abhimaan\/\">When Cinema Matched Music Beat by Beat: Nadiya Kinare in Abhimaan<\/a><\/p><\/blockquote>\n<p><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; visibility: hidden;\" title=\"&#8220;When Cinema Matched Music Beat by Beat: Nadiya Kinare in Abhimaan&#8221; &#8212; Silhouette Magazine\" src=\"https:\/\/learningandcreativity.com\/silhouette\/nadiya-kinare-abhimaan\/embed\/#?secret=rD8OLd4yRT#?secret=LWdFHE1sNG\" data-secret=\"LWdFHE1sNG\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe> <\/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>Attitude speaks, sings and wins hearts as Dev Anand reminds Asha Parekh of his love, his right and his desire. <span style=\"color: #c2150a;\">Anand Desai (in maroon font)<\/span> and Antara explore the trend-setting music created by Shankar Jaikishan in <em>Teri zulfon se<\/em> (<em>Jab Pyar Kisi Se Hota Hai<\/em>), a formula that Nasir Hussain perfected and re-used 16 years later in <em>Hum Kisi Se Kum Nahin<\/em>.<!-- 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":838,"featured_media":3418,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2603,1759],"tags":[1824,513,534,1242,1825,1802],"class_list":["post-3413","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mohd-rafi-centenary","category-the-song-story","tag-asha-parekh","tag-guide-dev-anand","tag-lata-mangeshkar","tag-mohd-rafi","tag-nazir-hussain","tag-shankar-jaikishan"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/3413","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\/838"}],"replies":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/comments?post=3413"}],"version-history":[{"count":2,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/3413\/revisions"}],"predecessor-version":[{"id":9492,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/3413\/revisions\/9492"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/3418"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=3413"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=3413"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=3413"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}