Fading Memories…. Unforgettable Songs: January, 2019

Jaidev: Brilliant, But Underrated, Composer:  Journey from 1964 to 1970 – Jaidev’s music remains unscathed in less remembered songs of unknown films

We have been co-travelling the musical journey of Jaidev (a.k.a.  Jaidev Varma; B: 3 August 1919 – D : 6 January 1987) in this month of death anniversary, starting from the last year. We had covered the films from 1955 to 1963 last year..

By the end of this period, Jaidev’s career had seemed to attain the required escape velocity to go into the orbit of sustained commercial success. But, the fate had some other designs in its store. During the making of Mujhe Jeene Do, he had a bitter difference of opinion with Sahir Ludhyanavi, with whom he had created the two last masterpieces – Hum Dono and Mujhe Jeene Do. And then, Navketan was (reportedly) coerced to revert to S D Burman for Guide (1965), which turned out to be an all-round success.

With no (so-called) big banner under his fold, he was forced to take up work for low budget films. However, post-Mujhe Jeene Do, his music perhaps lost that ‘melody’  which gives the music a ‘mass’ touch, even though his compositions, still, were of an exalted order – soulful and sublime, spiritual and transcendental, ethereal and heavenly. In Hindi film industry, such music directors get cast for low-budget films. Jaidev could not emerge as an exception.

As may be observed in this episode, his elaborate compositions for smaller films found a smaller audience and yet Jaidev continued to give of his best in every film he worked on. Many of his best compositions are lost in unfinished films and albums. Though he is the only music director to have received three national wards for music in Hindi Films, as a music composer, he never properly received his due and was passed over many times for others, but his film scores linger on in the deep in our memories.

Presently, we continue with Jaidev’s musical journey from the year 1964 to 1970…….

Naihar Chhootal Jaaye (1964)

This is a Bhojpuri film. The one song that I could locate is thanks to Atul’s Song a Day.

Jiyara Kasak Masak Mor Rahe Laagal – Mohammad Rafi – Lyrics: Shailendra

We have a lilting, light songs from Jaidev. To many a Rafi fans, the song may not be totally unknown.

The songs has a Asha Bhosle version too. The subtle change in the composition that reflects the inherent feelings of a male and a female respectively strikingly comes to our notice.

Hamare Gam Se Mat Khelo (1967)

This one is also an obscure, low budget, film which has six songs, spanning singers like Talat Mahmood, Geeta Dutt, Asha Bhosle, Mahendra Kapoor and Krishna Kalle.

Ye Khamoshi Kyu Ye Madhoshi Kyu – Geeta Dutt – Lyrics: Nyay Sharma

This is the only song that Jaidev has recorded with Geeta Dutt,based on a western style composition, which is also a rarity for Jaidev. Geeta Dutt sounds as lively as she was in ‘40s.

Ye Bahar Ka Sama Karar Ka Sama Nikhar Ka Sama Kho Na Dena – Mahendra Kapoor – Krishna Kalle – Lyrucs: Nyay Sharma

Even if the singers seem to have been chosen to fit into the shoe-string budget, Jaidev maintains his touch in the composition. The composition has inherent melody to listen to, but is difficult to hum with.

Ansoo Chuupaye Aankh Mein, Khoon-e-Jigar Piya Karun – Talat Mahmood –  Lyrics: Shireeh

This is fairly known song. The composition has a typical Jaidev touch – probably little difficult hum along, but certainly very melodious to the ears. Such songs do not become very popular, but are not easily forgotten too.

Kahiye Kya Hukam Hai, Main Pyar Karoon Ya Na Karoon, Kahiye Kya Hukam hai – Asha Bhosle – Lyrics Nyay Sharma

Essentially this is a mujra song.. The composition is set to rather difficult style.

Jiyo Aur Jeene Do (1969)

This is the only films wherein Jaidev and Hasrat Jaipuri team up together.

Main to Kar Kar Binati Haari Re – Suman Kalyanpur – Lyrics: Hasrat Jaipuri

Here is another song which is rare – from the point of view of hardly being heard, being a maiden song of Jaidev-Suman Kalyanpur combination and being a song which is as melodies as a Jaidev or a Suman Kalyanpur song will always be.

Ye Dharati Hamari Dharati Hai,Hum Isko Swarg Banayenge – Manna Dey, Sulakshana Pandit –  Lyrics: Hasrat jaipuri

The composition and bass orchestration are literally down to earth, in spite of the inherent complexity of the tune.

Aaj Ki Raat Bas Jalwa Dikhane Ke Liye – Mohammad Rafi – Lyrics: Hasrat jaipuri

Here is a composition that is complex, but sounds so appealing in Mohammad Rafi’s voice.

Roop Ki Dhoop to Dhal Ke Rahegi –Mohammad Rafi – Lyrics: Hasrat jaipuri

The prelude and interlude pieces suggest that the song would be a street song

Sapna (1969)

One more obscure film, not much known lyricist, and yet, Jaidev holds the fort.

Anadi Mor Balma .. Achar Dhar Thunke – Laxmi Shankar – Lyrics: V N Mangal

Jaidev experiments using voice of classical singers for his semi-classical songs.

Ae Meri Majbutr Zindagi.. Chal Ri Kahin Chal Tu Zindagi – Manna Dey – Lyrics: V N Mangal

Even though we have audio track of the song, the rhythm leaves no doubt that the song would have been sung while travelling on a cart, which was a very-well experimented genre in those days.

Mujh Se Mat Rootho, Na Na Rootho Meri Jaan Chali Jaayegi  – Mohammad Rafi – Lyrics: V N Mangal

A fast-paced, rootahana-manana’ genre song that shows that Jaidev can also do that any other commercially successful music director could do !

A twin version in the voice of Krishna Kalle, which has some obvious variation to reflect the rendition by the female counterpart of a roothana manana situation.

This episode has so large a share of Mohammad Rafi songs that I could have done away with the tradition of ending the episode with a Rafi song. However, I find two unreleased film songs in Mohammad Rafi’s voice.

Ek Bulbulaa Paani Ka (1970, Unreleased)

Teen Taal Par Naach .. Budhape, Bachpan aur Jawani Ke.. Rang Hazaron – Mohammad Rafi – Lyrics: Kaifi Azmi

Jaidev presents Mohammad Rafi in a soulful bhajan.

Shaadi Kar Lo (1970, Unrelased)

Na Tum Haton Na Hum Hatein  – Mohammad Rafi and Parveen Sultana – Lyrics : Jan Nisaar Akhtar

We have a very rare qawwali from Jaidev, wherein he has daringly experimented with voice of Parveen Sultana.

Normally, we do not add any commentary in any episode, after we come to the end of the episode with Mohammad Rafi songs. However, I would seek to make an exception in the present case.

I have a confession to make. After re-visiting the songs from the last episode, when I started listing the films from Jaidev’s filmography, I had a feeling that I should be lucky if I can choose at least one song from each of these totally obscure film.

However, as soon as I started listening to these songs, I started realizing what a gross under- judgement I had made about the genius that is Jaidev. Each song is worth listening repeatedly. Each song has its own unique composition, set to different styles, has used different singers and has been penned by different lyricist. Hence, I have chosen to post YT video of each song here even at the cost of making the song a little larger in the quantity of number of songs.

Also, I have recorded elsewhere my feeling that Jaidev has not done much work with Mohammad Rafi, after Mujhe Jeene Do. That impression also goes out of the window here.

On that note, I now look forward to Jaidev’s creations in ‘70s, even more eagerly in our next episode next year.

We will continue remembering 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.

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Business Sutra |9.2| Creation of Hierarchy

Business Sutra |9| Discrimination

We have covered five episodes of Devdutt Pattanaik’ TV serial on CNBC 18:  Business Sutra.

The subject of Episode 9 is Discrimination. In order to decode this complex problem, Devdutt Pattanaik takes up gender discrimination in the 1st segment.

Business Sutra |9.2| Creation of Hierarchy

With the help of Wikipedia, we first take a quick look at the basics relating to the term: Hierarchy:

The definition of hierarchical is something that is organized in terms of rank, or where rigid distinctions of power are identified and complied with.

A hierarchy (from the Greek hierarkhia, “rule of a high priest”, from hierarkhes, “president of sacred rites”) is an arrangement of items (objects, names, values, categories, etc.) in which the items are represented as being “above”, “below”, or “at the same level as” one another. Hierarchy is an important concept in a wide variety of fields, such as philosophy, mathematics, computer science, organizational theory, systems theory, and the social sciences (especially political philosophy).

And we will now look at what we can see what the terms Social Hierarchy or Organization Hierarchy should tell us:

Social hierarchy: A fundamental aspect of social organization that is established by fighting or display behavior and results in a ranking of the animals in a group. Social, or dominance, hierarchies are observed in many different animals, including insects, crustaceans, mammals, and birds. In many species, size, age, or sex determines dominance rank. Dominance hierarchies often determine first or best access to food, social interactions, or mating within animal groups… Social hierarchies provide a means by which animals can live in groups and exploit resources in an orderly manner. In particular, food can be distributed among group members with little ongoing conflict. Another motivation for group living is mutual defense. Even though subordinates receive less food or have fewer opportunities to mate, they may have greatly increased chances of escaping predation.

A hierarchical organization is an organizational structure where every entity in the organization, except one, is subordinate to a single other entity. This arrangement is a form of a hierarchy. In an organization, the hierarchy usually consists of a singular/group of power at the top with subsequent levels of power beneath them.

We have one article which sounds nearer to the title of the topic of discussion today:

Why Hierarchies ThriveHarold J. Leavitt – Back in 1989, Peter Drucker predicted that the businesses of the future would be modeled on a symphony like Mahler’s Eighth∗, where a single conductor leads more than 1,000 musicians and singers without any intermediaries or assistants. A decade later, Gifford Pinchot asserted that hierarchical organizations “based on dominance and submission” would soon be replaced by communities that are more appropriate to our high-tech times and postmodern selves… But the truth is that in almost any large organization, the boss’s whim, no matter how absurd, becomes law. Hierarchy remains the basic structure of most, if not all, large, ongoing human organizations. Many of the large organizational “dinosaurs” have demonstrated impressive adaptability. More important, though, hierarchies deliver real practical and psychological value. On a fundamental level, they don’t just enslave us, they also fulfill our deep needs for order and security. And they get big jobs done. It seems more sensible to accept the reality that hierarchies are here to stay and work hard to reduce their highly noxious byproducts, while making them more habitable for humans and more productive as well.

So, it is time now to look at what Indian mythology has to on the subject, as interpreted by Devudtt Pattanaik, in Segment 2 – Creation of Hierarchy – of the episode 9.

If, as per mythology, male and female both are equal where the gender discrimination comes from? If genders were used only to represent ideas, if the male form was used to represent mind and leadership and the female to represent matter and organizations then who vitiated this atmosphere of equality and decided that one was lesser than the other.

Inequality is a human construct. In nature everybody is equal. Nature treats everybody equally. If you are fit, you will survive, if you’re not fit you will not survive.  So nature is the great equalizer. The bowl of rice treats man the same way as it will treat a woman.  It will satisfy the hunger of the hungry man as it will satisfy the hunger of hungry woman.  So nature is the great equalizer, but human beings have constructed culture. Now, while we created culture why did we create culture: to be better than animals, to be more involved. In the process, something went wrong. The animals need to dominate, and so do humans, too.

So we have not fully given up or shared our animal skin?

Yes, so to speak. But why do animals want to dominate? They want to dominate to survive. Because if they dominate they have access to more food, etc. Why do humans want to dominate? Because they want for the survival of their imagination, their imaginary self that they have where they want to feel more important than others. Therefore, what we do in culture is that we create structures which give one group of people a more dominant position than others.

What are the methods to create this?  It is what we call a pyramid. We create a pyramid, say on the basis of color, or gender or birth…

Does mythology give sanction to discrimination of whether it is gender discrimination or cast based or birth based ,discrimination based on where you were born or how you were born or who you were born to?

As I have said repeatedly, in every show of mine, mythology is not prescriptive, it is reflective.  What does it reflect upon? It reflects that any society anywhere in the world, not just Indian society or African society, society of the Anglo-Indians, that of the Native Americans, or of the Europeans or for that matter, that of Australians, any society in the world that has a culture will have a hierarchy. There is a purusha sukta, which comes in the Rigveda one of the earliest hymns written in India which describes the organization, any organization whether it is an organization like company a corporate organization or a social organization, every organization is actually an organism and the organism has many parts. Each part is unique, in its identity and is different from the other part. It recognizes inequality because the inequality depends on the measure that you have. If I measure people on the basis of intellect, some people have more intellect some people have less intellect. If I measure society on the basis of emotions, some people are more emotional, some people less emotional. If I measure people on the basis of physical strength then some people have more physical strength and some people have less physical strength. Now which is better? Which of these three parameters is considered a superior?

More.. always..

But more of which one?

It depends on what the need of the hour.

That’s right – on the need of the hour. So, the mythology, and in Hindu mythology, the Rig Veda’s the purusha sukta acknowledges this fact. It acknowledges that there exists a hierarchy in every organization. We may use of the term it as not hierarchy, let us call that as difference. There are two different words.

An organism, as an organism, has a head, a torso, hands and feet.  The intellectual portion was considered the head, the thinker or the thinking part. The part that gets things done or the planner or the executive part was the hand. There was the part which focused on the value, the financial value of an organization which measured things constantly, where things are checked; you could call that the control systems. There are that actually got you moving from point A to point B, without which there would be no movement – that is the labor or it could be the people who execute. So you can look at this as a corporate organization – you have the design cell which designs and strategizes, you have the planning cell, you have the control cell and you have the execute cell. If one part functions better than the other the organization will not succeed. You need every part to work together.

Now, what happens is somewhere along the line one part takes greater importance than the other. So imagine a company where the finance was more powerful and the HR is ignored. It will be very strange organization, where everything is about control control control and nothing about human beings. Imagine the company where the strategic department takes all the credit, then the implementation will be terrible. That’s the biggest problem of the 21st century. If you read all the books in the market, they talk about implementation. If only implementation is focused on and strategy is not looked at, then long term will suffer. If there is strategy and implementation but no planning, there will be complete chaos in the organization.

So every part is important. But the fact is differences are there. This is where the problem starts, when one part gets more importance than the other. Then the differences gives rise to hierarchy.  We must always remember that acknowledgement of difference does not mean that it is a sanction for discrimination.

For various reasons, hierarchy has existed in the human ecosystem, as narrated so succinctly in The George Orwell’s Animal Farm’s quote – “All animals are equal, but some animals are more equal than others.”  As with many other things, the human beings have abused it. It may be very slight, benign or need-based to begin with, as narrated in Aldous Huxley’s The Brave New World. But over the years that abuse has taken the fully negative form and the hierarchy has become the discrimination. So much so, that today, more one tries to remove that discrimination, a discrimination of other type crops up on the other side.

In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the third segment Caste: The Death of Brahmin of 9th Episode, the Discrimination, in our next episode.

Note: The images used in this post are the irrevocable property of their respective creator. They have been taken up courtesy the internet, so as to illustrate the point under discussion.

Mahler: Symphony No. 8 / Bernstein · Vienna Philharmonic Orchestra

LEISURELY WANDERINGS: FROM MY WEB VISITS COLLECTION OF PHOTOGRAPHS – 2018

In our young hey days, one of the biggest attraction to visit our local Library (M J Library, Ahmedabad) was to have look the latest issue of LIFE. Here is one issue that is still fresh in the deep recesses of my memory –

Credit: LIFE Magazine Launched 80 Years Ago. Here’s How It Covered History  ║TIME |LIFE

I now take unplanned, random, search for websites that would be primarily focusing on photographs as the subject. In a recent search, there were a few photographs that interested me. Presently, I would like to share these photographs here:

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Portrait photography has been accorded a valuable space in the field of photographic art.

Credit: JINGNA ZHANG | The Most Famous Portrait PHOTOGRAPHERS OF 2018Berify

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Travel photography spans the interests of amateurs  as well commercial and art photography professionals.

Volcán de Fuego, Guatemala: Close to 4,000 people were evacuated from their homes in November when Guatemala’s Fuego volcano erupted, spewing ash and lava.

Credit: The world’s best travel photos of 2018 ║ CNN Travel

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Nature photography has always been a matter of adventure and challenge for the professional photographers.

Mitch Dobrowner has captured one such surreal experience of a maamatus storm here.

Mammatus. “Bolton, Kansas.” #  © Mitch Dobrowner, USA, Shortlist, Professional, Natural World & Wildlife (2018 Professional competition), 2018 Sony World Photography Awards

Credit: The 2018 Sony World Photography Awards ║ The Atlantic

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Street Photography has now reached a stage of a powerful medium that delivers a specific message as well.

Amena, 20. She has grown up on footpaths since childhood, and she used to pass time at night in different parks throughout the city. But now she cannot sleep in parks due to a government prohibition. So, she either sleeps on road dividers or in roundabouts. This photo was taken in the Love Lane area of Chattogram. © SOWRAV DAS, Bangladesh

Credit: 2018 Street Photography Awards ║ Lens Cuture

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Photographs of objects from cosmos can also have value as an object of art, apart from its inherent value as a scientific data !

The Bubble Nebula, also known as NGC 7635, is an emission nebula located 8 000 light-years away. This stunning new image was observed by the NASA/ESA Hubble Space Telescope to celebrate its 26th year in space.

The Bubble Nebula, also known as NGC 7635, is an emission nebula located 8 000 light-years away. This stunning new image was observed by the NASA/ESA Hubble Space Telescope to celebrate its 26th year in space.

Credit:  NASA, ESA, Hubble Heritage Team ║Top 100 Images – Hubble Space Telescope

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Silhouette photography is no more a simple outlined object which appears dark, normally black, against a bright, normally a strong source of light, background.

Jody SticcaPhoto by Jody Art

CrediT: Breath-taking Silhouette Photography: 23 Incredible Photos ║ Light Stalking

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The presence of mind of photographer, coupled with  his immaculate technical expertise, can turn a moment in to an iconic shot.

Photojournalist Richard Drew’s iconic image remains that of a man falling from the World Trade Center towers after the September 11 attacks. Known as The Falling Man, the image provides a powerful commentary on the attack-

Credit: World Photography Day 2018: Some iconic photographs over the years ║ The Indian Express

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These are the findings of just a few, random, not-so-deep dives in the big ocean of photography. Does it give me an idea to make such visits more regular and systematic in 2019! Not inclined to make New Year resolution at this stage, but, certainly, to me at least this is worth its while, so would like to be more frequent, to begin with.

Disclaimer: This is to unequivocally acknowledge the copy rights of the respective original creator for the photographs presented here, with no commercial interest whatsoever..  Thank you all.

Carnival of Blogs on Golden Era of Hindi Film Music, December, 2018

Welcome to December, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We will take up posts dedicated to commemorate 112th birthdate of Prthviraj Kapoor.as THE topic for December, 2018.

इस एक्टर को कहा जाता है बॉलीवुड का भीष्म पितामह, एक ही फिल्म में दिखा दी थी 3 पीढ़ी – He acted in a supporting role in India’s first talkie-film Alam Ara in 1931

In an video interview, Sanjana Kapoor on Prithviraj Kapoor and his Theatre Legacy

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Remembering Prithviraj Kapoor on his 111th birth anniversary – was an excellent photo memor by Indian Express

We now move on to other birthday/ death anniversary posts for the month:

It is but expected that Mohammad Rafi is remembered so fondly in the month of his birthday.-

Mohammad Rafi – A God-gifted voice.

Rafi’s best duets by Madan Mohan

Shakeel-Naushad: Classy Confluence, Seamless Flow – 1 – Shakeel Badayuni is considered to be one of the finest romantic poets of the previous century. And Naushad among the monarchs of Hindi film music. When they teamed up, the result was classic! Vijay Kumar pays a tribute to this inimitable confluence with an exploration of the music and poetry they created together.

Remembering my father and the legend Madan Mohan – In response to SoY invitation, Sangeeta Gupta, the eldest daughter of Madan Mohan, joins in contributing a guest article on Madan Mohan’s songs ‘with other singers’ as a touching finale to the tandem series on Roshan and Madan Mohan on SoY.

Happy Birthd  Usha Mangeshkar! And Usha Mangeshkar – II are the posts in tribute to her 83rd birthday. The former lists her Hindi and Marathi solo songs whereas the latter lists her duets.

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

Singer Mohammed Aziz No More , born 2nd July, 1954, Mohammad Aziz’s maiden Hindi Film song was Mard Tangewaala main hoon

Songs ‘sung’ by people with disabilities: my favourites, lists some superb songs ‘sung’ by people with disabilities to observe the International Day of Persons with Disabilities.

December, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Mohammad Rafi’s First Song with a Music Director’s  3rd Five Year period’s year 1956.. The corresponding post for years 1954 and 1955 was published on 8 July, 2018, and for the solo songs of tears 1957 and 1958 is published on 24 December, 2018. All the three separately posted posts of Mohammad Rafi’s First Solo Song With The Music Director: 1954 -1958 can be accessed at / downloaded by clicking on the hyperlink.

And, now the posts on other subjects:

The ‘Radio Songs’ from Hindi films are the songs that have radio to a major extent. The song can be the one which is being played on radio and is also seen being recorded too.

Chariots of Verse – The older generations rues the Axial Age of our cinema, mainly the middle 1940s to the late 1960s, when cinema and music reached heights of excellence that seem unachievable today. That age was exemplified not just by a wide range of words used, but by the high use of imagery too…Sometimes, songwriters of that time used different words or sentence structures to express essentially the same idea, like he lyrics-writer Anjaan said Teri aankh mein wo kamaal hai (Rafi/Mr India, 1961).. There are many thoughts—more or less of the same kind—that have been offered differently in 3 or more songs, even if it’s sometimes the same poet in two songs. The post engages with such poetic chariots of 3 poems with similar attributes:

The Great Horse Beat Songs of Bollywood resonates in our memories even today thanks to some of the great songs composed on that rhythm.

Musically Yours, 1963: Part 3  – This is Part 3, following up Part 1 and Part 2  in a 4-part series of essays, exploring the Hindi film music of 1963, the year of birth of the writer Monica Kar. In a personal tribute to composers who gave music that makes its presence felt even after 55 years, Monica Kar explores the enduring magic of three composer-duos – Shankar Jaikishan, Kalyanji-Anandji and Laxmikant-Pyarelal.

Ten of my favourite Bharat Vyas songs lists the songs of Bharat Vyas to pay tribute in the centenary year of his birth.

If it’s a Harp, This Could be a Woman – there is a musical instrument that is mostly associated with women, and it’s an ancient instrument too, so for observation’s sake, its history can be studied in some detail. The instrument is called the harp, whose early shape was inspired by the curve of the hunting bow. It now comes in many shapes, but in all of them, it has a charming appearance. The post lists songs featured on women with harp.

Mann Kyun Behka – Utsav – Midnight Musings   Aditi and Vasantsena in Utsav (1985) bonding over their love for Charudutta share their feelings in this duet..

Two of a kind lists humkhayaal thoughts from different minds, which make a subject for a fascinating study, for example:

Jab bhi jee chaahe nayi duniya basa lete hain log
Ek chehre pe kayi chehre laga lete hain logLata Mangeshkar – Daag, 1973) – Laxmikant Pyarelal

And, across the border in Pakistan, the wonderfully-voiced Mehdi Hassan had rendered something similar in Saza (1969), to the poetry of Qateel Shifai:

Jab bhi chaahen ik nayi surat bana lete hain log
Ek chehre pe kayi chehre saja lete hain log

Jogi Jab Se Tu Aaya – Bandini – Under The Spell is the song that Love makes its presence felt and before you know it, you are under the spell.

SoY concluded Best songs of 1947: And the winners are? With the concluding piece Best songs of 1947: Final Wrap Up 4 adjudging Naushad and C Ramchandra as joint winners.

Micro View of Best songs of 1947: And the winners are? with the Duets of 1947, All the episodes of The Micro View of Best Songs of 1947 can be read / downloaded from one file, by clicking on the hyper link.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up a few songs, each one of which basically has a link with the topics discussed in the present post.

Woh Hum Na The Woh Tum Na The – Cha Cha Cha (1964) – Iqbal Qureshi – Neeraj

Maya Ka Aanchal Jale – Kinare Kinare (1964)– With Usha Mangeshkar, – Jaidev – Nyay Sharma

Baman Ho Ya Jaat – Karigar (1958) – C Ramchandra  -Bharat Vyas

Pihu Pihu Karat Papiha – Baiju Bawra 1952) – Naushad – Shakeel Badayuni

Ankhon Pe Bharosa Mat Kar Duniya Jadoo Ka Khel Hai – Detective (1958) – With Sudha Malhotra – Mukul Roy – Shailendra

I wish that 2019 remains resonant with chimes of success and happiness for you and your family.

P.S.  : All episodes of our blog carnival of articles and posts on Hindi film Songs for the year 2018 can be accessed at  / downloaded from  in single file by clicking Carnival of Blogs on Golden Era of Hindi Film Music – 2018.

Mohammad Rafi’s First Solo Song With The Music Director: 1957 – 1958

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films.

Till now we have covered

  • 1st Five-Year Period: 1944 -1948: December, 2016

1944-1946 – 11 December, 2016

1947-1948 – 22 December, 2016

  • 2nd Five-Year Period: 1949-1953

1949 – 15 July, 2017

1950 -1951 – 10th December, 2017

1952-1953 – 17th December 2017

Presently, we are into the 3rd Five-Year Period of 1954 to 1958, of which we have already covered

1954-1955 – 8 July, 2018

1956 – 9 December, 2018

We now take up the 3d and the last piece of the years 1957 and 1958 of this five-year period.

1957

1957 had as many as 187 solo songs of Mohammad Rafi. Apart from the music directors who already have been regularly selecting him, we see music directors, like Anil Biswas, Ajeet Merchant, Shivram Krishna, who had first solo with Rafi in 1956 also opting for Rafi again.

1957 has its own share of Mohammad Rafi’s landmark solo songs from these music directors, like  Chal Ud Jaa Re (Bhabhi, Chitragupta); Mohabbat Zinda Rehti Hai (Changezkhan, Hans Rah Behl); Janam Janam Ke Phere (Janam Janam Ke Phere, S N Tripathi); Zindagu Bhar Gam Judai Ka (Miss Bombay, Hans Raj Behl); Na Main Bhagwan Hoon (Mother India, Naushad); Ye Hasrat Thi Ke Is Duniya Mein (Nausherwan-e-Adil, C Ramchandra); Ana Hai To Aa (Naya Daur, O P Nayyar); Jinhe Naaz Hai Hind Par and Ye Duniya Agar Mil Bhi Jaaye (Pyasa, S D Burman); Yun To Hamane Lakh Haseen (Tumsa Nahin Dekha, O P Nayyar) etc.

In terms of numbers, 1957 does not seem to have many of Mohammad Rafi’s maiden solo songs with a music director. But the ones that are there, more than make up for the paucity of numbers.

Dattaram (Wadkar) had had a maiden solo song with Mohammad Rafi that has gone onto become a milestone song. In his later films Dattaram seems to have experimented with other male singers like Mukesh and Manna Dey too. However, his own career unfortunately could not reach the critical escape velocity, for reasons other than his merit as composer.

Chun Chun Kar Ke AAyi Chidiya – Ab Dilli Door Nahin – Lyrics: Shailendra

The song has remained so evergreen, that hardly anything more need to be said about it.

Ramnath has only other picture, Meera of 1947 to his credit. This is the film that was a remake of the Tamil version. Both had M S Suubulaxmi as the lead actor and, obviously, the lead singer. Ramnath was the music director who seems to have been added for the Hindi version.

Radhe Shyam Duniya Door Se Suhani – Aadmi – Lyrics Sartaj Rahmani

Getting to listen the song for the first time!

Jaidev, though did not use Mohammad Rafi in his maiden film Joru Ka Bhai. However, he has several of Rafi’s greatest songs to his credit.

Budhdham Sharanam Gachchami – Anjali – Lyrics: Nyaya Sharma

Even though the song has not attained the level of popularity that the Anil Biswas composition of 1960 film Angoolimal has attained, Mohammad Rafi has full justice to Jaidev’s concept of composing the tune to the spirit of the message.

Ravi made his debut from ‘Vachan’ in 1955. This film had two duets of Mohammad Rafi – a classic tonga song – Jab Liya Haath Mein Haath and one of the pioneering song in the genre of beggar songs –  O Babu Ek Paisa De De .

Dil To Kisi Ko Doge Kisi Ke Aakhir Hoge – Ek Saal – Lyrics: Prem Dhawan

Ravi has successfully created a classic-fit composition to Johnny Walker’s signature mannerisms.

Kis Ke Liye Ruka Hai Kis Ke Ruka Hai Karana Hai Jo Bhi Karle Ye Waqt Ja Raha Hai – Ek Saal – Lyrics: Prem Dhawan

Here is another successful experiment of using Rafi’s voice for a background title song. Ravi has used voices of Hemant Kumar (Ulaj Gaye Do Naina) and Talat Mahmood (Sab Kuchh Luta Ke) in the film..

Basant Prakash began his career in Hindi films from 1942. So he becomes one more of vintage era music director to work with Mohammad Rafi. He has composed two solos Dharti Maan Ke Veer Sipahi Jeene Marne Aaj and Gajar Baj Raha Hai Sehar Ho Rahi Hai in ‘Maharani’. I have not been able to locate the digital links to these songs.

S Haridarshan is another obscure music director whose first solo with Rafi, Aya Kar Ke Bhesh Nirala in ‘Shahi Bazaar’ seems to have no soft digital link.

To end the year with live linked song, we reach out a forgotten song from the film which had one Rafi song which remains a milestone even today- Jawan Ho Ya Budhiya Ya Nanhi Si Gudiya – Bhabhi (1957) – Music: Chitragupta – Lyrics: Rajinder Krishna); –

1958

1958 was also quite a productive year for Mohammad Rafi, with as many as 177 solo songs., with a fairly large share of some of the all-time greats like – Tujhe Kya Sunau Main Dilruba (Aakhari Dao, Madan Mohan); Bhala Karnewale Bhalai Kiye Ja (Ghar Sansar, Ravi); Hum Bekhudi Mein Tujm Ko Pukare (Kala Pani, S D Burman); Toote Hue Khwabon Ne (Madhumati, Sail Chaudhary); Man Mora Bawara (Ragini, O P Nayyar); Aaj Galiyon Mein Teri (Sohini Mahiwal, Naushad); Raat Bhar Ka Mehman (Sone Ki Chidiya, O P Nayyar); etc.

1958 has a fair catch of songs befitting our subject.

Mukul Roy, brother of Geeta Roy (Dutt), debuted with Sailaab in 1956, which he had produced too, in association with his sister.

Chhodiye Gussa Huzur Aisi Naraazgi Bhi Kya – Detective – Lyrics: Shailendra

On the Brother Mukul Roy page of the site Geeta Dutt.com, it is noted that the song borrows its main body and interlude from “Bimbo” – a 1953 Jim Reeves song.

Khayyam, technically, could be considered to have made a debut with a 1949 film Parda. But here we have films with his more official name. We have two films in this year. So, instead of choosing which film should appear as the one to include a maiden Rafi solo, I would prefer to place Hai Kali Kali Ke Lab  Pe Tere Hush Ka Fasana (Lala Rukh, Lyrics: Kaifi Azmi) in the phigh pedestal of an evergreen song. That leads us to another film, Phir Subah Hogi, in the same year.

Sabki Ho Khair Baba Sab Ka Bhala, De De Bhookhe Pet Ko Roti Ka Tukda – Phir Subah Hogi – Lyrics: Sahir Ludhyanavi

Here is the least noted song from the film which had some great Mukesh songs, including a Mukesh- Rafi duet, Jis Pyaar Mein Ye Haal Ho. The present song is a beggar genre song, wherein chorus of support singers also join Mohammad Rafi.

R Sudharshanam is a music director from the Tamil films, and as such would be content with scoring music for the remake-into-Hindi films.

Jis Dil Mein Lagan Manzil Ki Ho – Matwala – Lyrics: Har Govind

We have what is popularly known as Tonga genre song, wherein Rafi maintains high scale to reflect the high mood of the song.

Iqbal Quereshi, is one of those fairly known music directors, who could not make it as big as his caliber was. He makes a debut this year..

Milke Baitho Jodo Bandhan – Panchayat – Lyrics: Shakeel Nomani

This a background title song, and assuch conveys the core message of the film.

Adinarayana Rao, also is a music director from Telugu films, who makes appearance on Hindi films because of the remakes form the South. He, also, is the producer of Suvarna Sundari, the film that figures presently.

Ram Naam Japna Paraya Maal Apna – Suvarna Sundari – Lyrics: Bharat Vyas

The song is possibly made to cater to the Hindi film audience.

Maa Maa Karta Phire Laadla – Suvarna Sundari – Lyrics: Bharat Vyas

This is a background song, which typically is used a vehicle to carry the film story forward .

Dhani Ram, as per some of the records, was Guru of music directors like Vinod and O P Nayyar.

Botal Mein Band Jawani Peete Peete Dil Jaani – Taqdeer – Lyrics: Verma Malik

A fast paced, drunkad (sharabi) genre song, which I hae listened for the first time.

Is Taqdeer Ke Aage Koi Hi Tadbeer Chalti hai, Agar Chalti Hai Dunia Mein To
Bas Taqdeeir Chalti Hai, Is Taqdeer Ke Age Jhuk Gaye …  – Taqdeer – Lyrics: Verma Malik

This appears to be the background song, which typically is played with the film titles.

The receding-from-the-memory song that I have selected to end the present episode is a very unique Madan Mohan composition

Bada Hi CID Hai Wo Nili Chhatriwala – Chandan (1958) – Music: MadanMohan – Lyrics: Rajendra Krishna

Well, on the whole, the third five-year period of 1954 to 1958, for Mohammad Rafi’s maiden solo song with a music directors, has indeed proved to a very rich experience that has refreshed as many known or quite unknown songs, with a large catch of gems as an add-on bonus.

Next year we will take up the 4th Five-year period of 1959 to 1963, which expectedly should be as interesting as our present 3rd five-year period.

 

P.S.

All the three separately posted posts of Mohammad Rafi’s First Solo Song With The Music Director: 1954 -1958 can be accessed at / downloaded by clicking on the hyperlink.

Carnival of Quality Management Articles and Blogs, December 2018

Welcome to December, 2018 edition of Carnival of Quality Management Articles and Blogs.

This is the last issue of 6th annual period of our blog carnival of quality management articles and blogs. We have taken up Sustained Success of an Organization as our key topic for discussion.

ISO 9004: 2018 goes on to state that “Factors affecting an organization’s success continually emerge, evolve, increase or diminish over the years, and adapting to these changes is important for sustained success. Examples include social responsibility, environmental and cultural factors, in addition to those that might have been previously considered, such as efficiency, quality and agility; taken together, these factors are part of the organization’s context.”

We will pick three different articles that individually links up efficiency, quality and agility respectively with the sustained success.

Efficiency and Sustained Success:

Building Efficient Organizations – An efficiency mindset is the key to long-term gains. – Ryan Morrissey, Peter Guarraia, Véronique Pauwels and Sudarshan Sampathkumar – There is no fixed blueprint for embedding efficiency in an organization’s DNA. In our experience, however, successful companies share a common overarching approach: They make sure their efficiency effort spans five critical areas: strategy, metrics, commitment, behaviors and culture. Tenacity and a sustained investment in these areas create the best chance of success.

There is an interesting white paper – Capturing Operational Efficiency and Sustainable Value through Claims – by Capegemini and Guidewire,which studies the business case for claims transformation and paying specific attention to the critical factors that generate benefits, insurers can capture substantial operational efficiency and sustainable value for the insurance companies..

Quality and Sustained Success

ISO 9004 goes beyond product quality concept of consistently meeting the requirements of customer and stresses on two key concepts for of an Organization:

  • focus on the concept of “quality of an organization”;
  • focus of the concept of “identity of an organization”

The relationship between efficiency, effectiveness, sustained success and the quality of management in terms of immediate and final results.

The Figure here above shows a diagram describing the company’s hierarchy. It includes the company’s embedded resources, processes, immediate results (produced goods and services), as well as final results and impact (strategic effect). Immediate results should be presented in vector form

Agility and Sustained Success:

The leaders of organization design at McKinsey, principals Wouter Aghina and Aaron De Smet, explain what agility means and how organizations can evolve to thrive in an environment that demands constant change in the article, The keys to organization agility. Agility is when you thrive on change and get stronger and it becomes a source of real competitive advantage. (For more on the importance of being both agile and stable, see “Agility: It rhymes with stability.”)

There are a few more, general, articles which helps in understanding how to build sustained success:

  • Dorie Clark, in her article, The Secret to Sustained Success draws on Chris Zook, co-head of Bain & Company’s Global Strategy Practice to state that the best companies focus on identifying and leveraging their core strengths, rather than chasing random new acquisitions and opportunities. (See her previous article on “Why You Should Kill Your Ideas.”)
  • A winning culture …can be the catalyst that ignites an organization into truly becoming a “best place to work!”. The article offers 5 keys:
    • Establish a corporate set of core values that highlights being a champion for doing the right thing and taking care of people.
    • Communicate the values through the behavior and actions of the management.
    • Hire people who fit your values – Invest the resources – time, money, energy – to determine if a candidate fits with your values.
    • Enhance employee sense of ownershipThis ownership is derived from opportunities that enable employees to know their leaders, to being informed on the success of the company, to know who their customers are, and future plans for the company.
    • Assess employee passion and satisfaction – and act on results.
  • How to Create Sustained Success is a rapid-fire summary of Jim Collins’ famous first book, ‘Built to Last‘.

Recognizing the limitation of what can be covered in an article like ours, one can find good deal of highly useful literature on the subject.

We will now turn to our regular sections:

For the present episode we have picked up William Cohen, Ph.D.’s article The Focus on the Customer and What the Customer Values @ Effective Management topic of Management Matters Network….At the strategic level this could mean an important differential advantage in positioning against competitors to win customers.

We now watch two videos of the ASQ TV, one of which is related to quality improvement and other one containing the year-end message:

  • Enhancing Quality through Improved Quality Reports : Gregory (Grisha) Gorodetsky, Safety, Environmental & Quality Manager, Wipro Givon, discusses the importance for organizations to format all documents, such as quality reports, in an identical way.
  • 2018 Year-End Message: Elmer Corbin, ASQ Chair : In his year-end video message, ASQ Board of Directors Chair Elmer Corbin highlights significant accomplishments in 2018 and acknowledges contributions of the Board, GCC, TCC, member leaders, members, and staff.

Jim L. Smith’s Jim’s Gems posting for November, 2018 is:

  • Success makes us feel good, but failures teach us valuable lessons – Certainly, negative results are never fun, but they shouldn’t become demoralizing. What innovative people realize is that negative results are signaling that something different and new needs to be done…It is easier to understand the concept of productive mistakes when the situation is reversed…When the project is successful. In this situation, your assumptions were correct, you most likely took the standard approach to getting the tasks done and did a good job managing the project…While completing a successful project is something to feel good about, there may have been a missed opportunity to get breakthrough improvements from the project. Was it your objective to simply get the job done, or was it your goal to take some risks that could take the business to a new level of performance?.. Think about this for a moment to consider how you can adjust your mindset. Most likely you won’t become another Thomas Edison, but there’s no doubt you can find ways to make your life more productive.
  • Personal GPS – May be you’ve never thought of your roadmap for success being like a personal Goal Projection System (GPS) but it is much the same. Let’s see if we can connect the dots…Ask yourself, what would you like the outcomes to be for yourself at the end of one, five, ten and twenty years? Once you have that outcome, what will you see? What will you hear? What will you feel? Be as specific as possible, as you write the answers down…After this is done which as much honesty as possible, examine current reality…This process isn’t easy and will take some time but stay with it. You also should revisit this on occasion to ensure you’re staying on tract. Once you have everything recorded, you’ll have a roadmap you can use to guide you to a very personal kind of success.

On that note I take your leave for the year.

Trust you had had a great year and wish that your 2019 also is more productive, more successful, and above a thoroughly enjoyable year of your personal and career life journeys.

 

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

 

P.S. All episodes for the year 2018 of this quality blog carnival can be accessed at  / downloaded from Carnival of Quality Management Articles and Blogs, 2018.

Flashback into the film careers of unwept, unsung 35 personalities of the early Golden Period: इन्हें न भुलाना – Harish Raghuvanshi

As a meticulous curator, dedicated researcher and an occasional author, Harish 500th postRaghuvanshi is not an unknown name to the loyal Hindi Film Music followers. He has painstakingly collected a vast treasure of huge, and highly valuable, data relating to the film history. But he remains zero error perfectionist at the core when it comes to sharing any information to others. As a result, he has been very frugal when it comes to publish his work in the print media.

His one such work of immense value was a book, Inhe Na Bhulana, published in Gujarati in 2003. It is a compendium of crisp career notes of 35 film personalities of the early golden period of the Hindi Films, who had had carved a niche in their days, but not much has been authoritatively documented about their work. The book is now out of print for many years.

To the good fortune of the documented Hindi Film history, Sunderdas Vishandas Gohrani has undertaken the task of translating Harish Raguvanshi’s original Gujarati work into Hindi. Sunderdas Gohrani’s Hindi translation id now published as Inhe Na Bhulana (इन्हें न भुलाना).

In the history of 106+ years, there is a vast number of people who have been directly associated with the Hindi films on, and off, the screen.  Most of these people, while being highly dedicated to their respective profession, certainly not very commercial in their overall outlook. Discussions of the film personalities normally remained confined to private discussions in parties and clubs. As a result, many of the most noted aspects of even the-then-well-known personalities did not last long once these persons went inactive.

Barring a few, the 35 film personalities that Harish Raghuvanshi has chosen in the book, do not belong to the miniscule minority of well-documented on-screen personalities. But, each of the person discussed does have a well-defined place, known and etched into the minds of their fans. Harish Raguvanshi presents such details in very lucid style, with his known zero-error-accuracy.

Here is the list of the film personalities discussed in the book:

प्रेम अदीब; रुपहले पर्देके राम

Prem Adib: Ram of our silver screen

निगार सुल्ताना: पिन अप गर्ल

Nigar Sultana: Pin Up Girl

श्याम: रंगीन तबीअतका जाम

Shyam: Peg of a colorful life

कुलदीप कौर: क़ातिल नज़रकी कटार

Kuldeep Kaur: Dagger of deadly gaze

कन्हैयालाल: मदर इण्डियाका अकेला सुखालाल

Kanhaiyalal : The only “Sukhalal of ‘Mother India’

नसीम बानो : परी-चेहरा

Nasim Bano: ‘Fairy-face’

मज़्हर खान: पुलिस विभाग से रुपहले पर्दे तक

Mazhar Khan : From police force to silver screen

लीला मेहता: स्लीवलेस ब्लाउज़ वाला रोल ठुकराने वाली

Leela Mehta :  Rejected a sleeveless bloused role

नूर मुहम्मद: चार्ली  पलट तेरा ध्यान किधर है

Noor Muhammad Charlie : Where is your inverted attention

शक़ीळा: बाबूजी धीरे चलना

Shakeela : Babuji Dheere Chalana

मास्टर निसार: अब वो मुक़दर नहीं रहा…

Master Nissar : When that destiny

दुलारी: साढे पांच दस्गक का फ़िमी सफर

Dulari: A film journey of 5 ½ decades

पी. जयराज : ऐतिहासुक पात्रोंके रुपमें इतिहासमें स्थान बनाने वाले

P. Jairaj: Created a place in the history through historical characters

क़मर जलालाबादी: इक दिलके टुकडे हज़ार हुए

Qamar Jalalabadi: Ik Dil Ke Tukade Hzar Hue

कृष्णकान्त  उर्फ के.के.: चिरवृध्द अभिनेता

Krishnakant a.k.a. K.K.: Eternally old actor

भरत व्यास: तुम गगनके चन्द्रमा हो

Bharat Vyas : Tum Gagan Ke Chandrama Ho

रंजन: तलवारबाज़ के रुपमें मान्य प्रतिभाशाली

Ranjan: The recognized talent in the form of swordsmanship

खुमार बाराबंकवी: तस्वीर बनाता हूं

Khumar Barabankvi: Tasveer Banata Hun

महीपाल: फिल्ममें गीत लीखनेवाळे एकमात्र राम

Mahipal: Only ‘Ram’ to pen lyrics for films

पं. नरेन्द्र शर्मा: ज्योति कलश छलके

Pt. Narendra Sharma: Jyoti Kalash Chhalake

नासिर ख़ान: ट्रेजॅडी-किंगका भाई होनेकी ट्रेजेडी

Nasir Khan : Tragedy of being the brother of tragedy-king

प्रेम धवन: गीत, संगीत और नृत्यकी त्रिवेणी

Prem Dhawan: Three-way confluence of song, music and dance

याकूब: रहे नाम अल्लाह का

Yaqub: God’s name shall prevail

मास्टर फिदा हसैन बने प्रेम शंकर नरसी

Master Phida Hussain becomes ‘Prem Shankar Narasi’

गोप; मेरे पिया गये रंगून

Gop: Mere Piya Gaye Rangoon

माधुलाल मास्टर: संगीतके नींवके पत्थर परन्तु संयोगो के समक्ष कठपूतली

Babulal Master: Corner stone of music, but puppet against circumstances

करण दीवान: चाक्लेटी हीरो

Karan Diwan: Chocolate hero

वी. बलसारा: सात दशकका स्वर-संसार

V. Balsara:  Seven decades of world of notes

जयन्त: गब्बर सिंह के पिता

Jayant: Father of Gabbar Sinh

अल्ला रखा अर्थात तबला

Alla Rakha means Tabla

वास्ती: एक याद किसीकी आती रही

Vasti: A continuing memory of someone

द्वारकादास सम्पत: मूक फिल्मों का गुजराती मान्धाता

Dwarkadas Sampat: Towering Gujarati personality of silent films

डी बीलीमोरिया: र्रुपहले सलीमकी सुनहरी सफलता

D Bilimoria: Silvery success of sliver-screen Salim

मोहनलाल दवे: हिन्दी फिल्मोंकी पटकथा के गुजराती पितामह

Mohanlal Dave – Grandfather of Hindi film screenplays

ई. बीलीमोरिया डोर कीपर से हीरो

E. Bilimoria: From door-keeper to hero

 

 

Of the 35 career-sketches presented in the book, 18 sketches are of the actors, 6 those of actresses, 5 those of lyricists, 1 character actor, 3 music directors, 1 producer and 1 screenplay writer.

Each career-sketch is highly informative and is packed with all important details, including birth date, birth place, death date etc. too. And yet, none of the article becomes a drab documentary record. Each sketch is very concise. The title of each sketch has quite a pithy subtitled adjective, which creates a full picture of the concerned personality in the mind of the reader.  The simple, fluent writing style of the author makes reading of the book as much interesting as it make rewarding. The Hindi translation of such a unique style must have been a major challenge for the translator, Sunderdas Gohrani. But we must give full credit to him – the Hindi text never appears clichéd or contrived.

For the generation who have seen the films of (even some of) these artists, the book is a nostalgic trip. To the new, and the future, generations, the book will be torch that will shed the light on the type of pioneering work that generation of the film personalities have done to help create one of the most productive film industries of the world. For the researchers and the historians, the book will be an invaluable source of authentic references.

Once you read this book there is bound to be a deep urge to look out for more works of Shri Harish Raghuvanshi. Fortunately, there appears a ray of light at the end of tunnel – all efforts are being made to get his all-time classic, Mukesh Geet Kosh, and Gujarati Film Geet Kosh reprinted. His 103 articles on the contribution of the Gujarati community in Hindi cinema is also under advanced stage of getting printed under the title Hindi Cinema Gujarati Mahima.

How one would wish that along with Inhe Na Bhulana as well as these potential reprints be available for online purchase, and ideally in the digital formats.

However till that becomes a reality, these publications (and of course the Hid Film Geet Kosh volumes of Har Mandir Sinh ‘Hamraza’ and his coauthored with Harish Raghuvanshi book on K L Saigal, Jab Dil Ji Toot Gaya) can be purchased from the publisher:

Mrs. Satider Kaur,
H.I.G-545, Ratan Lala Nagar, Kanpur 208 022, India ║ Mobile / Whatsapp No. – +91 9415485281 ║ E-mail: hamraaz18@yahoo.com

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Inhe Na Bhulan | Pages 155 | September, 2018 | Price – Rs. 300.00

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Email Contacts:

Harish Raghuvanshi: harishnr51@gmail.com
Sunderdas Vishandas Gohrani: sundergohrani@yahoo.co.in