Paro Devi also belongs to the so-called’ kotha-club of singers (singers who originated from the kotha style of singing) of the vintage era. She debuted Hindi Films via Shikar (1946). So 1947 is her second year in the films. She played the role of second lead and would sing her own songs. However in the later part of her career, many of her songs were playedback by Shamshad Begum.
Muhabbat Jatane Ko Jee Chahata Hai – Amar Asha – Shanti Kumar – Qabil Amrutsarri
Ambawa Ki Dali Pe Koyal Bole, Koyal Bole Re – Do Bhai – S D Burman – Raja Mahendi Ali Khan
Kabhi Bhoole Se Na Poochhi Man Ki Baat Rasiya – Do Bhai – S D Burman – Raja Mahendi Ali Khan
O Panchhi Pardesiya Ja, Ud Ja, Mere Piya Ka Sandesha La – Ghar Ki Bahu – Sham=nti Kumar Desai + R C Roy – Taaresh
Main Hoon Baag Ki Koyal Raja Ho – Heera – Husnlal Bhagatram- Munshi Shams Lakhanavi
Taqdeer Ne Bigad Diye Kam Mere – Heera – Husnlal Bhagatram – Qamar Jalalabadi
Uljhan Jo Badhati Jaa Rahi Hai Intezar Ki – Heera – Husnlal Bhagatram- Munshi Shams Lakhanavi
Bagiya Mein Aan Dheere Dheere, Malaniya Dekh Na Le – Heera – Husnlal Bhagatram- Munshi Shams Lakhanavi
Jaane Ki Kya Jaldi Hai, Jana Chale Bhi Jana – Heera – Husnlal Bhagatram- Munshi Shams Lakhanavi
Menaka Bai
According some refences available on the net, Manaka Bai (Shirodkar) is the mother of Shobha Gurtu. She was a trained classical singer, too.
Unhen Kissa-e-Gam Sunati Rahoongi – Gul Bakawali – Feroze Dastur+ Prof. Bund Khan – Munshi Shefta
Saroj Welingkar
Essentially even as Saroj Welingkar was a trained Marathi classical singer, not mushc detail is available on net, at least in English.
Haay Dil Toot Gaya – Shanti – B S Thakur – Shakeel Badayuni
Note: We have not considered here the songs for which YT link was not available.
Our quest for solo songs of other Female Singers and Lata Mangeshkar for the year 1947 will continue in the next episode as well.
The Films of Meena Kumari and Dev Anand did together are: Sanam (1951), Tamasha (1952), Baad Baan (1954) and Kinare Kinare (1963). I have selected on song from each of these films
Bedard Shikari Are Bedard Shikari – Sanam – Suraiya, Lata Mangeshkar – Husnlal Bhagatram – Qamar Jalalabadi
Thi Jinse Pal Bhar Ki Pehchan – Tamasha – Asha Bhosle – Khemchand Prakash / Manna Dey – Bharat Vyas
Dekho Chanchal Hai Mora Jiyara – Baadbaan – Asha Bhosle – Timir Baran, S K Pal – Indeevar
Har Ash Ashqbar Hai Har Saans Beqarar Hai – Kinare Kinare – Lata Mangeshkar – Jiadev – Nyay Sharma
And, now, we take up the tributes in August 2018:
The Great Sawan Songs of Bollywood – The month of Savan, 5th month in Hindu calendar, normally coincides with August. Hindi films have relished Savan in the songs.
Neel gagan ki chhaon mein – Deepa Buty relives the song from Amrapali on Vyjayanthimala’s birthday on 13 August 2018
[N.B. Deepa Buty is the founder of the site SongPedia, which has a tagline “For Music Lovers, By Muisc Lovers’. The site spots tags like Legends , Song Sketch, Collections, Startups, People, Songs, We will commence our detailed visit to this site from our next issue.]
Most Memorable Films of Vyjayantimala – Born on August 13, 1933, she was a natural performer who danced for the pope at the age of four. She started in films under MV Raman’s direction at AVM with Vazhkai/Jeevitham (1949), a bilingual film in Tamil and Telugu. The immensely popular film was later adapted as Bahar (1951).
Two faces of Haribhai, a.k.a. Sanjeev Kumar is an effort to say some vaguely nice things about SK, by the author who is generally skeptical about the histrionics abilities of Sanjeev Kumar.
Interestingly, but certainly not having any link to the previous article, Dusted Off has chosen Nishan (1965), one of the early, B-grade Sanjeev Kumar films, for a full-fledged review this month.
The Songs of Gulzar shadow over his other roles as (originally assistant director) director and film script and dialogue writer.
in Part II, Monica Kar follows up, Musically Yours, 1963 (Part I) to pay a personal tribute to 12 music directors who created note-worthy compositions in 1963.
The Master of Qawwali Roshan and some hidden qawwalis of Madan Mohan – In a career which had many parallels, as Roshan carved a niche in qawwaalis, Madan Mohan was known to specialize in composing the ghazals. The present post, lists the well-known Roshan qawwalis and some not so-known Madan Mohan qawwaalis.
The world’s first South Indian Pathan? Why Sridevi’s accent in her Hindi films has never mattered – Edited excerpts from an upcoming biography of the actress, who would have been 55 on 13th August this year, by Lalita Iyer. Shridevi had turned her language handicap into a quirk. Throughout her Hindi film career, she spoke Hindi with a thick, sing-song Tamil accent, and depending on whether one is a Shridevi fan or not, this could be grating or cute.
Musical Rhythms of the Running Train – Trains have been integral to the lives of people ever since the first train ran in 1853 in India. In Indian cinema, there are lots of songs which are picturized either on the running train or in the backdrop of the moving locomotive, snaking through the hills and the fields. Kunal Desai observes how composers have created the basic rhythm for songs which were picturized on a train or with the train as the subject. It is the story and the scene sequences, which influence the sound arrangement of any song.
Hindi Songs with ‘Anokhe Bol’ is akin to the songs that Radio Ceylonbroadcasted in it’s the tehn popular program Anokhe Bol
Seen But Not Observed the instrument Double Bass like Michael Caine, who got his fame “as being seen, but not being observed”. Check out Mera naam Chin Chin Choo from Howrah Bridge, 1958, and also Teen canastar peet-peet kar gala phaad kar chillaana from Love Marriage, 1959). The interesting thing is that while most significant instruments have been played by at least one major Hindi film actor on the screen, the Double Bass has the dubious distinction of never having been played by a significant actor, except for a few seconds by Kishore Kumar in Gaana na aaya.
Live Music While You Eat – Many restaurants offer music to add to the dining experience; ghazals, popular film songs or pop, jazz, country western, etc. A book by Charles Spence of Oxford University, Gastrophysics: The New Science of Eating, announces that music can make our food taste better. The posts lists songs where a person was seen singing in a restaurant. Not dancing and singing, because that becomes a story of song and dance. If the patrons themselves dance, that’s ok J
‘Forgotten Artists of Early Cinema and The Same Name Confusion’ – While introducing the maiden book – Forgotten Artists of Early Cinema and The Same Name Confusion’ – published by Shri Arunkumar Deshmukh , co-authored by Surjeet Singh, the post has listed a few songs that link up with the subject of the book. Here is one such song:
Book Review: Anil Zankar’s ‘Mughal-e-Azam: Legend as Epic’ (Harper Collins Publishers India, 2013; 200 pages; Rs 250) – The author,among a good many other interesting details, mentions that of the fifteen songs originally written for the film, only twelve were finally used, he doesn’t mention that one song—Husn ki baaraat chali—was actually shot, though eventually not used in the film.
Behind the Human Curtain – As for our poetry, we put all cloaks under the simplistic umbrellas of ghunghat, parda and naqaab. While by parda we also mean a curtain separating the women from the men, the result being the same. And in this collective simplification can be found several songs from Hindi cinema.
In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up one SoY post, one video clip and a few songs that basically have link with the topics discussed in the present post.
Rafi’s best songs by Madan Mohan – Madan Mohan has composed nearly 168 Mohammad Rafi songs, of which quite a few have everlasting fame. I have also picked up a very rarely heard, but famously enjoyable, song from the list:
Duniya Ke Saare Ghamon Se Begana, Ho Main Hun Mastana – Mastana (1954) – Madan Mohan – Rajendra Krishna
Yeh To Kaho Kaun Ho Tum – Akeli Mat Jaiyo (1963) – with Lata Mangeshkar – Madan Mohan – Majrooh Sultanpuri
Yahan Koi Nahi Tera Mere Siwa – Dil Ek Mandir (1963 – Shanker Jaikishan – Hasrat Jaipuri
Zeenat Begum belonged to what can be loosely termed as Lahore Club in the Hindi Films. She shifted to Bombay in 1944 and was active here till 1951, when she chose to Migrate to Pakistan. Her major active years thus pertain to the very last phase of the Vintage era. Therefore, even as she is considered quite an established playback singer in that period, bulk of her work remains not much heard to the-reared-in-the-golden-era person like me.
Even as I listed down Zeenat Begum’s solo songs for 1947 from HFGK, I was not sure that many of these songs may have a valid YT link. Surprisingly, not only almost all these songs did have a YT link, there are many YT links which do find a mention in HFGK to the credit of Zeenat Begum.
In the end, even as I had already planned her solo songs as part of the solo songs of ‘other; female sigers, her solo songs actually number befitting enough an indepnedant post.
Pade Ishq Mein Jaan Ke Ham Ko Lale – Aaj Aur Kal – Khursheed Anwar
Tere Bina Balam Jiya Mora Dole, Man Mein Mor Hook Uthe – Arsi – Lachhiram, Shyam Sundar (?) – Sarshar Shailani
O Meri Akhiyan Nit Din Roye – Arsi- Lachchiram. Shyam Sundar (?) – Sarshar Sailani
Kaun Sune Fariyad Meri Haye – Farz – K S Sagar
Yeh Kaisa Zamana – Farz – K S Sagar
Is Desh Ke Jwano Ko Ab Ajmaya Jayega – Farz – K S Sagar
O Sajan Samjo Na – Farz – K S Sagar
Ab Kahan Jaun Dushman Jamana Mera Ho Gaya – Intezar Ke Baad – Khan Aziz (Aziz Khan) – Gafil Harnalvi
O Ruthanewale, Chhup Chhup Ke Na Jiya Jala, Aa Man Ki Lagi Ko Buza – Intezar Ke Baad – Khan Aziz (Aziz Khan) – Gafil Harnalvi
Muhabbat Mein Teri Ae Bewafa, Kuchh To Wafa Hoti – Intezar Ke Baad – Khan Aziz (Aziz Khan) – Gafil Harnalvi
Allah Khata Kya Hai Gareebon Ki Bata De – Mehandi – Ghulam Haidar- Sagar Nizami
Hai Dil Hi Dil Mein Dil Ki Tamanna Haye– Mehandi – Ghulam Haidar- Sagar Nizami
O More Raja Ji Meri Gali Aana – Pagdandi – Khursheed Anwar – D N Madhok
Ik Banwara Panchhi… Nadiya Ke Kinare-– Pagdandi – Khursheed Anwar – D N Madhok
Ae Lo Badal Aaye, Wo Nahi Aaye – Pagdandi – Khursheed Anwar – D N Madhok
Tum Jug Jug Jiyo Maan Ke Jaaye– Pagdandi – Khursheed Anwar – D N Madhok
Pardesi Balam, Chhai Ghata Ghanghor, Papihe Mor Machaye Shor – Pagdandi – Khursheed Anwar – D N Madhok
Our quest for solo songs of other Female Singers and Lata Mangeshkar for the year 1947 will continue in the next episode as well.
Welcome to August, 2018 edition of Carnival of Quality Management Articles and Blogs.
ISO 9004 and ISO 19011, the two important guidelines standards in the ISO family of standards have been recently revised. Therefore, we will take a quick recap of Changes in ISO 9004: 2018 as well as in ISO 19011:2018 in our August, 2018 issue.
ISO 9004: 2018 cancels and replaces the third edition (ISO 9004:2009), which has been technically revised. The main changes compared to the previous edition are as follows:
focus on the concept of “quality of an organization”;
focus of the concept of “identity of an organization”
[Note: We will cover the concepts – “quality of an organization” and “identity of an organization” in our subsequent issues.]
Secrets of business success in new ISO standard – The 2018 Corporate Longevity Forecast lists new technologies, economic shocks, disruptive competitors and failure to adequately anticipate and prepare for future challenges as some of the key reasons cited for the demise of the organizations sooner than later..IS0 9004:2018 intends organizations not only to survive, but achieve “sustained success”, by addressing topics such as the alignment and deployment of strategy, policy and objectives within the broader context of the organization’s vision, mission, values and culture.
ISO 9004:2018 – Sustaining Success – ISO 9004:2018 has taken a major step in defining itself as a standalone document that is related to—but separate from—ISO 9001:2015. It’s all about business, with a primary focus on organizations’ sustained success…The words “sustained success” have been chosen carefully and may be confusing to some people because ISO and quality management system-related standards consistently promote improvement in their titles. ISO 9004:2018 broke with that tradition to convey the message that no matter what an organization attempts, it must first adopt sustainability as a bedrock principle.
ISO 19011:2018was updated to ensure it continues providing effective guidance to address changes in the marketplace, evolving technologies and the many new management system standards recently published or revised.
The main differences compared to the 2011 edition are as follows:
addition of the risk-based approach to the principles of auditing;
expansion of the guidance on managing an audit programme, including audit programme risk;
expansion of the guidance on conducting an audit, particularly the section on audit planning;
expansion of the generic competence requirements for auditors;
adjustment of terminology to reflect the process and not the object (“thing”);
removal of the annex containing competence requirements for auditing specific management system disciplines (due to the large number of individual management system standards, it would not be practical to include competence requirements for all disciplines);
expansion of Annex A to provide guidance on auditing (new) concepts such as organization context, leadership and commitment, virtual audits, compliance and supply chain.
With these improvements, ISO 19011:2018 still details the principles of auditing, managing an audit program, and conducting management system audits. It also details guidance on evaluating the individuals managing the audit program, auditors, and audit teams.
ISO 19011:2018 provides valuable information on how to improve an audit program systematically, just as other departments in an organization are expected to improve… Organizations, in pushing for auditing improvements, should consider the needs of customers and other interested parties…An area of increasing importance in auditing management systems and business in general is the concept of risk. As of the 2011 edition, risk has been integrated throughout the audit program management section of the ISO 19011:2018 standard.
[Note: We would take up ‘concept of risk’, as ingrained into the auditing process, in our next issue.]
We will now turn to our regular sections:
For the present episode we have picked up William Cohen, Ph.D’s article How to Avoid Inevitable Failure Through Innovation @ Lessons From Drucker column of Management Matters Network….’If any organization continued to do what in the past had made it successful, it was certain that it would eventually go under’ was one sure way that Drucker knew that an organization was going to fail…Avoiding failure requires innovation, and innovation is one of two primary tasks of any business, the other being marketing…He also understood that resources in time, talent, capital, and facilities are needed every time an innovation is initiated and exploited. This led Drucker to a very important concept which has come to be called “abandonment.”… Drucker saw that logically this meant that an organization must be prepared to abandon everything it does at the same time that it must devote itself to creating the new. So that abandonment must simultaneously be executed along with continuous improvement, exploitation of past successes and innovation.
Jim L. Smith’s Jim’s Gems posting for August, 2018 is:
Organizational Excellence in Quality Management – The basic element is people who care. – People who care understand the negative impact of doing less than their best…Caring isn’t a new concept. The late Dr. W. Edwards Deming called it “pride in workmanship”…. If their employees really do care, it is so tangible it can be felt and detected in many ways. There’s a foundation of caring permeating throughout the organization. However, if people don’t care, it really doesn’t matter what kind of products or system they have or how many plaques are hanging on the walls, they will never achieve the level of performance needed for all to succeed.
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.
We have so far covered the solos songs of female singers like, Suraiya, Geeta Roy, Shamshad Begum, Rajkumari, Amirbai Karnataki, Zohrabai Ambalewali, Noor Jehan, Khursheed and Kanan Devi for the year 1947. These are the singers for which we had at least one post-length numbers of solo songs. There still are quite a few more female singers who may not have solos songs in the comparable numbers. We have combined all these female singers in this post that may run into several parts. To the extent possible, we have sub-classified the collection according to a particular singer.
In her maiden year as a playback singer, Lata Mangeshkar also gets a small place in this post. But that remains to be the solitary case. From 1948 onwards, our micro-view analyses had to be run in two streams – one that of solos songs of Lata Mangeshkar and the other that of all other female singers. Lata Mangeshkar dominance was seen spreading its omnipresent shadow over the female playback scenario over each of the passin year.
Meena Kumari
Meena Kumari, like many of the actresses of that period seemed to try a hand at singing her own songs. She was so very young, that probably she did not possibly have a choice of not saying no to playback sing her own songs.
Meena Kumari, as is well-known stepped in the Hindi Films as a child artist, and did sing a few sing in that role. This is said to be the maiden song of hers:
We had had a couple of songs in the year 1948 too.
We do not have the luxury of debating whther she would have turned out to be another actress-singer of note or would have been swept aside, like Suraiya, in the subsequent Lata-tusnami, since she clearly adopted the role of an actress there after.
1947 is the year when very young Meena Kumari steps into major roles and gets to sing her screen songs.
Maa Dekh Ri Maa, Badali Hui Jawan – Duniya Ek Sarai – Hans Raj Behl – Kedar Sharma
Sawan Beet Gayo Maai Ri, Nahi Likhi Balam Ne Chithhiya – Duniya Ek Sarai – Hans Raj Behl – Kedar Sharma
Akhiyan Taras Rahi Un Bin – Piya Ghar Aaja – Bulo C Rani – Pt. Indra
Ek Baar Phir Kaho Jara Aankhon Ka Noor Ho – Piya Ghar Aaja – Bulo C Rani – Pt. Indra
These are the songs for which I have not been able to locate the YT link:
Na Koi Dilasa Hai, Na Koi Bahana Hai – Piya Ghar Aaja – Bulo C Rani – Pt. Indra
Mili Aaj Piya Se Akhiyan – Piya Ghar Aaja – Bulo C Rani – Pt. Indra
Mere Sapno Ki Duniya Basanewale– Piya Ghar Aaja – Bulo C Rani – Pt. Indra
Desh Paraye Jaanewale Bhul Na Jaan Preet Nibhana – Piya Ghar Aaja – Bulo C Rani – Pt. Indra
Naseem Aktar
To those who have fair knowledge of the history of the vintage era of Hind Films, Naseem Akhtar was not an unknown name. I do not have sufficient knowledge about her career. However, her solo songs for 1947 are worth listening to.
Jaam Utha Le O Peenwale Jaam Utha Le – Aaj Aur Kal – Khursheed Anwar
Kaliyon Ko Masalane Aaye Hai – Aaj Aur Kal – Khursheed Anwar
Hai Jo Khizan Naseeb Mein, Aayegi Phir Bahar Kya – Bhanwar – Khan Mastana –
Bhule Se Kabhi Yad Kar Ae Bhulanewale – Ek Roz – Shyam Sundar – Sarshar Sailani
Our quest for solo songs of other Female Singers and Lata Mangeshkar for the year 1947 will continue in the next episode as well.
Shankardas Kesarilal, born on 30 August 1923, popularly known as Shailendra, was known to conjure up songs on a spark after waiting for days on end to write the first line. These songs were always full of meaning, sentiments and yet were never too difficult to comprehend.
Roshanlal Nagrath (14 July 1917 – 16 November 1967), better known by his first name Roshan for the sheer melody of his tunes.
We pay our tribute to these two most cherished names of HFM today, by recalling their less remembered songs. These songs belong to a period when Shailendra had just attained the fame, but Roshan was still in the process of carving out a space for himself.
It may not therefore be a matter of sheer (commercial) chance that films for which Shailendra wrote songs to Roshan’s compositions number just after Shanker Jaikishan, S D Burman and Salil Chaudhary.
Last year, in our article in the present series, we had a Roshan – Shailendra song Mere Dil Ki Dhadkhan Kya Bole [Anhonee (1952); Talat Mahmod, Lata Mangeshkar]. We take over our journey of Roshan+Shailendra songs from that point of their co-work. For our present article, I have chosen those songs for which I could not recollect the song by just reading the initial words of the song. I have also tried to include as many playback singers as possible while applying the first filter.
Kajraari Matwari Madhbhari Do Ankiyan – Naubahar (1952) – Rajkumari
The song has been placed in the film to convey the real negative feeling which the protagonist (Kuldeep Kaur) had when she was presented to meet a very bright, but a blind, son of a rich man. The song has been set to a mujra dance, which has all the external forms of a very expressive art, but socially carries a negative connotation.
Preet Nibhani Balma Tum Kya Jano O Sajana– Sanskar (1952) – Meena Kapoor
We have only an audio clip available here.
Mil Jhul Ke Kaaton Logon Gareebe Ke Fande – Aagosh (1953) – Hemant Kumar, Indra Meerchandani, chorus
The song gives a call to the people to unitedly fight the poverty and usher in the poverty. The lyrics of the song have been closely aligned with the work of log cutting being carried out by teams of the workers.
Jhilmil Taare Kare Ishaare – Maashuqua (1953) – Mukesh, Suraiya
This is lullaby duet, which is a rather uncommon format for the genre. The song has interwoven the touch of pathos about the ways of the world.
Dil Ki Shiyakat Nazar Ke Shiqve Ek Jhubaan Aur Lakh Bayaan, Chhupa Na Sakun Dikha Na Sakun Mere Dil Ke Dard Bhi Hue Jawan – Chandani Chowk (1954) – Lata Mangeshkar
This song belongs to letter (‘chitthi’) genre of songs. The song has an ebullient, very young, pre-tragedy queen Meena Kumari in the process of writing down her thousands of tales (‘bayaan’) through one pen….
Jawan Ye Zindagi Pyaar Ka Sama – Coffee House(1957) – Asha Bhosle
This is the only song written by Shailendra for this film. In fact Hasrat Jaipuri has written one more and all other were written by Prem Dhawan
Ho-Ho Hone Laga Ye Dil Mein Dard Kaisa…Mitha Mitha Kisi Ke Pyar Jaisa – Aji Bas Shukriya(1958) – Asha Bhosle
The vivacious Geeta Bali is her at effervescent best, well-supported by rollicking lyrics composed to a very unorthodox tune..
Ik Din Ye Aansoo Banenge Sitare, Kabhi Na Kabhi Din Aayenge Hamare – Heera Moti (1959) – Lata Mangeshkar
Shailendra translates the dream of the adolescent girl of realizing a day that would be her own. Roshan has finely woven the cautious optimism in the composition of the song.
Bata Do Koi Kaun Gali Gaye Shyam – Madhu (1959) – Lata Mangeshkar ║Manna Dey
A very well-known bhajan, cast in a twin song style.
Jaise Court Mein Haakim Ki Chale Re Kalam, Ter Sang Mein, Ho Tere Sang Mein Chaloongi Chaloongi Baalam – Soorat Aur Seerat (1962) – Asha Bhosle
The song is lady’s promise to be a fully-involved co-traveler on the roads of the life. Why Shailendra would have chosen a mundane metaphor of a judge’s pen delivering a judgement for so sentimental a commitment being conveyed remains unfathomed.
To end our present episode with a Mohammad Rafi song we have one more very unique experiment by Shailendra – Roshan combination –
Na Ro Bhai Na Ro,. Main Tera Banadar Dug Dug Naachu –Deep Jalte Rahe(1959) – Mohammad Rafi, Vijaya
The song brings in the essential philosophy of moving on among all the negative circumstances. The song has used metaphor of the servants of the home baby-sitting the toddler who then goes up into a young boy.
When we look back these ’pieces’ of choices of the song, we see a totally new Roshan emerging from the lyrics of Shailendra. The pattern obviously not conducive to being commercially successful, but nonetheless provides a fine insight into the deep creativity of both, Roshan as well as Shailendra.
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.
This is the last possible year when we can have Hindi (Bollywood) solos songs of these three classic vintage era female singer icons in a year, simply because Noor Jehan was to then migrate to Pakistan. Also, it was this year that Lata Mangeshkar has debuted as a playback singers for Hindi films. Lata went on to totally dominate the female playback singing scene by the turn of the decade, and has almost single-handedly scripted the history of Hindi film music. When all these characters have now been consigned to ‘have been’s, we are left with only question to continue to ponder over: What would have been the character of Hindi film songs had Noor Jehan not migrated to Pakistan?
At the cost of making the post a little linger, we have covered solo songs of these singers in one post, thereby according them a very special status.
Khursheed
Main Khoj Khoj Kar Haari, Prabhuji Aai Sharan Tihari – Aage Badho – Sudheer Phadake – Amar Varma
O Jhoom Jhoom Raha Hai Mera Man Dekho Jhoom Raha – Aage Badho – Sudheer Phadake – Amar Varma
Yah Duniya Pyari Pyari Re Wah Nai Nirali Duniya – Aage Badho – Sudheer Phadake – Amar Varma
Rut Basant Ki Aai – Angoorbala – Ram Gopal – Mr. Shyam
Jis Ke Milane Ki Tamanna Thi Wo Pyar Mil Gaya – Manjhdhar – Ghulam Haider – Shams Lakhanavi
Business Sutra |7.2| Pralaya – The Environment Fights back
Armed with huge amount of ‘knowledge’ and the advances in the technology, Humans started expanding the limits of its direct and indirect interaction with the Nature. On many occasions the human being scored an upper hand, at least for the time being. That prompted him to build a tendency to think that we can (always!) outsmart the natural world. But, nature has a funny way of telling us – or rather showing us – that we’re not as clever as we might think. ‘This Is What it Looks Like When Nature Fights Back Against Civilization (and Wins!)’ has backed up this argument with some very convincing photographs. Here are a few of them –
Nature not only finds such ways to live with the growth of mankind, it also chips into undo the damage, to whatever best it can, as put forth in ‘Mother Nature Fights Back Against Climate Change’. In this article, Jenna Iacurci states that ‘humanity may be struggling to find ways of reducing carbon emissions, but it seems we are not doing it alone, as Mother Nature is also fighting back in her own way against climate change.’
If none of these two routes work, Bill McGuire says we can also expect more earthquakes, volcanoes, landslides and tsunamis, when the Earth Fights Back. It may be no coincidence that one outcome of increased volcanic activity is likely to be a period of falling temperatures, as a veil of volcanic dust and gas reduces the amount of solar radiation reaching the surface. Maybe the Earth is trying to tell us something. It really would be worth listening before it is too late.
Hauschka performs “Nature Fights Back” from his album “What If” live at Funkhaus Berlin to spread the awareness of the subject.
Devdutt Pattnaik has used the term Pralaya – Annihilation of the universe- from the Hindu mythology, to put the nature’s extreme response in its correct perspective. For more detailed analysis, we will move on to Segment 2 of the episode 7 wherein Devdutt Pattanaik takes up the subject of The Environment Strikes Back.
I understand that conflict is part of creating culture and that it is embedded in culture. But the question that it leaves us with, and the question we are grappling with today, is how much is too much. We are all seeing the consequences of over-exploiting the environment or taking away from nature. It is ironic because we are not the perpetrators of this crime and yet we’re paying for it. So how much is too much and why can’t the consequences of actions be more immediate and therefore previous generations would have paid for the kind of damage that they did to the environment as opposed to us having to pay?
It depends on the line of sight that you have. In the previous episode I had talked about Garuda Drishti – the long sight – and the Sarpa Drishti – the short sight. We (also) spoke about how dangerous when a leader has only a short sight and does not have long sight.
What do we mean by long sight? Every action that we do is having repercussions over generations. But if my focus is on this quarter’s profit then I really don’t care for the long-term implications of my actions. I am so focused on the short term that I have forgotten the long term. Now what happens at a very selfish level is that that I don’t have to pay the price, I am the CEO, I make my money and I move on. The next CEO will suffer the consequences of my actions.
This applies at a larger scale – at the generation level. One generation says we will do what we want; the next generation is to pay for it. Therefore, there exists this whole mythological idea that a child inherits the sins of his father. How much do we care for the next generation? In fact, it is not just about caring for the next generation, but how much we care for people who are not immediately around us. There is this strange phrase, not in my backyard, which basically says I will dump things so long as it does not affect me.
But as we talk about a shrinking global village, everything is in your backyard. You will now pay the price for it because the same technology that enabled it to shrink is now going to get the Serpents back.
You said that Krishna gave his sanction for the burning down of the forest in order to create a city. Is it how do you create a city. It brings me back to the question that I asked you how much is too much. How many forests can you burn down to continuously create cities? I almost know the answer to that and understand that there has to be a balance between development and the environment. But is there any prescribed method that helps to know how much is too much.
Let’s see it in the form of story – Remember Vishnu’s first incarnation was that of a fish. That is how we began the story of how organizations are created and how cultures grow. The fish is in a pot and as the fish keeps growing the pot keeps growing bigger to accommodate. The story is very interesting after that because it starts getting blurry.
The fish starts getting larger and larger it becomes so large that pots are not enough to accommodate it, so it is shifted to a pond. Then it is shifted to a lake, then again it becomes bigger, so Manu shifts it into the river, and finally, it is to be shifted to the sea. The next thing that we hear that is the Pralay, a doomsday. What happens is that the fish has grown so big that even the sea is not enough to accommodate it. So the rains have to come to fill the sea and then to even to expand the sea so that it can accommodate the growing fish. As the sea starts to expand, it starts creeping over the land, the land gets flooded and Manu whose land starts to get flooded, runs to the top of the mountain.
When he reaches on the top, Manu wonders as to what is happening, what has gone wrong, even when he has been very kind and gentle? He has tried to give the fish more and more resources. But, at no point did he ask that why can’t the fish be content with the water in the pot, why does it constantly want more and more.
What is being reined in is that the nature’s resources are finite but human desire is infinite. What was never asked is at a particular point that the small fish has become a big fish, so why can it not fend for itself? That Manu did not think. So his own the compassion, which created the pot, when was taken to an extreme becomes his own destruction. He becomes so compassionate that he forgets to see that the fish needs to be content enough and ought to have to fend for itself.
That is when need becomes the greed and then the line between need and greed starts to blur. We don’t talk about this greed. We talk about moral bankruptcy of corporations. It is not that the corporations only are not morally bankrupt, it is also the shareholder too, who keeps demanding more and more in every quarter. It is the customer too, who says that, listen, I do care for the environment but I’m not going to give up my car. I will not give up my car, but why should the third world countries need cars; they should be happy with bullock carts. This an inherent conflict – I want profit, but I also want my nature to be secure.
It can’t work. Something has to be given up. So if you are not willing to give up your infinite desire then the finite nature will take over and the pralay will happen. What is the worst that will happen? Fifty percent of the human population may perish. Nature will always prevail upon in the end.
So the end is script in our scripture is the destruction.
The first story of Vishnu Purana talks about the creation of organization as well as the destruction of an organization. To balance it, the word given is Dharma. As we have repeatedly talked, Dharma is about look at the other side. There is no such thing as ‘it not my backyard’, everything is your backyard. That shift will happen when Dharma will happen, when I realize that where from comes the problem- whether it is an oil spill or Naxalites fighting. They are coming from some activity that I am doing. This is my karma, my actions that are leading to this reaction. Do I take responsibility for it or leave them as devil’s work? It is about taking responsibility for creating the mess that we have done. The only way to handle it is not by punishing the serpent, it is by taking responsibility for an infinite greed.
So is there any sort of P.S. in the book that tells you what happens after the pralay?
Rebirth happens; the new organizations are created and the new world order starts and hopefully a second chance is given. Even if you fail again, the same thing will happen again and again.
The end is foretold. Is it not a disincentive to the ‘environment-conscious, because you know that eventually like organizations, like people, everything is going to come to an end- be it now , be it tomorrow or 5,000 years later. It is still going to come to an end. So, there is no incentive in it then for us to be able to preserve the environment.
You cannot fight greed with logic. Greed is illogical! You are saying; give me a logical reason to combat something as illogical as greed. Greed is rooted in deep-seated human fear. The fear is illogical. So saying that give me logic, a mathematical template, to deal with greedy people would not just work. It does not work, it will not work.
The episode quite emphatically states that nature will strike back with all its vengeance to those who do rein in their greed of satisfying their infinite wants. No logic will ever cure who are guided by such sheer greed. Whether the mankind will learn from the devastating responses of the nature? Will it build the new world by learning from its past misdeeds? The episode has a clear message – if it does not, then The END is foretold. The only question is How and When?
In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 8th episode – The Family Feuds, 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.
We have heard Zohrabai Ambalewali’s solos songs for 1947 in the Part I last week. Presently we will listen to the remaining songs in this list.
We have had a fair taste of her vocal range and diction in the songs that listened in the previous episode. The solo songs in the present episode further adds to that range.
Dekha Khuda Ki Shaan Saheli, Dekh Khuda Ki Shaan – Elan – Naushad Ali – Ziya Sarhadi
Mere Pahelu Mein Hai Zaindgani – Elan – Naushad Ali – Ziya Sarhadi
Dil Ke Arman Nikalu Main Aa Jaa – Elan – Naushad Ali – Ziya Sarhadi
Lo Phir Raat Chanadani Aayee, Dil Mera Deve Tujhe Duhai – Gaon – Khemchand Prakash – D N Madhok
Aji Thandi Hawa Tadapae Hai – Heera – Husnlal Bhagatram –
Tumne Nazar Uthayi Mujhe Pyar Ho Gaya – Mera Suhag – Khemchand Prakash – Qamar Jalalabadi
Samne Gali Mein Mera Ghar Hai, Pata Mera Bhool Na Jana – Mirza Sahiban – Pt. Amarnath / Husnlal Bhagatram – Aziz Kashmiri
Aayi Milan Ki Bahar Re, Aaja Sanwariya – Naiya – Anil Biswas –
The world is too small? or Is it? 