Close to 50 years, Amul’s little moppet has been winning heart and drawing attention on every important event in India and around the world. From hoardings on the streets to print ads and now even on social media, the utterly burtterly girl is there commenting and applauding on every issue, and how could it miss the mega sporting event the Rio 2016 Olympics.
Indian Express presents eleven such ads by Amul that celebrate the true zeal and spirit of the Olympics.
We take a belated note of the 80th birth anniversary of Nutan @ The origin of my admiration for Nutan and join in sharing the author’s views : «Nutan shares with classic Indian cinema this quality that I find so important and that we in the West have lost, in a way: a fundamental honesty. She adds to this quality something personal and special which I choose to call vibrant grace”.
Happy birthday Kishore Kumar: Top 5 things to know about the legendary singer – Kishore Kumar started his career in the field of acting, with “Shikari” in 1946. – 1946 is when S D Buramn also made his debut with Hindi films – In 1948, music director Khemchand Prakash gave Kishore Kumar a chance to sing “Marne ki duayen kyon mangu” for the film “Ziddi”…During the making of ‘Mashaal’ way back in 1950, Burman visited Ashok Kumar’s house, where he heard latter’s younger brother, Kumar imitating KL Saigal. Kishore Kumar, along with R D Burman, also formed a formidable team which ensured a volley of chartbusters whenever they came together.
The Unforgotten and Unremembered Genius Jaidev – A tribute on his 98th birth anniversary (3 August 1918 – 6 January 1987) – Jaidev was neither a remembered composer nor a forgotten one. He is also possibly the only music director to have won the National Awards thrice for Reshma Aur Shera (1971), Gaman (1979) and Ankahee (1985). We have picked up a few songs here:
The ‘Biopic’ Teaser – Debamitra Mitra – “Biopic films have more often than not run into controversies and debates about the authenticity in depicting the life of a celebrated person. From the Hollywood myth-making trends to the Bollywood surge in making biopics on sports-persons, film-makers worldwide are perennially plagued with legal hurdles, insufficient data and at times difficulty in finding the proper actor for the role. However there is no doubt that biopics have an important significance in the contemporary film culture.”
Ten of my favourite songs of waiting – “Waiting, of course, can be of different types, and for different things. It can be a patient wait, for something one knows is coming one’s way. It can be restless, dominated by an urge to do something to alleviate one’s own suffering. Or the restlessness can be one of hopelessness, of knowing that one waits for something that can never come to be…One may wait for a much-longed for event to happen. One can wait for news. For friends, relatives. And, much more frequently in Hindi cinema, where romance is such an important element of most plots, for the beloved.”
“Kuchh to log kahenge” has presented songs wherein emphasis has to be on the issue of ‘saying’, e.g.
Patriotism and cinema are old companions – Sanjukta Sharma – Directors and producers of 1950s’ Hindi cinema best exploited the patriotic sentiment …. In Hollywood and other big film-making nations like India, patriotism is a commonly used, commercially lucrative storytelling trope. Even a romance has a few patriotic scenes.
Santoshi Maa: The celluloid goddess – Ruchika Sharma – How an unexpected hit in the 1970s catapulted a minor local goddess to national fame.. The mythological, being unique to Indian cinema, is also its founding genre. Starting with Dadasaheb Phalke’s 50-minute silent movie Raja Harishchandra (1913), mythologicals dominated the silver screen before Independence. Their numbers began to dwindle post-1947, and by the 1970s, they had been relegated to the B-circuit….This was until Jai Santoshi Maa, a low-budget movie featuring unknown actors, became one of the highest grossing films of 1975, alongside Sholay and Deewar.
Here, Have Some Chutney! – Chutney is a fusion of Indian and Caribbean music that was born in the mid-20th century. Wikipedia specifically mentions that the people who created chutney music had ancestors in Bihar and Uttar Pradesh…. [the post has presented several video clips that gives enough idea about the subject….]
As we could not cover articles form Scroll.in last month, we have a deluge of articles that have to be accommodated in our episodes. This month also our episode seems to be bordering on being too verbose. So, we will need to take them up in smaller groups in our forthcoming issues.
July, 2016 : ‘Leadership’ in the Other ISO Management Standards
For the present episode we will look at Change Management, in general, then move over to what ISO 9001: 2015 has to state on the subject, ending the present discussion with how two other major management system standards also look at the subject.
Before we closely look at the subject of change in the ISO management system standards, let us quickly recapitulate a broader view of the subject and look at some randomly selected picks from the vast literature available on the subject on the internet.
The change management iceberg suggested by Wilfried Kruger emphasizes that manager mainly consider the hard issues for change i.e. cost, quality and time. These issues represent only the tip of iceberg i.e. only about 10% of the total issues.
Most of the issues – soft issues – are below the surface.
Change affects 4 types of people in the organization:
Promoters – People those who support the change
Potential promoters – People who may support change when fully convinced
Opponents – People against change
Hidden opponents – People who appear to support change but secretly are against it.
Therefore attitudes – perceptions and beliefs, and behavior – power and politics, need to be managed.
We now move over to a closer look at how ISO Management System Standards address the subject:
5 Practices for Managing Change When ISO 9001:2015 Arrives – Terrance Holbrook, Senior Product Manager, MasterControl – While there is no single one-size-fits-all change management methodology, there are established practices that can be adopted and customized to better manage change and cultivate opportunity.
Accept the change
Provide adequate training
Introduce change gradually
ISO 9001:2015 Addressing Change : Once the organization has identified its context and interested parties and then identified the processes that support this linkage, addressing changes becomes an increasingly important component of continued success.
What is “Management of Change?” – Thea Dunmire explains requirements related to management of change were added in section 4.3.1 of OHSAS 18001: 2007…In addition, reference to Management of Change was also included in section 4.4.6.
These new requirements cover four important concepts:
Identification of the hazards associated with “change”
Assessment of the risks associated with “change”
Consideration of OH&S hazards and risks prior to the introduction of the “change”
Implementation of the controls needed to address the hazards and risks associated with the “change”
For purposes of management of change within an OH&S management system, the changes that need to be addressed include:
Organizational changes (e.g. personnel or staffing changes)
Activity changes (e.g. changes to processes, equipment, infrastructure, software)
Material changes (e.g. new chemicals, packaging)
Changes to the OH&S management system (e.g. procedures)
Ineffective management of change is one of the major contributing factors in many of the incident investigations conducted by the U.S. Chemical Safety and Hazard Investigation Board (CSB). To check it out, go to the CSB web site at http://www.csb.gov and enter “management of change” as your search term at the link “Search this Site.”
The change all starts with the environmental aspects,
“When determining environmental aspects, the organization shall take into account: a) change, including planned or new developments, and new or modified activities, products and services;”
Once we identify the changed aspects, then there is a cascading or domino effect on the rest of the environmental management system.
While maintaining processes, it needs to underlined that some of the triggers that will result in a change to a process are:
changes to aspects,
changes to compliance obligations,
changes to controls.
Management review (element 9.3) requires the specific inputs of change into the process. Specifically changes in:
external and internal issues that are relevant to the environmental management system,
the needs and expectations of interested parties, including compliance obligations,
its significant environmental aspects,
risks and opportunities.
The resulting output includes decisions related to any need for changes to the environmental management system systems, including resources. Without managing change, the EMS cannot remain effective. Change, through maintenance and continual improvement of the management systems, are the core tenets of the Plan-Do-Check-Act model.
We rest our discussions on the today’s topic here.
For the September, 2016 episode, we will take Organizational Knowledge in the new versions of these management standards.
We now watch two of the latest ASQ TV episodes that deal with ISO 9001: 2015:
Change Management – Change management experts discuss key steps to consider when approaching employees with change and helping them through the process. Learn about the carrot-and-stick technique—which can be used to motivate employees—and a tool that can make meetings more efficient and keep change management plans on track.
Explaining Annex SL and Top Management’s New Roles – Annex SL is considered the common language and text that new ISO standards are being built around. John DiMaria, senior product manager at BSI Americas, discusses how this affects ISO 9001:2015, as well as the standard’s new roles for top management with regard to responsibility, objectives and compliance.
Here are two more which also are very interesting points of view in understanding the present scenario:
Quality in India – This episode takes a look at quality in India, from the perspectives of leaders at the Quality Council of India (QCI) and the National Accreditation Board for Education and Training.
Key management support, or lack of support, manifests itself in many ways. One way is that mid-lower level management won’t get on board so initiatives encounter all sorts of hurdles; therefore, results don’t generally live up to expectations. .. Additionally less support for quality initiatives usually results in underfunding and cuts in resources. So what do you do.. (Please read on the article)..
I look forward to your active participation in enriching the blog carnival as we pursue our journey in exploring the happenings across quality management blogs…………
Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.
Solo songs of Lata Mangeshkar for 1949 is a mixed bag as far as I am concerned – there are songs that we have grown with growth of my understanding and appreciating the HFM all these years and then there are songs that I have either not heard or have heard so less that it amounts to not having heard that song. The fact that songs belonged to the films that I would have seen invariably got to see in our college days. Obviously, the films that would be screened would be the ones which had more songs that had become popular then and continued to remain popular thereafter too. Thus the gap in the current level of appreciation of the songs that I have herad often and the songs that I got to listen only now on the internet remains quite wide.
I, therefore, have selected all those songs which I (for all practical purposes) have not heard. When selecting the songs that already were popular, I have chosen to present here the one that may not make to the final list of My Top Choice, but would certainly be my Next preferred choice.
We will run this collection through three posts. So, I have arranged the songs in the alphabetical order of the names of the films, for ease of presentation.
Welcome to our August, 2016 episode of ‘Fading Memories. Unforgettable Songs’.
We will dedicate our present episode to Mohammad Rafi (24 December 1924 – 31 July 1980), as our tribute on his 36th death anniversary.
Sudhir Kapoor, in his post – Jaane Meri Akhiyon Ne Dekha Hai Kya – so rightly states that voice – the magic, the magnetism, the feeling of surreal contentment that descends into the being, and ensconces it with a joyous delight…The most remarkable trait of Rafi Sb’s singing is his ability to project performance through sound. The song under the discussion here is:
Jaane Meri Akhiyon Ne Dekha Hai Kya – Pyaar Ki Jeet (1962) – Mohammed Rafi, Asha Bhosle,– Sudhir Phadke – Qamar Jalalabaadi
SoY has dedicated My favourite Rafi songs by Shankar-Jaikshan – A tribute to Rafi.: Lakshmikant Pyarelal (389); Shankar-Jaikishan (374); Chitragupta (261) and OP Nayyar (216) are four music directors who have composed maximum songs of Mohammad Rafi. The generally regarded three ‘Best’, Naushad, SD Burman and Roshan’s songs are far less than the above numbers. The post and the discussion thereon picks up some not so well-membered songs from SJ-Rafi combine. We will pick up one from Archana (1974) – enacted by Sanjeev Kumar – for our present episode:
Jaane Kis Roop Ki Jaadubhari Parchhai Ho, Log To Log Rahe Apne Se Sharmati Ho
On our part, we will listen to duets of Mohammad Rafi & Suman Kalyanpur today. The songs that we have picked up are the ones that certainly need brushing up of the memories. I have selected the songs without any specific common theme in the mind.. just to see how does the random pick up of Rafi- SK duets of different music directors sound today…..We have selected only one song of a given music director.
So here we go, in the descending chronological order:
O Chhokari Tu Hai Ras Bhare Phooln Ki Tokri – Bhai Behan (1959) – N Datta – Sahir Ludhianvi
Sahir can also play so easily with playful lyrics….
Zara Thehro Ji Abdul Gaffar- Satta Baazaar(1959 – Kalyanji Anandji – Hasrat Jaipuri
Aurato Ke Dabbe Mein – Mud Mud Ke Na Dekh (1960) – Hansraj Behl – Prem Dhawan
Bharat Bhushan is not only pitted in real difficult position of being in Women Only coach, since the song calls for quite a different acting prowess than his usual roles. And he does seem to have lived up to the exception…
Collection of Couplets – Saranga (1960) – with Hemant Kumar as well – Sardar Mallik
We get to listen to quite a different Mohammad Rafi, and so too Suman Kalyanpur, in these couplets
Muskuraaye Khet Pyaase Tarse Tarse – Love in Simla (1960) -Iqbal Qureshi – Rajinder Krishan
Enacting an Indian farm on a stage show……..with a Dutch-designed wind mill in the background
Mujhe Jag Di Bana De Malika -Dark Street (1961) – Dattaram – Gulshan ‘Bawra’
Dattaram has deftly handled a pure Punjabi folk tune
Chhail Chhabeela Chhokra Maine Le Gayo Nadiya Paar – Hamaari Yaad Aayegi (1961) – Snehal Bhatkar – -Kidar Sharma
Here is a song that is set to a Rajasthani folk tune..
Zinda Hai Zinda Hai Hamse Wafa Ka Naam– Ramu Dada (1961) – Chitragupta- -Majrooh Sultanpuri
And now we have a quawwali too
Ho Maine Kaha Ho Suno Zara – Gypsy Girl (1961) -Sardul Kwatra – Anjum Jaipuri
A very light, lilting tune…. One can almost correlate it with a typical Jhonny Walker song.. However, as we do not have the vide in this clip let us not speculate anymore..
Is Gulshan Ko Aag Lagaa Do – Zarak Khan (1963) – S Mohinder – -Anand Bakshi
On a standalone basis, it is slightly difficult to judge what the song has to covey…
Kisne Mujhe Pukaara Kisne Mujhe Sada Di – Saaz Aur Aawaaz (1966) – Naushad – Khumar Barabankwi
The song is possibly first duet that has an element of a typical suspense film formula – image of the heroine shrouded in the ‘clouds of smoke’ and hero chasing the voice that sings the song…
The song has another version as well, one with a subtle variation in tempo and scale..
Aa Hum Ahd-e-wafa Kar Le– Do Bhai (1969) – Laxmikant Pyarelal
LP also using Suman Kalyanpur in a duet with Mohammad Rafi – possible the dictates of the times…one can find many other such songs in ‘67 to ‘69 period on YT – quite a few of them had become popular too at that time.
Mere Yaar Ki Yaari Dekh Ke – Insaaniyat (1974) – Shankar Jaikishan -Hasrat Jaipuri
Post-Jaikishan period Shanker has attempted using Rafi’s theatrics to present the formula playboy mood of the song.. Suman Kalyanpur matches note to Rafi’s note
Well, that should be enough for the day….
If you have songs to share, you are most heartily welcome…..
The development of my understanding and liking of the Hindi Film Songs over all these years has been shaped at different stages of availability sources like Radio (only), audio cassettes, EP/LP records, audio / video CDs/ DVDs and then the internet. The songs that I continued to get to listen across each of this medium do remain a fairly large number. But, there is no denying that internet has filled a big void in my known unknowns as well as unknown unknowns in so far as HFM is concerned.
In order to be fair to the songs that I have listened only of late on the internet, I have decided to choose at least one song from the songs that I so listened in the present exercise of The Micro View of the Best Songs of 1949, over and above one from already well-established, known known and liked songs.
With that caveat, here is My Choice of the TOP Solo Songs of the Other Female Singers for 1949:
The choice of the BEST among these will rest on where the wheel of roulette will stop.
For me any one will be a jackpot……
SoY has also released Best songs of 1949: Wrap Up 2. After a very meticulous, balanced and fair analysis, wherein the choice of the best ‘other’ female playback singer was Shamshad Begum, followed by Suraiya.
After having covered solo songs of significant ‘other’ female singers, like Suraiya, Geeta Roy, Shamshad Begum, Raajkumari, Asha Bhosle and Surinder Kaur, and Umda Devi & Meena Kapoor, I thought I would be able to put the remaining ‘others’ of other in one post, but little did I realize that most of these ‘others’ would individually have significant number of songs. And the songs were quite prominent in the storyline of the respective films, too. That I had not heard these songs certainly does not take away the fact these were big names in the vintage era that was coming to a close, and they had had created their own niche.
So each of the singer indeed (at least) deserves a separate identification – both in the title and the in the main body of the content.
Solo Songs of Lalita Deulkar
Kya Sach Hai Kasam Wo Bhulane Lage – Bedard – Ramprasad – Badal
Kanon Ne Jo Suna Wohi Dil Ko Sunayenge – Jio Raja – Nissar Bazmi – Rajjan
Duniya Hai Hasin,Dil Hai Jwawan – Roop Lekha – Khan Mastana – Khumar Barabankvi
Solo Songs of Meena Kapoor
Toot Gai Jab Man Ki Beena – Anyay – Ramprasad – J S Kashyap
Main Ek Chhoti Si Chingari – Laadli – Anil Biswas – Hudda
Kya Khel Khelata Hai – Policewali – A R Qureshi – Sham Hindi/Roopbani
Meri Yaad Tu Apne Dil Se Bhoola – Roomal – Aziz Khan – Nazim Panipati
Others of other have several more players who not only were big names of the Vintage Era that is coming to the close, but also have songs that stand on their right in 1949 as well. So we will need more post …. before we sum up……..