Carnival of Blogs on Golden Era of Hindi Film Music, October, 2018

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

Just as the world had seemed to come around to the public announcement of planned demise of RK studios, that we  too had focused in  September, 2018, Krishna Kapoor, the most charming and respected ‘outsider’ ‘wife’ in  the film world, and of course, the axis around which Raj Kapoor created his showman business, passed away on 1st October, 2018.

Krishna Raj Kapoor: the grand matriarchMadhu Jain – Impeccably turned out in her white, embroidered organdy saris, pearl strings and well-coiffed hair, she was a picture of poise to the outside world, no matter how difficult things might have been at home….Raj Kapoor once famously said that he was happy with his Ambassador car; the Mercedes was for his wife. Just as he equally famously and not very generously said that his wife was the mother of his children and Nargis was the mother of his films.

Krishna and Raj Kapoor – at two milestone stages of life – (L) marriage, 1946 / (R) Dada Saheb Award function, 1987

Krishnaji, very richly, was profusely eulogized in the front-line press and media: Here are just two links: Krishna Raj Kapoor passes away at 87; remembering her unique love story with RK and  Krishna Raj Kapoor: A Life In Pictures

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

Annapurna Devi – The Pink Star Lost To The World –was born as Roshanara Khan, she was one of the daughters (the other 2 being – Jahanara and Sharija and brother Ustad Ali Akbar Khan) of Ustad Alauddin Khan. She was maestro of classical vocal music, Sitar, and Surbahar. She herself created musicians like Pandit Hariprasad Chaurasia, Nityanand Haldipur, Nikhil Banerjee, Amit Roy, Basant Kabra and many more who were her students. Her music remained hidden to the world.

The Faint Echoes of the October Revolution: A Centenary of the Capricious Philosophy in the Socio-political life! – The (Guest) author, Shalan Lal, has very deftly woven the history of the October (Russian) Revolution with the fall out effect on Hindi Films in the process of commemorating the completion of 101st year of the Revolution.

Dina Pathak – The Multifaceted Doyenne Of Hindi Cinema – was arguably the Doyen of character roles in Indian Cinema, who has performed the most powerful and graceful character roles in Indian Cinema, starting from late 60s to early 2000s. Har Din To Bita Sham Hui (Kitaab, 1977; R D Burman; Gulzar) is probably the only solo song picturized on her, with a soothing voice of Raajkumari

Manto, movie buffs, time machines in Nandita Das’s Manto – which intersperses vignettes from Saadat Hasan Manto’s life with scenes from his short stories.

Zindagi kaisi hai paheli haaye – Vijay Kumar remembering Hrishikesh Mukherjee and his Anand, on his birth anniversary on 2nd October.

Mehfil Celebrates ‘S D Burman’ Month + S D Burman – Early Days + S D Burman – The 50s is a series of posts that travereses S D Burman’s journey of the Hindi Films, in the 112th year of his month of birth.

Relishing The Combination Of S D Burman And Majrooh Sultanpuri  is a treat for music lovers.

In Tandem: SD Burman – Majrooh Sultanpuri are the ‘songs picturised on Dev Anand’ and their ‘songs for other actors’ because it so happened that many of the songs on this list were picturised on the actor.

Meet the Kishore Kumar fans behind new film: ‘People are still looking for the quality of his voice’ – Kaushik Ganguly’s Bengali film ‘Kishore Kumar Junior’, starring Prosenjit Chatterjee, is dedicated to the people who have devoted their lives to the singer.

‘Main Dhoondhta Hoon Jinko Raaton Ko Khayalon Mein’ – Shiv Kumar – Hindi cinema has had many actors like Sudesh Kumar, Shailesh Kumar, Rakesh Pandey and Vikram who gained good recognition among the audience in a short time but were lost to oblivion soon after. In the list of such actors, is the name of Shiv Kumar Pathak, known to cinema goers as Shiv Kumar. He made his debut with the movie ‘Poonam Ki Raat’ in 1965 and became a star with the release of the movie Mahua in 1969, and Thokar(1974).

‘Unsung hero, Pope of sound’: A documentary resurrects legendary mixing engineer Mangesh Desai, who worked on more than 300 films over nearly four decades.  – Nandini Ramnath – In The Sound Man – Mangesh Desai, Sahoo provides a comprehensive and engrossing examination of Desai’s achievements, his work ethic and his personal side.  The 112-minute film is filled with anecdotes related by a huge cast of luminaries.

A drawing by Ram Mohan that features in The Sound Man Mangesh Desai.

Shammi Kapoor – The hero who never needed a choreographer –  Vijay Anand who directed him in Teesri Manzil once told that Shammi did not regard himself as a dancer, nor had he ever learnt dancing. But you played a song to him and tell him: “Go wild!” He would because he had such a tremendous sense of rhythm.

On the first death anniversary of Vinod Khanna, here is a Quiz: How much do you know about Vinod Khanna’s key roles?

Born on 10th Oct 1954, Rekha -The Much Maligned and Misunderstood Woman, as she describes her in her autobiography. Rekha, -The Untold Story, as told to Khalid Mohamed. She has said in the book that I do not invite people into my house. In fact, my privacy’s worked better than any screenplay. Anything connected with my work, the producers meet me in my office, and no one comes into my house except family.  

Shakespeare Wallah’, original ‘Suspiria’ among restored classics at Mumbai Film Festival  Also on the list are ‘Pixote’ and ‘Hyenas’.

The Top Sad Songs of Dev Anand are philosophical songs as well.

October, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory 1949 – 1953.

The Great Composer Duo of the Golden Era of Bollywood commenced working as team from Barsaat (1949) till Jaikishan’s death in 1971. Shankar continued composing films even after that under the banner of Shankar Jaikishan.

And, now the posts on other subjects:

Women in Proper Noun Roles – In a study conducted in 2017 that scanned roughly the last 50 years and found that in Bollywood, women-centric films have risen from just 7% during 1970-1975 to a still-small 12% today.. It’s easiest for the male ego if it’s a woman-centric film but the title itself is a neutral concept. Examples are Adalat (1958), Sadhana (1958), Inteqaam (1969), Aandhi (1975) and Bazaar (1982). One step more difficult is eponymous titles of the common noun kind, like Anpadh (1962), Ardhangini (1959), and Badi Bahu (1951). In such films, the titles are named after women, but that accent remains somewhat weak. It is at the really upper end, where the title of the film is a proper noun, named after the female protagonist, which makes it hardest for the male actor. Examples of these would be films like Anuradha (1960), Purnima (1965), and Razia Sultan (1982). The post goes on list the songs, all performed by actresses in ‘Proper Noun Country’, their names finding a mention after the movie titles:

The Male Advantage – Most weather-people are men, so till recently they named hurricanes after women! With an increasingly-just society, this unkind naming has had to be given up, so that now hurricanes are named alternately, in a man-woman-man-woman way. We turn our attention to the powerful world of our cinema, where too it’s the men who have always been in the driver’s seat. However, some actors like Ashok Kumar, Balraj Sahani , Dharmendra  have manfully played roles in woman-centric films. The post is about films who bear  the name of a male character and the songs that the male actor who sang on the screen is named in brackets.

Introducing Food and Food Movie Month on Dustedoff is a celebration of a different type, on the occasion of World Food Day on 16th October. As part of preparing herself for this celebration, Madhulika Liddle, the author of the blog, watched as many movies she could watch on food, wrote mini reviews of films she watched, made notes on the food she cooked based on these films. So we will have four post-length courses of this fare from her…. Part 1, Part 2  and Part 3 discuss the dishes or meals she cooked, and the films that triggered those meals. ‘Ten of my favourite food songs’ is the very interesting list of songs not only in praise of food (and drink), but which just mention food, in some context or the other. The songs are of pre’70s period and mention food (drink) in the first two lines and / or in refrain. And of course, the drink should not be liquor, because there has been posted a daaru songs list. I have listed these songs here once again:

  1. Ek roz hamaari bhi daal galegi (Bandi, 1957)
  2. Suraj zara paas aa (Ujala, 1959)
  3. Tu mera jo nahin (Bheegi Raat, 1965): (With Pee cola pee cola being the refrain)
  4. Mera naam Abdul Rehman pistawallah main hoon Pathan (Bhai-Bhai, 1956)
  5. Paan khaaye saiyyaan hamaaro (Teesri Kasam, 1966)
  6. Chana jor garam main laaya (Naya Andaaz, 1956
  7. Maine kaha thha aana Sunday ko (Ustaadon ke Ustaad, 1963
  8. Ichak daana bichak daana (Shree 420, 1955)
  9. Chanda mama door ke pooye pakaayein boor ke (Vachan, 1955)
  10. Jaiyo jaiyo sipahiya bazaar daal meri chulhe chadhi (Nishaan, 1949)

The discussion on the post has added many more food songs.

The Audio Pole Star – The tanpura (tambura in Carnatic classical music) is a 4-string music instrument whose job it is to lend a continuous, low-humming sound to a vocalist, Modern technology is trying to dismiss it off the stage. The post lists songs that featured Taanpura on the screen.

My own taste got developed by listening to radio in 60s. However, later in the seventies, other media took over that space. So I relish Radio – My Constant Song Companion with the fond memories.

Knifing the Body – Depiction of Maiming in Cinema – Filmmakers have often relied on gore as a mode to make the audience uncomfortable with our very own physiology. Amitava Nag and Shiladitya Sarkar dig deeper into this genre.

Chehre pe khushi chha jaati hai – Lata Jagtiani – The three sides of a love triangle around a grand piano – beautiful and charming Sadhana, dapper-looking Sunil Dutt and inimitable Rajkumar – forming the backdrop of Sahir Ludhyanavi’s words, Ravi’s composition and Asha’s effusive rendition makes it really difficult to find who is the real scene-stealer here!

Iss Nadi Ko Mera Aaina – Chashme Buddoor – Reflections Of Love – Simple food, simple clothes, simple words, simple ways of expressions, simple living and of course simple cinema never fade. Even in a romantic song (singers: Haimanti Shukla, Shailendra Singh / Music – Raj Kamal / Lyics: Indi Jain) like this, Sai Paranjpe has kept the comedy quotient alive.

Story Behind The Making Of Jao Re Jogi Tum Jao Re – Amrapali in the words of film’s director, Lekh Tandon.

Naked invisible men I have known: Mr India and his forebears elaborates how old Hindi cinema dealt with the invisibility theme in its own special way.

We continue Micro View of Best songs of 1947: And the winners are? with female solo songs, wherein moved to Duets of 1947. After having covered the duets of Mukesh with other female playback singers, we have also covered duets of Mohammad Rafi, those of G M Durrani and those of ‘other male singers’ in Part I, Part II and Part III. While we continue with our micro view, SoY has published its concluding piece on duets of 1947 – Best songs of 1947: Wrap Up 3 and adjudged Humko tumhara hi aasra (Saajan, C Ramchandra) and Yahan badla wafa ka bewafai ke siwa kya hai (Jugnu, Firoz Nizami), jointly as the Best Duets for 1947.

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

Saathi Na Koi Manzil, Diya Hai Na Koi Mahefil – Bombai KA Babu (1960 ) –  S D Burman – Majrooh Sultanpuri

Solah Singar Kar Ke Jo Aayi Suhag Raat .. Jalwe Tumhare Laayi Suhag Raat – Gaban (1967) – Shankar Jaikishan – Hasrat Japuri

Raahi Mil Gaye Raaho Mein, Baate Hui Nigaho Mein – Dil Deke Dekho  (1959) – Usha Khanna – Majrooh Sultanpuri

Sadque Heer Tujhe Pe Hum Faqueer Sadqe – Mera Naam Joker (1970) – Shankar Jaikishan – Prem Dhawan

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 : The Male Female Duets : Duets of Other Male Singers [3]

We have been micro viewing male-female duets of ‘other’ male singers for the year 1947 in  the previous parts [1] and [2].. The present, concluding , part also carries forward the very distinct characteristic of having a broader range of variety of male-female combinations and the corresponding connection of the music director, even after considering a few singer combinations having more than one duet in a film or music director like C Ramchandra appearing in more than one film in this list.

Here, too, I have had occasion to listen to these song for the first time.

Karan Diwan, Meena Kumari – Nain Dor Se Bandh Liyo Chitchor – Piya Ghar Aaja – Bulo C Rani – Pt. Indra

Karan Diwan, Meena Kumari – Nain Base Ho Raja Dil Se Base Ho – Piya Ghar Aaja – Bulo C Rani – Pt. Indra

Feroze Nizami, Amirbai Karnataki – Aa Gayi Aa Gayi Mere Mani Rani Aa Gayi – Rangeen Kahani – Phiroze Nizami B A – Wahid Quraishi

Malik Sardar, Zohrabai – Dekh Jawani Khel Nahi Hai, O Dil Wale Jaag – Renuka – Sardar Malik- Qamar Jalalabadi

Chitalkar, Meena Kapoor – Aana Meri Jaan Sunday Ke Sunday – Shehnai – C Ramchandra – P L Santoshi

In the second version of the song, Shamshad Begum comes in 2.26 to playback for Rehana

Chitalkar, Amirbai – Aji Aao Muhabbat Ki Khale Qasam – Shehnai – C Ramchandra – P L Santoshi

Chitalkar, Shamshad Begum – Pahali Mulaqat Mein.. Bach Ke Rahena Ji – Shehnai – C Ramchandra – P L Santoshi

T A Moti, Shamshad Begum – Tum Hamse Hamse Muhabbat Karate Ho – Shikarpuri Muhammad Safi – A Shah ‘Aziz’

Sushil Shahoo, Naseem Akhtar- Kisi Ke Madhur Pyar Mein Man Mera Ho Gaya – Sindoor – C Ramchandra – Neelkanth Tiwari

Sushil Shahoo, Paro Devi – Silwa De Re Sajanwa Mohe Reshami Salwar – Sindoor – C Ramchandra –Ambikesh Kuntal

Patanjal, Rajkumari – Main Kya Karun, Koi Bataye Main Kya Karun –  Chalte Chalte – Khemchand Prakash – Lal Chand ‘Bismil’ Peshawari

Patanjal, Meena Kapoor  –  Aaj Bar Aai, Bar Aai Hai Dil Ki Tamannaen – Chalte Chalte – – Khemchand Prakash – Lal Chand ‘Bismil’ Peshawari

Hemant Kumar, Kalyani Das – Nazar Nichi Kiye Jaa Rahe Ham – Giribala – Kamal Dasgupta –

We will take up Micro View of Female-Female Duets for the Year 1947 in our next episode.

Carnival of Quality Management Articles and Blogs – October, 2018

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

Let us recollect from our August, 2018 issue that two of the three key changes that characterize ISO 9004: 2018 are:

  • focus on the concept of “quality of an organization”;
  • focus of the concept of “identity of an organization”

In our present October, 2018 issue, we will expand the concept of Quality of an Organization.

ISO 9004: 2018 draws upon the definition of quality form ISO 9000:2015 and states that, ‘The quality of the organization is the degree to which the inherent characteristics of the organization fulfil the needs and expectations of its customers and other interested parties, in order to achieve sustained success’…In short, Quality of an Organization is equated with its ability to achieve sustained success.

Sustained success in a complex, demanding and ever-changing environment is not to be taken for granted. For example, the 2018 Corporate Longevity Forecast predicted that by 2027, organizations represented in the Standard & Poor’s 500 would be listed in this index for an average of 12 years. New technologies, economic shocks, disruptive competitors and eventually the inability to identify and address future challenges are the main reasons for conditional sustainability.

If we correlate this with the contents of ISO 9001: 2015, then this translates into the culture and organizational knowledge about how the organization approaches Understanding the Context of the Organization and the Needs and Expectations of the Interested Parties. Additionally, the quality of the organization can be judged from the maturity of its systemic performance w.r.t. its intended outcomes in so far as effectiveness of organization’s actions to address the risks and opportunities.

In his article, The Top 10 Characteristics of a Healthy Organization, Rose Johnson describes characteristics ingrained in company culture, recognizing and understanding which helps in identifying potential problems and taking appropriate corrective actions to help remain afloat.

The article also refers to a good amount of additional material on the subject:

We will now turn to our regular sections:

For the present episode we have picked up Jim Champy’s article When a Company Goes Astray @ Essential Management for Doers, Doubters and Darers column of Management Matters Network….while narrating some recent case studies, the author re-emphasizes the fundamental need for asking a right question.  More so when company has gone astray. He suggests four such questions:

  • Does the Company’s Management Team Have the Skills and Appetite for Change?
  • How Well do the Company’s Products or Services Respond to Market Needs?
  • Has the Company Gone Far Enough with Digital?
  • How Operationally Sound is the Company?

We now watch one of the latest ASQ TV  episodes:

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

  • Soft Skills are Underrated – Quality professionals need strong interpersonal skills. – Proficiency with the various quality tools and techniques is paramount for the quality professional to lead their organization to performance excellence. In the current environment, that’s just not enough to be truly successful…Professionals with poor interpersonal skills are generally not considered team players…Within the workplace, quality professionals with good interpersonal skills are likely to be more productive because they typically project a positive “can do” attitude, creatively uncover solutions to problems and proactively help others succeed. .. There are a host of interpersonal skills. For the sake of brevity I’ll list the ones some experts believe are among the more important: collaborative, dependable, tactful, friendly, empathetic, sensitivity, respectful, honest, trustful, helpful, communicative (verbal, written, non-verbal, listening), open-minded, positive and considerate…Reinventing oneself is possible through an awareness of how one interacts with others, but it does take a high degree of commitment and a lot of practice.
  • Impulse Decisions – An impulse is nothing more than an urge to do something. It’s a suggestion from your subconscious that suddenly surfaces in your conscious mind, and as such, it deserves to be considered…Being impulsive is generally considered a negative trait. Impulsive people tend not to consider the consequences of their actions, think things through, or finish things they’ve started…However, it might sound strange but carrying impulses into action can be a good way to become goal-oriented…Don’t ignore all impulse decisions. Some will be game-changes, but pick and choose carefully.

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 : The Male Female Duets : Duets of Other Male Singers [2]

As we had seen in the Part [1] of this post on Duets of Other Male Signers for the year 1947, barring duet songs of Geet Govind (which are in the voices of Manna Dey and Rajkumari, and a couple of other duets, most of other duets is a set of different combinations of male and female singers. Similar is the case in this part [2] as well.

Hemant Kumar, Kalyani Das – Maine Pehachan Liya….Tumane Pukara Hai Mujho – Faisla – Anupam Ghatak – ‘Pran’

Radha Govind, Geeta Roy  – Mera Nanha Sa Dil Piya Loot Liya Re – Jadui Ratan – Chitra Gupta M A – ?

Radha Govind, Geeta Roy  – Naino Mein Aana, Mere Man Mein Samana  – Jadui Ratan – Chitra Gupta M A – ?

Neenu Mazumdar, Meena Kapoor – O Gori Kahan Chali Us Paar – Jail Yatra – Neenu Mazumdar – Sajjan

Chitalkar, Beenapani Mukherjee – Tum Saath Raho Jeevan Bhar To Main – Lela – C  Ramchandra – G S Nepali

Surendra, Khursheed – Prem Nagar Ki Aur Chale Hai, Prem Ke DO Matwale – Manjdhar – Gyan Dutt – Shams Lakhanavi

Surendra, Khursheed – Mera Chand Aa Gaya Mere Dware – Manjhdhar – Anil Biswas – Shams Lakhanavi

Hemant Kumar, Kalyani Dasgupta – Dheere Dheere Aa Tu Is Nadi Mein – Manamani – Kamal Dasgupta –

Manmohan Krishna, Johrabai – Sakhi Ri Mohe Nisdin Birha Tadpae – Matwala Shair Ramjoshi – Vasant Desai – Niranjan Srivastav

Amar, Suriya – Na ho Koi Jahan…. Chale Ham Tum Wahan – Natak – Naushad Ali – Khumar Barabankvi

Bhatkar, Rajkumari – Jaiyo Na Bidesh Mora Jiya Mar Jayega -– Neel Kamal – B Vasudev – Kedar Sharma

A R Oza, Geeta Roy – Muskarate Ho Kyon, Abhi To Paheli Pehchan Hai,  Itarate Ho Kyon,– Paheli Pehchan – Hans Raj Behl – Pt. Indra

We will conclude  Male-Female Duets of Other Male Singers for the year 1947 in our next episode.

Fading Memories…. Unforgettable Songs: October, 2018

Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory 1949 – 1953

We are now running a series on Shailendra’s songs with other than Shanker Jaikishan songs, similarly the songs of Hasrat Jaipuri with other music directors too. We have also taken up Shamker-Jaikishan’s songs written by Hasrat Jaipuri, which essentially focus on Jaikishan’s compositions. So the only one person who does not seem to have received his due was Shankar (Singh Raghuvanshi) October is the month of Shanker’s birthday (25 October 1922 — 26 April 1987). So, we cannot have a better occasion to institute a series on Shanker(-Jaikishan)’s compositions that have been penned by Shailendra.

Top: Left Shanker, Right – Jaikishan;
Bottom: From L to R: Hasrat, Shailendra, Dattaram, Sebastian

Shanker-Jaikishan debuted with Raj Kapoor’s Barsaat in 1949. By the time fate would bring in Shailendra in this team, all except two songs were ready. Shailendra is said to have first written, fatefully or as his wont, meaningfully

Barsat Mein… Sajan Ham Se Mile Tum.. Barsat Mein – Lata Mangeshkar

The other one that Shailendra wrote was

Patli Kamar Hai Tirchhi Nazar Hai – Mukesh, Lata Mangeshkar

That seems to set the tone of Shanker-Jaikishan’s approach to what they will present as their unique identity in a highly completive word – innovative orchestration to essentially Indian tunes..

Even as Mohammad Rafi had his entry in the team in Barsaat itself, for the purpose of the scope of our present series, we will have to wait till 1951 to make the big picture complete.

Naiya Teri Majdhar – Awara 1951 – Mohammad Rafi, chorus

From Awara onwards, Mukesh shall be the playback voice of Raj Kapoor was a  settled affair. However, Shanker Jaikishan invariably had one Mohammad Rafi song in each of RK Films till Mera Naam Joker, except of course, Aah, and Jis Desh Mein Ganga Baheti Hai.

Pavitra Sitamai Ko Tune Diya Banwas – Awara (1951)   – Mohammad Rafi, Lata Mangeshkar, chorus)

This songs metaphorically sets the stage for the film’s narrative, by drawing from Ramayana, wherein Ram tells Sita to leave Ayodhya, knowing fully well that she in the advanced stage of pregnancy. The story of “Awara’ has one more agenda – to prove that a progeny of the upper class will always remain upper class and vive versa.

Anmol Pyaar Bin Mol Bike – Badal (1951) – Lata Mangeshkar

Whether by design or by the circumstances, Shanker Jaikishan’s first few films have a very high degree of skew tilting towards Lata Mangeshkar.

Illa Belle..Din Hai Pyare Pyare – Kali Ghata (1951) – Lata Mangeshkar

Shailendra deftly weaves fil title in the song, if not in the first couplet (mukhada), then in the first stanza. Interestingly Kishore Shahoo has carried the accordion to, probably, bring in a sense reality to the presentation of the song!

Dekho Aaya Yeh Kaisa Zamana – Daag (1952) – Lata Mangeshkar, chorus

Here we have a song that is set to classic Marathi folk tune.

Kya Bataoon Mohabbat Hai Kya – Parbat (1952) – Mohammad Rafi, Lata Mangeshkar, Geeta Dutt

There are not as many songs of Geeta Dutt from Shankar-Jaikishan’s stable, and then a trio of Geeta Dutt, Lata Mangeshkar and Mohammad Rafi is even rarer. The film itself is far less heard of. The soft composition of the song adds to the rarities.

O O My Dear Aao Near – Nagina (1952) – Mohammad Rafi, Shamshad Begum

To the most of Nagina was film where Nutan was not permitted entry during the premier because she was not yet an adult, that this was the first film after Nasir Khan had returned from a highly unsuccessful move to permanently migrate to Pakistan, that Shanker Jaikishan had dared experimenting the lead male song in the voice of C H Atma and had also presented their maiden haunting melody in Lata Mangeshkar’s voice. SJ also have successfully risen to the challenge of simultaneously presenting very light songs as well, the other one being Humse Koi Pyar Karo Ji. Both these light-tones songs are filmed on Gope and Mohana.

The year 1953 has as many as 9 films within the scope of our series, which in itself would be able to provide the material for one independent post. However, I have chosen to include three films here, because one song from each of the two films provides us variety – of singers and of the song situation. Third one has two great Mohammad Rafi songs that would fit into our tradition of ending each our post with Mohammad Rafi song related to the subject of the post.

Chhoti Si Yeh Zindagani Re Char Din Ki Kahani Teri – Aah (1953) – Mukesh

Mukesh also plays a caeo role of the horse cart driver in this song. The clip here is the one in which the films ends on a happy note. Originally, at the end of the song the hero passes away and is not able to meet her beloved.

This is what is supposed to be the original end.

Chahe Naina Churao Chahe Daman Bachao Pyar Ho Ke Rahega – Aas (1953)  – Talat Mahmood, Lata Mangeshkar

When the main protagonists cannot directly communicate what they want to convey to each other, the hind films would adopt a set of street players to come in and convey that thing through a song. Here is on such song.

And here are those two Mohammad Rafi songs:

Nanhe Munne Bacche Teri Mutthi Mein Kya Hai – Boot Polish (1953) – Mohammad Rafi, Asha Bhosle, chorus

Here is a song that fits like T to a traditional proverb – to get a slope when you want to run. Mohammad Rafi gets free hand in enacting an old man, Asha Bhosle gets to enact an adolescent girl, Shailendra gets to dream of future that he would like the new generation to enjoy and Shankar Jaikishan have a situation that naturally bends their inherent composition style.

Tumhare Hain Tumse Daya Maangte Hain  – Boot Polish (1953) – Mohammad Rafi, Asha Bhosle, chorus

Beggar songs has been one of the most experimented genre in Hindi Film songs. However subtle use of pieces of flute lifts the songs from an ordinary orphanage fund collection tune. Mohammad Rafi depicts subtle pathos in delivering the song’s message but when it comes to express their necessities he depicts an unmistakable spirit of not begging something but expecting to share what the haves have.

We will continue our journey of refreshing Shanker (Jaikishan)’s songs of Shailendra on once year basis article every October.

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 Best Songs of 1947 : The Male Female Duets : Duets of Other Male Singers [1]

The duets of other male singers with all female singers for the year 1947 provide aan excellent view of the singers and the music directors active in 1947. It was while working for this post that I could get to listen to most of the duets, with a quite a few exceptions as well. As with the solos, a few repetitive hearings are not enough to fully appreciate the nuances of these songs. But the experience is certainly worth its while.

Some of the male singers, like Manna Dey and Hemant Kumar also have been included in this omnibus category, even though they have more than one or two duets, because even if combine more than one singers, the total number of duets for 1947 may not make a full-fledged post.

The total numbers of duets is large enough to qualify for the spread of these duets into three posts.

S D Batish & Zeenat Begum – Duniya Chhoote Par Chhoote Na Chhoote Teri Gali Ka Phera Re – Arsi – Lachchhiram / Shyam Sundar – Sarshaar Shailani

Anil Biswas, Shamshad Begum – Chorus – Dekho Hara Hara Ban, Hawa San San Tak Taka Takdhin – Bhookh – Anil Biswas – – Dr. Safadar ‘Aah’

Khan Masatana, Shanbnam  – Dil Lekar Bhool Na Jaana Han Preet Laga Kar Nibhana – Bhool Na Jaana – Khan Masatana – Wahid Queraishi

Indravadan Bhatt, Suriya – Peepal Ki Chhaon Mein Thandi Thandi Hawao Mein – Dak Bangla – Naresh Bhattachary – D N Madhok

Raj Kapoor, Geeta Roy  –O Dumiya Ke Rahane Walo, Kahan Gaya Chitchor – Dil Ki Rani – S D Burman – Y N Joshi

This is the twin version of the Raj Kapoor solo: O Duniya Ke Rahanewalo Kahan Gaya Chitchor Bolo Kahan Gaya Chitchor

Gyan Dutt, Suanada Kamath  – Barbad Kar Daala Mujhe Barbaad Kar Daala Gulabi Ne Gulabi Ne  – Diwani – Gyan Dutt – Shams Lakhanavi

K S Ragi, Geeta Roy = Yaad Rakhan Yaad Rakhana Mujhe Yaad Rakhana, Preet Ki Duniya Meri Abaaaad Rakhana – Do Bhai – S D Burman – Raja Mehandi  Ali Khan

Ram Kamlani, Shamshad Begum – O Dil Pe Teer Chalae Nazariya Tori Re –  Doosri Shadi – Govind Ram – Ishwar Chandra Kapoor

Ram Kamlani, Shamshad Begum – O Bhangiyo Ke Raaja Mera Nanha Sa Dil Bahla Ja –  Doosri Shadi – Govind Ram – Ishwar Chandra Kapoor

Imdad Hussain, Dilshad Begum –Aise Mauke Bhi Kahan Roz Milate Hai – Ek Roz – Shyam Sundar – Sarshar Shailani

Surendra, Amirbai Karnataki –Aaine Mein Ek Chand Si Surat Nazar Aai Hai – Elan – Naushad Ali – Zia Sarhadi

Manna Dey, Rajkumari – Lalit Lavang Lata Parishilan – Geet Govind – Gyan Dutt – Pt. Indra

Manna Dey, Rajkumari – Chhod Sakhi Aaj Laaj, Kahe Jiya Dhadake – Geet Govind – Gyan Dutt – Pt. Indra

Manna Dey, Rajkumari – Shyam Mori Bindiya Bikhar Na Jaye – Geet Govind – Gyan Dutt – Pt. Indra

Manna Dey, Rajkumari, Chorus – Apane Hi Rang Mein Rang Dalun, O Shyam Tohe – Geet Govind – Gyan Dutt – Balam

Manna Dey, Rajkumari – Kit Ho Nandkumar Dhundhat Sab Sansar – Geet Govind – Gyan Dutt – Pt. Indra

We will continue with Micro View of Male-Female Duets of Other Male Singers for 1947 in our next episode too.

Business Sutra |8.2| Self and Self Image

Business Sutra |8| Family Feuds

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 1st segment – Nature is destroyed when culture is created – of 7th episode establishes the inverse relationship between Environment and the human development. 2nd segment – The Environment Strikes Back – describes what happens when human growth goes beyond the natural resources.

In the episode 8, Devdutt Pattnaik has picked up a very interesting subject of Family Feuds, beginning with Three pairs of brothers in segment 1.

Business Sutra |8.2| Self and Self Image

What Exactly is a Self-Image? Here’s What You Need to Know… begins with the quote:

It’s not what you say out of your mouth that determines your life, it’s what you whisper to yourself that has the most power! – Robert Kiyosaki

And then goes on describe Self-image as ‘The self-image is the impression you have of yourself that forms a collective representation of your assets and liabilities’. In other words, your self-image is how you see yourself based on your strengths and weaknesses.

This article is part of an 8 part series to help you develop more confidence in the pursuit of your goals. Here is a list of all articles within this series:

  1. Improving Self-Esteem
  2. Transform Your Self-Concept
  3. Boosting Self-Confidence
  4. Developing Self-Worth
  5. Building a Healthy Self-Image
  6. Pursuing the Ideal Self
  7. Fake it ‘Til You Make it!
  8. Developing Superhero Courage

The previous episode had ended at the point wherein the ground for the ‘right to the property’ was laid – at the level of morally and ethically what is right. In order to understand the relevance of self-image, its linkage with property, and with the subject of Family Feuds, we will need to turn to Segment 2 of the episode 8 wherein Devdutt Pattanaik takes up the subject of Self and Self Image and links up the subject, in continuation of the previous segment of Three pairs of brothers

What is the purpose or the reason for why property is at the heart of all these three disputes? May it be that Ram and Bharat did not really fight but property was at the heart of Bharat’s mother’s desire to make her son the king? For each one of these disputes properties was at the heart. What was the message in that?

We have to understand the notion of property, and to understand the notion of property we will just look back at evolution of it. Now what do we have to look back?

There is man on one side and there are animals on the other. The animals display very highly territorial. They are territorial because if they are not territorial their survival is at stake. The human beings are 99 percent animals, almost the animal, and a small part of us is not animal, because of a larger brain. Since we are mostly animals, our territorial instinct exists even within us. So we also seek survival.

Where does the property come in this matter?

When the territory becomes the property?  The difference between man and animal is that human beings have imagination. We imagine who we are. We have a notion of who we are. This has two components – what we are and what we have. I am Devdutt Pattanaik and I am also what I possess. I may die. This is mortal me. What I have is immortal – so in a way through property I will outlive me. My name will outlive me, my achievements will outlive me, my memory will outlive me, and my property will outlive me.

Property will outlive us?

That is a great delusion of a man. In a way I have something called a self-image which is comprised of not only who I am but what I have too .If I have more I have a bigger image than you. If I want to expand my self-image I have to have more and more property.

But it is also the source of the maximum amount of friction.

The wise man knows that this is delusion. The wise man knows that what you are has nothing to do with what you have. So when you look at the Ramayana you see three different characters. You have Ram on one side and you have Ravan on the other.  Ram knows who he is, his character, his personality is not defined by the property.

Which is why he is so easily able to give it up.

Bharat on the other hand also knows who he is, so his self-image is not dependent on his position as king of Ayodhya.  He does not need the kingdom. The kingdom is something else. The difference between what I am and what I have is very clear with the two brothers. They are the wise brothers; they know who they are. But Ravan is not the wise one. He believes that who he is is measured by what he has. So he wants what his brother has, he wants what Ram has; he wants what other men have. He wants everything that others have because he measures himself by what he has. This is 90% or 99% of humanity today. What the scriptures are trying to tell you that so long as you value yourself on the basis of what you have you are on a troublesome path.

Would you apply that in materialistic terms?

We have to ask ourselves why we want what we want. There is a survival need – you need food, clothing, and shelter. You need a comfortable life. These survival needs are well recognized. In fact, in Ramayana there is a scene in which a sea monster looks at Hanuman and says I am hungry, so if I eat you I have not done any sin because I have eaten you in hunger but if I eat you in sport then I’ve done something wrong…

or in gluttony……

Ramayana is asking what is man’s relationship with property, that with his self-image. I am fighting not for the survival of the self. The animals are very innocent. The animals are looking at the survival of the self, their physical body. They fight for it. Human beings are fighting for the self-image, their imagined body, not the physical body.

Isn’t it so easy to give up when you have it to begin with? Let’s assume for a moment that we wanted to be empathetic towards Ravan, who wanted what he did not have. Only thing is he used the wrong means to acquire it. But desiring in itself was not incorrect or bad or wrong because he didn’t have it. When you have it it’s so easy to take the higher moral ground.

It is not a question of wanting it or not wanting it. The point is to discover who you are, find out who you are. In that process I will acquire wealth or I will lose wealth. Am I the person I am because I have wealth or I am the person who I am irrespective of what I possess? Because fortunes will come and go. It is not that if I have a lot I will be generous. There is no correlation between wealth and generosity. Generosity is who you are and wealth is what you have.

Let’s not make that mistake that if I have a lot I’ll be generous. That is corporate social responsibility.

The episode thus build a case for linking the property with one self-image and ends with a tongue in cheek statement that CSR is more a matter of self-image than what the corporation is.

In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 3rd segment, Loyalty and Dharma, of the 8th episode of 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.

The Micro View of Best Songs of 1947 : The Male Female Duets : Duets of Mohammad Rafi and G M Durrani

Duets of Mohammad Rafi

In terms of numbers, duets of Mohammad Rafi would not stand much chance with those of Mukesh in this year. However, it so happens that, there are more songs that are familiar to me, at least, in this case of Mohammad Rafi’s duets as compared to those of Mukesh in this year.

Over and above this, Mohammad Rafi and Lata Mangeshkar have recorded their first ever duet in this year of Lata Mangeshkar’s debut as playback singerin Hindi Films.That is the only one duet she has this year.

Mohammad Rafi, Mohantara – Main Teri Tu Mera Dono Ka Sang Sang Ho Basera – Aapki Sewa Mein – Dattaa Davjekar – Mahipal

Mohammad Rafi, Khursheed – Sawan Ki Ghatao Dheere Dheere Aana – Aage Badho – Sudhir Phadake – Amar Varma

N.B.  HFGK records this song to the credit of Manna Dey and Khursheed.

Mohammad Rafi, Noor Jehan – Yahan Badla Wafa Ka Bewafai Ke Siwa Kya Hai – Jugnu – Phiroz Nizami B A –

Mohammad Rafi, Lalita Deulkar- Kisko Sunaun Hal-e-Dil…. Hamko Tumhara Hi Aasra, Tum Hamare Ho Na Ho – Saajan – C Ramchandra – Moti B A

This is twin version of Rafi solo Hamko Tumhara Hi Aasra, Tum Hamare Ho Na Ho, but the composition of the duet is so different..

Mohammad Rafi, Lalita Deulkar- –Main Hoon Jaipur Ki Banjaran, Chanchal Mera Naam – Saajan – C Ramchandra – Qamar Jalalabadi

Mohammad Rafi, Lata Mangeshkar – Lo Ho Gayi Taiyyar Zara Thaharo Ji – Shadi Se Pehle – Paigankar, Karnad – Pt. Sukhram Sharma

Mohammad Rafi, Razia Begum – Balam Harzai, Jao Ji Main Preet Kiye Pachhatai – Shikarpuri – Muhammad Safi – A Shah ‘Aziz’

Duets of G M Durrani

G M Durrani was considered to a very close competitor who Mohammad Rafi had to content with during Rafi’s initial years. Of couse that is not the reason for juxtaposing G M Durrani’s duest in this post.

G M Durrani, Amirbai Karnataki – Wafaein Hamari Na Tum Azamana – Diwani – Gyan Dutt – ?

G M Durrani, Geeta Roy – Aji Prem Ka Nata Toot Gaya Mera Preetam Mujh Se Choota – Do Bhai – S D Burman – Raja Mehandi  Ali Khan

G M Durrani, Paro Devi –Do Nazron Ka Mil Jana, Ban Gaya Ek Afsana – Heera – Husnlal Bhagatram – Qamar Jalalbadi

G M Durrani – Noor Jehan – Haath Seene Pe Rakh Do To Qarar Aye – Mirza Sahiban – Pt. Amarnath / Husnlal Bhagatram – Aziz Kashmiri

G M Durrani – Noor Jehan – Tum Aankho Se Door Ho Hui Neend Aankh Se Door – Mirza Sahiban – Pt. Amarnath / Husnlal Bhagatram – Aziz Kashmiri

We will take up Micro View of Male-Female Duets of other Male Singers for the year 1947 in our next episode.