Julio 1955. Haga click para agrandar

]]> http://atulsongaday.wordpress.com/2009/11/27/is-bewafa-jahaan-ka/ Fri, 27 Nov 2009 05:18:22 +0000 squarecutatul http://atulsongaday.wordpress.com/2009/11/27/is-bewafa-jahaan-ka/

A lot of old songs from the golden era of Bollywood music were created by lyricists and Music directors who went on to become legends. But they were not the only ones who were creating great music. There were others who were just as talented but who got limited opportunities to show their talent.

S Mohinder is one such name among music directors. He was an extremely talented music director who left his mark on the limited opportunities that he got.

Here is a song from “Naataa” (1955). The song is sung by Lata and it is picturised on Madhubala.

The song is written by Tanvir Naqvi who is not known much today, but he wrote some very nice songs those days.

song- Is bewafa jahaan ka (Naata) (1955) Singer-Lata,Lyrics- Tanvir Naqvi, MD-S Mohinder

Lyrics

is bewafa jahaan ka
dastoor hai puraana
jalte rahe nasheman
hansta rahe zamaanaa
is bewafa jahaan ka
dastoor hai puraana
jalte rahe nasheman
hansta rahe zamaanaa
is bewafa jahaan ka

dil ko jalaane waale
ye bhi na toone jaanaa
dil ko jalaane waale
ye bhi na toone jaanaa
ye dil nahin jalaa hai
ye dil nahin jalaa hai
tera jo aashiyaana
is bewafa jahaan ka

hargiz na muskuraate
itna agar samajhte
hargiz na muskuraate
itna agar samajhte
hai umr bhar ka ronaa
hai umr bhar ka ronaa
pal bhar ka muskuraana
is bewafaa jahaan ka

aa jaa meri muhabbat
aa dil ki baat sun le
aa jaa meri muhabbat
aa dil ki baat sun le
ye baat badh gayi to
ye baat badh gayi to
ban jaayegaa fasaana
is bewafa jahaan ka
dastoor hai puraana
jalte rahe nasheman
hansta rahe zamaana
is bewafaa jahaan ka

I love to post old songs from the past. While doing so, I have stumbled upon many forgotten songs. Not just forgotten songs, I find that many well known songs too are yet to be posted here, such is the quantity of quality songs from the past.

I have posted three songs from “Mrs and Mrs 55″ (1955) , but that does not mean that I have posted all the classic songs from this movie. Not at all. Take this song for example. This song “Thandi hawaa kaali ghata aa hi gayi jhoom ke” was not yet posted.

this lovely song is sung by Geeta Dutt and it is picturised on Madhubala. Majrooh Sultanpuri is the lyricist and O P Nayyar composed the music.

This song is a swimming pool song. No, it is not Madhubala who is seen in a swimming constume. No such luck. she only sings the song, while others, including the hero, Guru Dutt, are seen diving in the swimming pool. Considering that this is winter season, the very though of swimming in an opne swimming pool will send shivers down the spine of people.

The song itself is a “hot” song, as youngsters are apt to say. In my lingo, it means that tthis song is an alltime classic. and ofcourse this song is very much a timeless classic.

song-Thandi hawa kaali ghataa (Mr and Mrs 55) (1955)Singer-Geeta Dutt, Lyrics-Majrooh Sultanpuri, MD-O P Nayyar

Lyrics

Thandi hawaa kaali ghataa
aa hi gayi jhoom ke
pyaar liye dole hansi
naache jiyaa ghoom ke
thandi hawaa kaali ghataa
aa hi gayi jhoom ke
pyaar liye dole hansi
naache jiyaa ghoom ke

baithi thi chupchaap yoon hi
dil ki kali chun ke main
baithi thi chupchaap yoon hi
dil ki kali chun ke main
dil ne ye kyaa baat kahi
rah na saki sun ke main
main jo chali
main jo chali
dil ne kahaa
aur zaraa jhoom ke
pyaar liye dole hansi
naache jiyaa ghoom ke
thandi hawaa kaali ghataa
aa hi gayi jhoom ke
pyaar liye dole hansi
naache jiyaa ghoom ke

aaj to main apni chhavi
dekh ke sharma gayi
aaj to main apni chhavi
dekh ke sharma gayi
jaane ye kyaa soch rahi thi
ki hansi aa gayi
lot gayi
lot gayi
zulf meri honth mera choom ke
pyaar liye dole hansi
naache jiyaa ghoom ke
thandi hawaa kaali ghataa
aa hi gayi jhoom ke
pyaar liye dole hansi
naache jiyaa ghoom ke

dil ka har ek taar hilaa
chhidne lage raagini
dil ka har ek taar hila
chhidne lage raagini
kajra bhare nain liye
banke chaloon kaamini
kah do koi
kah do koi
aaj ghata barse zaraa jhoom ke
pyaar liye dole hansi
naache jiyaa ghoom ke
thandi hawaa kaali ghataa
aa hi gayi jhoom ke
pyaar liye dole hansi
naache jiyaa ghoom ke
thandi hawaa kaali ghataa
aa hi gayi jhoom ke
pyaar liye dole hansi
naache jiyaa ghoom ke

In 1950s and 1960s, there were some songs where kids would ask a lady to tell them a story and the lady would sing a sad song. In the song, she would tell the kids about her own sad story. I had posted such songs here from “Gumrah” and “Lajwanti” , where Mala Sinha and Nargis sing such songs.

But they were not the first to sing such songs. As far as I know, the first actress to sing a song like this was Nutan in “Seema” (1955). Here is this song. It is sung by Lata. Hasrat Jaipuri is the lyricist and Shankar Jaikishan composed the music.

Song-Suno chhoti si gudiyaa ki lambi kahaani (Seema) (1955) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

suno chhoti si gudiyaa ki lambi kahaani
suno chhoti si gudiyaa ki lambi kahaani
jaise taaron ki baat sune raat suhaani
suno chhoti si gudiyaa ki kahaani

ho jiski kismat mein gham ke bichaune the
aansoo hi khilaune the
dard hi sakhiyaan thi
dukh bhari ankhiyaan thi
ghar bhi na tha koi
aur dar bhi na tha koi
ghar bhi na tha koi
aur dar bhi na tha koi
ho
aur dar bhi na tha koi
bhare aanchal mein gham chhupaye
aankhon mein paani
suno chhoti si gudiyaa ki lambi kahaani
suno chhoti si gudiyaa ki kahaani

dil mein ye armaan the
ek chhota sa bangla ho
chaand si dharti par
sone ka jangla ho
dil mein ye armaan the
ek chhota sa bangla ho
chand si dharti par
sone ka jangla ho
khel hon jeewan ke yahaan
mel hon jeewan ke
khel hon jeewan ke yahaan
mel hon jeewan ke
ho
aur mel hon jeewan ke
gaya bachpan to
aankh bhar aayi jawaani
suno chhoti si gudiyaa ki lambi kahaani
suno chhoti si gudiyaa ki kahaani

chaand ka dola ho
aur bijli ka baaja ho
dole mein rani ho
aur ghode pe raja ho
chaand ka dola ho
aur bijli ka baja ho
dole mein rani ho
aur ghode pe raja ho
pyaar ke raste hon
aur phool baraste hon
pyaar ke raste hon
aur phool baraste hon
ho aur phool baraste hon
banaa chaahti thi
ek din wo taaron ki raani
suno chhoti si gudiyaa ki lambi kahaani
suno chhoti si gudiyaa ki kahaani

ho toote bandhan
sapnon ke moti bhi
lut gayi jyoti bhi
rah gaye andhere
ujde huye sawere
baat ye poori thi
aur phir bhi adhoori thi
baat ye poori thi
aur phir bhi adhoori thi
ho ye phir bhi adhoori thi
hoga anjaam kya
ye khabar khud bhi na jaani
suno chhoti si gudiyaa ki lambi kahaani
jaise taaron ki baat sune raat suhaani
suno chhoti si gudiyaa ki kahaani

F.L. Wallace
1955

I got this in a package purchase along with Renaissance, SF’58 and Space Lawyer, and overall probably in the poorest condition of the four.  Edd Emsh usually provides fantastic cover art, but on this occasion it’s a little on the ordinary side.  However, it does highlight a couple of things about the story which I’ll mention in the Review.  Overall the book is in pretty sound physical condition, but those bugbears of foxing and Gnome’s cheap paper are apparent.  Anyway, let’s check it out.
As I said, physically (tears, chips, wear) it is pretty good, but you can see it’s looking a little mottled, especially down the leading edge.  Some sunning on the spine too.  It’s starting to look better with the jacket off though.  The boards are pretty clean.
Though there is what looks like a slight oil stain along the bottom front edge.
The top and bottom views reveal no issues except that thing I mentioned earlier.
You can see the darkening on the block.  We’ll have a closer look at that later.

The spine extremities are ok, and the edges of the jacket are pretty good.  from the top you can see the discoloration and slight sunning to the spine.  Also on the spine is a graze – right over poor old F.L. Wallace’s name too.  Darn.
You can see the mottling/discoloration too quite well also.
There is staining and/or foxing on the flaps, the rear being the worst.
I’m never quite sure how to tell the difference between what is true foxing and what is a stain from some other source.  I suppose it doesn’t really make much difference as the result is pretty much the same.
The poor quality paper has resulted in the typical browning of the block.
But of more interest to me here (as I am so fond of pointing out) are the cool designs at the beginning of each chapter.  Nice.
The back of the jacket is ok.  General discoloration is apparent, but no real damage.

Year: 1955
Paid: $15
Art: Ed Emshwiller
Quantity: 4000 copies, 1263 copies remaindered.
Binding: Olive/tan boards with black lettering on the spine.
GP Edition Notes: 1st edition so stated.
Comments: A reasonable copy. Basically poor aging drags the condition of this down a notch or two. Pity.
Expand Upon: wikipedia.com, Internet Speculative Fiction Database

Das Sackgassendorf Rüben bei Leipzig wurde 1955 zugunsten des Braunkohlebergbaus aufgegeben.

(… gerade bei wiki gelesen …)

(… was ist ein SACKGASSENDORF??? …)

John Wayne had been trying to get Herbert J. Yates, head of Republic Pictures, interested in a film about The Alamo. He’d been looking for locations and had James Edward Grant working on a script. Yates strung Wayne along for a while, then turned the project down as too expensive. Once his contract expired, Wayne never worked for Republic again.

As Wayne tells it, “I was sore at Yates, not just because he wouldn’t let me make The Alamo but because he went and filmed the story anyway — a picture called The Last Command. It was a big-budget picture for Republic, but not as big as the film I planned.”

That’s pretty much how The Last Command is remembered today — Republic’s screw-you to John Wayne. (It uses at least some of Grant’s screenplay.) That’s a shame. Because while it certainly doesn’t have much to offer in the way of historical accuracy, it’s got a great cast: Sterling Hayden, Richard Carlson, Ernest Borgnine, Arthur Hunnicutt, J. Carrol Naish and Anna Maria Alberghetti. It was the final picture for Oscar-winning director Frank Lloyd (Mutiny On The Bounty, 1935). Max Steiner provided a good score. And it was the last screenplay by Warren Duff (Angels With Dirty Faces, 1938) before he made the move to TV.

It plays pretty well and doesn’t get gobbled up by its size the way Wayne’s The Alamo (1961) does.

Unfortunately, The Last Command was saddled with some of the worst poster art ever. Did they really think that looks like Sterling Hayden? Notice that since we all know how an Alamo movie’s going to end — with the entire cast dead — the poster makes no mention of the tragic fortress.

                  Without Love

Verse:

I’ve lost all ambition,

I’ve lost all my drive.

I’ve tossed all ambition out the window

Now I thrive on nothing –

And it will be that way

Until something comes along to inspire me.

I’ve lost all my feeling,

I’ve lost all my want.

I’ve tossed all my feeling out the window,

Now I’ve want for no one -

And it will be that way

Until someone comes along to desire me.

Chorus:

Without love I don’t exist.

My confidence is gone and I enlist

None of my faculties to help me.

Without warmth my blood runs cold.

My ninety-eight point six loses its hold,

And all my faculties don’t help me.

But yet I’m on the run,

I’m one big ball of fun,

So who’s got time for love and all that stuff?

Ah yes, I’m on the run,

But haven’t found the one

Who’d give me time for love -

I’ve had enough!

Without love I won’t subsist.

I’m so sick and I’m so tired,

I haven’t kissed or been desired

These many years.

I don’t want to be alone,

So before I turn to stone,

Someone love me.

©

Without Love 55.8 Lyrics;  Arlene CorwinWithout Love 55.8 Lyrics;  Arlene Corwin

Med de senaste modellerna finns nu följande Thunderbird-modeller klara för brodyr på kudde, pläd, ryggbrodyr jacka mm.

- 1955 Convert
- 1956 Convert
- 1959 Convert
- 1960 HT
- 1966 HT

Jag kan lätt göra både HT och Convert av samtliga årsmodeller så det är bara att höra av sig.

Some movies from the restoration of the famous 1955 Oval ragtop.

                 The Meaning Of True Love

Your friends predicted, and mine did too –

They said you weren’t meant for me

Nor I for you:

But we showed them, yes, we showed them

The meaning of true love.

John said, “She’s fickle”

Jean said, “He’s fast”

And they debated as to how long it would last.

Though they differed at the start,

They decided we would part

In a week. But seven days went quickly past.

And the weeks stretched into months,

The months became a year,

And we never let ‘I told you so’ come true.

Idle gossips lost all hope.

Then we ran off to elope,

And our friends began predicting once anew.

It kind of scared me.

My knees were weak.

But then you gently touched my hand

And kissed my cheek.

And we showed them,

Yes, we showed them

The meaning of true love.

©The Meaning Of True Love 55.1.11

Lyrics; Arlene Corwin

                The Circus

The circus is over,

The tents are all down.

Each suitcase is packed

And each act’s in a new town.

The circus is over,

The ground is replaced.

Where was lust there’s dust instead of show;

Where were lights there’s only wind to blow

As the clown is refaced,

And a frown is in taste once again.

The circus is over,

The popcorn is sold.

They come and they go,

But you know

Each new circus is old.

©The Circus 55.6  Lyrics;  Arlene Corwin

               Significance

What to say?

Or better still,

How to say it!

Shall I fall into my pit of generality,

Or being gay,

Describe at will

The doleful way it

Rained when Lancelot

Confessed that he was bald to me?

©Significance 9.1955

A Sense Of The Ridiculous;

Arlene Corwin

              Pause To Wonder

Pause to wonder, and in pausing try

To recollect your past and why

You’ve cause to wonder, not to wander,

Retrospect turned to meander.

Now you see it, now you don’t! If

You don’t search you won’t. Though you sniff

At old aromas, have the past shoved

Right before you by a scent loved

Long ago, cry at wounds

That never heal, at tunes

Sung long gone, at sins forgiven not,

Forgotten not, the blood clot

Never will dissolve, resolve,

Or just plain solve attachment, for

The only time that wondrous pause

Gives tit for tat,

Is if the tat is in the silent unattached. Abstruse?

It’s truth, the stitch in time

Given for tat, for when

You stop to think of then,

Rememb’ring what in time saves nine, take

‘Stitch’, sew ‘then’ to ‘now’, then break

The ‘now’ sewn to forever.

That seed sown adjusts the ‘never’. –

And you have it! Tit for tat. ‘Now’

Is forever torn from ‘then’. How

All and you are one! As you blunder

On through life, thunder struck, under

Strife, momentarily torn asunder,

Take that time and pause to wonder.

© Pause To Wonder 1.1955

Definitely Didactic; Circling Round Reality; To The Child Mystic;

The Processes:Creative,Thinking, Meditative;

Arlene Corwin

Acho que já ouvi essa música hoje umas vinte vezes…

Let me tell you ’bout a girl I know
She is my baby and she lives next door
Every mornin’ ‘fore the sun comes up
She brings me coffee in my favorite cup
That’s why I know, yes, I know
Hallelujah, I just love her so

When I’m in trouble and I have no friend
I know she’ll go with me until the end
Everybody asks me how I know
I smile at them and say, “She told me so”
That’s why I know, oh, I know
Hallelujah, I just love her so

Now, if I call her on the telephone
And tell her that I’m all alone
By the time I count from one to four
I hear her [KNOCK-KNOCK-KNOCK-KNOCK] on my door

In the evening when the sun goes down
When there is nobody else around
She kisses me and she holds me tight
And tells me, “Daddy, everything’s all right”
That’s why I know, yes, I know
Hallelujah, I just love her so

Now, if I call her on the telephone
And tell her that I’m all alone
By the time I count from one to four
I hear her [KNOCK-KNOCK-KNOCK-KNOCK] on my door

In the evening when the sun goes down
When there is nobody else around
She kisses me and she holds me tight
And tells me, “Daddy, everything’s all right”
That’s why I know, yes, I know
Hallelujah, I just love her so
Oh, hallelujah
Don’t you know, I just love her so
She’s my little woman, waitin’ all this time
Babe, I’m a little fool for you, little girl…
(FADE OUT)

Carl Theodor Dreyer, director de esta increíble película. Esta es la escena final, sobrecogedora, que despierta profundas emociones en el espectador.

Before & After pics on my 1955 Oval ragtop. Back from the dead!

5 inch beam, 2+ splines in the rear. Spark it OR park it!

Written by: Dorothy La Bostrie, Richard Penniman, Joe Lubin
Produced by: Robert “Bumps” Blackwell
Released: Dec. ‘55 on Specialty
Charts: 12 weeks
Top spot: No. 17

Richard Penniman was an undistinguished R&B shouter when he began recording with Robert “Bumps” Blackwell. “I’d been singing ‘Tutti-Frutti’ for years,” said Richard, “but it never struck me as a song you’d record.”

When their session was going badly, the assembled went to a nearby bar and the openly gay singer entertained them with a ribald ditty about the benefits of applying grease before attempting anal sex. Blackwell heard gold and asked La Bostrie, a young songwriter who had been pestering him for work, to clean up the filthy lyrics. “Fifteen minutes before the session was to end, the chick comes in and puts these little trite lyrics in front of me,” said Blackwell. Richard cleaned up his own “Awop-bop-a-loo-mop a-good-goddamn” and loaded La Bostrie’s doggerel with sexual dynamite, unleashing the screams that forever define the polymorphous perversity of rock’n’roll.

2d1239126206-1955-chrysler-falcon-project-1955-sparrow-hawk 8a c 1280×960 picture wallpaper of 2d1239126206-1955-chrysler-falcon-project-1955-sparrow-hawk 8a c 1280×960
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