{"id":3490,"date":"2017-03-04T17:12:27","date_gmt":"2017-03-04T11:42:27","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=3490"},"modified":"2017-03-05T07:23:52","modified_gmt":"2017-03-05T01:53:52","slug":"unko-yeh-shikayat-hai","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/unko-yeh-shikayat-hai\/","title":{"rendered":"Unko Yeh Shikayat Hai Ke Hum Kuch Nahin Kehte &#8211; When Silence Speaks Volumes"},"content":{"rendered":"<div id=\"attachment_3491\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3491\" class=\"wp-image-3491\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh.jpg\" alt=\"Nargis in Adalat\" width=\"400\" height=\"193\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh.jpg 1151w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-400x193.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-150x72.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-768x370.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-1024x493.jpg 1024w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-300x144.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3491\" class=\"wp-caption-text\">When in the dimly lit mehfil, the aging, tired and visibly broken Nargis, picks up the first aalap, gently, she closes her eyes as the notes climb higher.<\/p><\/div>\n<p><em>Majboor bahut karta hai yeh dil toh zubaan ko..<\/em><br \/>\n<em>kuch aisi hi haalat hai ke hum kuch nahin kehte<\/em><\/p>\n<p>This exactly is the dilemma with this extraordinarily beautiful ghazal. When you come to speak about this song, words fall short and yet there is so much to say.<\/p>\n<p>When in the dimly lit mehfil, the aging, tired and visibly broken Nargis, picks up the first aalap, gently, she closes her eyes as the notes climb higher. The camera in an extreme closeup captures every bit of the pain &#8211; the shock of greying hair below the dark sari, the faded bindi, the lines of struggle on the face.<\/p>\n<p><em>unko yeh shika-a-a-a-yat hai ke hum&#8230;&#8230;<\/em><br \/>\n<em>kuch nahin kehte<\/em><\/p>\n<p>The words come out, soaked in anguish and you get the feeling she is wrenching the words out of her heart. Sitting in the middle of a circle of listeners and musicians, in a crowd yet alone and lonely \u2013 she is singing for them who have come to her kotha to hear her and yet you know she is singing for just one person, the \u201cunko\u201d.<\/p>\n<p><em>apni to yeh aadat hai ke hum<\/em><br \/>\n<em>kuch nahin kehte<\/em><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/g78X1OMFcb0\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>The shot cuts to Pran, with sinister intentions written all over him opening the door for Pradeep Kumar who stops in his tracks as he is about to get out of his car. Pran watches Pradeep Kumar\u2019s visible surprise at hearing something acutely familiar. Pran knows he has trapped his prey \u2013 his narrow, paan-stained smirk says it all.<\/p>\n<div id=\"attachment_3492\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3492\" class=\"wp-image-3492\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/pradeep-pran.jpg\" alt=\"Adalat 1958\" width=\"400\" height=\"201\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/pradeep-pran.jpg 1009w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/pradeep-pran-400x201.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/pradeep-pran-150x75.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/pradeep-pran-768x385.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/pradeep-pran-300x150.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3492\" class=\"wp-caption-text\">Pran knows he has trapped his prey \u2013 his narrow, paan-stained smirk says it all.<\/p><\/div>\n<p>For Pradeep Kumar, it is a stepping back into yesterday, once more. That voice, those words he had never forgotten, just pushed them back into a distant past. Suddenly, they burst through as a deluge of memories.<\/p>\n<p><span style=\"color: #c2150a;\">Madan Mohan picked Raag Malgunji and Taal Dadra to bring this ghazal written by close friend and famed lyricist Rajinder Krishan to a beautiful outcome. Remarkable is how he demonstrated so much respect and restraint in the musical arrangement to manifest the beauty of the Lyrics. Starting with\u00a0two soft Sitar bridges in\u00a0the intro at 0.27 and 0.34, he makes Lata pick the alaap almost as an A Capella\u00a0until you strain to hear the underlying Santoor.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">Then at 0.38 almost as if it was\u00a0begging to start, the Dadra makes an off cue entry and plods sincerely all through. The Sitar plays its bridges after every <em>&#8230;&#8217;kuch nahi kehte\u2019<\/em>\u00a0as if reminding us of its presence.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">Just before \u2018<em>Majboor magar karta hai yeh dil zubaaan ko\u2019<\/em>, listen to the single slightly extended Sitar bridge [1.42 till 1.44] \u00a0and the unusual stretch of the word \u2018<em>Zuba&#8230;..aan ko\u2019<\/em> with a <em>Lachak<\/em> and the Ghisa&#8217;s on the Tabla. Just beautiful.<\/span><\/p>\n<div id=\"attachment_3493\" style=\"width: 410px\" class=\"wp-caption alignleft\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3493\" class=\"wp-image-3493\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-shikayat.jpg\" alt=\"unko yeh shikayat\" width=\"400\" height=\"300\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-shikayat.jpg 480w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-shikayat-400x300.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-shikayat-150x113.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/unko-yeh-shikayat-300x225.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3493\" class=\"wp-caption-text\">The storm isn\u2019t outside \u2013 it is raging within<\/p><\/div>\n<p><span style=\"color: #c2150a;\"><em>kuch aisi hi haalat hai ke hum<\/em><br \/>\n<em>unko yeh shikayat hai ke hum&#8230;&#8230;<\/em><br \/>\n<em>apni to yeh aadat hai ke hum<\/em><br \/>\n<em>us par yeh inaayat hai ke hum<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\">The <em>Kaafiyas \u2013\u00a0Shikayat<\/em> and <em>Aadat<\/em> followed by <em>Shikayat<\/em> and <em>Inaayat<\/em> add to the delightful rhythm.<\/span><\/p>\n<p><span style=\"color: #c2150a;\">The <em>Radeef<\/em> {refrain}<em> builds the pattern &#8211; Kuchh nahin kehtey, Kuch nahin kehtey.<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\">Listen to the soft almost unnoticed entry of the Sarangi {at 1.19 till 1.28} where it comes into play. An instrument immutable to a Kotha, the sarangi gets a full 9 seconds interlude just before <em>\u201cMajboor bahut karta hai yeh dil toh zubaan ko<\/em>..[2]\u2026<em>.kuch aisi hi haalat hai ke hum kuch nahin kehte \u2026..\u201d<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\">Then Madanji throws a surprise in the next interlude beginning {at 2.19} on a Sitar the Sarangi plays an underdog for a full 9 seconds just before <em>kehne ko bahot kuch tha agar kehne pe aatey\u2026.<\/em>[2}<\/span><\/p>\n<div id=\"attachment_3039\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3039\" class=\"wp-image-3039\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/07\/rajinder-krishan-and-madan-mohan-Silhouette-magazine.com_.jpg\" alt=\"Madan Mohan with lyricist Rajinder Krishen\" width=\"400\" height=\"320\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/07\/rajinder-krishan-and-madan-mohan-Silhouette-magazine.com_.jpg 500w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/07\/rajinder-krishan-and-madan-mohan-Silhouette-magazine.com_-400x320.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/07\/rajinder-krishan-and-madan-mohan-Silhouette-magazine.com_-150x120.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/07\/rajinder-krishan-and-madan-mohan-Silhouette-magazine.com_-300x240.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3039\" class=\"wp-caption-text\">Madan Mohan with lyricist Rajinder Krishan<\/p><\/div>\n<p><span style=\"color: #c2150a;\">And then he surgically deploys a threat.<\/span><\/p>\n<p><span style=\"color: #c2150a;\"><em>Kuchh kehane pe tufan<br \/>\nUtha leti hai duniya<br \/>\nUtha leti hai duniya<br \/>\nAb isape qayamat hai ke<\/em><br \/>\n<em>Hum kuch nahin kehte<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\">Notice the soft variation in the Dadra where Madan Mohan employs a <em>Tak a Tirikit<\/em>\u00a0filler between <em>Dha tin tin taa dhin dhin<\/em> &#8211; a marvelous adaptation in Music. The use of the Triangle imbibes the piousness all through.<\/span> The huge chandelier overhead rocks slowly as if on cue as Lata\u2019s voice sharply raises the pitch with \u201c<em>tufaan utha leti hai duniya<\/em>\u201d. The storm isn\u2019t outside \u2013 it is raging within.<\/p>\n<p><span style=\"color: #c2150a;\">And Lata&#8217;s closure is worth repeated hears &#8211; from 4.36 till 4.55 where she slows down to almost a dirge and stretches on the two words <em>\u2018kuch nahi keh\u2026tey\u2019<\/em> and <em>\u2018Shikaay&#8230;.aat hai\u2019<\/em> and in the latter one she almost raises the octave.<\/span><\/p>\n<p>The beauty of these words lies in their ability to connect with the listener at his or her own level. You feel as if the words speak exactly what you would feel at some point of time when the world stops listening to you, when your words are picked up and swirled out of context, raising a storm that was never meant to be.<\/p>\n<p>Says <span style=\"text-decoration: underline;\"><a href=\"https:\/\/learningandcreativity.com\/silhouette\/remembering-madan-mohan-music-director\/\">Sangeeta Gupta, the daughter of music director Madan Mohan<\/a><\/span>, \u201cIn 1958, <em>Adalat<\/em> became a turning point as each song was appreciated by listeners and Madan Mohan\u2019s peers alike. The Nargis-Pradeep Kumar and Pran starrer did not succeed but the music is remembered till today. The highlight of the score were the three ghazals, all solos by Lata Mangeshkar, which gave him the recognition of a fine composer of ghazals. Rajinder Krishan ji\u2019s lyrics as always were inspiring for the\u00a0 composer. An adlib version of <em>Unko yeh shikayat hai<\/em> also features in the film.\u201d<\/p>\n<div id=\"attachment_3494\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-3494\" class=\"wp-image-3494\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/adalat-1958.jpg\" alt=\"adalat 1958\" width=\"400\" height=\"160\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/adalat-1958.jpg 1209w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/adalat-1958-400x160.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/adalat-1958-150x60.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/adalat-1958-768x307.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/adalat-1958-1024x409.jpg 1024w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2017\/03\/adalat-1958-300x120.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-3494\" class=\"wp-caption-text\">The adlib version in the Inter Collegiate Mushaira<\/p><\/div>\n<p>Explains reputed music collector and writer <span style=\"text-decoration: underline;\"><a href=\"https:\/\/learningandcreativity.com\/silhouette\/peeyushsharma\/\">Peeyush Sharma<\/a><\/span>, \u201cIn the initial few reels of the film, there is a scene of an Inter Collegiate Mushaira where Pradeep Kumar is an anchor\u00a0and Nargis, a participant. Here she recites, in her voice, <em>Unko yeh shikayat hai ke hum kuchh nahi kehte<\/em> (mukhra and first verse). Needless to say, the ghazal and the singer leave an impact. Years have gone with the lovers being estranged. Age has caught up for signs of age are now visible in the lines on the face and greying hair. Thus, many years later when Pran, the pimp, brings the now aged, Pradeep Kumar to this mehfil he is surprised to hear the same nazm being sung right from the moment he alights from his car in the street below.\u201d<\/p>\n<p><span style=\"color: #c2150a;\">On screen we see Pran&#8217;s devilish eyes luring his prey up the steps, reminding us of a similar\u00a0set up in <em>Amar Prem<\/em> in the later years in <em>Raina beeti jaaye<\/em> \u00a0where Madan Puri did a Pran-type enticing welcome to the unsuspecting hero who is drawn to the kotha purely because of the magic of the voice. Remember the famous dialogue, <em>\u201cArrey Anand babu! Ayeeye aayeeye Anand Babu. Aap aur\u00a0is mandir mein? Mujhe pehchana nahi?&#8221;<\/em><\/span><\/p>\n<p><span style=\"color: #c2150a;\">I once remember telling Rakesh Anand Bakshiji, a dear friend too, that these dialogues are so firmly embedded in the soul of this particular song that I am certain your Dad wrote them too as a part of the Lyrics. Bakshiji took pride in writing lyrics that synced with the Character, Screenplay and Dialogues.<\/span><\/p>\n<div id=\"attachment_1967\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1967\" class=\"wp-image-1967\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/07\/Listening-to-newly-recorded-song-at-home-with-Lataji-on-his-Akai-Spool-recorder.jpg\" alt=\"Madan Mohan listening to newly recorded song at home with Lataji on his Akai Spool recorder.\" width=\"400\" height=\"286\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/07\/Listening-to-newly-recorded-song-at-home-with-Lataji-on-his-Akai-Spool-recorder.jpg 500w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/07\/Listening-to-newly-recorded-song-at-home-with-Lataji-on-his-Akai-Spool-recorder-400x286.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/07\/Listening-to-newly-recorded-song-at-home-with-Lataji-on-his-Akai-Spool-recorder-300x215.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2015\/07\/Listening-to-newly-recorded-song-at-home-with-Lataji-on-his-Akai-Spool-recorder-150x107.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-1967\" class=\"wp-caption-text\">Madan Mohan listening to newly recorded song at home with Lata Mangeskhar on his Akai Spool recorder. Pic: Madanmohan.in<\/p><\/div>\n<p><em>Adalat<\/em> was a home project for Pradeep Kumar, as the story and direction were by his brother, Kalidas. The direction of the film was average and could not make the film convincing, so was the cinematography by H S Kwatra. The film was given an A certificate by censor board and that adversely affected its box-office prospects. It released in November 1958.<\/p>\n<p>There is more to the music of <em>Adalat<\/em>. \u201cThough released on disc, the song <em>Jaana tha hamse door bahaane banaa liye <\/em>was deleted from the film,\u201d says Sangeeta Gupta. \u201cThe song <em>Jaa jaa re jaa saajanaa<\/em> is in two different tunes and versions sung by Lataji &amp; Ashaji. In the film they are joined. Originally these were released on records as two separate songs.\u201d<\/p>\n<p>Adds Peeyush Sharma, \u201cAnother peculiar fact is that along with R L Suri and Ghanshyam, who were regular assistants to Madan Mohan, in this film one finds Chic Chocolate as an assistant too. Chic was the well known assistant of C Ramchandra.\u201d<\/p>\n<p>Another everlasting ghazal in <em>Adalat<\/em> is Lata Mangeshkar\u2019s <em>Yun hasraton ke daag mohabbat mein dho liye<\/em> while <em>Zameen se hamein aasman par<\/em> (Rafi and Asha Bhosle) is remembered as one of the most romantic duets. Says Peeyush Sharma, \u201cRajendra Krishan was a man of all seasons. He could write all varieties of songs. In this film he is the lyricist, screenplay and dialogue writer.\u201d<\/p>\n<p><em>Adalat<\/em> may not have left its mark at the box office. But for its ghazals especially, it has carved out its place as a milestone in Hindi film music.<\/p>\n<p><strong>More to read in The Song Story<\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/nadiya-kinare-abhimaan\/\">When Cinema Matched Music Beat by Beat: <em>Nadiya Kinare<\/em> in <em>Abhimaan<\/em><\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/teri-zulfon-se-judaai-to-nahin-mangi-thi\/\">Love is\u2026 Claiming Rights: <em>Teri Zulfon Se Judaai to Nahin Mangi Thi<\/em><\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/jaane-kya-tune-kahi-pyaasa\/\">The Mesmerizing Moods of <em>Jaane Kya Tune Kahi<\/em> (<em>Pyaasa<\/em>)<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/sd-burman-manzil-song\/\">The Tender Musical T\u00eate-\u00e0-t\u00eate in <em>Chupke Se Mile<\/em> (Genius of SD Burman)<\/a><\/strong><\/p>\n<p>&nbsp; <\/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>There are some songs that rise high above the regular and become proverbial. Such is the everlasting magic of this exquisite ghazal from Adalat (1958) which says volumes more than simple words could ever convey. <span style=\"color: #c2150a;\">Anand Desai (in maroon font)<\/span> and Antara explore the finer nuances of this quietly introspective ghazal, written by Rajinder Krishan, composed by Madan Mohan and sung by Lata Mangeshkar, which connects with the listener at a personal level.<!-- 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":3496,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1759],"tags":[1226,534,954,1046,1756],"class_list":["post-3490","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-song-story","tag-ghazal-samrat-madan-mohan","tag-lata-mangeshkar","tag-madan-mohan","tag-nargis","tag-rajinder-krishen"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/3490","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=3490"}],"version-history":[{"count":0,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/3490\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/3496"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=3490"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=3490"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=3490"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}