Mukesh has had quite well-known duets with almost every other female playback singer for the year 1949.
Films like Dada or Shabnam or Sunhere Din or Thes had more than two duets. I have accommodated one duet here and one more in my Top Choice songs, but still had to leave out the third one. Fortunately these ones are easily accessible on YT.
Welcome to September, 2016 edition of Carnival of Blogs on Golden Era of Hindi Film Music.
As always, we first take up posts that focus on memories –
The Many Moods of Meena Kumari – with the exception of sadness – and indeed the listing in the post and in the discussion thereon present Meena Kuamri in so different moods that it now appears she was known more as ‘tragedy queen’.
SoY has already presented OP Nayyar’s songs for Rafi, Mahendra Kapoor and Shamshad Begum. Best songs of Asha Bhosle by OP Nayyar – on her 83rd birth anniversary (b. 8 September 1933) – now, does succeed in bridging the obvious gap while deftly handling the difficult task of presenting a representative set of songs from 300+ to choose from.
0:00 Awaaz De Kahan Hai
2. 5:06 Talk and Interview
3. 9:17 Sanu Nehar Waley Pul Te Bulake
4. 13:59 Mujhse Pehli Si Mohabbat
5. 20:04 Chithi Zara Saiyaanji
6. 24:30 Bhoolnewale Se Koi Keh De
Kahin Door Jab Din Dhal Jaaye – Mukesh’s Hit Songs for Heroes – Peeyush Sharma takes up on a journey through some of Mukesh’s hit songs, which he sang for the reigning heroes or stars of his time, presented in the alphabetical order in the article, in a tribute to the Golden Voice Mukesh. V. Balsara, the music director settled in Calcutta, had (once) commented that one Mukesh song in the film assured that at least one song would be a hit. The article has a special mention of Saath Ho Tum Aur Raat Jawan (Kanch Ki Gudiya, 1961, Suhrid Kar / Shailendra / Asha Bhosle and Mukesh, picturized on Manoj Kumar and Sayeeda Khan) on Public Demand.
Lucknow’s Great Son: Naushad Ali recollects the LP record (Odeon – 3AEX 5015) ’The Genius of Naushad” that has a collection of some of his greatest hits sung by voices as diverse as Mohammad Rafi, Mukesh, Suraiya and Shamshad Begum.
My Favourites: Picnic Songs – Picnics in Hindi films today seem to have gone the way of the dodo, but they were a staple, indeed, integral part of the narrative in the 60s and 70s. Picnics were the perfect occasion to include a song; mostly, it was there so the hero and heroine could a) tease each other b) make fun of the other c) fall in love with each other.
Dekho Dosto Chhed Ka Maza! – Guest article by Shalan Lal – The Chhed chhad songs or the sketches are sub-division of a general term called Comedy. The post and as is always the case, the discussion thereon , are quite scholarly penned presentations of songs and views thereon.
My Favourites: Zulfein – History, mythology and fairy tales are replete with hairy tales……But. Hindi films knew how to celebrate hair. Especially women’s hair, because ‘zulfein’ seemed to refer only to women’s hair. So here are some …‘zulf’ songs, songs that are romantic, sensuous, playful… and extremely lovely plus a bonus song. This has nothing to do with romance, or passion –
Do pal jo teri aankhon se peene ko mile (Bahaaron ke Sapne, 1967) – Eyes so intoxicating that one who is fortunate enough to ‘sip’, even if only momentarily, from them—to partake of the love those eyes offer—will have lived a hundred years in those moments.
‘Mother India’ at the Oscars: ‘The audience laughed with the characters and cried with them’ – Bunny Reuben – Here’s what Sylvia Norris wrote (“Filmfare:” June 6, 1958): The day Mehboob Khan met Cecil B. DeMille in Hollywood; he was referred to as ‘The DeMille of India’. This is a title he richly deserves; not only for his latest spectacle, Mother India, but for the thirty years of devotion he has given the Indian film industry.
Here is one batch of articles from the recent past editions of Scroll.in last month-
The debt owed by Gulzar’s lyrics to Mirza Ghalib – Manish Gaekwad recounts how the lyricist isn’t shy to admit, in the series of conversations with Nasreen Munni Kabir’s book ‘In the Company of a Poet’, that the song ‘Dil Dhoondta Hai’ from the film ‘Mausam’ was inspired from Ghalib’s couplet.
Akshay Manwani in a Film flashback: To understand Hindi cinema of the 1960s, start with 1957 hat-tips a great year in which apart from ‘Pyasa’ and ‘Mother India’, several other films also shaped the future of Hindi cinema on various fronts, showing early signs of the frothy ’60s.
Mohammad Rafi’s duets seem to manifest a classic oligoploic distribution. The duets with Lata Mangeshkar peaked in numbers, and if the ones with Shamshad Begum were quite respectable, those with Suraiya showed a marked corresponding reduction.
We just can locate only two duets with Geeta Roy and with several others it does not even cross the single number.
In the overall analysis, all of Mohammad Rafi duets do outclass all other male-female duet combination(s) by quite a wide margin. Interestingly, the distance, both in number and in qualitative comparison narrows down drastically when we add ‘popularity’ of the song as an additional filter.
For the present episode we will look at Organizational Knowledge, in general, and then move over to what ISO 9001: 2015 has to state on 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.
Organizational knowledge is equated with professional intellect (Quinn, Philip, & Sydney, 1996). Organizational knowledge is a metaphor, as it is not the organization but the people in the organization who create knowledge
The organizational knowledge is created and transferred within the organizational context, is rooted in: (1) company and industrial atmosphere (King & Zeithaml, 2003), (2) tacit knowledge (Grant, 2002); and is fitted in firm culture (Saint-Onge, 1996).
Has the following properties: (1) is shared between the members of the organization (2) is connected to organization history, and (3) allows a common language.
Defining Organizational Knowledge : The paper starts by defining what is meant by ‘knowledge’ and ‘knowledge management’, and follows on by presenting the knowledge processes which are at the basis of knowledge management practices.
Five Types of Organisational Knowledge : In Knowledge, Knowledge Work and Organisations: An Overview and Interpretation, Blackler builds on Polanyi’s distinction between tacit and explicit knowledge (in Polyani, 1967) and identifies five types of knowledge to be found in contemporary organisations. His ideas provide useful insights into the process of knowledge management. These conceptual distinctions were first suggested to explain the psychological and behavioural aspects of knowledge. They were later adapted to describe the different ‘images’ of knowledge within the organisation.
Knowledge Conversion : The organization should identify and nurture knowledge-building activities that expand and enhance its core competence.
Organizational Knowledge Sharing Practices : Organizationalknowledge (vs. knowledge) has distinct characteristics given its action-centered, contextual and collective nature. It is composed of both explicit manifestations as well as intangible forms of knowledge. The choice of options to implement various knowledge sharing strategies, and enabling technologies, would depend on the forms of knowledge that are the most important to the organization.
Challenges in managing organizational knowledge : IBM Institute for Knowledge-Based Organizations has identified a number of important roadblocks that organizations typically face when implementing knowledge management programs. These roadblocks are:
Failure to align knowledge management efforts with the organization’s strategic objectives
Creation of repositories without addressing the need to manage content
Failure to understand and connect knowledge management into individuals’ daily work activities
An overemphasis on formal learning efforts as a mechanism for sharing knowledge
Focusing knowledge management efforts only within organizational boundaries.
Here are two pictorial views TQM way and Life-Cycle Approach, respectively:
We now take up a few of the many articles available on internet dealing specifically with the subject w.r.t. ISO 9001: 2015.
ISO 9001:2015 Clause 7.1.6 Organizational Knowledge: By introducing the term “knowledge,” ISO 9001:2015 aims to raise organizations’ awareness of the management and linking of know-how in order to position them for the future.
ORGANIZATIONAL KNOWLEDGE AND ISO 9001-2015 – Raghu Malayanuru looks at other clauses where Organizational Knowledge is addressed, knowledge requirements of an organization, documents that may provide evidence of Organization Knowledge. Nacaro Williamsin his studied comment, places more emphasis on reliance on the Notes to clause 7.1.6.
Image 1: The SECI Model (Nonanka & Takuchi, 1995).
What is Organizational Knowledge in ISO 9001:2015? – It will be imperative that an organization performs its due diligence through risk management when determining what knowledge is necessary and how it is maintained and made available.
In this new webcast, standards expert and active member of the U.S. Standards committees, shares some insights on the new elements of knowledge management within ISO 9001:2015, and provides tips for meeting the requirements of documenting, tracking, and making value-added knowledge available, for the health and continuous improvement of the organization.
You create a Knowledge Management Framework for your organization that ensures knowledge is created, discussed, captured, synthesized, and re-used. This framework contains the four critical enablers; Roles, Processes, Technologies, Governance. The contents, scale and complexity of this framework will vary enormously – from very simple (in the case of a small company) to sophisticated and complex for major multinationals.
You run a scan or audit of your critical knowledge topics, to ensure each of these is in an acceptably managed state
How to manage knowledge of the organization according to ISO 9001 – Mark Hammar – It is specific knowledge to the organization, generally gained by experience, which is used and shared to achieve the objectives of the organization. This can come internally, such as intellectual property, lessons learned from failure and successes, or the results of improvements; or it can come externally from conferences, customer knowledge, or supplier knowledge.
Knowledge Management and ISO 9001:2015 – This newsletter explores the implications of the ISO 9001:2015 knowledge clause, and how this can impact Knowledge Managers (and their Quality department colleagues) worldwide.
Organizational knowledge in ISO 9001:2015 – The ‘glass-half-full’ here is that Knowledge Management has started to appear in ISO 9001. The ‘glass-half-empty’ is that it is so very high-level in its stated requirement. It’s barely even a guideline.
7.1.6 Organizational knowledge – When implementing this clause or when explaining to the auditor, how this clause is implemented, some basic understanding of knowledge management can be useful. Knowledge can be classified into two broad categories.
Explicit Knowledge or Formal Knowledge is one that can be formally documented
With Tacit Knowledge, people are not often aware of the knowledge they possess or how it can be valuable to others. Effective transfer of tacit knowledge generally requires extensive personal contact, regular interaction and trust. Example: how to ride bicycle.
Let us look at a few videos on the subject:
Organizational Knowledge
How to Manage Organizational Knowledge Effectively? by David Hershfield, SVP at Redcats
KM Audit & Measurement
Knowledge Management – Managing Tacit and Explicit Knowledge
ISO9001:2015 Transition Part 14: Organizational Knowledge, Job Insecurity, and Change Resistance
It appears to be quite an obvious case that the introduction of this subject as requirement has challenges at different levels, but is not yet fully deciphered as to how and to what it can be gainfully shown to have been implemented. So, for the time being, we rest our discussions on the today’s topic here.
For the October, 2016 episode, we will take Control of Human Errors w.r.t. Quality Management, in the new versions of these management standards.
Quality and Sports – Learn about the ever-growing connection between quality and sports: How assessing one’s ability to adjust to failure can lead to better performance in athletics—and beyond.
Jim L. Smith’s Jim’s Gems for the month of August, 2016 does not have any 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.
Some of the duets of Suraiya or Shamashad Begum are shared by several other male playback singers. In nay case, both of these female plyaback singers had had more solos than duets to sing this year. As a result, we have a fairly smaller share of their respective duets with Mohammad Rafi.
Quantity apart, each player has their own very contribution to make in the final effect that their duets leave on the listener.
Duets of Mohammad Rafi
+ Suraiya
Aata Hai Zindagi Mein Bhala Pyar Kis Tarah – Balam – Husnlal Bhagatram – Qamar Jalalabadi
Haye Tune Ye Kya Kiya, Mujhse Kya Bata Diya – Duniya – C Ramachandra – (?)
Seene Mein Aag Bhadakati Hai, Aye Ishq Hamein Bedard Na Kar – Naach – Husnlal Bhagatram – Sarshar Shailani
Duets of Mohammad Rafi
+ Shamshad Begum
Chheen Ke Dil Kyun Pher Li Aankhen, Jaan Gaye Ham Jaan Gaye – Chandani Raat – Naushad Ali – Shakeel Badayuni
Aye Samane Aanewale Bata, Kya Chand Mera Mujhse Hai Khafa – Garibi – Bulo C Rani – A M Adib
Musafir Sada Geet Gaye Chala Chal– Jal Tarang – Husnlal Bhagatram – Pandit Sudarshan
Boloji Dil Loge To Kya Doge – Patanga – C Ramchandra – Rajendra Krishna
Aye Dil Na Mujhe Yaad Dila, Baaten Purani – Sawan Aya Re – Khemchand Prakash – Bharat Vyas
In the next episode we plan to complete duets of Mohammad Rafi with female playback singers like Geeta Roy, Surinder Kaur and others.
We will dedicate the present episode to the memory of Mukesh on his 40th death anniversary (22 July 1923 to 27 August 1976)
In quite a path breaking post, Mukesh’s vintage duets, Songs of Yore and quite active readers thereof have presented and discussed duets of Mukesh with singers of vintage era. The post has, necessarily therefore, chosen to 1949 as the cut-off year.
It so happens that 1949 has one more significance as well in so far as Hindi film songs of Mukesh is concerned. This is the year in which he had repeated, in a consecutive year, playback for the famous triad of heroes of the Golden Era – Raj Kapoor, Dev Anand and Dilip Kumar. Not that he had rendered voice for each of this three upcoming Greats for the first time. In the past he had several such songs that had acquired high praise from critics and great box-office runs for the records.
For Raj Kapoor:
Baharon Ne Jise Chheda Woh Saaz-e-Jawani Hai– Sunehare Din (1949) – Gyan Dutt – Shezvan Rizvi
We do get very strong indicators of signature Mukesh as Raj Kapoor’s playback alter ego here.
Of course, we certainly shall not miss Barsaat. But as far as songs were concerned, it was more a Lata Mangeshkar show than that of Mukesh. Mukesh had two duets in the film – each one of a diametrically opposite tastes and far more different appeal. The only solo filmed on Raj Kapoor has Mohammad Rafi’s voice.
For Dev Anand:
Yeh Duniya Hai… Yahan Dil Ka Lagana Kis Ko Aata Hai– Shair (1949) – with Lata Mangeshkar – Ghulam Mohammad – Shakeel Badayuni
As we do not have any solo of Mukesh for Dev Anand, we will make an exception to include a Male Female Duet in this case.
For Dilip Kumar:
Andaz was simply a blockbuster, on any and all counts…..All songs that Dilip Kumar had enacted on screen were played back by Mukesh and were roaring hits….compared to Raj Kapoor lip-singing his songs in Mohammad Rafi’s voice with a rather tepid audience response…. Who would have imagined that the picture will be exactly reversed in so far as the default voice of each of them by the turn of the decade just a couple of years away!!!
Toote Na Dil Toote Na– Andaz (1949) – Naushad – Majrooh Sultanpuri
And that provides us the setting for revisiting Mukesh’s solo songs, right from his debut film, 1941 – Nirdosh – till 1948 – wherein he playedback songs for the great triad in one given year, for the first time.
If there is more than one solo song in a film, I have chosen only one for the purpose of today’s episode.
Dil Hi Bujha Hua Ho To Fasle Bahaar Kyaa– Nirdosh (1941) – Ashok Ghosh – Neelkanth Tiwari
If this song has the historic credit of being Mukesh’s first recorded song for Hindi Films, Nirdosh itself also has the distinction of being the film in which Mukesh also acted for the first time ever ON the screen.
In the next year, Mukesh did have a film in which he acted too – Dukh Sukh . It had two duets with Sitara. Music was composed by Khemchand Prakash. Before the sudden demise, just before his torch bearer song for the Golden Era – Aayega Aanewala- had hit the public, it seems he and Mukesh could not leave behind some solo songs for us.
In 1943, we have Adab Arz, in which Mukesh had played a character from a rich family who married gardener’s daughter in the end. Based on Urdu culture Mukesh played a Muslim role. Gyan Dutt was the music director. The film does not have any song of Mukesh though. We get the first test of their collaborative effort in terms of a solo song in Sunehare Din (1949).
1944 also had one film – Us Paar – in which Firoze Nizami had composed the music and has only one duet of Mukesh – with Kusum (Jara Bolo Ri Haan)in the album.
1945 would remain a very important milestone in the Mukesh’s singing career. Anil Biswas recorded Dil Jalata Hai, which blazed a trail on which Mukesh went on to scale great heights. The film also had one more Mukesh solo:
Tay Kar Ke Badi Door Ki Poorpech Nagariya– Pehli Nazar (1945) – Anil Biswas – Dr. Safdar ‘Aah’
1945 had another film – Moorti, in which Mukesh did get to sing for Motilal under the baton of Bulo C Rani. Hasino Ko Hasino Se Muhabbat Ho Hi Jaati Hai remains quite known. Mukesh successfully continues to clone K L Saigal. We will also listen to:
Mana Ke Tum Haseen Ho,Eh-Le Shabab Ho– Moorti (1945) – Bulo C Rani – Pandit Indra Chandra
The cloning continues into singing a Ghazal-style composition.
During 1946, we see three films in Mukesh’s bag.
Chehra had one duet, with Shamshad Begum and one solo –
Rajputani also had one duet with Hamida Banu and one solo –
Kiye Ja Pyar Kiye Jaa Na Himmat Haar, Kabhi Inkaar, Kabi Ikraar– Bulo C Rani – Pandit Indra
Rasili had only one duet, but that is a male-male duet, with Narayan. Again a first for Mukesh….
Aaghaaz Chalaa, Anjaam Chalaa, Wah Rota Hua Nakaam Chala – Raseeli (1946) – Composed and written by: Hanuman Prasad
The 1947 has 6 films that have Mukesh Songs –
Beete Din had one solo –
Arsho Pe Sitaara Hai Woh – Beete Din (1947) – Pandit Dinkar Rao – Pandit Faani / H. Tanveer (?)
Do Dil had two duets with Suraiya, one duet with Rajkumar and three solos of which have picked up only one here –
Jia Beimaan, … Bas Mein Paraye Hai, Ghadi Ghadi Bhar Aaye Hai– Do Dil – Pandit Govind Ram – D N Madhok
Neel Kamal, which had Raj Kapoor in the lead role, had two duets with Johrabai Ambalewali and one with Hamida Banu. Mukesh had one song in which Mukesh blends with chorus to sing the credit title song for the film –
Shri Kamal Netra Stotram – Neel Kamal – B Vasudev
Chhin Le Azadi had one duet with Shamshad Begum and Dak Banagla had one duet with Suraiya.
Tohafaa had two duets with Hamida Banu and three solos, of which we have picked up one solo here –
Kisne Chheda Man Ka Taar … – Tohfa – M A Rauf – Shant Aroda
With that we come to the last sections of our circle, the year 1948.
This year we see Mukesh’s presence on a far wider compass of music directors –
Anjuman had a duet with Shamshad Begum and a solo of Mukesh –
Woh Teer Kaleje Par Ik Shokh Ne Maara Hai– Anjuman – Bulo C Rani – Majrooh Sultanpuri
Ghulam Mohammad composed Grahasthi had one duet with Shamashd Begum., Pugree had one duet with Sitara (of Kanpur), Ali Husain Muradabad composed O Jaanewale had two duets with Shamshad Begum., Toote Taare (Shaukat Ali a.k.a Nashad) had two duets with Geeta Roy
Gunjan had two solos, of which we have picked up one:
Koi Din Zindagi Ke GungunakarHi Bitata Hai– Gunjan – Ashok Ghosh – Saraswati Kumar Deepak
Pardesi (Ghulam Haider) also had one duet – with Lata Mangeshkar.
Pardesi Mehmaan had one duet with Husn Bano and one solo –
Hoshiyaar Naujawaan Jag Ae Naujawan, Jal Raha Tera Makaan, Jal Raha Tera Hindostan – Pardesi Mehmaan – Hanraj Behl – Pt Indra
HFGK records two songs in Mukesh’s name for Shree Rambhakta Hanuman simply because other records may not have specifically the name of the singer.
Tum Bin Soona Jeevan Mera – Shree Rambhakta Hanuman – SN Tripathi – Pandit Indra/ B D Mishra (?)
Suhaag Raat had one duet with Rajkumai and a solo –
Lakhi Bulbul Mere Kaahe Ko Deenhi Vides – Suhaag Raat – Snehal Bhatkar – Ameer Kushro
Veena had three solos, of which we have picked up one:
We have travelled through the three important paths – Male Solo songs, Female Solo Songs- those of singers other than Lata Manageshkar and those of Lata Mangeshkar – on our Micro View journey of Best songs of 1949: And the winners are?. We will now explore Duets. To begin with we will take up the most popular form – the Male Female Duets.
We will list such duets w.r.t. the male playback singer. Also, when I have two songs to choose from a film, if I do choose both, then one which is more popular even today is taken up as MY Top Choice selection song.
Duets of Mohammad Rafi
+ Lata Mangeshkar
Yun To Aapas Mein Bigadate Hain, Khafa Hote Hain – Andaz – Naushad – Majrooh Sultanpuri
Sun Lo Dil Ka Afasana – Andaz (Not released song) – Naushad – Majrooh Sultanpuri
Apni Nazar Se Door Woh, Unki Nazar Se Door Hum– Bazar – Shyam Sunder – Qamar Jalalabadi
Mil Mil Ke Gayenge Ho Ho Dil Yahan – Dulari – Naushad – Sakeel Badayuni
Lambi Zoru Badi Musibat, Na Din Dekhe Na Raat– Ek Thi Ladki – Vinod – Aziz Kashmiri
Jara Tumne Dekha To Pyaar Aa Gaya – Jaltarag – Husnlal Bhagatram – Kaif Irfani
Tadpa Ke Mujhe Ab Chhod Diya – Namoona – C Ramchandra – Gulshan Jalalabadi
As one browses through the database, the all time evergreen solo songs of Lata Mangeshkar shine out automatically. There are similar songs in Other Singers category, too, like those of Suraiya or Shamshad Begum or Raajkumari.When we now look back at all these songs, the songs that can command ‘game changer’ status get simply monopolized by Lata Mangeshkar.
That is why it has been said, as no other explanation would justifiably suffice what happened over the time that it IS now Lata Mangeshkar’s time.
In the present case, whenever a film had more than one ‘all time evergreen’ Lata Mangeshkar solo song, I have accommodated my choice of next best in the Micro Analysis of Solo Songs of Lata Mangeshkar here above. If there were more than two such songs, I have (quite grudgingly) chosen to take up here one that I have always liked more and left out the other ones.
So here we have My Top Choice solo songs of Lata Mangeshkar for the year 1949.
Chale Aao, Chale Ao, Chale Aao, Mujhe Tumse Muhabbat Hai – Zevrat – Husnlal Bhagatram – Habib Sarhadi
It is no surprise that there are many songs that I have heard for the first time, for which sole credit must go the great community of YT uploaders, who have painstakingly documented such rare gems.
In our next episode in this series, I will present MY Choice of TOP Lata Mangeshkar Solo Songs for 1949.
The world is too small? or Is it? 