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

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

The month of July will now onwards go in records as the month of passing away of (Gopaldas Saxena) ‘Neeraj’.

In Neeraj (1925-2018): ‘I grew so infamous in my time, it will take centuries for me to be forgotten’, Annie Zaidi recalls different aspects of his poetry.

Neeraj-The great Poet and Lyricist called himself an unfortunate poet which led to his stopping himself from writing film songs and restricting himself to just writing and getting his poems published. The reason that he gave for this was that at least two or three prominent music directors of the Hindi Film Industry for whom he wrote very successful and popular songs, had expired.

Remembering Gopaldas ‘Neeraj’ through songs like ‘Tum Nacho Ras Barase‘ from Sati Nari (1965, Mahendra Kapoor; ), – In 1970 -71, around 14 films were released with Neeraj as a Lyricist and it can be considered as a peak of his career.

RS TV had done an excellent feature on his life, in 2012 – Gopaldas “Neeraj” in Unki Nazar Unka Shahar

And, now, we take up the tributes in July, 2018:

On Gauhar Jaan’s 145th birth anniversary, Google’s endearing doodle

V Balsara, the music director who did not want to remain confined to a studio – On Balsara’s 96th birth anniversary (he was born on 22 June 1922), renowned tabla player Dipankar Acharya and noted music arranger Durbadal Chatterjee speak about working with the multi-faceted musician in Bengali cinema.

Sajjad Hussain, Bollywood’s Loss – D P Rangan pays tribute to Sajjad Hussain on his 23rd death anniversary (15 June 1917 – 21 July 1995)

Mukesh-who wanted to be like K L Saigal – Many critics derided him as an imperfect singer who had a nasal twang and who would often miss a note or a beat and many a time they had a valid point. His limited vocal range also made high-pitched songs difficult for him. Mukesh proved them wrong.

75 Years(19th July 1943) ago Dev Anand landed Bombay to become Hero in Bollywood – It was in 1945 he got the role in the film Hum Ek Hain which was made in 1946 but released in 1947 after independence.

Chetan Anand: Exploring the Unconventional to Make Landmark Films – Twenty one years ago, on July 7, 1997, Chetan Anand bid farewell. For Silhouette, Peeyush Sharma  pays tribute to the great film maker, the director, writer, producer, actor who dared to explore unconventional subjects that turned into landmark cinema.

Roshan & Madan Mohan: Twin Towers of Rhapsody – In a joint tribute to Roshan on his 101st birth anniversary (14 July 1917 – 16 November 1967) and to Madan Mohan on his 43rd death anniversary (25 June 1924 – 14 July 1975). D P Rangan. With annotations by Subodh Agrawal, explores the similarities in the essentially different musical styles.

G S Kohli – A Tribute – His first film was Lambe Haath (1960) – O Deewane Chhokare Raah Meri Na Rok Re’ (Asha Bhosle, Mohammad Rafi); followedby.Mr. India (1961) – ‘Dekha Na Jaye’ (Geeta Dutt). He had great hits – Faulad and Shikari – 1963, form big banners. However he could not sustain that magic in his later films.

Some thoughts upon the death of Zarina Begum (and a few other notes updating past posts)Zarina Begum, the last disciple of ‘Mallika-e-ghazal’ Begum Akhtar, and the only torch-bearer of Baithak Gana, died of a chronic kidney disease at a private city hospital at around 8 am on 12-5-2018….She ived at Hatha Khuda Baksh area in Old Fatehganj in Lucknow. An old harmonium, a tabla and some old pages and diaries with lyrics in Urdu were her companions in her final days.

Rajesh Khanna-The heartthrob of the young generation of 1970s,  During his career, Khanna played the lead in 74 films that were shown in cinemas for more than 50 continuous weeks (Golden Jubilee Hits) which includes 48 films which ran for 75 weeks (Platinum Jubilee hits) and 22 films that were shown for more than 25(Silver Jubilee hits), but less than 50 weeks.

Musically Yours, 1963 (Part I) – Monica Karpays a personal tribute to 12 music directors who created note-worthy compositions in 1963, the year she was born, and have definitely had a hand in keeping her music-crazy for the past 55 years. As many as 22 music directors gave quality music in that year and many of those creations went on to become immortal in the hearts of music lovers – including this writer.

The earlier Years of Mehmood peeps back into the early struggles of Mehmmod and rise to stardom.

Anand Bakshi – The Juggler of Words got his break writing songs in a Brij Mohan film titled Bhalaa Aadmi (1958). His first song in this film was “Dharti Ke Laal Na Kar Itna Malaal.

Mehfil celebrates ‘First Anniversary’ by selecting songs of some rare combinations of singers and composers. For this purpose, the criteria applied are: Both of them should be contemporary; the number of songs for the pair should not exceed five OR The singer has sung only for a single film with that particular composer. Of the resultant output, we take one example: Dear O Dear Nagina (1951) – Shamshad Begum – Shanker Jaikishna

July, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1954 -1955

And, now the posts on other subjects:

The song Khoya Khoya Chaand was written on a piece of cigarette pack foil – What Vijay Anand achieves is a feat which is very rare. Most directors shy away from shooting and showing us more than two verses of a song. Here, his shooting, along with Burmanda’s music and Shailendra’s words, is so perfect that we go through FOUR verses of this song just glued to our seats !!!! That is why Vijay Anand is adored by film-goers and film-makers all over India.

In the Wink of an Eye – A particular film has often achieved an iconic status in which the lead of the film has used her/his eyes, for instance Anthony Hopkins in Silence of the Lambs, or our every Om Puri in Ardh Satya. Eyes, indeed, convey a gamut of emotions that move beyond the coyness of just doe eyed stars. This essay explores the different ways in which films have used an actor’s eyes. The history of fascinating display on the screen is long and the authors, Amitava Nag and Shiladitya Sarkar, try to articulate what it means to say it all through the eyes.

Songs of ‘Tanhai’ – The loneliness was a very popular theme for Hindi Films up to 60s. The moods of the song ranged from sad to romantic to seductive.

Ornamented for Style – Wearing jewelry is universal and predates recorded history. Even our gods wear ornaments, as is evident from their images. Within India, with its diverse culture, we have so many regional variations and styles of wearing jewelry. Not all ornaments have found a mention in our songs, but many have. The post goes on list the songs,

My Favourite Piano Songs, selected on the basis of 1: The character, who sings the song, should not play the piano. 2: The one who’s playing the piano should be a character from the movie, just a musician won’t fit the bill and 3:  It  should be a solo

Pets and Beyond – Hindi cinema has had so much fun with such creatures too, even some wild ones like elephants and lions. A special mention must be made of an animal that is a rarity in terms of ownership for protection. That honour goes to a mongoose in the film Kohinoor (1960), the animal’s protective nature highlighted at the end of the song Madhuban mein Radhika naache re, when the mongoose lashes out to destroy a snake let loose to kill his owner, Dilip Kumar. The post goes on list some songs that featured a diverse range of creatures. Pets or otherwise, on our screen

In Mythological Frames – Interestingly, it turns out that when it comes to mythological films, songs found in them tend to be so much fun to hear on a repeat basis. Without in any way meaning disrespect to any faith, and looking at the genre just academically, the post lists a few songs from mythologicals, even if not all of them are religious.

Post-drenchings: Ten Songs where getting wet (almost always in pouring, roaring thunderstorms that come out of a clear blue sky) is invariably a precursor to bursting into song. For various reasons.

The reviews of Nargis films continue with Jogan (1950), filmed by Kidar Sharma in just 29 days, with only a one-line idea, inspired  by an English film in which a man falls in love with a nun.

Mat ro maata, by Monica Kar – Why is this song in this movie? To act as a filler? To sway public opinion and emotion? Possibly to tie in the importance of the era in which the movie is shot. Every emotion that is embedded in the song is done with minimal fuss and maximum simplicity. And yet, its effect persists even now.. and will every time we listen to the song.

“The world is being run in brutish ways” – Saeed Mirza on memory in the age of amnesia : “We are so obsessed with our short-term interests that larger contexts get lost. And this is true for both individuals and nations.”

Cineplot has several posts this month. We have picked up two relating to Madhubala. We will, appropriately, cover other posts in our future editions.

Madhubala on the sets of Do Ustad (1959)

The Alarm That Failed (1957)

We continue Micro View of Best songs of 1947: And the winners are? with female solo songs, wherein after having covered solo songs of Suraiya and Geeta Roy, we have covered Shamshad Begum. Rajkumari, Amirbai Karnataki (Part I and Part II) Zohrabai Ambalewali (Part I). SoY has released Best songs of 1947: Wrap Up 2 that sums of the analyses of all other readers relating to female solo songs. Suraiya is adjudged the best female singer for 1947.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up songs that basically have link with the topics discussed in the present post.

Mat Puchh Mera Hai Kaun Watan – Mr India (1961) – G S Kohli – Anjaan

Isko Bhi Apanata Chal – Nai Umr Ki Nai Fasal (1965) – Roshna – Neeraj

Kuchh Aisi Pyari Shakl Mere Dilruba Ki Hai – Naya Kanoon (1965) – Madan Mohan – Hasrat Jaipuri

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

The Micro View of Best Songs of 1947 : Female Solo Songs – Zohrabai Ambalewali [1]

That Zohrabai essentially was a versatile and lively singer is borne well by the wide range of songs that we get in her voice for 1947. There are a few films wherein she has almost all female singers to her account, whereas she has been equally at ease in rendering the kotha songs too. On the whole, her full expressiveness was not fully explored!

Fairly large numbers of her songs this year has necessitated splitting he solo songs over two posts.


Sukh Leke Dukh De Gaya, Woh Jo Hamara Dil Le Gaya – Bela – Bulo C rani – D N Madhok

Bhadon Ki Raat Re Pade Barsat Re, Akeli Dar Lage –  Bela – Bulo C Rani – D N Madhok

Bhigi Bhigi Palke Hai Aur Dil Mein Yaad Tumhari Hai – Bela – Bulo C Rani – D N Madhok

Dekhi Teri Duniya O Duniyawalon – Bela – Bulo C Rani – D N Madhok

Mohe Banka Balam Lage Pyara -Bela – Bulo C Rani – D N Madhok

Pardesi Piya Re, Ab Mose Na Guzare Ye Rain – Bela – Bulo C Rani – D N Madhok

Thode Dino Ki Zindagani, Tu Bhi Phani Hai Main Bhi Phani – Bela – Bulo C Rani – D N Madhok –

Toota Hua Dil Gaaega Kya Geet Suhana – Doosari Shadi – Govind Ram – Ishwar Chandra Kapoor

Bhakton Ki Fariyad Suno Krishna Murari – Doosari Shadi – Govind Ram – Ishwar Chandra Kapoor

Auron Ke Dukh Hare Tumane – Doosari Shadi – Govind Ram – Ishwar Chandra Kapoor

Chandani Raaton Mein Teri Yaad Sataye – Doosari Shadi – Govind Ram – Ishwar Chandra Kapoor

Raat Andheri Chamake Taare, Paas Nahi Jo Lage Dil Mein Pyare – Dak Bangla – Naresh Bhattacharya- D N Madhok

Hanso Hanso Mere Man Ki Hanso Phulwari – Gaurav – Shanti Kumar Desai – Saraswati Kumar Desai

Saanj Saloni Aai, Taaron Ki Chundari Pahane Yah – Gaurav – Shanti Kumar Desai – Saraswati Kumar Deepak

Main Nayano Ke Sawan Bulane Chali Hun – Gaurav – Shanti Kumar Desai – Saraswati Kumar Deepak

I have not been able to locate soft links to these songs:

  • Koyal Kyon Shor Machaye Pretam – Andhon Ki Duniya – Vasant Desai – Khumar BaraBankvi
  • Mori Gali Aa Re Balam, Nanhi Si Jaan Hai Meri – Bela – Bulo C Rani – D N Madhok
  • Pyar Ke Mithe Mithe Bol Ik Baar Suna Jaa -Bela – Bulo C Rani – D N Madhok
  • Tu Dil Ka Kahena Maan, Ise Pahechan – Doli – Gulam Muhammad – Nazim Panipati

We will continue with the 2nd, concluding, part of Zohrabai Amablewali’s Solo Songs for 1947 in our next episode.

Carnival of Quality Management Articles and Blogs – July, 2018

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

In our previous issue, we had briefly talked about Hidden Factory in ASQ TV section. Hidden Factory is so very relevant to the Quality Management, that we would discuss more about the subject in our present episode.

Hidden Factory, The – The hidden factory is the extra useful, positive output that would theoretically be possible if the energy directed at creating waste were released and directed instead at making good quality items.

Lean Six Sigma – Hidden Factories is video presentation to understand the concept of Hidden Factory.

This image puts the subject in a rather stark context:

What is the Hidden Factory?’ explores the hidden factory from the broader perspective, specifically focusing on the four areas of lost (or hidden) production potential from an equipment perspective:

  • Schedule Loss (time where production could be running – but is not scheduled)
  • Availability Loss (time where production should be running – but is not)
  • Performance Loss (time where production is running – but not as fast as it should)
  • Quality Loss (time where production is running – but one or more pieces are not good the first time through)

The following table shows the four major loss factors, their impact on the hidden factory, and the associated Six Big Losses.

Loss Factor Impact on Hidden Factory Six Big Losses
Schedule Loss Time where production could be running but is not scheduled.

  • The largest component of the hidden factory for most one- or two-shift operations.
  • Typically addressed with overtime (short-term) or additional staff (long-term) to defer capital expenditures.
Does Not Apply
Availability Loss Time where production should be running but is not.

  • The largest component of the hidden factory during scheduled production time for most companies.
  • Two best practice techniques for unlocking Availability Loss are SMED (for Planned Stops) and TPM (for Unplanned Stops).
  • Planned Stops
  • Unplanned Stops
Performance Loss Time where production is running but not as fast as it should.

  • This is truly a hidden loss for many companies as it is not nearly as visible as Downtime.
  • Small Stops can be caused by misfeeds, material jams, misaligned sensors, etc. Slow Cycles can be caused by incorrect settings, worn equipment, substandard materials, etc.
  • Small Stops
  • Slow Cycles
Quality Loss Time where production is running but one or more pieces are defective the first time through.

  • Gets a lot of focus because of potential customer impact, but usually has the smallest impact on the hidden factory.
  • Best practices for addressing include error-proofing equipment and creating standardized work instructions.
  • Production Rejects
  • Startup Rejects

Some important tools to understand how each loss factor impacts the hidden factory are:

  • TEEP (identifies losses due to time that is not scheduled for production)
  • OEE (identifies losses during scheduled production time)
  • Six Big Losses (provides more detail on losses during scheduled production time)

In an HBR article, The Hidden Factory, Jeffrey G. Miller and Thomas E. Vollmann observe that overhead costs rank behind only quality and getting new products out on schedule as a primary concern of manufacturing executives. These can be:

  • Logistical transactions, which order, execute, and confirm the movement of materials from one location to another.
  • Balancing transactions, which ensure that the supplies of materials, labor, and capacity are equal to the demand. These result in the movement orders and authorizations that generate logistical transactions.
  • Quality transactions, which extend far beyond what we usually think of as quality control, indirect engineering, and procurement to include the identification and communication of specifications, the certification that other transactions have taken place as they were supposed to, and the development and recording of relevant data.
  • Change transactions, which update basic manufacturing information systems to accommodate changes in engineering designs, schedules, routings, standards, materials specifications, and bills of material.

There are three general approaches to managing overhead costs more effectively: (1) analyzing which transactions are necessary and improving the methods used to carry them out, (2) increasing the stability of operations, and (3) relying on automation and systems integration. Of the three, U.S. manufacturers seem most enamored of the last.

Six Sigma, Measurement Systems, and the Hidden Factory – If correctly implemented, measurement systems can help determine the current state of a process and provide information leading to breakthrough performance; however, ineffective measurement systems can contribute to the overall hidden factory. The paper defines how the measurement system is a part of the hidden factory. The key result from this work is to think of the measurement system as a process.

We will now turn to our regular sections:

For the present episode we have picked up the article Think You Know What Your Customer Wants? Think Again @ Strategic Marketing column of Management Matters Network….To solve this famous puzzle, you need to put yourself in the driver’s seat….

The authors point out that Peter F. Drucker taught for over 70 years the importance of  getting on the same side of the desk as your customer. He always taught there is no such thing as irrational customers: only lazy manufacturers. The article goes on to illustrate why “from the inside it is not easy to find out what a business gets paid for…Organized attempts to look at what his own business are needed.”

We now watch one of the latest ASQ TV  episodes:

Please also refer:

Jim L. Smith’s Jim’s Gems posting for June, 2018 is:

  • Power of Imagination : It is a safe bet that change, or the concept of change, surrounds a good portion of your daily thought, consciously or subconsciously: change within ourselves, our surroundings or those in our immediate circle…What makes people really want to change is pressure coming from inside. Most important is the desire to move toward greater experiences of pleasure. The change that has come from within is more likely to be long lasting. A technique that’s useful when it comes to creating positive and lasting change is the power of your imagination.
  • The Power of Yet: There is a rule in software and systems design called the principle of good enough. It simply indicates that customers will accept products that are good enough for their needs. In many industries that same principle applies. ..If that’s the expectation of products we purchase, does it translate to people themselves?.. You might want a particular job or position or might want to accomplish something, but think to yourself, “I’d like to do that kind of work, but I’m not good enough.”. This thinking can be very negative because it sets up a psychological roadblock to your achievement and success…Just one little word added to the thought can change your world. In almost every line of work, the phrase should be, “not good enough, yet.”.. It might be that you don’t care enough to put out the effort to do it all the time…It may be true that you’re not good enough, yet. Few of us are. But if you commit to trying hard enough and long enough, you’ll get better and that’s the secret of becoming great!

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 Best Songs of 1947 : Female Solo Songs – Amirbai Karnataki [2]

That Amirbai Karanataki’s career graph had peaked in 1947 is amply validated by the number of solo songs and the variety of music directors who composed her songs  in 1947.

We have also split the post on her solo songs in twp parts. Having listed to Part 1 last week, we now take up the 2nd, concluding part of her solo songs for the year 1947.

Popular solo songs

Humein Kya Pata Tha …Maar Katari Mar Jaana – Shehnai – C Ramchandra – P L Santoshi

O Roothe Hue Bhagwan Tum Ko Kaise Manau – Sindoor – C Ramchandra – Qamar Jalalabadi

Koi Roke Use Aur Yeh Kah De – Sindoor – C Ramchandra – Qamar Jalalabadi

Other Solo Songs

Man Baat Na Meri Maane Main Thak Gayee Samajha Ke – Rangeen Kahani – Pheroze Nizami B A – Wahid Queraishi

Buz Gae Aashaon Ke Deepak, Sab Sapane Mukh Mod Gaye – Rangeen Kahani – Pheroze Nizami B A – Wahid Queraishi

Main Shabab Hun, Main Shabab Hun, Main Sharab Hun, Main Sharab Hun, Main Hizab Hun – Rangeen Kahani – Pheroze Nizami B A – Wahid Queraishi

Naina Ro Ro Ke Rah Jaaen, Naina Rah Rah Kar Bhar Aae – Samaj Ko Badal Dalo – Khemchand Prakash – Roopdas

Naiana Jal Bhar Aae Premi, Preet Kiye Pachhatae – Samrat Ashok – Gyan Dutt – Shams Lakhanavi

The digital link for this song could not be located, however we have YT link for another version of Beenapani Mukherjee

Toot Chuke Jab Man Ke Taar, Kaise Nikale Zankar– Samrat Ashok – Gyan Dutt – Shams Lakhanavi

Tum Na Samjhoge Kabhi, Dil Ka Lagana Kya Hai – Seedha Rasta – S K Pal

O Duniya Bananewale Kya Yahi Hai Duniya Teri – Sindoor – C Ramchandra – Qamar Jalalabadi

Mujh Ko Pyari Lagati Hai Tumhari Pahechan – Veeranagana – Hari Prasanna Das / Manna Dey

The list of songs for which I have not been able to locate the digital links is also very large:

  • Ye Dil Hi Kahi Dil Ki Lagi Naa Ban Jaae  – Rangeen Kahani – Pheroze Nizami B A – Wahid Queraishi
  • Tum Bin Kaun Sahara Bhagwan Tum Bin Kaun Sahara – Rangeen Kahani – Pheroze Nizami B A – Wahid Queraishi
  • Mera Rootha Preetam Man Gaya – Rangeen Kahani – Pheroze Nizami B A – Wahid Queraishi
  • More Saiyan Ki Mose Chhod – Utho Jago – Aziz Khan / Ibrahim –
  • O Aayee Ghir Ghir ke Kali Badariya – Zinda Dil – Aziz Khan Mastana
  • O Sapano Mein Aanewale, Aa Man Ko Rizanewale – Zinda Dil – Aziz Khan Mastana

In the next episode, we will take up solo songs of another vintage era female playback singer, Zohrabai Ambalewali, for the year 1947.

S D Burman and “Other” Male Playback Singers :: 2

The previous episode of the three-part article of S D Burman and Other Male Playback Singers, we had covered the period from the beginning of his career in 1946 till 1949. This was the period when S D Burman was still striving to create his own firm space in the field of Hindi Film Music world.

Presently, we take up the second set of S D Burman’s songs of ‘Other” Male Playback Singers chronologically can be set to the period 1950 to 1955.

Our period begins with two films, Mashal and Afsar, which were to become the key thrust engines that were to provide the much needed escape velocity to S D Burman’s career to attain e respectable orbit space among the front-ranking music directors of the Golden Era of Hindi Films.

Once having attained an assured specific space, S D Burman went on to use the established male playback singers like Mohammad Rafi and Kishore Kumar for most of the major male solo and duet songs. He also chose other front-line male singers like Manna Dey, Talat Mahmood, Hemant Kumar and Mukesh as and when so required.  So use of ‘other’ male singers is now more situation-specific, and, perhaps, to a great extent of S D Burman’s choice.

S D Burman – Arun Kumar Mukherjee

Upar Gagan Vishal’ of Mashal (1950) is considered to have really breathed a lease of new life into S D Burman’s career. It is said that SDB was so disillusioned that he was on the verge of leaving this Ashok Kumar’s Bombay Talkies banner production incomplete. He was dissuaded from doing so, and as is said the rest was history.

Jab Ham They Tumhare Aur Ham They Tumhare …Wo Thode Se Din They Kitane Pyare – Mashal (1950) – Lyrics: Pradip

Arun Kumar Mukherjee was Ashok Kumar’s cousin. Probably, that may have titled the scale in his favour for playing back to Ashok Kumar on the screen. Arun Kumar Mukherjee does not sound wanting to the demands of the situation.

Mohe Lagaa Solva Saal, Haye Main To Mar Gayi – Mashal (1950) – With Shamshad Begum – Lyrics: Pradip

The song is principally filmed on the Cuckoo, so Shamshad Begum has obviously the lion’s share of the song. Arun Kumar gets to sing just a few lines, but the lines are indeed very catchy.

S D Burman – Man Mohan Krishna

‘Afsar’ (1950) was the maiden film under Dev Anand’s home banner, Navketan Films. The film did not do that well on the box office, but Suraiya’s songs for the film certainly were quite popular. The film went on to build S D Burman’s permanent association with Navketan Films, which have given us quite a few of the very memorable songs under S D Burman’s baton.

Jat Khol De Kiwad Pat Khol De,….Badhaai Dene Ko Aaye Hai Tere Dwar – Afsar (1950) – Lyrics: Vishwamitra Adil

Sadhu Ke Ghar Chhokariyan Do, Ik Patli Ik Bhari – Afsar (1950) – Lyrics: Vishwamitra Adil

Man Mohan Krishna is typically associated with serious character roles. He has rendered quite a few numbers of very popular songs on the screen. S D Burman has sprung a surprise herein by recording quite light-mood songs in Man Mohan Krishna’s voice.

[The clip here below has both these songs clubbed together.]

S D Burman – Hridaynath Mangeshkar

Hridaynath Mangeshkar possibly chose to focus more on music direction over playback singing.  His maiden – Marathi – film as an independent music director was Akash Ganga (1955).

Lehron Ke Saath Naiya Mori Khele – Babla (1953) – Lyrics: Sahir Ludhyanavi

Hridaynath Mangeshkar was around 15 years old when S D Burman has recorded this song. The song recounts adolescent pleasure of launching the paper boats into the rain water streams in the street.  So we can expect that the song may have been performed by an adolescent protagonist on the screen. Hence, probably, the choice of Hridaynath Mangeshkar, with a suitable natural voice, for the playback.

S D Burman – Jagmohan Baxi

Jagmohan Baxi (and his music direction partner Sapan Sengupta) had started his career as chorus singer at Salil Chaudhary’s Bombay Youth Choir. And yet, the Sapan Jagmohan duo are remembered for a handful tunes for 42 films for which they had composed the music  – like, Phir Wo Bhuli Si Yaad Aati Hai (Begana, 1963);  Kho Diye Hai Sanam Kitane Janam Teri Talash Mein (Teri Talash Mein, 1968); Main To Har Mod Pe Tujhko Dunga Sadaa (Chetana, 1970) etc.

Dekho Maane Nahi Roothi Hui Haseena Kya Baat Hai – Taxi Driver (1954) – with Asha Bhosle – Lyrics: Sahir Ludhyanvi

S D Burman has used Talat Mahmood and Kishore Kumar too for playback of Dev Anand in this film. Apart from these singers, S D Burman, as well most of the music directors who have composed Dev Anand songs, have tried several voices of regular playback singers like Mohammad Rafi, Manna Dey, Hemant Kumar as well. Additionally, Salil Chudhary has experimented with Dwijen Mukherjee, Anil Biswas with Shankar Dasgupta and C Ramchandra with his own voice for Dev Anand.

S D Burman – Thakur (Pran)

Pran would hardly be remembered to have acted in lead roles in films like Khandan (1942) during the first phase of career between 1940 -1947. He is most remembered for his roles as villain in his most illustrious second innings and then equally respected for his character roles in the 3rd phase of his career.  Many of his fans will immediately recollect some of the iconic songs that he enacted on the screen when acting as character actor.  But to imagine him in the tick of a very very light-hearted song  and that too trying to sing a few lines too, when cast in the role of a villain,  is something that nobody would ever imagine. S D Burman has so cleverly croaked voice of Thakur (Pran) to create a very unique song.

Dil KI Umange Hai Jawan,….Rang Mein Dooba Hai Sama – Munimji (1955) – With Hemant Kumar and Geeta Dutt – Lyrics: Sahir Ludhyanvi

The song will not go down in the record books only for the use of voice of Pran to add to the mockery in the mood of the song, but also possibly for Hemant Kumar being able to match the leg-pulling teasing tone of Geeta Dutt in this song.

S D Burman – S Balbir

Balbir got typed into an accompanying playback singer, but most of the connoisseurs of HFM recognize and appreciate his contribution in that song.

Nigaho Ke Tere Jalwe Ki Aas Raheti Hai, Ha Tere Bagair Tabiyat Udas Raheti Hai, Aa Bhi Ja Ke Tera Intezar Kab Se Hai –Society (1955) – with Mohammad Rafi – Lyrics: Sahir Ludhyanavi

Can you guess whose arrival or appearance is so keenly awaited?

The first half of the period of 1950-1960 was the beginning of the picking up in so far as S D Burman’s career is considered. As a result, we have seen a very different pattern in the types of ‘other’ playback singers which he has used, the corresponding situations in the film, and hence on the composition of the song.

In our next episode, we will take up the concluding phase of  S D Burman’s career and revisit S D Burman’s use of ‘other’ male playback singers in that period.

The Micro View of Best Songs of 1947 : Female Solo Songs – Amirbai Karnataki [1]

Amirbai Karanataki is one of the stalwarts of post-playback singing period of the vintage era, who also acted in the films. This is strongly validated in the present year in terms of the number of solo songs that she has rendered. Her songs of C Ramchandra or of Naushad – she is the lead singer for Elaan – indicate that she had quite successfully transitioned to the new style of singing which was being ushered in the by the younger crop of music directors.

It is said that the rising graph of career post-1943 film ‘Kismet’ had peaked in 1947. We also have split her solo songs of 1947 into two posts, so as to do justice to the fairly large numbers of her solo songs this year.

Tumhari Yaad Ko Dil Se Bhulake Aayee Hun – Beete Din – A Dinkar Rao –

So Ja…So Gaee Man Ki Aas Re – Beete Din – M A Rauf –

Agar Tum Na Milate Agar Tum Na Aate – Beete Din – M A Rauf –

Mere Dil Ki Tarah Hai Sitar Tar Tar – Beete Din – A Dinkar Rao

Ghanghor Ghata Ghanghor Ghata Phir Chhaayi Hai – Beete Din – A Dinkar Rao

Din Kabhi Aise Bhi Aayenge Kise Maloom Tha – Diwani –  Gyan Dutt – Shams Azimabadi

Kat Rahi Hai Beqai Mein Har Ghadi Tere Bagair – Diwani – Gyan Dutt – Shams Azimabadi

Allah Nigahban Tera Allah Nigahbaan – Elan – Naushad Ali – Ziya Sarhadi

Ayi Ye Azal Zindagi, Gam Ka Zamana Tal Gaya – Elan – Naushad Ali – Ziya Sarhadi

Kuchch Aur Sitam Honge…Rote Hue Aayen Hai, Rote Hue Jaayenge – Elan – Naushad Ali – Ziya Sarhadi

Insaan Ki Tahzib Pe Ehasan Hamara– Elan – Naushad Ali – Ziya Sarhadi

Teer Laga Teer Haye Kya Karun Loot Gayee Taqdeer Haye Kya Karoon – Kismat Ka Sitara – Alla Rakhkhaa Quraishi – Roopbani

Main Janati Hun Tum Na Aaoge Kabhi Piya – Leela – C Ramchandra – G S Nepali

O Preetam Pyare Chhod Chali Gharbar – Leela – C Ramchandra – G S Nepali

The list of songs for which I have not been able to locate the digital links is also very large:

  • Aj Meri Kismat Ka Sitara Chamaka – Diwani – Gyan Dutt – Shams  Azimabadi
  • Hansati Jaa Bal Khati Jaa Dard Kisi Ka – Diwani – Gyan Dutt – Shams  Azimabadi
  • Dekho Dekho Ji Jawani Udi Jaye Nazar Lalachaye – Hatimtai – A Kumar –
  • Nazar Mithi Mithi Ada Pyari Pyari – Hatimtai – A Kumar –
  • In Paimano Mein Aali Kya Chiz Chhalakati Raheti Hai – Kaun Pardesi – Ali Hussain Muradabadi – Muzatar Bahzadi
  • Din Khushi Ke Yaad Aa Kar Rah Gaye, Hum Phakta Aansoo Baha Kar Rah Gaye – Kaun Pardesi – Ali Hussain Muradabadi – Muzatar Bahzadi
  • Chain Paoge Na Aaram Kahi Paoge, Yaad Rakhana Mujhe Tum Bhul Ke Pachhtaoge – Kaun Pardesi – Ali Hussain Muradabadi – Muzatar Bahzadi

In our next episode, we will take 2nd, concluding, part of Amirbai Karnatali’s Solo Songs for 1947.

Fading Memories…. Unforgettable Songs : July, 2018

Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1954 -1955

To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director.  Beginning 2016, we have planned to take up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films.

Till now we have covered the first slot of 1944 – 1948 in Part I and Part II in December, 2016,  the second five-year-slot of 1949 – 1953 in our July,201710th December, 2017 and 17th December, 2017 articles.

Presently, we will take up the years 1954 and 1955 of the third five-year-slot of 1954-1958.

[For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]


The year 1954 has 44 Hindi solo songs of Mohammad Rafi.  There are many repeat-music directors like  SN Tripathi, Salil Chaudhary, Naushad, Hansraj Behl, Shanker Jaikishan, Chitragupt, Ghulam Mohammad, Madan Mohan, Nissar Bazmi etc, wo composed music for one or more than one film in the year. The films ranged from successful to obscure films.

As a result, with every passing year, we now observe less number of songs that would meet the criteria for our present series, since most of the music directors have had used Mohammad Rafi for a solo song in the years reviewed till now.

Year 1954 is to yield 7 music directors who had a maiden solo song composed for Mohammad Rafi.

Roshan had made his debut in Hindi Films in 1949 with Neki Aur Badi. His first ever use of Mohammad Rafi, wasa Rafi Asha duet Mohabbat Ke Maaron Ka, in Baware Nain (1950).. Then he has used Rafi in a Rafi- Kishore Kumar-Ram Kamlani triad and a Rafi-Kishore Kumar duet, materialized only in Malkin (1953). The first solo comes up now, in 1954. Since then, Roshan’s association with Mohammad Rafi has gone on to become stronger and richer.

Zameen Bhi Vahi Hai Vahi Aasma, Magar Ab Wo Dilli Ki Galiyan Kahan  – Chandni Chowk – Lyrics: Majrooh Sultanpuri

This is a background song. The only male solo – Hamein Aye Dil Kahin Le Chal – filmed on the lead male actor has Mukesh for playback.

Datta Davjekar has had one solo – Main Teri Tu Mera – with Mohammad Rafi in 1947 for Aap Ki Sewa Mein. Incidentally, Lata Mangeshkar had had her first solo playback song – Paa Lagun Kar Jori Re, Sham Mose Na Khelo Hori Re – too in this film. However, we now have a film in which Datta Dvajekar and Jagganath share the credits as music directors, hence our present song.

Saheedo Amar Hai Tumhari Kahani, Watan Par Luta Di Jinhone Jawani – Golkonda Ke Qaidi – Lyrics: Anjaan

The film has had three music directors – Datta Davjekar, Jagganath and Kundan Lal – and three lyricists. HFGK records Datta Davjekar’s statement that all songs for the film were in fact composed by him.

There is one more Rafi solo in the film – Uthake Sar Chalo Jawani Shaan Se

Hemant Kumar probably brought in Mohammad Rafi for this song because it is was possibly Rafi only who could effortlessly scale vertically up while delivering ‘Uttho Chhalang Mar Ke Aaksh Ko Chhoo Lo’ and then in the very next line ‘Tum Gaad Do Gagan Mein Tiranga Uchaal Ke’ come back to the normal scale.

Hum Laaye Hai Tufan Se Kashti Nikal Ke Is Desh Ko Rakhana Mere Bachchon Sambhal Ke – Jagriti – Hemant Kumar – Pradeep

In a very rare Hemant Kumar – Mohammad Rafi combination, Mohammad Rafi does full justice to the confidence invested in him.

Shailesh Mukherji, is one of those Bengali music directors who could not comfortably last longer in the Hindi Film world.

Kismat Ka Likha Na Tale Na Koi Bas Chale, Yah Kya Hai Zindagi Haye Yah Kya Hai Zindagi – Parichay – Lyrics: Keshav Trivedi

We have Mohammad Rafi singing a background song in what is now established his signature style.

Sudhir Phadke has used Mohammad Rafi very selectively. In fact, he has used Kishore Kumar also very selectively, but for the film under discussion, Pahli Taarikh, he has created one of the most iconic KK song – Khush Hai Jamana Aaj Pahli Taarikh Hai….

Kahun Kya Ki Kaun Hoon Kya Hoon Main, Kisi Raste Ka Chirag Hoon, Mujhe Jisne Chaha Jala Diya…Gareebon Ki Duniya Mita Denewale  – Paheli Tareekh –  Lyrics : Qamar Jalalabadi

This also seems to be a background song.

Lachchiram (Tamar), composed music for around 20 films.  For most of the Hindi Film fans, the name of this music director would itself, perhaps, be a forgotten name. But his songs – Dhalati Jaaye Raat, Karale Dil Ki Baat (Razia Sultan, 1961), Gori Tere Nain Nainva Kajar Bina Kare, Sab Jawan Sab Haseen Koi Tumsa Nahin, and solo and duet versions of Tu Shokh Kali Main Mast Pawan (all from, Main Suhagan Hun, 1964) – would easily be recognized.

Akaash Ke Aanchal Mein Sitara Rahega – Shaheed E Azam Bhagat Singh – Lyrics: Shauquat Pardesi

Mohammad Rafi exudes nationalistic fervor in every word that he sings in this rally song.

Hafiz Khan is credited as the music director who created a qawwali – Aanhein Na Bhari Shiquaw Na Kiye  (Zeenat, 1945; Noorjehan, Zohrabai, Kalyani) which has the distinction of being the oldest among all the well-known qawwaalis of Hindi movies.  

Apne Diwano Se Daaman Na Chhuda, Bekhabar Hosh Mein Aa – Watan – Lyrics: Shevan Rizvi

We have one more background song…


The year 1955 had 76 songs solo songs of Mohammad Rafi, of which we have 2 solo songs each of B S Kalla and N Dutta and one solo of Bipin Babul from one film each from their respective maiden association with Mohamamd Rafi.

B(alkrishna) S Kalla is quite an unknown name. From various records, we observe that prior to 1955, he has also jointly composed for films like Mangala (1950), Mr. Sampat (1952),  Bahut Din Huye (1954), which were all produced by the then known Tamil banners. Do Dulhe is his solo music direction film.

Naam Hai Mere Baap Ka Soda, Uski Surat Dekh Ke Aata Mujhko Bukhaar – Do Dulhe – Lyrics: Pt. Indra

The present song is a very good comedy genre song. The song is filmed on mentally challenged persons, and had parodied a couple of known songs. Mohammad Rafi has another solo song – Hal Na Kar Paaye Jise Tu Kaun Si Mushkil Hai Wo – which appears to be background song, one duet with Geeta Dutt and a triad with Geeta Dutt and Sarla Devi.

N Datta (a.k.a. Dattaram Baburao Naik) commenced his career as an assistant to S D Burman in films like Bahar, Sazaa and Ek Nazar (1951), Jaal (1952), Jeevan Jyoti (1953) and Angarey (1954), before his got his maiden assignment in Milaap (1954), which was also maiden directorial venture of Raj Khosla.

Ab Woh Karam Kare Ya Sitam Main Nashe Mein Hun – Marine dive – Lyrics: Sahir Ludhyanavi

His early association with Sahir when N Datta was an assistant to S D Burman seems to be continuing and continuing well. In the present song N Dutta comes out in the true elements of his abilities – very soft orchestration, a smooth composition which has some typical twists.

The film had two Mohammad Rafi – Asha Bhosle duet songs, one of which is what is known as Beggar Song genre song in Hindi films – Bata Ae Aasmanwale Tere Bande Kidhar Jaye and another one is a romantic duet – Muhabbat Yun Bhi Hoti Hai.

Bipin (Dutt) and Babul Started their career as assistants to Madan Mohan, Thiers is one more case of a capable music director who did not ring success to the cash box. They have composed two highly respected Rafi songs – Tum Poochhate Ho Ishq Bhala Hai Ke Nahin Hai and Chheda Jo Dil Ka Fasana Hansa Zor Se Kyon Zamana in Naqli Nawab, 1962.

Rukh Se Parda To Hata Zara Nazrein To Mila – Shahi Mehmaan – Lyrics: Anjum Jaipuri

The composition of the song is more on the Sufi style.

While ending the present episode, I am not able to resist the temptation of presenting one of my most favorite Mohammad Rafi songs (for 1954), even at the cost of repeating a music director.

Hai Baski Har Ek Unke Ishare Me Nishan Aur, Karate Hai Muhabbat To Guzarata Hai Guman Aur – Mirza Ghalib (1954) – Ghulam Mohammad

We will take up the years 1956 to 1958 of the third five-year-slot of 1954-1958 in the month of December, 2018

The Micro View of Best Songs of 1947 : Female Solo Songs – Rajkumari

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

Among the vintage era female singers Rajkumari stands out because of a very distinct melody in her that era’s signature metallic-heavy-bass-oriented-female voices.

Obviously, none of the song I had heard earlier. So I have no means to categorise these songs into the ‘popular’ tag. However, I find many songs very appealing only after a couple of hearings during this project.

Aye Chand Tu Ab Bata De Mera Chand Kahan Hai – Bhakta Ke Bhagwan  – Chhanalal Thakur – Kavi Mansavi Prantijwala

Sajani Chhoti Si Hai Baat Dekho Bhul Na Jana – Bhakta Ke Bhagwan – Chhanalal Thakur – Kavi Mansavi Prantijwala

Sharam Se Naina. More Naina Zuk Zuk Jaaein – Dehati – Premnath – Rammurti Chaturvedi

Dekho Ji Aayee Suhani Raat ….Ghataen Chhai Hai Ghanghor – Doosri Shaadi – Govind Ram – Ishwar Chandra Kapoor

More Rote Nain Ro Ro Marenge Tum To Chale Ho – Gaon – Khemchand Prakash – D N Madhok

Shokh Nazaron Ke Machalane Ka Zamana Aa Gaya – Hatimtai – A Kumar

Kal Jamuna Tat Par Aaoge Murzai Kali Hamare Man Ki – Neel Kamal – B Vasudev- Kedar Sharma

Bhool Jate Hai Bhool Jaya Karen Azamate Hai Azamaya Karein – Neel Kamal – B Vasudev- Kedar Sharma

Saiyan Ne Ungli Marodi Re, Rama Qasam Sharma Gayi Main  – Parwana – Khursheed Anwar – D N Madhok

Zalim Tera Khayal Satae To Kya Karun – Sajani – L Amar / Afzal Lahauri – Razi Banarasi

The songs for which I could not locate the digital link:

  • Bhakt Ke Bhagwan Tera Hi Naam Smaran Tera Hi Gun Gaan – Bhakta Ke Bhagwan  – Chhanalal Thakur – Kavi Mansavi Prantijwala
  • Aaya Mausam Naya Rut Badalane Lagi – Chalate Chalate – Khemchand Prakash – Lal Chand “Bismil’ Peshawari
  • Tumane Jaga Di Meri Jawani Mujhko Suna Ke Prem Kahani – Diwani – Gyan Dutt – Shams Azimabadi
  • Kahe Do Kaali Ghatayen Daraye Na – Gaon – Khemchand Prakash – D N Madhok

We will take up Micro View of Amirbai Karnataki’s solo songs for 1947 in our next episode.

Business Sutra |7.1| Nature is destroyed when culture is created

Business Sutra |7| Environment

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

The 1st episode presented to us the most visible form of the business – the corporation: its meaning, its purpose and its action perspective. In the 2nd episode Devdutt Pattanaik discusses Leadership: Role of the leader, Context of the leader and Leadership in different business cycles. The 3rd episode relates to the Business Ethics and Morals:  business ethics and dilemmas, relationship between owner and the organization  and The Right (Dharma) – the Ramayana way and the Mahabharata way. The 4th episode deals with Conflicts, of the Board and the CEO and that of the means vs. ends. The 5th episode takes unto the realm of Education, wherein Part 1 covered the basics of education to the (potential) leaders in Ram’s Education, Part 2 addressed the Knowledge Transfer to Next Gen and Part 3 dealt with the issue of student motivation.  The 6th episode has taken up the oft-discussed topic of ‘measurement’, wherein in the Part 1, What Can Be Measured, dealt with the definitive need for not ‘only measurement’, but for ‘also measurement’ too and Part 2 dealt with mutual importance and dependence of Objectives versus Subjective Reality, whereas Part 3 evaluates ‘What is Your Worth?’ from these measurements perspectives .

The 7th episode takes up the relationship of advances in the business and its impact on Environment.

We all have been hearing about the environmental cost of industrialization and growth. There are demands for better regulations and more safety measures to prevent events like the BP oil spill or incursion of brackish sea waters into the fertile Naramda delta. But no one is talking about curbing demands. Demands for more resources indicate growth. But it comes at a price – the destruction of the environment. And with the destruction of the environment, human society comes closer to its own destruction as we depend on environment for our survival. Any talk of being content with what one has is mocked as being ‘spiritual’ and not ‘practical’. Scriptures have warned us about this always. But modern management never bothered to check the wisdom therein.

Business Sutra |7.1| Nature is destroyed when culture is created

Human Being came into the conflict with nature for the sheer survival. What began as a duel of survival gradually turned into an undeclared war on the nature. Nature also started reacting more and more assertively. By the turn of 20th century this full-scale war had turned into an one-sided, probably still half-hearted, half-proactive or even more reactive armistice that would expectedly lead to sustainable development.

Interwove Culture & Nature – taken from:

I have randomly picked up two representative articles and a TED video presentation to manifest the current western thinking on the subject.

Nature vs. culture or cultured nature?K. Jan Oosthoek  – The question is not whether untouched nature is good and anthropocentric influence on natural systems is less desirable. The question is whether we would like to protect nature for the sake of nature or for the benefit of ourselves and other species. It is a question of grades of human interference and impact not one of untouched nature.

Perspective on: Nature vs. culture in environmental changeEmmanuel Kreike, an associated faculty member of the Princeton Environmental Institute, focuses on the intersection of war, violence and population movements and their impact on the environment and society. He is particularly interested in how 19th- and 20th-century wars and ensuing forced migration led to the destruction of human-shaped landscapes and how people rebuild lives and livelihoods in often alien environments after the conflicts ended.

The battle between nature and nurture | TEDxNTU – People like easy answers: this *or* that, on *or* off, left *or* right. But for Irene Gallego Romero, the wonder of biology has always been that it refuses to be so simple, and never is that truer than in the conflict between nature and nurture. There are no easy answers here — but there are amazing stories.

So, at this stage, we would leave the choice of what to read when on that subject to the reader… and move on to Segment 1 of the episode 7 wherein Devdutt Pattanaik takes up the subject of Nature is destroyed when culture is created.


It marked civilization’s earliest attempt at manufacturing and first example of property. The clay pot also signifies man’s contract with the environment in that all human creation is based on the destruction of nature.

The most interesting story in the Vishnu Purana, in fact the first story of the Vishnu Purana, is about how organizations are created and why organizations grow. It begins with the story of a fish.

Vishnu takes many avatars, different forms in different incarnations. The first incarnation is of a fish. It is always interesting as to why was it a fish, why was it not a tadpole or why was it not a butterfly. Then you think of the word Matsa Nyaya – the law of the fishes – which is basically jungle law, the might is right.

The story begins with this little tiny fish approaching Manu, Manu being the ancestor of mankind, Manava (The Human Being).  She asks Manu to save her from the big fish. Now in nature, nobody will save a small fish from the big fish. That is the natural law.  The predator and the prey have a relationship. But when humans appear on the scene, we will say that we will not submit to the law of nature, we will help the helpless, we will create a world where a meek has rights. We basically call it culture. That is exactly what Manu does when he picks up the small fish in palm of his hand and takes him out of the sea, thereby basically disrupting the nature. He takes her and puts her in a pot and says you will be safe here.

So either way the pot represents the organization where the fish has been placed and here it is safe now. So there is a separation between the water in the sea, which is nature, and water in the pot which is culture. Culture demands utilization of resources. The water, the fish, the earth, the pot, the clay has not come from a vacuum. They have come from nature. The fish increases in size. It grows bigger, which means it needs more water, it needs a bigger pot and so a larger pot has to be designed.

So Manu builds a larger pot for the fish, ..

…shifts him from the small part to the big pot. That is growth.  That is where organizations grow and as organizations grow they will demand more of the natural resources. It is just natural this is the weight is going to be and so the fish continues to grow and grow and as organizations continue to grow and grow and demanding more and more from nature.

I get that, but is it also not implicit in our scriptures, and this is something that we learn instinctively, that all creation is accompanied with destruction. I mean if we were to believe the broad theory that everything in the world is just energy and it is all about the transfer of energy from one form of matter to another form of matter. Isn’t it?

Let us look at the image of Durga. Let us go to Durga pandal in Calcutta during Durga Puja Dussehra. Here what you see is an image of a mother goddess, she is slaughtering a buffalo. Our very simple answer is that Buffalo is bad god and it is good killing the bad. But it also means that in order to feed her children, she is taking life. She is taking life out of something to plant life into others, so that life feeds on a life. So in a way the mother goddess is saying in order to feed my children something has to die. So the forest has to be destroyed so that the field can be created, the river has to be destroyed so that the canals can be created; the mountain has to be destroyed so that minerals can be created.  That is the mother goddess in a very violent form, with blood flowing around. That is the idea of sacrifice – a reminder that for everything that you have created in society, something has died.

So ask yourself: why are you creating what you’re creating while creating organization? Why do you want to grow? Because every time you create an organization or you create growth you are going to consume from the nature. Is it worth it? If not, do not do it.  But if you still need to, be aware that something will always die.

Is the sanction also implicit? I mean are the scriptures or the mythology implicitly giving you the sanction to destroy nature so as to be able to build culture?

The mythology as I have said repeatedly it’s not prescriptive, it is reflective, which means it tells you what you are doing it in the form of a narrative. For example, in Mahabharat, Yudhisthira tells Krishna that I want to build a city.

This is after he wins the war.

No, in fact the story so happens that Yudhisthira goes to his uncle and says that I want my share of the property, because there’s a lot of conflict between the two cousins, so let us just divide the property. The uncle gives him the forest, The Khandav Forest, with all kinds of grass and says take this. Now Yudhisthira say I would have built a city in the forest, so he talks to his friend Krishna. Krishna says burn the forest.

Think about it this – we are given the forest the first thing, then I have been told to burn the forest and what will happen when you burn the forest,  all the animals the birds you are killing, the ecosystem is destroyed.

Krishna says if you don’t destroy the forest how will you create the field, how will you feed your people. So, in effect, the story tells is that the king who wants a kingdom must take responsibility. In order to build his kingdom, in order to feed his people he is going to destroy an ecosystem.

The story continues. We are told that the serpents inhabited in that forest. So when the forest is set to aflame, the animals are killed, including the serpents. A couple of serpents escaped. They are there is an eternal the feud between the Pandavas’ children, the grandchildren great-grandchildren on one side and the serpents on the other side. In fact the Mahabharat story begins with this great sacrifice where a descendant of the Pandavas wants to kill the Serpent because the serpents are killing his relatives and he thinks that the Serpent’s are the villains. Then the storyteller comes in and says, wait a minute before you declare the Serpents as villains. Please know what your ancestors did it to the serpents, how their kingdom was destroyed by this fire in order to establish the city of Indraprastha.

So implicit in the narrative is how conflicts are created, because in order to build your organization you’re going to destroy nature. When you destroy nature you destroy an ecosystem. That means you are taking away the livelihood of others. There will always be conflict between those who have been stripped of and the organization who gets it. So conflict is implicit in the culture.

The episode quite emphatically states that nature and culture work in opposite directions. It also accepts that culture (organization) does to have to exist and expand as well. That will come with a cost, too. And that is the responsibility that the mankind has to fully appreciate, accept and pay for these costs, and accept and pay them in totality.

In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 2nd segment – Eventually Nature will prevailof the 7th episode The Environment, in our next episode.

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.