During the chorus, Bell shrieks out the high female parts while Sankaran handles the lower male register. The Bhupinder riff immediately draws the crowd into familiar territory but soon enough, the unexpected happens. Highly acclaimed in North America for their left-of-centre approach, Suba Sankaran (vocals), Ed Hanley ( tabla) and Dylan Bell (guitar) thrill an audience in Bhopal with their humorous interpretation of “Dum Maro Dum”. We wrap up this set (too quickly, for there are many more very interesting versions out there) with a quirky rendition from the jazz trio known as Autorickshaw. One only wonders what the secret police would have made of the subject matter of this song had the lyrics been translated into Romanian! In addition to releasing a number of albums of Indian music, Naarghita was a regular performer on state television. Naarghita returned to Romania even more inspired by the music of Hindi cinema. Gandhi was so impressed with Naarghita that she invited her to visit India which she accepted.ĭuring her stay, in early 1970, Naarghita managed to meet Kapoor and perhaps other giants of Indian cinema, possibly Anand as well. She then began a journey of teaching herself Hindi by watching films, lip syncing the songs and befriending a linguistics professor who helped her refine her pronunciation. Born Maria Amarghioalei, the singer had fallen under the spell of actor Raj Kapoor as a youngster after seeing him in Shri 420 (1955). In the late 1960s, when Indira Gandhi visited Romania, she was entertained by a Hindi-speaking singer known as Naarghita. Over the years, as reputations of Bhosle and Pancham da (Burman) grew internationally, “Dum Maro Dum” became a source of inspiration for a slew of artists all over the world. The song remains one of Bollywood’s all-time favourites, as evergreen as eternal young man Dev Anand himself. Even Anand confessed he had fallen in love with his co-star. A young Zeenat Aman, on whom the song had been picturised, shot to “national sexpot” status overnight. The composer, RD Burman, used the song as a platform to fly at the loftiest levels of popular music for the next 15 years. Along with Asha Bhosle’s sultry vocals, the acrid smell of charas (hashish) seemed to seep out of radios all across North India. That this cultural milestone was designed by director and film lead Dev Anand to warn Indians about the loose, drug-addled lifestyle of hippies, rather than embrace it, is the very definition of irony. The exact moment that India finally embraced Flower Power is captured forever in the hypnotic and groping guitar riff that opens the hippie anthem “Dum Maro Dum” in the film Hare Rama Hare Krishna (1971). Virat Kohli is fighting a lonesome battle and he must win in South Africa.
#DUM MARO DUM SONG ORIGINAL MOVIE#
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