Carnival of Quality Management Articles and Blogs – January 2017

Welcome to January, 2017 edition of Carnival of Quality Management Articles and Blogs.

I plan to revert back to our original model of reviewing the articles/ blog posts on the current topics related to quality and /or quality management from our present episode of the Quality Blog Carnival..

A Look at Quality’s Past – When we look back at some of Quality’s anniversaries, we can’t say what 2017 will bring to the quality community, but we do know that the quality community will continue to bring a lot to the world.

Increasingly, quality is no more considered as an essential but not so directly contributing the business activity. We have a few articles that discuss this changing perception.

Quantifying the Financial Benefits of Quality – Holly Lyke-Ho-Gland

  • Part One—How You Use Quality Matters– Once organizations get clarity on the financial impact of quality, the next step is to understand what practices and applications help improve the financial value.
  • Part Two – Quantifying the Financial Benefits of Quality — the Role of Governance and Transparency – Governance determines how the organization “operationalizes” the policy established through the design, implementation, and continuous improvement of the enterprise quality system itself….Though previous research indicates that successful quality programs rely on support and guidance by senior leadership, organizations that use a centralized committee, comprised of leaders in multiple functions, see greater financial gains. This makes sense given that a cross-functional team provides a broader perspective, strengthens buy-in, and fosters adoption of quality, its benefits, and standards throughout the organization.
  • Part Three – Bringing Suppliers into the FoldBest-in-class quality organizations use training with their suppliers to drive quality and are twice as likely to train suppliers. Supplier training ensures that all critical parties in the value chain understand the organization’s standard of quality—around quality measures and efficacy and what it wants to achieve with its product offerings.
  • Part Four – Employee training and incentives – Best-in-class organizations use training to drive a commitment to quality and help employees understand their role in quality — including their impact on the end customer and driving value.  However, organizations need to consider the purpose of their quality efforts before making decisions on incentives, the types of training, and even which employees to target for training.

Dr. Armand Feigenbaum on-

  • Managing for Quality – You have to understand that quality problems, like bananas, come in bunches. And if you try to go at them a banana at a time rather than at the stalk, you’re going to wind up with a lot of sour fruit.
  • the Cost of Quality and the Hidden Factory – By cost of quality I mean two things: the cost of getting it right and the cost of failing to get it right.

Results driven improvement process, which has the following characteristics:

  1. Organizations only introduce management and process innovations if necessary;
  2. Empirical tests show what works and what not;
  3. Frequent successes create new energy for improvement;
  4. Management creates a continuous learning process by applying lessons learnt in new phases.

Quality & Excellence: The Quality 136— Tom Peters presents Random Thoughts on Quality, Emphasizing the Elements That Are Often Missing in Conventional Quality Programs.

Quality management: caught in the tensions between quality, costs and timeWillfried Heist, Vice President Quality, Product Safety and HSE Management, T/QM, Knorr-Bremse SfN GmbH – Due to the increasing technical complexity of products an increasing number of companies from other sectors are becoming partners in our supply chain. This is confronting the quality manager of today with completely new challenges: how can new companies be optimally integrated into the supply chain? What will it require to guarantee our quality standards along the global supply chain all the way through to the n-tier companies?

Risk: A four letter word for quality management?  by Bryce Day, CEO of Catch and the driving force behind the development of the highly successful QA management tool Enterprise Tester – To me as a manager, quality is a reflection on how much risk I’m prepared to take. For example, I would want to buy a high quality car because my risk appetite for a car breaking down is low, but I’m willing to purchase a low quality $2 toy from a discount store because my risk appetite is much higher that it will break.

Why Customer Care is the Life Blood of any QMS  – Christopher StainowHow do you go about putting your customers at the forefront of your quality management goals? Here are a few things to consider to help you go that extra mile…

Quality Management in Everyday Life and Work  – From yoga to childcare; meetings to housework… quality management strategies work in the boardroom and at home. Here are some ways that you can use these tools for everyday life situations…

We will add Ask The Experts, ASQ, as one more regular section from the current episode. We will take any topic that has been discussed on this forum, based on the relevance to the core theme of the articles for a given episode of our blog carnival. For the present episode we have chosen – Creating a Culture of Quality. The question is how to change the attitudes toward quality management at all levels of the organization. The expert reply states that since most of the management understand well what is in for them, beginning may happen by examining some of the “pain points” in your organization and showing how quality tools can help to solve them.

We will now turn to our regular sections:

ASQ CEO, Bill Troy has December Roundtable: What is the best way to ensure quality and customer integration grow together?.

customer concept with business elements
customer concept with business elements

We now watch two of the latest ASQ TV  episode:

  • The Hidden FactoryIn this episode, learn about the concept of the hidden factory and how it can affect any organization regardless of industry. And discover how it can create misleading metrics that cause productivity to outrun quality.

Jim L. Smith’s Jim’s Gems for the month of December, 2016:

  • jimsmith_200ISO 9001 is only the Foundation – If you want a manageable QMS, then better build it that way from the start. Excessive paperwork that seems to be the leading cause of disappointment is an indication that they implemented the ISO9001 requirements the wrong way.

I look forward to your active participation in enriching the blog carnival as we pursue our journey in exploring the happenings across quality management blogs…………

Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.

Fading Memories…. Unforgettable Songs: January, 2017

Dilip Dholakia: A Singer

That Dilip Dholakia (Birth: 15th October, 1921 \ Death: 2nd January, 2011) was a multi-talented music personality has been universally accepted. He was a singer, a music director, a music arranger, a lyricist, all rolled into one persona.

We have looked at the music directorial side of his talent in our article on 10th January, 2017. For our present episode we will focus on the singing Dilip Dholakia.

dilip-dholakia-youngDilip Dholakia had his first exposure to singing in his early childhood when he would accompany his grandfather to Swaminarayan temple and join the singing of the temple prayers. His father used to play flute and his grandfather used to sing songs of God’s praise and hymns at the temple. Later he learnt classical singing from Pandurang Amberkar, a disciple of Khan Saheb Aman Ali Khan. He had shifted to Bombay in his. After he was selected as an artist on All India Radio, in Mumbai, he got the offer to sing a song for the film Kismatwala (1944). The composer Ratanlal, younger brother of composer Khemchand Prakash, had Dilip Dholakia sing ‘Gori Chalo Na Sina Ubharke’ and ‘Dekho Hamse Na Ankhe Ladaya Karo’. He also got chance to sing in chorus for a K L Saigal song Thukra Rahi Hai Duniya for Bhanvra (1944). In 1946, he got to sing ‘Dukh Ki Is Nagri Mein Baba Koi Na Puchhe Baat’ in ‘Laaj’ under Ramchandra Pal’s baton.

By this time Dilip Dholakia was introduced to Snehal Bhatkar at HMV studio, Bombay. Snehal Bhatkar helped him to cut his first record. Dilip Dholakia recorded two solos, penned by Gujarat’s well-known poet and lyricist, Venubahi Purohit. These songs were[i]:

Bhint Phadi Ne Piplo Re Ugyo, Jiran Eni Kaya Re, Kankari Chuno Roj Khare Ne Dhruje Vajar Kaya Re

Aadha Tel Aur Adha Paani, Em Gujarati Jaaye Javani, Em Gujarati Aa Jindagani

Another the then emerging Gujarati music director, Avinash Vyas gave him a couple of duets with the prominent playback singer Amirbai Karnataki in Gujarati film , Sati Sone (1948). One of these two, Shravani Vadaladi Tu Ja…Ja Sandesho Lai, is available on YT:

He got his first major break with Divadandi’s(1950). Ajit Merchant’s solo composition in his voice Taari Aankh No Afini Tara Bol No Bandhani was an instant hit. It has acquired a cult status among Gujarati songs and has had have covers and versions till now. Dilip Dholakia sings the first line of the song, without any accompanying instrument, to enjoy in his bare voice:

We will listen to another duet from this film. Dilip Dholakia sings his lines in lower scales –

Vagda Vachche Talavadi Ne Talavadi Ne Kor – with Rohini Roy – Lyricist: Balmukund Dave

Apparently, Dilip Dholakia could make out that he would not be able to carve out his space in the field of playback singing. So he switched over to playing the role of assistant to S N Tripathi, when Chitragupta took to his independent career and then to even Chitragupta as well. It was during this association that he could lay his hands onto some more of playback singing assignments.

Dur Gagan Pe Chamke Sitare.. Paas Hamare Chamke Chand Hamare – Ram Hanuman Yuddha, (1957) – with Geeta Dutt – S N Tripathi – Ramesh Chandra Pandey

SN Tripathi’s one of the signature melodious tunes. Dilip Dholakia has to play with his voice in sort of an undertone to match the tonal chords of Geeta Dutt.

Aaj Agar Meri Laaj Gayi, Samaz Le Teri Laaj Gayi – Ram Hanuman Yuddha (1957) – with Lata Mangeshkar – S N Tripathi – Ramesh Chandra Pandey

Dilip Dholakia sings for a playful  king on his boat tour on a river even his queen is prayerfully demanding protection of her dutiful rights … Both the singers depict two entirely different moods, in the setting of different scales on the same tune.

Run Jhun Baaje Penjaniya – Sakshi Gopal (1957) – Chitragupta – Bharat Vyas

The song is set to a slow rhythm of a traditional stray DUHA style of Charan poets of the Kathiawar (a part of Gujarat’s Suarshatra region), obviously Dilip Dholakia’s ancestral heritage instincts influencing the composition of the song. .

Khanke Kangana Khan Khan Re, Chhanake Ghungharu Chhan Chhan Re  – Saugandh (1961) – with Lata Mangeshkar and Mohammad Rafi in the lead.

This appears to be the only Hindi song that Dilip Dholakia has chosen to sing under his own music direction. But when he has chosen to do so, not lonely music director, (Dilip Dholakia), but the lyricist (Prem Dhawan) also joins Lata and Rafi @ 2.21 to 2.24 in an innovative experiment in this song.

After a long hiatus, Dilip Dholakia he came back to singing and recording non-filmy songs only at the very end of his active career. I have picked up two representative songs from this crop.

Ten Puchhyo Prem No Marm Ne Hun Dai Betho Alingan

Dilip Dholakia seems to be rekindling memories of his visits to Swaminarayan temple in this bhajan –

Lagi Re Mohe Nain Najariya…

We will continue with our tradition of ending our episode with Mohammad Rafi Songs.

I have selected two so-well-composed Dilip Dholakia songs that not only stand out as a few of Rafi’s best everm, but do present Dilip Dholakia’s range as a music director.

One is a Bhaskar Vora’s song for Satyavan Savitri (1963) –

Mithadi Nazaroon Vaagi

[Sweet glance has hit me..]

and the other on is a non-film song, written by Barakat Virani ‘Befam’

Milan Na Deepak Buzai Gaya Chhe

[Lamps of our meeting have now gone off..]

We will continue our search for Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

[i]  I most sincerely thank Shri Biren Kothari for providing the soft copies of these songs.

Dilip Dholakia? D. Dilip? Diliprai? – A Singer or A Music Director or A Music Arranger?

[First published on Songs of Yore asForgotten Composers Unforgettable Melodies (11): Dilip Dholakiaon January 10, 2017]

Those who are familiar with any of the aspect of Dilip Dholakia’s world of music probably may know of him by any one of these names that he used for his different music career roles. For the records of the Hindi Film’s mundane history Dilip Dholakia [Born: 15th October, 1921 / Death: 2nd January, 2011] was probably noticed more as an assistant to Chitragupta or S N Tripathi or to the music-duo Laxmikant Pyarelal. And yet, Dilip Dholakia remained all of singer, music director, music arranger and at times even lyricist and an actor, during his active career. Probably that is the excuse lady luck took refuge for not favoring him with the worldly success !

Dilip Dholakia’s music legacy was also multi-dimensional. His father used to play flute while his grandfather would sing hymns and prayers at Swaminarayan Temple at his birth town of Junagadh (Saurashtra, Gujarat. Dilip Dholakia would join them in singing or in playing pakhwaj when he was a toddler. He migrated to Bombay after his graduation and did some odd jobs. However his association with singing did continue. He trained under Pandurang Amberkar to hone his raw musical instincts into the systematic classical mold. His introduction to Snehal Bhatkar, who then worked for HMV studios, led him to cut his first ever music record, in  with two Gujarati songs – Bhint Phadi Ne Piplo Re Ugyo and Aadha Tel Aur Aadha Pani.

It was Khemchand Prakash who gave Dilip Dholakia first formal break to sing in the chorus  in Thukra Rahi Hai Duniya Hum Hai Ke So Rahe Hai – @2.24 with K L Saigal for film Bhanwara (1944).  In the same year, Dilip Dholaki could get to sing two songs – Gori Chalo Na Sina Ubharke and Dekho Humse Na Aankh Ladaya Karo – under the music direction of Khemchand Prakash’s younger brother, Ratanlal, for ‘Kismatwala’. He got one more song under the baton of Ramchandra Pal for ‘Laaj’ in 1946 – Dukh Ki Is Nagri Mein Baba Koi Na Puchche Baat.

It was another Gujarati music director Avinash Vyas, who paired him with the then a very well-popular singer, Amirbai Karnataki, in the Gujarati film, Sati Sone (1948) – for the duet

Shravani Ni Vadaladali Tu Ja..Ja Sandesho Lai

(O cloud of monsoon go.. go take my message..)

It was a stroke of luck that got him his first major successful break. Ajit Merchant had planned to use Mukesh for a solo song of Divadandi (1950), but it was Dilip Dholakia, who was destined to enshrine this song as one of the most iconic ever Gujarati song –

Taari Aankh No Afini Taara Bol No Bandhani, Taara Roop Ni Punam No Paagal Hun Eklo

(Addict of opium-intoxication of your eyes, and your spoken words, I am the only lunatic of your full-moon beauty).

Incidentally, this tune has been used by Chtragupta in Naya Sanasar (1959) for Lata Mangeshkar’s cradle song Chanda Loriyan Sumaye Hawa Jualan Julaye Mere Lal Ko.

Apparently, Dilip Dholakia was either intrinsically more inclined to music direction or could sense that he may not make space for himself in the then competitive world of Hindi film play-back singing. So he took up assignment of assisting S N Tripathi, and later on Chitragupta, who himself was S N Tripathi’s assistant before he charted his independent course.  His foray into music direction / music arrangement was under the name of D. Dilip.

Dilip Dholakia could get his first independent assignment of music direction for Bhakta Mahima (1960). Even as he composed no less than 16 songs for this film, none of the otherwise quite resourceful netizens have yet been able to lay hand on any the songs.

Dilip Dholakia’s next film was Teen Ustad in 1961. The six songs of the film, of which one Talat Mahmood- Suman Kalyanpur duet and one Mohammad Rafi- Suman Kalyanpur duet as well as one solo each of Lata Mangeshkar and Usha Mangeshkar, have been mentioned in several HFM-related documents, but two singers for the two songs remain unidentified. I have not been able to locate any digital version of the songs from this film.

In the same year Dilip Dholakia got to compose music for Saugandh. He composed 2 Talat Mahmood+Lata Mangeshkar duets, 1 Mohammad Rafi+Lata Mangeshkar duet in which Dilip Dholakia (music director) and Prem Dhawan (lyricist) join in an innovative chorus, 2 Lata Mangeshkar solos and 1 song for which singer is not identified.

Aaja Re Chand Mere Aaja Re, Chand Mere Chand Mere Dil Ye Tera Re – Saugandh (1961) – Talat Mahmood, Lata Mangeshkar – Lyrics: Prem Dhawan

Saugandh seems to be remake of a Telugu film. He has woven Talat Mahmood’s soft voice with a soft tune and equally soft orchestration. The song has been filmed on Jemini Ganeshan and Anjali Devi in the film.

Bagdad Ki Raatein followed in 1962. Dilip Dholakia composed 3 solos for Geeta Dutt, 3 solos for Lata Mangeshkar, 1 duet of Mohammad Rafi and Shamshad Begum and one more duet of Mohammad Rafi with Geeta Dutt. It seems that apart from the considerations of availability of the singers and the related economics, Dilip Dholakia was using the opportunity to present his music in as many variants as possible so as to hit the chords of success.

Julfowalo Se Na Bhul Ke Bhi Pyar Kijiye Ji – Baghdad Ki Raatein – Mohammad Rafi, Shamshad Begum and Chorus – Lyrics:  Prem Dhawan

Being a light-mood song, Dilip Dholakia has given enough space for Shamshad Begum and Mohammad Rafi’s harkatein for augmenting the mood of the song.

Kisi Se Pyar Ho To Dil Bekarar Ho To, Aao Jara Lete Jao Aji Dil Ki Dawa – Baghdad Ki Raatein – Geeta Dutt – Lyrics: Prem Dhawan

Orchestration has mid-eastern accent and Geeta Dutt is at her silken best in tune with the dance song.

Dilip Dholakia had one more film in 1962 – Private Secretary. The film had Ashok Kumar and Jayshree Gadkar in the lead. Dilip Dholakia also rose to the challenge. All 7 songs had perfect blend of melody, erudite composition, ease of singing for the spectators – all possible factors that can help the songs of the entire album to be commercially successful enough so as to provide the necessary escape velocity to the music director to move in to A-league films.

Ja Ja Re Chanda Ja Re Teri Chandani Bhi Mera Jiyara Jalaye – Private Secretary (1962) – Lata Mangeshkar – Lyrucs: Prem Dhawan

Here we have as good as any Lata Mangeshkar solo of that time. Dilip Dholakia has been able to touch the melody chords that have been signature aspect of Chitragupta compositions. There are three more Lata solos in the film. All of these are available on YT.

Jaa Re Beimaan Tujhe Jaan Liya – Private Secretary (1962) – Manna Dey – Lyrics: Prem Dhawan

This one is semi-classical song for a light situation in the film. The composition ought to have gone into augmenting the trend of using Manna Dey for light situation-classical song genre that was evolving at that time.

How Dilip Dholakia had peaked can be gaged from the songs he composed next year for a Gujarati film – Satyavan Savitri. This was his maiden Gujarti film as a composer. All of Rafi and Lata songs had become quite popular among Gujarati listeners at that time.

Aawi Rasili Chandani, Van Vagado Lahervati – Mohammad Rafi, Lata Mangeshkar – Lyrics ; Bhaskar Vora

(So enjoyable full-moon light has arrived, lighting up forest trees on the way)

The orchestration has very distinct Chitragupta effect.

And now was a sort of drought of music direction assignments in Hindi films. The next film – Veer Ghatotkatch  – to come up is again a mythological film, in 1970. Dilip Dholakia has composed one solo each for Mukesh and Manna Dey, two for Suman Kalyanpur and a female-female duet for Suman Kalyanpur and Reshma. Thus, he does keep trying to be as creative as possible even possibly within shoe string budgets.

Us Pratham Pratham Parichay Me Hi Maine Khoya Tha Apnapan – Veer Ghatotkach (1970) – Mukesh – Lyrics: B D Mishra

The song does present Mukesh at his usual romantic best.

1970 had one more C-grade film assignment, Dagabaaz, for Dilip Dholakia, in the name of Dilip Roy. He composed two solos for Mukesh, one for Mahendra Kapoor and Lata Mangeshkar each and a duet for Mahendra Kapoor and Asha Bhosle for the film.

Aa Meri Bahon Mein Jhool Ja  – Dagabaaz (1970) – Mahendra Kapoor, Asha Bhosle –– Lyrics:  B D Mishra

The couple goes to play their romance wandering happily in the garden is a very typical duet for Hindi film situations. The song is filmed on Chandra Sekhar and Helen, who themselves have not been able to get the A-grade lead actor roles, in spite of enough talent and looks.

The eighth of Hindi films for which Dilip Dholakia could get to compose music was again a C-grade myhtlological film, Mata Vaishnodevi.

Man Ke Kore Kaagz Pe Tasveer Khinch Lo Raam Ki – Mata Vaishnodevi (1970) – Manna Dey – Lyrics: B D Mishra

The song has twin version in Asha Bhosle’s voice, filmed on Jayshree Gadkar, who was quite successful on Marathi screen, but destined to the roles of mythological Hindi films heroin !

Dilip Dholakia had had a similar run in Gujarati films, where he had 11 films in his bag. He did a couple of A-grade films like (a national award winner regional film) Kanku or Mena Gurjari there. He continued to experiment and innovate here as well.

Eklaj Avya Hata, Ekla Javana – Jalim Singh Jadeja – Bhupinder – Lyrics: Barkat Virani

(Had come alone will go alone too)

Even though his association did span for a longer duration, that was probably not enough to meet his basic needs for a satisfying decent living or providing for satisfying his creative streak. So he had to resort to the next best career option – work as music directorial assistant for some more successful music director. This he did so well for Laxmikant Pyarelal, from 1972 to 1988. He recorded his last song in 1988.

He also had worked with Hridaynath Mangeshkar to record his compositions like Meera Bhajan (Part-I), Bhagavad Geeta, Gyaneshwari Geeta, an album of Urdu gazals by Ghalib. He also composed for HMV records sung by Lata Mangeshkar, Asha Bhosle, Kishori Amonkar. He composed music of Chausanthpadi written by Nishkulanand Swami.

The tradition of music runs into the fourth generation, the torch being kept alive by Dilip Dholakia’s son Rajat Dholakia.

Business Management Books to Read in 2017

On the very first day of 2017, I thought fit to collate a list of business management books to read, as observed on just the first page of Google search.

Jena McGregor recommendation on The Washington Post:

Mastering Civility: A Manifesto for the Workplace By Christine Porath, Dec. 27

Stretch By Scott Sonenshein, Feb. 7

Madame President By Helene Cooper, March 7

Eyes Wide Open By Isaac Lidsky, March 14

Radical Candor By Kim Scott, March 14

Option B By Sheryl Sandberg and Adam Grant, April 24

The Captain Class: The Driving Force Behind the World’s Greatest Teams By Sam Walker, May 16

The Push By Tommy Caldwell, May 16

Gorbachev: His Life and Times By William Taubman, Sept. 7

Shana Lebowitz recommends 10 books every new manager should read @ Business Insider India.

‘Drive’ by Daniel H. Pink

‘The One Thing You Need to Know’ by Marcus Buckingham

‘Thinking, Fast and Slow’ by Daniel Kahneman

‘Act Like a Leader, Think Like a Leader’ by Herminia Ibarra

‘How to Win Friends and Influence People’ by Dale Carnegie

“Mindset’ by Carol Dweck

‘Meditations’ by Marcus Aurelius and Gregory Hays

‘Things Fall Apart’ by Chinua Achebe

‘Now, Discover Your Strengths’ by Marcus Buckingham and Donald O. Clifton

‘Good to Great’ by Jim Collins

Four Business Books To Read In 2017 @ Eric Jacobson On Management And Leadership

 The Elegant Pitch: Create a Compelling Recommendation, Build BroadSupport, and Get It Approved, by Mike Figliuolo

Leading the Unleadable – How to Manage Mavericks, Cynics, Divas, andOther Difficult People, by Alan Willett

Extreme Ownership, by Jocko Willink and Leif Babin

The Five Dysfunctions of a Team by Lencioni

Twelve Business Books to Read in 2017 by Natalie White

Good to Great: Why Some Companies Make the Leap and Others Don’t By Jim Collins

The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers By Ben Horowitz

Big Science: Ernest Lawrence and the Invention That Launched the Military-Industrial Complex By Michael Hiltzik

Invisible Influence: The Hidden Forces That Shape Behavior By Jonah Berger

The 10 Laws of Trust: Building the Bonds That Make a Business Great By Professor Joel C. Peterson

Lead and Disrupt: How to Solve the Innovator’s Dilemma By Professor Charles O’Reilly and Michael Tushman

Clay Water Brick: Finding Inspiration from Entrepreneurs Who Do the Most with the Least By Jessica Jackley

Originals: How Non-Conformists Move the World By Adam Grant

The Language of Food: A Linguist Reads the Menu By Dan Jurafsky

The Fissured Workplace: Why Work Became So Bad for So Many and What Can Be Done to Improve It By David Weil

Bad Science: Quacks, Hacks, and Big Pharma Flacks By Ben Goldacre

All the Devils Are Here: The Hidden History of the Financial Crisis By Bethany McLean and Joe Nocera

These may certainly not be the only ones to be the recommended books. But, indeed it makes a very good beginning for a New Year.

Wishing The Best of 2017…..

Carnival of Blogs on Golden Era of Hindi Film Music – December, 2016

Welcome to December, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We will begin our present episode on a lighter note with You’ve never heard the demonetized version of this famous song from Guru Dutt’s ‘Pyaasa’. As a parody, ‘When it was our turn in the queue, the bank’s coffers were empty‘ is a part of sort of mini cottage industry – These Bollywood spoofs on demonetisation will tide you over the cashless blues.

December, 2016 also had another major event- passing away of Tamil Nadu CM, J Jayalalithaa.

Wadia and Nadia: How love kicked in pre-Bollywood filmdom – Nadia was a JBH discovery. But it was Homi (May 22, 1911 – December 10, 2004) who gave this memsahib with a thick Scottish accent, a voice. “Homi realised her language was her ‘body’,” says film theorist and curator Amrit Gangar. “He kept Nadia’s dialogue to a bare minimum because of her difficulty with Hindi.”

mary-ann-evans-aka-fearless-nadia-in-a-still-from-carnival-queen-1955
Mary Ann Evans aka Fearless Nadia in a still from Carnival Queen, 1955

Happy Birthday Dharmendra: As he turns 81, we bring you his various filmi moods – He was probably the first Indian male star who appeared bare-chested in a song in Phool Aur Patthar. From Anupama (1966) to Satyakam (1969), Dharmendra tried to create a space for himself as an actor. Hrishikesh Mukherjee’s Chupke Chupke is another film which proved that the actor could balance subtle comedy just as well as slapstick elsewhere.

MS Subbulakshmi: A journey from Kunjamma to Meera – is N Venkataraman’s tribute on her birth centenary (16 September 1916 – 11 December 2004).

December is also a month of birth dates of Dilip Kumar and Raj Kapoor, two fulsome actors of the Great Triad.

dilip-kumar

Dilip Kumar – Leaves from My Diary in an interview conducted in 1957.

prithivi-raj-kapoor-with-sons-and-a-grand-son

Prithivi Raj Kapoor with sons and a grand son

15 Songs of Shailendra: The Art of Simply Expressing Deepest Thoughts – On Shailendra’s death anniversary,Antara Nanda Mondal and Peeyush Sharma have compiled a brief list of 15 songs that give a glimpse of his massive range – encompassing songs of love and romance, songs of introspection and philosophies, songs of spiritual awakening and harsh social realities, songs of that celebrate liberation and songs that express the anguish of entrapment.

sitara-devi

We have an excellent career-sketch of Sitara Devi: The Twinkling Star profiled by Karan Bali on her second death anniversary on 25th November.  Some of her memorable films are Judgement of Allah (1935), Achhut (1940), Pagal (1940) and India Today (1940)., Roti (1942), Najman (1943) or her snake dance in Anjali (1957) or the Holi dance in Mother India (1957).

We will also take note of A Short Film Tribute to Sitara Devi   

Karan Bali has also profiled PC Barua, who is most easily remembered for K L Saigal’s songs of Devdas (1935) or Saigal’s So Ja Raajkumari So Ja (Zindagi).

The December, 2016 episode of Fading Memories, Unforgettable Songs was dedicated to Mohammad Rafi’s solo song from the first film with the music director. This part of the article covered the first three years of the first-five-year-period of 1944-1948. The second part of the article, has covered songs from 1947 and 1948 @ Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director ||2||.

Here are posts on other subjects as well:

Shyam Benegal’s ‘Ankur’ and the beginning of a film movement – A Book Review by Sangeeta Datta – A script written during the filmmaker’s college years became the foundation of his sparkling career as one of cinema’s greatest realists.

smita-patil-image-credit-jhelum-paranjape

Smita Patil as a child: Mischievous, adventurous, emotional and an excellent mimic – In her review Maithili Rao notes that  Smita Patil biography reveals that the acclaimed actor, whose death anniversary is on December 13, was ‘prem mayee’: a being suffused with love.

More Delicious Chutney Covers of Hindi Film Songs – After the introductory piece, we can now expect this to be a regular fare.

Southern Spice in Hindi Music highlights key aspects of South Indian music that have been absorbed in Hindi film songs, that have added what one would call as a dash of Southern spice in Hindi film music. This is not about the vocal styles from South India, but instruments from South India. LINK TO PLAYLIST FOR SOUTHERN SPICE IN HINDI FILM MUSIC takes us to 12 such songs from 1940s to’60s, with one exception.

I have been able to land upon this quite an imaginative subject – “Samne waali khidki” songs rather belatedly.

Shankar-Jaikishan’s multi-faceted genius with ‘other’ singers – have covered so far their best songs for his leading singers, Lata Mangeshkar, Mukesh, Rafi and Manna Dey. also presented his best dance songs for Lata Mangeshkar and female dance duets. presenting my final tribute to SJ with their songs for ‘other’ singers which give a glimpse of their multi-faceted talent.

My Favourites: Heroes – 1 (40s-70s)  is the pairing list of earlier  My Favourites: Heroines – 1 (40s-70s) , based on an idea of Stars and Songs, that the author, Ava Suri, particularly like featuring the actress. In the continuum, Zeenat Aman – My favorite Songs is a collection of Baker’s dozen songs that have matching visuals to the catchy lyrics with Zeenat Aman in the focus and Ashok Kumar – 10 favorite songs that the actor sang as well as performed on the screen.

‘Diya Na Bujhe Ri Aaj Hamara’ – Kumkum The first song I got as a dancer was the song “Angana Baaje Shehnai Re, Aaj Mori Jagmag Atariya” in the film Sheesha which was sung by Shamshad Begum. ‘Raat Ke Raahi’s song ‘Daayein Baayein Chhup Chhupa Ke Kahaan Chale’ was picturized on Kumkum’s younger sister Radhika and Shammi Kapoor.Radhika also stays with her family in Mumbai.

Trios, Quartets, and More: Ten of my favourite songs has presented songs such as:

Bas mujhko mohabbat ho gayi hai (Biwi aur Makaan), 1966); Mukesh, Manna Dey, Hemant, Talat Mahmood. There is one more such experiment in the same film – Nahi Hota… Aa Tha Jab Janam Liya – Mukesh, Manna Dey & Hemant Kumar

The Legends: Asha Bhosle sets the tone with the help of solos and The Legends: Asha Bhosle – Part 2 has her duets.

We end today’s episode with a short film on songs and life of Mohammad Rafi: Part 1| Part 2 | Part 3. 

I take this opportunity to wish a great 2017 to all of you and look forward to your valued suggestions to keep our content more engrossing…

Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director : 1944-1948 ǁ 2 ǁ

We have covered 1944, 1945 and 1946 as the three of the first five-year period of Mohammad Rafi’s FIRST film with the music director. Presently, we will cover 1947 and 1948 as the last two years of this period.

mohammad-rafi-jugnu-3

1947

Datta Davjekar, a fairly known name in the then Marathi films, debuts with Aap Ki Sewan Mein in Hindi Films. The film has several other records to its account as well. Lata Mangeshkar also made her debut as a playback singer with the song Paa Laagoon Kar Joree Re. The songs are written by Mahipal, who later on made his name as hero, especially in the mythological films and the poet-hero of V Shantaram’s 1959 film ‘Navrang’.. Mohammad Rafi has handled the eagerness of a longing lover on his way to meet his beloved in a controlled high-octave scale rendition. The beauty of the composition is in its vibrant freshness after so many years.

Datta Davjekar had two solos of Mohammad Rafi in the next film, Adalat (1948), too.

Incidentally, November (15th) also is Datta Davjekar’s month of birth.

Meri Aankho  Ke Taare Yeh Phool Suhaye

Naresh Bhattacharya had all other songs of Dak Bangla in Suraiya’s voice (one being a duet with Mukesh too), except this Mohammad Rafi solo. The song, written by D N Madhok, is such a pleasant tune to listen to, though slightly difficult to hum with.

Jab Jab Baithe Baithe Dil Bhar Aye Aur Lab Se Nikale Haye, Socho Kisi Se Pyar Ho Gaya

S D Burman also opens account with Mohammad Rafi solo in Do Bhai. Raja Mahendi Ali Khan’s lyrics have been done a very fair justice by Mohammad Rafi in the way the song has been rendered. The song may not have created many ripples, but does contain Rafi as we came to know his songs in the later years. Do Bhai is remembered for Geeta Dutt’s path breaking song – Mera Sundar Sapna Beet Gaya

Duniya Mein Meri Aaj Andhera Hi Andhera

A R Qureshi (a.k.a. an ace table player Alla Rakha) was known name as music director of Hindi films by now. He has chosen to use Mohammad Rafi for Malika. The song Meri Dulruba Mere Paas Aa does have varying accounts of the playback singer. As such we will take note of the song, but will go along to record the Tanvir Naqvi’s present song as the only Mohammad Rafi’s solo.

Das Na Jayen Tujhko Zulfien Kaaliyan

Khemchand Prakash has used Mohammad Rafi in a triad with Arunkumar and Manna Dey in Samaj Ko Badal Dalo’s song Aaji Maat Poochhco Baat College Albeli. This is one more song where in Mohammad Rafi has played a cameo role on the screen.

Pt. Ramakant Paingankar-Karnad, one more of those unknown names, has composed the present solo, a bidai song, written by Pt. Mukhram Sharma. The song takes the credit for a first ever bidai song by Mohammad Rafi. The film also has another credit- the first ever duet of Mohammad Rafi and Lata Mangeshakar – Chalo Ho Gayi Tayyar

Chali Sajan Ghar Chali

B S Thakur has used Mohammad Rafi’s voice for this philosophical solo song of Shanti. The song is written by Shakeel Badayuni. YT also has another song To He Jaana Hansate Hanste, which does not find mention on other documentary listings except on Hindi Geetmala.

Jeevan Hai Anmol Musafir, Jeevan Hai Anmol

Azeez Khan has come up with the only Mohammad Rafi solo for Utho Jago.

Prem Ki Nayya Dol Rahi Hai

1948

1948 has once again a very rich crop in so far as our present subject goes.

Ram Ganguly had used Mohammad Rafi in the maiden Raj Kapoor film Aag, but that is a duet with Shamshad Begum – Solah Baras Ki Bhayee Umariya. The visuals of the song can be seen with a typical Raj Kapoor touch.

Shyam Sundar has two Moahmmad Rafi solo songs for Actress, after having introduced Rafi with a duet in 1944 film Gaon Ki Gori. I find it difficult to drop any one of them. Ajay Yuvaraj must also have faced such a dilemma; hence he put up a combined video clip. Both songs have attained a fair amount of popularity.

Ae Dil Meri Aahon Mein Itna To Asar Aaye

Hum Apne Dil Ka Fasana Unhe Suna Na Sake

Hans Raj Behl has used Mohmmad Rafi for one solo and one duet (with Geeta Dutt) for Chunariya. This can be taken as first of the signature HRB-Rafi song, which seems to pave for fairly qualitative combined work in the years to come.

Sab Kuchch Lutaya Hamane Mar Kar Teri Gali Mein

Shaukat Hussain Dehlvi (a.k.a. Nashad) has set the distinctive course of ‘broken-heart’ genre of songs, in which Mohammad Rafi was to carve out a niche for himself. This song from Jeene Do is written by Shewan Rizvi.

Doobi Naiyya Aake Kinare

We have one more Mahipal song, this time composed by Purushottam for Mere Lal.

Bujh Gaya Deep Ghir Gaya Andhera Jyot Kahan Se Laun

Ghulam Mohammad has this playful Mohammad Rafi solo, written by Tanveer Naqvi, for Parai Aag. This mukhda perhaps remids us more of Dil Hi To Hai (1963) version, composed by Roshan, which was written by Sahir Ludhyanvi.

Nigahen Milane Ko Ji Chata Hai

Husnlal Bhagatram scored a great winner in Mohammad Rafi’s solo, written by Qamar Jalalabadi, for Pyar Ki Jeet, even as the films had several hit songs of Suraiya as well.

Ik Dil Ke Tukde Hazar Hue Koi Yahan Gira Koi Wahan Gira

Dhumi Khan, one more of an unknown music director has composed two solos for Mohammad Rafi. One is a prayer song – Sultan-e-Madina. The other one is a pathos-laden song, penned by Habib Sarhadi.

Kismat Se Koi Kya Bole

Ameerbai Karnataki, otherwise a renowned playback singer, has composed songs for Shahnaz. Mohammad Rafi had two solos and three duets with Ameerbai Karnataki in the film. Both the solos present Rafi’s voice in different shades.

Mohabbat Mein Khudaya Aise Guzare Jindagi Apni   (Lyricist: Amir Usmani)

Ae Dil Tujhe Neend Na Aayi Tamam Raat (Lyricist: Akhtar Pilbhiti)

Statically speaking, the first Five-year-period of 1944-48 has seen Mohammad Rafi working with 29 music directors for first time for a solo song. The number for 1948 was 10 music directors, 8 each for 1947 and 1946 whereas 3 for 1945. Both the music directors, who were associated with him in the maiden 1844 year, had no solo song with him in that year. Shyam Sundar appears in this list in 1948 with two solos; however Naushad has yet to create a solo song for Mohammad Rafi.  That perspective apart, the fact remains that the journey had taken off well and was gaining the required velocity.

We will end 1944-48 five-year-period with what I consider as Mohammad Rafi’s most iconic song from Shaheed (1948), written by Raja Mahendi Ali Khan and composed by Ghulam Haider. We have picked up only the sad version, which is essentially a solo song.

Vatan Ki Raah Mein Vatan Ke Naujawan Shaheed Ho

Carnival of Quality Management Articles and Blogs – December, 2016

Welcome to December, 2016 edition of Carnival of Quality Management Articles and Blogs.

We have already taken up the following topics for the familiarization of different elements of new version of ISO 9001-

For the present episode we will take a brief look at The Road beyond ISO 9001:2015.

Role as a Management Tool

The business performance has several dimensions. One can delve deeper into ISO 901: 2015 and can find ways and means to link up the standard with each of this business dimension. However, within the bounds of our present post, we will cover only a few selected examples that would serve as cases of illustration.

Role in The Strategy:

  • The Business of Innovation – Use ISO 9001:2015 to build innovation into your business strategy – There are still people who carry with them the outdated ideas of the standard and only think linearly… The updated ISO 9001:2015 requirements, more specifically “Leadership” (Clause 5), “Risk Based Thinking” (Clause 6) and “Context of the Organization” (Clause 4), have many components linking QMS standards to business management systems, leadership involvement, and strategic planning that were not previously required. The newly required alignment involves the entire organization, a more comprehensive approach to improved performance, process, and quality…
  • Harnessing Quality and Standards as a Business Strategy – Quality and standards are fast becoming strategic business imperatives in a rapidly evolving global economy. Learn how three local companies adopted standards to help them build trust, enhance their brand image and stay ahead of the competition.

Role in Business Process Management

Role in Financial Domain-related Issues:

Role in Sustainability:

Role in CSR domain:

  • Sarbanes – Oxley Act – Threat or opportunity for Quality professionals is a succinct treatise for CSR and Quality professionals to work in unison.
  • Leveraging ISO 9001 system to Sarbanes-Oxley complianceMaureen McAllister ISO 9001 and ISO 14001 are not financially focused. However, their systems, procedures and practices offer a ready-made platform to help demonstrate SOx compliance. ISO standards provide a vehicle for ongoing risk assessment and management. Their internal auditing requirements back up these procedures and assessments with cross checks that ensure proper practices are actually being followed. These standards can put some real teeth into SOx-required attestations about internal controls.
  • A Pathway to ‘CSR Excellence’: the roles of ISO 9000 and ISO 26000 – The paper discusses the roles of ISO 9000 and ISO 26000 quality and social responsibility standards in a journey toward Corporate Social Responsibility (CSR) Excellence.  ISO 9000 plays the role as an operational building block and the ISO 26000 that of a tool to review strategic positioning and operational maturity of organisations.
  • ISO standards for business – An essential link to integrated reporting  – Kevin McKinley 2011 –  Business cannot focus only on satisfying direct customers’ needs – stakeholders in all their forms are becoming more critical of businesses that do not adequately address expectations of good governance, environmental stewardship, sustainability and social responsibility…Standards deal not only with topical business issues, but can also provide rules and guidance for assessing how related business requirements are implemented. Such conformity assessment standards can provide benefits to all links in the value chain.

With this, we will conclude our current series of articles on ISO 9001: 2015 and the articles on elements of QMS that we had been pursuing in previous two years as well.

I plan to revert back to our original model of reviewing the articles/ blogposts on the current topics related to quality and /or quality management from January 2017.

We will now turn to our regular sections:

ASQ CEO, Bill Troy in his ASQ’s Influential Voice  in conjunction with ASQ Communications introduces Belur Nanjundiah Jagadeesh Prasad. Jadesh Prasad has applied his knowledge of quality creatively by composing several quality themed poems.

We now watch two of the latest ASQ TV  episode:

Jim L. Smith’s Jim’s Gems for the month of November, 2016:

6 Rules for Improved Standards : Standards can be a part of continuous improvement efforts, with a few key rules that should be considered whenJim's Gems working with internal documents or external standards.. Bottom line, we should encourage everyone to get involved in making standards the best they can be. It can really be a rewarding task to do because standardization is a significant component of an organization’s continuous improvement initiatives.

Clarifying Consensus, Surveys and Polls: How do we really know what people think? In trying to find out, there’s a lot of confusion created. Some of the confusion is intentional, some confusion is an unawareness of fundamental math, some of the confusion is created by a lack of understanding of what data is telling us, or maybe just simple lack of knowledge of how to collect the information.

I look forward to your active participation in enriching the blog carnival as we pursue our journey in exploring the happenings across quality management blogs…………

With best wishes for a very happy, healthy and meaningful 2017

Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.