Month: October 2017

Carnival of Blogs on Golden Era of Hindi Film Music – October, 2017

Welcome to October, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

October, 2017 is the month of Deepawali. So, ‘Let’s Celebrate Diwali!’ at the very beginning of our present blog carnival posts.

We dedicate our October, 2017 episode to Kundan Shah with a selected few obituaries published in memory of his passing away:

Kundan Shah passes away: How the Jaane Bhi Do Yaaro director served anger with bittersweet laughter – Sita Menon

The one thing that binds all of Kundan Shah’s work is the streak of comedy—of a varied kind | Photo Credit: The Hindu

Kundan Shah (1947-2017): Master of capturing grace in nonsense – Namrata Joshi

So Long Kundan, and Thanks for Inflicting Us With Your Madness and Grace – Sudhir Mishra

Why Kundan Shah’s Later Works Didn’t Match up to His Genius – Subhash K Jha

And then,

Veteran filmmaker and actor Lekh Tandon dies at 88 – Tandon acted in such films as Swades (2004), Paheli (2005), Rang De Basanti (2006), Chennai Express (2013) and Chaarfutiya Chhokare (2014). Among the films he directed were Amrapali (1966), Dulhan Wahi Jo Piya Man Bhaaye (1977), Agar Tum Na Hote (1983), Doosri Dulhan (1984) and Uttarayan (1985). Tandon also directed television serials Phir Wahi Talaash (1989) and Farmaan (1990).

Here is a retrospective Guftagoo with Lekh Tandon :

We will now take up tribute posts:

Ten of my favourite Roshan songs is a (belated) tribute on birth centenary (14th July, 1917) of the music director.

Best songs of Kishore Kumar 1.0  can easily stand up to great popularity of Rafi or Talat or Mukesh songs in the same period. However, it is KK2.0 that is known more because that is when he became undisputed no. 1.

The alternative Kishore Kumar playlist that is just as good as his most popular songs – Rudradeep Bhattacharjee – On the brilliant singer’s 30th death anniversary, a reminder of his offbeat tunes.  We have recaptured these pre-1969 songs here:

Woh Meri Taraf Yun Chale Aa Rahe Hain – Kafila (1952) – Husnlal Bhagatram – Vrajendra Gaur

Chup Ho Jaa Amiron Ke Sone Ki Ghadi Hai – Bandi (1957) – Hemant Kumar – Rajinder Krishna

Chand Chup Chaap Hai Sitare Gum Sum – Daal Mein Kala (1964) – C Ramchandra – Bharat Vyas

Akela Hoon Main – Neela Asman (Unreleased)

It’s Mehmood’s birthday! – At his peak, he was paid more than even the film’s hero. Apart from his own disnctive style of acting, his contribution as producer of films, songs fimed on Mehmood has created a very definite space.

MEHMOOD-The Man Who Taught the Nation How to Laugh! – For a brief period in the 1960s, thanks to him, comedy was king. And Mehmood was the uncrowned King of Comedy. A time came, when he was so much “in demand” that producers approached him, offering him full-length comedy films.

How Hema Malini came to be known as Hindi cinema’s ‘Dream Girl’ – Producer and mentor B Ananthaswami came up with the title for her debut film, ‘Sapno Ka Saudagar’. – Ram Kamal Mukherjee – In the authorised biography Hema Malini : Beyond the Dream Girl, the 1970s and ’80s star looks back on her career highs and lows, her relationship with co-star Dharmendra, and her love for classical dance.

Hema Malini Beyond the Dream Girl

The Divas: Hema Malini presents what can be considered as her definitive work on her 69th birthday.

Rekha before Bollywood: A gawky teenager, a Bond girl – Archana Nathan – The 63-year-old actor began her career in small yet noticeable roles in Telugu and Kannada films.

Many of Lata Mangeshkar’s best songs by Hemant Kumar have ranked in the all-time greats of Lata’s songs.

50 years of FARZ – This film FARZ released on 6th Oct 1967 gave bolllywood the new star Jeetendra, This movie also gave him that Jumping Jack image, and something that he put to good use in loads of movies at least till Gulzar gave him an image makeover with Parichay (1972).

The October 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Shakila in Mohammad Rafi songs.

Here are posts on other subjects as well:

The blockbuster combination of Guru Dutt and OP Nayyar in ‘Aar Paar’ – The 1954 classic is packed with chartbusting songs, from ‘Babuji Dheere Chalna’ to ‘Sun Sun Sun Sun Zalima’. – Rudradeep Bhattacharjee – To Mohammed Rafi’s “Sun Sun Sun Sun Zalima”, Geeta Dutt’s retort is “Ja Ja Ja Ja Bewafa”. Later in the film, when the lovers have their customary tiff, Sultanpuri inventively reworked the lines Ja Ja Ja Ja Bewafa and fashioned a soulful song out of it. Nayyar and Sebastian have kept things simple, slowing down the tempo of Sun Sun… and using minimal instrumentation whilst letting Geeta Dutt do her thing.

Ek Nazar 1951: A Precursor to SD Burman’s Music Trends –S D Burman had had 6 releases – Baazi, Bahar, Buzdil, Ek Nazar, Naujawan and Sazaa. All musically hits, these six films ensured a total of 46 songs in that year. He was composing with a variety of lyricists – Rajendra Krishna in Bahar, Ek Nazar and Sazaa, Sahir in Baazi, Naujawan and Sazaa, Kaifi Azmi and Shailendra in Buzdil, in the immediate footsteps of Shabnam and Mashaal in the previous years. However, in these half dozen musical offerings this year Ek Nazar, is less remembered. Peeyush Sharma presents a very interesting analysis why for a phenomenon that were a precursor to SDB’s hits that would follow later, styles that would evolve and set precedents and experiments that would become the hallmark of the singers.

Ten of my favourite come-hither songs are the songs sung to a single person, not an audience… inviting love (or lust, or whatever interpretation one might want to put on it)….. I have picked up Haaye Mere Ppaas Toh Aa (Shikar, 1968) from the list, simply because it has so young and charming Sanjeev Kapoor being seduced by none other than Helen.

‘Chale Aao’ Songs are the songs that has ‘Chale Aao‘ (‘come at once‘ or just ‘come back‘) as per the situation in the song) in at least initial lines of the mukhada. For one song, those are the last words of the mukhada. Not surprisingly, the list has only one male solo!

My Favourites: Songs of Regret – Hindsight being perfect, we often dissect our past in the hope that we can find answers to that most frustrating of questions – ‘What if?’. Hindi films have a song to fit the occasion.

Karva Chauth In Hindi Cinema – Normally Ham Dil De Chuke Sanam is credited with giving a decorated prominence to Karav Chauth. But there was a fullfledged song, way back, in Bahu Beti 1965 – Aaj Hai Karwa Chauth Sakhi – Asha Bhosle – Ravi – Sahir Ludhyanvi

In 1994 film Chand Ka Tukda a song was picturised in Gujarati style.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?, we continued with the posts on Female Solo Songs by concluding the   first part and the second part  of the solo songs of Geeta Dutt with the third part.  We took up solo songs of Shamshad Begum with part one, two, three and the concluding fourth one. We ended the month with solo songs of Raajkumari. SoY has already published Best songs of 1948: Wrap Up 2 covering the female solos and adjudged Lata Mangeshkar and Shamshad Begum as the joint winners.

We will begin the end of the present post with a post on Mohammed Rafi with legacy of composer Roshan.

We will also listen to two of the great but receded-from-the-memory-songs:

Aise To Na Dekho Ke Bahak Jaye Kahin Hum, Aakhir Koik Insaan Hai Farishta Nahi Hum – Bheegi Raat (1965) – with Suman Kalyanpur – Lyrics: Majrooh Sultanpuri

The song to end the today’s blog-post is one of the most-unlikely Roshan compositions:

Sun Ae Mahjabeen Mujhe Tujhse Ishq Nahin | Dooj Ka Chand (1964) – Lyrics: Sahir Ludhyanavi

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Rajkumari

We now take up the solo songs of female singers whose main body of work falls into the vintage era.

Raajkumari is one of those singers who has left quite profound impact during the transition period from vintage to golden era.  In terms of numbers, her presence in 1948 appears not to be very comparable to the female singers we have covered so far, however that does not take away the charm of her voice.

Woh Puchchate Rahe Ham Haal-e-Dil Suna Na Sake – Aap Beeti – Haribhai – G S Nepali

Mope Daro Na Tirchchi Nazariya, More Anagana Aao Pardesiya – Hua Savera – Gyan Dutt – Bhagwati Prasad Bajpeyi

Char Dino Ka Mela Sajan Jara Balam Jara Mela Dekh Lo – Hua Savera – Gyan Dutt – Bhagwati Prasad Bajpeyi

Deewana Bana Dala Ho Deewana Bana Dala – Rangeen Zamana – Pt. Govind Ram – Pt. Fani

Main to Ho Gayi Deewani Teri Yaad Mein – Satyanarayan – Hansraj Behl – Sevak

Man Mein Laagi Aag Sajanwa Man Mein Laagi Aag – Toote Taare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti

Dukh Ke Dard Ke Maaron Ka Kaun Sune Fasana – Toote Taare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti

Chhota Sa Ye Mandir Hai Kahin Bhool Na Jana – Toote Tare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti

Na Kisi Ka Aankh Ka Noor Hun – Toote Tare – Shaukat Dehlvi (Nashad) – Muztar Khairabadi

The songs for which I could not locate soft link –

Jug-Jug Jiye Ho Lalla Hamara – Aap Beeti – with chorus – Haribhai – Hasrat Lakhanavi

Chhaayee Vrindavan Mein Bhor Utha Ke Ghoonghat Shyam Nisha Ka – Amar Prem – Dattaa Thakar – Mohan Mishra M. A.

Premi Ki Yahi Nishani Raton Ko Neend Na Aaye – Rangeen Zamana – Pt. Govind Ram – Pt. Fani

Main Zoolungi Jhoola Sakhiyo Bolo Kau Jhoolaye Ho – Satyanarayan – Hans Raj Behl – Sevak

In the next episode , we will take up Micro View of Solo Songs of Surinder Kaur.

Carnival of Quality Management Articles and Blogs – October, 2017

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

Our topic for October 2017 is World Standards Day : Each year on 14th October, the members of the International Electrotechnical Commission (IEC), International Organization for Standardization (ISO) and International Telecommunication Union (ITU) celebrate World Standards Day, which is a means of paying tribute to the collaborative efforts of the thousands of experts worldwide who develop the voluntary technical agreements that are published as international standards.

The theme for World Standards Day, 2017 was ‘Standards make cities smarter.’ Sufficient fresh water; universal access to cleaner energy; the ability to travel efficiently from one point to another; a sense of safety and security: these are the kinds of promises modern cities must fulfil if they are to stay competitive and provide a decent quality of life to their citizens.

The winner poster of the 2017 World Standards Day by Reza Rahimian

More about the WSC and Information on previous celebrations (1998-2015) to see all previous World Standards day posters.

Setting standards is the key to building smarter cities: Eswaran Subrahmanian

What are Smart Cities? | Larissa Suzuki | TEDxUCLWomen

How we design and build a smart city and nation | Cheong Koon Hean | TEDxSingapore

Smart Cities – The Untold Story: Mischa Dohler at TEDxLondon City 2.0

Benefits of Smart Cities – #WorldStandardsDay2017 Gabriel Hernández from Mexico is winner of the video contest

We will now turn to our regular sections:

For the present episode we have picked up one article(s) Be Data Literate: Understanding Why Aggregated Data Misleads, Misinforms, Misdirects: Part 1 & Part 2 @ the column Measuring Performance (People & Enterprise) @ Management Matters Network.

Not a day goes by that we are not being subjected to cheating charts, meaningless statistics, improper comparisons, and erroneous conclusions.

Worse, by failing to apply what might be called elementary statistical analysis to a variety of societal and management problems, it’s near impossible to separate a problem’s symptoms from its causes.

To arrive at the definition of the real problem and the development of alternative and effective solutions requires an approach thoroughly grounded in scientific and statistical thinking.

From this point forward, we ask you to internalize this basic truth: Overly-aggregated data misleads, misinforms, and misguides.

For any manager looking to flex their leadership acumen, he or she must not only be able to read data, but have the ability to detect the forces that skew the accuracy of its results as well.

It is called homogeneity.

Simply put, homogeneity of data refers to whether or not the total data set from which measurements were computed conceals important differences between or among what statisticians call “rational subgroups or just plain subgroups.”

To Sum It All Up:

  1. An aggregated performance measurement is of limited diagnostic value.
  2. Through the process of isolating and analyzing variation among relevant subgroups, you can locate the “root cause” of the problem.
  3. Management action is required to deal with the “root cause” of the problem. (A reminder: A decision is not an action. A decision is a good intention. Decisions must be converted into action).
  4. Faulty conclusions and/or policies inevitably flow from a dataset that is not homogeneous with respect to the performance measurement under investigation. In other words, the wrong problem is being solved.
  5. Statistical procedures detect significant variation among subgroups. If significant differences in a performance characteristic (because of thoughtful subdivision of a data set) are found to exist, the reasons for the variation must be investigated and eliminated from the process.
  6. After the “causes” of the variation are discovered and eliminated, the performance measurement under investigation improves.

ASQ CEO, Bill Troy section has one interesting article on how to Apply Design Thinking to Quality Practices.  The subject of Design Thinking calls for a full-fledged post in blog carnival series. So, we will take that up in our November, 2017 issue.

For the present, we continue with the practice of picking up one article form ASQ.org site. For our present edition we will fall back upon a 1991 interview – Statistical Quality Control in World War II Years – by Eugene L Grant [Born: 1897|Died: 1996] that translates important memories into historical documentation…….. Although Eugene L Grant is best known for Statistical Quality Control, his contributions extend beyond the boundaries of the quality profession. Industrial quality control was only one of the areas in which he specialized. He authored books in several other areas, including engineering economy, depreciation, and accounting, and one of those books outsold Statistical Quality Control.

We now watch one of the latest ASQ TV  episodes:

If we search for Likert Scales and Data Analysis on YT, we will find quite a few more informative videos on the subject.

Jim L. Smith’s Jim’s Gems for the month of September, 2017:

Fundamentally, disposition limits are focused on product, not process, control. The decisions they drive are focused on what to do with product that has already been processed through a specific process step or set of steps. The basic decision involved is whether a specific group of product should be allowed to move on for further processing and eventually become finished product worthy to be shipped….

Specifically disposition limits differ from process control limits in three areas.

  1. Disposition limits are applied to a finite group of product that has already been manufactured. Control limits, on the other hand, are applied to the manufacture of current and future operations of a process for variable amounts of time and processed product.
  2. Disposition limits are focused on product control to minimize overall producer and customer costs. Control limits are focused on process control and are ideally determined by appropriately balancing false signal rates with required levels of sensitivity.
  3. Disposition limits and process control limits differ in the amount of risk they impose on a manufacturing operation. It sounds strange but the risk associated with determining the fate of a finite lot of product outside the appropriate limits is often perceived as much less than the risk of determining the fate of the associated process. Something has to be done with the product that has already been produced outside the appropriate limits but that decision is only applied to that finite lot. However, adjusting a process will potentially impact all future product through the affected process step.

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.

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Shamshad Begum [4]

Shamshad Begum’s Solo Songs for 1948 have already spanned 1st, 2nd and 3rd episodes. Some of the solo songs have easily fallen into the Popular Solo Songs category too.

We now take up the concluding part of Shamshad Begum’s Solo Songs for 1948.

Tere Bina Rasiya Mohay Chain Na Aaye – Rangeen Zamana – Pt. Govind Ram – Pt, Fani Khan

Jawani Na Aati Na Dil – Rangeen Zamana – Pt. Govind Ram – Pt, Fani Khan

Tere Bina Zindagi Mere Kis Kaam Ki– Suhaag Raat  – Snehal – Kedar Sharma

Mera Man Ban Phool Phoola Na Samaye Re – Veena – Anil Biswas – Narendra Sharma

Jawani Na Aati Dil Na Ham Lagate – Veena – Anil Biswas – Swami Ramanand

Yahi Tha Agar Vaada Mera Tumhaara – Veena – Anil Biswas – Swami Ramanand

Panchchi Aur Pardesi Dono Nahin Kisi Ke Meeta – Veena – Anil Biswas – Swami Ramanand

Dukhiya Bin Bhikharini Bansuriya Tujhe Pukarti Hai, Nirmohi Bansiwale – Veena – Anil Biswas – Prem Dahelvi

Chali Pee Ke Milan Ko Nan Than Ke Dulhan – Ziddi – Khemchand Prakash – Prem Dhawan

Ek Baat Kahun Ek Baat Kahun Tumse, Bura Na Manoge O Piya – Ziddi – Khemchand Prakash – Nakhab Jarachvi

We will take up Solo Songs of  Rajkumari for the year 1948 in our next episode.

Fading Memories…. Unforgettable Songs: October, 2017

Shakila in Mohammad Rafi songs

Shakila [Born: Badshah Begum – January 1, 1935] the gorgeous, beautiful, and equally talented star of ‘50/’60s, would have attained long-cherished love of Hindi Film fans only for her performance in melodious numbers like Babuji Dheere Chalna, Neend Na Mujhko Aaye and Ae Mere Dil-e-Nadaan. Most of the public media carried fond obituary on her passing away on 20th September, 2017.

In a fairly long career, Shakila acted in over 50 films and had had acted with several top notch actors like Chandrashekhar, Shammi Kapoor, Guru Dutt, Manoj Kumar, Raj Kapoor, Dev Anand, Sunil Dutt, Pradeep Kumar, Jairaj, Vijay Anand, Ajit and last but not the least, her most favorite co-artist/brother-in-law, Johnny Walker!

We dedicate our present episode to Shakila by bringing in her memories through Mohammad Rafi songs, in which she herself acted or is the focus of the song.

We have consciously avoided some songs, like Tum Poochhati Ho Ishq Bhala or Deewana Kahe Ke Aaj Mujhe Phir Pukariye or Sau Baar Janam Lengay or Zumati Hai Nazar Zumata Hai Pyar and the like, that remain very popular as much popular as the female songs filmed directly on her.

Here are some of the representative songs for the day:

Aye Saba Unse Kah Jara – Alibaba And 40 Chor (1954) –  With Asha Bhosle  – S N Tripathi, Chitragupt  – Raja Mahendi Ali Khan

The co-star with Shakila is Mahipal. Rafi and Asha Bhosle are at their usual romantic, carefree best. S N Tripathi (and Chitragupt) have also fully blossomed up to demands of the situation of the song.

Jab Rup Hi Pyasa Hokar Yu, Chhup Chhup Ke Pani Peeyega , To Rup Ka Pyasa Jo Hoga , Wo Phir Kya Peekar Phir Jeeyega – Ratna Manjari (1955) – S N Tripathi – B D Mishra

Many commentators of that period have wondered about the motivation of Shakila to opt for the mythological type, normally dubbed as B or C class films, after the roaring success of Aar Paar. It was probably this choice that took Shakila’s career into an altogether a different orbit.

Janewale O Janewale, Janewale Khuda Ki Rahmato Ka Tujh Pe Saya – Haatimtaai (1956) – with Suman Kalyanpur – S N Tripathi – Raja Mahendi Ali Khan

S N Tripathi had composed some wonderful tunes for seemingly obscure films. Hatimtaai was one such instance.

Duniya Ki Nazar Hai Buri Jhulfein Na Sanwara Karo – Agra Road (1957) – With Geeta Dutt – Roshan – Prem Dhawan

Shakila looks so stunningly beautiful that all that is said in the song about her seems to have been inspired indeed by her looks.

Ek Dil Hamare Pas Hai Nilam Karega, Fir Apne Ghar Me Baith Ke Aram Karega – Chaubees Ghante (1958) – With Asha Bhosle – Bipin Babul – Raja Mahendi Ali Khan

Rafi sounds typically Johnny-Walker-ish style in the delivery of the song. However, we have only audio of the song, so no way to know who had acted Mohammad Rafi’s playback on the film.

Qadam Qadam Pe Bahaare Lutata , Ye Kaun Aayaa Hai Aanchal Udata – Madam X.Y.Z. (1959) – With Lata Mangeshkar – Chitragupt – Prem Dhawan

One more obscure film, and one more obscure song – however music director and lyricists are well known name. Chitragupt probably still had not made his mark till then.

O Kali Topi Wale Zara Naam To Bataa -Kali Topi Lal Rumal (1959) – With Asha Bhosle – Chitragupt – Majrooh Sultanpuri

Much unlike Chitragupt tune! The tune, delivery by both Mohammad Rafi and Asha Bhosle and that wonderful use of harmonica has made the song being instantly likable and capable of being etched into the memory. Shakila also looks stunningly beautiful.

Aji Ab Kehna Maan Jao Tum Hi Bade Main Chhoti – Baraat (1960) – With Geeta Dutt –- Chitragupt – Majrooh Sultanpuri

Chitragupt had profusely used, and that too to a very telling effect, Geeta Dutt in mid50s, before he switched over to Lata Mangeshkar during 60s.  He is credited with highest number of Rafi-Geeta Dutt duets. The song does seem to a shadow parody of Ye Lo Main Haari Piya (Aar Paar) and Achcha Jee Main Haari Chalo Maan Jaao (Kaala Paani).

Zalim Kahna Man Re Chaki Chal Ne Khakar Pan, Qatal Hum Ho Gaye Nainawali Tera Kya Gaya –  Baraat (1960) –  With Geeta Dutt

I am not able resist temptation of putting up one more song from the same film. But this a bhangra song, composed wholly and truly by Chitragupt. And Shakila looks really so beautiful that many youngsters would feel Qatal Hum Ho Gaye, then and even now.

Jab Ghadi Bole Char Gori Karake Singaar Chali Aana Us Paar – Gambler (1960) – With Suman Kalyanpur – Chitragupt – Prem Dhawan

We have one more of a very unlike-Chitragupt light song. Suman Kalyanpur pairing with Rafi this time….

Yeh Rang Na Chhutega Ulfat Ki Nishani Hai – With Asha Bhosle – China Town (1962) – Ravi – Majrooh Sultanpuri

Surprisingly, for many the song falls under the category of ‘not heard before’. The tune is so unlike Ravi, perhaps nearer to N Datta’s style, probably the effect for their association together as assistants to Hemant Kumar !

Hasino Se To Bas Sahab Salaam Door Se Achchi Na Inki Dosti Acchi Na Inki Dushmani Acchi  – Ustaadon Ke Ustad (1963) – Ravi  – Asad Bhopali

We have one more unlikely song – a pure chhed chaad song, which Pradip Kumar seems to carry relatively easily. And even as the song is for a very mischievous mood, it is quite soft as a tune to our ears.

Tunak Tun Tun Bole Jiya  Mera Dil Kho Gaya Hai, Diwana Ho Gaya Hai -Khahin Pyar Na Ho Jaye (1963) – with Lata Mangeshkar – Kalayanji Anandji – Qamar Jalalabadi

This time we have a fastpaced, a bit loud, duet.

Sang Sang Rahenge Tumhaare Ji Huzoor – Mulzim (1963) – With Asha Bhosle – Ravi – Shakeel Badayuni

Ravi’s comfort with Mohammad Rafi is so clearly visible the way the song is composed.

Here is its sad version, a solo by Mohammad Rafi –

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

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

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Shamshad Begum [3]

We continue our micro view of Shamshad Begum’s Solo Songs for 1948 in this episode too.

O Ab Ghar Aa Ja Aa Ja Re Pardesi Balam – Nao – Gyan Dutt – D N Madhok

Meri Kahani Sun Ja O Jaanewale O Jaanewale – Nao – Gyan Dutt – D N Madhok

Muhabbat Mein Dil Ki Khushi – O Jaanewale – Ali Hussain Moradabadi – Kaif Mustafa

Piya Nahi Aaye Mohe – O Jaanewale – Pankaj Mallik

Masti Bahar Ne Mastana Kar Diya – Pugree – Ghulam Mohammad – Shakeel Badayuni

Zamana Beeta Jaaye Haaye Sajan Kab Aaoge – Pugree – Ghulam Mohammad – Shakeel Badayuni

Khushi Jab Rooth Jaati Hai….Nazar Pher Kar Dil Pe – Pugree – Ghulam Mohammad – Shakeel Badayuni

Sawan Ki Ghata Chhaayee Jhar Jhumake Gaa Le – Pugree – Ghulam Mohammad – Shakeel Badayuni

Aye Shaam Ke Taare Tum Unse Yeh Kahana – Rehnuma – Dhumi Khan – Dhumi Khan

Aye Badshah-e-Ali Aye Do Jahan Ke Vali – Rehnuma – Dhumi Khan – Habib Sarhadi

The song for which I have not been able to locate the soft link:

Is Dukhiya Bharat Mata Ke Tum Poot Kahlate Ho – Raees – Monohar Arora – Qaisar Sawai

We will take up the concluding part of Shamshad Begum’s Solo Songs for 1948 in the next episode.

Business Sutra |3.3| Ramayana and Mahabharata

Business Sutra |3| Business Ethics and Morals

In the first episode of the TV serial on CNBC 18, spread over three segments, Devdutt Pattanaik 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. In the first part, a broad spectrum of business ethics and dilemmas of the leader has been covered. In the 2nd Part, a closer look at these issues has been taken up, in the perspective of relationship between owner and the organization. The present 3rd part deals the subject of The Right (Dharma) from two opposing points of view – the Ramayana way and the Mahabharata way.

Business Sutra |3.3| Ramayana and Mahabharata

The treatment of rules-based-principles-compliance (Ramayana-way) and principles-based-rules-compliance (Mahabharata-way) is fundamentally approached at very different levels in the Western world practices and in India’s mythological concepts.

The West seems to lay more emphasis on compliance as the goal of ethical and moral conduct, whereas Indian mythology approaches it as way of life. I have chosen three representative articles that effectively present the current Western thinking on the subject:

The shift from rules-based to principles-based companies : Lynda Gratton has been studying the behavior of corporations for more than three decades. But what she has observed in the past few years has surprised even her. Under the influence of megatrends such as globalization, hyper-connectivity and worldwide financial instability, the professor of management practice at the London Business School has witnessed the erosion of rules-based organizational models and the rise of companies driven by principles.

Principles-Based Regulation and Compliance: A Framework for Sustainable Integrity – To remain competitive and even to survive in this complex and uncertain environment, pioneer thinking and innovation must go beyond product lines and services. They must encompass active evolution and management of the corporate social value proposition. They must engage the engineering and design of compliance systems that grow organically. Essentially, they also must deliver incentives for cultures to take root that are defined by their integrity. In a dynamic risk environment, this all forges a foundation of adaptability and enterprise…. Increasingly, non-market aspects of business – social justice, environmental matters, income equality and the like – have become key components for long-term business success. At the same time, these considerations make business increasingly relational rather than purely transactional.

A 21st century model based on principles, not rules – The need for principles-based governance is fuelled by the pervasive public scrutiny of organisations, a trend that will only increase with advances in social media and technology. There are precious few remaining “dark corners” in which any organisation can operate. The manner in which government acts and business is transacted has been, and will be, transformed. Every organisation’s approach to governance, increasingly, will determine the organisation’s value.

So we quickly take up what Devdutt Pattanaik has to say in Segment 3 of the episode 3 – Ramayana and Mahabharat, as the Indian Mythology’s point of view.

We have discussed Dharma, we have discussed Dharma Sankat. Both the Mahabharata and the Ramayana talk of many different instances of what is the road to Dharma – the principle and what constitutes Dharma Sankat. We have a very interesting question from Ajay Piramal referring to both these great books and what he draws from that.

What are the learnings that we can get to apply in the modern world from the Mahabharata and also from the Ramayana. Sometimes on first reading it looks that there are several contradictions in to what is said in Mahabharat and what is said in Ramayana. Can you just explain that to us?

Ramayana and Mahabharat are both considered History (Itihaas). Itihaas is conventionally translated as history but what it actually means it is a tense agnostic term – which means so it was, so it is and so it will be. That means it is timeless. Second is the context of Ramayana and Mahabharata. They exist in two different contexts. So they cannot be seen as equals. That is the mistake the Western mind forces us to look at them that way.

West is obsessed with standardization, but our way is according to tastes – one is that of Dwapar Yug and the other is that of Treta Yug. Treta is the earlier, innocent, phase of the organization whereas Dwapar is the later, a little darker, phase in the life of the organization, which is slightly more corrupt.

Let us revisit the principal of Dharma again:

Now let’s do a simple 2 by 2 matrix to understand the Ramayana – Mahabharata:

You have rules on one side – the rules are followed or the rules are not followed. We have the principle (Dharma) on the other side – Principles are upheld or are not upheld.  Now look at the Ramayana – in Rama, Dharma is upheld and rules are upheld at the same time. Everything is about others, even, almost always,s at the cost of oneself. So it is misery in forest and misery in case of palace. His opposite is the great alpha male which somehow people seem to like today. That tells you about the times. He is Ravana. No Dharma no rules; no rules no Dharma. Your wife is my wife.  and I’m an animal. Even my son dies I will not let go of my little toy, my brothers die I will not let go of my little toy. That is Ravana.

Now look at the same thing – rules are broken, bent. Krishna always keeps bending the rules, breaking the rules but the principle is intact. It is always for the other. Now let us look at the most favorite character Duryodhana. He never breaks the rule but he’s constantly violating the principle – he is holding the letter of the law never the spirit of the law. Left side is the spirit, right side is the letter. The Top Left is the belief, whereas Bottom Right is the behavior.  He is Pretender.

Where does Yudhisthira fit in all of this?

Yudhisthira is someone struggling to be Rama, he moves from Ravana square to Rama square – this is the journey of Yudhisthira, with the help of Krishna. His honesty is about rules, not realizing it is all about rules as well as about principles. Mahabharat is the story of focus on the principle. When a woman is being disrobed, everybody discussing legal matters- is it okay or not okay to disrobe her. Bhishma and Drona watching a woman being disrobed and they are supposed to be very educated people and they are not doing anything this in the matter.

That brings me to a very interesting issue. You said that the Ramayana comes from an older age of more innocence whereas the Mahahabharat comes from a darker, newer, age.

Mahabharat represents a more matured organization, whereas Ramayana represents a very early phase organization, which has just tasted success. Everything is right – market is right. The principles have just been created. So it’s exciting and new, people are not smart enough to subvert it yet.

In the case of a mature organization, people have started forgetting the principles, now it is a slightly more rule focused organization.

The principles have been forgotten, rules have become more important. It has become bureaucratic. For a bureaucrat, letter of the law matters, not the spirit of law. Like any bureaucracy all the rules upheld but people still don’t have food. So the principle is forgotten the woman is disrobed but nobody is arrested.

People want Ram. So, the rules are created. But rules do not make Ram.

In our next session, we will take up the 4th episode – The Conflicts – in this Devdutt Pattanaik’s TV serial Business Sutra.

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.

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Shamshad Begum [2]

Last week we listened to 1st part of 1948’s solo songs of Shamshad Begum. This week we listen to the Part Two.

Popular solo songs

Mohan Ki Muraliya Baaje Sun Thes Jiya Paae Re – Mela – Naushad – Shakeel Badayuni

Taqdeer Bani Ban Kar Bigadi, Kismat Ne Hamein Barbaad Kiya – Mela – Naushad – Shakeel Badayuni

Dharati Ko Aakash Pukare  Aa Ja Aa Ja Prem Dware – Mela – Naushad – Shakeel Badayuni

its Duet version with Mukesh –

Pardesh Balam Tum Jaaoge Kaho Mere Kasam Kab Aaoge – Mela – Naushad – Shakeel Badayuni

Garibon Pe Jo Hoti Hai….Gham Ka Fasana Kisako Sunaun – Mela – Naushad – Shakeel Badayuni

Other Solo Songs

Waah Ri Duniya Waah Re Zamane Apane Ho Gaye Begane – Grihasthi – Ghulam Mohammad – Wahid Qureshi

Aaj Ik Jugnu… Chamka Mere Jeevan Ke Andhiyare Mein – Grihasthi – Ghulam Mohammad – Wahid Qureshi

Aai Piya Ke Desh Dulhaniya…. Sambhalo Sambhalo Pag Dharati Aaj – Grihasthi – Ghulam Mohammad – Wahid Qureshi

Bhaiya Mora Alabela O Bhabhi Dil Ko Sambhalana – Grihasthi – Ghulam Mohammad – Wahid Qureshi

Haar Gayee Neha Lagae Na Aaye Piya, Badal Gharaze Jhoom Jhoom Ke – Kajal – Ghulam Mohammad –

Badi Badi Paati Likhwaia, Mera Nanha Man – Khidki – C Ramchandra – P L Santoshi

Lafjhon Ko Rok Liya Par Aah Ko – Mitti Ke Khilone – Hansraj Behl – B R Sharma

Bhool Gaye Kyon Rooth Gaye Kyon – Mitti Ke Khilone – Bulo C Rani – Pt. Indra

Ghar Yun Hi Satana Tha Pahele Hi Bata Dete – Mitti Ke Khilone – Hansraj Behl – B R Sharma

Pyar Kiya Tab Jaana Ho Jaana Re – Mitti Ke Khilone – Bulo C Rani – B R Sharma

Dil Se Tera Khayal Na Jaae To Kya Kare – Mitti Ke Khilone – Bulo C Rani – B R Sharma

The songs for which I could not locate the soft links:

  • Lage Na Mora Jiya Aao Na Balma – Grihasthi – Ghulam Mohammad – Wahid Qureshi
  • Tu Le Chal Mujhko Apane Saath – Hip Hip Hurray – Pt. Hanuman Prasad – H S Nepali
  • Hamein Bhi Koi Yaad Karata To Kitana Achcha Hota – – Khidki – C Ramchandra – P L Santoshi

We will continue with Shamshad Begum’s Solo Songs next week too…….

 

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Shamshad Begum [1]

In terms of range of music directors, nature of songs and ranking on the commercial success, solo songs of Geeta Roy also seem to follow the pattern that of solo songs of Shamshad Begum seems to follow. However, Shamshad Begum was probably more established by 1948 and can be considered to be one of those female playback singers of vintage era who has a very firm footprint in the golden era as well.

However, before we draw any inference, let us first listen to the representative songs.

[1]

We have listened to the solo songs of 1948 of two of the other- Lata-Mangeshkar female playback singers – Suraiya and Geeta Roy. We will now listen to the third one – Shamshad Begum – who also spanned quite prominent presence into transition phase of the end of vintage era and the beginning of the golden era.

Kahe Koyal Shor Machaye Re, Mohe Apna Koi Yaad Aaye Re – Aag – Ram Ganguly – Bahzad Laukhanavi

Dil Toot Gaya Jee Chhoot Gaya Kismat Ne Mita Kar Rakh Diya – Aag – Ram Ganguly – Bahzad Laukhanavi

Na Aankhon Mein Aansoo Na Hothon Pe Haaye – Aag – Ram Ganguly – Bahzad Laukhanavi

More Aangan Balam Ka Murgha Bole – Actress – Shyam Sundar – Raja Mahendi Ali Khan

Majanu Bane Hai…Dil Mein Rahate Hai – Actress – Shyam Sundar – Nakshab Jarachavi

Mohabbat Mein Yeh Akhari Sadama Uthana Hai – Actress – Shyam Sundar – Nakshab Jarachavi

More Raja Mujhe Le Chal …..Ham Ko Bhi Bithana Babu –Actress – Shyam Sundar – P L Snatoshi

Nazar Mil Gayee Jane Kisaki Nazar Se – Anokhi Ada – Naushad Ali – Shakeel Badayuni

Aaj Kahan Jaa Ke.. O Aaj Kahan Jaa Ke Nazar Takaryi – Anokhi Ada – Naushad Ali – Shakeel Badayuni

Haal-e-Dil Kisa Ko Sunaun,  Razadan Koi Nahi Mera, Maherban Nahi Koi Mera –  Anjuman – Bulo C Rani – Majrooh Sultanpuri

Kaise Aankhon Se Chhupa Ke, Aa Gaye Tum Dil Mein – Anjuman – Bulo C Rani – Majrooh Sultanpuri

Mere Hothon Par Hansi Hai Aajkal – Anjuman – Bulo C Rani – Majrooh Sultanpuri

Phir Mere Dil Mein Woh Aane Lage, Ha Ha Jaane Lage– Anjuman – Bulo C Rani – Majrooh Sultanpuri

Fariyaad Meri Sun Le O Aasmaanwale – Ghar Ki Izzat – Pt. Govindram – Ishwar Chandra Kapoor

Baali Umar Piya More More More Jiyara Na Lage Jab Se Dekha Hai Tumhe – Gopinath – Ninoo Majumadar – Ram Murty

Aayee Sawan Ki Rut Hamar Dagamag Dole Jiya – Gopinath – Ninoo Majumadar 0 Ram Murty

Bahutero Samjaayo Ri Laakhan Baar Baar – Gopinath – Ninoo Majumadar – Ram Murty

I could not locate a soft audio or video version of the songs:

O Door Base More Saajana, Paas Chale Aa – Ek Aur Aurat – Gopen Mallik, Harbakhsh Singh – B R Sharma

We will continue with second batch of Shamshad Begum’s Solo songs of 1948 in our next episode.