Carnival of Quality Management Articles and Blogs – March, 2018

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

We have chosen – Behavior-Based Quality – as our base topic for discussion this month. We have picked up the topic from Arron Angle’s article A Different Kind of BBQ from March, 2018 issue of Quality Progress.

We begin with ‘An Introduction to Behavior Based Quality (BBQ)’.   Liam Turley believes that having a strong positive Quality Culture is good for business and generally good for the human condition. He also believes that deep-down people truly want to do what is right. It is just “other stuff” that gets in their way. He has lucidly explained the concept over Part I, Part II and Part III. The statement, Change the behavior then you change the attitude, can be a one-line take away from the article.

Arron Angle writes in his article: When people think of quality, the words “control” and “assurance” usually comes to mind. These are not behaviors. Control refers to a reaction to post-event issues, and assurance attempts to address events before they happen by ensuring quality practices, policies and procedures are in place and followed…Quality doesn’t just happen. You must take the initiative (in priority order) to comply with requirements, prevent errors and improve processes. These are behaviors that drive a culture of BBQ….BBQ is not a quality management system. It’s bigger than that…You will know BBQ is happening if:

  • Every department has a set of monetized metrics against each of the Compliance –Prevention-Improvement (CPI) elements.
  • Process owners accept accountability for CPI performance.
  • Metrics are used as positive reinforcement for change.
  • Anyone can stop a product, process or service delivery because of a quality issue with no recrimination.
  • Your customers recognize and support the efforts that you are putting into cultural change for quality.
  • Continued learning of improvement tools and methods is taking place.
  • Suppliers are asking for help with their quality programs.
  • Executives take time to recognize CPI behaviors and team contribution.

Listen to a webcast featuring Arron Angle and the concept of behavior-based quality and how to use the approach to drive a culture of quality. Visit

Let us, then, first look at what is Quality Culture vs, Traditional Culture –

In the webinar, Changing GMP Behaviors and the Quality Culture, Martin Lush, Global Vice President of NSF Pharma Biotech and Medical Devices, gives his insights on how companies can go about changing GMP behaviors and in doing so change quality culture.

A couple of videos on Quality Culture may be in order to broaden our thinking related to our present subject of BBQ:

Creating a Culture of Quality by Antonius Pompi Bramono

Martin Lush explains How to Fix Quality Culture

If you have been trying to connect our present subject with a similar subject – Behavior Based Safety (BBS), probably that is right path to know about the present concept and draw parallels with many well-known implementations of BBS.

We will take up the subject of Behavior Based Safety next month to coincide with the publication of ISO 45001.

We will now turn to our regular sections:

For the present episode we have picked up article Results, Perception, Learning: What Makes a Truly Effective Executive @ Effective Management column of Management Matters Network…. In essence, Drucker said, management’s effectiveness derives from two major tasks: “Deciding what is to be done and deciding how to do the job, organizing and controlling its execution, and measuring its results.”

We now watch one of the latest ASQ TV  episodes:

  • Applying Agile Principles in a Non-IT Industry – Fabrice Bouchereau, Senior Systems Improvement Facilitator, ProcessZen Consulting, discusses how Agile, a common project management method used for IT and software projects, can be used in other industries.

Jim L. Smith’s Jim’s Gems postings for January, 2018 are:

  • Focus on Strengths : Abraham Lincoln once said, that if you “look for what’s wrong, you will surely find it.”….This is as true today as it was in Lincoln’s time. The perceived imperfections, commonly thought of as discrepancies, in ourselves mean we can always find areas in which we fall short of perfection….In order to reverse your thinking, you must transform your negative habits that say it is better to carry rocks than diamonds. Instead, begin focusing on your strengths. Try this and see how much different it can make.
  • Reframing: Have you ever heard of a technique called reframing? It’s nothing more involved than altering perspectives…Our past experiences influence our ability to see what’s happening in the world and to interpret it. However, there are many ways to experience a situation. One of the keys to living a successful life is to consistently interpret your experience in ways that support you in getting the results you want…With both content and context reframing, the techniques that can be used will help us look at things from a different perspective—from negative to positive….Content reframing is to give another meaning to a statement by recovering more content.,, Context reframing is the second technique. It involves taking an experience that seems to be negative and imagining how the same experience can be an advantage if you see it in another context.

I look forward to your inputs / criticisms/ observations to enhance the utility of our Quality Management Blog Carnival.

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


Fading Memories…. Unforgettable Songs: March, 2018

S N Tripathi: Unremembered music director of remembered songs:: 1951 – 1956

Many of the 50s-60s generation fans of Hindi Film Music would agree with me that S N Tripathi (14 March, 1913 – 28 March, 1988) is not all that unremembered music director as the title suggests. The fact that, in his fairly eventful career, he composed songs for over 250 films, acted in around 200 films, wrote screenplays for 37 films and directed 39 films as well. His being remembered as music director of B/C grade mythological / historical films may also be statistically correct. What is perhaps not being remembered is that the quality of the music that he always presented never was governed by the (so-called) classification of the film. He did extract the best from the singers, whatever may the budget or the story of the film.  In fact many of his most remembered songs were from these class of films only.

It is also true that there are more songs that have slipped back into the memory of his fans then the ones that re universally remembered now. So, we try to bring up those unremembered songs on one page.

We had covered some songs from 1941 to1950 in our March, 2017 issue. Presently, we will cover his films from 1951 to 1956. We have aimed to cast our net as wide as possible in so far as the range of playback singers in selecting the songs from the films of this period.

Kyun Rooth Gaye Mujhse – Hanuman Paataal Vijay (1951) – Geeta Dutt, – Lyrics-Anjum Jaipuri (to the best available records)

The song easily establishes S N Tripathi’s handling of nuances of various playback singers so well.

BTW, this is the films which would take credit for S N Tripathi playing Hanuman for the first time.

Aaj Achanak Jaag Uthe Kyu In Hotho Par Geet,
Shayad Man Me Jaag Uthi Hai Chanachal Pankh Aur Preet,
Kaise Jaan Gayi Ye Akhiyan Sharmane Ki Reet,
Dheere Dheere Gori Tera Bachpan Raha Hai Beet – Laxmi Narayan  (1951) – Geeta Dutt, Sulochana Kadam, Chorus – Lyrics: B D Mishra

Observe the subtle difference between the singing styles of Geeta Dutt for Meena Kuamri and Sulochana Kadam for her friends. That is the S Ntrpathi’s knack of enlivening the spirit of lyrics of the song. The song has Meena Kumari truly on the threshold of adolescent-youth gateway..

Hai Mera Naam Ramzani – Alibaba Aur Jadui Chirag (1952) – Chitragupta, Shamshad Begum – Lyrics: Shyam Hindi

S N Tripathi seems to have done a large number of ‘Alibaba’ genre films, as did his the then assistant in ‘Sindbad’ series of films.

Chhaai Birhaa Ki Raat Moraa Tadpe Jiyaa, Mose Ruthe Piyaa Koi Man Kaa Sahara Nahi – Nav Durga (1953) – Geeta Dutt – Lyrics: Anjum Jaipuri (To the best available records).

This one can be easily classified as well-remembered song, once you hear the song,

Dekhoji Chand Nikla Picche Khajoor Ke, Basare Ki Hoor Naache Aage Huzoor Ke – Alibaba Aur Chalis Chor (1954) – Asha Bhosle – Lyrics: Raja Mahmedi Ali khan

The songs is all set to recreate the atmosphere of the mid-West Asia era.

Zara Thaharo Mai Haal-e-dil Suna Lun Phir Chale Jana – Inaam (1955) – Suraiya – Lyrics:  Raja Mahendi Ali Khan

The film has one song composed by Sarasvati Devi, with whom S N Tripathi commenced his career in Hindi Film Music world, in 1935.

1956 has as many as 5 films for which S N Tripathi composed music.

Mehfil Me Kaisi Chham Chham, Kiska Hain Ye Tarana, O Bekhabar Tere Siwa Sare Jahan Ne Jana – Dilli Darabar (1956) – Lata Mangeshkar – Lyrics: Shailendra

The songs of the film have been shared between Shailendra and Hasrat Jaipuri. It would be interesting to find out how many times this would have happened if the music direction was other than that of Shanker- Jaikishan!

Nakhre Karti Darti Nakhre Karti Darti Gayi Thi Main Bazaar – Hatimtai (1956) – Mister Sheikh – Lyrics:  Raja Mahendi Ali Khan

The title of the film – “Hatimtai”- may not come to memory of many, but the songs Pavardiagr-e – Alam Tera Hi Hai Sahara and Jhoomati Hai Nazar Jhuumata Hai Pyar would be a matter of instant recall for most of us.

It is said that Nizam of Hyderabad was so taken in by the prayer Parwardigar-e-Alam that he got that reel re-run 14 times when the film was screened for the first time in Hyderabad.

The song that we have selected presents the locale of film’s story in lighter vein.

Dar Kya Hai Toofaan Ka, Leke Naam Bhagwaan Ka, Daanv Lagaa De Jaan Ka – Panna (1956 ) – Suman Kalyanpur, Mohammad Rafi – Lyrics: B D Mishra

The composition and the orchestration leave no doubt that this is a motivational marching song.

Tere Sang Preet Kiye Bada Dukh Hoye – Rajrani Meera (1956) – Lata Mangeshkar – B D Mishra

Set to same Raag Bhairavi, there is another Meera Bhajan: Jo Tum Choodo Piya which is set to different metre, scale and rhythm in Janak Janak Payal Baaje, Meera and Silsila

Vo Dekho Udhar Chand Nikla Gagan Me, Idhar Aa Gayi Chandni Muskurati, Baharo Ki Rangeen Ye Muskurahat, Dilo Mein Umango Ki Duniya Basati – Roop Kumari (1956) – Manna Dey, Geeta Dutt  –  Lyrics: B D Mishra

S N Tripathi seems to have adopted an altogether different approach for this romantic duet. Listen to the subtle use of waltz rhythm as a base to which the song is set.

To end our episode with a Muhammad Rafi song would not have been difficult because S N Tripathi has used Mohammad Rafi in varying situation in his films. Interestingly, we have a song that is quite unique:

Jab Rup Hi Pyasa Hokar Yu, Cchhup Chhup Ke Pani Peeyega, To Rup Ka Pyasa Jo Hoga Wo Phir Kya Peekar Phir Jeeyega – Ratnamanjari (1955) – Mohammad Rafi – Lyrics: B D MishraAn eve-teasing song that is presented in a serene style!

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.

Business Sutra |5.3| Vikram and Vetal :: The Ancient India’s Case Study Method

Business Sutra |5| Education

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

The first presented to us the most visible form of the business – the corporation: its meaning, its purpose and its action perspective. In the second episode Devdutt Pattanaik discusses Leadership: Role of the leader, Context of the leader and Leadership in different business cycles. The third episode relates to the Business Ethics and Morals:  business ethics and dilemmas, relationship between owner and the organization  and The Right (Dharma) – the Ramayana way and the Mahabharata way. The 4th episode deals with Conflicts, of the Board and the CEO and that of the means vs. ends.

The present episode takes unto the realm of Education, wherein Part 1 covered the basics of education to the (potential) leaders in Ram’s Education and Part 2 addressed the Knowledge Transfer to Next Gen.

The third part deals with the issue of student motivation.

Business Sutra |5.3| Vikram and Vetal

Here is a very simple scenario:

Most of the management trainers as well as trainees come across such situations almost every day.

We will take a short peep into the theory of motivation related issues and then an equally look at the Learning Organization.

Learning Motivation And Performance – Effective training practices are developed from theories and theoretical constructs that describe how learning occurs and what motivates people. An understanding of motivational theory allows a manager to improve employee performance levels by applying the principles of motivation to his firm’s unique circumstances. The same is true with training. Whether one company’s training program will work in another’s, will depend on the needs of the latter company, its employees, and the training system used. Copying without understanding is like taking someone else’s prescription drugs. Even though they may have made someone else better, they could kill you. The article very lucidly presents WHY ARE THEY RESISTING AND WHAT CAN I DO ABOUT IT?

Any search of the management literature will yield fairly huge amount of coded body of knowledge on “How To’ aspect to the motivation for the training.. So, we will not attempt to list such resources once again here.

One would wish that theirs is a Learning Organization that keeps recharging itself for bracing up the present and the future challenges.

So, How do you define a learning organization?

Peter Senge, Author of The Fifth Discipline, answers the question by first suggesting that “we jettison the jargon” and work on organizations where everyone works together successfully. He discusses how there are only two dominant factors within an organization: control or learning and the question is which one is dominant. He lays out the major factors that need to be present in order for an organization to be centered in learning.

So, how do we find out: Is Yours a Learning Organization? . In an HBR article, David A. Garvin , Amy C. Edmondson ,Francesca Gino have provided the conceptual framework.  For an easy reference, we may listen to this video clip of “An interview with David Garvin and Amy Edmondson, Professors, Harvard Business School.

A Learning Organization –

Salesmen and author Zig Ziglar once wrote: “the only thing worse than training people and having them leave, is not training them and having them stay.” At a learning organization education happens as a side-product of working together, as everybody learns from each other to adapt to whatever the future might bring.

Here again, one can explore a huge data-mine of high-quality content in the present western management literature. So, we will leave it to the readers to whet their appetite, in their own context.

In the Segment 3 of the episode 5 Devdutt Pattanaik takes up the subject of Student Motivation through the metaphor of a well-known folktale of Vikram and Vetal.

Whenever the school bell rings have you seen the students?

The first thing that you hear when the school bell rings is a great amount of  cheer-joy and children running out.

The children run out because it is almost like the cry of the domesticated beast, that has been tied and fettered in the classroom and suddenly he is being liberated. So he wants to run away from school. This is the education system, or for that matter even a training program in a corporate world we have created. You are dying for the lunch break and the coffee break because you just cannot keep your eyes open, You are being pushed into this space where they are going to domesticate you using various methods like 9:30 to 10:30 sessions where you learn something intensely, as if your brain is going to sort of get bombarded with lots of information. What does not get attention is the simple fact that whether the student is motivated willingly to enter the school. No. So he has to be pushed in, broken inside. It is almost violent to the process of education and training.

Now let us look at a different method. Let us look at the Indian method of training. This is a folktale- that of Vikram and Vetal, The Ghost. The folktale explains it in a very powerful way. Vikramaditya was a great king and one day a sorcerer came to him and said go to a cremation ground and find for him a Vetal, a ghost. Vikramaditya said. ‘Of course, whatever you want I shall give it to you.’ Being a great king he was willing to give anything to anybody who came to him. So he goes to the search of the Ghost. The instruction is that here is a banyan tree and the Ghost hangs upside down. You have to pull it down and carry it on your shoulders, but never speak to it. If you open your mouth and speak to the ghost, the ghost will fly away and then you will have to go back, and collect him.

So he goes to the cemetery, finds the ghost hanging upside down, pulls him down puts it on his shoulder and walks back. The ghost does not want to be caught, so the ghost tries everything in his power to make Vikramaditya speak. He keeps on asking questions, but Vikramaditya refuses to speak. Finally, the Vetal comes up with an idea. He says, ‘let me tell you a story and at the end of the story, I will ask you a question. If you know the answer to the question, and still do not speak up, your head will burst into thousand pieces. But if you don’t know the answer, keeping quiet it’s perfectly fine. This is what we call the case study method

Yes, the Harvard business school has put it to use for many years now very successfully.

I guess it is validated once it happens in Havard ! J

So the Vetal keeps asking questions and Vikramaditya being a very wise king is able to answer all the questions. So for 24 times the stories are told, 24 times the questions are asked and 24 times the answer is given, and all 24 times the Vetal flies back; much to the exasperation of Vikramaditya. Vikramaditya has to go back and recollect the Vetal and then go through the whole process of storytelling again.

It is a cyclic, boring thing. It is like that sales cycle. Every month at the business plan meeting you hear the some story, questions are asked and you reply them and cycle repeats next month. It is horrible. You want the liberation from that.

Finally the 25th time Vikramaditya is unable to answer the question.

He genuinely does not know, because if he would have known the answer, his head would have split into 1,000 pieces.

Vikramaditya heaves a sigh of relief. Now I have got the ghost and I take him back to the sorcerer. The ghost laughs, a typically Hindi film laugh. He says what a foolish man you are? Do you realize every time you answer the question you were saving your own life? The fact that you cannot answer the question means now you are in trouble. The moment you will take me to the sorcerer, he is going to bottle me and turn me into a genie. I will be very powerful genie and the first thing I will be asked to do is to kill you.

So, all the time when you were problem solving and you were getting irritated by that you didn’t realize that that is the only reason you are king. You exist to answer questions. You only matter when you solve problems. So you should welcome problems, rather than saying, ‘Oh I don’t want problems in life. If there are no problems, then what is the use of a king?

It is a beautiful metaphor, because the day the problems go away your utility as a king reduces to nothing.

The Smashshan Bhoomi, the cremation ground, where the ghosts exists,  is the training room. No business happens there. It is a cremation ground and the trainer or the facilitator or the Guru, whatever be his role, the Vetal has nothing to gain by the training. He is paid for it anyway. If it is a good training or a bad reading, whoever gains or loses from the training session is the participant. Therefore, it is the Vikramaditya who has to come to this Smashan Bhoomi. The Vetal would not come to Vikramaditya.

So, in ancient India the teachers never went to the students. They did not have the advertisements for colleges and schoolJ. If you want to study you come. If you do not want to study, then do not come. It is the student who stands to gain or lose.

You keep hearing all the time that you do not give a man a fish teach him how to catch the fish. The Indian method would be very different. They would say, no do not give a man a fish,  do not teach him how to fish either,r but inspire him to discover his own method of fishing because then

it stays. That is the teacher’s job. As he inspires the student he himself grows too. This is Saraswati Dan- the endowment of knowledge.

The essence of the discussion is that any training has to happen between an inspired trainee and an inspired trainer, so as the training result into intellectual growth of both the parties. It is not done as mandatory mundane task. It has to be performed in the spirit of making an endowment.

In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 6th episode – Measurements.

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.

Carnival of Blogs on Golden Era of Hindi Film Music – February, 2018

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

We begin our February, 2018 episode with Bharat Darshan – Bharat Darshan in Songs (1): Small towns  followed by Bharat Darshan in Songs (2): Metros. Once we tour India, how can we be satisfied without having a look Around the World in Songs.

Knowing fully well that a mere mention of the these tours will not suffice, I have selected one song from each post to taste the potentials of these tours

Tum Dilli Main Agra Mere Dil Se Nikle Haaye – Pahle Aap (1944) – Shyam Kumar and Mohammad Rafi – Naushad  – DN Madhok

Bombay Purani Kalkatta Purana – Umar Qaid (1961)   Mohammad Rafi and Kamal Barot – Iqbal Qureshi – Hasrat Jaipuri

Ek Din Lahore Ki Thandi Sadak Par Shaam Ko Ja Rahe TheSagai (1951) – Chitalkar, Rafi and Shamshad Begum – C Ramchandra  –  Rajendra Krishna

Around the World in Ten Songs also is an off-shoot of the aforementioned Bharat Darshan posts. There are songs—the ones shot abroad—merit a separate post, because so many of them (Akele-akele kahaan jaa rahe ho, O mere shahekhubaan, Raat ke humsafar, Aye meri zindagi tu ajnabi toh nahin, etc) have little to do with the place itself. The present list is limited to the songs that actually name a city or town, whether or not the song itself is shot there, e.g.  Bade Bhaiya Laaye Hain London Se Chhori  – Ek Hi Raasta, (1956) – Asha Bhosle – Hemant Kumar – Majrooh Sutanpuri

And, now, we take up the tributes in January (post-our January, 2018 issue) / February, 2018:

The first five posts are w.r.t. the Valentine Day.

Valentine Day also is the birth date of Madhubala.

The Many Moods of Madhubala – On her 85th birth anniversary on 14th February, 2018 – Her obvious beauty blinded people to her talent, and her ill-health didn’t allow her much of a chance to explore roles that might have rewarded her latent talent.

Barsat Ki Raat Part 1: A Musical Romance – On the occasion of Valentine’s Day, and the birthday of Hindi films’ Venus, Madhubala, Monica Kar revisits the classic musical Barsat Ki Raat 1960, exploring the evergreen memorable songs and scenes of this delightful romantic story. [We will include the Part II of the article in our next episode.]

Happy Birthday Suman Ji! presents her representative solo songs on her 81st birthday on 28th January, 2018.  This is followed up with Suman Kalyanpur – Duets. I have picked up a duet with Mohammad Rafi from her one of the first films just after her marriage:

Jara Thahero Abhdul Gaffar Rumal Mere Leke Jaana – Satta Bazar (1959) – Kalyanji Anandji – Gulshan Bawra – The tune is composed on Gujarati Garba folk song tune.

The Many Moods of Waheeda Rehman – a ‘song’ tribute to Waheeda Rehman on her 80th birthday (3rd February, 2018), songs that she sang on screen presenting her in a different mood and/or emotion.

OP Nayyar — Music Alchemist  –  In a tribute to the legendary music director OP  Nayyar, Silhouette presents a unique collection of essays curated by noted musicologist and author Manek Premchand, admin of the RTS group. The group draws its name from Manek’s book ‘Romancing the Song, an in-depth encyclopedic lyrical journey through the history of the Hindi film song.

Khayyam: The Poets’ Musician – The earnestness, the depth and the genius of Khayyam led to the creation of masterpiece ghazals, songs and nazms that are among the most beautiful melodies in Hindi film music. Vijay Kumar explores a few of Khayyam’s everlastings songs on the music maker’s birthday on 18th February, 2018.

Pankaj Mallik-The Singer,Composer Admired By Rabindranath Tagore – The credit of taking Tagore’s songs and music, which have come to be known as ‘Rabindra Sangeet’, to the masses goes to ‘Mukti’.

Zindagi Bhar Nahin Bhoolegi: Bharat Bhushan’s Unforgettable Singer-Poet Musicals – By Peeyush Sharma – Bharat Bhushan’s educated, decent, quiet and humble personality made him excel in unforgettable musicals as historical singer-poet or romantic shayar.

February, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to: Talat Mahmood’s Duet Combinations with Rare Co-singers. I plan to follow the practice of following-up one artist every month every year. E.g. Our present episode is follow-on post to the February, 2017 episode:Some of the Talat Mahmood Duets receding from the memory’.

And, now the posts on other subjects:

The mesmerizing Qawwaalis from Hindi movies – Listening to a good Qawwaali may take you into a state of trance. Bollywood movies have carried the Qawwaali tradition a long way through several memorable Qawwaalis.

Bombay Returned is Manek Premchand’s maiden article as far as this blog carnival is concerned.  The post looks at many actors, singers, composers or filmmakers who came to Bombay to try their fortunes in Hindi films, only to go back to where they were known better through the prism of lens of their Hindi Film Songs.

Great Theme Music of Bollywood – Theme music is a piece that is often played during the introopening credits and/or ending credits. This music is a Signature Music of a Film. For example – Alaap at the end of a musical piece from ‘Pakeeza’. In the early years of radio and television, celebrities often had a signature song associated with them that became their theme.

‘Bandini’ is about crossings real and imagined, literal and metaphoricalRudradeep Bhattacharjee – Gulzar made his debut as a lyricist with the 1963 Bimal Roy classic, starring Nutan, Ashok Kumar and Dharmendra and scored by SD Burman…Mora Gora Ang Lai Le is the only song Gulzar wrote for Bandini. By then Burman and Shailendra had made their peace, and the latter wrote the remaining songs. [A concerned Bimal Roy then asked Gulzar to join in on his next production, which was being directed by Hemen Gupta. Kabuliwala, for which Gulzar wrote Ganga Aaye Kahaan Se, went on to release earlier than Bandini.].This song also is the first after SDB and Lata’ feud was patched up.

25 All Time Great Whistling Songs Of Bollywood – Whistling is an old art used in songs started in 1930s and 40s. A whistle can be used to express happiness or woo a beloved. Many a times whistling is a part of hero’s introduction song, where he is shown to whistle happily, either walking or riding a bicycle, or driving a car.

‘Gharonda’ remains one of the most resonant films about Mumbai’s housing woesNandini Ramnath – House-hunting leads to heartbreak in Bhimsain’s 1977 morality tale, starring Amol Palekar, Zarina Wahab and Shreeram Lagoo.

Devika Rani is a free-spirited bird in ‘Main Ban Ki Chidiya’Archana Nathan – The famous song from Franz Osten’s ‘Achhut Kanya’ is a perfect ode to Devika Rani.

Zara Dekhiye Meri Saadgi’ – Dara Singh – His first real acting film was Bhaktraj (1960). But he came in a hero in Faulad (1963), and then went to act in 80 films in the lead role. The song that the article title refers to is from Nasihat(1967) – rendered by Mahendra Kapoor and composed by O P Nayyar.

We concluded our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?  with the final post that presents my views on the Top Music Directors for 1948. If we recall, SoY had concluded the series with Best songs of 1948: Final Wrap Up 4.  All the posts of the Micro View of Best Songs of 1948 can be accessed @ The Songs of 1948 @SoY.

In our tradition of ending our post with article or topical song, I have picked up one duet with Suman Kalyanpur and one rarely heard composition of O P Nayyar and Roshan each, in continuation to leads that we have had earlier in this episode::

Aankade Ka Dhandha Ek Din Teji – Satta Bazar (1959) – Kalyanji Anandji – Gulshan Bawra

Sharab Ka Sahara Leke Bahal Saka Na Mera Dil – Commecrical Pilot Officer (1963) – Roshan- Anand Bakshi

Bana De Bana De Prabhuji Tu Bigdadi Bana De Prabhuji – Phaagun (1958) – With Asha Bhosle – O P Nayyar – Qamar Jalalabadi

Madhubala and Bharat Bhushan lip sing the song on the screen.

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

Carnival of Quality Management Articles and Blogs – February, 2018

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

We have chosen the theme –Dorian Shainin of Jim L. Smith’s three part article – Dorian Shainin’s Influence on Quality Professionals – for our February, 2018 episode.

Before we go the Jim Smith’s article(s) in details, let us first know a little more about Dorian Shainin and his method(s).

Dorian Shainin was one of quality’s most accomplished contributors, died January 7, 2000 at the age of 85. Shainin had acquired nearly 60 years’ experience improving the professional approach to industrial problem solving.. Among the awards bestowed upon Shainin are ASQ’s Brumbaugh Award, the Edwards Medal, the Eugene L. Grant Award and the Shewhart Medal. In 2003, ASQ established a medal to recognize the development of statistical methods for solving quality problems in products or services. The medal was named for Dorian Shainin. The medal is presented at the annual ASQ World Conference on Quality and Improvement. More information on the Shainin Medal is available @

Shainin wrote more than 100 articles and was the author or co-author of several books, including Managing Manpower in the Industrial Environment; Tool Engineers Handbook; Quality Control Handbook; New Decision-Making Tools for Managers; Quality Control for Plastics Engineers; Manufacturing, Planning, and Estimating Handbook; and Statistics In Action.

ShaininR : The Red XR Company – Shainin’s most significant contribution was his discovery of the Red X model of systems variation. The prevailing wisdom held that variation causes could be discovered and controlled until the system reached a state of statistical equilibrium. At that point, the remaining causes were believed to be random and undiscovered. Any further improvement would require a redesign of the system. However, Shainin found that by talking to the parts, he could find variation causes within stable systems. He concluded that Juran’s Pareto principle must apply to the causes of system variation. No matter how many causes had already been identified and controlled, among the remaining causes there must be one that contributed more to the overall variation than any other  – The Red X. He called this cause-effect relationship the Big Red X. To support his system Shainin created more than 20 engineering and statistical tools that aided in the search for the Red X.  Shainin followed three principles for solving variation problems:

  • There is always a Red X.
  • The fastest route to identifying the Red X is a progressive search using a process of elimination.
  • Talk to the parts with tools that are both rigorous and statistically simple.

Background on Shainin based problem solving –  Jo Moore – Real-life quality problems, just like people, are simultaneously different and the same. It is impossible to get a tough problem solved by just applying a pre-defined ‘cook book recipe’. Recognizing the distinctive characteristics of a problem is critical since the devil can lie in the detail… Problem solving is very much a human activity and reasoning has a prominent role in it… Erroneous beliefs and faulty reasoning can doom problem solving to failure… Lack of structure is another hurdle that can complicate problem solving activities. The circumstances in which tough problems have to be analyzed and solved is often not clear from the start… An effective approach takes all these aspects into account!… Statistical engineers, following the discipline developed by Shainin, solve problems by finding “what is different?”

Cause-to-effect versus effect-to-cause

For those who would prefer a brief introduction, the video clip – Shainin based problem solving | Philips Innovation Services – is a good source.

An Overview of the Shainin System TM for Quality Improvement – Stefan H. Steiner and R. Jock MacKay – The goal of this article is to provide an overview of SS, a critical assessment, and a brief comparison with other industrial problem solving systems.

Shainin method: edge over other DOE techniquesA.K. Verma ; A. Srividya ; A.V. Mannikar ; V.A. Pankhawala ; K.J. Rathanraj –  Shainin methods refer to a collection of principles, which make up the framework of a continually evolving approach to quality. After the classical design of experiments (DOE) and Taguchi DOE, the third approach is Shainin DOE, which is a collection of simple, but powerful techniques invented or perfected by Dorian Shainin of the United States. In this paper, three cases of Taguchi experiments have been taken from literature and the above method has been tried to find out whether the authors have got the positive results from their experiment. If not, authors emphasize on the importance of giving the check in the start of the experiment (screening experiment) with minimum number experiments prior to the Taguchi approach.

Another Look at Dorian Shainin’s Variable Search Technique – Tirthankar Dasgupta, Nagesh Adiga, C. F. Jeff Wu – The article provides an in-depth analysis of Shanin;s variable search  (VS) method.

Quality 2020 – A study by AIAG conducted in conjunction with Deloitte entitled Quality 2020 Report  – This study illustrates the Automotive Industry’s View of the Current State of Quality and a Strategic Path Forward : “OEMs and Suppliers both identify Problem Solving is their #1 most critical issue.” 

Dorian Shainin’s Influence on Quality Professionals ǁ Part II ǁ Part III : Shainin, like Juran who popularized “the vital few and trivial many” (also known as the Pareto Principle), came to realize that quality defects had an unequal frequency in that only a relative few accounted for most of the defects. This led to what he called the Red X, which he theorized was the primary cause of process and product problems. Shainin stressed “talking to parts” which consisted of swapping pairs of parts of functional and non-functional parts until the culprit was discovered. With the Shainin method there was a certain degree of a theoretical step, but mainly it was to determine possible causes of a problem. This was accomplished by one or more techniques designed to determine root cause or the Red X.

Why haven’t we heard much of Shainin’s methods since the Six Sigma/lean operations rage has taken hold? That’s not easy to pinpoint. One reason may be that users who are aware of his philosophies aren’t willing to accept product that’s “good enough.”

What came to be known as the Shainin System (SS) was developed for problem-solving in medium to high volume processes where data are readily available, statistical methods are widely used, intervention in the process is difficult, and ‘conformance to specification thinking’ was expected.

A hidden benefit of SS just might be that it prevents a lot of impulsive, poorly designed experiments which are wasteful and expensive. One reason why certain problems are unsolved is because people often take ineffective approaches. Their approach is usually based on a set of assumptions, tools and techniques that are less effective for solving tough, chronic quality problems.

In the current environment, the tendency is to focus on the complexity and not simplicity, The Shainin System, however, focuses on simplicity. We may be statistically more sophisticated, but is that what we really seek? I think not. As Leonardo DaVinci said, “Simplicity is the ultimate sophistication.”

We conclude our discussion with a video clip we have an interview by Dr. ReVelle , of Continuous Improvement TV, of the founder and principal of Shainin Consultants, Inc., Dorian Shainin, about “Statistical Engineering,” his simple but extremely effective full factorial design of experiments.:

Gaining World Class Quality with Statistical Engineering

We will now turn to our regular sections:

For the present episode we have picked up Josh Steimle’s article Focus On Outputs, Outcomes And Obstacles@ the column Measuring Performance (People & Enterprise) @ Management Matters Network, which discusses on the effect(s) of focusing on outputs, outcomes and obstacles as an integral part of the performance management system.  .

We now watch one of the latest ASQ TV  episodes:

Utilizing 5S in Everyday LIFE; ASQ member Alexander Tucker is a Chemist at Capsugel. While quality is important on the job, he has been using the 5S tool in his home life. You won’t stop smiling as he humorously recounts the ways he has organized his bathroom, planned trips to the grocery store and even trained his dog to be a quality canine.

Jim L. Smith’s Jim’s Gems postings for January, 2018 are:

  • Thoughts Influence Your Future:  No matter what you truly believe, when we focus our thoughts, we unleash tremendous energy working to achieve what we think about. When we choose to respond in positive and productive ways, it is relatively easy to predict or influence a positive, productive future – a future that we can essentially predict on a day-to-day basis.
  • Self-Awareness: The first thing is to realize that all meaningful and lasting change starts on the inside and works its way out! Therefore, if you want to be different than the way you are now, you must work on changing your self-awareness. You can use positive affirmations and visualizations to help, and once your self-awareness changes, you don’t have to work so hard to behave differently and success will come easier.

I look forward to your inputs / criticisms/ observations to enhance the utility of our Quality Management Blog Carnival.

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

Fading Memories…. Unforgettable Songs: February, 2018

Talat Mahmood’s Duet Combinations with Rare Co-singers

For most of the lovers of Hindi Film Music, Talat Mahmood is remembered almost every day through his 800 + songs. So, we need to devise an apt expression to remember him in the month (24th February, 1924) of his birth anniversary.

We have taken up refreshing our memory of some of the duets that seem to be receding from our memory. Last year, when we penned down such duets, we had had a panorama of such duets with a wide spectrum of co-singers. The great bulk of his duets obviously remain with Lata Mangeshkar and Asha Bhosle and to some extent with Geeta Dutt and Shamshad Begum. His duets with other singers like Suraiya, Mubarak Begum or Sudha Malhotra or Madhubala Zaveri are relatively few in numbers. So is the case with his duets with other male co-singers. In some of cases like, Rajkumari, Surinder Kaur, Sulochana Kadam, Meena Kapoor, Nirmala Devi or Amirbai Karanataki the song was only one of its kind.  Talat Mahmood’s duets with other male singers also range from very popular to quite obscure songs. His presence in Triads / Triads + songs also remains noteworthy.

(L to R) Meena Kapoor- Geetadutt- Talat Mahmood-VanShipley

For the present episode we will focus on Talat Mahmood’s duets with co-singers who can be considered as ‘rare’ combinations.

Purwai Pawan Laharaye – Tum Aur Main (1947) – with Syperwa Sarkar – Robin Chaterjee – Zakir Hussain

One can find Talat Mahmood – Superwa Sarkar duets in a couple of more films, till 1949. The music directors of these films are from Bengal. Was this the hangover effect of Talat Mahmood’s Calcutta days?

Dil Mera Tera Diwana – Apni Izzat (1952) – with Madhubala Zaveri – Hansraj Bah – Pt. Phani,

Madhubala Zaveri has around 110 songs, spread over a span of 1951 to 1958, in 55 Hindilms plus 27 Marathi and 3 Gujarati films. Incidentally, her debut song – Tum Kaun Ho Rajkumari Ye Chanda Sa Mukhda Idhar To Karo (Rajput, 1951) in Hindi films was under the baton of Hansraj Behl, a duet with Talat Mahmood. She was just 16 years old at that time.

Ghir Ghir Aaye Badarwa Kaare – Daak Babu (1954) – with Mubarak Begum – Dhaniram – Prem Dhawan

Talat Mahmood – Mubark Begum Duets is a good study in the very contrasting qualities of voice.  Though not ‘many’ in numbers, there are a few very evergreen songs to the credit of this duo, but that is perhaps a subject of an independent post in the future.

BTW, the song would have been portrayed on screen by Talat Mahmood himself as well.

We find two versions of the song on YT. This one has Mubarak Begum accompanying Talat Mahmood.

And this version has Talat Mahmood almost in solo mode.

Jab Yahaan Se Jaaunga Main Aur Kya Le jaaunga – Hatimtai Ki Beti (1955) – with S. Balbir – A R Quereshi – Shewan Rizvi

Talat Mahmood does not have many really joyous boisterous songs to his credit. But, whichever few such songs one gets to listen, he does not dissatisfy his fans.

Ek Bar To Mil Lo Gale Bichchad Hum Chale, Na Koi Fariyad Rahe – Andheri Nagri Chopat Raja (1955) – with Sudha Malhotra – Avinash Vyas – Bharat Vyas

Sudha Malhotra is one of many playback singer stars who got overshadowed by the full-moon glory of Lata Mangeshkar sisters.

Main Hun Alibaba – Char Chand – with Asha Premlata – (Shaukat Dehlvi) Nashaad – A Karim

We find one more of a light-toned, dance song, which may not be very difficult to recall by the core Talat Mahmood fans- even if they do not recollect who his co-singer was.

Tum Pe Quaraban Dil Tum Pe Sadake Nazar – Sakhi Lutera (1959) – with Usha Balsavar – B N Bali – Aziz Ghazi

The ‘rare’ co-singer, ‘rare’ music director, an obscure forgotten film and light-hearted tune would possibly make up an ideal recipe for the delicious dish to get deep into the recesses of the memory.

Mere Shareek-E-Sahar – Wali-E-Azam (1965) – with Hemlata – Chitragupta – Ahmed Wasi

Several indications mention this as possibly the last film song that Talat Mahmood recorded.  It seems that the shoe-string budget of the film has landed the music director and the co-singer with Talat Mahmood’s the then recently found popularity with ‘Jahanara’.

An interesting aside:

The official Talat Mahmood site has a handwritten note which Talat Mahmood had written down on a letterhead of Chitragupta at the time of recording the song.

No article on Talat Mahmood would be complete without mention of his Non-Fim Songs.

Wo Jo Roothhen To Manaana Chaahiye   – NFS(1969) – with Mukesh – Murli Manohar Swaroop  -Jigar Muradabadi/ Mirza Ghalib,

Talat Mahmood and Mukesh have collaborated in several triads / triads + songs in films like Pagle, Biwi Aur Makan, Love and God etc. However, we find their duets only in the NFS domain.

The wholly Talat Mahmood devoted site – – has mentioned a few more duets of Talat Mahmood that we would have loved to cover in this episode. Unfortunately, I have not been able to find a soft to link audio link of these songs:

  • Ab Mushkil Ha Phir Se Milana Bhul Jao To Achha Hai – Saaya – with Ashima Banerjee – Ram Ganguli – Verma Malik
  • Auron Ke Liye – Taxi 555 – with an unidentified female singer – Sardar Malik

Talat Mahmood and Mohammad Rafi have several duets – and most of them very popular then and remembered now. So their duets cannot really be listed under ‘rare’ tag. But every rule has an exception. And we have one here, a Talat – Rafi duet, which is relatively less remembered, that helps us to comply with out other tradition of end our episodes with a Mohammad Rafi Song.

Bhar De Jholi Allah Naam – Laila Majnu (1953) – Mohammad Rafi – Ghulam Mohammad – Shakeel Badayuni

The song perhaps epitomizes two distinct phases of Shammi Kapoor’s career. His pre-Tumsa Nahin Dekha phase hadTalat Mahmood was his default playback singer. Here,  the initial part of the songs, mostly by the fakirs on the screen is in the voice of Mohammad Rafi.  When Shammi Kapoor gets to sing the second interlude, it is Talat Mahmood who takes over @ Jaan-e-tamanna jalwa Dikha De…

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.

“The Micro View of the Songs of 1948 @ SoY – MY Top Music Director(s)

Having gone through the exercise of micro-reviewing the songs  for the six years – in this case from 1955 backwards to the present 1948 – I have observed that the task of choosing MY TOP of Music director every year has become more tough as year goes down. That is mainly because older I go into the timeline, less I was found conversant with either the film itself or the context in which the song was played (situational context composition relevance) or even the popularity /approval of the film’s song as a whole from listeners  / critics respectively.

So, I kept on devising some or other tests to come up with rational judgement to moderate my inherent biases.

The first of such test is the logo picture posted by SoY at the very opening of the overview post, which invariably places six films in the frame. For the present case, ‘Best songs of 1948: And the winners are?’, Naushad has two films – Mela and Anokhi Ada whereas Anil Biswas (Anokha Pyar), C Ramchandra (Nadiya Ke Paar), Ram Ganguli (Aag) and Ghulam Hiader (Shaheed) have one film each.

I then run through posts relating to Male Solos, Female Solos and Duets to make amental note of music directors whose songs continues to strike chord even now. I observe that Naushad’s songs in Anokhi Ada and Mela or Anil Biswas’s songs in Anokha Pyar, Gajre and Veena, those of C Ramchandra in Nadiya Ke Paar and Khidk’ or those of Husnlal-Bhagatram in Pyar Ki Jeet or certainly Ghulam Haider in Shaheed, to a great extent Ram Ganguly in Aag or Khemchand Prakash in Ziddi standout for the everlasting songs. For the year, Ghulam Mohammad in Grihasthi and Pugree, or Shyam Sundar in Actress have also pitched in well.

Then I have out the songs that appeared in the respective category of MY Top listings. The number of songs composed by differenet music directors appears as given herebelow:

Music Director Male Solos Female solos Duets Total SoY


Hansraj Behl 1 1
Husnlal Bhagatram 1 2 3 3
Naushad 1 1 2 4 10
Ram Ganguly 1 1 1 3 2
Anil Biswas 1 3 1 5 1
S D Burman 1 1 1 3 1
Khemchand Prakash 1 1 1 3 2
Ghulam Haider 1 1 2 3
Avinash Vyas 1 1
C Ramchandra 1 1 2 3
Snehal Bhatkar 1 1 1

If we place the results of the Total in the descending order, then Anil Biswas comes at the top, followed by Naushad and then Husnlal Bhagatram, S D Burman, Khemchand Prakasha and Ram Ganguly share the next spot, followed by Ghulam Haider and C Ramchandra.

Apart from the simple quantitative perspective, one of the most noteworthy feature of Ghulam Haider’s songs in Shaheed and those of C Ramchandra in Nadiya Ke Paar is that they have used relatively not very popular singers like Surinder Kaur or Lalita Deulkar for a very popular heroin Kamini Kaushal. And yet the songs did attain very high acceptance- both the by the critics as well as by the listing public in general.

SoY, @ Best songs of 1948: Final Wrap Up 4, also adopted a smilar matric for quantifying the process of evaluating the share of different music directors in the Top lsting of songs under different categories. The last column in the foregoing table reflects the Total score. Based on this evaluation The Songs of Yore Award for the Best Music Director of 1948 has been conferred on Naushad.

How would have you analyzed the Songs of 1948?

I am sure you will certainly join me to take up a similar detailed Micro View when SoY takes up 1947 next in this Best songs of year series.


All the posts that have appeared on this subject can now be accessed form one file @ The Songs of 1948 @SoY