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

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

We recall film Samrat (1954) song Sabko Mubarak Naya Saal to open our January, 2018 account of the 6^th year of our Film Song Blog Festival.

SoY has also presented It’s prose, It’s recitation, It’s a song to mark the New Year. The post has very simply presented dialogues delivered in a sing-song style, which was a characteristic of the Parsi theatre in which there was no clear distinction between dialogue-recitation-song. For example:

Tu Dil Ka Khuda Rooh Ka Kirdagaar by Mohammad Rafi (?) from Parda (1949) – Lyrics: Tanveer Naqvi, Music: Sharmaji – which HFGK lists it as a ‘song’.

The tributes in January, 2018:

Tum Kya Jaano Tumhari Yaad Mein: Lingering Melodies of the Versatile C Ramchandra – Peeyush Sharma pays tribute on 12th January 1918 being the 100th birth anniversary of the affable genius CR….Albela (1951) has a double role by Bhagwan, in which one of the roles was of an established singing theatre artist who inspires our hero Bhagwan to become a singing star. In the smaller role of the theatre artist it was Rafi lending his voice while Chitalkar was the voice of the hero when he hits stardom. This idea was borrowed by director, H.S. Rawail in Shararat, 1959 where he had two Kishore Kumars. Having one Kishore sing in his own voice (Hum matwale naujawan), he got the second Kishore sing, Ajab hai dastan teri ae zindagi, in Rafi’s voice……

Contrary to popular belief, Mohammed Rafi registered his first all India hit under CR’s music direction in Safar, 1946…. The song was Keh ke bhi na aaye tum, ab chhipne lage tare. CR had the conviction to give Rafi two solos in the film and they worked well (other one was Ab wo hamare ho gaye, ikeraar karen ya na karen). Rafi’s next major hit too came from CR, next year in Saajan, in which the main attraction was the Rafi song, Humko tumhara hi aasra, tum hamare ho na ho. The song had already gained a hit status. It also had a duet version by Rafi with Lalita Dewoolkar.

Chitalkar Ramachandra Sings: Ten Songs – Unlike SD Burman’s instantly recognizable voice, Chitalkar’s was a little more elusive—to the average listener, he can be recognized at times, but more often than not, he sounds like someone else altogether…

The Greats: Geeta Bali – She was also the love of Shammi Kapoor’s life (you can listen to him talking about her here) – they met while acting in films like Miss Coca Cola and Coffee House, and fell in love with each other during the shooting of Rangeen Raatein.

Rahen Na Rahen Hum, Mehka Karenge . . . is a tribute to Suchitra Sen who was always in a league of her own and will remain so in the history of Indian cinema.

Poet and lyricist Neeraj: ‘Poetry has kept me intoxicated throughout my life’ – Aditya Sharma – Gopaldas Saxena ‘Neeraj’, who imparted his distinctive flavour to Hindi film songs in the late 1960s and early ’70s, turned 93 on January 4.

Neeraj (far right) at a recording with SD Burman (far left). Courtesy Milan Prabhat Gunjan.

Vijay Anand – A Committed Filmmaker – who knew the language of making of the film song and presented it in the form of very visual poetry:

N Dutta’s film tunes are not heard as widely but they should not be forgotten – Rudradeep Bhattacharjee – Amongst his earliest songs, Ab Woh Karam Karen Ki Sitam (Marine Drive); Yeh Baharaon Ka Sama (Milap) and Maine Chand Aur Sitaron Ki Tamanna Ki Thi (Chandrakanta, 1956) stand out…Remember the classic Tu Hindu Banega Na Musalman Banega ?. The same melody had been used by the composer earlier for Kya Kya Na Sitam Tujh Pe Huye (also sung by Rafi) in the lesser-known Nirupa Roy tear-jerker Mohini (1957).

Dattaram Naik with Mohammed Rafi. Courtesy : Roop Naik

N Datta with Asha Bhosle and the violinists

N Datta – A Tribute – N Datta was at home with classical based songs (though less in number) as well as club songs, where he used all the forms from Rock N Roll to Waltz. We have picked up a couple of representative songs in the end of our post. He has also composed patriotic songs, ‘Sare Jahan Se Achha‘ from Bhai Behen is one of the examples,

Talat Mahmood Was the First Voice of Shammi Kapoor not Mohd Rafi !!! in his movies like “Thokar”, “Memsahib”, “Naquaab”, “Sipah Salar”, “Mehbooba”, “Chor Bazaar”,”Laila Majnu” and “Mohar”

Lata sings for Chitragupt in what can be termed as an endless list of some of the sweetest songs. Here is one example:

Diwane Hum, Diwane Tum, Kise Khabar – Bezubaan (1962) – Lyrics: Prem Dhawan

The Great Biopics Of Bollywwod is a read on some of the greatest biographical movies made of time.

January, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to : Jaidev: Brilliant, But Underrated, Composer: Journey from 1955 to 1963.

And, now the posts on other subjects:

‘Toone Zindagi Me Ek Baar Pi’ – Bahadur Sohrabji Nanji has had a duet ‘Dekhoji Baat Suno Humse Tum Aan Milo’ with Mubarak Begum for M A Rauf composed movie Basera (1950)…. He played the Harmonium for Shankar Jaikishan for Seema (1955)’s song ‘Humen Bhi De Do Sahara Ki Besahare Hain’ and Dil Ek Mandir (1963)’s song ‘Yaad Na Jaaye Beete Dinon Ki’. He also played the piano for Seema’s song ‘Suno Chhoti Si Gudiya Ki Lambi Kahani’ and Organ for ‘Kahaan Jaa Raha Hai Tu Ae Jaane Waale’ …. He also worked with Roshan as assistant and arranger for 16 movies

Baar Baar Din Ye Aaye, Tum Jiyo Hazaaron Saal … is a list of some of the good birthday songs.

Of Whiners and Doormats – the predominant emotion here is either an exultation of their martyrdom or a deep mourning of their fates, to fit the twin (complementary) themes of self-abnegation and self-pity, like in a song:  Mujhko sahara denewale – Isi Ka Naam Duniya Hai (1962) – Asha Bhosle – Ravi – SH Bihari

Music Has No Boundaries: 7 Indian Songs That Became Huge International Hits – Sanchari Pal  – Jimikki Kammal isn’t the first song from India to become a global hit. These 7 Indian songs went viral across the globe before ‘going viral’ was a thing!

Returning To: Padmini’s Navarasa, Classical Dancing to Sia, and Bollywood Raag Yaman (plus) – The teacher in this video, Anuja Kamat, gives a detailed explanation about what makes these songs Raag Yaman, what notes and sequences Raag Yaman contains, and the variation called Raag Yaman Kalyan

Nuptials in Bollywood is an outstanding collection of songs of different hues the marriages in Hindi Films.

Looking for romance and finding RD Burman in ‘Jaane Ja’ from ‘Jawani Diwani’ – Nandini Ramnath says the song is a singing lesson from Kishore Kumar and Asha Bhosle.”As Vijay sings about hunting high and low for his beloved, Kumar’s voice climbs several octaves while Bhosle occupies the lower depths. Bhosle has barely any lines, but this is no Kishore Kumar solo. The singers are perfectly matched, proving Burman’s unmatched ability to orchestrate magic out of differently pitched voices, complex arrangements and wide-ranging musical instruments.”

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are? , during the month we have viewed  Male-Female Duets of Other Singers in Part I and II, Female-Female Duets and Male- Male Duets & Triads, Triads+

In our tradition of ending our post with article or topical song, I have picked up N Datta’s songs that manifest his virtuosity over western tunes:

Laal Gaal Jaan Ke Lagu, Chor Chor Bhag Pardesi Babu – Mr X (1957) – Majrooh Sultanpuri

One Two Three Four Dil Ka Tu Hai Chor – Black Cat (1959) – with Suman Kalyanpur – Jan Nissar Akhtar

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

The Micro View of the Songs of 1948 @ SoY – The Duets – Male-Male Duet & Triads, Triads+ Songs

Male-Male Duet Songs

While remaining an essential variant of the duets, male-male duets has neither been a popular format nor been an easy one to compose. We have only two male-male duets for the year, essentially with chorus support.

Mohammad Rafi, Khan Mastana, Chorus – Watan Ki Raah Mein Watan Ke Naujawan Shaheed Ho – Shaheed – Ghulam Haider – Raja Mahendi Ali Khan

Mukesh, Shailesh, Chorus – Rab Mere Araj Sun Meri, Sharan Ab Teri – Aag – Ram Ganguli – Saraswatikumar ‘Dipak’

Triads, Triads+

1948 has quite a fairly large selection of triads or triad+ songs. All of the songs that could be listed form HFGK do not have digital link on the most of the otherwise rich reference platforms.

Popular TRiad Song

Mohammad Rafi, Chitalkar, G M Sajan, Chorus – Aji Khushiyan Manae Na Kyon Hum , Ham Kise Se Kyun Dare, Kismat Hamare Sath Hai, Jalanewale Jalanewale Jala Kare – Khidki – C Ramchandra – P L Santoshi

Its all female version – by Shamshad Begum, Lata Mangeshkar, and Mohan Tara – was equally popular.

Other Triads, Triads+ Songs

Shamshad Begum, Lata Mangeshkar, Unidentified voice – Hello Hello Gentleman, Milate Nahi Kyun Ham Se Nain – Actress – Shyam Sundar- Raja Mahendi Ali Khan

Moahammad Rafi, Chitalkar, Shamshad Begum – Aji Mera Bhi Koi Haal Suno,.. – Khidki – C Ramchandra – P L Santoshi

Lata Mangeshkar, Geeta Roy, Chitalkar – Tere Bina Suna Suna, Man Ka Mera Anagana  – Khidki – C Ramchandra – P L Santoshi

Suraiya, Surinder Kaur, Meena Kapoor – Kabhi Panabhat Pe Aaja Mere Sapno Ke Raja – Pyra Ki Jeet – Husnlal Bhagatram – Rajendra Krishna

Suraiya, Surinder Kaur, Meena Kapoor – Rut Rangeeli Hai, Suhani Raat Hai, Tum Chale Aao To Kya Baat Hai  – Pyar Ki Jeet – Husnlal Bhagatram – Rajendra Krishna

Mohammad Rafi, Shamshad Begum, Sulochana  Kadam  – Chalo Jamuna Ke Paar – Lal Dupatta – Gyan Dutt – ?

Chitalkar, Lalita Deulkar, P Chandar, S L Puri – Kathawa Ke Nayaa Banaihe Hai Re Malhawa, Nadiya Ke Paar Tej Dhar– Nadiya Ke Paar – C Ramchandra – Moti B A

We will take up the concluding part of the Duet Songs of 1948 in our next episode.

Carnival of Quality Management Articles and Blogs – January, 2018

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

We open account of 6^th year of our Blog Carnival with the present January, 2018 episode with Law of Opposites.

The first ever reference would naturally be to the Newton’s Third Law: To every action there is always opposed an equal reaction; or, the mutual actions of two bodies upon each other are always equal, and directed to contrary parts.

In respect of the applied sciences, the Principle of Opposites finds a very respectable and important mention on the Carl Jung’s treatises of Analytical Psychology. Jung described the operation of psyche in terms of three principles. He states that in terms of The Principle of Opposites, the energy of the psyche comes from the contrast between two opposite thoughts or desires, and then in terms of The Principle of Equivalence If you acknowledge your opposite thought, the energy is used to help your psyche grow; if you deny it, the energy goes into a complex that develops around an archetype.. This is followed by The Principle of Entropy, which in effect states that in the case of the psyche, as we grow older, extreme differences, such as masculine and feminine, become less extreme and we better acknowledge or “transcend” the opposite tendencies in us leading to a more balanced and stable personality….Thus, according to this model, the goal of life is to transcend the opposites within one’s psyche and develop a balanced personality or self, in which every aspect, conscious and unconscious, personal and collective, is expressed and harmonized.

The Law of Opposites, in the simple terms, states that no sooner will you call something into your reality than its exact opposite will also appear-and always first.

Law of Opposites – Dr. Mahboob Khan :  “Conversations with God” states, “The moment you declare anything, everything unlike it will come into the space.” This is known as the law of opposites.

The law of opposites presents the perfect opportunity for us to take full responsibility for our choices. All too often we choose the smaller choice, the painful yet comfortable choice, instead of pushing back on our craving.

So what is this law of opposites and why does it appear to conflict with the law of attraction, you may ask?  The law of opposites is simply providing a contextual field for our true desires to be experienced. We cannot know the joy and the power of stepping into a new creation without the resistance that this law provides.  Life is meant to be experienced, and the only way to do so is for the opposite of our desires to be present to show us the way. The application of this knowledge is crucial in overcoming addiction, obsessions, and compulsions. Why? It requires that one put faith in something outside of themselves. We must first believe that what is working for others can work for us. Then we have to put trust in something that is unseen.  When we experience the reward of this blind faith, we begin to build upon it.

Appreciating The Law of Opposites To Manifest What You Want … Here are seven tips:

1. Bless the experience and say thank you.
2. Be open to uncover any subconscious beliefs and programs potentially contributing to what you are experiencing that are ready to be healed, released, and replaced.
3. Listen to your inner wisdom and guidance for clarity and perspective. It is the Gift of Wisdom that helps us to discern the difference between being up against a wall or at the entrance to a doorway.
4. Allow your curiosity and wonder to guide you to a more joyful experience. Unleash the power of your imagination to dream of possibilities and opportunities on the horizon.
5. Put your attention on all the gifts and blessings in your life. Gratitude is a powerful attitude shifter that moves us from a state of constriction to expansion.
6. Remind yourself that the Law of Opposites exists to light the way to your desires. Monitor your thoughts and judgments so that you see and feel the truth rather than react to the story and illusion you are creating in your mind.
7. Use your spiritual practices to stay connected to your heart and The Divine. Choose to do things that bring you joy. Reach out to the people who love and celebrate you.

The Important Law of Opposites .. Don’t be scared of what you don’t want…instead use it as a tool to get crystal clear on what you do want and start taking inspired action toward it.

The Law of Opposites—How Backward Thinking Can Change Your Life : The Law of Opposites says that I can always make a bad situation better by inputting positive energy into it as opposed to negative.

After these articles that explore various soft aspects of the Law of Opposites, we get a direct reference to the world of business:

Law 9 of The 22 Immutable Laws of Marketing : Law of opposite:

If you’re shooting for second place, your strategy is determined by the leader.

Leverage the leader’s strength into a weakness.

Don’t try to be better than the leader, try to be different. E.g. By offering ‘free’ voice and SMS bundled with 4G data, Reliance Jio threw out the pseudo-competition rule book the existing warlords of the mobile service arena in India.

Sounds correct although doesn’t apply to those who do have ambitions to overtake the leader (e.g. Excel killed Lotus 1-2-3 by being a better spreadsheet, not a different spreadsheet).

We will now turn to our regular sections:

For the present episode we have picked up Maximizing Opportunity (Not Profits) Is The Name Of The Game @ the column The Drucker Perspective @ Management Matters Network, which provides a unique opportunity learn from business masterminds and become a more effective competitor.

We now watch one of the latest ASQ TV  episodes:

• Quality and Technology talks about how quality and technology can be woven together. Author Sunil Kaushik has found ways to use virtual reality applications to enhance current processes. Bill Hathaway says agile process helps process design keep up with technological advances.

 + “Virtual Reality for Quality”, Sunil Kumar V. Kaushik, 2017

 + Full Interview with Bill Hathaway

Jim L. Smith’s Jim’s Gems postings for December, 2017 are:

• Power To Achieve: Benjamin Franklin was the first to say, “By failing to prepare, you are preparing to fail.” Therefore, failure becomes the default option to success…Once we clearly commit to a specific target; our mind uses feedback, just like GPS, to keep us on track. This feedback, positive and negative, coming from our internal and external surroundings is used to adjust our behaviors and actions…It’s important to have a clear vision of your target. Once that’s done, set milestones to help you achieve your target, and assess your progress. Write your plan down so your path is well-defined but remain flexible
• Self-fulfilling Prophecy: We cannot alter the situations because we have little control over what is happening; however, we can change how we react to it…The self-fulfilling prophecy, however, can be pointed in a different direction. Something as simple as a sincere greeting or a heartfelt smile can defuse tension – in you as well as in the receiver. It can also be very contagious!.. Be prepared for frustrations and challenges but meet them with a positive attitude.

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.

The Micro View of the Songs of 1948 @ SoY – The Duets – Female Female Duets

When I sort-listed female-female duets for 1948 from HFGK, the number worked out to be reasonably large. However, I could not find digital soft version on the net for almost half of them. Therefore, the songs that I could find YT link can be taken as fairly well-known to those who have good knowledge and interest of vintage era songs. From the perspective of my limited knowledge and interest of the songs of that era, I also found listening to these songs quite interesting.

Shamshad Begum + Geeta Roy – Oh Gori Tera Banka Chhaiya Jeet Ke Aaya Jang – Actress – Shyam Sundar – Raja Mahendi Ali Khan

Shamshad Begum + Geeta Roy – Ankhon Ankhon Mein Dil Se Dil Ki Baat Kah Gaye – Actress – Shyam Sundar –

Amirbai Karanataki + Rajkumari – Basant Chhaya Charon Aur, Ho Chhaya Charon Aur – Amar Prem – Datta Thakor – Mohan Mishra, M A

Shamshad Begum + Geeta Roy – Pyari Tera Mera Mera Tera Pyar – Anjuman – Bulo C Rani – Majrooh Sultanpuri

Lata Mangeshkar + Ira Nagarath – Aye Dil Meri Wafa Mein Koi Kasar Nahi Hai – Anokha Pyra – Anil Biswas – Shams Azimabadi

Geeta Roy  + Sulochana Kadam – Chanda Ki Chandani Hai  Mauj Hai Bahar Mein – Chanda Ki Chandani – Gyan Dutt – D N Madhok

Shamshad Begum  + Johrabai Ambalewali – Baag Mein Koyaliya Yahi Gaye Re – Ghar Ki Izzat – Pt. Govind Ram – Ishwar Chandra Kapoor

Shamshad Begum + Hamida – O Motorwali Chhori, Dil Leja Chori Chori – Grihasthi – Gulam Mohammad – Shakeel Badayuni

Shamshad Begum + Surinder Kaur– Meri Phool Bagiya Mein Aayee Hai, Lo Aayee Hai – Lal Dupatta – Gyan Dutt – Manohar Khanna

Lata Mangeshkar + Geeta Roy – Gori Sakhiyon Se Akhiyan Churay Rahi Hai – Majboor – Gulam Haider – Najim Panipat

Geeta Roy + Rajkumari – Room Zoom Matwale Kale Badal Chhaa Gaye, Balam Ji Teri Yaad Dila Gaye – Suhag Raat – Snehal – Kedar Sharma

Geeta Roy + Rajkumari – Baaji Mori Payal Thunnak Thunnak Suno Ye Sandeshva – Suhag Raat – Snehal – Kedar Sharma

Geeta Roy + Rajkumari – Kis Paapi Sang Ulazi Akhiyan Haye Akhiyan Maine Ro Ro Gavayee – Suhag Raat – Snehal – Kedar Sharma

Shamshad + Geeta Roy – Mere Dil Ki Dhadakano Mein Sakhi Kaun Aa Samaya – Suhag Raat – Snehal – Kedar Sharma

We will take up male-male duets and triads & triads+ in our next episode.

Fading Memories…. Unforgettable Songs: January, 2018

Jaidev: Brilliant, But Underrated, Composer: Journey from 1955 to 1963

Jaidev (a.k.a.  Jaidev Varma; B: 3 August 1919 – D : 6 January 1987) one hand is the only music director of Hindi Films to have been awarded three national awards and on the other hand the fate, machinations and his propensity for blending classical and folk music into his tunes getting him branded as “too arty” eluded the commercial success. In his entire career, he may not have scored songs for more that 30-40 films (around 100 songs), but he does remain enshrined in the very fond deeper recesses of connoisseur Hind Film fans.  His one of the greatest songs, Raat Bhi Hai Bheegi Bheegi”’s  Sahir’s lyrics probably very easily sits as an apt metaphor:

“Tapte dil par yoon girti hai
teri nazar se pyaar ki shbanam
teri nazar se pyaar ki shbanam
jalte huye junglel par jaise
jalte huye jungle par jaise
barkhaa barse ruk-ruk tham-tham
barkhaa barase ruk-ruk tham-tham”

(Your gaze falls on my red-hot heart like drops of dew just as the halting rains fall over jungle fire…)

Use of harmonium, clarinet and tabla in the song very loudly underscores his brilliance par excellence. In fact, in his first ever exposure to Hind film music world, as an assistant to Sarod Maestro Ali Akbar Khan in Chetan Anand directed Aandhiyaan (1952), he gets a special mention for playing surmandal in the background music.

Probably his musical brilliance and lack of motivation and skills to commercially market it consigned him to such other underrated stars as Sajjad Hussain or Madan Mohan.

We have remembered here songs for his first film as an independent director to probably his last commercially successful film in this first stage of refreshing our memories of the songs that epitomize his sheer brilliance.

Joru Ka Bhai (1955)

Kabhi Bhula ke Kabhi Yaad Aake Pooch Liya, Ye Kya Kiya Mujhe Apna Bana Ke Loot Lliya – Kishore Kumar, Balbir, Shamshad Begum and chorus – Lyrics: Vishwamitra AdilThis was the only film wherein Jaidev has used Kishore Kumar as well as Shmashad Begum.

There appears to be another version of the song as well:

Shamshad Begam, Kishore Kumar and chorus. –

Naina Kahe Ko Lagaye.. Hum Sang Naina Kahe Ko Lagaye – Asha Bhosle – Lyrics: Vishwamitra Adil

Jaidev has used Asha Bhosle for some of the equally outstanding songs as his songs of Lata Mangeshkar. THowever, not many of his Asha Bhosle songs did not attain as much success as those of Lata Mangeshkar. For example: The twin song penned by Sahir Ludhyanvi– Subah Ka Intezar Kaun Kare in Lata Mangeshakr’s voice and Teri Zulfon Se Pyar Kaun Kare in Talat Mahmood’s voice

Samundari Daku (1956)

Dil Jawaan Hai Aaarzoo Jawaan, Ek Nazar Idhar Bhi Meharbaan, Kab Talak Ye Hamse Berukhi, Kab Talak Rahegi Chup Jubaan – Talat Mahmood, Asha Bhosle – Lyrics Vishwamitra Adil

This is one of Jaidev’s very rare compositions based on western style tune. Talat Mahmood has been known for singing romantic songs of melancholic mood He has been as effective in this happy romantic song too.

Talat Mahmood has rendered this song as a solo version too.

Sama Pyaara Hai….Din Hain Bade Kaam Ke, Aana Aise Mein Dil Ko Zara Thhaam Ke -Asha Bhosle, S Balbir –  Lyrics-Vishwamitra Adil

Here is the song that is based on some Punjhabi folk rhythm.

Anjali (1957)

Kunj Kunj Gunjan Bhanware Ka. . . Buddham Sharnam Gachchhaami – Mohammed Rafi- Lyrics:– Nyay Sharma

Jaidev has very creatively used Lata Mageshkar in the aalaap at the beginning of the song.  The song then follows the Sinhalese original version with all subtle variations in the way song is delivered at different layers.

Aside:

The song that would probably come to our memory first would be Anil Biswas Meena Kapoor – Manna Dey composition from Angulimal(1960) : Buddham Saranam Gachhami , when we first see the key lyrics Budhdam….

[N.B.: By any means, I have not presented this song for any sort of comparison between the two songs or any music aspects thereof.]

Lo Chori Pakdi Gayee – Asha Bhosle, Sudha Malhotra, Usha Mangshkar, Meena Mangeshkar – Lyrics: Nyay Sharma

As simple tune and orchestration as the one here has a variation in the beginning of each antara. Nonetheless, the earthen sweetness befitting the situations – four friends going about their domestic chores – of the tune remains intact.

Raat Ke Raahi (1959)

Two out of five songs have been composed by Jaidev. The other three were composed by Bipin Babul.

Pau Baarah Pau Baarah Pyaar Mein Pau Baarah – Asha Bhosle – Lyrics: Vishwamitra Adil

Commensurate with meanings of the lyrics,the song manifests the energetic tempo and mood.

Hum Dono (1961)

Perhaps, commercially the most successful film in so far as popularity and critics acclaim for Jaidev’s musical score. However, he was on some meagre payroll of Naketan when he had composed the songs.  The commercial success of the songs too came up as big roadblock to Jaidev’s career graph. It is said that, for Navketan’s next film he already had composed two songs, but the inner wheels so moved that he was summarily shown the gates, forever.

Prabhu Tero Naam,Jjo Dhyaaye Phal Paaye, Sukh Daaye Tero Naam – Lata Mangeshkar – Lyrics: Sahir Ludhyanvi

For various reasons, the other bhajan “Allah Tero Naam, Ishwar Tero Naam’ has been  the more heard one of the two.

Kinare Kinare (1963)

The film had 11 songs of which only 5 or 6 were retained on the final editing table, and this 11^th song is just out of the box:

O Mast Nazar Tu Chaahe Agar – Vinod Desai -Lyrics: Nyay Sharma

And the two songs from the other 10 gems:

Chale Ja Rahe Hain Mohabbat Ke  Maare Kinare Kinare – Manna Dey – Lyrics: Nyay Sharma

This song has been considered to be one of the greatest solo song of Manna Dey.

Teri Tasvir Bhi Tujh Jaisi Hasi Hai Lekin, Is Pe Kurban Meri Jan-e-Hazin Hai Lekin,, Ye Meri Jakhm-e-Umango Ka Madaawa No Nahi – Mohammad Rafi – Lyrics: Nyay Sharma

A complicated poetry that Jaidev has so subtly translated into a soft song.

Mujhe Jeene Do (1963)

A film from a big banner production house (Sunil Dutt’s Ajanta Arts) that did very well on the ticket window collections, The songs also got all round acceptances. However, this time the success again was not destined to boost Jaidev’s career graph – Something that transpired between the two resulted into break up with Sahir Ludhyanvi, with whom every association of Jaidev had resulted into highly successful outcomes.

Maang Mein Bhar Le Rang Sakhi ri Aanchal Bhar Le Tare Milan Ritu Aa Gayi  –Asha Bhonsle,- Lyrics:Sahir Ludhianvi

Jaidev has used Asha Bhosle, as well as Lata Mangeshkar, for widely varying mood songs in Mujhe Jeene Do

Mohe Na Yoon Ghoor Ghoor Kar Dekho Najar Lag Jaayegi – Lata Mangeshkar – Lyrics: Sahir Ludhianvi

Lata very lightly renders this thoomari-style folk –toned song. The song seems have been truncated out in the film.

Here is the full song in the audio mode:

Jaidev’s brilliance was not totally missed hereafter, even if commercial success never peaked to this level. But, probably that was what destiny had chalked out for him, as composed by him in Sahir’s words:

Kaun Rotaa Hai Kisi Aur Ki Khaatir Aye Dost,

Sabko Apni Hi Kisi Baat Pe Ronaa Aayaa

[No one weeps for someone else, my friend. Everyone does weep for his own tales only.]

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 – The Duets – Male Female Duets – Other Male Playback Singers [2]

In continuing our journey of Micro View of Male Female Duets of Other than Mukesh and Mohammad Rafi, we will take up second set of the duet songs today.

Popular Duet Song

Kishore Kumar + Lata Mangeshkar – Ye Kaun Aaya Re Hai Kar Ke Solah Sigar – Ziddi –  Khemchand Prakash – Prem Dhawan

The song has got fame as the first duet of Kishore Kumar and Latamangeshkar.

Other Duet Songs

G M Durrani + Lata Mangeshkar – Khamosh Fasana HaimDuniya Se Chhupake Chhupake – Heer Ranjha – Aziz Khan – Vali Sahab

G M Durrani, Rajkumari, Johrabai Ambalewali – Ek Dil Tera Ek Dil Mera – Pt. Hanuman Prasad

HFGK records this as two songs, one a duet by G M Durrani and Rajkumari and the other a parody song by Johrabai, G M Durrani and Chorus.

Shankar Dasgupta + Miss Parvez – Ay Dil Abhi Tu Sabar Kar Teri Bhi Baari Aayegi – Ham Bhi Insaan Hai – H P Das, Manna Dey – G S Nepali

Allaudin  + Shamshad Begum – Sawan Ke Din Aaye Balama Sawan Ke Din Aaye Hai – Kaajal – Ghulam Mohammad, D  N Madhok /  Shakeel Badayuni (?)

Ram Kamlani + Joharabai – Mere Dil Ka Phate Nahi Kahi Atom Bomb – Lal Dupatta – Gyan Dutt – D N Madhok

Karan Diwan + Shamshad Begum – Mujhe Jaane Tum Se Pyar Kyon Hai – Mitti Ke Khilone – Bulo C Rani / Hans Raj Behl (?) – B R Sharama

Ram Kamlani + Surinder Kaur – Chori Chori Mori Atariya Aa Ja Re – Nao – Gyan Dutt – D N Madhok

Krishna Goyal + Meena Kapoor – Balam Mohe Man Se Na Apne Bhoolana – Raees – Manohar Arora _ Kaisar Sabai

Suresh+ Suraiya – Rootho Na Tum Bahar Mein, Mausam-e-Khushgawar Mein – Rang Mahal – K Datta+ V Balsara (?) – ShivKumar

Ram Kamlani + Shamshad Begum – Hamari Baat Ka Kyon Tum Ko Aitbar Nahi – Rangeen Zaman – Pt. Govind Ram – Pt. Fani

We will take up micro view of Female Female Duets of 1948 in our next episode.

Business Sutra |5.1| Ram’s Education

Business Sutra |5| Education

We have covered three 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 4^th 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. We don’t enjoy education even though we know education is good for us; it is a little bit like exercise or health food. The present episode discusses ancient Indian thoughts on education. The key idea here was that knowledge has to be taken by the student. Unless a student is motivated, no learning can take place. In modern education, motivation is provided using the carrot (promise of a job) and the stick (lower status) approach. But that does not stir the imagination of students. They feel like domesticated animals who resent training. So they get easily distracted. So they scream in joy when the bell rings and school ends. There is an increasing feeling that, today trainers behave like professional – their job ends with showing the power point presentation in the stipulated period of time. That is because everything is controlled – the content, the timings of trainings. Education efficiency is measured without considering effectiveness.  The trainer is often far removed from the field and hence not taken seriously. The training should be part of the job. Unless one creates a replacement for oneself, one must not be promoted. Thus one has to give Saraswati to get Lakshmi. This is not easy but we need to relook at education and ask ourselves – who loses if the student does not learn, and the teacher does not teach.

The First part of the episode deals with experiential learning, the second with coaching and the third with student motivation.

Business Sutra |5.1| Ram’s Education

In the West Experiential Learning Theory (ELT) was conceptualized by David A. Kolb, who published his model in 1984. Kolb’s experiential learning theory works on two levels: a four-stage cycle of learning and four separate learning styles. Kolb’s theory has a holistic perspective which includes experience, perception, cognition and behavior.

Kolb – Learning Styles – Effective learning is seen when a person progresses through a cycle of four stages: of (1) having a concrete experience followed by (2) observation of and reflection on that experience which leads to (3) the formation of abstract concepts (analysis) and generalizations (conclusions) which are then (4) used to test hypothesis in future situations, resulting in new experiences.

Whatever influences the choice of style, the learning style preference itself is actually the product of two pairs of variables, or two separate ‘choices’ that we make, which Kolb presented as lines of an axis, each with ‘conflicting’ modes at either end:

A typical presentation of Kolb’s two continuums is that the east-west axis is called the Processing Continuum (how we approach a task), and the north-south axis is called the Perception Continuum (our emotional response, or how we think or feel about it).

Kolb believed that we cannot perform both variables on a single axis at the same time (e.g., think and feel). Our learning style is a product of these two choice decisions.

It’s often easier to see the construction of Kolb’s learning styles in terms of a two-by-two matrix. Each learning style represents a combination of two preferred styles. The matrix also highlights Kolb’s terminology for the four learning styles; diverging, assimilating, and converging, accommodating:

Experiential Learning: ‘What,’ ‘Why,’ and ‘How’ for Corporate Trainers   – Holly Bradbury – Simply put, experiential learning is learning by doing. It takes learning beyond the classroom or the computer screen. Most of us learn better when we are directly involved in a learning experience instead of sitting idle in a formal training setting or clicking “Next” in an eLearning course. Experiential learning provides interactivity and participation and can be much more effective than traditional learning approaches.

Rethinking Kolb’s Theory of Experiential Learning in Management Education  – The Contribution of Social Constructionism and Activity Theory –David Holman, Karel Pavlica, Richard Thorpe : This article seeks to critically evaluate Kolb’s theory of experiential learning from social constructionist and activity theory perspectives. It is suggested that while experiential learning theory has been extremely influential and useful in management education it is rarely seen as problematic. The article goes on to argue that Kolb’s experiential learning theory can be placed within the cognitive psychological tradition; a tradition that overlooks or mechanically explains the social, historical and cultural aspects of self, thinking and action. Activity theory is then described (but also drawing on more recent social constructionist perspectives) and offered as an alternative way of understanding these three aspects. Using this approach, experiential learning theory is re-conceptualized with particular reference to the learning cycle and managerial identity. It is concluded that learning can be viewed as an argumentative and rhetorical process in which the manager acts as a practical author.

Devdutt Pattanaik seems to have chosen the model of Ram’s Education in Segment 1 of the episode 5 as the Indian Mythology’s point of view.

Modern education and training systems ignore the age-old belief that knowledge can never only be given it must also be taken.

What people don’t realize is that the first part of the Ramayan is the education of Ram. It is called The Childhood Period (Bal Kand). We are told that after he grows up, he is sent to the ashram of a the sage Vashishtha, where he’s trained in the various royal arts, the martial arts etc. He learns a lot of things. After his education he comes back to the palace as a prince, fully ready, having read everything that sage Vashishtha would have to teach him.

Then suddenly one day another sage who walks in and his name is Vishwamitra. Vishwamithra says that they have a problem in the forest and he wants Ram to come and solve it. King Dashrath says but Ram is very young. I will give you my army to solve the problem. Vishwamitra insists that Ram come with him because he is going to be king, it is he who is going to rule and it is he who has to solve the problems. So, let him come with me. He literally drags this young man from the zone of comfort where his father was to keep him in a very safe place to the zone of discomfort, from the palace into the forest.

The first challenge Ram faces in his real life is that of a she-demon – Tadaka. She attacks him. Ram says that she is a woman and I have been told that you should not attack a woman. Killing a woman is a great sin.

That is a sort of law, which is what has been taught, and that is what we have thought all along.

Vishwamitra says it doesn’t matter whether it is a man or a woman. Look at the situation, look at the context, and see what the problem is. Right now the problem is this lady-demon and you have to kill her. So Ram raises his weapon and kills her.

That is quite against all his training of not resorting to violence.

In a way, when you  look at a situation don’t get bogged down by theoretical rules and conduct,  just look at the situation, find the problem and take the decision that you have to take it. If need be, let that be a ruthless one. So Ram has to shoot. The first act he does is he has been told by his teacher to shoot Tadaka. He kills her. But the story doesn’t end there. Then he goes on a journey with Vishwamitra.  It is an interesting journey.

Vishwamitra takes him to another spot and at that point he comes across a stone and he is told the stone is one of a Ahilya, a lady who had had an extramarital affair. Vishwamitra looks at her and tells Ram that she turned into a stone because she had an extramarital affair, and this was her punishment. Vishwamitra tells Ram to liberate her from this punishment, by touching her with your feet and she will break free from this cursed life of stone that she’s leading.

So what you have is an extreme situation. On one side you have killed Tadaka, which is an act of ruthlessness and the other side is upliftment, liberation, compassion. So you move from being ruthless to being compassionate.

These are the two extreme decision-making behaviors that a king has to demonstrate. Sometimes he has to be ruthless and sometimes has to be compassionate and a wise King knows what to do when. This is a shift from the theoretical background that he was in from Vashishtha to Vishwamitra and Vishwamitra, if you read the scriptures, was once a king.  So he knows the practical problems Ram will face once he lives in the society. In a way, Vishwamitra is imparting knowledge that this is what you’re going to do. There will be times when you have to be ruthless and there’ll be times you’ve become compassionate. When you know when to be ruthless and when to be compassionate you will be a great king.

Let us deviate a little bit from the broader theme of education and training and development. How do you know when do we compassionate and when to be ruthless? That is what the story narrates. Why Vishwamitra suggested in the first case Ram to kill the woman and in the second case be compassionate and liberate her from her punishment?

There is no such toolkit or a template that helps you to know when to be ruthlessness on one hand and compassionate on the other.. On one side if you do not take that decision, the forest will be destroyed, the community destroyed. It is violence happening. The only way to stop it is to be ruthless over it, because it there’s no there seems to be no other method to handle that.  On the other side, it is that if you do not let it go then there is no hope for people. In other words, if someone has made a mistake in the life and if you never forgive them, then imagine living in a society where there’s no forgiveness. On one hand there is almost brutal punishment and on the other side is the forgiveness. So, there is always hope. But not only hope. If there was only hope then I can get away with everything. So there is a balance of the two. That is what is called the science of politics, of administration of Justice. On one side is the stick and the other side is not quite the carrot but , hope, in the form the carrot. There is forgiveness if you do commit mistakes. There is punishment but it is not forever.

I am still curious why did Vishwamitra not take these decisions himself and insist that Ram has to do this. Vishwamitra who was also a king at one time could have easily killed Tadaka or could have easily release Ahilya.

It is a very it’s an interesting point. Vishwamitra has moved to the next stage of his life. where he wants to go to the next level, which means that all his royal pursuits have to be managed by someone else. He is passing on the baton to the next generation. It is the next generation now that has to take care of the world. He cannot be there all the time. It is about the older generation saying that okay we have done what we had to do. We learnt, we made mistakes, we have figured out things. Now we pass it on to the next generation. The next generation will now be capable. This can be called as a capability building exercise. so that then Vishwamitra can move on.

So for every Ram you have to have a Vishwamitra, without which Ram would not have existed.

The education, in general as well as in the case of future leaders, is not about the knowledge of the present, but also for helping build the capability to face the unknown future; learning from the own as well others’ mistakes

In our journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 2^nd part of 5^th episode – Crossing the Vaitarni.

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 – The Duets – Male Female Duets – Other Male Playback Singers [1]

We will now take up Male-Female Duets Song of male singers other than Mukesh and Mohammad Rafi. Individually, none of these singers have duet songs that may compare with the numbers of Mukesh or Mohammad Rafi. But collectively, these duets present a rainbow of many shades of music directors and combinations of male and female playback singers of vintage and the coning-golden-years era.

The first stage selection of such songs from HFGK has yielded a bountiful numbers that would very respectfully measure up to the numbers of duets that have been rendered by both Mukesh and Mohammad Rafi put together. Many of the songs do not have internet soft link till now. But th eons that I could find would certainly provide a tremendous mix of the vintage era style of orchestration and singing justaposed with golden era style orchestration and singing.

[1]

Shamshad Begum + Surendra – Kyun Unhe Dil Diya, Haye Ye Kya Kiya – Anokhi Ada – Naushad – Shakeel Badayuni

Suraiya + G M Durrani – Kyon Dil Mein Mere Base Hue Ho, Tum Kaun Ho Kya Ho – Aaj Ki Raat – Husnlal Bhagatram – Rajendra Krishna

Suraiya + G M Durrani  – Mere Aansoo Meri Hasraton Meri Zindagi Ko Yah Kya Hua – Aaj Ki Raat – Husnlal Bhagatram – Rajendra Krishna

Shamshad Begum + Shailesh – Kahin Ka Deepak KAhin Ki Baati, AAj Mile Hai Jeevan Saathi – Aag – Ram Ganguli – Saraswati Kumar Deepak

Uma Devi + Moti – Sanjh Ki Bela Jiya Akela – Chandralekha – S Rajeshwar Rao – Bharat Vyas

Amirbai Karnataki + Shankar Dasgupta – Pyari Raat Pyari Raat Aj Aayee Hai Sohag Raat – Didi – Mukund Msaurekar – Indeevar

Johrabai Ambalewali + Surendra – Tum Meet Hamare Hum Meet Tumhare Hain – Dukhiyari – Gyan Dutt – F M Kaiser

Johrabai Ambalewali + G M Durrani – Chandani Raatein, Sar Sar Jaaye Mast Hawaen – Dukhiyari – Gyan Dutt – F M Kaiser

Meena Kapoor + Ninu Majumdar – Aayee Gori Radhika Vrij Mein Bal Khati – Gopi Nath – Ninu Majumdar – Surdas

Shamshad Begum + G M Durrani – Taaron Ki Toliyon Ye Kaisa Hai Nikhar – Ghar Ki Izzat – Pt. Govindram – Ishwar Chandra Kapoor

Ameerbai Karnataki + A R Ojha – Aana Na Tha Jo Dil Mein Aankhon Mein Hi Aate – Gunsundari – Hansraj Behl – Pt. Indra

We will continue with Other Male-Female Duets for 1948 in next episode as well.